Aaron Strumann

The three Copland classics on this disc–Billy the Kid, Appalachian Spring and Rodeo–are all ballet scores, and from the very first bars of Billy, with its evocative depiction of the wide-open prairies, you are firmly in the territory of music that tells a story. But you don't need to follow all the ins and outs of each story to enjoy music which paints as vivid a picture of rural America as you could hope for. If the sprightly "Hoe Down" from Rodeo brings a splash of colour to concert programmes, the remarkable thing about so much of the music in these three pieces is how quietly sensitive it is. And while Michael Tilson Thomas does not hold back in wringing every last ounce of splashy razzmatazz, he is equally the master of introspective music which clearly demonstrates that you don't need to be loud to be a populist. The recordings were made in the San Francisco Symphony's home, Davies Symphony Hall. You couldn't hope for more authentic performances than this–more than 76 minutes of dyed-in-the-wool Americana.

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.

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.