AARON COPLAND (1900-1990) Portion of Children's Suite from The Red Pony. I. Morning on the Ranch. Single page of manuscript in black ink on Maestro pre-printed orchestral paper, signed by Copland (u.r.) and titled (u.l), annotated "Written out for Efrem Kurtz" (l.l.). 15 1/4 x 11 inches (38.75 x 28 cm), with four systems of a total 24 staves (including percussion), with tempo and expression markings. Laid down to thin card, two small stains to the bottom (Contrabasses) stave not impacting legibility . Copland's The Red Pony was prepared as a score for the 1949 film using the John Steinbeck screenplay based on the 1937 book The Red Pony . "Morning on the Ranch" is the opening piece (of six) in the work; these are the first five bars of the full orchestral score. For the film, the entire composition was played by the Houston Symphony Orchestra, and it was premiered in Houston in 1948 in advance of the release of the film. Efrem Kurtz, the recipient of this manuscript was the music director with the Houston Symphony from 1948 to 1954, part of a long and illustrious musical career. In addition to its musical interest, this is an intriguing piece of Steinbeckiana. •
AARON COPLAND (1900-1990) Portion of Children's Suite from The Red Pony. I. Morning on the Ranch. Single page of manuscript in black ink on Maestro pre-printed orchestral paper, signed by Copland (u.r.) and titled (u.l), annotated "Written out for Efrem Kurtz" (l.l.). 15 1/4 x 11 inches (38.75 x 28 cm), with four systems of a total 24 staves (including percussion), with tempo and expression markings. Laid down to thin card, two small stains to the bottom (Contrabasses) stave not impacting legibility . Copland's The Red Pony was prepared as a score for the 1949 film using the John Steinbeck screenplay based on the 1937 book The Red Pony . "Morning on the Ranch" is the opening piece (of six) in the work; these are the first five bars of the full orchestral score. For the film, the entire composition was played by the Houston Symphony Orchestra, and it was premiered in Houston in 1948 in advance of the release of the film. Efrem Kurtz, the recipient of this manuscript was the music director with the Houston Symphony from 1948 to 1954, part of a long and illustrious musical career. In addition to its musical interest, this is an intriguing piece of Steinbeckiana. •
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