{"id":8497,"date":"2025-02-13T11:12:16","date_gmt":"2025-02-13T11:12:16","guid":{"rendered":"https:\/\/acu.am\/?page_id=8497"},"modified":"2025-02-13T11:31:09","modified_gmt":"2025-02-13T11:31:09","slug":"%d5%bf%d5%a5%d6%80%d5%bf%d5%a5%d6%80%d5%b5%d5%a1%d5%b6-%d5%a1%d5%be%d5%a5%d5%bf-%d5%bc%d5%b8%d6%82%d5%a2%d5%a5%d5%b6%d5%ab","status":"publish","type":"page","link":"https:\/\/acu.am\/?page_id=8497&lang=en","title":{"rendered":"TERTERYAN AVET"},"content":{"rendered":"\n\t<section class=\"section has-parallax\" id=\"section_744211554\">\n\t\t<div class=\"section-bg fill\" data-parallax-container=\".section\" data-parallax-background data-parallax=\"-3\">\n\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"1518\" height=\"853\" src=\"https:\/\/acu.am\/wp-content\/uploads\/2023\/07\/BG.jpg\" class=\"bg attachment- size-\" alt=\"\" \/>\t\t\t\t\t\t\n\t\t\t\n\n\t\t<\/div>\n\n\t\t\n\n\t\t<div class=\"section-content relative\">\n\t\t\t\n<div class=\"row\" style=\"max-width:1200px\" id=\"row-1931958457\">\n\n\t<div id=\"col-345697706\" class=\"col medium-5 small-12 large-5\"  >\n\t\t\t\t<div class=\"col-inner\"  >\n\t\t\t\n\t\t\t\n\t<div id=\"gap-1095016378\" class=\"gap-element clearfix\" style=\"display:block; height:auto;\">\n\t\t\n<style>\n#gap-1095016378 {\n  padding-top: 0px;\n}\n@media (min-width:850px) {\n  #gap-1095016378 {\n    padding-top: 30px;\n  }\n}\n<\/style>\n\t<\/div>\n\t\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\n\t\n\n\t<div id=\"col-647888515\" class=\"col medium-12 small-12 large-7\"  >\n\t\t\t\t<div class=\"col-inner text-shadow-4\"  >\n\t\t\t\n\t\t\t\n\t<div id=\"gap-948070308\" class=\"gap-element clearfix\" style=\"display:block; height:auto;\">\n\t\t\n<style>\n#gap-948070308 {\n  padding-top: 30px;\n}\n<\/style>\n\t<\/div>\n\t\n\t<div id=\"text-4001898050\" class=\"text\">\n\t\t\n<h1 class=\"uppercase\"><strong>TERTERYAN<\/strong><\/h1>\n<p><strong>AVET (ALFRED)<\/strong><\/p>\n\t\t\n<style>\n#text-4001898050 {\n  font-size: 2.5rem;\n}\n@media (min-width:550px) {\n  #text-4001898050 {\n    font-size: 3rem;\n  }\n}\n<\/style>\n\t<\/div>\n\t\n\t\t<\/div>\n\t\t\t\t\n<style>\n#col-647888515 > .col-inner {\n  padding: 0px 0px 0px 0;\n}\n@media (min-width:550px) {\n  #col-647888515 > .col-inner {\n    padding: 0px 0px 0px 30px;\n  }\n}\n<\/style>\n\t<\/div>\n\n\t\n<\/div>\n\t\t<\/div>\n\n\t\t\n<style>\n#section_744211554 {\n  padding-top: 30px;\n  padding-bottom: 30px;\n  min-height: 300px;\n}\n#section_744211554 .section-bg img {\n  object-position: 67% 42%;\n}\n@media (min-width:550px) {\n  #section_744211554 {\n    min-height: 450px;\n  }\n}\n@media (min-width:850px) {\n  #section_744211554 {\n    min-height: 400px;\n  }\n}\n<\/style>\n\t<\/section>\n\t\n<div class=\"row\" style=\"max-width:1200px\" id=\"row-2080285595\">\n\n\t<div id=\"col-899025630\" class=\"col medium-12 small-12 large-5\"  >\n\t\t\t\t<div class=\"col-inner\"  >\n\t\t\t\n\t\t\t\n\n  <div class=\"banner has-hover bg-zoom-long\" id=\"banner-1358053462\">\n          <div class=\"banner-inner fill\">\n        <div class=\"banner-bg fill\" >\n            <img loading=\"lazy\" decoding=\"async\" width=\"228\" height=\"300\" src=\"https:\/\/acu.am\/wp-content\/uploads\/2024\/10\/07.29.1929-\u0531\u057e\u0565\u057f-\u054f\u0565\u0580\u057f\u0565\u0580\u0575\u0561\u05761-1.jpg\" class=\"bg attachment-large size-large\" alt=\"\" \/>                                    \n                    <\/div>\n\t\t\n        <div class=\"banner-layers container\">\n            <div class=\"fill banner-link\"><\/div>            \n        <\/div>\n      <\/div>\n\n            \n<style>\n#banner-1358053462 {\n  padding-top: 300px;\n  background-color: rgb(255, 255, 255);\n}\n#banner-1358053462 .banner-bg img {\n  object-position: 0% 0%;\n}\n@media (min-width:550px) {\n  #banner-1358053462 {\n    padding-top: 500px;\n  }\n}\n@media (min-width:850px) {\n  #banner-1358053462 {\n    padding-top: 500px;\n  }\n}\n<\/style>\n  <\/div>\n\n\n\t<div id=\"gap-1860558537\" class=\"gap-element clearfix\" style=\"display:block; height:auto;\">\n\t\t\n<style>\n#gap-1860558537 {\n  padding-top: 0px;\n}\n@media (min-width:850px) {\n  #gap-1860558537 {\n    padding-top: 100px;\n  }\n}\n<\/style>\n\t<\/div>\n\t\n\t\t<\/div>\n\t\t\t\t\n<style>\n#col-899025630 > .col-inner {\n  margin: -100px 0px 0px 0px;\n}\n@media (min-width:550px) {\n  #col-899025630 > .col-inner {\n    margin: -150px 0px 0px 0px;\n  }\n}\n@media (min-width:850px) {\n  #col-899025630 > .col-inner {\n    margin: -400px 0px 0px 0px;\n  }\n}\n<\/style>\n\t<\/div>\n\n\t\n\n\t<div id=\"col-864792262\" class=\"col medium-11 small-12 large-7\"  >\n\t\t\t\t<div class=\"col-inner\"  >\n\t\t\t\n\t\t\t\n\t<div id=\"gap-1267643189\" class=\"gap-element clearfix\" style=\"display:block; height:auto;\">\n\t\t\n<style>\n#gap-1267643189 {\n  padding-top: 30px;\n}\n<\/style>\n\t<\/div>\n\t\n<p><strong>Composer, founder of the new symphonic style.<\/strong><\/p>\n<p><strong>07\/29\/1929, Baku \u2013 11\/12\/1994, Ekaterinburg<\/strong><\/p>\n\t\t<\/div>\n\t\t\t\t\n<style>\n#col-864792262 > .col-inner {\n  padding: 0px 0px 0px 0;\n}\n@media (min-width:550px) {\n  #col-864792262 > .col-inner {\n    padding: 0px 0px 0px 30px;\n  }\n}\n<\/style>\n\t<\/div>\n\n\t\n<\/div>\n\n\t<section class=\"section\" id=\"section_681593189\">\n\t\t<div class=\"section-bg fill\" >\n\t\t\t\t\t\t\t\t\t\n\t\t\t\n\n\t\t<\/div>\n\n\t\t\n\n\t\t<div class=\"section-content relative\">\n\t\t\t\n<div class=\"container section-title-container\" ><h1 class=\"section-title section-title-center\"><b aria-hidden=\"true\"><\/b><span class=\"section-title-main\" >BIOGRAPHY<\/span><b aria-hidden=\"true\"><\/b><\/h1><\/div>\n<div class=\"row\" style=\"max-width:1200px\" id=\"row-1264678805\">\n\n\t<div id=\"col-1606550192\" class=\"col small-12 large-12\"  >\n\t\t\t\t<div class=\"col-inner\"  >\n\t\t\t\n\t\t\t\n<div class=\"accordion\">\n\t<div id=\"accordion-272186828\" class=\"accordion-item\">\n\t\t<a id=\"accordion-272186828-label\" class=\"accordion-title plain\" href=\"#accordion-item-education\" aria-expanded=\"false\" aria-controls=\"accordion-272186828-content\">\n\t\t\t<button class=\"toggle\" aria-label=\"Toggle\"><i class=\"icon-angle-down\" aria-hidden=\"true\"><\/i><\/button>\n\t\t\t<span>EDUCATION<\/span>\n\t\t<\/a>\n\t\t<div id=\"accordion-272186828-content\" class=\"accordion-inner\" aria-labelledby=\"accordion-272186828-label\">\n\t\t\t\n<p>1948-1951 &#8211; studied at the Baku Music College.<\/p>\n<p>1951 &#8211; moved to Yerevan, where continued his musical education at the Music College after R. Melikyan<\/p>\n<p>1952-1957 &#8211; studied at the Yerevan State Conservatory after Komitas (YSCK) (prof: E. Mirzoyan)<\/p>\n<p>(1963-1967) \u2013 post graduate studies at the YSCK (prof: E. M. Mirzoyan)<\/p>\n\t\t<\/div>\n\t<\/div>\n\t\n\t<div id=\"accordion-1453704569\" class=\"accordion-item\">\n\t\t<a id=\"accordion-1453704569-label\" class=\"accordion-title plain\" href=\"#accordion-item-activities\" aria-expanded=\"false\" aria-controls=\"accordion-1453704569-content\">\n\t\t\t<button class=\"toggle\" aria-label=\"Toggle\"><i class=\"icon-angle-down\" aria-hidden=\"true\"><\/i><\/button>\n\t\t\t<span>ACTIVITIES<\/span>\n\t\t<\/a>\n\t\t<div id=\"accordion-1453704569-content\" class=\"accordion-inner\" aria-labelledby=\"accordion-1453704569-label\">\n\t\t\t\n<p>1960-1963 \u2013 Secretary of the Composers Union of the ASSR (CUA)<\/p>\n<p>1963-1965 &#8211; Deputy chairman of the Board of CUA<\/p>\n<p>1970-1974 &#8211; Worked at the Ministry of Culture of the ASSR<\/p>\n<p>1970 &#8211; lecturer at the YSCK<\/p>\n<p>1978 \u2013 Docent of the YSCK<\/p>\n<p>1980s &#8211; 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<\/p>\n<p>1983 &#8211; Professor at the composition department at the YSCK<\/p>\n<p>1986 &#8211; Secretary of the Board of CUA<\/p>\n<p>1990s &#8211; established close creative ties with German musical culture, especially in the city of Halle<\/p>\n<p>1992-1993 &#8211; Master classes at the Ural Conservatory (Ekaterinburg). The Sverdlovsk Philharmonic held 2 festivals of his music, \u201c3 Evenings with Avet Terteryan\u201d (december 1994) and \u201cLines of Avet Terteryan\u201d (may 2002)<\/p>\n<p>Last few years he lived in Berlin (Germany)<\/p>\n\t\t<\/div>\n\t<\/div>\n\t\n\t<div id=\"accordion-2438853396\" class=\"accordion-item\">\n\t\t<a id=\"accordion-2438853396-label\" class=\"accordion-title plain\" href=\"#accordion-item-works\" aria-expanded=\"false\" aria-controls=\"accordion-2438853396-content\">\n\t\t\t<button class=\"toggle\" aria-label=\"Toggle\"><i class=\"icon-angle-down\" aria-hidden=\"true\"><\/i><\/button>\n\t\t\t<span>WORKS<\/span>\n\t\t<\/a>\n\t\t<div id=\"accordion-2438853396-content\" class=\"accordion-inner\" aria-labelledby=\"accordion-2438853396-label\">\n\t\t\t\n<p style=\"text-align: justify;\">Terteryan&#8217;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).<\/p>\n<p style=\"text-align: justify;\">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.<\/p>\n<p>\u00a0<\/p>\n<p style=\"text-align: justify;\"><strong><em>Symphonies:<\/em><\/strong><\/p>\n<p>He wrote 8 symphonies using modern writing styles: aleatoric, atonal, the use of mechanical means of recording, etc.<\/p>\n<p><strong>1st symphony (1969)<\/strong><\/p>\n<p>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.<\/p>\n<p>\u00a0<\/p>\n<p><strong>2nd Symphony (1972)<\/strong><\/p>\n<p>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.<\/p>\n<p>\u00a0<\/p>\n<p><strong>3rd Symphony (1975)<\/strong><\/p>\n<p>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.<\/p>\n<p>\u00a0<\/p>\n<p><strong>4th Symphony (1976)<\/strong><\/p>\n<p>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.<\/p>\n<p>\u00a0<\/p>\n<p><strong>5th Symphony (1978)<\/strong><\/p>\n<p>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.<\/p>\n<p>\u00a0<\/p>\n<p><strong>6th Symphony (1981)<\/strong><\/p>\n<p>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.<\/p>\n<p>\u00a0<\/p>\n<p><strong>7th Symphony (1987)<\/strong><\/p>\n<p>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.<\/p>\n<p>The 7th symphony is the most autobiographical.<\/p>\n<p>\u00a0<\/p>\n<p><strong>8th Symphony (1989)<\/strong><\/p>\n<p>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.<\/p>\n<p>\u00a0<\/p>\n<p><strong><em>Operas:<\/em><\/strong><\/p>\n<p><strong>&#8220;Ring of Fire&#8221; (1967)<\/strong><\/p>\n<p>He \u201cdeviated\u201d 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.<\/p>\n<p><strong>&#8220;Earthquake&#8221; (1984)<\/strong><\/p>\n<p>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.<\/p>\n<p>\u00a0<\/p>\n<p><strong><em>Other works:<\/em><\/strong><\/p>\n<p>1948 &#8211; \u201cThe Nightingale and the Rose.\u201d For voice and piano. Words by A. Lushkina. Dedication \u201cAngela Harutyunyan.\u201d<\/p>\n<p>1950 &#8211; Prelude for Piano<\/p>\n<p>1951 &#8211; Piece for Violin and Piano. Dedication \u201cGeorgy Adzhemyan\u201d.<\/p>\n<p>1953 &#8211; \u201cDnepr\u201d. For bass-baritone and piano. Words by Shevchenko. Russian translation M. Isakovsky, Armenian transition A. Poghosyan.<\/p>\n<p>1953 &#8211; \u201cThe Lonely Tree\u201d. For a mixed choir \u0430 cappella. Words by O. Shiraz.<\/p>\n<p>1954 &#8211; Piece for Cello and Piano. Dedication: \u201cMedea Abrahamyan\u201d.<\/p>\n<p>1954 &#8211; \u201cEvery night in my garden.\u201d For voice and piano. Words by A. Isahakyan.<\/p>\n<p>1954 &#8211; \u201cWillow\u201d. For soprano and piano. Words by A. Isahakyan.<\/p>\n<p>1955 &#8211; Sonata for Cello and Piano. In three parts<\/p>\n<p>1956 &#8211; \u201cHow nice is here.\u201d Impromptu for voice and piano. Words by A. Tolstoy.<\/p>\n<p>1957 &#8211; \u201cLooking through the dates.\u201d For soprano and piano. Words by S. Shchipachev.<\/p>\n<p>1957 &#8211; \u201cCall, I will come.\u201d For tenor or soprano, and piano. Words by . H. Shiraz.<\/p>\n<p>1957 &#8211; \u201cMotherland\u201d. 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 \u201cEdward Mirzoyan\u201d.<\/p>\n<p>1958 &#8211; \u201cSongs\u201d For choir and brass band. Words by E. Manucharyan. Dedication \u201cPupils music boarding school.\u201d<\/p>\n<p>1959 &#8211; \u201cPop Song\u201d. For voice and big band.<\/p>\n<p>1960 &#8211; \u201cThe Revolution.\u201d Vocal-symphonic cycle for soprano, baritone and symphony orchestra. The words of the songs are poems by E.Charents. Five parts.<\/p>\n<p>1962 &#8211; \u201cCome.\u201d For voice and big band. Word by V. Harutyunyan.<\/p>\n<p>1962 &#8211; \u201cBlue Eyes.\u201d For voice and big band. Words by H. Ghukasyan.<\/p>\n<p>1963 \u2013 1<sup>st<\/sup> String Quartet. For two violins, viola and cello (C major). In two parts. Dedication \u201cIrina Tigranova\u201d.<\/p>\n<p>1963 &#8211; \u201cYou are the only to know.\u201d For voice and big band. Word by A. Ghukasyan.<\/p>\n<p>1964 &#8211; \u201cIn the golden field.\u201d For baritone and piano. Words by O. Shiraz.<\/p>\n<p>1964 &#8211; \u201cMaybe tomorrow.\u201d For voice and big band. Words by A. Verdyan.<\/p>\n<p>1964 &#8211; \u201cI am waiting for you again.\u201d For voice and big band. Words by A. Verdyan.<\/p>\n<p>1964 &#8211; \u201cAutumn Blues\u201d. For voice and big band.. Words by A. Verdyan. Dedication \u201cAnatoliy Nikiforovich Yar-Kravchenko\u201d.<\/p>\n<p>1964 &#8211; \u201cGo Dance\u201d. For voice and big band. Words by A. Verdyan.<\/p>\n<p>1965 &#8211; \u201cLullaby to my city.\u201d For and big band. Words by A. Verdyan.<\/p>\n<p>1965 &#8211; \u201cI do not believe!\u201d For voice and big band..Words by A. Verdyan.<\/p>\n<p>1967 &#8211; \u201cRing of Fire\u201d. Opera in two acts, eight scenes. Libretto by V. Shahnazaryan on a story by B. Lavrenev \u201cForty first\u201d and verses of E. Charents.<\/p>\n<p>1967 &#8211; \u201cSharakan.\u201d For mixed choir and symphony orchestra (Episode from the opera&#8221;Ring of Fire&#8221;).<\/p>\n<p>1967 &#8211; \u201cHow do you know.\u201d For and big band. Words by A. Verdyan.<\/p>\n<p>1968 &#8211; \u201cA woman with green eyes.\u201d For mezzo-soprano and piano. Words by G. Emin (Russian text: Yevgeny Yevtushenko).<\/p>\n<p>1968 &#8211; \u201cPop Song\u201d. For voice and big band.<\/p>\n<p>1969 \u2013 1<sup>st<\/sup> Symphony. For brass, percussion, piano, organ and bass guitar. In four parts. Dedication: \u201cRuben Borisovich Terteryan.\u201d<\/p>\n<p>1972 \u2013 2<sup>nd<\/sup> Symphony. For full symphony orchestra, male voice and mixed choir. In three parts. Dedication: \u201cCarmen Josephovna Terteryan\u201d.<\/p>\n<p>1972 &#8211; Symphonic picture \u2116 1. For full symphony orchestra.<\/p>\n<p>1974 &#8211; \u201cFanfare\u201d. For wind and percussion instruments.<\/p>\n<p>1974 &#8211; Music for two pianos, trumpets, percussion and violins. \u0441\u043a\u0440\u0438\u043f\u043e\u043a. \u0412 \u0447\u0435\u0442\u044b\u0440\u0435\u0445 \u0447\u0430\u0441\u0442\u044f\u0445. In 4 parts.<\/p>\n<p>1975 \u2013 3<sup>th<\/sup> Symphony. For full symphony orchestra, duduk and zurna. In three parts. Dedication \u201cHerman R. Terteryan\u201d.<\/p>\n<p>1975 &#8211; Symphonic picture \u21162. For full symphony orchestra.<\/p>\n<p>1975 &#8211; Music for winds and percussion instruments, electronic synthesizer and piano.<\/p>\n<p>1976 \u2013 4<sup>th<\/sup> Symphony. For full symphony orchestra. Dedication \u201cDavid Khanjyan.\u201d<\/p>\n<p>1977 &#8211; \u201cHymn\u201d. Cantata for mixed choir and symphony orchestra. Words by G. Emin.<\/p>\n<p>1978 \u2013 5<sup>th<\/sup> Symphony. For full symphony orchestra, kyamancha and large bells. Dedication \u201cGennady Rozhdestvensky.&#8221;<\/p>\n<p>1979 &#8211; \u201cMonologues of Richard III\u201d. The ballet in two parts. Libretto: H. Kaplanyan and V. Galstyan on Shakespeare\u2019s tragedy \u201cRichard III\u201d.<\/p>\n<p>1981 \u2013 6<sup>th<\/sup> Symphony. For Chamber Orchestra, Chamber Choir and nine phonograms with recording of groups of full symphony orchestra, choirs, harpsichords and large bells. Dedication \u201cIrina G. Tigranova\u201d.<\/p>\n<p>1981 &#8211; \u201c A boy and a girl playing\u201d Romance for voice and chamber orchestra. Words by A. Isahakyan.<\/p>\n<p>1984 &#8211; \u201cEarthquake\u201d. Opera in two parts. Libretto: Hertha Shteher, Avet Terteryan, based on the novel by Heinrich von Kleist\u2019s \u201cEarthquake in Chile\u201d(in German).<\/p>\n<p>1985 &#8211; The choir and a cappella. For a mixed choir \u0430 cappella.<\/p>\n<p>1987 \u2013 7<sup>th<\/sup> Symphony. For full symphony orchestra, dap and tape recording. Dedication \u201cAlexander Lazarev.\u201d<\/p>\n<p>1989 \u2013 8<sup>th<\/sup> Symphony. For full symphony orchestra, two voices (soprano) and phonograms. Dedication \u201cMurad Annamamedov.\u201d<\/p>\n<p>1991 &#8211; String Quartets \u21162. For two violins, viola and cello.<\/p>\n<p>1994 \u2013 9<sup>th<\/sup> Symphony (unfinished). For full symphony orchestra, choir and tape recordings.<\/p>\n<p>\u00a0<\/p>\n<p><strong><em>Music for films:<\/em><\/strong><\/p>\n<p>1973 &#8211; \u201cChronicle of Yerevan Days\u201d. Feature film. Film-maker F. Dovlatyan. Production studio \u201cArmenfilm\u201d n. Hamo Beknazaryan.<\/p>\n<p>1985 &#8211; \u201cThe rider, who was expected\u201d (\u201cMaster thief&#8221;). The co-author V. Rubashevsky. Art telefilm in two runs. Directed by D. Kesayants.<\/p>\n<p><span style=\"color: #333333; font-size: 14.4px;\">Terteryan Music was used in many films, giving them a special significance. To name just a few:<\/span><\/p>\n<p>1988 &#8211; \u201cOur Armored Train\u201d (film-maker M. Ptashuk, Minsk, Belarus)<\/p>\n<p>&#8220;Interpretation of Dreams\u201d (film-maker L. Saakyants, Yerevan, Armenia);<\/p>\n<p>1989 &#8211; \u201cThe creative biography of Ernst Neizvestny and music of A. Terteryan\u201d (film-maker Bondarev, Moscow, USSR);<\/p>\n<p>1990 &#8211; \u201cPublic Enemy\u201d (cond. L. Maryagin, Moscow, USSR);<\/p>\n<p>Qamin unaynutyan (Wind of Oblivion)<\/p>\n<p>1991 &#8211; \u201cVox Clamantis in Deserto\u201d (Dzayn barbaro &#8230; , film-maker Vigen Chaldranyan, Yerevan, Armenia)<\/p>\n<p>\u201cThe Way of Kings\u201d (film-maker E. Shiffers, Leningrad, USSR),<\/p>\n<p>\u201cReturn to the promised land\u201d (film-maker A. Khachatryan, Yerevan, Armenia);<\/p>\n<p>1993 &#8211; \u201cThe old gods\u201d (film-maker A. Kadzhvoryan, Yerevan, Armenia);<\/p>\n<p>1993\u20131995 &#8211; film director and journalist T. Paskaleva about events in Nagorno-Karabakh (NKR)<\/p>\n<p>1994 &#8211; \u201cThe Last Station\u201d (film-maker A. Khachatryan, Yerevan, Armenia);<\/p>\n<p>1996 &#8211; \u201cOur Father\u201d (film-maker A. Kadzhvoryan, Yerevan, Armenia);<\/p>\n<p>1996 &#8211; \u201cBread of Rage\u201d (film-maker A. Kadzhvoryan, Yerevan, Armenia);<\/p>\n<p>2003 \u2013 Vaveragrogh (Documentarist)<\/p>\n<p>2005-Poeti veradardze (Return of the Poet)<\/p>\n<p>2009 &#8211; \u201cBecoming\u201d (cond. G. Frutyunyan, Yerevan, Armenia), \u201cOn the boundary&#8221;, film-maker A. Khachaturyan, Yerevan, Armenia;<\/p>\n<p>2010 &#8211; \u201cTo Ararat\u201d (cond. T. Khzmalyan, Yerevan, Armenia).<\/p>\n\t\t<\/div>\n\t<\/div>\n\t\n\t<div id=\"accordion-3359290475\" class=\"accordion-item\">\n\t\t<a id=\"accordion-3359290475-label\" class=\"accordion-title plain\" href=\"#accordion-item-prizes\/awards\" aria-expanded=\"false\" aria-controls=\"accordion-3359290475-content\">\n\t\t\t<button class=\"toggle\" aria-label=\"Toggle\"><i class=\"icon-angle-down\" aria-hidden=\"true\"><\/i><\/button>\n\t\t\t<span>PRIZES\/AWARDS<\/span>\n\t\t<\/a>\n\t\t<div id=\"accordion-3359290475-content\" class=\"accordion-inner\" aria-labelledby=\"accordion-3359290475-label\">\n\t\t\t\n<p>1962 &#8211; Prize at the All-Union Competition of Young Composers<\/p>\n<p>1972 &#8211; Honored Artist of the ASSR<\/p>\n<p>1977 &#8211; State Prize of the ASSR<\/p>\n<p>1984 &#8211; People&#8217;s Artist of the ASSR<\/p>\n<p>1991 &#8211; People&#8217;s Artist of the USSR<\/p>\n\t\t<\/div>\n\t<\/div>\n\t\n<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\n\t\n<\/div>\n\t<div 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