Ever since I had the opportunity to hear Rorem's Third Symphony in its 1959 premiere under Leonard Bernstein (in the New York Philharmonic's American music collection) I have been convinced that it should be considered one of the great American symphonies. While the first two symphonies here receive their recorded premieres, comparisons between Bernstein and Serebrier are inevitable (Abravanel also recorded the symphony, and a kind reader informs me that it's currently available on Vox. I'm ashamed to say that I have not heard it, but certainly will very shortly). Briefly put, Bernstein takes a little more time over the Andante fourth movement than does Serebrier, and a bit less over the quick second and fifth movements. The differences aren't large, but Bernstein's rendition might be said to emphasize the music's "American" extrovert qualities while Serebrier (no less rhythmically acute) reveals a bit more of Rorem's "French" side--his elegance and richly polished musical surfaces. God knows the music thrives under both conductors, as it could and should under many others.

Given the fact that all three works were recorded in a mere two days, the quality of the results that Serebrier gets is pretty amazing and stands as a tribute to the professionalism of the Bournemouth Symphony. The orchestra's playing offers both grace and power where necessary, and the ensemble sounds completely at home in the idiom. It may be that Serebrier doesn't push quite as hard as he could in some of the more boisterous moments, but given the importance of the music and the general level of quality (and absolutely first-class sonics), it would be a crime to deny this extraordinary release anything less than the highest possible recommendation. As a birthday gift to the composer in this, his 80th year, I can't imagine a finer gift, and I hope that he gets as much pleasure from it as he has given me--and will give to you as well. [8/16/2003]