Roy Harris: Symphony No. 3; Randall Thompson: Symphony No. 2; David Diamond: Symphony No. 4. New York Philharmonic, Leonard Bernstein.
I think most of my students these days don’t know the name Roy Harris. Yet in my own undergraduate days, the Harris Symphony No. 3 was on the syllabus in my 20th century music history class as an example of American symphonic writing. (I think Appalachian Spring was on the list as well, but if you wanted an American symphony, the Harris was the go-to piece, unless you substituted the Copland Third for Appalachian Spring.) The Harris remains convincing, with vivid gestures and an unusual single-movement formal plan. The Thompson is more neo-classical; a little predictable at times, but charming. (Did it really get the enormous number of performances mentioned in the letter to Bernstein I cited here? Bernstein’s advocacy probably helped.) I found the melodic material in the Diamond Fourth to be more compelling than in other works of his that I have heard, with less of the aimless contrapuntal bustle that he can fall into.
Miles Davis Quintet: Live at the 1963 Monterey Jazz Festival. This is a very strong set offering tunes associated with earlier Davis recordings – Autumn Leaves, So What, Stella by Starlight, and Walkin’ – but from the perspective of a later ensemble, including George Coleman, Herbie Hancock, Ron Carter, and Tony Williams, that treats the material much more freely than Davis’s groups of a few years earlier. It’s certainly trickier to follow the form on this version of Autumn Leaves as compared with the one on the Cannonball Adderly album Somethin’ Else. There’s gorgeous low register open horn playing from Miles on Stella, and a couple of bowed Ron Carter solos, not something I associate with that master. Do I hear passing references to the original version of So What in Coleman’s solo on this piece?