Symphony No.38 - Alan Hovhaness

Northwest Chamber Orchestra conducted by Alan Hovhaness. Hinako Hovhaness as the coloratura soprano soloist. I - Allegretto - Presto - Allegretto: 0:00 II - Andante - Allegretto appasionato - Presto: 11:12 III - Allegro maestoso - Andante: 18:24 IV - Lullaby. Allegretto - Andante: 37:35 V - Andante maestoso: 44:04 Hovhaness' Symphony No.38 was composed between June and July 1978, scored for coloratura soprano, trumpet, flute and string orchestra. The work is divided in five movements, the third and fourth are based on haiku-like poetry written by the composer himself. The symphony as a whole uses Hovhaness's typically diverse range of source-material. They include Indian ragas, European techniques and procedures, ancient church modes of Hovhaness's ancestral land of Armenia, Gagaku Japanese music, and melismatic passages drawn from cantorial traditions. The first movement follows the Japanese principle of "jo-ha-kyu". Roughly translated to "beginning, break, rapid", it essentially means that all actions or efforts should begin slowly, speed up, and then end swiftly. A two-note motive is introduced, which grows into a raga-like lyrical theme on strings, soon taken by the trumpet. Then a strict four-part fugue begins on strings, built on the same motif. After a climax, the trumpet introduces a solemn second theme in form of a raga, also derived from the motive. Near the end we hear string bass drone with ornamentation based on the motif of the symphony reminding us of the tambura, an Indian string instrument used as an accompaniment for vocal sacred music. In the coda, the free rhythm of strings create an effect called "spirit murmur", with which the movement ends. The second movement is divided in three parts. It begins with a contemplative, three-part motet in violins and violas. A passionate love song for violin then begins, derived from the notes of the Armenian church scale "kim tzar". After a brief pause, a dance theme is introduced on a newly composed tala or metrical scheme of 2+2+2+2+3+3+2+2 also within "kim tzar". Instead of a coda, the music suddenly stops. The third movement is an extensive cantata. It opens with a processional introduction of strings, followed by a raga-style theme on the trumpet. The flute appears with a lyrical, oriental second theme supported by string pizzicati. The coloratura soprano then begins to sing a short recitative on the following phrases: "My soul is a bird, flying to the distant, cloud-covered mountain". She extensively vocalizes in a virtuosic manner. The flute recapitulates its oriental theme before the soprano continues singing. A duet, in the form of a sparkling fugue for soprano and flute, ends the movement. The fourth movement begins with a lyrical prelude of violins, followed by a virtuosic lullaby for the soprano: "Lullaby, lullaby, bird in tall pine tree. Lullaby, lullaby, dream of mountain homeland". These lines are followed by vocalizations as in the previous movement. A serene coda ends the movement. The fifth movement opens with a brief fugato on strings, followed by a solemn theme on the trumpet. The music evolves as if a religious motet, leading us to a firm coda. Musical analysis partially written by myself. Source: https://t.ly/TGVf6 Pictures: (left) Photograph of Alan Hovhaness taken in 1982. (centre) "Armenian Dancer" (2023) by Armenian painter Tigran Tigranyan. (right) Photograph of Hinako Hovhaness. Unfortunately, the score is not available.