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Red Pony, The

From Wind Repertory Project
Aaron Copland

Aaron Copland


Subtitle: Film Suite for Band


General Info

Year: 1948 / 1968
Duration: c.14:35
Difficulty:
Publisher: Boosey & Hawkes
Cost: Score & Parts: $140.00


Movements

1. Dream March and Circus Music- 4:40
2. Walk to the Bunkhouse - 2:42
3. Grandfather’s Story - 4:10
4. Happy Ending - 3:06

Instrumentation

Full Score
C Piccolo [divisi]
Flute I-II [divisi a3]
Oboe I-II
Bassoon I-II
E-flat Soprano Clarinet
B-flat Soprano Clarinet I-II [both parts divisi]
E-flat Alto Clarinet
B-flat Bass Clarinet
B-flat Contrabass Clarinet
E-flat Alto Saxophone I-II
B-flat Tenor Saxophone
E-flat Baritone Saxophone
Cornets I-II-III [Cornet I divisi]
B-flat Trumpet I-II
Horn in F I-II-III-IV
Trombone I-II-III-IV
Euphonium [divisi]
Tuba [divisi]
String Bass
Piano (optional)
Celesta (optional) Harp (optional)
Timpani
Percussion, including:

  • Bass Drum
  • Crash Cymbals
  • Glockenspiel
  • Sleigh Bells
  • Snare Drum
  • Tenor Drum
  • Triangle
  • Xylophone

Errata

Piccolos. mvt. Ia, meas. 68, beat 2&: B should read G
Piccolos. mvt. Ib, meas. 197, beat 3, Piccolo 1 (upper line): D-flat should read E-flat
1st & 2nd Oboes. mvt. III, meas. 165: add F sharp to key signature
1st Clarinet. mvt. Ia, meas. 84, beat 2: C natural should read E-flat (above)
1st Clarinet. mvt. II, meas. 69, beat 3: A natural should read G-flat; score also (conductor's decision)
1st Clarinet. mvt. IV, meas. 91, beat 4&: B should read A
2nd Clarinet. mvt. III, meas. 22-23: all notes should be transposed down one whole step
2nd Clarinet. mvt. III, meas. 64: add G sharp to key signature
2nd Clarinet. mvt. IV, meas. 61, beat 4: F sharp should read D ; D should read B (down a third)
Bass Clarinet. mvt. Ib, meas. 207, beat 1: F sharp should read F natural
Bass Clarinet. mvt. II, meas. 33, beat 2: move eighth note "A" from beat 2 to beat 2&
Bass Clarinet. mvt. II, meas. 65, beat 2&: C sharp should read C natural
Bass Clarinet. mvt. II, meas. 93, beat 2: move eighth note "A" from beat 2 to beat 2&
1st & 2nd Bassoons. mvt. 1a, meas. 61, beat 2&: F should read D
1st & 2nd Alto Saxophones. mvt. Ib, meas. 158, beat 3: A should read G
1st & 2nd Alto Saxophones. mvt. II, meas. 63: G sharp should read G natural
1st & 2nd Alto Saxophones. mvt. II, meas. 70: G sharp should read G natural (score also)
1st & 2nd Alto Saxophones. mvt. IV, meas. 13: Common time should read Cut time
B-flat Tenor Saxophone. mvt. IV, meas. 51 and 52, beat 2&: F sharp should read F natural
E-flat Baritone Saxophone. mvt. Ib, meas. 190: rehearsal number is missing
E-flat Baritone Saxophone. mvt. II, meas. 90: rehearsal number is missing
1st Cornet. mvt. II, meas. 9, beat 1: eighth rest is missing
1st Cornet. mvt. IV, meas. 5, beat 3: quarter note should read eighth note
1st Cornet. mvt. IV, meas. 65, beat 2: C sharp should read C natural (score also)
1st Cornet. mvt. IV, meas. 66, beat 3: C sharp should read C natural (score also)
1st Cornet. mvt. IV, meas. 68, beat 2: C sharp should read C natural
2nd & 3rd Cornets. mvt. Ia, meas. 88, beat 2: E should read G sharp ; C sharp should read B
2nd & 3rd Cornets. mvt. Ia, meas. 120: rehearsal number 12 should read 120
2nd & 3rd Cornets. mvt. Ib, meas. 1: add "senza sord."
2nd & 3rd Cornets. mvt. III, beat 1: add "senza sord."
2nd & 3rd Cornets. mvt. IV, meas. 65, beat 3: C sharp should read C natural
1st & 2nd Trumpets. mvt. Ia, meas. 41: add "senza sord."
1st & 2nd Trumpets. mvt. II, meas. 73, beat 2&: B should read D
1st & 2nd Trumpets. mvt. II, meas. 81, beat 1: quarter note should read dotted quarter note + remove staccato dot
1st & 2nd Trumpets. mvt. IV, meas. 112, beat 1: dotted quarter note should read quarter note (remove dot)
1st & 2nd Horns. mvt. Ia, meas. 19, beat 2: add "con sord."
1st & 2nd Horns. mvt. Ia, meas. 109, beat 1 and 1&: G sharp should read G natural (both horns)
3rd & 4th Horns. mvt. Ia, meas. 19, beat 2: add "con sord."
3rd & 4th Horns. mvt. Ia, meas. 91: change key signature to A major (remove last 2 sharps)
3rd & 4th Horns. mvt. IV, meas. 7, beat 1: "2" should read "a2"
3rd & 4th Trombones. mvt. IV, meas. 10 and 13: common time should read cut time
3rd & 4th Trombones. mvt. IV, meas. 27, end of staff: add "2/4" meter signature
3rd & 4th Trombones. mvt. IV, meas. 28, beginning of staff: add "2/4" meter signature
3rd & 4th Trombones. mvt. IV, meas. 82: Common time should read Cut time
Basses. mvt. Ia, meas. 12, beat 1: C should read D
Basses. mvt. Ia, meas. 111, beat 2&: add bar line
String Bass. mvt. Ia, meas. 30: add "arco"
Score. mvt. Ib, meas. 208 (page 33): add "Fast"


Program Notes

Lewis Milestone's movie The Red Pony, based upon the eponymous novella by John Steinbeck and starring Myrna Loy and Robert Mitchum, was released to the public by Republic Pictures in March of 1949. However, the orchestral Suite from The Red Pony, drawn by composer Aaron Copland from his score for the film, received its own world premiere months in advance of that date: on October 30, 1948, in a performance by the Houston Symphony under the baton of conductor Efrem Kurtz, who had commissioned the work as the HSO's incoming music director. Copland's six-movement symphonic suite was heard for the first time at the old City Auditorium of Houston, Texas, with the composer in attendance.

In 1966, Copland again arranged and adapted his film music anew, this time into a four-movement suite for wind band. According to an essay on The Legacy of Aaron Copland edited by Sgt. Tedd Griepentrog of the U.S. Army Field Band, this transcription was introduced to the world by the U.S. Navy Band under Lt. Cmdr. Anthony Mitchell at a Chicago concert in December of 1968.

While this popular work is in the composer's folk-like and accessible nationalistic American style — much in the vein of his Lincoln Portrait and Appalachian SpringThe Red Pony, unlike those two works, quotes no folk songs but is entirely original in content.

Program Note by Clifford W. Crouch


The movie The Red Pony was the story of a boy and his horse on a California ranch. The first two movements — Dream March and Circus Music — depict the boy imagining his pony leading knights into battle, and then performing under the big top. Walk to the Bunkhouse portrays the cowhand the boy idolized, while Grandfather’s Story accompanies the old man’s tales of his days as a pioneer. The band suite closes with the movie’s opening music, originally titled Morning on the Ranch.

- Program Notes by California Polytechnic State University, San Luis Obispo, Wind Ensemble


Aaron Copland wrote the music for the film The Red Pony during a 10-week period in 1948 on the studio lot in the San Fernando Valley. An orchestral suite was completed that same year, commissioned by Efrem Kurtz of the Houston Symphony Orchestra. Four of the original movements were transcribed by Copland for performance by the U.S. Navy Band in 1968.

John Steinbeck’s story about a ten-year-old boy, Jody, and his life on a California ranch was based on the author’s experiences growing up near King City and a pony he had once cared for. It is a story that derives its warmth and sensitive quality from the character studies of the boy, his parents, grandfather and cowhand Billy Buck. It is filled with the emotions of daily living, from the joy of a boy receiving a pony of his own to the bitter nature of death and dying. The Dream March and Circus Music depict two of Jody’s daydreams: he is at the head of an army of knights in silvery armor or the whip-cracking ringmaster of the circus. The Walk to the Bunkhouse shows Jody’s admiration for Billy Buck’s talents, especially with horses. Grandfather’s Story tells of how he led the wagon train ‘clear across the plains to the coast’, but his bitterness that the ‘Westerning has died out of the people’ can’t be hidden from his grandson. The last movement suggests the open air quality of country living and mounts to the climax of a Happy Ending.

- Program Note by William V. Johnson for the San Luis Obispo Wind Orchestra concert program, 15 May 2010


Commercial Discography


Audio/Video Links

Audio files: "The President's Own" United States Marine Band; Col. Timothy W. Foley, Director


State Ratings

None discovered thus far.


Performances

To submit a performance please join The Wind Repertory Project

  • Charles River Wind Ensemble (Lexington, Mass.) (Matthew Marsit, conductor) – 15 December 2019
  • University of Oklahoma (Norman) Symphony Band (Michael E. Hancock, conductor) – 7 October 2019
  • Carnegie Mellon University Wind Ensemble (Pittsburgh, Penn.) (George Vosburgh, conductor) – 9 February 2019
  • Northshore Concert Band (Evanston, Ill.) (Mallory Thompson, conductor) - 4 November 20188
  • Madison (Wisc.) Wind Ensemble – 4 November 2018
  • Penn State University (University Park) Symphonic Wind Ensemble (Dennis Glocke, conductor) – 8 October 2018
  • Quad City Wind Ensemble (Davenport, Iowa) (Brian Hughes, conductor) - 12 May 2018
  • Wind Symphony of Clovis (Calif.) (Christine Keenan, conductor) – 29 April 2018
  • University of Oregon (Eugene) Symphonic Band (Jason Silveira, conductor) – 13 February 2018
  • California State University, Northridge, Wind Ensemble (Lawrence Stoffel, conductor) – 2 March 2017
  • University of Michigan (Ann Arbor) Symphony Band (Michael Haithcock, conductor) – 8 April 2016
  • City of Fairfax (Va.) Band (Robert Pouliot, conductor) - 19 March 2016
  • Metropolitan Wind Symphony (Boston, Mass.) (Lewis J. Buckley, conductor) – 1 November 2015
  • California Polytechnic State University, San Luis Obispo, Wind Ensemble (Andrew McMahan, conductor) - 28 February 2015
  • San Luis Obispo (Calif.) Wind Orchestra (William V. Johnson, conductor) - 15 May 2010


Works for Winds by this Composer


Resources

  • Miles, Richard B., and Larry Blocher. 2002. Teaching Music Through Performance in Band. Volume 4. Chicago: GIA Publications. pp. 711-714.