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Copland As Mentor to Britten, 1939-1942
'You absolutely owe it to England to stay here': Copland as mentor to Britten, 1939-1942 Suzanne Robinson Few details of the circumstances of Benjamin Copland to visit him for the weekend at his home in a Britten's stay in America in the years 1939-42 were converted mill in Snape. On this occasion they familiar- known before the publication in 1991of Britten's letters ised one another with their music; Copland played his and, in 1992, of a biography by Humphrey Carpenter. school opera, The Second Hurricane, singing all the parts And with the exception of a short article on Aaron himself, while Britten performed the first version of his Copland and Britten in an Aldeburgh Festival Programme Piano ~oncerto.~Being July, and England, at the first ~ook,llittle attention has been paid to the significance sign of sunshine the locals escorted their visitor to one of Britten's exposure to Copland's music, which Britten of Suffolk's pebbled beaches (which Copland described regarded as the best America had to offer. More than 20 as a 'shingle'). Copland realised that perhaps he was letters survive between 'Benjie' and 'my dearest Aaron', more accustomed to the effects of the sun, when Ibefore the majority of them belonging to the war years when long it became clear that the assembled group was in Copland was resident in New York and Britten was, for danger of "roasting". When I politely pointed out the the most part, nearby in Long ~sland.~Britten fre- obvious result to be expected from lying unprotected quently referred to Copland as his 'very dear friend', on the beach, I was told: "But we see the sun so and even 'Father' (Copland was the senior of the two rarely"'? When he returned to America, copland wrote by 13 years). -
AMRC Journal Volume 21
American Music Research Center Jo urnal Volume 21 • 2012 Thomas L. Riis, Editor-in-Chief American Music Research Center College of Music University of Colorado Boulder The American Music Research Center Thomas L. Riis, Director Laurie J. Sampsel, Curator Eric J. Harbeson, Archivist Sister Dominic Ray, O. P. (1913 –1994), Founder Karl Kroeger, Archivist Emeritus William Kearns, Senior Fellow Daniel Sher, Dean, College of Music Eric Hansen, Editorial Assistant Editorial Board C. F. Alan Cass Portia Maultsby Susan Cook Tom C. Owens Robert Fink Katherine Preston William Kearns Laurie Sampsel Karl Kroeger Ann Sears Paul Laird Jessica Sternfeld Victoria Lindsay Levine Joanne Swenson-Eldridge Kip Lornell Graham Wood The American Music Research Center Journal is published annually. Subscription rate is $25 per issue ($28 outside the U.S. and Canada) Please address all inquiries to Eric Hansen, AMRC, 288 UCB, University of Colorado, Boulder, CO 80309-0288. Email: [email protected] The American Music Research Center website address is www.amrccolorado.org ISBN 1058-3572 © 2012 by Board of Regents of the University of Colorado Information for Authors The American Music Research Center Journal is dedicated to publishing arti - cles of general interest about American music, particularly in subject areas relevant to its collections. We welcome submission of articles and proposals from the scholarly community, ranging from 3,000 to 10,000 words (exclud - ing notes). All articles should be addressed to Thomas L. Riis, College of Music, Uni ver - sity of Colorado Boulder, 301 UCB, Boulder, CO 80309-0301. Each separate article should be submitted in two double-spaced, single-sided hard copies. -
Composers' Showcase," Was First Given at The
THE MUSEUM OF MODERN ART 11 WEST 53 STREET. NEW YORK 19, N. Y. (to^rPrinted) TELEPHONE CIRCLE MtM Composers1 Showcase Charles Schwartz, Director A series of Thursday evening concerts presented at The Museum of Modern Art 11 West 53 Street New York 19, New York Thursday, January 26, 1961 8;30 p.m. Thursday, February 2, 1961 8; 30 p.m. AN AARON COPLAND PROGRAM 1. As it Fell Upon a Day.. • 1923 Julius Baker - Flute David Glazer - Clarinet Dorothy Renzi - Soprano 2. Song (e. e. cummlngs text) 1927 3. Vocalise., 1928 If. Poems of Emily Dickinson •»••••••••• 1950 a) Nature, the gentlest mother b) The world feels dusty c) Dear March, come in d; Sleep is supposed to be Dorothy Renzi - Soprano David Garvey - Piano INTERMISSION 5« The Second Hurricane (Concert version)* • 1937 a play-opera in two acts with Aaron Copland as narrator Libretto - Edwin Denby School of Music and Art singers- Staged by - Roger Englander Sybil Mandel, Director Lighting designed by Lee Watson Louis K. Wechsler, Principal Conductor - Seymour Lipkin Pianists - Bertha Melnik and Paul de Leeuw Principal Characters Butch - Steven Wertheimer Gyp - John Richardson Fat - Eugene Young Lowrie - Lawrence Willis Gwen - Omega Milbourne Queenie - Julie Makis Jeff - Marion Cowings a chorus of high school students a chorus of patents a group of grammar school students The story is placed in the thirties but in no specific locality. *By permission of the Publishers and Copyright Owners, Boosey and Howkes,Inc. Lighting equipment by Century Lighting Inc. Mr. Copland will discuss his work with Mr. Schwartz following the concert* Written questions are invited. -
Aaron Copland (1910-90), and Charles Ives (1874-1954) – December 11, 2017
AAP: Music American nostalgia: Samuel Barber (1910-81), Aaron Copland (1910-90), and Charles Ives (1874-1954) – December 11, 2017 Aaron Copland • Parents immigrated to the US and opened a furniture store in Brooklyn • Youngest of five children • Began studying piano at age 13 • Studied in Paris with Nadia Boulanger (1887-1979) • The school of music at CUNY Queens College is named after him: Aaron Copland School of Music Career: • Composed – musical style incorporates Latin American (Brazilian, Cuban, Mexican), Jewish, Anglo-American, and African-American (jazz) sources • Conducted (1958-78) • Wrote essays about music • Visiting teaching positions (New School for Social Research, Henry Street Settlement, Harvard University) • Public lectures (Harvard’s Norton Professor of Poetics, 1951-52) Copland organized concerts that promoted the music of his peers: Marc Blitzstein (1905-64) Roy Harris (1898-1979) Paul Bowles (1910-99) Charles Ives (1874-1954) Henry Brant (1913-2008) Walter Piston (1894-1976) Carlos Chávez (1899-1978) Carl Ruggles (1876-1971) Israel Citkowitz (1909-74) Roger Sessions (1896-1985) Vivian Fine (1913-2000) Virgil Thomson (1896-1989) Copland was a mentor to younger composers: Leonard Bernstein (1918-90) Irving Fine (1914-62) David del Tredici (b. 1937) Lukas Foss (1922-2009) David Diamond (1915-2005) Barbara Kolb (b. 1939) Jacob Druckman (1928-96) William Schuman (1910-92) Elliott Carter (1908-2012) AAP: Music Selected works Orchestra Ballets (also published as orchestral suites) Music for the Theatre (1925) Billy the Kid -
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. -
Andrea Chénier
Synopsis France, late 18th century Act I A The Château de Coigny near Paris; spring, 1789 ER OP Act II AN Paris, along the Cours-la-Reine; spring, 1794 TROPOLIT Act III ME / The courtroom of the Revolutionary Tribunal; July 24, 1794 RD WA HO Act IV N St. Lazare Prison; July 25, 1794 KE 2013–14 A scene from Madama Butterfly Act I Preparations are under way for a party. Gérard, servant to the Countess de Coigny, is disgusted by the ways of the aristocracy. He riles against the servants’ life of slavery and prophesizes death to his masters. Maddalena, the countess’s daughter, appears and Gérard reflects on his secret love for her, while she complains to her servant, Bersi, about the discomfort of wearing fashionable e Metropolitan Opera is pleased clothes. Guests arrive, among them Fléville, a novelist, who has brought his friend, the poet Andrea Chénier. The latest distressing news from Paris is discussed, to salute Bank of America in then Fléville cheers the company with a pastorale he has written for the occasion. Maddalena teases a reluctant Chénier into improvising a poem. He responds recognition of its generous support with a rapturous description of the beauties of nature that turns into an appeal against tyranny and the suffering of the poor. The guests are offended but the during the 2013–14 season. countess begs their indulgence and commands a gavotte to begin. Just then, Gérard storms in with a group of starving peasants. Furious, the countess orders them out. Gérard takes off his livery, declaring he won’t have anything to do with the aristocracy any longer, and departs. -
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. -
ARSC Journal
Sound Recording Reviews 209 The editing of side breaks has been generally very well done by both Obert-Thorn and Dutton. However, the difficult join between sides 9 and 10 of the original 78 rpm album, which links the "Ingemisco" with "Confutatis maledictis", has been more skill fully accomplished in Obert-Thorn's hands (Dover, p. 77, measure 501). Neither trans fer achieves perfect timing through the edit, but the gap on the Dutton CD is too long to be considered acceptable. The very slight hesitation on Obert-Thorn's transfer will probably pass unnoticed unless the listener is extremely attentive. Collectors should be reminded that the original 78s are missing eleven measures. In "Lux reterna", Side 16, the entire a cappella trio from measures 84 to 93 is cut (Dover, p. 156). The run-out area on this side is less than 3/8 of an inch. At Serafin's tempo (or anyone else's, for that matter) the missing music would have required approximately twenty-five additional seconds. It was obviously impossible to fit the entire movement on a single side. The other incision is more difficult to understand. The first measure of the orchestral introduction to "Lacrymosa dies illa", marked Largo in the score, is missing (Dover, p. 92, measure 624). Side 11 begins on the second measure of the Largo. Here, the missing measure would have required only four to five additional seconds, and would have fit comfortably on this side. One might conclude that the original produc er made an error in planning the side breaks. -
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.