Aaron Strumann

Peter Sheppard Skaerved and Aaron Short have assembled an interesting program mostly of very rarely heard works. The sonata is, of course, standard repertoire and has been recorded by nearly every major violinist since Fritz Kreisler and Szymon Goldberg; and, whileSkaerved and Shorr don't have big-time soloist pizzazz, they know their way around classical scores better than most big-time soloists, and this is a very satisfying, intelligent interpretation of that score.

Copland wrote Billy the Kid in 1938 on commission from Lincoln Kirstein, a noted New York impresario and cofounder of the New York City Ballet. The music became an instant success, incorporating as it does several well-known folk and Western tunes and telling an episodic story more about the Wild West in general than specifically about the notorious outlaw William H. Bonney (born Henry McCartney).

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.