Aaron Copland (1900-1990)

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Although Goldmark introduced Copland to the ftmndamentals of composition and harmony, Goldmark was not open to modern forms of musical expression. Therefore, he did not encourage Copland’s initial works. After completing high school, Copland looked to Europe as the site of musical education. He applied to a new American music school in France, and was the first pupil to be accepted. Initially, Copland found the academic overtones at the Fontainebleu Conservatory to be aggravatingly stuft~,’. However, he soon took a class from Nadia Boulanger, a harmony instructor, under whose direction Copland’s abilities burgeoned. Although it was unusual for a musician to study under a woman, Copland found Boulanger to be receptive to the novelty of contemporary music. He discovered the growth of modern styles, and experimented with his own musical preferences. Boulanger supported Copland’s desire to become a composer, and when he completed his three year course at the conservatory, he returned to New York with a commission from Boulanger to write a symphony.

In 1924 the League of Composers accepted and performed Copland’s music for an upcoming concert. This was the first time that Copland’s music was performed in the United States. Serge Koussevitzky, the director of the Boston Symphony Orchestra, became an avid supported of Copland’s works, and continually encouraged him to write new pieces that the Boston Symphony would then perform.

By the age of twenty-five, Copland’s work was well recognized, but he was unable to support himself financially. Fortuitously, he won the Guggenheim Fellowship, enabling him to spend two years without financial obligations. Free to concentrate on composing, he began to write prolifically. In the 1930s Copland began examining his works, and decided to establish a simpler, clearer compositional style that would be more accessible to all audiences. During a significant visit to Mexico City, Copland heard some native dance tunes that he then incorporated into a symphony. He went on to include American folk songs into his music, establishing a decidedly unique compositional style that was beloved by his audiences. He wrote pieces for people from all walks of life, producing operas, radio music, and motion picture theme songs.