The Westerville Symphony at Otterbein University is proud to announce a special on-demand virtual concert of Appalachian Spring by renowned American composer Aaron Copland.
The recording of the 13-instrument concert is available for free on-demand screening on the symphony’s website www.westervillesymphony.org through March 6.
Videographer Eric Van Wagner captured the symphony’s performance of the piece under the direction of Maestro Peter Stafford Wilson in January at Westerville’s picturesque Everal Barn.
The 25-minute performance premiered the weekend of the 20th at a virtual gala and is the first of Westerville Symphony’s concerts to be available for streaming past its original viewing date.
This American masterpiece was written in Copland’s deliberately accessible “vernacular” style and orchestrated for a small chamber ensemble of 13 musicians. It was originally commissioned by choreographer and dancer Martha Graham, and it premiered in Washington, D.C. at the Library of Congress on Oct. 30, 1940.
The title of the piece is derived from the poem The Dance by American modernist Hart Crane.
Although most modern orchestras and symphonies perform the Appalachian Spring suite, Copland’s extended version of the piece, the Westerville Symphony at Otterbein performed it in its original small ensemble form.
To prepare for the performance, the symphony had four rehearsals with reduced time to limit COVID-19 exposure. Up until this performance, the musicians had not played together in person for a year.
“There was a real excitement and energy and passion that was brought to that performance by the musicians because they were back together again in a live setting,” says Maestro Peter Stafford Wilson.
During the pandemic, Westerville Symphony has been experimenting with different virtual formats. This has expanded its audience as more people watch concerts they wouldn’t be able to view otherwise. That includes viewers from near and far – one couple reported that they watch from Seattle.
Despite a worldwide sense of loss with COVID-19, Wilson refuses to be pessimistic. Along with a larger audience, the symphony has also added deeper meaning to its work.
“[The pandemic] brought a depth and a sincerity to the music that might not have been there,” Wilson says. “Everything has changed. We will bring to music a different meaning and a different commitment because of what we’ve been through the last year or so. I’m excited about that.”
Sarah Grace Smith is an editorial assistant. Feedback welcome at feedback@cityscenemediagroup.com.
