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He continues to say that what he wrote, and what he knew he was writing, was a portrayal of the "visible" Mexico, to some extent the touristy Mexico.
He chose dance as the vehicle for his musical portrayal. I remember reading about it for the first time in a tourist guide book: "Harlem-type nightclub for the peepul [ sic in the original ], grand Cuban orchestra. Three halls: one for people dressed in your way, one for people dressed in overalls but shod, and one for the barefoot.
There was one entrance, but three doors off of it, where patrons sorted themselves by what kind of music and dances they wanted. It closed in The music[ edit ] The work contains three musical styles and goes through the series of three twice, starting each time with the upper-class music, passing through a more vigorous working-class music, and ending with the foot-stomping dance of the peasantry.
Divisions between the sections are clear, as if one had walked through a doorway. The upper-class music suggests formal European dancing of the nineteenth century, unlyrical and even unmasculine. The peasant music is far richer rhythmically and more powerful, with a suggestion of the pre-Hispanic Indian in it. History of the work[ edit ] Copland began the work in and completed it in The piece was premiered in the U. Although Copland visited Mexico early in the s, he based this tone poem not on songs he heard there, but rather on written sheet music for at least four Mexican folk songs that he had obtained: "El palo verde," "La Jesusita," "El mosco," and "El malacate.
At least three arrangements of the piece exist in addition to the orchestral score. Leonard Bernstein created arrangements for solo piano and for two pianos, four-hands very shortly after the premiere. In addition, a piano transcription of the score was made by conductor Arturo Toscanini in , when the Maestro included the music on an NBC broadcast concert.
Arturo Toscanini and the NBC Symphony Orchestra performed the music in a broadcast concert on March 14, , which was preserved on transcription discs; according to biographer Mortimer Frank, Copland praised the performance in a radio interview. Serge Koussevitsky, Boston Symphony Orch.
COPLAND EL SALON MEXICO SCORE PDF