It is a longstanding tradition in the broad genre we label as \u201cclassical music\u201d that composers take relatively simple regional folk songs and use them to create considerably more complex and stirring compositions that are many times very popular, in part, because they work upon a familiar, recognizable theme.<\/p>\n
This was true for Chopin\u2019s mazurkas and Liszt\u2019s Hungarian Rhapsodies, based on rural verbunkos and, it\u2019s a tradition that was brought to the Americas, most famously in Aaron Copland\u2019s \u201cAppalachian Spring\u201d\u2014particularly the Shaker-inspired \u201cSimple Gifts.\u201d \u201cAppalachian Spring\u201d is featured in Long Beach Symphony\u2019s \u201cThe Americas\u201d program which spotlights melodies from the United States and Mexico reimagined by 20th Century composers.<\/p>\n
The program opens with Copland\u2019s \u201cEl Salon Mexico,\u201d a rhythmic work named written in three styles: music typically favored by the upper class, a more vigorously patterned working class music and foot stomping music of the peasantry.<\/p>\n
Arturo M\u00e1rquez captures the essence of his native Mexico in Concerto for Harp, \u201cM\u00e1scaras,\u201d featuring renowned harpist Ina Zdorovetch whose talents are so exceptional and wide-ranging that she\u2019s known as both a \u201charp whisperer\u201d and \u201cmonster player.\u201d<\/p>\n
Carlos Ch\u00e1vez\u2019s Symphony No. 2, \u201cSinfon\u00eda india\u201d consists of three melodies originating from native-American tribes of northern Mexico.<\/p>\n
The evening concludes with \u201cAppalachian Spring\u201d which you may not think you know but, believe us, you know:<\/p>\n