Harris: Symphony No. 7, William Schuman: Symphony No. 6

Editorial Reviews
Amazon.com
These symphonies by two major American composers have only appeared once on vinyl in the early 1950s, then later on the same CD (Albany Troy 256). Both recordings were in mono with Eugene Ormandy helming the Philadelphia Orchestra ... and they are far and away superior to these works from Koch International. While the New Zealand SO is a grand ensemble, they really have no feel for Harris's nostalgia or his kaleidoscopic textures. The Schuman fares a bit better, but it's clear that the NZSO hasn't performed either of these symphonies much, if at all. The recorded sound could also have been a little less flat overall. The Ormandy, though, was a high watermark, and it's just hard to beat Eugene Ormandy and the Philadelphia Orchestra under any circumstances, even in mono. --Paul Cook

Tracks:

Harris: Symphony No. 7: Tempo gusto, half note=50-55
Harris: Symphony No. 7: dotted half note = 80
Harris: Symphony No. 7: quarter note = 100
Harris: Symphony No. 7: dotted half note = 80
Schuman: Symphony No. 6, Op. 60: half note = 50
Schuman: Symphony No. 6, Op. 60: Moderato con moto; quarter note = 96
Schuman: Symphony No. 6, Op. 60: Leggeramente; quarter note = 192
Schuman: Symphony No. 6, Op. 60: Adagio; quarter note = 60
Schuman: Symphony No. 6, Op. 60: quarter note = circa 120
Schuman: Symphony No. 6, Op. 60: Presto; quarter note = 104

Amazon.com

These symphonies by two major American composers have only appeared once on vinyl in the early 1950s, then later on the same CD (Albany Troy 256). Both recordings were in mono with Eugene Ormandy helming the Philadelphia Orchestra ... and they are far and away superior to these works from Koch International. While the New Zealand SO is a grand ensemble, they really have no feel for Harris's nostalgia or his kaleidoscopic textures. The Schuman fares a bit better, but it's clear that the NZSO hasn't performed either of these symphonies much, if at all. The recorded sound could also have been a little less flat overall. The Ormandy, though, was a high watermark, and it's just hard to beat Eugene Ormandy and the Philadelphia Orchestra under any circumstances, even in mono. --Paul Cook

Customer Reviews:

It's a good thing.......2006-05-31

As for reviewer Sluitjer's pan of this performance, just how many available recordings are there to validate a judgement of "worst possible"? To cross-compare versions of Harris symphonism practically requires sticking entirely to the over-programmed #3. I will agree that this is really Ormandy music. But I love this piece enough that I wish it would get more trials like this. I think I will keep this Keenan NZSO version along with the classic one from the 1950s. It is less emotional, but the sauce isn't quite so gooey.

Wonderful and Valid!.......2003-05-11

The challenge in performing or recording any work already done by a master conductor is ever present. One could choose to perform it exactly the way it has been done before but that would make it an insincere and bad imitation of said work. After careful study and musical decision making resulting in a sincere attempt to realize a composer's work, mixed with fine musicians doing what they do best it becomes valid and worth hearing. This recording not only does that but is pleasing to hear. As a strong Harris fan I enjoy this recording of this symphony and count it among my top favorites of all his recorded symphonies - and I have them all. I applaud this conductor and orchestra for championing the work of a composer such as Harris. Well done!

The worst possible Harris!.......2002-05-22

This is absolutely the worst possible performance of Roy Harris' Symphony #7. It doesn't even sound like Harris! If they only would have listened to Eugene Ormandy's recording of this work with the Philadelphia Orchestra (Albany TROY 256), they would have known how this symphony is supposed to be performed. That 1955 mono recording may be a little shrill, but nevertheless so much preferable to this dreadful first stereo recording of this neglected symphony.

America's best from New Zealand.......2001-11-22

Though the performances do not equal those 50+year -old ones from Ormandy, these performers are to be saluted for their valiant efforts. It was wonderful to hear Harris's brilliant orchestrations in modern sound. The sad part is that in this country (USA) that spends countless billions and billions of dollars on cheap entertainment (football, baseball, pop "music", etc.) it takes a NEW ZEALAND orchestra to record two of our greatest symphonies. Sad.

Piston: Symphony No4; Schuman: Symphony No6

Average customer rating:

Great American Symphonies - too seldom performed
a performance for the ages
The American Symphony at Mid Century

Piston: Symphony No4; Schuman: Symphony No6

Manufacturer: Albany Records
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

Modern & 20th Century | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music
ASIN: B0000049RB
Release Date: 1997-07-01

Tracks:

Sym No.4: Piacevole
Sym No.4: Ballando
Sym No.4: Contemplativo
Sym No.4: Energico
Sym No.7
Sym No.6

Amazon.com

These are mid-fifties mono recordings by Eugene Ormandy and the Philadelphia Orchestra. Don't be put off by the mono sound on this disc. It's fantastic. More than that, the Harris and the Schuman symphonies get bang-up performances. Actually, the Harris Symphony 7, so rarely recorded (or performed) at all, comes across as being perfectly suited to a mono recording. It's too bad that Ormandy didn't return to these works in full stereo. But the digital mastering job by Debra Parkinson is absolutely astonishing. These post-war symphonies are among the best American works of their kind. --Paul Cook

Customer Reviews:

Great American Symphonies - too seldom performed.......2004-04-09

Here are great works by three fine American composers that usually get overlooked - Harris and Schuman overshadowed by their third symphonies and Piston just too rarely performed (period).

These are still great works. The Piston is all serene and well mannered, with a surpisingly lyrical and easy going first movement. The Harris is another of his one movement works that starts out as a grim passacaglia and then opens up into a light and dancing finale. The Schuman is probably the darkest and less readily accessible work on the CD but give it a few listens. It has its rhythmic and melodic charms beneath its rather gaunt exterior.

The sound is mono but very good mono. Plus there are few recordings (if any) of these pieces, and they are too good to pass up, especially when all collected together as they are here.

a performance for the ages.......2000-09-12

As fine as the other two symphonies on this are, the Harris 7th is the performance worth buying this disc for. Certainly a work of longing with overtones of death, but with a vision that truly does delve into the dark night of the American soul. Ormandy and the Philadelphians gave the composer the performance he wanted, even playing mezzo-forte in the winds throughout as the composer directed (he thought winds sounded mushy pianissimo). The artistic excellence of this performance cannot be bettered. There is little competition for the title "great American symphony" after hearing this (but don't miss Schuman's third in Bernstein's early 60's performance).

The American Symphony at Mid Century.......1999-04-15

Here we have three absolutely representative American symphonies that were written within a few years of each other- the Schuman 6th, in 1949, the Piston 4th, in 1950 and the Harris 7th in 1955. While the Piston is also available in a digital-stereo recording conducted by Gerard Schwarz, neither the Schuman nor the Harris have ever been heard on discs other than in their Philadelphia outings. Both the Schuman and the Piston have Antal Dorati in common as the commissioner. With the 6th Symphony, Schuman's music began turning inwards - and the extrovert works of the 1940s became transformed into the dark, brooding, dramatic essays of the remaining 35 years of his career. In one long movement, it favors Schuman's variation procedures (a sort of gigantic passacaglia) framed in what could be called the George Washington Bridge structure. Two enormous dramatic peaks preceded and followed by relative surface calm - and separated by an extended, if largely pianissimo, development. The Piston symphony is pure New England neoclassic delight (even though it was written for the Minneapolis Symphony). It is a 'typical' (in a positive sense) a work as one will encounter with this composer. Harris' 7th, written for Ormandy, is also a feast for the ears. Structurally similar to the 3rd, the work progresses from a simple harmonic statement through a serious of open ended variations to its ecstatic conclusion. Harris used to refer to this as his 'Dance Symphony.' The last third of the work is dominated by the irregular 11/8 meter: and Ormandy somehow manages to turn into 12/8 (listen carefully, now).

It's a delightful collection, nonetheless, even if our conductor could not handle the number eleven.

Track Listings: