The criminality of the Karabakh Clan.

Vaհe H Apelian

Shushi, courtesy Tatul Hakobyan

 

This blog is about bunkers, the clan that came to be known as Karabakh clan, and about the “unfortunate, pale or pallid” Shushi, the alleged Armenian Stalingrad to be.

The ensuing thoughts overwhelmed me today when I read that Helsinki, the capital city of Finland, has “around 5,500 underground shelters, capable of protecting approximately 900,000 people—more than the city's entire population.” Switzerland is “known for its extensive network of over 370,000 public and private bunkers built during the Cold War to shelter its entire population from nuclear war and other threats.” 

I never thought that I would come to acknowledge that in fact, per popular parlance in Armenian social media, there was and is a Karabakh clan and the two main characters of the thieving Karabakh Clan are Robert Kocharyan and Serzh Sargsyan, who also led Armenia for two decades as presidents and afterwards as opposition leaders.

The Karabakh Clan took form and shape when Robert Kocharyan, Serzh Sargyan, Vazken Sargsyan, Vartan Oskanian led a palace coup against their own leader, president Levon Ter-Petrosyan who was instrumental in forging their political careers and had the president resign a few months later, on February 3, 1998, over his policy position he titled “War or Peace, Time to get Serious”.  LTP had it published 3 months earlier, on November 1, 1997, where he had advocated major concessions for resolving the lingering Karabakh conflict, which the organizers of the palace coup rejected. LTP had prophetically written: “Rejection of compromise and maximalism (striving to achieve the maximum and not the possible) is the shortest way to the complete destruction of Karabakh and deterioration of the situation in Armenia. It is not about giving or not giving Karabakh. It is about keeping Karabakh Armenian. It was inhabited by Armenians for 3000 years and it should be inhabited by Armenians after 3000 years." 

Subsequent to LTP’s resignation, Robert Kocharyan filled the president’s seat for the next 10 years, followed by Serzh Sargsyan for the following 10 years. But Serzh Sargsyan’s reign would have extended for another six years, as the National Assembly voted him the first PM of the parliamentary Republic of Armenia, with option to continue on being re-elected as PM. The popular uprising led Nikol Pashinyan, called the Velvet Revolution, thwarted Serzh Sargsyan’s Machiavellian plan.

Throughout those years, the Armenian Diaspora press held Shushi as the Armenian version of the famed Stalingrad, which most commonly refers to the historic Battle of Stalingrad, that was a pivotal, devastating confrontation with Nazi Germany during World War II (August 1942 – February 1943), in the city of Stalingrad, now Volgograd in Russia.

But by November 9, 2020, Shushi, was “unfortunate and pale” as Nikol Pashinyan characterized it on November 16, 2020 when reporting to the NA on Armenia’s capitulation and signing the tri-party agreement between it and Azerbaijan, brokered by president Putin of Russia. Many chastised the PM for uttering those words. But the unfortunate fact of the matter was just that. Shushi was unfortunate and pale, as people near death often appear. Shushi was abandoned and left unprotected at the mercy of the advancing Azeri foot soldiers.

It is fact of war that the foot soldiers conquer the land.  Bombs cannot conquer a terrain, no matter how intensive the bombing is. To make my point, I will not refer to the bombings of London during the second world war, nor upon the aerial destruction of Berlin by the allied forces, but will dwell upon the tiny Mediterranean Island Malta. The intense bombing by the Nazi Germany could not subdue the island of Malta as the Maltese stood firmly on the ground, in their shelters. But there were no shelters in Shushi and as well as in the rest of Karabakh. 

Do I blame the inhabitants of Shushi for abandoning it? Absolutely not.

Do I blame the inhabitants of the Republic of Mountainous Karabakh – fleeing Artsakh and abandoning its cities and towns during the Second Artsakh war in 2020? Of course not. They had no shelters to protect themselves.

Throughout their years, Robert Kocharyan’s and Serzh Sargsyanis did not have a single shelter, or a bunker built in Sushi, let alone in the former Nagorno-Karabakh Oblast, although both played a decisive role in the first Karabakh war and built their foray into politics based on their legacy in the first Karabakh/Artsakh liberation war. They plundered the state budgets and built detached palatial houses for themselves instead of bunkers, and illegally amassed their ill-gotten fortunes. The lion share of this plunder went to Kocharyan and Sargsyan and some to their cronies.

Kocharyan and Sargsyan, are the central characters of the Karabagh clan. They bear the responsibility in the loss of Shushi and Artsakh, more than anyone else. So does any Armenian organization, that stood with them and took part in the governments they led. 

 

Remembering Armen Guirag this Sunday morning.

Vaհe H Apelian

For many and many years, every Sunday morning my father would play Armen Guirag’s recording of the Armenian Holy Mass, which is regarded one of the best renditions of the Holy Mass by a singer. I remember him in conversation talking about the efforts that were vested to include the sound of church bells in his record. My parents had forged a friendship with him during his stay in Hotel Lux, the inn my father ran in Beirut. He was in Lebanon to give a recital or maybe more but I only remember the one he gave in the Assembly Hall of the American University of Beirut.

For all I recall, he was from Latin America. Recently I came across a reporting in NY Times dated Feb. 2, 1959 and headlined “Tenor presents Armenian songs: Armen Guirag includes many composers in program at Carnegie Recital Hall” and wrote the following: “Mr. Guirag was born in Armenia, studied in Bucharest and Milan, and is now a citizen of Argentina. His New York recital debut in 1957 displayed a tenor voice of the Italian variety and on Saturday he often gave the impression of holding back a naturally exuberant theater-filling sound.”

My mother introduced him to her friend Rahel Chilinguirian, a Kessabtsi relative, and they got married and moved to the United States. In late 1960’s my mother visited her relatives in the United States and spent time with Armen and Rahel Guirag. So did when she came to visit me after my move to the U.S. in 1976. I do not remember if Armen Guirag was still alive. I often wondered what happened to him.

A few years ago, I read the following about Armen Guirag in an article by the late Tom Vartabedian in Armenian Weekly titled “Three Tenors Strike A Different Tune” (March 24, 2009).

“He (Armen Guirag) was Armenian and ran a record shop in New York City that doubled as his home. He would sell his music in front and sleep out back with a tiny refrigerator, table, and a couple chairs.

Armen Guirag lived from hand to mouth and was in no hurry to move his records. He once told me that everyone he sold was like “selling a child.” But did he ever have a voice, and became the greatest Armenian tenor of his generation back in the 1950’s. He was recognized as a classic concert and opera singer, produced a number of recordings, and performed near and far, including an appearance at Carnegie Hall that gained rave reviews in the New York papers.

I met him during the tail end of his career when he gradually began to mellow and lived like a recluse. The last concert I attended of his was a pity.

He appeared in Boston, well into his 70s by now, and sang like he never sang before. His voice carried to the very last row of seats as people were on their feet applauding his every note.

And then, the unsuspected occurred. The record he had spinning in the background got stuck while the audience sat mortified. Even before lip-syncing became popular, Armen Guirag appeared well before his time.

He dashed off stage humiliated, never to appear again. Last I heard, he died in that little record store with hardly a whisper from the scores who embraced his music.”

True to Tom Vartabedian’s words, I remember my mother telling me about their record store and their modest residence next to it in New York City. Surely, it was a sad ending for such a talented singer. I hear his singing every now and then and find his voice unusually clear, crisp. It is said that the Armenian community does not appreciate its artists the way it should. But I also wonder if our artists are victims of our inherent talent for music. For the relatively small community we are, we are unusually rich in talents be it as singers or players of different classical instruments, composers, for the community to support all the way it should. 

 We surely owe them a debt of gratitude for enriching our lives. Many of his songs are posted in Youtube, so is his recording of the Armenian Mass.

 

 

 

 

  

"From the horse's mouth":Avo voicing from Armenia (updated)

Avo and his wife have repatriated and have settled in Yerevan. We have been ideologues. Attached is my translation of his quotes from his Facebook page, today, in contrast to the biased reporting by mainstream Armenian Diaspora media.  Բնագիրը կցուած է ներքեւը։ Vaհe H Apelian

Courtesy Avo B Boghossian

“Whatever you want to say, one of the prime minister's most striking characteristics is his amazing diligence, determination, incredible energy, and goal-orientedness. He is an everyday presence everywhere.” September 13, 2025

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“Seeing the construction of infrastructure, roads, schools, hospitals, and the necessary implementations in all spheres in the country, you will come to the conclusion that no work had been done in the country for thirty years. It is a pity that those years were wasted.”  September 12, 2025

*

“After Kirants, we reached the newly built school in the border village of Voskepar, which is right next to the border. It has 35 students but is designed for 100 people. To be honest, even in “Yerevan, until five years ago, I had not seen a state school with this beauty and amenities, halls, classrooms, and playgrounds. Two dozen houses have been built in the village to be provided to our displaced compatriots from Artsakh.” September 12, 2025

*

“We had gone to the Tavush region, and we said let’s go see the Voskepar church near the border, to see it both from the outside and from the inside. This is the church for which Archbishop Bagrat, went  beyond opposition, marched all the way to Yerevan, accusing the authorities of handing it over to the Azerbaijanis and leaving it on the other side of the border. My wife also lit a candle.” September 12, 2025

*

“I was sitting at home with a friend, the phone rang, it was my friend’s friend, they started talking and I heard that two different relatives of my friend had won green cards…

This is not a good ending.” September 12, 2025

*

“I have the impression that many of the opposition group have already realized their mistake. I cannot say the same about the Diaspora, since opposition propaganda is dominant there.” September 12, 2025

*

“The Ministry of Defense will send a program to the National Assembly to reduce military service by six months, balancing it with certain numbers of contract service. I don’t think the opposition can protest and criticize this program, since it benefits the people living in the homeland. Only the segment of the Diaspora that is opposed to the authorities can express their opposition to this program, since it is not the youth of the Diaspora who are subject to compulsory military service.” September 12, 2025

Բնագիրը՝

Ինչ կ՚ուզէք ըսէք, վարչապետի ամենաակնառու յատկանիշներէն է իր զարմանալի աշխատասիրութիւնը, կորովը, անհաւատալի եռանդը եւ նպատակաուղուածութիւնը: Ան ամէնօրեայ ներկայութիւն է ամէնուրէք:

*

Տեսնելով երկրին մէջ ընթացող ենթակառոյցներու, ճանապարհներու, դպրոցներու, հիւանդանոցներու կառուցումը, ու ամէն ոլորտներու մէջ անհրաժեշտ իրագործումները, կուգաս այն եզրակացութեան որ երեսուն տարի ոչ մէկ աշխատանք տարուած է երկրին մէջ: Ափսոս վատնուած այդ տարիները:

*

Կիրանցէն ետք հասանք սահմանային Ոսկեպար գիւղի նորակառույց դպրոցը որ ճիշտ կպած է սահմանին, ունի 35 աշակերտ բայց 100 հոգու համար նախատեսուած է։ Ճիշտը Երեւանի մէջ անգամ մինչեւ հինգ տարի առաջ այս գեղեցկութեամբ եւ յարմարութիւններով, սրահներով, դասարաններով եւ խաղավայրերով, պետական դպրոց չէի տեսած։ Գիւղին մէջ երկու տասնեակ տուներ կառուցուած են, տրամադրուելու համար մեր արցախցի տեղահանուած հայրենակիցներուն։

*

Տավուշի կողմերը գացած էինք, ըսինք երթանք սահմանին կից Ոսկեպարի եկեղեցին տեսնենք թէ դուրսէն թէ ներսէն։ Սա այն եկեղեցին է որու համար Բագրատ սրբազանը ընդդիմութեան գլուխն անցած արշաւեց մինչեւ Երեւան, իշխանութեանը մեղադրելով որ ազերիներուն հանձնած են եւ թէ մնացած է սահմանին միւս կողմը։ Դէ մոմ մըն ալ վառեց կինս։

*

Տանը նստած ենք ընկերոջ մը հետ, հեռախոսը հնչեց, ընկերոջս ընկերն էր, խօսելու սկսան ու լսեցի թէ ընկերոջս երկու տարբեր ազգականները green card շահած են... 

Ասոր վերջը լաւ չէ։

*

Իմ մօտ տպաւորութիւն է որ, ընդդիմադիր զանգուածէն շատեր արդէն գլխի ինկած են իրենց սխալին: Սփիւռքի պարագային չեմ կրնար նոյնը ըսել, քանի այդտեղ ընդդիմադիր քարոզչութիւնը տիրական է:

*

Պաշտպանութեան նախարարութիւնը զինուորական ծառայութիւնը վեց ամսով կրճատելու ծրագիր մը ԱԺ պիտի ուղարկէ, այն հաւասարակշռելով պայմանագրայն ծառայութեան որոշակի թիւերով: Այս ծրագրին դէմ չեմ կարծեր որ ընդդիմութիւնը կարենայ բողոքարկել եւ քննադատել, քանի որ այն կը շահագրգրէ հայրենաբնակ ժողովուրդին: Այդ ծրագրին դէմ կրնան արտայայտուիլ միայն սփիւռքի այն հատուածը որ իշխանութեանց ընդդիմադիր է, քանի սփիւռքի երիտասարդները չէ որ զինուորական ծառայութեան պարտադրանքին ենթակայ են:

***

 

 

 

 

"From the horse's mouth":Avo voicing from Armenia

Avo and his wife have repatriated and have settled in Yerevan. We have been ideologues. Attached is my translation of his quotes from his Facebook page, today, in contrast to the biased reporting by mainstream Armenian Diaspora media. Բնագիրը կցուած է ներքեւը։

Courtesy Avo G Boghossian, LtoR; Public construction in Armenia
Kirants school, Voskepar church 

*

“Seeing the construction of infrastructure, roads, schools, hospitals, and the necessary implementations in all spheres in the country, you will come to the conclusion that no work had been done in the country for thirty years. It is a pity that those years were wasted.” 

*

"After Kirants, we reached the newly built school in the border village of Voskepar, which is right next to the border. It has 35 students but is designed for 100 people. To be honest, even in Yerevan, until five years ago, I had not seen a state school with this beauty and amenities, halls, classrooms, and playgrounds. Two dozen houses have been built in the village to be provided to our displaced compatriots from Artsakh."

*

"We had gone to the Tavush region, and we said let’s go see the Voskepar church near the border, to see it both from the outside and from the inside. This is the church for which Archbishop Bagrat, went  beyond opposition, marched all the way to Yerevan, accusing the authorities of handing it over to the Azerbaijanis and leaving it on the other side of the border. My wife also lit a candle."

*

"I was sitting at home with a friend, the phone rang, it was my friend’s friend, they started talking and I heard that two different relatives of my friend had won green cards…

This is not a good ending."

*

"I have the impression that many of the opposition group have already realized their mistake. I cannot say the same about the Diaspora, since opposition propaganda is dominant there."

*

"The Ministry of Defense will send a program to the National Assembly to reduce military service by six months, balancing it with certain numbers of contract service. I don’t think the opposition can protest and criticize this program, since it benefits the people living in the homeland. Only the segment of the Diaspora that is opposed to the authorities can express their opposition to this program, since it is not the youth of the Diaspora who are subject to compulsory military service."

 

***

Բնագիրը՝

 

«Տեսնելով երկրին մէջ ընթացող ենթակառոյցներու, ճանապարհներու, դպրոցներու, հիւանդանոցներու կառուցումը, ու ամէն ոլորտներու մէջ անհրաժեշտ իրագործումները, կուգաս այն եզրակացութեան որ երեսուն տարի ոչ մէկ աշխատանք տարուած է երկրին մէջ: Ափսոս վատնուած այդ տարիները:»

 

*

 

«Կիրանցէն ետք հասանք սահմանային Ոսկեպար գիւղի նորակառույց դպրոցը որ ճիշտ կպած է սահմանին, ունի 35 աշակերտ բայց 100 հոգու համար նախատեսուած է։ Ճիշտը Երեւանի մէջ անգամ մինչեւ հինգ տարի առաջ այս գեղեցկութեամբ եւ յարմարութիւններով, սրահներով, դասարաններով եւ խաղավայրերով, պետական դպրոց չէի տեսած։ Գիւղին մէջ երկու տասնեակ տուներ կառուցուած են, տրամադրուելու համար մեր արցախցի տեղահանուած հայրենակիցներուն։»

 

*

 

«Տավուշի կողմերը գացած էինք, ըսինք երթանք սահմանին կից Ոսկեպարի եկեղեցին տեսնենք թէ դուրսէն թէ ներսէն։ Սա այն եկեղեցին է որու համար Բագրատ սրբազանը ընդդիմութեան գլուխն անցած արշաւեց մինչեւ Երեւան, իշխանութեանը մեղադրելով որ ազերիներուն հանձնած են եւ թէ մնացած է սահմանին միւս կողմը։ Դէ մոմ մըն ալ վառեց կինս։»

 

*

 

«Տանը նստած ենք ընկերոջ մը հետ, հեռախոսը հնչեց, ընկերոջս ընկերն էր, խօսելու սկսան ու լսեցի թէ ընկերոջս երկու տարբեր ազգականները green card շահած են... 

Ասոր վերջը լաւ չէ։»

 

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«Իմ մօտ տպաւորութիւն է որ, ընդդիմադիր զանգուածէն շատեր արդէն գլխի ինկած են իրենց սխալին: Սփիւռքի պարագային չեմ կրնար նոյնը ըսել, քանի այդտեղ ընդդիմադիր քարոզչութիւնը տիրական է:»

 

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«Պաշտպանութեան նախարարութիւնը զինուորական ծառայութիւնը վեց ամսով կրճատելու ծրագիր մը ԱԺ պիտի ուղարկէ, այն հաւասարակշռելով պայմանագրայն ծառայութեան որոշակի թիւերով: Այս ծրագրին դէմ չեմ կարծեր որ ընդդիմութիւնը կարենայ բողոքարկել եւ քննադատել, քանի որ այն կը շահագրգրէ հայրենաբնակ ժողովուրդին: Այդ ծրագրին դէմ կրնան արտայայտուիլ միայն սփիւռքի այն հատուածը որ իշխանութեանց ընդդիմադիր է, քանի սփիւռքի երիտասարդները չէ որ զինուորական ծառայութեան պարտադրանքին ենթակայ են:»

 

 

 

 

TALAMA

Բնագիրը կցուած է նեքեւը - Although, I spent all my summers in Keurkune, Kessab up to my high school years, going there from Beirut right after the school was over in June and returning right before the school started in October, I never had talama. But the boys, Missak, Papken, Vatche, Vahe who stayed in the village year long, would speak about it.  I was told that talma was made with milk from a cow right after giving birth. The animals would have given birth to their calves early in spring. By the time I came to the village, it would be too late. Milk, right after giving birth is called colostrum. The animals would produce it only for a few days. The colostrum would be rich in nutrients. This milk, when treated with the milky exudates of unripe figs, I was told, would curdle into a soft, yogurt like creamy consistency and was a sought-after delicatessen available only for those few days of the early spring. Hagop Cholakian narrates his tasting of talama from goats, in his village in the Karadouran valley, in the following story I translated. Vaհe H Apelian

 

Courtesy Hagop Cholakian, Facebook, September 6, 2025

"A huge herd of goats flowed like a black torrent from the slopes of the mountain onto the Gazents spring. It was the time for watering. At noon, we the boys of the neighborhood, would run there. Tigran, would take the pipe from his father’s belt, would blow the melody that invited the goats to drink water. The goats would dip their snouts in the water. The shepherd would be shouting “Kerr-kerr” calling the goats to drink. The long-horned, fearsome goats would bleat in the herd, and water would drip from their beards. Afterwars, under the soothing melodies of the shepherd’s flute, the goats would lie down in the shade of the cypress tree. The shepherd’s dog would have its head resting on its two front legs with its tongue hanging out, gathering its breath. 

Years later, when I was recording folk songs, I met Reverend Yesayi Saramazian in the Armenian Evangelical Church of Kessab. He was visibly emotional as he was about to leave for Canada. His pastoral memories in Aleppo or in Beirut would no longer move him as much as his real pastoral memories would, shepherding the animals in his youth  on the slopes of Mount Silderan at whose slope their village laid. The flute was in his bag. He took it out and played the melody for watering the animals he herded. I noticed that there were tears in his eyes. I recorded that melody had it notated, and had it published as the Kessap Shepherds' Watering Tune.

Nowadays, you won't find a shepherd's pipe in our area. It used to be a long metal tube they blew touching its end with their lips. They also called it a kavala. It could also be made of reeds and wood.

Oh, where did I start, where did we did I end up? We, the boys would line up along the bank in that deep gorge and wait for the shepherds to notice us.

- Hey, - Grandpa Hanno would say, - have you prepared the cup?

Yes, we would have prepared the cup. It would consist of two large two palm-shaped fig leaves sewn together with twine. The adults would do the same. Our neighbor Vahan brought bring the first figs of the year in such a bowl as well, and would give it to Rahel Nanar.

- Count this, girl, - he would say.

- Thank you, let it be so, man, - the woman would reply, and we would all laugh.

Grandpa Hanno would quickly milk the goat, squeezing the long teats of its udder. khush-khush, khash-khush,  the milk would be collected in a bowl. He would throw the figs into the bowl of the milk and would stir it with a fig branch. The white juice coming from the figs would curdle the milk like curd, like solid yogurt. We would eat it insatiably, spooning it with a bay leaf.

- Talama!... talama! -  grandpa Hanno would call out, looking at the shy girls standing on the far bank of the ditch.

Talama...

It seemed to us the most delicious thing in the world. I think, if we had sprinkled it with a pinch of sugar, it would have been something else!

Sprinkling sugar? But from where…?

Բնագիրը՝ 

ԹԱԼԱՄԱ

Այծերու հսկայ հօտը սեւ հեղեղի մը պէս կը հոսէր Կիւնիկ լեռան սալուտէն ուղղակի Գազենց աղբիւրի սուլաքները, այսինքն առուի այն բաժինը, ուր ջուր կ՛ամբարուէր թումբերու ետին։ Ասիկա ջրտուքի պահն էր։ Միջօրէ։ Մենք՝ թաղի տղաքս, կը փութայինք հոն։ Տիգրանը, ապպայի գօտիէն սրինգը հանած` կը փչէր ջրտուքի եղանակը։ Այծերը դունչերնին կը թաթխէին ջուրին մէջ, “կը՜ռ-ռը՛դ, կը՜ռ-ռը՛դ” կը կրկնուէր հովիւի ջրտուքի կանչը։ Ոլորուն, երկար եղջիւրներով ահարկու նոխազները կը գռւռային հօտին մէջ, ու անոնց մօրուքէն ջուր կը կաթկթէր։ Սրինգի մեղուշ գլգլոցին տակ այծերը կ՛ընկողմանէին սօսեաց անտառի շուքին ու կը մակաղէին։ Հովուական գամփռը գլուխը առջեւի երկու ոտքերուն վրայ դրած՝ կախ լեզուն շարժելով շունչ կը հաւաքէր։

Տարիներ ետք, երբ ժողովրդական նիւթեր կը ձայնագրէի, Քեսապի Հայ աւետարանական եկեղեցւոյ մէջ հանդիպեցայ վերապատուելի Եսայի Սարամազեանին։ Յայտնապէս յուզուած էր, որ կը մեկնի Քանատա։ Ո’չ Հալէպի, ո’չ ալ Պէյրութի իր եկեղեցական հովուական յուշերը պիտի յուզէին զայն այնքան , որքան Սալտրան լեռան լանջերուն պատանեկութեան տարիներու իր իսկական հովուական յուշերը։ Սրինգը պայուսակին մէջ էր, հանեց ու նուագեց ջրտուքի մեղեդին, ու նկատեցի, որ արցունք կար անոր աչքերուն։ Արձանագրեցի, նօթագրել տուի եւ հրատարակեցի քեսապցի հովիւներուն ջրտուքի մեղեդին։ 

Այսօր մեր կողմերը հովուական սրինգ չես գտներ, մետաղէ երկար խողովակ մը, որ շրթունքի մէկ կողմին հպելով կը փչէին։ Գավալա կ՛ըսէին։ Եղեգով ու փայտով ալ կ՛ըլլար։

Հա, ուրկէ՛ սկսանք, ո՛ւր փախանք։ Կը շարուէինք խորունկ խանտակի ափին ու կը սպասէինք, որ հովիւները նկատեն մեզ։ 

- Հը՛,- կ՛ըսէր Հաննո պապուկը,- ամանը պատրաստա՞ծ էք։

Այո , պատրաստած կ՛ըլլայինք։ Թզենիի ոստ մը կը կտրէինք, երկու ափաձեւ տերեւներ շիւղերով կը կարէինք ու փոքրիկ քթոցիկ մը կը շինէինք։ Մեծերն ալ նոյնը կ՛ընէին։ Մեր դրացի Վահան պապուկը այդպիսի ամանի մը մէջ տարուան առաջին թուզերը լեցուցած բերաւ տուաւ Ռահէլ Նանարին։

- Փոխ հաշուէ ասիկա, աղջիկ,-ըսաւ; 

- Շնորհակալ եմ, թող այդպէս ըլլայ, մա՛րդ,- պատասխանեց կինը, որ բոլորս խնդացինք;

Հաննո պապուկը այծի երկար պտունները սեղմելով արագ-արագ այծը կը կթէր, խաշ-խուշ, խաշ-խուշ, բուլը՝ տհաս թուզը, կը նետէր կաթին մէջ ու թզենիի ոստով կը խառնէր։ Բուլի կաթը՝ ճերմակ հիւթը, մակարդի պէս կը քարացնէր կաթը, ինչպէս պինդ մածուն։ Դափնիի տերեւով անյագօրէն կ՛ուտէինք։

- Թալամա՜․․․ թալամա՜,- կը կանչէր Հաննո պապուկը նայելով խանտակի ափին կեցած ամչկոտ աղջնակներուն։ 

Թալամա․․․Աշխարհի ամենէն համով բանը կը թուէր մեզի․ կը մտածեմ, պտղունց մը շաքարաւազ ցանէինք վրան՝ ուրի՜շ բան կ՛ըլլար։

Շաքարաւազը՝ ուրկէ՜...

 Յակոբ Չոլաքեան - Facebook, September 6, 2025

 

 

ARMIASHKA,

Vaհe H Apelian

 

I came across the word armiashka for the very first time well over half a century ago, in my youth, reading the famed novel Zartonk (Awakening) by Malkhas. I  I do not remember how Malkhas spelled the word in Western Armenian. Recently I found out the word pop out on Levon Shirinyan’s Facebook page. It is there that I found out Առմեաշքա (Armiashka) is how the famed Armenian author Gamar Katiba / Kamar Katiba spelled it in the quote, posted by Levon Shirinyan. I posted it in translation above. However, the context of their uses is way different. 

First and foremost, the term armashkia is pivotal in the novel Zartonk, which has its start with two Armenian friends who settled in Tbilisi – I write from memory. One of them became a successful merchant and had a daughter named Sonya. The other carried on a modest life and had a daughter Yevgine, and a son named Vartan. But the two remained bosom friends as did their children, fond with each other. However, in time the children of these two best friends, started maturing differently. Vartan became fired by the Armenian revolutionary movement, while Sonya carried on the spoiled life of a rich merchant’s daughter having been accepted in high society. At one time, Sonya was accompanied by a Russian military officer to a ball, while the Armenians were demonstrating. In the turmoil the dress Soya was wearing was minimally spoiled, to which her Russian officer company hurled at the demonstrators the term, calling them the armashkia-s. The use of the term suddenly stirred strong emotions in Sonya in defense of her race. 

Following the incident, Sonya wanted to find out about Vartan through his sister Yevgine. By then Vartan had assassinated a Russian officer, had attempted to cross the Arax River with other revolutionaries to assist the oppressed Armenians. But an accidental explosion had left him maimed and disfigured. From there on he adopted his nom-de-quere Levon, and emerged the leading revolutionary with his baptismal name and past completely forgotten. Sonya on the other hand, had a change of heart. She left her luxurious life became a care giver and engrossed herself in the service of her people. Sonya, at the very end of the novel, found out that Levon was her one time bosom friend Vartan and the two got married while the bells of the churches were heard ringing heralding the Independence of Armenia. Regretfully Levon shortly after succumbed to his wounds and passed away. 

No wonder Zartonk became a very popular reading for a few generations growing up in hub of the Armenian communities especially in the Middle East.

I asked Levon Shirinyan about the term armashkia. He said it is a Russian derogatory term hurled against Armenians. Obviously, the Armenians adopted the term as well and hurled it against those they thought did not support the Armenian cause. Kamar Katiba’s post made that pretty obvious.

Kamar Katiba (1830-1892 was the literary moniker of Raphael Patkanian According to Nischay Koushal, “Raphael Patkanian was a cherished Armenian poet whose stirring verses became a voice of patriotism and hope during a time of great turmoil for his people. Writing under the pen name “Kamar Katiba,” he captured the pain of exile, the longing for homeland, and the spirit of national awakening. Deeply affected by the plight of Armenians under Ottoman rule, his poems often resonated with emotional intensity and revolutionary zeal. A professor by profession, Patkanian believed in the transformative power of words and used poetry as both resistance and revival. His work not only inspired generations of Armenians to hold onto their cultural identity but also laid the foundation for modern Armenian national literature.”  

The gravesites of Raphael Patkanian and Mikael Nalbandyan
Courtesy Wikipedia

One of Kamar Katiba’s poems was turned into a patriotic song titled “The clouds went silent”. The song, an intense patriotic song was well-liked and heard at one time. Those interested to hear it may click the link “Three Tenors” below and hear Kevork Gagossian’s rendition of the famed song.

It turned out that Kamar Katiba and Mikayel Nalbandyan, for whom we owe our national anthem, Mer Hairenik, were classmates. Wikipedia claims that they were buried next to each other in Nakhichevan-on Don, also known as New Nachichevan (Nor-Nakhichevan). 

Link: "Three Tenors": Kevork Gagossian’s (Lerets Ambere):https://vhapelian.blogspot.com/2025/09/three-tenors.html

ՄԵ՞Զ, ԹԷ՞ ՄԵԶԻ..., ԶԻ՞ՆՔ, ԹԷ՞ ԻՐԵՆ...

Կը մեջբերէմ յատուած մը Լեւոն Շառոյեանին՝ ՄԵ՞Զ, ԹԷ՞ ՄԵԶԻ..., ԶԻ՞ՆՔ, ԹԷ՞ ԻՐԵՆ, Ֆէյսպուքի էջին վրայ տեղադրութիւնէն։

  Ուրեմն, նախ յիշեցնենք որ տուեալ դերանունները մաս կը կազմեն արեւմտահայերէնի ԱՆՁՆԱԿԱՆ ԴԵՐԱՆՈՒՆՆԵՐՈՒ խումբին։ Անձնական դերանունները հայերէնի դերանուններու համակարգին մէջ ամէնէն շատ ու առատօրէն գործածուողներն են։ Գոյութիւն ունին Ա., Բ. եւ Գ. դէմքերու յատուկ դերանուններ` իրենց եզակի եւ յոգնակի տարբերակներով, որոնք ընդհանրապէս կը դասաւանդուին մեր նախակրթարաններու միջին ու վերին կարգերուն մէջ։ Բայց հարցն այն է, որ մեր դպրոցական տղաքը այս դերանունները կը սորվին ԹՈՒԹԱԿԱԲԱՐ, առանց երբեք ըմբռնելու, թէ այդ դերանուններէն իւրաքանչիւրը ո՞ւր եւ ինչպէ՞ս պիտի գործածուի...։

    Եկէ'ք հոլովենք Ա. դէմքին յոգնակին. ուղղական` մենք, հայցական` ՄԵԶ, սեռական` մեր, տրական` ՄԵԶԻ, բացառական` մեզմէ, գործիական` մեզմով։

   Տեսաք արդէն, որ ՄԵԶ֊ը հայցական հոլով է, իսկ ՄԵԶԻ֊ն` տրական։

   Օրէնքը հետեւեալն է. Ներգործական (եւ պատճառական) բոլոր բայերուն հետ ՍՏԻՊՈՒԱԾ ԷՔ գործածել ՄԵԶ֊ը (հայցական)։ Օրինակներ`

   -- Տնօրէնը մեզ ժողովի հրաւիրեց։

   -- Ոստիկանները մեզ հալածեցին։

   -- Ժողովուրդը մեզ դիտեց։

   -- Պատարագի երգեցողութիւնը մեզ վերացուց։

   -- Արցախի կորուստը մեզ ընկճեց։

   Վերի նախադասութեանց մէջ գործածուած 5 բայերէն չորսը ներգործական է, մէկն ալ (վերացնել)` պատճառական։ Հինգ բայերն ալ ստացան դերանունին հայցական հոլովը` իբրեւ ուղիղ խնդիր։

   Ինչ կը վերաբերի ՄԵԶԻ դերանունին (տրական), ապա զայն պիտի գործածէք չէզոք բայերուն հետ, նաեւ` իբր անուղղակի խնդիր։ Օրինակներ`

   -- Տնօրէնը յուշամատեան մը նուիրեց մեզի (անուղղակի խնդիր)։

   -- Ոստիկանները մեզի նայեցան զարմացական հայեացքով ( չէզոք բայի հետ)։

   -- Զինուորները մեզի մօտեցան (չէզոք բայի հետ)։

   -- Քրիստոս մեզի' համար խաչուեցաւ։ Ան մեզ փրկեց մեր մեղքերէն (ուշադրութեամբ զննել այս յատկանշական օրինակը)։

   -- Գաղտնիքը չյայտնեցին մեզի (անուղղակի խնդիր)։

     Ինչպէս կը նկատէք, հարցին բուն գաղտնիքը բայերուն սեռը գիտնալուն մէջ է։ Երբ լա'ւ կը ճանչնաք ներգործական ու չէզոք բայերը, անոնց ընկերակցող դերանունները ինքնաբերաբար կը գործածէք ճիշդ ձեւով ու հոլովով։

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    Վերեւ յիշուած միեւնոյն օրէնքին եւ սկզբունքին կը հպատակին նաեւ զինք եւ իրեն դերանունները։ Ասոնք կը գործածուին Գ. դէմքի համար եւ դերանունին եզակի ձեւն են։ Հոլովե'նք. ուղղական` ինք, հայցական` ԶԻՆՔ, սեռական` իր, տրական` ԻՐԵՆ, բացառական` իրմէ, գործիական` իրմով։

    Կը տեսնուի, որ զինք-ը հայցական է, մինչդեռ իրեն-ը` տրական։  Պարտինք զինք-ը գործածել ներգործական (եւ պատճառական) բայերուն հետ, իսկ իրեն-ը` չէզոքներուն հետ։ Օրինակ`

   -- Բոլորը շնորհաւորեցին զինք ջերմօրէն (ոչ թէ...  շնորհաւորեցին իրեն)։

   -- Զինք ճանչցայ տարիներ առաջ` երբ քսան տարեկան էր տակաւին (ոչ թէ... իրեն ճանչցայ)։

   -- Իրեն մօտեցայ խղճահարութեամբ (ոչ թէ... զինք մօտեցայ)։

    -- Բանալիները իրեն յանձնեցի երէկ (ոչ թէ... զինք յանձնեցի)։

      Վերի առաջին երկու նախադասութեանց մէջ "զինք" դերանունը պաշտօնով ուղիղ խնդիր է։ Արդէն ուղիղ խնդիրը արեւմտահայէրէնի մէջ միշտ ու տեւաբար կը դրուի հայցական հոլովով։ Իսկ վերջին երկու նախադասութեանց մէջ "իրեն" դերանունը պաշտօնով անուղղակի խնդիր է, որ կը դրուի տրական հոլովով։

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     Առայժմ չեմ ուզեր անդրադառնալ մեր դպրոցներէն ներս պարզուող այն ընդվզեցուցիչ երեւոյթին` երբ երկրորդական կարգերու նստարաններու ետին դեռ կարելի է հանդիպիլ աշակերտներու, որոնք մեզ կամ մեզի դերանունը է-ով կը գրեն։

    -- Հայրս մէզ շատ կը սիրէ, -- գրած էր աշակերտ մը գրատախտակին վրայ...։

    Լա՞ս, թէ՞ խնդաս...։

                    Լ. Շառոյեան ("Արարատ" օրաթերթ)

Three Tenors

Vahe H. Apelian

Let me first note that I used the word "tenor" in the title of this blog  for trained voices. I am not a connoisseur of voice.

Some time ago, on YouTube, I came across songs by Armen Guirag. Some of the songs were “viewed” a few times. Others had no views. I became reflective. Artists, such as Armen Guirag, entertain us with their songs, uplift our spirits and make our lives more pleasurable and then, much like old warriors, fade away. In its unmistakable forward march, time brings with it new norms, attitudes and likes and new artists come for a new generation who in turn experiences the same cycle of life. 

Along with Armen Guirag, the voices of Ara Guiragossian  and Kevork Gagossian have remained etched in my memory and I listen to them also, every now and then.

ARA GUIRAGOSSIAN. I have not met him in person. He remains in my mind as a tall and robust man. I have attended his performance on stage with my parents. He also used to sing in “Sayat Nova” restaurant in Beirut. Recently I translated Boghos Shahmelikian’s book that narrates Diaspora Armenian pop music. In it Boghos notes that Ara Guiragossian was the first to record an album of Armenian revolutionary songs. But he never caught the people’s fancy as a singer of such songs. I guess his voice was too trained, too structured for opera than for such songs on popular stage.

Recently I came across the following comments on YouTube that best summarizes Ara Guiragossian as a singer of revolutionary songs and also validates my memory of hearing him in the “Sayat Nova” restaurant. These two comments read as follows:

“When I was a young kid my parents used to take the family to Sayat Nova restaurant in Beirut Lebanon where Ara used to sing. Great memories” (Harout Hamassian).

“Once my mum went to a record shop to buy the disc of "Antranig" sung by Levon Katerdjian. There was a man in the shop, whom my mother didn't recognize. The shopkeeper tried to persuade my mother to buy Ara Guiragossian's version of that song, but mother said that she didn't like Ara's voice very much. Once she said this, she noticed that the man got emotional & hid his face in his hands. My mother then realized that the man was Ara Guiragossian. She felt very ashamed & bought both records.” (arayvaz6).

In vain, I searched for Ara Guiragossian’s biography on the Internet search engines. I do not know when and where he was born and when and where did he pass away. But surely his memory and his singing linger on. He can be heard on YouTube.

*****

KEVORK GAGOSSIAN. I knew Alex Mnagian as a famous accordion player. Again, thanks to Boghos Shahmelikian I found out that he was more than a famous accordion player and that he was an artist of the highest caliber and has had his input in the artistic life in Lebanon be it as an Armenian and as Lebanese through his association with the famous Rahbani brothers. 

Mnagian brothers had a music store next to Sourp (Saint) Nshan Church and it's one-time namesake school I attended. The neighborhood was an Armenian hub. Next, to the Mnagian’s store, my friend Garbis Baghdassarian’s brother Zareh, had a bookstore. On that very stretch of the street my classmate Haroutiun Hadsagortzian’s father had a barber shop who spoke with a distinct Dikranagerd accent and would attentively follow us students wondering how well we were doing in our studies and would encourage us to study hard. There was also a gun store whose owner married one of my classmates in Sourp Nshan. We lived a short walking distance from the church and that neighborhood was a hangout for us boys. Alex was a short and stocky guy. Another short and stocky young man would be in the store every now and then. His name was Kevork Gagossian. The community was shocked to hear that he passed away after his concert in Cairo at the age of 27.

 I pieced together the following about Kevork Gagossian from an article penned by Hagop Mardirossian that appeared in Hairenik Weekly on July 17, 2014, forty-five years after his untimely death as a testament of the enduring legacy of this gifted but short-lived young man.

Kevork Gagossian was born on July 9, 1942, and passed away in Cairo, Egypt on November 25, 1969, a day after his concert. After finishing his studies in the Lebanese Conservatory, he had continued his studies in Italy. He had not yet produced any recording letting his friends know that a singer’s voice matures after the age of 35 and that he is yet too young to record for posterity. After his untimely death, his friends produced a record from the recordings of his concerts. He was deemed to be an unusually gifted bass tenor. His teachers, friends, and classmates from Lebanon, Italy, England and Japan mourned his death. His Japanese colleague Takao Okamura held a memorial concert in Beirut and ended his repertoire by signing in Armenian “I heard a sweet voice”  (Ես Լսեցի Մի ԱՆուշ Զայն) dedicating it in memory of Kevork Gagossian.

Kevork Gagossian's rendition of Kamar Katiba's Lerets Ambere - The Clouds Went Silent.

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ARMEN GUIRAG My parents had forged a friendship with him during his stay in Hotel Lux, the inn my father ran in Beirut. For many and many years, every Sunday morning my father would play his recording of Armenian Holy Mass, which is regarded one of the best rendition of the Holy Mass by a singer. For all, I recall he was from Latin America. My mother introduced him to her friend Rahel Chilinguirian and they got married and moved to the United States. In late 1960’s my mother visited her relatives in the United States and spent time with Armen and Rahel Guirag. I often wondered what happened to him.

A few years ago I read the following about Armen Guirag in an article the late Tom Vartabedian wrote in Armenian Weekly titled “Three Tenors Strike A Different Tune” (March 24, 2009). 

“He (Armen Guirag) was Armenian and ran a record shop in New York City that doubled as his home. He would sell his music in front and sleep out back with a tiny refrigerator, table, and a couple chairs.

Armen Guirag lived from hand to mouth and was in no hurry to move his records. He once told me that everyone he sold was like “selling a child.” But did he ever have a voice, and became the greatest Armenian tenor of his generation back in the 1950’s.

He was recognized as a classic concert and opera singer, produced a number of recordings, and performed near and far, including an appearance at Carnegie Hall that gained rave reviews in the New York papers.

I met him during the tail end of his career when he gradually began to mellow and lived like a recluse. The last concert I attended of his was a pity.

He appeared in Boston, well into his 70s by now, and sang like he never sang before. His voice carried to the very last row of seats as people were on their feet applauding his every note.

And then, the unsuspected occurred. The record he had spinning in the background got stuck while the audience sat mortified. Even before lip-syncing became popular, Armen Guirag appeared well before his time.

He dashed off stage humiliated, never to appear again. Last I heard, he died in that little record store with hardly a whisper from the scores who embraced his music.”

Surely, it is a sad ending for such a talented singer. I hear his singing every now and then and find his voice unusually clear, crisp. It is said that the Armenian community does not appreciate its artists the way it should. I often wonder if our artists are victims of our gene pool. This may be true because we are unusually rich in talents be it singers or players of different classical instruments for the community to support all, the way it should. 

 We surely owe them a debt of gratitude for enriching our lives.

With Mr and Mrs. Armen and Rahel Guirag