Symphony No.3 - Alan Hovhaness

KBS Symphony Orchestra conducted by Vakhtang Jordania I - Andante maestoso - Presto: 0:00 II - Andante: 9:27 III - Allegro molto: 17:08 Hovhaness' Symphony No.3 was composed in 1956, shortly after the immense success of his second one. It was premiered by the Symphony of the Air at Carnegie Hall conducted by Leopold Stokowski. Unfortunatelly, the work was coldly received, quickly shinking into obscurity despite the composer considering it one of his best symphonies. Unlike many of Hovhaness' symphonies, No.3 is, in form, heavily achored in western tradition, to the point that the composer referred to it as "a tribute to Mozartian classical sonata form." But Hovhaness's trademark preoccupations with old-style polyphony, use of modes and melodies with oriental roots are still present, specially in the last movement. The first movement is written in sonata form. Opens with an extensive introduction with a dark solo of the tuba, supported by pizzicatos of the strings. Suddenly, a resoluted main theme of great energy is presented. The second theme, of oriental character, is presented through solos of the wood. The development section makes extensive use of pholyphony. Then follows the recapitulation of the themes. A determined coda ends the movement in a solemn manner. The second movement is a modified rondo (A-B-A'-B'-A''). Begins with a majestic and imposing main theme, presented in a solo of the horn over the support of the strings. A brooding second theme offers some rhythmic and dramatic contrast. The main theme is recapitulated in a varied way, with several lyrical solos of the wood. The second theme is reexposed next, followed again by the majestic main theme again on the horn. A calm coda ends the movement The third movement is structured in sonata form. Opens with a vigorous and virile main theme presented by the strings. The second theme is more melodic, presented through solos of the wood. Much of the material has eastern roots. The development is abundant in the use of counterpoint in form of canons, creating some dense textures with many lines. The music rises in a climax, before development is resumed. Comes a recapitulation of the main themes. A we come closer to the end, majestic brass calls are imposed over the main theme. The symphony concludes in a determined coda. Picture: "The Scottish Horseman" (c1852-4) by the French painter Gustave Moreau. Musical analysis mostly done by myself. Source https://bit.ly/3uwcmSC