Album Review: Armeens Oratorium by Khachatur Avedissian, Fred Abbingh, Good Company & Laura Hassler
Released in 1998 under the Dutch label De Muselaer, Armeens Oratorium is a genre-blending masterpiece that marries Folk, World, Country, and Classical music into an emotional tapestry. This collaborative effort—led by composer Khachatur Avedissian and arranger Fred Abbingh with conductor Laura Hassler—feels like stepping into a living mosaic of sound, where every note carries cultural weight and human connection. The album’s rich instrumentation and layered vocal arrangements make it both timeless and deeply rooted in Armenian tradition.
One standout track is "Wachten/Waiting". It opens with a haunting duduk melody played by Gagik Hovanesian, setting a somber yet hopeful tone. The interplay between soprano vocals (Annemiek Nauta and others) and tenor voices creates this ethereal push-and-pull effect, as if longing and patience are having a quiet conversation. What sticks with me isn’t just the beauty of the harmonies but how raw they feel—like unfiltered emotion spilling out. You don’t need to understand the lyrics to feel their ache; it’s universal.
Another unforgettable piece is "Liefdes Lied/Love Song". Here, the mandolin work by Marten Scheffer adds a delicate sparkle, while the tambourine rhythms (courtesy of Margo Hauwert) give it a grounded pulse. The alto and bass vocals weave together so seamlessly that you almost forget there are multiple singers—it feels like one collective voice singing directly to your soul. There’s something about the way the cello (Remko Wildschut) underscores the melody that makes it bittersweet, like love tinged with loss. I found myself replaying this track over and over, not because it was catchy per se, but because it felt too intimate to let go of after only one listen.
The production quality deserves mention too. Edited and mastered by Tom Peeters and Wilfred Fennis, the album has a warm, organic sound that lets each instrument breathe without overshadowing the ensemble. Henrik Holm’s recording work ensures clarity even in the busiest sections, which is no small feat given the sheer number of contributors involved. From Roelof Rosendal’s driving dhol beats to Sebahattin Öztütüncü’s oud textures, every element serves the larger narrative of resilience and identity.
What struck me most about Armeens Oratorium is its ability to transport listeners—not just geographically to Armenia, but emotionally to places we often avoid visiting within ourselves. Tracks like "Klaagzang/Lament" hit hard, reminding us of shared grief across cultures, while "Erzurumi Shoror" lifts spirits with celebratory energy. It’s rare for an album to balance sorrow and joy so well, but this one pulls it off effortlessly.
In reflecting on Armeens Oratorium, I realized it’s less of an album and more of a journey—one that doesn’t shy away from complexity or contradiction. And honestly? That tambura riff in "Belboeli Hid" still loops in my head days later. Who knew such a niche instrument could steal the show?
Final thought: If albums were meals, this would be comfort food with a kick—familiar enough to soothe, bold enough to surprise.
