1928 HOWARD HANSON cond NORDIC Symphony FIRST REC' ANDANTE National High School

$

154

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First Recording of a  movement of Howard Hansons FIRST SYMPHONY "NORDIC" premiered by Hanson in Italy in 1923. He would record it complete 10 years later for Victor

SIGNED IN THE DEAD WAX

 Howard Hanson conducts the ANDANTE with the 1928 National High School Orchestra

. Andante teneramente, con semplicita 1&2

National High School Orchestra (NHSO), a select ensemble organized by Joseph E. Maddy under the auspices of the Music Supervisors' National Conference during the 1920s and 1930s. The first NHSO was assembled for the 1926 meeting of the Music Supervisors' National Conference in Detroit, Michigan. Initially led by Maddy, this ensemble was reorganized in 1927, 1928, 1930, 1932, and 1938. The NHSO helped promote instrumental music education through conference performances, radio broadcasts, and concerts presented throughout the country. This organization also demonstrated the potential of high school musicians and served as a basis for the NHSO Camp--the institution known today as the Interlochen Center for the Arts.

10" Records New York Phonograph Recording Co
Condition:

VERY GOOD PLUS PLUS unworn but scuffed, rim chip NAP, plays very quiet lightest hiss

The National High School Orchestra 1926-1938

National High School Orchestra (NHSO), a select ensemble organized by Joseph E. Maddy under the auspices of the Music Supervisors' National Conference during the 1920s and 1930s. The first NHSO was assembled for the 1926 meeting of the Music Supervisors' National Conference in Detroit, Michigan. Initially led by Maddy, this ensemble was reorganized in 1927, 1928, 1930, 1932, and 1938. The NHSO helped promote instrumental music education through conference performances, radio broadcasts, and concerts presented throughout the country. This organization also demonstrated the potential of high school musicians and served as a basis for the NHSO Camp--the institution known today as the Interlochen Center for the Arts.

As a composer, Hanson was an unashamed musical romantic. Perhaps through his Swedish ancestry, he displayed an early and lifelong adherence to North European symphonism - particularly Sibelius, whose influence he transmuted in very specific and, in his view, specifically American ways. This is nowhere more apparent than in his Nordic Symphony, Op. 21, the first of the seven symphonies which would span the entirety of his composing career. Completed in 1922 during his time in Rome, the influence of his then-teacher Respighi can be detected in the powerfully evocative orchestral style. The fact, however, that it shares the same key, E minor, as Sibelius's First Symphony cannot be coincidental, as Hanson's freewheeling and often intuitive approach to form frequently brings to mind the Finnish composer.

The opening movement begins with an earnest melody on strings, quickly becoming more expansive and impulsive. A vivid panorama opens out, with more than a hint of Bax's Tintagel in the vivid orchestral colouration. After an evocative transition on horn and solo woodwind, the second theme (2:21) alternates between upper and lower strings, before sounding forth imperiously in full orchestra. Solo wind herald a return of the opening theme, as the movement's material is not so much developed as animated by skilful harmonic eleboration. Increasing intensity is gained (6:46), and the mood darkens, before a heightened restatement of the opening theme. The second theme now maintains the momentum, as a rhythmically-incisive figure in the horns presages the main climax (beginning 10:35). This is snatched short, however, and the movement ends with a plangent reminiscence of the opening mood.

The slow movement opens with expressive string gestures, solo oboe and flute contributing evocatively, to this musical seascape. A brief climax heightens the pictorially-inclined mood, before strings usher in a more robust version of the opening theme (4:02). Solo horn comments resignedly on the idea, and clarinets wind the music down to its restful close. The Finale breaks out impulsively with a rhythmically-agitated theme on full orchestra, clearly related to the opening theme of the first movement. Oboes and upper strings introduce a more wistful melody, abruptly cut short by strokes on the bass drum (3:50). A starkly tragic theme now emerges over a heavy tread in the lower strings, an well-defined episode in place of the expected development, before the opening agitation reasserts itself. The second theme now expands directly into the movement's clinching climax - a heady peroration (from 8:15), after which the surging rhythmic energy sees the symphony through to a powerful conclusion. Its E minor tonality stated forcefully and unequivocally.

Howard Harold Hanson (October 28, 1896 – February 26, 1981) was an American composer, conductor, educator, music theorist, and champion of American classical music. As director for 40 years of the Eastman School of Music, he built a high quality school and provided opportunities for commissioning and performing American music. He won a Pulitzer Prize for one of his works and received numerous other awards. [1]

 Early life and education
Hanson's boyhood home in Wahoo, Nebraska is on the National Register of Historic PlacesHanson was born in Wahoo, Nebraska to Swedish immigrant parents, Hans and Hilma (Eckstrom) Hanson. In his youth he studied music with his mother. Later, he studied at Luther College in Wahoo, Nebraska, receiving a diploma in 1911, then at the Institute of Musical Art, the forerunner of the Juilliard School, in New York City, where he studied with the composer and music theorist Percy Goetschius in 1914. Afterward he attended Northwestern University, where he studied composition with church music expert Peter Lutkin and Arne Oldberg in Chicago. Throughout his education, Hanson studied piano, cello and trombone. Hanson earned his BA degree in music from Northwestern University in 1916, where he began his teaching career as a teacher's assistant.[2]

[edit] CareerIn 1916, Hanson was hired for his first full-time position as a music theory and composition teacher at the College of the Pacific in California. Only three years later, the college appointed him Dean of the Conservatory of Fine Arts in 1919. In 1920, Hanson composed The California Forest Play, his earliest work to receive national attention. Hanson also wrote a number of orchestral and chamber works during his years in California, including Concerto da Camera, Symphonic Legend, Symphonic Rhapsody, various solo piano works, such as Two Yuletide Pieces, and the Scandinavian Suite, which celebrated his Lutheran and Scandinavian heritage.[3]

In 1921 Hanson was the first winner of the Prix de Rome in Music (the American Academy's Rome Prize), awarded for both The California Forest Play and his symphonic poem Before the Dawn. Thanks to the award, Hanson lived in Italy for three years. During his time in Italy, Hanson wrote a Quartet in One Movement, Lux Aeterna, The Lament for Beowulf (orchestration Bernhard Kaun), and his Symphony No. 1, "Nordic", the premiere of which he conducted with the Augusteo Orchestra on May 30, 1923. The three years Hanson spent on his Fellowship at the American Academy were, he considered, the formative years of his life, as he was free to compose, conduct without the distraction of teaching - he could devote himself solely to his art.

(It has been incorrectly stated that Hanson studied composition and/or orchestration with Ottorino Respighi, who studied orchestration with Nikolay Rimsky-Korsakov. Hanson's unpublished autobiography refutes the statement, attributed to Ruth Watanabe, that he had studied with Respighi.)

Upon returning from Rome, Hanson's conducting career expanded. He made his premiere conducting the New York Symphony Orchestra in his tone poem North and West. In Rochester, New York in 1924, he conducted his Symphony No. 1. This performance brought him to the attention of George Eastman.

Eastman chose Hanson to be director of the Eastman School of Music. Business master George Eastman, inventor of the Kodak camera and roll film, was also a major philanthropist; he used some of his great wealth to endow the Eastman School of Music at the University of Rochester.

Hanson held the position of director for forty years, during which he created one of the most prestigious music schools in America. He accomplished this by improving the curriculum, bringing in better teachers, and refining the school's orchestras. Also, he balanced the school's faculty between American and European teachers, even when this meant passing up composer Béla Bartók. Hanson offered a position to Bartók teaching composition at Eastman, but Bartók declined as he did not believe that one could teach composition. Instead, Bartók wanted to teach piano at the Eastman School, but Hanson already had a full staff of piano instructors.

In 1925, Hanson established the American Composers Orchestral Concerts. Later, he founded the Eastman-Rochester Orchestra, which consisted of first chair players from the Rochester Philharmonic Orchestra and selected students from the Eastman School. He followed that by establishing the Festivals of American Music. Hanson made many recordings (mostly for Mercury Records) with the Eastman-Rochester Orchestra, not only of his own works, but also those of other American composers such as John Alden Carpenter, Charles Tomlinson Griffes, John Knowles Paine, Walter Piston, and William Grant Still. Hanson estimated that more than 2000 works by over 500 American composers were premiered during his tenure at the Eastman School.

To celebrate the 50th anniversary of the Boston Symphony Orchestra, Serge Koussevitzky commissioned Hanson's Symphony No. 2, the "Romantic", and premiered it on November 28, 1930. This work was to become Hanson's best known. One of its themes is performed at the conclusion of all concerts at the Interlochen Center for the Arts. Now known as the "Interlochen Theme", it is conducted by a student concertmaster after the featured conductor has left the stage. Traditionally, no applause follows its performance.[citation needed] It is also best known for its use in the end credits of the 1979 Ridley Scott film Alien.[4]

In some ways Hanson's opera Merry Mount (1934) may be considered the first fully American opera. It was written by an American composer and an American librettist on an American story, and was premiered with a mostly American cast at the Metropolitan Opera in New York in 1934. The Opera received fifty curtain calls at its Met premiere, a record that still stands. In 1935 Hanson wrote "Three Songs from Drum Taps", based on the poem by Walt Whitman.

Hanson was elected as a member of the National Institute of Arts and Letters in 1935, President of the Music Teachers' National Association from 1929 to 1930, and President of the National Association of Schools of Music from 1935 to 1939.

From 1946 to 1962 Hanson was active in United Nations Educational, Scientific and Cultural Organization (UNESCO). UNESCO commissioned Hanson's Pastorale for Oboe and Piano, and Pastorale for Oboe, Strings, and Harp, for the 1949 Paris conference of the world body.

Frederick Fennell, conductor of the Eastman Wind Ensemble, described Hanson's first band composition, the 1954 Chorale and Alleluia as "the most awaited piece of music to be written for the wind band in my twenty years as a conductor in this field". Chorale and Alleluia is still a required competition piece for high school bands in the New York State School Music Association's repertoire list. It is one of Hanson's most frequently recorded works.

From 1961-1962, Hanson took the Eastman Philharmonia, a student ensemble, on a European tour which passed through Paris, Cairo, Moscow, and Vienna, among other cities. The tour showcased the growth of serious American music for Europe and the Middle East.

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