Hove, Peter van den.
See Alamire, Pierre.
Hoven, Carl van der.
See Hoeven, Carl van der.
See Vesque von Püttlingen, Johann.
Hovhanesian, Edgar Sergeyi
(b Yerevan, 14 Jan 1930; d 28 Dec 1998). Armenian composer. After completing his studies at the Melikian Music College in 1948, he studied composition at the Yerevan Conservatory (1948–53), where his teacher was Grigor Egiazarian. He then completed post graduate studies at the Moscow Conservatory (1954–6) under Aram Khachaturian. In 1956 he became a member of the Composers' Union of Armenia and served as deputy to the chairman of the board (1956–73). He was artistic director of the Spendiarian Theatre of Opera and Ballet (1962–8), the State Song and Dance Ensemble of Armenia (1970–74) and the State Committee for Television and Broadcasting (1979–85). He taught composition at the Yerevan Conservatory (1958–98, rector 1968–91). He has won numerous prizes and received many awards and titles including the State Prize (1979), People’s Artist of the USSR (1986) and the A. Khachaturian Award (1983).
Hovhanesian's style unites Armenian and European 20th-century traditions; neo-classicism serves as a reference point for the three main postulates of his art, namely the archaic and epic, the historical, and the spiritual culture of the Middle Ages. From these stem his interest in ancient Armenian monodies and theatrical forms. Even in his First Symphony (1957) he uses the well-known tagh (Armenian monody) and the Havik of the Armenian 10th-century poet-composer Narekatsi. As a crystallisation of Armenian mentality and of Christianity, Narekatsi's Book of Laments were the poetic source of the oratorio Grigor Narekatsi in which large-scale polyphonic constructions are based on liturgical chants and ritualistic folklore. The contemporary alfresco manner that the composer cultivated is demonstrated most forcefully in the Kontsert-barokko (‘Baroque Concerto’), where the traditional suite with two soloists (violin and harpsichord) is tempered by a characteristic improvisatory unfolding of melody and rhythm. His stage works have given him a leading role in Armenian music. In these works, he demonstrates different kinds of theatrical invention, from the lyrical and romantic, to expressionistic and neo-folkloristic. In act two of the ballet with chorus Antuni (1969), he uses material drawn from the Armenian liturgy or patarag. For Hovhanesian, the amalgamation of stylistically diverse sources, be they Sasun epic poetry or Arabian folklore, became the fundamental task of composition. In the opera Tjanaparordutyun depi Ėrzrum (‘A Journey to Erzrum’) after the tale by Pushkin, he uses Russian and Armenian material whilst the structure of the work, with its synthesis of genres and melodic associations, is complex. Associative techniques are also to be found in the late ballets; the formalized style of the ballet Zhanna d'Arka (‘Joan of Arc’) handles European dance folklore and baroque constructions, while the chamber-like style of the ballet Sulamif ' (‘Sulamith’) draws on Assyrian and Judaic folklore.
Ballets:Marmar (3, Hov. Ghukasian and I. Arbatov), 1957, Yerevan, A. Spendiarian Theatre, 1957; Yerknayin noktyurn [The Blue Nocturne] (1, V. Shakhnazarian), 1964, Yerevan, A. Spendiarian Theatre, 1964; Haverzhakan kurk [The Eternal Idol] (3, M. Mnatsakanian), 1966, Yerevan, A. Spendiaryan Theatre, 1966; Antuni ‘In Memory of Komitas’ (2, M. Martirosian), double chorus, orch, 1969, Yerevan, A. Spendiarian Theatre, 1969; Maskerad [Masquerade] (3, L. Vil'vovskaya, M. Dolgopolov, N. Rïzhenko and V. Smirnov-Golovanov), 1981, Odessa Theatre of Opera and Ballet, 1982 [based on music by A. Khachaturian]; Zhanna d'Arka [Joan of Arc] (3, Hovhanesian), chorus, orch, 1986, not staged; Sulamif' (2, L. Yakobson, after The Song of Songs), 1990, not stagedOps:Sasuntsi Davit [David of Sasun] (op-ballet, 3, V. Galstian, after 9th-century Armenian epic poem), 1976, Yerevan, A. Spendiarian Theatre, 5 Sept 1976; Tjanaparordutyun depi Ėrzrum [A Journey to Erzrum] (2, G. Ansimov and Hovhanesian, after A.S. Pushkin: Puteshestviye v Ėrzrum), 1987, Yerevan, A. Spendiarian Theatre, 27 Dec 1987
Vocal:Miru mir (Pax mundi) (cant., A. Poghosian and V. Aramuni), chorus, orch, 1950; Yerku ap [2 Shores] (poem, G. Ėmin), chorus, 1951; Ėrebuni (cant., P. Sevak), chorus, orch, 1968; 30 choruses (folk themes), 1979-81; 20 choruses (V. Terian), 1985; Grigor Narekatsi (orat, G. Narekatsi: Book of Laments), S, chorus, orch, 1995; many songs for chorus and orch, incl.: Yerevan-Ėrebuni, Arpa-Sevan, SardarapatInst:Str Qt no.1, 1950; Pf Qnt, 1955; Sym. no.1, 1957; Str Qt no.2, 1958; Pf Preludes, 1960; Conc., sax, jazz orch, 1962; Str Qt no.3, 1965; Conc., hpd, strs, 1968; Sonata, vc, 1970; Sonata-Epitaph ‘In Memory of the Artist Minas’, vc, pf, 1975; Sonata, va, 1980; Str Qt no.4, 1981; Sym. no.2 (P. Sevak), S, chorus, orch, 1982; Kontsert-barokko [Baroque Conc.], vn, hpd, chbr orch, 1983; Sym. no.3, perc, kbds, str, 1983; Golgofa [Golgotha], orch, 1994; Sonata, vn, 1997
Film scores; 40 arrs. of Armenian folksongs and dances, chorus, folk orch
Principal publishers: Sovetakan Grokh, Sovetskiy Kompozitor, Muzïka
‘For Shostakovich's 60th birthday’, Sovetakan arvest (1966), no.12, pp. 23–6
‘Ob ėvolyutsii natsional'nogo stilya’ [On the evolution of a national style], Sovetskaya muzïka na sovremennom ėtape: stat'i i interv'yu, ed. G. Golovinsky and N. Shakhnazarova (Moscow, 1981), 366–73
‘Réminiscences d'A. Khatchatourian’, Aram Khatchatourian, ed. O. Sakharova (Moscow, 1983), 224–6 [in Fr.]
I. Gasparian: Edgar Hovhanesyan (Yerevan, 1969)
G. Tigranov: Baletï Edgara Ovanesyana (Yerevan, 1981)
S. Sarkisian: Voprosï sovremennoy armyanskoy muzïki [Questions on contemporary Armenian music] (Yerevan, 1983), 100–41
N. Shahnazarova: ‘Kompozitor v koutekste natsional'noy kul'turï’ [The composer in the context of the national culture], SovM, (1987), no.5, pp.23–9
S. Sarkisyan: ‘Zhanrovo-stilisticheskiye sintezï v teatral'nom tvorchestve armyanskikh kompozitorov’ [Syntheses of genre and style in the theatrical works of Armenian composers], Muzïkal'nïy teatr: sobïtiya, problemï, ed. M. Sabinine (Moscow, 1990), 109–20