1926, vol. 2: Ravel, Hanson, Copland

In 1926, Hanson completed an Organ Concerto, a solo piano piece called Vermeland, and a tone poem for orchestra entitled Pan and the Priest.  The Organ Concerto isn’t heard today in its 1926 version; Hanson revised it in 1941 as his Concerto for Organ, Harp, and Orchestra, and it’s this version you can find on record. […] (Click here to continue reading a transcript of this podcast.)

Listen to Podcast:

Shop for CD Recordings Recommended on This Episode:

Ravel, Chansons Madécasses
Hanson, Pan and the Priest
Copland, Piano Concerto
Armstrong, Cornet Chop Suey
Copland, Sentimental Melody
Copland, Two Pieces for Violin and Piano

Listen Online to Music Featured on This Episode:


AYICM: 1926, vol. 2

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2 Comments

2 Responses to 1926, vol. 2: Ravel, Hanson, Copland

  1. Comment by William Block made on November 18, 2011 at 1:38 pm

    After listening to Podcast 1926 – Volume 2, it evoked memories of my many visits to the HC Prange record department in the basement of the store. I recall thumbing through the many albums, many of which were by Howard Hanson and the Eastman Rochester Orchestra. I always enjoyed perusing the liner notes on the backs of the albums. At that time, TIME MAGAZINE would always have a music section and Hanson took his orchestra on tour of Europe and I believe even Russia. I totally agree with your assessment of Hanson, that he was romantic through and through. Apart from the second symphony, I really am not familiar with much of his work. My wife Judy was interested in that he was Swedish, and he definitely left his mark on music history. When I was young, Hanson was still a living composer.

    • Brian Linnell Comment by Brian Linnell made on November 19, 2011 at 2:43 am

      You know, one of my favorite college professors was a cellist and music history lecturer. He was a student at the Eastman School back when Hanson was the dean there. He said Hanson was an anachronism in those days, because the radical postwar avant-garde techniques were followed as dogma by almost everyone involved in music composition (especially at universities), but there was Hanson writing his tuneful Romantic scores.

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