Customer Reviews

Aaron Copland: THE LIFE AND WORK OF AN UNCOMMON MAN (Music in American Life)

5 star:		(7)
4 star:		(0)
3 star:		(2)
2 star:		(0)
1 star:		(0)

 

 

When Pollack wrote this book, Copland desperately needed a biographer, and for a initial comprehensive effort, Pollack's book more than fills the bill.

The book is a hefty 550 pages, not counting notes and index, but its unorthodox organization--the chapters are chronological, alternating, for example, a history of a few works with an analysis of some aspect of Copland's life--keeps the story moving. In fact, this organizational gambit is about the only thing that makes a life so sprawling as Copland's manageable. By grouping together everything having to do with, say, Copland and European composers, in one chapter, he makes it much easier for the reader to sink his teeth into the subject and to refer back to a topic later on.

This book is almost a hagiography--Pollack clearly adores Copland and, if anything, views him as underappreciated. In particular, Pollack seeks to revive Copland's reputation as a "serious" composer, right up there in the 20th-century American canon with Ives. Along with such staples as "Appalachian Spring" and "Fanfare for the Common Man," Pollack wants us to recognize the achievements of his later, twelve-tone works. Further, he attempts (somewhat convincingly) to show the relationship between his "popular" works and the less-accessible ones, whereas Copland's works have often been seen as belonging to different "periods."

I wouldn't be surprised if someone supersedes this biography in another 15 or 20 years, but for now, Pollack's book is a great introduction to the man and his work. Not only that, but it places Copland's ascension from struggling artist to eminent public figure in such a way to inspire young artists in all fields. A great read.

For me, a young American composer, this book was inspirational! It had a perfect balance between Copland's personal life and his music. My only minor complaint is its organization. I have recommended this book to many friends both, musician and layman; and I recommend it to you!

Howard Pollack has, quite simply, written the finest account of Aaron Copland' life and music thus far. I have all of the other biographies - including the excellent autobiography by Copland and Vivien Perlis. As worthwhile as these earlier publications are, it is Howard Pollack who has given all Copland devotees the quintessential story of the life and the music of America's greatest composer. I can think of no better place to start exploring Copland's genius than with this book as an introduction to the music, without which the world would be a poorer place and the 20th century would be missing a unique body of sound. It is inconceivable, to me at any rate, to imagine a world without Copland's music. No one else comes close to creating his sound world.

Thank you Mr Pollack for making it so clear to all of your readers that Aaron Copland is not only America's greatest composer but is, historically, and without question, one of most important composers the world has ever produced.

Whilst Esquire as early as 1948 called Copland "America's No. 1 Composer", secondary Copland literature (which, given Copland's habitat and distinction, one automatically credits with a forest-wrecking amplitude) proves surprisingly scarce. The first words of Pollack's own book are, in part: "For many years I took Copland for granted ... he remained a shadowy figure at some distance from the central concerns of myself, my classmates and my teachers".

Amazingly, between 1955 and the present volume not a single comprehensive study of Copland's life, by an outsider (as distinct from Copland's own explications of his aesthetic), appeared. "Essential" biographies of someone or other emerge, if we are to believe the book trade's spin-doctors, at least once every week; the account under review actually deserves this adjective. Its author (Professor of Music at the University of Houston) shows his love for Copland's oeuvre on every page, which helps; here is no glorified doctoral thesis where the authorial jargon struggles to drown out the authorial yawns.

Yes, as other reviewers have complained, modish identity politics get too indulgent a treatment; yes, as they have also complained, Pollack makes too small an effort to integrate his insights into a coherent structure. But we're not likely to encounter a better guide to the subject.

Howard Pollack has written a large, immensely-detailed, and very moving biography of a marvelous composer. Copland (1900-1990) was Jewish (Copland later wrote that his parents were "more traditional than religious, but observant"), and Pollack notes that "if Copland was discreet about his Jewish background, he never hid it either.... (T)hroughout his life, Copland spoke warmly of the Jewish traditions he had grown up with." Copland was not traditionally religious, however: "He occasionally referred to God ... but he apparently rejected the idea of a personal deity who intervened in human affairs." His funeral was, at his request, nonreligious.

"Copland never joined a political party." He was nevertheless later compelled to testify at the McCarthy hearings "as a friendly but not particularly cooperative witness," who stated categorically, "I have not been a Communist in the past and I am not now a Communist."

Pollack covers all of the necessary biographical details fully, such as Copland's studying advanced composition with Nadia Boulanger in Paris. Furthermore, "Boulanger's efforts on behalf of his career also earned his gratitude."

Pollack's book is filled with insights into Copland and his music. "Copland composed primarily at the piano ... he felt somewhat defensive about this practice until he learned that Stravinsky did likewise." Copland was also influenced by jazz (he later wrote, "I was born in Brooklyn, and that in Brooklyn we used to hear jazz around all the time"), but after writing his Piano Concerto (1926), he "felt I had done all I could with the idiom."

He notes that "to the end of his life, Copland named (Stravinsky) as his favorite twentieth century composer"; yet "Copland and Stravinsky maintained a rather cool friendship." Copland was also one of the first champions of the music of Charles Ives (Copland wrote a chapter on Ives in his book, The New Music: 1900-1960: Revised And Enlarged), and he not only encouraged its publication and performance, but he conducted it himself. Copland also championed the work of Roy Harris (even though Harris later felt that "Copland had usurped his reputation as the country's 'truly American' composer").

Leonard Bernstein nad a particularly fond relationship with Copland (Pollack writes that Bernstein was "blown away" at a party when he "realized that the charming, giggly, bespectacled man sitting next to him" was Copland, whom he had imagined as being a "bearded patriarch."

Copland's homosexuality is also dealt with fully, and tastefully. (Copland himself was rather discreet about his partners.)

Copland's late usage of the twelve-tone system is given a detailed treatment. Pollack notes that "A related cliche contends that the twelve-tone works represented a futile attempt to stay current. In fact, Copland adapted the method prior to its widespread popularity among American composers."

Sadly, "Aside from these few late piano pieces and some arrangements, Copland produced no new score in the last seventeen years of his life." Alzheimer's and senility claimed him increasingly during the 1970s and 1980s.

Pollack's book is a wonderful treatment of a wonderful man. HIGHLY RECOMMENDED!

While occasionally indulging in tendentious "theory," University of Houston professor of music Howard Pollack's ambitious, uneven book is redeemed by the author's encyclopedic knowledge, informed affection for Copland's (1900-1990) person and music, and the biographer's ability, more often than not, to write technically sophisticated musical analyses without obscuring the music.

Given the identity politics dominating the new musicology, for all its flaws, Aaron Copland: The Life and Work of an Uncommon Man, is a good and valuable book. It contains information from previously unavailable letters and interviews with the late composer's friends and relations. But why does a tenured, respected professor writing for a trade house adopt the method of cobbling on end chapters dealing with tendentious, identity-political theory that can only detract from the work? And yet, at present, this may be as good as can be hoped for: Some theory as encore, to satisfy the commissars. The alternative is, increasingly, all tin-eared theory, and no music.

The book "Aaron Copeland: The Life and work of an Uncommon Man" is the story of a courageous sometimes private, but houmerous man who was not afraid to "stand up" for what he believed in and for what was truly the freedom that we must keep alive in this country. If you are at all interested in msic and courage and the impact that this man had on all arts, please read this book.

I have just finished reading Howard Pollack's biography of Aaron Copland.This monumental work provides the diffinitive account of the life and works of America's greatest composer.This is a "must read" for classical music lovers or anyone interested in American culture in the 20th century.

Howard Pollack has synthesized an enormous amount of material into an engrossing survey of Copland's life and work. The book reads as at once a personal and critical account of America's greatest composer. Pollack's is (and will be for years to come) the definitive study of Aaron Copland.