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# Disc length: 4020 seconds
# Revision: 3
# Processed by: cddbd v1.5.2PL0 Copyright (c) Steve Scherf et al.
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DISCID=860fb209
DTITLE=Dennis Russell Davies, American Composers Orchestra, Keith 
DTITLE=Jarrett / Alan Hovhannes: Mysterious Mountain - Lousadzak; 
DTITLE=Lou Harrison: Elegiac Symphony
DYEAR=1989
DGENRE=Classical
TTITLE0=Hovhannes: Symphony No. 2, Op. 132 ("Mysterious Mountain")
TTITLE0= - Andante con moto
TTITLE1=Hovhannes: Symphony No. 2, Op. 132 ("Mysterious Mountain")
TTITLE1= - Double Fugue (Moderato maestoso, allegro vivo)
TTITLE2=Hovhannes: Symphony No. 2, Op. 132 ("Mysterious Mountain")
TTITLE2= - Andante espressivo
TTITLE3=Hovhannes: Lousadzak, Op. 48
TTITLE4=Harrison: Symphony No. 2 ("Elegaic") - Tears of the Angel 
TTITLE4=Israfel
TTITLE5=Harrison: Symphony No. 2 ("Elegaic") - Allegro, poco prest
TTITLE5=o
TTITLE6=Harrison: Symphony No. 2 ("Elegaic") - Tears of the Angel 
TTITLE6=Israfel
TTITLE7=Harrison: Symphony No. 2 ("Elegaic") - Praises for Michael
TTITLE7= the Archangel
TTITLE8=Harrison: Symphony No. 2 ("Elegaic") - The Sweetness of Ep
TTITLE8=icurus
EXTD=This disc unites works by two distinctly original American\nc
EXTD=omposers who, while maintaining their own identities, share\n
EXTD=many similarities. To begin with, both men live on the West\n
EXTD=Coast: Alan Hovhaness in Seattle, Lou Harrison just outside\n
EXTD=Santa Cruz, California. This is more than an accident of\ngeo
EXTD=graphy: the Eastern seaboard has been the traditional\ncenter
EXTD= of American musical life and both Hovhaness and\nHarrison ar
EXTD=e, to a degree, outsiders. They follow no\nleaders, lead no f
EXTD=ollowers. Yet such is the appeal of their\nwork that they hav
EXTD=e brought the musical mainstream to them\nrather than bending
EXTD= their esthetics to public or\nprofessional taste,\n\nThere a
EXTD=re other similarities. They are near-contemporaries:\nHovhane
EXTD=ss was born in 1911, Harrison in 1917. They share a\nfascinat
EXTD=ion with cultures beyond the central European\nmusical mainst
EXTD=ream, as Hovhaness work owes much to his\nancestral Armenia, 
EXTD=while Harrison has been strongly\ninfluenced by the music of 
EXTD=Indonesia. There is also a strong\nstrain of mysticism runnin
EXTD=g through the music of both\ncomposers.\n\nFinally, and most 
EXTD=importantly, both men are confirmed\nmelodists. "I believe in
EXTD= melody, and to create a melody one\nneeds to go within onese
EXTD=lf," Hovhaness said in a recent\ninterview. "I was very touch
EXTD=ed when John Cage said my music\nwas like inward singing. I m
EXTD=ust admit there is always music\nin my head."\n\nMany have fo
EXTD=und a pronounced serenity in much of Hovhaness\nwork. "I thin
EXTD=k thats based on my inward experiences," he\nexplained. "Ive 
EXTD=always listened to my own voice. I was\ndiscontented with the
EXTD= kind of music that everyone said that\nI should write - all 
EXTD=clever and dissonant, intellectualized.\nI wanted to write mu
EXTD=sic that was deeply felt, music that\nwould move people."\n\n
EXTD=There is no doubt that Hovhaness has written a lot of music:
EXTD=\nas of last count, he has composed 63 designated symphonies.
EXTD=\nThe second of these, which dates from 1955, was subtitled\n
EXTD="Mysterious Mountain," and it is by that name that it is\nbea
EXTD=t known. Because of a classic recording by Fritz Reiner\nand 
EXTD=the Chicago Symphony (now a much sought-after\ncollectors ite
EXTD=m in its original pressing), it has become\nperhaps the most 
EXTD=popular of all Hovhaness works. This is,\nhowever, his first 
EXTD=major recording in 30 years.\n\n"I loved mountains very much,
EXTD=" Hovhaness said, "and I used\nto climb them a great deal. So
EXTD= I titled this symphony\nMysterious Mountain. I named it for 
EXTD=that mysterious\nfeeling that one has in the mountains - not 
EXTD=for any special\nmountain, but for the whole idea of mountain
EXTD=s, a universal\nmountain if you will. This could be about any
EXTD= mountain that\none loves,"\n\nLousadzak (Hovhaness pronounce
EXTD=s it "loo-sod-zock," without\naccent, and explains that it is
EXTD= a "made-up Armenian word\nmeaning, roughly, dawn of light") 
EXTD=dates from 1945. "I\nplanned it as a piano concerto in one lo
EXTD=ng movement, with\nmusic rising from the depths throughout th
EXTD=e piece,"\nHovhaness said. "I wrote it to play and conduct my
EXTD=self with\nan amateur orchestra. We played it in Boston in 19
EXTD=45, and my\nhands were so busy all the way that I couldnt giv
EXTD=e many\ncues. Ill never do that again!"\n\nOne of the audienc
EXTD=e members at the New York premiere of\nLousadzak was the youn
EXTD=g composer Lou Harrison. "I remember\nthe premiere of that wo
EXTD=rk in Town Hall, and the enormous\nexcitement that Alans sudd
EXTD=en appearance in New York\nproduced," Harrison wrote in a rec
EXTD=ent letter.\n\n"The intermission that followed was the closes
EXTD=t Ive ever\nbeen to one of those renowned artistic riots," Ha
EXTD=rrison\ncontinued. "In the lobby, the Chromaticists and the\n
EXTD=Americanists were carrying on at high decibels. What had\ntou
EXTD=ched it off, of course, was the fact that here came a man\nfr
EXTD=om Boston whose obviously beautiful and fine music had\nnothi
EXTD=ng to do with either camp and was in fact its own very\nwonde
EXTD=rful thing to begin with. My guest John Cage and I were\nvery
EXTD= excited, and I dashed off to the lamented Herald\nTribune an
EXTD=d wrote a rave review while John went back to the\nGreen Room
EXTD= to meet Alan."\n\nHarrison had already begun work on his "El
EXTD=egiac" Symphony,\nbut it would be another quarter-century bef
EXTD=ore he finished\nit. The first sketch for the symphony is dat
EXTD=ed October 11,\n1942, but it was nor completed until 1975. It
EXTD= is dedicated\nto the memory of the longtime conductor of the
EXTD= Boston\nSymphony Orchestra, Serge Koussevitzky, and his wife
EXTD=\nNatalie. Harrison credits another great conductor (who was
EXTD=\nalso associated with the BSO), Pierre Monteux, with\nencour
EXTD=aging the creation of movements two and five. There is\na str
EXTD=ong spiritual impulse to Harrisons music. The five\nmovements
EXTD= of the "Elegiac" Symphony are titled "Tears of the\nAngel Is
EXTD=rafel," "Allegro, poco presto," "Tears of the Angel\nIsrafel 
EXTD=II," "Praises for Michael the Archangel," and "The\nSweetness
EXTD= of Epicurus."\n\n"The large orchestra includes two harps, a 
EXTD=piano, and a\ntackpiano," Harrison has written. "Serge Kousse
EXTD=vitzky was a\nbrilliant virtuoso on the contrabass viol, and 
EXTD=that fact is\nreflected in my writing for two solo contrabass
EXTD=i in the\nthird movement (the second of the Tears of the Ange
EXTD=l\nIsrafel) only on harmonics; they play a mode first noted\n
EXTD=down by Claudius Ptolemy in third-century Alexandria.\n\n"The
EXTD= angel of music, Israfel (whose heartstrings are a\nlute - Ed
EXTD=gar Allan Poe) stands with his feet in the earth\nand his hea
EXTD=d in the sun," Harrison further has written. "He\nwill blow t
EXTD=he last trumpet. Six times daily he looks down\ninto hell and
EXTD= is so convulsed with grief that his tears\nwould inundate th
EXTD=e earth if Allah did not stop their flow,\nFor three years he
EXTD= ministered to Mohammed before Gabriel\ntook this office, alt
EXTD=hough Israfel is nowhere mentioned in\nthe Koran,"\n\nHarriso
EXTD=n has added two particularly poignant epigrams:\n"Epicurus sa
EXTD=id of death: Where Death is, we are not; where\nwe are, Death
EXTD= is not; therefore, Death is nothing to us";\nand, perhaps ev
EXTD=en more revealing, from Horace: "Bitter\nsorrows will grow mi
EXTD=lder with music."\n\nHere is beautiful music - straightforwar
EXTD=d, deeply felt,\nexpertly made yet far removed from deliberat
EXTD=e cleverness,\nserene, affirmative, even holy. Harrison and H
EXTD=ovhaness\ncomplement one another with rare synergy, and one s
EXTD=uspects\nthat this album will find new admirers for both men.
EXTD=\n\nTim Page\n\nOver the past 20 years, Keith Jarrett as a pi
EXTD=anist,\nimproviser and composer has come to be recognized as 
EXTD=one of\nthe most creative musicians in contemporary music, Bo
EXTD=rn in\n1945 in Allentown, Pennsylvania, he began playing the 
EXTD=piano\nat age 3. He began formal music composition studies at
EXTD= 15,\nsoon after moving to Boston to attend the Berklee Schoo
EXTD=l of\nMusic for a brief time. Further studies with the great 
EXTD=Nadia\nBoulanger in Paris were arranged, but then passed up i
EXTD=n\nfavor of moving to New York to play jazz. After sitting in
EXTD=\nat the Village Vanguard and other jazz clubs, he soon was\n
EXTD=touring with jazz notables Art Blakey, Rahsaan Roland Kirk\na
EXTD=nd Charles Lloyd. A one-year stint with Miles Davis\ngroundbr
EXTD=eaking electric group in 1970/71 signaled Jarretts\nlast gig 
EXTD=as a jazz sideman. During the past decade, Jarrett\nhas divid
EXTD=ed his performance schedule between playing jazz\nand perform
EXTD=ing classical and contemporary piano repertoire.\n
EXTT0=
EXTT1=
EXTT2=
EXTT3=Keith Jarrett, Piano
EXTT4=
EXTT5=
EXTT6=
EXTT7=
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PLAYORDER=
