Even at the grocer's level of sheer numbers, the 27 symphonies of Miaskovsky
and the 32 of Havergal Brian are dwarfed by the 67+ symphonies of Alan Hovhaness.
The completion of the Miaskovsky and Brian symphonies on CD seems quite
manageable in this context with the completion of both cycles almost in our
grasp. As a pursuer and listener of all three cycles on disc and on broadcast
tape I still need to hear the Hovhaness symphonies 3, 10, 14, 27-28, 30,
32-35, 37, 41-42, 44-45, 49, 51-56 and 59 onwards in any form. Of the symphonies
I have heard quite a few are available on CD. Crystal offers most of these.
The Scottish-Armenian-US composer started his symphonic journey in 1933 with
a symphony in three movements. This was performed by the New England Conservatory
of Music but the work was destroyed by the composer in the mid 1940s. The
same fate was shared by six other symphonies, five string quartets, operas
and many piano pieces. The surviving symphony from that era is the one now
known as no. 1 The Exile Op. 17, completed in 1936, and premiered
under the baton of Leslie Heward by the BBC in 1939. No. 1 is available on
Delos.
The imposingly intriguing Saint Vartan symphony from the end of the potent
and turbulent 1940s is dedicated to the Mytilene artist Hermon Digiovanno
who became a spiritual guide to Hovhaness. It comprises 24 patins (or tiles)
each lasting less than five minutes; some very substantially less. This is
mosaic-like music. Sadly the individual patins are not separately tracked
on this disc. There are only two tracks for the symphony.
The first episode inevitably reminds the listener of the Fauré
Pavane speeded up. The following processional is a canon for three
trumpets with percussion and explosive interventions from the gong. Then
come three arias for strings and solo brass instruments. They and their
counterparts in the second part speak a still small and peaceful voice amongst
the storm. The horn has a lilt and dip familiar from the film music of Miklos
Rózsa (El Cid). Then comes a Bar (dance) with thunderous timpani and
Tabor a religious processional. The succeeding canon features tip-toe violins
emulating an insect army creeping across a darkling plain. In the next sequence
the vibraphone (in a tribute perhaps to Roy Harris) lofts the string passage
on high. In the Bar the swirling violins suggest a wind of swords and the
Estampie is a vigorous dance (on some strange village sward) and hectic buzzing
insects. To relieve the orchestral tone there follows a Lament for trombone
and piano in which the composer plays the piano. The troubled piano part
reminded me of de Falla's Love The Magician. The sequences which conclude
part 1 include a double canon for percussion, trumpet and strings, a dance
featuring awesome roles (and rolls) for timps and gong; all in an atmosphere
of exotic Medieval antiquity. Part 2's opening Yerk (a celebration of erotic
love) is scored for alto sax, timps and vibraphone. There is an Estampie
and a canon for timps, vibraphone and strings. The high dance for violins
is suffused with noble life. The concluding Estampie reeks of the Medievalism
which I (regardless of the era in which they lived) associate with Susato
and Vejvanowsky.
Vartan might be seen as one of the life-springs of minimalism (e.g. in Reich's
much undervalued Variations for orchestra). The symphony was premiered on
11 March 1951 at Carnegie Hall with the NYPSO conducted by the composer.
As a work it demands the attention of everyone who believes in the chaotic
variety of 20th century symphonism. Along the way it delivers
a spiritual impact reserved to very few works.
The shorter but still substantial Artik concerto is in 8 short movements
including a pizzicato of religious melody, a ballata and laudi and a motet
for Tallis-like strings. A pattern is apparent: alternating in almost every
one of the eight segments strings, solo horn and then strings again. The
work is largely reflective and serious but the horn part is not beyond expressing
an affable joy. Part of this work was inspired by seeing Mt Conway, in the
USA, during a bus journey.
These recordings are from analogue tapes re-recorded digitally. I heard no
hiss at my usual listening level.
The four-fold leaflet is in English only. The leaflet offer good detailed
notes and biographical info on the composer and the artists. There is a good
photo of Amos and Rimon. The two photos of Hovhaness include a superb candid
of Hovhaness conducting on the back of the notesheet. A strangely outlined
photo of the composer is used for the cover.
Reviewer
Rob Barnett
Price 16.95 US dollars plus 2 US dollars per shipping within USA. Orders
from outside the USA please contact Crystal direct for quote. Credit card
orders (Visa or MC) are accepted. Crystal Records 28818 NE Hancock Rd Camas,
WA 98607 phone 360-834-7022, fax 360-834-9680 email:
order@crystalrecords.com
web: www.crystalrecords.com
* National PO of London/Alan
Hovhaness, **Meir Rimon (horn) **Israel PO/David Amos
