Climbing back to the narrow paths from which the highways of rock originated, the city streets lit by the jazz street lamps, the dusty dirt roads of country—all the endless routes that American music took in the last century to become the most influential, and in its own way domineering, in the world... a great task, arduous and full of pitfalls.

It's easy to say "American music": the label on this CD says it too, but what does it mean? While here in Europe the distinction between what is popular tradition and what is instead "cultured" musical heritage is quite clear, in America more than elsewhere, their paths continuously intersect, and you really risk getting lost. Just think that until the end of the 19th century, the greatest "American" classical composer was actually a Czech, Antonin Dvorak, known mainly for his Symphony No. 9 "From the New World", still today a masterful almost "graphic" representation of the vast spaces of the virgin, pure America of those times, but according to Dvorak himself, "American music" only because it was composed in the USA, actually overflowing with Slavic sentiment that the musician undoubtedly brought with him during his productive and rewarding American stay (he was revered and treated like a star, even economically).

In the absence or near absence of reference points, the existence of Aaron Copland (1900-1990) becomes providential, who like the legendary player Jones of Lee Masters and De André "was surprised by his ninety years" after dedicating his life to refounding, with commitment and passion, what had never existed, namely a truly American classical tradition, as typical as maple syrup and peanut butter, so dear to our current emperor George W. Second. Copland is like a centuries-old oak in a rich and immense forest: his music is made of vast spaces, of deep love for still unspoiled places, routes still more for carriages than for cars, punctuated by rare, majestic traditional style residences, with low wooden fences and huge verandas open to endless views... He too went through a "dissonant" and avant-garde phase, strongly influenced by Europe, which was almost a sort of vaccine, at the beginning of the twentieth century. But then from the late '30s onwards he decided to "strive to say what he had to say in the simplest possible way" (his words) and reinvented, completely out of time, a sort of "American Impressionism", colorful and scenic, writing some suites originally destined for ballets, although one must make some effort of imagination to associate any dance with the placid and enchanting 25 minutes of "Appalachian Spring", which seem rather like a wide view from above, perhaps from a hot-air balloon to keep silent, of the idyllic awakening of nature on the Appalachian chain, so incredibly close to the populous East Coast. The hum of the strings cradles you from start to finish, the main theme emerges multiple times in all its evocative power, sometimes as a string largo, sometimes as a brass fanfare, but always immersed in the muted whisper of the orchestra, like a distant rooster's call breaking for a moment the uniform chirping of birds. It is Copland's descriptive masterpiece, at times worthy of the unsurpassed "Largo" from the mentioned "Symphony From the New World" by Dvorak.

The other suites are closer to the style of western film music (Copland was also a prolific composer of soundtracks), and it couldn't be otherwise because both "Billy The Kid" and "Rodeo" are inspired by that world and era. It's more festive and lively music: at times it seems to hear an orchestral version of the almost homonymous Dylan soundtrack, "Pat Garrett & Billy the Kid", but since the suite is from 1938 the numbers don't add up: more likely the reverse. Even in "Billy the Kid" however, Copland excels in depicting the vast open spaces, and it's no coincidence that the main and most inspired theme is titled "The Open Prairie" (the open prairie): a beautiful theme more dark and nocturnal than western. Just like in "Rodeo" the most convincing piece is called "Corral Nocturne", music of great breadth and suggestion, even though the most famous and wild "Hoe-Down" is taken from this same suite, also famous for its rock transcription by Emerson Lake & Palmer (not bad) from the album "Trilogy".

But I realize that a small novel is emerging, so I close by strongly recommending Copland's listening to anyone who is a big consumer of American music (and we all are to some extent) and wants to trace it back to its most classical sources. I think it will be a pleasant discovery.

Tracklist

01   Appalachian Spring: Very Slowly (02:42)

02   Appalachian Spring: Allegro (02:42)

03   Appalachian Spring: Moderato (03:51)

04   Appalachian Spring: Fast (03:34)

05   Appalachian Spring: Subito Allegro (03:43)

06   Appalachian Spring: As at first (slowly) (01:14)

07   Appalachian Spring: Doppio movimento (03:03)

08   Appalachian Spring: Moderato. Coda (03:49)

09   Rodeo: I. Buckaroo Holiday: Allegro con spirito (07:04)

10   Rodeo: II. Corral Nocturne: Moderato (04:05)

11   Rodeo: III. Saturday Night Waltz. Introduction: Slow Waltz (04:14)

12   Rodeo: IV. Hoe-Down: Allegro (03:16)

13   Billy the Kid: The Open Prairie (introduction) (03:13)

14   Billy the Kid: Street in a Frontier Town (03:22)

15   Billy the Kid: Mexican Dance and Finale (03:09)

16   Billy the Kid: Prairie Night (Card Game at Night) (03:12)

17   Billy the Kid: Gun Battle (01:49)

18   Billy the Kid: Celebration (After Billy's Capture) (02:21)

19   Billy the Kid: Billy's Death (01:19)

20   Billy the Kid: The Open Prairie Again (01:57)

21   Symphony No. 3: IV. Fanfare for the Common Man: Molto deliberato (02:03)

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