AMERICAN CLASSICS Aaron COPLAND
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THE UNITED STATES ARMY FIELD BAND The Legacy of AARON COPLAND Washington, D.C. “The Musical Ambassadors of the Army” rom Boston to Bombay, Tokyo to Toronto, the United States Army Field Band has been thrilling audiences of all ages for more than fifty years. As the pre- mier touring musical representative for the United States Army, this in- Fternationally-acclaimed organization travels thousands of miles each year presenting a variety of music to enthusiastic audiences throughout the nation and abroad. Through these concerts, the Field Band keeps the will of the American people behind the members of the armed forces and supports diplomatic efforts around the world. The Concert Band is the oldest and largest of the Field Band’s four performing components. This elite 65-member instrumental ensemble, founded in 1946, has performed in all 50 states and 25 foreign countries for audiences totaling more than 100 million. Tours have taken the band throughout the United States, Canada, Mexico, South America, Europe, the Far East, and India. The group appears in a wide variety of settings, from world-famous concert halls, such as the Berlin Philharmonie and Carnegie Hall, to state fairgrounds and high school gymnasiums. The Concert Band regularly travels and performs with the Sol- diers’ Chorus, together presenting a powerful and diverse program of marches, over- tures, popular music, patriotic selections, and instrumental and vocal solos. The orga- nization has also performed joint concerts with many of the nation’s leading orchestras, including the Boston Pops, Cincinnati Pops, and Detroit Symphony Orchestra. The United States Army Field Band is considered by music critics to be one of the most versatile and inspiring musical organizations in the world. -
Aaron Copland: a Catalogue of the Orchestral Music
AARON COPLAND: A CATALOGUE OF THE ORCHESTRAL MUSIC 1922-25/32: Ballet “Grogh”: 30 minutes 1922-25: Dance Symphony: 18 minutes 1923: “Cortege macabre” for orchestra: 8 minutes 1923-28: Two Pieces for String Orchestra: 10 minutes 1924: Symphony for Organ and orchestra: 24 minutes 1925: Suite “Music for the Theater” for small orchestra: 21 minutes 1926: Piano Concerto: 16 minutes 1927-29/55: Symphonic Ode for orchestra: 19 minutes 1928: Symphony No.1 (revised version of Symphony for Organ) 1930/57: Orchestral Variations: 12 minutes 1931-33: Short Symphony (Symphony No.2): 15 minutes 1934/35: Ballet “Hear Ye! Hear Ye!”: 32 minutes 1934-35: “Statements” for orchestra: 18 minutes 1936: “El salon Mexico” for orchestra: 10 minutes 1937: “Prairie Journal” (“Music for Radio”) for orchestra: 11 minutes 1938: Ballet “Billy the Kid”: 32 minutes (and Ballet Suite: 22 minutes) (and extracted Waltz and Celebration for concert band: 6 minutes) 1940/41: “An Outdoor Overture” for orchestra or concert band: 10 minutes 1940: Suite “A Quiet City” for trumpet, cor anglais and strings: 10 minutes 1940/52: “John Henry” for orchestra: 4 minutes 1942: “A Lincoln Portrait” for narrator and orchestra or concert band: 15 minutes Ballet “Rodeo”: 23 minutes (and Four Dance Episodes: 19 minutes) “Fanfare for the Common Man” for brass and percussion: 2 minutes “Music for the Movies” for orchestra: 17 minutes 1942/44: “Danzon Cubano” for orchestra: 6 minutes 1943: “Song of the Guerillas” for orchestra 1944: Ballet “Appalachian Spring” for orchestra or chamber orchestra: -
The American Stravinsky
0/-*/&4637&: *ODPMMBCPSBUJPOXJUI6OHMVFJU XFIBWFTFUVQBTVSWFZ POMZUFORVFTUJPOT UP MFBSONPSFBCPVUIPXPQFOBDDFTTFCPPLTBSFEJTDPWFSFEBOEVTFE 8FSFBMMZWBMVFZPVSQBSUJDJQBUJPOQMFBTFUBLFQBSU $-*$,)&3& "OFMFDUSPOJDWFSTJPOPGUIJTCPPLJTGSFFMZBWBJMBCMF UIBOLTUP UIFTVQQPSUPGMJCSBSJFTXPSLJOHXJUI,OPXMFEHF6OMBUDIFE ,6JTBDPMMBCPSBUJWFJOJUJBUJWFEFTJHOFEUPNBLFIJHIRVBMJUZ CPPLT0QFO"DDFTTGPSUIFQVCMJDHPPE THE AMERICAN STRAVINSKY THE AMERICAN STRAVINSKY The Style and Aesthetics of Copland’s New American Music, the Early Works, 1921–1938 Gayle Murchison THE UNIVERSITY OF MICHIGAN PRESS :: ANN ARBOR TO THE MEMORY OF MY MOTHERS :: Beulah McQueen Murchison and Earnestine Arnette Copyright © by the University of Michigan 2012 All rights reserved This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publisher. Published in the United States of America by The University of Michigan Press Manufactured in the United States of America ϱ Printed on acid-free paper 2015 2014 2013 2012 4321 A CIP catalog record for this book is available from the British Library. ISBN 978-0-472-09984-9 Publication of this book was supported by a grant from the H. Earle Johnson Fund of the Society for American Music. “Excellence in all endeavors” “Smile in the face of adversity . and never give up!” Acknowledgments Hoc opus, hic labor est. I stand on the shoulders of those who have come before. Over the past forty years family, friends, professors, teachers, colleagues, eminent scholars, students, and just plain folk have taught me much of what you read in these pages. And the Creator has given me the wherewithal to ex- ecute what is now before you. First, I could not have completed research without the assistance of the staff at various libraries. -
Tender Land Study Guide
AARON COPLAND’S INSPIRING AMERICAN OPERA THE TENDER LAND FRIDAY OCTOBER 13TH 7:00 PM SUNDAY OCTOBER 15TH 3:00 PM WILLSON AUDITORIUM Celebrating 4 Seasons Tickets available at Intermountainopera.org or 406-587-2889 TABLE OF CONTENTS Intermountain Opera Bozeman ……………………………………………...3 The Tender Land Characters and Synopsis…….………………….….…5 The Composer and Librettist…………………………………………….6 The Tender Land Background and Inspiration……………..…………..9 Historical Context and Timeline…………………………………….….13 Further Exploration……………………………………………….…..…20 !2 Intermountain Opera Bozeman In 1978, Verity Bostick, a young singer and assistant professor of music at Montana State University at Bozeman, sparked the interest of a well-known New York opera producer, Anthony Stivanello, with her desire to form the first Montana-based opera company. For the inaugural performance of Verdi’s La Traviata in the Spring of 1979, Mr. Stivanello agreed to donate sets, costumes and his services to the production. Gallatin Valley had its own resident opera star, Pablo Elvira, who was persuaded to share his talents. A leading baritone with the Metropolitan Opera and New York City Opera, he sang Germont in La Traviata. A full-fledged professional opera company in Bozeman, MT was born! With names like Elvira and Stivanello appearing, Montana suddenly caught the interest of Eastern opera circles. The prestigious opera magazine, Opera News, assigned a reporter to cover the advent of the Intermountain Opera Association’s first year. During the second season, the Association produced The Barber of Seville, starring Pablo Elvira, and brought three stars from New York to sing leading roles. Anthony Stivanello again furnished sets and costumes and directed the production. -
Sccopland on The
THE UNITED STATES ARMY FIELD BAND SOLDIERS’ CHORUS The Legacy of AARON COPLAND Washington, D.C. “The Musical Ambassadors of the Army” he Soldiers’ Chorus, founded in 1957, is the vocal complement of the T United States Army Field Band of Washington, DC. The 29-member mixed choral ensemble travels throughout the nation and abroad, performing as a separate component and in joint concerts with the Concert Band of the “Musical Ambassadors of the Army.” The chorus has performed in all fifty states, Canada, Mexico, India, the Far East, and throughout Europe, entertaining audiences of all ages. The musical backgrounds of Soldiers’ Chorus personnel range from opera and musical theatre to music education and vocal coaching; this diversity provides unique programming flexibility. In addition to pre- senting selections from the vast choral repertoire, Soldiers’ Chorus performances often include the music of Broadway, opera, barbershop quartet, and Americana. This versatility has earned the Soldiers’ Chorus an international reputation for presenting musical excellence and inspiring patriotism. Critics have acclaimed recent appearances with the Boston Pops, the Cincinnati Pops, and the Detroit, Dallas, and National symphony orchestras. Other no- table performances include four world fairs, American Choral Directors Association confer- ences, music educator conven- tions, Kennedy Center Honors Programs, the 750th anniversary of Berlin, and the rededication of the Statue of Liberty. The Legacy of AARON COPLAND About this Recording The Soldiers’ Chorus of the United States Army Field Band proudly presents the second in a series of recordings honoring the lives and music of individuals who have made significant contributions to the choral reper- toire and to music education. -
AMERICA in SONG a Written Creative Work Submitted to the Faculty Of
AMERICA IN SONG A Written Creative Work submitted to the faculty of San Francisco State University In partial fulfillment of the requirements for 2 -0 18 the Degree WflC Masters of Arts in Music: Vocal Music Education by Spiro Nickolao Tsingaris San Francisco, California Spring 2018 CERTIFICATION OF APPROVAL I certify that I have read America in Song: A Music History Course Focusing on Aaron Copland, American Composers and Vocal Works that Defined Our Nations Sound by Spiro Nickolao Tsingaris, and that in my opinion this work meets the criteria for approving a written creative work submitted in partial fulfillment of the requirement for the degree Master of Arts in Music: Vocal Music Education at San Francisco State University. Wendell Hannah, Ph.D. Professor of Music Education AMERICA IN SONG Spiro Nickolao Tsingaris San Francisco, CA 2018 The objective of this music history course is to educate my students as to how the people from around the world came here and expressed their unique experience through song. As America is made up of immigrants from around the world, it is understandable that our music reflects this diversity. Likewise as we are a nation just starting out, we can document our growing pains, struggles, changing attitudes and civic morality through the music and lyrics found in our songs. This course will focus on music around the turn of the 20th century, as this was the time of discovering our National Musical sound, as well as the time of greatest civic change and unrest. American nationalism and American music will be thoroughly discussed and analyzed, as well as the many differing types of vocal music, such as African American Spirituals, Folk Songs, Choral Works and Gospel Music. -
From the Concert Hall to the Cinema
FROM THE CONCERT HALL TO THE CINEMA: THE JOURNEY OF THE 20TH CENTURY CLASSICAL AMERICAN SOUND By Rebecca Ellen Stegall Liberty University A MASTER’S THESIS PRESENTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN MUSIC EDUCATION Liberty University April, 2017 i FROM THE CONCERT HALL TO THE CINEMA: THE JOURNEY OF THE 20TH CENTURY CLASSICAL AMERICAN SOUND By Rebecca Ellen Stegall A Thesis Presented in Partial Fulfillment Of the Requirements for the Degree Master of Arts in Music Education Liberty University, Lynchburg, VA April, 2017 APPROVED BY: Dr. Monica D. Taylor, Ph.D., Committee Chair Dr. John D. Kinchen III, D.M.A., Committee Member Dr. Vernon M. Whaley, Ph.D. Dean of the School of Music ii Acknowledgements I would first like to acknowledge and personally thank my family for supporting me endlessly through this process and for being an encouragement to “just keep at it” when it seemed I could not continue. Thank you to Dr. Monica Taylor for walking with me through this process and being tremendously patient with me along the way. I would also like to acknowledge a professor that has had a tremendous impact upon both my education and my life. Dr. John Kinchen, thank you for teaching me most of what I know about music, inspiring me to take on such daunting research and to step outside my comfort zone, and endlessly encouraging and pushing me to do my absolute best and pursue what the Lord has in store for me. You have made such an impact on my life. -
Arthur Rimbaud (1854-1891)
Across the Atlantic: Britten and Copland Katherine McIndoe Accompanied by Catherine Norton Wednesday Lunchtime Concerts providing lunchtime music in the heart of the city since 1974 St Andrew’s on The Terrace WELLINGTON 15 0 8 112.15pm8 Welcome It is wonderful that you have come. Thank you. We want your experience today to be the best that it can be and would appreciate you taking a moment to read the following before the concert commences. Keep safe by locating the exit nearest to your seat. In the event of an earthquake, our recommendation is to Drop, Cover and Hold. Bon appetit! You are welcome to have your lunch during the performance. Switching your cell phone to silent is important to the performers and other members of the audience. Your support by way of a donation and telling others about the concerts would be fantastic and very much appreciated. It does make a difference. If you wish to photograph or video today’s concert, please ask for permission from the performer(s) before the concert begins. This is important. We invite you now to sit back, relax and enjoy the concert. Our Mission is to create a lively, open Christian faith community, to act for a just and peaceful world, and to be catalysts for discovery, compassion and celebration in the capital. These lunchtime concerts are advertised through Radio New Zealand Concert’s Live Diary at around 8.10 am on the day of the concert, and listed on St Andrew’s website. To be placed on the email circulation list for concert information, please email Marjan on [email protected]. -
The Crane Opera Ensemble and Orchestra Present World Premiere of the 2018 Domenic J. Pellicciotti Opera Composition Prize Winner
The Crane Opera Ensemble and Orchestra present World premiere of the 2018 Domenic J. Pellicciotti Opera Composition Prize winner Stage Director: Dean Anthony Music Director: Kirk Severtson Performed in English with supertitles media sponsor — 1 — SYNOPSIS Act I – Autumn (55 minutes) Prologue Setting: On a train, 1906 Mrs. Darthula Buckner and her son, Mayo, are traveling overnight. Scene 1 Setting: A public street in middle America, ca. 1900 A pro-eugenics group is hiring indigent men for a demonstration against the “menace of the derelict and feeble-minded.” In the hiring process, the indigent out-negotiate the eugenicists and win a decent wage. The leader of the eugenicists recites his screed, and the indigent men make plans for how to spend their money. Scene 2 Setting: The Superintendent’s Office, the Iowa Home for Feeble-Minded Children, 1906 A women’s choir is heard rehearsing for a Sunday church service. Mrs. Buckner is being interviewed by the Superintendent of the institution as she delivers Mayo. Scene 3 Setting: A Boys’ Dormitory at the Iowa Home, 1927 Mayo, now a man, mentors many of the young inmates, including the young, recently- admitted Jimmy and the blind Wesley. The orderly, Beckmann, instructs the boys to get ready for bed. There is a great commotion when Jimmy wets himself during the night. INTERMISSION Act II – Valeria (27 minutes) Scene 1 Setting: In the garden of the Iowa Home, Autumn 1927 A young girl, Jo, sings a lullaby to her doll, as Beckmann recalls the same folk song with different lyrics. Carolyn and Valeria are assigned to weed the garden but are soon distracted by a more pressing concern. -
America Awakens
2021 SEASON AMERICA AWAKENS Aaron Copland Adolphus Hailstork AN ON- DEMAND PERFORMANCE APRIL 30-MAY 2 . 2021 Spring is in the air, the light of awareness is dawning, change is within reach, growth is on the horizon, and pride lends a bounce to one’s step. Please join Maestro Wes Kenney and the Fort Collins Symphony for an evening of American composers and themes. This streamed virtual concert features two of Aaron Copland’s compositions — the enduring American anthem, Appalachian Spring, and a coming-of-age story, The Tender Land—and composer Adolphus Hailstork’s jazz/blues/Black gospel-inspired Church Street Serenade. Pre-recorded at the Fort Collins Lincoln Center, this concert is available to stream at your leisure over the weekend of April 30-May 2. The America Awakens concert is dedicated to the memory of Leabelle R. Schwartz The FCS is deeply grateful to the following concert donors The Lincoln Center Support Guild . Roberta Mielke . Dr. Peter Springberg Season Concert Sponsors City of Fort Collins Fort Fund . Colorado Creative Industries . National Endowment for the Arts Dr. Ed Siegel . Dr. Peter Springberg SEASON 2020-2021 AMERICA AWAKENS PROGRAM Repertoire On-Demand Streaming Concert April 30 - May 2 . 2021 Recorded at the Fort Collins Lincoln Center WES KENNEY, CONDUCTOR Aaron Copland Appalachian Spring: Ballet for Martha (1900-1990) Complete Chamber Orchestra Version Adolphus Hailstork Church Street Serenade (b. 1941) Aaron Copland, Arr. Murry Sidlin The Tender Land Suite 1. Introduction 2. Laurie’s Aria 3. Love Duet 4. Stomp Your Foot 5. Daybreak Will Come 6. Hire a Stranger 7. -
Concert Program
3 p.m. Sunday December 11, 2016 Carrboro High School Music Director Donald L. Oehler American Voices “Buckaroo Holiday” from Rodeo Aaron Copland (1900-1990) “Oh, Happy We” from Candide Leonard Bernstein (1918-1990) Jeanne Fischer, Timothy Sparks “Somewhere” from West Side Story Leonard Bernstein Arsenia Brickley “Steal Me, Sweet Thief” from The Old Maid and the Thief Gian Carlo Menotti (1911-2007) Melissa Martin “Bob’s Aria” from The Old Maid and the Thief Gian Carlo Menotti Marc Callahan Old American Songs Aaron Copland “The Boatmen’s Dance” - Timothy Sparks “Long Time Ago” - Emily Wolber Scheuring “I Bought Me a Cat” - Jay Pierson “Zion’s Wall” - Eugene Galvin “A Promise of Living” from The Tender Land Aaron Copland Ensemble Intermission Adagio for String Orchestra, Op. 11 Samuel Barber (1910-1981) New England Triptych William Schuman (1910-1992) Three Pieces for Orchestra after William Billings This project is supported by the Be Glad, Then, America N.C. Arts Council, a division of When Jesus Wept the Department of Natural and Chester Cultural Resources. 1 American Voices I hear America singing, the varied carols I hear… Walt Whitman In the 125 years from Independence to the dawn of the 20th century, American arts and science made amazing strides, equaling or surpassing European culture in such areas as engineering, literature, and public education. Classical or “art” music, however, lagged behind. In 1892 the National Conservatory of Music in America brought Antonín Dvořák to New York for a three-year stint as Director, hoping the Czech composer would help define a characteristic music for the United States, as he had for his homeland. -
THE TENDER LAND SUITE (1952-54) Copland, Aaron
THE TENDER LAND SUITE (1952-54) Copland, Aaron THE OPERA: Copland's own synopsis for his opera, The Tender Land, revealingly articulates the purposes of this elusive stage work: The opera takes place in the Thirties, spring harvest time. It's about a farm family - a mother (Ma Moss), a daughter (Laurie) about to graduate from High School, her sister (Beth), and a grandfather (Grandpa Moss). Two drifters (Martin and Top) come along asking for odd jobs. The grandfather is reluctant to give them any, and the mother is alarmed because she's heard reports of two men molesting young girls of the neighborhood. Nevertheless, they sleep in the shed for the night. The graduation party begins the second act. The heroine has naturally fallen in love with one of the drifters. And they prove it by singing a twelve-minute love duet. But there is something of a complication. You see, she associates him with freedom, and he associates her with settling down. Martin asks Laurie to run away with him but in the middle of the night he decides that this kind of roving life is not for Laurie, so he silently steals off with Top. When Laurie discovers she's been jilted, she decides to leave home anyway, and at the conclusion the mother sings a song of acceptance that is the key to the whole opera. In it she looks to her younger daughter as the continuation of the family cycle that is the whole reason for their existence. But there is a missing ingredient to this synopsis.