Copland in Paris
Identifieur interne : 001585 ( Istex/Corpus ); précédent : 001584; suivant : 001586Copland in Paris
Auteurs : Howard PollackSource :
- Tempo [ 0040-2982 ] ; 2000-04.
Abstract
On the trip over he met the painter Marcel Duchamp, who suggested that he forget Fontainebleau and head straight for Paris. The instruction at Fontainebleau proved, in fact, routine. Copland's composition teacher, Paul Vidal, struck him as a French Rubin Goldmark: ‘He is a man with Mr Goldmark's tastes, and was therefore quite satisfied with the stuff I showed him and played for him,’ he wrote to his parents. ‘However, he is not the sort of man I shall want to study with, when I get to Paris in the winter.’ The students, furthermore, were ‘not a very talented bunch, since most of the Jews were scared away.’ But the town of Fontainebleau had its charms and Copland was able to work on his French. Moreover, he made a few friends (including future Cleveland music critic Herbert Elwell), took some conducting lessons, and, most important, met Nadia Boulanger, with whom he would study for three years in Paris.
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DOI: 10.1017/S0040298200007555
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The instruction at Fontainebleau proved, in fact, routine. Copland's composition teacher, Paul Vidal, struck him as a French Rubin Goldmark: ‘He is a man with Mr Goldmark's tastes, and was therefore quite satisfied with the stuff I showed him and played for him,’ he wrote to his parents. ‘However, he is not the sort of man I shall want to study with, when I get to Paris in the winter.’ The students, furthermore, were ‘not a very talented bunch, since most of the Jews were scared away.’ But the town of Fontainebleau had its charms and Copland was able to work on his French. Moreover, he made a few friends (including future Cleveland music critic Herbert Elwell), took some conducting lessons, and, most important, met Nadia Boulanger, with whom he would study for three years in Paris.</div></front></TEI><istex><corpusName>cambridge</corpusName><author><json:item><name>Howard Pollack</name></json:item></author><articleId><json:string>00755</json:string></articleId><arkIstex>ark:/67375/6GQ-CDB6ZKPH-F</arkIstex><language><json:string>eng</json:string></language><originalGenre><json:string>research-article</json:string></originalGenre><abstract>On the trip over he met the painter Marcel Duchamp, who suggested that he forget Fontainebleau and head straight for Paris. The instruction at Fontainebleau proved, in fact, routine. Copland's composition teacher, Paul Vidal, struck him as a French Rubin Goldmark: ‘He is a man with Mr Goldmark's tastes, and was therefore quite satisfied with the stuff I showed him and played for him,’ he wrote to his parents. ‘However, he is not the sort of man I shall want to study with, when I get to Paris in the winter.’ The students, furthermore, were ‘not a very talented bunch, since most of the Jews were scared away.’ But the town of Fontainebleau had its charms and Copland was able to work on his French. 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The instruction at Fontainebleau proved, in fact, routine. Copland's composition teacher, Paul Vidal, struck him as a French Rubin Goldmark: ‘He is a man with Mr Goldmark's tastes, and was therefore quite satisfied with the stuff I showed him and played for him,’ he wrote to his parents. ‘However, he is not the sort of man I shall want to study with, when I get to Paris in the winter.’ The students, furthermore, were ‘not a very talented bunch, since most of the Jews were scared away.’ But the town of Fontainebleau had its charms and Copland was able to work on his French. Moreover, he made a few friends (including future Cleveland music critic Herbert Elwell), took some conducting lessons, and, most important, met Nadia Boulanger, with whom he would study for three years in Paris.</p></abstract></profileDesc><revisionDesc><change when="2000-04">Published</change></revisionDesc></teiHeader></istex:fulltextTEI></fulltext><metadata><istex:metadataXml wicri:clean="corpus cambridge not found" wicri:toSee="no header"><istex:xmlDeclaration>version="1.0" encoding="UTF-8"</istex:xmlDeclaration><istex:docType PUBLIC="-//NLM//DTD Journal Publishing DTD v2.2 20060430//EN" URI="journalpublishing.dtd" name="istex:docType"></istex:docType><istex:document><article article-type="research-article" dtd-version="2.2" xml:lang="en"><front><journal-meta><journal-id journal-id-type="publisher-id">TEM</journal-id><journal-title>Tempo</journal-title><abbrev-journal-title>Tempo</abbrev-journal-title><issn pub-type="ppub">0040-2982</issn><issn pub-type="epub">1478-2286</issn><publisher><publisher-name>Cambridge University Press</publisher-name><publisher-loc>Cambridge, UK</publisher-loc></publisher></journal-meta><article-meta><article-id pub-id-type="doi">10.1017/S0040298200007555</article-id><article-id pub-id-type="pii">S0040298200007555</article-id><article-id pub-id-type="publisher-id">00755</article-id><title-group><article-title>Copland in Paris</article-title><alt-title alt-title-type="left-running">Copland in Paris</alt-title><alt-title alt-title-type="right-running">Copland in Paris</alt-title></title-group><contrib-group><contrib><name name-style="western"><surname>Pollack</surname><given-names>Howard</given-names></name></contrib></contrib-group><pub-date pub-type="ppub"><month>04</month><year>2000</year></pub-date><issue>212</issue><fpage seq="3">2</fpage><lpage>7</lpage><permissions><copyright-statement>Copyright © Cambridge University Press 2000</copyright-statement><copyright-year>2000</copyright-year><copyright-holder>Cambridge University Press</copyright-holder></permissions><abstract abstract-type="text-abstract"><p>On the trip over he met the painter Marcel Duchamp, who suggested that he forget Fontainebleau and head straight for Paris. The instruction at Fontainebleau proved, in fact, routine. Copland's composition teacher, Paul Vidal, struck him as a French Rubin Goldmark: ‘He is a man with Mr Goldmark's tastes, and was therefore quite satisfied with the stuff I showed him and played for him,’ he wrote to his parents. ‘However, he is not the sort of man I shall want to study with, when I get to Paris in the winter.’ The students, furthermore, were ‘not a very talented bunch, since most of the Jews were scared away.’ But the town of Fontainebleau had its charms and Copland was able to work on his French. Moreover, he made a few friends (including future Cleveland music critic Herbert Elwell), took some conducting lessons, and, most important, met Nadia Boulanger, with whom he would study for three years in Paris.</p></abstract><counts><page-count count="6"></page-count></counts><custom-meta-wrap><custom-meta><meta-name>pdf</meta-name><meta-value>S0040298200007555a.pdf</meta-value></custom-meta><custom-meta><meta-name>series</meta-name><meta-value>1</meta-value></custom-meta><custom-meta><meta-name>seriesText</meta-name><meta-value>New Series</meta-value></custom-meta></custom-meta-wrap></article-meta></front><back><fn-group><fn id="fn01" symbol="1"><label><sup>1</sup></label><p>Copland to his parents, 28 June 1921; 30 August 1921, Copland Collection at the Library of Congress (CCLC).</p></fn><fn id="fn02" symbol="2"><label><sup>2</sup></label><p><citation citation-type="book" id="ref001"><name name-style="western"><surname>Rosenstiel</surname><given-names>Léonie</given-names></name>, <source>Nadia Boulauger: A Life in Music</source> (<publisher-loc>New York</publisher-loc>: <publisher-name>W.W. Norton</publisher-name>, <year>1982</year>), pp.<fpage>160</fpage>–<lpage>161</lpage></citation>. Rosenstiel claims that Marion Bauer, Richard Myers, Melvilie Smith, and others studied with Boulanger prior to Copland; while most of these students studied either organ or theory with Boulanger, David Diamond confirms that at least Bauer and Smith studied composition with her, Diamond, interview by author, 15 May 1994.</p></fn><fn id="fn03" symbol="3"><label><sup>3</sup></label><p><citation citation-type="other" id="ref002"><name name-style="western"><surname>Keener</surname><given-names>Andrew</given-names></name>, ‘Aaron Copland’, <italic>Gramophone</italic> (<month>02</month>
<year>1981</year>)</citation>; 1072, Boosey & Hawkes Clipping File (BHCF).</p></fn><fn id="fn04" symbol="4"><label><sup>4</sup></label><p><citation citation-type="thesis" id="ref003"><name name-style="western"><surname>Copland</surname></name>, ‘Nadia Boulanger: Mother of Modern Music’ (the title not Copland's), unpublished <year>1981</year> lecture, <publisher-name>CCLC</publisher-name></citation>.</p></fn><fn id="fn05" symbol="5"><label><sup>5</sup></label><p>Copland to Ralph Copland, 19 January 1922, CCLC.</p></fn><fn id="fn06" symbol="6"><label><sup>6</sup></label><p><citation citation-type="other" id="ref004"><name name-style="western"><surname>Copland</surname></name>, ‘Nadia Boulanger: An Affectionate Portrait,’ <italic>Harper's</italic> (<month>10</month>
<year>1960</year>): <fpage>50</fpage></citation>.</p></fn><fn id="fn07" symbol="7"><label><sup>7</sup></label><p><citation citation-type="book" id="ref005"><name name-style="western"><surname>Copland</surname><given-names>Aaron</given-names></name> and <name name-style="western"><surname>Perlis</surname><given-names>Vivian</given-names></name>, <source>Copland: 1900 Through 1942</source> (C–P, I) (<publisher-loc>London</publisher-loc>: <publisher-name>Faber and Faber</publisher-name>, <year>1984</year>), pp.<fpage>65</fpage>–<lpage>66</lpage></citation>.</p></fn><fn id="fn08" symbol="8"><label><sup>8</sup></label><p>C-P, I, p.65.</p></fn><fn id="fn09" symbol="9"><label><sup>9</sup></label><p>Rosenstiel, pp.170, 177, 186–187.</p></fn><fn id="fn10" symbol="10"><label><sup>10</sup></label><p>Rosenstiel, pp.117, 172, 217.</p></fn><fn id="fn11" symbol="11"><label><sup>11</sup></label><p>Copland, ‘Nadia Boulanger: Mother of Modern Music’.</p></fn><fn id="fn12" symbol="12"><label><sup>12</sup></label><p>Copland to Nadia Boulanger, 24 November 1950, CCLC.</p></fn><fn id="fn13" symbol="13"><label><sup>13</sup></label><p>Verna Fine, interview by author, 18 March 1997; Jean-Pierre Marty, interview by author, 8 August 1995.</p></fn><fn id="fn14" symbol="14"><label><sup>14</sup></label><p><citation citation-type="book" id="ref006"><name name-style="western"><surname>Keener</surname><given-names>Andrew</given-names></name> (‘very inflexible’); <name name-style="western"><surname>Copland</surname></name> and <name name-style="western"><surname>Perlis</surname><given-names>Vivian</given-names></name>, <source>Copland Since 1943</source> (<publisher-loc>New York</publisher-loc>; <publisher-name>St Martin's Press</publisher-name>, <year>1989</year>), p. <fpage>146</fpage></citation> (‘rather’).</p></fn><fn id="fn15" symbol="15"><label><sup>15</sup></label><p>C-P, I. p.65. Copland surely knew that his friend Harold Clunnan had heard Boulanger say that Roy Harris ‘would go further than Coplan d because, unlike Copland, he was not handicapped by being a Jew,’ a comment that, however, can be read in different ways, <citation citation-type="book" id="ref007"><name name-style="western"><surname>Clurman</surname></name>, <source>All People Are Famous (instead of an autobiography)</source> (<publisher-loc>New York</publisher-loc>: <publisher-name>Harcourt, Brace, Jovanovich</publisher-name>, <year>1974</year>), p.<fpage>33</fpage></citation>. When David Diamond balked at Boulanger's support of the rightwing French army leader, Henri Pétain, Copland responded, ‘We have to accept her as she is,’ Diamond, interview.</p></fn><fn id="fn16" symbol="16"><label><sup>16</sup></label><p>Rosenstiel. p.384.</p></fn><fn id="fn17" symbol="17"><label><sup>17</sup></label><p><citation citation-type="book" id="ref008"><name name-style="western"><surname>Kazan</surname><given-names>Elia</given-names></name>, <source>A Life</source> (<publisher-loc>New York</publisher-loc>: <publisher-name>Alfred A. Knopf</publisher-name>, <year>1988</year>), p.<fpage>121</fpage></citation>.</p></fn><fn id="fn18" symbol="18"><label><sup>18</sup></label><p><citation citation-type="book" id="ref009"><name name-style="western"><surname>Seigel</surname><given-names>Jerrold</given-names></name>, <source>Bohemian Paris: Culture, Politics, and the Boundaries of Bourgeois Life, 1830–1930</source> (<publisher-loc>New York</publisher-loc>: <publisher-name>Vikin Press</publisher-name>, <year>1986</year>), p.<fpage>368</fpage></citation>.</p></fn><fn id="fn19" symbol="19"><label><sup>19</sup></label><p>The Rotonde, the Dôme, and the Sélect all figure in Ernest Hemingway's <italic>The Sun Also Rises</italic>, the most celebrated depiction of American artists in Paris in the 1920s: Hemingway, <citation citation-type="book" id="ref010"><source>The Sun Also Rises</source> (<publisher-loc>New York</publisher-loc>: <publisher-name>Charles Scribner's</publisher-name>, <year>1926</year>), pp.<fpage>42</fpage>–<lpage>51</lpage></citation>.</p></fn><fn id="fn20" symbol="20"><label><sup>20</sup></label><p>Copland to his parents, 18 October 1921, CCLC.</p></fn><fn id="fn21" symbol="21"><label><sup>21</sup></label><p><citation citation-type="book" id="ref011"><name name-style="western"><surname>Barnes</surname><given-names>Trish</given-names></name>, interview with Copland (unedited draft copy) (<month>11</month>
<year>1980</year>), <source>Copland Clipping File</source>, Music Division, <publisher-name>New York Public Library</publisher-name></citation>.</p></fn><fn id="fn22" symbol="22"><label><sup>22</sup></label><p>C-P, I, pp.75–76.</p></fn><fn id="fn23" symbol="23"><label><sup>23</sup></label><p><citation citation-type="other" id="ref012"><name name-style="western"><surname>Clurman</surname><given-names>Harold</given-names></name>, <italic>All People</italic>, pp.<fpage>30</fpage>–<lpage>31</lpage></citation>.</p></fn></fn-group></back></article></istex:document></istex:metadataXml><mods version="3.6"><titleInfo lang="en"><title>Copland in Paris</title></titleInfo><titleInfo type="alternative"><title>Copland in Paris</title></titleInfo><titleInfo type="alternative" lang="en" contentType="CDATA"><title>Copland in Paris</title></titleInfo><name type="personal"><namePart type="given">Howard</namePart><namePart type="family">Pollack</namePart><role><roleTerm type="text">author</roleTerm></role></name><typeOfResource>text</typeOfResource><genre type="research-article" displayLabel="research-article" authority="ISTEX" authorityURI="https://content-type.data.istex.fr" valueURI="https://content-type.data.istex.fr/ark:/67375/XTP-1JC4F85T-7">research-article</genre><originInfo><publisher>Cambridge University Press</publisher><place><placeTerm type="text">Cambridge, UK</placeTerm></place><dateIssued encoding="w3cdtf">2000-04</dateIssued><copyrightDate encoding="w3cdtf">2000</copyrightDate></originInfo><language><languageTerm type="code" authority="iso639-2b">eng</languageTerm><languageTerm type="code" authority="rfc3066">en</languageTerm></language><abstract type="text-abstract" lang="en">On the trip over he met the painter Marcel Duchamp, who suggested that he forget Fontainebleau and head straight for Paris. The instruction at Fontainebleau proved, in fact, routine. Copland's composition teacher, Paul Vidal, struck him as a French Rubin Goldmark: ‘He is a man with Mr Goldmark's tastes, and was therefore quite satisfied with the stuff I showed him and played for him,’ he wrote to his parents. ‘However, he is not the sort of man I shall want to study with, when I get to Paris in the winter.’ The students, furthermore, were ‘not a very talented bunch, since most of the Jews were scared away.’ But the town of Fontainebleau had its charms and Copland was able to work on his French. Moreover, he made a few friends (including future Cleveland music critic Herbert Elwell), took some conducting lessons, and, most important, met Nadia Boulanger, with whom he would study for three years in Paris.</abstract><relatedItem type="host"><titleInfo><title>Tempo</title></titleInfo><titleInfo type="abbreviated"><title>Tempo</title></titleInfo><genre type="journal" authority="ISTEX" authorityURI="https://publication-type.data.istex.fr" valueURI="https://publication-type.data.istex.fr/ark:/67375/JMC-0GLKJH51-B">journal</genre><identifier type="ISSN">0040-2982</identifier><identifier type="eISSN">1478-2286</identifier><identifier type="PublisherID">TEM</identifier><part><date>2000</date><detail type="issue"><caption>no.</caption><number>212</number></detail><extent unit="pages"><start>2</start><end>7</end><total>6</total></extent></part></relatedItem><identifier type="istex">7714ADDA7213A2FE0A28124BF5ED63B1B845A39E</identifier><identifier type="ark">ark:/67375/6GQ-CDB6ZKPH-F</identifier><identifier type="DOI">10.1017/S0040298200007555</identifier><identifier type="PII">S0040298200007555</identifier><identifier type="ArticleID">00755</identifier><accessCondition type="use and reproduction" contentType="copyright">Copyright © Cambridge University Press 2000</accessCondition><recordInfo><recordContentSource authority="ISTEX" authorityURI="https://loaded-corpus.data.istex.fr" valueURI="https://loaded-corpus.data.istex.fr/ark:/67375/XBH-G3RCRD03-V">cambridge</recordContentSource><recordOrigin>Copyright © Cambridge University Press 2000</recordOrigin></recordInfo></mods><json:item><extension>json</extension><original>false</original><mimetype>application/json</mimetype><uri>https://api.istex.fr/document/7714ADDA7213A2FE0A28124BF5ED63B1B845A39E/metadata/json</uri></json:item></metadata><serie></serie></istex></record>Pour manipuler ce document sous Unix (Dilib)
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