Aaron Copland
Few figures in American music loom as large as Aaron Copland. As one of the first wave of literary and musical expatriates in Paris during the 1920s, Copland returned to the United States with the means to assume, for the next half-century, a central role in American music as composer, promoter, and educator. His sheer popularity and iconic status are such that his music has transcended the concert hall and entered the popular consciousness; it both accompanies solemn and joyous celebrations the world over (Fanfare for the Common Man) and punctuated the familiar words "Beef: It's What's for Dinner!" (Rodeo) for millions of television viewers.
Copland was the youngest of five children born to Harris and Sarah Copland, Lithuanian Jewish immigrants who owned a department store in Brooklyn. He did not take formal piano lessons until he was 13, by which time he had also begun writing small pieces. Instead of attending college, Copland studied theory and composition with Rubin Goldmark and piano with Victor Wittgenstein and Clarence Adler, and attended as many concerts, operas, and ballets as possible. In 1921, he went to Fontainebleau, France, taking conducting and composition classes at the American Conservatory. Copland went on to study in Paris with Ricardo Viñes and Nadia Boulanger and spent the next three years soaking up all the European culture, both new and old, that he could. He learned to admire not only composers like Stravinsky, Milhaud, Fauré, and Mahler, but others such as author André Gide. Boulanger's performance of Copland's 1924 Organ Symphony with Koussevitzky was the beginning of a friendship between the conductor and composer that led to Copland teaching at the Berkshire Music Center (Tanglewood) from 1940 until 1965.
After his return to America, Copland drifted toward an incisive, austere style that captured something of the sobriety of Depression-torn America. The most representative work of this period -- the Piano Variations (1930) -- remains one of the composer's seminal efforts. He tried to avoid taking a university position, instead writing for journals and newspapers, organizing concerts, and taking on administrative duties for composers' organizations, trying to promote American music. By the mid-'30s, taking the direct engagement of and communication with audiences as one of his central tenets, Copland's compositions developed (in parallel with other composers like Virgil Thomson and Roy Harris) an "American" style marked by folk influences, a new melodic and harmonic simplicity, and an appealing directness free from intellectual pretension. This is nowhere more in evidence than in Copland's ballets of this period, and it finally earned him the respect of the general public.
While Copland gradually became less prolific from the mid-'50s on, he continued to experiment and explore "fresh" means of musical expression, including a highly individual adoption of 12-tone principles in works like the Piano Fantasy and Connotations for orchestra. Still, the fundamentally lyrical nature of Copland's language remained intact and occasionally emerged -- with an often surprising retrospective air -- in works like the Duo for flute and piano (1971). He continued to teach and write and received numerous awards both in America and abroad. In 1958, he began conducting orchestras around the world, performing works by 80 other composers as well as his own over the next 20 years. By the mid-'70s, Copland had for all intents and purposes ceased composing. One of the last of his creative accomplishments was the completion of his two-volume autobiography (with musicologist Vivian Perlis), an essential document in understanding the growth of American music in the 20th century.
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Copland: 12 Poems of Emily Dickinson & Las Agachadas & In the Beginning
Clásica - Editado por Sony Classical el 4 nov. 1970
16-Bit CD Quality 44.1 kHz - Stereo -
Copland Conducts Copland: The Red Pony & Music for Movies & Letter from Home
Clásica - Editado por Sony Classical el 1 nov. 1975
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Copland Conducts Copland: Appalachian Spring
Clásica - Editado por Sony Classical el 8 feb. 1974
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Copland: 12 Poems of Emily Dickinson
Clásica - Editado por Sony Classical el 8 jun. 1956
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Copland: Short Symphony & Dance Symphony
Clásica - Editado por Sony Classical el 24 feb. 1969
16-Bit CD Quality 44.1 kHz - Stereo -
Copland: Rodeo, Billy The Kid, Connotations
New York Philharmonic, Morton Gould & His Orchestra
Clásica - Editado por Past Classics el 11 may. 2013
16-Bit CD Quality 44.1 kHz - Stereo -
Copland: Appalachian Spring
Clásica - Editado por RCA Red Seal el 18 jun. 2009
16-Bit CD Quality 44.1 kHz - Stereo -
Copland: Old American Songs
Clásica - Editado por Sony Classical el 29 jun. 1999
16-Bit CD Quality 44.1 kHz - Stereo -
Copland: An Outdoor Overture & 2 Pieces for String Quartet & Quiet City
Clásica - Editado por Sony Classical el 26 ene. 1970
16-Bit CD Quality 44.1 kHz - Stereo -
Copland: Concerto for Clarinet and Strings & Old American Songs
Clásica - Editado por Sony Classical el 14 oct. 1963
16-Bit CD Quality 44.1 kHz - Stereo -
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I've heard an organ talk sometimes
Aaron Copland, Amy Carson, Nicola Rose
Clásica - Editado por 5247549 Records DK el 27 abr. 2023
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Bernstein Conducts Copland
Clásica - Editado por Sony Classical el 15 feb. 1965
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Copland Conducts Copland: Symphony No. 3
Clásica - Editado por Sony Classical el 2 jun. 1979
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Pride of Oklahoma 1989
The University of Oklahoma Marching Band
Clásica - Editado por Tresona el 1 ene. 2012
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Danzon Cubano, Three Blues,Our Town
World music - Editado por TP4 Music el 6 ene. 2022
16-Bit CD Quality 44.1 kHz - Stereo -
Contemporary American Composers : Aaron Copland / "Billy the Kid", Fred Grofé / "Rodeo" & "Grand Canyon"
Clásica - Editado por ISIS el 15 jul. 2016
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The Great Conductors: Aaron Copland (Remastered 2016)
London Symphony Orchestra, Leo Smit, Aaron Copland, Radio Rome Symphony Orchestra
Clásica - Editado por Jube Classic el 1 abr. 2016
24-Bit 48.0 kHz - Stereo -
Finnegan's Wake
Clásica - Editado por Albany Records el 1 sep. 2004
16-Bit CD Quality 44.1 kHz - Stereo -
Copland Music For Piano Duo (Produced)
Arianna Goldina and Rémy Loumbrozo
Clásica - Editado por Phoenix USA el 15 abr. 2004
16-Bit CD Quality 44.1 kHz - Stereo