Editing Aaron Copland (section)

== Personal life ==
Copland never enrolled as a member of any political party. Nevertheless, he inherited a considerable interest in civic and world events from his father.{{sfn|Pollack|1999|pp=270–71}} His views were generally progressive and he had strong ties with numerous colleagues and friends in the Popular Front, including [[Clifford Odets]].{{sfn|Smith|1953|p=60}} Early in his life, Copland developed, in Pollack's words, "a deep admiration for the works of Frank Norris, Theodore Dreiser and [[Upton Sinclair]], all socialists whose novels passionately excoriated capitalism's physical and emotional toll on the average man."{{sfn|Pollack|1999|p=272}} Even after the McCarthy hearings, he remained a committed opponent of militarism and the Cold War, which he regarded as having been instigated by the United States.{{sfn|Pollack|1999|pp=280, 283–84}} He condemned it as "almost worse for art than the real thing." Throw the artist "into a mood of suspicion, ill-will, and dread that typifies the cold war attitude and he'll create nothing".{{sfn|Pollack|1999|pp=284–85}}

While Copland had various encounters with organized religious thought, which influenced some of his early compositions, he remained agnostic.{{sfn|Pollack|1999|pp=28, 328}} He was close with [[Zionism]] during the Popular Front movement, when it was endorsed by the left. Pollack writes:{{sfn|Pollack|1999|pp=27–28}}
<blockquote>
Like many contemporaries, Copland regarded Judaism alternately in terms of religion, culture, and race; but he showed relatively little involvement in any aspect of his Jewish heritage. At the same time, he had ties to Christianity, identifying with such profoundly Christian writers as [[Gerard Manley Hopkins]] and often spending Christmas Day at home with a special dinner with close friends. In general, his music seemed to evoke Protestant hymns as often as it did Jewish chant. Copland characteristically found connections among various religious traditions. But if Copland was discreet about his Jewish background, he never hid it, either.
</blockquote>

[[File:Victor Kraft, 1935.jpg|thumb|upright|Victor Kraft, 1935]]

Pollack states that Copland was gay and that the composer came to an early acceptance and understanding of his sexuality.{{sfn|Pollack|1999|p=234}} Like many at that time, Copland guarded his privacy, especially in regard to his homosexuality. He provided few written details about his private life, and even after the [[Stonewall riots]] of 1969, showed no inclination to "come out."{{sfn|Pollack|1999|p=236}} However, he was one of the few composers of his stature to live openly and travel with his intimates.{{sfn|Pollack|1999|p=238}} They tended to be talented, younger men involved in the arts, and the age-gap between them and the composer widened as he grew older.{{sfn|Pollack|1999|p=235}} Most became enduring friends after a few years and, in Pollack's words, "remained a primary source of companionship."{{sfn|Pollack|1999|p=236}} Among Copland's love affairs were ones with photographer [[Victor Kraft (photographer)|Victor Kraft]], artist Alvin Ross, pianist Paul Moor, dancer Erik Johns, composer John Brodbin Kennedy,<ref>[[Robert Aldrich (historian)|Robert Aldrich]] and Garry Wotherspoon, ''Who's Who in Gay and Lesbian History'', London, 2000 {{ISBN|9780415253703}} {{page needed|date=January 2022}}</ref> and painter [[Prentiss Taylor]].<ref>{{cite web |url=http://www.smithsonianmag.com/smithsonian-institution/archives-of-american-arts-new-show-reveals-stories-of-gay-america-1951430/?no-ist |title=Archives of American Art's New Show Reveals Stories of Gay America }}</ref><ref>{{cite book|first=Aaron|last=Copland|title=The Selected Correspondence of Aaron Copland|pages=69–72|editor1=Elizabeth Bergman Crist|editor2=Wayne D. Shirley|publisher=Yale University Press|year=2006|isbn=9780300111217}}</ref>

Victor Kraft became a constant in Copland's life, though their romance might have ended by 1944.{{sfn|Pollack|1999|p=241}} Originally a violin prodigy when the composer met him in 1932, Kraft gave up music to pursue a career in photography, in part due to Copland's urging.{{sfn|Pollack|1999|pp=239–40}} Kraft would leave and re-enter Copland's life, often bringing much stress with him as his behavior became increasingly erratic, sometimes confrontational.{{sfn|Pollack|1999|pp=243–44}} Kraft fathered a child to whom Copland later provided financial security, through a bequest from his estate.{{sfn|Pollack|1999|p=244}}