Ormandy: Three American Symphonies

Eugene Ormandy may not have been as visible a supporter of contemporary American music as, say, Serge Koussevitzky in Boston or Leonard Bernstein almost everywhere, but he certainly did his part in keeping it before the public.  Here are three American symphonies performed and recorded by him in the 1950s - I believe all three were once offered as an Albany Records CD, which is now out-of-print:

William Schuman: Symphony No. 6 (1948)

Philadelphia Orchestra conducted by Eugene Ormandy

Recorded November 15, 1953

Side 1 of Columbia Masterworks ML-4992, one vinyl LP record

Link (FLAC file, 66.37 MB)

Link (MP3 file, 37.01 MB)

Walter Piston: Symphony No. 4 (1950)

Philadelphia Orchestra conducted by Eugene Ormandy

Recorded April 15, 1954, under the auspices of the

Walter W. Naumberg Foundation

Side 2 of Columbia Masterworks ML-4992, one vinyl LP record

Link (FLAC files, 69.2 MB)

Link (MP3 files, 39.98 MB)

Roy Harris: Symphony No. 7 (1952)

Philadelphia Orchestra conducted by Eugene Ormandy

Recorded October 23, 1955

Side 1 of Columbia Special Products CML-5095, one vinyl LP record

Link (FLAC file, 56.24 MB)

Link (MP3 file, 24.57)

About the works themselves, I can say little beyond that the Piston symphony is one of his most accessible scores, the Schuman one of his thornier ones.  The Harris, a one-movement work like his famous Third, seems to me one of his finest (of course, I've only heard two others - the Third and the "Symphony 1933"), a variation form based on a long, passacaglia-like theme similar to that in the Piano Quintet uploaded earlier.  I don't have original liner notes for this record, as it came in a generic Columbia Special Products sleeve, so I offer with the download an extract from Dan Stehman's 1984 monograph on the composer, analyzing the symphony.

Roy Harris: Chamber Music

Roy Harris

During the 1930s, Oklahoma-born Roy Harris (1898-1979) was generally seen as the greatest hope for the future of American music.  After all, the facts of his life - born in a log cabin on Lincoln's birthday, worked as a truck driver while studying to be a composer - made good copy, but beyond this, the music he was writing in the 1930s was as good as, or better than, any being written in America at the time.  The two major American record companies, Victor and Columbia, were quick to seize on this, recording over a dozen of his works between 1933 and 1941 - more than any other contemporary American composer.  If this state of affairs seems incredible to us today, remember that Copland's reputation was that of an enfant terrible with his folksy ballet scores not yet written, Barber and William Schuman were in their 20s, the discovery of Ives was in its infancy, and Gershwin was considered a light music composer.

The two chamber music recordings I present here were among the last fruits of this Harris-mania, and I submit that not only are they two of Harris' finest works, but among the finest chamber music works written by an American.  That the publishers of these works (G. Schirmer and Mills Music, which is now part of Alfred Music Publishing) have allowed them to go out-of-print is a sad commentary on our musical life.

Roy Harris: Quintet for Piano and Strings (1936)
Johana Harris and the Coolidge String Quartet
Recorded January 24, 1939
Victor Musical Masterpiece set DM-752, four 78-rpm records
Link (FLAC file,  64.87 MB)
Link (MP3 file, 31.84 MB)

Roy Harris: String Quartet No. 3 (Four Preludes and Fugues, 1939)
Roth String Quartet (Roth-Weinstock-Shaier-Edel)
Recorded June 13, 1940, and January 6, 1941
Columbia Masterworks Set MM-450, four 78-rpm records
Link (FLAC files, 62.65 MB)
Link (MP3 files, 30.96 MB)