Aaron Copland
Overview
Aaron Copland was an American composer, composition teacher, writer, and later in his career a conductor of his own and other American music. He was instrumental in forging a distinctly American style of composition, and is often referred to as "the Dean of American Composers". He is best known to the public for the works he wrote in the 1930s and 40s in a deliberately more accessible style than his earlier pieces, including the ballets Appalachian Spring
, Billy the Kid
, Rodeo
and his Fanfare for the Common Man
.
Appalachian Spring
Appalachian Spring is a modern score composed by Aaron Copland that premiered in 1944 and has achieved widespread and enduring popularity as an orchestral suite...
, Billy the Kid
Billy the Kid (ballet)
Billy the Kid is a 1938 ballet written by the American composer Aaron Copland and commissioned by Lincoln Kirstein. It was choreographed by Eugene Loring for Ballet Caravan. Along with Rodeo and Appalachian Spring, it is one of Copland's most popular and widely performed pieces...
, Rodeo
Rodeo (Copland)
Rodeo is a ballet scored by Aaron Copland and choreographed by Agnes de Mille, which premiered in 1942. Subtitled "The Courting at Burnt Ranch", the ballet consists of five sections: "Buckaroo Holiday", "Ranch House Party", "Corral Nocturne", "Saturday Night Waltz", and "Hoe-Down"...
and his Fanfare for the Common Man
Fanfare for the Common Man
Fanfare for the Common Man is a 20th-century American classical music work by American composer Aaron Copland. The piece was written in 1942 for the Cincinnati Symphony Orchestra under conductor Eugene Goossens. It was inspired in part by a famous speech made earlier in the same year where vice...
.
Unanswered Questions
Quotations
"For me, the most important thing is the element of chance that is built into a live performance. The very great drawback of recorded sound is the fact that it is always the same. No matter how wonderful a recording is, I know that I couldn't live with it--even of my own music--with the same nuances forever." Quoted in Classic Essays on Twentieth-Century Music, ISBN 0028645812
"I hope my recordings of my own works won't inhibit other people's performances. The brutal fact is that one doesn't always get the exact tempo one wants, although one improves with experience." Quoted in Classic Essays on Twentieth-Century Music, ISBN 0028645812