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Aaron Copland
Nonet
Works Info
Composer
:
Aaron Copland
Genre
:
Chamber
Style
:
Nonet
Compose Date
:
1960
Average_duration
:
17:34
Movement_count
:
3
Movement ....
Aaron Copland's Nonet is a chamber music piece composed in 1960. It was premiered on March 22, 1961, by the Contemporary Chamber Ensemble at the New School for Social Research in New York City. The Nonet is a six-movement work that features a unique combination of instruments: flute, clarinet, bassoon, horn, violin, viola, cello, double bass, and piano. The first movement, marked "Slowly and expressively," begins with a hauntingly beautiful melody played by the strings. The winds and piano then join in, creating a lush and rich texture. The movement is characterized by its use of long, sustained notes and a sense of melancholy. The second movement, marked "Allegro," is a lively and energetic scherzo. The winds and strings play off each other in a playful and rhythmic manner, while the piano provides a driving accompaniment. The third movement, marked "Lento," is a slow and introspective piece. The strings and winds take turns playing a mournful melody, while the piano provides a gentle and delicate accompaniment. The fourth movement, marked "Molto allegro," is a fast and frenetic scherzo. The instruments play off each other in a dizzying and virtuosic display of technique and skill. The fifth movement, marked "Lento," is a return to the introspective mood of the third movement. The strings and winds play a hauntingly beautiful melody, while the piano provides a gentle and delicate accompaniment. The final movement, marked "Allegro con brio," is a lively and energetic finale. The instruments play off each other in a joyful and celebratory manner, bringing the piece to a rousing conclusion. Overall, Copland's Nonet is a masterful work that showcases his skill as a composer and his ability to create a unique and compelling sound world. The combination of instruments is unusual but effective, and the six movements provide a wide range of moods and emotions.
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