This disc brings high-class playing and sound from the Litton/Delos team. The admirable Dallas orchestra respond with exemplary polish and dedication, while the bright, crisp recording generates an exciting sense of spectacle, particularly in the Organ Symphony (try from 6'35'' into the scherzo to hear how thrillingly realistic John Eargle’s sound picture can be).
All three performances afford ample pleasure without, perhaps, quite challenging the very best. For instance, I’m not sure I’d necessarily give Litton the nod over Slatkin in The Red Pony. For me it’s the latter who distils the greater warmth and nostalgia in this charming score; indeed, Slatkin’s direction consistently evinces just that little bit more characterful flair. The Saint Louis Symphony, too, score marginally over Litton’s band in terms of rhythmic point and homogeneity.
On the other hand, honours are more evenly divided when it comes to the Organ Symphony. Like Slatkin and Simon Preston on a rival RCA disc, Litton and Wayne Marshall forge an extremely convincing alliance in this weirdly compelling utterance. The contemplative opening movement comes off beautifully here, whereas the frantic, slightly unhinged outer portions of the scherzo are invested with greater physicality and bite in Saint Louis. Both partnerships skilfully extract maximum eloquence from the finale, though Slatkin draws together the threads of the imposing, splendidly Gothic coda with more cumulative impact than does Litton.
Those who (understandably) resist the occasionally gross mannerisms of Bernstein’s 1989 DG remake of Music for the Theatre will find Litton’s account a lucid, transparent antidote (both the central “Interlude” and “Epilogue” possess an intimacy that genuinely touches). All the same, I did find myself craving perhaps a little more in the way of mordant humour and sheer chutzpah in the vaudeville theatricals of the “Dance” and the “whorehouse music” (to borrow Roy Harris’s apt description) of the “Burlesque” (some terrific trumpet playing notwithstanding). I do hope Teldec will soon restore to currency Hugh Wolff’s outstanding version with the Saint Paul CO (7/91 – nla) – to my mind quite the best realization I have yet heard of the 24-year-old Copland’s bracing inspiration. However, if Litton’s programme appeals (and it certainly should), don’t hesitate.'