COPLAND CONDUCTS COPLAND - Appalachian Spring (VINYL LP + PROMO 7" EP, 1974)

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COPLAND CONDUCTS COPLAND - Appalachian Spring (VINYL LP + PROMO 7" EP, 1974) **NEW**
In 1973, Aaron Copland conducted the Columbia Chamber Orchestra in a recording of his ballet *Appalachian Spring*, specifically the complete original version scored for a 13-instrument ensemble. This recording, released by Columbia Records under the Columbia Masterworks label (catalog number M 32736), marked the first recording of the ballet in its initial chamber form, as it was composed for Martha Graham’s dance company and premiered in 1944. 
Alongside the main LP release, Columbia Records included a promotional package featuring a 7" EP that captured rehearsal excerpts, offering a rare glimpse into Copland’s interpretive process as both composer and conductor. The rehearsal EP included Copland working directly with the musicians of the Columbia Chamber Orchestra. 
These sessions were recorded in May 1973 at Columbia’s 30th Street Studios in New York, with production overseen by Andrew Kazdin and engineering by Milton Cherin, Stan Tonkel, and Ray Moore. The ensemble featured notable musicians such as Paul Jacobs on piano, Ani Kavafian and Herbert Sorkin on violin, Harold Bennett on flute, Charles Russo on clarinet, and Loren Glickman on bassoon, among others, reflecting the intimate 13-instrument configuration of the original ballet score. 
The rehearsal excerpts provide insight into Copland’s meticulous approach to his music. Known for his clarity and precision as a conductor, Copland can be heard guiding the players to capture the work’s essence without over-sentimentalizing it. For instance, in a well-documented comment from a rehearsal (noted in broader discussions of his conducting style), he once cautioned players against making the music “too much on the Massenet-side,” urging a balance of warmth and simplicity that aligns with the ballet’s pastoral and American folk-inspired character. 
The EP was not just a novelty but a valuable companion to the main recording, emphasizing Copland’s intent to preserve the ballet’s original intimacy and rhythmic vitality, distinct from the more familiar orchestral suite version he arranged in 1945. Listener reviews from the time praise the rehearsal disc for its “intimate feel” and for showcasing Copland’s direct engagement with the score, bringing out its “emotional essence” in a way that feels “pure and direct.” Its significance lies in offering an authentic window into Copland’s conducting style—described by critics as warm, profound, and rhythmically precise—and his hands-on effort to realize the ballet’s pioneer spirit as he originally envisioned it for Martha Graham’s choreography. This recording, including the rehearsal EP, remains a cherished artifact for enthusiasts of Copland’s work, especially given its historical status as his definitive take on the chamber version of *Appalachian Spring*.
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