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The Gaggle Music Club: Alan Hovhaness's Symphony No. 2, "Mysterious Mountain"

This week's selection for The Gaggle Music Club is Alan Hovhaness's Symphony No. 2, "Mysterious Mountain" (Op. 132).

Commissioned by Leopold Stokowski for the Houston Symphony Orchestra in 1955, Hovhaness's composition acquired the name "Mysterious Mountain" much later. Incidentally, it wasn't Hovhaness himself who coined the name. However, Hovhaness himself often spoke of mountains as metaphors for spiritual aspiration and cosmic grandeur, and the name "Mysterious Mountain" did match the tone of the music rather well. The symphony captures the mountain as a sacred symbol: majestic, distant, eternal, serene--a place somewhere between earth and the heavens.

At the time of the composition, Hovhaness had been involved by then in a personal and artistic quest for spiritual music, outside traditional Western modernism.

The symphony has three movements:

The first movement, Andante con moto, opens with a serene, hymn-like theme. The orchestration is soft and glowing, featuring lush strings and gentle woodwinds. The mood, suggesting spiritual calm, gradually builds in intensity but remains fundamentally meditative.

The second movement, Double Fugue (Moderato maestoso), features two subjects: the first, comprising a long, solemn theme; and the second, a more lively and rhythmic theme. Hovhaness weaves the subjects together with Renaissance-like contrapuntal mastery. The fugue builds to a majestic climax.

The third movement, Allegro vivo, is faster and more dramatic. It features sudden shifts between turbulence and calm. There is a sense of struggle toward transcendence. The symphony ends quietly and mysteriously, without a grand, triumphant conclusion--true to the "mysterious" theme.

The influence of Medieval counterpoint (especially Renaissance polyphony) is easily discernible in the piece. So is the influence of British composer Vaughn Williams. Hovhaness’s "Mysterious Mountain" strongly resembles Vaughan Williams’s "Fantasia on a Theme of Thomas Tallis," both compositions' projecting a serene, mystical world.

With "Mysterious Mountain," Hovhaness achieved something of a breakthrough, gaining national and even international recognition. Before this, he was respected only in certain circles. In his early works, Hovhaness had been very personal, meditative and liturgical. His works were often not structured like normal symphonies, and were very different from the works of more mainstream American composers. "Mysterious Mountain," on the other hand, has three distinct movements, uses Western contrapuntal forms and offers more traditional orchestration.

Accessible to Western concert audiences, the symphony expressed Hovhaness's core ideals: Spirituality, love of nature and cosmic ideas and rejection of Western avant-garde modernism (atonality and the twelve-tone system).

"Mysterious Mountain" remains one of the few 20th-century American symphonies from outside the mainstream (Aaron Copland, Leonard Bernstein and Samuel Barber) that is part of the orchestral repertoire.

In this performance from 2024, Branden Muresan conducts the Southern California Philharmonic.

00:21:09
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