Aaron Copland Since 1942

Aaron Copland (1900-1990) was one of the most famous and important composers of the twentieth century. He was one of many composition students of the esteemed teacher Nadia Boulanger who went on to achieve highly successful composing careers. By constantly reacting to musical contemporary musical trends and social conditions, Copland's music changed throughout his career. During his years in Pairs (1921-24) and his early years after returning to America, his compositions reflected European paradigms and were influenced by composers such as Stravinsky, Milhaud, Schöenberg and Fauré; later, jazz idioms and American folk music influenced him. While he created popular works throughout his career, many of his compositions from the last half of his life have achieved outstanding and lasting fame. This period began around 1942 or 1943 during World War II (1939-1945), and it is during this period that Copland's career changed dramatically.

The United States became involved in the Second World War in 1941. Copland, feeling the wave of patriotism spreading throughout the country, was eager to participate in the war effort. Although he was too old to enlist in the military, he found ways to contribute to the musical scene of the war period by serving on music committees for the state department and by producing patriotic music. Two works from this period, Fanfare for the Common Man (1942) and Lincoln Portrait (1942), exhibit this type of patriotism.

Fanfare for the Common Man was written as part of a morale-boosting endeavor by Eugene Goossens, conductor of the Cincinnati Symphony Orchestra. Copland's fanfare is one of eighteen commissioned fanfares for brass and percussion to be presented by the Cincinnati Symphony. Goossens explains his purpose in commissioning these works when he states, "It is my idea to make these fanfares stirring and significant contributions to the war effort" (Pollack 360). Fanfare for the Common Man was unique among this group of works because of its dedication; other works were dedicated to allies or military units, but Copland's was dedicated to the common man. "A Fanfare for the Common Man-it was the common man, after all, who was doing all the dirty work in the war and the army. He deserved a fanfare," according to Copland (Pollack 360).

Lincoln Portrait was also created as a commissioned work. André Kostelanetz commissioned works by Virgil Thomson, Jerome Kern and Aaron Copland soon after the bombing of Pearl Harbor. These works were to present a "'musical portrait gallery of great Americans.' Kern picked Twain, Thomson selected Mayor Fiorello La Guardia and journalist Dorothy Thomson, and Copland chose Whitman; but when Kostelanetz suggested a statesman as opposed to another literary figure, he opted for Lincoln" (Pollack 357). Lincoln Portrait has an ABA form in the order of slow-fast-slow. The 'A' section features the tune to "Springfield Mountain" in a dirge-like fashion. The middle section provides a fast contrast to the surrounding slow sections with the principal theme derived from "Camptown Races," and it depicts Lincoln's life from beginning to its military climax. At the climax, snare drums and brass calls represent the battlefield while "Springfield Mountain" can be heard in a three-part canon (Pollack 359). The return to the 'A' theme is ornamented with spoken narration with five quotes from Abraham Lincoln. This piece was first performed on May 14, 1942 by the Cincinnati Symphony Orchestra.

Copland continued to foster the American spirit in the following years when he composed two American ballets. Agnes de Mille approached Copland about composing a ballet based on her choreography. Out of this collaboration, Rodeo was created and premiered on October 16, 1942. This ballet is set on a Texas ranch in 1900, and the dancers wear traditional cowboy and cowgirl clothing. Rodeo has a genuine American folk feeling to it. The second ballet, entitled Appalachian Spring (1943-44), was commissioned by Martha Graham. This work is perhaps Copland's most famous composition. It uses the Shaker tune, "The Gift to be Simple," as its primary theme.

Copland's style continued to develop after World War II had ended. In addition to monumental pieces like Lincoln Portrait, Fanfare for the Common Man, Rodeo and Appalachian Spring, Copland composed several other important works after 1942. Many of his film scores were created during this time, including The Red Pony (1948), The Heiress (1948), and Something Wild (1961). Copland's work in the film industry set new standards for film composition; music could now be chosen from many styles-whatever fit the film's action-rather than relying solely on classical music by composers like Tchaikovsky or on mediocre scores. Although Copland contributed much to the film industry, he did not want to become a composer whose name becomes only associated with film score writing. He helped blur the distinction between film music and concert music.

In the concert music genre, Copland created his Third Symphony (1944-46) and his Piano Quartet (1950). The Piano Quartet makes extensive use of twelve-tone technique, as do several of his pieces following the war. Copland composed The Tenderland between 1952 and 1954. This opera was Copland's first; he deliberately waited until late in his life to compose an opera because it is such an enormous project. Copland wrote, "You spend years on the work, and then it's all over and decided in a few hours. It is such a tremendous effort that I waited until I was over fifty to do it. Even then, The Tender Land was not meant to be a big dramatic opera. It was for young people to perform" (Copland TenderLand10). Like his patriotic works, The Tender Land uses folk materials, but after composing this opera, Copland stopped using borrowed melodies in his compositions.

Besides composing, Copland used his skills as a speaker, conductor and pianist after World War II. He served as chair of the faculty at the Berkshire Music Festival from 1940 to 1965; he lectured at Harvard while Walter Piston was on leave; he appeared in fifty-nine television programs between 1959 and 1972; and he became a highly demanded conductor. But his conducting career ended in 1983, when he retired following a performance in New York.

Copland was highly esteemed as a composer during his lifetime, and he continues to be part of the American musical spirit. His music is widely performed, and his lectures at Harvard and other schools have been compiled into books. His style is distinctly American-using folk tunes and continually experimenting with new ideas. His popularity is reflected in the thirty honorary degrees he received and in the numerous awards, including the Pulitzer Prize, he earned.

Bibliography

Aaron Copland: A Self-portrait. Dir. Vivian Perlis. Films for the Humanities, Inc., FFH989, 1987.

Austin, William W. "Aaron Copland." The New Grove Dictionary of American Music. Ed. H. Wiley Hitchcock and Stanley Sadie. 4 vols. New York: Macmillan, 1986.

Berger, Arthur. Aaron Copland. New York: Oxford University Press, 1953.

Chase, Gilbert. America's Music: From the Pilgrims to the Present, rev. ed. Urbana: University of Illinois Press, 1987.

Copland, Aaron. The Copland Collection. Cond. Aaron Copland. New Philharmonia Orchestra, London Symphony Orchestra, New England Conservatory Chorus and Columbia Symphony Strings. CBS Records, SM3K 46559, 1990.

---. El salón México, Dance Symphony, Fanfare for the Common Man and Four Dance Episodes from 'Rodeo.' Cond. Antal Dorati. Detroit Symphony Orchestra. Decca, 414273-2LH, 1982.

---. The TenderLand. Cond. Philip Brunelle. The Plymouth Music Series Orchestra. Virgin Classics, Limited, LC7873, 1990.

Copland, Aaron and Vivian Perlis. Copland Since 1943. New York: St. Martin's Press, 1989.

Hamm, Charles. Music in the New World. New York: W.W. Norton & Company, Inc., 1983.

Hitchcock, H. Wiley. Music in the United States. Englewood Cliffs, New Jersey: Prentice Hall, 1988.

Pollack, Howard. Aaron Copland: The Life and Work of an Uncommon Man. New York: Henry Holt and Company, 1999.

Smith, Julia. Aaron Copland: His Work and Contribution to American Music. New York: E. P. Dutton & Company, Inc, 1955.