From my own perspective as a lover of Howard Hanson’s music, the best here comes last. His Fourth Symphony is subtitled “The Requiem” and was composed as a memorial to Hanson’s father. Its four movements correspond to sections of the traditional Latin mass. It was Hanson’s favorite among his symphonies, and while the melodies may not be as immediately committed to memory as those of the “Nordic” and “Romantic," the glowing consecrational quality of the work, its beautiful flow and reverential beauty, full of life and never morose, is hard to surpass in American music. The piece fades away in lovely nostalgia. Clearly Hanson knew the Vaughan Williams Fifth Symphony. Like Vaughan Williams, Hanson’s music has the ability to make sadness cozy and comforting. To his credit, Kalmar turns out here a performance finer than Gerard Schwarz’s heavy-handed take with the Seattle Symphony. It’s as good as the composer’s own, and in far better sound. I vote this release a prize of my own!
A portion of the rich but sometimes neglected trove of American symphonies was given a welcome exposure during the valuable Spring for Music Festival at Carnegie Hall in early May, thanks to the ongoing commitment to this repertory of music directors David Alan Miller and Leonard Slatkin. The beneficiary composers, Morton Gould and Charles Ives, both stand apart from the mid-century symphonic mainstream, also neglected, of Piston, Sessions, Schuman, Harris, Diamond, et al. It was a fascinating juxtaposition, particularly since Gould’s symphony has been largely absent since its premier in 1947, and most of Ives’s works had to wait lengthy intervals before receiving their first performances.