The following list is from Wikipedia.
Op. 1, No. 1: Oror [Lullaby] (violin and piano), composed in 1927 while in Arlington, MA, High School, is an early work showcasing the composer’s emerging style. Often described as hauntingly beautiful and evocative of Armenian folk melodies, it hints at the mystical and spiritual qualities that would become hallmarks of his later compositions. A brief, yet poignant piece.
Op. 1, No. 2: violin & piano (1927)
Op. 2, No. 1: Monadnock [Fantasy for orchestra] ([2222 4331, timpani, strings) (1936; 1935, rev. 1938 per Kunze; 1935, rev. 1936 per New Grove)
Op. 2, No. 2: “Storm on Mount Wildcat,” composed in 1931, offers a glimpse into his budding genius and his fascination with nature’s power and mystery.
This piece evokes the intensity and raw energy of a storm sweeping over Mount Wildcat, a natural landmark that likely inspired Hovhaness. Through a masterful blend of dissonance and lyrical beauty, he captures the tension of gathering clouds, the roar of the winds, and the eventual calm after the tempest.
Even in this early composition, Hovhaness’s signature style—a fusion of Western classical traditions with mystical and nature-inspired themes—shines through. It serves as a precursor to the spiritual and contemplative works defining his legacy.
Op. 3: Trio No. 1 in E Minor (for violin, cello, piano) (1935)
Op. 4: Missa Brevis (bass, SATB choir, strings, organ) (1936; 1935 per Kunze)
Op. 5: Three Odes of Solomon (medium voice and piano) (1937; 1935 per Kunze)
Op. 6, No. 1: Toccata and Fugue ,1935 )[the Harvard Symphonic Wind Ensemble on March 11, 1966]??
Op. 6, No. 2: Toccata and Fugue on a Kabardin Tune (piano solo) (1951)??
Op. 7: How I Adore Thee (medium voice and piano) (1936)
Op. 8: String Quartet No. 1 [Jupiter] (1936)
Op. 9: Piano Quintet No. 1 (1926, rev. 1962) (New Grove also assigns op. 9 to the first of Two Suites for piano, 1936)
Op. 10: Three Preludes (1935) [the Harvard Symphonic Wind Ensemble on March 11, 1966]
Op. 11: Sonata for violin and piano (1937)
Op. 12: Sonata Ricercare (piano solo) (1935)
Op. 13: Prelude the Harvard Symphonic Wind Ensemble on March 11, 1966)
Op. 14: Tapor (1936)
Op. 15: Suite for band (1948) In this work, Hovhaness combines elements from Western classical music with influences from Armenian and Asian cultures, resulting in a distinctive and enchanting musical atmosphere.
Op. 16: Fantasy for piano (1952)
Op. 17, No. 1: Cello Concerto (1937)
Symphony No. 1, “Exile,” is a powerful and moving work. It was written in 1936 and reflects the Armenian Genocide and the composer’s ancestral heritage. The music blends Western symphonic tradition with Armenian folk influences, creating a unique and evocative soundscape. It’s a deeply emotional piece, full of lament, resilience, and a sense of longing for a lost homeland.
Op. 18: Variations and Fugue (orchestra [3322 4331, timpani, percussion, harp, glockenspiel, strings]) (1963; “or 1964” per New Grove)
Op. 19: Angelic Song (cantata for soprano (or tenor), horn, strings) (1934/1947; later incorporated into Op. 425)
Op. 20, No. 1: Nocturne (harp solo) (1937, rev. 1961)
Op. 20, No. 2: Nocturne (flute and harp) (1956)
Op. 20a: Lament (1936)
Op. 20b: Lament (piano) (1937) (Only New Grove includes this)
Op. 21: Suite in D Minor (English horn and bassoon) (1933)
Op. 22: Mystic Flute (piano solo) (1937)
Op. 23: Makiko Suite (oboe and bassoon) (1949)
Op. 24, No. 1: Yar Nazani (The Lover Who Desired to Please) (voice and piano) (1938)
Op. 24, No. 2: Vaspooragan (voice and piano) (1938)
Op. 25: Lament (clarinet solo) (1935)
Op. 26: Behold, God is My Help (SATB chorus and organ (or piano) (undated)[7]
Op. 27: O Lord God of Hosts (1968)
Op. 28: O Lord, Rebuke Me Not (SATB choir an1968 per Kunze)
Op. 29: Layla (medium voice and piano) (1935)
Op. 30: Bagatelles (1966)
Op. 31:[8] Two Shakespeare Sonnets (voice and piano) (1939; rev. 1942 per Kunze)
Op. 32, No. 1: Starlight of Noon (voice and piano) (1947)
Op. 32, No. 2: O World (bass voice (or tenor or baritone or trombone) and piano) (1960)
Op. 33: Love Songs of Hafiz (medium voice and piano) (1936/67)
Op. 34: Watchman, Tell Us of the Night [“Christmas Song”] (1927, rev. 1962)
Op. 35: The Lord’s Prayer (SATB chorus and organ (or piano)) (1962)
Op. 36: Two Ghazals (1931, rev. 1966)
Op. 37: Vijag (2 pianos) (1946)
Op. 38: Mazert Nman Rehan (Thy Hair is Like Basil Leaf) (piano solo) (1944)
Op. 39: Artinis (Urarduan: Sun God) (piano solo) (1945)
Op. 40a: Psalm and Fugue (1940)
Op. 40b: Alleluia and Fugue (1940)
Op. 41: Protest and Prayer (1967)
Op. 42: I will Rejoice in the Lord (Unkown)
Op. 43: 12 Armenian Folk Songs (1943)
Op. 44: Celestial Fantasy (1935/44)
Op. 45: Armenian Rhapsody (1944)
Op. 46: Let Us Love One Another (SATB chorus, tenor (or baritone) ad lib., and organ (or piano)) (1941/62)
Op. 47a: Varak (violin and piano) (1944)
Op. 47b: Arshalouis [Arshalouis (Dawn)] (violin and piano) (1939–43)
Op. 48: Lousadzak (1944)
Op. 49: Khrimian Hairig (trumpet and strings) (1944, rev. 1948)[12]
Op. 50: Elibris (1944)
Op. 51: Armenian Rhapsody (1944)
Op. 52, No. 1: Lousnag Kisher [Moonlit Night] (piano solo) (1943)
Op. 52, No. 2: Lullaby [aka Slumber Song] (piano solo) (1951; 1956 per Kunze)
Op. 53, No. 1: Jesus, Lover of My Soul (voice, SATB chorus, organ (or piano)) (1922/35)
Op. 53, No. 2: Tzaikerk, Evening Song, (flute, violin, drums, strings) (1944)
Op. 54, No. 1: Invocations to Vahakn (piano and percussion) (1945)
Op. 54, No. 2: Hakhpat (sonata for piano and percussion) (1946/51)
Op. 55, No. 1: Vanadour [Armenian God of Hospitality] (piano solo) (1945)
Op. 55, No. 2: Farewell to the Mountains (1946)
Op. 56, No. 1: Chahagir [Torch-Bearer] (viola solo) (1944)
Op. 56, No. 2: Yeraz [The Dream] (violin solo) (undated; 1946 per Kunze)
Op. 56, No. 3:[13] Hercules (1959)
Op. 57, No. 1: Anahid: The Mother Goddess [Fantasy] (flute, English horn, trumpet, timpani, percussion, strings) (1944–45; 1944 per Kunze)
Op. 57, No. 2: Vosdan (flute, trumpet, timpani, strings) (1945, rev. 1948)
Op. 58: Sharagan and Fugue (brass choir) (1947)
Op. 59: Is There Survival? [King Vahaken (ballet suite)] (0040 a sax 0400, timpani, 3 percussion) (1949)
Op. 60: MIHR – Ancient Armenian Fire God (-2 pianos) (1945)
Op. 61: Divertimento (1947)
Op. 62: Hovhaness’s “Etchmiadzin” opera, written in 1946, is a majestic opera that draws inspiration from the founding of the Etchmiadzin Cathedral in Armenia. This pivotal event in Armenian Christian history is powerfully evoked through a unique blend of Western operatic traditions and evocative Armenian musical elements, resulting in a deeply moving and spiritually resonant work.
Op. 62b: Prayer of St. Gregory,” composed in 1946, is a renowned piece by Alan Hovhaness. Initially written for trumpet and orchestra, this excerpt from his opera “Etchmiadzin” is often described as “a prayer in darkness.” This version is adapted for string orchestra with solo options for various instruments.
Op. 63: Greek Rhapsody No. 1 (piano solo) (1944)
Op. 64: Achtamar (piano solo) (1947; 1948 per Kunze)
Op. 65: Avak the Healer (cantata for soprano, trumpet, strings)[15] (1945–46)
Op. 66, No. 1: Kohar (flute, English horn, timpani, strings) (1946)
Op. 66, No. 2: Agori [16] (flute, English horn, bassoon, trumpet, timpani, strings: concerto based on material from the opera Etchmiadzin, Op. 62) (1946)
Op. 67: Saris (violin and piano) (1946)
Op. 68: Sing Aloud (SATB chorus) (1951)
Op. 69: Sanahin (1951)
Op. 70: Five Fantasies for brass choir (1967)
Op. 71: Haroutiun [Resurrection] (trumpet and strings) (1948)
Op. 71a:[17] Haroutiun [Resurrection] (trumpet and piano) (1948)
Op. 72: Canzona and Fugue (horn, 2 trumpets, trombone (or tuba) (1967)
Op. 73, No. 1: Khirgiz Suite (violin and piano) (1951)
Op. 73, No. 2: Shatakh [Çatak] (violin and piano) (1947)
Op. 74, No. 1:[18] Pagan Saint (voice and piano) (1947; 1948 per Kunze)
Op. 74, No. 4:[18] Lullaby of the Lake (voice and piano) (1947; 1948 per Kunze)
Op. 74, No. 5:[18] I Heard Thee Singing (voice and piano) (1947; undated by Kunze)
Op. 74, No. 8:[18] Raven River (low voice, piano, gong) (1947; undated by Kunze)
Op. 75: Sosi – Forest of Prophetic Sounds (violin, piano, horn, timpani, giant tam-tam, strings) (1948)
Op. 76: Thirtieth Ode of Solomon (cantata for baritone, SATB chorus, trumpet, trombone, strings) (1948)
Op. 77: Zartik Parkim [Awake, My Glory][19] (concerto for piano and chamber orchestra [1010 2100, timpani, percussion, strings]) (1948)
Op. 78: Artik (1948)
Op. 78a: Artik (horn and piano)[20] (1948)
Op. 79: Six Dances (horn, 2 trumpets, trombone, tuba) (1967)
Op. 80: I have Seen the Lord (soprano, SATB chorus, trumpet, organ (or piano)) (1962)
Op. 81: Janabar [Journey: 5 Hymns of Serenity] (trumpet, piano, violin solo, strings) (1949)
Op. 82: Transfiguration (cantata for tenor and SATB chorus) (1956). Based on bible text Mark 9:2-9. Movements/numbers 13-16 of this work, based on Mark 9:9, was extracted and published by C. F. Peters as a separate work “And As They Came Down From The Mountain”. Peters erroneously labels this extracted work as Opus 18.[21][22]
Op. 83: Hymn to Yerevan (for full band) (undated; 1969 per Kunze)
Op. 84, No. 1: Black Pool of Cat (voice and piano) (1950)
Op. 84, No. 2: Innisfallen (voice and piano) (1950)
Op. 85: Fantasy on an Ossetin Tune (piano solo) (1951)
Op. 86: Make Haste (motet for SATB chorus) (1951)
Op. 87: Four Motets (for SATB chorus) (1951)
Op. 88: Concerto No. 1 Arevakal (1951)
Op. 89, No. 1: Concerto No. 2 (for violin and strings) (1951/57)[24] [no further Nos. are mentioned]
Op. 90, No. 1: Upon Enchanted Ground (flute, cello, harp, tam-tam) (1951) [no further Nos. are mentioned]
Op. 91: Khaldis[25] (concerto for 4 (or any multiple thereof) trumpets, piano, percussion) (1951; rev. 1954 per Kunze)
Op. 92: Orbit No. 1 (flute, harp, celesta, tam-tam) (1952)
Op. 93, No. 1: Tallinn (concerto for viola and strings)[26] (1951–52; 1951 per Kunze)
Op. 93, No. 2: I will Lift up Mine Eyes (cantata for SATB chorus, boys’ chorus, bass ad lib., organ and harp (or piano), ad lib.) (1967)
Op. 94: Concerto No. 3 [Diran (the Religious Singer)] (baritone horn (or trombone), strings) (1948)
Op. 95: Three Songs (voice and piano) (1950)
Op. 96: Suite for piano (1954/1967)
Op. 97: Quartet No. 1 (flute, oboe, cello, harpsichord (or piano)) (1936/1952)
Op. 98, No. 1: Partita [for piano and strings] (undated; 1950s per Kunze)
Op. 98, No. 2: Concerto No. 4 [Tel El Armarna] (orchestra [322(eh)2 4231, timpani, harp, strings]) (1952)
Op. 98, No. 3: Concerto No. 5 [for piano and strings] (undated; 1950s per Kunze)
Op. 99: Suite for violin, piano and percussion (1950; 1951 per Kunze)
Op. 100,[27] No. 1: Ave Maria (1955)
Op. 100,[27] No. 2: Christmas Ode [As on the Night] (soprano, celesta, strings) (1952)
Op. 100,[27] No. 3:[28] The Beatitudes (SATB chorus, 2 oboes, 2 horns, harp, celesta, strings) (1955)
Op. 100,[27] No. 4: Easter Cantata (soprano, SATB chorus, 2 oboes, 2 horns, 3 trumpets, tam-tam, harp, celesta, strings) (1953)
Op. 101: Hanna (2 clarinets and 2 pianos) (1951)
Op. 102: Orbit No. 2 (piano (or alto recorder and piano)) (1952)
Op. 103: Jhala (piano solo) (1951)
Op. 104: Allegro on a Pakistan Lute Tune (piano solo) (1952)
Op. 105: Make a Joyful Noise (1966)
Op. 106: Gamelan and Jhala (carillon) (1951)
Op. 107: Island Sunrise[29] (orchestra [33(eh)3(bcl)3 4331, timpani, 6 percussion, 2 pianos, celesta, strings]) (1964; 1965 per New Grove)
Op. 108: Sextet (violin and 5 percussion) (1966)
Op. 109: Piano Quintet No. 2 (piano and string quartet) (1964)
Op. 110: Two Sonatas (for koto (or harp)) (1962)
Op. 111, No. 1: Pastorale No. 1 (piano solo) (1952)
Op. 111, No. 2: Hymn to a Celestial Musician (piano solo) (1951)
Op. 112: Quartet No. 2 (flute, oboe, cello, piano) (1950)
Op. 113: Three Haikus (piano solo) (1965)
Op. 114: Concerto No. 6 [Harmonica Concerto] (harmonica (or flute or oboe) and strings) (1953)
Op. 114a: Concerto No. 6 [Harmonica Concerto] (harmonica and piano) (1953)
Op. 115: Canticle (soprano, oboe, xylophone, harp, celesta, strings) (1953)
Op. 116: Concerto No. 7 [“for orchestra”] (2222 4231, timpani, percussion, harp, celesta, strings) (1953)
Op. 117: Concerto No. 8 (1957)
Op. 118: Sonata No. 1 for flute (solo) (1964)
Op. 119: Mountain Idylls [“3 easy pieces for piano”] (1931/49/55)
Op. 120: Sonatina (for piano solo) (1962)
Op. 121: Sonata for ryuteki and sho (ryuteki (or flute), and sho (or organ)) (undated; 1968 per Kunze)
Op. 122: Duet (for violin and harpsichord) (1957; 1954 per Kunze)
Op. 123: Vision from High Rock (orchestra [2222 2200, timpani, percussion, harp, celesta, strings]) (1954)
Op. 123, No. 3:[30] Concerto No. 10 [“for 2 pianos”] (orchestra [2222 4230, timpani, percussion, 2 pianos, strings]) (1954) [see Op. 342, Symphony No. 45]
Op. 124: Glory to God (soprano, alto, SATB chorus, orchestra [0000 a saxophone 4400, timpani, 2 percussion, organ (or piano)]) (1954)
Op. 125: The Flowering Peach (1954)
Op. 126: The Stars (soprano, SATB chorus, English horn, harp, celesta, strings) (1955)
Op. 127: Sonata for harp (harp solo) (1954; 1975 per Kunze)
Op. 128: Prelude and Quadruple Fugue (1936, rev. 1954)
Op. 129: The Harvard Symphonic Wind Ensemble’s performance of Hovhaness’s “Tower Music” is a captivating journey through soaring melodies, ethereal textures, and pulsating rhythms. The ensemble’s musicians, known for their technical prowess and expressive power, bring to life the composer’s unique and evocative style, creating a musical experience that is both mesmerizing and thought-provoking (1955).
Op. 130: Sonata for 2 oboes and organ (1963–64)
Op. 131: The Brightness of Our Noon (madrigal for SATB chorus) (1954)
Op. 132: Symphony No. 2, “Mysterious Mountain” takes listeners on an enchanting adventure. It inspires feelings of wonder and spirituality, much like looking at a breathtaking, unknown mountain. The music features calm and soothing tunes that create a sense of timelessness. It’s a powerful and thought-provoking piece that encourages everyone to pause and think about the beauty of nature and the deeper mysteries of life.
Op. 133, No. 1: The World Beneath the Sea No. 1 (alto saxophone, harp, vibraphone, timpani, gong) (1954)
Op. 133, No. 2: The World Beneath the Sea No. 2 (clarinet, timpani, bells (chimes or glockenspiel), harp, double bass) (1963)
Op. 134: Immortality (soprano, SATB choir, organ (or piano)) (undated; 1962 per Kunze)
Op. 135: October Mountain (1942, rev. 1953)
Op. 136: Ko-ola-u (for 2 pianos, 4 hands) (1962)
Op. 137: O God Our Help in Ages Past (SATB choir and organ (or piano)) (1928; rev. 1963?; 1958 per Kunze)
Op. 138: Dawn Hymn (organ) (1953)
Op. 139: O Lady Moon (soprano (or SSA chorus), clarinet, piano) (1953)
Op. 140: The God of Glory Thundereth (tenor (or soprano), SATB chorus, organ (or piano)) (1935, rev. 1960)
Op. 141: Anabasis (speaker, soprano, bass, SATB chorus, orchestra [12(eh)10 2100, timpani, percussion, harp, strings]) (1955)
Op. 142: Out of the Depths (voice and organ (or piano), (or soprano, SATB choir, organ)) (1938, rev. 1959)
Op. 143: Ad Lyram (SATB soli, SATB double chorus, orchestra [33(eh)3(bcl)3(cbsn) 5331, timpani, percussion, harp, strings]) (1956)
Op. 144 [aka Op. 144a]:[32] Macedonian Mountain Dance (piano solo) (1937)
Op. 144a:[32] Macedonian Mountain Dance (1964)
Op. 144b:[32] Mountain Dance No. 2 (piano solo) (1937, rev. 1962)
Op. 145: Sonata for piano (1956)
Op. 146: To the God Who is in the Fire (tenor, TTBB chorus, 6 percussion) (1955, rev. 1966; rev. 1965 per Kunze)
Op. 147: String Quartet No. 2 [Adanad Suite] (1950)
Op. 148: Symphony No. 3, composed in 1956, features a movement called “Andante.” The term “Andante” means “at a walking pace,” suggesting a slower and relaxed tempo. This part of the symphony tends to be more tuneful and expressive compared to other sections, offering a nice change in mood and speed.
Op. 149: Hear My Prayer, O Lord (SSATBB chorus with optional organ (or piano) (1936/59)
Op. 150: Seven Greek Folk Dances (harmonica and strings (or piano)) (1956)
Op. 150, No. 2: Three Greek Folk Dances (orchestra [3222 4331, timpani, 3 percussion, harp, strings]) (1956) [arrangements of three movements from Op. 150]
Op. 151: O Goddess of the Sea (1957)
Op. 152: Do You Remember the Last Silence? (piano solo) (1957)
Op. 153: Dawn at Laona (low voice and piano) (1967)
Op. 154: Persephone (low voice and piano) (1957)
Op. 155: Meditation on Orpheus (1970)
Op. 156: The Moon has a Face (medium voice and piano) (1932)
Op. 157: Magnificat (1958)
Op. 158: Look Toward the Sea (baritone, SATB chorus, trombone, organ) (1958)
Op. 159: Quintet (for flute, oboe, clarinet, bassoon, horn) (1960, rev. 1965)
Op. 160: Praise ye Him, All His Angels (bass, SATB chorus, organ (or piano)) (1958)
Op. 160a: Let Them Praise the Name of the Lord (SATB chorus and organ (or piano)) (1958)
Op. 161: O for a Shout of Sacred Joy (SATB choir and organ (or piano)) (1958)
Op. 162: Unto Thee will I Cry (SATB chorus and organ (or piano)) (undated; 1958 per Kunze)
Op. 163: In Memory of an Artist (suite, for strings) (1958)
Op. 164, No. 1: Sextet (alto recorder, string quartet, harpsichord) (1958)
Op. 164, No. 2: Shepherd of Israel (tenor cantor, soprano recorder (or flute), trumpet ad lib., string quartet (or string orchestra)) (1953; 1952 per Kunze)
Op. 165: Symphony No. 4 for Wind Orchestra, composed in 1958, is a beautiful piece of music that brings together elements from both Eastern and Western traditions. With its focus on wind instruments, the symphony offers a unique sound experience, featuring calming sections and rich layers of music. Hovhaness paints vivid pictures of nature and spirituality through simple melodies and complex harmonies. This symphony is an important addition to the world of wind music and highlights Hovhaness’s creative approach in 20th-century classical music. It’s a treasure for anyone who enjoys soothing and reflective music!
Op. 166: Suite for accordion (solo) (1958)
Op. 167: Glory to Man (SABar soli, and organ) (1958)
Op. 168: Child in the Garden (piano (4 hands)) (1958)
Op. 169: Live in the Sun (medium voice and celesta (or piano)) (1954, rev. 1960)
Op. 170: Symphony No. 5 [Short Symphony] (orchestra [2222 4331, timpani, percussion, celesta, harp, strings]) (1953, rev. 1963)
Op. 171: Sonata for hichiriki and sho [Cry of the Phoenix] (hichiriki and sho (or oboe and organ)) (1962)
Op. 172: Blue Flame [A Musical Fairy Tale] (opera for STB soli, SATB chorus, orchestra [2222 4231, timpani, percussion, harp, strings]) (1959)
Op. 173: Symphony No. 6 “Celestial Gate” (1959) is a beautiful symphony by Alan Hovhaness, known for its magical and uplifting qualities. This piece takes listeners on a wonderful journey, filled with soothing melodies that evoke a sense of peace and spirituality. It invites you to imagine a world beyond our own, where music opens up a pathway to something greater and more divine.
Op. 174: Concerto for accordion and orchestra[33] (accordion, orchestra [2222 2000, timpani, harp, strings]) (1959)
Op. 175: Lake of Van Sonata (piano) (1946, rev. 1959)
Op. 176, No. 1: Madras Sonata (piano) (1947, rev. 1951, 1959)
Op. 176, No. 2: Yenovk (piano solo) (1947)
Op. 177: Shalimar [Suite for piano] (1950, rev, 1951)
Op. 178: Symphony No. 7 ‘Nanga Parbat,’ composed in 1959, is a powerful musical portrait of the majestic and dangerous Himalayan peak. It evokes the mountain’s serene beauty, its imposing presence, and the relentless forces of nature that shape it. Expect soaring melodies, dramatic contrasts, and a sense of awe-inspiring grandeur.
Op. 179: Alan Hovhaness’ Symphony No. 8, initially titled “Ardos” and later renamed “Arjuna,” composed in 1947, is a captivating work that exemplifies his distinctive style. The symphony vividly reflects Hovhaness’s deep engagement with Eastern musical traditions, drawing inspiration from the music of Armenia and India.
Op. 180: Symphony No. 9, “St. Vartan,” composed in 1949, is a powerful and evocative work. It is a musical tribute to the Armenian hero Vartan Mamikonian and the Battle of Avarayr (451 AD). Hovhaness blends his signature mystical style with dramatic and heroic elements, reflecting the struggle for faith and national identity. Expect soaring melodies, modal harmonies, and a sense of ancient ritual.
Op. 181: Moss Garden (1954)
Op. 182: Fuji (cantata for female voices, flute, harp (or piano), strings) (1960, rev. 1964)
Op. 183: Wind Drum [Dance Drama][35] (unison male (or female or mixed) voices (or bass or alto), solo (or group) dancer(s), flute, timpani, 2 percussion, harp, strings) (1962)
Op. 183a: Dance of the Black-Haired Mountain Storm (flute and 3 percussion (timpani, xylophone, bass drum) (1962) [arrangement of 11th movement of Op. 183]
Op. 184: Symphony No. 10, subtitled ‘Vahaken,’ is a powerful and evocative work inspired by the ancient Armenian god of fire, thunder, and war. Composed in the mid-1940s and later revised, it blends Hovhaness’s signature mystical style with elements of Armenian folk music and, following his travels to India, subtle Indian influences. The symphony is renowned for its dramatic contrasts, featuring both serene, meditative passages and intense, driving rhythms, mirroring the multifaceted nature of the deity it portrays.
Op. 185: The Burning House (1-act opera, for 2 baritones, dancer, chorus (of 8 baritones or any multiple thereof), flute, 4 percussion, timpani, bass drum, tam-tam, xylophone, marimba, glockenspiel, vibraphone, chimes in C,D,D,F,G,G,A) (undated; 1959/62 per Kunze; 1960 per New Grove)
Op. 185a: Overture to The Burning House (flute and 4 percussion) (1959)
Op. 186: Symphony No. 11, All Men Are Brothers, is a profound orchestral work that embodies Hovhaness’s lifelong commitment to universal brotherhood and peace. Composed in 1961, the symphony reflects his signature style, characterized by modal harmonies, hypnotic rhythms, and the use of Armenian folk instruments, blending Eastern and Western musical traditions with spiritual undertones. Its meditative melodies and expansive textures evoke a sense of unity and harmony, underscoring the shared humanity of all people. The piece stands as a testament to Hovhaness’s visionary artistry and his dedication to fostering understanding through music.
Op. 187: From the End of the Earth (SATB choir and organ (or piano)) (1951, rev. 1960)
Op. 188: Symphony No. 12 [Choral] (SATB chorus, flute, 2 trumpets, timpani, 2 percussion, harp, strings, and ad lib. recording of a mountain waterfall) (1960; 1969 per Kunze)[36]
Op. 188b: TSymphony No. 12, Op. 188: Psalm 23: The Lord is My Shepherd (1960) is a serene and contemplative work inspired by the biblical Psalm 23. The piece is known for its ethereal melodies, shimmering textures, and unusual instruments like the duduk and the santur, creating an atmosphere of spiritual tranquility and profound peace.
Op. 188, Nos. Symphony No. 12, Psalm 23: The Lord is My Shepherd (1960) is a beautiful and calming piece of music. Inspired by the well-loved psalm, composer Alan Hovhaness creates gentle melodies and soothing harmonies that bring a sense of peace and connection to nature. The music helps listeners feel a profound sense of calm and spiritual beauty.
Op. 189: Armenian Rhapsody No. 3 (strings) (1944)
Op. 190: Symphony No. 13 (orchestra [11(eh)11 1000, timpani, percussion, harp, strings]) (1953; revision of 1945 Martha Graham Ardent Song)[37]
Op. 191: Poseidon Sonata (piano) (1957)
Op. 192: Bardo Sonata (piano) 1959)
Op. 193, No. 1: Suite for cello and piano (undated; 1961 per Kunze)
Op. 193, No. 2: Yakamochi (cello solo) (1965)
Op. 194: Symphony No. 14, “Ararat,” composed in 1960, is a beautiful tribute to Mount Ararat, a significant symbol in Armenian culture. This symphony reflects the composer Hovhaness’s strong ties to his Armenian heritage and his admiration for the beauty of nature. With rich orchestral sounds and dreamlike melodies, Hovhaness captures the mystical essence of Ararat, blending elements from both Eastern and Western music. The piece invites listeners into a peaceful, spiritual journey, exploring themes of respect for nature, personal identity, and the stunning beauty of the world around us. It truly showcases Hovhaness’s unique musical style and his deep connection to his roots.
Op. 195: Mountain of Prophecy , (1960
Op. 196: Pilate (1-act opera, for alto and bass soli, bass chorus, 3 flutes, 3 trombones, 5 percussion) (1963)
Op. 197: Spirit of the Avalanche (1-act opera, for coloratura soprano, 2 baritones, baritone chorus, flute, English horn, trumpet, trombone, 4 percussion, harp, strings) (1962)
Op. 198: “Three Visions of Saint Mesrob,” written in 1962, likely dives into the life and impact of Saint Mesrob Mashtots, a 5th-century Armenian monk who is known for developing the Armenian alphabet. The music of Hovhaness often combines Western classical styles with elements of Armenian music, creating a unique sound. You can expect to hear rich, flowing melodies influenced by traditional Armenian folk tunes, along with a dreamy and spiritual feel in his compositions.
Op. 199: Symphony No. 15 “Silver Pilgrimage” (1962) by Alan Hovhaness captures the mystical beauty of spiritual journeys. Blending serene melodies with majestic orchestration, it reflects his fascination with nature, spirituality, and ancient cultures. A meditative masterpiece, it invites listeners on a contemplative, otherworldly voyage.
Op. 200: Sonata No. 1 for trumpet and organ (1962)
Op. 201: Trio for violin, viola and cello (c.1962)
Op. 202: Symphony No. 16, written in 1962 and called “Korean Kayageum,” combines different music styles from around the world. In this piece, the composer Hovhaness draws inspiration from the sounds of the kayageum, a traditional Korean string instrument similar to a zither. This symphony brings together the classic elements of Western orchestral music with the rich musical heritage of Korea, creating a unique and exciting blend of cultures.
Op. 203: Alan Hovhaness’s Sinfonia No. 17, Op. 213, subtitled “Symphony for “Metal Orchestra” (1963), is a unique and fascinating work. Scored for an orchestra of primarily metallic percussion instruments, it creates a shimmering, otherworldly soundscape, exploring Hovhaness’s signature mystical and spiritual style through unusual timbres.
Op. 204: Circe (1111 1111, timpani, percussion, harp, strings) (1963) (ballet for the Martha Graham Dance Company)
Op. 204a: Alan Hovhaness’s Symphony No. 18, titled “Circe,” was composed in 1963 and is a captivating piece of orchestral music. Inspired by myths and the beauty of nature, this Symphony features enchanting sounds, a creative style, and airy melodies. The Symphony blends musical elements from Eastern and Western traditions, resulting in a unique and dreamlike listening experience.
Op. 205: Mysterious Horse Before the Gate (trombone and 5 percussion (glockenspiel, 2 vibraphones, chimes, giant tam-tam)) (1963)
Op. 206: In the Beginning was the Word (1963)
Op. 207: Meditation on Zeami (Orchestra [3333 4331, timpani, 3 percussion, harp, strings]) (1963; 1964 per New Grove)
Op. 208, No. 1: Reflections on my Childhood (1968)
Op. 208, No. 2: String Quartet No. 4 [The Ancient Tree] (1970)
Op. 209: Floating World [(Ukiyo) – Ballade for Orchestra] (orchestra [3322 4331, timpani, 3 percussion, harp, strings; (ad lib. 4–7 percussion, 2 harps]) (1964)
Op. 210: Bare November Day (harpsichord (or organ, clavichord or piano)) (undated; 1964 per Kunze)
Op. 211: Alan Hovhaness’s “Fantasy on Japanese Woodprints,” created in 1964, is a lovely example of how Western artists have been inspired by Japanese culture. Hovhaness, known for his dreamy and spiritual music, drew a lot from the musical traditions of the East, especially Japan.
This piece of music is influenced by ukiyo-e woodblock prints, a popular style of Japanese art from the 1600s to the 1800s. These prints often showed scenes from daily life, beautiful landscapes, or famous people of the time. In “Fantasy on Japanese Woodprints,” Hovhaness tries to capture the fine details, bright colors, and overall mood of these prints through his composition, creating a unique blend of sound that evokes the essence of Japanese art.
Op. 212: Dark River and Distant Bell (1968)
Op. 213: Return and Rebuild the Desolate Places (concerto for trumpet and wind orchestra [33(eh)3(bcl)3(cbsn) 4231, timpani, 2 percussion]) (c.1959)
Op. 214: Five Visionary Landscapes (1967)
Op. 215: The Travellers (1-scene opera, for 2 altos (or mezzo-sopranos), 2 basses, SATB chorus, 3 flutes, percussion, harp) (1965)
Op. 216: Ode to the Temple of Sound (orchestra [3322 4331, timpani, percussion, harp (harp II ad lib.), celesta, strings]) (1965; 1966 per New Grove)
Op. 217: Alan Hovhaness’ Symphony No. 19, titled “Vishnu,” is a captivating piece of music created in 1966 that combines elements from both Eastern and Western musical styles. Hovhaness, known for his distinctive approach and exploration of spiritual themes, draws inspiration from Armenian folk tunes, Indian musical scales called ragas, and ancient hymns. The symphony is marked by its beautiful, shimmering sounds and flowing melodies, which create a peaceful and dreamlike experience for listeners. Named after the Hindu god Vishnu, this symphony reflects Hovhaness’ deep fascination with Eastern philosophies and spirituality.
Op. 218: The Holy City (trumpet, chimes (or bell in A), harp, strings) (1965)
Op. 219: The Leper King [dance drama][40] (baritone, male (or mixed) voices (8 parts), 3 flutes, trumpet, timpani, 2 percussion) (undated; 1967 per Kunze; 1965 per New Grove)
Op. 220: The Luminous “Fra Angelico” (1967)
Op. 221: Adoration (cantata for voice (or women’s chorus with soprano and alto solos; or men’s chorus with tenor and bass solos), flute, oboe, clarinet, trumpet, trombone, celesta, chimes, strings) (1967)
Op. 222: Praise the Lord with Psaltery (cantata for SATB chorus, and orchestra [323(bcl)3(cbsn) 4331, timpani, tam-tam, large chimes, harp, celesta, strings]) (undated; 1969 per Kunze)
Op. 223: Symphony No. 20, titled “Three Journeys to a Holy Mountain,” was composed in 1968 and is a beautiful piece of music that invites listeners to reflect on spiritual journeys. It combines influences from both Eastern and Western music, creating a peaceful atmosphere that brings to mind tranquil landscapes and the experience of climbing towards something sacred. This symphony showcases Hovhaness’s profound respect for nature and his connection to the divine.
Op. 224: Requiem and Resurrection (1968)
Op. 225: “Mountains and Rivers Without End” (1968) is a captivating piece of music that draws inspiration from the beauty of nature. It blends calm tunes with magical sounds, showcasing the composer’s deep appreciation for the beauty of landscapes and the spirit of nature. This musical journey invites listeners to experience a sense of peace and connection to the world around them.
Op. 226: Vibration Painting (13 strings [7 violins, 3 violas, 2 cellos, double bass]) (undated; 1960s per Kunze)
Op. 227: Lady of Light (cantata[41] for soprano, baritone, SATB chorus, orchestra [3222 4331, timpani, 4 percussion, harp, strings]) (1969)
Op. 228: Shambala (concerto for violin, sitar, and orchestra [3222 4331, timpani, 4 percussion, harp, strings]) (undated; 1969 per Kunze)
Op. 229, No. 1: And God Created Great Whales (1970), a majestic fusion of orchestral grandeur and recorded whale songs. It’s a masterpiece captures the awe-inspiring beauty of nature and the divine mystery of creation. It immerses listeners in the profound harmony between humanity and the ocean’s giants.
Op. 229, No. 2: A Rose for Miss Emily , written in 1936
Op. 230: Spirit of Ink (1968)
Op. 231: Night of the Soul (1968)
Op. 232: Two Consolations (string quartet) (undated; 1960s per Kunze)
Op. 233: All the World’s a Dance of Snobbery (piano solo) (undated; 1960s per Kunze)
Op. 234: Symphony No. 21 “Etchmiadzin,” written in 1968, is a deeply spiritual and evocative work inspired by the sacred essence of the Armenian Church and its ancient cathedral, Etchmiadzin. Composed in 1968, the symphony captures Hovhaness’s signature blend of mysticism and lyrical beauty, drawing on Armenian liturgical melodies and modal harmonies to evoke a timeless sense of reverence.
With soaring string lines and contemplative brass, the symphony’s meditative qualities create an otherworldly atmosphere reflecting his Armenian heritage and universal spirituality. A listening journey through this piece feels like a pilgrimage, connecting the listener to the enduring legacy of faith and artistry embedded in one of the world’s oldest Christian traditions.
Hovhaness’s Symphony No. 21 is not just a musical composition but a testament to his ability to transcend cultural boundaries and channel a profound sense of the sacred through music.
Op. 235: Saint Nerses the Graceful (3 clarinets) (1968)
Op. 236: Alan Hovhaness’s Symphony No. 22, subtitled “City of Light,” composed in 1970, is a captivating example of his mystical and often otherworldly musical language. The symphony’s ethereal textures and modal harmonies create a sense of spaciousness and tranquility, evoking images of a celestial or idealized city. It’s a work that invites deep listening and contemplation.
Op. 237, No. 1: Hovhaness often drew inspiration from diverse cultures, including India, to create his unique musical landscapes. One such example is his composition “Nagooran,” of 1960, specifically Movement III for cello, timpani, and four percussionists. This piece reflects Hovhaness’s fascination with India’s spiritual and musical traditions.
The title “Nagooran” might reference Nagore, a Tamil Nadu, India coastal town renowned for its Sufi shrine that symbolizes interfaith harmony. Hovhaness was deeply inspired by the transcendental qualities of Indian music, particularly its intricate rhythmic patterns and meditative qualities. In Movement III, the interplay of the cello’s mournful yet resonant voice with the rhythmic energy of timpani and percussion evokes an almost ritualistic atmosphere, reminiscent of Indian classical and devotional music’s spiritual undertones.
This composition embodies Hovhaness’s global outlook and ability to integrate diverse musical traditions into a seamless expression of universal spirituality. Through “Nagooran,” he pays homage to India’s rich cultural and spiritual heritage, illustrating how music can transcend boundaries and celebrate the interconnectedness of human experiences.
Op. 237, No. 2: Nagooran (cello, timpani, glockenspiel, vibraphone, large chimes, giant tam-tam) (1964)
Op. 238: Four Songs (low voice and piano) (1944–49)
Op. 239: The Flute Player of the Armenian Mountains (low voice and Piano) (1945)
Op. 240: Komachi (7 miniature tone poems for piano) (1971)
Op. 241: Three Tsamicos[43] (piano solo) (undated; 1970s per Kunze)
Op. 242: Four Songs (low voice and piano) (1971)
Op. 243: Saturn (cantata for soprano, clarinet and piano) (1971)
Op. 244: Island of the Mysterious Bells (suite for 4 harps) (1971)
Op. 245: The Garden of Adonis (suite for flute and harp (or piano) (1971)
Op. 246, No. 1: David Wept for Slain Absalom (motet for baritone solo and SSATBB choir) (1971)
Op. 246, No. 2: The Word of Our God Shall Stand Forever (motet for SSATBB and organ) (1971)
Op. 246, No. 3: Heaven (An Echo Anthem (motet for SATB, (organ ad lib.)) (1971)
Op. 246, No. 4: A Rose Tree Blossoms (1971)
Op. 247: Hermes Stella[44] (piano solo) (undated; 1971 per Kunze)
Op. 248, No. 1: Afton Water (operetta, after William Saroyan play, for SSTBarB soli, SSS chorus, 3 clarinets, alto saxophone, 3 trumpets, 2 percussion, piano) (1951)
Op. 248, No. 2: Three Improvisations (for full band, vibraphone, harp) (1952)
Op. 248, No. 3: The Pitchman [ballet suite, scen. after William Saroyan] (2 alto recorders, piano, and celesta (or 2 flutes and 2 pianos)) (1953)
Op. 248, No. 4: The Spook Sonata (alto saxophone and 3 pianos) (1954) [incidental music for Strindberg play]
Op. 249: Symphony No. 23 [Ani] (large band with antiphonal brass choir II ad lib., string bass, timpani, tam-tam, bass drum, glockenspiel, marimba, vibraphone, xylophone, chimes) (1972)
Op. 250, No. 1: Ruins of Ani (4 B♭ clarinets (or any multiple thereof) (1972)
Op. 250, No. 2: Ruins of Ani (strings) (1972)
Op. 251: Holy Mystery of the Martyrs (1972)
Op. 252, No. 1: Firdausi (clarinet, harp, percussion) (1972)
Op. 252, No. 2: Shah-Nameh [Book of Kings] (film score) (1972)
Op. 252, No. 3: Seven Love Songs of Saris (violin and piano) (undated; 1972 per Kunze)
Op. 253: Spirit Cat (suite for soprano, vibraphone, marimba) (1971)
Op. 254: Two Songs (soprano and piano) (undated; 1970s per Kunze)
Op. 255: Sonata for cello and piano (1932/72)
Op. 256: Hermit Bell-Ringer of the Tower (bass, men’s chorus, flute, chimes) (1927/72)
Op. 257: For the Waters are Come (motet for men’s chorus) (1973)
Op. 258: Three Madrigals (1972)
Op. 259: Three Motets (1972)
Op. 260: Dream of a Myth [ballet for Martha Graham] (orchestra [1111 1111, timpani, percussion, strings]) (1973)
Op. 261:[45] Les Baux (violin and piano) (1973)
Op. 262: Quartet for clarinet, violin, viola and cello (1973)
Op. 263: Night of a White Cat (clarinet and piano) (1973)
Op. 264, No. 1: Tumburu (violin, cello, piano) (1973)
Op. 264, No. 2: Varuna (violin, cello, piano) (1973)
Op. 265: Two Biblical Songs (high soprano and piano (or organ) (1973; and 1974, per Kunze)
Op. 266: Sonata for 2 bassoons (or bassoon and cello) (1973)
Op. 267: Concerto for harp and strings (1973)
Op. 268: Four Motets (1973)
Op. 269, No. 1: Though Night is Dark (madrigal for SATB chorus) (1972)
Op. 269, Nos. 2 & 3: Two Songs of Faith (SATB chorus) (1973)
Op. 269, No. 4: Jesus Meek and Gentle (SATB chorus and organ) (1978)
Op. 270: Suite for harp (1973)
Op. 271: Pastorale and Fugue (2 flutes) (1973)
Op. 272: Dawn on Mt. Tahoma (string orchestra) (1973)
Op. 273: Symphony No. 24 [Majnun Symphony (tenor, SATB choir, trumpet, violin, strings) (1973)
Op. 274: Three Sasa Songs[46] (soprano and piano) (1973)
Op. 275: Symphony No. 25 “Odysseus,” is a captivating work inspired by the epic journey of Homer’s hero. Composed in 1973, it weaves lush orchestration with mystical and meditative elements, reflecting Hovhaness’s unique blend of Eastern and Western musical traditions. This symphony is a sonic odyssey, embodying themes of adventure, struggle, and transcendence.
Op. 276: O Lord, Bless Thy Mountains (2 pianos tuned a quarter-tone apart) (1974)
Op. 277:[47] Fantasy (double bass (or cello) and piano) (1974)
Op. 278, No. 1: To the Cascade Mountains (film score suite for orchestra [3222 4331, timpani, 4 percussion, harp, strings]) (undated; 1970s per Kunze)
Op. 278, No. 2:[48] Ode to the Cascade Mountains (an excerpt from Op. 278, No. 1, with the same instrumentation and date)
Op. 279:[49] The Way of Jesus (oratorio for STB soli, SATB chorus, baritone chorus in unison, orchestra [3222 4331, timpani, 4 percussion, harp, 3 guitars, strings]) (1975)
Op. 280: Symphony No. 26 [Consolation][50] (orchestra [3222 4331, timpani, 4 percussion, harp, strings]) (1975)
Op. 281, No. 1: Fanfare to the New Atlantis (orchestra [0000 4331, timpani, chimes, tam-tam, strings) (1975)
Op. 281, No. 2: Psalm to St. Alban (horn, 2 trumpets, trombone) (1974)
Op. 282: A Simple Mass (SATB chorus (4-part unison voices) and organ) (undated; 1970s per Kunze)
Op. 283: Pericles (opera, for SSSTBBB soli, SATB chorus, orchestra [3222 4331, timpani, 4 percussion, harp, strings]) (1975)
Op. 284: Ode to Freedom (violin, orchestra [3222 4331, timpani, 4 percussion, harp, strings]) (1976)
Op. 285: Symphony No. 27 (orchestra [1100 1100, timpani, percussion, strings]) (1976)
Op. 286: Symphony No. 28 (orchestra [10(eh)00 0100, timpani, strings]) (1976)
Op. 287: String Quartet No. 5 (1976)
Op. 288: Sonatina [Meditation on Mt. Monadnock] (piano solo) (1977)
Op. 289: Symphony No. 29 (baritone horn,[51] and orchestra [3222 4331, timpani, 4 percussion, harp, strings]) (1976)
Op. 290: Suite for 4 trumpets and trombone (1976)
Op. 291: Suite for alto saxophone and guitar (1976)
Op. 292: Glory Sings the Setting Sun (cantata for coloratura soprano, clarinet, piano) (1977)
Op. 293: Symphony No. 30 (orchestra [1100 0100, strings]) (1952/76)
Op. 294: Symphony No. 31 (strings) (1976–77; 1977 per Kunze; 1976 per New Grove)
Op. 295: Septet (for flute, clarinet, bass clarinet, trumpet, trombone, percussion, double bass) (1976)
Op. 296: Symphony No. 32 [The Broken Wings] (orchestra [1110 1100, percussion, strings]) (1977)
Op. 297: Sonata for 2 clarinets (1977)
Op. 298: How I Love Thy Law (cantata for high soprano, clarinet, piano) (1977)
Op. 299, No. 1: Mount Belknap (piano sonata) (1932, rev, 1977)
Op. 299, No. 2: Mount Ossipee (piano sonata) (1935, rev. 1977)
Op. 299, No. 3: Mount Shasta (piano sonata) (1936, rev. 1977)
Op. 300: Suite for flute and guitar (1977)
Op. 301: Fred the Cat (piano sonata) (1977)
Op. 302: Sonata for oboe and bassoon (1977)
Op. 303: Ananda (1977)
Op. 304: A Presentiment (coloratura soprano, piano) (1977)
Op. 305: Celestial Canticle (coloratura soprano, piano) (1977)
Op. 306: Harpsichord Sonata No. 1 (1977)
Op. 307: Symphony No. 33 [Francis Bacon][53] (orchestra [101(bcl)0 0110, percussion, strings]) (1977)
Op. 308: Rubaiyat of Omar Khayyam (speaker, accordion, orchestra [3222 4331, timpani, 4 percussion, strings]) (1975)
Op. 309: Sketch Book of Mr. Purple Poverty [two books of easy piano pieces] (1978)
Op. 310: Symphony No. 34 (bass trombone and strings) (1977)
Op. 311: Symphony No. 35 [Ah-ak][54] (two orchestras: 1: [Korean Ahahk instruments: sogeum, daegeum, piri, haegeum, kayageum ad lib., keomongo ad lib., ahjaeng, janggu, jwago, pyeon kyeong, pyeon jong]; 2: [33(eh)3(bcl)3(cbsn) 4332, timpani, 4 percussion, harp, strings]) (1978)
Op. 312: Symphony No. 36 (flute and orchestra [33(eh)3(bcl)3(cbsn) 4331, timpani, 3 percussion, harp, strings]) (1978)
Op. 313: Symphony No. 37 (orchestra [2222 4331, timpani, bass drum, harp, strings]) (1978)
Op. 314: Symphony No. 38 reflects Hovhaness’s signature style of blending ancient modes with modern orchestration. Composed in 1978, it transports listeners through serene landscapes and spiritual depths, embodying his devotion to nature and the divine.
Op. 315: Three Songs for high soprano and piano (1978)
Op. 316: Guitar Sonata No. 1 (guitar solo) (1978)
Op. 317: Sonata for flute (bass or alto flute solo) (1978)
Op. 318: Harpsichord Sonata No. 2 (1978)
Op. 319: Sunset on Mt. Tahoma (sonata for 2 trumpets, horn, trombone, organ) (1978)
Op. 320: Teach me Thy Way (SSA chorus) (1978)
Op. 321: Symphony No. 39 (guitar, orchestra [3322 4331, timpani, 2 percussion, harp, strings]) (1978)
Op. 322: Sonata for clarinet and harpsichord (1978)
Op. 323: Tale of the Sun Goddess Going into the Stone House (opera for coloratura soprano, STB soli, SATB chorus, orchestra [1000 0220, timpani, 2 percussion, strings (with solo violin)]) (1978, rev. 1981 & 1988)
Op. 324: Symphony No. 40 (orchestra [0000 1211, timpani, strings])[55] (1979)
Op. 325: Guitar Concerto No. 1[56] (guitar, orchestra [3322 4331, timpani, 3 percussion, strings]) (1979).
Op. 326: Sonata No. 1 for 3 trumpets and 2 trombones (1979)
Op. 327: Love Song Vanishing into Sounds of Crickets (piano solo) (1979)
Op. 328: Sonata No. 2 for 3 trumpets and 2 trombones (1979)
Op. 329: Guitar Sonata No. 2 (guitar solo) (1979)
Op. 330: Symphony No. 41 (orchestra [0000 1210, strings) (1979)
Op. 331: Trio for 3 saxophones [E♭ alto, B♭; tenor, E♭ baritone] (1979)
Op. 332: Symphony No. 42 (orchestra [1000 0110, strings) (1979)
Op. 333: Four Nocturnes (2 saxophones and piano) (1979)
Op. 334: Symphony No. 43 (oboe, trumpet, timpani, strings) (1979)
Op. 335: Mount Chocorua (sonata for piano) (1982; 1980 per Kunze)
Op. 336: Harpsichord Sonata No. 3 (1979)
Op. 337: On Christmas Eve a Child Cried Out (SATB chorus, flute, harp) (1979)
Op. 338: Copernicus (tone poem for orchestra [2222 4330, timpani, 3 percussion, harp, strings]) (1960; 1980 per New Grove)
Op. 339: Symphony No. 44 (orchestra [1100 0100, timpani, percussion, strings]) (1980)
Op. 340: Blue Job Mountain (sonata for piano) (undated; 1979 per Kunze)
Op. 341: Greek Rhapsody No. 2 (orchestra [3(pic)222 4331, timpani, strings]) (1972; 1980 per New Grove)
Op. 342: Symphony No. 45 for Two Pianos & Orchestra (1954) is a mesmerizing blend of lush harmonies and celestial themes. Its unique pairing of two pianos and orchestra showcases Hovhaness’s signature fusion of Eastern and Western musical influences, creating a spiritual and meditative journey for listeners.
Op. 343: Revelations of St. Paul (oratorio for STBar soli, SATB chorus, orchestra [3222 4331, timpani, 2 percussion, harp, strings]) (1980)
Op. 344: Concerto for soprano saxophone (soprano saxophone, strings) (1980)
Op. 345: Catamount (sonata for piano) (1980)
Op. 346: Prospect Hill (sonata for piano) (1980)
Op. 347: Symphony No. 46 “To the Green Mountains“, composed in 1980, reflects the composer’s deep connection to nature and the beauty of Vermont’s Green Mountains.
This meditative work features Hovhaness’s modal melodies and ethereal textures, blending Eastern and Western musical traditions. It captures the spiritual essence of the natural world through expansive orchestration and contemplative passages.
“To the Green Mountains” invites listeners to experience the harmony between humanity and nature, a theme that resonates deeply in today’s fast-paced world.
Op. 348: Symphony No. 47 [Walla Walla, Land of Many Waters] (coloratura soprano, orchestra [3322 4331, timpani, 3 percussion, harp, strings]) (1980; 1981 per New Grove)
Op. 349: Sonata No. 2 for trumpet and organ [The Divine Fountain] (1981)
Op. 350, No. 1: Stars Sing Bell Song (coloratura soprano and Javanese gamelan) (1981)
Op. 350, No. 2: Pleiades (Javanese gamelan solo) (1981)
Op. 351: Corruption in Office (piano solo) (1981; 1939, rev. 1981 per Kunze)
Op. 352: Organ Sonata No. 1 (1981)
Op. 353: Lalezar[57] (4 songs for bass voice and orchestra [3322 4331, timpani, 3 percussion, harp, strings]) (1981)
Op. 354: Journey to Arcturus (sonata for piano) (1981)
Op. 355: Symphony No. 48, “Vision of Andromeda,” created in 1981, is a beautiful piece of music inspired by the Andromeda Galaxy. It features dreamy tunes and themes from outer space, showcasing the unique style of composer Alan Hovhaness, which often mixes elements of mystery and nature. This symphony encourages listeners to embark on an enchanting journey through the stars.timpani, 4 percussion, harp, strings]) (1981; 1982 per New Grove)
Op. 356: Symphony No. 49 “Christmas“ (1981) for String Orchestra is a serene and meditative work reflecting his signature blend of Western classical traditions with spiritual and mystical influences. Composed as a homage to the sacredness of the Christmas season, the symphony evokes a sense of peace and timeless wonder, making it a captivating piece for both the festive and contemplative spirit of the holiday.
Op. 357: (1981)
Op. 358: Psalm (brass quartet) (1981)
Op. 359: God is our Refuge and Strength (SATB chorus, orchestra [3222 4331, timpani, 3 percussion, strings (or organ and timpani)]) (1981)
Op. 360: Alan Hovhaness’s Symphony No. 50 “Mount St. Helens” (1982) takes the listener on a journey through the eruption. From the initial tremors suggested by rumbling low strings, the music builds to a crescendo, mirroring the awe and terror of witnessing nature’s raw power firsthand.
Op. 361: Harpsichord Sonata No. 5 (1982)
Op. 362: Dance Ghazal (piano solo) (1930; 1931 per Kunze)[59]
Op. 363: Lake Winnipesaukee (sextet for flute, oboe, cello, 2 percussion, piano) (1982)
Op. 364: Symphony No. 51 (trumpet, strings) (1982)
Op. 365: Shigure [Japanese poem set to music] (soprano and piano) (1982)
Op. 366: Hiroshige’s Cat Bathing[60] (sonata for piano) (1982)
Op. 367: On the Long Total Eclipse of the Moon, (1982)
Op. 368: Tsugouharu Fujita’s Sleeping Cat (sonata for piano) (1982)
Op. 369: Lake Sammamish (sonata for piano) (1982)
Op. 370: Love’s Philosophy (voice and piano) (1984)
Op. 371: Campuan Sonata (viola and piano) (1982)
Op. 372: Symphony No. 52 [Journey to Vega] (orchestra [1111 2211, timpani, strings (or string quintet)] (1983; 1982 per New Grove)
Op. 373: Prelude and Fugue (brass quartet) (1983)
Op. 374: The Spirit of the Trees (1983)
Op. 375: Sonata for clarinet and piano (1983)
Op. 376: The Waves Unbuild the Wasting Shore (cantata for tenor, SATB chorus, organ) (1983)
Op. 377:Symphony No. 53: Star Dawn is a beautiful musical work that captures the essence of space and the wonder of dawn. It combines calm melodies and otherworldly sounds to transport listeners into a vast, starry world. This symphony showcases Hovhaness’s unique style, blending traditional Western music with themes of spirituality and the cosmos. The result is a thoughtful and uplifting experience that invites everyone to reflect and dream. (1983)
Op. 378:[61] Symphony No. 54 (orchestra [2222 4331, timpani, strings]) (1983)
Op. 379:[61] Symphony No. 55 (orchestra [3222 4331, timpani, percussion, harp, piano, strings]) (1983)
Op. 380:[61] Symphony No. 56 (orchestra [3222 4331, timpani, piano, strings]) (1983)
Op. 381: Symphony No. 57 [Cold Mountain] (tenor/soprano, clarinet, strings (or string quintet)) (1983)
Op. 382: Sonatina for organ (1983)
Op. 383: Killer of Enemies[62] (flute, clarinet, trumpet trombone, percussion, violin, double bass) (1983)
Op. 384: Starry Night (flute, xylophone, harp) (1985)
Op. 385: Cantate Domino (SATB chorus and organ) (1984)
Op. 386: Organ Sonata No. 2 [Invisible Sun] (1984)
Op. 387: Sonata for alto recorder and harpsichord (1984)
Op. 388: Lilydale (piano solo) (1986)
Op. 389: Symphony No. 58 [Symphony Sacra] (soprano, baritone soli, SATB chorus, flute, horn, trumpet, timpani, chimes, harp, strings) (1985)
Op. 390: Cougar Mountain (sonata for piano) (1985)
Op. 391: The Spirit’s Map (voice and piano) (1977)
Op. 392: Mountain Under the Sea (E♭ alto saxophone, timpani, vibraphone, tam-tam, harp) (1984)
Op. 393: Dawn on a Mountain Lake (double bass and piano) (1977)
Op. 394: Guitar Concerto No. 2[63] (guitar and strings) (1985)
Op. 395: Symphony No. 59 [Bellevue][64] (orchestra [3322 4331, timpani, 4 percussion, harp, strings])[65] (1985; 1986 per Kunze)
Op. 396: Symphony No. 60 To the Appalachian Mountains (orchestra [3322 4331, timpani, 4 percussion, harp, strings])[65] (1985)
Op. 397: Symphony No. 61 (orchestra [3222 4331, timpani, 4 percussion, harp, strings])[65] (1986)
Op. 398: Srpouhi [66] (duet for violin and piano) (1977)
Op. 399: Sonata for Piano (1986)
Op. 400: A Friendly Mountain (bass voice and piano) (1986)
Op. 401: Bless the Lord (cantata for tenor, SATB choir, organ) (1986)
Op. 402: Symphony No. 62 [Oh Let Man Not Forget These Words Divine] (baritone, trumpet, strings) (1987–88)
Op. 403: Trio for violin, viola, cello (1986)
Op. 404: Sonata for Brass Quartet [Chomulungma (Mt. Everest)] (2 trumpets, horn, trombone) (1986)
Op. 405: Mount Katahdin (sonata for piano) (1987)
Op. 406: Sonata for flute[67] and harp (1987)
Op. 407: The Frog Man (chamber opera for coloratura soprano, STBarB soli, men’s chorus, 2 flutes, 2 percussion) (1987)
Op. 408: God the Reveller (flute, clarinet, trumpet, trombone, violin, double bass, 1 percussion) (1987) [Music for Erick Hawkins ballet Plains Daybreak][68]
Op. 409: Duet for violin and cello (1987)
Op. 410: The Aim was Song (double chorus (chorus 1: SAB, chorus 2: SATB), 2 flutes, piano) (1987)
Op. 411: Symphony No. 63, Loon Lake (1988), is a beautiful piece of music inspired by the peaceful charm of Loon Lake in New Hampshire. It captures the calmness of the lake with its flowing melodies, celebrating the connection between people and the beauty of nature. The music invites listeners to appreciate the serene landscape and the feelings it brings.
Op. 412: Concerto No. 9 (piano and strings) (1954)
Op. 413: Concerto No. 10 (piano, trumpet, strings) (1988)
Op. 414: Harpsichord Sonata No. 6 (1988)
Op. 415: Lake Samish (1988) + Interview
Op. 416: Sno Qualmie (clarinet, timpani, chimes, harp, double bass) (undated; 1980s per Kunze)
Op. 417: Why is My Verse So Barren of New Pride? (baritone voice and piano) (1988)
Op. 418: Out of Silence (cantata for SATB chorus, trumpet, string orchestra (or quintet) (1989)
Op. 419: Consolation (piano solo) (1989)
Op. 420: Harpsichord Sonata No. 7 [Journey to Sanahin] (1950)
Op. 421, No. 1: Guitar Sonata No. 3 (undated)
Op. 421, No. 2: Guitar Sonata No. 4 (undated)
Op. 421, No. 3: Guitar Sonata No. 5 (undated)
Op. 422: Symphony No. 64 [Agiochook] (trumpet, strings) (undated)
Op. 423: Sonata for solo viola (1992)
Op. 424: Sonata for organ [Hermit Thrush] (undated; 1988 per Kunze)
Op. 425: Three Songs for low voice and piano (1934) [see Op. 19]
Op. 426: Dream Flame (low voice and piano) (1940–1950?; 1950 per Kunze)
Op. 427: Symphony No. 65 [Artsakh] (orchestra [3222 4331, timpani, 4 percussion, harp, strings])[65] (1991)
Op. 428: Symphony No. 66, “Hymn to Glacier Peak“ (1992), is a breathtaking homage to nature inspired by the majestic Glacier Peak in Washington. The symphony captures the mountain’s serene beauty and spiritual essence, blending Eastern and Western musical traditions in Hovhaness’s signature style. A meditative journey into the heart of nature’s grandeur!
Op. 429: Symphony No. 67 [Hymn to the Mountains] (orchestra [3222 4331, timpani, 3 percussion, harp, strings])[65] (1992; 1991 per Kunze)
Op. 430: Concerto for oboe and orchestra (3222 4331, timpani, bell, harp, strings) (1992)
Op. 431: Violin Concerto No. 2 (violin, orchestra [3222 4331, timpani, 3 percussion, harp, strings]) (1993)
Op. 432, No. 1: Pastime with Good Company (flute, drum, timpani, SATB chorus) (1994)
Op. 432, No. 2: The Baby’s Dance (flute, harp, SATB chorus) (1994)
Op. 433: How Lovely Are Thy Dwellings (guitar and SATB chorus) (1995)
Op. 434: Habakkuk (organ) (1995)