1948-1951 – studied at the Baku Music College.

1951 – moved to Yerevan, where continued his musical education at the Music College after R. Melikyan

1952-1957 – studied at the Yerevan State Conservatory after Komitas (YSCK) (prof: E. Mirzoyan)

(1963-1967) – post graduate studies at the YSCK (prof: E. M. Mirzoyan)

1960-1963 – Secretary of the Composers Union of the ASSR (CUA)

1963-1965 – Deputy chairman of the Board of CUA

1970-1974 – Worked at the Ministry of Culture of the ASSR

1970 – lecturer at the YSCK

1978 – Docent of the YSCK

1980s – moved to the village of Hayravank, on the western shore of Lake Sevan, where he built a house on the top of a hill according to his own design, and where on the shore of Sevan, he completely disconnected from the bustle of the world and devoted himself entirely to creativity

1983 – Professor at the composition department at the YSCK

1986 – Secretary of the Board of CUA

1990s – established close creative ties with German musical culture, especially in the city of Halle

1992-1993 – Master classes at the Ural Conservatory (Ekaterinburg). The Sverdlovsk Philharmonic held 2 festivals of his music, “3 Evenings with Avet Terteryan” (december 1994) and “Lines of Avet Terteryan” (may 2002)

Last few years he lived in Berlin (Germany)

Terteryan’s music is not diverse. It is best known for its symphonic music. His symphonies, with their great innovative courage and original use of monodies of armenian sacred music, were a new word not only in the Armenian art of composition, but also in Soviet and world music (he used duduk, zurna, tar and other instruments in some symphonies).

Terteryan was a symphonist in his musical thinking. In his symphonies, he seemed to be trying to give the relationship between the macrocosm and the microcosm, that is, the position of the smallest and largest worlds in relation to each other, the position of man and his feelings on this eternal path.

 

Symphonies:

He wrote 8 symphonies using modern writing styles: aleatoric, atonal, the use of mechanical means of recording, etc.

1st symphony (1969)

With the principles of his concept and implementation, he opened a unique path in Armenian music. The symphony was written for an unusual orchestral composition: wind instruments, various percussion instruments, organ and bass guitar. The expressive means used create an extraordinary sound.

 

2nd Symphony (1972)

Written for large orchestra, male voice and mixed choir. The dramatic center of the 2nd symphony already included a look at the past, present and future.

 

3rd Symphony (1975)

Here he introduced zurna and duduk into the orchestra. This symphony is a set of reflections on the futility of human life, the eternal question of to be or not to be. In these 3 symphonies he maintained a three-movement and four-movement structure.

 

4th Symphony (1976)

Terteryan applied the principle of aleatorics, according to which the duration of sounds and dynamics during performance are determined by the conductor. The 4th Symphony has such a sound structure, where the cornerstones merge, opening the way to quarter-tone music and modern temporary settings. It is in this symphony that Terterian crosses the line that was directed by Mahler and his successors. According to the composer, in the 4th symphony the sound difference between time and space radically changes. The 4th symphony became the boundary where the vibration of the Universe was heard for the first time.

 

5th Symphony (1978)

It is one-part. Written for symphonic orchestra, kamancha and bells. In this symphony, the sound of kamancha contrasts with the sound of a symphony orchestra. The structural basis of the symphony is multi-layered polyphony: interval, chord, cluster, magnetic tape and rhythm. The structure of the symphony is a fugue. The rhythmic layer develops very interestingly. The composer created a special rhythmic formula that develops in an imitative way.

 

6th Symphony (1981)

Written for chamber orchestra and chamber choir, the soundtrack also reproduces the sound of a large symphony orchestra. The dramaturgy is based on tam-tam beats. The sounds of strings, horns, cymbals, flutes, and clarinet merge with the ringing of bells and chorale. The choir sings the Armenian alphabet, where the tenor solo is distinguished by ascetic restraint. East and west merge in this symphony. The author called the 6th symphony a cosmic mass, where the composer touches on the ideas of life, death and birth. It is in this symphony that sound acquires the meaning of an absolute symbol.

 

7th Symphony (1987)

Written for symphonic orchestra, tambourine solo and tape recorder. This symphony begins with a liturgical prelude. In the 7th symphony, Terteryan returns from a creative earthly existence to man, to the reality of existence in which the winner is reason.

The 7th symphony is the most autobiographical.

 

8th Symphony (1989)

It is one-part. The instrumental composition is unusual: a large symphonic orchestra, 2 female voices (soprano and alto) and 2 sopranos, a synthesizer, bells and a tape recorder. In this symphony, Terteryan uses all the timbral power of the voice, from a sound that causes anxiety and irritation to a sound of exceptional beauty.

 

Operas:

“Ring of Fire” (1967)

He “deviated” from the established idea of the traditional form of opera in national art, managing to create his own style, harmonic means characteristic of modern thinking, and an essay characteristic of the oratorical style.

“Earthquake” (1984)

Based on the novel by H. von Kleist. The authors of the libretto are A. Terteryan and G. Stecher. The multi-layered structure of the opera is characterized by a super-intense psychological process, an unconventional way of characterizing events, which acquires oratorical features especially in the chorus. The entire opera is written in a recitative style, in the genre of psalms. The opera takes place in the Middle Ages in 1647. and hence the importance of sacred music. The musical language of the opera is based on the quarto-fifth chords of the Armenian monodic musical scale.

 

Other works:

1948 – “The Nightingale and the Rose.” For voice and piano. Words by A. Lushkina. Dedication “Angela Harutyunyan.”

1950 – Prelude for Piano

1951 – Piece for Violin and Piano. Dedication “Georgy Adzhemyan”.

1953 – “Dnepr”. For bass-baritone and piano. Words by Shevchenko. Russian translation M. Isakovsky, Armenian transition A. Poghosyan.

1953 – “The Lonely Tree”. For a mixed choir а cappella. Words by O. Shiraz.

1954 – Piece for Cello and Piano. Dedication: “Medea Abrahamyan”.

1954 – “Every night in my garden.” For voice and piano. Words by A. Isahakyan.

1954 – “Willow”. For soprano and piano. Words by A. Isahakyan.

1955 – Sonata for Cello and Piano. In three parts

1956 – “How nice is here.” Impromptu for voice and piano. Words by A. Tolstoy.

1957 – “Looking through the dates.” For soprano and piano. Words by S. Shchipachev.

1957 – “Call, I will come.” For tenor or soprano, and piano. Words by . H. Shiraz.

1957 – “Motherland”. Vocal-symphonic cycle for soprano, baritone and symphony orchestra. The words of the songs are poems by H. Shiraz (parts 1, 2, 3, 5) and H. Tumanyan (Part 4). In five parts Dedication “Edward Mirzoyan”.

1958 – “Songs” For choir and brass band. Words by E. Manucharyan. Dedication “Pupils music boarding school.”

1959 – “Pop Song”. For voice and big band.

1960 – “The Revolution.” Vocal-symphonic cycle for soprano, baritone and symphony orchestra. The words of the songs are poems by E.Charents. Five parts.

1962 – “Come.” For voice and big band. Word by V. Harutyunyan.

1962 – “Blue Eyes.” For voice and big band. Words by H. Ghukasyan.

1963 – 1^st String Quartet. For two violins, viola and cello (C major). In two parts. Dedication “Irina Tigranova”.

1963 – “You are the only to know.” For voice and big band. Word by A. Ghukasyan.

1964 – “In the golden field.” For baritone and piano. Words by O. Shiraz.

1964 – “Maybe tomorrow.” For voice and big band. Words by A. Verdyan.

1964 – “I am waiting for you again.” For voice and big band. Words by A. Verdyan.

1964 – “Autumn Blues”. For voice and big band.. Words by A. Verdyan. Dedication “Anatoliy Nikiforovich Yar-Kravchenko”.

1964 – “Go Dance”. For voice and big band. Words by A. Verdyan.

1965 – “Lullaby to my city.” For and big band. Words by A. Verdyan.

1965 – “I do not believe!” For voice and big band..Words by A. Verdyan.

1967 – “Ring of Fire”. Opera in two acts, eight scenes. Libretto by V. Shahnazaryan on a story by B. Lavrenev “Forty first” and verses of E. Charents.

1967 – “Sharakan.” For mixed choir and symphony orchestra (Episode from the opera”Ring of Fire”).

1967 – “How do you know.” For and big band. Words by A. Verdyan.

1968 – “A woman with green eyes.” For mezzo-soprano and piano. Words by G. Emin (Russian text: Yevgeny Yevtushenko).

1968 – “Pop Song”. For voice and big band.

1969 – 1^st Symphony. For brass, percussion, piano, organ and bass guitar. In four parts. Dedication: “Ruben Borisovich Terteryan.”

1972 – 2^nd Symphony. For full symphony orchestra, male voice and mixed choir. In three parts. Dedication: “Carmen Josephovna Terteryan”.

1972 – Symphonic picture № 1. For full symphony orchestra.

1974 – “Fanfare”. For wind and percussion instruments.

1974 – Music for two pianos, trumpets, percussion and violins. скрипок. В четырех частях. In 4 parts.

1975 – 3^th Symphony. For full symphony orchestra, duduk and zurna. In three parts. Dedication “Herman R. Terteryan”.

1975 – Symphonic picture №2. For full symphony orchestra.

1975 – Music for winds and percussion instruments, electronic synthesizer and piano.

1976 – 4^th Symphony. For full symphony orchestra. Dedication “David Khanjyan.”

1977 – “Hymn”. Cantata for mixed choir and symphony orchestra. Words by G. Emin.

1978 – 5^th Symphony. For full symphony orchestra, kyamancha and large bells. Dedication “Gennady Rozhdestvensky.”

1979 – “Monologues of Richard III”. The ballet in two parts. Libretto: H. Kaplanyan and V. Galstyan on Shakespeare’s tragedy “Richard III”.

1981 – 6^th Symphony. For Chamber Orchestra, Chamber Choir and nine phonograms with recording of groups of full symphony orchestra, choirs, harpsichords and large bells. Dedication “Irina G. Tigranova”.

1981 – “ A boy and a girl playing” Romance for voice and chamber orchestra. Words by A. Isahakyan.

1984 – “Earthquake”. Opera in two parts. Libretto: Hertha Shteher, Avet Terteryan, based on the novel by Heinrich von Kleist’s “Earthquake in Chile”(in German).

1985 – The choir and a cappella. For a mixed choir а cappella.

1987 – 7^th Symphony. For full symphony orchestra, dap and tape recording. Dedication “Alexander Lazarev.”

1989 – 8^th Symphony. For full symphony orchestra, two voices (soprano) and phonograms. Dedication “Murad Annamamedov.”

1991 – String Quartets №2. For two violins, viola and cello.

1994 – 9^th Symphony (unfinished). For full symphony orchestra, choir and tape recordings.

 

Music for films:

1973 – “Chronicle of Yerevan Days”. Feature film. Film-maker F. Dovlatyan. Production studio “Armenfilm” n. Hamo Beknazaryan.

1985 – “The rider, who was expected” (“Master thief”). The co-author V. Rubashevsky. Art telefilm in two runs. Directed by D. Kesayants.

Terteryan Music was used in many films, giving them a special significance. To name just a few:

1988 – “Our Armored Train” (film-maker M. Ptashuk, Minsk, Belarus)

“Interpretation of Dreams” (film-maker L. Saakyants, Yerevan, Armenia);

1989 – “The creative biography of Ernst Neizvestny and music of A. Terteryan” (film-maker Bondarev, Moscow, USSR);

1990 – “Public Enemy” (cond. L. Maryagin, Moscow, USSR);

Qamin unaynutyan (Wind of Oblivion)

1991 – “Vox Clamantis in Deserto” (Dzayn barbaro … , film-maker Vigen Chaldranyan, Yerevan, Armenia)

“The Way of Kings” (film-maker E. Shiffers, Leningrad, USSR),

“Return to the promised land” (film-maker A. Khachatryan, Yerevan, Armenia);

1993 – “The old gods” (film-maker A. Kadzhvoryan, Yerevan, Armenia);

1993–1995 – film director and journalist T. Paskaleva about events in Nagorno-Karabakh (NKR)

1994 – “The Last Station” (film-maker A. Khachatryan, Yerevan, Armenia);

1996 – “Our Father” (film-maker A. Kadzhvoryan, Yerevan, Armenia);

1996 – “Bread of Rage” (film-maker A. Kadzhvoryan, Yerevan, Armenia);

2003 – Vaveragrogh (Documentarist)

2005-Poeti veradardze (Return of the Poet)

2009 – “Becoming” (cond. G. Frutyunyan, Yerevan, Armenia), “On the boundary”, film-maker A. Khachaturyan, Yerevan, Armenia;

2010 – “To Ararat” (cond. T. Khzmalyan, Yerevan, Armenia).

1962 – Prize at the All-Union Competition of Young Composers

1972 – Honored Artist of the ASSR

1977 – State Prize of the ASSR

1984 – People’s Artist of the ASSR

1991 – People’s Artist of the USSR