Program Notes by Jim Yancy
A Love for the Land
featuring photochoreography by James Westwater
April 25, 2009
Aaron Copland (1900-1990)
Fanfare for the Common Man
Copland’s Fanfare for the Common Man came about as a result of a commission from the conductor of the Cincinnati Symphony Orchestra, Eugene Goossens, in 1942. One of a set of 18 fanfares written by various American composers to promote feelings of patriotism and national unity during the dark days of World War II, Copland’s work is the only one of the set to remain in the regular orchestral repertory. Goossens’s surprise at the title caused him to write to Copland: “Its title is as original as its music, and I think it is so telling that it deserves a special occasion for its performance. If it is agreeable to you, we will premiere it 12 March 1943 at income tax time.” Copland replied, “I am all for honoring the common man at income tax time.” Copland also used the fanfare as the main theme of the fourth movement of his Third Symphony.
The fanfare begins with dramatic strokes for the percussion section preceding the initial statement of the trumpet theme which will become the dominant motif, becoming increasingly intensive through exchanges between trombones and tuba, and then horns and trumpets. The brief work concludes with a percussion crescendo and a final sustained chord for the brass.
Aaron Copland
Appalachian Spring Suite
Very Slowly--Allegro –
Moderato – Fast – Molto moderato – Allegro – Presto –
Meno mosso – As at first (slowly) –
Doppio movimento – Broadly – Moderato (like a prayer) –
Andante (very calm)
James Westwater, symphonic photochoreographer
Appalachian Spring was composed as a commission from the Elizabeth Sprague Coolidge Foundation in 1944 and first performed on October 30 of that year with choreography by Martha Graham who also danced the leading role. Copland called the work “Ballet for Martha,” recognizing that “the music of the ballet takes as its point of departure the personality of Martha Graham.” This was the working title until Miss Graham affixed “Appalachian Spring” from a poem by Hart Crane. The ballet’s scenario was summarized by Edwin Denby as “a pioneer celebration in spring around a newly built farmhouse in the Pennsylvania hills in the early part of the last century.” The house is about to become the home of a bride and her farmer-husband. Copland introduced in the score a Shaker hymn tune from about 1840 called Simple Gifts which effectively evokes the simple wonder, humility, and faith that is the essence of the work. Although originally scored for just 13 instruments, the music has become far more widely known in the suite for full orchestra premiered in 1945.
In the opening slow movement, the ballet’s characters are introduced one by one. A fast section describes the activities around the settlement. A “scene of tenderness and passion” for the betrothed couple is followed by one in which the Revivalist and his flock are introduced. Suggestions of square dances and country fiddlers lead to a solo dance for the bride in which she expresses her “presentiment of motherhood, extremes of joy and fear and wonder.” The Shaker theme and its variations depict “scenes of daily activity for the Bride and her farmer-husband.” After the Bride “takes her place among her neighbors,” the couple is left “quiet and strong in their new house…. Muted strings intone a hushed, prayerlike passage. The close is reminiscent of the opening music.”
Richard Danielpour (b. 1956)
Toward the Splendid City
Bright, animated –
Grazioso, lyrical –
Bright, bold –
Come prima (lo stesso tempo) –
Playful, lyrical –
Deciso, con energia
The following is extracted from Mr. Danielpour’s commentary which accompanies the recording of the work on Sony classics SK 60779 (1999):
“Toward the Splendid City (1992) is one of the very few works I’ve written completely away from New York and, to an extent, expresses the nostalgia I felt for the city. It become my sonic postcard of the town: one passage, a sound-painting with string harmonics, celesta, harp, vibes and bells, was inspired by my memory of floating above New York at night on a plane and seeing the lights of the city in the mist….I am sound-painting my memory of events, a particular circumstance, or a mood. Thus Toward the Splendid City is not a portrait of New York, but my memory of the city, which is part of what makes it my music….
Splendid City is not only about my nostalgia for New York City, but also for the Beatles and particularly John Lennon, who once lived not far from my home in Manhattan. During the summer it was written, I found myself fascinated again with the recordings of the Beatles, who partly ignited my desire to be a musician, and along with Mozart and Beethoven were among my first musical loves…. Toward the Splendid City is full of subtle quotes from Beatles tunes: bits and pieces of the songs, really, that are woven into my experience and my memory through the filter of New York.”
Ferde Grofe (1892-1972)
Grand Canyon Suite
Sunrise
Painted Desert
On the Trail
Sunset
Cloudburst
For a decade prior to the composition of the Grand Canyon Suite, Grofe was well known as an orchestrator, pianist, and arranger, establishing a reputation in the field of “symphonic jazz.” He joined Paul Whiteman’s band in 1920 and became the orchestrator of all the bandleader’s numbers. Later, in 1924, he orchestrated Gershwin’s Rhapsody in Blue for its premiere with Whiteman’s band. At age 32, Grofe left Whiteman to devote himself to composition and arranging. In 1937 he made his debut as a symphonic conductor, and two years later he joined the faculty of the Julliard School to teach orchestration. As a composer, he has been called the “Apostle of Americana.”
The idea for the Grand Canyon Suite came from a time when he lived in Arizona working as “an itinerant pianist.” Inspired by “the terrain of the Grand Canyon region…and the richness of the land…” Grofe was determined to set it all down in music at some future time. The Suite was completed in 1929 and was premiered in 1931 with Paul Whiteman directing the orchestra. Written for large symphony orchestra, the work was an immediate success and established the composer’s international fame. The printed score is prefaced by the following detailed descriptions:
“SUNRISE It is early morning on the desert. The sun rises, slowly splattering the darkness with rich colors of dawn. The sun comes from beyond the horizon and a brilliant spray of colors announces the full break of day…
THE PAINTED DESERT The desert is silent and mysterious, yet beautiful. As the bright rays of the sun are reflected against majestic crags and spread across the sands in varying hues, the entire scene appears as a canvas thick with the pigments of nature’s own blending…
ON THE TRAIL A traveler and his burro are descending the trail. The sharp hoof-beats of the animal form an unusual rhythmic background for the cowboy’s song. The sounds of a waterfall tell them of a nearby oasis. A lone cabin is soon sighted and, as they near it, a music box is heard [played on the celesta]. Now fully rested, the travelers journey forth at a livelier pace. The movement ends as man and burro disappear in the distance…
SUNSET Now the shades of night sweep over the golden hues of the day. As evening envelops the desert in a cloak of darkness, there is a suggestion of animal calls coming from the distant rim of the canyon…
CLOUDBURST This is the most pictorial movement of the suite. We hear the approach of the storm. Lightning flashes across the sky and thunder roars from the darkness. The torrent of rain reaches its height in a cloudburst, but the storm disappears rapidly and the moon comes from behind the clouds. Nature again rejoices in all its grandeur.”