Aaron Copland’s Third Symphony, composed between 1944 and 1946, has long enjoyed a distinguished discography, ever since its Boston premiere under Serge Koussevitzky in 1946. For many years, collectors have turned instinctively to Leonard Bernstein’s two authoritative recordings – interpretations of undeniable stature, even if their vintage sonics now fall short in a work whose full impact, especially in the blazing apotheosis of the finale, depends so heavily on the widest dynamic range and orchestral clarity.

Sir Antonio Pappano’s new account with the London Symphony Orchestra enters a field already enriched by two notable SACD predecessors, and it speaks volumes that all three can be warmly recommended on both musical and technical grounds. Carlos Kalmar’s Oregon performance and Pappano’s own reading both adopt Copland’s 1966 revision, while John Wilson’s BBC Philharmonic version returns to the original 1946 score. The choice between them may ultimately rest as much on repertoire couplings as on interpretative nuance, for each offers persuasive insights into this quintessentially American masterpiece.

Pappano’s interpretation is marked from the outset by a magisterial sense of scale allied to a taut, propulsive energy. The opening movement unfolds ‘con espressione semplice’, just as Copland requests, yet beneath its apparent serenity lies a firm architectural grasp that pays dividends across the symphony as a whole. The LSO respond with playing of remarkable refinement: textures are transparent, balances expertly judged, and the myriad tempo and dynamic inflections meticulously observed.

The scherzo is notable for its crisp, springy rhythms – dance-like yet never trivial – while the slow movement achieves a depth of expression that is both eloquent and searching. Here, as elsewhere, Pappano’s ear for colour and detail ensures that reflective passages are finely shaded, their inward lyricism set in telling contrast to the music’s more incisive, rhythmically driven episodes.

Throughout, there is a palpable sense of control: the conductor maintains a firm grip on structure without sacrificing spontaneity, and the orchestra’s playing combines visceral power with a finely honed sophistication. Nowhere is this more evident than in the finale, where Copland’s incorporation of the ‘Fanfare for the Common Man’ crowns the symphony in a blaze of splendour. The LSO brass are fearless, their impact heightened by crashing tam-tams, thunderous bass drum and timpani strokes that resonate thrillingly in the Barbican acoustic. The result is a conclusion of sweeping grandeur and exhilarating virtuosity.

The companion work, George Walker’s Sinfonia No. 5 “Visions” (2016), provides a striking and deeply affecting contrast. Conceived as a response to the horrific 2015 massacre at the Emanuel African Methodist Episcopal Church in Charleston, South Carolina, the work stands as a searing protest against violence. Whereas Gianandrea Noseda’s recent recording of this piece intersperses the music with spoken texts, Pappano opts for a purely orchestral presentation. The LSO convey the score’s anguish and fury with unflinching intensity, their playing capturing both its raw emotional force and its underlying structural coherence.

Recorded live in February (Walker) and September (Copland) 2025, this 5.1 multi-channel hybrid SACD is among the most impressive recent issues from the Barbican Hall. The sound is atmospheric, combining clarity with weight and presence; climaxes are delivered with tremendous impact, yet quieter passages retain a finely judged intimacy.

With performances and engineering of this calibre, choice among the available SACD versions of Copland’s Third, as I have suggested, may come down to the listener’s preference for the respective couplings. On that score, Pappano’s inclusion of Walker’s powerful and thought-provoking ‘Visions’ makes this release not only artistically distinguished but also especially rewarding.

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