Ernest Farrar, "English Pastoral Impressions", Op. 26: A transcription for wind orchestra

Transcription

1 UNLV Theses, Dissertations, Proessional Paers, and Castones 2009 Ernest Farrar, "English Pastoral Imressions", O. 26: A transcrition or wind orchestra William Wallace Woodworth IV University o Nevada Las Vegas Follow this and additional works at: htts://digitalscholarshi.unlv.edu/thesesdissertations Part o the Music Commons Reository Citation Woodworth, William Wallace IV, "Ernest Farrar, "English Pastoral Imressions", O. 26: A transcrition or wind orchestra" (2009). UNLV Theses, Dissertations, Proessional Paers, and Castones htts://digitalscholarshi.unlv.edu/thesesdissertations/176 This Dissertation is brought to you or ree and oen access by Digital Scholarshi@UNLV. It has been acceted or inclusion in UNLV Theses, Dissertations, Proessional Paers, and Castones by an authorized administrator o Digital Scholarshi@UNLV. For more inormation, lease contact digitalscholarshi@unlv.edu.

2 ERNEST FARRAR, ENGLISH PASTORAL IMPRESSIONS, O. 26: A TRANSCRIPTION FOR WIND ORCHESTRA By William Wallace Woodworth IV Bachelor o Arts, Music Education University o Wyoming 2001 Master o Music University o Nevada, Las Vegas 2005 A doctoral document submitted in artial ulillment o the requirements or the Doctor o Musical Arts Degree Deartment o Music College o Fine Arts Graduate College University o Nevada, Las Vegas December 2009

3 Coyright by William Wallace Woodworth IV, 2010 All Rights Reserved

4 THE GRADUATE COLLEGE We recommend that the dissertation reared under our suervision by William Wallace Woodworth IV entitled Ernest Farrar, English Pastoral Imressions, O. 26: A Transcrition or Wind Orchestra be acceted in artial ulillment o the requirements or the degree o Doctor o Musical Arts Perormance Thomas G. Leslie, Committee Chair Dean Gronemeier, Committee Member Anthony LaBounty, Committee Member Takayoshi Suzuki, Committee Member Jerey Koe, Graduate Faculty Reresentative Ronald Smith, Ph. D., Vice President or Research and Graduate Studies and Dean o the Graduate College December 2009 ii

5 ABSTRACT Ernest Farrar, English Pastoral Imressions, O. 26: A Transcrition or Wind Orchestra By William Wallace Woodworth IV Thomas G. Leslie, Examination Committee Chair Proessor o Music University o Nevada, Las Vegas This document contains a transcrition o Ernest Farrar s English Pastoral Imressions or the instrumentation o wind orchestra. The original setting o this work was or symhony orchestra. The document contains historical inormation relating to the work and comoser, a thorough descrition o the actual transcrition rocess or this roject, and the inished transcrition or wind orchestra. iii

6 TABLE OF CONTENTS ABSTRACT... iii LIST OF ILLUSTRATIONS...v ACKNOWLEDGEMENTS... vi CHAPTER ONE ERNEST FARRAR The Comoser... 1 CHAPTER TWO ENGLISH PASTORAL IMPRESSIONS Historical Inormation... 5 Original Instrumentation CHAPTER THREE THE TRANSCRIPTION Orchestration or Wind Orchestra... 1 Movement I Sring Morning Movement II Brendon Hill Movement III Over the Hill and Far Away Summary APPENDICES I. English Pastoral Imressions: Wind Orchestra Transcrition... 2 II. Transcrition Equivalency Chart LETTERS OF PERMISSION BIBLIOGRAPHY VITA iv

7 LIST OF ILLUSTRATIONS ILLUSTRATION ILLUSTRATION ILLUSTRATION... 7 ILLUSTRATION ILLUSTRATION ILLUSTRATION ILLUSTRATION ILLUSTRATION ILLUSTRATION ILLUSTRATION ILLUSTRATION ILLUSTRATION ILLUSTRATION ILLUSTRATION ILLUSTRATION v

8 ACKNOWLEDGEMENTS My deeest areciation is extended to several eole who have guided me, and heled me throughout this degree. Thank you to Proessor Thomas G. Leslie or your guidance and suort. Thank you to Proessor Anthony LaBounty or constantly looking or teaching moments and roviding mentorshi and assistance since I arrived in Las Vegas in 200. Thank you to Proessor Takayoshi Tad Suzuki or reminding me o the natural beauty and ower o music. In addition, thank you to Proessor Gronemeier or your words o wisdom, guidance and assistance. Finally, thank you to Proessor Koe or giving your valuable time to serve on my committee. Thank you to my arents who have always been my biggest suorters o everything I have chosen to ursue throughout my lie. Thank you to my our amazing sisters, their incredible husbands, and to my nehews and nieces or their relentless suort, encouraging words, wisdom, and love. Finally, thank you to my wie, Jennier. Thank you or utting u with my anxieties, my worries, or being there or me and or loving me throughout this entire rocess. vi

9 CHAPTER ONE ERNEST BRISTOW FARRAR The Comoser Relatively little has been written about Ernest Bristow Farrar comared to many o his contemoraries. Ater his eoch o acclaim assed, ew o his ieces endured. In act, the English Pastoral Imressions orchestral suite is, the only orchestral work by Farrar to have been layed occasionally since the 1920s. 1 Unortunately, Farrar was a casualty o World War I at the age o thirty-three. An unanswerable question remains, what additional works could Farrar have bestowed uon the music world had he not erished so young? However tragic the conclusion o his lie was, uture generations o musicians and scholars alike will have the oortunity to exerience Farrar s English Pastoral Imressions. Farrar, an English comoser and organist, was born in London on July 7 th, He received his reliminary ediication at the Leeds Grammar School. In 1905 he was conerred a scholarshi at the Royal College o Music. While in attendance at the Royal College o Music, he studied comosition with Sir Charles Stanord, and organ with Sir Walter Parratt. 2 In 1906, he was the reciient o the Arthur Sullivan Prize, and 1 Bernard Benoliel. (1997). Ernest Farrar: Orchestral Works. Chandos Records Ltd (Philharmonia Orchestra). (C. Alasdair Mitchell, Ed.) Colchester, Essex, England: Chandos Records Ltd, 9. 2 Unknown Author, Obituary: Ernest Bristow Farrar. (1918). The Musical Times, 59 (909), 50. 1

10 in 1907 he was awarded the Grove Scholarshi. As a comoser, Ernest Farrar received commendation or his techniques o comosition and works, maniested by receiving the Carnegie Award or the English Pastoral Imressions orchestral suite. Ater comleting his education at the Royal College o Music, Farrar served as the organist or the English Church in Dresden in 1909, and continued this career throughout several churches in England rom 1910 to His teachers Stanord and Parratt urthered his career by recommendations to an organ ost in Dresden and, on his return [rom Dresden] in 1910, or the ermanent osition o organist and Choirmaster at St Hilda s, South Shields. 4 Farrar also worked with orchestras during this time, becoming conductor o the South Shields Orchestral Union and later the Harrogate Orchestral Society. In 1912 he moved to Harrogate as organist o Christ Church and a year later married his iancée Olive Mason. 5 His resence in Harrogate sulied the medium to exlore his creativity through a riendshi with Julian Cliord, conductor o the Harrogate Municial Orchestra. This same orchestra would later stage the remieres or the majority o Ernest Farrar s orchestral comositions. Stehen Banield. "Farrar, Ernest Bristow." Grove Music Online. Oxord Music Online. 19 Se <htt:// 4 Banield 5 Banield 2

11 As a young British citizen during World War I, he enlisted voluntarily in the Grenadier Guards in December 1915 and only joined his regiment in August He received a commission in the Third Battalion Devonshire Regiment in Ernest Farrar dearted or France to engage in the war on the sixth o Setember, Only days into the battle, he was killed on Setember 18 th as he led his men in the Battle o Eéhy Ronssoy in the Somme Valley o Northern France. It is in this location where Farrar now lies buried in the communal cemetery extension (Plot 1, Row B, Grave 27). 7 The ollowing was written in Farrar s obituary: In his songs, orchestral, ianoorte and organ ieces he dislayed creative gits o a high order. He was a musician o the highest ideals, and was devoted to the art he served so aithully. 8 Farrar s riends and contemoraries were saddened rooundly by his untimely assing. Frank Bridge, a close riend, dedicated his Piano Sonata o 1924 to him, and a grieving Gerald Finzi who hero-worshied his teacher wrote his moving Requiem da camera (1924) in memory o E.B.F.. Farrar s own teacher, Stanord, wrote: Farrar was one o my most loyal and devoted uils. He was very shy, but ull o oetry, and I always thought very high things o him as a comoser and lamented his loss both ersonally and artistically. 9 6 Banield 7 Banield 8 Unknown Author, Obituary: Ernest Bristow Farrar. (1918). The Musical Times, 59 (909), Benoliel, 5.

12 Farrar had created over orty ous numbers beore his death. O these orty works, eleven were written or orchestra. Ater his death, desite the eorts o Stanord and Farrar s widow, his music ell into neglect the ull scores o his our works or voices and orchestra are missing and the only erorming material to survive is English Pastoral Imressions. 10 Ernest Farrar s work English Pastoral Imressions is the subject o the remainder o this document and o the transcrition contained herein. 10 Benoliel, 5. 4

13 CHAPTER TWO ENGLISH PASTORAL IMPRESSIONS Historical Inormation The English Pastoral Imressions, Ous 26 was written by Farrar in 1915, and was dedicated to Farrar s riend and ellow musician, Ralh Vaughan Williams. This work is a highly uniied suite in three sections. Farrar s tonality, like that o Vaughan Williams, is inluenced by the modal entatonic tunes o the British Isles. 11 The world remiere o this work was erormed by the Harrogate Orchestra in May o The irst movement entitled Sring Morning utilized musical motis rom the English olk songs Summer is Icumen in and Angelus. Farrar notated the titles o these olk songs in the score as they aear. The Angelus layed on bells and muted horn over strings has an Iveslike eect; its introduction both unexected and moving. 12 The tubular bell art was also written as a cue in the bassoon in the event that the tubular bells were unavailable, or to suit the reerence o the conductor. Farrar wrote or the ollowing instruments in the irst movement: 2 lauti, 2 oboi, 2 clarinetti in B-lat, 2 agotti, 2 corni in F, bells, violini I, violini II, viole, violoncelli, bassi. The irst movement begins as Allegro moderato, starts in the key o B- lat major, and contains a delicate introduction erormed by only two lutes and two clarinets. This movement does not utilize a clearly deined 11 Benoliel, Benoliel, 9. 5

14 ormal structure such as the rondo or ternary orm. In the irst movement, the ormal structure is ABCB ACB. In the ourth measure o the irst movement, Farrar wrote or oboe with a trilet rhythm against the lutes sixteenth note assage. It is uon this background Farrar introduced the melody (ILLUSTRATION 1) in measure six written or bassoons, horns, and violas. ILLUSTRATION 1 The irst movement contains a modulation rom the key o B-lat major to the key o G major in the Alla Pastoral section at measure 26, eaturing Old Melody: Summer is Icumen in (ILLUSTRATION 2) in the solo violin I. This melody is irst echoed in measure 27 by a solo viola, and again in measure 28 by the solo violin II. The canon o the melodic igure is reeated beore leading into the introduction o the melody Angelus (ILLUSTRATION ) at the Adagio section o the movement at measure 45. This section o the movement was written in the key o E- lat major. Ater this brie interlude, the Alla Pastorale returns at measure 5 in the key o G Major. The Old Melody: Summer is Icumen in moti returns in violin I accomanied by an accelerando leading the 6

15 ensemble back to Temo I and returning to the tonic key o B-lat. This return contains the oening harmonic and melodic elements exactly as written in the oening o the iece. ILLUSTRATION 2 ILLUSTRATION Ater the return o the oening melody and accomaniment, Farrar byassed the Alla Pastoral section and instead wrote an Adagio return o Angelus. Another brie accelerando leads the ensemble back into the melodic moti o Summer is Icumen In, this time in Allegro which ultimately ends the irst movement. The irst movement comes to a close as the ensemble executes concert B-lat in unison. The second movement entitled Brendon Hill is marked Andante and is a miniature tone oem emloying an ABCABA structure. 1 This movement begins in the key o G Major and a majority o the movement contains a solo viola. The writing in the second movement is also a work o contrasts. Ater our measures o melody and accomaniment, there is 1 Benoliel, 9. 7

16 a very sot and slow moving, our measure igure written or two unaccomanied clarinets. ILLUSTRATION 4 The main melodic and harmonic structure returns with the written ensemble, and the melody was assed rom a solo oboe to a solo horn. The viola soloist and the ensemble then reeated the introduction material o this movement. The second movement rogresses into a Piu Mosso section in F Major at measure 155, and more instruments rom the ensemble thicken the texture o the musical line. The temo then builds to the irst climax o the work at the Allegro Moderato in measure 17. Here, nearly the entire ensemble enters at the only dynamic marking o ortissimo located in the entire three movement suite. During the second movement, Farrar utilized the ollowing instrumentation: 2 lauti, 2 oboi, 2 clarinetti in b- lat, 2 agotti, 2 corni in F, 2 trombe in F, tromboni, timani, bells, violini I, violini II, viole, violoncelli, bassi. Farrar added two trumets, three trombones, and timani in this second movement o the work. At the conclusion o the ortissimo section o the second movement, Farrar reduced the instrumentation o the ensemble as he wrote toward the return o the oening melodic moti o the second movement, inally 8

17 modulating back to G Major at measure 197. Beore returning to the oening melody, a violin echoes the original viola solo rom the beginning o the movement. The solo descends through three octaves leading to the return o the original viola solo. The ensemble once again erorms the harmonic and melodic igures o the oening section o the movement ollowing this solo. The second movement ends as it began, with a sot and slow moving viola solo. The third movement entitled Over the Hills and Far Away is the shortest o the three movements and starts in the key o C Major but uses the C mixolydian mode or the majority o the oening thematic material. The ormal structure o the third movement is ABCAB, and begins with a brie introductory horn call imlemented irst at orte, then echoed at ianissimo until nearly the entire ensemble enters at the dynamic level o orte on a erect authentic cadence. For the third movement, Farrar wrote or the ollowing instrumentation: 2 lauti, 2 oboi, 2 clarinetti in b-lat, 2 agotti, 2 corni in F, 2 trombe in F, tromboni, tuba, timani, side drum, cymbals, bass drum, violin I, violin II, viole, violoncelli, and bassi. This movement also utilizes the ull instrumentation needed or the erormance o this iece, and calls or the addition o tuba, side drum, cymbals, and bass drum. A gigue-like melody in six-eight, eaturing an accomaniment drone in the bassoon voice, is exosed ater the introductory material o the third movement, (ILLUSTRATION 5). This melody varies rom a clarinet 9

18 solo to a lute solo, and then back to a clarinet which rogresses until the ull ensemble enters at the Allargando in measure 262. ILLUSTRATION 5 The instrumentation is slowly reduced rom Allargando and transitions to an Andante section and in the key o E Major. The melodic igure o the movement is augmented rom six-eight to common time in this section, and the melody is exchanged rom instrument to instrument as reviously written in the third movement. Farrar transitioned this develoment section through the keys o E, G, E, and then back to the key to C Major. The return o the six-eight Allegro Moderato section imitates the exact material ound at the oening o the third movement. Finally, the ull ensemble erorms the reeated Allargando section which leads to a inal erect authentic cadence. English Pastoral Imressions is an examle o orchestral literature comosed by a talented young comoser o the early twentieth century. Farrar was killed just as he was entering his irst maturity as a comoser. In most o his works he was still learning as every young master does by exerimenting with all asects o comositional 10

19 technique and searching within the tradition, o which he was a art, or a ersonal oetic voice. 14 Original Instrumentation When Farrar originally comosed the iece, he comosed or an orchestral wind section to comliment the string instruments. Each movement o the iece was written with a slight variation o instrumentation. The original instrumentation necessary or the erormance o the English Pastoral Imressions consisted o the ollowing: 2 Flutes 2 Oboes 2 Clarinets in B-lat 1 Clarinet in A 2 Bassoons 2 Horns i F 2 Trumets in F 2 Trombones Tuba Timani Percussion (Snare/Bass/Cymbals) Tubular Bells Violin I Violin II Viola Violoncello Contrabass All instruments are not utilized during every movement o the entire suite. As stated, trumets, trombones, and timani are not used until the second movement, and tuba, side drum, bass drum and cymbals are not utilized until the third movement. In addition, the clarinet in A is 14 Benoliel,

20 only used or 15 measures o the entire work, and only in the third movement. An additional observation that should be noted is Farrar s writing or the strings. Farrar wrote viola, violin, cello and contrabass arts in divisi in many instances, imlying that he exected any erormance o this work to use a ull orchestral string section. His use o ercussion was also very sarse in relation to the other amilies o instruments. For examle, timani was used or only 21 measures o the entire iece, (with the majority o the art being used in the second movement during a iteen measure roll on B-lat). Tubular bells were also utilized in very ew instances, but were eatured as the sole melodic voice in two occasions, in measure 45 and measure 9 o the irst movement. Tubular bells were then later used to create a church bell eect later in the second movement. 12

21 CHAPTER THREE THE TRANSCRIPTION Orchestration or Wind Orchestra This transcrition o English Pastoral Imressions uses the ollowing instrumentation: 1 Piccolo 2 Flutes 2 Oboes 1 English Horn Solo 1 st B-lat Clarinet Solo 2 nd B-lat Clarinet 1 st B-lat Clarinet (1 layer) 2 nd B-lat Clarinet (1 layer) rd B-lat Clarinet (1 layer) 2 Bassoons Bass Clarinet in B-lat Contra Alto Bass Clarinet in E-lat Contrabass Clarinet in B-lat 1 st Alto Saxohone 2 nd Alto Saxohone Tenor Saxohone Baritone Saxohone 1 st Trumet in B-lat 2 nd Trumet in B-lat 1 st Horn in F 2 nd Horn in F 1 st Trombone 2 nd Trombone rd Trombone (Bass Trombone) Euhonium Tuba Violoncello Contrabass Timani Piano Xylohone Vibrahone/s Percussion (Snare/Bass/Cymbals) 1

22 The choice o this seciic instrumentation was based on the instrumentation used by the University o Nevada, Las Vegas Wind Orchestra. However, the rd trumets, and the rd and 4 th horns in F normally ound in the UNLV Wind Orchestra are excluded in this transcrition. This decision was made to relicate a closer modeling o Farrar s writing and orchestral scoring styles. The second aendix contains every instrumental change that was made rom the original score to this transcrition. Decisions regarding instrument relacements and/or substitutions were made based on the desire to emulate the sound and color o the original work. For examle, in order to recreate the viola section, this wind orchestra setting contains multile combinations o wind and string instruments in an attemt to recreate the ull section sonority and tonal color. The original string markings were maintained throughout the entire transcrition to rovide conductors and instrumentalists a more comlete understanding o the style and sound Farrar had originally intended. The original notations, note lengths, dynamics, articulations, meter, style markings, and the original instrumentation have not been changed in this transcrition. Key signatures in this transcrition have not been altered, and details about the tonality and structure are consistent with the original. 14

23 Movement I Sring Morning Several interesting combinations and orchestration techniques were utilized in the irst movement. For examle, the viola section in the original work assisted carrying the melodic line during measures 5 through 7 (ILLUSTRATION 6). In order to relace the viola section in this measure, combinations o instruments were used. Another remarkable method is the cello art written to maintain the original sound o the bow moving across the string. It is then merged with tenor saxohone, English horn and the uer tessitura o bass clarinet. The combination o the mixed wind and cello instruments was used to emulate the ull viola section sonority. ILLUSTRATION 6 15

24 In measures 7 and 11, the original violin lines were relaced by solo iccolo and the clarinet section. Through measures 14 to 17, instruments were added to the cello and contra bass lines to emhasize what would have been the ull cello and contrabass sections. Bass clarinet, marimba, vibrahone and xylohone were added to recreate a string izzicato assage. During measure 22 to 25, iano was added to the cello and contrabass lines to relace the missing string izzicato resonance. In measures 26 to 29 o the irst movement, the violin II section was relaced by contrabass, iano, and marimba which emloyed the texture o the string and the tone o the iano and marimba to recreate the ianissimo izzicato lower tessitura o the violin II sonority. In measures 28 to 7 (ILLUSTRATION 7), the violin I solo was relaced by a lute solo, the viola solo was changed to an English horn solo, and the violin II solo was written or solo 1 st clarinet. ILLUSTRATION 7 16

25 In measures 5 to 64, the solo lute was written to relace the violin I solo, and violin II (ILLUSTRATION 8) was transcribed to marimba, string bass and iano, recreating the izzicato sound ound earlier in the transcrition. ILLUSTRATION 8 Measures 69 to measure 96 are an exact relication o the beginning o the movement, in both the original, and in this transcrition. Concluding the irst movement, clarinets were used to relace the violin I section, alto saxohones were written to substitute the violin II section, and tenor sax has been added to urther relicate the musical texture o the original work. Movement II Brendon Hill The introduction o the second movement rom measures 111 to 121 (ILLUSTRATION 9) was originally written or a solo viola. In this transcrition, English horn is now used or the solo voice. The English horn soloist also relaces the viola solo and any viola melodic statement 17

26 throughout the majority o the remainder o the entire second movement. A 1 st trumet cue has also been added to relace the English horn solo. ILLUSTRATION 9 In measures 118 to 121 (EXAMPLE 10), and throughout the remainder o the second movement, iano, cello and marimba are used to recreate the cello I musical moti. ILLUSTRATION 10 During these same assages, the original cello II section is relaced by contra alto bass clarinet. In measures 126 to 129 (ILLUSTRATION 11), clarinets and contra alto bass clarinet have been written to reroduce the texture o the viola line. 18

27 ILLUSTRATION 11 During measures 142 to 154, clarinet 1 relaces violin I, clarinet 2 relaces violin II, and the clarinet art alongside bass clarinets relaces the viola section. In addition, a euhonium soloist is cued to relace the cello soloist in the event that a cellist is not available or uture ensembles. In measures 155 to 168, the violin I solo has been transcribed or iccolo, and written as a cue or the uer register o the marimba. The decision to use marimba in these assages is given to the conductor. In this transcrition, the entire ensemble o the wind orchestra is utilized or the irst time in measures 169 to 180 and all string arts have been re-voiced with wind and mallet instruments. From measure 181 to 19 (ILLUSTRATION 12), as the ull ensemble dissiates in voicing, the original violin I solo has been transcribed or 2 measures o iccolo, 2 measures o lute solo, 4 measures o oboe solo, concluding with 4 measures o English horn. 19

28 ILLUSTRATION 12 Throughout measures 205 to the end o the second movement, violin I has been rewritten or clarinet 1, violin II has been written or clarinet 2, and the viola line is now located in the clarinet voice. The second movement concludes as it began with the English horn relacing the viola solo. Movement III Over the Hill and Far Away The third movement transcrition begins just as the original iece with the horn solo. In measure 2, the strings are re-voiced throughout the entire wind and mallet sections as the ull ensemble is utilized or the two introductory chords ater the horn solo introduction. In measures 247 to 254 (ILLUSTRATION 1), the saxohone section has been written to recreate the our original voices o the irst and second violin lines. In this instance, the violin I section has been transcribed or irst and second alto saxohones, and the violin II section is now tenor and baritone saxohones. 20

29 ILLUSTRATION 1 In measure 296 to 04 (ILLUSTRATION 14), the violin I line has been relaced with alto saxohone 1, the violin II line is now written or alto saxohone 2, the viola line has been rewritten or the clarinet section, and contra alto bass and contra bass clarinets have been added to the original cello and contrabass lines. ILLUSTRATION 14 Further into the third movement, in measures 04 to 11 (ILLUSTRATION 15), the violin solo has been relaced with a combination o iccolo and irst lute to recreate this uer tessitura violin solo line. 21

30 ILLUSTRATION 15 Farrar wrote the material or measures 11 to 52 as an exact relication o measures 25 to 279, and thereore the same orchestration in this transcrition has been used rom these measures to the end o the movement. The inal chords o the third movement have also been re-voiced rom the string section to aroriately utilize the entire transcribed ensemble. Summary Farrar was an early twentieth century comoser who gave his lie in battle, but not beore he bestowed the world with his English Pastoral Imressions. This ollowing transcrition was written to allow wind bands the oortunity to erorm his orchestral work, and is also a continuation to the legacy o Ernest Bristow Farrar. 22

31 APPENDIX I ERNEST FARRAR, ENGLISH PASTORAL IMPRESSIONS, O. 26: WIND ORCHESTRA TRANSCRIPTION 2

32 Cl. Cl. Tt. 1 Tt. 2 B. Tbn. Tim. 24 Allegro moderato Allegro moderato Original Ernest Farrar Dedication to R. Vaughan Williams ENGLISH PASTORAL IMPRESSIONS Ernest Farrar, O. 26, Transcrition or Wind Orchestra I. Sring Morning by Wm. W. Woodworth IV a2 m m m Coyright 2010 m 24

33 Cl. Cl. Tt. 1 Tt. 2 B. Tbn. Tim m m m m m m m izz. m izz. m m m arco m 1 izz. izz. izz. izz. izz. izz. izz. izz. izz. izz. izz. izz. izz. 25

34 Cl. Cl. Tt. 1 Tt. 2 B. Tbn. Tim. m m m m m 2 m m m m m m m m m m m arco izz. m izz. m m izz. izz. m m izz. m arco izz. m izz. m m m m izz. m izz. m m izz. m m arco m izz. izz. izz. m izz. izz. m izz. m 26

35 Cl. Cl. Tt. 1 Tt. 2 B. Tbn. Tim. 7 2 m m m m m izz. arco m m m m arco izz. izz. m arco m m arco m m m m m m m m m m m m m m arco m m m izz. izz. m izz. 2 izz. m 27

36 Cl. Cl. Tt. 1 Tt. 2 B. Tbn. Tim. 4 m izz m izz m izz m m izz m izz m izz m solo izz m izz m izz m izz m m izz 28

37 (OLD MELODY. "SUMER IS ICUMEN IN.") 49 Alla Pastorale. Picc. Solo. (as i) con sordino arco 2nd time Solo. (as i) con sordino arco 2nd time Solo. (as i) con sordino arco 2nd time Cl. arco Solo. (as i) con sordino 2nd time Cl. Tt. 1 Tt. 2 B. Tbn. arco Solo. con sordino izz 2nd time Solo. con sordino 2nd time Tim. izz Solo. con sordino 2nd time Alla Pastorale. (OLD MELODY. "SUMER IS ICUMEN IN.") izz Solo. con sordino 2nd time 29

38 54 1. Picc. Cl. Cl. Tt. 1 Tt. 2 B. Tbn. izz izz Tim

39 4 59 q. = q Picc. Cl. Cl. Tt. 1 Tt. 2 (as i) con sordini con sordini B. Tbn. Tim. q. = q 4 1

40 Cl. Cl. Tt. 1 Tt. 2 B. Tbn. Tim. 65 rall. rall. (MELODY OF "ANGELUS.") Adagio. arco (as i) con sordini m arco(as i) con sordini Bells. con sordini con sordini con sordini m con sordini Adagio. (MELODY OF "ANGELUS.") con sordino con sordini Tutti con sordini 2

41 Cl. Cl. Tt. 1 Tt Alla Pastorale. Solo. con sordino arco Solo. con sordino senza sordino B. Tbn. Tim. arco izz Solo. con sordino Solo. con sordino izz Solo. con sordino Alla Pastorale. 5 izz Solo. con sordino

42 Cl. Cl. Tt. 1 Tt accelerando B. Tbn. Tim. accelerando 4

43 Cl. Cl. Tt. 1 Tt Allegro moderato Temo I. m m izz. m m m m m B. Tbn. Tim. senza sordini senza sordini m izz. m m izz. Temo I. Allegro moderato 6 m m 5

44 Cl. Cl. Tt. 1 Tt m m m m m B. Tbn. m m Tim. arco m 6

45 Cl. Cl. Tt. 1 Tt. 2 B. Tbn. Tim. 9 m m m m m m m m m m m m m izz. m m izz. izz. m arco izz. m m izz. izz. izz. m m m m m izz. m m izz. m izz. izz. izz. izz. izz. m m izz. izz. m m m m m m m arco 7

46 Cl. Cl. Tt. 1 Tt. 2 B. Tbn. Tim. 97 m m m m m m m m m m m m m m izz. m izz. izz. m m izz. m izz. izz. m izz. m izz. m izz. m izz. izz. m izz. m izz. m m izz. m izz. izz. m m m m m 8

47 Cl. Cl. Tt. 1 Tt m m izz. arco m izz. m arco izz. m arco m arco m B. Tbn. Tim. arco m izz. 9

48 Cl. Cl. Tt. 1 Tt. 2 B. Tbn. Tim. 107 m arco. cue m m m m izz izz izz izz m 7 Adagio m arco. arco. m izz arco. arco. arco. Solo izz arco. m izz m izz izz m izz m izz m 7 izz m izz m Adagio 40

49 Cl. Cl. Tt. 1 Tt Temo I. Bells. cue accelerando Soli Soli B. Tbn. Tim. arco. Temo I. accelerando 41

50 Cl. Cl. Tt. 1 Tt. 2 B. Tbn. Tim. 12 Allegro 8 izz. izz. izz. izz. izz. izz. izz. izz. izz. izz. izz. Allegro 8 arco arco arco arco 42

51 Cl. Cl. Tt. 1 Tt. 2 B. Tbn. Tim. accel. arco arco arco arco arco arco 128 arco arco accel. 4

52 Cl. Cl. Tt. 1 Tt. 2 B. Tbn. Tim. II. Brendon Hill. 14 Andante 1 Solo II. iano cue cue Solo (cue) izz. Andante 1 cue 44

53 Cl. Cl. Tt. 1 Tt. 2 B. Tbn. Tim. 14 izz. izz. I. cue izz. 45

54 Cl. Cl. Tt. 1 Tt. 2 B. Tbn. Tim arco m arco m arco m lay arco m arco 2 cue m m Solo m arco izz. cue 46

55 Cl. Cl. Tt. 1 Tt. 2 B. Tbn. Tim. 158 Solo I. 47

56 Cl. Cl. Tt. 1 Tt. 2 B. Tbn. Tim. 166 solo cue 48

57 Cl. Cl. Tt. 1 Tt. 2 B. Tbn. Tim Più mosso Più mosso izz. izz. izz. lay izz. stagger breathe stagger breathe stagger breathe stagger breathe 4 ic cue B.D. m solo 49

58 Cl. Cl. Tt. 1 Tt. 2 B. Tbn. Tim. accelerando solo solo arco 6 6 solo m m m accelerando

59 Cl. Cl. Tt. 1 Tt. 2 B. Tbn. Tim. Allegro moderato. 5 unis. m unis. unis. unis. arco arco arco unis. unis. 192 m m m tr m m m Allegro moderato. m 5 lay m B.D./Cym m 51

60 Cl. Cl. Tt. 1 Tt. 2 B. Tbn. Tim. 199 rall. m m m m m m m m m m m m m m m m m m m m m m m m m m m m rall. 52

61 Cl. Cl. Tt. 1 Tt. 2 B. Tbn. Tim solo m solo solo 6 solo solo 5

62 Cl. Cl. Tt. 1 Tt. 2 B. Tbn. Tim cue iano cue izz. izz. 7 cue 54

63 Cl. Cl. Tt. 1 Tt. 2 B. Tbn. Tim. 225 I. Solo Solo con sord. con sord. con sord. con sord. lay con sord. cue 55

64 Cl. 2 8 I. solo m m m m Cl. Tt. 1 Tt. 2 m m B. Tbn. Tim. m 8 56

65 Cl. Cl. Tt. 1 Tt. 2 B. Tbn. Tim. 240 rall. I. Solo I. Solo (cue) rall. 57

66 Cl. Cl. Tt. 1 Tt. 2 B. Tbn. Tim. Allegro moderato. III. Over the Hills and Far Away 247 echo echo Tim in C.D. & G. Allegro moderato. 58

67 Cl. Cl. Tt. 1 Tt. 2 B. Tbn. Tim. 9 Temo I. 258 izz. izz. izz. Temo I. 9 izz. S.D. I. Solo m I. Solo 59

68 Cl. Cl. Tt. 1 Tt I. izz. I. I. B. Tbn. Tim. izz. 60

69 Cl. Cl. Tt. 1 Tt accel. arco. arco arco arco arco B. Tbn. Tim. izz. arco arco accel. m 61

70 Cl. Cl. Tt. 1 Tt. 2 B. Tbn. Tim. 281 allargando 10 allargando 10 62

71 Cl. Cl. Tt. 1 Tt. 2 B. Tbn. Tim. oco accel. solo 289 solo 2 2 oco accel

72 Cl. Cl. Tt. 1 Tt. 2 B. Tbn. Tim a2 m arco 2 m arco 2 m arco m arco m arco m arco arco 2 arco arco arco arco 11 2 izz. arco m S.D. 64

73 Cl. Cl. Tt. 1 Tt. 2 B. Tbn. Tim. 06 Allargando. Andante. 12 I. m Allargando. Andante. 12 m 65

74 Cl. Cl. Tt. 1 Tt. 2 B. Tbn. Tim. 15 I. m m solo solo 66

75 Cl. Cl. Tt. 1 Tt. 2 B. Tbn. Tim. 21 rit. m m m m m m rit. 67

76 Cl. Cl. Tt. 1 Tt. 2 B. Tbn. Tim Andante. rit. solo solo (cue) lay solo Andante. rit. 1 cue 68

77 Cl. Cl. Tt. 1 Tt. 2 B. Tbn. Tim Allegro moderato. izz. Allegro moderato. 14 izz. izzṗ I. I. 69

78 Cl. Cl. Tt. 1 Tt I. I. m izz. m izz. m izz. m I. izz. accel. izz. arco. arco. arco. arco. arco. B. Tbn. Tim. arco. izz. arco. accel. 70

79 Cl. Cl. Tt. 1 Tt B. Tbn. Tim. m 71

80 Cl. Cl. Tt. 1 Tt. 2 B. Tbn. Tim Allargando Allargando 15 72

81 Cl. Cl. Tt. 1 Tt. 2 B. Tbn. Tim. solo 65 oco accel. solo oco accel

82 Cl. Cl. Tt. 1 Tt. 2 B. Tbn. Tim. 74 a2 m arco m arco m arco m arco a2 m arco m arco arco arco arco arco arco arco izz. arco m S.D. 74

83 APPENDIX II Transcrition Equivalency Chart This chart rovides a descrition o the changes made rom the original instrumentation rom Ernest Farrar s English Pastoral Imressions or orchestra, to the current transcrition. Position in score Orchestra Score Transcribed Score Movement No. 1 Mm. 5-7 Viola Cello Bass Clarinet Tenor Saxohone English Horn Mm. 7 Violin I Piccolo, Clarinet 1 Violin II Clarinet 2, Clarinet Mm. 8-9 Violin 1 Piccolo Violin 2 Clarinets 1- Viola Alto Saxohones, Trumets, Cello Cello Bass Clarinets, Marimba, Piano Contrabass Trombones, Euhonium, Tuba Oboe Add English Horn and Trumets (Mm. 9) Mm Viola Cello Bass Clarinet Tenor Saxohone Mm. 11 Violin I, II Piccolo, Clarinets 1- Mm Violin 1 Piccolo Violin 2 Clarinets 1- Viola Alto Saxohones, Trumets, Cello Cello Bass Clarinets, Marimba, Piano Contrabass Trombones, Euhonium, Tuba 75

84 Position in score Orchestra Score Contrabass Oboe Transcribed Score Trombones, Euhonium, Tuba Add English Horn and Trumets Mm Cello Bass Clarinet Contrabass Add Marimba, Vibrahone, Xylohone Violin I Clarinets 1- Mm Violin I Clarinets 1- Viola Contra Alto Bass Clarinet Cello Add Piano Contrabass Add Piano and Marimba Mm Violin II Contrabass, Piano, Marimba Mm Violin I Flute Solo Mm Viola English Horn Mm. 0- Violin II Solo 1 st Clarinet Mm Violin II Marimba, Piano, Contrabass Mm Violin I Clarinet 1, Alto Saxohone 1 Violin II Clarinets 2-, Contra Alto Bass Clarinet and Contra Bass Clarinet Cello Alto Saxohone 2, Tenor Saxohone, Contrabass Mm Violin I Clarinet 1, Alto Saxohone 1 Violin II Clarinets 2- and Alto Saxohone 2 Cello Add String Bass, Tenor Saxohone, Baritone Saxohone, Contra Alto Bass Clarinet and Contra Bass Clarinet Mm Violin II Marimba, String Bass, Piano Mm Violin I Flute Solo 76

85 Position in score Orchestra Score Transcribed Score Mm Violin I Clarinet 1, Piano, Xylohone Violin II Marimba, Piano, Contrabass, Contra Alto Bass Clarinet and Contra Bass Clarinet Mm Viola Cello Bass Clarinet Tenor Saxohone English Horn Mm. 71 Violin I Piccolo, Clarinet 1 Violin II Clarinet 2, Clarinet Mm Violin 1 Piccolo Violin 2 Clarinets 1- Viola Alto Saxohones, Trumets, Cello Cello Bass Clarinets, Marimba, Piano Contrabass Trombones, Euhonium, Tuba Oboe Add English Horn and Trumets Mm Viola Cello Bass Clarinet Tenor Saxohone Mm. 75 Violin I, II Piccolo, Clarinets 1- Mm Violin 1 Piccolo Violin 2 Clarinets 1- Viola Alto Saxohones, Trumets, Cello Cello Bass Clarinets, Marimba, Piano Contrabass Trombones, Euhonium, Tuba Oboe Add English Horn and Trumets Mm Cello/ Bass Clarinet 77

86 Position in score Orchestra Score Transcribed Score Contrabass Add Marimba, Vibrahone, Xylohone Violin I Clarinets 1- Mm Violin I Clarinets 1- Viola Contra Alto Bass Clarinet Cello Add Piano String Bass Add Piano and Marimba Mm Violin I Clarinet 2 Violin II Clarinet Viola English Horn, Bass Cl., Cello Add Contra Alto Bass Clarinet and Contra Bass Clarinet Mm Viola Bass Clarinet, Contra Alto Bass Clarinet and English Horn Cues Mm Violin I Clarinets 1- Violin II Alto Saxohones 1-2, Tenor Saxohone, Viola Bass Clarinet, Contra Alto Bass Clarinet and Contra Bass Clarinet Mm Violin I Clarinets 1- Violin II English Horn Violin I Clarinets 1- Violin II Alto Saxohones 1-2, Tenor Saxohone Viola Bass Clarinet, Contra Alto Bass Clarinet and Contra Bass Clarinet Movement No. 2 Mm Viola English Horn (cued in 1 st Trumet) Mm Cello I Add to Piano, and cued in Marimba and Bass Clarinet Cello II Contra Alto Bass Clarinet 78

87 Position in score Orchestra Score Transcribed Score Mm Viola Clarinets 1-, Contra Alto Bass Bass Clarinet Cello I Add to Piano, and cued in Marimba and Bass Clarinet Cello II Contrabass Clarinet Mm Viola Clarinets 1- Cello I Cello II Contrabass Add Piano Contra Alto Bass and Contra Bass Clarinet Add Contrabass Clarinet Mm Viola English Horn Cello I Add to Piano, and cued in Marimba and Bass Clarinet Cello II Contra Alto Bass Clarinet Mm Violin I Clarinet 1 Violin II Clarinet 2 Viola Clarinet, add Bass Clarinet mm. 154 Cello Solo cued in Euhonium Mm Violin I Piccolo, Cued on Marimba Violin II Clarinets 1- Viola Bass Clarinet Cello Add Contra Alto Bass Clarinet, Tenor Saxohone, Trombones 2- Contrabass Add Contrabass Clarinet, Baritone Saxohone, Euhonium, Tuba Mm Violin I Piccolo and Marimba Violin II Clarinets 1- Viola English Horn Cello/Contrabass Add Trombone, Euhonium, Tuba Trumet Add Xylohone Mm Violin I Piccolo, then Flute, then Oboe (2 measures each o the descending melodic line) Violin II Solo Clarinet 2, Clarinet 1 79

88 Position in score Orchestra Score Transcribed Score Viola Clarinets 2- Cello Clarinet, Contra Alto Bass Clarinet, Contrabass Mm Viola English Horn, cued in 1 st Trumet Mm Cello I Piano, cued in Marimba and Bass Clarinet Cello II Contra Alto Bass Clarinet Contrabass Add Contra Bass Clarinet Mm Violin I Clarinet 1 Violin II Clarinet 2 Viola Clarinet Cello I Piano, cued in Marimba and Bass Clarinet Cello II Contra Alto Bass Clarinet Contrabass Add Contra Bass Clarinet Mm Violin I Clarinet 1 Violin II Clarinet 2 Viola Clarinet Cello Add Bass Clarinet Mm Viola English Horn, cued in 1 st Trumet Movement No. Mm. 2 Strings Chords voiced throughout all wind instruments Mm Viola Bass Clarinet Cello Contra Alto Bass Clarinet and Marimba Mm Violin I Alto Saxohones 1-2 Violin II Tenor Saxohone, Baritone Saxohone Viola English Horn Mm Violin I Previously doubled in Oboes and Solo Clarinet Violin II, Viola Chords voiced in Bass Clarinet, Cello, Contra Alto Bass Clarinet, Contra Bass 80

89 Position in score Orchestra Score Transcribed Score Clarinet, Tenor Saxohone and Baritone Saxohone Mm Violin I and II Clarinets 1- Viola Bass Clarinet, Contra Alto Bass Clarinet Cello Tenor and Baritone Saxohone Mm Violin I and II Piccolo, Clarinets 1-, Alto Saxohone 1, Marimba Viola English Horn, Bass Clarinet, Contra Alto Bass Clarinet and Alto Saxohone 2 Cello/Contrabass Contrabass Clarinet, Tenor and Baritone Saxohones, Trombone, Euhonium, Xylohone and Vibrahone Mm Violin I Clarinets 1-2 and Marimba Violin II Clarinet Viola Bass Clarinet Cello Contra Alto Bass Clarinet, Tenor Saxohone Contrabass Add octave Trombone, Euhonium and Tuba Mm Tuba Add octave Trombone and Euhonium Mm Viola Bass Clarinet Cello Add Contra Alto Bass Clarinet Contrabass Add Contra Bass Clarinet Mm Violin I Alto Saxohone 1 Violin II Alto Saxohone 2 Viola Clarinets 1- Cello Contra Alto Bass Clarinet Contrabass Contrabass Clarinet Mm Violin I (solo) Piccolo and Flute 1 Violin I Alto Saxohone 1 Violin II Alto Saxohone 2 Viola Clarinets 1-81

90 Position in score Orchestra Score Cello Transcribed Score Contra Alto Bass Clarinet Mm Viola Bass Clarinet Cello Contra Alto Bass Clarinet and Marimba Mm Violin I Alto Saxohones 1-2 Violin II Tenor Saxohone, Baritone Saxohone Viola English Horn Mm Violin I Previously doubled in Oboes and Solo Clarinet Violin II, Viola Chords voiced in Bass Clarinet and Cello Contra Alto Bass Clarinets, Contra Bass Clarinet, Tenor Saxohone and Baritone Saxohone Mm. -5 Violin I and II Clarinets 1- Viola Bass Clarinet, Contra Alto Bass Clarinet Cello Tenor Saxohone and Baritone Saxohone Mm Violin I and II Piccolo, Clarinets 1-, Alto Saxohone 1, Marimba Viola English Horn, Bass Clarinet, Contra Alto Bass Clarinet and Alto Saxohone 2 Cello/Contrabass Contrabass Clarinet, Tenor and Baritone Saxohones, Trombone, Euhonium, Xylohone and Vibrahone Mm Violin I Clarinets 1-2 and Marimba Violin II Clarinet Viola Bass Clarinet, Cello Contra Alto Bass Clarinet, Tenor Saxohone Contrabass Add octave Trombone, Euhonium and Tuba Mm Violin I Piccolo, Clarinets 1-2, Alto Saxohone 1 and Marimba 82

91 Position in score Orchestra Score Violin II Viola Cello Contrabass Transcribed Score Clarinet, Xylohone and Vibrahone Alto Saxohone 2, Bass Clarinet, Contra Alto Bass Clarinet Tenor Saxohone, Contra Bass Clarinet, Baritone Saxohone, Trombone, Euhonium and Tuba Mm All Strings The Last two chords are voiced throughout the entire ensemble 8

92 CoyCat Music Licensing, LLC - Coyright Permissions Service October 17, 2008 William Woodworth 5526 W Lake Mead Blvd Las Vegas, NV Re: English Pastoral Imressions by Ernest Farrar Dear William, The author died in 1918 and that song was ublished in 1915 thereore, it is ublic domain. Thanks, Fayme Barth Assistant, Music Licensing CoyCat Music Licensing, LLC 2920 Scarlett Drive La Crosse, WI (608) Phone (608) Fax Coyright Administrator For: Eric Whitacre Care Ranam Productions / Shadow Water Music Jim Bonney AVSICTISM Music Gramercy Music (UK) Créations Méandres, Inc. Cirque du Soleil 84

93 BIBLIOGRAPHY Banield, S. (n.d.). Grove Music Online. Retrieved Setember 19, 2009, rom Oxord Music Online: htt:// Benoliel, B. (1997). Ernest Farrar: Orchestral Works. Chandos Records Ltd (Philharmonia Orchestra). (C. Alasdair Mitchell, Ed.) Colchester, Essex, England: Chandos Records Ltd. Farrar, E. (1921). English Pastoral Imressions: Suite or Orchestra, O. 26. London: Stainer & Bell. Farrar, E. (Comoser). (1997). Ernest Farrar: Orchestral Works. [P. Orchestra, Perormer, & A. Mitchell, Conductor] Essex, England. Obituary: Ernest Bristow Farrar. (1918). The Musical Times, 59 (909). Unknown. (2009). Farrar: Orchestral Music. Retrieved August 1, 2009, rom The Classical Sho: htt://

94 Home Address: 5526 W Lake Mead Blvd Las Vegas, NV VITA Graduate College University o Nevada, Las Vegas William Wallace Woodworth IV Degrees: Bachelor o Arts, Music Education, 2001 University o Wyoming Master o Music, 2005 University o Nevada, Las Vegas Secial Honors and Awards: Student nomination and reciient o the National Society o High School Scholars, Educator o Distinction Award, Las Vegas, Nevada, 2007 Dissertation Title: Ernest Farrar, English Pastoral Imressions O. 26: A Transcrition or Wind Orchestra Dissertation Examination Committee: Chairerson, Proessor Thomas G. Leslie, M.S. Committee Member, Proessor Dean Gronemeier, D.M.A., J.D. Committee Member, Proessor Anthony LaBounty, M.S. Committee Member, Proessor Takayoshi Suzuki Graduate Faculty Reresentative, Proessor Jerey Koe, Ph.D. 86