Philip de la Vache ""The Canterbury Tales"". However, the reference to Vache in Chaucer's poem may on good grounds also be a pun on his own name. The phrase Vache, leve! in the first line of the Envoy corresponds to medieval French Vache, reïs!, 'cow, leave!'. The French phase reïs, Vache!, (REISVACHE), when reversed, becomes CHAVSIER, the French form of the poet's name (this is a so-called palindrome). In the First Book of Kings in the Old Testament, the cows on their way to Beth Shemesh are likened to holy men, or monks on their way to the Heavenly Jerusalem. Chaucer may have regarded
Vache Sharafyan players confidently handled unconventional intonation in Mr. Sharafyan’s “Adumbrations of the Peacock,” a stark, mysterious and ultimately majestic concatenation of broken-bell piano chords, tremulous melodies and quivering textures. theSTRAD Magazine May 2012; by JOANNE TALBOT about Suite for cello and orchestra and Crane for cello, duduk, piano released on BIS Records. ...use of harmonic clusters colors Vache Sharafyan's Suite, which with its ingenious allusions to the harmonic patterns and dance forms of the Baroque travels through a kaleidoscope of iridescent timbres... Equally enthralling is Sharafyan's arrangement of Komitas's Krunk (Crane) for duduk, piano and cello. As in the Suite, tonally