What Would American Music Be Without Aaron Copland?

Characteristics of classical art

What would American music be like without Aaron Copland?

This season, the New York City Ballet will premiere Justin Peck’s new work to music by Copeland. This is why it fits perfectly.

Aaron Copeland
Photo courtesy of the Library of Congress

New York City Ballet This Winter (January 26-February 7) premiere copeland dance episode, A new ballet with music by Aaron Copland, Dean of American Composers Justin Peck, Company Resident Choreographer and artistic advisor. Featuring sets by renowned painters, Sculptor Jeffrey Gibson, lighting Brandon, Peck’s frequent collaborator Sterling Baker, former Sterling Baker costume NYCB dancer Ellen Warren, ballet Peck’s first long night work.

What would American music be like without Aaron Copland?

His music is played everywhere. A moving memorial, a raucous ball game.he wrote Symphonies, ballets, operas, chamber music, songs, film scores. Copland’s life spanned most of the 20th century. From 1900 to 1990, his art bridged the gap between spoken language and scholarship. Entirely concrete, pervasive and permanent.how central Copeland?Spike Lee Combined Copeland’s Music with Public Songs his movie enemies he got the gameCopeland’s Music—Spacious, open, Drastic and propulsive—reminiscent of the American landscape and democratic It changed the way we think about this country.

Copeland’s life is a quintessential American story. The child of immigrants (in his case, from Lithuania), grew up on a store in Brooklyn, Define this country.Copland in Paris Nadia Boulanger visits Mexico to work with composer Carlos Fascinated by Chavez and European avant-garde music As a serial and twelve-tone composer, he spent his life working on the New Yorker.There’s a poetic irony here: the man who wrote the music It was a unique American who spent most of his adult life Upper West Side of Manhattan.

Copeland lived at the Empire Hotel for many years. Now it’s gone haywire — still across the street Home of NYCB at Lincoln Center.Copeland spent much of his time Located in the north from around 1960, before New York at that time State Theater opens.but you with him NYCB co-founder George Balanchine (another longtime upper West Sider) came across it in the neighborhood. Empire Hotel coffee shop or pizzeria Balanchine’s favorite Amsterdam Avenue. It’s a heady thought: Two highly sophisticated and totally unpretentious artists, Chat over a cup of joe.

Copeland wrote all kinds of music for all kinds of settings, but he No wonder it may be most closely related to dance. Many of his works were not written for ballet, The quality of Dansan is indescribable in words. they make you want to move.and that Copland took ballet lessons to kick-start his career. 1930s, Copeland been in the new music scene for a while, The inevitable school trip in Europe, building connections, Awards from the Boston Symphony Orchestra Other groups when Lincoln Kirstein asked him to compose A new ballet by choreographer Eugene Rowling.yeah that lincoln Kirstein – Impresario who co-founded the New York City Ballet with Balanchine.Kirstein founded a ballet company The Caravan, the predecessor of the New York City Ballet, Create a ballet with an American theme. billy the kid (1936) It was an instant hit. The activity and liveliness of that ballet, One-movement orchestral work mexico hall (1937) put Copeland on the map.

Today we tend to know some kind of Copeland, Music—an ambitious fanfare for the common people, Vibrant Dance Scores for Rodeo and Appalachian Spring—His Wide in scope, he included a large number. He, Serially Experimented Jazz Insights and Improvisations kept up to date with trends in fashion, music and culture. He championed and mentored new music by emerging composers He spoke extensively about music among generations of young musicians. Diverse audiences in academia and television.and he Continuing the experiment: Copland’s later works embraced rigor atonal method.

In many of his works, Copeland builds on selections of folk songs. Giving them a new harmony base and context, and not By the way, insist on the quality and value of words American art.Music written over time and for a specific purpose mid-20th century context Represent America or how America wants to see itself.As Copeland’s music may be familiar, but people keep discovering Open and spacious sounding new riches, new mysteries.

Robert Sandra is Editor-in-chief symphony, the magazine of league of american orchestra, lyricist often in art.

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