copland lincoln portrait free download Lincoln Portrait. One of Copland's most popular pieces, Lincoln Portrait was commissioned during the early years of the War by conductor Andre Kostelanetz for a program of three new works by American composers. Copland chose excerpts from Lincoln's own words for the narration. The score includes quotations of Springfield Mountain and Camptown Races. According to Copland, "I hoped to suggest something of the mysterious sense of fatality that surrounds Lincoln's personality. The challenge was to compose something simple, yet interesting enoughto fit Lincoln." The piece has been performed on many significant occasions and with innumerable narrators, among them Carl Sandburg, William Warfield, Eleanor Roosevelt, and Copland himself. Copland: Lincoln Portrait. Purchase and download this album in a wide variety of formats depending on your needs. Buy the album Starting at £3.99. Copland: Lincoln Portrait. Copy the following link to share it. You are currently listening to samples. Listen to over 70 million songs with an unlimited streaming plan. Listen to this album and more than 70 million songs with your unlimited streaming plans. 1 month free, then £14,99/ month. Lincoln Portrait (Aaron Copland) Goddard Lieberson, Producer - New York Philharmonic, Orchestra, MainArtist - Aaron Copland, Composer - Kenneth Spencer, Narrator - Artur Rodzinski, Conductor, MainArtist. (P) 1946 Sony Music Entertainment. Goddard Lieberson, Producer - New York Philharmonic, Orchestra, MainArtist - Aaron Copland, Composer - Kenneth Spencer, Narrator - Artur Rodzinski, Conductor, MainArtist. (P) 1946 Sony Music Entertainment. Goddard Lieberson, Producer - New York Philharmonic, Orchestra, MainArtist - Aaron Copland, Composer - Kenneth Spencer, Narrator - Artur Rodzinski, Conductor, MainArtist. (P) 1946 Sony Music Entertainment. About the album. 1 disc(s) - 3 track(s) Total length: 00:13:39. This compilation (P) 2021 Sony Music Entertainment. 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Twilight Concert 1. Playlists. Beethoven: Complete Piano Concertos. With the release of his new album Exile, a reflection on exile with the Baltic Sea Orchestra, the iconoclast and prolific pioneer of the neo-classical movement confirms his status as one of the most ideologically committed artists out there. Melding classical and electronic music, physical and emotional worlds, he produces instrumental works of rare evocative power. From Sappho of Mytilene to Kaija Saariaho and Clara Schumann, several women have managed to break through the macho codes of the milieu and become composers. While the classical music landscape has been largely dominated by men in recent centuries, the work of their female colleagues, whether pioneers or contemporaries, is just as fascinating. Here we put eleven undervalued figures of female composition in the spotlight. Esa-Pekka Salonen is an acclaimed finnish conductor and prolific composer. With over 60 albums under his belt, he has heavily contributed to the history of musical interpretation. This is an interview with an exceptional musician, who discusses his unique approach to working on classical music in the studio. Copland, Aaron. Whenever a film or television score evokes America – the wide-open prairie or pastoral New England, the rowdiness of a Western frontier town or loneliness in a big city – the melodies and harmonies and orchestral colouring will inevitably owe a good deal to the music of Aaron Copland. In a series of popular ballet, film and concert scores in the 1930s and ’40s, Copland virtually created the sound of his nation. Yet in the 1950s he was identified as among the ‘dupes and fellow-travellers’ of Soviet Communism , and hauled before one of Senator Joseph McCarthy’s notorious committees investigating ‘un-American activities’; his Lincoln Portrait was removed from the programme of President Eisenhower’s inaugural concert; he even found it difficult to renew his passport. Five essential works by Aaron Copland. When was Aaron Copland born? He was born in November 1900 in the New York borough of Brooklyn, the youngest child of shopkeepers of Russian Jewish origin. Having played the piano from an early age, he studied composition with the New York teacher Rubin Goldmark, a pupil of Dvorák who also taught another Brooklynite, George Gershwin . At the age of 20, however, Copland departed America for France where he became one of the first pupils of the great teacher Nadia Boulanger, and through her met Stravinsky and other leading figures in the artistic ferment of the 1920s. Before his return to the States, Copland had begun to ponder how best to create ‘immediately recognisable American music’. His first answer was jazz, and jazz colours and clichés permeate two of his works of the mid-1920s, the suite Music for the Theatre and the Piano Concerto (written for himself as soloist). Thereafter, though, the jazz influence disappeared from his music, returning later in more sublimated form. Six of the best landmark jazz recordings. Aaron Copland and politics. The quintessential American composer accused of being ‘un-American’: that’s the startling paradox of Copland’s career. And it’s sharpened by the fact that his best-known works had come about precisely because of his left-wing political stance. Although he was never a Communist Party member, it was the dictates of the Soviet-inspired Popular Front that encouraged him to reach out to a mass audience by finding new outlets outside the concert hall, by incorporating folk songs and popular idioms into his works, and by simplifying his musical language. Yet, as McCarthy and his allies refused to recognise, most activists on the pre-war Left were simply pursuing the same democratic idealism that underlay the founding and history of the United States. Copland’s life story is also quintessentially American, chronicling a rise from an unprivileged background in an immigrant family to the status – after the McCarthy storm had abated – of a respected and admired leader of his profession. Who influenced Aaron Copland and his style? In the late 1920s, he composed his only piece directly reflecting his East European Jewish heritage, the piano trio Vitebsk , adapted a Dance Symphony from his early ballet Grohg , and wrote a fiercely rhetorical Symphonic Ode. Then in the early 1930s he turned to a more severe style, sometimes dubbed ‘constructivist’, exemplified by the bold, spare Piano Variations, the orchestral suite Statements, and the Short Symphony , also arranged as the Sextet – a work of complex dancing rhythms and luminous textures that may well be Copland’s most perfect achievement. Copland responded to the miseries of the Depression and the rise of Nazism in Germany by turning to left-wing politics. His allegiances are displayed overtly in only a handful of pieces: a workers’ song, a satirical ballet and a didactic school opera. However, his political sympathies also inspired him to reach out to listeners beyond the specialist new-music audience of the time. In El salón México , for example, he turned to Mexican tunes to create a colourful portrait of a country he had visited many times. Copland conducts El Salon Mexico. He branched out into writing for the radio, for the theatre and for the Hollywood studios. Above all, he made an impact as a composer for dance with his three great ballet scores on American subjects that included American melodies: Billy the Kid , and the wartime Rodeo and Appalachian Spring . Copland’s specific contribution to the Second World War effort produced two of his best-known works, the Lincoln Portrait and Fanfare for the Common Man . After the War, he incorporated a version of the Fanfare into one of his most ambitious concert works, the Third Symphony; and he wrote a Clarinet Concerto for the celebrated band leader Benny Goodman. Copland’s Fanfare for the Common Man. Such high-profile compositions of the 1940s were complemented by his smaller-scale works, including Sonatas for piano and for violin and piano, and the choral In the Beginning . In the 1950s, the rise of a younger generation of modernist composers seems to have left Copland uncertain as to which way to turn. He continued to write some works in his earlier populist vein, notably the arrangements of Old American Songs and the opera The Tender Land – a touching coming-of-age story that has yet to achieve the success it deserves. He explored new ground in his only song-cycle, a sensitive response to the poems of Emily Dickinson, and in a Nonet for strings. And in his Piano Quartet of 1950 he experimented with 12-note serial techniques in an attempt to refresh his harmonic vocabulary. He pursued this in a magisterial Piano Fantasy , and in his two major orchestral statements of the 1960s, the challenging Connotations and the more reflective Inscape . It’s all too easy to trace a dividing line between Copland’s ‘popular’ and ‘serious’ works – and he himself acknowledged the dichotomy, while finding it ‘not at all worrisome’. But with the passage of time it has become easier to discern features common to all his music: integrity, directness, rhythmic life, and a highly personal combination of public rhetoric and private sensitivity. Four Score For Chicago. Russian-born conductor André Kostelanetz became an American citizen in 1928, six years after moving to the United States. Kostelanetz expressed deep devotion for his new country in many different ways. During World War II he presented many light classical and popular concerts as conductor, arranger and musical advisor for CBS Radio; was guest pops conductor with many orchestras; and conducted armed forces bands in Europe, the Middle East and North Africa. Another demonstration of his patriotism came with a series of commissions in 1941. Kostelanetz commissioned Aaron Copland, Jerome Kern and Virgil Thomson to create musical portraits of great Americans for the Cincinnati Symphony Orchestra and for guest conducting appearances with his wife, coloratura soprano Lily Pons, during the spring and summer concert seasons in 1942. The Cincinnati Symphony Orchestra introduced three of the commissioned works—Copland’s Lincoln Portrait , Kern’s Mark Twain: A Portrait for Orchestra and Thomson’s Mayor LaGuardia Waltzes and Canons for Dorothy Thompson —at a single concert on May 14, 1942. Click here to download* Copland's Lincoln Portrait. Copland originally considered a musical portrait of Walt Whitman before redirecting his interests toward Abraham Lincoln. “I had no great love for musical portraiture,” the composer stated, “and I was skeptical about expressing patriotism in music—it is difficult to achieve without becoming maudlin or bombastic, or both.” Assembling a text from Lincoln’s own speeches and writings helped him steer clear of the perceived hazards. Composition moved swiftly once Copland decided upon a subject. Sketches were finished in February 1942, and the fully orchestrated score was completed in early May. Lincoln Portrait can be subdivided into three major sections, according to Copland’s analysis. The opening strives to capture “the mysterious sense of fatality that surrounds Lincoln’s personality . . . [and] his gentleness and simplicity of spirit.” This section incorporates two popular tunes: Stephen Foster’s Camptown Races and the ballad Springfield Mountain . Copland continues with faster music, decorated by jingling sleigh bells and based in part on Camptown Races , depicting the “colorful times in which Lincoln lived.” In the final segment, newly written narrative passages bind together the Lincoln quotes. Copland recommended that the Speaker read “simply and directly, without a trace of exaggerated sentiment.” The Fund. In keeping with his lifelong devotion to contemporary music, Aaron Copland created the Fund and bequeathed to it a large part of his estate. The Fund was officially announced to the public in 1992. The Fund’s purpose is to encourage and improve public knowledge and appreciation of contemporary American music. The fund operates three grant programs and also grants permission for the use of Copland’s music. To obtain such permission, please contact Boosey & Hawkes, a Concord Company, which serves as the exclusive agent for Copland’s catalog via their web site or by emailing [email protected]. For permission to use Copland’s literary work or image, please email [email protected]. Aaron Copland. Aaron Copland's name is, for many, synonymous with American music. It was his pioneering achievement to break free from Europe and create a concert music that is recognizably, characteristically American. At the same time, he was able to stamp his music with a compositional personality so vivid as to transcend stylistic boundaries, making every work -- from the easily-grasped to the demanding -- identifiable as his alone. From his early studies in piano he proceeded, at age 17, to study harmony, counterpoint, and sonata form with Rubin Goldmark, whose staunchly conservative outlook inspired Copland to rebellious investigation of the music of Debussy, Ravel, Mussorgsky, and Scriabin. In 1920, he set out for Paris, modernism's home in the years between the wars. Among the many vital legacies of his stay in Paris were his association with his teacher and mentor Nadia Boulanger; a growing interest in popular idioms; and the insight that there was as yet no American counterpart to the national styles being created by composers from France, Russia, and Spain. He became determined to create, in his words, "a naturally American strain of so-called serious music." Upon his return to America in 1924, his career was launched when Serge Koussevitzky, whom he had met in Paris, agreed to conduct the Boston Symphony Orchestra in Copland's Organ Symphony, with Boulanger as soloist. When performed in New York under Walter Damrosch, the dissonant, angular work created a sensation. But Copland saw a broader role for himself than mere iconoclast. He sought to further the cause of new music as a vital cultural force. He accomplished this not only by composing, but also by lecturing and writing on new music, and by organizing the groundbreaking Copland-Sessions concerts in New York, which brought many works of the European avant-garde to U.S. audiences for the first time. As America entered first a Depression, and then a war, Copland began to share many of his fellow artists' commitment to capturing a wider audience and speaking to the concerns of the average citizen in those times of trouble. His intentions were fulfilled as works from Billy the Kid to Lincoln Portrait to the Pulitzer Prize-winning Appalachian Spring found both popular success and critical acclaim. His decision to "say it in the simplest possible terms" alienated some of his peers, who saw in it a repudiation of musical progress -- theirs and his own. But many who had been drawn to Copland's music through his use of familiar melodies were in turn perplexed by his use, beginning in the mid-1950's, of an individualized 12-tone compositional technique. His orchestral works Connotations (1962) and Inscape (1967) stand as perhaps the definitive statements of his mature, "difficult" style. Copland never ceased to be an emissary and advocate of new music. In 1951, he became the first American composer to hold the position of Norton Professor of Poetics at Harvard University; his lectures there were published as Music and Imagination. For 25 years he was a leading member of the faculty at the Berkshire Music Center (Tanglewood). Throughout his career, he nurtured the careers of others, including Leonard Bernstein, Carlos Chavez, Toru Takemitsu, and David Del Tredici. He took up conducting while in his fifties, becoming a persuasive interpreter of his own music; he continued to conduct in concerts, on the radio, and on television until he was 83. Aaron Copland was one of the most honored cultural figures in the history of the United States. The Presidential Medal of Freedom, the Kennedy Center Award, the National Academy of Motion Picture Arts and Sciences "Oscar", and the Commander's Cross of the Order of Merit of the Federal Republic of Germany were only a few of the honors and awards he received. In addition, he was president of the American Academy of Arts and Letters; a fellow of the Royal Academy of Music and the Royal Society of Arts in England; helped found the American Composers Alliance; was an early and prominent member of the American Society of Composers, Authors, and Publishers; served as director or board member of the American Music Center, the Koussevitzky Foundation, the League of Composers, and other organizations; received honorary doctorates from over 40 colleges and universities. In 1982, The Aaron Copland School of Music was established in his honor at Queens College of the City University of New York.