“Piano Beyond Time”

I rarely write reviews of cultural events. But now I felt an irresistible urge to share my emotions. And not only because I will be speaking about a good friend, a colleague, and a wonderful musician. First and foremost, it was magic — an inexplicable force of artistic energy. My soul rejoiced. And that is truly priceless. The concert of pianist Tigran Petrosyan, which took place on March 20 at the Small Hall of the A. Babajanyan Philharmonia, became a genuine artistic event for me — and, I believe, for the cultural life of Yerevan as well. The program of the evening was built with contrast, thoughtfulness, and subtlety: the entire first part gently tuned the listener into the perception of music, helping to gradually detach from everyday life and enter a state of listening. After an ordinary working day, this felt especially valuable — as if you were carefully transported into another space. Tigran performed jazz compositions and transcriptions of J.S. Bach, interpreting them in his own way — freely and boldly, without looking back at conventional standards. Familiar music suddenly revealed itself in a new light, in the absolute harmony of every note: you begin to listen to the details, to the breathing of phrases, to intonations that might have previously slipped away. The first part concluded with the 3rd and 4th movements of Charles Ives’ Second Sonata — a complex, multi-layered, almost philosophical musical narrative that demands from the performer not only technical mastery but also deep intellectual engagement. It is both a challenge for the listener and an immersion. At some point, I caught myself no longer analyzing, but simply existing within the sound. The second part of the concert began with two works by Arno Babajanyan — “Impromptu” and “Elegy.” And it was exactly what was needed: as if, after an intense inner journey, you are given the chance to exhale and regain balance. There is a special sincerity in this music that resonates deeply. These pieces delicately retuned the audience and became a kind of emotional bridge toward the further development of the program. After this came Heitor Villa-Lobos’s “Rudepoema” — the absolute culmination of the evening. From the very first sounds, one could feel Tigran’s inner fullness and extraordinary concentration. It was not merely a performance — it was a statement, deeply personal, thoughtful, and lived through. What impressed me most was his sense of sound. He seems to “sculpt” it — creating a space filled with depth, air, and color. From barely audible, almost intangible shades to powerful, nearly orchestral outbursts — everything sounded organic and natural. His playing is distinguished by a rare balance between technical perfection and living emotionality. “Rudepoema” is a work of colossal complexity, but here virtuosity was not perceived as an end in itself. On the contrary, it dissolved entirely into the image, into the idea. At some point, there arose a feeling of an element — almost primordial, wild energy that captivates and does not let go, yet remains internally structured and logical. The audience’s reaction was unanimous — a standing ovation. And it felt completely natural: it was not only a desire to thank, but to share this experience with one another. I would also like to mention the magnificent hall. The acoustics allowed one to hear the finest nuances, as if the sound did not disappear but continued to live in the air. There was a sense of total immersion. And, of course, the Steinway & Sons piano — noble, deep, incredibly responsive — became a true partner to the performer. The minimalistic lighting design, with the hall in complete darkness and a single beam directed at the performer, created the necessary atmosphere and enhanced the perception of the music. I sincerely congratulate Tigran and wish him inspiration, new discoveries, and continued artistic growth. And may such encounters with music happen as often as possible! Bravo, dear Tigran! Author: Lusine Harutyunyan (Soloist of the Yerevan Chamber Music House).