Copland: Dance Symphony

This latest release from Naxos brings together Copland's other purely orchestral `symphonies': Whilst it is the Third symphony which is probably the best known of his symphonic output, and which undoubtedly fulfils the concept of the symphony most powerfully and cogently, these three other works are engaging and distinctive in their own right.

The Symphony No.1 is an arrangement of Copland's symphony for Organ and Orchestra from 1924. As the booklet notes point out, the arrangement was primarily made so that the work could attract a greater number of performances through employing a conventional sized orchestra, yet the irony is that the original version has generally received more outings than the arrangement (comparison between the two shows how Copland has revoiced the organ part to integrate it into the orchestral palette, yet the works can be enjoyed as separate entities, each a different `take' on the same material).

The symphony as recorded on this disc is muscular and compelling, with a typical no-nonsense clear-water orchestration, and a Stravinskian construction.

The Symphony No.2- otherwise known as the `Short symphony- is, at 15 minutes long, about the same length as Prokofiev's classical symphony. It employs an even more concentrated neo-classical Stravinskian sound world, and there are distinct echoes of the `wide-open prairie' sound of Copland's ballets.

With its complicated rhythms, this is not a work for anything less than a virtuoso orchestra and the Bournemouth Symphony do not disappoint. Alsop gives the piece a continuous onward momentum, as vital here as with Stravinsky's Dumbarton Oaks. Without such intensity, the piece would soon unravel. Instead it unfolds with a satisfying lyrical logic.

The last work on the CD- the Dance Symphony- betrays its balletic origins (especially in the central movement) in a Debussy-like sound world, though the overall shape and feel of the piece follows the normal symphonic pattern. The three movements follow one another without a break, and it is easy to see how Copland's original inspiration (the 1921 film Nosferatu) engendered a kaleidoscopic pictorial feel, edged with a primitive syncopated colouring.

This is an impressive release highlighting the passion and precision which this orchestra can generate: Marin Alsop bows out in style.

The notes to this Naxos release mention that Copland wrote symphonic style works in two batches - early and late. I knew these three works, then the later Symphony no 3 but I'd love to know the names of any other works from his later period.

This recording showcases the early symphonies very well. The First symphony, as SJ Bonsor points out, removes the organ with wind instruments but failed to make the repertoire in the way that the original did to some extent. Whilst not very original stylistically, it is an impressive debut - very French with some post Sacre Stravinsky and early Prokofiev bombast thrown in. In three movements it is superbly scored and makes a convincing structure.

The Dance Symphony, whilst based on his Vampire ballet, sounds even more French with a hint of eastern exoticism. The opening movement is rhythmically nervous and exciting combined with more melancholic and lyrical material. The dream like central movement reaches a dramatic climax before the mockery, jazzy dancing and cross rhythms of the finale. Ballet based it maybe but it still works as a symphony. It is certainly as convincing as any of Prokofiev's adaptations of ballet and opera material in his Third and Fourth Symphonies.

The Short Symphony certainly more clearly anticipates the open textures and harmonies of the mature Copland but with great rhythmic complexity. The influence of neo classical Stravinsky is greatest here but this music dances in a way that Stravinsky's neo classical symphonies and concertos do not. It's for that reason that I've removed one star because The Bournemouth Symphony Orchestra pick their way through the complex rhythms rather too carefully to give it the bounce and life that it requires. It is certainly a decent performance but too careful to match the work's spirit. The rather plummy, reverberant accoustics don't suit this work the way that it does for the other two because it is essentially a chamber like work where clarity is vital.

Having said that, it certainly isn't enough to stop me recommending an excellent disc that is well recorded and, overall, well performed.

Alsop provides some excellent interpretations here, the BSO play superbly, and it's all beautifully recorded, too! What more could you want?