Aaron Copland was born in Brooklyn, New York, on November 14, 1900, and died in Tarrytown, New York, on December 2, 1990. The first performance of Appalachian Spring, Suite from the Ballet, took place in Carnegie Hall in New York City on October 4, 1945, with Artur Rodzinski conducting the New York Philharmonic. The Suite from Appalachian Spring is scored for piccolo, two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, two trombones, timpani, xylophone, tabor (long drum), triangle, glockenspiel, wood block, snare drum, bass drum, suspended cymbals, claves, harp, piano, and strings. Approximate performance time is twenty-three minutes.

In 1943, the legendary American dancer and choreographer Martha Graham accepted a commission to stage new works for the Festival of the Elizabeth Sprague Coolidge Foundation, held at the Library of Congress in Washington, DC. For that event, Graham, in turn, commissioned music by three prominent contemporary composers — Paul Hindemith, Darius Milhaud, and Aaron Copland.

It was Graham who chose the title for Copland’s piece — Appalachian Spring, taken from the heading of a poem by Hart Crane. Copland began work on the score in June of 1943.  Because of various delays, the premiere of Appalachian Spring did not occur until October 30, 1944. Graham and Eric Hawkins danced the principal roles.

Copland scored the original ballet for a chamber group of thirteen instruments. Subsequently, Copland arranged a Suite from Appalachian Spring for a larger ensemble. The Suite received its premiere in 1945.

Appalachian Spring takes place in the early part of the 19^th century, in the hills of Pennsylvania. The story concerns the wedding of a young farmer and his bride.

The Suite is divided into eight sections, performed without pause. The composer offered the following program notes for the Suite's 1945 premiere:

1. Very Slowly. Introduction of the characters, one by one, in a suffused light.
2. Fast. Sudden burst of unison strings in A-major arpeggios starts the action. A sentiment both exalted and religious gives the keynote to this scene.
3. Moderate. Duo for the bride and her Intended — scene of tenderness and passion.
4. Quite fast. The revivalist and his flock. Folksy feelings — suggestions of square dances and country fiddlers.
5. Still faster. Solo dance of the Bride — presentiment of motherhood. Extremes of joy and fear and wonder.
6. Very slowly (as at first). Transition scenes reminiscent of the introduction.
7. Calm and flowing. Scenes of daily activity for the Bride and her Farmer-husband. There are five variations on a Shaker theme. The theme, sung by a solo clarinet, was taken from a collection of Shaker melodies compiled by Edward D. Andrews, and published later under the title The Gift to be Simple. The melody I borrowed and used almost literally is called “Simple Gifts.”

8. Moderate. Coda. The Bride takes her place among her neighbors. At the end the couple are left “quiet and strong in their new house.” Muted strings intone a hushed, prayer-like passage. We hear a last echo of the principal theme sung by the flute and a solo violin. The close is reminiscent of the opening music.

program notes by Ken Meltzer