Photo de l'auteur

Aaron Copland (1900–1990)

Auteur de What to Listen for in Music

452+ oeuvres 3,210 utilisateurs 70 critiques 2 Favoris

A propos de l'auteur

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 afficher plus 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) afficher moins
Crédit image: Wikipedia Commons.

Séries

Œuvres de Aaron Copland

What to Listen for in Music (1939) 1,621 exemplaires
Music and Imagination (1952) 193 exemplaires
Copland : 1900 through 1942 (1969) 118 exemplaires
Copland: Since 1943 (1984) 71 exemplaires
The Heiress (Universal Cinema Classics) (1949) — Compositeur — 61 exemplaires
Copland on Music (1960) 56 exemplaires
The New Music, 1900-1960. (1968) 34 exemplaires
Rodeo / Billy The Kid / (1989) 21 exemplaires
Old American Songs (Second Set) (1954) 20 exemplaires
Copland : Symphony no.3 + Quiet city [sound recording] (1990) — Compositeur — 16 exemplaires
Copland: The Music of America (1997) 16 exemplaires
The North Star [1943 film] (1943) — Compositeur — 13 exemplaires
Piano Variations [Sheet Music] (1959) 12 exemplaires
In the Beginning (1947) 10 exemplaires
Copland Greatest Hits [RCA Victor] (1991) — Artist — 8 exemplaires
El Salon Mexico 8 exemplaires
Ching-A-Ring Chaw 7 exemplaires
The Red Pony [1949 film] (1949) — Compositeur — 7 exemplaires
Copland: Greatest Hits 7 exemplaires
Piano Sonata (1942) 7 exemplaires
Copland: Music for Films (1994) 6 exemplaires
The Tender Land (1990) 6 exemplaires
At the River 5 exemplaires
Simple Gifts (1952) 5 exemplaires
The Promise of Living 5 exemplaires
Four piano blues (2010) 4 exemplaires
4 Dance Episodes from Rodeo (1943) 4 exemplaires
Quiet city [miniature score] (2012) — Compositeur — 4 exemplaires
Copland: Third Symphony, etc. (1930) 4 exemplaires
Concerto for Piano and Orchestra (1926) 4 exemplaires
Our town + An outdoor overture + Two pieces for string orchestra + Quiet city [sound recording] — Compositeur; Conductor, quelques éditions3 exemplaires
Lincoln Portrait 3 exemplaires
Concerto for Clarinet (2004) 3 exemplaires
Appalachian Spring, Billy the Kid (1939) 3 exemplaires
Copland: The Modernist (1996) 3 exemplaires
El Salon Mexico 3 exemplaires
Billy the Kid (1946) 3 exemplaires
Ultimate Copland Album 3 exemplaires
Vitebsk 3 exemplaires
Passacaglia: for piano (1922) 3 exemplaires
Piano Fantasy 3 exemplaires
The Copland Piano Collection (2007) 3 exemplaires
Hoe Down from "Rodeo" 3 exemplaires
Greatest Hits: Copland (1942) 3 exemplaires
Billy the Kid / Rodeo 2 exemplaires
The Tender Land: Orchestral Suite (1994) 2 exemplaires
COMO ESCUCHAR LA MUSICA (2007) 2 exemplaires
Song Album (high voice and piano) (1980) 2 exemplaires
Copland/Gershwin 2 exemplaires
Copland: Billy the Kid / Rodeo. (2006) 2 exemplaires
The Copland Piano Collection (2000) 2 exemplaires
Nonet for Strings 2 exemplaires
Night Thoughts 2 exemplaires
The red pony 2 exemplaires
Help us, o Lord 2 exemplaires
Come ascoltare la musica (1939) 2 exemplaires
Copland: American Songs (1994) 2 exemplaires
The Little Horses 2 exemplaires
Zion's Walls 2 exemplaires
A Copland Celebration, Vol. II (2000) 2 exemplaires
I Bought Me a Cat 2 exemplaires
Copland Appalachian Spring (1988) 2 exemplaires
THE TENDER LAND VOCAL SCORE (2004) 2 exemplaires
Berries (1981) 2 exemplaires
Holidays Sym 1 exemplaire
Four piano blues 1 exemplaire
Hoedown 1 exemplaire
Copland for Viola Vla 1 exemplaire
Something Wild (OST) 1 exemplaire
Appalchian Spring Suite (1998) 1 exemplaire
Outdoor Adventure 1 exemplaire
Two Piano Pieces (1984) 1 exemplaire
BBC Music: Copland 1 exemplaire
Telarc Collection 1 1 exemplaire
Symphony No. 3 / Billy the Kid (1989) 1 exemplaire
Ballet Music 1 exemplaire
Our Town 1 exemplaire
81st Birthday Concert (1993) 1 exemplaire
Great American Composers (1994) 1 exemplaire
In Evening Air 1 exemplaire
Stomp Your Foot! 1 exemplaire
Passacaglia Piano (1999) 1 exemplaire
A Copland Tribute 1 exemplaire
From Brighton to Brooklyn [sound recording] — Compositeur — 1 exemplaire
In the Beginning — Compositeur — 1 exemplaire
American Piano Music (2005) 1 exemplaire
Organ Fireworks XI (2006) 1 exemplaire
Laurie's Song 1 exemplaire
An Outdoor Adventure 1 exemplaire
Copland Album 1 exemplaire
12 Poems of Emily Dickinson (1951) 1 exemplaire
Ceremonial Fanfare 1 exemplaire
Copland since 1943 1 exemplaire
Hoe Down from "Rodeo" 1 exemplaire
Old American Songs , First Set (1950) 1 exemplaire
Piano works 1 exemplaire
PIANO SONATA PIANO (2000) 1 exemplaire
Passacaglia Piano (1999) 1 exemplaire
I Bought Me a Cat 1 exemplaire
Hoe Dawn from Rodeo 1 exemplaire
Music for films 1 exemplaire
The Tender Land Suite 1 exemplaire
Piano Concerti 1 exemplaire
Mark Twain's America 1 exemplaire
Sonata for Violin and Piano (2007) 1 exemplaire
Duo 1 exemplaire
Copland: Dance Panels 1 exemplaire
John Henry 1 exemplaire
Concerto For Clarinet 1 exemplaire
Copland (1996) 1 exemplaire
Old American songs 1 exemplaire
The Best of Copland 1 exemplaire
Copland Super Hits 1 exemplaire
Musik von heute 1 exemplaire
The Young Pioneers (Piano Solo) (1936) 1 exemplaire
Tender Land Suite 1 exemplaire
Sextet 1 exemplaire
Piano album 1 exemplaire
Danzon Cubano 1 exemplaire
Down a country lane 1 exemplaire
Of mice and men 1 exemplaire
Tender land 1 exemplaire
Orchestral Variations 1 exemplaire
Hoe Down - from Rodeo 1 exemplaire
Art Songs and Arias: High Voice (2007) 1 exemplaire
Hoe-down from Rodeo 1 exemplaire
Prairie Journal 1 exemplaire
Music for the Theatre 1 exemplaire
Piano Quartet 1 exemplaire
Piano Variations 1 exemplaire
Sextet 1 exemplaire
Great Copland Ballets 1 exemplaire
El Salón México 1 exemplaire
Copland: Old American Songs (2005) 1 exemplaire
Piano album 1 exemplaire
Copland: Appalachain Spring (1997) 1 exemplaire
The Copland Violin Collection (2009) 1 exemplaire
Quartet 1 exemplaire
Ukelele Serenade 1 exemplaire
Nocturne 1 exemplaire
Dance Panels 1 exemplaire
Zion's walls 1 exemplaire
Complete Works for Vio (2002) 1 exemplaire
I Bought Me a Cat 1 exemplaire

Oeuvres associées

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

Étiqueté

Partage des connaissances

Membres

Discussions

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

Critiques

missing score
 
Signalé
SPUMusic | Feb 23, 2024 |
missing: flute, horn in f I, tenor trombone
 
Signalé
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
… (plus d'informations)
 
Signalé
5653735991n | 1 autre critique | 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.
 
Signalé
Cr00 | 17 autres critiques | Apr 1, 2023 |

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Statistiques

Œuvres
452
Aussi par
17
Membres
3,210
Popularité
#7,972
Évaluation
4.0
Critiques
70
ISBN
119
Langues
9
Favoris
2

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