No CrossRef data available.
Article contents
Extract
On the trip over he met the painter Marcel Duchamp, who suggested that he forget Fontainebleau and head straight for Paris. The instruction at Fontainebleau proved, in fact, routine. Copland's composition teacher, Paul Vidal, struck him as a French Rubin Goldmark: ‘He is a man with Mr Goldmark's tastes, and was therefore quite satisfied with the stuff I showed him and played for him,’ he wrote to his parents. ‘However, he is not the sort of man I shall want to study with, when I get to Paris in the winter.’ The students, furthermore, were ‘not a very talented bunch, since most of the Jews were scared away.’ But the town of Fontainebleau had its charms and Copland was able to work on his French. Moreover, he made a few friends (including future Cleveland music critic Herbert Elwell), took some conducting lessons, and, most important, met Nadia Boulanger, with whom he would study for three years in Paris.
- Type
- Research Article
- Information
- Copyright
- Copyright © Cambridge University Press 2000
References
1 Copland to his parents, 28 June 1921; 30 August 1921, Copland Collection at the Library of Congress (CCLC).
2 Rosenstiel, Léonie, Nadia Boulauger: A Life in Music (New York: W.W. Norton, 1982), pp.160–161 Google Scholar. Rosenstiel claims that Marion Bauer, Richard Myers, Melvilie Smith, and others studied with Boulanger prior to Copland; while most of these students studied either organ or theory with Boulanger, David Diamond confirms that at least Bauer and Smith studied composition with her, Diamond, interview by author, 15 May 1994.
3 Keener, Andrew, ‘Aaron Copland’, Gramophone (02 1981)Google Scholar; 1072, Boosey & Hawkes Clipping File (BHCF).
4 Copland, , ‘Nadia Boulanger: Mother of Modern Music’ (the title not Copland's), unpublished 1981 lecture, CCLCGoogle Scholar.
5 Copland to Ralph Copland, 19 January 1922, CCLC.
6 Copland, , ‘Nadia Boulanger: An Affectionate Portrait,’ Harper's (10 1960): 50 Google Scholar.
7 Copland, Aaron and Perlis, Vivian, Copland: 1900 Through 1942 (C–P, I) (London: Faber and Faber, 1984), pp.65–66 Google Scholar.
8 C-P, I, p.65.
9 Rosenstiel, pp.170, 177, 186–187.
10 Rosenstiel, pp.117, 172, 217.
11 Copland, ‘Nadia Boulanger: Mother of Modern Music’.
12 Copland to Nadia Boulanger, 24 November 1950, CCLC.
13 Verna Fine, interview by author, 18 March 1997; Jean-Pierre Marty, interview by author, 8 August 1995.
14 Keener, Andrew (‘very inflexible’); Copland, and Perlis, Vivian, Copland Since 1943 (New York; St Martin's Press, 1989), p. 146 Google Scholar (‘rather’).
15 C-P, I. p.65. Copland surely knew that his friend Harold Clunnan had heard Boulanger say that Roy Harris ‘would go further than Coplan d because, unlike Copland, he was not handicapped by being a Jew,’ a comment that, however, can be read in different ways, Clurman, , All People Are Famous (instead of an autobiography) (New York: Harcourt, Brace, Jovanovich, 1974), p.33 Google Scholar. When David Diamond balked at Boulanger's support of the rightwing French army leader, Henri Pétain, Copland responded, ‘We have to accept her as she is,’ Diamond, interview.
16 Rosenstiel. p.384.
17 Kazan, Elia, A Life (New York: Alfred A. Knopf, 1988), p.121 Google Scholar.
18 Seigel, Jerrold, Bohemian Paris: Culture, Politics, and the Boundaries of Bourgeois Life, 1830–1930 (New York: Vikin Press, 1986), p.368 Google Scholar.
19 The Rotonde, the Dôme, and the Sélect all figure in Ernest Hemingway's The Sun Also Rises, the most celebrated depiction of American artists in Paris in the 1920s: Hemingway, The Sun Also Rises (New York: Charles Scribner's, 1926), pp.42–51 Google Scholar.
20 Copland to his parents, 18 October 1921, CCLC.
21 Barnes, Trish, interview with Copland (unedited draft copy) (11 1980), Copland Clipping File, Music Division, New York Public Library Google Scholar.
22 C-P, I, pp.75–76.
23 Clurman, Harold, All People, pp.30–31 Google Scholar.