Aaron Copland and the American legacy of Gustav Mahler:
"Although Aaron Copland (1900-1990) is often credited with creating an unmistakably American musical style, he was strongly attracted to the music of Gustav Mahler. Drawing extensively on archival and musical materials, this is the first detailed exploration of Copland's multifaceted relat...
Gespeichert in:
| 1. Verfasser: | |
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| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Rochester, NY
University of Rochester Press
2019
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| Schriftenreihe: | Eastman studies in music
v. 160 |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Literaturverzeichnis Register // Gemischte Register |
| Zusammenfassung: | "Although Aaron Copland (1900-1990) is often credited with creating an unmistakably American musical style, he was strongly attracted to the music of Gustav Mahler. Drawing extensively on archival and musical materials, this is the first detailed exploration of Copland's multifaceted relationship with Mahler's music and its lasting consequences for music in America. Matthew Mugmon demonstrates that Copland, inspired by Mahler's example, blended modernism and romanticism in shaping a vision for American music in the twentieth century, and that he did so through his multiple roles as composer, teacher, critic, and orchestral tastemaker. Copland's career-long engagement with Mahler's music intersected with Copland's own Jewish identity and with his links to such towering figures in American music as Nadia Boulanger, Serge Koussevitzky, and Leonard Bernstein"-- |
| Beschreibung: | xi, 225 Seiten Illustrationen, Notenbeispiele |
| ISBN: | 9781580469647 |
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| 520 | 3 | |a "Although Aaron Copland (1900-1990) is often credited with creating an unmistakably American musical style, he was strongly attracted to the music of Gustav Mahler. Drawing extensively on archival and musical materials, this is the first detailed exploration of Copland's multifaceted relationship with Mahler's music and its lasting consequences for music in America. Matthew Mugmon demonstrates that Copland, inspired by Mahler's example, blended modernism and romanticism in shaping a vision for American music in the twentieth century, and that he did so through his multiple roles as composer, teacher, critic, and orchestral tastemaker. Copland's career-long engagement with Mahler's music intersected with Copland's own Jewish identity and with his links to such towering figures in American music as Nadia Boulanger, Serge Koussevitzky, and Leonard Bernstein"-- | |
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| adam_text | CONTENTS Acknowledgments Note on Musical Examples Introduction ix xiii 1 1 Mahler and Copland in New York 10 2 Mahler in Nadia Boulanger’s Studio and Beyond 20 3 Copland in Defense of Mahler 41 4 Mahler in Copland’s Jewish Romanticism 67 5 Mahler’s Idiom in Copland’s “American” Sound 82 6 Copland, Koussevitzky, Mahler, and the Canon 114 7 Copland’s Role in Bernstein’s Mahler Advocacy 140 Conclusion 172 Notes 175 Bibliography 199 Index 215
BIBLIOGRAPHY Adams, John. Hattelujah Junction: Composing an American Life. New York: Farrar, Straus, and Giroux, 2008. Adler, Samuel. The Study of Orchestration. New York: Norton, 1982. Albright, Daniel. Untwisting the Serpent. Chicago: University of Chicago Press, 2000. Aldrich, Richard. “Gustav Mahler—His Personality and His Symphony.” New York Times, November 6, 1904. ---------. “Music.” New York Times, March 9, 1923. ---------. “Music.” New York Times, January 28, 1924. ---------. “A New Symphony by Gustav Mahler.” New York Times, February 11, 1906. Ansari, Emily Abrams. The Sound of a Superpower: Musical Amerìcanism and the Cold War. New York: Oxford University Press, 2018. Bailey, Walter B. ‘“For the serious listeners who swear neither at nor by Schoenberg’: Music Criticism, the Great War, and the Dawning of a New Attitude toward Schoenberg and Ultra-Modem Music in New York City.”Journal ofMusicology 32 (2015): 279-322. Baltimore Sun. “Was Musical Triumph: Boston Symphony Orchestra Pleases Large Audience.” February 15, 1906. Banfield, Stephen. “Copland and the Broadway Sound.” In Copland Con notations: Studies and Interviews, edited by Peter Dickinson, 153-64. Woodbridge, Suffolk, UK: Boydell Brewer, 2002. Banks, Paul. “Mahler and Viennese Modernism.” In On Mahler and Britten: Essays in Honour ofDonald Mitchell on His Seventieth Birthday,” edited by Philip Reed. Woodbridge, Suffolk, UK Boydell Brewer, 1995. Bashford, Christina. “The Late Beethoven Quartets and the London Press, 1836-ca. 1850.” Musical Quarterly 84 (2000): 84-122. Berger, Arthur. Aaron Copland. New
York: Oxford University Press, 1953. --------- . Reflections of an American Composer. Berkeley, CA.: University of Cal ifornia Press, 2002. Bemheimer, Martin. “Ojai ’76: Musical Sprawl in Need of a Ruthless Mas termind.” Los Angeles Times. May 30,1976. Bernstein, Leonard. “Aaron Copland: An Intimate Sketch.” High Fidelity 20 (November 1970): 53-55.
200 Bibliography ---------. “Bernstein: What I Thought..New York Times, October 24,1965. ---------. .. And What I Did.” New York Times, October 24,1965. ---------. The Infinite Variety of Music. New York: Amadeus, 2007. ---------. “Introduction to Modem Music,” Omnibus: The Histone TV Broad casts on 4 DVDs. Port Washington, NY: El Entertainment, 2010. Video. ---------. TheJoy of Music. New York: Simon Schuster, 1959. ---------. “Mahler: His Time Has Come.” High Fidelity/Musical America 17 (1967): 51-54. ---------. The Unanswered Question: Six Talks at Harvard. Cambridge, MA: Harvard University Press, 1976. ---------. “What Is American Music?” Leonard Bernstein’s Young People’s Con certs with the New York Philharmonic. West Long Branch, NJ: Kultur International Films, 2004. Video. ---------. “Who Is Gustav Mahler?” Leonard Bernstein’s Young People’s Concerts with the New York Philharmonic. West Long Branch, NJ: Kultur Interna tional Films, 2004. Video. Віск, Sally. “In the Tradition of Dissent: Music at the New School for Social Research, 1926—1933.” Journal of the American Musicological Society 66, no. 1 (2013): 129-90. Blaukopf, Herta. “Amsterdam 1920: Sechs Zeitzeugen feiern Mahler.” Muziek wetenschap b, no. З (1995/1996): 347-61. Blaukopf, Kurt. Mahler. Translated by Inge Goodwin. New York: Limelight Editions, 1985. Blitzstein, Marc. “London: Fourth Winter of the Blackout,” Modern Music 20 (1943), 117-120. _____. “New York Medley, Winter, 1935.” Modem Music 13 (1936): 34—40. Boretz, Benjamin. “Records.” The Nation, June 22, 1963, 535-36. Boston Evening Transcript. “My
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Bibliography 201 Boston Herald. “Won’t Shock Music Lovers,” September 13, 1924. Boston Post. “Few Novelties for Symphony,” October 1, 1931. Botstein, Leon. “Copland Reconfigured.” In Aaron Copland and His World, edited by Carol J. Oja and Judith Tick, 439-83. Princeton, NJ: Princ eton University Press, 2005. -------- . “Whose Gustav Mahler? Reception, Interpretation, and History.” In Mahler and His World, edited by Karen Painter, 1-53. Princeton, NJ: Princeton University Press, 2002. Boulanger, Nadia. “Concerts Koussevitzky.” Le monde musical, November 1923. Quoted and translated in Scott Messing, Neoclassicism in Music: From the Genesis of the Concept through the Schoenberg/Stravinsky Polemic. Ann Arbor: UMI Research Press, 1988. -------- . “Le jubilé de W. Mengelberg.” Le monde musical (June 1920): 182-83. -------- . “Lectures on Modem Music.” Rice Institute Pamphlet 13, no. 2 (1926): 113-95. Brant, Henry. Transcript of interview with Vincent Plush, Santa Barbara, CA. May 11, 1983. Oral History American Music, Yale University. Brooks, Jeanice. The Musical Work of Nadia Boulanger. Performing Past and Future Between the World Wars. New York: Cambridge University Press, 2013. -------- . “Nadia Boulanger and the Salon of the Princesse de Polignac.” fournal of the American Musicological Society 46 (1993): 415-68. Burton, Humphrey. Leonard Bernstein. New York: Doubleday, 1994. Bushard, Anthony. Leonard Bernstein’s On the Waterfront: A Film Score Guide. Lanham, MD: Rowman Littlefield, 2013. Casella, Alfredo. “Chroniques et notes—Le ‘Mahlerfesť d’Amsterdam.” Revue musicale 1,
no. 1 (November 1, 1920). -------- . L’evoluzione della musica: A traverso la storia della cadenza perfetta. London: J. W. Chester, 1924. Combe, Édouard. “Les symphonies de Mahler.” La revue mušicah 3 (July 1922): 42-56. Cone, Edward T. “Conversation with Aaron Copland.” Perspectives of New Music 6, no. 2 (1968): 57-72. Copland, Aaron. “Composer from Brooklyn: An Autobiographical Sketch.” Magazine of Art 32 (September 1939): 522-23 and 548-50. ---------. “Defends the Music of Mahler,” letter to the editor. New York Times, April 5, 1925. ---------. “Fantasy for Piano.” Netu York Times, October 20, 1957. ---------. ‘Five Post-Romantics,’ Modem Music 18 (May 1941), 218-24. ---------. “An Indictment of the Fourth B.” New York Times, September 21,1952.
202 Bibliography ---------. “Memorial to Paul Rosenfeld.” Notes4. no. 2 (1947): 147-151. ---------. “Modem Orchestration Surveyed,” Modem Music8 (1930): 41-44. ---------. “Music and the Human Spirit.” In Aaron Copland: A Reader. Selected Writings: 1923-1972, edited by Richard Kostelanetz, 26-32. New York: Routledge, 2004. ---------. “Music between the Wars.” In Aaron Copland: A Reader: Selected Writings, 1923-1972, edited by Richard Kostelanetz, 38-69. New York: Routledge, 2004. ---------. Our New Music. New York: Whitdesey House, 1941. ---------. “Rubin Goldmark: A Tribute,” TheJuilliard Review 3, no. 3 (1956): 15-16. ---------. “Serge Koussevitzky and the American Composer,” Musical Quar terly SO (1944): 255-69. ---------. “Stravinsky’s Dynamism.” In Aaron Copland: A Reader: Selected Writ ings, 1923-1972, edited by Richard Kostelanetz, 162-65. New York: Routledge, 2004. ---------. “What Is Jewish Music?” New York Herald Tribune, October 2, 1949. ---------. What to Listen for in Music. Rev. ed. New York: McGrawHill, 1988. ---------. “The World of А-Tonality.” New York Times, November 27, 1949. Copland, Aaron, and Jack Diether. “Guide to Record Collecting: Aaron Copland Suggests a Mahler Discography.” Hi-Fi Music at Home, MarchApril 1957. Copland, Aaron, and Vivian Perlis, Copland: 1900 through 1942. New York: St. Martin’s, 1999. ---------. Copland: Since 1943. New York: St. Martin’s, 1999. Coster, Aarnout. “Mengelberg’s Mahler performances in America 19211930.” In Das Gustav-Mahler-Fest Hamburg 1989, edited by Matthias Theodor Vogt, 279-90. Kassel: Bärenreiter, 1991.
Crawford, Richard. America’s Musical Life: A History. New York: Norton, 2001. Crist, Elizabeth B. “Aaron Copland and the Popular Front.” Journal of the American Musicohgical Society 56 (2003) : 409-65. ---------. “Aaron Copland’s Third Symphony from Sketch to Score.” Journal ofMusicology 18, no. 3 (2001): 377-405 ---------. Music for the Common Man: Aaron Copland During the Depression and War. New York: Oxford University Press, 2005. Crist, Elizabeth B., and Wayne Shirley, eds. The Selected Correspondence of Aaron Copland. New Haven, CT: Yale University Press, 2006. Damrosch, Walter. My Musical Life. New York: Charles Scribner’s Sons, 1923.
Bibliography 203 Danforth, Corinne. ‘“My Secretary Knows More than I Do’—The Boss.” Boston Globe, January 16, 1927. DeLapp [-Birkett], Jennifer L. “Copland in the Fifties: Music and Ideology in the McCarthy Era.” PhD diss., University of Michigan, 1997. DeLapp-Birkett, Jennifer. “Copland and the Politics of Twelve-Tone Com position in the Early Cold War United States.” Journal of Musicological Research 27 (2008): 31-62. DeVoto, Mark. “The Debussy Sound: Colour, Texture, Gesture.” In The Cambridge Companion to Debussy, edited by Simon Tretzise, 179-96. Cambridge, UK: Cambridge University Press, 2003. Dickinson, Peter. “Composer in Interview: Aaron Copland.” Tempo 57, no. 224 (2003): 11-15. Doering, James M. The Great Orchestrator: Arthur Judson and American Arts Management. Urbana: University of Illinois Press, 2013. Downes, Olin. “A Composer States His Position.” New York Times, October 19,1941. --------- . “A Conductor’s Musicianship.” New York Times, November 25,1928. --------- . “Music: Locomotive Symphony Repeated.” New York Times. Novem ber 3, 1924. --------- . “Programs of an Orchestra Season, Qualities of Works of Modem Men.” New York Times, April 11, 1926. C. W. D. [Cyrus W. Durgin], “Symphony Hall.” Boston Globe, November 7, 1936. --------- . “Symphony Hall.” Boston Globe, January 31,1942. Durgin, Cyrus. “Mayes Cello Soloist at Symphony; Liszt’s ‘Faust’ Score Revised,” Boston Globe, November 27, 1948. Edwards, Allen. Flawed Words and Stubborn Sounds: A Conversation with Elliott Carter. New York: Norton, 1971. Ellis, Katharine. Interpreting the Musical Past: Early
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204 Bibliography ---------. Sounds of War: Music in the United States During World War II. New York: Oxford University Press, 2013. Fecher, Charles A., ed. The Diary of H. L. Mencken. New York: A. A. Knopf, 1989. Feder, Stuart. Gustav Mahler: A Life in Crisis. New Flaven, CT: Yale Univer sity Press, 2004. Flerlage, Raeburn. “America and Gustav Mahler.” American Music Lover 7, no. 12 (1941): 426-29. Floros, Constantin. Gustav Mahler: The Symphonies. Translated by Vernon and Jutta Wicker. Portland, OR: Amadeus Press, 1993. Francis, Kimberly. “A Dialogue Begins: Nadia Boulanger, Igor Stravinsky, and the Symphonie de psaumes.” Women Music: A Journal of Gender and Culture 14 (2010): 22-44. — ----- . ‘“Everything Had to Change’: Nadia Boulanger’s Translation of Modernism in the Rice Lecture Series, 1925.” Journal of the Society for American Music! (2013): 363-81. — --- . Teaching Stravinsky: Nadia Boulanger and the Consecration of a Modern ist Icon. New York: Oxford University Press, 2015. Franklin, Peter. Reclaiming Late-Romantic Music: Singing Devils and Distant Sounds. Berkeley: University of California Press, 2014. Fulcher, Jane F. “The Composer as Intellectual: Ideological Inscriptions in French Interwar Neoclassicism.” Journal of Musicology 17 (1999): 197-230. ---------. The Composer as Intellectual: Music and Ideology in France, 1914-1940. New York: Oxford University Press, 2005. Fülöp, Péter. Mahler Discography. Toronto: Mikrokosmos, 2010. Gienow-Hecht, Jessica. Sound Diplomacy: Music and Emotions in Transatlantic Relations, 1850-1920. Chicago: University of Chicago
Press, 2009. Gilliam, Bryan. “A Viennese Opera Composer in Hollywood: Komgold’s Double Exile in America.” In Driven into Paradise: The Musical Migra tion from Nazi Germany to the United States, edited by Reinhold Brink mann and Christoph Wolff, 223-42. Berkeley: University of California Press, 1999. Gilman, Lawrence. Edward MacDowell: A Study. New York: John Lane, 1908. ---------. “Music,” Neiv York Herald Tribune. March 30, 1925. ---------. “Music of the Month: Concerning Mahler.” North American Review 214 (1921): 122-28. Giuliani, Elizabeth. “Les enregistrements de Nadia Boulanger: Une con ception et une pratique originales de l’interprétation musicale.” In Nadia Boulanger et Lili Boulanger: Témoignages đ études, edited by Alex andra Laederich, 191-202. Lyon: Symétrie, 2007.
Bibliography 205 Goldberg, Albert. “Copland and Bumbry Star in Ojai Finale. Los Angeles Times, May 26,1958. Goldstein, Eric L. The Price of Whiteness: Jews, Race, and American Identity. Princeton, NJ: Princeton University Press, 2006. Gottlieb, Jack. “Symbols of Faith in the Music of Leonard Bernstein.” Musi cal Quarterly 66 (1980): 287-95. ---------. Working with Bernstein. New York: Amadeus Press, 2010. Gradenwitz, Peter. Leonard Bernstein: The Infinite Variety of a Musician. New York: Oswald Wolff, 1987. Grey, Robert G. “Bruckner and Mahler,” letter to the editor. New York Times, July 27,1930. Grófé, Ferde. “Story of the Grand Canyon Suite.” Arizona Highways 71, no. 4 (1995): 14-16. Hackett, Karieton. “Orchestra Plays Mahler’s Music in Brilliant Style.” Chi cago Evening Post, April 16, 1921. Halbreich, Harry. Arthur Honegger. Translated by Roger Nichols. Portland, OR: Amadeus Press, 1999. Hale, Philip. “Music.” Boston Herald, October 17, 1931. Hart, Brian. “The Symphony and National Identity in Early TwentiethCentury France.” In French Music, Culture, and National Identity, 18701939, edited by Barbara Kelly, 131-48. Rochester, NY: University of Rochester Press, 2008. Hart, Philip. Orpheus in the New World: The Symphony Orchestra as an American Cultural Institution. New York: Norton, 1973. Henderson, W. J. “Mahlerians Trying to Cudgel Public into Adoring His Music.” New York Herald, March 5,1922. Holloway, Robin. “Howard’s Way,” Musical Times 141 (2000): 51-58. Horowitz, Joseph. “As Music Director: A Quest for Meaning and Identity.” In Leonard Bernstein: How a Modem
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Bibliography 207 Krehbiel, H. E. “Mahler’s Symphony Heard First Time.” New York Tribune, May 10, 1914. Krehbiel, Henry E. “The Bohemians” (New York Musicians’ Club): A Historical Narrative and Record. New York: n.p., 1921. La Grange, Henry-Louis de. Gustav Mahler, voi. 4: A New Life Cut Short (1907-1911). New York: Oxford University Press, 2008. ---------. “Mahler and France.” In The Mahler Companion, edited by Donald Mitchell and Andrew Nicholson, 138-52. New York: Oxford University Press, 1999. LaFave, Kenneth. Experiencing Leonard Bernstein: A Listener’s Companion. Lanham, MD: Rowman Littlefield, 2015. Laird, Paul R. and Hsun Lin. Leonard Bernstein: A Research and Information Guide. Second edition. New York: Routledge, 2015. Lang, Zoë, ed. “Mahler’s American Debut: The Reception of the Fourth and Fifth Symphonies.” In Mahler and His World, edited by Karen Painter, 227-63. Princeton, NJ: Princeton University Press, 2002. Langley, Allen Lincoln. “Justice for Gustav Mahler.” Musical Quarterly 12, no. 2 (1926): 153-65. Lebrecht, Norman. Why Mahler? How One Man and Ten Symphonies Changed Our World. New York: Pantheon, 2010. Leichtentritt, Hugo. Serge Koussevitzky, the Boston Symphony Orchestra, and the New American Music. Cambridge, MA: Harvard University Press, 1946. Leonard, Kendra Preston. The Conservatoire Américain: A History. Lanham, MD: Scarecrow Press, 2007. Lemer, Neil. “Copland’s Music of Wide Open Spaces: Surveying the Pasto ral Trope in Hollywood.” Musical Quarterly 85 (2001): 477-515. Levitz, Tamara. Modernist Mysteries: Persephone. New York: Oxford University
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212 Bibliography Society of Friends of Music. Gustav Mahler: The Composer, The Conductor, The Man: Appreciations by Distinguished Contemporary Musicians. New York: Society of Friends of Music, 1916. Somervell, Stephen. “Traditions—Who Makes Them!” Scoffs Mr. Koussevitzky.” Boston Globe, October 9, 1927. Spycket, Jérôme. Nadia Boulanger. Translated by M. M. Shriver. Stuyvesant, NY: Pendragon, 1992. Starr, Larry. “The Voice of Solitary Contemplation: Copland’s Music for the Theatre Viewed as a Journey of Self-Discovery.” American Music 20 (2002): 297-316. Steinberg, Michael. “Bernstein, Philharmonic Give Last 3 Symphonies.” Boston Globe, December 19, 1965. Straus, Noel. “Erno Rapee Leads Mahler’s Eighth: Playing of Symphony Marks 500th Program of Radio City Music Hall of the Air.” New York Times, April 13, 1942. Strieker, Rémy. “La critique de Nadia Boulanger: A la recherche d’une passion objective.” In Nadia Boulanger et Lili Boulanger. Témoignages et études, edited by Alexandra Laederich, 131-38. Lyon: Symétrie, 2007. Swayne, Steve. Orpheus in Manhattan: William Schuman and the Shaping of America’s Musical Life. New York: Oxford University Press, 2011. Taubman, Howard. “Copland Fantasy for Piano Heard.” New York Times, October 26,1957. ---------. “Mahler’s Music at Stadium.” New York Times, July 20, 1931. Tilson Thomas, Michael. Keeping Score: Copland and the American Sound. Directed by David Kennard, Joan Saffa, and Gary Halvorson. San Francisco: SFS Media, 2006. Video. ---------. “Mahler in America,” Keeping Score. San Francisco Symphony, 2011.
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Bibliography 213 Vignai, Marc. Mahler. Rev. ed. Paris: Seuil, 1995. Wister, Frances Anne. Twenty-Five Years of the Philadelphia Orchestra, 19001925. Philadelphia: Women’s Committee for the Philadelphia Orches tra, 1925. Zychowicz, James L. “Mahler Reception in Forty Historic Editions: Signif icant Holdings in the Newberry Library, Chicago.” Notes 74 (2017): 36-59.
INDEX Page numbers in italics indicate illustrations. Abendroth, Hermann, 178n20 Adams, John, 2,173 Adler, Guido, 21, 23 Adler, Samuel, 143 Agee, James, 98 Albright, Daniel, 6 Aldrich, Richard, 11-12, 13-14, 18, 41,44 American music: Austro-German aesthetic connections with, 4-5, 86-113; Boston Symphony performance of, 117; Copland identified with, 1, 2-3, 42, 83, 88, 90; French aesthetic connections with, 3, 4; Rosenfeld’s criticism of, 79-80; Second New England School, 4. See abo specific composers Ansari, Emily Abrams, 153, 162 Ansky, S.: The Dybbuk, 67 anti-Semitism, 38, 56, 68 Austro-German music and aesthetics: American music and, 4—5, 69, 86-113; American orchestras and, 5; approach of World War II and, 39; as central part of Boston Symphony repertoire, 117-21; French reception of, 21-22; Hollywood film music and, 5; World War I and post-war sentiment against, 5, 16-17, 19, 43. See abo Mahler, Gustav Babbitt, Milton: “Who Cares if You Listen?,” 153 Bach, Johann Sebastian: Wie schön buchtet der Morgenstern, BWV 1, 33, 34, 35 Baker, Polly Jo, 173 Barber, Samuel, 117; Knoxvilb: Summer of 1915, 98, 99-100 Bartók, Béla, 36 Beethoven, Ludwig van: American popularity of, 5; Mahler’s alterations to scores of, 11 Berg, Alban, 139; Mahler’s influence on, 65; Violin Concerto, 160 Berger, Arthur, 2, 6 Berlin State Opera Orchestra, 60 Berlioz, Hector, 142; Roman Carnival Overture, 172 Bernheimer, Martin, 173 Bernstein, Leonard: advocacy and performances of Mahler’s music, 8,115, 139, 140-71; as composer-conductor, 142-43, 193nl4; compositional and conducting studies, 144-45,150;
concerns about direction of new music, 152-54, 155, 156-57, 169, 170; Copland’s mentorship of, 7, 8, 141-42, 143-46; correspondence with Copland, 143-46, 158-59; HighFidelüy article on Mahler, 160-61,
216 Index Bernstein, Leonard—(conťd) 163-64; Jewish identity of, 67, 170; lecture on Mahler’s Symphony no. 4, 142, 154—55, 157,158-59; as New York Philharmonic assistant conductor, 132; New York Times article on tonality, 160, 165; Norton Lectures, 8, 161, 197n95; Omnibus lecture on modem music, 153, 156, 157, 159-60, 162, 166,169; reputation as sentimentalist, 159; studies with Boulanger, 39, 40; television essay The Little Drummer Boy, 170; use of twelvetone technique, 160, 161-63; Young People’s Concerts, 3, 4, 8, 140, 147-48, 154, 161, 163, 170. See «¿so Bernstein, Leonard, compositions of Bernstein, Leonard, compositions of: Candide, 153, 162, 165; Candide Overture, 172,173; Chichester Psalms, 165-66, 168, 169, 170; Fancy Free, 160; Lamentation, 145; Mass, 164; A Quiet Place, 164; Symphony no. 1, “Jeremiah,” 145,147,148, 149, 170; Symphony no. 2, “Age of Anxiety,” 153, 160; Symphony no. 3, “Kaddish,” 161, 162-63, 164, 165, 170, 197nl05; West Side Story, 161-63, 165 Віск, Sally, 53, 54 Blaukopf, Kurt, 191n52 Blitzstein, Marc, 147, 151, 171, 195n36 Bloch, Ernest: Jewish identity of, 69, 70-72; Suite for Viola and Piano, 71 Bodanzky, Artur, 16, 17-18, 117 Bohemians, The (New York Musicians’ Club), 14, 15-16, 176nl5 Boretz, Benjamin, 159 Bornoff, Jack, 151 Boston Symphony Orchestra: Gericke as conductor, 10, 114; Koussevitzky as conductor, 8, 45, 116-39, 146, 150, 189nn8֊9; Monteux as conductor, 115, 117-18, 121, 190n43; Muck as conductor, 5, 114, 129; performances of American music, 117; performances of Mahler’s works, 10, 114-15, 121-39, 145-46, 148,188n7, 189nn8֊12;
programming balance for, 116, 117-21,124, 127, 130, 139 Botstein, Leon, 159, 169 Boulanger, Nadia: American students of, 22, 35-36,195n36; changing views of Mahler’s music, 39; commentary on Mahler’s music, 21-22; Copland’s studies with, 1, 3, 7-8, 18, 20, 22-23, 35-36, 40, 45, 53, 144; correspondence with Copland, 22-23, 36-37, 46, 63, 113; Honegger’s importance viewed by, 45-46; importance of international reconciliation to, 42; Koussevitzky and, 116, 117, 127; at Mengelberg’s Mahler festival, 20-21, 22, 23-28, 42, 56-57; neoclassicism and, 80; review of Mahler festival, 24, 25-28, 56-57; score library of, 22-23, 28-35, 36, 40; study of Bach’s music, 33, 34, 35՛, study of Mahler’s music, 32-35; tour of United States, 1925, 28, 37, 45-46 Boulez, Pierre, 139 Brahms, Johannes: American popularity of, 5; Variations on a Theme by Haydn, 172 Brant, Henry, 126, 143
Index Britten, Benjamin, 57, 158 Brockway, Howard, 14 Brooks, Jeanice, 21, 23, 33 Bruckner, Anton, 121-24 Bruckner Society of America, 115, 121-23, 124,131 Bülow, Hans Von, 131 Bumbry, Grace, 65-66 Bürgin, Richard, 115, 133, 146, 189nl0 Cahier, Mme Charles, 181n73 Cahier, Sara, 17-18, 24 Canadian Broadcasting Company, 65-66, 110, 113,151 Carter, Elliott, 22, 39, 126, 143 Casella, Alfredo, 21, 23, 145; The Evolution of Music throughout the History of the Perfect Cadence, 25 Chadwick, George Whitefield, 3, 4, 79; Mahler viewed by, 14; Melpomene, 14 Chavez, Carlos, 64,126 Chicago Symphony Orchestra, 17, 172 Chord and Discord (Bruckner Society journal), 115, 123-24 Combe, Édouard, 25, 28 Converse, Frederick, 79 Copland, Aaron: as advocate, 7, 8, 41-66, 74-75,116; aesthetic shift, ca. 1930, 60-61; career roles of, 7; as composer-critic, 143; as conductor, 7, 65-66, 172-73; correspondence with Bernstein, 143-46,158-59; correspondence with Boulanger, 22-23, 36-37, 46, 63, 113; as gay man, 3, 144; Honegger’s influence on, 46; Jewish identity of, 7, 8, 38, 67-69, 80-81, 170; on Koussevitzky’s programming choices, 139; as mentor, 7, 8, 141-48; as New School lecturer, 13, 53-63; Paris sojourn, 17, 217 20-40; role in Bernstein’s Mahler advocacy, 140-71; studies with Boulanger, 1, 3, 7-8, 18, 20, 22-23, 35-36, 40, 45, 53,144; studies with Goldmark, 12,14—16; stylistic evolution of, 1-2; at Tanglewood, 150. See also categories below Copland, Aaron, as composer, 7, 8, 82-113; aesthetic connections with French music, 3, 4; American music identified with, 1,2-3, 42, 83, 88,90; Appalachian
Spring, 1, 3, 85, 90, 91-92, 92-94, 103, 104, 105, 110, 153; Billy the Kid, 1, 3, 90, 104, 144, 146, 151; Cantich ofFreedom, 141, 148; Clarinet Concerto, 98, 98, 101, 103; Connotations, 153; Dickinson Songs, 82, 106; Fanfare for the Common Man, 2, 76; Inscape, 141, 153;Jewish influences on, 67-69, 70, 80-81; knowledge of counterpoint, 15; Lincoln Portrait, 172; Music for the Theatre, 86-88, 88-89, 90-91, 92, 98,103, 110, 127, 187nl8; open sonorities in works of, 103-4; orchestration style of, 2, 80; Piano Fantasy, 65, 99, 101, 103, 152-53, 157, 164; Piano Quartet, 152, 164-65; Piano Variations, 57, 61,81, 144, 152-53; Red Pony Suite, 172; Rodeo, 1, 172; romantic style elements of, 6, 82, 86-88, 90-91, 95, 98, 103-7, 109-10, 113; El Salon Mexico, 153, 172; shifting priorities of, 62-63; Short Symphony, 65-66, 151,173; Symphonic Ode, 57, 67, 76, 80,109, 173, 188n48; Symphony for Organ and Orchestra, 46,117; Symphony no. 3, 3, 6, 62, 105-6, 107, 109, 110, 11112; Tender Land Suite, 172;
218 Index Copland, Aaron—(conťd) Two Pieces for String Orchestra, 125; use of birdsong, 106-7; use of twelve-tone method, 2, 152-53, 157; Vitebsk 67 Copland, Aaron, lectures and courses of: for Canadian Broadcasting Company, 65-66, 110, 113, 151; “The Evolution of Modem Music,” 54-55; “Forms of Modern Music,” 58-59; “Jewish Composers of the Western World,” 74; on Mahler, 13, 54-63, 109-10; “Masterworks of Modem Music,” 55-58, 74; “Music of Today,” 59-61; for New School, 53-63, 74, 110; on Stravinsky’s Oedipus Rex, 126; “Symphonic Masterpieces,” 61-63; “What to Listen for in Music,” 53 Copland, Aaron, writings of: autobiography, 67, 71; “A Composer from Brooklyn,” 62; letter in defense of Mahler to New York Times, 1925,1,19, 36-37, 41-45, 46-47, 48, 56, 58, 63, 64, 76, 78, 79, 87, 90-91,124, 125, 129, 150; Our Nau Music, 4, 57, 63-65, 69, 75, 78, 83, 85, 142,147,154-55,196n95; “What Europe Means to the Aspiring Composer,” 42; What to Listen for in Music, 53, 59,105—6 Copland-Sessions Concerts (New York), 181n78 Crawford, Richard, 116 Crist, Elizabeth B., 61, 62, 91, 104 Damrosch, Walter, 10, 16, 47 Debussy, Claude, 15, 17, 20, 128; Mahler’s music disliked by, 21; La mer, 47-48; “Pagodes” from Estampes, 38, 86 DeLapp-Birkett, Jennifer, 164, 165 Diamond, David, 151 Diether, Jack, 85 Downes, Olin, 4, 45, 64-65, 120,121 Dresser, Marcia van, 16 Dukas, Paul, 21 Durgin, Cyms, 130-31 Dvořák, Antonín, З Ellis, Katharine, 33 Engel, Gabriel: Gustav Mahler, SongSymphonist, 123, 191n54 Everist, Mark, 23 Ewen, David: Dictators of the Baton, 131 Fauré, Gabriel, 28, 155 Fauser, Annegret, 3,
28, 36, 62 Floros, Constantin, 138 Ford, Henry, 68 Francis, Kimberly, 22, 28, 29 Franco-Prussian War, 21 French music and aesthetics: American music and, 3, 4; Mahler and, 21-22, 25-28, 37-38, 54-55. See abo Boulanger, Nadia; neoclassicism Fried, Oskar, 60 Gabrilowitsch, Ossip, 14 gay composers, 3 Gebrauchsmusik, 61 Gericke, Wilhelm, 10, 12, 114 Gershwin, George, 117 Gide, André, 28 Gienow-Hecht, Jessica, 5 Gilman, Lawrence, 18, 41, 43 Goldmark, Karl, 14 Goldmark, Rubin: as a Bohemian Club founder, 14, 15-16; conservatism of, 15; as Copland’s teacher, 10, 12, 14-16, 44; praise for Strauss’s orchestration style, 50, 52; published comments on Mahler, 13-15
Index Goldstein, Eric, 68, 70 Gotdieb, Jack, 166 Gotdieb, Jay, 39 Gradenwitz, Peter: Leonard Bernstein: The Infinite Varìety of a Musician, 193nl4; The Music of Israel 69 Greffulhe, Elisabeth, Comtesse, 21 Grófé, Ferde: Grand Canyon Suite, 92-95, 96-97,110 Hale, Philip, 129, 139 Handel, George Frideric: Messiah, 162 Harris, Roy, 156 Harrold, Orville, 18 Henderson, W. J., 16 Higginson, Henry Lee, 114 Hindemith, Paul, 60,121, 122, 125, 156; Concerto Grosso, op. 36, 61 Holloway, Robin, 101 Holst, Gustav: Choral Symphony, 58 Honegger, Arthur, 122, 125, 127; Mahler’s influence on, 25, 44-48, 50, 57, 58-59, 157, 158; Pacific 231, 1, 45, 46, 47-48, 50, 51, 61; Le roi David, 58; ties to romanticism, 47-48; Violin Sonata no. 1, 46 Horenstein, Jascha, 60 Horowitz, Joseph, 11, 193nl4 Hubbs, Nadine, 3,141,143 Hughes, Allen, 173 Hutchison, Marilyn Kae, 153 internadonalism, post-World War I, 22, 23-28, 35-36, 38, 42, 53-55, 59, 178nl9 Ives, Charles, 4; Concord Sonata, 15; The Unanswered (Question, 172 Jacobi, Frederick, 15 jazz, Copland’s use of, 1, 3,86-88,90 Jewish identity issues, 7, 8, 38, 67-81 219 Johnson, Harriett, 150 Johnson, Julian, 85-86, 88, 92 Josef Weinberger Ltd., 40 Judson, Arthur, 18 Keeping Score: Aaron Copland and the American Sound (documentary), 2-3 Keller, James M., 140 Kelly, Barbara, 25 Kerner, Otto, 172 Kindertotenlieder (Mahler), 16, 82; Boulanger’s copy of, 40; Copland on, 59-60; Copland’s performance of, 65-66, 151, 173 Klemperer, Otto, 8, 115 Kletzki, Paul, 138 Knaben Wunderhom, Des (Mahler), 115 Rneisel, Franz, 16 Kodály, Zoltán: Psalmus Hungaricus, 58
Koenen, Tilly, 16 Korngold, Erich Wolfgang, 8 Koussevitzky, Natalie, 113, 125, 126 Koussevitzky, Serge: abridgements of Mahler works, 131-39; Boulanger and, 116, 117, 127; career in Europe, 11617; claim of living essence in compositions, 132-33; contextualizadon of Mahler with modernism, 116, 121, 123-25; Copland as advisor to, 8, 113, 116, 124-27, 150; deletions in Mahler’s Symphony no. 9, 133, 134-36, 137-39; Honegger’s Pacific 231 premiered by, 45; Jewish identity of, 170; lack of extant Mahler recordings by, 131; Mahler performances conducted by, 113, 115, 122-39, 140, 141, 146, 147, 189nn8-9; musicianship concerns about, 119-20; performances
220 Index Koussevitzky, Serge—(conťd) of American music, 117; preference for tonal over atonal music, 139; tenure as Boston Symphony conductor, 115-39 Krehbiel, Henry, 10-11,176nl5 Krenek, Ernst: Jonny spielt auf, 59 Kumvald, Ernst, 12, 14,131 La Grange, Henry-Louis de, 21, 23, 39,40 Laird, Paul R.: Leonard Bernstein: A Research and Information Guide (with Lin), 193nl4 Langford, Samuel, 24 Langley, Allen Lincoln, 41, 43 Lanier, Mrs. J. F. D., 12 League of Nations, 23 Leibowitz, Rene: Schoenberg and His School, 164 Lerner, Neil, 104 Levy, Beth, 4, 68 Lewis, William, 147 Lied von der Erde, Das (Mahler), 84; Bernstein’s performances of, 141, 146-47; Boston premiere and subsequent performances of, 115, 125-26, 127, 130,131, 146, 154,188n7, 189nl0; Boulanger’s copy of, 29, 36; Copland on, 1, 57, 60, 64, 65-66, 83, 85, 147, 151; critical reception in Boston, 127-28,129; early American performances of, 17-18; impressionist features of, 38; inconclusive cadence of, 83, 85-86, 87,90, 95,101, 147-48; influence on Copland’s Music for the Theatre, 87-88, 187nl8; Jewish traces in, 75; Mengelberg performance reviewed by Boulanger, 24; orchestration of, 55; as swan song of romanticism, 60, 64, 83, 85, 147-48, 161, 169 Liedereines fahrenden Geseüen (Mahler), 16, 40 Lin, Hsun: Leonard Bernstein: A Research and Information Guide (with Laird), 193nl4 List, Kurt, 197nl22 Liszt, Franz: Faust Symphony, 36, 131; Les préludes, 48 Locke, Ralph R, 67, 68, 70 Longy-Miquelle, Renée, 171 Los Angeles philharmonic, 173 Lourié, Arthur, 116-17 MacDowell, Edward, 4 Mahler, Gustav: abridgements to works by,
131-39; alterations to scores of other composers, 11 ; American legacy of, 8-9; American reception of, 1, 10-12, 14, 17-19, 41-42, 43, 127-28; Bohemian Club gathering in honor of, 14; Bruckner coupled with, 121-24; composers influenced by, 1, 57, 58-59,157-58; Copland’s contextualization of, 59, 61, 63-64, 155—56; Copland’s pairing of neoclassicism with, 43-44, 52-53, 56, 63-64, 80, 128-29, 155-56, 161; diatonic saturation in works of, 85, 88, 92, 95; folk qualities in works of, 12, 43, 56, 60, 62, 103; French reception of, 24, 25-28, 38, 178nnl4-15; Jewish identity of, 38, 55-56, 68-81, 170; Koussevitzky’s contextualization of, 116, 121, 122,123-25, 127; Krehbiel’s obituary for, 11 ; length and scale of symphonies, 11, 26, 57-58, 76, 109-10; as New York Philharmonic conductor, 10-11,14,114; orchestration style of, 11-12, 32-33, 36, 38, 42, 44, 48, 50, 52,
Index 54-55, 65, 78, 79,80, 144,157, 158; originality of, 42, 46-47, 75, 78-80; outsider status of, 19, 53; Paris performances by, 21; Royal Concertgebouw Orchestra’s festival honoring, 20-21, 22, 23-28, 38, 42, 56-57,178nl9; scores owned by Boulanger, 22, 28-35; seen as forerunner of Second Viennese School, 158; signature style elements of, 2, 6; use of birdsong, 106-7. See aho specific works Manifesto of the foreign guests at the Mahler Festival, 23-24 Mason, Daniel Gregory, 68 Meckna, Michael, 142 Meilers, Wilfrid, 83,147 Mencken, H. L., 120 Mendelssohn, Felix, 73 Mengelberg, Willem: advocacy of Mahler’s works, 42, 45, 53, 55; Mahler festival conducted by, 20-21, 22, 23-28, 42, 56-57, 114; New York performances of Mahler’s works, 17, 18-19, 36, 115, 116,181n73 Metropolitan Opera Orchestra, 16, 114, 118 Meyer, Alfred H., 128 Meyerbeer, Giacomo, 73 Milhaud, Darius, 47; advocacy of Schoenberg’s Pierrot lunaire, 25; Boulanger and, 45; Copland on, 75; Jewish identity of, 69-70, 75; Mahler’s influence on, 57 Miller, William, 18 Minneapolis Symphony Orchestra, 60 Mitchell, Donald, 38 Mitropoulos, Dimitri, 115, 116, 140, 141,146, 154,171,189nl0 Modern Musk, 147 modernism: approach to musical value, 43-44; Koussevitzky’s 221 contextualization of Mahler with, 116,121,123-25; romanticism and, 60-61; stylistic traits of, 6. See aho neoclassicism Monteux, Pierre, 115, 117-18,121, 190n43 Monţjau, Etta de, 10 Morton, Lawrence, 103 Muck, Karl, 5, 12, 114, 129 Murchison, Gayle, 3 Mussorgsky, Modest: Boris Godunov, 126 National Symphony Orchestra, 17 Naumova (Koussevitzky), Olga, 146-47
neoclassicism: Copland’s 1960s views on, 156; Copland’s pairing of Mahler with, 43-44, 52-53, 56, 63-64, 80, 128-29, 155, 161; gendered as feminine, 80; romanticism seen as aesthetic opposite of, 5, 26, 38 New School for Social Research, 13, 53-63, 74 New Symphony Concert Union, 117 New York City Symphony, 148, 150 New York Philharmonic: Bernstein as conductor, 140; Mahler as conductor, 10-12, 14, 114; Mahler festival, 1960, 147, 148, 152, 154-59, 169; Mengelberg as conductor, 17, 114; performances of Mahler’s works by other conductors, 16,17, 18-19, 36-37, 114; Promenade concerts, 172-73; Rodziński as conductor, 132, 141, 148, 150, 192n92; Stránský as conductor, 16; Walter as conductor, 17; Young People’s Concerts, 3, 4, 8, 140, 147-48, 154, 161, 163, 170 New York Symphony Society, 10, 16
222 Index Newlin, Dika: Bruckner, Mahler, Schoenberg, 158 Nikisch, Arthur, 131 Oja, Carol J., 3, 6, 42, 44, 45, 46, 53, 61,80 Ojai Festival Symphony Orchestra, 65-66, 173 Orchestre national de France, 151 Ormandy, Eugene, 60 Orquestra Sinfônica Brasileira, 172 Paderewski, Ignacy, 13 Page, ChristopherJarrett, 140-41, 148 Paris Peace Conference, 178nl9 Parker, Horatio, 4 Paul, David C., 23, 43-44, I78nl4, 178n20,197nl08, 197nl22 Peyser,Joan, 141, 146 Pfitzner, Hans: Von deutscher Seek, 58 Philadelphia Orchestra: performances of Mahler’s works, 12-14, 15, 16, 18, 19; Stokowski as conductor, 12-14, 18, 19 Piemé, Gabriel, 21 Piston, Walter, 117, 171,198nl23; Sinfonietta, 146 Pollack, Howard, 12, 46, 47, 59, 64, 69-70, 80, 81, 103,107, 110, 126, 141-42, 151, 184n48 Prokofiev, Sergei, 121, 122, 127, 156; Lieutenant Kijé Suite, 173 Pugno, Raoul, 24 Raab, Helen, 147 Radio City Music Hall Symphony Orchestra, 131 Rapee, Erno, 131 Ravel, Maurice, 17, 20; Alborada del gracioso, 146; interest in Mahler’s music, 25 Red Pony, The (Copland film score), 109 Reflections (documentary), 162 Reger, Max, 55 Rehkemper, Heinrich, 60 Reilly, Edward R., 18, 184n44, 191n52 Reiner, Fritz, 140, 144,170 Ridge, Lola, 57 Riley, Matthew, 3, 95, 98 Roberts, Penfield, 118, 119, 128, 129 Rochberg, George, 8 Rodziński, Artur, 132,140, 141, 148, 150, 170 romanticism: Copland’s interest in 69, 82, 86-88, 90-91; endpoint claimed by Copland, 4-5, 83, 85, 147, 169; grandiosity and, 56, 57-58, 60, 62, 80-81, 109-10; Honegger’s ties to, 47-48; modernism and, 60-61; nostalgia and, 6, 56, 69, 70, 98, 103; resistance to
in the United States, 43; stylistic traits of, 6, 26, 35 Rosen, Peter, 162 Rosenfeld, Paul, 46, 53-54, 55-56, 69, 71-72, 132-33; Musical Portraits, 71, 72, 74, 76, 78-80; “The Tragedy of Gustav Mahler, 73 Roussel, Albert, 20, 33,121; Boulanger and, 45; Psalm 80, 58 Royal Concertgebouw Orchestra, 20-21,22, 23-28, 38, 114 Riickertlieder (Mahler), 38, 82; orchestration of, 55 Rutkoff, Peter M., 63 Sanborn, Pitts, 41 Santos, Paolo, 172 Schiff, David, 104, 142 Schiller, David M., 162, 163, 197nl05 Schmitt, Florent, 23, 25, I78n20; Psalm 47, 58
Index Schmuller, Alexander, 24 Schoenberg, Arnold, 23,139; Blitzstein as student of, 195n36; Gurrelieder, 58; Harmonielehre, 36; Mahler’s influence on, 57, 59, 65, 157; Pierrot lunaire, 25, 36, 157 Schonberg, Harold, 39 Schreker, Franz: Der Schatzgräber, 36 Schubert, Franz, 11 Schuman, William, 117 Schumann, Robert, 142 Scott, William B., 63 Scriabin, Alexander, 17, 155 Second New England School, 4 Seldes, Barry, 141-42, 196n95 Sembach, Johannes, 16 Sessions, Roger, 142, 181n78 Shadle, Douglas W, 4 Shanet, Howard, 158 Shostakovich, Dmitri: Golden Age ballet, 157; Mahler’s influence on, 57,157 Sibelius, Jean, 123, 155; Copland’s views on, 66 Six, Les, 25, 45-46, 69. See aho Honegger, Arthur; Milhaud, Darius Slonimsky, Nicolas, 190n37 Sloper, Leslie A., 128, 130 Smith, Anthony D., 3, 95, 98 Smith, George Henry Lovett, 120 Smith, Moses, 117, 119, 120-21, 127, 128-29 Smith, Warren Storey, 129, 130 Society of Friends of Music, 12,13, 14, 16, 17-18 Sonneck, Oscar, 43 Specht, Richard, 21 Starr, Larry, 90, 91,94 Stefan, Paul, 23 Steinberg, Michael, 159 Steinberg, William, 144 Stock, Frederick, 17, 131, 139 Stockhausen, Karlheinz, 139 22З Stokowski, Leopold, 12-14, 18, 19 Stokowski, Olga Samaroff, 24, I78n20 Stránský, Josef, 12,16 Strauss, Richard, 15, 37; Copland’s views on, 66,155, 181n78; orchestration style of, 50, 52, 54, 55, 56, 79 Stravinsky, Igor, 121, 122, 125, 127, 128; Boulanger’s support for, 39, 45; Copland influenced by, 1, 3, 80, 98; Octet, 33, 156; Oedipus Rex, 126; orchestration of, 63; The Rite of Spring, 6, 47, 117; Symphony ofPsalms, 29; twelvetone works of, 158
Sundelius, Marie, 181n73 Symphony no. 1 (Mahler), 105, 108, 110, 111; American premiere conducted by Mahler, 10-11, 14; Boulanger’s copy of, 29, 30, critical reception of, 10-11, 18; influence on Copland’s Symphony no. 3, 106-7,110; open sonorities in, 104-5; repeat deleted in performances of, 138; subsequent American performances of, 17, 115,146, 154,189nl0 Symphony no. 2 (Mahler), 110, American premiere conducted by Mahler, 10, 14; Copland on, 37, 41-45, 58, 59-60, 62; critical reception of, 36-37, 41; influence on Copland’s Symphony no. 3, 107; Jewish traces in, 75; Paris performance of, 1910, 21; subsequent American performances of, 19, 36-37, 114, 115, 141, 154, 169, 170, 173, 181n73, 189nll Symphony no. 3 (Mahler): American premiere of, 17; failed 1917-18 Philharmonic performance of, 16
224 Index Symphony no. 4 (Mahler), 49, 52; American premiere conducted by Damrosch, 10, 14; Bernstein’s lecture on, 142, 154—56, 157; Boulanger’s copy and analysis of, 22, 29, 30-31, 32-35, 35, 37; Copland on, 1, 36, 37, 48; critical reception of, 11-12, 14; orchestration of, 48, 50, 52; subsequent American performances of, 146, 154, 159, 189nl0 Symphony no. 5 (Mahler): Adagietto as stand-alone movement, 114, 172, 184n4; American premiere conducted by Gericke, 10, 114; critical reception of, 11, 44; influence on Copland’s Appalachian Spring, 104; subsequent American performances of, 114, 115, 130, 146, 154, 189nn9-10 Symphony no. 6 (Mahler), 19; American premiere conducted by Mitropoulos, 154; repeat deleted in performances of, 138 Symphony no. 7 (Mahler), 19, 113; American premiere of, 17, 131; Bernstein’s study at piano, 144, 150; Copland on, 1, 36; critical reception of, 18, 44; Koussevitzky deletions in, 137; subsequent American performances of, 18, 115, 159, 189nl2 Symphony no. 8 (Mahler), 77, 167; abridgments to, 131; American premiere of, 12-14, 15,16, 19; Bernstein’s Chichester Psalms and, 166; Copland on, 37, 58, 76, 78; Rosenfeld on, 76, 78 Symphony no. 9 (Mahler), 19, 86; American premiere of, 113, 115,121,123-24, 126-27, 128-29, 189n8; Bernstein’s performances of, 148, 150-51; Bernstein’s views on, 161,162, 163, 165; Copland on, 1, 36, 48, 87, 181n75; critical reception of, 128-29, 130; diatonic saturation in, 85; impressionist features of, 38; influence on Copland’s Clarinet Concerto, 98; influence on Copland’s Music for the Theatre, 87-88; Jewish traces in,
75; Koussevitzky deletions in, 133, 134-36,137-39; subsequent American performances of, 123, 130, 132-33, 146,154, 192n92; subsequent performances of, 189n8; Thomson on, 37-38; viewed as “classic” by Koussevitzky, 121, 127 Symphony no. 10 (Mahler), 85, 154, 158, 163-64 Talma, Louise, 39 Taubman, Howard, 123, 152 Taucher, Curt, 18 Taylor, Deems, 41 Thompson, Randall, 151 Thomson, Virgil, 8, 22, 35-36, 37-38, 142 Tilson Thomas, Michael, 2-3, 85 Toliver, Brooks, 94 tone poems and program music, 2, 36, 45, 47-48, 92-95 Totenfeier (Mahler), 48 Urlus, Jacques, 18, 24 Varèse, Edgard, 54 Vaughan Williams, Ralph, 26; Sea Symphony, 58 Wagner, Richard, 21, 79; American popularity of, 5; Siegfried Idyll, 129; Tannhäuser Overture, 129 Walter, Bruno: Bernstein and, 141, 171; as Mahler champion, 116,
Index 140, 170; Mahler performances conducted by, 17, 18, 36, 115, 147,154, 189nl0 Weber, Carl Maria von, 142; Concertino in E-flat major, 173; Der Frieschütz, 36 Webern, Anton, 139, 158; Copland’s interest in music of, 3; Mahler’s influence on, 65 Weill, Kurt, 59 225 Wellesz, Egon, 36; Die neue Instrumentation, 61 Wister, Frances Anne, 12 Wolfsohn, Leopold, 13 WÕSS, J. V., 133 Young People’s Concerts (New York Philharmonic) : “What Is American Music?,” 3, 4; “Who Is Gustav Mahler?,” 8, 140, 147-48, 154, 161, 163, 170
|
| any_adam_object | 1 |
| author | Mugmon, Matthew ca. 20./21. Jh |
| author_GND | (DE-588)1049181964 |
| author_facet | Mugmon, Matthew ca. 20./21. Jh |
| author_role | aut |
| author_sort | Mugmon, Matthew ca. 20./21. Jh |
| author_variant | m m mm |
| building | Verbundindex |
| bvnumber | BV046154504 |
| classification_rvk | LP 91630 |
| contents | Mahler and Copland in New York -- Mahler in Nadia Boulanger's Studio and Beyond -- Copland in Defense of Mahler -- Mahler in Copland's Jewish Romanticism -- Mahler's Idiom in Copland's "American Sound" -- Copland, Koussevitzky, Mahler, and the Canon -- Copland's Role in Bernstein's Mahler Advocacy |
| ctrlnum | (OCoLC)1127305814 (DE-599)BVBBV046154504 |
| discipline | Musikwissenschaft |
| era | Geschichte 1900-1990 gnd |
| era_facet | Geschichte 1900-1990 |
| format | Book |
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| geographic | USA (DE-588)4078704-7 gnd |
| geographic_facet | USA |
| id | DE-604.BV046154504 |
| illustrated | Illustrated |
| indexdate | 2024-07-10T08:36:45Z |
| institution | BVB |
| isbn | 9781580469647 |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-031534551 |
| oclc_num | 1127305814 |
| open_access_boolean | |
| owner | DE-12 DE-703 |
| owner_facet | DE-12 DE-703 |
| physical | xi, 225 Seiten Illustrationen, Notenbeispiele |
| psigel | BSB_NED_20191112 |
| publishDate | 2019 |
| publishDateSearch | 2019 |
| publishDateSort | 2019 |
| publisher | University of Rochester Press |
| record_format | marc |
| series | Eastman studies in music |
| series2 | Eastman studies in music |
| spelling | Mugmon, Matthew ca. 20./21. Jh. Verfasser (DE-588)1049181964 aut Aaron Copland and the American legacy of Gustav Mahler Matthew Mugmon Rochester, NY University of Rochester Press 2019 xi, 225 Seiten Illustrationen, Notenbeispiele txt rdacontent n rdamedia nc rdacarrier Eastman studies in music v. 160 Mahler and Copland in New York -- Mahler in Nadia Boulanger's Studio and Beyond -- Copland in Defense of Mahler -- Mahler in Copland's Jewish Romanticism -- Mahler's Idiom in Copland's "American Sound" -- Copland, Koussevitzky, Mahler, and the Canon -- Copland's Role in Bernstein's Mahler Advocacy "Although Aaron Copland (1900-1990) is often credited with creating an unmistakably American musical style, he was strongly attracted to the music of Gustav Mahler. Drawing extensively on archival and musical materials, this is the first detailed exploration of Copland's multifaceted relationship with Mahler's music and its lasting consequences for music in America. Matthew Mugmon demonstrates that Copland, inspired by Mahler's example, blended modernism and romanticism in shaping a vision for American music in the twentieth century, and that he did so through his multiple roles as composer, teacher, critic, and orchestral tastemaker. Copland's career-long engagement with Mahler's music intersected with Copland's own Jewish identity and with his links to such towering figures in American music as Nadia Boulanger, Serge Koussevitzky, and Leonard Bernstein"-- Mahler, Gustav 1860-1911 (DE-588)118576291 gnd rswk-swf Copland, Aaron 1900-1990 (DE-588)118986481 gnd rswk-swf Geschichte 1900-1990 gnd rswk-swf Musik (DE-588)4040802-4 gnd rswk-swf Rezeption (DE-588)4049716-1 gnd rswk-swf USA (DE-588)4078704-7 gnd rswk-swf Copland, Aaron / 1900-1990 / Criticism and interpretation Mahler, Gustav / 1860-1911 / Influence Music / United States / 20th century / History and criticism Copland, Aaron / 1900-1990 Mahler, Gustav / 1860-1911 Influence (Literary, artistic, etc.) Music United States 1900-1999 Criticism, interpretation, etc USA (DE-588)4078704-7 g Copland, Aaron 1900-1990 (DE-588)118986481 p Rezeption (DE-588)4049716-1 s Mahler, Gustav 1860-1911 (DE-588)118576291 p Musik (DE-588)4040802-4 s Geschichte 1900-1990 z DE-604 Erscheint auch als Online-Ausgabe 978-1-78744-563-5 Eastman studies in music v. 160 (DE-604)BV010127859 160 Digitalisierung BSB München - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=031534551&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB München - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=031534551&sequence=000003&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Literaturverzeichnis Digitalisierung BSB München - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=031534551&sequence=000005&line_number=0003&func_code=DB_RECORDS&service_type=MEDIA Register // Gemischte Register |
| spellingShingle | Mugmon, Matthew ca. 20./21. Jh Aaron Copland and the American legacy of Gustav Mahler Eastman studies in music Mahler and Copland in New York -- Mahler in Nadia Boulanger's Studio and Beyond -- Copland in Defense of Mahler -- Mahler in Copland's Jewish Romanticism -- Mahler's Idiom in Copland's "American Sound" -- Copland, Koussevitzky, Mahler, and the Canon -- Copland's Role in Bernstein's Mahler Advocacy Mahler, Gustav 1860-1911 (DE-588)118576291 gnd Copland, Aaron 1900-1990 (DE-588)118986481 gnd Musik (DE-588)4040802-4 gnd Rezeption (DE-588)4049716-1 gnd |
| subject_GND | (DE-588)118576291 (DE-588)118986481 (DE-588)4040802-4 (DE-588)4049716-1 (DE-588)4078704-7 |
| title | Aaron Copland and the American legacy of Gustav Mahler |
| title_auth | Aaron Copland and the American legacy of Gustav Mahler |
| title_exact_search | Aaron Copland and the American legacy of Gustav Mahler |
| title_full | Aaron Copland and the American legacy of Gustav Mahler Matthew Mugmon |
| title_fullStr | Aaron Copland and the American legacy of Gustav Mahler Matthew Mugmon |
| title_full_unstemmed | Aaron Copland and the American legacy of Gustav Mahler Matthew Mugmon |
| title_short | Aaron Copland and the American legacy of Gustav Mahler |
| title_sort | aaron copland and the american legacy of gustav mahler |
| topic | Mahler, Gustav 1860-1911 (DE-588)118576291 gnd Copland, Aaron 1900-1990 (DE-588)118986481 gnd Musik (DE-588)4040802-4 gnd Rezeption (DE-588)4049716-1 gnd |
| topic_facet | Mahler, Gustav 1860-1911 Copland, Aaron 1900-1990 Musik Rezeption USA |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=031534551&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=031534551&sequence=000003&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=031534551&sequence=000005&line_number=0003&func_code=DB_RECORDS&service_type=MEDIA |
| volume_link | (DE-604)BV010127859 |
| work_keys_str_mv | AT mugmonmatthew aaroncoplandandtheamericanlegacyofgustavmahler |