Where the Buffalo Philharmonic roams

Conductor JoAnn Falletta describes the creation of her new CD as "great American architecture meets great American music in the sonic splendor of Aaron Copland's tribute to life on the prairie." Last spring, Falletta and the Buffalo Philharmonic made a limited release recording to honor Buffalo's historic landmark, the Darwin D. Martin House, a premier example of architect Frank Lloyd Wright's prairie style. Now, the Naxos label has released that recording nationally. If Wright's style is the heart of the architectural heritage of America, then Copland's style represents the heart of American music.

"Prairie Journal" is Copland's earliest example of music depicting early Western life in America. The opening to this recording is an energetic wake-up call, followed by a gentle sunrise coaxed above the prairie by the wind instruments. There's a sense of wistful nostalgia as the ranch hands saddle up to ride the range.

In this composition, from 1937, we can already hear the short, lively chords Copland would later use in the ballet "Rodeo." Copland originally used the title "Music for Radio" because the Columbia Broadcasting System commissioned the piece for its broadcast orchestra. CBS asked several composers to take part in its first American composer commission series. Copland got a last-minute invitation, standing in for George Gershwin after Gershwin refused.

Copland's "Rodeo" has been recorded by many orchestras and conductors. In this performance, Falletta goes for the sparkle she learned from her mentor, Leonard Bernstein. In this Western version of "My Fair Lady," we hear how a tomboyish cowgirl becomes a beautiful young woman. In "Saturday Night Waltz," featuring a variation on the tune, "I Ride an Old Paint," the awkward girl earns a place on the dance floor after donning a new dress. We hear her elegant transformation in the music, depicted by a contemplative melody and enhanced by the quiet chirping of the flutes.

Like Bernstein, Falletta delivers a relaxed but rhythmically accurate interpretation of these dance episodes, giving the music a chance to swing. That swing is crucial to the enthusiasm needed for the outside movements. The middle two movements have a different character and energy--of poetry and grace.

Copland dabbled a little in film scores, and a suite from one of his best is included here. "The Red Pony" is a coming-of-age story by John Steinbeck. Copland depicts it beautifully through his heartfelt music. The second movement, titled "The Gift," is my favorite. Here, the young boy Jody meets the red pony for the first time. As the flutes flutter and the strings swell, we can hear the boy bursting with excitement and pride about his new gift.

Aaron Copland had a gift for expressing the charm and the excitement of the spacious landscape of the American prairie. JoAnn Falletta and the Buffalo Philharmonic Orchestra unwrap that gift with a sense of discovery that reveals the music's elusive spirit and architectural beauty.

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