Appalachian Spring: Bernstein and the LA Phil

R-4004737-1412008444-8505.jpegAaron Copland’s 1944 ballet score, Appalachian Spring, has already been the subject of two Listeners’ Club posts (here and here). But let’s return to this American masterwork once more and listen to Leonard Bernstein’s 1982 Deutsche Grammophon recording with the Los Angeles Philharmonic. You would be hard pressed to find a more exciting and soulful interpretation of the Appalachian Spring Suite, including Copland’s own rendition and Bernstein’s slightly faster “definitive” 1961 recording with the New York Philharmonic.

Appalachian Spring begins and ends with two overlapping chords which blend into hazy pandiatonic harmony. It’s a sound which seems to emerge from the American landscape: expansive, fundamental, and eternal. Time seems suspended. But then a new, blindingly bright voice suddenly enters, jolting us out of our daydreams (3:09).

Bernstein’s performance is infused with a sense of dance, rhythmic intensity, and sparkle. We hear this towards the end, around 20:13, as Simple Gifts develops into a sparkling rhythmic motor. There are also moments of sensuous repose. Listen to the way the music takes us into new, distant territory around 17:20. A few moments later, we turn a corner and suddenly find ourselves back at the opening. But this time, there’s a sense that the opening pandiatonic chords are reawakening and trying to remember. After the final climax of the piece subsides, we’re left with a moment of veiled introspection (22:24).

These are a few of the details which place this performance a few notches above so many other excellent recordings of Copland’s Appalachian Spring. Take a few minutes and listen. Then, if you feel inspired, leave a comment in the thread below and share your own thoughts.

  • Find this recording at iTunes, Amazon
  • Hear a live performance of the complete ballet score with Leonard Slatkin and the Detroit Symphony.

Old American Songs

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Aaron Copland’s Old American Songs are full of ghosts. The collection of folk melodies Copland arranged in the early 1950s, at the request of Benjamin Britten, evokes memories of, and nostalgia for, the distant past. It’s easy to get a similar feeling taking in the small slices of rural American landscape visible in brief glimpses from a moving car…an old dilapidated barn, a picturesque village church, the leafy solitude of an obscure roadside cemetery…

The first set of songs opens with The Boatman’s Dance, an 1843 minstrel song which originally might have sounded something like this. It’s what surrounds the tune (the piano accompaniment) that makes these settings so extraordinary. The opening chords of The Boatman’s Dance are a proclamation, expansive like the wide open spaces of the American frontier. The irregular rhythm of the bass line which follows sparkles with the fun-loving, bawdy bustle of an Ohio river town in its heyday.

The second song, The Dodger, is a campaign song. In Songs of Work and Protest, Edith Fowke and Joe Glazer offer this history:

…”The Dodger” originated with the Western Farmers during the period of agrarian protest following the Civil War. It is linked specifically with the presidential election of 1884 when the Democratic candidate, Grover Cleveland, was running against Republican James Blaine. Cleveland had won the support of progressives by his fight against Tammany Hall in New York, and “The Dodger” was apparently used as a campaign song to belittle Blaine.

The next song is the folk ballad Long Time Ago. It’s followed by Simple Gifts, the Shaker melody heard towards the end of Copland’s ballet score, Appalachian SpringThe final song in the set is the comic children’s song I Bought Me a Cat. (Listen to William Warfield’s performance here).

Here is American bass Samuel Ramey’s recording with pianist Warren Jones:

The second set of songs begins with a lullaby, The Little Horses. Listen to the searching voice which emerges in the piano around the 0:32 mark.

Next, we hear the revivalist song Zion’s Walls. Copland drew on this melody for the finale of The Tender Land, an opera intended for television but ultimately rejected by the NBC Television Opera Workshop. (Listen to The Promise of Living from Copland’s orchestral suite from the opera).

The Golden Willow Tree, the hymn tune At the River, and the minstrel song Ching-a Ring Chow finish out the set. At the River’s noble procession of chords and confidently ascending bass line suggest expansive monumentality.

  • Find William Warfield’s performance on iTunes
  • Find this recording on Amazon