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Genesis
The original ballet was choreographed by Agnes de Mille for the Ballet Russe
de Monte Carlo, a dance company that moved to the United States during
World War II. In order to compete with the rival company Ballet Theatre, the
Ballet Russe commissioned the American choreographer out of a career of
relative obscurity. De Mille was given considerable creative control, choosing
Aaron Copland as the composer after being impressed by his previous ballet,
Billy the Kid. Though Copland was initially reluctant to compose "another
Cowboy ballet," De Mille successfully persuaded him that this show would
mark a significant departure from his previous work. As de Mille found herself
occupied with instructing a highly international cast in the mannerisms of
American cowboys, Copland recommended that Oliver Smith design the sets,
in what would prove to be a prescient action.
De Mille herself played the lead, and the premiere at the Metropolitan Opera
House on 16 October 1942 received 22 curtain calls. The other principal
dancers in the cast included Frederic Franklin and Casimir Kokitch. Though
de Mille herself was not entirely pleased with the premiere, it was attended by
Rodgers and Hammerstein, who approached de Mille afterward to request
that she choreograph their upcoming production of Oklahoma!.
Though it was later criticized for the heteronormativity of the storyline, many of
the themes are autobiographical for De Mille. An extremely skilled dancer, the
choreographer nonetheless felt awkward in the offstage world, and the
Cowgirl's unwillingness to subscribe to traditional gender roles mirrors De
Mille's experience.
"Buckaroo Holiday"
"Sis Joe"
Rodeo opens with a grand fanfare, vamping until R5-6, where the woodwinds
introduce the Cowgirl's theme. This quiet theme continues until the Rodeo
theme begins at R11, presenting a highly rhythmic motif that evokes the
trotting of horses. The lone Cowgirl seeks the affections of the Champion
Roper, who is rather taken with the more feminine Rancher's Daughter. At
R13, the cowboys enter to the railroad tune of "Sis Joe", envisioned by de
Mille as an event "like thunder," which Copland obliges with heavy drums and
brass. As the cowgirl seeks the attention of her quarry, she mimics the
surrounding cowboys, reflected in the heavy use of the tune "If He’d Be a
Buckaroo" in this section, beginning at R21. The theme is repeated by various
solo instruments before being realized in triple canon by the full orchestra at
R29. After a brief return to the quiet Cowgirl theme, the fanfare returns at R36.
"Sis Joe" reappears at R37, before the entire orchestra triumphantly plays "If
He'd be a Buckaroo" at R42.
"Corral Nocturne"
While the "Texas minuet" of the "Saturday Night Waltz" plays at R2 (to de
Mille’s transcribed version of "I Ride an Old Paint" - also known as "Houlihan")
the cowboys and their girls pair off. Expectant of a partner and finding none,
the Cowgirl is alone until the Champion Roper approaches her, having failed
best the Wrangler in winning the affections of the Rancher's Daughter. Both
this section and the "Corral Nocturne" feature Copland's characteristic
economy of sound, where he uses solo instruments in lieu of entire sections.
"Hoe-Down"
Finally, the "Hoe-Down" opens by vamping the first bar of the well-known folk
tune "Bonaparte’s Retreat", which will become a major theme of the section.
After a reprisal of the Rodeo theme, the theme proper begins at R5 in the
strings, as the horns play a simple counterpoint. Instead of building to a
climax, this section segues into "McLeod's Reel", performed by various solo
instruments at R12 and R14. At R13, Copland briefly introduces the Irish
theme "Gilderoy" in the clarinet and oboe.