It is well known that Bernard Herrmann never really wanted to write film music, but always aspired to becoming a conductor. Based on some of his recordings of works by other composers and re-recordings of his own film music, in retrospect Herrmann's contributions to composition, and film music in particular, are vastly more important and interesting than anything he might have produced as a conductor. His interpretations always seeming toward the slow and mannered, certainly nothing special. In some ways, it's a surprise that he enticed performances of such energy from the studio musicians from his film scores, so listless are some of his other recordings. Of course, Herrmann also aspired to be taken seriously as a concert composer and while he didn't produce quite the number of works of some of his contemporaries, wrote several orchestral and chamber pieces and two of them, his Symphony and vocal work The Fantasticks, are featured on this disc.
Although titled Symphony No 1, this turned out to be his only work in the medium, although my research indicates that he was working on an Organ Symphony (presumably after Saint Saens' barnstorming effort) at the time of his death. The lengthy first movement is surprisingly anonymous, certainly lacking in any of Herrmann's more distinctive trademarks. However, the composer becomes more obvious in the lively, dance like Scherzo, whose slightly demonic nature unsurprisingly recalls some of the more spirited episodes in Herrmann's Oscar winning score to The Devil and Daniel Webster. Herrmann rarely seemed happy to write anything especially soothing and the initially placid slow 3rd movement ultimately becomes turbulent, although returning to quiet before the bracing 4th movement. A surprisingly rousing and rugged fanfare theme announces the final movement, which hints more at Herrmann's earlier more American style, even if the quieter interludes are more typical of the composer, a lovely oboe melody reminiscent of The Ghost and Mrs Muir for example.
The Fantasticks is an excerpt from a longer song cycle setting to music the words of Nicholas Breton. Despite the picturesque words, the music starts fairly austerely, certainly for the first couple which are icy - appropriate I suppose - but hard going. March takes the material into a more sprightly place before the violin trill backed lullaby of April and the delightfully sunny, choral May that occasionally echoes Debussy. One assumes that the cycle moves through the sunniness of summer through more autumnal shades back to winter, but sadly the remaining months are not included so as the work takes flight, it concludes. The performance of the Symphony is generally fine, if perhaps a little rugged in places. The slightly rough recording, with some distortion on the louder percussion hits, doesn't help. However, The Fantasticks fairs better with a lighter performance and a good balance between soloists, choir and orchestra. It is surprising that Herrmann's usually unmistakable sound isn't always apparent, but that makes them no less worthy and coupled with the interesting liner note, the album should be of interest to those keen on Herrmann and American concert music in general. 
Unfortunately, this particular release appears to be long out of print. However, James Sedares, who has conducted several albums of Herrmann's (and other film composers') concert and film music, has released an album containing the symphony, plus New England Triptych by early 20th century American composed William Schuman. The album boasts a fine performance and generally better sound and can be purchased here.
Rating ~ 
Total Time ~ 65:08