Uploaded April 2026 | Updated September 2026, 2 weeks ago
Eastman Rochester Symphony Orchestra conducted by Howard Hanson.
I - Incantation. Allegretto (𝅘𝅥 = 100) - Senza misura (𝅘𝅥 = about 112): 0:00
II - Canzona. Andante espressivo (𝅘𝅥 = 100-8): 5:15
III - Estampie. Allegro (𝅘𝅥 = 152) - Senza misura, cadenza - Allegro (𝅘𝅥 = 138) : 8:47
IV - Bar (Dance). Allegro vivace (𝅘𝅥. = 92): 12:08
V - Sharagan (Hymn). Lento molto espressivo (𝅘𝅥 = 104) - Andante con moto (𝅘𝅥 = 120) - Andante maestoso (𝅘𝅥 = 104): 13:38
VI - Ballata. Andante (𝅗𝅥 = 84) - (𝅗𝅥 = 72): 18:36
Hovhaness's Concerto for Orchestra No.1 "Arevakal" (Season of the Sun) was composed in 1951, written for the Little Orchestra Society, which premiered the work in New York on February 18 of 1952, conducted by Thomas Scherman. The composition was finished in the same year he moved to New York City and became a full-time composer, as well as he began working for Voice of America, first as a scriptwriter for the Armenian section, then as director of music, composer and musical consultant for the Near East and Transcaucasian sections.
Arevakal is the name by which the Lenten season is designated in the Armenian Church and means literally, "the coming of the sun". The concerto is dedicated to the turn-of-the-century spiritualist Andrew Jackson Davis, Seer of Poughkeepsie. Although the Arevakal Concerto is meant to be listened to on its own terms as music, it is also quite plain that its six movements are intended to evoke some element of mystic ritual.
The first movement is monothematic in form. It begins with a melodic main theme on horn, supported by violas and cellos. It unfolds in a slow and contemplative way, reminiscent of a ritual chant. A solemn, contrapuntal passage for strings ensues as kind of a development of the material. Oboe performs a lyrical solo, followed by the clarinet in a more oriental manner. The allegretto then suddenly ends without a former coda.
The short second movement is also monothematic. It opens with a hymn-like main theme on full strings, with solo trumpet soon joining in a solemn manner. The andante espressivo then concludes with a kind of epilogue, curiously scored for trumpet and two horns, which contrapuntally develop the material until the movement draws to a close with no coda.
The third movement is structured in ternary form, its title referring to the medieval dance form popular in the XIII and XIV centuries. It begins with an animated and rhythmic main theme introduced by oboe, soon in a polytonal canonic counterpoint with clarinet and timpani. Hovhaness extensively employs these canonic and polytonal techniques in the third and fourth movements of the suite. The central section features a lyrical second theme presented by solo flute over a polytonal ostinato figure on harp. The Estampie is then vigorously recapitulated on full orchestra before the dance ends.
The fourth movement is structured in the medieval German verse pattern (A-A-B, two Stollen followed by the Abgesang), taking its name from the Armenian dance of Eastern Anatolia. It opens with a lively and cheerful rhythmic theme presented by first violins, harp (in a different key) and snare drum, also creating a polytonal-canonic texture that intensifies as the rest of strings join in, followed by woodwinds. The dance then suddenly ends.
The fifth movement is written in ternary form, called Sharagan or hymn of praise. It begins with a slow and solemn main theme on trumpet sustained by oboes, clarinets and timpani. The central section is a kind of development of the material, with canonic contrapuntal dialogues between woodwinds. It also contains a number of the Landino cadences, which sound so strange to modern ears. The hymn theme is then recapitulated, leading to a solemn climax on full orchestra with which the Sharagan ends.
The sixth movement is structured in an expanded ternary form (A-B-B-A-A), titled "Ballata", apparently with reference to the 14th century Italian verse structure cultivated by Francesco Landino. It opens with a solemn and contemplative main theme on horn, supported by harp chords, viola and cello pedal notes and pizzicato basses. Clarinets then introduce a second theme and engage in canonic counterpoint exchanges, joined by bassoons, strings. The music culminates in a broad and expansive climax. A recapitulation of the main material is carried by trumpet and strings. The work then ends with a solemn climax.
Picture: Edited version of "From the Aragats' slopes" (1951) by the Armenian painter Martiros Sarian.
Musical analyis partially written by myself. Source: tinyurl.com/29thf4w9
To check the score: tinyurl.com/22tvj4eg
Eastman Rochester Symphony Orchestra conducted by Howard Hanson.
I - Incantation. Allegretto (𝅘𝅥 = 100) - Senza misura (𝅘𝅥 = about 112): 0:00
II - Canzona. Andante espressivo (𝅘𝅥 = 100-8): 5:15
III - Estampie. Allegro (𝅘𝅥 = 152) - Senza misura, cadenza - Allegro (𝅘𝅥 = 138) : 8:47
IV - Bar (Dance). Allegro vivace (𝅘𝅥. = 92): 12:08
V - Sharagan (Hymn). Lento molto espressivo (𝅘𝅥 = 104) - Andante con moto (𝅘𝅥 = 120) - Andante maestoso (𝅘𝅥 = 104): 13:38
VI - Ballata. Andante (𝅗𝅥 = 84) - (𝅗𝅥 = 72): 18:36
Hovhaness's Concerto for Orchestra No.1 "Arevakal" (Season of the Sun) was composed in 1951, written for the Little Orchestra Society, which premiered the work in New York on February 18 of 1952, conducted by Thomas Scherman. The composition was finished in the same year he moved to New York City and became a full-time composer, as well as he began working for Voice of America, first as a scriptwriter for the Armenian section, then as director of music, composer and musical consultant for the Near East and Transcaucasian sections.
Arevakal is the name by which the Lenten season is designated in the Armenian Church and means literally, "the coming of the sun". The concerto is dedicated to the turn-of-the-century spiritualist Andrew Jackson Davis, Seer of Poughkeepsie. Although the Arevakal Concerto is meant to be listened to on its own terms as music, it is also quite plain that its six movements are intended to evoke some element of mystic ritual.
The first movement is monothematic in form. It begins with a melodic main theme on horn, supported by violas and cellos. It unfolds in a slow and contemplative way, reminiscent of a ritual chant. A solemn, contrapuntal passage for strings ensues as kind of a development of the material. Oboe performs a lyrical solo, followed by the clarinet in a more oriental manner. The allegretto then suddenly ends without a former coda.
The short second movement is also monothematic. It opens with a hymn-like main theme on full strings, with solo trumpet soon joining in a solemn manner. The andante espressivo then concludes with a kind of epilogue, curiously scored for trumpet and two horns, which contrapuntally develop the material until the movement draws to a close with no coda.
The third movement is structured in ternary form, its title referring to the medieval dance form popular in the XIII and XIV centuries. It begins with an animated and rhythmic main theme introduced by oboe, soon in a polytonal canonic counterpoint with clarinet and timpani. Hovhaness extensively employs these canonic and polytonal techniques in the third and fourth movements of the suite. The central section features a lyrical second theme presented by solo flute over a polytonal ostinato figure on harp. The Estampie is then vigorously recapitulated on full orchestra before the dance ends.
The fourth movement is structured in the medieval German verse pattern (A-A-B, two Stollen followed by the Abgesang), taking its name from the Armenian dance of Eastern Anatolia. It opens with a lively and cheerful rhythmic theme presented by first violins, harp (in a different key) and snare drum, also creating a polytonal-canonic texture that intensifies as the rest of strings join in, followed by woodwinds. The dance then suddenly ends.
The fifth movement is written in ternary form, called Sharagan or hymn of praise. It begins with a slow and solemn main theme on trumpet sustained by oboes, clarinets and timpani. The central section is a kind of development of the material, with canonic contrapuntal dialogues between woodwinds. It also contains a number of the Landino cadences, which sound so strange to modern ears. The hymn theme is then recapitulated, leading to a solemn climax on full orchestra with which the Sharagan ends.
The sixth movement is structured in an expanded ternary form (A-B-B-A-A), titled "Ballata", apparently with reference to the 14th century Italian verse structure cultivated by Francesco Landino. It opens with a solemn and contemplative main theme on horn, supported by harp chords, viola and cello pedal notes and pizzicato basses. Clarinets then introduce a second theme and engage in canonic counterpoint exchanges, joined by bassoons, strings. The music culminates in a broad and expansive climax. A recapitulation of the main material is carried by trumpet and strings. The work then ends with a solemn climax.
Picture: Edited version of "From the Aragats' slopes" (1951) by the Armenian painter Martiros Sarian.
Musical analyis partially written by myself. Source: tinyurl.com/29thf4w9
To check the score: tinyurl.com/22tvj4eg
