Composers and Notes
Aaron Copland (1900–1990) was one of the most influential American composers of the 20th century, known for his ability to capture the spirit of the American landscape in music. Though his works often evoke images of the wide-open West, Copland was born and raised in Brooklyn and spent much of his life in New York City. Except for his studies in Paris in the early 1920s, he lived and worked primarily on Manhattan’s Upper West Side, with a long residence at The Empire Hotel near Lincoln Center. This neighborhood, once a rougher part of the city, would later serve as the backdrop for West Side Story, the iconic musical by his close friend Leonard Bernstein.
Copland’s connection to Carnegie Hall spanned over five decades, from his New York debut as a soloist in the 1927 premiere of his Piano Concerto with the Boston Symphony Orchestra under Serge Koussevitzky to his final appearance at the Hall as a conductor in 1980. Many of his most significant compositions received their New York or world premieres at Carnegie Hall, including A Lincoln Portrait, Symphony No. 3, Statements, and the orchestral suite from Appalachian Spring. His Preamble for a Solemn Occasion premiered there in 1949, with Sir Laurence Olivier as the speaker and Leonard Bernstein conducting the Boston Symphony Orchestra.
Beyond the concert stage, Copland’s presence at Carnegie Hall extended into its Studio Towers, where many prominent artists, including choreographers Agnes de Mille and Martha Graham, had studios. Copland composed two of his most famous ballet scores—Rodeo for de Mille and Appalachian Spring for Graham—while their choreography was likely developed just above the historic venue. Throughout his career, Copland was not only a composer but also a conductor, educator, and advocate for contemporary music. He mentored young composers, wrote extensively about music, and helped shape the trajectory of American classical music. His influence remains profound, and Carnegie Hall stands as one of the most important venues in the story of his legacy.
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Emblems was commissioned in 1963 by the College Band Directors National Association (CBDNA) to enrich the wind band repertoire with a work that would showcase the composer’s creative abilities, free from technical or practical constraints. Aaron Copland accepted the commission, aiming to compose a piece that was both challenging and accessible for young players. He began writing in the summer of 1964 and completed the work in November of that year. The premiere performance took place on December 18, 1964, at the CBDNA National Convention in Tempe, Arizona, with the Trojan Band of the University of Southern California under the direction of William A. Schaefer.
Emblems is Copland's only composition written specifically for wind ensemble, highlighting his distinctive harmonic language and evocative style. The piece is structured in three sections: slow-fast-slow, with the return of the slow section varied to provide a sense of closure. Within the tranquil and reflective passages, a brief quotation of the hymn tune "Amazing Grace," published by William Walker in The Southern Harmony in 1835, can be heard. Copland himself discovered this connection while exploring an anthology of early American music, after having conceived the accompanying harmonies.
The title Emblems reflects Copland’s intent to evoke musical symbols or states of being—noble, aspirational, playful, and spirited emotions—yet leaves the interpretation of these emblematic sounds open to each listener. This allows the music to resonate on a personal level.
One of the key moments in the legacy of Emblems is its performance at Carnegie Hall. In 1965, just months after its premiere, the piece was performed by the University of Southern California Wind Ensemble at the prestigious venue, cementing its place in the wind ensemble canon. The concert was a significant milestone not only for Emblems but also for the wind ensemble community, as it represented a rare opportunity for such an ensemble to perform on one of the world’s most iconic stages. Through its contemplative harmonies, lively contrasts, and emotional depth, Emblems remains a cornerstone of the wind ensemble repertoire. The work continues to embody Copland’s vision of musical expression and symbolism, offering both performers and listeners a profound, personal experience.
Leonard Bernstein (1918–1990) was an American composer, conductor, pianist, and educator, widely regarded as one of the most influential musicians of the 20th century. Born in Lawrence, Massachusetts, he studied at Harvard University and later at the Curtis Institute of Music, where he developed his conducting and compositional skills.
Bernstein's big break came in 1943 when he made his unexpected conducting debut with the New York Philharmonic at Carnegie Hall, stepping in for an ill Bruno Walter. The nationally broadcast performance catapulted him to fame overnight. Throughout his career, Carnegie Hall remained a significant venue for Bernstein, hosting many of his landmark performances, including concerts with the New York Philharmonic, premieres of his compositions, and special events like his famous televised Young People's Concerts.
In 1962, Bernstein conducted the gala concert marking the opening of Philharmonic Hall (now David Geffen Hall) at Lincoln Center, but he maintained a strong connection to Carnegie Hall, returning frequently for major performances. His final concert at Carnegie Hall was in 1989, less than a year before his passing.
As a composer, Bernstein blended classical, jazz, and popular music influences, creating masterpieces such as West Side Story, Candide, and Chichester Psalms. He was also a passionate educator and social activist, using music to inspire and connect people worldwide.
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Bernstein’s legacy is deeply tied to Carnegie Hall, where his career took flight and where he made some of his most significant musical contributions. His impact on American music and culture continues to resonate today.
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Profanation is the dynamic and rhythmically charged second movement of Leonard Bernstein’s Symphony No. 1, "Jeremiah", composed in 1942. This symphony was Bernstein’s first major orchestral work and reflects his deep interest in both Jewish themes and dramatic storytelling. Profanation serves as the symphony’s scherzo, depicting chaos, corruption, and moral decline through an energetic and often unpredictable musical landscape.
The Jeremiah Symphony was inspired by the biblical story of the prophet Jeremiah, who lamented the downfall of Jerusalem. In Profanation, Bernstein musically represents the city’s descent into decadence and spiritual decay. The movement is highly rhythmic, driven by irregular meters, syncopation, and rapid shifts in texture. The music is almost dance-like at times, suggesting wild and frenzied revelry, but it also carries a sense 0f unease, foreshadowing the destruction to come in the final movement.
Bernstein’s signature compositional style is on full display in Profanation, with jazz-inflected harmonies, bold brass fanfares, and intricate woodwind passages. The movement’s energy is relentless, building through layers of complex counterpoint and rhythmic intensity before ending abruptly, as if cut off mid-gesture—a reflection of the city’s impending doom.
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The Jeremiah Symphony premiered with the Pittsburgh Symphony Orchestra in 1944, conducted by Bernstein himself. Later that year, Bernstein brought the work to Carnegie Hall, where he conducted the New York Philharmonic in a performance that helped establish him as a rising star in American music. This Carnegie Hall appearance was a pivotal moment in Bernstein’s career, showcasing both his talent as a composer and his commanding presence on the podium. The success of this performance further solidified Bernstein’s connection to Carnegie Hall, a venue where he would go on to conduct many of his most significant works throughout his career.
Profanation has since been transcribed for wind band and remains a popular and exhilarating piece in the repertoire. Its driving rhythms and dramatic flair make it a compelling work that showcases Bernstein’s ability to blend symphonic grandeur with theatrical intensity.
Igor Stravinsky (1882–1971) was one of the most groundbreaking and influential composers of the 20th century, renowned for his ability to redefine musical language across multiple styles and periods. Born in Oranienbaum (now Lomonosov), Russia, and raised in St. Petersburg, Stravinsky initially studied law before turning to composition under the guidance of Nikolai Rimsky-Korsakov. His early works, particularly his ballet scores for Sergei Diaghilev’s Ballets Russes—The Firebird (1910), Petrushka (1911), and The Rite of Spring (1913)—brought him international recognition. The Rite of Spring, with its bold rhythms, shifting meters, and striking harmonies, famously provoked a riot at its Paris premiere and forever changed the course of Western music.
Following World War I, Stravinsky entered a neoclassical phase, drawing on the forms and clarity of earlier music while infusing them with modern harmonic and rhythmic innovations. Works such as Pulcinella (1920), Symphony of Psalms (1930), and The Rake’s Progress (1951) exemplify this approach.
After moving to the United States in 1939, Stravinsky settled in Los Angeles and became an American citizen in 1945. He developed a deep connection with Carnegie Hall, which became a significant venue for his music. He made his conducting debut there in 1925 with the New York Philharmonic, leading performances of his own compositions, and returned frequently throughout his career. Carnegie Hall hosted several premieres of his works, cementing his status as a central figure in the American and international music scene. His presence there as both a composer and conductor reinforced his influence on 20th-century music and introduced his evolving styles to new audiences.
In the 1950s, Stravinsky embraced serialism, integrating it with his distinct voice in works such as Threni (1958) and Movements (1959). He continued composing, conducting, and touring until his later years, constantly reinventing himself while maintaining a unique and unmistakable sound. Stravinsky passed away in 1971 in New York City, leaving behind a legacy that continues to inspire musicians and audiences worldwide.
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Concerto for Piano and Winds was composed during the winter of 1923–24 while Stravinsky was living in France and touring as a concert pianist. The work premiered in Paris in 1924, with Serge Koussevitzky conducting and the composer himself as the soloist. Stravinsky retained exclusive performance rights for the next five years, performing the concerto around 40 times, including its American premiere at Carnegie Hall on January 22, 1925.
This Carnegie Hall performance was a landmark event in Stravinsky’s career, marking his highly anticipated U.S. debut. As both composer and soloist, Stravinsky introduced American audiences to his neoclassical style, showcasing the concerto’s intricate rhythms, biting harmonies, and bold orchestration. The program also featured his Octet for Winds and Suite from Pulcinella, reinforcing his shift away from the large-scale Russian ballets of his earlier years. Critics at the time noted the clarity and precision of his playing, as well as the striking timbral contrasts between piano and winds. The performance helped solidify Stravinsky’s growing international reputation and established his presence in the American concert scene, where he would later return frequently as a conductor and pianist.
Scored for a wind-dominated ensemble with timpani and double basses, the concerto’s instrumentation was initially met with skepticism. Stravinsky later defended his choice, explaining that he preferred the clarity and precision of winds over the blend of strings and piano, writing, “Strings and piano, a sound scraped and a sound struck, do not sound well together; piano and winds, sounds struck and blown, do.” This distinctive sound world enhances the rhythmic vitality and percussive energy that define the work.
The concerto’s rhythmic complexity is central to its character. While Western classical music traditionally conveys expression through harmonic tension and release, Stravinsky shifts the focus to rhythm. The first movement opens with the stately French overture rhythm, soon disrupted by the piano’s left and right hands falling out of sync. The second movement offers a contrasting lyrical quality, framed by rhythmic stability but featuring jazz-inflected cadenzas. The finale is playful and unpredictable, filled with rapidly changing meters that challenge the listener’s sense of pulse and phrase structure.
Stravinsky’s fascination with American jazz, sparked by scores and recordings brought to him by conductor Ernest Ansermet, influenced the work’s rhythmic style. Syncopation and unexpected metric shifts create a sense of exuberance and spontaneity. At the same time, the piece reflects Stravinsky’s neoclassical ideals, balancing structural clarity with modernist innovations. His choice of winds reinforces the work’s crisp textures, moving away from the lush symphonic sound of the late-Romantic era and emphasizing the piano’s percussive nature.
With its driving energy, sharp contrasts, and intricate rhythms, Concerto for Piano and Winds is both a virtuosic showcase and a bold statement of Stravinsky’s evolving style. A fusion of Baroque counterpoint, Classical form, Russian folk influences, and jazz elements, the work remains a thrilling and distinctive contribution to the piano concerto repertoire.
Percy Grainger (1882-1961) was an Australian-born composer, pianist, and arranger known for his distinctive blend of folk music, adventurous harmonic language, and innovative use of instrumentation. Born in Melbourne, Australia, Grainger demonstrated prodigious musical talent from a young age and moved to London in 1901 to study at the Royal College of Music. His early career as a pianist was marked by his technical brilliance and engaging performances, but he is perhaps best remembered for his contributions as a composer, particularly his arrangements of folk songs.
Grainger’s music is characterized by its vivid orchestration, rhythmic vitality, and use of unconventional scales and harmonies. Among his most famous works are Irish Tune from County Derry, Country Gardens, and Lincolnshire Posy, the latter being one of his most celebrated wind ensemble pieces. Many of Grainger’s compositions were inspired by his passion for collecting and preserving traditional folk songs, which he often arranged in innovative and intricate ways.
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Grainger’s connection to Carnegie Hall is significant in his early career. He performed there frequently, both as a solo pianist and as a conductor. His American debut at Carnegie Hall in 1917 was a pivotal moment, marking the beginning of his extensive performances across the United States. Grainger’s innovative works and arrangements earned him a strong following, and he returned to Carnegie Hall several times to perform, often premiering new pieces that blended classical music with folk and popular influences. His relationship with the Hall was an integral part of his career, helping to cement his reputation as a leading musical figure in both the concert and popular music worlds.
In addition to his musical output, Grainger was a pioneering advocate for the development of music education and a passionate experimenter with new technologies. He was an early proponent of recording technology, creating mechanical renditions of his music and experimenting with the "free music" concept, a form of composition that allowed for more individual expression within fixed musical structures.
Though Grainger spent much of his later life in the United States, his legacy remains global, with a lasting impact on both classical and folk music traditions. His works continue to be performed and revered for their imaginative, expressive qualities. Grainger’s eclectic approach to music and his unwavering commitment to musical exploration have secured his place as one of the most unique and influential figures in 20th-century music.
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Colonial Song is a beautifully expressive work that showcases his deep affection for his homeland of Australia. Composed between 1911 and 1914, the piece was Grainger’s attempt to create a melody that captured the character and spirit of the Australian people. Unlike his famous folk song settings, Colonial Song is an original composition, written in a lush, sentimental style reminiscent of an English ballad.
Grainger originally dedicated Colonial Song to his mother, Rose, who was a profound influence on his life and musical career. The piece was written, in his words, “to express feelings aroused by my love for the simple, straightforward nature of the native-born Australian.” He deliberately avoided using folk tunes, instead crafting a melody full of sweeping lyricism and rich harmonies, evoking a nostalgic and heartfelt mood.
First premiered in 1913 in a piano and voice arrangement, Colonial Song later appeared in multiple orchestrations, including settings for wind band, orchestra, and chamber ensembles. The piece features Grainger’s signature harmonic language, with unexpected modulations and lush, overlapping textures that create a dreamlike quality. Though some critics at the time found its sentimental nature unusual, the piece has since become a beloved staple of Grainger’s catalog.
A significant milestone in the work’s history occurred on March 20, 1918, when Colonial Song was performed at Carnegie Hall with the Goldman Band under the direction of Edwin Franko Goldman. Grainger himself was present and performed with the ensemble, marking one of his early appearances at the prestigious venue. This performance introduced Colonial Song to a wider American audience and helped establish Grainger’s reputation in the United States. Over the years, Carnegie Hall would become an important stage for Grainger, where his works, including Lincolnshire Posy and Irish Tune from County Derry, would be performed and celebrated.
Unlike Grainger’s more energetic and folk-driven works like Lincolnshire Posy or Shepherd’s Hey, Colonial Song unfolds with a slow, lyrical grace, allowing performers to explore its expressive depth. The piece can be seen as Grainger’s response to the English musical nationalism of composers like Ralph Vaughan Williams and Frederick Delius, but with a distinctly Australian voice.
Today, Colonial Song remains a favorite in the wind band repertoire, admired for its warmth, beauty, and emotional sincerity. It offers a glimpse into Grainger’s deep personal connection to his roots, making it a poignant and touching work for audiences and performers alike.
Ottorino Respighi (1879-1936) was an Italian composer, conductor, and musicologist known for his vivid orchestral works that often evoke the grandeur and beauty of Italy’s landscapes and historical heritage. Born in Bologna, Respighi studied at the conservatories of Bologna and St. Petersburg, where he developed his musical skills as both a composer and a performer. He was heavily influenced by the late-Romantic and early-20th-century composers, particularly his teachers and contemporaries such as Rimsky-Korsakov, as well as the Italian operatic tradition.
Respighi's most famous works are his symphonic tone poems, including The Pines of Rome (1924), Fountains of Rome (1917), and Roman Festivals (1928), each of which is known for its lush orchestration and evocative depictions of Roman scenes and Italian cultural heritage. These works, full of vibrant colors and rich textures, earned him international acclaim and a lasting place in the concert repertoire. Respighi’s ability to blend the traditional with the modern, incorporating folk themes, historical references, and his unique orchestral flair, made him one of the most important Italian composers of the early 20th century.
In addition to his work as a composer, Respighi was also a dedicated musicologist. He was particularly passionate about restoring and transcribing early music from the Italian Baroque period, notably the works of composers such as Giovanni Gabrieli. His scholarly efforts contributed to the preservation and appreciation of early Italian music and influenced his own compositions, as he frequently incorporated historical elements into his modern works.
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Respighi had a longstanding relationship with Carnegie Hall, where his music was regularly performed. His works were frequently featured in concerts by major orchestras, especially during his visits to the United States. Notably, the New York Philharmonic performed his Pines of Rome in its American premiere in 1925, shortly after the work’s European success. Respighi himself conducted performances of his own works in Carnegie Hall, and his compositions became a mainstay of the orchestral repertoire in the United States. His connection to the Hall reflects the widespread appreciation of his music by American audiences, solidifying his place as an important figure in the international classical music scene.
Despite his success, Respighi faced financial difficulties later in his career, but his music remains a hallmark of the Italian symphonic tradition. His works continue to be performed regularly, and his legacy as one of the most important Italian composers of the 20th century endures through his music, which captures the beauty, history, and vibrancy of Italy itself.
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The Pines of Rome is Ottorino Respighi’s most famous and enduringly popular composition, vividly capturing the beauty and grandeur of Rome through four connected tone poems. Written in 1924 and premiered in Rome in 1925, the work is celebrated for its lush orchestration and evocative musical imagery. This transcription for band by Guy Duker, completed in 1966, has become a cornerstone of wind band literature, preserving the brilliance of Respighi’s scoring while adapting it for a new medium. The piece is divided into four movements, each depicting a specific scene set among the ancient pines of Rome:
The Pines of the Villa Borghese – The first movement portrays children playing in the pine groves of the Villa Borghese, joyfully imitating marching soldiers, singing, and laughing before suddenly disappearing, creating a whimsical and energetic atmosphere.
The Pines Near a Catacomb – In stark contrast, the second movement shifts to a solemn, reverent setting. Shadows of the pines stand over the entrance to an ancient catacomb, from which a distant, hymn-like chant echoes. The music is haunting and mystical, evoking the spiritual aura of Rome’s historical past.
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The Pines of the Janiculum – Set on Janiculum Hill under a moonlit sky, this serene and lyrical movement showcases Respighi’s masterful use of orchestral color, featuring a clarinet solo and a delicate piano cadenza. Notably, Respighi includes a gramophone recording of a nightingale, enhancing the nocturnal ambiance and pioneering the use of recorded sound in classical music.
The Pines of the Appian Way – The final movement is a majestic depiction of an ancient Roman army marching along the Appian Way. Beginning quietly with an ominous, distant rhythm, the sound of marching grows steadily as the vision of legions advancing in the early dawn becomes clearer. The music builds to a powerful climax, with blazing brass and triumphant fanfares, portraying the glory of the Roman Consul’s victorious return to the Capitoline Hill under the rising sun.
Respighi’s inspiration came from the landscapes and history of Rome, and his vibrant orchestration paints vivid soundscapes that transport listeners to the Eternal City. The Pines of Rome is the second in his triptych of Roman tone poems, following The Fountains of Rome and preceding Roman Festivals. The piece was so successful that Respighi was able to purchase a villa, which he fittingly named “The Pines.”
A significant moment in the work’s history occurred on January 14, 1926, when The Pines of Rome was performed at Carnegie Hall by the New York Philharmonic under the direction of Arturo Toscanini. The concert marked the piece’s U.S. premiere, bringing Respighi’s music to an American audience in one of the world’s most prestigious concert halls. Toscanini, a champion of Respighi’s work, conducted with his characteristic intensity, and the performance was met with great enthusiasm. This Carnegie Hall premiere helped solidify The Pines of Rome as an international masterpiece and a staple of the orchestral repertoire.
This masterwork remains a favorite in both orchestral and wind band repertoires, celebrated for its emotional depth, imaginative storytelling, and powerful depiction of Rome’s timeless grandeur.
