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Copland: The Modernist CD

Aaron Copland (Composer), Michael Tilson Thomas (Conductor), San Francisco Symphony (Orchestra), Format: Audio CD
4.9 out of 5 stars 9 customer reviews
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  • Sample this album Artist - Artist (Sample)
1
30
Andante sostenuto
by Garrick Ohlsson;Michael Tilson Thomas
7:32
Play in Library $0.99
 
2
30
Concerto for Piano and Orchestra: Molto moderato; Allegro assai
by Garrick Ohlsson;Michael Tilson Thomas
9:27
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3
30
Orchestral Variations
by Michael Tilson Thomas
13:38
Album Only
4
30
Short Symphony (Symphony No. 2): Incisivo
by Michael Tilson Thomas
4:32
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5
30
Short Symphony (Symphony No. 2): Espressivo
by Michael Tilson Thomas
5:00
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6
30
Short Symphony (Symphony No. 2): Preciso e ritmico
by Michael Tilson Thomas
5:51
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7
30
Symphonic Ode
by Michael Tilson Thomas
20:15
Album Only

Product Details

  • Performer: Garrick Ohlsson
  • Orchestra: San Francisco Symphony
  • Conductor: Michael Tilson Thomas
  • Composer: Aaron Copland
  • Audio CD (October 15, 1996)
  • Number of Discs: 1
  • Format: CD
  • Label: Alliance
  • Run Time: 66 minutes
  • ASIN: B000003G4A
  • Average Customer Review: 4.9 out of 5 stars  See all reviews (9 customer reviews)
  • Amazon Best Sellers Rank: #250,139 in Music (See Top 100 in Music)

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Customer Reviews

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Top Customer Reviews

5.0 out of 5 starsmy favorite Copland disc
By slightlykooky on August 17, 2000
Format: Audio CD
What separates this disc from hundred other Copland discs are the incredible performances of the San Francisco Symphony w/ MTT and the specific programming combination of pieces compiled here. The disc has the rarely heard "Symphonic Ode" as well as tour d'force 2nd Symphony and the "Orchestral Variations." The placement of these latter two pieces is particularly rewarding.
Any follower of Copland must have this disc in their CD collection. Anyone who has heard his "Fanfare for the Common Man" or "Appalachian Spring" ballet will be challenged. The Orchestral Variations are an orchestration of his "Piano Variations" (from 1930/1931, I think). The Piano version became 'in-famous' at Tanglewood when a young pianist named Leonard Bernstein used to play them at receptions and concerts. Today they don't have the harsh edge or bite that they might have had then, but listeners used to "Fanfare for the common man" might be a little fidgety.
The real meaty tour d'force is his 2nd symphony. MTT gets an amazing sound from the SFS on this recording. The 2nd symphony wasn't performed for decades after Copland first wrote it. Koussevitsky said it was 'too difficult' for the orchestra. Disconsoled and uncertain about future performances Copland made a sextet version which also ROCKS (see Boston Symphony Orchestra Chamber Player recording on Nonesuch/Elektra). Finally at the 21st century orchestras CAN indeed play it and play it with such conviction. The challenging cross meter and multiple beat patterns pose no problem for MTT and the SFS.
If you want to expand your Copland horizon, get this disc!
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5.0 out of 5 stars...lesser known works
By David Brooks on March 1, 2004
Format: Audio CD
For anyone wanting to go beyond the popular works of "Fanfare For The Common Man", "Appalachian Spring", "Rodeo Suites" and "Billy The Kid"...this disc is a good introduction to neglected works that had a bit of a shaky history. "The Short Symphony" was viewed as being to difficult to perform and ended up resurfacing in small scale works. The piece is represented by three movements fast-slow-fast that are played without a pause in the music with the extraordinary beauty of the slow movement.
"The Concerto For Piano And Orchestra" makes full use of jazz material with the piano conversing with the rest of the instruments. Michael Tilson Thomas has a good feel for Copland, as he does for any other American composer and the performance of the San Francisco Symphony is brisk and clear. This disc is most certainly a welcomed addition to any Copland collection, although there are no signs of any patriotic hymns or overtures that you can expect elsewhere.
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4.0 out of 5 starsCopland "the modernist"? Well - relatively to Copland the "populist" maybe, but this remains quite accessible "modernism"
By Discophage TOP 1000 REVIEWER on June 23, 2009
Format: Audio CD
It would be comfortable to think of Copland as the early modernist turned populist (he would have been neither the first nor the last), but the picture isn't so simple. When, in view of the lack of success of his early compositions, he turned to a more populist style, heralded in 1936 by El Salon Mexico, Copland never abandoned his "modernist" manner, and the two subsequently coexisted.

Copland "the populist" and composer of "cowboy music" is evidently more popular than Copland the "modernist", but I've long been an admirer of tha latter. I consider the Piano Sonata, Piano Fantasy and Piano Variations to belong to the great masterpieces of 20th Century piano literature.

In fact, calling the composer of those and other "serious" compositions a "modernist" is a bit exaggerated. That Copland was considered such in the 1930s says a lot about the state of cultural backwardness of audiences and critics then. Heard today, Copland's "serious" compositions (or "severe" as he himself characterized them) are rarely difficult music. They are serious, yes, but also alternately grandiose and granitic, intensely lyrical, and sweepingly dynamic. Yes, there are dissonances and crashing chords - always at the service of a great dramatic impact. Elements of the musical language that Copland uses in his more popular pieces can easily be recognized even in earlier ones. The difference between the modernist and the populist isn't a case of schizophrenia.

In that respect, it takes really a wide stretch of the imagination tho attribute the Piano Concerto to the "modernist" - or even to the "serious" Copland. It is a short piece (17 minutes here), in two movements, and the second is Copland out-jazzing Gershwin.Read more ›
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5.0 out of 5 starsAmazingly good.
By P. Wood on February 19, 2007
Format: Audio CD
I must confess I've never given much chance to classical music, despite being a huge music fanatic. After seeing a special on PBS about Copland, I was intrigued at how some of his later era stuff seemed to have a jazz influence in it. I ran across this album early into my search for some of his more adventurous stuff, and I'd say I hit the nail right on the head. Nothing on here is predictable and dull in any way--it's very exciting and interesting stuff that has totally changed my view of classical/orchestra music. I've heard some of his other stuff, and I think everything I've heard is very good, but this one takes the gold as being not only the best I've heard from Copland, but some of the very best music I've ever heard.
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