Aaron Copland: Symphony No. 3. L. Bernstein - New York Philharmonic.
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- Опубліковано 8 лип 2024
- Aaron Copland: Symphony No. 3
(00:00) I Molto moderato - with simple expression
(10:28) II Allegro molto
(19:00) III Andantino quasi allegretto
(29:20) IV Molto deliberato
New York Philharmonic
Leonard Bernstein, Conductor
(1976)
What a wonderful rendition of this piece. I irst heard this done by, of all groups, Emerson, Lake and Palmer in the 70's as a teen;
ELP and Bugs bunny should receive more credit than they seem to get for introducing younger people to the great classics!!!!!
One of the great Copland masterworks, and Lenny is just the best, embodying every nuance
in this fabulous music.
Fantastici tutti!!!!!!! What an Orchestra!!!!! Great gift Leonard Bernstein 🌹🎶🎶🎶#3rdsinfonyCopland💞
My first hearing of this symphony today and it is unmistakably AC!
Powerful 😊
I have traveled a bit in America and it always seems to me that Copeland gets America better than most other American composers. This music reminds me so much of the American countryside!
A somewhat extended and expansive Fanfare to a Common MAn
@@brucebirchman7057 Actually, Fanfare was taken from the 3rd Symphony
@@abankse83 Actually, it's the other way around. He used the previously written Fanfare as the theme for the final movement.
I LOVE this entire piece, and to see Bernstein direct it is just incredible!
seeing mr bernstein and the new york philharmonic live almost 50 years later is just an unbelievable uplifting and inspiring experience for me too! i could listen to coplands works all day long- rodeo, appalachian spring
and billy the kid just to name a few
Una de las mejores sinfonías del siglo XX dirigida por quien era el más apropiado para hacerlo, Leonard Bernstein, un americano dirigiendo con una orquesta americana una sinfonía profundamente americana. Esta interpretación no tiene rival.
The greatest American symphony in the greatest performance I ever heard of it, despite the less than stellar recorded sound.
Charles Ives would like to submit his 4th symphony for consideration as well. ;-)
Just how beautiful and meaningful and self-assured can a piece of music be?
Sure signs of the beloved Holy Spirit being present.
Ever-active, like the wind, blowing where He will, raising human genius to the point where we have to seek answers.
@@sidpheasant7585 Well and beautifully said! Thank you!
For me, the definitive performance!
A inspiring composer and a brilliant conductor!
Great together!
Not to mention a great orchestra- Interestingly enough, all three are American!
You can see Gerard Schwarz as the trumpet at about 1:30.
Clickable timestamps:
I Molto moderato (00:00)
II Allegro molto (10:28)
III Andantino quasi allegretto (19:00)
IV Molto deliberato (29:16)
Thanks
Thank you! Super helpful. 👍
If Anyone would know how to play Aaron Copeland, that would be Lenny.. ! LOVE 💘 that "Fanfare for the Common Man" was included. . !
Thanks for posting.
Thanks a lot! Great!!! Listening to this in 2019 - not at all like other US-symphonies from the same period - Barber, Randall Thompson, Harris, etc( a lot more US-European "classical")...to this day Copland's Third is something of a wonder, he takes huge chances in his orchestration for the period, very high notation, big distance between low instruments to high, which gives the symphony that big, wide open sound, etc - extremely difficult to play and to get right for any orchestra. But Bernstein kind of nails it here.
Yes, poor trumpets.
To be fair, this is a very tough piece, and most trumpet sections struggled with it around the time this recording was made. A notable exception would be the Chicago Symphony. Compare this to the recording Bernstein made a decade later. Totally different band.
@@jimwilt4944 The trumpets in the later recording had an advantage these guys didn't. Yes, the later recording was a "live recording" but it was still spliced together from three performances with a "cleanup" session afterwards. This is purely a live performance.
@@johnrandolph6121 The later recording also had Phil Smith, Joe Alessi and Phil Myers, among others.
If I'm not mistaken, orchestras perform this with additional brass on stage for this reason - or at least while watching videotapes of performances, I've counted more on stage than are called for in the score....
Thanks for the just-in-time post. Have forwarded the link to members of the orchestra in which I play who must perform it all too soon.
Note to Copland wannabees: Do NOT write unison piccolos on high sustained notes. (In general, do NOT write unison piccolos for anything.) While I have no idea how these NYP masters handled it, the only sane solution to what may be the worst piccolo writing in the literature, is for the two piccolo players to agree on who sits out when.
Thank you very much for your comment.
40:50 to end... 42:10 to end... never mind: The Whole Thing---the great energy, the essential, coiled, *intensity* of this amazing work.
I always get goosebumps when the opening theme of the first movement returns at 40:18 - from there to the end - staggering, overwhelming, every time.
Lindo!
Leonard Bernstein, meu Regente preferido!!!!🎶
In the summer of America's Bicentennial, 1976, Bernstein and the Philharmonic went on a long tour covering Western Europe and America, for which Bernstein had programmed only American music. Most of the pieces were popular things like the West Side Story Dances and the Rhapsody in Blue, but Bernstein got the Copland 3rd in as well, representing our music's more serious side. This was recorded by Amberson/Unitel in Germany in June.
Copland Sym. #3 is pretty popular.
It was recorded in 1986 www.unitel.de/en/product/do/detail.html?id=483
@@MusicMan-dv7jg No, 1976.
@@Twentythousandlps You are right!! I was wrong, I found the program in NY Philharmonic Archives archives.nyphil.org/index.php/artifact/ce47f773-2215-43be-b3ff-9afb1efb1d5a-0.1. It was on June 8, 1976 in the Jahrhunderthalle Hoechst in Frankfurt. The UNITEL website said 1986, but it is surely a typographical error, as there is no performance of this Symphony in 1986 by the orchestra. Thanks for the correction.
@@MusicMan-dv7jg It's possible the video was issued in 1986, I don't know.
First mvt
00:00 open
3:15 third
6:30 Climax
7:08 Quiet
Second mvt
10:30 Rodeo theme
14:11 First theme
18:10 Second theme
Third Mvt
19:22 Theme from first mvt
22:54 Second Theme
24:20 Fast section
Forth Mvt
29:19 Opening
32:37 Turn theme
36:02 7/8th theme
43:00 Ending
Thank you for all your hard work Jingyu. Blessings and peace
@@georgealderson4424 Thank you, these were for a presentation of mine :D
great performance and dynamic sound.very powerful .This symphony is comfortable.Thank you.
I agree with you Ikuo
I first heard this in 1968: I was a barracks orderly, and not training that day. As I pushed this big mop I heard this extraordinary music, and was soon sitting with the radio in my hands. Fifty years later It is still so very exciting and uplifting!
This was when a concert was a Concert. LB the Magister Mundi himself, live, Lincoln Center! A near cosmic civilised social event..
With the Holy Spirit present, it would seem...
Lo vi por primera vez en un programa a benedito en antena 3 grandísimo berstein hace años ya
Gotta love a piece that ends with a bang!
Well, I guess that's the whole deal...thatMr. Copland, Lenny( a protean force...), and the NYP......
Now, I'm a Philly guy.....as far as I am concerned,ain't nobody beats the PSO in a gunfight....
But , you, these guys.
They have mad skills.
Thanks so much, Lenny!!!!
.
I had a crude cassette tape off the air recording of a PO concert in the 80's: on tour, Buenos Aires, South American premiere, Riccardo Muti conducting - such electricity in the air, quite something (wish that concert [w/ Brahms 2] were available).
Each movement ends with a sus 4 chord which then resolves. Brilliant.
inspiring! -
long orchestral pieces aren't so popular anymore
people just don't have the time to spare to listen and admire the depth and beauty
It is a shame as there are still 24 hours in a day and we can all benefit by listening! Blessings and peace
Richard Walker: Don’t tell that to Gustav Mahler! 😎🎹
@@marshallartz395 Actually with lockdown, isolation and so on we all (should) have more than enough time to listen several times over!
@@marshallartz395 there are so many short catchy tunes on the air waves nowadays
classical radio stations are few and far between.
each new generation of kids are being educated in rap disco rock and pop
and the great classics are disappearing from the mainstream
A young Roland Koloff without a beard playing timpani at 30:20
Yes. RK's 4th year in 1976. His teacher Saul Goodman retired in 1972, having begun in 1926. Imo Kohloff and Chico Espino were the best of the Goodman students after Vic Firth.
Joe Novotny sounds great!!!
Can someone timecode the movements? I’m too lazy. I mean, busy.
I hope you are enjoying whatever you are busy with Brian! If not, stop and listen for a while!
Violin Excerpt 33:00
Note too that Copland was more than a friend; he was one of Lenny's lovers.
Is this comment really necessary? Who cares. They were both geniuses and would be so if they were celibate monks.
What's your source for that? That's nothing more than speculation.
They had a wonderful relationship, and it’s amazing what kind of music they were able to make as a result.
John Gesselberty I have to disagree. Bernstein said that he loved people more than he loved music itself, and that everything he did was for the people around him. If Bernstein hadn’t communicated with the people, none of what he did would have been possible. Copland, too, was inspired by his contemporaries and the relationships he had with the American people to write his music. As such, Bernstein’s almost-compendium of Copland’s work would not have happened if they had not been lovers. It’s an important part of the lives of both musicians.
John Randolph There are letters detailing the relationship in “The Leonard Bernstein Letters” book of letters compiled by Nigel Simeone. Bernstein’s daughter also mentions the same letters that she is in possession of,
And times I see a silver plated D trpt that’s positioned to the left of Gery Schwarz. I’m not sure if it’s an assistant principal, but it doesn’t seem like the trpt section is agreeing much on how to phrase the fanfare along with articulations. At times it seems like some of the strings are sight reading their parts especially in 4 mvmnt.
At the beginning of the fourth movement it sounds like Copland borrowed the melody from the Fanfare for the Common Man at 30:00
yes ... but he wrote that too!
he incorporated ‘Fanfare For Common Man’ with variations from the transition at the end of the third movement swelling into the explosion at the beginning of the fourth movement…
Just caught the Copeland episode of San Francisco Orchestra's "Keeping Score" last night. HIGHLY Recommended. Check er Out.. !!
Their whole series of foci on key composers are worth Subscribing. Especially (to my tastes) Gustav Mahler and Dmitri Shostakovich..!!
they never show the tuba :(
same tuba playing is a bit rough and raucous in the fanfare opening of the 4th mvmnt.
So the anvil and some other unusual percussion. :(
On 13:09 You can see the tuba playing next to the 3rd (base) trombone.
29:16 nice little tribute to the fanfare for the common man. Fanfare For The Common Man is such a great piece that Copland wrote separate from this piece
When bought the recording of Symphony No. 3, I didn't know the fanfare was within the final movement. When I heard it start in the upper woodwinds I was amazed and when it got to the brass fanfare, it blew my socks off! I had always been a fan of Fanfare for the Common Man but until then I only knew of it as a stand alone composition. I love it when it modulates to the original key signature of the fanfare. That was what really got me!
@@schrap72 Found your socks yet or had to buy new ones?
@@schrap72 I know right? Such a glorious moment!
34:05 violin excerpt
3:45
Some Phat brass! Awesome
Who is playing timpani?
@ Douglas Igelsrud........Roland Kohloff
the timpanist!
33:05
sounds like he wrote it about space travel
Interesting. He began the work just before the end of WW2, but finished it after the War was over. The work was done while he was in Mexico.
Certainly, he was thinking about war and what would follow it.
Interesting that the average age of the orchestra seems to be 60
Not really
You will be too one day! May you have a long and blessed and peaceful life.
That’s because the orchestra is full with great artists and not nay players !
13'45" one horn comes in a measure early. HOW COULD YOU
too bad they don't show his facial expression at 36:33 in the Molto deliberato, which is the most beautiful part of the piece
It reminds me Martinů.
Just listen to the music! Why do you need to see LB's face? You know what he looked like in such moments, use yr inner eye!! ... or equip yourself with a nice photo. Copland's work sings for itself.
Sometimes I think LB gets a little bit carried away with himself and is over dramatic.
@George Alderson: Maybe that's just the way music moves him, and maybe that's why he's just that good. What a blessing to make your passion your life's work.
Orchestras were so much less integrated back then (1976)...now there are many women players and even sometimes you see lady conductors.
There's a lady there, playing in the string section 6:00 >
POV : you cane her to do a music homework
A "symphony " of crying demented and destroyed souls.
Interesting. Sounds a bit like Mahler in places to me.
Visit the US! See the ordinary people yourself! Your comment says a lot about your biases!
some of the time, but there is also beauty, reconciliation and transcendence in there, wouldn't you say?
just americans....
Lame camera work. Too many shots of the conductor and percussion.
This symphony says every thing about America until Trump pissed all over it !
Irrelevant comment from an irrelevant person.
Better than being ignorant
Oh well. DT is history now and America will learn and move on (please God)
I will pray with you. I love what America once stood for but Trump the evil bastard destroyed that ! @@georgealderson4424
How did this get political?
This is not a great performance.
Stuart F. Quite agree I thought it was harsh ,very rough at the edges,and hard to listen to.
@@sarahjones-jf4prParts of the subject-matter are also harsh and rough. Personally, I don't need perfection, just meaning...
@@sidpheasant7585 Your "Personal" opinion. not mine.
@@sarahjones-jf4pr You gave yours and I mine, and nobody was left in any doubt. Most opinions are personal by definition. But a glass can still be half full, rather than half empty...
That's exactly what America is. Harsh, rough at the edges coupled with profound beauty and open space. It's the epitome of Americana and what makes America great! @@sarahjones-jf4pr
Poor Aaron,
He always wanted to write the Great American symphony, without having the inspiration or the way with all to do so, unlike some of his skilled colleagues, such as Samuel Barber or Howard Hanson or Roy Harris. Harris. Copeland progresses into a monotonous orchestral fabric of monolithic proportions comprise mainly of your perfect intervals force and fifths with a gradual amassing of orchestral forces in the most uninspired and flat-footed way, all in order to produce the grand climax of which he is so persistently fond.
Despite his many attempts to master this form, such as the Oregon symphony where the second short symphony, he felt pretty miserably in all three works, because against his better judgment he did not write organically and from the heart, but rather strategically and from the head, producing a skillful but arid fabric, devoid of spontaneity and joy... Unlike his fresh and brilliant Billy, the kid, Appalachian spring, rodeo, which fall from the stage as naturally as water from a fountain.
Unfortunately, as life progressed, Copeland moved from the heart into the head into on the almost cerebral self-restriction which was determined to teach listeners. How to appreciate beautiful dissonances and crunchy harmonies that, while dance and thorny, have a certain old testament righteousness to them. Indeed, subconsciously, one gets the impression that Copeland considers himself a kind of intellectual rabbi of the musical tradition.
Once, went discussing the rapturously beautiful work by Samuel Barber, Knoxville, Summer of 1915, which is nothing if not a sustained and ecstatically beautiful outpouring of human emotion in the most heartfelt and unscripted way, he stopped when I paused and mentioned that Copeland had said he would have loved to have get a hold of the text before Barbara had and do it, adding, within ironic smile, ' he could never have done what Barbara did. He simply didn't have the gift of melody , or emotional passion.:
Which is quite true. While I love Copland for his textural clarity and economy and intensity of seniorities that convey so much atmospheric color, I find him often pretentious, and intellectually superior in his musical choices, far to involved in musical strategy rather than inspired composition. Composition. Yes, he was the dean and the spokesman for generations of American composers, and his books have much of value in them, but his brain was too much with him and betrayed him in the end, so far as his music was concerned.
What a strange and very academic impression, as if you hadn't even listened to the music. Pretentious is the very opposite of who he is. And for goodness sake, spell
his name correctly.
33:02
33:07