Copland: Appalachian Spring

I performed this piece last semester with the chamber orchestra at my school. This was the nicest recording of it I found at the time - a good conductorless version with really great wind soloists.

Here are the program notes I wrote for it at the time, including Copland's own description of the eight segments.

Composed under commission in 1944, the "Ballet for Martha" lacked a name until just before the premiere, when choreographer Martha Graham chose the title from a poem called "The Dance" by American author Hart Crane. In truth, the name bears virtually no relation to the music or the ballet, causing Copland much amusement when he repeatedly received comments about the music's power to evoke the scenery of
mountains in spring. However, regardless what imagery this music may conjure in one's mind, the harmonic language is unmistakeably American, and it won Copland the Pulitzer Prize in Music in 1945. That same year, Copland rearranged the ballet music into an orchestral suite which retained most of the original music.

The suite is a continuous twenty-three minutes, and was originally scored for a chamber ensemble featuring thirteen instruments: flute, clarinet, bassoon, piano, and one desk each of the string family members (except the single double bass). He would subsequently score a version of the suite for full orchestra, which is more frequently performed. Copland also authorized the chamber version to be performed with an expanded string section, which is the version performed here today.

The action of the ballet features a pair of pioneers celebrating their newly-built farmhouse in Pennsylvania and their upcoming marriage. They are visited by various neighbors and advisors, and experience the spectrum of emotions that come with starting a new life in an unfamiliar place. After phases of both joy and uncertainty, in
the end the couple stands ready to face their new life with quiet courage.

The eight sections of the suite proceed thusly (text in quotation marks indicates Copland's own prose):
1. "Very Slowly. Introduction of the characters, one by one, in a suffused light." This serene section features gentle solos over an ever-present A Major tonality.
2. "Fast. Sudden burst of unison strings in A major arpeggios stars the action. A sentiment both elated and religious gives the keynote to this scene." Copland indicates "vigoroso" for this bright and lively tune, which later becomes superimposed upon a more expansive string texture. 2:38 in the video.
3. "Moderate. Duo for the Bride and her Intended--scene of tenderness and passion." This section is introduced by a lilting irregular rhythmic figure, which then dissolves into more intimate and expressive but muted sonorities in far-off keys. 5:25
4. "Quite Fast. The Revivalist and his flock. Folksy feelings--suggestions of square dances and country fiddlers." This section is sprightly and dancelike, depicting the exuberance of the spiritual revivalists. This eventually crests into an eloquent and grandiose statement, leaving a pronounced impression on the protagonists, who quietly reflect on these themes. 8:43
5. "Still Faster. Solo dance of the Bride--presentiment of motherhood. Extremes of joy and fear and wonder." After an irregular transitional section, the following presto is a sort of moto perpetuo, featuring highly syncopated tunes above a neverending tattoo of eighth notes. But with an abrupt silence the music lurches into a more deliberate, firm tempo, cadencing with a firm resolve in C Major. 12:08
6. "Very Slowly (as at first). Transition scenes reminiscent of the introduction." The music here is very similar to that of the slow introduction, but set in A-flat Major, a half-step lower, perhaps illustrating the mellowing effects of maturity and experience. 15:05
7. "Calm and Flowing. Scenes of daily activity for the Bride and her farmer-husband. There are five variations on a Shaker theme... sung by a solo clarinet..." This well-known hymn, otherwise known as "Simple Gifts," becomes more and more elaborate and excitable with every variation, until the final iteration, which is stated in glorious and dignified fashion. 17:06
8. "Moderate. Coda. The Bride takes her place among her neighbors. At the end the couple are left 'quiet and strong in their new house.' Muted strings intone a hushed, prayerlike passage. The close is reminiscent of the opening music." 20:12

I had a lot of fun working on this piece, but it was a huge nut to crack on four rehearsals' time. you can check out some of my performance here if you wish.

Copland: Rodeo - III. Saturday Night Waltz

ok, i am lazy today. here is a short, sweet little movement from the very well known rodeo suite.

this is a ballet suite which premiered in 1942 with choreography to five movements, one of which (the "ranch house party" which would have been third) is not heard in the orchestral suite which was subsequently arranged. this would be copland's second "cowboy ballet" in four years, but the choreographer (agnes de mille) convinced him that it would be different enough. her influence was such that she determined every member of the cast and to some extent controlled the music as well. wiki says that it's a result of this tight control that copland, rather uncharacteristically, leaves the myriad folk melodies he incorporates mostly untouched (as de mille transcribed them).

everyone knows the last movement of this piece, but i rather like the constant switching of duple and triple meter in this movement. (the first movement is definitely worth checking out, if you don't know it.)

unsurprisingly, youtube is swamped with high school/cc orchestras of this whole suite (i first played it myself back when i was in 8th grade... ugh). but here's a recording by indianapolis symphony.

this whole ballet is basically about the cowgirl - danced by de mille herself, originally - trying to find acceptance within her society. she is awkward and seeks acceptance among the cowboys, particularly the "head wrangler." a tomboy, she is much more of a kindred spirit to these men than her competitor ladies, all the local girls. this movement is what happens at a dance in which everyone pairs off, leaving the cowgirl awkwardly alone until the "champion roper" actually approaches her (after being bested by the wrangler in attracting someone else).

this is the folk song which was transcribed to become the main theme.

the movement starts with the orchestra "tuning up" in preparation. presumably everyone is sort of pairing up during this interlude, and then the waltz proper begins.
i love the ambiguity between 3 and 2 with this theme. pick either and it will feel natural, but always with a slight tug at some point into the other meter.
a much faster interlude begins at 2:43. solo winds and celli play with two meshed seventh chords (a-flat minor, and e-flat minor) until all of a sudden a very short "development" theme blossoms out, dovetailing nicely into the main theme. presumably at this point the cowgirl has gotten her man and is dancing with him (or maybe i'm just making up all this? it's kind of hard to find info on, actually :o)
enjoy.