"9 MB/J /VO,3£3(

COPLAND'S "SINGLE VISION" AND THE PIANO SONATA: A LECTURE

RECITAL, TOGETHER WITH THREE RECITALS OF SELECTED WORKS OF

J. S. BACH, B. BARTOK, L. V. BEETHOVEN, F. CHOPIN,

F. LISZT, W. A. MOZART, J. P. RAMEAU, M. RAVEL,

AND F. SCHUBERT

DISSERTATION

Presented to the Graduate Council of the

University of North Texas in Partial

Fulfillment of the Requirements

For the Degree of

DOCTOR OF MUSICAL ARTS

By

Gregory W. Morris, B.M.E., M.M.

Denton, Texas

August, 1990

Morris, Gregory W., Copland's "Single Vision" and

_the Piano Sonata: A Lecture Recital, Together with Three

Recitals of Selected Works of J. S. Bach, B. Bartok,

L. V. Beethoven, F. Chopin, F. Liszt, W. A. Mozart, J. P.

Rameau, M. Ravel, and F. Schubert. Doctor of Musical

Arts (Piano Performance), August 1990, 39 pp., 25 examples,

bibliography, 20 titles.

Difficulties are encountered in any discussion of

Copland's style, for his works cover the spectrum from

harsh, dissonant works to folk music. To avoid the task

of defining a style which encompasses this array of vastly

different pieces, a sharp distinction is frequently made

between the abstract and popular works. However, Copland

has repeatedly objected to such categorization, claiming

that he composed from a single vision.

A careful examination of his total output proves

the validity of his claim. Many common characteristics

are found throughout works from all categories and time

periods. These traits include a basic economy of materials,

emphasis on thirds, consistent method of development,

use of declamation, jazz-influenced rhythms, cyclicism,

and a slow/fast/slow sequence of movements, as well as

within single movements.

This document uses the Piano Sonata as a model of

Copland's style, for it exemplifies these characteristics

more clearly than any other major piece for piano. By

making numerous comparisons with other works, Copland's

single vision is revealed.

Tape recordings of all performances submitted as

sssrtation requirements are on deposit in the

University of North Texas Library.

111

TABLE OF CONTENTS

RECITAL PROGRAMS

LIST OF EXAiMPLES

COPLAND'S "SINGLE VISION" AND THE PIANO SONATA

Introduction

History of the "Piano Sonata"

First Movement

Second Movement

Third Movement

Conclusion

BIBLIOGRAPHY . . . .

Page

v

ix

1

4

6

18

26

35

38

IV

% rth Texas State University School of Music

Graduate Recital

GREG MORRIS, Piano

Monday, March 2', 1967 5=00 p.m. Recital Hall

Sonata in D, Op. 28. . . . D .. Allegro Beethoven

Andante

Scherzo: Allegro vivace Rondo: Allegro ma non troppo

Grande Polonaise brillante, Op. 22 rK.„. Precedee d'un Andante spianato Chopin

Sonata . . Allegro moderato Bartok Sostenuto e pesante A1legro molto

Presented in partial fulfillment of the requirements for the degree of

Doctor of Musical Arts

presents

Graduate Piano Recital

GREG MORRIS

Monday, June 6, 1988 6:15 p.m. Recital Hall

Overture in the French Manner Bach Overture Courante Gavotte I Gavotte II Passepied I Passepied II Sarabande Bourree I Bourree II

Echo

Sonata in D, K. 576 Allegro Adagio Allegretto

Etudes d'execution transcendante Ricordanza Chasse-neige

Presented in partial fulfillment of the requirements for the degree of

Doctor of Musical Arts

Liszt

VI

TJNIVKk.SII V < )h N( )k lH lKVAC

g V T / H

presents

Graduate Recital

GREG MORRIS, piano

Monday, February 19, 1990 8:00 p.m. RECITAL HALL

Program

Gavotte with Variations

"Wanderer" Fantasy, Op. 1.5

Rameau

Schuber t

Intermission

Le Tom beau de Couperin Prelude Fugue Forlane Rigaudon Menuet Toccata

Ravel

Presented in partial fulfillment of the requirements for the degree of

Doctor of Musical Arts

i '•NlvfRSny OF NORTH TEXAS 1890-1990

V I 1

raSEESnYDEMMHTEXaS

presents

Graduate Lecture Recital

GREG MORRIS, piano

Monday, July 2, 1990 8:00 p.m. Recital Hall

LECTURE: Copland's "Single Vision" and the Piano Sonata

PROGRAM:

Piano Sonata Aaron Copland

(b. 1900)

Presented in partial fulfillment of the requirements for the degree of

Doctor of Musical Arts

m NORTH

V l l l

LIST OF EXAMPLES

Example

1. Initial falling thirds, resting on lower note, f* P l a n o Sonata, 1st movement, measures 1-4

the Kid (1938), measures 1-2 . c. Statements (1935), "Prophetic," measures 1-2

T w e l v e Poems of Emily Dickinson (1950), "The world feels dusty," measures 1-3 . .

P i a n o Variations (1930), measures 1-3 Dance Panels (1962), I, measures 69-71

2. Thirds in serial compositions. a* Connotations (1962), measures 20-22 b- Nonet (I960), ending C* Qua*"tet for Piano and Strings (1950)

3rd movement, measures 52-60

3a. Violin sonata (1943), 1st movement, measures 3-4

k* Third Symphony (1946), 2nd movement, measures 1-2

c" Night Thoughts (1972), measures 1-2

4. Development of Theme 1. a* Main theme, a + b, measures 1-4 b. Development of fragment b, measures 10-16 c. Development of fragment a, inverted,

measures 26-33 . .

5. Theme 2, measures 58-61, 64-66

6a. Theme 2 expanded, measures 90-95 b. Organ Symphony (1924), 3rd movement,*

measures 1-8 . . .

7. "Piu largamente," measure 123

8. Allegro" section, measures 133-136

9a. Dance Panels (1962), I, measures 23-27 .

Page

7 7 7

7 8 8

8 8

9 9

10 10

10

11

12

12

13

13

14

IX

Example

b* Quiet City (1939), measures 14-17

10h" P"° fof Fl"te and Piano (1971), measures b- Music for the Theatre (1925), III,

measures 1-5 . . .

1-5

lla* Piano Variations (1930), var. 14, measures 6-9

b. Symphonic Ode (1929),'measures 1-4 ~ Short Symphony (1933), measures 1-6* .'

Statements (1935), "Dogmatic," measures 24-27 .

c, d,

Piano Sonata, recall of opening motive

13. 1st movement, measures 15-16. Arpeggios

14. 2nd movement, measures 1-6

15. Wedge motive, measures 1-2, 7-9, 10-13, 14

16. Repetition and addition. a* Music for the Theatre (1925), I,

measures 16-20 . . . . ' b- Symphonic Ode (1929), measures 8-11* ." * C* S o n ata for Violin and Piano (1943), 1st*

movement, measures 3-10 T w e l v e poems of Emily Dickinson *M '

Going to Heaven," measures 2-11 Dance Panels (1962), VII, measures 1-10*

-19

e.

17a. t' S°W P ' for Piano and Sfrin.c . Quartet (1950), 2nd movement, measures 67

18a. Wedge motive, measures 54-55 b. Measure 71 c. Measures 90-91 . .

19. Trio section. a. Measures 191-193 b. Measures 201-204 .

20. 3rd movement, measures 1-2

21. 3rd movement, measures 6-12

74

Page

14

14

14

15 15

16

16

17

18

19

19

20 20

20

21 21

21 22

25 25 25

26 26

26

27

Example Page

22. Piano Sonata, 3rd movement, measures 19—23 . 27

28

29

23. Two-part contrapuntal writing. a- Two Pieces for String Orchestra (1928), I,

measures 25-30 . . . . b- Sonata for Violin and Piano (1943), 3rd*

movement, measures 27-30 28 c- Third Symphony (1946), 3rd movement,

measures 12-17 d* Quartet for Piano and Strings (1950), 3rd*

movement, measures 41-45 29 e- Connotations for Orchestra (1962), measures*

182-184 29

24. Bell effects. a- Piano Sonata, 3rd movement, 2nd theme,

measures 46-48 29 k* Piano Fantasy (1957), ending c- Duo for Flute and Piano (1971), 2nd movement,

measures 1-3

30

30

25a. Ostinato in original form, measures 34-36 30 b. Ostinato as melody, measures 53-71, 79-83,

99-103 [ # 3 1

c. Ostinato as accompaniment to Theme 2, measures 136-138 3 1

XI

Introduction

Any writer discussing Copland's music, particularly

his style, is faced with a difficult task. The composer

has covered the spectrum from dissonant avant-garde works

to simple folk music which appeals to the most uninitiated

of listeners. Because of this array of vastly different

pieces, the temptation is strong to speak of different

styles, to categorize his output and deal with each group

separately. Usually a distinction is made between the

"serious" concert music and that which, by Copland's own

admission, was written to appeal to the widest possible

audience. The inference is that the latter category is not

as serious and is lacking in substance. Some have turned

to a chronological approach as a means of categorization.

Julia Smith divides Copland's life into three style periods

(French-Jazz, Abstract, and American Folksong) with further

sub-divisions.1 Considering that her book was written

in 1955, she probably would be forced to add at least

one more period today.

Although these approaches are not entirely without

merit, they—like most easy solutions—contain serious

1* Co!^ai955K' A a r o n ^P-iand (New Yo^kl mTtton and

flaws. This is obvious with the chronological method.

Copland has repeatedly demonstrated the ability to move

from one "style" to another with ease. Vitebsk (1928),

a tiio based on a Jewish melody and containing quarter

tones and harsh dissonances, came in the midst of what

Smith terms the French-Jazz period. The serial Quartet

for Piano and Strings was written in 1950, during the

American Folksong period. This particular year is an

excellent example of the chronological method's

shortcomings. It is the date of composition for three

distinctly different works: Old American Songs. Twelve

Poems of Emily Dickinson, and the quartet. Old American

Son<?s a r e arrangements of five original folk songs.

The song cycle based on Dickinson's poems is tonal but

decidedly not folk oriented. The quartet is even further

removed, being a twelve-tone serial work.

The general distinction between the "serious" and the

popular has its problems as well. The first is practical.

Many pieces do not clearly fit into either category,

but contain elements of both. Indeed, few of Copland's

works are untouched by the popular jazz style. The second

problem is created by the composer himself. He has

repeatedly objected to such divisions, emphasizing that

he took all of his work seriously. if Copland's words

are given any weight, it is difficult to ignore such

strong statements as made in his book The New Music;

I can only say that those commentators who would like to split me down the middle into two opposing personalities will get no encouragement from me. I prefer to think that I write my music from a single vision . . . .

Lawrence Starr1s analysis of such diverse works as

Music for the Theatre, Billy the Kid, and Quartet for

Piano and Strings supports Copland's assertion.^ Especially

convincing is his study of Billy the Kid. He uncovers

surprisingly sophisticated compositional techniques (to be

discussed later) which are very similar to those used in

Copland's "serious" works. The discoveries challenge those

who view the work as nothing more than popular fluff. Among

these pieces traditionally viewed as representing very

different styles, Starr notes the existence of several

striking similarities.

His basic approach, which concentrates on stylistic

elements common to all of Copland's music, is used in the

following analysis. A careful search reveals that many

common characteristics are to be found throughout his

mature works. Of the major pieces for piano, the Sonata

best exemplifies these traits. By making comparisons with

2* A a^° n Copland, The New Music (New York: W.W. Norton, 1968)t 168.

3. "Copland's Style," Perspectives of New Music XIX (Fall 1980/Summer 1981), 69-89. "

other works, Copland's "single vision" is revealed more

clearly and completely.

History of the "Piano Sonata"

In August of 1941, Copland began a four-month tour of

Latin America. He was sent by the Committee for

Inter-American Cultural Relations in association with the

office of Nelson Rockefeller, the President's Coordinator of

Inter—American Affairs. The nine-nation tour was a part of

the Roosevelt administration's Good Neighbor Policy.

Copland was in Santiago, Chile, during that country's

September national holidays when he completed the Piano 4

Sonata. The composer gave its first public performance

one month later, on October 21. The setting was an

all-American concert in Buenos Aires sponsored by La

Nueva Musica, an organization similar to the League of

Composers in this country.

Like most of his compositions, the Sonata was written

over a long period of time. Copland actively worked

1939 — 1941, but sketches date from 1935. During

an interview, he commented on the sonata and on his slow

pace of composition in general:

I worked hard on that piece. I'm a slow worker actually. As I say, it isn't that I work every

4. Copland, op. cit., 163. ~~

day, but I need to get away from my work for a while in order to judge what I've done more coldly . . . . You need perspective. So the Sonata was written thus, over a period of time>5

The work was received coolly at its New York premiere

on January 9, 1943, despite a reportedly brilliant

ft performance by John Kirkpatrick. Nevertheless, the

Piano Sonata is now considered "a landmark of American

7

piano music," having joined the Piano Variations (1930)

an(3 Piano Fantasy (1957) as important contributions by

Copland to the pianist's standard repertoire.

The sonata has been the subject of surprisingly little

discussion. In contrast to the Variations and Fantasy,

it has not received detailed analysis. John Kirkpatrick's

early review (written less than five months after the

sonata was completed) is understandably general; it outlines

the basic form of the work and describes its character.8

Other analyses have been limited to brief passages contained

within larger studies. The most informative of these

is by Douglas Young, who devotes three pages of his article

5- "Copland and Smit at Harvard," record jacket notes —

for Aaron Copland: The Complete Music for Solo Piano, Leo Smit, perf. (CBS 35901, 1979 ).

6. Smith, op. cit., 233-234.

7. Carlton Gamer, "Current Chronicle," Musical Quarterly LIX/3 (July 1973), 463.

8. "Aaron Copland's Piano Sonata," Modern Music XIX/3 (March/April 1942), 246-250. "

on Copland's piano music to the sonata.9 The work has

not been studied as a model of Copland's style.

First Movement

Ihe first movement is cast in typical sonata form;

it contains an expos ition with two themes, a development,

and a recapitulation that would satisfy the most

conservative textbook definition. It is marked "molto

moderato" and is in B-flat minor.

One of Copland's most recognizable trademarks is

found at the outset: the melodic interval of a third.

It is, of course, among the most common intervals for

any composer. Copland's use, however, is far more than

ordinary. Both major and minor thirds are emphasized

commonly in his music, and numerous works begin with

the interval. Frequently it wil1 be found opening a

movement as it does here (Example 1), descending and

resting on the lower note. Thirds predominate in his

themes, often even in compositions utilizing serial

techniques (Example 2). This emphasis on thirds is not

limited only to melodic intervals in the Sonata, but

includes harmonic as well. in the exposition, the left

hand is harmonized almost exclusively with minor thirds

(not including the major sixth created by octave doubling)

9• "The Piano Music," Tempo, Winter 1970-1Q71. 18-21.

Example 1. Initial falling thirds, resting on lower note, is. Piano Sonata, 1st movement, measures 1-4.

i i y 1

•f fWC-

m

&-

CE t y- p-

m 3

w If

£ ¥ lb- Billy the Kid (1938), measures 1-2.

-)-rlr-T2— 0 i t=t lc. Statements (1935), "Prophetic," measures 1-2,

-2l3

^ -#•

i ^ — # 35 Id. Twelve Poems of Emily Dickinson (1950), "The

world feels dusty," measures 1-3.

J i l i L J i J „ J, "TNt -feels

i l j ) ^ |J^,| | J—^ r T f

l e' Piano Variations (1930), measures 1-3,

M3

£ 1 : ( . ~ I J - J D 2

P £ # -

lf* Dance Panels (1962), I, measures 69-71.

f • F — 1 - 5 -

# -1

# f—\ 4 j - J

Example 2. Thirds in serial compositions. 2a- Connotations (1962), measures 20-22.

nri 3 ^3

I.,I r r I ,TI ' -JL uL

*i3

f r n r (• at

Nonet (1960), ending *

2c,

fn 5

Quartet for Piano and Strings (1950), 3rd movement, measures 52-60.

The opening theme is characteristically short,

consisting of only six notes plus a punctuating chord

at the end. Copland's compositions are studies in making

the most of minimal material. In the Piano Variations,

he achieves considerable variety with a primary motive

of only four notes. The first movement of the Sonata

Violin and Piano and the second movement of the Third

Symphony feature five-note themes (Example 3). The late

Night Thoughts, written for the 1973 Van Cliburn

Competition, is based on a three-note motto. (Notice

that these themes also prominently feature thirds.)

Though not all of Copland's themes are this compact,

rarely does he employ a long melodic line.

Example 3a. Violin sonata (1943), 1st movement, measures 3-4.

Third Symphony (1946), 2nd movement, measures 1 2 •

3c- Night Thoughts (1972), measures 1-2,

10

In building the first part of the exposition, Copland

develops thematic fragments through a process of repetition

and addition. This unique method is common in his works.

The second half of the initial phrase is developed first.

He repeats the fragment, adding to it each time. This

process .of repetition and addition is then applied to

the opening gesture in inversion (Example 4).

Example 4. Development of Theme 1. 4a. Main theme, a + b, measures 1-4,

a. 1 r

0^ CL p u d i

4b. Development of fragment b, measures 10-16.

. k , , b' nhuJiii ^ I j i j j j ' t j l

4c. Development of fragment a, inverted, measures 26-33.

i!8 afsr

11

It is Copland's usual practice in sonata forms to

economize by fashioning the second and any following

themes out of the opening material. In the Organ Symphony,

Symphonic Ode, Short Symphony, and Sonata for Violin

and Piano, the main theme serves as a motivic source

for all that follows. The Piano Sonata is unusual

in that it contains a true second theme. Yet even here,

the second theme is strikingly similar to the first in

both content and treatment (Example 5). It borrows the

melodic and harmonic emphasis on thirds, as well as the

J J rhythm and brevity of the opening statement. This

section is likewise constructed solely through repetition

Example 5. Theme 2, measures 58-61, 64-66 r

and extension of this single phrase. One other Copland

technique of development is seen here: a continual

expansion of range. This is graphically demonstrated

by the proportions reached in the last line of the

10. For further detail on this technique, see analyses in Peter Evans, "The Thematic Technique of Copland's Recent Works," Tempo Spring/Summer 1959, 2-13.

12

exposition, shown in Example 6. This same sort of

treatment is found in the opening bars of the Organ Symphony

finale.

Example 6a. Theme 2 expanded, measures 90-95.

6b- Organ Symphony (1924), 3rd movement, measures 1-8.

The frugal handling of thematic material is continued

in the development section, where nothing new is presented.

Nevertheless, he creates considerable contrast. In the

"Piu largamente" section, themes 1 and 2 are combined.

Theme 2 appears in the right hand with only rhythmic

changes, while the left repeats the opening three-note

motive in inversion (Example 7).

Ihe following "Allegro" section is further removed

from the original. It is based on the second theme minus

the second note (Example 8). As before, it is developed

by repetition, addition, and expansion of range. Despite

13

example 7. "Piu largamente," measure 123,

m tf|» fi >L

Sf«=S

U

these similarities, its character is greatly changed.

The tempo is nearly doubled, it is marked forte instead

of piano, and marked "ritmico" instead of "with sentiment."

The meter changes frequently between 2/4, 3/4, 3/8, 4/8,

4/4, 5/8, 6/8, and 7/8 (another trademark of Copland's

style).

Example 8. "Allegro" section, measures 133-136.

This portion of the development section also

illustrates one form of Copland's declamatory style.

His pieces frequently take on a rhetorical nature,

simulating impassioned speech. These passages feature

unison writing and most commonly present short groups

of notes which center about a single pitch. Often, Copland

will emphasize the declamatory nature of these sections

14

by making indications such as "in a narrative manner,"

"recitative style," and "declamatory." In Dance Panels

a n d Quiet City, shown in Example 9, a single line of

repeated notes conjures up images of a religious chant.

(In the latter, these are specifically motivated by Jewish

Example 9a. Dance Panels (1962), I, measures 23-27.

9b. Quiet City (1939), measures 14-17,

elements which enter the play for which it was written.)

Elsewhere, these solo passages are more in the manner

of recitative (Example 10).

Example 10a. Duo for Flute and Piano (1971), measures I^r- - _

-finely, ' re&Hzcfive style

1 0 b - Music for the Theatre (1925), III, measures 1-5 •

15

Here, however, Copland employs his most common and

distinctive form. it consists of short groups of single

notes broken up by a recurring note or punctuating element.

In this instance, the punctuating elements are accented

octaves on A (see Example 8). At a fast tempo, this

type of declamation becomes toccata-like. There are

numerous instances of this kind (Example 11).

The recapitulation faithfully brings back the

exposition's material in its original form, including

the tempo. The return to moderato from the allegro

Example 11a. Piano Variations (1930), var. 14, measures

y. (Punctuating elements are bracketed.)

Hb. Symphonic Ode (1929), measures 1-4.

16

Short Symphony (1933 ), measures 1-6.

i i ppip

Hd. Statements (1935), "Dogmatic," measures 24-27,

development section results in a slow/fast/slow scheme

for the movement, a frequent feature of Copland's

compositions. The first movements of Dance Symphony,

Music for the Theatre, Sonata for Violin and Piano, Third

sYmPhony/ Quartet for Piano and Strings, and Duo for

Flute and Piano, all progress in a similar manner.

17

Another stylistic fingerprint of Copland is the

recall of the opening motive at the very end (Example 12).

The aforementioned violin sonata, Third Symphony,

Quartet for Piano and Strings, as well as the first movement

of the Organ Symphony end with recalls also.

Example 12. Piano Sonata, recall of opening motive,

The most pronounced characteristic of the movement

is its extreme economy of materials. Every phrase,

including transitions, has its root in the two very brief

main themes. Furthermore, the themes share similar rhythms,

shapes, intervals, and methods of development. Filler

is completely absent; no accompanimental figuration or

thick chords are present. The only arpeggios within

the first movement consist of a single minor third (Example

13). This brings up one of the most surprising examples

of economy. The left hand accompaniment is almost entirely

made up of minor thirds. It is not coincidental that

this is also the predominating melodic interval of the main

theme. Of the 314 chords found in the left hand (most have

only two notes), 284 consist solely of minor thirds. 11

18

Example 13. 1st movement, measures 15-16. Arpeggios.

let

Second Movement

A scherzo and trio form the second movement of the

sonata. In many respects, it resembles the "Allegro"

portion of the first movement's development section.

The most obvious parallels include fast tempo, shifting

meters, and a predominantly single—note line.

Copland's distinctive declamatory style first seen

in the development section is also found here. The repeated

punctuating elements are the parallel major sixths in

the left hand (Example 14). Unlike the first movement,

this declamatory style is not confined to a brief section,

but permeates the entire scherzo.

An expanding range is present in two forms. It

is in its most concise form as the wedge-shaped main

include the major sixth intervals created F t h e l 0 W S r n o t e* 0 f t h e remaining 30

chords, 12 consist of a major sixth (the inversion of a minor third) and 14 contain only major and minor thirds.

19

Example 14. 2nd movement, measures 1-6.

delicate,

motive. It is also used, along with repetition and

addition, to develop the motive (Example 15).

Example 15. Wedge motive, measures 1-2, 7-9, 10-13, 14-19.

dt ' j f t - j f - i h T f

This method of enlarging upon a theme is not unique

to this sonata. It is one of the most consistent elements

of the composer's style. It is present throughout his

20

career and in various genres, as demonstrated by the

following passages in Example 16. The addition is sometimes

m the form of an interpolation, as in the violin sonata

(Example 16c). In his article, Lawrence Starr discovers

the technique permeating works as diverse as Music for the

T h e a t r e <1925) and Billy the Kid (1938). Although such

repetition would seem in opposition to serial techniques,

Example 16. Repetition and addition. 16a- for the Theatre (1925), I, measures

16-20.

16b. Symphonic Ode (1929), measures 8-11.

16c. Violin and H a n . (1943), 1st movement,

21

16d. Twelve Poems of Emily Dickinson (1950), "Going to Heaven," measures 2-11.

A* I A* [

"fa fie<x-V«nj (So-inq +o Uea.- *je.r\ I

Go-in̂ -fo flearVCr\l

16e. Dance Panels (1962), VII, measures 1-10.

I 1

he also notes that Copland occasionally uses this method of

development in compositions based on a row.^ One such

example is the serial Quartet for Piano and Strings. In

the middle of the second movement, the piano hesitantly

begins revealing a prime version of the row (Example 17).

Example 17a. Row P1, Quartet for Piano and Strings.

Starr, op. cit. , 69-89.

22

17b. Quartet (1950), 2nd movement, measures 67-74.

i-

t. f f t f f f y ^ I \) f p f Y f 7 |

' m

* -5 .—u #

3 c J

t ) *' J r #• V f\ „

• /* mm • =

3 i The scherzo's constantly changing "odd" meters

(predominantly 5/8, 6/8, 7/8, 9/8) represent another

fingerprint of Copland's style. This is such a common

feature of his music that it hardly requires demonstration

through examples. As a whole, works for large groups shift

meters less often than solo pieces. The reason behind this

is purely practical. Copland learned early in his career

that irregular bar lines only invited rebellion from

orchestra members. When the Boston Symphony began rehearsal

23

o n symphonic Ode, the players experienced considerable

difficulty reading the alternating time-signatures.

Copland resisted simplification, despite the conductor's

suggestion. After briefly rehearsing the orchestra himself,

the composer promptly rewrote the offending section in 1 ?

a single meter.

Changing meters are among the most prominent of

Copland's much talked-about "Americanisms,""'"4 being

a direct result of the influence of jazz. During the

1920's, he experimented considerably with the popular

style. The Piano Concerto is the most notable example.

He found the expressive range too limited, however, and

abandoned wholesale use of the idiom. The rhythmic

potential, on the other hand, fascinated him.

Copland began writing on jazz rhythms and their

influence on concert music in 1927.15 The essence of

his observations is that common jazz rhythms such as

flip are more accurately notated mil Jin , because

they are not true syncopations but unequal collections

of eighth notes.

13. Smith, op. cit. , lTT^ —

1 4 > Ibid., 223.

15" unde^the'tiM^T 1 qU°^ed' o f t h e s e writings appeared Jaz,f Structure and Influence," Modern music IV/2 (January/February 1927), 9-14. —

24

^ his book Music and Imaqination, Copland statss

that these unequal groupings are a result of the fact

that American's collective rhythmic sense is not

symmetrical. We feel rhythm as separately pulsating

eighth or sixteenth notes, while traditional Western

music is felt in terms of the largest common denominator:

the measure. These individual eighths or sixteenths,

when combined,

likely to add up to musically unconventional totals of five, seven, or eleven by contrast with the more familiar combinations of two plus two, or of three plus three.

16

Many years later, Copland linked these rhythmic

ideas directly with the piano sonata's second movement:

I always think of the scherzo as being rhythmically quite American. That was a big pre-occupation of mine during those years. The idea of writing a m usic—a serious concert music—that a European would recognize as having been written by an American . . . . And I think the Piano Sonata's scherzo had rhythms that I never would have thought of if I weren't familiar with jazz . . . . It's a sort of dependence on the eighth note as a basic rhythmic element—different collections of eighth notes. 1 7

The scherzo is an outstanding example of economy.

Except for one portion of the trio section, everything

16. Aaron Copland, Music and Imagination (Cambridge; ' Harvard University Press, 1952), 87, 88.

17. "Copland and Smit at Harvard," op. cit.

25

is clearly derived from the short wedge motive (Example

18). Its various guises include a) using only the top

line of the wedge, b) octave displacement, and c) sounding

the notes simultaneously. Even the parallel major sixths

Example 18a. Wedge motive, measures 54-55.

" >—-1-

1 m E 18b. Measure 71. * •

1 CL : = — n —

kbits'^ !Tf

18c. Measures 90-91.

-j. ~ "j

§ • " it '/ a > r * a T

-

that form the left hand accompaniment trace their origin to

the motive, which has that interval as its goal. The trio

section, in turn, employs parallel sixths in the melody

(Example 19). The only theme not derived from the wedge

nevertheless prominently features sixths and is accompanied

by them. (Note that this theme, shown in Example 19b.,

begins with a falling third.) The economy of this movement

is made more impressive with the realization that the major

sixth interval is itself borrowed: it is the inversion

of the minor third which permeates the first movement.

26

Example 19. Trio section. 19a. Measures 191-193.

v? L f-4j p _

0 -5— !( >1 1 — n -

1 4 - > U -n

19b. Measures 201-204.

M3

Third Movement

The three descending chords opening the third movement

are reminiscent of the sonata's beginning (Example 20). Not

surprisingly, the melodic interval of a third is present.

As before, it descends and rests on the lower note.

Example 20. 3ird movement, measuires 1 — 2 •

j b = * i >^i

T & '3

In these opening measures, Copland once again employs

his declamatory style consisting of short groups of notes

broken up by a recurring punctuating element. The theme

27

is taken from the Trio (compare Example 21 with Example 19)

This merely underlines anew his basic conservation of

materials. As throughout the sonata, the theme is revealed

gradually by means of repetition and addition.

Example 21. 3rd movement, measures 6-12.

r

The borrowed melody is then accompanied by a second

voice in the left hand, made from fragments of the theme in

inversion (Example 22). Thin texture is common in Copland's

Example 22. Piano Sonata, 3rd movement, measures 19-23.

T hesitant", cte/icftfe

music. Already, his penchant for single-line writing has

been seen. Even what appear to be thick chords are rarely

more than three different notes with octave doublings.

Two-part contrapuntal writing, such as found here, is

28

another facet of this trait. It is present in early,

middle, and late works and in all genres (Example 23).

Bell effects are used in the second theme, a common

device in Copland's piano writing (Example 24). The

upper melody features the now-expected interval of a

third in alternating fashion 18

Example 23. Two-part contrapuntal writing. 23a. Two Pieces for String Orchestra (1928),

I, measures 25-30.

VI

Pno,

23b* Sonata for Violin and Piano (1943), 3rd movement, measures 27-30.

18. Copland's frequent use of this interval throughout the sonata is representative of his extraordinary emphasis on it.

29

23c. Third Symphony (1946), 3rd movement, measures 12-17.

23d. Quartet for Piano and Strings (1950), 3rd movement, measures 41-45.

23e. Connotations for Orchestra (1962), measures 182-184.

Example 24. Bell effects. ^4a* Piano Sonata, 3rd movement, 2nd theme,

measures 46-48.

30

24b. Piano Fantasy (1957), ending,

JT

\£ ^ bJ A v

IW r i f y i t

24c. Duo for Flute and Piano (1971), 2nd movement, measures 1-3.

2 5

I

fr-ll. +» -IV fo •ore. bell- like)

i P U P

A simple ostinato serves as yet another example

of Copland's refusal to waste any musical material.

Its original appearance is as an accompaniment to the

first theme (Example 25). In the middle portion of the

movement, it returns three times as the melody and is

developed in a familiar manner by gradually increasing

Example 25a. Ostinato in original form, measures 34-36,

rb p> * y.

-

r i • # -w - — / /

4 • [ rrp

— =

i ^

i i

I M T / Lf to) 1

4 — L M 5L _

31

25b. Ostinato as melody, measures 63-71, 79-83 99-103. '

2 5 C* a S a c c o mP a niment to Theme 2, measures 136-138.

the range. Near the end it resumes its accompanimental

status, this time to the second theme.

The m a m theme of the first movement is brought

back several times. it first appears in full form midway

through the movement. At the end, it is reduced to its

essence: the falling minor third. Cyclicism is frequent

m Copland's music, appearing in single as well as

32

multi-movement works. Billy the Kid and Dance Panels

conclude by recalling their opening material. Music

for the Theatre, Short Symphony, the violin sonata, Third

Symphony, and Nonet for Strings do likewise.

The sonata ends in a non-traditional fashion. In

contrast to the usual flashy finish, Copland often does

just the opposite. Wilfrid Mellers described the sonata's

conclusion as the "quintessential expression of

immobility,"19 a phrase the composer most heartily agreed

with.

. . . he's written about my own music in a most perceptive way . . . . He wrote about the last movement of my Sonata in a way I was very pleased

read, because he seemed to say in prose what I had in my mind when I was writing it. And he even said things I really wasn't aware of consciously, but I immediately recognized them as true when I read about it. He said that the end of the last movement was a 'quintessential expression of immobility.'2Q

This is a common effect for Copland, especially

at endings. There is a slowing of movement, frequently

recalling faintly an earlier theme. The atmospheric

quality is achieved by soft dynamic levels, thin texture,

and wide spacings. Some works, such as Quiet City and

Night Thoughts, portray this mood throughout. The Piano

33

F a n t a sY' 52Hat_a for Violin and Piano. Dance Panels.

Appalachian Spring, Statements, and Nonet for Strings

all end by slowly dying away. The indication "elegiac"

on the last page of the piano sonata is very descriptive

of the effect.

The final movement, like the first, progresses in

a slow/fast/slow sequence. The same pattern applies

to the ordering of the movements. This reversal of the

classical fast/slow/fast arrangement is repeated over

and over in Copland's compositions. it is found in single

movements, in the ballets Billy the Kid and Appalachian

S£rin£, and in works as diverse as the Organ Symphony

a n d ° U a r t e t f o r and Strings. Works with mQre than,

three divisions, such as Symphonic Ode and. Music for

the Theatre, are often arranged in a slow/fast/slow/fast/

slow or similar order. Interestingly enough, Copland

was apparently never consciously aware of his predilection

for this arrangement. When asked about it, he replied,

'Ah, that's a brand new thought. Slow/fast/slow."21

Like many composers of this century, Copland is

very clear in his indications to the performer. in addition

to the traditional Italian and French, he uses descriptive

English terms. The sonata is full of remarks such as

"crystalline," "eloquently," "with sentiment," "delicate,

34

restless," »„ith suppressed excitement," "crudely,"

"transparent," and "a trifle faster." Although he is

always precise, his ensemble scores do not contain the

extreme quantities of English indications that the solo

pieces do. (Emblems, for large band, is a notable

exception.) Of the solo works, the Piano Fantasy contains

the most, having over 150 directions in English.

Economy of material is at the core of Copland's

mature style. It would be impossible to demonstrate

this fully here, as it would require a complete anaiysis

of each work. The best Snow„, and perhaps most severe,

example of economy is the Piano A n u m b e r

of studies have been written on this important piece in

which the composer wrings twenty contrasting variations

Plus an extended coda out of a four-note motive.

The sonata as a whole is a prime illustration of

Copland's ability to compose using the minimum quantities

required. One interval and its inversion serve as the

germ for everything that occurs. Themes and motives

are never used once and discarded but are re-employed

in various guises. The texture is predominantly thin.

The accompaniment contains no filler such as decorative

arpeggios, normal piano figuration, or thick chords.

In this regard, the Piano Sonata is representative of

his total output•

35

Conclusion

There is no question that Copland's music covers a

broad spectrum. He can compose in a popular and accessible

vein or write works that challenge the experienced listener,

He has experimented with various mediums and methods at

different times. Like any composer, he has undergone a

maturing process. Nevertheless, contrary to the opinion

of some writers, Copland is not a musical schizophrenic.

He possesses an identifiable style which can be traced

throughout the course of his long career, but it must

be searched for carefully. Failure to recognize it is

the result of looking in the wrong places, being caught

up in surface details and initial impressions.

T h e P:*-ano Sonata serves well as a model for studying

his style. Numerous elements within it are found in

works from all "categories," whether serious, folk, serial,

solo, chamber, orchestral, early, or late. The most

important of these style characteristics are:

D Economy—includes the frugal treatment and length of themes and motives, thin texture, and lack of standard musical filler.

2) Emphasis on thirds, both melodic and harmonic.

3) Development of themes through repetition, addition, and expansion of range.

4) Frequent use of declamation.

5) Jazz-influenced rhythms, shifting meters.

36

6) Cyclicism.

7) Slow/fast/slow sequence of movements, as well as within single movements. The tendency for slow, atmospheric endings is one facet of this.

The sonata is the best choice among the piano works

for demonstrating these elements of style. The Variations

are commonly referred to as being representative of

Copland's style, and indeed they do exhibit most of the

above characteristics. As a set of variations, however,

they can not demonstrate certain traits. Cyclicism is

an obvious example. Another primary feature of Copland's

works is the use of a single theme as the motivic source

for an entire movement, but that is inherent in variation

form. Similar problems exist with the Piano Fantasy.

As a serial composition, the entire work is expected

to be derived from the opening theme. Furthermore, its

row does not emphasize thirds to the degree found in

the other pieces. The Piano Sonata not only features

all of the above elements, but does so more clearly than

either the Variations or the Fantasy.

As has been shown, these characteristics are to

be found throughout Copland's works/both abstract and

popular. Other writers have made similar observations

only in a limited fashion. Starr emphasizes the unity

of such compositional procedures as repetition and addition,

yet fails to mention the prevalence of thirds, declamation,

37

and jazz rhythms. others make note of only a few traits,

or apply them to a single category of works. This study

reveals more common characteristics, and demonstrates

them more clearly through the use of numerous examples,

than any other to date.

Despite all the variety his musical output contains,

these fundamental elements of style have remained remarkably

consistent from the Organ Symphony in 1924 to Night Thouchts

m 1972. They are found in all genres for all mediums.

It is with justification that Copland lays claim to "a

single vision."

BIBLIOGRAPHY

B e r g e r a n ^ Y t i - , C & r - N e W Y o r k : 0 x f O T d

J f ™ " -Musical Quarter! y

Bu t t er„orth, ^ ^ ^ M u s i c ^ f ^ a r o n rnp 1 1 n,. N e w

C O l S ' Spring 1 9 6 6 , 2. 6,

MusAriv'/2 (JanLrJ/FebruLri927)!l-J4:"

11^^^S.JjC..and T m a fn" a + ̂ n Cambridge: Harvard University Press, 1952.

. The New Musir. N[oW Ynrl-- TnT r,i n . — incw xorK. w.w. Norton, 1968.

Hill, lab°. LlS''''n F° r I n M"'s1r- N e « York: McGraw

" C ° p l a n d ^ ^ S m i t at^Rarvard," record jacket notes for — uP-*-Qna« The Comple-fcc* Musir fnr -n •

pelLurmed by Leo Smit. CBS 359ol? !g/a P"" 1°'

a " . . - . ~

" M U S l C a l O ^ t . e n y

K l r k p a ^ « ; M u S ; » £ r ? HC o p i r ' S P l a " ° * > « * . ' "

- ^usxc X I X / 3 (March/April 1942), 246-250.

M U S i C I n fl New York:

K O r t h C ? " ; r / ? ^ ? - , „ " N o t e s 0 n Copland," M u s i c a l T i m „ CXXII/1653 (November 1980), 686-68?:

Smith,c^l'a-ssAaron^land. N e w Y o r k ; D u t t o n ^

38

39

Starr, Lawrence. "Copland's Style," Perspectives of New Music XIX (Fall 1980/Summer 1981), 69-89.

Stevens, Elizabeth. The Influence of Nadia Boulanger On Composition In the United States. D.M.A. dissertation, School of Fine and Applied Arts, Boston University, 1975. Ann Arbor, Mich.: University Microfilms, 75-18,547.

Young, Douglas. "The Piano Music," Tempo Winter 1970-1971, 15-22.

Unpublished Works

Jones, Philip. "A Stylistic Evaluation Of Aaron Copland's Piano Variations." Master's thesis, School of Music, North Texas State University, 1973.

Rickman, Michael. "Aaron Copland's Piano Fantasy." D.M.A. lecture recital, School of Music, North Texas State University, 1977.