|
| |
| | Aaron Copland - definition of Aaron Copland in Encyclopedia |
 | | Copland was an important contributor to the film score genre. | | | The same year Copland wrote Lincoln Portrait which became popular with a larger amount of the public leading to a strengthing of his association with American music. | | | Many composers rejected the notion of writing music for the elite during the depression, thus the common American folklore served as the basis for his work along with revival hymns, cowboy and folk songs. |
|
http://encyclopedia.laborlawtalk.com/Aaron_Copland
(592 words)
|
|
| |
| | Aaron Copland - Simple English Wikipedia |
| | This work was unusual because Copland used ideas from jazz music in his concerto. | | | Copland later wrote the music for two ballets about the American West. | | | Copland wrote about this in 1941 in his book, Our New Music. |
|
http://simple.wikipedia.org/wiki/Aaron_Copland
(894 words)
|
|
| |
| | Essentials of Music - Composers |
| | Aaron Copland seems at first to be an odd person to create a musical style that combined the myths of the American West and the styles of Latin American music into a populist music that spoke to a large segment of American society. | | | Copland was the son of Russian Jewish immigrants, grew up in New York, and found his musical voice in the international, avant-garde atmosphere of Paris in the 1920s. | | | Copland began his study of music with piano lessons from his older sister. |
|
http://www.essentialsofmusic.com/composer/copland.html
(763 words)
|
|
| |
| | Toccata Press: THE MUSIC OF AARON COPLAND |
| | Copland was born in 1900 in Brooklyn, where he began his musical career, before moving to the Paris of the 1920a, where Stravinsky, Prokofiev and Les Six were the centre of attention. | | | Neil Butterworth’s chronological survey of Copland’s entire output — the first book to appear on his music in 30 years — discusses ever one of his compositions and examines his influential writings on music. | | | On his return to the United States at the end of the decade he began to produce a series of works which could leave no one in any doubt that American composers were capable of writing music equal to the best of their European contemporaries. |
|
http://www.toccatapress.com/books/bookdetail.asp?ID=32
(224 words)
|
|
| |
| | [No title] |
| | Copland was booed at the 1957 premiere of his ``Piano Fantasy,'' which avant-garde composer Morton Feldman thought hopelessly conservative, and booed again at the 1958 premiere or his ``Orchestral Variations,'' which the Louisville audience thought too advanced - even though it was an orchestration of a 25-year-old piano work. | | | Copland was, in fact, the first American pupil of this famous composition teacher, who would eventually instruct nearly every important American composer who came of age between the 1920s and 1970s. | | | Copland stopped composing in the early 1970s and devoted his final active years to conducting his older works around the world. |
|
http://www.azstarnet.com/public/packages/reelbook/153-4002.htm
(1040 words)
|
|
| |
| | Classical Net Review - Aaron Copland: The Life And Work Of An Uncommon Man |
| | Copland advanced the art of film music considerably, and was recognized for these accomplishments at the time. | | | Copland referred to "sourpuss critics" of his piano sonata. | | | One thing Copland did not mention to the Senators was the "communist song" he wrote in the early '30's. |
|
http://www.classical.net/music/books/reviews/0805049096a.html
(936 words)
|
|
| |
| | Aaron Copland, What to listen in Music |
| | Copland felt overwhelmed by the assignment, but eventually came up with a work that has since became a touchstone in times of crisis, and one of the most enduring works in American music. | | | Aaron Copland is an important part of American history, especially the history of American art in the twentieth century. | | | Copland’s choice of Lincoln has its parallels in literature, the theater, and the visual arts (93). |
|
http://www.uh.edu/hti/cu/2004/v05/04.htm
(5342 words)
|
|
| |
| | American Masters . Aaron Copland PBS |
| | For Copland, jazz was the first genuinely American major musical movement. | | | By the mid-'30s Copland had become not only one of the most popular composers in the country, but a leader of the community of American classical musicians. | | | It was at this time that he sold his first composition to Durand and Sons, the most respected music publisher in France. |
|
http://www.pbs.org/wnet/americanmasters/database/copland_a.html
(883 words)
|
|
| |
| | Aaron Copland - classical and film composer |
| | Copland was also an experimentalist, incorporating a number of stylistic ideas including Jazz and Mexican dance rhythms in his music. | | | From the jazz world he embraced a number of ideas such as the music of George Gershwin, but mostly Copland is remembered for his own unique voice. | | | After this experience, Copland did not work on film music again. |
|
http://www.mfiles.co.uk/composers/Aaron-Copland.htm
(721 words)
|
|
| |
| | Aaron Copland |
| | Aaron Copland was widely-traveled, especially in the Americas, and in his travels he carried with him a healthy musical curiosity. | | | The Lane/Atlanta SO recording comprises three of Copland’s best-known works, and is a decent, if unspectacular, introduction to his works. | | | It’s not always the case that a composer is the best interpreter of his or her own music, but Copland’s hand here is deft indeed, leaning on things when weight is called for and backing off when it isn’t. |
|
http://www.greenmanreview.com/cd/cd_va_copland_sedinger_07_03.html
(1367 words)
|
|
| |
| | Featured Subject: Aaron Copland |
| | Copland, who was reunited with Martha Graham for a performance of "Appalachian Spring," which she commissioned in 1944, recalls for Anna Kisselgoff the circumstances of its composition. | | | Copland writes enthusiastically about a cultural exchange he took part in, organized by the State Department, in which he visited provincial capitals in Latin America to talk with local musicians. | | | In this interview at his Peekskill residence, Copland talks about reaching 80, his decision to become a professional musician and his favorite composition. |
|
http://www.dl.ket.org/humanities/music/copland.htm
(1555 words)
|
|
| |
| | Aaron Copland and His World |
| | Copland’s generous but ultimately elusive personality, his public persona, his radical and progressive political commitments, his relationship to his Jewish identity, and his homosexuality have all been subjects of debate and controversy. | | | Aaron Copland (1900–90) was 20th-century America’s most prominent composer. | | | He found a unique way to reconcile modernism with music that evoked the landscape and spirit of America. |
|
http://www.bard.edu/bmf/2005/copland
(225 words)
|
|
| |
| | Library Releases Copland Collection Online |
| | An essay on Copland's music places many of his best-known and most significant works in the context of his development as a composer. | | | Copland was active all his life as both composer and conductor, here rehearsing with William Warfield in 1963. | | | Besides the two autobiographical titles, in one of which he writes on "the creation of an art music" as one of "humanity's truly unique achievements," he wrote about his own music and about other composers and their music. |
|
http://www.loc.gov/loc/lcib/0011/copland.html
(1440 words)
|
|
| |
| | Milestones of the Millennium: Appalachian Spring |
| | Copland readily admitted that the pastoral beauty of Appalachia wasn’t on his mind when he wrote the score: “I gave voice to that region without knowing I was giving voice to it.” Graham chose the title after Copland had written much of the score, though he said that her dance style must have evoked Appalachia. | | | But when Copland began his Pulitzer Prize-winning ballet score in 1942, he couldn’t have foreseen that it would become one of the most inspiring and symbolic works of the century. | | | Music critics were in awe of Copland’s ability to capture a vast emotional world within the limits of the 13-piece orchestration prescribed by the original score (which, in turn, was dictated by the size of the Coolidge Auditorium orchestra pit at the Library of Congress, site of the ballet's premiere). |
|
http://www.npr.org/programs/specials/milestones/991027.motm.apspring.html
(651 words)
|
|
| |
| | American Composers Orchestra - David Raksin Remembers His Colleagues |
| | During Aaron's visits to Hollywood to score movies, he befriended several of his colleagues, and his charming company was cherished. | | | Now Copland's composing career was launched; his new works were widely performed and praised. | | | One of his compositions, Music for the Theater, attracted the attention of Serge Koussevitzky, who conducted its first performance with his Boston Symphony Orchestra in 1925; Copland later appeared as soloist in his Piano Concerto with the same forces. |
|
http://www.americancomposers.org/raksin_copland.htm
(694 words)
|
|
| |
| | Aaron Copland's America |
| | Copland's work as a composer of music for ballet is also documented in the exhibition. | | | Among the exhibition themes of Aaron Copland's America is the influence of jazz on both the composer and on visual artists, featuring works such as Man Ray's Jazz (1919) and Charles Demuth's Negro Jazz Band (1916). | | | Copland's music was revolutionary in that it reflected the strands and diversity of the many cultures which comprise the American landscape. |
|
http://www.tfaoi.com/aa/2aa/2aa82.htm
(858 words)
|
|
| |
| | Independent Gay Forum - Aaron Copland at 100 |
| | According to Pollack, Copland had a series of relationships over the years, mostly with young artists and musicians in their early twenties whom he befriended and mentored. | | | Copland did more than any other single person to create and promote an authentically American sounding style of classical music and make it accessible to the general public. | | | "Aaron felt that his sexuality was there in the music... |
|
http://www.indegayforum.org/authors/varnell/varnell42.html
(1005 words)
|
|
| |
| | Bernstein's Studio - Aaron Copland - Leonard Bernstein on Copland at 70 |
| | In honor of Copland's 70th birthday on November 14, 1970, Bernstein wrote this article, entitled "Copland at 70: An Intimate Sketch." The two musicians had been close friends since their first meeting in 1937. | | | Aaron became the closest thing to a composition teacher I ever had. | | | All it will take, it seems to me, is another musical turn, this time to a rediscovery of the basic simplicities of art, in which Copland will once more be looked to as a leader, will once again feel wanted as a composer. |
|
http://www.leonardbernstein.com/studio/element.asp?id=30
(764 words)
|
|
| |
| | glbtq >> arts >> Copland, Aaron |
| | By the end of the 1930s, Copland had incorporated into his music a number of American popular motifs, particularly those of the American West (for example, the pioneering settlers, the cowboy, the outlaw), along with the influences of the folk song and Hispanic culture. | | | This work established Copland's reputation in his own country, and by the late 1920s he had begun experimenting with a daringly modern style that incorporated elements of jazz, reflected most notably in his Piano Concerto (1927). | | | These elements are present in Copland's most famous works written between the late 1930s and the early 1950s, the peak years of his career, particularly in the ballets Billy the Kid (1938), Rodeo (1942), and Appalachian Spring (1944). |
|
http://www.glbtq.com/arts/copland_a.html
(741 words)
|
|
| |
| | CNN - Music returns to Aaron Copland's home - December 24, 1998 |
| | Copland House a New Home for the Arts | | | CORTLANDT, New York (CNN) -- The rustic house overlooking the Hudson River where Aaron Copland, one of America's most famous composers, spent the final 30 years of his life is being used to inspire future generations of musicians. | | | Under a leasing arrangement involving the estate, the town of Cortlandt and the nonprofit Copland Heritage Association, Rock Hill is now a retreat where musicians can live and work in the ruggedly elegant house and its scenic 2.5-acre setting. |
|
http://www.cnn.com/US/9812/24/copland.house
(239 words)
|
|
| |
| | - Classical Music Dictionary - Free MP3 |
| | Copland is perhaps most famous for his superb ballet scores, such as Billy the Kid (1938), Rodeo (1942), and Appalachian Spring (1944), which are all based on American folklore. | | | While maintaining his penchant for the jazzy and experimental, Copland also developed a folksy American style that won him a wide audience. | | | He was the first of many American musicians to study with Nadia Boulanger in Paris (1921-24). |
|
http://www.karadar.it/Dictionary/copland.html
(289 words)
|
|
| |
| | Naxos.com, Your World of Classical Music |
| | Under Boulanger Copland began to write his first full-fledged pieces, as well as keeping an involved notebook of musical ideas, an example of his legendary parsimonious nature, always thrifty with everything, especially notes. | | | When he returned to America, it was with the score to a ballet called Grohg, along with sketches that would become the Symphonic Ode and Music for the Theatre in his satchel. | | | He codified a concert music sound that was distinctly "American," and single-handedly created a generous path for composers in his native land, bringing to "the new world" what was mostly, up until that point, an imported and exclusively European art form. |
|
http://www.naxos.com/mainsite?pn=Composers&char=C&ComposerID=224
(522 words)
|
|
| |
| | Aaron Copland |
| | In 1925 Music for the Theater was commissioned by Koussevitsky, in which Copland introduced jazz elements that he felt purged the "too European" flavor of his music. | | | Copland was always a great promoter of American music, touring the world, conducting, writing books and teaching. | | | Being concerned with the gap between contemporary composers and the public, Copland began to compose some pieces in a more accessible style, often influenced by his visits to Mexico at the invitation of Carlos Chavez. |
|
http://www.balletmet.org/Notes/Copland.html
(938 words)
|
|
| |
| | MUSICMATCH Guide: Aaron Copland |
| | As one of the first wave of literary and musical expatriates in Paris during the 1920s, Copland returned to the United States with the means to assume, for the next half century, a central role in American music as composer, promoter, and educator. | | | This is nowhere more in evidence than in Copland's ballets of this period, and it finally earned him the respect of the general public. | | | Instead of attending college, Copland studied theory and composition with Rubin Goldmark and piano with Victor Wittgenstein and Clarence Adler, and attended as many concerts, operas, and ballets as possible. |
|
http://www.mmguide.musicmatch.com/artist/artist.cgi?ARTISTID=1088316&TMPL=LONG
(1156 words)
|
|
| |
| | Aaron Copland -- Britannica Concise Encyclopedia - The online encyclopedia you can trust! |
| | During these years Copland also produced a number of works in which he showed himself increasingly receptive to the serial techniques of the so-called 12-tone school of composer Arnold Schoenberg. | | | It seemed to me that we composers were in danger of working in a vacuum.” Furthermore, he realized that a new public for modern music was being created by the new media of radio, phonograph, and film scores: & made no sense to ignore them and to continue writing as if they did not exist. | | | After three years in Paris, Copland returned to New York City with an important commission: Nadia Boulanger had asked him to write an organ concerto for her American appearances. |
|
http://www.britannica.com/ebc/article-9026189
(1252 words)
|
|
| |
| | IHAS: Composer |
| | Yet, in many ways, Aaron Copland, together with his contemporary Leonard Bernstein, exerted such profoundly shaping influences on American music that they became institutions in their own right. | | | But perhaps the most significant institutional involvement which began for Copland in 1940 was his association with the Berkshire Music Center and the Tanglewood Festival, where he would teach and work for several decades to come. | | | Upon returning to America in 1924, Copland received the first public performances of his compositions, his ORGAN SYMPHONY in 1924 with Walter Damrosch conducting, MUSIC FOR THEATRE in 1925, and his PIANO CONCERTO in 1926. |
|
http://www.pbs.org/wnet/ihas/composer/copland.html
(842 words)
|
|
| |
| | Aaron Copland's Biography |
| | His textures are clear; his slow-moving--often almost motionless--seem to evoke the openness of the American landscape; and, though strongly tonal, his works embody twentieth-century techniques such as polychords, polyrhythms, changing meters, and percussive orchestration. | | | These were the depression years,when many composers rejected the idea of writing for an elite, and Copland now drew on American folklore--as in his ballets Billy the Kid (1938), Rodeo (1942), Appalachian Spring (1944)--and on jazz, revival hymns, cowboy songs, and other folk tunes. | | | His scores for films and his patriotic works (such as A Lincoln Portrait, 1942) also reached a mass public,and his name became synonymous with American music. |
|
http://www.geocities.com/Heartland/Fields/8616/composerfiles/copland.html
(722 words)
|
|
| |
| | MPR: Conscience vs. McCarthy: the political Aaron Copland |
| | Aaron Copland has been synonymous with American music for more than 60 years. | | | Whether Copland was or was not a Communist is still hard to determine. | | | Isn't the composer of that piece a Communist?" The piece was Lincoln Portrait, and the performance (with actor Walter Pidgeon narrating) was cancelled. |
|
http://news.minnesota.publicradio.org/features/2005/05/03_morelockb_unamerican
(1500 words)
|
|
| |
| | Kennedy Center: Biographical information for Aaron Copland |
| | As a child, he longed to study piano, but was forced to settle for lessons from one of his sisters. | | | In 1985, the year of Copland's 85th birthday, more than 100 American music organizations joined in a celebration on a scale never before accorded an American-born composer. | | | After graduating from high school, Copland decided to make music his career. |
|
http://www.kennedy-center.org/calendar/index.cfm?fuseaction=showIndividual&entitY_id=3712&source_type=A
(539 words)
|
|
| |
| | Aaron Copland's America: A Cultural Perspective Musicians Books |
| | There are two essays, one that focuses on Copland's interactions with the art world (visual and otherwise), the other on his music. | | | Appalachian Spring and other great Copland works are discussed in context, with photos of ballets and films for which Copland composed included. | | | The book looks at how the composer's fascination with folk and popular culture, native arts, jazz, cinema, and the search for an American national art gave form to his music, which sprang not only from his personal talent but also from connections to the powerful creative forces around him. |
|
http://www.musiciansbooks.com/books/Aaron_Coplands_America
(175 words)
|
|
| |
| | Classical Net - Basic Repertoire List - Copland |
| | Copland, to all intents and purposes, retired from composition in 1965, although short pieces occasionally came from the shop. | | | Copland's music, after his juvenalia, falls into three large periods. | | | As much as anyone, Aaron Copland established American concert music through his compositions, polemics, promotions, and just plain hard work. |
|
http://www.classical.net/music/comp.lst/copland.html
(988 words)
|
|
| |
| | Aaron Copland Collection Debuts On American Memory Web Site |
| | The online collection also includes 86 of Copland's previously unpublished drafts that demonstrate the creative process through which he wrote about his own music, other composers and their music, and other people who played important roles in his musical life. | | | The name Aaron Copland is synonymous with Appalachian Spring, the winner of the 1945 Pulitzer Prize in music. | | | In the article, "Aaron Copland: An Intimate Sketch," Bernstein presents Copland as friend, mentor, and musician. |
|
http://www.loc.gov/today/pr/2000/00-181.html
(411 words)
|
|
| |
| | Aaron Copland |
| | Brooklyn, N.Y. Copland was a pupil of Rubin Goldmark and of Nadia Boulanger, who introduced his work to the United States when she conducted his Symphony for Organ and Orchestra in 1925. | | | The music of America; Opening minds as well as ears, Aaron Copland dedicated his long life to the cause of his country's music, inspiring generations of composers.(ENTERTAINMENT) | | | Although his earliest works show European influences, the American character of the greater part of his compositions is evident in his use of jazz and of American folk tunes, as in the short piece for chamber orchestra, |
|
http://www.infoplease.com/ce6/people/A0813471.html
(306 words)
|
|
| |
| | CLASSICAL MUSIC ARCHIVES: Biography of Aaron Copland |
| | In both works jazz elements were introduced to purge what Copland felt was the ‘too European’ flavour of his mus. | | | Copland always worked hard on the promotional side of Amer. | | | Abandoned jazz in 1930, adopting a more austere style in the Pf. |
|
http://www.classicalarchives.com/bios/codm/copland.html
(491 words)
|
|
| |
| | Aaron Copland American Composer |
| | Copland's growth as a composer mirrored important trends of his time. | | | In 1921 Copland traveled to Paris to attend the newly founded music school for Americans at Fontainebleau. | | | His musical works ranged from ballet and orchestral music to choral music and movie scores. |
|
http://www.lucidcafe.com/library/95nov/copland.html
(540 words)
|
|
| |
| | The Aaron Copland Collection ca. 1900-1990 - (American Memory from the Library of Congress) |
| | The multiformat Aaron Copland Collection from which the online collection derives spans the years 1910 to 1990 and includes approximately 400,000 items documenting the multifaceted life of an extraordinary person who was composer, performer, teacher, writer, conductor, commentator, and administrator. | | | Aaron Copland by candlelight, studio in the Berkshires, September, 1946 | | | These items date from 1899 to 1981, with most from the 1920s through the 1950s, and were selected from Copland's music sketches, correspondence, writings, and photographs. |
|
http://memory.loc.gov/ammem/collections/copland
(177 words)
|
|
| |
| | NPR : Testimony of Aaron Copland |
| | In these capacities my work was limited to the technical aspects of music." The subcommittee never called him to testify in public. | | | (Editor's note: The composer Aaron Copland (1900-1990), whose works included Billy the Kid, Lincoln Portrait, Rodeo, and Appalachian Spring, won a Pulitzer Prize in 1944 and an Academy Award in 1950. | | | Let me ask you this: Prior to the phone call Friday, you had never known of any reference to you in the Congressional Record concerning your Communist fronts? |
|
http://www.npr.org/programs/atc/features/2003/may/mccarthy/copland.html
(7682 words)
|
|
| |
| | Welcome to the Website of Copland House: Timeline of a Musical Life |
| | Buys Rock Hill, in the Town of Cortlandt, which was to be his home for the remaining 30 years of his life; fourth book published, Copland On Music | | | Becomes embroiled in Washington’s anti-Communist hysteria, and is subpoenaed to testify at McCarthy hearings in Congress, as a result of which several of his engagements are canceled; first book about Copland published, written by composer-critic Arthur Berger | | | Gives interviews to Vivian Perlis for her Oral History Project in American Music at Yale University, which develop into their collaboration on Copland’s autobiography |
|
http://www.coplandhouse.org/info.asp?pbs=aaroncopland
(1158 words)
|
|
| |
| | AaronCopland.com - 20th century American composer |
| | Considered by many the greatest American composer of the 20th century, Copland dedicated himself early on in his composing career to seeking and defining a distinctly American sound. | | | His list of works includes ballets, orchestral compositions, film scores, and choral works. | | | In addition to composing, he was also skilled as a conductor and there are many fine recordings with Copland conducting his own music still available. |
|
http://www.aaroncopland.com
(129 words)
|
|
| |
| | The American Music Center |
| | In keeping with his lifelong devotion to the music of America, Aaron Copland created the Fund and bequeathed to it a large part of his estate. | | | The Fund's purpose is to encourage and improve public knowledge of contemporary American music. | | | Aaron Copland Fund for Music - Recording Program 2005 |
|
http://www.amc.net/about/news/2005.0706.rec.html
(468 words)
|
|
| |
| | Howard Pollack / Aaron Copland |
| | Howard Pollack's expansive and carefully detailed biography examines Copland's musical development, his political sympathies, his personal life, and his tireless encouragement of younger composers, presenting a balanced and skillfully wrought portrait of an American original. | | | A book as sober, respectful, and finely nuanced as this is just what [Copland's] legacy deserves." — John Rockwell, New York Times Book Review | | | A conductor, music critic, and teacher who wrote clearly and accessibly about music, Copland composed some of the twentieth century's most familiar works — Billy the Kid, Rodeo, Appalachian Spring, Fanfare for the Common Man — in addition to a wealth of music for opera, ballet, chorus, orchestra, chamber ensemble, band, radio, and film. |
|
http://www.press.uillinois.edu/s00/pollack.html
(297 words)
|
|
| |
| | USATODAY.com - How Bernstein finds inspiration for score |
| | She made me play for him and asked if I had any talent (his response: "I don't know"). | | | His compositions had tremendous influence on me. I last saw him in Los Angeles on his 75th birthday. | | | She took me to meet Aaron Copland, who was about 30 at the time. |
|
http://www.usatoday.com/life/movies/movieawards/oscars/2003-03-21-bernstein_x.htm
(607 words)
|
|
| |
| | Aaron Copland - Discography |
| | The Copland Collection: Orchestral and Ballet Works (1936-1948) | | | Copland: Music for the Theater; Piano Concerto; more | | | Copland: The Young Pioneers -- Complete Music For Solo Piano |
|
http://www.sonyclassical.com/artists/copland/disc.html
(172 words)
|
|
| |
| | Rodeo (ballet) - Wikipedia, the free encyclopedia |
| | Rodeo is a ballet score written by American composer Aaron Copland in 1942. | | | In 1972 the rock band Emerson, Lake and Palmer recorded a version of "Hoedown" (note slightly altered spelling) for the album Trilogy, and the piece became a staple of the band's live shows. | | | In 1946 Copland arranged just the "Hoe-Down" portion of the ballet for string orchestra, and later that year arranged the same piece for violin and piano. |
|
http://en.wikipedia.org/wiki/Rodeo_(ballet)
(236 words)
|
|
| |
| | The Aaron Copland Collection ca. 1900-1990 - Aaron Copland Timeline - (American Memory from the Library of Congress) |
| | In the fall of 1917, began his study of harmony and counterpoint with Rubin Goldmark, who had studied at the Vienna Conservatory and later in New York with Dvoák and became head of the Composition Department at the Juilliard School of Music at its founding (1924). | | | During the four years of his studies with Goldmark (until the spring of 1921), Copland composed numerous short pieces of musical juvenilia for piano or piano and another instrument or voice. | | | Began his formal musical training by taking private piano lessons with Leopold Wolfsohn in Brooklyn, New York. |
|
http://memory.loc.gov/ammem/collections/copland/actime.html
(252 words)
|
|
| |
| | Copland, Aaron (1900 - 1990) |
| | His wider popular reputation in the United States was founded on his thoroughly American ballets, Billy the Kid, Rodeo and Appalachian Spring, and, less overtly, on his film scores, while a great variety of other compositions won him an unassailable position in American concert-life. | | | The son of immigrant Jewish parents from Poland and Lithuania, Aaron Copland was born in Brooklyn in 1900 and lived to become the doyen of all American composers. | | | All three works are well known also in the concert-hall. |
|
http://www.naxos.com/composer/copland.htm
(166 words)
|
|
| |
| | Aaron Copland, Composer |
| | Because Copland had a habit of composing at night with the help of his noisy piano, he had to move several times. | | | Copland borrowed from American legends and folk music and incorporated them into his music. | | | By his mid twenties his work was known by other composers. |
|
http://www.dsokids.com/2001/dso.asp?PageID=58
(267 words)
|
|
| |
| | Aaron Copland |
| | As in all his orchestral works, Copland's abilities as an orchestrator can clearly be heard. | | | Copland wrote this work for Martha Graham and filled it with evocative "Western" music to accompany the dance. | | | Aaron Copland - Fanfare for the Common Man and Rodeo |
|
http://www.wwnorton.com/classical/covers/62401.htm
(101 words)
|
|
| |
| | Welcome to the Website of Copland House: Home |
| | This site was designed as a resource for information about Copland House activities, Copland's life and work, and American music. | | | Steinway is the official piano of Copland House. | | | An Official Project of the White House "Save America's Treasures" program and an entry in the National Register of Historic Places, Copland House is the only composer's home in the United States devoted to nurturing American composers and their work through a broad range of musical, educational, scholarly, and public programs and activities. |
|
http://www.coplandhouse.org
(246 words)
|
|
|
Topic: Aaron Copland