Reviews
“… the colorful orchestration [of Anoush], as revised here by Julian Miran, is rich in woodwinds and strings. (John Koopman, Opera News)
“Julian Miran utilizes all the modern tools available to musicians of our time.” (Daniel Dubrûle, Courrier Laval weekly)
“Narek made the listener want to hear more of this composer’s marvelous creativity.” (Mirror-Spectator weekly, Watertown)
“… Narek impressed the members of the jury with its rich musical content, imaginative setting, technical skill, and selection of text.” (Sahan Arzruni, pianist, musicologist; chairman, A. Khachaturian Music Competition, New York)
“… Faithful to Grigor Narekatsi’s work, Miran, too, in his piece paid particular attention to the expressive possibilities of consonants, thus creating an atmosphere that touches the soul.” (Voice of the Motherland weekly, Yerevan)
“This difficult work, while being contemporary in its sound, has a special appeal … the singers’ melodies truly express the meaning of every word in the text. … For the first time in classical music Miran uses the pourvarr and kshots [ceremonial instruments of the Armenian liturgy], which underline the passages devoted to praising God … Therefore, it was doubly rewarding to see the audience’s enthusiasm towards a piece which definitely has a lot to say, and which embodies in itself the national and the international, the old and the new. It would be our sincere wish, that the possibility be created in the future to present this remarkable work in its entirety. In fact, the performance, lasting close to 15 minutes, went on without a hitch. In my opinion, even an experienced conductor would think twice before embarking upon such a complex piece.” (Aida Karibian, Abaka weekly, Montréal)
“… The transcriptions for orchestra of 4 Komitas dances [originally] for piano, as well as some songs … were a revelation for us. … I should first of all sincerely congratulate the young composer Julian Miran not only for his harmonization, instrumentation and conducting, but also for the novelty and high musical quality he introduced into this artistic event. … His harmonization, freed from all foreign influence, was even better thanks to his orchestrations, delicate and massive by turns.” (Harry Dikranian, Abaka weekly, Montréal)
“Vivaldi’s Sinfonia Rustica, which was conducted by Julian Miran of Montreal, had the bounce and drive needed for Vivaldi without losing control. The poignant second movement provided excellent contrast to the fast outer movements.” (Lynda Kennedy, The North Bay Nugget)
“Julian Miran utilizes all the modern tools available to musicians of our time.” (Daniel Dubrûle, Courrier Laval weekly)
“Narek made the listener want to hear more of this composer’s marvelous creativity.” (Mirror-Spectator weekly, Watertown)
“… Narek impressed the members of the jury with its rich musical content, imaginative setting, technical skill, and selection of text.” (Sahan Arzruni, pianist, musicologist; chairman, A. Khachaturian Music Competition, New York)
“… Faithful to Grigor Narekatsi’s work, Miran, too, in his piece paid particular attention to the expressive possibilities of consonants, thus creating an atmosphere that touches the soul.” (Voice of the Motherland weekly, Yerevan)
“This difficult work, while being contemporary in its sound, has a special appeal … the singers’ melodies truly express the meaning of every word in the text. … For the first time in classical music Miran uses the pourvarr and kshots [ceremonial instruments of the Armenian liturgy], which underline the passages devoted to praising God … Therefore, it was doubly rewarding to see the audience’s enthusiasm towards a piece which definitely has a lot to say, and which embodies in itself the national and the international, the old and the new. It would be our sincere wish, that the possibility be created in the future to present this remarkable work in its entirety. In fact, the performance, lasting close to 15 minutes, went on without a hitch. In my opinion, even an experienced conductor would think twice before embarking upon such a complex piece.” (Aida Karibian, Abaka weekly, Montréal)
“… The transcriptions for orchestra of 4 Komitas dances [originally] for piano, as well as some songs … were a revelation for us. … I should first of all sincerely congratulate the young composer Julian Miran not only for his harmonization, instrumentation and conducting, but also for the novelty and high musical quality he introduced into this artistic event. … His harmonization, freed from all foreign influence, was even better thanks to his orchestrations, delicate and massive by turns.” (Harry Dikranian, Abaka weekly, Montréal)
“Vivaldi’s Sinfonia Rustica, which was conducted by Julian Miran of Montreal, had the bounce and drive needed for Vivaldi without losing control. The poignant second movement provided excellent contrast to the fast outer movements.” (Lynda Kennedy, The North Bay Nugget)