Orchestration: 3 flutes (2nd and 3rd = piccolo), 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (bass drum, cymbals, glockenspiel, slapstick, snare drum, triangle, wood block, xylophone), harp, piano, celesta, and string
About this Piece
Aaron Copland's ballet Rodeo is a celebration of the American West and reflects an important image we have of ourselves. The commission for Rodeo came, surprisingly enough, from the classically-oriented Ballet Russe de Monte Carlo, with the music by Copland and the choreography and scenario by Agnes de Mille. The ballet was precedent setting - there were said to be 22 curtain calls at its premiere at the Metropolitan Opera House on October 16, 1942 - and the success of this ballet insured that dance would thrive as an integral part of American musical theater.
The genesis of the scenario is told by Agnes de Mille in her memoir Dance to the Piper. According to de Mille, the idea of doing a ballet for the Ballet Russe, a company with a decidedly 19th-century bent, did not immediately inspire Copland in their first meeting. Nor did Copland inspire her; instead, he laughed out loud at some of her ideas for a scenario. De Mille invited him to "go straight to Hell" - an inauspicious beginning, to say the least. Something in their bantering and frank exchange seemed to work, however, because the very next day he called back to see if she would meet him for tea that afternoon. Ultimately, their collaboration was momentous in American dance history.
The ballet's scenario takes place at Burnt Ranch, where a Cowgirl finds herself competing with visiting city girls for the attention of the local cowboys, especially the Head Wrangler. Hoe-down begins with dynamism and verve, signaling the Cowgirl's rebirth: she has suddenly put aside her cowpoke duds and reappeared as the prettiest girl in the room. Copland borrows two square dance tunes - "Bonyparte" and "McLeod's Reel" - to aid in this romp, a fanciful and uplifting take on the American square dance. We have a typical, stand-up-and-cheer Hollywood Western ending, too, as the girl gets the right guy for her, not the aloof and snooty Head Wrangler at all, but Another Cowboy who has shown her respect, kindness, and honor.
- Composer and writer Dave Kopplin is Assistant Professor of Music at California State Polytechnic University, Pomona.