Aaron Copland
Aaron Copland
Aaron Coplandwas an American composer, composition teacher, writer, and later in his career a conductor of his own and other American music. Instrumental in forging a distinctly American style of composition, in his later years he was often referred to as "the Dean of American Composers" and is best known to the public for the works he wrote in the 1930s and 1940s in a deliberately accessible style often referred to as "populist" and which the composer labeled his "vernacular"...
NationalityAmerican
ProfessionComposer
Date of Birth14 November 1900
CityBrooklyn, NY
CountryUnited States of America
Aaron Copland quotes about
If one were asked to name one musician who came closest to composing without human flaw, I suppose general consensus would choose Johann Sebastian Bach...
I don't compose. I assemble materials.
A great symphony is a man-made Mississippi down which we irresistibly flow from the instant of our leave-taking to a long forseen destination.
I hope my recordings of my own works won't inhibit other people's performances. The brutal fact is that one doesn't always get the exact tempo one wants, although one improves with experience.
A melody is not merely something you can hum.
Mozart in his music was probably the most reasonable of the world's great composers. It is the happy balance between flight and control, between sensibility and self-discipline, simplicity and sophistication of style that is his particular province... Mozart tapped once again the source from which all music flows, expressing himself with a spontaneity and refinement and breath-taking rightness that has never since been duplicated.
You may be sitting in a room reading this book. Imagine one note struck upon the piano. Immediately that one note is enough to change the atmosphere of the room - proving that the sound element in music is a powerful and mysterious agent, which it would be foolish to deride or belittle.
Inspiration may be a form of superconsciousness, or perhaps of subconsciousness - I wouldn't know. But I am sure it is the antithesis of self-consciousness.
If a literary man puts together two words about music, one of them will be wrong.
Mozart tapped the source from which all music flows, expressing himself with a spontaneity and refinement and breathtaking rightness.
When I speak of the gifted listener, I am thinking of the nonmusician primarily, of the listener who intends to retain his amateur status. It is the thought of just such a listener that excites the composer in me.
There is something about music that keeps its distance even at the moment that it engulfs us. It is at the same time outside and away from us and inside and part of us. In one sense it dwarfs us, and in another we master it. We are led on and on, and yet in some strange way we never lose control.
For me, the most important thing is the element of chance that is built into a live performance. The very great drawback of recorded sound is the fact that it is always the same. No matter how wonderful a recording is, I know that I couldn't live with it--even of my own music--with the same nuances forever.
You compose because you want to somehow summarize in some permanent form your most basic feelings about being alive, to set down some sort of permanent statement about the way it feels to live now, today.