As an opening salute, the Fanfare for the CommonMan makes a good centenary tribute and prepares listeners for its appearance in the finale of the Third Symphony. It also shows off the prowess of the Minnesota brass. The version of AppalachianSpring here is the suite, not the full ballet, and it's well paced under Oue although occasionally lacking attack in the strings where Copland said he wanted 'bitten out marcato'.
Significant earlier versions of the Third Symphony have included Copland's rather understated treatment with the New Philharmonia and Bernstein's much better projected interpretation on DG. Yet Oue's approach is compelling, falling midway between Copland's objectivity and Bernstein's dramatisation. The soft, long lines of the first movement move inexorably towards the first climax, and Copland's translucent scoring tells in its purely personal way. The scherzo is a controlled riot, again showing off the brass – the orchestra's best feature – and the finale is convincing. The recorded sound is spectacular too.

The beginning of the last movement [of the Symphony], in which Copland incorporates his famous Fanfare for the Common Man, is excitingly played while at the same time resisting the temptation to become a competition to decide who can play the loudest, and there are many moments of delicate polish from the strings in particular.