Aaron Copland Piano

'Appalachian Spring' and 'El Salón Mexicó' are archetypical of what many people consider to be the sound of American music, evoking the vast landscapes, cowboys and pioneer spirit. Yet, in the 20th century perhaps only Stravinsky was as adept in as many styles as Aaron Copland [1900-1990]. His Piano Concerto, first performed by Serge Koussevitsky, is a good example of Copland the modernist but he also wrote chamber music, ballets, operas and film scores, as well as teaching, writing and latterly conducting. The winter of 1950 saw Copland take a break from writing his superlative 'Twelve Poems of Emily Dickinson' and, inspired by a Pears and Britten recital in late 1949, he took five of his favourite American songs and arranged them for voice with piano. Pears and Britten liked them so much that they gave the premiere together at the Aldburgh Festival in 1950.

Copland began his Music for the Theatre in May 1925 in New York City, but the bulk of the composition was written at the MacDowell Colony in New Hampshire during the summer. Having been impressed with Copland's earlier Symphony for Organ and Orchestra (1924), conductor Sergey Koussevitzky (1874-1951) urged the League of Composers to commission an orchestral piece from Copland, to be performed the following season.

Aaron Copland may well be the best-known, the most loved, and the all-around greatest of twentieth century American composers, but his music from the '20s and '30s is still relatively unknown, still relatively unloved, and of still questionable greatness. Was Copland the Modernist too far out to connect to a big audience so he re-created himself as Copland the Populist to become the best-known, most loved, and greatest American composer? But was his Piano Concerto from 1926 really too jazzy and vulgar, his Symphonic Ode from 1928 really too cerebral and severe, his Piano Variations from 1930 really too harsh and austere, and his Short Symphony from 1934 really too rhythmic and complex or was it lack of familiarity made them seem so? From this 1996 recording by Michael Tilson Thomas and the San Francisco Symphony, one would have to vote for the latter because Copland the Modernist is every bit as great a composer as Copland the Populist.

Copland was interested in exploring various methods of composition that might stimulate his melodic and harmonic ideas. It had been twenty years since he had adapted serialism to his own use. He said that "composing with all twelve notes of the chromatic scale can give one a feeling of freedom. It's like looking at a picture from a different point of view." Copland was the first to admit that he did not keep strictly to the rules of serialism. In fact, the sense of a tonal center is rarely missing in the Quartet.

Pianist/composer Conrad Tao's third Warner Classics album, entitled American Rage, traces the roots of rebellion from the 1930s Harlan County labor disputes, through the trauma of 9/11, to the deep divisions of the present day. Bookended by two expansive works by Frederic Rzewski - Which Side Are You On?, based on Florence Reece’s 1931 protest song, and Winnsboro Cotton Mill Blues, an industrial folk song that reflects the unjust factory working conditions - the album centres on Julia Wolfe's Compassion, written in the wake of 9/11, and Aaron Copland's elegiac Piano Sonata.

An enjoyable collection for White fans, although one might prefer one's spirituals on a bigger scale. That said, Willard White makes these well-known songs seem much more intimate and reflective, private rather than public. Swing low, pressed into service at last year's rugby world cup, is sung rather faster than usual. That's no bad thing, as the song can be made to sound rather lachrymose. For White there is a sense of eager anticipation, that heaven really is at hand. The Copland songs are enjoyable too and are sung with apparent enjoyment. They were all new to me and I can see myself returning to them for their witty lyrics and sense of fun. The Chandos recording is good and the voice is well caught. The accompaniment is discreet and intelligent, making this a delightful disc all round.

Aaron Copland & Leonard Bernstein - The Composer As Performer (1997) {Pearl GEMM CD9279 rec 1933-1944}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 209 Mb | MP3 @320 -> 174 Mb
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© 1933-44, 1997 Pavilion Records / Pearl | GEMM CD 9279
Classical / Early 20th Century / Historical / Piano

Copland never performed other people's piano music in public, but he was an excellent player of his own music. His 1935 78s of his own spiky, wonderful Piano Variations have never been surpassed. This CD collects most of Copland's prewar 78s, adds a piano transcription of Appalachian Spring (well played by someone, but the provenance seems dubious), and concludes with Leonard Bernstein's first recording. As a program it's a bit scattered, but the individual items are important. Some of the dubs are noisy, but the sound is good enough throughout so that we can enjoy a major document of American music.

Vibrant young pianist, Isata Kanneh-Mason, presents her sparkling second album, Summertime, as she takes us on a journey through the musical landscape of 20th century America. Isata brings her signature flair to this virtuosic and spiritual music for solo piano, including a world premiere recording of a Samuel Coleridge-Taylor piece, the fiercely challenging Barber sonata, and dazzling arrangements of Gershwin's songs.

Star pianist Daniil Trifonov releases his new album My American Story – North, embarking on a very personal musical journey across the Americas. The first of a total of two albums, My American Story – North, begins in the USA, where Trifonov has spent almost half of his life. It features a collection of pieces reflecting the variety of his experiences. The album’s diverse repertoire “has given me access to many perspectives, styles, cultures, places, people, stories and forms of expression that have shaped and molded my experience of America,” says Trifonov.