Dan Yessian chose to divide this classical work into three separate movements which depict the mood of the Armenian people circa 1915, as they faced brutality at the hands of a Turkish Ottoman Empire.
The second movement, titled “The Fear” relies heavily on a galloping rhythm, signifying the invaders on horseback, the spearing and mutilation of innocent men, women and children: a relentless drive of unceasing brutality brought to the people. Yessian relies on a hymn “Miyayn Soorp, Miyayn Der” which is prevalent within the Liturgy of Armenian Church services as confirmation of God’s existence. Yet – in the backdrop of despair and darkness – the hymn creates a dissonance and an irony, which the Armenian people endured at the front door of death. The score is then reduced to a single instrument – the duduk, a weeping woodwind – to project the emptiness felt by the relatives of those who perished.
Special thanks to Project SAVE, The Armenian Genocide Museum-Institute, Ruben Poghosyan, and The 100 Years Project for all the invaluable images.