Copland: Appalachian Spring/Fanfare For The Common Man/El Salón México/Danzón Cubano

Aaron Copland (Composer), Leonard Bernstein (Conductor), New York Philharmonic (Performer)

Product Details

• Performer: New York Philharmonic
• Conductor: Leonard Bernstein
• Composer: Aaron Copland
• Audio CD (October 25, 1990)
• SPARS Code: ADD
• Number of Discs: 1
• Label: Sony
• ASIN: B0000025MO
• Also Available in: Audio Cassette  |  MP3 Download
• Average Customer Review: 4.7 out of 5 stars  See all reviews (11 customer reviews)
• Amazon.com Sales Rank: #2,761 in Music (See Bestsellers in Music)

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Editorial Reviews

Amazon.com

If Copland's own recordings of his music have the warmth of a soft summer night, those by Leonard Bernstein convey the blazing heat of noon. In his later remakes of several of these scores for Deutsche Grammophon, Bernstein exhibited a tendency toward overly-nuanced readings. But his earlier accounts with the New York Philharmonic, recorded by CBS in the late 1950s and early 1960s, are still incomparable in their vitality and impetus. Bernstein's way with the Western ballets is exuberantly personal and persuasive. He has the ability to move between delicacy and brashness, always getting the gestures right, and he delivers magical characterizations of both scores. The Phiharmonic's playing, while sometimes a bit raw, is confident and rhythmically secure; there is certainly nothing to apologize for here. There is a wonderful sense of immediacy to Bernstein's account of the Appalachian Spring Suite, in which the New Yorkers give a virtuosic account of themselves, playing in a rhythmically incisive fashion that puts Copland's account with the London Symphony in the shadows. The couplings are a mixed bag, however. Bernstein always had the measure of El Salon Mexico, and gives a rousing account of it here. But the so-called Fanfare for the Common Man is lifted from his recording of the Third Symphony; its beginning is not the same as that of the real fanfare. Both recordings have been wonderfully remastered by their original producer, John McClure, and have excellent presence and a palpable sense of atmosphere in the quiet pages. --Ted Libbey

Amazon.com

Leonard Bernstein was a friend of Aaron Copland's, and he approaches this music with rare flair and verve--as well as with sympathy and warmth--and, we can assume, with a good idea of the composer's intentions regarding it. This is a classic album, containing several of the works in the essential Copland oeuvre; the sound is not as good as you'll find in a more contemporary recording, but for most listeners the spirit will make up for that. --Sarah Bryan Miller

Customer Reviews

Most Helpful Customer Reviews

15 of 16 people found the following review helpful:

5.0 out of 5 stars The DEFINITIVE Appalachian Spring, December 28, 1998

By A Customer

This is quite possibly the best recording ever made of Aaron Copland's "Ballet for Martha." Appalachian Spring was originally intended for a 13-instrument chamber ensemble; Copland later orchestrated a suite that was extracted from that original ballet. The result, as achieved here by Bernstein and the New York Philharmonic, is the stuff of American music at its best. Only Bernstein is able to whip up the frenzy required by the fast, glassy movements; only Bernstein is able to bring forth the implied passion of the slow movements without becoming sappy or sentimental. The other works included are equally well-treated, even if they are less important to begin with. If you only own one CD on which Lenny is conducting, this should be it.

12 of 13 people found the following review helpful:

5.0 out of 5 stars Test of Time--Passed with honors!, July 20, 2003

By	FloydWaters - See all my reviews

I have been a fan of Aaron Copland's from an early age--in fact, so early that I can hardly remember not knowing "Fanfare for the Common Man". As I became older, my appreciation grew and deepened. I still remember my first exposure to the "Gift to Be Simple" section of Appalachian Spring...it was in history class, played as part of a presentation. I can't even remember the subject of the presentation anymore--all I remember is that at that wild, joyous crescendo, I was not in the room. I was somewhere far away, flying. That is the power in a piece like this, and the standard to which I hold any musical recording.

When I began seeking a full version of Appalachian Spring for my own collection, I had the good fortune to get a "recommendation" of sorts for the definitive recording: Richard Wright, keyboardist of Pink Floyd, has more of a Copland influence than you might suspect. When I read his article in Record Collector Magazine, the particular rendition he recommended was this one--the 1962 recording for CBS, of which he seemed to have the original LP. Imagine my surprise and delight to find that it was still in print and easy to find in stores!

"Aaron Copland's an American classical composer," summarizes Mr. Wright, "and [Appalachian Spring] is his most famous work...Like all of my favourite music there's something in his material that touches me; I think it's the chordal progression and the melodic lines just above them that do it for me here - and the fact that it's very peaceful. When I listen to a lot of the stuff that I've played over the years I feel I've been heavily influenced by Copland, albeit subconsciously." (Note to Pink Floyd fans: Comparing the basic approach in "Shine On You Crazy Diamond" and Copland's "Quiet City" may prove interesting.)

I am in full agreement here...it is absolutely striking what Copland was capable of creating. In his hands, simple, traditional harmonies were transformed into breathtakingly original works that reflect the best of the American spirit...innovative, beautiful, optimistic, and slightly wild. It never ceases to amaze me how he could weave such a beautiful musical texture with so few notes at times--it is indeed a gift to be simple. But Copland's work is not boring by any means--he also knows the place for grand, sweeping statements and shockingly unique, beautiful chord changes that occur seemingly out of nowhere.

As soon as I heard this disc, in comparison to other recordings I'd sampled, it was immediately obvious why this one survived the test of time, why it was still so vivid in the mind of Richard Wright. Copland and Bernstein seem always to be a good match for each other, but there was something very special going on the night this was recorded. Even if you own other renditions of "Appalachian Spring", even if you are interested in no other composition on this disc, this is an absolute must-have.

As for the other pieces, recorded in the early 60s as well, there's a similar magic--even though the "Fanfare" version is radically different, it's a real ear-opener. The pitch changes are done with a shocking fluidity, but it brings new interest to the piece. It is no replacement for the original; it's probably best to treat it as a different song. "Salon Mexicano" and "Danzón Cubano" are also excellently rendered and timeless.

All in all, this is a fantastic album--a must for any classical collection.

6 of 7 people found the following review helpful:

5.0 out of 5 stars Shows Why Copland Was Such a Diverse Talent, May 30, 2002

By	Reginald D. Garrard "the G-man" (Camilla, GA USA) - See all my reviews (TOP 500 REVIEWER)    (REAL NAME)

Pastoral. Thrilling. Sincere. Stirring. Calm. Thunderous. All these adjectives and more can best describe the music featured on this disc. Copland's "Appalachian Spring" and "Fanfare for the Common Man" remain justifiably two of the most popular of the composer's works. The addition of the fiery "El Salon Mexico" and "Danzon Cubano" only serve to show how gifted the late composer truly was.