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Interview with Aaron Copland

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  • "Against the aural background of a recording of Aaron Copland's work Dance panels, John Gruen speaks about this work and the eponymous ballet as well as Copland's personal background and works for dance [short gap following which the interview proper begins, at ca. 1:30 min. into track 2]; Copland speaks with Gruen about his career as a composer of music for dance, including how he became first became interested in composing for ballet while living in Paris; his never-produced composition for ballet titled Grohg; his impressions of the Ballets russes and of the Ballets suédois; his composition for Ruth Page's ballet Hear ye! Hear ye!; his music for Eugene Loring's work Billy the Kid; his music for Agnes de Mille's ballet Rodeo; his approach when writing music for dance; Martha Graham and collaborating with her on Appalachian spring; Graham's distinctly American character and how this is reflected in her work; briefly, Antony Tudor's work Timetable, which uses Copland's composition Music for the theatre; his Latin-inspired works including El salón México [used by Doris Humphrey in her eponymous work] and the source of its title; Danzón cubano [used by Eliot Feld in his eponymous work]; his Latin-American sketches; briefly, Copland's Concerto for clarinet and string orchestra and Jerome Robbins' work The pied piper; his admiration for Robbins' work; Copland's work Dance panels; writing music for dance; conducting music for dance; his own conducting; more on writing music for dance including the kinds of limitations sometimes imposed and an anecdote about his composition Appalachian spring. [Interview ends at the end of track 12; tracks 13-16 of the recording repeat, with gaps and much poorer sound quality, prior parts of the recording, from ca. 3:00 into track 9 - track 12]."

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  • "Interview with Aaron Copland"

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