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Symphonie N°22

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  • Symphonie N°22
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Détails sur le produit

  • Interprète: Janos Starker
  • Compositeur: Alan Hovhaness
  • CD (5 mars 2004)
  • Nombre de disques: 1
  • Label: Naxos
  • ASIN : B00008V5ZW
  • Autres versions : Téléchargement MP3
  • Moyenne des commentaires client : 4.0 étoiles sur 5 2 commentaires client
  • Classement des meilleures ventes d'Amazon: 132.781 en Musique (Voir les 100 premiers en Musique)
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Descriptions du produit

Janos Starker, violoncello; Seattle Symphony Orchestra; Alan Hovhaness, direttore (Sinfonia)

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Par Denis Urval COMMENTATEUR DU HALL D'HONNEURTOP 50 COMMENTATEURS le 17 avril 2012
Format: CD
De manière générale, la musique d'Hovhaness (1911-2000) m'est sympathique, en particulier par sa conception originale et sa sincérité, elle qui précède chronologiquement toutes les modes du « mystique » de pacotille et du « spirituel » de supermarché.

Il reste qu'elle est guettée par une certaine forme de monotonie -elle accélère rarement (malgré le 3e mouvement de Mysterious Mountain) et tend à se figer dans la contemplation du monde.

Il faut parvenir à se connecter à son univers et il y a des moments où le précoce Concerto pour violoncelle (1936) -joué ici par rien moins que Janos Starker, produit pleinement son effet, avec sa candeur (la flûte) et ses larges phrases généreuses, qui offrent un portrait de l'instrument soliste en hidalgo passionné.

Il est en trois mouvements, le premier et le dernier étant marqués Andante, à peine interrompus par un bref épisode Allegro. Autant dire que ce n'est pas un festival d'effets virtuoses.

La 22e symphonie « City of light » (1971 : il lui restait à en composer une quarantaine d'autres) développe, elle, un peu trop longuement ses idées. Tout est donné en fait dans les premières mesures, avec un effet de nuit où les étoiles scintillent. Mais on peut se laisser prendre.

Hovhaness tend vers une forme de sublime simplicité. S'il n'y parvient pas toujours, sa musique peut avoir valeur d'antidote dans une époque de frénésie et de complication. Comme nous rappeler, à contrario, les vertus du sophistiqué.
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Format: CD Achat vérifié
Alan Hovhaness (né Alan Vaness Chakmakjian) est né d'un père arménien et d'une mère écossaise en 1911 à Somerville, Massachusetts (USA). Il s'initia très tôt à la musique, et prit des leçons de piano avec Adelaide Proctor puis avec Heinrich Gebhard (1878-1963), un élève de Theodor Leschetizky (1830-1915), lui-même élève de Carl Czerny (1791-1857), lui-même élève de Muzio Clementi, Johann Nepomuk Hummel, Antonio Salieri et Ludwig van Beethoven, et attira l'attention de Roger Sessions (1896-1985). Il prit ensuite des cours Leo Rich Lewis (1865'1945), et entra en 1929 au Conservatoire de Boston, où il eut en particulier comme professeur Frederick Converse (1871'1940). En 1934, il partit en Finlande pour rencontrer Jean Sibelius,(1865-1957), qu'il admirait depuis son enfance. A partir de 1940, en compagnie de Hyman Bloom (1913-2009) et de Hermon di Giovanno (1900-1968), Hovhaness s'intéressa tout particulièrement à la musique traditionnelle arménienne et à ses modes auprès du chanteur Arménien Yenovk Derhagopian (1900-1966), ainsi qu'à la musique classique indienne, apprenant à jouer du Sitar auprès de musiciens indiens amateurs habitant la région de Boston, attirant sur lui l'attention de John Cage (1912-1992) et de Martha Graham (1894-1991). En 1942, il entra à l'école de Tanglewood dans la classe de Bohuslav Martin' (1890-1959), mais fut déçu par son enseignement. De 1948 à 1951, il enseigna au Conservatoire de Boston, où il eut en particulier comme élèves les musiciens de jazz Sam Rivers (1923-2011) et Gigi Gryce (1925-1983).Lire la suite ›
Remarque sur ce commentaire Une personne a trouvé cela utile. Avez-vous trouvé ce commentaire utile ? Oui Non Commentaire en cours d'envoi...
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Amazon.com: 4.5 étoiles sur 5 19 commentaires
44 internautes sur 46 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Amazing 7 juillet 2003
Par Richard A. Cavalla - Publié sur Amazon.com
Format: CD
Wow. I had never heard Alan Hovhaness before, but decided to give this budget disc on Naxos a try. After all, I had been impressed with a number of other discs in the label's "American Classics" series. I was a little tentative though, because I have heard Hovhaness compared to Philip Glass and Arvo Part, two composers who I find incapable of sustaining long form works. While Hovhaness shares some traits with those composers, particularly in his simple (but not simplistic!) harmonic language, he has a much firmer grasp of drama and structure. The cello concerto is an overwhelmingly slow work, with about 90% being slow or moderate in tempo. Nonetheless, the cello writing is beautiful, though certainly not virtuosic, and the interplay between the various sections of the orchestra give it a chamber-music feel.
The Symphony, however, is the real masterpiece on this disc. It is a grand, towering, moving work that reminds me of Rautavaara meets Bruckner. It is still mostly moderate in pace, but more varied in its tempos than the cello concerto. The finale is one of the greatest things I have ever heard, and I have heard a *lot* of music and have hundreds and hundreds of CDs in my collection. It has an air of brilliance and triumph that, to me (and I kid you not), rivals the finale of Beethoven's Ninth (albeit minus the vocal soloists).
If you are new to Hovhaness, this is a magnificant place to start.
36 internautes sur 37 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Early Hovhaness Meets Some Marvelous Vintage Hovhaness 13 mai 2003
Par Un client - Publié sur Amazon.com
Format: CD
If you're a Hovhaness completist (that's a joke, son!) or a listener whose taste runs to the musical orientalism of, say, Lou Harrison, you'll want to hear Hovhaness's early Cello Concerto. Long before the East-meets-West raprochement was fashionable, or even acceptable, in American music, Hovhaness was apparently doing it in works as ingratiating as the concerto. Though the piece is somewhat wayward and includes more than its share of longeurs, it also has that static, contemplative beauty that can be found the best of Hovhaness's later works, as cello and winds toss modal filigrees about between hymn-like episodes for the orchestral strings and brass. It all has a rather hypnotic effect that you want to return to. And then it's always good to hear the legendary Janos Starker again, even if the concerto is hardly a showpiece for the solo cello.
On the other hand, if you like the classic Hovhaness of "Mysterious Mountain," you will certainly relish the "City of Light" Symphony. While architecturally the two works are dissimilar (the fast music of "Mysterious Mountain" coming toward the center, while the reverse is true in the later work), they both have the same by turns reverential and monumental quality that places them, for me, among the finest of American symphonies. At the mystical heart of Symphony No. 22 is the gentle second movement called "Angel of Light," apparently a reminiscence by the composer of Christmas as a child. Magically inflected by harp and then celesta, it effectively combines the naive and the deeply spiritual. The last movement retuns us to the majesty of the first movement but with an added triumphalism that builds to a resounding close punctuated by the tam-tam. Bruckner would have understood. In fact, this music clearly marks Hovhaness as America's Bruckner among symphonists, not bad company to be in, I'd say.
Hovhaness himself conducts the symphony on this CD, and the performance can certainly be thought of as difinitive. And since this recording was licensed from Delos (a real coup for Naxos, I think), the CD benefits from Delos' usual high production standards. For many collectors, this will be a must-have disc.
33 internautes sur 36 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 A Deserving "American Classic" 29 avril 2003
Par Robin Friedman - Publié sur Amazon.com
Format: CD
The late Alan Hovhaness (1911-2000)was a prolific and gifted American composer. He enjoyed a degree of popular success during his lifetime although he did not achieve the critical recognition he deserved. His work is melodic, accessible and heavily influenced by eastern music, mysticism, and nature.
Naxos has included this CD consisting of Hovhaness' early Concerto for Cello Opus 17 (1936) and his 1971 Symphony, "City of Light" as part of its "American Classics" series designed to introduce the listener, at budget prices, to the range of American achievements in the composition of classical music. Hovhaness merits inclusion in this series (he deserves more than one disc); and this CD is a good introduction.
The Cello concerto of 1937 is an early work. The recording here dates from 1999 and features the renowned cellist Janos Starker playing with the Seattle Symphony. The concerto shows Hovhaness, I think, under the deep influence of Jean Sibelius, whom he visited as a young man. The concerto is in three movements with the outer two slow and lengthy movements surrounding a brief allegro movement. There is substantial interplay in the outer movement of this work between the cello and the solo flute together with long orchestral interludes. There are long, melodic lines and moments of lyricism particularly in the third movement. The liner notes repeat a legend that has grown with the telling that Hovhaness destroyed "close to 1000" works in 1940 but spared this concerto. Hovhaness did have a commendable capacity for self-criticism, but my understanding is that this story and the number of works at issue has grown with the years. Be that as it may, this cello concerto is an appealing work.
The second work on the CD, the 1971 "Symphony of Light", Opus 236 is music on a high level. Hovhaness wrote this symphony under a commission from the Birmingham Symphony Orcestra (Alabama). The recording here dates from 1992 and features Hovhaness himself conducting the Seattle Orchestra.
This is a four-movement symphony of about 30 minutes featuring extended slow opening and concluding movements surrounding two exquisite, very short movements. The work well deserves its name "City of Light". It is in an eloquent, elevated, mystical tone throughout. It features long intertwining string themes played by the strings with comments from the winds, and percussion. It has a highly eastern flavor. The climax of this symphony is in its final movement which closes with an extended fugue on a lengthy melody played in the lower strings.
As I listended to the Symphony, I couldn't help remember the Birmingham, Alabama of 1963 in which police dogs and fire hoses were unleashed on Martin Luther King and his followers in the cause of Civil Rights. This symphony, written only eight years after these events, speaks to me of a city of promise and love, dedicated to high ideals and open to all. The music is both elevated and accessible and paints a tonal picture of aspiration for Birmingham specifically, perhaps, but for all our cities as well. This is music of a uniquely mystical and American stamp.
The listener will enjoy getting to know the works of Alan Hovhaness in this fine CD.
13 internautes sur 13 ont trouvé ce commentaire utile 
4.0 étoiles sur 5 Cello Concerto Wins My Heart! 28 janvier 2006
Par Kevin Currie-Knight - Publié sur Amazon.com
Format: CD
While the rest of the "classical" music world was paving the road to hell with serialism a la Shoenberg and "experimentalism" a la Cage, a select few of the more sensible composers stuck with good old reliable tonality to get their point across. Sadly, it is the more "avante garde" composers that are remembered today (more because their music was different than good).

Alan Hovhaness was one such composer than undeservedly fell by the wayside. Halfway between the impressionism of Ravel and the (what would be) minimalism of Philip Glass, Hovhaness's music tends to rely on fairly static, dronelike harmonies, long but often repeated (and modal) melodies, and a marvelously measured blending of Eastern and Western sounds. At a time when "classical" music became more bizarre and less accessible, Hovhaness was a uniquely unique, yet accessable composer.

While other amazon reviewers seem to prefer the Symphony ("City of Lights"), I want to chime in to rave about the Cello concerto.

In contrast to "City of Lights," the Cello concerto is suprisingly sparse sounding (especially considering that it is scored for a full orchestra). Where the symphony's first movement utilizes bold, rich, and full chords, the cello concerto's first movement generally consists of one instrument (cello or flute, mostly) playing a melody over a drone provided by the strings (with a little wind coloration here and there). The melodies in this first movement (using the phrygian mode) are some of the most hauntingly sweet melodies I have heard, sounding like a darker version of Ravel.

By contrast, the second movement (less than three minutes) is a rhythmically steady allegro with a Germanic sounding cello melody in front of steadily pulsing pizzicato strings.

The third movement returns to the slow, haunting beauty of the first, this time throwing a harp into a substantial supporting role. The soft melody is thrown back and forth between the cello, clarinet and flute.

In all candor, this cello concerto is like no piece of music I have ever heard before: at the same time, so sparse and so rich, so simple yet so interest-keeping and full of flavor. As evidenced by my four star review, it is not that I disliked the "City of Lights" symphony. It is simply that, at least to this reviewer's ears, the cello concerto is so beautiful as to render "City of Lights" a supporting act. (Of course, as disagreements in music have more to do with taste than rights and wrongs, you should get this wonderful CD and judge for yourself!)
7 internautes sur 7 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Powerful works -- stunning performance 25 octobre 2005
Par emmkay - Publié sur Amazon.com
Format: CD
I bought this CD on a whim, not being familiar with much of Hovhaness' work other than "Mysterious Mountain". The real gem on this recording is the Starker performance of the Cello Concerto. There are few cellists around who can get such a powerful and dark sound out of the instrument as he does without sounding forced. The performance is emotionally compelling from the first bar to the last. A pleasant surprise for me was the Seattle Symphony which plays gorgeously in both the Cello Concerto and the Symphony No.22. The lower brass, in particular, display stunning ensemble playing and total security in intonation. Their interjections communicate nicely with the cello part in the Concerto. Altogether a highly recommendable disc.
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