Antheil: Symphony No. 3 “American” (CD review)

Tom Sawyer; Hot-Time Dance; McKonkey’s Ferry; Capital of the World. Hugh Wolff, Frankfurt Radio Symphony Orchestra. CPO 777 040-2.

In the 1940’s a survey indicated that the four American composers whose works orchestras most often performed at the time were George Gershwin, Aaron Copland, Samuel Barber, and George Antheil. Remarkable, considering that now, some seventy years on, the first three composers are still immensely popular and the fourth, Antheil, is practically unknown.

American composer George Antheil (1900-1959) was a self-proclaimed “Bad Boy of Music” (the title of his 1945 autobiography) in the 1920’s, going forth to Europe to set the world on fire in the manner of his hero, Igor Stravinsky. There was a difference, of course: Stravinsky wrote music that backed up his revolutionary convictions. Antheil’s music, on the other hand, sounds more like the Hollywood film scores he eventually wrote to earn him and his family money.

Antheil’s Third Symphony (1939) carries the subtitle “American,” and while it is certainly quite American in its themes and reflections on American life, it is hardly a “symphony” at all. It is more like a series of tone poems, each section a description of a different part of the country. I found a lot of it noisy and not a little of it derivative, despite Maestro Hugh Wolff and the Frankfurt Radio Symphony’s best efforts to the contrary. Nevertheless, there is also much to entertain one here, and Wolff’s refined yet lively interpretation seems beyond dispute. I doubt that many other conductors could have pulled it off as well as Wolff does. The performance is expansive, stimulating, and certainly colorful.

The shorter works on the disc find names aptly suited to their content: “Tom Sawyer,” “Hot-Time Dance,” “McKonkey’s Ferry,” and named for a Hemingway short story, “Capital of the World.” The latter, a suite from his ballet, is for me the best thing in the present collection, vibrant and characterful, which Wolff fills with vitality rather than mere notes.

Also among the best things about the disc are its sound and its informational booklet. The CPO engineers do a fine job capturing the clear, open, lively sound of an orchestra going full bore, with wide dynamic contrasts, strong bass, clean highs, and a reasonably transparent midrange. The accompanying booklet note contains an extensive biographical essay on the composer by musicologist and author Eckhardt van den Hoogen. The essay’s only drawback is that it’s presented in three languages, and in order to fit all of it into one little booklet, the typeface is so small you almost need a magnifying glass to read it.

I hope now that Hugh Wolff and his Frankfurt players have finished up their project with Antheil’s symphonic works, they will tackle some of the man’s lighter (and possibly better) pieces, the ones he composed for film: things like The Plainsman, Union Pacific, The Buccaneer, Along the Oregon Trail, Tokyo Joe, and The Pride and the Passion.

To hear a brief excerpt from this album, click here:


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Meet the Staff

Meet the Staff
John J. Puccio, Editor, Publisher, Reviewer

Understand, I'm just an everyday guy reacting to something I love. And I've been doing it for a very long time, my appreciation for classical music starting with the musical excerpts on The Big John and Sparkie radio show in the early Fifties and the purchase of my first recording, The 101 Strings Play the Classics, around 1956. In the late Sixties I began teaching high school English and Film Studies as well as becoming interested in hi-fi, my audio ambitions graduating me from a pair of AR-3 speakers to the Fulton J's recommended by The Stereophile's J. Gordon Holt. In the early Seventies, I began writing for a number of audio magazines, including Audio Excellence, Audio Forum, The Boston Audio Society Speaker, The American Record Guide, and from 1976 until 2008, The $ensible Sound, for which I served as Classical Music Editor.

Today, I'm retired from teaching and use a pair of bi-amped VMPS RM40s loudspeakers for my listening. In addition to writing the Classical Candor blog, I served as the Movie Review Editor for the Web site Movie Metropolis (formerly DVDTown) from 1997-2013. Music and movies. Life couldn't be better.
Karl W. Nehring, Contributing Reviewer

For more than 20 years I was the editor ofThe $ensible Soundmagazine and a regular contributor to its classical review pages. I would not presume to present myself as some sort of expert on music, but I have a deep love for and appreciation of many types of music, "classical" especially, and have listened to thousands of recordings over the years, many of which still line the walls of my listening room (and occasionally spill onto the furniture and floor, much to the chagrin of my long-suffering wife). I have always taken the approach as a reviewer that what I am trying to do is simply to point out to readers that I have come across a recording that I have found of interest, a recording that I think they might appreciate my having pointed out to them. I suppose that sounds a bit simple-minded, but I know I appreciate reading reviews by others that do the same for me -- point out recordings that I think I might enjoy.

For readers who might be wondering about what kind of system I am using to do my listening, I should probably point out that I do a LOT of music listening and employ a variety of means to do so in a variety of environments, as I would imagine many music lovers also do. Starting at the more grandiose end of the scale, the system in which I do my most serious listening comprises an Onkyo C-7030 CD player, Legacy Audio StreamLine preamplifier, Legacy Audio PowerBloc2 amplifier, and a pair of Legacy Audio Focus SE speakers augmented by a Legacy Point One subwoofer. I also do a lot of listening while driving in my 2016 Acura RDX with its nice-sounding ELS Studio sound system through which I play CDs (the ones I especially like I rip to the Acura's hard drive so that I can listen to them whenever I want) or stream music through the system using my LG G7 ThinQ cell phone, which features surprisingly sophisticated audio circuitry. For more casual listening at home when I am not in my listening room, I often stream music through the phone into a Vizio soundbar system that has remarkably nice sound for such a diminutive physical presence. And finally, at the least grandiose end of the scale, I have an Ultimate Ears Wonderboom Bluetooth speaker for those occasions where I am somewhere by myself without a sound system but in desperate need of a musical fix. I just can't imagine life without music and I am humbly grateful for the technology that enables us to enjoy it in so many wonderful ways.
Bryan Geyer, Technical Analyst

I initially embraced classical music in 1954 when I mistuned my car radio and heard the Heifetz recording of Mendelssohn's Violin Concerto. That inspired me to board the new "hi-fi" DIY bandwagon. In 1957 I joined one of the pioneer semiconductor makers and spent the next 32 years marketing transistors and microcircuits to military contractors. Home audio DIY projects remained a personal passion until 1989 when we created our own new photography equipment company. I later (2012) revived my interest in two channel audio when we "downsized" our life and determined that mini-monitors + paired subwoofers were a great way to mate fine music with the space constraints of condo living.

Visitors that view my technical papers on this site may wonder why they appear here, rather than on a site that features audio equipment reviews. My reason is that I tried the latter, and prefer to publish for people who actually want to listen to music; not to equipment. My focus is in describing what's technically beneficial to assure that the sound of the system will accurately replicate the source input signal (i. e. exhibit high accuracy) without inordinate cost and complexity. Conversely, most of the audiophiles of today strive to achieve sound that's euphonic, i.e. be personally satisfying. In essence, audiophiles seek sound that's consistent with their desire; the music is simply a test signal.

Mission Statement

It is the goal of Classical Candor to promote the enjoyment of classical music. Other forms of music come and go--minuets, waltzes, ragtime, blues, jazz, bebop, country-western, rock-'n'-roll, heavy metal, rap, and the rest--but classical music has been around for hundreds of years and will continue to be around for hundreds more. It's no accident that every major city in the world has one or more symphony orchestras.

When I was young, I heard it said that only intellectuals could appreciate classical music, that it required dedicated concentration to appreciate. Nonsense. I'm no intellectual, and I've always loved classical music. Anyone who's ever seen and enjoyed Disney's Fantasia or a Looney Tunes cartoon playing Rossini's William Tell Overture or Liszt's Hungarian Rhapsody No. 2 can attest to the power and joy of classical music, and that's just about everybody.

So, if Classical Candor can expand one's awareness of classical music and bring more joy to one's life, more power to it. It's done its job. --John J. Puccio

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"Their Master's Voice" by Michael Sowa

"Their Master's Voice" by Michael Sowa