A 20 second sample of "Hoe-Down" demonstrating the main theme of the movement with the horns providing counterpoint to the main string melody. Problems playing this file? See media help. Finally, the "Hoe-Down" opens by vamping the first bar of William H.
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A 20 second sample of "Hoe-Down" demonstrating the main theme of the movement with the horns providing counterpoint to the main string melody. Problems playing this file? See media help. Finally, the "Hoe-Down" opens by vamping the first bar of William H. After a reprisal of the Rodeo theme, the theme proper begins in the strings, as the horns play a simple counterpoint. Copland briefly introduces the Irish theme "Gilderoy" in the clarinet and oboe.
Ballet and its place in the repertoire[ edit ] In what is considered one of the earliest examples of a truly American ballet, Rodeo combines the exuberance of a Broadway musical with the disciplines of classical ballet. Of particular note, the first scene requires men to pantomime riding and roping while dancing solo and dancing in groups not very common for male ballet dancers , and while interacting with an awkward Cowgirl, who seeks their acceptance. The cast dresses in stylized western garb, which makes it all the more difficult to execute many of the moves.
Classical ballet storylines typically involve some boy-meets-girl relationship, or at most a love triangle. But Rodeo forces an American Cowgirl to compete against an army of local girls in a quest to win the attention of the Champion Roper. The pairing and mutual attraction of the men and women in the cast appears fluid, and at times confusing to the rejected Cowgirl. Against this backdrop, the Cowgirl emotes strength, awkwardness, confidence, femininity and vulnerability, while executing rapid-fire footwork and pantomime, which mimics the bronco-busting of the men.
Any comic dancer who plays the Cowgirl must succeed at being a failure, only to emerge triumphant in the end when she finally dons a dress for dance night. Regarding this nuanced role, DeMille said: "She acts like a boy, not to be a boy, but to be liked by the boys. The problem it deals with is perennial: how an American girl, with the odds seemingly all against her, sets out to get herself a man.
As noted above, finding suitable Cowgirls to play this role was a challenge. Lucia Chase recalls that when the Ballet Theater Company had exclusive rights to stage Rodeo, Agnes DeMille urged the employment of "charming and talented comediennes from the Broadway musical stage" for the role.
Agnes DeMille stated in her will that only Sarry was authorized to approve of dancers who could take up the role of the Cowgirl. Of Ms. Cornejo, critic Jerry Hochman wrote, "Cornejo owns the role now". Up to , Rodeo was staged mainly by deMille and Vernon Lusby, for many years one of her most trusted assistants on numerous projects. When illness precluded his ability to continue setting Rodeo in , deMille asked Paul Sutherland, a former principal dancer with American Ballet Theatre, Joffrey Ballet, and Harkness Ballet who had danced leading roles in several of her ballets, to begin staging Rodeo.
With the passing of Agnes deMille in , ownership and all rights to Rodeo passed to her son, Jonathan Prude. For the next several years, several people staged the ballet. In , Prude set up the deMille Committee to oversee her numerous works and assigned sole responsibility for staging Rodeo to Sutherland, including the selection of dancers, rehearsals and stage production.
With the exception of a few companies to whom Agnes deMille had, years before, given the ballet in perpetuity, Sutherland has staged Rodeo over fifty times for dozens of companies and universities throughout the United States and Canada as well as in Antwerp, Belgium, and continues to do so. For a point of comparison, it has been nearly years since the premiere of The Nutcracker , and more than 70 years since the premiere of Rodeo. In popular culture[ edit ].
Rodeo – Hoe-Down by Aaron Copland
Aaron Copland - Rodeo – Hoe-Down