"THIS IS ONLY A WORKING TITLE"
Manually typed highly important single page signed letter of correspondence regarding music composition dated "May 16, 1943" from celebrated American modern dance choreographer Martha Graham and iconic musician Aaron Copland, regarding the progress of Graham's seminal choreographic work "Appalachian Spring." This letter appears to have been written from Martha Graham's "66 Fifth Avenue, New York City" home apartment. 1p. 8 1/2 in x 11 in.
"THIS IS ONLY A WORKING TITLE"
Manually typed highly important single page signed letter of correspondence regarding music composition dated "May 16, 1943" from celebrated American modern dance choreographer Martha Graham and iconic musician Aaron Copland, regarding the progress of Graham's seminal choreographic work "Appalachian Spring." This letter appears to have been written from Martha Graham's "66 Fifth Avenue, New York City" home apartment. 1p. 8 1/2 in x 11 in.
Original Title
Martha Graham letter to Aaron Copland, May 16, 1943
"THIS IS ONLY A WORKING TITLE"
Manually typed highly important single page signed letter of correspondence regarding music composition dated "May 16, 1943" from celebrated American modern dance choreographer Martha Graham and iconic musician Aaron Copland, regarding the progress of Graham's seminal choreographic work "Appalachian Spring." This letter appears to have been written from Martha Graham's "66 Fifth Avenue, New York City" home apartment. 1p. 8 1/2 in x 11 in.
"THIS IS ONLY A WORKING TITLE"
Manually typed highly important single page signed letter of correspondence regarding music composition dated "May 16, 1943" from celebrated American modern dance choreographer Martha Graham and iconic musician Aaron Copland, regarding the progress of Graham's seminal choreographic work "Appalachian Spring." This letter appears to have been written from Martha Graham's "66 Fifth Avenue, New York City" home apartment. 1p. 8 1/2 in x 11 in.
68 Fifth Avenue, liew York City.
May 6, 1943,
Dear Asron:
I approech you with fear and trembling on two counts; one is lateness of
this and the other is --- vill you like it at all ani will it something you can
work with.
I heve really ha? « har? time with this , simple as it seems. Even non
it is not quite all here in that there is no timing dorm, But I am so anxious
to get it in the meil tonight thet I will sen? the timeing by enother mil. Any
wey, timing is only an inéioxtion an’ in no way ties you or bin‘s you,
‘Yhen I hearé the Lincoln work I reulized ull over how fortunate I em
to be able to work with you. It is so utterly beautiful. That slow center pert
takes my heart, It 4e so just what it is, American, without eny of the folk
tricks. It gives ue the feeling that I hear it, Of course I do not, I could not
remember a pert of the melotic line but it is in my pulse somewhere,
You know that I rant you to tell me whet you think of this. If you do
not feel it please tell me an’ perhaps the two of us can work out e something.
‘The last part is not clearly viewlized as yet, But I seni it enyway co that you
cen get the quality ami let me know your reactions.
I vonfer if you will object to the use of words? If so yerhaps we
can see what else can be done. I hive wanted to meke it es straight end es real
an? as over all tine as I can. I have used the canvas of Americe without any
historical relationship. I feel that, all perio’s exist for us in eny given instant
Af we think of them, So I have used them here in thet way. I rent it to sey
{ hings to people about themselves, some gooi ani some bec, There are moments
of almost pestoral peace with sinister moments of terror. Sometimes the wall
between is very thin,
As you can see there are many open gaps, such as the little stage
scene. This hus to b: filled in as to characters. It el] is so short uni so tele-
scoped ani yet it must give the cause of the var. I have used the Civil Tar bere.
But the essebtial tragecy behin‘ it is all the same regardless of period. Thet T
hope I can show elong with the sense of personal sacrifice on the pert of the man
ani the courage on the part of the women, ‘her shoulf be love in it sn? sone
hate and noise ani culet and peace ani a steacy feith. Whether it is » religion
does not matter, I heve use? the quotations from the Bi ble because thet is the
poetry of thet type of min’, it is often e 11 the poetry they know. Then, too, it @
ie much the speech of these people. I know sohe tocay who are not essentially re—
ligious but who use the Bible languige. ‘Then I beve also used it as e theatrical
device.
Now I submit it to your bands, Aeron, I hope you are not too engry ct the deley,
And I hope that et least oparts of it will fin? fevor in your sight.
‘ith best wishes to you ené I think for me, too,