Update Title: C50A2D1C-27E4-461A-A07F-A23946A063DC

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The basic character of Western represents a fairly significant departure for me. Most of my orchestral works to this point have been rather introspective, even dark, in expression. Western, however, is light in mood, energetic, extroverted, and optimistic. It represents a musical tribute to a film genre that has now nearly passed into oblivion-the Western. I have always had a weakness for these films and regret very much their passing. (For what it is worth, Igor Stravinsky reportedly had this same fondness.) Essentially, I have tried to incorporate into the piece some of the basic elements of a typical Western film-conflict between opposing factions, humor, the wide open spaces of the American West, and a love interest (perhaps). The music is direct and uncomplicated, incorporating tunes of a simple, folklike nature. Indeed, I would not be surprised if someone were to point out to me that at least one of the tunes actually is a folk song.

The work begins with a fanfare motive in the winds. This motive is then developed fugally and leads to a rollicking second theme for full orchestra. A brief restatement of the fanfare motive then introduces a sweetly lyrical theme, first played by the English horn. This leads to a bit of musical scene painting (the locale of which is unmistakable) during which the sprightly second theme is played by an offstage, out-of-tune, upright piano. Combined with this is the old ditty "How Dry I Am," which begins like a major key version of the previously stated lyrical theme. The fast tempo then resumes and the introductory motive again developed-this time in a more sinister fashion. The grim outlook gradually improves, however, and all ends well. All the themes are combined in various ways in the whirlwind conclusion. --Robert O. Johnson

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