Opening eleven-note chord spacing,[1] orchestration not shown Playⓘ
to suggest 'a quasi-mystical illumination, a sudden perception of that deeper pattern, order, and unity which gives meaning to external forms.' This description, it seems to me, applies more truly to the creation of music than to any of the other arts.
Hopkins's opposite of "inscape" was "instress" ("perception as opposed to intrinsic, essential quality"), and a commentator writes that Copland, "uses sounds as an 'instress' that communicates a deeper inner essence, an 'inscape.'"[5] "The outward appearance is the boundary chords that frame the composition. The inner reality is the first complete statement of Copland's original melodicidea at P-0, which occurs very close to the middle of Inscape."[1]
Row 1: Eb G F# D F Bb A B C# G# E [1] Row 2: F C Ab D G A B Eb C# E F#[1]
The composition begins and ends with eleven-note chords (it may end on a ten note chord[1]), "perhaps a double tease", and, "if there is one over-arching feature to Inscape, it is the alternation of massive blocks of sound, sometimes quite harsh in their harmony, with quieter sonorities and more peaceable gestures."[3][5]
Copland said that the twelve-tone technique "freshened his harmonic palette" and that the composition uses two different tone rows.[6] Discussing Connotations (1962), he said, "As a result [of using the twelve-tone technique] I began to hear chords I wouldn't have heard otherwise; here was a new way of moving tones about that had a freshening effect on one's technique and approach."[5] However, he stated that Inscape "used it [the technique] in a rather more tonal way than...Connotations."[7] "Through the single, closely-knit movement of Inscape there is no perceptible contradiction between the serial and diatonic elements, rather they dissolve freely into each other to produce music of a stimulating independence of spirit."[8]
Leonard Bernstein remarked after the premiere: "Aaron, it's amazing how, even when you compose in a completely 'foreign' idiom the music still comes out sounding like you."[9] "The writing," also, "bears the unmistakable imprint of Copland's mature personality, in its wide spacing, its spare, lucid textures, often in just two or three parts, and lithe, cumulative rhythms."[8]
Referencesedit
^ abcdeEnsign, Jeffrey S. "From Outward Appearance to Inner Reality: A Reading of Aaron Copland's Inscape". Master of Music (Music Theory), December 2010, 72 pp.
^Rockwell, John (December 3, 1990). Obituary: "Copland, Dean of American Music, Dies at 90 ", NYTimes.com. Accessed April 18, 2016. "Such works as the Piano Quartet (1950), the Piano Fantasy (1957), 'Connotations' and 'Inscape' (1967) have made their way more slowly into the repertory than his easily accessible works."
^ abSteinberg, Michael (March 2016). Program notes: "Copland: Inscape", SFSymphony.org.
^Steinberg, Michael (2000). "Inscape", LAPhil.com.
^ abcSteinberg, Michael (2000). "About the Piece: Inscape", LAPhil.com.
^ abHenderson, Robert "Copland's 'Inscape'", Tempo, No. 87 (Winter, 1968-1969), pp. 29-30, JSTOR.org. According to Henderson the first "twelve-note series" opens and closes the piece, while the second is the primary source of melodic material.
^Copland, Aaron and Perlis, Vivian (1989). Copland: Since 1943, p.353. St. Martin's. quoted in Dickinson, Peter (2002). Copland Connotations: Studies and Interviews, p.180, n.6. Boydell. ISBN9780851159027.
December 14, 2023
inscape, copland, inscape, 1967, musical, composition, orchestra, aaron, copland, approximately, twelve, thirteen, minutes, length, commissioned, dedicated, york, philharmonic, 125th, anniversary, also, capriccio, burlesco, composed, using, twelve, tone, techn. Inscape is a 1967 musical composition for orchestra by Aaron Copland approximately twelve to thirteen minutes in length and commissioned by and dedicated to the New York Philharmonic for its 125th anniversary see also Capriccio burlesco Composed using the twelve tone technique the piece has been considered less accessible than much of Copland s earlier music 2 It is named for Gerard Manley Hopkins s term inscape invented Opening eleven note chord spacing 1 orchestration not shown Play to suggest a quasi mystical illumination a sudden perception of that deeper pattern order and unity which gives meaning to external forms This description it seems to me applies more truly to the creation of music than to any of the other arts Copland 3 4 Hopkins s opposite of inscape was instress perception as opposed to intrinsic essential quality and a commentator writes that Copland uses sounds as an instress that communicates a deeper inner essence an inscape 5 The outward appearance is the boundary chords that frame the composition The inner reality is the first complete statement of Copland s original melodic idea at P 0 which occurs very close to the middle of Inscape 1 Row 1 Eb G F D F Bb A B C G E 1 Row 2 F C Ab D G A B Eb C E F 1 The composition begins and ends with eleven note chords it may end on a ten note chord 1 perhaps a double tease and if there is one over arching feature to Inscape it is the alternation of massive blocks of sound sometimes quite harsh in their harmony with quieter sonorities and more peaceable gestures 3 5 Copland said that the twelve tone technique freshened his harmonic palette and that the composition uses two different tone rows 6 Discussing Connotations 1962 he said As a result of using the twelve tone technique I began to hear chords I wouldn t have heard otherwise here was a new way of moving tones about that had a freshening effect on one s technique and approach 5 However he stated that Inscape used it the technique in a rather more tonal way than Connotations 7 Through the single closely knit movement of Inscape there is no perceptible contradiction between the serial and diatonic elements rather they dissolve freely into each other to produce music of a stimulating independence of spirit 8 Leonard Bernstein remarked after the premiere Aaron it s amazing how even when you compose in a completely foreign idiom the music still comes out sounding like you 9 The writing also bears the unmistakable imprint of Copland s mature personality in its wide spacing its spare lucid textures often in just two or three parts and lithe cumulative rhythms 8 References edit a b c d e Ensign Jeffrey S From Outward Appearance to Inner Reality A Reading of Aaron Copland s Inscape Master of Music Music Theory December 2010 72 pp Rockwell John December 3 1990 Obituary Copland Dean of American Music Dies at 90 NYTimes com Accessed April 18 2016 Such works as the Piano Quartet 1950 the Piano Fantasy 1957 Connotations and Inscape 1967 have made their way more slowly into the repertory than his easily accessible works a b Steinberg Michael March 2016 Program notes Copland Inscape SFSymphony org Steinberg Michael 2000 Inscape LAPhil com a b c Steinberg Michael 2000 About the Piece Inscape LAPhil com Perlis Vivian 1998 Aaron Copland Inscape Boosey com Kostelanetz Richard ed 2004 Aaron Copland A Reader Selected Writings 1923 1972 p 355 Psychology ISBN 9780415939409 a b Henderson Robert Copland s Inscape Tempo No 87 Winter 1968 1969 pp 29 30 JSTOR org According to Henderson the first twelve note series opens and closes the piece while the second is the primary source of melodic material Copland Aaron and Perlis Vivian 1989 Copland Since 1943 p 353 St Martin s quoted in Dickinson Peter 2002 Copland Connotations Studies and Interviews p 180 n 6 Boydell ISBN 9780851159027 Retrieved from https en wikipedia org w index php title Inscape Copland amp oldid 1176789579, wikipedia, wiki, book, books, library,
