Symphony No. 3 (Copland)

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Symphony No. 3 was Aaron Copland's third and final symphony, its premiere performance taking place on October 18, 1946, by the Boston Symphony Orchestra under Serge Koussevitzky.

Written at the end of World War II, it is known as the essential American symphony that fuses his distinct "Americana" style of the ballets (Rodeo, etc.) with the form of the symphony, which has generally been a European-dominated musical form. The Fanfare for the Common Man is used as a theme in the fourth movement. Various fragments from Fanfare are also used for primary thematic material in the first three movements.

 \relative c''' { \clef treble \key e \major \time 4/4 \tempo "Molto moderato - with simple expression" 4 = 42 \partial 4*1 e4(\p_"dolce" | b2) r4 e( | gis, e' a,2)~ | a8 r e'4( b2 ~ | \time 2/4 b }

The first movement (Molto moderato) opens with a simple theme in the woodwinds and strings, which is echoed warmly throughout the orchestra before quickly heightening into a brassy fanfare (in which we get our first hints of the Fanfare for the Common Man theme.)  \relative c { \clef bass \time 4/4 \tempo "Più moss ancora" 4 = 92 d\f-> f-- a2-- | b4-- a-- gis2-- | fis4-> a-- d-- cis-- | c-- ees-- g2-- }

The movement ends as peacefully as it started, but we are quickly snapped out of the reverie with the thunderous timpani thump that launches the lively scherzo into action.
  << \new Staff \relative c' { \clef treble \time 2/2 \key c \major \tempo "Allegro molto" 2 = 108 r4 c8\f-> f a4-> b-> | c1->\sf } \new RhythmicStaff { \clef bass f4_"Gran Cassa"\ff r4 r2 | r1 } >>

The whirling second movement (Allegro molto) features a dashing, boisterous theme, settling into gentler, pastoral segment but ending exuberantly. \relative c''' { \clef treble \key b \minor \time 5/4 \tempo "Andantino quasi allegretto" 4 = 84 b4(\pp d2) fis | gis4( fis2) eis | \time 3/4 dis4( fis2) | b4.( bes) | a( c) | e2. }

The third movement (Andantino quasi allegretto) opens slowly and contemplatively, featuring Copland's typically sparse and almost ambiguous harmonies. It digresses into a frisky dance-like passage, vaguely Latin American in tone, before transitioning uninterrupted into the finale (Molto deliberato - Allegro risoluto), where we hear a variation on the Fanfare for the Common Man in its full glory.
 \relative c'' { \clef treble \key aes \major \time 4/4 \tempo "Molto deliberato" <ees ees,>16( <aes aes,> <ees' ees,>8~ <ees ees,>2.) |  <aes, aes,>16( <ees' ees,> <des des,>8~ <des des,>2) <f aes,>4( | <des f,> <aes des,> <ees as,>2~ | <ees aes,>4) }

The duration of this movement is spent primarily with the development and recapitulation of the Fanfare melody: Copland gives it a dazzling contrapuntal treatment while at the same time managing to introduce an entirely new theme. The symphony closes majestically with a final reprise of both the Fanfare and the symphony's opening motif.

The overall tone of the work is one of heroism and dignity, and it leaves an appropriately stirring impression.

Note that the Fanfare in the Fourth Movement is not a direct copy of the stand-alone work Fanfare for the Common Man. There are numerous subtle changes, including a new introduction (a woodwind duet begins the Fourth Movement,) two key changes, and different percussion parts.



  1. ^ Achenbach, Andrew (November 1996). "Copland Symphony 3/Harris Symphony 3". Gramophone. Retrieved November 14, 2015. 
  2. ^ a b Dickinson, Peter (2000). "Copland Symphony No. 3; Appalachian Spring Suite". Gramophone. Retrieved November 14, 2015. 

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