Needless to say, Nadie Boulanger was extremely skilled in music technicalities such as harmonic transposition and structural analysis (Copland, 87). Her gift Copland on Music to Copland was her consuming love of music, curiosity and interest in his musical development in directions, and her way of him with an air of “modern” “surrounding confidence” (Copland, 87-88). According to Copland, through her Copland on Music teachings, he realized [he] was capable of more than I myself [he himself] thought “I possible” (Copland 88). on Music During his three years in Paris, Copland had composed several works: Motets for unaccompanied voices, a Passacaglia for piano, a song for soprano, a Rondino for string quartet, and a one-act ballet called (Copland, from Brooklyn” xxiii). Grohg “Composer Upon completion of these three years, Boulanger requested that Copland write an organ concerto for her first American tour (Copland, 88). At this point in Copland on Music Copland’s life, none of his compositions yet been performed. When he finally heard the performance of the Symphony for rchestra and rgan, the conductor, Walter Damrosch, turned to the audience and said: a young man, at the age of twenty-three, can write a “If symphony like that, in five years he will be ready to commit murder!” (Copland, Copland 89). Despite Damrosch’s disapproval of Copland’s use of uneven harmonies on Music and musical elements, Boulanger responded favorably to the piece (Copland, “modern” 89). Copland on Music When Aaron Copland returned to New York, he found himself in a financial slump. Fortunately, it did not last long; he soon obtained the Guggenheim Fellowship in 1925, allowing him to devote his time to working with Serge Koussevitzky, the conductor of the Boston Symphony Orchestra (Berger 421). Copland began to move away from the
Needless to say, Nadie Boulanger was extremely skilled in music technicalities such as harmonic transposition and structural analysis (Copland, Copland on Music 87). Her gift to Copland was her consuming love of music, curiosity and interest in his musical development in “modern” directions, and her way of “surrounding him with an air of confidence” (Copland, Copland on Music 87-88). According to Copland, through her teachings, he realized “I [he] was capable of more than I myself [he himself] thought possible” (Copland on Music 88). During his three years in Paris, Copland had composed several works: Motets for unaccompanied voices, a Passacaglia for piano, a song for soprano, a Rondino for string quartet, and a one-act ballet called Grohg (Copland, “Composer from Brooklyn” xxiii). Upon completion of these three years, Boulanger requested that Copland write an organ concerto for her first American tour (Copland, Copland on Music 88). At this point in Copland’s life, none of his compositions yet been performed. When he finally heard the performance of the Symphony for rchestra and rgan, the conductor, Walter Damrosch, turned to the audience and said: “If a young man, at the age of twenty-three, can write a symphony like that, in five years he will be ready to commit murder!” (Copland, Copland on Music 89). Despite Damrosch’s disapproval of Copland’s use of uneven harmonies and “modern” musical elements, Boulanger responded favorably to the piece (Copland, Copland on Music 89). When Aaron Copland returned to New York, he found himself in a financial slump. Fortunately, it did not last long; he soon obtained the Guggenheim Fellowship in 1925, allowing him to devote his time to working with Serge Koussevitzky, the conductor of the Boston Symphony Orchestra (Berger 421). Copland began to move away from the
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