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Clarinet Concerto (Copland)

Aaron Copland's Clarinet Concerto (also referred to as the Concerto for Clarinet and String Orchestra or the Concerto for Clarinet, Strings, Harp and Piano) was written between 1947 and 1949,[1] although a first version was available in 1948. The concerto was later choreographed by Jerome Robbins for the ballet Pied Piper (1951).

History edit

Composition edit

Soon after Copland composed his Symphony No. 3, in 1947 jazz clarinetist Benny Goodman commissioned him to write a concerto for clarinet. Goodman told Copland biographer Vivian Perlis:[2][3]

I made no demands on what Copland should write. He had completely free rein, except that I should have a two-year exclusivity on playing the work. I paid two thousand dollars and that's real money. At the time there were not too many American composers to pick from... We never had much trouble except for a little fracas about the spot before the cadenza where he had written a repetition of some phrase. I was a little sticky about leaving it out—it was where the viola was the echo to give the clarinet a cue. But I think Aaron finally did leave it out... Aaron and I played the concerto quite a few times with him conducting, and we made two recordings"

Copland was in Rio de Janeiro in 1947 as a lecturer and conductor. While there he made many drafts of the concerto. On August 26, 1948, Copland wrote that the concerto was still "dribbling along".[4] A month later, he wrote in a letter that the piece was almost done.[5] On December 6, 1948, he wrote to composer Carlos Chávez that he had completed the composition and was pleased with the result.[6]

Copland accepted a commission from conductor Serge Koussevitzky to arrange the concerto's first movement as an Elegy for Strings, to be performed by the Boston Symphony. However, in a letter to Koussevitzky dated August 29, 1950, Copland backed away from the commission. The composer explained that, after further thought, he believed that performing an arrangement of the first movement by itself "takes away from the integrity of the Concerto as I originally conceived it, and I am basically unwilling to do that". Copland was also concerned, he wrote, that a performance of the concerto's first movement by itself when the concerto still had not been performed—Goodman repeatedly postponed his premier of the piece—might be misperceived by the public as expressing doubt about the quality of the concerto's second movement. He proposed a different way to satisfy his commitment for an elegy.[7]

Performances edit

 
Copland Clarinet Concerto performed in Belgrade, Yugoslavia, on June 2, 1961, by Milenko Stefanović and Belgrade Philharmonic Orchestra, conducted by Aaron Copland

Benny Goodman premiered the concerto on an NBC radio broadcast with the NBC Symphony Orchestra conducted by Fritz Reiner, on November 6, 1950.[8]

Some claim this performance, however, was not the world premiere, and attribute the world premiere to Ralph McLane and the Philadelphia Orchestra under Eugene Ormandy because this performance on November 28, 1950 was the first "public performance".[9][10] In any case it was the first public performance of the Concerto in New York.[11]

This November 28, 1950 performance —probably just beyond the end of the two-year exclusivity— had been scheduled by Copland to increase pressure on Goodman, since he kept on putting off the first performance.[8] A recording of the first radio performance by Goodman, with the NBC Symphony Orchestra under the baton of Fritz Reiner is available on CD on the Legend music label (see below).

The concerto quickly established itself as a standard piece in the clarinet repertoire. Since the performance by Benny Goodman, other notable performances include those by:

However, one particular recording of note is the one with Goodman and conducted by Copland himself, which Aaron Copland considered to be his best recording ever.[17]

Style and structure edit

Copland incorporated many jazz elements into his concerto.

Mellers[18] —Copland being representative of the American "Other"— links Copland’s affinity for jazz elements with the fact that “both Negro and Jew are dispossessed people who have become, in a cosmopolitan urban society, representative of man’s uprootedness.”

Copland himself[19] acknowledged that his signature "bittersweet lyricism" like in the first movement of the Clarinet Concerto may have been influenced by his feelings of loneliness and social alienation over his homosexuality.

On the piece, Copland writes:[20]

"The instrumentation being clarinet with strings, harp, and piano, I did not have a large battery of percussion to achieve jazzy effects, so I used slapping basses and whacking harp sounds to simulate them. The Clarinet Concerto ends with a fairly elaborate coda in C major that finishes off with a clarinet glissando – or "smear" in jazz lingo."

The piece is written in a very unusual form. The two movements are played back-to-back, linked by a clarinet cadenza. The first movement is written in A-B-A form and is slow and expressive, full of bittersweet lyricism. The cadenza not only gives the soloist an opportunity to display his virtuosity, but also introduces many of the melodic Latin American jazz themes that dominate the second movement.

The overall form of the final movement is a free rondo with several developing side issues that resolve in the end with an elaborate coda in C major. Copland noted that his playful finale is born of

"an unconscious fusion of elements obviously related to North and South American popular music (for example, a phrase from a currently popular Brazilian tune, heard by me in Rio, became embedded in the secondary material)."

This section was written specially for Benny Goodman's jazz talents; however, many of the technical challenges were above Goodman's confidence level, and the original score shows several alterations by Goodman to bring down higher notes, making it easier to play.[21] The manuscript page of the original coda has suggested changes by Goodman in pencil, and the memo on top reads:[22]

"1st version —later revised— of Coda of Clarinet Concerto (too difficult for Benny Goodman)"

Recently, performances of the restored original version have been given by Charles Neidich and Andrew Simon, amongst others. In the liner notes of the Chandos CD Composers in New York, Charles Neidich writes:

"...of that [1948] coda, complete with a tremendously brilliant clarinet part: cascading arpeggios which [Copland] decided were too difficult for the clarinet and which in the revised version he gave to the piano."

Only a few recordings of this version have been made (see the discography section below).

The concerto contains other notable references such as material from “The Cummington Story”, an "Office of War Information Documentary" (written in 1945) which sets the stage for the film's church-centered small town. It is the refugees’ theme from the unpublished film score that is used in the concerto.[23]

Discography edit

Recordings on LP edit

External audio
  You may hear Aaron Copland conducting the Columbia Symphony Orchestra with Benny Goodman in his Clarinet Concerto
in 1963 Here on Archive.org
  • Gervase de Peyer. Copland, Clarinet Concerto. Unicorn Records RHS314  ?, (p) ~1972
  • Paul Drushler. Version with piano. Mark 3344
  • Benny Goodman. Aaron Copland conducts his clarinet concerto. Columbia Masterworks MS 6497, (p) 1963
  • Benny Goodman. Meeting at the Summit. Columbia MS6805  ?, (p) ?

Recordings available on CD edit

  • Laura Ardan. American Classics. Naxos 8.559069, 2001, (p) 2001
  • Dimitri Ashkenazy. Concertos For Clarinet. PAN Classics 510 107, 1998, (p) 1998
  • Reto Bieri. Portrait. PAN Classics 510 144, 2001, (p) 2001
  • William Blount, Music for the Theatre. Music Masters MM601621 1988
  • Eduard Brunner. Hommage à Benny Goodman. Koch Schwann 3-1035-2, 1992, (p) 1992
  • Philippe Cuper. Concertos For Clarinet & Orchestra. ADDA 581315, 1992, (p) 1993
  • Karin Dornbusch. Barber, Copland, Ginastera. Caprice CAP 21591, 1998, (p) 1998
  • Stanley Drucker. Copland: El Salon Mexico/Concerto for Clarinet and String Orchestra/Music for the Theatre/Connotations for Orchestra. Deutsche Grammophon 431 672–2 1991, (p) 1991
  • Kim Ellis. The Music of Copland and McKinley. Navona NV5812, 2008
  • Martin Fröst. Martin Fröst Plays Concertos Dedicated To Benny Goodman. BIS CD-893, 1997, (p) 1998
  • Benny Goodman. Benny Goodman Collector's Edition. CBS MK42227, 1986, (p) 1986
  • Benny Goodman. Reiner & Goodman. Legend LGD122, 1951, (p) 1994
  • Gary Gray. Clarinet Concertos. Centaur CRC 2212, 1994, (p) 1994
  • Janet Hilton. Clarinet Concertos. CHAN 8618, 1988, (p) 1988
  • Sharon Kam. American Classics. Teldec Classics 8573-88482-2 2002, (p) 2002
  • Sharon Kam. I got Rhythm, American Classics. Teldec Classics WPCS-11205 (8573-88482-2) 2002, (p) 2002
  • George MacDonald. Clarinet Concertos.... ASV CD DCA568, 1986, (p) 1986
  • Jon Manasse. 3 Clarinet Concertos. XLNT Music CD-18011, 2004, (p) 2004
  • Jon Manasse. Sounds of America. Recursive Classics RC3139941, (p) 2021
  • Paul Meyer. Clarinet Concertos. DENON CO-75289, 1993, (p) 1993
  • Sabine Meyer. Homage To Benny Goodman. EMI Classics 7243 5 56652 2 5, 1998, (p) 1998
  • Arne Møller. Et Clarinet portræt. Classico CLASSCD514, 1964, (p) 2004
  • Charles Neidich. Composers in New-York. Chandos digital CHAN 9848, 2000, (p) 2000
  • Daniel Pacitti. Works For Clarinet. Agora Musica AG026, 1995
  • Ludmila Peterková. Scaramouche And Other Concertos For Clarinet. Supraphon SU 3348-2031, 1997, (p) 1997
  • Robert Plane. American Landmarks. BBC MM205 DDD 2001, (p) 2001
  • David Shifrin. Clarinet Concerto.... EMI CDC 7 49095 2, 1989, (p) 1989
  • Robert Spring. American Jazz Concertos. Summit Records DCD-1019, 2003, (p) 2003
  • Richard Stoltzman. Copland-Corigliano, Clarinet Concertos. RCA Victor Red Seal RD 87762, 1988, (p) 1988
  • Richard Stoltzman. Copland Clarinet Concerto. RCA Victor Red Seal 09026 61790 2, 1993, (p) 1993
  • Richard Stoltzman. The Essential Clarinet. RCA 61360, 1988, (p) 1992
  • Sarah Williamson. Copland Clarinet Concerto. Somm New Horizons. B003L1N4PI, 2010
  • Andrzej Wojciechowski. A Tribute to Benny Goodman. DUX 1266, 2016

Recordings of the original 1948 version edit

  • Reto Bieri. Portrait. PAN Classics 510 144, 2001, (p) 2001
  • Charles Neidich. Composers in New-York. Chandos digital CHAN 9848, 2000, (p) 2000
  • Martin Fröst. Dances to a Black Pipe. BIS-SACD-1863, 2011, (p) 2011

Recording of performance directed by the composer edit

  • Benny Goodman. Benny Goodman Collector's Edition. CBS MK42227, 1986, (p) 1986

Recording of the first radio performance edit

Recordings available on DVD edit

References edit

  1. ^ The Aaron Copland Collection ca. 1900–1990
  2. ^ Peter Laki: in the program of Franklin Cohens performance of the piece (March 16–18, 1995 with the Cleveland Orchestra)
  3. ^ Since 1943, by Aaron Copland and Vivian Perlis. St. Martin's
  4. ^ Letter to Louis Kaufman, August 26, 1948.
  5. ^ Letter to Verna Fine September 30, 1948.
  6. ^ Letter to Carlos Chavez December 6, 1948.
  7. ^ Letter to Koussevitzky August 29, 1950. In the letter, Copland offered to fulfill his commitment to Koussevitzky for an elegy by composing one based on material from his recently completed "Song Cycle of twelve songs with texts by the New England poet Emily Dickinson."
  8. ^ a b Naxos liner notes
  9. ^ Musical Quarterly – Sign In Page[dead link]
  10. ^ Oehmsclassics: Levine, James – Documents of the Munich Years · Vol. 4
  11. ^ Pamela Weston, Clarinet Virtuosi of the Past, Emerson Editions
  12. ^ AARON COPLAND Belgrade concerto 1961 – Čuveni dirigent i kompozitor u Beogradu, Retrieved on August 13, 2009
  13. ^ Blagojević, Andrija. Pregled istorijskog razvoja klarineta i literature za klarinet. Zvečan: Fakultet umetnosti, 2010, pp. 71–73
  14. ^ Ware, Allan. A Chat with Milenko Stefanovic and His Son Predrag. The Clarinet, May/June 1988, p. 31
  15. ^ *Blagojevic, Andrija and Milan Milosevic. Milenko Stefanovic Awarded The Lifetime Achievement Award. The Clarinet, September 2010, p. 17
  16. ^ Andrija Blagojević, "Milenko Stefanović and his Collaborations with Composers," The Clarinet 45, no. 3 (June 2018), pp. 32-37
  17. ^ Letter to Verna Fine November 7, 1963
  18. ^ Wilfrid Mellers, Music in a New Found Land (New York: Oxford University Press, 1964), p.85 quoted in ibid., p.518
  19. ^ Pollack, Howard. Aaron Copland: The Life and Work of an Uncommon Man. New York: Henry Holt and Company, 1999, p.525
  20. ^ Peter Laki: op. cit.
  21. ^ Clarinet Concerto sketches
  22. ^ The liner notes of the Bieri recording on Pan Classics have a facsimile of this page
  23. ^ Use of material from "Down a country lane" and "The Cummington Story", p.11

External links edit

  • Good Music Guide
  • Goodman/Copland, The Clarinet BBoard on Copland Clarinet Concerto
  • Video - Aaron Copland - Clarinet Concerto (21:23).

clarinet, concerto, copland, aaron, copland, clarinet, concerto, also, referred, concerto, clarinet, string, orchestra, concerto, clarinet, strings, harp, piano, written, between, 1947, 1949, although, first, version, available, 1948, concerto, later, choreogr. Aaron Copland s Clarinet Concerto also referred to as the Concerto for Clarinet and String Orchestra or the Concerto for Clarinet Strings Harp and Piano was written between 1947 and 1949 1 although a first version was available in 1948 The concerto was later choreographed by Jerome Robbins for the ballet Pied Piper 1951 Contents 1 History 1 1 Composition 1 2 Performances 2 Style and structure 3 Discography 3 1 Recordings on LP 3 2 Recordings available on CD 3 3 Recordings of the original 1948 version 3 4 Recording of performance directed by the composer 3 5 Recording of the first radio performance 3 6 Recordings available on DVD 4 References 5 External linksHistory editComposition edit Soon after Copland composed his Symphony No 3 in 1947 jazz clarinetist Benny Goodman commissioned him to write a concerto for clarinet Goodman told Copland biographer Vivian Perlis 2 3 I made no demands on what Copland should write He had completely free rein except that I should have a two year exclusivity on playing the work I paid two thousand dollars and that s real money At the time there were not too many American composers to pick from We never had much trouble except for a little fracas about the spot before the cadenza where he had written a repetition of some phrase I was a little sticky about leaving it out it was where the viola was the echo to give the clarinet a cue But I think Aaron finally did leave it out Aaron and I played the concerto quite a few times with him conducting and we made two recordings Copland was in Rio de Janeiro in 1947 as a lecturer and conductor While there he made many drafts of the concerto On August 26 1948 Copland wrote that the concerto was still dribbling along 4 A month later he wrote in a letter that the piece was almost done 5 On December 6 1948 he wrote to composer Carlos Chavez that he had completed the composition and was pleased with the result 6 Copland accepted a commission from conductor Serge Koussevitzky to arrange the concerto s first movement as an Elegy for Strings to be performed by the Boston Symphony However in a letter to Koussevitzky dated August 29 1950 Copland backed away from the commission The composer explained that after further thought he believed that performing an arrangement of the first movement by itself takes away from the integrity of the Concerto as I originally conceived it and I am basically unwilling to do that Copland was also concerned he wrote that a performance of the concerto s first movement by itself when the concerto still had not been performed Goodman repeatedly postponed his premier of the piece might be misperceived by the public as expressing doubt about the quality of the concerto s second movement He proposed a different way to satisfy his commitment for an elegy 7 Performances edit nbsp Copland Clarinet Concerto performed in Belgrade Yugoslavia on June 2 1961 by Milenko Stefanovic and Belgrade Philharmonic Orchestra conducted by Aaron Copland Benny Goodman premiered the concerto on an NBC radio broadcast with the NBC Symphony Orchestra conducted by Fritz Reiner on November 6 1950 8 Some claim this performance however was not the world premiere and attribute the world premiere to Ralph McLane and the Philadelphia Orchestra under Eugene Ormandy because this performance on November 28 1950 was the first public performance 9 10 In any case it was the first public performance of the Concerto in New York 11 This November 28 1950 performance probably just beyond the end of the two year exclusivity had been scheduled by Copland to increase pressure on Goodman since he kept on putting off the first performance 8 A recording of the first radio performance by Goodman with the NBC Symphony Orchestra under the baton of Fritz Reiner is available on CD on the Legend music label see below The concerto quickly established itself as a standard piece in the clarinet repertoire Since the performance by Benny Goodman other notable performances include those by Stanley Drucker and the New York Philharmonic with Leonard Bernstein Milenko Stefanovic and the Belgrade Philharmonic Orchestra with Aaron Copland Belgrade June 2 1961 12 13 14 15 16 Richard Stoltzman and the London Symphony Orchestra with Michael Tilson Thomas Paul Meyer and the English Chamber Orchestra Sabine Meyer and the Bamberger Symphoniker However one particular recording of note is the one with Goodman and conducted by Copland himself which Aaron Copland considered to be his best recording ever 17 Style and structure editCopland incorporated many jazz elements into his concerto Mellers 18 Copland being representative of the American Other links Copland s affinity for jazz elements with the fact that both Negro and Jew are dispossessed people who have become in a cosmopolitan urban society representative of man s uprootedness Copland himself 19 acknowledged that his signature bittersweet lyricism like in the first movement of the Clarinet Concerto may have been influenced by his feelings of loneliness and social alienation over his homosexuality On the piece Copland writes 20 The instrumentation being clarinet with strings harp and piano I did not have a large battery of percussion to achieve jazzy effects so I used slapping basses and whacking harp sounds to simulate them The Clarinet Concerto ends with a fairly elaborate coda in C major that finishes off with a clarinet glissando or smear in jazz lingo The piece is written in a very unusual form The two movements are played back to back linked by a clarinet cadenza The first movement is written in A B A form and is slow and expressive full of bittersweet lyricism The cadenza not only gives the soloist an opportunity to display his virtuosity but also introduces many of the melodic Latin American jazz themes that dominate the second movement The overall form of the final movement is a free rondo with several developing side issues that resolve in the end with an elaborate coda in C major Copland noted that his playful finale is born of an unconscious fusion of elements obviously related to North and South American popular music for example a phrase from a currently popular Brazilian tune heard by me in Rio became embedded in the secondary material This section was written specially for Benny Goodman s jazz talents however many of the technical challenges were above Goodman s confidence level and the original score shows several alterations by Goodman to bring down higher notes making it easier to play 21 The manuscript page of the original coda has suggested changes by Goodman in pencil and the memo on top reads 22 1st version later revised of Coda of Clarinet Concerto too difficult for Benny Goodman Recently performances of the restored original version have been given by Charles Neidich and Andrew Simon amongst others In the liner notes of the Chandos CD Composers in New York Charles Neidich writes of that 1948 coda complete with a tremendously brilliant clarinet part cascading arpeggios which Copland decided were too difficult for the clarinet and which in the revised version he gave to the piano Only a few recordings of this version have been made see the discography section below The concerto contains other notable references such as material from The Cummington Story an Office of War Information Documentary written in 1945 which sets the stage for the film s church centered small town It is the refugees theme from the unpublished film score that is used in the concerto 23 Discography editRecordings on LP edit External audio nbsp You may hear Aaron Copland conducting the Columbia Symphony Orchestra with Benny Goodman in his Clarinet Concerto in 1963 Here on Archive org Gervase de Peyer Copland Clarinet Concerto Unicorn Records RHS314 p 1972 Paul Drushler Version with piano Mark 3344 Benny Goodman Aaron Copland conducts his clarinet concerto Columbia Masterworks MS 6497 p 1963 Benny Goodman Meeting at the Summit Columbia MS6805 p Recordings available on CD edit Laura Ardan American Classics Naxos 8 559069 2001 p 2001 Dimitri Ashkenazy Concertos For Clarinet PAN Classics 510 107 1998 p 1998 Reto Bieri Portrait PAN Classics 510 144 2001 p 2001 William Blount Music for the Theatre Music Masters MM601621 1988 Eduard Brunner Hommage a Benny Goodman Koch Schwann 3 1035 2 1992 p 1992 Philippe Cuper Concertos For Clarinet amp Orchestra ADDA 581315 1992 p 1993 Karin Dornbusch Barber Copland Ginastera Caprice CAP 21591 1998 p 1998 Stanley Drucker Copland El Salon Mexico Concerto for Clarinet and String Orchestra Music for the Theatre Connotations for Orchestra Deutsche Grammophon 431 672 2 1991 p 1991 Kim Ellis The Music of Copland and McKinley Navona NV5812 2008 Martin Frost Martin Frost Plays Concertos Dedicated To Benny Goodman BIS CD 893 1997 p 1998 Benny Goodman Benny Goodman Collector s Edition CBS MK42227 1986 p 1986 Benny Goodman Reiner amp Goodman Legend LGD122 1951 p 1994 Gary Gray Clarinet Concertos Centaur CRC 2212 1994 p 1994 Janet Hilton Clarinet Concertos CHAN 8618 1988 p 1988 Sharon Kam American Classics Teldec Classics 8573 88482 2 2002 p 2002 Sharon Kam I got Rhythm American Classics Teldec Classics WPCS 11205 8573 88482 2 2002 p 2002 George MacDonald Clarinet Concertos ASV CD DCA568 1986 p 1986 Jon Manasse 3 Clarinet Concertos XLNT Music CD 18011 2004 p 2004 Jon Manasse Sounds of America Recursive Classics RC3139941 p 2021 Paul Meyer Clarinet Concertos DENON CO 75289 1993 p 1993 Sabine Meyer Homage To Benny Goodman EMI Classics 7243 5 56652 2 5 1998 p 1998 Arne Moller Et Clarinet portraet Classico CLASSCD514 1964 p 2004 Charles Neidich Composers in New York Chandos digital CHAN 9848 2000 p 2000 Daniel Pacitti Works For Clarinet Agora Musica AG026 1995 Ludmila Peterkova Scaramouche And Other Concertos For Clarinet Supraphon SU 3348 2031 1997 p 1997 Robert Plane American Landmarks BBC MM205 DDD 2001 p 2001 David Shifrin Clarinet Concerto EMI CDC 7 49095 2 1989 p 1989 Robert Spring American Jazz Concertos Summit Records DCD 1019 2003 p 2003 Richard Stoltzman Copland Corigliano Clarinet Concertos RCA Victor Red Seal RD 87762 1988 p 1988 Richard Stoltzman Copland Clarinet Concerto RCA Victor Red Seal 09026 61790 2 1993 p 1993 Richard Stoltzman The Essential Clarinet RCA 61360 1988 p 1992 Sarah Williamson Copland Clarinet Concerto Somm New Horizons B003L1N4PI 2010 Andrzej Wojciechowski A Tribute to Benny Goodman DUX 1266 2016 Recordings of the original 1948 version edit Reto Bieri Portrait PAN Classics 510 144 2001 p 2001 Charles Neidich Composers in New York Chandos digital CHAN 9848 2000 p 2000 Martin Frost Dances to a Black Pipe BIS SACD 1863 2011 p 2011 Recording of performance directed by the composer edit Benny Goodman Benny Goodman Collector s Edition CBS MK42227 1986 p 1986 Recording of the first radio performance edit Benny Goodman Reiner amp Goodman Legend LGD122 1951 p 1994 Recordings available on DVD edit Richard Stoltzman Concerto RCA Victor BVBC 34002 1993 p 1993References edit The Aaron Copland Collection ca 1900 1990 Peter Laki in the program of Franklin Cohens performance of the piece March 16 18 1995 with the Cleveland Orchestra Since 1943 by Aaron Copland and Vivian Perlis St Martin s Letter to Louis Kaufman August 26 1948 Letter to Verna Fine September 30 1948 Letter to Carlos Chavez December 6 1948 Letter to Koussevitzky August 29 1950 In the letter Copland offered to fulfill his commitment to Koussevitzky for an elegy by composing one based on material from his recently completed Song Cycle of twelve songs with texts by the New England poet Emily Dickinson a b Naxos liner notes Musical Quarterly Sign In Page dead link Oehmsclassics Levine James Documents of the Munich Years Vol 4 Pamela Weston Clarinet Virtuosi of the Past Emerson Editions AARON COPLAND Belgrade concerto 1961 Cuveni dirigent i kompozitor u Beogradu Retrieved on August 13 2009 Blagojevic Andrija Pregled istorijskog razvoja klarineta i literature za klarinet Zvecan Fakultet umetnosti 2010 pp 71 73 Ware Allan A Chat with Milenko Stefanovic and His Son Predrag The Clarinet May June 1988 p 31 Blagojevic Andrija and Milan Milosevic Milenko Stefanovic Awarded The Lifetime Achievement Award The Clarinet September 2010 p 17 Andrija Blagojevic Milenko Stefanovic and his Collaborations with Composers The Clarinet 45 no 3 June 2018 pp 32 37 Letter to Verna Fine November 7 1963 Wilfrid Mellers Music in a New Found Land New York Oxford University Press 1964 p 85 quoted in ibid p 518 Pollack Howard Aaron Copland The Life and Work of an Uncommon Man New York Henry Holt and Company 1999 p 525 Peter Laki op cit Clarinet Concerto sketches The liner notes of the Bieri recording on Pan Classics have a facsimile of this page Use of material from Down a country lane and The Cummington Story p 11External links editGood Music Guide Goodman Copland The Clarinet BBoard on Copland Clarinet Concerto Video Aaron Copland Clarinet Concerto 21 23 Retrieved from https en wikipedia org w index php title Clarinet Concerto Copland amp oldid 1220260294, wikipedia, wiki, book, books, library,

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