Despite the esteem in which Roy Harris and Morton Gould are held, these two interesting symphonies have been neglected for decades. It might seem the lack of attention is due to the dictates of unimpressed critics, or, more generally, to declining interest in American populist music. Yet the composers' own misgivings appear to have discouraged performances or recordings until the release of this world premiere disc. Harris found his Symphony No. 2 inadequate in all but the second movement, and he withdrew the piece after ...
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Despite the esteem in which Roy Harris and Morton Gould are held, these two interesting symphonies have been neglected for decades. It might seem the lack of attention is due to the dictates of unimpressed critics, or, more generally, to declining interest in American populist music. Yet the composers' own misgivings appear to have discouraged performances or recordings until the release of this world premiere disc. Harris found his Symphony No. 2 inadequate in all but the second movement, and he withdrew the piece after its 1936 premiere. Gould discarded the lively finale of his Symphony No. 3 and substituted a serious Passacaglia and Fugue, which drew a tepid response at its debut in 1948. As a consequence of mixed feelings and less-than-enthusiastic receptions, both works lay dormant until conductor David Allen Miller sought out the parts and restored the symphonies to their original versions. Harris' Second is somewhat awkward in its development and at times inelegant in its orchestration, but it...
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