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 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, 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Copland, Aaron, Appalachian Spring (Ballet for Martha), 1943-44, unpublished.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 Pliil-
tiarmonic, 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: 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

®
0M\XIKE8
BOOSEV & HAWKES, INC.
24 WEST 57th ST., NEW YORK, N. V. 10019
(212) 757-3332

.. ,
'>n

3:-'t 1 J'llt;';
7:-t: 15

::···- :··- '7"t': ,_ .... ... .·Jn'3'··

T'
5li 752-11.2:'!

but such as yours should to bP. directed to this

office 24 '·iest 57th Street.
1
I 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 of
SPR!Nr., to be used solely for the ;')Urpose of connletinf.';
re111ire-snts for your desree. flll in the
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 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 Justification

12 Violin I - 2 Neas. 0 -B flat long sustained values, not important

in light of the predominant heavy
rhythmic and melodic material hap-
pening

one meas. after 59 chord would be beyond hand span

Violin II } -Q.
II
five meas. before 60
Violin II } -Q
II
three meas. oefore 60
Violin II } -Q

one oefore 60 to avoid awkward hand position for

Clarinet -B-flat for pianist

one after 60 through one before 61 unimportant line in a very thick

Piano-lower line texture

60 Clarinet ), -B-flat chord would be beyond band span

eight after 60 through one oefore 61 unimportant line in a very thick

Clarinet and Flute line texture

one-seven after 60 either beyond hand span or would

Clarinet ), -B-flat create an awkward hand position

79
 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 Justification

one after 2 see above paragraph

Viola J -c
II
one before 9
Viola J -E and ) -F-sharp
II
12-three\after l2
Cello -c
II
12-tnree\after 12
Cello cJ -D

14 Clarinetj. I
II

J·
II
three before 22
Violin -!_-sharp
II
three before 41 through
one before 41

J.
upper piano line
-Q-sharp and j • -A
 APPENDIX D: RECITAL PROGRAM

Texas Tech University 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.

81
 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.
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 . 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 duo-
piano arrangement which was published in 1946. The ballet is based on Billy the Kid-
the 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

MATERIALS

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

21 November 1984

Ms. Melissa K. Postnikoff

6801 w. 19th 1255
LUbbock, TX 79407

Dear Ms. Postnikoffs

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
 84

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 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, of copyright so
they could have a market value for you.

Sincerely,

London Paris Bonn Sydney Toronto Johannesburg Goteborg

 85

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
.... New Yotk 10011
t212t

February 1, 1985

Melissa Postnikof!
Texas Tech Univers1ty
.Music Department
Lubbock, TX 79405

Dear Ms. Postnikoff:

Thank you for your. letter requesting permission to use

following material in your dissertation, thesis, or
paper:
Selection:
2 selections 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
 86

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.