| Summary: | Of the three stalwart Soviet composers who had achieved international fame during the reign of Josef Stalin, namely Sergey Prokofiev, Dmitri Shostakovich, and Aram Khachaturian, it was the latter who most consistently exemplified the tenets of Soviet Realism. As 2018 marks the fortieth anniversary of his passing, it is a fortuitous time to reflect on his music and take note of how it may be assessed from the vantage point of hindsight. The stunning international success of a single number, the "Sabre Dance," from his ballet, Gayane (1942), might have marked Khachaturian as a one-hit marvel after it was popularized in a uniquely "low-brow" American manner. It served, e.g., as the accompaniment to plate-spinning entertainers on the Ed Sullivan Show on CBS-TV. The complete ballet, however, and the three suites extracted from it, achieved, along with other works by the Armenian musician, acclaim from the political gurus on both sides of the Iron Curtain. The works of the student years were considerable (more than fifty) and already suggest the individual styles with which he later became associated. Khachaturianʼs compositions encompass such genres as the symphony, the concerto, film scores, incidental music to plays, band music, vocal and choral compositions (including such patriotic efforts as Poem on Stalin and Ballad about the Motherland), and, what might be regarded as a sequel to the three earlier concertos for piano, violin, and cello, viz, the Concerto-Rhapsody for violin and orchestra (1961), the Concerto-Rhapsody for cello and orchestra (1963), and the Concerto-Rhapsody for piano and orchestra (1968). His final works moved in a somewhat austere direction, certainly unlike the full-blown solo-orchestral music with which he is associated; they feature the Sonata-fantaziya for solo cello (1974), the Sonata-monolog for solo violin (1975), and the Sonata-pesnya for solo viola (1976). Although he was widely honored by the Soviet regime, one aspect of which was the incorporation of a state policy known as Socialist Realism in 1932 under the Georgian dictator, Josef Stalin, Khachaturian ran afoul of the so-called Zhdanov Doctrine, a cultural decree which, supportive of Soviet Realism, promoted the idea that the common man was at the center of Soviet life and, consequently, his humanity should be the central focus of all artistic works. This study treats the stylistic propensities of Aram Khachaturian from his student works to his final creations, examines the political influences of his country on his life and esthetic sensibilities (he was a true believer in Communist ideology), and provides evidence that, as the post-Zhdanov years rolled along, and as his works, with their fascinating mix of Eastern and Western tendencies, came to be seen as worthy of renewed interest, the composer of the once-infamous "Sabre Dance" is experiencing a musical reawakening. As a result, a series of posthumous honors and distinctions have been bestowed upon him embracing more fully than ever the admixture of his Armenian heritage, his Georgian upbringing and early schooling, and his Soviet-Russian musical training and cultural life.
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