Arthur Meschyan is still a voice of consciousness. He is still called the voice of consciousness. In
the Soviet times there were attempts to ban his songs and disrupt concerts of “Apostles”, a group
produced by him. But as it is impossible to still the voice of consciousness, nobody could break
himself as a personality. He was always stronger and that was why he was loved even by those who
were against him.



He was always in the spotlight, though popular, he didn’t like talking about himself. He kept
silent, when the "Apostles" took the Soviet’s cities one after another. He kept silent when he
lived in exile and also when he was a chief architect of Erevan. Arthur agreed to reply to our
questions in honor of Noah’s ark magazine’s 10 years anniversary.



- Mr. Meschyan why have you chosen such a modest way of living in spite of the huge interest to your
personality. E.g. why are you avoiding interviews?


The interview for me is a confession, but not a routine procedure. One should only confess to a
person he fully trusts. If you don’t trust the person, the confession can’t take place.
That is why I never let myself to disclose my sentiments of love in my songs and in my life too.
By and large I feel intimidated in the context of an interview – the final version is always
different from the original thoughts. One can’t convey the real meaning to people.


- How did you start your legendary group “Apostles”?


The songs which were included into the “Apostles” afterwards, I had been writing since 1964. At the
time I was very young. Probably I had luck due to my good teachers. I got a guitar and I began to
play and write the songs. I started to like it very much and that was very interesting to me. And
people I looked up to took my songs seriously. I remember my first examination – I appeared on
stage, played and understood by people’s reaction that it wasn’t something like crap but
something more serious.


- You don’t you like speaking about “Apostles” and its popularity? What does popularity mean?


That means there was a time when we were trying to do something new. Is it possible to consider a
person’s birth an achievement? The same was with “Apostles” – were just followed our times. If
people forget us, that means that we have done something wrong, if they remember us that means we
have done something very important.


- But is it not an achievement that in the Soviet time you rocked for the first time in the national
language?


At that time we didn’t think what line in the chart we had. But in my opinion it is logical that it
was in Armenia that gave birth to the national rock. The real rock appeared here because the society
had matured to the point where it was impossible to shut their eyes to the all contradictions of our
life. And it is not a coincidence that Estonia went along with us. All the Estonian rockers will
confirm that “Apostle’s” concert in Tartu gave a stimulus to the Estonian rock. For me being the
first is not that important, I’m more interested in the movement itself, the right beginning is
important to any movement. If at this beginning I played my role then I’m very glad.


- Is it true that while creating your rock compositions you were listening to church music?


More importantly I sang in Echmiadzin’s choir. My rock music was founded on Armenian canon. It is
impossible to overestimate the depth of sacred music –only since 4th century it has kept the real
Armenian motives. If you don’t know this school, it is impossible to make something national.
You knew what the Soviet system was up to, but you didn’t do anything to avoid the conflict with the
authorities.
I’m often called a dissident, but I don’ t agree to this. Generally I don’t like dissent. Today many
people have become heroes, they indulge in breast-beating about what the difficult trials had been
waiting for them ahead in KGB’s buildings.
Would you call it dissent when you refuse the thing you don't like. I refused and payed dearly for
it.
I've never told anybody how many hours I had spent under interrogations, because it is nobody's
business. I knew what was waiting for me ahead and how I was going to pay for it.That is Rock'n
Roll. The more I speak about my biography, the more I 'm moving away from the life line, which I've
chosen long ago.
But if sometimes you 'd show diplomacy, instead of being under interrogations, you could stay at
home and write songs.
I appreciate the priority of choice more. I really could have had a restful life, I always had an
opportunity for it, everything came easily to me. I just needed to keep silent somewhere, to shut my
eyes to something and to give up on my principles somewhere. But to be able to muster sufficient
strength to say the right things – this is what I call real happiness. I'm happy because I always
say what I want to say and what I feel. I'm sure if I had been more diplomatic, my career would have
gone another way, but I would be less happy.


- Don't you regret that you've lost many things because of it, including what you hold dearest of
all -your songs?


I'm trying not to regret anything, but frankly speaking, sometimes I feel resentment..
E.g. under the patronage of all Armenian Catholicos Vazgen I we recorded the album “Requiem” at the
residence of His Holiness. Can you imagine, he sacrificed his sleep – it was impossible to fall
asleep to an electronic equipment. While we were thinking how to arrange release of Requiem abroad,
the album had been stolen and released in the USA on behalf of some Arthur Pamboukchyan.
Unfortunately these songs became alien to me, like an unfaithful wife. From all the album I've left
only 2 songs for me, the rest of them are still being performed in the restaurants. It is a
blasphemy when the prayer is played at the restaurants over the clinking of cutlery.
The song “Where have you been, my Lord?” from that album has been causing a contradictory attitude
up to now. Is there any reproach to God.
I don't know why, but everybody is interested in this song. I wrote it when I wasn't even 16. I've
much more serious songs. But it was strange that I was beaten at the Institute, because of the song
“Where have you been, my Lord?” They said that I was leading a church propaganda, and by the way,
it was a criminal offence. After the Soviet Union breakdown I was accused of atheism. But before
accusation, one needs to listen to the song and to understand what it is about. And now one sings
this “Where have you been, my Lord” in a way that's meaningless.


- Is it true that you signed a statement not to sing this song during your concerts?


This is a legend. The system worked a bit differently. Before each concert an official program was
confirmed and I included there the Soviet hits, which I had never performed in my life. But when I
appeared on stage I performed my real program.
You see, I didn't feel disrespectful to people who fought against me on the KGB' side. They did
listen to my songs secretly at home. During interrogations I behaved confidently, because I was not
afraid of my nails being torn out or being beaten against the wall with my head. That was the new
generation of KGB employees compared to those of the 1930s.


- What was it like to abandon everything at the height of your fame and go west to begin again
from scratch?


It might sound crazy, but sometimes I in order to reach a goal I must reject everything. Even when
my inner voice prompts me I shouldn’t be doing something, I will do it anyway. After the nightmares
of 1970 I was firmly determined to leave the country. But when I burst into the embassy I hadn’t
yet thought of departing from the country , I was just saving my life. Otherwise I would have found
myself in the disciplinary battalion, where a place had been defined for me.
But I was able to leave the country only in 1989 when I had achieved almost everything. By that
time I had a good job of architect, we were trusted to realize a lot of projects in Russia and
Armenia. Even my son was astonished at my leaving the country. Finally I began to earn well. However
I wanted to leave. I refused from the State Prize I was presented for the Lazarev Institute
reconstruction. I thought the USSR would last longer. I didn't like many things in that system. We
left with pure hearts and didn't have the least regret about it.
It was very hard in America, I refused from social allowance at once. I had to do physical work to
survive. But one can get over difficulties, if he has a priority of choice.


- Why did you come back to Armenia?


Home-coming reminded me of departure from the USSR. I had a good job in Boston, our architect bureau
took part in some interesting projects. But I was bored to live there, and that country –
motherland of democracy, was turning into the Soviet Union right in front of my eyes. I am happier
in Erevan, I enjoy each morning and there is no stress here.


- Did people in Erevan meet you well. Were there many people in the concert hall?


I was indebted to people interested in my music. I know my listener – it is a very devoted
audience. My concerts give people an opportunity to get together, listen to the music and feel that
they are not alone. I was pleased to see the younger people prevailed at my concerts. They know the
texts of the songs , even better than me and they sing along with me. This situation was not only in
the capital, but also in Gyumri, Vanadzor and everywhere.


- How do you find musical life of the country?


It is different. I can't say good or bad, just not mine. Finally we've got freedom, people
themselves choose what kind of music to listen to. Sometimes I hear complaints that we have
little classical music. But it is only the stereotypes of the Soviet past. Why should everybody
listen to classical music? Are there many admirers of rock music in the USA? Hardly fifty people go
to the symphony orchestra’s concerts from all over Boston.
We have many gifted singers, but they prefer to sing in the restaurants, without understanding that
it is better to lay bricks than sing to order. One can become an artist only keeping his soul, but
not turning it into a servant.
Singing in the restaurants can kill a soul and an expensive car doesn’t make a person happy.
Happiness – is a pure concept and one shouldn’t touch it with dirty hands. Unfortunately today the
so called “shashlik” Estrada is popular . But I’m not a critic and I don’t like talking about other
people’s work, my own thoughts I express in my songs.
By the way, how do you treat critics? There was a time when they said Meschyan’s songs were here-
and-now profit .But life showed the opposite. Your songs have special popularity.
If my songs are popular, that doesn’t mean that everything is well.
I can’t explain how I write, what my style is . I write a song , because I think so at that moment.
E.g. “Violin’s monologue” I wrote in Boston, but the listeners had dead certainty the author was in
Erevan. That’s right, all my thoughts at that moment were in Erevan, I felt and thought so.


- How can you explain it?


It is impossible. But critics are trying to explain things and they are mistaken.


- You have offers to arrange concerts in many European and American cities, but you have chosen
Moscow? How can you explain your choice?


Strange as it may seem, I had an idea to arrange a concert in Moscow when I was in Boston. Moscow is
a very interesting city to me. I don’t want my concerts to be like community arrangements. I would
like to see those people in the concert, who were listening to our songs in those years. I had many
fans there, though I’ve never sung in Russian. I am interested to see the fans of our music, though
during the concert I don’t notice listener ,I am completely carried away by the music. That is
Rock’n Roll.
I am finishing my concert work. Most likely I won’t give a concert in Erevan any more, California is
not interesting to me either. Moscow is my last page. Everything began in Moscow and I want to
finish in Moscow. On the 7th and 10th of November at the Moscow’s International Music Center I’ll
meet people who really need me, whatever their number.
Your wishes to our magazine and readers.
Noah’s Ark is celebrating his 10thyears anniversary. You’ve achieved many things over 10 years. I
came across your magazine even in Boston, where Armenian expatriate community is not large. And
since I consider an interview a confession I wish you magazine to become a citadel of revelations,
and stability and an interesting life to your readers .

Emma Grigoryan

Նրա երգը ներաճել է, միացել սերունդների երթին:

Այն միաձուլվել է քաղաքին, դարձել է նրա խզված կոկորդը, ներհյուսվել է նրա ձայնալարերին այն քաղաքի, որ մենք կրում ենք մեր ներսում, որ դեմք ու դիմագիծ ունի, որ թափառում է մեր մեջ ու մեզնից դուրս: Նա կրում է իր հոգում այդ քաղաքը, ողբերգական երգասացության է վերածում իր խզված կոկորդով ու մեզ է վերադարձնում նրան, նրա ամայությունը, հոգեւոր ճեղքերն ու սեւխոռոչները իր երգով լցրած: Նա լցնում է քաղաքի դատարկ տարածքները, հոգենյութ է հաղորդում նրա ամայացած կենսոլորտին, եւ քաղաքը փոխադարձում է նրան հիշողությունների ու կարոտաբաղձության իր խորքերով, իրական եւ անիրական երազների հեռանկարով:

Նա քաղաքի կենսագրության մի մասն է, նրա երգերը կենսագրություն ունեն եւ անձնավորված են: Նրանք շնչում են, նրանք քայլում են ամեն սերնդի հետ յուրովի եւ հոգեւոր հեռանկարում, կարծես, ուժգնանում է նրանց արձագանքը: Նրանք լինելության, ճանապարհի երգեր են սերունդների համար եւ կոչված են հոգեւոր ճգնաժամերի եւ աղետների պահերին զտել եւ մաքրագործել մեր կենցաղի մգլած ու նեխող կենսոլորտը, քանի որ ազատության շունչ եւ առոգանություն կա նրանցում: Նա իր քաղաքի ողբերգակն է եւ հանդիսատեսը, նրա «ոտքի կոխան» եղած հրապարակների ու ասպարեզների ականատեսն ու վկան, որ նաեւ այդ ասպարեզներին, շնչահեղձ լինող կենսոլորտին օդ ներարկելու խնդիր ունի:

Նրա երգը փրկում է մեր հիշողությունը փլվածքներից, վերաբնակեցնում է մեր անցյալը, մեր հոգու քաղաքը եւ մեզ տանում է մեծ ճամփորդության, ճամփորդություն մեր միջով դեպի անցյալը, դեպի գալիքը, եւ մենք զգում ենք մեր ներկայությունը լինելության երգեցիկ շղթայում...

Արթուր Մեսչյանը բացառիկ արտիստ է:

Նա բեմականացնում է իր երգերը՝ փորձելով ունկնդրին մասնակիցը դարձնել այդ ծիսական արարողության, որոնց մեջ նա խտացնում է մեր հոգետարածքները: Նա այդ երգասացության թափառող ժամանակներով փորձում է արթնացնել մեր մեջ ներքին մարդուն, վերաբնակեցնել հոգու հանգած, կիսաարթուն քաղաքը, որ լի է իրերով, ֆետիշներով, բայց ոչ մարդկանցով:

Իր խզման եզրին հնչող ձայնով, որ անընդհատ մղվում է ինքնազոհության, որ հնչում է իրականության ու նրա արտացոլանքի սահմանաշերտերին, նա ոգեկոչում է մարդու մեջ մարդուն, կորզում է մեզնից մեր ձայնն ու լսողությունը, մեր ես-ը, ողբերգության միջոցով այն մաքրագործելու համար:

Այս իմաստով նրա յուրաքանչյուր երգն ավարտուն ակտ է: Նրա երգը ափեափ լցնում է դահլիճը, բայց եւ դուրս է գալիս դահլիճներից ու լցնում ամայի տարածքները, ձայն ու հոգի տալով նրանց, քաղաքը վերածելով բեմահարթակի:

Նրա ձայնը դողում է կյանքի եզրաշուրթերին, եւ բեմականացման ապոթեոզի, ոգեկանչի վերջին ակորդներին, թվում է, այն համահունչ ու երգակից է դառնում նրան, եւ ձայնի արձագանքները ձգտում են անսահմանության...

Արթուր Մեսչյանը բոլոր սերունդների բախտակիցն է...

Այդպես անակնկալ մի օր ներխուժելով մեր մեջ, նրա երգը դառնում է մեր հոգու մշտական, մշտարթուն բնակիչը, նրա ձայնը հնչում է մեր մեջ եւ արձագանքում մեզնից դուրս, տանելով մեզ իր հետ իր թափառումների ճանապարհով, ու թվում է, մեր մեջ հնչում են լինելության հավիտենական ղողանջները...

Իր կարճ տեւողության մեջ նրա երգը ժամանակ է խտացնում, մեր կյանքի ժամանակը, որ չի ընդհատվում, որ չի ավարտվում, քանի որ չի ավարտվում նաեւ նրա երգը, քանի որ չեն մարում նրա արձագանքները:

Վարագույրը փակվում է, բայց ձայնի տեսիլքը չի անհետանում, քանի որ նրա կերպարը ապրում է մեր մեջ...

ՀՐԱՉ ԹԱՄՐԱԶՅԱՆ