Aaron Copland Podcasts
American composer, composition teacher, writer, and conductor (1900-1990)
- piano
- opera, symphony, classical music, ballet
- United States of America
- conductor, pianist, composer, choreographer, musicologist, music teacher, jazz musician, film score composer, music critic
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2024-03-29
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Scotland-based American conductor Kellen Gray is Assistant Conductor of the English National Opera and Assistant Conductor of the Royal Scottish National Orchestra. He's attuned to the orchestral repertory, including Bela Bartok, Antonin Dvorak, Aaron Copland, and Ralph Vaughan Williams. He's also passionate about championing African-diasporic composers, and has two critically acclaimed albums - African-American Voices 1 and 2 - with the Royal Scottish National Orchestra. Suzanne spoke with Kellen Gray about his introduction to music growing up in South Carolina, and how it continues to impact his work as a conductor.
Episode 58: Copland - The Red Pony Film Suite - The Tender Land Suite - Three Latin American Sketches - Clarinet Concerto
2023-11-28 07:00:00
Duration (h:m:s): 1:18:52
James Sedares and the Phoenix Symphony make a strong argument that Copland’s film music and opera suites are every bit as masterful as his most famous works. These works are coupled with Eduard Brunner’s atmospheric performance of Copland’s Clarinet Concerto.“Copland [in ‘The Red Pony’ is] displaying his simple gifts for the ready folk-tune and here the Phoenix woodwinds have what it takes. … It was interesting re-hearing his ‘Tender Land’ suite. So skillful is Copland’s orchestral transcription that one might easily be lulled into thinking this had been conceived solely for orchestra. As trumpets signal a new dawn over the open prairies, Laurie and Martin’s love blossoms in some of his most generous music outside ‘Appalachian Spring’. That evocative solo trumpet again leads the emotional surge. No problems with the barn dancing ‘Party Scene’. This is Steinbeck's country just as surely as is ‘The Red Pony’. [James ]Sedares leads a spirited rendition, his warm and willing woodwinds stealing the honors.” -GramophoneTracksThe Red Pony, Suite from the film I. Morning on the Ranch (5:08) II. The Gift (5:13) III. Dream March (2:55) IV. Circus March (1:56) V. Walk to the Bunkhouse (3:05) VI. Grandfather’s Story (4:21) VII. Happy Ending (3:30) Three Latin-American Sketches Estribillo (3:12) Paisaje Mexicano (3:46) Danza de Jalisco (3:41) The Tender Land, Suite from the opera Introduction and Love Music (10:22) Party Scene (4:51) Finale: The Promise of Living (6:13) Clarinet Concerto (14:57) Help support our show by purchasing this album at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber#AppleClassical Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) [email protected] This album is broadcast with the permission of Sean Dacy from Rosebrook Media.
This podcast from the Sounds Interesting series spotlights a selection of fanfares composed for a variety of occasions during the last century. Links to the music featured in this podcast: Maurice Ravel L’Éventail de Jeanne (8.573354) Morton Gould Fanfare for Freedom (8.572629) William Alwyn Fanfare for a Joyful Occasion (8.570705) David Robert Coleman Fanfare and Palimpsest (9.70202) Peter Boyer Silver Fanfare (8.559769) Aaron Copland Fanfare for the Common Man (8.572917)
Sticky Notes: The Classical Music Podcast
Throughout the history of Western Classical Music, folk music has imprinted itself as an invaluable resource for composers from all over the world. In fact, it’s easier to make a list of composers who never used folk music in their compositions than it is to make a list of the composers who did! This tradition began long before the 20th century, but the work of composers like Bartok and a resurgence in the influence of nationalist music sparked a massive increase in composers using folk music throughout the 20th century and into the 21st. Bartok is thought of as the king of using folk music, as he was essentially the worlds first ethnomusicologist. But Stravinsky, who used dozens of uncredited folk tunes in his Rite of Spring, as well as Bernstein, Copland, Gershwin, Grainger, Vaughan Williams, Szymanowski, Dvorak, and so many others embraced folk music as an integral source for their music. This was in stark contrast to the second Viennese school composers like Schoenberg, Berg and Webern, and post World War II composers like Stockhausen, Boulez, and others who deliberately turned their backs on folk music. One composer who straddled both worlds during their lifetime was the Polish composer Witold Lutoslawski, a brilliant composer whose career started out in the folk music realm, though not entirely by choice, and ended up in music of aleatory, a kind of controlled chaos! One of his first major works, the Concerto for Orchestra is the topic for today’s show, and it is heavily influenced by folk music from start to finish. It is a piece also inspired and might even be a bit of an homage to the great Bela Bartok and his own Concerto for Orchestra, which was written just ten years earlier. Lutoslawski, if you’re not familiar with him, is one of those composers that once you learn about him, you can’t get enough of him. I’ll take you through this brilliant and utterly unique piece today from start to finish. Join us!
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