vanes Arakelyan began his musical studies in Armenia, and later in Russia. He moved to the United States and pursued his studies in Southern California and earned a Bachelor of Music degree from USC, with intensive training in the class of, Professor Daniel Pollack. He received a Master of Arts degree from California State University, Fresno in the class of Andreas Werz in 2011. Ovanes recently obtained a Doctorate of Musical Arts degree from Claremont Graduate university under the tutelage of well-known pianist, author and pedagogue, Dr. Stewart Gordon.
Ovanes has had numerous performances throughout the United States and abroad, reaching concert stages, such as Weill Recital Hall at Carnegie Hall, Dorothy Chandler Pavilion, Khachaturian Grand Concert Hall, Henry Fonda Theatre, Ford Amphitheatre, California Palace of Legion of Honor, Florence Gould Theatre, among many others, playing solo and duet works with his sister, Gianeh Arakelyan. The duo was invited to perform at the 39th Gala Concert of the American Youth Symphony, at the esteemed Dorothy Chandler Pavilion in the Los Angeles Music Center, performing the "Carnival of the Animals" by C. Saint-Saens on two pianos with the AYS, directed by Maestro Alexander Treger.
In 2004, the duo released a CD dedicated to the Centennial Anniversary of Aram Khachaturian. The CD has been broadcast on classical radio stations in Portland, Oregaon in 2004, and in Las Vegas, NV in 2005. They also released a CD entitled Carnival, in 2006, featuring classical piano duets by various composers. In 2007 Ovanes and Gianeh established the Academy of Classical Music & Art (ACMA) in Fresno, where they both taught.
After obtaining a Master of the Arts degree, Ovanes moved to Los Angeles where he pursued a Doctorate Degree in Musical Arts in 2015.
View Repertoire
Solo Repertoire:

Albéniz, Isaac

Babajanian, Arno:
Armenian Rhapsody for 2 pianos
Dance of Vagarshabat
Six Pictures

Bach, Johann Sebastian:
Toccata in D minor BWV 913
English Suite No. 3 in G minor BWV 808
Partita No. 2 in C minor BWV 826

Bach/F. Busoni transcriptions
Chorale Preludes: Ich Ruf Zu Dir, Herr Jesus Christ BWV 639 in F minor
Nun Komm der Heiden Heiland BWV 659 in G minor
Nun Freut Euch, Lieben Christen BWV 734 in G major

Beethoven, van Ludwig:
Piano concerto No 1 Op 15 in C major
32 Variations in C minor
Piano Sonata Op. 13 in C minor “Pathetique”
Piano Sonata Op 27 no. 2 in C-sharp minor “Moonlight”
Piano Sonata Op 31 no 2 in D minor “Tempest”
Piano Sonata Op 57 in F minor “Appasionnata”
Piano Sonata Op. 109 in E Major

Brahms, Johann:
Rhapsodies Op 79
Intermezzo Op 118 in A minor
Intermezzo Op 118 in A major

Chopin, Fryedrik:
Piano Sonata Op 35 in B-flat minor
Polonaise Op 53 in A-flat major
Polonaise Op posth. In B-flat minor
Nocturnes: Op 9 no. 1, Op 27 no.1, Op 32 no. 1, Op 48 no. 1, Op 55 no. 1
Etudes: Op 10, Op 25

Debussy, Claude:
Preludes: Book I: Voiles; Le Vent Dans la Plaine

Gerswin, George:
Rhapsody in Blue
3 preludes

Haydn, Joseph:
Sonata Hob. XVI:23 in F Major
Sonata Hob. XVI:27 in G Major

Khachaturian, I. Aram:
Masquerade Suite for piano
Sabre Dance for piano

Seven Dances for piano

Liszt, Franz:
Hungarian Rhapsody no. 2 in C-sharp minor
Nocturne No 2 in A flat major “Liebestraum”
Consolation No 3 in D flat major

Mozart, A. Wolfgang:
Piano Concerto No. 21 in C Major K 467
Sonata in F major K. 189e
Sonata in A minor K. 300d

Piazzolla, Astor
Selected Tangos for piano

Prokofiev, Sergey:
Piano Sonata Op 83 No. 7 in B flat
Paino Sonata Op 28 No. 3 in A minor

Rachmaninoff, Sergey:
Preludes Op. 3 No. 2, Op 23 No. 5, Op 23 No. 7, Op 32 No. 4, Op 32 No. 5
Etude Tabelaux Op 33 No. 2, Op 33 No. 4, Op 33 No. 7

Saint Saens, Camille:
Carnival of the Animals for two pianos and Chamber Orchestra

Scarlatti, Domenico
Keyboard Sonatas

Schubert, Franz
Sonata in A minor, Op. 143

Schumman, Robert:
Abegg Variations Op 1
Papillons Op. 2

Scriabin, Alexander
Selected Preludes

Tchaikovsky, I. Peter:
Seasons (set of 12 pieces)
Being a private piano teacher for over fourteen years has taught me to understand each student as an individual, and to show a unique approach to each of them as human beings. I have learned that it is very important for teachers not only to have authority, but to also be compassionate in understanding the students’ persona, character, learning abilities and capabilities, and to be involved in the professional decisions that they make and share with the instructor whom they trust. It is most important to be human, and to treat the students as such.

I have taught many classes, including music appreciation and music theory at the Academy of Classical Music & Art, where I was the co-founder, music director and instructor, and introduction to piano (Music 9) as a teaching associate at California State University, Fresno, where I taught beginning group piano and theory for four semesters. In a classroom setting, I engage with students, play examples, show them how to complete a task, rather than merely writing them on the blackboard. I walk around the classroom to make sure that every student participates. I ask questions to engage them in thoughtful conversations.

I believe that students learn best when they have to research questions, and find answers, which will later be discussed in class. I believe that when a student merely memorizes a book and terms, this information will not be retained for more than one semester. To me student success is not just receiving an ‘A’ in the classroom, but it is remembering, using and applying the information that they learned during class, whether it is academic or philosophical. I teach students how to learn, rather than to memorize loads of information that are provided to them. My aim for each student in class is to be able to conduct scholarly research, find resources, be able to play their instruments at the highest level for their class, and to answer questions intelligently, providing proof for their answers from scholarly articles, texts and treatises. These abilities are not only useful for a music class, but they will be useful for them in all other areas of their studies at college level to help them succeed.

As a music educator it is my goal to nurture a genuine love for music among my students, and to provide a positive atmosphere where students can achieve and excel individually in the deep realm of performing and understanding music. As I guide and instruct my students, I give them freedom to realize their own individual potential and abilities. With keyboard studies, it is important to understand what the student is doing wrong and to identify a solution to fix the problem. Too many times we encounter teachers who tell their students that a passage is being played incorrectly, but they do not care to elaborate and show the student how to fix the issue, and rather tell them that they need more practice. Sometimes more practice is not the answer, and a different approach to the same problem can be an instant fix, such as changing finger numbers, changing hand positions, trying a different touch on the keys, applying the necessary articulation, and so on. It is extremely important for the keyboard instructor to identify the problem and find a quick solution, rather than telling the student to keep practicing a passage incorrectly.

These are a few pedagogical principles that I follow, and I have learned them only from exceptional instructors myself. I have applied all of the knowledge that I absorbed from my own instructors, my own research and my own readings to my students, and share them continuously with all of my students.

Arno Babajanian: Elegy for piano

Chopin Sonata Op 35. (mov. I) Grave-Doppio Movimento

Beethoven Sonata Op 31 No 2 "Tempest" (mov. I)
Ovanes Arakelyan
(559) 472-6888