HANSON, HOWARD.  1896-1981.
Lot 1284
HANSON, HOWARD. 1896-1981.
Sold for US$ 46,000 inc. premium
Auction Details
Howard Hanson Collection (per list)
Lot Details
HANSON, HOWARD. 1896-1981.
Howard Hanson was one of the first composers entirely educated in America to receive international recognition for his works. Born in Nebraska, he studied at Luther College in Wahoo, the Institute of Musical Art in New York, and Northwestern University in Chicago. His first full time position as an academic was at the College of the Pacific in California, and during his tenure there he wrote The California Forest Play, his first work to receive national attention, as well as a number of other orchestral and chamber works.
In 1921 Hanson was the first recipient of the Prix de Rome awarded by the American Academy in Rome, and the award allowed him to live in Italy for three years, during which time he wrote Quartet in One Movement, Lux aeterna, The Lament for Beowulf, and Symphony No. 1 (“Nordic”). Upon returning home, he came to the attention of George Eastman, who chose Hanson to be director of the Eastman School of Music, a position he held for 40 years.
As a composer, Hanson was a leading practitioner of American musical romanticism, continuing in the style of the great 19th century Romantics with an emphasis on lush tones and melodic inventiveness. As a conductor, he was one of the most sought after orchestra leaders of the mid-twentieth century, conducting the New York Symphony Orchestra, the Eastman-Rochester Symphony Orchestra, and many others. As an academic, Hanson strived to build a balanced curriculum, bringing in better teachers and turning Eastman into one of the most prestigious music schools in the country.
This lot comprises the entire existing archive of the works of Howard Hanson, and includes autograph manuscripts of his musical compositions; corrected proofs of his musical compositions; decades of correspondence with other major musical figures regarding his work and the works of others; typed and autograph manuscripts of speeches and articles; drafts of his published works in various forms; photographs; personal papers; musical programs; and much, much more.
MORE TO COME.

Footnotes

  • During his lifetime, Hanson made presents of many of his manuscripts to the Sibley Music Library of the University of Rochester and the Library of Congress. In 1996 the Sibley Music Library’s Department of Rare Books and Special Collections published a catalog of Hanson’s works, and indicated that a number of important manuscripts were still unaccounted for.
    This lot comprises the entire existing archive of Howard Hanson remaining in his home office at his death. Highlights are as follows:

    AUTOGRAPH MUSICAL MANUSCRIPTS BY HOWARD HANSON:
    1. “Quintet in F. Minor for Piano and Strings, Opus 5.” 84 pp recto and verso, folio, n.p., 1915-1916, bound in cloth.
    2. “Quintet in F Minor.” 84 pp recto and verso, folio. Annotated “Written Northwester University 1915-16 / Revised and rewritten, Rome, May-June, 1922.” Bound in red cloth.
    3. “The Forest Play, The Soul of Sequoia.” 2 copies. Each 12 pp recto and verso, folio, n.p., n.d. Signed and inscribed by Hanson, indicating they were produced at the College of the Pacific. Bound in cloth.
    4. “Exaltation. Symphonic Poem Opus 20, for Piano and Orchestra (1920).” 55 pp recto and verso, folio, n.d. but inscribed “College of the Pacific” and “Academia Americana,” indicating Hanson worked on the piece in San Jose and Rome. Bound in cloth.
    5. “Exaltation. Symphonic Poem for Orchestra with solo piano obligato, Opus 20.” 53 pp recto and verso, folio, n.p., n.d. Arranged for Chamber Music Ensemble. With note on composition to verso of leaf 1.
    6. “Piano Sonata in A Minor, Opus 11. 3 movements.” 25 pp recto and verso, folio. Annotated “Written summer 1918 College of the Pacific & Roma, Italia.” Bound in red cloth with page of manuscript notes in Hanson’s hand indicating how piece should be performed.
    7. “Symphonic Rhapsody for Pianoforte, Opus 14.” 9 pp recto and verso, folio, [California.], 1919-1921. Piano arrangement only. Annotated at lower margin: “Written 1919, scored summer ’20. Performed by Los Angeles Philarmonic, May 26, ’21 in San Jose.” In brown paper wraps annotated by Hanson.
    8. “Prelude & Double Concert Fugue in E Minor, Opus 1, for 2 Pianos.” 19 pp recto and verso, oblong folio, n.p., “Spring1915.”
    9. “Symphonic Legend. Opus 8, for two pianos. “ 19 pp recto and verso, folio, n.p., n.d. Note in Hanson’s hand at left margin of p. 1 reads “Written August ’17. Played at Carmel-by-the-Sea by Hanson and Allen. Scored summer ’21 for S.F. Symphony as Opus 8-20b.” In brown paper wraps annotated by Hanson.
    10. “Poeme Erotique No 2 ‘Joy.’” 5 pp recto and verso, folio, n.p., n.d. Working manuscript in pencil.
    11. “Merry Mount.” Approx. 40 pp recto and verso, 4to, n.p., n.d. inscribed by Hanson to upper cover, “First Draft of “Merry Mount” Act II.”
    12. “Poeme Erotique No 3 ‘Yearning.’” 3 pp recto and verso, folio, n.p., n.d., in ink.
    In addition to the above, there is a large collection of work books and unidentified manuscript leaves relating to Hanson’s compositions.

    MIMEOGRAPHED HANSON SCORES WITH HIS ANNOTATIONS, CORRECTIONS, AND/OR SIGNATURES
    Lux Aeterna; Lumen in Christo; Laude; Dies Natalis; The Forest Play “The Soul of Sequoia”; The Mystic Trumpeter; Elegy for Solo Viola and String Quartet; Laude for Band; Young Person’s Guide to the Six-Tone Scale; Symphony No. VII “A Sea Symphony” after Walt Whitman; Fantastic Variations on a Theme of Youth; Psalm 150; and many others. Most of these scores represent the true first issue of the work.

    CORRESPONDENCE
    A large collection of Autograph Letters Signed and Typed Letters Signed of Hanson, written from Chicago, California, and Rome, 1916 through the 1920s, to his parents (whom he calls “Honies”), on various letterheads of the institutions with which he is associated, giving a detailed description of the life of a young composer, most laid in to two large ledger books, covers detached, spines crumbling, and much water damage to letters, but many still legible.
    Hanson’s archives also contain correspondence to him from major music figures, including SAMUEL BARBER, SIR ADRIAN BOULT, JOHN CAGE, RICHARD RODNEY BENNETT, HENRY COWELL, PAUL CRESTON, WALTER DAMROSCH, NORMAN DELLO JOIO, DAVID DIAMOND, ROY HARRIS, FREDERICK FENNELL, RUDOLF FIRKUSNY, ZINO FRANCESCATTI, EUGENE GOOSENS, MORTON GOULD, PERCY GRAINGER, ALAN HOVHANESS, LAREL HUSA, SERGE KOUSSEVITZKY, ERICH LEINSDORF, EUGENE LIST, DMITRI MITROPOULOS, EUGENE ORMANDY, VINCENT PERSICHETTI, WALTER PISTON, WALLINGFOR RIEGGER, NED ROREM, WILLIAM SCHUMAN, LEOPOLD STOKOWSKI, WILLIAM GRANT STILL, GEORGE SZELL, LIONEL TERTIS, and others.

    This lot also includes a tremendous collection of articles, essays, speeches, and texts produced by Hanson during his years at Eastman, including drafts of his textbooks on music theory and his autobiography; personal and professional photographs and memorabilia of Hanson and his esteemed colleagues; printed music scores from Hanson’s personal library (many with his ownership inscription); books; drawings; newspaper clippings; performance programs; medals; awards; and much more comprising nearly 100 linear feet of boxes. Should be viewed to be appreciated.
    Estimate: Refer to department.

Saleroom notices

  • Estimate: Refer to department.
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