| 1918 | NIGHT A SUMMER VACATION MY HEART IS IN THE EAST | vocal vocal vocal |
| 1920 | OLD POEM THE CAT AND THE MOUSE | vocal piano |
| 1921 | PASTORALE THREE MOODS FOUR MOTETS PETIT PORTRAIT | vocal piano choral piano |
| 1921-24 | MOVEMENT FOR STRING QUARTET | chamber |
| 1922 | ALONE PASSACAGLIA FOR PIANO | vocal piano |
| 1922-25 | GROHG (revised 1932) | ballet |
| 1923 | CORTEGE MACABRE AS IT FELL UPON A DAY for soprano, flute, and clarinet | orchestra vocal |
| 1923-28 | TWO PIECES FOR STRING QUARETT | chamber |
| 1924 | SYMPHONY FOR ORGAN AND ORCHESTRA | orchestra |
| 1925 | DANCE SYMPHONY MUSIC FOR THE THEATRE TWO CHORUSES ("The House on the Hill," "An Immortality") | orchestra orchestra chorus |
| 1926 | PIANO CONCERTO TWO PIECES FOR VIOLIN AND PIANO SENTIMENTAL MELODY | orchestra chamber piano |
| 1926/48 | FOUR PIANO BLUES | piano |
| 1927 | POET’S SONG | vocal |
| 1927-30 | SYMPHONIC ODE (revised 1955) | orchestra |
| 1928 | VOCALISE FIRST SYMPHONY (arrangement of Organ Symphony) | vocal orchestra |
| 1929 | VITEBSK for piano, violin, and cello | chamber |
| 1930 | PIANO VARIATIONS | piano |
| 1931 | MIRACLE AT VERDUN | incidental |
| 1933 | SHORT SYMPHONY | orchestra |
| 1934 | HEAR YE! HEAR YE! STATEMENTS FOR ORCHESTRA INTO THE STREETS MAY FIRST | ballet orchestra chorus |
| 1935 | WHAT DO WE PLANT? SUNDAY AFTERNOON MUSIC THE YOUNG PIONEERS | chorus piano piano |
| 1935-36 | EL SALON MEXICO | orchestra |
| 1936-37 | THE SECOND HURRICANE PRAIRIE JOURNAL (originally called MUSIC FOR RADIO) | opera orchestra |
| 1937 | SEXTET (arrangement of Short Symphony) for string quartet, clarinet, and piano | chamber |
| 1938 | BILLY THE KID AN OUTDOOR OVERTURE LARK | ballet orchestra chorus |
| 1939 | THE CITY OF MICE AND MEN | film film |
| 1939-41 | PIANO SONATA | piano |
| 1940 | OUR TOWN QUIET CITY | film orchestra |
| 1940 | JOHN HENRY (rev. 1952) | orchestra |
| 1941 | EPISODE | organ |
| 1942 | DANZON CUBANO for 2-pianos LAS AGACHADAS FANFARE FOR THE COMMON MAN LINCOLN PORTRAIT MUSIC FOR MOVIES RODEO | piano chorus orchestra orchestra orchestra ballet |
| 1943 | SONG OF THE GUERILLAS NORTH STAR SONATA FOR VIOLIN AND PIANO | orchestra film chamber |
| 1944 | APPALACHIAN SPRING LETTER FROM HOME (revised 1962) | ballet orchestra |
| 1944-46 | SYMPHONY NO. 3 | orchestra |
| 1944/82 | MIDDAY THOUGHTS | piano |
| 1945 | JUBILEE VARIATIONS THE CUMMINGTON STORY | orchestra film |
| 1947 | IN THE BEGINNING | chorus |
| 1947/77 | MIDSUMMER NOCTURNE | piano |
| 1947-48 | CLARINET CONCERTO | orchestra |
| 1948 | THE RED PONY THE HEIRESS | film film |
| 1949 | PREAMBLE FOR A SOLEMN OCCASION | orchestra |
| 1949-50 | TWELVE POEMS OF EMILY DICKINSON | vocal |
| 1950 | OLD AMERICAN SONGS, SET I QUARTET FOR PIANO AND STRINGS | vocal chamber |
| 1952 | OLD AMERICAN SONGS, SET II | vocal |
| 1952-54 | THE TENDER LAND (revised 1955) | opera |
| 1954 | DIRGE IN WOODS | vocal |
| 1955 | CANTICLE OF FREEDOM (revised 1967) | orchestra |
| 1955-57 | PIANO FANTASY | piano |
| 1957 | THE WORLD OF NICK ADAMS ORCHESTRAL VARIATIONS (transcription of Piano Variations) | television orchestra |
| 1958-70 | EIGHT POEMS OF EMILY DICKINSON (orchestral version) | vocal |
| 1959 | DANCE PANELS (revised 1962) | ballet |
| 1959-72 | THREE LATIN AMERICAN SKETCHES | orchestra |
| 1960 | NONET FOR STRINGS | chamber |
| 1961 | SOMETHING WILD | film |
| 1962 | DOWN A COUNTRY LANE CONNOTATIONS | piano orchestra |
| 1963 | DANZA DE JALISCO (in Latin American Sketches) for 2-pianos | piano |
| 1964 | EMBLEMS FOR WIND ENSEMBLE MUSIC FOR A GREAT CITY | chamber orchestra |
| 1966 | IN EVENING AIR | piano |
| 1967 | INSCAPE | orchestra |
| 1969 | INAUGURAL (CEREMONIAL) FANFARE HAPPY ANNIVERSARY | orchestra orchestra |
| 1971 | DUO FOR FLUTE AND PIANO THRENODY I: IN MEMORIAM IGOR STRAVINSKY for flute, violin, viola, and cello | chamber chamber |
| 1972 | NIGHT THOUGHTS: HOMAGE TO IVES 3 LATIN AMERICAN SKETCHES | piano orchestra |
| 1973 | THRENODY II: IN MEMORIAM BEATRICE CUNNINGHAM for flute, violin, viola, and cello chamber | chamber |
| 1973-82 | PROCLAMATION | piano |
Wednesday, March 23, 2011
My Accomplishments
Tuesday, March 15, 2011
January 1925
My first concert as a composer. I can not believe it! What a great honor it is to have my music, Symphony for Organ and Orchestra, performed by the New York Symphony Orchestra and conducted by the self-esteemed Mr. Walter Damrosch. While on the podium, Mr. Damrosch said to the audience, "if a gifted young man can write a symphony like this, then within five years he will be ready to commit murder!" I guess that's a good thing? I murder people with my music? I don't think it's in the cards for me.
August 1921
Bonjour from Paris! Today school starts in Fontainbleau, Paris. I had my first lesson with Madame Nadia Boulanger. Words can not even describe how over joyed I am with the outcome. I played her one of my Jazz pieces I scribbled down two years ago for fun. She loved it! I'm starting to notice that Europeans regard jazz with the highest respect. I think this is the beginning of something great!
Friday, March 11, 2011
A Man of Many Compositions
Copeland's first composition ever sold was to Durand and Sons in France.
- Symphony for Organ and Orchestra (1925).
* Conducted by Serge Koussevitsky and performed by the Boston Symphony Orchestra
- El Salon Mexico (1935)
* Mexican Folk Music
Copland also wrote for Films in the late 30's and early 40's.
- Of Mice and Men (1939), Our Town (1940), The Heiress (1949)
*Won Academy Awards for
As well as Ballets
- Agnes DeMille's Rodeo (1942), Appalachian Song (1944), and Concert Suite
- Symphony for Organ and Orchestra (1925).
* Conducted by Serge Koussevitsky and performed by the Boston Symphony Orchestra
- El Salon Mexico (1935)
* Mexican Folk Music
Copland also wrote for Films in the late 30's and early 40's.
- Of Mice and Men (1939), Our Town (1940), The Heiress (1949)
*Won Academy Awards for
As well as Ballets
- Agnes DeMille's Rodeo (1942), Appalachian Song (1944), and Concert Suite
Aaron Copeland's Past
Aaron Copeland
Born in Brooklyn, New York on November 14, 1900. Born into a Jewish family and the youngest of five children. The family lived above a department store that they owned. Aaron's sister taught him how to play the piano at eleven years old, and it's where his love of music began. He attended the Boys High School in Brooklyn and began theory classes in 1917. After high school he left New York to attend the American Conservatory in Fontainebleau, France. There he studied piano from Nadia Boulanger. After leaving Paris he wanted to start writing music and started writing for Jazz.
Born in Brooklyn, New York on November 14, 1900. Born into a Jewish family and the youngest of five children. The family lived above a department store that they owned. Aaron's sister taught him how to play the piano at eleven years old, and it's where his love of music began. He attended the Boys High School in Brooklyn and began theory classes in 1917. After high school he left New York to attend the American Conservatory in Fontainebleau, France. There he studied piano from Nadia Boulanger. After leaving Paris he wanted to start writing music and started writing for Jazz.
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