Symphony No.8 “Arjuna“ - Alan Hovhaness

BBC Scottish Symphony Orchestra conducted by Ken Young. Lynda Cochran as the piano soloist. I - : 0:00 Hovhaness’ Symphony No.8 was composed in 1947, it was originally conceived as a double concerto for piano, timpani, and small orchestra. It was also originally entitled “Ardos“, after a mountain in Armenia near the Lake of Van, and exhibits a confluence of Armenian and Indian melodic styles. According to Hovhaness, the piece was never properly performed because “the Armenians weren’t ready for it“. Much later the score was taken to India, being premiered (with the changed title of “Arjuna“) at the Madras Music Festival on February 1, 1960. Handel Manuel conducted the orchestra with Hovhaness on piano. Written when Hovhaness was “writing Armenian music with an Indian slant“, the Indian newspaper critics heard it as being in the Indian ’nata bhairavi’ mode, thus substantiating the composer’s claimed overlap of Armenian and Indian modes. The work’s obscurity can be attributed partially to the fact that it was perhaps unwisely published as a “Symphony“ rather than the concertante piece it really is. It is one of Hovhaness’s most substantial Armenian-phase works, with huge spun-out melodies, with virtually no harmony or modulation. The timpanist is used almost like a tabla accompanist, and as such may have more work to do than in any prior orchestral work. Some aspects of the work can be seen as early minimalism on a symphonic scale. The new title refers to Arjuna, the main protagonist of the Indian epic “Mahabharata“. In it, he is the third among Pandavas, the five sons of Pandu. The family formed part of the royal line of the Kuru Kingdom. In the Mahabharata War, Arjuna was a key warrior from the Pandava side and slew many warriors including his nemesis, Karna. Before the beginning of the war, his mentor, Krishna, taught him the knowledge of Bhagavad Gita. The symphony is written in a single movement. Opens with a passionate, noble theme of oriental roots presented by the strings. This theme is the basis of the whole work. After a transition of bass strings and timpani, the piano enters with an extensive solo variation of the theme. The orchestra reappears in a brilliant climax before the piano dominates the scene again. This dinamic is constant, with alternating sections between piano and orchestra, remarking the solitude of the piano soloist. There are no contrasting sections, new themes nor a “development“ in a traditional sense, consisting instead of continously rhythmic variations on the main theme. The violin takes the main place, performing a long solo supported by chords from the piano, with occasional interventions from the wood. The orchestra reappears in a short but noble climax, becoming more active and engaging with the soloist, sharing rich and colorful dialogues. After several alternations between piano and orchestra, the whole ensemble unites and the music rises excitedly, with the symphony concluding in a decided way. Picture: A photograph of the Arjuna and Krishna statues (Nusa Dua, Bali island, Indonesia). Musical analysis written by myself. Source: