{"id":495,"date":"2013-07-17T00:38:09","date_gmt":"2013-07-17T04:38:09","guid":{"rendered":"http:\/\/www.artsjournal.com\/uq\/?p=495"},"modified":"2013-07-17T00:38:09","modified_gmt":"2013-07-17T04:38:09","slug":"the-great-american-symphony","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/uq\/2013\/07\/the-great-american-symphony.html","title":{"rendered":"The Great American Symphony"},"content":{"rendered":"<p>Tom Huizenga, who presides over Classical Music for National Public Radio, recently initiated a discussion thread on \u201cThe Great American Symphony\u201d \u2013 and invited me to contribute something about early lineage. Keying on a superb new Naxos recording of John Knowles Paine\u2019s Symphony No. 1, on my idiosyncratic enthusiasm for Dvorak and Chadwick as quintessential \u201cAmerican\u201d composers, on my passion for George Templeton Strong\u2019s <em>Sintram<\/em> Symphony (with the most beautiful slow movement of any American symphony), and on my conviction that Charles Ives composed the (only) two Great American Symphonies, I contributed a little es<a href=\"http:\/\/www.npr.org\/blogs\/deceptivecadence\/2013\/07\/11\/201231850\/tracing-the-spirit-of-the-early-american-symphony\"><\/a>say. <\/p>\n<p>After 1920, Serge Koussevitzky predicted that \u201cthe next Beethoven vill from Colorado come\u201d \u2013 and embarked on a fruitless interwar quest for the Great American Symphony. No one realized the magnitude of Ives\u2019s symphonic achievements. Finally, in 1951, Leonard Bernstein premiered Ives\u2019s Second Symphony with the New York Philharmonic. Leopold Stokowski premiered Ives\u2019s Fourth 14 years later. In retrospect, the Americans championed by Koussevitzky were more in thrall to Europe than they realized. If Ives remains the great American symphonist, it\u2019s partly because \u2013 like Melville, like Whitman, like Mark Twain, like Gershwin \u2013 he disdained attending \u201cfinishing school\u201d in Germany or France.    <\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tom Huizenga, who presides over Classical Music for National Public Radio, recently initiated a discussion thread on \u201cThe Great American Symphony\u201d \u2013 and invited me to contribute something about early lineage. Keying on a superb new Naxos recording of John Knowles Paine\u2019s Symphony No. 1, on my idiosyncratic enthusiasm for Dvorak and Chadwick as quintessential [&hellip;]<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[1],"tags":[],"class_list":{"0":"post-495","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-uncategorized","7":"entry"},"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/p2QLHN-7Z","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/uq\/wp-json\/wp\/v2\/posts\/495","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/uq\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/uq\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/uq\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/uq\/wp-json\/wp\/v2\/comments?post=495"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/uq\/wp-json\/wp\/v2\/posts\/495\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/uq\/wp-json\/wp\/v2\/media?parent=495"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/uq\/wp-json\/wp\/v2\/categories?post=495"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/uq\/wp-json\/wp\/v2\/tags?post=495"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}