Tag: American Music

  • Thanksgiving Music Feast on The Classical Network

    Thanksgiving Music Feast on The Classical Network

    In 1789, President George Washington issued a proclamation designating that November 26 be observed as a public day of thanksgiving. This marked the first national celebration of a holiday that has become commonplace in America’s households.

    I hope you’ll join me this afternoon on The Classical Network. On this, the anniversary of Washington’s Thanksgiving, though this year’s celebration is still two days away, you’ll find me greedily reaching for a drumstick. And a reed. And some rosin. That’s right, it will be a feast of American music, so make sure you save a little room after lunch.

    I’ll be setting the table with, among others, “American Dances” by David Amram, the String Quartet No. 1 “American Dreams” by Peter Schickele, “Fanfare on Amazing Grace” by Adolphus Hailstork, “Harvest” by Morton Gould, “Shaker Loops” by John Adams,” “The Acadian Land” by Romeo Cascarino, the Violin Sonata No. 2 by Charles Ives, and the Symphony No. 60 “To the Appalachian Mountains” by Alan Hovhaness.

    First, on today’s Noontime Concert, we’ll give thanks for a musical friendship that yielded much beauty. Clarinetist Yoonah Kim and pianist Kevin Ahfat will present a recital of works by the Schumanns and Johannes Brahms. On the program will be Brahms’ Clarinet Sonata No. 2, an arrangement of Clara Schumann’s Three Romances for Violin and Piano, and six of her songs. The concert took place last month at Kaufman Music Center’s Merkin Hall in New York City.

    So put your hands together. We’ll make a meal of great music, from 12 to 4 p.m. EST, on WWFM – The Classical Network and wwfm.org.

  • Rediscovering Copland American Music Icon

    Rediscovering Copland American Music Icon

    I am so happy to rediscover this 30-minute documentary on Aaron Copland. I remember watching it years ago. What an exciting time for American music – and for America – to say nothing of the arts in general. Not that American music does not remain vital. But Copland seems to be the last man standing, in terms of the active repertoire, of that great generation. To catch a Roy Harris or a William Schuman symphony in concert is very rare indeed.

    It is the fate of even the greatest composers to be remembered through but a handful of pieces, usually from a particular phase of his or her career. In Copland’s case, it’s pretty much the cowboy music. Some people love it; some are put off by it. Cowboys aren’t exactly “in” right now, and when someone hears “I Ride an Old Paint,” they may not trouble themselves to look beyond the trappings.

    But nearly everything Copland wrote is worth hearing – and I’ve heard most of it – even the misfires. Once you get to know him, his sound is immediately identifiable in anything he touched. He had vision, he had craft, and he had integrity.

    I love this man, and I love his music, and I love what he did for music. Would that we had someone of his caliber today. Happy birthday, Aaron Copland.

  • Aaron Copland Rediscovered American Music Legend

    Aaron Copland Rediscovered American Music Legend

    I am so happy to rediscover this 30-minute documentary on Aaron Copland. I remember watching it years ago. What an exciting time for American music – and for America – to say nothing of the arts in general. Not that American music does not remain vital. But Copland seems to be the last man standing, in terms of the active repertoire, of that great generation. To catch a Roy Harris or a William Schuman symphony in concert is very rare indeed.

    It is the fate of even the greatest composers to be remembered through but a handful of pieces, usually from a particular phase of his or her career. In Copland’s case, it’s pretty much the cowboy music. Some people love it; some are put off by it. Cowboys aren’t exactly “in” right now, and when someone hears “I Ride an Old Paint,” they may not trouble themselves to look beyond the trappings.

    But nearly everything Copland wrote is worth hearing – and I’ve heard most of it – even the misfires. Once you get to know him, his sound is immediately identifiable in anything he touched. He had vision, he had craft, and he had integrity.

    I love this man, and I love his music, and I love what he did for music. Would that we had someone of his caliber today. Happy birthday, Aaron Copland.

  • Rediscovering Copland’s Genius

    Rediscovering Copland’s Genius

    I am so happy to rediscover this 30-minute documentary on Aaron Copland. I remember watching it years ago. What an exciting time for American music – and for America – to say nothing of the arts in general. Not that American music does not remain vital. But Copland seems to be the last man standing, in terms of the active repertoire, of that great generation. To catch a Roy Harris or a William Schuman symphony in concert is very rare indeed.

    It is the fate of even the greatest composers to be remembered through but a handful of pieces, usually from a particular phase of his or her career. In Copland’s case, it’s pretty much the cowboy music. Some people love it; some are put off by it. Cowboys aren’t exactly “in” right now, and when someone hears “I Ride an Old Paint,” they may not trouble themselves to look beyond the trappings.

    But nearly everything Copland wrote is worth hearing – and I’ve heard most of it – even the misfires. Once you get to know him, his sound is immediately identifiable in anything he touched. He had vision, he had craft, and he had integrity.

    I love this man, and I love his music, and I love what he did for music. Would that we had someone of his caliber today. Happy birthday, Aaron Copland.

  • Rediscovering Copland American Music Icon

    Rediscovering Copland American Music Icon

    I am so happy to rediscover this 30-minute documentary on Aaron Copland. I remember watching it years ago. What an exciting time for American music – and for America – to say nothing of the arts in general. Not that American music does not remain vital. But Copland seems to be the last man standing, in terms of the active repertoire, of that great generation. To catch a Roy Harris or a William Schuman symphony in concert is very rare indeed.

    It is the fate of even the greatest composers to be remembered through but a handful of pieces, usually from a particular phase of his or her career. In Copland’s case, it’s pretty much the cowboy music. Some people love it; some are put off by it. Cowboys aren’t exactly “in” right now, and when someone hears “I Ride an Old Paint,” they may not trouble themselves to look beyond the trappings.

    But nearly everything Copland wrote is worth hearing – and I’ve heard most of it – even the misfires. Once you get to know him, his sound is immediately identifiable in anything he touched. He had vision, he had craft, and he had integrity.

    I love this man, and I love his music, and I love what he did for music. Would that we had someone of his caliber today. Happy birthday, Aaron Copland.

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