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And in each of the three best,
there is that element that typi-
fies basic Americanism. What is
it? I can't write what it is. I can
only feel it when I hear it,
With Copland, it has a lot to
do with his "American sound-
ing" harmonics, the intervals he
uses — unusually long leaps —
and the way he structures his
harmony. And certainly it is in
his choice of instruments in his
orchestration. His music simply
"sounds" like Copland, not just
in this work but in so much of
his other music.
And indeed, in the case of his
Third Symphony, it is, to a con-
siderable degree, some of his
other music: The composer
builds much of his symphony
on his Fanfare for the Common
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24234 Orchard Lake Rd., N.E. corner of 10 Mile • 476-1377
A new CD salutes the genius of composer
Aaron Copland.
Man.
Oue is the complete master of the
score of Copland's Third Symphony.
This probably shouldn't be surprising.
Oue was Leonard Bernstein's protege.
The late conductor's recordings of
Copland stand among the finest ever
made. It was to be expected that the
student, Oue, should learn from his
teacher, Bernstein.
The respect Bernstein had for Oue's
talent was shown in this extraordinary
event: The family of the maestro pre-
sented Oue with the baton and con-
cert jacket Bernstein used and wore at
his last concert.
Speaking of Bernstein, 10 CDs of
never-before-released live performances
by the maestro and the New York
Philharmonic, Bernstein Live, are now
available.
Highlights from the set, which bene-
fits the orchestra, include the 1951
world premiere recording of Charles
Ives' Second Symphony; 29 composers,
from Bach to Xenakis; 12 instrumental
soloists,-including Bernstein on piano
(Beethoven's Triple Concerto) and harp-
sichord (Bach's Brandenburg Concerto
No. 5); and a 1970 concert of Wagner's
Scenes from Gotterdammerung, with
Eileen Farrell and Jess Thomas.
Included in the set are two booklets
of 500 pages, featuring essays; historic
photographs; facsimiles from
Bernstein's conducting scores; a new
set of program notes; a list of nearly
500 recordings Bernstein made with
the Philharmonic; a detailed catalogue
of Bernstein's more than 1,200
Philharmonic programs (1943-1989);
an illustrated time line; firsthand
accounts by Philharmonic musicians
and soloists who played with the con-
ductor; and a complete roster of
Philharmonic musicians.
The review copy received included
excerpts, and the quality of the record-
ings, even on the oldest of the set, is
very good. The recordings were made
over a period of three decades, from
1951-1981.
If the phenomenal American con-
ductor Leonard Bernstein is one of
your favorites, these recordings and the
accompanying material will certainly
grace your library. The cost of the set
is 5195, plus shipping and handling.
The set is not sold in stores, but
must be purchased directly from New
York Philharmonic Special Editions.
To place an order or for more informa-
tion, e-mail, WWW. newyorkphilhar-
monic.org; telephone, (800) 557-
8268; fax, (317) 781-4608; or write,
New York Philharmonic Special
Editions, Avery Fisher Hall, 10
Lincoln Center Plaza, New York, NY
10023-6973.
— Reviewed by King Durkee
Copley News Service