Tag: Bold Island

For many, the prospect of having to work through vacation can be a real drag; but for the creative artist, getting away can be a welcome opportunity to really get things done.

This week on “The Lost Chord,” we’ll hear three pieces associated with Bold Island, Maine, the summer home of Howard Hanson.

For 40 years, Hanson was director of the Eastman School of Music. In that capacity he nurtured and championed innumerable American composers, giving literally thousands of premieres at the helm of the Eastman-Rochester Orchestra, an ensemble he founded. The lucky ones made it onto Hanson’s records on the Mercury label.

Hanson, of course, was himself a composer. He was awarded the Pulitzer Prize for Music in 1944, for his Symphony No. 4 “Requiem,” written in memory of his father. But his best-known music, undoubtedly, is his Symphony No. 2 “Romantic,” composed in 1930.

The famous “Hanson sound” is one of heart-on-the-sleeve romanticism, characterized by glowingly nostalgic melodies, though he also had his severe side. After all, he was born in Wahoo, Nebraska, to Swedish parents, and a certain Nordic austerity can be detected, especially in his later works.

His Symphony No. 6, of 1967, is more tightly argued than his earlier, more famous symphonies. Its six brief movements are built on a recurring motif. At times, it can sound a bit like Sibelius, though Hanson very much remains his own man. Hanson being Hanson, he doesn’t really skimp on the lyricism, but he doesn’t exactly indulge it to the same extent he does in the earlier works. Still, predictably, the symphony was derided as old-fashioned by the genuinely austere musical establishment of the day.

The Bold Island connection is through Hanson’s “Summer Seascape No. 2,” written a few years earlier, and clearly the blueprint for the symphony. In fact, the opening of the symphony is identical.

Hanson’s first “Summer Seascape” forms the centerpiece of his “Bold Island Suite,” a separate work composed in 1961. The suite also contains movements with the descriptive titles “Birds of the Sea” and “God in Nature.”

The North Atlantic inspires some august music, on “August Hanson,” on “The Lost Chord,” now in syndication on KWAX, the radio station of the University of Oregon!

Clip and save the start times for all three of my recorded shows:

PICTURE PERFECT, the movie music show – Friday at 8:00 PM EDT/5:00 PM PDT

SWEETNESS AND LIGHT, the light music program – Saturday at 11:00 AM EDT/8:00 AM PDT

THE LOST CHORD, unusual and neglected rep – Saturday at 7:00 PM EDT/4:00 PM PDT

Stream them, wherever you are, at the link!

https://kwax.uoregon.edu/

PHOTO: Not-very-austere Puffins off the coast of Maine

For many, the prospect of having to work through vacation can be a real drag; but for the creative artist, getting away can be a welcome opportunity to really get things done.

This Sunday night on “The Lost Chord,” we’ll hear three pieces associated with Bold Island, Maine, the summer home of Howard Hanson.

For 40 years, Hanson was director of the Eastman School of Music. In that capacity he nurtured and championed innumerable American composers, giving literally thousands of premieres at the helm of the Eastman-Rochester Orchestra, an ensemble he founded. The lucky ones made it onto Hanson’s records on the Mercury label.

Hanson, of course, was himself a composer. He was awarded the Pulitzer Prize for Music in 1944, for his Symphony No. 4 “Requiem,” written in memory of his father. But his best-known music, undoubtedly, is his Symphony No. 2 “Romantic,” composed in 1930.

The famous “Hanson sound” is one of heart-on-the-sleeve romanticism, characterized by glowingly nostalgic melodies, though he also had his severe side. After all, he was born in Wahoo, Nebraska, to Swedish parents, and a certain Nordic austerity can be detected, especially in his later works.

His Symphony No. 6, of 1967, is more tightly argued than his earlier, more famous symphonies. Its six brief movements are built on a recurring motif. At times, it can sound a bit like Sibelius, though Hanson very much remains his own man. Hanson being Hanson, he doesn’t really skimp on the lyricism, but he doesn’t exactly indulge it to the same extent he does in the earlier works. Still, predictably, the symphony was derided as old-fashioned by the genuinely austere musical establishment of the day.

The Bold Island connection is through Hanson’s “Summer Seascape No. 2,” written a few years earlier, and clearly the blueprint for the symphony. In fact, the opening of the symphony is identical.

Hanson’s first “Summer Seascape” forms the centerpiece of his “Bold Island Suite,” a separate work composed in 1961. The suite also contains movements with the descriptive titles “Birds of the Sea” and “God in Nature.”

The North Atlantic inspires some august music, on “August Hanson,” this Sunday night at 10:00 EDT, on WWFM – The Classical Network and wwfm.org.

PHOTO: Not-very-austere Puffins off the coast of Maine

For many people, the prospect of having to work through vacation could be a real drag; but for the creative artist, getting away can provide an opportunity to really get things done.

This Sunday night on “The Lost Chord,” we’ll hear three pieces associated with Bold Island, Maine, the summer home of Howard Hanson.

For 40 years, Hanson was the director of the Eastman School of Music. In that capacity he nurtured and championed innumerable American composers, giving literally thousands of premieres at the helm of the Eastman-Rochester Orchestra, an ensemble he founded. The lucky ones found their way onto records issued on the Mercury label.

Hanson, of course, was himself a composer. He was awarded the Pulitzer Prize for Music in 1944, for his Symphony No. 4 “Requiem,” written in memory of his father. But his best known music, undoubtedly, is his Symphony No. 2 “Romantic,” composed in 1930.

The famous “Hanson sound” is one of heart-on-the-sleeve romanticism, characterized by glowingly nostalgic melodies, though he also had his severe side. After all, he was born in Wahoo, Nebraska, to Swedish immigrants, and a certain Nordic austerity can be detected, especially in his later works.

His Symphony No. 6, of 1967, is more tightly argued than his earlier, more famous symphonies, structured in six brief movements, built on a recurring motif. At times, it can sound a bit like Sibelius, though Hanson very much remains his own man. Hanson being Hanson, he doesn’t really skimp on the lyricism, but he doesn’t exactly indulge it to the same extent he does in the earlier works. Still, predictably, the symphony was derided as old-fashioned by the genuinely austere musical establishment of the day.

The Bold Island connection is through Hanson’s “Summer Seascape No. 2,” written a few years earlier, and clearly the blueprint for the symphony. In fact, the opening of the symphony is identical.

The first “Summer Seascape” was the centerpiece of the “Bold Island Suite,” a separate work composed in 1961. The suite also contains movements with the descriptive titles “Birds of the Sea” and “God in Nature.”

The North Atlantic inspires some august music, on “August Hanson,” this Sunday night at 10:00 EDT, on WWFM – The Classical Network and wwfm.org.

PHOTO: Not-very-austere Puffins off the coast of Maine