Central Washington University Wind Ensemble - Alan Hovhaness: Suite for Band, October Mountain & The Ruins of Ani (2018)

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Central Washington University Wind Ensemble - Alan Hovhaness: Suite for Band, October Mountain & The Ruins of Ani (2018)

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This program brings together a wide variety of Alan Hovhaness’ works including numerous world premiere recordings. These range from the earliest of his band compositions, the processional Tapor No. 1, to more recent chamber pieces such as the gentle barcarole of Vision on a Starry Night. The Ruins of Ani returns us to the tragic location also explored in Hovhaness’ Symphony No. 23 ‘Ani’ (available on Naxos 8.559385), while the Three Improvisations on Folk Tunes evoke dances from the Indian subcontinent. Newly discovered works with percussion include the Japanese-influenced overture to Hovhaness’ opera The Burning House alongside October Mountain, now a classic in its genre.

Tapor No. 1, Processional for Band, Op. 14 (1948)

A tapor is an Armenian congregational procession led by the priest. The earliest of the Hovhaness band compositions, Tapor No. 1 was composed while he was organist at St. James Armenian Church in Watertown, Massachusetts and is written in the modal and contrapuntal styles that became features of Hovhaness’ music.

Mountain Under the Sea, Op. 392 (1984)

It has been suggested that worldwide there are perhaps 100,000 mountains under the sea, many of them volcanic. In Hovhaness’ setting, the alto saxophone assumes the role of a priest delivering a strong lyrical oration over a variety of random ostinatos, among them a series of bubbling and gurgling sounds as if the ocean were alive underneath the saxophone’s eloquent sermon. Under the saxophone’s lyric proclamations, two constantly repeated timpani pitches cause random utterances in groups of three or five notes, further unsynchronized events are added by the harp while the vibraphone quietly intones a repeating twelve-tone row (this at a time when Hovhaness was often criticized by fellow composers for not writing atonal music).

Three Improvisations on Folk Tunes, Op. 248, No. 2 (1952)

From 1951 to 1953 Hovhaness was a resident composer for the Voice of America, creating a wide variety of scores in various ethnic styles for international broadcasts. In his Three Improvisations, each of the three movements evokes music from different sections of the Indian subcontinent.

I. Impromptu on a Bansri Tune: A richly voiced chorale leads to a lighter, dance-like solo for a flute with six or seven finger holes, evocative of Indian bansri music. After the flute’s appearance, clarinets begin a sprightly dance, echoed by bassoon and oboe. The whirling finale is completed with the added voice of a solo trumpet.

II. Impromptu on a Bengal Tune: After the opening’s richly voiced counterpoint, a chant-like dance appears in the saxophones, first with an alto, then two altos, a tenor and finally all join together as a family with a baritone sax. Over a shifting harp ostinato in the background, in each bar a vibraphone intones one note of a twelve-tone row. A majestic anthem concludes the movement.

III. Impromptu on a Pakistan Lute Tune: A reverent four-part fugue gives way shortly to dance-like music. Here the harp slowly intones a seven-note row over the vibraphones’ quicker five-note series. Shortly a solo oboe plays a dance tune as harp and vibraphone gradually exchange roles. The oboe’s dance, joined by flute and bassoon, is grandly finalized as a solo trumpet brings the dance to a strong conclusion.

Vision on a Starry Night, Op. 384 (1985)

Hovhaness’ “vision” (marked Largo “Celestiale”) is set as a gentle barcarole. Initially an arpeggiated harp invites the flute to join in a series of gradually ascending and ultimately “celestial” passages. In a middle section, the xylophone conveys a modal tune along with its own quiet drone. The harp contributes a series of five-note scales, shortly echoed and later embellished by the flute. The opening section returns, and flute and harp gradually rise upward towards a starry night.

October Mountain, Op. 135 (1942 and 1951)

Hovhaness’ October Mountain has become a classic of the percussion ensemble repertoire. It is scored for marimba, glockenspiel (doubling marimba), pedal timpani, tenor drum, bass drum, gong, and giant tam-tam. The first of its five short movements begins with a dialogue between marimba and xylophone, to be followed by a short “patrol-like” section for the drums. The second movement is a marimba and timpani duet, while movement three is an aria for marimba set against twelve-tone writing for the glockenspiel. The fourth is a solemn processional. The fifth and final movement concludes with a quiet chant for the marimba.

Hymn to Yerevan, Op. 83 (1969)

Hovhaness writes: “The ancient city of Yerevan, located at the foot of majestic, towering Mt. Ararat, is the home of Armenians who found refuge there from many massacres. “The music, composed in the ancient fifth mode (“kimtza”) of the Armenian Church, is set in Sharagan, or the style of an Armenian hymn. A solemn contrapuntal motet expresses sorrow, strength and spiritual resurrection. A middle section celebrates a dauntless defiance of tragedy along with a free “rhythmless” chaos of bells and roaring trombones. The solemn contrapuntal hymn returns, heroic and triumphal.”

Meditation on Ardalus, Op. 156, No. 2 (date unknown)

In Greek mythology, Ardalus was the son of the god Hephaestus and is said to have invented the flute. At the 1964 premier of his Suite for Band Hovhaness presented this formerly unpublished music to conductor and flutist Keith Brion.

The Ruins of Ani, ‘Lament for Ani, City of a Thousand Churches’, Op. 250, No. 1 (1972)

Between 961 and 1045 AD, Ani was the vital trading centre and capital of a large kingdom covering much of what is today’s Armenia and eastern Turkey. Its buildings and fortifications were said to have been among the most technically and artistically advanced in the world. In 1064 a Turkish faction, the Seljuks, invaded Ani, slaughtering much of the population. Over many years, through a series of wars, the city became continually diminished. By 1735 it was totally abandoned. Today, Ani’s remaining ruins have become a UNESCO World Heritage Site.

Overture to The Burning House, Op 185a (1962)

In May 1962 Hovhaness received a Rockefeller grant to study traditional Japanese music with the chief musician of the Japanese court, Masataro Togi. Among Hovhaness’ compositions from this period is a one-act chamber opera, The Burning House. The Overture, while scored for Western instruments, is strongly influenced by Japanese gagaku court music and noh music. In Hovhaness’ words, “Eastern music is a string of beads, a set of distant, yet related pitches revolving around a central tone.”

Suite for Band, Op. 15 (1948)

Alan Hovhaness’ earliest band composition, the Suite for Band, is based on a set of counterpoint exercises initially created by the composer for his composition courses at Boston Conservatory. Hovhaness describes his suite as “A series of solemn festival pieces in religious style – sometimes of Armenian character, sometimes of Renaissance spirit. The music is an evocation of pageantry and splendor.”