Aaron Copland: Symphony No. 3 (00:00) I Molto moderato - with simple expression (10:28) II Allegro molto (19:00) III Andantino quasi allegretto (29:20) IV Molto deliberato New York Philharmonic Leonard Bernstein, Conductor (1976)
What a wonderful rendition of this piece. I irst heard this done by, of all groups, Emerson, Lake and Palmer in the 70's as a teen; ELP and Bugs bunny should receive more credit than they seem to get for introducing younger people to the great classics!!!!!
I have traveled a bit in America and it always seems to me that Copeland gets America better than most other American composers. This music reminds me so much of the American countryside!
Just how beautiful and meaningful and self-assured can a piece of music be? Sure signs of the beloved Holy Spirit being present. Ever-active, like the wind, blowing where He will, raising human genius to the point where we have to seek answers.
seeing mr bernstein and the new york philharmonic live almost 50 years later is just an unbelievable uplifting and inspiring experience for me too! i could listen to coplands works all day long- rodeo, appalachian spring and billy the kid just to name a few
Thanks a lot! Great!!! Listening to this in 2019 - not at all like other US-symphonies from the same period - Barber, Randall Thompson, Harris, etc( a lot more US-European "classical")...to this day Copland's Third is something of a wonder, he takes huge chances in his orchestration for the period, very high notation, big distance between low instruments to high, which gives the symphony that big, wide open sound, etc - extremely difficult to play and to get right for any orchestra. But Bernstein kind of nails it here.
To be fair, this is a very tough piece, and most trumpet sections struggled with it around the time this recording was made. A notable exception would be the Chicago Symphony. Compare this to the recording Bernstein made a decade later. Totally different band.
@@jimwilt4944 The trumpets in the later recording had an advantage these guys didn't. Yes, the later recording was a "live recording" but it was still spliced together from three performances with a "cleanup" session afterwards. This is purely a live performance.
If I'm not mistaken, orchestras perform this with additional brass on stage for this reason - or at least while watching videotapes of performances, I've counted more on stage than are called for in the score....
Thanks for the just-in-time post. Have forwarded the link to members of the orchestra in which I play who must perform it all too soon. Note to Copland wannabees: Do NOT write unison piccolos on high sustained notes. (In general, do NOT write unison piccolos for anything.) While I have no idea how these NYP masters handled it, the only sane solution to what may be the worst piccolo writing in the literature, is for the two piccolo players to agree on who sits out when.
Una de las mejores sinfonías del siglo XX dirigida por quien era el más apropiado para hacerlo, Leonard Bernstein, un americano dirigiendo con una orquesta americana una sinfonía profundamente americana. Esta interpretación no tiene rival.
If Anyone would know how to play Aaron Copeland, that would be Lenny.. ! LOVE 💘 that "Fanfare for the Common Man" was included. . ! Thanks for posting.
In the summer of America's Bicentennial, 1976, Bernstein and the Philharmonic went on a long tour covering Western Europe and America, for which Bernstein had programmed only American music. Most of the pieces were popular things like the West Side Story Dances and the Rhapsody in Blue, but Bernstein got the Copland 3rd in as well, representing our music's more serious side. This was recorded by Amberson/Unitel in Germany in June.
@@Twentythousandlps You are right!! I was wrong, I found the program in NY Philharmonic Archives archives.nyphil.org/index.php/artifact/ce47f773-2215-43be-b3ff-9afb1efb1d5a-0.1. It was on June 8, 1976 in the Jahrhunderthalle Hoechst in Frankfurt. The UNITEL website said 1986, but it is surely a typographical error, as there is no performance of this Symphony in 1986 by the orchestra. Thanks for the correction.
First mvt 00:00 open 3:15 third 6:30 Climax 7:08 Quiet Second mvt 10:30 Rodeo theme 14:11 First theme 18:10 Second theme Third Mvt 19:22 Theme from first mvt 22:54 Second Theme 24:20 Fast section Forth Mvt 29:19 Opening 32:37 Turn theme 36:02 7/8th theme 43:00 Ending
I first heard this in 1968: I was a barracks orderly, and not training that day. As I pushed this big mop I heard this extraordinary music, and was soon sitting with the radio in my hands. Fifty years later It is still so very exciting and uplifting!
Well, I guess that's the whole deal...thatMr. Copland, Lenny( a protean force...), and the NYP...... Now, I'm a Philly guy.....as far as I am concerned,ain't nobody beats the PSO in a gunfight.... But , you, these guys. They have mad skills. Thanks so much, Lenny!!!! .
I had a crude cassette tape off the air recording of a PO concert in the 80's: on tour, Buenos Aires, South American premiere, Riccardo Muti conducting - such electricity in the air, quite something (wish that concert [w/ Brahms 2] were available).
@@marshallartz395 there are so many short catchy tunes on the air waves nowadays classical radio stations are few and far between. each new generation of kids are being educated in rap disco rock and pop and the great classics are disappearing from the mainstream
And times I see a silver plated D trpt that’s positioned to the left of Gery Schwarz. I’m not sure if it’s an assistant principal, but it doesn’t seem like the trpt section is agreeing much on how to phrase the fanfare along with articulations. At times it seems like some of the strings are sight reading their parts especially in 4 mvmnt.
Yes. RK's 4th year in 1976. His teacher Saul Goodman retired in 1972, having begun in 1926. Imo Kohloff and Chico Espino were the best of the Goodman students after Vic Firth.
he incorporated ‘Fanfare For Common Man’ with variations from the transition at the end of the third movement swelling into the explosion at the beginning of the fourth movement…
Just caught the Copeland episode of San Francisco Orchestra's "Keeping Score" last night. HIGHLY Recommended. Check er Out.. !! Their whole series of foci on key composers are worth Subscribing. Especially (to my tastes) Gustav Mahler and Dmitri Shostakovich..!!
John Gesselberty I have to disagree. Bernstein said that he loved people more than he loved music itself, and that everything he did was for the people around him. If Bernstein hadn’t communicated with the people, none of what he did would have been possible. Copland, too, was inspired by his contemporaries and the relationships he had with the American people to write his music. As such, Bernstein’s almost-compendium of Copland’s work would not have happened if they had not been lovers. It’s an important part of the lives of both musicians.
John Randolph There are letters detailing the relationship in “The Leonard Bernstein Letters” book of letters compiled by Nigel Simeone. Bernstein’s daughter also mentions the same letters that she is in possession of,
29:16 nice little tribute to the fanfare for the common man. Fanfare For The Common Man is such a great piece that Copland wrote separate from this piece
When bought the recording of Symphony No. 3, I didn't know the fanfare was within the final movement. When I heard it start in the upper woodwinds I was amazed and when it got to the brass fanfare, it blew my socks off! I had always been a fan of Fanfare for the Common Man but until then I only knew of it as a stand alone composition. I love it when it modulates to the original key signature of the fanfare. That was what really got me!
Interesting. He began the work just before the end of WW2, but finished it after the War was over. The work was done while he was in Mexico. Certainly, he was thinking about war and what would follow it.
Just listen to the music! Why do you need to see LB's face? You know what he looked like in such moments, use yr inner eye!! ... or equip yourself with a nice photo. Copland's work sings for itself.
@George Alderson: Maybe that's just the way music moves him, and maybe that's why he's just that good. What a blessing to make your passion your life's work.
@@sarahjones-jf4pr You gave yours and I mine, and nobody was left in any doubt. Most opinions are personal by definition. But a glass can still be half full, rather than half empty...
That's exactly what America is. Harsh, rough at the edges coupled with profound beauty and open space. It's the epitome of Americana and what makes America great! @@sarahjones-jf4pr
Poor Aaron, He always wanted to write the Great American symphony, without having the inspiration or the way with all to do so, unlike some of his skilled colleagues, such as Samuel Barber or Howard Hanson or Roy Harris. Harris. Copeland progresses into a monotonous orchestral fabric of monolithic proportions comprise mainly of your perfect intervals force and fifths with a gradual amassing of orchestral forces in the most uninspired and flat-footed way, all in order to produce the grand climax of which he is so persistently fond. Despite his many attempts to master this form, such as the Oregon symphony where the second short symphony, he felt pretty miserably in all three works, because against his better judgment he did not write organically and from the heart, but rather strategically and from the head, producing a skillful but arid fabric, devoid of spontaneity and joy... Unlike his fresh and brilliant Billy, the kid, Appalachian spring, rodeo, which fall from the stage as naturally as water from a fountain. Unfortunately, as life progressed, Copeland moved from the heart into the head into on the almost cerebral self-restriction which was determined to teach listeners. How to appreciate beautiful dissonances and crunchy harmonies that, while dance and thorny, have a certain old testament righteousness to them. Indeed, subconsciously, one gets the impression that Copeland considers himself a kind of intellectual rabbi of the musical tradition. Once, went discussing the rapturously beautiful work by Samuel Barber, Knoxville, Summer of 1915, which is nothing if not a sustained and ecstatically beautiful outpouring of human emotion in the most heartfelt and unscripted way, he stopped when I paused and mentioned that Copeland had said he would have loved to have get a hold of the text before Barbara had and do it, adding, within ironic smile, ' he could never have done what Barbara did. He simply didn't have the gift of melody , or emotional passion.: Which is quite true. While I love Copland for his textural clarity and economy and intensity of seniorities that convey so much atmospheric color, I find him often pretentious, and intellectually superior in his musical choices, far to involved in musical strategy rather than inspired composition. Composition. Yes, he was the dean and the spokesman for generations of American composers, and his books have much of value in them, but his brain was too much with him and betrayed him in the end, so far as his music was concerned.
What a strange and very academic impression, as if you hadn't even listened to the music. Pretentious is the very opposite of who he is. And for goodness sake, spell his name correctly.
