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On today’s date in 1929, a chamber trio by Aaron Copland, Vitebsk, premiered at Town Hall in New York City. Copland said it was based on a Jewish folk tune from a Russian village called Vitebsk that he had once heard used in a play.
Two string players from the famous Belgian Pro Arte Quartet and the great German pianist Walter Gieseking were booked for the premiere. Despite the distinguished performers, the performance came off as something of a slapstick comedy.
According to one of Copland’s friends present that night, the heavy-set cellist accidentally knocked over the violinist’s music stand when he came on stage, and while bending over to retrieve his music knocked over his own stand, strewing music all over the stage. Then, just as he began Copland’s piece, his cello string snapped with a loud, comically timed twang.
Years after the premiere, when Copland visited the Soviet Union, Russian audiences expressed amazement that any American composer would choose to name a piece after Vitebsk, which, rather than a quaint Russian village like the one evoked in the musical Fiddler on the Roof, was in fact a large industrial complex resembling Pittsburgh or Cleveland.
Aaron Copland (1900-1990): Vitebsk; Gregory Ellis, violin; Christopher Marwood, cello; Michael Collins, piano ASV 1081
By American Public Media4.7
176176 ratings
On today’s date in 1929, a chamber trio by Aaron Copland, Vitebsk, premiered at Town Hall in New York City. Copland said it was based on a Jewish folk tune from a Russian village called Vitebsk that he had once heard used in a play.
Two string players from the famous Belgian Pro Arte Quartet and the great German pianist Walter Gieseking were booked for the premiere. Despite the distinguished performers, the performance came off as something of a slapstick comedy.
According to one of Copland’s friends present that night, the heavy-set cellist accidentally knocked over the violinist’s music stand when he came on stage, and while bending over to retrieve his music knocked over his own stand, strewing music all over the stage. Then, just as he began Copland’s piece, his cello string snapped with a loud, comically timed twang.
Years after the premiere, when Copland visited the Soviet Union, Russian audiences expressed amazement that any American composer would choose to name a piece after Vitebsk, which, rather than a quaint Russian village like the one evoked in the musical Fiddler on the Roof, was in fact a large industrial complex resembling Pittsburgh or Cleveland.
Aaron Copland (1900-1990): Vitebsk; Gregory Ellis, violin; Christopher Marwood, cello; Michael Collins, piano ASV 1081

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