That late period is pretty interesting, and yes, several works from the 1950s onwards (although certainly not all) employ serial techniques, including the Nonet, Inscape, Connotations, and IIRC the late ballet, Dance Panels. Very interesting to contrast AC's serialism - or rather his incorporation of serialism within his expressive language - with that of Stravinsky, of course, dating from much the same. And also interesting to note in passing that, his poor health for the last 15 years of his life notwithstanding, AC practically gave up composing at all from about 1973 or so: in other words, his remaining years after Stravinsky's death.

Thanks Ron. I should have checked before posting but I was in a bit of a rush! That does explain why I don't have that set - I must have looked at it several times in shops and considered it, but of course what I'd really have liked was a recording of those late pieces I didn't know. (I actually know the Short Symphony quite well, or did at one time - it was one of my set works for 2nd-year analysis at university.)

Now I've heard Connotations I'm actually slightly less desperate to hear Inscape than I once might have been, but I'll come back to that point later (it relates to the point Alistair and others have made about there only being one or two really 'essential' Copland works - but one or two is more than none!).

Here's another little tidbit I've just come across on the Stravinsky/Copland connection.

"On 14 July 1966 Stravinsky flew to New York for a festival of his music organised by Lukas Foss. On the 15th he attended a concert of his Ragtime, choreographed by Balanchine, and of Histoire du Soldat, with Elliott Carter as the Soldier, Aaron Copland as the Narrator and John Cage as the Devil."

I was hoping it might go on to say "Morton Feldman danced the role of the Princess". But it doesn't. 

I'd sell my right buttock into slavery to have been there for that one.

I took it to mean the Buttock Dexter which, as in Heraldry (having just checked this with Rouge Dragon Extraordinary of the Royal College of Arms) is the one on the right of the Bearer or, equivalently, on the right of anyone standing immediately behind you.

As the result of a cruel hoax involving members of the Portsmouth Sinfonia and three actors wearing Carter, Copland and Cage masks, Martle's Buttock Dexter was last seen hoovering and dead-heading roses in NW3.

Quite by chance, Connotations came up on the Burnside Programme today, but because it wasn't announced, I didn't record it (they don't post a playlist in advance, and I never listen to the programme anyway, but I'd been doing some editing and I could hear something interesting leaking through the other cans which were connected to the tuner, so I popped them on, unaware of what it was). I think I'd only heard the piece once before may be thirty years ago, and I didn't recognise it, so I was playing guessing games: there were unmistakable signs of Stravinsky influence; particuarly two wind chords which sounded suspiciously like a straight steal: it certainly didn't sound anything like earlier Copland; I was starting to pin it down as central European, late 50's, early 60's in a vaguely Panufnik or Lutoslawski meet Henze with the odd bar of Igor sort of way. I was amazed when they back announced it. If I'd known I would have recorded it, but presumably it will be on Listen Again for those who can bear it.

Thanks to the generosity of another member I now have access to Inscape as well; it's on the listening list for tomorrow. Many thanks to the kind and considerate man who made this possible.

(A second happy ending: whilst typing this I decided to have another go at ebay to see if I could find a copy of the double CD album with his later music which has proved so elusive: this time I struck lucky: there's one on its way from Italy at a decentish price, which no doubt means that Sony-CBS will reissue everything for pennies next month.

Contents:

Disc: 1     
1. The Red Pony, Film Suite For Orchestra (1948): I. Morning On The Ranch   
2. The Red Pony, Film Suite For Orchestra (1948): II. The Gift     
3. The Red Pony, Film Suite For Orchestra (1948): III. Dream March And Circus Music     
4. The Red Pony, Film Suite For Orchestra (1948): IV. Walk To The Bunkhouse   
5. The Red Pony, Film Suite For Orchestra (1948): V. Grandfather's Story   
6. The Red Pony, Film Suite For Orchestra (1948): VI. Happy Ending
7. Preamble For A Solemn Occasion (1949): Preamble For A Solemn Occasion   
8. Orchestral Variations (1957): Theme: Grave 
9. Orchestral Variations (1957): Variation I - Varation XX
10. Orchestral Variations (1957): Coda: Subito lento moderato 
 
Disc: 2     
1. Connotations (1961-1962) For Orchestra
2. Down A Country Lane (1962) 
3. Music For A Great City (1963-1964): I. Skyline 
4. Music For A Great City (1963-1964): II. Night Thoughts 
5. Music For A Great City (1963-1964): III. Subway Jam 
6. Music For A Great City (1963-1964): IV. Toward The Bridge
7. Inscape (1967) 
8. Three Latin-American Sketches: 1. Estribillo (1971) 
9. Three Latin-American Sketches: 2. Paisaje Mexicano (1959)
10. Three Latin-American Sketches: 3. Danza de Jalisco (1959))