No less an authority than Leonard Bernstein pronounced him "the best we've got," and Bernstein was hardly alone in his praise of Aaron Copland. Many would recognize those among his compositions that have become a part of standard concert repertory, but few are familiar with the full, rich life this son of Eastern European Jewish immigrants led. In Aaron The Life and Work of an Uncommon Man , 20th-century music scholar Howard Pollack traces the composer's life and career from the streets of Brooklyn to his studies in Paris, his involvement with Harold Clurman's Group Theatre, his work in Hollywood in the '30s and '40s, his adoption of the twelve-tone method of composition, and his struggle with debilitating disease in his final years.
As one who adores Copland's music, I found this comprehensive biography to be an incredibly difficult yet satisfying work. To fully appreciate it, one needs to be a serious musician. I am not and therefore found some of the passages needed rereading to at least glean something of what the author intended to convey. If you delve into this book, be prepared to reread and re-reread a number of passages and chapters if you want to learn as much as it has to offer.
Many have commented on the disjointed order of the book. I agree, at first it was disconcerting. Many of the chapters are stand-alone essays that, especially in the first half of the book, require a certain knowledge of Copland and his works. But, as stated above, if one is patient and willing to reread the passages after the discussions of individual works that come later, it is understandable why the author chose this approach.
For young students of 20th century American music, this is a treasure trove of information about the many composers who are more than obscure to casual listeners of this era of music. I found myself looking up many of the artists and expect it will keep me busy for years to learn more. Readers will get an incredible understanding of what Copland meant to his colleagues. His promotion and encouragment of their work shows a selfless side of Copland that only endears him more to those who love his music and influence.
As a trivial side note, I was particularly pleased that the author noted Keith Emerson's "respectfully arranged" interpretation of Fanfare for the Common Man. It was as a young high school student listening to Emerson, Lake & Palmer's version that introduced me to Copland in the first place (and Mussorgsky as well). Without that introduction, I would have come upon Copland much later in life and he would likely not have played such an important role in my appreciation of music. I suspect that there are others like me out there. In my view, this little snipet speaks volumes about the scope and thoroughness of this work.
If you are a serious student of music and have ambitions of composing and conducting, this book should be in your library. I wish I could have been exposed to it at a younger age.
Anyone interested in the history of American music should read this book. What I found most interesting was how Aaron Copland came to grips with the fact that he was gay and never let it phase him during a period where that might not have been easy to do. I met Mr. Copland once and he was the kind of person you would want as your uncle. He was a great musician and a great human being.
A massive account of a 90 year lifespan. Extremely detailed, so not for the faint of heart, but very rich and rewarding. I don't know that I've ever felt that I've known a composer as personally as I now do Copland.
As a longtime Copland fan, I read this to learn more about his life and work. An immensely readable biography though primarily focuses on his work, delving into each work on its own. I gained a deeper appreciation of his body of work but felt that the structure could have been been more integrated instead of separating sections on his compositions and life.