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Appalachian Spring

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Appalachian Spring
Graham sitting in a chair and gesturing upwards, wearing a heavy black overcoat
Martha Graham,c. 1940
ChoreographerMartha Graham
MusicAaron Copland
PremiereOctober 30, 1944(1944-10-30)
Coolidge Auditorium
Original ballet companyMartha Graham Dance Company
Characters
  • The Bride
  • The Husbandman
  • The Pioneer Woman
  • The Revivalist
Design
Setting19th-centuryPennsylvania
Created for
GenreModern dance

Appalachian Springis an Americanballetcreated by the choreographerMartha Grahamand the composerAaron Copland,later arranged as anorchestral work.Commissioned byElizabeth Sprague Coolidge,Copland composed the ballet music for Graham; the original choreography was by Graham, with costumes by Edythe Gilfond and sets byIsamu Noguchi.The ballet was well received at the 1944 premiere, earning Copland thePulitzer Prize for Musicduring its 1945 United States tour. The orchestralsuitecomposed in 1945 was played that year by many symphony orchestras; the suite is among Copland's best-known works, and the ballet remains essential in theMartha Graham Dance Companyrepertoire.

Graham was known for creating the "Graham technique"of dance; in the 1930s, she began commissioning scores from various composers, often related toAmerican historyandculture.Around the same time, Copland incorporated relatable and accessible musical characteristics of theAmericanastyle to increase his music's appeal to the general public; he first implemented this in earlier ballets likeBilly the KidandRodeo.The initial scenario forAppalachian Springdevised by Graham was revised many times by both her and Copland; the title characters' names were changed numerous times and other characters from the early revisions were cut in the final production. Originally orchestrated for a thirteen-piece chamber orchestra, the score was arranged into various suites by Copland for different purposes; the original ballet featured eight episodes, three of which were cut in the well-known orchestral suite.

The ballet takes place in a smallAppalachiansettlement in 19th-centuryPennsylvania.There are four main characters: the Bride, the Husbandman, the Pioneer Woman, and the Revivalist; the last is accompanied by four Followers.[a]Appalachian Springfollows the Bride and the Husbandman as they get married and celebrate with the community. Themes of war are present throughout the story; it is suggested that the Husbandman leaves for war, causing worry and anxiety among the community.Shakerthemes also influenced the ballet, notably in the music, where Copland incorporated atheme and variationson the common Shaker tune "Simple Gifts".

History[edit]

Background[edit]

During the late 1920s and early 1930s,Aaron Coplandspent much of his time promoting American composers and music.[1]Copland's compositions during this time turned jazzy and dissonant,[2][3]a style that interested few.[1]During theGreat Depression,hisleft-wing political stancesstrengthened, motivated by addressing the concerns of ordinary people.[4][1][5]This initiated the idea of music that was simple and accessible enough to be liked by the general public,[1][6]a concept pioneered in his opera for childrenThe Second Hurricane(1937) and his greatly successful balletEl Salón México(1936).[1][7][8]This "ordinary music" idea is present inAppalachian Spring;Copland remarked in a 1980 interview that the music was "plain, singing, comparatively uncomplicated and slightly folksy. Direct and approachable".[9]The composer solidified hispopulistandAmericanastyle with ballets likeBilly the Kid(1938) andRodeo(1942),[10][11]both of which usedcowboy songsand fit with the popular stereotypes about theWild West.[11][12]In addition,Lincoln Portrait(1942) andFanfare for the Common Man(1942) received widespread acclaim for their American themes, distinguishing Copland's versatility as a composer.[13]

Martha Grahamwas a modern dancer and choreographer best known for creating the "Graham technique"of dance.[14][15]TheMartha Graham Dance Companyoriginally consisted of only women due to Graham's feminism; this played a key role in productions likeAmerican Document(1938), which mixed important moments inAmerican historywithNative Americanthemes andAmerican folklore.[16]In the 1930s, she began commissioning scores from various composers; the scenarios often involved American history andculture.[14]

Commission and writing[edit]

In 1941, Graham proposed to Copland a dark ballet about the Greek mythology figureMedea;despite being a great admirer of Graham, he declined.[17]The following year,Erick Hawkins,the chief male dancer in Graham's dance company, convinced the music patronElizabeth Sprague Coolidgeto commission a ballet from Copland for Graham's company; Copland happily accepted the offer.[18]Graham first proposed a scenario titled "Daughter of Colchis",which was inspired by the story of Medea but set in 19th-centuryNew England.Copland found it "too severe", and the idea was given to another Coolidge commissionee,Carlos Chávez.[17]In May 1943, Graham sent Copland a scenario titled "House of Victory", about a newlywed couple in a small 19th-centuryPennsylvaniasettlement. Copland revised the scenario before composing the music, though his occupation with the score forThe North Starcaused the beginning of his work to be delayed.[17][19][20]

Per Coolidge's commission, the orchestra was to be no bigger than twelve musicians.[17]Copland originally planned to orchestrate it for doublestring quartetand piano, but later decided to add a double bass, flute, clarinet, and bassoon, a scoring similar to Chávez's work.[21]During the 1940s, Copland spent much of his time on theWest CoastscoringHollywood films;as a result, he composed the music forAppalachian Springfar from Graham'sEast Coast-based work.[22][23][24]Since he could not meet with Graham, he relied greatly on the various scenarios sent to him. In total, Copland was sent three scripts: the original "House of Victory", and two revisions titled "Name".[21][25]In composing the music, he drew from all three scripts to devise his own scenario, which Graham planned around as she received various drafts of the score.[26]Copland used the working title "Ballet for Martha" during the composition process.[27]

The original scenario, "House of Victory", used characters based on common Americanarchetypesand was set during theCivil War,but also drew fromGreek mythologyandFrench poetry.[b][29][30]Four main characters were present: the Mother, who represents thepreindustrialAmerican; the Daughter, a brave pioneer; the Citizen, a smart civil rights advocate who marries the Daughter; and the Fugitive, who embodies theslave in the Civil War.[a][29][31][32]Graham based some of the ballet on her own experiences. She grew up in small-town Pennsylvania, and later wrote that the Mother was based on her own grandmother.[31][33]Other characters include the Younger Sister, Two Children, and Neighbors.[34][31]In the later revisions, a new character was added: aNative Americangirl to represent the land, associated with the story ofPocahontas.The Native American girl was meant to act as a theatrical device, interacting with everyone in the ballet without being acknowledged, but the idea was scrapped in Copland's final composition.[19][31][35]Additionally, Graham planned for the Mother to speak excerpts from theBook of Genesisthroughout, "not in a religious sense so much as in a poetic sense";[36]this too was cut by the premiere.[37]

The final scenario featured eight episodes:[c]

  1. Prologue: Graham did not want this opening episode to be long; she wanted it to have "a sense of simple celebration". As the lights went up, the Mother observed her land.[36]
  2. Eden Valley: The Daughter and the Citizen dance together in a "duet of courtship".[36]
  3. Wedding Day: Graham divided this episode into two parts. The first opens with a dance between the Younger Sister and the Two Children. The Citizen exhibits his strength before carrying the Daughter into the couple's new home. In the second part, the Daughter and the Citizen dance a love scene in the home, while those outside celebrate in an "old fashion charivari".[36]
  4. Interlude: This episode depicts daily life in the town during spring planting.[36]
  5. Fear in the Night: The central conflict of the ballet begins in this episode. The Fugitive enters with an "awkward" and "tragic" solo, bringing forth the fear and suffering of the Civil War.[36][38]
  6. Day of Wrath: This episode was intended to represent the tragedies of war, accompanied by music reminiscent of the Civil War. The Citizen dances a violent solo "reminiscent ofHarper's Ferry and John Brown"while the Two Children play a war game.[39][40]
  7. Moment of Crisis: The women of the town gather, their behavior suggesting "a barely suppressed hysteria".[41]
  8. The Lord's Day: The final scene was intended to depict "Sabbathin a small town ". The Daughter and the Citizen perform a love duet outside the home, and the rest of the community attends arevival meeting.[41][42]

The "House of Victory" script included an extra episode after the "Interlude" presenting scenes fromUncle Tom's Cabin,strengthening the ballet's connection to the Civil War; but, upon Copland's persuasion, Graham cut the episode from the revisions.[34][41]In addition, the original script used a different final scene, where the Daughter and the Citizen reunite in the home. The second script ended with "the town settling down for the night" and the Daughter standing at the fence just before the curtain falls. The third script put forth "The Lord's Day" as it would stand in the final scenario.[41]

Graham received half of the score in January 1944 and began work on the choreography.[43]Copland completed thecondensed scorein June 1944, and the orchestration was finished in August.[21]The premiere was originally set to take place at theLibrary of Congresson October 30, 1943, which was Coolidge's birthday. By May 1943, Copland had not begun composing the ballet, and given the further problems introduced by World War II, the premiere was postponed to early 1944.[17]Despite a new December 1943 deadline for the music, a completed score was still not in view, and the premiere was pushed to late 1944.[21]

Production[edit]

A stage. People sit under the outline of a house on the left; a figure in a black cloak stands atop a stump
Isamu Noguchi's set

Shortly before the premiere, Graham decided upon the title "Appalachian Spring".[d]It was taken from the cycle of poemsThe Bridge[e]byHart Crane,an American poet also seeking to create unique American art;[42][45]one of the poems, titledPowhatan's Daughter,contained the line "O Appalachian Spring!"[42][46]Crane's work was a great inspiration to Graham while she wrote the various scripts.[45][47]

To construct the set, Graham hiredIsamu Noguchi,a sculptor and common collaborator with the company. While planning, she took Noguchi to theMuseum of Modern Artand showed himAlberto Giacometti's sculptureThe Palace at 4 a.m.[f]as a reference for what she wanted:[48]something depicting the inside and outside of a house without actually dividing it, a sort of blurred mix. Noguchi's use of an outline of a house served as a metaphor for the general idea of the work being about "the bone structure of a people's living".[49][50]The set featured the outline of a house, part of a porch with a ledge, a rocking chair, a small fence, and a tree stump (serving as the Revivalist'spulpit).[30][51]Edythe Gilfond created the costumes andJean Rosenthaldesigned the lighting.[52][53][54]

Many changes were made to the scenario after the score was finished. The Younger Sister, the Two Children, and the Neighbors were all cut, and the rest of the cast was renamed: the Daughter to the Bride; the Citizen to the Husbandman; the Mother to the Pioneer Woman; and the Fugitive to theRevivalist.[g][19][55]Four Followers of the Revivalist were added to the cast for a total of nine dancers in the ballet.[55]The choreography often deviated from both the final scenario and Copland's annotations in the score; for example, the closing love duet between the Bride and the Husbandman became a dance between the Revivalist and his four Followers.[56]Regardless, Copland was not irritated by this, later commenting, "That kind of decision is the choreographer's, and it doesn't bother me a bit, especially when it works."[57]The cast at the premiere starred Graham as the Bride, Hawkins as the Husbandman,May O'Donnellas the Pioneer Woman, andMerce Cunninghamas the Revivalist.[58]Yuriko,Pearl Lang,Nina Fonaroff, andMarjorie Maziadanced the Revivalist's followers.[59][60]

Graham's performance was young and lively, which critics praised.[61][62]On the contrary, Hawkins was stiffer and exhibited the masculinity of the role, but later performers were more supple with movements. Cunningham, who choreographed his own solo during "Fear of the Night", was instructed to display great anger; Graham later described the role to a new dancer as being "ninety-nine percent sex and one percent religion: a real popular spellbinder, a magnetic man who had power over women."[61]Graham's vision for the four Followers was spontaneity; they would remain perfectly still until their time came, and when they did dance, it would be with energy and focus.Agnes de Mille,fellow choreographer and close friend of Graham's, pointed out that many subsequent productions featured cute and perky Followers, but that this was not Graham's original intention.[63]Much of the contrast between female and male characters was intentional. While the female characters remained bouncy and light, the male characters were stiff and took up much space.[64]

The press described the choreography as simple and precise.[65][66][67]Despite being set during such a scenario, the choreography does not explicitly depict a wedding; rather, the dance expresses the emotions of individual characters.[52]This non-literal plot allowed for free emotional interpretation by the audience.[68]The Bride's movements featured quick patterns that stayed within an imaginary box around her. This contrasted with the Revivalist's strict posture and the flowing movements of the Pioneer Woman.[69]One reviewer pointed out the solitude of the characters and its manifestation in their movements, writing, "The separateness of still figures... which their poses emphasize, suggests that people who live in these hills are accustomed to spending much of their time alone."[70]

Initial run and reception[edit]

Appalachian Springpremiered on October 30, 1944, at theCoolidge Auditorium,conducted byLouis Horst,the music director of the company.[h][72][73]The premiere was the closing concert of a four-day chamber music festival honoring Coolidge's 80th birthday.[74][75]Copland had not attended any of the rehearsals at Graham's request, first seeing the full performance a day before the premiere.[76][26]The ballet was well-received by critics and the public.[58][71][77]The New York TimescriticJohn Martinwrote of the music, "Aaron Copland has written a score of fresh and singing beauty. It is, on its surface, a piece of early Americana, but in reality it is a celebration of the human spirit."[78]TheDance Observercritic Robert Sabin wrote of the story, "Appalachian Springworks outward into the basic experiences of people living together, love, religious belief, marriage, children, work and human society. "[71]The dance was also praised; Martin continued, "There is throughout the work a very moving sense of the future, of the fine and simple idealism which animates the highest human motives."[78]The dance critic Walter Terry praised Graham in particular, writing in 1953, "Miss Graham brought to the role a wonderful radiance which dominated the entire ballet."[79]The group of dancers was commended for being well-trained and enthusiastic.[65]Copland's idea for ordinary music continued to be popular; one reviewer commented that it was "comprehensible even to the bored businessman".[34]Copland himself had a modest opinion of the premiere; a week later, he wrote in a letter: "People seemed to like it so I guess it was all right."[80]

The great demand for tickets caused a repeat of the October 30 program to occur the following evening.[81]Shortly after the premiere, the Graham Company tookAppalachian Springon tour across the United States with the same cast. The debut show of the tour took place inWashington, D.C.,on January 23, 1945.[58][82]The New York premiere of the ballet occurred days afterVictory in Europe Day;the ballet's American populist themes, combined with Copland winning thePulitzer Prize for Musicin the same week, caused this show to be even more successful.[58][83][84]After every performance sold out, the New York run was extended by one night.[85]

Later performances[edit]

Appalachian Springremains an essential production in theMartha Graham Dance Companyrepertoire.[52][86]Due to the high cost of licensing, the ballet was not performed by another company until 1998, when theColorado Balletstaged it led by artistic director Martin Fredmann.[87]In 2013, theBaltimore School for the Artsput on a production for the "Appalachian Spring Festival" in association with the Graham Company, which featured a complete performance of the ballet and various art exhibits. It marked the first time a non-professional company was granted permission from theMartha Graham Centerto perform the ballet.[88]Appalachian Springhas been performed by numerous dance companies since, including the Onium Ballet Project in Hawaii,[89]theNashville Balletin Tennessee,[90]Dance Kaleidoscope in Indiana,[91]and theSarasota Balletin Florida.[92]

Many considerAppalachian Springto be one of Copland's best and most famous works;[76][93]it holds equal notability in the Graham company's repertoire.[94][95]The criticTerry Teachoutwrote, "It is probably the greatest piece of classical music composed by an American. Certainly the greatest dance score composed by an American, completely comparable in quality to the great ballets ofTchaikovskyorStravinsky.All that is best about mid-century American music is in this piece. "[76]In addition, the ballet was essential to the development of modern American ballet;[96]it and Copland's other Americana works represented the leftist national ideals important to the postwar era,[97]but used traditional themes, steering away from the outwardly political works of many New York artists at the time.[98]Lynn Garafola compared Copland and Graham's collaboration to that of Stravinsky andDiaghilev;whereas Stravinsky composed purely Russian scores for Diaghilev'sBallets Russes,Copland composed American music for Graham's company, helping define American dance.[99]

Themes[edit]

Chromolithograph of a large battle. One group displays the Confederate battle flag and the other displays an American flag.
Themes of war, particularly theAmerican Civil War,are present throughoutAppalachian Spring.

Themes of war are present throughout the conflict ofAppalachian Spring.[100][101]The central conflict begins in the "Fear in the Night" episode, where the Revivalist delivers a hauntingsermon.Howard Pollackargued that this scene represented the spirit ofJohn Brown's raid on Harpers Ferry,something that could cause the Husbandman to be drafted in the Civil War. Furthermore, the subsequent "Day of Wrath" episode can be seen as the Husbandman leaving for war, depicted with waves of goodbye. "Moment of Crisis" is an expression of anxiety and concern for the Husbandman, and "The Lord's Day" is a prayer for peace and safety. When the Husbandman rejoins the Bride at the end, Pollack suggests this is actually in her imagination, further supported by her final gesture of reaching out to the horizon.[100]Mark Franko says that the Civil War themes are possibly a reference to thecivil rights movementand ongoingracial inequality in the United States.[28]

The opening of the music uses delicately placeddissonancesto create a dreamy landscape. In the scripts Copland worked from, this scene was to feature the Pioneer Woman sitting "terrifyingly still" and looking over her land. Elizabeth Crist speculates that the entire ballet is the Pioneer Woman's memory; Crist suggests that the dissonances in the music depict the Pioneer Woman reflecting on the hardships she faced, and that the following episodes are entirely her own experiences.[102]Crist continues that when the opening themes are recalled at the end of the ballet, the Bride disconnects from the Pioneer Woman's memory, becoming her own individual memory; the Bride sits where the Pioneer Woman sat at the beginning, the context having shifted to a new time. Crist describes this as an embodiment of the link between wars among generations: as the youth during World War II saw similar circumstances to the generation of the Civil War, the Bride represents the common experiences of people living on the homefront during the 19th and 20th centuries.[93]Graham's explanation for this was the fluidity of time, where younger generations feel the ramifications of things the older generations experienced.[103]

Shakerthemes are also heavily present inAppalachian Spring.[104][105]This idea is found in the original "House of Victory" script, where the Pioneer Woman is said to sit in a "Shaker rocking chair".[104][106]Copland's interest in Shakers was not new, as they became a common subject of American art during the Great Depression.[104][105]After Copland included the Shaker tune "Simple Gifts"into the" Interlude ", Graham added" The Lord's Prayer "as a possible" Shaker meeting ".[i][108]Copland had decided to use "Simple Gifts" early on; by extracting a basic melodic motif from the tune, he createdvariationson it throughout the composition, first referring to it in the opening measures.[109][110]The lyrics of "Simple Gifts" are connected to the ballet's themes of peace and remembrance during wartime: "'Tis the gift to be simple, 'tis the gift to be free".[111]

Instrumentation[edit]

The original ballet and subsequent suite for chamber orchestra are scored for:[112][113][114]

The suite for orchestra and ballet arrangement for orchestra are scored for:[115][116]

Music and plot[edit]

Prologue[edit]

\layout { indent = 1\cm } \relative c'' << \new Staff \with { instrumentName = "B♭ Cl." } { \set Staff.midiInstrument = "clarinet" \clef treble \transposition bes \key b \major \time 4/4 \tempo "Very slowly" 4 = 66 { s1 | r2 b\p( | dis4 fis dis fis)~ | fis r } } \new Staff \with { instrumentName = "Vla." } { \set Staff.midiInstrument = "violin" \clef alto \key a \major \time 4/4 \tempo "Very slowly" 4 = 66 { r2 a,,4\mp--\upbow( a--) | a1--~\> | a1~\! | a2 } } >>

The ballet opens with a soft, quiet A major triad in the clarinet.[117][118]The cello sustains the Atonicwhile the flute, violin, and viola stack build the A major triad again, this time with thedominantchord (E major) stacked in top. This creates a luminous scenescape, but the dissonances foreshadow danger.[119][120]Copland conjures images of a pastoral scene by ending the chords with a deep tonic in the piano and following it with a shepherd flute-like reiteration of the triad.[121]This opening polychord, consisting of the tonic A major and dominant E major, is found throughout the score as a foundation for many of the melodies and tonalities.[122]The Revivalist enters first, in darkness, followed by the Pioneer Woman, who takes a seat in her rocking chair. Then, the Husbandman and Bride enter; as the Husbandman pauses to observe the home, daylight illuminates the stage.[123][124]The four Followers join the Revivalist, who has observed the land with the Pioneer Woman.[54]The two-minute opening has set up the themes present throughout the ballet, and Copland employed the upwards building of chords to depict a "nonmilitantfanfare",as Graham described in the early scripts.[54][125]

Eden Valley[edit]

\relative c''' { \set Staff.midiInstrument = "piano" \clef treble \key c \major \time 4/4 \tempo "Allegro" 4 = 160 a8_\markup { \dynamic f \italic \small { vigoroso } }-> a, a'4 a8 cis a4->~ | a1\fermata | e'8->[ a,] e[ cis] a[ e] a,4->~ | a1\fermata }

Anallegromelody bursts forth as the Daughter bounds from inside the home.[126]The melodies of "Eden Valley", meant to express the Bride's joy, use elements of an "old-fashionedswing"described in the early scripts.[125]The new melody is followed by a bouncy restatement of the polychord from the "Prologue". Achorale-like second theme is introduced alongside the first. This chorale features odd rhythms between the different voices; while the upper line emphasizes the secondbeat,the bass line accents the first and third beats.[127]The music calms down to amoderato;as the Husbandman enters, jagged rhythms show his awkward movement, but it is twice interrupted by the gentle chorale.[128][125]

As the two back out of the home, the couple dances a duet, this time accompanied by a new, more forceful theme in the strings. A descending melodic line is contrasted with the chorale theme; this connection of themes is seen throughout the episode and was used by Graham to easily shift the characters. The two receive the blessings of the Pioneer Woman and the Revivalist. This section is reminiscent of the Cowgirl's music fromRodeo,or the soft parts ofLincoln Portraitfor the love theme; near the end, the clarinet brings back the chorale, and the flute answers, acall and responsebetween the Bride and the Husbandman.[129][102][125]Throughout the episode, the Followers participate in various group solos; the group often features a "spiraling" motion, moving into a kneeling position. "Eden Valley" closes with the Followers returning to the bench, each taking a seat one-by-one. Illustrating the choreography's close connection to the music, the moment each Follower sits is cued by a short motif in the woodwinds.[130]

Wedding Day[edit]

\relative c''' { \set Staff.midiInstrument = "clarinet" \clef treble \transposition bes \key des \major \time 4/4 \tempo "Fast" 4 = 132 r8 ges_\markup { \dynamic mp \italic \small { playfully } }-. f-.[ des-.] ees16( f ges8-.) aes4-- }

A playful, childlike melody springs from the clarinet,[131]opening the first part of "Wedding Day" and signifying the start of festivities. Graham wanted the first part to have "a little sense of aCounty Fair,a little of a revival meeting, a party, a picnic "; Copland achieves this by relating the music tosquare dancingandfiddling.[132][125]The music becomes heavier and the jagged rhythms return for the Husbandman'sDavy Crockett-esque solo; the love theme returns in the calmer music as the Husbandman carries the Bride into the home.[133]The second part of "Wedding Day" depicts the "old fashion charivari" mentioned in the scripts. The joyous and bouncy music usesscalesand rhythmic jolts to conjure the image of party and celebration.[111]The Bride dances a rhythmically complex solo, similar to the Husbandman's dance in the first part. Instrument sections are clearly divided by quick jumps through changingmetres.The uneven rhythms are replaced by consistent eighth notes, starting a lightpresto;here, Stravinsky's influence on Copland is evident in thePetrushka-like ascending and descendingscales.[134]As the music calms down with a restatement of the choral, the Revivalist dances with his Followers before the full cast proceeds onstage. A reprise of the calm opening (markedas at first) follows the characters as they exit for a walk; the light focuses on the Pioneer Woman's face, then fades into darkness as "Simple Gifts" begins.[135][111]

Interlude[edit]

Shaker music
Music
Works inspired bySimple Gifts
Works inspired by Shakers
\relative c' { \set Staff.midiInstrument = "clarinet" \clef treble \transposition bes \key aes \major \time 4/4 \tempo "Doppio movimento" 4 = 72 \partial 2*1 ees2( \bar "||" \time 2/4 aes8) aes16( bes c aes c des | ees8) ees16( des c8) }

Copland used the Shaker song "Simple Gifts"throughout much ofAppalachian Spring,first playing it in its entirety at the start of the "Interlude".[110][111][136]Throughout the "Interlude", fourvariationson "Simple Gifts" are introduced, some fitting the atmosphere of the action on stage (like one variation reminiscent of the clip-clop of a horse's hooves). Most of the variations leave the melody essentially the same, changing other elements of the music, such as the harmony and instrumentation. This technique was meant to depict the lives of various townspeople doing their daily rounds, while the Husbandman and the Bride are dancing joyfully.[111][137]The two are strongly connected throughout the duet, signified by eye contact, ease of physical touch, and openness of the body.[138]Partway through, the Revivalist and his Followers join in. The Revivalist solos in close alignment with the bassoon, accompanied by the Followers.[139]During the half-speed fourth variation played as acanonin the woodwinds, the Revivalist dominantly watches the couple's high-spirited duet, and follows them as they walk into the home.[140][102][138]

Fear in the Night, Day of Wrath, Moment of Crisis[edit]

{ \new PianoStaff \with { instrumentName = "Pno." } << \new Staff \relative c,, { \clef bass \key aes \major \time 2/4 \tempo "Fast" 4 = 152 f16\p( c' aes c bes-. r8)\bar "|" } >> }

The music of "Fear of the Night" nervously jolts and twitches, similar to the "Gun Battle" inBilly the Kid.[141][142]Fragmented "stingers", as Fauser called them, make the fast section the most "filmic" part of Copland's score.[140]The Revivalist takes off his hat and approaches the bowing Husbandman and Bride.[102]The Revivalist's four Followers surround him as he warns the couple of their eventual separation due to the war.[137]His agonized, frenzied dance was informed by the "dark" experiences ofPeter Sparling,a dancer in the company who would dance the role in later productions; his emotional interpretation influenced future dancers of the role.[143]The Revivalist's solo uses violent shaking to relate the dance to traditional Shaker festivities; the shaking travels throughout the body, like a spirit trying to escape from the body.[144]The demonstration scares the Bride and sends her into turmoil, but she quickly rejoins the Husbandman and accepts the risks of her love.[137]

In "Day of Wrath", Copland was "riffing rather aimeously of the arpeggiated polychord of the opening... strengthened by an elusive displacement of the beat ", as Fauser described.[145]The Pioneer Woman enters with deep anger, and after prayer, she enters the home. The Husbandman leaves the home and performs a leaping solo, where the music uses a distorted version of the A major "Wedding Day" music stacked atop B minor harmonies to evoke anguish as he waves goodbye and exits.[145][146][147]

The Bride opens "Moment of Crisis" by frantically running across the stage, and the other women join in an anxious frenzy. The music becomes rushed and agitated into perpetual motion; consistent sixteenth-note patterns jump around the orchestra, with no sense of musical direction.[148][149]The tonality is unstable and different from the common tonal language used throughout the rest of the score.[145]The music begins to calm and the chorale returns as the Husbandman briefly comes back to dance with the Bride. Another variation of "Simple Gifts" underlines the Husbandman's slow drift away, and a grand, final restatement of the Shaker tune signals the end of the fear as the Pioneer Woman dances with the Followers.[150][148][149]

The Lord's Day[edit]

{ << \new Staff \relative c'' { \set Staff.midiInstrument = "string ensemble 1" \set Staff.midiMaximumVolume = #0.6 \clef treble \key c \major \time 3/4 \tempo "Moderato (like a prayer)" 4 = 66 r4 <g ees bes>4--(_\markup { \dynamic pp \italic \small { misterioso } } <f d a>)-- | \time 4/4 <e c g>( <g e! b!>2) <f d a>4~ | \time 3/4 <f d a>) } \new Staff \relative c { \set Staff.midiInstrument = "string ensemble 1" \clef bass \key c \major \time 3/4 r4 ees--(\pp g,--) | c( e!2) d4~ | \time 3/4 d } >> }

A gentlehymn-like melody, marked "like a prayer", is heard in the strings as the community gathers for prayer.[147][151][152]The chorale is stated a final time, followed by the return of the opening theme.[153]Graham wrote that this episode "could have the feeling of a Shaker meeting where the movement is strange and ordered and possessed or it could have the feeling of a negro church with the lyric ecstasy of the spiritual about it".[41]The Bride dances her final solo and finishes by putting her hand to her lips and then reaching out to the sky. The Husbandman returns and holds her briefly, but the Revivalist comes and touches his shoulder.[151]As the music from the "Prologue" returns, the Bride sits in the rocking chair that the Pioneer Woman sat in and she looks over the empty stage. The Husbandman rests his hand on her shoulder and the Bride reaches out at the clarinet's last note. The music slowly fades to silence on the opening polychord and the curtain falls.[93][94][154]

Suites[edit]

In May 1945, Copland arranged the ballet into a suite for asymphony orchestra,and many conductors programmed the work in the following seasons.[155]The suite for orchestra premiered in October of that year with theNew York Philharmonic Orchestraconducted byArtur Rodzinski,and was well-received.[115][156]Other American orchestras expressed interest in the suite, with theSan Francisco Symphony Orchestra,Pittsburgh Symphony Orchestra,Kansas City Philharmonic Orchestra, and theCleveland Orchestrascheduling it that season.[157]Its great success made the (then on-tour) ballet even more popular, establishing Copland and Graham as highly regarded artists.[158]The Vienna premiere of the orchestral suite took place in November and the Australian premiere soon after.[159][160]In January 1946, the Martha Graham Dance Company presented a new run of shows in New York, includingAppalachian Springon the program.[161]By May 1946, the orchestral suite had received performances across the world.[162]

The orchestral suite is divided into eight sections, named by their tempo markings instead of episode titles in the ballet: "Prologue", "Eden Valley", "Wedding Day", "Interlude", and "The Lord's Day".[40]In the suites, Copland omitted the conflict of the story ( "Fear in the Night", "Day of Wrath", and "Moment of Crisis" ), making these episodes unfamiliar to the public and seldom recorded.[40][111]The popularity of the orchestral suite led to a number of other arrangements, including an arrangement of the full ballet for orchestra in 1954 and an arrangement of the "Simple Gifts" variations for band and later orchestra (1956 and 1967, respectively). In total, five versions ofAppalachian Springexist as created by Copland; listed in chronological order: the original ballet for 13 instruments, the suite for orchestra, a revised version of the ballet for 13 instruments, the revised ballet for orchestra, and the suite for 13 instruments. The orchestral suite remains the most well-known.[158]

Recordings[edit]

The first recording ofAppalachian Springwas of the orchestral suite: the 1945 premiere of the suite by the New York Philharmonic Orchestra was recorded and reissued in 1999. The ballet for full orchestra was first recorded by thePhiladelphia Orchestrain 1954, andColumbia Recordsreleased it four years later. The first recording of the original ballet was made in 1990 by Andrew Schenck and Hugh Wolff.[163]In 1958, a film of the ballet was made with Graham in the lead role andStuart Hodesdancing the Husbandman. The film was financed byWQED,who had already produced one successful Graham film. Nathan Kroll, a musician who had a good understanding of the score, directed the film and consulted Louis Horst (the conductor of the premiere) to ensure the music was just as Copland wanted.[163][164]Another version was made in 1976 forWNET'sDance in Americafilm series, with Yuriko in the leading role.[52][165]The choreography of both versions remained close to the original.[166]As of 2023,there are over 150 available commercial recordings ofAppalachian Spring.[167]

Notes and references[edit]

Notes[edit]

  1. ^abThe names of these characters were later changed (see§ Production).
  2. ^In the final scenario, the exact time period is left ambiguous to the entire 19th century.[28]
  3. ^SeeCrist (2005,p. 168) for a table comparison of differences between the "Name" scripts and the finalAppalachian Springscenario.
  4. ^Copland turned "Ballet for Martha" into the subtitle of the work.[27]
  5. ^The bridge in question is theBrooklyn Bridgein New York.[44]
  6. ^See a picture of the statue at theMuseum of Modern Art's website.
  7. ^For the sake of consistency, this article will use these new names from now on.
  8. ^Appalachian Springpremiered alongside two other Coolidge commissions:Hérodiade,set to music by Hindemith, andImagined Wing,set to music titledJeux de PrintempsbyMilhaud.[71]
  9. ^In her 1991 autobiography, Graham actually claimed that she heard the tune in a cathedral and asked Copland to include it inAppalachian Spring.[107]

Citations[edit]

  1. ^abcdePhilip 2018,p. 182.
  2. ^Ross 2007,pp. 292–293.
  3. ^Pollack 1999,p. 113.
  4. ^Pollack 2013,1. Life.
  5. ^Ross 2007,p. 297.
  6. ^Crist 2005,p. 23.
  7. ^Pollack 1999,pp. 302–303.
  8. ^Copland & Perlis 1984,p. 245.
  9. ^Dickinson, Peter (2016)."Charles Ives and Aaron Copland".Peter Dickinson: Words and Music(1 ed.). Boydell & Brewer. p. 80.doi:10.1017/9781782046660.006.ISBN978-1-78204-666-0.RetrievedAugust 14,2023.
  10. ^Ross 2007,p. 300.
  11. ^abOja & Tick 2005,p. 94.
  12. ^Pollack 1999,pp. 320, 322.
  13. ^Pollack 1999,p. 362.
  14. ^abPollack 1999,p. 389.
  15. ^Teachout, Terry (June 8, 1998)."The Dancer Martha Graham".Time.RetrievedAugust 10,2023.
  16. ^Rutkoff & Scott 1995,p. 214.
  17. ^abcdePollack 1999,p. 391.
  18. ^Rutkoff & Scott 1995,p. 215.
  19. ^abcPhilip 2018,p. 183.
  20. ^Fauser 2017,pp. 40–41.
  21. ^abcdPollack 1999,p. 392.
  22. ^Graham 1991,p. 226.
  23. ^Franko 2012,p. 50.
  24. ^Lerner, Neil (2018). "Aaron Copland".Grove Music Online(8th ed.).Oxford University Press.doi:10.1093/omo/9781561592630.013.3000000119.ISBN978-1-56159-263-0.(subscription required)
  25. ^Crist 2005,p. 167.
  26. ^abPollack 1999,p. 393.
  27. ^abOja & Tick 2005,p. 140.
  28. ^abFranko 2012,p. 51.
  29. ^abRoss 2007,p. 329.
  30. ^abStodelle 1984,p. 125.
  31. ^abcdPollack 1999,p. 394.
  32. ^Franko 2012,p. 54.
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  37. ^Crist 2005,p. 171.
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  39. ^Pollack 1999,pp. 395–396.
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  43. ^Fauser 2017,p. 41.
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  52. ^abcdJowitt, Deborah(1998)."Appalachian Spring".InCohen, Selma Jeanne(ed.).International Encyclopedia of Dance.Vol. 1. New York: Oxford University Press. pp. 96–97.ISBN978-0-19-512305-0.RetrievedAugust 17,2023.
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Sources[edit]

External links[edit]

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