{"product_id":"hanson-conducts-american-music-vol-2-195354-pasc295","title":"HANSON conducts American Music, Vol. 2 (1953\/54) - PASC295","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003ePISTON \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 3\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eCOWELL\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Symphony No. 4 \u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eLOEFFLER \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003ePoem for Orchestra\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded in 1953 \u0026amp; 1954\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 70:33 \u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003eEastman-Rochester Orchestra \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eHoward Hanson\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003e, conductor\u003c\/span\u003e\u003c\/span\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fMusicWeb International Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThe evolutionary-paced bloom of Piston's Third is strongly controlled by Hanson. The conductor must have warmed to its sonorously unhurried heroism578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cli\u003e\u003cb\u003eHanson conducts American Music Vols 1-3\u003c\/b\u003e\u003c\/li\u003e\u003cp\u003eIPR law and the passage of time has freed up enterprises such as\nPristine to liberate recordings now more than fifty years old. These\nmono Mercury LP derivatives take wing again courtesy of Andrew Rose and\nhis marvellously applied XR re-mastering. \u003cbr\u003e   \u003cbr\u003e Hanson's Fourth\nSymphony (there are seven) is sumptuous. The music wells up in great\ngouts of sound. Everything is burnished and regal with a slow sovereign\neruption of melody. If you know his first three symphonies all issued by\nUniversal in stereo then you will instantly relate to this throbbing convulsive music. I am not sure that the \u003ci\u003eRequiem \u003c\/i\u003etitle\nand movements add solidly to the music, They stand as sincere\nindicators of the moods and senses the composer had in mind. The music\nwas written in memory of Hanson’s father. The very short \u003ci\u003eDies Irae \u003c\/i\u003erecalls his gritty propulsive way with the fast movements in the first and second symphonies and link in turn to \u003ci\u003eThe Rite \u003c\/i\u003eand Rimsky's \u003ci\u003eAntar\u003c\/i\u003e. The finale is \u003ci\u003eLux Aeterna \u003c\/i\u003ewhich\nis also the title Hanson gave to an earlier work for orchestra. The\nsense of striving and majestic heavenly flight and bell-tolling is there\nagain. Hanson is, as ever, a master of building the romantic climax as\nhe was to be again in the glorious Sixth Symphony. So it proves here\nthough the work ends in taciturn rather than refulgent style. \u003cbr\u003e   \u003cbr\u003e\nThe sound is always plenary, affluent and burnished: golden among the\nhorns and silvery heroic in the trumpets. There is, at times, a slight\nsense of tizz when the audio pressure is really on; otherwise the\nsound-picture is very agreeable. It upholds across the decades the\nvaunted Mercury reputation. \u003cbr\u003e   \u003cbr\u003e The poetically coloured Loeffler\nhas not been freshly recorded though this is the second version in\nhistorical sound. It sound better than it did on that Guild 2CD set of\nTocanini Americana. The music is affectionately cast in an idiom that\nechoes that of Rimsky-Korsakov with a Gallic aspect. The whole thing is\nin a single track. It's quite magical. I do wish we could hear more\nLoeffler. By the way it's Loeffler's \u003ci\u003eLife in a Russian Village \u003c\/i\u003enot as Pristine have it \u003ci\u003eLive in a Russian Village\u003c\/i\u003e. \u003cbr\u003e   \u003cbr\u003e Hanson's \u003ci\u003eSong from Drum Taps \u003c\/i\u003eto words by Whitman clamours for attention. It has a fire in common with similar works by RVW (\u003ci\u003eDona Nobis Pacem\u003c\/i\u003e) and Bliss (\u003ci\u003eMorning Heroes\u003c\/i\u003e).\nThe choir is fervent and the flames are fuelled further by the edgy\nattack of drums and brass. David Meyers guides us mysteriously in hushed\ntension through \u003ci\u003eBy the bivouac's fitful flame \u003c\/i\u003ewith the choir taking a tactful and unassertive shading. The clamant rapture returns for \u003ci\u003eTo Thee Old Cause \u003c\/i\u003e(also\nset by William Schuman). This is the most masterfully spun of all the\nthree movements and rises in molten fervour. The words can be had on\nPristine's website. \u003cbr\u003e   \u003cbr\u003e Good to hear this old friend in such good fettle. This leads us to Randall Thompson's Jefferson-based \u003ci\u003eTestament of Freedom \u003c\/i\u003ewhich\nhas a clear affinity with the Hanson work. I recall the inspiring\nexperience of hearing these recordings thirty years ago when the box of\nrare LP Americana arrived by post one summer morning. The Thompson is\nstirringly four-square and full of admirably earnest commitment to\nhumane values. The rhythmic life that transforms the Second Symphony is\ntouched on but not fully replicated. It’s well worth hearing and there\nis a transcendent gleam in \u003ci\u003eI shall not die without a hope \u003c\/i\u003ewhich\nis the finale. The singing by the Eastman School of Music Chorus never\nonce relents from commitment and patriotism. It reminded me of John\nIreland's \u003ci\u003eThese Things Shall Be \u003c\/i\u003emore than once. The music swings indomitably along lit by that unwavering blaze of democratic rhetoric. \u003cbr\u003e   \u003cbr\u003e\nPASC 296 is a confident entry with two post WW2 symphonies written\nwithin a year of each other. The evolutionary-paced bloom of Piston's\nThird is strongly controlled by Hanson. The conductor must have warmed\nto its sonorously unhurried heroism no doubt coloured by the country's\nexperience of a World War and the impending Korean conflict. His\nsurefooted way continues to impress across this four movement 35 minute\nsymphony. It's not as catchy or as accessible as its predecessor which\nwas unmatchably recorded by DG with the Boston Symphony Orchestra and\nMichael Tilson Thomas in 1971 and can still be heard on XXXX. Even so\nthe impudent irrepressibility heard in the finale of the Second Symphony\nskitters its way through the first \u003ci\u003eAllegro\u003c\/i\u003e. The chill-blasted bleach of the 3rd movement \u003ci\u003eAdagio \u003c\/i\u003eis almost tender but certainly melancholically pained. One senses splintery stamping mid-western zest in the finale. The second \u003ci\u003eAllegro\u003c\/i\u003e and the taut and tight pummelling of the final few moments speak of Piston's control if not of unbridled exuberance. \u003cbr\u003e   \u003cbr\u003e Henry Cowell's Fourth Symphony is much shorter at about twenty minutes. It has a sort of echo in the \u003ci\u003eHymn-Allegro \u003c\/i\u003efirst movement of tender ‘westerniana’ coupled with \u003ci\u003eThe Great Gate of Kiev \u003c\/i\u003eand even a touch of Purcell. The wistful avian piping of \u003ci\u003eBallad\u003c\/i\u003e is followed by the jig-innocent Celtic balladry and danseries of the \u003ci\u003eVivace\u003c\/i\u003e. The final \u003ci\u003eFuguing Tune \u003c\/i\u003etakes a punt at the \u003ci\u003eGreat Gate \u003c\/i\u003eagain\nbut with Purcellian awe and bell-rung majesty. Interestingly his\nmovement titles link with titles of many of this other works: \u003ci\u003eHymn\u003c\/i\u003e, \u003ci\u003eFuguing Tune\u003c\/i\u003e, \u003ci\u003eDance\u003c\/i\u003e, \u003ci\u003eBallad\u003c\/i\u003e. \u003cbr\u003e   \u003cbr\u003e The Loeffler \u003ci\u003ePoem for Orchestra \u003c\/i\u003eis\nanother slow-blooming statement of the passions - Tchaikovskian really.\nIt rises to stormy passions for sure. It was the first time I had heard\nthe piece. If you enjoy the Macdowell Arthurian tone poems or those by\nFarwell perhaps with a tinge of early Delius then you should hear this. I\nhad not encountered it before but was very glad to make its rhapsodic\ninstinctive acquaintance. \u003cbr\u003e   \u003cbr\u003e PASC 302 is volume 3. We start with a very early work by the wondrously log-lived Carter. His \u003ci\u003eThe Minotaur \u003c\/i\u003eis\ndynamic, virile, brutal, burred, tense and atmospheric. It’s not short\non Stravinskian high voltage. It can be cool as well as in the\nmiraculous \u003ci\u003eAriadne, Princess of Crete\u003c\/i\u003e and poignant as in \u003ci\u003eTheseus’s Farewell to Ariadne \u003c\/i\u003ewhich brings a lump in the throat as much as Bliss’s music for \u003ci\u003eHector’s Farewell to Andromache \u003c\/i\u003ein \u003ci\u003eMorning Heroes\u003c\/i\u003e. Wallingford Riegger’s \u003ci\u003eNew Dance\u003c\/i\u003e\nis more sumptuous and sounds lavish though not to diffuse its\nshatteringly savage rhythmic howl, blast and electric ripple. The\nMacdowell \u003ci\u003eIndian Suite \u003c\/i\u003ederives from the early 1890s – another\nera. The music is Lisztian, tenderly romantic, fleet-footed and only\nvery faintly ethnic – a slight overtone in the lightly caricatured \u003ci\u003eVillage \u003c\/i\u003efinale which yet ends in a glorious blaze. That same finale from time to time reminded me of Sibelius’s \u003ci\u003eLemminkainen Suite\u003c\/i\u003e recently issued in the elite mono 1950s version with Ormandy by Pristine (PASC 299). \u003cbr\u003e   \u003cbr\u003e These discs are available separately from Pristine either as discs or in various download formats. \u003cbr\u003e   \u003cbr\u003e\nAfter a couple of discs where I have been less than welcoming I am so\npleased that Pristine have returned to their true and exultant form. \u003cbr\u003e   \u003cbr\u003e Let's have more please. How about the Hanson Fifth Symphony (transferred by Haydn House) and the extended ERSO extracts from \u003ci\u003eMerry Mount\u003c\/i\u003e. \u003cbr\u003e   \u003cbr\u003e This is a fascinating slice of American musical history from the 20C. It’s all sensitively and energetically spun by Hanson. \u003cbr\u003e   \u003cbr\u003e \u003cb\u003e\u003ci\u003eRob Barnett\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC295.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eHanson conducts rare recordings of symphonies by Piston and Cowell\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cem\u003ePlus Loeffler's Poem for Orchestra all in superb Mercury Living Presence\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cbr\u003e\u003cp class=\"body\"\u003eEach of these recordings, made in the first half of the\n1950s by Mercury and never previously issued on CD, was however reissued\nin the 1970s on Mercury's \"Golden Imports\" label, a collaboration with\nPhilips in Holland. The latter's contribution was to repackage the\nrecordings, apply some particularly unpleasant electronic stereo\neffects, then ship them back to the States having re-pressed them in\nHolland in their own factory. The transfers here all come from mint\ncopies of these Dutch pressings, first processed to remove the noxious\neffects of electronic stereo, then passed through Pristine's 32-bit XR\nremastering process.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThere were some unusual artefacts present in the\nrecordings - something unidentified but very nasty happening in the\nPiston at around 14kHz, for example - which have been removed or\nrepaired. I've also used Celemony's revolutionary anti-wow-and-flutter\nsoftware, Capstan, in a very gentle setting, to ensure evenness and\naccuracy of pitch throughout - for the record, the Cowell came in\nslightly sharp, whilst the others were just a little flat, though all\nwere well recorded.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eAll of this music is rare, and all of it well worth hearing.\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003ePISTON \u003c\/b\u003eSymphony No. 3 (1947)\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003eRecorded 11 May 1954\u003cbr\u003eFirst issued on Mercury MG 40012\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eCOWELL\u003c\/b\u003e Symphony No. 4 (1946)\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 11 May 1953\u003cbr\u003eFirst issued on Mercury MG 40005\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eLOEFFLER \u003c\/b\u003ePoem for Orchestra (\"La Bonne Chanson\") (1901)\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cem class=\"body\"\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 29 October 1954\u003cbr\u003eFirst issued as Mercury MG 40012\u003cbr\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cb\u003eEastman-Rochester Orchestra \u003c\/b\u003e\u003cbr\u003e\u003cb\u003eHoward Hanson,\u003c\/b\u003e conductor\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003eXR remastering by Andrew Rose at Pristine Audio, June 2011\u003cbr\u003eCover artwork based on a photograph of Howard Hanson\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\nTotal duration: 70:33 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