An Analytical and Educational Survey of Howard Hanson's Dies ...

20ChoraleHanson's implementation of and variations on the hymn Wie schon leuchtet derMorgenstern indicate that there is not a direct correlation to hymn text. Some notableparallels may be drawn, such as the adjectives used in the B section of the hymn to thequiet statement of Hanson's B section, or the of the definitive statement of the C sectionof the hymn to the equally definitive quality of Hanson's C section. However, there is nodirect connection to the text. Hanson's version of the hymn has two major alterationsfrom the original in form and melody. The original hymn is written in a traditional hymnform, with a repeated A section followed by one B and one C section. Hanson's versiondoes not repeat the A section. The melody in the hymn begins: do - sol - mi - do.Hanson drops the first 'do' in the Dies Natalis chorale, so the melody begins on thestrong downbeat: sol - mi - do.The first phrase of the chorale occurs in measures 39 through 44 with brass choirextended with the low voices of bassoons and contrabassoon. Passing and neighboringtones create motion between chords in the third trumpet, third cornet, third trombone,horn, and baritone parts. The horns are given a scalar counter-melodic line that rises andfalls within the context of the chorale, joined by the baritones in the second half of thephrase. The horns are marked at forte in the context of the mezzo forte of the brass choirand low woodwinds, highlighting the countermelody. Here is a two-line reduction ofHanson's presentation of the chorale up to the deceptive cadence in three phrases.