"Hoe-Down" from Rodeo

If you are of a certain age (let's say between twenty and sixty), you will instantly remember the strains of this piece as the background of juicy slabs of perfectly-cooked steak glistening on television screens across the world.  It made beef - of all things - seem exciting and patriotic, and that's quite a feat in itself.  Of course, the fact that the piece itself is from a ballet score written by a socialist sympathizer does tend to soften the red-blooded blow a bit.  Premiered in 1942, "Hoe-Down" from Rodeo, composed by Aaron Copland, has become as iconic as, well, beef.

"Oh hey!  A blog post all about me!" ~Aaron Copland, posthumously

Copland was born in 1900 and died in 1990 (dates that always seemed to me wonderfully symmetrical).  The youngest child of Jewish parents, Aaron spent his childhood reading and learning about music from his older sister, Laurine.  At the age of eighteen, he decided to spend a year in Paris to study with Nadia Boulanger, who then became the most noted music teacher of the twentieth century.  Before her death in 1979, she taught Philip Glass, Virgil Thomson and Joe Raposo (of "C is for Cookie" fame, as well as the Sesame Street theme itself).

In his youth, Copland composed more avant-garde music, designed (purposely) for a more 'elite' audience.  However, during the Great Depression, Copland switched tack and began composing pieces that were designed to be far more accessible than his earlier pieces.  It was during this time that he began composing for ballet as well.  In 1934, his first ballet, "Hear Ye!  Hear Ye!" was premiered, which was followed by "Billy the Kid" in 1939 and "Rodeo" in 1942. 

And ain't she excited to show ya.

"Rodeo" was conceived, choreographed, and performed by Agnes de Mille.  Because the entire piece was choreographed before de Mille talked to Copland about composing music for it, Copland used a technique often employed by Igor Stravinsky (don't know Stravinsky?  Shame. On. You.); he took entire folk tunes and simply arranged them for orchestra.  Indeed, the main theme Hoe-Down itself is an actual fiddle tune called "Bonaparte's Retreat," and the other melodies heard in the movement are taken note-for-note from other folk tunes.  Though some criticized him for taking these melodies without giving much recognition to their origins (and the practice of swiping folk tunes can get tricky; Stravinsky ended up having to pay royalties every time his ballet Petrouchka was performed due to one of the 'folk tunes' he had transcribed actually being a popular song that had been released only a few years before the ballet premiered), it was clear that "Rodeo" struck a chord with audiences.  A later symphonic version of the ballet score (again, something often done with ballets) proved to be even more successful.

In the 1950s, during the Red Scare, Copland (though his music at that point was firmly ensconced in the American psyche) was blacklisted by Joseph McCarthy and made to testify in front of the House Un-American Activities Committee.  However, though Copland's leftist leanings were well-documented, nothing was ever proven and he was let off with essentially a warning.  And, of course, only fifty years later, his music was being used to advertise beef.  That most American of meats.

Further listening:

Like Copland, as well as getting older in style?  Try his arrangement of "Happy Birthday":
http://www.youtube.com/watch?v=zJNcclbDG3g

Like ballets that swipe folk melodies, as well as everything good in the world?  Try the finale of Stravinsky's "The Firebird":
http://www.youtube.com/watch?v=erOEatu5aH8

Like following the proteges of Nadia Boulanger?  Try "C is for Cookie," composed by Joe Raposo:
http://www.youtube.com/watch?v=Ye8mB6VsUHw