I have so far heard only one piece by American composer Alan Hovhaness, but I have found yet another wonderful composer to start adding to my playlists. Hovhaness's music merges influences from both Eastern (especially his native Armenian, but also of many other Asian countries) and Western (American and European) cultures and musical traditions.
Introduction and First Episode (light)
(0:00) The introduction features a bassoon solo making a rather mysterious call into the silence.
I recently listened to Hovhaness's Symphony No.6, Op.173 "Celestial Gate" from the same trove of delightful CDs as I first heard Revueltas's Sensemayá, Schreker's Nachtstück from Der ferne Klang, and Elliott Carter's Variations for Orchestra. The heavenly (or, quite aptly, "celestial") melodies and textures, with heavy yet lush orchestration and breathtaking harmony (usually conveyed by the strings) — and alternatively sinister and chaotic sections wedged between — make for a well-rounded single-movement experience.
Unfortunately, I don't have a copy of the score for this beautiful symphony, but instead I'll provide a listening guide here from what I picked out listening to it. Some of the melodies or motifs I can pick out by ear, but my guesses at instrumentation or orchestration may not be completely accurate! I would suggest first listening to it "fresh" without any additional primers, so you can experience the chills and the warmth as well, and then have a listen with the guide.
Introduction and First Episode (light)
(0:00) The introduction features a bassoon solo making a rather mysterious call into the silence.
(1:16) A beautiful string swell picks up seamlessly from the bassoon solo.
(1:35) Breathtaking clarinet incantation [1]. I aspire to play the clarinet like this.
(2:40) Beautiful string swell much like what preceded the clarinet solo.
(2:57) Oboe enters halfway through the clarinet solo phrase (third line), and clarinet reenters (fourth line). Similar lyricism and "incantations" appear throughout the symphony.
(3:37) Another beautiful string swell, reaching the highest pitches heard so far.
(3:53) The energy starts to pick up from here. Oboe enters with the clarinet motif, and others instrument groups begin to develop it.
(4:05) Cellos (or perhaps violas) enter on the same motif, sequentially shifted to start on the minor sixth.
(4:11) Cellos (or perhaps with basses) enter on the same motif, down two octaves. From this point forth, the motif appears several times in new keys, including at 4:38, 4:49, 5:01, etc., frequently in canon.
(5:22) This beautiful tutti marked by the clarinet motif rapidly develops into a cinematic, almost choral, expanse.
(5:37) This woodwind tutti replays the motif over altered harmonies, using superposed Phrygian, Aeolian, and Mixolydian modes. It's a surprising combination, but Hovhaness uses it very effectively.
(6:00) Solo violin echoes the clarinet solo from 1:35, supported only by high string voices.
Second Episode (dark)
(7:05) The music quickly turns stormy and sinister, with cellos repeating the bassoon line from the opening.
(7:37) An episode of interspersed chaotic (perhaps aleatoric) string figurations interrupts the cellos.
(8:05) Cellos return with the same bassoon line.
(8:22) A second episode of chaotic strings again interrupts the cellos.
(8:49) Cellos and basses return together, with the bassoon line again. At this point, the symphony feels like a film score, with violent flashbacks represented by the string orchestral interruptions.
Third Episode (light)
(9:27) String swell starts off far slower than before, but the dynamic rises sharply.
(9:50) Another breathtaking statement of the clarinet line by none other than the French horn.
(10:15) A trumpet picks up where the horn left off to incredible effect, sparkling over the string backdrop.
(10:31) Horn resumes, finishing off a beautiful solo before the trumpet wraps its solo as well.
(10:57) Yet another string swell, adding sharps to its key before it settles.
Fourth Episode (dark)
(11:16) Repeated articulations on the same note by horn slowly work from a dark to a bright, brassy tone in its mid-low register, finally flaring out into a menacing statement of the bassoon's opening line, with dissonant string cluster chords and tense trilling and pizzicato interjections augmenting that mood.
(12:14) Hovhaness's mastery of exquisite orchestration is on full display here. His use of the chimes is chilling, and the delay of high horn (12:26) until the greatest dissonance peaks is perfect, and the high timpani adds to the tension. Rather than pushing an entire section of strings into the altissimo range, he picks just a few to add some shimmer. I'm sure there are plenty more that I can't pick out just from listening, but it's really fantastic writing.
Fifth Episode (scherzo)
(13:22) After palindromic dynamics bring the energy back down, pizzicato strings introduce a new section to the symphony. The indistinguishable time signature and the interjections by timpani constantly resetting the stress within each phrase makes for an interesting, if difficult to follow, pulse. This goes on for several minutes, with half-step dissonances created as other string voices join in.
(14:48) Flute enters with a new melody here, which sounds like it could be in 3/4 ... but it is still quite unclear.
(15:24) Another chaotic string section serves as a transition between the earlier buoyant pizzicato interlude and a new episode.
Sixth Episode (light) and Coda
(15:52) The bassoon reasserts its presence with a new figure, with similarities to the opening.
(16:15) Horn joins the bassoon with a short remark.
(16:26) The strings appear from nothing with a series of chords carrying a heartwarming melody.
(16:44) Trumpet joins the relaxed chorale with its own lyrical melody.
(17:24) The strings begin to restate the last chorale idea accompanied by horn.
(17:32) The trumpet and horn continue exchanging lines of the chorale, backed by strings.
(18:18) The chorale restarts with woodwinds joining the texture.
(18:56) Trumpet solo continues. The lyricism in Hovhaness's writing is spectacular.
(19:28) The clarinet returns with a solo figure, accompanied by tutti violins.
(19:50) Subdued string and woodwind tutti. Alternating chords continue for a few moments.
(20:18) Solo flute states a beautiful, though heartbreaking line, echoing an earlier violin statement.
(20:52) Alternating chords continue as before, at once wistful and heavenly in their ethereal texture.
(21:25) Harp softly rings over a sustained F major in strings, fading out to the end of the symphony.
Hope you enjoyed this wondrous symphony. Share this post if you enjoyed listening along and leave your thoughts in the comments!
[1] Simmons, Walter. AllMusic: Alan Hovhaness - Symphony No. 6 ("Celestial Gate"), for small orchestra, Op. 173.
(1:35) Breathtaking clarinet incantation [1]. I aspire to play the clarinet like this.
Transcribed clarinet solo, concert pitch
(some rhythms, articulations, and dynamics are guesses)
(2:40) Beautiful string swell much like what preceded the clarinet solo.
(2:57) Oboe enters halfway through the clarinet solo phrase (third line), and clarinet reenters (fourth line). Similar lyricism and "incantations" appear throughout the symphony.
(3:37) Another beautiful string swell, reaching the highest pitches heard so far.
(3:53) The energy starts to pick up from here. Oboe enters with the clarinet motif, and others instrument groups begin to develop it.
(4:05) Cellos (or perhaps violas) enter on the same motif, sequentially shifted to start on the minor sixth.
(4:11) Cellos (or perhaps with basses) enter on the same motif, down two octaves. From this point forth, the motif appears several times in new keys, including at 4:38, 4:49, 5:01, etc., frequently in canon.
(5:22) This beautiful tutti marked by the clarinet motif rapidly develops into a cinematic, almost choral, expanse.
(5:37) This woodwind tutti replays the motif over altered harmonies, using superposed Phrygian, Aeolian, and Mixolydian modes. It's a surprising combination, but Hovhaness uses it very effectively.
(6:00) Solo violin echoes the clarinet solo from 1:35, supported only by high string voices.
Second Episode (dark)
(7:05) The music quickly turns stormy and sinister, with cellos repeating the bassoon line from the opening.
(7:37) An episode of interspersed chaotic (perhaps aleatoric) string figurations interrupts the cellos.
(8:05) Cellos return with the same bassoon line.
(8:22) A second episode of chaotic strings again interrupts the cellos.
(8:49) Cellos and basses return together, with the bassoon line again. At this point, the symphony feels like a film score, with violent flashbacks represented by the string orchestral interruptions.
Third Episode (light)
(9:27) String swell starts off far slower than before, but the dynamic rises sharply.
(9:50) Another breathtaking statement of the clarinet line by none other than the French horn.
(10:15) A trumpet picks up where the horn left off to incredible effect, sparkling over the string backdrop.
(10:31) Horn resumes, finishing off a beautiful solo before the trumpet wraps its solo as well.
(10:57) Yet another string swell, adding sharps to its key before it settles.
Fourth Episode (dark)
(11:16) Repeated articulations on the same note by horn slowly work from a dark to a bright, brassy tone in its mid-low register, finally flaring out into a menacing statement of the bassoon's opening line, with dissonant string cluster chords and tense trilling and pizzicato interjections augmenting that mood.
(12:14) Hovhaness's mastery of exquisite orchestration is on full display here. His use of the chimes is chilling, and the delay of high horn (12:26) until the greatest dissonance peaks is perfect, and the high timpani adds to the tension. Rather than pushing an entire section of strings into the altissimo range, he picks just a few to add some shimmer. I'm sure there are plenty more that I can't pick out just from listening, but it's really fantastic writing.
Fifth Episode (scherzo)
(13:22) After palindromic dynamics bring the energy back down, pizzicato strings introduce a new section to the symphony. The indistinguishable time signature and the interjections by timpani constantly resetting the stress within each phrase makes for an interesting, if difficult to follow, pulse. This goes on for several minutes, with half-step dissonances created as other string voices join in.
(14:48) Flute enters with a new melody here, which sounds like it could be in 3/4 ... but it is still quite unclear.
(15:24) Another chaotic string section serves as a transition between the earlier buoyant pizzicato interlude and a new episode.
Sixth Episode (light) and Coda
(15:52) The bassoon reasserts its presence with a new figure, with similarities to the opening.
(16:15) Horn joins the bassoon with a short remark.
(16:26) The strings appear from nothing with a series of chords carrying a heartwarming melody.
(16:44) Trumpet joins the relaxed chorale with its own lyrical melody.
(17:24) The strings begin to restate the last chorale idea accompanied by horn.
(17:32) The trumpet and horn continue exchanging lines of the chorale, backed by strings.
(18:18) The chorale restarts with woodwinds joining the texture.
(18:56) Trumpet solo continues. The lyricism in Hovhaness's writing is spectacular.
(19:28) The clarinet returns with a solo figure, accompanied by tutti violins.
(19:50) Subdued string and woodwind tutti. Alternating chords continue for a few moments.
(20:18) Solo flute states a beautiful, though heartbreaking line, echoing an earlier violin statement.
(20:52) Alternating chords continue as before, at once wistful and heavenly in their ethereal texture.
(21:25) Harp softly rings over a sustained F major in strings, fading out to the end of the symphony.
Hope you enjoyed this wondrous symphony. Share this post if you enjoyed listening along and leave your thoughts in the comments!
[1] Simmons, Walter. AllMusic: Alan Hovhaness - Symphony No. 6 ("Celestial Gate"), for small orchestra, Op. 173.
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