Copland: Symphony No. 3 & 3 Latin American Sketches

Album review

Premièred in 1946, a year after the end of World War II, Copland’s iconic Third Symphony was described by the composer as “a wartime piece” – or, more accurately one might say, an end-of-war piece – “intended to reflect the euphoric spirit of the country at the time” The fourth movement, heard on this recording in its original uncut form, opens by quoting one of his most well known pieces, Fanfare for the Common Man written 1942, some accents of which already appear in the first movement, as a matter of fact. What is less known is that after consultation with Leonard Bernstein, Copland made some serious alterations to a few passages in this work. Only recently has the original version been made available to musicians. Most striking among these changes is the elongated coda, which adds a broader and richer palette of sonority to the already boisterous proceedings. It is this original version that Leonard Slatkin and the Detroit Symphony have chosen to record – this is a recent recording, 2015, not a mere re-release, mind you.

As for the companion piece on this album: Copland described the Three Latin American Sketches “as being just what the title says.” (even though two of the three movement are more specifically Mexican, it might be added.) “The tunes, the rhythms and the temperament of the pieces are folksy, while the orchestration is bright and snappy and the music sizzles along.” Yes, folksy the sketches may be, but in Coplands highly polished orchestration and harmonic world, as complex as Ravel’s or Debussy’s Spain. © SM/Qobuz