If you like the orchestral music of Paul Hindemith (I do), you are likely to enjoy Lopatnikoff's Concertino for Orchestra from 1944: it is an imitation (they call it "influence"). Nikolai Lopatnikoff was born in Estonia in 1903 and became an American citizen in 1944, the same year he wrote this Concertino. As Bernstein, he was a protégé of Koussevitsky, who premiered a number of his works.
If you like Webern's transcription of Bach's Ricercare, or the Baroque-inspired ballets composed for Diaghilev and the Ballets Russes in the 1920s (of which Stravinsky's Pulcinella is the most famous, but hardly the only one), you might enjoy Dallapiccola's "Tartiniana" for violin and orchestra. Composed in 1952, it is based on four violin sonatas by Giuseppe Tartini, but it sounds like Bach as it was played in the1950s: solemn and somewhat lachrymose, though with some sudden and slightly jarring (and consequently interesting) spurts of dissonance. But 25 years later Alfred Schnittke did much better with his First Concerto Grosso. The piece is not very typical of its composer: Luigi Dallapiccola (1904-1975) was viewed as bridging the gap between Italian lyricism and Schoenberg's cerebral and stern organization - a lyrical serialist, or a serial lyricist, as you prefer.
If you like the music Stravinsky composed in the 40s and early 50s, before his "conversion" to serialism, and especially "The Rake's Progress" (I do), you are likely to enjoy Harold Shapero's Symphony for Classical Orchestra (1947): it is an imitation. Aaron Copland also thought so. While praising the composer, he wrote in 1948 that "Stylistically, Shapero seems to feel a compulsion to fashion his music after some great model. ... he seems to be suffering from a hero-worship complex -- or perhaps it is a freakish attack of false modesty..." As the Rake's Progress, the Symphony is gay, colorful and dynamic. The use of an orchestra of classical dimension imparts it a commendable light-footedness.
Derivative and epigonic music, then, but enjoyable nonetheless. Music, after all, is not all about originality: it can also be about pleasure. I personally love "The Rake's Progress" so much, I can never have enough. So if Stravinsky, for reasons known only to him, decided to write a symphony in the same style under a pen-name, why turn it down?
These recordings are among the first young Leonard Bernstein did for Columbia records , at the beginning of 1953. It is great to have them back on CD. These are hardly indispensable pieces in the history of 20th century American music, but for the Bernstein fan (I am), this disc is a must.