Describe Copland’s use of musical texture in El Salon Mexico

1. Describe Copland’s use of musical texture in El Salon Mexico El Salon Mexico is a combination of simplicity and complexity. The work is scored (written) for full orchestra and yet the textures that Copland creates are usually quite transparent with the melodic material never being obscured by other parts of the musical texture. This desire for every part of the musical texture to be clearly heard reflects the influence of Classical and Neo Classical styles on Copland’s work, particularly in the music of Stravinsky and his rejection of Romantic characteristics such as thick broken chord and arpeggio accompaniments, dramatic scales and instrumental effects such as tremolandos. When examining the score we can see that the density of the musical texture alternates frequently but that the transparency is always maintained. Two examples of extremely thin texture occurs at figure 2 and figure 19. Interestingly both feature the clarinet as a solo instrument probably because the clarinet is one of the popular instruments in the grand cuban orchestra. At figure 2 the ad lib rubato trumpet line which is answered by the cadenza –like clarinet, whilst at 19 the texture is basically monophonic, with the expressive clarinet line added to by crochets in the violin and cello. At figure 8 the orchestration is still relatively (quite) thin, with only the string family, flutes, clarinets and horns playing. These instruments are clearly divided into three groups. The melody is played by the cello and violin, the winds instruments have sustained chords/ pedal notes and the second violins and violas play rhythmic triads. One of the ways in which Copland achieves his textural simplicity is by giving many instruments the same rhythm as can be seen at figure 37. Whilst this section is scored for full orchestra, there are in fact only two rhythms being used – horns and first violins have triplets whilst all others are punctuating the first and final beats of the bars.

2. It is clear therefore, that texture is an extremely important feature of this work, and examples of a diverse numbers of textures are in evidence. The monophonic clarinet melody at bar 185 contrasting with the homophonic passages at 145 – 155, and 333 – 352. for example. The opening bars are an example of antiphonal texture with the initial statement by the brass answered by an ascending syncopated motif from brass and woodwind. Two more antiphonal exchanges occur at 133 and 173. Complete for homework!