Hanson’s symphonic cycle reached a profound spiritual crux at the time of the Fourth Symphony, which was written, in effect, as a Requiem for his father. It journeys from turbulence to the simplicity of resolution, in a way both characteristic and also deeply moving. The Fifth Symphony also evokes religious imagery in a tautly structured, richly atmospheric canvas. The Lutheran element surfaces too in Dies Natalis, whilst Hanson’s admiration for Serge Koussevitzky is marked by the Elegy he wrote for the conductor. “Schwarz’s commitment to the music is evident in every bar: you really can take the quality, not least of his marvellous orchestra, for granted.” (Gramophone on the original Delos release)
This disc demonstrates how both Gregorian chant and the Lutheran chorale undergird the structure of many of Hanson’s works
Hanson apparently regarded the Fourth, (1943), composed as a requiem for his father, as his finest work, while the single-movement Fifth, completed 11 years later, was subtitled Sinfonia Sacra. Both are imposing, economical works with an austerity that emphasises their debt to Sibelius
Hanson, H: Dies Natalis (1967) Hanson, H: Elegy in Memory of Serge Koussevitzky, Op. 44 Hanson, H: Symphony No. 4, Op. 34 'Requiem' Hanson, H: Symphony No. 5, 'Sinfonia Sacra' Conductors Black, Gerard Groups & Artists Seattle Symphony Orchestra
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