Unheard Hovhaness


KALAN 773

Alan Hovhaness (1911-2000) is among the most prolific of American composers. He has written so much music that even now, over twenty years since he exited the earthly plane, there remains much music that has not been recorded and manuscripts that await editing and publication. This beautiful recording fills some of those gaps.

First I must say that Hovhaness holds a special place for me personally as his music has always felt like a personal discovery. In my early teens I was immediately hooked when I first heard a recording of his second symphony, better known as “Mysterious Mountain” (in the Chicago Symphony/Reiner recording). It would be years before I attempted to grapple with the structure of his music but I knew it spoke to me.. Another piece which caught my still forming musical ear was his Allegro on a Pakistan Lute Tune from pianist Robert Helps’ classic survey of American piano music on CRI recordings from 1966. And in 1976 Hovhaness’ “Achtamar” was included in radio station WFMT’s bicentennial survey of American Music curated by composer/educator Raymond Wilding-White.

I later heard a broadcast performance from Oberlin of his Visionary Landscapes for piano which also grabbed my attention. I would later hear this in the recording and at a live recital in 2011 performed by Sahan Arzruni in Berkeley, California in celebration of the composer’s centennial (curated by legendary Bay Area Armenian-American composer/producer/educator/broadcaster Charles Amirkhanian). I later purchased the two wonderful discs of piano music by equally legendary pianist/broadcaster/educator/new music advocate Marvin Rosen as well as a disc or two with the composer himself at the keyboard.

That brief personal history serves to illustrate some of why this disc is so exciting to me. This new recording is a sumptuous production that came in a little cardboard CD box with a distinctive design and gold stamped lettering. Inside is a CD in a matching cardboard slipcase and a high gloss paper booklet in three languages (Turkish, Armenian, and English). These useful notes describe the nature and sources of these compositions which are recorded for the first time, some from manuscripts which remain unpublished.

Arzruni is himself of Armenian extraction (born in Istanbul in 1943) and has been active as a pianist for many years as soloist and as a chamber music partner in a wide range of music. Some will recall him as the straight man playing in some of Victor Borge’s humorous recitals. Arzruni is a multifaceted artist whose knowledge and affinity for Turkish and Armenian music along with his firm grounding in the traditional western classical repertoire make him one of the finest interpreters of Hovhaness’ music. The pianists discography is diverse and interesting encompassing classical repertoire as well as fascinating niches of contemporary music from Turkey, Armenia, and their diaspora.

Sahan Arzruni with composer Alan Hovhaness

There are 34 tracks which contain 10 compositions. Some of the tracks require a percussionist (Adam Rosenblatt). All tracks are vintage Hovhaness. Though he is an American composer, born in Massachusetts, Hovhaness, in the tradition of learning non-western musics that traces to composers like Henry Cowell, Lou Harrison, McPhee, Georges Enescu, and other proto-world music scholars who incorporated non-western scales, tunings, and compositional methods in their work. Hovhaness studied variously Armenian traditional music as well as Korean, Chinese, Japanese, Indian, Javanese, and Balinese musics.

The first piece on this disc is the five movement “Invocations to Vahakn” (1945-6). Vahakn is, in Armenian mythology, a god who symbolizes martial victory. According to legend he saved the earth by slaying savage black dragons in pre-Christian Armenia. The first movement is for solo piano. The remaining four augment the piano with various percussion instruments including a thunder sheet, Chinese drums, a conch shell, Burmese gongs, and cymbals. This piece appears to have been recorded only once before in an excellent performance by the Abel/Steinberg/Winant Trio on New Albion records.

Next up is another five (originally seven) movement suite for piano (this time without percussion), “Yenovk” (1951). This work went through several revisions ultimately culminating in it being renamed, “Madras Sonata” (1960). These five movements reveal various aspects of his compositional style including his imitation of non-western instruments and the use of various western and non-western forms. The five movements in the world premiere of this version of the work are: Fantasy, Canzona, Jhala, Canzona, Ballata, and Fugue. Hovhaness was a master of counterpoint and fugue as can be heard here. This was dedicated to Yenovk Der Hagopian, a singer and friend of the composer who introduced him to Armenian traditional folk music.

Lalezar (1947) is for solo piano. The title is a Farsi word for “field of tulips” and, like many of Hovhaness’ works, it went through later transformations culminating in it becoming a song in the 1971 song cycle (The flute Player of the Armenian Mountains) written for the great Armenian bass singer, Ara Berberian.

The next three tracks contain the “Suite on Greek Tunes” (1949). It is dedicated to the Greek-American pianist William Masselos (1920-1992) whose performing repertoire included a great deal of American music. This appears to tbe the first recording of it. The three movements, wedding song, grapeyard song, and dance in seven tala. The last movement reflects Hovhaness’ interest in Hindustani music. Tala is a rhythmic form in that musical system.

Mystic Flute (1937) is a brief piece which is also based on tala. It was a frequent encore played by none other than Sergei Rachmaninoff. The 1962 revision, given the Opus number 22 has been recorded but this is the premiere recording of the 1937 version originally published in 1942.

Journey into Dawn (1954) was originally titled, “Piano Suite No. 2”. This second of four piano suites composed in 1954 is cast in five movements: Hymn, Fugue, Jhala, Aria, Alleluia. Again we hear the eclectic nature of the composer’s interests with elements here of sacred music, western art music, and Hindustani forms.

Laona (1956) was originally titled, “Genesee River” after the river which runs through Rochester, New York. Hovhaness was fond of the views of the river. He later changed the name of the piece in reference to the city in New York state where the Spiritualist Movement established a center in the mid-19th century. This is an impressionistic piece rather unlike Hovhaness’ other works in style but certainly of the same quality. This is its recording premiere.

The three movement “Lake of Van Sonata” (1946, rev 1959). The title refers to Lake Van, the largest body of water in Anatolia and was the center of the Armenian kingdom or Ararat. It was populated predominantly by Armenians from about 1000 B.C. until the Armenian genocide of 1915. In his liner notes Arzruni reports that he has abridged the first movement in collaboration with the composer. This sonata has been recorded at least twice before this release.

Vijag (1946) is a composition for two pianos. The title refers to the traditional Armenian fortune telling festival. Though the notes do not specify, it appears that Arzruni plays both parts. It is a world premiere recording.

The disc ends with a fairly large work, the eight movement “Hakhpat Sonata” (1948-51). It is scored for piano and percussion (apparently the only Hovhaness piano sonata that uses percussion). The percussion consists of a large Tam Tam and a kettle drum tuned to the note “G”.

This is the first recording of this piece whose title refers to a large monastic complex built in 976 CE. The monastery has been placed on UNESCO’s World Heritage List as of 1996.

This is a major release, a gorgeously recorded and produced CD album which fills essential gaps in Alan Hovhaness’ recorded legacy. The liner notes by Mr. Arzruni reflect his depth of knowledge of the music and his thorough research. All collectors of American Music, Armenian Music and lovers of piano music in general will want to have this disc. It is a gem.

Other Minds 20 and Why You Shouldn’t Miss It


Official Other Minds Logo

Official Other Minds Logo

The three days of concerts scheduled for March 6, 7 and 8 of this year at the beautiful SF Jazz Center will mark the 20th anniversary of Other Minds opening the ears and minds of bay area new music audiences.  Previously composers could only appear once at this festival (thought performers frequently return) but the anniversary celebration is marked by the return of several alumni.  In fact the entire program consists of composer alums.

Other Minds is an annual festival of new and unusual music curated by bay area composer, producer, broadcaster Charles Amirkhanian and his crew at Other Minds.  Along with co-founder, now president emeritus Jim Newman and a varied and sometimes changing crew of talented and dedicated archivists, fund-raisers and coordinators this festival was born in 1993.

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Every year (though the actual month has changed for various reasons related to venue availability and funding) an international group of composers is brought together first at the Djerassi Arts Center just west of Palo Alto where they share their work and ideas with each other for a week in preparation for the performances of their work to come at the concert series.  This residency is a sort of private retreat open only to the composers and the staff of the center.  And given the range of musical styles it must be a fascinating thing to witness as composers largely unfamiliar with each others’ work gather to share and wonder at each others’ strange and innovative ideas.  Who knows what seeds may have been sown?

Sadly, Dr. Carl Djerassi who founded the center passed away on January 30, 2015.  His arts advocacy will live on through his beloved Djerassi Arts Center and this OM 20 will be a testament to that legacy.

What makes this festival so significant is the fine tuned and prescient nature of the selected composers.  Just a quick look at the list of composers and performers who have participated in the past looks almost like a who’s who of new music as practiced in the late 20th and early 21st centuries.  One of their commissions, Henry Brant’s (1913-2008)  won a Pulitzer Prize (Ice Field, 2001, Pulitzer Prize, 2002).  And it is programming with a uniquely west coast ethic, whatever that means.  I just know these programs are a different take on new music than that of the east coast.  Not a value judgement there, just a celebration of a different, equally important, point of view.

 

WHY YOU SHOULDN’T MISS OM 20

First you will find a generous (though hardly complete) selection of music by Charles Amirkhanian (1945- ) who has been at the helm of this festival from the beginning and was for 23 years the music director of KPFA radio where his programming and interviews with composers and performers of new music spanned a wide and eclectic gamut of styles and techniques.  Perhaps most significant has been his support of northern California composers whose work would otherwise have been poorly represented.  Amirkhanian’s keen ear has introduced a great deal of new and interesting music to bay area audiences and beyond.

Executive Director Charles Amirkhanian in his ...

Executive Director Charles Amirkhanian in his office with ASCAP award in background (Photo credit: Wikipedia)

In addition to his abilities as producer and interviewer Charles is also a noted composer.  Trained as a percussionist, he has written quite a bit of music which deserves recognition for its innovation.  His best known works are those with tape recording, sound poetry and the uses of language.   His music will be featured in several performances and will be a welcome and tantalizing complement to the overall diverse tone that characterizes OM programming.

Amirkhanian’s oeuvre will be represented by “Rippling the Lamp” (2007) for violin and tape, three short pieces for voice and tape, “Dumbek Bookache IV” (1988), “Ka Himeni” (1997), “Marathon” (1997) and, on the third concert, “Miatsoom” (1994-97), a piece based on sounds (vocal, ambient and musical) recorded during the only trip Charles and his father made to Armenia in 1994.  This approximately half hour work is typical of his ability to create a fascinating and meaningful sound collage.  Miatsoom is Armenian for reunion, indeed the apparent theme of OM 20.

In an uncharacteristically political expression this year’s festival is in commemoration of the 100th anniversary of the Armenian genocide.  Amirkhanian is the descendant (both he and his father Benjamin were born here) of Armenian immigrants and grew up in Fresno, California.  The genocide of 1915 (also the year of Benjamin’s birth) was in fact only the most infamous and fatal of the ongoing abuses by the Ottoman Turk government in response to Armenians seeking equal rights (a familiar social issue both then and still today).  Charles has been tactfully apolitical in his programming but his music at times has paid respectful homage to his ancestry and their struggles. It seems right to pay respect to one’s ancestors and perhaps acknowledge that we still have much to do and learn in our imperfect world.

Tigran Mansurian

Tigran Mansurian

Appropriately the esteemed Armenian composer Tigran Mansurian (1939-  ) has been welcomed back and will be represented by two major works.  Romance for Violin and Strings (2011) and Canti Paralleli (2007-8) for soprano and string orchestra are both scheduled for the third concert of the festival.  I was unable to find any details about these pieces but Mansurian’s work certainly deserves to be better known and these performances are a welcome opportunity to hear this major compositional voice.

Lou Harrison

Lou Harrison (Photo credit: Wikipedia)

Homage will be paid to two past masters who are no longer with us, American  composer Lou Harrison (1917-2003) and Australian composer Peter Sculthorpe (1929-2014).  Harrison was a beloved bay area figure whose work with gamelan and other world musics led him to experimentation with alternate tuning systems.  Harrison will be represented by his “Scenes from Nek Chand” (2001-2) played on a National Steel Guitar tuned in just intonation by the wonderful guitarist David Tannenbaum who will also play Sculthorpe’s “From Kakadu” (1993) for conventionally tuned classical guitar.  Sculthorpe, born in Tasmania, was one of Australia’s best known composers who essayed widely in chamber, choral and orchestral music. His 14th string quartet (with didgeridoo played by Stephen Kent) “Quamby” (1998), played by the amazing Del Sol Quartet (who recorded all 18 of the composer’s string quartets) is scheduled to conclude the first concert.

Peter Sculthorpe

Peter Sculthorpe

 

Pauline Oliveros

Pauline Oliveros

Pauline Oliveros (1932- ) is one of the grand ladies of new music.  Her theoretical work in defining music and the act of listening as partners in the creative process and her subsequent compositions including ground breaking work with early electronics with the San Francisco Tape Music Center and later at Mills College characterize her wide range of interests and her insights.  Her principal instrument, strangely enough, is an accordion and she will be performing as well.  OM has commissioned a new work from her, “Twins Peeking at a Koto” (2015, world premiere) for two accordions and koto.  to be presented at the second concert.  Playing the koto will be Miya Masaoka (1958-  ) whose second string quartet will receive its world première on the first night by the  Del Sol Quartet.  Masaoka, Japanese/American native of Washington D.C., is a New York based composer whose work brings her to the west coast frequently where she is a founding member of the Bay Area experimental improv trio Maybe Monday.  Her work involves improvisation and frequently uses unusual sound sources like bees and even cockroaches (not to worry, no insects are slated to perform) and creates site specific multi-disciplinary works in collaboration with musicians and dancers.

Miya Masaoka

Miya Masaoka

Errolyn Wallen (1958-  ) can be said to embody the OM ethic.  Born in Belize, Wallen  left the Dance Theater of Harlem to study composition in England and says of her work, “We don’t break down barriers in music…we don’t see any.”  Her Percussion Concerto (1994)  was the first work by a black woman to have been performed at the London Proms Concerts.   Her “London’s Burning and other songs” will be played on the second night by the SOTA string quartet and Wallen voice and piano.

Errollyn Wallen

Errollyn Wallen

Don Byron (1958- ) similarly states that he strives for “a sound beyond genre”.  Steeped in classical, jazz and folk musics, Byron’s quartet (Don Byron, clarinet; Aruán Ortiz, piano; Cameron Brown, bass; John Betsch, drums) is featured at the conclusion of the second night of the festival.

Don Byron

Don Byron

Maja S.K. Ratkje (1973- ) from Norway whose work is perhaps related to Mr. Amirkhanian’s  in her exploration of the possibilities of the human voice.  Her “Traces 2” (2014-5) will receive its U.S. premiere on the first night’s concert.

Maja Ratkje

Maja Ratkje

The third concert will be unusual for two reasons.  First it will take place beginning at 3PM and, second it will feature a full orchestra.  This night will conclude with U.S. premiere of the Second Symphony (2014) by Michael Nyman (1945- ) .  Nyman is perhaps best known for his numerous wonderful film scores but is also highly accomplished in his work in the concert hall.  In the past three years Nyman has turned for the first time to the Symphony form and has completed to date no fewer than 11  symphonies.  Quite a feat.

Michael Nyman in Sant Cugat del Vallès

Michael Nyman in Sant Cugat del Vallès (Photo credit: Wikipedia)

Tickets still available as low as $15/night.  Quite a festival!