Hanson's boyhood home in Wahoo, Nebraska is on the National Register of Historic Places.
Hanson was born inWahoo, Nebraska, toSwedish immigrant parents, Hans and Hilma (née Eckstrom) Hanson. In his youth he studied music with his mother. Later, he studied atLuther College in Wahoo, receiving a diploma in 1911, then at the Institute of Musical Art, the forerunner of theJuilliard School, inNew York City, where he studied with the composer and music theoristPercy Goetschius in 1914.[1][4][5]
Afterward he attendedNorthwestern University, where he studied composition with church music expertPeter C. Lutkin andArne Oldberg. Hanson also studied piano, cello, and trombone. He earned his BA degree in music from Northwestern in 1916, and began his teaching career as a teacher's assistant.[6][4][7]
In 1916, Hanson was hired for his first full-time position as a music theory and composition teacher at theCollege 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 composedThe 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, includingConcerto da Camera,Symphonic Legend,Symphonic Rhapsody, various solo piano works, such asTwo Yuletide Pieces, and theScandinavian Suite, which celebrated hisLutheran andScandinavian heritage.[8]
In 1921 Hanson was the first winner of theAmerican Academy in Rome's "Rome Prize" in musical composition, awarded for bothThe California Forest Play and his symphonic poemBefore the Dawn. Thanks to the award, Hanson lived inItaly for three years. During his time in Italy, Hanson wrote aQuartet in One Movement,Lux Aeterna,The Lament for Beowulf (orchestrationBernhard Kaun), and hisSymphony 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 withOttorino Respighi, who in turn had studied orchestration withNikolay Rimsky-Korsakov. Hanson's unpublished autobiography refutes the statement, attributed toRuth Watanabe, that he had studied with Respighi.)[citation needed].[9] Citing several sources in 1998, however, the librarian scholar John A. Dobnicki atCUNY York College documented that, "taking up fellowship residence in Rome for three years, Hanson studied orchestration under Ottorino Respighi and devoted himself to composition, writing his Symphony No. 1 (“Nordic,” 1922) and two symphonic poems, and began work on his major choral work, The Lament for Beowulf, which was completed in the United States in 1925.[10]) While Hanson may not have pursued formal studies with Respighi while in Rome, he apparently did receive advice from him.[11] In addition, Respighi invited Hanson to attend rehearsals and performances of his orchestral concerts. As a result of these interactions, Hanson credited Respighi as a significant influence on his use of orchestral textures and instrumentation. In addition, he cited the works of several other composers as being influential while studying in Rome including:Nicolai Rimsky-Korsakov,Gustav Holst,Giovanni Palestrina andRichard Wagner.[12]
Upon returning from Rome, Hanson's conducting career expanded. He made his premiere conducting theNew York Symphony Orchestra in his tone poemNorth and West.[13] InRochester,New York in 1924, he conducted hisSymphony No. 1. This performance brought him to the attention ofGeorge Eastman.[14]
In 1924, Eastman chose Hanson to be director of theEastman School of Music. Eastman, inventor of theKodak camera and roll film, was also a major philanthropist, and used some of his great wealth to endow the Eastman School of Music at theUniversity of Rochester.[14][15]
Hanson held the position of director for forty years, during which he created one of the most prestigious music schools in America.[1] He accomplished this by improving the curriculum, bringing in better teachers, and refining the school's orchestras.[16] Also, he balanced the school's faculty between American and European teachers, even when this meant passing up composerBéla 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. Here is how the noted conductorKenneth Woods described the incident:
Since emigrating from Hungary to the US in 1940, Bartók had endured a period of terrible neglect, poverty and homesickness. Howard Hanson, the reactionary and xenophobic president of the Eastman School of Music, had turned away Bartók’s application for a teaching position in spite of his reputation as possibly the most important living composer and ethnomusicologist of his day.[17]
External audio
You may hear Howard Hanson conducting his Symphony No. 1 in E minor Op. 21 (Nordic) with the Eastman-Rochester Symphony Orchestra in 1944Here on archive.org
You may hear Howard Hanson conducting his Symphony No. 5 (Sinfonia Sacra) Op.43 with his Eastman-Rochester Symphony Orchestra and Chorus Here on archive.org
In 1925, Hanson established the American Composers Orchestral Concerts. He followed that in 1931 by establishing the annual Festivals of American Music. These week long concerts were free to the public and featured established works by American composers as well as premiers of new compositions. They included performances of: orchestral works, chamber music, band and wind ensemble music, vocal and chamber music, opera and ballet. The festival concerts were eagerly anticipated by audiences in Rochester until 1971 and were also broadcast regularly over national radio networks from the Eastman Theater. Critics have often observed that over the course of four decades "more music has been played at these concerts than in all the rest of the United States put together."[18][19] The music author Joseph Machlis also observed that "It is no exaggeration to say that during the 1920s and 1930s no one did more for the cause of American music than Howard Hanson".[20]
Hanson's interest in educating the general public through innovative means became apparent as early as 1938. At this time he engaged the talents of student ensembles at the Eastman School to presentMilestones in the History of Music on the radio. This weekly series of programs presented a sweeping survey of the history of Western music which was broadcast locally in Rochester, New York onWHAM and nationally on theNBC Red Network. In recognition of these efforts, thePeabody Award for outstanding service to music was awarded to Hanson, the Eastman School and WHAM in 1946. Hanson also engaged his student ensembles to present a similar series for theCBS radio network which he entitledMilestones in American Music. This series presented orchestral, choral and chamber music composed by eighty two American composers from the mid 19th century to modern times. As Hanson himself indicated this was "the first attempt at a rather complete presentation of the American picture in music."[3]
To celebrate the 50th anniversary of theBoston Symphony Orchestra,Serge Koussevitzky commissioned Hanson'sSymphony 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 theInterlochen Center for the Arts.[25] 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.[26] It is also widely known for its use in the final scene and end credits of the 1979Ridley Scott filmAlien.[27]
External image
Photograph of Howard Hanson conducting in New York City in 1959 Here on Getty images
In some ways Hanson's operaMerry 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 theMetropolitan Opera in New York in 1934.[28] The Opera received fifty curtain calls at its Met premiere, a record that still stands. In 1935, he wrote "Three Songs from Drum Taps", based on the poem byWalt Whitman.[29][30]
Frederick Fennell, conductor of theEastman Wind Ensemble, described Hanson's first band composition, the 1954Chorale 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.[31][citation needed]
By 1957, Hanson was inspired once again by the poetry of Walt Whitman and completed hisSong of Democracy to mark the hundredth anniversary of the National Education Association and the fiftieth anniversary of the Music Educator's National Conference. Hanson conducted its official premier with theNational Symphony Orchestra in Washington D.C. before an audience of 23,000.[33] This followed an unofficial performance in 1957 for President Eisenhower byHoward University's African-American Chorus which subsequently performed the work inConstitution Hall a month later.[33][34] By synthesizing his own musical idealism with Whitman's robust optimism, Hanson composed a work which reflects the boundless possibilities of youthful creativity. The work incorporates a clear signature motto to his "Romantic" Symphony during the orchestral prelude as well as a largely harmonic setting for the chorus which culminates in a fervent hymn.[33] Following its premier,Song of Democracy became a particularly favorite composition among all-city high school choruses and promoted the ideal vision of an inclusive democratic society which embodies tolerance and a respect for human rights.[34]
During the 1950s and 1960s Howard Hanson continued to adapt innovative techniques in an effort to educate as large an audience as possible, even as revolutionary changes in mass media emerged in America. For example, he collaborated with theFord Foundation during this period in order to produce a series of television films on composition. He also served as a member of the Music Advisory Panel of theAmerican National Theatre and Academy along withVirgil Thomson,William Schuman andMilton Katims.[35] This panel consisted of leading composers and academics who evaluated candidates for the Department of State's Cultural Presentations program.[36] Musicians who were accepted into this program represented America'scultural diplomacy initiatives in concert venues throughout the world during the Cold War.[36] In 1955, he conducted a concert in the Naumburg Orchestral Concerts, in the Naumburg Bandshell, Central Park, in the summer series.[37] Later in the 1960s, he also hosted and conducted theLos Angeles Philharmonic in several series of young peoples concerts for school children in the Los Angeles area.[3] In 1960, Hanson also published a bookHarmonic Materials of Modern Music (1960).[38] Though not an example of integral music theory, it contained fruitful ideas and analytic algorithms which were incorporated in later theories such asset theory ofAllen Forte. The idea of 'modal modulation' (Hanson's term) echoed in theYuri Kholopov's'variable mode' doctrine.[39][40]
External audio
You may hear Howard Hanson conductingAaron Copland'sMusic for the Theatre – Suite in Five Parts for Small Orchestra (1925) with his Eastman-Rochester Symphony Orchestra in 1940Here on archive.org
Following his retirement as Director of the Eastman School of Music in 1964, Hanson was appointed as the first director of the newly established Institute for American Music at theUniversity of Rochester. In this new role, Hanson continued his efforts to foster a widespread understanding and appreciation of American music through performances, publications and recordings. Operating funds for the institute were largely derived from royalties generated from compositions and recordings which were executed by Hanson during his tenure at the Eastman School. Following his death in 1981, Hanson's wife Peggy assumed his responsibilities at the institute until her death in 1996.[41] It has been observed that nearly every American composer since World War I is indebted in some degree to Howard Hanson for his efforts to educate the public and future generations of professional musicians about American music.[1][42][4][7]
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, he was active in United Nations Educational, Scientific and Cultural Organization (UNESCO). UNESCO commissioned Hanson'sPastorale for Oboe and Piano, andPastorale for Oboe, Strings, and Harp, for the 1949Paris conference of the world body.[43]
During the course of his career Hanson also served as a guest conductor for several leading orchestras including: theNew York Philharmonic, theBoston Symphony Orchestra, and theNBC Symphony Orchestra. He was also a frequent conductor of the Rochester Philharmonic Orchestra at theEastman Theater in Rochester, New York. In addition, he was the founder of the Eastman Philharmonia Orchestra at the Eastman School of Music.[1] This ensemble consisted of elite upperclassmen from the Eastman School of Music and was noted for concertizing throughout the country.[44] Under Hanson's leadership, it was selected to participate in the United States Department of State's international cultural exchange program during the 1961–1962 season.[45] Hanson took the Eastman Philharmonia 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.[46]Hanson's performances with the orchestra received critical acclaim in thirty four cities and sixteen countries throughout Europe, the Middle East and Russia.[44]
Hanson met Margaret Elizabeth Nelson at her parents' summer home onLake Chautauqua at theChautauqua Institution in New York. Hanson dedicated theSerenade for Flute, Harp, and Strings, to her; the piece was his musical marriage proposal, as he could not find the spoken words to propose to her. They married on July 24, 1946, in the same house where they had first met.[47]
After he composed theHymn of the Pioneers to celebrate the 300th anniversary of the first Swedish settlement inDelaware, Hanson was selected as a fellow of theRoyal Swedish Academy in 1938.[1]
In 1944, Hanson was awarded thePulitzer Prize forSymphony No. 4, subtitledRequiem.[1]
In 1945, he became the first recipient of theDitson Conductor's Award for his commitment to American music.[1]
In 1946, Hanson was awarded the George FosterPeabody Award "for outstanding entertainment programming" for a series he presented on the Rochester, New York radio station WHAM in 1945.[3][49]
In 1953, Hanson helped to establish the Edward B. Benjamin Prize "for calming and uplifting music" written by Eastman students. Each submitted score was read by Hanson and the Eastman Orchestra. Winners of the Benjamin Prize appeared on Hanson's recordingMusic for Quiet Listening.[citation needed]
In 1959, Hanson won the first Lancaster Symphony Orchestra Composer's Award, which is the oldest award of its kind in America and is awarded annually to a contemporary composer by the Lancaster Symphony Orchestra, Lancaster, Pennsylvania (established in 1947). Hanson was a friend and colleague of the Founding Conductor of the Lancaster Symphony Orchestra, the late Louis Vyner.[51]
In 1960, Hanson publishedHarmonic Materials of Modern Music: Resources of the Tempered Scale, a book that would lay the foundation formusical set theory. Among the many notions considered was what Hanson called theisomeric relationship, now usually termedZ-relationship.[38]
Hanson'sSong of Democracy, on aWalt Whitman text, was performed at the inaugural concert for incoming U.S. PresidentRichard Nixon in 1969. Hanson proudly noted this was the first inaugural concert to feature only American music.[53]
In recognition of Hanson's achievements, theEastman Kodak company donated $100,000 worth of stock to the Eastman School of Music in 1976. Hanson stipulated that the gift be used to fund the Institute of American Music.[citation needed]
Hanson was a Distinguished Nebraskans Award Recipient in 1976.[54]
During his lifetime, Howard Hanson was the recipient of thirty four honorary doctorate degrees.[55]
Excerpts from Hanson's Second Symphony were used to accompany several exterior sequences and the end credits in the released versions ofRidley Scott's 1979horror movieAlien[56] without his permission, but the composer decided not to fight it in court[57]—they replaced certain sections ofJerry Goldsmith's original score at the behest of20th Century Fox. This highlighted music can still be found on all DVD, Blu-Ray and 4K versions ofAlien.[58] The version used in the film is the 1967 recording by the National Philharmonic Orchestra, conducted by Charles Gerhardt. Apparently, Hanson told Gerhardt that, of all the available recordings, he found Gerhardt's to be the most 'sympathetic'.
Hanson's music has been described as part of theNeo-Romantic movement in music which endeavored to continue the traditions of theRomantic era into the 20th century.[59] His Symphony No. 2, for example, has been cited as a Neo-Romantic manifesto.[60] He has also been identified by critics as an "American Neoromantic composerpar excellence" whose compositions were conceived in the grand romantic tradition ofAntonin Dvorák.[61] In addition, his early symphonies have been characterized as "splendidly effusive, gorgeously orchestrated, rich in harmonic texture".[62]
It should also be noted, however, that Hanson's compositions also incorporated experimentation with modern musical idioms.[4] Many of the passages in his works are based upon modal scales which call to mindGregorian chants.[63] In addition, he made extensive use of extended tertian chords, motoric ostinati in rapid passages and alternating triadic chords.[63] Several of his liturgical and choral compositions also reflected themes derived from Swedish Lutheran hymns.[4] Elements of Nordic austerity identified in his music have also prompted some observers to compare him toJean Sibelius.[4]
It has also been noted that one of Hanson's hallmarks as a composer is his utilization of melodic lines which flow seamlessly in a manner which is almost improvisational, unpretentious, and very American.[64] The composer and critic David Owens indicated that Hanson clearly embraced the use of tonal beauty in his compositions in order to give expression to a conservative musical ideal. By carefully blending his use of tonality with a masterful understanding of orchestral depth, Hanson succeeded in producing compositions which Owen described as being both memorable and compelling.[65]
While reviewing Hanon's legacy in 1981, the music critic Donal Henehan wrote in theNew York Times that Hanson's music is representative of the post-Romantic style in the tradition ofJean Sibelius. He also noted that, "for more than a half century (Hanson) stood like Horatio at the bridge, beating back the faddists, the avant-gardists, and the purveyors of what he once termed "modern musical realism" and that the music found in his Nordic and Romantic Symphonies "exudes a sincerity and concern for craft that lend it enough legitimacy to warrant occasional revival and reassessment". He also recounted Hanson's disdain for music which is "too cerebral" and his assertion that emotional expression is the ultimate objective of any successful musical performance. This "traditionalist" philosophy of music became the hallmark of a conservative '"Eastman School" of composers which included:William Bergsma,Robert Moffat Palmer,Burrill Phillips,Gardner Read, andBernard Rogers.[66]
Perhaps Hanson described his music best when he portrayed it as metaphorically "springing from the soil of the American midwest. It is music of the plains rather than of the city and reflects, I believe, something of the broad prairies of my native Nebraska."[7][67] For in the final analysis, Hanson believed that, "To the artist, to the musician, is given the task of creating and expressing beauty--of sensitizing the souls of men...."[68][69]
A boxed set of Howard Hanson conducting the Eastman Philharmonia in his symphonies, piano concerto, etc., is available on theMercury label. A companion set from Mercury, a compilation of Hanson conducting lesser known American works, is also available.
Naxos Records released a recording of the 1934 world premiere performance ofMerry Mount in 1999. For copyright reasons it was not made available in the United States.
Recordings by Howard Hanson conducting his own compositions with the Eastman-Rochester Orchestra include:[71]
Elegy in Memory of Serge Koussevitzky Op. 44 –Mercury Records (SR90150) – Hanson conducting the Eastman-Rochester Orchestra (1957)
The Lament for Beowulf Op. 25 – Mercury Records (SR90192) – Hanson conducting the Eastman-Rochester Orchestra (1958)
Song of Democracy Op. 44 – Mercury Records (#432 0008-2) – Hanson conducting the Eastman-Rochester Orchestra (1957)
Symphony No. 1 in E Minor Op. 21 (Nordic) – Mercury Records (#432 008-2) – Hanson conducting the Eastman- Rochester Orchestra (1960)
Symphony No. 2 in D-Flat Major Op. 30 (Romantic) – Mercury Records (#432 0008-2)- Hanson conducting the Eastman-Rochester Orchestra (1958)
Symphony No. 3 Op. 33 – Mercury Records (SR90449) – Hanson conducting the Eastman-Rochester Orchestra (1963)
The Howard Hanson Collection at the Eastman School of Music – includes archived scores, compositions, arrangements, letters, essays and recordings by Howard Hanson within the Sibley Music Library- Ruth T. Watanabe Special Collections.[79]
^McIntee, David (2005).Beautiful Monsters: The Unofficial and Unauthorized Guide to the Alien and Predator Films.Surrey, England: Telos Publishing Ltd. p. 38.ISBN1-903889-94-4.
^Cohen, AllenHoward Hanson in Theory and Practice pp. 24–25 (Westport, CT: Greenwood Press, 2004)
^Cohen, Aaron I. (1987).International encyclopedia of women composers. 2: Sai – Zyb, Appendices (2. ed., revised and enl ed.). New York: Books & Music. p. 615.ISBN978-0-9617485-1-7.
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You may hear Howard Hanson conducting his Symphony No. 1 in E minor Op. 21 (Nordic) with the Eastman-Rochester Symphony Orchestra in 1944Here on archive.org
Photograph of Howard Hanson conducting in New York City in 1959
