Aaron Copland - Symphony for Organ and Orchestra

Organ: Paul Jacobs
Conductor: Michael Tilson Thomas
Orchestra: San Francisco Symphony Orchestra

I. Prelude: Andante
II. Scherzo: Allegro molto
III. Finale: Lento - Allegro moderato

From Wikipedia:
Aaron Copland wrote the Symphony for Organ and Orchestra in 1924. It represents a major work in the composer's oeuvre, as it was his first fully realized orchestral work, his first work for organ, and the first piece whose orchestration he heard. It was premiered on January 11, 1925, in New York. In 1928, Copland re-orchestrated the work without organ as his Symphony No. 1, rewriting the organ part in the brass and adding saxophone.

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The Symphony for Organ and Orchestra established Copland as a serious modern composer. Musicologist Gayle Murchison posits that his use of the octatonic and whole-tone scales, polyrhythmic ostinato figures, and dissonant counterpoint proves his mastery of the modernist harmonic, rhythmic, and melodic techniques of the 1920s. The work shows much influence of Copland's hero Igor Stravinsky such as its nervous, driving rhythms and some of its harmonic language, but it also draws significantly and consciously from jazz - Copland's birthright - as in its playful interpretation of triple meter in the scherzo movement. For a decade Copland would continue to draw from jazz in his quest to evoke an essentially "American" sound. His interaction with Maestro Koussevitzky would lead to the latter to conduct 12 of Copland's orchestra pieces as head of the BSO, including several he commissioned and premiered.

The audience at the New York premiere was taken aback by its "radical departure from common practice conventions." From the stage, Maestro Damrosch famously remarked, "if a gifted young man can write a symphony like that at age twenty-three, within five years he will be ready to commit murder," which was in Copland's words a joke meant to "smooth the ruffled feathers of his conservative Sunday afternoon ladies faced with modern music." Just as contemporary critics rejected Copland's work for being too jazzy and too modern, receptive conductors and audiences were excited to hear his developing style. Copland himself came to see the work as too "European" and consciously sought to evoke an American idiom in his future work before eventually accepting it as a reflection of his natural idiom.

https://en.wikipedia.org/wiki/Symphony_for...)