Howard Hanson’s Symphony No 2, Op. 30 "Romantic," was premiered in 1930 by the Boston Symphony Orchestra for their 50th anniversary. At that time, atonality and neo-classical formalism were in vogue. Composing a new symphony tied to the harmonic and melodic traditions of the Romantic era represented a throwback in ethos. Hanson thought music of the time had become too cerebral. He believed music should also be “a manifestation of the emotions.” Therefore, with the Romantic symphony, he aimed to “create a work that was young in spirit, lyrical and romantic in temperament, and simple and direct in expression.”

Hanson’s belief that the sounds of romanticism would return to popularity in American music certainly came true in film scores. It is fitting that the Romantic symphony would serve as inspiration in Sci-Fi film scores of the 1970s and 80s. The opening of the third movement (Allegro con brio) will remind anyone who has seen Stephen Spielberg’s “E.T.” that bicycles can fly. Ridley Scott, in his 1979 Sci-Fi Horror film “Alien,” bypassed its composer, Jerry Goldsmith, altogether for his slam bang finish and end credits. Instead, we hear the last three lush minutes of the Romantic symphony’s first movement (Adagio – Allegro moderato); used notably without Hanson’s or Goldsmith’s permission.

Howard Hanson perhaps made his greatest contribution to American music with his promotion American composers of the 20th Century through the Institute for American Music at the Eastman School of Music, where he was director. It is in that same spirit that the Fort Smith Symphony presents compositions of two 21st Century American composers this evening.

Program notes by Rob Fann