Timeline of Recording

0:00 William Saroyan

1:05 Reuben Darbinian

3:16 Yenovk Der Hagopian

3:33 Hamasdegh

4:10 Lemyel & Takoohy Amirian

5:38 William Saroyan (Singing)

6:00 Hamasdegh (Singing)

“We should soon enough find that we could enjoy remembering the fun of eight or nine of us being together for a very happy night of eating, drinking, talking, singing, and even taking a few steps of Armenian dancing.” - William Saroyan, Armenian Weekly, May 9, 1974

This summer the Museum is exhibiting two watercolors by the award-winning novelist and playwright, William Saroyan. To accompany these pieces, we are also highlighting sound clips from a homemade lacquer record featuring the iconic writer. In the 1930s and 1940s, we witnessed an explosion of people documenting all kinds of events using commercially available record lathes. These suitcase-sized machines were turntables with a steel needle that instead of playing back a record, etched sound onto a blank disc covered in a lacquer material. The sound quality was often poor but the technology was revolutionary in making home recording accessible for the first time.

In the summer of 1939 in Jamaica Plain, MA, a recording was made at the home of the writer Hamasdegh (Hampartzoum Gelenian) capturing the festivities of a party. The recording gives us fascinating glimpses into the lives of several influential figures in 20th century Armenian-American culture. Similar to one of Saroyan’s watercolor works now on display at the Armenian Museum (which was sketched on the back of a menu from New York’s Ararat Restaurant in 1969) this record documents the spirit of innovation and improvisation spurred by new and unconventional media.

“Yes William Saroyan, Shapat or, Hunis dasin, hazar ine haryur yeresunin …” (I am William Saroyan, Saturday, June 10,1939): Saroyan’s booming baritone voice is heard at the beginning of the commemorative disc. As stated above, the occasion was an intimate gathering at the home of the literary great, Hamasdegh. Saroyan planned the trip to include the Boston premiere of his first successful Broadway play, My Heart’s in the Highlands, as well as his first visit to the Hairenik offices before he embarked on a European vacation.

The relationship between the Hairenik Association and William Saroyan began when the Armenian language Hairenik Daily introduced an English language section to the newspaper. On January 14, 1933, Saroyan submitted a two-verse poem titled, “The Voice of Shah-Mouradian,” an ode to the great singer Armenag Shah-Mouradian. During those early years Saroyan developed a lasting friendship with James G. Mandalian, Editor of Hairenik publications from 1934 -1968. Saroyan, always an advocate for Armenian writers and literature in America, wrote the introduction to the 1939 publication, “Three Worlds,” an anthology of short stories originally published in the Hairenik Weekly.

To document the evening’s festivities, Armen-Vahe (born Kaloust Chboukjian, owner of Armen-Vahe Radio-Record Co.) provided the recording machine and services (although it is unknown how many copies of this disc were made). Following the introduction, Saroyan reads an excerpt from his celebrated book, “The Daring Young Man on the Flying Trapeze,” altering the final line to make it specific to his fellow attendees by stating, “it is a matter that all Armenians know and love.”

He is followed by Reuben Darbinian (Artashes Chilingarian), who was Justice Minister during the First Republic of Armenia and then Editor-in-Chief of Hairenik Press, who complimented Saroyan by stating, “within him resides the Armenian spirit which I have hoped to see in this new generation of Armenian-American youth.” After about a minute of banter (and a hard-to-comprehend discussion) about the record player, there’s an abrupt change in the voice of Yenovk Der Hagopian whose vocal contributions would leave a lasting impression on Saroyan (the full 7-minute recording has been digitized and linked above).

Following the singular vocalist, Hamasdegh is asked to read something from his archives. This recording is a rare opportunity to hear the literary giant in his own voice. Hamasdegh’s eloquent reading is followed by Lemyel Amirian and his wife Takoohy (Queene), who both wish Saroyan safe travels. An unknown female voice (possibly Susanne Ozanian, Nadine Darbinian or Helen Zorigian) is requested to sing, but declines. Serpouhi Gelenian (Hamasdegh’s wife) sets up the closing portion of the evening by stating, “Degeen Hamasdegh is getting sleepy, Baron Hamasdegh is starting to sing.”

In a fascinating moment we hear two very important Armenian-American literary figures singing. Saroyan sings the first words of a song Armenag Shah-Mouradian recorded and popularized, “Gantche Groung.” He’s followed by the voice of Hamasdegh singing “Inch Gonim Hekimen,” by Sayat Nova.

The recording concludes with more playful crosstalk and (perhaps inebriated) attempts at speeches and singing of “Gujn Ara” by Komitas. 

At the time of this recording in 1939, the U.S. government’s restrictive immigration quota system had left a profound impact upon the demographics and dilemmas within the Armenian-American community. Fewer than 200,000 Armenians lived in the entire country, prompting discussions of heritage and assimilation in future generations. The questions regarding cultural and artistic preservation were constants for elders like Hamasdegh and Reuben Darbinian. Saroyan’s reverence for Hamasdegh and Armenian literature displayed to his elders the potential of the new generation of Armenian-Americans.

Through the generous donations to the Museum by Loretta Gelenian, we have the astonishingly rare opportunity to hear the voice of Hamasdegh, who wrote of what was lost so it wouldn’t be forgotten, and Saroyan, the voice of the new generation of Armenian-Americans.

A special thanks to the SJS Charitable Trust for their generous support of our work to digitize and share our collection of 78 rpm records.