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From Twelve Poems of Emily Dickinson

Adrianna Rodgers Soprano www.youtube.com Aaron Copland (1900-1990) found his distinctively American style while studying composition with Nadia Boulanger in Paris in the early 1920s. Although Copland is known for his orchestral scores, his setting of 12 Poems of Emily Dickinson is among the most important 20th century American art songs. Coplands interpretation of Dickinsons poems perfectly parallels the poems thematic elements, including nature, with a folk-like musical setting. He captures Dickinsons lyrical expressivity and the natural inflection of text with a marriage between the vocal melody and piano harmony. The three selections in this program are examples of these techniques; sporadic key changes, somber accompaniment, and imitation. Dear March, come in! Dear March come in. How glad I am, I looked for you before. Put down your hat, you must have walked. How out of breath you are. Dear March, how are you? And the rest? Did you leave nature well? Oh, March come right upstairs with me I have so much to tell. I got your letter, and the birds. The maples never knew that you were coming, I declare how red their faces grew, But March forgive me. And all those hills you left for me to hue, There was no purple suitable, you took it all with you. Who knocks? That April? Lock the door, I will not be pursued, He stayed away a year, to call when I am occupied. But trifles look so trivial as soon as you have come, And blame in just as dear as praise, and praise as mere as ...
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