Symphony No.3 - David Diamond

Seattle Symphony Orchestra conducted by Gerard Schwarz.

I - Allegro deciso: 0:00
II - Andante - (attacca): 8:49
III - Allegro vivo: 18:14
IV - Adagio assai: 24:12

Diamond's Symphony No.3 was was composed in 1945, along with the more known fourth symphony. He was promised a performance by Artur Rodziński with the Chicago Symphony Orchestra, which never happened. He then showed it to George Szell and the Cleveland Orchestra, but they had no interest. After a few years, he showed the score to Charles Munch, who premiered it in 1950 with the Boston Symphony Orchestra.

The work is written in an eminently tonal and neorromantic style, as are the first four of Diamond's symphonies. According to the composer's own words, he justifies it by saying: "It is my strongest feeling, that a contemporary music inspired by romanticism, tempered by the introduction of renewed classical techniques, is the way out of this present period of creative chaos in the music". As with the previous ones, the work is cyclical in nature.

The first movement is structured in a modified sonata form. It opens with a crescendo that introduces two motives that will reappear through the work. A vigorous and lively main theme is then presented, contrasted by a more melodic second one. Follows an extensive and continuous development section, which combines and transforms these materials along with the opening motives. The music contrasts several outbursts with more placid passages. The recapitulation doesn't appear, being largely fused with the development. An energetic coda ends the movement.

The second movement is written in ternary form. It begins with a meditative main theme introduced by three flutes, harp and pianos. It is fully exposed by muted strings. Follows a canon between violins and clarinet, as well as several dialogues between instruments as the material is gently developed. The middle part consist of a minor-key modulation with the main theme in the bass, and the counterpoint above is richer. The main theme is then recapitulated in its original form, leading to a solemn climax enhanced by the brass. A transition of timpani and flute lead us to the next part.

The third movement is a short scherzo in monothematic form. It opens with a forceful and rhythmic main theme, built over the figure announced by the snare drum. The music unfolds in a light and cheerful manner, with some explosive outbursts. We don't find the usual contrasting trio, instead some melodic ideas are introduced but not fleshed out. An energetic coda ends the movement.

The fourth movement is also written in monothematic form. It begins with a brief but solemn introduction, followed by the exposition of a lyrical main theme by strings. The clarinet takes it in a very cantabile manner, supported by strings. Then a dialogue is formed between clarinet and oboe, being answered by the horns in a chorale-like interjection. The clarinet then recapitulates the theme, leading us to a calm coda that dissolves in the silence.

Picture: Study of "Westward the Course of Empire Takes Its Way" (1861) by the German-American painter Emanuel Leutze.

Musical analysis partially written by myself. Sources: https://bit.ly/3PYS8h0 and https://bit.ly/3jAGsoA

Unfortunately the score is not available.