Aaron Copland (November 14, 1900 – December 2, 1990) was an American composer, composition teacher, writer, and later a conductor of his own and other American music. Copland was referred to by his peers and critics as “the Dean of American Composers”. The open, slowly changing harmonies in much of his music are typical of what many people consider to be the sound of American music, evoking the vast American landscape and pioneer spirit. He is best known for the works he wrote in the 1930s and 1940s in a deliberately accessible style often referred to as “populist” and which the composer labeled his “vernacular” style. Works in this vein include the ballets Appalachian Spring, Billy the Kid and Rodeo, his Fanfare for the Common Man and Third Symphony. In addition to his ballets and orchestral works, he produced music in many other genres, including chamber music, vocal works, opera and film scores.
After some initial studies with composer Rubin Goldmark, Copland traveled to Paris, where he first studied with Isidor Philipp and Paul Vidal, then with noted pedagogue Nadia Boulanger. He studied three years with Boulanger, whose eclectic approach to music inspired his own broad taste. Determined upon his return to the U.S. to make his way as a full-time composer, Copland gave lecture-recitals, wrote works on commission and did some teaching and writing. He found composing orchestral music in the modernist style he had adapted abroad a financially contradictory approach, particularly in light of the Great Depression. He shifted in the mid-1930s to a more accessible musical style which mirrored the German idea of Gebrauchsmusik (“music for use”), music that could serve utilitarian and artistic purposes. During the Depression years, he traveled extensively to Europe, Africa, and Mexico, formed an important friendship with Mexican composer Carlos Chávez and began composing his signature works.
During the late 1940s, Copland became aware that Stravinsky and other fellow composers had begun to study Arnold Schoenberg’s use of twelve-tone (serial) techniques. After he had been exposed to the works of French composer Pierre Boulez, he incorporated serial techniques into his Piano Quartet (1950), Piano Fantasy (1957), Connotations for orchestra (1961) and Inscape for orchestra (1967). Unlike Schoenberg, Copland used his tone rows in much the same fashion as his tonal material—as sources for melodies and harmonies, rather than as complete statements in their own right, except for crucial events from a structural point of view. From the 1960s onward, Copland’s activities turned more from composing to conducting. He became a frequent guest conductor of orchestras in the U.S. and the UK and made a series of recordings of his music, primarily for Columbia Records. (by wikipedia)
Following her debut at the age of seventeen performing Beethoven´s “Emperor” Concerto Nina Tichman appeared in major venues including Carnegie Hall, the Cologne Philharmonie, the Berlin Konzerthaus and the Salzburg Festspielhaus. She has worked with prominent conductors such as Moshe Atzmon, Leon Barzin, Aaron Copland, Dmitri Kitaenko and Louis Langrée, appearing with the Bamberger Sinfoniker, the Symphony Orchestras of the Bayerische, Hessische and Norddeutsche radio stations, the Baltimore und St. Louis Symphonies. Concert tours throughout North America, Asia, and Europe with appearances at major festivals such as Marlboro, Tanglewood, International Musicians Seminar at Prussia Cove, Styriarte, Frankfurt Feste, Rheingau Musikfestival, have established her as “one of the leading pianists of her generation” (Neue Musik Zeitung).
She is at home in repertoire ranging from Frescobaldi to composers writing today, many of whom have entrusted her with world premieres of their compositions. Her discography includes music by Bartók, Beethoven, Copland (Complete Works for Piano), Chopin, Corigliano, Fauré, V.D. Kirchner, Mendelssohn, Penderecki, und Reger.
American born, Nina Tichman has been based in Europe since winning the prestigious “Busoni” Competition. Other awards include the Mendelssohn Prize of Berlin, First Prize of the Casagrande Competition in Italy and the Prize of the Organization of American States.
In 2001 she founded the Xyrion Trio with Ida Bieler and Maria Kliegel, an ensemble that has been praised for its vital, emotional and dramatic musicmaking and whose recording of the complete Beethoven Piano Trios has been praised for its “flawless ensemble, subtle phrasing, and great rhythmic energy” (American Record Guide).
Nina Tichman is a graduate of The Juilliard School, where she was awarded the Eduard-Steuermann-Prize for outstanding musical achievement. In 1993 she was appointed Professor of Piano at the Hochschule für Musik in Cologne and she has led master classes at the Mozarteum in Salzburg, as well as at Amherst College and Princeton University. (by classicalconnect.com
“Aaron is Moses”. Leonard Bernstein’s affectionate aphorism about his friend and mentor expresses exactly Aaron Copland’s importance in the development of a truly American music. Copland, born 1900, influenced as did no other the emergence of America from a country whose aspiring musicians, with few exceptions, had to go abroad in order to receive adequate training, into a mecca for musical training and a center for new artistic impulses. His personal involvement together with his popularity smoothed the way for innumerable composers and was instrumental in awakening the interest of the American public for its native musical language.
The scope of Copland’s language as a composer is defined by two extremes: his so-called “severe” style, determined by serial techniques and stringent formal structure, and his simple style, in which he tried to write music that would be more accessible to a broad public.
American musician Nina Tichman has been acclaimed as one of the leading pianists of her generation (Neue Musik Zeitung). Winner of numerous international competitions and being at home in the major music centers of the world, Nina Tichman has been particularly interested in contemporary compositions and their roots in traditional music for the piano. The music of Schönberg and Debussy, whose complete piano works she has presented cyclically (also released on the WERGO label), as well as that of contemporary American composers such as Copland and Elliott Carter, plays a central role in her repertoire. (prestomusic.comI
And if you listen carful,you will realize how much Keith Emerson was influenced by Aaron Copland !
Nina Tichman (piano)
01. Piano Variations (1930) 12.09
Four Piano Blues (1926-1948);
02. Freely Poetic 2.06
03. Soft And Languid 3.00
04. Muted And Sensuous 2.44
05. With Bounce 1.20
Piano Sonata (1939-1941):
06. Molto Moderato 9.44
07. Vivace 4.41
08. Andante Sostenuto 11.08
Three Moods (1920):
09. Embittered 1.03
10. Wistful 2.02
11. Jazzy 1.25
12. Petit Portrait (1921) 1.51
13. Midsummer Nocturne (1947) 2.02
The Cat And The Mouse (1920):
14. Scherzo Humoristique 4.03