Хованесс Алан
Hovhaness Alan
Ованнес Алан
Alan Hovhaness
http://en.wikipedia.org/wiki/Alan_Hovhaness
Alan Hovhaness From Wikipedia, the free encyclopedia
Alan Hovhaness with an Indonesian rebab
Alan Hovhaness (March 8, 1911 – June 21, 2000) was an American composer of Armenian and Scottish descent.
His music is accessible to the lay listener and often evokes a mood of mystery or contemplation. The Boston Globe music critic Richard Buell wrote: "Although he has been stereotyped as a self-consciously Armenian composer (rather as Ernest Bloch is seen as a Jewish composer), his output assimilates the music of many cultures. What may be most American about all of it is the way it turns its materials into a kind of exoticism. The atmosphere is hushed, reverential, mystical, nostalgic."
He was among the most prolific composers of the 20th century, composing 67 symphonies and more than 400 opus numbers.Contents [hide] 1 Early life 2 Compositional career 2.1 "Armenian Period" 2.2 Conservatory years 2.3 Relocation to New York 2.4 "Mysterious Mountain" 2.5 Trips to Asia 2.6 World view 2.7 Later life 3 Research Centre 4 Significant compositions 5 Films 5.1 Films about Alan Hovhaness 5.2 Films with scores by Alan Hovhaness 6 Notable students of Alan Hovhaness 7 References 8 External links 8.1 Listening
[edit]
Early life
He was born as Alan Vaness Chakmakjian in Somerville, Massachusetts to Haroutioun Hovanes Chakmakjian (an Armenian chemistry professor at Tufts College who had been born in Adana, Turkey) and Madeleine Scott (an American woman of Scottish and English descent who had graduated from Wellesley College). At the age of five, the family moved from Somerville to Arlington, Massachusetts. Upon his mother's death (October 3, 1930), he began to use the surname "Hovaness" in honor of his paternal grandfather, and officially changed it to "Hovhaness" around 1940. The name change reflected increased pride in his Armenian heritage, something that had earlier been discouraged by his mother. Alan was interested in music from a very early age writing his first composition at the age of four. Among his first and most important influences were the recordings of Gomidas Vartabed, a great Armenian composer who had lived through the Armenian Genocide. Hovhaness decided to devote himself to composition at the age of 14. He composed two operas during his teenage years, which were performed at Arlington High School, and the composer Roger Sessions took an interest in his music during this time. Following his graduation from high school in 1929, he studied with Leo Rich Lewis at Tufts and then the New England Conservatory of Music, under Frederick Converse. With his first wife, Martha Mott Davis, he traveled to Finland to meet the composer Jean Sibelius in 1934, remaining in correspondence for the next twenty years. [edit]
Compositional career [edit]
"Armenian Period"
Hovhaness became interested in Armenian culture and music in 1940, as the organist for the St. James Armenian Apostolic Church in Watertown, Massachusetts, remaining in this position for approximately ten years. In 1942 he won a scholarship at Tanglewood to study in Bohuslav Martinu's master class. However, Martinu had a serious fall in the early summer which made it impossible for him to teach. Instead, the composer's seminar which Hovhaness attended was led by Aaron Copland and Leonard Bernstein. While a recording of Hovhaness's first symphony was being played, Copland talked loudly all the way through it, and when the recording finished, Bernstein remarked "I can't stand this cheap ghetto music." Hovhaness was angered and distraught by his experience at Tanglewood, and quit early despite being on scholarship. The next year he devoted himself to Armenian subject matter, in particular using modes distinctive to Armenian music, and continued for several years, achieving some renown and the support of other musicians, including John Cage and Martha Graham, all while continuing as church organist.
In one of many applications for a Guggenheim fellowship (1941), Hovhaness presented his credo: "I propose to create an heroic, monumental style of composition simple enough to inspire all people, completely free from fads, artificial mannerisms and false sophistications, direct, forceful, sincere, always original but never unnatural. Music must be freed from decadence and stagnation. There has been too much emphasis on small things while the great truths have been overlooked. The superficial must be dispensed with. Music must become virile to express big things. It is not my purpose to supply a few pseudo intellectual musicians and critics with more food for brilliant argumentation, but rather to inspire all mankind with new heroism and spiritual nobility. This may appear to be sentimental and impossible to some, but it must be remembered that Palestrina, Handel, and Beethoven would not consider it either sentimental or impossible. In fact, the worthiest creative art has been motivated consciously or unconsciously by the desire for the regeneration of mankind."
Lou Harrison reviewed a 1945 concert of Hovhaness' music which included his 1944 concerto for piano and strings, entitled Lousadzak: "There is almost nothing occurring most of the time but unison melodies and very lengthy drone basses, which is all very Armenian. It is also very modern indeed in its elegant simplicity and adamant modal integrity, being, in effect, as tight and strong in its way as a twelve-tone work of the Austrian type. There is no harmony either, and the brilliance and excitement of parts of the piano concerto were due entirely to vigor of idea. It really takes a sound musicality to invent a succession of stimulating ideas within the bounds of an unaltered mode and without shifting the home-tone."
However, as before, there were also critics: The serialists were all there. And so were the Americanists, both Aaron Copland's group and Virgil's. And here was something that had come out of Boston that none of us had ever heard of and was completely different from either. There was nearly a riot in the foyer [during intermission] - everybody shouting. A real whoop-dee-doo. (Miller and Lieberman 1998) [edit]
Conservatory years
In 1948 he joined the faculty of the Boston Conservatory, teaching there until 1951. His students there included the jazz musicians Sam Rivers and Gigi Gryce. [edit]
Relocation to New York
In 1951, Hovhaness moved to New York City, where he took up composing full-time. Also that year (beginning August 1), he worked at the Voice of America, as Director of Music, composer, and musical consultant for the Near East and Trans-Caucasian section, eventually losing this job (along with much of the other staff) when Dwight D. Eisenhower succeeded Harry S. Truman as U.S. president in 1952. Beginning at this time, Hovhaness branched out from Armenian music, adopting styles and material from a wide variety of sources. In 1953 and 1954 he received Guggenheim Fellowships in composition. In 1954 he wrote the score for the Broadway play The Flowering Peach by Clifford Odets, a ballet for Martha Graham (Ardent Song, 1954), and two scores for NBC documentaries on India and Southeast Asia. Also during the 1950s, he composed for productions at The Living Theatre. [edit]
"Mysterious Mountain"
His biggest breakthrough to date came in 1955, when his Symphony No. 2, Mysterious Mountain, was premiered by Leopold Stokowski in his debut with the Houston Symphony. A common misconception is that Mysterious Mountain was commissioned for the Houston Symphony, but that is false [1]. That same year, MGM Records released recordings of a number of his works. Between 1956 and 1958, at the urging of Howard Hanson (who was an admirer of his music), he taught summers at the Eastman School of Music. [edit]
Trips to Asia
From 1959 through 1963, Hovhaness conducted a series of research trips to India, Hawaii, Japan, and South Korea, investigating the ancient traditional musics of these nations and eventually integrating elements of these into his own compositions. His study of Carnatic music in Madras, India (1959-60), during which he collected over 300 ragas, was sponsored by a Fulbright fellowship. He studied Japanese gagaku music (learning the wind instruments hichiriki, ryuteki, and sho) in the spring of 1962 with Masatoshi Shamoto in Hawaii, and a Rockefeller Foundation grant allowed him to conduct further gagaku studies with Masataro Togi in Japan (1962-63). He compiled a large amount of material on Carnatic ragas in preparation for a book on the subject, but never completed it.
In 1963 he composed his second ballet score for Martha Graham, entitled Circe. In 1965 he visited Armenia (then under Soviet control), the only time during his life that he would visit his ancestral homeland. [edit]
World view
Perhaps also prophetic in worldly matters, Hovhaness stated in a 1971 interview in Ararat magazine: "We are in a very dangerous period. We are in danger of destroying ourselves, and I have a great fear about this...The older generation is ruling ruthlessly. I feel that this is a terrible threat to our civilization. It's the greed of huge companies and huge organizations which control life in a kind of a brutal way...It's gotten worse and worse, somehow, because physical science has given us more and more terrible deadly weapons, and the human spirit has been destroyed in so many cases, so what's the use of having the most powerful country in the world if we have killed the soul. It's of no use" (Michaelyan 1971). [edit]
Later life
Hovhaness was inducted into the National Institute of Arts and Letters (1951), and received honorary D.Mus. degrees from the University of Rochester (1958), Bates College (1959), and the Boston Conservatory (1987). He moved to Seattle in the early 1970s, where he lived for the rest of his life. In 1973 he composed his third and final ballet score for Martha Graham: Myth of a Voyage.
Hovhaness is survived by his wife, the coloratura soprano Hinako Fujihara Hovhaness, who administers the Hovhaness-Fujihara music publishing company; as well as a daughter, the harpsichordist Jean Nandi (born Jean Christina Hovaness in 1935, and named after Jean Christian Sibelius). [edit]
Research Centre
In 2004 plans were announced to establish an Alan Hovhaness International Research Centre in Yerevan, Armenia, to be part of that nation's State Museum of Arts and Literature. The centre, intended as a world center for Hovhaness research, will house a nearly complete archive of materials related to Hovhaness.[2] [edit]
Significant compositions Prayer of St. Gregory, Op. 62b, for trumpet and strings (interlude from the opera Etchmiadzin) (1946) Lousadzak (Concerto for piano and strings), Op. 48 (1944) Arjuna (Symphony No. 8) for piano, timpani and orch., Op. 179 (1947) St. Vartan Symphony (No. 9), Op. 180 (1949-50) Fantasy for Piano, Op. 16 (1952) Concerto No. 7 (Orchestra), Op. 116 (1953) Prelude and Quadruple Fugue (orchestra), Op. 128 (1936, rev. 1954) Magnificat (SATB soli, SATB choir and orchestra), Op. 157 (1958) Mysterious Mountain (Symphony No. 2), Op. 132 (1955) Symphony No. 4, Op. 165 (1957) Silver Pilgrimage (Symphony No. 15), Op. 199 (1963) Vishnu Symphony (No. 19), Op. 217 (1966) Fra Angelico, Op. 220 (1967) Lady of Light (soli, chorus, and orch), Op. 227 (1969) Shambala, Concerto for violin, sitar, and orchestra, Op. 228 (c. 1969) Symphony No. 22, City of Light, Op. 236 (1970) And God Created Great Whales (whale songs and orchestra), Op. 229 (1970) Majnun Symphony (No. 24), Op. 273 (1973) Symphony No. 50, Mount St. Helens, Op. 360 (1982) [edit]
Films [edit]
Films about Alan Hovhaness 1984 - Alan Hovhaness. Directed by Jean Walkinshaw, KCTS-TV, Seattle. 1986 - Whalesong. Directed by Barbara Willis Sweete, Rhombus Media. 1990 - The Verdehr Trio: The Making of a Medium. Program 1: Lake Samish Trio/Alan Hovhaness. Directed by Lisa Lorraine Whiting, Michigan State University. [edit]
Films with scores by Alan Hovhaness 1956 - Narcissus. Directed by Willard Maas. 1962 - Pearl Lang and Francisco Moncion dance performance: Black Marigolds. From the CBS television program Camera Three, presented in cooperation with the New York State Education Department. Directed by Nick Havinga. 1966 - Nehru: Man of Two Worlds. From The Twentieth Century series; reporter: Walter Cronkite. A presentation of CBS News. 1973 - Tales From a Book of Kings: The Houghton Shah-Nameh. New York, New York: Metropolitan Museum of Art and Time-Life Multimedia. 1980 - Cosmos. Hosted by Carl Sagan. Directed by Adrian Malone. 1982 - Everest North Wall. Directed by Laszlo Pal. 1984 - Winds of Everest. Directed by Laszlo Pal. [edit]
Notable students of Alan Hovhaness Dominick Argento (b. 1927) John Davison (1930-1999) John Diercks (b. 1927) Robert Gauldin Gigi Gryce (1925-1983) Sam Rivers (b. 1923) Lewis Rowell Mary Jeanne van Appledorn (b. 1927) [edit]
References Gagne, Cole (1993). Soundpieces 2: Interviews with American Composers. Scarecrow Press. ISBN 0810827107. Harrison, Lou (1945). "Alan Hovhaness Offers Original Compositions." New York Herald Tribune, June 18, 1945, p. 11. Kostelanetz, Richard (1989). On Innovative Music(ian)s. New York: Limelight Editions Michaelyan, Julia (1971). "An Interview with Alan Hovhaness." Ararat: A Quarterly 45, v. 12, no. 1 (Winter 1971), pp. 19-31. Howard, Richard (1983). The Works of Alan Hovhaness: A Catalog, Opus 1-Opus 360. Pro Am Music Resources. ISBN 0912483008. Miller, Leta E. and Lieberman, Frederic (1998). Lou Harrison: Composing a World. Oxford University Press. ISBN 0195110226. Alan Hovhaness Website [edit]
External links http://www.hovhaness.com/hovhaness.html
[edit]
Listening Other Minds Archive: "The World of Alan Hovhaness" from KPFA's Ode To Gravity series, aired 28 January 1976; includes an interview with the composer by Charles Amirkhanian recorded in late 1975 Art of the States: Alan Hovhaness Lousadzak, op. 48 (1944)
Hovhaness, Alan Compositor http://www.armeniosonline.com.ar/famosos/index.htm
ALAN HOVHANESS Алан Ованесс
He began to compose at the tender age of four. By age 73, he had written over 500 significant musical works, including over 50 symphonies. He has been commissioned to write music for such greats as Yehudi Menuhin, Leopold Stokowski and Jean Pierre Rampal. With such credits to his name, it is easy to understand why Alan Hovhaness is called a musical genius. He is considered an extraordinary versatile composer as he can successfully write for almost any combination of instruments. One critic wrote, "No other American composer of his generation has absorbed the breadth of musical history as he has nor been so temperamentally equipped to express his response to it so naturally." Hovhaness has always had an interest in Armenian music and this led him to explore the entire world of Oriental music. His love of the Orient and its music has been incorporated in his own compositions which blend the western musical traditions with, the eastern musical ideas. Hovhannes once said, "I want to create a world of endless melody. Something very beautiful which also is healing to the human spirit." One only has to listen to a Hovhannes piece to realize he has accomplished this goal.
Alan Hovhaness (1911- ) Алан Ованесс Armenian Composers//http://www.mousaler.com/songbook/data/composers.html
http://www.hovhaness.com/ http://www.armeniapedia.org/index.php?title=Alan_Hovhaness Alan Hovhaness
Alan Hovhaness (March 8, 1911 - June 21, 2000) was an American composer of Armenian and Scottish descent.
He was born as Alan Vaness Chakmakjian in Somerville, Massachusetts to Haroutiun Vaness Chakmakjian, a chemistry professor at Tufts College, and Madeline Scott. (Upon his mother's death (1931), he used the surname "Hovaness" in honor of his paternal grandfather, and officially changed it to "Hovhaness" around 1940.) Alan was interested in music from a very early age, and decided to devote himself to composition at the age of 14. He studied at Tufts and then the New England Conservatory of Music, under Frederick Converse.
He became interested in Armenian culture and music in 1940, as the organist for the St. James Armenian Church in Watertown, Massachusetts. In 1942 he won a scholarship at Tanglewood to study in Bohuslav Martinu's master class. However, Martinu had a serious fall in the early summer which made it impossible for him to teach. Instead, the composer's seminar at which Hovhaness attended was led by Aaron Copland and Leonard Bernstein. While a recording of Hovhaness's first symphony was being played, Copland talked loudly all the way through it, and when the recording finished, Bernstein remarked "I can't stand this cheap ghetto music." Hovhaness was angered and distraught by his experience at Tanglewood, and quit early despite being on scholarship. The next year he devoted himself to Armenian subject matter, in particular using modes distinctive to Armenian music, and continued for several years, achieving some renown and the support of other musicians, including John Cage and Martha Graham, all while continuing as church organist.
In one of many applications for a Guggenheim fellowship (1941), Hovhaness presented his credo: "I propose to create an heroic, monumental style of composition simple enough to inspire all people, completely free from fads, artificial mannerisms and false sophistications, direct, forceful, sincere, always original but never unnatural. Music must be freed from decadence and stagnation. There has been too much emphasis on small things while the great truths have been overlooked. The superficial must be dispensed with. Music must become virile to express big things. It is not my purpose to supply a few pseudo intellectual musicians and critics with more food for brilliant argumentation, but rather to inspire all mankind with new heroism and spiritual nobility. This may appear to be sentimental and impossible to some, but it must be remembered that Palestrina, Handel, and Beethoven would not consider it either sentimental or impossible. In fact, the worthiest creative art has been motivated consciously or unconsciously by the desire for the regeneration of mankind."
Lou Harrison reviewed a 1945 concert which includes his piano concerto Lousadzak: "There is almost nothing occurring most of the time but unison melodies and very lengthy drone basses, which is all very Armenian. It is also very modern indeed in its elegant simplicity and adamant modal integrity, being, in effect, as tight and strong in its way as a twelve-tone work of the Austrian type. There is no harmony either, and the brilliance and excitement of parts of the piano concerto were due entirely to vigor of idea. It really takes a sound musicality to invent a succession of stimulating ideas within the bounds of an unaltered mode and without shifting the home-tone."
However, as before, there were critics: The serialists were all there. And so were the Americanists, both Aaron Copland's group and Virgil's. And here was something that had come out of Boston that none of us had ever heard of and was completely different from either. There was nearly a riot in the foyer [during intermission] - everybody shouting. A real whoop-dee-doo. (Miller and Lieberman 1998)
In 1948 he joined the faculty of the Boston Music Conservatory, teaching there for three years, then in 1951 took up composing fulltime. During the 1950s he branched out from Armenian music, adopting styles and material from a wide variety of sources. In 1954 he wrote the score for the Broadway play The Flowering Peach by Clifford Odets, and then two scores for NBC documentaries.
His biggest breakthrough to date came in 1955, when his Symphony No. 2, Mysterious Mountain, was commissioned for Leopold Stokowski's debut with the Houston Symphony, and that year MGM Records released recordings of a number of his works.
He moved to Seattle in 1963, where he lived for the rest of his life.
His music is accessible to the lay listener and often invokes a mood of mystery or contemplation. Boston Globe music critic Richard Buell wrote: "Although he has been stereotyped as a self-consciously Armenian composer (rather as Ernest Bloch is seen as a Jewish composer), his output assimilates the music of many cultures. What may be most American about all of it is the way it turns its materials into a kind of exoticism. The atmosphere is hushed, reverential, mystical, nostalgic."
Perhaps also prophetic in worldly matters, Hovhaness stated in a winter, 1971, "Ararat" interview: "We are in a very dangerous period. We are in danger of destroying ourselves, and I have a great fear about this...The older generation is ruling ruthlessly. I feel that this is a terrible threat to our civilization. It's the greed of huge companies and huge organizations which control life in a kind of a brutal way...It's gotten worse and worse, somehow, because physical science has given us more and more terrible deadly weapons, and the human spirit has been destroyed in so many cases, so what's the use of having the most powerful country in the world if we have killed the soul. It's of no use."
Significant compositions include: Symphony no. 2 Mysterious Mountain, op. 132 (1955) Symphony no. 4, op. 165 (1957) Symphony no. 5 Nanga Parvat, op. 178 (1959) Symphony no. 9 St. Vartan, op. 180 (1949-50) Symphony no. 15 Silver Pilgrimage, op. 199 (1963) Symphony no. 22 City of Light, op. 236 (1970) Symphony no. 24 Letters in the sand, op. 273 (1973) Symphony no. 50 Mount St. Helens, op. 360 (1982) Fra Angelico, op. 220 (1967) And God created great whales, op. 229 (1968?)
Source Miller, Leta E. and Lieberman, Frederic (1998). Lou Harrison: Composing a World. Oxford University Press. ISBN 0195110226.
