2014-2015 Young People’s Concert Series Presents
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MAY 5, 6 &&& 7, 2015, 9:45 AM &&& 11:10 AM H-E-B Performance Hall at the Tobin Center for the Performing Arts
2014-2015 Young People’s Concert Series
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The Tenderfoot, painting by Charles M. Russell
When Germany invaded France during World War II, the French ballet company Ballet Russe de
Monte Carlo moved their operations to the United States. In New York,
they contracted a young dance choreographer named Agnes de Mille
to create a new ballet production that they could tour with. She had
the idea to create a ballet about a rodeo, which she described as
follows:
Throughout the American Southwest, the Saturday afternoon rodeo is a tradition. On the remote ranches, as well as in the trading centers and the towns, the ‘hands’ get together to show off their skill in roping, riding, branding and throwing. Often, on the more isolated ranches, the rodeo is done for an audience that consists only of a handful of fellow-workers, women-folk, and those nearest neighbors who can make the eighty or so mile run-over. The afternoon’s exhibition is usually followed by a Saturday night dance at the Ranch House.
Having seen the success of his previous ballet, Billy the Kid, De Mille asked composer Aaron
Copland in 1942 to write
the music for her new
“rodeo ballet.” Copland
wasn’t sure at first about
composing “another
cowboy ballet” so soon,
but De Mille convinced him
that it would be different
enough from Billy the Kid
to be worth his while.
Their collaboration, simply
called Rodeo, loosely
follows the story of a
young Cowgirl at “Burnt
Ranch” who tries to earn
the respect and attention of local cowboys. The ballet had its first performance at the
What is a rodeo?The English word rodeo comes from the Spanish word rodeo [ro – THEY –oh], which roughly translates as “round‐up.” Modern rodeos are public spectacles in which people compete in events like horse and bull riding, steer wrestling and calf roping.
WHAT IS A BUCKAROO? The word buckaroo in English most
probably comes from the Spanish word
vaquero, which literally means cow‐
handler or cowboy (vaca = cow). The
word originated in Spain among
livestock herders. In the 16th century,
the Spanish brought horses and their
cattle‐raising traditions to America.
New traditions of horse mastery and
cattle herding developed in Mexico and
the United States, spreading as far as
Argentina and Canada. American
buckaroos in the 19th century were
known for their long and difficult cattle
drives through the open country,
especially from Texas to Kansas. One
important trail for cattle drives, the Old
Chisholm trail, started in San Antonio!
Metropolitan Opera House in New York City on October 16, 1942. De Mille played a lead role
as the Cowgirl in the ballet’s premiere, and the applause at the end of the performance lasted
long enough for her to be called back to take a bow 22 times! While Ballet Russe took Rodeo
on a successful tour of the U.S., Copland arranged the music into an orchestral suite titled Four
Dance Episodes from Rodeo. The four “Dance Episode” movements are “Buckaroo Holiday,”
“Corral Nocturne,” “Saturday Night Waltz,” and “Hoe‐Down.” At the Young People’s Concerts
in May 2015, the San Antonio Symphony will perform two of these movements: “Buckaroo
Holiday” and “Hoe‐Down.” Let’s explore them below.
BUCKAROO HOLIDAY
The first scene of the ballet takes place in a corral on the ranch where a number of cowboys are
hanging out and later, practicing their art. Among the men
is a young Cowgirl who tries to earn the approval of the
men, particularly the Head Wrangler. Copland gives
“Buckaroo Holiday” a tempo marking of “Allegro con
spirito” (“fast and lively with spirit”). The movement begins
in cut time with a descending scale‐like motive in the strings
and woodwinds. The brass then answer with a set of
energetic chords in a jumpy, syncopated rhythm [YPC 3
playlist, track 9]. A slower, “Meno mosso” (“Less motion”)
section [0:45] opening with flutes and horns marks the place
in the music where the curtain first opens to the corral
scene. A number of cowboy “buckaroos” and a Cowgirl are
standing around idly observing the sunset. The buckaroos
begin to walk away, followed by the Cowgirl. Twice they
turn around to stare at her as if she’s not invited, to which
the Cowgirl backs away [1:20]. Here Copland uses different
groups of instruments to represent the cowboys and the
Cowgirl: brass for the cowboys and woodwind instruments
for the Cowgirl. Left alone in the corral, the Cowgirl makes
motions as if to mount a wild horse – a bronco – which she begins to ride around the corral
[1:41]. The ride is bumpy one, illustrated by Copland with offbeat cymbal crashes and
woodblock, and by jumping motives in the clarinet and flute.
Suddenly the buckaroos return thunderously to the tune of an old railroad work song called “Sis
Joe.” Apparently on horseback now, they are accompanied by the whole orchestra [2:16].
Loud cracks from the buckaroos whips are played by rim‐shots of the snare drum, followed by
slapstick and bass drum. The rodeo theme from the opening returns with its scale‐like motive
cello and double bass [7:11].
and syncopated responses from the brass [2:30]. The men show off their various cowboy skills
but suddenly stop as the orchestra cuts to just bassoon and horns [3:13]. Seeing her
opportunity, the Cowgirl sidles up to the Head Wrangler and tries to get his attention, but she is
interrupted by the entrance of a group of girls in dresses. The girls’ entrance is accompanied by
the tune to a real cowboy song: “If He’d Be a Buckaroo,” played by a solo trombone [3:29].
A solo trumpet takes over the “Buckaroo” melody as one of the cowboys, the Champion Roper,
shows off for the girls [3:56]. Soon all of the cowboys join in the dance as the theme passes to
piccolo, oboe and bassoon [4:22]. Suddenly the whole orchestra explodes with a three‐part
canon on the “Buckaroo” melody as the wranglers continue their rough‐rider dance, now joined
by the Cowgirl [5:01]. The first canon voice is played by the flutes, horns and strings; next the
bass clarinet, bassoon and trombone enter, followed by oboes, clarinets in trumpets. Each
entrance of the canon is only a half note or half bar apart. The cowboys stop dancing as the
canon dies away, but the Cowgirl continues until the girls approach and make fun of her. This
happens as a sadder theme takes over in the violins and clarinet [5:18].
The Cowgirl’s pride isn’t wounded for long – soon she is back on her horse, gallivanting among
the men as the horns, trumpet and strings play a jaunty theme [5:52]. This leads to a recap of
the rodeo scale theme from the beginning of the movement [6:14] and another rendition of
“Sis Joe” [6:27]. The male buckaroos become increasingly annoyed with the Cowgirl’s attempts
to fit in with them, and in a
grand pause for the whole
orchestra – a moment of
silence – the Head Wrangler
gestures for her to leave the
corral [7:06]. In a powerful
final dance, Copland brings
both the “Sis Joe” and “If He’d
Be a Buckaroo” song melodies
together, with “Sis Joe” played
by the lower instruments: bass
clarinet, bassoon, trombone,
solo (with humor)
“Buckaroo”
“Sis Joe”
HOE-DOWN
“Hoe‐Down” is the last section of the Rodeo ballet and the last movement of Copland’s Four
Dance Episodes from Rodeo. A hoedown is a type of American folk dance or square dance in a
fast duple meter. Hoedown music was popularized by the American tradition of fiddle playing.
In fact, Copland’s “Hoe‐down” movement opens with the full orchestra railing away to a fiddle
tune called “Bonyparte” or “Bonaparte’s Retreat,” [YPC 3 playlist, track 10]. Some may
recognize this music from the TV commercial: “Beef. It’s What’s For Dinner.”
Having had no luck in catching the Head Wrangler’s attention in the previous dance episodes,
the Cowgirl at this point in the ballet has ditched her cowgirl getup in favor of putting on a
dress and a bow in her hair. Her new appearance inspires the Champion Roper to challenge her
to dance the hoedown, and they are joined in the square dance by the other ranch house
guests. The dance is tireless, and the music bursts at the seams with energy. Copland supports
the melody by giving it a certain backbone on the important notes with the hollow sound of the
xylophone [0:36].
The dance transitions into another borrowed fiddler’s tune called “Miss McLeod’s Reel,”
although Copland has cut out some notes, leaving halted spaces in the melody [1:31].
A short interlude led by the oboe, clarinet and solo violin might be reminiscent of another folk
tune called “Gilderoy” [1:39]. Copland may have loosely adapted yet another tune according to
some sources: “Tip Toe, Pretty Betty Martin.” Later, the music begins to slow to a halt with a
descending trombone line [2:22]. This marks the moment in the ballet where the Head
Wrangler finally takes notice of the Cowgirl and waltzes over to give her a kiss. Triumphant, the
Cowgirl resumes the dance [2:40], which leads a breathless finish.
Today, with its unique combination of American folk music, jazz influences, cinematic sounds
and older European styles, Copland’s music for Rodeo is considered to be one of the great
works of American classical music.