Word: coplandã
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...American Songs of Aaron Copland,” a showcase of songs from the corpus of this renowned American composer in celebration of Arts First. The performance, which will take place in Sanders Theatre, will include the piece “The Promise of Living” from Aaron Copland??s opera “The Tender Land,” as well as a selection from Copland??s “Old American Songs.” The latter will feature vocalist Davone J. Tines ’09 accompanying the ensemble. The performance will...
...concerto’s explosive conclusion.After Friere’s encore rendition of Gluck’s “Dance of the Blessed Spirits,” which was just as tame as the main performance itself, Sung led the orchestra in the 1945 version of Aaron Copland??s “Appalachian Spring,” a ballet written on commission by dancer/choreographer Martha Graham. While the BSO attacked Copland??s syncopated rhythms with crisp precision and settled upon key symphonic harmonies in layers of perfect intonation, the distinctively optimistic, Americana aura of Copland?...
...gathers some of the most talented musicians on campus, but in their third concert of the year—performed last Friday night—there were moments when the whole seemed weaker than the sum of its parts. After a wavering start, the evening picked up with Aaron Copland??s jazzy “Clarinet Concerto,” played by Andrew P. Lowy ’09, and concluded with a sparkling performance of Hector Berlioz’s classic masterpiece “Symphony Fantastique.”The performance of the opening piece, George...
...almost as though I were writing a paper, which was an extremely unorthodox way of choreographing.” In “Appalachian Spring”—the iconic work about the American frontier created by choreographer Martha Graham and composer Aaron Copland??dancers were charged with living up to the standards of performance upheld by the Martha Graham Foundation. As part of their licensing agreements, the Foundation sends someone to set the piece in order, ensuring that Graham’s choreography is properly preserved. “As a piece of Graham?...
...bite off a larger chunk than his readership can chew (the “Invisible Men” chapter in particular feels overstuffed), but for the most part he makes now-peripheral figures like Franz Lehár and Roy Harris feel as relevant as Dmitri Shostakovich and Aaron Copland??or even Bob Dylan and Bo Diddley.According to the Observer, Ross didn’t hear his first Dylan record until he reached his 20s, so there may yet be hope for Joyce-loving English concentrators with quaintly archaic tastes in music to make some sort...