Uploaded May 2026 | Updated September 2026, 2 weeks ago
Los Angeles Philharmonic Orchestra conducted by André Previn.
I - Adagio (♪ = 48) - Allegro (𝅗𝅥 = 120) - Poco meno mosso: 0:00
II - Adagietto (♪ = 54-60) - Molto piano - Risoluto, pesante - Molto ritardando - Tempo I - Molto ritardando: 12:13
III - Scherzo. Vivace (𝅗𝅥. = 132-8): 27:22
IV - Finale. Allegro con spirito (𝅗𝅥 = 138-44) - Sostenuto - Risoluto - Sostenuto - Risoluto: 32:54
Shapero's Symphony in B-flat major (more known as "Symphony for Classical Orchestra")was finished in March 1947, being commissioned by the Koussevitzky Foundation. It was premiered in Boston on January 30 of 1948, performed by the Boston Symphony Orchestra conducted by Leonard Bernstein. The conductor greatly admired the symphony, and soon recorded it with the Columbia Symphony Orchestra. The piece had a lukewarm reception at the time, soon falling into oblivion as Serialism and other avant-garde aesthetics largely displaced Neoclassicism.
When in the mid-1980s Andre Previn phoned him out of the blue hatching an idea to revive the symphony, the composer assumed it was a prank call. Instead, it was the gateway to Shapero's rediscovery. Whereas reactions to the symphony in 1948 had been lukewarm at best, in 1986 it received rapturous ovations in Los Angeles and Carnegie Hall. One critic described the piece as the greatest American symphony; another praised it as “an expansive score of immense strength, vitality, and deeply felt expressiveness.” It was an auspicious moment that led to a late-career renaissance for Shapero.
Structured in the traditional four movements and in the key of B-flat major, the piece marked the climax of Shapero’s early career. Although labelled as "Classical," many of the work's features point to Beethoven rather than Haydn or Mozart, such as in the handling of harmony. In particular, Beethoven's Seventh Symphony is mentioned as a model for the piece. The work's orchestration, distinctively bright and brassy, is undoubtedly derived a fair amount from Piston and Copland, as well as from the composer's experience as a dance band arranger. Jazz and blues also subtly influenced the piece, as did the music of Stravinksy.
The first movement is structured in sonata form. It begins with an adagio introduction, dominated by strings and with clear hints of the blues. A rushing crescendo leads to the main allegro, with a rhythmic main theme being introduced between strings and woodwinds. The music reaches a strong climax with a very Beethovenian series of alternations between tonic and dominant. A transition leads to a lyrical and cantabile second theme introduced by the woods over rushing string figurations. The ensuing development is more dramatic in tone, culminating in a joyful and resolute climax. Follows a recapitulation of the material. A vigorous coda ends the allegro.
The second movement is also structured in sonata form. It opens with a deeply lyrical main theme on violins, with supple rhythms, graceful turns, sighing fourths, and sweet appoggiaturas and suspensions. This material is contrasted by more accented and rhythmic second theme. Follows a development that combines element of both, reaching two animated climaxes in which the secondary material is more prevalent. The themes are then recapitulated in a varied manner, before the adagietto ends with a serene coda.
The third movement is a scherzo in ternary form. It begins with a rhythmic and energetic main theme on strings, heavily Beethovenian in nature as it contains ghostly chromatic figures, a sort of peasant stomping and a clear sense of humor. The trio section features a variation of the main material, with woodwinds taking a more active role. The scherzo is then resumed as the theme is recapitulated with some variations. A playful coda brings the scherzo to an end.
The fourth movement is written in sonata form. It opens with a firm chord, followed by an animated and rhythmic main theme on full orchestra, culminating in a vigorously accented climax. A melodic and cantabile second theme is then introduced by violins. Worth noting is that Shapero quotes the themes from previous movements throughout the finale. The development begins with a return to the opening chord, followed by a contrapuntal transformation of the material, reaching a more dramatic climax. Then a drawn-out crescendo leads to a second climax, which in turn launches the recapitulation of the main themes. A resolute coda ends the work in a determined way.
Picture: "White Bluffs, Buffalo River" (1973) by the U.S.A painter Thomas Hart Benton.
Musical analysis largely written by myself. Sources: tinyurl.com/29tma8ne, tinyurl.com/236yadpp
To check the score: tinyurl.com/2dkbq3zo
Los Angeles Philharmonic Orchestra conducted by André Previn.
I - Adagio (♪ = 48) - Allegro (𝅗𝅥 = 120) - Poco meno mosso: 0:00
II - Adagietto (♪ = 54-60) - Molto piano - Risoluto, pesante - Molto ritardando - Tempo I - Molto ritardando: 12:13
III - Scherzo. Vivace (𝅗𝅥. = 132-8): 27:22
IV - Finale. Allegro con spirito (𝅗𝅥 = 138-44) - Sostenuto - Risoluto - Sostenuto - Risoluto: 32:54
Shapero's Symphony in B-flat major (more known as "Symphony for Classical Orchestra")was finished in March 1947, being commissioned by the Koussevitzky Foundation. It was premiered in Boston on January 30 of 1948, performed by the Boston Symphony Orchestra conducted by Leonard Bernstein. The conductor greatly admired the symphony, and soon recorded it with the Columbia Symphony Orchestra. The piece had a lukewarm reception at the time, soon falling into oblivion as Serialism and other avant-garde aesthetics largely displaced Neoclassicism.
When in the mid-1980s Andre Previn phoned him out of the blue hatching an idea to revive the symphony, the composer assumed it was a prank call. Instead, it was the gateway to Shapero's rediscovery. Whereas reactions to the symphony in 1948 had been lukewarm at best, in 1986 it received rapturous ovations in Los Angeles and Carnegie Hall. One critic described the piece as the greatest American symphony; another praised it as “an expansive score of immense strength, vitality, and deeply felt expressiveness.” It was an auspicious moment that led to a late-career renaissance for Shapero.
Structured in the traditional four movements and in the key of B-flat major, the piece marked the climax of Shapero’s early career. Although labelled as "Classical," many of the work's features point to Beethoven rather than Haydn or Mozart, such as in the handling of harmony. In particular, Beethoven's Seventh Symphony is mentioned as a model for the piece. The work's orchestration, distinctively bright and brassy, is undoubtedly derived a fair amount from Piston and Copland, as well as from the composer's experience as a dance band arranger. Jazz and blues also subtly influenced the piece, as did the music of Stravinksy.
The first movement is structured in sonata form. It begins with an adagio introduction, dominated by strings and with clear hints of the blues. A rushing crescendo leads to the main allegro, with a rhythmic main theme being introduced between strings and woodwinds. The music reaches a strong climax with a very Beethovenian series of alternations between tonic and dominant. A transition leads to a lyrical and cantabile second theme introduced by the woods over rushing string figurations. The ensuing development is more dramatic in tone, culminating in a joyful and resolute climax. Follows a recapitulation of the material. A vigorous coda ends the allegro.
The second movement is also structured in sonata form. It opens with a deeply lyrical main theme on violins, with supple rhythms, graceful turns, sighing fourths, and sweet appoggiaturas and suspensions. This material is contrasted by more accented and rhythmic second theme. Follows a development that combines element of both, reaching two animated climaxes in which the secondary material is more prevalent. The themes are then recapitulated in a varied manner, before the adagietto ends with a serene coda.
The third movement is a scherzo in ternary form. It begins with a rhythmic and energetic main theme on strings, heavily Beethovenian in nature as it contains ghostly chromatic figures, a sort of peasant stomping and a clear sense of humor. The trio section features a variation of the main material, with woodwinds taking a more active role. The scherzo is then resumed as the theme is recapitulated with some variations. A playful coda brings the scherzo to an end.
The fourth movement is written in sonata form. It opens with a firm chord, followed by an animated and rhythmic main theme on full orchestra, culminating in a vigorously accented climax. A melodic and cantabile second theme is then introduced by violins. Worth noting is that Shapero quotes the themes from previous movements throughout the finale. The development begins with a return to the opening chord, followed by a contrapuntal transformation of the material, reaching a more dramatic climax. Then a drawn-out crescendo leads to a second climax, which in turn launches the recapitulation of the main themes. A resolute coda ends the work in a determined way.
Picture: "White Bluffs, Buffalo River" (1973) by the U.S.A painter Thomas Hart Benton.
Musical analysis largely written by myself. Sources: tinyurl.com/29tma8ne, tinyurl.com/236yadpp
To check the score: tinyurl.com/2dkbq3zo
