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NA 9701

HANSON, H.: Symphonies (Complete), Vol. 2 - Symphony No. 2 / Lux aeterna / Mosaics (Seattle Symphony, Schwarz)

The Classical Shop
release date: November 2011


Seattle Symphony Orchestra

Schwarz, Gerard

Gerard Schwarz



Seattle Opera House, Seattle, USA

Record Label


Orchestral & Concertos


Total Time - 57:06
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HANSON, H.: Symphonies (Complete), Vol. 2 - Symphony No. 2 / Lux aeterna / Mosaics (Seattle Symphony, Schwarz)



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Symphony No. 2, Op. 30, "Romantic"

1 I. Adagio - Allegro moderato 13:38
2 II. Andante con tenerezza 7:27
3 III. Allegro con brio 7:14

Lux aeterna, Op. 24



 Gerard Schwarz Conductor
 Schwarz, Gerard

Hanson’s intent in 1930 to write music that was “young in spirit, lyrical and romantic in temperament”, was fully realised in his ardent Second Symphony. This, his best known symphonic statement, acknowledges a Sibelian inheritance through horn fanfares, powerfully lyric string writing, and a sense of unity both all-embracing and memorable. Lux Aeterna is a rhapsodic, strongly modal work for viola and orchestra, richly repaying Hanson’s interest in Palestrina. Mosaics is a much later set of variations revealing his organisational control and expressive power. “Richly drawn is the Second Symphony—the Romantic, its second movement anthem beloved of millions of Americans. [Schwarz’s] feeling for long-term growth is possibly the surest of all, leading us from one resolution to the next with an increasing sense of expectation.” (Gramophone on the original Delos release)

"...I can honestly say that the journey through Hanson’s symphonies has been for me well worth the time and these performances by the Seattle Symphony under Schwarz are very fine and detailed."

James Norris - - 27 February 2012

"...the two companion pieces benefit from Naxos’s reissuing ... Lux aeterna, with its elaborate solo roles for ‘viola obbligato’ (sweetly played by Susan Gulkis Assadi), double bass and violin (a wonderful, Elgarian cadenza), emerges as music that American audiences would gratefully benefit from. Mosaics ... ripples with glorious symphonic muscle. As befits Schwarz’s elegant approach and the Seattle Symphony’s noble playing, the sound is layered with the tonal radiance, effortless dynamic range and large sound stage that were trademarks of legendary recording engineer John Eargle’s work. The Seattle Opera House ... also deserves superstar status for its part in recordings that sound smoother and more powerful now ..."

Laurence Vittes - Gramophone magazine - February 2012


"Schwarz’s disc makes an excellent alternative to Hanson’s own recording of the Second Symphony for Mercury. The introductory segment of this three-movement symphony begins with a grandly melodramatic sweep and then opens up to a beautifully melodic theme…Schwarz takes particular delight in the more poetic aspects of the score, while giving full measure to its rhapsodic qualities. The concluding Allegro con brio…starts with a flourish worthy of Hanson’s teacher Ottorino Respighi and The Pines of Rome before settling into its lush, rhapsodic closing material. Schwarz…emphasizes the recurring theme, this time on a more grandiloquent scale, closing the show in fine fashion. The sound is quite expansive, stretching across the speakers and beyond, with a smooth response and a reasonable degree of depth besides. A strong dynamic thrust and a touch of ambient bloom complete a fairly lifelike acoustic picture."

John J Puccio - Classical Candor - May 2012


"...utterly gorgeous music, gorgeously played and recorded. If you don’t have it, you must—and if you don’t have this recording, it is hard to beat."

Donald R Vroon - American Record Guide - January 2012

"...this second disc is probably the best place to start: Lux Æterna and Mosaics are almost as appealing as the Symphony, though perhaps slightly less immediately approachable. The mp3 sound is good. I shan’t be jettisoning my copy of Hanson conducting his own First and Second Symphonies…but I look forward to hearing the remaining Naxos discs."

Brian Wilson - (Download Roundup) - October 2011



Remy Franck - Pizzicato magazine - January 2012

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