Information for Bio taken from:gayinfluence and wikipedia
Aaron Copland (/ˌærÉ™n ˈkoÊŠplÉ™nd/; November 14, 1900 – December 2, 1990) was an American composer, composition teacher, writer, and later in his career a conductor of his own and other American music. Instrumental in forging a distinctly American style of composition, in his later years he was often referred to as "the Dean of American Composers" and is best known to the public for the works he wrote in the 1930s and 1940s in a deliberately accessible style often referred to as Populist and which the composer labeled his "vernacular" style.[1] Works in this vein include the ballets Appalachian Spring, Billy the Kid and Rodeo, his Fanfare for the Common Man andThird Symphony. The open, slowly changing harmonies of many of his works are archetypical of what many people consider to be the sound of American music, evoking the vast American landscape and pioneer spirit. In addition to his ballets and orchestral works, he produced music in many other genres including chamber music, vocal works, opera and film scores.
After some initial studies with composer Rubin Goldmark, Copland traveled to Paris, where he studied at first with Isidor Philipp and Paul Vidal, then with noted pedagogue Nadia Boulanger. He studied three years with Boulanger, whose eclectic approach to music inspired his own broad taste in that area. Determined upon his return to the U.S. to make his way as a full-time composer, Copland gave lecture-recitals, wrote works on commission and did some teaching and writing. He found composing orchestral music in the "modernist" style he had adapted abroad a financially contradictory approach, particularly in light of the Great Depression. He shifted in the mid-1930s to a more accessible musical style which mirrored the German idea of Gebrauchsmusik("music for use"), music that could serve utilitarian and artistic purposes. During the Depression years, he traveled extensively to Europe, Africa, and Mexico, formed an important friendship with Mexican composer Carlos Chávez and began composing his signature works.
During the late 1940s Copland felt a need to compose works of greater emotional substance than his utilitarian scores of the late 1930s and early 1940s. He was aware that Stravinsky, as well as many fellow composers, had begun to study Arnold Schoenberg's use of twelve-tone (serial) techniques. In his personal style, Copland began to make use of twelve-tone rows in several compositions. He incorporated serial techniques in some of his later works.[clarification needed] Among them, his Piano Quartet (1951), Piano Fantasy (1957), Inscape for orchestra (1961) and Connotations for orchestra (1967). From the 1960s onward, Copland's activities turned more from composing to conducting. He became a frequent guest conductor of orchestras in the U.S. and the UK and made a series of recordings of his music, primarily for Columbia Records.
Personal life
Deciding not to follow the example of his father, a solid Democrat, Copland never enrolled as a member of any political party, but he espoused a general progressive view and had strong ties with numerous colleagues and friends in the Popular Front, including Odets.[75] Copland supported the Communist Party USA ticket during the 1936 presidential election, at the height of his involvement with The Group Theater, and remained a committed opponent of militarism and the Cold War, which he regarded as having been instigated by the United States. He condemned it as "almost worse for art than the real thing". Throw the artist "into a mood of suspicion, ill-will, and dread that typifies the cold war attitude and he'll create nothing". In keeping with these attitudes, Copland was a strong supporter of the Presidential candidacy of Henry A. Wallace on the Progressive Party ticket. As a result, he was later investigated by the FBI during the Red scare of the 1950s and found himself blacklisted.
Copland was included on an FBI list of 151 artists thought to have Communist associations. Joseph McCarthy and Roy Cohn questioned Copland about his lecturing abroad, neglecting completely Copland's works which made a virtue of American values. Outraged by the accusations, many members of the musical community held up Copland's music as a banner of his patriotism. The investigations ceased in 1955 and were closed in 1975. Though taxing of his time, energy, and emotional state, the McCarthy probes did not seriously affect Copland's career and international artistic reputation. In any case, beginning in 1950, Copland, who had been appalled at Stalin's persecution of Shostakovich and other artists, began resigning from participation in leftist groups. He decried the lack of artistic freedom in the Soviet Union, and in his 1954 Norton lecture he asserted that loss of freedom under Soviet Communism deprived artists of "the immemorial right of the artist to be wrong." He began to vote Democratic, first for Stevenson and then for Kennedy.
On Copland's religious views, he was an agnostic.
Copland is documented as a gay man in author Howard Pollack's biography, Aaron Copland: The Life and Work of an Uncommon Man. Like many of his contemporaries he guarded his privacy, especially in regard to his homosexuality, providing very few written details about his private life. However, he was one of the few composers of his stature to live openly and travel with his lovers, most of whom were talented, much younger men. Among Copland's love affairs, most of which lasted for only a few years yet became enduring friendships, were ones with photographer Victor Kraft, artist Alvin Ross, pianist Paul Moor, dancer Erik Johns, and composer John Brodbin Kennedy.
The talented boy from Brooklyn started piano lessons at age seven and began composing music by age eight. When he turned twenty-one his musical gifts were deemed so extraordinary that he moved to Paris to study with legendary teacher Nadia Boulanger. She was so impressed that she arranged for his works to be performed by symphony orchestras in Boston and New York. Audiences and critics hated what they heard. When they weren’t booing and hissing, they were spreading the word that his music was dull, derivative, unimaginative and ineffective.
Although Aaron Copland (1900-1990) is now considered a major figure in American classical music, he had to develop a thick skin for the first eight years of his professional career. Obviously Boulanger heard something in his music that was not shared by others. His personal life was a major disappointment, as well. He was not a social butterfly, nor was he handsome. To be honest, he wasn’t even attractive. He was tall, rail thin, careless about his clothes, had protruding teeth and an enormous nose. He wore glasses and his hair had thinned prematurely.
Although most other American expats lived a wild, Bohemian lifestyle while in Europe, Copland was geeky, reserved and a model of propriety. During the three years he lived and studied in Paris he was not sexually involved with anyone. It didn’t help that he liked his men handsome and very young. His first major man crush was with 16-year-old musician Israel Citkowitz; Copland was 26, and his feelings were not reciprocated. Next up was 19-year-oldPaul Bowles, another musician; Copland was 29, and the result was the same. Then along came the stunningly handsome, muscular 17-year-old violinist Victor Kraft. Copland was 32, and it turns out the third time was the charm.
But Copland, thrilled at finally having his attentions returned, had already accepted an invitation from a fellow composer to travel to Mexico City for two months, so he called ahead to inform his host that he’d be bringing along a 17-year-old pupil for the entire time, saying, “Im sure you’ll like him.” Copland had intended to compose the full duration of his stay, but young Victor (photo at left) had other ideas, and he was quite persuasive. Victor insisted that Aaron take a real holiday, and the two spent many days at the beach while Copland happily photographed Kraft in the nude.
Copland had to keep up with Kraft’s youthful enthusiasm, and the pair frequently went clubbing until dawn. This was a 180-degree turn-around in Copland’s life, and he was so happy that he willingly agreed to Kraft’s desire to extend the stay to a full five months. The two acted like honeymooners, trekking off to Acapulco, Cuernavaca and Xochimilco.
A fortuitous side effect of this young love was Copland’s rebirth as a composer. He dropped his complicated, dense European style of writing and began filling scores with a fresh, simple kind of music, a reflection of the lifestyle he and Kraft had shared in Mexico. The first of these, El Salón México, resulted in something that Copland had never heard before – rave reviews and enthusiastic audience reception. In gratitude for his young lover’s inspiration and influence, Copland dedicated El Salón México to Victor Kraft (see top of title page below).
This piece was based on sheet music Copland obtained for four Mexican folk songs. “El Salón México” was a real place, an actual popular dance hall. Copland elaborated:
A sign on the wall of the dance hall read: “Please don’t throw lighted cigarette butts on the floor so the ladies won’t burn their feet.” A guard, stationed at the bottom of the steps leading to the three halls, would nonchalantly frisk you as you started up the stairs to be sure you had checked all your “artillery” at the door and to collect the 1 peso charged for admittance. When the dance hall closed at 5:00 a.m., it hardly seemed worthwhile to some of the patrons to travel all the way home, so they curled themselves up on chairs around the walls for a quick two hour snooze before going to their seven o’clock job in the morning.
.jpg)
Copland then set about writing a string of hits, such as music for the ballet Billy the Kid and numerous film scores. Before he knew it, he found his soundtrack for the movie Of Mice and Men nominated for an Academy Award. Kraft had moved into Copland’s Manhattan apartment and took over the household, playing the role of charming host by planning and cooking for casual dinner parties. Kraft gave up his own career as a violinist to work in the field of photojournalism, going on to achieve great success in this endeavor. Kraft also insisted that Copland clear his schedule several times a year so that they could enjoy felicitous getaways as a couple.
At this time Fanfare for the Common Man, perhaps now the most recognizable 2-minute composition in history, came about as a commission from the Cincinnati Symphony Orchestra in 1942. It has since been used in advertising, films, rock anthems, and even as the wake-up call for astronauts. President Obama chose it to kick-off his inaugural celebrations in 2009. Success built upon success, and the cup that held Copland’s musical inspiration was suddenly filled to overflowing.
As Copland’s fame grew, Kraft saw to it that the composer had a stress-free home life. Victor planned vacations – local getaways as well as major treks to Cuba, South America and a return visit to Mexico. Kraft even found a cottage retreat for the pair when they needed a break from the hustle and bustle of Manhattan. Copland bought it, and they enjoyed their first stay in rural New Jersey in 1944. That summer Copland’s Appalachian Spring won the Pulitzer Prize. Two more film scores were nominated for an Academy Award, and his soundtrack for the film adaption of the Henry James novel The Heiress (1940) won the Academy Award for best musical score.
Film work meant that Copland was spending more and more time in California, while Victor had to stay behind in NYC, where he was working full time as a photographer for Harper’s Bazaar. Copland’s penchant for young male flesh began to breed trouble into their relationship, as his fame meant he had no difficulty attracting men 20-30 years his junior into the bedroom. In an attempt at making Copland jealous, Victor Kraft entered into an affair with Leonard Bernstein. When that ploy failed, Kraft delivered a bolt of lightning by marrying a female writer, Pearl Kazin, in 1951. The marriage went up in flames, however, lasting only a few months, and Kraft went back to Copland.
Victor had to accept that Copland would forever pursue young flesh, but took comfort that he remained the focus of Copland’s life. They continued to enjoy sexual relations, and Victor took on secretarial and managerial duties for the composer. While they lived a surprisingly open life as a couple, Copland never provided details of their relationship to the public. His stock comment was, “I’m married to my music.”
Hardly. Copland blazed a trail through relationships with many younger, talented young men – artist Alvin Ross, pianist Paul Moor, dancer Erik Johns (librettist for Copland's opera The Tender Land) and composer John Brodbin Kennedy, for starters. By the late 1950s, however, the strain of Copland’s philandering took its toll on Victor. He quit his job, got into fights with Copland’s younger lovers and suffered crying fits. Unable to deal with the emotional strain, Kraft married once more, settling into a house only a few miles from Copland’s residence. They had a son named Jeremy Aaron, who was born with brain damage. At this, Victor’s mind snapped. His handsome appearance lapsed into that of a sloppily dressed long-haired hippie. He sank into a ruinous drug culture. He begged Copland to reenter into a relationship with him, and upon his refusal kidnapped his own 7-year-old son and took him out of the country. Although Copland was alarmed by Kraft’s behavior, he did not break off all communication. Although Copland made sure Kraft was kept from high profile events, such as Copland’s presentation of the Presidential Medal of Freedom and various Grammy Award ceremonies, Copland remembered Victor’s positive influence on his music and life in their early years together. Most biographers agree that Copland’s feelings of guilt over his constant humiliations and betrayals of Kraft prohibited a clean break from each other.
Copland’s musical inspiration seemed to dry up as difficulties continued to plague his personal life. Nevertheless, he and Kraft continued to travel together and maintain sexual relations. After Kraft separated from his second wife, Copland traveled with him on trips to Israel and England (photograph at right, Yorkshire 1970). Six years later Kraft died of a heart attack while vacationing in Maine in 1976. He was sixty years old.
Upon Victor’s death Copland was devastated and entered into a period of clinical depression. He looked after Victor’s son and even paid for the boy’s tuition at a private school. As for Copland, major recognition continued to come his way – the Kennedy Center Honors in 1979 and a Medal of the Arts from Ronald Reagan in 1986 – but Copland had written his last great music well before Kraft’s death. Copland also ceased his pursuit of young men, likely because of guilt over the humiliating affairs that lead to Victor’s tragic demise.
When Copland died fourteen years after Kraft, there were great tributes and accolades that flooded the press. No public mention, however, was made of Victor Kraft. Every news source referred to Copland as a lifelong bachelor, when in fact he had been one of the first prominent homosexual composers to live openly with a male partner.
El Salon Mexico - Aaron Copland
Aaron Copeland
AARON COPLAND: APPALACHIAN SPRING
Appalachian Spring - Aaron Copland LIVE
Aaron Copland - Fanfare for the Common Man
Aaron Copland - Hoedown
Aaron Copland - The Promise of Living
Quiet City, Aaron Copland
Aaron Copland: Symphony for Organ and Orchestra (1924)
Aaron Copland - Themes from Our Town and The Red Pony
Aaron Copland (/ˌærÉ™n ˈkoÊŠplÉ™nd/; November 14, 1900 – December 2, 1990) was an American composer, composition teacher, writer, and later in his career a conductor of his own and other American music. Instrumental in forging a distinctly American style of composition, in his later years he was often referred to as "the Dean of American Composers" and is best known to the public for the works he wrote in the 1930s and 1940s in a deliberately accessible style often referred to as Populist and which the composer labeled his "vernacular" style.[1] Works in this vein include the ballets Appalachian Spring, Billy the Kid and Rodeo, his Fanfare for the Common Man andThird Symphony. The open, slowly changing harmonies of many of his works are archetypical of what many people consider to be the sound of American music, evoking the vast American landscape and pioneer spirit. In addition to his ballets and orchestral works, he produced music in many other genres including chamber music, vocal works, opera and film scores.
After some initial studies with composer Rubin Goldmark, Copland traveled to Paris, where he studied at first with Isidor Philipp and Paul Vidal, then with noted pedagogue Nadia Boulanger. He studied three years with Boulanger, whose eclectic approach to music inspired his own broad taste in that area. Determined upon his return to the U.S. to make his way as a full-time composer, Copland gave lecture-recitals, wrote works on commission and did some teaching and writing. He found composing orchestral music in the "modernist" style he had adapted abroad a financially contradictory approach, particularly in light of the Great Depression. He shifted in the mid-1930s to a more accessible musical style which mirrored the German idea of Gebrauchsmusik("music for use"), music that could serve utilitarian and artistic purposes. During the Depression years, he traveled extensively to Europe, Africa, and Mexico, formed an important friendship with Mexican composer Carlos Chávez and began composing his signature works.
During the late 1940s Copland felt a need to compose works of greater emotional substance than his utilitarian scores of the late 1930s and early 1940s. He was aware that Stravinsky, as well as many fellow composers, had begun to study Arnold Schoenberg's use of twelve-tone (serial) techniques. In his personal style, Copland began to make use of twelve-tone rows in several compositions. He incorporated serial techniques in some of his later works.[clarification needed] Among them, his Piano Quartet (1951), Piano Fantasy (1957), Inscape for orchestra (1961) and Connotations for orchestra (1967). From the 1960s onward, Copland's activities turned more from composing to conducting. He became a frequent guest conductor of orchestras in the U.S. and the UK and made a series of recordings of his music, primarily for Columbia Records.
Personal life
Deciding not to follow the example of his father, a solid Democrat, Copland never enrolled as a member of any political party, but he espoused a general progressive view and had strong ties with numerous colleagues and friends in the Popular Front, including Odets.[75] Copland supported the Communist Party USA ticket during the 1936 presidential election, at the height of his involvement with The Group Theater, and remained a committed opponent of militarism and the Cold War, which he regarded as having been instigated by the United States. He condemned it as "almost worse for art than the real thing". Throw the artist "into a mood of suspicion, ill-will, and dread that typifies the cold war attitude and he'll create nothing". In keeping with these attitudes, Copland was a strong supporter of the Presidential candidacy of Henry A. Wallace on the Progressive Party ticket. As a result, he was later investigated by the FBI during the Red scare of the 1950s and found himself blacklisted.
Copland was included on an FBI list of 151 artists thought to have Communist associations. Joseph McCarthy and Roy Cohn questioned Copland about his lecturing abroad, neglecting completely Copland's works which made a virtue of American values. Outraged by the accusations, many members of the musical community held up Copland's music as a banner of his patriotism. The investigations ceased in 1955 and were closed in 1975. Though taxing of his time, energy, and emotional state, the McCarthy probes did not seriously affect Copland's career and international artistic reputation. In any case, beginning in 1950, Copland, who had been appalled at Stalin's persecution of Shostakovich and other artists, began resigning from participation in leftist groups. He decried the lack of artistic freedom in the Soviet Union, and in his 1954 Norton lecture he asserted that loss of freedom under Soviet Communism deprived artists of "the immemorial right of the artist to be wrong." He began to vote Democratic, first for Stevenson and then for Kennedy.
On Copland's religious views, he was an agnostic.
Copland is documented as a gay man in author Howard Pollack's biography, Aaron Copland: The Life and Work of an Uncommon Man. Like many of his contemporaries he guarded his privacy, especially in regard to his homosexuality, providing very few written details about his private life. However, he was one of the few composers of his stature to live openly and travel with his lovers, most of whom were talented, much younger men. Among Copland's love affairs, most of which lasted for only a few years yet became enduring friendships, were ones with photographer Victor Kraft, artist Alvin Ross, pianist Paul Moor, dancer Erik Johns, and composer John Brodbin Kennedy.
The talented boy from Brooklyn started piano lessons at age seven and began composing music by age eight. When he turned twenty-one his musical gifts were deemed so extraordinary that he moved to Paris to study with legendary teacher Nadia Boulanger. She was so impressed that she arranged for his works to be performed by symphony orchestras in Boston and New York. Audiences and critics hated what they heard. When they weren’t booing and hissing, they were spreading the word that his music was dull, derivative, unimaginative and ineffective.
Although Aaron Copland (1900-1990) is now considered a major figure in American classical music, he had to develop a thick skin for the first eight years of his professional career. Obviously Boulanger heard something in his music that was not shared by others. His personal life was a major disappointment, as well. He was not a social butterfly, nor was he handsome. To be honest, he wasn’t even attractive. He was tall, rail thin, careless about his clothes, had protruding teeth and an enormous nose. He wore glasses and his hair had thinned prematurely.
Although most other American expats lived a wild, Bohemian lifestyle while in Europe, Copland was geeky, reserved and a model of propriety. During the three years he lived and studied in Paris he was not sexually involved with anyone. It didn’t help that he liked his men handsome and very young. His first major man crush was with 16-year-old musician Israel Citkowitz; Copland was 26, and his feelings were not reciprocated. Next up was 19-year-oldPaul Bowles, another musician; Copland was 29, and the result was the same. Then along came the stunningly handsome, muscular 17-year-old violinist Victor Kraft. Copland was 32, and it turns out the third time was the charm.
But Copland, thrilled at finally having his attentions returned, had already accepted an invitation from a fellow composer to travel to Mexico City for two months, so he called ahead to inform his host that he’d be bringing along a 17-year-old pupil for the entire time, saying, “Im sure you’ll like him.” Copland had intended to compose the full duration of his stay, but young Victor (photo at left) had other ideas, and he was quite persuasive. Victor insisted that Aaron take a real holiday, and the two spent many days at the beach while Copland happily photographed Kraft in the nude.
Copland had to keep up with Kraft’s youthful enthusiasm, and the pair frequently went clubbing until dawn. This was a 180-degree turn-around in Copland’s life, and he was so happy that he willingly agreed to Kraft’s desire to extend the stay to a full five months. The two acted like honeymooners, trekking off to Acapulco, Cuernavaca and Xochimilco.
A fortuitous side effect of this young love was Copland’s rebirth as a composer. He dropped his complicated, dense European style of writing and began filling scores with a fresh, simple kind of music, a reflection of the lifestyle he and Kraft had shared in Mexico. The first of these, El Salón México, resulted in something that Copland had never heard before – rave reviews and enthusiastic audience reception. In gratitude for his young lover’s inspiration and influence, Copland dedicated El Salón México to Victor Kraft (see top of title page below).
This piece was based on sheet music Copland obtained for four Mexican folk songs. “El Salón México” was a real place, an actual popular dance hall. Copland elaborated:
A sign on the wall of the dance hall read: “Please don’t throw lighted cigarette butts on the floor so the ladies won’t burn their feet.” A guard, stationed at the bottom of the steps leading to the three halls, would nonchalantly frisk you as you started up the stairs to be sure you had checked all your “artillery” at the door and to collect the 1 peso charged for admittance. When the dance hall closed at 5:00 a.m., it hardly seemed worthwhile to some of the patrons to travel all the way home, so they curled themselves up on chairs around the walls for a quick two hour snooze before going to their seven o’clock job in the morning.
.jpg)
Copland then set about writing a string of hits, such as music for the ballet Billy the Kid and numerous film scores. Before he knew it, he found his soundtrack for the movie Of Mice and Men nominated for an Academy Award. Kraft had moved into Copland’s Manhattan apartment and took over the household, playing the role of charming host by planning and cooking for casual dinner parties. Kraft gave up his own career as a violinist to work in the field of photojournalism, going on to achieve great success in this endeavor. Kraft also insisted that Copland clear his schedule several times a year so that they could enjoy felicitous getaways as a couple.
At this time Fanfare for the Common Man, perhaps now the most recognizable 2-minute composition in history, came about as a commission from the Cincinnati Symphony Orchestra in 1942. It has since been used in advertising, films, rock anthems, and even as the wake-up call for astronauts. President Obama chose it to kick-off his inaugural celebrations in 2009. Success built upon success, and the cup that held Copland’s musical inspiration was suddenly filled to overflowing.
As Copland’s fame grew, Kraft saw to it that the composer had a stress-free home life. Victor planned vacations – local getaways as well as major treks to Cuba, South America and a return visit to Mexico. Kraft even found a cottage retreat for the pair when they needed a break from the hustle and bustle of Manhattan. Copland bought it, and they enjoyed their first stay in rural New Jersey in 1944. That summer Copland’s Appalachian Spring won the Pulitzer Prize. Two more film scores were nominated for an Academy Award, and his soundtrack for the film adaption of the Henry James novel The Heiress (1940) won the Academy Award for best musical score.
Film work meant that Copland was spending more and more time in California, while Victor had to stay behind in NYC, where he was working full time as a photographer for Harper’s Bazaar. Copland’s penchant for young male flesh began to breed trouble into their relationship, as his fame meant he had no difficulty attracting men 20-30 years his junior into the bedroom. In an attempt at making Copland jealous, Victor Kraft entered into an affair with Leonard Bernstein. When that ploy failed, Kraft delivered a bolt of lightning by marrying a female writer, Pearl Kazin, in 1951. The marriage went up in flames, however, lasting only a few months, and Kraft went back to Copland.
Victor had to accept that Copland would forever pursue young flesh, but took comfort that he remained the focus of Copland’s life. They continued to enjoy sexual relations, and Victor took on secretarial and managerial duties for the composer. While they lived a surprisingly open life as a couple, Copland never provided details of their relationship to the public. His stock comment was, “I’m married to my music.”
Hardly. Copland blazed a trail through relationships with many younger, talented young men – artist Alvin Ross, pianist Paul Moor, dancer Erik Johns (librettist for Copland's opera The Tender Land) and composer John Brodbin Kennedy, for starters. By the late 1950s, however, the strain of Copland’s philandering took its toll on Victor. He quit his job, got into fights with Copland’s younger lovers and suffered crying fits. Unable to deal with the emotional strain, Kraft married once more, settling into a house only a few miles from Copland’s residence. They had a son named Jeremy Aaron, who was born with brain damage. At this, Victor’s mind snapped. His handsome appearance lapsed into that of a sloppily dressed long-haired hippie. He sank into a ruinous drug culture. He begged Copland to reenter into a relationship with him, and upon his refusal kidnapped his own 7-year-old son and took him out of the country. Although Copland was alarmed by Kraft’s behavior, he did not break off all communication. Although Copland made sure Kraft was kept from high profile events, such as Copland’s presentation of the Presidential Medal of Freedom and various Grammy Award ceremonies, Copland remembered Victor’s positive influence on his music and life in their early years together. Most biographers agree that Copland’s feelings of guilt over his constant humiliations and betrayals of Kraft prohibited a clean break from each other.
Copland’s musical inspiration seemed to dry up as difficulties continued to plague his personal life. Nevertheless, he and Kraft continued to travel together and maintain sexual relations. After Kraft separated from his second wife, Copland traveled with him on trips to Israel and England (photograph at right, Yorkshire 1970). Six years later Kraft died of a heart attack while vacationing in Maine in 1976. He was sixty years old.
Upon Victor’s death Copland was devastated and entered into a period of clinical depression. He looked after Victor’s son and even paid for the boy’s tuition at a private school. As for Copland, major recognition continued to come his way – the Kennedy Center Honors in 1979 and a Medal of the Arts from Ronald Reagan in 1986 – but Copland had written his last great music well before Kraft’s death. Copland also ceased his pursuit of young men, likely because of guilt over the humiliating affairs that lead to Victor’s tragic demise.
When Copland died fourteen years after Kraft, there were great tributes and accolades that flooded the press. No public mention, however, was made of Victor Kraft. Every news source referred to Copland as a lifelong bachelor, when in fact he had been one of the first prominent homosexual composers to live openly with a male partner.
El Salon Mexico - Aaron Copland
Aaron Copeland
AARON COPLAND: APPALACHIAN SPRING
Appalachian Spring - Aaron Copland LIVE
Aaron Copland - Fanfare for the Common Man
Aaron Copland - Hoedown
Aaron Copland - The Promise of Living
Quiet City, Aaron Copland
Aaron Copland: Symphony for Organ and Orchestra (1924)
Aaron Copland - Themes from Our Town and The Red Pony
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