Showing posts with label Copland. Show all posts
Showing posts with label Copland. Show all posts

Wednesday, November 25, 2015

THANKSGIVING


President Franklin D. Roosevelt,
Message to Congress,
January 6, 1941

FOUR FREEDOMS



The fourth is:
In this speech Roosevelt explained his vision
of our American ideals of individual liberties.
These are freedoms we should celebrate
and honor at Thanksgiving each year.

Norman Rockwell
is the artist of
Norman Rockwell created this series of paintings
based on the "Four Freedoms" theme after being
inspired by Franklin Roosevelt's speech. His art
displayed these freedoms in four scenes of American
life current for the time period and place where
Rockwell lived in New England during the 1940's.
Images of these paintings were first publicly
circulated by a famous popular magazine of the
day called "The Saturday Evening Post" for
which Rockwell worked as an illustrator. The
paintings won public approval and were then
used by our government during WWII to help
in the war bond drive.

SIMPLE GIFTS
Sung by MARILYN HORNE
Arranged by AARON COPLAND
'Tis the gift to be simple,
'Tis the gift to be free,
'Tis the gift to come down
where we ought to be,

And when we find ourselves
in the place just right
'Twill be in the valley of
love and delight.


SIMPLE GIFTS
By AARON COPLAND

"Simple Gifts" is an American religious song written
by the Shaker Joseph Bracken Jr.(1797-1882) in the year
1848. This song was named as one of the forty-two songs
that every American should know by the Music Educators
National Conference in 1966. Until Aaron Copland used it
in his 1944 composition Appalachian Spring, the melody was
largely unknown outside of Shaker communities. The song
celebrates a core principle in the Shaker belief system:
the idea of simplicity.

Friday, November 6, 2015

FRIDAY, NOVEMBER 6, 2015

QUOTE:
“What you are, you are by accident of birth; what I am, I am by myself.
  There are and will be a thousand princes; there is only one Beethoven.”
AUTHOR: Ludwig van Beethoven

MEANING OF THE QUOTE:
“Beethoven thinks he is unique, better than others. Through 
arrogant, his ego helped him produce beautiful music."

COMPOSER
COPLAND
The Lincoln Memorial
Norman Rockwell
Norman Rockwell
Norman Rockwell
Lincoln Portrait
Narrated by Gregory Peck
Slide Show Produced by James Ayala
https://www.youtube.com/watch?v=cpocnsH3D7k
http://www.youtube.com/watch?v=ahWeXfTsjuA&feature=related


LeRoy Neiman
Lincoln Portrait
Narrated by Henry Fonda

https://www.youtube.com/watch?v=3sv4Xzyn0wk


Marsden Hartley
LESSON PLAN
Aaron Copland and Lincoln Portrait
© Education Through Music, Inc. May be reproduced for educational purposes.
N.C.Wyeth
CURRICULUM CONNECTIONS
Social Studies: Abraham Lincoln, Civil War
The Peacemakers
(Ulysses Grant, William Sherman, Abraham Lincoln, David D. Porter)
AIM
Students will explore how music can create mood by listening, discussing and writing.
MATERIALS
Recording with excerpts
Information worksheet
Lyric sheet
ASSESSMENT
Read, correct and review homework assignments.
PROCEDURE
1
Review music vocabulary: 
piano, forte, crescendo, decrescendo, dolce.
2
Ask the question to the class: 
“Can music express emotion or feeling? 
How? 
Give examples.” 
Write responses on the board.
3
Introduce American composer Aaron Copland. 
Write his name, dates, and Lincoln Portrait on the board. 
Hand out information worksheet and read aloud or silently.
4
Listen to two short excerpts: 
the beginning of Appalachian Spring or the Clarinet Concerto 
and the beginning of Fanfare for the Common Man. 
Play the first 30 seconds of each. 
After listening to each ask students to use two words to describe how the music “felt.” 
Write responses on the board.
5
Copland wrote another piece called Lincoln Portrait.
What is a portrait?
Can music be a portrait?
How?
6
Create asemantic web for Abraham Lincoln.
Ask children to provide information about Lincoln
(16th president, very tall, had a beard, freed the slaves,
Civil War, assassinated, penny and five dollar bill, etc.).
7
Ask students to listen to the beginning of the work and to
raise their hand when they hear something unusual (narrator).
Play the beginning of Lincoln Portrait.
8
What do you call someone who tells a story?
In the Lincoln Portrait, Copland has chosen to have a narrator speak during the music.
Who do you think he is going to speak about?
Whose words will he use?
9
Pass out the lyrics sheet.
Listen to the excerpt and point out changes in mood.
Pause occasionally to make a point or ask about the mood of the music.
10
Review assignment for homework.
Young People’s Concert
NHSO
http://discoveryorchestra.org/wp-content/
uploads/2013/11/Copland-Lincoln-Portrait.pdf
Carving of Abraham Lincoln at Mount Rushmore, ca. 1934
George P.A. Healy
Mathew B. Brady


File:Abraham Lincoln by John Wesley Jarvis 1861.jpg
John Wesley Jarvis, 1861
LISTEN TO MUSIC ABOUT 
LINCOLN'S GETTYSBURG ADDRESS
BY FERDE GROFE:

Thursday, November 5, 2015

THURSDAY, NOVEMBER 5, 2015

QUOTE:
“Loving a child doesn't mean giving in to all his whims; to love him is to bring out the best in him, 
  to teach him to love what is difficult.”
AUTHOR: Nadia Boulanger
MEANING OF THE QUOTE:
 “The greatest gift of love you can give a child is to teach him/her how to 
   love the challenge of achieving personal goals.”



COMPOSER
COPLAND

Dance Symphony
for Orchestra, 1925
Antal Dorati, Conductor
Detroit Symphony Orchestra


I: Lento -- molto allegro -- adagio molto
('Dance of the Adolescent')
II: Andante moderato
('Dance of the Young Girl who Moves as if in a Dream')
III: Allegro vivo
('Dance of Mockery')

La Danse (I) by Matisse

The ``Dance Symphony'' is a reworking of material in Copland's
neglected early ballet ``Grohg'' which was based on a free
adaptation of the Dracula tale. Copland was in Paris,
studying with Nadia Boulanger
Aaron Copland with his teacher
 Nadia Boulanger 
and fellow students.

and being exposed in particular to the influence of Stravinsky,
he composed this ballet, his first orchestrated score. Despite his
enthusiasm for the project, 'Grohg' was never staged and might
have been wholly forgotten had not Copland, in 1930, suddenly
required a work to enter in the RCA Victor Composers’
Competition. He returned to this ballet score and extracted three
movements to make the Dance Symphony, which stands
unnumbered between his First Symphony and the Second
Symphony. With this work, he won that competition
(along with Ernest Bloch, Robert Russell Bennett,
and Louis Gruenberg).


The work begins with a Lento Introduction, originally setting the
scene of Grohg's domain, which is followed by a Molto allegro
('Dance of the Adolescent'). This leads, via a brief Adagio molto
passage, into the second movement, Andante moderato ('Dance
of the Young Girl who Moves as if in a Dream'), and the
symphony ends with an Allegro vivo ('Dance of Mockery'), in
which Grohg's victims return to taunt him.

Dance Symphony
for Orchestra, 1925
Intro: Lento, molto allegro (1/3)
('Dance of the Adolescent')

Dance Symphony
for Orchestra, 1925
Andante moderato (2/3)
('Dance of the Young Girl who Moves as if in a Dream')
https://www.youtube.com/watch?feature=player_embedded&v=exaDJQSGCGE

Dance Symphony
for Orchestra, 1925
Allegro vivo (3/3)
('Dance of Mockery')

As for the work itself, Copland writes:

"The Dance Symphony is divided into three distinct units. However, a thin wisp of 
transitional material connects them, and the movements must be played without 
any separating pauses. There is no thematic relationship between the movements.
There is a short, slow introduction, whereupon the first movement (Allegro) 
breaks out softly with a light, precise little motive on the bassoon, accompanied by 
plucked violins. The oboe continues the motive, slightly altered, as more fiddles 
pluck. The harp comes in to help with the plucking, then the clarinet continues a 
derivative of the little motive. There are further derivatives; presently the flute sings 
a flowing strain which might be regarded as a new motive. The plucking keeps up 
in some form, on fiddles or harp, throughout the entire movement, except for a 
few spots where the piano is substituted. A climax is worked up, at the summit of 
which the movement ends.

The second movement begins with a gentle melody prominently limned by the 
English horn over a bass in which the bass clarinet swings persistently from one of 
two notes to the other. Other woodwinds help develop the melody. Another 
melody ensues which violins and violas announce softly in canon to harp 
accompaniment. The first melody is developed into a great climax in which the 
second melody joins. 

If the first movement is thin, dainty and pointed, the second movement is songful 
and sustained. The third movement is characterized by violence and syncopation: 
Its initial jazzy motive can be heard fortissimo on the woodwinds, percussively 
reinforced by the piano, while violins, English horn and xylophone execute a 
sustained trill. A second motive soon starts fortissimo on the low strings and
trombones. A figure of reiterated notes also assumes prominence. There is an 
extended development of all the material. An amusing interruption occurs: the 
notes of the initial motive appear masquerading as an exaggeratedly languishing 
waltz. At the very end, all the motives are blazoned forth at once."
Carolina Ballet in A Street Symphony choreographed by Zalman Raffael
Grohg Ballet in One Act
Oliver Knussen, Conductor
Cleveland Orchestra
1. Introduction, cortege and entrance of Grohg 0:10
2. Dance of the adolescent 7:49
3. Dance of the opium eater 19:49
4. Dance of the streetwalker 19:49
5. Grohg imagines the dead are mocking him 23:29
6. Illumination and disappearance of Grohg 28:05

"Grohg Ballet In One Act" (as previously stated) is a product of
Copland's early compositions in Paris and the first work that he
orchestrated. Boulanger suggested Copland write a ballet because
of the popularity of Stravinsky's ballets commissioned by Sergei
Diaghilev for his Ballet Russe. Copland took as his inspiration the
German silent movie Nosferatu, a vampire film based on the novel
Dracula by Bram Stoker.

Copland asked the writer-director Harold Clurman (with whom
he was sharing a Paris apartment and with whom he would share
a common view of the world for years to come) to write a scenario
for the ballet. Clurman's scenario deals with a sorcerer that brings
corpses to life to dance for his pleasure.

Keeping with Copland's style, Grohg has dissonance and elements
of American jazz. The orchestration uses a prominent English horn
part, skeletal timbral combinations of piano and xylophone, and the
timbre of strings played col legno (struck with the wood of the bow).
These techniques enrich Copland's musical ideas without making
the music too heavy.

As Copland was not commissioned to write the work, the only
performance it got was a four-handed piano version privately
played by Copland and Boulanger. The score was revised in 1932,
but remained unperformed until the 1932 revision was found in the
Library of Congress. The work was first performed in 1992.

The work is played without pause
 but is divided into six sections:
Grohg Ballet in One Act:
I. Introduction, Cortege, and Entrance of Grohg
A slow introduction, followed by the bearers of coffins.
Copland brings the dance of the coffin bearers to a climax as
 Grohg the Sorcerer enters and the dancers pay homage to the sorcerer.


Grohg Ballet in One Act:
II. Dance of the Adolescent
Grohg revives the corpse of an adolescent who becomes terrified by Grohg.
The adolescent is struck down by the sorcerer.

Grohg Ballet in One Act:
III. Dance of The Opium-Eater
Grohg next revives the corpse of an opium addict.
The addict dances to a jazzy tune, and Grohg has pity on the addict
and removes the magic that brought him back to life.

Grohg Ballet in One Act:
IV. Dance of The Street Walker
The corpse of a streetwalker is revived and she does a dance
that impassions Grohg. He tries to embrace her, there is a struggle.

Grohg Ballet in One Act:
V. Grohg Imagines The Corpses Are Mocking Him
Grohg begins to hallucinate and imagines the corpses are mocking him.
He joins in the dance of the corpses.
Chaos ensues, and Grohg hoists the Streetwalker over his head
and throws her into the crowd.


Grohg Ballet in One Act:
VI. Illumination and Disappearance of Grohg
The stage turns dark save for a light focused on Grohg's head,
and he slowly disappears to music that echos back to the beginning.



LINKS

Tuesday, November 3, 2015

TUESDAY, NOVEMBER 3, 2015

QUOTE:
“I'm beginning to understand myself. But it would have been great to be able to understand myself when I 
  was 20 rather than when I was 82.”
AUTHOR: Dave Brubeck
MEANING OF THE QUOTE:
“It takes a lifetime just to start understanding yourself.”








COMPOSER 
COPLAND


The Walls of Zion
from Old American Songs Set 2
For Choir and Piano
Performed by the 2010 FVHS Chamber Choir


The Walls of Zion
from Old American Songs Set 2 
For Solo and Piano 
Blythe Gaissert, Vocals
Karen Roethlisberger Verm, Accompanist

The Walls of Zion
from Old American Songs Set 2
For Choir and Orchestra



This is the panoramic view of the area known as Kidron valley, south of the old city. 
Also seen is Mount of Olives (to the left), the Southern Walls excavation area (in front and to the right), 
Mount Zion and the Jewish quarter (to the right).
View from the Crusaders tower towards the Kidron valley.
http://www.biblewalks.com/Sites/Ophel.html
Zion’s Walls is a revivalist tune originally written by
John G. McCurry (1821-1886), a farmer from Georgia
who published the song collection, The Social Harp (1885).

Aaron Copland scored Zion’s Walls for solo voice and piano
and published it, along with nine other folk songs, in Old
American Songs. Copland used this song again in his opera,
The Tender Land (1952-1954). Copland’s orchestration
alternates between various instruments playing the tune with
the singer and descant instrumental accompaniment,
sometimes using both in one phrase.

LINKS


Walls of Zion
Revivalist Song

Come fathers and mothers,
Come sisters and brothers,
Come join us in singing the praises of Zion.

O fathers don't you feel determined 
To meet within the walls of Zion.
We'll shout and go round the walls of Zion.