Alfred Reed was born on Manhattan Island in New York City on January
25, 1921. His formal music training began at the age of 10, when he
studied the trumpet. As a teenager, he played with small hotel combos in
the Catskill Mountains. His interests shifted from performing to
arranging and composition. In 1938, he started working in the Radio
Workshop in New York as a staff composer/arranger and assistant
conductor. With the onset of World War II, he enlisted and was assigned
to the 529th Army Air Corps Band. During his three and a half years of
service, he produced nearly 100 compositions and arrangements for band.
After his discharge, Reed enrolled at the Juilliard School of Music and
studied composition with Vittorio Giannini. In 1953, he enrolled at
Baylor University, serving as conductor of the Symphony Orchestra while
he earned the Bachelor of Music degree (1955). A year later, he received
his Master of Music degree. His interest in the development of
educational music led him to serve as executive editor of Hansen
Publishing from 1955 to 1966. He left that position to become a
professor of music at the University of Miami, where he served until his
retirement in 1993. After retirement, he continued to compose and made
numerous appearances as guest conductor in many nations, most notably in
Japan. At the age of 84, on September 17, 2005, Alfred Reed passed away
after a short illness.
A Festival Prelude
Armenian Dances (Part I)
In his Armenian Dances, Alfred Reed has captured many of the styles, tempos, and subtleties of the Armenian folk songs and dances. Part I, completed in 1972, is based on five authentic Armenian folksongs drawn from the vast collection of Gomidas Vartabed (1869 - 1935). Gomidas has been credited as the founder of Armenian classical music for his work on preserving and documenting over four thousand folk songs. The opening (The Apricot Tree) is a sentimental song with a declamatory beginning. The Partidge’s Song is an original song by Gomidas. Its simple, delicate melody was intended for a children’s choir and is symbolic of that bird’s tiny steps. A young man sings the praises of his beloved (named Nazan) in the lovely, lively love song Hoy, My Nazan. Alagyaz is the name of a mountain in Armenia represented by a beloved folk song that is as majestic as the mountain itself. Part I ends with a delightful and humorous laughing-song (Go, Go!) with an ever accelerating tempo.
Armenian Dances (Part II)
In his Armenian Dances, Alfred Reed has captured many of the styles, tempos, and subtleties of the Armenian folk songs and dances. Part II, performed today, was commissioned after the highly successful premiere of Part I and completed in 1977. The two parts comprise a full-length symphony. Reed, acting as arranger and composer, drew his inspirations from the vast collection of Gomidas Vartabed (1869 - 1935). Gomidas has been credited as the founder of Armenian classical music for his work on preserving and documenting over four thousand folk songs.
The first movement of Part II is Hov Arek (Come, Breeze). It portrays a scene both pastoral and melancholy as a peasant sings to the mountains pleading for a breeze to take away the oppressive heat and the rest of his woes. Khoomar is a female Armenian name. This movement is based on a light-hearted song that depicts how two young people meet and marry. The wedding dance conveys the joy and excitement of the occasion. Lorva Horovel is a plowing song from the district of Lori. The multiple themes in this movement are varied in rhythmic and melodic structure. They reflect the physical and spiritual feelings of the farmer as he proceeds with his work. The sheer effort of this undertaking sets a heavy tone to the movement as the brass and percussion make their introductory proclamations. The farmer pleads with his oxen to put themselves into the task. Good progress and bright spirits are represented by a fast dance common to Eastern Armenia. A slow and plaintive song (Giligia) tells of a longing for his country and lost homeland. The mood picks up with a presto dance theme that builds to a dramatic closing.
El Camino Real
Literally translated as “The Royal Road” or “The King's Highway”, El Camino Real was commissioned by, and is dedicated to, the 581st Air Force Band (AFRES) and its Commander, Lt. Col. Ray E. Toler. Composed during the latter half of 1984 and completed in early 1985, it bears the subtitle: A Latin Fantasy.
The music is based on a series of chord progressions common to countless generations of Spanish flamenco guitarists, whose fiery style and brilliant playing have captivated millions of music lovers throughout the world. These progressions and the resulting key relationships have become practically synonymous with what we feel to be the true Spanish idiom. Together with the folk melodies they have underscored, in part derived by a procedure known to musicians as the “melodizing of harmony,” they have created a vast body of what most people would consider authentic Spanish music.
The first section of the music is based upon the dance form known as the Jota, while the second, contrasting section is derived from the Fandango, here altered considerably in both time and tempo from its usual form. Overall, the music follows a traditional three-part pattern: fast-slow-fast.
Russian Christmas Music
Alfred Reed was a 23 year old staff arranger for the 529th Army Air Corps Band when he was called upon to create what has become a masterpiece of the wind literature. It was in 1944, when optimism was running high with the successful invasion of France and Belgium by the Allied forces. A holiday band concert was planned by the city of Denver to further promote Russian-American unity with premiers of new works from both countries. Roy Harris was placed in charge and planned the second movement of his Sixth Symphony (the “Abraham Lincoln Symphony”) to be the American work. The Russian work was to have been Prokofiev’s March, Op. 99, but Harris discovered that it had already been performed in the United States (by Reed’s own organization). With just 16 days until the concert, Harris assigned Reed, already working for Harris as an aid, to compose a new Russian work for the concert. Scouring the Corp’s music library, Reed found an authentic 16th-century Russian Christmas Song “Carol of the Little Russian Children” to use for an introductory theme. Drawing on his investigations of Eastern Orthodox liturgical music for other thematic ideas, he completed the score of Russian Christmas Music in 11 days; copyists took another two days to prepare parts for rehearsal. The music was first performed on December 12, 1944, on a nationwide NBC broadcast. A concert performance was given in Denver two days later. In later years, Reed made minor changes to the instrumentation to suit a large ensemble, but tonight’s version is essentially the same as the original.
The liturgical music of the Eastern Orthodox Church is entirely vocal,
admitting no instrumental music into the services. Alfred Reed has
captured the sonorities, rhythmic inflections, clarity, and flowing
phrases of the human voice in his composition. Although the work is in
the form of a single movement, four distinct sections can be recognized.
The opening “Carol” sets a restrained and gentle mood. The chant from
the trombones and trumpets climaxes into the “Antiphonal Chant” carried
by the woodwinds. The rhythm picks up for the “Village Song,” which is
presented in two bar phrases that rise and fall with the liturgy. The
church bells herald the final “Cathedral Chorus” that builds in a steady
crescendo, pausing for a soft and sonorous chorale, before continuing
with the introduction of additional instruments until all of the colors
and intensity of the celebration fill the hall.
The Hounds of
Spring
Commissioned by the VanderCook College of Music, Viva Musica! has been “dedicated to all who strive for excellence in the noble field of music education.” The composer noted that while there have been may testimonials to the joy of making music, and to the joy of hearing it, there have been few dedicated to the joy of teaching it.
This composition is in the form of a single allegro movement marked “allegro brilliante”, with an immediate statement of a basic motif out of which the entire texture is developed. Three elements (the basic, fanfare-like motif, a playful contrasting figure, and a broad lyrical line with its unusual rhythmic basis) make up the remainder of the music, ending with a final, joyous outburst of the basic motif in a lustrous and affirmative conclusion.
``I. Prelude and Aztec Dance -- The tumbling of the church bells at midnight officially announces the opening of the Fiesta, which has previously been unofficially announced by the setting off of fireworks, the drinking of tequila and pulque, and the migration of thousands of Mexicans and Indians to the center of activity -- the high court surrounding the cathedral. After a brave effort at gaiety, the celebrators settle down to a restless night, until the early quiet of the Mexican morning is once more shattered by the church bells and fireworks. At mid-morning a band is heard in the distance. However, attention is soon focused upon the Aztec dancers, brilliantly plumed and masked, who dance in ever-increasing frenzy to a dramatic climax.''
Civilian March
Marches traditionally have had a military heritage. They were characterized by a steady beat and intended to efficiently move large groups. Nancy B. Reed’s Civilian March is a concert march of a different genre. It has a very modern flavor with a few musical twists and turns. Without direct quotations, the march gives happy illusions to the musicals and family TV shows of the 70’s.
Yankee Doodle, Fantasie Humoresque
David Wallace Reeves (1838 - 1900) grew up in Oswego, New York. As a teenager, he played alto horn and cornet in the town band and spent three summers touring with the Dan Rice Circus Band, where he received cornet lessons from Thomas Canham. After touring internationally with other bands, Reeves became conductor of the American Band in 1866. After the death of Patrick Gilmore in 1892, Reeves led the Gilmore Band for a year, before returning to the American Band. Best known for the more than 80 marches that he wrote, Reeves also composed operettas, polkas, fantasies, and quadrilles.
Yankee Doodle came to town ariding on a pony,
He stuck a feather in his cap and called it macaroni.
The words of Yankee Doodle, as known in the United States, were written by an English Army surgeon, Dr. Richard Schuckburgh. The song made fun of the untrained American troops during the French and Indian War in 1755. The soldiers liked the song, instead, and it became well known by the time of the Revolutionary War. It was often sung by the colonists in battle and it was played as the British left after the surrender of Yorktown. The early settlers of New York were Dutch and the name for Johnny was Janke, pronounced Yankee. Doodle meant “a simple, foolish person.” The word macaroni was a reference, in those days, to the young men of London who dressed in odd Italian styles.
Written in 1878, this composition was intended as a showpiece for the performers of Reeves’ American Band of Providence, Rhode Island. The industrial revolution of the late 19th century brought significant advances in the construction of wind instruments and an accompanying increase in playing technique. The many sections of the ensemble perform variations on the simple melody to demonstrate these performance skills.
“The opening of the composition depicts the sunrise as we watch from the bank of the river. Dawn breaks with a single ray of light that grows in intensity until the entire gorge is bathed in the glorious morning sun. The next section underscores our entry into the river as we launch our raft and begin to run the rapids. This section is full of anticipation, excitement and sheer ecstasy. After several thrills and spills on the whitewater, we come across a resting place. Here the water is calm and we have a chance to take in all of the beauty of the fall foliage and the rock formations surrounding us. The serenity is soon interrupted by the gurgling sounds of the river as we approach more rapids. This time we have to battle the river as it brutally tosses us around. Our adrenaline surges as we approach our final obstacle, a thirteen foot, class IV waterfall. The finale of the piece portrays our exhilaration as we heroically plunge over Sweet Falls, thus ending our journey on the raging river.”
Celebration Fanfare
The orchestral version of Celebration Fanfare was composed by Steven Reineke while on Swans Island, Maine, in 1995. The fanfare commemorates Erich Kunzel’s 30th anniversary as the conductor of the Cincinnati Pops Orchestra. It was the first of many commissions Reineke would receive from the Pops. The composer completed a band transcription in December 1998, under a commission from the U.S. Coast Guard Band.Introduction and Wedding March from "The Golden Cockerel''
The real story of the opera:
Despite his aristocratic family background, Rimsky-Korsakov showed sympathy for the revolutionalry students in 1905 and cast some satire into his last opera The Golden Cockerel. The censors refused to allow its performance until references to the misconduct of war were removed. Rimsky-Korsakov refused to give in; it was first performed on October 7, 1909, almost 14 months after his death. The opera is a fantasy about King Dodon, who is concerned that the neighboring hostile ruler will take over his lands. An Astrologer offers a golden cockerel who will watch over the city while the king sleeps, giving a warning crow at any sign of danger. All is peaceful until the cockerel's first alarm (performed by a muted trumpet). The king sends forth his two sons to investigate. At a second alarm, the king decides to go into the field of battle himself. He discovers his two sons have killed each other. When dawn breaks, he perceives a tent in the mist and believes it as belonging to his enemy. To his surprise, the beautiful Queen of Shemakha emerges from it and she infatuates the old king, who offers to share his throne. When they return to the city, the Astrologer asks for his payment for the golden cockerel. Learning that the Astrologer wants the queen as his bride, the king kills him. The heavens open up in a terrible storm, the queen disappears, and the king is killed by the golden beak of the avenging cockerel.
Procession of the Nobles from "Mlada"
The opening brass fanfare announces the entry of the nobility in this cortege from the opera "Mlada"; the woodwinds provide the regal flourishes that embellish this work. Based on a text from slavic mythology, set on the coast of the Baltic Sea, and arranged for an enlarged orchestra, this opera was the first work of Rimsky-Korsakov's to show the influence of Richard Wagner, who affected so many composers of the time. Although the opera was a failure, this symphonic offering has been enjoyed by audiences since its first introduction.
Andy Ritger was born in Sheboygan County, Wisconsin. While studying
Computer Science at Illinois Wesleyan University in Bloomington,
Illinois, he also studied saxophone with Keith Zimmerman, and took
composition lessons with David Vayo and Philippe Bodin. After leaving
college, he did not participate in music for several years while
software engineering consumed his time. In the past few years, Ritger
has returned to saxophone performance, and more recently, composition.
In addition to playing saxophone and clarinet with the Foothill
Symphonic Winds, he has performed with the Palo Alto Philharmonic, the
Saratoga Symphony, and Ye Olde Towne Band of Los Altos. He is a member
of a saxophone quartet with fellow Foothill Symphonic Winds members
Leslie Muscha, Dan Ortega, and Brad Urban. For his day job, Ritger
manages the Linux Graphics Driver Team at NVIDIA Corporation.
Fanfare for Brass
Choir
“The fanfare is built around a simple disjoint theme stated by the horns in the opening measures. Two noble sections enclose a quiet and mysterious middle segment. Duple- and triple- subdivisions subtly compete throughout the work, though triple-subdivision finally wins out in the end of the piece. The harmonic vocabulary was drawn from octave-displaced tone clusters.”
Joe Rizzo was a composer and arranger credited with 79 copyrights. His
popular jazz pieces were performed by the Stan Kenton Orchestra. Prelude
to Nothing featured a musical repartee between Stan, Jack and
Chico. Tempo di Joe personified Rizzo’s jumping rhythm. Red
Dorris popularized the vocals on Stop Your Teasing and the love
song No Tears. He added a jazz flavor to Delibes’ Pizzicato
and Debussy’s Clair de Lune. Rizzo did a few collaborations with
Phil Horton and Richard Blalock. Wayne Robinson, who scored The Flea
for band, was a head arranger for NBC and became one of three leaders of
the Dorabet Music Company. Robinson was one of the orchestrators for The
Wiz starring Diana Ross, Michael Jackson, and Richard Pryor.
The Flea
Victory March is intended to be a short story told of a champion returning to his kingdom from battle. As this champion parades through the streets, the cheers and fanfares of the citizens can be heard through the cymbals and trumpets as he enters the main gate. There is much cause for celebration as he and his comrades parade around the city. A short interlude of woodwinds distracts from the march as the champion's companions rejoin with their families and break off of the parade group. As the champion approaches the castle, he sees his love, standing before him on the steps. All of reality around them seems to fade as they call longingly to each other as they are finally reunited after such a long time. He is congratulated and thanked by the king and the royal court, but he then embraces the moment with his love. The piece closes as the sounds of celebration return in all its glory. The form of the piece approximately follows the A B A' C D A form.
Gioacchino Rossini (1792 - 1868) was the only child of Giuseppe Rossini, the town trumpeter of Lugo and inspector of slaughter-houses. After early lessons in singing and the harpsichord, he entered the Bologna Academy in 1806 to study counterpoint and the cello. He later won commissions from Italian theaters in the cities of Venice, Milan, and Naples. It was during this period Otello, La Gazza Ladra, and The Barber of Seville. He received Beethoven's admiration during a Rossini festival in Vienna in 1822. He went on to enjoy a very successful season in London, and then took over management of the Italian Theater in Paris, where he a successful career as composer and producer. All of his 39 operas were written in a period of two decades. After William Tell was completed in 1829, Rossini was never to write another stage work. He spent the rest of his life teaching and doing some composing in Italy and France, finally settling again in Paris. His last years were spent as a gourmet and as the witty leader of the artistic world.
La Boutique Fantasque - Ottorino Respighi, adaptation.
The comic opera, premiered in 1817, includes the stock figures of a lecherous old mayor and a falsely accused maiden, in the clutches of despair, placed in jeopardy by a pet magpie, whose mischievous thievery of household effects makes it the real culprit.
Soirees Musicales, based on music of Rossini
Based on material of Rossini conceived for the piano, Britten has arranged a wiry score, retaining Rossini's harmonies even when they amounted to no more than two parts, achieving an even cleaner sonority than the Italian opera orchestra through selective instrumentation. The greater agility of the modern brass section is fully utilized; melodic lines are rapidly distributed among all the instrumental colors, even within a phrase. This work dates from 1936; five years later, Britten provided a companion suite, Matinees Musicales, for a Balanchine ballet.
Lord Benjamin Britten (1913 - 1976) was an outstanding British musician of his generation, contributing as a creator, interpreter, and performer. A brilliant pianist and conductor, his supreme gift was in composition; he was a hardworking and thorough professional and proud of the fact. His Peter Grimes revitalized British opera, but his Young Person's Guide to the Orchestra and other works for children, either as listeners or performers, are most memorable to the public.
William Tell Overture
The famous overture is a veritable tone poem, beginning with a description of a Swiss dawn. A mountain storm gathers to the sounds of distant thunder, finally erupting in its full fury. With its passing, the skies clear and raindrops fall from the branches. Birds sing their songs in the fresh air of a mountain meadow. This pastoral scene is interrupted by the trumpet fanfare to a vigorous march. The finale is readily recognized by fans of The Lone Ranger.
William Tell was a legendary hero of Switzerland. His story, though not verified by history, represents the spirit of the Swiss movement for independence from the Austrian Hapsburgs in the 1300's. According to legend, Tell was a man of tremendous strength and the most skilled marksman in the whole canton (state) of Uri. The Austrian governor, Gessler, had ordered all Swiss to bow to a hat he had set up on a pole in the main square of Altdorf. When Tell refused to bow, he was arrested. Gessler knew of Tell's skill with the crossbow and promised to let him go free if Tell could shoot an apple off his own son's head. Tell hit the apple and then bitterly informed the governor that if his son had been hurt, he would have sent a second arrow into Gessler's heart. Gessler had him seized and chained. While Tell was being taken across a lake in Gessler's boat, a storm broke loose. Gessler ordered Tell untied to help steer the boat safely to shore. Escaping to shore, Tell shot an arrow through the tyrant's heart. This act led to a revolt by the Swiss, in which Tell played a leading role.
Spirit of Freedom
Spirit of Freedom opens with a brass fanfare augmented with a scale-like accompaniment by the woodwinds. A theme then appears in a slower, hymn-like section before reappearing at the original tempo. Originally written in 1997 for orchestra, the concert band version was commissioned by the Beaumont High School Band, Beaumont, California.