HAWKES POC ke SCORES AARON COPLAND EL SALON MEXICO POPULAR TYPE DANCE HALL IN MEXICO CITY Aaron Copland (born Brooklyn, N.Y. 1900 is one of the most intportant contem: porary American composers. A pupil of Rubin Goldmark and Nadia Boulanger, he held the Guggenheim Memorial Fellowship, 1925-7, and in 1930 won the R.C.A. Victor ‘Award of $5000 for his Dance Sym- phony. Two years later, in the autumn of 1932, he visited Mexico and conceived the idea of writing a piece based on Mexican themes. From the very beginning the com- position was connected in Copland's mind with a popular dance hall in Mexico City called Salén México. ‘ No doubt I realised even then”, he tells us," that it would be foolish for me to attempt to translate into ‘musical sounds the more profound side of Mexico: the Mexico of the ancient civilisa~ tions or the revolutionary Mexico of to-day. In order to be able to do that, one must really know the country. All that I could hope to do was to reflect the Mexico of the tourists, and that is why I thought of the ‘ Salén México’, because in that ‘ hot spot’, one felt, ina very natural and unaffected way, ‘a close contact with the Mexican people. It wasn’t the music that I heard, but the spirit that I felt there, which attracted me. Some- thing of that spirit is what I hope to have put into my music.” The work was finished in 1936 and first performed by Carlos Chavez and the Orquesta Sinfénica de México in the summer of the following year ; it was played at the 16th Festival of the the International Society for Contemporary Music, held in London in June, 1938. Though admittedly based on Mexican themes,“ El Salén México” differs funda- mentally from the ordinary type of overture or fantasia on folk-tunes. Although the material is practically all derived from three or four of the melodies printed in Campos’ “ El Folklore y la Musica Mexicana”, and Toor's ‘“ Cancionero Mexicano”, none of these is quoted completely in its original form. The operative word is “ derived”. Copyright 1943 in U.S.A. by Hawkes & Son (London), Ltd. All Rights Reserved. EL SALON MEXICO LOCAL POPULAR DE’ BAILE EN MEXICO? Aaron Copland (nacido en Brooklyn, N.Y., en 1900) es uno de los compositores americanos contempordneos mds significa- dos. Disctpulo de Rubin Goldmark y de Nadia Boulanger, obtuvo el estipendio del Guggenheim Memorial para los afios de 1925-7, y gand en 1930 ef premio de 50008 dela R.C.A. Victor con su" Dance Sym- phony”. Dos aitos més tarde visits México y concibid la idea de escribir una pieza basada en temas mexicanos. Desde el principio esta composicién, en la mente del autor, venia asociada con et recuerdo de un local ‘popular de baile de 1a capital mexi- cana, conocido por el nombre de “ Salén México”. El compositor nos dice : “Dime perfectamente cuenta de que hubiese sido pueril intentar entonces una interpretacién musical del aspecto mds profundo de aquel pais: el México de la antigua civilizacién, 0 el México revolucionario de hoy. Para poder hacer esto uno debe conocer realmente el pais. Lo mds que podia yo presumir eva veflejar el México del turista, y por esto pensé en el ' Salén México’, porque en aquel ‘hervidero’ uno se sentla, de wna manera natural y nada afectada, en estrecho contacto con el pueblo mexicano. No fué la mitsica que allt pude oir sino el espiritu que me fué dado sentir, lo que me atrata, Algo de este espiritu espero haber logrado expresar en mi musica”. La obya fué terminada en 1936 y ejecutada por primera vez por Carlos Chavez y la Orquesta Sinfénica de México en el verano del atio siguiente ; figuré también en los programas del 16 Festival de la Sociedad Internacional de Musica Contempordnea, celebrado en Lon- aves, en Junio del 1938. Aunque basado en temas mexicanos, segtin el propio autor confiesa, el Salon México” difiere fundamentalmente del tipo corviente de la obertura o fantasia sobre temas populares. Con proceder casi todo el material de tres 0 cuatro melodtas de“ El Folklore y la Musica Mexicana”, de MADE IN ENGLAND. tis Analysis may be obtained separately, HPS49 B & H 8765HAWKES POC Copland has mentally absorbed the spirit and the characteristic idioms of Mexican folk music in general, and of these three or four tunes in particular, and reproduced them in music that is in’ all essentials his own. The original melodies have been altered both melodically and rhythmically, and always subtilised in the process. Some- times even fragments of two different tunes ave welded into a fresh idea. The three Mexican songs that played the most important part in the genesis of Cop- land's work ave : “gL PALO VERDE” Allegro First s¢raim ——— Se-io-ra, Bu pa-lo—ver-de, ya fecond, tna ‘A mf no meande con “La JEsusITAY Allegra. Ext “EL Mosco” Appassionato Firse strain Note prodi-gues en Second strarn Tri gue-Ba venmoa ras - car, From the themes they suggested to him, he has evolved a’ most. brilliant orchestral piece in a subtilised and elabor- ated ternary form, with a long introduc- tion. InrRopuction in five sections legro vivace derived from Verde.” (1) Al El Palo Bx2 Vamos al bai-ley ve ~ ras qué bo- ni-to me pi - KET 4 1 Campos, y del Canclonafo Mexicano de Toor, minguno de estos temas esté wtilizado por entero en su forma original. Derivan”” de aquéllos, ésta es la definicién correcta Copland ha absorbido mentalmente et espiritu y los givos caracteristicos de la misica mexicana popular en generdl, y de estas tres 0 cuatro melodias en particidar, reproduciéndolos en mitsica que en todo lo esencial es propiamente suya. Las melodtas originales han sufrido alleraciones de tipo melédico y ritmico, sutilizdndose en el pro- ceso. A veces incluso se fusionan frag- mentos pertenecientes a distintas melodias, formando una idea nucva. Las tres canci- ones mexicanas que juegan el papel mds importante en la génesis de la obra de Cop- land son : SCO. RES ate, se Ves-tacba se - can-do ele. diab-lo de vie-jo tan im-pruden-te Gur porque & - quijcomoen eu quia ‘co un mos-coen el tivo Con los temas que sugirieron al autor, éste ha desarrollado una pieza orquestai sumamente brillante, en forma ternaria sttilmente elaborada, precedida de una larga introduccién. Intropucciéx, en cinco secciones: (1) Allegro vivace, derivado de “ El Palo Verde". B&H 8765HAWKES (2) (p. 3, bar 4) Moderato, cadenza-like ages for solo trumpet, based on a Jesusita”’, with answering cadenzas on the clarinet. (3) (p. 4, bar 6) Piu mosso, a rhythmically modified version of “ El Mosco ” played by bassoon and bass clarinet. (4) (p. 6, bar 5) The strings have a melodic modification of the second strain of “ El Palo Verde”. Ex (3) (p. 7, bar 1) Gradually a trifle slower, a habanera-like melody based partly on “El Mosquito”, partly on the second strain of " El Mosco”. Main Szcriow (p. 9, bar 7). Allegro vivace, beginning with a variant of Ex. 2, which is immediately followed by a theme Exa derived partly from this, partly from the second strain of “El Mosco”. This is given a fresh prefix (p. 12, bar 4) Ex ae wy Another form of Ex. 3, rather closer to the original folk song, on the brass (p. 14, bar 4), completes the material of this section, which ends with brilliant treatment of its opening theme, the variant of Ex. 2 (pp. 18-19) Mipvte Section (p. 19, bar 4). Mod- erato molto. Begins with a clarinet solo version of Ex. 4, which recurs several times in this section as a species of refrain, holding it together : Ex POCKET 2 rit. esas aml ee tee SCORES (2) (p. 34 comp. 4)'Moderato, con pasajes de obligado, de trompeta, basado en “La Jesusita'”, con obligados de clarinete en respuesta. (3) (p. 4, comp. 6) Pi mosso, versién ritmica mente modificada de “El Mosco", tocado por fagote y claripete bajo. (4) (p. 6, comp. 5) La’cuerda presenta una modificacién melédica de la segunda parte de “‘ El Palo Verde ”. a 2S re. (5) (p. 7, comp. 1). Gradualmente algo més iento, una melodia de tipo habanera, asada en parte en “ El Mosquito” y en parte en la segunda seccién de “ El Mosco ” Secci6n Principat (p. 9, comp. 7) Alle- gro vivace, comenzando con una vari- ante del ej. 2, seguida inmediatamente del tema derivado en parte de aquél_y en parte de Ia segunda seccién de “ El Mosco”. Este tiene un nuevo prefijo (p. 12, comp. 4). an Otra forma del ej. 3, mds cercana de la melodia original, confiada al metal (p. 14, comp. 4) completa el material de esta seccién que termina con trata- miento brillante de su tema de entrada, la variante del ej. 2 (pp. 18-19). Seccién CENTRAL (p. 19, comp. 4) Mod- erato molto. Empieza con una version del ej. 4 por el clarinete solo que rea- parece varias veces en esta seccién, a modo de estribillo, y la unifica : ate. B&H 8765A We Kees On p. 21, bar 4, appears the already mentioned clarinet solo based mainly on “La Jesusita ” : Ex7 ‘B simply The passage for muted first violins on p. 22, bars 1-5, is the refrain of the same song. The rest of the middle section consists of “ development” (purely rhythmical and not in the least classical) of this tune and material from the first section. RETURN OF THE Main SEcTiON (p. 34, bar 3). The same material as the first time, but in slightly different order and with different distribution of keys. The piece ends with an exuberant return to the opening bars. BOO SE 7 7 7s MUSIC PARIS LONDON. BONN POCKET cm, ttre Pe iP, EPP PUBLISHERS JOHANNESBURG. SCORES En p. 21, comp. ,4 aparece e] ya men- cionado solo de clarinete basadd prin, palmente en “La Jesusita ". ; El pasaje de cuerda con sordina, p. 22, comp. 1-5, es el estribillo de dicha cancién. El resto de la seccién central consiste en el desarrollo (puramente ritmico, no en el sentido clisico) de esta cancién y del material de la seccién primera. RETORNO DE LA SeccION Provcirat (p. 34, comp. 3). Es el mismo material pero en un orden algo modificado y en tonos diferentes. La pieza termina de una manera exuberante con el retorno de los ‘compases de la entrada. GeraLp ABRAHAM. HAWKES LIMITED TORONTO SYDNEY NEW YORK B & H8765HPS 49 AARON COPLAND EL SALON MEXICO POPULAR TYPE DANCE HALL IN MEXICO CITY SIVElOTRSG Roosevesiawkhd BOOSEY & HAWKES MUSIC PUBLISHERS LIMITED. LONDON PARIS BONN JOHANNESBURG SYDNEY TORONTO NEW YORKInstrumentation Piccolo 2 Flutes 2 Oboes “English Horn *Clarinet in E> 2 Clarinets in Bb “Bass Clarinet Bb 2 Bassoons *Double Bassoon 3 Trumpets in C ("Trumpet 3) 3 Trombones Tuba Timpani **Percussion Piano Strings "These instruments are not essential to performance. 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