Some people sniff at the idea of Aaron Copland being one of the great 20th century composers, citing the easy popularity of his most famous scores as an indicator of the music’s lack of sophistication. But the fact is this highly inventive composer crafted an original and strongly idiomatic language that is instantly recognizable as, perhaps “American”, but most certainly Copland. Take the rousing “Buckaroo Holiday” from Rodeo: who else could have come up with that? Or the prairie-dust-covered opening of Billy the Kid, uncannily evoking the loneliness of the Wild West. And what work distills the grandeur of simple human dignity more than Fanfare for the Common Man? These pieces work best when performed with a deep identification with their idiom, and a solid belief in their stature. Happily, Erich Kunzel provides both in spades as he leads the Cincinnati Pops in bold, bracing, and beautiful performances of all the above (though Bernstein with the New York Philharmonic provides that extra degree of swagger).
Kunzel’s also attuned to Copland’s more reflective side, perfectly capturing the tender moments of Appalachian Spring and Quiet City (where the Cincinnati strings provide some beautifully ethereal playing). Telarc’s demonstration-class recording is realistically vivid, with satisfying deep bass. The Music of America indeed. Yes, it’s popular, but so what? It’s great. [3/13/2001]
