| флаг чистовик =ё7
| портрет = 6988 2.png
| дата рождения = 08.03.1911
| место рождения =
| дата смерти = 21.06.2000
| место смерти =
| краткая информация = Американский композитор армянского происхождения
| тэг01 =
| тэг02 =
=Биография=
Alan HovhanessFrom WikipediaАлан Ованес является одной из наиболее своеобразных Америке музыкальные пионеры, the free encyclopedia Alan Hovhaness with an Indonesian rebabкто стремился к примирению музыкальная между Востоком и Западом, духовного и мирского, задолго до того, было модно делать.
Alan Hovhaness (March 8Родился в городе Бостон, 1911 – June 21штат Массачусетс, 2000) was an American composer of Armenian and Scottish descentчтобы армянский отец и мать шотландским происхождением, его воспитание было более или менее обычным американцем. Будучи мальчиком он сочинил в тайне, как только заметил: "Моя семья думала писать музыку было ненормальным, так что они будут конфисковать мою музыку, если они поймали меня в законе". Раннего музыкального наставником и личным другом был Сибелиус, от которого, возможно, Ованес приобрел его любовь к долгой лирической мелодии.
His music is accessible to the lay listener and often evokes a mood of mystery or contemplationКомпозиторы восприимчивость к армянской культуре было разожгла вокруг 1940 года, когда он стал органистом в Bostons армянский собор. 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)Здесь он имел контакты с раннего литургического армянскую музыку, his output assimilates the music of many culturesа также произведения композитора Комитаса Vartabed священника. What may be most American about all of it is the way it turns its materials into a kind of exoticismС 1944 года начал серию работ с армянскими названия или предмета. The atmosphere is hushedПо существу в составе армянский Ованес's периода, reverentialэти смелые работ огромный monodic мелодии на статической трутней несколько предвещая минималисты в конце 1960-х. Ованес сам охарактеризовал эту музыку как гигантские мелодии в простых и сложных режимов вокруг канцелярские принадлежности или движимом тональных центров ". С 1944 года он тоже внес свой дух ропота, mystical, nostalgicгде музыкальная фраза повторяется снова и снова каждый игрок самостоятельно производить жужжанием текстурного размытия. Эта так называемая техника Ad Libitum впоследствии используются Европейской авангарда (начиная с Lutoslawksi и Лигети в 1960). Армянский этапе достигло своего апогея с 24-движения Санкт Вардан симфонии в 1950 году."
He was among the most prolific composers of the 20th centuryВ 1950-х стиле Hovhanesss стала более Westernised, composing 67 symphonies and more than 400 opus numbersно некоторые армянские и индийские влияний остается заметным.Contents [hide]1 Early life2 Compositional career 2Весьма примечательно это его новаторское использование индийской циклической концепции ритма.1 "Armenian Period"2.2 Conservatory years2.3 Relocation to New York2.4 "Mysterious Mountain"2.5 Trips to Asia2.6 World view2.7 Later life3 Research Centre4 Significant compositions5 Films 5.1 Films about Alan Hovhaness5.2 Films with scores by Alan Hovhaness6 Notable students of Alan Hovhaness7 References8 External links 8В это десятилетие он добился широкого признания, в частности с его симфонии Таинственная гора, премьера Леопольд Стоковский и зарегистрированы Фриц Райнер и Чикагский симфонический - хотя это ни парадоксально, это один из его менее экзотических звучащие оценки.1 Listening
После длительных визитов в Индию, Корею и Японию в 1959-62 для изучения древних Karnatic, Ah-ак, а Гагаку музыкальных традиций, Ованес приступили к музыкальному стилю включения Индо-восточный Idioms протяжении 1960-х годов, в период, когда его музыка была на своем Наиболее удаленные от западной модели. Например, его Симфонии № 16 засчитывают как для западного оркестра и ансамбля традиционного корейского включая индивидуальные части для kayagum, своего рода цитры. Как всегда, его музыка оставалась тональной, или, вернее, модальная.
[edit] Early life He was born as Alan Vaness Chakmakjian in SomervilleНачиная с 1970 восточными влияниями несколько отступила, 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. хотя 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 wifeостается весьма плодовитого, Martha Mott Davis, he traveled to Finland to meet the composer Jean Sibelius in 1934, remaining in correspondence for the next twenty yearsдостигнув около 450 Opus ко времени его смерти.[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 musiciansЕго творчество включает в себя музыку практически во всех мыслимых жанров, including John Cage and Martha Grahamот больших масштабах оратории, all while continuing as church organistоперы и симфонии до фортепианные сонаты и сольные работы на восточных инструментах.
In one of many applications for a Guggenheim fellowship (1941)Вообще говоря, Hovhaness presented his credo:"I propose to create an heroicОванес высокой коммуникативной пишет музыку, monumental style of composition simple enough to inspire all peopleкоторая является созерцательной, completely free from fadsредко жесткой, artificial mannerisms and false sophistications, direct, forceful, sincere, always original but never unnaturalи часто с явной или подразумеваемой мистические темы. 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 PalestrinaТакие идеи были очень немодно в 1950-е и 60-х, Handel, and Beethoven would not consider it either sentimental or impossible. In factно еще на заре внедрения кросс-культурных и новых тенденциях в возрасте в 1970-х он приобрел расширяющийся круг преданных почитателей, the worthiest creative art has been motivated consciously or unconsciously by the desire for the regeneration of mankindаудитория не отличаются в своих музыкальных вкусах на многочисленные поклонники позднее духовных минималисты таких как Арво Prt и Джона Тавенера."
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."Оркестровая музыка
However, as before, there were also critics:The serialists were all thereHovhanesss Исключительно большой объем оркестровая музыка включает в себя более 20 концертов и почти 70 симфоний которая включает лучшие Таинственная гора № 2 и № 6 Небесные ворота. № 7 Концерт для оркестра (1953) является одним из наиболее тугие и целенаправленной работы 1950-х годов американский композитор. And so were the AmericanistsСреди наиболее отличительных Hovhanesss работ его эмоциональное стихи тона, both Aaron Copland's group and Virgil'sтакие как свободная мир и медитация на Орфей. 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] Одна из его наиболее дальновидной высказываний является 16- everybody shouting. A real whoop-dee-dooминутного Фра Анджелико, вдохновленные картинами художника эпохи Возрождения. (Miller and Lieberman 1998)[edit]
Conservatory yearsКамерная музыка
In 1948 he joined the faculty of the Boston ConservatoryДве жемчужины являются его 1951-армянски цветные Khaldis (4 Концерт для трубы, фортепиано и ударных), а в 1972 году на четыре квартета арф, озаглавленного острова таинственные звонки, пример его объекты с нестандартным ансамбли, teaching there until как это восхитительная миниатюрная По Зачарованная земля (1951) для арфы, флейты, виолончели и гигантские Tam-Tam. His students there included the jazz musicians Sam Rivers and Gigi Gryce.[edit]
Relocation to New YorkВокально-хоровая музыка
In 1951Среди его лучших достижений здесь, Hovhaness moved to New York Cityвероятно, 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 1957s Magnificat и мистические оратория Леди Света (Ardent Song, 19541969), 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]Инструментальная музыка
Сюита для арфы (1973) представляет собой прекрасный пример из Hovhanesss обширный каталог произведений для сольных инструментов всех видов.
Research Centre
[edit]
Films==Фильмы об Алане Ованесе==[edit]*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
Films about Alan Hovhaness1984 - 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]
[edit]
Notable students of Alan Hovhaness==Известные ученики==*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
Hovhaness, Alan Compositor
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.
==Сочинения==