Started by karlhenning, April 10, 2007, 05:12:59 AM
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Quote from: vers la flamme on November 09, 2020, 03:06:33 AMBeen enjoying some Copland lately, mostly the Bernstein recordings on DG and Columbia/Sony. The 3rd symphony is pretty impressive. There's still a good deal of his music I have yet to hear; the Dance Symphony, Organ Symphony, Short Symphony and all that other good stuff. Just out of curiosity, why did Naxos record so much Copland?! They've recorded Appalachian Spring at least 3 or 4 times.
Quote from: vandermolen on November 09, 2020, 03:12:07 AMThe Organ Symphony is a particular favourite. You should try the craggy 'Symphonic Ode' as well. I think that the Appalachian Spring is very popular (like Vaughan Williams's 'The Lark Ascending') so that is probably why it is often recorded.
Quote from: vers la flamme on November 09, 2020, 02:29:51 PMThat was just an example; beyond Appalachian Spring, there's about a dozen or more Copland Naxos discs in general, with a bunch of different conductors: Gunzenhauser, Schwarz, Alsop, Judd, Falletta, etc... They really put a lot of effort into their Copland series. I suppose they see him as a central part of their "American Classics" series.
Quote from: Jo498 on November 10, 2020, 12:28:32 AMI don't much care for the "American Idyll" (or "populist") music but there is a different side (or more or some music that could be classified as in between) to Copland I find more interesting. Tilson Thomas accordingly has one album calls "the modernist" (which I recommend), one "the populist" (which I have not heard).[asin]B000003G4A[/asin] [asin]B00004SSDL[/asin]
Quote from: Mirror Image on November 09, 2020, 03:22:04 PMHe created a sound-world that was completely his own and, in this regard, he has one of the most characteristic and unmistakable musical voices in all of classical music. When you listen to a work like Prairie Journal and then turn around and listen to Connotations, you're never in question of who the composer is and I think that is one of his many achievements.
Quote from: Jo498 on January 12, 2021, 01:39:16 AMWouldn't Ives be a closer analogue to Sibelius as "pioneering beginner of serious classical music in cultural backwater x"? The big difference is of course that Sibelius became a national musical hero rather quickly whereas Ives remained mostly obscure. But Copland does seem very late for a "pioneer" even regardless of Ives.
Quote from: vandermolen on January 12, 2021, 01:53:35 AMI remember that when I first came across an LP by Vaughan Williams I asked my classical-music loving elder brother what his music was like and he replied 'a bit like a British Copland'. That intrigued me as I already liked Copland's music. Their music, of course, sounds different but I know what he meant.
QuoteNadia Boulanger required her pupils to learn to compose traditional forms, among them the motet. Written under her instruction, Copland's motets make use of biblical texts for an a capella chorus of mixed voices. He wrote, "I think of these as student pieces that show some influence of Moussorgsky, whom I admired. I agreed to their publication with mixed emotions. While they have a certain curiosity value — perhaps people want to know what I was doing as a student — the style is not yet really mine." Vivian Perlis
Quote from: Stu on August 17, 2022, 05:12:53 AMAs someone who loves, values, and obsesses over every single piece Copland ever wrote, it pains me that there is literally just one (one!) canonical work that Copland wrote that has still never yet been recorded, his incidental music for a televised play in 1957 titled The World of Nick Adams, based on a Hemingway story. Copland rather famously wrote two scores for film adaptations of John Steinbeck novels (Of Mice and Men and The Red Pony), but it's rather less known that he also wrote music for a story by that other American literary giant, Hemingway!In 2001, the actor Paul Newman staged a charity performance of the play, complete with Copland's score performed live. It was performed a few more times, but as far as I know none of those performances were filmed, nor has the music ever been recorded. The unpublished manuscript score is of course held in the Copland Collection at the Library of Congress, although since it was performed live in this century a conductor's score and parts are obviously floating around somewhere out there.Someday I hope to be able to hear this, the only Copland piece I have never heard.
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