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62-569: A group calling itself the San Jose Symphony first performed in 1879, but its existence was scattered and irregular until a formal symphony association was formed in 1937. A more regularly organized group, at first calling itself the San Jose Civic Orchestra, began playing that year and, except for a suspension during World War II, continued until 2001. At first it was a volunteer group playing only one or two concerts

124-407: A choir . The meaning of the term changed over time, from the simple single-voice madrigal of the early 17th century, to the multi-voice "cantata da camera" and the "cantata da chiesa" of the later part of that century, from the more substantial dramatic forms of the 18th century to the usually sacred-texted 19th-century cantata, which was effectively a type of short oratorio . Cantatas for use in

186-651: A "scenic cantata", Die Zwingburg , Op. 14 (1922), and a Cantata for Wartime , Op. 95, for women's voices and orchestra (1943). Sergei Prokofiev composed Semero ikh (1917–18; rev. 1933), and in 1939 premiered a cantata drawn from the film music for Alexander Nevsky . He wrote two festival cantatas, the Cantata for the Twentieth Anniversary of the October Revolution , Op. 74, and Flourish, Mighty Homeland , Op. 114, for

248-418: A Romanian folk tale, in 1930. Although it began as a song cycle (as reflected also by its title), Arnold Schoenberg 's Gurre-Lieder (1900–1903/1910–11) evolved into one of the century's largest secular cantatas. Paul Hindemith composed three works he designated as cantatas: Die Serenaden , Op. 35, for soprano, oboe, viola, and cello (1924), Mahnung an die Jugend, sich der Musik zu befleissigen (from

310-519: A Voyage , and over the next twenty years (between 1973 and 1992) he produced no fewer than 37 new symphonies. He created a major work, The Rubaiyat , A Musical Setting in 1975, which was for narrator and orchestra and has been twice recorded. Rubaiyat refers to the Rubaiyat of Omar Khayyam , Persian mathematician, astronomer, and poet. The text consisted of a dozen of the English quatrains from

372-521: A book on the subject, but never completed it. He then studied Japanese gagaku music (learning the wind instruments hichiriki , shō , and ryūteki ) in the spring of 1962 with Masatoshi Shamoto in Hawaii, and a Rockefeller Foundation grant allowed him further gagaku studies with Masataro Togi in Japan (1962–63). Also while in Japan, he studied and played the nagauta ( kabuki ) shamisen and

434-432: A few solo instruments) was a principal form of Italian vocal chamber music . A cantata consisted first of a declamatory narrative or scene in recitative , held together by a primitive aria repeated at intervals. Fine examples may be found in the church music of Giacomo Carissimi ; and the English vocal solos of Henry Purcell (such as Mad Tom and Mad Bess ) show the utmost that can be made of this archaic form. With

496-684: A few. The editors of the Bach Gesellschaft adopted "sacred cantata" as a convenient catchall for most of Bach's liturgical pieces. The term was then retroactively applied by Philipp Spitta to refer to comparable works by composers from Heinrich Schütz onwards. Many secular cantatas were composed for events in the nobility. They were so similar in form to the sacred ones that many of them were parodied (in parts or completely) to sacred cantatas, for example in Bach's Christmas Oratorio . Johann Sebastian Bach, almost 200 of whose cantatas survive,

558-421: A fine singer of Armenian and Kurdish troubadour songs, whose singing inspired Hovhaness. In one of several applications for a Guggenheim fellowship (1940), Hovhaness presented his credo at the time of application: Lou Harrison reviewed a 1945 concert of Hovhaness' music, which included his 1944 concerto for piano and strings, entitled Lousadzak : However, as before, there were also critics: Lousadzak

620-657: A full-time composer. Also that year (starting on August 1), he worked for the Voice of America , first as a script writer for the Armenian section, then as director of music, composer and musical consultant for the Near East and Transcaucasian sections. He eventually lost this job (along with much of the other staff) when Dwight D. Eisenhower succeeded Harry S. Truman as U.S. president in 1953. From this time on, he branched out from Armenian music, adopting styles and material from

682-556: A narrative frame for other anonymous English lyrics, and later designated A Sermon, a Narrative and a Prayer (1961) as "a cantata for alto and tenor soli, speaker, chorus, and orchestra". Luigi Nono wrote Il canto sospeso in 1955–56. Hans Werner Henze composed a Cantata della fiaba estrema and Novae de infinito laudes (both in 1963), as well as a number of other works that might be regarded as cantatas, such as Kammermusik (1958, rev. 1963), Muzen Siziliens (1966), and El Cimarrón (1969–70). Momente (1962–64/1969), one of

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744-582: A new start in composition. Hovhaness became interested in Armenian culture and music in 1940 as organist for the St. James Armenian Apostolic Church in Watertown, Massachusetts , remaining in this position for about ten years. In 1942, he won a scholarship at Tanglewood to study in Czech composer Bohuslav Martinů 's master class . During a seminar in composition, while a recording of Hovhaness's first symphony

806-769: A self-consciously Armenian composer (rather as Ernest Bloch is seen as a Jewish composer), his output assimilates the music of many cultures. What may be most American about all of it is the way it turns its materials into a kind of exoticism. The atmosphere is hushed, reverential, mystical, nostalgic." He was born as Alan Vaness Chakmakjian ( Armenian : Ալան Յարութիւն Չաքմաքճեան ) in Somerville, Massachusetts , to Haroutioun Hovanes Chakmakjian (an Armenian chemistry professor at Tufts College who had been born in Adana , Turkey ) and Madeleine Scott (an American of Scottish descent who had graduated from Wellesley College ). When he

868-924: A short time to pursue astronomy, another of his early loves. The fascination of astronomy remained with him through his entire life and composing career, with many works titled after various planets and stars. Hovhaness's parents soon supported their son's precocious composing, and set up his first piano lessons with a neighborhood teacher. Hovhaness continued his piano studies with Adelaide Proctor and then Heinrich Gebhard . By age 14 he decided to devote himself to composition. Among his early musical experiences were Baptist hymns and recordings of Gomidas Vartabed , an eminent Armenian composer. He composed two operas during his teenage years which were performed at Arlington High School , and composer Roger Sessions took an interest in his music during this time. Following his graduation from high school in 1929, he studied with Leo Rich Lewis at Tufts and then under Frederick Converse at

930-587: A wide variety of sources. As documented in 1953 and 1954 , he received Guggenheim Fellowships in composition. He wrote the score for the Broadway play The Flowering Peach by Clifford Odets in 1954, a ballet for Martha Graham ( Ardent Song , also in 1954), and two scores for NBC documentaries on India and Southeast Asia (1955 and 1957). Also during the 1950s, he composed for productions at The Living Theatre . His biggest breakthrough till then came in 1955, when his Symphony No. 2, Mysterious Mountain ,

992-500: A year. Following the war, the musicians were paid, but 3 concerts a year was normal until the mid-1960s, after which the number began to rise. The 1975-76 season, a bicentennial special featuring appearances by Alan Hovhaness , Carlos Chavez , Aaron Copland , Virgil Thomson , and Lou Harrison conducting their own works, was a landmark on the orchestra's path to full-time professional status. In 1995, cellist Nick Dargahi and Operations Manager Michael Pastreich partnered to create for

1054-517: Is a cantata with three symphonic preludes. The full lyric possibilities of a string of choral songs were realized by Johannes Brahms in his Rinaldo , which, like the Walpurgisnacht —was set to a text by Goethe . Other cantatas, Beethoven's Meeresstille , works of Brahms and many notable small English choral works, such as cantatas of John Henry Maunder and John Stanley , find various ways to set poetry to choral music. The competition for

1116-513: Is a collection of six church cantatas actually intended for performance on six different days, though together they form as complete an artistic whole as any classical oratorio. During the baroque era, the term "cantata" generally retained its original Italian usage to describe a secular vocal piece of extended length, often in different sections, and usually Italianate in style. At the same time, vocal pieces of similar scope, often with several singers, and various instruments, were in great demand for

1178-415: Is a notable contributor to the genre. His cantatas are usually written for a baroque orchestra consisting of a string section, an oboe section, and a continuo group, timpani and brass were sometimes added on festive occasions such as Christmas or Easter. The vocal forces consisted of a four-part choir and soloists. Bach also wrote some cantatas for only one solo singer (ex. BWV 51 ). Christoph Graupner

1240-409: Is a terrible threat to our civilization. It's the greed of huge companies and huge organizations which control life in a kind of a brutal way ... It's gotten worse and worse, somehow, because physical science has given us more and more terrible deadly weapons, and the human spirit has been destroyed in so many cases, so what's the use of having the most powerful country in the world if we have killed

1302-471: Is also in cantata form. Mendelssohn's Symphony Cantata , the Lobgesang , is a hybrid work, partly in the oratorio style. It is preceded by three symphonic movements, a device avowedly suggested by Beethoven's Ninth Symphony ; but the analogy is not accurate, as Beethoven's work is a symphony of which the fourth movement is a choral finale of essentially single design, whereas Mendelssohn's Symphony Cantata

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1364-592: Is possibly due to the fact that Bach's Leipzig congregation was expected to sing along with them, but the Darmstadt court was not. Also, many of Graupner's cantatas exploit elaborate orchestral effects and use exotic instrumentation, such as chalumeau , flûte d'amour , oboe d'amore , viola d'amore , trumpets , horns and timpani . See: List of cantatas by Christoph Graupner . The term "cantata" came to be applied almost exclusively to choral works, as distinguished from solo vocal music. In early 19th-century cantatas,

1426-434: Is still performed occasionally today. Late in the century, Gustav Mahler wrote his early Das klagende Lied on his own words between 1878 and 1880, and Samuel Coleridge-Taylor created a successful trilogy of cantatas, The Song of Hiawatha between 1898 and 1900. Cantatas, both of the chamber variety and on a grand scale, were composed after 1900 as well. Indeed, it would not be an exaggeration to claim that one of

1488-413: The jōruri ( bunraku ) shamisen . In recognition of the musical styles he studied in Japan, he wrote Fantasy on Japanese Woodprints , Op. 211 (1965), a concerto for xylophone and orchestra. In 1963 he composed his second ballet score for Martha Graham, entitled Circe . He and his then wife then set up a record label devoted to the release of his own works, Poseidon Society. Its first release

1550-572: The Cantata para América Mágica , Op. 27 (1960), Bomarzo , Op. 32 (1964), and Milena , Op. 37 (1971), and Gottfried von Einem composed in 1973 An die Nachgeborenen based on diverse texts, the title taken from a poem of Bertolt Brecht . Mikis Theodorakis composed the cantatas According to the Sadducees and Canto Olympico . Herbert Blendinger 's Media in vita was premiered in 1980, his Mich ruft zuweilen eine Stille (Sometimes

1612-737: The New England Conservatory of Music . In 1932, he won the Conservatory's Samuel Endicott prize for composition with his Sunset Symphony (elsewhere entitled Sunset Saga ). In July 1934, Hovhaness traveled with his first wife, Martha Mott Davis, to Finland to meet Jean Sibelius , whose music he had greatly admired since childhood. The two continued to correspond for the next twenty years. In 1935, Hovhaness named his daughter and only child from his first marriage Jean Christina Hovhaness after Jean Christian Sibelius, her godfather and Hovhaness's friend for three decades. During

1674-521: The Plöner Musiktage , 1932), and Ite angeli veloces for alto and tenor, mixed chorus, and orchestra, with audience participation (1953–55). Of Anton Webern 's last three compositions, two are secular cantatas: Cantata No. 1, Op. 29 (1938–39), and Cantata No. 2, Op. 31 (1941–43), both setting texts by Hildegard Jone . Webern had begun sketching a Third Cantata by the time he was killed in 1945. Ernst Krenek also composed two examples:

1736-680: The Yeghishe Charents State Museum of Arts and Literature in Yerevan . In the mid-1960s he spent several summers touring Europe, living and working much of the time in Switzerland. Hovhaness stated in a 1971 interview in Ararat magazine: We are in a very dangerous period. We are in danger of destroying ourselves, and I have a great fear about this ... The older generation is ruling ruthlessly. I feel that this

1798-446: The 1930s and 1940s, Hovhaness famously destroyed many of his early works. He later claimed that he had burned at least 1,000 different pieces, a process that took at least two weeks; elsewhere he claimed to have destroyed around 500 scores totaling as many as a thousand pages. In an interview with Richard Howard, he stated that the decision was based primarily on Sessions ' criticism of his works of that period, and that he wanted to make

1860-628: The 1950s on MGM and Mercury records, placing him firmly on the American musical landscape. In May and June 1946, while staying with an Armenian family, Hovhaness composed Etchmiadzin , an opera on an Armenian theme, which was commissioned by a local Armenian church. In 1948 he joined the faculty of the Boston Conservatory , teaching there until 1951. His students there included the jazz musicians Sam Rivers and Gigi Gryce . In 1951 Hovhaness moved to New York City , where he became

1922-692: The Armenian Cultural Foundation in Arlington, Massachusetts , and Yerevan ’s State Museum of Arts and Literature in Armenia. Cantata A cantata ( / k æ n ˈ t ɑː t ə / ; Italian: [kanˈtaːta] ; literally "sung", past participle feminine singular of the Italian verb cantare , "to sing") is a vocal composition with an instrumental accompaniment , typically in several movements , often involving

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1984-481: The Brazilian composer Heitor Villa-Lobos created a secular cantata titled Mandu çarará , based on an Indian legend collected by Barbosa Rodrigues. Francis Poulenc composed in 1943 Figure humaine , FP 120, a cantata for double mixed choir of 12 voices on poems by Paul Éluard . Igor Stravinsky composed a work titled simply Cantata in 1951–52, which used stanzas from the 15th-century "Lyke-wake Dirge" as

2046-512: The French Prix de Rome requires that each candidate submit a cantata. Hector Berlioz failed in three attempts before finally winning in 1830 with Sardanapale . While almost all of the Prix de Rome cantatas have long since been forgotten (along with their composers, for the most part), Debussy's prize-winning L'enfant prodigue (1884, following his unsuccessful Le gladiateur of 1883)

2108-662: The Hovhaness-Fujihara music publishing company, [1] as well as a daughter (from his first wife), harpsichordist Jean Nandi (b. 1935). He died in 2000. Significant archives of Hovhaness materials, comprising scores, sound recordings, photographs and correspondence are located at several academic centers, including Harvard University , the University of Washington , the Library of Congress in Washington, D.C.,

2170-497: The San Jose Symphony as the professional symphony orchestra of San Jose. Charlotte Doughton Claude, A History of the San José Symphony Orchestra, 1879-1972. California State University, San Jose, M.A. thesis, 1973. San Jose Symphony archives, History San Jose, Kelley Park, San Jose, California. Alan Hovhaness Alan Hovhaness ( / h oʊ ˈ v ɑː n ɪ s / ; March 8, 1911 – June 21, 2000)

2232-442: The San Jose Symphony the first website of any US orchestra. In October 2001, the San Jose Symphony closed its doors in a bid to restructure. But when, more than a year later, the organization was unable to recover San Jose Symphony declared Chapter 7 bankruptcy and was dissolved. Symphony Silicon Valley , an orchestra under new management but including many of the same musicians, was created in 2002 by Ballet San Jose and succeeded

2294-544: The Unknown Region (1907), Five Mystical Songs (1911), and Five Tudor Portraits (1936), and sacred cantatas including Sancta civitas (1926), Benedicite (1930), Dona nobis pacem (1936), and Hodie (1954). Joseph Ryelandt also composed secular and sacred cantatas, such as Le chant de la pauvreté Op. 92 in 1928 and Veni creator Op. 123 in 1938. Béla Bartók composed the secular Cantata Profana , subtitled "The Nine Splendid Stags" and based on

2356-421: The aftermath of that major disappointment. The next year he devoted himself to Armenian subject matter, in particular using modes distinctive to Armenian music, and continued in this vein for several years, achieving some renown and the support of other musicians, including radical experimentalist composer John Cage and choreographer Martha Graham , all the while continuing as church organist. Beginning in

2418-511: The chorus is the vehicle for music more lyric and songlike than in oratorio, not excluding the possibility of a brilliant climax in a fugue as in Ludwig van Beethoven 's Der glorreiche Augenblick , Carl Maria von Weber 's Jubel-Kantate , and Felix Mendelssohn 's Die erste Walpurgisnacht . Anton Bruckner composed several Name-day cantatas, a Festive Cantata and two secular cantatas ( Germanenzug and Helgoland ). Bruckner's Psalm 146

2480-515: The desire to simplify his name because "nobody ever pronounced it right". However, Hovhaness' daughter Jean Nandi has written in her book Unconventional Wisdom , "My father's name at the time of my birth was 'Hovaness', pronounced with accent on the first syllable. His original name was 'Chakmakjian', but in the 1930s he wanted to get rid of the Armenian connection and so changed his name to an Americanized version of his middle name. Some years later, deciding to re-establish his Armenian ties, he changed

2542-412: The early 17th century, simultaneously with opera and oratorio . Prior to that, all " cultured " music was vocal. With the rise of instrumental music , the term appeared, while instrumental art became sufficiently developed to be embodied in sonatas . From the beginning of the 17th century until late in the 18th, the cantata for one or two solo voices with accompaniment of basso continuo (and perhaps

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2604-409: The liturgy of church services are called church cantata or sacred cantatas; other cantatas can be indicated as secular cantatas. Several cantatas were, and still are, written for special occasions, such as Christmas cantatas . Christoph Graupner , Georg Philipp Telemann and Johann Sebastian Bach composed cycles of church cantatas for the occasions of the liturgical year. The term originated in

2666-569: The mid-1940s, Hovhaness and two artist friends, Hyman Bloom and Hermon di Giovanno , met frequently to discuss spiritual and musical matters. All three had a strong interest in Indian classical music , and brought many well known Indian musicians to Boston to perform. During this period, Hovhaness learned to play the sitar , studying with amateur Indian musicians living in the Boston area. Around 1942, Bloom introduced Hovhaness to Yenovk Der Hagopian ,

2728-648: The most important works of Karlheinz Stockhausen , is often described as a cantata. Benjamin Britten composed at least six works he designated as cantatas: The Company of Heaven (1937), Rejoice in the Lamb , Op. 30 (1943), Saint Nicolas , Op. 42 (1949), the Cantata academica , Op. 62 (1959), the Cantata Misericordium , Op. 69 (1963), and Phaedra , Op. 93 (1975). Alberto Ginastera also composed three works in this form:

2790-457: The most popular pieces of classical music of the 20th century to the layman's ears, is a cantata, namely Carmina Burana (1935–1936) by the German composer Carl Orff . In the early part of the century, secular cantatas once again became prominent, while the 19th-century tradition of sacred cantatas also continued. Ralph Vaughan Williams composed both kinds: "festival" cantatas such as Toward

2852-414: The rise of the da capo aria , the cantata became a group of two or three arias joined by recitative. George Frideric Handel 's numerous Italian duets and trios are examples on a rather large scale. His Latin motet Silete Venti , for soprano solo, shows the use of this form in church music. The Italian solo cantata tended, when on a large scale, to become indistinguishable from a scene in an opera , in

2914-542: The same way the church cantata, solo or choral, is indistinguishable from a small oratorio or portion of an oratorio. This is equally evident whether one examines the church cantatas of Bach, of which nearly 200 are extant (see List of Bach cantatas ) or the Chandos Anthems of Handel. In Johann Sebastian Bach's case, some of the larger cantatas are actually called oratorios, and the Christmas Oratorio

2976-474: The services of the Lutheran church. Such pieces were usually called geistliche Konzerte (singular: geistliches Konzert , meaning sacred concerto). Many of these pieces were simply called by their opening text. Such pieces for the liturgy or other occasions were not only composed by Bach but also by Dieterich Buxtehude , Christoph Graupner , Gottfried Heinrich Stölzel and Georg Philipp Telemann , to name

3038-483: The soul. It's of no use. Hovhaness was inducted into the National Institute of Arts and Letters (1951), and received honorary D.Mus. degrees from the University of Rochester (1958), Bates College (1959) and the Boston Conservatory (1987). He moved to Seattle in the early 1970s, where he lived for the rest of his life. In 1973, he composed his third and final ballet score for Martha Graham: Myth of

3100-446: The spelling to 'Hovhaness', accent on the second syllable; this was the name by which he later became quite famous." Hovhaness was interested in music from a very early age. At the age of four, he wrote his first composition, a cantata in the early Italian style inspired by a song of Franz Schubert . His family was concerned about his late-night composing and about the financial future he could possibly have as an artist. He decided for

3162-961: The thirtieth anniversary of the same event Patriotic cantatas celebrating anniversaries of events in the Revolution or extolling state leaders were frequently commissioned in the Soviet Union between 1930 and the middle of the century, though these occasional works were seldom among their composers' best. Examples include Dmitri Shostakovich 's Poem of the Motherland , Op. 47 (1947) and The Sun Shines over Our Motherland , Op. 90 (1952), and three works by Prokofiev, Zdravitsa! [Hail to Stalin] (1939). Dmitry Kabalevsky also composed four such cantatas, The Great Homeland , Op. 35 (1941–42), The Song of Morning, Spring and Peace , Op. 57 (1957–58), Leninists , Op. 63 (1959), and About Our Native Land , Op. 82 (1965). In 1940,

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3224-437: The translation by Edward FitzGerald. Continuing his interest in composing for Asian instruments, in 1981, at the request of Lou Harrison, he composed two works for Indonesian gamelan orchestra which were premiered by the gamelan at Lewis & Clark College , under the direction of Vincent McDermott . Hovhaness was survived by his sixth wife, the coloratura soprano Hinako Fujihara Hovhaness (1932–2022), who administered

3286-513: Was Dominick Argento , who described him as "by far the most spontaneous and prolific composer I ever knew." From 1959 through 1963 Hovhaness conducted a series of research trips to India, Hawaii, Japan and South Korea, investigating the ancient traditional musics of these nations and eventually integrating elements of these into his own compositions. His study of Carnatic music in Madras , India (1959–60), during which he collected over 300 ragas ,

3348-406: Was Hofkapellmeister at the court of Hesse-Darmstadt and provided over 1,400 cantatas during his nearly 50 years of employment there, making him the most significant contributor to the genre. While only a handful of Bach's cantatas contain accompanied chorales (the vocal parts are usually doubled by the instrumental parts), nearly all of Graupner's chorales feature elaborate ritornello sections. This

3410-489: Was Hovhaness's first work to make use of an innovative technique he called "spirit murmur", an early example of aleatoric music inspired by a vision of Hermon di Giovanno . The technique, essentially similar to the 1960s ad libitum aleatory of Lutoslawski , involves instruments repeating phrases in uncoordinated fashion, producing a complex "cloud" or "carpet" of sounds. In the mid-1940s, Hovhaness' stature in New York

3472-413: Was an American composer . He was one of the most prolific 20th-century composers, with his official catalog comprising 67 numbered symphonies (surviving manuscripts indicate over 70) and 434 opus numbers. The true tally is well over 500 surviving works, since many opus numbers comprise two or more distinct works. The Boston Globe music critic Richard Buell wrote: "Although he has been stereotyped as

3534-454: Was being played, Aaron Copland talked loudly in Spanish to Latin-American composers in the room; and at the end of the recording Leonard Bernstein went to the piano, played a melodic minor scale and rebuked the work as "cheap ghetto music". Apparently angered and distraught by this experience, he left Tanglewood early, abandoning his scholarship and again destroying a number of his works in

3596-433: Was five, his family moved from Somerville to Arlington, Massachusetts . A Hovhaness family neighbor said his mother had insisted on moving from Somerville because of discrimination against Armenians there. After her death (on October 3, 1930), he began to use the surname "Hovaness" in honor of his paternal grandfather, and changed it to "Hovhaness" around 1944. He stated the name change from the original Chakmakjian reflected

3658-636: Was helped considerably by members of the immigrant Armenian community who sponsored several high-profile concerts of his music. This organization, the Friends of Armenian Music Committee, was led by Hovhaness's friends Dr. Elizabeth A. Gregory, the Armenian American piano/violin duo Maro Ajemian and Anahid Ajemian , and later Anahid's husband, pioneering record producer and subsequent Columbia Records executive George Avakian . Their help led directly to many recordings of Hovhaness' music appearing in

3720-502: Was in 1963, with around 15 discs following over the next decade. Following their divorce, the wife was granted ownership of the label but then either sold or transferred rights to this catalog to Crystal Records . In 1965, as part of a U.S. government-sponsored delegation, he visited Russia as well as Soviet-controlled Georgia and Armenia , the only time he visited his paternal ancestral homeland. While there, he donated his handwritten manuscripts of harmonized Armenian liturgical music to

3782-598: Was premiered by Leopold Stokowski in his debut with the Houston Symphony , although the idea that Mysterious Mountain was commissioned for that orchestra is a common misconception. That same year, MGM Records released recordings of a number of his works. Between 1956 and 1958, at the urging of Howard Hanson , an admirer of his music, he taught summer sessions at the Eastman School of Music long presided over by Hanson. One of Hovhaness's students there

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3844-543: Was sponsored by a Fulbright fellowship. While in Madras, he learned to play the veena and composed a work for Carnatic orchestra entitled Nagooran , inspired by a visit to the dargah at Nagore , which was performed by the South Indian Orchestra of All India Radio Madras and broadcast on All-India Radio on February 3, 1960. He compiled a large amount of material on Carnatic ragas in preparation for

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