Howard Hanson: Symphonies Nos. 3 & 6; Fantasy Variations on a Theme of Youth

Schwartz New York Chamber Symphony - Howard Hanson: Symphonies Nos. 3 & 6; Fantasy Variations on a Theme of Youth

Howard Hanson: Symphonies Nos. 3 & 6; Fantasy Variations on a Theme of Youth
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CD Details

Artist: Schwartz New York Chamber Symphony
Edition: Music CD
CD Release Date: 1992-12-11
Music Label: Delos Records
Soundtracks:
  1. Symphony No. 3: Symphony No. 3: Andante lamentando-agitato
  2. Symphony No. 3: Symphony No. 3: Andante tranquillo
  3. Symphony No. 3: Symphony No. 3: Tempo scherzando
  4. Symphony No. 3: Symphony No. 3: Largamente e pesante
  5. Fantasy Variations On A Theme Of Youth
  6. Symphony No. 6: Symphony No. 6: Andante
  7. Symphony No. 6: Symphony No. 6: Allegro scherzando
  8. Symphony No. 6: Symphony No. 6: Adagio
  9. Symphony No. 6: Symphony No. 6: Allegro assai
  10. Symphony No. 6: Symphony No. 6: Adagio
  11. Symphony No. 6: Symphony No. 6: Allegro

Music reviews of Howard Hanson: Symphonies Nos. 3 & 6; Fantasy Variations on a Theme of Youth

Music Review: A Great Performance of a Great Composer
Rating: 5 Stars

In music, the twentieth-century was an era of experimentation and trying to create something new for the sake of creating something new. Wagner unleashed the bounds of chromaticism during the latter half of the nineteeth-century, followed by the ambiguity of Debussy's whole-tone scale during the oughts, to full serialism by Schoenberg during the 1920's. By the 1930's, it all had been done and tonal music was discouraged (interestingly, this same trend followed in the jazz realm and met it's peak in the 1960's with Eric Dolphy).

I entered college in 1986 to major in music composition, but switched my major to education so I'd have a steady income, and eventually completed my MA in composition in 2003. Even then, tonal music was highly discouraged amongst my professors. I completely understood that atonalism can serve a purpose in a musical work and shouldn't be avoided; however, I've always been of the philosophy that music should be written for others to listen to and if the listener doesn't enjoy it, what's the point? Back when I was working on my MA, my composition teacher told me to create a 12-tone piece, I created a tone row in which the notes created harmony and not dissonance. He was not happy. He told me to either "comform to the system or get out of the program." I guess I'm a rebel in this sense because writing music for music's sake doesn't thrill me.

How does this "soapbox" introduction tie into the CD I'm reviewing? Howard Hanson has often been discredited because he bucked the wave of his contemporaries. He wrote what he felt and what the public's ears would enjoy. Hanson composes wide, sweeping melodies that develop into incredible works of art. Technically, his pieces are immensely challenging, if not daunting. Intellectually, his music is on par with that of Bernstein, Webern, and Prokofieff; however, he's not studied along with those individuals because his music didn't make an impact with the historians. It was like that of Rachmaninoff or Respighi, also phenomenal composers.

This CD was my introduction into Hanson's music; it includes two symphonies and one solo, piano and orchestra. I was so impressed with the music that I picked up the other four CD's in the series. The Seattle Symphony does a superb job of performing and Gerard Schwarz gives an outstanding interpretation of all three works. The CD is recorded DDD and offers a crystal-clear sound and wide dynamic range.

If you enjoy late-romantic works, this is a great place to learn about Hanson's style - you will not be disappointed. Another one of my favorites is his "Lament for Beowulf," also recorded by Gerard Schwarz and the Seattle Symphony. Happy listening.
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Description of Howard Hanson: Symphonies Nos. 3 & 6; Fantasy Variations on a Theme of Youth

CD's part of a large classical and opera collection. Many out of print items, discs well cared for.

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