On today’s date in 1992, Joel Revzen conducted the Albany Symphony in the premiere of the Third Symphony of American composer Libby Larsen.

Larsen subtitled her new work a “Lyric Symphony.” Now, the early 20th century Viennese composer Alexander Zemlinsky had written a “Lyric Symphony,” one that involved vocal soloists. As a composer, Libby Larsen is noted for her songs and choral works, but for her own “Lyric Symphony” she opted for a purely instrumental work that would be somehow quintessentially “American.” In program notes for her new symphony, Larsen wrote:

“As I struggle with the definition of ‘American’ music, it occurs to me that in all of our contemporary American genres, the dominating parameter of the music is rhythm. Rhythm is more important than pitch. This is a fundamental change in the composition of music in the 20th century. Here we speak American English, an inflected, complex, rhythmic language.

“What is lyric in our times?” continued Larsen. “Where is the great American melody? Found, I would say, in the music of Chuck Berry, Robert Lockwood, Buddy Guy, George Gershwin, Dolly Parton, Hank Williams, James Brown, Aaron Copland, Walter Piston, and those composers who create melodies that are defined more by the rhythm than their pitch. My Symphony No. 3—the Lyric, is an exploration of American melody.”