Podcast appearances and mentions of Howard Hanson

Matthew Rupcich, Music Director & Conductor of the Arcadia Chorale, speaking about the opening concert of the 2024-25 season: "We the People," featuring works by Randall Thompson, Howard Hanson, Alice Parker, Gwyneth Walker, and others. There will be performances October 12th at 7:30 pm at Covenant Presbyterian Church, 550 Madison Avenue in Scranton, October 13th at 3:00 pm at St. Stephen's Episcopal Church, 35 S. Franklin Street in Wilkes-Barre, and on October 18th at 7:30 pm at St. John's Evangelical Lutheran Church in Stroudsburg. For more information: www.arcadiachorale.org/

AyseDeniz was considered a child prodigy in her native Türkiye and made her concerto debut when she was nine, with the Gordion Chamber Orchestra playing J.S. Bach's Keyboard Concerto No. 5. At thirteen, she had already performed as a soloist with various orchestras under conductors including Ibrahim Yazici, Fahrettin Kerimov, Antonio Pirolli, Cem Mansur, Engin Sakpinar, Ertug Korkmaz, Rengim Gokmen, Vladimir Sirenko, and Kirill Karabits.  ​ As a young pianist, AyseDeniz attended prestigious summer festivals including the Verbier Academy, Music Academy of the West, Aspen Music Festival and School, PianoTexas, Goslar Konzertarbeitswochen, Tel Hai, and Beijing International Music Festival, studying with renowned piano pedagogues such as Menahem Pressler, Jerome Lowenthal, Arie Vardi, Yoheved Kaplinsky, as well as Lang Lang. In middle school, AyseDeniz moved to Spain for half a year to study with the renowned Bach interpreter Rosalyn Tureck, becoming one of her last students. ​ In 2009, she completed her Bachelor's Degree at Eastman School of Music (Rochester NY) in the studio of Douglas Humpherys with all semesters on Dean's List, and received the Howard Hanson and Clements Scholarships as well as the John Celentano Excellence in Chamber Music Award. In 2011, She completed her Masters in Piano Performance at the Royal Academy of Music in London, under the tutelage of Christopher Elton, and received the Maud Hornsby Award, graduated with Merit, and also completed the Licentiate of the Royal Academy of Music Teaching Certificate. ​ Throughout her early career, AyseDeniz has given concerts around the world including Cathedral of Christ The Savior Moscow (Russia); L'Eglise Verbier (Switzerland); Duke's Hall, Steinway Hall, Kings Place London (UK); Bellapais Antique Monastery (Northern Cyprus); Kiev Central Park of Culture Open Air Hall, Lysenko Hall (Ukraine); PepsiCo Hall (TX), Kilbourn Hall (NY), Harris Hall (CO), Pacific Amphitheater (CA) in USA; Teatro Cine Chacabuco (Argentina); Teatro Cine Gouveia, Teatro das Figuras Faro, Centro Cultural de Ãlhavo, Centro Cultural da Gafanha da Nazare, Groove Cascais (Portugal); Galleria d'Arte Moderna, San Fedele Milan, Teatro Dario Fo Venice, and St. Giorgio Cathedral Palermo (Italy); Silent Green Kulturquartier Berlin and Konzertsaal Friedenskapelle Münster (Germany); Sofia Central Military Club (Bulgaria), Ambato City Hall (Ecuador); Afundación and Mar de Vigo (Spain) and in almost all of Türkiye's most important music halls including Süreyya Opera House, Albert Long Hall, CRR, CKM and Zorlu PSM (Istanbul), State Opera House (Eskisehir); City Hall (Adana); Atatürk Cultural Center & KSÜ Yunus Emre Cultural Center (Antalya); Opera Hall (Mersin); Hikmet Simsek Cultural Center, (Izmir); METU, CSO and MEB Sura (Ankara).  AyseDeniz Links   Mr. Bill's Links   Podcast Produced & Edited by: Robert Fumo

SynopsisSummer music camps offer young talent a chance to rub shoulders with seasoned professional musicians and to perform both old and new musical works. On today's date in 1977, American composer, conductor and educator Howard Hanson led the premiere of his Symphony No. 7 at the National Music Camp in Interlochen, Michigan. Hanson subtitled his Seventh A Sea Symphony, and it includes a choral setting of passages from Walt Whitman's Leaves of Grass. For 40 years, Hanson headed the Eastman School of Music in Rochester, New York. And years later, Eastman professor Augusta Read Thomas follows in Hanson's footsteps as composer-in-residence at various summer music camps. On today's date in 2001, at the annual Aspen Music Festival in Colorado, her piece Murmurs in the Mist of Memory received its world premiere.Speaking of music in general, Thomas says, “Music of all kinds constantly amazes, surprises, propels and seduces me into a wonderful and powerful journey. I am happiest when listening to music and in the process of composing music. I care deeply that music is not anonymous and generic or easily assimilated and just as easily dismissed.”Music Played in Today's ProgramHoward Hanson (1896-1981): Symphony No. 7 (A Sea Symphony); Seattle Symphony and Chorale; Gerard Schwarz, conductor; Delos 3130Augusta Read Thomas (b. 1964): Wind Dances; Louisville Orchestra; Lawrence Leighton Smith, conductor; Albany/Louisville First Edition 010

SynopsisOn today's date in 1943, at the height of World War II, Aaron Copland's Fanfare for the Common Man had its premiere performance in Cincinnati. The Cincinnati Symphony's conductor in those days, British-born Eugene Goosens, had commissioned 18 fanfares for brass and percussion. “It is my idea,” he wrote, “to make these fanfares stirring and significant contributions to the war effort.”Besides Copland, composers commissioned included Henry Cowell, Paul Creston, Morton Gould, Howard Hanson, William Grant Still and Virgil Thomson.Most of the composers dedicated their fanfares to a unit of the U.S. military or one of its wartime allies. But Copland's fanfare stood out, both musically and by virtue of its title.Among the titles Copland considered — and rejected — were Fanfare for the Spirit of Democracy and Fanfare for Four Freedoms, the latter in reference to President Franklin Roosevelt's 1941 State of the Union Address that called for the freedom of speech and religion, and from want and fear. He settled on Fanfare for the Common Man.“It was the common man, after all, who was doing all the dirty work in the war and the army,” Copland recalled. “He deserved a fanfare.”Music Played in Today's ProgramAaron Copland (1900-1990): ‘Fanfare for the Common Man'; San Francisco Symphony; Michael Tilson Thomas, cond. RCA/BMG 63888

SynopsisToday's date marks the birthday of American composer and educator Gardner Read, who was born in Evanston, Illinois, in 1913.Read studied music at Northwestern University, then at the Eastman School, where his teachers included Howard Hanson and Bernard Rogers. He also studied with Aaron Copland and Italian modernist composer Ildebrando Pizzetti. Read became a noted teacher himself and held posts in St. Louis, Kansas City, Cleveland and Boston. His Symphony No. 1 was premiered by John Barbirolli and won first prize at the New York Philharmonic Society's American Composers' Contest. He wrote four symphonies in all, as well as other orchestral, choral and chamber works and a significant body of works for or with pipe organ.In 1978, musicologist Nicolas Slonimsky wrote: “In American music, the name of Gardner Read is synonymous with the best traditions of modern classicism and inspired romanticism. ... To the musical analyst, it presents a technical interest as well, for in his use of the multicolored palette of modern instrumentation, Gardner Read offers fascinating examples of organized sonorities. The substance of his compositions is infinitely varied; he is a true Renaissance man, working in many different genres without prejudice and achieving his objectives with impeccable taste.”Music Played in Today's ProgramGardner Read (1913-2005): Allegro scherzando, from Symphony No. 4 (Cleveland Orchestra; Lorin Maazel, cond.) New World 742

ÖVERSÄTTNING: Gunnar Harding UPPLÄSNING: Gunnar Harding Första rad: Med början i fiskformade Paumanok där jag föddes Lyssna på alla avsnitt i Sveriges Radio Play. DIKT: Ur ”Uppbrott från Paumanok” av Walt WhitmanDIKTSAMLING: Hardings café (Ellerströms, 2023)MUSIK: Ferde Grofé: Old creole days ur MississippiEXEKUTÖR: Eastman-Rochester-orkestern, Howard Hanson, dirigent

Synopsis On today's date in 1934, the audience at the Metropolitan Opera in New York City demanded—and got—50 curtain calls for the cast and conductor of the new opera that had just received its premiere staged performance. The opera was Merry Mount, based on a Nathaniel Hawthorne short story set in a Puritan colony in 17th century New England. The music was by the American composer Howard Hanson. The performers for Met Opera's premiere included the great American baritone Lawrence Tibbett as the Puritan preacher Wrestling Bradford, sorely tempted by the Swedish soprano Gösta Ljungberg in the role of Lady Marigold Sandys, his VERY unwilling leading lady. Despite its setting in Puritan New England, Hanson's opera included plenty of the lurid sex and violence that fuels the all the best Romantic opera plots, and the score was in Hanson's most winning Neo-Romantic style, with rich choral and orchestral writing, capped by a fiery conflagration as a grand finale. What more could an opera audience want? Strangely enough, despite its tremendous first-night success, Merry Mount has seldom—if ever—been staged since 1934. To celebrate the centenary of Hanson's birth in 1996, the Seattle Symphony presented Merry Mount in a concert performance conducted by Gerard Schwarz. Music Played in Today's Program Howard Hanson (1896-1981) Merry Mount Suite Seattle Symphony; Gerard Schwarz, conductor. Delos 3105

Synopsis In Rochester, New York, on today's date in 1957, there was a concert at the Eastman School of Music, conducted by the school's famous director Howard Hanson, showcasing new works composed by Eastman graduate students.  Included on the program was a brand-new “Trombone Concerto” by George Walker.Back then, Walker was better known as a remarkable pianist. He was a graduate of the prestigious Curtis Institute in Philadelphia, after all, a student of Rudolf Serkin, and a quite impressive recording exists from his Eastman days of Walker as soloist in the Brahms Second Piano Concerto.  But for Walker, as an African-American, a successful career as a concert pianist in a still-segregated America was not possible – it would be 10 years before Andre Watts broke that taboo, remember, so Walker opted for a musical career as a composer and educator, and proved remarkably accomplished at both.  Walker's early “Trombone Concerto” was a hit from the start. “The composer evidently had a soloist of superior ability in mind in writing this difficult and complex work,” wrote a reviewer at the premiere. “It is music of sound and fury, with lots of dissonance and imaginative drive. Soloist and composer shared in prolonged applause.” Music Played in Today's Program George Walker (1922-2018): Concerto for Trombone and Orchestra (Denis Wick, trombone; London Symphony; Paul Freeman, conductor.) in Sony Black Composers Series CD set 19075862152

Synopsis According to historians, the 19th Century was the great age of Romanticism—but tell that to Sergei Rachmaninoff and Howard Hanson! On today's date, two of their quintessentially Romantic works were both premiered in the 20th century. In 1909, Rachmaninoff came to the U.S. for his first American tour, and on today's date appeared as the piano soloist in the premiere of his Third Piano Concerto with the New York Symphony. Now, if you believe the movie “Shine,” Rach 3 is the most difficult of all Romantic piano concertos. Even its composer confessed he need to practice it on the boat to America! By 1930, when American composer Howard Hanson's Symphony No. 2 premiered on today's date in Boston, Romantic music was increasingly considered “old fashioned.” But Hanson defiantly subtitled his new Symphony The Romantic. “My Symphony represents a definite embracing of the Romantic,” wrote Hanson “I recognize, of course, that Romanticism is, at the present time, music's poor stepchild… Nevertheless, I embrace her all the more fervently, believing as I do that Romanticism will find in this country rich soil for new growth.” And how about outer space? Decades after its premiere, Hanson's popular Romantic Symphony even showed up as part of the film score to the sci-fi classic “Alien!” Music Played in Today's Program Sergei Rachmaninoff (1873-1943) Piano Concerto No. 3 in d, Op. 30 Martha Argerich, piano; Berlin Radio Symphony; Riccardo Chailly, cond. Philips 446 673 Howard Hanson (1896-1981) Symphony No. 2, Op. 30 (Romantic) RCA Symphony; Charles Gerhardt, cond. Chesky 112

Carlos Iribarren | Hoy arrancamos un repaso muy completo a algunas de las grandes sinfonías con las que debutaron los compositores estadounidenses más destacados. En esta primera entrega hemos escogido a 4 que resultan de lo más variado: Amy Beach, Virgil Thomson, Howard Hanson y Charles Ives. Cada obra tiene su propia historia y en algunas podemos escuchar influencias musicales procedentes de los países de origen de sus antepasados: Irlanda en el caso de Beach y Suecia en el de Hanson. Carlos y Mario Mora te acompañan en este viaje melódico por obras que estamos seguros de que van a llamar tu atención por su colorido y algunos momentos muy emotivos; así suena la nueva entrega de Hoy Toca, el programa de Clásica FM que te quiere sorprender.

Chris and Sridhar discuss session gigs, band education, Chris' dream of becoming a piano salesman, Howard Hanson's Symphony No. 2, Gerard Schwarz, the Seattle Symphony, and the art of conducting. Join the discussion: Tweet us @shreggz and @chris_arkin Episode clips on Instagram @impolitemedia Useful links: Pierre Boulez with hula girls Karajan conducts Sibelius: Finlandia Karajan conducts Smetana: The Moldau Karajan conducts Wagner: Overture to Die Meistersinger Wayne Bergeron Malcolm McNab Movies Jim Walker has played in Ratatouille - Wall Rat (Jim Walker flute solo) Alexander Malofeev plays Rachmaninoff - Lilacs Gerard Schwarz conducts Howard Hanson's Symphony No. 2 Howard Hanson - wikipedia Hanson Symphony No. 2 - wikipedia Gerard Schwarz - wikipedia Bernstein plays Gershwin: Rhapsody in Blue Aaron Copland: Duo for Flute and Piano Copland: Fanfare for the Common Man Claudio Abbado conducts Beethoven: Symphony No. 6, "Pastoral" András Schiff: Schubert documentary Seattle Symphony on YouTube Trumpet player disagrees with Bernstein - BBC Symphony Leonard Bernstein rehearses Elgar's Enigma Variations

Synopsis Despite its relation to both the physics of sound and pure mathematics, music, for most people – including composers – is essentially an emotional language. Despite its abstract sound, that's the case of this orchestral piece, which premiered in Rochester, New York, on today's date in 1938. The music was by a then 22-year-old American composer named David Diamond, and bears the title: “Elegy in Memory of Ravel.” Nine years earlier, as a precocious adolescent, Diamond had met Ravel during the French composer's American tour of 1928. Ravel was impressed with the lad's talent, and encouraged Diamond to pursue a career in music, as did George Gershwin who served on a jury that awarded one of Diamond's works first prize. Diamond lost both these important mentors in 1937, with the sudden deaths of first Gershwin, then Ravel. The day after learning of Ravel's death, Diamond began work on his “Elegy.” “It is an expression of terrible loss,” recalled Diamond in an interview many decades later. “As the piece began to take shape, almost unconsciously, I heard it as a ritual – an elegy, but a ritualistic one. I asked that there be no applause at the end.” The work's 1938 premiere performance was conducted by Howard Hanson, then the head of the Eastman School of Music and the conductor of its famous orchestra. Diamond's modern, frankly dissonant idiom didn't sit well with Hanson's more conservative tastes. Diamond recalled Hanson asking “David, why do you have to write such modern music?” Even so, Hanson respected both Diamond and his music enough to conduct the new piece. Music Played in Today's Program David Diamond (1915 - 2005) — Elegy in Memory of Maurice Ravel (Orchestra of St. Luke's; John Adams, cond.) Nonesuch 79249

Synopsis In a creative life that spanned over 60 years, the American composer Howard Hanson never wavered in his belief that music should be tonal in nature and fundamentally Romantic in style, with strong and clear melodic lines. By the mid-1950s, many other European and American composers were espousing a far different approach to music, favoring an abstract and often densely complex style, more in harmony with the non-representational canvases of the painter Jackson Pollack than the meticulous realism of, say, Norman Rockwell. On today's date in 1955, this music, Hanson's Symphony No. 5, had its premiere performance by the Philadelphia Orchestra under Eugene Ormandy. It's the most compact of Hanson's seven symphonies, a single-movement work in three sections lasting just 15 minutes. Hanson titled the work “Sinfonia Sacra” or “A Sacred Symphony,” and suggested it was inspired by the account of Christ's resurrection in the Gospel of St. John. “The Sinfonia Sacra does not attempt programmatically to tell the story of the first Easter,” wrote Hanson, “but does attempt to invoke some of the atmosphere of tragedy and triumph, mysticism and affirmation of this story, which is the essential symbol of the Christian faith.” Music Played in Today's Program Howard Hanson (1896 - 1981) — Symphony No. 5 (Sinfonia Sacra) (Seattle Symphony; Gerard Schwarz, cond.) Delos 3130 On This Day Births 1632 - Italian composer Giovanni Battista Vitali, in Bologna; 1864 - American music publisher Gustave Schirmer, Jr., in New York City, son of the German-born music publisher Gustave Schirmer, Sr. 1915 - French composer Marcel Landowski in Prêt L'Abbé (Finistère); 1939 - Brazilian composer, conductor and pianist Marlos Nobre, in Recife; Deaths 1956 - French composer French composer Gustave Charpentier, age 95, in Paris; Premieres 1743 - Handel: oratorio “Samson,” at Covent Garden Theatre in London, and possibly the premiere of Handel's recently-completed Organ Concerto Op. 7, no. 2 at the same concert (Gregorian date: Mar. 1); 1874 - Rimsky-Korsakov: Symphony No. 3, in St. Petersburg (Gregorian date: Mar. 2); 1893 - Berlioz: "La Damnation de Faust" (as a staged opera), in Monte Carlo with a cast headed by tenor Jean de Reske; Berlioz conducted the first concert performance of this work (as an oratorio) at the Opéra-Comique in Paris on Dec. 6, 1946; 1893 - Brahms: Intermezzo No. 1, for piano, from Op. 117, in Vienna; 1895 - Loeffler: Quintet for three violins, viola and cello, at Boston's Union Hall by the Kneisel Quartet joined by violinist William Kraft; 1916 - Daniel Mason: First Symphony (first version), by the Philadelphia Orchestra, Leopold Stokowski conducting; 1919 - Deems Taylor: chamber suite "Through The Looking Glass," by the New York Chamber Music Society; 1947 - Menotti: one-act opera "The Telephone," in New York City at the Heckscher Theater; 1952 - Prokofiev: Sinfonia Concertante, Op. 125 (as "Cello Concerto" No. 2), in Moscow, with Sviatoslav Richter conducting and Mstislav Rostropovich the soloist; 1955 - Hanson: Symphony No. 5 ("Sinfonia Sacra"), the Philadelphia Orchestra, Eugene Ormandy conducting; 1965 - Ginastera: Harp Concerto, by harpist Nicanor Zabaleta , with the Philadelphia Orchestra, Eugene Ormandy conducting; 1998 - Thea Musgrave: "Phoenix Rising," at the Royal Festival Hall in London, by the BBC Symphony, Andrew Davis conducting. Links and Resources On Howard Hanson

Synopsis We'd like to start the new year with some upbeat music to honor the American composer and bandleader Edwin Franko Goldman, who was born in Louisville, Kentucky, on today's date in 1878. At the tender age of 14, Goldman attended the National Conservatory of Music in New York City, where he studied composition with Antonin Dvorak. At 15, Goldman became a professional trumpet player with the Metropolitan Opera orchestra. In 1911, he founded the New York Military Band, later known simply as the Goldman Band. They performed hundreds of public concerts around the city, including on the Mall in Central Park.  In the 1930s, radio broadcasts made the Goldman Band famous nationwide. Their catchy signature tune, entitled “On the Mall,” was composed by Goldman himself, and invited the audiences to sing – or even whistle – along. Goldman composed about 150 band works of his own, and commissioned many more, including classics by composers such as Virgil Thomson, Walter Piston, and Howard Hanson. The Goldman Band, led by Goldman or his son Richard, also premiered new works by leading European composers. Goldman founded the American Bandmasters Association in 1929 and served as its Second Honorary Life President after John Philip Sousa. Music Played in Today's Program Edwin Franko Goldman (1878 - 1956) — On the Mall (Eastman Wind Ensemble; Frederick Fennell, cond.) Mercury 434 334

Synopsis In the 1940s, the Boston Symphony gave the premiere of more than 60 new orchestral works – most of them conducted by the very charismatic and very wealthy Serge Koussevitzky, the music director of the Boston Symphony. And why not? It was the Koussevitzky Foundation that commissioned most of those pieces in the first place, and certainly Maestro Koussevitzky had the knack for picking winners and advancing the careers of composers he admired. In the 1940s, for example, Koussevitzky premiered no less than four major works by the Czech composer Bohuslav Martinu. On today's date in 1943, one of these pieces, Martinu's Second Violin Concerto, received its first performance under Koussevitzky with Mischa Elman as the soloist. But not all the Boston premieres were conducted by Koussevitzky. Earlier that same December of 1943, the American composer and conductor Howard Hanson led the orchestra in the first performance of his Symphony No. 4, and on today's date in 1948, the premiere of his own Piano Concerto, with the Boston Symphony and the Czech pianist Rudolf Firkusny as soloist. Like the Martinu Concerto, this, too, was a Koussevitzky Foundation commission. Music Played in Today's Program Bohuslav Martinu (1890–1959) — Violin Concerto No. 2 (Josef Suk, violin; Czech Philharmonic; Vaclav Neumann, cond.) Supraphon 11 0702 Howard Hanson (1896–1981) — Piano Concerto, Op. 36 (Alfred Mouledous, piano; Eastman-Rochester Orchestra; Howard Hanson, cond.) Mercury 434 370

Synopsis On today's date in 1903, violinist and conductor Harry West led the very first performance by the Seattle Symphony. At that time, the orchestra comprised just 24 players. For their first program, the aptly named Maestro “West” conducted Schubert and Rossini, two long-dead classical masters, and also programmed works by three living composers: Max Bruch, Jules Massenet, and Pablo Sarasate. More recently, under music director Gerard Schwarz, the Seattle Symphony earned worldwide attention with its recordings of both classical and contemporary works, including critically acclaimed recordings of symphonic works by modern American masters like Howard Hanson, David Diamond, and Alan Hovhaness, as well as newer pieces by a younger generation of American composers including Richard Danielpour and Stephen Albert.That tradition continued under Gerard Schwarz's successor Ludovic Morlot, who took particular interest in fostering music from Seattle composers, including composers within the orchestra itself. And the Seattle Symphony commissioned and premiered a work by the American composer John Luther Adams entitled “Become Ocean,” which went on to win the 2014 Pulitzer Prize for Music and the 2015 Grammy Award for Best Classical Contemporary Composition. Music Played in Today's Program Max Bruch (1838–1920) — Violin Concerto No. 2, Op. 44 (Nai-Yuan Hu, violin; Seattle Symphony; Gerard Schwarz, cond.) Delos 3156 John Luther Adams (b. 1953) – Become Ocean (Seattle Symphony; Ludovic Morlot, cond.) Cantaloupe 21161

Synopsis On today's date in 1930,  Howard Hanson led the premiere performance of the full orchestral version of William Grant Still's symphonic poem, “Africa” at the Eastman School of Music in Rochester, New York. Still had originally conceived “Africa” as a chamber work, dedicated to and premiered by the great French flutist Georges Barrère earlier that same year. In a letter to Barrère, Still said that his new work depicted “the Africa of my imagination,” explaining “An American Negro has formed a concept of the land of his ancestors based largely on its folklore, and influenced by his contact with American civilization. He beholds in his mind's eye not the Africa of reality, but an Africa mirrored in fancy, and radiantly ideal.” That said, the Africa of Still's imagination included not only serene, pastorale moments, but also – according to Still's wife – the surfacing of “unspoken fears and lurking terrors.” In its revised full symphonic version, Still's “Africa” proved successful recalls the exotic colors of Rimksy-Korsakov's reimagined pagan Russia, and as an orchestral showpiece proved successful in subsequent performances in Europe, but, for some reason known only to Still himself, his tone poem “Africa” remained unpublished during his lifetime. Music Played in Today's Program William Grant Still (1895-1978): "Land of Romance" and "Land of Superstition," fr "Africa (Fort Smith ASym; John Jeter, cond.) Naxos 8.559174

Synopsis On today's date in 1950, the famous oboist Marcel Tabuteau gave the premiere performance of this “Pastorale” for solo oboe, harp, and strings, with his colleagues from the Philadelphia Orchestra. The music was by Howard Hanson, who dedicated the piece to his wife Peggy. Hanson was born in Wahoo, Nebraska in 1896. As a talented teenager, Hanson recalls a German-born musician in New York asking him: “Well, now, Hanson, why do you waste your time at futile efforts in composition when you could became a great concert pianist?” This, said Hanson, from someone who had never heard one note he had written. “In the true German tradition,” Hanson recalled, “he figured that nobody from Nebraska could possibly write good music. It took 40 years to get rid of that kind of thinking in the U.S. – and we're not over it yet.” Hanson was a successful composer, conductor, and educator in his early 80s when he made those comments, but retained his sense of humor, as evidence by this comment from the octogenarian: “Peggy will say to me, ‘What are you going to do now?' and I'll say, ‘I'm going upstairs to waste my time in futile efforts at composition.'” Music Played in Today's Program Howard Hanson (1896 – 1981) — Pastorale (Randall Ellis, oboe; Susan Jolles, harp; Seattle Symphony; Gerard Schwarz, cond.) Delos 3105

The “extravagantly talented” (The New York Times) American organist Cameron Carpenter today digitally releases his first album on Decca Gold, a recording of J.S. Bach's The Goldberg Variations, BWV 988 juxtaposed with his own transcription of Howard Hanson's Symphony No. 2 in D-flat Major, Opus 30, W45, "Romantic." Both works are performed on the International Touring Organ, the American digital concert organ designed by Cameron Carpenter. The album is available today digitally and will be released on CD at a date to be announced.Pre-Order and Stream Carpenter's Bach & Hanson

Synopsis Today we note the birthday anniversary of the American composer and teacher Wayne Barlow, who was born in Elyria, Ohio, on today's date in 1912, and died in Rochester, New York, in 1996. As a composer, Barlow is mostly remembered for a single work: a rhapsody for oboe and strings entitled “The Winter's Past,” first performed at the Eastman School of Music in 1938 by the Rochester Civic Orchestra under the direction of another noted American composer, Howard Hanson, with Eastman faculty oboist Robert Sprenkle as the soloist. Barlow received his bachelor's, master's and doctorate degrees from Eastman and taught there himself for over 40 years, eventually becoming chairman of the composition department, director of the school's electronic music studio, and dean of graduate studies. Barlow also served as organist and choirmaster at two churches in Rochester, and composed a set of hymn voluntaries for organ, covering the church year. Barlow once said, “While it's impossible to know everything involved in the art of music, it's just as impossible to be a totally successful teacher, or composer, or musicologist, or theorist, or performer, or conductor without knowing something about how ALL these pieces of the art fit together.” Music Played in Today's Program Wayne Barlow (1912 – 1996) – The Winter's Past (Humbert Lucarelli, oboe; Brooklyn Philharmonic; Michael Barrett, cond.) Koch 7187

Our opening episode reflects on the birth and evolution of Mercury Living Presence and the people who shaped its distinctive sound. Through interviews with music historian Michael Gray and mastering engineer Tom Fine (son of the original Mercury Living Presence producer, Wilma Cozart Fine, and original recording engineer C. Robert 'Bob' Fine), we explore how the label became a leading force in classical music, earning global acclaim for its imaginative repertoire, novel recording techniques and evocative LP releases.We also uncover the stories behind some of the label's most beloved and influential recordings, from 1951's Pictures at an Exhibition (produced with the Chicago Symphony Orchestra), to its spectacular recording of Tchaikovsky's 1812 overture, plus collaborations with Byron Janis, Frederick Fennell, Howard Hanson and the London Symphony Orchestra.‘Trust Your Ears': The Mercury Living Presence story is produced by dCS in partnership with Decca Records. More information about the series, which celebrates the 70th anniversary of Mercury Living Presence and the catalogue's re-release on streaming services, is available here: https://www.dcsltd.co.uk/reviews/trust-your-ears/Featured MusicMussorgsky Pictures at an Exhibition (Rafel Kubelík, Chicago Symphony Orchestra), 1951Tchaikovsky - 1812 Overture (Minneapolis Symphony Orchestra, University Of Minnesota Brass Band & Antal Dorati), 1954Respighi: Ancient Airs & Dances Suite No.2 (Philharmonia Hungarica, Antal Dorati), 1958HiFi A La Espanola - Andalucia (Eastman-Rochester Pops, Frederick Fennell), 1960Bach Suite No. 2 for Solo Cello (Janos Starker), 1966Rachmaninoff Piano Concerto No. 1. (Byron Janis, Moscow Philharmonic Orchestra, Kyril Kondrashin), 1962Tchaikovsky - The Nutcracker Ballet, Dance Of The Sugar Plum Fairies (Antal Durati, London Symphony Orchestra), 1962 

On episode 238, we are continuing our tour of The History of Middle-earth series as we survey Volume 5, The Lost Road and Other Writings! The Lost Road and Other Writings contains Tolkien's earliest writings on the legend of Númenor, as well as updated timelines for the Silmarillion and the last version of The Silmarillion he wrote before writing The Lord of the Rings. Lots of interesting stuff here! Join us! Become a patron of The Tolkien Road. Leave a tip. For more on this episode and The Tolkien Road podcast, please visit TolkienRoad.com or Facebook.com/TolkienRoad. Also, follow us on Twitter via @TolkienRoad. This episode is executive produced by Kaitlyn of Tea With Tolkien, Liis U, Andrew T, John R, and Ms. Anonymous. LINKS FROM MARILYN "It was the skalds, or bards, in the community who would memorize entire poems and recite them in the halls of Anglo-Saxon lords.  The alliteration and repeated phrases (usually a sign that the poem in question started off as an oral rather than a written work) helped the bard remember the text.  They'd chant the verses rather than singing them, but there have been several versions of bits of Beowulf set to classical music.  Here's a link to Howard Hanson's Lament for Beowulf, with the text translated into contemporary English (and some pretty neat artwork and images!): https://www.youtube.com/watch?v=D-RqfMlHm04 The Finnish tale of Kullervo (inspiration for Túrin) from The Kalevala was also intended to be chanted.  Here's a part of the Kullervo Symphony by Finnish composer Jean Sibelius which has a male chorus chanting some of the text: https://www.youtube.com/watch?v=F0nWHCeus9E The chanting starts at around 1:40.  The image showing is from the story of Lemminkäinen; it's the part in which his mother is fishing his body out of the river of the dead; not sure why they used that one, but there you are!" Special thanks to the following patrons: Kaitlyn of Tea with Tolkien Liis U Andrew T John R Ms. Anonymous Shannon S Brian O Emilio P Zeke F James A James L Chris L Chuck F Asya V Ish of the Hammer Teresa C David of Pints with Jack Jonathan D Eric S Joey S Eric B Matt L Johanna T Sam N Mike M Dyrenair Robert H Paul D Jacob S

For public radio listeners born long after the Golden Age of American Radio in the 1930s and 1940s, the variety of music broadcast on the COMMERCIAL radio stations back then seems hard to believe. For example, on today’s date in 1938, the NBC radio network broadcast the premiere of a new symphony by the eminent American composer, Howard Hanson. But Hanson’s Symphony was, in fact, commissioned by the rival CBS network, whose house orchestra commissioned and performed hundreds of works by American composers. The reason? On the staff of CBS was the young composer and conductor Bernard Herrmann, who later became famous for his Alfred Hitchcock film scores. In 1934, Herrmann had been hired to write background music for CBS radio shows, and eventually became the chief conductor of the CBS Radio Symphony. The CBS Radio Symphony had premiered the opening three movements of Hanson’s Symphony on their network in the fall of 1937, but on today’s date the following year, the rival NBC Symphony broadcast the first complete performance of the whole work, conducted by Hanson himself.

For public radio listeners born long after the Golden Age of American Radio in the 1930s and 1940s, the variety of music broadcast on the COMMERCIAL radio stations back then seems hard to believe. For example, on today’s date in 1938, the NBC radio network broadcast the premiere of a new symphony by the eminent American composer, Howard Hanson. But Hanson’s Symphony was, in fact, commissioned by the rival CBS network, whose house orchestra commissioned and performed hundreds of works by American composers. The reason? On the staff of CBS was the young composer and conductor Bernard Herrmann, who later became famous for his Alfred Hitchcock film scores. In 1934, Herrmann had been hired to write background music for CBS radio shows, and eventually became the chief conductor of the CBS Radio Symphony. The CBS Radio Symphony had premiered the opening three movements of Hanson’s Symphony on their network in the fall of 1937, but on today’s date the following year, the rival NBC Symphony broadcast the first complete performance of the whole work, conducted by Hanson himself.

On today’s date in 1943, at the height of World War II, Aaron Copland’s “Fanfare for the Common Man” had its premiere performance in Cincinnati. The Cincinnati Symphony’s conductor in those days, the British-born Eugene Goosens, had commissioned 18 fanfares for brass and percussion. “It is my idea,” he wrote, “to make these fanfares stirring and significant contributions to the war effort.” Besides Copland, the 18 composers commissioned included Henry Cowell, Paul Creston, Morton Gould, Howard Hanson, William Grant Still, and Virgil Thomson. Most of the 18 composers dedicated their fanfares to either a unit of U.S. military or one of its wartime allies, Copland’s fanfare stood out, both musically and by virtue of its title. Among the titles Copland considered — and rejected — were “Fanfare for the Spirit of Democracy” and “Fanfare for Four Freedoms,” the latter in reference to President Roosevelt’s 1941 State of the Union Address that called for the freedom of speech and religion, and from want and fear. He settled on “Fanfare for the Common Man,” because, as Copland recalled, “it was the common man, after all, who was doing all the dirty work in the war and the army. He deserved a fanfare.”

On today’s date in 1943, at the height of World War II, Aaron Copland’s “Fanfare for the Common Man” had its premiere performance in Cincinnati. The Cincinnati Symphony’s conductor in those days, the British-born Eugene Goosens, had commissioned 18 fanfares for brass and percussion. “It is my idea,” he wrote, “to make these fanfares stirring and significant contributions to the war effort.” Besides Copland, the 18 composers commissioned included Henry Cowell, Paul Creston, Morton Gould, Howard Hanson, William Grant Still, and Virgil Thomson. Most of the 18 composers dedicated their fanfares to either a unit of U.S. military or one of its wartime allies, Copland’s fanfare stood out, both musically and by virtue of its title. Among the titles Copland considered — and rejected — were “Fanfare for the Spirit of Democracy” and “Fanfare for Four Freedoms,” the latter in reference to President Roosevelt’s 1941 State of the Union Address that called for the freedom of speech and religion, and from want and fear. He settled on “Fanfare for the Common Man,” because, as Copland recalled, “it was the common man, after all, who was doing all the dirty work in the war and the army. He deserved a fanfare.”

Quincy Porter bridges many of the themes we've seen so far in the podcast: he was the last student of nineteenth-century American composer Horatio Parker (who also taught 1947 prize  winner Charles Ives), he taught composition at an Ivy League school (Yale, in this case) for many years, and he was celebrated for his orchestral music during his lifetime, but is virtually forgotten today. From that list, and from our previous episodes on Howard Hanson, Walter Piston, and Douglas Moore, you might think you have a good sense of what Porter's Ivy League New England musical style might be, but are you right? Join us to find out.   For more about Quincy Porter: 1) https://composers.com/composers/quincy-porter 2) https://necmusic.edu/archives/quincy-porter

This week I held something of a cultural exchange programme with writer, vlogger, and musician David Hurwitz. Known to many from his reviews website *Classics Today*, the lockdown prompted David to start his very successful YouTube channel earlier this year, which has been gaining a global following ever since. On the show David chooses five of his favourite pieces of British music, I return the compliment with five American classics and we have a discussion peppered with David's inimitable no-nonsense approach and personal anecdotes. It's a highly entertaining show and a great way to end this first season of The Presto Music Podcast. Keep subscribed wherever you get your podcasts though, as we'll be back in the new year with more stimulating chat with the experts. Thankyou for listening to the first 10 episodes, and please do get in touch if there are any subjects or guests that you would like to suggest, at info@prestomusic.comYou can listen to the podcast right here on this page, or click on the links in the player (via the symbol of the box with the arrow coming out of the top) to find it in Apple, Spotify, Stitcher and other popular podcast apps, where you will be able to subscribe and receive notifications when new episodes become available in the future.

MOZART, BEETHOVEN & MAS continues our series with USA composers in the 20th century, presenting the music of HOWARD HANSON

MOZART, BEETHOVEN & MAS continues our series with USA composers in the 20th century, presenting the music of HOWARD HANSON

####Bio- It seems especially difficult to summarize the life and career of William Grant Still. At the simplest, Still performed, conducted, composed, orchestrated, and arranged music, earning him the title “Dean of Afro-American Composers”. But what he was as a man is so much deeper and more complex. His compositions give us a brief glimpse of his personality and philosophy (and I am grateful for that). Beyond this, Still's words and those affected by him do a meritorious job in striving to complete the picture of the man. Yet, in the end, he is too multidimensional to be easily labeled.- Still began as a performer and arranger for W.C. Handy, the self-proclaimed “Father of the Blues.” This association brought Still to Harlem in 1919, during a pivotal moment in American history, at the peak of the “Harlem Renaissance.” Though the Harlem Renaissance would lay a foundation for the Civil Rights movement roughly 30 years later, at the time it was as an explosion of African American art and philosophy after the Civil War and during the period when “Jim Crow” laws were sweeping the South. It was a time of individuality, self-assertion, and rich expression in the face of current segregation and oppression, while slavery was not just a memory for most. - Still was absolutely unique at this moment, as the most well-known—and often the first—African-American to compose works in the European art music fashion. Other African-American “firsts” for Still included having a symphony performed by a professional orchestra, conducting a major symphony orchestra, and having an opera performed by a major opera company.- Still's massive portfolio alone is impressive, totaling nearly 200 compositions, which in addition to the well-known symphonies and operas, includes ballet and chamber music. The most well-recognized works are likely his “Afro-American” Symphony No. 1, the opera Troubled Island, and his ballet Sahdji. The symphonic poem Africa, written in the same year as the Symphony No. 1 and Sahdji (1930), is a notable hidden gem as even after revising it numerous times following a successful performance by the Rochester Philharmonic and Howard Hanson—a long time champion of Still's works—Still eventually withdrew the work, unpublished(!).####Culture- That label of “first” is tricky, needing a broader view to the context and implication. Musicologist Gayle Murchison was a colleague of mine at the College of William & Mary, and in fact has agreed to be a guest on this show to talk about American composers. She addresses this issue of duality for Still:Quote The title “Dean of Afro-American Composers” is Still's due. Yet it does not aptly describe his accomplishments or the artistic and aesthetic ideals he pursued in his work. Such a title is easily bestowed on Still, who crossed many racial barriers during a period in American history when the achievements of African Americans were measured by firsts as a marker of racial progress and improvement in race relations. But to see him in this way is to accord him a place in American music history largely on the basis of his race and to consider only one facet of his accomplishments.End quote. After all, I believe Still was a genius, and should be recognized for that at any moment in history.- The piece we will hear today, _Africa_, obviously weighed on Still's mind for a long period, having begun composition in 1924, and philosophically tied in with the Harlem Renaissance. Writing to George Barrère, the conductor to premiere the work, Still gives insight into the programmatic content:An American Negro has formed a concept of the land of his ancestors based largely on its folklore, and influenced by his contact with American civilization. He beholds in his mind's eye not the Africa of reality but an Africa mirrored in fancy, and radiantly ideal.###Analysis of piece####Overall scope- Now to the music itself- Written in 3 movements, titled “land of peace”, “land of romance”, and “land of superstition”. As we talked about, the work is programmatic, and Still put a great deal of thought into this aspect.- So, before we go further I want to make a personal statement involving Programmatic music. If you are not sure what that is, at it's simplest, programmatic music follows a story. Usually, the concept originates with a story, and the composer writes music to emulate the atmosphere described or follow, outright, the drama as it unfolds. Bizet's “Symphony Fantastique” and Elgar's “Enigma” Variations are classic examples. So, I want to make it completely clear what my thoughts are on programmatic music. I LOVE the stories, they are interesting, usually enjoyable, and often give us insight into the composer and what they were thinking when writing the piece. However, I believe from the standpoint of enjoying and consuming the art, I believe the program to be completely superfluous. It is a nice dressing, but neither enhances nor serves the music directly when receiving a performance of the work. My anecdotal argument is this: Elgar wrote his Enigma variations 1899, and practically ever since it has been played by orchestras all over the world, enjoyed by countless audiences, and studied to death by every serious orchestral musician. Therefore, we do know a few tid-bits about the people on whom the variations were based, most notably Jaeger from the 9th variation, titled ‘Nimrod', which refers to the hunter ++need more context++. They were very close friends, etc. etc. I hold that this story and external information would be completely unknown to us if the music was not as good, powerful, and moving as it is. Therefore, the program is extra, non-essential, like a performance venue during a global pandemic!- And it is for this reason that though I will discuss both, separately and in tandem, when analyzing a piece, my philosophy is squarely attached to the sounds themselves, while respecting the fact that the composer him or herself made the connection to the story.- Ok, tangent over. Now, on to the music.####Excerpts- These excerpts are from a 2005 NAXOS recording of the Fort Smith Symphony, conducted by John Jeter.- Ironically, after saying all of that, there is a strong programmatic tie to the very opening bars of _Africa_. Distant, rhythmic drums. This certainly sets a serene background for the flute solo that follows. It is hard NOT to conjure an image in the mind of heat rising against the distant sunset on a vast African plain. [play opening to 1:05]- Titled “Land of Peace” this movement goes through what seems like progressive vignettes of calm scenic African events. Still uses this format to show all of his strengths, European Romantic style writing, jazz influenced lyrical moments, soloistic writing, and crafty orchestrational mixture. [3:10-3:46]- At the second theme, Still opens into a rich, satisfying horn led melodic line, with harp and string accompaniment. It instantly reminds me of the 2nd theme of Hanson's 2nd Symphony, and it's not a stretch that Still was influenced by that piece considering how much Hanson championed Still's compositions. [5:04-5:49]- “Land of Romance”, the middle movement, includes even more of a jazz/dissonance clash. In this spot, the chromatic melodies seem to have a pleasurably erratic nature, and the harmonic movement below, while the pulse is steady, seems to constantly be slipping in a similar chromatic fashion. [1:58-3:09]- At the overflow moment, the volume does rise with full brass and percussion. Though, the previous characteristics remain, creating a both unsettling and satisfying climactic moment. [3:54-5:01-ish]- Finally, in “Land of Superstition”, Still introduces a bit of forward motion. Still continues to show his orchestrational prowess in this movement, along with his particular blend of styles. Hear how he moves back and forth between sections of the orchestra, all while moving the energy forward and creating a jazzy flavor at the same time. [2:38-3:47]- The only time Still comes close to a big band moment is at the high point of this movement, when the bottom of the orchestra cycles a recognizable walking bass pattern and practically everyone else sings out a long, loud bluesy melody. Yet, Still doesn't lose his voice entirely, using a very unique mode mixture, constantly going back and forth between major and minor. [5:10-5:57-ish]###Closing- Even without any of this explanation of the programmatic aspect, the piece itself has a mysterious character, aurally engaging from the opening drum beats and flute solo, the hypnotic bluesy rhythms, the easy downward slide of chromatic movement in the strings, to the often celebratory mood of the last movement. As in his other orchestral works, especially his five numbered symphonies, Still shows complete mastery of orchestration and suitable timbre use for every instrument, section, and combination thereof. Like all other great composers, his adeptness in this area is so deft that one does not even think of it while enraptured in the moment. I can't think of a better compliment.Music:'Africa'By: William Grant StillPerformed by: Fort Smith Symphony, John JeterCourtesy of Naxos of America, Inc.Support this podcast at — https://redcircle.com/american-muse-podcast/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

- In this episode of American Muse we will hear the first symphony by Roy Harris, titled for the year it was written 1933. We will discuss the odd man Harris was, his nomadic nature, and an interesting story about he, his wife, and her name... stay tuned for that. (Play opening 10 seconds)###Composer- Roy Harris, or LeRoy as is his full first name, born in Oklahoma, but quickly moved to southern California. Studied with Arthur Farwell at UC Berkeley. Had his first orchestral piece premiered at Eastman by Howard Hanson (that's about the best promotion you could ask for right out of the gate!). Then met a guy named Aaron Copland who suggested he go to Paris and study with another composer named Nadia Boulanger. It's hard to go wrong after starting a career with names like that on your resume. Oh, but let's add one more shall we?? After returning to the US, Harris eventually meets Serge Koussevitzky, another career maker at the time, who then premiered and recorded Harris' _Symphony 1933_ , and THAT became the first commercially recorded American symphony.- Another thing to know about this man is that he could NOT sit still for very long. In chronological order, he taught at Juilliard, Westminster, Cornell, Stanford, Colorado College, University of Utah, Peabody College for Teachers in Nashville, Pennsylvania College for Women, Southern Illinois University, Indiana University, the Inter-American University in Puerto Rico, UCLA, and finally Cal State University, Los Angeles. And that's just the university positions!- Harris had a massive composition portfolio, and while he covered most of the bases—vocal, chamber, ballet, concertos, etc.—his main focus was clearly on the symphonic form. Harris numbered 13 symphonies (although, out of superstition, he numbered the last 14 to avoid the number 13), plus the _Three Symphonic Essays_, _American Portrait_, _Our Heritage_ (which he apparently only finished one movement for), a Symphony for High School Orchestra, _American Symphony_ for jazz band, Choral Symphony for chorus and orchestra, and the _Walt Whitman Symphony_ for solo baritone, chorus and orchestra. Oh! Also a _Symphony for Voices_, an entirely a cappella work. So, I'd say, he was hooked on the symphony.- Now, though there is STILL time left for this to happen to me… I have never had the honor of being properly called a genius (uh, by anyone other than my mother…). Roy Harris, on the other hand, did have this dubious fortune. Paraphrasing a famous quote of Robert Schumann praising the talents of an up and coming Frédéric Chopin, one Arthur Farwell said of Roy Harris, quote “Gentlemen, a genius—but keep your hats on!” Later, the equally great Walter Piston would counter by complimenting Harris for quote “surviving the trying experience of having been hailed as a genius.” It would seem that Roy Harris had a strong effect on critics and contemporaries alike. One possible reason the label of genius did not effect Harris negatively was his ability to stay so presently in the moment, maintaining an intense focus on the matter at hand. Certainly an aspect that reveals itself in his compositions, and a characteristic that makes for long days and short years.- Ok, one strange story I need to tell you is about he and his second wife. In 1936, Harris married Beula Duffey. Duffey was already on her way to a spectacular career as a pianist, having been hailed as a prodigy in Canada, and then as the youngest faculty member at Juilliard. The interesting part is that Harris convinced her to changer her FIRST name to Johana, after the great Johan Sebastian Bach! From what I could find, this was welcomed and uncontentious. It seems to have been a business and career decision as much as anything else. I just can't quite imagine starting that conversation: “Darling, I love you, I love everything about you… it's just, your name… I don't like it, and no one else will either. Instead, let's name you after a VERY dead male composer. What do you say??”- It turns out that at first Harris only numbered the symphonies that used the traditional symphonic orchestra. But, then he wrote the _Abraham Lincoln Symphony_ for piano, percussion, and brass, and numbered it the 10th, so that tradition ended.- Harris' approach to the various aspects of symphonic composition is articulated nicely by a biographer of his, Dan Stehman. He says quote “Formal procedures… he employs in the symphonies are virtually the same as in his miscellaneous orchestral and band works, and his chamber compositions, for that matter. Acquaintance with all of Harris' works in the genre reveals that his most consistent view appears to have been of the symphony as a work of greater seriousness, emotional variety, intensity of expression, and length than was the norm for him. Though… the elements which went into their creation were formed and treated quite similarly to those employed in other works, the materials of the symphonies are sometimes greater in number, richer in complexity, and accorded a more elaborate development. with especially prominent use of the various types of motivic working out… Occasionally ideas recur in a thematic sense within a symphony… thus providing more of a sense of large scale unity than one finds… in the miscellaneous pieces. … [T]he quality of the ideas in the symphonies, particularly the long melodies, is sometimes more distinctive than that found elsewhere in Harris's oevre.- So, Symphony 1933, Symphony No. 1, pieced together from bits he had already composed. Yet it isn't necessary to know that to enjoy the work. The initiation of this piece came about, as I mentioned earlier, via Aaron Copland introducing Harris to Koussevitzky, who was at the time not only the music director of the Boston Symphony Orchestra, he premiered works by so many American composers he was basically a career maker. According to Harris' memory, Koussevitzky said “Copland told me you are the American Mussorgsky. You must write for me a big symphony from the West. I will play.” Excuse my Russian accent, but that's a pretty cool endorsement from someone that, at the time, was likely destined to make your career, right?- Now to the symphony itself. These excerpts were performed by the Louisville Orchestra under the direction of Jorge Mester.- Symphony 1933 is in 3 movements: Allegro, Andante, and Maestoso; nothing special there. What Harris does from the very beginning is establish a rhythmic theme, one that is both inherently contrasting, alternating triplets against 8ths, but is presented as triumphant and at times aggressive. At the very opening the timpani presents the rhythm and the winds furiously wind through the melodic material that will be developed, followed by a brass variation. (Play opening 45 seconds)- The middle section of this movement shows characteristic melodic writing by Harris, using a soaring string line supported by regularly interjected rhythmic motives reminiscent of the opening energy beneath.- In the final section, where the opening material returns, Harris shows his ability to play with layers and space. In this excerpt string and timpani punctuate a heavy rhythmic figure, the woodwinds play a sustained, menacing melodic line in unison, and the brass begin a fugal conversation over the top. The effect is powerful!- In the second movement, Harris' lush melodic writing is fully featured. Another aspect is the harmonic writing, that is in some ways key to the uniquely American sound that is starting develop. Here, Harris uses a tightly dense harmonic accompaniment that moves rhythmically in sync with the moldy, and has many surprising chromatic twists as it moves along.- The last movement, while not overwhelming in energy, is constantly building interest and tension. In fact, Harris does this with a motive based only on 3 notes! Throughout out the movement he morphs those 3 notes in so many fashions you likely would not notice without it being pointed out, and that's the point! - Here is the very opening with the 3 note motive- Another version with a considerable amount of variation and energy this time, and more and more rhythmic complexity as it goes along- In a moment of calmness, Harris varies the motive in a much more horizontal, lyrical fashion.- Finally, Harris falls into repetitive mode to build up some energy.- This piece is easy to listen to and take in. It is not very long, but packs quite a mental punch. Though it was his first symphony, Harris does show compositional growth and maturity here. It is more than worth your time to listen to and enjoy. I can almost guarantee you've rarely heard another piece like it.Music:Symphony No. 1 '1933'By: Roy HarrisPerformed By: The Louisville Orchestra, Jorge MesterSupport this podcast at — https://redcircle.com/american-muse-podcast/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Episode: 3237 Aaron Copland composes an uncommonly fine fanfare.  Today, an uncommonly fine fanfare.

In music, a #triad is a set of three notes (or "pitch classes") that can be stacked vertically in thirds.[1] The term " #harmonictriad " was coined by Johannes Lippius in his Synopsis musicae novae (1612). When stacked in thirds, notes produce triads. The triad's members, from lowest-pitched tone to highest, are called:[1] the root the third – its interval above the root being a minor third (three semitones) or a major third (four semitones) the fifth – its interval above the third being a minor third or a major third, hence its interval above the root being a diminished fifth (six semitones), perfect fifth (seven semitones), or augmented fifth (eight semitones). Perfect fifths are the most commonly used interval above the root in Western classical, popular and traditional music. (Note: The notes of a triad do not have to use the root as the lowest note of the triad, due to the principle of inversion. A triad can also use the third or fifth as the lowest note of the triad. Inverting a triad does not change the root note.) Some twentieth-century theorists, notably Howard Hanson[2] and Carlton Gamer,[3] expand the term to refer to any combination of three different pitches, regardless of the intervals amongst them. The word used by other theorists for this more general concept is "trichord".[4] Others, notably Allen Forte, use the term to refer to combinations apparently stacked of other intervals, as in "quartal triad".[5] In the late Renaissance music era, and especially during the Baroque music era (1600–1750), Western art music shifted from a more "horizontal" contrapuntal approach (in which multiple, independent melody lines were interwoven) toward progressions, which are sequences of triads. The progression approach, which was the foundation of the Baroque-era basso continuo accompaniment, required a more "vertical" approach, thus relying more heavily on the triad as the basic building block of functional harmony. The root tone of a triad, together with the degree of the scale to which it corresponds, primarily determine a given triad's function. Secondarily, a triad's function is determined by its quality: major, minor, diminished or augmented. #Major and minor triads are the most commonly used triad qualities in Western classical, popular and traditional music. In standard tonal music, only major and minor triads can be used as a tonic in a song or some other piece of music. That is, a song or other vocal or instrumental piece can be in the key of C major or A minor, but a song or some other piece cannot be in the key of B diminished or F augmented (although songs or other pieces might include these triads within the triad progression, typically in a temporary, passing role). Three of these four kinds of triads are found in the major (or diatonic) scale. In popular music and 18th-century classical music, major and minor triads are considered to be consonant and stable, and diminished and augmented triads are considered to be dissonant and unstable.[citation needed] When we consider musical works we find that the triad is ever-present and that the interpolated dissonances have no other purpose than to effect the continuous variation of the triad. — Lorenz Mizler (1739)[6] weki --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/vegansteven/message

In 1956, Eastman-Rochester Pops Orchestra & Chorus, conducted by Howard Hanson, recorded "The Testament of Freedom" (Four Passages From the Writings of Thomas Jefferson) and "Songs From 'Drum Taps'" (Poems By Walt Whitman). The LP was published by Mercury, as part of American Music Festival, Vol. 1. This recording is available on archive.org. Thanks to Mike Overby for suggesting this recording.Track List:Side 1The Testament Of FreedomThe God Who Gave Us LifeWe Have Counted The CostWe Fight Not For GloryI Shall Not Die Without A HopeSide 2Songs From "Drum Taps"Beat! Beat! Drums!By The Bivouac's Fitful FlameTo Thee, Old Cause See acast.com/privacy for privacy and opt-out information.

In this episode, Dave and Andrew explore the winner of the second Pulitzer Prize in Music, Howard Hanson and his Symphony No. 4 ("Requiem"). Hanson is known today for his impact on how we teach and train musicians in colleges and universities, but his music has fallen a bit out of favor. Join us as we see if his exclusion from concert halls is justified.   If you'd like to know more about Howard Hanson, we recommend: Harmonic Materials of Modern Music, Howard Hanson's book on music theory freely available online. Allen Cohen's Howard Hanson in Theory and Practice, from Praeger Publishers in 2004. Emily Abrams Ansari, The Sound of a Superpower: Musical Americanism and the Cold War, from Oxford University Press, 2018. This book combines Schuman and Hanson into one chapter and includes chapters on upcoming Pulitzer winners Aaron Copland and Virgil Thomson, exploring how all shaped American musical culture midcentury.

Abell was raised in the Philadelphia and Chicago areas.David sang in the 1971 world premiere of Leonard Bernstein's Mass at the John F. Kennedy Center for the Performing Arts with the Berkshire Boy Choir.Abell enrolled at Yale University, where his teachers included John Mauceri and Rob Kapilow. He studied with Nadia Boulanger and Robert D. Levin at the American Conservatory in Fontainebleau before returning to Yale to complete his B.A. in 1981.Abell made his professional debut conducting Bernstein's Mass at Berlin's Deutschlandhalle in 1982.Abell mentions the following three operas by Gaetano Donizetti that were his introduction to opera: La Favorite, Lucia di Lammermoor, and Lucie de Lammermoor.Lyric Opera of ChicagoThe Makropulos Affair is a Czech opera with music and libretto by Leoš Janáček.Don Giovanni is an opera by Mozart.Mefistofele is the only completed opera with music by the Italian composer-librettist Arrigo BoitoThe Symphony No. 2 in D-flat major was written by Howard Hanson on commission from Serge Koussevitsky for the 50th anniversary of the Boston Symphony Orchestra in 1930.Interlochen Center for the ArtsThe Beatles were an English rock band formed in Liverpool in 1960. Members were: John Lennon, Paul McCartney, George Harrison and Ringo Starr.Abbey Road StudiosWashington National OperaGiacomo Puccini was an Italian opera composer who has been called "the greatest composer of Italian opera after Verdi".Oscar Hammerstein was an American librettist, theatrical producer, and (usually uncredited) theatre director of musicals for almost 40 years.The Marriage of Figaro is an opera buffa (comic opera) composed in 1786 by Mozart, with an Italian libretto written by Lorenzo Da Ponte.Evans mentions the following schools as notable music schools: Juilliard School, Indiana University Jacobs School of Music, University of Michigan School of Music.The American Bach SocietyYale WhiffenpoofsWashington National OperaAbell continued his postgraduate training from 1983 to 1985 at the Juilliard School, under Jorge Mester and Sixten Ehrling.Eroica Symphony, byname of Symphony No. 3 in E-flat Major, is a symphony by Ludwig van Beethoven, known as the Eroica Symphony for its supposed heroic nature.Natalia Makarova is a Soviet-Russian-born prima ballerina and choreographer.Abell deputized at short notice for John Mauceri conducting Britten's The Turn of the Screw at Washington National Opera.On Your Toes is a musical with a book by Richard Rodgers, George Abbott, and Lorenz Hart.Gian Carlo Menotti gave David the advice to “never conduct Broadway. Never do it you will regret it.”Les Misérables, colloquially known in English-speaking countries as Les Mis is a musical adapted from French poet and novelist Victor Hugo's 1862 novel of the same name by Claude Schönberg.Porgy and Bess is an English-language opera by the American composer George Gershwin, with a libretto written by author DuBose Heyward and lyricist Ira Gershwin.Miss Saigon is a musical by Schönberg.Abell subsequently conducted the 25th anniversary concert of Les Misérables at the O2 Arena.The Philly PopsArturo Toscanini was an Italian conductor.Aaron Copland was an American composer, composition teacher, writer, and later a conductor of his own and other American music.Rhapsody in Blue is a musical composed by George Gershwin.Trevor Nunn is an English theatre director.Harold Prince was an American theatrical producer and director associated with many of the best-known Broadway musical productions of the 20th century.Ariadne auf Naxos is an opera by Richard Strauss with a German libretto by Hugo von Hofmannsthal.The Voice of Firestone is a long-running radio and television program of classical music.Leontyne Price is an American soprano.Marilyn Monroe was an American actress, model, and singer.Dorothy Kirsten was an American operatic soprano.Minnesota OperaBlind InjusticeJohn Williams is an American composer, conductor, and pianist. Williams has composed for many critically acclaimed and popular movies, including the Star Wars series, Jaws, E.T. the Extra-Terrestrial, and the first three Harry Potter films.Till Eulenspiegel's Merry Pranks is a tone poem written in 1894–95 by Strauss.Along with pianist and musicologist Seann Alderking, Abell edited a complete edition of Cole Porter's Kiss Me, Kate, published in 2014.Glimmerglass OperaThe Library of Congress is the research library that officially serves the United States Congress and is the de facto national library of the United States.The New York Public Library is a public library system in New York City.Scott Davenport RichardsGioachino Rossini was an Italian composer who gained fame for his 39 operas, although he also wrote many songs, some chamber music and piano pieces, and some sacred music.Phillip Gossett was an American musicologist and historian, and Robert W. Reneker Distinguished Service Professor of Music at the University of Chicago.Tancredi is a melodramma eroico in two acts by composer Gioachino Rossini and librettist Gaetano RossiUn ballo in maschera (A Masked Ball) is an 1859 opera by Verdi.Powel Crosley Jr. was an American inventor, industrialist, and entrepreneur. He was also a pioneer in radio broadcasting, and a former owner of the Cincinnati Reds major league baseball team.Alfred Drake was an American actor and singer.Robert Russell Bennett was an American composer and arranger, best known for his orchestration of many well-known Broadway and Hollywood musicals by other composers such as Irving Berlin, George Gershwin, Jerome Kern, Cole Porter, and Richard Rodgers.Don Walker is an Australian musician, songwriter and author.Felix Mendelssohn was a German composer, pianist, organist and conductor of the early Romantic period.Messiah is an English-language oratorio composed in 1741 by George Handel.Lemuel WadeFrancesca Zambello is an American opera and theatre director. She serves as director of Glimmerglass Festival and the Washington National Opera.Lyric Opera of Kansas CityHawaii Opera TheatreChandos Records is a British independent classical music recording company based in Colchester.Peter Morris is an American playwright, television writer and critic, best known for his work in British theatre."Something's Gotta Give" is a song that was written for and first performed by Fred Astaire in the 1955 musical film Daddy Long Legs."A Wonderful Guy" is a show tune from the 1949 Rodgers and Hammerstein musical South Pacific.Abell cites Evans Mirageas as one of his greatest mentors.Abell cites his niece’s podcast, The Bright Sessions, as one of his current favorites.Abell mentions Dark Sky as one of his favorite appsTrio BistroCarousel is the second musical by Rodgers and Hammerstein.English National OperaAlfred “Alfie” Boe is an English tenor and actor, notably performing in musical theatre.

Primer programa centrado en una película que incluye algunos de los diálogos más representativos (con su doblaje original en castellano). Por desgracia, gran parte de la obra maestra de Jerry Goldsmith se quedó en la sala de montaje, aunque no en esta "edición especial". Eso sí, también un pequeño "desliz" al incluir los títulos finales de Howard Hanson.

Primer programa centrado en una película que incluye algunos de los diálogos más representativos (con su doblaje original en castellano). Por desgracia, gran parte de la obra maestra de Jerry Goldsmith se quedó en la sala de montaje, aunque no en esta "edición especial". Eso sí, también un pequeño "desliz" al incluir los títulos finales de Howard Hanson.

Alien Por Fran Beltrán: La primera vez que visioné Alien, fue en el colegio. Recuerdo que estaba aterrado, pero a medida que el film iba progresando mi terror se convirtió en admiración por toda esa fabulosa historia que estaba ocurriendo delante de mis ojos, el diseño de producción, la música y esa atmósfera inquietante que Ridley Scott nos ofrece a través de la visión retorcida de H.R Giger convirtió a Alien en uno de mis clásicos favoritos del cine de terror. Aún a día de hoy a pesar de diferentes nuevas entregas de la saga o de copias o explotations del film original, no se ha conseguido llegar al nivel que nos ofreció Scott y Cia. Ridley Scott nos trajo el terror, pero esta vez desde el espacio, donde como nos decía la frase promocional: Nadie puede oír tus gritos. Se rodeó de un excelente equipo técnico y artístico donde pudimos descubrir a una magistral Sigourney Weaver y donde empezó un nuevo mito en el género del terror, el xenomorfo. En el apartado musical, el maestro Goldsmith nos hizo sentir y experimentar el miedo en estado puro, los sonidos, las melodías tétricas, atonales y un poderoso pero dramático tema principal que describía la soledad de ese espacio exterior fueron causantes de ello. Alien es un clásico que, junto a The Thing de John Carpenter, forma parte del terror alienígena y de la historia del cine. Vigilad porque no estáis solos y en el espacio de la podcastfera nadie puede oír vuestros gritos. Tracklist Música de Jerry Goldsmith (Duración corte) - Localización minutaje 1. Main title (film version) (4:01) - 8:35 2. The Face Hugger (2:36) - 29:25 - "Cuaderno de Cine" con Fernando Alonso Barahona - 31:58 3. Breakaway (3:03) - 51:10 - "El Acomodador" con Alí Trujillo - 54:23 Leviathan - Jerry Goldsmith (3:10) - 1:07:33 - "Dirigido por" con César Bardés - 1:28:40 4. Acid Test (4:40) - 1:35:37 Freud, pasion secreta - Jerry Goldsmith (5:02) - 1:52:10 - "Conexión Berlín" con Celia Martínez - 1:57:12 5. The Landing (4:31) - 2:03:33 - "Al límite" con Fran Beltrán - 2:08:13 6. The Droid (4:44) - 2:13:06 - "Grandes esperanzas" con Alma López - 2:19:53 Alien Covenant - Jed Kurzel - 2:28:19 - "El Rincón del coleccionista" con Miguel Casares - 2:30:13 Main title (original) - Jerry Goldsmith - 2:34:32 - "Bonus track" con Miguel Casares - 2::39:46 Legend - Jerry Goldsmith - 2:42:02 - "La firma invitada" con Alvaro Pérez Revilla - 2:47:22 7. The Recovery (2:50) - 2:56:40 - "El buzón del oyente" - 2:59:50 8. The Alien Planet (2:31) - 3:11:20 9. The Shaft (4:01) - 3:25:47 Sinfonía nº2 Howard Hanson (2:45) 3:42:14 End title (3:08) - 3:44:50 Suite de las mejores bandas sonoras de los 70 - 3:56:14 - Patton (1970) - Jerry Goldsmith - Escape from the Planet of Apes (1971) - Jerry Goldsmith - Wild Rovers (1971) - Jerry Goldsmith - The Other (1972) - Jerry Goldsmith - The Godfather (1972) - Nino Rota - Papillon (1973) - Jerry Goldsmith - Chinatown (1974) - Jerry Goldsmith - The Godfather II (1974) - Nino Rota - Amarcord (1974) - Nino Rota - The wind and the lion (1975) - Jerry Goldsmith - Jaws (1975) - John Williams - Obsession (1975) - Bernard Herrmann - Taxi Driver (1975) - Bernard Herrmann - The Omen (1976) - Jerry Goldsmith - Rocky (1976) - Bill Conti - Robin and Marian (1976) - John Barry - Island in the stream (1977) - Jerry Goldsmith - Star Wars (1977) - John Williams - Casanova (1977) - Nino Rota - The boys from Brazil (1978) - Jerry Goldsmith - Star Trek (1979) - Jerry Goldsmith - Dracula (1979) - John Williams - Alien (1979) - Jerry Goldsmith Los 7 magníficos - Elmer Bernstein (4:50) - 4:30:57

Barber’s Violin Concerto, Gershwin’s Rhapsody in Blue and Copland’s Appalachian Spring are among a small handful of American works that have become staples of the orchestra repertoire. Since the United States has nurtured a good century-and-a-half of orchestral compositions, there are those who feel that this is not just an oversight, but a disgrace. Earlier this month, a group of composers and academics decided to confront the issue where it starts: with the major orchestra in their city. They wrote a letter to the Cleveland Plain-Dealer accusing the Cleveland Orchestra of “blatantly ignoring music of its own country” by programming only one work by an American composer next season. “We looked at this and said, this is approximately one percent of the programming and really, we have to say something about this,” said Keith Fitch, head of the composition department at the Cleveland Institute of Music, who was one of the letter’s co-signers. Fitch argues that the problem is not limited to Cleveland, nor is it even confined to living composers. There is a wide swath of “diverse and compelling” American repertoire, he says, that is seldom represented on orchestra programs, including pieces by William Schuman, Howard Hanson, Roy Harris, Walter Piston and even Charles Ives – “the music that has defined us as a culture.” The Cleveland Orchestra did not respond to invitations to participate in this segment, nor did it respond to the letter, which has been widely circulated on social media. Ed Harsh, the president and CEO of the advocacy organization New Music USA, notes that a number of orchestras are making an effort to program American works, including the Los Angeles Philharmonic, New York Philharmonic and Albany Symphony. The upcoming Spring for Music festival of American orchestras at Carnegie Hall is due to feature major works by Hanson and John Adams (WQXR will broadcast the six-concert festival live). "It’s by no means a blanket problem,” Harsh said. “But in some ways this is such an old, agonizing story.” In 2011, the League of American Orchestras, a national service organization, reported that just two out of the top 20 most-performed composers were American that year: Barber and Leonard Bernstein (at numbers 17 and 20, respectively). A ranking of the top 20 works performed did not bring up a single American piece. Harsh believes that living American composers should be essential to orchestras' community outreach and audience-building efforts; they can personalize and talk about the music in a way that long-dead composers can't. “It may seem expedient to become a museum of immutable masterpieces that everyone loves,” he said. “That’s long-term suicide.” To some extent, orchestras must persuade audiences to try unfamiliar music of whatever era or nationality, said Simon Woods, the executive director of the Seattle Symphony, in the second part of this podcast. Seattle has recently launched an in-house record label with an album of music by Ives, Gershwin and Elliott Carter. But Woods also believes there are no absolutes. "I start getting nervous when I hear discussions about whether there should be some kind of moral imperative to play American music," he added. "What's interesting about orchestras in this country is this huge diversity of repertoire that they play, and each one has a different personality." Listen to the full segment above and share your comments below: should orchestras program more American works? Why or why not?

Recording of Howard Hanson's "Chorale and Alleluia" by the Springport High School Symphonic Band from the Spring Awards Concert on May 9th, 2012.

The Rev. Dr. Robert Allan Hill, Dean preaches a sermon entitled "Starting Over." The Harvard University Choir sings "Be with us" by Egil Hovland and "A Prayer for the Middle Ages" by Howard Hanson along with service music and hymns.

The Rev. Dr. Robert Allan Hill, Dean preaches a sermon entitled "Starting Over." The Harvard University Choir sings "Be with us" by Egil Hovland and "A Prayer for the Middle Ages" by Howard Hanson along with service music and hymns.

The Rev. Dr. Robert Allan Hill, Dean preaches a sermon entitled "Starting Over." The Harvard University Choir sings "Be with us" by Egil Hovland and "A Prayer for the Middle Ages" by Howard Hanson along with service music and hymns.

The Rev. Dr. Robert Allan Hill, Dean preaches a sermon entitled "Starting Over." The Harvard University Choir sings "Be with us" by Egil Hovland and "A Prayer for the Middle Ages" by Howard Hanson along with service music and hymns.