composer

Ford, Ron

Ronald Ford was born September 29, 1959 in Kansas City, U.S.A. He moved to Amsterdam, the Netherlands, in 1983. Education: Ford studied composition, piano and computer engineering at the Duke University ...

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composition

Gabriël : for trumpet solo and orchestra, 2002 / Ron Ford

Publisher: Amsterdam: Donemus, 2006
Publisher's number: 10636
Genre: Orchestra
Subgenre: Trumpet and orchestra
Instruments: fl(pic fl-a) fl 2ob 2cl 2fg 2h 2trb perc pf str trp-solo
Remarks: In opdracht van het Fonds voor de Scheppende Toonkunst. - Op verzoek van Alex Pauk geschreven voor het Esprit Orchestra. - Cop. 2002. - Tijdsduur: ca. 30'
Duration: 30'00"
Year of composition: 2002
Status: fully digitized (real-time delivery)

Contains:
Priest
Prayer
Bear a son
Joy & delight
Filled with holy spirit
Bring many to Lord
How sure?
Old
Wife also old
I am Gabriel
Sent by God
Chosen
To speak and tell
Now you will be silent
Did not believe
Came out of temple
Could not speak
Had seen vision
Made signs
Burn incense
Angel (appeared)
Standing
Saw
Startled
Gripped with fear
Be not afraid
Description:
Program note (English): (Première: 7-12-2002 - Jane Mallett Theatre, Toronto - Esprit Orchestra, cond. Alex Pauk, Stuart Laughton, trumpet). I have been lucky enough to have been able to work frequently with the musicians of the Esprit Orchestra. Thus it didn't take me long to decide to highlight one of the players from the orchestra in my new work. That became Stuart Laughton. I wanted to make a piece for solo trumpet and orchestra, but not just a concerto. That combined with my fascination for fragment form, led me to look for a way to make a big story out of little bits. Lots of little bits, but still a line. I ended up with the story of the appearance of the archangel to Zachariah from the Bible (Luke, 1:8-23). This came from the historical/musical tradition of a connection between the trumpet and angels. In looking at the story, I picked out the word, or group of words that formed clear images from the story. In this way I formed the foundation for a piece with 26 short movements. I did in no way
try to literally translate the images in music. Rather I used the image as a spark, an open door, through which is musical form could be made, and also a relationship between soloist and ensemble. The different movements are sometimes widely varying in character, sometimes brother and sister to each other. Sometimes they are separate, sometimes linked to each other. It was only after I was almost finished with the piece that a friend pointed out to me that I was doing with Gabriel, the same that Liszt had done with his 'Via Crucis', wherein the different stations of the cross are musically translated - in his case for piano and choir. - RON FORD

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