ABSTRACT
William Schuman began his First Symphony in Paris in 1935, scoring it for an ensemble of 18 instruments. Although the composer was downcast at the verdict, Schuman’s First Symphony did receive one performance on 21 October 1936 by the Gotham Symphony Orchestra conducted by Jules Werner at a Composers’ Forum Laboratory sponsored by the Works Progress Administration. The attention of Sergei Koussevitzky was drawn to Schuman’s Second Symphony by Aaron Copland, which led to its Boston première in February 1939. Schuman’s Third Symphony is a remarkable achievement, a totally American work of considerable integrity. Schuman treats the separate sections of the orchestra as self-contained units, each with its own distinctive material violently locked in battle. The deeply poignant effect of the intertwining instruments reveals Schuman as a closet Romantic, allowing real passion to be expressed. The frenzy of the closing pages marks Schuman’s most brilliant writing, frightening in its menace and intense ferocity.
