Copland incorporated percussive orchestration, changing meter, polyrhythms, polychords and tone rows. He studied closely with the legendary pedagogue Nadia Boulanger, and his music achieved a balance between modern music and American folk styles, and the open, slowly changing harmonies of many of his works are said to evoke the vast American landscape. 2 December 1990, Sleepy Hollow, N.Y.) was an American composer, often referred to as "the Dean of American composers." ^ "Copland: Symphonies, Vol.3 Orchestral & Concertos Chandos".Aaron Copland (14 November 1900, Brooklyn, N.Y.3 / 3 Latin American Sketches (Detroit Symphony, Slatkin) - 8.559844". ^ "George Antheil, Walter Piston, Aaron Copland – Spirit of the American Range".^ "Aaron Copland, James Judd, New Zealand Symphony Orchestra* – Symphony No.^ "Copland*, Saint Louis Symphony Orchestra, Leonard Slatkin – Symphony No.^ "Aaron Copland, Yoel Levi, Atlanta Symphony Orchestra – Third Symphony / Music for the Theatre".^ "Copland*, Dallas Symphony Orchestra, Eduardo Mata – Symphony No.3 / Danzón Cubano / El Salón México".^ "Aaron Copland – New York Philharmonic*, Leonard Bernstein – Symphony No.^ "Aaron Copland Conducts Philharmonia Orchestra – Copland Conducts Copland: Symphony No.^ "Aaron Copland conducts the Berliner Philharmoniker".^ "Bernstein* Conducts Copland*, New York Philharmonic* – Third Symphony".^ "Aaron Copland – the London Symphony Orchestra – Third Symphony"."Aaron Copland's Third Symphony from Sketch to Score". permeate the thematic material of the entire symphony." ^ Anthony Burton (in The BBC Proms Guide to Great Symphonies, edited by Nicholas Kenyon, Faber & Faber, 2003) notes "its intervals.^ Peter Jona Korn, "The Symphony in America", Chapter 32 of The Symphony, edited by Robert Simpson (Penguin Books, 1967).Third orchestral recording of the original 1946 versionįourth orchestral recording of the original 1946 version Second orchestral recording of the original 1946 version Premiere orchestral recording of the original 1946 versionįinal movement only 1946 version as transcription for wind bandġ966 published version (with finale cuts) Recorded live in 1970, released on CD in 2017
The symphony is scored for a large orchestra, comprising piccolo, 3 flutes (3rd doubling 2nd piccolo), 3 oboes (3rd doubling cor anglais), 2 clarinets in B-flat, E-flat clarinet, bass clarinet, 2 bassoons, contrabassoon, 4 horns in F, 4 trumpets in B-flat, 3 trombones, tuba, timpani, cymbals, bass drum, tenor drum, snare drum, triangle, tamtam, glockenspiel, xylophone, anvil, claves, ratchet, whip, tubular bells, wood block, piano, celesta, 2 harps, and strings. There are numerous subtle changes, including a new introduction (a woodwind duet begins the fourth movement), two key changes, and different percussion parts. Note that the Fanfare in the fourth movement is not a direct copy of the stand-alone work Fanfare for the Common Man. The overall tone of the work is one of heroism and dignity, and it leaves an appropriately stirring impression. However, in June 2015, Boosey & Hawkes published a new performing edition in which the cuts have been restored to conform with the original 1946 manuscript. Later on, the composer agreed to these cuts, which were incorporated in the 1966 edition published by Boosey & Hawkes. In 1947 Leonard Bernstein, while performing the work in Israel, removed some 12 bars from the fourth movement without Copland's consent. The symphony closes majestically with a final reprise of both the Fanfare and the symphony's opening motif. The duration of this movement is spent primarily with the development and recapitulation of the Fanfare melody: Copland gives it a dazzling contrapuntal treatment while at the same time managing to introduce an entirely new theme. Īudio playback is not supported in your browser. Various fragments from Fanfare are also used for primary thematic material in the first three movements. The Fanfare for the Common Man, written in 1942, is used as a theme in the fourth movement. Written at the end of World War II, it is known as the essential American symphony that fuses his distinct " Americana" style of the ballets ( Rodeo, etc.) with the form of the symphony, which has generally been a European-dominated musical form. If the early Dance Symphony is included in the count, it is actually Copland's fourth symphony. It was written between 19, and its first performance took place on Octowith the Boston Symphony Orchestra performing under Serge Koussevitzky.
JSTOR ( November 2015) ( Learn how and when to remove this template message).Unsourced material may be challenged and removed.įind sources: "Symphony No. Please help improve this article by adding citations to reliable sources. This article needs additional citations for verification.
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