Copland|corr0001|Letter from Aaron Copland to his parents, 1921/06/10|<p>Fri. June 10 1921, 9:05 A.M.</p>
<p>Dear Ma & Pa,<lb>I have decided to write you a little every day and so give you an idea of life on board this boat.  After I left the deck for the first time, I looked over some of the numerous presents showered upon me.  Harry Brin gave me a fancy book about France, Arnold a swell wallet, and Charlie a brand new camera with plenty of films, so that you shall get plenty of pictures.  I got on deck again just in time to wave good-bye to the Statue of Liberty.  By that time, dinner was ready.  It was very nice and I ate my share.  Then I started looking for my deck chair, but I haven't  found it yet.  We just sit down in any chair until someone puts us out.  It seems there aren't  enough chairs to go around and I have been advised to get my money back.  But, of course, you are anxious to know whether I am sea sick.  Everyone agrees that they never saw the sea calmer, but nevertheless, I feel none too sure of myself.  You know how it feels to be in the dentist's chair when he is drilling your teeth for 8 minutes.  Well, the throbbing of the ship does the same for my stomach, only this is for 8 days!  However, I have had no spills or mishaps, and so I feel the worst is yet to come.  I feel fairly perfect when I stay on deck; it is only when I go below that the foolish feeling comes on me.  You can well believe that I fly down those stairs and up again as fast as my long legs can carry me.  To my great surprise, I slept quite well last night.</p>
<p>It seems that the fourth fellow missed the boat.  So we have a little spare room in that dinky little place.  But even if it were a palace, you couldn't get me to stay down there!  I have met the other two fellows, and some more of the students going to Fontainebleau, but I haven't felt the need for company yet, and so have been rather by myself, looking out at the sea and resting.  The piano is also below deck and so out of the question.  I have begun reading my French book, but feel that I can learn more by listening in on some French conversations.  There are a great many Frenchmen on board, and I make it a point to speak French to the stewards and waiters, even tho they don't understand me.</p>
<p>Saturday: noon<lb>Today I feel fine.  The sea is like a lake and so I am just beginning to enjoy the trip.   Lets hope it stays this way.  This morning I and a violinist got a pass to get into the first class and played there for an hour.  It certainly was a relief to get something to do.  Until now the time dragged  terribly, but now that I can eat and move off the deck I think things will go better.  There is to be a dance this evening to help break up the monotony and then, of course, I read a great deal.  ---  I am continuing now, after having eaten my dinner.  We had some soup, some omelettes with potatoes inside, some mutton chops and french fried potatoes and coffee.  I also ate the whole business for the first time since Thursday noon.  They also serve white and red wine at meals.  I don't like the white stuff, but the red wine tastes like poor port wine.  I am getting used to it.  I am very lucky in being seated next to three French people, who always converse in French.  One is an old priest, another a painter, and a young woman who has attended college in America.  They are very nice to me and always encourage me when I try to splash some French.</p>
<p>Sunday: 6 P.M.<lb>One more day gone, and still nothing but water, water everywhere.  On board ship Sunday is exactly like every other day.  Last night there was a very dense fog and the fog horn kept on blowing every 2 minutes.  It was quite dangerous since we were right in the iceberg zone, but by to-night we shall be out of the way of those unnecessary affairs, they tell me.  I have gotten thoroughly accustomed to the movement of the ship and have not been at all sick since Friday, nor do I expect to be in the future.  You can just imagine how glad I am.  I also sleep and eat well.  Tell Lil they serve everything in a peculiar manner.  Breakfast is opposite -- first coffee, then eggs, and finish with oatmeal!  At dinner if we have, say, green peas, they always serve them separately, and never with the meat.  And then there is always the wine which everyone drinks like water, and it is little more than that.  But best of all at meals are the three French people who have taken me under their care and teach me French while eating.  They roar at my funny mistakes, and I learn by leaps and jumps.  I spend a great deal of time with one of them, the painter, who is a man of about 30 and has been giving me the most valuable information about Paris, a fellow who reminds me of Aaron Schaffer sometimes.</p>
<p>Monday.  6 P.M.<lb>I dont expect to add much to-day.  Everything is about the same.  Altho the sea is rougher to-day than it has ever been, I feel just as if I were at 628.  To kill some time I took a bath to-day and so spent my first franc for soap!  After putting 3 cakes in my trunk, I find that they do not supply any soap on the ship.  Also, I forgot to tell you that there were handkerchiefs in my valise.</p>
<p>Wednesday -- 9 A.M.<lb>Well, to-day is our last day on the water, thank Heavens!  It was all very nice, but---!  Yesterday, the sea was at its roughest, and after having decided I would never be sea sick again, I felt it worse than ever.  The worst part of it was that I had promised to play a solo, and also accompany a fiddler at a concert in the first class.  In spite of feeling punk, I played the solo, 'tho I was the only on in a room of 400 people that had no dress clothes on.  Even if I had had them, I would not have been well enough to change into them.  I am enclosing the program.   Ask Ralph to tell you who Irene Bordoni is (she was on the programme).  I had the exquisite honor of being congratulated on my playing by the captain of the ship, who is like a king here.  So much for that.</p>
<p>We expect to arrive at Havre sometime during the night, and leave for Paris about 7 A.M. to-morrow morning.  I expect, then, to go to a hotel that my friend the painter has assured me is fine.</p>
<p>I'll mail this letter to-day in order that it may go off as soon as we land[,] and write you again from Paris.  You may write to me as soon as you get this letter in care of the school at Fontainebleau (Viola has the address), since by the time it gets there, I will be there also.  At any rate, I may send you a cablegram from Paris, as I imagine you must be anxious to hear from me by now.  Well, you need never worry.  If anything extraordinary should happen (like my giving a concert in Paris) why, I will cablegram to you immediately.</p>
<p>It is impossible for me to name everyone to whom I send my love, but spread it around generally, to yourselves, the folks, Lil and Eva and the girls in the store.</p>
<p>Yours for Paris,<lb>Aaron</p>
<p>P.S. Give my special thanks to La & Charlie who lavished on me book, candy, shirts and camera.  To-day I expect to drop Arnold and Uncle Sam a card, [and] tip the waiter and steward.  Now that the trip is almost over I can say that altho France may not be a Paradise, it is H---- to get there anyway (at times)!  (Save my letters as I have decided not to bother with a diary.)</p>
Copland|corr0002|Letter from Aaron Copland to his parents, 1921/06/16|<p>Tuesday<lb>June 16 [1921]</p>
<p>Dear Ma & Pa,<lb>Have just sent you a cablegram.   We arrived safely and am feeling fine.  Have been in Paris for about 2 hours and am staying at the Hotel Savoy, 30 Rue de Vaugirard, where Aaron Schaffer stayed 2 years ago.  Paris is some city, every street seems like B'way it is so busy.  I have been worrying all the cops in town with my French and questions.  To top the climax someone asked me for directions in French.  So you see I am already a Parisien.  I'll write you a letter to-morrow.  To-night I expect to go to a Ballet.  Love to all. Aaron</p>
Copland|corr0003|Letter from Aaron Copland to his parents, 1921/06/18|<p>Hotel Savoy<lb>30 Rue de Vaugirard<lb>Paris, France<lb>June 18 (Saturday) [1921]</p>
<p>Dear Ma & Pa,<lb>I have just finished my dejuner (dinner), and have come up to my room to write you this letter.  I suppose by this time you must have received my cablegram and therefore know that everything went smoothly.  The last night on the boat was very beautiful.  We arrived at Havre at about 9 A.M. and took the train for 12 francs (about $1.00) and in giving me my change the man tried to cheat me, but I caught him, by gosh!  Ever since then I count my money over skeenteen times.  On my arrival in Paris I took a taxi to a hotel recommended to me by my friend the painter, but as they had no rooms vacant. I took another taxi to the hotel I am now at, where Aaron Schaffer stayed.  It is a nice place, comfortable bed, big window, but no running water.  And yet they have electric lights in my room!  For lodging without meals they charge 8 francs ($.70) a day!  Its cheap enough and quite good.  After washing up, on the day I arrived, I took a bus to the center of the town.  Then I began walking to see what I could see.  Well, I walked and walked and walked.  I noticed that the main avenues are very pretty, with trees and wide sidewalks, but the side streets are very narrow compared to ours.  All the main streets are a little like Hester Street because of the great number of taxis which run around the city like cockroaches.  The taxis are very cheap.  You can get anywhere in the city for 50 [cent sign] including the tip to the driver, which is of the highest importance.  I finally landed at a Swedish Ballet performance, which I enjoyed immensely.  Of course, I had to eat supper, and I went to a restaurant.  They all have tables on the street, and when the waiter brought me the menu, I couldn't understand a blessed thing except omelette (which happens to be spelt the same as in English) and so I had to order that, altho I had omelette on the boat for breakfast and omelette on the train for dinner!  Don't forget for one moment that I was talking French all the time as I found no one who could speak English.  Before going to the ballet I had found out from a cop how to get home by carline, but after the ballet, I found he had told me the wrong directions.  I then proceeded to get lost and ended up by being forced to take a taxi home!  Thus ended my first day in Paris.  I was quite alone as I had always been with the painter on the boat and not with the pupils of the school.  The painter, by the way, is not coming to Paris until to-morrow and he has promised to call me up then.  He has been very good to me and is exactly the sort of person I wanted to meet.</p>
<p>On my second day (Friday) I started out by going first to the bank where I got my check book without the slightest trouble, they did not even bother taking my signature.  From there I went to the American Women's Club, where you can secure information about Paris[,] and played on their piano a while.  I also found that Mrs Tuttle was in Paris and had invited all the pupils to tea in the afternoon.  I came back in the afternoon and met her and all the pupils again.  Mrs Tuttle was particularly nice to me it seemed.  We are all going to Fontainebleau one week from to-day (June 25th), so that by the time you get this letter I shall be there.  I have been obliged to leave my trunk at the station until I go to Fontainebleau.  At night I attended an opera performance and got in for 4 fr. 50 centimes (about 40 [cent sign]).  Another pupil of the school was with me, and we stopped in for an ice cream soda (they charge 30 [cent sign] for one).  By the time we decided to go it was 12:30 and I found that all trains, cars and buses stop at twelve!  There was nothing left to do but take a taxi!  Well, I'll know better next time.  Today I shall look around for more sights.</p>
<p>I am beginning to itch for mail from you already so don't fail to write if you have not done so already.  I am feeling fine.  Love to all.</p>
<p>Aaron.</p>
<p>Have you sold the piano?  How is Sally Joyce?</p>
Copland|corr0004|Letter from Aaron Copland to his parents, 1921/06/22|<p>Guaranty Trust Co.<lb>Wed. June 22, 1921</p>
<p>Dear Ma & Pa, --<lb>Just now I am at my bank and the writing desks looked so nice, I thought it was a good idea to write you.  I came here to leave my Fontainebleau address, and to ask for mail, thinking that there was a chance of your writing here.  I also came to ask for a bank book, which they did not give me at the time of my check book.  Well, their system is different here.  They have no bank books, but they explained the new system to me, so its all clear.</p>
<p>It seems very funny to think that altho I've already sent you 2 letters and a card, you can't possibly have received anything from me yet.  I hope you are not worried, because everything is going as smooth as silk.  Only I do wish I had a piano to play on.  Walking around the streets gets tiresome after a while, and I'm getting anxious to get to Fontainebleau.  But as I wrote you previously, I am going there Saturday morning at 9 A.M.  We are going to have a luncheon for all the pupils, at which one of the most famous composers in the world is going to play for us.  I have made up my mind, that before coming back to Paris in the winter I shall certainly have my room and piano all ready, beforehand.</p>
<p> Well, I've been seeing everything there is to see in Paris.  I've struck some pretty good eating places, and now that I can understand the menu better, I am not forced to order only omelettes.  There are some things which seem peculiar to me yet.  For instance, they never serve butter with meals anywhere, and always charge extra for it if you ask for it.  They have no pies at all; and if you ask for coffee they always serve it black, no milk.  Then if you are eating dinner, the waiter asks you what kind of wine you want, and if you say no wine, he looks at you as if you were drunk!  I have discovered that there is no such thing as water here.  Wine only costs 3 or 4 [cent sign] so everyone drinks that or beer, which is still cheaper.  All in all, I find that I can eat my 3 meals a day for a little less than $1.50 including tips, wine, and not stinging myself.</p>
<p>Noone at my hotel can talk English, and yet I get along very nicely.  I have arranged to have my wash done, my shoes shined and other things all in French.  Not bad, eh!  Since they have no bath tubs at the hotel I will have to go to one of the Bath Establishments that they have here.</p>
<p>Sunday there wasn't much to do so I went out to visit that girl from Kew Gardens, you remember.  Well, she is quite settled and likes Paris very much.  But, after all, she is awfully uninteresting and I really went there to visit her piano.  Suppose she should read this!  I have also been seeing quite a bit of a young man, who is going to Fontainebleau, also to study composition.  Then my friend of the boat, the painter, came to Paris Monday and took me to a show.  I expect to see him again before I leave Paris.</p>
<p>I have joined an American Library here in Paris, but i don't know what I shall do for books in Fontainebleau.  In the mean time please don't forget to send me my magazine "The Dial," if you have not done so already.  Also my musical magazine.  And be sure to keep me well supplied with letters as this is a very, very long way from home, and tho I have not received any letters yet, I know they'll look good when they do come.</p>
<p>Now I am going to buy a ticket for the Opera to-night, and then go to the American Womans Club and try to lend  their piano for a while.  So goodbye for the present.  Love to all.</p>
<p>Aaron.</p>
<p>P.S.  I hope this letter doesn't get sea sick on its long trip home.</p>
Copland|corr0005|Letter from Aaron Copland to his parents, 1921/06/24|<p>Hotel Savoy<lb>Friday -- 11 P.M.<lb>June 24th, 1921</p>
<p>Dear Ma & Pa, --<lb>I have just finished packing my valise, after spending a quiet evening at the library.  I am going to Fontainebleau to-morrow by the 9 A.M. train.  The hotel proprietor has promised to wake me at 7 so that I shall have plenty of time.  Paris is getting rather hot, so that I am not so sorry to get away.</p>
<p> Yesterday I went to see about my trunk.  I found it at the station and the custom[s] officer had to go thru it.  It took him exactly 15 minutes to get all the rope off.  During that time I was warned that all new articles were taxable.  You can imagine I shivered, thinking of the socks without the labels torn off and the shoes that were plainly new.  But altho he went thru each drawer of the trunk, he didn't notice anything.  Talk about luck!  Then I was forced to take the trunk in a taxi to the station where we leave for Fontainebleau, at the other end of Paris.  It is there now, and all I have to do is to check it to Fontainebleau when I buy my ticket to-morrow.  I also took 200 francs from the bank to-day, as I thought it was wise to have plenty ready money with me, besides my check book.  It seems that including all expenses here and on the boat, for tips, taxis, board and meals, I have spent somewhere between $30 & $40 dollars of the original fifty odd dollars that I started with.</p>
<p>Today, my friend the painter from the boat, treated me to dinner and we spent the afternoon to-gether.  I am gradually getting more accustomed to their way of doing things here.  I have never even seen a glass of milk since I left New York.  They don't serve it anywheres.  But they have the most marvellous bakery shops, where for a few pennys you can get the most delicious cakes and pastries.  It seems to take the place of our candy stores.  Then, you have no idea how silly Prohibition seems from here, when all the saloons are wide open, with women standing at the bar like the men.  And, don't forget this, -- I have never yet seen anyone drunk in Paris!  Everytime I take a glass of beer here, I think of you, altho they never serve it cold enough for your taste, since ice is also very scarce in Paris.  And so, I could go on writing forever, but I must get to bed, so that I can get up in time, to-morrow.  It seems strange to think that when I am getting in bed here at 12 o'clock, you are having supper in New York at 7 o'clock.  Its a funny world, anyway.  Love to all.  I'll write you from Fontainebleau.</p>
<p>Affectionately,<lb>Aaron</p>
<p>Regards to Lil, Eva & the girls in the Store.</p>
Copland|corr0006|Letter from Aaron Copland to his parents, 1921/06/25|<p>Fontainebleau --<lb>June 25th, 1921</p>
<p>Dear Ma & Pa, --<lb> At last I am in Fontainebleau!  Everything has turned out splendidly.  There was an autobus at the station to meet us, and we had dinner at the Palace.  It certainly is a marvellous place, all surrounded by forests and woods, which are open to the public during the day.  The conservatory rooms are on the ground floor, the girls live upstairs, and the boys live with French families around the town.  I am living in a room for myself  which I like very much.  It is as big as our parlor, with 3 windows bigger than ours, is nicely furnished, has running water, and the nicest old lady to take care of me, who speaks French only, so that I am forced to learn by talking to her.  I have already hired a piano (at about $5.00 a month).  The house is on a very quiet street, about a 10 minute walk from the Palace, where we all eat our meals.  The dinner was very good, so I don't think we'll have any trouble on that point.  My trunk is going to be sent here to-night.  You have no idea how good it is to feel that I am settled at last.</p>
<p>To-morrow, a great all day affair is being prepared as the formal opening of the school.  All the high muck-a-mucks will be here, there are to be concerts, speeches and fireworks.  I really can't see why they make so much fuss.  The school is really to begin on Monday.  All the pupils are not here yet, as one of the boats are  late.</p>
<p>I have been playing on one of the baby grands at the Palace all afternoon, and enjoyed myself immensely, after not having any piano for over 2 weeks.  I have decided to study piano here also, for 220 francs (about $20.) a month extra.  If I don't think I'm getting my money's worth, I'll quit after a month.  The piano teacher, Isador Phillip,  is very famous, and known all over Europe and America, and I think it is certainly worth the money.</p>
<p>The town of Fontainebleau itself is very sleepy, but tries very hard to be up-to-date.  They have one or two movies even.  And by the way, in the Paris moving picture houses, I noticed that they advertized only American pictures, with Charles Ray and Norma Talmadge and Charlie Chaplin.  I already noticed that there are a great many tourists who come here daily, to see the Palace and the Forest.  And I must say, they are worth coming to see.  Some day soon, I shall take my camera and get some pictures to send you.</p>
<p>Now I must get back to the Palace to eat supper.  In the mornings I must be up at seven, so it will be a case of early to bed, early to rise.  There is nothing to do here at night, anyway.</p>
<p>Well, I'm sure you'll be glad to hear I am so nicely settled.  Love to all.</p>
<p>Affectionately,<lb>Aaron</p>
Copland|corr0007|Letter from Aaron Copland to his parents, 1921/06/28|<p>June 28, 1921 (Tuesday)</p>
<p>Dear Ma & Pa, --<lb>Well, I have been here now for three days, and am very well satisfied with everything.  My room here particularly pleases me.  And Mrs Mousset, my landlady, takes very good care of me.  She wakes me up in the morning, takes the spread off my bed for me every night just like you used to do.  The meals at the palace are also satisfactory, altho here we drink more tea and water, and less wine and beer.</p>
<p>On Sunday they had a big celebration.  All the town was decorated with American and French flags, there was a concert in the afternoon in that ballroom whose picture I once showed you, and there was another concert and fireworks at night.  Damrosch and Mrs. Tuttle and a great many of the biggest musicians in France were here, all in honor of the opening of the school.  On Monday work really began.  There are, for the present, only 4 composition students, altho more are expected to arrive.  However, we had a class, and I was quite pleased with our professor, Paul Vidal.  He is a man with Mr. Goldmark's tastes, and was therefore, quite satisfied with the stuff I showed him and played for him.  However, he is not the sort of man I shall want to study with, when I get to Paris in the winter.  As regards piano, I learned just in time, that Isadore Phillip, the piano professor, was to come here only once every few weeks, and as there are about 60 piano students, he certainly won't have time for each separate one.  I therefore decided it was not worth studying with some assistant of his, and prefer to work by myself during the summer and go to someone in the winter.  The piano that I hired won't be here until next Friday, and I am anxiously waiting for it, since the pianos at the palace are so near one another, that when they all start going at once, it sounds like a crazy house to me!  I have made a trip thru the other rooms and parts of the palace to see Napoleon's various bedchambers, libraries, art galleries  and so forth.  It certainly is a great sight.</p>
<p>My trunk arrived safely and you can just bet I breathed again, once I had it open and saw that everything was safe and sound.  The suits were hardly creased, and I am wearing for every day, the brown suit that I discovered in the closet at the last moment.  Do you remember?  Tell Louise I'll choke her, because she gave me pajamas about six times too big!  Then you must remember that I had my blue suit pressed just before we packed the trunk.  Well, the tailor must have given Louise the wrong vest, because it is much too big for me and doesn't seem to match the rest of the suit.  But I don't suppose there is any way of correcting the mistake now.  Maybe, for the winter, I shall get it cut down to fit me.  I still have some of those chocolates you gave me and they sure do taste nice now, since there is very little decent candy in France.</p>
<p>Of course, I haven't heard a word from you yet, and hope everything is all right.  You must have received my boat letter, by now.</p>
<p>After this, instead of sending my letters to the school, you can send them right to my home.  I will give you the address on a separate sheet of paper.  Now, that I am settled and will have less news to write, don't be surprised if I write a little less often.  Love to all.</p>
<p>Affectionately<lb>Aaron</p>
Copland|corr0008|Letter from Aaron Copland to his parents, 1921/07/04|<p>July 4th, 1921</p>
<p>Dear Ma & Pa, --<lb>Here it is the 4th of July and I have not yet received any mail from anyone in the States.  But I thought I would write you a short note.  Everything is about the same.  To-day, of course, we are having a holiday  and I haven't decided what to do yet.  My piano arrived last Friday and altho it is an awful tin can I do some work on it.  There are no pianos in France to compare with the Steinway.  America is ahead in that, anyway.</p><p>To-day I took my first hair-cut since I left home.  They charge here only 15 [cent sign]!  I forgot to tell you that there is going to be a course in Conducting given by Albert Wolff of the Metropolitan and Paris Opera Houses.  I think I may take it instead of the piano, because you never can tell when you may need a little knowledge about conducting; and the subject can be fully covered in 3 months.  I am enclosing a copy [of] a clipping from the Paris edition of the New York Herald about the opening of the school.  They tell me that there was a notice in the paper about the concert on the ship, but I have not seen that edition.</p>
<p>I suppose everybody is going to the country now.  It is not at all warm here, but just nice.  I am leading a quiet life, doing some practicing and composing, walking in the beautiful gardens they have here, getting to bed at 11 every night and getting up at 7:30.  If I only get as well settled at Paris for the winter, I'll be lucky.  Just think, we forgot to take along an umbrella, so I'll have to go out and buy one.  I expect a letter from you any day, now, and will answer when I receive it.  Love to all.</p>
<p>Affectionately<lb>Aaron</p>
<p>Tell Lil the meals here are quite like home cooking.  I eat spinach, and salad and cheese and everything.</p>
Copland|corr0009|Letter from Aaron Copland to his parents, 1921/07/11|<p>chez Mme. Mousset<lb>195 Rue St. Merry<lb>Fontainebleau<lb>July 11th 1921</p>
<p>Dear Ma & Pa, --<lb>I have just received your letter about the robbery and the selling out, and must say it was exciting enough.  I don't suppose there's much hope of recovering the goods.  I still don't understand what you will do with the store if you do sell out, because the lease doesn't expire till May.  However, I hope that anything you want to happen, does happen.</p>
<p>It certainly was good to hear that you got my cablegram and letter.  It also makes me feel good to think that by this time you must have received still more letters that I write you from Paris and here.  Of course, now that I am being so well -- taken care of, you need have no worries whatever.  I'm simply in love with this quiet, little town, and everything connected with it.  I'm very friendly with all the pupils, and they all call me George, in honor of George Copeland, the famous pianist, so that I've almost forgotten my real name.  But George suits me.  Theres nothing new of any great importance.  I'm working very well, consider[ing] its summer, but its not so very warm here.  I've had my first lesson in Conducting from Albert Wolff of the Metropolitan and enjoy it immensely.  If ever the opportunity to conduct presents itself, I won't be so green at it.  The composition teacher has taken a liking to me or [to] two songs I wrote in Brooklyn, and promises to have them sung here sometime.  Altho, as you already know, I am not studying piano here I am, nevertheless, allowed to attend the classes whenever I like, and listen to all the instruction.  All I need do, is apply the instruction to myself.  So you see, everything is running as smooth as pie.  The meals are fine, everything they give you is very tasty and home-like.</p>
<p>Our favorite sport here is to go bicycling.   We ride on the country roads, thru the marvellous forest for hours without meeting a soul.  Finally we arrive at a small village, very ancient and very quaint.  By now, I am an expert cyclist.  We hire the bikes, they charge 10 [cent sign] an hour.</p>
<p>I am enclosing the statement that the bank sent for the first month, and added the translation of whatever words I thought you would not understand.  I hope to do this every month so that you can see for yourselves where I stand on money matters.  Tell everyone it would make me poor to write to each one separately.  But give them all my love.</p>
<p>Affectionately,<lb>Aaron</p>
Copland|corr0010|Letter from Aaron Copland to his parents, 1921/07/15|<p>July 15, 1921</p>
<p>Dear Ma & Pa, --<lb>I received your letter with Reider's letter enclosed and sure was glad to hear from you.  The news about the big sale is very exciting.  When you get time you must write me more details about your plans for the future.  When do you expect to be out for good?  Do you think you'll be able to get to Texas by this coming winter?</p>
<p> I am enclosing some photographs taken with the camera Charlie gave me.   Each one has its explanation on the back.  I tried to snap 2 other pictures of my room but they didn't turn out.  I also took a picture of myself and Mme. Mousset, my landlady.  Of course, I had to give her one copy, but I shall send you another copy in my next letter.  I do wish you would get a little box where you can keep my letters and any pictures I send home.</p> <p>The last few days it has been very hot here; I never remember living thru such weather, but it is cooler to-day.  Yesterday was a big day here.  The 14th of July in France is just like our 4th of July.  At night all the students gathered in the courtyard of the Palace (there are about 85 pupils in all) and we sang the Star-Spangled Banner and the Marseillaise to all the gaping  town-people.  After that the government treated us to real, live champagne, and you can just bet it seemed funny to see them popping one bottle after another, and we knowing how expensive it is in the States.</p>
<p>Reider wrote, thinking I may have been playing in some hotel in the mountains, and saying he would like to stop with me for some weeks in August.  He sure will get a shock when I write him from here.</p>
<p>There is no other news, so I will make this a short letter.  To-day I take my second lesson in Conducting.  Give my love to all the folks and dont forget Sally Joyce.</p>
<p>Affectionately,<lb>Aaron</p>
Copland|corr0011|Letter from Aaron Copland to his parents, 1921/07/20|<p>July 20, 1921</p>
<p>Dear Ma & Pa, --<lb>Although I haven't received any mail from you since last I wrote, I thought I would keep you posted on events here.  Everything is about the same.  I am working well and feeling in the best of health.  There is a very slim possibility that we composers may stay here an extra month from Sept. 25 to October 25th, at the expense of the French Government, in order to write a prize composition.  Since the prize is only to be a diploma, it doesn't make much difference whether one wins or loses, so that I may consider entering the competition.  But I'll write you more of that later.  Think of it, we are almost here 4 weeks already, and I have received a bill for 1200 francs (about $100.) for my next months board, tuition etc.  Of course, here is where my little old check book comes in handy.  Its so simple to write one.  Money goes fairly slowly.  There's a little each week for tips, laundry, an extra ice cream here and there and so forth.  They have not asked us to pay the extra 220 francs for the Conducting Class yet.  Mrs. Tuttle was here one day and had lunch with us, and made a speech.  In spite of all she does, and she tries very hard, she is not at all popular with the students.  They all feel that it is due to her alone that the school got its bad name in America.  But I must say we have been treated very well here.  Mrs. Tuttle also came into our composition class, and Monsieur Vidal, our teacher, had each one of us play a composition of our own for her.</p>
<p>I received a letter from Harold Clurman and I think we shall be good friends when he comes in the winter.  I've dropped a card to Uncle Sam and Arnold.  Where is everyone spending their summer?  How are things on Washington Ave?  Tell Lil to write me the news in her own style.  Love to all.</p>
<p>Affectionately,    Aaron</p>
Copland|corr0012|Letter from Aaron Copland to his parents, 1921/07/25|<p>July 25, 1921</p>
<p>Dear Ma & Pa, --<lb>I received your 4th letter yesterday, and I must say there is just as much excitement around here when the mail from America arrives as there is on Washington Ave. when you get my letters.</p>
<p>Things here are pretty much the same.  To-day I received letters from Aaron Schaffer, Sidney Rooff and Bob Gordon.  You can just bet I was tickled.</p>
<p>Yesterday, I and another young composer of the school, took a bicycle  ride to a small town near here called Barbizon.  It is very famous because about 50 years ago, all the very greatest painters of France lived there.  All France is like that.  You cannot go to any small town without finding a few places of note.</p>
<p>It amused me to hear that Lil was worried about the question of milk.  Well, I still insist that I have never seen a glass of milk since I left New York.  Incidentally, I don't miss it at all.  They drink a great deal of cocoa here, and call it chocolat (pronounced shocola), so I have it for breakfast every morning.  Also eggs, butter and the most delicious jam.  The meals here are excellent and I have no kick coming.</p>
<p>Saturday I took more pictures of myself and scenes of the Palace, and if they turn out well, I'll enclose them in my next letter.  I hope you have taken my suggestion of keeping a box with all such things in it.</p>
<p>Our regular composition professor, Paul Vidal, is away for 3 weeks vacation, and in his place we have a younger man who is not so famous, but whom I like much better, because he is inclined to be much more sympathetic to the kind of music I write.  The class in Conducting is also getting on very well.  Did I forget to tell you how much I pay for the hire of my piano?  It is 60 francs a month (about $5.00).  When I get to Paris and have to hire one, I'm afraid I'll have to pay about $10. a month, because without a decent piano it is impossible to do anything, and the one I have now is about half as good as I should like it to be.  In another 4 weeks I shall begin hunting a room in Paris.</p>
<p>This week we are to have numerous lectures on music by professors of music from American universities,  Before I forget, I must tell you to read a certain book, which I have borrowed here.  Pap would particularly enjoy it.  It is called "The Brass Check" by Upton Sinclair.  Get Leon to buy it for you at Brentano's on Fifth Ave.  I am doing my usual amount of devouring of books.
Well, this is all for the present.  Give my love to all the folks who are visiting N.Y. and keep plenty for yourself.</p>
<p>Affectionately<lb>Aaron</p>
Copland|corr0013|Letter from Aaron Copland to his mother, 1921/08/01|<p>Aug. 1st, 1921</p>
<p>Dear Ma, --<lb>I am waiting for a letter from you, but as it has not yet arrived, I am writing this card to let you know that everything is going along smoothly, and that I am feeling fine.  Have you mailed my magazines?  Regards to everybody.</p>
<p>Aaron</p>
<p>This is a picture of my favorite walk, right outside the Palace.</p>
Copland|corr0014|Letter from Aaron Copland to his parents, 1921/08/03|<p>August 3, 1921</p>
<p>Dear Ma & Pa, --<lb>To-day your letter (dated July 12th) arrived with a letter from Aaron Schaffer, and Bob Gordon and a card from Miss Rutenberg from Cleveland where she is spending her vacation with some friends.  So you see I am being kept supplied with mail.  I suppose you understand by now, that I have received all your letters up to date, tho they were slow in coming.</p>
<p>I am enclosing some photos I took  which I hope will give you a little better idea of just what Fontainebleau is like.  Also a clipping about a concert given at the school at which I played a composition of my own.  Sad to say, it made quite a hit; I say it is sad, because I can't get over the idea that if a thing is popular it can't be good!</p>
<p> I can't help smiling when I see that you seem to think it is much cooler here than in New York.  We have had weather here, hotter than I've ever been thru anywheres, but its been rather cool for the last few days.</p>
<p>Perhaps you'd like me to sketch out a day for you as I live it here.  In the morning I hear a knock on the door and the following scene takes place:<lb>Me: Oui, madame (Yes, madame)<lb>Madame Mousset: Sept heure et demi, monsieur<lb>(Half-past seven, monsieur)<lb>Me: Merci, madame (Thanks, madame)<lb>Then, of course, I turn over and snooze for 5 minutes more and finally get up.  I hustle down to school for breakfast, and then practice there on a baby grand for a few hours.  I then return home, and read and play some more.  After dinner, we take a short walk and then generally  work thru the afternoon until 5 P.M.  Often there is a concert at the school at that hour.  After supper, we often take a long walk or go to the cake and ice cream store (no sodas) where they have tables on the side-walk, and we sit and talk.  Thats generally the plan for week days.  On Sunday, I lay off work, and sometimes go for a bike ride to nearby towns.</p>
<p>Madame Mousset has just brought me a second letter from you, which tho written 10 days later than the one I got this morning, they both have come on the same day.  So if ever you don't get mail from me, blame it on the boats.  I expect to write on an average of once a week.  You ask how many pupils there are here.  I should say about 85, and when they all begin to practice at the same time, you can just imagine what it sounds like.  Sometimes I run away from the Palace as if it were a crazy house, and get back to my own room where it is nice and quiet.</p>
<p>I advise you to send my letters in care of the school again, as you are the only one who knows this address and I never get all my mail together.  So here it is again:<lb>c/o Ecole de Musique<lb>Palais de Fontainebleau<lb>Fontainebleau, France<lb>
You won't have to bother sending my musical magazines much longer because my subscription runs out in September.</p>
<p>Well, theres no more news for the present.  Give everyone my love.  Tell Eva I hope she played well the evening of the concert.</p>
<p>Affectionately<lb>Aaron</p>
Copland|corr0015|Letter from Aaron Copland to his parents, 1921/08/10|<p>Aug 10, 1921</p>
<p>Dear Ma & Pa, --<lb>Its a week since I have written you, so I thought I'd drop you a line even tho I have not heard from you since my last letter.  This kind of paper is the stuff the French write on for a short letter, and I hope you get it open all right.</p>
<p>To-day I was to a bank in Fontainebleau and they cashed one of my checks for 200 francs, made out to myself.  This is the first spending money I've drawn since I left Paris.  The Guaranty Trust Co. has not sent me a statement so far; perhaps, because I drew nothing during July, as I neglected to pay my bill for 1200 francs until August 1st.  So much for money matters.</p>
<p>In the last 2 weeks my French has improved wonderfully.  I can hold a conversation with anyone now.  But, of course, I still have a little to learn.  Received my magazines.</p>
<p>Love to all.<lb>Aaron</p>
<p>[on outside]: [to open, tear off the perforated edge]</p>
Copland|corr0016|Letter from Aaron Copland to his parents, 1921/08/16|<p>Aug. 16, 1921</p>
<p>Dear Ma & Pa, --<lb>A few days after I wrote my last letter, yours arrived.  More recently Dorothy's letter came, and it was all the more appreciated, since it was hardly expected.  I would have thought that taking care of that lovely little brat on the enclosed picture might prevent one from thinking of such trivialities as France and brothers-in-law (In France they call a sister-in-law a "beau-soeur," which literally translated means "beautiful sister," so you see the French are polite, at all costs).  Tell Dorothy that I hate to deprive her of an answer for her thoughtfulness, but if I did write her, it would start a precedent, and then everyone would expect one.  I think its just as good that everybody who wants to, should read the stuff I send you.  But I'm only too tickled to receive mail.  Also don't let Dot forget to thank Estelle for the nice letter she sent me.</p>
<p>Talking about letters reminds me that I received one from Harold Clurman recently.  He is sailing for France on Sept. 14th and I am quite sure we shall be bosom friends as we have a great deal in common.  I have invited him to come to Fontainebleau for a day or two just before I leave for good.  He can stay at my house as I have a big double bed.  He has already accepted and I am looking forward to the time of his arrival.</p>
<p> I expect to go into Paris about the first of next month to look for a room for the winter.  I have addresses of people who know of such rooms.  I hope to get a nice room with some family and take meals at a restaurant.   The Latin Quarter (the name of the part of Paris where I shall surely live, since all the students are there) is simply filled with restaurants where you can get regular meals of the best kind for 75 [cent sign].  At any rate, I expect to try that plan and see how it works out.  After I get settled I shall certainly look up Alma's relations and the man Adler gave me a letter to.  I have found he is quite well-known over here as a pianist, and I may get him to help suggest a teacher for the winter, as I am still undecided who I wish to study with.</p>
<p>Quite a few students expect to leave after the end of the second month, some because of jobs and others for various reasons.  To-day I got permission to borrow books from the library of 40,000 volumes in the Palace.  It sure does give me a thrill to walk into that marvellous room (its a block long and all decorated in gold like a ball room).  They have all sorts of old, old books in English and French, and if it wasn't for the fact that we can only go in once in a while, I would never get out of there.
The weather here has certainly taken a remarkable turn.  After being scorching and rainless all summer, it has suddenly become cold and wet.  That sweater you gave me at the last minute comes in very handy.   And for my bed at night my landlady has given me the lightest of light feather beds that would keep one warm even at the North Pole.</p>
<p>Did I tell you that I wrote a long letter to Mr. Goldmark and told him, finally and at last, that I was here for good?  He's too clever not to have guessed it by this time, tho.  What Dot said about the post card I sent her at 8 years old is very amusing.  I was quite sure I had never thought of music until I was 11.  She mustn't forget to save it for me to see some day.</p>
<p>Tell Lil to hurry up and write that letter (if she hasn't done so already).  Now I think I've told you all the news.  Give my love to everybody and a special kiss for Sally Joyce, my intellectual niece.</p>
<p>Affectionately,<lb>Aaron</p>
<p>P.S. -- Hurrah for the Maxwell, say I!  Tell Lou the Frenchmen still think Carpentier is a gentleman and Dempsey a brute.</p>
Copland|corr0017|Letter from Aaron Copland to his parents, 1921/08/23|<p>Aug. 23, 1921</p>
<p>Dear Ma & Pa,<lb>Yesterday I received your ever welcome letter and am answering hastily in the hopes that this may reach you by the "Olympic" which sails to-morrow.  The mail conditions in Europe are very bad and all the tourists are kicking, but I've received all your letters and my magazines also.</p>
<p>So Mr. Adler is a proud papa.  I must write him a letter of congratulations.  Just imagine, yesterday I also received 3 letters from Harold Clurman, asking me to hire a room for him in Paris, and giving me the addresses of various houses.  I wrote him and said it would be better to wait until he got here and picks out just what he wants himself.  But I also told him that if I came across a nice little 3 room apartment that would do for both of us, I would take it.  I expect to go out looking about Sept. 1st.  I can't think of anything I need that Harold could bring along.  You are at liberty to send candy however, since it is very expensive here and quite beyond my pocketbook.</p>
<p>In spite of the fact that Lil may think it terrible, I can't help saying I'm not so tickled over the idea that John Kober has my address.  It only means another person added to my correspondence  list, which is quite long enough, as it is.  Yesterday I also received a postal from Laurine in the White Mountains.</p>
<p>I have become fairly good friends with the son of Francis Cassadesus, director of the Conservatory.   Thru him I was invited to a tea in one of the summer homes of a very rich publisher from Paris who has a marvellous mansion here.  I never remember swinging in such high circles so far, because the affair was the sort of thing one reads about in books.  The room was filled with Counts and duchesses and such kinds of animals.  The next thing you know, I'll be writing home that I'm engaged to a Marquise!  I can hear Charlie Marcus saying "I told you so, I told you so!"  By the way, tell him I'm still willing to put down that $10,000 bet that I don't come home married, in spite of the fact that there are 50 girls at the school, all musicians.</p>
<p>Outside of that everything is going along great.  I am going to give up my piano for the third month as I have banged all the guts out of it by this time, and will thereby save about $5.00.  They have never made me pay for the Conducting Class, tho I have received my bill for the last month.  Ain't I lucky?  Well, so long.  Give my love to everybody.</p>
<p>Aaron</p>
Copland|corr0018|Letter from Aaron Copland to his parents, 1921/08/30|<p>Aug. 30, 1921</p>
<p>Dear Ma & Pa,<lb>I received your letter with the clipping from the "Eagle" a few days ago.  The excitement that that little newspaper notice caused amused me immensely.  I thought that our little experience, before I left, with the newspapers would have cured you all and made you realize what all their talk is worth.  Even now, I hate to bust up your illusions about what a marvellous son you have, but I will say -- keep cool!  (This advice is particularly given for Lil's benefit.)  Monsieur Durand, the critic in question, was very polite, like all Frenchmen,  and said nice things to me, but he said the same to everyone else in the class, so now figure out how much its worth.  Secondly, M. Durand is the biggest publisher in Paris, and ought to have showed his appreciation by publishing something of somebodys -- but he hasn't done anything of the kind -- as yet.   So much for that silly business.</p>
<p>To-day I received a letter from Laurine.  You must explain to her, that I wouldn't at all mind answering it, but if I wrote to her, I would end up being obliged to write to everyone separately, which is quite out of the question.  But don't forget to thank her for her letter and any more she may send will be entirely welcome.</p>
<p>Now that two months of the school have come and gone, I think one can decide on how good it was.  I am sure it has served my purpose very well.  As I suspected in America, my teachers are not at all what  I want, but I have made many valuable connections and don't feel like a stranger in France any more.  As for the other pupils, the school has not been an entire success.  It is very hard to say just what the reason is, but personally, I think it is because the students themselves are not a very talented bunch, since most of the Jews were scared away.  (There are only about 10 among the 85 pupils, a small amount considering that this is a music school.)  Mrs. Tuttle is now on the scene, trying to make the best of a bad job.  Of course, I have met some interesting students, and have been very satisfied with everything, generally.</p>
<p>To-morrow, I and 5 other pupils have been invited to the home of Nadia Boulanger, one of the teachers here, who lives about 3 hours away from Fontainebleau.  We are taking a machine and are going to make a day of it.  It will be quite an outing for me, because you must understand I haven't missed a meal since I got here, and its almost beginning to seem like home.  On Saturday I shall run in to Paris to arrange for my room.  I think it advisable that from now on you should send all my letters in care of the bank, until I can give you my permanent winter address.  As my plans are now, I expect to leave here the 25th, altho I may go a day or two earlier.  In case you have lost the bank address, here it is: c/o Guaranty Trust Co., 1 Rue des Italiens, Paris.</p>
<p>Well, heres hoping I get as good a room for the winter as I've had this summer.  Give my love to all.</p>
<p>Affectionately,<lb>Aaron</p>
Copland|corr0019|Letter from Aaron Copland to his parents, 1921/09/06|<p>Sept. 6, 1921</p>
<p>Dear Ma & Pa, --<lb>I received your letter a few days ago, and since a week has passed since last I wrote, I thought I would answer it to-day.</p>
<p>Well, as usual, I'm feeling fine and everything is going along splendidly.  Last week, on my return from a very pleasant trip to Mlle. Boulanger's house, I stayed overnight in Paris, for the first time since coming to Fontainebleau.  (The city is still rather dead, and things don't start here until October 1st.  A great many of the Parisian smaller shops close all summer and the storekeepers have places at the many summer resorts near Paris.)  The next day I started looking for a place to live for the winter.  I decided to look for a small apartment  for Harold Clurman and myself, as that would be cheapest and give us the greatest amount of privacy.  It had to be in the Latin Quarter (where all the schools are) and since students come from all over the world to study there, that particular part of Paris is very hard to get accommodations in.  At any rate, I started by going to various agents, private people, and who not, only to learn that an apartment could not be had for love of money.  Outside of having a room in a hotel (which is rather expensive), there seemed to be only one thing to do -- live with a French family as the majority of students do.  After getting numerous addresses, I visited a few families, but found them all out of the question.  It is absolutely essential for me to have quiet and seclusion in order to compose, and to live in the middle of a whole family of jabbering Frenchmen can't be thought of.  So I returned to Fontainebleau after having a very tiresome, discouraging day.</p>
<p>And now for the silver lining.  When I got back, the woman who sits next to me at table, a Madame Ostrowska, who is harpist with the Detroit Symphony Orchestra, and who has been very nice to me all summer, told me that a friend of her's had just the kind of furnished apartment I wanted, in the heart of the Latin Quarter and was willing to sublet it to me for the winter.  There is a question as to whether it is big enough for two.  I am to go to Paris to-morrow (Wednesday) in order to see it and make terms.  If it is large enough for two, I shall cable to Harold Clurman; if not, take it by myself.  I do hope my next letter will contain good news, and I shall send you the address as soon as I am sure of it.  The rooms will be ready for me, if I get them, by October 1st.  So much for that.</p>
<p>Quite an event took place last night.  There's a slight chance that you may not have read it in the papers, so I mention it here by way of being sure.  For the first time in history, I've worn my tuxedo!  The occasion was a dance given by Mrs. Tuttle to the pupils.  To say that I looked like the Crown Prince is to put it mildly.  And I think I'll have another opportunity of wearing it on the 25th at a final concert of the school, to be given at the Paris Conservatoire in Paris, when I am to play some of my compositions!</p>
<p>In about a week we are to be given a free trip to the battlefields and I'll write to you about it.  I got a letter from John Kober, it was very long and very stupid.  But the poor boy means well.</p>
<p>Love to all<lb>Aaron</p>
Copland|corr0020|Letter from Aaron Copland to his parents, 1921/09/08|<p>Sept. 8, 1921</p>
<p>Dear Ma & Pa, --<lb>No doubt you will get my two letters together, and if so, read the other one first, or you will not understand this.</p>
<p>Rather than leave you in suspense as to what happened about the apartment,  I thought I'd write immediately.  I saw the place to-day and was delighted with it.  It is just what I want, altho not big enough for two people, since the whole 3 tiny rooms and small kitchenette are not bigger than the parlor at home.  The gentleman  who owns it is an art dealere and it is beautifully furnished.  And now for the sads part of the story: knowing I was a student he asked how much I could possibly afford.  I told him 250 frcs a month (about $20.)  He said he had offered the apartment to another man 3 weeks ago at a much greater price, but if he did not hear from him in a week, he would give it to me at almost the figure I quoted.  So there's nothing left to do but hold my breath for a week.  If I don't get it, (and I'm not very hopeful), I suppose I shall have to give up the idea of living in the Latin Quarter and live in some other part of Paris right near the concert halls and opera houses.  I have already been to see Aaron Schaffer's former landlady, but she is not renting her room any more, as her son is out of the army.  But, after all, its only a matter of time before I get settled and I can always stay at a hotel for a short time.</p>
<p>I received the Musical Americas and now am waiting for my Dial.  Then I have a favor to ask.  Since the concerts and theatres are to begin soon, I wish you would send me the book section and Theatre section of the Sunday Times every other week, twice a month.  Not every week, because I won't have the courage to resist reading it and I wont have the time.</p>
<p>I am enclosing my statement up to August 31st.  It doesn't include, of course, my bill for 1200 frcs. for the last month.  But I have plenty of money.  I expect to have on Oct. 1st about 4,000 frcs. to start the winter with.</p>
<p>Isn't it funny, before you get this letter the question of the apartment will be settled.  Well, so long.  Love to all.</p>
<p>Aaron</p>
Copland|corr0021|Letter from Aaron Copland to his parents, 1921/09/14|<p>Sept. 14, 1921</p>
<p>Dear Ma & Pa, --<lb>I received your letter yesterday and am answering now, not because I have anything new to tell you, but because a week has passed since last I wrote.  Things here are exactly the same.  In a little over a week the school will close, so that by the time you get this letter I shall be established in Paris and Fontainebleau will have become past history.</p>
<p>On Sunday coming we are going to be taken for a tour to the battlefields around Rheims and as we must be at a railroad station in Paris at 7 A.M. I shall go to the city Saturday and make another grand hunt for a decent room to stay in for the winter.  Nothing ever came of that apartment,  so that I'm a little sorry I ever wrote you about it and got you all flustered for nothing.  I recently got a long letter from Harold Clurman urging me to get an apartment for both of us, but I am afraid it is an impossibility.  It suddenly occurs to me that he is sailing for France to-day.  He has promised to come to Fontainebleau on the 24th, but I am not sure whether I shall be here then, as the closing concert is being given in Paris on the 23rd, and if I get a room I may not bother coming back here.  I shall try to get him to come to the concert on the 23rd.  I hope you appreciate the grandeur of this affair.  It will be given at the theatre in Fontainebleau, on the 21st, and then in the biggest concert hall in Paris.  One of the singers here is to sing one of my songs, and I am to play 5  of my shorter piano pieces.  The last one is based on two jazz melodies, and ought to make the old professors sit up and take notice!  I shall certainly try to remember to send you a programme, 'tho in the excitement I'm liable to forget anything --- except my tuxedo.  Last, but not least, watch the papers closely!  (If this letter doesn't arrive too late.)</p>
<p>You did the right thing in stopping my subscription to Musical America.  My subscription to the "Dial" does not run out until January, so please continue sending it to me; also the Times theatre part and book review every other week, as I wrote you in my last letter.  Altho I have tried to head off the passes for concerts that are sent me, I suppose you will still get some.  If Lil or Ralph doesn't want them, please send them to Arne, whose address I am enclosing on a separate sheet of paper.   Please don't let them go to waste.</p>
<p>The weather has remained very mild, and there is a marvellous moon out every night.  It is wonderful to walk in the Gardens around the Palace after supper, and feel the presence of Napoleon's ghost.  I don't think I'll really appreciate this place till I leave here.  The thought of beginning to pack that enormous trunk sends cold shivers down my spine.  But, I suppose it must be done.
Well, with nothing to say, I've filled 4 pages.  My love to all the folks and lots for yourself.</p>
<p>Affectionately,<lb>Aaron</p>
Copland|corr0022|Letter from Aaron Copland to his family, 1921/09/19|<p>Sept. 19, 1921</p>
<p>Dear Ma & Pa, --<lb>I've been itching to write you this letter for the last two days, but never got the opportunity.  Just think, I have an APPARTMENT!!   With a little luck, a few lies and lots of bribes, I finally landed one.  You have no idea how overjoyed I am.  It is big enough for Harold and I, and I have wirelessed him the good news to the Paris boat.  But, let me catch my breath and tell you the full story.</p>
<p>I went to Paris Saturday as I had intended and looked all over until 3 P.M. but found nothing.  Finally, in a window on one of the boulevards I saw a little announcement of a small, furnished place to let.  I immediately went to the address given, feeling it was too good to be true.  I found it was only an agency, in a private house, and no signs.  They promised me what I was looking for if I signed a paper promising to pay 10 per cent of the rent for 3 months.  I was, of course, willing to sign anything.  They then gave me the address of a place, warning me not to mention the fact that I was sent by an agency.  I went to the place in question and found a little 3 room "suite" on the top (4th) floor -- bedroom, dining room and kitchen -- in the Latin Quartet, just what I wanted.  The rent was 300 francs a month (about $25.00) -- for Harold and I making $12.50 each.  I grabbed it, swore I was from a friend, gave the janitor (they call them "concierge" here) 100 frcs. deposit, and prepared to jump for joy.  But I had forgotten the concierge.  He (or rather his wife) calmly asked me for a tip, saying ten percent of the rent for one month, was the usual thing.  I planked down 10 frcs. and promised to pay the other 20 later.  But most painful of all, was when I got outside, and had a wild desire to run up to every stranger I met and howl at him the marvellous news.  We will be able to make our own breakfasts and an occasional lunch.  But I've forgotten to give you the most important thing -- the address,  We are to begin living there Oct 1st.  It is at<lb>207 Boulevard Raspail, (Paris)<lb>a big wide street with subways and busses a half a block away.  (Please don't pronounce Raspail like Raspale, but like this -- Raspighy to rhyme with skiey.  Ask Ralph to explain to you this puzzle.)  Now you need never worry.  I shall take care of Harold and he shall take care of me.  I have been invited by the director of the school to stay with him and his family at the Palace until Oct. 1st.  He will keep a piano for me, so I have accepted with thanks.  So I move to the Palace on the 25th and stay there for 5 days.  He made me promise not to tell this to any other student.  So you see I am in good with the big muck-a-mucks.</p>
<p>All the excitement about the apartment  happened on Saturday.  I went to the Opera that night (M. Wolff, the conductor, gave me a pass) and on the next day went to visit the battlefields.  By the way, for my last lesson with M. Wolff in conducting, we had a private lesson, and all unsolicited, he said some very nice things to me, tho he has never heard any of my compositions.  He told me to come to him any time when I wanted advice or letters to anyone.  In October he sails for America to conduct at the Metropolitan.  You ought to see me conducting an imaginary orchestra, waving my arms wildly in the air, making faces at empty  chairs.  And just imagine, I have never had to pay for any conducting lessons!</p>
<p>But I have wandered from telling you of the battlefields.  I could write a young book about everything I saw, but it would be too disgusting.  We were conducted on a tour by the government, understand, and after a 2 hour train ride to Rheims, a big city in ruins, we were taken by autos to the actual war grounds.  Before that we were given an elaborate dinner (or should I say banquet) and had a long speech and toast to America to which I responded, if you please!  During the auto trip we were shown trenches, forts, barbed-wire entanglements, absolutely destroyed towns, and German cemeteries  with black crosses.  To think that men can be such beasts.   One thing is sure -- I am absolutely inoculated against war fever, for all time to come, and not if everybody stood on their heads, would I fight in any army for any cause.  I'd go to prison first.  If everyone did the same there would be no war, and I'll be the first to start.  However, if you saw those ruined cities, you'd say the world had had enough war for a little while, so you neednt worry about your son, yet!</p>
<p>I mustn't close this letter without telling you how marvellously my French is getting on.  The proof is, I hired an appartment all in French.  Next time I have to hire one, I'll get married, and let my wife find one.  But she won't drag me with her, like I know some wives drag some husbands!</p>
<p> Just now the talk is all about the Concert.  I shall send you, I hope, a copy of the posters being put all over Paris, on which your darling son is HEAD-LINED.   It surprises me that my hat still fits me.  I just bought a new one (hat) in Paris for 25 frcs.  Its very French and makes me look quite like the giraffe I am.  But, I must close some time, so why not now?  Love to all,</p>
<p>Affectionately,<lb>Aaron</p>
Copland|corr0023|Letter from Aaron Copland to his parents, 1921/09/27|<p>Palais de Fontainebleau<lb>Sept. 27, 1921</p>
<p>Dear Ma & Pa, --<lb>Well, here I am back in Fontainebleau with all the concerts and excitement finished.  But I must admit it was wildly exciting while it lasted.  Under separate cover I have sent you a few of the preliminary announcements of the concerts here and at Paris, and one criticism of my compositions played that appeared in the Herald.  I have a few others from French papers that I shall send you with a translation, later.  But I must tell you the most interesting news of all.  At the Fontainebleau concert the theatre, with its 3 balconies was packed full.  During the first part of the program I played one of my pieces for piano called "The Cat and the Mouse," which I had written in Brooklyn over a year ago.  It had an immense success.  During the intermission M. Durand, the music publisher, came to me and asked me if that piece was published.  When I told him no, he said he would publish it!!!  Let me try to calmly explain you what this means.  In the first place Durand and Son is the biggest music publishing firm in Paris, which means the world.  To finally see my music printed means more to me than any debut in Carnegie Hall ever could.  Of course, it will all take time.  Mr. Durand returns to Paris October 6th and I am to go to see him about the 10th.  It is impossible to say how many weeks, months or years it will take before the piece finally comes out.  But even if it never was printed, I would have the thought of the promise, at least.  But be sure of one thing.  Don't expect to make any fortunes out of my compositions.  Composing is not a business, but a luxury, which you are so good as to allow me to afford, for a little time anyhow.  All we can do now, is to hope and pray for the fates to be kind, and hurry up with my piece.  I received a long letter from Mr. Goldmark.  What would he have to say to all this!</p>
<p>Well, Harold Clurman has arrived, safe and sound.  I met him in Paris two days after his arrival[,] on the evening of the concert in Paris and we went there to-gether.  The next morning we both went to Fontainebleau and he spent a day and a half here with me, being thoroughly delighted with the place.  He is a very, very nice boy, with some real intelligence and I am sure we shall get on immensely together in our own apartment.   By the way, thanks very much for the candy you were so good as to send.  Between the two of us we shall make short work of it.</p>
<p>By the time you get this letter, we shall be all settled on 207 Boulevard Raspail, our winter mansion.  Just now I am living in the Palace, quite lost among the hundreds of empty rooms.  I only have to pay for meals.  Mr. Casadesus has been very nice to me, he has given me a piano in my room, where I work all day with delightful walks in the park between times.  On Sat. Oct 1st I return to Paris for good.  It will be like going out of the lime-light into darkness.  But even I am beginning to get tired reading my name in the papers.</p>
<p>I haven't time to tell you of the closing reception in Paris on the afternoon of the concert, with the real champagne.
But don't think I've forgotten Washington Ave.  I shall certainly think of you all eating those enormous dinners on Rosh-ha-shona and groan at the thought of missing the marvellous cakes on Yom-kippur.  One needn't be religious to appreciate those things.  Love to all.</p>
<p>Aaron</p>
<p>WARNING! Dont frame that stupid diploma I sent you!! -- with the clippings[.]</p>
Copland|corr0024|Letter from Aaron Copland to his parents, 1921/10/03|<p>207 Blvd. Raspail<lb>Paree ------!<lb>Oct. 3, 1921</p>
<p>Dear Ma & Pa, --<lb>Well, here I am settled in Paris for good -- or I should say, here we are, because since coming in on the first, Harold and i have been continually to-gether, getting settled and so forth.</p>
<p>We have this nice little apartment, plainly furnished but clean and livable on the top floor of a big apartment house.  So far, thank heavens, I have only discovered one other piano, which is lucky.  To-day I went down-town and hired a piano which is to come Wednesday.  I decided a baby grand would make too much noise in this establishment, so I am getting a very good upright for 60 frcs. a month rental (about $5.00).  Think of it, to bring and take back the piano they only charge $3.00, imagine what it would cost in America.  One of the advantages of living here in the Latin Quarter is the surplus of marvellous restaurants, cheap and go.   For 40 [cent sign] you can get soup, veal and potatoes, wine, dessert and coffee!  My expenses will be about as follows.<lb>Rent -- 150 frcs.<lb>Food -- 400 frcs.<lb>Piano  --  60 frcs.<lb>Extras for shows, opera etc -- 200 frcs.<lb>--------<lb>
810 frcs. a month -- between $15. and $20. a week -- not including heating which is extra, and lessons.  For pops information I can say, that I expect to have 3,000 francs left in the bank by Nov. 1st.</p>
<p>My present plans are to see one of the former teachers at the conservatory and find someone to continue composition with.  For the present I shall let piano drop.  On the 10th of the month I shall see M. Durand, and hope he hasn't forgotten about publishing my piece.</p>
<p>I am enclosing some criticisms that appeared in French papers.   I translate the parts which have most to do with me.  I suppose there will be mention of many musical terms which you won't understand.  Ask Ralph to help you in that case.
Translation of No. 1.  "The compositions presented to the public by Aaron Copland and A. Brachocki, were full of life and french qualities, which ought to be played and appreciated in the U.S."</p>
<p>No. 2 -- "The composers A.C. and Alex Brachocki worship in their fashion our dear Claude Debussy.  Mr. Copland, executing it himself, showed us the foolish playing of a cat and mouse.  Written in a pretty, incoherent note, this pianistic fantasie pleased.  Some fanatics would have liked to have had it repeated"!</p>
<p>No. 3 (the longest and best) -- "Here is a young man with a thin face, live eyes, whose whole physiognomy expresses intelligence and humor...Mr. Copland reappeared again, this time with Miss McAllister who sang a chinese song of which he is the author.  And alone, he played some little pieces of his own of a very delicate impressionism.  The "Cat and Mouse" is a very amusing scherzo in the Style of Debussy..... Le "Reveur" [another piece of mine] gives all the fugitive and poetic impression of a dream.  M. Copland has certainly a very beautiful artistic temperament and one ought expect much from him when he will have disengaged his personality and will be freed from his models."</p>
<p>No. 4 -- "In remarking again the strongly original and very moving talent of M. A.C., pianist playing himself technical difficulties for the piano......etc.</p>
<p>I have translated these exactly,  word for word, and ought to have a swelled head, only I know what a bunch of boobs critics are, so I don't believe a word they printed!  You can, 'tho, if you like.</p>
<p>Well, theres no more news, so will close.  Harold sends his regards.  Give my love to all.</p>
<p>Aaron</p>
Copland|corr0025|Letter from Aaron Copland to his parents, 1921/10/11|<p>Oct 11, 1921<lb>207 Bd. Raspail<lb>Paris</p>
<p>Dear Ma & Pa, --<lb>I really ought to be sending you a cablegram with this wonderful news, but I was afraid it would scare you.  Just think, I have just sold my first composition.   Let me catch my breath  and tell you the whole story.  I wrote you that M. Durand, the biggest publisher in Paris, had promised to publish a piece of mine called "The Cat and the Mouse" after he had heard me play it at Fontainebleau.  Well, I have just been to see him at his office here and have sold him the piece outright for 500 francs.  I signed a contract with him and he has promise to have the piece ready in about 2 or 3 weeks, at which time I will send you a copy.  Try to remember that in pre-war times, 500 francs was equal to $100. which is an extraordinary price to pay a young, unknown composer for a little piece of 5 pages.  Then Durand is a very well-known publisher all over the world, so it gives one a reputation merely to be published by him.  A great deal of the credit is due to Fontainebleau and the school as I could never have accomplished so much in so short a time without all that influence helping me.  What will Goldmark and Adler have to say when I send them copies?  Its too bad I am not able to play the piece for you, but you'll have to wait until I get home, unless some one plays it in N.Y. by some wild chance.  Of course, this is only a beginning.  One doesn't get exactly famous simply because he has written one piece which is printed.  But it is a start.  And the 500 francs tickles me silly, even if it isn't a fortune.</p>
<p>I sent the letter of introduction that Alma Harwood gave me to her aunt and got an immediate reply inviting me to meet her in a box at the Opera.  So your darling son calmly put on his very exciting tuxedo and marched gaily to the opera.  Miss Florance (the aunt's name) is about 45 I judge, and was very nice to me.  She is the sort of person one must know in order to meet other really interesting people.  She has invited me to her house this Sunday and I have promised to play for her.  Thats the least I can do for anyone who gives me the best seat I've ever had at any opera performance.</p>
<p>I read in the papers that you've already had snow in New York.  Just think, here we are having beautiful summer weather.  Harold and I always eat at restaurants in real European style.  There is one place where you can get a meal for 6 francs which is exactly like the meal I remember having at Lorber's when it was on Grand Street.  Tell Lil French cooking is delicious, particularly when you know how to order something besides omelettes.</p>
<p>So, we have a composer in the Copland family, it seems.  Who says there are no more miracles.</p>
<p>Lovingly,   Aaron</p>
Copland|corr0026|Letter from Aaron Copland to his family, 1921/10/18|<p>207 Bd. Raspail<lb>Paris (XIV)  Oct. 18, 1921</p>
<p>Dear Ma & Pa, --<lb>I received your letter of the 29th, forwarded from the bank, and also one from Lil on the same day.  Lil made me wait a long time for that letter but it sure was worth it.  You can thank her for me and tell her I'll write at the first opportunity.</p>
<p>By this time you must have received my last letter with the news of the selling of my first composition.  In a week I expect to get the proofs, which must be corrected before the piece is published.  But that won't take long, and I hope you will have a copy of the printed piece (my first) by my twenty-first birthday.  Let me tell you what I have decided to do with the 500 francs I have made.  With 100 I shall buy music and books that I have been anxious to have, and the other 400 I hope to put towards a trip to London, England at about Christmas time for a stay of about 10 days.  Of course, its much too early to give you any definite plans, but that is vaguely what I expect to do.</p>
<p>I have been to see my first play in French.  Before going, I took the precaution to read it, so that I understood almost every word.  Altho the opera is going strong, concerts hardly begin here until Nov. 1st.  Have you been receiving many passes for me?</p>
<p>About a half a block from our house is a very famous literary caf where all sorts of poets, painters and musicians hang out every night.  Harold and I also do the same, of course.  One hears French[,] English, Russian, Danish and Spanish conversation all at once.  People are dressed funny, have long beards, crazy ties and so forth.  (Leon would call them nuts, I call them artists.)  However, its very interesting to watch them, and we have already begun getting in with the bunch, altho I haven't grown any beards -- as yet!</p>
<p>I haven't found any teachers as yet but hope to get connected soon.  In the meantime, I am working along by myself, doing some practicing, and lots of reading, and some sight-seeing to museums and Napoleon's tomb.  We spend lots of evenings at the American Library here, where one can read the "Times" and magazines in English.</p>
<p>As far as meals are concerned we have picked out two very excellent restaurants where we regularly eat.  I have become so French that I never have a meal without wine or at least beer.  For 50 [cent sign] you can get soup, chicken, potatoes, pastry, coffee, wine and bread; all of the very best quality, so you see we are well fed.  We are still having summer weather here, tho the evenings are getting cooler.</p>
<p>I am enclosing the statement of the bank for September.  Notice that I got 43.50 frcs. interest for 4 months.  I have already written you that I shall have about 3000 frcs. in the bank left by November 1st.  I wonder if Pop has noticed that French money is even cheaper now than when we bought it.  Thats about all the news.  Harold sends his regards.  Love to all.</p>
<p>Aaron</p>
Copland|corr0027|Letter from Aaron Copland to his parents, 1921/10/25|<p>Oct 25, 1921</p>
<p>Dear Ma & Pa, --<lb>I am in an American club just now, where I occasionally come to read some magazines.</p>
<p>Yesterday was our first cold day, and now it seems as if winter has finally come.  For heat, we are going to buy a sort of gas stove which will cost about $500.  Of course, we will be able to resell it when we get out.  Our appartment is quite nice, tho we haven't got it all fixed up yet.  For instance, the walls are rather bare, and I want to buy a tea kettle to make tea when company comes.  The concierge (that is, the janitress), comes every of the day to fix up the rooms and keep everything clean.  So you see we are well settled.</p>
<p>So you have sold the Steinway at last.  You know, I haven't played on any piano nearly as good as that one was, since I've arrived here.  But I suppose there are plenty more like it in America so I think you did wisely to sell it.  It was a very pleasant surprise also to hear about the 3,000 franc deposit that pop made for me.  All expenses included, I now have enough money in the bank to keep me until May 1st next year, I think.</p>
<p>I have not yet received the proofs of my piano piece but I expect it every day.  I still hope to be able to send you a copy by Nov. 14th.  Harold and I have been going to many shows and concerts.  Miss Florance, Alma Harwood's friend, invited me to [the] theatre one night, so I got all togged out in my tuxedo again and we had a box!  I was invited to tea last Sunday afternoon at her house and I played for them.  Thats the least I could do for her, since she has been so nice to me.</p>
<p>To-morrow, I have an appointment with a teacher who I hope to study composition with.  I will give you more details in my next letter.</p>
<p>I thought I would get out of the lime-light when I left Fontainebleau, but it seems as if I won't yet.  During that week I spent at the Palace after the school closed, I wrote one movement of a String quartet, (for 2 violins, viola and cello.)  that is what we had to do for the composition test.  I have been waiting for the decision, but I have now heard, that the quartet is to be played  here in Paris at an invitation affair, with all the big French musicians there.  I am not so tickled as I might be, because I don't like the quartet myself, (don't tell this to anyone!)  Another composer (aged 40) who was at Fontainebleau also wrote a quartet, which will be played at the same time.  After the concert they both will be judged.  The affair is to take place about the middle of November.  The prize is only a diploma, so I don't care even if I get the booby prize.  Anyway its some more excitement.
Thats about all the news this time.  Did I ever tell you I got a New Years card from Jennie?  Thank her for me.  Give my love to all.</p>
<p>Affectionately,<lb>Aaron</p>
<p>P.S. Here is a favor I would like you to do for me.  I have not been able to find any "Musical America" in paris and I am losing track of music in N.Y. without it.  Will you write them (501 Fifth Ave) to renew my subscription?  Tell them to send it directly to Europe c/o Guaranty Trust Co. and they will send you the bill.  You will do this, wont you? ----- Thanks!</p>
Copland|corr0028|Letter from Aaron Copland to his parents, 1921/11/03|<p>Nov. 3, 1921</p>
<p>Dear Ma & Pa, --<lb>I have put off answering your letter of October 19th until today, because of one sentence.  You said "don't forget what I wrote you in my last letter about your birthday."  It seems as if I haven't received the letter you mean, and I waited for it a few days.  But, it doesn't matter.  Whatever you told me to do on my birthday, of course, I shall do.</p>
<p>I am getting very well settled now, going to shows and concerts almost every day.  We never need pay more than 5 francs (35 [cent sign]) for a seat anywhere, so it is quite cheap, you see.  Also I have finally found a composition teacher and have already had my first lesson.  Now be prepared for a surprise.  My teacher is not as you suppose -- a man, but a woman of about 40, one of the very best known musicians in France, a teacher of Harmony at the Paris Conservatoire.  Her name is Nadia Boulanger, and I met her first at Fontainebleau, where she also taught Harmony.  I heard her conduct some lessons there, and I realized she understands the kind of modern music I like to write, so that she was the teacher I was looking for.  It has been all arranged and I have a lesson on Saturday morning of each week.  She charges 60 frcs. (about $4.20) a lesson, which compared to the $6.00 I paid Goldmark is not so expensive.  I am also very glad to see that you and pop urge me to continue with my piano lessons, as I have finally decided to do so.  I am in the process of fishing around for a teacher and will let you know more later.</p>
<p>There is a Society here which is formed to give concerts of pieces not published by unknown composers.  Mlle. Boulanger told me about it, and I submitted some compositions.  They have selected two of my songs to be performed, no doubt, sometime in December.  So you see I am not being at all neglected.</p>
<p>The proofs of my piano piece have still not arrived, being about a week late, now; but to-day I got an invitation from Monsieur Durand, the publisher to be present at a private musicale at his residence next Thursday.  Lil would say I am "swinging in the right circles"!</p>
<p>About the first of December, I intend to begin taking some special courses at the College of France, which are free to the public.  It will be very convenient as the college is within walking distance from here.  The subjects will be poetry, history etc., not music.</p>
<p>I have received the Times newspapers and thank you.  Also you won't forget what I wrote you about my "Musical America" in my last letter.  You ask what happened to my friend, the painter, whom I met on the boat?  Well, like all boat acquaintances I lost track of him.  I think he intended to return to the U.S. by October anyway.</p>
<p>The changes on Washington Avenue are quite thrilling.  It always used to disappoint me when I came home from the country to find everything the same.  This time, when I get back, things will be different!</p>
<p>The weather in Paris has been very poor.  Not cold as yet, but we  haven't seen the sun for weeks; it is always grey and rains a little now and then.  I have, tho, put on my winter underwear, and received an extra blanket from the concierge.  I receive quite some mail from all my friends in America, and even some Parisian letters, which rather tickles me.  Tell Lou I wish him luck in the sweater establishment.  My love to everybody and kisses for the kids -- Felice, Shirley, Sally and Ralph on my 21st birthday.</p>
<p>Aaron</p>
Copland|corr0029|Letter from Aaron Copland to his family, 1921/11/09|<p>Nov. 9, 1921</p>
<p>Dear Ma & Pa, --<lb>I have just received an avalanche of letters -- one from each of you, one from Charlie, one from Uncle Sam and one from Eva.  I was taken up all morning with reading of letters.  These numerous congratulations have moved me very much and I thank you one and all for your good wishes.  I begin to understand that half the fun in accomplishing anything is to be able to share it with others.  As for the piece itself, I am sorry I cannot play it for you, so you'll have to imagine how it sounds.  I have not still received the proofs, but they will surely arrive someday soon.  At a concert to which all the remaining Fontainebleau students (there are 18 left in Paris) were invited, I met Durand who told me the proofs would come "bientt", which means soon.  Of course, I shall send you a copy as soon as possible.  Tell Eva she may also have a copy, but I warn her it is very difficult to play.  If anyone else must have a copy (and I can't imagine who should want one) let them go to Schirmer's  on 43rd St. and order a copy.  They will have to order it by its French name "Le Chat et la Souris" and also say that Durand is the publisher.  I don't know yet how much they are selling it for, since that is all the publisher's business.</p>
<p>The story of the surprise party was almost as much a surprise to me as it must have been to you.  It is very nice of you to ask me what I would like for my 21st birthday.  Don't you think you have already given me quite enough for a couple of birthdays?  I can think of absolutely nothing that I need, and will be thoroly satisfied if you send me the occasional things I may ask for from America, in the line of books or music, as I happen to need them in the course of the year.</p>
<p>In my last letter I told you that two of my songs were to be sung at a concert of music by the Society of Musical Independents.   Well, this concert is to take place on the evening of December 1st at the Salle Pleyel.  An American tenor, well-known in Paris is to sing them, and my composition teacher, Mlle. Boulanger will accompany them.  It tickles me to think that I will be able to sit back in a seat and hear my stuff done.  I will send you a program and any notices that may occur.</p>
<p>Tell Charlie and Uncle Sam I intend to write them both soon.  You can imagine how surprised I was to receive a special letter from pop.  Assure him I am looking for a piano teacher and will certainly continue my lessons.</p>
<p>This afternoon I am invited out to tea at Mlle. Boulanger's home to meet some of her other pupils.  To-morrow I am invited to my publisher's -- Durand's musicale.  I have been seeing many shows, as it is the best way to improve ones French.  I understand nearly everything now in ordinary conversation, but still have not had enough practice in talking myself.  Of course, there's plenty of time yet.</p>
<p>Paris is getting quite cold now, but we are nicely settled here.  My health is excellent and I have not had a sick day since leaving home (knock wood).</p>
<p>No more news, so will close with love to all the folks and especially to yourselves.</p>
<p>Aaron</p>
Copland|corr0030|Letter from Aaron Copland to his parents, 1921/11/14|<p>Nov 14, 1921</p>
<p>Dear Ma & Pa, --<lb>This you may consider as a birthday letter.  Having reached the enormous age of twenty-one I thought I would write and tell you about it.  I received your letter of Oct. 31st with all the good wishes and thank you all a thousand times.  The candy you wrote about has not arrived as yet, but Harold will try to be patient, tho it is a hard job.  I received a very nice letter from Ralph and want you to thank him for me.  Also got the Dial.</p>
<p>I was glad to see that you approved of my Christmas trip to London.  My plans are still very indefinite, but I expect to go about the 22nd of next month and stay till New Years Day, taking in lots of shows and concerts; all the sights too.  I shall look into the matter of fare soon, and let you know all about it.</p>
<p>How is Washington Ave. getting on, now that Christmas Eve is approaching.  What do you expect to do after May 31st?</p>
<p>My love to all.<lb>Aaron</p>
Copland|corr0031|Letter from Aaron Copland to his parents, 1921/11/20|<p>207 Bd. Raspail<lb>Nov. 20, 1921</p>
<p>Dear Ma & Pa, --<lb>To-day I received your letter dated the 18th with the enclosed letter that had been returned.  I naturally was sorry to hear you were so put out, first, because I have received all  your other letters, and secondly, because the mistake in addressing the envelopes is so very slight.  Instead of writing 207 always put a line thru the seven like this 207.   Pop can tell you that that is the way they make sevens in Europe.  Generally the post office has brains enough to understand an American seven but was stupid about that particular letter.  So in future, to be sure, don't forget the 207 like that, as I have it on the top of the page.   As I have not yet received the box of candy I am afraid something has gone wrong with it.  But, of course, that can always be remedied.  Anyway lets hope all this silly fuss is now finished.  The pictures you sent were naturally very welcome, Sally looking very intelligent as usual -- but slightly ferocious!</p>
<p>I suppose by this time you must be tired of waiting for my piece to come and I don't blame you.  About a week ago I received the proofs, and corrected them, but the printer had made so many mistakes that I will have to see a second copy of the proofs.  These I am now awaiting.  After I correct those, it won't take long before I send you a copy at least.</p>
<p>Last night, my teacher, Mlle. Boulanger had a soire, to which I was invited.  I got all togged out in my tuxedo as usual.  It was extremely exciting as there were several very famous musicians of France there.  Some day when I get particularly ambitious, I shall take a picture in that costume of mine.  But I'm sure you'll never recognize me.</p>
<p>I wrote a letter to a friend of mine named Elwell, who was in the composition class at Fontainebleau and who is now living in London, asking him how things were there.  He wrote back a very nice letter, so you see I will have someone to show me around the town.  Also I received a note from Italy from Becky Jacobsen, one of the Jacobsen daughters of the Fairmount Jacobsens.  She is to be in Paris soon, stopping at one of the swellest hotels here and has asked me to call on her.  I guess I will.</p>
<p>I have been getting letters from all the boys, Aaron Schaffer and also Miss Rutenberg.  She is still studying with Adler and keeps him informed of all my doings.</p>
<p>Now heres a job for Lil: -- I need some of my music that I left home and cannot buy here.  She will find them among a small pile of music which is enclosed in wrappers made of dark brown paper that I took from the store.  This pile used to be on top of the music cabinet.  The name of the composer, which will be on the outside wrapper, is Ernest BLOCH.  There are four or five songs by Bloch enclosed, which I wish you would send me as soon as possible.  I may ask Sidney Rooff to buy me some other music at Schirmers  and tell him to send you the bill.  He will pay for it, and you send him the money.</p>
<p>I think I've written all the news.  I still don't know the exact date when my quartet will be played.</p>
<p>Love to all.<lb>Aaron</p>
Copland|corr0032|Letter from Aaron Copland to his parents, 1921/11/28|<p>207 Bd. Raspail<lb>Nov. 28, 1921</p>
<p>Cher Ma & Pa, --<lb>I have not received a letter from you since I last wrote, but it is due of course, to no ships arriving in that time.  I write anyway, since this is my weekly letter.  You will find enclosed a copy of the program of the concert on Thursday coming  with my name modestly appearing.  Mr. Charles Hubbard will sing two of my songs and Nadia Boulanger will accompany them.  I shall sit back in my orchestra seat and for the first time, hear some of my music being performed without taking any part in the execution.  In short, I shall feel like a regular composer!</p>
<p>I am still waiting for the second proofs of my piece, but one must have patience in France.  Things are not done in a hurry.</p>
<p>To-day I saw Becky Jacobson  at the Hotel Continental.  They have been to about 20 cities in 3 months of continual travelling.  They are sailing in 2 days and will arrive on the Olympic with this letter.  Becky Jacobson has promised me to call you up and say "hello" for me.  Both she and her sister are terribly homesick and can't wait to get back.</p>
<p>News this week is rather slack.  I am very busy, running to concerts almost every night, playing lots of piano, and reading much.  I must tell you how very well satisfied I am with my composition teacher -- Nadia Boulanger.  She is the exact sort of instructor I needed, and knows every musician of importance in France.  Let me explain you what I have done about my piano work.  I wrote to a certain teacher called Ricardo Vines, but he was on a tour and told me to write again at the end of Novembre.   I hope, by the time this letter reaches you, I shall be started with him.  If not I shall certainly get someone else quickly.  In the meantime I have been studying by myself of course.</p>
<p>We now frequent a restaurant on the corner where we have our meals everyday.  Many other Americans eat there, as they cater for just our sort of trade.  We even have the same waitress serve us everyday, and I must say she is a marvel.  In fact, there  is perhaps only one better waitress in the world, and of course, you know who that is without my telling you.</p>
<p>Paris is getting ready for Christmas.  All the stores have their display of goods, and you'll always find a crowd around them.  The other day I went into a little store near here to buy a pair of winter gloves.  The proprietor was a Yiddisher Frenchman, who expectantly rubbed his hands together, just as they do on Canal Street.  I finally selected a nice, warm pair of gloves, and he told me it cost 4 frcs. 50 -- exactly 31 [cent sign] !!  I must say it was a bargain.</p>
<p>Have Charlie and Uncle Sam received my letters to them?  I expect to write to Ralph soon.  Love to all.</p>
<p>Aaron</p>
<p>P.S.  Your candy has not  come.  Harold is heart-broken.</p>
Copland|corr0033|Letter from Aaron Copland to his family, 1921/12/04|<p>207 Bd. Raspail<lb>Dec. 4, 1921</p>
<p>Dear Ma & Pa, --<lb>Much mail has been arriving lately.  I received two letters from you, the package of newspapers, my first copy of "Musical America" and last, but not least, that enormous box of candy has finally and at last arrived.  Where it has been all this time I have not the slightest idea.  Our first inclination after so long a wait was to eat it all up at once, but I thought of the belly aches we'd both have as a result, so we are going at it a little easier.  Candy is very expensive over here, so it is all the more appreciated.  The enclosed letter from Mrs Tuttle  amused me very much.  I notice she's still the same old bluffer.  I must not forget to tell you that you need not send the newspapers any longer, as I find we can get them in the American Library here.  But keep on mailing the Dial once a month, please.</p>
<p>Last Thursday night the concert took place at which my two songs were sung.  I am enclosing a criticism that appeared in the Paris edition of the Herald the next day.  May I modestly suggest that the critic is slightly  exaggerating?</p>
<p>I have found out definitely that my quartet is to be performed on Dec. 15th at a private affair (tickets please -- ) at the French Institute by one of the best quartet organizations in France.  This will be a competition  and you must not be surprized if I get a booby prize.  You must still have faith in my composition abilities, and no matter what these old fogies who will be the judges have to say, it makes no difference whatsoever!</p>
<p>I have finally and at last corrected the second proofs of the "Cat and Mouse" and it will be out in about 2 weeks.  I roared for half an hour when I heard pop had already ordered 25 copies.  You write that "everybody wants a copy."  Now, who on earth is everybody?  I can't think of a single person who might make the slightest use of this piece.  I must warn you not  to send any copies to Goldmark or Adler or any of my musical friends as I am sending them all autographed copies myself, which Durand supplies free of charge.</p>
<p>I have been looking up information about my trip to London.  I intend leaving about the 21st and staying 10 or 12 days.  Fare round trip is $12.00.  It takes 8 hours to get there.  I leave about 10 and arrive at 6 in the evening.  My friend Elwell, who lives there, will meet me at the station on my arrival, so you see, I shall be well taken care of.  Harold is not going as he has much work to do for school.  Send my mail here as usual and he will forward it to me.  I shall of course, write you from London, as soon as I arrive there.  My only real expense will be for board, as meals and shows I would have to pay for in Paris anyway, tho its cheaper here, of course.</p>
<p>This evening I am invited out to another affair at Mlle. Boulanger's home.  She is very nice to me in this way, and I enjoy watching the French talk, listening to their opinions, and once in a while butchering the language myself.</p>
<p>Now that Christmas is coming near I can well imagine the busyness on Washington Avenue.  You must be quite thrilled knowing that this is to be the last Christmas for the store.</p>
<p>I am hastening to finish this as the Paris sails to-morrow and I want it to go then, so here goes.  Love to all.</p>
<p>Aaron</p>
Copland|corr0034|Letter from Aaron Copland to his parents, 1921/12/13|<p>207 Bd. Raspail<lb>Dec. 13, 1921</p>
<p>Dear Ma & Pa, --<lb>Your welcome letter of Nov. 29th arrived a few days ago.  I also received one from Alma Harwood, to whom I had previously written.  She tells a very amusing story about Goldmark which I have no doubt you have already heard.  I suppose there is no one in New York now who doesn't know the history of that piece of mine.  I also received a very lovely birthday card from Miss C. and want you to thank her for me.</p>
<p>I am enclosing the program of the Composition Contest.   I have been meeting some of the Fontainebleau students at various concerts and they all seem to be much more excited about it than I am.  You understand, there is only one other contestant, a Mr. Avery, a man of about 40, who is now in Minneapolis, so that the whole burden of the affair rests on my shoulders.  By which I mean to say, that to my great disgust, I fear i am to be the center of attraction on Thursday.  But in my next letter I hope to be able to tell you the results of this whole silly business.</p>
<p>Well, finally I have had my first piano lesson yesterday with Monsieur Ricardo Vines.   He is a middle-aged man, very well known in Paris, tho he is not a Frenchman, but a Spaniard.  Since Mademoiselle Boulanger is only half French and half Russian, you can see I am getting a good mixture of tastes in music.  Vines says he is making me a reduction, as a professional musician, when he charges me 40 francs.  Since that is only about $3.00 and he is a first-class pianist, I think I am doing nicely.</p>
<p>Yesterday I attended a regular high-class musicale.  It was given by Madame Ephrussi, who, I hear is the composer Meyerbeer's great-great granddaughter.  She is a woman of about 60, a lady in the grand manner, who seems to have been born out of her time, since she would fit in better with kings than with Bolsheviks.  She lives in  what one calls a mansion, with a man to help you out of your car, and another man to take your coat, and still another man to hand you tea and cake.  And then you sit back in a big, soft chair and listen to the best trio in Paris.  Do you ask how I got to know this grand madame?  Always the same answer -- it was at Fontainebleau I first met her!</p>
<p>You need not bother to renew my subscription to the "Dial" since I can always get it at the library here, for the present.</p>
<p>I intend leaving for London a week from today -- on the 20th, so by the time you get this letter I shall already be there.  Still, I expect to write you another letter before leaving paris.  Tell Ralph, I intend writing to him from London.  Keep on writing to me at Paris as usual and Harold will forward it to me in England.  I expect to go to a great many shows and concerts, with the help of my friend Elwell, of whom I have already written you.</p>
<p>I suppose this letter will reach you in the midst of all the Christmas rush.  I shall very easily be able to picture the store on Christmas Eve, and hope you clean up a couple of million bucks (as my old friend Lou Bergman would say!)</p>
<p>Wish everyone a Merry Christmas for me, wont you?  Love to all the folks and especially yourselves.</p>
<p>Aaron</p>
Copland|corr0035|Letter from Aaron Copland to his parents, 1921/12/18|<p>207 Bd. Raspail<lb>Dec. 18, 1921</p>
<p>Dear Ma & Pa, --<lb>I received your letter to-day with the clipping from the Eagle.  The news printed there about the "Brooklyn Youth" was, as usual, half wrong.  However, it doesn't bother me at all.  I'm getting so used [to] reading news up side down in the papers, that I'd be surprised to see them get anything straight.</p>
<p>I am enclosing a clipping from the Paris "Herald."  It is as correct an account of that quartet affair as newspaper clippings generally are.  I need only make clear that neither I nor Mr. Avery got the "Prix de Paris" (a fancy name for a mere diploma).  For reasons best known to the jury of judges, the prize was not given anyone and we both got what is called honorary mentions.  Anyway I'm glad the whole business is over, since I never took any interest in it from the start.  Understand that I am not at all disappointed, and that I did not need 10 judges to tell me my quartet was rotten; I knew it myself.  Personally, I think the competition was run more to give the Fontainebleau School a lot of publicity than for any other reason.</p>
<p>In the evening there was a banquet to which I was invited and once more I rubbed shoulders with some of the biggest musicians in France.  But I assure you I enjoyed eating the supper more.  We had Blue-points, soup, lobster salad, chicken, tomato-salad, cheese, ice cream, cake and coffee and last, but not least red and white wine!  You can believe me when I tell you I didn't have to eat for a week afterwards.</p>
<p>These last few days I have been wildly busy attending to visits and lessons before leaving for London on Tuesday. I intend to write you all about it when I get there.  I leave Paris at ten o'clock in the morning, and go by railway 3 hours to Dieppe, on the seacoast, then we take a boat for 3 hours and cross the English Channel to New Haven and then we take another train for 2 hours which arrives in London about 6:15 in the evening.  My first night I intend to spend at my friend Elwell's house.</p>
<p>I'm sorry to have to admit that I still have not taken that picture.  Had I thought you were so anxious to have it, I should have attended to it long ago.  I would take it in London, only I am sure it would be much cheaper in Paris, so if you will have patience, the first thing I shall do when I come back to Paris about the 1st of January will be to take it.</p>
<p>I was very sorry to hear about the Jacobson's misfortune.  The two girls, when I saw them in Paris, both seemed to suspect something was wrong since they had received no letters from home.</p>
<p>Paris is now all fixed up for Christmas.  On all the main boulevards and business  streets are placed hundreds of little extra wooden shops where they sell everything from penny whistles to baby carriages.  In short, the whole city begins to look like Hester Strasse, only on a grand scale.  And as for fat ladies with a dozen Christmas shopping packages filling the whole car or bus, New York has nothing on Paris.  But soon I shall be singing a new song entitled -- "London."</p>
<p>You ought to get this letter around New Year's Day, so give everyone my best wishes for a Happy New Year.  I shall close now as I intend writing soon again from London.</p>
<p>Love to all the folks.</p>
<p>Aaron</p>
Copland|corr0036|Letter from Aaron Copland to his parents, 1921/12/23|<p>Dec 23, 1921</p>
<p>Dear Ma & Pa, --<lb>Here I am on the 3rd day of my stay in London writing the letter I promised.  I have been on the go continually, trying to see all the town at once.</p>
<p>I begin to feel like a real cosmopolitanite, knowing already Paris, London and New York.  If you asked me which city I preferred between Paris and London I should say Paris!  The trouble I find with London is that it is much too like New York (only without skyscrapers.)  At any rate, it is very expensive to live here, perhaps even more so than at home.  When I had to change some francs into pounds and shillings at the bank in Paris, I first realized how little the franc is worth outside Paris.</p>
<p>The hotel I am staying in here is a very nice, middle-class one, where you pay 8 and 6 (as they say here), or translated into American, 8 shillings sixpence a day (about $1.70).  This, as in all London hotels, includes a very elaborate breakfast, which I am not used to anymore, as in Paris, noone has more than coffee and rolls.  My other meals are taken in small restaurants around the town.  I have found that no matter what price you pay, English cooking is awful!  Compared to our (or any) restaurant in Paris, the food served here is tasteless, the sort of Yokel cooing you get at that hotel in Lake Carey.  However, they have some dishes here, which I have had for the first time since leaving home -- for instance -- oatmeal, a glass of cold milk, apple fritters etc.  Of course all this doesn't bother me, since I am here for so short a time, but I wonder what the poor English people do!</p>
<p>With the help of a guide book I can find my way around town easily.  Whenever in doubt I ask a bobbie (cop) the way, because I like to hear them talk.  They are just barely understandable with their funny English accent.  To tell the truth, sometimes I feel I can understand a Frenchman speaking French better than an Englishman speaking English!  Just as during my first few days in Paris I walked my feet off, I find myself doing the same thing here.  When I got my first glimpse of the Bank of England I thought of one of pop's favorite expressions -- "strong as the Bank of England."   Do you remember that movie "Deception" about the king Henry VIII who got rid of a few wives.  Well, I've been to the tower of London and saw the spot where one was beheaded.  Also here, they keep the Jewels of the present king and queen on view, a sight that would have made Lil's eyes do some funny stunts.  I've seen the Parliament buildings, Westminster Abbey, Soho, Chelsea, Leicester Square, Piccadilly  Circus (what we would call Piccadilly Square) and a million other sights.</p>
<p>Because of Christmas the concert season is rather quiet now, but I go to a lot of shows such as the Russian Ballet, and the Beggar's Opera.  I have seen my friend Elwell twice already and expect to see him again to-morrow.  I am keeping in touch with Harold in Paris, who is taking care of our apartment.  Before leaving I received your parcel of music (the Bloch songs) and it was just right.  In my short postal to you  I had no time to tell you of the "lovely" trip I had across the English Channel (a trip of 3 hours.)  To put it quite frankly I was 10 times more sea sick on that little ride than the whole 7 days across the Atlantic.  It was the ordinary, small channel steamboat which jumped around like a cork, making me leave my entire dinner all over the boat!  O it was beautiful while it lasted, I can tell you.  But like all sea sickness, when the boat stopped, it stopped.</p>
<p>I'll write again some time next week.  Did Lil and Ena get their packages yet?  Love to all the folks.</p>
<p>Aaron</p>
Copland|corr0037|Letter from Aaron Copland to his parents, 1921/12/29|<p>(Thursday)<lb>Dec. 29th 1921</p>
<p>Dear Ma & Pa, --<lb>Time has flown so quickly that it is almost a week since last I wrote.  Harold has not forwarded your letters from Paris, so I shall have quite some mail waiting for me when I get back, which is to be Sunday, January 1st.</p>
<p>There isn't really much news to write.  Of course, I could write a book about my impressions of London but I'm afraid it would only bore you.  Suffice it to say, that by the time I get out of here, I will have seen everything worth seeing.  But there have been no concerts or operas because of the Christmas season, and that has been a little disappointing.  However, I have been to a great many shows.  They certainly make a big fuss over Christmas here.  All the stores are shut tight not only the 25th, but also the 26th and the 27th.  I have had the good luck to find a restaurant run by Jews where you can get a decent meal for 50[cent sign] (2 shillings six pence).  This hotel I am staying at has turned out to be very nice.  I usually spend my day like this -- a very elaborate breakfast at 10 A.M. (oatmeal, fried fish, eggs and bacon, coffee, jam), start out wandering around the city at 11; have a light lunch at 1 o'clock; do some more wandering until 4 or 5 when I come back to the hotel and rest for an hour or two and then spend the evening at some show.  Today, however, I am to go to my friend Elwell's house and we shall have supper to-gether and then go to a concert, my first one since I have been here.  They have a piano at the hotel which I bang on occasionally.</p>
<p>Getting back to Paris once more will seem almost like going home.  I am sort of interested to see what the English channel will do with me this time.  But I am going all prepared -- cotton in my ears, a lemon in my pocket and Mother Somebody's Pills.  I suppose Lil would suggest the "King of Pain" -- as usual!  Love to all</p>
<p>Aaron</p>
<p>(I'll write when I get to Paris.)</p>
Copland|corr0038|Letter from Aaron Copland to his parents, 1922/01/06|<p>207 Bd. Raspail<lb>Jan. 6, 1922</p>
<p>Dear Ma & Pa, --<lb>Altho I have not received a letter since sending my last postal card,  I am writing to let you know that I am feeling well and hard again at work in Paris.  I suppose the Christmas rush must have prevented you from writing.  Now that I can see my London trip as a whole, I realize that I had a very good time, saw everything I wanted to see, even 'tho I am afraid it has put a sort of a hole in my bank account.  But I still have enough to last till the first of March at any rate -- about 3,000 francs.</p>
<p>While I was away the proofs of the outside cover of my piece came.  I have sent it back and now it really can't be long before the composition is out.  I laugh to think that I once thought I should be able to send it to you before Nov 14th.  But have just a little more patience.  Monsieur Durand, the publisher, invited me to a musicale at his home yesterday, where, by the way, I had some real live champagne!  So you see I'm back in the swing of things again.</p>
<p>Remember that pink program I enclosed once, on which a tenor named Hubbard was to sing two of my songs?  Well, the gentleman is now giving a recital of his own, and has put my two songs on the program again, and invited me to play the accompaniments.  I am enclosing a program of the affair.  I suppose I must go out and buy a stiff-bosomed white shirt and get all dressed up for the occasion.  This will be the third concert hall in which my songs have been sung so I really can't complain of being neglected, can I?</p>
<p>Guess who I got a letter from for the first time since coming to France -- Martha Dreiblatt.  She is in Wisconsin still studying at the University.  I have also received a letter from a pupil of Goldmarks, who says that Goldmark is as proud of me "as a mother hen"!  Is Alma Harwood coming to Paris in February as she sort of suggested to me?</p>
<p> I intend going to have my picture took to-morrow, if possible.  But you mustn't ask me to get all puffed up in my tuxedo.  After all, I much prefer that you get a picture of me looking as I do every day, rather than all dressed up for state occasions.</p>
<p>I am receiving my "Musical America" regularly and so keep up with musical doings in New York.</p>
<p>It was good to get back to Paris once more, if only for the excellent meals we get here.</p>
<p>Tell Ena I got her Christmas card and thank her for me.  I suppose both she and Lil have received their packages by this time.</p>
<p>There isn't much news so I'll close with love to all the folks.</p>
<p>Affectionately,<lb>Aaron</p>
<p>Tell Charlie if he still wants perfume for Laurine to send me a check for as much as he wants to spend and also what colors she prefers.</p>
Copland|corr0039|Letter from Aaron Copland to his parents, 1922/01/14|<p>207 Bd. Raspail<lb>Jan. 14, 1921 [i.e., 1922]</p>
<p>Dear Ma & Pa, --<lb>Soon after writing my last letter I received your letter with the enclosed copy of the "Standard Union."  I really dont know what to say about all this free advertizing, full length pictures in the Sunday papers and so forth.  I suppose its all right, and I hope you are all getting a lot of fun out of it, but I want to warn you that I'm exactly the same tall, long, lanky lux who left America seven months ago.  The story which Alma Harwood tells about Goldmark (and which I took it for granted you already knew) was this.  She says "I met Rubin Goldmark at a concert; he agreed you were to be congratulated and he informed me you got more for your piece than he has ever gotten for one of his!"  On second consideration, I have decided that this story is rather sad, since it shows how much serious music is worth in dollars and cents in America.  But at the same time one must remember that most composers in America get royalties while most composers in Europe sell their music outright.  But the long and the short of it is that there is no money to be made on composition either way.  Therefore one makes a living in some other way (teaching, accompanying, concertizing and so forth)</p>
<p>Its a little late about my birthday present from Charlie, but if he is still willing to remember it, he can be a nice fellow and enclose me a five dollar bill in a letter that either he or Laurine owes me.   I suppose Ralph must be wondering where that letter is that I promised, but the excitement of London was so great that I could not dream of sitting down to write him as I had expected to do.  But let him have hopes, it will come yet.</p>
<p>I am enclosing the criticism of the concert on which Mr. Hubbard sung my songs, the programme of which I enclosed in my last letter.  I suppose by this time you must suspect me of bribing the critic of this paper, but I assure you I waste no money on anything so silly.  The songs were received much more enthusiastically this time than at the S.M.I. concert.</p>
<p>For that affair I went out to buy a stiff-bosomed white shirt in one of the big department stores.  Guess how much I paid -- 18 francs (about $1.50!)  Also I have been having such awful struggles to make my bow tie each time I wore the tuxedo that I finally decided to buy a ready-made tie for which I had to pay 4 francs or about 30 cents.  One can hardly say things are expensive here.</p>
<p>By now I am all settled again in Paris; I have resumed lessons with Mademoiselle Boulanger and Monsieur Vines, have started receiving invitations to teas and musicales, going to shows and beginning anew this very fascinating life.  I am enclosing the statement of my bank account on January 1st.  I have just finished my first book of 25 checks and have ordered another.
I am very interested to hear what your plans are to be.  Well, so long for this time.  Love to all.</p>
<p>Aaron</p>
Copland|corr0040|Letter from Aaron Copland to his parents, 1922/01/21|<p>207 Bd. Raspail<lb>Jan. 21, 1922</p>
<p>Dear Ma & Pa, --<lb>Your letter dated Jan. 3rd came in due time and I was very glad, as usual, to hear from you.  I also received a very unexpected letter from Jenny Vogan[?] and want you to thank her for me for her thoughtfulness.  I was rather surprised to see that you made no mention of the packages I sent to Lil and Ena, but I have no doubt they both received them by now.</p>
<p>There isn't very much news of importance to write you this week.  I am still taking lessons, waiting for my piece to come out finally and at last, going to shows and being invited to teas.  Oh, I forgot one very important piece of news -- I regret to be forced to announce that I have sat the seat of my pants out! -- the pants of the suit that was new when I left home.  When Harold made the discovery I was astounded to think of all the water that must have flown under the Manhattan Bridge since last I went over it with those pants absolutely new.   But luckily, this is France, and there are some excellent tailors here, one of whom has already repaired the damage.</p>
<p>I have been running around the city occasionally trying to find a good photographer to take my picture.  Now I've come to the conclusion that I should either take a decent photo or none at all, because its no use throwing money out on "machshovis."  The trouble is that a good photo costs quite a sum, in fact, too much for me to spend, unless you say I should go ahead and take it.  I have found a very good photographer who charges 150 francs ($12.) for six pictures or 90 francs ($7.50) for three.  I realize this is pretty steep, but the work is very good, and if you still want me to take pictures, let me know, and also whether you want 3 or 6!</p>
<p>I was surprised to hear it was so cold in New York around New Years, because it has not been so very cold here.  Harold and I always pray for warm weather, anyway, so that we won't have to burn much gas in the gas heater.  Oh, the awful day when the gas bill comes!  How we both hold our breaths before we look at the amount.  Having to pay awful things like gas bills makes one feel like an old married man -- almost.</p>
<p> Will you do me a simple favor.  Send someone to Schirmer's  and tell them to send me a "SUITE for VIOLA and PIANO by ERNEST BLOCH"   Let Schirmer  mail it o me, and the quicker the more obliged I shall be.</p>
<p>It is now 11 P.M.  Harold has gone down to a caf to buy some nice French "brioches" (cakes) and I am going to make some tea (Lil, -- you stop laughing!)</p>
<p>Love to all,<lb>Aaron</p>
Copland|corr0041|Letter from Aaron Copland to his family, 1922/01/27|<p>Jan. 27, 1922</p>
<p>Dear Ma & Pa, --<lb>Since last I wrote you I have received two letters from you.  The news about your intentions to sell out both businesses was very thrilling but you don't give many details.  What are your plans afterwards?  How long do you intend to live on Washington Ave. after May 31.  How about your trip to Texas and California.  What does Pop intend to occupy himself with (since one can't play pinochle all day long.)  And what does Leon think of doing?  I suppose its a little early for you to answer most of these questions, but let me know all about your plans as soon as you finish them.</p>
<p>And incidentally I might tell you of the things I am planning for the future and hear what you think of them.  We have never talked very definitely about the length of my stay here, but I have always thought of about 2 years being necessary to round out my studies.  I have now been in France 8 months and this is the way I have thought of spending the remaining 15 months.  (I know this must sound like a very long time to you, but you know how time flies[.])  Here are my plans: -- around Easter time I would like to spend about 3 weeks in Italy (visiting Rome, Milan, Venice etc.) a trip which would cost about 400 francs ($30.00) more than if I stayed in Paris.  Then on about June 1st I would like to go to Germany (perhaps Berlin or Munich or Vienna) and stay in Germany for the entire summer, even up till November 1st, in order to get about five months of German music and customs.  Those five months would be very cheap.  Because of the rate of exchange being so ridiculously low, you can live in Berlin or Vienna for $5.00 a week (all expenses included) -- and live like a lord.  Then on Nov. 1st I would return to Paris, continue my studies with Mlle. Boulanger and finally come home some time in the Spring of 1923.  How does all that sound to you?  I wish you would think it over and tell me just what your opinion may be.  Perhaps you can offer suggestions or improvements.</p>
<p>Theres nothing new of any importance to tell you.  Just now, the man is in the next room tuning my piano.  They charge 10 francs here ($0.80 compared to the $4.00 of Steinways)[.]  This morning I received another letter from John Kober, who is still on my trail.  I suppose Lil will be glad to hear I have finally decided to answer him.  I also received a letter from Mrs. Tuttle who wants to know if I am coming back to Fontainebleau this summer.  Isn't that funny?</p>
<p>Give my love to all the folks and keep plenty for yourselves.</p>
<p>Aaron</p>
Copland|corr0042|Letter from Aaron Copland to his parents, 1922/02/04|<p>207 Bd. Raspail<lb>Feb. 4, 1922</p>
<p>Dear Ma & Pa, --<lb>I haven't received a letter from you since last I wrote, but since my weekly letter is due I am writing anyway.  I did, however, receive a delicious letter from Lil and you may tell her to rest assured that I will answer her soon.</p>
<p>Finally and at last my piece "Le chat et la souris" (which is French for "The Cat and the Mouse") has appeared, and I sent you a copy about 5 days ago.  Altho I have not been near Durand's store yet, Harold says the piece is in the window of the store.  I have also sent copies to Goldmark and Adler and several of my friends.  It was a strange coincidence that on the very day the piece appeared, I received a very nice letter from a French pianiste who had heard me play it at Fontainebleau.  She requested me to send her a copy of the "Cat and Mouse" and also another of my piano pieces, and said she intends to play them in a concert here, soon.  Miss Rutenberg also writes me from America that she may play it when she makes her debut, which will probably be sometime next season.  I find that though the piece is marked 2 francs 50 centimes, they really charge 4 francs 50 centimes because of some tax.  I am afraid that after Schirmer  adds on his profit it will be pretty expensive, and I do hope it won't bust the bank buying 25 copies.</p>
<p>By this time you must have received my last letter with all my future plans.  I hear that Easter is April 16th.  Harold has two weeks vacation at that time, and since he has decided to go home for the summer months, he is going to Berlin for Easter.  Since we do not like the idea of leaving the appartment alone for so long, I have decided to make my 3 week stay in Italy (if you agree), 3 weeks before Easter, or about the last week in March.  Then when I come back, Harold will go to Berlin for his three weeks.  According to present plans we intend giving up the appartment on June 1st.  Already I have bought an Italian grammar and am trying to learn the few absolutely essential words to know, should anyone I meet not be able to talk English or French.  As soon as my plans about Italy get more definite I will let you know just what cities I intend to visit and just when I intend to go.</p>
<p>Long ago I think I wrote you I intended to attend some free lectures at the Sorbonne (University).  Harold generally keeps me posted as to the good ones and I have been going once or twice a week to hear lectures on French literature.  This naturally helps my French along.  This evening we are going to a show, and will eat supper in the same restaurant where I ate on my first evening in Paris -- the very same restaurant where I had the unforgettable experience with the OMELLETTE!!  Love to all</p>
<p>Aaron</p>
Copland|corr0043|Letter from Aaron Copland to his parents, 1922/02/11|<p>Feb. 11, 1922</p>
<p>Dear Ma & Pa, --<lb>Altho a week is up since last I wrote, I have decided not to write a full length letter for two reasons. -- In the first place there is no news to write -- life has been running along just as smoothly and uneventfully as if I were in Brooklyn.  The second reason is that I have received no letter from you in over two weeks, and I am beginning to wonder where the mail is.  I do hope everything is all right at home and that you have been writing regularly.  So I decided to put off writing a regular letter until I received one from you, and then I shall be able to answer immediately.  This short note is merely to tell you that I am well, feeling fine and working as usual.</p>
<p>Love to all.<lb>Aaron</p>
Copland|corr0044|Letter from Aaron Copland to his parents, 1922/02/15|<p>Feb. 15, 1922</p>
<p>Dear Ma & Pa, --<lb>Last night, on coming home from a concert, I found your long awaited letter under the door.  It seems as if you neglected to write to me only because my letter was late.  As you can see by the dates of my letters, I write regularly once a week, and if you don't get the mail when you expect it, you need not worry, but simply blame it on the postal authorities.  But you too, ma, ought to set aside your least busy day of the week and write regularly on that day, whether you have received mail from me or not.</p>
<p>Anyway, you need not worry about the flu.  The epidemic has never been very bad here, and ever since the beginning of the month we have been having beautiful weather.  I hope everyone at home is well, because we have been reading reports of the sickness in the American papers.</p>
<p>I got the enclosed five dollars and want you to thank La and Charlie for me.  I shall add some more books to my library, which is growing very fast.  (Lord knows how I'll drag it around Europe with me!)  The Guaranty  Trust has sent me notice of the three thousand francs Pop deposited, and I'm very grateful.  I am enclosing the monthly statement to Jan. 31st.  The new 3,000 frcs. is not added on yet.  You must subtract 1100 francs from the statement as it stands, because Harold gave me that much money to deposit from him as he has no bank account.  (With so much talk about money I begin to feel like a Wall St. broker)</p>
<p>It sounds very good to hear you talk with such finality about getting out of business.  I am very sorry, on the other hand, to hear about the losses in the silk business.  I am waiting to hear what you think of the plans I have made for myself.</p>
<p>Since you ask how my clothes and suits are getting on, I am glad to say that except for the calamity that happened to the seat of my pants, all the rest of my things are holding out all right.  Everything, that is, except my shoes.  It seems that since coming to France my feet have grown larger, so that I have 2 pairs of shoes, almost new, which I have finally decided are too small for me.  It seems as if I will have to go out and buy a pair of shoes that fit me, which will last me till June, when I can get anything I need in Germany for a song.  What do you think I ought to do with the 2 pairs I have: Sell them here?  Send them home?  Incidentally, you might enclose 2 packages of Blue Jay Corn Plaster in an envelope and mail it to me as a precaution against hot weather.  One can't get the stuff here.  I wrote Ralph his letter and hope he has received it by now.  I mailed it to 14 Butler Pl.  Thats right, isn't it.</p>
<p>Till next time.  Love to all<lb>Aaron</p>
Copland|corr0045|Letter from Aaron Copland to his parents, 1922/02/22|<p>Feb. 22, 1922</p>
<p>Dear Ma & Pa, --<lb>Yesterday came your letter dated Feb. 8th.  Also the music Schirmer's  sent arrived safely, for which many thanks.  I'm sorry to say that there was nothing wrong with the price ($3.42).  One cannot get any Schirmer's music in France simply because the French cannot afford to pay so much.  Its very lucky, I seldom need music from N.Y. isn't it?  I intend having my "pitcher took" to-morrow and hope it will turn out satisfactorily.</p>
<p>I was glad to see that the letter I sent telling of my plans did not surprise you too much.  Also that you are willing to let me decide for myself how to dispose of my time, and last, but not least, that there is no particular rush about my coming home.  Your suggestion that I go back to Fontainebleau came as a sort of shock.  You must remember that altho the school did a great deal for me in the way of free advertising  and getting me next to Durand, I learned practically nothing from the composition teacher there (Mr. Vidal).  To go back again, would only mean 3 months gone to waste, because I came to Europe, not to have my picture in the papers, and not to get my piece published, but to learn more about composition.  That is the important thing, and there is plenty of time for the advertising  and publishing later.  I could give a dozen other reasons for not going back, but it is not necessary, as the one I have given will make you understand.</p>
<p>You also wondered in your letter whether 3 weeks in Italy and 5 months in Germany was long enough.  I think 3 weeks in Italy will be sufficient because from a musical standpoint it is not very important, and it would be dull to stay much longer since I know no Italian naturally and could not talk to any one or go to shows.  At any rate I would not be willing to leave Paris for longer than 3 weeks just now, because I don't want to interrupt my lessons with Mlle. Boulanger, and one can't go to Italy after June 1st because it is very hot and unhealthy there.  Three weeks therefore around March 26th will be just right in which I can see all the sights.  My plans are still rather vague, but I think I shall go first to Milan, then Rome and then Venice, spending about a week in each city.  As for 5 months in Germany, I am not sure myself whether it will be long enough.  One thing drags me back to Paris -- that is Mlle. Boulanger's marvellous teaching.  Yet, if I should happen to find a decent teacher in Germany -- who knows? -- I may not come back to Paris at all.  With the help of my Yiddish (?) I hope to learn German quickly and will soon feel at home.  Then the fact that it is so much less expensive than Paris may influence me to stay there.  At any rate, for the present, we will leave it an open question as to how long I stay in Germany, but I plan to go there on June 1st.  Before going I intend to write to Goldmark and Adler for letters of introduction to people.  In the mean time I shall continue thinking it over very carefully, and any suggestions you may make will be highly appreciated.</p>
<p>I have just been wondering when the contract for the store runs out -- is it May 1st or May 31st?  Do you know how long you will continue living at 630 after you get out of the store?</p>
<p>Shortly after we give up our appartment on June 1st Harold is going to sail for home for the summer months.  You must arrange with Elsie to see him at her house and he will be able to answer the million questions you must have to ask about our winter here.</p>
<p>I wrote Lil a letter not so long ago and hope she won't forget I expect an answer some day!</p>
<p>So long for the present.  Love to all.</p>
<p>Aaron</p>
Copland|corr0046|Letter from Aaron Copland to his parents, 1922/03/01|<p>March 1, 1922</p>
<p>Dear Ma & Pa, --<lb>I just received your letter of Feb. 20th with the news that you had safely received my piece.  I was glad to see you seemed to be so satisfied with the way it looked.  I have sent out about 12 copies to Goldmark, Adler, and all my friends (even, for Lil's sake, one to John Kober).  When Pop gets his copies from Schirmer's, give one to Ena, and tell her when I come home I'll sign it for her.</p>
<p>In the mean time I have been doing good work with Mademoiselle Boulanger.  I have just finished a new piece for piano, and also a song.  She was so pleased that she said she would write to a publisher she knows, and ask him to hear them and perhaps,  publish one or the other.  I emphasize the word, "perhaps," because there is of course only a slight chance.  If anything happens, I'll let you know.  This is a different publisher from Durand, so there will be no question of money.  I would be satisfied to have the pieces printed free of charge, and consider myself very lucky.</p>
<p>Yesterday a young fellow of about twenty came to see me.  He said he got my address from Jake (or Ben) Brin, and that jake Brin works for his father in Columbus, Ohio.  We spent part of the afternoon together, and I found him to be rather a nice chap.  We may see each other some more, 'tho he is going home soon, I think.</p>
<p>By the time you get this letter I will nearly be off for Italy.  I intend to leave on March 26.  It will take (by train) about 24 hours to get to my first stop -- Milan.  I intend to spend about one week there and take the train for another 12 hours to Rome.  I'll surely spend a full week there, as I expect there will be a great deal to see and hear.  From there I'll move on to Venice, with its canals and stay the remaining 4 or 5 days, getting back to Paris on April 15th.  I expect Harold to leave for Berlin the next day, and then I will take care of the apartment for the 3 weeks he is away.  In that way he will be able to tell me where to stay and what to see when I go to Berlin myself on June 1st.  While I am in Italy, of course, you will continue addressing my mail to 207, and Harold will forward it to me.</p>
<p>As Spring comes on (and already we have had one or two gorgeous Spring days) Harold and I intend to take short trips to towns of interest near Paris for a day's excursion.  Also I intend to put the camera Charlie gave me to good use.  I forgot to say that I finally and at last had my picture taken, and to-morrow I am to see the proofs.  I will send you your five in about a week[.]  Therefore lets hope they turned out well.</p>
<p>Love to all.<lb>Aaron</p>
Copland|corr0047|Letter from Aaron Copland to his family, 1922/03/08|<p>March 8, 1922</p>
<p>Dear Ma & Pa, --<lb>I have not received mail from you but this being my day to write, I am doing so.</p>
<p>I suppose you remember I wrote in my last letter that Mademoiselle Boulanger was going to write to a publisher to hear some of my compositions.  Well, since then, I received a letter from the publisher, Monsieur Senart, to come to his office and play them.  That exciting event came off yesterday.  I found that the firm is a sort of corporation, and any compositions published must be passed by a committee of 7 men.  The whole committee was there in full force and I calmly (?) played a piano piece and 3 songs on the bummest piano I've ever played on.  Everyone was very polite and when I finished Monsieur Senart said he would let me know by mail whether the committee decided to publish any, in the meantime keeping the compositions.  Thats how the situation is now.  I hope by the next letter to be able to tell you whether anything happened or not.  I guess my chances are about 50-50.  But even if they don't publish any of them, the compositions are all there and maybe some day somebody else will.</p>
<p>In the mean time I am very busy learning how to write for a big orchestra, and also composing a new quartet.  What with my piano lessons, and concerts and shows, you can easily imagine that time is simply flying.  In two and a half weeks I am off for Italy.  I expect to eat lots of macaroni and warn everybody that "me no capish."</p>
<p>Harold went with me to the photographers to see the proofs and we decided to take 3 and 3 of two different poses.  I am to get the finished pictures in 3 days and will send them to you immediately, keeping one for myself.  I do hope you will be satisfied with the way they come out, but if not, blame it on my face.</p>
<p>Miss Rutenberg has written me that she played my "Cat and Mouse" for Adler, and that he said he liked it, tho he thought it was "rather modern in spots."  Translated into English that means I am still a musical  "Bolshevik."</p>
<p>The weather has been very changeable these last few days.  Monday will be warm, with the sun out, and all the women with baby carriages out in the park.  Tuesday  it is cold, rainy and miserable out.  Otherwise Paris is the same old place it always was.</p>
<p>For the second time since coming to Paris I went to the movies to see a picture which played at the "Capitol" in N.Y., but which I had never seen before.  The French are big movie fans and are crazy about Mary Pickford and the rest of the gang.</p>
<p>Until next time.  Love to all.</p>
<p>Affectionately,<lb>Aaron</p>
Copland|corr0048|Letter from Aaron Copland to his family, 1922/03/15|<p>March 15, 1922</p>
<p>Dear Ma & Pa, --<lb>Two days after I sent my last letter, your's came with the exciting news about selling the store.  It was hard for me to realize I had not been dreaming.  Even now I can hardly picture you to myself as being anywhere except behind the yard goods counter or up at the desk.  But with time I suppose I'll get used to the idea.  What has happened to Louise, and Miss C. and the rest of the gang.  And how long do you think you will continue living on Washington Avenue.  (I suppose that last question is sensible enough, but to me it sounds crazy.)  I shall look forward with great interest to your future letters to hear how things are planing  out.  Tell Charlie he has my everlasting blessings for offering to take care of my books.  The music in Pop's closet can be thrown out, but all  the other music is very valuable and I hope you will take good care of it somehow.</p>
<p>As for myself, I have no very thrilling news to tell you.  Monsieur Senart the publisher has not written to me yet and tho I do not understand the delay, I am taking it as a good sign since he still has my manuscripts.</p>
<p>I have just received my photographs to-day and will send them to you to-morrow, without fail.  I hope you will think them worth all the fuss and waiting I have been forced to make you do.  To say that the pictures flatter me, is to put it mildly, but the pictures ought to approximately recall to you what my features were like.  Anyway, let me hear what you think of them.</p>
<p>The main thing occupying my mind just now is, of course, Italy.  I have been making the necessary inquiries and have found, to my regret, that the trip will cost more than I first thought.  The railroad fare for a round trip, allowing me to stop off at Milan, Rome and Venice is 586 francs.  Boarding (without meals) and extras for concerts and so forth will be about 400 frcs. more.  I therefore figure that the trip must cost me about 1,000 francs extra -- that is -- 1,000 francs added on to the usual 1200 I would spend if I stayed in Paris.  At first the outlay seemed so much that I considered calling off the trip altogether.  But on thinking it over, I have decided that in Germany I will be able to make up the extra thousand francs (about $90.) because of the very low cost of living.  Also I hope to save something because of the fact that the Italian lira, which at par value is worth 20[cent sign], is now only worth about five cents.  So all in all, I thought you would agree it is wisest to go now, since the opportunity doesn't come every day.  Therefore I am planning to leave Paris on the night of March 26th at 9 P.M.  The train runs thru southern France and Switzerland and arrives at Milan the next day at 6 P.M.  So you see it is almost a whole days trip in the train.  (However that pleases me better than 2 hours on the English Channel!)  Now I plan to stay in Milan 6 days, but it all depends on how interesting I find the opera and concerts there.  My next stop, at any rate, will be Rome.  It takes 12 hours on the train to get there from Milan.  After a week in Rome I shall go to Venice (another trip of 12 hours), and finally end up in Paris on the 16th of April.  Besides seeing Italy, I have no doubt I won't want to look at a train after its all over, but if you want to travel, I suppose you must sit in trains.  Of course as soon as I get into a new city I will drop you a card and then a letter will follow.  Whenever I want to talk Italian all I need do is use my hands!  When one is a pianist thats not so hard, is it?</p>
<p>Harold is going home for summer only and will come back in October to finish his second year in college.  I have written Sidney to buy me some music and have told him to send you the bill.</p>
<p>Your suggestion about buying a new Spring overcoat makes me smile.  If you saw some of the things people around here wear and call Spring overcoats, you would have to call mine brand new.</p>
<p>Next Sunday I am invited for the third time to a musicale at Durand's, one of those horribly swell affairs.  I wish Lil could see the men with full dress suits and white silk gloves serving champagne.</p>
<p>Love to all<lb>Aaron</p>
Copland|corr0049|Letter from Aaron Copland to his family, 1922/03/21|<p>[Paris]  March 21, 1922</p>
<p>Dear Ma & Pa, --<lb>I have decided not to wait for your letter, but to write right away in order to tell you the great news.  I have signed a contract with Monsieur Senart, the publisher, who is going to bring out 2  of my compositions!!!  First a piano piece (longer than the "Cat and Mouse") called a "Passacaglia" and then a song for voice and piano entitled "An Old Poem."  This, you must agree is a most gorgeous piece of luck which fell out of a clear sky.</p>
<p>This time, instead of selling the compositions outright, I have sold them on a royalty basis of 10% on each copy for the first thousand sold, and 15% on the second thousand.  Of course that doesn't mean any money in my pocket as there is very little chance of selling more than 2 copies, I suppose.  But who cares, I am published once more, thats the all important point.  The fact is, I shall probably pay out more than I ever make on the song, because I have been forced to pay the poet, whose words I used, one guinea ($5.00), for the rights of using his poem for a song setting.  (That is the usual price.)  I will let you know later on, what firm in New York handles the Senart Publications, should anybody want a copy.  Of course, you understand it is my teacher, Nadia Boulanger, who I must thank for this.  Without her influence, this would never have come about.  It is impossible for me to tell just when the pieces will be ready to send home to you, but you can bet it will be a long time.  Anyway, its something to look forward to.</p>
<p>In the midst of the excitement I shall be off to Italy next Sunday.  My plans have been slightly changed.  Instead of going to Venice I shall visit Florence,  which will not necessitate so much travelling.  My first stop is to be Milan in any case.  Most likely I shall spend most of my time at Rome.  Luckily, I shall not have to make the trip alone, as another young American fellow,  also a pupil of Boulanger's, is going with me.  As he can talk a little Italian, I won't have to work my hands so much.  Then Mlle. Boulanger has promised to give me letters to some people in Rome, so you see, everything is planning out  beautifully.  I expect to drop you a card as soon as we arrive in Milan.</p>
<p>Last week I carefully wrapt my photographs and mailed them.  I hope they arrive safely and in good shape.  Today I am enclosing 4 snapshots  that I hope will interest you.</p>
<p>I am waiting with as much patience as possible to hear what effects the selling of the store has had on everyone.
The next mail you get from me should bear an Italian stamp.</p>
<p>Love to all.<lb>Aaron</p>
<p>P.S. Yesterday I received a letter from Martha Dreiblatt.  She says she may be in Berlin during the summer.  Aaron Schaffer also writes the same.</p>
Copland|corr0050|Letter from Aaron Copland to his parents, 1922/03/28|<p>March 28, 1922</p>
<p>Dear Ma & Pa, --<lb>I am writing you my first letter from Italy.  I, and my American friend Smith,  started out from Paris as we had planned on Sunday.  As we travelled 2nd class, and there are no sleeping cars except in 1st class, we did our best to doze off, now and then during the night.  At 7 A.M. on Monday morning we arrived at the Swiss border line and had breakfast after having our suit cases examined by the customs  officers.  At two in the afternoon we had to go thru the same rigamarole with the Italian authorities.  As 6:30 in the morning we were in Milano, our first stop.  We have gotten settled in an excellent hotel, where they charge 60 lire ($3.00 about) a day for room and 3 meals a day.  Everyone talks French or English in the hotel, at least, so it is very simple to get around.  Already I have done a great deal of walking around town and find it very fascinating.  The main points of interest are the marvellous cathedral and the Opera House, called La Scala.  We have already climbed to the top of the cathedral from where one can see for miles and miles around.  To-night we have seats for the opera.  We shall probably go there once again tomorrow night, and on Thursday, leave for Rome, where I intend to spend most of my time in Italy.  One realizes very quickly here that the great majority of Italians are very different from the Wops we are used to at home.  I forgot to mention that on our trip here, I got my first glimpse of the Alps and the Italian lakes.  They were both sights I shall never forget.</p>
<p>Before leaving Paris I received your letter and the corn plasters.  Tell Pop not to buy any more copies of my piece at Schirmers  at that outrageous price, as I can buy them at Durands for 45 [cent sign], any day.  In my last letter I told you I had sold two more of my compositions.  I am sorry to say it will be a longer while than I had hoped before you will see them in print as I am not to get the proofs before the summer.  There is one advantage, however.  The publisher writes to me that the pieces will probably  first be printed in a musical magazine which comes out once a year in November.  But since anything printed in that magazine must never have been previously published, we shall probably have to wait till next November to see them in print.  After being put in the magazine, (which means more royalties,) they will be printed separately.</p>
<p>About one week after you receive this letter I shall be back in Paris with about 500 francs in the bank.  As I should hate to be stranded for money, I am letting you know well in advance the state of my financial affairs.</p>
<p>As it is a very beautiful day and I am anxious to see more of Milan, I will close with love to all.</p>
<p>Aaron</p>
<p>P.S. I shall write again when I get to Rome.</p>
Copland|corr0051|Letter from Aaron Copland to his family, 1922/04/01|<p>April 1, 1922</p>
<p>Dear Ma & Pa, --<lb>Harold has forwarded me your letter of March 15th with the very unexpected news of the new arrival in the family.  Congratulate Josephine and Lou for me a thousand times and may they have many more.  Only one thing worries me.  What is the baby's name?!X.</p>
<p>I was very tickled to hear that being out of the store agrees with you so well.  And I was quite astounded to hear you asking my advice as to a trip to Europe.  I am sure you understand it is very difficult for me to say whether you should come or not, because many of the things here which interest me immensely would not concern you at all.  If you are deciding to either go to Texas and California or Europe, I most certainly would advise Texas, where you know many people and the language.  Travelling for 2 or 3 months in Europe is an extremely tiresome affair, not to mention the expense which would be considerable since you would always have to travel 1st class.  If you were coming to live for 6 months or a year it would be an entirely different matter.  In any case, you ought really go to Texas and California first, as you have so long planned doing.  I have a faint suspicion  that the idea of coming to Europe would not have entered your head if I had not been here.  But as much as I should like to see you, I do not think it a sufficient reason for so long a trip.</p>
<p> Well, I've been in Rome for two days now.  I am settled in a very nice pension (a hotel where you must take the 3 meals), where they don't speak English.  Luckily every one knows French, so I am very well off.  The price for room and board is 45 lire but after you get done adding tips and the millions of government taxes it amounts to about 55 lire ($2.75)  a day.   Rome is simply packed to the gills with tourists just now.  Mademoiselle Boulanger, before I left, gave me letters to the most influential musicians in Rome.  Already I have met two young American musicians who are sent here on a scholarship for three years.   Who knows, perhaps someday I may live here that way myself.  Rome really needs more than two weeks in which to see things.  You must understand that the old Roman Empire was flourishing here even Before the year 1, so that the city is a most peculiar mixture of modern business  firms, squalid tenement houses, and wonderful old Roman ruins.  Today I went to visit the Coliseum, the theatre of the Romans, thousands of years old but still standing in ruins.  To-morrow I intend to see the Popes quarters, the Vatican, and St. Peters, the biggest catholic church in the world.  And so on and so on.  To-morrow also I am to hear my first concert in Rome and you can imagine how interested I am.</p>
<p>I expect to be back in Paris by the 16th, but as Harold is leaving for Berlin on the 8th, our appartment will be empty for one week.  He will return the last of April which gives us about 4 weeks together before he sails for home.  He has sent me the page from "Musical America" with the paragraph of unsolicited advertising, which I send on to you.  This particular page appears in the magazine every week and is very widely read all over America.</p>
<p>Of course about April 12th I shall go to Florence  for a few days, partly to see the city and partly to break the very long trip on the train from Rome to Paris.  If things keep up this way my journey will turn out beautifully.</p>
<p>And now, I must close in order to have my supper and out to a show of some kind.  Tell Lil I can eat spaghetti  now like a real Wop.  Love to all.</p>
<p>Aaron</p>
Copland|corr0052|Letter from Aaron Copland to his parents, 1922/04/07|<p>Apr. 7th, 1922</p>
<p>Dear Ma & Pa, --<lb>I have now been in Rome 8 days and like the town very much.   I shall stay here until the 12th, which will mean that I will have spent 1 day less than 2 weeks in Rome.  On the 12th I take the train at 8:30 A.M. and arrive at Florence  at about 2 in the afternoon.  I shall have only 3 days in Florence and on the 15th start for "home" (Paris) at 5 P.M.  We get to Paris the next day at 8 P.M.!  So now you have my routine which I shall have accomplished, I suppose, before you get this letter.</p>
<p>Altho I have been flying around Rome all week, trying to see the sights, I don't know how I can fill 4 pages this week.  I can't very well describe all I've seen, as that wouldn't be very interesting for you.  I have, tho, attended the opera twice and also heard several concerts.  We have presented some of the letters Mlle. Boulanger gave us and have been treated very kindly.  The Hotel-Pension I have chosen has proved very satisfactory.  They feed one a great deal of spaghetti; rice, cheese and fruit, besides the usual dishes.</p>
<p>Harold has sent me the clipping I am enclosing.  Of course, it was he who gave the reporter the information as to my present and future whereabouts.</p>
<p>I also got a letter from Herbert Elwell, the friend I visited in London.  He is coming to Paris soon and will look me up.  I have just received a letter from Aaron Schaffer.  I had sent him a copy of my piece, and he got one of the students at the university to study it and play it for him.  The letter was so nice I was almost tempted to enclose it.  It seems I'm getting famous in Austin.  By the way, he intends to come to Europe this summer and I may see him in Berlin about August 1st as he goes to Paris first, in July.</p>
<p>Rather than hold this letter off for more news to write, I am going to send it off to let you know I am in the best of health and enjoying myself immensely.  Love to all.</p>
<p>Affectionately,<lb>Aaron</p>
<p>P.S. Of course, I'll let you know as soon as I arrive at Florence.</p>
Copland|corr0053|Letter from Aaron Copland to his parents, 1922/04/11|<p>6 P.M. Tues.  Apr. 11, 1922</p>
<p>Dear Ma & Pa, --<lb>This morning at 9 P.M.  I left Rome, one day earlier than I had intended, as everyone told me so much about the beauties of Florence, that I thought I ought to have 4 days here at least.  We arrived at 2:30 P.M., after having a delicious dinner on the train.  Then I began searching for a room in a hotel, which just now, is like looking for a pin in a haystack.  Finally, after going into 10 places (with no exaggeration), I struck this one an hour ago by some miracle.  Already I have bought a ticket for the opera to-night and now I am resting and writing to you at the same time.</p>
<p>Yesterday, before leaving Rome, I received your letter of the 26th which Harold forwarded to me.  I was very sorry to hear Grandma had been so sick and hope she is well now.</p>
<p> Once more, you say you are thinking very seriously about coming to Europe.  Of course, I wrote two letters ago, what I thought of the idea.  The only circumstance which has changed is that you say it is your only chance of coming as pop will go into business  next winter.  I also see that it is not a question of Texas or Europe, but of a summer in the mountains or Europe.  Yet, in spite of everything, if you ask me where you will get most rest and enjoyment I should say in the mountains.  This applies particularly to Pop, whom I imagine, would have a better time in a decent Yiddisher hotel with plenty of pinochle than in the swellest dumps in Europe.  Then don't forget that July and August are two very hot months in all the big cities here, and one has no energy for sight seeing.  And yet, after all is said and done, I may be all wrong.  You may enjoy some good Pilsner Beer in a good old German beer garden very much.  So, in the end I leave it for you to decide what to do, and you can easily imagine how anxiously I shall await your final decision.  I was thinking that you might even put off the trip till next spring (the ideal time to come) if Pop wasn't very anxious to go, and come here with Laurine or Dorothy or someone else in the family, and then we might all come home together.  But if you decide to come in July let me know very soon as I shall have lots of advice to give you about traveling and so forth.  It seems quite wonderful that there should even be a slight chance that I may see you in less than three months.</p>
<p>Now, to come to less important matters, I am very glad to hear of the good news you have to tell in each letter about my first published piece.  The incident with the salesman at Schirmer's  was very amusing indeed.  You seem to be selling so many copies that I almost regret not having it published on a royalty basis.  Don't be discouraged if no one seems able to play it for you, as its not nearly so difficult as they make it, which point I hope to illustrate some day.  (Let me say right here that that famous critic of music, Mr. Charles Marcus, is not  going to like it!)</p>
<p>So there has been a great fuss about a name for the new baby.  Well, that is as it should be.  I, as a member of the family, have a right to put in my two cents, have I not?  Therefore, as a connoisseur of names, I hereby suggest a name which I think is neither too common nor too fancy, too Jewish nor too Goyish, in short, -- just right.  Here we have it, -- GINA (pronounce the G soft); or you can say it just that way and spell it like this -- DJINA.  Of course, I know everyone's opinion of this marvellous suggestion of mine, -- Lou will think it too stuck-up, Dorothy will think it too stagey, La will think it too odd and so forth, -- but Lils will agree with me!  Anyway, now that I've had my say, you can name the kid anything you like.</p>
<p>I will let you know when I arrive in Paris next Sunday.  I leave Florence Sat. at 5:30 P.M. and arrive next day at 8 P.M.</p>
<p>Love to all.<lb>Aaron</p>
Copland|corr0054|Letter from Aaron Copland to his family, 1922/04/24|<p>Apr. 24, 1922</p>
<p>Dear Ma & Pa, --<lb>It is needless for me to tell you how very deeply moved I was to hear of Grandma's death.  I well remember the time I went to the Bronx to say good-bye to her, and something seemed to tell me then that I was seeing her for the last time.  I was sorry that the card I sent Uncle Sam from Italy must have arrived at such an inopportune time.</p>
<p>A few days ago I received a card from Harold from Berlin.  He will be back with me at the end of the week.  Of course, I miss him very much, as you can easily understand that living together for so long has made us inseparable friends.  But his trip to Berlin will help me a great deal in the way of practical knowledge of the city such as where to stay, where the good restaurants, bookshops etc. are, and all about the theatres and concerts.</p>
<p>During his absence from Paris, I have been leading a very secluded life, given up entirely to music and books.  I wonder if you ever realize what a large part the reading of books on all imaginable subjects plays in my existence.  I read, not to learn anything, but from the pure love of it.  Had I gone to college, I should be graduating this year, but I never regret not having done so.  Of course, there are plenty of people, who must see you with a college diploma to make them believe you are educated, but I feel my extensive reading has done a great deal to make up for any Geometry or Chemistry they teach one there.  I often think, in planning ahead, that rather than teach or concertize to make a living, I should greatly prefer to write on musical subjects.  I intend to make an attempt at writing some short articles this summer and sending them to musical papers at home and see what happens.</p>
<p>To-morrow I recommence work with Mademoiselle Boulanger and still have about 5 lessons before the finish.  I am not bothering to begin again with my piano teacher for so short a time.  He was, in many ways, a very satisfactory teacher, but not, I am sorry to say, an entire success, at least, not a success in the sense that Nadia Boulanger is.</p>
<p>Already I am wondering what to do with all the books and music I have, and which will weigh down my trunks so badly.  Then, I must leave lots of room to get more in, in Germany (particularly music) where things will be so cheap.  There are two solutions, either I shall make a package and send it to you, or I shall put it in care of some reliable person in Paris, to keep for me.</p>
<p>I am still waiting as patiently as can be expected to hear of your decision about the European trip.  Why must there be so many miles and miles of unnecessary water between us?  Hope you are all in good health.  My love to everybody.</p>
<p>Aaron</p>
<p>P.S. I received Jenny's Easter card and thank her for me.</p>
Copland|corr0055|Letter from Aaron Copland to Nadia Boulanger, 1922/08/15|<p>Bei F. Jrges -<lb>Brckenallee 17, Berlin<lb>Aug. 15, 1922</p><p>Dear Mademoiselle Boulanger, -<lb>If I have not written to you since the first card I sent, it is simply because there is so very little to write about.  Even now, my main purpose in writing is to let you know that I intend to be back in Paris towards the beginning of October and hope you will remember to save me an hour.  It is needless to tell you how anxiously I look forward to recommencing work with you again, n'est ce pas?</p>
<p>I have been in Berlin ever since I left Paris in June, but I haven?t any very nice things to say of the city.  D'abord c'est beaucoup trop bourgeois ici!  Et puis, they dring too much beer here.  I'm afraid that in my year spent in France, my view point has become so Gallic that I can't understand the Germans.  Certainly they are not "trs sympathique."  The one good thing there is to say centers around money matters.  One can live here twice as well as at Paris for half the money.  Because of this, I expect to bring much music back with ma, some of which I think you will be interested to see.  (Incidentally, if you care to have me buy some music for you, just let me know what you wish, and I will be only too glad to send it to you.)</p>
<p>Naturally, since it is now the summer season, there is no serious music being performed.  Before the opera closed I heasrdd Max Schillings[`] "Mona Lisa", Hans Pfitzner's "Palestrina," and Busoni's one act "Arlecchino."  None of these were very interesting.  Most German musical activity seems to be centered in Vienna around Schoenberg and his pupils such as Egon Wellesz and Anton Webern.  Whatever happens of any importance in Berlin seems to emanate from Schreker and his pupils.</p>
<p>As for myself, I have had ideal conditions for working, -- a quiet room, an excellent piano and very few distractions as I know practically no one here.  I have read over a great deal of new music; have gone thru the orchestral scores of "Pelleas," "Till Eulenspiegel" and "Le Poeme de l'Extase" note for note, to mention only a few.  As for actual composition, my Ballet  is progressing very slowly but surely.  I still can't find a satisfactory story to go with it, but I continue to develop the separate dances.  Perhaps -- peuttre -- we may orchestrate them together this winter.</p>
<p>I have not yet received the proofs of my "Passacaglia" or the "Old Poem" from Monsieur Senart, but as he said they would come ?au courant de l't? there is still time.</p>
<p>Please give my very best regards to Smiss[?] and also to Herbert Elwell if he is still at Paris.  I hope your class at Fontainebleau is not too "ennuyeux"!  Is it too much for me to hope that you may find time to send "un petit mot"?</p>
<p>Sincerely yours,<lb>Aaron Copland</p>
Copland|corr0056|Letter from Aaron Copland to Nadia Boulanger, 1922/09/22|<p>Bei Jrgens -- Brckenallee 17<lb>Berlin -- Sept 22, 1922</p>
<p>Dear Mademoiselle Boulanger, -<lb>Many, many thanks for your kind letter.  I am now writing to let you know what success I have had in obtaining the various things you asked for.  I have been able to get the Liszt "Faust Symphony" and an excellent edition of the 12 "Symphonic Poems" in three volumes as well as Berlioz's "Symphonie Fantastique."  However, I'm sorry to say that the "Trait d'Harmonie" de Schoenberg has been out of print (epuis) for almost a year.  Also the French  translation of Lilli Lehmann's "How to Sing" is unobtainable in Berlin, but I have bought the German edition.  (The French version of this work is published by Rouart, Lerolle.)</p>
<p>When you say that "on voudrait donner ici la suite d'Ernest Bloch pour viola," I take it you mean the orchestral version of the work.  I have made inquiries and learned that the material for the orchestral accompaniment cannot be bought, but only hired from the Universal Edition of Vienna, to whom you could write for full information.</p>
<p>I had originally intended to send by mail whatever music I bought for you, but I find that it is not possible unless one pays about 8 times the Berlin price.  Therefore I shall bring it with me when I return to Paris, which will be about October 10th.
I have forgotten to mention that I bought for you among "quelque chose de nouveau," Bela Bartok's "Improvisationds" op. 20 for piano, an exquisite little work, and also Egon Wellesz's "Quatuor a Cordes" that I find very interesting.  But I have secured a great many other new works that I shall be happy to let you see, and should you care to keep any, they will be at your disposal.</p>
<p>The new season, which begins earlier here than at Paris, has brought some interesting performances.  I have heard Bruno Walter conduct "Das Lied von der Erde" and found myself quite carried away by it, particularly the first few movements.  I have seen about 10 operas since last I wrote you, the most interesting of which were "Der Freischtz" and Franz Schreker's "Schatzgrber."  Soon there is promised a hearing of "Pierrot Lunaire" with Egon Petri at the piano and I shall be interested to see what the Germans do with it.</p>
<p>You can't imagine how happy I am at [the] thought of being back in Paris so soon.  In the meantime, let me wish you much success for the Amsterdam concert.  Please pay my respects to Madame, vtre mre.</p>
<p>Alors,  bientt!<lb>Aaron Copland</p>
Copland|corr0057|Letter from Aaron Copland to Nadia Boulanger, 1923/03/09|<p>[postmark: 3 . IV . 1923 Bruxelles]<lb>Tuesday  -</p>
<p>Chere Mademoiselle, -<lb>Un petit mot from Brussels.  I am staying here a few days and then intend to see Bruges.  I hope you are resting well at Gargenville.  My regards to Madame Boulanger and Smiss.</p>
<p>A. Copland</p>
Copland|corr0058|Letter from Aaron Copland to Nadia Boulanger, 1923/07/25|<p>Bei Frau Steinhof<lb>IX Hrlgasse[?] 9, Vienne<lb>July 25, 1923</p>
<p>Dear Mademoiselle Boulanger, -<lb>Nothing of very great importance has happened to me since I left Paris.  But I want to write you at least a few words so that you may have no cause for thinking that I have forgotten you.  No!  I most certainly haven't forgotten you.  In fact, if I liked, I might get really sentimental about the Rue Ballu and all that it has meant and still means to me.  Mais, aprs tout, vous le savez aussi bien que moi, et puis -- n-est-ce pas, c'est vous qui a dit -- 'Copland n'est pas romantique du tout'!?  Not being romantic, I mustn't get 'sentimental' about anything, must I?  But I am sure you will understand what I feel I owe you after two years of work, just as you understood the emotion in my apparently cold Passacaglia.  (Est-ce que, vraiment, vous comprenez quelque chose dans cet anglais un peu 'tordu'?)</p>
<p>Next week I am going to Salzburg with my friend M. Clurman.  Six successive evenings of modern music  should prove a big enough feast for even so insatiable a gourmand as myself.  I suppose you have seen the programmes, but to be sure, I am enclosing a copy.  I am particularly interested in hearing  Miaskowsky's work,  because Boris de Schloezer, whose opinions are generally reliable, has spoken very well of him.  Bartok's second violin sonata -- (the first is already published); Hindemith's Clarinet quintette and the works By Bliss,  Prokofieff,  & Krenek  should be especially worth while.  Then there are the unknown names of Janacek,  Shoeck,  Jarnach  etc. which sound tempting.  All in all, the programmes are satisfying, but I wonder why they thought it necessary to give Roussel's 'Divertimento,' or Szymanowski's early 'Hafislieder' or 'Lord Berners' rather silly 'Valses bourgeoises.'  Et Sem Dresden -- je me demande ce que a peut tre!  (I have noticed with regret that Mlle. de Manziarly's 'Trio' is not included on the list.)  I shall write you an account of the Festival and we shall hear what we shall hear.</p>
<p>After spending five weeks in Vienna, I can only say that it is 'pas mal,' -- beaucoup plus sympathique que Berlin, mais loin d'tre Paris.  It lacks, perhaps due to the war, a certain care-free atmosphere -- [']la joie de vivre.'  But of course, these are first impressions, and I will be able to judge it better when I am here longer.</p>
<p>I have found excellent surroundings in which to work and spend most of my time on composition and learning German.  Thru an abonnement I am enabled to read over lots of new music and I am specializing in Bruckner, Reger and Mahler!  (Vous savez que Reger est pour les Allemands ce que Faur est pour les Francais!)  I have played a Violin Sonata by Reger (op 72) which is surprisingly good and encourages me to get more familiar with his work.  On the other hand, for me, Bruckner is 'carrment mauvais'!</p>
<p>Pour le ballet, il n'y a q'une chose  dire: je fais mon possible -- qui est quelque fois cinq heures par jour.  So even if I don't accomplish anything I have the satisfaction of knowing that I worked hard!</p>
<p>Et Gargenville?  Et Fontainebleau?  Et Madame Boulanger et Hesselberg et Mary Sanders et tout le monde va bien j'espere.</p>
<p>Sincerely,<lb>A. Copland</p>
<p>P.S.  Is there any music you should like me to send you?</p>
Copland|corr0059|Letter from Aaron Copland to Nadia Boulanger, 1923/08/12|<p>Vienne le 12 aut, 1923 [12 August 1923]</p>
<p>Chre Mademoiselle, -<lb>D'abord, on n'a pas jou le Myaskowsky.  a,  vous savez -----!   Et puis, le Prokofieff n'tait pas du tout intrresant.  Une ouvre de jeunesse probablement.  Le Ravel  et le Stravinsky  que vous et moi -- je veux dire nous -- (nous autres Francais!) -- connaissons depuis longtemps, ont t acclams par toute la salle.  They were the 'hit' of the festival.  Mais le Milhaud,  le Poulenc  et mme le sonate pour l'alto de Honegger tait assez peu gout.  Pourquoi?  Je n'en sais rien!</p>
<p>Il y avait beaucoup d'internationalisme mais, malheureusement, pas beaucoup de choses extraordinaires.  Je suis bien sr qu'on a jou Kilpinen  parce qu'il est finlandais et Whithorne  parce qu'il est amricain et de mme pour plusieurs autres.  Naturellement, le monde ayant tant besoin d'internationalisme en ces jours-ci, on peut le supporter; mais c'est de la mauvaise musique tout de mme!</p>
<p>Peut-tre croyez-vous que je regrette d'tre all  Salzbourg?  Pas le moins du monde.  D'abord il y a la ville elle-mme, -- une joie pour l'esprit, et les environs avec ces montagnes qui vous attraient tellement.  Et on monte jusqu'aux hauteurs vertigineuses et on admire 'the Old World' -- (comme on dit chez nous) -- qui  l'air tout  fait neuf.   Les montagnes -- a vous interesse aussi, j'en suis certain; mais revenons  la musique o je me sens plus  mon aise.</p>
<p>C'etait par les ouvres de Hindemith, de Krenek, et de Hba que j'etais le plus frapp. Vous savez, je suppose, que tout le monde ici parle de Hindemith -- on le joue partout, on l'appelle 'le jeune Reger,' on attend beaucoup de lui.  Il a commenc par faisant du Brahms, mais il est bien loin de a maintenant.  Sa musique est extrmement vigoreuse -- d'un lan irresistible.  Ce que je lui reproche le plus est son manque d'idees fraches.  Il est le plus original dans ces scherzos qui sont quelquefois vraiment diaboliques.  C'est drle, n'est ce pas, qu'avec de telles qualits il crit de la musique de chambre?  (Il y a aussi trois opras d'un acte que je ne connais pas.)</p.>
<p>La rputation de Krenek tait tablie tout rcemment.  Son troisieme quatuor  cordes tait donn  Salzbourg: je le trouve ingal, mais rempli de belles choses, malgr des moments d'une laideur affreuse.  On appelle Krenek un no-classique, mais je vous previens qu'il crit des dissonances atroces!  Alois Hba est moins hardi, malgr son systme de quart de ton.  Mais son quatuor aussi m'a laiss avec une impression trs favorable.  Je peux dire beaucoup plus des oeuvres de Schoenberg, de Bartok, de Kodaly ou de Janacek, mais je m'arrte parce que je crains de vous ennuyer.</p>
<p>Your little note in English gave me the idea of writing to you in French and I hope the result has not been too awful.  But it is so much easier to write English that I will finish off that way.</p>
<p>During my stay in Salzburg I read Andr Gide's new book on Dostoievsky.  (I must explain to you that my friend Clurman and myself are ardent 'disciples' of Gide.)  He says many interesting things concerning the Frenchman's need of logic and its relation to 'la grande ligne.'  I must tell you one quotation he makes from the German, Rathenau, which I think eminently true.  Rathenau says that it is because she has never consented either to sin or to suffering that America has no soul.</p>
<p>Can I hope for another letter from you soon?</p>
<p>Sincerely,<lb>A Copland</p>
Copland|corr0060|Letter from Aaron Copland to Nadia Boulanger, 1924/06/12|<p>12 Juin [192]4</p>
<p>Chre Mademoiselle, -<lb>Demain soir nous y serons.  Tant mieux!  Nous avons eu un traverse misrable, surtout quand on pense que c?est la belle saison.  Comme marin je suis rat -- vous pouvez diviner le reste.  Enfin, aujourdhui tout a est bien fini -- il fait trs beau, la mer est calme, et je vous ecrit.</p>
<p>Mais ce n'est pas la lettre que j'avois l'intention de vous crire.   Aprs vendredi soir, je me suis dit qu'il faut tout de mme crire quelque chose pour tre bien sr qu'elle comprenne.  Comprendre quoi?  Mais c?est justement a que je ne peux pas vous dire maintenant, six jours aprs.  (Voil ce que c'est d'tre amricain!)  Mais vendredi soir, je vous assure, j'etais assez mu pour vous dire tout -- how grateful I am for everything you did for me in those three years as teacher, advisor and friend -- seulement, il y avait trop de monde. Aujourd'hui, avec mon bon sens d'habitude, je suis sr que vous comprenez, et je m'ai plus besoin de vous rien dire.</p>
<p>Et Clurman et moi, nous sommes bien curieux de voir quel effet New York va nous faire.  En attendant, nous envoyons  Madame et  vous nos meillieures amitis and our very best regards to all the 'gang.'</p>
<p>A Copland</p>
<p>P.S.: Clurman m'a dit qu'il va vous crire de New York.</p>
Copland|corr0061|Letter from Aaron Copland to Nadia Boulanger, 1924/07/04|<p>July 4, 1924</p>
<p>Chre Mademoiselle, -<lb>If I have not written to you quite as soon as I had expected, you must blame it on my very numerous aunts, uncles, cousins, etc.  I spent two weeks in New York renewing old acquaintances and telling the usual stories about Paris and its marvels.</p>
<p>But now I have escaped to the quiet of the country, so I can write you in peace.  Though, I might just as well warn you 'toot sweet,' that I have very little of any interest to relate.  I have taken a 'job' here, where I can get the good air of the mountains and at the same time, work on the hundreds of things I am so anxious to do.  For the present I am confining myself to making an ink copy of the score  and trying to get on with my 'sinfonietta.'</p>
<p>While in New York I went to see Mr. O.G. Sonneck, editor of the 'Musical Quarterly.'  He told me that my Faur article will appear in October.   We talked of writing an article on Fl. Schmitt and he seemed anxious to have one.  That is about all that has happened.</p>
<p>My plans for the fall are still rather vague.  I shall probably take a studio for myself and attempt to find some way of making a livelihood.   Lets hope January comes around in a hurry! as I am certainly looking forward to your trip over here.</p>
<p>I will write you more fully in the near future.  How are the plans for the Fontainebleau school concert coming on?  Perhaps you can find two spare moments to write me as you know how much pleasure it would give me.  Give my very best regards to Madame Boulanger and to 'everyone' in Gargenville.</p>
<p>Yours<lb>Aaron Copland</p>
Copland|corr0062|Letter from Aaron Copland to Nadia Boulanger, 1924/08/26|<p>Aug 26, 1924</p>
<p>Dear Mademoiselle Boulanger, -<lb>Thank you so much for the program.  I can very easily imagine all the work it must have been to prepare five of my things to be played at Fontainebleau and I am extremely grateful to you for having taken so much trouble upon yourself.</p>
<p>I have been a little reluctant to write to you this time because I have nothing very glorious to tell about myself.  Two weeks ago I politely resigned my position as jazz pianist at Milford.  I found it impossible to work on the organ sinfonietta because I could get no piano in a quiet place.  As the time was getting short, I thought it best to leave.  During the six weeks I was there I got very fat (dites-le, au moins,  Marion Sarles!) and I made an ink copy of the 'Cortge Macabre.'</p>
<p>Just now I am in Brooklyn, living at my sister's house -- but by the middle of September I hope to find a room for myself where I can work.  I spend all of my time now, working on the organ composition.  Let me tell you how far it is advanced. -- For several reasons I have decided to make it in three movementsd instead of four.  The first movement will be a short andante (the andante I wrote in May), then the scherzo, and lastly will come the most important movement with which I originally thought I would begin the work.  It will take about twenty minutes altogether.  (Honegger's  first violin sonata has three movements arranged something like that.)</p>
<p>So far I have completely finished only the first movement, which is also orchestrated.  But the other two movements are, pour ainsi dire, finished -- that is, they are clear in my mind, but I must still write them down and orchestrate them and fill in the details.  If I send it to you by October 1st, you will still have two full months to prepare it.  It goes without saying that any corrections you make, I approve of, a priori.  I am so glad Smiss is coming here -- as soon as I have shown him the first movement, I will send it to you before the other two movements.  If you have anything to suggest, please, by all means, write me immediately.</p>
<p>Now that my score is ready for Koussevitzky I have been wondering just what to do about having the parts copied.  It is terribly expensive here, but I suppose it must be done, and I shall manage to get the necessary money somehow.</p>
<p>Forgive me for making this a 'business  letter.'  I should have preferred telling you about other things -- our jazz-bands, for instance, or Gide's 'Corydon,' but I'll leave it for another letter.</p>
<p>Now that Smith has gone, Gargenville must be very quiet.  Clurman and I expect to make him talkj for hours and hours about everything that has happened since our departure.  (By the way, did you receive Clurman's letter?)</p>
<p>I hope Madame Boulanger is in the best of health and hasn't completely forgotten me as yet.  Remember me to everyone else I know in France!</p>
<p>With best regards from Clurman</p>
<p>Your devoted friend<lb>A Copland</p>
<p>Please address me:<lb>chez Mrs. C. Marcus<lb>557 E. 12th St.<lb>Brooklyn, N.Y.</p>
Copland|corr0063|Letter from Aaron Copland to Serge Koussevitzky, 1925/01/25|<p>135 W. 74th St<lb>New York City<lb>Jan. 25th, 1925</p>
<p>My dear Mr. Koussevitsky:<lb>Mademoiselle Nadia Boulanger has told me that she intends to play my 'Symphony' for Organ and Orchestra with the Boston Symphony Orchestra on February 20th and 21st.</p>
<p>If you can spare half an hour when you are in New York this week I should be delighted to play my work for you on the piano.   If you will telephone me (Trafalgar 0185) when you get here I can arrange to see you whenever it will be most convenient for you.</p>
<p>Trusting to hear from you, I am,<lb>Sincerely yours,<lb>Aaron Copland</p>
Copland|corr0064|Letter from Aaron Copland to Nadia Boulanger, 1925/04/03|<p>135 W. 74 St.<lb>April 3, 1925</p>
<p>Dear Mademoiselle, -<lb>It was a great relief to know you were back safe.  From the silence, I take it for granted you are never coming back here.  I suspected as much.  Is there time yet to change your mind?</p>
<p>I have many little things to write you about.  First, the Guggenheim Foundation.  This was organized recently to give scholarships to young men like myself.  Mr. Surrette  is on the Board of Trustees and has asked me for letters from my teachers.  Must I bother you with this stupid business?   I'm afraid I must.  Please send me a letter of recommendation as soon as you can find time.  Mr. Damrosch has already sent me one.  The scholarship is for 2,500, is to begin in October, and can be used anywhere.</p>
<p>I suppose Miss Wolff told you about Rochester.  It will be a good opportunity to hear the 'Cortge.'  I shall write you my impressions later.  I had a rendez-vous with Koussevitsky here in New York.  It came about in this manner.  The League of Composers have asked me to compose a work for small chamber orchestra, which they will have performed next season.  Because Stokowski conducts 2 concerts of the other Guild,  they wanted to get Koussevitsky for 2 concerts for their League.  I was chosen to see Koussevitsky about it.  He is delighted and has accepted.  (But it is still a secret so do not mention it too much.  Dieu sait pourquoi!)  At first, I thought of setting part of Rimbaud's 'Saison en Enfer,' but I have changed my mind and now I think I will write a series of pieces to be called 'Incidental Music for an Imaginary Drama.'   I think that is a better idea.  I even have a few themes already.  While talking to Koussevitsky, he said that he was willing to play anything I gave him next season, and had even announced over the radio that he would repeat my 'Symphony' at the end of this season on an all-American program.  But since time is too short, the all-American program will not be given until next winter.  (Who will play the organ part, I wonder?)</p>
<p>Puisqu'il est si emball que a, it occurred to me only today that perhaps I can get him to perform the entire ballet, divided into three movements like this:<lb>I Cortge Macabre<lb>II Three Danses<lb>III Fourth Danse and Finale.<lb>It is all no longer than an ordinary symphony and I believe is well contrasted.  Of course, if this is too much for him to swallow I shall give him only the 'Three Dances.'</p>
<p>So much for possible performances, for all of which I have only you to thank.</p>
<p>I have written letters to Bloch and to Sokoloff.  I received two lovely ones from Marcelle  and from Hesselberg.  They gave the flute and clarinet song  here and G. Laurent wants to give it in Boston in April.  The performance here was quite bad -- I think I shall add two more songs to Elizabethan words and make a group as you suggested long ago.</p>
<p>Mengelberg gave the Second Symphony with chorus of Mahler.  How very modern the orchestration is!  Thirty years ahead of its time.  How I wish I could hear all the others, especially the 'Seventh.'  The music critics treat Mahler badly in New York.  I shall write an article 'In Defense of Mahler.'  Once more I have you to thank for discovering Mahler for me!</p>
<p>Yours<lb>A.C.</p>
<p>P.S.  Please don't forget the Guggenheim letter.  And the score of the Symphony?  Is it being copied?  I have 'un peu d'argent now so give it to a copyist and send me the bill.  Also please have a second copy made of the organ part and send the bill also.</p>
Copland|corr0065|Letter from Aaron Copland to Serge Koussevitzky, 1925/04/21|<p>135 W. 74th St.<lb>New York City<lb>April 21, 1925</p>
<p>My dear Mr. Koussevitsky:<lb>I am trying to get a scholarship from the Guggenheim Foundation which would make me independent financially and give me leisure time in which to do creative work.   But I must have letters from people of importance regarding my music.   I wonder if you would be kind enough to send me such a letter.   I know how occupied you must be just now, and so I regret having to bother you for such a trifle, but I am sure you can understand how important such a scholarship would be for me.</p>
<p>With many kind regards for Madame Koussevitsky,</p>
<p>Sincerely yours,<lb>Aaron Copland</p>
Copland|corr0066|Letter from Aaron Copland to Serge Koussevitzky, 1925/07/15|<p>c/o MacDowell Colony<lb>Peterboro, New Hampshire<lb>July 15, 1925</p>
<p>Dear Mr. Koussevitsky, --<lb>I am pleased to be able to let you know that I have received a Guggenheim Fellowship and I want to thank you for the letter you gave Mr. Surrette on my behalf.   I shall be in America all winter but will go to Paris next April.</p>
<p>Just now I am spending the summer at the MacDowell Colony, an excellent place to work in.   I hope you are taking a well-deserved rest.   I look forward with pleasure to greeting you again in the fall.</p>
<p>With kindest regards to Madame Koussevitsky, I am,</p>
<p>Sincerely yours,<lb>Aaron Copland</p>
Copland|corr0067|Letter from Aaron Copland to Serge Koussevitzky, 1925/10/06|<p>Oct. 6, 1925<lb>135 W. 74th St.<lb>New York City, N.Y.</p>
<p>My dear Mr. Koussevitsky:<lb>Mrs. Reis has asked me to inform you that the League of Composers has accepted my new work for chamber orchestra ("Music for the Theatre") for performance on the 28th of November.  I should like to send you the score immediately, but with your permission, I shall first have the parts copied, which will take a few weeks.  I hope you will have no objections if I come to Boston to hear the rehearsals,  and perhaps, a day or two before they begin, you will allow me to give you an idea of the work at the piano, as we did last winter with the 'Symphony.'</p>
<p>Since I have mentioned the 'Symphony', I shall take the liberty of pointing out that if you intend to repeat that work, it will be necessary to find another organist, as Mademoiselle Boulanger will not be in America this season.  I should be glad to send the organ part to whomever you may select.</p>
<p>Also, I want you to know that I have a new score for large orchestra ("Three Dances" ) that I am keeping for you and the Boston Symphony.  The parts are almost ready, I only await your pleasure in the matter.</p>
<p>I sincerely trust that my new works may not be unworthy to have expended on them the genius of your baton.</p>
<p>With kindest regards to Madame Koussevitsky, I am,</p>
<p>Yours devotedly<lb>Aaron Copland</p>
Copland|corr0068|Letter from Aaron Copland to Serge Koussevitzky, 1925/10/12|<p>135 W. 74th St<lb>New York<lb>Oct 12, 1925</p>
<p>Dear Mr. Koussevitsky, --<lb>Thank you for the early reply.</p>
<p>I hope that if you receive the parts of 'Music for the Theatre' by the end of this month (October), it will be in plenty of time.
When I come to Boston for the rehearsals  of that work, I shall be very glad to play you the new score for big orchestra, 'Three Dances.'   I hope that arrangement will be agreable  to you.</p>
<p>I shall wait to hear from you when rehearsels are to begin on the small orchestra work so that I may know when to come to Boston.</p>
<p>With my best wishes,<lb>Sincerely yours,<lb>Aaron Copland</p>
Copland|corr0069|Letter from Aaron Copland to Serge Koussevitzky, 1925/10/29|<p>135 W. 74th St.<lb>New York City, N.Y.<lb>Oct 29, 1925</p>
<p>Dear Mr. Koussevitsky, --<lb> I am sending you, under separate cover, the score and parts of my suite for chamber orchestra 'Music for the Theatre.'</p>
<p>I hope you will let me know as soon as possible when the rehearsels are to begin, so I can plan to come to Boston a little earlier to play the score to you.</p>
<p>With kindest regards,<lb>Sincerely<lb>Aaron Copland</p>
Copland|corr0070|Letter from Aaron Copland to Serge Koussevitzky, 1925/11/12|<p>1925 Nov 12. 11:22 PM</p>
<p>NEWYORK NY 12</p>
<p>SERGE KOUSSEVITSKY</p>
<p>SYMPHONY HALL BOSTON MASS</p>
<p>WILL BE IN BOSTON ON SUNDAY AFTERNOON AND TELEPHONE FOR APPOINTMENT IF POSSIBLE FOR BOSTON PERFORMANCE[.]  ADVISE YOU TO DOUBLE THE NUMBER OF STRINGS[.]   ONE MORE COPY OF EACH STRING PART WOULD BE NECESSARY.</p>
<p>COPLAND</p>
Copland|corr0071|Letter from Aaron Copland to Serge Koussevitzky, 1925/12/04|<p>le 4 dec. 1925</p>
<p>Cher ami, Monsieur Koussevitsky, --<lb>J'ai reu le cinquante dollars de Monsieur Brennan aujour'dhui et je vous remercie beaucoup encore une fois pour a.</p>
<p>J'etais voir Mr. Urchs  propos du piano.  A vrai dire, il n'etait pas trs chaleureux.  Deux jours aprs ma visite, il m'a envoy la lettre que j'inclus ici.</p>
<p>Qu'ils sont drles, les critiques!  J'admets que j'ai attendu une toute autre reeption.  Mais, qui sait, peut-tre  Carnegie Hall ils seront plus impressions (Je sais, d'ailleurs, que plusiers critiques, Samedi soir, ont laisss la salle avant la fin de ma composition).</p>
<p>Si vous avez encore l'intention d'crire des lettres  Zurich, il faut mieux les envoys<lb>chez Dr. Volkmar Andreae<lb>Franz Schubertstrasse 4<lb>Zurich II<lb>qui est secretaire de S.I.M.C.</p>
<p>J'aimerai mieux vous jouer les 'Trois Danses' moi-mme, plutt que d'envoyer la partition  Boston.   Alors, si a vous tes agreable, nous attendrions votre visite de janvier.</p>
<p>Je n'aime pas faire des phrases, et je sais bien, ce n'est pas du tout neessaire puisque vous savez bien que je n'oublierai jamais tout ce que vous avez fait pour moi.</p>
<p>Mes hommages  Madame Koussevitsky.</p>
<p>Sincrement,<lb>Aaron Copland</p>
Copland|corr0072|Letter from Aaron Copland to Nicloas Slonimsky, 1925/12/13|<p>Dec 13 [1925]</p>
<p>Dear Nicholas --<lb>The clipping, the letter, the dream -- all gave me much pleasure -- even the few mistakes in English!</p>
<p>I was going to write also to Mr. Koussevitsky to express my gratitude for all he intends doing, but I am afraid of boring him with my continual thanks.  I admire his courage in planning to play the score  again in spite of the awful criticisms.</p>
<p>Shortly after the concert of the League I went up to Rochester for a day and lectured to the Teusday[sic] Musicale on guess what -- JAZZ!   I was well payed  d'ailleurs, and in the evening met Paul Hogan  at the Gleasons' house.  He seemed like a charming boy and I was sorry not to have been able to know him better.</p>
<p>When you come to New York this time, you must put aside sufficient time to come to pay me a visit at my house -- I'm looking forward to it.</p>
<p>I embrace you  la russe</p>
<p>Aaron Copland</p>
<p>P.S.  If you can, do let me know as soon as you are informed of the exact date (or dates) when the 'Music for the Thea[tre]' will be given here.</p>
Copland|corr0073|Letter from Aaron Copland to Serge Koussevitzky, 1925/1926|<p>lundi -- [1925-1926]</p>
<p>Mon cher ami, --<lb>Voil des critiques.  Au dernier moment, je ne pouvais pas y aller moi-mme, mais j'irai jeudi prochain.</p>
<p>J'ai recontr hier soir Madame Knopf  et elle m'a racont que Goosens  a dit que vous n'etiez sur le train de 10 heures.  Quest-ce qui c'est passe[no accent], mon dieu!</p>
<p>J'espere que tout va bien.</p>
<p>Regards to Madame Koussevitsky.</p>
<p>Sincerely<lb>Aaron Copland</p>
Copland|corr0074|Letter from Aaron Copland to Nicolas Slonimsky, 1926/01/16|<p>Jan 16, 1926</p>
<p>Dear Nicholas --<lb>Thanks so much for the letter -- it was a magistral concoction of perspicacious and circumspect diplomacy!  Don't, whatever you do, forget to thank Mr. Koussevitsky, also, for signing it --</p>
<p>One of my rich friends' chauffeurs  delivered it to Mr. Kahn's door to-day.  Let's hope for the best.</p>
<p>Yours<lb>Aaron C.</p>
<p>P.S.: Will you be the radio announcer?!</p>
Copland|corr0075|Letter from Aaron Copland to Nicolas Slonimsky, 1926/03/03|<p>March 3 [1926]</p>
<p>Dear Nicholas, -- <lb>Untiringly the collector of Coplandiana collects.  Once more I thank you.  Between now and our famous lunch engagement I shall think up some sterling fiction about myself so that I can tell it to you and you can tell it to Parker  and he can tell it to Mr. Namport Key.   My humble colleague George Antheil has the right idea after all -- the more hooey you hand out the better they like it.  So don't be a stick-in-the-mus and get worried by a mere 'Parkerian indiscretion.'</p>
<p>I was very touched by Tansman's kind thoughts.  Please tell him so when you write again.  And, by the by, if you should have occasion to write me again before I see you, please give me the dates of the Concerts Koussevitsky in Paris -- also their date of sailing and what ship.  There's no help for it -- I'm going to Europe.  (Weh's mir!)</p>
<p>On the morning of the tenth of March I shall await the sound of your salubrious voice over the telephone.</p>
<p>Soon -- yet not too soon<lb>Aaron</p>
Copland|corr0076|Letter from Aaron Copland to Nadia Boulanger, 1926/03-04|<p>59 Bd. Pasteur<lb>[late March -- early April 1926?]</p>
<p>Dear Mademoiselle -<lb>The pieces for violin are not finished!  I could finish them by one week before the concert (April 29th) however.  Would that leave enough time for rehearsals?   If not, we had better keep to the Rondino -- c'est plus sr.  
(The violin pieces would be entitled thus:<lb>2 Pieces for Violin and Piano:<lb>a Nocturne<lb>b Serenade<lb>The whole thing lasts from 8 -- 10 minutes, I think.)</p>
<p>a m'est egal.  Give whatever you think best.</p>
<p>Sincerely<lb>A. Copland</p>
Copland|corr0077|Letter from Aaron Copland to Nicolas Slonimsky, 1926/05/11|<p>May 11 -- [1926?  Paris]</p>
<p>Dear Nicholas --<lb>Here we are -- hurrah!  I could not find any suitable place in Passy so I am back at my old place.  The address is: chez Madame Simoneau, 59 Boulevard Pasteur (XV).</p>
<p>Do let me hear from you just as soon as you have seen all your old friends.</p>
<p>Yours<lb>Aaron Copland</p>
Copland|corr0078|Letter from Aaron Copland to Nicolas Slonimsky, 1926/05/11|<p>59 Boulevard Pasteur<lb>Paris (XV)<lb>May 11 [1926?]</p>
<p>Mon cher ami, Monsieur Koussevitsky --<lb>Nous voil  Paris!  J'ai vu par l'affiche que vous avez annonc la 'Music for the Theatre' pour le 22 et je vous remercie infiniment.  J'aimerais bien assister aux repetitions si vous n'avez rien contre.</p>
<p>Mes hommages  Madame Koussevitsky.</p>
<p> trs bientt, j'espere.<lb>Sincerely,<lb>Aaron Copland</p>
Copland|corr0079|Letter from Aaron Copland to Israel Citkowitz, 1926/07/12|<p>Villa Cendrillon<lb>Guthary, Basses Pyrnes<lb>France  -- July 12 [1926]</p>
<p>Dear Israel, -<lb> I could write you a young book.  So very many things have taken place since my last letter, that merely to mention them would fill a page.  Since you last heard from me, I?ve taken my little turn around Europe: Zurich, Munich, Strassburg and Paris; and then off again here to this ideal sjour on the southwest coast of France -- GUTHARY.  Not bad for a quiet boy like myself.</p>
<p>But to really treat you properly, I should begin even further back -- on a certain Saturday afternoon in the middle of June.   The scene is a beautiful theatre off the Champs-Elyses, filled to the last strapontin, with an audience of more than 2,000 people among whom one can distinguish James Joyce, Serge Koussevitzky, Ezra Pound, Darius Milhaud, Nadia Boulanger, Marcel Duchamp, Alfred Knopf, Boris de Schloezer etc. etc, each and everyone buzzing with the excitement and expectation of hearing for the first time anywhere a program which contained -- oh marvel of marvels -- two new works from the pen of that young genius, your only true rival -- George Antheil!  Must I say more?  To say more is to spoil all.  The proud possessor of this very extraordinary audience fed it on Hashed Potpourri of almost every 19th century composer mentioned in the music histories (Symphony in F) and then proceeded to out-sack the 'Sacre' with the aid of a Pleyela and amplifiers, ventilators, buzzers and other what-nots (Ballet Mecanique).  No ordinary concert as you can see.  The Symphony was a disappointment even to such Antheilians as myself, but the Ballet Mecanique brought forth the usual near-riot so everyone went home content.  Though it give you your usual attack of apoplexy, I am in all honesty bound to repeat my unshakeable conviction -- the boy is a genius.  Need I add that he has yet to write a work which shows it.  If he keeps on exactly as he has started, the sum total of all his genius will be exactly nothing.  Voila!</p>
<p>The following day we left for Zurich  and spent three pleasant days there, hob-nobbing with the musical celebrities of Europe, Asia and Africa.  There was only one composition that you should have heard (and that you will probably not hear soon) Anton Webern?s Five Orchestral Pieces.  The orchestral sonorities he manages to get are magical, nothing less.  There was nothing insufferable at the festival, but on the other hnd, nothing except Webern's pieces seemed strikingly original, and they were written in 1913.</p>
<p> While in Zurich, I was able to play some of my stuff for the Universal Edition people and something may come of it.  Which reminds me to tell you that only to-day I have received the proofs of the 'House on the Hill' and the 'Immorality' from 'my' Boston publishers, E.C. Schirmer, who now possess the signal honor of being the first gentlemen to print my music in America.  We poor American composers -- (you ought to hear Louis Gruenberg elaborate on that subject) -- no conductors and no publishers and no nothing.</p>
<p>Damrosch is going to repeat the Music for the Theatre!  I wonder why.  He wrote me a letter asking me to come with the score -- I came -- he glanced at it casually -- we exchanged politenesses -- and thats all there was to it.  Simple, n'est ce pas? Who said it was difficult to get played in N.Y.</p>
<p>I was back from Germany before I received your letter, so the books you asked me to send must wait.  But you can borrow my 'Harmonielehre' for as long as you like.   Think twice before you write a 'Socrate.'   Satie's work is highly serious and its genius lies in its discreetness: he simply makes the music a frame in which to fit a literary masterpiece.  It seems the only setting possible for literary masterpieces.</p>
<p>Its nice to hear you are working so well.  So am I.  But it would be a crime not to work, given the ideal conditions I have.  We have settled for the summer in a little villa all our own, which is exactly what we needed.  Guthary is in the Basque country, a small village built on the hills which rise up from the sea.  On our right, half an hour away, we have Biarritz, the hang-out of Michael Arlen and his crowd and on the left nothing less than Spain.  (Before the summer is out we have promised ourselves a bull-fight!)  I am working steadily on the piano and orchestra affair, which is now only a matter of time.  For relaxation, a duck in the sea.  We intend staying here till Sept. 1st (Harold sails Aug 18 and will probably see you before I do.)</p>
<p>You wrote some sort of mish-mash in your letter about being neglected or something.  May I be allowed to point out that I have received 3 letters from you and am now sending my third?  I know I should have answered sooner and I wanted to answer sooner, but um Gottes willen, when one is a promising young composer, can one do what one wants?  Certainly not.  You'll see!</p>
<p>Yours<lb>Aaron</p>
Copland|corr0080|Letter from Aaron Copland to Serge Koussevitzky, 1926/08/09|<p>Villa Cendrillon<lb>Guthary, Basses Pyrenes<lb>le 9 aout , 1926</p>
<p>Cher ami, Monsieur Koussevitsky, --<lb>Il faut tout de mme que je vous envoie de mes nouvelles. 	Je suis extrmement bien tabli dans cette petite ville basque de Guthary, entre Biarritz et St. Jean-de-Luz.   Elle est loin de tous mes amis, -- alors, je peux travailler tranquillement.   Le 'Concerto' marche assez bien, j'espere pouvoir le jouer pour vous  Paris.   Je suis aussi en train de faire un arrangement du 'Scherzo' de la 'Symphonie' pour orchestre seul.  a fera un court morceau assez brilliant (j'ai introduit mme un saxophone ad lib.)</p>
<p>Pensez vous -- pour la premire fois je suis dit en Amrique, et mme  Boston!  Une petite maison d'ditions -- E.C. Schirmer Co. -- vient de m'envoyer les preuves de mes deux choeurs pour voix des femmes.  Mais avec l'Universal Edition je n'ai pas aussi bien russi. -- A leur demande, j'ai envoy des chores[sic]  Vienne, mais sans rsultat.</p>
<p>Et vous -- comment vous trouvez-vous?  Bien repos j'spre.  Le moment est venu, n'est ce pas, de prparer les programmes pour la saison prochaine?  Si vous souvez avec quelle impatience j'attends toutes les belles ouvres que vous allez nous rvler.</p>
<p>Je serai encore  Paris vers le 3 septembre.  Jusque l, bien des choses  vous et  Madame Koussevitsky.</p>
<p>Votre devou<lb>Aaron Copland</p>
Copland|corr0081|Letter from Aaron Copland to Nicolas Slonimsky, 1926/10/18|<p>223 West 78th St.<lb>New York City, N.Y.<lb>Oct 18 [1926]</p>
<p>Dear Nicholas --<lb>You're such a nice boy to have sent me all those books, clippings etc.</p>
<p>I am a Manhattanite once more -- please note the change of address (telephone -- Susquehanna 0528)[.]  I had to leave Brooklyn a little precipitately because the neighbors threatened to descend in a body and maul me if I continued 'playing' such awful music -- i.e. my Concerto.  Oh well ----</p>
<p>Nothing very exciting has happened otherwise except that Stokowski announced the 5 Webern Orchestral Pieces for his first concert and then withdrew them 'because the parts hadn't arrived from Europe'!</p>
<p>Oh yes, and Damrosch writes me he will do the 'Music for the Theatre' on Dec. 5 in Mecca Auditorium.   Also Reiner and Hanson talk of doing it this winter.   So we'll see -----</p>
<p>How are you getting on?  Nov. 25th seems a long way off!</p>
<p>To Mr. & Mrs. K---- my very best greetings.   I still hope to have the 'Concerto['] ready for February.  Till then, sympathize with your perspiring composer</p>
<p>Aaron</p>
Copland|corr0082|Letter from Aaron Copland to Nicolas Slonimsky, 1926|<p>Tuesday [1926]</p>
<p>Dear Kolya ---<lb>Your letter gave me nervous prostration!  I thought I was doing the 'Concerto' as fast as possible, but it seems I must do it faster.  Oh well, I'll sleep a little less, see none of my friends, tell the copyist to work faster and get it done in time for "towards the end of January.'  And if I don't -- must I die?</p>
<p>I am, in the meantime, impatiently waiting to hear from Mr. Brennan.</p>
<p>In wild haste and with best regards,</p>
<p>Yours,<lb>A.C.</p>
Copland|corr0083|Letter from Aaron Copland to Serge Koussevitzky, 1926/12/14|<p>223 W. 78th St.<lb>New York<lb>Dec 14 [1926]</p>
<p>Mon cher ami, Monsieur Koussevitsky, --<lb>a y est!  J'ai termin le 'Concerto.'  a veut dire que je peux tre prt (avec les parties) pour le jouer  partir des 16 janvier.  En quelque jours j'aurai une photographie de la partition -- dites-moi ce que vous aimerez mieux, que je le garde ici en attendant vtre prochaine tourne, ou que je l'envoi  Boston aussitt que possible.  L'ouvre dure 17  18 minutes.  Moi, je suis assez content, mais la chose importante est de savoir ce que vous allez en penser.</p>
<p>Pensez vous, Damrosch a tach de faire la 'Musique pour le Theatre' avec seulement deux rptitions.   a a t  compltement honteux comme vous pouvez vous imaginer.   (Aujourd'hui mme je l'ai envoyer  Reiner qui va le jouer le 9 janvier.)</p>
<p>A bientt, donc.</p>
<p>Toutes mes amitis  Madame Koussevitsky.</p>
<p>Aaron Copland</p>
Copland|corr0084|Letter from Aaron Copland to Nicolas Slonimsky, 1926/12/30|<p>Dec. 30 [1926]</p>
<p>Dear Nicholas --<lb>I admit I'm an ingrate.  Particularly since my 'Concerto' does end with a brilliant gliss-----ando,  tho not exactly in C major.  But my pragmatic mind refuses to see anything other-worldly in this: it simply goes to prove that either you are a very trite dreamer or I am a very banal composer!</p>
<p>I am dividing my days between practicing the piano and writing the definitive article on Jazz for 'Modern Music' and looking forward to the end of January.</p>
<p>But the laconic announcement of your sticking in the mud next week sent me completely ga-ga.  A Boston Symphony concert without you somewhere in the near vicinity seems incredible.  I console myself with the thought of January 12th or thereabouts.</p>
<p>In a few days I shall occupy myself with the program notes and send them to you to hand on to Mr. Hale, if you will.
And when you do come to N.Y. dont fail to ring me up (Susquehanna 05 28)</p>
<p>Yours incorrigibly,<lb>Aaron</p>
<p>P.S. To-morrow night, a New Year's Eve party at the Knopfs -- why can't you be there so that we can be poisoned to-gether!</p>
Copland|corr0085|Letter from Aaron Copland to Serge Koussevitzky, 1927/01/17|<p>1927 Jan 17, 5:38 P.M.</p>
<p>MORDKIN ADDRESS COLUMBIA THEATRE SANFRANCISCO</p>
<p>COPLAND</p>
Copland|corr0086|Letter from Aaron Copland to Nicolas Slonimsky, 1927/02/10|<p>Thurs. [Feb 10, 1927]</p>
<p>Dear Kolya, --<lb>You're a darling to have sent all those delightful write-ups.  After reading them I went to the mirror to see if I could recognize myself.</p>
<p>How flattering it was to read that the 'Listener' can understand Strauss, Debussy, Stravinsky -- but not poor me.  How instructive to learn that there is 'no rhythm in this so-called Concerto.'  And how badly I felt for Mrs. Gardner of Bridgeport when I thought how badly she must have felt when she discovered her mistake in the title.  Only one thing got my nanny: how dare H.T.P. talk of reducing me to my level, when I am waiting to be raised to my level.  And all that really worries me is whether or not the Maestro will ever have sufficient courage to perform me anywhere.</p>
<p>I've seen Gerald half a dozen times and we always --- do your ears burn these days?</p>
<p>If you think of it next time you write, tell the dates of K's Paris concerts.</p>
<p> When the Concerto is played again ('O horrid thought'!) we must see if we can't get the police to raid the concert hall to give a little added interest to this 'horrible' experiment.</p>
<p>Till soon<lb>Aaron</p>
Copland|corr0087|Letter from Aaron Copland to Serge Koussevitzky, 1927/02/16|<p>le 16 fevrier [1927]</p>
<p>Mon cher ami, --<lb>Il faut tout de mme que je vous dis avec quelle motion j'ai lu vtre lettre d'hier.   J'etais tellement touch  penser que malgr toutes vos affaires vous trouvez encore le temps pour vous occuper de moi et d'une facon[no accent] si touchante.</p>
<p>Est-ce que seulement vous comprenez comment je suis reconnaisant pour toutes vos bonts?  Avec un temprament plutt rserv comme le mien, j'ai toujours peur que vous ne voyez pas assez clairement quel sentiment je garde pour vous et comment votre amiti m'est chre.</p>
<p>On peut lire ceci en deux secondes mais il m'a pris deux heures pour l'ecrire.  Je suis incapable de faire des phrases, mais vous compriendriez sans a, n'est-ce pas, mon gratitude et mon dvotion.</p>
<p>Votre ami<lb>Aaron Copland</p>
Copland|corr0088|Letter from Aaron Copland to Roger Sessions, 1927/03/18|<p>223 West 78th St.<lb>New York -- March 18 [1927]</p>
<p>Dear Roger, --<lb>I was delighted with your letter, the idea of your being in America and the thought that we shall see each other soon (which, incidentally, will save me from writing at great length now.)  And how delightfully silly of you to have imagined that there was any shadow of a misunderstanding between us when my not writing to you is quite simply explained by the Concerto, that is finishing it and playing it.  That was in February,  and then of course I thought it was too late to write, since Teddy [Chanler] had been announcing your arrival for the last month and a half.</p>
<p>It goes without saying that I am very keen to see the Symphony.  As far as I know Koussie expects to do it in April -- he even told me he might do an All-American program, though he didn't say whether or not he thought of doing the Symphony then.  Anyway I know he is favorably disposed towards you and that an eventual performance is certain.   I would even say it was certain for April if one could say that any conductor's plans are certain.  Lets hope that Fate wills me in Boston at that time; otherwise I will have to be satisfied with a muddled version over the radio.</p>
<p>You are apparently not aware of the fact that I am returning to Europe this Spring due to the fact that they are doing the 'Music for the Theatre' at the Festival in Frankfort.  Wouldn't it be nice if we could sail together?  I am thinking of going on the Homeric, April 30th but have made no reservations yet.  If you know the boat you are taking, do let me know it.  (I travel 2nd class as a rule, but am considering 3rd tourist...and you?)  I shall be in Paris until the end of June -- then to Frankfort -- and then somewhere for the summer in Germany or Italy.</p>
<p>I'm glad you liked the Jazz article.  It has helped considerably to get the whole business out of my system.  You will find me a young man admirably stripped of all theories now.  Lets hope it lasts.</p>
<p>Heres to seeing you soon</p>
<p>Yours,<lb>Aaron</p>
<p>P.S. My telephone no. is Susquehanna 0528</p>
Copland|corr0089|Letter from Aaron Copland to Nicholas Slonimsky, 1927/03-04|<p>Monday [1927, March or early April]</p>
<p>Dear Kolya, --<lb>I've had terrible qualms of conscience for not writing you.  And of course now its too late.  All I wanted to say was that I'd be at our luncheon date 1 P.M. Hotel Biltmore if possible.  I am one of the pianists in the 'Ballet Mecanique'!  and so may just possibly be called for a rehearsal at that time.  Otherwise its sure.  Gerald will be there in any case.  We have decided that your article has withstood that Arch-Fiend M.L.  and is a masterpiece in spite of her.</p>
<p>Yours, as ever<lb>Aaron</p>
Copland|corr0090|Letter from Aaron Copland to Serge Koussevitzky, 1927/04/01|<p>le 1 avril 1927</p>
<p>Cher ami, --<lb>Hier soir, chez les Knopfs, on m'a racont le grand succs du Festival.   Comme vous devrez tre fatigu mon dieu.  Mais a vaut surement la peine puisque on va reparlerai de a en 2027!  Enfin, voil l'impression que m'a donn Ernest Newman.  Il y'avait l aussi un autre enthousiaste -- mon grand 'ami,' Monsieur Urchs.   Et quel triomphe pour moi-mme.   Pensez-vous qu'un me reconduisant  la maison il m'a dit: "I am very glad to be able to say that I have had a pleasant surprise.  I must say that I like you much better than I like your music."</p>
<p>La semaine dernire on m'a crit la triste nouvelle: je n'aurai plus le Guggenheim Fellowship.  Les Trustees ont pens que deux fois de suite tait assez pour un jeune homme et que les besoins des autres tait plus fort.   Naturellement, c'est embtant.  Mais il faut se resigner et fabriquer autre chose.</p>
<p>Voulez-vous rappeler  Madame Koussevitsky la photographie pour cette dame de la bibliotheque musicale.  L'addresse est: Miss Dorothy Lawton, 121 East 58th Street, New York.</p>
<p>Quel plaisir de vous avoir ici le semaine prochaine encore, une dernire fois avant Paris.</p>
<p>Devotedly -- Aaron Copland</p>
Copland|corr0091|Letter from Aaron Copland to Nicolas Slonimsky, 1927/07/14|<p>Knigstein i. Taunus<lb>July 14, 1927</p>
<p>Dear Kolya, --<lb>I'm a pig!  I'm a pig and a sinner and a wretch.  But apparently  I'd rather be all those things than write a letter.  I detest writing letters and it is my great ambition in this world to find a friend who'll love me so that he'll be willing to write me letters without ever expecting an answer.  (Did ever selfishness go further?)  But even a pig has a conscience and my conscience has been giving me no rest for the past week saying 'Aaron my boy, you simply got to write to your old friend Kolya.'  Whereupon, here I am.</p>
<p>For the summer I am tucked away all by my lonesom in this little German country resort, one hour outside of Frankfurt.  I drink large quantities of 'poer' for the sake of my inspiration.  For two months its an ideal life, particularly since I know that on Sept 10th I set sail once more for the crowds and excitements of New York.</p>
<p> The Festival in Frankfurt  was more notable for its banquets and lunches thasn for the music presented.  My own piece  came last in a three hour program which finished the Fest and the poor fagged-out public could only be roused from its lethargy by the pin-pricks of a jazz mute.  But the infamous viola solo put everyone to sleep; that is, everyone except Hertzka  who seemed to like the piece and stayed awake.  So much for Frankfurt.  Undismayed, I am going to Baden-Baden to-morrow to more Festivals -- chamber operas by our fat friend Darius,  Hindemith,  Toch,  Kurt Weill.</p>
<p>In Paris, I visited Tansman convalescent at a Roman Catholic hospital.  The talk turns invariably to the American tour with its wonders and marvels.  Sascha is doing much better than Ravel it seems, with contracts pouring in from all sides.  I also saw Sanroma chez K----------.  Why is he always so gay?  We spoke of you and bemoaned the fact that you were so far away.  Oh yes, and once K-------- himself spoke of you -- not exactly in the same tone I admit -- but still he did speak of you, your name passed his lips, which fact alone I find distinctly encouraging.</p>
<p>Did I tell you I got a job as lecturer next season at the New School for Social Research in N.Y.?  Twelve lectures, once a week, beginning Sept 30.</p>
<p>I hope to come home with a Trio on Jewish Themes  and have a piece for large orchestra under way.  Unfortunately the chamber orchestra ideas seem to have gone up in smoke.  (Perhaps I am suffering under an inhibition in that direction...!)</p>
<p>Where are you in the world?  Breaking the hearts of what young ladies at what summer hotel?  (I wish you could have seen Dukelsky's outfit when his Sonate pour Orchestre was played.  The boy has missed his vocation.  He really should be editing a fashion sheet for the well-dressed man.)</p>
<p>If I don't like to write letters, I adore receiving them especially when I'm all alone in Germany</p>
<p>As ever,<lb>Aaron</p>
<p>P.S. For your Eagle Eye and the clippings may Heaven reward you.</p>
Copland|corr0092|Letter from Aaron Copland to Roger and Barbara Sessions, 1927/08/18|<p>Haus Leopoldine<lb>Am Hainenberg[?]<lb>Knigstein i/T<lb>Aug 18 [1927]</p>
<p>Dear Barbara & Roger, --<lb>I meant to write weeks ago to bless both of you for the leniency with which my deplorable conduct was overlooked.  (Barbara's coals of fire particularly were a balm.)  But, as you have probably discovered by now, I am a most efficient creature in everything except letter-writing.  I remember your letters arrived just before I left for the festival at Baden-Baden -- which, by the way, was much more interesting than the one at Frankfurt.</p>
<p>The decision of the Sessions family to return to America has caused much excitement in France if I can judge by the letters coming from Juziers.  Both Israel and Roy Harris devoted a paragraph to the subject.  I, for one, am DElighted and shall do everything in my power to make America seem so nice that you'll want to stay for good.  (The first thing being to start our Young Composers Society...!)</p>
<p>My own days in Europe are numbered.  I sail the 10th.  Knigstein has been very nice indeed, but the summer has seemed so frightfully short.  I have been able to do little more than get a half dozen new things under way: a Trio on Jewish Themes,  a string quartet movement, a new orchestral piece,  some E.E. Cummings songs,  some piano pieces.  And now, back to America, to fight for every halfhour I can devote to composition -- besides the enormous amount of time to be wasted on 'lectures' on modern music.  These are mere details -- what I mustn't neglect to tell you is that Knigstein hasn't been at all warm -- nor so very lovely at that!</p>
<p> I am to hear Electra on Tuesday.   Roger, mon cher, you had better be satisfied with your thrills of 10 years ago and not take a chance hearing a real performance in 1927 if I can judge by playing over the score.  How naive and sympathetic the banality in Mahler is, compared to the empty, heartless banality of Strauss.  Though I must admit Strauss's harmonic sense is extremely acute and he never fails one at the most dramatic moments.  I have been spending much time over Oedipus Rex -- a very different story indeed and I look forward to the discussions we are to have concerning it.</p>
<p>I hope all has been going well with both of you -- that Barbara is completely restored to health and Roger has his Violin Concerto almost finished.  Let me know when you expect to sail.</p>
<p>Faithfully, as ever,<lb>Aaron</p>
<p>P.S. The Irony of Fate.  Now that I am done with jazz an article by I. Goldberg is to appear in the Sept. 'Mercury' on 'A.C. and his Jazz.'</p>
Copland|corr0093|Letter from Aaron Copland to Nicolas Slonimsky, 1927/09/14|<p>Sept 14 [1927]</p>
<p>Dear Kolya, --<lb>I got your two letters in Paris when it was too late to answer so I'm doing so now because I know what a mob of other things there'll be to do after I arrive.  Blessings on your little head for sending along all the articles, books, clippings, etc.  If I don't get 'famous' it won't be Goldberg's fault, nor yours, if I don't hear of it.</p>
<p>Though I worked hard in Knigstein I have nothing to show for it except bunches of sketches and an 18 measure song to the following by E.E. Cummings:<lb>In spite of everything<lb>which breathes and moves<lb>Since Doom (with white longest hands<lb>Neatening each crease)<lb>Will smooth entirely our minds<lb>--- Before leaving my room, I turn<lb>(and stooping through the morning)<lb>Kiss this pillow dear<lb>Where our heads lived and were.<lb>Needless to add, the Song is only dedicated to initials!</p>
<p>Tonight reminds me of the next-to-the-last night on the France with Mr. Press, your 'Ownt' and your most honored self.  Only there's no such pleasant company on board now and I console myself with the steadiness of a very steady boat.  Believe it or not, for the second time, I've crossed this 'ole davil sea'  with only a few hours of...uncertainty.</p>
<p>You were very sparing with the details of your cavortings around the 'Wentworth-by-the-Sea.'   Is it possible you spent an entire summer at such a place without hooking some beautiful heiress to support us all?!  Shame on you.  Must I be forced to go on with my dreary lectures on a dreary subject at a dreary school?</p>
<p>Oh well  Heres hoping we meet somehow -- somewhere -- soon.</p>
<p>Yours<lb>Aaron</p>
Copland|corr0094|Letter from Aaron Copland to Nadia Boulanger, 1927/10/16|<p>Oct. 16, 1927</p>
<p>Dear Mademoiselle, -<lb>Unfortunately I am too rushed at the present moment to answer your letter as it deserves but anyhow the main point is that I wnat to thank you for the letter to Mengelberg and for having arranged the affair with Strecker so beautifully.   I do hope you are taking good care of your health -- the end of your letter made me not a little concerned about you.</p>
<p>I wrote to Strecker immediately accepting.   Also to Universal to send you back 'As it fell..'  I'll send you a copy of the new song alone but it should not be published that way.  As for the 'Concerto' it is difficult to send it now, but perhaps a little later.  Also, by the way, I won?t bother sending parts of the 'Symphony' until you write and ask for them -- that is, when a performance becomes certain.</p>
<p>I have not sent the letter to Mengelberg because the situation has changed since we talked together.  Then, I had two scores unplayed, but now one has already been performed last Wednesday -- the Cortge Macabre -- and the other, the 'Scherzo' from the 'Symphony' is to be given by Fritz Reiner and the Philadelphia Orchestra on Nov. 4th & 5th in Philie and on the 8th in New York.  So you see when your letter came I no longer had anything absolutely new to offer Mengelberg -- but I will visit him nevertheless and play him the Symphony and Concerto, if possible.  At any rate we should become acquainted.  And moreover, the purpose of being performed by someone besides Koussevitsky is achieved.  But isn't it the irony of Fate, that altho I haven't composed a note in months I am to have three first performances (with the Three Dances) this winter.</p>
<p>The playing of the Cortge last week was miserable -- a conductor no one ever heard of -- Zaslavsky -- and a mediocre orchestra.   I expect more from Reiner -- who was really enthusiastic about the Scherzo when I played it for him -- and the famous Philadelphia Orchestra.</p>
<p>My lectures are going brilliantly.  I have a class of about 125 people each week -- which I find extraordinary and inexplicable.  I have already played Oedipus, Creation du Monde, Hindemith op. 37 , etc. etc.  If I weren't a composer it would be very amusing.  But as it is, it is even difficult for me to give up three months of the year to merely making money; and it is practically impossible to do any concentrated work on composition unless I devote my entire energies to it.  This is a problem which only a life-subsidy from some kind soul will solve.  But simply from having given three lectures I am certain that my job in this world is composing and nothing else.</p>
<p>I am so glad to hear that everything is well with Israel -- he writes me beautiful letters and seems content.  I shall do my utmost to raise money for two more years and will let you know how successful I've been by the end of November if not before.</p>
<p>With my best thoughts for yourself and Madame</p>
<p>As ever<lb>A.C.</p>
Copland|corr0095|Letter from Aaron Copland to Serge Koussevitzky, 1927/10/30|<p>Oct 30, 1927</p>
<p>Mon cher ami, --<lb>Je sais que vous serez heureux de savoir que Reiner va donner le 'Scherzo' de ma 'Symphony'  Philadelphie vendredi et samedi, le 3 et 4 nov.  Il va la faire aussi dans son premier concert  New York le 8 novembre.  J'irai, naturellement,  Philadelphie pour entendre le morceau et aussi la dernire rptition.</p>
<p> Je travaille comme un ange sur mes confrences qui font grand bruit.  J'ai mme un public de 125 personnes chaque semaine!  Mais a prend beaucoup de temps et je n'ai pas pu crire une note depuis mon retour.</p>
<p>Je travaille aussi sur les parties des 'Trois Dances'  (pour les corriger) et je compte  vous donner la partition quand vous viendrez  New York le 24.</p>
<p>J'ai lu dans tous les journaux de votre grand succs lundi dernier  et a me fait tant de plaisir.  Eh bien, en trois semaines vous serez chez nous et je me rjouis[?] dj.</p>
<p>Donnez mes amities  Madame Koussevitsky.</p>
<p>Votre<lb>Copland</p>
Copland|corr0096|Letter from Aaron Copland to Nadia Boulanger, 1927/12/19|<p>223 West 78th<lb>New York<lb>Dec. 19, 1927</p>
<p>Dear Mademoiselle, -<lb>
<p>It seems like years since I wrote you last.  I have nothing of any real importance to write you -- I?ve written no new works hlas -- but I have an irresistible desire to speak with you again after this long silence.</p>
<p>First let me list the various tragedies.   (1) I have word from the Universal Edition from Vienna that they never did receive the 'As it fell upon a day' you sent to them.  I suspected as much.Would there be any way of your tracing it at this late date?  (I have a copy here of course.)  (2) I am mystified by the fact that I have never heard a word from Strecker about the violin pieces.  Do you know anything about it?  I wrote as you told me to do, but have received no answer whatsoever so far.  What should be done?  (3) I sent your letter to Mengerlberg 3 weeks ago.  No reply yet.  This looks ominous!  To balance these evil tidings perhaps you should know that I have (1) a request from M. Hettich for a vocalize-etude which I shall be glad to do if I can discover a model to go by, i.e., the books already published as a guide to what is wanted.  (2) I have news from the Universal that the 'Music for the Theatre' is now transformed into 'Tragdie im Sden,' ein Ballet im Fnf Stze.  The ballet story is appallingly melodramatic, but the action has been well put to the music, and I have no doubt that the good German opera public will be delighted.  The Universal assures me that a production is certain; even possibly this season yet.  For once, it is pleasant to sit back and watch a formidable organization like the Universal do the unpleasant business  of finding performances.</p>
<p>Roy  is is here making the winter more lively.  I am astounded by his business-like efficiency -- I never realized he had it in him.  Imagine, he has seen and played his music to everyone of any importance in New York from Varse to dieu soit qui.  And his activities in behalf of a good performance of his Sextet are amazing.  But seriously, when I think of him, and think now of the choruses, I can't help but marvel at the progress he has made -- and marvel at you too, who made it possible.  He plans to return in February and he seems truly anxious to get back.</p>
<p>I have only one more lecture to give in my course.  They offered me a second series of 12, but I refused because I wish to have all my time for composition after Jan 1.   When I think that I have produced no work signed 1927, I assure you I have a sinking feeling of the heart.  It is as if the entire year were wasted.  This won't happen again if I can help it!  Nevertheless I have agreed to give a second course next October.  We are ending the season with a concert -- I am enclosing a program to amuse you.  I am extremely impatient to get back to work once again.</p>
<p>Mrs. Wertheim gave me $160. for Israel.  Is he behaving himself?  I often have bad visions of him causing you untold trouble and annoyance.  Reassure me, please!</p>
<p>The seasons greetings to you and Madame.</p>
<p>Devotedly A.C.</p>
Copland|corr0097|Letter from Aaron Copland to Natalie Koussevitzky, 1928/01/18|<p>223 W. 78 St. N.Y.<lb>Jan 18, 1928</p>
<p>Dear Madame Koussevitsky:<lb>You know how much I would regret having to cause you 'des ennius.'  But how else can I get the benefit of your advice?</p>
<p>You remember, perhaps, my young pupil Citkowitz who went to study last Spring with Mademoiselle Boulanger.  At that time I was able to get six people to contribute two hundred dollars each to make it possible for him to go to Paris.   I have just received a letter from Mlle. Boulanger saying that he has made tremendous progress and that she thinks him very talented.  It would be a great pity if Citkowitz had to come home now because of lack of money.   He should study in Paris another year or two and the ideal arrangement would be if I could find some rich patron of the arts who could afford to give eighty dollars a month, which is all that is needed.</p>
<p>It occurred to me that perhaps Mrs. Stevens of Boston  would be a good person to approach.   What do you think?   Or perhaps you know of someone better who I could write to.  Something must be decided by the 1st of March.</p>
<p>Above all things I want to avoid bothering you.   If you have no advice to offer, or if you are not interested, please just forget about it and forgive me.</p>
<p>With my very best greetings to Mr. Koussevitsky,</p>
<p>Yours sincerely<lb>Aaron Copland</p>
Copland|corr0098|Letter from Aaron Copland to Natalie Koussevitzky, 1928/02/16|<p>Feb. 16, 1928</p>
<p>Dear Madame Koussevitsky --<lb>I received your two notes this morning.  I expect to come to Boston on Tuesday by the train which arrives there at 5:25 P.M.</p>
<p>I am sorry to say that I have no program of the Paris performance of 'Oedipe Roi.' </p>
<p>As for my own article I would have sent it long ago, but I found that it was impossible to reconstruct the article from the pencil sketches that I had left.   Instead, I am sending an article from 'La Revue Musicale' by Louri, which is very interesting and much more technical than my article which will appear next Thursday.</p>
<p>Looking forward to seeing you soon and with best remembrances to Mr. Koussevitsky</p>
<p>As ever<lb>A Copland</p>
Copland|corr0099|Letter from Aaron Copland to Roger Sessions, 1928/03|<p>Wednesday [March 1928]</p>
<p>Dear Roger --<lb>Awfully glad to be able to send you this.  It comes from Mary and Minna with the request that nobody know about it but ourselves.  (By the way, its a gift, not a loan)</p>
<p>I forgot to ask you about Teddy Chanler's things.  Do you think I could get a copy of his Violin Sonata from his mother?  What is her address?   If we give a second concert we must have something of his on it.  (Is Mrs. Warfield and Gertrude Bonine to play for us?)  Also please ask Barbara to get the statement of our aims ready in a week and send it on.  Time's getting short.</p>
<p>You'll probably hear from me much more often than you like.</p>
<p>As ever<lb>A</p>
<p> For the sake of publicity we must have a name for our concerts (i.e. Concerts Koussevitsky).  No society, but S---- and C--- run the Blank Concerts.  Can you two think up a name?</p>
Copland|corr0100|Letter from Aaron Copland to Roger Sessions, 1928/03|</p>Sunday [March? 1928] --</p>
<p>Dear Roger --<lb>As usual, I have but a moment and want to get this off to you.</p>
<p>The first concert cannot take place before April 22 and even for that we must rush.  We are signing up for a hall to-morrow.  The name will be this: Copland-Sessions Concerts of Contemporary Music.   I can't wait for an answer as to how it suits you, I can only pray that it does.  The announcement must go out Monday so as to be in next Sunday.  I used B----'s statement which is excellent and tried to make it a little less distinguished-sounding and more journalese!</p>
<p>I've secured Teddy's Violin Sonata from Kochanski.  The program looks like this:<lb>Chanler -- Violin Sonata<lb>Piston -- 3 W.W. pieces<lb>Sessions -- P. Sonata<lb>[ ?     -- songs ? ]<lb>Chavez -- 3 Sonatinas.</p>
<p>Be prepared for a shock.  If we give a second program it can't be before May 6.  It kills me to think you wouldn't be there but what to do?  Tell Porter the date and if the concert is held we can do his work (on the second program)</p>
<p>I can't take up your letter in detail now.  I am delighted to hear about the 'Return to America.'  Delighted is a weak word.</p>
<p>I'll write again tomorrow.</p>
<p>A-----</p>
Copland|corr0101|Letter from Aaron Copland to Roger Sessions, 1928/03|<p>Monday [March? 1928]</p>
<p>Dear Roger, --<lb>The prospectus is off to the papers and should appear next Sunday.  Mrs. Churchill 'corrected' my arrangement so Barbara will probably recognize nothing of what she wrote.  We decided to come out without a name now, but to add it in the next publicity containing composers, dates etc.  Therefore if you object to Copland-S--- Concerts of Contemporary Music say so now.</p>
<p>The second program was advanced to April 29 even tho that is the last day of Mrs. Coolidge's Festival; and the first program is definitely April 22.  We have the American Laboratory Theatre for April 22 and a promise for the 29th.  The second program looks like this -- vaguely, that is:<lb>Delaney -- Violin Sonata<lb>Antheil -- String Quartet<lb>Elwell -- Nine piano pieces<lb>Copland -- Two pieces for String Quartet<lb>Q. Porter -- Quintet.<lb>(Elwell wrote that his Violin Sonata could not be finished in time.)</p>
<p>(By the way, what piano does John Duke play -- if any?)</p>
<p>I don't see how we can give the program if Antheil doesn't come across with the Quartet.</p>
<p>It is still possible that we may change the theatre to one nearer the center of town.</p>
<p>I tried to get in touch with Mrs. Warfield, but she is out of town until Friday.  This worries me.  Teddy's Sonata is not easy and if we wait for her return she'll have only three weeks to prepare it.  If I know where she went (they said Meridan ) I'd write to make sure of her acceptance.  Can you suggest anything?</p>
<p>I read the Oedipus article and like it very much -- particularly the second part, i.e. everything from the discussion of the orchestral effects onward.  And whats your verdict on my own piece in M.M.?</p>
<p>I'm delighted to hear about the piano arrangement of the Largo.</p>
<p>As for my lectures they would have to take place in January.  I have only planned single lectures.  You probably know what I can speak on as well as I do.</p>
<p>The latest excitement is that I am engaged to play my Concerto at the Hollywood Bowl on July 19th.  Charming, pas?  They wanted Gershwin, but had to take me instead.  This means I see New Mexico and America!  Now will you be good.  I'll probably return a rampant affirmer.  My plans are to leave on May 15 for Santa F and remain there for two months, then to California and back to the MacDowell Colony for August and September.  This all seems very far from you, worse luck.</p>
<p>I'll probably need to come to Northampton for a rest on April 6!  But I fail to see at the present moment how I can get away.  Anyhow thanks very much for the invitation and I'll let you know later whether I can manage it or not.</p>
<p>A-------</p>
Copland|corr0102|Letter from Aaron Copland to Roger Sessions, 1928/03|<p>Thursday [March? 1928]</p>
<p>Dear Roger, --<lb>First, to practical matters.  We are still haggling between the American Laboratory  Theatre and the Edyth Totten Theatre and will decide definitely on Saturday.  The material for the circulars for mailing purposes must be in by Tuesday  so our programs must be complete by then, -- works, names of separate movements, artists names etc.  I feel very badly about the fact that I am forced to say to you, lets play this or that, without being able to show you the music first.  I didn't realize how far in advance all these things must be decided and of course now it is too late to dream of sending you the music to pass on.  I console myself, by saying that of the two programs I sent, you are unfamiliar only with the Bob Delaney and Chavez.  I feel sure you'll like the latter and Delaney is the sort of person we want to encourage and shows 'promise.'  I think we must also add to the first program some short songs by V. Thomson for voice and percussion.  He has never had a performance here and its the only thing in the way of songs that I can find.  (I got in touch with Warfield and it's all arranged.)</p>
<p>I remember you were in favor of two programs.  So is Mary Churchill.  I think we'll announce both programs anyhow.  In order to do so we must have a definite reply from Porter and the names of the people he is bringing with him to perform his work.  (The second concert is definitely for April 29.)   Write me how you want your sonata programed (with movements or what?)</p>
<p>For the circular we want a [line missing in photocopy] of our views to be signed by both of us.  I am writing it and enclosing it to save time.  Improve it however you like, but I must have it back by Tuesday A.M..</p>
<p>I am also enclosing a copy of the first announcement, revamped, as sent to 33 newspapers in N.Y. and Boston, musical journals etc.  No doubt, we'll be inundated with compositions from 'promising composers'!<lb>-----</p>
<p>I have your telegram about Warfield.  She had written me, but addressed her letter to East 78 instead of West 78.</p>
<p>Your letter with the information about Porter changes matters considerably.  There is still time to change the date to May 6, but I must have a day in which to find out the how and what.  At any rate, even if we keep April 29 I think I can supply a quintet so that it should go on the program in either case.  I think it might be wise to write and ask him to send me the names of the people he would bring from Cleveland if we did do it on May 6.  (This should reach me by Tuesday also.)</p>
<p>This morning a letter came from Olin Downes saying "Your announcement is good news indeed.  I shall be very glad to do everything I can to cooperate."  This is an auspicious beginning.</p>
<p>Truth to tell, I'm all het up.  And dying to get a glimpse of the Piano Sonata.</p>
<p>A-----</p>
<p>P.S.  You might send us names of friends of yours who you think would like to know of the concerts.</p>
Copland|corr0103|Letter from Aaron Copland to Roger Sessions, 1928/03|<p>Monday [March? 1928]</p>
<p>Dear Roger, --<lb>Something has come up which needs your immediate advice.  The International Society for Contemporary Music suggests that we give our concerts under their auspices.  There are several pros and cons.  We are given absolute freedom in every way.  The I.S.C.M. will concern itself with the practical end -- get the hall, print programs etc.  We can probably get more publicity for the concerts because of their name and possibly make surer of having the critics also.  The I.S.C.M. (Alfred Human is president) is what sends the music for the International Festivals in Europe as I suppose you know.  They have never had any other activity, such as sponsoring concerts etc., but, as I had known, from earlier in the winter, are anxious to be more active.  This offer came thru Mrs. Reis who is on the board of the I.S.C.M.!  (I suppose she would get a certain satisfaction from dragging along in this precarious way with us rather than be left out altogether from the 'Youth Movement.')  I don't think this matters if our purposes are better served, however.  There are several other advantages -- composers who are played will be probably more impressed by a long title than an anonymous society, etc. etc.</p>
<p>My idea would be to announce the concerts thus: R.S. and A.C. present so and so and so and so under the auspices of the I.S.C.M.</p>
<p>The principal objection seems [to be] that we don't start that way with as complete a sense of freedom.  There is almost certain to be a little confusion in the beginning as to what society is what in the mind of the public.  Second, God knows what complications may arise.</p>
<p>One reason and one reason only makes me consider this offer very seriously and that is the fact that you will probably be gone for 3 years.  If we start now, I want absolutely to continue.  But I don't feel able to swing such a thing all by myself, without at least your moral support in America.  I think it would look presumptuous  on my part to want to run a society entirely alone -- and it would look thus in the eyes of the public.</p>
<p>Tell me what you think.  If you decide it would be better to go it alone, I'm willing.  Only write within 24 hours after getting this if you can.</p>
<p>Autre chose.  Have any overtures been made to Quincy Porter?</p>
<p>Have you asked Teddy  to cable a reply?  Perhaps we can do his violin sonata if he has nothing new.  After all, its never been given in public in its entirety.</p>
<p>Will Barbara please ask the Warfield-Bonine combination if they will help perform one or two violin sonatas for us?
With my very best to you both and in haste</p>
<p>Aaron</p>
Copland|corr0104|Letter from Aaron Copland to Roger Sessions, 1928/03|<p>[March 1928?]</p>
<p>...I went to see Human to-day about the I.S.C.M. backing us.  Our talk was anything but satisfactory.  On the one hand, he agrees to our being czars and on the other he offers suggestions as to what we should play.  He is afraid of our giving programs made up entirely of left-wingers in spite of all my reassurances.  In a word, he's an ass and I have no desire to work with him.  Besides he has no financial aid to offer and seems so busy that he'd have no time to run our very important affairs.  I think we can just drop the idea and go ahead as before, alone.  Tonight, I feel as if something would turn up for next year, if absolutely necessary.</p>
<p>I've talked to Minna L[ederman] about the wherewithal for photostating, etc.  She was very nice about it and promised a definite answer in a day or two.  I'll let you know as soon as I know whats what.</p>
<p>I sent the U.S.A. $1.20 income tax!   Can you say as much?</p>
<p>Yours efficiently<lb>Aaron</p>
Copland|corr0105|Letter from Aaron Copland to Barbara and Roger Sessions, 1928/04|<p>Monday eve. [April 1928]</p>
<p>Dear Barbara and Roger, --<lb>I'm too tired and too sleepy to give you an adequate report of our debut but I'm rather happy about how it all panned out.  I'm really sorry you weren't with us -- I should have liked you [to] have been there so that we could have discussed the music (particularly Chavez'), so that you could have passed on the spirit of the concert which I didn't think quite satisfactory, so that you could have helped out at the party which was a dismal affair etc. etc.  People asked for you both and the moral responsibility for the occasion was rather heavy on my slim shoulders.  But I'm a man to accept the inevitable -- and everything that happens in connection with the two of you I always place in that category!  Margy Naumberg tells me you won't sail until after the 6th so you will be at one concert anyhow and that evens matters up considerably.  As it happens, the Sonata will be an invaluable aid in bracing up the second program which had been weakish in its original form.</p>
<p>To me the most surprising thing that took place was the way the critics turned out.  I think is an indication of what the concerts mean to the musical life here generally.  Mary C. is sending you all of the clippings.  They all damned Chavez which I think is a sign of the real excellence of his music... Anyhow the critics were there and we seemed like a very important organization!  (Mrs Reis was astounded but very pleasant about it.)  The audience seemed more literary and theatrical than musical.  I don't quite understand why it was so; <but crossed out> The enthusiasm, which was greater than at similar functions of the League[,] did not quite reach my expectations -- does that surprise you?</p>
<p>Ruth Warfield, looking marvellously, played Teddy's Sonata rather badly which wasn't surprising considering her recent illness and the short time she had to prepare it.  Piston was here for his final rehearsal  and the concert and bowed in response to much applause -- the audience liked the Three Pieces though they seemed to me to be little more than well written.  I don't know what the Thomson sounded like because I played the percussion part to the astonishment of Henry Cowell.  I won't go into Chavez' stuff now.  I have copies of his music to play for you as soon as I can get you near a piano and my article on him is appearing in the N.R. this Friday.</p>
<p>Mary has been extremely efficient throughout, tho new problems have arisen which seem almost insoluble.  The only wrong thing she did was to lose your telegram before I saw it, but I heard it from memory and if I hadn't been such an excited ass I would have sent one in return.</p>
<p>Yours, 'tired but happy'<lb>A-----</p>
Copland|corr0106|Letter from Aaron Copland to Barbara and Roger Sessions, 1928/04|<p>Sunday [May 1928?]</p>
<p>Dear Roger --<lb>I am enclosing a letter just received from Antheil which I hope will amuse you.  Apparently, I frightened him off.  We must find something to take the place of his quartet.  Have you any suggestions?  If so, let me have them by return mail.  I have been only able to think of two possibilities, neither of which is very inspiring: a string quartet of Howard Hanson or a ballad (do you know it?) of Douglas Moore.  I'm rather sorry about the Antheil being off as the program now seems to miss fire -- but I am more convinced than ever that a second program is m\necessary in order to impress the whole business on people's minds.</p>
<p>We came off fair to middlin' in the Sunday papers.  Everyone cut the announcement except the Brooklyn Daily Eagle.   Downes swore it was not on the main page thru an error and against his expressed wishes.  Can one believe him?  Anyway, people will have heard.</p>
<p>The second concert will be definitely May 6.  We have signed a contract for April 22 with the Edyth Totten Theatre.  It is a small, new theatre (313 seats) in the center of town -- 48th St. near 8th Ave. and ideally located.  This is going to cost $125. but Mary Churchill felt it was worth the money, and after all it is her money.   Incident-[caetera desunt]</p>
Copland|corr0107|Letter from Aaron Copland to Nicolas Slonimsky, 1928/05/13|<p>May 13 [1928]</p>
<p>Dear Kolya<lb>In the midst of packing I must stop to tell you how nice the article is.  I'd like to say more about it but there isn't time.  Anyway you look at it, I think its one of your best.</p>
<p>I'm leaving for Sabta F on Tuesday and hear that Paul Horgan will be there in a few weeks.  It'll be nice to see him again.  If you write him tell him I'll be there.</p>
<p>I'm sorry if I seemed rude or unattentive to you last week.  I was frightfully tired and had several things on my head which made listening difficult.  Have you forgiven me?</p>
<p>Gerald is taking my apartment so you can continue to write here --</p>
<p>Yours A---</p>
Copland|corr0108|Letter from Aaron Copland to Nadia Boulanger, 1928/06/01|<p>Santa Fe,<lb>New Mexico<lb>June 1 [1928]</p>
<p>Dear Nadia, -<lb>I should have written you these past many months, but there were so many things to write about I became paralyzed at the mere thought of transcribing them all to paper.  And it always seems useless to write you unless I can write you everything. Now that I am 2,000 miles miles away from New York and our musical season is over all these things that seemed so important to write you then do not seem so any longer.   Anyway you must have heard many of them from Roy when he came back and recently from Roger, perhaps also from Israel to whom I write regularly knowing how much he needs my moral support.</p>
<p>When I look back at the winter it seems to me that the only real thing accomplished was the fact that I have finished my slow movement for string quartet.  I have just made a copy for you because I am most anxious to know what you think of it.  Please show it to Roy and to Israel.   (I dedicated it to Roy because it was his enthusiasm for the opening phrase which gave me the incentive to finish it.)   The rest of the winter was spent in giving lectures and giving concerts.  I should so much have liked to discuss both of these activities of mine with you, particularly the concerts.  They went off surprisingly well -- particularly from the standpoint of the press.  The difficulty will always be to find good music by Americans.  But we want also to play the young Europeans who are just beginning to be known in Europe like Conrad Beck or Lopatnikoff.  Thats where you can help us (not to mention the Americans!)  Please ask Beck to send us one or two of his recent chamber music works so we can introduce him to N.Y. next season.  Also if you know of anyone else who is writing really worth while things, do let me know.  We expect to give three concerts next season</p>
<p>I am spending two months here in this old Spanish town of Santa F.  I have a room and a piano and am hard at work thus making the summer six weeks longer than usual.  There will be an interruption of two weeks in July when I play my Concerto at the Hollywood Bowl under Coates.  (I don't look forward with much pleasure to this because the time for rehearsal -- these being summer concerts -- is necessarily too short to hope for a good performance)   In August and September I will be back at the MacDowell Colony in Peterboro where conditions are ideal for work.  I wish very much to turn out a large piece for orchestra this summer -- and it is on this that I am working principally.  Secondly, I should like to do a Trio -- piano, violin, cello -- for our concerts.  As I have the thematic material already it shouldn't be impossible.  It becomes increasingly difficult to work during the winters in New York.  I have stopped answering the telephone and see as few people as possible -- but still it is difficult.  But as long as I must give lectures to make money and as long as I feel that the concerts can become important in our musical life I don't see very well what can be done.</p>
<p>I was very much relieved by what you said about Israel's work in your letter of last January.  I hope he has continued to improve.  Your letter induced Frederick Jacobi to help again with financial aid so that Israel has enough money until the end of October.  Just now I don?t see who I can turn to for more money then, but I suppose someone will occur to me.  Hasn't Israel met anyone at your house who might be induced to help him -- even if only for a few months?  Since I shall probably be in Paris next Spring I should certainly like to have him stay at least until the fall of '29.</p>
<p>It seems strange to be so far away from Paris at this time of the year.  Still, I suppose, it is good for me to see America a little, and then of course, playing at the Bowl is an excellent introduction to the Pacific Coast.  Still, I do miss the rue Ballu very much.  Now that Katherine isn't there to write me all the little details about what is going on I feel very much out of it.  Perhaps, during the summer you will be able to find a little time to write me.  (Address: 223 W. 78 St. always.)</p>
<p>Give my best regards to Madame Boulanger.   Tell her I miss her taquinage as to how 'celebre' I have become.  With deep affection, as ever</p>
<p>A.C.</p>
Copland|corr0109|Letter from Aaron Copland to Serge and Natalie Koussevitzky, 1928/07/02|<p>Santa Fe, New Mexico<lb>le 2 juillet, 1928</p>
<p>Mes chers amis, --<lb>Cette lettre va vous trouver chez Dengler  Baden-Baden je suppose.  Enfin vous aurez un peu de repos et le temps aussi pour lire ma lettre.</p>
<p>Me voil depuis sept semaines  Santa F dans la Nouvelle Mexique.  C'est bien loin de Paris!  Mais c'est un pays vraiment magnifique avec des grands montagnes presque sans vegetation -- qui donne un effet austre et un peu effroyable au passage.  Le peuple aussi est trs curieux et trs melangs -- il y a des Mexicains, des cowboys, des Peaux-Rouges, des artistes-peintres, des Americains-pioneers, des tourists, etc.  A Santa Fe, on a l'impression d'tre plutt en Espagne qu'en Amerique.</p>
<p>Je n'ai rien fait ici sauf travailler. C'tait impossible  trouver un bon piano dans cette petite ville -- mais autrement les conditions pour travailler sont ideals.   Tout le monde m'a envoy l'annonce du Victor Company Prize et j'etais enchant de voir que Rachmaninoff et Kreisler ne font part du 'jury.'  Depuis, mes rves ne s'occupent que d'avoir ce prix de 25,000 dollars!  L'oeuvre est commenc.  C'est tout a fait dans le style que vous aimez du premier morceau de 'Concerto,' seulement plus fort et plus grandiose.  Il faut des mois encore pour la finir et j'spre que vous aimeriez a quand c'est termin.</p>
<p>Je fais en mme temps une nouvelle orchestration de toute ma 'Symphonie,' sans l'orgue.   J'ai mis 8 cors et 5 trompettes dans la dernire partie qui doit faire un effet trs grand.</p>
<p>Si je peux croire des lettres de Paris, j'ai fait encore une btise en donnant ma 'Cortge Macabre' a Golschmann.   Evidement c'est un morceau qui n'a pas de chance!  Tout de mme, (et comme toujours!) j'ai pens d'avoir agi pour le mieux.</p>
<p>Je vais  Los Angeles le 13 juillet -- je joue le 'Concerto' le 20 (c'est Coates qui dirige) -- je donne un conference sur la musique moderne  l'Universit de Californie le 25 -- et le 1er Aot je serais encore dans l'est au MacDowell Colony pour continuer mon travail jusqu' la fin du septembre.   a fait un t vari.  (En octobre je commence encore mes conferences au New School sur les 'Chefs d'ouvres de la Musique Moderne' -- qui va de Boris  Oedipus. )</p>
<p>Comme je me plains de n'avoir pas entendu ce 'Concerto' de Hindemith.   Et toutes les nouvelles choses que vous avez donn.</p>
<p>Je serais tellement heureux si seulement vous pouvez m'crire deux mots pour me dire comment vous vous portez tout les deux.</p>
<p>With much affection -- Aaron Copland</p>
<p>(MacDowell Colony, Peterboro, N.H.)</p>
Copland|corr0110|Letter from Aaron Copland to Carlos Chvez, 1928/07/18|<p>July 18 [1928]</p>
<p>Dear Carlos, --<lb>I was so surprised and delighted to have your note.  Somehow you had given me the impression that you never wrote to anyone and so I took it for granted that you knew I was thinking of you often, but not bothering to write.  I'm so glad you missed not hearing from me.   I heard of your existence from many people -- Harold, Gerald, Francis Ferguson, etc.</p>
<p>I'm in too much of a whirl to write you at any length now.  It all began when I slipped off the train in Los Angeles and was met by manager, president, chairman, director, reporter, photographer -- and a piano!!  (Publicity stunt -- Mr. Copland playing jazz to the crowds at the station.)  Ever since I've been on the go -- and my stay in Santa Fe! Seems quite distant and remote.</p>
<p>San Francisco<lb>July 24.</p>
<p>I never got any further than the above.  Henry  has been taking care of me the last few days and in wonderful style showing me California.</p>
<p>The 'Concerto' caused almost a 'Skandal.' But it was very amusing to play before the crowd of 17,000 people.</p>
<p>I'll write again from Peterboro (my address is c/o MacDowell Colony, Peterboro, N.H.)   Do let me hear how you are getting on.  We are all worried about you and your concerts.</p>
<p>As always<lb>Aaron</p>
Copland|corr0111|Letter from Aaron Copland to Nicolas Slonimsky, 1928/08/10|<p>Peterboro<lb>Fri [Aug 10 (or Aug 3?), 1928]</p>
<p>Dear Kolya --<lb>I've been here since the first -- Gerald arrives the 15th. -- Of course come to visit us any time after that (preferably on a Sunday)[.]  I'll be delighted to see you in all your summer flummery.</p>
<p>I'll tell you about the Cal. trip when I see you.  I talked about you a lot with Paul Horgan who I saw in Santa Fe.  He and I got on very well.</p>
<p>Hope you're flourishing --</p>
<p>Aaron</p>
<p>P.S.: Thats nonsense about Gerald's 'being cross.'</p>
Copland|corr0112|Letter from Aaron Copland to Nicolas Slonimsky, 1928/08-09|<p>Friday A.M. [Peterboro.  Aug-Sep 1928?]</p>
<p>Dear Kolya, --<lb>Hope this reaches you in time.  If you arrive at five P.M. come to the Mens lodge where Gerald and I live.  If before, come to my studio, where Gerald will join us.  (My friend Clurman is also here.)  You can find your way to my studio by giong first to Hillcrest (Mrs. MacDowell's home) and taking the private road into the woods that is found directly opposite the roadway leading to her house.  Keep to the right on my private road -- the studio is at the end of the road so you can't miss it.</p>
<p>Yours<lb>Aaron</p>
<p>[in Gerald Sykes's hand]: Dear Kolya,<lb>I didn't know about inns, etc.  The name of Aaron's studio is Chapman.  Greetings!</p><p>Gerald</p>
Copland|corr0113|Letter from Aaron Copland to Serge and Natalie Koussevitzky, 1928/09/03|<p>MacDowell Colony<lb>Peterboro, N.H.<lb>Sept. 3, 1928</p>
<p>Mes chers amis, --<lb>J'espre que cette lettre vous trouverez  Paris juste avant votre dpart.  Esprons aussi que vous avez eu des bonnes vacanses[sic] -- j'avais le sentiment que mme une seule lettre ne devrait pas les interrompre.   Mais, maintenant je crois que c'est un bon moment pour vous donner de mes nouvelles.</p>
<p>J'ai pass deux semaines magnifiques en Californie.  Le 'Concerto' etait donn devant 17,000 personnes!  C'tait un succs de scandale.  On a trouv a trs moderne l-bas o on a entendu vraiment trs peu de musique moderne.  (Goosens  dirig pour le premire fois 'Le Sacre' cette t.)  J'avais l'impression d'tre un vrai 'pioneer.'  Coates a dirig de son mieux -- c'est  dire, de bonne coeur mais sans grande comprhension.  Le public a siffl, a ri, a applaudi tout  la fois.   Je suis connu maintenant dans le 'West' -- seulement, c'est malheureusement un peu  la manire d'Antheil.  Mais moi, que puis-je faire?</p>
<p> D'ailleurs, je ne dois pas oublier de vous dire que cinq minutes aprs mon arriv le manager, Mr. Brite m'a dit: "Do you think that Mr. Koussevitzsky  will come to the Hollywood Bowl next season?"  Il m'a expliqu qu'il vous demande chaque anne de venir dans l'ouest.  Je lui est conseill de continuer -- peut-tre un jour il sera assez heureux et ce miracle arrivera!</p>
<p>Depuis le 1er aot je suis au MacDowell Colony o je travaille srieusement.  J'ai mon studio  moi dans le fort o les conditions pour le travail sont idales.  En outre, je prpare mes confrences pour l'hiver.</p>
<p>Malheureusement, je reste ici jusqu'au le 1er Octobre et alors je ne pouvais pas tre au bateau pour vous saluer comme d'habitude.   Mais je passerai peuttre par Boston en retournant  New York et comme a je peux vous faire une petite visite.</p>
<p>J'spre que vous tes tous les deux dans la meilleure sant.   Comme je regrette que je ne peux pas tre  la fte de Madame.</p>
<p>Affectueusement<lb>Aaron Copland</p>
Copland|corr0114|Letter from Aaron Copland to Carlos Chvez, 1928/09/07|<p>MacDowell Colony<lb>Peterboro, N.H.<lb>Sept 7, 1928</p>
<p>Dear Carlos, --<lb>Your letter gave me much joy both as friend and as musician.  I felt happy that you wanted me to come and grateful when I thought of how hard you must have had to work to get the truly surprising terms.  My first impulse was to say 'I'm coming'!  But when I thought of when it could be, I realized it wasn't so easy to arrange as I imagined at first.</p>
<p>These are my arrangements for the winter: from October until Christmas I lecture at the New School.  In January I have already signed contracts for lectures in Boston (Jan 12th) and in Cleveland (Jan 29th); and a manager is trying to get more engagements for January (which I must have in order to eat!)  That leaves, as you can see, only the concert in February as a vague possibility, but even so, in would be a problem to get to Mexico City in time for sufficient rehearsals.</p>
<p>The more I think of it, the less I should like to make the trip in a great hurry and leave again in a great hurry.  I wish to come to Mexico City for two months, not two weeks -- and not only that, but two months while you are there.  But you are coming back to New York in February, aren't you?  And I must give at last two Copland -- Sessions Concerts between February and April, mustn't I?</p>
<p>Don't you think it would be better to wait until the next season (1929-1930) when I could make all my arrangements long in advance.  I admit that when you first suggested the idea in New York I thought of it as something quite fantastic, but now I assure you I am really very keen to come there and am asking you to postpone the visit with the greatest reluctance and only because I am so anxious to come when I can stay for a long time and under ideal conditions.  From the standpoint of your public, the idea of playing the 'Concerto' is highly amusing to me, but they have not heard so much modern music that it can make a great difference whether they hear the 'Concerto' this year or next.</p>
<p>Carlos, my boy, I know how you are.  I know that when you conceive an idea you are not at rest until it is accomplished.  And so I am sorry to send this letter and not the immediate acceptance you hoped for, but please don't hold it against me.  I hope you will still want me to come for the second season of your concerts because I can promise now that I will arrange my affairs so as to make it possible.</p>
<p>I am to be at the MacDowell Colony until Oct. 1st.  I have been occupied on a new orchestral work which I hope to submit for the Victor Prize of $25.000 (this is a dead secret!) And have also made arrangements of my two string quartet puieces for string orchestra and my Organ Symphony for orchestra alone.</p>
<p>Roger Sessions wrote me a letter from Paris in which he says, "I have talked to Nadia Boulanger about Carlos; she is enthusiastic and would like to have his sonata  played in Paris next year.  So I'm letting her have my copy."</p>
<p>I too am practicing the 'Sonatina' because I am going to play it at my first lecture.</p>
<p>The greatest good luck with the Orquesta Sinfonica Mexicana!</p>
<p>Affectionately always<lb>Aaron</p>
<p>P.S.  Harold and Gerald, who are both in Peterboro, send their love and best wishes for the orchestra.</p>
Copland|corr0115|Letter from Aaron Copland to Natalie Koussevitzky, 1928/10/15|<p>le 15 octobre 1928</p>
<p>Chere Madame<lb>C'est un sentiment etrange d'tre  New York -- la saison musicale commence -- sans vous avoir vus.  Comme je me rejoui pour le concert de mardi prochain!  J'ai pens -- et c'est pour a que je vous cris -- que peut tre il y a quelque chose, n'importe quoi, que je peux faire pour vous aider avec le concert.   Je sais bien que vous n'avez pas exactement besoin de moi -- mais j'aimerai avoir le plaisir de vous aider s'il y a possibilit....</p>
<p>En tout cas,  bientt</p>
<p>Votre devou<lb>Copland</p>
Copland|corr0116|Letter from Aaron Copland to Serge Koussevitzky, 1928/10/24|<p>mercredi le 24 [Oct 1928]</p>
<p>Mon cher ami, --<lb>Vous pouvez avoir les parties au plus tard samedi le 3 novembre.  La partition, naturellement, plus tt.</p>
<p>Le titre de l'oeuvre est ainsi:<lb>Two Pieces for String Orchestra<lb>I. Lento Molto<lb>II. Rondino</p>
<p>J'enverrai les notes pour le program book en quelques jours.</p>
<p>Je vous envoi des critiques.  Quel succes triomphale!</p>
<p>Meilleures amitis<lb>Aaron Copland</p>
Copland|corr0117|Letter from Aaron Copland to Carlos Chvez, 1928/10/31|<p>223 W. 78 St.  New York<lb>Oct 31 1928</p>
<p>Dear Carlos --<lb> I waited several days since seeing Agea before answering the letter he brought me from you, hoping against hope that something would turn up to save me from appearing like an altogether ungrateful wretch.  But nothing has.  I feel as if heaven and earth were being moved to bring me to Mexico City and I do nothing about it.  In reality, this is not so.  I really understand and appreciate how much you want me there and it makes me very sad not to be able to say: 'coming.'  The reason is this: all my energies are at present directed to the winning of the Victor Prize of $25.000 and you understand how important such a sum of money is.  But my orchestral work is no-where near being finished and I cannot work on it until I am through with lectures, which is not until Jan. 27 as I wrote you.  In order to finish it in time, I must devote at least three months of concentrated work on it which will have to be Feb. March and April since the works must be submitted for the prize in May.  (I am like a woman who is preganant and dares not travel for fear it would endanger the life of her child!)  What could be nicer than the offer you make me: to see Mexico City, play my Concerto, to meet new people, to spend a week travelling back with you (which would be as great a joy as any of the others) -- all this to cost me nothing; you must think me crazy to refuse.  You can be sure I think myself crazy!  But this craziness is one that any composer could understand: it consists in living with one desire -- to finish a work which is incomplete.  If I went to Mexico City in February it could not make me happy because the back of my mind would be saying to me always: you should be finishing your piece.  This is as clear as I can make myself.</p>
<p>Instead of the Concerto I suggest that you give ?Music for the Theatre.?  It is characteristic of me, is amusing for an audience, and the jazz parts are like an introduction to the ?Concerto? which I still hope I can play with you in your second season.  I have my own original copy of the score but the Universal Edition has the parts.  Write to them immediately -- if they do not answer the simplest thing will be to have the parts copied in Mexico City and I will help pay the cost.  It should not be expensive because it is only for small orchestra.  Of course, only do this if the Universal refuses to send the parts.  In any case I will send you my copy of the score -- but don?t tell [illegible in Xerox] Universal this[?].</p>
<p>I am so glad you are working on an orchestral piece also.  Is there any chance of showing it to Koussevitzky  this season?  If so, let me know, and I will mention it to him, or give it to him if you can send a copy.</p>
<p> Naturally we will give the 3 Mexican Pieces at the C -- S concerts. My only regret is [that] they are so short.  I like the Fox very much -- or as much as I can make out of it because as you must know it is terribly difficult to play.  In fact, I can't wait until I hear you play it as only you can.  Our first concert will be around Christmas; the second in February.  Your pieces will be in February, unless we give a third concert in April.  If we do, I?ll save it until then so [as] to be sure that you are to be present at the concert.  As works to play by Americans we have: 2nd String Quartet, Geo. Antheil; 'Paragraphs' for 2 violins & cello, Henry Cowell; Piano Sonata, Bernard Wagenaar, (and I hope one from Roy [Harris]); Songs, Blitzstein etc.  From young Europeans: Sonatina for piano, N. Lopatnikoff; Songs, Dukelsky; Sonata for violin & flute, Conrad Beck.  Roger has nothing of his own, but I may perform my own song 'As it fell upon a day.'  I need more music if we are to give three concerts.</p><p>Has Paul R[osenfeld] sent you his book?   It contains an article on each of us, side by side. I do not believe I like either article overmuch, but after all, they are both serious attempts to evaluate our music so we mustn't kick.</p>
<p>Why don't you write to Minna  Lederman to ask her to do the publicity you need?  I doubt if she will refuse if you ask her personally.  Or possibly, someone like Miss Brenner could do the actual work and Minna could advise how, where and when to send it out. Or possibly, you could have all the material written and typed in Mexico City and Minna could send it out for you up here.</p>
<p>I am quite busy with my lectures now.  But New York is pretty dull: no one is here -- Roger, Roy, Henry, Varese, are all gone; so is Mrs. Wertheim and no parties chez Mrs. Walton.  Also no interesting music so far.  Koussevitzky is to play 'Appollo' 
at his first concert -- too bad you will miss it.</p>
<p>So you can be sure I miss you and wish you were coming back soon.</p>
<p>With best luck for the concerts</p>
<p>Most affectionately<lb>Aaron</p>
Copland|corr0118|Letter from Aaron Copland to Serge Koussevitzky, 1928/12/04|<p>Mardi [4 Dec 1928]</p>
<p>Mon cher ami --<lb>Puisque vous donnerez les 'Two Pieces' les 14 et 15 decembre au lieu de 21 et 22 je crois que je viendrai  Boston samedi pour entendre 'Das Lied von der Erde' et je peux rester pour assister aux deux repetitions le lundi et mardi de mes morceaux.</p>
<p>Malheureusement ce n'est pas possible de rester jusqu'au la premiere vendredi le 14 puisque j'ai mon lecture comme d'habitude ce jour-la.</p>
<p>Alors,  bientt<lb>Copland</p>
<p>P.S. J'apporterai avec moi les parties.</p>
Copland|corr0119|Letter from Aaron Copland to Carlos Chvez, 1929/01/17|<p>Jan 17 [1929]</p>
<p>Dear Carlos, --<lb>We were all terribly disappointed to hear that you will not be here this winter but at the same time very glad to learn about your being placed at the head of the National Conservatory.  My first thought was, its wonderful for Mexico but very unlucky for us.  (What has happened to Carrillos? )  I suppose you will reorganize the whole school -- or must it go slower and take some time to accomplish this.  I should like to hear more about the school and what you intend to do there if you shouldd get the time to write it to me.</p>
<p>I will give Mrs. Wertheim the Piano Sonata.  I am particularly anxious for her to publish that.  She will also probably publish my Piano Concerto and works by Roger and Roy.</p><p>How soon will you send the Horns Sonata?  I need it badly for our second program on the 24th.  How long does it take to perform?</p>
<p>I'm not surprised that you never heard from the Universal Edition.  Thats very characteristic of the way they do business.  Good luck with the performance -- send me the criticisms -- it would amuse me to see what reaction the piece gets.</p>
<p>Many regrets at not seeing you here and regards from all the friends</p>
<p>Affectionately<lb>Aaron</p>
Copland|corr0120|Letter from Aaron Copland to Carlos Chvez, 1929/02/29|<p>223 W 78th<lb>Feb 29 [1929]</p>
<p>Dear Carlos, --<lb>The Sonata for Horns came.  It arrived the day after our second concert!  I had guessed that you would be too busy to send it in time for the second concert so I was not disappointed.  And now I am glad that we will have it for our third concert (Aptril 7) because I like it very much.  I was very curious to see what the hard and unrelenting Carlos would do with 4 soft horns.  Well it certainly has your flavor (I find a certain relationship to the Cello Sonatina -- am I wrong?) But it is Carlos more humane and more cantabile.  I also think it is easy for the public to listen to.  I wish it had two more movements -- or at any rate, one more.  When you have to hire 4 players especially for this work, they might just as well have more to play.  Please send me metronome marks -- it is very difficult to know just how fast or slow the tempo should be.</p>
<p>Since you have sent no newspaper criticisms of the last concert I take it for granted that they were all bad, which doesn?t surprise me.  But I would like to know your own reactions to the Music for the Theatre now that you have conducted it.</p>
<p>If you haven't done so already, please be sure  to send the score of Sessions['] Symphony to Mrs. Wertheim (164 E 63rd) immediately.  You see, it has been selected for the International Festival in Geneva in April, and she wishes to publish it if Gruenberg and Whithorne pass on it.  But they cant do that if you don?t send the score.  I gave her your Piano Sonata but I don't know if Gruenberg & Whithorne have seen it yet.</p>
<p>I have played your Piano Sonatina at all my lectures outside of New York this winter -- in Boston, Cleveland and Washington.</p>
<p>The League, at its second concert, gave a new piece of mine, just finished, for trio (piano, violin and cello)  and it was marvellously played by Gieseking and two members of the Pro Arte quartet.  I wish you were here so that I could play it for you and get your opinion.</p>
<p>I expect to leave the city now to finish my big orchestral work before sailing for Europe on May 14th.</p>
<p>Write me when you have time.  I am so anxious to know how you are getting along in your new position.  All the friends speak of you all the time.</p>
<p>With much affection<lb>Aaron</p>
Copland|corr0121|Letter from Aaron Copland to Nadia Boulanger, 1929/04/19|<p>April 19, 1929</p>
<p>Dear Nadia, -<lb>I hope you received my cable in plenty of time.   The concert is possible thanks to Mrs. Churchill.  I took your advice and decided on the No. 4 estimation, i.e. the 9,661.50 fr. with the added 350 fr. for the Salle Gaveau and the artists extra.  Our original idea was to call it a Copland-Sessions Concert but we changed our minds -- so please call it 'Concert d?oeuvres des jeunes compositeurs americains.'</p>
<p>Mrs. Churchill will take care of the financial arrangements. She will be in Paris with her husband (an architect) about May 5th. Both of them are very nice -- modest and unpretentious.  I gave her your address and she will write to you when she gets to Paris.  She will be glad to help the concert in any way possible -- also tell her to whom the first payment must be made and how much.</p>
<p>I am enclosing a copy of the program.  It is all certain, except the two numbers by Roger S.  I wrote him about the idea of a concert at the same time I wrote you, but for some reason or other he did not approve and suggested he would prefer not to have his music played at it.  I wrote him again and asked him to reconsider.  But there is no time to wait until he sends his reply firsdt to me, and then I send it to you.  What you must be good enough to do is to write him yourself immediately to ask him: (1) If the 'Sonata' will be ready for performance around June 15th and will he allow it to be played at our concert and (2) if he has any objections to the organ preludes being played.  I'm sure if you urge him to co-operate he will agree.  (Suppose the music were published, anyone could play it anywhere, anytime, anyhow.)  Aside from my own desire to hear his music performed, I think it very important that his name should be connected with this concert.  (Incidentally, please don't mention this little affair to anyone.)  In the event that the 'Sonata' won't be finished we can simply leave it out altogether -- or you might substitute a Piano 'Sonatina' by Israel that he writes me about -- that is, if you think it good enough.  But whatever happens I hope you will be able to persuade Rogerto lett us have the Three Choral - Preludes and naturally I hope you will be willing to paly them. I know how busy you are but is it too much to ask you also to play the piano part in Roy's 'Sextett' and in my Trio  (the Trio is not difficult).  You can imagine how anxious I am to have you do this -- that you should actively take part in what after all is really almost a 'pupil's concert.'  You have already played Roy's Sextet with the Roth/Quartet.  Monsieur Roth and his cellist would play my Trio with you, and the quartet alone would play my string quartet pieces.  This would take care of everything except a pianist for the Sonatas by Chavez and Sessions.  I leave this in your hands -- perhaps some young American like Beveridge Webster would be good, but these two Sonatas are difficult and need someone good and someone who understands the spirit of modern music.</p>
<p>I will send with some friend soon the music of my Trio, the two quartet pieces, and the Sonata by Chavez.</p>
<p>Would you also ask M. Kiesgen to reconsider the matter of advertizing, that is, since a large part of our audience must be Americans I think it better to reapportion the advertizing accordingly so that newspapers like the N.Y. Herald & Tribune should get more space than Le Figaro or Le Temps.  Also please ask him to make a special effort to have posters of the concert in places like the American Library, American Woman's Club, University Union, Sylvia Beach's Book Store etc. and in cafs like the Select, Dme, and Deux Magots, in short, wherever Americans in Paris congregate.</p>
<p>One more word.  Be sure that in the last analysis I leave everything in your hands.  Whatever you do I'm certain in advance will be right.</p>
<p>Unfortunately I cant be in Paris as soon as I had hoped.  Because my orchestral piece is not nearly finished I have put off my sailing until May 29 which should bring me to Paris about June 4.</p>
<p>As always<lb>A.C.</p>
Copland|corr0122|Letter from Aaron Copland to Carlos Chvez, 1929/05/28|<p>May 28, 1929</p>
<p>Dear Carlos, --<lb>I was so glad to hear from you at last.  But your letter came during my last few days here before sailing for Europe.  I am leaving for Paris to-morrow and will be back again on Oct. 1st.  Thats why it has taken me so long to answer.</p>
<p>Now I have only time for essentials and not for the kind of letter I should like to write you.</p>
<p>1. Please finfish the Four Horn Sonata so that we can have it ready for next season at the Copland--Sessions Concerts.</p>
<p>2. Since you will make a tour in South America you will meet composers -- will you please keep a look-out for material for our concerts and ask composers to send us material.</p>
<p>3.  I am arranging a concert in Paris about June 15th at which your Piano Sonata will be played at the same time as Roy's 'Sextet,' and my new Trio and the two string quartet pieces.  I will send you clippings if there are any interesting ones.  Perhaps you will want to let some friends in Paris know about this.</p>
<p>4. Sessions' Symphony was played in Geneva at the International Festival of C[ontemporary] M[usic].  It has been accepted for publication by Mrs. Werthreim so that she has the entire rights on score and parts.  Write for more information (when they will publish it, performance fees etc.) either direct to Mrs. Wertheim or [to] her manager Edwin Kalmus, 209 W. 57 St. N.Y.</p>
<p> 5.  As for my own 'latest' orchestral piece I did not yet finish it.  But I expect to finish it this summer.  I have promised M. Koussevitzky  already the first performance.  Whenever he is finished with it (probably by December) you are very welcome to it.   I know this is vague but what else can I tell you.  With only one set of parts and one score performances are necessarily difficult to arrange as you well know.  For the tour of South America I suggest that you use the 'Music for the Theatre.'  In Mexico City if you do not get the new piece in time, I suggest that you use the new version I am preparing for my Symphony for organ & orchestra for orchestra alone.  This piece is nearer my newest manner than the jazz period.</p>
<p>I'll write you from Paris.  My address there is:<lb>c/o Guaranty Trust Co.<lb>1 rue des Italiens<lb>Paris, France.</p>
<p>Yours with love<lb>Aaron</p>
<p>All the friends -- Harold, Gerald, Paul Strand -- send their best greetings.</p>
Copland|corr0123|Letter from Aaron Copland to Serge and Natalie Koussevitzky, 1929/08/12|<p>le 12 aout [no accent] [1929]<lb>Les Diablerets, Suisse</p>
<p>Chers amis, --<lb>Voici quelques mots pour vous mettre un peu au courant de mon t.  Je me suis install  Juziers qui est une petite ville prs de Gargenville o se trouve Nadia Boulanger.  C'est l que j'ai travailler depuis la fin du juin.</p>
<p>Pour le moment je suis en Suisse pour visiter les Sessions et pour prendre un peu de repos.   Nous faisons beaucoup de promenades en parlant des Concerts Copland -- Sessions de la saison prochaine.  Nous parlons aussi beaucoup de vous.  Roger et Barbara sont tous les deux mieux portants que je les ai jamais vu et ils vous envoient 'their very best regards.'</p>
<p>Bientt je vais retourner  Juziers pour fini le morceau pour orchestre.  Il y aura vingt minutes de musique.  J'ai dej commenc l'orchestration bien que ici et l il restait quelque endroits  composer encore.  Je suis sr que c'est le meilleure chose que j'ai fait jusqu' present.  Vous pouvez comprendre que je m'impatiente pour vous le jouer en entier.</p>
<p>Comment va tout le monde?  O en tes-vous cette t?  J'sper vous voir  Paris en Septembre.</p>
<p>Votre fidele<lb>Copland</p>
Copland|corr0124|Letter from Aaron Copland to Nadia Boulanger, 1929/09/26|<p>Aquitania<lb>Sept 26 1929 </p>
<p>Dear Nadia -<lb>What a surprise it was to find your letter here -- and what a pleasure!  And how proud it made me feel to receive such a letter from you, of all people.   It was doubly pleasurable because I know so well that the ?Ode? is the fruit of the past two years and that even now I feel in myself the power to do better.  I have come to believe that the problem of writing music which is really important is a problem that is completely bound up with the possibilities of development that can be found in oneself as a person.  I feel sure that if I can become more profound as a person my music will also become more profound.  So that, for myself, in the future, my need is to become a greater man and the music will take care of itself.  Your letter made me more determined than ever to devote all my time to composition from now on without any interruptions.</p>
<p>The trip has been much more pleasant than most.  I found M. Goldmark on the boat and several other friends.  To-day I feel as if I could return to France to-morrow.</p>
<p>Remember me to Madame.</p>
<p>Affectionately<lb>A.C.</p>
Copland|corr0125|Letter from Aaron Copland to Serge and Natalie Koussevitzky, 1929/10/31|<p>Oct 31 [1929?]</p>
<p>Chers amis, --<lb>Je viens de parler avec Dukelsky  qui m'a donn de vos nouvelles.  Je suis si heureux d'entendre que tout va bien  Boston.</p>
<p>Je traivaille l'orchestration de mon 'Ode Symphonique' qui s'avance de jour en jour.  On peut le donner, je crois, a la fin de janvier.</p>
<p>Mais pourquoi est-ce que je ne reois plus les 'program books' of the concerts[?]  Je m'interesse  ce que vous jouez l-bas!  Peut-tre vous ne connaissez pas la nouvelle addresse. Le voila: Hotel Montclair<lb>49th St. & Lexington Ave.  N.Y.<lb>Je suis chic maintenant!</p>
<p>With warmest affection,</p>
<p>Faithfully<lb>Copland</p>
Copland|corr0126|Letter from Aaron Copland to Carlos Chvez, 1929/11/18|<p>Nov 18 [1929]</p>
<p>Dear Carlos --<lb>Hello! Where are you?  How are you?  What are you doing?  It makes me feel bad not to have news of you.  Harry gave me your mother's address and I am hoping this letter will reach you.</p>
<p>Is it true that you are no longer busy with the school?  And how about the orchestral concerts?</p>
<p>I want something from you for our concerts.  Is tghe Four Horns Sonata finished?  Or is there something else.  Or should we do an older work like Energia, or the Exagonos?</p>
<p>You can see that I am simply hungry for news of you.</p>
<p> I have been back from France since October and am giving my lectures again.  But mostly I am working on the orchestration of my new orchestral work which Koussevitzky  will play in February.  It is called 'Symphonic Ode.' What chances are there of your coming to New York again.  Everyone talks of you and would love to see you again.</p>
<p>Affectionately<lb>Aaron</p>
<p>My new address<lb>Hotel Montclair<lb>49th St & Lexington Av.<lb>N.Y.</p>
Copland|corr0127|Letter from Aaron Copland to Carlos Chvez, 1929/11/21|<p>Hotel Montclair<lb>50th St & Lexington Av.<lb>N.Y.<lb>Nov. 21[?] , 1929</p>
<p>Dear Carlos --<lb>I got your telegram last night. It was delayed a few days because it was sent to my old address.  I sent you a letter myself a few days ago to your mother's house.  I hope you got it.  Since then I met Covarrubias who told me that the rumors that you were no longer with the Conservatory were false.   This made me very happy.</p>
<p>The new orchestral work is not yet finished.  That is, the composition is finished but not the orchestration: so that it is impossible to have it for you by January.  Koussevitzky,  who has been waiting for it, has had to postpone the performance until Feb 22 and in N.Y. March 6 because it will not be ready until then.  (As soon as my lectures are over I can finish it.)  You don?t know how sorry I am once more not to be able to send what you ask for.</p>
<p> But I was thinking that instead of arranging things as always in a hurry why can't we plan ahead for next season.  I am very anxious to come to Mexico City and live there for a while.  I could come on September 1st 1930 and stay for three or four months.  Perhaps you would still want me to play the 'Concerto' with you, which I would be very glad to do.  Or any other arrangement that you like.  Let me know soonwhat you think of this plan.</p>
<p>Affectionately<lb>Aaron</p>
<p>P.S.  Do you know that Roger's Symphony is out now, published by the Cos Cob Press?  Also my Concerto.  I will send you a copy soon.</p>
Copland|corr0128|Letter from Aaron Copland to Roger Sessions, 1929|<p>Sunday [1929?]</p>
<pDear Roger, --<lb>Last week, when no letter came saying the 'Sonata'  was finished, I naturally began to suspect trouble.  Your letter therefore was reassuring.  Don't worry, twice underlined, should satisfy anyone.   However, you most certainly have my sympathy.  I think writing a work to order for a set date excellent -- when one has finished it.  But, of course, the situation you are now in is horrible and my feelings as a fellow-composer and as a concert-manager are at war with one another.  As the former, I should like to say, dont you worry; after all its the Sonata which is important and not its being ready by a set date.  But, as co-director of the C-- S-- Concerts I should like to see the public get what it is promised.  (As the other co-director, I know you feel the same.)  O Hell, -- I hope I don't sound as if I were worried.  I refuse to be like the famous cook who blew out his brains because the fish didn't arrive in time for the king's dinner.</p>
<p>All things considered, it would seem highly desirable that the Sonata be finished, however.  You have until five minutes before the concert -- 24 hours a day.</p>
<p>I was delighted to hear you are coming to Washington.</p>
<p>Thank heavens, you have at last found something of which you can disapprove.   Naturally, I agree with you.  Putting the importance on 'modern' and 'novel' is stupid -- it simply happened because of a series of events which I can explain when I see you.  I think, in general, tho, the publicity hasn't been bad.  We already have about 30 subscribers for both concerts.  Mary C. calls me up in the greatest excitement every time a new subscription comes in.  You're really missing half the fun.</p>
<p> Theres been talk of a party after the concert.  My idea was to ask people we like and the participants to go to some place after the concert.  Mary C. was willing to stand the costs but I prefer it to be  la Boulanger, everyone paying for themselves.  This will be a real innovation in modern music societies.</p>
<p>By the way, I hear thru dark channels that the L. of C. has decided to invite the two of us to join their board! Don't breathe a word of this, whatever you do.</p>
<p>Theres nothing else.</p>
<p>Buhlig is playing at our second concert nine pieces by Rudhyar (Three Paeans), Adolf Weiss, a pupil of Schoenberg's, and Ruth Crawford a girl who lives in Chicago.  He refused to do the Elwell and I can't blame him (that I believe is my first real error as to music) so John Kirkpatrick is doing them instead.  (Keep this under your hat too.)</p>
<p>Affectionately<lb>-----</p>
Copland|corr0129|Letter from Aaron Copland to Serge Koussevitzky, 1929-1930|<p>Vendredi [1929-1930]</p>
<p>Cher ami --<lb>Au dernier moment impossible  venir  Brooklyn.  Il y a un Copland-Sessions Concert dimanche et j'ai d tre  une repetition importante.   Dommage...je regrette...mais</p>
<p>A[no accent] demain<lb>Aaron C</p>
Copland|corr0130|Letter from Aaron Copland to Natalie Koussevitzky, 1930|<p>[1930?]</p>
<p>Dear Madame -- <lb>I hope you received the piano score of the 'Ode' safely.   I sent it to the hotel on Saturday morning.  If Mr. Koussevitzsky plans to play it before February, I hope you'll let me know the date as soon as possible.  The last date he gave me was about Feb. 22nd.</p>
<p>I am now completely recovered from my attack of grippe and trust you are all well in Boston.</p>
<p>Devotedly<lb>Copland</p>
Copland|corr0131|Letter from Aaron Copland to Serge Koussevitzky, 1930|<p>Vendredi le 20 [1930?]</p>
<p>Cher ami --<lb>Merci beaucoup pour avoir remis la date de la 'Symphonic Ode.' C'etait mieux pour moi, arrang comme a.  </p>
<p>Maintenant, il faut me dire quand je dois venir  Boston pour tudier la partition avec vous.   Samedi o dimanche, je suppose.  En ce cas-l, je pourrai entendre la Messe n'est ce pas.  Quelle joie!</p>
<p>Je voudrai, en plus, vous demander une chose.  Pensez  la 'Symphonic Ode' pour New York.   Je sais bien que vous serez oblig d'annoncer vos programmes pour New York avant d'entendre 'l'Ode' et avant d'avoir la reaction du public et des critiques de Boston.   C'est pour a que je dis pensez-y et s'il y a moyen de la donner ici  New York je serai trs, trs content.</p>
<p>Devotedly<lb>Aaron</p>
Copland|corr0132|Letter from Aaron Copland to Natalie Koussevitzky, 1930|<p>[1930?]</p>
<p>Dear Madame Koussevitsky:<lb>Here are the program notes for the 'Symphonic Ode.'  Mr. Hale  may use as little or as much as he likes.</p>
<p>I am very sorry that our concert next Sunday makes it impossible for me to be in Boston then, in order to go over he score with Mr. Koussevitsky.  But when the date of our concert was arranged I thought the 'Ode' would be played in February, and when I heard that the Ode was postponed until March it was too late to change the day of the concert.</p>
<p>Of course I can be in Boston very early Monday morning.   In fact I have been thinking that I could be at your house about 8 A.M. Monday morning and if Mr. Koussevitsky wants to, we can go over the score together for almost two hours before the first reharsel[sic].</p>
<p>Another plan which we might think of is to give the 'Ode' only three rehearsels[sic] on Tuesday, Wednesday and Thursday.   In that case I could arrive in Boston Monday afternoon and we could go over the score together then.</p>
<p>I have also thought of coming up one day this week if only for a few hours.  But even that is extremely difficult.  Not only is the concert very complicated to manage because of the films and the small orchestra, but I ought to be in New York each day next week because of the Theatre Guild show for which I have written the music.   They have the right to demand my help at any time this week.</p>
<p>Please explain all this to Mr. Koussevitsky and let me know what he decides.</p>
<p>Always, faithfully<lb>Copland</p>
Copland|corr0133|Letter from Aaron Copland to Serge and Natalie Koussevitzky, 1930/01/31|<p>Jan 31, 1930</p>
<p>Chers amis --<lb>Me voil magnifiquement install dans ma maison  la campagne.   C'est mme entour des vrais prairies!  On peut travailler tranquillement et en mme temps on peut rentrer  New York quand il faut.</p>
<p>Je corrige les parties de mon 'Ode Symphonique' en ce moment.  Comme j'attends cette premire execution!</p>
<p>Je viens naturellement  New York pour le concert de vendredi.</p>
<p>Good wishes for both of you.</p>
<p>Always<lb>Aaron Copland</p>
<p>Nouvelle addresse:<lb>Hook Road<lb>Bedford, N.Y.</p>
Copland|corr0134|Letter from Aaron Copland to Serge Koussevitzky, 1930/02/12|<p>Feb 12 [1930?]</p>
<p>Cher ami --<lb>Voulez-vous me telegraphier  Bedford, New York quand je peux venir  Boston pour une seule repetition de mon 'Ode.'</p>
<p>Votre<lb>Copland</p>
Copland|corr0135|Letter from Aaron Copland to Serge Koussevitzky, 1930/04/23|<p>1930 Apr 23</p>
<p>WILL ARRIVE BOSTON SIX PM ON TUESDAY REGARDS</p>
<p>AARON COPLAND</p>
Copland|corr0136|Letter from Aaron Copland to Natalie Koussevitzky, 1930/04/25|<p>April 25 [1930?]</p>
<p>Chere Madame Koussevitsky --<lb>Voulez-vous m'ecrire exactement  quelle heure vous partez le 1 mai et sur quel paquebot aussi?</p>
<p>Mon addresse est<lb>Box 44<lb>Briarcliff Manor<lb>N.Y.</p>
<p>With best regards<lb>Copland</p>
Copland|corr0137|Letter from Aaron Copland to Israel Citkowitz, 1930/05/29|<p>Bedford -- N.Y.<lb>May 29 [1930] </p>
<p>Dear Isra ?<lb>The sight of your handwriting on an envelope becomes thank God less strange.  After the long drought it is especailly good to see it again.  I'm sorry if you've ever worried about leaving me in the dark about your 'vie interieure.'  Your long silence was almost self-explanatory -- I guessed that important things were happening to you, too important to write about, and contented myself with waiting for that distant day when they belonged to the past and I should undoubtedly hear about them.  I think of our relation as being in a state of equilibrium -- we can always take it up whenever we please and go on from where we left off without any sense of a gap or a separation.  At any rate, so it seems to me.</p>
<p> As a matter of fact its been a strange year in relation to friends.  Theres been a general overhauling, a revaluation of values.  It amuses me to think how imperceptibly these changes take place -- and yet, one day there they are.  For example, Gerald  seems much closer now, due partly to our living together in Bedford for several months.  Gerald understands me well ["now" inked over] -- he makes up in perception what he lacks in sympathy (tho in relation to myself he has had sufficient on both scores.)  Harold,  on the other hand, has begun what might be termed almost a new life in which I play a much more modest rle than in the old one.  His love affair has made a man of him -- he has developed a whole set of new friends who believe in him fervently and he has moments of real megalomania.   And so he?s on his way to being one of the really important critics in America.  Of course the fact that he is also going to Yaddo this summer will bring us together again and will help to change our present relations.</p>
<p>Roy's  stock is extremely low.  I suspect he has me pretty much in the same class as N.B.  now, a well-meaning but pernicious influence. That ruins everything because, as you know, I only thrive on sympathetic contacts.  He attached while in N.Y. (He has gone to Cal. now) to a very impressionable young man by the name of Paul Rosenfeld and together they went over the situation pretty thoroughly.  We none of us came out very well --but we'll survive I hope.  His Quartet  is his best piece so far and makes me wish I only knew him thru his music.</p>
<p>Something in me makes me welcome all such changes.  Not, however, until they have happened.  But when they have happened I embrace them.</p>
<p>My stay in Bedford will be over in another two weeks.  I spend a month in town before going to Yaddo.  Whether or not I go to Mexico this September is still a question.  But I will almost certainly go to Europe next Spring for an extended stay of two years or so.  I am seriously considering applying for a Prix de Rome.  But principally I am interested in Germany, where I want to get some works played.  (I might also do a bit of propaganda there for American music).  The wanderlust has me -- I want to see Algiers, London for a longer stay, Marseilles, Capri, Constantinople</p>
<p>Your own plans sound feasible enough.  However much or little composing you do I advise you to finish the String quartet and W.W. Quintette you wrote about.  They will prove great helps to your rep.  Also let me warn you that you will not be pleased with America unless you have a room & piano of your own.  You're used to different things now and I feel sure it will be difficult to live at home for any extended period of time.  Have you thought of that?  To be quite truthful I only take your plans half seriously!  As far as I can see your next five years are one big question mark -- and if there have been upheavals in the past there will certainly be upheavals in the future to upset the best laid plans.</p>
<p>I finally heard the 'Ode.'  I conducted it myself one morning at a rehearsal  in Boston while K---- listened from the auditorium.  I only really heard the slow parts, the fast parts were ruined by being played too slow.  The end sounded gloriously.  It was a revealing  experience.  The upshot was that I have for all time given up trying to make music look on paper what it actually sounds like.  Applied to the Ode it means that I must completely rewrite the barring of the fast parts throughout.  I'm working on it now and have discovered how much easier some sections might have been written.   For example, one part which originally had 13 changes of time -- 3/4, 7/8, 5/8 etc. -- is now entirely 4/4.  I never believed it could be done till I tried.  So that not a note of the piece will be changed but it will look entirely different on paper.  When I think of the loss of time and money (the parts must be completely recopied and re-corrected) I could weep.  On top of this, I played it at the piano for Hertzka, head of Universal Ed[ition], who happened to be at Alma's  one night and when he heard it was scored for a Mahlerian orchestra he advised her against publishing it.  (Not that she'll take his advice.)  'Why you're crazy man,['] says he, [']there are not ten orchestras in all Europe that can supply 18 brass instruments.'  This darling 'Ode' seems to be having a hard time in a cruel world.</p>
<p>I'm very pleased with the piano piece I am doing.  It is a big work both in dimensions and meaning.  For the moment its called 'Theme and Variations.'  It's a new form for me and lends itself beautifully to my particular kind of development from a single germ.  But it needs time to fully flower and wont be done probably until the end of the Summer.  Then if I can get Gieseking to play it I'll be satisfied.  He's the only one who can.</p>
<p>I've had two very sympathetic letters from Carl B.    I want you to write me your impressions of him as a person.  He also sent me his Wylie songs which I find not so sympathetic.  In a way its tragic that he should want to compose.  Unless I am badly mistaken, his stuff is terribly old-fashioned and without a real spark.  (Don't breathe a word of this to him, of course.)  I've told him more or less the same thing already, but it does little good.  How do you feel about it?</p>
<p>Now that the ice is broken -- keep in touch, if and when, you can.</p>
<p>Affectionately<lb>Aaron</p>
<p>P.S.  Dont forget that from now on my address is Hotel Montclair 49 & Lex. Av. N.Y.C.</p>
Copland|corr0138|Letter from Aaron Copland to Serge Koussevitzky, 1930/06/18|<p>le 18 juin 1930</p>
<p>Cher ami --<lb>Le cheque pour cinq mille dollars est arriv.  De tout mon coeur -- merci.  Je sais bien  qiu je dois ce prix -- c'est encore une preuve ajout a tante d'autres de votre affection et solicitude pour moi et mon art.   Impossible ds vous remercier -- qu'en ecrivant des oeuvres....  J'en ai maintenant deux ans de libert.   Quelle chance!  Enfin, je suis ravi -- et mon pre aussi!</p>
<p>En ce moment je traivaille sur l'ode Symphonique.'  Je refais les rhythmes de fond au comble, mme dans les parties lents.  Je n'ai jamais pens qu'on pouvait tellement facilliter[sic] les choses en commenant avec l'ide de faire tous en quatre temps.   Je crois vous serez tonn aussi comment c'est facile maintenant.  Je vous enverrez la nouvelle version a plutt possible.</p>
<p>Passez des bonnes vacances.</p>
<p>A Madame toutes bonnes choses.</p>
<p>Always<lb>Copland</p>
Copland|corr0139|Letter from Aaron Copland to Serge Koussevitzky, 1930/07/18|<p>le 18 juillet '30</p>
<p>Cher ami --<lb>Je vous ai envoy la partition de mon 'Symphonic Ode' il y a deux jours.  ( votre addresse  Paris)   Il n'existe plus des 9/8 et 10/8 et j'espre que j'ai bien simplifi toute l'ouvre!   Enfin, vous verrez.   Esperons que vous auriez le temps pour le travailler pendant aot et septembre.</p>
<p>Je suis magnifiquement install ici dans un vrai tour de moyen ge en pleine fret vierge!  Pour crire de la musique moderne c'est patant.   Je retourne a New York pour quelques jours en aut[sic] pour jouer le Concerto au Stadium Concerts le 9.</p>
<p>Est-ce que vous et Madame Koussevitsky passent des bonnes vacances?  Je ne sais mme pas o vous tes.</p>
<p>Votre fidele<lb>Copland</p>
<p>P.S. Je ne sais pas quoi faire pour avoir des parties de l'Ode.   Est-ce que M. Paichadze peut s'en occuper pour moi ou mieux -- Rogers.   Il faut naturellement que les parties soit compltement refaits.   Si je dois m'en occuper moi-mme il faut me donner la partition quand vous arriver  N.Y. puis-que je n'ai pas de copie de la nouvelle version pour donner  un copiste.</p>
Copland|corr0140|Letter from Aaron Copland to Israel Citkowitz, 1930/07/23|<p>July 23 [1930]</p>
<p>Dear Israel -----<lb>I take it you got home all right without mishap or adventure.  What did you do in Albany?</p>
<p>I made Saratoga in 50 minutes.  H  met me at door looking very inhibited.  He had had a letter from the Manageress asking him not to monopolize me.   I ask you!</p>
<p>Three days after [my] arriving, Teddy  came and is here now.  We have been having a Festival Copland for the past three days.  He thinks the Ode the best thing I've done.  He leaves to-day for Boston and may be in N.Y. for to see you at the time of my Concerto.  He knows your plans and address.</p>
<p>I have the most extraordinarily beautiful studio.  It is a perfect setting for an out-door performance of the Tower Scene in Pelleas.  I am working extremely well because of it.</p>
<p>For the rest one lives like a wifeless bourgeois -- eats well, sleeps in a soft bed, and cushioned chairs etc.
If you see Roger, write me.</p>
<p>If you don't,  write anyway.</p>
<p>Teddy sends his best.</p>
<p>A-------</p>
<p>P.S. Gerald is still at Woods Hole as far as I know.</p>
Copland|corr0141|Letter from Aaron Copland to Carlos Chvez, 1930/08/15|<p>Aug 15 '30</p>
<p>Dear Carlos --<lb>I cant tell you how happy it made me to receive your very affectionate letter.  Sometimes I could not help feeling that you had become so absorbed in your work in Mexico that you forgot me and ll the friends you have here.  But now I see it is not true -- now I see you do miss me and the rest, which makes me very glad.  Your letter made me feel very close to you, as if all the time we were separated was very little.  Carlos, my boy, you relly must try to come to New york in January.  I have a great desire to see you again -- and letters are such poor substitutes.</p>
<p>I have always had one principal concern for you -- because of your half a dozen activities as director, conductor etc. you would stop composing.  Now I see it begins to worry you also and -- that is good!  Is there no solution for this difficult problem?  Is there no-one in Mexico who can help you run the school so that you have some time for your composition work?  Before everything else, you are a composer.  Which means you will never be happy until you have the time to compose.  Of course, you know all this.  But I want you to know that I know it too and that I am waiting impatiently for you to find the solution.  So I was glad to hear that you had made a beginning with the two more ?Mexican Pieces? and the new orchestral work</p>
<p>Its clear you are hungry for news so I will put you au courant of what has been doing.</p>
<p>As for myself, more and more I have been able to put aside every other consideration but composing.  I have stopped writing articles, given as few lectures as possible, and lived in the country outside N.Y. from January to June so as to have time for myself.  The only activity I have continued is the C----Sessions Concerts.  The result has been not that I have written any more than usual, but that I have the necessary peace of mind for writing.</p>
<p>The work that I was writing for the Victor Prize (its called 'Symphonic Ode') is finished, but I finished it too late to send it in for the prize.  Instead, I sent in a work called 'A Dance Symphony' which I quickly put together from my early ballet.  The prize has been decided recently (though not announced publicly yet) -- the $25,000 was divided among 5 composers and I was one of them!  So with $5,000 I feel rich.  I don't know yet who the other 4 composers are, but there is a rumor that Bloch is one of them.  This means that I am free for several years and do not have to lecture any more.</p>
<p>Koussevitzky  was to perform the 'Ode' in March.  Two weeks before the concert he told me the piece was so difficult rhythmically that he would need a summer to study it properly.  So it was put off to this season and will probably be given in N.Y. in January.  I am very anxious to hear it because I am sure it is by far the best thing I have done.</p>
<p>Just now I am working on a long piece for piano in the form of a Theme and Variations and am very pleased with the way it is going.</p>
<p>As for the others: Roy Harris is in California now, where he is married to a new wife.  We performed his most recent work - a string quartet [-] at our concerts.  Its probably his best work so far.  He has a Symphony in 3 movements which you should see.  It is uneven I think, but has excellent things in it.</p>
<p>Sessions is to be in Rome one more year.  He hasn't written much[,] but the Piano Sonata -- you remember? -- is now finished and the Symphony is published by the Cos Cob Press.</p>
<p>Paul Rosenfeld is spending the summer with Stieglitz at Lake George, only an hour from here.  I will see him soon and bring him news of you.</p>
<p>I suppose you must be wondering what Yaddo is!  I came here to spend the summer, but I like it so much that I will stay until November.  It is a very large private estate which is given over to creative artists -- something like the MacDowell Colony.  I have a wonderful studio in the woods -- a Stone Tower which would make a perfect setting for an outdoor performance of the Tower Scene from Pelleas.  Harold Clurman is here too.</p>
<p>If Yaddo had not turned out so perfectly, I should certainly have come to Mexico for Sept. and Oct.  But with conditions so ideal for work (and costing nothing!) It would be a mistake to leave.  You must not think that because the orchestra could not offer me a paid engagement I stay away.  It would have been a pleasure to play for nothing, particularly now that I have the money for the trip.  But the advantages of staying at Yaddo are so apparent that I must put the trip off for a while again.  Don?t despair, Carlos, it will surely happen some day.</p>
<p>Which reminds me to tell you -- I played the 'Concerto' as recently as last week at the Stadium Concerts in N.Y.   Coates conducted and did a good job.  He speaks of arranging a performance in London in April.  I expect to go to Berlin in March to see some of the new operas and to try to arrange some performances of my works in Germany -- where they have never been given.  If I like it well enough I may even stay a year.</p>
<p>This is news enough for one letter.</p>
<p>Affectionately<lb>Aaron</p>
Copland|corr0142|Letter from Aaron Copland to Serge Koussevitzky, 1930/08/30|<p>le 30 aot, 1930</p>
<p>Cher ami --<lb>Je veux vous envoyer ces quelques mots avant votre dpart de l'Europe.   Je penserai  vous deux surtout le 15 septembre et je suis dsol quand je pense que je ne prendrai part a la fte de Madame.</p>
<p>Ce qui me dsole aussi, c'est que je ne serai pas  New York pour vous saluer  votre arrive.  Je suis si bien install ici  Yaddo que je compte  rester ici jusq'au fin d'octobre.   Puis je retournerai  New York.</p>
<p>Je me demande quelquefois si vous avez bien reu la nouvelle version de la partition de 'l'Ode Symphonique' que je vous ai envoy en juillet.   Voulez-vous avoir la gentilesse de m'crire deux mots pour me rassurer sur ce point?</p>
<p>Je suis aussi un peu inquiet  propos des parties.   S'il faut que je m'occupe de a, voulez-vous me dire a quelle poque j'aurai encore la partition.   Aussi j'aimerais bien savoir si vous avez trouv a plus facile?!</p>
<p> L'xecution du 'Concerto' au Stadium Concerts avec Coates a t pas mal, surtout avec les deux rptitions que nous avons faites.   L'orchestre joue avec confidence en soi-mme.  L'esprit du public tout  fait diffrent qu'avant -- moins prt  rire, plus attentif, beaucoup plus enthousiaste.   Il y avait beaucoup d'amis -- Madame Wertheim, Gruenberg, Gershwin etc.   Enfin, mon pre tait content!</p>
<p>I hope I will see you soon.  Of course I will come to Boston whenever you decide to perform the 'Symphonic Ode.'   With warmest greetings to Madame Koussevitzsky.</p>
<p>Faithfully,<lb>Copland</p>
Copland|corr0143|Letter from Aaron Copland to Serge Koussevitzky, 1930/10/04|<p>Oct. 4 [1930]</p>
<p>Cher ami --<lb>Merci pour la lettre de Paris.  J'attends chaque jour la partition de 'l'Ode Symphonique' que vous allez m'envoyer.   Si je la reois trs bientt vous pouvez avoir la partition encore le 15 novembre et les parties toutes faites le 1er decembre.  J'spre que a sera assez tt.</p>
<p>My very best regards to Madame Koussevitzky  and to Mademoiselle Naoumoff,  if she is with you.</p>
<p>Faithfully<lb>Copland</p>
<p>P.S. Your nephew  is going to play the Two Pieces for String Orchestra at his first concert in Philadelphia on Oct. 29.</p>
Copland|corr0144|Letter from Aaron Copland to Serge Koussevitzky, 1930/11/14|<p>Nov 14, 1930</p>
<p>Cher ami --<lb>I am waiting with impatience for your 'trip' to New York.   When you come here I will give you the score of the 'Symphonic Ode.'   The parts are almost all copied and they will be corrected by December 1st.</p>
<p>I have been reading your programs each week.  They look very interesting.</p>
<p>a bientt<lb>always<lb>Copland</p>
Copland|corr0145|Letter from Aaron Copland to Carlos Chvez, 1930/12/05|<p>Dec 5 [1930?]</p>
<p>Dear Carlos,<lb> I sent you the parts of the 'Symphony' today.</p>
<p>Unfortunately I discovered, when I got them from storage in Brooklyn, that there is only one copy of each string part so you will have to have the other copies made.  (Of course, if they can be photostated so much the better.)  All the other parts are complete.</p>
<p>Also, I never had a chance to correct the parts of the Finale after the copyist gave them to me.  I doubt very strongly if there are any serious mistakes because the copyist was first class, but it might be wise nevertheless to have someone go over the parts of the Finale to look for mistakes.</p>
<p>When Reiner played the Scherzo (by itself, because the other movements were not yet orchestrated) he made it sound too delicate.  It should sound vigorous and rousing.</p>
<p>How I should like to hear the performance.  Good luck with it!  Send me the newspaper clippings.</p>
<p>While I remember it, let me ask you to send back the score and material as soon as you no longer have any need of it as there is no telling when it may be wanted up here.  Also, will you please send the score of the 'Music for the Theatre' if you don't need it any more.</p>
<p>Always yours,<lb>Aaron</p>
Copland|corr0146|Letter from Aaron Copland to Nicolas Slonimsky, 1930/12/18|<p>Dec 18 [1930?]</p>
<p>Dear Kolya, --<lb>Two words in the midst of much rushing around.</p>
<p>The scene seems set for an impressive demonstration by the irrepressible Mr. Slonimsky.  The size of your fair face in the 'Transcript'  made me turn green with envy.  The state of your excitement I judge from the fact that you waste good penny post cards to write me on.</p>
<p>I have much to tell you that there is no time to write.</p>
<p>The Gods (and the critics) be with you!</p>
<p>As ever<lb>A</p>
Copland|corr0147|Letter from Aaron Copland to Serge Koussevitzky, 1930/12/19|<p>1930 Dec 19 6:04 P.M.</p>
<p>CANT RESIST TEMPTATION ARRIVE BOSTON SIX PM FOR STRAVINSKY </p>
<p>GREETINGS<lb>COPLAND</p>
Copland|corr0148|Letter from Aaron Copland to Carlos Chvez, 1930|<p>Monday [1930?] </p>
<p>Dear Carlos --<lb>I have been in bed with a little cold but feel better now.  Paul R[osenfeld] still had the Sonata and I asked him to mail it directly to you. I expect to come to Philadelphia early Wednesday and to go directly to the rehearsal at 10 A.M.  Please leave word at your hotel when we can meet as I will go there after the rehearsal to find out.  (I know you have that Mexican lunch that day.)</p>
<p>If my plans should change I will wire you.  Thanks for getting Mrs Paine to invite me to the Thursday performance.  I have accepted naturally.</p>
<p>Love<lb>Aaron</p>
Copland|corr0149|Letter from Aaron Copland to Carlos Chvez, 1930|<p>Thurs [1930?] </p>
<p>Carlos -----<lb>I'm so pleased you like the Variations.  I want very much to play them for you.</p>
<p>Have you wired Mexico for the Revueltas parts (Second Quartet) and the copy of Unidad?  Its important.</p>
<p>Carlos -- your mere presence here (in U.S.) Gives me added strength.  Together we will clarify the situation.</p>
<p>Till soon<lb>Aaron</p>
Copland|corr0150|Letter from Aaron Copland to Carlos Chvez, 1930|<p>Sat. morning [1930???]</p>
<p>Dear Carlos -----<lb>Hurrah!  Delighted you are only 2 hours away.  Listen.  I will look for you at the concert on Sdunday.  (My telephone is Plaza 3-7691) I will keep Sunday open just in case you are free at any time (I mean after the concert -- for tea, supper or at night.)  If you possibly can, save Monday night for me -- as I have a group of young composers who meet at my house.  You will meet the younger generation.</p>
<p>All my best<lb>Aaron</p>
Copland|corr0151|Letter from Aaron Copland to Serge Koussevitzky, 1931/03/27|<p>March 27 [1931]</p>
<p>Cher ami --<lb>I was sorry to hear of the postponement, once more, of the 'Ode.'   Nevertheless I understand perfectly the reasons for the postponement and I am convinced that you have my best interests at heart as always.</p>
<p>I should like to make a suggestion.   Wouldn't it perhaps be wiser to put off the performance of the 'Ode' until next season.   To give it now at the end of the season when you are tired and the orchestra and public is not fresh might be a mistake.   Also, it makes the possibility of a performance in New York, which I naturally consider important, unlikely.   After all, I put two years of work into the 'Ode' and I should like to have it presented under the best possible circumstances.    Since I have waited so long for a performance I am willing to wait another six months.   Also, if you gave the work next season you would have time during the summer to study it carefully.</p>
<p>At the same time I realize that you may have reasons of your own which would make you want to perform it on the 17-18 April.   In that case of course I have no objections to the performance now.   But I thought it necessary to suggest the postponement until next season in case you too thought it desirable.</p>
<p>Please let me know what you decide as soon as possible because the date of my sailing to Europe depends upon your decision.</p>
<p>Always faithfully<lb>Aaron Copland</p>
Copland|corr0152|Letter from Aaron Copland to Serge and Natalie Koussevitzky, 1931|<p>mercredi [1931] </p>
<p>Chers amis ---<lb> Here is the promised letter.   I have heard Stokowski conduct Oedipus Rex and Le Pas d'Acier  and my 'Dance Symphony' and I have learned a great deal more about Stokowski as conductor.  Of the three works I think he plays Le Pas d'Acier best.   You will soon understand why.   He has certain qualities which are undeniable -- he can make the orchestra sound extremely brilliant, or very sensuous, or mystic.  At the same time he has great personal energy and a very finished technique so he commands respect.   But as far as I can see he has no depth of feeling whatever and practically no sense of style.   That makes almost everything he does imperfect from any artistic standpoint.   At any moment you are liable to be shocked by his superficiality of feeling or some detail which is completely out of style with the rest.  (The public of course doesn't understand this because everything he does sounds so effective -- thus his Bach playing is absolutely false to the spirit of Bach but the public loves it because it makes Bach sound so sensuous and so brilliant.)   This morning I heard him conduct Wagner and it seemed to me all wrong in spirit.   This surprised me because I thought that Stokowski's sensuous touch would go well with Wagner's chromaticism but I realized when I heard it that it was the wrong kind of sensuousness -- not full-blown enough, not rich enough, not German enough; too parfume, too much of the boudoir.  Then again, the spirit was wrong, because he seemed to be driving the music with a whip in a peculiarly modern and hectic way instead of allowing it to se deployer in all its fullness of emotion:</p>
<p>I've taken the trouble to make these general remarks because they apply to the three works I have heard here.   For instance, Oedipus Rex was done in an 'effective' manner but the style was completely false.  There is one quality you must have in order to give a good performance of Oedipus and that is le sens tragique de la vie.  This Stokowski simply has not got, -- instead he has le sens mystique de la vie which is something quite different.   So that Oedipus as he does it turns out to be a mystic drama with dark green lights on the stage throughout.   The sum total effect of this production is of an oratorio with incidental puppets rather than a stage work.   The puppets are not as objectionable as you might think because they are so big and even more because they hardly move, but they are practically negligible.   The work is better as music than Stokowski makes it sound.   In the first place he performs it entirely without any pause between the first and second acts -- so that it becomes too long and tires the audience and the performers.  Then he has a very bad habit of keeping the orchestra terribly subdued whenever a singer is singing.  He is so very afraid of covering the singer[']s voice that he makes the orchestra sound emasculated.  This happened almost continually.   (He did the same thing in Wozzeck.)  Matzenauer did not seem to be in very good voice when I heard her, altho the interpretation she gave was pretty much the same as when she sang it with you.  (I heard the story that she was very annoyed with Stokowski because he would not let her stand up when she sang her aria.)  I have wondered what Stravinsky would say, also, if he knew that Stokowski doesn't begin Oedipus as he wrote it but adds a few trumpet measures (from the second act) before the speaker appears and thereby ruins that first wonderful impact of the work.  I could go on with more details but this letter is getting long.</p>
<p>You can see from what I said that he would do justice to Prokofieff's work, as music that is.  What goes on on the stage is just silly.</p>
<p> He seems well pleased with the Dance Symphony and says he will repeat it at his regular concerts next season.   It was very interesting for me to hear a work I had written so long ago.  I like it very much in parts but not as a whole.</p>
<p>I am sailing on Friday and hope to see you in Paris.</p>
<p>Devotedly<lb>A.C.</p>
Copland|corr0153|Letter from Aaron Copland to Serge and Natalie Koussevitzky, 1931/05/26|<p>May 26 [1931]</p>
<p>Greetings from Berlin!   I will be in Paris about June 10 and look forward eagerly to seeing you then.</p>
<p>Always devotedly<lb>Copland</p>
<p>Uhlandstr[asse] 3<lb>Berlin-Charlottenburg<lb>bei Strub</p>
Copland|corr0154|Letter from Aaron Copland to Walter Piston, 1931/07/07|<p>Berlin  July 7 [1931]</p>
<p>Dear Piston --<lb>Before leaving America in April I spoke with Margarete Dessoff who has two choruses in New York, one mixed voices and one women[']s chorus.  They give three Town Hall concerts each season.   She very badly wants works by Americans and I told her I would write you and ask you to supply her with some!   She is a highly serious artist and would devote herself completely to whatever you wrote for her.   I advise you to do it if you feel at all inclined that way.</p>
<p>The Berlin Section of the I.S.C.M. is contemplating a concert of American works next winter and I will see to it that they have your Suite  for consideration.   It will be an important concert if it comes off.</p>
<p>Hope you are working well and having a good summer.</p>
<p>Always<lb>Aaron Copland</p>
<p>c/o American Express<lb>55 Charlotten Str[asse]<lb>Berlin</p>
Copland|corr0155|Letter from Aaron Copland to Carlos Chvez, 1931/07/07|<p>Berlin   July 7 [1931]</p>
<p>Dear Carlos -----<lb>This cant be a real letter because there is so much to write I don't know where to begin.  I think of you very often and wonder what you are doing now and whether you are composing again.  I will never be really satisfied until I hear that you are composing again.  And I always think how I must come to Mexico to visit you, particularly if you will not come to New York to visit us.</p>
<p>But the real purpose of this letter is to tell you this: the Berlin Section of the I.S.C.M. is planning to give an orchestral concert of American works next winter in Berlin.  It will be a very important concert if it comes off.  I am very anxious for them to give something of yours.  Wont you please send, if possible, score of Suite from the Four Suns.  They must have it by Sept 1st and you should send it to:<lb>Nicolai Lopatnikoff<lb>Zhringerstr. 24A.  Berlin<lb>If that isn't available perhaps Energia is, in which case, send that.</p>
<p>I am going to the Oxford Festival  end of July where I will see Roger Sessions. Then to the Riviera for August and Sept.  Then back to Berlin until about Jan 1.  Then N.Y.</p>
<p>Write me c/o Guaranty Trust Co.  4 Pl. de la Concorde Paris.</p>
<p>With best love<lb>Aaron C.</p>
Copland|corr0156|Letter from Aaron Copland to Serge and Natalie Koussevitzky, 1931/08/12|<p>Aug 12 [1931]<lb>Tanger, Maroc</p>
<p>Chers amis --<lb>Me voil en Afrique!  C'est exotique vous savez.  Ou a des Arabs, des juifs, des Espagnols...un potpourri de races.   Toujours soleil et pas chaud.  On peut travailler ici.  J'espere que vous allez bien tous les deux.</p>
<p>Devotedly<lb>Aaron Copland</p>
Copland|corr0157|Letter from Aaron Copland to Serge and Natalie Koussevitzky, 1931/09/08|<p>c/o American Legation<lb>Tanger, Maroc<lb>Sept 8, 1931</p>
<p>Chers amis --<lb>Je suis toujours en Afrique et pense souvent  vous deux et comme vous allez bientt retourner l-bas pour donner beaux concerts.  On a l'impression d'tre trs loin ici, loin de tout ce qui est civilization, art, musique...   La vie des indignes est trs pauvre, sale, rude -- cruelle mme; et on pense  un concert comme un chose rare, une belle trouvaille humaine.</p>
<p>J'habite sur une montagne, au-dessus de la mer.   On peut voir l'Espagne tous les jours puisqu'il ne pleut jamais.   Et je travaille, naturellement.  J'ai l'intention de rester ici jusq'au 15 octobre et aprs de retourner  Berlin pour quelque temps.   Il y a un projet de donner un concert d'orchestre de musique americaine sous l'auspice de S.I.M.C. Sektion Berlin.  Si on le donne a peut tre important pour moi et pour les autres.   Je ne sais pas encore qui va le diriger mais on a parl de Klemperer ou Scherchen.</p>
<p>Je compte alors tre  New York  la fin de dcembre, c'est  dire, au plus tard.   Je vous dis a parceque je ne veux pas que vous mettiez mon 'Ode Symphonique' sur le progeramme avant mon retour.   Je suis toujours trs anxieux de l'entendre et ne voudrais pas la manquer aprs trois saisons d'attente pour vien au monde.   D'ailleurs, il est surtout pour cette execution que je retourne l-bas.  Si a vous convient, on peut la donner la semaine pres Nol, o alors en janvier.  O mme plustt, si je suis l plustt, ce qui est bien possible.   Mais en tout cas esperons bien que cette fios il n y aura plus de contretemps.</p>
<p>Comme je regrette de ne pas tre pas[sic]  Paris pour assister  l'anniversaire de Madame.   Et quand va paraitre le livre de Louri? </p>
<p>With fond thoughts for you both</p><p>Always<lb>Copland</p>
Copland|corr0158|Letter from Aaron Copland to Israel Citkowitz, 1931/09/22|<p>Tanger Maroc<lb>Sept 22 [1931]</p>
<p>Dear Isra ----<lb>I was awfully glad to get your note.  I was on the point of having very lugubrious thoughts on the subject of our relations, the kind of thoughts you had (apparently) last summer, and which I was now really feeling only for the first time.  I was on the point of writing you, not to make playful approaches, but to tell you seriously how sad it made me feel to think you were slipping away and that we were gradually losing all sense of contact the moment we were separated.  I'm sure that this habit we've gotten into of not corresponding any longer is bad.  I dont even mean the writing of honest-to-God letters because I know they need a certain amount of 'inspiration' about which one can do nothing.   But it's the lack of any word at all which creates the vacuum and discourages the writing of any serious letters ever.  N.B.  and I never correspond but that is an entirely different matter, because our relationship is more or less static and will always remain what it is now.  But our case is different and we cant go on for two years , as we just have, with impunity.  I dont mean that its your fault that we havent written each other; I suppose if I kept writing letters, you'd reply.   Je constate, c'est tout.  Its both our faults, -- and here is a beginning, in a new direction</p>
<p>Paris isn't on my itinerary, which is now practically settled.  I'm leaving here on Oct 1st and gradually working my way back to Berlin by way of Fez, Algiers, Marseilles, Genoa, Innsbruck, Munich.  That gets me to Berlin about the 10th.  There are several reasons for my going back, -- Roger & Barbara  will be living there, and the I.S.C.M. is intending to give the all American orchestral concert I told you about.  I plan to stay until about Dec 15, and then go directly to London and sail for home from there.  There may be a chamber music concert to arrange in London if the English section of the I.S.C.M. will further the idea.  (I wrote Edward Evans suggesting your songs as a part of the program.)  Anyway, I want to be home by about Jan 1, in order to hear Koussie do the Ode (endlich!).</p>
<p>If I stay at Strub's again, as I hope to do, and if the extra bed is still there, you must come to visit me for a week or so.  All you'll need is carfare.  We'll time your visit well, so that it comes at some special time, when some special event is being given.  Though I imagine Germany will be special event enough all by itself.   (I wonder if you know that Fred Jacobi's wife is giving a violin Sonata Recital there  in Nov. with Ribaupierre.)</p>
<p>Tanger has been an experience.  I cant say its been very good for my work; so that I'll be glad to get back to civilization and piano tuners, but I feel I've seen something.  The Oriental part of the World, in short.  For instance, Paul  and I were invited to an Arab's home for lunch.  The women disappear at the sound of a stranger and one eats with ones hands out of a common dish with the male members of the family.  I mention this because I get much more of a kick out of seeing one interior than seeing the outsides of a dozen villages.  Nevertheless, they say Tanger is too international, and that one must go further South to see the real Arabian Cities -- so I'm going to spend a few days at Fez on my way back.  Fez, they say, hasn't been open to Europeans very long.</p>
<p>It gave me a 'coup' to see you at a Paris address.  Have you actually moved from Juziers, bag and baggage?  The paragraph about that miscreant Teddy Chanler made me think you are just like the Queen in 'Alice in Wonderland' who goes about crying 'Off with his head!' about everyone she sees or knows.  It made me tremble for my own.  Of course you?re right, but what did poor Teddy do?</p>
<p>The only music I have with me is the volume of Mozart's Quartets and Quintets.  I'm getting to know it well, all of it, and will leave Morocco understanding him 100% better.</p>
<p>My address is American Legation here until Oct 1 -- after that Am. Express in Berlin.</p>
<p>Always, A-----</p>
Copland|corr0159|Letter from Aaron Copland to Natalie Koussevitzky, 1931/10/29|<p>bei Strub<lb>Uhlandstr. 3<lb>Berlin-Charlottenburg<lb>Oct 29 [1931]</p>
<p>Dear Madame Koussevitsky --<lb>To-day I received Mademoiselle Naoumof's card from the boat asking for my Berlin address so that you can send me the Louri book.  I'll be very happy to get it and hope you'll send it soon.</p>
<p>I saw Mr. Koussevitsky's announcement of the 'Ode' among his nouveauts in the 'N.Y. Times' and was naturally very pleased.  If a definite date is already decided upon will you kindly let me know immediately.  I am sailing on the 17th of December on the Bremen and will be in New York at least by Christmas (if the ocean is not too rough.)  On Dec 16 I am arranging a concert of American music in London under the auspices of the British Music Society where I am to play my 'Piano Variations.'  But I will probably remain in Berlin until Dec 10.</p>
<p>There is much music going on here.  I heard the new Stravinsky 'Concerto.'   It had considerable success as it probably will everywhere because it is not heavy or deep music, even lighter than the 'Capriccio.'  Everyone agreed that Dushkin's tone is too small.  On Nov. 21 is the premire of Hindemith's new oratorio 'Der Unaufhrliche' under Klemperer.</p>
<p> I felt terrible when I read of the performance of Mahler's Ninth Symphony.  How could it go on without me?!</p>
<p>Roger and Barbara Sessions are here now and send their kindest greetings to both of you, as do I.</p>
<p>Devotedly<lb>Aaron Copland</p>
Copland|corr0160|Letter from Aaron Copland to Nadia Boulanger, 1931/11/30|<p>Berlin-Charlottenburg<lb>Uhlandstr 3<lb>Nov 30 [1931]</p>
<p>Dear Nadia -<lb>I still cant believe that you are really coming to Berlin.  It will be very exciting.  But when are you coming exactly and tell me also the train time and at which station you get off so that I can meet you and at least bring you to your hotel.</p>
<p>My best regards for Madame Boulanger.  Tell her not to worry about you because we will take good care of you.</p>
<p>Always<lb>A.C.</p>
<p>P.S. I am taking it for granted that you know that the Int. Jury Meeting was changed from Geneva to Berlin so that Ansermet could conduct for the Ortsgruppe Berlin concert on the 9th.  Program: Sessions Symphony[,] Ruggles 'Portals' for Strings, Gruenberg Jazz Suite and our 'First Symphony' in the orchestral version.</p>
<p>A request: Could you bring the score of the Ode that I left with you in the summer.  I think I will need it.</p>
Copland|corr0161|Letter from Aaron Copland to Serge and Natalie Koussevitzky, 1931/12/12|<p>London<lb>Dec 12 [1931]</p>
<p>Dear friends --<lb>I am sailing for New York on Dec 17 on the Bremen and will be home by the 22nd.   Here are some programs of some recent activities.</p>
<p>If you already know the date of the performance of my Symphonic Ode please send it to me c/o 1176 President St. Brooklyn N.Y. as I should like to know it as soon after my arrival as possible.</p>
<p>With warm greetings for you both,</p>
<p>Always devotedly<lb>Copland</p>
Copland|corr0162|Letter from Aaron Copland to Carlos Chvez, 1931/12/26|<p>Dec 26 [1931]</p>
<p>Dear Carlos -----<lb>I hope this letter reaches you before you leave Mexico for New York, because otherwise I would be ashamed to greet you because I have taken so long to answer your letter of last Sept.   But at first, I waited for the Sonata for Horns and Unidad that you said you were sending.  But they never came.  I'm sorry, because we could have performed them in Berlin.  Instead, I played the Sonata in London.</p>
<p>I have just returned from Europe, and as yet, have no permanent address.  I cant tell you how much I look forward to seeing you soon again.  All you wrote about music in America awoke a responsive echo in my heart.   I am through with Europe[,] Carlos, and I believe as you do, that our salvation must come from ourselves and that we must fight the foreign element in America which ignores American music.  I am very anxious to see the music of Mexican and South American composers and I hope you will bring scores with you.  And I have plans to go there myself in the fall to see how things are.</p>
<p>This year there are no Copland-Sessions Concerts.  Instead, I am arranging a Festival of American chamber music in May at Saratoga Springs, about 5 hours from N.Y. and Boston.  I hope we can give the Horn Sonata there, tho the 4 horn players must come from N.Y. which makes it an expensive project.  I wish you could be there too.</p>
<p>Let me know when you are coming.  It cant be too soon for me.</p>
<p>With love<lb>Aaron</p>
Copland|corr0163|Letter from Aaron Copland to Serge and Natalie Koussevitzky, 1932/01/18|<p>1932 Jan 18  9:01 P.M.</p>
<p>ARRIVE BACKBAY TOMORROW 525 PM I SUPPOSE ITS ALL RIGHT</p>
<p>COPLAND</p>
Copland|corr0164|Letter from Aaron Copland to Serge and Natalie Koussevitzky, 1932/02/13|<p>1932 Feb 13  10:47 A.M.</p>
<p>COMING TOMORROW 520 PM</p>
<p>COPLAND</p>
Copland|corr0165|Letter from Aaron Copland to Serge and Natalie Koussevitzky, 1932/03/31|<p>March 31 [1932]</p>
<p>Chers amis --<lb>I am writing to you from Philadelphia where I have come to hear the premiere of Chavez's Mexican ballet  to-night.  To-morrow Stokowski is performing the 'Music for the Theatre' on an all-American program and I will stay to hear how he does it.</p>
<p>I have a serious request to ask of you.  You probably know that Sanroma has agreed to play the Sessions sonata among other works at the Yaddo Festival that I am arranging.   Unfortunately I have placed the Sessions work on the first program on Saturday morning April 30.   That is the day of your last program in Boston.   Do you know, already, what your last program will be and whether there is a possibility that there will be no work with a piano part for Sanroma on that last program[?]  If so, could you release Sanroma, so that he could come to Yaddo after the Friday afternoon concert?  It would help me enormously because it would help the variety and contrast of the Yaddo programs.  It will be time enough to give me an answer when I see you in New York next week.</p>
<p>With best regards to both of you and to Mademoiselle Naoumoff.</p>
<p>Always & devotedly<lb>Copland</p>
<p>P.S.  If it were possible I should be very glad if Madame Koussevitzky could invite Chavez in her box next Thursday.</p>
Copland|corr0166|Letter from Aaron Copland to Olga Naoumoff, 1932/04/29|<p>1932 Apr 29  3:19 P.M.</p>
<p>PLEASE TELEPHONE SANROMA AND ASK HIM TO WIRE YADDO THE TIME OF HIS ARRIVAL IN SARATOGA STOP SUGGEST TRAIN LEAVING BOSTON AT SIX TWENTY EASTERN STANDARD TIME ARRIVING SARATOGA ONE TWENTY EIGHT OR SLEEPER ARRIVING SEVEN FIFTY SATURDAY AM MANY THANKS GREETINGS TO THE KOUSSEVITZSKYS</p>
<p>COPLAND</p>
Copland|corr0167|Letter from Aaron Copland to Carlos Chvez, 1932/05/08|<p>May 8 1932</p>
<p>Dear Carlos -----<lb>So glad to get your letter with dates etc.   I am sending you the Trio  immediately.  Please have it copied and sent back soon as I think I will need it and it is the only copy I had.</p>
<p>I will see to it that I am in Mexico before Oct. 7 so thatI can be there for the concert.   I would like to be there for the Ode on August 19 but I don't think I can be there so soon.</p>
<p>The Yaddo Festival was a great success, even better than I had hoped.  Sanroma played the Unidad  well -- tho not the way you would have played it.  I liked the piece very much -- it is pure Chavez.  The Revueltas was very amusing.   It seemed like a little Mexican drama and I could easily imagine it being danced.  To my great surprise the Lange Quartet were very enthusiastic about it and say that they will play it again next season at Mr. Rossin's house.   On the other hand, some of the musician -- listeners were confused because the form of the first two parts seemed so broken up -- but I wasn't.  Congratulate him for me.</p>
<p>Now, at last, I am working.  And thinking always of my trip to you and Mexico.</p>
<p>Always<lb>Aaron</p>
Copland|corr0168|Letter from Aaron Copland to Carlos Chvez, 1932/05/18|<p>May 18 [1932]</p>
<p>Dear Carlos ----- <lb>I sent you the Trio  about a week ago -- also with a letter.  I hope you have safely received them.</p>
<p>I dont know where you got the idea that I have a miniature orchestral score of the Symphonie des Psaumes  but it is not true.  Sorry!   (I have the vocal score, but it is in New York).  As far as I know the orchestral score has not been published.</p>
<p>Best of everything<lb>Aaron</p>
Copland|corr0169|Letter from Aaron Copland to Carlos Chvez, 1932/08/08|<p>52 West 58 St.<lb>New York<Lb>Aug 8, '32</p>
<p>Dear Carlos -----<lb>I was about to write to you when your telegram came.  I have many things to tell you and to ask you.
First, about the 'Music for the Theatre' score.  I will send it air-mail before a week has passed.  I can't send it immediately because I am correcting the proofs which have just come from Vienna.  There are several small changes (making it a little shorter) and even one in orchestration (of the Dance movement.)  But I'm sure it will reach you in time.</p>
<p>You say you need it for [your] Sept 2nd program.  Does that mean that you will not do the Symphonic Ode on Sept. 2 as you originally thought of doing?</p>
<p>I have been thinking very much of you and Mexico and I would have written to you before but I still do not know the exact date of my arrival in Mexico City.  All I can say is that it will be sometime between September 1 and Sept. 30.  I hope it will be early so that I can hear the concert of Sept. 2.  If I come by boat, it will be early, but if I come by automobile it cannot be until a little later.  It is too long to explain why there are these complications, but the important thing is that I will be there -- soon.  As soon as I have finally made up my mind, I will let you know the exact date.</p>
<p>Can you tell me two things:<lb>(1) Give me an address where I can have my mail sent, until I have a permanent address.<lb>(2) Give me the name of a hotel where I will stay I suppose until I get definitely established in my own place.</p>
<p>You'll be glad to hear that I am studying Spanish and reading a great deal about Mexico, so that I think I can already find my way around the City without a guide!</p>
<p>I am spending a quiet summer in New York, working on the same new orchestral piece which I hope to finish in Mexico.</p>
<p>And looking forward 'passionement' to my Mexican trip.</p>
<p>Always love<lb>Aaron</p>
Copland|corr0170|Letter from Aaron Copland to Carlos Chvez, 1932/08/18|<p>Aug 18 [1932]<lb>52 W. 58 St.<lb>N.Y.</p>
<p>Dear Carlos -----<lb>I was so glad to get your letter with all the excellent programs and musical plans.  I will try very seriously to be there for the 2nd of September program but you must help me if possible.  I will tell you how.  I am going to drive my car as far as Laredo and at Laredo take the train to Mexico City.  I cannot leave N.Y. before Wednesday, Aug. 24.  This leaves only nine days for the whole trip so that it would mean a terrific hurry (in hot weather) and even then it is not too certain that it can be done.  But if I had one week extra it could surely be done.  So I have thought that perhaps you would be able to and willing to exchange concerts, so that the Cuarteto del Conservatorio would give its concert announced for the 9th on the 2nd; and so the concert of my works could be given on the 9th and I could certainly be there by then.  Is this idea possible?  I hope you will do what you can to make it possible.  Please send me a telegram in either case whether or not it is possible; and please send it not later than Monday, the 22nd.</p>
<p>I am bringing with me a young violinist who is a pupil, companion, secretary and friend!  His name is Victor Kraftsor.   I'm sure you will like him.</p>
<p>I will send you a wire from Laredo to tell you the exact time of my arrival.</p>
<p>Till soon, with much love<lb>Aaron</p>
Copland|corr0171|Letter from Aaron Copland to his parents, 1932/09/03|<p>Mexico City<lb>Sept. 3, 1932</p>
<p>Dear Ma & Pa, --<lb>Here I am, at last in Mexico City.  The trip from San Antonio took two nights and a day on the train and was absolutely uneventful.  We just arrived in San Antonio in time to catch the train that would bring us here in time for the all-Copland program.</p>
<p>Well, we arrived on the morning of the concert and were met at the station and have been very well taken care of ever since.  An apartment had already been found for me in a quiet but central part of the city.  Not long after my arrival people from the newspapers came and I am sending you some of the results.  The article is too long to translate and says mostly things that you already know.</p>
<p>The concert took place yesterday evening.  There was a rumor that the American Ambassador would come, but he didn't show up.  It was an interesting experience to hear a whole program made up of my own works.  The newspaper criticisms will come out later.</p>
<p>In the morning, Chavez took me to meet one of the Cabinet ministers, so that I feel I'm already a friend of the Government!  No one seems to mind the change of president which I suppose you read about in the papers.</p>
<p>The City itself reminds me much more of Europe than of America.  Its hard to believe I havent crossed any water to get here.  Its a great help having so many friends here, tho I must say, the Mexicans I see in the streets seem to have little relation to the Mexicans who are my friends.  The city is a great mixture of magnificence and of poverty.  But it has great charm too.
I know you must have been disappointed that I didn't see the folks in Dallas but there just wasn't time if that concert was to be made.</p>
<p>Tell Leon that the car stood up under the strain so he can be proud of it.  We had only two punctures in all, and one break in the gas line which occurred  in the mountains at night in Tennessee and might have forced us to spend the night where we were stuck, if we weren't rescued by a farmer-mechanic who happened along by chance.</p>
<p>Thats all for the moment.  Write me at the address I gave you.</p>
<p>Love to all.</p>
<p>Aaron</p>
Copland|corr0172|Letter from Aaron Copland to his parents, 1932/09/10|<p>Mexico City<lb>Sept 10, 1932</p>
<p>Dear Ma & Pa, --<lb>I received your first letter just two days after you sent it.  So you can see that aeroplanes have their uses.</p>
<p>I have been having a little more difficulty in getting settled than I had expected.  Chavez got me a small apartment which is excellent and costs only $30 a month.  But the rooms are small, and to bring a piano in here would disturb all the neighbors.  So we have been looking for a small studio near the apartment and that isnt so easy to find.  Everything is very cheap here: you can ride in a taxi from any part of the city to any other for a flat rate of 15[cent sign], and you can eat a regular meal in the swellest American restaurant for two pesos (60[cent sign]).  I only go to Mexican restaurants occasionally so as gradually to get used to the strange tasting food.  Breakfast I have at home.  There are plenty of movies in town, all showing American movies, but I haven't tried any yet.  Last night I saw my first show.  It was scheduled to begin at 9:30, but actually didn't get started until 11 P.M.  Its a very Mexican habit to be always late, and nobody seems to mind.  I manage to get around all right on the little Spanish that I have been able to pick up.  But there aren't as many people who talk English or French or German as I thought there would be.</p>
<p>Gradually we are visiting the suburbs.  Last Sunday we went to a place called Xochimilco which is an Indian village in exactly the same state it was before Columbus  discovered America.  To-day we expect to visit Chapultepec (its hopeless to try to pronounce these Mexican-Indian names) where the President lives.  The city itself is the strangest mixture of new and old.  Its the first city I've ever been in where it seems quite the regular thing for the poorer classes to go around bare-footed, and this on the busiest  streets where there are the most modern office buildings.</p>
<p>Chavez is to repeat some of the music given at the all-Copland program at a new series of concerts.  The Ode will be given in November.</p>
<p>The weather is ideal, not too warm and not too cool.   Each day it rains for an hour or two, but even that will stop in October when the rainy season comes to an end.  Its hard to believe that we are 7,000 feet above sea level because I dont feel it in any way.</p>
<p>Love to all the folks<lb>Aaron</p>
<p>P.S.  Here are more newspaper clippings too long to translate.</p>
Copland|corr0173|Letter from Aaron Copland to Serge and Natalie Koussevitzky, 1932/09/05|<p>Moneda 16<lb>Mexico D.F.<lb>Mexico<lb>Sept 5 1932</p>
<p>Dear friends --<lb>I should have written you before, but a summer spent in New York does not leave one with much to say.   Still, I ought to have written if only to ask what kind of a summer you have had and to ask after your health and the news, etc.</p>
<p>Well, Mexico is very different from New York!  I have only been here a few days, but I can already see that.  I drove in my auto as far as San Antonio, where I left my car, and then took the train.   Chavez had arranged an all-Copland program for the 2nd of Sept. (Two Pieces for String Quartet, Piano Variations, Two Choruses for Womens Voices, and Music for the theatre) and it was a very interesting experience for me to listen to it.   Later he is to play the 'Symphonic Ode.'  At last I have found a country where I am as famous as Gershwin!!</p>
<p>I have finished three separate movements for orchestra, but only two of them belong in one piece and the third in another.   I will try to finish the piece with the 2 movements by adding a third, and if I get it done by January, I hope you will still have a place for it on this year's programs.  It is very different from the Ode and I hope you will like it.</p>
<p>If I can't finish in time, perhaps you will consider repeating the Symphony in the new orchestral version,  or Music for the Theatre, or even the Dance Symphony[,] which would be new for Boston.  But I don't have to give you ideas about this, I know you have plenty of your own.</p>
<p>You don't know how sorry I am not to be at the boat in New York to meet you when you arrive.  I'll be there in spirit though.  I plan to be back in the States by January 15.   Try not to forget me until then.   I shall follow your activities from here.</p>
<p>Always devotedly<lb>Copland</p>
Copland|corr0174|Letter from Aaron Copland to his parents, 1932/09/29|<p>Calle de Ramos Arizpe(?) 24[--]<lb>Mexico D.F.<lb>(Ap't 1)         Mexico<lb>Sept 29 [1932]</p>
<p>Dear Ma & Pa, --<lb>I received your letter to-day, the first one sent to my home address.  Keep on sending le[tters] here until further notice.</p>
<p>Last Sunday Chavez took me out to a tow[n] called Cuernavaca which is about 50 miles from [here.]  Its a sort of week-end place like Atlantic City is for Americans.  In order to get there you have to climb [up?] an enormous mountain and in doing so get a mar[velo]us view of Mexico City and the valley beyond.  T[he] town itself is very quiet and restful and extremely Mexican.  So I am beginning to see a little of the country now.</p>
<p>Not that Mexico City is so noisy or so rushed.   I have a phone here, but I must say it causes me no inconvenience, for people don't run after you here as they do in New York.  This is fine for me because I can work so much better that way.  My Spanish is improving.  I can go into a restaurant now and order a whole meal in Spanish without any difficulty.  It should be pretty good at the end of four months.  In general, I lead a very quiet life here and it is quite like living in the country.</p>
<p>Tell Leon not to worry about the car.  We left it in an A. No. 1 garage in San Antonio and they agreed to take the battery out, and to jack the car up, and generally to take good care of it.  I explained them I wouldn't need it for 4 months.  They charge $5.00 a month.</p>
<p>Talking about money, the Mexican peso has suddenly begun to improve in value, so that we don't get as many pesos for our dollar.  So things cost a little more than they did four weeks ago.  Its not serious yet -- only a difference of about 10[cent sign] on each dollar.</p>
<p>I get the Sunday 'Times' each week.  It gets here on Thursday and costs 15[cent sign].  M[usic?] still looks pretty slow.  I also get the New Republic here so you see I'm well supplied with news of whats going on.</p>
<p>The concert last Thursday went off very w[ell.]  There weren't many critics because it was a repeat program.  But here is one criticism at least.</p>
<p>Thats about all the news this week.</p>
<p>Love to all the folks<lb>Aaron</p>
Copland|corr0175|Letter from Aaron Copland to Serge and Natalie Koussevitzky, 1932/11/13|<p>Quinta Catipoato<lb>Calle de Allende y Matamoros<lb>Tlalpam, D.F.<lb>Mexico<lb>Nov 13, 1932</p>
<p>Dear Friends --<lb>I wanted to send you this program  and with it a little note to say that Mexico, which is a wonderful country, does not make me forget Boston and all that goes on there.  I wonder if you cannot send me a program book now and then, so that I can feel still closer to your activities.  If you know how often Chavez and I talk about you -- particularly now when the performance of the Ode is so near.  The Orchestra here has been rehearsing it for the past six weeks!  Of course it isn't an orchestra in the American sense (or even the European sense!) but in their Latin-American way they make up with love what they lack in technique.  I only realize now on rehearing the Ode in the instruments to what an extent it is inextricably bound up in my mind with you and the Orchestra and that unforgettable week when it was first brought to life.</p>
<p>I am installed here in a small town near Mexico City in great style with a villa and a magnificent garden.  Conditions for work are ideal.  One could pass one's life here happily if there weren't New York -- and Boston -- and orchestras to bring one back.  I'll be there some time in January.</p>
<p>Remember me to all the friends -- Mlle Naoumoff, Sanroma, Laurent, Burk and last but not least Drole.</p>
<p>Devotedly<lb>Copland</p>
Copland|corr0176|Letter from Aaron Copland to Nadia Boulanger, 1932/11|<p>[November 1932]<lb>Moneda 16<lb>Mexico D.F.</p>
<p>Dear Nadia -<lb>
<p>It was so very nice to receive the birthday greetings from you and so like yourself to have thought of sending them all the way from France.  It was my 32nd year -- I can hardly believe I'm so old.</p>
<p>I'm enclosing pictures of ancient Toltec and Aztec pyramids that I visited yesterday.  Its impossible to describe the effect these wonderful ruins make on one.</p>
<p>Chavez has performed the Ode.  I wish so much that you could hear this work more than any of the others.</p>
<p>Affectionate regards for yourself and for Madame Boulanger.</p>
<p>A.C.</p>
Copland|corr0177|Letter from Aaron Copland to Carlos Chvez, 1933/01/02|<p>Jan 2 [1933]</p>
<p>Dear Carlos -----<lb>Just a few words so that you'll know we got here safely.  Before leaving Catipoato I got your letter.  It seemed strange to leave Mexico without seeing you again.   We had a brilliant send-off at the train, but I missed you.  But of course I'm glad you're resting at Jalapa and making firm resolves to carry out the inevitable that must some day come about.</p>
<p>As soon as we crossed the border I regretted leaving Mexico with a sharp pang.  It took me three years in France to get as close a feeling to  the country as I was able to get in three months in Mexico.  I can thank you for this, for without your many kindnesses, the opportunity for knowing it and loving it so well would never have come.  I think always of my returning soon---- --- ---  </p>
<p>The Acapulco trip was marvellous.  When I came back I saw Paul Strand, who has taken the house in Thalpam, as you probably have heard.</p>
<p>To-morrow we start the big trip home.  I'll let you know when we get to N.Y.</p>
<p>My best to you</p>
<p>Always<lb>Aaron</p>
<p>Victor wants to be remembered too.</p>
Copland|corr0178|Letter from Aaron Copland to Carlos Chvez, 1933/02/02|<p>100 W. 55 St.<lb>New York<lb>Feb 2 [1933]</p>
<p>Dear Carlos -----<lb>Back in New Yourk a week already -- after an uneventful but interesting trip.  Everyone wants to know about Mexico and you and the orchestra ----- and I talk on incessantly, and never get tired telling the wonders.</p>
<p>I am in permanent quarters as far as living is concerned, but I am still looking for a studio to work in.  But it is difficult to find a Salamanca in New York.</p>
<p>Here is a review for Silvestre  of the Pan American concert written by Paul R.   It doesn't say enough of course, but it makes a beginning.   And that is all we can hope for at first, even from the more intelligent critics like Paul.  Tell Silvestre that I have not had the opportunity to talk with Mrs. Wertheim about his scores as yet, but I will do so when the first favorable moment presents itself.</p>
<p>Remember me to everyone.  You have no idea how close you and all the friends are -- all the miles between us simply do not count.</p>
<p>Always<lb>Aaron</p>
<p>P.S.  Please tell Armando not to bother to send me the New Republic -- you read it instead.</p>
<p>Regards to Paul Strand.</p>
Copland|corr0179|Letter from Aaron Copland to Serge Koussevitzky, 1933/02/04|<p>1933 Feb 4  11:16 P.M.</p>
<p>GRUENBERG SAYS HE DID NOT RECEIVE YOUR LETTER STOP HE REPEATED TO ME HISTOIRE THAT I TOLD YOU STOP GENERAL ATTITUDE INDIFFERENT STOP WILL SPEAK TO KALMUS ABOUT SENDING PARTS BUT IMPORTANT THAT YOU WIRE HIM ABOUT PARTS IMMEDIATELY AS VERIFICATION STOP MY ADDRESS ONE HUNDRED WEST FIFTY FIFTH</p>
<p>COPLAND</p>
Copland|corr0180|Letter from Aaron Copland to Carlos Chvez, 1933/04/07|<p>100 W 55 St.<lb>New York<lb>April 7 [1933]</p>
<p>Dear Carlos -----<lb>I should have written you a week ago -- just after the performance.  I liked your work  very much myself -- and so did many others.  It was well performed -- all the men first players at the Philharmonic and Smallens conducted.  It was very clear and sharp.  At the rehearsal  it was more difficult to follow -- the single voices without accompaniment -- one must get used to -- and the somewhat fragmentary nature of each movement.  But at the performance I felt comfortable with the work -- I felt your presence there -- and Mexico.  The difference between our works and those of the Europeans  was striking.  Theirs  were so smooth and refined -- so very much within a particular tradition, and ours quite jagged and angular.  No 'important' critics came -- I don't know why I send you these clippings since they are completely negligible.</p>
<p>Perhaps it will surprise you to hear that I have joined the Board of the League of Composers for next season.  Four years ago I turned down a similar invitation from them.  But now I feel that because I join it it will be a different -- and I hope  --better organization.  Anyhow, if I can't put new life into it I shall get out.  (When Cowell heard of this he asked me to join the Pan-Americans also.  It was difficult to refuse.  I told him in the end that I could take no active part in the affairs of the Society.)</p>
<p>Vivian Fine played your Sonata at a Pan American Concert.  I turned pages for her!  For some peculiar reason which I cannot fathom, it still continues to mystify the listening public.  Or such was my impression.</p>
<p>You'll be glad to hear that I have finished the 3rd movement of the Partita  and that I'm orchestrating it now.</p>
<p>Koussevitzky  is playing the 'Music for the Theatre' in Washington at Mrs Coolidge's Festival at the end of April.  Poor programs but I'm going anyway.</p>
<p>The 'Variations' were chosen for the Amsterdam Festival  but I'm not going abroad.</p>
<p>Tell Silvestre that Mrs Wertheim has the quartet under consideration now, but that Colorines  is in Slonimsky's hands at the moment, because he is to do it in Havana soon.  After he returns it I will submit it to her also.</p>
<p>Is Paul still there?  My best regards, if he is.  Remember me in fact to all the friends.</p>
<p>Love<lb>Aaron</p>
<p>P.S. When I have a copy of the Elegies I will send it.</p>
Copland|corr0181|Letter from Aaron Copland to Israel Citkowitz, 1933/07/18|<p>July 18 [1933?]</p>
<p>Dear Israel ----<lb>Your letter was not calculated to bring joy to the heart of an arranger of festivals!  I regret the Blake Songs very much -- we need them badly -- and to put the Old Songs in the program causes complications.  I can only manage to save my skin by making rules -- one of the most rigid being that those as was played last year can be played again provided they have new work and that it is more imposing than the piece of the year before.  In fact, with possible exception of the oldest men -- all the music will be 'first time.'  In the midst of that, your old songs would look like rank partisanship.  I would even be willing to risk that, but I really think you owe it to your 'public', to America, to Nadia, to Roger, to me to arrange your life in such a way that it all leads to the production of at least one new oeuvre a year.  I feel certain your trouble isn't Rogers -- its not a question of unproductivity but of something else, something more manageable.  To read you a real lecture I'd have to have a clearer conception of how you spend the twenty-four hours of the day.  But 'let your conscience be your guide'...  And remember that all the ideals and ideas we have can best be advanced by tangible examples.  There aren't so many of us that we can afford to have you loll by the wayside.</p>
<p>There are six weeks before Sept 1st.  If you want to reconsider, and think you can finish the Blake songs by then I'll get them accepted on my say-so.  Send the Myrtle Song in any case.</p>
<p>Incidentally, I'm all for getting the Old Songs performed again -- as I'm sure they were not appreciated when first heard in N.Y.  There ought to be opportunities in N.Y. next year.</p>
<p>Let me hear what chances there are before the end of next week.</p><p>Always<lb>A------</p>
Copland|corr0182|Letter from Aaron Copland to Israel Citkowitz, 1933/09/13|<p>Box 274<lb>Chestertown, N.Y.<lb>Sept 13 [1933]</p>
<p>Dear I -----<lb>Whats the inside dope.  Didn't you finish them, didn't Alma sing them well enough, or what?  I'd like to get the story straight (for myself that is) before I get back.</p>
<p>My principal sensation on reading your telegram was one of ineffectuality.  I hate undertaking any thing that comes to nothing.  Thats the 'practical' Aaron.  As for forgiving you -- es kommt garnicht im Frage -- all your sins are forgiven in advance in my religion.</p>
<p>Always<lb>A</p>
Copland|corr0183|Letter from Aaron Copland to Natalie Koussevitzky, 1933/11/11|<p>NEW ADDRESS! [arrow] 138 W. 58th St.<lb>New York<lb>Nov 11 '33</p>
<p>Dear Madame Koussevitzsky --<lb>I write to you because probably Mr. Koussevitzsky has already left Boston, on the trip.  I look forward to seeing you both here next week.  There is always something missing in New York musical life until the Boston Symphony comes to town.</p>
<p>Moreover, I need your help in an advisory capacity.  Mrs Wertheim has given me the Cos Cob Press to manage and I need a little of your business expertise to aid me!</p>
<p>Tell Mr. Koussevitzsky, if you write him, that I have the score and parts of my new work  all ready for him when he comes here.</p>
<p>Always devotedly<lb>Copland</p>
Copland|corr0184|Letter from Aaron Copland to Carlos Chvez, 1933/12/16|<p>209 W. 57 St.<lb>c/o Cos Cob Press<lb>N.Y.<lb>Dec 16 '33</p>
<p>Dear Carlos -----<lb>I was so glad to have your long letter -- to hear from you at first hand -- to know of your various activities -- and to feel again how close we are in ideas, ideals, and understanding.  I see your problem so clearly; -- to work for Mexico or to work for yourself I can see is no easy problem to solve -- but you can be sure that I wait for the outcome with absolute confidence that when the moment comes you will know how to solve it.  When I was in Mexico I was a little envious of the opportunity you had to serve your country in a musical way.  Here in the U.S.A. we composers have no possibility of directing the musical affairs of the nation -- on the contrary, since my return, I have the impression that more and more we are writing in a vacuum.  There seems to me less than ever a real rapport between the public and the composers and of course that is a very unhealthy state of affairs.  So you can see that for me your work as Jefe de Bellas Artes is a very important way of creating an audience, and being in contact with an audience.  When one has done that, one can compose with real joy.</p>
<p>I was very interested to get the prospectus and programs that you sent and I hope you will always keep me posted of artistic happenings in Mexico.  Unfortunately I have the sad news to report that Silvestre's record that you sent me came broken in pieces!  Won't you please send another and this time have it wrapped in such a way that it cannot be broken.  It was a keen disappointment to me -- and to Victor.</p>
<p>You ask about my plans.  I have none in particular.  Everyone is now in New York -- Varese, Antheil, Roy Harris, Sessions, Cowell etc. -- but the feeling of camaraderie is not too strong.  The younger group of composers who I brought together have even less of an 'esprit de corps.'  Last year they were very busy getting famous -- this year they are students again, several of them studying with Sessions.  There is one thing I wish to talk to you about if you come here in January -- Mrs Wertheim has turned the Cos Cob Press over to me and has asked me to run it on a very reduced budget which allows for the publication of only a few works each year.  Outside of that I occupy myself with helping to run the League of Composers concerts though it is hard to put new life into the old girl!</p>
<p>In the back of my mind always is the idea of going to Mexico again.  There is so much of the country that I didn't see.  And I should like to come knowing Spanish better.  Well, it will happen, I am sure -- and even sooner, if there wasn't this damn Depression.</p>
<p>I wrote Revueltas a little about my 'Salon Mexico' piece.  Did he tell you?  At the same time I am working on the 5 movement piece for orchestra that I think I told you about -- to be called 'Statements.'  Three movements are done.  But between these two very different works I do not succeed in finishing either.</p>
<p>The 'Bounding Line' as you call it -- its now entitled 'Short Symphony' -- is supposed to be played here by Koussie during the second part of the season.  I have a second copy of the score which you may have when you come here.  If you don't  come I will send it to you.  I hope you will like the last movement of the work.   You know how pleased it will make me to hear it played in Mexico.</p>
<p>Thats all the 'news.'  Remember me to all the friends.  And please try to come here in Jan.</p>
<p>Always affectionately<lb>Aaron</p>
<p>My temporary address is 138 W. 58 St, but will probably not be good after Jan 15.</p>
Copland|corr0185|Letter from Aaron Copland to Olga Naoumoff, 1934/01/17|<p>Teus[sic] [postmark: Jan 17, 1934, N.Y.]</p>
<p>Dear Mademoiselle Naoumoff:<lb>I've changed my address: 63 W. 55 St.   I wanted you to know.</p>
<p>My warmest greetings to your aunt and uncle.</p>
<p>Sincerely<lb>Aaron Copland</p>
Copland|corr0186|Letter from Aaron Copland to Serge Koussevitzky, 1934/02/17|<p>1934 Feb 17.  11:43 AM</p>
<p>ARE YOU EXPECTING ME IN BOSTON TOMORROW WIRE 63 WEST 55 GREETINGS</p>
<p>COPLAND</p>
Copland|corr0187|Letter from Aaron Copland to his parents, 1934|<p>[1934?] </p>
<p>Dear Ma & Pa --<lb>I suppose you have seen most of the criticisms by now.  The performance was a very fine one, and Koussevitzky  speaks of bringing it to New York in April.  I think he was disappointed that the criticisms were not more enthusiastic.</p>
<p>My Two String Quartet Pieces are being performed here on Thursday night.  So perhaps I may stay over until Friday.  If you don't hear from me until Friday evening don't be surprised.</p>
<p>Love to all<lb>Aaron</p>
Copland|corr0188|Letter from Aaron Copland to his parents, 1934|<p>Sunday [Spring 1934]</p>
<p>Dear Ma & Pa --<lb>We reached Chicago last night without any trouble.  Its been a very pleasant trip so far with the exception of a little scorching weather in Ohio and Indiana.  In Chicago its quite cool however.</p>
<p>We spent 24 hours in Pittsburgh and saw that town thoroughly.  Today we are going to concentrate on seeing the Worlds Fair, which is certainly colorful enough even from far away.</p>
<p>I guess I'll be leaving Chicago about Tuesday  and should be in Minneapolis on Thursday.</p>
<p>I hope to see Isadore while here, but just now I'm so sunburnt that I'm hardly presentable.</p>
<p>My summer address is:<lb>LAVINIA,<lb>on LAKE BEMIDJI,<lb>MINNESOTA.<lb>We should be there by Saturday.</p>
<p>The car has been acting perfectly; not even a flat tire to report.</p>
<p>Love to all the folks.<lb>Aaron</p>
Copland|corr0189|Letter from Aaron Copland to Israel Citkowitz, 1934/07/18|<p>LAVINIA<lb>LAKE BEMIDJI<lb>Minn.<lb>July 18 [1934]</p>
<p>Dear Israo -----<lb>Meant to write before, and looking over some old papers, suddenly realized I had to write you because I came across: Is (PdeR): which reminded me that I had completely forgotten that Prix de Rome letter in the rush of leaving town.  Question is: is there still time.  Let me know and I'll dispatch  one immediately.</p>
<p>Minnesota is very nice.  I'm extremely well settled (except for a tin pan piano), and have been working well.  Five of the 'Statements' are orchestrated in ink.  When I'm not working, there are the usual summer things to do -- which makes it very pleasant.  As I wrote Roger -- all the advantages and none of the disadvantages of an artists colony.</p>
<p>The surrounding country is just exotic enough to be stimulating, and not enough to be distracting.  Benidji itself is an amusing town -- lots of big Swedes, Germans, C.C.C. boys, radical farmenrs, tourists, Indians, lumberjacks.   On a Sat. night it's a regular Medinah.</p>
<p>How has your summer been going.  Lets hear.</p>
<p>Victor sends his best.</p>
<p>Always<lb>Aaron</p>
Copland|corr0190|Letter from Aaron Copland to Israel Citkowitz, 1934/09|<p>Lavinia, Minn<lb>[Sept (?) 1934]</p>
<p>Dear Israel -----<lb>I couldn't figure out from your letter whether or not you realized that my question to Minna about you was just a joke.  It never occurred to me that there was any serious danger of your becoming a fascist!   Anyhow, I was awfully glad to have you write me at such length, and I must say the contents of your letter interested me enormously, particularly the Mass. part and the arguments with Roger.  When I think of Roger and comminism I immediately think of Elie, who is I fear the symbol of Communism to Roger -- whereupon all is lost there and then!  He'll be 'confused,' as you say, just so long as he neglects to read the 'classics.'  Then at least he'll have a real basis for a choice, whatever that may be.</p>
<p>I've had an interesting summer from that angle myself.  I cant write all about it now, as I should like, because I should be writing a ballet for Ruth Page at this moment.   But anyway -- it began when Victor spied a little wizened woman selling a Daily Worker on the street corners of Bemidji.  From that, we learned to know the farmers who were Reds around these parts, attended an all-day election campaign meeting of the C.P. unit, partook of their picnic supper and made my first political speech!  If they were a strange sight to me, I was no less of a one to them.  It was the first time that many of them had seen an 'intellectual.'  I was being drawn, you see, into the political struggle with the peasantry!   I wish you could have seen them -- the true Third Estate, the very material that makes revolution.  What struck me particularly was the fact that there is no 'type-communist' among them, such as we see on 14th St.  They look like any of the other farmers  around here, all of them individuals, clearly etched in my mind.  And desperately poor.  None can afford more than a 10[cent] pamphlet. (With that in mind I appealed to the Group for funds and they sent me a collection of $30. which I presented to the unit here for their literature fund.)  When S. K. Davis, Communist candidate for Gov. in Minn. Came to town and spoke in the public park, the farmers asked me to talk to the crowd.  Its one thing to think revolution, or talk about it to ones friends, but to preach it from the streets -- OUT LOUD  --  Well, I made my speech (Victor says it was a good one) and I'll probably never be the same!  Now, when we go to town, there are friendly nods from sympathizers, and farmers come up and and talk as one red to another.  One feels very much at home and not at all like a mere summer boarder.  I'll be sorry to leave here with the thought of probably never seeing them again.</p>
<p>I expect to spend the month of October in Chicago.  This ballet of mine that the Chicago Opera plans to produce on Nov 16 will keep me desperately busy until then.  In times like these, having a definite objective to ones music is best -- is easier anyhow.</p>
<p>I look forward to seeing you too.</p>
<p>Fraternally<lb>A------</p>
<p>My address after Oct 5<lb>540 North Michigan Av<lb>Chicago<lb>Tenth Floor</p>
Copland|corr0191|Letter from Aaron Copland to Carlos Chvez, 1934/10/15|</p>Chicago, Ill<lb>Oct 15 1934</p>
<p>Dear Carlos -----<lb>I too have been thinking of you!  and reading about you and the theatre -- (the Palace, rather) -- and your new work (LLamadas) -- and everything -- and I could easily imagine how terrifically busy you have been and still are.  So your letter (which came today) and the programs were very exciting.</p>
<p>I am writing to Kalmus today to tell him to send you a score of the 'Music for the Theatre.'</p>
<p>I am sending you also today the score of the Short Symphony.  This is a copy I made especially for you which I want you to keep.  Some day, if your copyist has time I should like to have a copy of the score made for me.  The performance of the work Koussevitzky  was to have done last season was postponed because of what he told me was the extreme difficulty of the work.   He expects to do it here this season, but as yet, it has never been played.  (Kouss--- has his own copy of the score.)  Are you sure you can prepare the performance in so short a time?  Otherwise perhaps it would be better to wait -- as I am afraid that with this work a shaky performance would give an incoherent impression to the public.  Of course, I leave it absolutely in your hands to do as you like.</p>
<p>I almost had two new orchestral works finished (I was working in Minnesota) when I had to interrupt them to do a ballet to be performed at the Chicago Opera in November.   I have written it very quickly and included some old jazz of mine, but perhaps it will 'go over' as they say.</p>
<p>The two orchestral pieces are 'Seven Statement'? (very simple -- for me anyhow -- of which five are finished) and a ten minute 'light piece' called 'Salon Mexico' which only needs to be orchestrated.  I am terribly afraid of what you will say of the Salon Mexico -- perhaps it is not Mexican at all and I would look so foolish.  But in America del Norte it may sound Mexican!</p>
<p>I will be in Chicago until about Nov 1 and then N.Y.  Please come in Dec. and Jan. -- I am sure it will rest you and I am very anxious to see you.  If you don't come I'll have to come to Mexico soon again.</p>
<p>Victor wants to be remembered to you and Revueltas ----- </p>
<p>Always affectionately<lb>Aaron</p>
Copland|corr0192|Letter from Aaron Copland to Paul Bowles, 1934/10/24|<p>Hubbard Woods, Ill.<lb>Oct 24 '34</p>
<p>Dear P<lb>The card that came this morning was the coup de grce.  For weeks I'd been telling V. how we were neglecting you frightfully.  And he agreed.  Every day I've been saying that we really must write.  And he agreed.  Why we didn't will be clear presently.  It had nothing to do with Africa.  I understand the attractions of Africa and I'm sure you know the disadvantages, so I took it for granted that you went with both eyes open.  These are difficult times for young composers, and I'm sure its better to eat in Africa than starve in N.Y.  So theres no reason for 'disapproving' as you seem to suggest -- only the natural desire to have you back soon wher I can look at you.</p>
<p>The reason for the long spell of silence was a ballet.  Out of a clear sky, toward the end of August, Ruth Page who is a dancer in Chicago asked me to do a ballet for her to be ready by Nov 1.  To talk it over V and I drove to Duluth and took a train from there to Chi.  After a week, I had signed on the dotted line and have been working like a Trojan ever since.  We dashed back to Bemidji and stayed there until about Oct 4.  In those 5 weeks the music was done almost entirely.  You can see I worked fast.  Its 40 minutes long -- not all new -- I've used some of the early ballet in it.  Now we are staying out at Miss Page's country place on Lake Michigan and I'm orchestrating and orchestrating.  The ballet is to be put on at the Chicago Opera on Nov 23.  Page did the scenario and a Russian by the name of Remisoff the sets and costumes.  The scene is a law court -- the first dance that of the Prosecuting Attorney.  The whole thing is a satire on justice and how she functions.  If it goes over they'll take it on tour to lots of small cities, which would be fun.</p>
<p>Thats why, you see, there was no time to write anyone.  And you being so far away</p>
<p>I received the Stein songs.  I'm curious to know how they happened to be published.  You never wrote a word about all that.  Why, I wonder, of all your things, did you print those two little things.  I have no doubt Kalmus will 'handle' some for you.   That is, he'll put them on his counter probably, and they'll collect dust with all the Cos Cob things.  Its surprising how little 'modern' music he does sell.  I doubt whether Schirmers would take many copies.  Write to Kalmus if you like and say I suggested it.  Or should I talk to him for you?</p>
<p>The Cos Cob Song Volume has been delayed by my not being in N.Y.   When I get back -- which should be around Nov. 1 -- I'll try to get it out finally.  But you have never written a word about whether or not you got permission to use that poem of yours.  Dare I go ahead just the same?</p>
<p>I've just reread all your letters and p.cards.  But they only tell what you have been doing -- and I'd like to know what you're doing now.  Write me a nice, long, explicit, letter and say what you're up to in Fez.  Describe your 'duties,' as your mother called them.  Have you a piano there?  Are you writing anything new?  As soon as this damn ballet is finished I promise you a really long letter in return.</p>
<p>Chicago is all agog about the opening of 'Four Saints' which takes place on the 7th.  I hear Virgil is coming, and perhaps G.S.</p>
<p>Love and kisses<lb>A</p>
<p>P.S. Address me at 55 St.</p>
Copland|corr0193|Letter from Aaron Copland to Serge and Natalie Koussevitzky, 1934/11/09|<p>63 West 55 St.<lb>New York<lb>Nov 9 [1934]</p>
<p>Dear friends --<lb>Just two words to say that I am back in New York after 5 months in the hinterland.  My ballet  is almost finished and I will be going back to Chicago for the premiere.  But not until I have heard the Boston Symphony again!  I'm looking forward to seeing you both next week.</p>
<p>Always sincerely<lb>Aaron</p>
Copland|corr0194|Letter from Aaron Copland to Paul Bowles, 1934/12/13|<p>Chicago Ill<lb>Dec 13 1934</p>
<p>Paul Cheri -<lb>What on earth are you doing in the jungles of Colombia?  And did you ever receive the letter I sent you in October (a long one, sent to Fez (!), explaining why I've not written oftener, and why you shouldnt have and never should feel neglected etc. etc.)  I had no idea you'd be down there this long or I would have written again sooner.</p>
<p> I've been in Chicago for the past few weeks a propos of the ballet I wrote you about.  Its being given a second time to-morrow night at the Chicago Opera.  It was fun for me to have done it so fast and Victor says the music is good.  Incidentally I've been wining and dining all over town with the 'best people' -- a strong contrast to our Minnesota farmer friends of the summer.  (While I write this, V is at the piano doing his own version of Ainsi parfois.  By the way, did you know that thanks to Virgil we finally did have word from St. Leger about the poem and so the song is being published in the volume and will be out in another month or so.  Where should we send it to you when it does finally appear?)</p>
<p>I saw Stein and Toklas here.  They immediately asked for 'Freddy.'  I told them the little I knew.  Toklas seems to have the upper hand in management, Stein looks a bit vague as if a bit dizzied by all the furore around them.  Now that they are the property de tout le monde I suppose you're not interested.  You needn't be.  (Its my great consolation for not being famous.)
Listen -- what are you doing down there anyhow?  This letter is the equivalent of 16 of your postal cards so sit down and write me all, and be explicit.  God how I love explicissity.</p>
<p>You asked about the 'Short Symphony.'  Koussie turned it down after a year and a half.  I asked him "is it too difficult?"  "Now, ["] says he, "c'est n'est pas difficile, c'est impossible."  Exactly one week later Chavez gave the world premiere in Mexico City.  So there!  He sent me a teribly enthusiastic letter which set me up considerably.</p>
<p>Where do you go next -</p>
<p>Love<lb>A-----</p>
Copland|corr0195|Letter from Aaron Copland to Carlos Chvez, 1934/12/31|<p>63 West 55 St<lb>New York<lb>Dec. 31 '34</p>
<p>Dear Carlos -----<lb>It was very exciting to get your letter and the programs and your music.  What you said about the 'Short Symphony' naturally made me very happy.  Only a week before your performance, I had a conversation with Koussevitzky in which he told me that he regretted it very much but he could not play the 'Short Symphony' as he had promised.  "Whats the matter,["] I said, ["] is it too difficult."  "No, ["] he said, ["] not too difficult, but just impossible."   This week I will be seeing him again and I will be able to tell him that in Mexico they do the 'impossible'!  How I wish I could have heard it.  And what a strange feeling it gives me when I think that you have heard a piece of mine which I have not yet heard.  I will probably try to get Stokowski to play it, but it is too late for this season of course.</p>
<p>I was glad to hear of your determination to do some conducting outside of Mexico.  It seems to me it should be quite possible.  Almost every orchestra we have has guest conductors now and then, and besides there are radio hours available, such as Ansermet condicted this season.  If you could succeed in getting a man like Arthur Judson to manage you it should be comparatively easy to arrange guest appearances.  Naturally I'd be glad to talk to Koussevitzky for you, if you wish me to.</p>
<p>I have played over 'Llamadas'  many times but each time I feel the need of an actual performance to get a real idea of the music.  Certainly I enjoy the directness and the plainness of the music, but I cannot 'hear' the sonority from the piano version.  The records of H.P.  have not come as yet but I look forward keenly to receiving them as I now own a phonograph.  Perhaps next season I will give lectures in conjunction with 'Concerts of Recorded Music' and I will be able to play H.P. and Revueltas' record also for a public.</p>
<p>You ask me about the Cos Cob Press.  Mrs. Wertheim has given me the entire artistic control of the Press (altho the practical end is still in her hands).  But the trouble is that there is a Depression and in October, Mrs. Wertheim (who has changed husbands and is now Mrs Wiener) announced that the Press would have to suspend all activities for a year, until Oct. 1935.  I had hoped that we could arrange some plan whereby we could publish works by Mexican composers, if the Mexican Government might guarantee to cover the costs of publication, or perhaps to guarantee the sale of a certain number of copies which would cover the costs of publication.  As a rule we do not engrave orchestral works, and the process we use, lithography, is about the cheapest that can be had in America.  You see, Carlos, the Cos Cob Press is really so small, and is run on such a small amount of money each year, that out of five or six works published each year, only one Mexican work could be included if published in the regular way.  But if there was a small subsidy to work on, we could bring out as many works as you see fit, and right away.  Think this over.  It's the most practical plan I can think of for making a real impression, and no one need know it is done outside of ourselves.</p>
<p>I have had a job offered to me -- to take over the class in composition at Harvard [one line illegible in Xerox] money so I accepted.  It will be my debut as teacher and I will probably live in Boston during May and April.  Koussevitzky promises to repeat the 'First Symphony', in Feb., I think.</p>
<p>In Chicago they produced my ballet which I wrote you about.  It was an experience for me to hear my music with stage action.  Now I should like to write an opera, or at any rate, more music for the stage.</p>
<p>We have been reading a lot about Mexico in the 'N.Y. Times' lately, in relation to the religious question.  I have wondered several times whether this affects your work in any way.</p>
<p>My best regards to everybody -- Silvestre, Paul, Lenora Ortega, Sandi, Agea, Armando, Contreras, Ayala ----- I think of them all, and of you, with warm affection.</p>
<p>Always<lb>Aaron</p>
Copland|corr0196|Letter from Aaron Copland to Paul Bowles, 1935/01/08|<p>Jan 8<lb>63 W 55</p>
<p>Dear P.F.<lb>Heres the Mamoulian letter you ask for.  I hope it's a help.  I liked the picture of yourself you sent me and the letter.  Apparently Hollywood can be lived in.  When you do come back, and stop in Chicago, I think you should play some of your music for Ruth Page as she is looking for a composer for next year.  She's awfully dumb (entre nous) but she does need music for ballets.  She's in Jamaica (W.I.) now, but I think will be in Chicago the first three weeks in Feb.  They still talk of bringing her in my ballet to N.Y. in April.</p>
<p>The only news is about me and Harvard.  I'm taking over Piston's composition class for the second term of this year -- Feb to May.  Its only three hours of teaching a week -- on Tuesdays  and Thursdays -- and as I am practically broke -- and the job is well paid -- I couldn't very well refuse.  I think it was very brave of them to have me, don't you?  Ill probably commute for Feb and March and live in Cambridge in the Spring.  You know my weakness for college 'atmosphere'!</p>
<p>Last night the League started its season with a reception for Stravinsky.  Virgil and everybody was there and I missed you badly.  Theres no doubt about it -- you do something 'indicible' to the N.Y. air which makes it more potentially exciting when you?re here than when you're not.</p>
<p>Its hopeless to expect performances if you don't stay around here a while.  All the young composers are in Rogers 'crib' (with the exception of Jerry Moross) and you'd have the field to yourself.  You can spend 9 months of the year anywhere you like but I think you ought to plan to be here for at least 3 during each season if you want to feel like a composer.  Oh well, I feel so foolish giving you advice, & you seem like such a big boy now.</p>
<p>The Kafka joke is an old one between Mamoulian and myself.</p>
<p>Write soon</p>
<p>Affectinately<lb>A------</p>
Copland|corr0197|Letter from Aaron Copland to Nicolas Slonimsky, 1935/06/28|<p>June 28 [1935]<lb>400 E 57th St.</p>
<p>Dear Kolya --<lb>Your Russian trip is very tempting but it happens at a bad time for me because I must be around in September in order to arrange for my 'concerts of recorded music' and also the series of one-man concerts at the New School.</p>
<p>If you do go, and see Burgin, ask him for me to see Schneyerson who is a big wig there and I hear, knows about me, and might arrange an invitation for me.</p>
<p>About donating a score of 'Music for the Theatre' -- I am almost certain that Prokofieff left one in Russia.  You could find out definitely what they have or have not and then something elaborate might be arranged, if Mrs. Wiener's consented -- which I think she would.</p>
<p>Thanks for the Denver material.</p>
<p>I have no idea of what the Chavez scoring is.</p>
<p>Yours<lb>Aaron</p>
Copland|corr0198|Letter from Aaron Copland to Carlos Chvez, 1935/08/28|<p>MacDowell Colony<lb>Peterboro, New Hampshire<lb>Aug 28, 1935</p>
<p>Dear Carlos -----<lb>I was so pleased to be given your envelope this morning -- and so surprised and upset when I opened it and read 'my dear Copland.'   But naturally I didn't receive the first letter you sent me c/o the League  or you would have heard from me before this.  Is it possible that only because you got no letter from me in reply to the first one you sent you should be so offended -- or have I unknowingly offended you in some other way?</p>
<p> I'm sure you must know how dear you are to me in every way -- how close I feel to you mentally and spiritually and musically -- and the idea that anything whatever should mar our friendship even temporarily is very painful to me.  Even tho I may not write for long periods you are always in my thoughts, -- people are always asking me how you are -- and I never feel really separated from you.  This is particularly true when I realize that you must have been going through a very difficult period of your life.  Paul Strand came back last June with news of your struggles and since then I have often wondered [how]  the new political situation in Mexico has been affecting you and your plans.  I have always remembered our conversation on top of the pyramids of Tlotihuacan  when you told me that the future -- whatever it was to be -- did not frighten you.  I believed you then -- and it has given me confidence that you will know how to manage even in these difficult times.</p>
<p>We have been going through a difficult period here also -- though of course not in the same way as you have.  It becomes increasingly difficult for instance to have that sense that there is any public for our music -- in any case, the public that can afford to pay for concerts is quite simply not interested.  Its impossible to have ones music played (on the rare occasions when it is played) before a 'dead' public without getting a feeling of isolation -- which is so bad for an artist to have.  In a period of such economic and general social tension music itself seems unimportant -- at least to those middle class people who up to now have been our audiences.  Is it the same in Mexico?</p>
<p>All this has personal repercussions too.  It is no longer easy to be published (The Cos Cob Press has discontinued publishing for a year already and I don't know when they will resume) -- I must make some money in order to live which uses up much valuable time and energy.  I mention all these things not to give you the idea that I am 'discouraged' in any essential way, but merely to show you that I have good reasons to feel sympathetic with your own struggles.  It is just in such times as these that friends like we are should encourage and sustain each other.  I can tell from your letter that you have felt I was too distant.  Please know better now.</p>
<p>This winter I will lecture again at the New School using records as illustrations.  As you see from the enclosed list  I am using the 'H.P.' set you sent me.  But in order to make a musical analysis and perhaps play themes for the audience I really need the piano arrangement.  Could you possibly send it to me?  I will take good care of it and return it.  Also can you tell me who in N.Y. would have the Revueltas record 'El Rennacuajo Paseador'?  The copy you sent me has been cracked.  If no one has it in N.Y. could you possibly send me another copy?  And if anyone in the audience should want to buy the records are they on sale?  By the way, the Columbia Phonograph Co. is about to issue a recording of my 'Variations.'  Later they will bring out the Vitebsk Trio and the Violin Pieces.  I should like to send you these when they come out.</p>
<p>In June I finished my 'Statements' -- six short movements for orchestra.  It is to be done by Ormandy and the Minneapolis Symphony this winter.  As soon as I have an available copy of the score I will send it to you as I am anxious for you to see it.  Just now I am finishing up the orchestration of 'El Salon Mexico' which I wrote you about last summer.  What it would sound like in Mexico I cant imagine, but everyone here for whom I have played it seems to think it is very gay and amusing!</p>
<p>I wonder what you have been composing recently?  I saw 'The Spiral'  piece in New Music and liked it very much.  I will arrange to have it performed in N.Y. this winter.  If there is any new music by Mexicans which we should hear in N.Y. I wish you would send it to me and I will do my best to arrange performances either at the League or elsewhere.</p>
<p>The only permanent address I have just now is c/o E.F. Kalmus, 209 West 57th St. N.Y.C.  I will be in N.Y. around Sept. 1.</p>
<p>Does Ansermet remember my 'First Symphony' from the performance he gave in Berlin?  I will have the scores you ask for sent to him as soon as I can.  But I wish I could send some  of my more recent things.   (By the way, Stokowski has the 'Short Symphony' now and I hope he will perform it this season.  I want to hear it enfin!)  Also you shall have your 'First Symphony' score.</p>
<p>I am certain that I have no copy of the cello sonatina because we corresponded about that once before and I examined all my music carefully but without success.  I hope it is not lost.</p>
<p>I am hoping for a long letter from you.  With much love</p>
<p> Aaron</p>
Copland|corr0199|Letter from Aaron Copland to Carlos Chvez, 1935/09/30|<p>Sept 30 1935</p>
<p>Dear Carlos -----<lb>I was so glad to have your letter from Tlaxcala which explained everything.  It is just such little incidents which make one realize how necessary a friend can be.</p>
<p>The League finally traced your original letter and the programs.  I was so pleased to see that you had given some of the 'Musica para Theatro' again.  The programs in general looked interesting, -- more interesting than those we have here certainly.  I noticed that you are beginning to play music from Soviet Russia.  I should like very much to make a trip there.  (Have you seen my communist song "Into the Streets May First"?  It has been republished in Russia.)</p>
<p> I suppose it is too late now to give you information about new orchestral scores.  Kalmus told me he had sent you some Cos Cob scores to examine.  There is a new score of Piston's called 'Concerto' for orchestra which is very able, though influenced by Hindemith.   Sessions has a new Violin Concerto, not yet played here or published.  Its extremely difficult -- almost too difficult I should say.   (The slow movement of his early Symphony is worth playing I think.)  Roy Harris has two Symphonies -- the first is recorded by Victor.  You can write him c/o G. Schirmer.  Piston can be reached at 92 Somerset St., Belmont, Mass.  R. Bennett  is published by Harms, 62 West 45.</p>
<p>Please get in touch with Minna  about your book of essays.  I am sure she can use one or two essays in Modern Music.  Suggest which would be the best for her to use.</p>
<p>Stokowski has announced my 'Short Symphony' for a first performance this fall.  You can imagine how I am anxious to hear it at last.</p>
<p>I am anxious to have your answers to my requests in my last letter.  If anyone should want to buy the records of H.P. what should I tell them?</p>
<p>Always affectionately<lb>Aaron</p>
<p>P.S. my [illegible in Xerox] address is: 1 University Pl. N.Y.C.</p>
Copland|corr0200|Letter from Aaron Copland to Nicolas Slonimsky, 1935/11/18|<p>Nov 18 1935<lb>1 University Pl.<lb>City</p>
<p>Dear Kolya --<lb>Thanks for sending the clippings.  Always glad to get clippings.  I'm waiting to read your report on the U.S.S.R. in M.M.  with much curiosity.  I'm still hoping to go -- in the Spring maybe.  Regards</p>
<p>Aaron</p>
Copland|corr0201|Letter from Aaron Copland to Natalie Koussevitzky, 1936/01/05|<p>Jan 5 '36</p>
<p>Dear Mrs. Koussevitzky --<lb>I'm writing to ask a favor of you.  My very good friend Carlos Chavez from Mexico is in New York now.  I should like it very much if he could join us in the box on Thursday night.  He has conducted Le Sacre in Mexico and is very keen to hear Mr. Koussevitzky do it.  Can you arrange this?  He'd be grateful.</p>
<p>Here is my new address and telephone no:<lb>One University Pl.  (Algonquin 4-4499)</p>
<p>Both Mrs. Hallowell and Mrs Dreyfus have written to me about their parties for both of you on Thursday and Saturday.  I won't be able to be at Mrs. Hallowell's because Ormandy is broadcasting some of my new music that night at 11:30 from Minneapolis.  But I'll be there on Saturday at Mrs. Dreyfus'.</p>
<p>I'm looking forward to seeing you both.</p>
<p>With much affection<lb>Aaron C</p>
Copland|corr0202|Letter from Aaron Copland to Serge Koussevitzky, 1936/02/03|<p>1 University Place<lb>Feb. 3, 1936</p>
<p>Dear Sergei Alexandrovitch:<lb>I should like to make what I think is an interesting suggestion.   The other day Chvez conducted on the air a new work of his called 'Indian Symphony,' based on Mexican Indian themes.  It is in one movement and lasts about 15 minutes.  I was very enthusiastic about it.   It makes use of 5 or 6 Indian percussion instruments which Chvez has brought here with him, and which give the work a special color.  The music is not difficult for the public to understand, nor is it difficult to play.</p>
<p>I think it would be an excellent idea if you would care to invite Chvez to conduct the piece himself in Boston sometime before the end of the season.  Perhaps you know that he is to conduct the Philadelphia Orchestra in a pair of concerts at the end of March -- so there is no question but that he is a capable conductor.</p>
<p>It is true that Chvez is a friend of mine, but it is not because of that that I write you, but because his music is so fresh and vital, and would be of interest to Boston.</p>
<p>Looking forward to seeing you next week,</p>
<p>Always devotedly,<lb>[signed] Aaron Copland</p>
<p>[holograph]: P.S. Shall we talk about my own conducting of the 'Statements' when you come to N.Y.?</p>
Copland|corr0204|Letter from Aaron Copland to Carlos Chvez, 1936/05|<p>Mayo probablemente, 1936 [May 1936]</p>
<p>Dear Carlos -----<lb>I was extremely pleased to have your wire -- and many, many thanks for the generous fee.</p>
<p>I am planning to sail on the 'Yucatan' on June 11, to arrive in Mexico City June 17.  If you must have the parts of the Concerto before then, please wire me immediately and I will mail them to you.  If I don't  hear from you, I'll just bring them with me.</p>
<p>Please keep your ears open if you hear of any little house which can be rented in the country, even two hours from the city.  I am tired of the city and want to get some country air.</p>
<p>We have had much excitement since you left -- I will tell you all about it when I see you.  Big Business suddenly discovered the American Composer and almost ate us alive!</p>
<p>You can't imagine how pleased I am to be coming back to Mexico and how pleased I am with you for making it possible.</p>
<p>Always yours<lb>Aaron</p>
<p>Best to Colin and Jane.</p>
Copland|corr0205|Letter from Aaron Copland to Serge Koussevitzky, 1936/06/01|<p>June 1st, 1936</p>
<p>Dr. Serge Koussevitzky<lb>Boston Symphony Orchestra<lb> Symphony Hall<lb>Boston, Mass.</p>
<p>Dear Dr. Koussevitzky:<lb>You are cordially invited to attend a meeting of composers for the purpose of reporting the progress that has been made in the organization of The American Grand Rights Association Inc., and to discuss further plans with regard to it.   The meeting will take place on Thursday evening June 4th at 8:30 in the library of the Beethoven association, 30 west 56th Street.</p>
<p>We hope that you will be present because many matters of vital interest to you as a composer will be discussed.</p>
<p>Very truly yours<lb>Aaron Copland<lb>Roger Sessions<lb>Virgil Thomson<lb>Edgar Varese</p>
Copland|corr0206|Letter from Aaron Copland to Serge and Natalie  Koussevitzky, 1936/07/09|<p>Apartado 5<lb>Tlaxcala, Tlax<lb>Mexico<lb>July 9, 1936</p>
<p>Mes chers amis --<lb>I was so sorry not to have seen you the day you sailed from New York, but I was in Princeton at the small American Music Festival at Harris' school on that day.</p>
<p>I have settled for the summer outside of a provincial town in Mexico.  Chavez invited me to play my Piano Concerto with his orchestra (July 24th) and I made that a pretext for working here during the summer.  I have a house on top of a high hill, on the site of an ancient Aztec palace, with magnificent mountains all around.   The town of Tlaxcala is very old itself, full of ruins of former days, and very picturesque.  The conditions for composing are ideal, and I hope to finish my high school opera  here.</p>
<p>I hope you are both taking a good rest in the short time before coming back to the Berkshire Festival.   And afterwards?  Is there really any chance of your coming to Mexico?  That would be wonderful!</p>
<p>Always affectionately and devotedly</p>
<p>Aaron</p>
Copland|corr0207|Letter from Aaron Copland to Carlos Chvez, 1936/07/15|<p>Tlaxcala, Tlax.<lb>July 15, 1936</p>
<p>Dear Carlos -----<lb>I was glad for the postponement -- it gave me just the extra week I needed for practicing the Concerto.  I think I can do a good job.</p>
<p>Could you ask Ortega or Armando to arrange the following things for me:</p>
<p>1. That I may have a place to go for practicing in Mexico City on a baby grand.  I ask this because I don?t  want to lose any time when once I get there, on the 24th.</p>
<p>2.  Could a notice be sent to the N.Y. papers saying that I am to be soloist with the orchestra.  It might help to give someone the idea for future performances. -- One never can tell.</p>
<p>3.  Could you tell me what sort of clothes I should wear -- full dress (with white tie and tails), or tuxedo?  I have both with me.</p>
<p>4.  Last, but most important of all: I need a big favor of you, if you can possibly arrange it.  The money that I brought with me from the U.S. is all used up, and I find myself on the verge of being without funds.  Could you arrange to let me have 100 pesos as an advance on my fee for playing with the orchestra.  I know this is irregular, and I hope it won't cause you too much trouble to arrange it.  If it impossible to arrange please be quite frank and say so, and I will cable to the U.S.  But if it is possible, please send the money by postal money order immediately.  (If it isn't possible, you had better wire me.)  I would be very embarrassed to make such a request if I didn't know how well you will understand it, just as you know that I fully accept in advance any decision you may make.</p>
<p>Sorry to bother you with all this just when you must be extra-busy.</p>
<p>Always<lb>Aaron</p>
<p>P.S.  I saw the enclosed clipping  in the Sunday Times and thought you might want it.</p>
Copland|corr0208|Letter from Aaron Copland to Carlos Chvez, 1936/07/01|<p>Principio de julio 1936<lb>Apartado 5<lb>Tlaxcala<lb>Sunday</p>
<p>Dear Carlos -----<lb>Here is the material for Agea, which has just come from N.Y., thanks to Miss Lawton of the library.  I think he'll find enough material for his program notes there.</p>
<p>I've been having piano troubles.  Puebla had none available -- except very bad ones.  I think I have finally found one here.  In the mean time I have been practicing as well as I could on every available piano in Tlaxcala.  I think the whole town will soon know my Concerto quite well!  I find that one's musical passport here is 'Sobre las Olas'  -- without being able to play that you can't get very far.  If only Senor Rosas could have lived to hear my version of his masterpiece!</p>
<p>How is everything going?  I am planning to come to Mexico  on the day of your first concert and to remain until we play together.  That will give us a full week of rehearsals together, which I hope will be enough.  I've become impressed with how difficult the Concerto is in spots.  I hope you enjoy rehearsing it.</p>
<p>I am also returning the American Composers Catalogue.  I've added my complete list of works to date in there.  Biographical data I'm sure you have from before.</p>
<p>I suppose you're working very hard.  Bonne chance and much affection</p>
<p>Aaron</p>
Copland|corr0209|Letter from Aaron Copland to Carlos Chvez, 1936/08|<p>Wed. [early August, 1936]</p>
<p>Dear Carlos -----<lb>Ortega told me you planned to repeat the Concerto at the first workers concert on Saturday or Sunday.  Let me know as soon as you know definitely -- and also about a rehearsal if any.</p>
<p>I happened to see the Pollares  article in the Universal yesterday and was much amused.  One would think I was Respighi  and the Concerto was the Pines of Rome!   I had a hard time recognizing myself in the article, as you can imagine.  But seriously, I hope such attacks do no harm to the Sinfnica.</p>
<p> Would you please ask Artmando to send me the 'Grafico' and 'Nacional' reviews as I have not seen them.</p>
<p>My best love to you</p>
<p>Always<lb>Aaron</p>
Copland|corr0210|Letter from Aaron Copland to Serge Koussevitzky, 1936/10/05|<p>Oct 5 '36</p>
<p>Dear Sergei Alexandrovitch --<lb>This letter will serve to introduce my fellow-composer and friend, Colin McPhee.  I think it would interest you very much to meet with him and hear his score Tabu-Tabuhan.  He has spent four years in Bali, and knows the musical idiom there better than any other musician in the world.   Chavez played this score in Mexico this summer and was enthusiastic about it.  I think you will find it full of exotic charm and new sonorities.</p>
<p>Always devotedly<lb>Aaron Copland</p>
Copland|corr0211|Letter from Aaron Copland to Serge Koussevitzky, 1936/10/05|<p>Oct 5 '36</p>
<p>Dear Sergei Alexandrovitch --<lb>I have recently come back from Mexico where I have had a wonderful summer.  I almost completed my opera for high school pupils.</p>
<p>I have been thinking of you and wondering whether you managed to have a good rest with all of your activities of the summer and fall.</p>
<p>Poor New York -- no symphony concerts until November.  It is really shocking!  But I wish you much success with the opening of the new season.</p>
<p>Have you any idea at what time of the season you will be likely to perform my Statements?  The parts are all ready and you may have them whenever you need them.</p>
<p>I gave a letter to you to a friend of mine -- Colin McPhee.  He is a Canadian by birth, about my age, but has lived many years in the U.S.  If you have the time I think it would interest you to meet him.</p>
<p>I am looking forward to seeing you again in November.</p>
<p>My warmest greetings to Madame Koussevitzky and to the rest of the 'family.'</p>
<p>Always devotedly<lb>Aaron</p>
Copland|corr0212|Letter from Aaron Copland to Carlos Chvez, 1936/12/11|<p>Dec 11 '36</p>
<p>Dear Carlos -----<lb>Victor just wrote me from Vera Cruz of his visit to you.  I do hope he didn't cause you any trouble.  He seemed in such a state of exaltation about his trip to Europe that I believe he may have made a nuisance of himself.  I sent you to-day a money order for $4.20 according to Victor's instructions.</p>
<p>Anyway, this brings on a letter from me which I have been meaning to write you in any case.  I am living at this hotel, but I work in a studio I have in a business building near by.  It has been fun to fix up the studio and I hope you'll like it.  One thing is sure: I dont  have to worry about disturbing the neighbors!</p>
<p>Since coming back, I've been doing little more than lecturing, -- which has been well attended, I'm glad to say.  My last lecture is next week, and then I plan to start on the work which was commissioned by the Columbia Broadcasting System.    You may have read about it.</p>
<p>Well, I suppose you want some 'news' of N.Y.</p>
<p>We are all looking forward eagerly to your visit.  The season has been quite unexciting so far.   The League has put me in charge of the hour's program for your reception -- and if you have any wishes concerning that I wish you'd let me know.</p>
<p>Barbirolli I heard once.  Once was enough!  Later I met him -- and had the same impression as from his conducting -- very unimpressive.  No depth or real distinction in his conducting -- only a certain spectacular, 'show-off' side, which would be more at home in Radio City Music Hall.  Imagine my complete astonishment when I opened this morning's paper and read that he was made permanent conductor for 3 years!  It really is scandalous.  The entire explanation is 'box-office'.  The Philharmonic has been selling more tickets, and Barbirolli gets the credit, in spite of continuous poor reviews by Downes and others.</p>
<p>One more word about the Philharmonic.  I sent the 'Salon Mexico' to the competition (under a different name) but Messrs. Smallens and Lange did not find anything worthy of the prize money.  Thats that.</p>
<p>Colin is leaving for Bali on Monday.</p>
<p>I am planning to go to Russia myself about April 15th.</p>
<p>We read about your Pan-American Festival and it sounds simply swell.</p>
<p>Are you coming here soon?  I'm getting lonesome for you.</p>
<p>With best regards to all the friends -- Agla, Ortegas, Armando.</p>
<p>Always yours<lb>Aaron</p>
Copland|corr0213|Letter from Aaron Copland to Serge Koussevitzky, 1936/12/17|<p>Dec 17 1936</p>
<p>Dear Sergei Alexandrovitch:<lb>This is my new address.  I wanted you to have it.</p>
<p>I hope you'll let me know just as soon as you have decided about a date for the 'Statements,' as I want to keep myself free if you should want me in Boston.</p>
<p>My greetings to Madame Koussevitzky.</p>
<p>Always devotedly<lb>Aaron</p>
Copland|corr0214|Letter from Aaron Copland to Serge Koussevitzky, 1937/04/24|<p>1937 April 24</p>
<p>WOULD BE DELIGHTED TO COME TO BOSTON ON MONDAY TO MORNING REHEARSAL TO HEAR THE STATEMENTS IF IT IS POSSIBLE TO ARRANGE WARMEST GREETINGS</p>
<p>AARON COPLAND</p>
Copland|corr0215|Letter from Aaron Copland to Serge Koussevitzky, 1937/04/25|<p>Apr 25 [1937]</p>
<p>Dear Sergei Alexandrovitch --<lb>Thank you so much for your telegram.  I will be at Symphony Hall on Wednesday morning with pleasure.  I am going to the Stravinsky premiere  Tuesday night and will probably take the night train.</p>
<p>Always devotedly<lb>Aaron C</p>
Copland|corr0216|Letter from Aaron Copland to Carlos Chvez, 1937/05/18|<p>May 18 '37</p>
<p>Dear Carlos -----<lb> Two days ago I mailed you the score of the 'Saln Mxico' by parcel post.   I hope you get it safely.   To-day came Agea's letter asking for program notes -- so I see we are thinking of the same thing!  As for the orchestral parts, they will be ready by about June 15th.  I hope that is not too late.  I will leave instructions here to have them sent directly to you.</p>
<p>I am still in N.Y., as you see.  First, I decided to put off my sailing so as to be present when they broadcasted the opera on May 9th.   Then Harold sent an offer from Hollywood for me -- $3,000 for a picture.  I said I would come for $5000, not less.  So I am waiting to hear what will happen.   If nothing happens -- I will sail for Europe around May 25.   But just think -- if they should accept my terms I will be seeing you at the Hollywood Bowl!  So its either Moscow or Hollywood for me.</p>
<p>I was so sorry you missed the opera.  It seemed to go off very well -- even better than I had hoped -- considering how quickly it was all put together.  Weinstock heard it twice -- perhaps he's written you about it.  When I first heard the chorus and orchestra together I said 'My God, it sounds like the Ninth Symphony'!   By that I meant it had a surprisingly big sound, and a highly dramatic one.  Also, the end has something of the same 'Freude, Freude' feeling, tho in completely different terms.  Of course the kids had everyone completely interested.   Kids are like Negroes, you cant go wrong if they are on the stage.   Well, someday I hope you'll hear it.  C.C. Birchard is publishing it.</p>
<p>I suppose you must have wondered how I happened to write that piece for the N.Y. Times on Silvestre.   As a matter of fact I had no idea the Times would use it.  The publicity secretary of the Filmarte Theatre where Redes  was playing, called me up and asked if I would not give some publicity material on Redes in order to bring customers to the show.  I did it rather hastily -- and was very surprised when she called to tell me she had sold it to the 'Times.'  Apparently anything about Mexico is of interest now.</p>
<p>Nothing very much has happened since you left.  I went up to Boston to hear Koussie read thru the 'Statements' as a rehearsal.  He said that the orchestration was 'masterly', but the [bottom line of page missing in Xerox copy] he is right, but I liked it anyway.  He says he will 'surely' do it next season, and this time I believe him, because he's actually heard it.</p>
<p>Mrs Reis is still muy tonta  on the subject of electrical instruments of the future[.]   Dukelsky is being very active with an idea for putting on 3 concerts of 'entertaining' modern music for the fashionable people next season.   I am thinking about the Composers Union we must definitely get started next season.</p>
<p>I hope the Festival will be a big success.   Also, that you'll enjoy working on the 'Salon Mexico'.  Be sure to have Armando send me all the reviews -- even those of Senor Pollares!</p>
<p>Remember me to all the amigos.  I hope that Ortega is all recovered by this time.</p>
<p>Love<lb>Aaron</p>
<p>P.S.  I'll let you know my summer address.</p>
Copland|corr0217|Letter from Aaron Copland to Carlos Chvez, 1937/06/02|<p>June 2 [1937]<lb>Near Kansas City</p>
<p>Dear Carlos -----<lb>All my plans are changed!  I am coming to Mexico via Los Angeles.</p>
<p>Harold convinced me that if I come to Hollywood now it would surely end up by getting me a job sometime before October.  The money arrangements are O.K.   It is just a question of finding a feature film which needs my kind of music.  So I said I would come to 'look over the ground' until July 1st.  Then to Mexico.  Mrs Coolidge invited me to be her guest during the week of the Festival and I am hoping I can hear the Salon Mexico also.  I will stay in Mexico all summer, unless I get a call back to Hollywood suddenly.   Perhaps nothing will happen really but I thought it was worth taking a chance.  Anyway, it gives me an excuse for coming back to Mexico!</p>
<p>My address is:<lb>c/o Clurman<lb>249 SOUTH MAPLE DRIVE<lb>BEVERLY HILLS, Cal.</p>
<p>I hope you have the score of the Salon by now.   Knowing how long packages can remain in the Customs office I am a little worried.  The parts I hope to send you by the 15th at the latest.</p>
<p>I'm looking forward to seeing you again.  And hope that the Festival will be a big success.</p>
<p>Love<lb>Aaron</p>
<p>Excuse my poor handwriting.  It's the train.</p>
Copland|corr0218|Letter from Aaron Copland to Carlos Chvez, 1937/07|<p>Finos de junio<lb>[late June] Sat. [1937]</p>
<p>Dear Carlos -----<lb>I'll be in Mexico sometime between the 4th and 7th.  Please don't  be surprised if I rush right to Tlaxcala.  (Victor writes that the house is free!)  You see, I am terribly late with my radio commission piece,  and must work on it every minute if I am to get it done in time (by July 15)[.] But in any case, of course I will call you up.  I have the parts of the Salon Mexico with me and will bring them along, instead of mailing them.  I can drop them by at the office in Mexico.</p>
<p>I imagine you are collossaly busy!  I saw Mrs Coolidge here, and she is naturally disappointed not to be able to come.</p>
<p>Lots of luck with the Festival.   If I can be of help in any way -- let me know.</p>
<p>Always<lb>Aaron</p>
<p>P.S.  I saw the programs.   They look very good, tho a little long.   How did you manage to 'invent' so many South American composers?  I marvel at it!</p>
Copland|corr0219|Letter from Aaron Copland to Carlos Chvez, 1937/08/12|<p>Tlaxcala, Tlax<lb>Aug 12 -- Thursday [1937]</p>
<p> Dear Carlos -----<lb>I've been wondering and wondering whether you managed to reach Hollywood or not.   I hope so.</p>
<p>I'm planning to come in to Mexico  next Tuesday, so that I can attend rehearsals of the 'Saln Mxico' from Wednesday on.  Looking forward to it.</p>
<p>Edwin Denby has arrived from Haiti and is staying with me here.  It is restful and beautiful as ever.</p>
<p>Best love to you</p>
<p>Aaron</p>
Copland|corr0220|Letter from Aaron Copland to Carlos Chvez, 1937/09/04|<p>Apartado 33<lb>Tlaxcala, Tlax<lb>Sept 4 '37</p>
<p>Dear Carlos -----<lb>I was so pleasantly surprised to receive the royalty telegram from Ortega.  I'm writing to thank you very much for sending it, and secondly to assure you that it need not set a precedent for us.  That is, I never want you to feel obliged to send royalties in the future on any work of mine.  My feeling for you and for the success of the Sinfnica is much too close.  To me it is not just like any other orchestra, and the question of 'royalties' or 'business arrangements' does not enter.  I want you to feel free to play the works, without any relation to the momentary financial situation of the orchestra.  I hope the sending of the 150 pesos -- a very generous sum -- means that the orchestra is in a good financial position this summer.  If not, I wish you would be frank and tell me so.</p>
<p>I'm staying here until about Oct 1.If, when the season is over, you can come out for a visit, it would be a great pleasure -- naturally.</p>
<p>Love<lb>Aaron</p>
Copland|corr0221|Letter from Aaron Copland to Carlos Chvez, 1937/09|<p>[Fines sept.]<lb>[late Sept.] Friday [1937]</p>
<p>Dear Carlos -----<lb>When I got here Tuesday  evening I heard the sad news about your mother.  I'm sure her death must have been a great shock to you, even though it was not unexpected.  I know very well how deeply you were attached to her.  Still, there is so little that one can say at such a time.  I only want you to know how I feel for you and sympathize with you now.</p>
<p>With love<lb>Aaron</p>
Copland|corr0222|Letter from Aaron Copland to Carlos Chvez, 1937/09-10|<p>[Fines Sept o principios Oct]<lb>Esperanza<lb>[Late Sept/Early Oct] Wed [1937]</p>
<p>Dear Carlos -----<lb>I was sorry to have missed you when I telephoned last night.  I arrived in town late -- had a lot to do arranging my trip home -- became quite exhausted -- and called you too late.  It would have been nice to see you before leaving.</p>
<p>Anyway, this is just a good-bye note -- and to thank you again for the pleasure of hearing the Salon Mexico in a really authentic performance -- to say the least.</p>
<p>It was a good summer for me -- I finished the arrangement of the Short Symphony for string quartet clarinet and piano before leaving Tlaxcala.</p>
<p>Here's wishing you lots of luck for Cleveland.</p>
<p>Always yours<lb>Aaron</p>
<p>My address in N.Y.[:] Hotel Empire -- 63rd & B'way.</p>
Copland|corr0223|Letter from Aaron Copland to Roger Sessions, 1937/12/26|<p>[postmark: New York, Dec 26 1937]</p>
<p>Dear Roger --<lb>We organized last Sun. as the 'American Composers Alliance.'  You were elected a member of the temporary Executive Comm.   Said Comm. is having a first meeting at my studio (115 W 63) on Sunday Jan 2 at 4:30.  I hope you can come.</p>
<p>Yours,<lb>Aaron</p>
<p>P.S.  Let me know when the ISCM meeting is to be.</p>
Copland|corr0224|Letter from Aaron Copland to Serge Koussevitzky, 1938/03/04|<p>March 4, 1938</p>
<p>Dear Sergei Alexandrovitch,<lb>Do you remember, when you were in New York, we spoke of the very few American Orchestral works which have been recorded, and you said you would like to do the Music for the Theatre?  A friend of mine has spoken to Mr. Charles O'Connell of the RCA Victor Co., and he says he is ready to arrange the recording if you will agree to conduct it.</p>
<p>So will you do me a great favor and write a letter to Mr. O'Connell telling him that you would like to do it for the records if he can arrange it.  Many thanks in advance!</p>
<p>I am looking forward to seeing you next week.</p>
<p>Always devotedly,<lb>[signed] Aaron</p>
Copland|corr0227|Letter from Aaron Copland to the librarian of the Boston Symphony Orchestra, 1938/04/27|<p>April 27, 1938</p>
<p>Dear Mr. Rogers:<lb>I assume that Mr. Koussevitzky has no further need of my score "Statements."  Would you ask him, please, and if that is so, I'd appreciate it if you would mail it to me at this address where I will be until June 1: Box 15, Princeton, New Jersey.</p>
<p>Yours faithfully,<lb>[signed] Aaron Copland</p>
Copland|corr0231|Letter from Aaron Copland to Benjamin Britten, 1938/08/03|<p>Statendam<lb>Aug 3 [19]38</p>
<p>Dear Benjamin --<lb>This is what Henry  calls a 'bread and butter' letter -- except that I'd be writing to you anyway, as you know.</p>
<p>You and the Mill and Snape  all made a very deep impression -- much deeper than a mere week-end would imply.  I remember every minute of it with pleasure -- and hope you do the same.</p>
<p>If you like to write letters -- do write me.  It would be nice to keep in touch with your triumphs and your 'problems.'  My address is Hotel Empire[,] 63rd St. & Broadway, New York.</p>
<p>And best of luck on the 18th! </p>
<p>Affectionately,<lb>Aaron</p>
Copland|corr0233|Letter from Aaron Copland to Olga Naoumoff, 1938/10/07|<p>Oct 7 1938</p>
<p>Dear Olga --<lb>Thank you for your letter.   Please tell Sergei Alexandrovitch that I will take the first train out on Sunday morning which is scheduled to arrive at Back Bay at 1:35 P.M.  Of course, there is the chance that it may be delayed a little -- as I was told it will be the 'first' train to run direct without bus[?] changes.</p>
<p>I'll be seeing you soon</p>
<p>As ever<lb>Aaron</p>
Copland|corr0234|Letter from Aaron Copland to Nadia Boulanger, 1938/11/22|<p>Nov 22 '38</p>
<p>Dear Nadia -<lb>Its always so nice to see your handwriting on an envelope.  I wish I had a birthday more often!  But when I think of what an effort it must be for you to write in the midst of all you have to do -- I doubly appreciate it -- and think perhaps it is best that one has a birthday only once a year.</p>
<p>The winter has been a busy one thus far.  I have finished a new ballet; and an 'Outdoor Overture' for children to play.  Koussevitzky has just given five magnificent performances of the 'Salon Mexico.'  How I wish you could have heard it!</p>
<p>Well, you will be here soon, and even if I see too little of you, it will be nice to think of you as being on this side of the ocean.</p>
<p>Always devotedly<lb>Aaron</p>
<p>P.S. Did Birchard send you a copy of the complete piano-vocal score of 'The Second Hurricane' as I asked him to?  I hope so!</p>
Copland|corr0235|Letter from Aaron Copland to Olga Naoumoff, 1939/10|<p>[1939,  pre-October]</p>
<p>Dear Olga --<lb>I'm enclosing a clipping that appeared in last Saturday's N.Y. Sun that I thought might interest the family.<lb>
<p>Please tell your aunt 'thank you' for the ticket.  I have had an invitation to sit in the director's box in Brooklyn!  Shall I accept?  I've been wondering whether your aunt has any idea of going to Brooklyn -- in which case I should much prefer to accompany her.</p>
<p>Just out of curiosity I've been wondering whether the 'Salon Mexico' is being performed any place else on the trip, except B'klyn and N.Y.</p>
<p>Best regards for Bima and all the friendly dogs in the neighborhood.</p>
<p>Cordially<lb>Aaron</p>
Copland|corr0239|Letter from Aaron Copland to Olga Naoumoff, 1938/12/20|<p>Dec 20, '38</p>
<p>Dear Olga<lb>Many thanks for the letter.   I guess it will have to be the 'Music for the Theatre' because the Salon Mexico is being played by Goosens in Cincinnatti[sic] on Jan 7 & 8 and therefore the parts are not free until then.</p>
<p>Therefore I'll tell my agent to send score and parts to Rogers  of the 'Music for the Theatre.'  Please caution Sergei Alexandrovitch not to send the parts of the works he collects until the date of the concert is definitely determined.  Also that it is important to have the Conservatoire guarantee the safe return of the material, and to send it back 'aussitt que possible.'  Of course, he knows all this, so I am only over-cautious in writing it.</p>
<p>Best regards to the family and to Bima  (naturally)</p>
<p>Always<lb>Aaron</p>
Copland|corr0240|Letter from Aaron Copland to Serge and Natalie Koussevitzky, 1939/01|<p>Monday [January 1939]</p>
<p>Chers amis:<lb>I'm terribly disappointed at having to miss the concerts on this trip!   I must go out to Cincinnati to fill a lecture engagement -- and incidentally to hear the Goossens performance of the Salon Mexico on Friday and Saturday.  Will you make my excuses to Mrs. Eiseman.</p>
<p>I agree that the Salon Mexico is much more appropriate for the Paris concert than the earlier piece.   I'll talk over what can be done with the publishers -- Boosey & Hawkes.</p>
<p>With affectionate regards<lb>Aaron</p>
Copland|corr0242|Letter from Aaron Copland to Natalie Koussevitzky or Olga Naoumoff, 1939/03/06|<p>March 6, 1939</p>
<p>Chere amie --<lb> Once again I must miss a Boston Symphony Orchestra concert!  This Thursday night I have a lecture engagement at Sarah Lawrence College.  Too bad! -- but I shall see you of course on Saturday afternoon and on Sunday at Blanche's.</p>
<p>Regrets and greetings</p>
<p>Always devotedly<lb>Aaron</p>
Copland|corr0244|Letter from Aaron Copland to Nadia Boulanger, 1939/05/22|<p>May 22 [1939]</p>
<p>Dear Nadia -<lb>You are leaving soon, I suppose, and I hope to catch a glimpse of you on the way out.</p>
<p>Also please don't forget to leave the score of the 'Statements' at my hotel before you sail.</p>
<p>The 'Salon Mexico' is published and I am asking Boosey & Hawkes to send you a copy.</p>
<p>Devotedly<lb>Aaron C</p>
Copland|corr0245|Letter from Aaron Copland to Benjamin Britten, 1939/05|<p>Sat [May? 1939]</p>
<p>Dear Benjie:<lb>How perfectly extraordinary to think of you here on this side of the water!  I can't get used to the idea -- but I will.  It seems rather sad that you can't come down here for a visit -- particularly with Auden & Isherwood here.</p>
<p>My own plans for the summer are still vague.   I shall certainly be here till June 1st.  I have my Billy the Kid ballet which is being premiered on the 24th by Kirsein's Ballet Caravan.   I'm tempted by Mexico in June.  Why shouldn't you come down there by boat from Vancouver?  Somehow something must be arranged.</p>
<p>Write me where you are always.</p>
<p>Affectionately<lb>Aaron</p>
Copland|corr0246|Letter from Aaron Copland to Carlos Chvez, 1939/06/20|<p>June 20, 1939</p>
<p>Dear Carlos:<lb>Voila! My Mexican trip must be postponed for the time being.  Your plot to have me on CBS as commentator has borne fruit.  I am to comment on the Stadium concerts  every Wednesday at 9 beginning July 5 till August 16.  Perhaps after that I can get down.  Anyway it was a disappointment, but I'm sure you'll understand.</p>
<p>We all read about the Concerts in the Sunday papers.  It was nice to see the Salon Mexico down again.  Perhaps Agea -- if he is still writing program notes, will want to say that since the premiere in Mexico two summers ago it has been performed in London, Paris, Amsterdam, and in the USA in New York, Boston, Chicago, Cincinnati, Brooklyn, New Haven.</p>
<p>Lots of good wishes for this year's concerts and best regards to all the friends.</p>
<p>Always,<lb>[signed] Aaron</p>
Copland|corr0247|Letter from Aaron Copland to Benjamin Britten, 1939|<p>Woodstock, New York [early July 1939]</p>
<p>Dear B-----<lb>Not very good news for you, unfortunately. The place I had hoped to settle you in is full up.  Other places look depressing.  But I am hoping that when you get here we shall happen on something nice.  Everything is complicated by the fact that this is the 4th of July weekend and everyplace is as crowded as bank holiday.</p>
<p>Your train leaves Grand Central Station at 1:20 p.m. daylight saving time (12:20 railroad time).  You get off at Rhinecliff at 3:25, where we will be to meet you.</p>
<p>If you have made a[ny] change [in] your plans wire me as soon as you get this.  Otherwise I'll expect you.</p>
<p>Maybe you had better bring as little baggage as possible until you have a better idea of where you can settle here.  I shall have to go down on Tuesday for the concert and stay over till Wed. For the broadcast.   Keep that in mind when you pack.</p>
<p>Alles gutes,<lb>[signed] A----</p>
Copland|corr0252|Letter from Aaron Copland to Benjamin Britten, 1939/09/06|<p>Woodstock -- Sept 6 [1939]</p>
<p>Dear Benjie ---<lb>I've been wondering where you are in this miserable world!  I keep marvelling how it has all turned out just exactly as you feared it would.  The question is: do you have to go back?  I mean -- does the Conscription go into immediate effect.  Because if not -- I think you absolutely owe it to England to stay here.  Whatever anyone may think now, I'm sure the future will justify your looking upon your own case as a special one.  After all anyone can shoot a gun -- but how many can write music like you?  Of course, for all I know, you may have gone back already.  But if not -- and I hope not -- then remember what I say as to how you can best serve la patrie!</p>
<p>Nothing very different about Woodstock, despite the War.  Ned Chase asks after you when we go down for tennis.  You must write and say where you are, if only to allay his anxiety!  Of course, it is colder -- much -- and we have stored in wood for the fireplace.</p>
<p>I find it hard as Hell to go on putting down notes on paper as though nothing were happening.</p>
<p>Victor sends his best.  We both want to know what happened to Peter?</p>
<p>Love<lb>Aaron</p>
Copland|corr0257|Letter from Aaron Copland to Serge Koussevitzky, 1939/09/25|<p>Woodstock, N.Y.<lb>Sept. 25, 1939</p>
<p>Dear Sergei Alexandrovitch:<lb>This letter is to accompany the score by Elliott Carter I spoke to you about in Saratoga.</p>
<p>Please look at it carefully because I think you will want to perform it this season.  It is a Suite from a ballet "POCOHANTAS,"  which was given on the same program with my ballet.</p>
<p>Carter is a young man of about 28.  He has the same background as Piston -- Harvard University and Boulanger; he also has the same careful workmanship.  He has never been played as yet by a major orchestra, and this is his first important orchestral work.  I need not tell you about the quality of the piece as you can see that for yourself.  But it goes without saying that it is only because I consider it worth while that I recommend it to you.</p>
<p>Always devotedly,<lb>[signed]Aaron</p>
Copland|corr0258|Letter from Aaron Copland to Olga Naoumoff, 1939/10/10|<p>Oct 10 [1939]</p>
<p>Dear Olga --<lb>Tell the family that I am leaving for Hollywood on Friday and will be gone about a month or six weeks.  I will send the score and a piano arrangement of the Suite from my ballet 'Billy the Kid.'  The parts, however, will not be ready for some time.. Please ask Sergei Alexandrovitch not to think of playing it until I come back!</p>
<p>Best regards<lb>Aaron C</p>
Copland|corr0262|Letter from Aaron Copland to Serge Koussevitzky, 1939/10/18|<p>Oct. 18, 1939</p>
<p>Dear Sergei Alexandrovitch:<lb>I was delighted to have your telegram about the Ballet Suite: Billy the Kid.  I will do my best to get the orchestral parts to you on time.   This is a very complicated business.   There is a set of parts in Philadelphia, but it includes the entire ballet, and from that I must remove all the parts that are not in the Suite.  This is no trouble, but it will take time -- as the parts must be sent here first and then back to Boston.  I hope I can promise it for the 6th of November -- that is, to have it in Boston by that date.</p>
<p>Of course I would be very disappointed if I could not be present at the performance, at least.  But it is absolutely impossible for me to know now whether I must still be in Hollywood by the 25th of Nov.   You see I have a job now, and so I am not my own boss until the picture on which I am working is finished.</p>
<p>Naturally it would be much safer if the performance were postponed until February.  But if you feel you would like it for the November concert, please remember that I may not be able to be there -- which would be too bad of course from my viewpoint, but not exactly a catastrophe.  In any case I will send the parts as soon as I can.</p>
<p>Hollywood is an extraordinary place.  You must come here some time.  It's like nothing else in the world.  Thank heavens!</p>
<p>I hope the season is progressing well.</p>
<p>With best greetings to the family, including Bima,</p>
<p>Always devotedly,<lb>[signed]Aaron</p>
Copland|corr0264|Letter from Aaron Copland to Serge Koussevitzky, 1939/12/23|<p>Dec. 23, 1939</p>
<p>Dear Sergei Alexandrovitch:<lb>How are you?  I have been thinking of you often and wondering about the concerts, about Boston, and about the School.</p>
<p> I have finished my job here and am starting home to-morrow! It has been interesting work -- and the picture is one of the better ones to be made in Hollywood.  I expect to drive across the country so I won't be in New York until about the 2nd of January.</p>
<p>Have you any plans about the Ballet Suite?  It would be very good for me if you could program it for the end of January.   In that case I could come to Boston and be at the rehearsals.  Of course, I don't know how this fits in with your plans.  It is naturally only a suggestion.</p>
<p>I am looking forward to seeing you in New York at the January concert.</p>
<p>Affectionate greetings to the family!</p>
<p>Always devotedly,<lb>[signed]Aaron</p>
Copland|corr0266|Letter from Aaron Copland to Benjamin Britten, 1940/02/12|<p>Feb 12 [1940]</p>
<p>Dear Benjie:<lb>Dont forget -- we have a date on Sat. Night -- to go to the formal dinner for Koussevitzky at the Hotel Brevoort.  Make my excuses to Peter, as I was able to get only one ticket extra.  Seats are at a premium!  Where shall we meet?  At the Loft (115 W 63) at 7[.]</p>
<p>V and I have taken a little house in the country across the Hudson -- about an hour away.   (I can?t work here!)  The address is Dell Brook Farm, Oakland, New Jersey.  So we?re commuters like you-all now.</p>
<p>Write me at the Loft.</p>
<p>Tell Peter to contact Mrs. YURCHENKO  at Station WNYC.  She wants to know who will accompany him for the Chanler on Sunday (Feb 18 at 6 P.M.).  Could he also mail her a note about the songs to be used for continuity.  Thanks!</p>
<p>Best to you both</p>
<p>Love<lb>Aaron</p>
Copland|corr0270|Letter from Aaron Copland to Benjamin Britten and Peter Pears, 1940/03/08|<p>Friday [March 8, 1940]</p>
<p>Dear Benjie & Peter -----<lb>I know you think me a cad but here's the way it is.  We were frightened away on Monday by the storm and felt lucky to reach N.Y. safely.  On Tuesday it began -- 'it' being wires from Hollywood -- and general dither ever since.  Upshot is that I am flying -- I said flying -- out there on Wednesday to do the music for 'Our Town.'  Life has been confusion ever since.  And worst of all, among all the other things I must miss, is the V[io]l[in] Concerto -- which I was keen to hear.</p>
<p>If you should be coming in before Wednesday be sure to call at the Loft -- EN[?]2-4676.  Otherwise I'll see you when I get back around May 1st.</p>
<p>All good luck and embrassements.</p>
<p>Your one hell of a friend</p>
<p>Aaron</p>
Copland|corr0271|Letter from Aaron Copland to Mrs. Grant, 1940/03/17|<p>5959 Franklin Ave.,<lb>Hollywood, Cal.<lb>March 17, 1940</p>
<p>Dear Mrs. Grant:<lb>This is to put on record what I told you last week concerning the application of Leonard Bernstein for admission to Dr. Koussevitzky's conducting class.</p>
<p>In my opinion, Mr. Bernstein is an extraordinarily gifted young musician.  I have seldom met his equal for sheer musicianship.  His musical memory is remarkable, and so is his ability to sight-read both scores and piano music.  He is besides a first-rate pianist.  He possesses the type of temperament which I believe is particularly sympathetic to Dr. Koussevitzky.   His practical experience as a conductor is very slight, but he has had a year's training at the Curtis Institute under Fritz Reiner.  Randall Thompson told me that Mr. Reiner considered Bernstein one of the best students he had ever had.</p>
<p>Needless to say, I think it important that Bernstein gain an individual seance with Dr. Koussevitzky when the proper moment arrives.  I'd appreciate it if that could be arranged.</p>
<p>The above is my permanent Hollywood address.  I am still planning to be back by May first.</p>
<p>Cordially yours,<lb>Aaron Copland</p>
Copland|corr0272|Letter from Aaron Copland to Benjamin Britten, 1940/05|<p>[May? 1940] </p>
<p>Dear Benjie:<lb>Here is that Hollywood contract!  Abe Meyer represents M.C.A., and is also my agent.  He wants to go after Lewin  for you, but feels you should be tied up definitely before he starts working on it.  If they get you no work in 4 months the contract is null and void.  I think it is safe to sign it.  Anyhow I signed one just like it.</p>
<p>When are you off to Chicago?</p>
<p>Best<lb>Aaron</p>
<p>115 W 63</p>
Copland|corr0273|Letter from Aaron Copland to Benjamin Britten, 1940/07/30|<p>Lenox, Mass [postmark: July 30, 1940]</p>
<p>Dear B-----<lb>I've reserved 4 seats for Sat. & Sun. Concerts.  All the cheap ones are gone!  They're 2 bucks each -- horrors!  I'll find a place for you to stay -- I hope on a lake.  I shall be at Tanglewood until 4:30 on Friday.  After that at the Cromwell School in Lenox.  Call me at either place.  Congrats on Posh, Jr.  R. Hawkes was here.  Life is exhausting and absorbing.  Best to Peter.</p>
<p>Aaron</p>
Copland|corr0274|Letter from Aaron Copland to Olga Naoumoff, 1940/09/16|<p>Hotel Empire<lb>63 & Broadway<lb>New York<lb>Sept. 16, 1940</p>
<p>Dear Olga:<lb>On Friday I mailed the score and a piano arrangement of my STATEMENTS to your uncle.  If I don't hear from you to the contrary I shall assume that the package reached Lenox all right.</p>
<p>How I envy you this beautiful weather in the country!</p>
<p>With warmest greetings to all the family (including BIMA)</p>
<p>[handwritten, ink] Always<lb>Aaron</p>
Copland|corr0276|Letter from Aaron Copland to Carlos Chvez, 1940/11/19|<p>Nov. 19, 1940</p>
<p>Dear Carlos:<lb>It has been a long time since I have heard from you and I've been wondering how you are.  I received the Boletins of the OSM and thought the programs looked fine.  I'm particularly curious to hear how the Stravinsky came off.</p>
<p>The reason I am writing you now is connected with Nelson Rockefeller's work as Coordinator of Cultural Relations with Latin America.  (I am a member of his Advisory Committee on Music.)  The suggestion has been made to the Committee by Mr. Henry Coke, President of the Dallas Symphony Orchestra, that we should consider the possibility of sending the Dallas Symphony to Mexico for some concerts.  What do you think of this idea?</p>
<p>It was thought by Mr. Coke that the proximity of Texas to Mexico would give such a visit a significance that one from another state would not have.  Also, he says in a letter: "the cost of sending an orchestra from Texas, rather than a more remote point[,] has its advantages.  Likewise, the people of Texas would be interested by the sending of a local orchestra, whereas that interest would not exist, or would be of little value, should the orchestra come from a region without contact with Mexico."</p>
<p>All this is open to further suggestion from you, of course.  I believe that if you think the idea is worth developing, the best way to pursue it might be for the Dallas Symphony to invite you as guest-conductor, at which time you could really discuss the project with the Dallas people.  The interest of our committee is to further cultural relations, and to help with the financing of the Dallas Orchestra's trip.  If the trip should materialize, it might be a good idea for you to share the podium with Jacques Singer (the regular conductor of the Dallas Symphony) in their concerts in Mexico.  While writing you the further idea occurs to me that perhaps an exchange of orchestras could be effected, -- the OSM to visit Dallas, while Dallas visits Mexico.</p>
<p>Anyway, think about the whole problem, and let me know if you can, by Wednesday next, so that I can report back to the Music Committee.</p>
<p>Any chances of our seeing you this winter in New York?  I certainly hope so.</p>
<p>My best greetings to you always!</p>
<p>[signed] Aaron</p>
Copland|corr0277|Letter from Aaron Copland to Carlos Chvez, 1940/11/28|<p>Nov. 28, 1940</p>
<p>Dear Carlos:<lb>I've been waiting to get your answer to my letter before answering your first one sent to me care of Minna.  There are many things so perhaps I had better list them.</p>
<p>1.  Absolutely delighted that you want to repeat the Short Symphony next year, and naturally I hope that the recording can be arranged, also.  I believe I could come to Mexico to hear it in late August or September.  The Berkshire Music Center, where I will probably be teaching each year, is finished around August 15th, so I am free after that.</p>
<p>2.  About the American Music Rental Library: it is still only in the organizing stage, and exists only on paper so far.  Miss Hull is new in the field and no one can tell how effective she will be in producing performances.  If you have no other possibilities for Energia or Soli, I would like to think they are in a place where we can get at them, if necessary.</p>
<p>In general, I wish you would think seriously about publishing your works.  Boosey, Hawkes is now looking around for new composers to further, and they are under the imporession that the Sinfonia India, Antigona, H.P. etc. are all tied up at Schirmers.  Is there any way of freeing those works for actual publication, or do you still wish to restrict performances as in the past.  Boosey Hawkes is particularly interested in orchestral works right now, but later that could lead to publication of chamber works too.  Anyhow, think about it and let me know.</p>
<p> 3.  As for the Dallas Symphony: I will show your letter to Carleton Sprague Smith, who is the head of the Music Committee.  Personally, I think you are probably right -- either a first class orchestra or none.  At any rate, you answered just as I predicted you would!  But I was asked to suggest the idea to you, so I did so.  The Committee also has discussed briefly the possibility of asking you to head a small group of people to collect Mexican folk song material among the Indians in remote places -- this to be financed by the Committee.  What do you think, or who would you suggest if you are not interested yourself.   Any other bright ideas you may have, along the lines of furthering cultural relations between Latin American countries and the USA, via music, would be very welcome.  It is very possible that the Committee may send me down to visit South America in the Spring for a few months.  I am curious to see what their musical life is like.</p>
<p>I have kept myself free for composing this winter, living on my Hollywood gold!  I've nearly finished two movements of a three movement Piano Sonata, and I wrote an 8 minute slow movement for trumpet solo, English horn and string orchestra called "Quiet City." I've been going to lots of committee meetings (unfortunately), of one kind or another, and I'm right in the middle of the ASCAP--BMI fight which becomes more 'passionant' each day.   Outside of thea you know New York, -- its always different, but always the same.</p>
<p>Everyone tells me how much they like the new records of the Museum concerts of last Spring.  Its very good to know that the piano concerto is progressing.   Work hard on it!</p>
<p>Always yours,<lb>[signed] Aaron</p>
<p>[added in ink]: P.S.  The news of Silvestre was shocking.   It is a great pity that his work should remain unfinished.</p>
Copland|corr0279|Letter from Aaron Copland to Serge Koussevitzky, 1940/12/16|<p>Dec. 16, 1940</p>
<p>Dear Sergei Alexandrovitch:<lb>I was in Boston last week to give a lecture at the University Club, and was so disappointed to find that you were gone on the trip.  I had several things to talk to you about -- but I will try to make it short in this letter.</p>
<p>1. I hope Mrs. Grant spoke to you about the plan I had to have the U.S. government bring a number of the best students from South American countries to the School this summer.  I am a member of the Music Committee established by the State Department under Nelson Rockefeller for cultural relations with South America.  This idea would be similar to that of Mrs. Bok  and the Curtis Institute, except that the government would take the place of Mrs. Bok, and we would have all South America to choose from.  I have spoken with the Music Committee, and they are very enthusiastic about the plan.   If you have any further ideas along this line I wish you would let me know, so that I can present it to the Committee.</p>
<p>2. The I.S.C.M. is planning a Festival for the Spring in New York.  They have enough money for three chamber music concerts, but nothing for orchestral concerts.  In order to get orchestral works performed, they are asking each of the major orchestras to perform one work on their regular programs, preferably in New York and in the Spring.  The work would of course be chosen by the International Jury, and would be announced as being part of the festival idea.  Assuming always that you approved of the work suggested for performance [added in ink: by your orchestra,] do you think it possible that the Boston Symphony would take part in this plan?  Please write your reactions to Miss Dorothy Lawton, 121 East 58th St., in New York.  I know that everyone would be delighted if you gave your support to this idea.</p>
<p>3. I wonder whether you have any definite date for the STATEMENTS.  Naturally I want to reserve that week so that I can be at rehearsals, and it would help me a great deal if I knew the date well in advance.</p>
<p>I hope Madame is feeling well.  Remember me to her and Olga.</p>
<p>[signed:] Always devotedly<lb>Aaron</p>
Copland|corr0286|Letter from Aaron Copland to Serge Koussevitzky, 1941/10/02|<p>Buenos Aires<lb>Oct. 2, 1941</p>
<p>My dear Sergei Alexandrovitch:<lb>I am writing to make a suggestion which may interest you.  The Argentine composer-conductor Juan Jos Castro is coming to the United States in December to conduct 3 concerts with the N.B.C. orchestra.  Castro is considered here to be the best composer they have.  His work may not be very original, but it is certainly very well done.</p>
<p>It occurred  to me that you might wish to invite him to appear as a guest, conducting one of his own works, or possibly half a program of Argentine composers.  His first date with the N.B.C. is Dec. 2.  His address here is:<lb>Juan Jos Castro<lb>Calle Vincente Lopez 1919<lb>Buenos Aires, Argentina.</p>
<p>I am having an excellent trip -- meeting all the composers in 9 different countries, and telling them about American music in lectures and over the radio.  I conducted also! -- "Billy the Kid" in Lima, Peru; and am invited to conduct in Santiago, Chile.   You will not recognize me as a conductor when I get back -- I hope!</p>
<p>My best to everyone -- and especially to Madame and Olga.</p>
<p>Always devotedly,<lb>Aaron</p>
<p>P.S.  I will return in December also.</p>
Copland|corr0288|Letter from Aaron Copland to Nadia Boulanger, 1941/11/24|<p>Nov. 24, 1941</p>
<p>Dear Nadia:<lb>It was so nice to receive your birthday note, -- so far from home.  I was delighted also, that you liked the book.</p>
<p>My trip through South America has been fascinating.  It has been like discovering a new continent.  If one is interested in growing things, one must be interested in these countries where all musical effort is just beginning.</p>
<p>You are well known here.  I saw a great deal of Camargo Guarnieri, who is certainly one of the finest talents down here.</p>
<p>I also had time to complete my Piano Sonata, which I am anxious for you to hear.</p>
<p>I'll be back before Christmas if all goes well.</p>
<p>All my affection to you</p>
<p>Aaron</p>
Copland|corr0292|Letter from Aaron Copland to Sergei Koussevitzky, 1942/03/05|<p>March 5, 1942</p>
<p>Dear Sergei Alexandrovitch:<lb>This is to confirm the conversation I had on the phone yesterday with Olga.</p>
<p>I agree to make an orchestral arrangement of the Internationale, as you requested.  I assume you want a plain version similar to that of the Star Spangled Banner which I have heard you use.  I will give it to you when you are in New York next week.  I suppose that is time enough to prepare it for performance in Washington.  If you need it sooner, let me know.</p>
<p>So glad to be of help to you!</p>
<p>Always devotedly,<lb>[signed] Aaron</p>
Copland|corr0295|Letter from Aaron Copland to Sergei Koussevitzky, |<p>Monday</p>
<p>Dear Sergei Alexandrovitch:<lb>I am sure you must know, without my writing, how we all feel for you and Olga in these sad days.  I think I can realize the full extent of your loss -- for I lived in your house and shall never forget the extraordinary relationship that existed there.  Nor can I ever forget the many kindnesses I received from the dear departed one.</p>
<p>Many times, in the past few days, I have been thankful at the thought that nothing can take from us the consolation of music.  Certainly that thought must sustain you now.  When all is said, we are fortunate men -- for the sense of personal loss can be eased through a re-dedication to the service of our art.  I feel sure that is what she would have wanted.  That is what I hope for you.</p>
<p>With all my deepest sympathy and love,<lb>Aaron</p>
Copland|corr0297|Letter from Aaron Copland to Jacobo Ficher, 1942/05/24|<p>May 24, 1942</p>
<p>Muy querido amigo Ficher:<lb>Voy escribir en ingles porque es mas facil para mi.</p>
<p>I was glad to receive the program and to know that you played the Trio at the Grupo Renovacion Concert.</p>
<p>I wish that you had written to me sooner about the ISCM Festival because the time is now quite short and I am not certain whether the programs are all completed.  The final decisions were being made in California.  In any case, I sopke with Mr. Gerstle, the Secretary of the society, and he will try to get the music you mentioned from Lehman Engel and send it to California.</p>
<p>The War has changed many things, as you can well imagine.  For example, Mr. Engel is now in the Navy and cannot be active as before.  All the plans of the Pan-American Union and the ccordinator's Office have been slowed down.  Unless I hear from you to the contrary, I shall take care of the music you sent Mr. Engel so that if there are any opportunities to have any of it performed or published, I will arrange to see that it is done.</p>
<p>Please give my best regards to all my friends in B[uenos] A[ires] and tell them that I hope some day to return to Argentina for a longer stay.</p>
<p>Yours sincerely,<lb>[signed] Aaron Copland</p>
Copland|corr0301|Letter from Aaron Copland to Nadia Boulanger, 1942/08/16|<p>Tanglewood<lb>Aug. 16, 1942</p>
<p>Dear Nadia:<lb>This will introduce young Spencer Huffman, who did some work with Martinu at the school this summer.  Since you are to be in Baltimore this winter, I am convinced that you can be of great help to Huffman.  At any rate, please look at his music, and decide what can be done.</p>
<p>Amities<lb>Aaron</p>
Copland|corr0302|Letter from Aaron Copland to Harold Spivacke, 1942/08/21|<p>Box 104<lb>Stockbridge, Mass.<lb>Aug. 21, 1942</p>
<p>Dear Harold:<lb>Thanks a lot for the prompt action re the enclosed material.  I am returning it to you, and if it seems properly filled out, would you kindly send it to Doris Goss.</p>
<p>As I told you on the phone, I contemplate the giving up of my composing activities with the greatest reluctance, but if I must be used in the war effort, I wish to be as useful as possible.  I hope you won't mind if I come rushing at you for further advice if and when the moment comes.</p>
<p>Until this matter takes on clearer shape, perhaps we had better let the question of Mrs. Coolidge's commission ride.  Whether or not I can fulfill such a commission depends entirely on how my future pans out.</p>
<p>With best regards, and again -- thanks.</p>
<p>[signed]Aaron Copland</p>
Copland|corr0304|Letter from Aaron Copland to Carlos Chvez, 1942/09/01|<p>Box 104<lb>Stockbridge, Mass.<lb>Sept. 1, 1942</p>
<p>Dear Carlos:<lb>I've been meaning to write to you since your letter came recommending the Halffter Concerto for the I.S.C.M. Festival.  It would have to be for next year's Festival (if any), because the Festival was already on when your letter came.</p>
<p>I was very pleased with the work that Blas  and Pablo  did at the school.  Everyone liked them very much and they did honor to Mexico I think.  As for Irma Gonzalez -- she was a sensation.  Someway money must be found so that she can stay in New York for at least a winter's season.  Do you think the Mexican government could be interested?</p>
<p>The purpose of this letter is mostly to ask you, if possible, to try out Moncayo's new piece at a rehearsal.  Through a contretemps we were unable to do it at the school although a poor attempt was made with insufficient instrumentalists.  I felt that he was not being treated fairly, and I told him I would write to you on the chance that you would be in a position to let him hear how his work sounds.  I'm sure you will if you can.</p>
<p>I will be back at the Empire next week.  The Army seems to have its tentacles out after me -- of all people!  It makes me feel young again.  I suppose the next few months will bring some decision.  At the moment I am finishing up a new ballet for the Monte Carlo people for production in October.</p>
<p>I hope you've been having a good temporada this year.  I think of you often and with much affection.</p>
<p>[in ink] Always<lb>[signed] Aaron</p>
Copland|corr0307|Letter from Aaron Copland to Harold Spivacke, 1942/09/03|<p>Stockbridge, Mass.<lb>Sept. 3, 1942</p>
<p>Dear Harold:<lb>Your letter cheered me up considerably -- I mean the part about composers in the Army being given "time for composing".   You can't imagine how right I hope you are.  But I should warn you that "composing" to me means a private room with a piano and some consecutive time for writing.  (Unlike Beethoven and Hindemith I don't work in the fields.)  If the Army can provide that, its set-up is even more intricate than I thought.  Well anyway, I'm only too happy to take your word for it that army life and composing are not incompatible.</p>
<p>I am returning to New York next week (after Tuesday my address is the Hotel Empire.)  I'll be seeing Martha Graham in N.Y., and as soon as I get a clearer picture of what she plans to do for you I'll write you an "official" letter to settle up the matter of the Coolidge Commission.  I'm quite willing to go through the making of arrangements for the commission, always assuming that it can be carried out -- army life permitting.</p>
<p>In the meantime I hope you will do whatever you can to press for action in the matter of my personnel questionnaire  for a commission of another sort.</p>
<p>Yours cordially<lb>[signed]Aaron<lb>Aaron Copland</p>
Copland|corr0308|Letter from Aaron Copland to Harold Spivacke, 1942/09/17|<p>Sept. 17, 1942</p>
<p>Dear Harold:<lb>I wanted you to know that I have had my army physical examination and came through with flying colors.  Of course my eyes would limit me to what the doctor calls "limited service", but I assume that that only improves my case with the Army Specialist Corps.</p>
<p>I had a letter from Charlie Thomson in which he said the two of you had been "exploring possibilities" in relation to me.  If there is anything more you can tell me without breaking confidences, of course I'd like to know it.</p>
<p>Thanks a lot for expediting matters in regard to the commission.  You would help me enormously if you could tell me what your guess is as to the earliest possible date for my relinquishment of civilian life.  In other words, in making plans for the immediate future I badly need to know up to what date I can safely promise to be around.  Naturally I know your answer can only be approximate and only a guess, but even that would be a help.</p>
<p>I am seeing Martha Graham to-morrow and will communicate with you again.</p>
<p>Best regards to you.</p>
<p>Yours cordially,<lb>[signed]Aaron<lb>Aaron Copland</p>
Copland|corr0309|Letter from Aaron Copland to Israel Citkowitz, 1942/10/17|<p>Dellbrook Farm<lb>Oakland N.J.<lb>Oct 17 [1942]</p>
<p>Dear Israo:<lb>I just read your 'Profile' -- for the 3rd time! -- and I think it's simply swell!   I'm lost in admiration at the beautifully modulated phrases, -- at the fairness of judgement, at the way the whole thing rings true.  You make me feel enormously lucky by comparison with most of the other poor unfortunates.  And, of course, you have me absolutely fascinated with myself...!</p>
<p>Please write more such things -- they're badly needed.</p>
<p>Best to Helen -- and a special abrazo for you.</p>
<p>Always<lb>Aaron</p>
Copland|corr0310|Letter from Aaron Copland to Olga Naoumoff, 1942/11/05|<p>Dellbrook Farm<lb>Oakland, New Jersey<lb>Nov. 5, 1942</p>
<p>Dear Olga:<lb>I wanted to let you know that I am living at the above address, at least until Jan. 1st.  It's lovely here.</p>
<p>I had a letter from my Mexican pupil Blas Galindo, saying that he had sent the score asked for by your uncle.  I hope it was received all right, and that a performance can be arranged.  Galindo is looked upon by all musical circles in Mexico as the best young man they have, and it would be thrilling for them in Mexico if the Boston Symphony performed a Galindo work.</p>
<p>Also, please remind Sergei Alexandrovitch not to forget to look at the score he has by Robert Palmer.  I think that Palmer is one of the most gifted boys we have, with a really important talent.  So if your uncle is looking for one of the younger men under thirty to introduce I think Palmer deserves special consideration.</p>
<p>There was also a score by Owen Reed which is short and effective, which I think he might like.  Both Palmer and Reed were at the Center in different summers.</p>
<p>I'm looking forward to seeing both of you at the concert on November 17.</p>
<p>Always devotedly,<lb>[signed]Aaron C</p>
Copland|corr0311|Letter from Aaron Copland to Serge Koussevitzky, 1942/11/14|<p>1942 Nov 14</p>
<p>DELIGHTED TO HEAR YOU ARE INTERESTED IN PERFORMING SUITE FROM RODEO WILL HAVE IT FOR YOU IN NEWYORK GREETINGS</p>
<p>AARON COPLAND</p>
Copland|corr0313|Letter from Aaron Copland to Nadia Boulanger, 1942/11/17|<p>Dellbrook Farm<lb>Oakland, N.J.<lb>Nov 17, 1942</p>
<p>Dear Nadia:<lb>It was so nice to receive your birthday letter.  It is wonderful to have such sure friends -- and to know that neither events nor the passing of time can change the deepest sentiments.</p>
<p>Marcelle and Guarnieri were here on Sunday.  We spent the day together speaking of France and of you and of many other things.  I wish you could have been with us.</p>
<p>Many thanks again this year for expressing those tender thoughts which I so completely share.</p>
<p>Always affectionately<lb>Aaron</p>
Copland|corr0314|Letter from Aaron Copland to Nadia Boulanger, 1942/12/01|<p>Dellbrook Farm<lb>Oakland, N.J.<lb>Dec 1 '42</p>
<p>Dear Nadia:<lb> Delighted that Haieff is to be helped.  I saw the Symphony and liked it very much, particularly the slow movement.</p>
<p>It will be nice to see you on the 9th.  I haven't yet finished my piece for the occasion! -- but as it is very light and foolish it should not be too difficult.</p>
<p>My Best to you,<lb>Aaron</p>
Copland|corr0315|Letter from Aaron Copland to Serge Koussevitzky, 1942/12/06|<p>1942 Dec 6</p>
<p>TERRIBLY SORRY COULD NOT GET NECESSARY PERMISSION FROM KOSTELAN[E]TZ  GREETINGS</p>
<p>AARON COPLAND</p>
Copland|corr0316|Letter from Aaron Copland to Serge Koussevitzky, 1942/12/07|<p>Dellbrook Farm<lb>Oakland, New Jersey<lb>Dec. 7, 1942</p>
<p>Dear Sergei Alexandrovitch:<lb>I waited some time before writing you about our discussion at the Savoy-Plaza because I wanted to be able to think it over carefully.  Frankly, I find it difficult to be an absolutely impartial judge as to where your best interests lie.  The idea of having you with us in New York -- knowing the extraordinary impetus and renewal you will be able to give the musical life of the city -- is so attractive, that I naturally tend to underestimate all possible counter-reasons.</p>
<p>As I see it there are two principal considerations that are negative: one is the pity, even tragedy, of giving up the extraordinary instrument you have created in Boston, and also the wonderful school at Tanglewood.  The other is the enormous effort that you will  have to make in order to recreate both orchestra and school with the New York forces.  I haven't the slightest doubt of your ability to accomplish the latter, but it will necessarily take time, and also great energy.</p>
<p>The advantages of having you at the head of the New York orchestra are so many and so obvious that I needn't bother to enumerate them.  Your presence here is certain to electrify the whole musical community.  Your influence, already so potent from Boston, will be greatly increased merely from the central position New York has in the musical life of the country.  You can see why it is hard for me to contemplate the disadvantages of coming here.</p>
<p> In the last analysis I feel that your final decision must rest on your own inner knowledge of your strength, both physical and mental, for such a strenuous undertaking.  All I can say is that I fervently hope you can accept.</p>
<p>Always devotedly,<lb>[signed]Aaron</p>
<p>P.S. Exciting news about the broadcasts!</p>
Copland|corr0317|Letter from Aaron Copland to Olga Naoumoff, 1942/12/19|<p>Dellbrook Farm<lb>Oakland, New Jersey<lb>Dec. 19, 1942</p>
<p>Dear Olga:<lb>Don't you think it would be better if we met in New York for tea or lunch or whatever is convenient for you?  In that way I could obtain a clearer picture of just what your uncle has in mind under the heading of "Composers Campaign."  I'm assuming that you will be down for the January concerts.  I will be living in New York at the Empire Hotel for January and February and so can make our date whenever you say.</p>
<p>All my best wishes for a happy holiday.</p>
<p>Always,<lb>[signed]Aaron</p>
Copland|corr0318|Letter from Aaron Copland to Serge Koussevitzky, 1943/02/06|<p>Feb 6, 1943</p>
<p>Dear Sergei Alexandrovitch:<lb>I wish I could have seen you, before leaving New York so abruptly.  I suddenly received this job to do the score for a picture about Russia during this war.   Both the subjecty matter and the salary were good, and so I accepted.  As a matter of fact, the offer came just when I needed it, since I have had no 'job' since the Berkshires.</p>
<p>However, I naturally hate to be away from New York during the season.  I regret so much not being able to plan with you for the school, and also the project to help the composers, which I think is so valuable.  I wish to do all I can by correspondence,  and I hope you will call on me as often as you care to.</p>
<p>Naturally, I am keeping myself free for the summer period, on the assumption that the Music Center will go on.  Of course if anything should happen to change those plans, please let me know.</p>
<p>I hope the project for the Foundation's commissions will materialize in March, as we discussed them.  Nothing would please me better than to be able to devote time to work on a big piece for you and the B.S.O.</p>
<p>Dr. Heinsheimer writes me that you have programed the ballet Rodeo for the end of this month.  I am hoping that I will be able to hear it here via the broadcast, which takes place at 5:15 P.M. according to Hollywood time.</p>
<p>All my best greetings to you and Olga</p>
<p>Devotedly<lb>Aaron</p>
Copland|corr0320|Letter from Aaron Copland to Carlos Chvez, 1943/03/03|<p>March 3 '43</p>
<p>Dear Carlos:<lb>Seeger  wrote me that you were coming to Washington and planned to conduct "Billy the Kid."  I hope it all works out as you wish, and am so sorry I can't be there for the concert.</p>
<p>As you see, I have landed another job in Hollywood -- after 3 years!  I am doing the music for a Russian film called "The North Star," produced by Goldwyn.   It's a big production, and I hope will have a good result.  Write me when you get a chance -- and all best luck in the concert day[?].  (Send reviews, if any!)</p>
<p>Always affectionately<lb>Aaron</p>
<p>P.S.  I've asked Heinsheimer  to send you a copy of the 'Lincoln Portrait.' -- which has just come out.</p>
<p>P.P.S.   I have just heard that the Berkshire Music Center won't be opened this summer -- so if the job is finished here, maybe I can come to Mexico for the summer!  I would like that very much.</p>
Copland|corr0321|Letter from Aaron Copland to Serge Koussevitzky, 1943/03/22|<p>1943 Mar 22</p>
<p>THRILLED BEYOND WORDS BY YOUR TELEGRAM.  WILL TRY MY BEST TO ATTEND NEWYORK PERFORMANCES BUT IT WILL BE EXTREMELY DIFFICULT TO FREE MYSELF FROM CONTRACTUAL AGREEMENT JUST NOW.  AMAZED AND DELIGHTED BY YOUR EXTRAORDINARY ACHIEVEMENTS IN SECURING PORTRAIT.  ALL MY THANKS AND WARMEST GREETINGS.</p><p>AARON</p>
Copland|corr0322|Letter from Aaron Copland to Serge Koussevitzky, 1943/04/01|<p>1943 Apr 1</p>
<p>EXTREMELY DISAPPOINTED NOT TO BE ABLE TO RETURN FOR PERFORMANCES DUE TO PRESSURE OF WORK IT WAS IMPOSSIBLE TO COME BY TRAIN AND WITHOUT PRIORITY TRANSPORTATION BY PLANE IS UNDEPENDABLE I AM HERE IN BODY BUT WITH YOU IN SPIRIT.  WILL BE LISTENING TO YOUR BROADCAST PERFORMANCE.  ALL MY THANKS AND WARMEST GREETINGS.</p>
<p>AARON</p>
Copland|corr0323|Letter from Aaron Copland to Serge Koussevitzky, 1943/04/10|<p>1943 Apr 10</p>
<p>JUST HEARD YOUR THRILLING INTERPRETATIONS A THOUSAND THANKS AND WARMEST GREETINGS</p>
<p>AARON COPLAND</p>
Copland|corr0324|Letter from Aaron Copland to Jacobo Ficher, 1943/04/22|<p>April 22, 1943</p>
<p>Dear friend Ficher:<lb>Your letter was forwarded to me here in Hollywood where I am preparing the score for a new film called "La Estrella del Norte".</p>
<p>Of the music sent to Lehman Engel, I have the Sonata for two cellos by J.M. Castro and also Gianneo's flute and piano Sonata.  However, both of these works are in my New York studio so that I can't return them until I go back to New York which may not be for several months.  I may also have the Siccardi work and your clarinet Sonata, although I cannot say definitely, until I have an opportunity to examine the music that was sent to me after I left New York several months ago.</p>
<p>For the same reason I cannot say definitely whether your oboe Sonata is included among those works, although I know that Henry Gerstle of the ISCM is of the impression that he sent it to me.  In any event I will remember to return all this material to you at the earliest opportunity if I actually have it.  Mr. Engel, himself, is now in the U.S. navy and therefore the plan for publication with the help of the Pan-American Union never went through.</p>
<p>You ask for information about the publishing of works by the Arrow Music Press.  The Press has no Memberships.  Works sent in by composers are accepted or rejected by the Board of Directors.</p>
<p>Since you also ask for specific instruction as to the cost of five hundred copies of piano music consisting of twenty-eight pages, I can tell you that the engraving would amount to approximately $132.00.  You must add to this $93.66 for the printing of five hundred copies, or $134.75 for a thousand copies.</p>
<p>It may interest you to know that the Brazilian composer, Camargo Guarnieri, has just spent six months here and had considerable success with concerts of his music.</p>
<p>Please remember me to all our mutual friends in Buenos Aires and send me news of the activities of the Grupo Renovacion.</p>
<p>Cordially,<lb>[signed] Aaron Coplan<lb>AARON COPLAND</p>
<p>AC/yd</p>
Copland|corr0326|Letter from Aaron Copland to William Strickland, 1943/06/11|<p>June 11, 1943</p>
<p>Dear Bill:<lb>It was nice to hear from you.  Bob Ward has told me about your various activities some time back.</p>
<p>As you see I'm still here.  I'm working on the score for a Russian picture called The North Star.   Nothing would please me more than to take time out to dash off a chorus for your outfit, but its out of the question right now.  Aside from doing this picture I've promised a ballet for Martha Graham, and am up to my ears in work.</p>
<p>If you can have patience it may happen yet.  But you would need about six months patience -- and thats probably too much to ask.   As far as publication goes, I am hopelessly tied to B & H for the next four years.</p>
<p>Sure you can present the organ manuscript to the Library of Congress.   Maybe they'd send me a letter of acknowledgement.</p>
<p>Your job sounds interesting.  All good luck with it.</p>
<p>Yours,<lb>[signed]Aaron</p>
Copland|corr0329|Letter from Aaron Copland to Carlos Chvez, 1943/10/23|<p>Oct. 23, 1943</p>
<p>Dear Carlos:<lb>I've been thinking of you, and wishing that I could have been in Mexico during the Festival.  But the job in Hollywood took so long, and I had been away from New York for so long a time, that I felt I had to come back here before doing anything else.  Well, in any case I finished the score for the movie -- The North Star -- and I hope you will keep an eye out for it.  (There is more than an hour's music in it!)</p>
<p>I saw Martha Graham yesterday and played her the part of my score which is finished.  Naturally we talked about you, and we are both very anxious to hear what progress you have been making with your own score.   She tells me she hasn't heard from you since July.  Maybe you had better write directly to me as to how soon you figure you can have the music in her hands, and I will pass on the information.  Of course if you wish to write her directly that is all right also.  In any case, she wants some kind of word, which is understandable enough.  As for me, I will be very disappointed if we do not premiere our ballets together.  Now that the concert season is done, I am hoping you will quickly finish what you have started.</p>
<p>I had a letter from Stokie  today -- he has programed the US premiere of the Short Symphony for Jan 9th with the NBC Symphony.  After ten years!  Well, one must have patience if one is a composer.</p>
<p>[in ink]: Any chance of seeing you this Winter in N.Y.?</p>
<p>All my best to you<lb>Aaron</p>
Copland|corr0330|Letter from Aaron Copland to William Strickland, 1943/01/10|<p>January 10, 1943[sic; presumably 1944]</p>
<p>Dear Bill,<lb>I was pleased that you haven't given up hope of having me write that chorus.  Its very flattering and I wish that I could do something about it, but I am still tied up as far as future commitments go.</p>
<p>I have one idea that may be of some use to you.   The musical score of "The North Star" contains a number which I think would make an excellent short piece on one of your programs.  Its called "Song of the Guerillas," and has been published by Chappell in a song version with a drastically simplified piano accompaniment.  If you are interested, let me know, and I can probably dig up and send you the original version for a three part male chorus.  Then, possibly, one of your brighter arrangers could orchestrate the piano accompaniment for whatever combination you think best.</p>
<p>Best greetings<lb>[signed]Aaron<lb>Aaron</p>
Copland|corr0332|Letter from Aaron Copland to Olga Naoumoff, 1944/02/26|<p>Feb. 26, 1944</p>
<p>Dear Olga:<lb>Your telegram made me feel that I had brought undue pressure in the matter of the Prize Jury.   I didn't mean to be insistent, but rather to get a quick decision, the reason being that the sooner the competition is announced the more time the composers will have to write.</p>
<p>I thought that the fact that Nicky  and I were the other jurors would considerably lighten whatever burden membership on the Jury would bring.  And the fact that the competitions is a worthy one made me anxious to have the prestige your uncle's name would give.  However, if there are other considerations that would make it unwise for Sergei Alexandrovitch to take part, I certainly withdraw all my "urgings."</p>
<p>So -- let us start from the beginning again.  On second consideration, what will the decision be?  I will wait to hear from you before taking any action whatever.</p>
<p>Warmest greetings to you!</p>
<p>[signed]Aaron</p>
Copland|corr0333|Letter from Aaron Copland to Carlos Chvez, 1944/03/28|<p>March 28, 1944</p>
<p>Dear Carlos:<lb>I had your nice wire, your letter -- and today the Boletin.</p>
<p>I was delighted that you liked the score for North Star.  I was in Hollywood for seven months, and sometimes I used to wonder whether any movie score is worth that much of one's time.  It was a diffiult job because of the Russian atmosphere that had to be in the score.  Sometime I hope we can see it together so that I can get your detailed reaction.   Later on, I hope to make a Suite from the music.</p>
<p>Its been an active winter for me.  I finished a Violin Sonata, and am still working on the Martha Graham ballet, which is almost done.  Naturally I am terribly disappointed that you haven't sent your completed score to her.  The idea of our being presented on the same program with two new ballets was awfully nice.  I just assume that your activities in Mexico are such that there just was no time to work on the piece.  Too bad!</p>
<p>I am about to go to live in Cambridge until the end of June.  I am teaching at Harvard for the Spring term, and giving some lectures there.  I am trying my best to keep myself free for the summer so that I can come to Mexico, and settle in some quiet place to work on a large new orchestral work.   If you happen to hear of anyone wanting to rent a suitable house, let me know.</p>
<p>[in ink]: All my best to you.<lb>[signed] Aaron</p>
Copland|corr0334|Letter from Aaron Copland to Carlos Chvez, 1944/04/30|<p>April 30, 1944</p>
<p>Dear Carlos:<lb>The main purpose of this letter is to tell you of the Testimonial Dinner we are giving for Koussevitzky to celebrate his 20th anniversary with the B.S.O., and his work for the contemporary composers.  The Committee sponsoring the dinner asked me to ask you if you would be willing to send a telegram of congratulations that we could read at the dinner with others, probably to be broadcast.  Send it to Koussevitzky Testimonial Dinner, Hotel Plaza, New York.  The date is May 16.</p>
<p>Victor is back and spoke enthusiastically of your ballet.   I spoke with Martha Graham before leaving New York, and she said she would be always ready to do it, but could not guarantee what Spivacke now wanted.  I think the best thing would be if you clear up the situation directly with Spivacke.  Let me know when the final score has been sent to Martha, and I will then take up the issue with Spivacke also.</p>
<p>Harvard is very quiet and relaxing.  I am finished here on June 30, and then I hope to start for Mexico, if nothing interrupts.  I certainly hope I am around during the September concerts.</p>
<p>Best greetings!</p>
<p>[signed] Aaron</p>
Copland|corr0335|Letter from Aaron Copland to Nadia Boulanger, 1944/05/20|<p>May 20, 1944</p>
<p>Dear Nadia:<lb>Many thanks for the nice telegrams on the occasion of Koussevitzky's 20th anniversary.  You would have enjoyed seeing all the old and new friends together in one evening.</p>
<p>As you see from the stationery, I am playing at being a 'professor' for a few months.  We speak of you often here -- with the Forbes, Tillman,  Mel Smith,  Piston etc. -- as you acan well imagine.</p>
<p>Boosey & Hawkes has just published my Violin Sonata, and I have asked them to mail you a copy.  I'm hoping you will like it.</p>
<p>All my affection<lb>Aaron</p>
<p>P.S. Marcelle says we are not to see you next winter here.   Too bad -- but I hope it means you are having a good rest out there.</p>
Copland|corr0336|Letter from Aaron Copland to Carlos Chvez, 1944/07/11|<p>July 11, 1944</p>
<p>Dear Carlos:<lb>Just a note to say I am driving to Mexico with Victor --starting out to-morrow.  It will be very nice to see you once again and to hear the orchestra.</p>
<p>I hope you won't mind, but I am using the O.S.M. office as a mailing address until I get settled.  Would you please remember to let the office know to hold mail for me if any arrives.</p>
<p>Also, if you hear of una casita for me -- hold on to it.</p>
<p>Best greetings<lb>Aaron</p>
Copland|corr0341|Letter from Aaron Copland to William Strickland, 1944/09/26|<p>Tepoztlan,<lb>Morelos,<lb>Mexico.<lb>Sept. 26, 1944</p>
<p>Dear Bill:<lb>It was good to hear from you after so long a time.  As you see I'm not so far from San Antonio.  But I was surprised to learn you were there.  As a matter of fact, only a few weeks ago I asked Dr. Heinsheimer of Boosey & Hawkes to send you a copy of a choral version for male voices of my 'Song of the Guerillas' from The North Star movie.  I remembered that you asked me for something for the Army Music School chorus.   Its about to be published, but I wanted you to have an advance copy.   I don't know what he did about it, if anything.   In any case, I see I am about six months late.  Tant pis!</p>
<p>Personally I have no objection to Buebendorf making an arrangement of El Salon Mexico for band.   But legally I have no say in the matter since Boosey owns the copyright.  As a matter of record I might tell you that the idea of making a band arrangement has been a pet one of B. & H., but after consultation with several experienced band people, everybody was agreed that very few bands were capable of tackling the difficult rhythms of El Salon.  Therefore from a commercial standpoint the idea flopped.  However, if Buebendorf wants to amuse himself with an arrangement I have no objections, and would even be curious to see it.  It mighht be a good idea to write to Dr. Hans Heinsheimer and ask his permission, telling him that you already have my blessing.</p>
<p>I'm stuck away in a little Mexican town, trying to write a long orchestral work.   Expect to be back in New York in November.</p>
<p>Best of luck to you.</p>
<p>[signed] Aaron Copland</p>
Copland|corr0342|Letter from Aaron Copland to Minna Lederman, 1944/10/06|<p>Tepoztlan,<lb>Morelos,<lb>Mexico.<lb>Oct. 6, 1944.</p>
<p>Dear Mink:<lb>If this reply seems late, try to remember that your letter, mailed on the 26th, only reached here two days ago.  I hope this one goes a bit faster so that my measly suggestions may be of some help for issue no. I.</p>
<p>I do feel kind of swamped by the variety of questions you fling at me.  Don't forget that I am rather rusty -- not having been in the center of activities for a good many months.  So -- take all this for what its worth:</p>
<p>1. About Latin America: I don't get the impression that very much has been happening in Mexico.  Still if you want a round-up of events I'd suggest you ask Salvador Moreno.  He's a young composer in the Chavez camp, a Mexican of Spanish antecedents.  He's bright and amusing, and has recently been writing criticism for one of the Mexican dailies.  The catch is that he is ill at the moment with some sort of eye disease, and I have no way of knowing whether he will be up to turning out an article right away.   He can be addressed care of the Orquesta Sinfonica.</p>
<p>I recently had news of a new "Grupo Renovacion Musical" that has been formed in Cuba.  They gave two concerts of works by the new generation of composers.  I doubt whether the works are very significant, but I think its worth reporting on.  Jos Ardvol could write an article about it.  You could address him care of the Grupo at Compostela 156, altos, La Habana, Cuba.</p>
<p>Argentina's season is just over and I think we ought to have a report on the new works introduced.  It could be written by Roberto Garcia Morillo, who is assistant critic on La Nacion of Buenos Aires.  You can write him care of that paper.</p>
<p>From Chile I think you might have a study of Domingo Santa Cruz' new Piano Concerto.   I spoke with Arrau here and he seemed very impressed by it.  Santa Cruz writes the sort of music that analyses well.  The article should have some musical illustrations.  I think you could take a chance again on young Juan Orrego, who once flopped on a round-up of the season.  This is more in his line, I think.  Write him care of Santa Cruz, if you don't have his own address in the files.</p>
<p>From Brazil I think Carleton S[prague] Smith ought to have a thousand words inside him about life on Sao Paulo, where I understand he is cultural attache to our consulate.  Also I have just heard that Everett Helm, a young composer pupil of Piston, is being sent down to Brazil on a travel grant from the State Dep't to "write a book about Brazilian music."  You might contact him for a piece for a later issue.  His US address is: 702 East 17 St., Santa Ana, Cal.  I don't know whether he is still there or has already left for Brazil.</p>
<p>I also wish that we could have a note from Montevideo but I don't know who could write it.  Even Curt Lange has left, and is now living in Brazil.  My only idea would be to write to the Uruguayan pianist Hugo Balzo, care of the S.O.D.R.E. Orchestra in Montevideo, and he undoubtedly could suggest someone intelligent for the job.</p>
<p>If you want something from Lima why not go back to the man who wrote so amusingly last time.  Wasn't it Raygada?</p>
<p>2.  About Europe: The only composer I've heard about is in Rome.  He is Nino Rota, who once studied at Curtis and is a good friend of Sam Barber.  (Barber would supply his address.)  I'm not sure of the kind of article he'd write -- he's the delicate rather than the forceful type; but I know he's gone through a lot, and recently communicated with Barber.</p>
<p>I should think that one good source for material would now be Switzerland, since they'd know more than before, and would probably be more ready to tell what they know.  But I don't have names to suggest.</p>
<p>As for Paris I'm stumped.  Why don't you ask Milhaud if he doesn't know of someone who could write for you.  You might even persuade Poulenc to say what it was like, since according to TIME, he wasn't a collaborator.</p>
<p>Too bad about London being such a pain in the neck.  But I think its time that Marc came across with a piece.  Or you might even attack Benjamin Britten again.   After all, he once wrote for you.  I don't have other ideas because most of the younger men are in the Army now -- fellows like Humphrey Searle or Henry Boys.  If you are desperate you might ask Erwin Stein, who works in an editorial capacity for Boosey & Hawkes' London office.   He's an experienced writer but I don't know how unbiased.  (Heinsheimer would probably be willing to discuss his capabilities frankly with you.)  Theres another fellow in the B&H office by the name of Campbell -- forgotten his first name.  He also has written -- but he's a rabid Bloch fan, and I don't know whether anything else pleases him.  Heinsheimer would know about him too.</p>
<p>For a stab in the dark about Brussels, you might ask Desire Defauw whether he knows of any musician in Belgium capable of writing for you.</p>
<p>I wish we had someone in Spain who could send some dope.  I'll ask Salazar whether he has any suggestions about that.</p>
<p>3. About the Harris article by Evett, I'm all for it.  Everybody knows that Roy has a harmonic system, and nobody knows what it is.  It should be an article with illustrations that completely satisfies the curiosity.</p>
<p>4. About the Portrait series: if you are to have Quincy Porter don't have Hans Nathan do it.  He's a dyed in the wool European and I don't think Quincy would like being written up by him.  Douglas [Moore?] would know whom to suggest for Quincy.  For a new name in the series I'd be for an article on Burrill Phillips'  work.  I think its significant, and has character.  Robert Palmer knows the work well, but whether he can organize an article about it I don't know.</p>
<p>5.  I have heard the new Sonata for 2 pianos of Stravinsky.  Its a charming but slight work.  Whether it rates a whole separate article for itself I doubt, but if you're hard up for material it would pass.  I don't happen to know Prof. Tangeman.</p>
<p>6.  About correspondents  from American cities: Boston should be written up by Irving Fine of the Harvard Music faculty.  They've had a new Hindemith Urauffhrung  during the summer.  Also private hearings of new piano works by Harold Shapero.  Fine is fine for those things.  His address: 15 Everett St., Cambridge 38, Mass.  (There were other things too, of course.)  I think Persichetti is OK from Philie, but have nobody better to suggest from Pittsburgh and Cleveland than the people you already know.  When I am in Washington I'll keep my eye open for somebody to recommend from there.</p>
<p>I assume you'll be writing up the Musicians' Congress concerts on the campus of UCLA, in Sept.</p>
<p>7.  About general articles my mind is blank, mostly because I have had little contact with musicians these last months, and therefore no stimulation.  Why not try to get Sam Barber to write an article.  His last symphony showed him to be getting less stuffy.  He is very articulate with the pen and might have something he wants to write about.  Anyway, I'm sure he would like being asked.</p>
<p>Later on I might want to do one myself -- something about the men who have come "back from the wars."  A kind of welcome home article that would give them a send-off into civilian life.  But its too soon yet -- so forget it.  [in ink]: (Just an idea, anyhow!)</p>
<p>I'm planning to fly up to Washington for the Coolidge Festival and then on home to N.Y.  No one has seen a public announcement of the event, but Spivacke keeps saying it will come off at the end of Oct.  In any case I am coming back then.  Thats just around the corner so theres no sense in prolonging this already long letter.</p>
<p>I sent a letter to Claire [Reis] urging her to close up shop at the end of this season.  I haven't heard her reaction, but am curious.</p>
<p>Glad you've been writing and selling things.  But what things??</p>
<p>I leave Tepoztlan and the primitive life on the 23rd, and I ought to be back in New York by Nov. 1st.</p>
<p>Love and all that,<lb>[signed] A----</p>
Copland|corr0343|Letter from Aaron Copland to Carlos Chvez, 1944/10/25|<p>Oct 25 '44</p>
<p>Dear Carlos:<lb>This is to say "au revoir" and to thank you for the hospitality as always.   So sorry to have missed you by two days.  Hope the 'jira'[?] was a big success.</p>
<p>Till soon again</p>
<p>Your<lb>Aaron</p>
<p>P.S. Remember me to Blas and Pablo.</p>
Copland|corr0344|Letter from Aaron Copland to Nadia Boulanger, 1944/11/06|<p>Nov 6, 1944</p>
<p>Dear Nadia:<lb>Your letter reached Mexico after I had left there, which explains this tardy response.  And what a beautiful letter it was!  I shall always remember it as one of the most touching signs of our long friendship.</p>
<p>I often thought of you in Mexico -- and wondered how you are and what you have been doing.  Soon I will see Marcelle and I hope to have your latest news from her.</p>
<p>I am enclosing the vote[?] for Crane.  I met him several times in Boston, saw some of his work, and was very well impressed.</p>
<p>Devotedly, as always<lb>Aaron</p>
Copland|corr0345|Letter from Aaron Copland to Serge Koussevitzky, 1944/11/09|<p>Nov  9, '44</p>
<p>Dear Sergei Alexandrovitch:<lb>Just two words to say that I am back in New York again, and looking forward to seeing & hearing you next week.</p>
<p>Greetings to the 'family.'</p>
<p>Always devotedly,<lb>Aaron</p>
Copland|corr0346|Letter from Aaron Copland to Nadia Boulanger, 1944/11/17|<p>Nov. 17, 1944</p>
<p>Dear Nadia:<lb> No, the Appalachian Spring ballet isn't published as yet.  It is unlikely to be published as a ballet, but rather as a Suite taken from the ballet which I am tempted to name: Ballet for Martha.  However, first I must make the new version for larger orchestra than the small chamber group we had in Washington.  However, both score and piano reduction were written on thin paper, and presented to the Library of Congress, so that it should not be too difficult to persuade them to make a copy for you.  If you do not wish to do the persuading I will be glad to do it.</p>
<p>It should be easy to track down my recent music, beacause since about 1938 I am published by Boosey & Hawkes.  I am wondering whether they sent you a copy of my Violin Sonata, issued last Spring[.] I want very much for you to know it.</p>
<p>Thank you so much for the lovely birthday letter.  It made me very proud indeed.</p>
<p>Devotedly, as always<lb>Aaron</p>
Copland|corr0347|Letter from Aaron Copland to Serge Koussevitzky, 1945/01/27|<p>Jan. 27, 1945</p>
<p>Dear Sergei Alexandrovitch:<lb>I saw Nicky today, and we had a full discussion about the orchestral works in the competition.  We chose five works to submit to you, and both of us felt that it would greatly simplify matters if we could see you for a visit with the scores when you are in New York on your way back to Boston.  Of course I don't know what your plans are, but if it is at all possible, let Nicky know and he will relay the news to me.  The only day I will not be here is Monday the 5th, when I must be in Washington.</p>
<p>I hope you are having a well deserved rest in Hot Springs, and that the weather is less cold than it is here.</p>
<p>Greetings to Olga.</p>
<p>Always devotedly,<lb>[signed]Aaron</p>
Copland|corr0348|Letter from Aaron Copland to Nadia Boulanger, 1945/03/01|<p>March 1, 1945</p>
<p>Dear Nadia:<lb>It was wonderful to get your letter and to find you so enthusiastic about the new ballet.  I was a little unprepared for so much enthusiasm because some friends who know my music well have been rather severe about my 'copying myself.'  It is a difficult point -- to say exactly what line divides the justifiable and unjustifiable repetition of manner, procedures, ideas, in an artist's work.  So I am delighted that you found 'fraicheur' there.</p>
<p>Forgive me if I jump from the above to the enclosed clipping in to-days paper.   Imagine how excited I am!  It is a unique opportunity to bring back to Paris at such a moment some of the fruits which were nourished there.</p>
<p>You must give me all your ideas as to what would be most effective from a French point of view.  We are planning to present Stravinsky's Symphony as part of the Festival -- and to send his own recordings to Paris as a guide for the conductor.  (I so much enjoyed seeing him here, amidst an admiring group of jeunesse americain.  That is how it should be!)</p>
<p>Have you any messages to send, any greetings, any errands for me to do?  It will be a pleasure to carry out your wishes.  Have you any news of Gargenville or of 36 rue Ballu?  I shall be leaving about April, and plan to stay 3 months.</p>
<p>In haste, and with all my affection</p>
<p>Aaron</p>
<p> P.S.  Some time you must tell me your negative feeling about my Violin Sonata.  I am just as interested in your disapprovals as in your praises.</p>
<p>The copy of the ballet you have was formerly mine.  The Library of Congress then presented me with a second copy, so I am delighted to present the first to you ?</p>
<p>It will seem very strange to be in Paris without you there!</p>
Copland|corr0349|Letter from Aaron Copland to Olga Naoumoff, 1945/03/03|<p>March 3[?], 1945</p>
<p>Dear Olga:<lb>I thought both you and Sergei Alexandrovitch might like to know about this,  -- if you have not already heard.
Looking forward to seeing you in 2 weeks</p>
<p>Devotedly<lb>Aaron</p>
Copland|corr0350|Letter from Aaron Copland to Serge Koussevitzky, 1945/03/06|<p>1945 Mar 6</p>
<p>VERY NECESSARY TO DECIDE PRIZE COMPETITION ON YOUR NEXT TRIP.  WILL YOU PLEASE RESERVE FOR NICKY AND MYSELF AN HOUR ANYTIME UP TO FIVE PM FRIDAY MARCH 16</p>
<p>AARON</p>
Copland|corr0351|Letter from Aaron Copland to Serge Koussevitzky, 1945/03/10|<p>1945 Mar 10</p>
<p>MANY MANY THANKS SUCH A BEAUTIFUL PRESENTATION REGARDS TO MAGER AND SPEYER</p>
<p>AARON</p>
Copland|corr0352|Letter from Aaron Copland to Serge Koussevitzky, 1945/03/21|<p>March 21, 1945</p>
<p>Dear Sergei Alexandrovitch:<lb>This will introduce my friend, the young pianist and composer Leo Smit who I mentioned to you recently.</p>
<p>I am hoping that you will be so good as to let him play for you, because I think he is to be numbered among our best young pianists, with an especially fine feeling for contemporary music.</p>
<p>Always devotedly<lb>Aaron</p>
Copland|corr0353|Letter from Aaron Copland to Nadia Boulanger, 1945/03/28|<p>March 28, 1945</p>
<p>Dear Nadia:<lb>Here is the necessary paper.  I did not know the address of the Fund -- so send it to you.  I hope to see Preger in Paris.  Also, of course, Annette Dieudonn.  If you wish me to visit anyone else let me know immediately.  I am uncertain when I shall be leaving New York because of government red-tape -- but it will be soon!</p>
<p>The programs are meant to reflect current musical contemporary life in the U.S.A.  We are definitely planning to do Stravinsky's Symphony.</p>
<p>Always devotedly<lb>Aaron</p>
Copland|corr0354|Letter from Aaron Copland to Nadia Boulanger, 1945/04/14|<p>Box 294<lb>Bernardsville<lb>New Jersey<lb>April 14, 1945</p>
<p>Dear Nadia:<lb>Its very sad -- but I'm afraid the Festival in Paris is not to happen after all -- at any rate, not this Spring, as planned.  Perhaps in the Fall, altho I am not too optimistic.  You can imagine how disappointed I am!</p>
<p>Just between ourselves I feel the O.W.I.  made something of a mess of its own plans.  They were venturing into what was a new field for them -- concert giving -- and unforeseen  and serious financial complications arose.  Since I am not a member of the OWI I have been able to do nothing but watch our plans go wrong.  There is still some chance for the Fall -- so I shall wait and see.</p>
<p>In the meantime I am in the country.  It is beautiful here -- and I am working hard on my Symphony.  Quel travail!  Also -- I am making a Suite for orchestra of the "Appalachian Spring" ballet.</p>
<p>So -- unlike Mr. Hurok -- I have my composing to console me for the disappointments of an impressario's life.  Still -- it would have been nice to go to Paris now.  Dommage!</p>
<p>Always devotedly<lb>Aaron</p>
Copland|corr0355|Letter from Aaron Copland to Carlos Chvez, 1945/04/29|<p>Box 294<lb>Bernardsville,<lb>New Jersey<lb>Apr 29 '45</p>
<p>Dear Carlos:<lb>Delightful news about Anita!  Please give my warmest congratulations and save some for yourself and Otilia.  Alejandro Prieto is a lucky boy!</p>
<p>How has everything been with you?</p>
<p>I had a busy winter -- and for a while it looked as if I would be going to Paris to put on an American Music Festival for the OWI in June.  But they suddenly changed their minds -- so I went to New Jersey instead.  I am staying in a small cottage and working on the Symphony.  The slow movement is finished -- but there will be three other movements so the end still seems a long way off.</p>
<p>I read of your concerts in Cal.  Any chance of seeing you here before the temporade begins again?</p>
<p>Give my best greetings to the jovenes.</p>
<p>Yours always<lb>Aaron</p>
Copland|corr0356|Letter from Aaron Copland to Serge Koussevitzky, 1945/06/12|<p>Box 294<lb>Bernardsville<lb>New Jersey<lb>June 12 1945</p>
<p>Dear Sergei Alexandrovitch:<lb>Just a few words to say "thank you" for becoming honorary chairman of the Gershwin Memorial Committee.  While it is not "my" organization I know that Lenny will be very pleased.  He is now in Mexico on a vacation -- or he would be writing you himself.</p>
<p>I hope you are enjoying a well deserved rest.</p>
<p>You will be happy to hear, I know, that the slow movement of my Symphony is finished.  Now I am working on the Scherzo.
Greetings to Olga.</p>
<p>Always devotedly<lb>Aaron</p>
Copland|corr0357|Letter from Aaron Copland to Carlos Chvez, 1945/08/06|<p>Box 294<lb>Bernardsville<lb>New Jersey<lb>Aug 6 1945</p>
<p>Dear Carlos:<lb>This clipping in Saturday's Times  -- very exciting news!  Bad for the Sinfonica but wonderful for music.</p>
<p>I admire your courage and send you affectionate greetings.</p>
<p>Aaron</p>
Copland|corr0358|Letter from Aaron Copland to Serge Koussevitzky, 1945/10/09|<p>1945 Oct 9</p>
<p>YOU WOULD HAVE BEEN PROUD OF OUR LENUSHKA.  IT WAS A FINE CONCERT AND WONDERFUL RECEPTION AFFECTIONATE GREETINGS</p>
<p>AARON</p>
Copland|corr0359|Letter from Aaron Copland to Serge Koussevitzky, 1945/10/23|<p>Oct 23, 1945</p>
<p>Dear Sergei Alexandrovitch:<lb>I am sending the reviews of Lenny's concert yesterday.   It was just as fine as they say.  I was also happy for Leo Smit, the young American pianist I spoke to you about.  I hope you will let him play the Tchaikovsky for you one day soon.</p>
<p>I have made inquiries about John Bauer, who I mentioned as a possible Executive Secretary for Tanglewood.  He is at present the agent for Massine's Ballet Russe Co. which is touring the country.  He has worked formerly with Edward Johnson of the Metropolitan Opera Co as head of publicity, -- also with National Symphony in similar capacity.  He was manager of Buffalo Symphony last season.  Also he has worked for NCAC concert management, and may have personal recommendations from Miss Jean Dalrymple and Mr. Sylvan Levin.  I am hoping that I can arrange an interview with you in N.Y. or Boston fairly soon.</p>
<p>One more point: in the cut in Appalachian Spring please have Bassoon part play as follows in the 2 measures before [boxed]53:<lb>[notation]<lb>[arrow to note] (This note is now B in the part and score)</p>
<p>Always devotedly<lb>Aaron</p>
Copland|corr0360|Letter from Aaron Copland to Serge Koussevitzky, 1945/12/26|<p>1945 Dec 26</p>
<p>I APPROVE OF THE RECORDING OF APPALACHIAN SPRING AS MADE BY THE BOSTON SYMPHONY ORCHESTRA UNDER YOUR DIRECTION.</p>
<p>AARON COPLAND</p>
Copland|corr0361|Letter from Aaron Copland to Carlos Chvez, 1946/02/07|<p>Limestone Road,<lb>Ridgefield, Conn,<lb>Feb. 7, 1946.</p>
<p>Dear Carlos:<lb>Here are the photos you requested.</p>
<p>Minna received the answer to the Questionaire and had told me about your inclusion of the Short Symphony.   Without knowing your answer I had sent in one naming your 1928 Piano Sonata as neglected!</p>
<p>I saw Dark Meadow and must admit that your fears for the musical realization were of course correct.  There were several reasons why it was difficult to have a clear impression of the score.  One is that Hurok paid for the rehearsals -- which means that like all ballet orchestras they didn't have enough.  Secondly, just between ourselves, Louis Horst who conducted is 60 but waves a stick as if he were 80.  The poor musicians are abandoned to their own devices, and get little help from him.  (If it is any consolation, all the other scores performed suffer from the same anemic treatment.)  Thirdly, your score is difficult to play -- or sounds that way.  Fourthly, Martha does extraordinary things on the stage while it is being played -- so it is not easy to concentrate after only one hearing.  If it wasn't for the fact that I am living in the country I would have gone more than once.</p>
<p>However, the ballet as a whole made a great deal of talk.  The music -- as much as one heard -- seemed to have real character and authenticity.  One wanted to hear it again.  What Martha did was often in direct contrast to what the music was doing -- with the result that a special and interesting atmosphere was created -- a kind of counterpoint between music and dance.  She is becoming more and more psychoanalytic in her motifs which made a very strong contrast with your unpsychoanalytical music!  Such is the fate of a ballet composer!</p>
<p>Sorry to hear the poor report of Salvador.   It begins to look like the classic case of the young man with charm who doesn?t know how to discipline himself for work.  It?s a great pity because Salvador is really talented and I have an affectionate feeling for him.</p>
<p>I've finished the third movement of my Symphony.  One more to go.</p>
<p>All my best,<lb>[signed] Aaron</p>
Copland|corr0362|Letter from Aaron Copland to Minna Lederman, 1946/02/08|<p>Feb. 8, 1946</p>
<p>Dear Mink:<lb>Had a penny post card from Irving Fine.  He seems unhappy about what happened to his script.  While its fun for us to laugh about D.F's blue pencil, apparently not all the contributors think its so funny.  Fine is a reasonable fellow and isn't taken to gripes as a rule.  As editor, maybe you'd better keep a sharp eye on your assistants.</p>
<p>Love,<lb>[signed] A</p>
Copland|corr0363|Letter from Aaron Copland to Serge Koussevitzky, 1946/02/24|<p>Limestone Road<lb>Ridgefield, Conn.<lb>Feb. 24, 1946.</p>
<p>Dear Sergei Alexandrovitch:<lb>Here are the cuts in Appalachian Spring:</p>
<p>From No. 16 cut to No. 23.  Hold a long fermata on the first beat in the strings before beginning the oboe solo.
(I changed this cut slightly since talking to you on the phone.  It adds 15 seconds of music but it makes the cut smoother than the one I suggested at first.)</p>
<p>From No. 35 cut to six measures before No. 55.  (Ask the 1st Violins to play their Ab an octave higher.)</p>
<p>I hope this will work out all right, but I admit I am a little nervous.  Cutting is always a dangerous business!</p>
<p>Always devotedly,<lb>[signed]Aaron</p>
<p>PS We are having a meeting tomorrow at Alice Berezowsky's apartment to arrange for the second meeting of our new Society for March 17th.</p>
Copland|corr0364|Letter from Aaron Copland to Minna Lederman, 1946/03/30|<p>Tuesday [dated by ML "March 30, 1946" ]</p>
<p>Dear Mink:<lb>Mrs Weiss [changed by ML to "Weixl" ] from Czechoslovakia is a lady who came up to me at the last L[ibrary] of C[ongress] concert and said she'd like to interview me for a Prague paper.  Thats all I know about her.</p>
<p>About Latin Amer.--- Everett Helm has just come back from 2 years in Brazil.  I mentioned this to Donald at the same L of C concert.  My only fear is whether he can write a disinterested report.  (Kubik would know where he is to be found.)  Also I seem to vaguely remember that you have some past history about him?</p>
<p>For next season I think we should have a critical article about Argentina's composers -- doing for that country what M[odern] M[usic] did for Chile.  Ginastera is just the guy to do it.  He can do a serious piece with some musical illustrations and perhaps some sketches of composers.  If you order the article a few months in advance it will give him a chance to gather the material together.</p>
<p>If you don't like the Helm idea for the Spring issue, try Salvador Moreno in Mexico once more.  Its just been summer in Peru, Chile, etc. so its not a good time to go after them.</p>
<p>[scrawl]<lb>Aaron</p>
<p>The above was written just before your Sec. called and 2 h[ou]rs later your forwarded letter came.  About the office memo to the League board:<lb> I think it is better to send [paragraph sign]s a & e, as coming from our Mag[azine] Comm[ittee].  The rest, if needed, might be added as an additional memorandum from you as chairman.  I don't see the connection between this report and the By-Laws meeting.  Maybe you can clear that up for me?</p>
<p>About the "For the Future" mag[azine] articles[:] can't we wait until Mon. when I'll be in and we can have a long tel[ephone] pow-wow.</p>
<p>As for Doug's idea of the unworkability of it all I am convinced it depends on you, i.e., if you decide you cannot work with Claire at all, of course it becomes unworkable; but on the other hand, if you decide you can work with her at arms' length it seems to me feasible.</p>
<p>I'll be here till late Sunday.</p>
<p>Yours<lb>A----</p>
Copland|corr0365|Letter from Aaron Copland to Minna Lederman, 1946/04/03|<p>Limestone Road<lb>Ridgefield, Conn.<lb>April 3, 1946.</p>
<p>Dear Mink:<lb>Nothing happened re By-Laws at the meeting yesterday because Church didn't show up.   Also nothing about M[odern] M[usic].</p>
<p>The enclosed by Cowell  is not a review of the Schillinger System.  I don't see how it can be refuted since nothing is actually told about the System except possibly Par 1 on page 6.  Personally I am still in a complete fog as to what Schillinger is all about.  I don't know what to suggest re Cowell except maybe to run it as a general article about Schillinger and at the same time run a review of the book by Elliott [Carter].   Or you might take up the problem with Henry, tell him whats the matter, and ask him what he thinks should be done.</p>
<p>About SYMPHONIES: more than 35 American ones have been performed since 1930.  My list includes: Harris (6), Schuman (5), Antheil (4), MacDonald [Harl McDonald] (4), Hanson (4), Sessions (2), E.B. Hill (3), Piston (2), [added in pencil: Copland (2), D[ouglas] Moore (1)], Diamond (4), R. Thompson and V. Thomson (2 each), Barber, Creston and Gould (2 each).  Young composers with 1 each: Bernstein, Moross, Ward, Carter, Read.  This list comes out of my head so certainly I am forgetting some.   The surprising thing is that all of them -- or almost -- have been publicly given.  (I forgot two of my own!)  This may be an impossible subject but its worth a try.</p>
<p>Have we ever had an article by Rieti?  I think he could do a good one if he picked his own subject.</p>
<p>I'm sending back the Josephs correspondence.  Looks to me as if he misread your letter, and took it that the continuation of the mag was "assured."  I suggest you forget about Moe  from this point on, since you now have started correspondence with Josephs, and write Josephs a clarifying letter about the "expansion" phrase.  I can't figure out Moe in this any more than you can.</p>
<p>Best,<lb>[signed] Aaron</p>
Copland|corr0366|Letter from Aaron Copland to Serge Koussevitzky, 1946/04/05|<p>Limestone Ridge<lb>Ridgefield, Conn.<lb>April 5, 1946.</p>
<p>Dear Sergei Alexandrovitch:<lb>Here is a letter on a personal matter.</p>
<p>It seems -- according to Boosey & Hawkes -- that there is great interest among the conductors about my new Symphony.  I know you are anxious to spread the Foundation's commissioned works as widely as possible.  Obviously they all want to do the work as far as possible while it is still fresh and new, and being talked about.  So it is natural that they want to know when you will have given the first performances in Boston and New York.  It would be wonderful from my angle -- and also of course for Boosey -- if you could say now that by December first the Symphony can be generally available.  I know that that means the Symphony would have to be scheduled for the first trip to New York, but perhaps you would be willing to do that.</p>
<p>In any case -- if convenient -- write me or Boosey & Hawkes direct what your decision is.</p>
<p>Affectionately,<lb>[signed]Aaron</p>
<p>P.S.  We went up to visit the Barrington School in Great Barrington yesterday.  The buildings and accommodations are first-class.  The only drawback is the half-hour journey to Tanglewood, but considering the beauty and comfort of the living conditions I think the students would agree, especially if we put there the composition students and the auditors.  In any case, I gave my opinion to Mr. Judd  that I am in favor of renting the School for our purposes.  I think you would also agree if you saw the place.</p>
<p>[manuscript]: P.P.S. -- Looking forward to Wednesday night!</p>
Copland|corr0367|Letter from Aaron Copland to Serge Koussevitzky, 1946/04/08|<p>1946 Apr 8</p>
<p>PLANNING TO DRIVE TO HARTFORD TOMORROW GREETINGS</p>
<p>AARON</p>
Copland|corr0368|Letter from Aaron Copland to Olga Naumoff, 1946/06/16|<p>June 16 '46</p>
<p>Dear Olga:<lb>I thought I ought to let you have my present address.  Also tell you that I am planning to be at Tanglewood on Tuesday the 25th.  Of course I'll call you up as soon as I arrive.</p>
<p>I hope Sergei Alexandrovitch is well and taking a good rest before the labors of the summer.</p>
<p>All good greetings<lb>Aaron</p>
<p>P.S. Am working hard -- and the Symphony progresses!</p>
Copland|corr0369|Letter from Aaron Copland to Carlos Chvez, 1946/09|<p>Care Boosey and Hawkes<lb>668 Fifth Ave.,<lb>New York, N.Y.<lb>[Sept 1946]</p>
<p>Dear Carlos:<lb>I received the issue of Nuestra Musica with your translation of the Berger article.  I must tell you how touched I was -- first at all the space devoted to the article, and second, that you bothered to do the translation yourself.  The magazine itself looks so well, and I am delighted at the thought that there is now in Mexico an organ of expression for the writing of Mexican composers.</p>
<p>I received programs and reviews of the performance of the Short Symphony that you gave this summer.  I am touched once again at your devotion to that piece.  (Did you see your letter of 1934 printed in the volume that Knopf published "Letters of Composers"?  If you don't have that book I'd be glad to send it to you.)  Its now almost twenty years that we know each other and I must say that I know of no other fellow-composer who has given me firmer support or more continuous encouragement in my work.  Un abrazo, querido amigo!</p>
<p> The work at Tanglewood was finished only recently. I still regret that noone came from Mexico as student at the school but perhaps it can be arranged next summer.  Now I am settled near Tanglewood for a few more weeks, finishing up my Symphony.  It should be done about October first.  It has four movements and lasts about 40 minutes -- my longest piece of absolute music so far.  I hope you'll like it.  It has taken two years of my time, and I am anxious to get busy on other projects.</p>
<p>The temporada will soon be over, and I hope you will find some time for your own composing.  What is the next piece to be?</p>
<p>You heard, I suppose, about the sudden death of Paul Rosenfeld in July.  It doesn't seem natural not to have him there on 11th St., worrying quietly about the state of music.  I'm sure he didn't approve of my music of the last years, but it is sad to think of him no longer there to disapprove.</p>
<p>All my best to you,<lb>[signed] Aaron</p>
Copland|corr0370|Letter from Aaron Copland to Serge Koussevitzky, 1946/10/27|<p>3 Riverview Terrace<lb>New York 22<lb>Oct. 27, 1946</p>
<p>Dear Sergei Alexandrovitch:<lb>The cuts are made, and I have sent them to Rogers who will put them in your score and in the parts.</p>
<p>The big cut I made as you suggested (pages 240, 241, 242, 243 are out.)</p>
<p>The smaller cut is slightly different than the one we discussed on page 209.  For the sake of greater harmonic and rhythmic smoothness I have decided to keep pages 209 and 210, but to eliminate pages 211 and 212.  I am sure it is better that way.  (In this version the last quarter note in the four clarinets is cut out and the measure before the 2/4 bar becomes a 4/4 bar.  All this will be clear when you see the cuts after Rogers makes them.)</p>
<p>I hope you are resting well this week of vacation.</p>
<p>Devotedly,<lb>[signed]Aaron</p>
Copland|corr0371|Letter from Aaron Copland to Minna Lederman, 1946/11|<p>Wed [dated by ML "Nov. 1946"]</p>
<p>Dear Mink --<lb>On Sunday lets try to confine the discussion to articles.  The thought of going on with more of the same old stuff [five words blacked out by Minna Lederman]  is so dreary.  A simple statement of where we are and then lets have done!</p>
<p>(Don't scream.)</p>
<p>Love<lb>A-----</p>
Copland|corr0372|Letter from Aaron Copland to Serge Koussevitzky, 1946|<p>Cambridge, Mass<lb>Thurs [late 1946]</p>
<p>Dear Sergei Alexandrovitch --<lb>I was so sorry to miss the rehearsals this week, but I became ill after Saturday and was in bed most of the week.   The doctor asked me to do as little as possible. Now, I am well again and I am going to New York to-night.  Next week, when you are there, I will be here, so I may not see you until two weeks.  I am so sorry to miss Nicky's piece.</p>
<p>Once again, many many thanks for your marvellous performance of my 'Symphony.'  I shall always remember it -- always.</p>
<p>Perhaps I should tell you that I received a letter from the Columbia Phonograph Co., which I am enclosing for you to see.</p>
<p>Always devotedly<lb>Aaron</p>
<p>P.S. I hope Mrs. Koussevitzky is all recovered by now.</p>
Copland|corr0373|Letter from Aaron Copland to Serge Koussevitzky, 1946/12/27|<p>Dec 27, 1946</p>
<p>Dear Sergei Alexandrovitch:<lb>The American Fund for Palestinian Institutions made me promise to write to you to urge you to accept the Honorary Chairmanship of the dinner for Lenny.</p>
<p>I won't urge you, because I know you can make up your own mind very well.  The purpose of this letter is merely to say that the American Fund is a very reputable organization -- and will probably put on a very good affair in order to make some money for their Fund, making Lenny the excuse for having the dinner.</p>
<p>Looking forward to Jan 8th!</p>
<p>Always devotedly,<lb>Aaron</p>
Copland|corr0374|Letter from Aaron Copland to Carlos Chvez, 1947/04/06|<p>Care Boosey & Hawkes<lb>668 Fifth Ave.,<lb>New York<lb>Apr. 6, 1947</p>
<p>Dear Carlos:<lb>Delighted we were able to arrive at a happy conclusion to my conducting in June.</p>
<p>I hope you haven't forgotten your suggestion that I may be given some time to work with the orchestra from the very start of the rehearsal period, because I am frankly worried about my ability to prepare the two works in the ordinary time of the week of the concert.  I am free to come to Mexico any time from about May 20th.  So please let me know when the first rehearsals will start, and when you would like to have me there.  I'd like to know this as early as possible so as to make my plans accordingly.</p>
<p>When you wired me to conduct the Third Symphony and Appalachian Spring I wondered whether you remembered that the Symphony lasts almost 40 minutes and App. Spr. lasts about 22 minutes.  I thought I?d mention it in relation to whatever you are planning for the rest of the program.</p>
<p>By the way, I neglected to answer Halffter's and your letter concerning the article for Nuestra Musica.  I plan to do one on The Younger Generation of American Composers.  I'll try to finish it before coming to Mexico.  I hope you won't object if I retain the rights to publish it subsequently in English and in other Latin-American countries, with due credit being given to Nuestra Musica.</p>
<p>I've been 'hiding' in Boston the past six weeks in order to finish a choral piece commissioned for the Harvard Symposium in May.  (Did you know that Martha is performing your ballet as part of the Symposium on May 3rd?  I'll be glad to be able to re-hear it then.)  My piece is done -- thank heavens!   It is a setting of the first two pages of the bible for mixed chorus acappella with mezzo-soprano solo called: "In the beginning" and lasts 14 minutes.   I was reluctant to use the bible as a text but just couldn't find anything else suitable!</p>
<p>You know what would be wonderful -- if someone knew of an apartment with piano I could rent in Mexico City from may 22 to June 22.   Or is that asking for miracles?</p>
<p>Affectionate greetings,<lb>[signed] Aaron</p>
Copland|corr0378|Letter from Aaron Copland to Serge Koussevitzky, 1947/09/27|<p>Sept. 27, 1947</p>
<p>Dear Sergei Alexandrovitch:<lb> I have been waiting until I was sure you would be back in Boston before writing you.  Of course the news of the marriage went all around the world, so Brazil heard it too.  Please tell Olga how pleased I am, both for her and for you -- and may you both have many years of happiness together.</p>
<p>Since leaving Tanglewood I have been in Rio de Janeiro, where I will stay until Oct. 15th.  I've been giving lectures on American music to the Brazilians, playing recordings on the air with my comments in Portuguese (!), and generally getting to know better the Brazilian musical scene.</p>
<p>So far, of course, the big event was the all-American program conducted by Carvalho.  He played Schuman's Symphony for Strings, Menin's[sic]  Folk Overture, and my Third Symphony.  An ambitious program, -- particularly when you consider that the orchestra here is not used to playing modern music, and is not of a good quality in general.  Carvalho did his best, but it was pioneer work both with the orchestra itself and with the public.  On all sides I heard people talk of Carvalho's extraordinary improvement as conductor.  He talks of you everywhere, naturally, but even without that I think you could get a job as teacher of conducting in Brazil on the basis of this one pupil alone!  But seriously, the example of one such case as Carvalho, does a great deal for building up the reputation of the United States as a place for young musicians to finish their training.</p>
<p>Until Oct 15th my address will be: care American Embassy in Rio de Janeiro.  After that, care of the American embassy in Buenos Aires, Argentina until Nov. 15th.  I hope to be back in New York by December first.</p>
<p>This letter will be reaching you at the start of the new season.  I hope the European trip was refreshing and restful, and that you will have a brilliant 47-48 season.  My warm greetings to Olga and to Mrs. Hirschmann, if she is in Boston.</p>
<p>Always devotedly,<lb>[signed]Aaron</p>
Copland|corr0379|Letter from Aaron Copland to Serge Koussevitzky, 1948/03/04|<p>March 4, 1948</p>
<p>Dear Sergei Alexandrovitch:<lb>I suppose that you heard that I was in California.  While you were in Arizona, I got an offer from the same man who had produced two of my other films [added in ink: Lewis Milestone] to do the score for a story by the well-known American writer, John Steinbeck.  I am glad the offer came when it did because it gives me a chance to make some money and to be back before your last concert in New York.</p>
<p>The job keeps me very busy because I have to produce fifty-two minutes worth of music in a comparatively short time.  Still it's amusing to write for the films occasionally -- and certainly the California weather is wonderful!  (You really must try it sometime.)</p>
<p>I've been keeping in touch with Tod Perry, and my impression is that it will be several weeks between the time I come home (April 10th) and the time when decisions about student scholarships [should crossed out: "must" added in pen] be made.  Because of scholarships offered by outside sources we are going to have composing scholarship students from Argentina, Uruguay, Brazil and Palestine.</p>
<p>I recently had a letter from my Norwegian student, who is back in Norway, telling me that the composition that he wrote at Tanglewood last summer has just won him a big prize in his own country.</p>
<p>Fond greetings to Olga and Genia.  I'll be seeing you all next month.</p>
<p>Devotedly,<lb>[signed]Aaron</p>
Copland|corr0380|Letter from Aaron Copland to Serge Koussevitzky, 1948/03/08|<p>March 8 '48</p>
<p>Dear Sergei Alexandrovitch:<lb>Just after writing to you the other day your letter was forwarded to me here.</p>
<p>I had written to Margaret recently telling her that as soon as I return in April I will do a thorough investigation job on the question of Washington and New York libraries.   I feel fairly certain that we can find some good solution for our problem.</p>
<p>Delighted that the Foundation is 'expanding.'  Awfully sorry to miss the March concerts.</p>
<p>Fondly<lb>Aaron</p>
Copland|corr0381|Letter from Aaron Copland to Serge Koussevitzky, 1948/03/29|<p>March 29 '48</p>
<p>Dear Sergei Alexandrovitch:<lb>Have just had a wire from Nell Tangeman, contralto, who is anxious for me to recommend her for Jocasta in Oedipus  at Tanglewood.  I heard her perform the part with Lenny at the City Center.  She understands it admirably well, and has real style in projecting it.  The voice is not extraordinary, but it is well-trained and well suited for the role.</p>
<p>I will be seeing you in New York in 2 weeks.</p>
<p>Always<lb>Aaron</p>
Copland|corr0382|Letter from Aaron Copland to Serge Koussevitzky, 1948/04/10|<p>1948 Apr 10</p>
<p>HAVE INVESTIGATED HOLLYWOOD SCENIC DESIGNER NO APPROPRIATE CANDIDATE IS TO BE FOUND HERE[.] STRONGLY SUGGEST WE CONTACT WELL KNOWN SCENIC DESIGNER ROBERT EDMOND JONES  IN NEW YORK CLAIRE REIS IS GOOD FRIEND IF YOU PREFER WAIT MY RETURN NEXT WEEK GREETINGS</p>
<p>AARON</p>
Copland|corr0383|Letter from Aaron Copland to Serge Koussevitzky, 1948/05/24|<p>May 24, 1948.</p>
<p>Dear Sergei Alexandrovitch:<lb>I am enclosing a copy of a letter that I am sending to Boris Goldovsky.  Blitzstein would naturally like to know whether Boris is planning to try out some of his opera at Tanglewood.  He understands fully that there is no longer any question of his coming to Tanglewood in any 'official' capacity.</p>
<p>Please have a good rest before the summer's excitements begin.</p>
<p>Devotedly,<lb>[signed]Aaron</p>
Copland|corr0384|Letter from Aaron Copland to Carlos Chvez, 1948/07/17|<p>Berkshire Music Center<lb>Lenox, Mass.<lb>July 17, 1948</p>
<p>Mr. Carlos Chavez<lb>Avenida Pirineos, 775<lb>Lomas de Chapultepec<lb>Mexico, D.F.</p>
<p>Dear Carlos:<lb>It was lovely to hear from you after such a long time.  I had heard you were in New York when I was in Hollywood.  Que lastima!  I was glad to have news of the recordings and the opera plans.  You can imagine how pleased I would be if the recordings of the Short Symphony were actually to be realized.</p>
<p>I have had a busy year since I was in Mexico last June.  I conducted concerts of my works with the Colon Orchestra in Buenos Aires and with the SODRE orchestra in Montevideo.  Also gave mny lectures and radio talks on American music.  In Rio, where I spent eight weeks, I apparently upset Villa Lobos considerably at a meeting of the Academia Brasileira de Musica by talking at too great length about the achievements of one Carlos Chavez!  After South America, I composed a film score for Steinbeck's The Red Pony.</p>
<p>I am planning to give a talk on Mexican music at Tanglewood in a seminar on new music.  I have asked a pianist to learn your Sonata, which I haven't heard well performed in a good many years.  We will also be doing the Songs of Blas  and the Musica de Feria by Revueltas.  We have more than 450 students this summer, so you can imagine there is much to do.</p>
<p>By the way, I never received a copy of Musica Nueva with my article in it.  Would you be kind enough to ask your secretary to send me a few copies?</p>
<p>Muchos recuerdos to all the friends and a special abrazo for yourself.</p>
<p>[in ink]: Love<lb>Aaron</p>
Copland|corr0386|Letter from Aaron Copland to Serge Koussevitzky, 1948/11/10|<p>1948 Nov 10</p>
<p>SORRY NOT TO BE WITH YOU TONIGHT.  WILL BE THERE YOUR NEXT NEW YORK TRIP AFFECTIONATE GREETINGS</p>
<p>AARON</p>
Copland|corr0387|Letter from Aaron Copland to Carlos Chvez, 1948/12/06|<p>6, December 1948</p>
<p>Dear Carlos:<lb>It was wonderful to get your letter -- a real long one with much news.  I was delighted to have the score of "Antigone."  It was shocking to me to realize that none of your other orchestral scores has been generally available, but let's hope that with this beginning the situation will change.</p>
<p>First about your question concerning Koussevitzky and the Boston Symphony -- as you know, the symphonic organizations generally make their concert plans six months in advance of the opening of the season, and Boston is no exception -- particularly this year because of the fact that it is Koussevitzky's last one.  It is difficult for me to imagine that any dates are still open.  The only guest conductors that he has announced are his three former students, Thor Johnson, Bernstein and Carvalho.  Next year with Munch at the head of the orchestra it is not at all certain what the situation will be.  Now that you have the picture in mind you can see for yourself how it is.</p>
<p>I was glad to hear of the recordings being finally issued and look forward to hearing them.  Knowing your patience and persistence I'm confident about your getting around to the "Short Symphony" some day.</p>
<p>Of course I've realized for some time how difficult your situation is in regard to the Instituto, the Orquesta and your composing.  What you cannot realize is what it will seem like in the perspective of the years.  You alone can know what the cost has been, but all Mexico will someday realize the full extent of the achievement.  You know how happy it makes me to know the firmness of your convictions about your need to compose.  I recently finished a "Clarinet Concerto" that I was writing for Benny Goodman.  It's in two movements and lasts about fifteen minutes.  I think you will like it.</p>
<p>Just now I'm in Hollywood again until January in order to compose the score for a film based on Henry James' story "Washington Square."  It's my second film this year, and now I will have done enough Hollywood jobs for some time to come.  I plan to go to Europe in May and June.  I haven't been in eleven years.</p>
<p>Did I ever thank you for sending me the issues of Mexico en el Arte?  It adorns my table at home, and I show it to all my friends as a shining example of what an art magazine should be like.  Would that we had such a publication in the United States.  I hope somehow to be able to see you soon.</p>
<p>Affectionately,<lb>[signed] Aaron</p>
Copland|corr0388|Letter from Aaron Copland to Serge Koussevitzky, 1948/12/23|<p>1948 Dec 23</p>
<p>AWFULLY PLEASED TO GET YOUR TELEGRAM WILL CERTAINLY BE AT NEW YORK PERFORMANCE AND WILL DO MY BEST BE IN WASHINGTON ALSO  FOND GREETINGS</p>
<p>AARON COPLAND</p>
Copland|corr0389|Letter from Aaron Copland to Serge Koussevitzky, 1949/01/13|<p>1949 Jan 13</p>
<p>SORRY TO MISS TONIGHTS PERFORMANCE.  WILL BE THERE SATURDAY AFFECTIONATELY</p>
<p>AARON COPLAND</p>
Copland|corr0390|Letter from Aaron Copland to Nadia Boulanger, 1949/01/20|<p>20 January 1949</p>
<p>Dear Nadia:<lb>A short time ago I mailed you a copy of my Sextet which was recently published by Boosey & Hawkes.  You will remember perhaps that this piece was originally my Short Symphony and still exists in that form.  I wanted you to have it and hope you like it.</p>
<p>I read that you were recently named Director of Music at Fontainebleau.  My congratulations to you -- it will mean a great deal to the school.</p>
<p>For the first time since '38 I am planning a trip to Europe in the spring.  I expect to be in Paris from May 25 to the end of June with a brief interlude in Rome.  If you can think of any ways in which I might be useful in the sdpreading of knowledge about American music either by participating in concerts or in talks on the radio, please let me know.</p>
<p>I was considerably disturbed to hear the sad circumstances concerning young Joachim.  I'm sorry if you were in any way troubled.</p>
<p>I can't tell you how keenly I look forward to seeing you and the Rue Ballu.</p>
<p>Devotedly,<lb>[signed]Aaron</p>
Copland|corr0391|Letter from Aaron Copland to Nadia Boulanger, 1949/03/11|<p>March 11 1949</p>
<p>Dear Nadia:<lb> Thank you for sending such a nice letter!  Of course you can arrange whatever evenings or afternoons you like.  I am entirely at your disposal.  However: remember that I shall not be in Paris until May 29th (28th at the earliest); alas that Mr. Gerald Samuels is arranging some concert with the help of the American Embassy, so that evening must be kept free.  (Samuels can supply the date.)</p>
<p>Sorry we won't be in London at the same time.  I shall be there from May 12 to 28 (or 29).  The BBC, I believe, is to do my 3rd Symphony while I am there.</p>
<p>I look forward to seeing you and all the jeunes eleves. </p>
<p>Affectionately Aaron</p>
Copland|corr0392|Letter from Aaron Copland to Olga Koussevitzky, 1949/03/22|<p>March 22 1949</p>
<p>Dear Olga:<lb>I am returning the enclosed letter.   I suggest:<lb>1) Tod Perry inquire from Mr. Nathaniel Cooper of the UNESCO Student Summer project whether Mr. Husa is eligible.<lb>2) Mr. Husa enquire at the Institute of International Education, 2 W. 45th St. New York whether they can be of help.</p>
<p>Hastily<lb>Aaron</p>
Copland|corr0393|Letter from Aaron Copland to Olga Koussevitzky, 1949/03/25|<p>March 25 1949</p>
<p>Dear Olga:<lb>Mr. H.H. Stuckenschmitt,  well known music critic from Berlin, will be in Boston on Monday & Tuesday.  He is here on an official visit, sent here by the Civil Affairs Division of the War Dep't.</p>
<p> If Sergei Alexandrovitch is interested in hearing about the most recent developments in Germany Mr. Stuckenschmitt is very well informed.  In any case he will call to find out if it is possible to make a brief visit -- or perhaps attend a rehearsal.</p>
<p>Greetings, hastily<lb>Aaron</p>
Copland|corr0395|Letter from Aaron Copland to George E. Judd, 1949/04/23|<p>23 April, 1949</p>
<p>Dear George:<lb>This is a sad letter for me to write.  You have probably been wondering what has happened to the work which the Trustees commissioned to celebrate Dr. Koussevitzky's anniversary this year.  As a matter of fact I spent about two months attempting to prepare a composition for chorus and orchestra based on a text from the Bible.  I'm sorry to say it didn't work out.  This is the first time that I have been forced to give up the completion of a commissioned work, and I naturally feel doubly sorry that it should have happened in connection with the Boston Symphony.  Please convey my sincere regrets to the Board of Trustees.</p>
<p>I have already spoken with the Maestro, and he was sympathetic even though disappointed.</p>
<p>Cordial greetings,<lb>[signed]Aaron<lb>Aaron Copland</p>
<p>ac:ej</p>
Copland|corr0396|Letter from Aaron Copland to Serge Koussevitzky, 1949/04/30|<p>1949 Apr 30</p>
<p> AFFECTIONATE GREETINGS AT THE CLOSE OF 25 HISTORY MAKING YEARS WISH I COULD BE THERE</p>
<p>AARON COPLAND</p>
Copland|corr0397|Letter from Aaron Copland to Nadia Boulanger, 1949/11/22|<p>Nov 22 1949</p>
<p>Dear Nadia:<lb>It was so nice to get your birthday letter.  I am always amazed -- in the midst of all your many activities -- that you find time for such thoughtfulness.  Many thanks!</p>
<p>Last week I was in Boston where Mnch conducted my 'Statements' and Roussel's 4th Symphony.  Il se devoue!  Had a glimpse of Winifred Johnstone and Spies.</p>
<p>I've been working on a song cycle.  A new sensation, as I have not written any songs in many years.  Text of Emily Dickinson -- very beautiful.  I'll send you them when they are published.</p>
<p>All my greetings to les enfants.</p>
<p>Affectionately as ever<lb>Aaron</p>
Copland|corr0398|Letter from Aaron Copland to Carlos Chvez, 1950/01/20|<p>Jan 20, 1950</p>
<p>Dear Carlos:<lb>I'm sending you the Variations and Sonata and a few more little things to complete your library.</p>
<p>Of course I have your Preludios and Concerto.  If you have already sent me the Preludes I'll see to it that a good pianist gets them.</p>
<p>Lovely seeing you here.  Come soon again.</p>
<p>Affectionately<lb>Aaron</p>
Copland|corr0399|Letter from Aaron Copland to Serge Koussevitzky, 1950/01/23|<p>Jan 23 '50</p>
<p>Dear Sergei Alexandrovitch:<lb>Please sign this letter which I mentioned in Washington and return it to me.</p>
<p>Have a wonderful trip!</p>
<p>Devotedly<lb>Aaron</p>
Copland|corr0401|Letter from Aaron Copland to Serge Koussevitzky, 1950/08/29|<p>Aug. 29, 1950</p>
<p>Dear Sergei Alexandrovitch:<lb>Ever since our conversation over the telephone about the Clarinet Concerto arrangement the thought has been growing in my mind that I made a mistake in saying 'yes' to your proposal about using the first movement separately as an Elegy for strings.  You can see how easy it would be for me to make such a mistake: my natural desire to please you and the thought of the wonderful interpretation you could give such a piece, and the suddenness and persuasiveness of your definite proposal on the telephone.</p>
<p>But thinking it over more carefully I have come to the conclusion that to make such an arrangement at this time would be an even greater mistake, and it is better to admit the mistake before we go any further.  I am convinced that to cut the piece in half takes away from the integrity of the Concerto as I originally conceived it, and I am basically unwilling to do that, -- at least until the work has had several seasons to make its way as a complete Concerto.  No one will be able to understand why, if I am satisfied with the Concerto as a whole, I should be willing now to present only half the work in an orchestral dress in which it was not conceived.   Moreover, no one will be able to understand why you should want to present an arrangement of half a work when the entire work is available and has never been heard in its original form in Boston.  In the public's mind it can only be understood as an implied criticism of the second movement, and I am unwilling to launch a new work in such a light.  Later on, after the Concerto is established as a Concerto, I shall probably feel differently about it.  I know that this decision will not make you happy, but try to see it from my point of view, and you will realize that it makes me even less happy.</p>
<p>As an alternative solution I have thought of the following possibility.  You may remember that I told you I had recently completed a Song Cycle of twelve songs with texts by the New England poet Emily Dickinson.  Without any doubt she was one of our greatest poets.  She loved music very much and was a close friend of Thomas W Higginson at the time he founded the Boston Symphony.   (It was Higginson who helped to get her poems published posthumously.)  It seems to me that I could compose an Elegy in her memory, based on material from one or two of the songs inspired by her poems.  I cannot absolutely promise to have it ready in time, but will do my best to finish it so that you can have it for the December 1st concerts.  It would be an Elegy for Strings lasting about 6 minutes, -- or perhaps a trifle more.</p>
<p>When you are back in Serenack let me have your reaction.  My address will then be: Palisades, Rockland County, New York.</p>
<p>I hope the Hollywood concerts are going well.  My affectionate greetings to you both.</p>
<p>Devotedly, as ever,<lb>[signed]Aaron</p>
Copland|corr0403|Letter from Aaron Copland to Serge Koussevitzky, 1950/11/13|<p>Nov 13 1950</p>
<p>Dear Sergei Alexandrovitch:<lb>Many, many thanks for that wonderful telegram you sent me for my anniversary.  Nicky Nabokoff read it for the audience at the concert.  So sorry you couldn't have been with us all.</p>
<p>To-morrow Kubelik is performing my Third Symphony with the Chicago Symphony.  Listening to him rehearse today brought memories of your performance of the Symphony here four years ago.</p>
<p>I will be seeing you soon -- in New York or Boston.</p>
<p>With all my best greetings to you and Olga,</p>
<p>Always,<lb>Aaron</p>
<p>Address after Wednesday:<lb>Palisades, New York.</p>
<p>P.P.S.: Do you remember the Elegy I spoke of composing based on themes of my Dickinson songs?  It unfortunately remained only a project, because I was so occupied completing my Piano Quartet.  Too bad!</p>
Copland|corr0404|Letter from Aaron Copland to Nadia Boulanger, 1950/11/24|<p>Nov 24 ?50</p>
<p>Dear Nadia:<lb>What a wonderful letter you wrote me for my 50th birthday!  I can't tell you how touched I was.  Its almost 30 years (hard to believe) since we met -- and I still count our meeting the most important event of my musical life.  What you did for me -- at exactly the period I most needed it -- is unforgettable.  Whatever I have accomplished is intimately associated in my mind with those early years, and with what you have since been as inspiration and example.  All my gratitude and thanks go to you, dear Nadia.</p>
<p>Perhaps you have heard that I am to spend 6 months (Jan. to June) at the American Academy in Rome.  So I hope to see you in Paris in the Spring.</p>
<p>Recently finished a new Piano Quartet which I hope you will like.</p>
<p>Please thank Annette for her nice letter to me.</p>
<p>Always devotedly<lb>Aaron</p>
Copland|corr0405|Letter from Aaron Copland to William Strickland, 1951/05/20|<p>Paris -- May 20 '51</p>
<p>Dear Bill:<lb>Nice to learn you're headed for bigger and better things.</p>
<p>The American Music Center (250 W 57) should have a copy of the Short Symphony score.  If not, I'm afraid you'll have to wait until I'm back at Tanglewood in July.  (Why not drop by and see me there, in any case?)</p>
<p>Maybe you should be warned that the Short Symph. is frightfully difficult to put together, and shouldn't be attempted unless you have plenty of rehearsal time.</p>
<p>I've been doing some conducting here myself in Rome -- and am on my way to London to do my Clarinet Concerto, and then an all-C program in Trieste, of all places.</p>
<p>Best to you Bill -- hope to see you in Tanglewood.</p>
<p>Aaron</p>
Copland|corr0406|Letter from Aaron Copland to Serge Koussevitzky, 1951/06/03|<p>Trieste<lb>June 3, 1951</p>
<p>Dear Sergei Alexandrovitch:<lb>I have just been in London, where I had hoped to see you.  Now that I realize that you are not to be in Europe this Spring, I hasten to write to you.  I was very sorry to hear you had not been well, but I hope you are resting well now, for Tanglewood.</p>
<p>I have had a most interesting time since I left home.  Israel was absolutely a wonderful experience.  I lived with 30 composers for 5 days, and listened to their music.  Everywhere we spoke of you -- in Zichron Yakov, in Ein Gev, in Jerusalem etc.</p>
<p>Rome has been a fine experience also.  We have had one concert so far at the Academy of chamber music, and there will be a second one on June 11.  The third will be in October.  It is slow work to get the Italians interested in American music, but one must begin somewhere.  I have been giving lectures (in Italian!) on American music in Rome, Naples, Firenze, Genoa, and Bologna.</p>
<p>Also, I have been conducting!  The Rome Radio Orchestra; and tomorrow night a concert of my works here in Trieste, where the orchestra is fairly good.  Also in London, -- the Clarinet Concerto with Jack Thurston as soloist.  I think I am getting better as conductor all the time.</p>
<p>While I was in London I heard records of the Symphony by Racine Fricker, which won the first Foundation prize.  It's a good first symphony of a talented young man -- already published.</p>
<p>I know how disappointed you must be that Lukas  cannot come to Tanglewood.  It is difficult to analyze tyhe exact nature of his illness, which is undoubtedly partly physical -- but also partly his mentality mixed in.  He seems outwardly quite well and cheerful.</p>
<p>So many other things to discuss... But I shall wait until I am back.  As usual, I will be in my barn-studio in Richmond.</p>
<p>I suppose you heard I am to be at Harvard next winter as Norton Professor.</p>
<p>All my best to Olga and deepest affection for you.</p>
<p>Aaron</p>
Copland|corr0407|Letter from Aaron Copland to Olga Koussevitzky, 1951/10/16|<p>Oct 16 '51</p>
<p>Dear Olga:<lb>I had a letter from Mr. Cabot recently which contained this casual sentence:</p>
<p>"I can't remember whether or not I told you last Saturday evening that Mr. Munch had accepted the post of Director of the Music School at Tanglewood."</p>
<p>Did you know about this?  I thought you should.  Of course he had said nothing to me.</p>
<p>Yours<lb>Aaron</p>
Copland|corr0409|Letter from Aaron Copland to Carlos Chvez, 1951/12/08|<p>Dec. 8, 1951</p>
<p>Dear Carlos:<lb>Awfully nice to have a newly issued score of yours.   Thanks so much for sending it to me.  Since I had the recordings it was fine to be able to follow from score.  It stands up very well I think.  Since it is so essentialized and bare there is really nothing there to get stale!  And the music, despite the simplicity, is so very much your own kind of thing.  Write us more music, please!</p>
<p>You can see from the letterhead  where I am this winter.  Did I tell you that I was appointed to the special professorship that Stravinsky had some ten years ago?  It's a soft job -- just six lectures, -- but one must publish them, so it is like having to write a book.  (Stravinsky did the Poetique Musicale as the Norton Professor.)   I am calling mine Music and the Imaginative Mind.  So far I have delivered three lectures and they seem to have gone well.</p>
<p>Unfortunately I haven't been able to get much composing done.  Rome and Israel for six months was very interesting but distracting, and now with this book...Well, my appetite is increasing daily, and soon I will be free to do as I like.</p>
<p>Let me hear how you are.  Greetings to Blas and Sandi and Moncayo.</p>
<p>Always yours,<lb>[signed] Aaron</p>
Copland|corr0410|Letter from Aaron Copland to Carlos Chvez, 1952/03/07|<p>March 7 '52</p>
<p>Dear Carlos:<lb>I thought you might be amused by this review -- after 28 years!</p>
<p>I hope the Violin Concerto went well.   Allen Sapp, Miss Bertolami's brother-in-law here, promises to let me hear a tape recording eventually.</p>
<p>All my best to you.<lb>Aaron</p>
Copland|corr0411|Letter from Aaron Copland to Carlos Chvez, 1952/11/20|<p>Nov. 20, 1952</p>
<p>Dear Carlos:<lb>Since I assume you will be free this summer to leave Mexico I am going to make a proposal to you that I am hoping you will very seriously consider.</p>
<p>Last Sunday, at a faculty meeting with Charles Munch and the rest of the group, we decided to invite you to come to Tanglewood as guest teacher for the season 1953.  I needn't say how pleased this would make me because you know it very well.  The school period is six weeks from the beginning of July to the middle of August the exact dates I can send you later.  You would have no more than eight students, with two class lessons a week of 2 hours, and a private lesson once a week with each student of 1 hours.  It makes about 16 hours per week of teaching.  The rest of the time is your own to do with as you like.</p>
<p>I have asked Thomas Perry, who is the administrator of the school, to tell me about salary arrangements, so that you could have the whole picture in making a decision.  He says the school could pay $1,000 for the six weeks, plus $350 for plane fare and $250 toward your living expenses at Tanglewood.  In all it comes to $1600.  It is not much, I know -- but it is something.   Because of tax requirements it might be to your advantage to split the monies so that more is provided as expenses and less for salary, but the actual sum would remain the same.  In other words, if $1100 was allotted to expenses and $500 to salary, tax would have to be paid only on the $500.</p>
<p>As you know we have had the habit of inviting distinguished foreign visiting composers to teach each summer and in the past we have had Hindemith, Milhaud, Honegger, Martinu, Messiaen, Ibert, Dallapiccola.  This would mark the first time that we have invited someone from this hemisphere.  I had thought of it many times before but knew you were too busy with Bellas Artes to come.  Now perhaps we have our chance.</p>
<p>Think it over, Carlos, and see whether it fits in with your other plans.  I would be immensely happy to have you with us, and I know the others would also.  Try to write soon.</p>
<p>Always affectionately,<lb>[signed] Aaron</p>
Copland|corr0412|Letter from Aaron Copland to Carlos Chvez, 1952/12/10|<p>Shady Lane Farm<lb>Ossining, New York<lb>Dec 10, 1952</p>
<p>Dear Carlos:<lb>Delighted to hear you can accept to come to Tanglewood!  About the number of students: let us arrange it this way -- I shall do my best to confine it to six composers.  If we should have very good applicants and are crowded I hope you won't object to taking on a seventh person.  In any case I don't think the B.S.O. administration will want to make the proviso of six students an official arrangement as it would set a precedent different from what has been set in the past.  I wrote Mr. Thomas D. Perry, Jr. who is the Executive Administrator of the Berkshire Music Center about your acceptance, and you should eventually get an official invitation from him.   Generally they go out in the beginning of January.</p>
<p>Please note the new address.  I am installed in my new house and think it will work out well.   All my best to you.</p>
<p>[signed] Aaron</p>
<p>[at top in ink]: Dear Carlos: Sorry -- in the confusion of moving, I mailed you the wrong letter!  Here is the right one.</p>
Copland|corr0413|Letter from Aaron Copland to Roger Sessions, 1953/06/17|<p>Shady Lane Farm<lb>Ossining, New York<lb>June 17, 1953</p>
<p>Dear Roger,<lb>It was good to hear your voice last night over the phone.</p>
<p>Yesterday, when I was at the offices of ASCAP, the new president, Mr. Stanley Adams, called me into his office, showed me your letter of resignation, and asked me whether I would be willing to discuss it with you.  I agreed to do so, beacause I am anxious for you to have a clear idea of the present situation as it exists in New York regarding composers' performance rights.  If you were living here, I'm sure you would be aware of all this yourself.  I still think, as I told you last night, that only when you are here and can discuss these matters personally will it be possible to get a full picture of the situation as it now is.  This letter can only be the barest outline.</p>
<p>Also, I am anxious for you not to consider that I am doing a job of personal persuasion.  My main idea is to clarify a rather complicated fight between two opposing agencies.</p>
<p>In the last year or two, Broadcast Music Inc. has instituted a serious effort to raid the serious membership of ASCAP.  They have it in their power to make extremely favorable offers to those composers they consider of outstanding value to their catalogue.  Since they are a purely business organization, they are free in a way which is not true of ASCAP.  There is no doubt but that from a temporary standpoint any of us might have much to gain by going over to their side.  But from a long-range point of view, it seems to me very dangerous.  BMI, being an organization made up of broadcasters, should not be allowed to buy off, so to speak, individual composers at their convenience.  If this process were to continue, it would nullify all concentrated efforts at collective bargaining such as now exist.   The only sure method of keeping performance rights payments at an equitable level is the existence of a strong and cohesive body of composers in a good bargaining position when the time comes to negotiate these matters.</p>
<p>We all know and admit that the ASCAP record as regards payments to serious composers in the past has not been a good one.  However, this too has changed for the better in the past year or two.  The Society has set up an Advisory Board consisting of Douglas, Virgil, Sam, Gian Carlo and myself,  and our meetings with top people at ASCAP convince me that they are gradually transforming the nature of the Society so as to take into account the interests of the serious composer in a way which was never before true.  (One significant sign of this is their concern at the possibility of losing you as a member.)  Just as important as good will -- perhaps more so -- is the fact that they have raised the point-values alloted to symphonic and concert performances so that many of us have seen our income from ASCAP doubled in a short time.</p>
<p>Because ASCAP functions under a Consent Decree from the Department of Justice, they are no longer able to distribute monies on the old classification basis.  Payments therefore are pegged to performances, each of which is allotted a certain number of credits.  These, in the case of serious music, are heavily weighted since the Society realizes that the serious composer could not otherwise compete with the song-writer.  Since the payment-per-performance plan must be applied rather rigidly, ASCAP, in trying to fight the BMI raid, has been instrumental in certain cases in seeing to it that the annual income of certain serious composers is considerably enhanced.  This is accomplished by a separate publishing contract with an assured advance royalty payment from an ASCAP publisher.  I know that this is what they had in mind in your case.</p>
<p>It's hard for me to judge whether the brief outline above is sufficient to make clear what is at bottom a rather complicated situation.  It is because of that that I am hoping you will be able to put off a final decision until you have an opportunity of visiting the ASCAP officials and hearing from them exactly what they propose.  I might add that one good offshoot of the BMI interest in the serious composer has been the greater awareness at ASCAP of our value to the organization.</p>
<p>It was awfully good news to hear that you are resettling in the East.  I look forward to talking with you on musical and other matters far removed from the above.</p>
<p>As ever,</p>
Copland|corr0414|Letter from Aaron Copland to Carlos Chvez, 1953/09/17|<p>Sept 17 1953</p>
<p>Dear Carlos:<lb>Many thanks for sending both the telegram and the letter of introduction.  I am going to see the director of the Fonds tomorrow and hope that his interest in a translation can be aroused.</p>
<p>I had a nice drive to Oaxaca and Puebla, etc.  To-morrow is the concert with the Sinfnica.  They are still in pretty good condition, but without a permanent conductor I am afraid it is certain they will deteriorate.  Roy's Third  has some impossible string writing!  Rien a faire!</p>
<p>If you decide to publish the "Soli" with the Arrow Press send me a corrected copy ready for the printer.  I am sure Virgil and Marc will agree to publish the work with funds that we now have.</p>
<p>I leave Sunday night by plane.</p>
<p>Work well!</p>
<p>Affectionately<lb>Aaron</p>
Copland|corr0415|Letter from Aaron Copland to Nadia Boulanger, 1953/11/25|<p>Nov 25 ?53</p>
<p>Dear Nadia:<lb>Of course, of course -- I shall write the 2 songs you ask for as a petit cadeau -- a microscopic cadeau is a better word -- for such a fifty years.  (50?  Impossible!)  One doesn't speak of money when it is a question of a present -- so forget about it.  But as for the dedication, that must be left to me!</p>
<p>I am in the middle of trying to finish an opera (2 acts) for a Spring production at the City Center in N.Y.  It is a fascinating problem -- writing an opera.   I don't know how it will turn out, but at any rate, it will be my longest work so far.</p>
<p>I wonder if Arthur Berger has sent you the book he has just published about me.  (Oxford Univ. Press.)  Imagine -- a whole book!</p>
<p>All my affectionate greetings to you</p>
<p>Aaron</p>
<p>P.S. Please write new address -- its permanent this time, I hope.</p>
Copland|corr0416|Letter from Aaron Copland to Carlos Chvez, 1953/12/15|<p>December 15, 1953</p><p>>Mr. Carlos Chavez<lb>Beverly Hills<lb>California</p>
<p>Dear Carlos:<lb>I was delighted to get the reviews and reports of the concert  in Los Angeles.  You seem to have gone over very well indeed.  And thanks for programming MUSIC FOR THE THEATER.  It would have been fun for me to have heard you do it again after so many years -- 21, to be exact.</p>
<p>I look forward to getting the score of the Symphony.    I shall talk to Munch about it and will be surprised if we can't arouse some interest there.</p>
<p>I'm not coming to Seattle after all.  I am staying home instead to continue working on the opera which now seems definite for spring production at the City Center.  I am hoping that having a deadline will help me finish.</p>
<p>Have you all of your libretto yet?</p>
<p>Affectionate greetings,<lb>[signed] Aaron</p>
Copland|corr0417|Letter from Aaron Copland to William Strickland, 1954/03/25|<p>March 25, 1954</p>
<p>William Strickland<lb>Schmidgasse 14<lb>Vienna, Austria</p>
<p>Dear Bill,<lb>I am coming to Europe, leaving here April 5.  I shall be in Rome, at the Composers Congress (at the American Academy) until April 15.  On April 30, I will be giving an all-Copland program for the ISCM in Zurich.  Therefore, as you see, the dates do not work out well [added in pen: in relation to your Viennese concerts.  Sorry!]</p>
<p>All good luck with Statements, and I'll be enormously interested to hear the results.</p>
<p>Greetings,<lb>[signed]Aaron</p>
<p>[added in ink:] P.S.  My opera is being premiered on April 1, at City Center.</p>
Copland|corr0418|Letter from Aaron Copland to Carlos Chvez, 1954/04/05|<p>April 5, 1954</p>
<p>Mr. Carlos Chavez<lb>Mexico, D.F.</p>
<p>Dear Carlos:<lb>I am writing you this just before taking off for a five-week trip to Italy, Switzerland and England.</p>
<p>When I am in London, I plan to speak with Dr. Ernst Roth, who is head of the company of Boosey and Hawkes in London.  I have already spoken about you to Mr. Boosey, who gave me a certain amount of encouragement.  Much depends on the reaction in London.</p>
<p> The opera was premiered last Thursday.  I had finished it a week before!  The public response seemed good, but the press was not so good.  There was much criticism of the libretto, and the usual complaint about few melodies.  My only feeling -- that all operatic creation is a great gamble -- is borne out by this experience.  We shall have a second opportunity to test it under more "normal" conditions in Tanglewood this summer.  When you get closer to production of your own work at the City Center, you should consult me about advice as to production difficulties peculiar to that house.</p>
<p>I am ashamed to say I must leave before giving the Symphony #5 my full attention.  As for Munch, that will best be taken care of this summer.</p>
<p>Affectionately,<lb>[signed] Aaron<lb>Aaron Copland</p>
Copland|corr0419|Letter from Aaron Copland to Olga Koussevitzky, 1954/05/11|<p>May 11, 1954</p>
<p>Dear Olga,<lb>I am just back from my European trip, and have found your letter of April 16 awaiting me.  Since then I have received the notice of the special meeting of May 14, at 4 p.m.  I shall be in Boston until Thursday, but hope to be back in time for the meeting.</p>
<p>Because of this, it hardly seems worthwhile to send a formal reply on the question of commissions for specific organizations.  I think there is something to be said both pro and con, but perhaps it would be worth taking a chance with a few such commissions to start with, and see how they work out.</p>
<p>I hope to see you very soon.</p>
<p>Faithfully yours,<lb>Aaron Copland<lb>Signed:<lb>[signed] David Walker<lb>(In the absence of Mr. Copland)</p>
Copland|corr0420|Letter from Aaron Copland to Nadia Boulanger, 1954/06/15|<p>June 15 '54</p>
<p>Dear Nadia:<lb>I am mailing the song I wrote for you by air, under separate cover.  Because of revisions I decided to make in my opera, which must be ready for a Tanglewood production this summer, I was not able to compose more than one song.   I hope you will like it, and that it sings well.</p>
<p>Always devotedly<lb>Aaron</p>
Copland|corr0421|Letter from Aaron Copland to Carlos Chvez, 1954/08/17|<p>August 17, 1954</p>
<p>Dear Carlos:<lb>I had just returned from Tanglewood when I read of your visa difficulties in the New York Times.  No need to tell you what we all here think of such goings-on.  By this morning's paper, I see that you can come if you please.  Hope that is the end of a stupid affair.  Anyhow, I well know how you must be feeling about it!</p>
<p>When I was in Tanglewood, I left the score of your Fifth Symphony with Munch.  His secretary wrote me that he is planning to give it this winter.  He returned the score to me and indicated that he would be inquiring as to score and parts directly from you.  If you don't hear from him within a reasonable time (by October 15), I suggest you write to him: Leonard Burkat, Secretary to Mr. Munch, Boston Symphony Orchestra, Boston 15, Mass.   I hope that the negotiations with Boosey & Hawkes, London, are proceeding toward a happy conclusion.</p>
<p>The Tender Land went better in Tanglewood.  I added two new scenes which helped to strengthen the story, and I still plan to substitute new music for a scene now in the third act.  Apparently that's the way one writes operas!  I hope yours is going well.</p>
<p>Love,<lb>[signed] Aaron</p>
Copland|corr0422|Letter from Aaron Copland to Olga Koussevitzky, 1954/08/27|<p>August 27, 1954</p>
<p>Dear Olga,<lb>I received Munch's suggestions for the B.S.O. anniversary commissions.  Most of them came as a result of our discussion at Lunch.  The question now is how to proceed.</p>
<p>I don't suppose that action can be taken in any case until Munch returns from Europe about October 1st.  Perhaps you should try to organize a meeting as soon as Lenny comes back from Venice near the end of September.</p>
<p>My impression is that we shall have no difficulty with the European composer-commissions.  Martin, Dallapiccola, Milhaud, Dutilleux, and Britten are indicated.  I am not so sure about Blacher being the best representative from Germany.  I would think that Orff or Von Einem ought to be considered.   The American composers are more of a problem.  I note that Munch has my name down on the list.  This is not necessary, as I shall be doing a revision of the Symphonic Ode for the occasion.  The rest of the names I think need general discussion.</p>
<p>I hope you are having something of a rest.</p>
<p>Always,<lb>[signed]Aaron</p>
Copland|corr0423|Letter from Aaron Copland to Carlos Chvez, 1954/10/20|<p>October 20, 1954</p>
<p>Mr. Carlos Chavez<lb>Avenida Pirineos 775<lb>Mexico, D.F.</p>
<p>Dear Carlos:<lb>Congratulations on winning the Caracas prize for the Third Symphony!  The Executive Council down there was nice enough to invite me to come for the period of the Festival, and when I heard that I would be listening to your Third Symphony I decided to do my best to come.  It will be great fun to see you there.  I wish you would let me know, however, exactly what date you are scheduled to perform your work.</p>
<p>Delighted also about the news of the Boosey and Hawkes contract.  I am a little regretful that you did not ask for a retaining fee even of a small amount, merely for the sake of setting a precedent.  Precedents I find are important because later on they can be developed.  Anyhow, good luck with the new project.</p>
<p>Thanks for having the Toccata mailed to me.  Have you heard the recording of the work which is made by Boston records?  Talking of Boston, I suppose you know that Munch has announced your string Symphony as one of the novelties of the season.</p>
<p>[in ink]: Affectionately<lb>Aaron</p>
Copland|corr0424|Letter from Aaron Copland to Carlos Chvez, 1954/10/27|<p>Oct 27 '54</p>
<p>Dear Carlos:<lb>I have a letter from Carlos Jimenez (Cinco de Mayo 10) telling me he would like to make a documentary film of my Lincoln Portrait, used complete as written by me.</p>
<p>Can you tell me anything of his reputation as a film director?  I'd appreciate it in order to know how to proceed.</p>
<p>Greetings<lb>Aaron</p>
Copland|corr0425|Letter from Aaron Copland to Carlos Chvez, 1954/12/04|<p>[Dec 4 -- 54]<lb>7:30 AM -</p>
<p>Dear Carlos:<lb>Sorry I didn't get a chance to give you a good-bye abrazo.  You disappeared from the party before I realized it.</p>
<p>Good luck with the premiere.  I am leaving the score at the desk.  It deserves a prize!</p>
<p>Affectionately<lb>Aaron</p>
Copland|corr0427|Letter from Aaron Copland to Carlos Chvez, 1955/06/13|<p>June 13 1955</p>
<p>Dear Carlos:<lb>I heard from New York that you had sent me your [fifth (?)]</p>
<p>Symphony.   Many thanks.  It will be a pleasure to have it when I get home.  I look forward to hearing the 3rd again in Baden-Baden next week.</p>
<p> I have been here -- conducting the radio orchestras in Paris and London.  Later (in Sept) I shall be comducting in Munich and Baden-Baden, and in October in Scandinavian countries.</p>
<p>In the summer I hope to settle down and work on a new piano Fantasy.  I hope all goes well with you.</p><p>Best Aaron</p>
Copland|corr0428|Letter from Aaron Copland to Carlos Chvez, 1957/07/05|<p>July 5, 1957</p>
<p>Dear Carlos:<lb>Thanks so much for sending Energia, which arrived safely yesterday.  When I got here, I discovered that the Boston Symphony had already received a score and parts from the Fleischer Library.  I wonder whether you knew that such a set was available in Philadelphia.  It is not certain who will be conducting your piece as yet.  Perhaps I will, myself!</p>
<p>About a month ago I saw the head of the Music Department of the University of Buffalo.  At that time he seemed very much interested in the fact that you were willing to take the job after me, from February through May.  Recently he wrote me for your address, so if you are really interested perhaps you had better reserve that period until you hear from him.</p>
<p>Affectionately,<lb>[signed] Aaron</p>
Copland|corr0429|Letter from Aaron Copland to Carlos Chvez, 1957/08/10|<p>August 10, 1957</p>
<p>Dear Carlos,<lb>This is just a hasty note in the midst of much business at Tanglewood to tell you that the Energia went over quite well.</p>
<p>I decided to ask Richard Burgin to conduct since he is so experienced, and I think he did a good job.  It seemed to be best, if I make my debut as a Chavez conductor, to start with something I am entirely familiar with!</p>
<p>I am asking the Boston Symphony librarian to return the score and parts directly to you.</p>
<p>Affectionately,<lb>[signed] Aaron</p>
<p>P.S.  I hope the temblor left both your houses intact.   Thought of you!</p>
<p>[in ink]: P.P.S Mr Cameron Baird of the Univ. of Buffalo, was at the performance.  He was enchanted with your letter of acceptance.</p>
Copland|corr0430|Letter from Aaron Copland to Carlos Chvez, 1957/10/02|<p>October 2, 1957</p>
<p>Dear Carlos,<lb>Thanks for sending the Montevideo Festival programs.  I will be curious to hear how it all went.</p>
<p>I have just come back from my first trip to Buffalo.  I am afraid that it is not very 'amusing', mostly because the Music Department is only a few years old and nothing in their past history prepares them to have pupils who are up to "advance composition", as we would understand the term.  Therefore, you may be very well bored by the job, but I doubt very much whether it will cause you any trouble.</p>
<p>I am giving four public lectures (one each month) and I have two classes, one for advanced students and the other for intermediate students.  In one or two cases, I also will se an individual student privately.  But I feel sure that before you go there for your first visit, we will have plenty of time to prompt you in whatever is expected.  In any case, I am hoping that my being there first will help to clear the road for you.</p>
<p>All best wishes for the Buenos Aires concerts, and give a big abrazo to the Ginasteras for me.</p>
<p>Affectionately,<lb>[signed] Aaron</p>
<p>P.S.  The PIANO FANTASY is being premiered on October 25th.  I heard it played the other day for the first time and was very pleased with my impression.</p>
Copland|corr0431|Letter from Aaron Copland to Carlos Chvez, 1957/11/12|<p>November 12, 1957</p>
<p>Dear Carlos,<lb>Olga Koussevitzky, as President of the American International Music Fund, has asked me to write you about a project which has been instituted for the first time this winter.  The details of the project you will find in the enclosed press release.</p>
<p>Our Board of Directors wish to invite you to serve as a member of a jury of three, the other members to be Nadia Boulanger and Douglas Moore.  The committee would meet in New York for a period of what I judge would be two days in order to listen to the tapes of performances submitted by the various orchestras who take part in the plan.  The committee's sole duty would be to choose which in their opinion are the best two works, and these would then be regularly recorded and issued under commercial sponsorship in the regular way.  The fee for each judge will be $500.</p>
<p>Needless to say, we all very much hope (and I, especially) that you will want to contribute to a project which we think has a certain nouveaut, and which we wish to get off to as brilliant a start as possible.  We think of ourselves as being particularly lucky in having you with us during the spring months so that it might be possible for you to cooperate.</p>
<p>Please let me know as soon as possible how you react to this idea.</p>
<p>Affectionate greetings,<lb>[signed] Aaron</p>
Copland|corr0432|Letter from Aaron Copland to Carlos Chvez, 1957/12/06|<p>[Dec 6 57] </p>
<p>Dear Carlos:<lb>Let me be one of the first to congratulate you on the Norton Professorship.  Yes, I was in on the 'secret', and am already looking forward to the book that will result.  And as an ex-Norton Professor I can probably be of some help with practical advice.</p>
<p>The meetings for the jury of the International Music Fund prize are now set for Apr. 28 and 29 in N.Y. so please put it in your date book.</p>
<p>I am writing you from Buffalo where I just gave my third lecture.  Its a small auditorium, crowded with people, and all very receptive.  I don't think you'll have any trouble.</p>
<p>Will you be in New York Jan 30 or 31?  Those are the days I am conducting my Third Symphony with the N.Y. Philharmonic.</p>
<p>Looking forward to seeing you in January.</p>
<p>As ever<lb>Aaron</p>
Copland|corr0433|Letter from Aaron Copland to Carlos Chvez, 1957/12/16|<p>December 16, 1957</p>
<p>Dear Carlos,<lb>I was glad to hear about your New Orleans engagement.  This means we won't have as much time to discuss Buffalo as I had thought.  If you won't be in New York until February 7 or 8, we will have to meet before I leave on February 11 for a 5-week mid-west tour.  This will include lecturing and conducting at 6 or 7 universities, and looks like it will be a very busy time.</p>
<p>By the way, the April meetings of the jury are likely to have to be changed.  As soon as I have a definite date I will write you again; but try to keep the weekend of April 25 free for that purpose.</p>
<p>I was naturally very pleased to get your note about the PIANO FANTASY.  You know how much your reactions mean to me.</p>
<p>Affectionate greetings,<lb>[signed] Aaron</p>
Copland|corr0434|Letter from Aaron Copland to Nadia Boulanger, 1958/01/28|<p>January 28, 1958</p>
<p>Dear Nadia,<lb>I am very sympathetic about your difficulties with the jury meeting dates.</p>
<p>Mr. Richmond called me several weeks ago and explained over the telephone that he was coordinating all your American engagements.  I told him that you and I had settled for the 28th and 29th of April and he explained that other engagements he had for you made that impossible.  Therefore he set the 25th to the 27th in New York, assuring me that he would straighten the matter out with you.</p>
<p>I know Mr. Richmond fairly well and just between ourselves he is not the man that I would have chosen to coordinate my dates.  However, I had no reason to doubt his role as coordinator, and since he seemed so absolutely certain that the 28th and 29th were impossible, we set the 25th to the 27th as the final dates.</p>
<p>The other jury members, Mr. Chavez and Mr. Frankenstein,  have already been invited for those dates and have agreed.  Mr. Frankenstein is coming especially to New York from California and informs us that he cannot be here on the 28th and 29th -- and that is the way the situation now stands.</p>
<p>As you suggested, I shall not tell Mr. Richmond of our correspondence and will leave it to you to arrange matters with him.  But I must confess that by now the 28th and 29th really do not seem possible.  So I am hoping that you will be able to rearrange matters as best you can.</p>
<p>Perhaps I ought to add one other disturbing detail.  It begins to appear unlikely that I shall be able to finish the Dumbarton Oaks piece in time because of many other commitments this winter.  I hesitated very much before accepting Mrs. Bliss' offer, but in the end I said yes out of my great desire that we should be associated together again on such a program.  Perhaps some substitute can be found, but at the moment I can't think what it might be.  Now I must ask you to keep this confidential as I have not yet written to Mrs. Bliss!</p>
<p>All my affection,<lb>[signed]Aaron</p>
Copland|corr0436|Letter from Aaron Copland to Carlos Chvez, 1958/09/23|<p>Flat 146<lb>55 Park Lane<lb>London W.1.<lb>September 23, 1958</p>
<p>Dear Carlos,<lb>I can't tell you how touched I was to receive your letter about Acapulco.  Whether or not I am able to go there I shall never forget your generosity in offering me your house and also the very kind way in which the offer was made.  If I am able to take advantage of what seems like a wonderful idea it would be during the months of February and March, and perhaps the first week in April.  The second week in April I am due to conduct half a program with the Boston Symphony so I would hope to have a big reunion with you then in Cambridge.  Perhaps if I am lucky I would even be able to hear one of your final lectures.  How have they been going?  I shall be very curious to read them when they are published.</p>
<p>I have been having an active time since leaving the States immediately after the Tanglewood season finished.  I spent ten days teaching at the Dartington Summer School where I had students from the most naive to the most sophisticated.  I conducted my Orchestral Variations at the Royal Albert Hall and was pleased at how well they were received.  And last week I was in Copenhagen where I presented an all-American program with the Radio Orchestra.</p>
<p>By the way, the Orquesta Sinfonica de Mexico played "Sinfonia India" in Paris and London among other places.  People here tell me that in the Mexican repertoire the orchestra sounded very brilliant, and everyone enthused about your piece.
I shall be at the above address until December 1st.  As soon as I have made up my mind about Acapulco I shall let you know.  I can?t be more happy at the prospect if it does come to pass.</p>
<p>Affectionately,<lb>[signed] Aaron<lb>Aaron Copland</p>
<p>Mr. Carlos Chavez<lb>Auenida Pirineos 775<lb>Lomas de Chapultepec<lb>Mexico 10 -- D.F.<lb>NORTH AMERICA</p>
Copland|corr0437|Letter from Aaron Copland to Carlos Chvez, 1958/11/04|<p>55 Park Lane<lb>London W1<lb>Nov 4 [1958]</p>
<p>Dear Carlos:<lb>The Invencion  has arrived.  The dedication, after thirty years, makes me very proud.  Thank you, dear Carlos.  I have been battling with the piece.  It is, as we say, a very hard nut to crack!  The no repetitions and no formulas makes the piece hard to get hold of.  By the time I have figured out the notes, I cannot hear the music.  So -- the only solution -- is to wait until I hear you play at it or hear a pianist perform it.  I know how anxious one is to have reactions, but in this case you must have patience.  They'll come!</p>
<p>I hope your lectures are going well.</p>
<p>All my best -- Aaron</p>
Copland|corr0438|Letter from Aaron Copland to Carlos Chvez, 1959/01/27|<p>January 27, 1959</p>
<p>Dear Carlos:<lb>Finally I have made up my mind to take advantage of your so generous offer and spend some time in your studio in Acapulco.  I am assuming that this is still convenient for you and that the invitation still is open.</p>
<p>I have a reservation on the Aeronaves for February 11th.  I will therefore plan to be in Acapulco on the afternoon of February 12th.</p>
<p>Could you tell me: 1 - The exact address where I should have my mail sent. 2 - Shall I bring books or do you have enough reading material in the studio?  (I imagine your main collection is in Chapultapec?)  3 - Is there a piano-tuner available in Acapulco?  Can you give me his name and address?  4 - Is there a typewriter, or should I bring my own?  (I must write a long speech for the University of New Hampshire in April.) [added in ink]: 5.  Also, full name of your sister with address, just in case</p>
<p>[Back into typescript]: I hope everything is going well in Cambridge, and look forward to hearing from you.</p>
<p>As ever,<lb>[signed] Aaron</p>
Copland|corr0439|Letter from Aaron Copland to Carlos Chvez, 1959/02/13|<p>Feb 13 '58 [i.e. 1959]</p>
<p>Dear Carlos:<lb>I feel like a very lucky fellow today -- writing this letter to you from your own table in your own studio.  I am simply enchanted with the set-up, and am most grateful to you for making it possible.  Whats more, I have already written a page of music on my first morning here, which is a good sign!</p>
<p>Chebela[?] has been helpful.  I was completely unprepared for your magnificent 'jardin' -- and look forward to getting to know it better.  She explained it is all your conception, so I expect to discover a connection between your garden and your music.  The situation of the house is sensational -- it is difficult for me to take my eyes off the landscape.</p>
<p>For the moment I have no car, because they are all rented in Mexico and Acapulco.  So I cannot tell much about the surrounding country.  Curious detail: just before leaving home my sister called me and told me she was going to Acapulco for five days next week with her husband and daughter, not having any idea I was to be there.</p>
<p>I am still under the spell of the magic change (in less than 24 hours) from the cold and snow of Ossining to the palm-trees and deep blue of the Pacific.</p>
<p>Well, this is merely to tell you, I arrived.</p>
<p>My best to Ottilia<lb>As ever<lb>Aaron</p>
Copland|corr0440|Letter from Aaron Copland to Nadia Boulanger, 1959/02/25|<p>Acapulco<lb>2/25/59</p>
<p>Dear Nadia:<lb>What fun to get your nice note about Philadelphia and the 'round-robin' letter about the Piano Sonata.  Merci, merci!</p>
<p>Chavez has lent me his house in Acapulco for a few weeks, so I came down to work.</p>
<p>Affectionately,<lb>Aaron C</p>
Copland|corr0441|Letter from Aaron Copland to Carlos Chvez, 1959/03/16|<p>March 16 '59</p>
<p>Dear Carlos:<lb>Here I am again -- now an old resident of the Costa Verde.  Everything has gone well, and I have done much work.  I have only one complaint -- your neighbors are too musical!  (But that's not your fault.)  Like all good things it must come to an end -- I am leaving Acapulco on Tuesday of next week (the 24th) and will be home the following day.</p>
<p>I hear from Minna that we will all meet at her house on the following Saturday.  How nice!  She also reports good things happening for you with records and concerts, which makes me happy.</p>
<p>Let me know if you want me to bring anything for you from Mexico.</p>
<p>Guess who walked into the house 2 days ago?  Marc Blitzstein, a refugee from Broadway.   The Playa Condessa will heal the wounds.</p>
<p>Affectionately Aaron</p>
Copland|corr0442|Letter from Aaron Copland to Carlos Chvez, 1959/05/06|<p>May 6, 1959</p>
<p>Dear Carlos,<lb> I am sending this letter to Mexico on the theory that you have probably left Cambridge by now.</p>
<p>I was very pleased to receive the H.P. score with the nice dedication.  Many thanks!  It was fun to look it over and remind myself of the excitement of hearing it in the early days in Philadelphia.  I had completely forgotten the sandunga at the end, with which I'm very familiar, came originally from H.P.  It seems to me it should be a [added in ink: still] youthful and colorful score once it is "discovered."</p>
<p>The INVENCION continues to stay in my memory.  Because it is such a difficult score to read, the actual performance made me think I was hearing it for the first time.  It seemed quite far removed from the style of your TEN PRELUDES which I suppose is a good thing and, at our age, not so easy!  My only reservation has to do with the end of the piece which, in some curious way, seems ineffective.  Perhaps I am wrong and further hearings would make the end clearer.</p>
<p>Now that Cambridge is finished, I'm looking forward to the book.</p>
<p>[in ink]: Congratulations on the Stadium appearances just announced.</p>
<p>Affectionately<lb>Aaron</p>
Copland|corr0443|Letter from Aaron Copland to Carlos Chvez, 1959/05/29|<p>May 29 '59</p>
<p>Dear Carlos,<lb>I am looking forward to Boston and to our concert together.  I shall arrive on the 13th in time for some of your rehearsal (which Mazzeo  says is in the afternoon).  Then, since it is your 60th that day (!) I hope you'll let me invite you to a birthday dinner!!  Is there anyone among your friends around Boston you would like me to invite?  If so, let me know.  (I shall try to get the Bergers and the MacLeishes and the Pistons.)</p>
<p>Looking forward also to H.P.</p>
<p>As ever<lb>Aaron</p>
<p>P.S.  I shall be at the Harvard Club on Commonwealth Av.</p>
Copland|corr0444|Letter from Aaron Copland to Benjamin Britten, 1959/09/23|<p>September 23, 1959</p>
<p>Dear Ben,<lb>It was good to get your recent letter with detailed suggestions for Aldeburgh.</p>
<p>As to date, there is just a possibility that I may not be able to be at the Festival until the final week, starting June 20.  I hope that doesn't cause any complications from your end.</p>
<p>Of course I want to be as active as possible, without 'overdoing.'  I like the idea of conducting IN THE BEGINNING with the Toronto Singers, but how many of them are there?  The piece should have a fairly solid sound and I need reassurance as to the size of the choral group.  I would be glad to serve as pianist in a performance of the PIANO QUARTET.  (The SEXTET always makes complications and we had better not attempt it.)  I'm afraid however thet the PIANO FANTASY is quite beyond me and the VARIATIONS would take more practicing than I would have time for.</p>
<p>What chance would there be of my introducing a new work I am presently engaged upon?   The first performance anywhere is reserved for Dumbarton Oaks, who commissioned it.  That will take place in mid-April in Washington, D.C.  I should love to conduct its English premiere in Aldeburgh, but it is being written for 3 violins, 3 violas and 3 cellos.  Are you that rich?  The piece should last about 14 minutes and is rather elegiac in character.</p>
<p>I'd be glad to prepare a lecture, though it's still too early for me to decide what I had best choose for subject matter.</p>
<p>Let me have reactions to the above.</p>
<p>All my best to you and Peter</p>
<p>[signed] Aaron</p>
Copland|corr0450|Letter from Aaron Copland to Nicolas Slonimsky, 1960/08/12|<p>August 12, 1960</p>
<p>Dear Nicholas:<lb>As I promised, here are the notations on the article in Baker's:</p>
<p>1 -- I did not study harmony or counterpoint with Nadia Boulanger.  I had finished my studies in those subjects with Rubin Goldmark and worked on free composition and orchestration with her.</p>
<p>2 -- The Piano Concerto date of composition is 1926.  It was first performed in '27.</p>
<p>3 -- The title is Lincoln Portrait, not A Lincoln Portrait.</p>
<p>4 -- Music for Radio was not renamed Saga of the Prairie, but merely subtitled thus.</p>
<p>5 -- Quiet City is a suite from incidental music for a play, not for a film.</p>
<p>6 -- The Danzon Cubano did not win the New York Critics Award for 1947.  That statement probably was meant to refer to the Third Symphony.</p>
<p>7 -- Five Kings is incorrectly listed under film music, as is Quiet City.  They were both plays.</p>
<p>8 -- You will probably want to add The Heiress under the heading of film music since it won me an Oscar.</p>
<p>It was fun to see you last Monday.</p>
<p>As ever,<lb>[signed]Aaron</p>
Copland|corr0451|Letter from Aaron Copland to Carlos Chvez, 1960/10/13|<p>October 13, 1960</p>
<p>Dear Carlos,<lb>I was greatly pleased to get your letter and the recent news of you.  Thanks very much also for sending the Fourth Symphony.  I already had the recording, so it was a pleasure to listen with the score.  Each time I hear your music I have a desire to write about you again, and again to explain to dull heads why you are you.  (By the way, I haven't received the score of Soli, but I will ask B. & H. to give me one, so don't bother to send it.)</p>
<p>Naturally I'm sorry about the end of the B. & H. relation, but on the other hand, I hope the Mills Music connection will be a more fruitful one.  I had heard about your performance of El Salon Mexico in California and would love to hear you do it again after all these years.</p>
<p>Like yourself, I am having a book published this fall  and will mail you a copy.   It is largely made up of collected articles many of which you probably have read, but there are some new things included.  I'm looking forward to getting your own book when it comes out.</p>
<p>I've just sold my barn and bought a new house, which you must admit is a brave thing to do at my age!  It is ten minutes further up the Hudson and I think you will like it.  (Will send you the new address after I have moved.)</p>
<p>Just now I am about to be busy with various birthday activities.  The Juilliard School is giving two concerts, one of which will be devoted to Masselos' performance of the Sonata, the Variations, and the Fantasy.  Boosey & Hawkes will be getting out a release concerning events in November and I will ask them to send you one so that you are au courant.</p>
<p>I must confess that I marvel at your ability to work at two symphonies, while I don?t seem to be able to get going on Number 4.  Looking forward to the Morillo book ..</p>
<p>All my best,<lb>[signed] Aaron</p>
Copland|corr0452|Letter from Aaron Copland to Roger Sessions, 1960/10/20|<p>October 20, 1960</p>
<p>Dear Roger:<lb>It seems to me that one phase of our ISCM reorganization needs clarification.  In view of Claire Reis' long association with the organization in both its manifestations, I was concerned that she not feel that she was being unceremoniously turned out.  The other day I had the opportunity of sounding her out.  My impression is that she will be content with her position as Honorary Chairman and, frankly, I think she's earned it.  That would mean that we would carry her name as such on the new stationery whenever it is printed.</p>
<p>I doubt very much whether she will put in an appearance in any tangible way but, if we care to, I imagine she might put on a tea for a visiting celebrity or be useful in some general way.</p>
<p>I thought I ought to write you this in order to avoid any complications in the future.  It seems to me a happy solution for what might otherwise turn out to be a sticky business.</p>
<p>Good luck to you on the Martha Baird request.</p>
<p>As ever,<lb>[signed]Aaron</p>
Copland|corr0453|Letter from Aaron Copland to Nadia Boulanger, 1960/12/08|<p>Dec 8 '60</p>
<p>Dear Nadia:<lb>Its taken me almost a month to thank you for your birthday letter.  As you guessed, it was a 'deluge.'  Everyone has been very kind.  But I still have great trouble making a connection with that number: 60.  It seems to have no relation to how I feel.  Tant mieux!</p>
<p>I have almost completed the Nonet (3 vls, 3 vlas, 3 vlc.) For Mr & Mrs Bliss.  We all agree that you are to be the dedicacee, which makes me very happy -- since it will celebrate our 40 years of friendship.</p>
<p>As ever<lb>Aaron</p>
Copland|corr0454|Letter from Aaron Copland to Carlos Chvez, 1961/01/19|<p>January 19, 1961</p>
<p>Dear Carlos,<lb>It gave me a real kick to receive Garcia Morillo's biography of you.  It was interesting to see the photos, too.  I'm pleased that he did so thorough a job on you.  It is nice to have an orderly list of works and to know that I can refer to it whenever I have to remind myself of what you have done.</p>
<p>Perhaps I shall see you in March?  But I will be in Arizona at the University from the 19th to the 26th [in ink: of that month].</p>
<p>All my best<lb>[signed] Aaron</p>
<p>[in ink]: P.S.  I've just returned from a week with the New Orleans Symphony.</p>
Copland|corr0455|Letter from Aaron Copland to Carlos Chvez, 1961/03/07|<p>March 7 ?61</p>
<p>Dear Carlos:<lb>I am doubly in your debt for sending the Invencion with the dedication, and the Norton lectures.  I am half way through the book, but didn't want to delay before thanking you.  What I read seems very solid and sober and sensible.  Very different from the Invencion which seems restless and rugged.  But I enjoy having them both.</p>
<p>My main news is that I completed my Nonet, and it was premiered at Dumbarton Oaks last week.  I wonder how you will like it?  I myself thought it had a poignant and elegiac sound -- almost autumnal in quality.</p>
<p>I shall be in Arizona at about the time you are in Pittsburgh.  I hope your concerts go off well.  On May 11 I leave for London where the Nonet will have a performance on the BBC.</p>
<p>But mostly I'm looking forward to the arrival of Spring in my new house!</p>
<p>With all my affection,<lb>Aaron</p>
Copland|corr0456|Letter from Aaron Copland to Nadia Boulanger, 1961/03/31|<p>March 31, 1961</p>
<p>Dear Nadia,<lb>First let me say how pleased I am that you will be conducting the Philharmonic next season.  I would have answered your letter sooner, but I was conducting at the University of Arizona and have only just received it.</p>
<p>You must know how much I should like to please you in the matter of the "Triptyque de Circonstance."   But despite my wishes, facts are facts and they must be faced.  The simple truth is that between today and the end of August I have not a possibility of avoiding the various commitments I have made.  These [added in ink: are planned 6 months in advance and] include conducting and lecturing engagements in half a dozen cities, not coulnting England, Yugoslavia and Portugal; the writing of a film score  (my first in 12 years); several commissions including the New York Philharmonic and the Philadelphia Orchestra; and my duties as Chairman of the Faculty and teacher at Tanglewood.  Moreover, as you know, I am a "slow" composer, who does not dash off pieces just like that.  Because of all this, I?m sure you will understand the impossibility of my situation in relation to your request.  It is the price one pays for being 60, I suppose!</p>
<p>However, I have two suggestions which may be of some use to you.  As you know, the Nonet was written for 9 solo strings; but both Mrs. Bliss and myself thought that it was possible to do with a full body of strings; if one kept the relative proportions: in this case -- 9 violins on each of the 3 violin parts, 3 violas on each of the 3 viola parts, and the same for cellos.  That would make a string orchestra of 45 players.  Since the work is dedicated to you and has never been played in New York, it would be a premiere, (without comparison of other conductors, as you needlessly seem to fear!).  The work lasts 18 minutes and is not too difficult to prepare.  Boosey & Hawkes tells me they have sent it to you in any case.</p>
<p>The second suggestion I have might be to revive our Organ Symphony in the version without organ (First Symphony).  It would be wonderful to hear you do it as conductor after 37 years!!  I conducted it with the Boston Symphony last year, both in Boston and on the Far Eastern tour, and audiences seemed to like it.</p>
<p>You can imagine how disappointed I am not to be able to take up your original suggestion.</p>
<p>As ever,<lb>[signed]Aaron</p>
Copland|corr0457|Letter from Aaron Copland to Carlos Chvez, 1961/06/23|<p>June 23, 1961</p>
<p>Dear Carlos,<lb>On returning from Europe last week, I was delighted to find the program of the three conciertos that were given with the collaboration of Billy Masselos.  It pleased me to see that the FANTASY was given twice on the same evening.  I am wondering what the reaction  of the audience was at the Colegio Nacional. </p>
<p>Since I last saw you, I introduced my NONET in Washington, and heard other performances in Brandeis, Chicago and London.  When it is published, I shall send you a copy.</p>
<p>I went abroad on a State Department trip, conducting in Scotland, Yugoslavia and Portugal.  I even managed to sandwich in three days in Madrid where I uncovered an active dodecaphonic school!  (Poor Falla -- I wonder whether he would have approved.)</p>
<p>At the moment I am heavily engaged in a film score,  my first in twelve years; on top of which Tanglewood arrives.</p>
<p>Send me news of you when you get a chance.  By the way, I saw a flattering reference to your INVENCION in an English publication apropos of the issuance of the printed music.</p>
<p>Un abrazo....<lb>[signed] Aaron</p>
Copland|corr0458|Letter from Aaron Copland to Nadia Boulanger, 1961/11/22|<p>November 22, 1961</p>
<p>Dear Nadia,<lb>Thank you so much for sending the birthday note.  Knowing how busy you are I marvel that you are able to remember my birthday date so faithfully!</p>
<p>This gives me the opportunity to add a word to what Jack Lessard has written you concerning the concert that was planned as a tribute to Teddy Chanler.  All of us who were interested in having this concert are very disappointed at the idea that it is not to happen.  Now, we still think that there is a possibility of saving the event.  First, we would need a new date which is possible for you in March or April.  Secondly, the concert would be announced as a tribute to Teddy's music.</p>
<p>Since all of us seem to agree that an entire evening of Teddy's music would not be advisable, we looked about for other works by Americans of his own generation, who knew him and were devoted to him.  If you agree that it is approprtiate for the concert to be given in this way, I think that we can have a distinguished event which will reflect credit to Teddy's memory.</p>
<p>Please let me know if I can be of any help to you during your much-awaited visit here.</p>
<p>With all my affection.<lb>[signed]Aaron</p>
Copland|corr0459|Letter from Aaron Copland to Carlos Chvez, 1962/06/16|<p>June 16 '62</p>
<p>Dear Carlos:<lb>How nice of you to make me 'un cocktail.'   I think I would prefer the Wednesday date, but please check with Mr. Webb at the Embassy to be sure it doesn't conflict with anything (Tuesday is also possible, of course.)</p>
<p>I have just learned that the plane I am to take arrives in Mexico at 12:37 p.m. ON Sunday the 15th.  That is in the middle of your concert, no?  I'm sorry to miss it, but dare not leave N.Y. earlier, because my Philharmonic piece  is only half done!</p>
<p>Thanks again for making a party.  I look forward to seeing you.</p>
<p>As ever<lb>Aaron</p>
Copland|corr0460|Letter from Aaron Copland to Carlos Chvez, 1962/09/27|<p>September 27, 1962</p>
<p>Dear Carlos:<lb>What a disappointment that you weren't able to come!   But of course I realized how complicated it might be.  In any event, I was just on the point of calling you at the Barbizon when your letter reached me.</p>
<p>I finished my piece just in time to have the parts ready for the first rehearsal.  It would have been very nice to have had your reaction.  I must say that I myself was surprised how well it was received in view of the fact that the harmonic language was rather severe.  Somehow people seemed to be carried along by the fact that the piece has a strong dramatic quality and in some way seemed to fit the solemnity of the occasion and the clean lines of the new Hall.  Well -- I will send you a score as soon as it is published.</p>
<p>As for the Hall itself, there are plenty of problems acoustically speaking.  Even after all these are ironed out, I doubt whether the quality of sound will ever in any way be distinctive.  Something in the construction materials used tends to make different orchestras sound the same.  This only goes to prove what you and I already know, namely, that the art of the acoustician is a very shaky one.</p>
<p>All my best to you, and good luck on the finishing of the Symphony.</p>
<p>Affectionately,<lb>[signed] Aaron</p>
Copland|corr0461|Letter from Aaron Copland to Carlos Chvez, 1962/12/11|<p>December 11, 1962</p>
<p>Dear Carlos,<lb>Thanks for writing me so promptly.  I sent your letter on to Miss Dispeker.  It was nice of you to remember about that.</p>
<p>This letter is mainly to tell you that you forgot one of your filters at the house.  I can either mail it to you (though I'm a little worried about its breaking in transit) or I can hold on to it until you are back in March.  If I don't hear anything from you, I'll assume you want me to hold on to it.</p>
<p>I would appreciate it if you sounded out Anita Brener.  If she thinks there is a chance of finding some couple in Mexico, then I will write her more exactly what the job is like.  However, I haven't at all investigated the complications of immigration etc. and am hoping that she has some notion of how that works.</p>
<p>It was nice to have you here that Sunday, and if you ever want the house for yourself while I am away it is certainly yours for the asking.</p>
<p>Affectionately,<lb>[signed] Aaron</p>
Copland|corr0462|Letter from Aaron Copland to Nadia Boulanger, 1961/12/22|<p>December 22, 1961</p>
<p>Dear Nadia,<lb>It was very nice to get your letter and to know that the Nonet was performed.  I had no idea that it was to be played in Paris.  I was hoping that you would like this work, as I feel it is a very personal document.  I hope you won't mind if we include it on "Teddy's concert" because I have a feeling that he too would have liked it.  If we perform it then, it will be the New York premiere.</p>
<p>Now I must tell you an awful thing.  Long before I knew the dates of your Philharmonic appearance, I had accepted, among other things, a concert conducting the London Symphony Orchestra on February 13th.  This means I will be away from New york during the first part of your visit.  You can imagine how badly I feel about this.  But I will be back in early March and hope to take in some of your activities during what appears to be a phenomenal tour.</p>
<p>Take care of yourself!</p>
<p>Always devotedly,<lb>[signed]Aaron</p>
Copland|corr0463|Letter from Aaron Copland to Nadia Boulanger, 1962/09/01|<p>Sept 1 1962</p>
<p>Dear Nadia:<lb>Now -- after Teddy Chanler and Mel Smith  -- another sad loss -- Irving Fine.  It was so very sudden, -- he had only 12 days before conducted the Boston Symphony in his 1st Symphony at Tanglewood, and with much success.  Fortunately his wife Verna is a strong soul, and will be able to take care of his three girls.  But it is sad, -- very.</p>
<p>With all my affection<lb>Aaron</p>
Copland|corr0464|Letter from Aaron Copland to Nadia Boulanger, 1962/12/18|<p>Dec 18 '62</p>
<p>Dear Nadia:<lb>Thank you, as always, for the warm birthday greeting letter.  The birthdays seem to follow one another faster than ever -- but, as you would say: nothing to be done, -- so one must accept it!</p>
<p>I know you will be pleased to hear that after 38 years the Organ Symphony is finally published!   I will send you the organ part (in Mel Smith's edition) and a little later the full score will be out.</p>
<p>I shall be conducting concerts in Berrlin and Rome in the Spring (April to May 10.)   Perhaps I can find a pretext to come to Paris.</p>
<p>All my best wishes to you for the New Year.</p>
<p>Devotedly   Aaron</p>
Copland|corr0465|Letter from Aaron Copland to Nadia Boulanger, 1963/01/09|<p>Jan 9 '63</p>
<p>Dear Nadia:<lb>I just received your letter concerning Monaco.  It would have been a joy to join you there, but the trouble is that I had already promised Olga Koussevitzky to be back from Europe by May 15th.  Reason: a big benefit dinner -- concert to raise funds for contemporary composer recordings, where I am to be toastmaster.  But more than that, she needs me as moral support and fellow-planner for this important event.</p>
<p>So sorry!  But perhaps in '64?</p>
<p>As ever<lb>Aaron</p>
Copland|corr0466|Letter from Aaron Copland to Carlos Chvez, 1963/02/11|<p>February 11, 1963</p>
<p>Dear Carlos,<lb>Since I am not leaving New York until March 27th, it will be very convenient to hear the new symphony sometime after your arrival on the 19.  I am looking forward to it very much.</p>
<p>Thanks so much for telling me about Anita Brenner's helpfulness.  I am waiting to receive the letter you say she sent me, and will probably call her up after I receive it in order to discuss the matter fully.</p>
<p>I don't think that the State Department intends to use more than one half hour of the talk we had.  By careful cutting, I hope they get a good 'show' out of it!</p>
<p>All my best.<lb>[signed] Aaron</p>
Copland|corr0468|Letter from Aaron Copland to Carlos Chvez, 1964/01/15|<p>Jan 15 '64</p>
<p>Dear Carlos:<lb>Thanks for sending the inscribed copy of Soli II.  What you wrote made me very proud.  I read the score again and admired the clearness of the conception and the cleverness[?] of the writing for the 5 instruments.  I shall bring it to the attention of the Dorian Quintet -- a very good group.</p>
<p>I spent 4 weeks in Europe, mostly in Munich, where I conducted my new ballet -- Dance Panels (in seven sections).  There is a rumor that Balanchine is planning to do it here.  I hope so, because the German choreographer left much to be desired.</p>
<p>Last week I played 4 performances of my old Piano Concerto.  It brought back memories of 1936 and of our performance together in Mexico.</p>
<p>At the end of the month I go to Cincinnati for lectures and to do the 3rd Symphony.  I hear you are to be there yourself later on.</p>
<p>All my affection ----- and best wishes for 1964.</p>
<p>Aaron</p>
<p>P.S.  I suppose you have heard the sad news of Colin McPhee's death in Los Angeles.</p>
Copland|corr0470|Letter from Aaron Copland to Nadia Boulanger, 1964/06/24|<p>June 24 '64</p>
<p>Dear Nadia:<lb>I am recently back from my European visit (final concert in Glasgow) and hasten to thank you for the lovely gathering at 36 after my radio concert.  It was so good of you to arrange it amidst all your activities.</p>
<p>It is always an emotional experience for me to return to the scene of the lessons which meant so much to me and a great pleasure to see you so vigorous and absorbed in matters musical as always.</p>
<p>With all my affection</p>
<p>Aaron</p>
Copland|corr0471|Letter from Aaron Copland to Carlos Chvez, 1964/07/10|<p>July 10, 1964</p>
<p>Dear Carlos,<lb>Very nice to hear that you gave the MUSIC FOR THE THEATRE in Mexico again.  That's what I call being faithful.  I recently conducted it myself in Paris, along with CONNOTATIONS.</p>
<p>I had read you were coming to Dartmouth and Chicago.  Although I am here for July, I will be in Tanglewood from August 3 to 17.  By all means call me in New York.</p>
<p>I notice that you are to be in Dartmouth from August 17.  If by any chance you will be in the Tanglewood area, we are having a week of young composers' music just previous to your Dartmouth week.  The best evenings would be Tuesday and Thursday.  Lenny, Schuller and Lukas will all be there and quite a few other young composers.  Let me know if there is any chance.</p>
<p>Affectionately,<lb>[signed] Aaron</p>
Copland|corr0472|Letter from Aaron Copland to Carlos Chvez, 1964/08|<p>Wed. morning [August 1964]</p>
<p>Dear Carlos:<lb> I will stop by here  to see if you are still up at about 10:30.  (I am assuming you will be here too late for the concert.  If not -- [illeg] -- call me at HEATON HALL in Stockbridge.)  The concert is at 8 PM.</p>
<p>If you are too tired after your journey leave word with the telephone operator and I will call to-morrow A.M.</p>
<p>Till soon<lb>Aaron</p>
Copland|corr0473|Letter from Aaron Copland to Nadia Boulanger, 1964/11/25|<p>Nov 25 1964</p>
<p>Dear Nadia:<lb>Thank you so much for the birthday greeting.  It is always so nice to hear from you.  I thought of you, naturally, when I read of Prince Pierre's death, and again, when I read of the death of Denoe Leedy.   It is sad to realize that, one by one, our friends are leaving us.</p>
<p>I myself, happily, continue active.  Recently I finished a first work for symphonic band, to be played by our fine college ensembles.  I called it: 'Emblems.'</p>
<p>Next month I am conducting in Rochester and Pittsburgh with the Symphonies there.</p>
<p>Delighted to hear you will be here next Spring.  Let me know if I can be of help in any way.</p>
<p>Devotedly yours<lb>Aaron</p>
Copland|corr0474|Letter from Aaron Copland to Nadia Boulanger, 1965/11/20|<p>Nov 20 1965</p>
<p>Dear Nadia:<lb>Always such a pleasure to get a birthday greeting from you.  When I was in Warsaw last week (conducting) we spoke of you constantly, especially with Mycielski.  What a charming fellow he is!</p>
<p>I'm sorry my travels didn't bring me to Paris this time, but perhaps next year.  In the meantime all my affectionate devotion to you</p>
<p>Aaron</p>
Copland|corr0476|Letter from Aaron Copland to Olga Koussevitzky, 1966/08/04|<p>August 4, 1966</p>
<p>Dear Olga,<lb>I read Mr. Hall's  letter with some care.</p>
<p> Once again, as I suggested in our last conversation, I have a mixed reaction to the problem of whether or not he should be encouraged.  Since this time he is asking for help in publishing a magazine, the first question that suggests itself is -- what experience does he have in issuing such a publication?  How many copies would be printed of each edition?  How often will it come out?  And, of course, how much would it cost per year?  In my mind, the publication in England of a magazine that concerns itself with American music is a matter of considerable importance.  It would be better not to do it at all than to do it amateur-fashion.</p>
<p>My general impression of Hall is that what he does is for the most part a one-man operation.  This seriously limits the importance of his activities.  (He himself suggests in his letter that his record concerts were not considered to be a success.)  But mostly, I fear that the mere notion of furthering the idea of American music is more important in his mind (not having much musical taste himself) than the actual material he presents.  In other words, I'm trying to say that he lacks a point of view and a real conviction about specific works and composers.  I notice with some interest that he seems to have made contact in recent months with the 'far out' elements in our music here.  This would be fine if I felt any personal conviction on his part in this music; but what I sense is a kind of opportunistic movement in any direction where funds and interest may lie.</p>
<p>Perhaps someone who knows him would give you a different view, but think about this.</p>
<p>As ever,<lb>[signed]Aaron</p>
Copland|corr0477|Letter from Aaron Copland to Olga Koussevitzky, 1967/06/06|<p>June 6, 1967</p>
<p>Dear Olga,<lb>I received your copy of the letter from Rostropovich.</p>
<p>I think you ought to explain to him in a reply that we have already voted a commission to Carter and to Schuller, therefore all he need do is to persuade them to fulfill the commission by writing a work for cello and orchestra.  Perhaps it might help his case if you too write to Carter and Schuller, urging them to do just that.</p>
<p>As for Lenny and myself, you must explain that, since we both have had two commissions from the Foundation, our willingness to write for him can not very well be connected with a commission.  I'm sure I speak for Lenny as well as myself in saying that all we need in Rostropovich's case is inspiration!</p>
<p>As ever,<lb>[signed]Aaron</p>
Copland|corr0479|Letter from Aaron Copland to Nadia Boulanger, 1967/11/17|<p>Nov 17 1967</p>
<p>Dear Nadia:<lb>How do you possibly find time to write such beautiful birthday notes?  It was a joy to receive it.</p>
<p>So pleased to have caught a glimpse of you at the Monaco celebration.  It was a never-to-be-forgotten occasion for all your friends.</p>
<p>Take good care of yourself dear Nadia -- and all my best thoughts go to you</p>
<p>Aaron</p>
Copland|corr0482|Letter from Aaron Copland to Nadia Boulanger, 1968/11/27|<p>Nov 27 '68</p>
<p>Dear Nadia:<lb>Many, many thanks for your more than kind birthday letter!</p>
<p>It was such a pleasure to see you looking so well and so lively in London.  Everywhere I go people ask me about you, and now I can give a first-hand report.</p>
<p>All my affection goes to you.</p>
<p>As always<lb>Aaron</p>
Copland|corr0483|Letter from Aaron Copland to Nadia Boulanger, 1969/01/30|<p>January 30, 1969</p>
<p>Dear Nadia,<lb>I hasten to write you in connection with your letter suggesting that this year's award go to Mycielski.  I quite agree that this is a good idea, -- taking into account what you tell me.</p>
<p>I hope all goes well with you.</p>
<p>As ever,<lb>[signed]Aaron</p>
Copland|corr0485|Letter from Aaron Copland to Nadia Boulanger, 1969/10/16|<p>1538 L. Washington St. [Peekskill, N.Y., 10566]<lb>October 16, 1969</p>
<p>Dear Nadia,<lb>It's always such a pleasure to hear from you!</p>
<p>I was delighted to know of your interest in my PIANO QUARTET for the Wednesday class.  I have sent you by Air Parcel Post a copy of the recording of the work, and added a comparatively recent recording of our ORGAN SYMPHONY on the chance that you don't have that one.</p>
<p>I also wrote to David Adams, the head of the London office of Boosey and Hawkes, and asked him to send you the pocket scores of the PIANO QUARTET.  Since the SEXTET for Strings, Piano and Clarinet is on the same recording with the PIANO QUARTET, I also took the liberty of sending scores of the SEXTET for use possibly on some other occasion.  It's a pleasure to present all this avec mes compliments.</p>
<p>Thanks for reminding me about Fontainebleau '71.  Fantastic that such a date is coming so soon, no?
Your suggestion about a concert A.C. is very generous indeed.  Naturally I would do my best to be present on such an occasion, but it would be an advantage to have some idea of a possible date.</p>
<p>Affectionately,<lb>as ever..<lb>[signed]Aaron</p>
<p>P.S. I am to be in London for a concert with the London Symphony Orchestra next month (November 25th) and will remain until December 1st.  Any chance of your being in London then?  I greatly enjoyed our lunch together last year.</p>
Copland|corr0486|Letter from Aaron Copland to Nadia Boulanger, 1969/12/19|<p>1538 L. Washington St.<lb>December 19, 1969</p>
<p>Dear Nadia,<lb>Your last letter reached me only recently because I was on a conducting trip which took me to Baden-Baden, Bucharest and London (not Paris, unfortunately).</p>
<p>I have been wondering whether it is possible for you to suggest a definite date for the concert you are planning at Fontainebleau in 1971.  It would help me very much in making other plans for that summer.  Naturally, if you cannot name a specific day, it would also help if I knew in what week of July I would be needed.</p>
<p>There is no problem whatever about my coming.  It was very nice of you to suggest a "scholarship," but of course it is not necessary.</p>
<p>Take care of yourself and here's wishing you a very good New Year.</p>
<p>As ever,<lb>[signed]Aaron</p>
Copland|corr0487|Letter from Aaron Copland to Nadia Boulanger, 1970/07/07|<p>July 7, 1970</p>
<p>Dear Nadia,<lb>I was delighted to get your letter of June 29th telling me that July 6th is the date chosen for the celebrations at Fontainebleau.</p>
<p>I think it would be best to fix my talk for July 7th.  Unless I hear to the contrary, I will assume that these dates are agreeable to you.</p>
<p>I hope all goes well at Fontainebleau during this 49th season.</p>
<p>With all my affection,<lb>[signed]Aaron</p>
Copland|corr0488|Letter from Aaron Copland to Nadia Boulanger, 1970/10/21|<p>October 21, 1970</p>
<p>Dear Nadia,<lb>I have recently come home from a conducting trip in Europe (unfortunately not in Paris!).  While I was away, I learned that a letter from you had been received.  For some mysterious reason, I am unable to find it.  I wonder if you would ask your secretary to write me the contents, if you can remember them.  In any event, I didn't want you to think that one of your letters would go without a reply from me!</p>
<p>With all my affection.<lb>[signed]Aaron</p>
Copland|corr0489|Letter from Aaron Copland to Nadia Boulanger, 1970/11/22|<p>Nov 22 1970</p>
<p>Dear Nadia:<lb>I have two reasons to be grateful to you: one is for the recent birthday letter, and the other is for the extraordinarily generous letter you sent for the Album of Letters from Composers presented to me on November fourteenth.</p>
<p>[Of course I cannot believe I am 70 -- but rien a faire, -- everyone says I am!]</p>
<p>In re-reading your two letters I have present in my mind all that I owe to you as man and musician.</p>
<p>There is no adequate way for me to express my appreciation for all I learned in those early years of the twenties, and for all the encouragement and help in the years that followed.</p>
<p>Dear Nadia: I look forward to our re-union at Fontainebleau next summer more than I can say.</p>
<p>With all my affection</p>
<p>Aaron</p>
Copland|corr0491|Letter from Aaron Copland to Nadia Boulanger, 1971/09/10|<p>Sept 10 1971</p>
<p>Dear Nadia:<lb>This is to send you warmest greetings on your birthday!  It was such a pleasure to be with you again this past summer -- and to see you so active, so effective -- and so brave.</p>
<p>Many many thanks for making the few days I spent at Fontainebleau so memorable.</p>
<p>With tender affection, as ever</p>
<p>Aaron</p>
Copland|corr0492|Letter from Aaron Copland to Nadia Boulanger, 1972/11/26|<p>Nov 26, 1972</p>
<p>Dear Nadia:<lb>What a pleasure it was to receive your birthday greetings this year, as ever -- and in your own handwriting!  Many, many thanks.</p>
<p>I have been travelling recently -- to conduct and lecture -- in Denver, Colorado; Austin, Texas; Indiana University in Bloomington; Johns Hopkins in Baltimore; -- wherever I go, students and people generally speak to me about you.  "Tell us about Nadia Boulanger" is a familiar refrain.  So -- you accompany me on all my travels -- which is also a pleasure.</p>
<p>I hope soon to get started on an autobiography, mostly in order to tell the story of the development of American music as I saw it in the years '20 to '50.  How I wish my memory were better than it is!  But I hope to write it for better or worse.</p>
<p>All my affection to you and to Annette.</p>
<p>As ever<lb>Aaron</p>
Copland|corr0493|Letter from Aaron Copland to Nadia Boulanger, 1973/11/19|<p>Nov. 19 1973</p>
<p>Dear Nadia:<lb>It is always such a pleasure to hear from you.  Many thanks for your birthday greetings!</p>
<p>I am recently returned from a 5-week conducting tour which included Budapest, Istanbul, Ankara, Prague and Madrid.  In Turkey Idil Bireb was my soloist in a Mozart Concerto.  What a fine artist she is.</p>
<p>Wherever I travel people speak to me of you.  What an impression you have left with the music-lovers around the world!</p>
<p>On my next trip abroad I hope to include Paris so as to visit with you.</p>
<p>Until then, all my affection goes to you</p>
<p>Aaron</p>
Copland|corr0494|Letter from Aaron Copland to Nadia Boulanger, 1974/11/04|<p>Nov 4, 1974</p>
<p>Dear Nadia:<lb>What a great pleasure it is, as always, to receive your birthday message.  Many, many thanks!</p>
<p>You can have no idea how many times, and in how many places, people speak to me about you, and what a comfort it is for me to be able to tell them you are still there, working as ever, on the same spot, as in 1921.</p>
<p>We are all proud of you!</p>
<p>With luck I may be coming to conduct the ORTF Philharmonique in September 1975 in an all American program.  It is not settled yet; but I hope it happens if only to have the chance to visit you, after too long a time.  Well, let's hope!</p>
<p>All my affection goes to you, dear Nadia.</p>
<p>As ever<lb>Aaron</p>
<p>P.S. Greetings to Annette!</p>
Copland|corr0498|Letter from Aaron Copland to Nadia Boulanger, 1975/11/09|<p>Nov 9 1975</p>
<p>Dear Nadia:<lb>What a beautiful article you wrote for the Schwann Catalogue!  Many, many thanks.  I cannot, fortunately, believe 'mon age'!  Isn't that lucky?</p>
<p>I have become more and more active as symphony conductor, and wherever I go in the world, people speak to me about you, -- and I never tire recounting what you have done for American music.</p>
<p>All my affection, dear Nadia</p>
<p>as ever -- Aaron</p>
Copland|corr0499|Letter from Aaron Copland , 1977/09/29|<p>I KNOW I SPEAK FOR NADIA BOULANGER'S MANY FRIENDS AND ADMIRERS -- AND CERTAINLY FOR HER MANY AMERICAN STUDENTS, WHEN I SAY HOW MUCH WE ALL APPRECIATE THE PLANNING OF THIS CONCERT, ORGANIZED BY THE MUSIC DIVISION OF THE LIBRARY OF CONGRESS, TO DO HONOR TO N. B. ON THE OCCASION OF HER RECENT 90TH BIRTHDAY.<lb>AND IT IS A SPECIAL PLEASURE TO SPEAK OF N. B. IN A CONCERT HALL WHERE SHE HERSELF HAS BEEN MUSICALLY ACTIVE.<lb>MLLE. BOULANGER HAS BEEN A MUSICAL FORCE FOR MORE THAN HALF A CENTURY.   SHE HAS GUIDED THE DESTINIES OF SO MANY GIFTED MUSICIANS -- NOT ONLY FRENCH AND AMERICANS, OF COURSE, BUT OF NATIONALS OF COUNTRIES AROUND THE WORLD.<lb>SHE POSSESSES THAT SPECIAL ATTRIBUTE OF A REALLY FINE TEACHER, -- TO BE SENSITIVE TO THE POTENTIAL GIFT OF A YOUNG TALENT, A TALENT STILL IN EMBRYO: AND TO KNOW HOW TO GUIDE AND DEVELOP IT, WITHOUT LOSS OF ORIGINALITY.</p>
<p>[There follows, on a second sheet of paper, a "Quote from Virgil Thomson": ...I had never previously had a teacher, nor have I encountered very many since [crossed out: around the world] who knew so instantly what one's music was about.  Each piece of it that one showed to her, she seemed to understand and not reproach one with. ... My previous instructors had usually managed to create the impression that composing music was a risky procedure because you were really in competition with Beethoven and Brahms, and you'd better look out.  Well, she had no such attitude.   For her, writing music was like writing a letter, it's a function of the musical mind, and in that way she put me at my ease in front of the music paper, so that I wasn't writing Beethoven's music, I was writing my own, and my own was perfectly modest and perfectly immodest, like anybody else's.]</p>
<p>[There follows a third page, labeled "To end, Quote from my article in the N.Y. Times"]:<lb>IN 1959, WHEN HARVARD UNIVERSITY CONFERRED AN HONORARY DEGREE ON N. B., A MODEST GESTURE WAS MADE TOWARD RECOGNITION OF HER STANDING AS TEACHER AND MUSICIAN.  AMERICA, UNFORTUNATELY, HAS NO REWARD COMMENSURATE WITH WHAT N. B. HAS CONTRIBUTED TO OUR MUSICAL DEVELOPMENT.  BUT, IN THE END, THE ONLY REWARD SHE WOULD WANT IS THE ONE SHE ALREADY HAS: THE DEEP AFFECTION OF HER MANY PUPILS EVERYWHERE.</p>
<p>[Added in ink] At the head of the score is printed:<lb>Tonights Nonet was written as a commission of the Dumbarton Oaks Research Library in honor of the 50th wedding anniversary of Mr & Mrs Rob't W. Bliss and is dedicated to Nadia Boulanger "after 40 years of friendship.</p>
Copland|corr0500|Letter from Aaron Copland to Nadia Boulanger, 1977/10/04|<p>October 4, 1977</p>
<p>Dear Nadia,<lb>Last week the concert arranged by the Library of Congress in celebration of your birthday was a great success!  I feel certain that Mr. Leavitt has sent you a program of the event.</p>
<p>The audience included many old friends who were, as you can well imagine, warmly enthusiastic.  I conducted my NONET which, as you remember, is dedicated to you, and it seemed to evoke a sympathetic response.  The only thing that was missing was you; but I know the audience was deeply appreciative, as we all were, of the fact that an official branch of the Government, -- the Library of Congress -- wished to arrange such a concert, and carried it off with such clat!</p>
<p>Take good care of yourself!</p>
<p>[in ink] Always devotedly<lb>[signed] Aaron</p>
<p>[in ink]; Many thanks for your letter!</p>
Copland|corr0502|Letter from Aaron Copland to Nadia Boulanger, 1978/12/06|<p>Dec 6, 1978</p>
<p>Dear Nadia:<lb>I was so pleased and touched to receive your letter of birthday greetings!</p>
<p>How faithful you are.  Many, many thanks.</p>
<p>Of course I was distressed to learn that your health has been causing you concern.  Please take good care of yourself.   We speak of you so often among friends and former students.  And with such affection!</p>
<p>As ever -- Aaron</p>
Copland|corr0504|Letter from Aaron Copland to Nadia Boulanger, 1979/07/09|<p>July 9 1979</p>
<p>Dear Nadia:<lb>Here, enclosed, are Four Motets, just issued by Boosey, which date back to a very long time ago -- 1921 to be exact.  I had completely forgotten about them.  But in some unexplained way a choral director in New York found them among his collection, (a manuscript copy), and assured me that choruses would enjoy singing them.  Boosey & Hawkes agreed with him, and so I was persuaded to allow them to be published.  </p>
<p>I'm sending them to you as a kind of sentimental remembrance, and with all my affection</p>
<p>As ever<lb>Aaron</p>
Copland|corr0508|Letter from Aaron Copland to Nadia Boulanger, undated|<p>Peekskill, N.Y.</p>
<p>ALL MY AFFECTIONATE THOUGHTS ARE WITH YOU ON THIS MOST MEMORABLE BIRTHDAY.   AARON COPELAND</p>
Copland|corr0509|Letter from Aaron Copland to Nadia Boulanger, undated|<p>Peekskill, N.Y.</p>
<p>THINKING OF YOU ON YOUR BIRTHDAY WITH ALL THE AFFECTION AND ADMIRATION OF TOUJOURS</p>
<p>AARON COPELAND</p>
Copland|corr0510|Letter from Aaron Copland to Serge Koussevitzky, undated|<p>Wednesday</p>
<p>Dear Sergei Alexandrovitch:<lb>Here is the article.   I hope you will agree with what I have said.  I found it difficult to think for both of us at the same time!  Perhaps you can add and change things in it so that it exactly corresponds with your thought.</p>
<p>Please let me know on what day you would like me to come to Boston, so that I can make my plans accordingly.  I am looking forward to the performance, just as if it had never been played before.</p>
<p>Devotedly always,<lb>[signed]Aaron</p>
Copland|corr0511|Letter from Aaron Copland to Olga Naoumoff (Koussevitzky?), undated|<p>Wednesday</p>
<p>Dear Olga:<lb>Just a note to say I am back at my old address (and studio also -- En2-4676.)  The lovely 'incognito' days are over -- with a bang!</p>
<p>Yours<lb>Aaron</p>
Copland|corr0512|Letter from Aaron Copland to Natalie Koussevitzky, undated|<p>Feb.</p>
<p>Chere amie:<lb>Two things: I am moving to the country, so if I am needed for any purpose before seeing you on Friday my address is Dell Brook Farm, Oakland, N.J.</p>
<p>Carlos Chavez is in New York and if there is any extra space in the box on Friday I know he would love to come.</p>
<p>Devotedly<lb>Aaron</p>
Copland|corr0513|Letter from Aaron Copland to Serge and Natalie Koussevitzky, undated|<p>Wed</p>
<p>Dear Friends --<lb>Welcome to New York!  I am looking forward to seeing and hearing you to-morrow.</p>
<p>Perhaps you thought I was lost!  But no -- I've been here about a month, living at the Hotel Empire.</p>
<p>Till tomorrow -- and best of success</p>
<p>Devotedly<lb>Aaron</p>
Copland|corr0514|Letter from Aaron Copland to Natalie Koussevitzky, undated|<p>63 West 55 St.<lb>New York<lb>[ca. 1934]</p>
<p>Dear Madame Koussevitzky:<lb>I received Mlle Naoumoff's note.  Tell Sergei Alexandrovitch that I will be at the station to meet him on Thursday, and look forward to my annual job as 'secretary."  You can also tell him that he can take my score to Europe as I have another copy myself.</p>
<p>Until I see you</p>
<p>Always<lb>Aaron C</p>
Copland|corr0515|Letter from Aaron Copland to Serge and Natalie Koussevitzky, 1933/01/26|<p>Jan 26 [1933?]</p>
<p>My dear friends --<lb>Here I am back from Mexico.  I am looking forward to seeing you both with great eagerness next week.  After such a long pause I am yearning to hear a real orchestra again.</p>
<p>With warmest greetings to you both</p>
<p>Ever devotedly<lb>Copland</p>
Copland|corr0516|Letter from Aaron Copland to Olga Naoumoff, undated|<p>Dear Mademoiselle,<lb>I am most anxious to know the whereabouts of Dukelsky.  Will you do me the favor, as soon as you hear when he is expected in America, by what boat, or what his address will be when he gets here -- do me the favor to let me know immediately.</p>
<p>Thank you!</p>
<p>Yours cordially<lb>Copland</p>
<p>223 W 78 St.</p>
Copland|corr0517|Letter from Aaron Copland to Serge Koussevitzky, undated|<p>dimanche</p>
<p>Cher ami --<lb>Pardon que je suis en retard avec mon compte-rendu mais je n'avais pas compris qu'il le fallait immediatement.  J'espere [that second e has both accents on it!] ce que je vous envoie sera sufficient.</p>
<p>Pour le moment je n'ai rien vu  propos de l'article de Downes.  Peut-tre c'est trop tt.</p>
<p>Je pense  vous et  Mahler!</p>
<p>Best regards<lb>Copland</p>
Copland|corr0518|Letter from Aaron Copland to Olga Koussevitzky, undated|<p>[postmark illegible] Tel-Aviv</p>
<p>Dear Olga:<lb>Your letter was forwarded to me here.</p>
<p>Jan 15th is O.K. for me.  However, I will check with you when I get back.</p>
<p>The concerts are going well.</p>
<p>Greetings Aaron</p>
Copland|corr0519|Letter from Aaron Copland to Nicolas Slonimsky, undated|<p>Sunday [probably Jan 16, 1927]</p>
<p>Dear K----,<lb>This is a business note.  Tell Madame Koussevitsky that I am hot on the track of the wanted address and hope to send a telegram about it tomorrow (Monday).</p>
<p>I sent the program notes directly to Hale a few days ago (c/o B.S.O.)</p>
<p>Miss Minna Lederman insists on my asking you whether or not the publicity department of your blessed Symphony is going to see to it that my photograph appears in all the New York Sunday music pages a week before the concert here.  If not, then she intends to make it her own little job.  Be a nice boy and mail me a note about this now.  (There goes your image of a blushing young composer!)</p>
<p>Of course we shall have an evening with I. Goldberg.  And what is more, we shall have several nights under the same roof.</p>
<p>Till soon --<lb>Aaron</p>
Copland|corr0520|Letter from Aaron Copland to Nicolas Slonimsky, undated|<p>April 18</p>
<p>Dear Kolya, --<lb>The sight of your typewriting was a blessing.  Since we are to see you soon I shall make this reply sweet but short.</p>
<p>I am sailing on the 30th on the Homeric.  These are the days when one is neither here nor there.  However --</p>
<p>If you are still on speaking terms with Mr. Rogers would you please remind him of his promise to send back the parts of the 'Concerto.'  Also I wrote to Goldberg about the two manuscripts he has and which I should like to have back before I sail.</p>
<p>By all means call me at 11 on Saturday.</p>
<p>Yours, as ever<lb>Aaron</p>
Copland|corr0521|Letter from Aaron Copland to Nicolas Slonimsky, 1927-1930|<p>Sunday [1927-1930]</p>
<p>Dear Kolya --<lb>How do you manage to be such a perfect angel?  I have lost hours of sleep in reproaching myself for not writing you but honestly and truly, there hasn't been an instant of real repose since I last saw you.  I told Gerald to write you everything about the Zaslavsky affair.  It seems very far away now and not worth wasting time over.  He received incredibly good criticisms and even the house was surprisingly full.  'It is to laugh.'</p>
<p>I am just back from Philadelphia.  Reiner did justifiable, but funny, things to my piece.  I thought I had written a wild, turbulent unbuttoned Scherzo, and he turned out a delicate, etherial Scherzo.  The orchestra played it at a tempo that no other orchestra could dare attempt -- no, not even the Pierian Sodality.   Anyway the main thing is Reiner is now on my list -- will play anything I give him.  I wonder how N.Y. will like the piece, Tuesday.</p>
<p>Everyone I met here in town who is a good friend of yours mentions your name and then shakes his or her head most solicitously.  Are you really so badly off as they seem to like to think?  I for one can't believe it.  But I do hope, if anything is not so good, it will pick up soon.  I am everlastingly grateful for all the clippings.</p>
<p>The less I write you the more I think of you.</p>
<p>----A</p>
Copland|corr0522|Letter from Aaron Copland to Nicolas Slonimsky, undated|<p>Dear Nicolas, --<lb>I've come into the city to play in 'Les Noces' and found your note.  I'm living in Briarcliff Manor, N.Y. (Box 44) at the house of a friend and expect to be there until I sail for Europe towards the end of May.  Its an ideal life for a composer.</p>
<p>You have thought about going to Peterboro at a very late date.   By this time they have generally made up their minds as to who is to go and who not.  Write Mrs. MacDowell (at the Stratford House, E 32nd & 5th Av.) asking her what chances there still are.  If she replies favorably I will be glad to send her a letter for you --  You'll need a second one from some musician who was up there as a colonist -- you must have one in your wide acquaintanceship!</p>
<p>Your jazz article seems to finish the topic forever.</p>
<p>Regards<lb>Aaron</p>
Copland|corr0523|Letter from Aaron Copland to William Strickland, 1944|<p>[1944]Stockbridge<lb>Mass</p>
<p>Dear Bill --<lb>What a surprise to find you inducted.  I hope there are some compensations!</p>
<p>Glad to know the good news about the series.  You can reach Britten care of Boosey  & Hawkes, 43 W 23 St.  He is spending the summer in Cal[ifornia].</p>
<p>I'm afraid I won't see you this fall, as I am leaving for a goodwill trip to South America as soon as school is over.  I'll be back sometime in [crossed out: November] December.</p>
<p>Its fun being 'teacher' for six weeks, but lucky it doesn't last longer.</p>
<p>Keep an eye out for my new book in Sept -- its all about new music.</p>
<p>Lots of luck to you.</p>
<p>Aaron</p>
Copland|corr0524|Letter from Aaron Copland to William Strickland, undated|<p>Dear Bill:<lb>These records  are all shot.  I had forgotten they were so bad.  I send them anyway -- merely because I promised.  The Bernstein Jingo is too fast, but at least it 'sounds.'  Play it instead of the Mitrop[oulos] version.  (I remember that there was very little rehearsal time at the Philharmonic.)</p>
<p>The 'Subjective' is probably the best played.  Cryptic and Prophetic are possible.  Ignore the rest.</p>
<p>Good luck<lb>Aaron</p>
<p>Please leave this with Mrs Goldstein at B & H.</p>
Copland|corr0525|Letter from Aaron Copland to William Strickland, 1944/08/12|<p>Yaddo<lb>Aug 12 [1944?]</p>
<p>Dear Bill:<lb>How nice to hear from you, and how sad to find you caught up in the machine.  I hope that it's not too bad, and that you are able to do something, as you seem to be doing.  I hardly know what to say about that little piece.  A). It's rather silly to have such a trifle appear after years  of silence, especially in such a collection.  B). I don't know if it would sound like anything on the organ..The only charm such a melody had for me was to write it for a percussive instrument which negated in some way its sentimentality.   On the organ I am sure it would sound putrid.  The climax certainly; but I am pleased you would like to do it.  The trouble is, I am pretty sure the ms. is in storage in NY.   However, I'll look through things here and if I can find it I'll send it to you.  If not, I won't be able to locate it before October.  I'll write to you then to see if you still want it.</p>
<p>Best of luck with the collection,<lb>As ever,<lb>[signed]Aaron</p>
Copland|corr0554|Letter from Aaron Copland to Carlos Chvez, 1965/01/01|<p>January 1, 1965</p>
<p>Dear Carlos,<lb>Minna has just come back and talks about Mexico in terms that we used to use in the '30's!  It is nice that she got such a kick out of her visit and that Mexico has not become so Americanized that it doesn't retain its old charm.  Naturally your being there made a great difference to her visit.  She seemed very enthusiastic about RESONANCIAS and made me very curious to hear it.</p>
<p>We gave two good performances of the SINFONIA INDIA in Pittsburgh.   The audience reacted like an audience should! 
Thanks so much for sending the VIOLIN CONCERTO in both versions.  Naturally I look forward to hearing it again after so long a time.</p>
<p>Seems to me you have had a very busy few months and have earned a real vacation.  But do composers ever take vacations?</p>
<p>This being New Years Day, I want to wish you a 1965 blouissant!</p>
<p>[signed] Aaron</p>
Copland|corr0555|Letter from Aaron Copland to Carlos Chvez, 1967/06/22|<p>June 22, 1967</p>
<p>Dear Carlos,<lb>How nice to hear from you!</p>
<p>I was thinking about you only recently because I had heard about the fact that your symphonies were about to be released and was looking forward to getting a copy.  It is good of you to say that you'll see that I'll receive one.  I hope you were pleased with the results of the recording sessions, because I know how 'scary' these can be.</p>
<p>In May I was visiting several schools in the mid-west that have good musical performing possibilities, such as Oberlin College (Ohio) and Interlochen Music Academy (Michigan).  I must say it is a real pleasure to work with such groups of enthusiastic youngsters.</p>
<p>Since coming home I've been working on a short orchestral piece for next season's 125th anniversary of the Philharmonic.   Lenny wants to start the season with it, so I'm getting somewhat hectic.</p>
<p>My dates at Dartmouth are Aug 7 through the 20th, followed by a few days for a concert at the Hollywood Bowl.   Therefore I'll be here around the end of August and look forward to seeing you then.  But don't wait too long because I must go to Europe in mid-September [in ink: (the 18th)].</p>
<p>Que lastima about your publishing problems.  I saw Arthur Cohn not long ago and he seemed pleased with his new post.  So perhaps some happy solution will be found.  If I can be of any help in this matter, don't hesitate to tell me how.</p>
<p>I look forward to receiving Tambuco and the Sonata for Four Horns, and also to hearing the Soli Four which I am happy to say will be premiered during my two-week visit at Dartmouth.</p>
<p>Un gran abrazo -<lb>[signed] Aaron</p>
Copland|corr0556|Letter from Aaron Copland to Carlos Chvez, 1967/07/28|<p>July 28, 1967</p>
<p>Dear Carlos,<lb>Many thanks for having the Six Symphonies album sent to me.  I've been having a regular Chavez Festival.  What a pleasure to have all the Symphonies under one cover, and what a strong picture on the front of the album!</p>
<p>The piece I knew least well was the 3rd Symphony.  It has all your independence of spirit and rugged honesty.  It also has your 'ungrateful' side, but I suppose you don't even know what that is.  I was particularly amused by the Scherzo, both because of the theme itself and the delightful orchestration.  In fact, I laughed out loud when I heard it.</p>
<p>The Romantica  doesn't seem so romantica to me.  What happens is that one keeps looking for signs of what is suggested by the title, which is probably a mistake of the listener.</p>
<p>One is also very aware of the strong trend towards a classicizing tendency in the 5th and 6th.  This insistence of yours sometimes sets up a sense of 'forcing' or strain, but I found the slow movement of the 6th very simpatico.</p>
<p>I have a definite weakness (and always have had) for the Antigona.   (I once conducted it in rehearsal with the Baltimore Symphony and hope to program it before long.)  I am a little surprised at your opening tempo of the India.    Is it possible you have gotten faster with the years?  Unless my memory fools me, I seem to recall your taking the tempo somewhat slower in the 30's.  This is exactly the opposite of what generally happens when  one gets older!</p>
<p>What a job it must have been to prepare the orchestra and get it all down on tape; but it must be a great satisfaction to have it completed.</p>
<p>I hope you get to New York in early September.  I'll be here until the 16th.  The New York premiere of my new piece is scheduled for Oct. 19.  Since I will still be in Europe at that time, I hope to catch one of the last two performances on the 23rd or 25th.  I have decided to call it Inscape for Orchestra, a title borrowed from the English poet, Gerard Manley Hopkins.</p>
<p>Let me know when you have made your travel plans.</p>
<p>Affectionately,<lb>[signed] Aaron</p>
<p>P.S.  Mills has just sent me the printed copies of the Sonatas for Four Horns and Tambuco.  Many thanks.</p>
Copland|corr0557|Letter from Aaron Copland to Carlos Chvez, 1968/04/04|<p>April 4, 1968</p>
<p>Dear Carlos,<lb>For some strange reason the letter you sent me dated March 4th, containing the voting ballot of ASCAP, only reached me today!  Unfortunately the time limit for returning the ballot is almost two weeks passed and therefore I'm afraid you have lost your vote.  This, I would say, is a minor tragedy since I have never been able to connect decisions made by ASCAP with the people who are elected.  I suppose there is a connection, but it is not evident to the naked eye.</p>
<p>Everything is going along fine here and I hope it is the same with you.  By the way, I saw the film about you on Channel 13  and numbers of people have commented to me about it.  Too bad the San Diego Symphony seemed rather inadequate for your music, but the rest of the film gave a vivid picture of your personality.   I was very glad to be allowed to ?pop in? every once and a while with my "two cents."  More power to you... and</p>
<p>Un abrazo,<lb>[signed] Aaron</p>
Copland|corr0558|Letter from Aaron Copland to Carlos Chvez, 1968/08/16|<p>Aug 16, '68</p>
<p>Dear Carlos:<lb>I received the opera program -- so it has actually happened!  How did it go?  Performers adequate, I hope.  As always with opera one must be happy if things go fairly well.</p>
<p>I am filling my time with various conducting engagements -- in Cleveland this week and Tanglewood next, where I am doing my 'Inscape' with the B.S.O.</p>
<p>No doubt you are busy preparing your Olympics piece.  Best of luck with it.</p>
<p>As ever, Aaron</p>
Copland|corr0559|Letter from Aaron Copland to Carlos Chvez, 1968/10/15|<p>Oct 15 '68</p>
<p>Dear Carlos<lb>Thanks for the good long letter and for the recording of the Violin Concerto.  I have just played it on my Hi-fi, and was delighted at how fresh and unconventional it sounds after 20 years.  And what a performance by Szeryng  and the orchestra!  I looked twice at the label to see if it was really the Orquesta Sinfonica playing.  It's a musical pleasure.   (Only one observation: the cadenza seems over-extended, -- perhaps because there is no one to look at!)</p>
<p>Also you get compliments on your program-note on the back of the record, which is very Chavez-y, -- and charming.</p>
<p>In the excitement of so many people at the Plaza I had forgotten to mention the BSO performance of 'India' at Tanglewood.  Muchos applausos -- as always, with that piece.</p>
<p>At the end of this week I leave for London for a concert with the London Symphony.  Will be doing the Inscape as a British premiere.  Lenny recorded it, but it is not yet issued.  Also recordings for CBS, among other things, the Orchestral Variations.  I'll be back in early November -- So let me hear from you when you get back to 57th St.</p>
<p>As ever<lb>A</p>
Copland|corr0560|Letter from Aaron Copland to Carlos Chvez, 1970/08/22|<p>Aug 22 1970</p>
<p>Dear Carlos:<lb>I've been thinking of you this week - partly because of the Cabrillo Festival, and partly because I have just re-read your July letter, telling of two new works Clio & Piramida.  Lucky man!  I wish I could tell you of new works of my own -- but the truth is that the urge to compose seems to be tapering off.  I hope not permanently.  Perhaps you have a 'cure' to suggest?</p>
<p>I've just come back from a busy three weeks of conducting activity -- in Tanglewood, Blossom (Cleveland Orch.) And Hollywood Bowl.  Everyone seems in a hurry to rush me into my 70th birthday!  But I refuse to be rushed.  It will come soon enough.</p>
<p>Between now and then I shall be in Europe twice.  In late Sept. I have a studio concert with the BBC in London.  I shall be making a tape of the Sinfonia de Antigona for the BBC Library -- which means that they broadcast it from time to time.</p>
<p>Then in early Nov. I return for a 'birthday' concert with the London Symphony.  It's always a pleasure to return to London.
I hope the Cabrillo Festival was a rewarding experience.  (I am curious to have your reaction to Inscape!)</p>
<p>As ever Aaron</p>
Copland|corr0561|Letter from Aaron Copland to Carlos Chvez, 1970/11/26|<p>Nov 26 1970</p>
<p>Dear Carlos:<lb>Thank you so much for sending the birthday wire.  We missed you at the party on the 14th, -- and how!</p>
<p>And thank you again for the beautiful letter you wrote for the volume of messages from composer colleagues.  It's quite a volume!</p>
<p>I hope your health has been good, and that you are working well.</p>
<p>Un gran abrazo from your old friend</p>
<p>Aaron</p>
Copland|corr0562|Letter from Aaron Copland to Carlos Chvez, 1971/09/26|<p>Sept 26 1971</p>
<p>Dear Carlos:<lb>It seems like a long time since we were in communication!  This letter was inspired by the arrival from Schirmers (at your request, I assume) of CLIO.  What a score!  I remember your telling me it was very severe.  Well, you were right.  I think it sets some kind of record for dissonance content.  I'm naturally very curious to hear it, -- to test whether the sound is as frightening as the look.  (I thought your "composer's note" helps a lot in explaining your idea.)  But what did Miss Hogg and all of Houston think??</p>
<p>As you can imagine, I won't attempt a reaction on the basis of a mere look at the score.  One really must hear it to know.  Anyway, it looks like Carlos with the old wallop!</p>
<p>News from this side: I was in France this summer to celebrate with Nadia the 50th anniversary of the founding of the school at Fontainebleau.  Incidentally, also had a concert with the Orchestre Nationale of my own works at the Theatre des Champs Elyses (where I spent my first night in Paris in 1921, watching the Ballets Suedois in Milhaud's "L'Homme et son desir.")</p>
<p>How have you been?  I am looking forward to my trip to Mexico next March, after an absence of ten years (deja!).  It will be good to see you again on home grounds.</p>
<p>With my affection, as ever</p>
<p>Aaron</p>
Copland|corr0563|Letter from Aaron Copland to Carlos Chvez, 1971/12/25|<p>Dec 25 1971</p>
<p>Dear Carlos:<lb>
<p>What a beautiful letter you sent me last month!  It was a real pleasure to read it - almost like having you here in the room talking to me.  I especially was touched by your description of your last visit with Stravinsky.  What an extraordinary personality he was!  (I saw Mrs. S. recently, and she seems to be managing O.K.)</p>
<p>I'm sure you were sorry to hear of Herbert Weinstock's death, as was I.  We had seen each other for an evening in Paris last June, and he looked none too well then; but otherwise he was pepper-y as usual.  It's a loss.</p>
<p>What you write about not composing awakened a very sympathetic echo.  True, I have finished a 14 minute "Duo" for flute and piano which was premiered in October, but the musical ideas date from the 40's, and so, naturally, the piece is not at all 'avant-garde' in sound.  Eh bien, tant pis!  But it would be nice to get some '1970' ideas to work on.</p>
<p>(By the way, your harp piece has not arrived as yet.)</p>
<p>Well, I'm looking forward to seeing you in 2 months in Mexico, if, as you say, not before in N.Y.C.</p>
<p>In the meantime, a good New Year to you and all my affection</p>
<p>Aaron</p>
Copland|corr0564|Letter from Aaron Copland to Carlos Chvez, 1972/06/27|<p>June 27, 1972</p>
<p>Dear Carlos:<lb>How nice to receive the new edition of your 3rd Piano Sonata.  I have a vivid memory of it, and still own the original New Music copy from long ago!  The music remains just as it was, and just as I remember it.  Yours, and yours alone!</p>
<p>Since seeing you in Mexico in March I've had concerts in L.A. with the Symphony there; and two weeks ago in London at that enormous 'barn' - the Royal Albert Hall with the New Philharmonia Orchestra.  (It's always fun to play for a British audience - they take their music seriously![)]</p>
<p>Kostelanetz recently introduced my "Three Latin-American Sketches."  (One of the 'Sketches' is the Danza de Jalisco that I wrote in your house in Acapulco.  The third one is based on Venezuelan tunes that I heard in Caracas.)  It's a light piece in all, but useful I think.</p>
<p>I never heard how your New York concert went off.   Well, I hope.</p>
<p>We've just had a week-long Stravinsky celebration organized by Balanchine and Kirstein.  In one evening I saw Apollo, Orpheus and Agon.  Very choice!   Tout N.Y. en parle.</p>
<p>Take good care of yourself.</p>
<p>With all my affection<lb>As ever<lb>Aaron</p>
Copland|corr0565|Letter from Aaron Copland to Carlos Chvez, 1973/05/31|<p>4 PM [May 31, 1973 ]</p>
<p>Dear Carlos:<lb>Sorry to have missed you!  Also sorry I missed the Opera audition!  How did it go?</p>
<p>I shall be at the Harvard Club until tomorrow eve.  Perhaps we could talk by telephone.</p>
<p>As ever<lb>Aaron</p>
Copland|corr0566|Letter from Aaron Copland to Carlos Chvez, 1973/11/01|<p>Nov 1 ?73</p>
<p>Dear Carlos:<lb>I'm just back from a 5 week tour in Europe, conducting in Budapest, Istanbul, Ankara, Prague and Madrid.  The Prague orchestra was best, and Istanbul the worst!</p>
<p>This is mostly to clear up why your letter sent here, was returned to you.  I had left Boosey's in N.Y. as a forwarding address for my mail.  The Post Office couldn't read their address on the envelope, (unclear) and so mailed the letter back to you.</p>
<p>I have 2 months now in which to 'catch my breath.'</p>
<p>All my best to you<lb>Aaron</p>
Copland|corr0567|Letter from Aaron Copland to Carlos Chvez, 1974/09/02|<p>September 2, 1974</p>
<p>Dear Carlos,<lb>When your August 15th letter arrived, I was in England conducting something called the International Youth Festival Orchestra.  It was very nice indeed to come back and find your letter telling me about the performance of MUSIC FOR THE THEATRE.  (Next year, it will be 50 years old.  Fija-se!)</p>
<p>I tried to reach you by phone the other day here in New York, but since there was no answer, I assume you are in Mexico still.  Be sure to give me a ring once you are back so that we can get together.</p>
<p>Affectionately,<lb>Aaron</p>
Copland|corr0568|Letter from Aaron Copland to Carlos Chvez, 1975/08/25|<p>Aug 25 1975</p>
<p>Dear Carlos:<lb>This note is to thank you for sending me Initium.  It's a most impressive looking score!  So clear and well-planned and sure.  (Not easy, however!)  It looks rather strange - with every note having its own accidental.  But I can see the advantages, - no question of what the correct note is in every case.  (I can't remember ever seeing a score quite like it!)  Now I am keen to hear it.</p>
<p>At the end of the week I am off to Europe for a month-long conducting tour, with concerts in Copenhagen, Paris, London, Liverpool and Bergen.  I'll be back at the beginning of October, and hope to see you then.</p>
<p>As ever<lb>Aaron</p>
<p>P.S.  I can't imagine how the Akron Symphony managed to play the commissioned piece (!)</p>
Copland|corr0569|Letter from Aaron Copland to Carlos Chvez, 1976/10/11|<p>Oct 11, 1976</p>
<p>Dear Carlos:<lb>Thanks so much for sending me your 'Estudio a Rubinstein.'    It's a real 'fun-piece'!</p>
<p>I am about to take off for a month-long conducting tour in Europe: England, Sweden, and Belgium.  Back in mid-November.  Hope to see you then.</p>
<p>All best to you<lb>Aaron</p>
Copland|corr0570|Letter from Aaron Copland to Carlos Chvez, 1977/06/26|<p>June 26, 1977</p>
<p>Dear Carlos:<lb>I've been meaning to write you for some time, to thank you for sending me your Soli IV,  but was unsure where to send the letter.  Now I've decided to take a chance on the Coxoacan address.</p>
<p>What a piece it is!  So very you!  And somewhat "frightening," because of the severity of the harmonic language you have developed in recent years.  I'm keen to hear it in actual performance.</p>
<p>I've been away from Peekskill quite a bit, - visited five universities in Wisconsin, California and Oklahoma in March and April.</p>
<p>Soon I'm off again on a few conducting dates - summer outdoor concerts with the National Symph. At Wolf Trap outside Washington, D.C.; the Pittsburgh Symphony at Ambler, Pa; and, best of all - a return summer engagement with the Philadelphia Orchestra in Saratoga Springs.</p>
<p>Let me hear from you when you are back in N.Y.</p>
<p>All my best to you<lb>Aaron</p>
Copland|corr0571|Letter from Aaron Copland , 1978|<p>[1978]</p>
<p>Carlos Chavez and I had been friends and composer-colleagues for half a century.  His role during that period as composer and conductor and his country's chief animator of musical life is now a part of music history.</p>
<p>It is impossible to imagine the Mexican musical scene of the past fifty years without his leadership.  He and I felt ourselves brothers-in-arms, desirous of having the musico-artistic life of our two countries join the twentieth century.</p>
<p>His contribution as conductor, teacher and leader of the musico-cultural life of Mexico for half a century will always be remembered.  But most of all, Carlos Chavez would wish to be remembered, and rightfully so, as composer.  As I once wrote: "Whatever his musical style, harsh or mellifluous, it is the music of a personality, one of the most striking of our time."</p>
Copland|corr0572|Letter from Aaron Copland Irving Fine, 1944/08/12|<p>Tepoztlan<lb>Morelos<lb>Mexico<lb>Aug 12 44</p>
<p>Dear Irving:<lb>Were here -- as you see.  A wilder contrast with Cambridge would be hard to imagine.  Tepoztlan was here before the Mayflower was dreamt of.  Its tucked away, 5500 ft. up, amidst extraordinary looking mountains.  Its a kind of museum piece -- one Robert Redfield was here in 1927 and did an anthropological study of the place.  His book is probably lost on some shelf in Widener this very minute.</p>
<p>We have the only liveable house in the village.  Its absolutely charming, -- Mexican patio style -- and includes a cook, a gardener, and a baby grand.  No more eating in restaurants -- for a while!</p>
<p>I hear youve had hectic times in the Department.  Write me some of the latest news -- Id love to hear from you.</p>
<p>Best to Verna.<lb>Yours<lb>Aaron</p>
<p>P.S. Will always remember how nice you both were to me up there!</p>
Copland|corr0573|Letter from Aaron Copland Irving and Verna Fine, 1944/11/14|<p>Nov 14 44</p>
<p>Dear Irving &<lb>Dear Verna:<lb>It was a very pretty birthday note.  Thanks very much.</p>
<p>I havent done much but see old friends around the town.  If youre interested in symphonies come around in 1946 or 7 or 8 or ?  Im hoping youre interested in me -- and will come around sooner.</p>
<p>Martha Graham doesnt seem to know when shell be doing the ballet here.  Theres no particular rush, I suppose.</p>
<p>I spoke to Bill Schuman about you and the S.L. job.  He seemed interested -- but gave me the impression that Harvard is a good place to be also.   That is, that Harvard, he thinks, is preferable to S.L.  Maybe hes right.  If you want to follow it up, write him.</p>
<p>If I have any pretext for coming up to Boston -- like a performance with the BSO -- Ill let you know.  But it wont be no Symph.</p>
<p>Regards and all that<lb>Aaron</p>
Copland|corr0574|Letter from Aaron Copland Irving Fine, 1945/01/15|<p>Jan 15, 1945</p>
<p>Dear Irving:<lb>It was a lovely idea -- but Im afraid it isnt to be.  As a matter of fact, Mrs Rudnick called me even before your letter came -- so I had been prepared.</p>
<p>The trouble is I am so involved in affairs musical that it is hard to get away for long enough to make the trip worth while.   The week of the 22nd is full of events -- Diamonds show is opening here, Lenny is conducting the Philharmonic, my Vl. Sonata is being played, the League is giving a reception to Villa-Lobos, in which Im very much involved, etc. etc.</p>
<p>Tell Woody thanks for his letter -- and say Im sorry to miss the premiere of both your pieces and mine.  Im hoping he may do them down here in the Spring.</p>
<p>If the suite at the Lafayette is available at some later time, let me know.  (Kouss talks of doing my Statements later in the season.)</p>
<p>If its not too much of a chore send me reviews of Martha Graham in Boston, please.</p>
<p>I liked On the Town -- thought it lively, fast, and lots of fun.  Its making everybody lots of money too -- so the question as to whether its art will never be raised.  With so successful a precedent we can all write musicals now -- or can we?</p>
<p>Good luck on your premiere!</p>
<p>Aaron</p>
Copland|corr0575|Letter from Aaron Copland Irving Fine, 1945/05/07|<p>Box 294<lb>Bernardsville, New Jersey<lb>May 7, 1945</p>
<p>Dear Irving:<lb>Yes, the O W I made a first class mess of the Paris idea.  I ran off to hide in the wilds of New Jersey, and have been here for a month.  I have a house of my own on a swanky estate --beautifully situated right out in the country.</p>
<p>I managed to complete the slow movement of the Symph. -- which is encouraging!  Ive also just about finished a Suite from Appalachian Spring for orchestra of normal proportions.  (Suddenly, this morning, it became a Pulitzer Prize piece.  I was taken completely by surprise.  Maybe you can tell me who advises the Columbia Trustees.)</p>
<p>I liked reading the Einstein Mozart -- also, as usual, your article in M.M.  Someday I expect to disagree with you butI cant imagine what about.</p>
<p>Do you want to be a useful citizen and fill in the enclosed questionnaire for me? I know so little about these matters that I cant do it myself.   If it bores you just throw it away.</p>
<p>I finished the North Star arrangement for Woody.  I wish there were some way of getting a recording of the Pops performance.</p>
<p>Nice that youre so well settled.  (What are you working on?)  Are you near Truro?  Elliott Carter is to be there for the summer.  (Also Waldo Frank who is a friend of mine, and would enjoy knowing you.)  The idea of visiting is tempting but just now Im getting used to my own place.  Maybe before the middle of Sept. I can manage it -- Anyhow you are both angelic to ask me.</p>
<p>Best to Verna.</p>
<p>Yours<lb>Aaron</p>
Copland|corr0576|Letter from Aaron Copland Irving Fine, 1945/06/15|<p>Box 294<lb>Bernardsville<lb>N.J.<lb>June 15 45</p>
<p>Dear Irving:<lb>It would be nice to see you in N.Y.  Let me know when youll be there and maybe we can connect -- I come in occcasionally.  If not -- why not plan to spend a day out here.  My phone is Bernardsville 981 -- and you could call me from town if necessary.</p>
<p>I liked your article in M.M. very much.  (I wonder what was art?)  I know from experience that articles on the young are not easy to do.  How about one on H. Shapero for next year?</p>
<p>By the way -- M.M. is in financial difficulties for next year and has appealed to the Weymouth Fund via Walter.  If you think it will do any good -- or is at all necessary -- drop a note to Woody backing the appeal (Im assuming you think it a worthy project!)</p>
<p>Did the Guerrilla Song ever happen at the Pops?</p>
<p>I suppose Lenny gave you as dramatic an account as possible of my back ache.  It was bad for about 5 days.  Seems I have to have some teeth yanked out -- so you may find a toothless Aaron when we meet.</p>
<p>Try to read Harold Clurmans book -- The Fervent Years.  Its part of my youth and I think itll amuse you.</p>
<p>You dont say what you are composing.  Be modest -- but dont exaggerate!</p>
<p>Best to Verna</p>
<p>Aaron</p>
Copland|corr0577|Letter from Aaron Copland Irving Fine, 1945/09/05|<p>Box 294<lb>Bernardsville, N.J.<lb>Sept 5 45</p>
<p>Dear Irving:<lb>Thought Id try to get you this before Fall term starts.  Your letter sounded frustrated.  Maybe youve written some music in these last weeks -- after all.</p>
<p>Im the proud father -- or mother -- or both -- of a second movement.  Lots of notes -- and only 8 minutes of music -- such are scherzi -- pfui!  Its not very original -- mais a marche du commencement jusqau fin -- which is a help.</p>
<p>Also Ive started work on the show: arranged a song for kids to sing that Lynn Riggs picked up in his home state -- Okla.  But Agnes de Mille is in London so all is suspended until her return nobody seems to know when.</p>
<p>Occasionally, I get lazy and have visitors -- Lennys been out -- full of plans for his new City Center orchestra.   Aint that sumpin?  David Diamond arrived also -- with a finished 3rd Symphony -- and already at work on a short 4th.  They get more and more classical -- and I told him that if hes not careful hell turn into the Glazunow of Amer. music.  He was horrified.</p>
<p>Weyman Fund came thru with 1000 for MM with the proviso that the full budget can be raised.  MMs future seems precarious at the moment -- very!  Did you see an article on P. Bowles in Music & Letters by Mrs. Stanley Bate (P. Glanville Hicks)?</p>
<p>If you come to N.Y. give me warning.</p>
<p>Best to Verna<lb>Aaron</p>
Copland|corr0578|Letter from Aaron Copland Irving Fine, 1945/12/05|<p>Limestone Road<lb>Ridgefield, Conn.<lb>Dec 5 45</p>
<p>Dear Irving:<lb>Can I have Miss F. Masons address on Commonwealth Ave.?  Also is Paul Dogereau correct name & spelling?  Conn. is cold and bleak but self-exile is essential if Im ever to finish up that piece.</p>
<p>Best Aaron</p>
Copland|corr0579|Letter from Aaron Copland Irving Fine, 1946/01/23|<p>Limestone Road<lb>Ridgefield, Conn.<lb>Jan. 23, 1946</p>
<p>Dear Irving:<lb>Sorry to hear about Verna not being well.  Give her my best and tell her I hope shes fast recovering.</p>
<p>Ive just seen the preliminary catalogue of the Berkshire Music Center and your name is down.  The official invite should be coming along any day now -- until you hear from me to the contrary assume that you are coming and act accordingly.  I mean, get the formal permission from Harvard etc.  Its 99% certain.  Aside from the Harmonic Analysis please think up anything else youd like to do up there during the 6 weeks period.  Im plotting to have you involved with the chorus but dont know what success I will have as yet.</p>
<p>There was a false report that I had left Ridgefield, but twasnt true.  Ive stuck it out and have a third movement to show for it.  One more to go and Im done and Im free to go on living!</p>
<p>Just came back from NY where I heard a rehearsal of two movements of the Stravinsky Symphony.  Movt II is lovely and Movt III has lovely whoops in it, but seemed a bit on the short side.  I dont think its as pretentious as the other Symphony of his and will probably be played more.  Didnt hear Movt I.  He looked fine -- about 54 instead of 64.</p>
<p>Modern Music is saved -- at least for a year.  Thought youd like to know.</p>
<p>Greetings and everything.<lb>[signed]Aaron</p>
<p>[in ink]: P.S.  Excuse haste.  Have 20 letters to write!</p>
Copland|corr0580|Letter from Aaron Copland Irving Fine, 1946/03/08|<p>Limestone Rd.<lb>Ridgefield, Conn.<lb>March 8, 1946.</p>
<p>Dear Irving:<lb>Thanks for the editorial which mildly amazed.  I dont remember ever having been editorialized over before.
	I was relieved and pleased to hear that the Dean had listened to reason.  Your name was already in the catalogue and I was holding my breath in case anything went haywire.</p>
<p>Lenny and I have been talking houses for the summer.  Weve had one offer of an eight bedroom former country-club sort of place -- but they asked $2300 for it!  Helen Coates is in the process of investigating.  The real estate people say that everyone who has a house available wants to sell, not rent.  I admit it looks grim -- but if the worst comes to the very worst I suppose well all have to be satisfied with a room someplace.</p>
<p>Your description of the Stravinsky seance sounded historic.  When am I going to see that Violin Sonata of yourn?  Harold is in for a fine season.  Im enclosing a review from the West Coast just in case he hasnt seen it.</p>
<p>The L of C and the ISCM have no relations of any kind.  My impression from reading the writings of Mr. Kurt List is that his musical vision is rather limited, not to say warped.  Im suspicios of that beard!  Hes written some nasty cracks anent yours truly which hasnt exactly endeared me to him.  Oh well.</p>
<p>I may try to get up to Boston when LB does the Danzon Cubano.  Sooner or later Ill have to get up to take a look at some of those there applications that they say have been piling up.</p>
<p>Everything good to you.</p>
<p>[signed]Aaron</p>
<p>P.S. Did anyone tell you that Martinu is going to be with us in the Composition Dept?</p>
Copland|corr0581|Letter from Aaron Copland Verna Fine, 1946/04/17|<p>Limestone Rd<lb>Ridgefield<lb>Conn.<lb>Apr. 17 46</p>
<p>Dear Verna:<lb>The package from Florida arrived yesterday with a letter from Irving.  So it was a Fine day!  Please tell your Mother thanks for me.  I dont know what I did to deserve it but it was awful nice to get.</p>
<p>I hear youre habitation-hunting in Lenox this week-end.  Irving seemed to think I have a house -- but all i have is the promise of a house if the lady-owner goes off to join her husband in Korea.  Sounds slim to me.  Anyway, good luck to you.</p>
<p>Ill almost certainly have to come up your way again about Berkshire matters.  I hope to see you both soon.</p>
<p>Aaron</p>
Copland|corr0582|Letter from Aaron Copland Irving Fine, 1946/06/14|<p>June 14, 46</p>
<p>Dear Irving:<lb>Thanks for mailing the list.  If you do the Sonata by me, shouldnt you do something of Martinus?  Maybe 1 movement of the Vl Concerto that will be done at the Festival.  Well, well see when we get there.</p>
<p>I saw the shack Im to have on Mrs. Coolidges S[outh] M[oun]t[ain] and cant say I relish it much.  Tried to switch to Haddon Hall, but they dont even answer -- so I guess Im stuck with the shack.</p>
<p>Its lovely here -- and Ive been working well.  Harold & Esther are a big help in the long evenings.</p>
<p>Ive been looking closely at those amateur Sonatas.  The boy has everything....  He seems to be sitting tight atop his own musical powers.  If they ever get loose -- the whole world will stop and listen.  The new piece is good -- better than the Serenade -- freer, less concerned with stylistic perfections.  But still not free enough for my taste.</p>
<p>Best to Verna and looking forward to seeing you both soon.  (I guess Ill surely be at Tanglewood by the 28th.)</p>
<p>Yours<lb>Aaron</p>
Copland|corr0583|Letter from Aaron Copland Verna Fine, 1946|<p>Tuesday [late 1946?]</p>
<p>Dear Verna:<lb>Im planning to come up on Monday or Tuesday.  Ill call you when I get in.  Of course I wouldnt want to have you bother meeting me -- I know the way too well.</p>
<p>Thanks for not telling a soul.  If I cant keep my time for myself the whole point of coming will be gone -- no?  I plan to use the BSO as an address, and to be mysterious about my real whereabouts.  Its come to this -- ! -- a nice simple guy like me !!</p>
<p>So -- will you please tell the hotel about my arrival.</p>
<p>I never found any address book around here.</p>
<p>Glad Ill be there in time for the concert on the 26th.</p>
<p>Yours<lb>[no signature]</p>
Copland|corr0584|Letter from Aaron Copland Verna Fine, 1946|<p>Friday [1946?]</p>
<p>Dear Verna <lb>My present plan is to take the Yankee Clipper on Tuesday that arrives Back Bay at 5:30.  Ill stick to it unless you hear to the contrary.  Ill look for you at the station -- and then my first gesture is to invite you and Irving to dinner that night.  Hope youre free.</p>
<p>I keep telling everyone Im going into a retreat for a month</p>
<p>Greetings<lb>Aaron</p>
Copland|corr0585|Letter from Aaron Copland Irving and Verna Fine, 1946/11/18|<p>Nov 18 46</p>
<p>Dear Irving & Verna:<lb>You were angelic to have sent the wire.</p>
<p>Perhaps Lukas has come back with news of the performance.  The audience reaction was mild and the little friends all seemed somewhat let-down -- as if they were expecting more.  However the reviews have been hot stuff -- all except N.S. in the Times.</p>
<p>Maybe now I can go on to something else.  Kouss threatens to replay it in Boston Dec 13 & 14 -- so I will probably show up again.</p>
<p>Put your thinking cap on about Tanglewood.</p>
<p>Yours<lb>Aaron</p>
Copland|corr0586|Letter from Aaron Copland Verna Fine, 1947/02/15|<p>1947 Feb 15</p>
<p>MRS IRVING FINE<lb>15 EVERETT ST CAMBRIDGE MASS</p>
<p>RELAY MY THANKS TO YOUR VERY GENEROUS MOTHER.  VERY LIKELY I MAY NEED ROOM STARTING ABOUT FEBRUARY 24TH PLEASE MAKE NO FUSS AS I CAN EASILY LIVE OUT OF SUITCASE AFFECTIONATE GREETINGS</p>
<p>AARON</p>
Copland|corr0587|Letter from Aaron Copland Florence Rudnick, 1947/03|<p>Thursday [March 1947?]</p>
<p>Dear Flo Rudnick:<lb>Its incredibly nice of you to let me use your charming apartment.  Ive been here a full day and I know Im going to enjoy my stay.  It will be a kind of retreat for me -- particularly if I can succeed in avoiding the telephone.  Many many thanks to you for your kindness.</p>
<p>Im sure youll be happy to know that Irvings concert went off beautifully last night -- a packed house and nothing but praise on all sides.</p>
<p>Greetings to you<lb>Aaron Copland</p>
Copland|corr0588|Letter from Aaron Copland Florence Rudnick, 1947/03/15|<p>March 15 47</p>
<p>Dear Florence:<lb>Thanks so much for sending the Pecan Roll -- though I dont know what I did to deserve it.  I love pecans!</p>
<p>Everything goes well here.  Ive had compliments from the maid on how neat I am.  But even better -- Ive been working well and the phone never rings.</p>
<p>Verna & Irving are in New York today so Boston seems rather empty.</p>
<p>I hope youve been having a good rest down in Florida.</p>
<p>Greetings -- and thanks again!</p>
<p>Aaron</p>
Copland|corr0589|Letter from Aaron Copland Irving and Verna Fine, 1947/04/25|<p>April 25, 1947</p>
<p>Dear Babes in the Woods:<lb>Am flying up Thursday morning.  Can you save lunch for me that day before all the festivities start?  Hope so.  Ill be at the Kenmore and will phone you when I get in.</p>
<p>Greetings Aaron</p>
Copland|corr0590|Letter from Aaron Copland Irving Fine, 1947/05/13|<p>Hotel Empire<lb>Bway & 63 St.<lb>May 13, 1947</p>
<p>Dear Irving,<lb>Ive heard from Mrs. Hooker in Richmond and she says shell have me.  Since Im leaving on Tuesday I thought I might write you about the piano situation.</p>
<p>I dont see why we couldnt ask the Baldwin Company to put one of their little pianos [in ink: (for me)] in your barn studio, unless youve made other arrangements.  Sometime before the first of June would you call Tod Perry and tell him what Id like in the way of a piano -- that is, my usual baby grand in the main house and another one (little if necessary) over where you are.  Is this clear?</p>
<p>Hope all goes well with you two.  Am in a dither of hecticality.</p>
<p>Yours,<lb>[signed]Aaron</p>
Copland|corr0591|Letter from Aaron Copland Verna Fine, 1947/05/22|<p>May 22 47</p>
<p>Dear Verna:<lb>My trip was put off till tomorrow (Fri.)  (Loft was robbed!)</p>
<p>By all means lets eat together chez the Kenmore -- if possible.  Price is secondary.  Or any other place you think likely.</p>
<p>Tell I.F. to explain to Mrs. Brodeur the necessity of having Aug 15 -- Sept 15.</p>
<p>Sorry to hear about your sinus.  Hope its all cleared up by now.</p>
<p>My arms are tired from waving them at imaginary orchestras!</p>
<p>Best to you both<lb>Aaron</p>
Copland|corr0593|Letter from Aaron Copland Irving Fine, 1947/06/14|<p>June 14 47</p>
<p>Dear Oiving:<lb>This is in answer to a long letter I received from Verna today.   She says she is joining you at the Colony -- so</p>
<p>I thought Id better break the bad news about your lectures at Tanglewood.  Vrerna counted three, but I count four:</p>
<p>1st week: Billings -- Indians -- Regional etc.</p>
<p>2nd    : Post Civil War: Paine -- Chadwick -- MacDowell -- Foote -- Parker.</p>
<p>3rd    : Neo-Clasicism vs Atonality</p>
<p>4th    : Piston, Sessions, Hanson</p>
<p>Im hoping theres plenty of material for your 2nd week lecture in the Colony library.</p>
<p>Delighted about the meal arrangements at Richmond -- about your new car etc.</p>
<p>The Colony & Tanglewood seem very remote from this vantage point.  Mexico amuses me -- as always.  Ive had 5 rehearsals so far, with three more to go.  I dont know whether the orch. will learn the Symphony -- but I certainly will!  Its fun conducting -- and Ive gained 300% in confidence since starting.   Concert is next Fri & Sun. -- pray for me.  I leave here immediately thereafter and plan to be in Richmond on Friday the 28th.</p>
<p>I hope youre working well and found congenial company at the Colony.  Too bad I couldnt be in 2 places at the same time.   Give my best to the Brodeurs and anybody else around there whod care -- and love to Verna.</p>
<p>See you soon<lb>Aaron</p>
Copland|corr0594|Letter from Aaron Copland Irving and Verna Fine, 1947/09/06|<p>C/o American Embassy<lb>Rio de Janeiro<lb>Brazil<lb>Sept 6 47</p>
<p>Dear Angels:<lb>Hope this reaches you before you leave the wilds of N.H.   Verna -- you were awful nice to write -- hope youre still dreaming about me.</p>
<p>The flight down was uneventful.   Puerto Rico was pleasant for a day -- and there was an unforgettable Blake-like sky at sundown over Dutch Guiana.</p>
<p>Now Im settled in an incredible apartment on top of a mountain overlooking the Rio harbor.  Its all very curious because the mountain is plunked down right in the middle of Rios Times Sq.   Up here you think you are living in the country -- but you can walk down to city life in 10 minutes.  The view is superb but the piano stinks!  Well you cant have everything</p>
<p>Ive just been launched on a series of 12 lectures on Amer. music.  That, plus extra radio jobs playing recordings and me commenting (in Portuguese!) keeps me busy.  Carvalho does his all-American program with the orch. next week.  So Rio is getting a proper dose of musica norteamericana.</p>
<p>The city itself is beautiful as ever.  Streets are always full of people -- no one ever seems to want to go home.  Coffee every two hours till you are black in the face.  A friendly, democratic feeling in the air that comes across because of the lack of color lines.  Skins of all shades and faces of all shapes.  Its endlessly amusing to sit at a sidewalk caf and watch what passes.  With all that, the art life in general is provincial, so I guess Ill be back in December!</p>
<p>Did I tell you that before leaving N.Y. I rented a marvellous house on the Hudson for 3 years?  Wait until you see it.  At last -- a home.  And by the end of 3 years I hope to have built a permanent one.</p>
<p>The dark side of life: havent written a note.  I have a cook but no secretary -- AND -- I miss you both.</p>
<p>Write often and long.<lb>Aaron</p>
Copland|corr0595|Letter from Aaron Copland Irving and Verna Fine, 1947/11/19|<p>Bahia, Brazil<lb>Nov. 19, 1947</p>
<p>Dear Honeychiles:<lb>You were both unbelievably nice to send me that cable on my birthday.  It arrived exactly on time, and it made me feel closer to home.  Of course secretly I was hoping that nobody would notice that I was a year older -- but I suppose that was too much to hope for.</p>
<p>I was horrified and mystified by Vernas letter about the Cutler cottage.  I had said nothing to Lenny myself, and cant imagine where he got the idea of going after the place.  Its one of the first things I want to clear up after getting home.  As for myself, I dont happen to be affected because after I got down here Mrs. Littles daughter wrote and offered me her studio-barn, the one I admired so much from afar and that Hindemith had stayed in.  I took it for July and August for $500., sight unseen.  Naturally Ill have to rent the house on the Hudson for that period.  I was looking forward to having you both in the Cutler cottage, which isnt so very far away.   Well well have to figure out something. </p>
<p>The long letter you sent to Rio in October reached me OK.  It was fun hearing about everything.  Considering how close one is by air its incredible how far away events and people seem.  Im practically home now, so I plan to catch up on things -- fast. </p>
<p>Since leaving Rio on Oct. 16th Ive been travelling about a lot.  Went to Sao Paulo where Guarnieri lives, then Porto Alegre in the south of Brazil, then Montevideo and as a grand finale Buenos Aires.  The finale consisted of me conducting a program of my works at the Colon Theatre.  Since the theatre is as big as the Met I was mildly amazed to see it practically full.  In Montevideo I conducted the Sodre Orchestra in half a program.  Tosar played his Piano Concerto in the other half.  With Mexico that makes three orchestras Ive handled since June.  Bernstein better look out.</p>
<p>Didnt meet any new composers this trip.  In Brazil and Uruguay there arent any, but Argentina seems to be developing nicely.   Theres a girl composer of 23 named Pia Sebastiani who seems to have something on the ball.  Theres a doce-tonos composer in Rio called Guerra Peixe who knows a lot.  He looks like Mr. Five by Five.  Met some of the Brazilian samba composers, and Ive sent back about 20 records via diplomatic pouch -- so you may hear some when you visit me in the house on the Hudson.</p>
<p>I hope youve found yourselves a place by now, because otherwise youre going to be very jealous.  Its on the river, with a lawn that goes down to the river, and a studio room that looked awfuly inviting when I saw it in August.  Since Ive taken it for three years I really begin to feel settled.</p>
<p>Im working my way back gradually up the north coast of Brazil.   This letter is being written from Bahia, one of the oldest towns in Brazil.  Its very charming and colorful.  No one here has ever seen an American composer in the flesh before, so Im quite a curiosity.  People seem so awed by the spectacle that they can barely talk.   When you get interviewed by the newspaper men you have to carefully spell out the word H-a-r-v-a-r-d for them.  And I havent reached the Amazon yet.  From here I go to Recife and Fortaleza and Belem.   Belem is practically on the Equator, and people tell me its going to be hot -- but very.  But all this is just the dessert after heavy going in Argentina and Uruguay.  (By the way I saw your choruses in the library in Rio.)  By heavy going I mean radio talks, and lectures, and seeing people.   The Ambassador in B[uenos] A[ires] gave a reception for me and I almost thought I was going to have to shake hands with Mrs. Peron, but seems she doesnt go to musical parties.  By now Im practically a diplomat myself, and can say how do you do Mr. Ambassador without the blinking of an eyelash.</p>
<p>I should be in Washington by Thanksgiving Day.  Ive vaguely promised to attend that MTNA meeting in Boston at the end of December.  I should be arriving in New York just about the same time the baby arrives in Cambridge.  Dont forget my new address: Palisades, New York.  Im going out to Cleveland for Dec. 2 to 4 to coach Szells performance of the Symphony.  Hes broadcasting it from NY with the Philharmonic on Dec. 21st.</p>
<p>Hold the fort until I get there.  Love to you both.  And you might say hello to all those Bostonian geniuses.</p>
<p>[signed] A</p>
Copland|corr0596|Letter from Aaron Copland Irving Fine, 1947/12|<p>Palisades<lb>N. York<lb>Sunday [December 1947?]</p>
<p>Dear I.F.:<lb>I hear youre busy with the College Conclave.</p>
<p>Im coming up on Dec 31 and will stay till Jan 2.  Sternfeld of Dartmouth seems to be taking me over -- arranging for a room at the Statler etc.  Wants me to have dinner at his place night of Dec. 31.  What plans have you?  Any?  Id rather be with you-all -- or maybe we should meet up later?</p>
<p>Hows the baby and the Madonna?</p>
<p>Yours<lb>B.W. Aaron</p>
Copland|corr0597|Letter from Aaron Copland Irving and Verna Fine, 1948/03/04|<p>March 4, 1948</p>
<p>Dear Kids:<lb>This is just to say hello from that wild place, Hollywood.  This letter cant be very wild because its being dictated to my local secretary who is almost as good as Verna.  I would have written sooner, but when you write your first score, youll know what its like.  Notes, notes, notes, all day long.  Fifty-two minutes of music in six and a half weeks is my stint, and when its over, Im going to conduct the whole thing myself.  It will really be the first time I have ever premiered my own music.  Taking a wild chance I know, but its now or never.  The picture is a nice one but no epic or path-breaker.</p>
<p>The trouble from my angle is that it was shot on the same ranch that Of Mice and Men was shot on.  Now I ask you: if you had to look at the same landscape every day could you think up different music?  (Note, Im getting my alibis all set up in advance.)</p>
<p>How are things back in the rugged climate?  What was Harolds symphony like in performance?  What is Lukas up to?  Howd you like the Malipiero?</p>
<p>Ill see you all around the middle of April.  Until then my love to the baby and to both of you.</p>
<p>[signed] Aaron</p>
<p>ac/ej</p>
Copland|corr0598|Letter from Aaron Copland Irving and Verna Fine, 1948/04/26|<p>Palisades, N.Y.<lb>Sunday [postmark: April 26, 1948]</p>
<p>Dear Chillun:<lb>Of course you know Im back.  Got both your letters in Cal.  Delighted about our being neighbors this summer.  Harold & Esther paid me a visit here yesterday.  They thought you might be coming down soon.  Tis true?</p>
<p>Best Aaron</p>
Copland|corr0599|Letter from Aaron Copland Irving Fine, 1948/05/18|<p>May 18 [1948]</p>
<p>Dear Irving:<lb>I fail you because, strangely enough, Ive never heard Israel play the piano!  I doubt whether he has the temperament to peform before 300 students twice a week.</p>
<p>I thought of Jean Middleton for you.  Do you know him?  A former Berger pupil from Cal. days.</p>
<p>Thanks for the clipping.   Delighted to sit[?] in a key position.  But dont you think a general softening of style is a bit close to softening of the brain?</p>
<p>I note that Tod P has you down for 2 lectures on Bartoks 6 quartets.  Fine idea.</p>
<p>Please ask Walter P[iston] to send me the promised article from the Swiss magazine.</p>
<p>The photo you all sent was just ducky.</p>
<p>Best<lb>Aaron</p>
Copland|corr0600|Letter from Aaron Copland Verna Fine, 1948/09/30|<p>Sept 30 48</p>
<p>Dear Verna:<lb>Were all set with a colored maid -- very good she is, too -- found her in Nyack.  My regrets to Omega.</p>
<p>Still waiting for my 2 week notice from Paramount.  But Ill be leaving -- at the latest -- by the end of October.</p>
<p>Been working hard like anything.  Tell I F my Clar. Concerto is almost done.  Intent on finishing it before heading West.</p>
<p>Read those splendiferous announcements of Irvings piece on Koussys list.  Wish I could hear it!</p>
<p>Sonny was over and beat us all at tennis.</p>
<p>I gently hinted to Victor -- but his darkroom is still a mess.  Sometime in 1951 would seem like a likely date.</p>
<p>Best to all the Cambridge crowd.</p>
<p>Love<lb>Aaron</p>
Copland|corr0601|Letter from Aaron Copland Irving and Verna Fine, 1948/11/21|<p>Nov 21 48</p>
<p>Dear V & I:<lb>You were awful nice to remember me my birthday.  Well, Im a year older -- no help for it.  The wire confirmed it  </p>
<p>Ever since I got Vernas letter Ive been meaning to write.  I had consulted a copyright lawyer on the Cat & Mouse and he told me word for word what Verna figured out all by herself.  The coup de grace was the under 21 clause -- for I was under 21 by one month when I signed it.   Now what?  Lawyer said it would wait till 49.</p>
<p>Ive been busy like a cockroach.  Aside from the picture, Ive been lecturing at UCLA and heard the 3rd Symph cond. by Wallenstein.  He did a good job -- made it sound very American and zippy.  Im even conducting a bit myself!  The studio men are all so bored playing movie scores that they form an orchestra for their playing pleasure.  Imagine!  And invite different conductors each time.   Im one and thats fun.</p>
<p>The picture is good -- well acted and serious.  Everyone is convinced it will make no money.  Its not as easy a job as I had hoped -- but anyhow its different from anything Ive had to do before.  Lots of psychological underpinning.</p>
<p>Lets hear what gives in Boston.  Is winter there?  Is the W.W. piece done?  Any good concerts?</p>
<p>Write all.</p>
<p>Love<lb>Aaron</p>
Copland|corr0602|Letter from Aaron Copland Irving and Verna Fine, 1949/01|<p>Wed.[Jan 1949?]</p>
<p>Dear V & I:<lb>Got a good laugh out of the Antheil piece.  Makes me feel incredibly important to have my possible income discussed for all and sundry to read!   (Thank God no one ever sees To-morrow, however.)</p>
<p>All, otherwise, is quiet.  If you have any bright ideas for entertainment after the Kouss anniversary dinner in May, save them up for me.</p>
<p>See you in Feb.</p>
<p>Best<lb>Aaron</p>
Copland|corr0603|Letter from Aaron Copland Irving Fine, 1949/02/03|<p>Feb 3 49</p>
<p>Dear Oiv:<lb>Natch, natch -- of course, of course -- ASCAP O.K.  Just turned down being a judge for the Rome prize -- would have had one hell of a time choosing among my friends.</p>
<p>Sonny S came round with his new Variations.   At last something I can play.  He swears its the end of the Beethoven psychosis -- and to prove his good intentions he dedicated the piece to me!</p>
<p>Had a showing of Red Pony Monday for friends.  The picture seemed awfully dull to me but I thought the music had stimmung.</p>
<p>Working on a Koussie celebration piece.  Terribly little time left to do it in.</p>
<p>Hope you get a good League performance.</p>
<p>See you down here.</p>
<p>Aaron</p>
Copland|corr0604|Letter from Aaron Copland Irving Fine, 1949/02/14|<p>Monday [postmark: Feb 14 1949]</p>
<p>Dear Irving:<lb>Save some time when youre down here so that Herford you and I can decide sumpin about lecturing at T------------- this summer.  Any time on Sat aft before 5:30?</p>
<p>A C</p>
Copland|corr0605|Letter from Aaron Copland Irving Fine, 1949/03/12|<p>March 12 49</p>
<p>Dear Irving:<lb>Sorry I missed you Tuesday.  Waited expectantly to hear from you on Thursday.</p>
<p>I like your idea about Music of the 20's.  Lets do it.  Im assuming well have to discuss details before I leave (May 11).</p>
<p>Doug Moore is in Italy.  Why not write a frank note of inquiry to Otto Luening, who is his right hand man.  (Moore will be beck in May I think.)</p>
<p>No news from Mrs. Gettys.  Hope you negotiate successfully for the Kelleys place.  If Im at Gettys Ill be a customer -- if Im not at Gettys Ill want to be even more of a customer!</p>
<p>Could you screen some of the dumb candidates this year?  Might take an afternoon at Symphony Hall to weed out the incompetents so Tod need send on nothing but real candidates.  If it could be done by April 15, that would be fine.  (If you think Lukas should help that would be O.K. too.)</p>
<p>Love to Verna & C[laudia]</p>
<p>Best<lb>A</p>
Copland|corr0606|Letter from Aaron Copland Irving Fine, 1949/03/25|<p>Friday [March 25, 1949]</p>
<p>Dear Irving:<lb>H.H. Stuckenschmidt, well known critic from Berlin, is to be in Boston on Mon & Tues.  Kerrs office has brought him on an official trip.  Will you be helpful in showing him around Harvard etc.?  Will write soon from home about your last letter.</p>
<p>Love<lb>Aaron</p>
Copland|corr0607|Letter from Aaron Copland Irving Fine, 1949/04/04|<p>April 4th, 1949</p>
<p>Dear Irving:<lb>About the Serenade: it is hard to tell you anything definite now because as matters stand at the moment we havent succeeded in getting permission of the local union authorities to have the orchestra perform gratis!!  In the case of the Serenade, the chorus of eighteen with two soloists would seem an insuperable problem because if in the end we do get an orchestra we are going to have to invite them to dinner and it isnt possible to invite twenty singers also without busting up the budget.</p>
<p>Our problem in relation to a free list is simply that the whole thing has to be self-paying because there is nobody around who wants to subsidize the affair.  I see your point at how expensive it gets for you to buy dinner tickets plus travel expenses.  You can be sure if I hear of anybody turning in some unused ones, Ill send you a last minute wire.</p>
<p>Delighted to hear that the Kelley place is yours.  I havent heard a word from Mrs. Gettys. Did you see Stuckenschmitt?  What impression did you have?</p>
<p>Greetings,<lb>[signed] Aaron</p>
<p>[in ink]: P.S. Since dictating this, got your card.  Hope Irv is better by now.</p>
Copland|corr0608|Letter from Aaron Copland Irving and Verna Fine, 1949/06/06|<p>Paree<lb>June 6 [1949]</p>
<p>Dear V & I ----<lb>No tiny minute to write properly.  Mrs Gettys offered me the barn, and I turned her down, telling her I had already promised to be with you all.  Thought you might want to tip someone nice off -- and if possible, keep it in the family, so to speak.</p>
<p>England was fun.  They did the 3rd at the BBC on Sat.  Boult conducted -- and it came out Elgar, sort of.  Met all the composerrs, including Tippett, who is a kind of British Roy Harris -- if you can imagine such a thing.</p>
<p>Seeing lots of the Boulangerie and ferretting out the dodecaphonistes.</p>
<p>Messiaen is definitely coming late (Thurs of the 1st week).  So plan out something for his class wont you?  Please?  (Hes an odd one.)</p>
<p>Im off to Rome next week -- and will be seeing Alexei.</p>
<p>Im care of the Amer. Express 11 rue Scribe, Paris until the  14th, and until the 21st c/o Amer Express in Rome.  (Piazza di Spagna)</p>
<p>Love to Claudia.</p>
<p>Aaron</p>
Copland|corr0609|Letter from Aaron Copland Verna Fine, 1949/08|<p>[August?, 1949]</p>
<p>Dear Verna:<lb>Sorry I was dumb and left the pen and records.  Save the records until October but if possible mail the pen (even without holder.)</p>
<p>When I went to pick the car up Monday at 2:30 I found a lawyer had slapped an attachment on it.  Finally got it released (at 5:30) by the Insurance Co. in Springfield.  Now V announces an estimate of $200. to fix up the front of the car.  Ouch!  Because I had no collision insurance.  Ouch again.</p>
<p>It must be nice and calm there.  Best to Claudia & Omega.   And to the Shapiros if theyre still around.</p>
<p>Love<lb>Aaron</p>
Copland|corr0610|Letter from Aaron Copland Verna Fine, 1949/08/26|<p>Aug 26 [1949]</p>
<p>Dear Verna:<lb>You were angelic to send the box with shoes and pen & penholder.  They come in handy.  Thanks.  Had a condolence card from Lukas about the accident.  The Insurance Co. is covering the cost of the cow.</p>
<p>Cant write much because Im busy with composing the Hymn for the U.N.  Its supposed to be premiered Sept 17, so listen in.  Have a week in which to finish it -- sos you can imagine!</p>
<p>Our cook Flora is back -- and the family is fine.  They send love.  Me too!</p>
<p>Aaron</p>
Copland|corr0611|Letter from Aaron Copland Irving Fine, 1949/09/18|<p>Sept 18 49</p>
<p>Dear Irving:<lb>Grand news about the Fulbright.  Congratulations!</p>
<p>Lets hear when you know about your plans.  How long is it for?  And how does it affect your tenure at tanglewood??</p>
<p>Been staying home a lot and working.  Finished my U.N. piece (a potboiler), but the performance was put off.  Otherwise all is quiet on the Hudson.</p>
<p>Best to you all<lb>Aaron</p>
Copland|corr0612|Letter from Aaron Copland Irving and Verna Fine, 1949/11/30|<p>Nov 30, 1949</p>
<p>Dear You-all:<lb>It was lovely to get your birthday letter -- even tho I was trying so hard to forget it.  It came shortly after I had seen Florence R at the concert in Boston, so the tale-of-woe part was old news.  However, Im sure youre more acclimated by now.</p>
<p>Ive ben trying to think whats happened since you left.   Nothing phenomenal, Id say.  Ive been working along, quietly, without getting much done.  The songs have bogged down -- mostly for lack of fast material.   Ive had a request for a work for 2 pianos and orch. and Im tempted (from Fizdale & Gold).  Ive had a request for a third book from Whittlesey House and Im tempted.  And just today word came from Lawrence Roberts of the American Academy in Rome suggesting a 6 months stay there next year -- and Im tempted!</p>
<p>It was good to hear the Statements uner Munch.  He did a good job, and we seemed to hit it off well.  Itll never be a popular piece, but Im glad I wrote it.</p>
<p>As for music: Mitropoulos revived Schoenbergs Serenade at an ISCM concert.  Its one of his best pieces.  Marcs opera has had lots of discussion -- but no general decision seems to have been arrived at.  I liked it --but I dont think I enjoyed it -- its so strained and strident.  But a sort of milestone in its field.</p>
<p>Saw Gail [Kubik] (briefly); David Diamond, who threatens to settle for good on the West Coast; B. Britten, who came out to the house for a day -- talking about his next opera on Billy Budd; Leon Kirchner, whose new Quartet looks impressive -- and last, but hardly least, S.K. back from his triumphs in Rio.  He got your letter and seemed pleased?</p>
<p>Is this newsy enough for you?  Oh yes, theres a plot on foot to have Columbia record Amer. chamber music and weve got the Partita down on the list.</p>
<p>My best to the Boulangerie, especially Sarah & Noel.  Love to you-all from us-all</p>
<p>Aaron</p>
Copland|corr0613|Letter from Aaron Copland Irving Fine, 1950/01/23|<p>Jan 23 50</p>
<p>Dear I-----:<lb>Im sure youre waiting to hear from me about 1/ Tanglewood and 2/ Dr. K. in Paris[,] so I wont wait any longer even though this letter wont be as long and newsy as you or I should like.</p>
<p>1/ Tod sent me a copy of the letter he wrote you with a Feb 15 deadline.  I talked briefly with Kouss.   Upshot: we all want you to do what is best for you in your own eyes.  Wed love to have you as usual -- but well substitute for you if that fits in better with your plans.  Thats what the situation really is! [added in footnote at top of page: Just heard from Tod that youll probably be coming to Tanglewood -- tant mieux.  Am asking him to put your name down in the Composition bracket.  Ibert will probably be guest teacher.[]]</p>
<p>I think Kouss would be pleased with a program in honor of the Foundations establishment in the Library of Congress.  (The formal opening was on Sat. last in Wash. -- I went down for it.  But dont -- whatever you do -- make the same mistake that was perpetrated in my case -- a concert with student performers -- and therefore inadequate.  The program -- as you say -- is a problem, since the Bergsma & Palmer are the only sizeable pieces (and the Palmer not first rate throughout.)  Perhaps the program might combine non-commissioned works of commissioned French composers -- Milhaud, Honegger, Messiaen -- with some non-French stuff.  Im sure youll work out a good solution -- old impressario that you are.</p>
<p>We all read your Milhaud piece -- and of course I was especially pleased -- because I felt as if I had personally won you over, even at the cost of being found out myself (as being Milhaud-influenced, that is).</p>
<p>The Messiaen Monster produced various reactions -- more illuminating as to the person reacting than as to the piece itself.  Kouss was mad for it; -- L.B. cold, in spite of a brilliant job of conducting.  Lukas, I dread to think....  It wasnt my dish of tea -- tho I can see its attractions for others.</p>
<p>You didnt mention Natalia or Marcelle [de Manziarly] in your letter.   Dont you see them?</p>
<p>As for me -- Im up to song no. eleven.  One more to go to complete the cycle which is to be premiered in May at the Columbia Festival.  I hope youll like them.  Signed a contact to do a book -- a reappraisal of the Classics (!)  Looks like Ill be going to Rome in January 51.</p>
<p>Ill try to write soon again.  V & E send greetings.  Hope Verna and Claudia are thriving.</p>
<p>Best -- A</p>
<p>P.S. Just got a request for recommendation of you from St. Louis Wash. Univ.  Is it real serious?  Sounds like a good job, if it doesnt use up all your energies administrating.</p>
<p>By the way, a young Argentine composer[,] a sort of Israel Cit------[,] is in Paris for a year.  I think you might be interested -- his address care Mlle. Madeleine Bernadet<lb>35 Ave. Franklin Roosevelt, Paris.<lb>He s a friend of Ginastera -- but not a relation of the Castro family .  Composes original-like, I think.</p>
Copland|corr0614|Letter from Aaron Copland Irving Fine, 1950/03/10|<p>March 10 50</p>
<p>Dear Irving:<lb>This stationery is just to give you a sandade.  Yes -- youve forgotten -- I definitely took the Gettys barn.  But how I will eat, if you dont take the Kelleys again is a mystre.  The only other possible tenant I know of for you would be Lenny, who is to be at Tanglewood for 4 weeks.  Im afraid thats not much help.</p>
<p>Recently came back from spending 3 days in Urbana.  Lectured and conducted Rodeo.  Kubly and Binkard were there.  The latter frightens me a little -- but I suspect hes not quite so formidable as the exterior appears to be.  He played some things -- somewhat over-intellectualized for my taste, but they included a recent Cummings song that left a good impression.  Kubly gives the impression of romancing around, having a hellova good time with all the neuroses of his various students, but not getting much work done, I suspect.  We gave a prize to Earl George, who seems to be developing into a prizewinner of dimensions.  Piece of his none too hot.</p>
<p>Walked into Schirmers the other day and saw your Piano Pieces on display, right next to Sonnys Sonatas.  Made me real sentimental.</p>
<p>Whats whats new?  Did I tell you I finished Five Old American song arrangements?  Noone else may like them, but Hawkes is delighted!  The Dickinson cycle is done except for a fast song in the middle.  (Why didnt you tell me fast songs are hard to write?)  Alice Howland is to do the premiere at Columbias May Festival.  I hope shes good -- I took her on V.T.s recommendation.</p>
<p>The Age of Anxiety has come and gone.  Lukas gave the Masque that Mendelssohn touch.  It was charming!  The piece itself pleased the public, but I havent been able to find any musicians around town who really went for it.   (Rumor hath it that Auden was not pleased.)</p>
<p>Now that Spring is almost here, even Verna will realize how nice Paris really is.  And youll even start composing for a change, no?  Still Im awfully pleased youll be back for T------.  Youve heard its to be IBERT.  Maybe youd like to ask around as to what pieces -- recent ones -- best represent him.  Got any bright ideas for lectures for any of us?  Im doing a lecture for Brandeis in early May, and will probably study scores of students then.  Tell Verna I scared Durand into giving me back U.S.A. rights to the Cat & Mouse.  Now whos formidable.  Love to everybody.</p>
<p>Aaron</p>
Copland|corr0615|Letter from Aaron Copland Verna Fine, 1950|<p>Sat. [Spring 1950]</p>
<p>Dear Verna:<lb>What a sad tale!  (I had a card written to go to you asking what was up when your letter came.)
	So now what?  You mean Im doomed to starve this summer??  But that still doesnt settle your own problem.   I suppose youll keep trying</p>
<p>Amused by your Variations-Salzburg story.  The songs went well with composer friends and audience but got roasted in the press, especially by Jerome Bohm in the Trib. (cerebral, no feeling etc.)  Im pleased with them -- and every body seemed to think it was a real song-cycle, -- which pleases me also.</p>
<p>After June 2, Ill be at Peterboro.  Plan to drive down to Tanglewood on June 30th.</p>
<p>Tell Irving hello when you write him.  Im delighted that hes coming back.</p>
<p>Love <lb>Aaron</p>
Copland|corr0616|Letter from Aaron Copland Irving Fine, 1950/06/10|<p>MacDowell Colony<lb>June 10 50</p>
<p>Dear Irv-----<lb>Hope this reaches you in time.  Ive been carrying your Mar. 25 letter around for months.  Your Salzburg card arrived today and a letter from Verna giving me your address.  So heres a derniere mot</p>
<p>Read your piece in the Times -- apparently youre coming home with the real low-down.</p>
<p>About Tanglewood: Im planning some Fri afternoon sessions of pro and con discussions of new and controversial music, to be called something like: Music on Trial.  Im assuming youll be bringing back some appropriate material that we can play via records or live.  Do you think you can buy (at my expense!!) Scores of the Webern Saxophone Quartet and Concerto op. 24 for 9 instr.   Hope to do Sessions 2nd Piano Sonata.  Think up some bright ideas if you can.</p>
<p>We have five students lined up for you at Tanglewood.  We had an avalanche of scholarship requests.  Poor me, out of seven students I have four hang-overs from last year!</p>
<p>I spose you heard my songs were done and I got a panning in the press.  Never occurred to me that they were that hard to hear -- but taken all of a piece, apparently they are.  I dedicated the nicest song to you.  So there!</p>
<p>Colony is off to a quiet start.  Frulein Newlin is here.  For 2 days she made believe she didnt see me.  It was a new experience!  Lukas and Rieti are also here.</p>
<p>I know you hate to come home -- but Im pleased.</p>
<p>Affectionately<lb>Aaron</p>
Copland|corr0617|Letter from Aaron Copland Irving and Verna Fine, 1950/09/11|<p>Saturday [postmark: Sep 11, 1950]</p>
<p>Dear I & V:<lb>Got your card.  We got back fine and miss the simplicities of life in a barn.  I sent Irving the songs via Independent.  Hope they reach there in time.  Finished that movement -- and now Im in the last one.</p>
<p>Just heard the sad news that Ralph Hawkes died from a heart attack yesterday.  Let me hear from you.</p>
<p>Aaron</p>
Copland|corr0618|Letter from Aaron Copland Irving and Verna Fine, 1950/09/22|<p>Sept 22 50</p>
<p>Dear V & I:<lb>Terrible sorry about the bum check.  Heres a good one!</p>
<p>I was amused by Kouss reactions to the songs.  We spoke on the phone previously, and he was most understanding about my refusing to do that there Elegy.  Hes probably right about the chamber orchestra setting, however.</p>
<p>Im staying home most of the time to work on the 2nd movement of the Piano Quartet.  Played the 1st movement to Schneider and he didnt turn a hair.</p>
<p>Keep your courage up and find a good house.</p>
<p>When do you head for New York?</p>
<p>Best<lb>Aaron</p>
Copland|corr0619|Letter from Aaron Copland Irving and Verna Fine, 1950/10/19|<p>Oct 19 1950</p>
<p>Dear V & I:<lb>Congrats on the new house.  Of course Ill be glad to be an overnight guest.</p>
<p>Had a note from Miss Mastangelo at Brandeis as to time of my arrival.  She offers to meet me and drive me out to school.  I think of taking the 10 A.M. train from Grand Central.  Could you tell her please?</p>
<p>One detail: the Administration has not written a formal invite.  Could you get them to do that, and to offer last seasons fee per lecture.</p>
<p>I should be done with the Piano Quartet tomorrow.   Oy -- what a relief!</p>
<p>Five acres -- think of it -- why, youre landowners.  Wish I were the same.</p>
<p>Best<lb>Aaron</p>
Copland|corr0620|Letter from Aaron Copland Irving and Verna Fine, 1950/11/27|<p>Sunday [postmark: Nov 27, 1950]</p>
<p>Dear You-all:<lb>Im planning to arrive Wed. at back Bay 4:20 P.M.  Will assume Ill find you there unless I hear to the contrary.  Ive asked for tickets for Thurs. night for the 3 of us for the Britten opera.</p>
<p>No heat, light or tel. Because of the storm!</p>
<p>Best Aaron</p>
Copland|corr0621|Letter from Aaron Copland Irving and Verna Fine, 1950/12/28|<p>Dec. 28 1950</p>
<p>Dear V & I:<lb>I had it down on my list to call you before taking off on the 23rd -- but the final day was such a hectic one that I never did get round to it.   Awful!</p>
<p>Now that Im on my way Im rather pleased to have left a known life behind me for an unknown one ahead.  Erik got his exit permit, his dance partner Luisa got to N.Y. safely -- so were all together on board.</p>
<p>Day before I left I recorded 8 of the Dickinson songs for Columbia with Martha Lipton.  She has an opulent voice, and I hope we did well.  Did your song to a turn.  (Also heard that Schneider has persuaded Columbia to record the Piano Quartet.)</p>
<p>Take good care of everything while Im gone.  And lets keep in touch.</p>
<p>Affectionately<lb>Aaron</p>
<p>Victor called up from Rio to say goodbye!</p>
Copland|corr0622|Letter from Aaron Copland Irving Fine, 1951/02/08|<p>Feb 8, 51</p>
<p>Dear Irving:<lb>I was about to write you, when your letter came.  Good to hear from you -- as always -- your letter was definitely on the Quiet side.</p>
<p>By now Sonny has told you more about Academy life than I know -- or probably ever will know.  I hang out in my corner of the Villa and try to write music.  Thats all I know.  Musical life in Rome is nice and provincial, so there doesnt seem to be any rush to meet everybody, study their scores, lecture at them etc.  All that will come later.</p>
<p>I go to Israel in April (5-27).  Orgad is arranging for me to live with 30 composers for 5 days outside Tel Aviv in an art colony.  What can I tell them for five whole days?!  Pesach I shall have in one of the famous kabuttzim, or whatever theyre called.  Maybe London at the end of May.</p>
<p>My main news -- hold your hat -- is that Harvard has offered me the C.E. Norton professorship of poetry (for 51-52) -- and Ive accepted.  (I assume youll have to keep this severely under your hat until it is officially announced.)   Can you possibly explain how they would have arrived at me?  I cant.  Anyhow im it -- and so now I must think up a subject for 6 lectures, and feel utterly stumped!</p>
<p>VERY IMPORTANT -- where will you be next term?  Off on your Gugg[enheim]?  How awful -- since I must live in Cambridge from Oct.1.   Life is full of unpredictable things.</p>
<p>Bought a car -- a Morris Minor -- (Moyshe for short) -- and we took our first ride into the country today.  Big success.  Victor finally got into the center of the Brazilian jungle and photographed those there savages.</p>
<p>Write soon again.  Hope Verna is O.K. by now.</p>
<p>Best to you both (plus Claudia)</p>
<p>P.S. The more I see of Dallapiccolas music the less I go for it.  But hes a charming fellow personally.</p>
Copland|corr0623|Letter from Aaron Copland Irving Fine, 1951/03/01|<p>March 1 51</p>
<p>Dear Irving:<lb>Your brace-yourself letter naturally put me in a state.... Try as I may, I find it hard to believe, at any rate, until Kouss is heard from.  So Im sitting on pins, until he is heard from.</p>
<p>In the end, some compromise solution must be found.  If Judd wont budge, as seems likely, then your load can be lightened, I assume.  That would be my idea.  Help to Zanzig and to the auditors analyses are more or less Kouss ideas, arent they?  I dont see them as essential, but maybe he does.  So in the end, I want to wait to hear what he says.  Let me know prontissimo, when youve heard.</p>
<p>Thanks for the Norton congrats.  Wish I could decide what to talk about.  Got any good ideas for me[?]</p>
<p>Im writing something for piano, but dont know what it is yet.</p>
<p>Best -- and in haste<lb>Aaron</p>
Copland|corr0624|Letter from Aaron Copland Irving Fine, 1951/04/03|<p>Apr 3, 1951</p>
<p>Dear Irving:<lb>Gott sei dank!  Tods letter announcing alls well came yesterday.  Im enormously relieved.  Couldnt get my mind to accommodate itself to any other outcome.  I imagine youve sent me the gory details.  Now what do you plan to do about living quarters?  And will you tell Edie to send me a list of applicants names in composition with a pin point sketch of their qualifications -- from time to time, that is.</p>
<p>This is written in haste.  I leave for Tel-Aviv in 2 days.  Sort of excited about it.  Im to conduct In the Beginning to open a Passover Service on the shores of Galilee.  Seems unreal.  Anyhow, a far cry from the Lafayette Hotel on Commonwealth Av.</p>
<p>All goes well here.  We had our first American chamber music concert: Piston, Ives, Foss, Sessions, at the Academy.  Some musicians came, and of course the usual Academy public.  Lukas is doing well -- leaving his imprint around.  Gave 2 lectures recently, -- read them bravely in Italian.  Even gave a talk in the Catholic priest college where Ashley Pettis is!</p>
<p>Until Apr 22 -- my address is c/o Frank Pelleg, Ministry of Education and Culture, 100 Haneviim Street, Jerusalem.  Best to the two girls.</p>
<p>Aaron</p>
Copland|corr0625|Letter from Aaron Copland Irving and Verna Fine, 1951/05/21|<p>Paris -- May 21 [1951]</p>
<p>Dear Verna & Irving:<lb>I know Im a wretch for not answering Vs letter -- but Ive been crazy busy with travelling, lecturing, conducting etc.  Hopeless to tell it all until I see you both.</p>
<p>Israel was the most exciting.  It would make a Zionist out of D.G. Mason.   I conducted In the Beginning on the shores of the Lake of Galilee and heard Arab shooting in the middle of the night thereafter.  Etc. etc.</p>
<p>Ive been conducting the Radio Orch in Rome.  Leo and I recorded the Piano Concerto for Concert Hall as an offshoot.  Lectured on Amer. Music in Firenze, Bologna and Genoa on the way up here.  Paris looks lovely in May -- but Im off to London day after tomorrow, and then to Trieste to conduct an all C----- program with their Filarmonica.  Back in Rome June 5 to 27, -- when Ill fly back home.</p>
<p>Im very curious to know what youve found in the way of students for Dept III.   Please write me c/o B & H in London (295 Regent St.) By May 31.   Im secretly hoping to have only 3 students, like Dr. K.   And tell me about your living arrangements for the summer.</p>
<p>Hastily -- but with love.   Aaron</p>
Copland|corr0626|Letter from Aaron Copland Irving Fine, 1951/06/08|<p>June 8 51</p>
<p>Dear Irving:<lb>When I got home from my 3 week trip late on June 5 I found your May 30 letter, which was alarming.  Next morning my cook told me the bad news.  At this distance it seemed unreal and impossible.  I felt sorry that neither Lenny, nor Lukas, nor I myself were around at the end.  Poor Irving -- I suppose you got the full brunt</p>
<p>About coming home earlier: Im naturally waiting to hear what the BSO Trustees and Administration plan to do.  I feel I have already been away 6 weeks from Italy (on a 6 month assignment) and tho the Fulbright Commission would probably understand, I would like to carry out my commitment as nearly as possible.  (We have a K------ Music Foundation concert here on the 11th.)  Mainly I am quite unclear as to how essential my presence is likely to be considered, not by Olga of course, but by the Administration.</p>
<p>Thanks a lot for sending the detailed data about the student composers.  You seem to have done the job just as I thought you would.  I have one more pupil in young Lakner, from Israel, a talented fellow.  I remember Dority and his work, and think I can be of help to him.  Troubles at the moment with Dallapiccolas translator.  Everyone agrees here that D--------- is hard to handle, used to getting his own way, etc.  Wonderful about the Richmond house.  (Erik isnt coming back until the first days of August.)</p>
<p>Since Im coming by plane Ive had 2 little packages mailed to you as presents.  Tell Verna Im bringing hers by hand from Israel.</p>
<p>Saw Noel Lee in Paris, heard his new music.  Theres lots more general musical news to tell, but Im really not in the mood.</p>
<p>Hold the fort -- and let me know latest developments if you have the time and energy.</p>
<p>Love to Verna</p>
<p>Aaron</p>
<p>P.S. When do you leave for Richmond?</p>
Copland|corr0627|Letter from Aaron Copland Irving Fine, 1951/06/15|<p>[June 15, 1951]</p>
<p>WROTE TO OLGA SUGGESTING EARLIER RETURN IF ABSOLUTELY NECESSARY RECEIVED NO REPLY DIRECTORSHIP RESPONSIBILITY TRUSTEES ADVANCING ARRIVAL SUNDAY 24</p>
<p>AARON</p>
Copland|corr0628|Letter from Aaron Copland Irving Fine, 1951/06/15|<p>June 15, 1951</p>
<p>Dear Irving:<lb>Got your wire yesterday, and just have sent you off a reply wire.  I was mystified as to how Lenny & I could settle the directorship question.  In my mind, its entirely up to the Trustees of the BSO to decide what to do.  It would make me feel uncomfortable to think that I personally would have to bring pressure of any kind to help them make up their minds.</p>
<p>Tod hasnt written.  On the other hand I was sent a press release -- mimeographed -- which mentioned my return, but not my Assistant Directorship.  From that I gather that there is a certain reluctance -- or maybe resistance -- to making a decision in regard to the directorship.  If I were after a job of course I would drop everything here and dash home.   But Im not.</p>
<p>I didnt know Lenny had come back from Mexico.  But Im delighted hes taking over the conducting class chores.  It simplifies everything.</p>
<p>In any case I decided to get back by Sunday night, the 24th.  Ill call you to find out how things are by then.</p>
<p>Feels strange to have only a week left.  I wish I were bringing home something finished, but I aint!</p>
<p>You were nice to send me the wine.</p>
<p>Love to Verna.</p>
<p>Aaron</p>
Copland|corr0629|Letter from Aaron Copland Verna Fine, 1951/08/20|<p>Monday [postmark: Aug 20, 1951]</p>
<p>Dear Verna:<lb>No sign of Tippy -- Sorry.  Mrs. Calder didnt call so I assume its a lost cause.</p>
<p>Recording went fine.  Warfield a wonderful artist.</p>
<p>Lots of rain here too.  Aint it awful!  Im correcting proofs of the Dickinson Songs.  Let me know if you find anything likely.   Dido wonderful too.</p>
<p>Love Aaron</p>
Copland|corr0630|Letter from Aaron Copland Verna Fine, 1951/08/27|<p>[postmark: Aug 27, 1951]</p>
<p>WONDERFUL!</p>
<p>Forget about house hunting.  Ill probably end up in Adams House anyway.</p>
<p>Love -- A</p>
<p>[in Erik Johnss hand]: Dido & I think its wonderful too!   Erik</p>
Copland|corr0631|Letter from Aaron Copland Verna Fine, 1951/09/11|<p>[postmark: Sep 11, 1951]</p>
<p>Dear Verna:<lb>I saw the Adams House suite and its pretty dreary.   So dreary that I didnt give a definite yes.  If you should hear of some simple solution -- like an ideal apt Id still consider it.  Were heading for Palisades on Monday.</p>
<p>Thanks again for a nice overnight stay.  See you circa Oct 1.</p>
<p>Aaron</p>
Copland|corr0632|Letter from Aaron Copland Irving and Verna Fine, 1951/10/01|<p>[postmark: Oct 1 1951]</p>
<p>Dear V & I:<lb>Couldnt get off on Oct 1 as planned.  I was moving to-day to a new hideaway in the Village.  Will be up late on Wed.  Seems Im to be at Gerrys Landing.  Isnt that good?</p>
<p>Love Aaron</p>
Copland|corr0633|Letter from Aaron Copland Irving Fine, 1952/07/08|<p>[postmark: July 8, 1952]<lb>c/o Gettys -- RFD 1<lb>Pitts[field]</p>
<p>Dear Irving:<lb>One week gone.   We miss you.  All goes well.   A lively crowd of composers.  Dallapicc. More relaxed than ever; Lukas inspiring all and sundry.  Me -- starving at dinner time -- but alive.  Hope youre working well.   L.B. turned thumbs down on Sonnys choruses, and Lukas agreed.  Poor Sonny.  I tried to protect him.   Write.      A.</p>
Copland|corr0634|Letter from Aaron Copland Irving and Verna Fine, 1952/09/09|<p>Sept 9 52</p>
<p>Dear Verna & Ir:<lb>Poor girl -- sorry to hear about your sudden attack.  Keep us posted of developments.</p>
<p>We just got back from a 4 day [vacast?] tour to Montreal & Quebec.  Erik saw the Orozco murals at Dartmouth on the way back yesterday.  We had fun.</p>
<p>Victor is back home and came up with Pearl over Labor Day week end.  He looks O.K. -- not quite so young any more, I guess.</p>
<p>Im headed for 9 Charlton St. next Monday, -- and then, big search is on for a home.</p>
<p>The book will be out Oct. 13.  (Ive told H.U. Press to send you a copy.)  N.Y. Times Sunday mag. and Sat. Rev. of Lit. are printing excerpts previous to publication.</p>
<p>Ive been writing opera music, the Lord help me.</p>
<p>Take care of yourselves.</p>
<p>Best Aaron</p>
Copland|corr0635|Letter from Aaron Copland Verna Fine, 1952/10/09|<p>Oct 9 52</p>
<p>Dear Verna:<lb>Kouss. Music Found. is meeting Sat. and Ill send latest dope on Str. Quartet plan, if any, then.  Thanks for tipping me off on Rodeo use -- I knew from nothing.</p>
<p>Ive got my fingers on a place in the country.  Keep yours crossed.</p>
<p>Conducting Billy at the Met tonight.  Wish you were here for moral support.</p>
<p>Best   Aaron</p>
Copland|corr0636|Letter from Aaron Copland Irving Fine, 1952/10/13|<p>Oct 12 [postmark: Oct 13, 1952]</p>
<p>Dear Irving:<lb>It now appears if K[oussevitzky] M[usic] F[oundation] does a concert it will not be chamber music.  Since the L[ibrary] of C[ongress] cant afford the Juilliard boys for a single piece -- and has no other quartets I know of --  I imagine you ought to tell the J--------- Boys to proceed on their own steam.</p>
<p>First reviews of the book are out -- V.T. and B.H. Haggin -- both good.  Aint that lucky?</p>
<p>Best to you all.    Aaron</p>
Copland|corr0637|Letter from Aaron Copland Irving and Verna Fine, 1952/11/08|<p>Nov 8 52</p>
<p>Dear You-all:<lb>I bought a house!  Or rather -- its a barn, remodelled -- one hour up the Hudson near Croton.  Nice country.  Nice view of the river.  Busy as can be buying furniture, drapes, et al.   How are you guys?  How did App. Spr. go at B.S.O.?  Write me at 9 Charlton.  I dont move out till Dec. 1.</p>
<p>Love Aaron</p>
Copland|corr0638|Letter from Aaron Copland Irving and Verna Fine, 1952/11/29|<p>[postmark: Nov 29, 1952]</p>
<p>[printed message]: REMOVAL NOTICE // NEW ADDRESS // (Permanent, PLEASE correct your files // Aaron Copland // Shady Lane Farm Ossining, New York //</p>
Copland|corr0639|Letter from Aaron Copland Irving and Verna Fine, 1952/12/03|<p>Shady Lane Farm<lb>Ossining, N.Y.<lb>[postmark: Dec 3, 1952]</p>
<p>Dear Verna & I:<lb>Moved out here on the first and got snowed in on the second!  I cant be in N.Y. on Sat. & Sun. as I am still trying to settle in up here.  Have no phone as yet -- so I am incommunicado, practically.  Have no solution for sociability except for you to drive here on your way home.</p>
<p>Best   A</p>
Copland|corr0640|Letter from Aaron Copland Irving and Verna Fine, 1953/02/04|<p>Feb 4 53</p>
<p>Dear V & I:<lb>I heard you had called while I was in Minneapolis.  I tried without success to call you back.  Where are you?  Looking forward to seeing you down here.</p>
<p>Ive been thru the wringer, but gradually regaining my equilibrium.  Write your plans.</p>
<p>The 3rd Symph. Went well -- I took 3 bows!</p>
<p>Love   Aaron</p>
Copland|corr0641|Letter from Aaron Copland Florence Rudnick, 1953/02/25|<p>Feb 25 1953</p>
<p>Dear Florence:<lb>Thanks for sending the pecans.  Theyre delish!</p>
<p>Greetings<lb>Aaron</p>
<p>P.S. Lennys new show opened last night.  Looked to me like a smash hit.</p>
<p>P.PS.  He was wearing Koussies cape at the opening!</p>
Copland|corr0642|Letter from Aaron Copland Verna Fine, 1953/03/20|<p>[postmark: Mar 20, 1953]</p>
<p>Dear Verna:<lb>Ducky news about the Kelley house, because I do have the barn.  Will you be home for the March 29 concert?  Its going to be a gala day for modren music -- we hope.  ASCAP reception & League concert in the evening.   Was Hoody-Doody a complete ballet performance?</p>
<p>Best   Aaron</p>
<p>P.S. Tell Irv I finished 5 more Old Amer. Songs.  PLEASE sharpen choral pencil for Set 2.</p>
Copland|corr0643|Letter from Aaron Copland Irving and Verna Fine, 1953/08/29|<p>Aug 29 53</p>
<p>Dear You-all:<lb>Mexico fascinatin as ever.  Im doing 2 concerts instead of one, and will be back around the 15th.  Have my fingers crossed -- and hope all goes well with the new addition.</p>
<p>Love Aaron</p>
Copland|corr0644|Letter from Aaron Copland Irving and Verna Fine, 1953/09/11|<p>Sept 11 [1953]</p>
<p>Dear I & V:<lb>Congratulations anyway!  The explanation is simple: Irving has always been much too interested in girls.  Joanna is a pretty name -- and Im pleased to know its all happened well.</p>
<p>Im here for 10 days longer than i thought I would be.  I was invited to open the Sinfonica season on the 18th.  Am doing Roys 3rd Symphony and Chaussons Poeme (Soloist and piece imposed!)  Learning lots about conducting.  Took a weeks vacation between rehearsals and saw Oaxaca for the first time.  Its full of some of the most amazing pyramids.  Revisited Taxco, Cuernavaca, etc.  Someday you must bring all 3 girls to se it.</p>
<p>Ill be back on the 21st.  Will have to settle down seriously to finishing the opera because Ive promised it to Kirstein for Feb 1.</p>
<p>Think of me sometimes ---- </p>
<p>Love<lb>Aaron</p>
Copland|corr0645|Letter from Aaron Copland Verna Fine, 1954/02/11|<p>Feb 11 54</p>
<p>Dear Verna:<lb>Sure you can use my name on Claudias application blank.  Its a record, tho!  How young can you be before you need a recommendation?!</p>
<p>Opera is scheduled to be finished on March 31, performed Apr 1.  Oy Oy</p>
<p>Love Aaron</p>
Copland|corr0646|Letter from Aaron Copland Irving and Verna Fine, 1954/03/19|<p>March 19 54</p>
<p>Dear I & V:<lb>Are you all coming down for April 1?  I wont urge it in view of the possible Brandeis production, but I ought to know a few days in advance to save you tickets.  (Theres a party afterwards at Dorothy Normans!)</p>
<p>Opera is done -- Gott sei dank -- but not the orchestration -- oy!</p>
<p>Love Aaron</p>
Copland|corr0647|Letter from Aaron Copland Irving Fine, 1954/03/29|<p>Sunday [postmark: Mar 29 1954]</p>
<p>Dear Irving:<lb>Am leaving two seats each for you; for A[rthur] B[erger]; and for Lenny Burkat at Box Office, in your respective names.  Please let others know.  Please advise me Wed. night if any change in plans; otherwise dont bother.</p>
<p>Hectically, A.</p>
Copland|corr0648|Letter from Aaron Copland Irving and Verna Fine, 1954/04/26|<p>Zrich<lb>Apr 26 54</p>
<p>Dear V & I:<lb>Greetings from Der Schweiz.  Zurich is a beautiful town.  Im having a busy week -- conducting radio orchestra and playing an all A.C. program for local I.S.C.M. chapter.</p>
<p>London next week and then home.  Ill see you in Boston around the 12th.</p>
<p>I had good reports about the 2nd perf. of T[ender] L[and].</p>
<p>Have fun ----</p>
<p>Love<lb>Aaron</p>
Copland|corr0649|Letter from Aaron Copland Irving Fine, 1954/07|<p>July 54</p>
<p>Dear Irving:<lb>What a pleasant surprise to receive the Ching arr.  They look ducky.  How do you think up all those things?  Denks!</p>
<p>Are you and Verna still thinking about coming the opera week-end?  Hope so.  Im saving you a double bed.  But let me know.  Have finished a new scene in Act I (not orchestrated yet!!) -- and an addition to Act II (which is now split into 2 parts -- with an intermission between).</p>
<p>Otherwise all is calm round here.</p>
<p>Love<lb>A</p>
Copland|corr0650|Letter from Aaron Copland Verna Fine, 1954/07/24|<p>[postmark: July 24, 1954]</p>
<p>Dear Verna:<lb>Hurray!  Dress Rehearsal is Sunday.  Of course come Sat. if you like -- or Fri -- or whenever.  Im the cook.  Let me know when to expect you.</p>
<p>A</p>
<p>In case you need it: Rich 1 ring 22 as [remainder lost]</p>
Copland|corr0651|Letter from Aaron Copland Irving and Verna Fine, 1954/11|<p>Friday -- Caracas<lb>[Nov 1954]</p>
<p>Dear Chicos:<lb>Up to my neck in Latin Amer. music.   Seven orch. concerts in 2 weeks.  Chavez, Villa-Lobos, Juan Jos Castro, V.T. are here, also 5 ex-students of mine from Tanglewood.  Im full of food and booze.  All free!  Back by the 10th.</p>
<p>Love Aaron</p>
Copland|corr0652|Letter from Aaron Copland Irving and Verna Fine, 1955/07/05|<p>July 5 55</p>
<p>Dear V & I  <lb>I thought of writing dozens of times, -- but you know how it is while one is moving about.  Now Im set until Aug 31 -- found a beaut of a villa up in the hills above Cannes.  Have a garden and a cook and a view of the sea.  One works in the mornings and evenings -- and goes to the beach for the afternoon.  Its the perfect existence.  Now lets see if it produces any music.</p>
<p>Im full of questions.   How was the Brandeis Festspiel this year?  How did Medea go?  Who conducts?  Im afraid to ask about my Canticle at M.I.T.   I dashed up one evening to hear a rehearsal and (between us) despaired of Liepmann getting any results out of those forces.  I wish I could hear it properly presented.</p>
<p>What are you both up to?  And where is everybody this summer?</p>
<p>I spent all of May in Paris -- mostly correcting Tender Land proofs (B.&H. informs me it is being given at Potsdam, [N.Y.] this summer) I thought of you when I visited the Musique Concrete studios.  They dont seem to have made much progress in the past few years.   Same few composers and same methods.  I gave a 1  hour program of my own things -- including 3rd Symph -- with the Radiodiffusion Orchestra.  Heard Ormandy & Warfield do the Old Amer. Songs at the Opera.  Marcelle de M[anziarly] seemed very impressed by the orchestration.   I rather liked it myself!  Thinking about it later it seems to me I am beginning to mix str. & w.w. in a way that produces a most dulcet effect.   Tant mieux!</p>
<p>London was fun.   I conducted the complete App. Spr. twice with the BBC Orchestra; gave 2 BBC talks; saw Clurman open his new production of a Giradeaux play; heard Sam Bs Prayers (with Sam); lunched with Desmond Shawe-Taylor, etc. etc. -- but didnt track down any talk of new geniuses.</p>
<p>Baden-Baden and the I.S.C.M. Festival was not too bad.  The Schoenberg Var. op. 31 left the strongest impression -- marvellously played by Rosbaud and the orchestra.  Boulez Marteau sans Maitre had striking sounds and peculiar rhythms (non-rhythms would describe it better).  I worked hard to get him one of the prizes -- but lost out in the end.</p>
<p>In the fall Im full of conducting engagements: Munich, Baden-Baden (Im doing the Short Symph there), Helsinki, Stockholm, Oslo.   Wont be back until the end of October.</p>
<p>Please write.   My address: LORANGERIE, LES BREGUIERES, LE CANNET, Alps-Mar, France.</p>
<p>I miss you both.</p>
<p>Aaron</p>
Copland|corr0653|Letter from Aaron Copland Irving Fine, 1955/10/05|<p>Helsinki<lb>Oct 5 [1955]</p>
<p>Look where we are!  Got your long letter in Cannes.  Im to home Oct 23.  Yippee!</p>
<p>Love Aaron<lb>[in another hand]:& Karl<lb>& Margie</p>
<p>Will write soon!  Lovely, cool weather here and lots of cold cuts.</p>
Copland|corr0654|Letter from Aaron Copland Irving Fine, 1956/02/12|<p>Feb 12 56</p>
<p>Dear Irving:<lb>You were very nice to send me the reviews -- even tho awful.  Im sending one back, the really good one of the lot -- just for your amusement.  (I swear I didnt write it myself!)</p>
<p>Im sorry to say the N.Y. performance of the piece was sort of stiff and unconvincing.  I guess Munch got self-conscious.  Oh well -- publication is assured, so its in the hands of the gods.  But I sure do wish I could hear it conducted by an American.</p>
<p>Main point of this note: I am spending from 4 P.M. on Friday the 14th to Saturday noon with John D. Rockefeller 3rd at the Savoy Plaza.  Leave a message for me at the hotel (in my name) as to where you are.  Or let me know in advance where you will be and I will call you-all.</p>
<p>Best to you both<lb>Aaron</p>
Copland|corr0655|Letter from Aaron Copland Irving Fine, 1956/03/23|<p>Thursday [postmark: Mar 23, 1956]</p>
<p>Dear Irving:<lb>Spoke to Tod yesterday.  From the tenor of his remarks I expect him to send you a formal invite.  He seemed surprised it hadnt gone out yet.  They get back to Boston Monday.  Let me know if there are any further contretemps!</p>
<p>Best, Aaron</p>
Copland|corr0656|Letter from Aaron Copland Verna Fine, 1956/05/09|<p>[postmark: May 9, 1956]</p>
<p>Dear Verna:<lb>May 19 is the day Columbia is having a Composer-day and I had promised to be there.  Too bad.  But Ill call you when I come up to do T-------------d work on Friday.</p>
<p>Best   Aaron</p>
Copland|corr0657|Letter from Aaron Copland Irving Fine, 1956/05/26|<p>May 26, 1956</p>
<p>Dear Irving:<lb>Latest dope: Adams says B & H does not attempt to collect a 1st recording fee for chamber music; sometimes does for orchestral music that has drawing power, but even then it is in the form of a higher than usual rental on the material.</p>
<p>Asked composers about it too.  Virgil and Dello Joio never heard of a fee; Henry Cowell claims to have collected $25. for his Violin Sonata from Columbia.  Sounded to me like an exceptional case.</p>
<p>Clear?  Hope so.</p>
<p>Best<lb>Aaron</p>
Copland|corr0658|Letter from Aaron Copland Verna Fine, 1956/06/01|<p>June 1 [postmark: 1956]</p>
<p>Dear Verna:<lb>Delightful, delightful.  Its too far away for every night, but certainly several nights guesting, especially before concerts, etc.</p>
<p>Looking forward ------<lb>Aaron</p>
Copland|corr0659|Letter from Aaron Copland Irving and Verna Fine, 1956/09/11|<p>Sept 11 [1956]</p>
<p>Look where I am!  Trying the ascetic life for arts sake.  Same studio you had in 54.  Ill be here until the 30th.  Then back home.</p>
<p>Best-----Aaron</p>
Copland|corr0660|Letter from Aaron Copland Verna Fine, 1956/09/27|<p>[postmark: Peterboro, N.H., Sep 27, 1956]</p>
<p>Dear Verna:<lb>Wish I could take you up for Sunday, but I have to head straight for home via Bennington.  Sorry.</p>
<p>Have been working well, but Im far from finished.  Oy!  Its a monster that must be tamed.  Love</p>
<p>Aaron</p>
Copland|corr0661|Letter from Aaron Copland Verna Fine, 1956/10/10|<p>Oct 10 56</p>
<p>Dear Verna:<lb>If you go to Wash. by car why dont you spend the night of the 17th here with me??  Get here in time for dinner, if you can.  What say?</p>
<p>Best   Aaron</p>
Copland|corr0662|Letter from Aaron Copland Irving Fine, 1956/11/26|<p>Nov 26 56</p>
<p>Dear Irving:<lb>I thought you might want to see this program.</p>
<p>Put your thinking cap on!  P. Fromm offers us the dough -- $6500 for the 13 players and seminar on cont[emporary] music.</p>
<p>Save time, if you can, on the 7th sos we can discuss it.</p>
<p>Best<lb>Aaron</p>
Copland|corr0663|Letter from Aaron Copland Irving and Verna Fine, 1957/03/07|<p>[postmark: Mar 7, 1957]</p>
<p>This is it, complete with swimming pool.  We -- that is, Chavez, Ginastera and santa Cruz -- have just handed out $20 grand in prizes after looking at 107 scores.  Now Im free, enjoying the balmy weather, sun, and soft life.   Heard from Dr. S.  Thanks!  Write a guy.</p>
<p>Aaron</p>
Copland|corr0664|Letter from Aaron Copland Irving Fine, 1957/03/17|<p>March 17 57</p>
<p>Dear Irving:<lb>It was fun getting your long letter here with its homey news about D[avid] D[iamond] et al.  (South America feels like a long ways away.)  D.D. seems to be trying to prove something with his sour music, but what it is I dont know.</p>
<p>Let me take things orderly-like:<lb>Brandeis Fest: I got an official letter from Dr. Sacher, and wrote an acceptance, which I hope he has received.<lb>I leave it up to you-all as to Sat. or Sun.  And I cant help choose sopranos because I cant remember the voices of Willauer & Trickey well enough to decide.  Maybe they could both learn the Thank you, thank you all aria in Act II and you could then decide on the basis of that.</p>
<p>Tanglewood: Now that the BSO Trustees are getting so niggardly with Dept III Ive come round to the thought we ought to get a raise!  Anyway you ought to, though this is not exactly the year to suggest it.  More of that anon.</p>
<p>Your idea of commuting presents serious problems for different reasons.  As of now, you and I are the whole dept.  Lukas suddenly announced he would have to leave after 3 or 4 weeks because of Cornelias expectancy, and I had to say no.  I thought it unfair treatment for the students, and anyway, what to do with them after he left?  I have been urging Tod to get J. Fleischmann to pay for bringing Panufnik, in whom he is interested.  The 3 of us would do fine.  But what worries me is this: due to the addition of the Fromm Players I have been trying to work out a schedule for them, which involves a recasting of our own jobs.  Right now I need your advice badly, because I feel so green in setting up seminars.  But in any case I am mystified as to how what I have in mind can be fitted into a 3 day schedule for you.  Well, we shall have to wait to discuss all this.  (Keep the Panufnik idea under your hat.)</p>
<p>The festival here starts to-morrow.  Its been quiet up to now, and Ive been doing a little of my own work each day.</p>
<p>If your ego ever gets low, come to Venezuela.  They print your picture in the papers every other day, play your music on the radio, interview you till youre blue in the face.  Finally, even the American Embassy took note, and is arranging a party for the Festival personalities.</p>
<p>Everybody is here -- Guarnieri, Ginastera, Orrego-Salas, Roque Cordero etc.  Much talk of Tanglewood days...  Unfortunately the quality of the orchestra has deteriorated since 2 years ago.  (I rehearsed the Lincoln Portrait yesterday, so I know.)  How they will ever get thru 45 works in 9 concerts only a Latin-Amer. would know.</p>
<p>Ill be back either Apr 1 or 8.</p>
<p>Love to Verna & the kids</p>
<p>Aaron</p>
Copland|corr0665|Letter from Aaron Copland Verna Fine, 1957/06/12|<p>June 12 57</p>
<p>Dear Verna:<lb>Thanks for taking care of me while in E. Natick.  Now one more favor: could somebody send me any reviews of Sats concert?  I forgot to ask while up there.</p>
<p>Love   Aaron</p>
Copland|corr0666|Letter from Aaron Copland Irving Fine, 1957/06/18|<p>June 18, 1957</p>
<p>Dear Irving,<lb>Im anxious to line up the illustrations we all are to use for the Seminar in contemporary music.</p>
<p>Could you sit down now and decide what the Fromm players (5 winds, 5 strings, piano and soprano) could perform in order to illustrate your first talk on the Wednesday of the second week concerning neo-classicism?  I would say 15 minutes of illustration is about tops.   Separate movements would also be o.k.   Our Fromm players singer, Miss Farr, tells me that she knows Das Marienleben, first version.  You might want to do some of the De Falla Concerto as played on the piano (!) With the other instruments.  Roussel has a Serenade for flute, violin, viola, cello and harp, Op. 30.  Is that appropriate?</p>
<p>For your second talk on the older generation of contemporary Americans, you might want the Divertimento of Piston for 9 instruments.  (As you can see, Im trying to use as many of the Fromm players as possible.)</p>
<p>Anyhow, the point is that as soon as youve made up your mind, please contact Victor Alpert so that he can gather together the musical materials necessary.</p>
<p>Its hot!</p>
<p>Best,<lb>[signed] A</p>
Copland|corr0667|Letter from Aaron Copland Irving and Verna Fine, 1958/11/05|<p>55 Park Lane<lb>London W1<lb>Nov 5 58</p>
<p>Dear V & I:<lb>What on earth has happened to you-all??  The silence is thunderous!  Or am I imagining things?  Not completely, because Sylvia Goldstein of B & H came thru London with rumors from Rome that you were having apt troubles.  I hope theyre solved, by now.</p>
<p>Ive been having an interesting time, what with one thing and another.  Ive been conducting a bit, here and in Copenhagen and Stuttgart, and lecturing a bit in Coventry and Brussels; meeting new faces and renewing acquaintances with Britten, Tippett, Mellers, etc.   Sorry to report I havent got much work of my own done, but foreign towns are distracting, no?</p>
<p>This is mainly to arouse you both to an answer.  I only have 3  more weeks before going home on Dec. 1.  (Next week in Paris.)  Best to Alexei and love to you both</p>
<p>Aaron</p>
Copland|corr0668|Letter from Aaron Copland Irving and Verna Fine, 1960/03/23|<p>Moscow<lb>March 23 60</p>
<p>Dear Everybody:<lb>Hello from Moscow!  Nothing too good for the visiting artist and its all free: private limousine, operas, circuses, puppet shows, ballets etc, plus jet plane rides to Tiflis and Riga.  Our first concert here Friday; 2 others in Riga & Leningrad.  Why didnt you warn me about Lukas: hes irrepressible, and a charmer.  Love to you all.</p>
<p>Aaron</p>
<p>Write (c/o Amer. Embassy)</p>
Copland|corr0669|Letter from Aaron Copland Irving and Verna Fine, 1960/05/10|<p>Japan, May 10 60</p>
<p>Dear V & I & girls:<lb>Just left Osaka, and now were having a lovely boat ride on the Inland Sea (take out that map!)</p>
<p>All goes well with concerts.  (I had to give 2 encores in Osaka.)  Ill be in Tokyo May 20 - 31, so write c/o Amer. Embassy there.  Whats doing in Natick -- Japan is fabuloso.</p>
<p>Love Aaron</p>
Copland|corr0670|Letter from Aaron Copland Irving Fine, 1960/11/18|<p>[postmark: Nov 18 1960]</p>
<p>[printed]: Change of address / Aaron Copland / New address: Rock Hill / R F D 1 / Peekskill, N.Y. / Former address: / Shady Lane Farm, Ossining, N.Y.</p>
<p>[added in ink]: Private Tel: Peekskill 9-0639</p>
Copland|corr0671|Letter from Aaron Copland Irving and Verna Fine, 1961/06/06|<p>June 6, 61[?] -- Madrid</p>
<p>Dear V & I:<lb>Spending a hectic but interesting 3 days here.  Found the musical counterparts of your painters group.  Very nice bunch.</p>
<p>Had a good concert in Belgrade conducting the Philharmonic, and tackle the Lisbon [Philharmonic] to-morrow.  Ill call you when in town next week.</p>
<p>Love Aaron</p>
Copland|corr0672|Letter from Aaron Copland Irving and Verna Fine, 1962/01/30|<p>[postmark: 30 Jan. 1962]</p>
<p>Dear Fine Family:<lb>Hello from Tokyo!  Youd all love it here, -- very different from Boston.  Stopped in Seattle, Tacoma, & Vancouver for concerts.  Next week over the Pole to London.  Love to all.</p>
<p>Aaron</p>
Copland|corr0673|Letter from Aaron Copland Verna Fine, 1962/11/16|<p>Nov 16 62</p>
<p>Dear Verna:<lb>I was in Nassau on my birthday, but loved finding your wire here on my return.  I had 5 days of basking in the sun at the expense of Huntington Hartford, with a Latin-American conference as excuse.   (Max Lerner was along, too.)</p>
<p>Also, I meant to write and tell you what a nice letter you sent after your N.Y. trip.  I admire the way youre able to battle along, despite everything.</p>
<p>Love to the girls and to yourself -- Aaron</p>
Copland|corr0674|Letter from Aaron Copland Verna Fine, 1962/12/13|<p>Rt 1 Peekskill<lb>Thurs [postmark: Dec 13, 1962]</p>
<p>Dear Verna:<lb>Ill be around -- either here or at the Harvard Club.</p>
<p>Save Friday the 13th -- and well take in a movie or a show or sumpin!  Call me when you get in.</p>
<p>Love to the daughters three<lb>Aaron</p>
Copland|corr0675|Letter from Aaron Copland Verna Fine, 1963/01/29|<p>January 29, 1963</p>
<p>Dear Verner,<lb>Here are my plans.</p>
<p>Ill be coming up for the party on the evening of the 12th and am staying at the Commander Hotel in Cambridge.  Wellesley will pick me up for an official luncheon on the 13th and, after my talk, I would be free to have dinner with you all....then back to the campus for an evening function at 8 p.m.  No reason why you shouldnt go to that evening one too, except that it doesnt sound very amusing.  Anyway, you can decide.</p>
<p>I know just how Louise Vosgerchian must feel about the program make-up on the 12th.  But since I am not running this event, and am only the willing victim, I just dont like to butt in.  As you remember from our conversation in New York, I more or less took it for granted that one of Irvings pieces was indicated for such an evening.  But the local committee seems to have thought differently.</p>
<p>In any case, I am hoping that we can persuade Papa Fine that a scholarship might be set up in Irvings name making it possible for a composer to spend time at the Colony for free, forever.  We can talk about this when I see you.</p>
<p>Im back in New York [footnote in ink: chez 333 C[entral] P[ark] W[est]] until the 8th.  Lenny is redoing my piece this week.  Maybe you can catch it on the broadcast?</p>
<p>Love to you and the girls.</p>
<p>[signed] Aaron</p>
Copland|corr0676|Letter from Aaron Copland Verna Fine, 1963/03/05|<p>March 5, 1963</p>
<p>Dear Verna:<lb>I havent forgotten our conversation concerning the [MacDowell] Colony and Papa Fine.</p>
<p>The other day, George Kendall told me that the situation in fellowships is at present on the plus side.  Usually it takes about 15 thousand dollars to endow a permanent fellowship.  What he suggested as an alternative was the endowing of a specific studio toward its proper upkeep through the year.  Certain studios were built and paid for by interested parties but no funds are available to insure their proper maintenance.  Kendall suggests that a studio might be renamed in Irvings memory and that G.F. might be interested in setting up such an endowment fund.  When I asked how much that would be, he said he would have to investigate it. [Footnote in pen: Just heard from Kendall today.   He thinks a sum of 12 to 15 thousand would be required.] Thats where we are of now.  As soon as I know more, I will write you again.</p>
<p>Perhaps Id better tell you that I take off for London, Berlin, Munich, and Rome at the end of the month and wont be back until mid-May.</p>
<p>Take care of yourself.</p>
<p>Love<lb>[signed] Aaron</p>
Copland|corr0677|Letter from Aaron Copland Verna Fine, 1963/04/30|<p>Apr 30 63</p>
<p>Dear Verna:<lb>On the last lap of my little tour -- London, Berlin, Munich, Rome.  Its tough being tri-lingual.  Had fun in Berlin with the Milhauds, the Carters, Auden, Nabokoff, Blacher, etc.  Today I finished tapeing my ballet for the Opera choreographers here.  Off to Rome for a concert on Friday.  Love to you and the GIRLS    </p>
<p>Aaron</p>
Copland|corr0678|Letter from Aaron Copland Verna Fine, 1963/10/01|<p>Oct 1 63</p>
<p>Hi from B.A.  Im mid-way in my South American tour.  Busy as can be with 2 orchestral concerts, 6 lectures in Spanish (Oy!), pupils in composition at Ginasteras new Instituto, and seeing old friends from my last trip here in 1947.  On to Chile and Colombia in 2 days.  How are you all?  Love to the girls.</p>
<p>As ever   Aaron</p>
Copland|corr0679|Letter from Aaron Copland Verna Fine, 1963/11/07|<p>Nov 7 63</p>
<p>Dear Verna:<lb>Nice to get your letter.  Im 2 weeks back from America del Sur and about to take off again for Europe -- 2nd trip this year.   (Im a gad-about!)  Tanglewood seems far away -- as Im sure it does to Lukas, too.</p>
<p>Mildly amazed at your new career.  Whats the Education Masters for?  (I thought you were a Statistician) But Im all for it, anyway.  Incidentally it was Lynn Riggs (librettist of Oklahoma) who sang me my version of I Bought Me a Cat.[] Ive never seen a printed version.   Columbia is about to bring out all 10 songs, plus the Clarinet Concerto -- the best record I ever conducted.  Ill send it to the kids for Xmas.</p>
<p>South America was hard work, but wonderful for the EGO.  On Nov 18 I head for Munich to conduct the world premiere of my Robbins ballet at the Bayerische Staatsoper, with side trips to Vienna, Nurenberg and Milan.  All in one month.   I told you Im a gadabout</p>
<p>Ive been noticing how well Irvings pieces are keeping up in radio and public performances.  Its a pleasure.   Sorry I cant be with you Friday eve -- but Ill be thinking of you muchly.  </p>
<p>Love to you and the girls<lb>Aaron</p>
Copland|corr0680|Letter from Aaron Copland Verna Fine, 1963/12/10|<p>Dec 10 63</p>
<p>Dear Verna:<lb>Look where I am!  Conducted the premiere of my ballet last week and people seemed to like it, tho I had reservations about the choreography.  Ive called it Dance Panels (in 7 sections) How you like?  Ive been in Vienna and going to Milan before coming back for Xmas.</p>
<p>Love to the girls and you<lb>Aaron</p>
Copland|corr0681|Letter from Aaron Copland Verna Fine, 1964/03/02|<p>[March 2, 1964]</p>
<p>Want to go see?  I think its worth while.</p>
<p>I may be coming up March 27 & 28 for performances of my Organ Symphony.  If so, would you come with me to one of the concerts?  Which one -- Fri or Sat?</p>
<p>Love<lb>Aaron</p>
Copland|corr0682|Letter from Aaron Copland Verna Fine, 1964/03/13|<p>March 13, 1964</p>
<p>Dear Verna,<lb>My plans have been changed somewhat.</p>
<p>Ive just learned that the concerts of the last week in March take place Thursday afternoon and Saturday because of Good Friday.  So, I am going to come for the Thursday afternoon performance and not wait over to Saturday for the repeat.  Sorry if this spoils our concert-going, but I am hoping that Thursday afternoon is better for you than Friday afternoon.</p>
<p>Anyhow -- let me know.</p>
<p>If E[rich] L[einsdorf] had waited ten months longer, he could have celebrated the 40th anniversary of the first performance of the piece in Boston; -- and I was there!</p>
<p>Love,<lb>[signed] Aaron</p>
Copland|corr0683|Letter from Aaron Copland Verna Fine, 1964/06/02|<p>Copenhagen<lb>June 2 64</p>
<p>Dear Verna:<lb>Spending 3 days at an ISCM Festival here, after concerts in Paris and London (where I premiered the new piece.)  Doing the Serious Song in Hilversum (radio orchestra broadcast).</p>
<p>Back on June 21 for Laurines 50th wedding anniversary.  I was there in 1914!!</p>
<p>Love to the girls<lb>Aaron</p>
Copland|corr0684|Letter from Aaron Copland Verna Fine, 1965/03/28|<p>Fri [March 28, 1965]</p>
<p>Dear Verna:<lb>Pfui!  The MacDowell Boston Bunch have decided on Friday Apr 9 for some sort of meeting.</p>
<p>So -- that leaves Monday the 12th -- for a quiet evening.  If thats no good will just have to save it for 66!</p>
<p>Love<lb>Aaron</p>
Copland|corr0685|Letter from Aaron Copland Verna Fine, 1965/04/01|<p>Thurs. [April 1, 1965]</p>
<p>Dear Verna:<lb>Its a date for the 12th  </p>
<p>Ill have 2 tickets for you at the B.S.O. box office in your name for Sat the 10th.</p>
<p>Wish me luck!</p>
<p>Aaron</p>
Copland|corr0686|Letter from Aaron Copland Verna Fine, 1965/10/19|<p>Turin<lb>Oct 19 65</p>
<p>Dear Verna:<lb>Greetins from Italy.  Im 1/3 thru my tour -- having conducted in Hamburg, Glasgow and Edinburgh.  Next 2 weeks in London with BBC & L.S.O. and a final flourish in Warsaw.  Back mid-Nov.</p>
<p>Hope you like your new job.  Love to all the girls.</p>
<p>Aaron</p>
Copland|corr0687|Letter from Aaron Copland Verna Fine, 1966/03/29|<p>Tues [postmark: Mar 29, 1966]</p>
<p>Dear Verna:<lb>Got your note before I left.  Down here for one of those Latin -- Amer. shindigs (by way of Montreal, and Bob Bernats Indiana, Pa. school).   All the old gang is here: Carmen and Juan, Slonimsky and Chu-Cho, etc., etc.  Back home Sat. to stay put for 5 months!</p>
<p>Love Aaron</p>
Copland|corr0688|Letter from Aaron Copland Verna Fine, 1966/12/09|<p>December 9, 1966</p>
<p>Dear Verna,<lb>After I got your letter, I wrote to George Kendall, asking him for specific suggestions as to what the [MacDowell] Colony needed most in relation to a possible donation in Irvings memory.</p>
<p>Since he knows the situation up there even better than I do, I thought it was the wise thing to do.  As soon as I hear from him, we should get together and discuss what we ourselves think.  Then youll know how best the proposal should be presented to Father Fine.</p>
<p>RCA sent me the record and I was pleased with the attention-compelling cover and very pleased that you liked my note on the back, but sorry that Arthur was hidden inside.</p>
<p>Its lovely to think of you dashing about busily instead of hibernating in dear old Natick.</p>
<p>Hope to see you soon.</p>
<p>Love,<lb>[signed] Aaron</p>
Copland|corr0689|Letter from Aaron Copland Verna Fine, 1967/06/14|<p>June 14, 1967</p>
<p>Dear Verna,<lb>When you were here Sunday I completely forgot to bring up a matter that had been pending in my mind and which I should have discussed with you.</p>
<p>Some months ago, George Kendall sent me the enclosed Memorandum with the hope that we might be able to arouse the interest of Papa Fine in one of the various projects listed there.  Naturally you are the best person to talk about the suggestions with him.</p>
<p>It would be a fine thing, I think, if we could have some important memorial at the Colony.  Let me know if I can be of any help in any way.</p>
<p>It was lovely to have you here, despite the hecticality of it all!</p>
<p>All best,<lb>[signed] Aaron</p>
Copland|corr0690|Letter from Aaron Copland Verna Fine, 1967/10/10|<p>Paris<lb>Oct 10 67</p>
<p>Dear Verna:<lb>Hi from Paris!  Im having a few days vacation between conducting chores in Vienna, London, Cologne & Bologna.</p>
<p>Hope you like your new apartment.  Love to you and the girls.</p>
<p>Aaron</p>
<p>P.S.  Back late Oct.</p>
Copland|corr0691|Letter from Aaron Copland Emily Fine, 1968/02/13|<p>February 13, 1968</p>
<p>Dear Emily,<lb>How impressed I was to get a letter from you on your very own printed-up stationery!</p>
<p>Thanks for letting me know about Sundays concert.  I wish I could be there, but I will be in Richmond, Virginia, on Sunday, conducting the Orchestra there.</p>
<p>I must admit we havent had much luck this winter in picking dates.  Give my love to your mother and your sister and Ill be thinking of you at concert time.</p>
<p>Love,<lb>[signed] Aaron</p>
Copland|corr0692|Letter from Aaron Copland Verna Fine Gordon, 1969/08/21|<p>Aug 21 69</p>
<p>Dear Verna:<lb>I giggled over your card!  Nice to know where you are in space.  And it gives me the chance to send you a big hug and wish you all the best in the new venture.</p>
<p>I received the glamorous invite to the party on Sept. 20.  But triple damn -- on that very eve I am due to conduct a concert in Louisville, Ky.</p>
<p>Let me know when you are back in the N.Y. area.  Im curious to meet the lucky man!</p>
<p>Love to the girls and you-all<lb>Aaron</p>
Copland|corr0693|Letter from Aaron Copland Verna Fine Gordon, 1970/02/10|<p>February 10, 1970</p>
<p>Dear Verna,<lb>I shall be in New York on Wednesday, the 18th, and why dont you and Arnold come to the Harvard Club for drinks at 5:30 on that day.</p>
<p>If I dont hear to the contrary, Ill expect you.</p>
<p>Love,<lb>[signed] Aaron</p>
Copland|corr0694|Letter from Aaron Copland Verna Fine Gordon, 1970/06|<p>[June 1970]</p>
<p>Dear Verna:<lb>Victors address is:<lb>3 Medway Cottage<lb>Lower Road<lb>Forest Row<lb>Sussex<lb>(No phone, I think)</p>
<p>Have a wonderful trip!</p>
<p>Ever<lb>A----</p>
Copland|corr0695|Letter from Aaron Copland Verna Fine Gordon, 1972/02/02|<p>February 2, 1972</p>
<p>Dear Verna,<lb>Im dictating this letter so that there isnt too long a hiatus in answering your last one.</p>
<p>Thanks very much for sending the Notturno.  It looks and sounds very Irving-ish, and I would hope to be able to program it some day.</p>
<p>Id like to be able to help with the Guggenheim people, but Im sorry to say I dont know a soul in their present setup.</p>
<p>If youre coming down, try to make it before mid-March when I am off to Mexico and Los Angeles for conducting stints.  (Havent been to Mexico in 10 years -- think of that!)</p>
<p>All best to you and Arnold.</p>
<p>[signed] Aaron</p>
Copland|corr0696|Letter from Aaron Copland Verna Fine Gordon, 1973/04/03|<p>April 3 73</p>
<p>Dear Verna:<lb>What a keen eye you have!  Not only is Milton C[opland?] a 1st cousin -- but so are the Urises.  Percy helped me in the early 30's with a free-rent hotel room in a building they owned.  (Now are you impressed!)</p>
<p>Let me know when you are down in these parts -- and of course we can arrange a time for a visit up here.</p>
<p>Davids fine; -- Victor not fine -- health is not good.  But Jeremy seems to flourish.</p>
<p>Best to Arnold & love to you</p>
<p>Aaron</p>
Copland|corr0697|Letter from Aaron Copland Verna Fine Gordon, 1973/05/17|<p>May 17 73</p>
<p>Dear Verna:<lb>Thanks for sending the Desto reprint of Irvings three works.  I have the original RCA pressing -- and assume its no longer available.</p>
<p>Hope all goes well by you-all.</p>
<p>Love<lb>Aaron</p>
Copland|corr0698|Letter from Aaron Copland Verna Fine Gordon, 1973/08/30|<p>Aug 30 73</p>
<p>Dear Verna:<lb>Thought you would like the enclosed clippings for your files.  Salzman is a tough critic, so I was particularly pleased.</p>
<p>V[ictor Kraft] & Jeremy still here -- but no firm decision as yet as to when a trip up to see you and Arnold is feasible.  Lets hope</p>
<p>Luv<lb>Aaron</p>
Copland|corr0700|Letter from Aaron Copland Verna Fine Gordon, 1975/10/28|<p>October 28, 1975</p>
<p>Dear Verna,<lb>I only recently got your letter dated Sept. 15 because I was in Europe all that month, and only got back 2 weeks ago.   I had a busy time abroad conducting orchestral concerts in Copenhagen, Paris, London and Bergen.  One of the nicest things that happened was the filming of a BBC-TV birthday program to be telecast on my birthday.   They gave me a whole symphony orchestra to celebrate with!</p>
<p>Everything at home is about the same and the whole household sends you love.  I was hoping to see you at the Colony benefit.  I can well understand your not wanting to involve yourself as a sponsor, but they have tickets for ordinary citizens, so maybe well see you and Arnold there after all.</p>
<p>In the meantime, all best to you</p>
<p>Love,<lb>[signed] Aaron</p>
Copland|corr0701|Letter from Aaron Copland Verna Fine Gordon, 1976/03/05|<p>March 5, 1976</p>
<p>Dear Verna,<lb>Forgive me if I dictate this letter to David.  Ive been away a lot, and am swamped with mail that requires answering.</p>
<p>I am sorry to say I dont feel competent in the matter of copyright law.  There are lawyers however who are specialists in the field, and a call to Ellis Freedman would undoubtedly produce some recommendations.  (I keep wondering how you were able to regain the copyright of the 3 works you mentioned after the 28 year period.)</p>
<p>As you can guess, Ive been bouncing around the map, shaking my stick at good performers, most recently in Washington, D.C. and Raleigh, N.C.  Next week Im off to Salt Lake City, Utah.  Ill be conducting on Kansas City, Cincinnati, Buffalo, etc.  Keeps me young!</p>
<p>All in the household send their best, and a special hug for Claudia.</p>
<p>Love,<lb>[signed] Aaron</p>
Copland|corr0702|Letter from Aaron Copland Verna Fine Gordon, 1976/04/18|<p>Apr. 18, 76</p>
<p>Dear Verna:<lb>Your letter had shocking news!  Made me sad to think of you on your own, -- but of course you know best.  What a year youve had!</p>
<p>Ill keep my ears and eyes open for any opportunities down here for you.  Lets hope.</p>
<p>Im about to take off for more conducting chores: Rochester, Kent State Univ; Ann Arbor Festival (conducting the Philie Orch!); and Buffalo.  In May its the Ojai Festival in Cal. and the CBC Orchestra in Winnipeg.  And so the conducting bit goes</p>
<p>Much love to you and the girls</p>
<p>Aaron</p>
Copland|corr0703|Letter from Aaron Copland Verna Fine Gordon, 1976/12/17|<p>Dec 17 76</p>
<p>Dear Verna:<lb>Thought Id send you this enclosed letter so you might have a better idea of what the Colony Board has in mind for its N.Y. office.</p>
<p>Ad I read it, they are looking for a money-raiser!</p>
<p>Do you think its your dish?  Are you still interested?</p>
<p>Thought Id ask before writing for you.</p>
<p>As ever<lb>Aaron</p>
Copland|corr0704|Letter from Aaron Copland Verna Fine Gordon, 1986/07/14|<p>7 / 14 / 86</p>
<p>Dear Verna:<lb>I want you to know that I am dedicating my </p>
<p>Two Ballads</p>
<p>for Violin and Piano<lb>to YOU!</p>
<p>Love to you <lb>Aaron</p>
Copland|corr0705|Letter from Aaron Copland Mary Lescaze, |<p>Tues.</p>
<p>Dear Mary  <lb>My piano tuner is very good: name: Anthony Metzger.  1187 Walton Av.  Topping 2  7459  by appointment.  Fee $5.   My piano gets tuned about once every 3 months during the winter.</p>
<p>About storing it.  How would you like to let Paul Bowles have it until you need it.  I think the piano would be better off there than in storage.  (Paul has moved to 56th Street & 6th Av.)   I know he needs a piano at the moment and Im sure hed be delighted to have it.  As for storing it, Ive never had mine stored but Mary Churchill has had hers stored so shed know.  Give her a ring if youd like  Watkins 9 8616;  395 Bleecker St.  (I should warn you however that once upon a time, in Paris, P.B. borrowed 3 dresses from Eva for a friend of his who forgot to return them!)</p>
<p>Hope your infection is all cleared up.  I wouldnt dream of swimming alone.</p>
<p>See you soon I hope</p>
<p>Comradely yours<lb>A------</p>
Copland|corr0706|Letter from Aaron Copland Mary Lescaze, 1931/04/24|<p>Thurs. [postmark: 24 Apr 1931?]</p>
<p>Dear Mary  <lb>The boat is vibrating so that I can barely write.  This is mostly to thank you for the two books.  How characteristic of you to do such a stunt!  Ive begun both but so far finished neither.</p>
<p>The seas been flat as a pancake.  Quelle joie!  Life on board however has been just about as flat.  I havent had a brilliant thought since I left N.Y. harbor.  Oh well France to-morrow and Berlin day after so why worry.</p>
<p>Dont forget your promise to write because I shall remember.  Best to Ralph.</p>
<p>Always<lb>Aaron</p>
Copland|corr0707|Letter from Aaron Copland Mary Lescaze, 1933/01/13|<p>Jan 13 [1933]</p>
<p>Dear Mary <lb>I meant to write this in Mexico before leaving.  But a last minute decision to bathe in the Pacific at Acapulco made leaving a rushed affair.  So I took your letter with me and its been pointing an accusing finger every time I opened my bag  which is often for Ive been making one night stops at San Antonio, Houston, Galveston, New orleans, Mobile, Montgomery, Atlanta and now Savannah.  In another 10 days Ill be home, so it doesnt seem necessary to write at length.</p>
<p>Mexico was a rich time.  Outwardly nothing happened and inwardly all was calm, yet Im left with the impression of having had an enriching experience.  It comes, no doubt, from the nature of the country and the people.  Europe now seems conventional to me by comparison.  Mexico offers something fresh and pure and wholesome  a quality which is deeply unconventionalized.  The source of it I believe is the Indian blood which is so prevalent.  I sensed the influence of the Indian background everywhere  even in the landscape.  And I must be something of an Indian myself or how else explain the sympathetic chord it awakens in me.  Of course Im going back some day.</p>
<p>Travelling in our dear U.S.A. is something of an anti-climax after Mexico.  Perhaps a foreigner would feel differently.  A city like Savannah seems glaringly different from the others.  (Like Washington, it was planned you know.)  Though on second thought, the larger cities all present distinctive physiological pictures and one couldnt confuse Galveston with New Orleans or San Anton with Atlanta.  Its underneath that theyre all alike, as everybody knows.  And the non-existence of any cultural life worth mentioning is depressing even to a passer-by like myself.  Perhaps its only dormant and we need a new kind of pioneer down here to awaken the spiritual consciences of the people.  I can easily see myself in the rle.  Perhaps there is more culture up where Im off to  Charleston, Raleigh, Richmond.  Isnt that the country where the Tate crowd functions?</p>
<p>Whoever told you I had finished a piece was a bit ahead of the facts.  Its only almost done.  Two movements are orchestrated and in ink.  But theres that damn last movement.  I have the themes and the form but the notes have to be filled in.  I wish I had finished in time to bring it back with me and play to everyone.  Now youll have to wait.  Ive promised a piece for the League to be done in April.  Its to be a Duo for violin and viola called Elegies.  Its going to be a battle to finish all this in N.Y.C.</p>
<p>Well it wont be long now.</p>
<p>Best to Ralph.</p>
<p>Always<lb>Aaron</p>
Copland|corr0708|Letter from Aaron Copland Mary Lescaze, 1935/09/23|<p>[postmark: Sep 23, 1935]</p>
<p>Dear Mary:<lb>I hear we should have the advertizing copy by Sept 30th.  It may be 2 inches & one column  or 1 inch & 2 columns.</p>
<p>Always<lb>Aaron</p>
Copland|corr0709|Letter from Aaron Copland Mary Lescaze, 1935/03|<p>Thurs [March 1935?]</p>
<p>Dear Mary <lb>Delighted to get your wire.  Many thanks for the good work.</p>
<p>Yesterday I received this letter from Miss Bogue.  Shall I answer it at great length?  If so, return it immediately and make any suggestions you care to.</p>
<p>Two questions: am I free to talk to my 5 composers (4 I mean), and can I write to Dr. Johnson about the plan as a fait accompli.</p>
<p>My address in Cambridge is: 15 Hawthorn St. Cambridge, Mass.</p>
<p>Ill be back for a week on April 1.  Are you really going to England?</p>
<p>Always <lb>Aaron</p>
Copland|corr0710|Letter from Aaron Copland Mary Lescaze, 1935/03|<p>[March 1935?]</p>
<p>Dear Mary <lb>Ive written La Bogue.  Its perfectly all right to have the money paid to Johnson as far as Im concerned.  I just hope it doesnt confuse his income tax.  Sept or Oct for payment is all the same.</p>
<p>I wont be back until Monday, the first.  So will have to miss your Group party.  Regrets.  My one-man-orchestra can easily wait.</p>
<p>Tell Bill not to work too hard.  As for you, youre nothing but a globe-trotter.</p>
<p>Always<lb>A</p>
Copland|corr0711|Letter from Aaron Copland William Lescaze, 1935/09/27|<p>[postmark: Sep 27, 1935]</p>
<p>Dear Bill <lb>What a swell-looking ad you sent us!  Many, many thanks  the whole New School is [word missing] in admiration </p>
<p>Always    Aaron</p>
Copland|corr0712|Letter from Aaron Copland Mary Lescaze, 1936/05/12|<p>Monday [postmark: May 12, 1936]</p>
<p>Dear Mary <lb>Im out on the streets again as far as a pianer is concerned.  Could you drop me a card to let me know when I might sneak in to play on yourn.</p>
<p>Thanks in advance</p>
<p>Aaron</p>
<p>1 Univ Pl.<lb>N.Y.C.</p>
Copland|corr0713|Letter from Aaron Copland Mary Lescaze, 1936/05/14|<p>[postmark: May 14, 1936]</p>
<p>Dear M------<lb>Thanks so much for the schedule.  Im in the midst of most exciting events  Big Business has discovered us  The American Composers  and its just sending ructions thru our little ant-hill.</p>
<p>So Im not sure when Ill be able to use the schedule exactly  but it isnt because I dont appreciate it!</p>
<p>A------</p>
<p>Youll be reading about it in the papers!</p>
Copland|corr0714|Letter from Aaron Copland Mary Lescaze, 1936/07/09|<p>Address: Apartado, 5<lb>Tlaxcala, Tlax<lb>Mexico<lb><lb>July 9 [1936]</p>
<p>Dear Mary <lb>Ive settled in this pre-Cortes town of Tlaxcala, 2  hours from Mexico City.  Have a 5 room house, with one window, Mexican style, marvellous view, terrific quiet, a little piano, even a cook, all dirt cheap.  Practicing hard for the Concerto performance in 2 weeks.  Whats going on where you are?  Best to Bill.</p>
<p>Always   Aaron</p>
Copland|corr0715|Letter from Aaron Copland Mary Lescaze, 1936|<p>[1936?]</p>
<p>Dear Mary  <lb>Rudi Burckhardt, my young Swiss photographer friend whom you may remember from our musical party evening, has asked me if I wouldnt approach you on the following matter:</p>
<p>Last Spring he made a 16 min. movie in which I starred(!)  you should see it.  He is now at work on a second one, in which he needs some shots of a scene in a very swank N.Y. abode.  After mature consideration he decided yours was the swankiest he could possibly find -- and so hed like to know whether it would be possible to come some day with his equipment and 2 actors and do the work necessary.  It would take from 10 to 3 or 4, so -- if you decide to let him -- youd better pick a day when youre out so as not to be disturbed.</p>
<p>I wrote you this, instead of telephoning, so you might have time to think it over.  Would you mind writing him a card to 145 W. 21 shortly after you get this however, letting him know what you decide.</p>
<p>Too bad about the Pro Arte but of course you know best.</p>
<p>Daub successfully scared me out of the cemetery-loft.  Im now on the look-out for just an ordinary loft!</p>
<p>Always<lb>Aaron</p>
Copland|corr0716|Letter from Aaron Copland Mary Lescaze, 1937/03/25|<p>[postmark: Mar 25, 1937]</p>
<p>Dear Mary  <lb>The minute you left the OPERA was over!  Or rather, the soul of it was gone.  I can just see from your card how badly youre missing it!  I heard the choruses for the first time to-night and Im all excited.  Dont swim too much -- youll need all your energy.   Best to Bill.</p>
<p>[no signature]</p>
Copland|corr0717|Letter from Aaron Copland Annette Kaufman, 1942/03/15|<p>March 15, 1942</p>
<p>Dear Mrs. Kaufman:<lb>Thank you for your letter of the other day.  Unfortunately the season is getting on so that I am afraid it is late to try to place Sandy Jones Sonatina.  Well keep it in mind for next year, however.</p>
<p>I wish I could have come to Mr. Kaufmans concert but he picked the night that the Schola Cantorum is singing a new chorus of mine.  Good wishes to him for a successful concert, in any case.</p>
<p>Sorry to hear that the Army nabbed Jones.  Give him my best if you write him.</p>
<p>Yours sincerely,<lb>[signed] Aaron Copland<lb>Aaron Copland</p>
Copland|corr0718|Letter from Aaron Copland Louis Kaufman, 1942/12/08|<p>Dellbrook Farm<lb>Oakland, New Jersey<lb>Dec. 8, 1942</p>
<p>Dear Mr. Kaufman:<lb>I was glad to get your letter and to know of your plans in regard to my Ukelele[sic] Serenade.  Although the piece was composed as long ago as 1926 it has never caught on, that is, with violinists.  Therefore I was particularly pleased to hear you thought it an addition to the repertoire.  When the piece was new it had a few performances in New York.  I myself dont know of any performance in public concert in Los Angeles or Boston.  Naturally there is no way of my being absolutely certain that no such performance took place without my knowledge.</p>
<p>Of course Id be glad to go over it with you in the Spring.  I can also play you the recording made by Gordon.  It was placed on the back of a recording of my piano-violin-cello tri: Vitebsk, made some years ago, and later withdrawn by Columbia, supposedly because of lack of sales at that time.</p>
<p>Looking forward to meeting you personally, I am,</p>
<p>Sincerely yours,<lb>[signed] Aaron Copland<lb>Aaron Copland</p>
Copland|corr0719|Letter from Aaron Copland Louis Kaufman, 1943/12/08|<p>Dec. 8, 1943</p>
<p>Dear Louis:<lb>I was just about to write you about the present status of the Violin Sonata when your letter arrived.  Just as I suspected, Boosey & Hawkes had made plans for a premiere performance at one of a series of concerts to be presented by themselves.  The date is Jan 17, and the violin part has been entrusted to one of their artists, Ruth Posselt.  The two movements you know are already being engraved, and they are waiting for me to finish the final movement, which I am working on now.</p>
<p>I spoke to Heinsheimer at Boosey & Hawkes, and he agrees with me that it would be a fine thing if you introduced the Sonata to the Coast in the Spring.  Also on the radio, while you are in New York.  Of course, you can decide for yourself whether or not you would want to give what would be the 2nd performance in New York on the 17th of March.  As for Boston, since that happens to be Miss Posselts home town, I think I owe her the courtesy of asking her whether she has any plans for the work there, before giving you a definite answer.  In the event that she has no plans we could play it together in Boston as I plan to be there on the 14th of March.</p>
<p>Best regards to Annette.  If you see any reviews of the Lincoln Portrait Id like to have them -- good or bad.</p>
<p>Sincerely,<lb>[signed] Aaron C</p>
Copland|corr0720|Letter from Aaron Copland Louis Kaufman, 1944/06/02|<p>June 2 44</p>
<p>Dear Louis:<lb>Thanks a lot for sending program and reviews of the Violin Sonata performance.  I was delighted to know that it had gone over so well.  I feel certain your fiddling had a lot to do with it.</p>
<p>My job here will be finished at the end of the month.  Its been very relaxing.  I hope to go to Mexico for the summer.</p>
<p>Best regards to Annette.</p>
<p>Yours<lb>Aaron</p>
Copland|corr0721|Letter from Aaron Copland Louis Kaufman, 1944/12/01|<p>Dec. 1, 1944</p>
<p>Dear Louis:<lb>It was awfully nice of you to send me the letter telling me about the soiree at your house.  As a matter of fact, Harold Clurman had written me about it the day before.  It was very kind of you and Ingolf to have put yourselves out for that extent.  Everyone seems to have had a good time anyway.</p>
<p>I was glad to get the news about the numerous performances you are planning for the Serenade.  Also about the Sonata for Town Hall.  As far as I know now I will be here in March and will gladly perform the Sonata with you at your NY recital.  Of course it would be swell if we were able to record it for one of the big companies.   I agree that it would be unwise to fool around with the smaller outfits, at least until the bigger ones are definitely out of the picture.</p>
<p>I had a very nice summer in Mexico, but unfortunately, the symphony is still far from being completed.</p>
<p>My regards to Annette, Benny and all the Hollywood friends.</p>
<p>Yours,<lb>[signed] Aaron</p>
Copland|corr0722|Letter from Aaron Copland Louis Kaufman, 1945/06/14|<p>Box 294<lb>Bernardsville,<lb>New Jersey.<lb>June 14, 1945</p>
<p>Dear Louis:<lb>Thanks for your letter.  As it turned out I went to the wilds of New Jersey instead of Paris.  It was bad for my impresario career, but excellent for my composing!  Im beautifully settled in a cottage with a cook and a baby grand and hope to do lots of work.</p>
<p>Sometime during the summer I want to get around to doing the Hoe-Down arrangement for you.  I feel a little lost without you near by for advice, but if its no good we can always start all over again.</p>
<p>Have just finished reading The Fervent Years by my friend Harold Clurman.  I think youd be interested in it and hope you will read it.</p>
<p>My best to Annette.</p>
<p>[signed] Yours<lb>Aaron</p>
Copland|corr0723|Letter from Aaron Copland Mary Lescaze, 1945/06/19|<p>Box 294<lb>Bernardsville, N.J.<lb>June 19, 1945</p>
<p>Dear Mary:<lb>Big surprise -- and very pleasant  to hear from you.  Thanks for all the kind words about the Graham piece.  Youll have a chance to hear the music without the benefit of dance next season.  Rodzinski has a Suite I arranged from the ballet and says he will play it in October with the Philharmonic.</p>
<p>I was thinking of you because of that nice pose of yours in the frontispiece of Harolds book.  Have you read it yet?  I wonder what you will (or do) think of it.  Naturally Im prejudiced, particularly since I love reading the events of my youth as if they were history.  But considering what a hard job he set himself I think its a moving book.  With all those people still around, and each one of them certain to have their own version of how it all happened, and having to be reasonably detached about his own role, I thought he gave a remarkably urbane and psychologically interesting performance.</p>
<p>Im afraid I dont have much to contribute to the problem you pose about kids and contemporary music.  As for new music for recorder Im sure there is some, but offhand I cant say what.  If interested enough call the American Music Center, talk to Miss Dower, tell her youre calling on my advice, and ask if she can send you a list of new music for recorder.  Also, big stores like Schirmer or Fischer generally have special folders contaioning new publications in different categories and I assume that would include the recorder too.</p>
<p>None of the organizations that I know of have any program specifically designed for modern music listening in schools.  Ive heard it discussed several times, but no general solutions were ever arrived at.   The only sensible thing I suppose is to make certain that when the kids get to the record listening stage that they have the opportunity to hear music styles of every period including our own.  Not much help, am I?</p>
<p>Im living in New Jersey for the summer, about 30 miles below Oakland.  Have a cottage on a big estate and its all very beautiful.  Not a thing to do all summer but write a Symphony and dream about the house I want to build in the not too far-off future.</p>
<p>You were very nice to relay the sayings of Patsy ONeill.  Please relay back to her and Blackie affectionate greetings from me.</p>
<p>Yours,<lb>[signed] Aaron</p>
Copland|corr0724|Letter from Aaron Copland Louis Kaufman, 1945/10/19|<p>Box 294<lb>Bernardsville, N.J.<lb>Oct 19 1945</p>
<p>Dear Louis:<lb>Forgive the slow answer to your very nice note.  I was off to Boston & N.Y. hearing performances of Appalachian Spring.</p>
<p>Ill make the arrangement of the Hoe-Down from Rodeo -- and mail it on Nov. 1st at the latest.  You can depend on it.</p>
<p>Excuse the haste -- but I imagine this is mostly what you want to know.</p>
<p>Regards<lb>Aaron C</p>
Copland|corr0725|Letter from Aaron Copland Louis Kaufman, 1945/11/01|<p>Bernardsville<lb>Nov. 1, 1945</p>
<p>Dear Louis <lb>I am handing over the Hoe-Down arrangement for reproduction to-day.  The Blue Print Co. will mail you your copy direct by air-mail.  Unfortunately, I didnt have time to extract the violin part -- so, please have a copyist do it, and send me the bill.</p>
<p>Please remember that I had no chance of discussing the arrangement with a violinist -- so feel free to change anything you find awkward or unviolinistic.  Also write in any suggestions you may have and Ill check them with you in March.  (I have no intention of printing until I have had a chance to discuss it with you.)</p>
<p>Thanks for the letter and enclosed program.</p>
<p>Address me care Hotel Empire as I am leaving Bernardsville.</p>
<p>Regards<lb>Aaron</p>
Copland|corr0726|Letter from Aaron Copland Louis Kaufman, 1945/11/12|<p>Nov. 12, 1945</p>
<p>Dear Louis:<lb>It was swell to get your enthusiastic letter about the Hoe-Down arrangement.  I hope you get the sort of audience reaction you anticipate.</p>
<p>Please dont be disappointed if I say I cant play the Hoe-Down with you -- partly because my plans for Feb. & March are of the vaguest, and partly because Id feel a little foolish coming out to accompany you in such an unpretentious little piece.  Theres nothing recondite about it, and Im sure your regular accompanist will have no trouble with it.</p>
<p>Im enclosing a program note for you as you requested.</p>
<p>Greetings!<lb>[signed] Aaron</p>
Copland|corr0727|Letter from Aaron Copland Louis Kaufman, 1945/11/12|<p>In 1942 the Ballet Russe de Monte Carlo commissioned Agnes de Mille and Aaron Copland to collaborate on the production of a ballet to be called Rodeo.  It was first presented at the Metropolitan Opera House in the fall of that year.  The present arrangement of the finale of Rodeo was made [in ink: by the composer in the summer of 1945] for Louis Kaufman at his request.  The Hoe-Down is based on a well-known square dance tune entitled Bonyparte.  The version heard here may be found in Our Singing Country by John and Alan Lomax.  They heard it played by a fiddler in Kentucky who told them: Did you ever read the history of Napoleon the Bonyparte?  It must have been a few hundred years or so ago, I couldnt tell you....He was Frenchman -- not the King of France, he went out for himself.  Thats all he ever done, was just watchin countries and makin his money that way.</p>
Copland|corr0728|Letter from Aaron Copland Louis Kaufman, 1945/12/11|<p>Limestone Road<lb>Ridgefield, Conn.<lb>Dec. 11, 1945</p>
<p>Dear Louis:<lb>Forgive the slow reply to your letter.  Ive been moving from New Jersey to Connecticut.</p>
<p>About the four bar phrase -- 24 measures from the end -- that you mentioned, my idea was not to repeat it.  However, if you feel I am wrong and want to repeat it Im agreeable to hearing what it sounds like in your version.</p>
<p>The new year will soon be here and youll be East before we know it.  Looking forward to hearing you on the violin once more.</p>
<p>Yours,<lb>[signed] Aaron</p>
Copland|corr0729|Letter from Aaron Copland Louis Kaufman, 1946/02/27|<p>Limestone Road<lb>Ridgefield, Conn.<lb>Feb. 27, 1946</p>
<p>Dear Louis:<lb>I was in New York when you sent your letter!  Too bad we missed each other.  Im coming in again on Monday and could come over to your apartment at 2:30.   Aside from getting our picture took Im keen to hear you do the Hoe-Down.  Id like to put your bowings into my part and then send it off to the printer pronto.</p>
<p>Ill assume the appointment time is OK unless you call me to the contrary.  My telephone here is Ridgefield 637 -- Ring 1-3.</p>
<p>The Earle Ferris Co. wrote me about the picture taking.  Would you please reply to them for me.</p>
<p>Regards,<lb>[signed] Aaron</p>
Copland|corr0730|Letter from Aaron Copland Louis Kaufman, 1946/03/08|<p>Ridgefield, Conn.<lb>March 8, 1946</p>
<p>Dear Louis:<lb>Heres the list:</p>
<p>William Bergsma -- 235 W. 103 St<lb>Harry Cumpson -- 160 West 73<lb>*Arthur Kreutz -- 459 W 43<lb>Ulysses Kay -- 540 W. 144 St. -- Apt. 35<lb>Paul Moor -- 184 W 10<lb>*Alvin Ross -- 128 W 21<lb>Godfrey Turner -- 115 W 15<lb>Leo Smit -- 101 W 78<lb>Jacques Singer -- Spencer Arms Hotel<lb>*Ralph Copland -- 1002 Ditmas Ave., Bklyn<lb>Those with asterisks get tickets, the others invitations.</p>
<p>Hope all goes well.</p>
<p>[signed] Aaron</p>
Copland|corr0731|Letter from Aaron Copland Louis Kaufman, 1946/07/17|<p>July 17 46</p>
<p>Dear Louis:<lb>Alvin Ross is a young painter friend of mine who knows of your interest in the art and would like to get a peek at your paintings.  Id appreciate it if youd let him see them during his visit out there.</p>
<p>Best greetings<lb>Aaron Copland</p>
Copland|corr0732|Letter from Aaron Copland Louis Kaufman, 1947/07/28|<p>July 28, 1947</p>
<p>Dear Louis:<lb>Thanks for your letter.   I shall definitely be back in New York by the 15th of December.  I havent any idea when Ill be in California except that I imagine that there is a god chance of getting there in the early part of next year.   In any event, Ill practice the Sonata in the hope that we can record it shortly after the 15th.</p>
<p>Yours,<lb>[signed] Aaron</p>
Copland|corr0733|Letter from Aaron Copland Louis Kaufman, 1947/11/04|<p>Buenos Aires, Argentina<lb>November 4, 1947</p>
<p>Dear Louis:<lb>Greetings to you and Annette from Buenos Aires.  I have been wondering whether you have any more definite plans about the recording of the violin sonata for John Hammond.  I have never heard from him as to what financial arrangements he was planning.  Naturally I am referring to my activity as pianist, since the composer royalty is set by law.  Also, I am curious to know how Petrillo's recent ruling affects us.  I will only be here until the 15th of the month.  Therefore, if I don't hear from you or him before then, youd better write me c/o Boosey & Hawkes in New York to reach me by December 1st.  I plan to be back by that date, but will be spending December 2 to 4 in Cleveland, Ohio.</p>
<p>Things have been going fine down here.  You ought to get here sometime yourself.</p>
<p>Yours cordially,<lb>[signed] Aaron<lb>Aaron Copland</p>
<p>Mr. Louis Kaufman<lb>835 Westholme Ave.,<lb>Los Angeles 24, California</p>
Copland|corr0734|Letter from Aaron Copland Louis Kaufman, 1947/12/13|<p>[postmark: Dec 13, 1947.  Palisades]</p>
<p>Dear Louis:<lb>Concert Hall has set Dec 27 at 4 PM for the recording date.  Call me when you get to town -- my number (private) is Piermont 309-J.  My address: Palisades, New York.  I played the Sonata with 3 different violinists in South America so feel up on it!</p>
<p>Yours Aaron C</p>
Copland|corr0735|Letter from Aaron Copland Louis Kaufman, 1948/06/30|<p>June 30th, 1948</p>
<p>Dear Louis:<lb>Here is the statement that I promised to send you:</p>
<p>We have all been hearing a lot lately about progressive jazz and modern music.  Back in the twenties those two terms used to be the property of the serious composers.  It is amusing to see that after twenty-five years they have been taken over by the jazz men.  I am all for them in so far as they can get any lively stimulus from what used to be the radical tendencies of serious music.  I think they are barking up the wrong tree if their idea is to make the so-called classical composers of today seem old-hat.  Isnt it obvious that if you can be progressive in jazz, you can also be progressive in the classics?</p>
<p>I hope this does the trick.</p>
<p>Greetings to you,<lb>[signed] Aaron</p>
<p>Mr. Louis Kaufman<lb>Mayflower Hotel<lb>New York City</p>
Copland|corr0762|Letter from Aaron Copland Oliver Strunk, 1937/03/21|<p>March 21 [1937]</p>
<p>My dear Strunk   <lb>Im so sorry I cant attend this years Festival.  The fact that my own Dance Symphony is to be performed on the 11th makes it impossible for me to get away at that time.</p>
<p>Best wishes for a wow of a Festival!</p>
<p>Yours<lb>Aaron Copland</p>
Copland|corr0763|Letter from Aaron Copland Elizabeth Sprague Coolidge, 1937/05/23|<p>May 23 1937</p>
<p>My dear Mrs Coolidge <lb>Your letter was slow in reaching me, which explains why I havent thanked you before this for your kind invitation to be your guest in Mexico City.</p>
<p>I was very pleased on reading the original announcement of the Festival in Mexico, for, after spending two summers there, I know what a stimulus the Festival can be to Mexican musical life.  </p>
<p>I am, therefore, more than ordinarily anxious to attend, and feel fairly certain that it can be arranged.  May I tentatively accept and let you know definitely as soon as I possibly can.  This will be easy to do, because I plan to be in or near Los Angeles during June.</p>
<p>Cordially yours<lb>Aaron Copland</p>
<p>P.S. You mentioned a Mrs Copland in your letter also, but unfortunately for me, no such lady has ever existed.</p>
Copland|corr0791|Letter from Aaron Copland Marcelle de Manziarly, 1941/07/29|<p>Tues [postmark: July 29, 1941]</p>
<p>Dear Marcelle:<lb>How nice that you can come Sunday!   Stay over for Monday.   We can at least have lunch together then -- possibly there will be a gathering of composers Sunday night.  I will look for you in the green room after the concert on Sunday.</p>
<p>A bientot</p>
<p>Aaron C</p>
Copland|corr0792|Letter from Aaron Copland Marcelle de Manziarly, 1941/11/24|<p>Rio de Janeiro<lb>Nov 24 41</p>
<p>Dear Marcelle <lb>Saw your friend Guarnieri in Sao Paulo.   He has your picture on his wall!   A charming man and an excellent composer.</p>
<p>The trip has been quite wonderful, but it is almost over.  I hope youve been composing something.</p>
<p>Best<lb>Aaron</p>
Copland|corr0736|Letter from Aaron Copland Louis Kaufman, 1948/08/26|<p>% Gettys<lb><lb>R.F.D. 1<lb>Pittsfield, Mass.<lb>August 26, 1948</p>
<p>Mr. Louis Kaufman<lb>835 Westholme Avenue<lb>Los Angeles 24, Calif.</p>
<p>Dear Louis:<lb>It was nice to hear from you.  Im coming out to California all right, but it is impossible now to say just when.  The idea of my giving a benefit lecture is in the realm of the possible.  Because of the complications of date, subject matter, free time, etc..., I think it would be better to wait until I got out there before making a definite commitment.</p>
<p>Thanks for mentioning the apartment-hotel for living quarters.  Im afraid that Santa Monica is too far away, if Im working at Paramount, which seems likely.</p>
<p>The Clarinet Concerto is still dribbling, so there is no news on that front.  Hope to get there before you leave.  Best to Annette.</p>
<p>Yours,<lb>[signed] Aaron</p>
Copland|corr0737|Letter from Aaron Copland Louis Kaufman, 1949/04/01|<p>April 1 1949</p>
<p>Dear Louis:<lb>Here it is.  Please mark in your bowing suggestions in blue or red pencil on both violin parts and return one to me at the above address.  Of course from my standpoint the sooner the better.  Take my pencil bowings as suggestions only and change anything you like.  Would you like your name on the violin part Bowings and fingerings by L.K.?   Its the least I can offer you.</p>
<p>Hope the tour went off well.</p>
<p>Greetings<lb>Aaron</p>
Copland|corr0738|Letter from Aaron Copland Mary Lescaze, 1953/07/17|<p>July 17 53</p>
<p>Dear Mary:<lb>Thanks a lot for the invite.  I cant say now when I might get away for a drive down to see you-all.  Complications with week-end visitors.  However, lets hope.  Ill call you if I can make it on the Tchaikovsky afternoon (the 2nd).</p>
<p>Best to you both<lb>Aaron</p>
<p>P.S. The spring bulbs sound like an awfully good idea.  Youre angelic to think of them.<lb>Aaron</p>
Copland|corr0739|Letter from Aaron Copland Mary Lescaze, 1953/10/12|<p>Oct 12 53</p>
<p>Dear Mary:<lb>I missed you both on Saturday.  The opening seemed to go over well with the critics.  Much ohs and ahs.</p>
<p>Would love to have you plant on the 31st.  Its terribly nice of you to have remembered.  Also I need Bills advice about my well, which has begun just now  after 6 months!  to act up.  And to design a step to replace the one you so justly criticized.</p>
<p>Best to you<lb>Aaron</p>
Copland|corr0740|Letter from Aaron Copland Mary Lescaze, 1954/03/04|<p>March 4, 1954</p>
<p>Dear Mary,<lb>It was awfully sweet of you to offer me a shindig at your home after the opera opening.  (The fact of the matter is...I havent finished it yet, but of course I must!)</p>
<p>I want to do everything I can to save you the headache of opening up the house on so confusing a night.  Please give me until the 15th, by which time post-opera plans will be clearer.  In any case, Im going to spend it with you  wherever.  Operas being what they are  and the City Center being what it is  I shall probably need some heavy hand holding.</p>
<p>Affectionately,<lb>[signed] Aaron</p>
Copland|corr0741|Letter from Aaron Copland Mary Lescaze, 1954|<p>Sat. [Spring? 1954?]</p>
<p>Dear Mary:<lb>Ive put the cocktail party down for Thursday and hope to get there.  Depends on how soon the annual meeting of the Koussie Foundation is finished.</p>
<p>Thought of you tenderly every time I looked up and saw your flowers on the hill.   Bless you!</p>
<p>Aaron</p>
Copland|corr0742|Letter from Aaron Copland Mary Lescaze, 1962/12/22|<p>Dec 22 62</p>
<p>Dear Mary:<lb>Thanks so much for being helpful.<lb>Hope to see you.<lb>All best to Bill and Lee<lb>and Merry Xmas</p>
<p>Aaron</p>
Copland|corr0743|Letter from Aaron Copland Mary Lescaze, 1967/04/25|<p>Apr 25 67</p>
<p>Dear Mary & Bill:<lb>First to say congratulations on your acquiring a daughter-in-law!   Please give Lee and Rebecca my very best wishes.</p>
<p>Second, to say how sorry I was to hear (from Minna) that Bill was havinh a hard time of it.  Take it easy  mon vieux  and a quick recovery to you!</p>
<p>As ever<lb>Aaron</p>
Copland|corr0744|Letter from Aaron Copland Mary Lescaze, 1964/05/14|<p>May 14, 1964</p>
<p>Dear Mary,<lb>Thanks for sending the wonderful pictures.  I still am slightly startled every time I see myself with grey hair;  but the pictures of the house are the best Ive seen.</p>
<p>Im glad you wrote me about the Victoria Barr mixup.  Why do things like that always happen in relation to people one wants to take special care of?  In any event, I called our New York office and reopened the whole subject.  They told me they would get in touch with Miss Barr and see what can still be done.   I think there is a good chance that she can be taken on if she still would like to go.  I am dropping her a note to express regrets.   Too bad that Im leaving for Europe this evening and so wont be able to follow this up as I should like.</p>
<p>Affectionate greetings to Bill and yourself</p>
<p>As ever,<lb>[signed] Aaron</p>
Copland|corr0745|Letter from Aaron Copland Mary Lescaze, 1965/04/12|<p>April 12, 1965</p>
<p>Dear Mary,<lb>Im up in Boston as you see, so must miss the opportunity of having a chat with you in the near future.</p>
<p>Am delighted to hear that youre to be home by the time this letter reaches you.  Maybe I can drop around in June after my present bit of activity is over.  In the meantime, take good care of yourself.</p>
<p>[in ink] All best<lb>Aaron</p>
<p>[typed] P.S.  I hate missing my garden right now.</p>
Copland|corr0746|Letter from Aaron Copland Mary Lescaze, 1965|<p>Sunday [1965?]</p>
<p>Dear Mary:<lb>What tough luck!  Its practically impossible to think of you as flat on your back.  On the other hand, Im sure youre making good use of your time, flat or upright.  Anyway, do get repaired soon  and Im very sorry it was Mexico that did it.</p>
<p>Im off to Boston on Monday to tape a series of 12 TV programs (for Nat. Educa. TV) on Music in the Twenties.  Thats where we both came in!</p>
<p>Love<lb>Aaron</p>
<p>P.S. Best to Bill </p>
Copland|corr0747|Letter from Aaron Copland Mary Lescaze, 1966|<p>Sat. [1966?]  </p>
<p>Dear Mary:<lb>Just back from Washington.<lb>Here are the needed directions.  If anything is not clear ask the gals to call me collect.<lb>Thanks a million for all the help.</p>
<p>Best<lb>Aaron</p>
Copland|corr0748|Letter from Aaron Copland Mary Lescaze, 1967/10/28|<p>Oct 28 67</p>
<p>Dear Mary:<lb>So nice you heard the new piece, and so very nice that you wrote me about it.  Perhaps I should explain that I was there on Monday, having just returned from a 5 week conducting stint in Europe.  (I had heard L.B. premiere the piece in Ann Arbor in mid-Sept at the start of a pre-season tour during which he gave 9 performances in nine towns.  Aint that sumpin!)  Anyway, it was a pleasure for me to hear it so beautifully played at performance #13.  And to top it off Lenny tells me hes recorded it.</p>
<p>I had a varied European tour  Vienna, London, Paris, Kln, Venice, Bologna  and as usual the best time was with the London Symphony at Festival Hall.  I seem to have a thing going with the British music public which is very pleasant indeed!</p>
<p>Do lets all get together, as you suggest.</p>
<p>My best to Bill.</p>
<p>As ever<lb>Aaron</p>
Copland|corr0749|Letter from Aaron Copland Mary Lescaze, 1969/03/12|<p>March 12, 1969</p>
<p>Dear Mary,<lb>It was kind of you to go into the matter of help for Jeremy so efficiently.  Since I talked to you, Victor has seriously been contemplating sending Jeremy to a British school  this for reasons too complicated to go into here.</p>
<p>In any event, he wants me to tell you how much he appreciates your taking the trouble to start investigationg the possibilities in this area.</p>
<p>Hope to see you soon.</p>
<p>[signed] Aaron</p>
Copland|corr0750|Letter from Aaron Copland Mary Lescaze, 1972/12/12|<p>Dec 12 72</p>
<p>Dear Mary:<lb>It was great fun to receive the sheaf of letters and postcards,  and you were very generous a lot to jog my memory  if I ever get down to seriously composing an autobiog.</p>
<p>All best  and thanks again</p>
<p>Aaron</p>
Copland|corr0751|Letter from Aaron Copland Mary Lescaze, 1973/04/20|<p>Apr 20 73<lb>Thursday</p>
<p>Dear Mary:<lb>That was a lovely party you gave us last night!</p>
<p>The choice of guests, the delicious food, the ambiente of the house itself  with its fond memories.....it was all just right.</p>
<p>Many thanks!</p>
<p>Affectionately<lb>Aaron</p>
Copland|corr0752|Letter from Aaron Copland Mary Lescaze, 1973/10/08|<p>Oct 8, 1973.  Ankara</p>
<p>Dear Mary:<lb>Ive reached the mid-point of my tour.  Budapest has a good orchestra, so it was a musical pleasure.  (Wish I could say as much for Turkeys efforts.)  Oh well  plenty to gape at here.  On to Prague next week, followed by Madrid.  Home by the 30th.  All best.</p>
<p>Aaron</p>
<p>P.S.: Our Ambassadors are being very attentive!</p>
Copland|corr0753|Letter from Aaron Copland Mary Lescaze, 1974/03/14|<p>March 14, 74</p>
<p>Dear Mary:<lb>It was a lovely evening  and we are all grateful to you for making it so.</p>
<p>Harold insists I send you the enclosed    but I do so blushingly!</p>
<p>Affectionately<lb>Aaron</p>
Copland|corr0754|Letter from Aaron Copland Mary Lescaze, 1974/05/23|<p>May 23 74</p>
<p>Dear Mary:<lb>Thanks for sending along Paul Humes piece from the Wash. Post.  It made my day!</p>
<p>Im recently back from my 6th orchestral jamboree  the final one being Phoeniz, Arizona.  (Ever been there?)   Now I have to become serious  and do something.</p>
<p>All best to you,</p>
<p>As ever<lb>Aaron</p>
Copland|corr0755|Letter from Aaron Copland Mary Lescaze, 1975/07/01|<p>July 1 75</p>
<p>Dear Mary:<lb>Thanks so much for sending the Wash. D.C. clipping.  They are really spoiling me down there!  And Im back there in late July for a Wolf Trap concert; and later in the winter season (Feb.) With the National Symphony again.</p>
<p>To-morrow Im off to Minneapolis for two symphony concerts;  and then ASPEN for 10 days.   Im looking forward to that!  Very distingu crowd of musicians they get.</p>
<p>But Im back home for all of August and hope to see you then (unless you are summering somewhere?)</p>
<p>Affectionately<lb>Aaron</p>
Copland|corr0756|Letter from Aaron Copland Mary Lescaze, 1975/08/29|<p>Aug 29 75</p>
<p>Dear Mary:<lb>I feel badly about not seeing you before my take-off for Europe on Sunday.  Its been a rather hectic timre  preparing for my 5 week conducting jaunt in Europe (Copenhagen, Paris, London, Liverpool, Bergen and Oslo!), among other things.  Im dizzy from studying so many scores.  But it should be fun too, I hope.</p>
<p>The up-coming birthday is taking on alarming proportions.  Somehow we must cut it down to size.</p>
<p>Hope to see you after I get back in early October.</p>
<p>Affectionately,<lb>Aaron</p>
Copland|corr0757|Letter from Aaron Copland Louis Kaufman, 1976/11/25|<p>November 25, 1976</p>
<p>Dear Louis,<lb>Thanks so much for sending the recordings which arrived safely.  It is a real pleasure to have them.</p>
<p>I shall not forget your suggestion about having an alternate version of my CLARINET CONCERTO for violin and orchestra. [footnote in ink: On 2nd thought, it might even be a better idea to make a version of my Flute Duo for violin & piano!] I hope to have time later on to give this careful consideration and I trust your instinct about it is right.  No doubt it will have to wait until the business engendered by the Bicentennial year is over.</p>
<p>All my best for Annette and yourself.</p>
<p>As ever,<lb>[signed] Aaron</p>
Copland|corr0758|Letter from Aaron Copland Louis and Annette Kaufman, 1977/12/28|<p>December 28, 1977</p>
<p>Dear Louis and Annette:<lb>It was very nice to hear from you; and to know about the reissuing of the violin record of my various compositions.</p>
<p>This is mostly to tell you that the violin version of the Flute Duo will be published by Boosey & Hawkes.  Robert Mann of the Juilliard Quartet was kind enough to suggest going over the bowing to assure its violin-ability.  Ill certyainly send you a copy when this version finally appears.  Naturally Im delighted to know that you think such a transcription is feasible and would interest violinists.</p>
<p>All my best to you both.</p>
<p>[signed] As ever,<lb>Aaron</p>
Copland|corr0759|Letter from Aaron Copland Mary Lescaze, 1930|<p>Fri [1930s?]</p>
<p>Dear Mary <lb>If this is O.K. would you mind dropping it in the box for me.  Ill be here until Tues. If you need me for anything.</p>
<p>[no signature]</p>
Copland|corr0760|Letter from Aaron Copland Mary Lescaze, 1930|<p>[1930s?]</p>
<p>Mary  What an event.  Im nervous already!</p>
<p>The address is:<lb>115 W 63</p>
<p>If the downstairs door gets locked by mistake  yell!</p>
<p>A</p>
Copland|corr0761|Letter from Aaron Copland Louis Kaufman, |<p>The Sonata for Violin and Piano was composed at intervals during 1942 and 1943, partly in New York, and partly in Hollywood.  The dedication reeads: To Lieutenant Harry H. Dunham (1910-1943.), -- a friend of mine who lost his life while on active duty in the South Pacific.</p>
<p>It was first performed by Ruth Posselt, violinist, and the composer, at a Boosey-Hawkes concert on January 17th 1944 at Times Hall in New York.</p>
<p>There are three movements -- moderate tempo, slow, and fast.  The last two are played without pause.  The first movement alternates in mood between a tender lyricism and a more rapid-paced section.  The slow movement is bare in outline and poetic in nature.  The finale combines light and bouncy material with sections that are more serious in tone.  The Sonata ends with a short coda that makes reference to the theme of the opening movement.</p>
Copland|corr0764|Letter from Aaron Copland Elizabeth Sprague Coolidge, 1937/07/21|<p>July 21 37</p>
<p>My dear Mrs Coolidge  <lb>Now I am able to definitively accept your kind invitation to come as hotel guest for the coming Festival in Mexico.</p>
<p>I shall be at the above address until about July first.</p>
<p>If by some chance you are free this coming Thursday, the 24th, at 8:30 P.M. I would be delighted if you cared to come to a short program of my works at the Siegel-Antheil Galleries on Sunset Blvd in Hollywood.</p>
<p>Sincerely yours<lb>Aaron Copland</p>
Copland|corr0765|Letter from Aaron Copland Elizabeth Sprague Coolidge, 1937/07/26|<p>Tlaxcala, Tlax<lb>Mexico<lb>July 26, 1937</p>
<p>My dear Mrs Coolidge  <lb>May I thank you most warmly for an unusually interesting 12 days in Mexico City.  Without having heard all six programs in that particular setting, it will be difficult for you to appreciate how original in conception and in execution the whole Festival seemed to us.  I think you are to be hugely congratulated on the outcome of the entire affair.</p>
<p>Having lived in Mexico before, I think I can understand what a profound influence such a series of concerts is most likely to have on the musical life of the country.  Merely hearing the Coolidge Quartet in the series of classics, would have been sufficient to stimulate their interest in the art of chamber music.  But what the concerts as a whole did for Mexico, as I see it, was to give the musical life of the country a less provincial aspect.  It was as if they might have justly said you see, the outside world takes us seriously as a musical center, therefore we must be more serious about ourselves!</p>
<p>Chavez worked hard and well, under trying circumstances.   I do not refer only to the desperate illness of his mother, but also to the quality of the musicians with whom he has to work here.   It would be foolish to think for a moment that the orchestral men here are of Philharmonic calibre.  Chavez asked me to conduct my own work, so that I was able to attest the fact from personal experience.  Some of the men are excellent (certainly the Ruvalcaba Quartet fits into that category) but others, though willing, are simply not able to give finished performances, by American standards.  There is no doubt that some of the works for chamber orchestra suffered from this unevenness among the men.  But I dont see how this could be avoided in a country like Mexico.  And certainly it was far better to have given the Festival here, even with an occasional lapse in performance standard, than not to have given it at all.</p>
<p>The general consensus of opinion seemed to be that the North American and Mexican composers showed to better advantage than the South Americans.   Im not sure that I can be completely impartial in any such judgement.  Certainly the prize quartets left much to be desired.  But I was glad to become familiar with numerous South American names, to know that they were composing in far off Chile and Paraguay and Argentina, and to have some idea of their present stage of development.</p>
<p>On the whole, from my own standpoint, (which is that of a musician who has closely followed the American and Mexican musical movement for the past 15 years) the most important aspect of the Festival, was the opportunity it gave me for a cross section view of the present status of our own music.  I came away feeling strongly encouraged for its future.   The music of Harris and Revueltas already show signs of a distinctive American idiom, the works of Sessions and Piston prove that Europe has little to teach us in the matter of expert craftsmanship.  I could not help thinking that if our younger men take up the task where these men will have left off, all will be well with us.</p>
<p>I could, of course, continue to write at much greater length, but I have no wish to tire you.  Needless to say, one of the most delightful aspects of the Festival was our stay at the Reforma.  I was happy to make the acquaintance of your son and daughter-in-law, and though they did all that was humanly possible to make up for your absence, we all felt it most keenly, nonetheless.</p>
<p>I am staying on in this small town in Mexico for the rest of the summer, so it will be easy for me to keep fresh the memory of the impressions of the last 12 days.</p>
<p>Allow me once more to thank you most sincerely for a fascinating and stimulating Festival.</p>
<p>Yours faithfully<lb>Aaron Copland</p>
Copland|corr0766|Letter from Aaron Copland Elizabeth Sprague Coolidge, 1938/01/05|<p>Jan. 5, 1938</p>
<p>Dear Mrs. Coolidge:<lb>I am about to leave for Cincinnati, but will be back in town on Monday.  If you are to be here next week it would be a pleasure to see you again.</p>
<p>Sincerely yours,<lb>[signed] Aaron Copland</p>
Copland|corr0767|Letter from Aaron Copland Mary Bristol, 1938/09/14|<p>Sept 14, 1938</p>
<p>My dear Miss Bristol ----<lb>Will you please convey my thanks to Mrs Coolidge for her kind invitation to dinner on the Thursday of next week.  Unfortunately, I am unable to come to Pittsfield -- to my great disappointment.</p>
<p>Tell Mrs Coolidge, if you will, that I much regret not being able to be there with my fellow-composers, and that I send my very best wishes for a successful Festival.</p>
<p>Sincerely<lb>Aaron Copland</p>
<p>MacDowell Colony<lb>Peterboro, N.H.</p>
Copland|corr0768|Letter from Aaron Copland Elizabeth Sprague Coolidge, 1942/07/31|<p>Box 104<lb>Stockbridge, Mass.<lb>July 31, 1942</p>
<p>Dear Mrs. Coolidge:<lb>Thank you for your letter and for the offer of a commission for a Martha Graham dance score.  I am, in principle, happy to accept.  I have been an admirer of Miss Grahams work for many years and I have more than once hoped that we might collaborate.   It particularly pleases me that you should make this possible, and also that I should be invited to take part as composer in celebration of the twenty-fifth anniversary of the historic Pittsfield Festivals.</p>
<p>However, this being a stage work, I think it would be wiser for me to contact Miss Graham before definitely committing myself.  For example, I ought to know the subject matter of the dance piece, how long it should be, set for how many instruments, how soon it must be ready, etc.    Also, since this is a stage work, I would have to assume that the commission of $500. covered only the composing of the work especially for the Festival occasion.   Miss Graham and I would have to work out performance fees for her use of the work subsequent to the premiere.  As soon as these details are arranged, I shall write to Dr. Spivacke in order to formally accept the commission from the Foundation.</p>
<p>In the meantime, please accept my appreciation of your extraordinary efforts for contemporary music in our country, and my sincere thanks for being invited to take part in the celebration of your unique contribution.</p>
<p>Yours most cordially,<lb>[signed] Aaron Copland</p>
Copland|corr0769|Letter from Aaron Copland Harold Spivacke, 1943/04/13|<p>April 13, 1943</p>
<p>Dear Harold:<lb>Your letter, sent to Stockbridge, just reached me out here.  Since I hadnt heard from Martha Graham in several months, I was going on the assumption that the idea of a ballet was in abeyance.  Your letter now brings the whole thing to life again.</p>
<p>When I last saw her in New York, she promised to send me a scenario which we could discuss.  That was around Christmas time and I havent heard from her since.   We also agreed that when the rights to the ballet are released after the first year, she would be willing to pay me a royalty performance fee on a per performance basis.   Therefor, as far as Miss Graham goes, everything is set, except that I have nothing to work with, until she prepares a scenario suitable to us both.</p>
<p>Because of the job I have out here, doing the score for a picture called The North Star, my time will be pretty much taken up until the middle of June.  However, I can probably sneak in some work on the ballet nevertheless.  I assume that the performance date is still planned for late September.</p>
<p>As far as the terms of the commission go, I think the Foundation should take into account the fact that this is a stage work, and therefore ought to be handled somewhat differently from the commissions given for chamber music.  I think that the $500. fee should cover three points: 1) the writing of the work especially for the Foundation, 2) the premiere performance, and 3) exclusivity for a year from the premiere performance.   I believe however, that in fairness to the composer, a small royalty fee of $15. per performance should be paid the composer each time the work is given after the premiere.  That is the customary procedure with the ballet companies, though of course the rates are about double that for regular commercial outfits.   Such an arrangement also provides more incentive for a publisher who might be interested in bringing the work out immediately.</p>
<p>My suggestion is that you write to Miss Graham, finding out the present status of her scenario, and then let me know how the whole matter stands.</p>
<p>Best greetings to you!</p>
<p>[signed] Aaron Copland</p>
Copland|corr0770|Letter from Aaron Copland Harold Spivacke, 1943/05/10|<p>May 10, 1943</p>
<p>Dear Harold:<lb>Ill be waiting with much curiosity to see Miss Grahams scenario.   It hasnt arrived as yet, however.  Im also glad to see that the date of the premiere is as late as Oct. 30 now.  Dont be concerned about the number of musicians.  There is no difficulty on that point since its being taken into account as early as this.  The type of musical instruments needed will depend on the nature of Miss Grahams scenario.   Ill try to stick to Chavez choice of instruments as far as practicable.</p>
<p>Your letter of April 15th was illuminating on the subject of performance fees.  Since you state that the likelihood of the Coolidge Foundation sending the ballet on tour...is practically nil and that only a few performances are contemplated during the year of exclusivity, I assume you would have no objection if I ask that the number of free performances included in the commission fee be limited to five.</p>
<p>Best greetings to you,<lb>[signed] Aaron<lb>Aaron Copland</p>
Copland|corr0771|Letter from Aaron Copland Harold Spivacke, 1943/06/08|<p>June 8, 1943.</p>
<p>Dear Harold:<lb>Thanks for your letter of the 2nd.  I received the script from Martha Graham and like it very much, on the whole.  Ive written to her, suggesting a few changes.</p>
<p>I assume we are now all set, since your letter clears up our business arrangements, and is satisfactory to me.  If you have occasion to write Miss Graham, please tell her that I have no intention of holding her to a minimum or maximum of ten performances during the first year, but only to the usual $15. performance fee whenever she performs the ballet on her own.</p>
<p>I shall assume that the premiere date is October 30th unless I hear to the contrary.  Please be sure to let me know if there is any change, as the more time I have the better.  Also, if you can find out from Chavez what instruments he intends using, that would be ahelp.</p>
<p>I think I have my first theme!</p>
<p>Best greetings to you.<lb>[signed] Aaron</p>
Copland|corr0772|Letter from Aaron Copland Harold Spivacke, 1943/07/21|<p>1943 Jul 21</p>
<p>AM SENDING YOU AIR MAIL SPECIAL DELIVERY LETTER TODAY EXPLAINING SITUATION IN FULL.</p>
<p>AARON COPLAND</p>
Copland|corr0773|Letter from Aaron Copland Harold Spivacke, 1943/07/21|<p>July 21, 1943</p>
<p>Dear Harold:<lb>Two days ago I sent a long letter to Martha Graham, and was just about to write to you when your wire arrived.   I can easily understand your anxiety about the score, but the situation was too complex to be taken care of in a wire.</p>
<p>I wrote to Martha because I had just received the final version of the scenario.  As I think I pointed out to you, I had suggested certain changes in the first version she sent me, and she promised to make them.  Then there elapsed about a six week interval.  She realized, of course, that the delay was serious because of the pressure of time, but apparently couldnt make the revisions any sooner.  The new scenario is an improvement, and I wrote her my acceptance.</p>
<p>In the meantime I was at work on the score, and have perhaps a third done.  If I had nothing to do between now and Sept. 1st but write the ballet, I wouldnt hesitate to promise it for that date.  But through a series of unforseen incidents the picture score I am contracted to do is just now getting under way.  In another week I shall be in the midst of it  and there are a lot of notes to write!</p>
<p>Martha wrote that the Chavez score is still not in her hands.   Knowing him well, and the heavy season he has in Mexico at this time, I can hardly hope that his score will arrive soon[,] giving Martha something to work on until I am ready.  As you probably know, he is famous for getting things done at the last possible moment.</p>
<p>In view of all this, I told Martha I thought she ought to write to you with the idea of finding out whether there was any chance of postponing the performances until Spring.   I was very reluctant to make the suggestion, and only did so because I thought we could all do ourselves greater justice if we took a few more months time.</p>
<p>As I see it, if the postponement is out of the question, I can let Martha have about half the ballet to work on during the first weeks of September, and will finish up by Oct. 1st.  This is on the assumption that the movie score will be out of the way by Aug. 31st.  By score I mean piano reduction, from which I later make the instrumentation.  In my case the instrumentation comes last, and all I can say is that it will be ready in time for orchestra rehearsals.</p>
<p>There is one other detail that hasnt worked out as I had hoped.  Because of the nature of the scenario I have decided that the best possible instrumentation for my ballet would be piano and strings.  In the case of the premiere that could mean piano and double string quartet.  Since you have a flute and clarinet for the Chavez anyway, I may decide to add those two instruments.  This means an addition of five players to the Chavez group, and I hope wont cause too much upset in the finances.</p>
<p>I hope this gives you a clear picture of the set-up.  Let me know what is decided as soon as you conveniently can.</p>
<p>Greetings,<lb>[signed] Aaron</p>
Copland|corr0774|Letter from Aaron Copland Harold Spivacke, 1943/08/30|<p>Aug. 30, 1943</p>
<p>Dear Harold:<lb>Your letter announcing the decision to postpone the Graham performance reached me while I was up to my neck in notes for The North Star.  Ill be out of the woods in another week or so, and can then turn to the ballet score with a free mind.  So the postponement is something of a god-send as far as I am concerned.   Also I plan to be back in New York by October first, so can keep in close touch with Martha Graham, which ought to produce better results than long distance correspondence.</p>
<p>I have about a third of the work completed so far.  I am going on the assumption that the scoring for double string quartet and piano will be satisfactory.</p>
<p>All best wishes  and I hope to see you during the course of the winter.</p>
<p>Yours,<lb>[signed] Aaron<lb>Aaron Copland</p>
Copland|corr0775|Letter from Aaron Copland Harold Spivacke, 1943/10/20|<p>Oct 20, 1943</p>
<p>Dear Harold:<lb>Im back, as you see, and I have a date to see Martha Graham on Friday.  Ill let you know what transpires.  Since Im free now to concentrate on finishing the ballet, the future looks very rosy indeed.</p>
<p>Best regards<lb>Aaron Copland</p>
Copland|corr0776|Letter from Aaron Copland Harold Spivacke, 1944/01/31|<p>January 31, 1944<lb>Mr. Harold Spivacke: Chief<lb>The Library of Congress<lb>Division of Music<lb>Washington, D.C.</p>
<p>Dear Harold:<lb>Thanks for the encouraging words about the part of the ballet you received from me.   Martha Graham tells me you are planning for a premiere around October.   I really think you dont need wait to get the score completely orchestrated in order to make definite plans.   As far as I am concerned, I think that it is quite safe to go ahead as soon as you get the completed piano sketch.  The orchestration is a mere detail.</p>
<p>I have revised my scheme a bit in regard to the instruments for which the ballet will be scored.  I told Martha the other day that the ideal combination now seems to me to be the double string quartet with double bass, one piano, and three woodwinds (probably flute, clarinet, and bassoon).  That adds up to thirteen men which is one more than your original letter called for if I remember correctly.  I hope thats OK with you.</p>
<p>Best regards,<lb>[signed] Aaron<lb>Aaron Copland</p>
<p>AC<lb>jt</p>
Copland|corr0777|Letter from Aaron Copland Harold Spivacke, 1944/06/09|<p>June 9, 1944</p>
<p>Dear Harold:<lb>The instrumentation is as follows:<lb>Double String Quartet, with one doublebass,<lb>piano,<lb>flute, clarinet, bassoon.<lb>Total of 13 players.</p>
<p>I have about two more minutes of music to write on the ballet, and am one-third through the instrumentation.  Hope to be done by July first.</p>
<p>Im doing the score on thin sheets so that both Martha and myself can have a copy.  Subsequently, I hope I can purchase as many copies as I may happen to need.  In the same way, I hope you will be able to copy the parts on thin sheets so that we get independent sets for ourselves if they are needed at some later time.</p>
<p>Best regards,<lb>[signed] Aaron<lb>Aaron Copland</p>
Copland|corr0778|Letter from Aaron Copland Harold Spivacke, 1944/07/08|<p>July 8, 1944</p>
<p>Dear Harold:<lb>At last I am able to write you that the complete score of the ballet has been mailed to you.  Since I put the score on thin master sheets I hope you will send a copy to Martha Graham soon, so that she may have some idea of the sonorities.  I am also planning to make some piano records for her, so that she will know my tempi.  Unfortunately, she had left for Bennington before I had arrived back here, so I had no opportunity to play the completed score for her.  Also I hope you are planning to send me a photostat of the score for my collection.</p>
<p>I hope also that you will be able to send her a copy of the piano version of the ballet made from master sheets that I am about to send you.  (I have had to hold on to them for a few more days so as to make the recording.)  Martha has the ballet complete already,  but since sending it to her there have been some minor changes made, so that she ought to have this final version for comparison.  Please return the originals of the piano version to me with the orchestral score copy, as I never know when I may need further copies.</p>
<p>I am about to leave for Mexico for the summer, so hold everything until you get an address from me.  That goes for the check also!</p>
<p>I hope the ballet all turns out well, and that you and Mrs. Coolidge will feel properly rewarded for all your pains!</p>
<p>Yours,<lb>[signed] Aaron C---------</p>
<p>P.S.  I wrote Martha that if the orchestration for 13 players is too much for her on the road, the score could be played (with slight rearrangements) with only a single string quartet for the string section, instead of the double string quartet and bass now called for.  That would reduce the number of players to 8.</p>
Copland|corr0779|Letter from Aaron Copland Harold Spivacke, 1944/07/11|<p>July 11 44</p>
<p>Dear Harold:<lb>Your note reached me in time.  I am sending you both the records and the originals of the piano version, as you requested.</p>
<p>Please send the copies of the recording as soon as possible to Martha.  But dont judge the ballet on those records  they are very rough  full of inaccuracies.  However, they cost me $26.00.  If you know of any way that I could recoup that expense, Id be delighted.</p>
<p>I am leaving for Mexico to-morrow.  Will send you my address when I get there.</p>
<p>Regards<lb>Aaron</p>
Copland|corr0780|Letter from Aaron Copland Harold Spivacke, 1944/07/26|<p>July 26, 1944</p>
<p>Dear Harold:<lb>As it may be some time before I am permanently settled here, would you, in the meantime, send my check to me:<lb>care Orqesta Sinfonica de Mexico<lb>Isabel la Catolica 30<lb>Mexico D.F., Mexico.</p>
<p>I hope you got all the material O.K.  Just hold on to my copies of the score and piano version until you hear from me.</p>
<p>Greetings to you!</p>
<p>[signed] Aaron<lb>Aaron Copland</p>
Copland|corr0781|Letter from Aaron Copland Harold Spivacke, 1944/07/30|<p>1944 July 30</p>
<p>HAVE JUST LEARNED THAT NOLA STUDIOS 1657 BROADWAY NEW YORK LOST MY INSTRUCTIONS AND ARE HOLDING BALLET RECORDS BY MISTAKE PLEASE WIRE THEM YOUR ADDRESS REQUESTING RECORDS BE SENT YOU AND FORWARD COPIES TO MARTHA GRAHAM WITH LEAST POSSIBLE DELAY KINDLY EXPLAIN MIXUP TO MARTHA REGARDS</p>
<p>AARON COPLAND</p>
Copland|corr0782|Letter from Aaron Copland Harold Spivacke, 1944/08/22|<p>Address:<lb>TEPOZTLAN<lb>MORELOS<lb>MEXICO<lb>Aug 22 44</p>
<p>Dear Harold:<lb>When I left instructions with the Nola Studios for sending you the recordings of the ballet they offered to mail the originals of the piano version.  By all means, get in touch with them.  (Mr. Nola himself accepted the package containing the music sheets.)</p>
<p>Sorry to have caused this extra trouble.</p>
<p>In haste<lb>Aaron</p>
<p>Im enclosing the paper signed.  Please mail check to above address if possible.</p>
Copland|corr0783|Letter from Aaron Copland Harold Spivacke, 1944/09/07|<p>Tepoztlan,<lb>Morelos,<lb>Mexico.<lb>Sept. 7, 1944</p>
<p>Dear Harold:<lb>I am planning to fly up to Washington for the sole purpose of attending the Festival.  Therefore, if anything should happen to change plans for the event at the end of October, please make me the first person to be told about it.</p>
<p>However, on the assumption that all is to go ahead on schedule, would you let me know as soon as possible, what date Martha Graham will be having her first rehearsals in the Library Hall?  Thats the day I should like to arrive.  Also, it would be nice if your secretary could make me a reservation in the likeliest hotel for the period of the Festival.</p>
<p>One more request: would you have an invitation sent to Dr. Hans Heinsheimer of Boosey & Hawkes, 43 West 23 St., NYC.  Since he is the eventual publisher of the ballet, he naturally wants to be there for the premiere.</p>
<p>The other day I visited the library of the National Conservatory in Mexico.  The librarian assured me that no books had ever been received from the USA from the (Cowell) Distribution Project, or any other source.  Could you tell me where in Mexico such grants, if any, were made?   The day I was at the Conservatory the library was filled with students.  They have an excellent collection of the classics (or so it seemed to me), but no funds available for contemporary music.  Since the Conservatory is one of the prime centers of musical activity in Mexico, and an ideal depository for American music, I very much hope that you will use your influence to see to it that they get an allotment of material whenever it starts going out.</p>
<p>Thats all for now!</p>
<p>Best regards,<lb>[signed] Aaron</p>
Copland|corr0784|Letter from Aaron Copland Harold Spivacke, 1944/09/25|<p>Tepoztlan,<lb>Morelos,<lb>Mexico<lb>Sept. 25, 1944</p>
<p>Dear Harold:<lb>Thanks for the prompt reply to my last letter.   Also for the check that came through safely.</p>
<p>I had no idea Martha would be coming for rehearsals as early as five days before the event.  Naturally I dont intend to make a nuisance of myself during all that time!</p>
<p>My present plan is to fly up from here on the 25th, reaching Washington the following day.  So please reserve a room for me from Thursday the 26th.  (Even if Im put off the plane for a day through lack of priorities I can still make the dress rehearsal.)  My budget will stand $4. or $5. a day for a room  but the main thing is to put me where everybody will be.  Half the fun of going to festivals is bumping into people in your hotel lobby.</p>
<p>If anything happens to make me change my plans Ill wire you.  I hope youll do the same.  Please ask your secretary to write me the name of the hotel Im to go to, in the event that I reach Washington at some ungodly hour, not knowing where to go.  Id like it if she could include some sort of announcement of the Festival, so that I can mull over the events to come in quiet contemplation.</p>
<p>Best greetings to you!</p>
<p>[signed] Aaron</p>
Copland|corr0785|Letter from Aaron Copland Harold Spivacke, 1944/11/02|<p>Nov. 2, 1944.</p>
<p>Dear Harold:<lb>Sorry I didnt get to call you before leaving Washington, but it was a choice between that and catching my train, so.....I caught my train.</p>
<p>Please dont forget to send me the piano version of the ballet after it is bound.  Also I am hoping that I may be able to have a set of the recordings that were made of the orchestral performance.  Id be glad to pay any incidental charges.  In another year or so I shall probably be coming around for a set of parts, so I hope they were thin papered to start with.</p>
<p>Everyone seems to have seen the John Martin review up here, so I imagine that includes Clarke.  If you get any news from that quarter let me know pronto.</p>
<p>Many thanks for all the kindnesses while in Washington.</p>
<p>Yours,<lb>[signed] Aaron</p>
Copland|corr0786|Letter from Aaron Copland Harold Spivacke, 1944/11/13|<p>Nov 13, 1944</p>
<p>Dear Harold:<lb>Thanks a lot for sending the voucher covering the price of records.  Its doubly appreciated since it wasnt part of our agreement.   </p>
<p>Theres little likelihood of the ballet going to press before next season, but if and when it does of course Ill add the note about the commissioning.</p>
<p>Sorry the Met idea fell thru  but it would have been a miracle if it hadnt.  If I get any bright ideas, Ill write you.  The only one I have to date is to ask Hurok to have the Ballet Theatre invite Martha (as guest artist) to present it in their Spring season at the Met.  (The precedent for this is Argentinita and her company.)   It would cause much talk, and perhaps end an old battle between the balletomanes and the modern dance enthusiasts  or at any rate, set up a truce.</p>
<p>Ill be looking forward to receiving the orchestral records.</p>
<p>Yours always<lb>Aaron</p>
<p>P.S. That was an awful nice appreciation letter you sent.  Many thanks!</p>
Copland|corr0787|Letter from Aaron Copland Harold Spivacke, 1945/02/24|<p>Feb 24, 1945</p>
<p>Dear Harold:<lb>It was nice of you to write me about my father.  He was well over 80  and had lived a long and active life  so there is at least that to be thankful for.  Many thanks for your letter.</p>
<p>Yours<lb>Aaron</p>
Copland|corr0788|Letter from Aaron Copland Harold Spivacke, 1945/09/28|<p>Box 294<lb>Bernardsville, N.J.<lb>Sept. 28, 1945</p>
<p>Dear Harold:<lb>I thought you might be interested to know hat Mr. Heinsheimer of Boosy & Hawkes tells me that four orchestras have announced Appalachian Spring on their opening programs  NY Philharmonic, Boston, Cleveland, Pittsburgh.  Later on performances are scheduled for Los Angeles, San Francisco, Kansas City.  Koussevitzky plans to record it for RCA Victor at the end of October.  Perhaps you can listen in to the Philharmonic broadcast on Sunday the 7th.</p>
<p>Martha Graham is trying to negotiate a satisfactory contract with Hurok for a tour lasting two seasons, and later Europe.  If it comes off, the ballet will be widely seen.</p>
<p>I think you have the right to feel just a bit triumphant about your brain child.</p>
<p>Greetings to you!</p>
<p>[signed] Aaron</p>
<p>PS.  Perhaps Mrs. Coolidge would like to know about the above.</p>
<p>PPS.  Could you send me the catalogue put out by the Archive of American Folk Song?  Im thinking of getting some records.</p>
Copland|corr0789|Letter from Aaron Copland Miss Munroe, 1952/01/21|<p>Jan 21 1952</p>
<p>Dear Miss Munroe:<lb>Please convey my regrets to Mrs Coolidge  I am unable to come on Saturday, as I shall not be back in Cambridge until Feb. 4.</p>
<p>Yours sincerely<lb>Aaron Copland</p>
<p>9 Charlton St.<lb>New York 14</p>
Copland|corr0790|Letter from Aaron Copland Elizabeth Sprague Coolidge, undated|<p>[undated]</p>
<p>Dear Mrs. Coolidge:<lb>You are very kind to ask me to attend the July 28th program with you.  Im delighted to accept.</p>
<p>I am looking forward keenly to the chamber music series.  May I say personally (and officially as asst director of the School) how pleased we all are at this extension of the activities of the Music Center.</p>
<p>Yours sincerely<lb>Aaron Copland</p>
Copland|corr0793|Letter from Aaron Copland Marcelle de Manziarly, 1942/01|<p>Oakland, N.J.<lb>Wed [January 1942]</p>
<p>Dear Marcelle:<lb>Im hoping you will want to come to the concert on the 9th.  Anyhow, I am enclosing a program and a ticket for a seat next to Guarnieri.  (He already has his.)  N.B. says she will be there too.  If you cant use it please send it back (to 113 W. 63).  Im up to my neck in work because my piece is still not finished!!</p>
<p>Therefore this note is dramatically brief and we havent had our historic lunch yet.</p>
<p>Best.</p><p>[signed] Aaron</p>
Copland|corr0794|Letter from Aaron Copland Marcelle de Manziarly, 1943/03/18|<p>March 18 1943</p>
<p>Dear Marcelle:<lb>You were awfully nice to send me that letter gratuite.  Particularly since my conscience has been killing me because I left N.Y. without our having the famous luncheon date!   But if you only knew how sudden it all was -- coming out here, I mean.  I am still not entirely acclimated -- after 7 weeks -- (already!)</p>
<p>You wrote some very pretty things about my music -- which touched me very much.   I know how critical you are -- so that your praise is that much more valued.</p>
<p>Isnt it wonderful about the success of Guarnieris concert.  It went far beyond my most optimistic hopes.  If only he could stay for the night of the opera.  It seems idiotic to have to leave a day before.   Is there nothing to be done?</p>
<p>And I was pleased as Punch to read that your quatuor is being done at the Serenade.  I hope the performance succeeds in thawing you out, so that you will compose more.   I wish I could be there to help with the thawing out process, but there seems little chance.  The picture is only just begun and there are weeks ahead yet.</p>
<p>I feel very proud because Stravinsky invited me to dinner.  Unfortunately it was cancelled for some reason, but I am proud nevertheless.  I assume it will take place later.</p>
<p>My life here is oh so different from N.Y.  Quiet, country-like -- almost anonymous.  Though the town is full of famous personalities -- musical and otherwise -- they seem never to see each other.   Each is an island -- complete in himself.  If I were to live here I would break it down -- but as a visitor, its outside my province.</p>
<p>All my best to you -- and keep me in touch with goings-on in the center of all things.</p>
<p>Yours<lb>Aaron</p>
Copland|corr0795|Letter from Aaron Copland Marcelle de Manziarly, 1943/09/14|<p>Sept. 14, 1943</p>
<p>Dear Marcelle:<lb>You probably think me some nameless kind of wretch for not writing weeks ago about the receipt of your String Quartet.   But it arrived just at the moment when I began to really get to work on the score of The North Star.  Now finally it is all finished, and one of the first things I did was to read the piece with a great deal of pleasure.  It is easy to understand why it received such good reviews last Spring.  It must sound so well -- it is so clear and expertly done.   I think I liked best the 2nd and 3rd movements.  (By comparison the 1st seems a trifle academic in spots.)  I particularly liked the part in the 3rd movement around no. 10-15.  I suppose that is because it seems to me just the way I would have done it also!   I like less no. 22-24, where again I am too conscious of the logical workman.</p>
<p>I am very keen to hear the whole thing played, and am hoping you can arrange it some time.  In the meantime I shall enjoy having the score close by. [added in ink: Now you must compose more and more.]</p>
<p>Now that the job here is finished I can come home.  I will be back in early October.  On the way back I am stopping in Colorado for a week to give some talks on South American music.  It will seem strange after all these months in Hollywood.  I talked with Nadia on the phone twice and will try to get up to Santa Barbara to spend a day with her.</p>
<p>Give my best to all the friends -- especially Alexei </p>
<p>[in ink] Always yours<lb>Aaron</p>
Copland|corr0796|Letter from Aaron Copland Arthur Berger, 1944/09/08|<p>Tepoztlan,<lb>Morelos,<lb>Mexico.<lb>Sept. 8, 1944</p>
<p>Dear Arthur:<lb>Theres no particular point to this letter -- only a sort of blind instinct that if I can elicit a letter from you I can thereby keep in touch with the musical center of the world.  Tepoztlan is definitely off the main road.  In fact its about 400 years behind the procession.  I doubt whether they ever heard of Schostie, as Harold would say.  And even if they heard of him, I doubt whether they'd care.</p>
<p>I found out most about the place by reading a book about it, written by an American, of course.  He spent 8 months here 15 years ago, before the road was opened.  You can't find out much from the Indians themselves, they're so tight-lipped.  The Mexico City Mexicans say they are unfriendly, but I suspect they are just shy.  In any case my presence here is remarkable only because no American has lived here since Redfield wrote his book.</p>
<p>I imagine life here is closest to Italian hill town life, or what I suppose Italian hill towns are like.  No newspapers and no radios, not telephones and no telegrams.  That simplifies life considerably.  Theres no traffic because the streets are unpaved.  A kind of pitter-patter of bare feet on rock can be heard all day through.  Its the women on their daily round.  The men wear guaraches, but then they only work in the fields, and are mostly not to be seen until around 5 in the afternoon, when they emerge to make conversation with their friends on the corner of their street.  Nights are dark -- there's no electricity.  In spite of that, twice weekly there is a kind of public dance that takes place in the open air market.  Its the only modern touch in town -- and I can't say it's very gay.  Instead of doing jarabes and huapangos I was amazed to see them attempting a kind of Tepoztlan version of a fox trot.  The nearest movie house is 15 miles away, but obviously its had its effect.  The "jazz" is better than the dancing -- perhaps because Redfield mentions phonographs with horns when he was here.  But the whole thing is hardly conducive to inspiring a Salon Tepozteco.</p>
<p>I don't suppose you're interested in any of this, but at least it tells you where I am.   Esther will be relieved to know that our house is quite perfect -- complete with cook and gardener, and a bathroom.   I have a separate studio with a baby grand.  Unfortunately the old days are gone when you used to pay $8. a month for the whole thing -- but then, you can't have everything.</p>
<p>We are only two hours from Mexico City so I have heard the Sinfonica several times.  Chavez played a piece of Revueltas called Ventanas (Windows).  Its very amusing to listen to -- chuck full of orchestral color -- but the form isn't very good, I'm afraid.  He was like a modern painter who throws marvellous daubs of color on canvas that practically takes your eye out, but it doesn't add up.  Too bad -- because he was a gifted guy.  Also heard a Symphony No. 1 by young Pablo Moncayo.  He adds a gentle note to what is generally the grim or boisterous Mexican palette, but the whole thing is still rather unformed, despite charming moments.   I am disturb[ed to] note that there doesn't seem to be any youngest generation of [Mex-]ican composers -- fellows in their twenties, I mean.  Galindo and Moncayo are the thirty generation.  I spoke to Chavez about it, b[ut] he doesn't seem to have any explanation.  It may be the lack of [an?] outstanding composition teacher -- nobody who teaches really seems to know his stuff.  Chavez and Revueltas went abroad and the young men stay home.  Something ought to be done about it.</p>
<p>What goes on where you are -- thats really the point of this letter.  I feel as if I had been gone for ages, and everything has changed.  Of course it hasn't, but I need reassuring.  Kalodin isn't back from the wars, is he?  Have you been composing anything?  Has anybody been composing anything?  I wrote a seven minute piece for Whiteman's commission called "Letter from Home."  Its very sentimental, with five saxophones that are sometimes five clarinets and sometimes four flutes -- but it modulates!</p>
<p>Now all I have to do is to take care of the Koussie commission.</p>
<p>Love to Esther from me and Victor.</p>
<p>[signed]Aaron</p>
<p>PS.  Wild coincidence.  Just came back from the P.O. and foun[d] a letter including the two I sent you in 1934 and 1943.  Very amused to reread them.  Now I see why I wrote you -- trying to [get?] printed, thats all!</p>
Copland|corr0797|Letter from Aaron Copland Marcelle de Manziarly, 1944/09/15|<p>Tepoztlan<lb>Morelos<lb>Mexico<lb>Sept 15 44</p>
<p>Dear Marcelle:<lb>It was very nice of you to have sent me that note of sympathy.   The death of ones mother  even at an advanced age and after a full and useful life  is an tape in ones own existence.  It leaves one feeling older and lonelier.   Of course you would understand that.</p>
<p>I hope the summer was good for you  and that the week at Mt. Holyoke  the musical part of it  was all you expected.  Who came?</p>
<p>My own summer didnt begin until August  so I am still in the midst of it.  Tepoztln is something you would like  utter tranquility.  Im not planning to come back till the end of Oct.</p>
<p>Im working hard on a long piece.   And you?  Please write again.</p>
<p>Always   Aaron</p>
Copland|corr0798|Letter from Aaron Copland Marcelle de Manziarly, 1945/04/24|<p>Box 294<lb>Bernardsville<lb>New Jersey<lb>Apr 24 45</p>
<p>Dear Mar----- :<lb>I suppose youve heard  its all off.  No wonder I am hiding in the country!  Its beautiful here  very  and I console myself with composing.</p>
<p>But how to console you, and Vittorio, and Nicky N., and Martinu for all the false hopes raised.  Well, you will do it for me better than I can myself..</p>
<p>I have your score with me here and like it better every day!</p>
<p>All my best<lb>Aaron</p>
<p>P.S.  Finished the slow movement.  Finally, something done!</p>
Copland|corr0799|Letter from Aaron Copland Marcelle de Manziarly, 1946/01/16|<p>Ridgefield, Conn.<lb>Jan 16, 1946</p>
<p>Dear Marcelle:<lb>It was a real pleasure to receive the Fables all beautifully printed up.   They are charming and lovely and the last one sparkles like yourself.  Many thanks</p>
<p>Always ton<lb>Aaron</p>
Copland|corr0800|Letter from Aaron Copland Marcelle de Manziarly, 1946/12/27|<p>Dec 27, 1946</p>
<p>Dear Marcelle:<lb>This was meant to be a Happy New Year letter  in answer to your very nice one of some weeks back.  I hope it reaches you in time for the holiday season.</p>
<p>All goes well de ce cot.  I have become disgustingly lazy since finishing my Symphony in October.  (Ive been living in style on the East River near 58th St.  temporarily.)  Ive heard the Symph performed 6 times in public by Kouss & the B.S.O. and I think I like it!  But it would be nice to have your reaction to the whole thing.</p>
<p>Its the Christmas season  so Milhaud and Stravinsky are both here, as per usual.  I saw your ex-pupil Pat at a party and we enthused about you together.  Weve been hearing some French music via Rosenthal and Baudrier  amazing to realize that there is no trace of a neo-classicStravinsky influence in any of it.   The Bergers are well  I suppose you heard that Arthur is now on the Tribune with Virgil  David speaks of going to Paris in April if he can find some money.  Lenny you will probably see in the Spring  because he is to conduct in Palestine in April.   Modern Music is about to collapse for lack of funds  sad, isnt it.</p>
<p>Winifred Johnstone quoted you in a letter to me as saying that N.B. should be persuaded to come to the U.S. for the summer  in a summer school  .  Ill mention it to Kouss  in relation to Tanglewood  but Im not sure that it is possible because of financial reasons and commitments already made.  Personally Id be delighted if it can be arranged.  Give Nadia my best. </p>
<p>What have you been composing?<lb>We all miss you and hope youll come back soon </p>
<p>Yours<lb>Aaron</p>
<p>P.S.  Leduc publishes a 2 volume work of Messiaen called Technique de mon langage musicale.  Do you think you could arrange to have it sent to me care Boosey & Hawkes, 668 Fifth Av. N.Y.C.   Let me know how much it is and I will send a money order.</p>
Copland|corr0801|Letter from Aaron Copland Marcelle de Manziarly, 1955/03/03|<p>March 3 55</p>
<p>Dear Marcelle:<lb>Dont be too surprised at hearing from me!  I am coming to Paris for the month of May  cest tout.  (I have a concert with the Radiodiffusion Orchestra at the end of May.)</p>
<p>Weinstein brought news of you  says you are delightful as ever.  Which I never doubted.  (Quel galant!)</p>
<p>It occurred to me that perhaps someone in Paris would like to rent their apartment for the month of May (preferably with a piano in it!)  Wouldnt that be ideal?  I thought I would mention it to you,  just in case you knew of some such soul.</p>
<p>Or perhaps you know of some hotel which is ideal.</p>
<p>Anyway it would be lovely to hear from you and to know what you have been up to recently.</p>
<p>Affectionately<lb>Aaron</p>
Copland|corr0802|Letter from Aaron Copland Marcelle de Manziarly, 1955/10/13|<p>[postmark: 13 Oct 1955]</p>
<p>You should hear her sing the song dedicated to you!<lb>Affectionate greetings from Aaron (in Copenhague)</p>
Copland|corr0803|Letter from Aaron Copland Mrs. Parker, 1957/05/02|<p>May 2, 1957</p>
<p>Dear Mrs. Porter:<lb>It was very kind of you indeed to invite me to stay at your place during the week-end of the Festival.  I fear it will be a hectic 3 days, and I shall be a very unsatisfactory guest.  However, since you are willing to chance it, I am delighted to accept your invitation.</p>
<p>I last saw Marcelle two years ago in Paris, and had no difficulty at all in remembering our (yours and mine) long-standing acquaintance.  It will be a pleasure to see you again.</p>
<p>Yours cordially<lb>Aaron Copland</p>
Copland|corr0804|Letter from Aaron Copland Mrs. Porter, 1957/05/30|<p>May 30, 1957</p>
<p>Dear M M de P:<lb>Thank you so much for the safe haven and restful quiet of last week-end.  Just to be in the midst of your beautiful ambiance was a pleasure.</p>
<p>When I returned home I found a letter from Marcelle,  a curious coincidence, since she never writes me!</p>
<p>All my best to you<lb>Aaron Copland</p>
Copland|corr0805|Letter from Aaron Copland Marcelle de Manziarly, 1960/12/05|<p>Dec 5 1960</p>
<p>Marcelle, my dear:<lb>How nice of you to send me such a warm and affectionate birthday letter.   Many, many thanks.   I think of us as having shared a parallel musical life together  and it [is] always a pleasure to think of you in Paris composing and listening.</p>
<p>I have a lovely new house in the country and hope you will see it before too long.</p>
<p>Affectionately, as ever<lb>Aaron</p>
Copland|corr0806|Letter from Aaron Copland Marcelle de Manziarly, 1964/05/06|<p>[dated in pencil: 6 Juin 1964]<lb>Sat</p>
<p>Dear Marcelle:<lb>I called and you are away.  I come back to Paris (from Hilversum) on Thursday.  Can we meet on Friday (the 12th).  Would you like to go to John Cage et Cie. that eve if I can get tickets?  Ill call when I get back.</p>
<p>Congratulations on Monaco!</p>
<p>As ever<lb>Aaron</p>
Copland|corr0807|Letter from Aaron Copland Marcelle de Manziarly, 1964/12/11|<p>[postmark: Dec 11 1964]<lb>address: RFD #1, Peekskill<lb>N.Y.</p>
<p>Dear Marcelle:<lb>Wonderful news to hear you are coming for a visit.  Yes, I shall be here during January.  I generally come to N.Y. on either Wed. or Thurs.  In any case save Sat Jan 23 when there are 2 concerts which may be of interest to you.</p>
<p>My telephone no. (private!) Is 914-Pl9 - 0639.  Call me when you arrive.</p>
<p>Affectionately<lb>Aaron</p>
Copland|corr0808|Letter from Aaron Copland Marcelle de Manziarly, 1965/01/25|<p>[dated in pencil 25 I 1965]<lb>Monday 6:30 PM</p>
<p>Dear Marcelle:<lb>I just called the house and they told me you were on your way to the airport.  Quel choque!  I had no idea you were off so soon - the 3 weeks went by like a flash.</p>
<p>I hope you received the message at the Latin-American concert from the Ginasteras.  (I missed you Sat. morning again, when I called at 10:30).  I caught a most idiotic cold in Washington, and by Friday I was fini.  So very sorry it spoiled what could have been an amusing (?) day.   Did you ever get tot he Tanglewood concert?</p>
<p>Well, all that is water over the dam, like they say.</p>
<p>It was, as always, great fun to have you chez nous.  There is something about your lively spirit that makes one feel all is right with the world  even when one knows it isnt so.</p>
<p>Please make this trip an annual affair.  And bring us your latest piece.</p>
<p>As ever,</p>
<p>Your old friend<lb>Aaron</p>
Copland|corr0809|Letter from Aaron Copland Marcelle de Manziarly, 1970/11/23|<p>Nov 23 1970</p>
<p>Dear Marcelle <lb>What a beautiful letter you wrote me for my 70th!  It evoked so many memories of so many years friendship.</p>
<p>I am trying hard to connect with that number: seventy.  But with little success.  I just dont feel it  and so I dont believe it.  Voila!</p>
<p>Many, many thanks for writing me  and for being Marcelle </p>
<p>As ever<lb>Aaron</p>
Copland|corr0810|Letter from Aaron Copland Marcelle de Manziarly, 11/29|<p>Nov 29</p>
<p>Dear Marcelle:<lb>Be an angel and fill this out for me as you think best.  I already have signed my name  so you see the great confidence I have in you.</p>
<p>Yours<lb>Aaron</p>