Used with permission.Īs far as their backgrounds, Negron is a native of Fort Wayne (during the interview, we discovered that we share the same hometown) and began her dance training at Fort Wayne Ballet. I am a fan of both dancers, having seen a majority of June and Negron’s work during my years covering DK. Hoping to receive insight about the piece, I reached out to both Negron and June by phone about their respective roles in “Appalachian Spring” and also to simply catch up. Spring is the loveliest and the saddest time of the year.” It is essentially the coming of new life. There is a house that has not been completed. As far as the piece itself, there is no better description than that expressed by Graham who said, “It’s spring. Providing the DK interpretation with further gravitas are the sets and costumes from the Martha Graham Dance Company. This momentous DK production of Graham’s renowned masterpiece is especially significant considering the company’s artistic director David Hochoy was a dancer and rehearsal director for Graham’s New York City-based company. The program will also include two pieces by guest choreographers, André Megerdichian’s “Sing, Sing, Sing” set to Benny Goodman’s tune of the same title and “Taking Watch,” a piece created for DK by Stephanie Martinez. The concert will be presented on the OneAmerica Stage at Indiana Repertory Theatre, May 31 to June 3. They both have leading roles opposite each other, as the bride and husbandman in Dance Kaleidoscope’s production of Martha’s Graham‘s revered “ Appalachian Spring,” with music by Aaron Copland. Used with permissionĬaitlin Negron, who is set to retire after ten years of dancing with Dance Kaleidoscope, and Timothy June, whose tenure with Indiana’s premier contemporary dance company also spans a decade, have more than dance in common. The recording quality is exemplary.Caitlin Negron & Timothy June – Courtesy of Dance Kaleidoscope. The BBC Philharmonic responds with pristine ‘white’ woodwind tone, brilliant brass, and string colours ranging from subtly overlapping waves of sound to whiplash attacks. It seems closely modelled on the composer’s own: one unmarked speeding-up turns out to be just what Copland did at that point. His interpretation has an infectious verve in its fast episodes, and a seamless flow integrating those with the solemn, prayerful passages. Wilson is famously steeped in US popular idioms, which proves to be a perfect grounding for conducting Copland’s music. If you’re looking for a recording in the most up-to-date sound, this performance in John Wilson’s new Copland series is for you. This is a classic account of Copland’s masterpiece, deserving of a place in every music-lover’s library. The recording matches the performance in its luminosity and clarity. In between, the faster episodes crackle with incisive attacks and sustained energy, while moments of heightened emotion are given just the right expressive weight – standing out from the quiet, serene, always tender pastoral music. At the start, misty, drifting string triads support simply sung wind phrases, setting the scene of an innocent pastoral idyll at the end, against a similar string background, harp and glockenspiel combine with perfect precision on the three notes which make a perfect closing gesture of benediction. The beginning and ending say a good deal about the performance. In any case, it’s surpassed by his later recording with the London Symphony Orchestra(one of the best orchestras in the world), an orchestra with which he enjoyed a happy and productive association on the concert platform and in the studio. His 1961 version with the Boston Symphony Orchestra (for RCA now on Regis and downloads) has an appealing freshness, but is beset by background rumble. He made two recordings of the orchestral Appalachian Spring. The best recordings of Copland's Appalachian Spring Aaron Copland (conductor and composer)Ĭopland was a fine conductorof his own music, accomplished in obtaining what he wanted from players in the way of phrasing and colour, and especially assured in piloting orchestras through his characteristic changing metres.
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