Aaron Copland - Symphony for Organ and Orchestra
ฝัง
- เผยแพร่เมื่อ 12 พ.ค. 2023
- Organ: Paul Jacobs
Conductor: Michael Tilson Thomas
Orchestra: San Francisco Symphony Orchestra
I. Prelude: Andante
II. Scherzo: Allegro molto
III. Finale: Lento - Allegro moderato
From Wikipedia:
Aaron Copland wrote the Symphony for Organ and Orchestra in 1924. It represents a major work in the composer's oeuvre, as it was his first fully realized orchestral work, his first work for organ, and the first piece whose orchestration he heard. It was premiered on January 11, 1925, in New York. In 1928, Copland re-orchestrated the work without organ as his Symphony No. 1, rewriting the organ part in the brass and adding saxophone.
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The Symphony for Organ and Orchestra established Copland as a serious modern composer. Musicologist Gayle Murchison posits that his use of the octatonic and whole-tone scales, polyrhythmic ostinato figures, and dissonant counterpoint proves his mastery of the modernist harmonic, rhythmic, and melodic techniques of the 1920s. The work shows much influence of Copland's hero Igor Stravinsky such as its nervous, driving rhythms and some of its harmonic language, but it also draws significantly and consciously from jazz - Copland's birthright - as in its playful interpretation of triple meter in the scherzo movement. For a decade Copland would continue to draw from jazz in his quest to evoke an essentially "American" sound. His interaction with Maestro Koussevitzky would lead to the latter to conduct 12 of Copland's orchestra pieces as head of the BSO, including several he commissioned and premiered.
The audience at the New York premiere was taken aback by its "radical departure from common practice conventions." From the stage, Maestro Damrosch famously remarked, "if a gifted young man can write a symphony like that at age twenty-three, within five years he will be ready to commit murder," which was in Copland's words a joke meant to "smooth the ruffled feathers of his conservative Sunday afternoon ladies faced with modern music." Just as contemporary critics rejected Copland's work for being too jazzy and too modern, receptive conductors and audiences were excited to hear his developing style. Copland himself came to see the work as too "European" and consciously sought to evoke an American idiom in his future work before eventually accepting it as a reflection of his natural idiom.
en.wikipedia.org/wiki/Symphon...) - เพลง
Bravo! A brilliant performance from San Francisco, and the incomparable Paul Jacobs!
❤❤❤🎉AWESOME!!!!🎉🎉🎉❤
Great. Very fine music. Wonderfully played and thank you for the score in this video
You're welcome!
Thanks 👍! I'll do that!😊
I came here because of the following quote: "This modernist work inspired the famous statement by Walter Damrosch (cited in Howard Pollack’s magnificent biography of Copland): 'It seems evident that when the gifted young American who wrote this symphony can compose at the age of 23, a work like this one...in five years more he will be ready to commit murder.'"
One of my teachers shared this quote when I was studying music many years ago, and it has always stuck with me. The way he presented it, it was that judgement upon this particular work that motivated Copland to pursue a more accessible style (although a close look at his personal history prompts me to wonder if simply making a living didn't motivate the switch to a more popular idiom just as much.)
Based on the invective, I had always assumed it would be thirty minutes of crashing atonality. The first movement is moody, but I have to say, not well-defined, and lacking in musical ideas. The scherzo is fun--it has the feeling of movie music, but not in a bad way. There are many characteristics of his future style at play, and even a section that employs a blues riff--although in an annoyingly repetitive way, to my taste.
Probably the real focus of Damrosch's disapproval was the third movement, which starts off with the crashing dissonances I was anticipating, but then settles into a sort of a restless series of themes searching for a purpose that never quite seems to materialize. The strident, unsettling organ chords at the end do little more than make me think that Dracula has just arisen from his coffin.
Copland was truely stepping into the “New World” when writing this piece
SCV 2002 brought me here
I knew Aaron Copland.
I was his Hostess in April, 1979 at Jefferson City, Missouri at the University for three days. It remains the most important musical encounter of my life. I am currently working on a short story entitled: MY COPLAND EXPERIENCE. Ps: I have documentation to validate my claim.
Please share once it is finished (if you can)!
@@jacobnx I am going to offer it to Wichita, first, since I graduated from that University. I hope they have a newsletter that they might put out that contains it. But it would be my honor to share it with you as soon as possible. We had a blast! More like Granddaughter/Grandfather situation. His first words to me were: " OH, IT'S YOU!" Anything else I can do for you?
I meant in a professional manner! Also, I have been encouraged to do this from Niko Schroeder, who a year ago in March won The World's Largest International Young Composers Competition in the Hague, Netherlands 🇳🇱😀. Does anyone know about him? He has a very good sense of humor and has actually notated three of my compositions, including my bio. Signed Curious in😂Kansas!
Hello, Jacob! I'm quite unfamiliar with these new fangled phones, so I thought my explanation about Niko Schroeder and my Aunt Sharon would be sent to only you. We have communicated before, therefore please accept my apology for feeling sometimes about as dumb as a box of hair when it comes to these new fangled phones! When I grew up, all you could do with a phone was TALK, nothing more. Ours hadn't any buttons, rotary dials only a raised portion in the middle with some cellophane beneath it showing one number, dash then four numbers. It makes me feel like I don't come from a different world but a different universe as compared with others much younger than myself. I'm not special, just incredible lucky! Good bye 👋for now.
Thank you for sharing all of that. In the future, if you want to send something just to me and not the entirety of TH-cam, you can send me an email at jacobnx01ayt@gmail.com
@@jacobnx PLEASE BE ADVISED: I AM NOT ABLE TO GET YOUR EMAIL ADDRESS TO WORK! PLEASE ADVISE! THANKS 👍.
I feel I should explain how I came to know Niko. My beloved Aunt Sharon Gonder was voted Most Outstanding International Teacher. Along with her husband Glenn William Gonder, also a highly respected Educator in Missouri, were flown to Washington D.C. where my Aunt Sharon had the opportunity to discuss with teachers from around the world her project, with my Uncle's help, to make learning easier for students. She was then presented a Plaque by Congress and then addressed said Congress. She knew how important it was to find someone to notate my compositions. So, she took a shot in the dark and found Niko Schroeder! But to quote Forrest Gump: " THAT'S ALL I HAVE TO SAY ABOUT THAT. " LOL 😆