Quiet City, trumpet manuscript

Trumpet part for Aaron Copland's "Quiet City", copied out and annotated by Roger Voisin for use in performance. Top right corner signed by Copland: "For Roger Voisin who plays this like a dream. A Copland 1957"

Boston University Repertory Chorus, Boston University Men's Chorus, Boston University Women's Chorale

This is the concert program of the Boston University Repertory Chorus, Boston University Men's Chorus, and Boston University Women's Chorale performance on Monday, May 1, 2000 at 8:00 p.m., at the Concert Hall, 855 Commonwealth Avenue. Works performed were Cantata No. 23, "Du wahrer Gott, und Davids Sohn" BWV 23 by Johann Sebastian Bach, Der Gondelfahrer, D. 808 by Franz Schubert, Standchen, D. 920 by F. Schubert, Simpler Gifts by Aaron Copland, An Immorality by A. Copland, and Stomp Your Foot from "The Tender Land" by A. Copland. Digitization for Boston University Concert Programs was supported by the Boston University Humanities Library Endowed Fund

Boston University Symphony Orchestra, December 10, 1999

This is the concert program of the Boston University Symphony Orchestra performance on Friday, December 10, 1999 at 8:00 p.m., at the Tsai Performance Center, 684 Commonwealth Avenue. Works performed were Fanfare for the Common Man by Aaron Copland, Scene and Pas de deux, from "The Jewel Tree" by Tison Street, Brandenburg Concerto No. 5 in D, BWV 1050 by Johann Sebastian Bach, Three Processionals for Orchestra by Charles Fussell and Lincoln Portrait for Speaker and Orchestra by Aaron Copland. Digitization for Boston University Concert Programs was supported by the Boston University Humanities Library Endowed Fund

Boston University Symphonic Chorus and Chamber Orchestra with Boston University Brass Seminar Ensemble, December 12, 1993

This is the concert program of the Boston University Symphonic Chorus and Chamber Orchestra with Boston University Brass Seminar Ensemble performance on Sunday, December 12, 1993 at 3:00 p.m., at the Tsai Performance Center, 685 Commonwealth Avenue. Works performed were Ceremonial Fanfare by Aaron Copland, Fanfare for the Common Man by A. Copland, "Zadok the Priest" by George Frederick Handel, "Canzon Septimi Toni #2" by Giovanni Gabrielli, "Lauda Jerusalem" by Gabriel Díaz Bésson, "Te Deum in C," Hob. XXIII C: 2 by Franz Joseph Haydn, "Fanfare Stadt Wien" by Richard Strauss, and "Sifonia Sacra," Movement III by Daniel Pinkham. Digitization for Boston University Concert Programs was supported by the Boston University Humanities Library Endowed Fund

Boston University Concert Orchestra, April 23, 1992

This is the concert program of the Boston University Concert Orchestra performance on Thursday, April 23, 1992 at 8:30 p.m., at the Concert Hall, 855 Commonwealth Avenue. Works performed were "Hungarian March" from The Damnation of Faust by Hector Berlioz, I. Adagio-Presto and III. Menuetto from Symphony No. 101 by Franz Josef Haydn, Carmen Suite No. 1 by Georges Bizet, I. Allegro con spirito from String Trio, Op. 9 No. 3 by Ludwig van Beethoven, West Side Story by Leonard Bernstein (arr. Mason), "Saturday Night Waltz" from Rodeo by Aaron Copland, and "Hoedown" from Rodeo by A. Copland. Digitization for Boston University Concert Programs was supported by the Boston University Humanities Library Endowed Fund

Copland and Communism: Mystery and Mayhem

In the midst of the second Red Scare, Aaron Copland, an American composer, came under fire for his communist tendencies. Between the 1930s and 1950s, he joined the left-leaning populist Popular Front, composed a protest song, wrote Lincoln Portrait and Fanfare for the Common Man, traveled to South America, spoke at the Cultural and Scientific Conference for World Peace, and donated to communist leaning organizations such as the American-Soviet Musical Society. Due to Copland’s personal communist leanings, Eisenhower’s Inaugural Concert Committee censored a performance of Copland’s Lincoln Portrait in 1953. HUAC (The House Committee on Un-American Activities) brought Copland to the committee and questioned him on his communist connections. Copland clearly denied any and all communist activities or affiliations. This raised the questions: what impact did the contemporary political climate have on Copland’s music? What actual ties did he have to communism? Does it matter? To answer these questions, I examined the primary sources in the Copland Collection at the Library of Congress, during the fall of 2019. In addition to selected secondary sources, I focused on the relevant letters, hearing records, and other materials contained in Box 427: the box on HUAC. In addition to the Performing Arts Reading Room Aaron Copland Collection, I utilized the Folklife Collection and their resources on Aaron Copland. I will conclude there is significant external evidence Copland associated with communists, but since Copland himself continuously denied the identity, it is difficult to conclude whether Copland was or was not in fact a communist. It is much easier to conclude that Copland was, at the very least, politically left-leaning, although his political beliefs held a secondary role to the musical style in his compositions

Ein Liederabend Recital Series, March 31, 1993

This is the concert program of the Ein Liederabend Recital Series on Wednesday, March 31, 1993 at 6:00 p.m., at the Concert Hall, 855 Commonwealth Avenue. Works performed were "E pur così in un giorno...Piangerò la sorte mia" from "Giulio Cesare" by George Frideric Handel, Ergiti, amor by Alessandro Scarlatti, Les berceaux by Gabriel Fauré, Long Time Ago arranged by Aaron Copland, At the River arranged by A. Copland, The Boatman's Dance arranged by A. Copland, Amo, Amas, I Love a Lass by Samuel Arnold, Vergebliches Ständchen, Op. 84 No. 4 by Johannes Brahms, Harfenspieler I, D. 478 by Franz Schubert, Sweeter Than Roses by Henry Purcell, The Monk and His Cat by Samuel Barber, Noël by Gabriel Fauré, "La regata veneziana," from "Les soirées musicales" by Gioacchino Rossini, Deux mélodies hébraïques by Maurice Ravel, The Rose Family by Elliot Carter, Sonatia to Hans Christian by Vincent Persichetti, Sure on This Shining Night by S. Barber, Slow March by Charles Ives, The Cage by C. Ives, The Greatest Man by C. Ives, Immortality by C. Ives, Tom Sails Away by C. Ives, Sapphische Ode, Op. 94 No. 4 by Johannes Brahms, Therese, Op. 86 No. 1 by J. Brahms, and Lullaby ("Kolibel'naya") by Modest Mussorgsky. Digitization for Boston University Concert Programs was supported by the Boston University Humanities Library Endowed Fund

Copland and Communism: Mystery and Mayhem

In the midst of the second Red Scare, Aaron Copland, an American composer, came under fire for his supposed communist tendencies. Between the 1930s and 1950s, he joined the left-leaning populist Popular Front, composed a protest song, wrote Lincoln Portrait and Fanfare for the Common Man, traveled to South America, spoke at the Cultural and Scientific Conference for World Peace, and donated to communist leaning organizations such as the American-Soviet Musical Society. Due to Copland’s perceived personal communist leanings, Eisenhower’s Inaugural Concert Committee censored a performance of Copland’s Lincoln Portrait in 1953. HUAC (The House Committee on Un-American Activities) brought Copland to the committee and questioned him on his communist connections. Copland clearly denied any and all communist activities or affiliations. This raised the questions: what impact did the contemporary political climate have on Copland’s music? What actual ties did he have to communism? Does it matter? To answer these questions, I examined the primary sources in the Copland Collection at the Library of Congress, during the fall of 2019. In addition to selected secondary sources, I focused on the relevant letters, hearing records, and other materials contained in Box 427: the box on HUAC. In addition to the Performing Arts Reading Room Aaron Copland Collection, I utilized the Folklife Collection and their resources on Aaron Copland. I will conclude there is significant external evidence Copland associated with communists, but since Copland himself continuously denied the identity, it is difficult to conclude whether Copland was or was not in fact a communist. It is much easier to conclude that Copland was, at the very least, politically left-leaning, although his political beliefs held a secondary role to the musical style in his compositions

Ein Liederabend, February 4, 1986

This is the concert program of the Ein Liederabend performance on Tuesday, February 4, 1986 at 8:30 p.m., at the Concert Hall, 855 Commonwealth Avenue. Works performed were Come away, come sweet love by John Dowland, The Guitar Player by William Sterndale Bennett, Già il sole dal Gange by Domenico Scarlatti, Se tu m'ami se sospiri by Giovanni Battista Pergolesi, The Little Horses by Aaron Copland, Chantons les amours de Jean by Anonymous, Clair de lune by Camille Saint-Saëns, Erlaube mir by Johannes Brahms, Love bade ,e welcome by Ralph Vaughan-Williams, An Silvia by Franz Schubert, Liebesbotschaft by F. Schubert, Der Musensohn by F. Schubert, Der Nussbaum by Robert Schumann, Mandoline by Gabriel Fauré, Laurie's Song (from "The Tender Land") by A. Copland, Youth and Love by Ralph Vaughan-Williams, Prison by G. Fauré, and Wohin by F. Schubert. Digitization for Boston University Concert Programs was supported by the Boston University Humanities Library Endowed Fund