Quotes
“The best thing that has happened since Messiaen.” (Gilles Tremblay, composer; former professor, Conservatoire de Musique de Montréal, from notes taken during Canada Council for the Arts deliberations for commissioned works in 2001.)
“He thinks in quarter-tones!” (Avet Terterian, composer; former professor, Komitas State Conservatory)
“Let me tell you that I believe Julian Miran to be a great composer (even though he is isolated and not well known), and that his work on heterophony, modal microtonality, rhythm, as well as composer-computer interaction is quite unique, and I even think the work of a genius. In fact, the language Miran has invented makes it possible to obtain a heart-wrenching expressiveness that bears no measure of comparison to most contemporary styles that are sometimes too abstract or intellectual.” (Jean-François Rivest, conductor, Orchestre Symphonique de Laval; professor, Université de Montréal)
“It is interesting that Miran has captured in [10th century mystic poet] Narekatsi’s monumental genius the atmosphere of spiritual revolt and reproduced it melodically by making great use of dissonant sonorities. The works composed since 1990 fuse the most modern means of expression with the musical elements of eastern peoples.” (Cecilia Broutian, musicologist, in her book The Sprouts of Armenian Musical Culture Worldwide, pp. 121-122, Yerevan, 1996)
“In Nomine, for large orchestra and tape, highly impressed me. After listening to the beginning of the first movement I felt exaltation due to the exceptional way in which Julian was able to develop so amply and so beautifully such a simple idea. Later he led me to listen to the third movement. When it was done, I candidly admitted to him that I would be extremely proud to have been the composer of the piece, and I still think so! Julian Miran commands great craft and very subtle working techniques. The emotional impact brought about by his music easily measures up to his competencies and his craft. Julian Miran obviously deserves this commission by Orchestre de l’Université de Montréal (as he would by The New York Philharmonic, if it were for me). A composer of his stature and scope should normally be able to live on his work! For me, Julian Miran is much more than a student completing his doctorate, he is a colleague who can also teach me a lot.” (Michel Longtin, composer; former professor, Université de Montréal)
“I have known Julian Miran for [more than] 25 years, from our student days at the Komitas State Conservatory in Yerevan. Even then he showed great talent as a composer and successfully defended his Master’s Thesis, the oratorio Narek, on a mystico-religious theme, considered a taboo subject at the time [late 70’s] in the former Soviet Union. … his main doctoral work, In Nomine, [is] a piece of rare expressive beauty in spite of its arcane theoretical background and cerebral method of composition. Let me add that alongside his uncompromisingly modern approach, Miran is at the same time stylistically quite at ease with classical orchestration. So much so, that he has edited and re-orchestrated Anoush, the most popular Armenian opera, for the upcoming production this year [2001] of the Michigan Opera Theatre.” (Yervand Yerkanian, composer; former director, Ganatchian College of the Komitas State Conservatory)
“I am both impressed and delighted. There are many traits that I recognize from the earlier pieces I have heard, but very developed. Heterophony, modality, micro-intervals, but what struck me most was the clear, but not predictable, overall form of the piece [Saba Sunda]. Good! Very good!” (Hans Lunell, composer; former director, Institute for Electroacoustic Music, Stockholm)
“Dr. Miran’s recent works include a number of pieces that explore various possibilities of microtonal systems. They include orchestral compositions and most recently a new one for Gamelan, entitled Saba Sunda. These works exhibit evocative sound worlds and explore the varieties of possibilities afforded with this expanded harmonic language.” (Jon Christopher Nelson, composer; professor, University of North Texas)
“I am very familiar with Miran’s outstanding talent. As a composer he has sent me several of his scores and I simply love his music. His compositions are creative, exciting and everything one should ask for in a rapidly changing classical music environment. As a conductor he attended the Conducting Institute at the Northern Music Festival ... As the Director of this Institute I have had many occasions to observe him not only in rehearsals but also at various concerts and in my master classes. His exemplary musicianship and deep knowledge of every score he conducted from the standard repertoire was apparent.” (Nurhan Arman, conductor, Sinfonia Toronto; former professor, Royal Conservatory of Music)
“He thinks in quarter-tones!” (Avet Terterian, composer; former professor, Komitas State Conservatory)
“Let me tell you that I believe Julian Miran to be a great composer (even though he is isolated and not well known), and that his work on heterophony, modal microtonality, rhythm, as well as composer-computer interaction is quite unique, and I even think the work of a genius. In fact, the language Miran has invented makes it possible to obtain a heart-wrenching expressiveness that bears no measure of comparison to most contemporary styles that are sometimes too abstract or intellectual.” (Jean-François Rivest, conductor, Orchestre Symphonique de Laval; professor, Université de Montréal)
“It is interesting that Miran has captured in [10th century mystic poet] Narekatsi’s monumental genius the atmosphere of spiritual revolt and reproduced it melodically by making great use of dissonant sonorities. The works composed since 1990 fuse the most modern means of expression with the musical elements of eastern peoples.” (Cecilia Broutian, musicologist, in her book The Sprouts of Armenian Musical Culture Worldwide, pp. 121-122, Yerevan, 1996)
“In Nomine, for large orchestra and tape, highly impressed me. After listening to the beginning of the first movement I felt exaltation due to the exceptional way in which Julian was able to develop so amply and so beautifully such a simple idea. Later he led me to listen to the third movement. When it was done, I candidly admitted to him that I would be extremely proud to have been the composer of the piece, and I still think so! Julian Miran commands great craft and very subtle working techniques. The emotional impact brought about by his music easily measures up to his competencies and his craft. Julian Miran obviously deserves this commission by Orchestre de l’Université de Montréal (as he would by The New York Philharmonic, if it were for me). A composer of his stature and scope should normally be able to live on his work! For me, Julian Miran is much more than a student completing his doctorate, he is a colleague who can also teach me a lot.” (Michel Longtin, composer; former professor, Université de Montréal)
“I have known Julian Miran for [more than] 25 years, from our student days at the Komitas State Conservatory in Yerevan. Even then he showed great talent as a composer and successfully defended his Master’s Thesis, the oratorio Narek, on a mystico-religious theme, considered a taboo subject at the time [late 70’s] in the former Soviet Union. … his main doctoral work, In Nomine, [is] a piece of rare expressive beauty in spite of its arcane theoretical background and cerebral method of composition. Let me add that alongside his uncompromisingly modern approach, Miran is at the same time stylistically quite at ease with classical orchestration. So much so, that he has edited and re-orchestrated Anoush, the most popular Armenian opera, for the upcoming production this year [2001] of the Michigan Opera Theatre.” (Yervand Yerkanian, composer; former director, Ganatchian College of the Komitas State Conservatory)
“I am both impressed and delighted. There are many traits that I recognize from the earlier pieces I have heard, but very developed. Heterophony, modality, micro-intervals, but what struck me most was the clear, but not predictable, overall form of the piece [Saba Sunda]. Good! Very good!” (Hans Lunell, composer; former director, Institute for Electroacoustic Music, Stockholm)
“Dr. Miran’s recent works include a number of pieces that explore various possibilities of microtonal systems. They include orchestral compositions and most recently a new one for Gamelan, entitled Saba Sunda. These works exhibit evocative sound worlds and explore the varieties of possibilities afforded with this expanded harmonic language.” (Jon Christopher Nelson, composer; professor, University of North Texas)
“I am very familiar with Miran’s outstanding talent. As a composer he has sent me several of his scores and I simply love his music. His compositions are creative, exciting and everything one should ask for in a rapidly changing classical music environment. As a conductor he attended the Conducting Institute at the Northern Music Festival ... As the Director of this Institute I have had many occasions to observe him not only in rehearsals but also at various concerts and in my master classes. His exemplary musicianship and deep knowledge of every score he conducted from the standard repertoire was apparent.” (Nurhan Arman, conductor, Sinfonia Toronto; former professor, Royal Conservatory of Music)