My profound thanks to the University of Tampa for performing this piece last Sunday and thus introducing me to this astonishing work and a new composer to admire!
This was an excellent listening experience. Theoretically, it should be better known. However, my listening experience is that I have occasion to be on the prowl looking for fine works to listen to. Most people are not committed to doing that. Thus, such works remain obscure. There simply not enough people in a position to find them. This was a great work. I keep such music playing in the background. Others keep shorter pieces playing as are found on popular radio stations. It is a matter of preference.
@Glinkaism1 I also met this beauty on the short clip posted on the web. I can't get tired of listening to it, specially the first 5 minutes. This is the version from Naxos. The other pieces inlcuded are also great
Some admirable "Pastorale" conotations in the beginning and then a quite solemn slow climbing of a mountain (Brucknerian?) interrupted by the organ as if the movement needs a new dramatic stamina (Hovhhanessian?) , then renewing the climbing but as if the climbing is fighting the organ or vice versa. Then a "Titanic sonata" organ (like a Requiem?) that exhausts itself comig back to a very nostalgig Strings evolution.... Confusing, remixing a lot of tones when the meaning of the piece is about to a self.revelation. "A cocktail of nostalgy and self-criticism hardly enables any Phoenix to exist and be reborn" - Robert Frost.
Interesting work, but who in their right mind writes a concerto for Organ & Harp. I hardly knew the harp was there. An organ and a harp are no match together realistically. Bit like a boxing match between an elephant and a butterfly.
David A this concerto was originally written as a concerto for organ with full orchestra. This is the later reduced instrumentation version, leaving out winds and percussion, keeping just the strings and harp. The harp was kept because its sound can’t really be replaced or approximated by the other instruments, and where its distinctive tone needs to be heard Hanson was careful to allow it to be sufficiently exposed.
Hi Molnar, thank you very much indeed for taking the trouble to reply to me. I now understand the instrumentation, but still don't think it necessarily works. But what you say makes perfect sense. David.
David A It would be good to study more orchestral scores to see exactly how most composers use the harp. It tends to be for quiet coloristic effects, and that even in works with large orchestra and many loud passages. Sometimes the harps actually have very little to do, yet what they do is still quite important in its way.
A very good point. Great orchestrators like Mahler & Ravel would be an excellent starting point. Personally, I admire Mahler's use in his symphonies, where harps are often employed in dramatic sections as well as more serene moments. On a smaller scale, check out Ravel's Introduction and Allegro for Harp,Flute,Clarinet & String Quartet. A superb work.
What a wonderful work. Full of interesting harmonic and melodic elements. I've always been a big fan of Howard Hanson's music.
One of the most beautiful American works for organ and orchestra.
You are right JK. I will recommend this to the KC Symphony. Their hall has a huge Cassavant aching to be played more often.
Marvelous! Howard Hanson is amazing! Thank you.
My profound thanks to the University of Tampa for performing this piece last Sunday and thus introducing me to this astonishing work and a new composer to admire!
armonioso y excelente composicion e interpetacion. gracias desde Argentina
Bravo bravo bravo
First time I have heard this work. Thank you :)
This was an excellent listening experience. Theoretically, it should be better known. However, my listening experience is that I have occasion to be on the prowl looking for fine works to listen to. Most people are not committed to doing that. Thus, such works remain obscure. There simply not enough people in a position to find them. This was a great work. I keep such music playing in the background. Others keep shorter pieces playing as are found on popular radio stations. It is a matter of preference.
Well stated Doug.
@Glinkaism1 I also met this beauty on the short clip posted on the web. I can't get tired of listening to it, specially the first 5 minutes. This is the version from Naxos. The other pieces inlcuded are also great
Grande..... Grazie 🌹 🌹 🌹 🌹 🌹 👏👏👏👏👏👏👏👏👏
pretty cool, isn't it? You are welcome!
@@MrWalkingbass thank you so much my friend
Very soothing reflective
A very nice piece! But this is a "light version". The full orchestration was made by Bernhard Kaun in 1926 and is lost.
Some admirable "Pastorale" conotations in the beginning and then a quite solemn slow climbing of a mountain (Brucknerian?) interrupted by the organ as if the movement needs a new dramatic stamina (Hovhhanessian?) , then renewing the climbing but as if the climbing is fighting the organ or vice versa. Then a "Titanic sonata" organ (like a Requiem?) that exhausts itself comig back to a very nostalgig Strings evolution.... Confusing, remixing a lot of tones when the meaning of the piece is about to a self.revelation. "A cocktail of nostalgy and self-criticism hardly enables any Phoenix to exist and be reborn" - Robert Frost.
🚀
13:28
Who's playing?
Interesting work, but who in their right mind writes a concerto for Organ & Harp. I hardly knew the harp was there. An organ and a harp are no match together realistically. Bit like a boxing match between an elephant and a butterfly.
David A this concerto was originally written as a concerto for organ with full orchestra. This is the later reduced instrumentation version, leaving out winds and percussion, keeping just the strings and harp. The harp was kept because its sound can’t really be replaced or approximated by the other instruments, and where its distinctive tone needs to be heard Hanson was careful to allow it to be sufficiently exposed.
Hi Molnar, thank you very much indeed for taking the trouble to reply to me. I now understand the instrumentation, but still don't think it necessarily works. But what you say makes perfect sense. David.
David A It would be good to study more orchestral scores to see exactly how most composers use the harp. It tends to be for quiet coloristic effects, and that even in works with large orchestra and many loud passages. Sometimes the harps actually have very little to do, yet what they do is still quite important in its way.
A very good point. Great orchestrators like Mahler & Ravel would be an excellent starting point. Personally, I admire Mahler's use in his symphonies, where harps are often employed in dramatic sections as well as more serene moments. On a smaller scale, check out Ravel's Introduction and Allegro for Harp,Flute,Clarinet & String Quartet. A superb work.
Hanson could have been so much more. But alcohol ruined him.