Release Information:
Composer: Alan Hovhaness (1911-2000)
Title: Songs for Bass, Volume 1
Works: Love Songs of Hafiz, How I Adore Thee, Black Pool of a Cat, Lullaby of the Lake, Dawn at Laona, Three Odes of Solomon, Out of the Depths
Performers: Ara Berberian (bass), Alan Hovhaness (piano)
Recording: c. 1969
Label: Crystal Records CD815
Duration: 50:12
Release Date: November 2001
Alan Hovhaness occupies an intriguing niche within the 20th-century compositional landscape, frequently overshadowed by his contemporaries yet deserving of far greater recognition, particularly for his vocal works. The recent reissue of Songs for Bass, Volume 1 by Crystal Records stands as a testament to Hovhaness’s unique voice, capturing the poetically introspective essence of his songs and the evocative interplay between voice and piano. This collection, featuring the deep, resonant timbre of Ara Berberian, is a notable contribution to the discography of a composer whose prolific output includes 67 symphonies, many of which languish in obscurity.
The collection opens with the Love Songs of Hafiz, a series that deftly intertwines Eastern mysticism and Western musical sensibilities. Berberian’s flexible voice, which occasionally ventures into baritone territory, serves the lyrical lines well, particularly in O Love, Hear My Cry. Here, Berberian’s steady tone production allows the vocal lines to float gracefully over Hovhaness’s piano textures, which are rich yet unobtrusive. The contrasting character of Hafiz is a Merry Old Thief, resembling a whimsical Eastern counterpart to “Old King Cole,” showcases Hovhaness’s ability to infuse childlike simplicity with deeper philosophical undertones.
The piano part throughout the collection reveals an astute awareness of contemporary techniques, reminiscent of Schoenberg’s Hanging Gardens and Martinu’s Toccata e Due Canzoni. For instance, the delicate, filigree-like piano interjections in Where is My Beloved create a shimmering backdrop that enhances the introspective quality of the text. This piece, alongside How I Adore Thee, demonstrates Hovhaness’s gift for crafting singable vocal lines that resonate emotionally while allowing for declamatory expression, akin to the works of Alan Bush.
Black Pool of a Cat, set to the words of Jean Harper, transports the listener to a twilight realm where shadows and introspection meld. The tremorous quality of the music captures a sense of stillness and mystery, effectively mirroring the thematic content. The briskly flowing Lullaby of the Lake, with its decorous rippling piano line, offers a brief respite before delving into the four-movement Dawn at Laona. The initial prelude for solo piano, with its contemplative atmosphere, sets an anticipatory tone that Berberian navigates with sensitivity in the subsequent movements.
In his Three Odes of Solomon, Hovhaness evokes a reverential gravity, touching on themes of devotion and the divine. The gravity of these pieces recalls the metaphysical strains found in British cathedral music, drawing parallels with Herbert Howells’ King David. The ethereal quality of Berberian’s voice, particularly in Vision of Dark Places, is complemented by Hovhaness’s intricate piano writing, which embodies the meditative spirit inherent in the texts.
While Berberian expresses concern regarding the suitability of his voice for the Hafiz songs, his performance is compelling, though one might speculate on the potential for even greater expressiveness in the hands of a baritone with a lighter timbre, such as Brian Rayner Cook or Peter Savidge. This recording, while offering a gratifying exploration of Hovhaness’s music, is best approached in segments rather than a single sustained listening session to avoid fatigue, a characteristic of the steady tonal quality that pervades tracks 9 to 19.
The engineering quality of this recording, remastered from the original Poseidon LP, is commendable, capturing the clarity of both voice and piano with a warmth that enhances the intimate nature of the songs. The texts are provided in full, allowing for a deeper engagement with the poetry and its musical interpretation.
In conclusion, this disc not only serves as an entry point into Hovhaness’s vocal works but also as an essential reflection of the beauty found in his compositional language. The combination of Ara Berberian’s soulful interpretations and Hovhaness’s piano mastery invites listeners to appreciate the nuances of this often-overlooked repertoire. As we await future installments from Crystal Records, one can only hope that they will continue to illuminate the rich tapestries of Hovhaness’s music, perhaps even inspiring a broader re-examination of his contributions to the classical canon.
