Newsgroup: it.arti.musica.classica
Titolo: Alan Hovhaness

Alan Hovhaness è un compositore che mi incuriosisce...
Avete qualche informazione interessante su di lui? Bibliografie,
discografie, siti Internet, pareri, opinioni, commenti ecc.?
Io, finora, ho trovato questi due siti:
http://www.hovhaness.com/
http://www.musicweb.uk.net/classrev/2000/feb00/hovanessworks.htm
Grazie a tutti,
Ciao
E.

 ha scritto nel messaggio
news:4H5yb.122927$hV.44...@news2.tin.it...

Hovhaness [Hovaness], Alan [Chakmakjian, Alan Hovhaness]
(b Somerville, MA, 8 March 1911; d Seattle, 21 June 2000). American composer
of Armenian and Scottish descent. He began composing in early childhood and
took a youthful interest in meditation and mysticism. In the early 1930s he
studied with Converse at the New England Conservatory and was exposed to the
music of India, then little known in the West, through musicians in the
Boston area. His early, 'first-period' works show little of this influence
but reflect that of Renaissance music, and, especially in works composed
before 1936, employ a harmonic language reminiscent of late Romanticism. In
1943 Hovhaness rethought his style, influenced by his meditative activities
and the disappointments he had experienced that summer at the Berkshire
Music Center, where his music was criticized by Bernstein and Copland. He
destroyed or suppressed many works and studied Armenian music - especially
the works of the priest-composer Komitas Vardapet - which he had until then
neglected. The music of this second period is more active rhythmically and
contrapuntally, but it is significant that the stylistic attitude and the
harmonic and melodic vocabulary remain more or less the same. Hovhaness
attained a considerable reputation in the 1950s, a decade during which he
travelled widely and embarked on a third stylistic period. This combined
elements of the first two periods as well as various experimental and
non-Western procedures. These international tendencies continued into a
fourth period, beginning about 1960, in which East Asian elements,
particularly Japanese and Korean, predominate. The fifth period, beginning
about 1971, was marked by a return to Western influences; the works are
particularly rich in scoring and chordal sonority, longer in duration than
their predecessors, and generally more spacious and less active.
Although most of Hovhaness's major compositions are instrumental, almost
every work is religious in nature. This does not, however, inhibit stylistic
and psychological variety; tranquility, fear, ecstasy, mystery and epic
chaos find expression by means of divergent and ever-changing techniques.
Hovhaness's melodies are clear, often largely conjunct, and generally
confined to the notes of a particular mode. The modes range from diatonic
scales to exotic ragas; the use of the raga increased in the later periods.
Wind Drum (1962), for voices and small orchestra, uses one six-note mode for
the entire 35-minute work. His harmonies are often quite consonant, but
progress modally or chromatically rather than tonally. In the works of his
second and fourth periods long sections may be completely static chordally.
Hovhaness also uses strong dissonances formed by adding semitone-removed
pitches to a consonant chord. This collapses the functions of nonharmonic
tones and of resolutions into one chord. A surprising harmonic fingerprint,
found in the very early and very late works, but entirely absent from 1940
to 1970, is the traditional half-diminished chord (a diminished triad with
an added minor 7th) elevated in some fifth-period works to a predominant
role. In this Hovhaness acknowledged the influences of Wagner's operas and
the idiom of music for the sho, a Japanese mouth organ.
Hovhaness rarely used standard formal and motivic procedures, but he made
frequent and rigorous use of counterpoint throughout his life. For example,
the first period has many richly beautiful modal fugues (as in the Missa
brevis), the second abounds in vigorous polymodal canons ('St Vartan'
Symphony), and the fourth features slow dissonant canons at the unison (The
Holy City). Rhythmic organization is equally strict, often including complex
repeated metric patterns related to both Indian tala and Western isorhythm.
A variant of this procedure, which Hovhaness devised in 1944, assigns
different short patterns, with pitches and rhythm specified, to several
parts, with instructions that players perform the passages repeatedly at
their own speed without coordination with the rest of the ensemble. The
resultant blur is hardly aleatory, since exact pitches are carefully
controlled and any two performances will be substantially the same.
Hovhaness uses these sections, which he calls 'rhythmless', in many ways,
ranging from gentle murmuring accompaniments (in such works of the second
period as Lousadzak, 1944) to cataclysmic orchestral crescendos (as in Fra
Angelico, 1967, of the fourth).
Despite his high mystical intentions, Hovhaness wrote quickly and produced
many works of Gebrauchsmusik (Symphony for Metal Orchestra, for flutes,
trombones, and percussion, 1963, was written for a metallurgical society's
convention). He sometimes reworked material for new works, a practice
consistent with that of his favourite Western composers, those of the
Baroque, especially Handel and Bach, and Renaissance. He was also concerned
to make his works easily playable. Just as Hovhaness tended to avoid
Classical and Romantic forms, he normally rejected traditional Western
orchestration. Many works, particularly of the second period, use small
orchestras, and keep instruments and instrumental groups clearly distinct.
In later works requiring larger forces he tended to cultivate polyrhythmic
or polymodal techniques so that tuttis, when they do occur, are
accumulations of differentiated colours rather than homogeneous aggregates.
There are exceptions in the third period, particularly in the symphonies of
the 1950s, where Romantic tuttis can be found.
Among the most prolific composers of the 20th century, his surviving corpus
of works numbers well over 400, despite his destruction of dozens of works.
Age did not impede his productivity; in fact the years after his 60th
birthday were the most productive of all, yielding over 30 symphonies. In
1977 he became a member of the Institute of the American Academy and
Institute of Arts and Letters.
Hovhaness composed extensively for full orchestra, chamber orchestra and
band. A capable pianist, he wrote many piano works and songs with piano
accompaniment. His chamber works often use instruments of diverse types,
occasionally including oriental instruments. The short chamber operas are
suggestive of mystery plays and no drama. Of his many choral works, the
psalm settings have gained a permanent place in the repertory of many church
choirs.
Hovhaness, Alan: Works
stage
      Ops (libs by Hovhaness unless otherwise stated): Etchmiadzin, op.62,
1946; Afton Water (operetta, after W. Saroyan), 1951; Blue Flame (chbr op),
op.172, 1959; The Burning House (chbr op, 1), op.185, 1960; Spirit of the
Avalanche (chbr op, 1), op.197, 1962; Pilate (chbr op, 1), op.196, 1963;
Travellers (chbr op), op.215, 1965; The Leper King (music-drama), op.219,
1965; Lady of Light (op-orat), op.227, 1969; Pericles (after W.
Shakespeare), op.283, 1975; Tale of the Sun Goddess Going into the Stone
House, op.323, 1978; The Frog Man (chbr op, M. Hamma), op.407, 1987
      Ballets: Ardent Song (choreog. M. Graham), 1954; A Rose for Miss
Emily, op.229/2, 1969; Dream of a Myth, op.257, 1973; Plains Daybreak (E.
Hawkins), 1977; Killer of Enemies (Hawkins), op.383, 1983; God, the Reveller
(Hawkins), op.408, 1987
symphonies
      no.1 'Exile', op.17, 1937; no.2 'Mysterious Mountain', op.132, 1955;
no.3, op.148, 1956; no.4, op.165, wind, 1958; no.5, op.170, 1953, rev. 1963;
no.6 'Celestial Gate', op.173, chbr orch, 1959, rev. 1960; no.7 'Nanga
Parvat', op.175, wind, 1959; no.8 'Arjuna', pf, chbr orch, 1947; no.9 'St
Vartan', op.80 (op.180), chbr orch, 1950; no.10, chbr orch, op.184, 1944,
rev. 1965; no.11 'All Men are Brothers', op.186, 1960, rev. 1969; no.12,
op.188, SATB, orch, 1960; no.13, op.190, 1954, rev. 1960
      no.14 'Ararat', op.194, wind, 1961; no.15 'Silver Pilgrimage', op.199,
1962; no.16, kayagum, op.202, Korean perc, str, 1962; no.17 (Sym. for Metal
Orch), op.203, 6 fl, 3 trbn, perc, 1963; no.18 'Circe', op.204a, 1963; no.19
'Vishnu', op.217, 1966; no.20 'Three Journeys to a Holy Mountain', op.223,
band, 1968; no.21 'Etchmiadzin', op.234, 2 tpt, str, 1970; no.22 'City of
Light', op.236, 1971; no.23 'Ani', op.249, band, 1972; no.24 'Majnun', T,
SATB, op.273, tpt, str, 1973; no.25 'Odysseus', op.275, small orch, 1973
      no.26 'Consolation', op.280, str, 1975; no.27, op.285, 1976; no.28,
op.286, 1976; no.29, op.289, 1976; no.30, op.293, small orch, 1976; no.31,
op.294, 1976; no.32 'The Broken Wings', op.296, 1977; no.33, op.307, 1977;
no.34, op.310, 1977; no.35, op.311, with Korean orch, 1978; no.36, op.312,
fl, orch, 1978; no.37, op.313, 1978; no.38, op.314, S, small orch, 1978;
no.39, op.321, gui, orch, 1978; no.40, op.324, 1979; no.41, op.330, 1979;
no.42, op.332, 1979; no.43, op.334, ob, tpt, timp, 1979; no.44, op.339,
1980; no.45, op.342, 2 pf, large orch, 1979
      no.46 'To the Green Mountains', 1980-81; no.47 'Walla-Walla, Land of
Many Waters', 1981; no.48 'Vision of Andromeda', op.355, 1982; no.49
'Christmas Sym.', op.356, str, 1981; no.50, 'Mount St. Helens', op.360,
1982; no.51, op.364, tpt, str, 1982; no.52 'Journey to Vega', op.372, 1982;
no.53, op.378, 1982; no.54, op.379, 1982; no.55, op.380, 1982; no.57 'Cold
Mountain', op.381, T/S, cl, str, 1983; no.58 'Sym. Sacra', op.389, S, Bar,
SATB, fl, hn, tpt, timp, chimes, hp, str, 1985; no.59, op.395, str, hp,
timp, 4 perc, 1985; no.60 'To the Appalachian Mountains', op.396, str, hp,
timp, 4 perc, 1985; no.61, op.397, str, hp, timp, 4 perc, 1986; no.62 'Oh
Let Man not Forget these Words Divine', op.402, Bar, tpt, str, 1988; no.64
'Agiochook', op.422, tpt, str; no.65, op.427, str, hp, timp, 4 perc, 1991;
no.66, op.428, str, hp, timp, 3 perc, 1992; no.67, op.429, str, hp, timp, 3
perc, 1992
other orchestral works
      Full orch: Monadnock, op.2, 1935, rev. 1936; Boreas and Mount Wildcat,
op.2a, 1931, rev. 1936; Variations and Fugue, op.18, 1964; Suite no.1,
op.26, 1937; Hymn to Shasta, op.31, 1938; Conc. no.1 'Arevakal', op.88,
1951; Island Sunrise, op.107, 1965; Conc. no.7, op.116, 1953; Conc. no.8,
op.117, 1957; Vision from High Rock, op.123, 1954; Prelude and Quadruple
Fugue, op.128, 1936, rev. 1954; 3 Greek Folk Dances, op.150/2; Meditation on
Orpheus, op.155, 1957; Mountain of Prophecy, op.195, 1961; Meditation on
Zeami, op.207, 1964; Floating World 'Ukiyo', op.209, 1964; Ode to the Temple
of Sound, op.216, 1966; The Holy City, op.218, 1965; Fra Angelico, op.220,
1967; Shambala, conc., op.228, vn, sitar, orch; And God Created Great
Whales, op.229/1, taped whale sounds, orch, 1970; Ov. to Pericles, op.261,
1973; Ode to the Cascade Mountains, op.279, 1974; Ode to Freedom, op.284,
vn, orch; Rubaiyat, op.308, spkr, accdn, orch; 2 gui concs., op.325, op.330,
1979; Copernicus, op.338, 1980; Greek Rhapsody no.2, op.341, 1980; Gui Conc.
no.2, op.394, 1985
      Chbr orch: Tzaikerk, op.53, 1945; Anahid, op.57, 1945; Vosdan, 1945,
rev. 1948; Is There Survival? (King Vahaken), op.59, 1949; Kohar, op.66,
1946; Agori, 1946, version for 2 chbr orch, 1950; Sosi (The Forest of
Prophetic Sound), op.75, 1948; Zartik Parkim, op.77, pf, chbr orch, 1949;
Janabar, op.81, 1950; Harmonica Conc., op.114, 1952; Accdn Conc., op.174,
1959; Fantasy on Jap. Woodprints, op.211, with xyl, 1965; Ob Conc., op.430,
1992; Vn Conc., op.431, 1993
      Str orch: Conc., op.27 (op.17/2), vc, str, 1937; Psalm and Fugue,
op.40a, 1941; Alleluia and Fugue, op.40b, 1941; Celestial Fantasy, op.44,
1944; 3 Armenian rhapsodies, opp.45, 51, 189, 1944; Lousadzak, op.48, pf,
str, 1944; Khrimian Hairig, op.49, tpt, str, 1944; Elibris, op.50, fl, str,
1944; Prayer of St. Gregory, op.62b, tpt, str, 1946; Haroutiun, op.71, tpt,
str, 1948; Artik, op.78, hn, str, 1949; Conc. no.2, op.89a, vn, str, 1951;
Talin, op.93, va, str, 1952; Diran, op.94, bar hn/trbn, str, 1949; Partita,
op.98, pf, str, 1953; Conc. no.4, op.98b, 1953; Conc. no.5, 1953; Conc.
no.6, 1953; In Memory of an Artist, op.163, 1958; Vibration Painting,
op.226, 13 str; Hp Conc., op.267, 1973; Dawn at Mount Tahoma, op.272, 1973;
Conc., op.344, sax, str; Conc. no.9, op.412, pf, str, 1954; Conc. no.10,
op.413, pf, str, 1988
      Wind ens: Tapor no.1, op.14, band, 1949; Suite, op.15, band, 1949; 3
Improvisations of Folk Tunes, band, 1951; Hymn to Yerevan, op.83, wind orch,
1969; Khaldis, op.91, pf, 4 tpt, perc, 1951; Tower Music, op.129, large wind
ens, 1954; Return and Rebuild the Desolate Places, op.213, tpt, wind orch,
1944, rev. 1965; Requiem and Resurrection, op.244, brass, perc, 1968; Ode to
Mount Hood, op.370, band; Star Dawn, op.377, band
accompanied choral
      Missa brevis, op.4, SATB, org, str, 1935; Easter Anthem, op.18, S,
SATB, org, 1937; O Lord our Lord, op.23, B, SATB, org, 1937; Why hast thou
forsaken me?, op.24, S, SATB, org, 1937; The Voice of the Lord, op.25, T,
SATB, org, 1937; O Lord rebuke me not, op.28, SATB, org; Christmas Song
(Watchman, tell us of the night), op.34, B, SATB, org/small orch, 1927, rev.
1962; The Lord's Prayer, op.35, SATB, org, 1958; Protest and Prayer, op.41,
T, TTBB, pf, 1941, rev. 1968; I will rejoice in the Lord, op.42, SATB, org;
Jesus, lover of my soul, op.53, 1v, SATB, org; 30th Ode of Solomon, op.76,
Bar, SATB, small orch, 1948; I have seen the Lord, op.80, SATB, tpt, org,
1963
      I will lift up mine eyes, op.93, SATB, org, 1969; Ave Maria,
op.100/1a, SSAA, 2 ob, 2 hn, hp, 1952; The Beatitudes, op.100/2, SATB, small
orch, 1955; Easter Cant., op.100/3, S, SATB, small orch, 1953; Make a Joyful
Noise, op.105, SATB, brass, org, 1967; Glory to God, op.124, S, A, SATB,
brass, perc, 1954; The Stars, op.126, S, SATB, small orch, 1954;
Immortality, op.134, S, SATB, org, 1960
      O God our help in ages past, op.137, SATB, org, 1963; The God of Glory
Thundereth, op.140, T, SATB, org, 1935, rev. 1960; Anabasis, op.141, nar, S,
B, SATB, org, 1953; Out of the Depths, op.142/3a, 1v, SATB, org, 1938, rev.
1960; Ad lyram, op.143, solo vv, SSAATTBB, orch, 1955; To the God who is in
the fire, op.146, T, TTBB, perc, 1956, rev. 1965; Mag, op.157, solo vv,
SATB, orch, 1958; Look toward the sea, op.158, Bar, SATB, trbn, org, 1957;
Alleluia, op.158/11, SATB, org/pf, 1935, rev. 1957
      Ps cxlviii, op.160, B, SATB, org, 1958; O for a shout of sacred joy,
op.161, SATB, org, 1958; Ps xxviii, op.162, SATB, org, 1958; Glory to Man,
op.167, SAB, org, 1958; From the end of the Earth, op.177, SATB, org, 1952;
Fuji, op.182, female vv, small orch, 1960; Wind Drum, op.183, unison vv,
small orch, 1962; In the beginning was the word, op.206, solo vv, SATB,
orch, 1963; Adoration, op.221, (S, A, female vv)/(T, B, male vv), orch;
Praise the Lord with psaltry, op.222, SATB, orch, 1968; The Hermit
Bell-Ringer of the Tower, op.256, male vv, fl, chimes, 1972
      The Way of Jesus, folk mass, op.278, SATB, unison vv, 3 gui, orch,
1974; A Simple Mass, op.282, solo vv, chorus, org, 1975; Songs, op.315,
1978; On Christmas Eve a child cried out, op.337, chorus, fl, hp, 1979;
Revelations of St Paul, orat, op.343, S, T, Bar, SATB, 1981; God is our
refuge and strength, op.359, SATB, orch, 1981; The waves unbuild the wasting
shores, op.376, T, SATB, org; CanD, op.385, SATB, org; Bless the Lord
(cant.), op.401, T, SATB, org, 1986; The Aim was Song, op.410, double chorus
(SAB/SATB), 2 fl, pf, 1987; Out of Silence (cant.), op.418, SATB, tpt, str,
1989; Pastime with Good Company, op.432/1, SATB, fl, drum, timp; The Baby's
Dance, op.432/2, SATB, fl, hp; How Lovely are Thy Dwellings, op.433, SATB,
gui: see symphonies [no.58 'Sym. Sacra', op.389]
unaccompanied choral
for SATB unless otherwise stated
      Hear my prayer, O Lord, op.16, 1935; Behold, God is my help, op.26,
1940, rev. SATB, org/pf, 1967; O Lord God of Hosts, op.27, 1940, rev. SATB,
org/pf, opt. brass, 1967; To the blessed there is joy, op.32, S, female vv,
1937; Let us love one another, op.46, T/Bar, SATB, 1941, rev. 1968; Sing
aloud, op.68, 1951; Transfiguration, op.82, T, SATB, 1950; And as they came
down from the mountain, op.82/13-16, T, SATB
      Make haste, op.86, 1951; 4 Motets, op.87, 1951; The Brightness of our
Noon, op.131, 1954; Hear my prayer, O Lord, op.149, SSATBB, 1935, rev. 1960;
4 Motets, op.246, 1971, rev. 1972; For the waters are come, male vv, op.257,
1973; 3 Madrigals, op.258, 1972; 3 Motets, op.259, 1972; 4 Motets, op.268,
1973; 3 Motets, op.269, 1973; Teach me thy Way, op.320, female vv, 1978
solo vocal
      With orch: Angelic Song (anon.), op.19, S, hn, str, 1948; Avak the
Healer, op.64, S, tpt, str, 1945, rev. 1946; As on the night (Christmas
Ode), op.100/1b, S, cel, str, 1952; Canticle (Hovhaness), op.115, S, small
orch, 1953; Shepherd of Israel, op.192, 1v, orch, 1951; Adoration, op.221,
1v, orch, 1978 [version of acc. choral work, op.221]; Lalezar, op.353, B,
orch, 1981: see symphonies [no.62 'Oh let Man not forget these words Divine'
, op.402]
      With insts: 2 Motets, op.12, S, fl, 1936; Christmas Song, op.34, 1v,
org, 1927; Hercules, op.56/4, S, vn, 1956; O Lady Moon, op.139, 1v, cl, pf,
1955; Out of the depths, op.142/3, 1v, org, 1938, rev. 1958; Live in the
sun, op.169, 1v, cel, 1954, rev. 1960; Saturn, op.243, 1v, cl, pf, 1971;
Glory sings the setting sun, op.292, S, cl, pf, 1977; How I love thy law,
op.298, S, cl, pf, 1977; Stars Sing Bell Songs, op.350/1, S, gamelan, 1981
      with pf unless otherwise stated
   3 Odes of Solomon, op.5 (op.30), 1935, rev. 1937; How I adore thee, op.7,
1936; 3 Songs, op.19, 1936; Lament, op.20a, 1936; Yar Nazani (Armenian),
op.24, 1939; I will extol thee, op.28, 1937; Layla (Persian), medium v, pf,
op.29, 1935, rev. 1937; 2 Shakespeare Sonnets, op.31, 1942; 2 Songs, op.32;
Love Songs of Hafiz, op.33, first version, 1935, rev. 1938, second version,
1957; 4 Songs, op.35, 1938; 2 Songs, op.42, 1938; Pagan Saint (C. Cloos),
op.74/1, 1948; Lullaby of the Lake (Cloos), op.74/4, 1948; I heard thee
singing (Cloos), op.74/5, 1948; Raven River (Cloos), op.74/8, 1948
      Black Pool of Cat (J. Harper), op.84/1, 1949; Innisfallen (Harper),
op.84/2, 1949; 3 Songs (Harper), op.95, 1949; O Goddess of the Sea
(Hovhaness), op.151, 1957; Dawn at Laona (Hovhaness), op.153, 1957;
Persephone (Hovhaness), op.154, 1957; The moon has a face (R.L. Stevenson),
op.156, 1930; Live in the Sun (Hovhaness), op.169, 1v, cel/pf; Songs with
Armenian Words, op.238, 1948; The Flute Player of the Armenian Mountains,
op.239, 1946, rev. 1971; 4 Songs, op.242, 1971; Spirit Cat, op.253; 2 Songs,
op.254, 1972; 3 Sasa Songs, op.274, 1973; Shiguré, op.365
      A Presentiment, op.304, 1977; Celestial Canticle, op.305, 1977; Songs
for High S, unacc., op.315, 1978; Shigue (H. Sato), op.365, S, 1982; Love's
Philosophy (P.B. Shelley), op.370, 1984; The Spirit's Map (J. Harper), 3
songs, op.391, 1977: Distant Age, The Day, Their Ways; A Friendly Mountain
(Hovhaness), op.400, B, 1986; 3 Songs, op.425, low v, pf, 1934: Foothills,
The Lake, Fog; Why is my verse so barren of new pride? (W. Shakespeare),
op.417, Bar, pf, 1988; Dream Flame, op.426, low v, pf
chamber and solo instrumental
for 5 or more instruments
      Suite, op.1, str qnt, pf, 1928, rev. 1934; Pf Qnt no.1, op.9, 1927,
rev. 1962; Sharagan and Fugue, op.58, brass choir, 1949; 5 Fantasies, op.70,
brass choir, 1943, rev. 1967; 6 Dances, op.79, brass qnt, 1967; Pf Qnt no.2,
op.103, 1953, rev. 1963; Sextet, vn, perc, op.108, 1967; The World Beneath
the Sea no.1, op.133, sax, hp, 3 perc; October Mountain, op.135, 6 perc,
1942; Sextet, op.164, rec, perc, str qt, 1958; Bacchanale, op.203a, 5, perc;
Mountains and Rivers without End, op.225, 10 insts, 1968
      Khorhoot Nahadagatz, op.251, ud, str qt, 1972; Shah-Nameh, op.252/1,
fl, ob, 2 shawms, oriental insts, 1972; Suite, op.290, 4 tpt, trbn, 1976;
Septet, op.295, 5 wind, db, perc, 1976; Sunset on Mount Tahoma, op.319, hn,
2 tpt, trbn, org, 1978; 2 Sonatas, op.326, 3 tpt, 2 trbn, 1979, op.328,
1979; Pleiades, op.350/2, gamelan, 1981; Lake Winnipesaukee, op.363, fl, ob,
vc, 2 perc, pf; Mountain Under the Sea, op.392, a sax, timp, vib, tam-tam,
hp, 1984; Sno Qualmie, op.416, cl, timp, chimes, hp, db
for 4 instruments
      Str Qt no.1, op.8, 1936; 4 Bagatelles, op.30, str qt, 1964;
Divertimento, op.61/5, wind qt/4 cl, 1949; Canzona and Fugue, op.72, hn, 2
tpt, trbn/tuba, 1943, rev. 1967; Upon Enchanted Ground, op.90/1, fl, hp,
tam-tam, vc, 1951; Orbit no.1, op.90/2, fl, hp, cel, tam-tam, 1952; Qt no.1,
op.97, fl, ob, hpd, vc, 1952; Hanna, op.101, 2 cl, 2 pf, 1952; Qt no.2,
op.112, fl, ob, hpd, vc, 1952; The Flowering Peach, op.125, cl, sax, hp,
perc, 1954; The World Beneath the Sea no.2, op.133/2, cl, hp, perc, db,
1965; Str Qt no.2, op.147, 1951; Wind Qt, op.159, 1960, rev. 1965; Str Qts
nos.3-4, op.208/1-2, 1964; Island of Mysterious Bells, op.244, 4 hp, 1971;
Ruins of Ani, op.250, 4 cl, 1972; Cl Qt, op.262, 1973; Adagio and Fugue, str
qt, op.265, 1973; Ps to St Alban, op.281/2, 4 brass, 1974; Str Qt no.5,
op.287, 1976; Ps, op.358, brass qt, 1981; Prelude and Fugue, op.373, brass
qt; Chomulungma (Sonata for Brass Qt), op.404, 1986
for 3 instruments
      Pf Trio, e, op.3, 1935; Suite, op.99, vn, pf, perc, 1952; Sonata,
op.130, 2 ob, org, 1963, rev. 1964; Koke no niwa (Moss Garden), op.181, eng
hn, hp, perc, 1954, rev. 1960; Str Trio, op.201, 1962; Spirit of Ink,
op.230, 3 fl; St Nerses the Graceful, op.235, 3 cl, 1970; Firdausi, op.252,
cl, hp, perc, 1972; Tumburu, op.264/1, pf trio, 1973; Varuna, op.264/2, pf
trio, 1973; Starry Night, op.288, fl, hp, xyl, 1978; Trio, op.331, a sax, t
sax, bar sax, 1979; Music, op.384, fl, hp, xyl; Trio, op.403, vn, va, vc,
1986; Trio 'Lake Samish', op.415, vn, cl, pf, 1988
for 2 instruments
      Oror (Lullaby), op.1, vn, pf, 1927; Prelude and Fugue, op.10, fl, cl,
1936; Prelude and Fugue, op.11, fl, ob, 1936; Sonata, op.11, vn, pf, 1938;
Prelude and Fugue, op.13, ob, bn, 1935, rev. 1937, rev. 1967; Nocturne,
op.20/2, fl, hp, 1956; Suite, d, op.21, eng hn, bn, 1935, rev. 1937, rev.
1967; Suite, op.23, ob, bn, 1949, rev. 1967; O World, op.32b, trbn, pf,
1948; Varak, op.47, vn, pf, 1944; Arshalouis, op.47b, vn, pf, 1943;
Invocations to Vahaken, op.54, pf, perc, 1945; Sonata 'Hakhpar', op.54/2,
pf, perc; Shatakh, vn, pf, op.63, 1948
      Saris, op.67, vn, pf, 1946; Kirghiz Suite, op.73, vn, pf, 1951;
Sonata, op.121, (ryuteki, sho)/(fl, org); Duet, op.122, vn, hpd, 1954; 7
Greek Folk Dances, op.150, harmonica, pf, 1956; Sonata, op.171, (hichiriki,
sho)/(ob, org); Suite, op.193, vc, pf, 1927, rev. 1961; Yakamochi, op.193/2,
vc, pf, 1965; 3 Visions of St Mesrob, op.198, vn, pf, 1962; Sonata, op.200,
tpt, org, 1962; Mysterious Horse Before the Gate, op.205, trbn, perc, 1963;
Fantasy on Jap. Wood Prints, op.211, xyl, pf; Nagooran, op.237, db, perc,
1971
      The Garden of Adonis, op.245, fl, hp/pf, 1971; Hermes Stella, op.247,
pf, tam-tam, 1971; 7 Love Songs of Saris, op.252/3, vn/fl, pf, 1972; Sonata,
op.255, vc, pf, 1972; Night of a White Cat, op.263, cl, pf, 1973; Sonata,
op.266, 2 bn, 1973; Pastoral and Fugue, op.271, 2 fl, 1973; Fantasy, op.277,
db, pf, 1974; Suite, op.291, sax, gui, 1976; Sonata, op.297, 2 cl, 1977;
Suite, op.300, fl, gui, 1977; Sonata, op.302, ob, bn, 1977; Sonata, op.322,
cl, hpd, 1976; 4 Nocturnes, op.334, s sax, pf, 1979; Campuan Sonata, op.371,
va, pf; Sonata 'Spirit of Trees', op.374, gui, hp; Sonata, op.375, cl, pf;
Sonata, op.387, a rec, hpd, 1984; Dawn on a Mountain Lake, op.393, db, pf,
1977; Srpouhi, op.398, 2 vn, pf, 1977; Sonata, op.406, fl, hp, 1987, Duet,
op.409, vn, vc, 1987a
for 1 instrument
      Nocturne, op.20, hp, 1938; Lament, op.25, cl, 1935; Chahagir, op.56/1,
va, 1945; Yeraz, op.56/2, vn, 1945; Sanahin, op.69, org, 1951, rev. 1968;
Gamelan and Jhala, carillon, op.106, 1951; 2 Sonatas, op.110, koto/hp, 1962;
Sonata, op.118, fl, 1964; Sonata, op.119, ch'in, 1962; Hp Sonata, op.127,
1954; Dawn Hymn, op.138, org, 1954; Suite, op.166, accdn, 1958; Suite,
op.270, hp, 1973; 5 Sonatas, hpd: op.306, 1977, op.318, 1978, op.337, 1979,
op.357, 1981, op.361; 2 Sonatas, gui: op.316, 1978, op.329, 1979; Sonata,
op.317, a fl/b fl, 1978; Sonata, op.352, org, 1981; Sonatina, op.382, org;
Org Sonata no.2 'Invisible Sun', op.386; Sonata no.6, op.414, hpd, 1988;
Sonata no.7 'Journey to Sanahin', op.420, hpd, 1950; Gui Sonatas no.3, no.4,
no.5, op.421; Sonata, op.423, vn; Sonata 'Hermit Thrush', op.424, org;
Habakkuk, op.434, org
Hovhaness, Alan: Works
piano
      3 Preludes and Fugues, op.5 (op.10), 1935; Toccata and Fugue, op.6,
1935, Toccata, rev. 1970; Toccata and Fugue on a Kabardin Tune, op.6/2,
1951; 2 Suites, opp.9, 14, 1936; Sonata ricercare, op.12, 1935; Fantasy,
op.15, 1936; Fantasy, op.16, 1953; Lament, op.20b, 1937; Mystic Flute,
op.22, 1937; Sonata, op.22, 1937; Ghazal, op.36, 1938; Mazert nman rehani
[Thy hair is like basil leaf], op.38, 1944; Artinis, op.39, 1945; 12
Armenian Folk Songs, op.43, 1943; Lousnag Kisher, op.52/1, 1943; Slumber
Song, op.52/2, 1938; Siris Dance, op.52/3, 1943
      Mountain Idylls, opp.52/4-6, 1953, 1949, 1932; Lullaby, op.52/7, 1951;
2 Pieces, op.55, 1945; Sandra's Dance, op.58, 1941; Dance Ghazal, 1941;
Greek Rhapsody no.1, op.63, 1946; Achtamar, op.64/1, 1948; Fantasy on an
Ossetin Tune, op.85, 1951; Suite, op.96, 1954, rev. 1967; Orbit no.2,
op.102, 1952; Jhala, op.103, 1952; Allegro on a Pakistan Lute Tune,
op.104/6, 1951; Pastoral no.1, op.111/1, 1952; Hymn to a Celestial Musician,
op.111/2, 1952; 3 Haiku, op.113, 1964; Sonatina, op.120, 1962; 2 Macedonian
Mountain Dances, op.144, no.2 rev. 1962; Sonata, op.145, 1956; Do you
Remember the Last Silence?, op.152, 1957
      Child in the Garden, op.168, 1958; Lake of Van Sonata, op.175, 1946,
rev. 1959; Madras Sonata, op.176, 1946, rev. 1960; Yenovk [The Troubadour],
op.176/2, 1948, rev. 1951, rev. 1958; Shalimar, op.177, 1949, rev. 1960;
Poseidon Sonata, op.191, 1957; Bardo Sonata, op.192, 1959, rev. 1960; 2
Ghazals, op.36a-b, 1963; Bare November Day, pf/hpd/org/clvd, op.210; Dark
River and Distant Bell, pf/hpd, op.212; 5 Visionary Landscapes, op.214,
1965; All the World's a Dance of Snobbery, op.233, 1970; Komachi, op.240,
1971; Tsamicos nos.1-2, Tsamico and Fugue, op.241, 1971; Dawn on the
Mountain of Initiation, op.248, 1972
      3 Sonatas, op.299, 1977; Sonata 'Fred the Cat', op.301, 1977; Sonata
'Ananda', op.303, 1977; Sketch Book of Mr Purple Poverty, op.309, 1977; Love
Song Vanishing into Sounds of Crickets, op.328, 1979; Sonata 'Mount Chocorua
', op.335; Sonata 'Blue Job Mountain', op.340, 1979; Sonata 'Caramount',
op.345; Corruption in Office, op.351, 1981; Sonata 'Journey to Arcturus',
op.354, 1981; Cascade Mt Dances, op.362; Sonata 'Hiroshige's Cat Barhing',
op.366; Sonata 'On the Long Total Eclipse of the Moon July 6, 1982', op.367;
Sonata 'Tsugouharu Fujita's Cat', op.368; Sonata 'Lake Sammamish', op.369;
Lilydale, op.388, 1986; Sonata 'Cougar Mountain', op.390, 1985; Sonata,
op.399, 1986; Sonata 'Mt Katahdin', op.405, 1987; Consolation, op.419, 1989
      For 2 pf: Vijag, op.37, 1946; Mihr, op.60/1, 1945; Ko-Ola-U, op.136,
1962; O Lord, Bless thy Mountains, op.276, 2 pf tuned 1/4tone apart, 1974
      Principal publishers: Associated, Peer, Peters
BIBLIOGRAPHY
CBY 1965
EwenD
VintonD
O. Daniel: 'Alan Hovhaness', Bulletin of American Composers Alliance, ii/3
(1952), 3
A. Rosner: Analytical Survey of the Music of Alan Hovhaness (diss., New York
U., 1972)
B. Silver: 'Henry Cowell and Alan Hovhaness: Responses to the Music of India
', Contributions to Asian Studies, xii (1978), 54-79
R. Howard: The Works of Alan Hovhaness, a Catalogue: Opus 1 - Opus 360 (New
York, 1983)
V. Wolverton: 'The Choral Psalm Settings of Alan Hovhaness', The American
Organist, xxv/12 (1991), 102-6
V.D. Wolverton: 'The Solo Vocal Music of Alan Hovhaness', NATS Journal,
xlvii/5 (1991), 4-9, 32-3
V. Wolverton: 'From Mountain Climbing to Composing: an Interview with Alan
Hovhaness', Choral Journal, xxxiv/3 (1993), 29-36

 (b Somerville, MA, 8 March 1911; d Seattle, 21 June 2000).
[cut]
Accidenti, in soli dodici minuti sei riuscita a scrivere tutta questa roba?
:-)
E.

 :-)
potresti anche ringraziare, invece di ridere come uno scemo....
Z.

 potresti anche ringraziare, invece di ridere come uno scemo....
E non posso ringraziare e contemporaneamente ridere come uno scemo?
:-)
E.

 :-)
no.
I ringraziamenti sono una cosa seria.
E piena di ossequiosi scodinzolii.
Abbstanza da non far pentire il postatore di non aver chiesto danari in
cambio.
Zac.
Z.

Zazie dans le métro e' cativa. ecco !

 cambio.
Quanti? 30?
:-)
E.

 Zazie dans le métro e' cativa. ecco !
un messaggio utilissimo.
Z.

 "Cittadini, di Palomonti e di Contursi Termi e di... Oliveti Cetri,
rotfl
già me la mandasti, nun vale!
Z.

 un messaggio utilissimo.
al contrario, parafrasando Sergio corazzini, esso e' un
piccolo messaggio inutile :-)
mawww
a, vn

l'ho copiata dal Landon.
Stavo per dirlo io.
Ma non ero sicuro di pensarlo fino in fondo.
Cominciamo a somigliarci zazie, quando ce lo facciamo un giretto in
mčtro?
ciao!
--------
ned...@iperbole.bologna.it
-------
"Il Tempo, complice degli sterminatori, atterra la morale.
Chi, oggi, ce l'ha con Nabucodonosor?"
E.M.Cioran

mčtro?
Lasciala stare, miserabile.
Sto trattando  una Maserati come nuova, per fare i giretti.
Sta lontano, tu.
Cesare Simonetti
GENOVA PROFONDISSIMA

Sta lontano, tu.
va bene.
Se č vero non sono interessato.
io o sul mčtro, o niente.


 mètro?
oggi è sciopero, mannaggia
Z.

 Sto trattando  una Maserati come nuova, per fare i giretti.
pare che arriverai a Milano in Maserati.
me l'ha detto Rampini.
Ti aspetto alla fermata del metro.
Che resti fra noi, perň. Non lo deve sapere nessuno.
Z.


I soliti comunisti scatenatoi dal camallo Simonetti.
Che il diavolo se lo porti, il baffone genovese....
quello per amore č capace di scatenarmi dietro tutot il sindacato.
