Copland el salon mexico pdf

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Subtitled “The Courting at Burnt Ranch”, the ballet consists of five sections: “Buckaroo Holiday”, “Corral Nocturne”, “Ranch House Party,” “Saturday Night Waltz”, and “Hoe-Down”. The symphonic version omits “Ranch Copland el salon mexico pdf Party”, leaving the other sections relatively intact. Ballet Russe commissioned de Mille out of a career of relative obscurity.

Though Copland was initially reluctant to compose “another Cowboy ballet,” De Mille persuaded him that this show would mark a significant departure from his previous work. De Mille also made use of such vernacular forms as a square dance and a cadenza for a tap dancer. The original production went on to lead a successful tour, though producers were hard pressed to replicate the skill with which de Mille had portrayed the lead. De Mille retained veto power over any casting of the ballet, which often sent companies to extremes in order to find a worthy Cowgirl. Ranch House Party” and minor adjustments to the final two sections. With the middle section removed, the composition resembled the symphonic form with an ambitious opening movement, slow movement, minuet and finale. This is likely attributable in part to De Mille’s control over the work.

Old Paint”, for Copland in addition to her blocking notes. Lomax’s 1941 book, “Our Singing Country”. Many of the themes were autobiographical for De Mille. An extremely skilled dancer, the choreographer nonetheless felt awkward in the offstage world, and the Cowgirl’s unwillingness to subscribe to traditional gender roles mirrors De Mille’s experience. A 25 second sample of the “Buckaroo Holiday” movement demonstrating the rhythmic motif of the main “Rodeo” theme. R5-6, where the woodwinds introduce the Cowgirl’s theme.

The lone Cowgirl seeks the affections of the Head Wrangler, who is rather taken with the more feminine Rancher’s Daughter. The cowboys enter to the railroad tune of “Sis Joe”, envisioned by de Mille as an event “like thunder,” which Copland obliges with heavy drums and brass. As the cowgirl seeks the attention of her quarry, she mimics the surrounding cowboys, reflected in the heavy use of the tune “If He’d Be a Buckaroo” in this section. After a brief return to the quiet Cowgirl theme, the fanfare returns. Sis Joe” reappears again, before the entire orchestra triumphantly plays “If He’d be a Buckaroo”. A 24 second sample of “Corral Nocturne” demonstrating the lyrical interplay of the oboe and bassoon to create the mood of a lovesick character.

The “Corral Nocturne” invokes the lovesick musings of the Cowgirl, portrayed rather lyrically by Copland’s heavy use of oboe and bassoon. In writing this scene, de Mille noted that “She run through the empty corrals intoxicated with space, her feet thudding in the stillness. The Head Wrangler discovers her in the darkness, but she does not come toward him as the Rancher’s Daughter would. Confused, he exits with the Rancher’s Daughter. Mille as “Dance music inside.

Indeed, the section opens with a honky-tonk theme played on a piano, accompanied by a more thoughtful clarinet. The Cowgirl finds herself between the Champion Roper and the Wrangler, who are attracted to the Rancher’s Daughter. Corral Nocturne” is recalled at the end of this section, as the Cowgirl finds herself quite alone. File:Aaron Copland Saturday Night Waltz.

A 16 second sample of “Saturday Night Waltz” demonstrating the subtle use of single woodwind instruments over a bed of strings to represent the characters. Expectant of a partner and finding none, the Cowgirl is alone until the Champion Roper approaches her, having failed to best the Wrangler in winning the affections of the Rancher’s Daughter. Both this section and the “Corral Nocturne” feature Copland’s characteristic economy of sound, where he uses solo instruments in lieu of entire sections. A 20 second sample of “Hoe-Down” demonstrating the main theme of the movement with the horns providing counterpoint to the main string melody. Finally, the “Hoe-Down” opens by vamping the first bar of William H. Stepp’s interpretation of the folk tune “Bonaparte’s Retreat”, which will become a major theme of the section. Copland briefly introduces the Irish theme “Gilderoy” in the clarinet and oboe.

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