A wonderful work of Copland who captured the essence of NYC to translate it in non conventional (but alos non avangardist) musical figures weel in line with the sensations of a great city.
This is Film Noir of the mind. Copeland captured the essence of New York in the 30's and 40's so well it has become iconic of that epoch. It's become a stereotypical reference to any Depression Era genre. Bernstein owed a great debt to Copeland for inspiring his award winning film score for "On the Waterfront."
And Copland returns the compliment here, I think. I love On the Waterfront's symphonic suite, having played timpani in it last year. There's some of the same rhetoric in places here.
@@GordonLF Inspired or not..Bernstein gets some cues for "ON THE WATERFRONYT" from earlier Copland, "Hear Ye, Ye" (1932) among others. It works both ways.😀
@@gerthenriksen8818 Gert: yes, Bernstein in 1954 gets cues from Copland´s earlier¨Hear Ye, Hear Ye¨. Obviously not from ¨Music for the Great City¨ which was composed in 1964. My comment was referring to the previous posting above about Copland returning compliments to Bernstein. He is not, he´s just continuing his previously established own line of work.
This was the same period in which Copland wrote the serialistic Connotations. People who lament he stopped writing tonal music at that time don't know better.
@@SymphonyBrahms I know who Copland is and of course I know Picasso. The fact that they're "great" is your opinion. Copland's music is just cacophony, irritating the ears, so is Picasso's paintings, they're insults to the eyes.
Presumably you've heard Appalachian Spring and Rodeo among his so-called "populist" works? Not really the musical equivalent of cubism, in fact largely diatonic and lacking in cacophony. This one? there was a rare performance of this at Snape Maltings not so long ago where someone was heard to comment that they were looking forward to Appalachian Spring, also programmed, because there were "fewer cars in the Appalachians". 'Nuff said. Great programming - you kind of need AS to cleanse the palate after this.
Thanks for posting, although it's clear why this piece is rarely heard in the concert hall - brash, noisy and lacking true inspiration: a coarsened, sadly second- hand version of early pieces.
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Fascinante música!!!! Muchas gracias por compartir.
A wonderful work of Copland who captured the essence of NYC to translate it in non conventional (but alos non avangardist) musical figures weel in line with the sensations of a great city.
This is Film Noir of the mind. Copeland captured the essence of New York in the 30's and 40's so well it has become iconic of that epoch. It's become a stereotypical reference to any Depression Era genre. Bernstein owed a great debt to Copeland for inspiring his award winning film score for "On the Waterfront."
And Copland returns the compliment here, I think. I love On the Waterfront's symphonic suite, having played timpani in it last year. There's some of the same rhetoric in places here.
Inspired or not, ¨On the Waterfront ¨ score was written by Bernstein in 1954. ¨Music for a Great City¨ was written by Copland 10 years later.
@@GordonLF Inspired or not..Bernstein gets some cues for "ON THE WATERFRONYT" from earlier Copland, "Hear Ye, Ye" (1932) among others. It works both ways.😀
@@gerthenriksen8818 Gert: yes, Bernstein in 1954 gets cues from Copland´s earlier¨Hear Ye, Hear Ye¨. Obviously not from ¨Music for the Great City¨ which was composed in 1964. My comment was referring to the previous posting above about Copland returning compliments to Bernstein. He is not, he´s just continuing his previously established own line of work.
The last section of On the Waterfront was obviously modeled on the last section of Billy the Kid.
I thought he adapted this from his score for the film _Something Wild_ (1961).
An edit: A glance at the video-poster's notes confirmed it. Never mind.
J'aime beaucoup les œuvres tardives d'Aaron Copland (dès les années 60.)
I must have been living in the wrong city all my life!
¡Es una obra maravillosa de Aaron Copland! Muchas gracias por subirla.
This was the same period in which Copland wrote the serialistic Connotations. People who lament he stopped writing tonal music at that time don't know better.
greate ................
Great!
Copland always conjures Lennie for me Bernstein's baton to Aaron's Arpeggii!
Incluido en Klásica: th-cam.com/play/PLGwMd6H3V68oJldmR0OkSzoNiCqfFg0VS.html
15:18
I could never listen to this guy, as I could have never been able to enjoy modern painting.
"This guy" is one of the greatest composers of all time. And Picasso is one of the greatest painters of all time. Enough said.
@@SymphonyBrahms I know who Copland is and of course I know Picasso. The fact that they're "great" is your opinion. Copland's music is just cacophony, irritating the ears, so is Picasso's paintings, they're insults to the eyes.
@@mohsenqassemi You should try Xenakis or Ustvolskaya
@@Alix777. Metastasis! Terrible!!
Presumably you've heard Appalachian Spring and Rodeo among his so-called "populist" works? Not really the musical equivalent of cubism, in fact largely diatonic and lacking in cacophony.
This one? there was a rare performance of this at Snape Maltings not so long ago where someone was heard to comment that they were looking forward to Appalachian Spring, also programmed, because there were "fewer cars in the Appalachians". 'Nuff said. Great programming - you kind of need AS to cleanse the palate after this.
Thanks for posting, although it's clear why this piece is rarely heard in the concert hall - brash, noisy and lacking true inspiration: a coarsened, sadly second- hand version of early pieces.
Actually in my opinion one of Copland best works!
It's a masterpiece.
But, that's what this piece is about NYC. Which is brash, noisy and lacking in true inspiration!