Title: Four Paintings by Grant Wood
Commission/Dedication: Written for John Manning
Premiere: Premiered by John Manning
Composer: Barbara York
Publisher: Cimarron Music Press
Year: 2013
Program notes from the composer:
None.
Notes from the Commissioner:
I commissioned Barbara to write each movement based on four of my favorite paintings by Grant Wood, who was a very famous artist from Iowa, and as a regionalist painter, many of his works depicted scenes from Iowa. As you can see from the attached montage of the four works, they show Wood’s signature style and incorporate scenes from Iowa.
1. Stone City, Iowa – The actual town of Stone City (is) less than two hours away from the University of Iowa, and the bridge in the center still spans the river. Barbara latched on to the small horse and buggy crossing the bridge to create a jaunty ostinato in the piano, symbolizing the horse.
2. Young Corn – Literally depicts the corn crops in the early stages of growth, but figuratively, “young corn” is a nickname for children in Iowa. This melancholy movement symbolizes Wood’s early childhood; raised by a loving mother, but his father was a stern farmer who could not relate to his son’s artistic leaning.
3. American Gothic – The title of Wood’s most famous work, and arguably one of the most recognizable and parodies of the 20th century. Barbara and I read the same biography of Wood, and she brought out the mixed feelings that Wood had about his sudden success (due) to this painting.
4. Parson Weem’s Fable – Is based on the legend of George Washington, who cut down a cherry tree and supposedly when his father asked who had done it, he claimed “I cannot tell a lie.” This painting, as well as the movement, is quirky and expresses a sense of humor. Barbara quoted a trumpet fanfare reserved for the President (“Four Ruffle and Flourishes”) as well as “Hail to the Chief”, as a nod to our first President.
Author assessment:
York’s depiction of Grant Wood’s paintings lends motionless art a cinematic quality and extends to it a new life and imagination for the listener and viewer. In performance, I recommend having a program insert, slides, or physical paintings for the audience member for the full impact of the narrative York has provided.
Aside from John Manning’s notes, I will provide some insight to movement III., American Gothic. Grant Wood was a suppressed, closeted gay man that grew up in rural Iowa. In a practice session with York, we discussed her thought process more intimately than what, I think, she would share with most folx, given my upbringing and that I am homosexual. She told me that movement three is:
James Grant is torn between loving the people of Iowa and hating them. Does he love them? Does he hate them? Does he worry for them? Does he pity them? Does he miss them? There is reaction of anger to his depictions of rural life. York was channeling the inner demons that Wood undoubtedly felt towards his upbringing and captured the reaction of anger from those that still loved him.
“Four Paintings by Grant Wood” is also a piece that the general listener will be able to latch on to and enjoy. If the performer gives brief explanation or program notes to go with the music and art, each listener will develop a personal attachment to the work. They will even recognize to homage to the President.
In preparation for performance, the tubist will find that practicing with a metronome is the key to success for putting the piece together with a pianist. I also recommend studying the paintings paired with reading notes (above) from John Manning.
Recordings:
John Manning:
AJ Beu:
Allen Parrish Lecture Recital:
