Customer Reviews

Copland: The Populist

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

 

 

Like the Amazon editorial review said, Tilson-Thomas somehow manages to make these stalwarts of the standard repertory sound fresh and new -- as if they had been written yesterday. At the same time, this disc illuminates what is an often underappreciated theme of Copland's best work -- a subtle, understated sense of darkness and an apprehension of pioneerism and Americana. Appalachian Spring is taken at a pace much more sedate than many conductors would dare, and the result is staggering; colorings of the orchestration appear which are normally ignored or otherwise don't make themselves as clear in less precise versions. The fact that this is the fully orchestrated version (as opposed to the original chamber version, scored for thirteen instruments) doesn't hurt; Appalachian Spring sounds so full and rich, you wonder why everyone compliments the original for being so lean. Tilson-Thomas and the SF Symphony prove that dense orchestration does not have to sacrifice texture or expressiveness. Billy the Kid, in MTT's hands, comes off as much more moody and brooding than others might read it,but that was the composer's intention -- Billy's life was grimy and filled with violence, and those dark undertones are quite clear in this performance. Rodeo sounds as fresh and inspired as ever, and the SF Symphony prove adept at this sort of exuberant and rollicking music; the energy of this performance proves quite infectious and wholly in line with the spirit of the work. I was at the live performances which comprise the works on this disc, and let me say without reservation that the engineering captures exquisitely the polished sound of the San Francisco Symphony. My only complaint is that the balance at times seems a bit odd; while the recording is very close and intimate, at low levels the highs and lows have a tendency to drop out. All in all, though, a perfect recording for both Copland fans eager for a different interpretive style and those who have yet to be introduced to the prolific output of this great composer.

Aaron Copland is a composer who seems to flow in and out of favor with the critics but remains in the bloodstream of American audiences. This recording by Michael Tilson Thomas conducting the San Francisco Symphony offers three of Copland's most familiar masterpieces in performances that truly underline the genius that was Aaron Copland. Given that many conductors, not the least of which includes Leonard Bernstein, Thomas Schippers, and Marin Alsop, have given superb performances of each of these ballets, it may sound presumptuous to claim that this Tilson Thomas recording is the Gold Standard. But just listen to the energy of performances and the quality of interpretation and recording and see if you're not hearing these pieces anew.

MTT draws exceptionally fine playing from his SFO and his tutelage with Leonard Bernstein is apparent. But MTT has extensively studied these scores and has his own opinions - opinions that make the works each more solid and sound. 'Billy the Kid' has all the combination of menace and danger of the tale but also manages to bounce into wildly exuberant dancing. The four episodes from 'Rodeo' are full of fire and vixen and celebration and elegant writing. But for this listener the finest achievement is in MTT's choice of recording the full ballet 'Appalachian Spring' and not for the original 'chamber (read 'pit') orchestra', but instead for the full orchestral version that allows more color, more sensitivity in sparring orchestral choirs, and in more radiant innocence and beauty of tone. This is a stunning achievement and one by which all other performances and recordings must be judged.

For those whose library already holds individual recordings of these Copland works, this triad is a must. For those who have liked but have never taken Copland seriously, the experience of these performances will alter the appreciation of Aaron Copland as one of the populist masters of the last century. Highly Recommended. Grady Harp, June 06

Aaron Copland has not been a favorite composer of mine. I have liked much of his music but not been an avid collector. This is perhaps a little odd since I had a chance encounter with him a few years ago and only realized who I was standing next to after Mr. Copland had gone.

Listening to this disc has changed my mind on a great many things. In the past, I found the music for "Rodeo" a little too "folksy," as if Copland was throwing up a Norman Rockwell picture of the West. Listening to this recording has changed my view of the work to quite an interesting ballet. The version of "Appalachian Spring" is an orchestration (from the original for small orchestra) that Mr. Copland never published, and it may the music seem all the more new. The "Simple Gifts" music that Copland borrowed is treated far differently in this version than the more familiar orchestration. "Billy the Kid" was also a revelation for me.

The performances and sound are excellent. Anyone who already know this music will appreciate this disc.

Michael Tilson Thomas has become a favorite conductor of mine and this recording reenforces this. These generally overplayed and tired pieces are brought back to life under MTT and San Fransisco. I couldn't believe it was the S.F. Symphony playing at first...they sounded superb. The interpretation and enthusiasm of this music brought a new life of sorts into it. The orchestra plays flawlessly with such grace especially on Applachain Spring. The solos are sparkling and played with such intimacy and expression. Rodeo is absolutly wonderful. I can not put into words how perfect this recording is....and also how perfect of a match MTT and the S.F. Symphony are. He has definately breathed new life into this orchestra and is making it into one of the country's finest. I highly recommend thid disc to everyone. MTT is the best!!

Whenever I see "The Magnificent Seven", "On the Waterfront", "The Natural", even "Waiting for Guffman" or any number of films that use music to reflect some aspect of the American experience, I think of Aaron Copland. He didn't compose any of those scores, but his musical influence is so pervasive in our collective consciousness that one can only describe the music as "Coplandesque". Aptly entitled "The Populist", this superb disc was recorded in December 1999 and presents Copland's three classic folk ballets: "Billy the Kid" (1938), "Rodeo" (1942), and the complete version of "Appalachian Spring" (1944). Bernstein's version may have been the most definitive, but make room on your CD shelf for this one. With the masterful Michael Tilson Thomas conducting the San Francisco Symphony Orchestra, it's sensational.

It opens with "Billy the Kid", here a 21-minute single movement suite that contains the dark coloring suitable for a killer in the Old West. The arrangement presents a haunting atmosphere amid a basically romantic theme with a strong sense of distance and open space as emphasized by the muted trumpet solo in the middle. This is followed by "Rodeo", a 19-minute piece in four movements, which presents a comparatively more wholesome story that is meant to inspire lively dancing with the "Saturday Night Waltz", an especially lovely "Corral Nocturne", and the boisterous "Hoe Down", among other folk-inspired material. Running 35 minutes in a single movement, the capper is the Revivalist episode of "Appalachian Spring" in its full orchestral scoring. Vividly played, poetically paced and stunningly recorded, it is as close to the definitive version as exists now given its full scope. Spread over a greater time span than condensed versions and interspersed with music of significant unease and conflict, the piece takes on a wider portrait of community struggle. In particular, the familiar Shaker melody "Simple Gifts" expands through a series of variations to make an epic statement complete with triumphant brass. Thomas takes his time in unfolding his Americana with all the skill of a great musical dramatist who knows exactly how to pace his story. No matter how many times you think you've heard all of these pieces, I can tell you this is one you will treasure.

Featured on this CD is the entire Appalachian Spring ballet, Billy the Kid ballet suite, and four dance episodes from the Rodeo ballet. All are masterpieces presented with an entirely new interpretation by Michael Tilson Thomas.

With Billy the Kid, Aaron Copland's future is written for him, a composer whose music evokes rural Americana. The opening introduction where he depicts "The Open Prairie", his sound is born, large spacings of octaves, fifths, and fourths give an expansive panoramic feeling. The other parts of the suite are represented: "Street in a Frontier Town", "Mexican Dance and Finale", "Prairie Night" (Card Game at Night), "Gun Battle", "Celebration" (after Billy's capture), "Billy's Death", and ending with "The Open Prairie". All are depicted with soaring strings, chatty woodwinds, blazing brass, and a battery of percussion. Appalachian Spring is a pioneer celebration around a newly built farmhouse and a young couple about to tie the knot. Of course, the famous Shaker Tune is in this, but split up by a dance sequence, and the entire work ends rather peacefully. Sounds of his opera "The Heartland" can be heard here, as well as Copland's great driving rhythms. The Rodeo dance episodes include Buckaroo Holiday, Corral Nocturne, Saturday Night Waltz, and the famous Hoedown. Copland's great writing of melodies (all catchy), interesting harmonies and orchestrations, and those fabulous driving rhythms are the apex of his American sound, all played in Rodeo within a relatively short amount of time.

All the music is played excellently by the San Francisco Symphony. Michael Tilson Thomas gives a cerebral and intelligent interpretation, but never gives way to sentimentality or overt drama. I think that is all that is missing from these works is a little extra drama. This makes Leonard Bernstein's version of all the suites a slightly better buy. That and Billy the Kid and Appalachian Spring are on only one track (30 minute works). Not a bad CD by any accounts, it is easy to recommend after the Bernstein.

I just don't understand the less than stellar reviews of this disc. MTT interprets Copland wonderfully and the SFS plays fantastically. True, there are many versions of this music available and some great performances exist. The recorded sound here is very good. You will not be dissatisfied with this disc. Highest recommendation.

Not an expert, but this CD seems tedious compared to other Copeland recordings I have. Still beautiful, still well worth listening to - just maybe a bit slow tempo or something?

This is a superb recording. The music making is exciting and inspired. Thomas has insight into how this music is to be played, and he gets a wonderful, enthusiastic, splashy reading of it from the S.F. Symphony that brings out the joy, the nuance, the breadth and the full texture of Copland's splendid writing. It's a great CD and simply the best rendition of these American masterpieces that I've ever heard.

An excellent performance of a series of Aaron Copland's most famous works. I was most interested in Copland's work with Martha Graham, and this recording aided my class presentation on their joint endeavors.