Picture of author.

Aaron Copland (1900–1990)

Forfatter af What to Listen for in Music

453+ Works 3,198 Members 70 Reviews 2 Favorited

Om forfatteren

Born in Brooklyn, New York, Aaron Copland was inspired by a piano recital that he heard at the age of 13. From that point on, he thought earnestly about a career in music. At the age of 14 he began piano lessons, being taught by one of his sisters. He soon demanded and received more formal vis mere training. By 1916, Copland knew that he wanted to be a composer. He was accepted as the first student at the newly established music school for Americans in France. There he studied composition and orchestration with Nadia Boulanger. Supported early in his career by Serge Koussevitzky, Copland employed folk elements in many of his compositions, among them Billy the Kid (1938), Appalachian Spring (1945), and Rodeo (1942). Copland exerted enormous influence on the development of younger American composers by sponsoring concert series, festivals, artistic colonies, and competitions. (Bowker Author Biography) vis mindre
Image credit: Wikipedia Commons.


Værker af Aaron Copland

What to Listen for in Music (1939) 1,618 eksemplarer
Music and Imagination (1952) 193 eksemplarer
Copland : 1900 through 1942 (1969) 118 eksemplarer
Copland: Since 1943 (1984) 71 eksemplarer
The Heiress [1949 film] (1949) — Komponist — 61 eksemplarer
Copland on Music (1960) 56 eksemplarer
The New Music, 1900-1960. (1968) 33 eksemplarer
Rodeo / Billy The Kid / (1989) 21 eksemplarer
Old American Songs (Second Set) (1954) 20 eksemplarer
Copland : Symphony no.3 + Quiet city [sound recording] (1990) — Komponist — 16 eksemplarer
Copland: The Music of America (1997) 16 eksemplarer
The North Star [1943 film] (1943) — Komponist — 13 eksemplarer
Piano Variations [Sheet Music] (1959) 12 eksemplarer
In the Beginning (1947) 10 eksemplarer
Copland Greatest Hits [RCA Victor] (1991) — Artist — 8 eksemplarer
El Salon Mexico 8 eksemplarer
The Red Pony [1949 film] (1949) — Komponist — 7 eksemplarer
Copland: Greatest Hits 7 eksemplarer
Piano Sonata (1942) 7 eksemplarer
Ching-A-Ring Chaw 7 eksemplarer
The Tender Land (1990) 6 eksemplarer
Copland: Music for Films (1994) 6 eksemplarer
Simple Gifts (1952) 5 eksemplarer
At the River 5 eksemplarer
The Promise of Living 5 eksemplarer
Quiet city [miniature score] (2012) — Komponist — 4 eksemplarer
Four piano blues (2010) 4 eksemplarer
4 Dance Episodes from Rodeo (1943) 4 eksemplarer
Concerto for Piano and Orchestra (1926) 4 eksemplarer
Copland: Third Symphony, etc. (1930) 4 eksemplarer
Vitebsk 3 eksemplarer
Concerto for Clarinet (2004) 3 eksemplarer
Appalachian Spring, Billy the Kid (1939) 3 eksemplarer
Greatest Hits: Copland (1942) 3 eksemplarer
Billy the Kid (1946) 3 eksemplarer
Passacaglia: for piano (1922) 3 eksemplarer
Ultimate Copland Album 3 eksemplarer
Lincoln Portrait 3 eksemplarer
Copland: The Modernist (1996) 3 eksemplarer
Piano Fantasy 3 eksemplarer
The Copland Piano Collection (2007) 3 eksemplarer
El Salon Mexico 3 eksemplarer
Copland/Gershwin 2 eksemplarer
Copland: Billy the Kid / Rodeo. (2006) 2 eksemplarer
COMO ESCUCHAR LA MUSICA (2007) 2 eksemplarer
The red pony 2 eksemplarer
Billy the Kid / Rodeo 2 eksemplarer
The Copland Piano Collection (2000) 2 eksemplarer
Copland Appalachian Spring (1988) 2 eksemplarer
THE TENDER LAND VOCAL SCORE (2004) 2 eksemplarer
Hoe Down from "Rodeo" 2 eksemplarer
The Tender Land: Orchestral Suite (1994) 2 eksemplarer
Song Album (high voice and piano) (1980) 2 eksemplarer
Copland: American Songs (1994) 2 eksemplarer
A Copland Celebration, Vol. II (2000) 2 eksemplarer
Berries (1981) 2 eksemplarer
Night Thoughts 2 eksemplarer
The Little Horses 2 eksemplarer
Zion's Walls 2 eksemplarer
Nonet for Strings 2 eksemplarer
I Bought Me a Cat 2 eksemplarer
Help us, o Lord 2 eksemplarer
Come ascoltare la musica (1939) 2 eksemplarer
Four piano blues 1 eksemplar
Two Piano Pieces (1984) 1 eksemplar
Stomp Your Foot! 1 eksemplar
81st Birthday Concert (1993) 1 eksemplar
Great American Composers (1994) 1 eksemplar
In Evening Air 1 eksemplar
BBC Music: Copland 1 eksemplar
Hoedown 1 eksemplar
Telarc Collection 1 1 eksemplar
Our Town 1 eksemplar
Ballet Music 1 eksemplar
Passacaglia Piano (1999) 1 eksemplar
Symphony No. 3 / Billy the Kid (1989) 1 eksemplar
Holidays Sym 1 eksemplar
Appalchian Spring Suite (1998) 1 eksemplar
Ceremonial Fanfare 1 eksemplar
Copland since 1943 1 eksemplar
Laurie's Song 1 eksemplar
12 Poems of Emily Dickinson (1951) 1 eksemplar
A Copland Tribute 1 eksemplar
Organ Fireworks XI (2006) 1 eksemplar
American Piano Music (2005) 1 eksemplar
Old American Songs , First Set (1950) 1 eksemplar
Copland Album 1 eksemplar
Hoe Dawn from Rodeo 1 eksemplar
Outdoor Adventure 1 eksemplar
Piano works 1 eksemplar
PIANO SONATA PIANO (2000) 1 eksemplar
Passacaglia Piano (1999) 1 eksemplar
I Bought Me a Cat 1 eksemplar
Prairie Journal 1 eksemplar
Music for films 1 eksemplar
Piano Concerti 1 eksemplar
Zion's walls 1 eksemplar
Sonata for Violin and Piano (2007) 1 eksemplar
Duo 1 eksemplar
John Henry 1 eksemplar
Tender Land Suite 1 eksemplar
Copland (1996) 1 eksemplar
Old American songs 1 eksemplar
Sextet 1 eksemplar
The Best of Copland 1 eksemplar
Copland Super Hits 1 eksemplar
Musik von heute 1 eksemplar
Piano album 1 eksemplar
Danzon Cubano 1 eksemplar
Down a country lane 1 eksemplar
Of mice and men 1 eksemplar
El Salón México 1 eksemplar
Piano Quartet 1 eksemplar
Piano Variations 1 eksemplar
Sextet 1 eksemplar
Hoe-down from Rodeo 1 eksemplar
The Copland Violin Collection (2009) 1 eksemplar
Tender land 1 eksemplar
Copland: Old American Songs (2005) 1 eksemplar
Piano album 1 eksemplar
Nocturne 1 eksemplar
Quartet 1 eksemplar
Ukelele Serenade 1 eksemplar
Copland: Appalachain Spring (1997) 1 eksemplar
Dance Panels 1 eksemplar
Complete Works for Vio (2002) 1 eksemplar
I Bought Me a Cat 1 eksemplar

Associated Works

Rhapsody in Blue [sound recording] (2000) 39 eksemplarer
American Festival (1995) — Komponist — 5 eksemplarer
American Piano Concertos (2013) 4 eksemplarer
American Classics (2001) 3 eksemplarer
An American Picnic (1992) — Komponist — 2 eksemplarer
Latin American Classics (2007) 1 eksemplar

Satte nøgleord på

Almen Viden



The Rest is Noise #1 i Le Salon Littéraire du Peuple pour le Peuple (juni 2012)


missing score
SPUMusic | Feb 23, 2024 |
missing: flute, horn in f I, tenor trombone
SPUMusic | Feb 22, 2024 |
CDCOP | World Premiere 1954 New York City Opera | Derivative Works |

America of the 1950s was a very different place than that of the 1940s. Gone were the New Deal politics of Franklin Roosevelt and the shared patriotism of the World War II years. Instead, the United States grappled with its new role as a world superpower grounded in a mighty military-industrial complex. The Soviet Union, which stood as an ally in the fight against Nazi oppression, was now enemy number one, and communism became the maligned philosophy against which America must protect in a Cold War that would last for decades to come.

Even Aaron Copland’s music was changing. His Piano Quartet (1950), Orchestral Variations (1957) and Piano Fantasy (1957) are works demonstrating the composer’s experiments with serial and abstract musical techniques. Some scholars have argued this shift was the composer’s way of distancing himself from his association with folk-like themes and audience accessibility, which in elite circles was associated with the goals of communist Socialist Realism.

Yet Copland never really stopped composing in his Americana style. In 1952, he received a commission from the NBC Television Opera Workshop. Inspired by stories of Southern sharecroppers and photographs of rural Americans in their everyday settings, he conceived an opera that gazes upon one 1930s midwestern farm family and the two strangers who change their lives. During the course of the story, daughter Laurie falls in love with one of the outsiders on her graduation night. Together they dream of eloping. But in the end, the strangers go on their way, and Laurie leaves the farm, looking for a different life all on her own. Copland’s music is intimate, almost fragile in places, and in some ways, the production feels more like a theatrical drama with singing than a historical opera. NBC canceled the production. No explanation was given, but it may have had to do with the perception of Copland’s politics.

Since 1949, the composer had been included on intelligence lists of persons with communist connections or sympathies. In 1953, while composing The Tender Land, he was called before the Senate Subcommittee on Investigations of the Committee on Government Operations to explain his past political associations and to defend his loyalty to the United States. That same year, a planned performance of Lincoln Portrait at the inauguration of Dwight D. Eisenhower was cancelled. Copland, even though he had solidly gained a reputation as the undisputed leader of American art music, surely was taken aback.

In this light, it seems as if Copland and his librettist Erik Johns (Copland’s one-time partner who wrote under the name Horace Everett) purposefully use The Tender Land’s simple story and graceful musical lines to highlight a distance between the ugliness of Washington politics and the potential quiet beauty, introspection, and struggle of everyday Americans going about their lives.

When The Tender Land finally received its premiere by the New York City Opera in 1954, the production was not a critical success. The built-in intimacy, intended for television cameras that would beam the show directly into America’s living rooms, did not translate well onto a vast stage, nor did it conform to the expectations of what an opera should be. While Appalachian Spring had ushered in a new kind of American ballet, it seems that New York audiences were not yet ready for a new kind of American opera. Some attendees, however, were profoundly affected. Several female composers in the audience connected with the character of Laurie and her effort to reject a pre-determined path.

Further, some scholars have noted a connection to those in the gay community, citing the need to leave home in order to find one’s own true self. (hence the focus on his art, Martha Graham, Halston and the entire Americana connection of the seventies leading up to Madonna as Madam X) Copland revised the opera in 1955 and later arranged an orchestral suite of music from the show, but it was not until the 1980s and 1990s that the opera gained a new understanding and popularity on stage, suggesting that perhaps it was simply ahead of its time. In 1996, Murry Sidlin arranged the suite for soprano, tenor, and the same thirteen instruments that Copland used in his original Appalachian Spring, bringing an intimacy to the orchestration that matches the aesthetic of the opera and providing a nod back to Copland’s compositional heyday. --taken from Dr. K. Dawn Grapes program notes.

This work is available from Boosey & Hawkes for the world.

Copyright © – Koch International Corp.
Phonographic Copyright ℗ – Koch International Corp.
Recorded At – Phoenix Symphony Hall
Conductor – James Sedares
Cover – Merrill Mahaffey
Design – Communication House, NYC
Engineer [Assistant] – Jeffrey Behr, Shari Christie
Engineer [Associate] – Andy R. Seagle
Orchestra – The Phoenix Symphony
Producer, Engineer – Michael Fine
… (mere)
5653735991n | 1 anden anmeldelse | Sep 8, 2023 |
Excellent introduction to the forms of classical music, from madrigals and fugues to opera to atonal symphonic poems. Copland gives suggestions for what masterpieces to study. You can then go to YouTube and find excellent performances with scrolling scores to follow from one measure to the next. What fun! My first try was J. S. Bach's Passacaglia and Fugue in C Minor (BWV 582). Try for yourself. You'll experience new dimensions to Bach's amazing genius.
Cr00 | 17 andre anmeldelser | Apr 1, 2023 |


Måske også interessante?

Associated Authors

Augustus Goetz Screenwriter
Ruth Goetz Screenwriter
Erich Kunzel Conductor
Lillian Hellman Screenwriter
Antal Dorati Conductor
John Steinbeck Screenwriter
Gavin Higgins Composer
Eric Whitacre Composer
Samuel Barber Composer
John Adams Composer
Karel Husa Composer
John Williams Composer, Conductor
Lawson Lunde Composer
Jean Sibelius Composer
Seymor Barab Composer
Howard Hanson Composer
Leo Ornstein Composer
Roy Harris Composer
Hugh Wolff Conductor
Sakari Oramo Conductor
Eiji Oue Conductor
Ryan Bancroft Conductor
Christopher Brellochs Saxophone, Arranger
Rhodri Huw Director
Georgia Mann Presenter
Stephen Fry Interviewed Guest
Kaye Godleman Series producer
Katie Derham Presenter
Petroc Trelawny Presenter
Leonard Slatkin Contributor, Conductor
Alan Rich Foreword
William Schuman Introduction
Michael Winfield English Horn
Zubin Mehta Conductor
Thomas Stacy Cor anglais
Gregory Peck Narrator
Paul Cohen Saxophone
Philip Smith Trumpet
Stephen Taylor Corn anglais
Raymond Mase Trumpet
Gerard Schwarz Conductor
David Singer Clarinet
Enrique Batiz Conductor
William Lang Trumpet
David Shifrin Performer
Eduardo Mata Conductor
wu han Piano


Also by

Diagrammer og grafer