Mormon Howard Hanson (2021)

Far from the dark, tortured image often associated with his music, the works on this album testify to an astonishingly serene period in Schumann’s life. A fine subject for this first album by the Hanson Quartet for harmonia mundi, whose members are partnered by Adam Laloum for a thrilling reading of a masterpiece of the Romantic repertory: the Piano Quintet.

This new collection of 55 CDs from the acclaimed audiophile label offers a wealth of recordings from the 1950s and 1960s in an unrivaled range of repertory. This ranges from solo Bach played by harpsichordist Rafael Puyana to American composer and conductor Howard Hanson in his own works as well as music by fellow-Americans. Key artists include Antal Dorati in works ranging from Beethoven to Bartok and Berg; Frederick Fennell, Rafael Kubelík, Paul Paray and Janos Starker.

For fans of Jerry Goldsmith's score for Ridley Scott 1978 movie Alien, this two-disc Intrada set is the ultimate fantasy. Everything is here and then some. Disc 1 contains Goldsmith's entire score as he originally intended it with every cue in place, including those that were later cut from the film plus his recomposed versions of cues the director made him change (Goldsmith's original main theme, for example, appears without its signature heroic trumpet melody because the director thought it wasn't creepy enough). Disc 2 includes the original soundtrack as issued on LP plus six other bonus tracks of demonstration takes and even the brief except from Eine kleine Nachtmusik used in the film. The stereo sound here is fabulous, the performances definitive, and the liner notes exhaustive. And the score, like the film, is a classic of its genre. With its mixture of the ecstatic chromaticism of Scriabin, the skittering strings of Penderecki, the harmonic waves of Ligeti, and the atmospheric percussion of Herrmann, Goldsmith's score became a template for all subsequent science fiction/horror movies. But as this splendid release so amply shows, the original still can't be beat.

Swedish composer Ture Rangström (1884–1947), a contemporary of Sibelius and Nielsen, was largely self-taught and defiantly independent in his approach to symphonic composition. Though well versed in counterpoint and sonata principles, Rangström largely rejected these techniques in favor of his own, which emphasized content over form, and drama over development. While there’s no doubting the dramatic and narrative power of the music, the lack of true counterpoint (his themes are not harmonically interrelated or contrasted, but rather blatantly juxtaposed) makes them ultimately unsatisfying as symphonies but perfectly suitable, as, for example, film scores, or as multi-movement symphonic poems (poets were his main inspiration).

Antonin Dvorak - Klavierquartette op. 23 & 87 / Klavierquintett op. 81 / Bagatellen op. 47
Juilliard String Quartet - Rudolf Firkusny
EAC+LOG+CUE | 2xFLAC: 541 MB | Full Artwork | 5% Recovery Info
Label/Cat#: Sony Classical # 5200192000 | Country/Year: Europe 2005
Genre: Classical | Style: Romantic

…Firkušný taught at the Juilliard School in New York, and in Aspen, Colorado as well as in the Berkshire Music Centre in Tanglewood. Among his students were Yefim Bronfman, Eduardus Halim, Alan Weiss, Sara Davis Buechner, Carlisle Floyd, Kathryn Selby, Avner Arad, June de Toth, Richard Cionco, Robin McCabe, Anya Laurence, Natasa Veljkovic and Carlo Grante. After the fall of the communist regime in his homeland (the "Velvet Revolution" of 1989), Firkušný returned to Czechoslovakia to perform for the first time after more than 40 years of absence…