Aaron Copland Popular Books

Aaron Copland Biography & Facts

Aaron Copland (, KOHP-lənd; November 14, 1900 – December 2, 1990) was an American composer, critic, writer, teacher, pianist and later a conductor of his own and other American music. Copland was referred to by his peers and critics as the "Dean of American Composers". The open, slowly changing harmonies in much of his music are typical of what many people consider to be 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 the composer labeled 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 some initial studies with composer Rubin Goldmark, Copland traveled to Paris, where he first studied with Isidor Philipp and Paul Vidal, then with noted pedagogue Nadia Boulanger. He studied three years with Boulanger, whose eclectic approach to music inspired his own broad taste. Determined upon his return to the U.S. to make his way as a full-time composer, Copland gave lecture-recitals, wrote works on commission and did some teaching and writing. However, he found that composing orchestral music in the modernist style, which he had adopted while studying abroad, was a financially contradictory approach, particularly in light of the Great Depression. He shifted in the mid-1930s to a more accessible musical style which mirrored the German idea of Gebrauchsmusik ("music for use"), music that could serve utilitarian and artistic purposes. During the Depression years, he traveled extensively to Europe, Africa, and Mexico, formed an important friendship with Mexican composer Carlos Chávez and began composing his signature works. During the late 1940s, Copland became aware that Stravinsky and other fellow composers had begun to study Arnold Schoenberg's use of twelve-tone (serial) techniques. After he had been exposed to the works of French composer Pierre Boulez, he incorporated serial techniques into his Piano Quartet (1950), Piano Fantasy (1957), Connotations for orchestra (1961) and Inscape for orchestra (1967). Unlike Schoenberg, Copland used his tone rows in much the same fashion as his tonal material—as sources for melodies and harmonies, rather than as complete statements in their own right, except for crucial events from a structural point of view. From the 1960s onward, Copland's activities turned more from composing to conducting. He became a frequent guest conductor of orchestras in the U.S. and the UK and made a series of recordings of his music, primarily for Columbia Records. Life Early years Aaron Copland was born in Brooklyn, New York, on November 14, 1900. He was the youngest of five children in a Conservative Jewish immigrant family of Lithuanian origins. While emigrating from Russia to the United States, Copland's father, Harris Morris Copland, lived and worked in Scotland for two to three years to pay for his boat fare to the United States. It was there that Copland's father may have Anglicized his surname "Kaplan" to "Copland," though Copland himself believed for many years that the change had been caused by an Ellis Island immigration official when his father entered the country. Copland was, however, unaware until late in his life that the family name had been Kaplan, and his parents never told him this. Throughout his childhood, Copland and his family lived above his parents' Brooklyn shop, H. M. Copland's, at 628 Washington Avenue (which Aaron would later describe as "a kind of neighborhood Macy's"), on the corner of Dean Street and Washington Avenue, and most of the children helped out in the store. His father was a staunch Democrat. The family members were active in Congregation Baith Israel Anshei Emes, where Aaron celebrated his bar mitzvah. Not especially athletic, the sensitive young man became an avid reader and often read Horatio Alger stories on his front steps. Copland's father had no musical interest. His mother, Sarah Mittenthal Copland, sang, played the piano, and arranged for music lessons for her children. Copland had four older siblings: two older brothers, Ralph and Leon, and two older sisters, Laurine and Josephine. Of his siblings, his oldest brother Ralph was the most advanced musically; he was proficient on the violin. His sister Laurine had the strongest connection with Aaron; she gave him his first piano lessons, promoted his musical education, and supported him in his musical career. A student at the Metropolitan Opera School and a frequent opera-goer, Laurine also brought home libretti for Aaron to study. Copland attended Boys High School and in the summer went to various camps. Most of his early exposure to music was at Jewish weddings and ceremonies, and occasional family musicales. Copland began writing songs at the age of eight and a half. His earliest notated music, about seven bars he wrote when age 11, was for an opera scenario he created and called Zenatello. From 1913 to 1917 he took piano lessons with Leopold Wolfsohn, who taught him the standard classical fare. Copland's first public music performance was at a Wanamaker's recital. By the age of 15, after attending a concert by Polish composer-pianist Ignacy Jan Paderewski, Copland decided to become a composer. At age 16, Copland heard his first symphony at the Brooklyn Academy of Music. After attempts to further his music study from a correspondence course, Copland took formal lessons in harmony, theory, and composition from Rubin Goldmark, a noted teacher and composer of American music (who had given George Gershwin three lessons). Goldmark, with whom Copland studied between 1917 and 1921, gave the young Copland a solid foundation, especially in the Germanic tradition. As Copland stated later: "This was a stroke of luck for me. I was spared the floundering that so many musicians have suffered through incompetent teaching." But Copland also commented that the maestro had "little sympathy for the advanced musical idioms of the day" and his "approved" composers ended with Richard Strauss. Copland's graduation piece from his studies with Goldmark was a three-movement piano sonata in a Romantic style. But he had also composed more original and daring pieces which he did not share with his teacher. In addition to regularly attending the Metropolitan Opera and the New York Symphony, where he heard the standard classical repertory, Copland continued his musical development through an expanding circle of musical friends. After graduating from high school, Copland played in dance bands. Continuing his musical education, he received further piano lessons from Victor Wittgenstein, who found his student to be "quiet, shy, well-mannered, and graciou.... Discover the Aaron Copland popular books. Find the top 100 most popular Aaron Copland books.