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Product details
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Track Listings
| 1. Rodeo |
| 2. Billy the Kid |
| 3. Appalachian Spring |
| 4. Buckaroo Holiday |
| 5. Corral Nocturne |
| 6. Saturday Night Waltz |
| 7. Hoe-Down |
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Customer Reviews
Most Helpful Customer Reviews
6 of 6 people found the following review helpful
Format:Audio CD
I have been watching Michael Tilson Thomas` semi- educational programme on Sky, these are followed by a performance of the work discussed. Recently he devoted time to Copland and I am glad he did because he opened up a whole new world in my understanding of Coplands music. This disc is an excellent introduction to Coplands music and is brilliantly performed by the San Francisco band and the erudite (as always) Michael Tilson Thomas.
Rodeo is pure Americana and you will surely know the Shaker hymn that is included in Appalachian Spring. The only thing missing from the recording is my personal favourite El Salon Mexico - but that is pure greed on my part. All in all this recording is excellent value in every way. Buy and enjoy!
Rodeo is pure Americana and you will surely know the Shaker hymn that is included in Appalachian Spring. The only thing missing from the recording is my personal favourite El Salon Mexico - but that is pure greed on my part. All in all this recording is excellent value in every way. Buy and enjoy!
Most Helpful Customer Reviews on Amazon.com (beta)
Amazon.com:
7 reviews
7 of 7 people found the following review helpful
Tremendous performances
20 Aug 2009
Format:Audio CD|Amazon Verified Purchase
This CD of Copland's Appalachian Spring, Billy the Kid and Rodeo is music-making at its finest. And at its most rewarding. I've been listening to Bernstein's Appalachian Spring for 30 years and I know it like the back of my hand- I never thought any other performance would relegate it to 2nd place on my preferred list. But this recording has accomplished that.
Each of these performances demand the listener's full attention. It's amazing how effective it can be to put just a little "space" into a performance; subtle tempo changes, different kinds of articulations, a tiny bit more time taken in just the right places, etc. There are so many dramatic opportunities capitalized upon in this Appalachian Spring that it's impossible to not listen closely. Although the Bernstein version has a wonderful sense of forward momentum and is completely satisfying in its own way, yet the Thomas performance is more dramatic, more "intentional" and more emotionally involving, and leaves the impression that the score had far more to say than we might have thought. The playing is also more refined here- it has none of the raggedness that the Bernstein suffers from. The playing here is at the very highest level.
I don't find the inclusion of the 9 minute "revivalist" section to be a plus. Perhaps I've just gotten too accustomed to the familiar version of the score that I'm having trouble adding 35% more music in the guise of "new" material, but for me the whole feel of the piece changes and is rendered less connected, and it's ultimately less satisfying. For that reason I made a copy of the performance and excised the section; a much better result, in my opinion. (There's a reason that composers make cuts in their work- see Vaughan Williams' Symphony #2, "London".)
This particular Billy the Kid is powerful stuff. Intensely dramatic music, given a reading full of poignancy and conviction. Billy's death scene is especially moving. It's amazing how Copland can move from loud, forceful exclamations to tender, sparse beauty within just a few beats, and Thomas makes the most of these contrasts. The only issue I have is that 21 minutes of this score feels like not nearly enough.
The dances from Rodeo are spirited, as you'd expect, and unlike some other recordings the tempos are just right. In a piece with lots of syncopations it's possible to push the tempo to the point where the syncopations are almost lost (see Slatkin/St. Louis), and that results in a less satisfying listening experience. Here the tempos seem ideal.
Am I the last person to learn that Appalachian Spring has nothing to do with Appalachia and nothing to do with spring? Copland's title for the score was "Ballet for Martha", for Martha Graham, and it came to be known as Appalachian Spring only after Ms. Graham found the words in a poem and suggested the title to Copland. The "spring" in the title has nothing to do with the season- in the poem it referred to a water source. It's said that Copland was always amused when people approached him with praises for how well he had captured the feel of the Appalachians. The things ya learn (courtesy of Wikipedia)...
Each of these performances demand the listener's full attention. It's amazing how effective it can be to put just a little "space" into a performance; subtle tempo changes, different kinds of articulations, a tiny bit more time taken in just the right places, etc. There are so many dramatic opportunities capitalized upon in this Appalachian Spring that it's impossible to not listen closely. Although the Bernstein version has a wonderful sense of forward momentum and is completely satisfying in its own way, yet the Thomas performance is more dramatic, more "intentional" and more emotionally involving, and leaves the impression that the score had far more to say than we might have thought. The playing is also more refined here- it has none of the raggedness that the Bernstein suffers from. The playing here is at the very highest level.
I don't find the inclusion of the 9 minute "revivalist" section to be a plus. Perhaps I've just gotten too accustomed to the familiar version of the score that I'm having trouble adding 35% more music in the guise of "new" material, but for me the whole feel of the piece changes and is rendered less connected, and it's ultimately less satisfying. For that reason I made a copy of the performance and excised the section; a much better result, in my opinion. (There's a reason that composers make cuts in their work- see Vaughan Williams' Symphony #2, "London".)
This particular Billy the Kid is powerful stuff. Intensely dramatic music, given a reading full of poignancy and conviction. Billy's death scene is especially moving. It's amazing how Copland can move from loud, forceful exclamations to tender, sparse beauty within just a few beats, and Thomas makes the most of these contrasts. The only issue I have is that 21 minutes of this score feels like not nearly enough.
The dances from Rodeo are spirited, as you'd expect, and unlike some other recordings the tempos are just right. In a piece with lots of syncopations it's possible to push the tempo to the point where the syncopations are almost lost (see Slatkin/St. Louis), and that results in a less satisfying listening experience. Here the tempos seem ideal.
Am I the last person to learn that Appalachian Spring has nothing to do with Appalachia and nothing to do with spring? Copland's title for the score was "Ballet for Martha", for Martha Graham, and it came to be known as Appalachian Spring only after Ms. Graham found the words in a poem and suggested the title to Copland. The "spring" in the title has nothing to do with the season- in the poem it referred to a water source. It's said that Copland was always amused when people approached him with praises for how well he had captured the feel of the Appalachians. The things ya learn (courtesy of Wikipedia)...
7 of 7 people found the following review helpful
Appalachian Spring
12 May 2007
Format:Audio CD
There are so many performances of this work that it has practcally become cliche. I have searched for years for a particular performance which has a small fugue in the violins. No, it is not the "Simple Gifts" theme. This performanc has it. It is exquisite and performed with sensitivity and skill under the baton of Tillson-Thomas. The entire work is played excellently with quality sound (concert hall experience). I have other recordings of the "Spring," but this one will be my mainstay.
5 of 5 people found the following review helpful
Fresh and exciting interpretation
24 Mar 2009
Amazon Verified Purchase
I'm a big fan of Copland. His music can be dramatic, sad, joyful, and just plain fun. I also think his music is a good vehicle for personal expression of the performer/conductor. I don't think this is true for all composers---I cringe at some interpretations of Bach---but I usually enjoy it when a performance of Appalachian Spring or Bill the Kid contains some individual stamp that indicates the performer is really feeling and enjoying what they are doing. The combination of Copland's timeless compositions and subtle playing effects can be very sophisticated indeed.
Michael Tilson Thomas is truly crafting this music, measure by measure. His ability to get organic effects from the orchestra is wonderful. In Billy the Kid, when the music is exciting, you can just feel every player bound together in energy... and then the mood changes character, it becomes slow and soft, and the transformation is astonishing, every instrument now singing a sad song together.
Some reviewers have said that his Appalachian Spring is too dramatic. First you have to realize that the sound on this recording is extremely dynamic. Too often modern recordings of orchestras sound pinched or constrained. Orchestral fortississimos don't have their true impact. Here, RCA has captured much of the power and impact of the low drums and the brass. So any part in the music that calls for drums and brass (and Appalachian Spring often does) is going to be very powerful. If you don't like it, maybe you would have liked it at an actual concert. Recordings never "work" perfectly---effects which sound great live sometimes fail to translate.
For me, I'm very glad to have a recording with such dynamics and impact.
Overall I like the Appalachian Spring here. It's quiet and tender parts are tender indeed. It's exciting parts are very exciting. Although I'd rather have the performer take chances than do what is expected, perhaps MTT goes a bit too far, letting the piece lose some of its integrity. This is just a matter of taste.
Billy the Kid starts and ends with a tone-painting of the "open plain." I've noticed that some conductors play this with a dramatic quality that is very nice, but somehow missed the "open plain" idea. Here MTT makes it sound like an open plain. Very clear tone-painting.
Hoe-Down from Rodeo is really a terrific piece and it's too bad it got used in that commercial. I can hardly hear it now without thinking of bleepin beef. So I really, really appreciate his alive and energetic interpretation. You can just tell how much fun the musicians were having. That's the antidote to the damn commercial we need---make people realize this is wonderful, complex, and most of all fun.
Michael Tilson Thomas is truly crafting this music, measure by measure. His ability to get organic effects from the orchestra is wonderful. In Billy the Kid, when the music is exciting, you can just feel every player bound together in energy... and then the mood changes character, it becomes slow and soft, and the transformation is astonishing, every instrument now singing a sad song together.
Some reviewers have said that his Appalachian Spring is too dramatic. First you have to realize that the sound on this recording is extremely dynamic. Too often modern recordings of orchestras sound pinched or constrained. Orchestral fortississimos don't have their true impact. Here, RCA has captured much of the power and impact of the low drums and the brass. So any part in the music that calls for drums and brass (and Appalachian Spring often does) is going to be very powerful. If you don't like it, maybe you would have liked it at an actual concert. Recordings never "work" perfectly---effects which sound great live sometimes fail to translate.
For me, I'm very glad to have a recording with such dynamics and impact.
Overall I like the Appalachian Spring here. It's quiet and tender parts are tender indeed. It's exciting parts are very exciting. Although I'd rather have the performer take chances than do what is expected, perhaps MTT goes a bit too far, letting the piece lose some of its integrity. This is just a matter of taste.
Billy the Kid starts and ends with a tone-painting of the "open plain." I've noticed that some conductors play this with a dramatic quality that is very nice, but somehow missed the "open plain" idea. Here MTT makes it sound like an open plain. Very clear tone-painting.
Hoe-Down from Rodeo is really a terrific piece and it's too bad it got used in that commercial. I can hardly hear it now without thinking of bleepin beef. So I really, really appreciate his alive and energetic interpretation. You can just tell how much fun the musicians were having. That's the antidote to the damn commercial we need---make people realize this is wonderful, complex, and most of all fun.
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