"[36], The years preceding and following World War II proved to be very productive for Khachaturian. To this people is dedicated my entire conscious life, as is all my creative work. [73] The Masquerade Suite includes a Mazurka, a Polish folk dance music. [20][19] He enrolled at the Gnessin Musical Institute in 1922, simultaneously studying biology at the Moscow University. [13] In his mature works, Khachaturian used elements from folk songs of Caucasian (including, but not limited to Georgians), Eastern European (Ukrainians, Poles) and Middle Eastern (Turks, Kurds) peoples. Il fut professeur au conservatoire de Moscou et député au Soviet suprême. [57] With the two aforementioned composers and Dmitry Kabalevsky, Khachaturian "was one of the few Soviet composers to have become known to the wider international public". Along with Sergei Prokofiev and Dmitri Shostakovich, he was officially denounced as a "formalist" and his music dubbed "anti-people" in 1948 but was restored later that year. In 1921, the eighteen-year-old Khachaturian moved to Moscow to join his oldest brother, Suren, who had settled in Moscow earlier and was a stage director at the Moscow Art Theatre by the time of his arrival. [86] Although describing him as an important and highly popular composer and a "man of pronounced gifts", Harold C. Schonberg argued in 1978 that Khachaturian "frankly composed popular music" and that after being exposed to his work it becomes evident that it is mostly "formula writing." [E] Khachaturian acknowledged that Komitas "singlehandedly laid the foundations for Armenia's classical tradition". The people create intonational music forms which reveal at once his national elements of an art work. [22], According to James Bakst, what made Khachaturian unique among Soviet composers is "the blending of national Armenian vocal and instrumental intonations with contemporary orchestral techniques". "[a type of] music that was considered too advanced or difficult for the masses to enjoy")[6] and their music was dubbed "anti-people". Il faisait la plupart du temps appel à un orchestre au son mélodieux, sensuel, postromantique voire lyrique. Il allait produire plus de quarante œuvres pour le cinéma et le théâtre. He learned a lot, saw and heard many things anew, and at the same time he had an insight into the tastes and artistic requirements of the Armenian people. Aram Khachaturian Legacy. While following the established musical traditions of Russia, he broadly used Armenian and, to lesser extent, Caucasian, Eastern and Central European, and Middle Eastern peoples' folk music in his works. She commented further: "His music, of course, has a little bit of the edginess of the 20th-century sound, the dissonances coming in.