John Williams
Concerto for Horn and Orchestra
John Williams was born in New York in 1932. He composed this concerto for hornist Dale Clevenger in 2003 on a commission from the Edward F. Schmidt Family Commissioning Fund, and Williams led Clevenger and the Chicago Symphony Orchestra in the premiere performance the same year. The score calls for solo horn, 3 flutes, piccolo, 3 oboes, English horn, 3 clarinets, bass clarinet, 3 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, harp, piano, celeste, and strings.
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I. Angelus – “Far far away, like bells at evening pealing”
II. The Battle of the Trees – “Swift Oak . . . Stout Guardian of the Door”
III. Pastorale – “There Came a Day at Summer’s Full”
IV. The Hunt – “The Hart Loves the Highwood”
V. Nocturne – “The Crimson Day Withdraws”
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Everyone knows John Williams as the most celebrated film composer of our time, and many know of his long tenure as conductor of the Boston Pops Orchestra. But fewer know that Williams has contributed a great many works for the concert hall, including concertos for violin, cello, clarinet, flute, bassoon, tuba—and most recently the French Horn. Mr. Williams writes the following about his Concerto for Horn and Orchestra:
“When I’ve tried to analyze my lifelong love of the French horn, I’ve had to conclude that it’s mainly because of the horn’s capacity to stir memories of antiquity. The very sound of the French horn conjures images stored in the collective psyche. It’s an instrument that invites us to ‘dream backward to the ancient time.’
“Most cultures have had some form of horn in their histories. We remember the ram’s horn Shofar, calling us to battle or prayer. Or the conch, ‘fabled shell instrument of the Titans,’ or one can imagine the huge Viking horns that must have struck terror in the hamlets of northern Europe as the great ships were brought into the estuaries to begin their attacks. The horn stirs memories of fearful things, of powerful things, of noble and beautiful things!
“In the first movement or section of my concerto, I begin with the distant pealing of the Angelus Bell, while the horn joins in, sending calls and signals to complete the picture.
“This is followed by The Battle of the Trees, suggested by the famous Celtic poem of that name, which describes groves of trees transforming themselves into warriors and led in battle by the brave oak. The horn enters the fray, as the percussion section creates sounds of trunks, branches, and twigs all colliding in the struggle.
“Nostalgia has been described as ‘laundered memory’ but our modern horn and oboe possess the power to produce it truly. They conjoin to ‘dream backward’ of a pristine glen in the third movement, Pastorale.
“In The Hunt, the horn plays its traditional role, getting the blood up, exhilarating the spirit and animating the chase.
“Finally, in Nocturne, the day’s end grants repose and a simple song is offered.
“With each movement title I’ve included a poetic quote, none of which is medieval, but simply chosen from writers that I’ve enjoyed, and in the music I have not deliberately adhered to, or purposely avoided, the modalities and grammar of medievalism. Instead I’ve written freely and with a sense of privilege and joy at working with the legendary horn player Dale Clevenger, who for so many years has been an inspiration to lovers and students, myself included, of the French horn.”