Komitas' ingenuity has always been a source of inspiration both for performers and composers. Many creators frequently turn to his delightful musical examples, creating works in various styles for numerous instrumental combinations. These treatments of Komitas' themes are fresh, unique and diverse, though the spirit of the great Armenian classic always appears in each of them.
The author of some prominent works on Komitas' songs was Sergey Aslamazian, the founder and cellist of the Komitas Quartet. An excellent performer, he also was a talented composer who enriched the repertoire of Armenian quartet music. Aslamazian always admired Komitas' art, and he considered the latter's compositions to be unsurpassable and perfect models.
For this very reason Aslamazian set to work, feeling greatly responsible for upholding it. Mastering the secrets and the subtlety of quartet music, in his works he utilised a maximum of performance possibilities of the quartet, aiming at absolute harmony and transparent sounding. "Habrban", "Shogher jan", "Erkinkn ampela", "Keler-tsoler", "Vagharshapat Dance", and "Kele-kele" - these works of Aslamazian are accomplished in a highly artistic way and with excellent knowledge of the technical range of the quartet. Aslamazian shows an individual approach to each instrument, which results in colourful sounds. Sometimes one may seem to hear Armenian folk instruments in his works and not a violin, a viola or a cello.
Using only the means of a standard quartet, Aslamazian obtains the sound of the kamanche or the tar. His treatments are nationalist in spirit and it is no wonder that these miniatures are always included as an integral part of the Komitas Quartet's repertoire. These invaluable pearls of quartet music are admired not only by professional musicians but also by amateurs.
Nikolay Myaskovsky, a symphonic composer of the Soviet era, was right when he said, "These works ought to become a manual for any composer". And in the opinion of Alexander Arutiunian, an Armenian composer, "these pearls of Armenian chamber art, modestly ranked by Aslamazian as arrangements, are made with a delicate and serious master's hand. This charming cycle, which is likely to be the musical motto of the Quartet, has been successfully received so far".
Presently, owing to Aslamazian's treatments, Komitas' art and songs - and through them, the Armenian people - are known all over the world. Aslamazian also has treatments for violin and piano, e.g. "Krunk".
Avet Gabrielian, the first violinist of the Komitas Quartet, did not remain indifferent to the great composer's songs. In his arrangements of Komitas' songs "Kakavik" and "Tsirani tsar" for violin and piano, one can feel a wonderful understanding of the means of a violin performance.
Arno Babajanian, the outstanding Armenian composer, has his own version of Komitas' "Vagharshapat Dance" that is included in the repertoire of many prominent performers.
Another author who worked on Komitas' songs is a noted pianist and teacher, Robert Andreasian. His musical gift was displayed in the field of composition as well. Some of his piano arrangements of Komitas' songs are fascinating. One can easily find in them the influence of the great composer's fine and laconic style. Andreasian treats the original music carefully and thoroughly, trying to preserve the main musical image. Discipline, sincerity, delicacy of feelings, and reticence penetrate everywhere - into the tragic "Garun a", the amusing "Kakavik", the delicate "Oh, Nazan", the lyrical "Abrban", the expressive "Ov arek", or the dramatic "Tsirani tsar".

Each treatment is a highly accomplished miniature. Widely using the spectrum of the piano, Andreasian makes an impression of the sounds of folk instruments. The prominent Armenian composer Aram Khachaturian said of his works, "They are created by a true master".
Treatments of Komitas' music by the pianist Georgy Saradjev are also done with a professional skill. His "Krunk", one of the admirable samples of Armenian national music, sounds original and moving.
A treatment of one of Komitas' songs "Ah, maral djan" for violin and piano is perfectly realised by the performer Aram Shamshian.
Beyond the fine quartet works by Aslamazian, one should especially distinguish the works by the modern composer Ruben Altunian. The created treatment of the song "I've loved" for string quartet dates from an early period of Altunian's creative work. More recently, he composed an original treatment of Komitas' song "Antuni". It is worth mentioning that the composer has used both a kamanche and a chamber orchestra instead of the traditional cast of instruments, thus synthesising timbres in an interesting manner. In the history of Armenian music a unique role is played by Edgar Hovhannesian's ballet "Antuni", written for the 100th anniversary of Komitas' birth, in which the composer used Komitas' melodies to describe the images of this great musician and the Armenian people.
The treatments of Komitas' compositions are also widely used in the variety genre. Komitas' creative work is an interminable source which will no doubt inspire future generations for many years to come.