Charles Amirkhanian Collection ➔ Composer-to-Composer Festival: Day 2 Discussions, Alan Hovhaness and Janice Giteck (July 9, 1991), 3 of 4

Digital Audio


Event Type
Lectures and Panel Discussions
Origin
C Amirkhanian
Identifier
CTC.1991.07.09.C
Program Series
Composer-to-Composer Festival
Program Length
106 min
Part
3 of 4
Dates
| broadcast
| 1991-07-09 | created
Description
A recording of the private presentations with composers Alan Hovhaness and Janice Giteck on July 9, 1991 during the Composer to Composer Festival in Telluride Colorado.

The recording begins with the composers conversing about coffee before Alan Hovhaness begins his presentation.

Hovhaness introduces his “Invocations to Vahakn” (1945) and explains how he left Tanglewood after being told by Leonard Bernstein that he wrote “cheap ghetto music”. After leaving Tanglewood for Boston he met many expatriates form Greece and the Middle East and was inspired by their music.

He explains the origins of “Invocations to Vahakn” and how the piano writing is meant to emulate a traditional Armenian zither.

He then plays the first and seventh (last) movements of “Khaldis” (1951) a concerto for piano, trumpets, and percussion. He explains that this work was for the ancient ancestors of the Armenian peoples and that it was in a way a reduced version of his “St. Vartan’s Symphony”.

He then talks about his love of counterpoint and how his counterpoint is inspired by both European tradition and Gagaku music.

Next, Hovhaness plays his “Armenian Rapsody no. 3” (1944) for string orchestra and explains the origins of the material he uses for the work.

He introduces songs that he wrote for his wife Hinako Fujihara, a coloratura soprano, and explains their romantic depth and his profound love for her. He begins with “A Presentiment” (1977), a song setting the poetry of William Cullen Bryant.

After a short break, Janice Giteck begins her presentation by giving a bit of background on her life and work. She explains that she had two pivotal musical experiences at a young age; one at a synagog at age 3 when she was forced to go to the back of the hall to the women’s section away from the cantor, and another at age 4 when she realized that the piano was an instrument of infinite possibilities.

She then introduces her work “Om Shanti” (Dedicated to People living with AIDS) 1986, for Soprano, ten instruments, and chamber chorus.

She then presents “Callin’ Home Coyote” (1978) a burlesque for tenor, steel drums, and string bass with a text by Lewis MacAdams.

She then answers questions from the composers and talks about the influence of her teachers in her music.

Note: High levels and clipping present during playback of musical examples.
Genres
20th century classical
Musical Selections
Invocations to Vahakn [excerpt] (1945) (4:23) -- Khaldis [excerpt, 1st movement] (1951) (3:43) -- Khaldis [excerpt, 7th movement] (1951) (1:58) -- Armenian Rhapsody No. 3 (1944) (5:30) -- A Presentiment (1977) (9:00) -- Alleluia [from Celestial Canticle] (1977) (3:40) / Alan Hovhaness -- OM Shanti (1986) (22:35) -- Callin’ Home Coyote (1978) (8:57) / Janice Giteck
Performers
Maro Ajemian, piano (Invocations)
Alan Hovhaness, percussion (Invocations) ; piano (Presentiment, Alleluia)
William Masselos, piano (Khaldis)
Izler Solomon, conductor (Khaldis)
Hinako Fujihara, soprano (Presentiment, Alleluia)
New Performance Group (Om Shanti)
Port Costa Players (Callin’ Home)
John Duykers, Tenor (Callin’ Home)
Thomasa Eckert, Tenor (Callin’ Home)
Subjects
Percussion and piano music
Concertos (Piano with instrumental ensemble)
Folk songs, Armenian
Songs (High voice) with piano
Chamber music--20th century
Burlesque
Choruses (Mixed voices) with instrumental ensemble
Acknowledgment
Digitized with support from the National Recording Preservation Foundation, The Copland Fund, and the Association for Recorded Sound Collections.