Aaron Copland
Appalachian Spring

The Essentials:
Composer: Aaron Copland (1900–1990)
Composed: 1944
Commissioned by: Elizabeth Sprague Coolidge Foundation
Original version: Ballet for 13 instruments
World premiere: October 30, 1944, at the Library of Congress, with choreography by Martha Graham
Award: Pulitzer Prize for Music (1945)
Famous melody: Variations on the Shaker tune Simple Gifts
What to listen for: Open, spacious harmonies; folk-inspired melodies; and the gradual unfolding of the Simple Gifts variations
Estimated duration: ca. 25 minutes

Few works capture the sound and spirit of twentieth-century American music as vividly as Appalachian Spring. Composed in 1944 by Aaron Copland, the piece began as a ballet commissioned by the Elizabeth Sprague Coolidge Foundation for the Library of Congress in Washington, D.C. The choreography was created by the pioneering modern dancer Martha Graham, whose distinctive style and interest in American themes shaped the ballet’s dramatic concept.

Despite its title, Appalachian Spring was not originally intended to depict a specific geographic location. The name itself was suggested only after the music was completed, borrowed from a line in a poem by Hart Crane. Instead of portraying the Appalachian Mountains directly, the ballet tells a symbolic story of new beginnings in rural America. Set in the early nineteenth century, the narrative centers on a young pioneer couple establishing their home, joined by a revivalist preacher and members of their frontier community. The work celebrates themes of hope, faith, and renewal—qualities that resonated deeply with audiences during the final years of World War II.

Copland originally scored Appalachian Spring for a chamber ensemble of thirteen instruments, a practical choice for performance in the Library of Congress auditorium. The composer later arranged the now-familiar orchestral suite, expanding the music’s textures while preserving its clarity and transparency. The suite is organized into a series of contrasting sections that flow seamlessly from one to another, tracing the emotional arc of the ballet.

The opening music unfolds with quiet, widely spaced harmonies that evoke a sense of open landscape and anticipation. Copland’s signature style—marked by clear textures, simple melodic lines, and generous use of space—creates an atmosphere of calm expectancy. Gradually, livelier rhythms and playful motives suggest the bustle of daily life within the frontier community.

One of the most recognizable moments arrives with the introduction of a set of variations on the Shaker hymn Simple Gifts, composed in 1848 by Joseph Brackett. Copland discovered the tune in a collection of traditional American melodies and recognized its expressive potential. The melody appears first in a modest, unadorned form before undergoing a series of transformations—growing in richness, rhythmic vitality, and emotional intensity. These variations represent the central spiritual message of the ballet: the values of simplicity, humility, and communal strength.

Following the hymn variations, the music returns to a more reflective mood. The final section offers a gentle resolution, suggesting the couple’s quiet confidence as they look toward the future. Soft harmonies and sustained chords convey peace and stability, bringing the work to a serene conclusion.

Appalachian Spring quickly became one of Copland’s most celebrated works, earning the Pulitzer Prize for Music in 1945. Its distinctive blend of modern compositional techniques and American folk influences helped define a national musical identity during a formative period in the country’s cultural history. Today, the work remains a cornerstone of the orchestral repertoire, admired for its warmth, clarity, and enduring sense of optimism.

Ludwig van Beethoven
Mass in C Major, Op. 86

The Essentials:
Composer: Ludwig van Beethoven (1770–1827)
Composed: 1807
Commissioned by: Prince Nikolaus Esterházy II
World premiere: September 13, 1807, in Eisenstadt, Austria
Scoring: Four vocal soloists, chorus, and orchestra
Text: The traditional Latin Mass Ordinary
Movements: Kyrie, Gloria, Credo, Sanctus/Benedictus, Agnus Dei
What to listen for: Beethoven's blend of intimate devotion and symphonic drama, particularly the joyful Gloria and the peaceful conclusion of the Agnus Dei
Estimated duration: ca. 45 minutes

While Ludwig van Beethoven is best known for his symphonies and instrumental music, his sacred compositions reveal a deeply personal dimension of his artistry. The Mass in C Major, Op. 86, composed in 1807, stands as one of his most important early contributions to sacred music and reflects his evolving musical voice during a period of artistic transformation.

The work was commissioned by Prince Nikolaus Esterházy II, a member of the noble Esterházy family that had previously employed Joseph Haydn as court composer. The prince expected Beethoven to produce a Mass suitable for performance on the name day of his wife, continuing a long-standing family tradition. Beethoven approached the project with seriousness and originality, though his bold musical style ultimately surprised—and reportedly displeased—his patron, who found the work unconventional compared to Haydn’s more traditional sacred settings.

Beethoven’s Mass in C follows the traditional structure of the Catholic Mass Ordinary, comprising five principal sections: Kyrie, Gloria, Credo, Sanctus (including Benedictus), and Agnus Dei. Yet within this familiar framework, Beethoven introduces expressive contrasts and dramatic intensity that reflect his symphonic sensibilities.

The opening Kyrie begins with gentle, supplicating phrases that convey humility and reverence. Rather than overwhelming grandeur, Beethoven emphasizes clarity and sincerity, allowing the choir’s plea for mercy to unfold with lyrical simplicity. The music’s graceful contours create an atmosphere of devotion and calm reflection.

In contrast, the Gloria bursts forth with joyful energy. Rapid rhythms and bright orchestral colors express exuberant praise, while shifting dynamics and vivid contrasts keep the music in constant motion. Beethoven’s treatment of text in this movement reveals his dramatic instincts: moments of hushed reverence alternate with powerful declarations, underscoring the emotional range of the liturgical text.

The Credo, the longest section of the Mass, presents the central statements of Christian belief. Beethoven structures the movement as a series of contrasting episodes, each reflecting the meaning of the text. Particularly striking is the music associated with “Et incarnatus est,” which softens into a more contemplative mood, followed by a dramatic surge at “Et resurrexit,” symbolizing resurrection and triumph.

The Sanctus introduces a more mystical atmosphere, preparing for the lyrical Benedictus. Here Beethoven often features solo vocalists in dialogue with the orchestra, creating moments of intimacy within the larger choral framework. The music conveys a sense of awe and wonder, as if suspended between earthly and spiritual realms.

The final Agnus Dei returns to a mood of introspection. The repeated plea for peace, “Dona nobis pacem,” gradually expands into broader, more hopeful statements. Beethoven balances solemnity with quiet optimism, bringing the Mass to a conclusion that feels both reflective and reassuring.

Though initially overshadowed by Beethoven’s later and more monumental Missa Solemnis, the Mass in C Major has gained increasing recognition for its lyrical beauty and emotional directness. It reveals Beethoven at a pivotal moment in his career—bridging Classical traditions inherited from Haydn and Mozart with the expressive intensity that would define his mature works.