Copland, Aaron. (1900–1990). Twelve Poems of Emily Dickinson. New York: Boosey & Hawkes. 1951. First edition. Voice and Piano score. 31 cm. 45 p. [PN] B&H 17865. Original gray wrapper, in excellent condition with minor wear along the spine. Pencil marking and "Complimentary Copy" stamp on front cover; pencil markings on title page; otherwise no markings. Copland Complete Catalogue (B & H), p. 26.
From the library of renowned vocal accompanist, James Shomate (Anna Moffo's favorite) and signed by him on the front cover. This set was first performed by Copland with Alice Howland singing in New York on 18 May 1950, and the individual songs are dedicated to an array of Copland's composer friends, including David diamond, Elliott Carter, and Alberto Ginastera.These songs were described as a "towering accomplishment" by Copland scholar Howard Pollack. "Copland, who wrote relatively few songs, stumbled across the still relatively unknown Emily Dickinson in the late 1940s; drawn to her work and life, he set twelve of her poems for voice and piano, thereby creating a song cycle that represents not only his most imposing work in this area, but one of the masterpieces of the American vocal repertory." (Pollack, "Copland and the Prophetic Voice," 10).
From the library of renowned vocal accompanist, James Shomate (Anna Moffo's favorite) and signed by him on the front cover. This set was first performed by Copland with Alice Howland singing in New York on 18 May 1950, and the individual songs are dedicated to an array of Copland's composer friends, including David diamond, Elliott Carter, and Alberto Ginastera.These songs were described as a "towering accomplishment" by Copland scholar Howard Pollack. "Copland, who wrote relatively few songs, stumbled across the still relatively unknown Emily Dickinson in the late 1940s; drawn to her work and life, he set twelve of her poems for voice and piano, thereby creating a song cycle that represents not only his most imposing work in this area, but one of the masterpieces of the American vocal repertory." (Pollack, "Copland and the Prophetic Voice," 10).
Copland, Aaron. (1900–1990). Twelve Poems of Emily Dickinson. New York: Boosey & Hawkes. 1951. First edition. Voice and Piano score. 31 cm. 45 p. [PN] B&H 17865. Original gray wrapper, in excellent condition with minor wear along the spine. Pencil marking and "Complimentary Copy" stamp on front cover; pencil markings on title page; otherwise no markings. Copland Complete Catalogue (B & H), p. 26.
From the library of renowned vocal accompanist, James Shomate (Anna Moffo's favorite) and signed by him on the front cover. This set was first performed by Copland with Alice Howland singing in New York on 18 May 1950, and the individual songs are dedicated to an array of Copland's composer friends, including David diamond, Elliott Carter, and Alberto Ginastera.These songs were described as a "towering accomplishment" by Copland scholar Howard Pollack. "Copland, who wrote relatively few songs, stumbled across the still relatively unknown Emily Dickinson in the late 1940s; drawn to her work and life, he set twelve of her poems for voice and piano, thereby creating a song cycle that represents not only his most imposing work in this area, but one of the masterpieces of the American vocal repertory." (Pollack, "Copland and the Prophetic Voice," 10).
From the library of renowned vocal accompanist, James Shomate (Anna Moffo's favorite) and signed by him on the front cover. This set was first performed by Copland with Alice Howland singing in New York on 18 May 1950, and the individual songs are dedicated to an array of Copland's composer friends, including David diamond, Elliott Carter, and Alberto Ginastera.These songs were described as a "towering accomplishment" by Copland scholar Howard Pollack. "Copland, who wrote relatively few songs, stumbled across the still relatively unknown Emily Dickinson in the late 1940s; drawn to her work and life, he set twelve of her poems for voice and piano, thereby creating a song cycle that represents not only his most imposing work in this area, but one of the masterpieces of the American vocal repertory." (Pollack, "Copland and the Prophetic Voice," 10).