copland crane graham
"Mythical brows we saw retiring—
"Mythical brows we saw retiring—
...destined, into denser green."
appalachian bridge
...destined, into
denser green."
copland crane graham
Between 1942-44, composer Aaron Copland and choreographer Martha Graham collaborated on creating a ballet. To this day, the ballet’s modified, award-winning score lives as vibrantly as when it premièred.
Nevertheless, in the realm of Copland’s music, a popular myth persists. Like many myths, this one is rooted in fact. And the fact stands: Graham changed the ballet’s title from Copland’s “Ballet for Martha” to the geographic imagery partially titling it today; Appalachian Spring.
–AND SO BEGINS THE MYTH–
Essentially, Graham claimed she found the two words “Appalachian Spring,”
while reading a poem
AFTER Copland completed his commissioned score.
On the other hand, Copland, says the opposite.
In his autobiography Aaron Copland states, Hart Crane’s American epic, The Bridge,
was “the basis for the script”
BEFORE the music was written.
–A RECKONING–
This widely known, but generally-ignored, aspect of the Copland–Graham collaboration is thoroughly explored by J Dominic. His thesis not only provides a ‘myth-busted reckoning,’ but it also offers
a new interpretation of Copland’s suite.
Between 1942-44,
composer Aaron Copland and choreographer
Martha Graham collaborated on creating a ballet. To this day, its award-winning score lives as vibrantly as when it premièred.
Nevertheless, in the realm of Copland’s music, a popular myth persists. Like many myths, this one is rooted in fact. And the fact stands: Graham changed the ballet’s title from Copland’s “Ballet for Martha” to the geographic imagery partially titling it today; Appalachian Spring.
–THE MYTH BEGINS–
Essentially, Graham claimed that she found the two words “Appalachian Spring,”
while reading a poem
AFTER Copland completed his commissioned score.
On the other hand, Copland, says the opposite.
In his autobiography Aaron Copland states, Hart Crane’s American epic, The Bridge,
was “the basis for the script”
BEFORE the music was written.
–A RECKONING–
This widely known, but generally-ignored, aspect of the Copland–Graham collaboration is thoroughly explored by
J Dominic. His thesis not only provides a ‘myth-busted reckoning,’ but it also offers
a new interpretation of Copland’s suite.
With this merging of Graham’s source,
Crane’s poem and Copland’s music flow anew.
With this merging of Graham’s source, Crane’s poem and Copland’s music flow anew.
Further Enrichment
