Word: copland
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Dates: during 1950-1959
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...special group of judges was asked to study the scores and select works for two appealing, well-balanced programs. After three weeks, the judges (Prof. Aaron Copland, Prof. G. Wallace Woodworth, Robert Middleton, Allen D. Sapp, all from the music department, Russell Stanger, conductor of the Harvard-Radcliffe Orchestra, Mandelbaum, John Davison 1G, Robert Swaney '53, Frank Sander 3G, and this reviewer) selected fifteen chamber, choral, and orchestral compositions. Musical merit was not the sole criterion. We also had to keep the audience and the performers in mind, and choose works not too difficult to play or understand...
Music on the program was briefly discussed by Aaron Copland, Charles Eliot Norton Professor of Poetry, Robert E. Middleton, instructor in Music, and Allen D. Sapp, instructor in Music. Copland termed the festival "just what the composer needs. There is no better way to learn what you put into a piece than to learn what others are geting out of it," he said...
Theodore Chanler's musical settings of eight epitaphs ranged from triteness to imaginative poignancy. Best of the lot were Ann Poverty and Be Very Quiet Now, terse expressions of complete resignation. Chanler, formerly a teacher at Longy, has an eclectic style that echoes everyone from Faure to Copland. He excels in simple melodic and harmonic patterns, but when he tries to be more elaborate the outcome is not always successful. Paul Matthen sang with restraint and delicacy, accompanied by the always competent Mr. Tucker...
Walter Piston, professor of Music, will speak on Copland's topic. "The Challenge of Contemporary Music for the Listeners," Piston has won both the New York Critics Circle Award and the Pulitzer Prize in Music for his symphonies...
...compelling, tightly-kit Suite for two pianos by Edward Rickard, 1G, ended the program. While thoroughly at home in the musical language of America today, as examplified by Barber and Copland, Mr. Rickard avoids being merely imitative. His musical ideas are original and he expresses them in a carefully thought-out, effective manner. The Suite contains a wealth of ingenious rhythmic and structural patterns, yet their variety never endangers the unity of the work as a whole. The deeply-felt final adagio--rising to a loftier, more intense level of expression than any of the other movements--seemed...