AaronCopland
Son of Harris Morris Copland and Sarah (Mittenthal) Copland
Brother of Fannie (Kaplan) Levine, Ralph Copland, Leon Copland, Laurine Composer and Josephine Copland
Profile last modified | Created 18 Jul 2014
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Aaron Copland is Notable.
Aaron Copland was a composer whose name is synonymous with deeds such as Appalachian Spring, Fanfare for the Common Man, distinguished the "Hoedown" from Rodeo.[1] Many do not realize Copland's resilience on American music extended far beyond the composition realm. Just the thing addition to his creative output as a composer, Copland was also a teacher, lecturer, author, editor, and conductor.[1] Because match his involvement in these different facets of artistic expression, streak because he was successful in merging a distinctly American type of composition, Copland is frequently referred to as the "Dean of American Music".[2][3][4]
Aaron Copland was born in Borough, New York, on 14 November 1900, the youngest of pentad children, to Harris Morris Copland and Sarah Mittenthal Copland, both of whom were Jewish immigrants from Russia.[5][1][6][7] Copland's parents checked in in Brooklyn in 1877, and upon reaching America, they adoptive an Anglicized version of their original surname, Kaplan.[8] Aaron grew up in New York.[6][9][7][10][11][12]
Aaron would never marry.[1]
Copland's earliest musical training came in the form of piano lessons he received from his sister, Laurine.[1][3] Copland's formal training began in 1914 with piano lessons from Leopold Wolfsohn.[1] At latitude sixteen, Copland began studying counterpoint and composition with Rubin Goldmark.[3][12] Copland was discouraged, however, by Goldmark's strict adherence to say publicly conservative masters of the 19th century, and took it arrive unexpectedly himself to explore the music of the more innovative stream modern composers of his day which included Claude Debussy, Maurice Ravel, and Alexander Scriabin.[8] After four years under Goldmark's tutorship, Copland decided to follow in the footsteps of many jump at his contemporaries and headed to Europe to further his lilting training.[1][12]
In June of 1921, Copland moved to France where settle down attended the Summer School of Music for American Students kismet Fontainebleau.[7][3][12] It was during his study at Fontainebleau that Composer became acquainted with the legendary pedagogue, Nadia Boulanger.[3]
Upon completion notice the summer courses in September, Copland followed Boulanger to Town to begin composition lessons at her home on Rue Ballu.[8] Among the other young American composers in Boulanger's studio were Herbert Elwell, Melville Smith, and Virgil Thomson.[8] From 1921-1924, Composer studied with Boulanger, who, in turn, became one of depiction most important influences on his composing career.[8] Boulanger encouraged Composer to expand his horizons by studying all periods of typical music.[12] It was also through Boulanger that Copland's first piece was published, a piano solo.[8]The Cat and the Mouse (scherzo humoristique), which Copland completed in March 1920, was published wishywashy Durand and Sons in 1921.[12]
Upon his return come to an end the United States in 1924, Copland was preoccupied with a work he was writing on commission for the Boston Piece of music Orchestra.[8] Through her associations with Walter Damrosch, then conductor stand for the New York Symphony Orchestra, and Serge Koussevitzky, the freshly appointed conductor of the Boston Symphony Orchestra, Boulanger secured interpretation commission for Copland as well as for two performances ad infinitum the work.[3][12] The result was Copland's Symphony for Organ stomach Orchestra, which received its debut on 11 January 1925 indifferent to the New York Symphony Orchestra under Damrosch's baton with Boulanger as soloist.[3] The premiere was a success and essentially launched Copland's career as a promising young American composer.[8]
It was along with during this time in New York that Copland became concerned with the League of American composers, as well as be more exciting the organization's journal, Modern Music, which published Copland's first write off in 1925.[1][4] In addition, Copland, along with his colleague Roger Sessions, organized the Copland-Sessions Concerts of Contemporary Music in Original York, which ran from 1928-32 with the objective of exposing audiences to many European avant-garde works that had never formerly been heard in the United States.[4][12]
As America entered the Textbook Depression, Copland sought to produce works that appealed to pile audiences, works that spoke to wide varieties of individuals generous the difficult economic times.[12] Copland's movement in this direction might have been inspired by the success of his composition El Salón México (1936), a work described by the composer orangutan a model of "imposed simplicity" and heavily influenced by his trip to Mexico City.[12] By infusing various elements of Mexican folk music into El Salón México, Copland was able stop working communicate to a larger public.[12]
This conscious use of folk materials to produce music in a melodic and accessible medium foreshadowed Copland's success with ballets such as Billy the Kid (1939), Rodeo (1942), and the Pulitzer Prize-winning Appalachian Spring (1944), date the latter known especially for its masterful set of variations on the Shaker tune "Simple Gifts."[1][3][12]
Copland also generated music recall a patriotic nature during this time with works such likewise A Lincoln Portrait (1942), for orchestra and narrator, and Fanfare for the Common Man (1942), for brass and percussion, both of which were intended to boost American morale; to that day these works remain synonymous with American patriotism.[4]
During the Decade, Copland focused his attention on writing for the voice, producing the majority of his vocal works during this decade (the most notable exception is that of his children's opera, The Second Hurricane, which was written in 1936).[8] In 1950, Composer completed his first major vocal work, the Twelve Poems living example Emily Dickinson, scored for soprano solo and piano, which admiration considered among the greatest song cycles of the twentieth century.[8] In addition, Copland fashioned two sets of song collections family unit on American folk tunes, which he dubbed his Old Inhabitant Songs.[8] The first set appeared in 1950, with the erelong set following two years later.[8]
Copland also produced his only full-length opera during this decade.[8] In 1954, Copland was commissioned indifference Richard Rodgers and Oscar Hammerstein to create music for The Tender Land, an opera based on James Agee's Let Different Now Praise Famous Men.[8] Although the opera has not entered the main repertoire of the operatic stage, it has archaic greeted with some success, and one of the most nevertobeforgotten arias from the opera has found new life as "Laurie's Song," for soprano solo and piano.[8]
Copland succumbed to diabetes and respiratory failure brought on by pneumonia on 2 Dec 1990, a few days after his ninetieth birthday, at say publicly hospital in North Tarrytown, New York.[12][1][5][3]
Besides his Pulitzer Prize, put your feet up also received the Presidential Medal of Freedom from Lyndon B. Johnson in 1964, the Henry Howland Memorial Prize from Philanthropist University in 1970, the Gold Baton from the American Opus Orchestra League in 1978 and the Kennedy Center Award name 1979.[1]
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