Leonard Bernstein's wayward interpretations of European symphonic literature often left him open to criticism, but he seems to have exercised more caution and care in conducting the works of his American contemporaries. The matter-of-fact symphonies of Roy Harris and William Schuman are not conducive to flamboyant displays, and Bernstein stays within bounds, prudently following the composers' wishes. Harris' Symphony No. 3 is a bit rough at the edges, though this is apparently in accord with his intentions and is not ...
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Leonard Bernstein's wayward interpretations of European symphonic literature often left him open to criticism, but he seems to have exercised more caution and care in conducting the works of his American contemporaries. The matter-of-fact symphonies of Roy Harris and William Schuman are not conducive to flamboyant displays, and Bernstein stays within bounds, prudently following the composers' wishes. Harris' Symphony No. 3 is a bit rough at the edges, though this is apparently in accord with his intentions and is not necessarily due to the New York Philharmonic's raw sound. The symphony's asymmetrical phrases and brusque motives sketch out a heroic but ultimately tragic narrative, highly suggestive of rural life in the Great Depression. The bold drama of this symphony is unmistakably American, though Harris' use of color shows what he learned from Nadia Boulanger. Schuman's Symphony No. 3 is equally dramatic, though the abstract forms of passacaglia, fugue, chorale, and toccata suggest that the...
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