Composer: Alan Hovhaness
Works: Oror “Lullaby” Op. 1a (1922/26), Varak Op. 47a (1944), Chahagir Op. 56a (1944), Saris Op. 67 (1946), Shatakh Op. 73b (1947), Yeraz “The Dream” Op. 56b (1948), Khirgiz Suite Op. 73a (1951), Duet for Violin and Harpsichord Op. 122 (1954), Three Visions of Saint Mesrob Op. 198 (1962)
Performers: Christina Fong (violin), Arved Ashby (piano)
Recording: November/December 2000 in Columbus, Ohio, USA
Label: OGRE/OGRESS PRODUCTIONS oo2000d
Alan Hovhaness, a composer whose oeuvre straddles the realms of mysticism and folk influences, emerges with a poignant clarity in this anthology of violin, viola, and keyboard works. The selection spans from his early Lullaby to the later Three Visions of Saint Mesrob, showcasing Hovhaness’s evolving style that blends Western classical traditions with Eastern modalities and religious themes. This collection serves as both an introduction and an affirmation of Hovhaness’s unique voice, characterized by lyrical melodies and expansive harmonies that evoke a sense of tranquility and introspection.
The performances by Christina Fong and Arved Ashby are distinguished by their thoughtful interplay and nuanced interpretations. Fong’s approach to the Lullaby Op. 1a reveals a tender lyricism; her phrasing captures the innocence inherent in the piece while maintaining a sophisticated control over dynamics. In works like Varak and Chahagir, Fong’s articulation of Hovhaness’s sometimes elusive melodic lines is strikingly clear, particularly in the latter, where she deftly navigates the intricate interplay between solo violin and piano. Ashby’s role is equally pivotal; his playing is both supportive and assertive, providing a rich harmonic foundation that complements the violin’s soaring lines. The interplay in Saris, particularly, highlights their ability to blend contrasting moods—Fong’s soaring passages juxtaposed with Ashby’s rhythmic, percussive piano chords create a dialogue that is both engaging and evocative.
The recording quality merits attention, as it captures the delicate textures of both instruments with remarkable clarity. The balance achieved between the violin and piano ensures that neither overwhelms the other, allowing the subtleties of Hovhaness’s intricate counterpoint to emerge distinctly. The engineering captures the warmth of the performers’ sound, creating an inviting atmosphere that resonates with the listener. Each piece is presented with a compelling immediacy, drawing one into the ethereal sound world Hovhaness so adeptly constructs.
When comparing this recording to others in the Hovhaness canon, it holds its own, particularly in the interpretive choices made by Fong and Ashby. While several recordings exist that explore Hovhaness’s music, this rendition stands out for its emotional depth and technical precision. The Duet for Violin and Harpsichord Op. 122, for instance, is often treated with a more rigid approach in other interpretations; here, the fluidity and conversational quality of the performance breathe new life into the work, showcasing the duo’s strong musical rapport.
Hovhaness’s works are often imbued with spiritual undertones, and this recording encapsulates that essence beautifully. The selections resonate with a contemplative spirit, particularly the Khirgiz Suite, which exudes a sense of longing and nostalgia that is palpable. Fong’s articulation of the melodic lines in this suite is both haunting and lyrical, allowing the listener to experience the breadth of Hovhaness’s emotional landscape.
This collection not only serves as a valuable addition to the Hovhaness discography but also as a testament to the artistry of Fong and Ashby. Their interpretations bring a fresh perspective to these works, illuminating the depth and complexity of Hovhaness’s music. Engaging both intellectually and emotionally, the recording invites listeners to explore the rich tapestry of sound and sentiment that defines Hovhaness’s legacy, reaffirming his status as a composer of profound significance in the 20th-century canon.
