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0848033066309.Pdf Aaron Copland Billy the Kid, Ballet Suite London Symphony Orchestra /Aaron Copland, Conductor 1 I. The Open Prairie 03:02 2 II. Street in a Frontier Town 06:25 3 III. Card Game At Night 02:59 4 IV. Gun Battle 01:55 5 V. Celebration after Billy's Capture 02:05 6 VI. Epilogue: The Open Prairie Again 02:41 Aaron Copland Statements, for Orchestra London Symphony Orchestra /Aaron Copland, Conductor 7 I. Militant 02:39 8 II. Cryptic 03:27 9 III. Dogmatic 01:39 10 IV. Subjective 03:49 11 V. Jingo 02:33 12 VI. Prophetic 03:39 COPLAND: Billy the Kid – Ballet Suite When one listens to music from France, the film music forThe Red Pony, even dipping Statements for Orchestra Germany, England, Italy, and particularly south of the border with the earliest of all Aaron Copland conducting the Russia and Spain, he can usually discover these works, El Salón México. London Symphony Orchestra its origin from the particular national flavor which dominates it. Until a few years ago, When Lincoln Kirstein, director of the however, it was all but impossible to do this American Ballet Caravan, approached with American music. The reason was not Copland in 1938 with a commission to write hard to find: the European nations were music for a ballet dealing with the adven- rich in folk songs and dances whose char- tures of Billy the Kid, the composer accepted acteristics of rhythm, melody, harmony or with some misgivings. He realized that a color were reflected in the works of native work of this kind should have some cowboy composers. America, the great melting-pot, music in it, yet he admitted that he frankly on the other hand, possessed no such deep- disliked cowboy songs. Still, as he worked rooted national musical language, no folk on the composition during five weeks in the heritage upon which to base a characteristic summer of 1938, first in Paris, later in New style. The only true American musical idiom York, and finally at the Macfrowell Colony in was jazz, so it seemed, and that wasn’t being Peterborough, New Hampshire, he discov- worked into concert music very successfully. ered that his attitude toward these popular ballads had suddenly changed. As a result, Today, all these concepts have changed; the score of Billy the Kid contains literal or and one of the men chiefly responsible for disguised references to such cowboy tunes as changing them is Aaron Copland. More Great Granddad, Git Along Little Dogies, The than twenty years ago, he realized that if Old Chisholm Train, Goodbye Old Paint and American music were to get anywhere, it The Dying Cowboy. Conspicuously absent, must speak to the average man in a language however, is Home on the Range. “I had to and through a medium he could understand. draw the line somewhere,” remarked the As a result, Copland began composing for composer. such mass media as the radio, the movies and the ballet. Furthermore, he took a leaf Billy the Kid, with scenario by Kirstein, from the book of the European composer choreography by Eugene Loring, who also and started infusing his works with mate- danced the title role, and music by Copland, rial derived from folk or popular sources, at was first presented by the American Ballet the same time expressing himself with com- Caravan in Chicago in October, 1938. The plete but palatable individuality. As a result earliest performances were given with the one can now travel across the country with accompaniment of only two pianos. But on Copland’s music – from the New England May 24, 1939, the work entered the reper- pictured in his score for the film Our Town, toire of Ballet Theatre, which organization through the farmland of Pennsylvania with presented it for the first time with orchestra, the ballet music for Appalachian Spring Fritz Kitzinger conducting, at the Martin (Everest SDBR 3002, LPBR 6002), and on Beck Theatre in New York. It has remained out into the wide open spaces of the West among the company’s most popular ballets with the ballets Billy the Kid and Rodeo and ever since. In the summer of 1939, Copland compiled ever, were presented by the orchestra, under a concert suite from Billy the Kid which uses Eugene Ormandy’s direction, on an NBC between a half and two-thirds of the com- broadcast on January 9, 1936. plete music. Printed on the flyleaf is the fol- lowing synopsis of the ballet; When Statements for Orchestra was finally given in its entirety for the first time by “The action begins and closes on the open Dimitri Mitropoulos and the New York prairie. The central portion of the Ballet con- Philharmonic on January 7, 1942, Copland cerns itself with the significant moments in provided this explanatory note: the life of Billy the Kid. The first scene is a street in a frontier town. Familiar figures “The title ‘statement’ was chosen to indi- amble by Cowboys saunter into town, some cate a short, terse, orchestral movement of on horseback, others with their lassos. a well-defined character, lasting about three Some Mexican women do a Jarabe, which is minutes. The separate movements were interrupted by a fight between two drunks. given suggestive titles as an aid to the public Attracted by the gathering crowd, Billy is in understanding what the composer had in seen for the first time as a boy of twelve mind when writing these pieces. with his mother. The brawl turns ugly, guns are drawn, and in some unaccountable way “The ‘militant’ statement is based on a single Billy’s mother is killed. Without an instant’s theme, announced unisono at the begin- hesitation, in cold fury, Billy draws a knife ning by three flutes, two oboes, bassoon and from a cow-hand’s sheath and stabs his moth- strings. The ‘cryptic’ statement is orches- er’s slayers. His short but famous career has trated for brass and flute alone with an occa- begun. In swift succession we see episodes sional use of bass, clarinet and bassoon. The in Billy’s later life. At night, under the stars, ‘dogmatic’ statement is in tri-partite form; in a quiet card game with his outlaw friends. the middle section quotes the theme of the Hunted by a posse led by his former friend, composer’s Piano Variations. The ‘subjective’ Pat Garrett, Billy is pursued. A running battle statement is scored for strings alone, without ensues, Billy is captured. A drunken celebra- double basses. The ‘jingo’ statement utilizes tion takes place. Billy in prison is, of course, the full orchestra. It is built in rondo form on followed by one of Billy’s legendary escapes. a chromatic melody with occasional bows to Tired and worn in the desert, Billy rests with a well-known tune. The final section, a ‘pro- his girl. Starting from a deep sleep, he senses phetic’ statement, is rhapsodic in form and movement in the shadows. The posse has centers about a chorale-like melody sung by finally caught up with him.” the solo trumpet.” Statements for Orchestra was begun in 1933 Original Liner Notes by PAUL AFFELDER and completed in 1935. This work, in six short movements, was commissioned by the League of Composers, and was intended for performance by the Minneapolis Symphony Orchestra. Only the last two sections, how- Some notes on the history of Everest …from the original LP release: system, but naturally will be most appreci- Records ated by the audiophile with the very finest hi-fi “This Everest Recording is a Product of equipment. When EVEREST recordings are When Everest Records was founded by Harry Belock Recording, a division of the Belock played in the Belock studio through top quality Belock in 1958 as a division of Belock Instru- Instrument Corp. An EVEREST recording hi-fi equipment similar to that found in home ment Corp., the aim was to produce a cata- represents a new peak of achievement in the use, the resulting sound is indistinguishable logue of stereo recordings of the highest pos- recording art. As a product of Belock Instru- from the master tape. Since Belock Record- sible technical standard, with interesting and ment Corp. this recording enjoys unique advan- ing unconditionally guarantees that their tapes innovative classical repertoire played by some tages shared by few, if any other record com- and stereo disks are genuine stereophonic of the best artists and orchestras. pany. The parent company is considered one of recordings, they are designated as CERTI- the world’s finest precision electronic facilities FIED STEREO-MASTER RECORDINGS. The For the first Everest recording sessions in and is engaged chiefly in the development and frequency range of EVEREST recordings is 1958, an Ampex 300-3 half-inch three-chan- production of ultra-secret military devices. 20 to 20,000 cycles. It is important to note, nel recorder was used. Later on the label The company was one of the earliest involved that many companies specify wide frequency moved to use a Westrex 35mm 3-track mag- in the electronics aspects of ballistic missiles response, and while this is an important part netic film recorder, which had a wider possible and is pre-eminent in the fields of radar, and of hi-fi recording, the distortion content of the dynamic range, less print-through, less tape fire-power computers and stabilization sys- recording is, if anything, even more important. stretch and less ‘wow and flutter’, and which tems. Harry Belock, founder of the company, All EVEREST recordings are free of audible was the basis for the highly acclaimed typical is an international authority on sound, and distortion throughout the entire frequency “Everest-sound”.
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