Martin Ellerby

Duration: c. 16 minutes

 

Audio:

 

 

 

Publisher: STUDIO MUSIC COMPANY

 

Programme Notes:

CANE RIVER MURALS was commissioned by and dedicated to the Northwestern State University Wind Symphony, Natchitoches, Louisiana, USA, William E. Brent, conductor, on the occasion of the 100th Anniversary of their Band Program. The work is based on the African House Murals by Clementine Hunter which are housed and preserved on the Melrose Plantation. These pieces are not intended to be musical representations of the murals but reactions to them: more reflections on the images spirituality, hence I have, at times, what appears to be combinations of certain murals in the same movement. I was particularly drawn to the rhythm of these pictures – they seem to come alive in a celebration of dance and colour but also encompass a darker and more spiritual truth that their initial innocence somewhat shrouds. I have used the idea of the Cane River to bind my five separate movements together, flowing as it does through the whole scenario, as do bells in their various symbolic guises. I have formed a subtitle taken from the mural/s along with a secondary one to further clarify the content of the movement in question. Hopefully this helps listeners follow the journey which in itself forms a kind of arch over a season for example. They are as follows:

 

1. Spring Planting (Spiritual)

A kind of miniature overture, the river motif is announced immediately and combined with the spiritual 'Deep River', which is partially quoted ,forms the basis for the opening. Sections question and answer each other and textures move from transparent to full in close proximity. Tempos change like the flow of the river. It ends on a question mark...

 

2. Wash Day (Scherzo)

A scene depicting much activity and individual endeavour set in a swing tempo. There are 'improvised' patterns in the percussion and even a wash board employed to convey the mood suggested by the mural.

 

3. Baptism, Wedding & Funeral (Triptych)

In three sections linked without a break but the outer ones sharing common material, this opens with delicate textures and lyrical solo contributions. The mood soon changes and we are part of a dynamic wedding celebration after which, having run its course, the mood turn a shade darker for the funeral procession (announced by a call to order in the bells) and we hear the opening baptism music transformed to a more sombre character.

 

4. Honky Tonk (Blues)

A mono-thematic movement, the simple blues melody heard initially on solo saxophone, after a small dance band style introduction, finds its way into more involved orchestrations and denser textures until a full tutti rendition is delivered followed by a swift but exhausted coda. Cutting through the music, from time to time, are the sounds of gunshots, which was directly suggested by the mural in question.

 

5. Pecan Harvest (Celebration)

A bright and optimistic concluding movement, highly charged and rarely without a change of time signature every bar. Everybody and everything is wide awake and alert. There is much to do and so little time to achieve it...

 

The composer wishes to thank Jeffrey Matthews of NSU and Jan Frederick of the Chaplin House, Natchitoches. I'm pretty sure that within this piece both these souls are very present!

 

Instrumentation:

Piccolo, Flutes 1.2, Oboes 1.2, Bb Clarinets 1.2.3, Bb Bass Clarinet, Bassoons 1.2,

Eb Alto Saxophones 1.2, Bb Tenor Saxophone, Eb Baritone Saxophone,

Bb Trumpets 1.2.3.4, F Horns 1.2.3.4, Trombones 1.2.3, Euphoniums 1.2, Tubas 1.2,

Double Bass, Piano,

Timpani, Percussion 1.2.3.4.5.6

 

Percussion Requirements:

 

Performance Notes:

 

Available Recordings: