From Library Journal
Given Aaron Copland's stature as a major figure in American music, it is regrettable that there is currently no comprehensive study of his entire output. This modest volume, by a British composer and music critic, is an earnest attempt, but does not adequately fill the need. Butterworth discusses Copland's music in chronological order, in terms understandable to the layperson, and while he does offer lucid observations, the overall quality of the book is uneven. Short musical examples in a piano reduction accompany the discussion of most works, but they are rendered in a calligraphically insecure hand, and reduced in some cases to the point of illegibility. An engaging conversation between Copland and Leo Smit on piano music is included, as well as an extensive and up-to-date bibliography. Recommended for general collections. Larry Lipkis, Music Dept., Moravian Coll. , Bethlehem, Pa.
Copyright 1986 Reed Business Information, Inc.
--This text refers to an out of print or unavailable edition of this title.
Product Description
Aaron Copland was one of the twentieth century's most popular and distinguished composers. His ballets: Rodeo; Appalachian Spring; and Billy the Kid, are as warmly admired by music-lovers as his more abstract works are respected by musicologists and his fellow composers. Copland was born in 1900 in Brooklyn, where he began his musical career, before moving to the Paris of the 1920s, where Stravinsky, Prokofiev and Les Six were the centre of attention. On his return to the United States at the end of the decade he began to produce a series of works which could leave no one in any doubt that American composers were capable of writing music equal to the best of their European contemporaries. Neil Butterworth's chronological survey of Copland's entire output -- the first book to appear on his music in 30 years -- discusses ever one of his compositions and examines his influential writings on music. The book is profusely illustrated with music examples and photographs, includes a conversation on the piano music with Aaron Copland and Leo Smit and also features sketches of Copland in rehearsal by Milein Cosman.
