UNLV Theses, Dissertations, Professional Papers, and Capstones
2009
Ernest Farrar, "English Pastoral Impressions", Op. 26: A transcription for wind orchestra
William Wallace Woodworth IV University of Nevada Las Vegas
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Repository Citation Woodworth, William Wallace IV, "Ernest Farrar, "English Pastoral Impressions", Op. 26: A transcription for wind orchestra" (2009). UNLV Theses, Dissertations, Professional Papers, and Capstones. 176. http://dx.doi.org/10.34917/1391046
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ERNEST FARRAR, ENGLISH PASTORAL IMPRESSIONS, Op. 26:
A TRANSCRIPTION FOR WIND ORCHESTRA
By
William Wallace Woodworth IV
Bachelor of Arts, Music Education University of Wyoming 2001
Master of Music University of Nevada, Las Vegas 2005
A doctoral document submitted in partial fulfillment of the requirements for the
Doctor of Musical Arts Degree Department of Music College of Fine Arts
Graduate College University of Nevada, Las Vegas December 2009
Copyright by William Wallace Woodworth IV, 2010 All Rights Reserved
THE GRADUATE COLLEGE
We recommend that the dissertation prepared under our supervision by
William Wallace Woodworth IV
entitled
Ernest Farrar, English Pastoral Impressions, Op. 26: A Transcription for Wind Orchestra
be accepted in partial fulfillment of the requirements for the degree of
Doctor of Musical Arts Performance
Thomas G. Leslie, Committee Chair
Dean Gronemeier, Committee Member
Anthony LaBounty, Committee Member
Takayoshi Suzuki, Committee Member
Jeffrey Koep, Graduate Faculty Representative
Ronald Smith, Ph. D., Vice President for Research and Graduate Studies and Dean of the Graduate College
December 2009
ii
ABSTRACT
Ernest Farrar, English Pastoral Impressions, Op. 26: A Transcription for Wind Orchestra
By
William Wallace Woodworth IV
Thomas G. Leslie, Examination Committee Chair Professor of Music University of Nevada, Las Vegas
This document contains a transcription of Ernest Farrar’s English
Pastoral Impressions for the instrumentation of wind orchestra. The original setting of this work was for symphony orchestra. The document contains historical information relating to the work and composer, a thorough description of the actual transcription process for this project, and the finished transcription for wind orchestra.
iii
TABLE OF CONTENTS
ABSTRACT ...... iii
LIST OF ILLUSTRATIONS ...... v
ACKNOWLEDGEMENTS ...... vi
CHAPTER ONE ERNEST FARRAR The Composer ...... 1
CHAPTER TWO ENGLISH PASTORAL IMPRESSIONS Historical Information ...... 5 Original Instrumentation ...... 11
CHAPTER THREE THE TRANSCRIPTION Orchestration for Wind Orchestra ...... 13 Movement I Spring Morning ...... 15 Movement II Brendon Hill ...... 17 Movement III Over the Hill and Far Away ...... 20 Summary ...... 22
APPENDICES I. English Pastoral Impressions: Wind Orchestra Transcription ...... 23 II. Transcription Equivalency Chart ...... 75
LETTERS OF PERMISSION ...... 84
BIBLIOGRAPHY ...... 85
VITA ...... 86
iv
LIST OF ILLUSTRATIONS
ILLUSTRATION 1 ...... 6
ILLUSTRATION 2 ...... 7
ILLUSTRATION 3 ...... 7
ILLUSTRATION 4 ...... 8
ILLUSTRATION 5 ...... 10
ILLUSTRATION 6 ...... 15
ILLUSTRATION 7 ...... 16
ILLUSTRATION 8 ...... 17
ILLUSTRATION 9 ...... 18
ILLUSTRATION 10 ...... 18
ILLUSTRATION 11 ...... 19
ILLUSTRATION 12 ...... 20
ILLUSTRATION 13 ...... 21
ILLUSTRATION 14 ...... 21
ILLUSTRATION 15 ...... 22
v
ACKNOWLEDGEMENTS
My deepest appreciation is extended to several people who have
guided me, and helped me throughout this degree.
Thank you to Professor Thomas G. Leslie for your guidance and
support. Thank you to Professor Anthony LaBounty for constantly
looking for teaching moments and providing mentorship and assistance
since I arrived in Las Vegas in 2003. Thank you to Professor Takayoshi
“Tad” Suzuki for reminding me of the natural beauty and power of music.
In addition, thank you to Professor Gronemeier for your words of
wisdom, guidance and assistance. Finally, thank you to Professor Koep
for giving your valuable time to serve on my committee.
Thank you to my parents who have always been my biggest
supporters of everything I have chosen to pursue throughout my life.
Thank you to my four amazing sisters, their incredible husbands, and to my nephews and nieces for their relentless support, encouraging words,
wisdom, and love.
Finally, thank you to my wife, Jennifer. Thank you for putting up
with my anxieties, my worries, for being there for me and for loving me throughout this entire process.
vi
CHAPTER ONE
ERNEST BRISTOW FARRAR
The Composer
Relatively little has been written about Ernest Bristow Farrar compared to many of his contemporaries. After his epoch of acclaim passed, few of his pieces endured. In fact, the English Pastoral
Impressions orchestral suite is, “the only orchestral work by Farrar to have been played occasionally since the 1920s.” 1 Unfortunately, Farrar
was a casualty of World War I at the age of thirty-three. An unanswerable question remains, what additional works could Farrar have bestowed upon the music world had he not perished so young?
However tragic the conclusion of his life was, future generations of musicians and scholars alike will have the opportunity to experience
Farrar’s English Pastoral Impressions.
Farrar, an English composer and organist, was born in London on
July 7 th , 1885. He received his preliminary edification at the Leeds
Grammar School. In 1905 he was conferred a scholarship at the Royal
College of Music. While in attendance at the Royal College of Music, he
studied composition with Sir Charles Stanford, and organ with Sir Walter
Parratt.2 In 1906, he was the recipient of 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), 503.
1 in 1907 he was awarded the Grove Scholarship. 3 As a composer, Ernest
Farrar received commendation for his techniques of composition and
works, manifested by receiving the Carnegie Award for the English
Pastoral Impression s orchestral suite.
After completing his education at the Royal College of Music, Farrar served as the organist for the English Church in Dresden in 1909, and continued this career throughout several churches in England from 1910 to 1914. “His teachers Stanford and Parratt furthered his career by recommendations to an organ post in Dresden and, on his return [from
Dresden] in 1910, for the permanent position of organist and
Choirmaster at St Hilda’s, South Shields.”4
Farrar also worked with orchestras during this time, “becoming
conductor of the South Shields Orchestral Union and later the Harrogate
Orchestral Society. In 1912 he moved to Harrogate as organist of Christ
Church and a year later married his fiancée Olive Mason.” 5 His presence in Harrogate supplied the medium to explore his creativity through a friendship with Julian Clifford, conductor of the Harrogate Municipal
Orchestra. This same orchestra would later stage the premieres for the majority of Ernest Farrar’s orchestral compositions.
3 Stephen Banfield. "Farrar, Ernest Bristow." Grove Music Online . Oxford Music Online . 19 Sep. 2009
2
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 1916. He received a commission in the Third Battalion
Devonshire Regiment in 1918.” 6 Ernest Farrar departed for France to
engage in the war on the sixth of September, 1918. Only days into the
battle, he was killed on September 18 th as he led his men in the Battle of
Epéhy Ronssoy in the Somme Valley of 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 following was written in
Farrar’s obituary: “In his songs, orchestral, pianoforte and organ pieces he displayed creative gifts of a high order. He was a musician of the highest ideals, and was devoted to the art he served so faithfully.”8
Farrar’s friends and contemporaries were saddened profoundly by his untimely passing. “Frank Bridge, a close friend, dedicated his Piano
Sonata of 1924 to him, and a grieving Gerald Finzi who hero-worshipped his teacher wrote his moving Requiem da camera (1924) ‘in memory of
E.B.F.’. Farrar’s own teacher, Stanford, wrote: Farrar was one of my most
loyal and devoted pupils. He was very shy, but full of poetry, and I
always thought very high things of him as a composer and lamented his
loss both personally and artistically.” 9
6 Banfield 7 Banfield 8 Unknown Author, Obituary: Ernest Bristow Farrar. (1918). The Musical Times , 59 (909), 503. 9 Benoliel, 5.
3
Farrar had created over forty opus numbers before his death. Of these forty works, eleven were written for orchestra. “After his death, despite the efforts of Stanford and Farrar’s widow, his music fell into neglect… the full scores of his four works for voices and orchestra are missing and the only performing material to survive is English Pastoral
Impressions .” 10 Ernest Farrar’s work English Pastoral Impressions is the
subject of the remainder of this document and of the transcription
contained herein.
10 Benoliel, 5.
4
CHAPTER TWO
ENGLISH PASTORAL IMPRESSIONS
Historical Information
The English Pastoral Impressions, Opus 26 was written by Farrar in
1915, and was dedicated to Farrar’s friend and fellow musician, Ralph
Vaughan Williams. This work is “a highly unified suite in three sections.
Farrar’s tonality, like that of Vaughan Williams, is influenced by the modal pentatonic tunes of the British Isles.” 11 The world premiere of this
work was performed by the Harrogate Orchestra in May of 1915.
The first movement entitled Spring Morning utilized musical motifs from the English folk songs “Summer is Icumen in” and “Angelus”.
Farrar notated the titles of these folk songs in the score as they appear.
“The ‘Angelus’ played on bells and muted horn over strings has an Ives- like effect; its introduction both unexpected and moving.” 12 The tubular bell part was also written as a cue in the bassoon in the event that the tubular bells were unavailable, or to suit the preference of the conductor.
Farrar wrote for the following instruments in the first movement: 2 flauti,
2 oboi, 2 clarinetti in B-flat, 2 fagotti, 2 corni in F, bells, violini I, violini
II, viole, violoncelli, bassi.
The first movement begins as Allegro moderato, starts in the key of B- flat major, and contains a delicate introduction performed by only two flutes and two clarinets. This movement does not utilize a clearly defined
11 Benoliel, 9. 12 Benoliel, 9.
5 formal structure such as the rondo or ternary form. In the first movement, the formal structure is ABCB’ACB’.
In the fourth measure of the first movement, Farrar wrote for oboe
with a triplet rhythm against the flutes’ sixteenth note passage. It is upon this background Farrar introduced the melody (ILLUSTRATION 1) in measure six written for bassoons, horns, and violas.
ILLUSTRATION 1
The first movement contains a modulation from the key of B-flat major to the key of G major in the Alla Pastoral section at measure 26, featuring “Old Melody: Summer is Icumen in” (ILLUSTRATION 2) in the solo violin I. This melody is first echoed in measure 27 by a solo viola, and again in measure 28 by the solo violin II. The canon of the melodic figure is repeated before leading into the introduction of the melody
“Angelus” (ILLUSTRATION 3) at the Adagio section of the movement at measure 45. This section of the movement was written in the key of E- flat major. After this brief interlude, the Alla Pastorale returns at measure 53 in the key of G Major. The “Old Melody: Summer is Icumen in” motif returns in violin I accompanied by an accelerando leading the
6 ensemble back to Tempo I and returning to the tonic key of B-flat. This return contains the opening harmonic and melodic elements exactly as
written in the opening of the piece.
ILLUSTRATION 2
ILLUSTRATION 3
After the return of the opening melody and accompaniment, Farrar
bypassed the Alla Pastoral section and instead wrote an Adagio return of
“Angelus.” Another brief accelerando leads the ensemble back into the
melodic motif of “Summer is Icumen In,” this time in Allegro which
ultimately ends the first movement. The first movement comes to a close as the ensemble executes concert B-flat in unison.
The second movement entitled Brendon Hill is marked Andante and is
a “miniature tone poem employing an ABCABA structure.” 13 This movement begins in the key of G Major and a majority of the movement contains a solo viola. The writing in the second movement is also a work of contrasts. After four measures of melody and accompaniment, there is
13 Benoliel, 9.
7 a very soft and slow moving, four measure figure written for two unaccompanied clarinets.
ILLUSTRATION 4
The main melodic and harmonic structure returns with the written ensemble, and the melody was passed from a solo oboe to a solo horn.
The viola soloist and the ensemble then repeated the introduction material of this movement.
The second movement progresses into a Piu Mosso section in F Major at measure 155, and more instruments from the ensemble thicken the texture of the musical line. The tempo then builds to the first climax of the work at the Allegro Moderato in measure 173. Here, nearly the entire ensemble enters at the only dynamic marking of fortissimo located in the entire three movement suite. During the second movement, Farrar utilized the following instrumentation: 2 flauti, 2 oboi, 2 clarinetti in b- flat, 2 fagotti, 2 corni in F, 2 trombe in F, 3 tromboni, timpani, bells, violini I, violini II, viole, violoncelli, bassi. Farrar added two trumpets, three trombones, and timpani in this second movement of the work.
At the conclusion of the fortissimo section of the second movement,
Farrar reduced the instrumentation of the ensemble as he wrote toward the return of the opening melodic motif of the second movement, finally
8 modulating back to G Major at measure 197. Before returning to the opening melody, a violin echoes the original viola solo from the beginning of the movement. The solo descends through three octaves leading to the return of the original viola solo. The ensemble once again performs the harmonic and melodic figures of the opening section of the movement following this solo. The second movement ends as it began, with a soft and slow moving viola solo.
The third movement entitled Over the Hills and Far Away is the shortest of the three movements and starts in the key of C Major but uses the C mixolydian mode for the majority of the opening thematic material. The formal structure of the third movement is ABCAB, and begins with a brief introductory horn call implemented first at forte, then echoed at pianissimo until nearly the entire ensemble enters at the dynamic level of forte on a perfect authentic cadence. For the third movement, Farrar wrote for the following instrumentation: 2 flauti, 2 oboi, 2 clarinetti in b-flat, 2 fagotti, 2 corni in F, 2 trombe in F, 3 tromboni, tuba, timpani, side drum, cymbals, bass drum, violin I, violin
II, viole, violoncelli, and bassi. This movement also utilizes the full instrumentation needed for the performance of this piece, and calls for the addition of tuba, side drum, cymbals, and bass drum.
A gigue-like melody in six-eight, featuring an accompaniment drone in the bassoon voice, is exposed after the introductory material of the third movement, (ILLUSTRATION 5). This melody varies from a clarinet
9 solo to a flute solo, and then back to a clarinet which progresses until the full ensemble enters at the Allargando in measure 262.
ILLUSTRATION 5
The instrumentation is slowly reduced from Allargando and
transitions to an Andante section and in the key of E Major. The melodic
figure of the movement is augmented from six-eight to common time in
this section, and the melody is exchanged from instrument to instrument
as previously written in the third movement. Farrar transitioned this
development section through the keys of E, G, E, and then back to the
key to C Major. The return of the six-eight Allegro Moderato section
imitates the exact material found at the opening of the third movement.
Finally, the full ensemble performs the repeated Allargando section
which leads to a final perfect authentic cadence.
English Pastoral Impressions is an example of orchestral literature
composed by a talented young composer of the early twentieth century.
“Farrar was killed just as he was entering his first maturity as a
composer. In most of his works he was still learning – as every young
master does – by experimenting with all aspects of compositional
10 technique and searching within the tradition, of which he was a part, for a personal poetic voice.” 14
Original Instrumentation
When Farrar originally composed the piece, he composed for an orchestral wind section to compliment the string instruments. Each movement of the piece was written with a slight variation of instrumentation. The original instrumentation necessary for the performance of the English Pastoral Impressions consisted of the following:
2 Flutes 2 Oboes 2 Clarinets in B-flat 1 Clarinet in A 2 Bassoons 2 Horns if F 2 Trumpets in F 2 Trombones Tuba Timpani Percussion (Snare/Bass/Cymbals) Tubular Bells Violin I Violin II Viola Violoncello Contrabass
All instruments are not utilized during every movement of the entire suite. As stated, trumpets, trombones, and timpani 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, 10.
11 only used for 15 measures of the entire work, and only in the third movement.
An additional observation that should be noted is Farrar’s writing for the strings. Farrar wrote viola, violin, cello and contrabass parts in divisi in many instances, implying that he expected any performance of this
work to use a full orchestral string section. His use of percussion was also very sparse in relation to the other families of instruments. For example, timpani was used for only 21 measures of the entire piece,
(with the majority of the part being used in the second movement during a fifteen measure roll on B-flat). Tubular bells were also utilized in very few instances, but were featured as the sole melodic voice in two occasions, in measure 45 and measure 93 of the first movement.
Tubular bells were then later used to create a church bell effect later in the second movement.
12
CHAPTER THREE
THE TRANSCRIPTION
Orchestration for Wind Orchestra
This transcription of English Pastoral Impressions uses the following instrumentation:
1 Piccolo 2 Flutes 2 Oboes 1 English Horn Solo 1 st B-flat Clarinet Solo 2nd B-flat Clarinet 1st B-flat Clarinet (1 player) 2nd B-flat Clarinet (1 player) 3rd B-flat Clarinet (1 player) 2 Bassoons Bass Clarinet in B-flat Contra Alto Bass Clarinet in E-flat Contrabass Clarinet in B-flat 1st Alto Saxophone 2nd Alto Saxophone Tenor Saxophone Baritone Saxophone 1st Trumpet in B-flat 2nd Trumpet in B-flat 1st Horn in F 2nd Horn in F 1st Trombone 2nd Trombone 3rd Trombone (Bass Trombone) Euphonium Tuba Violoncello Contrabass Timpani Piano Xylophone Vibraphone/Chimes Percussion (Snare/Bass/Cymbals)
13
The choice of this specific instrumentation was based on the
instrumentation used by the University of Nevada, Las Vegas Wind
Orchestra. However, the 3 rd trumpets, and the 3 rd and 4 th horns in F normally found in the UNLV Wind Orchestra are excluded in this transcription. This decision was made to replicate a closer modeling of
Farrar’s writing and orchestral scoring styles.
The second appendix contains every instrumental change that was made from the original score to this transcription. Decisions regarding instrument replacements and/or substitutions were made based on the desire to emulate the sound and color of the original work. For example, in order to recreate the viola section, this wind orchestra setting contains multiple combinations of wind and string instruments in an attempt to recreate the full section sonority and tonal color.
The original string markings were maintained throughout the entire transcription to provide conductors and instrumentalists a more complete understanding of 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 transcription. Key signatures in this transcription have not been altered, and details about the tonality and structure are consistent with the original.
14
Movement I Spring Morning
Several interesting combinations and orchestration techniques were utilized in the first movement. For example, the viola section in the original work assisted carrying the melodic line during measures 5 through 7 (ILLUSTRATION 6). In order to replace the viola section in this measure, combinations of instruments were used. Another remarkable method is the cello part written to maintain the original sound of the bow moving across the string. It is then merged with tenor saxophone,
English horn and the upper tessitura of bass clarinet. The combination of the mixed wind and cello instruments was used to emulate the full viola section sonority.
ILLUSTRATION 6
15
In measures 7 and 11, the original violin lines were replaced by solo
piccolo and the clarinet section. Through measures 14 to 17,
instruments were added to the cello and contra bass lines to emphasize
what would have been the full cello and contrabass sections. Bass
clarinet, marimba, vibraphone and xylophone were added to recreate a
string pizzicato passage. During measure 22 to 25, piano was added to
the cello and contrabass lines to replace the missing string pizzicato
resonance.
In measures 26 to 29 of the first movement, the violin II section was
replaced by contrabass, piano, and marimba which employed the texture
of the string and the tone of the piano and marimba to recreate the
pianissimo pizzicato lower tessitura of the violin II sonority.
In measures 28 to 37 (ILLUSTRATION 7), the violin I solo was
replaced by a flute solo, the viola solo was changed to an English horn
solo, and the violin II solo was written for solo 1st clarinet.
ILLUSTRATION 7
16
In measures 53 to 64, the solo flute was written to replace the violin I solo, and violin II (ILLUSTRATION 8) was transcribed to marimba, string bass and piano, recreating the pizzicato sound found earlier in the transcription.
ILLUSTRATION 8
Measures 69 to measure 96 are an exact replication of the beginning of the movement , in both the original, and in this transcription.
Concluding the first movement, clarinets were used to replace the violin I section, alto saxophones were written to substitute the violin II section, and tenor sax has been added to further replicate the musical texture of the original work.
Movement II Brendon Hill
The introduction of the second movement from measures 111 to 121
(ILLUSTRATION 9) was originally written for a solo viola. In this transcription, English horn is now used for the solo voice. The English horn soloist also replaces the viola solo and any viola melodic statement
17 throughout the majority of the remainder of the entire second movement.
A 1 st trumpet cue has also been added to replace the English horn solo.
ILLUSTRATION 9
In measures 118 to 121 (EXAMPLE 10), and throughout the
remainder of the second movement, piano, cello and marimba are used
to recreate the cello I musical motif.
ILLUSTRATION 10
During these same passages, the original cello II section is replaced by contra alto bass clarinet.
In measures 126 to 129 (ILLUSTRATION 11), clarinets and contra alto bass clarinet have been written to reproduce the texture of the viola line.
18
ILLUSTRATION 11
During measures 142 to 154, clarinet 1 replaces violin I, clarinet 2 replaces violin II, and the clarinet 3 part alongside bass clarinets replaces the viola section. In addition, a euphonium soloist is cued to replace the cello soloist in the event that a cellist is not available for future ensembles.
In measures 155 to 168, the violin I solo has been transcribed for piccolo, and written as a cue for the upper register of the marimba. The decision to use marimba in these passages is given to the conductor.
In this transcription, the entire ensemble of the wind orchestra is utilized for the first time in measures 169 to 180 and all string parts have been re-voiced with wind and mallet instruments. From measure
181 to 193 (ILLUSTRATION 12), as the full ensemble dissipates in voicing, the original violin I solo has been transcribed for 2 measures of piccolo, 2 measures of flute solo, 4 measures of oboe solo, concluding
with 4 measures of English horn.
19
ILLUSTRATION 12
Throughout measures 205 to the end of the second movement, violin I has been rewritten for clarinet 1, violin II has been written for clarinet 2, and the viola line is now located in the clarinet 3 voice. The second movement concludes as it began with the English horn replacing the viola solo.
Movement III Over the Hill and Far Away
The third movement transcription begins just as the original piece
with the horn solo. In measure 233, the strings are re-voiced throughout the entire wind and mallet sections as the full ensemble is utilized for the two introductory chords after the horn solo introduction.
In measures 247 to 254 (ILLUSTRATION 13), the saxophone section has been written to recreate the four original voices of the first and second violin lines. In this instance, the violin I section has been transcribed for first and second alto saxophones, and the violin II section is now tenor and baritone saxophones.
20
ILLUSTRATION 13
In measure 296 to 304 (ILLUSTRATION 14), the violin I line has been replaced with alto saxophone 1, the violin II line is now written for alto saxophone 2, the viola line has been rewritten for 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 304 to 311
(ILLUSTRATION 15), the violin solo has been replaced with a combination of piccolo and first flute to recreate this upper tessitura violin solo line.
21
ILLUSTRATION 15
Farrar wrote the material for measures 311 to 352 as an exact replication of measures 235 to 279, and therefore the same orchestration in this transcription has been used from these measures to the end of the movement. The final chords of the third movement have also been re-voiced from the string section to appropriately utilize the entire transcribed ensemble.
Summary
Farrar was an early twentieth century composer who gave his life in battle, but not before he bestowed the world with his English Pastoral
Impressions. This following transcription was written to allow wind bands the opportunity to perform his orchestral work, and is also a continuation to the legacy of Ernest Bristow Farrar.
22
APPENDIX I
ERNEST FARRAR, ENGLISH PASTORAL IMPRESSIONS, Op. 26 :
WIND ORCHESTRA TRANSCRIPTION
23
Original Ernest Farrar Dedication to R. Vaughan Williams
ENGLISH PASTORAL IMPRESSIONS Ernest Farrar, Op. 26, Transcription for Wind Orchestra I. Spring Morning by Wm. W. Woodworth IV 24 Allegro moderato Picc. a2 Fl. mf Ob. mf 3 3 Eng. Hn. Cl. s1 mf 3 3 Cl. s2 mf 3 3 Cl. 1
Cl. 2 Cl. 3 Bsn.
B. Cl. C. A. Cl.
Cb. Cl. Alto Sax. 1 Alto Sax. 2
Ten. Sax. Bari. Sax. Tpt. 1
Tpt. 2
Hn. 1
Hn. 2
Tbn. 1
Tbn. 2
B. Tbn. 3
Eu B.C.
Tba. Vc. Cb. Timp. Pno. Allegro moderato Xyl. Vib. Mar. Chime Perc. Copyright © 2010
24 1 28 Picc. f mf Fl. mf f Ob. 3 3 3 3 3 3 f Eng. Hn. mf f Cl. s1 33 3 3 3 3 3 3 3 3 3 3 f Cl. s2 f Cl. 1 mf f Cl. 2 mf f Cl. 3 mf f Bsn. mf f pizz. B. Cl. mf f pizz. C. A. Cl. f pizz. Cb. Cl. f pizz. Alto Sax. 1 f pizz. Alto Sax. 2 f pizz. Ten. Sax. pizz. mf f Bari. Sax. f Tpt. 1 f Tpt. 2 f Hn. 1 mf f Hn. 2 mf f Tbn. 1 f pizz. Tbn. 2 f pizz. B. Tbn. 3 f pizz. Eu B.C. f pizz. Tba. arco f pizz. Vc. mf f pizz. Cb. f pizz. Timp. Pno. pizz. f Xyl. Vib. 1 Mar. f Chime Perc.
25 32 Picc. 3 mf f 3 mf Fl. 3 mf f 3 mf dim. Ob. mf 3 3 3 3 3 3 f dim. Eng. Hn. f mf Cl. s1 3 mf 33 3 3 3 3 3 3 3 3 f 3 mf Cl. s2 f 3 mf 3 mf Cl. 1 3 mf mf f 3 dim. Cl. 2 dim. 3 mf f 3 Cl. 3 mf mf f 3 3 dim. Bsn. f mf arco pizz. dim. B. Cl. mf f pizz. dim. C. A. Cl. mf f pizz. dim. Cb. Cl. f mf pizz. dim. Alto Sax. 1 mf f pizz. dim. Alto Sax. 2 pizz. mf arco f dim. Ten. Sax. mf f pizz. dim. Bari. Sax. mf f dim. Tpt. 1 mf 3 3 f dim. Tpt. 2 mf f dim. Hn. 1 mf f dim. Hn. 2 f mf pizz. Tbn. 1 dim. mfmf f pizz. dim. Tbn. 2 mfmf f pizz. dim. B. Tbn. 3 mf f pizz. dim. Eu B.C. mf f pizz. dim. Tba. mf arco f pizz. dim. Vc. mf f pizz. dim. Cb. mf f dim. Timp. Pno. pizz. mf f Xyl. Vib. pizz. Mar. mf f dim. Chime Perc.
26 37 2 Picc. mf Fl. mf p mf Ob. mf Eng. Hn. Cl. s1 p mf Cl. s2 izz. mf p arco mf Cl. 1 mf p pizz. mf arco Cl. 2 p mf pizz. mf arco Cl. 3 mf p mf Bsn. p arco B. Cl. p mf mf C. A. Cl. mf p Cb. Cl. mf Alto Sax. 1 mf Alto Sax. 2 mf Ten. Sax. mf Bari. Sax. mf Tpt. 1 mf Tpt. 2 Hn. 1
Hn. 2 Tbn. 1 mfmf Tbn. 2 mf B. Tbn. 3 mf Eu B.C. mf Tba. mf arco Vc. mf p mf Cb. p mf Timp. pizz. Pno. p p pizz. Xyl. pizz. p Vib. p pizz. 2 Mar. mf p p Chime Perc.
27 43 Picc. Fl. Ob. mf Eng. Hn. Cl. s1 Cl. s2 pizz Cl. 1 mf pizz Cl. 2 mf pizz Cl. 3 mf Bsn. mf pizz B. Cl. mf pizz C. A. Cl. mf pizz Cb. Cl. mf Alto Sax. 1 Alto Sax. 2 Ten. Sax. Bari. Sax. Tpt. 1 Tpt. 2 solo Hn. 1 p Hn. 2 Tbn. 1 Tbn. 2 B. Tbn. 3 Eu B.C. Tba. pizz Vc. mf pizz Cb. mf Timp. pizz Pno. mf pizz mf Xyl. Vib. pizz Mar. mf Chime Perc.
28 3 (OLD MELODY. "SUMER IS ICUMEN IN.") 49 Alla Pastorale. Picc. Solo. (as if) con sordino Fl. p arco 2nd time pp Ob. Solo. (as if) con sordino Eng. Hn. p arco 2nd time pp Solo. (as if) con sordino Cl. s1 p arco 2nd time pp Cl. s2 Cl. 1 Cl. 2 Cl. 3 Bsn. arco Solo. (as if) con sordino 2nd time pp B. Cl. p C. A. Cl. Cb. Cl. Alto Sax. 1 Alto Sax. 2 Ten. Sax. Bari. Sax. Tpt. 1 Tpt. 2 Hn. 1 Hn. 2 Tbn. 1 Tbn. 2 B. Tbn. 3 Eu B.C. Tba. arco Solo. con sordino Vc. p pizz 2nd time pp Cb. p Solo. con sordino 2nd time pp Timp. Pno. pizz Solo. con sordino 2nd time pp p Alla Pastorale. (OLD MELODY. "SUMER IS ICUMEN IN.") Xyl. Vib. 3 pizz Solo. con sordino Mar. p 2nd time pp Chime Perc.
29 54 1. 2. Picc. Fl. pp Ob. Eng. Hn. pp Cl. s1 Cl. s2 Cl. 1 Cl. 2 Cl. 3 Bsn. B. Cl. C. A. Cl. Cb. Cl. Alto Sax. 1 Alto Sax. 2 Ten. Sax. Bari. Sax. Tpt. 1 Tpt. 2 Hn. 1 Hn. 2 Tbn. 1
Tbn. 2
B. Tbn. 3
Eu B.C. Tba. Vc. pizz pizz Cb. pp Timp. Pno. pp Xyl. Vib. 1. 2. Mar. pp Chime Perc.
30 59 4 q. = q Picc. Fl. Ob.
Eng. Hn. Cl. s1 Cl. s2 (as if) con sordini Cl. 1 pp Cl. 2 Cl. 3 Bsn. B. Cl. C. A. Cl. Cb. Cl. con sordini Alto Sax. 1 pp Alto Sax. 2 Ten. Sax. Bari. Sax. Tpt. 1 Tpt. 2 Hn. 1 Hn. 2 Tbn. 1
Tbn. 2
B. Tbn. 3
Eu B.C. Tba. Vc. Cb. Timp. Pno. q. = q Xyl. Vib. 4 Mar. Chime Perc.
31 (MELODY OF "ANGELUS.") 65 rall. Adagio. Picc. Fl. Ob. Eng. Hn. Cl. s1 Cl. s2 arco (as if) con sordini Cl. 1 dim. mf f pp arco(as if) con sordini Cl. 2 f dim. pp Cl. 3 dim. f 3 pp Bsn. pBells. B. Cl. con sordini C. A. Cl. dim. pp con sordini Cb. Cl. dim. pp con sordini Alto Sax. 1 dim. pp mf fcon sordini Alto Sax. 2 f dim. Ten. Sax. f dim. pp Bari. Sax. f dim. pp Tpt. 1 Tpt. 2 con sordino 3 Hn. 1 p Hn. 2
Tbn. 1 Tbn. 2
B. Tbn. 3
Eu B.C.
Tba. con sordini pp Vc. dim. Tutti Cb. con sordini dim. pp Timp. Pno. rall. Adagio. (MELODY OF "ANGELUS.") Xyl. Vib. Mar. 3 Chime p Perc.
32 74 5 Alla Pastorale. Picc. Solo. con sordino Fl. pp Ob. Eng. Hn. Cl. s1 Cl. s2 Cl. 1 Cl. 2 Cl. 3 Bsn. arco Solo. con sordino B. Cl. pp C. A. Cl. Cb. Cl. Alto Sax. 1 Alto Sax. 2 Ten. Sax. Bari. Sax. Tpt. 1 Tpt. 2 senza sordino Hn. 1 Hn. 2
Tbn. 1
Tbn. 2 B. Tbn. 3
Eu B.C. Tba. arco Solo. con sordino Vc. pp pizz Cb. pp Solo. con sordino pp Timp. Pno. pizz Solo. con sordino pp Alla Pastorale. pp Xyl. Vib. 5 Solo. con sordino pizz Mar. pp pp Chime Perc.
33 80 accelerando Picc. Fl. cresc. Ob. Eng. Hn. Cl. s1 Cl. s2 Cl. 1 Cl. 2 Cl. 3 Bsn. B. Cl. cresc. C. A. Cl. Cb. Cl. Alto Sax. 1 Alto Sax. 2 Ten. Sax. Bari. Sax. Tpt. 1 Tpt. 2 Hn. 1 Hn. 2 Tbn. 1
Tbn. 2
B. Tbn. 3
Eu B.C. Tba. Vc. cresc. Cb. cresc. Timp. Pno. accelerando cresc. Xyl. Vib. Mar. cresc. Chime Perc.
34 6 Allegro moderato 85 Tempo I. Picc. Fl. mf Ob. Eng. Hn. Cl. s1 mf Cl. s2 pizz. mf Cl. 1 mf Cl. 2 Cl. 3 Bsn. B. Cl. mf C. A. Cl. mf Cb. Cl. mf Alto Sax. 1 Alto Sax. 2 Ten. Sax. Bari. Sax. Tpt. 1 Tpt. 2 Hn. 1 Hn. 2
Tbn. 1
Tbn. 2
B. Tbn. 3
Eu B.C. Tba. senza sordini Vc. senza sordini Cb. mf Timp. pizz. Pno. mf pizz. Tempo I. Allegro moderato mf Xyl. mf Vib. 6 Mar. mf Chime Perc.
35 89 Picc. Fl.
Ob. mf 3 3 3 3 Eng. Hn. mf Cl. s1 3 3 33 3 3 Cl. s2 3 3 Cl. 1
Cl. 2 Cl. 3 Bsn. mf B. Cl. mf C. A. Cl.
Cb. Cl. Alto Sax. 1 Alto Sax. 2
Ten. Sax. mf Bari. Sax. Tpt. 1
Tpt. 2
Hn. 1 mf Hn. 2 mf Tbn. 1
Tbn. 2
B. Tbn. 3
Eu B.C. Tba. arco Vc. mf Cb. Timp. Pno. Xyl. Vib. Mar. Chime Perc.
36 93 Picc. 3 mf f mf Fl. 3 mf f mf Ob. 3 3 3 3 f mf 3 3 Eng. Hn. f mf Cl. s1 33 3 3 3 3 3 3 f 3mf 3 3 Cl. s2 3 f mf Cl. 1 3 mf f mf Cl. 2 3 mf mf f Cl. 3 mf f 3 mf Bsn. f pizz. mf B. Cl. f pizz. mf C. A. Cl. f pizz. mf Cb. Cl. f pizz. mf Alto Sax. 1 fpizz. mf Alto Sax. 2 arco fpizz. mf Ten. Sax. f pizz. mfmf Bari. Sax. f mf Tpt. 1 f mf 3 3 Tpt. 2 f mf Hn. 1 f pizz. mf Hn. 2 f mf Tbn. 1 fpizz. mf Tbn. 2 f pizz. mf B. Tbn. 3 f pizz. mf Eu B.C. f pizz. mf Tba. f pizz. mf arco Vc. f pizz. mf Cb. f mf Timp. Pno. pizz. f mf Xyl. Vib. pizz. Mar. f mf Chime Perc.
37 97 Picc. 3 mf f Fl. mf 3 mf dim. f mf Ob. 3 3 3 3 f dim. mf Eng. Hn. f dim. Cl. s1 3 3 3 3 mf mf 3 3 3 3 f 3 Cl. s2 f 3 mf Cl. 1 mf f 3 mf dim. mf Cl. 2 f mf mf 3 dim. Cl. 3 mf f 3 dim. mf Bsn. f pizz. dim. B. Cl. f pizz. dim. mf C. A. Cl. f pizz. dim. mf Cb. Cl. f pizz. dim. mf Alto Sax. 1 f pizz. dim. mf Alto Sax. 2 pizz. dim. mf f Ten. Sax. f pizz. dim. mf Bari. Sax. f dim. mf Tpt. 1 f dim. mf Tpt. 2 f dim. Hn. 1 f dim. Hn. 2 f pizz. dim. Tbn. 1 f pizz. dim. mf Tbn. 2 f pizz. dim. mf B. Tbn. 3 f pizz. dim. mf Eu B.C. f pizz. dim. mf Tba. f pizz. dim. mf Vc. f pizz. dim. mf Cb. f dim. mf Timp. Pno. pizz. f dim. mf Xyl. Vib. pizz. Mar. f dim. mf Chime Perc.
38 102 Picc. Fl. p mf Ob.
Eng. Hn. Cl. s1 p mf Cl. s2 izz. p arco mf Cl. 1 p pizz. mf arco Cl. 2 p pizz. mf arco Cl. 3 p mf Bsn. p arco B. Cl. p mf C. A. Cl. p p Cb. Cl. Alto Sax. 1 Alto Sax. 2
Ten. Sax. Bari. Sax. Tpt. 1
Tpt. 2
Hn. 1
Hn. 2 Tbn. 1
Tbn. 2
B. Tbn. 3
Eu B.C. Tba. arco Vc. p mf Cb. p Timp. Pno. pizz. p p Xyl. Vib.
Mar. p Chime Perc.
39 7 107 Adagio Picc. Fl.
Ob. mf arco. cue Eng. Hn. Cl. s1 pp
Cl. s2 pizz Cl. 1 mf pizz arco. Cl. 2 mf pizz pp arco. Cl. 3 mf pp Bsn. mf pizz arco. B. Cl. pizz mf pp arco. C. A. Cl. mf pizz pp arco. Cb. Cl. mf pp Alto Sax. 1 Alto Sax. 2
Ten. Sax. Bari. Sax. Tpt. 1
Tpt. 2 Solo Hn. 1 p Hn. 2
Tbn. 1
Tbn. 2
B. Tbn. 3
Eu B.C. Tba. pizz arco. Vc. mf pizz pp Cb. mf Timp. pizz Pno. mf pizz pizz mf Adagio Xyl. pizz mf Vib. mf pizz 7 Mar. mf Chime Perc.
40 114 Tempo I. accelerando Picc. Fl. Ob.
Eng. Hn. pp Cl. s1
Cl. s2
Cl. 1
Cl. 2 Cl. 3 3 Bells. Bsn. pp B. Cl. pp cue C. A. Cl. pp Cb. Cl. Alto Sax. 1 Alto Sax. 2
Ten. Sax. Bari. Sax. Tpt. 1
Tpt. 2 3 Soli Hn. 1 Soli Hn. 2 Tbn. 1
Tbn. 2
B. Tbn. 3
Eu B.C. Tba. Vc. arco. Cb. pp Timp. Pno. Tempo I. accelerando Xyl. Vib. Mar. 3 Chime pp Perc.
41 8 123 Allegro Picc. Fl. 3 3 3 3 3 3 3 3 f Ob. arco f 3 3 3 3 Eng. Hn. Cl. s1 f f Cl. s2 arco f pizz. 3 3 3 3 Cl. 1 f pizz. arco 3 3 3 3 Cl. 2 f pizz. arco 3 3 3 3 Cl. 3 f Bsn. f pizz. B. Cl. f pizz. C. A. Cl. f pizz. Cb. Cl. f pizz. Alto Sax. 1 f izz. p Alto Sax. 2 f pizz. Ten. Sax. f Bari. Sax. Tpt. 1
Tpt. 2
Hn. 1 f Hn. 2 f Tbn. 1
Tbn. 2
B. Tbn. 3 Eu B.C. Tba. pizz. Vc. f pizz. Cb. f Timp. Pno. Allegro Xyl. Vib. 8 Mar. Chime Perc.
42 128 accel. Picc. Fl. Ob. 3 3 3 Eng. Hn. 3 Cl. s1 Cl. s2 3 3 3 3 Cl. 1 3 3 3 arco 3 Cl. 2 3 3 3 arco 3 Cl. 3 Bsn. arco B. Cl. arco C. A. Cl. arco Cb. Cl. Alto Sax. 1 arco Alto Sax. 2 Ten. Sax. Bari. Sax. Tpt. 1 Tpt. 2 Hn. 1 Hn. 2 Tbn. 1 Tbn. 2 B. Tbn. 3 Eu B.C. Tba. Vc. arco Cb. arco Timp. Pno. accel. Xyl. Vib. Mar. Chime Perc.
43 II. Brendon Hill.
134 Andante 1 Picc. Fl. Solo Ob. Eng. Hn. pp pp Cl. s1 p Cl. s2 p Cl. 1 Cl. 2 Cl. 3 II. piano cue Bsn. cue 3 3 3 3 B. Cl. pp 3 C. A. Cl. pp Cb. Cl. Alto Sax. 1 Alto Sax. 2 Ten. Sax. Bari. Sax. Solo (cue) Tpt. 1 pp Tpt. 2 pp Hn. 1 Hn. 2 Tbn. 1 Tbn. 2 B. Tbn. 3 Eu B.C. Tba. 3 Vc. 3 pp pizz. 3 3 3 Cb. pp Timp. Pno. 3 Andante pp 3 3 3 3 Xyl. Vib. 1 cue 3 3 3 3 Mar. pp 3 Chime Perc.
44 143 Picc. Fl. I. Ob. p Eng. Hn. Cl. s1 pp p Cl. s2 pp p Cl. 1 p Cl. 2 p Cl. 3 p Bsn. 3 3 3 3 cue 3 3 B. Cl. 3 3 3 pizz. C. A. Cl. p pizz. Cb. Cl. p Alto Sax. 1 Alto Sax. 2 Ten. Sax. Bari. Sax. Tpt. 1 Tpt. 2 Hn. 1 Hn. 2 Tbn. 1
Tbn. 2
B. Tbn. 3
Eu B.C.
Tba. 3 Vc. 3 3 p pizz. 3 3 3 3 3 3 Cb. p Timp. 3 Pno. 3 3 p 3 3 3 3 3 3 Xyl. Vib. 3 3 3 3 3 3 Mar. 3 3 3 p Chime Perc.
45 151 2 Picc. Fl. Ob. Eng. Hn. pp Cl. s1 p Cl. s2 arco p Cl. 1 p cresc. arco mf Cl. 2 p cresc. mf arco Cl. 3 p cresc. mf Bsn. 3 3 play cue 3 B. Cl. 3 3 pp 3 3 cresc. arco mf C. A. Cl. arco cresc. mf Cb. Cl. cresc. mf p Alto Sax. 1 Alto Sax. 2 Ten. Sax. Bari. Sax. Tpt. 1 Tpt. 2 Solo Hn. 1 cresc. mf dim. pp p Hn. 2 Tbn. 1
Tbn. 2
B. Tbn. 3
Eu B.C. Tba. Vc. pp arco pizz. 3 3 3 3 3 3 3 Cb. p cresc. pp Timp. Pno. 3 3 pp 3 3 3 3 3 Xyl. Vib. cue 3 3 2 3 Mar. pp 3 3 3 3 Chime Perc.
46 158 Picc. Solo I. Fl. Ob. Eng. Hn. Cl. s1 pp p Cl. s2 pp Cl. 1 p Cl. 2 p Cl. 3 p Bsn. 3 B. Cl. 3 3 3 3 3 3 C. A. Cl. Cb. Cl. Alto Sax. 1 Alto Sax. 2 Ten. Sax. Bari. Sax. Tpt. 1 Tpt. 2 Hn. 1 Hn. 2 Tbn. 1
Tbn. 2
B. Tbn. 3
Eu B.C.
Tba. Vc. 3 3 3 3 3 3 3 Cb. Timp. 3 3 3 3 Pno. 3 3 3 3 3 Xyl. Vib. 3 Mar. 3 3 3 3 3 3 Chime Perc.
47 166 3 Picc. Fl. Ob. Eng. Hn. Cl. s1 pp Cl. s2 Cl. 1 pp Cl. 2 pp Cl. 3 pp Bsn. B. Cl. C. A. Cl. Cb. Cl. Alto Sax. 1 Alto Sax. 2 Ten. Sax. Bari. Sax. Tpt. 1 Tpt. 2 Hn. 1 Hn. 2 Tbn. 1
Tbn. 2
B. Tbn. 3 solo cue Eu B.C. p pp pp Tba. Vc. p pp pp Cb. Timp. Pno. Xyl. Vib. 3 Mar. Chime Perc.
48 4 176 Più mosso Picc. pp Fl. Ob. Eng. Hn. Cl. s1 p Cl. s2 pizz. Cl. 1 pizz. pp p Cl. 2 pp pizz. p Cl. 3 pp p Bsn. play pizz. p B. Cl. pp p C. A. Cl. p Cb. Cl. p Alto Sax. 1 Alto Sax. 2 Ten. Sax. p Bari. Sax. p Tpt. 1 Tpt. 2 Hn. 1 p Hn. 2 p solo Tbn. 1 stagger breathe mf Tbn. 2 pp stagger breathe B. Tbn. 3 pp stagger breathe Eu B.C. pp stagger breathe Tba. pp Vc. p Cb. p Timp. pp Pno. Più mosso Xyl. Vib. 4 pic cue Mar. pp B.D. Chime p Perc. p
49 accelerando 185 Picc. p 6 6 solo Fl. solo p arco Ob. p Eng. Hn. p 6 6 Cl. s1 Cl. s2 Cl. 1 Cl. 2 Cl. 3 Bsn. B. Cl. C. A. Cl.
Cb. Cl. Alto Sax. 1 Alto Sax. 2
Ten. Sax. Bari. Sax. solo Tpt. 1 mf p mf Tpt. 2
Hn. 1 Hn. 2 mf Tbn. 1 p Tbn. 2
B. Tbn. 3 Eu B.C. Tba. Vc. Cb. Timp. Pno. accelerando Xyl.
Vib. 6 6 Mar. p Chime Perc.
50 5 Allegro moderato. 192 unis. Picc. p mf f ff Fl. f unis. ff Ob. f ff Eng. Hn. unis. f ff Cl. s1 unis. ff Cl. s2 ff arco Cl. 1 f ff arco Cl. 2 f ff arco Cl. 3 f ff unis. Bsn. f ff B. Cl. f ff C. A. Cl. f ff Cb. Cl. unis. ff Alto Sax. 1 f ff Alto Sax. 2 f ff Ten. Sax. f ff Bari. Sax. ff Tpt. 1 mf ff Tpt. 2 mf ff Hn. 1 mf ff Hn. 2 mf ff Tbn. 1 mf ff Tbn. 2 mf ff B. Tbn. 3 mf ff Eu B.C. f ff Tba. ff Vc. f ff Cb. tr ff Timp. f ff Pno. Allegro moderato. Xyl. mf ff Vib. 5 play Mar. p mf f ff Chime B.D./Cym ff Perc. ff
51 199 rall. Picc. dim. f Fl. dim. dim. dim. f mf Ob. dim. f mf Eng. Hn. dim. f mf dim. p Cl. s1 dim. f mf p dim. Cl. s2 mf dim. f dim. dim. Cl. 1 dim. f mf dim. Cl. 2 dim. f mf dim. Cl. 3 dim. dim. f dim. mf Bsn. p dim. f dim. mf dim. B. Cl. dim. dim. p f mf dim. C. A. Cl. dim. f dim. mf p dim. Cb. Cl. f p dim. mf dim. Alto Sax. 1 dim. f Alto Sax. 2 dim. dim. f dim. mf Ten. Sax. dim. mf f dim. dim. p dim. Bari. Sax. dim. f dim. mf dim. pp dim. Tpt. 1 dim. dim. dim. f mf Tpt. 2 dim. dim. f mf dim. Hn. 1 dim. f dim. mf dim. p dim. pp Hn. 2 dim. f dim. mf dim. p pp Tbn. 1 dim. dim. f dim. mf dim. p pp Tbn. 2 dim. dim. f mf dim. p B. Tbn. 3 dim. f dim. mf dim. p dim. Eu B.C. dim. f dim. mf dim. p dim. mf Tba. dim. f dim. dim. p dim. Vc. dim. f dim. mf dim. p dim. pp Cb. dim. dim. f mf dim. p Timp. dim. f mf Pno. rall. Xyl. dim. dim. f mf dim. Vib. Mar. dim. f Chime Perc.
52 6 solo 206 Picc. mp solo Fl. solo p Ob. solo pp Eng. Hn. pp Cl. s1 Cl. s2 Cl. 1 Cl. 2 Cl. 3 Bsn. B. Cl. C. A. Cl. Cb. Cl. Alto Sax. 1 Alto Sax. 2 Ten. Sax. Bari. Sax. solo Tpt. 1 pp Tpt. 2
Hn. 1 Hn. 2 Tbn. 1 Tbn. 2 B. Tbn. 3 Eu B.C. Tba. Vc.
Cb. Timp. Pno. Xyl.
Vib. 6 Mar. Chime Perc.
53 217 7 Picc. Fl. Ob. Eng. Hn. pp Cl. s1 p pp Cl. s2 p pp Cl. 1 Cl. 2 Cl. 3 piano cue Bsn. p 3 3 3 3 3 3 cue 3 3 B. Cl. 3 3 C. A. Cl. pp pizz. Cb. Cl. pp Alto Sax. 1 Alto Sax. 2 Ten. Sax. Bari. Sax. Tpt. 1 pp Tpt. 2 Hn. 1 Hn. 2 Tbn. 1 Tbn. 2
B. Tbn. 3
Eu B.C. Tba. 3 3 Vc. pp 3 3 3 3 pizz. 3 3 3 3 Cb. pp Timp. Pno. 3 3 pp 3 3 3 3 3 3 3 3 Xyl. Vib. 7 cue 3 3 3 3 3 3 3 3 Mar. pp 3 3 Chime Perc.
54 225 Picc. Fl. I. Solo Ob. p Eng. Hn. Solo Cl. s1 p Cl. s2 con sord. Cl. 1 pp cresc. con sord. Cl. 2 pp cresc. Cl. 3 cresc. pp con sord. Bsn. 3 3 3 3 play B. Cl. pp 3 3 3 3 cresc. con sord. C. A. Cl. pp cresc. Cb. Cl. pp cresc. Alto Sax. 1 Alto Sax. 2 Ten. Sax. Bari. Sax. Tpt. 1 Tpt. 2 Hn. 1 Hn. 2 Tbn. 1
Tbn. 2
B. Tbn. 3
Eu B.C.
Tba. 3 3 3 cresc. Vc. pp 3 3 3 3 3con sord. Cb. pp cresc. Timp. Pno. pp 3 3 3 3 3 3 3 3 Xyl. Vib. cue 3 3 3 3 Mar. pp 3 3 3 3 Chime Perc.
55 233 8 Picc. Fl. I. solo Ob. p Eng. Hn. Cl. s1 cresc. mf pp Cl. s2 Cl. 1 mf pp Cl. 2 mf pp Cl. 3 pp mf Bsn. B. Cl. mf pp C. A. Cl. mf Cb. Cl. Alto Sax. 1 Alto Sax. 2 Ten. Sax. Bari. Sax. Tpt. 1 Tpt. 2 Hn. 1 Hn. 2 Tbn. 1
Tbn. 2
B. Tbn. 3
Eu B.C. Tba. Vc. pp Cb. mf Timp. Pno. Xyl. Vib. 8 Mar. Chime Perc.
56 240 rall. Picc. Fl. Ob. I. Solo Eng. Hn. p pp pp ppp Cl. s1 Cl. s2 Cl. 1 Cl. 2 Cl. 3 Bsn. B. Cl. C. A. Cl. Cb. Cl. Alto Sax. 1 Alto Sax. 2 Ten. Sax. Bari. Sax. I. Solo (cue) Tpt. 1 ppp p pp pp Tpt. 2 Hn. 1 Hn. 2 Tbn. 1 Tbn. 2 B. Tbn. 3 Eu B.C. Tba. Vc. Cb. Timp. Pno. rall. Xyl. Vib. Mar. Chime Perc.
57 III. Over the Hills and Far Away
247 Allegro moderato. Picc. Fl. f Ob. f Eng. Hn. f Cl. s1 f Cl. s2 f Cl. 1 f Cl. 2 f Cl. 3 f Bsn. p f B. Cl. f C. A. Cl. f Cb. Cl. f Alto Sax. 1 f Alto Sax. 2 f Ten. Sax. f Bari. Sax. f Tpt. 1 f Tpt. 2 echo f Hn. 1 f 3 3 pp 3echo 3 f Hn. 2 f f 3 3 pp 3 3 Tbn. 1 f Tbn. 2 f B. Tbn. 3 f Eu B.C. f Tba. f Vc. f Cb. Timp in C.D. & G. f Timp. f Pno. Allegro moderato. Xyl. Vib. Mar. Chime Perc.
58 9 Tempo I. 258 Picc.
Fl.
Ob. Eng. Hn. I. Solo Cl. s1 mp Cl. s2 Cl. 1 Cl. 2 Cl. 3 Bsn. pizz. B. Cl. p pizz. C. A. Cl. p Cb. Cl. Alto Sax. 1 Alto Sax. 2 Ten. Sax. Bari. Sax. Tpt. 1 Tpt. 2 I. Solo Hn. 1 p Hn. 2
Tbn. 1
Tbn. 2
B. Tbn. 3
Eu B.C.
Tba. pizz. Vc. p Cb. Timp. Pno. Tempo I. Xyl.
Vib. 9 pizz. Mar. p Chime S.D. Perc. pp
59 265 Picc. I. Fl. p Ob. pizz. Eng. Hn. p p I. Cl. s1 p Cl. s2 Cl. 1 Cl. 2 Cl. 3 Bsn. B. Cl. C. A. Cl. p Cb. Cl. Alto Sax. 1 p Alto Sax. 2 p Ten. Sax. p Bari. Sax. p Tpt. 1 Tpt. 2 I. Hn. 1 p Hn. 2 Tbn. 1
Tbn. 2
B. Tbn. 3
Eu B.C. Tba. pizz. Vc. p Cb. Timp. Pno. Xyl.
Vib. Mar. Chime Perc.
60 273 accel. Picc.
Fl.
Ob. arco. f Eng. Hn. cresc. Cl. s1 f Cl. s2 f Cl. 1 Cl. 2 Cl. 3 Bsn. f B. Cl. f C. A. Cl. f Cb. Cl. arco f Alto Sax. 1 cresc. arco Alto Sax. 2 arco cresc. Ten. Sax. arco cresc. f Bari. Sax. cresc. f Tpt. 1 Tpt. 2 Hn. 1 f Hn. 2 f Tbn. 1
Tbn. 2
B. Tbn. 3
Eu B.C. Tba. arco Vc. p pizz. cresc. f arco Cb. p p cresc. f Timp. Pno. accel. Xyl.
Vib.
Mar.
Chime Perc. mf
61 10 allargando 281 Picc. f Fl. f Ob. f Eng. Hn. f Cl. s1 f Cl. s2 f Cl. 1 f Cl. 2 f Cl. 3 f Bsn. f B. Cl. f C. A. Cl. f Cb. Cl. f Alto Sax. 1 f Alto Sax. 2 f Ten. Sax. f Bari. Sax. f Tpt. 1 f Tpt. 2 f Hn. 1 f Hn. 2 f Tbn. 1 f Tbn. 2 f B. Tbn. 3 f Eu B.C. f Tba. f Vc. f Cb. f Timp.
Pno. allargando Xyl. f Vib. f 10 Mar. f Chime Perc. f
62 poco accel. 289 Picc. solo Fl. cresc. p Ob.
Eng. Hn. solo Cl. s1 cresc. p Cl. s2 2 Cl. 1 p cresc. 2 Cl. 2 p cresc. Cl. 3 p Bsn. cresc. p B. Cl. p C. A. Cl. p
Cb. Cl. cresc. p Alto Sax. 1 Alto Sax. 2
Ten. Sax. p cresc. Bari. Sax. Tpt. 1 Tpt. 2 2 Hn. 1 cresc. p Hn. 2 p cresc. Tbn. 1 Tbn. 2
B. Tbn. 3 Eu B.C. Tba. Vc. p cresc. Cb. p cresc. Timp.
Pno. poco accel. Xyl. p cresc. Vib. p cresc. 2 Mar. p cresc. Chime Perc. p
63 11 297 Picc. a2 Fl. f Ob. f Eng. Hn. Cl. s1 f mf f Cl. s2 2 f arco Cl. 1 p 2 f mf f arco Cl. 2 p f mf arco f Cl. 3 f p f Bsn. mf f p f arco B. Cl. f mf p farco C. A. Cl. f mf p f arco Cb. Cl. f f Alto Sax. 1 Alto Sax. 2 arco Ten. Sax. f f Bari. Sax. Tpt. 1 Tpt. 2 2 Hn. 1 f f Hn. 2 f f Tbn. 1
Tbn. 2
B. Tbn. 3 f Eu B.C. f Tba. f arco Vc. f f arco Cb. f f Timp. Pno. arco Xyl. f ff arco Vib. f ff 11 pizz. arco 2 Mar. f mf p f Chime S.D. Perc. f
64 12 306 Allargando. Andante. Picc. Fl. Ob. Eng. Hn. I. Cl. s1 mf Cl. s2 Cl. 1 Cl. 2 Cl. 3 Bsn. p B. Cl. mf C. A. Cl. f p p Cb. Cl. f p p Alto Sax. 1 Alto Sax. 2 Ten. Sax. Bari. Sax. Tpt. 1 Tpt. 2 Hn. 1 p f p Hn. 2 p f p Tbn. 1 p f p Tbn. 2 p f p B. Tbn. 3 f p Eu B.C. f p Tba. f p Vc. f p p Cb. f p p Timp. Pno. Allargando. Andante. Xyl. Vib. 12 Mar. Chime Perc.
65 315 Picc. Fl. I. Ob. p mf cresc. Eng. Hn. Cl. s1 cresc. p Cl. s2 p mf cresc. Cl. 1 p Cl. 2 p Cl. 3 p Bsn. cresc. B. Cl. C. A. Cl. p Cb. Cl. p Alto Sax. 1 p Alto Sax. 2 p Ten. Sax. Bari. Sax. Tpt. 1 Tpt. 2 solo Hn. 1 solo cresc. Hn. 2 cresc. Tbn. 1
Tbn. 2
B. Tbn. 3 Eu B.C. Tba. Vc. p Cb. p Timp. Pno. Xyl. Vib. Mar. Chime Perc.
66 321 rit. Picc. Fl. f Ob. mf f Eng. Hn. Cl. s1 Cl. s2 f Cl. 1 p mf f Cl. 2 p mf f Cl. 3 mf f p Bsn. f B. Cl. C. A. Cl. mf f p Cb. Cl. f p Alto Sax. 1 f p Alto Sax. 2 f p Ten. Sax. Bari. Sax. Tpt. 1 Tpt. 2 3 Hn. 1 3 Hn. 2 Tbn. 1
Tbn. 2
B. Tbn. 3
Eu B.C. Tba. Vc. f p Cb. mf f p Timp. Pno. rit. Xyl. Vib. Mar. Chime Perc.
67 13 cue 327 rit. Andante. solo Picc. p play solo (cue) Fl. p solo Ob. p Eng. Hn. Cl. s1 Cl. s2 Cl. 1 pp pp Cl. 2 pp pp Cl. 3 pp pp Bsn. B. Cl. C. A. Cl. pp pp Cb. Cl. pp pp Alto Sax. 1 pp pp Alto Sax. 2 pp pp Ten. Sax. Bari. Sax. Tpt. 1 Tpt. 2 Hn. 1 Hn. 2 Tbn. 1 Tbn. 2 B. Tbn. 3 Eu B.C. Tba. Vc. pp pp Cb. pp pp Timp. Pno. Andante. rit. Xyl. Vib. 13 Mar. Chime Perc.
68 14 Allegro moderato. 334 Picc. Fl.
Ob. Eng. Hn. I. Cl. s1 p Cl. s2 Cl. 1 Cl. 2
Cl. 3 Bsn. p pizz. B. Cl. p pizz. C. A. Cl. p Cb. Cl. Alto Sax. 1 Alto Sax. 2 Ten. Sax. Bari. Sax. Tpt. 1 Tpt. 2 I. Hn. 1 p Hn. 2
Tbn. 1
Tbn. 2 B. Tbn. 3
Eu B.C.
Tba. pizz. Vc. p Cb. Timp. Pno. Allegro moderato. Xyl.
Vib. 14 Mar.
Chime
Perc.
69 341 accel. Picc. I. Fl. p Ob. arco. Eng. Hn. I. Cl. s1 p Cl. s2 Cl. 1 Cl. 2 Cl. 3 Bsn. B. Cl. p C. A. Cl. p pizz. Cb. Cl. pizz. p arco. Alto Sax. 1 mp pizz. dim. arco. Alto Sax. 2 mp pizz. dim. arco. Ten. Sax. mp pizz. dim. arco. Bari. Sax. mp dim. Tpt. 1 Tpt. 2 I. Hn. 1 p Hn. 2 Tbn. 1
Tbn. 2
B. Tbn. 3
Eu B.C. Tba. arco. Vc. p pizz. arco. Cb. p Timp. Pno. accel. Xyl.
Vib.
Mar.
Chime Perc.
70 349 Picc.
Fl.
Ob. f Eng. Hn. cresc. Cl. s1 f Cl. s2 f Cl. 1 Cl. 2 Cl. 3 Bsn. f B. Cl. f C. A. Cl. f Cb. Cl. f Alto Sax. 1 cresc. Alto Sax. 2 cresc. Ten. Sax. cresc. Bari. Sax. cresc. Tpt. 1 Tpt. 2 Hn. 1 f Hn. 2 f Tbn. 1
Tbn. 2
B. Tbn. 3
Eu B.C. Tba. Vc. cresc. f Cb. cresc. f Timp. Pno. Xyl.
Vib.
Mar.
Chime Perc. mf
71 15 357 Allargando Picc. f Fl. f Ob. f Eng. Hn. f Cl. s1 f Cl. s2 f Cl. 1 f Cl. 2 f Cl. 3 f Bsn. f B. Cl. f C. A. Cl. f Cb. Cl. f Alto Sax. 1 f Alto Sax. 2 f Ten. Sax. f Bari. Sax. f Tpt. 1 f Tpt. 2 f Hn. 1 f Hn. 2 f Tbn. 1 f Tbn. 2 f B. Tbn. 3 f Eu B.C. f Tba. f Vc. f Cb. f Timp. Pno. Allargando Xyl. f Vib. f 15 Mar. f Chime Perc. f
72 365 poco accel. Picc. solo Fl. cresc. f Ob.
Eng. Hn. solo Cl. s1 cresc. f Cl. s2 2 2 Cl. 1 cresc. p 2 f 2 Cl. 2 cresc. p f Cl. 3 p f Bsn. cresc. p f B. Cl. p f C. A. Cl. p f Cb. Cl. p cresc. f Alto Sax. 1 Alto Sax. 2 Ten. Sax. p f Bari. Sax. cresc. Tpt. 1 Tpt. 2 cresc. 2 2 Hn. 1 cresc. p f Hn. 2 f p Tbn. 1 Tbn. 2
B. Tbn. 3 Eu B.C. Tba. Vc. p cresc. f Cb. p cresc. f Timp. Pno. poco accel. Xyl. p cresc. f Vib. cresc. p f 2 2 Mar. p cresc. f Chime Perc. p
73 374 Picc. f a2 ff Fl. f ff Ob. f ff Eng. Hn. ff f Cl. s1 mf f ff Cl. s2 f arco ff Cl. 1 ff mf p arco f Cl. 2 mf p arco f ff Cl. 3 f ff mf p arco Bsn. p f ff a2 B. Cl. p arco ff mf f C. A. Cl. mf p farco ff Cb. Cl. ff f Alto Sax. 1 f ff Alto Sax. 2 arco f ff Ten. Sax. f arco ff Bari. Sax. f ff Tpt. 1 f ff Tpt. 2 f ff Hn. 1 p f ff Hn. 2 p f ff Tbn. 1 f ff Tbn. 2 f ff B. Tbn. 3 f ff Eu B.C. f arco ff Tba. ff f Vc. f arco ff Cb. f ff Timp. ff Pno. arco Xyl. ff ff arco Vib. izz. ff ff p arco Mar. mf p f ff Chime S.D. Perc. f ff
74 APPENDIX II
Transcription Equivalency Chart
This chart provides a description of the changes made from the original instrumentation from Ernest Farrar’s English Pastoral
Impressions for orchestra, to the current transcription.
Position in score Orchestra Score Transcribed Score
Movement No. 1 Mm. 5-7 Viola Cello Bass Clarinet Tenor Saxophone English Horn
Mm. 7 Violin I Piccolo, Clarinet 1 Violin II Clarinet 2, Clarinet 3
Mm. 8-9 Violin 1 Piccolo Violin 2 Clarinets 1-3 Viola Alto Saxophones, Trumpets, Cello Cello Bass Clarinets, Marimba, Piano Contrabass Trombones, Euphonium, Tuba Oboe Add English Horn and Trumpets (Mm. 9)
Mm. 10-11 Viola Cello Bass Clarinet Tenor Saxophone
Mm. 11 Violin I, II Piccolo, Clarinets 1-3
Mm. 12 – 14 Violin 1 Piccolo Violin 2 Clarinets 1-3 Viola Alto Saxophones, Trumpets, Cello Cello Bass Clarinets, Marimba, Piano Contrabass Trombones, Euphonium, Tuba
75
Position in score Orchestra Score Transcribed Score Contrabass Trombones, Euphonium, Tuba Oboe Add English Horn and Trumpets
Mm. 14 – 17 Cello Bass Clarinet Contrabass Add Marimba, Vibraphone, Xylophone Violin I Clarinets 1-3
Mm. 22-25 Violin I Clarinets 1-3 Viola Contra Alto Bass Clarinet Cello Add Piano Contrabass Add Piano and Marimba
Mm. 26-29 Violin II Contrabass, Piano, Marimba
Mm. 28-37 Violin I Flute Solo
Mm. 29-37 Viola English Horn
Mm. 30-33 Violin II Solo 1 st Clarinet
Mm. 35-41 Violin II Marimba, Piano, Contrabass
Mm. 41-44 Violin I Clarinet 1, Alto Saxophone 1 Violin II Clarinets 2-3, Contra Alto Bass Clarinet and Contra Bass Clarinet Cello Alto Saxophone 2, Tenor Saxophone, Contrabass
Mm. 45-52 Violin I Clarinet 1, Alto Saxophone 1 Violin II Clarinets 2-3 and Alto Saxophone 2 Cello Add String Bass, Tenor Saxophone, Baritone Saxophone, Contra Alto Bass Clarinet and Contra Bass Clarinet
Mm. 52-64 Violin II Marimba, String Bass, Piano
Mm. 55-64 Violin I Flute Solo
76
Position in score Orchestra Score Transcribed Score Mm. 64-65 Violin I Clarinet 1, Piano, Xylophone
Violin II Marimba, Piano, Contrabass, Contra Alto Bass Clarinet and Contra Bass Clarinet
Mm. 69-71 Viola Cello Bass Clarinet Tenor Saxophone English Horn
Mm. 71 Violin I Piccolo, Clarinet 1 Violin II Clarinet 2, Clarinet 3
Mm. 72-73 Violin 1 Piccolo Violin 2 Clarinets 1-3 Viola Alto Saxophones, Trumpets, Cello Cello Bass Clarinets, Marimba, Piano Contrabass Trombones, Euphonium, Tuba Oboe Add English Horn and Trumpets
Mm. 74-75 Viola Cello Bass Clarinet Tenor Saxophone
Mm. 75 Violin I, II Piccolo, Clarinets 1-3
Mm. 76-77 Violin 1 Piccolo Violin 2 Clarinets 1-3 Viola Alto Saxophones, Trumpets, Cello Cello Bass Clarinets, Marimba, Piano Contrabass Trombones, Euphonium, Tuba Oboe Add English Horn and Trumpets
Mm. 78-81 Cello/ Bass Clarinet
77
Position in score Orchestra Score Transcribed Score Contrabass Add Marimba, Vibraphone, Xylophone Violin I Clarinets 1-3
Mm. 86-89 Violin I Clarinets 1-3 Viola Contra Alto Bass Clarinet Cello Add Piano String Bass Add Piano and Marimba
Mm. 90-95 Violin I Clarinet 2 Violin II Clarinet 3 Viola English Horn, Bass Cl., Cello Add Contra Alto Bass Clarinet and Contra Bass Clarinet
Mm. 96-97 Viola Bass Clarinet, Contra Alto Bass Clarinet and English Horn Cues
Mm. 101-103 Violin I Clarinets 1-3 Violin II Alto Saxophones 1-2, Tenor Saxophone, Viola Bass Clarinet, Contra Alto Bass Clarinet and Contra Bass Clarinet
Mm. 104-105 Violin I Clarinets 1-3 Violin II English Horn
106-110 Violin I Clarinets 1-3 Violin II Alto Saxophones 1-2, Tenor Saxophone Viola Bass Clarinet, Contra Alto Bass Clarinet and Contra Bass Clarinet
Movement No. 2 Mm. 111-121 Viola English Horn (cued in 1 st Trumpet)
Mm. 118-121 Cello I Add to Piano, and cued in Marimba and Bass Clarinet Cello II Contra Alto Bass Clarinet
78
Position in score Orchestra Score Transcribed Score Mm. 126-129 Viola Clarinets 1-3, Contra Alto Bass Bass Clarinet Cello I Add to Piano, and cued in Marimba and Bass Clarinet Cello II Contrabass Clarinet
Mm. 130-133 Viola Clarinets 1-3
Cello I Add Piano Cello II Contra Alto Bass and Contra Bass Clarinet Contrabass Add Contrabass Clarinet
Mm. 134-137 Viola English Horn Cello I Add to Piano, and cued in Marimba and Bass Clarinet Cello II Contra Alto Bass Clarinet
Mm. 142-154 Violin I Clarinet 1 Violin II Clarinet 2 Viola Clarinet 3, add Bass Clarinet mm. 154 Cello Solo cued in Euphonium
Mm. 155-168 Violin I Piccolo, Cued on Marimba Violin II Clarinets 1-3 Viola Bass Clarinet Cello Add Contra Alto Bass Clarinet, Tenor Saxophone, Trombones 2-3 Contrabass Add Contrabass Clarinet, Baritone Saxophone, Euphonium, Tuba
Mm. 169-180 Violin I Piccolo and Marimba Violin II Clarinets 1-3 Viola English Horn Cello/Contrabass Add Trombone 3, Euphonium, Tuba Trumpet Add Xylophone
Mm. 181-193 Violin I Piccolo, then Flute, then Oboe (2 measures each of the descending melodic line) Violin II Solo Clarinet 2, Clarinet 1
79
Position in score Orchestra Score Transcribed Score Viola Clarinets 2-3 Cello Clarinet, Contra Alto Bass Clarinet, Contrabass
Mm. 193-196 Viola English Horn, cued in 1 st Trumpet Mm. 197-200 Cello I Piano, cued in Marimba and Bass Clarinet Cello II Contra Alto Bass Clarinet Contrabass Add Contra Bass Clarinet
Mm. 205-212 Violin I Clarinet 1 Violin II Clarinet 2 Viola Clarinet 3 Cello I Piano, cued in Marimba and Bass Clarinet Cello II Contra Alto Bass Clarinet Contrabass Add Contra Bass Clarinet
Mm. 213-217 Violin I Clarinet 1 Violin II Clarinet 2 Viola Clarinet 3 Cello Add Bass Clarinet
Mm. 217-223 Viola English Horn, cued in 1 st Trumpet
Movement No. 3 Mm. 233 Strings Chords voiced throughout all wind instruments
Mm. 235-247 Viola Bass Clarinet Cello Contra Alto Bass Clarinet and Marimba
Mm. 247-254 Violin I Alto Saxophones 1-2 Violin II Tenor Saxophone, Baritone Saxophone Viola English Horn
Mm. 255-258 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
Position in score Orchestra Score Transcribed Score Clarinet, Tenor Saxophone and Baritone Saxophone
Mm. 259-261 Violin I and II Clarinets 1-3 Viola Bass Clarinet, Contra Alto Bass Clarinet Cello Tenor and Baritone Saxophone
Mm. 262-270 Violin I and II Piccolo, Clarinets 1-3, Alto Saxophone 1, Marimba Viola English Horn, Bass Clarinet, Contra Alto Bass Clarinet and Alto Saxophone 2
Cello/Contrabass Contrabass Clarinet, Tenor and Baritone Saxophones, Trombone 3, Euphonium, Xylophone and Vibraphone
Mm. 271-282 Violin I Clarinets 1-2 and Marimba Violin II Clarinet 3 Viola Bass Clarinet Cello Contra Alto Bass Clarinet, Tenor Saxophone Contrabass Add octave Trombone 3, Euphonium and Tuba
Mm. 283-286 Tuba Add octave Trombone 3 and Euphonium
Mm. 287-296 Viola Bass Clarinet Cello Add Contra Alto Bass Clarinet Contrabass Add Contra Bass Clarinet
Mm. 296-304 Violin I Alto Saxophone 1 Violin II Alto Saxophone 2 Viola Clarinets 1-3 Cello Contra Alto Bass Clarinet Contrabass Contrabass Clarinet
Mm. 304-311 Violin I (solo) Piccolo and Flute 1 Violin I Alto Saxophone 1 Violin II Alto Saxophone 2 Viola Clarinets 1-3
81
Position in score Orchestra Score Transcribed Score Cello Contra Alto Bass Clarinet
Mm. 311-320 Viola Bass Clarinet Cello Contra Alto Bass Clarinet and Marimba Mm. 321-328 Violin I Alto Saxophones 1-2 Violin II Tenor Saxophone, Baritone Saxophone Viola English Horn
Mm. 329-332 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 Saxophone and Baritone Saxophone
Mm. 333-335 Violin I and II Clarinets 1-3 Viola Bass Clarinet, Contra Alto Bass Clarinet Cello Tenor Saxophone and Baritone Saxophone
Mm. 336-344 Violin I and II Piccolo, Clarinets 1-3, Alto Saxophone 1, Marimba Viola English Horn, Bass Clarinet, Contra Alto Bass Clarinet and Alto Saxophone 2 Cello/Contrabass Contrabass Clarinet, Tenor and Baritone Saxophones, Trombone 3, Euphonium, Xylophone and Vibraphone
Mm. 345-352 Violin I Clarinets 1-2 and Marimba Violin II Clarinet 3 Viola Bass Clarinet, Cello Contra Alto Bass Clarinet, Tenor Saxophone Contrabass Add octave Trombone 3, Euphonium and Tuba
Mm. 353-357 Violin I Piccolo, Clarinets 1-2, Alto Saxophone 1 and Marimba
82
Position in score Orchestra Score Transcribed Score Violin II Clarinet 3, Xylophone and Vibraphone Viola Alto Saxophone 2, Bass Clarinet, Contra Alto Bass Clarinet Cello Tenor Saxophone, Contrabass Contra Bass Clarinet, Baritone Saxophone, Trombone 3, Euphonium and Tuba
Mm. 358-359 All Strings The Last two chords are voiced throughout the entire ensemble
83
CopyCat Music Licensing, LLC - Copyright Permissions Service
October 17, 2008
William Woodworth 5526 W Lake Mead Blvd Las Vegas, NV 89108
Re: English Pastoral Impressions by Ernest Farrar
Dear William,
The author died in 1918 and that song was published in 1915… therefore, it is public domain.
Thanks,
Fayme Barth Assistant, Music Licensing CopyCat Music Licensing, LLC 2920 Scarlett Drive La Crosse, WI 54601 (608) 788-1630 – Phone (608) 788-1633 – Fax
Copyright Administrator For: Eric Whitacre – Carpe Ranam Productions / Shadow Water Music Jim Bonney – AVSICTISM Music Gramercy Music (UK) Créations Méandres, Inc. – Cirque du Soleil
84
BIBLIOGRAPHY
Banfield, S. (n.d.). Grove Music Online . Retrieved September 19, 2009, from Oxford Music Online: http://www.oxfordmusiconline.com/subscriber/article/grove/music/09 333
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 Impressions: Suite for Orchestra, Op. 26. London: Stainer & Bell.
Farrar, E. (Composer). (1997). Ernest Farrar: Orchestral Works. [P. Orchestra, Performer, & A. Mitchell, Conductor] Essex, England.
Obituary: Ernest Bristow Farrar. (1918). The Musical Times, 59 (909).
Unknown. (2009). Farrar: Orchestral Music . Retrieved August 31, 2009, from The Classical Shop: http://www.theclassicalshop.net/details06MP3.asp?CNumber=CHAN 9586
85
VITA
Graduate College University of Nevada, Las Vegas
William Wallace Woodworth IV
Home Address: 5526 W Lake Mead Blvd Las Vegas, NV 89108
Degrees: Bachelor of Arts, Music Education, 2001 University of Wyoming
Master of Music, 2005 University of Nevada, Las Vegas
Special Honors and Awards: Student nomination and recipient of the National Society of High School Scholars, Educator of Distinction Award, Las Vegas, Nevada, 2007
Dissertation Title: Ernest Farrar, English Pastoral Impressions Op. 26: A Transcription for Wind Orchestra
Dissertation Examination Committee: Chairperson, Professor Thomas G. Leslie, M.S. Committee Member, Professor Dean Gronemeier, D.M.A., J.D. Committee Member, Professor Anthony LaBounty, M.S. Committee Member, Professor Takayoshi Suzuki Graduate Faculty Representative, Professor Jeffrey Koep, Ph.D.
86