Customer Reviews

Roy Harris: Symphony No. 3 / William Schuman: Symphony No. 3 - Leonard Bernstein / New York Philharmonic

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This cd features two works that, seems to me, would be unfair to define only as "American" masterpieces. If they are undeniably and peculiarly American in feelings and originality of expression, their value makes them 20th century masterpieces period. I already talked about Schuman's 3rd in my review of the 1960's recording, so I'll just add that this astonishing work receives here an even better, definitive performance. Everything is perfect : the excitement is all there, but tempos are never rushed and the complex textures of the music are always crystal-clear, with the NYPO in top form. The strings are especially amazing, and the Dg recording is one of the best "live" I heard. The cd is also varied, because Harris'3rd ( a seminal work for American symphonic music) is very different in feeling: here I get kind of a "pastoral" feeling, music evocative of the great American wilderness, but without the folksy-country taste often favoured by Copland. It's noble, dignified music, that always makes me think about the immense spaces of the rural Mid and South West and the simple, hard-working life of the people there. Harris was a musical pioneer and, being a self-taught composer, he wasn't as technically accomplished or imaginative ( he is pretty much a one-work composer) as Schuman, but his lyrical feeling was warmer, his music profoundly humane. It's a measure of Bernstein's greatness that he manages perfectly two works so different, giving the Harris a heartfelt, almost devout account. Once again, splendid NYPO and first-class sound. Strongly recommended. Oh, this cd is out-of-print here in Europe, so get it while stock lasts !

After listening to the 3rd symphony by William Schuman that recorded on this CD, under the baton of the great Bernstein in his greatest years, I thought I had get in touch with the very core of American culture. Yes, the symphony recorded here gave me the self-confidence, regardless all the possible ridicule of my ignorance of America.
Accord to my ears, the third symphony by Schuman is a great example of a balance among passion, thoughtfulness, exhilaration and self-control, and Bernstein drove the music to perfection. If the composer should disagree with his interpretation, it was the composer that was wrong. Furthermore, this is one of the best live recordings I have ever heard, noiseless, silk-like and proper-echoed.
Bernstein's CBS recording of the same symphony with the same orchestra, which I listened to later is also very good, but this recording is the best, and I can hardly imagine an interpretation better. In my life, I have few listening experience like this-if I exaggerate, please forgive me, and let me exaggerate on.
The third symphony by Harris renders something pastoral and spacious, being also attractive while overshadowed by its companion on this American album.

Bernstein's recording of Copland's third symphony for Deutsche Grammophon is justly celebrated. His recording of the "other two great American thirds" for the same company should receive similar accolade. Counting these two works as similar in stature to Copland's may be controversial, but Bernstein certainly makes the best possible case for doing just that. And these are indeed great works that should be familiar to anyone with even a passing interest in twentieth century symphonic repertoire.

Harris's third (1939) met the needs of the time for a great American symphony; it is a visionary work, full of the noble, pioneering spirit that characterizes the best works of Americana, thoroughly captivating, big, bold, strong-boned and muscular, craggy and full of superb themes, cast in a single, long arch. Schuman's symphony is somewhat similar in style - indeed, the influence of his teacher Harris is very much evident, but so is the individuality of Schuman's compositional voice. More so than Harris's, Schuman's symphony is a glittering, bedazzling, vibrant showpiece, full of brilliant orchestral color and tremendous power. It is, in many ways, more fluently written than Harris's work as well - Harris's third is a troubled, somewhat brooding work in which success is achieved through tribulation; it is focused, organically developing in a manner that makes every move seems almost inevitable; Schuman's, on the other hand, sounds effortless. It is full of spirit and color and cleverness but generates volcanic momentum in the process. The immediate image that comes to mind is that Harris's work is an uphill struggle finally reaching the the summit after much effort and through unbending, whereas Schuman's work flows downwards like a foaming river of splendid ideas towards an equally powerful culmination.

You won't, in any case, hear a more spectacular presentation of either work than you get here by the New York Philharmonic Orchestra under Leonard Bernstein. The orchestral playing is virtuosic - dazzlingly so - and I have rarely heard comparably powerful brass playing (or full strings) anywhere. That does of course not mean that Bernstein is approaching these works as mere virtuoso showpieces. He seems to take excruciating care to present the symphonic arguments as compellingly and clearly as possible and letting each work unfold with utter conviction, gravitas and depth of feeling. Marvelous performances of marvelous music, in other words, and the sound quality is superb. A must.

There are only a handful of Leonard Bernstein performances I enjoy. I've always thought his compositions much better than his conducting, and I especially love Candide. But his performance of the William Schuman Symphony No. 3 was, to my ears, his absolute high-point with baton. I can't choose between this later (live) performance and the earlier one (which I think was also live). They are both great and so wonderfully American. It is heartbreaking to see what has happened to our great country culturally. This is surely the greatest orchestral work by an American, even greater than Ives whom I love. When you hear Schuman's tremendously great symphony you can be sure that there always was something profound and high-minded in the American character which informed, not denied, the the brashness and vigor of the country. You can hear that combination so well in this performance of this great symphony. And for art this must be Thomas Hart Benton's best right-wing Americana effort, an inspired choice for the CD cover. Who would have thought a tractor seat could look eternally beautiful?

Bernstein, like so many other conductors, liked to record works more than once. Fortunately, his vision wasn't limited to rehashing the staples stable. In this case, both Harris and Schuman are given a 'second look.' While the digital sound is appreciated - especially in the final Toccata of the Schuman 3rd, the performances seem to me more humdrum than inspired. The earlier recordings of both works made in the 60s are still, to my ears, the preferred performances. Ogden Nash's famous bon mot "Candy is dandy but liquor is quicker" applies here. Digital candy, analogue liquor.