He wrote in essentially all classifications including orchestras, ballet productions, chamber works, and concerti. Very much portrayed by music pundit Edward Greenfield:

Khachaturian’s music quite outshone other Soviet peers in making a forcefully recognizable style, something which his successors have discovered difficult to emu late. In essential thoughts he remains somehow or another as the original of the Soviet arranger, equipped [through his ballet productions, film scores, accidental music and utilitarian work/walk songs] to correspondence with the amplest crowd.

This exposition will concentrate on Aram Khachaturian’s violin concerto, written in 1940 during his primary compositional period from 1936-1948. It will likewise look at his kinship with performers, for example, David Oistrakh, the conspicuous Soviet musician who the concerto is committed to. Also the paper will quickly investigate his relations to the socialist party; subsequently how this affected his organizations and his profession.

Aram Khachaturian was conceived on June 6, 1903 into a working class family in the city of Tiflis, presently Tbilisi, current Republic of Georgia. Tiflis was at the time a multicultural focus in the Caucasus, uniting Armenian, Georgian, and Azerbaijani individuals. It was this social condition that turned into the melodic premise of every one of his works, inarguably adding to his unconventional compositional style. In an article titled “My Idea of the Folk Element in Music” (1952), Khachaturian composed:

I experienced childhood in an air wealthy in society music: mainstream merriments, customs, happy and dismal occasions in the life of the individuals constantly joined by music, the clear tunes of Armen ian, Georgian and Azerbaijani melodies and moves performed by people minstrels [ashugs] and artists – such were the impressions that turned out to be profoundly engraved on my memory, that my melodic reasoning. They molded my melodic awareness and establish at the frameworks of my imaginative character.