Generally something of an outcast among establishment musicians (the composer recalls Leonard Bernstein, at Tanglewood, denouncing his Symphony No. 1 as ‘filthy ghetto music’), much of Hovhaness’ work looks Eastward almost in defiance — not just to Armenian modal church music but to Indian ragas and Japanese gugaku music. Symphony No. 3 is the grand exception: an eager embrace of everything Western and classical. In notes supplied by C.F. Peters, publisher of Symphony No. 3, Hovhaness calls the score ‘a tribute to Mozartian classical sonata form.