Word: aarons
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Dates: during 1940-1949
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...Tanglewood he brought Composers Aaron Copland and Paul Hindemith to teach composition; G. Wallace Woodworth, Chairman of Harvard University's Department of Music, for choral instruction; Herbert Graf, Metropolitan Opera Stage Director, to teach opera dramatics; New York Times Music Editor Olin Downes, Composer Roy Harris, and many another to lecture. By last week the month-old centre, with its 300-odd students, had worked its creator up into a well-turned ecstasy. Said Koussevitzky: "How can I speak of something part of myself, so much of my heart, a cherished ideal? It's like my child...
...Aaron Copland: Two Pieces for String Quartet (Dorian Quartet; Columbia). U. S. Modernist Copland, famed recently for his score to the picture Of Mice and Men, experiments, in these early items, like a tired cook in search of an unprecedented sauce, leaves out the meat...
...Brooklyn Young Republican Club voted 24-to-11 to endorse Willkie in preference to Tom Dewey. In Illinois, Major Aaron K. Stiles (Stiles Waxt Thread), who recently retired as chairman of the Republican State Committee, leaped back as manager of a Willkie campaign. Along Philadelphia's swank Main Line, rough & ready Wendell Willkie had become the rage. William H. Harman, vice president of Baldwin Locomotive Works, and head of the Pennsylvania Willkie-for-President Club, declared: "I regard this as a semi-religious movement and we are trying to get it on a revival basis." A Chestnut Hill lady...
...concert performances (TIME, July 17). Some U. S. films, most of them documentary, have owed much to music of this sort. Virgil Thomson, long an expatriate, did wonders with a small orchestra for Pare Lorentz' The Plow That Broke the Plains and The River. Last year Aaron Copland contributed a lean, muscular musical commentary to The City. This year his music for Of Mice and Men was cut closer to Hollywood's measure...
...models for high-brow music were Brahms, Grieg, Wagner. Just before World War I, Kulturbolschewiks Arnold Schonberg and Igor Stravinsky (TIME, March 11) led a revolution against musical romanticism. When the revolution was over, U. S. composers still found themselves writing European music. Such U. S. composers as Aaron Copland and John Alden Carpenter tried to go native by using jazz tunes, but only the tunes were American. The musical grammar and syn tax still sounded like Brahms or Stravinsky. Today there is still probably no high brow U. S. music that can be identified as such in a blindfold...