Howard Hanson: Symphonies Nos. 4 & 5

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Howard Hanson: Symphonies Nos. 4 & 5



Catalogue No:




Release date:

3rd Jan 2012




69 minutes


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Howard Hanson: Symphonies Nos. 4 & 5

Hanson, H:

Symphony No. 4, Op. 34 'Requiem'

Symphony No. 5, 'Sinfonia Sacra'

Elegy in Memory of Serge Koussevitzky, Op. 44

Dies Natalis (1967)



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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)

Howard Hanson: Symphony No. 4, Op. 34, "The Requiem"

I. Kyrie: Andante inquieto

II. Requiescat: Largo

III. Dies irae: Presto

IV. Lux aeterna: Largo pastorale

Howard Hanson: Symphony No. 5, Op. 43, "Sinfonia sacra"

Symphony No. 5, Op. 43, "Sinfonia sacra"

Howard Hanson: Elegy in Memory of Serge Koussevitsky

Elegy in Memory of Serge Koussevitsky

Howard Hanson: Dies natalis I

Introduction and Chorale: Maestoso

Variation 1: Poco piu mosso

Variation 2: Allegro

Variation 3: Pesante

Variation 4: Andante calmo, nel modo Gregoriano

Variation 5: Allegro feroce

Variation 6: Larghetto semplice

Variation 7: Allegro tempestuoso

Finale: Poco a poco ritardando al tempo giusto

The Guardian

25th January 2012


“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”

MusicWeb International

June 2012

“This disc demonstrates how both Gregorian chant and the Lutheran chorale undergird the structure of many of Hanson’s works”

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