LOUIS LANE/ATLANTA SYMPHONY ORCHESTRA: APPALACHIAN SPRING, RODEO, FANFARE FOR THE COMMON MAN

"Louis Lane and the Atlanta Symphony offer fine performances and remain at the head of the pack for uncompromising audiophile sound." - Fanfare

The Lane/Atlanta SO recording comprises three of Copland’s best-known works, and is a decent, if unspectacular, introduction to his works. Some years ago I would have said that "A Fanfare for the Common Man" is Copland’s most famous work. It was written on commission by the Cincinnati Symphony Orchestra; ten composers were commissioned to write patriotic fanfares to "foster patriotic spirit" during World War II. Copland’s is the only of these fanfares to survive in the repertory (although I’ve always wanted to hear the others; I wonder if they’re recorded anywhere). The "Fanfare" opens with a mighty pounding of the drum, followed by a breathtaking trumpet theme which is then expanded by the rest of the brass. The "Fanfare" demands spectacular sound, but to my ears the Louis Lane/Atlanta Symphony recording here is a bit muted and flat, which is curious given that Telarc Digital recordings tend to the "spectacular" side. The other works on the disc fare better: the "Appalachian Spring" and "Rodeo: Four Dance" "Episodes" are well-done, with the sound opening up a bit. Conductor Lane gives the inner movements of "Rodeo" a nice lilt, and the "Buckaroo Holiday" is also well-shaped. I do think that he takes the "Hoe-Down" (which, thanks to the long-running advertising campaign for American beef, is now indisputably the most well-known of all of Copland’s works) a bit too fast. The Atlanta players, particularly the brass, keep up quite well, but some of this music’s charm is lost in Lane’s trip to the races. His "Appalachian Spring" is also brisk, which tends to keep the score’s most dramatic segments from achieving their true potential. But it, too, is well-played by the orchestra.

This spectacular recording, recorded in 1981 and released in 1982, won kudos from the critics for both sound and performance. One of the earliest available CDs, it was known to audiophiles the world over for the stunning clarity and sound of its opening track, containing Copland's Fanfare for the Common Man.

1. Fanfare For The Common Man (1942) 3:20

Rodeo, Ballet Suite (1942)

2. Buckaroo Holiday (7:21)
3. Rodeo - Corral Nocturne (3:42)
4. Rodeo - Saturday Night Waltz (4:05)
5. Rodeo - Hoe Down (3:15)

6. Appalachian Spring, Ballet Suite (1943-44) 22:25

Louis Lane conducting the Atlanta Symphony Orchestra

Recorded at Atlanta Symphony Hall, Atlanta, GA USA on May 24, 1982

UPGRADING TO LOSSLESS

This blog is poised to return in early October. Upon its return, FANFARE FOR AARON COPLAND will be upgraded to FLAC. FLAC is a lossless codec which allows more judicious compression, resulting in larger files than MP3 but vastly improved sonics. All new posts will be done in FLAC while previously posted items will gradually be upgraded to the superior format. See you soon!

UPDATE

For those who may be wondering, updates to this blog WILL eventually resume. My family and I are relocating abroad (from USA to South America) and all my belongings, including CD's and computer equipment, are currently in an ocean container sailing southbound. It will be at least another month (end September) until I am up and running once again. Thank you for your patience...

DANZON CUBANO, THREE BLUES, OUR TOWN SUITE - AARON COPLAND & LEO SMIT, PIANISTS

Buster at Big 10-Inch Record was kind enough to lend me the use of this post, which originally appeared on his fascinating blog. I urge everyone to spend some time browsing through and sampling his eclectic collection. Please see the link to his blog below.

Here are Buster's notes from his original post:
Aaron Copland made several records of his own music as a conductor, but only a few as a pianist. Even in this, he only participates in Danzon Cubano. The leading player throughout is Leo Smit, something of a Copland specialist. The selections from Our Town are familiar from the orchestral score. These piano versions are superb. The real find (to me) is the set of Three Blues. In their simplicity and tone, they are reminiscent of Gershwin's Three Preludes. In this piece and the other items, Copland's debt to Satie is apparent.

This was an early 10-inch LP on the Concert Hall label. I've never seen a reissue of it - strange considering Copland's popularity.

I met Copland once a long time ago at a master class. I remember he was mildly critical of one of the student's compositions. The young composer, I heard later, was devastated. Buster

Big 10-Inch Record can be found here: http://big10inchrecord.blogspot.com/

1. Danzon Cubano Suite (transcribed for two pianos) 6:40

2. Three Blues (4:25

"Our Town" Suite

3. Story of Our Town (3:19)

4. Conversation at the Soda Fountain (2:24)

5. Resting Place on the Hill (3:52)

Aaron Copland & Leo Smit (pianos) on track #1

Leo Smit, Solo Piano on all other selections

OLIVER KNUSSEN/CLEVELAND ORCHESTRA & LONDON SINFONIETTA: GROHG, HEAR YE! HEAR YE!

Two of the pieces on this splendid collection received their premier recordings: the ballet scores Grohg and Hear Ye! Hear Ye! Both are rich, rigorous works and are wonderfully interpreted by these first-tier orchestras under the direction of Oliver Knussen. The third piece, Prelude For Chamber Orchestra, is actually Copland's rearrangement of his Organ Symphony's first movement. Scoredaddy

This music is hardly recognizable as that of America's greatest composer of ballet music. These are very early works of a composer fresh from Europe and from studying under Nadia Boulanger, who taught Copland to rely on folk sources for his music. This, for Copland, meant jazz. Grohg (written in 1922-25, revised in 1935) was Copland's first orchestral work, inspired by the German film Nosferatu, about a sorcerer bringing corpses alive to dance for his pleasure. If the only Copland you're interested in is the one who wrote Appalachian Spring, then this isn't for you. Still, the music is engaging and instructive. Paul Cook

Grohg - Ballet in One act (1922-25, revised 1932)
1. Introduction, Cortège and Entrance of Grohg 7:40
2. Dance of the Adolescent 6:27
4. Dance of the Streetwalker 3:42
5. Grohg imagines the Dead are mocking him 4:41
6. Illumination and Disappearance of Grohg 1:59

7. Prelude for chamber orchestra 6:04 (1924, arranged 1934)

Hear Ye! Hear Ye! - Ballet in One act (1934, version for small orchestra, 1935)
8. Scene i (Prelude) 1:36
9. Scenes ii-iv (The Courtroom; Dance of the Prosecuting Attorney; Danse of the Defense Attorney; Quarrel) 4:48
10. Scene v (The Nightclub hostess sworn in) 0:47
11. Scene vi (The Chorus-girls' first dance) 3:31
12. Scene vii (First Pas-de-deux) 2:49
13. Scene viii (Pas-de-deux continued; First murder) 2:54
14. Scenes ix-x (The Courtroom); The Noneymoon Couple sworn in) 1:30
15. Scene xi (The Chorus-girls' dance with doves) 2:18
16. Scene xii (Second Pas-de-deux with murder) 3:45
17. Scenes xiii-xiv (The Courtroom; the Waiter is sworn in) 1:24
18. Scene xv (The Chorus-girls' third dance) 1:29
19. Scene xvi (Third Pas-de-deux and Murder) 3:24
20. Scenes xvii-xviii (The Verdict; The Courtroom) 1:57

Grohg performed by the Cleveland Orchestra ; other selections performed by the London Sinfonietta. All works conducted by Oliver Knussen.

Grohg was recorded in Severance Hall, Cleveland, Ohio on May 3, 1993. Other selections were recorded in Walthamstow Assembly Hall, London, UK on June 29-30, 1993

A COPLAND CELEBRATION, VOLUME TWO

We follow here with an essential collection featuring many of Aaron Copland's most important chamber and vocal works. Also present is one of the most famous (and some think best) interpretations of Copland's landmark LINCOLN PORTRAIT with an interesting turn on the narration by poet Carl Sandburg. His approach is unique and is radically different from any performance I've heard elsewhere. The orchestra is directed by Andre Kostelanetz, who had originally commissioned the work from Copland and conducted its debut performance in 1942.

Both sets of OLD AMERICAN SONGS are sung on this recording by William Warfield, who gave the U.S. premier performances with Copland on the piano as well. These were later set by Copland for voice and orchestra. TWELEVE POEMS OF EMILY DICKENSON is Copland's major contribution to setting poetry to music, a brilliant song cycle and his most significant vocal work. This is Copland's early recording of the work with mezzo-soprano Martha Lipton. He later rerecorded the cycle with Adele Addison.

The chamber pieces are facinating, especially his early VITEBSK for piano, cello, and violin. All are quite modern in feeling, marked by spiky motifs and complex rhythmic structures. The collection closes with Oscar Levant at the piano with some excerpts from BILLY THE KID, as arranged for solo piano by composer Lukas Foss.

DISC 1

1. Vitebsk, Study On A Jewish Theme (1929)

Aaron Copland (piano)
Earl Carlyss (violin)
Claus Adam (cello)
Recorded at Columbia Records 30th Street Studio, New York City, NY on October 28, 1966


Sextet For Clarinet, Piano And String Quartet (1937)
2. I. Allegro vivace
3. II. Lento
4. III. Finale

Aaron Copland (piano)
Harold Wright (clarinet)
Julliard String Quartet:
Robert Mann (violin)
Raphael Hiller (viola)
Earl Carlyss (violin)
Claus Adam (cello)
Recorded at Columbia Records 30th Street Studio, New York City, NY on October 27, 1966


Piano Quartet (1950)
5. I. Adagio serio
6. II. Allegro giusto
7. III. Non troppo lento

Aaron Copland (piano)
Robert Mann (violin)
Raphael Hiller (viola)
Claus Adam (cello)
Recorded at Columbia Records 30th Street Studio, New York City, NY on October 28, 1966


Duo For Flute And Piano (1970-71)
8. I. Flowing
9. II. Poetic, Somewhat Mournful
10. III. Lively, With Bounce

Aaron Copland (piano)
Elaine Shaffer (flute)
Recorded at Columbia Records 30th Street Studio on December 11&14, 1972


DISC 2

1. Lincoln Portrait (1942)

The New York Philharmonic Orchestra conducted by Andre Kostelanetz.
Carl Sandburg (narrator)
Recorded in New York City, NY on March 16, 1958


Twelve Poems Of Emily Dickinson (1949-50)
2. I. Nature, The Greatest Mother
3. II. There Came A Wind Like A Bugle
4. III. Why Do They Shut Me Out Of Heaven?
5. The World Feels Dusty
6. V. Heart, We Will Forget Him
7. VI. Dear March, Come In!
8. VII. Sleep Is Supposed To Be
9. VIII. When They Come Back
10. IX. I Felt A Funeral In My Brain
11. X. I've Heard An Organ Talk Sometimes
12. XI. Going To Heaven!
13. XII. The Chariot

Martha Lipton (voice)
Aaron Copland (piano)
Recorded at Columbia Records 30th Street Studio, New York City, NY on December 22, 1950 and April 4, 1952


Old American Songs -Set 1 (1950)
14. The Boatmen's Dance (Minstrel Song, 1843)
15. The Dodger (Campaign Song)
16. Long Time Ago
17. Simple Gifts (Shaker Song)
18. I Bought Me A Cat

Old American Songs -Set 2 (1952)
19. The Little Horses (Lullaby)
20. Zion's Walls (Revivalist Song)
21. The Golden Willow Tree
22. At The River (Hymn Tune)
23. Ching-A-Ring Chaw (Minstrel Song)

William Warfield (voice)
Aaron Copland (piano)
Recorded at Columbia Records 30th Street Studio, New York City, NY on August 16, 1951 (Set 1) and August 18, 1953 (Set 2)


Billy The Kid 1938)
24. I. The Open Prairie
25. II. Street In A Frontier Town
26. V. Celebration Dance (After Billy's Capture)

Oscar Levant (piano)
Recorded at Columbia Records 30th Street Studio, New York City, NY on September 1, 1949

LATE ORCHESTRAL WORKS (1948-1971)

Here is a two-disc collection released in 1991 of late works for orchestra, most of them composed during Copland’s final productive years.

Some of these pieces were composed for other mediums and were adapted by Copland for orchestra. Orchestral Variations and Down A Country Lane were both written for solo piano while the suites The Red Pony and Music For A Great City were adapted from motion picture scores.

This is a near-perfect anthology of Copland’s latter day output. Please see comments for full details on many of the works.

Disc: 1

The Red Pony, Film Suite For Orchestra (1948)
1. I. Morning On The Ranch
2. II. The Gift
3. III. Dream March And Circus Music
4. IV. Walk To The Bunkhouse
5. V. Grandfather's Story
6. VI. Happy Ending

7. Preamble For A Solemn Occasion (1949): Preamble For A Solemn Occasion

Orchestral Variations (1957)
8. Theme: Grave
9. Variation I - Varation XX
10. Coda: Subito lento moderato

Dance Panels (1959, Revised 1962) (Ballet In Seven Sections)
11. I. Introduction: Moderato (Tempo di Valzer); Espressivo un poco rubato
12. II. Allegretto con tenerezza (un poco rubato)
13. III. Scherzando; Moderato
14. IV. Pas de trois. Lento
15. V. Con brio
16. VI. Con moto
17. VII. Molto ritmico; Coda; come prima; Moderato

London Symphony Orchestra conducted by Aaron Copland except 1-6, New Philharmonia Orchestra conducted by Aaron Copland

1-6 Recorded at EMI Studios, London on May 31, 1972; 7 Recorded at Walthamstow Assembly Hall, London on June 14, 1964; 8-10 Recorded at Walthamstow Assembly Hall, London on October 26, 1968; 11-17 Recorded at EMI Studios, London on FRebruary 12 & November 29, 1969


Disc: 2

1. Connotations (1961-1962) For Orchestra

2. Down A Country Lane (1962)

Music For A Great City (1963-1964):
3. I. Skyline
4. II. Night Thoughts
5. III. Subway Jam
6. IV. Toward The Bridge

7. Inscape (1967)

Three Latin-American Sketches
8. Estribillo (1971)
9. Paisaje Mexicano (1959)
10. Danza de Jalisco (1959)

London Symphony Orchestra conducted by Aaron Copland except 1 & 7 New York Philharmonic conducted by Leonard Bernstein and 8-10 New Philharmonia Orchestra conducted by Aaron Copland.

1 Recorded at Philharmonic Hall on September 23, 1962; 2 Recorded at Walthamstow Assembly Hall, London on October 26, 1968; 3-6 Recorded at Walthamstow Assembly Hall, London on June 13-14, 1964; 7 Recorded at Philharmonic Hall on October 17, 1967; 8-10 Recorded at EMI Studios, London on June 1, 1972