# 20th Century Symphonic Masterpieces: Part Four - Copland's Symphony No. 3



## Neo Romanza (May 7, 2013)

20th Century Symphonic Masterpieces: Part Four - Copland's _Symphony No. 3_



















The symphonic form is one Copland approached with some caution -- the Third Symphony (1944-1946) would be his last such effort -- and that, like his three major piano works, helped to codify particular compositional concerns that occupied him at the time. Though the three symphonies (not including the Dance Symphony of 1925, which is more properly a suite) are clearly of the same composer and all exploit what have come to be identified as Copland hallmarks (including changing, dance-influenced rhythms and expressive gradations of orchestral color), each in its own way exists quite apart from the others. While, for example, the bumptious, impudent character that characterizes much of the Second Symphony (1932-1933) lurks unmistakably in the Allegro molto of the Third, its essence and context are subtly distinctive; the relationship is one between cousins rather than siblings. More markedly, the symphonies represent an evolution -- not necessarily in a predictable linear fashion, but in the more circumspect and elusive sphere of the composer's imagination.

The lyricism which is an overarching characteristic of the the Third Symphony was, according to Copland himself, inspired in large part by the knowledge that the work was commissioned and to be premiered by conductor Serge Koussevitsky and dedicated to the memory of his wife, Natalie. The first movement, Molto moderato, is thus imbued with a songful melodic expansiveness (looking forward, at times, to the composer's opera The Tender Land) emerging from the subdued, ever-expanding opening theme. The movement proceeds to a more assertive, brass-laden climax, which eventually dissipates into the calm of the opening via a series of bassi ostinati that gently underpin the gradually stilling activity above.

The opening of the Allegro molto announces at once the movement's jovial intent, the percussion crashes and brass rocket figure foreshadowing the fanfare of the last movement. The movement continues in the cast of a scherzo with trio, in turns assuming a martial drive and a humorous bounce; one direction in the score the composer provides for this music is "perky."

The third movement, Andantino quasi allegretto, opens with a dialogue among the strings that in gradual, subtle degrees introduces the rest of the orchestra; the winds, for example, enter by quietly doubling the strings so that their presence is realized almost only after the fact. A vocally fluid, converging "wedge" figure introduces a more rhapsodic and expansive section, characterized by plangent harmony and frequent parallel motion in the instruments that provides a gentle suggestion of medievalism.

A quiet wind and string chorale leads directly into the fourth movement, Molto deliberato -- Allegro risoluto. In a particularly pregnant and dramatic stroke, the theme which forms the centerpiece of the last movement (perhaps best known as the basis for Copland's Fanfare for the Common Man), is introduced -- not with its full complement of brass and percussion, but as a somewhat reflective meditation for the flutes and clarinets. It is quickly taken up by the whole orchestra, serving as introduction for the movement proper, which presents and develops two additional themes. Material from the first movement is later incorporated into the texture, here assuming a different, strengthened guise appropriate to the nobilmente, heroic character of the finale. The theme that opens the work, now newly emboldened, brings the Third Symphony to an exhilarating conclusion.

[Article taken from All Music Guide]

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I think I first became aware of Copland's _Symphony No. 3_ in the second volume of the _Copland Collection_ box set (released many years ago by Sony and, naturally, out-of-print along with the other two volumes). Anyway, I was struck by this symphony's music because, and these are just my own impressions, it had this tinge of home sickness about it. Almost like someone lives in a huge city, but you spent most of your life in a small farming town in the Midwest. This is what this symphony sounds like to me. There's a sweetness to it, but there are some incredibly jovial moments throughout, especially the last movement, which, of course, is where we hear where _Fanfare for the Common Man_ originated. Anyway, dare I say, this is the greatest American symphony ever written? Well, maybe not, there are so many other fine ones, but it's certainly a masterpiece or, at least, for me it is --- what do you think of this symphony? Any favorite performances?


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## PeterKC (Dec 30, 2016)

Taken with Ives' 4th and Hanson's 2nd, you have in my opinion, the foundation of the American symphony. But, there are many other fine ones I am sure will be mentioned; Bernstein, Cowell, Diamond, Thomson, Thompson, etc?


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## mbhaub (Dec 2, 2016)

It's taken me a long time to warm up to the Copland 3rd. It's certainly his greatest symphony, but that's not too much of a stretch. It certainly is not the Great American Symphony; that's the Hanson 2nd. 

As it so happens, one orchestra I play with has decided to program it in the spring. Just last week we had a run-through to get a feel for it before taking a few weeks off for the holidays. I tried to warn him, but the conductor was quite taken aback at the many overwhelming difficulties in the score. This is not music for amateurs! Thankfully I'm playing the contrabassoon part which is no where near as taxing as the other two bassoon parts. 

I only know two recordings: Bernstein on DG and Slatkin on RCA. Bernstein is certainly quite exciting. Did you know George Szell did the 3rd? Seems really unusual repertoire for him.


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## PeterKC (Dec 30, 2016)

mbhaub said:


> It's taken me a long time to warm up to the Copland 3rd. It's certainly his greatest symphony, but that's not too much of a stretch. It certainly is not the Great American Symphony; that's the Hanson 2nd.
> 
> As it so happens, one orchestra I play with has decided to program it in the spring. Just last week we had a run-through to get a feel for it before taking a few weeks off for the holidays. I tried to warn him, but the conductor was quite taken aback at the many overwhelming difficulties in the score. This is not music for amateurs! Thankfully I'm playing the contrabassoon part which is no where near as taxing as the other two bassoon parts.
> 
> I only know two recordings: Bernstein on DG and Slatkin on RCA. Bernstein is certainly quite exciting. Did you know George Szell did the 3rd? Seems really unusual repertoire for him.


A good reading on Chandos by Jarvi and Detroit.


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## Neo Romanza (May 7, 2013)

It's interesting that @PeterKC and @mbhaub mention Hanson's 2nd as one of the 'Great American Symphonies' --- I'm going to have to respectfully disagree. I think Hanson's 3rd symphony is leagues better than his 1st or 2nd symphonies or I should say I prefer it to those first two symphonies. Roy Harris' 3rd symphony also gets mentioned and a lot, but, overall, I've never been too keen on Harris. Too much declamation and not enough heart. Two other great American 3rd symphonies, for me, are Schuman and Diamond. Even as a huge Ives fan, I'm not particularly taken with his 3rd symphony, but it does have some great sections.


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## PeterKC (Dec 30, 2016)

Neo Romanza said:


> It's interesting that @PeterKC and @mbhaub mention Hanson's 2nd as one of the 'Great American Symphonies' --- I'm going to have to respectfully disagree. I think Hanson's 3rd symphony is leagues better than his 1st or 2nd symphonies or I should say I prefer it to those first two symphonies. Roy Harris' 3rd symphony also gets mentioned and a lot, but, overall, I've never been too keen on Harris. Too much declamation and not enough heart. Two other great American 3rd symphonies, for me, are Schuman and Diamond. Even as a huge Ives fan, I'm not particularly taken with his 3rd symphony, but it does have some great sections.


Never have cared too much for Schuman, for tonal dissonance, my choice is Peter Mennin. But, Diamond is very good. I find his 4th my favorite. Also am very fond of George Antheil's symphonies.


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## Heck148 (Oct 27, 2016)

Neo Romanza said:


> It's interesting that @PeterKC and @mbhaub mention Hanson's 2nd as one of the 'Great American Symphonies' --- I'm going to have to respectfully disagree. I think Hanson's 3rd symphony is leagues better than his 1st or 2nd symphonies or I should say I prefer it to those first two symphonies.


I agree - Hanson #3 is his best
For me, the "Great American Symphony" is Schuman Sym #3...a powerful work that deserves much more programming


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## Neo Romanza (May 7, 2013)

Heck148 said:


> I agree - Hanson #3 is his best
> For me, the "Great American Symphony" is Schuman Sym #3...a powerful work that deserves much more programming


Yes, especially in the Bernstein recording on Columbia (Sony). His DG remake is not bad, but doesn't quite measure up to his previous achievement.


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## Heck148 (Oct 27, 2016)

Neo Romanza said:


> Yes, especially in the Bernstein recording on Columbia (Sony). He DG remake is not bad, but doesn't quite measure up to his previous achievement.


Right, Bernstein/NYPO I is really great....equal to, and perhaps even greater is Slatkin/Chicago from 2/86 [available in CSO archival set <<CSO in 20th Century>>]
Both recordings are awesome...wouldn't want to be w/o either....this piece is a real powerhouse...difficult!!


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