Childhood (1869–81) Komitas was born
Soghomon Soghomonian in
Kütahya,
Hüdavendigâr (Bursa) Vilayet, Ottoman Empire on 26 September (8 October in
New Style) 1869 to Armenian parents Kevork and Takuhi. According to his autobiographical sketches, his parents' ancestors moved to western
Anatolia from the
Tsghna village in
Nakhichevan's
Goghtn province at the turn of the century. His family only spoke
Turkish due to restrictions by the Ottoman government. Soghomon was their only child. He was baptized three days after his birth. His mother was originally from
Bursa and was sixteen at the time of his birth. People who knew her described her as melancholic, while his father was a cheerful person; but both were interested in music. She died in March 1870, just six months after giving birth to him. Her death left deep scars on him, whose earliest poems were devoted to her. Thereafter, according to different sources, either his father's sister-in-law or his paternal grandmother, Mariam, looked after him. In 1880, four years after he finished primary school in Kütahya, Soghomon was sent by his father to
Bursa to continue his education. He possibly stayed with his maternal grandparents who lived in the city. He was sent back to Kütahya four months later, following the death of his father who had become an alcoholic. Although Soghomon was adopted by his paternal uncle Harutyun, his "familiar and social structure had collapsed." A childhood friend described him as "virtually homeless." He was completely deprived of paternal care and was "placed in circumstances that made him vulnerable to the mental illness he suffered later in life".
Etchmiadzin (1881–95) His life took a radical turn in the fall of 1881. In September, the twelve-year-old Soghomon was taken to Etchmiadzin by Kevork Vartabed Tertsagyan, the local Armenian bishop, who was asked by the
Holy See of Etchmiadzin to find an orphan boy with good singing voice to be enrolled in the prestigious
Gevorgian Seminary. On 1 October 1881, Komitas was introduced to
Catholicos Gevorg IV, who was disappointed with his lack of knowledge of Armenian, but was so impressed with his singing talent that he often asked Komitas to sing for visitors. After an unfortunate childhood, Komitas found "emotional and intellectual stability" in the seminary. Between 1881 and 1910, Komitas was mainly based in Etchmiadzin, although he did spend a significant time in Europe. During his first year at the seminary, Komitas learned the Armenian music notation (
khaz) system based on ancient
neumes developed earlier in the 19th century by
Hampartsoum Limondjian and his students. He gradually discovered a great passion for music and started writing down songs sung by Armenian villagers near Etchmiadzin, who affectionately called him "Notaji Vardapet", meaning "the note-taking priest". In the early 1890s, Komitas made his first attempts to write music for the poems of
Khachatur Abovian,
Hovhannes Hovhannisyan,
Avetik Isahakyan (his younger classmate) and others. In 1891, the
Ararat magazine (the Holy See's official newspaper) published his "National Anthem" (Ազգային Օրհներգ, lyrics by seminary student A. Tashjian) for polyphonic choirs. He finished the seminary in 1893, became a music teacher and was appointed the choirmaster of the
Etchmiadzin Cathedral, Armenia's mother church. In the same year, his first collection of transcribed folk music, "The Songs of Agn" (Շար Ակնա ժողովրդական երգերի), was completed, which included 25 pieces of love songs, wedding tunes, lullabies and dances. It was disapproved by a reactionary and ultraconservative faction of the Etchmiadzin clergy, who harassed and sarcastically referred to Komitas as "the love-singing priest". Rumors of alleged sexual misconduct were spread, leading Komitas into experiencing an
identity crisis.
Tiflis and Berlin (1895–1899) , c. 1900 In October 1895, Komitas left Etchmiadzin for
Tiflis to study
harmony under composer
Makar Yekmalyan, whose polyphonic rendering of Armenian liturgy is the most widely used and who became one of Komitas's most influential teachers. At the time, Tiflis was the most suitable option for Komitas as it was both relatively close to the Armenian lands and had a
rectory, where he could stay. The six months Komitas spent with Yekmalyan deepened his understanding of European harmonic principles and laid the groundwork for his further education in European conservatories. As Komitas prepared for entrance exams, the wealthy Armenian oil explorer
Alexander Mantashev agreed to pay 1,800
rubles for his three-year tuition at the request of Catholicos
Mkrtich Khrimian. Komitas arrived in
Berlin in early June 1896 without having been accepted by any university. A group of Armenian friends helped him to find an apartment. He initially took private lessons with Richard Schmidt for a few months. Afterwards, he was accepted into the prestigious
Frederick William University. With little left of Mantashev's money after paying for rent and supplies, Komitas cut on food, having one or no meal each day. However, this did not distract him from education and he effectively absorbed the erudition of highly accomplished German teachers. Among them were 18th–19th century folk music specialist
Heinrich Bellermann,
Max Friedlaender,
Oskar Fleischer. Fleischer in May 1899 established the Berlin chapter of the International Musical Society (), of which Komitas became an active member. He lectured there on Armenian folk music and suggested that it dated back to pre-Christian, pagan times. His studies at the university ended in July 1899.
Main period of work (1899–1910) Upon his return to Etchmiadzin in September 1899, Komitas resumed teaching and composing. He assembled and trained a large polyphonic choir based on his acquired knowledge. Until 1906, he directed the Gevorgian Seminary choir. It was in this period when he completed "most of the theoretical and research papers that earned him his place among the pioneers of ethnomusicology." Komitas spent summers in Armenian countryside, developing a unique relationship with villagers. He thus took the scholarly task of transcribing and preserving rural Armenian songs. In the fall of 1903 after three years of collection and transcription, Komitas published a collection of 50 folks songs titled "One Thousand and One Songs" (Հազար ու մի խաղ). Lyricist
Manuk Abeghian helped him compile the folk pieces. The same collection was reprinted in 1904, while in 1905 a further 50 songs were published.
Constantinople (1910–15) in 1911 "Seeking to bring appreciation of Armenian music to a wider audience",
Grigoris Balakian's
Armenian Golgotha offers details of his deportation, during which Komitas suffered tremendously and was afflicted with traumatic neurosis. In one passage Balakian recounts how: In the autumn of 1916, he was taken to a hospital in Constantinople, Hôpital de la paix, and then moved to Paris in 1919, where he died in a
psychiatric clinic in
Villejuif in 1935. Next year, his ashes were transferred to
Yerevan and buried in the
Pantheon that was named after him. ==Legacy==