Symphony No.24 "Majnun" - Alan Hovhaness

National Philharmonic Orchestra of London & John Alldis Choir conducted by Alan Hovhaness. Part I I - Majnun: 0:00 II - Letters in the sand: 8:38 III - The distracted lover: 15:50 Part II IV - The sword-wind: 23:24 V - Majnun answered: 26:54 VI - The beloved: 29:39 VII - The celestial beloved: 30:45 VIII - Majnun's love song: 36:11 IX - The mysterious beloved: 42:01 Hovhaness' Symphony No.24 was composed in July of 1973. It was commissioned by the International Center for Arid and Semi-arid Land Studies for the "Focus on the Arts" Series at Texas Tech Univeristy in Lubbock, Texas. The composer conducted the premiere in January 25th, 1974. It is a choral symphony, with a tenor solo, otherwise scored only for strings and trumpet, a combination that is one of Hovhaness's favorite. The subtitle refers to the story of Layla and Majnun, by the Persian poet Nizami Ganjavi. The poem narrates how Qays ibn al-Mullawah fell in love with Layla al-Aamiriya, writing poems to her and being named "Majnun" (crazy) by the locals as a mockery. He asked her hand in marriage but Layla's father rejected him in favour of a rich merchant. Majnun then fled his camp and began wandering the surrounding desert. He could sometimes be seen reciting poetry to himself or writing in the sand with a stick. After her marriage, Layla became ill and eventually died. In some versions, Layla dies of heartbreak from not being able to see her would-be lover. Majnun was later found dead in the wilderness, near Layla's grave. He had carved verses of poetry on a rock near the grave, which are the last ones attributed to him. "I pass by this town, the town of Layla" "And I kiss this wall and that wall" "It’s not Love of the town that has enraptured my heart" "But of the One who dwells within this town" The work is composed in nine movements divided in two parts, with each part being performed continously. The first one is divided in three movements. The first movement opens with pizzicatos in senza misura (controled chaos). The violin presents a sensuous oriental theme, representing the angelic Layla. The trumpet enters in a passionate solo, representing the deep love of Majnun. The music develops through a series of canons in counterpoint. Follows a lyrical passage of trumpet and strings, recapitulating the romantic theme of Majnun. The second movement opens with the strings in an anxious setting. The choir sings the stanzas that tell us of someone who had seen Majnun in the desert, like a magician, tracing the name of his beloved in the sand. Canonical entries makes the music more solemn and expressive. Strings and trumpet recapitulate the Majnun theme. The third movement begins with a lyrically angelical theme on the strings, which grows more and more passionate and voluptuous, soon joined by the trumpet. The tenor comes, singing expressively about Majnun, who writes what only desert's wind can deciper. Celestial chords from the strings end this first part calmly. The second part comprises four movements. The fourth one opens with string's pizzicatos in senza misura again, perhaps representing the cutting wind that sweeps the desert. A vigorous theme is soon introduced, but it fades away as the trumpet appears, bearing the voice of Majnun in a meditative solo. The fifth movement begins with the chorus in expressive phrases: "I'm writing just for myself and just the word Layla. With her name I fantasize like I'm kissing her lips." The sixth movement is very brief, opens with solo of the trumpet over chaotic pizzicatos of the strings in senza misura. The seventh movement begins with smooth chords from the strings, a violin solo rises beautifully, representing Layla through the eyes of Majnun, from carnal and terrenal love to divine and spiritual love. The eighth movement opens with a solemn solo of the tenor, answered by the chorus. The tenor continues his soliloquy with the words of Majnun, again being majestically answered by the chorus. The ninth movement beings with chords of the strings, followed by a brilliant trumpet solo, representing the passionate love of Majnun. The chorus enter, repeating the words of Majnun, insisting on "only Layla", the angelic loved one. The symphony ends with a calm coda. Picture: Indian painting of Layla & Majnun (couldn't find more, sorry about that): Musical analysis written mostly by myself. Sources: https://bit.ly/3AtmjDO and https://bit.ly/3yBL5B9