Murphy 1

Tyler Murphy

Dr. Howard Pollack

Music History III

30 April 2012

The Nature of Aaron Copland’s Clarinet Concerto

Much of Aaron Copland’s music is considered a staple in its respective repertory.

Outside of the concert and recital hall, his music can be heard in film soundtracks, as the

background to a commercial advertisement, and in political advertisements. Even today,

years after his death, his music still reaches and inspires musicians and non-musicians

alike. Many would probably attribute this sense of inspiration from his music to the

aesthetic atmosphere that his music creates. The aesthetic atmosphere of Copland’s music

ranges widely. From the American West to the Appalachian wilderness and beyond,

Copland’s music takes listeners through many walks of life through the use of various

idioms. One of the styles that Copland embraced throughout his career was that of jazz.

Like Gershwin and other contemporaries during his life, Copland saw great use for the jazz

idiom throughout his music. One of Copland’s works that exploits the use of jazz is his

Concerto for Clarinet and String Orchestra, a staple in a clarinetist’s repertory. This work is

specifically unique in that it explicitly combines the classical and jazz idioms together,

setting up an aesthetic that is unique to Copland and to this work. The goal of this research

paper is to analyze this combination. By looking at the history of the composition’s

beginnings, going through a formal analysis, and looking at the fusion of the jazz with the

classical idiom, this research paper hopes to answer how various elements combine

together to propel and create this work.

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Benny Goodman, the “King of Swing,” commissioned Copland to write the Clarinet

Concerto in 1947. Copland himself says that if it wasn’t for Goodman coming to him with

the proposition, he would of most likely never written a concerto for clarinet.1 Some critics

argue, however, that this is not the case since early sketches of material found in multiple

portions of the concerto can be traced back to earlier works from 1945.2 Whatever the case

may be, Copland began work on the concerto in February of 1947. Copland requested

Goodman to send him some recordings of him playing so that he could have a reference

point of the performer. The two would not be collaborating together very frequently

because of Copland’s travels to South America sponsored by the State Department. Copland

finished the first movement of the work while in Rio and wrote a letter to Victor Kraft

saying, “I badly needed a theme for part 2. The usual thing. I used the ‘pas de deux’ for part

1, and I think it will make everyone weep.”3 Copland took a slight hiatus from the work to

work on other compositions when he returned to the states, including the score to The Red

Pony and his Four Piano Blues. These other works he was composing at the time of writing

the clarinet concerto served as a kind of “break” for him since he was having difficulty

finding a theme for the second movement of the concerto. Copland finally completed the

composition and sent a copy to Goodman, after the Tanglewood season, in the fall of 1948.4

Goodman received a copy of the score and wrote to Copland not to long afterwards

stating, “With a little editing, I know will have a good piece.”5 Goodman gave no limitations

1Aaron Copland, Copland: Since 1943 (New York: St. Martins Press, 1989), 93
2Robert Adelson, “Too Difficult for Benny Goodman: The Original Version of the
Copland Clarinet Concerto,” The Clarinet 23, no. 1 (1995): 42
3 Aaron Copland, Copland: Since 1943 (New York: St. Martins Press, 1989), 87
4 Robert Adelson, “Too Difficult for Benny Goodman: The Original Version of the

Copland Clarinet Concerto,” The Clarinet 23, no. 1 (1995): 42

5 Aaron Copland, Copland: Since 1943 (New York: St. Martins Press, 1989), 93
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or specifications on what Copland could write. He gave Copland complete reign over the

work. However, in the first rehearsals, Goodman requested some changes to the score. He

felt that the clarinet part had been written too high, particularly at the end of the cadenza.

Copland was sure that Goodman could play what was written because he had heard him

play just as high in records. Goodman, however, explained that high playing like that was

comfortable when performing for a jazz audience [improvisatory], but was not so

comfortable when he had to read the notes from a score.6

After some editing, the concerto was ready to be performed. Because of several

factors, however, the first performance was delayed almost two yeas after the work was

completed. The premiere of the work took place on November 6, 1950 with Goodman

performing the work over the radio with the NBC Orchestra conducted by Reiner. Several

weeks later, Ralph McLane and the Philadelphia Orchestra, under Ormandy’s baton, would

perform the first public performance.7 The concerto received a very lukewarm reception

following its first performances. Vincent Persichetti wrote of the concerto, “ . . . alternating

tunes are employed in an effort to interest the work into a rondo. However, the form goes

no further than that of a newsreel, misplaced with retakes. It is disheartening . . . The first

movement was an unqualified statement, the cadenza an unmotivated flourish, and the

finale a collection of statements.”8 However, this perception would change. Throughout the

years and through many concert performances, the concerto eventually gains its place as a

jewel of Copland’s writing.

6 Aaron Copland, Copland: Since 1943 (New York: St. Martins Press, 1989), 93
7 Larry Maxey, “The Copland Clarinet Concerto,” The Clarinet 12, no. 1 (1985): 28
8 Vincent Persichetti, “The Copland Clarinet Concerto,” Musical Quarterly 37,

no. 4 (Apr. 1951): 262

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The Clarinet Concerto is in two movements, in slow-fast fashion, with a cadenza that

ties the two movements together without pause. The first movement can be divided into a

simple ABA’ form in what many can describe as dreamlike in nature. The first movement

certainly can hint to the unknowing listener that it is music of Copland. The open

orchestration and hymn-like sounds from the soloist and orchestra “recalls the religious

calm of Our Town, Appalachian Spring, and the Violin Sonata.”9 The A section of the first

movement is comprised of the two main themes that make up the body of this movement,

shown below, and are accompanied by an ostinato figure that begins by showcasing tenths.

Figure 1: Theme 1, movement 1, measures 1-8.10

Figure 2: Theme 2, movement 1, measures 25-29.

The B section of the first movement is based off of material that plays off of the two

original themes, and then we are brought back to the A section again, ending on a nice

peaceful cadence before the cadenza is presented.

9Julia Smith, Aaron Copland: His work and Contribution to American Music (E.P.
Dutton & Company, 1955), 251
10 All Music Examples shown (Fig. 1-8) are taken from: Bruce Bullock, “Aaron

Copland’s Concerto for Clarinet: A Lecture Recital, Together with Three Recitals of Music by
Mozart, Rossini, Brahms, and Contemporary European and North American Composers,”
(D.M.A diss., North Texas State University, 1971), 16-30
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The cadenza of the Clarinet Concerto is unique in multiple ways. Firstly, it is

specifically written out and unusually long. This is odd compared to cadenzas of other

works, where they have the option to be written out, but most are done by improvisation.

Secondly, the cadenza presents and develops material from the second movement that has

not been displayed yet in the work. Specifically, Larry Maxey points out, “three of the four

themes of the second movement are introduced in the cadenza and these themes supply

much of the material for the movement.”11 Usually, the role of a cadenza is to showcase and

develop themes that have already been presented in a given composition. Copland does do

this, however, even though it is only for a short amount of time. The cadenza begins on a

very familiar sounding idea, from the first movement, as if he is almost reflecting on it.

Towards the end of this slight reflection period, approximately seven measures long, it

seems as though Copland hears a new idea emerging out of this texture, so he begins to toy

with it in jazz-like manner. After a small experimentation period, he lets the musical idea

flourish and develop from there in a swing-like feel, ending the cadenza on a run going

directly into the second movement.

While the jazz in the concerto is not improvised, especially in the cadenza and

afterwards in the second movement, it certainly showcases the virtuosity possible on the

instrument. The final movement, which continues to show off the virtuosity of the

performer, is in a very free rondo form, meaning that Copland does not follow the typical

ABACADA etc. form of the normal rondo. Rather, he uses the rondo freely so as to create a

sense of uninterrupted flow that he says is essential to the rondo, whether the composition

11 Larry Maxey, “The Copland Clarinet Concerto,” The Clarinet 12, no. 1 (1985): 30
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is old or new.12 As Howard Pollack discusses, a very good overall description of the form of

the second movement can be charted as ABACDBDCA/B.13 Other charts do exist, however,

showcasing the form of the final movement, but Pollack’s will be the one referenced here in

this paper.

Each of the areas within the second movement contains a theme associated with it.

The A section contains the first motive of the movement first presented by the tutti

orchestra in an introduction to the movement and then played by the soloist.

Figure 3: Theme A, second movement, measures 158-162.

The B section of the movement contains a motive that is first showcased and

derived from the cadenza. It is mainly characterized as being polyrhythmic, a two against

three feel.14

Figure 4: Theme B, second movement, measures 179-183.

12 Aaron Copland, What to Listen for in Music (New York: New American Library,
2009), 115
13 Howard Pollack, Aaron Copland: The Life and Work of an Uncommon Man (Urbana:

The University of Illinois Press, 2000), 425

14 Bruce Bullock, “Aaron Copland’s Concerto for Clarinet: A Lecture Recital, Together

with Three Recitals of Music by Mozart, Rossini, Brahms, and Contemporary European and
North American Composers,” (D.M.A diss., North Texas State University, 1971), 19
 Murphy 7

The C section, has two main thematic parts. Firstly, a line elaborated more in depth

that was introduced in the cadenza. Secondly, a more transition-like state, preceded by a

restatement of the A theme, that has heavy syncopation introduced in the orchestra that is

then doubled with the clarinet soloist.

Figure 5: Theme C (first part), second movement, measure 187-189.

Lastly, theme D offers a distinct contrast from the other themes in that is much more

of a cool and relaxed jazz feel. Many authors, including Copland himself, state this theme

also has an “unconscious fusion of elements obviously related to North and South American

popular music.”15

Figure 6: Theme D, second movement, measure 297-301.

The movement continues on as discussed before, and leads into a frivolous coda

with a high velocity ending that includes a clarinet glissando that leads to a final

15 Aaron Copland, Copland: Since 1943 (New York: St. Martins Press, 1989), 93
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punctuated unison E. In the words of Howard Pollack, this is done “perhaps in recognition

of Gershwin’s Rhapsody in Blue as well as jazz band practices.”16

The fusion of the jazz and classical idioms within the Clarinet Concerto is one of the

most striking features of the piece. As described before, the work opens in a very definitive

Copland style. The wide, open, chord structures along with the lighter orchestration of the

movement leads one to almost hear this movement as if it were out of Appalachian Spring

or Our Town and other similar works. The remarkable calm and ethereal atmosphere the

opening creates is a perfect rendition of music that sounds more classical style. Even the

form of the movement, ABA, as discussed before, solidifies the first movement as being

more classical in nature. While the tonal scheme, centering around C-Eb-C, does not

necessarily follow strictly with classical forms, it follows with the form of the movement

fairly clearly.

The cadenza and second movement are full of jazz influence. This is not to say,

however, that the first movement does not have some sense of foreshadowing of the jazz

styles that will appear later in the work. Some authors, like Lisa Yeo, discuss that some of

the offbeat patterns and “syncopations” within the first movement are influenced by jazz

writing as well.17 However, those statements are not partial to the personal view of this

paper. The whole cadenza and second movement is influenced by the jazz idiom. As Arthur

Berger states in his book, this work for Goodman, “exploits the ‘hot’ jazz improvisation for

which the clarinetist is noted,” even though the whole thing is written out.18 Throughout

Howard Pollack, Aaron Copland: The Life and Work of an Uncommon Man (Urbana:
16

The University of Illinois Press, 2000), 425

17 Lisa Lorraine Gartrell Yeo, “Copland’s Clarinet Concerto: A Performance

Perspective.” (D.M.A. diss., University of British Columbia, 1996), 50

18 Arthur Berger, Aaron Copland (New York: Oxford University Press, 1953), 81
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the work, Copland employs ostinatos based on the Charleston and a “boogie woogie.”19 The

portion of the cadenza where there is the large articulated section is just one example. The

notes in this sequence, comprised of continuous eighth notes, are all swung with the

rhythms based derived from a Charleston-like feel. In the second movement, many

groupings of eighth notes become grouped into irregular groupings, popular amongst jazz

and even Latin American rhythms.20 For example, like at measure 214, the group of eight

eighth notes becomes 3+2+3, rather than a succession of eight notes. Another example of

jazz rhythms and techniques explicitly located in the movement is at Theme D, shown

above, in the second movement. Copland uses a typical jazz technique of altering the

melodic line from a regular pattern to a syncopated one21 All of these, aside from the

unknowing listener’s attention to the driving rhythmic patterns and assumption of the jazz

idiom, help showcase Copland’s use of the jazz idiom within the Clarinet Concerto. Aside

from the analysis of the rhythmic structure that Copland chooses to follow, expressed and

detailed best by Stanley Kleppinger in his article “On the Influence of Jazz Rhythm in the

Music of Aaron Copland,” the analysis of the jazz themes in the concerto shows a clear

layout of the form of the movement (and the work also, if we take into consideration the

themes of the first movement and their relationship to form) as well. The themes presented

in the movement set forth a clear free rondo form that is dictated by the themes and seems

to flow smoothly without interruption which, as stated before, Copland says is the purpose

of a rondo form.

19Julia Smith, Aaron Copland: His work and Contribution to American Music (E.P.
Dutton & Company, 1955), 252
20 Lisa Lorraine Gartrell Yeo, “Copland’s Clarinet Concerto: A Performance

Perspective.” (D.M.A. diss., University of British Columbia, 1996), 54

21 Lisa Lorraine Gartrell Yeo, “Copland’s Clarinet Concerto: A Performance

Perspective.” (D.M.A. diss., University of British Columbia, 1996), 55

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Much of the previously stated would possibly help propel an idea of this

composition as being partially neoclassic in nature, containing classical values and

structure while utilizing them in a new way. One way this idea could be clarified as a valid

statement is through looking at Bruce Bullock’s dissertation on the Clarinet Concerto. In his

writing, he describes the use of Tutti-Solo Distribution, which is “both parts (soloists and

orchestra) either exchange motivic material through sequential treatment, or they

exchange in a contrapuntal opposition of ideas . . . these traits . . . evoke the baroque

concerto grosso rather than solo concerto of the eighteenth and nineteenth centuries.”22

This stands true that the Clarinet Concerto utilizes this technique much throughout the

composition. Bullock also points out the parallel between this two movement paired

“dance” and compares makes a comparison to dances from the Renaissance. Thus, it could

stand to reason that this composition could be considered partially neoclassic in nature, a

different topic to explore more in depth at another time.

The Clarinet Concerto is not the only work of Copland’s to include influences from

the jazz idiom. On the contrary, many of Copland’s works include jazz rhythms and

influences within them. Some of his works that include influences from the jazz idiom

include his Symphonic Ode and his Two Pieces for String Quartet.23 Most notable, and very

similar to the Clarinet Concerto, is his Piano Concerto from 1926. This concerto, like the

Clarinet Concerto, is set in a slow-fast two-movement format. Copland utilized jazz rhythms

and metrics similar to those of the Clarinet Concerto in not just this work, but many others

as well. In fact, he used them enough to feel that after composing the Piano Concerto,

22Bruce Bullock, “Aaron Copland’s Concerto for Clarinet: A Lecture Recital, Together
with Three Recitals of Music by Mozart, Rossini, Brahms, and Contemporary European and
North American Composers,” (D.M.A diss., North Texas State University, 1971), 13
23 Arthur Berger, Aaron Copland (New York: Oxford University Press, 1953), 48-49
 Murphy 11

twenty years prior to composing the Clarinet Concerto, he claimed that he had “done all he

could within the framework of symphonic jazz,” and most likely not use it again.24

However, the fact that he was composing for such a prominent figure, Copland most likely

wanted to write in a fashion that would be suitable for Goodman to perform the work.

Copland knew Goodman would perform this composition in a manner that would be

suitable. Even though its initial reception was not as good as one would hope, it still pushed

its way to importance. However, many other great clarinetists of the world have performed

and recorded the great work, which bears the question, how does one interpret the work?

Without a doubt, the two Copland/Goodman recordings are a solid interpretation of the

work. Considering that they include the soloist who commissioned the work and the

composer himself at the piano. Commenting about the work, Copland states, “The cadenza

is written close to the way I want it.” He goes on to say that the cadenza, specifically, is free

within some amount of reason. It is not to be, however, based on improvisation by the

performer.25 As for the second movement, treatment of the rhythms present is slightly free

as well. Many top performers like Richard Stoltzman or Martin Frost take similar liberties

as Goodman, but also take their own liberties differing from those that Goodman takes in

his recording. Some of this also stands true, however, for the second movement of the

work. In one particular section, as Bruce Bullock shows us, some rhythms are almost

always played a certain way to better match the jazz style present in the composition.

24 Larry Maxey, “The Copland Clarinet Concerto,” The Clarinet 12, no. 1 (1985): 32
25 Aaron Copland, Copland: Since 1943 (New York: St. Martins Press, 1989), 93
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Figure 7: Second movement, measure 319

The above rhythm usually becomes the rhythm shown below.

Figure 8: Second movement, measure 319

More interesting in the interpretation realm is how various performers treat the

cadenza. Many performers treat the cadenza in very different ways. Some performers, like

Goodman, show a more subtle approach to the Charleston rhythms present in the cadenza.

Others, like Stoltzman, make them a lot more flashy and flamboyant.26 However, when

taking more freedoms, greater responsibility must be given to proper timing of releases

and phrases. One does not want to be like Martin Frost and end the piece sooner than the

orchestra plays their unison note with him. 27 To be safe, one should stick with what

Copland intended and showed with Goodman on their recordings, and only take small

liberties every once in a while. The work as a whole is very taxing on the performer, but a

very worthwhile challenge if approached correctly with the appropriate knowledge of the

composition.

26 Richard Stoltzman, “Concerto for Clarinet and String Orchestra (with Piano and
Harp),” Copland: Clarinet Concerto; Music of Gershwin, Bernstein and Jenkins-Douglas, MP3
File, Sony BMG.
27 Martin Frost, “Concerto for Clarinet and String Orchestra (with Piano and Harp),”

Copland-Hindemith: Clarinet Concertos Dedicated to Benny Goodman, MP3 File, BIS Records.
 Murphy 13

All in all, if approached appropriately, one will certainly better understand the

environment surrounding the Copland Clarinet Concerto and how Copland brings together

two very different idioms into one work. Better understanding of the Concerto’s

background and breakdown analytically shows a more clear understanding of the

formation and purpose of the work. Also, knowledge of the form of the work in relation to

its themes leads to understanding the work better as a whole. With a more focused

understanding behind the various elements that are brought together in the concerto, one

will better showcase the aesthetic atmosphere that Copland has composed within this

work. Being able to perform this work at the highest level because of this knowledge, the

performer can continue to have an impact on those around them. And not only that, but

they can continue to solidify the place of the Clarinet Concerto as a staple of the repertory

for clarinetists all over the world.