Copland: El Salon Mexico/Concerto for Clarinet and String Orchestra/Music for the Theatre/Connotations for Orchestra

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

Product Details

• Performer: Stanley Drucker, New York Philharmonic
• Conductor: Leonard Bernstein
• Composer: Aaron Copland
• Audio CD (September 12, 1991)
• SPARS Code: DDD
• Number of Discs: 1
• Label: Deutsche Grammophon
• ASIN: B000001GES
• Average Customer Review: 4.8 out of 5 stars  See all reviews (5 customer reviews)
• Amazon.com Sales Rank: #60,384 in Music (See Bestsellers in Music)

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  #69 in	Music > Classical > Featured Composers, A-Z > ( C ) > Copland, Aaron
  #81 in	Music > Classical > Instruments > Reeds & Winds > Clarinet

Track Listings

1. El Salón México, for orchestra

2. Clarinet Concerto: 1. Slowly and expressively. Cadenza

3. Clarinet Concerto: 2. Rather Fast

4. Music for the Theatre, suite for small orchestra: No. 1, Prologue

5. Music for the Theatre, suite for small orchestra: No. 2, Dance

6. Music for the Theatre, suite for small orchestra: No. 3, Interlude

7. Music for the Theatre, suite for small orchestra: No. 4, Burlesque

8. Music for the Theatre, suite for small orchestra: No. 5, Epilogue

9. Connotations, for orchestra

Editorial Reviews

Amazon.com

There has never been a better interpreter of Copland's music than Leonard Bernstein. Lenny's affection for--and understanding of--Copland and his music was matched by a unique physical ability to get the feeling of the music across as a conductor; in essence, he became the music when he conducted it, something Copland himself wasn't capable of. As a consequence, Bernstein's accounts of Copland's music speak with a convincing accent and special authority. That's certainly the case with these performances, which date from the last year of Bernstein's life and find him reunited with his old band, the New York Philharmonic. The bookends are the Music for the Theatre, from 1925, and Connotations for Orchestra, commissioned by Bernstein and the Philharmonic for the opening of their new home at Lincoln Center in 1962. Both are impressively done, as is El Salón México, one of the most rousing and colorful of Copland's orchestral essays. A different Copland emerges in the Clarinet Concerto, which was composed for Benny Goodman in 1947 and fashioned with a lapidary touch. The Philharmonic's principal clarinet, Stanley Drucker, steps easily into the solo role, playing with great sensitivity in the pensive opening movement--which, with Lenny on the podium, sounds very slow and full of tenderness, though perhaps a bit too poignant--and showing plenty of agility in the concerto's finale, where Latin and jazz elements come into play along with the high notes that were one of Goodman's specialties. --Ted Libbey

Customer Reviews

Most Helpful Customer Reviews

22 of 23 people found the following review helpful:

5.0 out of 5 stars Biggest and best conglomeration of American musical talent., August 26, 1999

By A Customer

This recording is taken from the final concerts Leonard Bernstein gave with the New York Philharmonic in October 1989, so it is a very historical bit of musical documentation as well as a fine reading of great American music. Bernstein and Copland had a long history together, and some of LB's greatest performances were of Copland works (Appalachian Spring, Piano Concerto, et al.). This disc is no exception; it's a very lovely recounting of some of the most important music of the 20th Century. "El Salon Mexico" is given a vibrant reading to start out, one that I might suggest as being almost definitive. The first part of the Clarinet Concerto is slower than some interpretations, but beautiful all the same. The second movement is where Stanley Drucker, Lenny and friends pull out all the stops for the raucous ending. The "Music for Theater" is conversely snappy and restful, a better reading (I'd say) than the mid-60s one done by the same orchestra and conductor. Finally "Connotations", one of Copland's last great works, is given a neat run-through by the ensemble it was written for. From its opening rim-shots to the final, ear-splitting chords, "Connotations" is quite an accomplishment for a composer whose name is most often associated with softer, more "open" tonality. This is a great CD (in the truest sense of the word), and a glorious way for America's greatest conductor to end his career with one of America's greatest orchestras.

8 of 9 people found the following review helpful:

5.0 out of 5 stars A treasurable concert, and a farewell to two American giants, July 5, 2006

By	Santa Fe listener - See all my reviews (TOP 100 REVIEWER)

Aaron Copland and Leonard Bernstein died within two months of each other in 1990 after a lifelong friendship that was also a mentor and disciple relationship. This CD captures an Oct. 1989 concert that was the last time Bernstein conducted a subscription concert with his own NY PPhil. They play magnificently and at times very sensitively.

One can't help tearing up if like me you grew up on Bernstein's version of El Salon Mexico, which he recorded no less than four times. Here the music has great impact from DG's excellent digital sonics. Afflicted with emphysema--as Copland was severely afflicted with Alzhemier's from the mid-Seventies onward--Bernstein struggled bravely to keep up his old panache, but there's an air of melancholy just beneath the surface. The nostalgic slow sections seem as much a nostalgia for lost life as for old Mexico.

Everything on this disc can be heard on various Sony CDs from Bernstein's tenure with the orchestra, which are livelier. As early as the mid-Fifties the teenage Stanley Drucker sat as first-chair clarinetist with the Philharmonic (where he remains today). His version of the Clarinet Concerto is sadder than Richard Stoltzman's dreamy, suave account on RCA, but richer for that.

The next work represent Copland's very early, jazzy modernism in Music for the Theater, where the 25-year-old composer manages to evoke the chic of Paris and the homeliness of the Great Plains in the same work. This reading sounds much better, if slightly less jazzy, than Bernstein's 1958 recording on Sony. The program ends with a piece that Bernstein commissioned for the opening of Philharmonic Hall in 1962, the 12-tone Connotations for Orchestra, probably the last importance public utterance from Copland. Audiences never warmed to his difficult modernist side, but if you can get past the atonality, the underlying gestures in Connotations are remarkably similar to his populist works.

I find it hard to listen to this CD without a catch in my throat, but any listener would find it superb sheerly on musical grounds.

7 of 9 people found the following review helpful:

5.0 out of 5 stars THE BEST OF STANLEY DRUCKER AND AARON COPLAND, April 7, 2003

By	"elegiegal" (FL) - See all my reviews

If you are a Copland fan then this CD is for you...couldn't find a better clarinet soloist as Stanley Drucker, our world's top Clarinetist. He can make you laugh, cry, and tap along while he amazes you with his musical abilities. This is THE Clarinet Concerto of the 20th Century! With Berstein at the head of the orchestra, Drucker is in his element of music when paired with Copland.