Aaron Copland - Symphony No. 3; Quiet City (Leonard Bernstein)

Information

Composer: Aaron Copland

• Symphony No. 3
• Quiet City, for trumpet, cor anglais & strings

New York Philharmonic Orchestra

Leonard Bernstein, conductor

Date: 1985

Label: Deutsche Grammophon

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Review

Copland intended this symphony as a 'grand gesture' and there is no doubt at any point in Bernstein's performance that a big statement is being made: there is passionate earnestness in the opening movement and tremendous impact to the brass and drums at the beginning of the scherzo, the central mood of the andantino is one of vibrant intensity, while the finale is a public address of great splendour. Even the innocent simplicity, rather Appalachian Spring-like with which the trio section opens soon gives way to heartfelt rather than intimately confiding strings, and full-voiced vehemence follows hard upon the bright glitter of the scherzo's return. All the more effective, then, the chill pallor of the violins ushering in the slow movement and the lovely, quiet solemnity of the finale's long-delayed 'third subject', but I could have done with more such moments, and suspect that they could readily be found in a symphony that is not all confidence and majestic optimism.

It is not that Bernstein ignores ambiguities, shadows and uncertainties, but that he projects them, too, as public, slightly histrionic gestures.

However, it is undoubtedly the 'positive' aspects of the work that have made its reputation, and they could hardly be more eloquently stated: the dance-like rhythms are crisp and springy, the Fanfare for the common man, quoted in its entirety as an earnest of the grandeur of the finale's gestures, is magnificently sonorous and the noble conclusion of the work is vastly impressive. Quiet City is given a no less deeply felt reading; again, the vibrato of the solo trumpet and the soft richness of the strings in their fuller pages struck me as very slightly over-acted.

The symphony was recorded at a public concert (before an exceptionally well-trained or uncommonly healthy audience: not a cough is to be heard) and the sound has plenty of power and edge but not quite enough richness to the bass; high strings sometimes take on a dazzling glare. The much more reticently scored Quiet City, made in the studio, has no such problems.

— Michael Oliver

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Aaron Copland (14 November 1900 – 2 December 1990) was an American composer. Born in New York City, he studied in Paris with Nadia Boulanger before returning to the United States, where he absorbed influences ranging from jazz and neoclassicism to folk traditions. Seeking a broader audience, Copland simplified his musical language in the 1930s and achieved international fame with works such as Billy the Kid, Rodeo and Appalachian Spring. He also composed film scores, orchestral and choral works, and later experimented with serialism. Beyond composing, Copland was an influential teacher, writer and conductor.

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Leonard Bernstein (August 25, 1918 – October 14, 1990) was an American composer, conductor, author, music lecturer, and pianist. He was among the first conductors born and educated in the US to receive worldwide acclaim. His fame derived from his tenure as the music director of the New York Philharmonic, his concerts with most of the world's leading orchestras, and his composition. As a composer he wrote in many styles encompassing symphonic and orchestral music, ballet, film and theatre music, choral works, opera, chamber music and piano pieces. He also gave numerous television lectures on classical music.

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