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Afterward he attended Northwestern University, where he studied composition with church music expert Peter Lutkin and Arne Oldberg in Chicago. Throughout his education, Hanson studied piano, cello, and trombone. Hanson earned his BA degree in music from Northwestern in 1916, where he began his teaching career as a teacher's assistant.
In 1916, Hanson was hired for his first full-time position as a music theory and composition teacher at the College 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 composed The 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, including Concerto da Camera, Symphonic Legend, Symphonic Rhapsody, various solo piano works, such as Two Yuletide Pieces, and the Scandinavian Suite, which celebrated his Lutheran and Scandinavian heritage.
In 1921 Hanson was the first winner of the Prix de Rome in Music (the American Academy's Rome Prize), awarded for both The California Forest Play and his symphonic poem Before the Dawn. Thanks to the award, Hanson lived in Italy for three years. During his time in Italy, Hanson wrote a Quartet in One Movement, Lux Aeterna, The Lament for Beowulf (orchestration Bernhard Kaun), and his Symphony 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 with Ottorino Respighi, who in turn had studied orchestration with Nikolay Rimsky-Korsakov. Hanson's unpublished autobiography refutes the statement, attributed to Ruth Watanabe, that he had studied with Respighi.) While Hanson may not have pursued formal studies with Respighi while in Rome, he apparently did receive advice from him. 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 and Richard Wagner.
Hanson held the position of director for forty years, during which he created one of the most prestigious music schools in America. He accomplished this by improving the curriculum, bringing in better teachers, and refining the school's orchestras. Also, he balanced the school's faculty between American and European teachers, even when this meant passing up composer Béla 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.
You may hear Howard Hanson conducting his Symphony No. 1 in E minor Op. 21 (Nordic) with the Eastman-Rochester Symphony Orchestra in 1944 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."
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 present Milestones 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 on WHAM and nationally on the NBC Red Network. In recognition of these efforts, the Peabody 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 the CBS radio network which he entitled Milestones 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."
In some ways Hanson's opera Merry 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 the Metropolitan Opera in New York in 1934. 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 by Walt Whitman.
Frederick Fennell, conductor of the Eastman Wind Ensemble, described Hanson's first band composition, the 1954 Chorale 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.
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 the Ford 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 the American National Theatre and Academy along with Virgil Thomson, William Schuman and Milton Katims. This panel consisted of leading composers and academics who evaluated candidates for the Department of State's Cultural Presentations program. Musicians who were accepted into this program represented America's cultural diplomacy initiatives in concert venues throughout the world during the Cold War. Later in the 1960s, he also hosted and conducted the Los Angeles Philharmonic in several series of young peoples concerts for school children in the Los Angeles area. In 1960, Hanson also published a book Harmonic Materials of Modern Music (1960). Though not an example of integral music theory, it contained fruitful ideas and analytic algorithms which were incorporated in later theories such as set theory of Allen Forte. The idea of 'modal modulation' (Hanson's term) echoed in the Yuri Kholopov's'variable mode' doctrine.
You may hear Howard Hanson conducting Aaron Copland's Music for the Theatre - Suite in Five Parts for Small Orchestra (1925) with his Eastman-Rochester Symphony Orchestra in 1940 Here 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 the University of Rochester. In this new role, Hanson continued his tireless 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 passing in 1996. 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.
Hanson was elected as a member of the National Institute of Arts and Letters in 1935, President of the Music Teachers' National Association from 1929-30, and President of the National Association of Schools of Music from 1935-39. From 1946-62, he was active in United Nations Educational, Scientific and Cultural Organization (UNESCO). UNESCO commissioned Hanson's Pastorale for Oboe and Piano, and Pastorale for Oboe, Strings, and Harp, for the 1949 Paris conference of the world body.
During the course of his career Hanson also served as a guest conductor for several leading orchestras including: the New York Philharmonic, the Boston Symphony Orchestra, and the NBC Symphony Orchestra. He was also a frequent conductor of the Rochester Symphony Orchestra at the Eastman Theater in Rochester, New York. In addition, he was the founder of the Eastman Philharmonia orchestra at the Eastman School of Music. This ensemble consisted of elite upperclassmen from the Eastman School of Music and was noted for concertizing throughout the country. 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. 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.
Hanson's performances with the orchestra received critical acclaim in thirty four cities and sixteen countries throughout Europe, the Middle East and Russia.
Hanson met Margaret Elizabeth Nelson at her parents' summer home on Lake Chautauqua at the Chautauqua Institution in New York. Hanson dedicated the Serenade 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.
In 1946, Hanson was awarded the George Foster Peabody Award "for outstanding entertainment programming" for a series he presented on the Rochester, New York radio station WHAM in 1945.
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 recording Music for Quiet Listening.
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.
Hanson's Song of Democracy, on a Walt Whitman text, was performed at the inaugural concert for incoming U.S. President Richard Nixon in 1969. Hanson proudly noted this was the first inaugural concert to feature only American music.
In recognition of Hanson's achievements, the Eastman 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.
Hanson was a Distinguished Nebraskans Award Recipient in 1976.
Excerpts from Hanson's second symphony were used to accompany several exterior sequences and the end credits in the released versions of Ridley Scott's 1979 horror movie Alien without his permission, but the composer decided not to fight it in court--they replaced certain sections of Jerry Goldsmith's original score at the behest of 20th Century Fox. This highlighted music can still be found on most DVD versions of Alien.
Howard Hanson died at Strong Memorial Hospital in Rochester, New York at the age of 84. He was survived by his wife Margaret Elizabeth Nelson.
Howard Hanson's music has been described as part of the Neo-Romantic movement in music which endeavored to continue the traditions of the Romantic era into the 20th century. His Symphony No. 2, for example, has been cited as a Neo-Romantic manifesto. He has also been identified by critics as an "American Neoromantic composer par excellence" whose compositions were conceived in the grand romantic tradition of Antonin Dvorák. In addition, his early symphonies have been characterized as "splendidly effusive, gorgeously orchestrated, rich in harmonic texture".
It should also be noted, however, that Hanson's compositions also incorporated experimentation with modern musical idioms. Many of the passages in his works are based upon modal scales which call to mind Gregorian chants . In addition, he made extensive use of extended tertian chords, motoric ostinati in rapid passages and alternating triadic chords. Several of his liturgical and choral compositions also reflected themes derived from Swedish Lutheran hymns. Elements of Nordic austerity identified in his music have also prompted some observers to compare him to Jean Sibelius.
It has also been noted that one of Howard 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. 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 tonalitiy with a masterful understanding of orchestral depth, Hanson succeeded in producing compositions which Owen described as being both memorable and compelling.
Perhaps Howard 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."
North and West, Symphonic poem with Chorus Obligato (1923)
The Lament for Beowulf, Op. 25 (1925)
Heroic Elegy for wordless chorus and orchestra (1927)
Three Songs from Drum Taps (Walt Whitman), Op. 32 for baritone, chorus & orchestra (1935)
The Cherubic Hymn, Op. 37 for chorus and orchestra (1949)
How Excellent Thy Name Op. 41, (1952)
Song of Democracy, Op. 44 (1957) for wind ensemble, string orchestra and SATB Choir
Song of Human Rights, Op. 49 (1963) (text from the Preamble of the Universal Declaration of Human Rights)
The One Hundred Fiftieth Psalm (Praise Ye The Lord) for chorus and orchestra (1965)
The One Hundred Twenty First Psalm for baritone, chorus and orchestra (1968)
Streams in the Desert for chorus and orchestra (1969)
The Mystic Trumpeter for narrator, chorus and orchestra (1970)
New Land, New Covenant oratorio (1976)
Centennial March (1966)
Chorale and Alleluia (1954)
Dies Natalis II (1972)
Variations on an Ancient Hymn
Concerto for Piano and Orchestra in G Major, Op. 36 (1948)
Concerto for organ, harp & strings in C, Op 22/3 (1921)
Summer Seascape No.2 for Viola and String Orchestra (1965)
Qunitet in F minor, for 2 Violins, Cello and Piano (1916)
Concerto da Camera in C Minor for Piano and String Quartet (1917), Op. 7
String Quartet (1923), Op. 23
Serenade for Flute, Harp and Strings (1946), Op. 35
Pastorale for Oboe and Piano (1949), reorchestrated as alternative Pastorale for Oboe, Harp and Strings (1950), both Op. 38
Fantasy Variations on a Theme of Youth (1951)
Elegy for Viola and String Quartet (1966)
Poèmes érotiques, Op. 9
Sonata in A Major, Op. 11
Three Miniatures for Piano, Op. 12
Symphonic Rhapsody, Op. 14
Three Etudes, Op. 18
Two Yuletide Pieces, Op. 19
Harmonic Materials of Modern Music (1960), Irvington.
A boxed set of Howard Hanson conducting the Eastman Philharmonia in his symphonies, piano concerto, etc., is available on the Mercury label. A companion set from Mercury, a compilation of Hanson conducting lesser known American works, is also available.