A Great Composer
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Inspiration may be a form of super-consciousness, or perhaps
of subconsciousness–I wouldnt know. But I am sure it is
the antithesis of self-consciousness.
Only one man could claim the title as probably the greatest composer in American history for writing so many unforgettable works: Aaron Copland. He lived a life inspired by many things as well as inspiring people all across the nation, and it really led to the opposite of being drawn into himself, as he described in the quote above. He was born in Brooklyn, New York on November 14 in 1900. He was the youngest of five children to Sarah and Harris Copland. A musical spark came out in Copland already at the age of 11 as he began piano lessons with his sister. His musical talents needed tutoring from a higher level of teaching and so he studied with a professional piano teacher, Ludwig Wolfsohn, at age 14. Copland said later, “No one ever connected music with my family. The idea was entirely original with me. And unfortunately the idea occurred to me seriously only at 13 or thereabouts–which is rather late for a musician to get started,” (Charles Moritz 190). He graduated in 1918 and was able to devote all his time to writing and composing music. Wanting to further his knowledge in music, he was taught harmony and counterpoint by Rubin Goldmark. Understandably, the two men shared different views and Goldmark completely disagreed with Coplands styles, so to demonstrate his own stubbornness, Copland came back to Goldmark with a piece he wrote entitled “The Cat and The Mouse,” (Charles Moritz 191). Copland would then attend the newly established American Conservatory at Fontainebleau in Paris, and he was honored in being the first American student of the amazing teacher, Nadia Boulanger. After three years he returned to New York without any knowledge of how a composer got his works published or performed, nor how he planned on keeping himself financially stable. Copland ended his
troubling when he was given a grant of from two Guggenheim Fellowships, and some women who found an interest in his compositions that gave him some donations so he could devote all his time to writing. His first major work upon returning to America was “Symphony for Organ and Orchestra” which he wrote just for the few performances of Nadia Boulanger; the first one in Carnegie Hall in 1925 and another in Boston. As the twenties roared on, Copland began to show how his musical career would truly follow the ever-changing style of America.
During the 1920s, Aaron Copland went with the trend and experimented with jazz styles in his music, which proved to be extraordinary in the views of many. His choice for other pieces came through modern music about which he once said, “I just happened upon it in the natural course of my musical exploration.” This was apparent in the way he would use ideals of Neoclassicism in his “Piano Variations.” Copland then hit a downfall in about 1936. He wrote a few works which were harder to perform and not taken in by many audiences due to the use of much more advanced techniques which were uncommon for the time. Copland knew a change had to be made because he quickly saw how many composers were working themselves into a vacuum, so he would follow a new path of the more simplistic American way for much of his life. This “simple to understand” type of writing is what brought audiences back and made Aaron Copland great. He started writing functional music like “The Second Hurricane” and “The Outdoor Adventure” for kids, as well as Of Mice and Men, Or Town, North Star, and The Red Pony for movies; “Music For Radio” for radio; and a few American folk songs. He worked specifically with western themes in three major pieces, “Rodeo” (obvious Western setting), “Billy the Kid” (another setting in the farther west), and the ever so
famous “Appalachian Spring” (set in Pennsylvania when it was still Americas frontier). “Appalachian Spring” proves how well connected Copland was with the United States as it has lasted for generations and is still herd today, but it was really an original shakers folk song called “Simple Gifts.” He continued a process of American influence with a few famous works from 12 Emily Dickinson poems, and from texts