Bedros Alahaidoyan Coll. 1 | Ourfa

This page presents songs and dance music collected and recorded by musicologist Bedros Alahaidoyan. Beginning in the 1980s, Mr. Alahaidoyan traveled to cities and towns populated by Armenians throughout the Diaspora, in search for Genocide survivors from whom he collected rare songs and anecdotes of their native cities and villages.

Editing of this page, as well as music engraving and digitization, provided by Dzovig Markarian, DMA. Translation: Simon Beugekian.

In the early 1990s, Bedros Alahaidoyan met Harout Bartanian (1934-2015) at the Alahaidoyan residence in Glendale, California. Mr. Bartanian was a vocalist and an oud player from Ourfa.

During this meeting, Mr. Bartanian performed 12 songs that he had learned from his elders, all natives of Ourfa, particularly from his grandmother.

By Garbis Bartanian

This is the partial biography of our father Haroutioun (Harout) Tchwal Yertanian, or Bartanian, as he came to be known after moving to the US.

Harout was born on March 6, 1934.  His parents, Hagop and Mary were both survivors of the Armenian Genocide, originally from Urfa, who had found each other and married after finally settling in Ain El Arab, Syria, after walking through the desert for many days. 

Before having Haroutioun (Harout), Mary had given birth to identical twins, who unfortunately did not survive. A year later however, Mary gave birth yet to another set of twin boys, Garo and Harout (nicknamed “Arshag”).

To tell Haroutioun and Harout apart, their parents decided to pierce Haroutioun’s ear (for years his children used to tease him for it).

Sadly, at the age of 5, Harout lost his father to illness. To support her fledgling family, Mary, who had thus far been a housewife, was forced to seek the livelihood of her family by becoming the breadwinner, as she began doing house chores for an affluent, expatriate and single Frenchwoman, by washing clothes and sweeping floors on her knees. Thus, Mary’s children saw the difficulty of life and the dedication of their loving mother, from a very young age.

During an interview conducted several years ago by one of his granddaughters, Harout related:

“I was eight years old and had a great voice and ever since I was five years old, I would learn songs from my grandmother and sing them. In the backyard of our house, we had a fig tree that I would climb on to sing.  The neighbor ladies would listen to me and then they would tell my mom, “Mary let your son sing for us.” They would also pay me to sing and I would put a tin can on my head that would cover my eyes and I would sing with the broom in my hands, pretending I was playing the Oud. At that time, a twenty five year old by the name Krikor Istambulian, who went to Sharagani church every Sunday, heard me singing and thought my voice was great for an eight year old, and he decided to come take me to church with him. My mother would ask him, “where are you taking this child, what does he do at the church?” He would reply “this child’s voice is enough for the church” and that I have a voice that brings sweetness to the church. And this is how I started to go to church every Sunday and sing.”

A little while later, Harout’s twin brother Garo became severely ill. There were no pharmacies around, and given the fact that the closest doctor lived a hundred miles away in Aleppo and could visit the village only once a month, Garo passed away at the age of 11. This left a lasting impression on Harout throughout his life, having already lost his father 6 years earlier.

Given the lack of financial prospects, Mary decided to move to Aleppo along with her child and her sister’s family, in search of better life conditions.

The discontent witnessed by young Harout, as he saw his mother exhaustively working to make a meager living to support the two of them, was hard for him to bear. Thus, one day as Mary returned from her work, Harout turned to his mother and said: “You will no longer clean floors nor will you wash other people’s clothes any longer. I am the Man of this house, and I will work and support this family.” He was only 12.

True to his word and determined to support his family, Harout went to the city and found a job as an apprentice at a barber shop.

Meanwhile, as Harout’s passion for music, which was apparent from his beaituful singing at the tender age of 8, kept growing, his mother decided to reward him by offering him at the age of 12, the only heirloom left behind from his father: his golden watch.

This was the impetus that would steer the next 70 years of Harout’s life. After he received it from his mother, Harout decided to go to the nearest music shop, where he had noticed a certain item, his other love, the Oud. He had passed by the store every day before and after going to his work at the barber shop, and had noticed it hanging on the wall. But, now, holding the warm golden watch in his sweaty palm, standing as he did outside the window pane, this time he finally found himself courageous enough to step in, asking the owner how much the instrument cost. It was 12 pounds. He went to the nearest jeweler and sold his father’s gold watch for 12 pounds, and soon enough, the 12-year-old Harout was running excitedly back home to feel the strings of this royal instrument against his timid fingers.

1) Harout Bartanian, most probably photographed in Lebanon, in the 1960s (Source: Bartanian family collection).
2) Harout Bartanian, photographed while participating the Studio al-Fan program of the Lebanese public broadcaster (Source: Bartanian family collection).

When he was 19 years old, Harout had the chance to audition and was hired by the state sponsored Aleppo radio station, singing live alongside famous Arabic classical music performers of the day.

At the age of 26, Harout decided to move with his mother and aunt to Beirut, Lebanon to pursue his professional singing career, while supporting himself and his family with his work as a barber.

Not long after moving, one day, as he was walking to his shop, he noticed in front of him the falling of a tender red rose. He stopped, picked the fragrant rose and looked up, and he saw the rest of his life…in the blue-green eyes of our sweet mother Hripsimeh Kevorkian, who was smiling back at him.

In 1966, Harout entered a first-time nationally televised contest of Studio el-Fann, which had begun initially with 500 participants competing in categories of music and song, in Arabic. Here, after going through the various stages of selection, Harout found himself moving all the way to the finals, with four other contestants. Being the only Armenian and therefore non-Arab participant, singing while playing the Oud, Harout was able to climb to the top position as he won the First Place in the prestigious show that was televised around the entire Arab-speaking world.

However, here instead of being congratulated by the Armenian community, Harout was called in during the live televised program to speak with the producers of the show, as he was asked whether he truly was Armenian. This, because apparently the television station had received numerous calls from the Armenian community, which in the 1960’s was quite impressive in its representation. The community had questioned the fact that Harout was Armenian to begin with, and demanded an apology for the impersonation of an Armenian by what seemed to be an “Arab artist.”

After assuring the station and the program directors that he was in fact 100% Armenian, in order to sort out the confusion once and for all, Harout proposes settling this matter by asking the TV producers if he could sing a song in Armenian, on live national TV at the end of the show. Intrigued by the multi-pronged solution of this suggestion, the producers agreed. Here, to the amazement of all, Harout chose to sing the aria of Partsur Sarer, from Anoush Opera, after which all complaints ended and everyone was satisfied and amazed.

Years passed, and on the sad day of May 10^th, 1992 Harout sat down surrounded by his loved ones, holding the same tender hand of his beloved Hrip, the same one as he did in 1962. This time, they were smiling…but it was a time of goodbye.

Having lost his Hrip, Harout was showered with love from his children, and soon he was blessed with the birth of two grandchildren, Hripsimeh and Harout.

He was a proud and happy grandfather, and he made sure his grandchildren received the love of their grandmother through him and the loving embraces, which he was so generous to share.

Life is impermanent, and all things are conditional.

Photographs from performances by Harout Bartanian in the 1970s and 1980s (Source: Bartanian family collection).

As the years passed and took a grinding toll on him, Harout’s health deteriorated, and one day in 2012 he found himself being treated in the hospital for a pelvic fracture due to a fall on Christmas Eve. However, years of battling diabetes and its bittersweet treatment of insulin had taken their toll on his health, and Harout passed away on March 10, 2015.

Along with his four children, Hagop, Mary, Garbis and Kevork, Harout leaves behind a legacy of music, and especially traditional songs from Urfa that he had learned from his grandmother. This, in addition to the countless people who have been touched by him, and have witnessed his humanity, his deep sense of generosity and independent spirit.

1- Aman, Es Beshlonts Aghchina (Goodness, It’s the Beshlo Girl)
2- Akh, Mariam (O, Mariam)
3- Aghvor Aghchig Hos Yegour (Come Here, Beautiful Girl)
4- Aghchin Aghkeg Maz Ounis (Girl, You have Beautiful Hair)
5- Antsrev Gouka Lernere (It’s Raining in the Mountains)
6- Egan Danoghnin (They’ve Come to Take [the Bride])
7- Yes G’ertniya Djampakis (I Was Walking Down the Road)
8- Yergou Yazma Madni Mi (Two Veils, One Ring)
9- Mer Harse Kherov, Pesan Bekherov (Our Bride with her Goodness, the Groom with his Mustache)
10- Mshmshi Dzare Chretsi (I Watered the Apricot Tree)
11- Nsder e Horoun Daga (He/She Is Sitting at the Bottom of the Well)
12- Kner e, Krdner e (He/She Slept, He/She Sweated)

Hey, hey, aman es Beshlonts aghchina
Eler a partsr dener a
Ou gelel a ou ge khme
E chser Asdvadz ga vera
Aman es Beshlonts aghchina
Khler em dzotsin mechina

Oushgi gou kas houshig-moushig
Vodkn e mder varti poushig
Im bzdlig bakn anoushig
Aman es Beshlonts aghchina
Aman es Beshlonts aghchina
Khler em dzotsoun mechina

Oushgi gou kas very keoshken
Kemera engere meshken
Veran egha enkir achken
Aman es Beshlonts aghchina
Aman es Beshlonts aghchina
Khler em dzotsoun mechina

Oushgi gou kas veri dana
Asdvadz kezi tor mi pana
Bachig me dour hara fana
Aman es Beshlonts aghchina
Aman es Beshlonts aghchina
Khler em dzotsoun mechina

Oushgi gou kas veri ekoun
Khafokhe ge tapi kokoun
Bachig me dour babout hokoun
Aman es Beshlonts aghchina
Aman es Beshlonts aghchina
Khler em dzotsoun mechina

Aman es Beshlonts aghchina
Eler a partsr gener a
Ge pere basma degher a
Aman es Beshlonts aghchina
Aman es Beshlonts aghchina
Khler em dzotsoun mechina

Eghsan nsder lvatsk gene
Shmrig mazere tats gene
Khakhoun dghin khelats gene
Aman es Beshlonts aghchina
Aman es Beshlonts aghchina
Khler em dzotsoun mechina

Women from Ourfa and the surrounding area in their traditional dress (Source: Album de la Mission de Mésopotamie et d'Arménie confiée aux Frères-Mineurs Capucins de la Province de Lyon, 1904. Photographer: Father Raphael).

Akh, Mariam, Mariam, Mariam
Yes kezi g’arnam g’arnam
Yes kezi g’arnam g’arnam

Eger babit chi dar se
Gatolig g’ellam g’arnam
Kordisdan kennam g’arnam

Mariamin eres partsa
Veren takkala tartsa
Veren takkala tartsa

Ouzetsi bak mi arnam
Chtoghouts hasoud kora
Chtoghouts hasoud gora

Akh, Mariam, Mariam, Mariam
Yes kezi g’arnam g’arnam
Yes kezi g’arnam g’arnam

Eger babit che dar se
Gatolig g’ellam g’arnam
Prodisdan kennam g’arnam

Ourfa, the famous musical ensemble of Garabed and Djrdjo. From left to right – Garabed (on the keman), Haroutyun (on the qanun), vocalists Asori Djrdjo and Djure Maho, Mrdjo (on the def), and Khacho (on the debelek) (Source: Aram Sahagian, Heroic Ourfa and Her Armenian Offspring, Beirut, Ourfa Compatriotic Union, 1955).

Aghvor aghchig hos yegour
Endzi meg bachig me dour
Asdvadz sires mi merjer
Ourishneroun chem eser

Kna manchoug sevoulig
Achougnert aghvorig
Inch bardk ounim yes kezi
Ays pan chi vayler indzi

Chi vaylelik inch ga vor
Sirds kashets kani vor
Yegour indzme mi pakhchir
Adou mi ellar antatar

Aghvor aghchig toure pats
Tashginags ners mnats
Amenoun hampouyr dvir
Im hampouyrs our mnats

Che che sirds pari e
Bidi dam kezi ange
Vor ge vakhnam mez desnen
Verche mez ge pampasen

Pampaselik inch ga vor
Sirds kashets kani vor
Yegour indzme mi pakhchir
Adou mi ellar antatar

Women from Ourfa and the surrounding area in their traditional dress (Source: Album de la Mission de Mésopotamie et d'Arménie confiée aux Frères-Mineurs Capucins de la Province de Lyon, 1904. Photographer: Father Raphael).

Aghchin aghkeg maz ounis
Plpouli peran ounis
Vosgi djoughab ches dar a
Es inch cheshig naz ounis

Lousingan gab polorets
Sev ambin mech molorets
Yaris ghourbet ertala
Yote darin polorets

Residents of Ourfa in their traditional dress (Source: Aram Sahagian, Heroic Ourfa and Her Armenian Offspring, Beirut: Ourfa Compatriotic Union, 1955).

Antsrev gou ka lernere
Ellenk tarnank mer dera
Ed morit echvin gourna
Indzig hanets lernere

Leri djampan karod e
Yaris hedis kenod e
Barishelou midk chouni
Sirds yaris garod e

Antsrev gou ka lernere
Ellenk tarnank mer dera
Ed morit echvin gourna
Indzig hanets lernere

The students and faculty of the Franciscan School of Ourfa. The students are photographed in traditional dress (Source: Aram Sahagian, Heroic Ourfa and Her Armenian Offspring, Beirut: Ourfa Compatriotic Union, 1955).

Egan danoghnin
Charchar kroghnin
Momer varoghnin
Hoki hanoghnin

Inch agheg hars a
Chousd gdridj pesa
Harsn al pesayin
Hokin e ges a

Haker a atlas
Vodkernin khelkhal
Aghkeg aghchignis
Kach pesa halal

Inch agheg hars a
Chousd gdridj pesa
Harsn al pesayin
Hokin e ges a

Klkhoun goghk genech
Viza vosgoum khech
Gokhadz deghere
Pousni vart gegech

Inch agheg hars a
Chousd gdridj pesa
Harsn al pesayin
Hokin e ges a

Perek def saz a
Gisetsek maza
Aghkeg aghchigin
Kashetsek naza

Inch agheg hars a
Chousd gdridj pesa
Harsn al pesayin
Hokin e ges a

Vartskernit gadar
Aner zonkench mayr
Azk ou azkagan
Kerva gnkamayr

Inch agheg hars a
Chousd gdridj pesa
Harsn al pesayin
Hokin e ges a

View of Ourfa. The photograph was taken from the highest of the forts surrounding the city (Source: Hugo Grothe, Geographische Charakterbilder, Leipzig, 1909)

Yes g’ertniya djampakis
Aghchi mi tbbav tevis
Yes im teves vaz antsa
Togh ka mdne im dzotsis

Lousingan gamar gamar
Yes gou lam kezi hamar
Eresit endzi tartsour
Asdoudzou siroun hamar

Yes g’ertniya djampakis
Aghchi mi tbbav tevis
Yes im teves vaz antsa
Togh ka mdne im dzotsis

A local musical band in Ourfa (Source: Aram Sahagian, Heroic Ourfa and Her Armenian Offspring, Beirut: Ourfa Compatriotic Union, 1955).

Ergou yazma madni mi
Katsink perink harsnoug mi
Chapoute deosheg tepe parts
Harse g’ouze meghr ou hats
Chapoute deosheg tepe parts
Harse g’ouze tahinov hats

Kat mi degher oran mi
Aman bibi doun ga mi
Yes ghourbeta g’ertam a
Gnigis biyogh knnatsni

Ergou yazma madni mi
Katsink perink harsnoug mi
Chapoute deosheg tepe parts
Harse g’ouze meghr ou hats
Chapoute deosheg tepe parts
Harse g’ouze tahinov hats

Mer harsa kherov, pesan bekherov
Atlas degherov genech ogherov
Haker e atlas brgttin kiraz
Garkvil ouzoghin Asdvadz da mouraz

Tserka vodka hanna ouzelov g’erta
Gdridj pesayin pakhdi tor pana
Haker e atlas brgntin kiraz
Garkvil ouzoghin Asdvadz da mouraz

Aghbena cheghoghin knnamish enoghin
Asdvadz mouraza da garkvil ouzoghin
Haker e atlas brgntin kiraz
Garkvil ouzoghin Asdvadz da mouraz

Harsnika harsin halal kach pesin
Halal e halal harse ir pesin
Haker e atlas brgntin kiraz
Garkvil ouzoghin Asdvadz da mouraz

Ourfa, 1900. The wedding photograph of Armenag Attarian. We were unable to identify the other individuals in the photograph (Source: Aram Sahagian, Heroic Ourfa and Her Armenian Offspring, Beirut, Ourfa Compatriotic Union, 1955).

Mshmshi dzare chretsi
Palan dage pretsi
Elin alamin tema
Yes in yares siretsi

Gharib em yega tsezi
Gharib mi esek indzi
Gharibe hoki m’ouni
Ghourban togh ennam kezi

Ourfa, circa 1919-1920. The area around the Father Abraham Pond (Source: photograph by Father Gabriel Bretocq, Archives départementales de l’Eure. Fonds Gabriel Bretocq).

Nserd e horoun daga
Ge pella madnoun aga
Eshkove kov ge ganche
Atlas degheroun daga

Halal e indzi halal
Yaris hed bargim halal
Atame khapvetsav
Takhdin bdghin hamar

Toutou basdegha gerav
Lousingan mera mdav
Elin aghchina indzi yar
Chlbkhtsav dzotsis mdav

Hahal e indzi halal
Yaris hed bargim halal
Atame khapvetsav
Trakhdi bdghin hamar

Ourfa, preparing food (Source: Der Christliche Orient, Potsdam, 13. Jahrgang, 1912, Juli, Heft 7).

Knner e, krdner e
Baker e garmrer e
Paghn inch e paghchen inch e
Aghchig kou djilvet inch e

Paghchen tri yes mamoun
Ego yertank yes ou toun
Merout khoskin mi heynar
Irar arnank yes ou toun

Knner e, krdner e
Baker e garmrer e
Paghn inch e paghchen inch e
Aghchig kou djilvet inch e