Violin Concerto (Khachaturian)

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Violin Concerto in D minor
violin concerto by Aram Khachaturian
Key D minor
Opus 46
Year1940 (1940)
Time35–39 minutes [1] [2]
Composedsummer 1940 [1]
Dedication David Oistrakh
Movementsthree
Premiere
DateNovember 16, 1940
LocationMoscow
Performers David Oistrakh

The Violin Concerto in D minor, Op. 46 by Aram Khachaturian is a concerto for violin and orchestra composed in 1940. Dedicated to the violinist David Oistrakh, it was premiered the same year in Moscow with Oistrakh as soloist and Alexander Gauk conducting. The work blends Armenian folk influences with late-Romantic idioms and classical formal design. Widely praised for its lyrical themes and rhythmic energy, the concerto brought Khachaturian immediate acclaim and earned him a Stalin Prize and was adopted internationally. Though its popularity declined in the later twentieth century, the concerto has since regained attention and remains one of Khachaturian's most frequently performed compositions.

Contents

History

Khachaturian composed the concerto within two months in the summer of 1940, dedicating it to David Oistrakh. [3] [4] While living in his country home in Staraya Ruza not far from Moscow, he was filled with artistic excitement after the success of his ballet Happiness (later reworked into Gayane) and while awaiting the birth of his son. [3] [4] Oistrakh was immediately captivated by the work, leaving an "unforgettable impression at the time." He later wrote, "It was clear that a vivid composition had been born, destined to live long on the concert stage." [5] Fellow composer Dmitry Kabalevsky, who was present at the first performance at Khachaturian's cottage, wrote that its first professional audience was "greatly impressed" by the concerto due to its "bold contrasts of unrestrained joy, gentle lyricism, and tense drama". [6]

Oistrakh collaborated closely with Khachaturian, suggesting refinements [7] and ultimately replacing the composer’s original cadenza, which he found too long, with one of his own based on the concerto’s themes. [8] [9] Khachaturian admired and approved Oistrakh’s cadenza—later joking that he would "claim it as [his] own," [8] though he also remarked that his original effort had been "a complete waste of time." [10] Oistrakh's version has become the standard in performance. [11] [12]

It premiered on November 16, 1940 with Oistrakh as the soloist and Alexander Gauk conducting the USSR State Symphony Orchestra at the opening day of the Festival of Soviet Music in Moscow's Tchaikovsky Hall. [13] [14] [15] Attending its premiere were Nikolai Myaskovsky, Sergei Prokofiev, Dmitri Shostakovich. Violinist Leonid Kogan, 16 at the time, was also in attendance and later stated that it "seemed to us to be extremely difficult, almost impossible to perform." [13] [16] Oistrakh and Gauk went on to perform the concerto in Leningrad, Yerevan, Tbilisi, Kiev, and Odessa, receiving admiration. [13]

Structure

The piece follows the traditional three-movement form. The solo violin maintains a dominant, virtuosic role, while the orchestra alternates between accompaniment, embellishment, and thematic competition. [17]

The opening Allegro con fermezza begins with a descending orchestral gesture, followed by the soloist's introduction of an folk-inflected main theme derived in spirit from the Armenian folk song "Kele-Kele" ("Procession"). [20] The theme exhibits dance-like character and rhythmic vitality, featuring a principal motif contained within the range of a third. [21] A lyrical secondary theme, introduced by oboe, provides contrast through its cantabile character. [22] Both themes, rooted in Armenian musical traditions, develop freely with elements of song and dance. [21] The development section features imaginative orchestration that contrasts and combines both themes through harmonious interplay. [23] [24] A substantial cadenza, occupied mainly with the secondary theme, appears mid-movement and bridges to a modified recapitulation. [25] [24] The movement concludes with a commanding coda that reaffirms the opening theme and D minor tonality. [25] [24]

The Andante sostenuto develops the lyrical atmosphere introduced in the first movement's secondary theme, transforming it into a broad, contemplative song characterized by poetic meditation. [26] The movement opens with a recitative introduction by bassoon and lower strings, succeeded by stabbing brass chords, before the soloist presents the main theme—an impassioned "Armenian serenade" that embodies a love song. [27] [24] The theme develops through improvisatory expansion and rich orchestral color, growing from quiet introspection to a passionate climax. [28] [29] A contrasting middle section introduces melancholic improvisation with restless, recitative lyricism over an ostinato orchestral background, recalling the expressive style of Armenian ashugs . [30] This episode conveys yearning and tender melancholy, sounding elegiac and anxiously pensive. [31] [29] The recapitulation brings the love song back with renewed warmth, beginning in the violin's low register before rising to full orchestral expression. [32] The movement closes with a gentle coda that returns to the shadows from which it emerged, with the descending figure from the first movement's main theme appearing at the very end. [24] [32]

The Allegro vivace finale, conceived as an ode to joy, [33] is written in free rondo-sonata form. It begins with a festive orchestral tutti in D major that recalls the rhythmic-intonational contours of the first movement's opening theme, followed by the soloist's main melody. [34] [21] [24] The movement captivates with rapidly changing motifs full of enthusiasm, dance rhythms, and polyrhythmic effects, creating a vivid picture of folk festivity and jubilation. [29] A contrasting secondary theme in F-sharp major complements the principal theme, with both treated in continuous exposition-development. [35] The development section features a transformed return of the lyrical theme from the first movement in new rhythmic guise, driven by rhythmic ostinato that fuses lyrical and dance elements. [36] A central poetic episode synthesizes motifs from all three movements into a composite idea, culminating in an orchestral climax. [37] The recapitulation brings the triumphant return of the principal theme, followed by a contrapuntal combination of the finale's refrain with the first movement's secondary theme in the coda, symbolizing the merging of song and dance principles central to the concerto's dramaturgy. [38] [21] The movement concludes with an expansive D-major coda that affirms the strength of the opening theme, achieving a forceful and decisive conclusion. [24] [38]

Instrumentation

Instrumentation includess the piccolo, 2 flutes, 2 oboes, English horn, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (tambourine, snare drum, bass drum, triangle, cymbals, tam-tam, glockenspiel, xylophone), harp, strings, and solo violin. [39]

Analysis

Levon Hakobian argues that while like his Piano Concerto it is "unmistakably Armenian", Khachaturian's Violin Concerto is "more even-tempered" with its thematic elements "more tightly embedded in the classical European formal scheme." [40] Some critics have described it as "unashamedly Romantic" [41] and "continuing directly the lineage of large-scale Romantic violin concertos" such as that by Tchaikovsky. [24] René Spencer Saller suggested that its "harmonic language screams late Romantic nationalist." [42] René Spencer Saller suggested that its "harmonic language screams late Romantic nationalist; there is nothing remotely modern about it." [43] Soviet critic Georgi Khubov suggested that while Khachaturian's concerto shares some surface similarities with Mendelssohn's concerto—both are virtuosic, song-like, and bright in character—they differ fundamentally in their aesthetic approaches. Khachaturian rejects Mendelssohn's romantic idealism in favor of a realism rooted in national identity and tangible folk imagery, creating music for mass audiences rather than salon culture. [44]

It is full of Armenian folk motifs, [45] [46] inspired partly by Khachaturian's 1939 visit to Armenia. [47] Georgi Tigranov wrote that the concerto manifests Khachaturian's "organic connection" with Armenian folk music. [29] In its incorporation of "much folk color", Kurt Masur likened it to Dvořák's concerto. [16]

Specifically, the main theme of the first movement resembles melodies of the kochari dance and the song "Kele, Kele", [20] [29] while the secondary theme recalls the song "Es arun". [48] The middle section of the second movement shows a stylistic affinity with the tragic songs "Krunk" and "Antuni". [21] In the second movement Khachaturian also uses the ashugh's funeral song composed by himself for the 1938 film Zangezur . [49] The conductor Sergey Smbatyan stated that while it was composed for a tragic movie about the Bolsheviks and nationalists, "the tragedy comes straight from the Armenian soul." [50] The finale's principal theme echoes the folk song "Vard koshiks". [48] Many of these folk songs were transcribed by Komitas. [51]

Other critics have proposed similarities to George Gershwin [52] and metal riffs. [53]

Popularity and legacy

The concerto is one of Khachaturian's most significant and better-known works. [47] [54] It is the second in a triptych of Khachaturian concertos along with those for piano (1936) and cello (1946). [24] While the three are regarded as "something of a grand cycle," [55] only the Violin Concerto has become part of the mainstream repertoire. [11] Although some critics have noted that the concerto has not fully entered the core violin canon and remains on the periphery of the concert repertoire despite its audience appeal and strong recording history, [56] [57] others have described it as one of the major violin concertos of the twentieth century, emphasizing its rapid establishment and lasting artistic stature. [58] [41]

Ivan March found it to be Khachaturian's "finest work" [59] [a] and Levon Hakobian called it Khachaturian's "masterpiece." [61] The violinist Julia Fischer, who recorded it in 2004, described it as "one of the most exciting works to have emerged from the 20th century". [19]

The piece received official recognition, earning Khachaturian his first Stalin (State) Prize (second-class) in 1941. [62] [63] The concerto was "an instant hit" and became "one of the most popular new works played in the Soviet Union." [16] It also "proved to be exportable and remained in the international repertoire." [64] Within a decade, it had "jumped into immediate popularity" internationally. [65] [66] A wartime premiere in London was "enthusiastically received" and had "a considerable vogue at the time." [67] Oistrakh's recording became a top selling classical album in the U.S. in August 1948. [68] Chris Pasles wrote that "audiences and Soviet officials loved it for its accessibility, Armenian-flavored sweet-and-sour melodies, Technicolor orchestration and rhythmic vitality." [69]

After the death of Oistrakh, who championed it in performances at home and abroad, in 1974 and changing tastes, the piece "not so gradually dropped from sight." [69] [67] By the mid-1980s, with a decline in Khachaturian's reputation, it had "disappeared from the concert hall" [60] and regarded as "unjustly neglected" by the turn of the century. [70] By the 2000s, it was taken up by younger violinists, [69] such as Gil Shaham, Julia Fischer, and Sergei Khachatryan. [1] Fischer, who recorded it in 2004, noted that when she proposed playing it, she "usually encountered strong opposition from conductors and concert promoters alike." [19] Shaham, who recorded in 2009, stated that "few conductors were interested in it or really knew it." [1]

Critical reception

Many critics have pointed to its technical difficulty, [b] for which it is "beloved by aficionados of the instrument." [16] Critics have highlighted its creative liberty, [75] noting how it allows for "artist freedom of expression and interpretation". [76] Kurt Masur called it "simple, reflective of ballet music" and as having a "melancholy, Eastern flavor and ornaments [...] the smell of rose perfume." [16] Roger Covell described it as an "attractive piece, not least in its Armenian infections, and has a particularly dizzy finale." [47] Andrew Farach-Colton suggested that it is "one of the flashiest of concertos" with a "boisterous finale". [77] Geoffrey Norris said the piece is characterized by "open-hearted exuberance." [78]

Some critics have singled out the Andante, the slow second movement, as particularly admirable. [c] Tim Ashley praised it as an "immensely attractive work" and added that the "swaying, hypnotic Andante is notably beautiful." [46] Fiona Maddocks wrote that the Andante has an "almost mystical mood." [45] Edward Greenfield went as far to argue that the "concerto has claims to be the composer’s finest work, claims which the yearning tenderness of the slow movement [Andante] support." [80] Ivan March praised the concerto as a "splendid" work [60] with "some marvelous tunes." [81] He singled out the "dreamy and languorous melodies" of the Andante, "full of Eastern promise", [60] and the "unforgettable second subject of the first movement." [81]

Over the years Washington Post critic Joseph McLellan gave the concerto mixed and contradictory reviews, calling it "spectacular", [82] "formidable", [83] but also "rather deplorable". [84] He argued that it is "only marginally worth playing at best" [71] and is "less interesting" than Brahms's concerto. [85] Other Washington Post critics Philip Kennicott and Tim Page are also dismissive. Kennicott called it "oppressively square-jawed music", [86] while Page classified it "tub-thumping Soviet nationalism and pensive Armenian melodies, slightly stirred." [87] Several critics have criticized its length, [87] [88] with David Hurwitz calling it "long for its material." [89] Michael Dervan found it "unduly repetitive." [90]

Robert Layton opined that to "dismiss the [concerto] as meretricious is harsh" and said that the "toothsome zigeuner charm it exudes is in its way quite genuine." He wrote that it is "written to entertain." [91] Hans Keller was highly critical of the work, suggesting that the "continual repetitions" in the concerto are "absolutely unbearable (incomprehensible)". He wrote that "where the work is liked in the West, it’s liked for its sound rather than its ideas, or, at the interpretative end, because it lies well on the solo instrument." Keller also found the concerto to be an example of over-symmetry, characteristic of Soviet socialist realism. [92]

BBC Music Magazine's David Nice described it as "a shambling monster with a sackful of good tunes" and found the Khachaturian-Oistrakh collaboration a "very impressive piece of teamwork" which "deserves to be heard whether or not you can stand the piece itself." [93] Los Angeles Times critic Chris Pasles found it only "fitfully interesting" with Khachaturian's elaborations of folkloric melody "simplistic" and his rhythmic concepts catchy, but "predictable, unchallenging and repetitive." [69]

Selected recordings

Below are some of the most significant and aclaimed recordings of the work.
yearflute soloistconductororchestralabelref
1955 David Oistrakh Khachaturian Philharmonia Orchestra Warner Classics [d]
1958 Leonid Kogan Pierre Monteux Boston Symphony Orchestra RCA [e]
1959 Mischa Elman Vladimir Golschmann Vienna State Opera Orchestra Vanguard Records [97]
1984 Itzhak Perlman Zubin Mehta Israel Philharmonic Orchestra Warner Classics [f]
1990 Lydia Mordkovitch Neeme Järvi Royal Scottish National Orchestra Chandos [102]
2003 Sergey Khachatryan Emmanuel Krivine Sinfonia Varsovia Astrée Naïve [g]
2004 Julia Fischer Yakov Kreizberg Russian National Orchestra Pentatone [103]
2008 Nicolas Koeckert José Serebrier Royal Philharmonic Orchestra Naxos [105]
2014 James Ehnes Mark Wigglesworth Melbourne Symphony Orchestra Onyx Classics [h]

Flute adaptation

French flautist Jean-Pierre Rampal transcribed the concerto for the flute in 1968 [108] with Khachaturian's suggestion and permission. [10] [47] [109] It was published with Rampal's own cadenzas. [10] He often performed it, [110] [111] and stated that the concerto had become "our equivalent of the Tchaikovsky violin concerto" for flautists. [112] In his 1989 autobiography, Rampal described it as "one of the most popular of flute pieces, recorded and played by scores of flute soloists." [10] Irish flautist James Galway has offered his own transcription. [47] Joseph McLellan described the concerto as "literally breathtaking for a flutist." [83] Nancy Toff found Rampal's transcription, among others, to be second-rate because the flute cannot achieve the violin's bow power, double-stopping ability, and string tone qualities that the piece requires. [113]

Notable recordings by flautists include:

yearflute soloistconductororchestralabel
1970 Jean-Pierre Rampal Jean Martinon Orchestre National de France Erato [81] [114]
1984 James Galway Myung-whun Chung Royal Philharmonic Orchestra RCA Red Seal [81]
1992 Patrick Gallois Ion Marin Philharmonia Orchestra Deutsche Grammophon [115]
2002 Emmanuel Pahud David Zinman Tonhalle-Orchester Zürich EMI Classics [116]
2004 Wissam Boustany Volodymyr Sirenko National Symphony Orchestra of Ukraine Nimbus Alliance [117]
2010 Sharon Bezaly Enrique Diemecke São Paulo State Symphony Orchestra BIS [118]

References

Notes
  1. ↑ Ivan March earlier called it "his best work alongside the original score for Gayaneh." [60]
  2. ↑ "technically ferocious", [71] "fiendishly difficult", [72] "demanding", [73] "virtuosic" [74]
  3. ↑ Daniel Jaffé: "Perhaps the Concerto’s heart is to be found in the twilight world of the central Andante sostenuto. [9]
    Tully Potter: "It is a colorful score, exciting if not particularly profound in its outer movements. What makes a listener return to it is the lovely central slow movement, which gives a great violinist the chance to brood a little and show off his or her legato." [11]
    A reviewer in The Evening Independent argued that "only in the slow movement Andante sostenuto did the composer and the soloist have a chance to do what they both do best: sing. Indeed, the acrobatics of the first movement seemed to force the soloist into an occasional stridency of tone which may have been merely a reflection of the paltry nature of the music." [79]
  4. ↑ Marketed as "by far the most acclaimed version" [94]
  5. ↑ acclaimed as an "outstanding version" [16] and "the finest" performance [95]
  6. ↑ acclaimed modern recording, [98] won a nomination for the Grammy Award for Best Classical Performance – Instrumental Soloist or Soloists (with orchestra) in 1985. [99]
  7. ↑ acclaimed modern recording & performer [98]
  8. ↑ widely reviewed [106] [45] [78] [107] [90]
Citations
  1. 1 2 3 4 "Violin Concerto in D minor: Aram KHACHATURIAN". laphil.com. Los Angeles Philharmonic. Archived from the original on 8 July 2023.
  2. ↑ Woolf, Jonathan. "KHACHATURIAN - Concertos. Three Dances". MusicWeb International. Archived from the original on 2 November 2025. Violin Concerto in D minor (1940) [38:48]
  3. 1 2 Yuzefovich 1985, p. 112.
  4. 1 2 Khubov 1962, pp. 150–151.
  5. ↑ Yuzefovich 1985, p. 113.
  6. ↑ Yuzefovich 1985, p. 114.
  7. ↑ Khubov 1962, p. 151.
  8. 1 2 Yuzefovich 1985, pp. 118–119.
  9. 1 2 Jaffé, Daniel. "Violin Concerto in D minor (Konzert für Violine und Orchester d-moll) (1940)". Boosey & Hawkes. Archived from the original on 16 October 2025.
  10. 1 2 3 4 Rampal, Jean-Pierre; Wise, Deborah (1989). Music, My Love. New York: Random House. pp.  115-116. ISBN   0-394-56578-9.
  11. 1 2 3 Potter, Tully (2008) [2007]. "Aram Khachaturian / Violin Concerto (1940)". In Rye, Matthew (ed.). 1001 Classical Recordings You Must Hear Before You Die. Universe Publishing. p.  774. ISBN   978-0-7893-1583-0.
  12. ↑ "Khachaturian, Aram - Concerto for Violin and Piano - edited by David Oistrakh". International Music Co. Archived from the original on 24 October 2025.
  13. 1 2 3 Yuzefovich 1985, p. 115.
  14. ↑ Khubov 1962, pp. 151–152.
  15. ↑ Geodakyan, Gevorg (1981). "Хачатурян А. И. [Khachaturian A. I.]". Музыкальная энциклопедия[Musical Encyclopedia] (in Russian). Moscow: Sovetskaya Entsiklopediya and Sovetsky Kompozitor. Archived from the original on 23 October 2025.
  16. 1 2 3 4 5 6 Mermelstein, David (September 23, 2001). "MUSIC; A Big Hit In Need Of Revival". The New York Times .
  17. ↑ Khubov 1962, p. 153.
  18. ↑ "KHACHATURIAN, A.I.: Violin Concerto (Oistrakh, Philharmonia, Khachaturian) (1954)". Naxos Records. Archived from the original on 24 October 2025.
  19. 1 2 3 4 "Russian Violin Concertos" (PDF). Pentatone Classics. p. 4. Archived from the original (PDF) on 27 July 2023. Julia Fischer 7/2004 English translation: Fiona J. Stroker-Gale
  20. 1 2 Khubov 1962, pp. 155–156.
  21. 1 2 3 4 5 Geodakyan 1970, pp. 389–393.
  22. ↑ Khubov 1962, pp. 156–158.
  23. ↑ Khubov 1962, p. 158.
  24. 1 2 3 4 5 6 7 8 9 Whitehouse, Richard (2003). "Aram Khachaturian (1903-1978) Concerto-Rhapsody in B flat minor • Violin Concerto in D minor". Naxos Records. Archived from the original on 23 September 2025.
  25. 1 2 Khubov 1962, pp. 158–159.
  26. ↑ Khubov 1962, pp. 159–160.
  27. ↑ Khubov 1962, p. 160.
  28. ↑ Khubov 1962, p. 161.
  29. 1 2 3 4 5 Tigranov 1987, pp. 39–41.
  30. ↑ Khubov 1962, pp. 161–162.
  31. ↑ Khubov 1962, p. 162.
  32. 1 2 Khubov 1962, pp. 162–163.
  33. ↑ Khubov 1962, pp. 163–164.
  34. ↑ Khubov 1962, pp. 164–165.
  35. ↑ Khubov 1962, pp. 165–166.
  36. ↑ Khubov 1962, pp. 166–167.
  37. ↑ Khubov 1962, p. 167.
  38. 1 2 Khubov 1962, p. 168.
  39. ↑ Markow, Robert (2022). "Program Notes" (PDF). Tokyo Philharmonic Orchestra. Archived from the original (PDF) on August 10, 2022.
  40. ↑ Hakobian 2016, pp. 114–115.
  41. 1 2 Smaczny, Jan (December 24, 2019). "Dvořák • Khachaturian: Violin Concertos". BBC Music Magazine . Archived from the original on 28 March 2023. ...Khachaturian's Violin Concerto – direct in expression and unashamedly Romantic – rapidly became established in the 20th-century repertoire.
  42. ↑ Spencer Saller, René. "Romantic Disclosures" (PDF). St. Louis Symphony Orchestra. p. 24. Archived from the original (PDF) on 22 July 2023.
  43. ↑ Spencer Saller, René. "Romantic Disclosures" (PDF). St. Louis Symphony Orchestra. p. 24. Archived from the original (PDF) on 22 July 2023.
  44. ↑ Khubov 1962, pp. 152–153.
  45. 1 2 3 Maddocks, Fiona (15 June 2014). "Khachaturian, Shostakovich review – pliancy and power from James Ehnes". The Guardian . Archived from the original on 18 July 2023.
  46. 1 2 Ashley, Tim (12 June 2009). "Khachaturian: Violin Concerto; Concerto-Rhapsody for Violin and Orchestra". The Guardian . Archived from the original on 4 April 2023.
  47. 1 2 3 4 5 Covell, Roger (January 27, 1986). "Galway carries it off with a plausible air". The Sydney Morning Herald . p. 6. Archived from the original on 26 July 2023.
  48. 1 2 Karagulyan, Era Garnikovna (1961). Симфоническое творчество Арама Хачатуряна [The Symphonic Works of Aram Khachaturian] (in Russian). Yerevan: Armgosizdat (Armenian State Publishing). pp. 141–145, 162. cited in Geodakyan 1970, pp. 389–393
  49. ↑ Yuzefovich 1985, p. 86.
  50. ↑ Jaggi, Maya (May 1, 2015). "Notes from history: musicians mark Armenia's darkest moment". Financial Times . Archived from the original on 21 July 2023.
  51. ↑ Daniel Yerazhisht [in Armenian] (2003). "Մեծ կոմպոզիտորը և մեծ հայը [The Great Composer and the Great Armenian]" (PDF). Armenian Art (in Armenian). Yerevan: Momik Cultural Union: 11.
  52. ↑ Stowell, Robin, ed. (1992). "The concerto". The Cambridge Companion to the Violin. Cambridge University Press. p.  162. ISBN   9781139002097. features Armenian folk material supported by stirring rhythms reminiscent of Gershwin
  53. ↑ Amacher, Julie (February 26, 2020). "New Classical Tracks: Violinist Rachel Barton Pine Records 'Headbanger' Concerto". CapRadio . KXJZ. Archived from the original on 30 January 2023.
  54. ↑ "Khachaturian, a Leading Soviet Composer, Dies at 74". The New York Times . May 3, 1978.
  55. ↑ Yuzefovich 1985, p. 94.
  56. ↑ Keane, Greg (8 July 2014). "Khachaturian: Violin Concerto (Ehnes)". Limelight . Archived from the original on 28 September 2025.
  57. 1 2 Denton, Dave (1 March 2010). "Khachaturian: Violin Concerto in D minor, Concerto–Rhapsody in B flat minor". The Strad . Archived from the original on 22 July 2023.
  58. ↑ Dunnett, Roderic (1 February 2007). "Khachaturian: Violin Concerto. Shostakovich: Violin Concerto no.1". The Strad . Archived from the original on 5 November 2025.
  59. ↑ March, Ivan (2011). "Khachaturian Gayaneh; Spartacus". Gramophone . Archived from the original on 26 July 2023.
  60. 1 2 3 4 March, Ivan (1985). "Khachaturian/Tchaikovsky Orchestral Works". Gramophone . Archived from the original on 26 July 2023.
  61. ↑ Hakobian 2016, p. 140.
  62. ↑ Frolova-Walker, Marina (2016). Stalin's Music Prize: Soviet Culture and Politics. Yale University Press. pp. 150–151. ISBN   978-0300208849.
  63. ↑ Kushner 2018, p. 387.
  64. ↑ Hakobian 2016, p. 9.
  65. ↑ Steinfirst, Donald (April 10, 1949). "Records: It's Fiddle-de-de Time". Pittsburgh Post-Gazette . p. 6. Archived from the original on 22 July 2023.
  66. ↑ Schonberg, Harold C. (May 3, 1978). "Exemplar of Socialist Realism". The New York Times .
  67. 1 2 Greenfield, Edward; Layton, Robert; March, Ivan (1977). Penguin Stereo Record Guide (2nd ed.). Penguin Books. p.  528.
  68. ↑ "Best-Selling Record Albums by Classical Artists". Billboard : 24. August 7, 1948. (archived)
  69. 1 2 3 4 Pasles, Chris (January 23, 2009). "Review: Gil Shaham breathes fitful life into Khachaturian". Los Angeles Times . Archived from the original on 22 July 2023.
  70. ↑ Hencken, John (November 20, 2000). "Conductor Loebel a Welcome Guest at Copland Program". Los Angeles Times . Archived from the original on 22 July 2023.
  71. 1 2 McLellan, Joseph (June 20, 1982). "What's In a Name?". The Washington Post . Archived from the original on 21 July 2023. ...it may be time for him to stop playing the technically ferocious Khachaturian Concerto (which was only marginally worth playing at best)...
  72. ↑ Robinson, Judy (October 13, 1988). "Teenager tackles Khachaturian". The Sydney Morning Herald . p. 12. Archived from the original on 21 July 2023.
  73. ↑ "The Edmonton Symphony Orchestra & 5 Great Guest Artists". Edmonton Journal . September 15, 1985. p. B9. Archived from the original on 21 July 2023.
  74. ↑ Croan, Robert (October 27, 1978). "Violinist Fodor Stars at Symphony". Pittsburgh Post-Gazette . p. 29. Archived from the original on 23 July 2023.
  75. ↑ Pritsker, Maya (October 5, 2003). "MUSIC; What Could Khachaturian Do Besides An Encore?". The New York Times . perpetual feast and improvisational freedom
  76. 1 2 Schreiber, Charles J. (December 26, 1959). "New Sounds". The Montreal Gazette . p. 33. Archived from the original on 22 July 2023.
  77. ↑ Farach-Colton, Andrew (2020). "DVORÁK; KHACHATURIAN Violin Concertos (Rachel Barton Pine)". Gramophone . Archived from the original on 24 July 2023.
  78. 1 2 Norris, Geoffrey (July 2014). "KHACHATURIAN Violin Concerto SHOSTAKOVICH String Quartets 7 & 8". Gramophone . Archived from the original on 5 November 2025.
  79. ↑ Carroll, Charles Michael (November 12, 1979). "Symphony Not Up To Opener". The Evening Independent . Archived from the original on 21 July 2023.
  80. 1 2 Greenfield, Edward (2005). "Glazunov; Khachaturian; Prokofiev Violin Concertos [Julia Fischer]". Gramophone . Archived from the original on 1 November 2025.
  81. 1 2 3 4 March, Ivan (1986). "James Galway plays Khachaturian". Gramophone . Archived from the original on 26 July 2023.
  82. ↑ McLellan, Joseph (July 18, 1993). "The Paradoxical Perfectionism of Sergiu Celibidache". The Washington Post . Archived from the original on 21 July 2023.
  83. 1 2 McLellan, Joseph (August 6, 1989). "Rampal and the Feast of Life". The Washington Post . Archived from the original on 21 July 2023.
  84. ↑ McLellan, Joseph (August 16, 1992). "Classical Recordings". The Washington Post . Archived from the original on 21 July 2023.
  85. ↑ McLellan, Joseph (September 27, 1992). "Classical Recordings". The Washington Post . Archived from the original on 21 July 2023. Two performances that I have specially treasured since reviewing them in their original appearance on LP are the Brahms Violin Concerto with Henryk Szeryng as soloist, now paired with the less interesting Khachaturian Violin Concerto (434-318-2)...
  86. ↑ Kennicott, Philip (October 13, 2000). "From the Iceland Symphony, a Bit of a Chill". The Washington Post . Archived from the original on 21 July 2023.
  87. 1 2 Page, Tim (May 16, 2003). "While Perlman Stumbles, Soloist Soars". The Washington Post . Archived from the original on 21 July 2023.
  88. ↑ Finch, Hilary (October 15, 2003). "Khachaturian Centenary". The Times . Archived from the original on 2 November 2021. fiendishly long
  89. 1 2 Hurwitz, David (17 March 2005). "Julia Fischer: Violin Debut". classicstoday.com. Archived from the original on 1 November 2025.
  90. 1 2 Dervan, Michael (May 9, 2014). "Khachaturian: Violin Concerto; Shostakovich: String Quartets 7 & 8". The Irish Times . Archived from the original on 5 November 2025.
  91. 1 2 Layton, Robert (1991). "Khachaturian & Kabalevsky Violin Concertos [Lydia Mordkovitch]". Gramophone . Archived from the original on 1 November 2025.
  92. ↑ Keller, Hans (1994). Essays on Music. Cambridge University Press. pp.  94, 227-228. ISBN   0-521-46216-9.
  93. ↑ Nice, David (1996). "KHACHATURIAN Violin Concerto in D minor; Masquerade – Waltz, Nocturne & Mazurka; Gayaneh – excerpts David Oistrakh (violin); Philharmonia Orchestra/Aram Khachaturian". In Levi, Erik; MacDonald, Calum (eds.). BBC Music Magazine top 1000 CDs guide. London: BBC Books. p.  285.
  94. ↑ "A. Khachaturian: Violin Concerto - Prokofiev, K. Khachaturian & Szymanowski: Violin Sonatas". warnerclassics.com. Archived from the original on 31 October 2025. By far the most acclaimed version of this work.
  95. ↑ Greenbank, Stephen. "Prokofiev Khachaturian Violin Concertos Forgotten Records". MusicWeb International. Archived from the original on 31 October 2025. A wonderful performance from 1958 with Monteux and the Boston Symphony Orchestra is the finest, in my view.
  96. ↑ Cook, J. David (1 November 1959). "New Richmond, Telefunken Disks Feature Rossini, Ravel; De Falla". Ocala Star-Banner : 21.
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  98. 1 2 Cowan, Rob (2004). "Khachaturian; Sibelius Violin Concertos". Gramophone . Archived from the original on 31 October 2025. Aside from the huge presence of David Oistrakh, Itzhak Perlman is Khachatryan's strongest (and sweetest) modern rival in the Khachaturian.
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  100. ↑ "Khachaturian: Violin & cello concertos/Järvi". classicstoday.com . 11 June 2002. Archived from the original on 1 November 2025.
  101. ↑ Barnett, Rob. "KABALEVSKY/KHACHATURIAN Violin, Cello Concertos". MusicWeb International. Archived from the original on 1 November 2025.
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  104. ↑ Ashley, Tim (12 June 2009). "Khachaturian: Violin Concerto; Concerto-Rhapsody for Violin and Orchestra". The Guardian . Archived from the original on 21 March 2014.
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  106. ↑ Schweitzer, Vivien (May 15, 2014). "SHOSTAKOVICH, KHACHATURIAN: Violin Concertos and Quartets". The New York Times . Archived from the original on 5 November 2025.
  107. ↑ Haylock, Julian (10 July 2014). "Khachaturian: Violin Concerto in D minor. Shostakovich: String Quartets no.7 in F sharp minor op.108 & no.8 in C minor op.110". The Strad . Archived from the original on 5 November 2025.
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  109. ↑ Affelder, Paul (1969). "Khachaturian, A :: Concerto". International Music Company. Archived from the original on 24 October 2025.
  110. ↑ van Vugt, Harry (January 20, 1978). "Rampal socks a round-tripper". The Windsor Star . p. 18. Archived from the original on 21 July 2023.
  111. ↑ Rivers, Travis (February 27, 1987). "Flute master performs with orchestra Tuesday". Spokane Chronicle . p. 5. Archived from the original on 21 July 2023.
  112. ↑ Tuck, Lon (January 7, 1982). "Best Flute Forward". Washington Post . Archived from the original on 21 July 2023.
  113. ↑ Toff, Nancy (2012) [1996]. The Flute Book: A Complete Guide for Students and Performers (3rd ed.). Oxford University Press. p.  162.
  114. ↑ "Flute concerto : after violin concerto / Aram Khachaturian ; arr. Jean-Pierre Rampal ; Jean-Pierre Rampal, fl ; Orchestre national de l'ORTF ; Jean Martinon, dir" (in French). Médiathèque Nadia-Boulanger (Conservatoire national supérieur de musique et de danse de Lyon). Archived from the original on 1 November 2025.
  115. ↑ "Rodrigo/Khachaturian Flute Concertos". Gramophone . 1992. Archived from the original on 1 November 2025.
  116. ↑ Greenfield, Edward (2003). "Ibert; Khachaturian Flute Concertos". Gramophone . Archived from the original on 1 November 2025.
  117. ↑ "Aram KHACHATURIAN (1903-1978) Flute Concerto [36:49]". musicweb-international.com. Archived from the original on 1 November 2025.
  118. ↑ "Khachaturian & Rautavaara: Flute Concertos". prestomusic.com. Archived from the original on 1 November 2025. Release date: 1st Jul 2016 / Recorded: February 2010

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