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- The Cat and the Mouse: Scherzo humoristique
- Form: Piano
- Date: 1920
- First performance: 23 September 1921. Paris. Aaron Copland, piano
- Publisher: Durand & Cie.
- Date of publication: 1921
- Timing: 3'
- Notes: the current subtitle of the piece, "Scherzo humoristique," seems to have been its original title, and "The Cat and the Mouse" the subtitle
- Related digital items:
- Letter
from Aaron Copland to his parents, February 4, 1922.
- Letter
from Aaron Copland to his parents, February 22, 1922.
- Letter
from Aaron Copland to his parents, March 1, 1922.
- Letter
from Aaron Copland to his family, March 8, 1922.
- Letter
from Aaron Copland to his parents, March 28, 1922.
- Letter
from Aaron Copland to his parents, April 7, 1922.
- Letter
from Aaron Copland to his parents, April 11, 1922.
- Letter
from Aaron Copland to Irving and Verna Fine, November 21, 1948.
- Letter
from Aaron Copland to Irving Fine, March 10, 1950.
- Letter
from Aaron Copland to his parents, March 1, 1922.
- Letter
from Aaron Copland to his family, March 8, 1922.
- The City
- Form: Film score
- Date: 1939
- First performance: 1939, New York World’s Fair
- Publisher: Unpublished as a film score
- Notes: two sections of the film were included in Music for the Movies as “New England Countryside” and “Sunday Traffic.”
- Related digital items:
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- The Cummington Story
- Form: Film score
- Date: 1945
- Publisher: Unpublished
- Publisher: Unpublished
- Notes: a production of the U.S. Office of War Information. An except from this score was published as a piano solo under the title In Evening Air
- The Heiress
- Form: Film score
- Date: 1949
- First performance: 6 October 1949, New York
- Publisher: Unpublished
- Related digital items:
- Letter
from Aaron Copland to Nicolas Slonimsky, August 12, 1960.
- Letter
from Aaron Copland to Verna Fine, September 30, 1948.
- Letter
from Aaron Copland to Irving and Verna Fine, November 21, 1948.
- The
Heiress [sketches]
- Letter
from Aaron Copland to Serge Koussevitzky, December 6, 1942.
- Letter
from Aaron Copland to Carlos Chávez, March 3, 1943.
- Letter
from Aaron Copland to Serge Koussevitzky, March 22, 1943.
- Letter
from Aaron Copland to Serge Koussevitzky, April 1, 1943.
- Letter
from Aaron Copland to Serge Koussevitzky, April 10, 1943.
- The House on the Hill
- Form: Unaccompanied women's chorus
- Date: 1925
- Text: Edwin Arlington Robinson; from Children of the Night
- First performance: 24 April 1925. New York. Women’s University Glee Club, cond. Gerald Reynolds
- Publisher: E.C. Schirmer
- Date of publication: 1926
- Timing: 5'
- Dedication: “to Thomas Whitney Surette”
- Notes: often grouped with (but seldom performed with) An Immorality as “Two Choruses.”
- Related digital items:
- The North Star
- Form: Film score
- Date: 1943
- Script: Lillian Hellman
- Lyrics: Ira Gershwin
- First performance: 4 November 1943
- Publisher: Unpublished
- Notes: The following excerpts from the film were published: “Song of the Guerrillas;” “The Younger Generation;” “ No Village Like Mine.” (The first two were published both as solo songs and as choral numbers, the last as a solo song only.) This film was re-released in the 1950s, shorn of its earlier scenes, as “Armored Attack.”
- Related digital items:
- Letter
from Aaron Copland to Irving Fine, June 15, 1945.
- Letter
from Aaron Copland to Harold Spivacke, April 13, 1943.
- Letter
from Aaron Copland to Harold Spivacke, August 30, 1943.
- Letter
from Aaron Copland to Marcelle de Manziarly, March 18, 1943.
- Letter
from Aaron Copland to Marcelle de Manziarly, September 14, 1943.
- The Red Pony (film)
- Form: Film score
- Date: 1948
- First performance: 8 March 1949
- Publisher: Unpublished
- Notes: Copland made an orchestral suite from this film in 1948
- Related digital items:
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- The Red Pony (orchestral suite)
- Form: Orchestra
- Date: 1948
- First performance: 30 October 1948. Houston Symphony Orchestra, cond. Efrem Kurtz
- Publisher: Boosey & Hawkes
- Date of publication: 1951
- Timing: 24'
- Dedication: “to Erik Johns”
- Contents: I. Morning on the Ranch II. The Gift III. Dream March and Circus Music IV. Walk to the Bunkhouse V. Grandfather’s Story VI. Happy Ending
- Notes: excerpts from the film score Copland thought of calling this “Children’s Suite from The Red Pony.” Correspondence relating to the film may be accessed through the entry on the film score
- The Second Hurricane
- Form: Opera
- Words: Edwin Denby
- First performance: 21 April 1937. New York, Henry Street Settlement Music School, cond. Lehman Engel
- Publisher: C.C. Birchard
- Date of publication: 1938
- Timing: 90'
- Dedication: “to Victor and Rudi and Germaine and Ruth and also Paul and Virgil”
- Notes: the finale, “That’s the Idea of Freedom,” was also published separately
- Related digital items:
- The Tender Land
- Form: Opera
- Date: 1954
- Text: “Horace Everett” (Erik Johns)
- First performance: 1 April 1954. New York. New York City Opera Company, cond. Thomas Schippers
- Publisher: Boosey & Hawkes
- Date of publication: 1956
- Timing: 100'
- Notes: Copland prepared an orchestral suite from the opera in 1957-1958 Other material from the opera published separately are: “The Promise of Living” in a version for five-part chorus; “Stomp Your Foot” for chorus and piano; and “Laurie’s Song” (“Once I Thought”) for voice and piano. The music of The Promise of Living is based on Zion’s Walls from Old American Songs, Set II
- The Tender Land
- Form: Orchestral suite
- Date: 1958
- First performance: 10 April 1958. Chicago Symphony Orchestra, cond. Fritz Reiner
- Publisher: Boosey & Hawkes
- Date of publication: 1960
- Timing: 21'
- Contents: I. Introduction and Love Music II. Party Scene III. Finale: The Promise of Living
- Notes: The music of “The Promise of Living” is based on Zion’s Walls from Old American Songs, Set II
- Related digital items:
- Letter
from Aaron Copland to Irving and Verna Fine, March 19, 1954.
- Letter
from Aaron Copland to Irving Fine, March 29, 1954.
- Letter
from Aaron Copland to Irving and Verna Fine, April 26, 1954.
- Letter
from Aaron Copland to Irving Fine, July 1954.
- Letter
from Aaron Copland to Verna Fine, July 24, 1954.
- Letter
from Aaron Copland to Irving and Verna Fine, July 5, 1955.
- Letter
from Aaron Copland to Verna Fine, May 9, 1956.
- Letter
from Aaron Copland to Irving Fine, March 17, 1957.
- Letter
from Aaron Copland to Mary Lescaze, March 4, 1954.
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- The World of Nick Adams
- Form: Television score
- Date: 1957
- First performance: 10 November 1957. Cond. Alfredo Antonini
- Publisher: Unpublished
- The Young Pioneers
- Form: Piano
- Date: 1935
- First performance: 24 February 1936. New York. Aaron Copland, piano
- Publisher: Carl Fischer
- Date of publication: 1936
- Timing: 1'
- Third Symphony
- Form: Orchestra
- Date: 1944-1946
- First performance: 18 October 1946. Boston Symphony Orchestra, cond. Serge Koussevitzky
- Publisher: Boosey & Hawkes
- Date of publication: 1947
- Timing: 42'
- Dedication: “Dedicated to the memory of my dear friend Natalie Koussevitzky.”
- Contents: I. Molto moderato – with simple expression II. Allegro molto III. Andantino quasi allegretto IV. Molto deliberato / Doppio movimento (Allegro risoluto)
- Notes: the introduction to the fourth movement incorporates the Fanfare for the Common Man
- Related digital items:
- Letter
from Aaron Copland to Irving and Verna Fine, July 5, 1955.
- Letter
from Aaron Copland to Louis Kaufman, June 14, 1945.
- Letter
from Aaron Copland to Mary Lescaze, June 19, 1945.
- Letter
from Aaron Copland to Marcelle de Manziarly, September 15, 1944.
- Letter
from Aaron Copland to Marcelle de Manziarly, April 24, 1945.
- Fanfare
for the common man [piano sketch]
- Third
symphony [pencil draft]
- Third
symphony [ozalid piano score]
- Letter
from Aaron Copland to Nicolas Slonimsky, July 14, 1927.
- Three Latin-American Sketches
- Form: Orchestra
- Date: 1971
- First performance: 7 June 1972. New York Philharmonic Orchestra, cond. Andre Kostelanetz
- Publisher: Boosey & Hawkes
- Date of publication: 1975
- Timing: 10'
- Contents: I. Estribillo II. Paisaje Mexicano III. Danza de Jalisco
- Notes: an expansion of Two Mexican Pieces. Copland describes the orchestra – single winds, but at least six first violins – as “small orchestra” rather than “chamber orchestra.”
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- Three Moods
- Form: Piano
- Date: 1920-1921
- First performance: Fontainebleau, 21 September 1921. Aaron Copland, piano
- Publisher: Boosey & Hawkes
- Date of publication: 1981
- Contents: I. Embittered II. Wistful III. Jazzy
- Notes: Originally Four Moods, with Petite Portrait (ABE)
- Related digital items:
- Threnody No. 1: Igor Stravinsky in Memoriam
- Form: Flute and string trio
- Date: 1971
- Publisher: Tempo magazine, no 98
- Publisher: Tempo magazine, no 98
- Date of publication: 1972
- Timing: 2'
- Threnody No. 2: Beatrice Cunningham in Memoriam
- Form: Alto flute and string trio
- Date: 1973
- Publisher: Boosey & Hawkes
- Publisher: Boosey & Hawkes
- Date of publication: 1977
- Timing: 4'
- Tragic Ground
- Form: Musical
- Date: 1945
- Publisher: Unfinished
- Publisher: Unfinished
- Notes: Despite the title, Caldwell’s novel is a comedy. Tragic Ground is the source of “I Bought Me a Cat” from Old American Songs, Set I and of the version of Zion’s Walls in Old American Songs, Set II. It was also drawn on for music for The Red Pony, The Tender Land and Dance Panels
- Related digital items:
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- Twelve Poems of Emily Dickinson
- Form: Voice and piano
- Date: 1949-1950
- Text: Emily Dickinson
- First performance: 18 May 1950. New York Alice Howland, soprano; Aaron Copland, piano
- Publisher: Boosey & Hawkes
- Date of publication: 1951
- Timing: 28'
- Dedication: “to twelve composer friends” as follows: I. “To David Diamond.” II. “To Elliott Carter.” III. “To Ingolf Dahl.” IV. “To Alexei Haieff.” V. “To Marcelle de Manziarly.” VI. “To Juan Orrego Salas.” VII. “To Irving Fine.” VIII. “To Harold Shapero.” IX. “To Camargo Guarnieri.” X. “To Alberto Ginastera.” XI. “To Lukas Foss.” XII. “To Arthur Berger.”
- Contents: I. Nature, the gentlest mother II. There came a wind like a bugle III. Why do they shut me out of Heaven? IV. The world feels dusty V. Heart, we will forget him VI. Dear March, come in! VII. Sleep is supposed to be VIII. When they come back IX. I felt a funeral in my brain X. I’ve heard an organ talk sometimes XI. Going to Heaven! XII. The Chariot
- Notes: Eight of the poems – 1, 2, 4, 5, 6, 7, 11, and 12 – were orchestrated by Copland in the years between 1958 and 1970. When performed as a group they go under the title “Eight Poems of Emily Dickinson.”
- Related digital items:
- Two Ballads for Violin and Piano
- Date: 1957
- Publisher: Unpublished
- Publisher: Unpublished
- Dedication: “To Verna Fine”
- Contents: I. Half-note = circa 60. Simple and direct II. Quarter-note = circa 80
- Notes: realized by Bennett Lerner and Phillip Ramey from sketches
- Related digital items:
- Two Mexican Pieces
- Form: Chamber orchestra
- Date: 1959
- First performance: July 1959, Spoleto (second movement only)
- Publisher: Boosey & Hawkes
- Date of publication: 1968
- Contents: I. Paisaje Mexicano II. Danza de Jalisco
- Notes: expanded as Three Latin-American Sketches in 1971. “Danza de Jalisco” was arranged by the composer for two pianos in 1963
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- Two Pieces for String Quartet or String Orchestra
- Date: 1923-1924, 1928
- First performance: (string quartet): 6 May 1928. N.Y., Lennox Quartet; (string orchestra): 14 December 1928. Boston. Boston Symphony Orchestra, cond. Serge Koussevitzky
- Publisher: Arrow Music Press
- Date of publication: 1940
- Timing: 11'
- Contents: I. Lento molto II. Rondino on the name Gabriel Fauré
- Notes: the Rondino on the Name Gabriel Fauré was written in 1923-1924 and was performed as an independent piece at Fontainebleau in September 1924
- Related digital items:
- Letter
from Aaron Copland to Nadia Boulanger, April 19, 1929.
- Letter
from Aaron Copland to Carlos Chávez, May 28, 1929.
- Letter
from Aaron Copland to his parents, September 3, 1932.
- Letter
from Aaron Copland to Serge and Natalie Koussevitzky, September 5,
1932.
- Letter
from Aaron Copland to his parents, September 29, 1932.
- Letter
from Aaron Copland to Carlos Chávez, April 7, 1933.
- Letter
from Aaron Copland to Natalie Koussevitzky, November 11, 1933.
- Letter
from Aaron Copland to Carlos Chávez, December 16, 1933.
- Letter
from Aaron Copland to Carlos Chávez, October 15, 1934.
- Letter
from Aaron Copland to Paul Bowles, December 13, 1934.
- Letter
from Aaron Copland to Carlos Chávez, December 31, 1934.
- Letter
from Aaron Copland to Carlos Chávez, August 28, 1935.
- Letter
from Aaron Copland to Carlos Chávez, September 30, 1935.
- Letter
from Aaron Copland to Carlos Chávez, November 28, 1940.
- Letter
from Aaron Copland to Carlos Chávez, October 23, 1943.
- Letter
from Aaron Copland to Carlos Chávez, February 7, 1946.
- Two Pieces for Violin and Piano
- Date: 1926
- First performance: 5 May 1926. Paris. Samuel Dushkin, violin; Aaron Copland, piano
- Publisher: B. Schott's Söhne
- Date of publication: 1928
- Timing: 9'
- Dedication: I.: "To Israel Citkowitz." II. "To Samuel Dushkin."
- Contents: I. Nocturne II. Ukelele Serenade
- Notes: Like many other people, Copland misspells “ukulele.”
- Related digital items:
- Letter
from Aaron Copland to Nadia Boulanger, March 4, 1926.
- Letter
from Aaron Copland to Nadia Boulanger, December 19, 1927.
- Letter
from Aaron Copland to Natalie Koussevitzky, February 16, 1928.
- Letter
from Aaron Copland to Louis Kaufman, December 8, 1942.
- Letter
from Aaron Copland to Louis Kaufman, December 1, 1944.
- Letter
from Aaron Copland to Louis and Annette Kaufman, December 28, 1977.
- Two
pieces for violin and piano [first sketches]
- Letter
from Aaron Copland to Nadia Boulanger, April 3, 1925.
- Letter
from Aaron Copland to Nadia Boulanger, October 16, 1927.
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