The Philosopher
Aaron Copland
The face
The background
- Nationality:
- American
- Schools:
- Modernism (music), Gebrauchsmusik
- Branchs:
- classical music, American classical music, Populist music, Vernacular style music, Film scores
- Period:
- 20th century
The synopsis
Aaron Copland (November 14, 1900 – December 2, 1990) was an American composer, critic, writer, teacher, pianist, and conductor. He was referred to by his peers and critics as the "Dean of American Music." The open, slowly changing harmonies in much of his music are typical of what many consider the sound of American music, evoking the vast American landscape and pioneer spirit. He is best known for the works he wrote in the 1930s and 1940s in a deliberately accessible style often referred to as "populist" and which he called his "vernacular" style. Works in this vein include the ballets *Appalachian Spring*, *Billy the Kid*, and *Rodeo*, his *Fanfare for the Common Man*, and Third Symphony. In addition to his ballets and orchestral works, he produced music in many other genres, including chamber music, vocal works, opera, and film scores. After initial studies with Rubin Goldmark, Copland traveled to Paris, studying with Isidor Philipp, Paul Vidal, and Nadia Boulanger. Returning to the U.S., he faced financial hardship during the Great Depression, leading him to adopt a more accessible musical style. He composed prolifically, influencing generations of American musicians and establishing a distinctly American sound in classical music.
The works
Appalachian Spring
Billy the Kid
Rodeo
Fanfare for the Common Man
Third Symphony
El Salón México
The Second Hurricane
Of Mice and Men
Our Town
Lincoln Portrait
The Heiress
The Red Pony
Clarinet Concerto
Piano Quartet
Piano Fantasy
Connotations
Inscape
Symphony for Organ and Orchestra
Short Symphony
Piano Variations
The Cat and the Mouse
Three Moods
Passacaglia
Music for the Theater
Concerto for Piano and Orchestra
Symphonic Ode
Statements for Orchestra
An Outdoor Overture
Danzón cubano
Music for Movies
Sonata for violin and piano
In the Beginning
Twelve Poems of Emily Dickinson
Canticle of Freedom
Orchestral Variations
Dance Panels
Something Wild
Music for a Great City
Emblems
Night-Thoughts
Proclamation
The quotes
A melody is not merely something you can hum.
Inspiration may be a form of super-consciousness, or perhaps of subconsciousness I wouldn't know. But I am sure it is the antithesis of self-consciousness.
If a literary man puts together two words about music, one of them will be wrong.
You compose because you want to somehow summarize in some permanent form your most basic feelings about being alive, to set down... some sort of permanent statement about the way it feels to live now, today.
To stop the flow of music would be like the stopping of time itself, incredible and inconceivable.
So long as the human spirit thrives on this planet, music in some living form will accompany and sustain it and give it expressive meaning.
The whole problem can be stated quite simply by asking, 'Is there a meaning to music?' My answer would be, 'Yes.' And 'Can you state in so many words what the meaning is?' My answer to that would be, 'No.'