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The Daily Agenda for Wednesday, November 14

Jim Burroway

November 14th, 2012



November 14th, 2012 | LINK

Good article on Copland. He got out 2 particularly good pieces, though, right at the end before he really lost steam. His Nonet for Strings (1960) is, in my opinion, perhaps his best non-symphonic piece, and his Duo for Flute and Piano (1971) is also very nice -incidentally it quotes the Nonet in the first movement, a sign most likely that he was having a difficult time coming up with new ideas (or, of course, felt that he hadn’t fully worked out that idea the first time around). What a great composer though, one of the titans in the American musical pantheon!

Regan DuCasse
November 14th, 2012 | LINK

Appalachian Spring, gets me weepy. It really does. There are notes that do evoke flitting birds and breaking dawns.

I was just listening to a film score piece by Copeland on the radio. It was for “The Red Pony” and very similar to “Rodeo”.
They said his inspiration was to simply sit on the floor of a Hollywood sound stage and write out the notations on the spot. Without an instrument.
When you know the back stories of things like this, what’s in the heads of composers makes you wish for a visual of what those flights of music would look like. The sheet music I have sometimes looks like a work of art to me too.
I have very eclectic music tastes and was raised on some of the best recordings of classical music known to man.
Thank goodness.

Ben in Oakland
November 16th, 2012 | LINK

People also forget that Copland was a major proponent of jazz in the 20’s, comparable to Gershwin in many ways, though he lacked gershwins melodic gifts. His “music for the theater” and piano concerto are jazz classics, as was his clarinet concerto, written for Benny goodman, but much later.

Richard Rush
November 16th, 2012 | LINK

This brings back a memory: I had the privilege of witnessing Aaron Copland conducting the Chicago Symphony at a summer concert on the magnificent lakefront in the very early 1970s.

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