A Fanfare For A Fanfare

If you’ve ever tuned into 90.9 on a Friday evening, you know I’m a BIG fan of Pops music. With that in mind, I wanted to take a look at a piece of music that epitomizes “Pops”: Aaron Copland’s Fanfare for the Common Man.

Eugene Goossens, conductor of the Cincinnati Symphony Orchestra, wrote to Aaron Copland about an idea he wanted to put into action for the 1942–43 concert season. During World War I he had asked British composers for a fanfare to begin each orchestral concert. It was received by the audiences in England with so much enthusiasm that he wanted to repeat the procedure in World War II, with American music.

Yes. You read that correctly. The idea for this famous piece started right here in Cincinnati.

Vice President Henry A. Wallace proclaimed in a famous 1942 speech that this was the dawning of the "Century of the Common Man" and with that phrase, Copland had his inspiration.

Since it’s premiere (in Cincinnati) in March of 1943, it’s become more popular than Goosens or Copland could have ever imagined. From popular music (Emerson, Lake and Palmer anyone?), to sporting events, to movies, even at NHL hockey games, this piece’s ability to inspire is endless.

In my mind, the most fitting use was on September 21, 2012, when it was played at Los Angeles International Airport as the Space Shuttle Endeavour touched down after its final flight. I can’t think of another piece of music that encompasses the triumph of space flight and the Space Shuttle program.

A fanfare is a piece of music usually introducing an event or another piece of music but Fanfare for the Common Man has the strength and grace to stand alone.

The next time you’re searching for some inspiration, sit back and play it. (and don’t be afraid to crank up the volume)

- Andy Ellis

You can learn more about Aaron Copland and fanfares at classicsforkids.com.

Meet Stephen Baum

As WGUC's Recording/Master Engineer, Stephen Baum experiences first-hand every Cincinnati Symphony Orchestra and May Festival concert, Cincinnati Opera performance and many other local performances.

This weekend, we listen to his work with the final broadcast in WGUC's Cincinnati Symphony Orchestra concert series. And, you have been hearing Stephen talk with local arts leaders about their current and future activities in WGUC's weekday feature, Cincinnati Spotlight Intermission.

Music Director Jessica Lorey met him in the studio to learn more about the work he does, his career and his life outside the studio.

One Minute; One Instrument - Every Note Counts: Elaine Diehl's Conversation with Peter Boyer

Each day at the conclusion of his Coronavirus briefing, Gov. Mike DeWine shares music or poetry from the Buckeye State to provide inspiration and hope, and to end on an upbeat note. Earlier this month the Governor shared Aaron Copland’s Fanfare for the Common Man performed by the Cincinnati Symphony Orchestra, who commissioned the piece in 1942.

The CSO and POPS are carrying on the tradition, commissioning new music from over a dozen composers with the aim: To inspire and uplift, and to help us make sense of this moment in our shared history through the universal language of music. One of the composers they invited to participate is Peter Boyer. 

I began our conversation by asking Mr. Boyer, where was he when the pandemic shut everything down? 

I then asked him to explain exactly what the CSO Fanfare Project is, and how he came to be involved:



He talked about the process of rehearsing and recording cross country with CSO:



The Fanfares were restricted to 60 seconds in Length. I asked the Composer how difficult that made the process:



Then I asked him about his choice of instrument:



Since I had Peter Boyer on the phone, I took the opportunity to ask him about the piece that introduced me to his music, the gorgeous, Rolling River: Sketches on Shenandoah: 



He went on to talk about writing on American Themes and being inspired by this country:



I ended our interview with the question… what’s next for Peter Boyer?



Maestro LOUIS Langree said, about The Fanfare Project, "I can’t imagine a better way to continue our anniversary celebration than using Aaron Copland’s iconic masterpiece to inspire today’s composers to write new work that helps us reflect on this time and to unite around music at a time when we cannot be together in person.” 

My guest has been Peter Boyer, who contributed his piece, Fanfare for Tomorrow to the Project.