Hanson’s symphonic cycle reached a profound spiritual crux at the time of the Fourth Symphony, which was written, in effect, as a Requiem for his father. It journeys from turbulence to the simplicity of resolution, in a way both characteristic and also deeply moving. The Fifth Symphony also evokes religious imagery in a tautly structured, richly atmospheric canvas. The Lutheran element surfaces too in Dies Natalis, whilst Hanson’s admiration for Serge Koussevitzky is marked by the Elegy he wrote for the conductor. “Schwarz’s commitment to the music is evident in every bar: you really can take the quality, not least of his marvellous orchestra, for granted.” (Gramophone on the original Delos release)