A DUO-PIANO TRANSCRIPTION OF AARON COPLAND'S

APPALACHIAN SPRING SUITE

by

MELISSA K. POSTNIKOFF, B.A.

A THESIS

IN

MUSIC THEORY

Submitted to the Graduate Faculty of Texas Tech University in

Partial Fulfillment of the Requirements for

the Degree of

MASTER OF MUSIC

Approved

Accepted

May 1985

ACKNOWLEDGEMENTS

I am indebted to the following persons for their assistance in this

project: Dr. Mary Jeanne van Appledorn for her careful guidance and con-

stant encouragement; Mr. Richard Redinger, Dr. Richard McGowan, and Dr. Thomas

Redcay for being willing participants as members of my thesis committee;

Mr. Richard Redinger and Dr. Jane Ann Wilson for their preparation and premiere

performance of this thesis; Boosey and Hawkes, Holt, Rinehart, and Winston, McGraw

Hill Book Company and Mr. Hans Moldenhauer for allowing my use of excerpts from

their published materials; Mr. Eugene Lowery at the Martha Graham Ballet Center,

New York for their permission to use the complete ballet score of Appalachian

Spring; Joseph, my husband, for his constant support during the preparation of

this document; Georgiana Stalnaker for her clerical assistance; and to the mem-

ory of Mr. Newell Yates to whom this duo-piano transcription is dedicated.

ii

TABLE OF'CONTENTS

ACKNOWLEDGEMENTS . • • •

LIST OF MUSICAL EXAMPLES •

CHAPTER I - INTRODUCTION •

CHAPTER II - COMPARISON OF SELECTED COPLAND DUO-PIANO TRANSCRIPTIONS WITH THEIR ORIGINAL SCORES

CHAPTER III - AN OVERVIEW OF APPALACHIAN SPRING

CHAPTER IV - PROCEDURES FOLLOWED IN THE TRANSCRIPTION .

CHAPTER V - APPALACHIAN SPRING SUITE BY AARON COPLAND ARRANGED FOR TWO PIANOS, FOUR HANDS

BIBLIOGRAPHY . . . . . . . . APPENDICES

A. Permission for Project

B. Permission for Performance

c. Notes Left Out of Transcription and Those Not Held Full Rhythmic Value • • . .

D. Recital Program •

E. Program Notes •

F. Permission for Use of Copyright Materials •

iii

.. ii

. iv

1

5

• • • • • 14

18

• 23

74

77

. 78

• 79

81

82

83

LIST OF MUSICAL EXAMPLES

1. Duet for Two Virginals. . 1

2. El Salon Mexico, measures 1-7 (Orchestral Score). 11

3. El Salon Mexico, measures l-9 (Duo-Piano Score) . 12

4. Benedictus from Missa Aeterna Christe Manera m. 43 - end. • 16

5. Simple Gifts . 16

6. Appalachian Spring, measures 1-7 (Orchestral Score) . 18

7. Appalachian Spring, measures 1-7 (Three-stave Reduction). . 19

iv

CHAPTER 1

INTRODUCTION

The keyboard instrument known as the virginal was a dramatic form of the

harpsichord most prominent in the sixteenth century. From this period comes

the first duo-keyboard piece titled Duet for Two Virginals, written by the

English composer Giles Farnaby (c. 1560-1600). 1

For T\vo Virginals. GILE:I FARNABY.

Ylr1. I.

GILES FARNAll£.

EXAMJILE l

Reprinted by Permission of Hans Moldenhauer, Duo-Pianism, Chicago Musical College Press.

1Hans Moldenhauer, Duo-Pianism, (Chicago, ILL: Chicago Musical College Press, 1950), p. 8.

1

The work is one of fifty such pieces by this composer and is part of the

monumental collection from the sixteenth and early seventeenth centuries

titled The Fitzwilliam Virginal Book. 2 This duo-keyboard tune is written

in two sections, each four measures long, and each section is repeated.

This paved the way for such prominent composers as Franrois Couperin

(Allemande for Two Harpsichords), Hieronymus Pachelbel (Toccata for Two

Claviers), J.S. Bach (Concerto No. lin£ minor for Two Claviers and

Orchestra), W.A. Mozart (Sonata in D Major, K. 448), and Johannes Brahms

(Variations~~ Theme~ Haydn, Opus 56b). 3 These and other examples led

to the first Golden Era of duo-keyboard music which occurred in the middle

of the nineteenth century. 4

The author's interest in two-piano music initially grew out of a situ-

2

ation of frustration. As an undergraduate piano performance major in need of

fulfilling ensemble credit, I was distraught at being required to enroll in

either orchestra or choir. The very small college I was attending during

this period had neither facilities nor finances to operate an organized

piano ensemble or even an accompanying program. In a performance seminar,

I had an opportunity to research and present a paper on the values of

piano ensemble music, and then realized that I myself must try to do some-

thing to alleviate the situation. In preparation for my senior recital, I

asked a colleague of mine to perform a duo-piano work with me. She agreed,

and we chose Billy the Kid by Aaron Copland. From this exciting experience,

2rbid, p. 10 3rbid, p. 110. 4rbid, pp. 345, 347, 348, 355, 356.

3

namely the rehearsing, performing and interpreting as a team, my enthusiasm

grew for piano ensemble music.

As part of my master's level course work, I studied composition with

Dr. Mary Jeanne van Appledorn. My first project in composition resulted in

a piece for two pianos entitled Toccata for Two (unpublished). In this

project I had occasion to consider the techniques of two-piano composition

from the composer's point of view rather than from only that of the performer.

Once again my enthusiasm was kindled, as I began to familiarize myself with

the techniques of the medium employed by composers. I then understood why

duo-piano music is so exciting and interesting to me.

Following my performance of Billy the Kid, one of my professors,

Mr. Craig Hancock, commented on how much he had enjoyed the piece on the

recital, and how easy it was to follow its program. He then commented,

"Wouldn't it be wonderful to schedule several of Copland's programmatic

and folk tune pieces for duo-piano all on a single program ••• for example,

Billy the Kid, Rodeo, and Appalachian Spring?" I agreed, but then I did not

really give it much more thought. In the Fall of 1983, I began to check

which works by Copland are available in duo-piano form. I found Hoe-Down

I I / and Saturday Night Waltz from Rodeo, El Salon Mexico, Danzon Cubano, and of

course, Billy the Kid. I found it curious that Appalachian Spring Suite

was not available in the duo-piano medium. I then realized I wanted to

arrange a duo-piano transcription of Appalachian Spring Suite. This idea

was then brought to Dr. van Appledorn as a proposed thesis topic, and

fortunately, she shared my enthusiasm. The main obstacle in the way,

however, was getting permission from Mr. Copland's publisher, Boosey &

Hawkes, Inc. in New York City. A letter was submitted to the company and

permission came from the desk of Sylvia Goldstein, vice-president of Boosey

& Hawkes. (Appendix A, p. 77)

The paragraph below, from Dr. Samuel Adler's book, Orchestration,

sums up the author's feelings about the art of transcribing.

The transcription of a piece of music from one medium to another is very much like the translatien of a poem from one language to another. While all those speaking the orig­inal tongue will of. course claim that a poem can never be successfully translated and loses its essence in the process, the people who do not understand the original tongue will benefit by being able to fathom something that was beyond their grasp before the transformation was accomplished. There are instances where great poets of one language under­take to translate poems from another, and create magnifi­cent masterpieces. The arguments pro and con have been with us for many years in poetry as well as in music. In our own time, when "purists" maintain that no one should dare tam­per with the music of the past or present, history answers with very strong reminders that transcription is perhaps as old as composed music itself.5

Concert literature for piano duet or the duo-piano medium is some-

what meager in both original and transcribed forms. With an orchestra

not always available, duo-piano arrangements offer an accessible means

by which this music may be presented to many more audiences. The author

feels anything that can be done to promote this medium of music is worthy

of a performer's and critic's consideration.

5samuel Adler, Orchestration (New York, NY: W.W. Norton, 1982), p. 449.

4

CHAPTER II

COMPARISON OF SELECTED COPLAND DUO-PIANO

TRANSCRIPTIONS WITH THEIR ORIGINAL SCORES

It is important to distinguish between arrangement and transcription.

The Harvard Dictionary of Music uses the two terms interchangeably and

defines them as, "The adaptation of a composition for a medium different

from that for which it was originally written, so made that the musical

material remains essentially unchanged."6 However, the author feels that

the terms go beyond that definition. The word arrangement may imply that

not all sections of a piece are represented as in Copland's duo-piano ar­

rangement of Billy the Kid. On the other hand, the word transcription may

imply more authenticity in the notes and sections of the piece as in the

author's duo-piano transcription of Appalachian Spring Suite. In addiiton,

the author feels that the phrase "Arranged for Two-Pianos Four Hands," has

only to do with describing the medium of the work, not whether it is an

arrangement or transcription. The following discussion will attempt to clarify

the differences of these terms more fully, as is seen in Copland's duo-piano

music.

To help ascertain what elements were of the utmost importance in making

the duo-piano transcription, four duo-piano pieces by Aaron Copland were

chosen for study. A discussion of each follows.

6Harvard _Dictionary of Music, 2nd ed., s.v. "Arrangement," p. 56.

5

6

Billy the Kid was originally a ballet score completed in 1938 and

premiered at Chicago in October of that year by the American Ballet

Caravan featuring Eugene Loring. 7 From the ballet, a suite for orchestra

was produced by Mr. Copland in 1948, 8 and finally, Mr. Copland made a

duo-piano arrangement which was published in 1946 by Boosey & Hawkes. 9 The

ballet is based on Billy the Kid--the Brooklyn born William Bonney--who

was a desperado in the Southwest. 1° Copland used such cowboy musical classics

as 1. Ride !!!. Old Paint, Great Grandad, and The Dying Cowboy. 11

The first section, "The Open Prairie", is a note-for-note transcrip-

tion of the orchestral section by the same title except for the percussion

lines and certain measures where an upper octave doubling has been omitted.

The next section, entitled "Street in a Frontier Town" in the arches-

tral score, is named "II. In a Frontier Town-(a). Cowboys With Lassos" in

the duo-piano score. The music at rehearsal numbers 6-14 is omitted in the

7Julia F. Smith, Aaron Copland, His Work and Contribution to American Music: ! Study of the Development ·of HiS Music Style and !!!. Analysis of the Various Techniques of Writing He Has Employed In His Works (New York, NY: New York University, Ph.D. dissertation, 1952), p. 417.

8Aaron Copland, Billy the Kid, Suite from the Ballet, (New York, NY: Boosey & Hawkes, 1948).

9Aaron Copland, Billy the Kid, Suite from the Ballet, arranged for two-pianos by Aaron Copland (New York, NY: Boosey & Hawkes, 19461.

lOJoseph Machlis, Introduction to Contemporary Music, 2nd ed. (New York, NY: W.W. Norton, Inc., 1979)_, P• 395.

7

duo-piano score and here the movement starts with the music of orchestral

rehearsal number 14 and continues to the end of this orchestral version. The

music is also an exact quote from the orchestral score with the exception of

the untuned percussion lines and some octave doublings.

The next orchestral section is "Mexican Dance And Finale" which cor­

responds to a section by the same title in the duo-piano score. However, as

in the previous movement, only some octave doublings and the untuned percus­

sion lines are not represented in the music found in the duo-piano score.

The next orchestral sections, "PrairieNight" and "Gun Battle," also are

not included in the duo-piano score. Perhaps the thin texture and the

intimate writing in the woodwinds were reasons that Copland did not include

"Prairie Night" in the duo-piano score. "Gun Battle," also absent from the

duo-piano version, was omitted because of its extensive use of percussion

instruments. In the place of "PrairieNight" and "Gun Battle," a movement

titled "III. Billy and His Sweetheart" appears. This musical material is

from the complete ballet score and is not represented in the suite.

"Celebration After Billy's Death" occurs as the next movement in both

the orchestral and duo-piano scores. Again, some octave doublings and percussion

lines are absent in the duo-piano score.

The penultimate movement in both scores is titled "Billy's Death" or

"V. Billy's Demise." This section, with two differentiated titles, cor­

responds note-for-note even in the octave doublings. There are no percus­

sion lines in the orchestral suite.

The final movement, "The Open PrairieAgain," is quite strict in its

transcription until the final eight bars of the piece where a very thick

texture occurs. The duo-piano score tends to leave out some inner voices

8

in these measures. There is extensive use of the piano in the orchestral

score, and there are many direct piano quotes throughout the entire piece.

/ Danzon Cubano was initially conceived as a duo-piano work by Mr. Copland

in 1942. It was premiered by pianists Aaron Copland and Leonard Bernstein

in New York on December 9, 1942.12 This work is a free adaptation of a rondo

form with interest in Cuban polyrhythms, simply harmonized, which feature mn 13 the syncopated beat, and the typical Cuban rhythm -The author's interest in the piece was aroused by the fact that it was

originally composed as a duo-piano work and later transcribed for orchestra.

The transcription was made by the composer in 1946 and the following year it

won the New York Music Critics Circle Award. 14

~ In studying the orchestrated version of Danzon Cubano, it may be noted

that there are a few measures where Copland actually added notes that do

not exist in the duo-piano score. This may be seen as thirty-second notes

appearing in the upper strings of measures 100-106. Octave doublings and

extensive percussion lines again appear. The full instrumentation included

one piccolo, two flutes, two oboes, one English horn, two clarinets, one

bass clarinet, two bassoons, one contrabassoon, four horns, three trumpets,

three trombones, one tuba, extensive tuned and untuned percussion, piano,

and strings. As in Billy the Kid, many direct quotes from the duo-piano

score part are included to create the orchestral piano part. All notes in

the duo-piano work appear in the orchestration.

12smith, Copland, p. 393.

13Ibid, p. 394

14Aaron Copland, Great Performances: Danz~n Cubano, New York Philharmonic, Leonard Bernstein, Conductor (New York, NY: CBS, Inc., 1982) No. 37257 from record jacket.

9

/ / El Salon Mexico was first an orchestral piece written between the years

of 1933-36. It was inspired by several trips to Mexico. Copland says:

During my first trip to Mexico in the fall of 1932, I con­ceived of writing a piece based on Mexican themes. I sup­pose there is nothing stranger in the idea. Any composer who goes outside his native land wants to retum bearing musical souvenirs. In this case my musical souvenirs must have been memorable, since it wasn't until 1933 that I be­gan to assemble them into the form of an orchestral work. 15

The work premiered on August 27, 1937 in Mexico City with Carlos Chavez

conducting. According to Dr. Julia Smith, the work represents a series of

moods which appear somewhat in this order: the lyrically-oriented, the garish,

the lusty, the improvisatqry, the humorous, and the frenetic - - the latter,

16 with its whipped-up rhythmic verve.

/ ./

Leonard Bernstein made the duo-piano arrangement of El Salon Mexico which

is heard today and this is published by Boosey & Hawkes with a copyright date

of 1936. Dr. Smith noted in her dissertation that a two-piano version which

was premiered in October 1935, existed before the orchestral score was com­

pleted in 1936. 17 This version was done by'John Kirkpatrick, and was premiered

by Mr. Kirkpatrick and Mr. Copland •18

15Aaron Copland, Great Performances: El Sal6n M~xico, New York Philhar­monic, Leonard Bernstein,.Conductor (New York, NY: CBS Inc., 1982) No. 37257, from record jacket.

16smith, Copland, p. 391.

17Ibid, pp. 389-390.

18Copland, Aaron, and Perlis, Vivian. Copland: 1900 through 1942, (New York, NY: St Martin's/Marek, 1984), p. 244.

10

In the Bernstein version, the first very noticeable difference comes

in the opening pages of the score. Bernstein took the liberty of rearrang-

ing the bar-lines in the opening section of the piece to clarify the under-

lying eighth-note rhythmic structure. · Undoubtably, Bernstein was cognizant

of the asymmetrical division of the measure inherent in Copland's original

writing, and deemed it necessary to express the music by meters such as

9 10 3 8 which d h i h h ren er t e e g t note constant. 8, 8,4,8 For example, in the orchestra

score (Example 2), the ensemble begins on the last half of the third beat with

an accented note. In the piano score (Example 3), the piece begins on the

downbeat of the first measure. Another instance occurs in the third full

measure. The note B which occurs in the piccolo part (beat 2) of Copland's

orchestra score is an accented note on a weak part of the beat. In the

Bernstein arrangement; the note falls on the downbeat of an asymmetrical

measure. Because of all the metric changes, the author would consider this

an arrangement; however, all sections of the piece are represented in the

duo-piano score.

Rodeo is a ballet composed in 1942 and premiered in New York City,

October 16, 1942. 19 The setting of the ballet is a sort of cowboy-gets-

cowgirl story as the work was originally subtitled "The Courting at the Burnt

Rodeo."20

19Ibid, p. 422.

20~. p. 422.

r, Vidw ZNJI

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EXAMPLE 2

Reprinted by Permission of Aaron Copland, Copyright Owner, and Boosey & Hawkes, Inc.,

Sole Publishers and Licenses.

·····-

11

~~

El Salon Mexico· NOTE: The rhythmic intricaciea or "El Salon Mexico" may be greatly aimpliried it the perrormer remember• that the approach to thue rhythma ahould be in terma or

eighth. notea, rather than quarten. Thua the mr.uure f mIn I m I ahould be counted: 2.!!!. two-three, 12..!!!-two, 12..!!!-two-three; and not in the connntional man­ner: ~ a.nd tw~ and three, and (our and.

It it is borne in mind that, as a general rule, all richth-nptea in any one aection re­main equal in value, regardlesa or changea in meter, the buic rhythmic problem ia overcome.

12

3

AARON COPLAND Arranged (or Two Pianoa by

Leonard Bcrnatein

Allegro Tince cJ .tul llll > :> > > >

PlANO I l tJil 11 ~ //1111111 ftr•• to 8 8

8 4 8

tJ > > > >>

ll 11 Allegro TincecJ .u.af::.·. ~-·"1-,: ~ i_1 8-·--··-·-·········-· > ... ; ; ~~

tJ 9 w ;;;IlliG I 8 8-ll118

for•• j 4 8 :> :> :> >_>

tJ y":'' I --, "'ft":'. , > >

11--····-·······-·······--·-·---·--------------·-·--· > > > >>> :> :> > t;~ > > > ~~ iL iL ...... ... ..

tJ fO 8 ""'".1.1 7

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8-- ·--- ---··· l'lll >.~.:~~,«. ~~~~ ... ~ ~.: ~ .. ~~ ~.

tJ to....-' !! ,.,,,/.I 7 _fi~

8 :>> .,. 4 8 -"'"""'

tJ ·~. I 1 r > > >>> > > >

> .. ,,,, ••• 1 ,,, ,,, .··,,,,. ,~,,. ,,,,.,.. oJfiJ dtUICc'le"llifl ,\lc•siC'u City.

' ·;•' 11~111 I !I 1:1 h\ ll .• wk,·s &: Sun (l.unrlun) l.lcl. R.:m•w•·rl I !liO. ,,.,,.,,,,,i .. n.d c .. p;·ri)!ht S•·cur.:d. Two Pa. 32 Printrd in U.S.A.

EXAMPLE 3

Reprinted by Permission of Aaron Copland, Copyright Owner, and Boosey & Hawkes, Inc., Sole Publishers and Licenses

13

The orchestral suite from the ballet entitled Four Dance Episodes From Rodeo

was finished by Copland in the Fall and Winter of 1942. 21

on June 22, 1943. 22

The suite premiered

The duo-piano team of Arthur Gold and Robert Fizdale made the duo-piano

arrangement of the work which was published by Boosey & Hawkes, Inc. in 1950. 23

Here, only two dance episodes, "Hoe Down" and "Saturday Night Waltz," are pre-

sented.

In the duo-piano score, the foregoing episodes occur in the reverse order

of the orchestral score. "Hoe Down" has the most consistantly thick texture

to be found in the Copland duo-piano music and does not contain all notes in

their correct octave positions nor are all the percussion lines always repre-

sented. Oddly enough the slow section of this dance, from rehearsal numbers

17-19, is omitted from the duo-piano score. The author feels there would have

been no problem scoring this section for two pianos, but that Gold and Fizdale

probably wanted to maintain the level of energy inherent in the episode to

contrast with "Saturday Night Waltz." The latter episode is an exact tran-

scription from the orchestral score with no percussion lines involved. The

author considers the first episode an arrangement, and the latter, a transcription.

21 Ibid, p. 423.

22Ibid, p. 426.

23 Aaron Copland, Hoe Down and Saturday Night Waltz from Rodeo (New York, NY: Boosey & Hawkes, 1980).

CHAPTER III

AN OVERVIEW OF APPALACHIAN SPRING

Appalachian Spring (Ballet for Martha) was composed in 1943-44 for

choreographer Martha Graham on a commission from the Elizabeth Sprague

Coolidge Foundation. 24 It was originally scored for thirteen instruments

including flute, clarinet, bassoon, piano, two first violins, two second

violins, two violas, two violoncelli, and double-bass. The ballet premiered

in Washington, D.C. on October 30, 1944. In 1945, Copland made an arrangement

of the ballet score retitled Appalachian Spring Suite which may be heard in

25 both full orchestra form and the original instrumental setting. Both

full orchestra and chamber orchestra scores of Appalachian Spring Suite

were used in the transcription contained in this thesis.

The subject matter of the ballet is a pioneer Spring celebration of a

newly-built farmhouse in the Pennsylvania hills during the early part of the

last century. 26 One of the outstanding features of this work is its use of

Pennsylvania Dutch and Shaker tunes.

24 Smith, Copland, p. 427.

25Ibid, p. 429.

26Ibid, p. 430.

14

15

Appalachian Spring Suite is divided into eight sections which are played

without interruption. The first section (reh~arsal numbers 1-6) is built on

a hymn-like theme created out of an extension of the ~-Major triad and accompanies

the introduction of the characters of the ballet. The second section (6-16)

contains a fragment of the Shaker "vision song" which accompanies a folk-like

theme based on an ~-Major triad. The third section (16-23) recalls the opening

material in deeper, richer harmonies. The fourth section (23-37) suggests a

dance of the Revivalist and his flock with its folksy tunes. The fifth section

(37-51)---a solo dance of the bride---is marked by a faster tempo and is

derived from the theme of the second section. The sixth section is a return

of the slow opening material evoking a calm, pastoral atmosphere. The seventh

section (55-67) contains the Shaker tune, "The Gift to be Simple," and its five

27 variations using techniques of augmentation, canon, and counterpoint. It is

interesting to note that the opening notes of this folk song, "Gift to be Simple"

(Example 5), may be compared with chant used in the Benedictus of a mass by

Giovanni Pierluigi Palestrina entitled'Missa Aeterna Christi Munera. (Example 4)

27 Ibid, pp. 429-433.

.16

• -

• • • • !,. ::: • • • • * •• • ·:- . ,. •

At: • tr:r na Chri sti mu ne r:a, A po . sto lo • rum glo • ri :am,

• • • • . ,. • . e· ·s· • ; • • • Lau • des ca • nen • tcs de bi • tas, Lac • tis c:a • n:a • mus men ti ·bus.

tJ @ ...... f-11'; k

~ sis.y.: ...................... ?.: ...._ ......_

~ . . . . ........................................ ..................................... ..............•.. fl ~ ior~- ·-~

. ....... ... .., •t ~ •. "* "li -:;}: • -.- .... +C7 -e-. • sis,]. . [in. ......................... ex-cel· ·sis.)

fl -·· . • . sis, ](ho. sa~- na . sis.] I . . in 't!. . eel---

.... Uho· san-n:l in ex -eel- sis.) --EXAMPLE 4

From Anthology for Musical Analysis, Second Edition by Burkhart. Copyright (c) 1972 by Holt, Rinehart and Winston, Inc.

Reprinted by permission of CBS College Publishing.

. . 'Tis

Jl the

I) gift to be sim. pie, 'ti~

a~ b#- ; Jr .a ~-· . ; 'Tis the gift to come do ... ·n gift free,

.,·here v.·e ought to be,

;§=I Jt £%:.~ ) ..;=$=! And when we find our-selves in th~

·&=¥7 ~

~ I; k' J' jl }@ place jusr 'Twill be in the val ley of ti~ht,

&4£ J' J H F i:d: Ef=rtk¥4=t lo•·e and de -light. When true sim • pli • ci ·I)' is gain'd, To

t•) f.1±F"f¥~LL4¢j4LJ3=1 bow and to bend we shan't be a-sham'd, To turn, turn will

~=*~w±#M .) ) j F-.!:&-.:::&::11 be :::light till by turn. ing, ruro • ing we come round right,

EXAMPLE 5

Reprinted by permission of McGraw- Hill Book Company.

The final section of·Appalachian·spring Suite (67-end) starts with

28 the "vision song" followed by a restatement of the opening material.

28 Ibid, p. 433.

17

CHAPTER IV

PROCEDURES FOLLOWED IN THE TRANSCRIPTION

A cursory view of the instrumentation of Appalachian Spring Suite will

reveal the generally large orchestral palette of Copland including flutes,

oboes, clarinets, bassoons, horns, trumpets, trombones, timpani, tuned and

untuned percussion, harp, piano, and strings.

The first step was to reduce the entire orchestral score into concert

pitches on three staves. Example 6 illustrates the first page of the full

score.

APPALACHIAN SPRING Ballet for Martha

, ,. • t Vory slowly (J. 66) Solo

)Fiautl ;. .. JI'L-

" .. 10 ....

'· Solo - --.1'

l ClatiNUI •• A ;; Jll_,.,..,r .. ""r"'""" II.

'fl.

,, )Tt~lfta.

IT.-

,, 11

Very slowly (J.66)

" I

J, , L

. .....

JL 1 *Very slowly (J. 66)

< ... HAlf V VIOIWO.O II I

" .,~ ~ I~ ~ • HAlf v

"'P._,. - - HALf Y_

-

I

r.-LI 41•

Aaron Copbnd (IH~IM4)

Fan~r (i) (J- 88

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EXAMPLE 6

Reprinted by Permission of Aaron Copland, Copyright Owner, and Boosey & Hawkes, Inc., Sole

Publishers and Licenses.

18

19

Example 7 shows the method of reduction of all pitches to the three staves.

Appalo.~ SF~

e. SL).-t OU) - ~-- ls..:.b) --....

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~ Copyright 1945 by Aaron Copland; Renewed 1972

EXAMPLE 7

All octave doublings were included in the three-staff reduction and untuned

percussion was excluded. The duo-piano transcription was prepared from the

chamber orchestral score and the reduction. (see pg. 25)

20

Several problems occurred in making the transcription: 1) effective use

of the pedal, 2) sustaining lengthy tied notes, 3) reducing extremely thick

textures, 4) voicing of chords to accomodate hand-span, 5) full rhythmic values

of notes, 6) the singular instance of a violin harmonic, and 7) tuned and un­

tuned percussion lines.

Strict pedal markings were put into the score in the first section. Al­

though the tempo of the section is marked "Very Slowly," the complexity of the

layers of voices called for unique use of each of the pedals. The sostenuto

pedal helps to free the hands of the second pianist for the rhythmically

demanding and sustained part found in the upper voices beginning at rehearsal

number 1, p. 26.

In the final section of the piece (two measures before rehearsal number

73 to the end), the long sustained notes in the orchestra were entrusted to

Piano II. These were broken at periodic intervals to correspond with the

phrasing of Piano I (see pages 73-74).

The extremely thick textures found in both the chamber orchestra and

full orchestra scores at one measure before 59 comprise the only instance

where not all of the notes of the full score could possibly be faithfully

transcribed into the duo-piano score. From listening to several recordings

of both instrumentations of the piece, the author was able to discern what

was needed to give an accurate account of the music in this section. The

following steps were taken: 1) isolate the canonic treatment of the melodic

material of "The Gift to be Simple," 2) add the bass line which is a predom­

inant part of the harmony, and 3) with the limited hand span now available,

add the accompaniment lines that best fit. The flute, clarinet, and most

of the left hand of the piano part had to be omitted (seep. 64-65).

21

The most difficult problem with voicing occurred at rehearaal number 9.

As part of Copland's style, the representation of all chord tones, no matter

how spread out they might be, was necessary. To fulfill this need in the first

three measures of this section, the lowest bass notes are represented as grace

notes to the upper voices of the chord. The author feels this was a better solution

than to leave out those notes so beautifully voiced by Mr. Copland.

In other places where textures were thick, some sacrifice was made by not

always representing the full rhythmic value of a pitch if those pitches were

found somewhere else in the texture at the same time. The demands of the

vertical sonorities outweighed other concerns at this point. By looking from

these two perspectives, vertically as well as horizontally, a more complete

harmonic and melodic result was achieved. An instance of this is at rehearsal

number 12. I

The cello part contains half notes on beats one and three on the

orchestral score. Since these notes appear in the piano part on the same beat,

and due to the thickness of the texture, these notes are left represented as

the shorter rhythmic value found in the piano part (see Appendix C for a listing

of notes left out or not held their full rhythmic value).

One measure after rehearsal number 46, a violin harmonic is called for

which sounds the uppermost G-sharp on the keyboard. The problem comes in that

this note is to be sustained for a long period of time. To sound the note its

full length, the author repeats the note in consecutive eighth notes through

the section (seep. 55-56).

It is obvious that the piano can not reproduce full orchestra timbre and

especially that of the percussion section. The author discovered many examples

of the use of an accented note to replace a percussion note in the other duo-

piano works. This technique was also employed in Appalachian Spring Suite

and is inherent in Copland's writing.

22

A careful study of the full orchestra score and the chamber orchestra

score revealed the manner in which some problems might be solved. For instance,

some octave doublings which extend beyond the hand span are not present in the

chamber score and therefore could justifiably be eliminated. Also, it was

found possible to contain some of the piano part from the original scores in

the duo-piano score. The chamber score tended to be more specific in dynamic

and articulation markings than the orchestral score; however, it was still

necessary for the author to add some dynamic markings which are found notated

in brackets in the duo-piano score.

To test the success of the transcription, the author and Dr. van Appledorn

performed and recorded sections of the duo-piano transcription as they were

completed. It was vital that the work be playable. It is hoped that the

transcription will prove to be a vital contribution to duo-piano literature.

This version of Appalachian Spring Suite allows more exposure of the composition

to audiences who may never have had the opportunity to hear either of the

orchestral versions. Finally, the transcription as a duo-piano piece, if

published, allows ready access to the study of structures, form and

compositional techniques of the work. At some future time, the transcription

might also be included in an anthology for analysis of twentieth century

music.

CHA,PTE·R, Y

APPALACHIAN SPRING SUITE RY AARON COP.LAND

ARRANGED 'FOR TWO-PIANOS, FOUR HANDS

23

24

AARON COPLAND

APPALACHIAN SPRING (BALLET FOR MARTHA)

SUITE

Arranged For Two Pianos Four Hands

by·

MELISSA POSTNIKOFF

Duo-Piano Transcription by permission of Aaron Copland and Boosey & Hawkes, Inc., Sole Licensees. Reprinted by permission.

25

To Elizabeth Sprague Coolidge

APPALACHIAN SPRING (.BALLET F.OR MARTHA)

SUITE AARON C.OPI.AND

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BIBLIOGRAPHY

Primary Sources

Books

Adler, Samuel, Orchestration, W.W. Norton & Co., New York, 1982.

Burkhart, Charles, Anthology for Musical Analysis, 3rd ed., Holt, Rinehart, and Winston, 1979.

Chang, Frederic Ming, and Faurot, AlBert, Team Piano Repertoire: a manual of music for multiple players !!_~£!.!.more pianos, Scarecrow Press, Metuchen, NJ, 1976.

Chase, Gilbert, America's Music, McGraw-Hill Book Co. Inc., NY, 1958.

Copland, Aaron and Perlis, Vivian, Copland: 1900 through 1942, St. Martin's! Marek, NY, 1·9.84.

Copland, Aaron, Copland~ Music, Doubleday, NY, 1960.

Copland, Aaron, Music and Imagination, Harvard University Press, Cambridge, MS, 1961.

Machlis, Joseph, Introduction to Contemporary Music, 2nd ed., W.W. Norton, NY, 19.61.

Moldenhauer, Hans, Duo-Pianism, Chicago Musical College Press, Chicago, IL, 1950.

Smith, Julia F., Aaron Copland, His Work and Contribution to American Music, Ph.D. dissertation 1952, New York University.

Musical Scores

Copland, Aaron, Appalachian Spring (Ballet for Martha), 1943-44, unpublished. (Manuscript from Martha Graham Ballet Center Library)

Copland, Aaron, Appalachian Spring Suite, Boosey & Hawkes, NY, 1944, full orchestral score.

Copland, Aaron, Appalachian Spring Suite, Boosey & Hawkes, NY, 1945, 1958 chamber orchestral score.

Copland, Aaron, Billy the Kid, Suite from the Ballet, Boosey & Hawkes, NY, 1938.

Copland, Aaron, Billy tlie Kid, Suite from the Ballet, Boosey & Hawkes, NY, 1938, arranged for two pianos by tne composer.

74

75

I Copland, Aaron, Danzon Cubano, Boosey & Hawkes, NY, 1942-44.

I Copland, Aaron, Danzon Cubano, Boosey & Hawkes, NY, 1942-44, arranged for orchestra by tlie composer.

I I Copland, Aaron, El Salon Mexico, Boosey & Hawkes, NY, 1936.

I I Copland, Aaron, El Salon Mexico, Boosey & Hawkes, NY, 1936 arranged for two pianos by Leonard Bernstein.

Copland, Aaron, Rodeo, Four Dance Episodes from the Ballet, Boosey & Hawkes, NY, 1.942.

Copland, Aaron, Hoe-Down and Saturday Niglit Waltz from Rodeo, B.oosey & Hawkes, NY, 1!50 C;irranged for two pianos by Gold and Fizdalel.

Discography

Copland, Aaron, Copland Conducts Copland: Appalachian Spring (Complete Ballet), Columliia Chamlier Orchestra, Aaron Copland, Conductor, Columbia Records, NY, 1974, No. M32736.

Copland, Aaron, Appalachian Spring Suite, St. Paul Chamber Orchestra, Dennis Davies, Conductor, Sound SQ., Inc., Minneapolis, MN, 1978, No. 33881.

Copland, Aaron, Great Performances: Appalachian Spring Suite, New York Pliil­tiarmonic, Leonard Bernstein, Conductor, CBS, Inc., NY, 1982, No. 37257.

Copland, Aaron, Great Performances: Billy the Kid, New York Philharmonic, Leonard Bernstein, Conductor, CBS, Inc., .NY, 1981, No. 36727.

I Copland, Aaron, Great Performances: Danzon Cuoano, New York Philharmonic,

Leonard Bernstein, Conductor, CBS, Inc., NY, 1982, No. 37257.

I -' Copland, Aaron, Great Performances: El Salon Mexico, New York Philharmonic, Leonard Bernstein, Conductor, CBS, Inc., NY, 1982, No. 37257.

Copland, Aaron, Great Performances: Rodeo, New York Philharmonic, Leonard Bernstein, Conductor, CBS, Inc., 1981, No. 36727.

Secondary Sources

Cromonic, Richard, "Aaron Copland: The Vigorous Old Man of American Music," Instrumentalist, Novemoer 1983, p. 24-25.

Dallin, Leon, Techniques of Twentieth Century Composition, Wm. C. Brown, Co., 1964.

Grove's Dictionary of Music and Musicians, vol. 4, 1980 ed., s.v. "Aaron Copland," by William W. Austin.

76

Grove's Dictionary of Music and Musicians, vol. 14,1980 ed., s.v. "Piano Duet," oy Frank Dawnes.

Hinson, Maurice, Music for More tnan One Piano, Indiana University Press, Bloomington, IN, 1983 .---- --

Lubin, Ernest, The Piano Duet: ~guide for pianists, Grossman Pub., NY, 1970.

McGraw, Cameron, Piano Duet Repertoire, Indiana University Press, Bloomington, IN, 19'81.

Stone, Kurt, Music Notation in the Twentieth Century, W.W. Norton & Co., NY, 1980.

APPENDIX A: PERMISSION

FOR PROJECT

® 500c~EY 0M\XIKE8

BOOSEV & HAWKES, INC. 24 WEST 57th ST., NEW YORK, N. V. 10019

(212) 757-3332

'>n .. ~· ,

~727 3:-'t 1 ~t. J'llt;'; :.~l~<-:Jr:;., ':"r';.:r:-~ 7:-t: 15

(''_;~ ~ ..,t~ ::···- :··- -~::'t:~'·:.~- '7"t': ,-,~ r~r.-11 ,_ .... ~.~--:r· ... ,~.-:

:"rr:~tn~<!:\1:~, T' l173~. 5li 752-11.2:'!

.·Jn'3'··

but r~quests such as yours should conti~ue to bP. directed to this office

1 24 '·iest 57th Street.

I cct~ noH confirm \o7hat I told you whan \ole S?oke P.a:rlier this week, '1ou may, if you wish, prejlare a t•no pi.1no four hand arran~er:ent of APPALAC;-1!~1 SPR!Nr., to be used solely for the ;')Urpose of connletinf.'; t~e re111ire-snts for your ~aster's desree. flll ri~hts in the ~usi~ must be assigned to llr, Copland and/or this company, and there can be no perforl!lances without our,prior perl!lission.

'·le 1 11 look forward to further word frol!l you should you cecide to eo ahead with this project, If the other Copland works about which you plan to write ~~tied to this arrangement, include mention of them in y_our letter so we can provide proper credit line:'.

Sincerely,

77

APPENDIX B: PERMISSION

FOR PERFORMANCE

Boosey & Hawkes, Inc.

24 West 57th Street, New York, N.Y. 10019 Telephone (2121 757-3332 Cable Sonorous, New York Telex 510.224-6106 BHBC Fdle

April 16, 1984

Hiss Melissa K. Postnikoff 2717 3rd Street #1108 Lubbock, Texas 79415

Dear Miss Postnikoff:

Re: Aaron Copland

This will acknowledge your letter of March 28th advising that you will be performing your two piano transcription of APPALACHIAN SPRING on March 23, 1985, at the Hemmle Recital Hall in Lubbock, Texas. You have our permission to perform this work, as transcribed by you, along with other works by this distinguished composer.

I note that we will hear from you further with regard to the graphic reproduction of excerpts from the works of this composer.

With all good wishes for the success of your project.

Sincerely,

London Paris Bonn Sydney Toronto Johannesburg Goteborg

78

APPENDIX C: NOTES LEFT

OUT OF TRANSCRIPTION AND

THOSE NOT HELD FULL

RHYTHMIC VALUE

In viewing the specific notes not included in the transcription, two

categories are formed: 1) notes completely left out, and 2) notes not

held their full rhythmic value.

NOTES LEFT OUT (Araliic numT:iers represent rehearsal numbers)

Location

12 Violin I - 2 Neas. 0 -B flat

one meas. after 59 Violin II } -Q.

five meas. before 60 Violin II } -Q

three meas. oefore 60 Violin II } -Q

one oefore 60 Clarinet ~ -B-flat

one after 60 through one before 61 Piano-lower line

60 Clarinet ), -B-flat

eight after 60 through one oefore 61 Clarinet and Flute line

one-seven after 60 Clarinet ), -B-flat

79

Justification

long sustained values, not important in light of the predominant heavy rhythmic and melodic material hap­pening

chord would be beyond hand span

II

II

to avoid awkward hand position for for pianist

unimportant line in a very thick texture

chord would be beyond band span

unimportant line in a very thick texture

either beyond hand span or would create an awkward hand position

80

NOTES NOT HELD FULL RHYTHMIC VALUE

The following notes were not held their full rhythmic value. The notes

are found represented on the beat which they occur, however, their duration

is shortened because of other more important lines to be played at the same

time.

Location

one after Viola J one before Viola J

2 -c

9 -E and

12-three\after l2 Cello ~ -c

12-tnree\after 12 Cello cJ -D

14 Clarinetj. I

three before 22 Violin J· -!_-sharp

)

three before 41 through one before 41

-F-sharp

upper piano line J. -Q-sharp and j • -A

Justification

see above paragraph

II

II

II

II

II

II

APPENDIX D: RECITAL PROGRAM

~ Texas Tech University Depor~men~ of Music ~ · Lubbock, Texas

A CONCERT OF DUO-PIANO WORKS BY

AARON COPLAND

featuring pianists Lori Gale, David Gale,

Brad Cope, Melissa Postnikoff, *Richard Redinger and *Jane Ann Wilson

Saturday, March 23, 1985, 8:15p.m. Hemmle Recital Hall

El Sal6n Mexico ............................. arr. Leonard Bernstein Danzon Cubano

Ms. Gale and Mr. Gale

Billy the Kid ................................... arr. Aaron Copland Mr. Cope and Ms. Postnikoff

Saturday Night Waltz and Hoe-Down from Rodeo ............................... . arr. Gold and Fizdale

Ms. Gale and Mr. Gale

INTERMISSION

Appalachian Spring .......................... arr. Melissa Postnikoff Premiere Performance

*Mr. Redinger and *Ms. Wilson

*Faculty Ms. Postnikoff has prepared the duo-piano transcription as part of the thesis requirement for the Master of Music degree. She is a composition student of Mary Jeanne van Appledorn. Ms. Gale and Mr. Gale were coached by Thomas Redcay. Mr. Cope and Ms. Postnikoff were coached by Richard Redinger.

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APPENDIX E: PROGRAM NOTES*

•PROGRAM NOTES El Sal6n Mexico stands as an orchestral piece written between 1933-36. It was inspired

by several trips to Mexico. Copland says: "During my first trip to Mexico in the Fall of 1932, I conceived of writing a piece based on Mexican themes. I suppose there is nothing strange in the idea. Any composer who goes outside his native land wants to return bearing musical souvenirs. In this case my musical souvenirs must have been memorable, since it wasn't until 1933 that I began to assemble them into the form of an orchestral work." The work premiered August 27, 1937, in Mexico City with Carlos Chavez conducting. Leonard Bernstein made the duo-plano arrangement in 1936. It is interesting to note that a duo-piano version premiered in October of 1935, before the orchestral score was completed. It was made by John Kirkpatrick and played by him and Mr. Copland. This arrangement remains in Mr. Kirkpatrick's private collections. The work is said to represent a series of moods ranging from lyric to frenetic. D~nzon Cubano was Initially conceived as a duo-piano work by Mr. Copland in 1942.

It was premiered by pianists Aaron Copland and Leonard Bernstein in New York on December 9, 1942. The work is a free adaptation of a rondo form with interest in Cuban polyrhythms, simply harmonized, which feature the syncopated beat and the typical Cuban rhythm m~n . The transcription for orchestra was made by the composer in 1946, and the following year it won the New York Music Critic's Circle Award.

Rodeo is a ballet composed in 1942 and premiered in New York City on October 16, 1942, by the Ballet Caravan Russe de Monte Carlo. The setting of the ballet is a sort of Cowboy-gets-Cowgirl story, as the work was originally subtitled "The Courting at the Burnt Ranch". The orchestral suite from the ballet entitled "Four Dance Episodes from Rodeo" was done in the Fall and Winter of 1942 by the composer and premiered June 22, 1943, in New York with A. Smallens conducting. The duo-piano team of Arthur Gold and Robert Fizdale made a duo-piano arrangement which was published In 1950. The duo-piano version contains only two of the dance episodes, "Hoe-Down" and "Saturday Night Waltz".

Billy rhe Kid, a ballet, was completed in 1938 and premiered in Chicago during October of the same year by the American Ballet Caravan featuring Eugene Loring. From the ballet, a suite for orchestra was produced in 1941 and finally Mr. Copland made a duo­piano arrangement which was published in 1946. The ballet is based on Billy the Kid­the Brooklyn-born William Bonney-who was a desperado in the Southwest. Copland uses such cowboy classics as "I Ride an Old Paint", "Great Grand-Dad," and "The Dying Cowboy" for melodic material.

Appalachian Spring (Ballet for Martha) was composed in 1943-44 for choreographer Martha Graham on a commission from the Elizabeth Sprague Coolidge Foundation. The ballet, which is scored for thirteen instruments, premiered in Washington, D.C., on October 30, 1944, with L. Horst conducting. In 1945, Copland made an arrangement of the ballet retitled Appalachian Spring Suite which may be heard in both full orchestra and thirteen-instrument settings. The subject matter of the ballet is a pioneer spring celebration of a newly-built farmhouse in the Pennsylvania hills during the early part of the last century. Tonight is the premiere performance of the duo-piano transcription of the piece, done as a Master's thesis project by Melissa K. Postnikoff.

*These program notes were taken from the text of Ms. Postnikoff's thesis.

82

APPENDIX F: PERMISSION

FOR USE OF COPYRIGHT

McGraw-Hill Book Company

1221 Avenue of the Americas New York. New York 10020 Telephone 212/900<X8Xl 512-6930

Copyllghls and Perm<SS<ons Depar1menl

Ms. Melissa K. Postnikoff 6801 w. 19th 1255 LUbbock, TX 79407

Dear Ms. Postnikoffs

MATERIALS

21 November 1984

we have your letter of November 10 requesting permission to reproduce material for inclusion in your thesis. In response, permission is granted for the use of the following material provided that it appears in our publication without credit to any other source:

Chase -AMERICA'S MUSIC Shaker folk song "Simple Gifts" from page 229.

Please credit the source.

83

Boosey & Hawkes, Inc. 24 West 57th Street, New York, N.Y. 10019 Telephone (212) 757·3332 Cable Sonorous, New York

Telex 510.224·6106 BHBC Fdle

November 15, 1984

Miss Melissa Postnikoff 6801 W.9th 1255 Lubbock, TX 79407

Dear Miss Postnikoff:

Re: Aaron Copland

This will confirm our telephone conversation in which we gave you permission to include excerpts from works by Aaron Copland in your thesis, subject to the following terms and conditions:

I) You are to include the full copyright net~~e for each work, as it appears in our published editions, adding thereto:

"Reprinted by permission of Aaron Copland, Copyright owner, and Boosey & Hawkes, Inc., Sole Publishers and Licenses."

2) Each such notice will appear on the same page as the music, either immediately following the music, or as a footnote.

3) Your paper will be reproduced only in such quantities ss are necessary for the degree.

4) Should you have other plans for your paper, you are to contact us direct to obtain additional clearance.

As for your transcriptions, we can grant you a license for personal use only. The copyright and all rights thereon must be assigned to Aaron Copland and/or the Company, upon demand.

I think you may have misunderstood my remarks. I suggested you use material in the public domain and thus, f~ae of copyright preble~ so they could have a market value for you.

Sincerely,

London Paris Bonn Sydney Toronto Johannesburg Goteborg

84

CBS COLLEGE PtllLISI II :\G CBS Eouca•onoJ and ProiMIIOnll Put>f;lhing A O•v•SIOn at CBS Inc )83 M.1-:l·son Avenue ~•eooot -..~ .... New Yotk 10011 t212t ~:~·2000

Melissa Postnikof! Texas Tech Univers1ty

.Music Department Lubbock, TX 79405

Dear Ms. Postnikoff:

February 1, 1985

Thank you for your. letter requesting permission to use t~e following material in your dissertation, thesis, or paper:

Selection: 2 selections f~om Burkhart: ANTHOLeGY FOR MUSICAL ANALYSIS (Holt, Rinehart and Winston, 1972)

Text and Credit Line:

From ANTHOLOGY FeR MUSICAL ANALYSIS, Second Edition by Burkhart. !Copyright (c) 1972 by Holt, .. Rinehart and Winston, Inc. Reprinted by permission of CBS College Publishing.

The material you have requested may be used for the purpose you have indicated, provided you use the above credit line as your footnote.

If the selection above contains any excerpts, figures, or illustration from other sources, permission for the use of such material must be separately requested from the copyright holder of the original source, as indicated in our credit notice.

Should your dissertation, thesis, or paper later be accepted for any commercial publication or use, it would be necessary for you to renegotiate this permission, and our regular terms and fees would apply. If you have any questions, please let me know, and I will be glad to advise you.

Sincerely yours,

~~~~ ~~ lll>d ~- Dr,odett ~. Slunderl Coleoo F'IA>ilhing College Perm1ss1ons

85

February 12, 1985

I hereby grant Hs. Melissa Postnikoff pennission to use ma.terials from page eight of my book DUO-PIANISM as part of her Master's thesis at Texas Tech University. I tmderstand it will carry the credit "Reprinted by Pennission of Hans Moldenhauer, Duo-Pianism, Chicago Husical Press." I also tmderstand I will receive a copy of the thesis upon completion.

86