Of all the American musicians in the last century, who touched the heartstrings of Americans the most?

Of all American musicians, no one can touch the American heartstrings like Copeland.

Allen, a famous American composer? Aaron copland wrote at the beginning of his autobiography Copland: 1900- 1942: "For a composer, music is a language. Behind the music, even behind the sounds of various performances, emotions are telling. " Copland endowed the United States with a unique musical language with his own music. It is the language of American land and people, the language of American history and mythology, and it contains feelings and understanding of ordinary Americans.

1900165438+1October 14. Copland was born in a Russian Jewish immigrant family in Brooklyn, new york, and his father was the owner of a department store. Copland showed his musical talent very early. He wrote his first song when he was 8 years old, but he didn't start formal music training until 13 years old. Although Copeland started late, his understanding and diligence in music made him come from behind.

/kloc-at the age of 0/5, he decided to compose music, so he began to work at Rubin before graduating from high school. Goldmark studies harmony, melody coordination and composition. Four years later, Gardmark's traditional conservative style could not satisfy the young Copland's pursuit of music. 192 1 year, Copland went to the American Conservatory of Music in Fontainebleau, France, and became a famous composer nadia? Students in boulanger.

At this time, a new trend is brewing in Paris, the capital of art. Eliot and Pound, writers who emigrated to Europe, Braque and Ernst, surrealist painters, and Planck and Mi Yue, composers of the French Six, abandoned tradition and made bold innovations in their respective artistic fields. Under the infiltration of this pure modernist atmosphere, Copland wrote his first orchestral work Graf.

1924, Copland returned to China. Before leaving Paris, Copeland wrote orchestral and organ ensembles for boulanger at her invitation, in which boulanger was an organ soloist. After the first performance of this modern style work in new york, critics gave different opinions, and the audience was both surprised and shocked. Copland is clearly aware of the traces of European style in his works, and is determined to create with the unique American music language.

Years later, he recalled in an interview with The New York Times: "I am fully aware of the difference between French composers and German composers, Iger? Pronunciation of Russian Stravinsky. I am very eager to write serious music with a unique American style. " 1925 and 1926, Copland composed drama music and piano concerto successively, and jazz was integrated into it. But critics think that his efforts are too artificial, and the jazz elements in his works sound more like symbols with American characteristics than expressions of personal feelings.

In addition to writing, Copland also vigorously introduced and promoted the works of other young American composers to the public. 1928, he and the composer Ruggier? Saisen co-sponsored the Copland-Saisen Concert Series, which has provided new york audiences with opportunities to appreciate and understand contemporary American music for several years. From 65438 to 0932, he organized and hosted the American Contemporary Music Festival in new york. At the same time, Copland's musical style changed again.

The works of this period, such as symphonic ode, piano variations and symphonic short stories, give people an abstract, thin and empty feeling. They are not only difficult to play, but also the abrupt rhythm and discordant tone often make the audience feel puzzled and rejected.

In the process of exploration, Pollan gradually realized that music should be aimed at a wider audience, not just peers in the music industry, and it is the most challenging for him to create simple and popular works. From 65438 to 0936, Copland, a Mexican, opened up a new creative path. He created the Mexican Ballroom based on Mexican folk music, which aroused enthusiastic response from the audience. In the next ten years, Copland continued to get inspiration from regional music.

He integrated American folk music in the19th century, such as hymns in New England and cowboy music in the west, into his own creation, and conveyed a simple and natural American style and "humanity" with simple and expressive music language. Their humanity, shyness, dignity and unique charm "(Copeland:1900-1942). Copland's new work won him unprecedented honor and a wider audience, but it also attracted criticism and ridicule from some music peers, accusing him of betraying the music art.

In this regard, Copeland defended himself: "Winning the audience is only part of the reason why I created these works. Just like the jazz works I hastily composed in my early years, these works gave me a chance to try more local music traditions. I feel that I have touched the natural essence of music that we urgently need. "

The late 1930s and the whole 1940s were the heyday of Copland's creation, and his works included symphonies, ballets, operas, movies, songs, plays and other forms. Copland has composed music for five feature films, including of mice and men, Town, Polaris, Ju Chi and Heir. His music added color to the film, but did not hide the light of the performance itself, which became a model of film soundtrack later.

The Times Literary Supplement claimed that the music in of mice and men and The West Side of the Town was the best film soundtrack ever, and they won the Oscar for best film soundtrack. Copland's achievements in ballet music are even better than those in movies. His biographer Julia? Smith wrote: "In the form of ballet, Allen? Copland shows the strength, power and belief of American tradition in contemporary music language, which is beyond the reach of any American composer.

He laid the foundation of American national art and established a recognized American music tradition. Copland's most famous ballet music includes Billy the Boy, Horse Racing Show and Appalachian Spring, among which Appalachian Spring won the Pulitzer Prize for Music and the new york Prize for Music Critics.

Despite the brilliant achievements in the field of pop music, Copland never gave up the exploration of serious music, and always hoped to win the appreciation and respect of listeners with high musical literacy with exquisite and elegant music. In the early 1940s, he composed piano sonatas, violin sonatas and the third symphony for the concert, which were rated as the best orchestral works of 1946 to 1947 by new york Music Critics Association.

In addition, the symphonic poem "The Portrait of Lincoln" and the orchestral "Cheer for the Ordinary People" in memory of American President Lincoln have also been well received. From 1950s to 1960s, Copeland returned to the abstract and avant-garde style he tried in his early years. Piano Quartet, Piano Dream and Connotation are representative works. It is worth mentioning that Copland wrote Emily in the 1950s. Dickinson's Twelve Poems and the opera "Hot Land" combine different styles, such as seriousness and popularity, and are included in his best works.

An important part of Copland's music career is the education and popularization of music. From the mid-1920s to the late 1930s, Copeland taught modern music in the New Society Institute. During the 25 years from 1940 to 1965, he served as the head of the composition department of Berkshire Music Center, which was presided over by Boston Symphony Orchestra, and conducted several generations of American composers. In the early 1950s, his music lecture at Harvard University was published in 1952, with the title Music and Imagination. In addition, he introduced and publicized American modern music to the national audience, and published works such as How to Listen to Music and Our New Music.

1970, Copland suddenly stopped composing and became the conductor of the orchestra. 10 years later, he said in an interview: "I am surprised that I have no sense of loss. I must have fully expressed myself. " I don't feel bad at all, and I don't dislike it. I just feel lucky that it took me so long to create, and I can accept it when it's over. "

Washington post explained it this way: "Copland's status is equivalent to a national monument. His existence is enough. " 1964 Copland became the first American composer to win a medal. 1979, he was awarded the Kennedy Center Honorary Award in recognition of his contribution to American culture. 1986, President Reagan awarded him the National Medal of Art. ..

1990 65438+On February 2nd, Copland died of pneumonia after several strokes at the age of 90. His musical career spanned almost the whole 20th century. The New York Times pointed out in his eulogy: "Of all the classical musicians in the United States, no one touched the American heartstrings like Copeland."