Classic Ross Amico

Tag: Aaron Copland

Julián Orbón Composer of Four Worlds

Julián Orbón was a composer with his feet in four worlds.

In 1925, one hundred years ago today, he was born in Avilés, Spain. As a child, he studied music with his father, composer Benjamin Orbón. At 10, he entered the Oviedo Conservatory to begin his formal training.

When he was 13, the family moved to Cuba. There Orbon studied with José Ardévol, with whom he assembled a group of aspiring young composers, Grupo de Renovación, whose mission it was to promote new Cuban music. He was still in his teens when he stepped up to take over the direction of the then only recently-established Orbón Conservatory, following his father’s death.

Not long after, he won a scholarship to study composition with Aaron Copland at Tanglewood. Afterward, he returned to his position at the conservatory until the Cuban Revolution began in 1953. In 1960, he left Cuba permanently, to teach at Mexico City’s National Conservatory of Music alongside Carlos Chávez.

In 1963, he moved to the United States, where he taught at Lenox College, Washington University in St. Louis, Barnard College, and the Hispanic Institute of Columbia University.

For the rest of his life, he made New York his home. He died in Miami while undergoing cancer treatment in 1991.

Orbón’s experiences in four countries allowed him to assimilate many influences in his music: Spanish, Cuban (and by extension Afro-Cuban), American, Gregorian chant, neoclassicism, and a kind of melancholy romanticism shaped by the collapse of his world during the Cuban Revolution. He was friendly with Copland, Chávez, and Heitor Villa-Lobos, all of whose music he clearly admired.

His own music is attractive, personal, and accessible. It’s a mystery why it isn’t heard more often. Like many composers of his generation, he seems to have fallen through the cracks between the classics and the new. A pity, because one could do worse than to program any of the pieces below.

¡Feliz centésimo, Julian Orbon!

Danzas sinfónicas (1955)

Tres versiones sinfónicas (1953)

Concerto Grosso for String Quartet and Orchestra (1958)

August 7, 2025
Thanksgiving Music: Home with Rogers & Copland

With Thanksgiving right around the corner, it’s hardly surprising our thoughts, memories, and desires would be full of home. It’s a good time then to listen to John Fitz Rogers’ “Magna Mysteria.”

This week on “The Lost Chord,” we’ll hear this 2010 work, which weaves together Latin biblical texts and poetic verse of the 6th century philosopher Boethius, to elevate the idea of home – and the seeking of home – to a metaphorical or spiritual realm. If you have a fondness for the choral music of Morten Lauridsen or Stephen Paulus, I think you’ll really enjoy this, though Rogers is very much his own man. The music is tonal, melodic, and quite lovely.

Also on the program will be Aaron Copland’s “Letter from Home,” from 1943-44. The work was commissioned by Paul Whiteman for his Radio Hall of Fame Orchestra, and suggests the emotions of an American soldier, as he experiences a bittersweet reprieve, if only for a few moments, while savoring a letter from his family.

There’s no place like home for the holidays. I hope you’ll join me for “Homebodies,” on “The Lost Chord,” this week on “The Lost Chord,” now in syndication on KWAX, the radio station of the University of Oregon!

Clip and save the start times for all three of my recorded shows:
PICTURE PERFECT, the movie music show – Friday at 8:00 PM EST/5:00 PM PST

SWEETNESS AND LIGHT, the light music program – ALL NEW! – Saturday at 11:00 AM EST/8:00 AM PST

THE LOST CHORD, unusual and neglected rep – Saturday at 7:00 PM EST/4:00 PM PST

Stream them, wherever you are, at the link!

https://kwax.uoregon.edu/

November 23, 2024
American Dreams Movie Music and Thanksgiving

I swear I don’t even know my country anymore, but I’m doing my best to hang on to the dream.

This week on “Picture Perfect,” it’s the gift to be simple. We count our blessings and aspire to do better, with music from movies reflective of what’s best in human nature and most admirable in the American character.

Aaron Copland’s work on “The Cummington Story” (1945), a semi-documentary produced by the Office of War Information, underscores the gradual acceptance of European war refugees into a cautious but fundamentally decent New England community. The music is pure Americana, with some of the material later finding its way into Copland’s Clarinet Concerto and “Down a Country Lane.”

“Field of Dreams” (1989) is one of those rare films that has the ability to reduce manly men – even those without father issues – to a pool of tears. Phil Alden Robinson’s superior adaptation of W.P. Kinsella’s novel, “Shoeless Joe,” is a male wish-fulfillment fantasy, in which a man finds redemption, and a new understanding of his father, in the enchanted cornfields of America’s heartland. And it’s all brought about courtesy of America’s pastime, baseball. The evocative score, much indebted to Copland, is by James Horner.

“The Best Years of Our Lives” (1946) is one of the great American classics. This touching film tells the tale of the three WWII veterans struggling to readjust to civilian life. It isn’t easy, but with the support of family and friends, there’s plenty of hope for the future. Hugo Friedhofer wrote the Academy Award-winning score, earning the film one of its seven Oscars. The orchestrations were by Copland protégé (and composer of “The Big Country”) Jerome Moross.

Finally, Daniel Day-Lewis elevates Steven Spielberg’s “Lincoln” (2012) to greatness with one of the uncanniest performances ever captured on film. Day-Lewis’ gentle but shrewd Man of Destiny would go to any lengths to hold the country together. John Williams taps into America’s proud musical heritage, clearly influenced by Copland and Ives to create a score of stirring nobility.

There’s more to Thanksgiving than turkey and football, and we can still dream the dream. I hope you’ll join me as we give thanks for family, community, and country on “Picture Perfect,” music for the movies, now in syndication on KWAX, the radio station of the University of Oregon!

Clip and save the start times for all three of my recorded shows:

PICTURE PERFECT, the movie music show – Friday at 8:00 PM EST/5:00 PM PST

SWEETNESS AND LIGHT, the light music program – ALL NEW! – Saturday at 11:00 AM EST/8:00 AM PST

THE LOST CHORD, unusual and neglected rep – Saturday at 7:00 PM EST/4:00 PM PST

Stream them, wherever you are, at the link!

https://kwax.uoregon.edu/

November 22, 2024
Copland’s Lincoln Portrait Still Inspires Today

Suddenly the pride and optimism of “A Lincoln Portrait” has come to seem so quaint. But I will always carry its idealism in my heart.

Incorporating texts from Lincoln’s speeches, most notably “The Gettysburg Address,” Aaron Copland’s work for speaker and orchestra has been embraced by narrators across the political spectrum, from William Warfield and Carl Sandburg to Margaret Thatcher and Charlton Heston.

Regardless of one’s personal ideology, the work has the power to stir and inspire. When it was performed under the direction of the composer in Venezuela in 1957, in the presence of reigning dictator Marcos Pérez Jiménez, it was so passionately received by the audience that it may have contributed to Jiménez’ overthrow and exile only a few days later. So clearly, it can be heady, even incendiary stuff.

Maybe it is, after all, the very thing we need at the present time. The message is one of unity, not division, in serving the greater good and honoring our responsibility to the nation and our fellow citizens in rising to the challenges of “the stormy present.” (“The fiery trial through which we pass will light us down in honor or dishonor to the latest generation.”) The elevating marriage of Lincoln’s words and Copland’s music humbles in its persuasive espousal of the American ideals of fairness and sacrifice. it’s not surprising that the work has appealed to people across the political spectrum. It’s not about partisanship. It’s about embracing the democratic ideals of the United States of America.

This weekend will bring the opportunity to experience the work live, as Copland’s “A Lincoln Portrait” will be the centerpiece of a program on American and often patriotic themes, to be presented this Friday night at 8:00 by the Main Line Symphony Orchestra, at Valley Forge Middle School in Wayne, PA.

Jamie Bernstein, Leonard Bernstein’s daughter, will be the narrator. Also on the program will be her father’s “Candide Overture,” Samuel Barber’s Violin Concerto (with Marc Rivetti, assistant concertmaster of the Philadelphia Orchestra, the soloist), William Schuman’s “New England Triptych” (based on melodies of Revolutionary Era composer William Billings), and selections from John Williams’ “Lincoln” and “The Patriot.”

The conductor will be the orchestra’s music director, Don Liuzzi, whose day job is as principal timpani of the Philadelphia Orchestra.

The program will be repeated at Reform Congregation Keneseth Israel in Elkins Park, PA, on Sunday at 2 p.m.

On Aaron Copland’s birthday (today), it’s a timely reminder of the kind of thinking that really made this country great. For more information on these concerts and upcoming performances of the Main Line Symphony Orchestra, follow the link.

https://www.mlso.org/concerts.htm

Leonard Bernstein conducts “A Lincoln Portrait,” with William Warfield narrating. Watch for Gerard Schwarz as co-principal trumpet. Schwarz would go on to make his own recording of “A Lincoln Portrait,” as music director of the Seattle Symphony, with James Earl Jones as the speaker.

November 14, 2024
John Henry Legend Copland Robeson & the New River Gorge

In an earlier post, I shared my disappointment at having to trim Aaron Copland’s “John Henry” from my Labor Day playlist on Saturday, because of time considerations. So I’m including it here at one of the links below.

First, the basis for the John Henry legend:

https://en.wikipedia.org/wiki/John_Henry_(folklore)

Does New River Gorge National Park doubt its veracity?

https://www.nps.gov/neri/planyourvisit/the-legend-of-john-henry-talcott-wv.htm

Princeton’s own Paul Robeson sings the folk ballad:

Copland’s “descriptive fantasy,” composed in 1940:

There’s a famous quote in John Ford’s “The Man Who Shot Liberty Valance” (1962): “When the legend becomes fact, print the legend.” The tale of John Henry is one of tragic grandeur. Whether he lived or how he died is of little consequence to its resonance. Small wonder that this powerful symbol endures.

PHOTOS: John Henry monument in Talcott, WV, at its current location near the Great Bend Tunnel, and related historical markers

September 2, 2024

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