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Copland on Music Paperback – January 17, 1963

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Product Details

  • Paperback: 288 pages
  • Publisher: W. W. Norton & Company (January 17, 1963)
  • Language: English
  • ISBN-10: 0393001989
  • ISBN-13: 978-0393001983
  • Product Dimensions: 0.5 x 0.1 x 0.8 inches
  • Shipping Weight: 6.4 ounces (View shipping rates and policies)
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (3 customer reviews)
  • Amazon Best Sellers Rank: #1,400,016 in Books (See Top 100 in Books)

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8 of 8 people found the following review helpful By Hiram Gomez Pardo HALL OF FAME on May 17, 2010
Format: Paperback
Copland on music is a book that certainly should not be absent from your personal library. His author demonstrates a lexicon easily understandable by all kind of readers.

The book picks up more than thirty years of life experiences, witty reflections and sharp observations about the enriching existence of Copland around the world.

In the first part we have to Copland as invited to talk about the music and its meaning.

In the second chapter, he approaches about five personalities who definitively were relevant in his craft: Serge Koussevitzky (whom he met in 1923), then Nadia Boulanger, Igor Stravinsky, the critic Paul Rosenfeld and finally, the painful letter in memoriam of William Kapell.

The third chapter is (to my mind) the most admirable and penetrating of all. He talks four masters: Mozart, Berlioz, Liszt and Faure with motive of his first centenary in 1945. There are four pages in which he analyzes Beethoven's musical legacy that should be kept in mind by all of us.

Then, he makes a brief analysis about the youngest generation of North American composers.

The next chapter deals with his sojourn in Europe spanned between 1927 and 1932 and five important Festivals: Zurich, 1926; Baden-Baden 1927; Paris, 1928; London, 1931 and Berlin, 1932. He also introduces around the South American composers.

The third part of the book is dedicated to comment briefly the works of Darius Milhaud, the sharp reflections about Benjamin Britten, Stepan Wolpe, Leon Kirchner and William Schumann, as well as written publications about Virgil Thompson, Schoenberg and Bartok.

The last section are occasional works: the first of them is titled. Are my ears wrong?
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1 of 1 people found the following review helpful By John P. Jones III TOP 1000 REVIEWERVINE VOICE on March 28, 2014
Format: Paperback
...and during much of his young life, he had to be. He survived on two $2,500 Guggenheim fellowships in the `20's. I discovered his work during my "coming of age" in the `60's. Fittingly, for someone who grew up in the hills and dales of Western Pennsylvania, there was his most quintessential American work, "Appalachian Spring," subtitled "A Ballet for Martha" (Graham), the dancer. In this work, he expanded the melody of the old Shaker song, "'Tis a gift to be simple," to glorious symphonic scale. I wasn't the only one enthralled: it was coopted by one of the major network news shows during the `60's and `70's. Many of his other works resonated with American themes: "Billy the Kid," "Rodeo," "The Tender Land." Another of my favorites is "Fanfare for the Common Man," with the haunting French horn intro, which is perfect for awaking people at desert encampments. I heard him lecture before conducting symphonic pieces in Atlanta, and he wryly explained that "Fanfare" was given its title since he felt it most likely to resonate with the Boards that rationed paper during the Second World War. His wide-ranging knowledge of the musical world, along with the glint in his eye that reflected the naming of "Fanfare" very much comes through in this book.

I purchased this book, and read it just a few years after its publication in 1963. [Note: the current narrative at Amazon indicates it was originally published in 1923 (!), which is clearly in error, though the book details do list the publisher and publishing date correctly]. He explains in the introduction that the collection is largely essays that were originally published in a variety of publications, and have simply been collected in book format (with the content unchanged, even the ones written 20 to 30 years earlier), for convenience sake.
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Format: Paperback Verified Purchase
I have recently been greatly interested in the life, times and music of Aaron Copland, and this small volume reveals much about the composing process of this man. Also compliments the general view that Copland was a kind, generous and likeable man. The material discussed was clearly presented, logically sequenced and very educative for me, a non musician.
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