OMG! Copland’s APPALACHIAN SPRING began at Bennington College! YAY !!!
Thomas McCall
Great stuff. I’ll forever listen to “Appalachian Spring” with deeper appreciation!
Stanley Grill
From: Stanley Grill
Sent: Sunday, February 4, 2024 1:32 AM
Sharing streaming links to THE BRIDGE – a symphonic fantasy for viola and orchestra inspired by the 15 poems in Hart Crane’s epic poem of America. After chancing across your thesis online about Copland’s Appalachian Spring, I thought you might appreciate it. Crane’s THE BRIDGE is, at least for me, one of the greatest of American poems.
I wrote the music during the first few months of the COVID shutdown. Isolated at home, I found myself reading and re-reading the poem. The Brooklyn Bridge as a metaphor for human connection seemed apt.
The recording is a collaboration with the wonderful violist Brett Deubner and the Czech Chamber Philharmonic Orchestra Pardubice, conducted by Marek Stilec.
Reading Crane’s poem, it became apparent that Crane loved music. The [15 sub] poems are replete with musical references. When working on the music, I researched those references – and then incorporated snatches of the tunes into the music.
From: J D
Sent: Monday, February 12, 2024 3:55 PM
To: Stanley Grill
Subject: Please Consider
Hello Stanley,
Thank you for sharing your evocative score THE BRIDGE with me. I say “evocative” because during the six times I’ve listened to it, so much imagery and emotion has been conjured in my active imagination.
Although it is titled, THE BRIDGE, and that symbolic Manhattan-Brooklyn span is reinforced many times by moments of stately grandeur (its opening bells of dignity), I most appreciate THE BRIDGE’S, “ebb and flow.” Throughout your piece, the effervescent consistency of melodic moments surge and swirl; rise, and fall. THE BRIDGE is tidal. Also, beneath THE BRIDGE are currents. And, like seabirds soaring above those currents, there is graceful flight.
Such effects are often the result of Brett Deubner’s glorious playing. Deubner celebrates the sheer beauty of what pulses beneath and around the steel, concrete, and stone structure; his viola captivates me each time I have listened, and I’m certain it will continue to do so.
Much modern music (and its dissonance) turns me off. Your score, THE BRIDGE completely transcends that form. Bravo! It offers Hart Crane both the grace and peace he so desperately needed in his short life. Indeed, with this tribute, you now stand with Graham and Copland. I say now, because, as they say, timing is everything. I for one am so glad you encountered my website (as indicated below by your LINKED-IN comments) after you completed your composing.
WELL, MY MIND IS BLOWN TO LEARN, AFTER CHANCING ACROSS AN ARTICLE ON-LINE, THAT COPLAND’S FAMOUS BALLET, “APPALACHIAN SPRING,” WAS INSPIRED BY HART CRANE’S POEM “THE BRIDGE.” I HAD NO IDEA THAT THE TITLE WAS GIVEN IT BY MARTHA GRAHAM, WHO TOOK THE WORDS FROM ONE OF THE STANZAS IN “The Dance“, ONE OF THE 15 POEMS IN CRANE’S EPIC. COPLAND’S WORKING TITLE WAS THE INNOCUOUS “BALLET FOR MARTHA.”
FORTUNATELY, I DIDN’T KNOW THAT WHEN I DECIDED TO WRITE [my score] “THE BRIDGE“. IT MIGHT HAVE DISCOURAGED ME FROM THE ATTEMPT!
And, considering these above, upper case, LINKED-IN comments, now that you know the origins of Copland’s opus, would you consider embracing it by scoring and producing the World Premiere performance of Appalachian BRIDGE?
I’m assuming you have listened to the merged works and I am hoping you are envisioning its full potential.
I’m not a musician. I’ve no financial resources. But, in the wake of your outstanding score, THE BRIDGE, (again, kudos) you appear to be THE qualified musician to continue what has begun: the actual scoring and performing of “Appalachian BRIDGE“.
This potential first, official merging of the Copland’s score to its well-spring (as evidenced on this website) would provide a great response to Dr. Annegret Fauser’s evocative question, “ . . . what are we talking about when we speak of Appalachian Spring?”
“Appalachian BRIDGE” awaits your talents, and I eagerly await your further response.
All my best,
J Dominic
Stanley Grill
From: Stanley Grill
Sent: Monday, February 12, 2024 9:29 PM
To: J D
Subject: RE: Please Consider
Dear JD,
Thanks for taking the time to listen THE BRIDGE – and for your kind words. I’m so pleased that you enjoyed it. And, it’s always a pleasure to meet another fan of Hart Crane’s passionate, evocative poetry. That volume has been sitting on a shelf for many, many years – with me never quite figuring out what I could do with it musically. However, the long COVID shutdown gave me the time – and mental space – to finally find something that would work.
I did, several times, listen [on this website] to your reading of THE DANCE along with a recording of Copland’s masterpiece. A performance of that marriage of words and music [as evidenced by your “Appalachian BRIDGE”] would be lovely – but I’m afraid I’m not the person to do that. . . . My . . . suggestion would be to contact the music directors/conductors of several orchestras, share a link with them of your thesis – and see if they’d be interested in staging a performance of Copland’s music with a reading of Crane’s poem. It might make a wonderful companion piece to Copland’s “Lincoln Portrait.”
Please stay in touch! Connect with me on LinkedIn or other social media – and let me know if you have success with landing a performance.
I was so taken by your thesis that I shared it around, so hopefully . . . more people are reading it – and coming to a different understanding about Copland and Graham’s inspirations.
OMG! Copland’s APPALACHIAN SPRING began at Bennington College! YAY !!!
Great stuff. I’ll forever listen to “Appalachian Spring” with deeper appreciation!
From: Stanley Grill
Sent: Sunday, February 4, 2024 1:32 AM
Sharing streaming links to THE BRIDGE – a symphonic fantasy for viola and orchestra inspired by the 15 poems in Hart Crane’s epic poem of America. After chancing across your thesis online about Copland’s Appalachian Spring, I thought you might appreciate it. Crane’s THE BRIDGE is, at least for me, one of the greatest of American poems.
I wrote the music during the first few months of the COVID shutdown. Isolated at home, I found myself reading and re-reading the poem. The Brooklyn Bridge as a metaphor for human connection seemed apt.
The recording is a collaboration with the wonderful violist Brett Deubner and the Czech Chamber Philharmonic Orchestra Pardubice, conducted by Marek Stilec.
Reading Crane’s poem, it became apparent that Crane loved music. The [15 sub] poems are replete with musical references. When working on the music, I researched those references – and then incorporated snatches of the tunes into the music.
I hope you enjoy listening!
Link to streaming sites: https://na01.safelinks.protection.outlook.com/?url=https%3A%2F%2Fmusic.imusician.pro%2Fa%2FargWhqpI%2F&data=05%7C02%7C%7C6401e70052c54bd6134208dc25212e0e%7C84df9e7fe9f640afb435aaaaaaaaaaaa%7C1%7C0%7C638426071636425948%7CUnknown%7CTWFpbGZsb3d8eyJWIjoiMC4wLjAwMDAiLCJQIjoiV2luMzIiLCJBTiI6Ik1haWwiLCJXVCI6Mn0%3D%7C0%7C%7C%7C&sdata=Kv9A%2FifLJqDL36YLYnuEFLauG4mK3nAXoagDDge7Bwg%3D&reserved=0
Best wishes,
Stanley
https://na01.safelinks.protection.outlook.com/?url=http%3A%2F%2Fwww.stangrillcomposer.com%2F&data=05%7C02%7C%7C6401e70052c54bd6134208dc25212e0e%7C84df9e7fe9f640afb435aaaaaaaaaaaa%7C1%7C0%7C638426071636432438%7CUnknown%7CTWFpbGZsb3d8eyJWIjoiMC4wLjAwMDAiLCJQIjoiV2luMzIiLCJBTiI6Ik1haWwiLCJXVCI6Mn0%3D%7C0%7C%7C%7C&sdata=vYHU8zLxxaeEcVap3dXdXNGzK7m9l1HJDZW53Tmh6lA%3D&reserved=0
https://www.youtube.com/watch?v=lsz2idhWTaY
From: J D
Sent: Monday, February 12, 2024 3:55 PM
To: Stanley Grill
Subject: Please Consider
Hello Stanley,
Thank you for sharing your evocative score THE BRIDGE with me. I say “evocative” because during the six times I’ve listened to it, so much imagery and emotion has been conjured in my active imagination.
Although it is titled, THE BRIDGE, and that symbolic Manhattan-Brooklyn span is reinforced many times by moments of stately grandeur (its opening bells of dignity), I most appreciate THE BRIDGE’S, “ebb and flow.” Throughout your piece, the effervescent consistency of melodic moments surge and swirl; rise, and fall. THE BRIDGE is tidal. Also, beneath THE BRIDGE are currents. And, like seabirds soaring above those currents, there is graceful flight.
Such effects are often the result of Brett Deubner’s glorious playing. Deubner celebrates the sheer beauty of what pulses beneath and around the steel, concrete, and stone structure; his viola captivates me each time I have listened, and I’m certain it will continue to do so.
Much modern music (and its dissonance) turns me off. Your score, THE BRIDGE completely transcends that form. Bravo! It offers Hart Crane both the grace and peace he so desperately needed in his short life. Indeed, with this tribute, you now stand with Graham and Copland. I say now, because, as they say, timing is everything. I for one am so glad you encountered my website (as indicated below by your LINKED-IN comments) after you completed your composing.
WELL, MY MIND IS BLOWN TO LEARN, AFTER CHANCING ACROSS AN ARTICLE ON-LINE, THAT COPLAND’S FAMOUS BALLET, “APPALACHIAN SPRING,” WAS INSPIRED BY HART CRANE’S POEM “THE BRIDGE.” I HAD NO IDEA THAT THE TITLE WAS GIVEN IT BY MARTHA GRAHAM, WHO TOOK THE WORDS FROM ONE OF THE STANZAS IN “The Dance“, ONE OF THE 15 POEMS IN CRANE’S EPIC. COPLAND’S WORKING TITLE WAS THE INNOCUOUS “BALLET FOR MARTHA.”
FORTUNATELY, I DIDN’T KNOW THAT WHEN I DECIDED TO WRITE [my score] “THE BRIDGE“. IT MIGHT HAVE DISCOURAGED ME FROM THE ATTEMPT!
https://www.linkedin.com/feed/update/urn:li:activity:7159728507151937536/
And, considering these above, upper case, LINKED-IN comments, now that you know the origins of Copland’s opus, would you consider embracing it by scoring and producing the World Premiere performance of Appalachian BRIDGE?
I’m assuming you have listened to the merged works and I am hoping you are envisioning its full potential.
I’m not a musician. I’ve no financial resources. But, in the wake of your outstanding score, THE BRIDGE, (again, kudos) you appear to be THE qualified musician to continue what has begun: the actual scoring and performing of “Appalachian BRIDGE“.
This potential first, official merging of the Copland’s score to its well-spring (as evidenced on this website) would provide a great response to Dr. Annegret Fauser’s evocative question, “ . . . what are we talking about when we speak of Appalachian Spring?”
“Appalachian BRIDGE” awaits your talents, and I eagerly await your further response.
All my best,
J Dominic
From: Stanley Grill
Sent: Monday, February 12, 2024 9:29 PM
To: J D
Subject: RE: Please Consider
Dear JD,
Thanks for taking the time to listen THE BRIDGE – and for your kind words. I’m so pleased that you enjoyed it. And, it’s always a pleasure to meet another fan of Hart Crane’s passionate, evocative poetry. That volume has been sitting on a shelf for many, many years – with me never quite figuring out what I could do with it musically. However, the long COVID shutdown gave me the time – and mental space – to finally find something that would work.
I did, several times, listen [on this website] to your reading of THE DANCE along with a recording of Copland’s masterpiece. A performance of that marriage of words and music [as evidenced by your “Appalachian BRIDGE”] would be lovely – but I’m afraid I’m not the person to do that. . . . My . . . suggestion would be to contact the music directors/conductors of several orchestras, share a link with them of your thesis – and see if they’d be interested in staging a performance of Copland’s music with a reading of Crane’s poem. It might make a wonderful companion piece to Copland’s “Lincoln Portrait.”
Please stay in touch! Connect with me on LinkedIn or other social media – and let me know if you have success with landing a performance.
I was so taken by your thesis that I shared it around, so hopefully . . . more people are reading it – and coming to a different understanding about Copland and Graham’s inspirations.
With best regards,
Stanley
http://www.stangrillcomposer.com