Alan HOVHANESS (1911-2000)
Prelude and Quadruple Fugue, Op.128 (1936, rev.1954) [6:59]
Soprano Saxophone Concerto, Op.344 (1980) [18:59]
Symphony no. 48 Vision of Andromeda, Op.355 (1982) [29:50] *
Greg Banaszak (soprano saxophone)
Eastern Music Festival Orchestra/Gerard Schwarz
rec. Eastern Music Festival, Dana Auditorium, Guilford College. Greensboro,
North Carolina, 2013. DDD
*world première recording
NAXOS 8.559755 [55:48]
If a complete set of Alan Hovhaness’ works is ever released
it’ll be as mighty a set as those devoted to the likes of Bach and Mozart.
He was after all an extraordinarily prolific composer with over five hundred
pieces to his name. Somewhat ahead of his time he appears to be enjoying
a period of rediscovery on the part of music-lovers and there is a wealth
of material from which an introduction can be made. The fascinating thing
about American music is that it has been forged in a crucible containing elements
from the four corners of the world. The distillation has resulted in some
truly incredible works by some of the most original composers in the last
eighty or so years. Hovhaness was born Alan Vaness Chakmakjian, an American
of Armenian descent whose father was born in Turkey. His mother was American
and of Scottish descent so he himself was as ‘exotic’ as his music which drew
its influences from many different cultures.
The Prelude and Quadruple Fugue first saw the light of day in 1936
as a four movement string quartet. It was only in 1954 that he combined the
whole into a single movement and orchestrated it. It starts gently and through
continual repetition, with variations, of its core melody, gradually builds
in intensity. Finally, like an avalanche, it reaches a climactic close.
The Concerto for Soprano Saxophone and Strings is the only one I’ve
ever come across written for this particular member of the saxophone family.
There is something about the tone of it that makes for an especially light
and sweet sound. I’m not entirely convinced that it makes for a satisfactory
and serious classical work - certainly not of this length. There are relatively
few works in the classical repertoire written for the saxophone and it is
my contention that this found its proper place in the world of Jazz. I would
like to hear this concerto transposed for the oboe, the instrument to which
Hovhaness likened the voice of his wife, Hinako Fujihara. The oboe mightg
indeed be more suited to the writing. However, the music is extremely attractive
and deliciously romantic — the most romantic he ever wrote in his wife’s opinion.
My scepticism over the choice of solo instrument does not affect my opinion
of Greg Banaszak who is a brilliant saxophonist.
It is interesting that it is an oboe that plays a central role at the start
of the opening movement of his Symphony No. 48. At first it sounds
as if the concerto is continuing as the music is also unapologetically romantic
and the oboe sounds perfectly in keeping with the mood. The overriding impression
one gets with Hovhaness’ writing is of vast soundscapes which dominate against
which individual instruments point up the specific action. There is always
a feeling of excitement and wonder; not for nothing is this particular symphony
titled Vision of Andromeda.
I read in the liner-notes that having commissioned Alan Hovhaness to write
something for the Minnesota Orchestra to play at The New World festival in
Miami in June 1982 the orchestra’s Manager then phoned the composer to criticise
the symphony. I wonder what he can have found that made him do such a thing.
The music is truly glorious and toweringly majestic as befits such an all-encompassing
subject. It goes some way to explain why it has taken until now for this
symphony to be recorded. The disc appears thanks to the persistence of the
composer's widow and the open-minded nature of Naxos’ recording policy. We
must give thanks to everyone involved including conductor Gerard Schwarz,
a long-time champion of Hovhaness’ music. The composer's lifetime interest
in and fascination with astronomy is reflected in this music which holds the
listener throughout its half hour length. It is a perfect showcase for the
composer’s natural feeling for tunes which are rich in the extreme. It makes
for a veritable feast of gorgeous harmony and sumptuous melody.
Schwarz has his orchestra bring out the best in this brilliantly inventive
music serving the composer well as always. The orchestra itself, though little
known outside the USA, creates a wonderfully affluent atmosphere with some
extremely talented soloists; the oboist and gamelan player being two particular
cases in point. All in all this is a disc to enjoy over many repeated listenings
and which will give pleasure every time.
Steve Arloff
Previous reviews - David Barker and Rob Barnett
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