“I hope you will knuckle down to a good symphony,” wrote Samuel Barber in September 1944 to his fellow composer Aaron Copland: “We deserve it of you, and your career is all set for it.” It was a strange thing to say given that Copland had already composed a variety of symphonies, albeit admittedly all more experimental than Barber might have preferred. The fourth volume in the highly acclaimed Copland series from John Wilson and the BBC Philharmonic opens with the resoundingly successful Symphony No. 3 (1944-46). The optimistic spirit of this work resonated perfectly with the euphoria of post-war America, resulting in its becoming an emblem of US nationalism. This lesser-recorded original version comes complete with the twelve bars which Bernstein later suggested cutting from the fourth movement. Three commissions complement the symphony: ‘Letter from Home’ (1944) reflects the feelings of receiving a letter from a loved one. ‘Down a Country Lane’ (originally commissioned by Life magazine as a solo piano work) is here performed in its orchestral version (1964), reimagined for a series of concerts showcasing youth orchestras. ‘Connotations’ (1962), a twelve-note serial composition premiered by Leonard Bernstein and the New York Philharmonic at the inauguration of The Philharmonic Hall, complete this invigorating surround-sound album.

Andrew Litton’s recent recording of Copland’s Billy the Kid and Rodeo with the Colorado Symphony (BIS, 1/16) was notable for offering the rarely performed complete versions of the ballets. John Wilson, in the first in a series of Copland’s orchestral music for Chandos, opts for the slightly shorter suites as well as that of Appalachian Spring. In doing so, Wilson comes into direct competition with Tilson Thomas and Bernstein, not to mention the composer himself. However, none of these recordings, not even BIS’s excellent multi-channel production for Litton, matches the spaciousness, transparency, and weight of the sound on the new Chandos disc. It’s the finest-sounding recording to have come my way for some time.

REVIEW:

Wilson’s performances are similarly impressive, and he secures superb playing from the BBC Philharmonic. The three ballets receive strongly characterized interpretations, as piquant and affecting in the slower passages as they are punchy and ebullient in the faster ones. The poignancy and rapture of the quieter episodes of Appalachian Spring are also strongly conveyed. I enjoyed listening to this disc enormously.

– Gramophone

This disc substantially duplicates the repertoire on an all-Copland program produced by DG with the Orpheus Chamber Orchestra. However, where DG included the Short Symphony, Naxos offers the Clarinet Concerto. While the Nashville Chamber Orchestra doesn't offer quite the tonal refinement and polish of Orpheus, it basically plays just as well, and its slightly weightier, gutsier, more rustic sonority arguably suits the music even better. In the famous rehearsal disc that accompanied Copland's own recording of the original chamber version of Appalachian Spring, he can be heard exhorting his players not to sentimentalize the music: "...it's a little too much on the Massenet-side," he tells them. Obviously Paul Gambill understands this point, for he offers interpretations ideally poised between warmth and simplicity, full of those clean and clear sonorities that Copland made his own.

It should come as no surprise that, as a major musical capital, Nashville offers a large pool of excellent professional performers from which to draw, and as with its full-sized symphony, the Nashville Chamber Orchestra obviously employs some major talent, particularly among its strings. Copland's music is full of complex rhythms, often combining them with stratospheric violin writing. At such moments as the "Danza de Jalisco" from Three Latin American Sketches, or the initial allegro of Appalachian Spring, the Nashville players offer impressive accuracy of both rhythm and pitch. Quiet City benefits from some smooth-as-silk trumpeting from Scott Moore, while Laura Arden (principal clarinet with the Atlanta Symphony) turns in a masterful performance of the Clarinet Concerto. She commands a lovely, liquid tone in the lyrical opening movement (her pianissimo playing at the end is exquisite) and captures the finale's jazz elements without ever turning raucous.

The version of Appalachian Spring offered here is billed as the "Original Ballet Suite". It is not. The "original" ballet suite is the full orchestral version most familiar to music lovers, dating from just after the premiere in the mid-1940s. More than a decade later, in 1958, Copland published a new orchestration of the suite in which he returned to the chamber instrumentation used in the full-length ballet, allowing the option of a few extra strings (which I assume are used here), and this is what Naxos gives us. Gambill conducts this piece as well as anyone ever has; he's particularly adept at sustaining the flow of the slower sections without letting the music sag, and he gets an astonishingly full sound from his ensemble (listen to the focused tone of the basses when they first enter in the "Simple Gifts" variations). Sonics of ideal transparency and presence set the seal on a disc that's practically perfect from just about any perspective. [12/14/2002]

--David Hurwitz, ClassicsToday.com

All of these works predate Aaron Copland's populist American ballets, but they reveal perhaps even more tellingly just what a talented and individual voice he had right from the start. The most important piece here is the Short Symphony (a.k.a. Symphony No. 2), a stunning essay in rhythmic lyricism that was considered all but unplayable when written in 1933--so much so that Copland rewrote it as a sextet. This performance hasn't quite the sharpness and sizzle of the Orpheus Chamber Orchestra recording for DG, but the Bournemouth Symphony under Marin Alsop shows itself more than capable of mastering the music's intricacies.

The other two performances are even finer. Alsop catches the bittersweet lyricism of the First Symphony's outer movements very affectingly, while the whirlwind central scherzo is dazzling. The same observation holds true of the Dance Symphony, which works its way to a fine frenzy in a finale that strikingly anticipates the mature composer of the 1940s. Copland's bright, open textures come across well in the problematic acoustic of the Poole concert hall; this is one of Naxos' better recordings from this locale, graced with some really impressive bass sonorities. This is an intelligently planned and impressively executed disc.

--David Hurwitz, ClassicsToday.com