Baldassare Galuppi - La caduta di Adamo (1987)

Liner notes:

The oratorio entitled Adamo, to an Italian text by Granelli, had it first performance in Rome in 1747. It was Galuppi's sixth oratorio; the five preceding ones belonged to an earlier phase in Galuppi's career which had started in 1740 with Sancta Maria Magdalena (to a Latin text, like most of Galuppi's oratorios), followed by Prudens Abigail, to a Latin text by Pasquali and performed in Bologna in 1743, then by Isaac and Judith, both performed in Bologna, respectively in 1745 and 1746. After Adamo (or The Fall of Adam), Galuppi had two oratorios produced in Venice, one in Florence, another in Rome and, well into old age, brought this lengthy series to a close with one in Venice. He showed a preference for texts in Latin generally provided by his friend, the Abbot Chiari.

Galuppi was born on 18 October 1706 in Burano, on the outskirts of Venice, and was thus nicknamed «il Buranello». He studied under Lotti, who taught him harpsichord and composition, and when his first work La fede nell'inconstanza ossia, Gli amici rivali met with failure, he reacted very intelligently by resuming his studies in order to perfect his craft.

In 1740 he became choir master at the Ospedale dei Mendicanti (Beggars' Hospital) in Venice, having already made his mark as a harpsichordist (as he had also done in Florence - a truly interesting body of sonatas testifies to this). In 1741 he travelled to London to take up operatic duties at the Haymarket Theatre for a few months, but later returned to Venice. In 1748 he was appointed deputy director of music at St. Mark's, then in 1762 full director and also choirmaster at the Ospedale degli Incurabili (Incurables' Hospital). He spent the years from 1765 to 1768 in Russia, at St. Petersburg. Returning to Venice, he worked at St. Mark's once again, and at the Incurabili where his appointment had been kept open for him, his chief duties being to compose oratorios. His last work in this genre was II ritorno di Tobia to a text by Carlo Gozzi in 1782. Galuppi died in Venice in 1785.

Galuppi, admittedly, is not one of the figureheads of Italian oratorio (mainly owing to the lack of a major study on him). After Carissimi, the development of this musical genre ran from Stradella through to its consolidation by Alessandro Scarlatti, oscillating between Papal Rome and Naples, Florence (incidentally all cities where Galuppi's oratorios were performed) and Venice, where oratorios were given in either Italian or Latin. The former alternative was that chosen by specific churches, in accordance with the tradition of St. Philip of Neri; the latter by the churches of the various hospitals (Incurabili, Mendicanti, Derelitti, Pieta). In these hospitals, oratorios were sung in Latin, obeyed a two-part form and were set to subjects drawn in the main from the Holy Scriptures. All the parts were filled by women, by the girls cared for by the Hospitals (as can be seen from various manuscripts bearing the names of the singers - Annamaria, Elisabetta, Mariettina, etc.). This was the very opposite of the Roman custom, where all the parts were sung by male voices, and shows to what extent the XVIIIth century ear was attached to musical substance, regardless of the male or female attribution of the parts. 

Baldassare Galuppi, along with Francesco Bertoni, Francesco Gasparini, Giacomo Perti, Vivaldi, Lotti, Bonaventura Furlanetto and others, ranks among the most prolific composers of oratorios in the XVIIIth century. There were few oratorios to Italian texts and almost all of these were performed outside Venice. S. Maurizio e compagni martini was first performed in Bologna in 1743, Adamo in Rome in 1747, Il' Jepte o sia Il trionfo della religione in Florence in 1749, Gerusalemme convertita (to a text by Apostolo Zeno), in Rome in 1752, Il ritorno di Tobia in Venice in 1782. This last oratorio was not composed for a Hospital but had been commissioned by Lodovico Manin (later Doge) for the hall in the Incurabili, closed down for bankruptcy. Galuppi had already stopped composing oratorios to Latin texts six years earlier, precisely because of this closure. By this time, the tradition had passed into the hands of younger man such as Francesco Bertoni and Bonaventura Furlanetto. Galuppi also composed an oratorio in Latin on the subject of Adam, entitled Adam, to a text by Abbot Chiari drawn from Klopstock (Venice, 1771).

Oratorios were performed instead of opera everywhere during Lent. Venice's various conservatories were keen to put them on as this gave their students an opportunity to perform in public and it was for these conservatories that composers like Ariosti, Lotti, Marcello and Hasse wrote.

As can be seen from Galuppi's life, there is an obvious link between Venice's conservatory-cum-hospitals and the history of the oratorio. Galuppi started composing oratories in 1740, the year he was taken on at the Mendicanti, and it is easy to detect Vivaldi's influence both in the vocal parts and in the instrumental parts, with love of colourful, varied writing, the strings often enriched with wind instruments, and, in the case of Adamo, by two horns. It is thus hardly surprising to come across the following statement, written on 24 August 1750, in the Hospital's archives:

«Maestro Galuppi draws the attention of the congregation to two young sisters, Maria Elisabetta and Maria Girolama, aged 14 and 12 who play the «tromba di caccia» or hunting horn. Their father, Lorenzo Rossoni and one of their relatives, Giuseppe Pisoni, «who rank among the best teachers of this instrument», are to teach the two young girls daily, free of charge, until they are able to play any piece at sight. The congregation is invited to listen to the two players and to decide whether they should be admitted into the choir on the grounds of «the prestige brought to performances (...) and the present novelty value of the horn». The two girls would also have to play the other «ordinary» instruments. The vote was eleven «ayes», two «noes» and one «non sincero», the abstention of the period. A five-sixths majority was required, but owing to the

«particular circumstances», the «ayes» hat it.

Carlo BOLOGNA (translated by Elizabeth Carroll)

La caduta di Adamo

This oratorio, in Italian, is divided into two parts, with four voices for the following four characters: Adam, Eve, the Angel of Justice, and the Angel of Mercy. As was customary, the orchestra consists of strings and a harpsichord (or organ, or both instruments together), not to mention the use of two horns on five occasions, including the closing chorus. The use of these two instruments is perfectly suited to the requirements of the text. The various pieces are allotted strictly in accordance with the musical (and theatrical) customs of the day. Each voice is given three arias, Adam and Eve have a duet and a duettino, the two angels also have a duet and a final chorus involves all four voices.

Translated by Elizabeth Carroll

• EVA/Eve: Mara ZAMPIERI
• ADAM/Adamo: Ernesto PALACIO
• ANGE DE MISERICORDE/Angel of Mercy/Der Engel der Barmherizigkeit: Susanna RIGACCI
• ANGE DE JUSTICE/Angel of Justice/Der Engel der Gerechtigkeit: Marilyn SCHMIEGE
• I SOLISTI VENETI: Direction/Conductor/Dirigent : Claudio SCIMONE

For track listings and full libretto, see the booklet scans contained with the mp3 files.

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Used copies of this recording are available at Amazon.com.

Other recordings of music by Baldassare Galuppi:

• Galuppi: Passatempo al Cembalo
• Galuppi - The Complete Piano Sonatas, Volume 1
• Galuppi - The Complete Piano Sonatas, Volume 2
• Galuppi - The Complete Piano Sonatas, Volume 3
• Baldassare Galuppi: Gloria; Regina Coeli; Arie da chiesa per soprano [Import]
• Baldassare Galuppi: L'amante di tutte [Import]
• Galuppi: Sacred Music [Import]
• Galuppi: L'oracolo del Vaticano [Import]
• Galuppi: Mondo Alla Roversa (Il) (The World Turned Topsy-Turvey)
• Galuppi: Mass For St. Mark's
• Musiche Veneziane: Baldassare Galuppi - Concerti E Sinfonie
• Baldassare Galuppi: La Diavolessa
• Baldassare Galuppi: Passatempo Al Cembalo
• Galuppi: Complete Harpsichord Concertos [Import]
• Baldassarre Galuppi: Concerti a quattro
• Il Café Di Campagna
• Gusto Primo, Re Di Svezia
• Baldassarre Galuppi: Didone Abbandonata [Import]
• Galuppi - Il Filosofo di Campagna [Import]
• Galuppi: Forgotten Arias of a Venetian Master
• Galuppi: Il mondo della luna [Box Set, Import]
• Galuppi: La clemenza di Tito [Import]

Moscow Cathedral Choir - Missa Mystica (2000)

Beginning in the 1990s, there was a surge of Western interest in Russian liturgical music, the catalyst being the greater freedom of Russian cathedral choirs to perform and issue recordings. Although some Russian Orthodox chant certainly was not unknown to the rest of the world, it's been a pleasure during these past few years to discover the various individual styles of choirs and to learn of a vast repertoire virtually unheard outside of Russia (and even by most Russians). It's too bad that there's no information in the liner notes to this fine recording regarding the Moscow Cathedral Choir—an ensemble that's remarkable for its expressive range and for the technical virtuosity of its singers. Following the opening Vater unser (Our Father), sung by a sweet-sounding, unaccompanied (boy?) soprano we're jolted from our chairs by a solo bass voice singing a D-flat that's not just low, but so resonant that your subwoofer may need a tune-up afterward, especially since he intones the same note for the chant's entire four minutes and 16 seconds! He's joined by harmonizing male voices, but you'll never become distracted from nor will you forget the power of those bass notes.

In addition to chant-like works, mostly sung by men, we also hear full-fledged compositions for mixed choir in a very well-balanced and beautifully performed program whose title, Missa Mystica, refers to a sequence that encompasses the ecclesiastical year, "symbolizing the progression of a human life." Rich in texture and brimming with shimmering harmonies, the music, although varied in text, tempos, rhythmic style, and scoring, is consistent in the ardent, sincere expression it inspires from the singers—spirituality in one of its most fundamental and affecting guises. The sound, from a Moscow studio, is sufficiently detailed and well-balanced, and suitably resonant—warm in the bass registers, slightly edgy in the treble (which becomes a problem in louder dynamic passages). This is one of the better recordings available of Russian Orthodox hymns and chants, and will make a worthy addition to any collection.

—David Vernier, Classics Today.com

Credits:

• Moscow Cathedral Choir
• Victor Popov, Director

Track List:

1. Our father — Russian Orthodox Chant
2. Truly meet and right, Orthodox hymn — Greek Traditional
3. God is the Lord, Russian Orthodox hymn; Thy birth—Christmas Troparion — Anonymous
4. Nunc Dimittis — Strokin
5. I think of the Dreadful Day, concerto for Chorus — Alexander Andreyevich Arkhangel'sky
6. Let my prayer arise, for chorus (Da ispravitsa molitva moya) — Pavel Grigor'yevich Chesnokov
7. Today here hangs the cross — Russian Orthodox Chant
8. God shall arise, Orthodox hymn — Greek Traditional
9. Holy God — Russian Orthodox Chant
10. With the saints give rest (Kondakion) — Russian Orthodox Chant
11. Eternal remembrance/Blessed are they whom you have chosen — Anonymous
12. Our father — Russian Orthodox Chant
13. Blessed are they whom Thous has chosen — Alexander Andreyevich Arkhangel'sky
14. Before Thy Cross, for chorus — P. Gontcharov
15. Lord, have mercy — Grigor F. Lvovsky
16. Great Doxology — Apostol Nikolaev-Strumsky
17. Blessed is the man — Greek Orthodox Chant
18. Cherubim Hymn — Dimitry Stepanovich Bortnyansky
19. Do not cast me off in the time of old age (Ne otverzhi mene vo vremya starosti), for chorus — Pavel Grigor'yevich Chesnokov
20. From My Youth, Antiphone, tone 4 (From the Hirmologion of 1707) — Russian Orthodox Chant

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Music of the Early Renaissance: John Dunstable and His Contemporaries (1966)

Liner Notes:

English 15th-century carols vary widely in function: some are devotional, others convivial. They have in common an association with movement, in dancing or processions, brought out here (Nos. 1 & 8) by added percussion. A final Latin line to an English verse is very common in the carol repertoire, and the present ones were familiar enough to the medieval Christian. Deo gratias was the response to the Benedicamus Domino sung at the end of Mass, and Regina coeli is one of the four great Marian antiphons. One of these is now sung after Compline, each during one quarter of the year. Two are sung here in plainsong (Nos. 3 & 14): the other plainsong, Reges Tharsis (No. 10), is the Offertory for Epiphany . Dufay's setting of the remaining antiphon (No. 11), probably written in the 1420's, does not use the plainsong melody. The Ave regina he asked to hear on his death-bed is his 4-part setting of some 40 years later, musically related to his Mass of that name.

Many other antiphons to the Virgin were almost equally popular in medieval times. One of these is No. 13,  in a setting by the Englishman Walter Frye (d. 1475). This may originally have been a 2-part composition with secular English words. Such adaptations (called contrafacta) were quite common: clear examples exist among Frye's other works. However, not only was this motet widely circulated in manuscripts, but it enjoyed sufficient esteem to appear in contemporary paintings.

The composer of this poignant setting of In tua memoria (No. 2) belonged to the generation of Burgundian composers headed by Dufay (d. 1474); both men were singers in the Papal chapel in 1431-2. Contemporary writers acknowledged the influence of the slightly older generation of English composers, led by Dunstable (d. 1453) upon this continental group.

Dunstable's only preserved hymn setting (No. 6) illustrates the convention of alternating verses in plainsong and 3-part polyphony. The top part transforms the plainsong into a melody of characteristically 15th century contour and rhythm.

The words of No. 5, from the Song of Solomon, are a processional antiphon for feasts of the Virgin. This setting, not based on plainsong, stands out among Dunstable's shorter motets for its very incisive word-setting in all three voices. The smooth harmonic progressions reflect a rather archaic style.

O rosa bella (No. 4) survives in 13 manuscripts (plus two organ arrangements) though only once accredited to Dunstable. During the next generation, extra parts were sometimes added to the original three. The richest of these versions, with five instrumental parts accompanying the voice, is recorded here.

No. 15 alone of Duntable's 12 isorhythmic motets appears in an English manuscript. The two texts printed above are sung simultaneously by the first and second voices. The third voice has the words but not the music of the Whitsun hymn Veni creator spiritus. One verse of this plainsong precedes the motet. Its first line is then paraphrased by the top voice, then continued in the slow-moving fourth part (tenor). The tenor repeats this tune, in identical rhythms (= isorhythm) but slightly faster for each of the three sections of the motet (marked "//" above). Also, each part has a rhythmic repeat within each section.

No. 7 features the French basse dance Filles à marier as the tenor of a charming 4-part setting from the Seville chansonnier. Each phrase is treated in close imitation. A number of tunes and choreographies survive for this courtly dance, which flourished around 1500. A tune provided a slow-moving framework for faster, improvised parts. In rare cases, written-out 'improvisations' have come down to us, invariably (as Nos. 9 & 16) on the tune known as La Spagna.

Notes by MARGARET BENT

Credits:

THE PURCELL CONSORT OF VOICES

• Barbara Elsy, soprano
• Grayston Burgess, counter-tenor
• Ian Partridge, tenor
• John Whitworth, counter-tenor
• Geoffrey Shaw, bass
• GRAYSON BURGESS, director

MUSICA RESERVATA

• John Sothcott, recorders
• John Beckett, treble viol
• Don Smithers, crumhorn
• Daphne Webb, tenor rebec
• Michael Morrow, lute 1
• Jeremy Montagu, nakers & percussion

Track List:

1. Carol (Anon.—XV c.): Sing we to this merry company
2. Motet (XV c.): In tua memoria
3. Plainsong (XI c.): Salve regina, mater misericordiae (Adnemar)
4. Song: O rosa belle (John Dunstable)
5. Motet: Quam pulchra es (John Dunstable)
6. Hymn: Ave marls stella (John Dunstable)
7. Song (Anon): Filles à marier
8. Carol (Anon.—XV c.): Deo gratias Anglia (The "Agincourt Carol")
9. Basse dance (Anon.—XV c.): La Spagna
10. Plainsong (Offertorium): Reges Tharsis
11. Motet: Ave regina coelorum (Guillaume Dufay)
12. Song: Franc cueur gentil (Guillaume Dufay)
13. Motet: Ave regina coelorum (Walter Frye)
14. Plainsong (Hermannus Contractus-XI c.) Alma redemptoris mater
15. Isorhythmic motet: Veni sancte spiritus, Veni creator (John Dunstable)
16. Basse dance (Anon.): La Spagna

Download Link: Enjoy the Music!, or Here.

Other Recordings:

• Pomerium: Musical Book of Hours
• John Dunstaple: Musician to the Plantagenets /Orlando Consort
• Mi Verry Joy
• The Service of Venus And Mars: Music for the Knights of the Garter, 1340-1440 - Gothic Voices
• Gregorian Chant: Pentecôte à Pontigny, Music in honour of 3 Archbishops of Canterbury
• All the Ends of the Earth - Contemporary & Medieval Vocal Music - Choir of Gonville & Caius College Cambridge (Signum)
• A Celebration of Sensuality: Baroque & Renaissance Vocal Settings of the Song of Songs - The Sine Nomine Singers (Newport)
• Music of the Renaissance
• CANTICUM CANTICORUM : Capilla Flamenca - Dirk Snellings
• The Call of the Phoenix: Rare 15th-century English Church Music

Hanson and Barber - Symphonies (1954)

Liner Notes:

It was in 1930 that Howard Hanson (b. Wahoo, Nebraska, 1896) composed his Romantic Symphony (Symphony No. 2), a score which remains after 25 years the oldest symphony by an American composer still in the active concert repertoire. For all his immense activity as Director of the Eastman School of Music (since 1924), as founder-conductor of the American Composers' Concerts and American Music Festivals held at the Eastman School since 1925, and as guest conductor in heavy demand by symphony orchestras throughout the country, Dr. Hanson has not only continued his own creative work, but he has, achieved since the 1940's a singular distinctiveness, eloquence and refinement in his musical utterance.

With the Fourth Symphony (Requiem) (Mercury MG50077), the Serenade for Flute, Harp and Strings, the Pastorale for Oboe and Strings (both on Mercury MG50076) and the two major works offered on this disc, it can be said that the very cream of Howard Hanson's mature composition is to be had on Mercury Living Presence recordings.

The traditional materials of music as handed down from the classic and romantic symphonic masters, a keen awareness of Scandinavian heritage from his Swedish parents, childhood memories of the chorales heard at the Swedish Lutheran Church during his Nebraska boyhood, a passionate and vital nature of his own—these are the elements which have gone into the making of Howard Hanson's musical language. Experience, maturity and the passage of time have seen the untrammelled "nordicism" of the choral-orchestral Lament for Beowulf (1925) and the lyrical heroics of the Romantic Symphony (1930) become transmuted into a music more refined and at the same time more intense and truly personal, beginning with the Fourth Symphony (1943) and continuing through the intimate Serenade (1946) and Pastorale (1949), as well as the larger-scaled and more brilliant Cherubic Hymn (1949), Chorale and Alleluia for Band (1953) (recorded on Mercury MG50084, and Sinfonia Sacra. A particular musical "trademark" common to all these later scores from Howard Hanson's pen is his superbly effective use of passing dissonance as an element of contrast in prevailingly diatonic and modal harmonic texture. Characteristic also is the element of brevity in terms of actual performance time and concision in the use of thematic material.

Completed on August 8, 1594, Howard Hanson's Sinfonia Sacra is so titled because of its inspiration by the story of the Resurrection as recounted in the Gospel according to St. John. On the occasion of its world premiere by the Philadelphia Orchestra early in 1955, Eugene Ormandy conducting, Dr. Hanson wrote: "The Sinfonia Sacra does not attempt programmatically to tell the story of the first Easter, but does attempt to invoke some of the atmosphere of tragedy and triumph, mysticism and affirmation of this story which is the essential symbol of the Christian faith. . . . The Sinfonia Sacra follows three other works, all concerned with the same general theme: my Fourth or 'Requiem' Symphony, and two choral works, The Cherubic Hymn and How Excellent Thy Name." The music falls into three broad divisions played as a single uninterrupted movement. There is a foreboding and suspenseful Introduction, itself in three sections. There follows a division in which three sharply defined themes are set forth—an intense and declamatory Theme 1, a calm but sustained Gregorian-style melody for strings as Theme 2, and a Pastorale of distinctly Scandinavian flavor introduced by English horn as Theme 3. The development of this last leads to the third main division of the Sinfonia Sacra, wherein we hear a climactic return of the declamatory Theme 1, the introduction and development of a new and highly agitated Theme 4, then a catharsis which finds eloquent expression in a chorale treatment of Theme 2. The music ends with a brief and utterly serene codetta scored for woodwinds and muted strings.

Howard Hanson's setting of The Cherubic Hymn was composed in 1949 and dedicated to his mother. Its text forms part of the Liturgy of St. John Chrysostom (d. 407), a basis of much of the ritual of the Eastern Orthodox Church of Greece, Russia and old Byzantium. The atmosphere of mystery and exaltation so characteristic of the Byzantine rite has inspired a number of other colorful and impressive musical works, among them Rimsky-Korsakov's Russian Easter Overture (Mercury MG50028 or MG50039) and Gustav Hoist's The Hymn of Jesus.

The text used by Dr. Hanson as translated by Stephen A. Hurlbut reads thus:

It is meet and right to hymn Thee, to bless Thee, to praise Thee, to give thanks unto Thee and to worship Thee in all places of Thy dominion- For Thy: God ineffable, inconceivable, incomprehensible, eternally existing and eternally the same, Thou and Thine only begotten Son and Thy Holy Spirit. For Thou out of nothingness didst call us into being, and when we had fallen away Thou didst raise us up again, and didst not cease doing all things for us until Thou broughtest us up to heaven, and didst bestow upon us Thy kingdom which is to come. For all these things we give thanks to Thee and to Thine only begotten Son and Thy Holy Spirit, for all Thy benefits known, for all unknown, for Thine open and secret favors bestowed upon us. And we tender thanks unto Thee for this ministry of worship which Thou hast vouchsafed to accept at our hand, although there stand before Thee thousands of archangels and ten thousands of angels, the Cherubim and the six-winged Seraphim full of eyes, soaring aloft on their wings, singing the triumphal hymn, crying, calling aloud, and saying:

     Holy, Holy, Holy,
     Heav'n and earth are full of Thy glory.
     Hosanna.

Samuel Barber (b. West Chester, Pa., 1910) has with his choral-orchestra Prayers of Kierkegaard composed in 1954 carried to new heights the fulfillment of that immense creative promise shown in his setting of Matthew Arnold's Dover Beach and in his Overture to The School for Scandal (recorded on Mercury MG50075) which marked his graduation from the Curtis Institute of Music back in 1931. The First Symphony (1936) recorded here, together with the Adagio for Strings (1936) and Essay for Orchestra (1937) (also recorded on Mercury MG50075) comprise the very peak of Barber's first youthful creative -surge; and as such these have been the foundation stone of his worldwide fame as a true master among American composers. The lyrical and polyphonic achieve a remarkable synthesis throughout the whole of Barber's output, whether in terms of writing for solo voice and orchestra as in Knoxville: Summer of 1915; in terms of a rigorously intellectual chamber piece like the Capricorn Concerto; or the impassioned dramatics of the Symphony No. 1.

It was during the winter of 1935-36 that Barber composed his First Symphony and it was given its premiere in Rome under the direction of Bernardino Molinari with the Augusteo Orchestra. In 1937 Artur Rodzinski conducted the American premiere with The Cleveland Orchestra, then conducted the work again at Salzburg that summer. In 1942, during which period he had composed his Second Essay for Orchestra, Barber re-wrote the "scherzo" section of his First Symphony, and the revised version was heard for the first time on February 18, 1944 with Bruno Walter conducting the New York Philharmonic-Symphony Orchestra. It is the revised version which is recorded here.

Barber's own analysis is clear, concise and complete: "The form," he observes, "is a synthetic treatment of the four-movement classical symphony. It is based on three themes of the initial Allegro non troppo, which retain throughout the work their fundamental character. The Allegro opens with the usual exposition of a main theme, a more lyrical second theme, and a closing theme. After a brief development of the three themes. instead of the customary recapitulation, the first theme, in diminution, forms the basis of the scherzo section (Vivace). The second theme (oboe over muted strings) then appears in augmentation, in an extended Andante tranquillo. An intense crescendo introduces the finale, which is a short passacaglia based on the first theme (introduced by violoncelli and contrabassi), over which, together with figures from other themes, the closing theme is -coven, thus serving as a recapitulation for the entire symphony."

HI-FI FACTS

The music on this disc was recorded with a single Telefunken microphone hung in the Eastman Theater adjacent to the Eastman School of Music in Rochester, N. Y. The Cherubic Hymn by Howard Hanson was recorded during May of 1953, while the symphonies by Dr. Hanson and Samuel Barber were taped one year later.

For this Mercury Living Presence recording of mixed chorus with orchestra, a single microphone was used, as in the case of the purely orchestral works here, with the position of the orchestra being only slightly altered to accommodate the nearly 200 voices of the Eastman School of Music Chorus. Those who listen to this disc will be able to judge for themselves how successfully Mercury's Living Presence recording technique has captured the massive sonorities of full chorus and orchestra in The Cherubic Hymn and the complex polyphonic textures of Samuel Barber's First Symphony.

 Credits: Eastman-Rochester Symphony Orchestra and Eastman School of Music Chorus conducted by Howard Hanson.

Tracks:

1. Symphony No. 5 (Sinfonia Sacra)
2. The Cherubic Hymn
3. Symphony No. 1 in One Movement, Op. 9

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psswd: nessessary.net

Other Recordings of these Works:

• Howard Hanson: Symphonies Nos. 5 & 7; Piano Concerto; Mosaics
• Howard Hanson: Complete Symphonies and Other Works (Box Set)
• Music of Howard Hanson, Vol. 2
• Barber: Adagio; Symphony No.1 etc.