Most recent edit on 2004-04-24 15:52:42 by music-media-09.lib.duke.edu
Additions:
The early Concerto for Piano and Orchestra (1926) incorporates elements from both the jazz idiom by then popular worldwide, and from some distinctly atypical harmonies that would later become his trademark. The second movement could almost be pulled from Gershwin, although it features more polyrhythms and changing meters than a more typical classical-jazz crossover. The first movement, on the other hand, could not be confused with the Concerto in F -- while still tonal, it frequently flirts with strong dissonances before resolving into solid brass/wind chords.
The much later Nonet for Strings (1960) has no such reservations about dissonance. Instead of reaching the occasional tonal center, it relies on lyricism and form to guide the ear. As the background chords move between different tone clusters every slow beat, the outer voices imitate each other. This becomes clearest in the middle section where the speed of the figuration doubles. Eventually all the voices join the new tempo before the work closes much as it began.
Appalachian Spring (1944) strikes a balance between these two that showcases his most unique and well-known style. The eerie string solis that begin and end the piece lack the wide vertical dissonances of the Nonet, but the major 7th that creeps in separates it from more typically classical scorings. In between, we find the most rhythmically challenging sections of the three works, but also the most endearing folk melodies. Despite basing it on American themes like the Concerto, there is much greater care given to the orchestration; only the necessary few instruments are invoked for each theme, which also gives the tuttis more power.
Deletions:
The early Concerto for Piano and Orchestra (1926) incorporates elements from both the jazz idiom by then popular worldwide, and from some distinctly atypical harmonies that would later become his trademark. The second movement could almost be pulled from Gershwin, although it features more polyrhythms and changing meters than a more typical classical-jazz crossover. The first movement, on the other hand, could not be confused with the Concerto in F -- while still tonal, it frequently flirts with strong dissonances before resolving into solid brass/wind chords.
The much later Nonet for Strings (1960) has no such reservations about dissonance. Instead of reaching the occasional tonal center, it relies on lyricism and form to guide the ear. As the background chords move between different tone clusters every slow beat, the outer voices imitate each other. This becomes clearest in the middle section where the speed of the figuration doubles. Eventually all the voices join the new tempo before the work closes much as it began.
Appalachian Spring (1944) strikes a balance between these two that showcases his most unique and well-known style. The eerie string solis that begin and end the piece lack the wide vertical dissonances of the Nonet, but the major 7th that creeps in separates it from more typically classical scorings. In between, we find the most rhythmically challenging sections of the three works, but also the most endearing folk melodies. Despite basing it on American themes like the Concerto, there is much greater care given to the orchestration; only the necessary few instruments are invoked for each theme, which also gives the tuttis more power.
Edited on 2004-04-24 14:53:43 by music-media-09.lib.duke.edu
Additions:
Copland's career as a composer spanned many trends in American music; he helped define many of the diverse styles himself.
The much later Nonet for Strings (1960) has no such reservations about dissonance. Instead of reaching the occasional tonal center, it relies on lyricism and form to guide the ear. As the background chords move between different tone clusters every slow beat, the outer voices imitate each other. This becomes clearest in the middle section where the speed of the figuration doubles. Eventually all the voices join the new tempo before the work closes much as it began.
Appalachian Spring (1944) strikes a balance between these two that showcases his most unique and well-known style. The eerie string solis that begin and end the piece lack the wide vertical dissonances of the Nonet, but the major 7th that creeps in separates it from more typically classical scorings. In between, we find the most rhythmically challenging sections of the three works, but also the most endearing folk melodies. Despite basing it on American themes like the Concerto, there is much greater care given to the orchestration; only the necessary few instruments are invoked for each theme, which also gives the tuttis more power.
Deletions:
Copland's career as a composer spanned many trends in American music; he helped define many diverse styles himself.
The much later Nonet for Strings (1960) has no such reservations about dissonance. Instead of reaching the occasional tonal center, it relies on lyricism and form. As the background chords move between different tone clusters every slow beat, the outer voices imitate each other. This becomes clearest in the middle section where the speed of the figuration doubles. Eventually all the voices join the new tempo before the work closes much as it began.
Oldest known version of this page was edited on 2004-04-24 14:35:01 by music-media-09.lib.duke.edu []
Page view:
Copland's career as a composer spanned many trends in American music; he helped define many diverse styles himself.
The early Concerto for Piano and Orchestra (1926) incorporates elements from both the jazz idiom by then popular worldwide, and from some distinctly atypical harmonies that would later become his trademark. The second movement could almost be pulled from Gershwin, although it features more polyrhythms and changing meters than a more typical classical-jazz crossover. The first movement, on the other hand, could not be confused with the Concerto in F -- while still tonal, it frequently flirts with strong dissonances before resolving into solid brass/wind chords.
The much later Nonet for Strings (1960) has no such reservations about dissonance. Instead of reaching the occasional tonal center, it relies on lyricism and form. As the background chords move between different tone clusters every slow beat, the outer voices imitate each other. This becomes clearest in the middle section where the speed of the figuration doubles. Eventually all the voices join the new tempo before the work closes much as it began.
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