When I think of Aaron Copland, the brilliant and talented composer, I can hear his magnificent, distinctly American music in my mind, especially ‘Fanfare for the Common Man’ and ‘Quiet City’.I’m also reminded of meeting Aaron while attending the Hartt College of Music, University of Hartford. He arrived on campus as a guest and friend of Arnold Franchetti, who was then Head of the Composition Department at Hartt.

The faculty and students were giving a complete concert performance of his various compositions. I found myself sitting directly behind Mr. Copland during this performance, and after the concert was introduced to him by Arnold Franchetti.

Franchetti had just completed a composition for violin, flute, string, bass and percussion, which interested Mr. Copland very much. A recording session had just been planned to record the work, and he wanted to hear the recording as soon as it was completed.

In the meantime, I had a chance to be in New York City for some promotional matters, and wrote to Aaron to see if he would have time to meet while I was in the city. To my surprise, he was so gracious as to agree to have lunch with me.

Lunch with a Master

Our conversation had to do with many musical observations, giving me the perfect opportunity to converse with him about his own concepts of composing. During part of this conversation I also got up enough courage to ask if he would consider writing a new work for violin and piano.

You can only imagine how eagerly I awaited his answer, keeping my fingers crossed in the hopes that he might agree, but he graciously explained how he was unable to take on any more commissions at that time due to previously scheduled commitments.

In the following months the recording was completed and released. I send Aaron Copland a copy, and he responded with a very kind note about both the performance and composition.

I later received a wonderful personal testimonial from Mr. Copland, and still have in my possession his treasured messages. Later I learned that he presented the recording on his famous radio show in New York City.

In the years that followed I have often reflected upon this time with Mr. Copland, especially when listening to his music or while performing it with the San Francisco Symphony under Michael Tilsen Thomas.

When Michael conducted or performed Copland on the piano, you knew immediately how deeply he understood the music. Michael often shared with us personal anecdotes of what Copland said to him regarding many of his compositions. Michael has been one of the greatest conductors and quintessential musicians that presented to the world the brilliance and individuality of the person and composer, Aaron Copland, whom he so warmly admired.

I feel privileged to have had this wonderful opportunity to meet Aaron Copland during my college years, and to grow as a musician thanks to his music and his own special interpretation.

About Aaron Copland (1900-1990)

Aaron Copland has been called ‘the dean of American composers’ because of his ability to capture the essence of the American spirit and landscape in his music. His music has been labeled “new American classical” because he so successfully blended American folk tunes with modern and classical styles. He also exerted a major influence on Leonard Bernstein and many other composers and conductors.

British rock band Emerson, Lake & Palmer recorded two songs based on Copland works ‘Fanfare for the Common Man’ and ‘Hoe-Down’.

Read more about Aaron Copland

Books written by Aaron Copland:
‘The Selected Correspondence of Aaron Copland’, By Aaron Copland,Elizabeth B. Crist,Wayne Shirley;
‘What to Listen for in Music’

Books written about Aaron Copland:
‘Aaron Copland: The Life and Work of an Uncommon Man’, By Howard Pollack
‘Music for the Common Man: Aaron Copland during the Depression and War’, By Elizabeth B. Crist
‘Aaron Copland and His World (The Bard Music Festival)’, By Carol J. Oja, Judith Tick Noble
‘Lives: Biographical Portraits of Three Remarkable Gay Men - Glenway Wescott, Aaron Copland, and Dag Hammarskjold’, By Marc E. Vargo

Aaron Copland’s Discography

‘An American Picnic Masterworks Dinner Classics’

‘Appalachian Spring; Rodeo; more’

‘The Copland Collection: Orchestral and Ballet Works (1936-1948)’

‘The Copland Collection: Orchestral Works (1948-1971)’

‘The Copland Collection: Early Orchestral Works (1922-1935)’

‘Copland Conducts Copland: Fanfare for the Common Man; Appalachian Spring; more’

‘Copland Conducts Copland: Appalachian Spring; Lincoln Portrait; Billy the Kid’

‘Copland Conducts Copland: Our Town; The Red Pony; El Salon Mexico; more’

‘Fanfare for the Common Man; other orchestral works’

‘Eastman Wind Ensemble plays Husa, Copland, Vaughn Williams, Hindemith Wynton Marsalis, Philip Koch’

‘Great Film Music Milestones of the Millenium’

‘Greatest Hits: Copland Greatest Hits series’

‘The Green Album Tanglewood Festival Chorus’
>

‘Isaac Stern Presents Encores with Orchestra Isaac Stern: A Life in Music’

‘Latin American Fiesta’

‘Modern American Vocal Works: Barber, Copland, Thomson’

‘Music for Theatre; Piano Concerto; more’

‘Music for Stage and Screen’

‘Old American Songs; Canticle of Freedom; Four Motets’

‘The Second Hurricane; In the Beginning’

‘Super Hits: Copland Super Hits series’

‘Symphony No.3; Symphony for Organ and Orchestra’

‘Violin Sonatas by Hindemith, Bloch & Copland Isaac Stern: A Life in Music’

‘When Night Falls’

‘The Young Pioneers: Complete Music for Solo Piano’

*photo of Aaron Copland courtesy of Wikipedia