Completely Copland: The New York Philharmonic Celebrates Aaron Copland
New York Philharmonic, New York, 1999, Wraps, , , Very Good
47 pp. Wraps are rubbed at edges, inside fine. Many wonderful pictures of Copland and others. Contents: Carlos Moseley: Fanfare for the Uncommon Man, Chairman Emeritus, former Managing Director and President of the New York Philharmonic, salutes Aaron Copland; Michael Steinberg: The Voice of America, Aaron Copland didn't just define American music in this century--in many ways he embodied it; Copland: 100 Years: A timeline tracing the history of Copland's connection to the philharmonic, compiled by the staff of the New York Philharmonic Archives; Vivian Perlis: The Man Behind the Music: We all know the music--but what of the spirit behind the scores; Leonard Bernstein: ''Aaron and Moses'': Leonard Bernstein and Aaron Copland shared a friendship that began in 1937 and ran through the rest of their lives. In 1975, to mark Copland's 75th birthday, Bernstein wrote an appreciation of his friend and colleague; Completely Copland: A complete listing of all the Completely Copland events--concerts, discussions, lectures, screenings, and more; On Copland: Quotes from the people who knew the composer and from performers in the Completely Copland celebration appear throughout, complied and edited by Robert Sherman, including Kurt Masur, Deborah Borda, Marilyn Horne, William Warfield, Thomas Stacy, Stanley Drucker, Andre Previn, Marin Alsop, Leo Smit, Ned Rorem, Michael Borikin, Verna Fine, Peter G. Davis, David Diamond, Garrick Ohlsson, David Raksin, and Leslie B. Dunner. Wonderful illustrations in addition to many photos of the composer include Kostelanetz's score for A Lincoln Portrait, signed not only by Copland, but several people who narrated: Carl Sandburg, Mayor John Linsay, Marian Anderson, E. G. Marshall, and Walter Cronkite, and a Hirschfeld portrait.
Memories of the Future “The Branch Line”
“Yes, sirree, in the dream business there’s no time for sleep. We’re always working. Day and night. A completely dreamed-out pillow is an old dream-producing tool that has served millions of headboards. You have only to touch the down hidden inside and . . . Here—wouldn’t you like to see? The man wiped his hand on his apron then pressed it to one of the pillows. Through the cracks between his fingers, parti-colored smoke curled slowly up into the air in hazy, tenuous shapes. His free hand dove under the apron—and out came the bulging transparent eye of a magnifying glass. “You’ll see better with this.” Squinting through the glass, Quantin now clearly saw seeping out of the pillow images of people, trees, coiling spirals, bodies, and fluttering clothes; the parti-colored air swaying above the man’s fingers formed an open lattice through which a host of worlds flowed and intertwined. The man put away the glass. “There. Now the feathers filling these pouters, what are they? A wing torn into a host of tiny wingednesses, a flight exploded in eiderdown. Once they’ve been sewn into pillows, these tiny wingednesses fight to free themselves and take flight. Without success. They go on struggling until someone’s brain lies down on their atomized flight, and then . . . As for the human brain’s affinity for pillows, it’s entirely natural: they’re related, after all, the pillow and the brain. For what do you have under the crown of your head? A grayish white, porous- plumose pulp wrapped in three pillowcases. (Your scientists call them membranes.) Yes, and I maintain that in the head of any sleeper, there is always one pillow more than he thinks. No point pretending to have less. No, sirree, Off you go!Sigizmund Krzhizhanovsky—translated from the Russian by Joanne Turnbull