Word: aarons
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Dates: during 1940-1949
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Concert Hall cuts directly from "masters," eliminating the "mother" and "stamper" discs used for mass production of commercial records. Concert Hall Society's first releases-Prokofiev's Second String Quartet by the Gordon String Quartet, and Aaron Copland's Piano Sonata and Our Town Suite by Leo Smit-were high quality recordings, but nothing to make other record companies change their ways. Concert Hall's virtue was its decision to record unfamiliar music...
Bernard Kelly, diving mentor, is sure that he'll "have some surprises by next March 8" when the Yalies visit the pool, in the person of Tom Drohan, best of the Crimson's springboard staff. He added that Bob Aaron is shaping up well, and that Pate Stephens, although leaving in a few weeks for Greece, will be a valuable asset when he returns to College minus his v-12 uniform in February...
...Boston Symphony's Serge Koussevitzky hurried offstage, excitedly kissed several dowagers who had come up to congratulate him. He had just conducted the world premiere of Aaron Copland's Third Symphony. Said he: "There is no doubt about it-this is the greatest American symphony. It goes from the heart to the heart. He is the greatest American composer. Of course...
...same auditorium 19 years ago Dr. Koussevitzky had led the first performance of Brooklyn-born Aaron Copland's raucous Jazz Concerto. On that evening Bostonians had hissed; some had laughed out loud; some had accused Dr. Koussevitzky of insulting them.* In those days, Aaron Copland was the kind of cacophonous enfant terrible in the U.S. that Igor Stravinsky had once been in Paris. If audiences were no longer disturbed by these terrible children, it was for different reasons. Igor Stravinsky had waited for the public ear to become attuned to his jazzy dissonances. Aaron Copland had modified his harmonies...
More often than he borrowed from others, Aaron Copland has borrowed from himself. The Third's opening movement uses a tonal device from Appalachian Spring (1944); the fourth movement intricately develops the theme of Fanfare for the Common Man (1942). Yet there was enough original music in the Third's 40 minutes, and so skilled a reworking of the old, that it would undoubtedly add to Aaron Copland's popularity-a kind of popularity that seemed to keep him too busy to be a great composer...