I know for sure that I had heard Appalachian Spring before. But I didn’t know where – it was just a vague memory in my head. So when I heard it again in this class, I knew I couldn’t let it slip. I bought a copy of it online, and then wrote my final term paper on it.
From what I remember (I try to remember little from that class… lol) I did actually pretty bad on this paper. Even though it was one of my favourite ones from my first year in University. But whatever. I had fun.
The Essence of Appalachian Spring
By Chris Evangelista, November 24, 2005
Prof. Gregory S. Johnston
MUS110H1, Music History & Culture
Appalachian Spring was written by Aaron Copland in October 1944. Original written as a ballet score for a thirteen-member chamber orchestra, Copland later arranged the piece as a full orchestral suite. Copland would receive the 1945 Pulitzer Prize for Music for the ballet piece; however, it is arguable that it was for the orchestral suite that Copland truly became popular . The piece has eight sections; of which, sections 1, 2, 7 are analyzed in this essay.
The piece is organized in sections that are supposed to convey a different part of the ballet’s story. These sections are different from each other in form as they fulfil the purpose for which they were written. The first section is the introduction to the ballet and is one long overture that does not repeat many melodic ideas. The second section has what seems to be a theme with one variation. Finally, the seventh section is a theme and with four variations. The variations found in these two sections are generally changes in the texture and timbres of the original theme. In the seventh section, there is also a variation in the tempo and rhythm in some of the repeats of the melodic theme.
Though there is a lack of percussion instruments, except for faintly heard Timpani and possibly a triangle, there is still for the most part, an identifiable rhythm running through Appalachian Spring. In the first section, the rhythm is set by the melodic line and is rather weak – weak enough that at times, the metre is obscured. The level of activity is low, and the tempo is slow. In the second section, the level of rhythmic activity immediately rises as a dance-like feel and tempo emerges. The metre is now very obvious, with the beat being kept mostly by the string section, whether it is playing the melody line or the accompaniment to the woodwinds. In the seventh section, the rhythm and metre is still dance-like, and the responsibility for keeping the beat falling back on the melody line. For most of the section, the tempo and rhythmic activity of the melody is high. Although, in the third and last repeat of the melody, the tempo is cut in half as is the rhythm of the melody line. In the third repeat, the accompanying instruments compensate for this by increasing their activity; but in the last repeat, there is no compensation as all of the instruments play the final climactic lines.
The harmony and texture are elements that help make up an essence for the piece that makes it so pleasant and appealing. The harmonies of all three sections are mostly consonant, simple and complete. The harmony moves slowly in the first section, but as with the rhythm and melody, begins to pick up in the third and seventh sections. The texture varies much in density and timbre. Some of the time, the full polyphonic force and density of the orchestra is felt, while other times it can be transparent with only one or two instruments playing. The timbre is mostly composed of bright polyphonic sounds, combining the richness of the strings, the sweetness of the woodwinds, and the grandeur of the brass. The variations in texture and timbre are ever present in the whole piece, though it is epitomized in the seventh section. In this section, each variation of the melody is a progression of the density of the texture. It is first played by the clarinet and an accompanying flute; then, it is played by an oboe and a bassoon; then it is played by a combination of the brass and strings, and is followed by the brass alone; finally, the last variation is played by the entire orchestra.
The melodies in Appalachian Spring very much convey musically the images of the rural life that the ballet was about. While the melodies vary between the sections, there exists between these different melodies a commonality that is helpful in binding the piece together. It is not one specific melody but rather a type of melody that, when combined with the different harmonies and the texture of the piece, creates the essence of the piece. The melody moves in mostly disjunct motion and generally ranges about an octave. In the first section, the melody is a slow-moving introductory that is pleasing to hear. There is little repetition of motives, as it is all in one smooth, flowing unit. It expresses beginnings: the tranquility of dawn; the serenity of a new life. The second section immediately builds on this, the melody springing into action. It is suddenly fast-paced, filled with activity and movement. In this section, there seems to be a little bit of dissonance in dance-like melody of the strings especially when contrasted with the sweetness and calmness that is retained by the melody of the trumpets. In the seventh section, another melody is introduced that balances out the previous sections. This melody is borrowed from a collection of “Shaker” melodies that were compiled by Edward D. Andrews. It is not as slow as the first section, and not as hectic as the second section; its expression is calm, but also full of activity.
None of the elements of music can claim dominance as the unifying factor of this piece. There is no common melody, no distinctive harmonies, or no overbearing texture or timbre combinations that sets this piece apart from others. Rather, the essence that binds this piece together is in the ambiance that is created in order to accompany the ballet. This is expressed by the sheer simplicity of the piece, which Copland specifically designed to be uncomplicated in order to appeal to ordinary citizens. This simplicity unifies the elements of this piece together and also makes it likeable to audiences.
This essence is what some might call “the American Sound”, though that is not really very descriptive nor is it truly reflective of the emotions found in this piece. A better analogy might be that of the “American Dream”, for the essence that is conveyed in Appalachian Spring is the peace and serenity of life, the beauty of creation, and the dignity of a job well done.
- Sources
- Wright, Craig. Listening to Music: Fourth Edition. Belmont: Wadsworth Group. 2004. 386- 389.
- Appalachian Spring. Wikipedia.com, 27 October 2005. 10 November 2005: (http://en.wikipedia.org/wiki/Appalachian_Spring).