Ara dinkjian and his band Night Ark (Arto Tuncboyaciyan, Armen Donelian, Marc Johnson) in Jerusalem 1998, one of the great shows of Ara captured on film.
This song is originally about coming back. Written for peoples like Armenians that have been seeking refuge abroad etc. The Greek music companies gave it to Lina Nikolakopoulou to dress it with lyrics and this is how this small bourgeois crap that the lyrics do not connect to the music came out. It became popular because of Ara's music grandeur and the Armenian traditional music wealth. I am Greek but that's the truth. In fact I despise the Greek music industry because it wants to undress everything from its true origins.
it is sad that we turks and the armenians keep forgetting, or choose to forget that we have so much in common. it is my sincere wish that one day, our children or maybe grandchildren, will love each other, unfortunately unlike we do...
Reply to: earl turk---"We have a lot in common" ??? Hmm...I guess you're right, "the Armenian Genocide" !!!! and no acknowledgement to this date, what a shame from people who claim commonality with us.
The historical evidence - documentation, photographs, eyewitness accounts and survivor testimony - puts the commission of this crime beyond any reasonable doubt. In fact, following the First World War, the leaders of the CUP - Jemal, Talaat and Enver Pasha - were court-martialled by the Turkish Sultan - essentially for losing the war - but with the killings of the Armenians taking center stage as evidence. All three were found guilty and sentenced to death in their absence (they had all fled the country). However, when the subsequent regime of Kemal Ataturk took power, these trials were dismissed as a “kangaroo court” held for the benefit of the victorious Allies (the Turks had allied themselves with the Central powers during the Great War), and as such, the evidence presented, and indeed the convictions themselves, have been disputed ever since. As such, the reason that the first incidence of “ethnic cleansing” in the 20th century is still such a sore and open wound is the carefully and cynically orchestrated campaign of Genocide denial that successive Turkish regimes have perpetrated in the 100 years since.
This song travels with me all over the world; it is a masterpiece. I think I am Armenian somewhere inside of me. God bless you, Ara Dinkjian. Peace and love from Mecklenburg!
I love Armenian... They are amazing people....and I love this song so much!!!!!! I love listen arvanitaki to say dynata dynataaaaaaaaaaaaaaaaaaaaaaaaaaaaa
aman bu ne guzellik bu kadar nota icinde bir tanecik falso yok, inisler cikislar gecisler tek kelimeyle harika. ellerinizden operim buyuk sanatci ara dinkyan
All right I'm off to bed now it's 3,23 am here...lol nice talking to you!! From your beautiful ancient civilization only greatness can emerge !!! :) Long live Greece!! :D
This song was originally released under the title of "Homecoming" by Night Ark, an Armenian-American instrumental band based in the New York and New Jersey area. Ara Dinkjian founded Night Ark in 1986, and composed this song which was featured on their debut album, Picture. Ara Dinkjian is considered to be one of the top oud players in the world.
I am a non-fanatical Armenian from Istanbul. Frankly, who cares if Ara is Armenian or not. He so clearly is. Let it speak for itself. And let this song unite the people that wish to be united. Long live the connecting power of music.
it's not the Oud. The instrument he is playing is called cümbüş. Tuning system and number of strings are the same but as you can hear their sounds are pretty different. Main reason is the fact that oud is made of wood but cümbüş is made of a metal. also cümbüş has steel strings while oud has plastic. it looks like banjo but it's fretless so really different from banjo.
It's a fretless banjo because in Cappadocian/Caucasian music, a player will demonstrate his/her mastery by creating half and even quarter tones that are present in neither western or makim notation.
bill harris well it’s not necessarily about showing your talent, the music itself has these, so you either can play it or not. I also couldnt understand why you’d think those notes are not in makam music, on the contrary, they are a significant part of it, just as any other note. I appreciate the interest though.
@@onurkorkmaz1441 Any tonal scaling can be halved, and halved again by a musician. In this sense, Makim is no different than Western. So the enormous skill required to derive a run of note in halves means that you must accord the entire run, or 'mode', as it were. For example, on the baglama, Guler Duman does this with ease--and tries to teach other from her school in Berlin! As for singers, the problem, so to speak, with halving halves to make a quarter tone is that first you've got to be able to hear what you're doing. To this end, you can debate forever whether the 'Cappadocian' skill of Yuksel was innate or acquired. Ditto for Sevval's rendition of Karadeniz folk: mom, dad? Of course, Sevcan, too, from Erzecen plus mam and dad; vardim Hint Eline and Garibim are pure magic. But what of Funda from Ankara and classically trained in both forms? Listen as to how she plays around the notation in Omrumuzun and Cum Gibi... Lastly, I'll mention The Kid from Uskader who only sings when she's in the mood or in the shower: Tuvie Turkay. So there's obviously a genetic component, but then again, what makes Turkish music the World's Best is its marvelous syntheses of various cultural influences plus a deep appreciation of skill.
