COPLAND, AARON. (1900-1990). American pianist and composer of such 20th-century masterpieces as the ballets Billy the Kid, Rodeo, and Appalachian Spring. TLS. (“Aaron Copland”). 1p. 4to. Palisades, April 23, 1949. On his personal stationery. To Cuban pianist and composer HAROLD GRAMATGES (1918-2008), a pupil of Copland and Koussevitzky.

“On the evening of May 10 the League of Composers is giving a big testimonial dinner in honor of Dr. Koussevitzky on the occasion of his twenty-fifth anniversary with the Boston Symphony. As part of the evenings [sic.] entertainment we wish to point out the conductor’s original connection with his fame as a double-bass player. I thought up the idea of inviting Orestes Urfé to come from Havana and perform one of Dr. Koussevitzky’s own compositions that evening. Urfé made the delightful suggestion that you should be asked to accompany him at the piano. It’s an excellent idea!

Please let me know as soon as you can if you agree to do it so that we can send you your ticket to the dinner. Urfé writes me he will be here around the 3rd or 4th of May and I assume he knows where you live. If not, write him please (Salud #617, Apt. 3). Greetings…”

Trained in Paris, Copland was the first American to study with noted French composer, Nadia Boulanger, and was also strongly influenced by the Russian-born American composer Igor Stravinsky. However, Copland’s compositions are distinctly American in theme and flavor and it is for this that he is revered.

From 1924, when he became conductor of the Boston Symphony Orchestra, until his death nearly thirty years later, Russian-born, American conductor Serge Koussevitzky (1874-1951) exerted an enormous influence on the American musical scene. A champion of such important composers as Barber, Copland, and Piston, he also founded the now-acclaimed Tanglewood Festival in Massachusetts as well as the Berkshire Music Center and the Koussevitzky Music Foundation, to commission new works from composers worldwide. His dramatic and unorthodox style contributed to a greater popular appreciation of “serious” composition.

In 1940, Koussevitzky invited Copland to teach composition at Tanglewood and Copland remained deeply involved with Tanglewood where his ashes were scattered after his death.

Our letter regards a May 10, 1949 dinner and concert at New York City’s Waldorf-Astoria marking Koussevitzky’s 25 years as conductor of the Boston Symphony Orchestra. American composer William Schuman, whose works Koussevitzky championed, “lauded Koussevitzky for making ‘a composer not only the subject of his particular care in both artistic and economic sense, but also [for making] this care the center of his life’ (“Tribute to Koussevitzky: Speech at the Koussevitzky Anniversary Dinner” typescript, KA-LC). Then he presented the honoree with a large album of autographs by American composers, most of whom were present at the event,” (“Chronicle of a Non-Friendship: Letters of Stravinsky and Koussevitzky,” The Musical Quarterly, Yuzefovich and Kostalevsky).

Orestes Urfé (1922-1990) was a noted double bass player from Cuba who received a two-year scholarship in 1947 to study at the Berkshire Music Center under George Moleux and Koussevitzky. As Copland writes, Urfé performed at the Waldorf Astoria event.

Folded with two barely visible staple holes in the upper left corner, otherwise in very fine condition.