Alfred Reed: A Bio-Bibliography (Bio-Bibliographies in Music)

Alfred Reed

Alfred Reed. Photo courtesy of the author

Alfred Reed OS

A Bio-Bibliography DOUGLAS M. JORDAN

Bio-Bibliographies in Music, Number 72 Donald L. Hixon, Series Adviser

GREENWOOD P R E S S Westport, Connecticut • London

L i b r a r y of C o n g r e s s C a t a l o g i n g - i n - P u b l i c a t i o n D a t a Jordan, Douglas M., 1966Alfred Reed : a bio-bibliography / Douglas M. Jordan. p. cm.—(Bio-bibliographies in music, ISSN 0742-6968 : no. 72) Discography: p. Includes indexes. ISBN 0-313-30333-9 (alk. paper) 1. Reed, Alfred Bibliography. 2. Reed, Alfred Discography. I. Title. II. Series. ML134.R29J67 1999 780 , .92—dc21 99-22685 British Library Cataloguing in Publication Data is available. Copyright© 1999 by Douglas M. Jordan All rights reserved. No portion of this book may be reproduced, by any process or technique, without the express written consent of the publisher. Library of Congress Catalog Card Number: 99-22685 ISBN: 0-313-30333-9 ISSN: 0742-6968 First published in 1999 Greenwood Press, 88 Post Road West, Westport, CT 06881 An imprint of Greenwood Publishing Group, Inc. www. greenwood. com Printed in the United States of America

@' The paper used in this book complies with the Permanent Paper Standard issued by the National Information Standards Organization (Z39.48-1984). 10

9 8 7 6 5 4 3 2 1

Copyright Acknowledgments The author and publisher gratefully acknowledge permission to reprint from the following: Various taped interviews with Alfred Reed between May 1993 and July 1994, and his letter to the board of directors of ARIA. Letter to author from Harry Begian, dated March 20,1994. Letter to Alfred Reed from Frederick Fennell, dated May 2,1952. Letter to Alfred Reed from Bernard Fitzgerald, dated December 12,1949. Letter to author from John Paynter, dated March 28,1994. Letter to Alfred Reed from Frank Prindl, dated February 5,1948.

To my grandmothers

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Contents Preface

ix

Acknowledgments xiii Biography The Early Years The Military Years The Juilliard Years The NBC and ABC Years The Baylor Years The Hansen Years The University of Miami Years The J a p a n Years Beyond the University of Miami Years

1 1 13 18 22 29 31 37 50 56

Works and Premieres Original Works for Wind Ensemble, Wind Orchestra and Concert Band Arrangements and Transcriptions for Wind Ensemble, Wind Orchestra and Concert Band Arrangements of Broadway Musical Shows Arrangements of Motion Picture Scores Original Works for Orchestra and String Orchestra Transcriptions and Arrangements for Orchestra and String Orchestra Works for Instrumental Solo and Ensembles Works for Chorus Works for Marching Band

67 67

99 105 107

Discography

109

85 93 94 96 98

viii Contents Bibliography Writings by Reed Standing Column "South of the Border" Writings about Reed

217 217 224 245

Appendix A: Alphabetical List of Compositions

255

Appendix B: Chronological List of Compositions

263

Index

271

Preface When considering persons in the music profession who have made significant contributions to the wind band world in the second half of the twentieth century, many conductors, writers, teachers, and composers come to mind. Undoubtedly, Alfred Reed is one of those persons. To some, Reed is a composer. To others he is known as a conductor, clinician, author, or scholar. Still others may Jiave known him as an administrator, consultant, publisher, editor, performer, or teacher. The breadth of Reed's contributions is apparent in the scope of his life pursuits, not to mention the depth of his contributions in many of these areas. Reed h a s more t h a n 250 published works, 70 of which were commissions. His compositions include works for a wide variety of voices and instruments and is still growing. The majority of Reed's compositions have been for the wind band. Over the past 14 years, he has made over 245 appearances as a guest conductor and clinician, including appearances in 49 states in the United States and in foreign countries such as Canada, J a p a n , Spain, Mexico, Holland, Australia, Italy, Austria, and Norway. Reed currently is the principal guest conductor of the Tokyo Kosei Wind Orchestra, an organization t h a t has made a commitment to record all of his published works for wind band. He followed Frederick Fennell as conductor of the University of Miami Wind Ensemble in 1980. Reed retired from the faculty of the University of Miami School of Music in the spring of 1993 and spends approximately half of each year making appearances worldwide and the other half at his home in Coral Gables, Florida. As an author, Reed has published some 50 articles for major music journals and magazines in the United States. In addition, he has written more than 60 columns for the Canadian Band Journal.

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In 1966, Reed and William F. Lee, the former dean of the School of Music at the University of Miami, established an innovative program in music merchandising. This program, the first in the nation, remained under Reed's direction until his retirement. He also h a s served as a consultant for 19 colleges and universities seeking to establish courses and programs in the music industry field. His involvement in music publishing began in 1953 with his work at Charles H. Hansen Music Publishing Corporation, and continued during his 27 years as a professor at the University of Miami where he was founding director of the University of Miami Music Publications (UMMP). The knowledge and experience gained during his 13 years as executive editor Charles H. Hansen Music Publishing Corporation made Reed a viable candidate to create a music publishing operation while teaching at the University of Miami. This volume is organized into the following sections: 1. The Biography. Because so little has been published about the life of the composer, the biography section is rather extensive. Main topics include, the "Early Years, Military Years, Juilliard Years, NBC and ABC Years, The Baylor Years, The Hansen Years, The University of Miami Years, J a p a n Years, Beyond the University of Miami Years, the World-Wide Reach." The biography was prepared with the help of Alfred Reed and some of his closest friends and colleagues. 2. List of Works and Premieres. Each work contains a work number (i.e., W l , W2, etc.) and is classified by genre. Included in the list is information, when available, about the date of the composition, duration, performance medium, and information related to the commission and dedication, premiere and publication. 3. The Discography. Includes both non-commercially and commercially available sound recordings and is arranged alphabetically and chronologically within t h a t order. Each citation contains a discography number (i.e., D l , D2, etc.) and includes the manufactures' label and label number, date and contents. 4. The Bibliography. A comprehensive bibliography of writings by and about Reed. The citations are arranged alphabetically by author, or by title in cases where no author is cited. Each citation is given a citation number (i.e., B l , B2, etc.) and includes a short annotation.

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Appendices to the volume provide an alphabetical and chronological listing of Reed's works. The volume concludes with an index of names and titles. All sections of the volume are cross-referenced with each other, except for the biography. Information about how to completely utilize the cross-references is provided at the beginning of each section. Given the impact Alfred Reed has had on the wind band and wind band repertoire, his life and contributions deserve to be documented. Reed continues to be a driving force and advocate for the wind band, and his contributions to the literature of the wind band make him a force to be reckoned with in this contemporary medium of musical expression. All information is complete, except where noted, as of October 1, 1998. It is hoped t h a t this volume will be of benefit to composers, conductors, performers, and audience members who are interested in wind band music and Alfred Reed.

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Acknowledgments When a project of this magnitude is undertaken there are bound to be many individuals and groups who lend their support to the effort in a variety of ways. I would like to extend my sincere appreciation to the following for their aid and support in the perpetration of this volume. For their support in every imaginable way I would like to t h a n k my parents, Earl R. and Shirley J. Jordan. Without their continual encouragement and help throughout my life none of this would have been possible. Those individuals who responded to requests to provide information about their association with Reed are also to be thanked: Toshio Akiyama, Harry Begian, Frederick Fennell, Bernard Fisher, Joseph Handleman, Charles Hansen, William F. Lee, John Paynter, and Robert Silverman. I also wish to t h a n k a number of composers and conductors who took time to talk with me about their lives and provided further direction for the dissertation: Col. John R. Bourgeois, Michael Colgrass, and David Maslanka. I wish to thank The Sinfonia Foundation for its financial support of my research which helped to make possible a trip to J a p a n to observe Reed's activities. Thank you to Kin Aoyama and Marjorie Reed who helped make my stay in J a p a n comfortable and enjoyable. Thank you to Tommy Ferlazzo of West Coast Music Service in North Ft. Myers, Florida, for helping to check the accuracy of many references in the Discography section. My deepest appreciation is extended to Don Hixon, Series Advisor, for his guidance and encouragement. I also extend my t h a n k s to my mentors at the University of Miami for their inspiration, feedback, and guidance: Nicholas DeCarbo, J. David Boyle, Joyce Jordan, Gary Green, and Josephine

xiv !Aciqwfwiedgments A. Johnson. Special t h a n k s to Josephine A. Johnson for taking time to read much of the biography while it was being prepared and for providing a great deal of direction and focus. In addition, I would like to t h a n k Harry Hawthorne, Ensemble Music Librarian, for providing access to the University collections. In addition, a number of other individuals must be t h a n k e d for their help in providing information and checking references: Michael R. Mann, Judy Mower, and Robert L. Parker. Finally, I wish to t h a n k Alfred Reed, a man I have admired for many years. His willingness and confidence to allow me to come into his life and examine its every aspect is without a doubt something t h a t I can never repay. His consistent inspiration is deeply appreciated. I feel as though I have not only gained a perspective on one of the most prolific wind band composers of the twentieth century, but I have also gained a friendship t h a t will last forever.

Alfred Reed

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Biography THE EARLY YEARS (1921-1942) My family on my father's side, as nearly as I've been able to trace them back, was largely middle class accountants, merchants, and some lawyers. My mother's side was largely working class, as far as I know, and there were no musicians, dancers, entertainers, or actors on t h a t side of the family either. So, I guess I'm one of those strange collections of genes all falling in the right direction. 1 The setting is New York City, the Chelsea section on 33rd Street between Second and Third avenues, and the time is the winter of 1921. Standing on the sidewalk, one can look up to an a p a r t m e n t where a local restaurateur and his wife have just become the proud parents of a new baby boy. Five years later, this little boy can be seen sitting on the floor, playing with his favorite blocks, a n d listening to one of the Beethoven symphonies as it plays on the gramophone. Seventy-one years later this little boy has become one of the most recognized and performed wind band composers of the second half of the twentieth century. On this particular evening, in 1992, the J a p a n e s e Ground Self-defense Forces Band is performing a concert under the direction of this eminent American composer. As the final bows are taking place, the guest conductor is presented with a uniform representing his induction as an honorary Captain in this organization. This man is Alfred Reed. The life of Alfred Reed has unfolded at a sometimes astounding rate. To begin to fully understand how he became such a prominent individual, a good place to start is some years prior to this

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blessed event, with his parents in the late nineteenth and early twentieth centuries. Carl Friedemann von Mark, Reed's father, and Elizabeth Strasser, Reed's mother, each immigrated to the United States from Vienna, Austria around the beginning of the twentieth century. Reed's mother arrived in 1899, but it was not until eleven years later, in 1910, t h a t Reed's father landed on American soil. They met and were married during World War I. Carl Friedemann von Mark, the middle child of five, was a life long restaurateur who had work experience in every facet of his profession. Besides holding positions as a dishwasher and bus boy, a s s i s t a n t waiter, waiter, head waiter, and then maitre d'. He w a s also a singing waiter. His untrained, but exceptional tenor voice made it possible for him to acquire jobs in some of the most famous r e s t a u r a n t s in New York City, including Little Hungary, the Cafe Royale, and Feltman's on Coney Island. At Feltman's, he sang in a waiters' ensemble with Irving Berlin and Walter Winchell. Sometime during World War I, Carl bought his own establishment in New York City, the Delicatessen Restaurant, but after World War I, when a recession was in full swing, the r e s t a u r a n t failed, and Reed's father returned to being a waiter. Elizabeth Strasser, the oldest of 13 children and the daughter of a Prussian restaurateur, worked as a housewife a n d bookkeeper in the family r e s t a u r a n t during the time t h a t Alfred's father was the owner. Her marriage to Carl was her second. After arriving in the United States she had married an Italian m a n a n d had a son. When this first marriage ended, Strasser's first h u s b a n d took the child with him to Italy. Reed states, with emotion in his voice t h a t "there has been no communication ever since, so I don't have the slightest idea if they survived the War, or the Fascist regime, but I did have a stepbrother for a while." 2 Nevertheless, Alfred was raised as an only child. Elizabeth Strasser grew up in an atmosphere in which discipline was very important, and she carried this discipline into her own household. Because she was the oldest child, she had been required to assume much of the responsibility for helping to raise her brothers and sisters. Reed speaks about his mother with a great deal of respect and love, but sometimes with ill will. "I was an only child, and my mother was, and there is no other word for it, domineering and believed t h a t a child should stay close to home a n d be supervised all the time." 3 In the midst of the First World War, because of the increasing anti-German sentiment, Carl Friedemann von Mark decided to change the family name to Friedman, and on J a n u a r y 2 5 , 1921, Alfred Friedman was born to Carl and Elizabeth Friedman.

'Biography

3

Young Alfred spent the first six years of his life in an apartment at 234 East 33rd Street in New York City t h a t he called a "cold water railroad flat." In the central room of this a p a r t m e n t there was a Columbia Gramophone. Alfred's father collected all the latest recordings of operatic and symphonic music which he played on the gramophone almost constantly. Reed credits his father's record collection as being the first training and inspiration for his musical career. "Those records, I think, were a very crucial part of my younger life of making me acquainted with so-called good music, in a way t h a t I never had to regard it as a duty or a subject to be learned." 4 During the mid-1930s the Metropolitan Opera and the NBC Symphony began to broadcast on the radio. However, Alfred was never able to hear these musical performances because his family did not own a radio. Other t h a n the family record collection, his exposure to music at a young age was very limited. Up until the age of ten, Reed says, "the record collection, and the fact t h a t my father would sing many times when I was home, I guess, were the only real musical influences t h a t I had." 5 "By the time I went to high school I already knew so much of the standard symphonic and operatic repertoire because, you see, I grew up with it, it was always going on in the house." 6 Carl Friedeman was the kind of father t h a t wanted his only child to develop friendships, play, grow, and learn without placing too many restrictions or guidelines on him. It was Carl who unequivocally exercised the most influence on young Alfred. Reed's father was primarily responsible for encouraging his son's musical development. Because of his occupation as a singing waiter, he met many musicians, including many of his son's future teachers. On the other hand, Alfred's mother, because of her overprotective nature, did not encourage Alfred's musical pursuits. Because he was an only child and because his mother w a s usually at home and not working, they were constantly together. Mrs. Friedman wished never to bring another child into the world because of the state of the economy, so Reed remained an only child, possibly contributing to her overprotectivness. One could also speculate t h a t because of the loss of her first child, as a result of her divorce from the Italian, Mrs. Friedman was more cautious with him. Perhaps she was determined to never lose another child, no matter w h a t the circumstances. Perhaps her fear caused her to be overprotective, and contributed to Alfred's need to try to get away from her. When he attempted to "escape" she would hold on tighter, and he would continue to pull away harder. Despite her overprotective nature, Mrs. Friedman exercised a great deal of influence on her son. Young Alfred's mother would read to him in German in order to insure t h a t he knew about his heritage and in hope t h a t he would

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become bilingual - an "education" which has served him well over the years. At this young age he tried very hard to communicate in English because, he says, "as children will, whenever I made a mistake in pronunciation thinking back and forth between the two languages they certainly ridiculed me and made me the butt of a good deal of humor. I did not always like that." 7 Alfred began singing at a very early age. His parents told him t h a t by the age of two or three he sang everywhere he went, even while he was going to the bathroom. "I didn't have a very good voice, I still don't. I think t h a t I ruined it in my early years by trying to imitate too many orchestral instruments." 8 About the time t h a t young Alfred was to begin kindergarten, the New York City Board of Education built P. S. 116 a short distance away, and on the s a m e side of the street as the family apartment. Alfred's mother was very happy t h a t her son would not need to cross a street to get to school. He remembers having general classroom music at his elementary school. Beyond his general music experience the kindergarten teacher encouraged singing in her classroom by playing piano while the children sang. Alfred was never active in any musical organizations while in elementary, junior, or senior high school. In addition, the Friedman family rarely attended concerts or theater events during the young life of Alfred. Because his mother's extended illness depleted the family savings and consumed most of their income, they had very little money for attending concerts, shows, operas, and the theater. In 1928, at the age of seven, doctors began to notice t h a t young Alfred was becoming unusually thin and weak, perhaps because of a lack of fresh air and space to play and be active; apparently, the "concrete jungle" of New York City was adversely affecting him. The family subsequently moved to the Bronx section of New York. They moved into another three-room apartment, at 2078 Mohegan Avenue, because it was only one and one-half blocks from P. S. 67, where young Alfred was to finish his elementary education. After this move, his health improved dramatically. In 1931, when Alfred was ten years old, the family moved again in order for him to attend the brand new Herman Ridder Junior High, P. S. 98 on Boston Road. Reed's family moved into yet another three-room apartment at 1674 Boston Road, which rented for $27.00 per month. "My father, in deference to my mother's insistence, whenever I went to a new school, moved to a place near there." 9 Alfred's love for great literature developed during this time in his life. He credits his junior high school English teacher for instilling an interest in literature which has influenced his composition throughout the years. He can still quote passages from Nicholas

Biography 5 Nickleby, Wreck of the Hesperus and Trees by Joyce Kilmer, all of which he studied while in junior high school. Because he progressed through his elementary and secondary school education at an accelerated rate, he found himself around older children most of the time and usually the youngest member of his peer group. Young Alfred had no trouble competing academically, but did have trouble relating to the older children. This may have contributed, again, to his mother's need to always protect or shield him from other children. His father, however, felt t h a t being the youngest member in a peer group increased learning and socialization, because in t h a t situation a person either learned or did not "survive." This is the environment in which young Alfred developed. He related to the older children very well and did learn and survive. This caused the development of a very sensitive side in his character, because as the youngest member of any peer group one is sometimes subjected to different treatment and more work t h a n older members. He was often the subject of joking and teasing, and often he had to chase the ball farther t h a n his friends - literally and figuratively. This sensitivity is still present in Reed's personality, but he h a s learned to use it to his advantage, especially while composing, suppressing what could be a sometimes unattractive characteristic. He has been able to use this sensitivity while composing all the expressive melodic lines t h a t permeate his compositions. He has learned to suppress the sensitivity when faced with the typical criticism and jealousy t h a t anyone is faced with who excels in his field. He has been able to ignore his critics, even though he does acknowledge them, and pursue his composing in his own way. As Alfred approached his teenage years and began to explore his interest and talent in music, he gradually associated less with other children in order to engage in these pursuits. Aside from music, he spent much time reading and cutting pictures out of magazines to construct his own picture journals. "I was not one to go out with the guys. I was not one of those who was precociously interested in sex. I always had the feeling t h a t what I wanted was not what most of my friends wanted." 10 While young Alfred was in junior high school, a representative from the Conn Corporation demonstrated the woodwind and brass instruments. This demonstration was given to encourage students to participate in the school's instrumental music program. "Just like the little boy in the 'Music Man,' I fell in love with t h a t round shiny cornet." 1 1 He went home and told his parents t h a t he wanted to play the clarinet, inadvertently mixing up the names. After going home and telling his parents t h a t he wanted to play the clarinet, Mr.

Friedman took Alfred to the New York Schools of Music to get his

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instrument. He told the salesman t h a t he wanted to play the clarinet and was taken over to the display case t h a t contained all the woodwind instruments. Realizing t h a t this was not the instrument t h a t he wanted to play, he described the cornet to the salesman who returned with the instrument and a method book. In 1931, Mr. Friedman enrolled his son in a private institution known as the New York Schools of Music. His cornet lessons cost 50 cents each. Alfred studied here probably because it was the most inexpensive place to take lessons, and the use of an i n s t r u m e n t was provided at no additional charge. Alfred had t a k e n not more t h a n three lessons when his father met a trumpet player, Abraham Nussbaum, who was also a conductor at the Metropolitan Opera. Mr. Friedman told Nussbaum t h a t his son was taking cornet lessons at the New York Schools of Music. Nussbaum said this institution was a money making racket and would not provide the highest quality instruction; therefore, he offered to teach Alfred. The first requirement imposed on Alfred when he began studying was to give up playing all sports, because Nussbaum was very concerned about preventing any injury to his brass player's teeth. Mrs. Friedman was very supportive of Nussbaum's wishes. "That was all my mother had to hear, so from t h a t moment on I never played baseball or football anymore." 1 2 Studying with this new teacher proved to be more expensive t h a n before. Nussbaum wanted to teach trumpet and not cornet, and this is when Alfred's father purchased his son's first instrument, a Holton, silver-plated trumpet, for $40.00. Once a week N u s s b a u m would come to the family's apartment and be paid $2.00 plus dinner after the lesson. Even though he was taking lessons, Alfred never participated in any school ensembles because Nussbaum was never in favor of his students placing any undue stress on their embouchure, especially by playing in the marching band. These lessons continued until Reed was 13. Alfred next studied with Howard Schantzer, who was a professional trumpet player and an "amazing personality." Schantzer lost his right arm in an accident, but continued to be in great demand as a trumpet player in New York. Reed respected Schantzer's devotion to his playing and his ability to overcome his disability. However, he felt t h a t he was not progressing as quickly a s he could. In retrospect, Reed believed t h a t Schantzer was accepting students to supplement his other income and not because he w a s interested in teaching. Alfred studied with Schantzer only for a brief time before his father found another teacher named Irving "Rudy" Mink. Mink was at the time playing trumpet in a pit orchestra on Broadway and accepted Reed as a student as a favor to his father. According to Reed, Mink was also not interested in establishing

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himself as a serious teacher. In fact, Reed was only taught some standard popular tunes t h a t would be useful for him to know as a professional trumpet player. Reed did not agree with Mink's choice of repertoire and only studied with him for a short time. Ultimately, Reed developed a small group of friends t h a t shared his same interest in music, and they formed a four-piece b a n d consisting of piano, drums, alto saxophone, and trumpet. He recalls making $2.00 for three hours' work at his first playing engagement, and he enjoyed the prospect of receiving payment for musical performance. Around 1934, Alfred began playing trumpet professionally. This meant t h a t he began to associate with many musicians and performers in and around New York City. Also, this meant t h a t he would be traveling away from the house. His mother was not in favor of him associating with "all kinds of what might not be the most desirable people." 13 Many of her brothers and sisters objected to the way in which she kept her son isolated from other people, and this created some tension between them. At this same time, as Alfred began to perform more frequently, he enlisted the services of an agent to help market himself and a nine piece band t h a t he recently formed. This agent suggested t h a t he change his name because it was too long, too German, and too Jewish for the time. The agent felt t h a t a shorter name t h a t was absent of any specific cultural, or religious connotations would be more easily marketed. The agent took one syllable from the name Friedman, t h a t would be easily remembered, easy to spell, and short, and suggested t h a t Alfred Friedman change his n a m e to Alfred Reed. This is the name t h a t Alfred adopted in all professional circles in New York. He was later enrolled in the military and was registered at Juilliard and Baylor as Alfred Friedman because t h a t was his legal name, but he used the n a m e Alfred Reed on all his music and was known as Alfred Reed by all his peers in the music world. Ultimately, in 1955, he filed for a legal change of n a m e in order to simplify the paperwork involved in taxation, Social Security, and other government institutions. When Alfred was to attend high school, the family moved again to another three-room apartment at 1712 Longfellow Avenue. Mrs. Friedman allowed him to walk six blocks across the Bronx River to attend J a m e s Monroe High School. It was during this time t h a t reed began to develop an interest in writing music. This resulted in Mr. Friedman purchasing the family's first piano. The instrument was purchased from a second hand piano warehouse for $10.00. From the day this piano entered the apartment, Reed slowly began to shift his time and energies from playing the trumpet to using the piano to write music. He never took any piano lessons until later

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when he attended Juilliard, but was able to manipulate the keys enough to begin hearing what he had written. While in high school, Reed attended his first formal live concert. He remembers attending an anti-Nazi rally in 1935 held a t Madison Square Garden where the New York Philharmonic played Tchaikovsky's Symphony No. 4. Later, in 1936, as a reward for winning an award for achievement in German during his senior year in high school, Mr. Friedman purchased two tickets to a New York Philharmonic concert of Richard Wagner's music. This was the beginning of a love for Wagner's music t h a t remained with him his entire life. "I was completely transported out of this world. I think t h a t subconsciously, at t h a t point, I must have realized t h a t this is what I wanted to do." 14 As a very special treat, Alfred's father was able to acquire tickets to the spring 1936 season of the Metropolitan Opera performances, and Alfred was able to attended his first opera with his mother. Alfred was graduated from high school in J u n e 1936 at the age of 15. During the summer of 1936, after graduating from high school, Alfred was playing trumpet in a new group. The leader of this ensemble, Ralph Captain, had to promise Mrs. Friedman t h a t he would keep an eye on Alfred during their time in the mountains. Captain was three years older t h a n Alfred, and the two were roommates for a number of years. This group was put together by an agency called Share and Stern on 46th Street between Sixth and Seventh Avenues in New York City. The agency contracted players for ensembles t h a t would perform at many of the Catskill resorts during the summer for a growing tourist trade. For many of the up and coming Broadway performers, musicians, and producers, the summer Catskill mountain resorts became a place to refine their talents and possibly be discovered.* Reed's first playing engagement in the Catskills was at a resort called the Pinecrest Villa where he earned $4.00 per week a n d was provided room and board and got to keep all the tips he could earn. The ensemble in which he played consisted of piano, drums, violin, alto saxophone, and trumpet, and the musicians in the group were at the disposal of the resort owner or manager. The hours were sometimes long. A typical day would include playing an hour of dinner music followed by dance music for the patrons of the resort. The musicians rehearsed during the day. While working at the Pinecrest Villa, the owner of the hotel told the band t h a t they would have to play some Irish music during * It is interesting to note t h a t the future Mrs. Reed's uncle and aunt owned one of these Catskill resorts, Schenck's Paramount House in South Fallsburg, New York. Reed never came into contact with his prospective in-laws until he was married.

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the next week because an influential politician from New York City would be staying at the resort. The group found themselves searching for Irish music. "To this day I can remember that. I can see it, and hear it ever so clearly, I don't know what propelled me to say this, but I said 'don't worry fellows, I'll write us something." 15 Alfred took a book titled Twice 55 Community Songs and arranged a medley of five or six Irish tunes based on some of the music from the book. He remembers t h a t "Loch Lomond" was included in this arrangement even though it was a Scottish song, as well as, the 'Wearing of the Green," and "The Harp That Once Thro' Tara's Halls." The New York politician showed his enthusiasm and pleasure by giving the band a $10.00 tip for their performance. It was at this moment t h a t he realized t h a t writing music was what he wanted to pursue. Hereafter, Alfred began to play the trumpet less and less and to write music more and more. He admits t h a t he w a s never a great trumpet player and found t h a t he could write music faster and better then he ever could play trumpet. "I went back and told my father t h a t I was going to keep the trumpet, I was still going to play whenever I can, but I think what I want to do now is learn how to write music." 1 6 In the Fall of 1936, after his son returned from the summer in the mountains and announced to his father t h a t he was interested in studying composition, Mr. Friedman found and hired a teacher. The teacher's n a m e was John P. Sacco. Alfred went to his house once a week and was able to pay for these lessons with the money t h a t he was no longer spending for trumpet lessons. After teaching Alfred for about one year, Sacco decided t h a t he no longer wanted to teach. In fact, Sacco only taught Alfred as a favor to Mr. Friedman. After this brief period of instruction, Reed was on his own again and was beginning to become discouraged and disappointed with his work. Reed's mother died in 1937, when he was only 16, following a battle with cancer. "I was an only child, [and] I really was a lonely child from t h a t point on." 1 7 In the Spring of 1938, at age 17, Alfred knew he wanted to be a composer, but had developed no plan on how to become one. Money continued to be a concern, especially after his mother's illness and subsequent death had drained most of the family savings, so it was difficult to pay for private study with anyone. This contributed to Alfred's frustration of wanting and needing to write music, but not having the tools, knowledge, or instruction on how to do it to the degree to which he felt t h a t he should. Even though he wanted to be a composer, Alfred was still working as a trumpet player in order to make ends meat. In order to find playing engagements, musicians could go to the musicians union headquarters, Local 802, three times a week.

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Alfred regularly attended those sessions on the "Exchange Floor." On one particular day, he finished his business early and decided to walk across the street to Radio City Music Hall and see a new motion picture, "The Great Waltz," about J o h a n n Strauss. As the credits were playing, the name of Arthur Gutman, the head of the arrangers and copyists divisions of Local 802, flashed by. Taking this as some kind of sign, Alfred went to see G u t m a n the next day. When presented examples of Alfred's best and most recent writing, G u t m a n recommended t h a t he find a teacher who was not only a technician, but a writer who was actively working in the profession. When asked who he would recommend, Gutman said Paul Yartin. Because he was not affiliated with any school, and had an interest in developing as many young students as possible, Gutman indicated t h a t Yartin's fees were sometimes assessed based on w h a t the student could afford to pay. And so, in this apparently accidental, almost h a p h a z a r d way, I came to meet one of the two most important men in my musical life, both of them w h a t I would call master teachers: teachers whose training and influence extended far beyond the merely technical, whose outlook, experience and encouragement penetrated into almost every area of a student's life. 1 8 Alfred studied with Yartin on scholarship as p a r t of an arrangement between Yartin and Reed's father. In fact, no money was exchanged for his lessons with Yartin in return for keeping files of other student's lessons and sometimes going to the market with Mrs. Yartin. Yartin was educated at the Vienna and Paris conservatories where he studied piano with Joseph Hoffman and composition with Camille Saint-Saens. He was fluent in six languages, including Greek and Japanese, and actively translated writings from other languages into English. He was the kind of man t h a t could rightfully be magniloquent about his background, but never talked about it. Alfred was very impressed with his calm, common demeanor, a n d even the fact t h a t he shared some "very juicy, off-colored stories" ^ on occasion. Yartin taught Alfred t h a t writing a tidy manuscript was very important so Alfred learned to write in ink with a ruler, and Yartin refused to look at his assignments if there were any extraneous m a r k s or smudges on them. "He said to me 'it is alright, you can curse me now, but the time will come when you may even bless me for it.' In this, as in so many other ways, he was absolutely right." ^ Even today, looking at one of Reed's handwritten scores, a person

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would very easily be able to perform and study from his manuscript because of its clarity. Yartin found himself having to caution Alfred against being seduced by all the contemporary harmonies and melodies t h a t were being written during t h a t time by Prokofiev, Stravinsky, and Hindemith. Alfred could have easily been enticed and influenced by these composers, but Yartin did not want him to neglect the traditional music in order to explore every sensational device t h a t came along. In retrospect, Reed believes this is one of the best pieces of advice ever given to him. He recalls Yartin saying "as you get old, and you have all these experiences with these Pecks bad-boys of music, the more you will come back to Papa Bach." 2 1 Reed is grateful t h a t he remembered this piece of advice because it h a s turned out to be true. There seemed to be a relationship between Reed and Yartin t h a t transcends t h a t of the typical student and teacher. Reed credits Yartin with subduing his frustration, unleashing his potential, and enabling him to be the composer t h a t he is today. It is difficult to describe the excitement, enthusiasm, and respect with which he speaks about his mentor, almost as a son would of his father. "He taught me how to keep going, to the end of my life if I wanted to. In order to do t h a t he had to creep in between your bones, he had to leave an imprint, and impress." 2 2 Alfred studied with Yartin for about two and a half years, from 1938 through 1940, until the time t h a t Yartin and his wife moved to the West coast of the United States. Alfred continued to take trumpet lessons, as he promised his father he would, during the time t h a t he studied with Yartin. He was able to afford these lessons because he was not paying to study with Yartin. His teacher was Harry Berken, whose studio was in Radio City Music Hall. On one particular occasion, Alfred arrived a t one of his lessons unprepared, except for a ten page duet t h a t he wrote during the time he should have been practicing. Reed remembers Berken saying, after playing the duet, "'why are you wasting my time and yours? You don't want to be a trumpet player." 2 3 That was the last day t h a t Alfred took a trumpet lesson. He did continue to play for small engagements, but no longer practiced the trumpet seriously. In 1938, Reed began to work for the National Youth Administration Radio Workshop as a staff composer, arranger, and assistant conductor. He worked here until 1942, when he entered military service. The National Youth Administration (NYA) Radio Workshop was an agency set up by President Franklin D. Roosevelt to assist in bringing the United States out of the Great Depression, and the radio workshop was based in the Ed Sullivan Building on Broadway. Young individuals would work 60 hours a month, for

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$22.00, to gain work experience t h a t would facilitate them finding jobs in the future. The Radio Workshop included a full symphony orchestra, sinfonietta, stage band, three choirs, arrangers and copyists, music library, and production and public relations people. All the programs were produced and aired on WNYC. Reed used his position with the Radio Workshop to observe as many rehearsals as possible, including those under the direction of Leopold Stokowski, Fritz Mahler, Morton Gould, Robert Hufstader, Edwin McArthur, and Curtis Flagstaff. Many young conductors were given the opportunity to conduct the ensembles, and there were plenty of writing opportunities for Reed. He wrote music for many of the radio broadcasts, including "Tale of a City," "Promise of America," and "Creative America." In this "hot bed" of music, Reed was able to meet great artists, absorb a great deal of music, a n d h e a r most of w h a t he wrote played by some of the finest performers in the city. It was during his time with the NYA Radio Workshop t h a t Reed received the first public performance of a work he h a d composed. This was a short work for small orchestra called Country Night, which was composed and performed in 1940, when Reed w a s 19 years old. The work was performed first by the NYA Sinfonietta, conducted by Robert Hufstader, and later by the NBC Symphony Orchestra under Milton Katims. Country Night was later retitled Interludium, arranged for Hammond Organ, and published in 1953, because at the time of publication Reed was working for the Charles H. Hansen Music Corporation who published a series for the Ethel Smith Organ Company. This was the first original piece of music t h a t Reed published, and he later dedicated this work to his wife on their fifth wedding anniversary. On J u n e 20, 1941, at the age of 20, Alfred married Marjorie Beth Deley. The circumstances surrounding their meeting are very coincidental. Marjorie's father was also in the r e s t a u r a n t business in New York City and owned his own establishment on Broadway. Reed's father, after losing his own business, met Marjorie's father, who subsequently hired him. Marjorie worked in the r e s t a u r a n t a n d t h u s became acquainted with Reed's father. She was recently divorced from her first husband and Reed's father asked her to go out with his son, but because of the difference in their ages, Marjorie did not accept his advances. In 1940, after his overtures were declined, Reed's father brought his son and Marjorie together under the auspices of discussing her interest in pursuing music study. Reed helped her purchase a piano and introduced her to Paul Yartin with whom she studied for a while. They were engaged in February of 1941, and were married on J u n e 20th of the same year. The beginning of their life together, not unlike most couples, was filled with many challenges. Mrs. Reed's family had a history of

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problems relating to childbirth, and the couple was not spared these problems. "We had only one child despite repeated attempts. My wife h a d a history of seven or eight miscarriages and the only child she carried for full term died after three months because of heart deficiencies." 2 4 Her parents provided the couple with much financial support, because they had no medical insurance to help cover their expenses. "As a matter of fact, they helped too much and I w a s beginning to become a little restive under it. I felt t h a t I didn't need as much help as they were offering and I wanted to do things for myself." 2 5 In the early 1940's, at the beginning of his marriage and during Alfred's time with the NYA, he became acquainted with his next composition teacher, Vittorio Giannini. He became aware of Giannini's music in the mid- 1930s after hearing a work entitled "Impressions of Travel," composed while Giannini was in residency at the American Academy in Rome. "I had never heard such mastery of the orchestra, the effects, the sounds t h a t he got. Some of the melodies just swept me off my feet." 26 Giannini eventually became a conductor at the NYA Radio Workshop, which is where they met. Alfred asked Giannini if he could take composition lessons from him. Giannini examined some of Alfred's work and agreed to teach him, but suggested they wait before starting until after the possibility of Reed serving in the military had passed. This proved to be a wise decision. When it became evident t h a t he would be drafted into service, Reed enlisted and was away from New York City for three and one-half years. THE MILITARY YEARS (1942-1946) In September 1942, 16 months after the start of World War II, Reed began serving in the military. He kissed Marjorie good-by and, at Pennsylvania Station in New York City, boarded a train t h a t was bound for Upton Base on Long Island. Reed spent three days at Upton Base before he boarded another train, as p a r t of the Army Air Corps, bound for Atlantic City, New Jersey. This, however, is not how Reed expected it to go. Prior to his induction, Reed had been invited to visit another base, Watertown, where the major in charge of entertainment wanted to produce a series of musical shows for the troops stationed there. Major Blesser asked Reed to come there after some members of the band who were stationed there suggested t h a t he would be a good candidate to arrange the music for these shows. Because it w a s almost inevitable t h a t he was going to serve, Reed withdrew his claim for induction deferral, and the Major provided him with the appropriate information and paperwork to be assigned to the

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Coastal Artillery unit t h a t was stationed at Watertown. Instead of being placed on a train North to Watertown, he ended up on a train heading South to Atlantic City, because the 8th Army Air Force w a s building up in Britain and they wanted personnel with special skills. Reed's special skill was his very well trained hearing, which m a d e him a primary candidate to become a radio operator. Reed h a s proven himself to be a good prognosticator, and this held true even in the 1940s as he prepared to be inducted into the military. In 1941, before being inducted, he decided t h a t if military service was not to be avoided, he should serve his time as a musician. Realizing t h a t he would have to perform an audition, he began to take trumpet lessons from Morris Grupp, who, according to Reed, was a highly respected and very knowledgeable teacher with a studio on Broadway. Reed worked with new incentive to get his lip into shape, and his practice paid off. He auditioned for the Lieutenant in charge of the base band at Atlantic City and, two weeks after arriving there, was transferred out of the radio operator's training group and into the band. "I was permitted to live off-post, as were all the other permanent party members in those days, and I was set up doing practically the same thing in the Army t h a t I had been doing in civilian life." 2 7 Reed did not do much trumpet playing while in the Army except during his first few weeks and the final few months of duty. Reed did "fall out" each morning during those first few weeks with his instrument and participate in marching maneuvers, drills, a n d routines, but because there was a surplus of trumpet players, he w a s not needed to perform and was able to compose, arrange, a n d develop his skill. Most bases t h a t h a d a band were limited to one authorized group, but the Atlantic City base was an exception to t h a t rule. This base was known as a Technical Training Command (TTC) center, which trained the support personnel for pilots. Because of the number of troops assigned for training in Atlantic City, the base w a s authorized to have two 28-member bands. The instrumentation of these bands, for which Reed did much of his writing, consisted of one piccolo, one flute, six B-flat clarinets, two Eb alto saxophones, one Bb tenor saxophone, three French horns, five trumpets and cornets, three trombones, one baritone, two tubas, and three percussion. The music division of this base was further expand to over 130 musicians, including 45 strings and an 18 to 20 piece drum and bugle corps. The possibilities for combinations of performers were a composer's dream. I must say t h a t those 39 months I spent ... were, w h a t shall I say, the years when I really began to learn my craft. The way to do things quickly,

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efficiently, and accurately so t h a t the first time it w a s played through everybody, including myself, could get a good idea of what was going on in the music. 2 8 Reed's first commanding officer was Lieutenant Henry F. Reisman. It was speculated by members of the band t h a t this commander was related to Leo Reisman who was a successful dance band leader, but, according to Reed, his talents were not shared by his supposed brother. Many commanders in the Army, at this time, were not necessarily trained in the specialty area t h a t they commanded, but were quality administrators. Reed's next commander was David Bane who, according to Reed, worked to improve the morale of the band. The guidelines to be qualified as a commander changed, and as a result of this change, one had to graduate from a Warrant Officers School, which trained candidates in their respective areas. Robert Landers was the first commander to take over the bands at Atlantic City after completing Warrant Officers School. In J u n e 1943, the base at Atlantic City was closing and the bands were being sent to different bases throughout the country. The 29th Army Air Corps Band, Reed's band, which was under the command of Landers, was sent to Denver, Colorado, and the 28th Army Air Corps band under the direction of Norman Leyden was sent to Greensboro, North Carolina. Incidentally, Leyden later became the music director on the "$64,000 Dollar Question." In conjunction with the base being closed, the Army Air Corps was retitled the Army Air Force, and all the units were prefixed by the number five. Therefore, the 29th Army Air Corps band became the 529th Army Air Force band stationed first at Buckley Field, until the Spring of 1945, and at Lowry Field thereafter. While in Denver, Colorado, the majority of Reed's time w a s spent composing and arranging music for weekly radio broadcasts and public concerts. "I did over 150 works in those 39 months, including [arrangements of] the entire Beethoven's Symphony No. 9, and two hours of music from [Handel's] Messiah where we used a Hammond organ for the string accompaniments for the solo voices." ^ Most of his works were arrangements for radio broadcast concerts carried on KOA and KLZ nationally and WFPG and KMYR in the Atlantic City and Denver areas respectively. Reed also was involved in the production of 73 programs for "America Sends a Melody" t h a t were recorded for overseas broadcast. Of the few pieces of original music composed during the military years, Reed produced the composition t h a t was the catalyst for the rest of his career. This work brought the name of Alfred Reed to the forefront of the school wind band movement and is singularly

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responsible for taking his life down a p a t h he never intended, or even entertained the thought of pursuing, prior to these events. In the late summer of 1944, after the Allied forces successfully invaded France and Belgium, it was generally accepted t h a t World War II would soon end victoriously. The war bond effort h a d gone exceptionally well in Denver during the summer of 1944, and t h e City Fathers decided to give the citizens of the community a free concert to t h a n k them for their support. The prominent American composer and teacher, Roy Harris, "finagled for himself, a s the master musical politician he was, to be placed in charge of organizing this concert." 3 0 Harris decided to assemble a band of the best players from each of the five military installations in the greater Denver area. He was promised complete cooperation by the commanding officers of each of these units and requested t h a t Reed be detached from his normal military duties to help with the administrative work. According to Reed, plans for the concert, scheduled for the middle of December, were going very well until a problem arose at the end of November. The program had originally been conceived as a RussianAmerican tribute and was to present Russian and American works because, at the time, the Russian people were allies with the United States. There would also be a premiere of a new Russian and a new American work. The American work was to be a transcription of the second movement of Harris's Sixth Symphony, the "Abraham Lincoln Symphony," and the Russian piece was to be a work by Prokofiev which Harris had somehow heard about, but did not know the title. Harris began searching for this new Russian work with the assistance of military officials in Washington, D.C. and discovered t h a t the work had already been premiered by the 529th Army Air Force Band, Reed's organization, and t h a t it was in the base music library. Reed was not aware t h a t his band had already performed the Russian composition, because he was not responsible for selecting the music to be programmed. Thus he could not alert Harris t h a t his unit had already performed the composition and h a d it in their library. This work was Sergei Prokofiev's March, Opus 99. Harris was now faced with the problem of finding another never before performed Russian work t h a t could be presented as part of the advertised program. Reed relates some of his conversation with Harris about this matter. He [Harris] said t h a t the best thing t h a t he had been able to come up with is t h a t I should write a new Russian work for the occasion, and with t h a t he hung up the phone! I sat there thinking t h a t it was j u s t 15 or 16 days before the concert, and I could not

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believe w h a t I heard so I dialed him back and said, "Roy this is Alfred again did I hear you correctly, you w a n t me to write a new Russian work for this concert?" He said "don't worry, I have every confidence in you." I said, "Roy the concert is 15 or 16 days away." He said, "well, just don't make it too long, only about 14 or 15 minutes," and with t h a t he hung up the phone again. 3 1 Reed immediately went to see Warrant Officer Landers. Reed walked into Landers's office and did not have time to say anything before Landers told him t h a t Harris had already communicated with him and t h a t Reed was to begin working on the composition. Landers gave Reed special permission to remain a t home while he was writing this work and only come to the base to sign the payroll and pick up his pay. Each day Reed's wife would bring the completed pages of the score to the base where a special copyist's room h a d been built by the base carpenters for this occasion. Utilizing the skills of five copyists, and this process, the score for Russian Christmas Music was completed in 11 days, and the copyists required two additional days to finish the parts before rehearsals could begin. This first version of Russian Christmas Music was premiered on December 12, 1944 as part of a nationwide radio broadcast on the NBC network, and the concert premiere was on December 14, 1944 in the Denver City Auditorium. This was Reed's first public recognition and his first great success as a composer. Russian Christmas Music made so much of an impact on Saul Caston, the conductor of the Denver Symphony, t h a t in the spring of 1945 he asked Reed to make an orchestral version. Reed decided against it, at the time,* because he felt t h a t he would never be able to achieve the same sonorities from an orchestra t h a t he achieved with a wind group. The command of Buckley Field changed during the time t h a t Reed was stationed there to a general from the cavalry who, according to Reed, seemed determined to acquaint the Air Force personnel with w h a t military life was about. This new general implemented reveille parades at 5:30 A.M., which included the playing of Star Spangled Banner and marches on the streets within the base. About one week after initiating the order, the general withdrew it because of an onslaught of criticism by the commanding officers. W a r r a n t Officer Landers suggested t h a t Reed compose a Recently, Clark McAlister, in close collaboration with Reed, transcribed Russian Christmas Music for orchestra. This arrangement was released in 1995.

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Biography

march to be dedicated to the general to possibly reduce feelings of embarrassment t h a t he may have been experiencing because of this event. The result of Landers's suggestion was General Lawson March, which was never published under that title. Years later the march was retitled Scarlet and Gold to reflect the colors of the Juilliard School of Music and finally titled and published as Pro Texana while Reed was at Baylor in 1953. In 1942, Reed's wife, Marjorie, became a Lieutenant in the Red Cross, and she was able to secure a provision in her contract t h a t enabled her to be stationed wherever her husband was serving; thus, they were able to remain together. In February 1946, Reed was discharged from the service. He was one of the last to be released because the Air Force released its members based on a point system. Each individual was awarded a number of points based on certain aspects of their military career, including overseas service, hazardous service, number of dependent children, and number of months in service. Reed did not qualify for any extra points beyond the number of months in service, so he remained long after the War had ended. He began playing trumpet more at the end of his service career, because many instrumentalists left the group and the number of playing obligations did not greatly decrease. THE JUILLIARD YEARS (1946-1948) In February 1946, the Reeds moved back to New York City from Denver. They resided with Marjorie's parents for a few weeks before moving into an apartment at 151 West 95th Street. Reed spent most of his time during the spring relaxing and readjusting to civilian life. He was able to enroll in a course taught by Lyle Dowling and Arnold Shaw about the Schillinger System* during the summer session of 1946. This was a bittersweet time for Reed. He wanted to begin studying with Giannini, but was unable to do so because the spring term at Juilliard had already begun before he returned to New York City. He was finding it difficult to reestablish his contacts in the music field, and he could not find work. However, he was happy to be reunited with his father. Reed entered the Juilliard School of Music full time in the fall 1946 with 30 hours of credit already granted toward his degree because of his experience in the military. "I would like to say, a n d this is not intended as a reflection on Juilliard, I did not go there in order to acquire the Juilliard degree, but in order to study with * A compositional system heavily based on arithmetic derivations of rhythms developed by J. Schillinger (1895-1943).

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Vittorio Giannini." 3 2 Reed wanted to learn to construct large scale musical forms and Giannini was the person he felt could provide him with proper instruction in this area. Reed had extensive experience writing smaller musical forms, overtures, medleys, and popular style music but had never composed a large scale work. He w a s consciously aware t h a t his training was insufficient in this area and hoped to fill the lacking very soon. Every student who applied to the Juilliard School of Music was required to pass a performance entrance audition on their primary instrument, or voice. Reed played, among other excerpts, the fanfare from Richard Strauss's Ein Heldenlieben and the trumpet call from Beethoven's Leonora Overture, No. 2 for his trumpet audition. His audition panel consisted of William Vacchiano, Edward Treutel, and J a m e s Smith, a committee t h a t would make most brass players, even those who practiced eight hours a day, anxious. "Vacchiano, a relatively quiet and soft spoken man, looked at me and said 'you're coming in as a theory composition major, you're going to be studying with Mr. Giannini, and Mr. Giannini has accepted you, well in t h a t case I think we can let you in.'" 3 3 Reed never touched his trumpet after he completed his audition. For a short time after returning to New York City, Marjorie rejoined her family in the r e s t a u r a n t business, but by the time Alfred began attending Juilliard, she acquired a job there, first as a s s i s t a n t to the registrar and later as the assistant registrar. She was once again working almost side-by-side to her husband just as she did while she was serving in the Red Cross. Reed commenced his studies with Vittorio Giannini in the fall of 1946. They worked on constructing large formal structures for chamber ensembles and smaller orchestral groups, and he w a s pleased with his progress during this time. Giannini told Reed many times t h a t he could not imagine any music lasting over the years except t h a t which combined "Italian melody and German symphonic craftsmanship." 3 4 This was the style of music t h a t Giannini was writing, and this philosophy influenced Reed's writing "to a great extent." Reed said t h a t he often considers Giannini's advice while composing and believes it to be true. It could be said t h a t a great deal of Reed's compositional style was developed under the tutelage of Giannini. It was during his time at Juilliard t h a t Reed met another person who exerted a great amount of influence on his life and career, Donald I. Moore. During the 1947-48 school year the administration of Juilliard was faced with an increasing number of students due to the influx of veterans and not enough ensemble performance positions, especially for wind and percussion players. In order to help relieve the problem the President of the school, William Schuman, decided to create a wind band. Moore was hired to direct

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this first band in the history of Juilliard. After only one year Schuman decided to eliminate this band program in order to refocus the Juilliard School of Music toward the preparation of performers. While at Juilliard, Reed took his first-ever piano lessons. He studied with Jewel Krivin and Selma Rubinstein simultaneously. Within the year he had practiced enough to pass his required proficiency by playing Beethoven's Sonata, Op. 49 No. 2. He imposed limits on his practice time because he felt any time away from composing was time not spent wisely. Although Reed was a trumpet player he did not take lessons on trumpet, nor play in any wind or orchestral ensembles. Reed had his first conducting experience while at Juilliard. He conducted only his own music with small ensembles or groups t h a t he organized. He never had the opportunity to conduct any of the School's orchestras. His last conducting appearance at Juilliard was in the spring of 1948, when he composed the music a n d conducted the performance of a musical show entitled Lose Your Tempo, for which he organized a large orchestra that included, in addition to the standard string instrumentation, five saxophones, three extra woodwinds, six brass, harp, and percussion. Reed continued to spend much time listening to many live performing groups and observed as many conductors as possible. He felt t h a t in order for him to understand large musical structures he needed to be exposed to as many works, composers, conductors, and forms as he could. "I spent much of my time sitting in rehearsals listening, watching conductors, following with scores, making notes, and asking myself questions like, 'why does this sound t h a t way?' I would say t h a t is really where I laid the solid basis of my instrumental technique." 3 5 In 1947, the second version of Russian Christmas Music was written in order to be entered in a contest for new serious music for the symphonic band sponsored by Columbia University and administered by its director of bands, Harwood Simmons. Reed became aware of the contest from one of his friends and decided to enter Russian Christmas Music, which had been stored in a box and not performed since 1944, because he was curious to see how it would compare to other contemporary wind works of the time. Reed made several changes in the instrumentation for this second version. Because he had a larger ensemble for which to orchestrate, he could take advantage of the additional instrumental tone colors beyond those t h a t were at his disposal in the smaller 28-piece military b a n d for which the work was originally written. However, he did not change the number of measures contained in the work nor any of the melodic material. The work was one of the three prize winning pieces from the contest and received its first performance in this version by the Juilliard band under Moore in February 1948. This

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version of Russian Christmas Music was sent to Boosey & Hawkes to be considered for publication, but was never published. In the spring of 1948, Reed received a letter t h a t distressed, annoyed, and h u r t him very much. Boosey & Hawkes found the Russian Christmas Music to be a very interesting work, but in their reviewer's opinion it was too long and too difficult to be widely performed by most school groups at t h a t time, and therefore it w a s deemed to not be financially viable for publication. Reed w a s obviously upset about the letter and decided t h a t he would not submit Russian Christmas Music to any other publisher at that time. In the spring of 1948, Morris Mamorsky, one of the staff writers for NBC decided to leave t h a t organization and become a freelance composer. Mamorsky was responsible for writing the music for one of the most successful radio shows of the 1940s, the "Eternal Light." He continued to write music for the show after leaving the network, and was provided with secretarial services and office space for his continued involvement in the production of the "Eternal Light." Because Mamorsky's reputation as a composer was well known, and his music was in great demand from many producers, he found it difficult to satisfy the number of requests for new music and decided to hire an assistant to alleviate his work load. Mamorsky contacted three schools of music in the New York City area, the Juilliard, M a n h a t t a n , and Mannes Schools of Music, to announced t h a t he was looking for an assistant. Because he lived in Mamaroneck, New York, Mamorsky would only come into New York City a few days each week to work on the radio show so anyone interested in applying for the position was to come to his office on one of the days t h a t he was in the city. Reed was aware t h a t the position was available, but was unable to apply for the job because he was serving jury duty. It t u r n s out t h a t Mamorsky had been told about Alfred Reed by some of Reed's friends who had already applied for the position and was wondering why he had not contacted him. Finally, after his jury duty was over, he called Mamorsky's secretary to inquire about the position. An interview took place and Reed was soon at work composing and arranging 125 music soundtrack sequences. These sequences were stored in a soundtrack library for use in motion pictures, radio, and television shows. Because of the particulars of Mamorsky's contract with Picture Scores, Inc., neither his or Reed's name ever appeared on any of the music. Reed began working for Mamorsky while continuing his studies at Juilliard and found himself to be too busy. He felt t h a t he was working as a professional composer without having a degree, and he did not feel t h a t he had either the need, nor the time to continue his study at Juilliard and work for Mamorsky as much as he wanted him.

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Biography First of all, I had discussed this with Giannini a t great length. He said to me, and I'll never forget it, "with any of my other students here I would say to them, no, finish your degree. But for you, with your talent and what you have done, I feel t h a t this would be a very important step." 3 6

Reed was summoned to a meeting with the then Dean of the Juilliard School of Music, Norman Lloyd, in order to be questioned about his intention to leave without completing his degree. Reed w a s told by Lloyd, who was considered to be a very quiet and reserved man, t h a t the faculty was considering awarding him a fellowship to continue his study there. "Without the slightest warning he said to me, in t h a t same quiet voice, 'why do you want to become a whore?'" 37 Reed was both surprised and annoyed by Lloyd's characterization and responded to this question by denying t h a t his talents would be prostituted. Regardless of Lloyd's discouragement, Reed left Juilliard. This was the first time in his life t h a t Reed felt as though he could stand on his own against people and situations t h a t were supposed to be more powerful t h a n he, and he was looking forward to the challenges he would face in the professional music world. For the first time in his life, at the age of 27, he would not have to rely on anyone else for his well-being. The government, his parent, or his inlaws would no longer be paying for his study, and he would have to become completely responsible for his life. THE NBC AND ABC YEARS (1948-1953) The spring of 1948 was a very busy time for Reed. Not only was he accepting his first job and leaving the security of academia, he was also beginning to realize success as a composer. Because of the positive reaction t h a t Russian Christmas Music received at his performance and his personal admiration of the piece, Harwood Simmons, who conducted the premiere performance of the second version of the work, wrote a number of band conductors across the United States in order to alert them of this fresh, new work for wind band. Relating his efforts in a letter to Reed, Simmons wrote: I sent the score and parts to Professor Walter Beeler and had a most enthusiastic reply from him. He speaks in the highest terms of the work and being a m a n who does not display emotions easily, I am very

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much impressed. No doubt you have heard from him by now. 3 8 The letter writing campaign enacted by Simmons was very successful, and in a matter of months Reed began receiving requests to perform the work from some of the most well known b a n d conductors of the day including Frank Prindl, Bernard Fitzgerald, Glenn Bainum, Hugh McMillen, Howard Hanson, Frederick Fennell, L. Bruce Jones, and William Revelli. Fitzgerald wrote in a letter to Reed, "Your unusual talent for superb band scoring and musical ideas is sorely needed by bandsmen throughout the United States, and I am confident t h a t you can make a tremendous contribution to band music through your continued compositions for the medium." ^ Bainum wrote that "the Russian Christmas Music is the most magnificent piece of original writing for band t h a t I have ever seen. It m u s t be published." 4 0 Fennell wrote, "this is a wonderful job of scoring and a most faithful realization of the spirit it so clearly invokes." 4 1 The need for contemporary wind band music was evident by the interest expressed from these conductors, and Reed's piece seems to have qualified as one of these needed works. In fact, Prindl wrote, "I am very sensitive towards the major criticism of the band, i.e., t h a t the concert band h a s not enough outstanding literature written directly for the band. I am sure your composition will nullify this criticism." 4 2 Reed was very pleased to have received so many flattering letters about his composition, but he only responded to one letter because he was so overwhelmed by the amount of work involved in his new job, and also he was no longer interested in composing music for the wind band. That chosen letter was from Walter Beeler, director of bands at Ithaca College, who expressed a strong interest in at least seeing the score of this composition. Reed sent Beeler the score to Russian Christmas Music because Ithaca was the closest geographical location of all the responses and the postage was less expensive to send it there. "Very shortly afterward came back a most enthusiastic letter practically demanding t h a t he be allowed to play it." 4 3 In a subsequent letter, Beeler wrote t h a t "we [the Ithaca College Band and Beeler] will be anxious to receive the Russian Christmas Music and start rehearsals on it." 44 Beeler performed Russian Christmas Music on tour with the Ithaca College band during the fall of 1948 and later wrote, "I believe t h a t I am safe in saying t h a t the majority opinion is that it is the most effective piece of music in band literature." 4 5 Beeler encouraged Reed to have the work published so t h a t many more bands would have the opportunity to play it. Reed,

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however, decided not to submit Russian Christmas Music to a publisher because of his previous experience with Boosey & Hawkes, and, frankly, he had no desire to promote this work when he saw himself composing music for the more traditional performing ensemble, namely, the orchestra. In September 1948, Reed was given his first opportunity to work with Mamorsky on a radio broadcast show for the NBC network. This show was called "Marriage in Distress" a n d addressed the contemporary issues of marriage, including social diseases and divorce. Reed composed a large portion of the music for this show, scored the entire production, and assisted in the studio while Mamorsky conducted 38 members of the NBC Symphony Orchestra. Reed's work on "Marriage in Distress" launched his radio music career. Between 1948 and 1952 he was involved in arranging, composing, and orchestrating music for many of the day's radio broadcasts, including broadcasts of "The Ethel Merman Show," "Mike Barrows, Government Agent," "Someone You Know," and "The U.S. Steel Hour," to name a few. Reed also established a long standing relationship with Henry Morgan and wrote music for "The Henry Morgan Show" while it was broadcast on radio and later on television. Mamorsky introduced Reed to many people who exerted influence on his life for years to come. Reed describes sitting in the control booth and watching Toscanini conduct the NBC Symphony Orchestra in preparation for the Saturday and Sunday radio broadcasts. Reed worked closely with Milton Katims, one of Toscanini's assistant conductors. Reed first met Katims in 1948 while working with Mamorsky and remained in close contact with him for many years. Katims w a s the regular conductor for the "Eternal Light," the weekly radio program for which Mamorsky wrote the music. It was widely known t h a t Katims was Toscanini's protege with the NBC Symphony Orchestra, and when he was not conducting the orchestra he played first-stand viola under Toscanini. Reed was never officially on the staff at NBC, but most of the music he composed between 1948-1951 was aired on this network. He was actually an employee of Mamorsky during the time and remained so until he joined the staff at ABC. Because Reed was Mamorsky's employee, all the music he wrote, except for the soundtrack sequences, became the property of Mamorsky and was identified only with Mamorsky's name. Reed accepted this arrangement during their early affiliation, but grew restless with it as time passed. Many producers and production executives, however, began working with Reed directly: thus he began to clear the music he had written for broadcast under his own name, not Mamorsky's, and, as might be expected, their relationship began

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to deteriorate. Reed began to feel t h a t he no longer wanted to be Mamorsky's employee and could "make it" on his own. The men mutually decided to abolish their arrangement. In the spring of 1949, the Reeds moved into a one-room apartment at 43 West 87th Street in New York City. This apartment was on the first floor of a brownstone building and w a s designed exactly as Reed remembered part of Yartin's larger home. "I was living in exactly the same kind of room which had been made into a one-room apartment t h a t Yartin had. That did not escape my attention, or my notice." 4 6 Reed's first contact with ABC came in 1949, when he w a s working on a series of record albums with Richard Maltby, who w a s on staff at ABC. In the fall of 1950, Maltby resigned from ABC, and Reed was hired to take his place as a staff arranger and composer. Reed was assigned to work in an area t h a t was completely new for him, the television medium. "I had the wonderful opportunity to learn this new medium. I had been [working for] two years in commercial radio and now I was in television." 4 7 Reed's first involvement in writing music for a record album was in collaboration with Richard Maltby and Ted Dale on which he was a transcriber for a series of Muzak and Sesac* albums t h a t were released in 1949, 1950, and 1952. Reed next arranged music for an album by Gladys Swarthout and the NBC Symphony Orchestra, "Gladys Swarthout Sings My Favorites," which was released in December, 1950. In 1951, he arranged and orchestrated music for Rise Stevens and the NBC Symphony Orchestra, under Milton Katims. This music was included on the album "Songs My Mother Taught Me" for the RCA Victor label and released in May of t h a t year. When he went to work for ABC, Reed continued to write music for some 60 broadcasts of the "Henry Morgan Show" for NBC. Because of their experience working together and perhaps because Morgan developed a respect and liking for the music t h a t Reed wrote for his show, Morgan kept Reed as his writer even though it w a s broadcast on NBC-TV. On ABC, he wrote music for "Holiday Hotel," and "Musical Playhouse." Reed wrote many special arrangements, most of which were for dance band, for Ruth Baylor, Parcell and Carlyle, and George Geyer. Another aspect of Reed's career included the composing of six full-length motion picture scores. Harry Glass, the head of Picture Scores, Inc., hired a composer and live musicians instead of using music from his soundtrack library. Reed composed the music and * Society of European Stage Authors and Composers (Sesac) is a privately owned performing rights organization, established in 1931, t h a t was originally associated with gospel and Christian music.

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was the recording director for "Answer for Anne," "Stepping Along with TV," "Our Silent Partner," "With These Hands," "The Inner Man Steps Out," and "Wings Over France" which were released between 1948 and 1950. Reed arranged the complete score for one musical a n d orchestrated the score for another. The musical review "Laugh it Off" was scored for Mervyn Nelson and was performed at the Blackhawk Restaurant in Chicago, Illinois. Because of a typographical error, Reed was listed as Allen Reed, not Alfred Reed, in the playbill for the show. "All About Love" was a musical comedy, performed at the Versailles. Actors featured in the show included Carmen Torres, Arthur Maxwell, and Gena Rowlands. Reed also was arranger and musical director for many performing artists in the variety-theaters of New York, including Sid Blake, The De Marcos, Peter Howard, Connie Towers, and P a t t i Prince. In 1951, the Reeds moved from New York City to Long Island. They were financially secure enough to be able to purchase their first home, located at 39 Dock Lane, Wantagh, NY. This home was much different from the three-room apartments in which the couple was accustomed to living. In 1952, while looking for a new piece of music to perform with his Baylor University band, Donald Moore (formerly the director of the band at Juilliard) contacted Reed and asked him to compose a piece t h a t he could premiere at Baylor and use as a "signature piece" when the band performed off campus. Evidently, Moore developed a respect for Reed's ability as a result of his experience with Russian Christmas Music while he was at Juilliard. Reed decided to write for only brass and percussion and attempted to construct his first large scale formal structure. He had studied these larger structures with Giannini for a number of years, but had not yet had the opportunity to write one. Amid all of Reed's success, and a career t h a t looked bound for fame and fortune, he and his wife were experiencing some trying times in their personal lives. Family had always been important to Alfred and Marjorie, but due to several miscarriages the couple h a d no children. Marjorie was finally able to carry a child to full-term and gave birth to a baby boy in February 1952. The couple w a s overjoyed by this event because it signified t h a t their dreams a n d hopes of starting a family had come true. Their joy, however, w a s rather short lived because after three months the child died of congenital heart defects. The loss of their infant son tore at the emotions of the couple, but they remained hopeful of having a child. Their continued attempts at starting a family resulted in further miscarriages and they were never able to have a child of their own. Early in 1953, their frustration and anxiety became unbearable and

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the Reeds began searching for a way to change their lives in order to put all of these bad memories behind them. The opportunity for this change did not take place until after Reed wrote some music for the "Ford 50th Anniversary Show." In the Spring of 1953, Reed was writing music for a show t h a t involved more musicians, and required more of his time t h a n any other show on which he worked up to this point. This two-hour production, broadcast on both NBC and ABC, had no commercial advertisement and was aired in J u n e 1953, to celebrate the 50 years the Ford Motor Company had been in existence. The amount of music kept many composers and arrangers busy, including Reed.* Reed composed two ballets for this show which were choreographed by Jerome Robbins. The first was a history of "The Popular Dance" between 1903 and 1953, and the second was a "History of Women's Bathing Suits." Reed had been with ABC for about three years, felt t h a t he could not surpass this anniversary show, not to mention t h a t both he and Marjorie were already contemplating a change in their lives, and decided to completely change his career path. Perhaps the groundwork for this change h a d been established by Walter Beeler six months earlier, in J a n u a r y 1953. Reed was unaware, because of their cursory relationship, t h a t Beeler had been writing music for the Charles H. Hansen Music Corporation, and he was ready to leave the firm, because the stress involved in fulfilling his responsibilities both at Ithaca and Hansen h a d begun to take a toll on his health. When Beeler resigned from the corporation he was asked to recommend someone to take his place. He suggested to Charles Hansen t h a t Reed would be a good candidate for the position because he knew of his ability to compose and arrange music for wind instruments, based on his experience with Russian Christmas Music. Beeler's recommendation resulted in Reed receiving a letter from Bernard Kalban t h a t would alter the course of his life. Kalban contacted Reed on behalf of the Charles H. Hansen Music Corporation to solicit his services as a writer of wind music for younger players. "I received a letter from a m a n I never heard of, writing for a firm I did not know, who invited me to have lunch with him to discuss the possibility of my writing some music specifically for young players." 48 Reed met and had lunch with Kalban, and * The most memorable part of the show, for Reed, was when Ethel Merman and Mary Martin sang a medley of 50 tunes, one representing each year the company had been in existence. The medley took 12 minutes to perform and three arrangers to complete. J a y Blackton was hired to conduct this one number because he was considered to be one of the best Broadway pit conductors of the time.

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agreed to begin writing music for the Hansen corporation while still working at ABC. At this same time, other factors were working t h a t would further change Reed's life. Since their first meeting at Juilliard, Reed had remained in contact with Donald Moore. In fact, Moore is responsible for opening a door through which Reed could not refuse to walk. In 1953, soon after the death of Reed's infant son, Donald Moore wrote Alfred and Marjorie to express his sympathy and to a s k if they would consider moving to Waco, Texas so Reed could become the conductor of the orchestra at Baylor University. The position had become available when the Dean of Music at Baylor University, Daniel Sternberg, decided he needed more time to attend to his administrative duties and eliminated the orchestra from his schedule. Moore was sensitive to the Reed's recent loss of their child and thought they would welcome the opportunity to make a change in their lives. Moore provided the foundation, purpose, and opportunity for the Reeds to start their lives over in a new place with a new job. Reed accepted the position at Baylor. Reed was very excited about the invitation and immediately went to see Bernard Kalban to tell him t h a t he would be moving. When he informed Kalban about the invitation to become the conductor of the Baylor University Orchestra, Kalban alerted Charles H. Hansen who wanted to meet with Reed. During the meeting the discussion turned toward the developing school band movement, and Hansen asked Reed what he knew about it. Reed answered t h a t he knew nothing about school bands, because all his work experience had been with adult musicians in the professional music field. Hansen seized the opportunity of Reed's position at Baylor University to encourage Reed to move to Texas, learn about the school b a n d business, represent the corporation, and report back to Hansen in New York. Kalban and Hansen saw this as an opportunity to expand their operation into Texas, especially because of the growing number of band programs in the state during the early and mid1950s. Reed was already looking forward to a change in his career and the additional income from Hansen made it all the more possible to make the move. In fact, during the meeting Reed was not given a chance to answer before Hansen turned to Kalban, who was sitting in with them, and told him to draw up the appropriate contract. It was settled. In August 1953, Reed signed his first contract with Hansen. One of the requirements of the contract stated t h a t Reed give the corporation his second version of Russian Christmas Music, Symphony for Brass and Percussion, Pro Texana March, and the orchestral version of Interludium as security for the money that he was being paid during^the time he was at Baylor. In addition, any music t h a t Reed produced while at Baylor was to be submitted to the Hansen

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corporation, which could exercise the first right to publication. Following their meeting, Reed was sent to see the Hansen bookkeeper who, under Hansen's authority, established an account t h a t he could draw against based on the amount of money he was to receive for the projects he would be responsible for while at Baylor. In 1953, at the age of 32, two months after the Ford 50th Anniversary Show, "Mrs. Reed and I, dog, cat, car, and belongings were on the way to Waco, Texas." 4 9 THE BAYLOR YEARS (1953-1955) While at Baylor University, the Reeds lived a little more t h a n one block from the campus and was able to walk to school each day. In addition to his twice a week orchestra rehearsals, Dean Sternberg asked Reed if he would teach some other classes. "He automatically assumed t h a t I would ask for the graduate classes in composition, and the poor man was thunderstruck when I said t h a t I wanted classes in freshman theory." 5 0 Reed believed t h a t the best teachers, "the biggest guns," should teach the beginning students in order to impart to them a firm foundation in the basics of music theory. He conducted orchestra rehearsals and attended graduate classes during the afternoon sessions. Reed needed one course from Baylor to complete his bachelor's degree, a course in religion, which was required of all students who earned degrees at this Southern Baptist affiliated institution. He was awarded his Bachelor's of Music degree, Cum Laude, in 1955 and immediately began taking courses t h a t would apply toward a master's degree. Interestingly enough, Reed took no formal composition or orchestration courses while at Baylor University. The only discussions about composition he had w a s when he met with Sternberg to discuss and evaluate his progress towards his master's degree. He took piano lessons with William McKamie, who was a former student of Sternberg's, and also took a course in music psychology. Reed's time at Baylor was not always easy. He suffered a number of disappointments and was confronted with many realizations. Because he had been educated mostly by private teachers and in a conservatory setting, he was unaware of the additional requirements placed on students who were working toward a liberal arts degree and the amount of bureaucracy involved with the operation of a public educational institution. Reed also did not anticipate t h a t his colleagues and fellow students would teach and perform at a level less t h a n which he was accustomed to at Juilliard.

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Biography I had absolutely no idea of what went on in colleges or universities until I was 34. Believe me, some of my biggest disappointments came about because I w a s working with people who didn't quite meet the standard, and I had to learn how to deal with t h a t too. At first I was terribly upset about it. 5 1

Reed continued to be involved in the recording business a s the musical director for WORD Records which was based in Waco, Texas. One of his most memorable achievements came when he w a s able to get special permission from the local musicians union to hire and pay union musicians less t h a n union-scale wages in order to record music under the WORD Record label. WORD Records w a s considered to be a relatively small operation t h a t recorded music for a limited audience of religious music lovers. This endeavor took only a small amount of time from his schedule, but kept him active in the recording industry. Since Reed's original assignment from Hansen was to write music for young band students, it was considered to be a great advantage for him to observe young bands, meet their directors, attend the state band functions and meetings, understand their needs, and establish his and the corporation's name in this quickly expanding market. Between 1953-1955 he wrote many popular music arrangements t h a t were quick sellers. Reed often worked with musicians who were members of the musicians union in Waco, Texas, and one such local union representative happened to be a child welfare officer. In 1954, this welfare officer, after being told by the Reed's of their desire to start a family, initiated the process for them to adopt their first child. On September 28, 1954, Richard Judson Reed, who was five months old, was adopted. This adoption dramatically changed the Reed's lives. In 1955, Reed wrote his first published choral work for Martha Barkema, the director of the choir at Baylor University. The choral program at Baylor was very active, possibly as a result of the strong tradition of singing as a means of expressing worship to God within the Southern Baptist Church, but most probably because of t h e work of Barkema. Because he lived under such a strong choral influence every day while at Baylor, most of the music t h a t Reed wrote was composed for the choir. Reed wrote and dedicated The Prophecy to Barkema. This composition was awarded a prize in a contest sponsored by the Texas Federated Music Club at its 40th Annual Convention in March 1955. The Nativity was another large scale choral work which Reed composed in which the Magnificat section segued into Gustav Hoist's Christmas Day. Reed's interest in literature began to influence his musical composition during this time. His Tears, Idle Tears was based on a text by Alfred, Lord

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Tennyson. He also wrote a setting of Full Fathom Five, Thy Father Lies from Shakespeare's "The Tempest." While at Baylor, Reed began working on, but did not finish, Rhapsody for Viola and Orchestra, the composition that would ultimately fulfill the requirements for his Master of Music degree in composition at Baylor. He had never written a large orchestral work before this one and decided to construct this piece of music in two sections, Lento and Allegro, based on a theme t h a t was heavily influenced by Bartok's music. Because he was busy taking classes, conducting the orchestra, and working for the Hansen Corporation, he was unable to complete the score for this work. His Master of Music degree was eventually conferred by Baylor in 1956. In the summer of 1955, with a full-time job already set up a t the Hansen Corporation, the Reed's left Waco, Texas to return to New York City. Upon returning to New York City, he took a few weeks to finish the score for Rhapsody for Viola and Orchestra and began working full-time for the Charles H. Hansen Music Corporation on West 57th Street in New York City. THE HANSEN YEARS (1955-1966) The Hansen years began and overlapped the two years t h a t I was at Baylor, and when I finished a t Baylor, and gotten my degrees, the firm had expanded to the point where they felt t h a t I should come back. I h a d presumably soaked up all the experience in t h a t part of the country t h a t I could, and it was time for me to come back to New York and take over the arranging department. 5 2 During the summer of 1955, when Reed went to work fulltime for the Hansen corporation, Charles Hansen released him from this first contract and told Reed t h a t if he wrote any original music and wished for it to be published by the Hansen corporation, it would be done without reservation. However, he could also publish with any other company t h a t he felt would be better suited to market his music. Throughout his life, Reed had the good fortune of working with some of the most influential people in the music business, and his time with Hansen was no exception. At one time the corporation had offices in Chicago, St. Louis, Seattle, Los Angeles, and Dallas, but none remained open as long as the New York office. The main headquarters of the corporation was on the sixth floor of a building located at 119 West 57th Street in New York City. When the Hansen corporation began to grow, it needed more warehouse space,

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and later moved into the first floor of the same building. This w a s the main headquarters of the business until 1958, when it moved to Miami Beach, Florida. During his early years at Hansen, Reed wrote and arranged many pieces of music. He continued to write music during his entire association with Hansen even though he gradually entered into a supervisory role in the arranging, editing, and publishing departments. Throughout his thirteen years with Hansen he wrote and published some 19 original works and 10 transcriptions for band, 7 scores for musical shows, 10 motion picture scores, 17 compositions and arrangements for instrumental solo, 6 arrangements for vocal ensembles, a number of arrangements of Disney music, and some arrangements which were included in a concert jazz band series. He was also compiler and editor for over 110 arrangements for marching band. Hansen did not assign employees professional titles. "Titles didn't mean a thing. It was the old one for all and all for one. Everybody operated on an equal basis. Everybody called each other by their first names, and there were no partitions or office doors with titles on them." 5 3 Although Reed never had an official title, he listed the position he held at the Hansen corporation on his resume a s Executive Editor of Instrumental and Choral Publications. As an executive editor Reed decided what would and would not be published. Reed made this kind of decision based on p a s t experience, the previous offerings of the publisher, and intuition. Reed also assumed some of the duties of what he labels a "working editor." The working editor proofreads and edits the manuscript, helps design the art work, and keeps the entire process moving along expeditiously. Fundamentally, I was a writer and a composer of original music and an arranger of other people's music. After a while, I took over most of the production details and oversaw complete publications from the original manuscript to the 5000 printed copies coming from the printer. 5 4 While he was with Hansen, Reed developed a love for traveling and presenting clinics. As part of his promotional duties, Reed would travel the country to conduct primarily his own music and sometimes other composers' music included in Hansen's catalog. Reed began to develop his philosophy about publishing during the time t h a t he was working at Hansen. When he went to work at the Hansen Corporation, Reed admittedly was "ignorant" about the intricacies of publishing. He took every bit of knowledge he could acquire about publishing and allowed it to shape his

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philosophy, one he developed over a period of 40 years and h a s undoubtedly been tested and reevaluated many times. One could say t h a t his entire philosophy about publishing is based on one word, performance. "The reason a publisher invests thousands of dollars in a piece is not just to give the lucky writer an ego trip in seeing his name in print. The object of publication always has been, is today, and must continue to be, performance." 5 5 Immediately after agreeing to join the firm, part-time, in January 1953, Reed was asked to write a version of Russian Christmas Music that could be performed by younger players and included in a Hansen series of works for young bands. Again, Walter Beeler's name m u s t be associated with this composition. Beeler suggested before he left Hansen t h a t the firm should immediately acquire a scaled down version of Russian Christmas Music. The Slavonic Folk Suite was written for Hansen as a result of Beeler's suggestion. The Russian hymn tune, "Cathedral Chorus," on which the work was based was published in 1955 separately as a vocal arrangement; this arrangement may be used either in conjunction with or independent of Slavonic Folk Suite. When Charles Hansen was ready to publish Slavonic Folk Suite he asked Reed if he had another work that could be published at the same time. Reed gave a setting of one of Bach's 371 Chorales to Hansen for publication, the Sarabande and Double for woodwind quartet which he transcribed during his studies with Yartin. Reed began to consider the possibility of making more of Bach's music available to larger numbers of performers. He became especially interested in making it available to wind groups at educational institutions so they would have the experience of performing music which they would never have had the opportunity to do otherwise. His interest in arranging a large number of works by Bach for the wind group was not fully realized until 16 years later and will be addressed further. While attending the Texas Music Educators Convention in February of 1956, Reed met the educational director of the G. Leblanc Corporation, Donald McCathern. As the two spoke, McCathern suggested t h a t Reed write a five-movement suite t h a t could be used to demonstrate the characteristics of each of the five clarinets manufactured by the Leblanc Company. McCathern suggested t h a t each instrument, E-flat soprano, B-flat soprano, E-flat alto, B-flat bass, and B-flat contra bass clarinet, be featured in its own dance-like movement. Because McCathern wanted to premiere the work at the Tri-State Festival in Enid, Oklahoma on May 11, 1956, Reed had less t h a n two months to write it. However, it w a s completed on time. Immediately following the premiere of Five Dances for Five Clarinets, Reed was asked to write a piece that could be used to open

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the Tri-State Festival each year. The result of the festival committee's request was A Festival Prelude. This work premiered at the 1957 Tri-State Festival, but remained unpublished until 1962. The work sold so many copies in its first six years in print t h a t the executives at E. B. Marks requested t h a t Reed score an orchestral version, which they published in 1968. To date, the band work h a s sold about 17,000 copies. During the summer of 1956, Reed's father died. His father h a d a history of h e a r t problems, and lived for 13 years after his first h e a r t attack. At this point Reed was totally alone in the world when it came to blood relatives. J u s t as he did when his mother died about twenty years earlier, he once again felt this void in his life. He and his father were very close and spent a great deal of time together. In fact, his father lived with Alfred and Marjorie until his death. In the spring of 1957, the Reeds adopted their second son, Michael Carlson Reed. Michael is their oldest son although he w a s the second to be adopted. Michael was born in November 1953 and was four and a half years old at the time he was adopted. Relatively early in his tenure with the Hansen corporation Reed was called to a meeting in Charles Hansen's office where he, Hansen, and Kalban discussed the possibility of arranging a number of works licensed from the Walt Disney Company. They were interested in Reed writing these arrangements under a pseudonym because they were concerned about how he would be perceived, and how the sales of his music would be affected when the musical "purists" found out t h a t he was arranging Disney tunes. Reed told Hansen and Kalban t h a t he did not have any problem writing these Disney arrangements under his own name and asked for further explanation as to why they thought he should use a pseudonym. After considerable discussion about the potentially harmful effects of a "serious" composer associating his name with "popular" music, Reed agreed to adopt not one, but two pseudonyms. The n a m e under which he wrote the Disney arrangements was a "house name," meaning t h a t the Hansen company registered a name with ASCAP under which many composers wrote. If one were to trace the n a m e to find w h a t this composer composed, one would have to be aware t h a t many composers wrote under it. Hansen's house name was Robert Powers, and Reed wrote a complete series of Disney music under it. However, while at Hansen, Reed did write wind band arrangements of three motion picture scores, Cinderella, Peter Pan, and Mary Poppins for the Walt Disney Music Company under his own name. Reed's second pen name, Fred Nelson, belonged exclusively to him and was used only when he wrote arrangements for a Hansen stage band series. Reed selected this name after another composer h a d backed out of a contract with the Hansen corporation. As the story

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goes, in 1959 Hansen hired another composer to write an arrangement of the Swinging Shepherd Blues because, according to Reed, it was taking the country by storm and earning a great deal of money in the market. The writer who was originally hired to arrange this t u n e became ill and was not able to complete the work before the deadline given to him. In 1959, Reed won the Luria Prize for his Rhapsody for Viola and Orchestra. Hansen agreed to publish this work, but Reed decided to give it to Boosey & Hawkes, Inc., because they had more experience marketing symphonic music. They published it in 1966. The Luria Contest was sponsored by the Luria Copper and Iron Company, and in 1959 attracted more t h a n 150 entries. The judging panel included the former assistant manager of the Metropolitan Opera House, Francis Robbins, a music critic from the New York Herald Tribune, Jay Friedman, Reed's acquaintance and composer, Roy Harris, and the conductor of the Indiana University Orchestra, Tibor Kozma. In order to pay tribute to a person he greatly respected, and keeping his promise to himself from years earlier, Reed dedicated Rhapsody for Viola and Orchestra to Milton Katims. Reed was eagerly anticipating Katims's premiere performance as viola soloist of the work but was surprised to find out t h a t Katims had stopped playing viola in 1958 after the NBC Symphony Orchestra w a s dissolved. Katims had since become the conductor of the Seattle Symphony Orchestra where he remained for 22 years. Katims suggested t h a t his name be removed from the dedication on the score so t h a t Reed could attach another soloist's name to the work in order to have it performed sooner. Reed removed Katims's name from the work, but always remembered t h a t the composition was written as a tribute to him. In 1960, Reed moved to Miami, Florida. During 1956, Mr. and Mrs. Hansen vacationed in Miami Beach, Florida and fell so much in love with the area t h a t they bought a house and leased business space there. Hansen began moving individual departments to Miami during the next four years, and Reed's department w a s moved there in 1960. As more departments moved to Miami Beach, the originally leased space became too small and Hansen leased a building on West Avenue on Miami Beach, a building which the business still occupies today. Alfred, Marjorie, Richard, and Michael moved to Miami in 1960 and lived in a rented house on North Miami Beach for one year before purchasing their first Florida residence at 2215 Northwest 192nd Terrace in Northwest Miami. Reed remembers being very proud t h a t he was living in a "beautiful L-shaped house built right

around a swimming pool." 56 Reed was again enjoying his piece of

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the American dream and was confident t h a t he had, for the time being, attained a certain level of success. In 1961, Charles Hansen called Reed into his office where Sandy King, one of Hansen's most successful salesman, and he were reading a letter from Wilson Walker, the head of the b a n d department at Volkwein Bros. Inc. in Pittsburgh, Pennsylvania. Charles Hansen often relied on sales information provided to him from Walker to help plan a production schedule. At the end of the letter was a hand-written postscript which indicated t h a t there w a s no good band arrangement of Greensleeves on the market. Hansen took the letter, tore off the postscript, gave it to Reed, and asked him to write the arrangement. Reed took the assignment and produced one of his most renowned arrangements. Reed also wrote an orchestral version which was published by Kalmus in 1979. The Hansen corporation published a substantial number of arrangements and transcriptions of pieces t h a t were licensed from the original publishers. Their goal was to make as much music available to as many people and performing groups as possible. Hansen had acquired the rights for many popular songs, both contemporary and classic, and in 1958 published a book of 50 b a n d arrangements of such songs. The collection was organized into 18 categories so t h a t the book would not just be another h a p h a z a r d collection of band music. Reed was the chief arranger and editor of this book. Because the collection sold well and directors expressed an interest in the material the Hansen Corporation decided to publish a similar and larger collection of music. In 1961, Hansen decided to more t h a n double the number of arrangements in the collection and publish 101 For Band. This book, and the others in its series were designed for "field show planning or individual use - indoors and out - for concerts, pep-rallies, assemblies, community sing-a-longs, etc." 57 101 For Band was divided into 34 categories. Reed did not do any of the arrangements in this collection, but served as the compiler and editor. The book sold so well t h a t in 1964 the Charles Hansen Music Corporation published 102 For Band, which was divided into 47 categories. In 1965, they published 103 For Band with 47 categories, followed in 1966 by 104 For Band with 49 categories. The 104 For Band differed from the other books in t h a t it included music primarily from Broadway shows. Some of these arrangements are still available from the Hansen corporation in one book entitled 101 - 102 - 103 Band Book. In 1965, at the age of 44, Reed did not feel he had yet achieved his goal of becoming a performed and recognized composer. Even during his time with the Hansen corporation, while in control of his own publication opportunities, he had very little time to write his own music, and once again became restless. Remembering t h a t

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Reed's personal goal when he went to study with Giannini was to learn to write large scale music forms - to learn how to be a serious composer - provides more insight into why he began to consider leaving the Hansen Corporation. Reed knew t h a t one day he would leave Hansen in order to pursue his ultimate dream of being a composer. Although he enjoyed his work at Hansen and never considered it a chore, he was still personally unfulfilled. When Reed first moved to Miami in 1960 he was told by several people to not get mixed up with the University of Miami in any way. Reed completely disregarded this advice and became caught up in the enticements offered by William F. Lee, former dean of the University of Miami School of Music. Dean Lee was a composer and arranger who had written a Music Theory Dictionary, which he took to the Charles H. Hansen Music Corporation to be published. It was while Lee was visiting the Hansen corporation t h a t he first met Reed. Reed was placed in charge of editing Lee's book, and as work on the production progressed, the men became better acquainted. Lee invited Reed to spend some time at the University of Miami in order to see what was happening there. Going against all the advice given to him, Reed visited the campus and w a s "pleasantly surprised" with what he saw and heard. He w a s especially impressed with Lee's enthusiasm, drive, and foresight, and felt confident t h a t what he had been told by critics of the University was no longer true. In fact, he was so interested in w h a t was happening at the University that, when Lee suggested he teach a class, he readily accepted the appointment. During the fall semester of 1965, Reed taught his first music merchandising class at the University of Miami. He taught the class one evening each week while still working at the Hansen corporation during the day. He joined the faculty at the University of Miami, fulltime, in 1966. THE UNIVERSITY OF MIAMI YEARS (1966-1993) During this time of transition, Reed began traveling outside of the United States to conduct and lecture. Those travels piqued his interest, and laid the groundwork and foundation for his future involvement in many countries. One of the first countries he visited was Canada. In 1965, Reed's first trip to Canada was to Fort Cappella, Saskatchewan, where he taught at the Saskatchewan Summer School of the Arts. Prior to this trip, Reed had met the director of the school, Frank Connell, while attending the Northern Tri-State Festival in Dickinson, North Dakota.

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Two years later, in 1967, Connell commissioned Reed to compose a piece based on Canadian Indian themes in honor of Canada's 100th anniversary on becoming a unified country. The work he composed was named after Lake Wapawekka in Saskatchewan, which means "white sands" in the language of the Cree nation, and was premiered on August 5, 1967 by the Saskatchewan Summer School of the Arts Concert Band. His involvement in Canada h a s spanned a time period of more t h a n 30 years, and he continues to regularly contribute articles to the Canadian Band Journal in his column "South of the Border." Soon after he began teaching at the University of Miami parttime, Reed became acquainted with another member of the faculty, Frederick Ashe, who presented to Reed his idea for a new music theory book. Reed liked Ashe's idea and took it to Charles Hansen who agreed to publish the book when it was completed. In only a m a t t e r of weeks Reed was informed t h a t a tragedy had taken place at the University. Reed, once again felt as though fate was providing him with a new door to walk through and he described the situation when he said: I could not but regard it as some kind of an omen even though I do not consider myself fatalistic or superstitious more t h a n anyone else. When Frederick Ashe committed suicide on my birthday, J a n u a r y 25, in 1966, I got a call from Bill Lee saying you have to help us out here. 5 8 During the spring 1966 semester, Reed began working one full day each week at the University teaching the classes t h a t Frederick Ashe had been assigned, in addition to his music merchandising class. As time passed, Reed began to enjoy his teaching responsibilities, and he was asked by Lee to join the faculty full-time in order to further develop the music merchandising program. Reed determined t h a t this was another time when "fate was gently nudging him forward" and decided to enter academia. "I felt t h a t if I liked teaching, and teaching liked me, I had 20 years to pass on my experience to the next generation." 5 9 Up until this time, Reed continued working at the Hansen Corporation, while he was teaching at the University, part-time. However, late in the spring of 1966, Reed discussed his now full-time offer from the University of Miami with Charles Hansen. Hansen a n d Reed dissolved their contract and parted company as friends. Reed received his last pay check from the firm in J u n e 1966 and s t a r t e d the fall semester of 1966 as a full-time associate professor of music at the University of Miami.

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Coming to the University of Miami, I would, for the first time, have the time to become a composer. It is really only [during those] 27 years t h a t I [was] able to t u r n out the bulk of my own music. That was a very compelling reason to tell Charlie Hansen, after 13 years, I think I have to move on now, because some of the things t h a t I want to do I can't do here. 6 0 Reed's connection with the school band movement did not end with termination of his employment at Hansen. Immediately after leaving Hansen in the Summer of 1966, he became the a s s i s t a n t director of the School Band of America. This organization selected high school musicians from all over the United States to participate as members in a band t h a t would rehearse for a few days in the United States and then depart for a foreign concert and sight-seeing tour. Reed toured Europe with this group during the summers of 1966 and 1967. Reed continued to be involved with summer touring b a n d s through his affiliation with the All-American Youth Honor Band. This organization was established by Dean William Lee and administered by a Miami area travel agency. The group, comprised of 80 select high school band members, toured the Southern hemisphere during the summer months. Reed conducted the AllAmerican Youth Honor Band on two tours. Frederick Fennell and Clifton Williams also shared the conducting responsibilities of this band. In 1968, in recognition for his involvement with the AllAmerican Youth Honor Band, Reed was awarded an honorary Doctorate of Music degree from the International Conservatory of Music in Lima, Peru. Reed, Clifton Williams, and Dean Lee all received their honorary doctoral degrees from this institution at the same time. Initially, Reed's teaching assignment was split between the departments of Music Education, in which he taught the music merchandising courses, and Music Theory and Composition, in which he taught music theory courses. Specifically, Reed taught the sophomore honors music theory classes, large form composition, modern counterpoint, and a course in modal counterpoint. Because all of the classes did not meet every semester, Reed had more time then he did before to compose and became involved in developing his music merchandising program. Reed also developed an interest in, and realized the need for, sharing his knowledge of composition with the next generation, but interestingly enough, he still had not had what he considered to be any composition students of his own. He indicated t h a t he was so busy with his teaching and his own writing t h a t he had little if any

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time to devote to any private composition students. However, Reed did not isolate himself from any students who were interested in him looking at their work and he did provide feedback to many of them about their compositions. "Off the record, on an unofficial basis, I made myself available to those graduate-students who wanted me to look over their work and make comments on it, even though it w a s not on a regular lesson basis." * 6 1 Reed was initially hired by Dean Lee to teach a music merchandising course. The course became so popular t h a t Reed and Lee decided there was a need to offer more courses within a degree program; the result of which was the music merchandising program. One could characterize Reed as the founding father of all music merchandising programs in the United States, but Reed is quick to indicate t h a t William Lee was the co-founding father. The two men worked together, using their respective talents in their own areas of expertise to establish a program t h a t was "the first and certainly the first to be accredited by NASM [the National Association of Schools of Music]." 6 2 At the time, no other school had a program t h a t trained students to work in the music business as publishers, salespeople, managers, and promoters. Baskerville (1985) acknowledges "those who pioneered in the music business education field, Dr. William Lee and Dr. Alfred Reed of the University of Miami. They established the first university degree program in music merchandising." 6 3 Reed's responsibility was to develop the curriculum, including course content, t h a t would cover the material necessary to send students into the field with a background and knowledge base t h a t would qualify them for jobs and justify their spending time and money to study. He was given complete freedom in designing the courses. Fennell recalled the zeal with which Reed worked to establish the program when he said, "Alfred took those courses very seriously and they were constantly updated and considered to be unique and extraordinary by experts in the field." 6 4 In 1967, Reed met a gentlemen who inspired and influenced him a great deal. This man was Joseph Handleman. Handleman was a successful businessman who earned his living as a nationwide distributor of women's health and beauty products to drug stores and supermarkets. Although he never played an instrument, he always h a d an interest in listening to music and decided t h a t during the 1950s because music was then becoming available at a reasonable cost on vinyl discs, he would include LP albums as part of his * Reed did mention several successful composers that he would regularly meet with to discuss their work, but these students were not truly composition students of Reed's. Those people were Kenneth Fuchs, Robert Longfield, Clark McAlister, and Yukiko Nishimura.

Biography 41 product line. Handleman was one of the first individuals to realize the potential of marketing record albums in venues t h a t were not specifically intended to do so, and he proved to be very successful in doing this. In 1967, Handleman contacted the University of Miami after hearing about the music merchandising program from some of his friends. He visited the campus and attended a music merchandising forum. After the forum he expressed an interest in helping the program and the School of Music, the results of which were the construction of the Handleman Institute of Recorded Sound and the establishment of an endowment to supplement the operating budget of the music industry program. In the early 1970s, Handleman invited Reed to accompany him on a trip to New York City to meet the presidents of "the big three" record companies. Handleman introduced Reed to Clive Davis of CBS records, Norman Racusin of RCA Victor, and Bob Whiteman of ABC/Paramount. Reed said, "I was extremely impressed with the deference with which Joe Handleman was treated when it w a s announced t h a t he was coming. I'll never forget how Clive Davis personally came out to the elevator in the hall to escort us into his office." 65 After the meetings, these record companies sent representatives to the University of Miami to participate in a discussion which focused on what they could do to help the School of Music and the Music Merchandising program. During the meeting, Reed had an opportunity to share information about the music merchandising program and to establish contacts t h a t eventually lead to internship opportunities for students from the music merchandising program. Reed began to notice since starting to work at the University of Miami he had more time to write music, and so he began to seek other ways to eliminate unproductive time from his schedule in order to devote more time to his writing. He lived in the Northwest section of Miami for two years and in 1968, in order to eliminate travel time to and from school, he decided to move to Coral Gables where the University of Miami is located. "I told my wife t h a t we were going to stay here [at the University of Miami] and t h a t she had exactly a four-block radius in which to find a house." 6 6 They purchased the home they now occupy at 1405 Ancona Avenue, Coral Gables, Florida. "The time t h a t I saved, five days a week, 52 weeks a year, made it possible for me to write all the notes t h a t were to be written if I were really to be a composer." 6 7 While at the University of Miami, Reed wrote more t h a n 140 published works. Fifty-eight of these works were original compositions for wind groups, 36 were transcriptions and arrangements for wind groups, 21 were original works, transcriptions, and arrangements for orchestra, 12 were written for

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solo instrument and ensemble, eight were for chorus, and five were for marching band. More t h a n 70 of these works were commissions. While discussing the quantity of his work Reed said, "If you look a t my list of published works from 1953 to 1966, and then compare t h a t output to the next 13 years, 1966 to 1979, you would see a tremendous increase in productivity." 6 8 Among all these compositions only a few were written for University of Miami ensembles and none were ever written for any of the University's large wind groups. The Russian Christmas Music familiar to most people today was published in 1968, 24 years after it was originally written. Reed again changed the instrumentation in order to "keep with the developing instrumentation of the serious band or wind ensemble ... to achieve even greater clarity of texture and the utmost sonority possible." 6 9 It is interesting to note t h a t Reed feels t h a t the piece h a s received more praise and recognition t h a n perhaps it deserves. He does not believe that Russian Christmas Music is a bad work, but rather t h a t it does not represent his best effort and is not a true measure of his writing style. "I regard it [the Russian Christmas Music] strictly as a young man's piece." 70 In the summer of 1969, Reed received a letter from Charles Barnhouse, head of the C. L. Barnhouse Corporation. In the letter Barnhouse asked if he was available to write for the C. L. Barnhouse catalog. Reed at this time was obligated to a "gentlemen's agreement" with Bernard Kalban, who had left the Hansen corporation and was now at E. B. Marks Music Company. The agreement gave Kalban the first right to publish any of his new compositions. If Kalban declined to publish a composition, then he could pursue publication elsewhere. Reed wrote Barnhouse to inform him about the agreement and to tell him t h a t if he could offer a work in the future he would; A Jubilant Overture was that work. The work was premiered in J a n u a r y of 1970. Reed continues to be associated with the Barnhouse company to this day and h a s published many works with them, including more t h a n 15 arrangements of Bach's music as part of the Barnhouse Bach Series. These arrangements have become standards in the repertoire and set the standard by which other arrangers of Bach's music are measured. When Reed worked with Bach's music he did not "water down" any of the original material to make it more easily played. He did, however, feel at liberty to expand upon any of Bach's original music in order to further develop an idea or create a new one. This expansion and adding of his own material was what Reed called a "recomposition" of Bach's original ideas. Some of the works Reed produced required him to add very little additional music, such as If Thou Be Near and My Jesus, Oh What Anguish. In most of the other

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works, Reed added many new lines of music. In the case of Thus Do respect for Reed's ability as a result of his experience with Russian theme; the rest was his. The belief t h a t if Bach's music was left in its original form, too many musicians would never have the opportunity to play it was the inspiration which moved him to arrange so many of Bach's works for wind band. This is how he justified spending so much time working with "another man's music" instead of with his own. Another one of Reed's accomplishments while at the University of Miami was administering a music publishing operation. Reed credits Dean Lee with the idea to begin a music publication business, University of Miami Music Publications (UMMP). This publishing venture was a partnership between the University of Miami and the Sam Fox Music Publishing Company. The terms of the agreement dictated t h a t University of Miami would pay the costs incurred from editing, art work, and engraving the compositions, after which Sam Fox printed, bound, packed, stored, advertised, and shipped the finished product to the consumer. Any profit was split equally between the University and Sam Fox. UMMP enjoyed a successful but short-lived tenure. The first UMMP publication w a s issued in 1970, and the last was printed in 1974. During these four years, 62 publications were produced, some of which are still selling today. In 1970, Reed published his first work with the UMMP, Villabela. This was an arrangement of a march originally written by Kenneth Williams entitled Houston on the Move. Reed rewrote the work because he felt the melodic material t h a t Williams wrote would sound better with a Latin background and feeling. The title of the march comes from the name of a street in Coral Gables, Florida t h a t is spelled two different ways on the street signs. The second work t h a t Reed published with UMMP w a s Variations on L.B.I.F.D., an acronym for "London Bridge is Falling Down." This work was written in 1969 for a sophomore honors music theory class t h a t Reed was teaching. The class had been studying 20th Century techniques and he was requested to compose a work using all these techniques t h a t they were studying. One of the students in the class was Samuel Pilafian, a founding member of the Empire Brass, who became the class spokesperson for this activity. Pilafian organized the performing ensemble, a b r a s s quintet, and picked the theme t h a t would be used for the composition. The theme is treated 28 different ways based on techniques described in Vincent Persichetti's 20th Century Harmony textbook. On J a n u a r y 25, 1971, Mrs. Reed presented her h u s b a n d with a complete darkroom permanently set up in their home. As a young boy, Reed developed an interest in photography. He learned to

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process his own film and as an adult has won several prizes for photographs t h a t he entered in small contests. Prior to receiving his darkroom, Reed used the bathrooms of their homes as his darkroom and Mrs. Reed had become tired of all the bottles of chemicals sitting under the sink, the equipment stored in the closets, and the photographs hanging from the shower curtain to dry. The new darkroom takes up one-half of their two car garage and is literally a room of its own with large sinks, shelves, and all of the necessary equipment to develop and print black and white photographs. Reed still looks forward to spending time in his darkroom because it is a complete change of pace to "create" visual art as compared to aural art. When I go into the darkroom and close the door I am in a totally different world. I forget about music a s much as I can, and after I get caught up in the printing, developing, enlarging, and the decision making t h a t is involved in making black and white pictures, I am completely relaxed. 7 1 Reed's experience and success while writing for radio and television during the 1940s and 1950s, and his love for literature, led him and many of his peers to believe t h a t he would ultimately be a writer of some kind of stage music. He said, "The amazing thing is t h a t I thought in my younger years t h a t this was the direction t h a t I was headed in." 7 2 While at the University of Miami, Reed continued to be involved in theater music through the University's Ring Theater. In the late 1970s, the then director of the Ring Theater at the University of Miami, Delmar Solem, was receptive to giving composers the opportunity to write original music for one of the theater's productions. Reed composed music for two productions written by one of his favorite poets/playwrights, William Shakespeare. Reed wrote the music for a production of the Tempest, which was scored for symphony orchestra and solo guitar. The music he wrote for the Tempest was never adapted for winds, unlike music he wrote for a production of Othello. Reed later revised the music into a work for wind band: Othello: Symphonic Portrait. Othello: Symphonic Portrait held a great deal of sentimental meaning to Reed because he composed the piece with support from the Walter Beeler Commissioning Fund, which was established to pay tribute to Beeler by Ithaca College. Fennell said: He came to see me one day in my studio to say t h a t he had received a grant from the Ithaca College people who wanted to honor Walter Beeler. I

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remember t h a t Alfred spoke with considerable pride and great enthusiasm for what he might be able to do.73 Othello: Symphonic Portrait evolved from 24 individual pieces of music originally written for the theater production. Because most of the music was written as accompaniment, not feature music, Reed did extensive rescoring to assure t h a t the melodies were clear and the sonorities were effective. Othello: Symphonic Portrait was first performed on October 12, 1977 by the Ithaca College Symphonic Wind Ensemble under Reed's direction. In 1980, Frederick Fennell, who was the conductor of the University of Miami Wind Ensemble was forced to retire because of an established mandatory retirement age. At the age of 65, Fennell retired and Reed was appointed as the conductor of the wind ensemble, a position t h a t he held for seven years. Because of his new responsibility, he was relieved of his teaching assignment in the Music Theory and Composition Department and began advising and instructing the graduate instrumental conducting students and conducting the wind ensemble. In 1987, at the same time he was released from the wind ensemble, Reed was appointed the chairman of the department of Music Media and Industry by Dean William Hipp, who h a d succeeded Bill Lee as Dean of the School of Music. This department housed the Music Engineering, Studio Writing and Production, and Music Industry programs. It appears t h a t Reed was given this new responsibility to ameliorate any unpleasant feelings he may have been experiencing after his release from the wind ensemble. The University of Miami School of Music has had its share of renowned faculty members, including a number of individuals associated with the wind band movement. At one time Frederick Fennell, John Kinyon, Reed, and Clifton Williams were on the faculty at the same time. Reed knew Williams for 20 years and shared adjoining offices with him during the ten years they were on the faculty together. According to Reed, there was never any rivalry or jealousy between them and they got along very well. Williams and Reed often discussed and compared their experiences while guest conducting. The relationship between Reed and Kinyon was not a s amicable as the relationship between him and Williams. Reed characterized his relationship with Kinyon as professional and respectful: in fact, Kinyon frequently expressed an interest in seeing Reed's new works. Reed said Kinyon even asked him to lecture and guest conduct in a number of Kinyon's classes. "We had a sort of gentleman's agreement t h a t I would not intrude on his territory, which was the junior high school level or below." 7 4 Even though the

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two men had an unwritten agreement, Reed did accept two commissions for junior high level performers. In 1972, Reed wrote Imperatrix is the first of two works that he wrote, to this point, for a junior high level performing group. Specifically, Imperatrix was written for the G. P. Babb Junior High School in Forest Park, Georgia. The band director, Donald Wilkes, told Reed t h a t his band was considered to be one of the better junior high school bands in the United States and would be interested in, and enjoy the challenge of, performing a piece of "real" music. Reed completed the work in February 1972. The premiere took place in May 1972, but Reed was unable to attend the performance because of a previous engagement. Reed later conducted a performance of the work with the G. P. Babb Junior High School Band at the Mid-West Clinic in December 1972. Much later, in 1992, Reed wrote With Trumpets and Drums, t h e second of two commissions, to this point, for a junior high level group. The Lions Junior Band in Regina, Saskatchewan, C a n a d a was comprised of junior high school age musicians who were selected from the community to participate in this band. The ensemble w a s chosen to perform at the Mid-West Clinic and its director decided to commission a work to premiere during their performance. The relationship between Reed and Frederick Fennell transcended being collegial and approached a deep, long-term friendship. While discussing his friendship with Fennell, Reed said: In the profession it is very difficult to be really good friends with people who are doing the same thing t h a t you are doing. Courtesy, good manners, and good breeding dictate t h a t on the surface we try a n d maintain a semblance of friendship, and sometimes it can be deeper t h a n a semblance. 7 5 Fennell first became aware of Reed's music during the mid19408 when he was contacted by Walter Beeler who alerted him about a new piece of wind band music, Russian Christmas Music. Subsequently, Fennell rented and performed it with the E a s t m a n School Symphony Band. Fennell met Reed for the first time in 1947 during a trip to New York City. He recalled sitting in a corridor a t the NBC building discussing Russian Christmas Music with Reed and his wife Margie. Fennell described their first meeting by saying: Afterward, Alfred invited me to go, with his across the street from Radio City Music Hall spaghetti joint. As I think I recall, t h a t is the [and only] time Alfred ever bought a meal any

wife, to a first time

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t h a t I was involved in it, but at least he bought t h a t one. 7 6 During the following years, Fennell and Reed remained in contact on a regular basis until 1966, when Reed joined Fennell as a member of the faculty at the University of Miami. During the 14 years they were both on the faculty their relationship grew and they became very good friends. Fennell characterized Reed as a person who is "sympathetic" and "willing to go any mile to discuss anything with you, not necessarily to agree with you, but certainly to understand you." 77 Both men described their discussions as always frank, candid, sincere, professional, and enjoyable. Both enjoyed matching wits and debating points; however, this never affected either man's opinion of the other, and it is believed t h a t each holds the other in high regard. In fact, Reed, Fennell and their spouses spent many hours in each other's homes socializing. According to Fennell, Reed's contribution to the music world h a s been the "enormous amount of repertoire" t h a t he has provided to a medium t h a t was, and still is, in need of quality works. More important, according to Fennell, is the number of original wind works Reed has added to the repertoire. "I think t h a t no one should discount the contribution, just in repertoire, of Alfred's. Who can say w h a t repertoire will, or will not be around tomorrow, or w h a t repertoire will be ruling the musical roost." 7 8 Fennell believed t h a t much of Reed's music will be around for a long time because "it obviously is music t h a t so many people are very happy to hear, and which, of course, in Alfred's case, so many publishers have been very, very happy to publish." 7 9 One of Fennell's favorite works by Reed is the Symphony No. 3 which was commissioned by the United States Air Force Band and their conductor Col. Arnald Gabriel. In 1983 Gabriel initiated a series of commissioned works from American wind band composers. He called Reed and asked if he would be interested in writing a work for the series. Reed had to decline the commission at t h a t time because he had already committed himself to other works with pressing deadlines, and could not begin writing the new work for a t least a year. Even though Gabriel knew t h a t it may be a number of years before the commission was fulfilled, he was willing to wait. Reed was unable to begin preliminary sketches of the work until 1986. After completing the work Reed contacted the new conductor of the band, Lt. Col. Bankhead and sent him the parts. Bankhead notified Reed that Symphony No. 3 would be premiered at the Music Educators National Conference being held in Indianapolis, Indiana in 1988.

48 Biography Reed had long been interested in the music of Richard Wagner and used some of Wagner's music as the basis for the second movement oi Symphony No. 3. While reading the fourth volume of Earnest Newman's biography about Wagner, he saw a 13-measure theme t h a t Wagner had written for but never used in Tristan and Isolde. Reed became enamored with the "Porazzi" theme and knew t h a t someday he would use it in a composition. Much as I dislike cliche, it came to me in a flash, how and why I don't know, but it suddenly came up in my mind t h a t the perfect contrast to this first movement, and what I was looking forward to in the third would be something with this "Porazzi" theme. 8 0 The writing of this second movement, according to Reed, seemed to progress so easily t h a t he almost sensed t h a t "someone was guiding my hand, and the movement wrote itself." 8 1 Frederick Fennell indicated t h a t the second movement of Symphony No. 3 is one of Reed's most significant works. According to Fennell, Reed was capable of "perhaps without even thinking about it, making all the variations be as though they actually came from Tristan. My feeling is they do. They are developments t h a t he didn't get to, t h a t is Wagner didn't get to, but Alfred did." 8 2 Reed's relationship with Harry Begian spans many years, and it was difficult to determine where to place the majority of this information in the volume. Since much of the information needs to be presented in context, it was determined t h a t all the information should be presented at the same time. The following is an account of many years of a relationship. Begian's first experience with Reed's music was during the 1950s while conducting Russian Christmas Music and Ballade for Alto Saxophone with his high school band, Cass Technical High School in Detroit, Michigan. Begian characterizes Reed's music in highly complimentary terms. He said, "I respect Alfred tremendously and believe him to be one of the best musicians in the band field." Also, he "knows his craft as well or better t h a n anyone in the business. He is facile in his work, and nothing of his t h a t I have heard or conducted comes out as a dud." 8 3 Further, Begian said Reed writes "memorable, appealing, and natural melodies which make his music enjoyable to the performer and listener." 8 4 Begian views Reed as an excellent arranger of folk music from other cultures. Begian even suggests t h a t Reed may be a better arranger of previously existing music t h a n a composer of original music. Begian so admired the skill with which Reed incorporated Eastern Orthodox folk music along with his own original music in Russian Christmas Music that he asked Reed, in 1963, to write a

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piece based on Armenian folk music. Reed told Begian t h a t he w a s working on a number of other compositions at the time and could not promise when the work would be completed. Begian exercised what could only be described as the patience of a saint and waited over eight years for the first movement, "Part I," of Armenian Dances to be completed. During those eight years, Begian asked Reed only once about the status of the work, and t h a t was in 1971 while they were attending the Mid-West Clinic. Reed told Begian t h a t he was working on the piece and t h a t he should not worry. Begian responded to Reed's retort by saying: "You didn't by any chance think t h a t I was expecting a freebie when I asked you to do this piece for me, did you? I fully intend to pay you a fee; t h a t was the verbal commission t h a t I agreed to!" You know, I got the score to Armenian Dances, Part I, the very next year. 8 5 Begian gave the first performance of "Part I" on J a n u a r y 10, 1973 at the College Band Directors National Association convention held at the University of Illinois. Begian waited an additional three years for the next three movements, "Part II," of the work. It w a s April 1976 before the first complete performance of Armenian Dances was given, 13 years after the original commission was extended to Reed. After the premiere of the complete Armenian Dances, Begian sent Reed a piece of plainsong from the Armenian Apostolic Church along with a letter t h a t asked Reed to consider writing another "Armenian" work. The original piece of music t h a t Begian sent Reed was traditionally sung only on Easter Sunday; Begian's grandfather had sung the music to him when he was a child. Begian also requested t h a t the commission be fulfilled before another 13 years passed! It turned out t h a t Begian only had to wait 11 years for Praise Jerusalem! According to Begian, this is one of Reed's most significant works "because of the sentimental value and the fine variations and great double fugue t h a t Reed crafted." 8 6 John Paynter, the renowned former director of bands a t Northwestern University and the director of the North Shore Concert Band, remembered first seeing the name Alfred Reed on a piece of music while still in high school. Later, while a student at Northwestern University, Paynter played one of the rented manuscript copies of Russian Christmas Music. Paynter believed Reed's biggest contribution to the music world is the large number of original compositions which he added to the repertoire. Reed's music, according to Paynter, "has all the artistic attributes of the great composers of the past, while in many

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Biography

cases being easy enough to perform so t h a t a wide constituency can play it." 8 7 Paynter characterizes Reed's music as "practical," because it always sounds like it is perfectly fitted for the wind b a n d . According to Paynter, Reed's orchestrations are "model lessons for young arrangers. Simply put, he is a magnificent arranger [orchestrator]." 8 8 Paynter indicated t h a t Reed influenced him by providing music t h a t he could perform regularly with his university and professional ensembles and use with his conducting students. Paynter offered a very flattering and sincere compliment when he wrote "I am grateful for the fact t h a t he was put on this E a r t h to do the things he h a s done. I admire him tremendously and I respect him beyond all measure." 8 9 THE JAPAN YEARS (1981-Present) Even though Reed's involvement in the wind band movement in J a p a n began in 1981, his activities are discussed separately because the events within, and the unique relationship t h a t h a s developed between he and the musicians in J a p a n w a r r a n t consideration on their own. In addition, they are discussed after most of the information related to the University of Miami, because they continued after his retirement from that institution. Incidentally, as a result of a research grant from the Sinfonia Foundation, the author spent 12 days in J a p a n observing a n d touring with Reed. Some observations from t h a t trip will be presented in this section. Reed's initiation into the J a p a n e s e band world can be attributed to the earlier pioneering of Paul Yoder. Yoder noticed t h a t his royalty statements contained entries from foreign performances and took it upon himself to find exactly where his music was being performed. Yoder discovered t h a t these foreign royalties were from J a p a n and subsequently visited there. During Yoder's visit to Japan, he found many conductors who were interested in and regularly performed Western music. Yoder ultimately helped found and organize the Japanese Band Directors Association and served as a liaison who arranged for many J a p a n e s e bands to perform at the Mid-West Clinic. Yoder also coordinated tours for Japanese bands throughout the United States. Reed said, "Paul more or less became an unofficial ambassador of band music between the United States and Japan." 9 0 Yoder first met Reed while attending a meeting of the joint Florida Band Directors Association and the Florida Association of Band Directors. When the officers and members of these organizations discovered t h a t two contemporary wind b a n d

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composers were living in Florida, Reed in North Miami and Yoder less t h a n 30 miles away in South Ft. Lauderdale, both men were in great demand as clinicians, consultants, and adjudicators. The men became close friends and traveled many times together around the state of Florida delivering clinics and serving as adjudicators. Occasionally, Yoder mentioned to Reed t h a t many groups in J a p a n were playing his music, but Reed never thought much about this until he met Yoder's Japanese counterpart, Toshio Akiyama. If Paul Yoder is the American ambassador of wind b a n d music to J a p a n , then it could be said t h a t Toshio Akiyama is the J a p a n e s e ambassador of wind band music to the United States. Following Akiyama's education at the E a s t m a n School of Music, he returned to J a p a n to work at CBS/Sony where he organized and became the conductor of the Sony Concert Band, which is comprised of employees from the Sony Corporation. While Akiyama attended the Mid-West Clinic in 1963 he collected many scores and took them back to J a p a n to study and conduct. Many of these scores were by a composer named Alfred Reed. Akiyama said, "It was my great pleasure, and job, to introduce his [Reed's] music to the J a p a n e s e audiences and band people." 9 1 In 1965, Akiyama became the vice president of the All-Japan Band Association and lobbied to get Reed's Symphonic Prelude on the required literature list for the AllJ a p a n Band Contest. Up to this point, Akiyama never met Reed. He finally introduced himself to Reed at the 1967 Mid-West clinic. Because Akiyama was constantly searching for contemporary wind music, Reed began sending him a score for every new piece t h a t he wrote. Each year, during their visits to the Mid-West clinic, Akiyama told Reed how popular his music was becoming in J a p a n . Akiyama characterizes Reed's compositional technique a s melody centered with a romantic flair. According to Akiyama, "no two pieces of Reed's music are alike and his music has definite audience appeal. His music has many forms and styles including overtures, suites, preludes, or the Shakespeare series, which is very dramatic and much loved by J a p a n e s e band directors." 9 2 When asked to name Reed's best work, Akiyama simply said "everything." It is because of Akiyama's efforts t h a t Reed first visited J a p a n . In 1981, Reed received a letter from Akiyama inviting him to come to J a p a n to conduct a public concert and record an album with the Tokyo Kosei Wind Orchestra. Reed said, "My wife and I arrived there [in Japan] in March of 1981. I was greeted as almost a hero. I had not the slightest idea t h a t in the previous 20 years my music had so gripped Japanese musicians and audiences." 93 During this one-week trip, Reed recorded a two-record LP entitled Alfred Reed and the Tokyo Kosei Wind Orchestra. This was Reed's first recording with the Tokyo Kosei Wind Orchestra and the beginning of a long and prosperous relationship.

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Biography

One of the professional ensembles t h a t Reed regularly conducts in recording and concert sessions is the Tokyo Kosei Wind Orchestra. The Tokyo Kosei Wind Orchestra was established and is supported by a group of Buddhist laymen named the Rissho Koseikai. When asked what his title was with the Tokyo Kosei Wind Orchestra, Reed said, "I guess if you want to call me anything it would be Principal Guest Conductor, because I have been with them more t h a n anyone else." 9 4 Reed consistently spends at least one week each year recording with the ensemble and is most recognized throughout the world in his association with the Tokyo Kosei Wind Orchestra, even though this ensemble occupies a relatively small proportion of his time in Japan. The Tokyo Kosei Wind Orchestra has extended a remarkable commitment to Reed. They have agreed to record every work Reed h a s written, or writes in the future for wind groups. As of July 1998, they have recorded more t h a n 100 of his compositions. According to Frederick Fennell, "The Kosei Publishing Company's commitment to record every note t h a t Alfred writes, or has written, is unprecedented in the world of the relationship of a composer to a recording company is unique and extraordinary." 9 5 In 1981, soon after his first visit to J a p a n , Reed w a s commissioned by the Rissho Kosei-kai to write Three Revelations for the Lotus Sutra in honor of their founder's 77th birthday. He accepted the commission, observing t h a t there was no better was to pay tribute to a man who h a s devoted all his life to the teachings of Buddha than to base his composition on the writings in the Lotus Sutra. Work began on the composition immediately after the commission was received, but the entire 29 minute work was not completed before the celebratory event. Because Reed began working on the third movement of the composition first, it was the only one completed for the birthday celebration in November 1982, therefore, it was the only one performed. The other movements were not completed until 1983, and the first performance of the entire work was conducted by Frederick Fennell during November 1984. Fennell described the composition when he said, "I think Alfred stretched himself several notches with this work, and I don't just mean the body of composition and ideas, but talking of the composition as a whole." 9 6 Around 1984, Reed began an association with Art Production International (API). The president of API is Kin Aoyama whose brother, Toru Ito, conducts the J a p a n Super Band. Aoyama is responsible for scheduling all of Reed's engagements and commissions in J a p a n , China, and Australia. Aoyama is a softspoken, amiable, and always professional man who appeared to prefer not to be in the limelight. He prides himself in running a

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53

smooth and efficient operation and seemingly receives all the satisfaction he needs for doing so. Aoyama possesses a keen sense of what Reed desires at each appearance and works meticulously to make sure every aspect is prepared. The relationship between the men h a s survived more t h a n ten years and has grown and matured into a confident and secure business association and friendship. Not only h a s wind band music become popular in J a p a n , but, specifically, Reed's wind band music is extremely popular. Fennell said, "I know he certainly is the most played [composer] in J a p a n . I don't think there is much doubt about that. As far as J a p a n is concerned, he is numero unoT 97 Reed is in great demand as a conductor, teacher, and clinician and sometimes his schedule can seem overwhelming. In fact, within a period of 12 days, during the end of November and the beginning of December 1994, Reed rehearsed two Senzoku Gakuen Wind Orchestras, made a guest appearance in another part of the country, delivered a lecture to the top Senzoku Gakuen Wind Orchestra, and rehearsed and recorded ten arrangements on an album for Toshiba/EMI. It could be said t h a t Reed wears three "hats" in J a p a n : (1) t h a t of the conductor and clinician at the Senzoku Gakuen, (2) t h a t of guest conductor of other school and community bands, and (3) t h a t of conductor of professional bands in both concert performance and in the recording studio. The largest portion of Reed's time is spent a t the Senzoku Gakuen which is a private multi-curricular educational complex for students of all ages. Reed works with the older students in the music division of the school. As Reed worked with the Senzoku Gakuen Wind Orchestras (and most other groups in J a p a n ) he was, because of the language barrier, not able to provide the musicians with extensive verbal explanations about how he wanted the music performed; therefore, he used the services of an interpreter. In actual rehearsal situations, however, he relies little on the interpreter to convey his requests to the performers. For lecture sessions the interpreter sometimes arrives early to hear the lecture privately before Reed gives his public lecture, which she or he then translates to the Japanese audience. Most of the time in rehearsal situations it was obvious t h a t many of the performers understood what Reed said before the interpreter translated his words. There was minimal talking from Reed and maximum playing from the group, the net result of which was an efficient and effective rehearsal. He used the interpreter only minimally and provided the group with much aural and visual modeling. He sang and conducted through passages while the performers watched and listened. With groups t h a t have older members he also h a s become familiar with some words for s t a n d a r d J a p a n e s e music terms and note values and uses them regularly. The communication between Reed and the performers was both

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Biography

enjoyable and intriguing to witness. It was readily apparent t h a t the performers wanted to play Reed's music with as much integrity as possible, and they worked extremely hard to accomplish this. In 1991, Reed was approached by Kazunori Momose, the timpanist in the NHK Symphony Orchestra in Tokyo, to write a piece for one of his students, Reiko Kono who is a member of t h a t orchestra's percussion section as well. The resulting piece is Concertino for Marimba and Winds. The solo marimba part was written to demonstrate her exceptional technique and musicianship, but the band accompaniment was composed to be playable by a high school band. In February 1992, before this work was released in print, the Tokyo Kosei Wind Orchestra recorded it with Kono as the soloist. Reed conducted this recording. The work was publicly premiered in May 1992, and remained the exclusive property of Kono for the first year in order for her to perform it around the world. It h a s been available to the public since May 1993. Another highlight, and perhaps one of the biggest ironies t h a t h a s taken place since Reed h a s been traveling to J a p a n , occurred in 1992 when he conducted a concert in Tokyo with the J a p a n e s e Ground Self-Defense Forces Band. At the end of the performance he was presented with a uniform which symbolized his honorary induction into the J a p a n e s e militia. Reed never expected t h a t he would have any affiliation with a group t h a t was probably responsible 50 years earlier for disrupting his life and contributing to his entrance into the United States military. Reed said: I couldn't believe t h a t if in 1941 when the J a p a n e s e forced the entrance of the U.S. into World War II and my wife and I had to sell our brand new a p a r t m e n t we had just moved into, and if anyone would have told us then t h a t 50 years later I would be an honorary captain in the J a p a n e s e militia - how can anyone come up with something like that! Wild, there is no other word for it. 9 8 In 1993, one of the highest honors ever bestowed upon Reed was granted. This honor was the establishment of an international music festival named after him to honor his music a n d accomplishments. The Alfred Reed International Association (ARIA) is managed through Art Production International. This organization supports and sponsors a biennial music festival. The first festival, held in August 1993, opened with a contest for saxophonists who were evaluated while performing Reed's Ballade for Alto Saxophone. Reed presented two concerts during this two day event and was the speaker at a "Meet the Composer" session. In a letter to the board members of ARIA, he wrote, "This is surely the greatest honor I have

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55

ever experienced, and I can only hope t h a t I will be found worthy of your continued love and support in the years yet to come!" 9 9 Reed h a s a considerable amount of influence in the planning of the ARIA Festivals. He hopes the future of the ARIA Festival involves other composers' music and the publishing of books. Reed said: I, myself, have spoken to the board of directors, and told them even though I an honored t h a t my name is part of the organization, I would hope t h a t in the future it is not just Alfred Reed and Alfred Reed's music, but t h a t ARIA would become the J a p a n e s e organization for the promotion of wind music. 10 ° Perhaps an even more significant honor was paid to Reed in J u n e 1994, when he became one of the first non-Asians ever inducted into the J a p a n e s e Band Association (JBA). Because of prior commitments he was not able to receive his appointment in a ceremony held at the JBA meeting in June; however, he was finally presented with the honor in July 1994, while attending the Asian Band Directors Association conference. Reed's long time friend and colleague, Frederick Fennell, was the other inductee. In 1994, Reed completed his first composition for the Senzoku Gakuen. The commission for Fifth Symphony was extended by the Senzoku Gakuen to commemorate the 70th anniversary of the conservatory. Fifth Symphony was scheduled to be premiered by the school's most advanced wind orchestra during the fall of 1994, but because the wind orchestra was selected to perform at the World Association of Symphonic Bands and Wind Ensembles (WASBE) convention being held in Hamamatsu, J a p a n during July 1995, the premiere was rescheduled in order to coincide with the Senzoku Gakuen Wind Orchestra's first appearance at a WASBE convention. On December 2, 1994, while this author was visiting Reed in J a p a n , Reed finished Fifth Symphony, came down from his loft studio and dated the completed composition. On December 6, 1994, after returning to the United States this author received a FAX from Reed saying t h a t the completed score for the symphony was in the h a n d s of the publisher. Perhaps one of the most interesting facets of Reed's life in J a p a n is where he lives. When he is working with the Tokyo Kosei Wind Orchestra, Reed resides at the Keio Plaza Hotel in the Shinjuku-ku prefecture of Tokyo, because it is close to the rehearsal and recording facilities. He says the area around this hotel reminds him of M a n h a t t a n in New York City because of the bustling pedestrian traffic and dramatically designed modern skyscrapers. Until May 1994, he was provided living space at the Tobu Hotel in

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Biography

Shibuya, Tokyo when in J a p a n and not working with the Tokyo Kosei Wind Orchestra. Reed noted t h a t this area of the city reminds him of Broadway in New York City, because many young people frequent the numerous clubs, restaurants, and theaters. This area is also filled with many shopping areas and restaurants. As his stays in J a p a n became longer and his association with the Senzoku Gakuen became more demanding, the cost and inconvenience of keeping him in a hotel for a number of months each year became prohibitive. The Senzoku Gakuen was already designing a satellite campus in Yokohama in order to accommodate the increasing number of students enrolled at the conservatory and decided to add a number of apartments on top of one of their new rehearsal halls. In May 1994, he was given exclusive use of a two-story ultra modern apartment. During the summer of 1994, he and his wife moved into and furnished their new apartment, which is fronted by a 22-foot window which Reed can look out of while he is composing in his loft area studio. He said, "the apartment gives Margie and myself a chance to be alone, in a furnished luxury apartment, completely away from anyone else and relax between what is usually a fairly hectic rehearsal and performance schedule." 101 Reed h a s established himself and his music in the minds, h e a r t s , and ears of the J a p a n e s e people. He remains in constant demand as a conductor and clinician with community and school groups and his teaching responsibilities at the Senzoku Gakuen will continue to consume a large portion of his time in J a p a n . Reed h a s standing yearly commitments with the Otonowa and Wajima wind groups. He h a s standing commitments with groups in O s a k a , Sendai, and Fukuoka. The Tokyo Kosei Wind Orchestra's effort to record all Reed's wind compositions will continue for years to come. Reed will obviously remain the focus of the future ARIA festivals. Further, Reed will continue to receive commissions from J a p a n e s e performing organizations. He will definitely remain active in the Japanese, and Asian, wind music scenes for many years to come. BEYOND THE UNIVERSITY OF MIAMI YEARS Since retirement from the University of Miami most of Reed's time h a s been spent traveling internationally to conduct and present clinics. The number of extended international trips he has taken since his retirement has increased to an average of four each year. These travels, however, have not only been to J a p a n , but have included trips to Australia, Austria, Canada, Holland, Italy, Norway, and Spain. Since retirement from the University of Miami, the focus of Reed's activities appears to have been as much in Europe as in

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57

J a p a n . In fact, his schedule can easily be filled with appearances in Europe as well as in J a p a n . Reed said: I think it was a matter of my finally being able to accept these engagements, something t h a t I could not do when I was on the faculty of the University of Miami where I was on a 12-month contract, and two of the months during the last nine years were always spent in J a p a n , but now I am available all year around. These offers are coming in, either directly to me, or to my European management, and I am able finally to take advantage of them. 1 0 2 Even though Reed never traveled to Holland until 1993, he first became aware of the wind band movement there while on an air line flight from Tempe, Arizona to Miami, Florida in 1980. That year, the American Bandmasters Association (ABA) convention w a s held in Tempe, and J a n Molenaar, the president of Molenaar Editions publishing, was in attendance. Reed and Molenaar were coincidentally scheduled on the same flight to Miami, where they met and talked for the first time. Molenaar and Reed remained in contact over the years, and in 1991, Molenaar and his associate, Harry Remkus, commissioned Reed to write a work for the 1993 Concours Festival of Music in Kerkrade, Holland. Reed accepted the commission to write "a difficult" composition which was to be the test piece for the most advanced bands t h a t were participating in the festival. The rules of the festival specified t h a t the test piece was to be available to all participating bands through publication before J a n u a r y of the year of the festival and a recording was to be available by February. Reed wrote his Fourth Symphony for the occasion, finished proofreading the score during November 1992, and sent the work to Molenaar for publication. The Koninklijke Militaire Kapeel, the Royal Dutch Military Band, was selected to record the work, and in February 1993, Reed took his first trip to Holland to conduct the recording. Because Fourth Symphony was 18 minutes in length there was time on the recording to include other works by Reed. Pierre Kuipers, the director of the band, selected these additional compositions. Ultimately, the band under Reed's direction recorded an entire compact disk of his music as part of a series honoring wind b a n d composers. Molenaar Editions has become one of Reed's most frequent publishers as a result of Fourth Symphony. He said Fourth Symphony "represents everything I know about the symphonic form as I look at it, and as I think it should be handled." 103

58 Biography In July 1993, Reed was in Spain attending the annual Certamen International Competition and the semi-annual World Association of Symphonic Bands and Wind Ensembles (WASBE) conference. Reed was not involved in conducting or delivering clinics at the WASBE convention, however, he was involved as a judge a t the Certamen competition. The Certamen International Competition is funded by the local government to promote wind music which, according to Reed, the Spanish take very seriously. It is a tradition for each community to promote and support performing ensembles and most have a community wind band; the bands often include as many as 125 musicians. In J a n u a r y 1994, Reed and his wife departed the warm a n d balmy climate of Miami to journey to the cold and blustery climate of Norway. He recalled being greeted at the airport in Norway by a committee of people who wrapped him in an Elk-skin coat to protect him from the cold, after which he was taken outside to a horse-drawn sleigh. The main purpose of Reed's first trip to Norway was to consult with the organizers of the Hornmusikk community b a n d about how the American community band operates. The group w a s interested in discovering how to better organize and m a r k e t themselves and in doing whatever was necessary to come to the United States to perform at the Mid-West Clinic. Of all the countries in which Reed has conducted, he remains "extremely impressed with the Norwegian people because these people have the desire to do more t h a n j u s t play to pass a few pleasant hours each week; they t a k e it very seriously." 1 0 4 Reed made his second appearance in Norway in September and October of 1994. Before taking his first trip to Austria in March 1994, Reed spoke with great anticipation and excitement about the event. He was returning to the land from where his parents hailed and w a s anticipating the sight seeing as much as the performance engagements. During this appearance he conducted a concert at the Bruckner Conservatory and delivered a number of lectures on the development of wind band music. Reed found the Austrians to be unexpectedly interested in the wind orchestra medium, particularly considering they had been entrenched in the traditional orchestra for so m a n y years. Reed also found that, in contrast to the J a p a n e s e ensembles, the European bands played with a great amount of emotion a n d expression. He said, "Generally, once the technical passages are mastered, the expressivo passages require only a few words from the conductor." 1 0 5 Being a self-proclaimed romanticist, he enjoys hearing his music played by these bands because of the amount of emotion and sensitivity with which they play.

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Each year his management adds new countries to his schedule. In fact, Reed made his first appearance in Italy with the Buergerkapelle Lana during March 1995. While in Italy, he conducted one concert and presented three lectures to band directors about the development of the wind band. After returning from Italy, he commented about the surprisingly large number of community wind groups in the region of Italy t h a t he visited. He said, in an area of approximately 50 square miles there were over 450 community wind groups. The community wind band activity is so strong in Italy t h a t they even publish books* containing the photographs, histories, and membership rosters of each group. Because of the large number of wind bands in Europe, Reed believes t h a t the potential for his future involvement there is very promising. Europe remains an "undiscovered" territory for Reed, and he is a relatively "undiscovered" composer in Europe. Perhaps in ten years he will be as involved in Europe as he now is in J a p a n . There is an exciting future for him in European countries. His popularity as a composer, conductor, and clinician is constantly growing. Table 1 shows the number of days Reed spent in J a p a n , Europe, and "other" countries and regions from 1983 through the end of 1998. It is clear t h a t his time in both J a p a n and Europe has increased steadily over the years, and since his retirement 1993 the amount of time Reed spent in Europe increased dramatically. Reed continues to be commissioned throughout Europe, and his commitments extend for a number of years. However, if there is one thing t h a t he h a s learned over the years it is to never commit himself to appearances or commissions too far in the future. In his younger days he did this on a regular basis, but he has learned t h a t can become too stressful and demanding. He also keeps in mind t h a t life at his age can sometimes be unpredictable; therefore, he does not accept commissions or appearances more t h a n two years into the future. Many times, he will travel from one appearance in a particular country directly to another appearance in another country without returning to Miami. This travel schedule began as early a s 1983 when Reed appeared in five different cities throughout the United States before returning to his home in Coral Gables. In 1986, he appeared in Columbus, Ohio and departed from there to Honolulu, Hawaii. From Hawaii he flew to J a p a n . In 1988, he appeared in Lafayette, Louisiana, then St. Louis, Missouri, then nine cities in J a p a n , followed by eight cities in Australia all before returning to * These books are titled: "Blasmusik In Tirol" published by RauckVerlag in Innsbruck, Austria; and, "Das Gresse Ober Osterreichische Blasmusicbuch" in 1984 by Verlag Brandstatter published by Verlag & Edition in Wien.

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Coral Gables. In 1993, Reed appeared in Valencia, Spain a n d departed directly to Holland. In the spring of 1995, he appeared a t Cal Poly University in San Luis Obispo, California before departing to J a p a n for three months. It is believed t h a t he truly enjoys traveling around the world seeing new and exciting places. He seems to enjoy the exposure and more importantly enjoys sharing his music and life-long experiences with fellow musicians. Table 1 Reed's International Travels Days Spent Internationally Year

1983 1984 1985 1986 1987 1988 1989 1990 1991 1992 1993 1994 1995 1996 1997 1998

Japan

— —

8

—

21 25 56 88 92 104 86 156 166 134 150 148

Europe

— — — — — —

7 4

— —

24 49 11 —

13 8

Other

— — — — —

31 — — — — — — —

21 11 7

Total # of Days

4 0 8 0 21 56 63 92 92 104 110 205 177 155 174 163

Initially, when he retired from the faculty at the University of Miami he anticipated spending six months of each year appearing through out the world and six months in Miami. However, as his popularity has increased he has been unable to adhere to his initial plan. Reed has even considered establishing a permanent residence or "home base" in J a p a n . Because appearances in J a p a n d e m a n d the largest amount of his time, and because he will be no further

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away from Europe, this change in residency may be a part of his future. Alfred Reed's life has always been centered around music and will remain that way in the future. As long as his health continues to be good, he will continue to be the consummate musician that he has always been and will take his knowledge, experience, and music to audiences worldwide. Even when he stops making personal appearances, the name of Alfred Reed will continue to be spoken by literally thousands of people in all four corners of the Earth, and the romantic, melodic, and passionate music of Alfred Reed will sound in concert halls for decades.

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NOTES 1 2 3 4

Alfred Reed, taped interview with author, 5 May 1993. Alfred Reed, taped interview with author, 5 May 1993. Alfred Reed, taped interview with author, 21 September 1993. Alfred Reed, taped interview with author, 5 May 1993. 5 Ibid. 6 Alfred Reed, taped interview with author, 5 May 1993. ' Alfred Reed, taped interview with author, 3 February 1994. ° Alfred Reed, taped interview with author, 5 May 1993. 9 Alfred Reed, taped interview with author, 3 February 1994. 10 Alfred Reed, taped interview with author, 5 May 1993. H Alfred Reed, taped interview with author, 5 May 1993. 1^ Alfred Reed, taped interview with author, 21 September 1993. 13 Alfred Reed, taped interview with author, 5 May 1993. 14 Alfred Reed, taped interview with author, 3 February 1994. 15 Alfred Reed, taped interview with author, 5 May, 1993. i 6 Ibid. 1 ' Alfred Reed, taped interview with author, 21 September 1993. 18 Alfred Reed, "My First Master Teacher," unpublished article. 1" Alfred Reed, taped interview with author, 21 September 1993. 20 Alfred Reed, taped interview with author, 21 September 1993. 21 Alfred Reed, taped interview with author, 21 July 1994. 22 Alfred Reed, taped interview with author, 21 September 1993. 23 Ibid. 24 Ibid. 25 Ibid. 26 Ibid. 2? Alfred Reed, taped interview with author, 21 September 1993. 28 Alfred Reed, taped interview with author, 5 October 1993. 29 Ibid. 30 Ibid.

31 Ibid. 32 Alfred Reed, taped interview with author, 21 October 1993. 33 Ibid. 34 Alfred Reed, taped interview with author, 21 July 1994.

35 Alfred Reed, taped interview with author, 21 October 1993.

Biography 36 Alfred Reed, taped interview with author, 21 October 1993. 37 Ibid. 38 Harwood Simmons, Syracuse, to Alfred Reed, New York, 20 April 1948. 39 Bernard Fitzgerald, Austin, to Alfred Reed, New York, 12 December 1949. 4 ° Glenn Cliffe Bainum, Evanston, to Alfred Reed, New York, 24 J u n e 1950. 41 Frederick Fennell, Rochester, to Alfred Reed, Long Island, 2 May 1952. 42 Frank Prindl, Lexington, to Alfred Reed, New York, 5 February 1948.

43 Alfred Reed, taped interview with author, 2 December, 1993. 44

Walter Beeler, Ithaca, to Alfred Reed, New York, 28 October 1949. 45 Walter Beeler, Ithaca, to Alfred Reed, New York, 5 December 1949. 46 Alfred Reed, taped interview with author, 21 September 1993. 47 Alfred Reed, taped interview with author, 21 October 1993. 48 Alfred Reed, taped interview with author, 21 October 1993. 4^ Alfred Reed, taped interview with author, 21 October 1993. 50 Alfred Reed, taped interview with author, 2 December 1993. 51 Ibid. 52 Alfred Reed, taped interview with author, 9 December 1993. 53 ibid. 54 Ibid. 55

Ibid. 56 ibid. 57 Alfred Reed, ed., 104 For Band (Miami: Hansen Publications Inc., 1966), 2.

58 Alfred Reed, taped interview with author, 30 December 1993. 59 ibid.

60 Alfred Reed, taped interview with author, 9 December 1993. 61 Alfred Reed, taped interview with author, 30 December 1993. 62 Ibid. 63 David Baskerville, Music Business Handbook and Career Guide (Denver: The Sherwood Company, 1985), xiii. 64 Frederick Fennell, taped interview, 27 May 1994.

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64

Biography

65 Alfred Reed, taped interview with author, 30 December 1993. 66 Alfred Reed, taped interview with author, 6 J a n u a r y 1994. 67 Ibid. 68 Alfred Reed, taped interview with author, 6 J a n u a r y 1994. 69 Alfred Reed, Russian Christmas Music (1968), program note. 70 Alfred Reed, taped interview with author, 21 July 1994. 71 Alfred Reed, taped interview with author, 30 December 1993. 72 Alfred Reed, taped interview with author, 6 J a n u a r y 1994. 73 Frederick Fennell, taped interview, 27 May 1994. 74 Frederick Fennell, taped interview, 27 May 1994. 75 Alfred Reed, taped interview with author, 17 February 1994. 76 Alfred Reed, taped interview with author, 28 July 1994. 77 Frederick Fennell, taped interview, 27 May 1994. 78 Ibid. 79 Ibid. 80 Alfred Reed, taped interview with author, 14 April 1994. 81 Ibid. 82 Frederick Fennell, taped interview, 27 May 1994. 83 Harry Begian, letter to author, 20 March 1994. 84 Ibid. 85 Harry Begian, letter to author, 20 March 1994. 86 Harry Begian, letter to author, 20 March 1994. 87 J o h n Paynter, letter to author, 28 March 1994. 88 ibid. 89 ibid. 90 Alfred Reed, taped interview with author, 6 J a n u a r y 1994. 91 Toshio Akiyama, taped interview, 8 April 1994. 92 Ibid. 93 Alfred Reed, taped interview with author, 6 J a n u a r y 1994. 94 Alfred Reed, taped interview with author, 6 J a n u a r y 1994. 95 Frederick Fennell, taped interview, 27 May 1994. 96 Ibid. 97 Frederick Fennell, taped interview, 27 May 1994. 98 Alfred Reed, taped interview with author, 6 J a n u a r y 1994. 99 Alfred Reed, letter to members of ARIA, September 1993. 100 Alfred Reed, taped interview with author, 6 J a n u a r y 1994.

Biography 101 Alfred Reed, taped interview with author, 3 February 1994. 102 Alfred Reed, taped interview with author, 3 February 1994. 103 Alfred Reed, taped interview with author, 21 July 1994. 104 Ibid. 1°5 Ibid.

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Works and Premieres The compositions listed are organized by genre and subarranged chronologically by date of publication. Information, when known, is provided in the following order: title of the work, date of publication, duration, specific genre for which the work was written, commission or dedication, premiere, performer(s) of premiere, publisher, and related comments. The "SEE" references identify citations in the "Bibliography" (i.e., B l , B2, etc.) and "Discography" (Dl, D2, etc.) sections. ORIGINAL WORKS FOR WIND ENSEMBLE, WIND ORCHESTRA AND CONCERT BAND W1. Chorale Prelude in E Minor (1953) For concert band Southern Music SEE: D117 W2. Slavonic Folk Suite (1953) For concert band MMP/Kalmus SEE: D354, D355, D356 W3. Lumberjack Overture (1954) For concert band MMP/Kalmus W4. Ballade (1956) For Eb alto saxophone and band By the Leblanc Corporation for Vincent J. Abato August 17, 1956

68

Worlds and (Premieres Vincent J. Abato and the Gunnison Summer Music Camp Directors Band, Mark Hindsley, conductor Southern Music SEE: D112, D113, D114

W5. Ode for Trumpet (1956) For trumpet and concert band By the Leblanc Corporation for Don Jacoby February 10, 1956 Texas Music Educators Association All-State Band with Clearance Southill conducting in Dallas, Texas Southern Music SEE: B140, D239, D240, D241, D242, D243 W6. The Crowning Glory (1956) For concert band Southern Music SEE: D369 W7. Serenade (1957) For solo Bb clarinet and band By the Leblanc Corporation for Robert E. Lowry May 6, 1957 Robert Lowry soloist with the Morningside College Concert Band under the direction of Reed in Souix City, Iowa Southern Music SEE: B140, D348, D349, D350 W8. Might and Majesty (1958) For concert band Written for and dedicated to the Morningside College Band Day 1958 MMP/Kalmus SEE: D224 W9. Greensleeves (1961) For concert band Hansen Music Corporation SEE: B65, D177, D178, D179, D180, D181, D182, D183, D184, D185 W10. A Festival Prelude (1962) (4:45) For concert band Written for the 25th Anniversary of the Tri-State Music Festival and dedicated to the Philips University Band At the 25th Annual Tri-State Music Festival Phillips

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69

University Concert Band, Alfred Reed, conductor. Piedmont/Marks/HLPC SEE: B9, B140, D8, D9, D10, D l l , D12, D13, D14, D15, D16, D17, D18, D19, D20, D21, D22, D23, D24, D25, D26 Wll. A Sacred Suite (1962) (14:30) For concert band Dedicated to Al G. Wright and the Purdue University Symphonic Band December 1962 Coral Gables High School Band of Coral Gables, Florida under the direction of Al G. Wright at the Mid-West National Band Clinic in Chicago, Illinois. Piedmont/Marks/HLPC W12. Seascape (1962) (4:30) For baritone horn and band For Hunter N. Wiley March 16, 1962 University of Tampa Band under the direction of Alfred Reed; Hunter N. Wiley, baritone horn Peidmont/Marks/HLPC SEE: D229, D330, D331 W13. A Symphonic Prelude (1963) (5:45) For concert band Dedicated to the Hartford City High School Band Piedmont/Marks/HLPC Based on the theme "Black is the color of my true love's hair" SEE: B85, D52, D53, D54, D55, D56 W14. Ceremony of Flourishes (1963) (9:30) For concert band Written as a contribution to the John Philip Sousa Memorial Library and dedicated to the NORAD Band, Lt. Col. Mark Azzolina, conductor Bourne Music SEE: B7 W15. A Festive Overture (1964) For concert band By the Tri-State Festival November 2, 1963 Dickinson State College Symphonic Band under the direction of Alfred Reed in Dickinson, North Dakota

70

Worlds and (Premieres Frank/HLPC SEE: D27, D28, D29, D30, D31, D32, D33

W16. Song of Threnos (1964) (8:18) For concert band Written for the Tri-State Festival and dedicated to the Dickinson State College Band, Dwaine D. Nelson, conductor November 1961 Dickinson State College Band in Dickinson, North Dakota Bourne Music W17. Rahoon (1965) (8:30) For solo Bb clarinet and concert band By the University of Delaware for its 16th annual Contemporary Music Festival and dedicated to Eugene F. Gonzales May 9, 1965 University of Delaware Symphonic Ban under the direction of Alfred Reed; Eugene F. Gonzales, clarinet Piedmont/Marks/HLPC SEE: D297 W18.

Choric Song (1966) (10:00) For mixed voices and concert band Boosey & Hawkes Based on Alfred Lord Tennyson's "The Lotus Eaters"

W19. Poetry and Power (1966) (6:40) For symphonic band Respectfully dedicated to the memory of President John F. Kennedy Southern Music SEE: D267 W20. Passacaglia (1967) (13:30) For concert band Dedicated to the memory of Paul Yartin and Vittorio Giannini March 13, 1968 Alabama All-State Band in Tusculosa, Alabama Frank/HLPC SEE: D257, D258, D259, D260, D261, D262, D263 W21. War March and Battle Hymn of the Vikings (1967) For concert band

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71

CPP-Belwin Originally the third movement of Nordic Trilogy, now available individually. SEE: D438 W22. Intrada Dramatica (1968) (5:15) For concert band By the Nebraska Southwest Conference Clinic. March 1968 Nebraska Southwest Conference Clinic Band in Cozad, Nebraska. Piedmont/Marks/HLPC SEE: D203 W23. Russian Christmas Music (1968) (14:30) For concert band December 12, 1944 Select Army Air Corps Band Sam Fox Pub. Co. The evolution of this work took more t h a n 24 years from the time it was originally written while Reed was in the military until the time it was published. SEE: B13, B34, B100, B126, B128, B135, D300, D301, D302, D303, D304, D305, D306, D307, D308, D309, D310, D311, D312, D313, D314, D315, D316, D317, D318, D319, D320, D321, D322, D323, D324 W24. Symphony for Brass and Percussion (1968) (17:00) For brass and percussion Dedicated to Donald I. Moore December 1952 Oberlin Symphonic Band under the direction of Donald I. Moore at the College Band Directors National Association convention in Chicago, Illinois Sam Fox Pub. Co. SEE: B140, D359, D360, D361, D362, D363 W25. The Music-Makers (1968) (4:00) For concert band By H. Stanley Robards, director of the Spencerport High School Wind Ensemble. May 16, 1967 Spencerport Wind Ensemble under the direction of Alfred Reed. Frank/HLPC

72

Worlds and (Premieres SEE: D397, D398, D399, D400, D401, D402, D403, D404, D405, D406

W26. Wapawekka (1968) (6:15) For concert band By the Saskatchewan Arts Board for Canada's Centennial year, dedicated to the Saskatchewan Summer School of the Arts August 5, 1967 Saskatchewan Summer School of the Arts Concert Band; Alfred Reed, conductor Kalmus SEE: B8, D437 W27. A Jubilant Overture (1970) (6:17) For concert band By Fred Baetge, director of the Sam Rayburn High School Band in Pasadena, Texas. J a n u a r y 23, 1970 Sam Rayburn High School Band under the direction of Alfred Reed. C. L. Barnhouse SEE: D34, D35, D36, D37, D38, D39, D40, D41, D42, D43 W28. The Pledge of Allegiance (1970) (2:00) For concert band By Forrest L. McAllister and "The School Musician, Inc." and dedicated to the people of the United States of America May 2, 1970 Combined Tri-State Music Festival Band, Orchestra, and Chorus under the direction of Forrest L. McAllister in Enid, Oklahoma Piedmont/Marks/HLPC SEE: B105, B106, B138, D407 W29. A Ceremonial Fanfare (1971) (4:00) For concert band By the Ithica College Band, Walter Beeler, conductor and dedicated to the New York State School Music Association. December 6, 1970 Ithica College Band Piedmont/Marks/HLPC SEE: D2, D3, D4, D5

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73

W30. A Northern Legend (1972) (7:30) For concert band Written for and dedicated to the Bemidji State College Summer Music Clinic, Dr. Theodore W. Thorson, director. Summer 1972 Bever Band under the direction of Alfred Reed in Bemidji, Minnesota. Kalmus SEE: D47 W31. Imperatrix (1972) For concert band By the G. P. Babb Junior High School Band from Forest Park, Georgia; Donald Wilkes, director. May 1972 G. P. Babb Junior High School Band under the direction of Donald Wilkes in Forest Park, Georgia. Piedmont/Marks/HLPC SEE: B140, D197, D198, D199 W32. InMemoriam (1972) For concert band By Illinois State University and dedicated to the Illinois State University Concert Band, George P. Foeller, conductor. CPP-Belwin SEE: D189, D201, D202 W33. Alleluia! Laudamus Te (1973) (7:00) For concert band Written for and dedicated to the Concert Band of Malone College, Canton, Ohio, Richard D. Mountford, director. February 1973 Malone College Concert Band in Canton, Ohio. Piedmont/Marks/HLPC SEE: D58, D59, D60, D61, D62, D63, D64, D65, D66, D67 W34. Music for "Hamlet" (1973) (18:15) For concert band By the Tri-State Festival of Music, supported by a grant from the North Dakota Council on the Arts and Humanities and the National Endowment for the Arts November 6, 1971 Dickinson State College Wind Ensemble under the direction of Alfred Reed. Theodore Presser Co.

74

Worlds and (Premieres SEE: B107, D225, D226, D227, D228, D229, D230, D231, D232, D233

W35. A Northern Nocturne (1974) For concert band UMMP/Plymouth W36. Armenian Dances: Part I (1974) (11:30) For concert band By Harry Begian for the University of Illinois Band Programs J a n u a r y 10, 1973 University of Illinois Symphonic Band, Harry Begian, conductor at the CBDNA Convention in Urbana, Illinois. Sam Fox Pub. Co. SEE: B121, B140, D68, D69, D70, D71, D72, D73, D74, D75, D76, D77, D78, D79, D80, D81, D82, D83, D84, D85, D86, D87, D88, D89, D90, D91, D92, D109 W37. Punchinello (1974) (7:40) For concert band For Christopher Izzo and the Western Illinois Symphonic Wind Ensemble. November 14, 1973 Western Illinois Symphonic Wind Ensemble under the direction of Christopher Izzo in Macomb, Illinois. C. L. Barnhouse SEE: B140, D289, D290, D291, D292, D293 W38. Testament of an American (1974) For concert band, narrator and mixed chorus By Martin and Ethel Winkler May 3, 1974 Phillips University Band and Chorus under the direction of Alfred Reed at the 42nd Annual Tri-State Music Festival in Enid, Oklahoma. CPP-Belwin W39. First Suite for Band (1975) (15:45) For concert band By R. Lee Holmes for the Edmonton, Alberta, Public School Symphonic Band. April 3, 1975 Edmonton Public School Symphonic Band under the direction of Alfred Reed in Edmonton, Canada. Piedmont/Marks/HLPC

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75

SEE: D153, D154, D155, D156, D157, D158, D159, D160, D161, D162 W40. Othello (1977) (16:40) For concert band By the Walter Beeler Memorial Series at Ithica College October 12, 1977 Ithica College Symphonic Wind Ensemble under the direction of Alfred Reed. Piedmont/Marks/HLPC SEE: B108, B110, B i l l , B112, B133, D244, D245, D246, D247, D248, D249, D250, D251, D252, D253, D254 W41. Armenian Dances: Part II (1978) (20:15) For concert band By the University of Illinois with support from the American General Benevolent Union's Alex Manoogian Cultural Fund and Dedicated to Harry Begian. April 4, 1976 University of Illinois Symphonic Band under the direction of Harry Begian in Urbana, Illinois. C. L. Barnhouse SEE: B122, D93, D94, D95, D96, D97, D98, D99, D100, D101, D102, D109 W42. Prelude and Capriccio (1978) (6:30) For concert band By the North Hills Senior High School Band and its director Warren S. Mercer, Jr. May 20, 1977 North Hills Senior High School Band under the direction of Alfred Reed. Piedmont/Marks/HLPC SEE: D280, D281, D282 W43. Second Symphony (1979) (21:00) For concert band By Michigan State Symphonic Band, Kenneth G. Bloomquist, conductor May 16, 1978 Michigan State University Symphonic Band, Kenneth G. Bloomquist, conductor Piedmont/Marks/HLPC SEE: B140, D344, D345, D346, D347, D348

76

Worfc and (Premieres

W44. Second Suite for Band (1980) (13:45) For concert band By G. Jack Schuler, director of the Sterling Highs School Wind Ensemble in Sterling, Illinois; in memory of his wife Ina R. Schuler. March 29, 1979 Sterling High School Wind Ensemble under the direction of Alfred Reed at the Sterling Coliseum in Sterling, Illinois. Piedmont/Marks/HLPC SEE: B114, B115, D333, D334, D335, D336, D337, D338, D339, D340, D341, D342, D343 W45. The Enchanted Island (1980) (15:00) For concert band By the Minnechaug Regional High School Wind Ensemble of Wilbraham, Massachusetts. May 9, 1979 Minnechaug Regional Wind Ensemble under Alfred Reed. Piedmont/Marks/HLPC SEE: D370, D371, D372, D373, D374 W46. A Christmas Intrada (1981) For concert band By J a m e s Smith of Middle Tennessee State University, and dedicated to the participating bands in the 20th anniversary of the Contest of Champions. October 23, 1981 United States Marine Band plus antiphonal brass choirs in Murfreesboro, Tennessee. Piedmont/Marks/HLPC SEE: B15, D7 W47. Rushmore (1981) For concert band By the Rushmore Summer Music Camp, Paul F. Hedge and Lois J. Hedge, directors. August 16, 1980 Rushmore Music Camp Symphonic Band under the direction of Kenneth Bloomquist in the amphitheater at Mount Rushmore. C. L. Barnhouse SEE: D299 W48. The Hounds of Spring (1981) (9:15) For concert band

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77

By John L. Forster Secondary School Symphonic Band, Windsor, Ontario, Gerald A. N. Brown, director May 1980 John L. Forster Secondary School Symphonic Band under Alfred Reed. Piedmont/Marks/HLPC SEE: D382, D383, D384, D385, D386, D387, D388, D389, D390, D391, D392, D393, D394 W49. The Garden of Prosperpine (1982) (7:30) For concert band By the Cornell University Wind Ensemble, Marice Smith, director. March 14, 1982 Cornell University Wind Ensemble under the direction of Alfred Reed. Piedmont/Marks/HLPC SEE: D377, D378, D379, D380 W50. Third Suite for Band (1982) (12:45) For concert band By the Thomas Jefferson High School Bands and Band Booster Club of Bloomington, Minnesota, and their director Earl C. Benson. May 2 1 , 1981 Thomas Jefferson High School Symphonic Band under Alfred Reed. Piedmont/Marks/HLPC SEE: D410, D411, D412, D413, D414, D415, D416 W51. Queenston Overture (1983) (9:15) For concert band/wind ensemble By the Niagara Parks Commission and dedicated to Fred Willett, conductor of the Queenston Heights Park Concerts. J u n e 27, 1982 Fred Willett Concert Band under the direction of Alfred Reed. Piedmont/Marks/HLPC SEE: B118, D294 W52.

A Little C o n c e r t S u i t e (1984) (9:25) For concert band By the Northern Manitoba Concert Band Festival and dedicated to the Sun Valley School Band. November 26, 1983 The Northern Manitoba Festival Band under the direction of

78

Worlds and (Premieres Alfred Reed in Swan River, Manitoba, Canada. Piedmont/Marks/HLPC SEE: D44, D45, D46

W53. Pro Texana (1984) (4:00) For concert band For Baylor University, Waco, Texas J a n u a r y 3 1 , 1984 Golden Wave Band of Baylor University under the direction of Donald I. Moore in Waco, Texas Southern Music Originally titled General Lawson March while Reed was serving in the military. Next the work was titled Crimson and Gold, the school colors of Juilliard. Work was ultimately published as Pro Texana. SEE: B104, D283, D284, D285, D286, D287, D288 W54. Viva Musical (1984) (4:15) For concert band By the VanderCook College of Music December 16, 1983 VanderCook College Symphonic Concert Band under the baton of Alfred Reed at the Mid-West International Band and Orchestra Clinic in Chicago, Illinois Piedmont/Marks/HLPC SEE: B17, D434, D435, D436 W55. Song of the High Cascades (1985) (6:15) For concert band Commissioned for the Western International Band Clinic, 1985 November 23, 1985 Pacific Symphonic Wind Ensemble of Vancouver under the direction of Reed. Piedmont/Marks/HLPC SEE: D358 W56. Three Revelations for the Lotus Sutra (1985) (27:00) For concert band By Rissho Kosei-kai on the 77th birthday of their founder and president, the Reverend Nikkyo Niwano November 1982 (Mvt. 3), November 1984 (complete) First part premiere, Tokyo Kosei Wind Orchestra under Reed at F u m a n Hall, Tokyo, Japan; complete work premiere with the Tokyo Kosei Wind Orchestra under Frederick Fennell

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79

Piedmont/Marks/HLPC SEE: B139, D417, D418, D419, D420, D421, D422, D423, D424 W57. Centennial! (1986) (5:15) For concert band By the Georgia Tech Foundation and dedicated to Joseph M. Pettit, President of the Georgia Institute of Technology April 1, 1986 Georgia Tech Band under the direction of Alfred Reed at Atlanta Symphony Hall, Atlanta, Georgia Piedmont/Marks/HLPC W58. Danza Caribe (1986) (5:30) For concert band Piedmont/Marks/HLPC SEE: D133, D134 W59. El Camino Real (1986) (10:00) For concert band By the 581st Air Force Band, Lt. Col. Ray E. Toler, Commander April 15, 1985 The 581st Air Force Band under the direction of Lt. Col. Ray E. Toler, in Sarasota, Florida Piedmont/Marks/HLPC SEE: B129, D138, D139, DUO, D141, D142, D143 W60. Second Century (1986) For concert band In celebration of the 100th anniversary of the C. L. Barnhouse Co. C. L. Barnhouse SEE: D332 W61. A Christmas Celebration (1987) For concert band By the VanderCook College of Music and dedicated to the 40th Anniversary of the Mid-West International Band and Orchestra Clinic December 19, 1986 VanderCook College Symphonic Concert Band and Brass Choir with the Glenbrook South High School Chorus, William Ferris Chorale, Euana Gangware, Harp, and John Marshall, Organ in Chicago, Illinois Piedmont/Marks/HLPC

80

Worlds and (Premieres Based on an unpublished work titled Christmas Carol t h a t Reed arranged while serving in the military SEE: D6

W62. Golden Jubilee (1987) (7:50) For concert band By the Mississippi Bandmasters Association on the occasion of their 50th anniversary December 1986 Mississippi Fifteenth Anniversary Convention Band under Alfred Reed Piedmont/Marks/HLPC SEE: D172, D173, D174, D175 W63. Praise Jerusalem! (1988) (16:00) For concert band By Purdue University Department of Bands in honor of the 100th anniversary celebration of its band programs April 19, 1987 Purdue University Symphonic Band under the direction of Harry Begian at the Long Center for Performing Arts in Lafayette, Indiana C. L. Barnhouse SEE: B23, B123, B134, D268, D269, D270, D271, D272, D273, D274, D275, D276, D277, D278, D279 W64. Symphony No. 3 (1988) (23:05) For concert band By Colonel Arnald Gabriel and the United States Air Force Band April 19, 1988 United States Air Force Band under the direction of Lt. Col. J a m e s M. Bankhead at the opening concert of the 150th Annual Music Educators National Conference convention in Indianapolis, Indiana Jenson Publications SEE: D364, D365, D366, D367 W65. A Celebration Fanfare (1989) For concert band By Phi Beta Mu in honor of their 50th anniversary December 1989 At the 1989 Mid-West International Band and Orchestra Clinic C. L. Barnhouse SEE: D l

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81

W66. Eventide, A Song of Sunset for Winds (1989) (7:25) For concert band By the International Festliche Musiktage Lister, Switzerland October 3, 1989 Jenson Publications SEE: D144 W67. Salutations! Fanfares and Intrada (1989) For concert band By the Tokyo Kosei Wind Orchestra on the occasion of their 30th anniversary Kosei Publishing Co. Later published by Molenaar Edition in 1995 SEE: D325 W68. Curtain Up! (1990) (6:45) For concert band By the City of Wheaton, Illinois for the Wheaton Municipal Band, Dr. Bruce Moss, conductor, in celebration of the band's 60th anniversary. July 19, 1990 Wheaton Municipal Band under the direction of Dr. Bruce Moss in Wheaton, Illinois. Jenson Publications SEE: D130, D131, D132 W69. Mr. Music! (1990) For concert band Dedicated to Toshio Akiyama C. L. Barnhouse W70. Golden Eagle (1990/1994) For concert band By the Ishikawa Prefecture in dedication to the 46th National Athletic Meet March 21, 1990 All- Ishikawa Prefectural High School Band under Reed at the Kanazawakanko Kaikin Concert Hall API/Molenaar SEE: D171 W71. A Springtime Celebration (1991) (7:45) For concert band By Kikuo Atarashi and Tenri High School Band of Nara, J a p a n for the 75th anniversary of the school. March 20, 1991

82

Worlds and (Premieres Tenri High School Band under the direction of Alfred Reed in Nara, J a p a n C. L. Barnhouse SEE: D48, D49, D50, D51

W72. Hymn Variants (1992) (12:10) For concert band By the combined national convention of Kappa Kappa Psi and Tau Beta Sigma July 31, 1991 1991 National Intercollegiate Band under the direction of Alfred Reed at the University of Maryland in College Park, Maryland C. L. Barnhouse SEE: D191, D192, D193, D194, D195 W73. With Trumpets and Drums (1992) For concert band By the Band Parents of the Regina Lions Jr. High School Band of Regina, Saskatchewan December 19, 1991 Regina Lions Jr. High School Band at the Mid-West International Band and Orchestra Clinic, Chicago, Illinois Hal Leonard Pub. Co. SEE: B120, D440 W74. Concertino for Marimba and Winds (1993) (15:50) For marimba and wind ensemble By Kazunori Momose, timpanist of the NHK Symphony Orchestra for his student, Reiko Kono May 3, 1992 Otonowa Wind Sinfonica, Kazunori Momose, conductor; Reiko Kono, marimba. Tokyo, J a p a n at the 4th Otonowa Concert. C. L. Barnhouse SEE: D124, D125 W75. Evolutions (1993) (4:40) For concert band By the Feldmusik Baar in Unterageri, Switzerland April 16, 1993 Feldmusik Baar in Unterageri under the direction of Joel Jenny Molenaar SEE: D145

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83

W76. Fourth Symphony (1993) (17:30) For concert band For the 1993 World Music Contest in Kerkrade, The Netherlands March 1993 Royal Dutch Military Band under the direction of Alfred Reed in Venlo, Netherlands Molenaar SEE: D165, D166, D167 W77. Fourth Suite for Band (1994) (12:05) For concert band By the city of Takasaki, J a p a n for the Karasugawa Music Society annual Festival of the Arts in Takasaki, J a p a n . The original one movement work was premiered in October 1992. The expanded, and currently published work, was premiered on November 3, 1993. First premiere by Karasugawa Wind Orchestra under the ensembles standing director; second premiere by the same ensemble under the direction of Alfred Reed C. L. Barnhouse SEE: D163, D164 W78. Greensleeves (1994) (5:35) For concert band C. L. Barnhouse Re-release, with new introduction, originally from 1961 SEE: B65, D176, D177, D178, D179, D180, D181, D182, D183, D184 W79. Fifth Suite for Band (1995) (12:35) For concert band By the Shimonoseki Wind Orchestra October 10, 1995 Shimonoseki Wind Orchestra under Alfred Reed Piedmont/Marks/HLPC SEE: D149 W80. Fifth Symphony (1995) (22:15) For concert band By the Senzoku Gakuen for their 70th Anniversary July 26, 1995 Senzoku Gakuen Wind Orchestra under the direction of Alfred Reed in Hamamatsu, J a p a n Molenaar SEE: B137, D150, D151, D152

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W81. The King of Love My Shepherd Is (1995) For concert band By the United Township High School Band in East Moline, Illinois and dedicated to the memory of Ron Ryerson March 18, 1995 United Township High School Band from Moline, Illinois, with Alfred Reed conducting C. L. Barnhouse W82. The Ramparts of Courage: Fanfare and Processional (1995) For concert band By the Georgia Zeta Chapter of Phi Beta Mu International Bandmasters Fraternity to honor Mr. Boyd McKeown May 6, 1995 Georgia All-State Band under the direction of Dr. David Gregory in Savannah, Georgia C. L. Barnhouse W83. Concerto for Trumpet (1997) (22:40) For trumpet, cornet, flugelhorn and winds By the council for Cultural Planning and Development, Executive Yuan, Tiwan, R.O.C., and dedicated to Yeh Shu-Han April 12, 1996 Molenaar Edition SEE: D126 W84. Divertimento for Flute and Winds (1997) For flute and concert band Tennessee Valley Winds; In honor of Joseph T. Smith at Middle Tennessee State University February 6, 1997 Molenaar Edition W85. Two Bagatelles for Concert Band (1997) For concert band Murry State Wind Ensemble, Dennis L. Johnson, conductor Birch Island Music Press Re-arrangement based on Two Bagatelles for Four Trombones (originally written in 1983) SEE: D430 W86. Sixth Suite for Band (1998) (13:25) For concert band May 3, 1998

Worlds and Premieres 85 Molenaar Edition SEE: D353 W87. The Big East March (1998) For concert band By the Big East Athletic Conference Kjos W88.

The Golden Year (1998) For concert band The Yokohama Kounan Jr. High School 50th Anniversary October 30, 1997 C. L. Barnhouse Co. SEE: D381

W89. Silver Shadow (1998) For concert band To the Kuwana Community Band, J a p a n Plymouth/Marks W90. Millennium III (1998) For concert band Commissioned by and dedicated to the Sony Concert Band on its 40th Anniversary, 1998 Work in progress

ARRANGEMENTS AND TRANSCRIPTIONS FOR WIND ENSEMBLE, WIND ORCHESTRA AND CONCERT BAND W91. Elephants Tango (1954) For concert band Hansen Music Corporation Originally by Bernie Landes W92. Autumn Leaves (1955) (4:30) For concert band Hansen Music Corporation Band and Orchestra versions by Reed SEE: DUO, D i l l W93. Bolero (1956) For concert band Hansen Music Corporation Originally by Verdi Arranged by Camarata, transcribed by Reed

86

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W94. Verdiana (1956) (10:00) For concert band Hansen Music Corporation Originally by Verdi Arranged by Camarata, transcribed by Reed W95. Gymnopedies (1960) For concert band Editions Salabert Originally by Satie/Debussy W96. Concertino (1962) For solo clarinet and concert band Kendor Originally by Weber SEE: D123 W97. Concerto in C Major (1962) For concert band Kalmus Originally by Vivaldi SEE: D127, D128, D129 W98. La Procession du Rocio (1962) (9:50) For concert band Editions Salabert Originally by Turina SEE: D211, D212, D213, D214, D215, D216, D217 W99. / Left My Heart In San Francisco (1962) For concert band Hansen Music Corporation W100. Serenade (1963) For Bb Clarinet(s) and winds Shawnee Press Originally by Pierne Re-arrangement of Serenade (for solo Bb clarinet and band, 1957) SEE: D351 W101. Prelude and Dance (1964) For concert band CPP-Belwin Originally by Villa-Lobos

VJorks and Premieres W102. Air De Sarabande (1965) (2:20) For concert band Marks/HLPC Originally by Handel W103. Suite in A Minor (1965) (30:00) For flutes and woodwinds Southern Music Originally by Telemann W104. Nimrod (1966) (4:00) For concert band CPP-Belwin Originally by Elgar SEE: B130 W105. Harlem Nocturne (1968) For solo Eb alto saxophone and band Hansen Music Corporation W106. March "Grandioso" (1969) For concert band Southern Music Originally by Roland Seitz W107. In Dulci Jubilo (1970) (3:45) For concert band For the VanderCook College Concert Band; Richard Brittan, conductor Sam Fox Pub. Co. Based on a theme by J. S. Bach SEE: D200 W108. Vilabella (1970) For concert band UMMP/Plymouth Originally titled Houston on the Move by Kenneth Williams SEE: D432 W109. Eighteenth Variation (1971) For piano and winds CPP-Belwin Originally by Rachmaninoff Wl 10. Severn Suite (1973) (18:00) For concert band

87

88

Worfc and Premieres Sam Fox Pub. Co. Originally by Elgar

Will.The Tsar's Farewell (1973) (4:30) For concert band Southern Music Company By Rimsky-Korsakov, arranged by Reed W112. The Entertainer (1974) For concert band Theodore Presser Originally by Joplin SEE: D375 WHS. The Strenuous Life (1974) For concert band Theodore Presser Originally by Joplin W114. My Jesus! Oh, What Anguish (1975) For concert band In memory of Glenn Cliff Banium November 20, 1974 University of Miami Symphonic Wind Ensemble under Frederick Fennell C. L. Barnhouse Based on a theme by J. S. Bach P a r t of the Barnhouse Bach Series SEE: D234 W 115.Nocturne, Op. 9, No. 2 (1975) (7:00) For concert band Piedmont/Marks/HLPC Originally by Scriabin SEE: D235, D236, D237, D238 W116. Come, Sweet Death (1976) (3:45) For concert band To the memory of J a m e s Dunlop C. L. Barnhouse Based on a theme by J. S. Bach P a r t of the Barnhouse Bach Series SEE: D120, D121 W111. Sine Nomine (1976) For concert band

Worlds and (Premieres CPP-Belwin Originally by Vaughan Williams W 118. Theme from Leonardo Da Vinci (1976) (5:10) For concert band Sam Fox W 1 1 9 . A z r a e l (1977) For concert band CPP-Belwin Originally by Lotti Adapted from "Crucifixus" W120. Thus Do You Fare, My Jesus (1978) (5:20) For concert band By the Saskatchewan School of the Arts July 17, 1977 Saskatchewan School of the Arts "A" Band under the direction of Peter Demos. C. L. Barnhouse Based on a theme by J. S. Bach Part of the Barnhouse Bach Series SEE: D426 Vf 121. Cantata Di Chiesa (1979) (10:05) For concert band Piedmont/Marks/HLPC Originally by Karg-Elert W122. Jesu, Joy of Man's Desiring (1980) (4:30) For concert band To the F u r m a n University Band, Don Ellis and Robert Chesebro, directors. C. L. Barnhouse Based on a theme by J. S. Bach P a r t of the Barnhouse Bach Series SEE: D204, D205, D206, D207, D208, D209, D210 W123. March of the Little Tin Soldiers (1981) For concert band Kalmus Originally by Pierne W124. Sheep May Safely Graze (1981) For concert band C. L. Barnhouse

89

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Worlds and (Premieres Based on a theme by J. S. Bach Part of the Barnhouse Bach Series

W125. Prelude No. 4 from uThe Well Tempered Clavichord, Book 1" (1983) For concert band C. L. Barnhouse Based on a theme by J. S. Bach P a r t of the Barnhouse Bach Series W126. If thou Be Near (1984) For concert band C. L. Barnhouse Based on a theme by J. S. Bach P a r t of the Barnhouse Bach Series SEE: D196 Vf 127. Sleepers, Awake! (1984) For concert band C. L. Barnhouse Based on a theme by J. S. Bach P a r t of the Barnhouse Bach Series SEE: D357 W128. Forget Me Not, O Dearest Lord (1985) For concert band By the Andrews University Department of Music and dedicated to the 1985 Lake Union Clinic Band, Barbara Favorito, coordinator. C. L. Barnhouse Based on a theme by J. S. Bach BWV 505 P a r t of the Barnhouse Bach Series W129. God Still Lives! (1985) For concert band C. L. Barnhouse Based on a theme by J. S. Bach P a r t of the Barnhouse Bach Series W130. Prelude, Op. 9, No. 1 (1985) (3:00) For concert band Piedmont/Marks/HLPC Originally by Scriabin W 131. My Heart Is Filled With Longing (1986) For concert band

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By Southern College of Seventh-day Adventists in CoUegdale, Tennessee and dedicated to the first Adventist Collegiate Band Festival. March 22, 1986 Adventist Collegiate Band in CoUegdale, Tennessee. C. L. Barnhouse Based on a theme by J. S. Bach P a r t of the Barnhouse Bach Series W132. Our Father Who Art in Heaven (1988) For concert band C. L. Barnhouse Based on a theme by J. S. Bach Part of the Barnhouse Bach Series W133. Panis Angelicus (1988) For concert band C. L. Barnhouse Originally by Franck SEE: D255, D256 W134. Pavanne (1988) For concert band MMP/Kalmus Originally by Ravel W135. Presentation of the Silver Rose (1988) For concert band For the Master Symphonic Band Series MMP/Kalmus Originally by Strauss W136. Three Symphonic Preludes (1988) For concert band To the Hartford City High School Band. Hartford City High School Band at the ASBDA convention in Elkhart, Indiana. MMP/Kalmus Originally by Shostakovich SEE: D425 W137. Chanson Triste (1989) For concert band C. L. Barnhouse Originally by Tchaikovsky Part of the Barnhouse Classics for Concert Band Series

92

Worlds and Premieres

W138. Who Will But Let Himself Be Guided (1989) For concert band C. L. Barnhouse Based on a theme by J. S. Bach P a r t of the Barnhouse Bach Series SEE: D439 W139. Deck Thyself, My Soul, With Gladness (1990) For concert band C. L. Barnhouse Based on a theme by J. S. Bach Part of the Barnhouse Bach Series W140. Viliafrom "The Merry Widow'9 (1990) (5:05) For concert band C. L. Barnhouse Originally by Franz Lehar Part of the Barnhouse Classics for Concert Band Series SEE: D433 W141. Pilgrim's Chorus (1991) For concert band C. L. Barnhouse Originally by Wagner P a r t of the Barnhouse Classics for Concert Band Series W 142. Macarena (1992) For concert band C. L. Barnhouse Originally from "La Virgen de la Macarena" by Monterde P a r t of the Barnhouse Classics for Concert Band Series W143. Radetzky March (1993) (3:20) For concert band C. L. Barnhouse Originally by Strauss Part of the Barnhouse Classics for Concert Band Series SEE: D295, D296 W144. Funiculi, Funicula (1994) (2:15) For concert band C. L. Barnhouse Originally by Luigi Denza P a r t of the Barnhouse Classics for Concert Band Series SEE: D168, D169, D170

Worlds and (Premieres W 1 4 5 . O Little Town (1995) (2:10) For concert band De Haske W146. Tarantella (1996) For concert band For Nicholas J. Contorno C. L. Barnhouse Part of the Barnhouse Classics for Concert Band Series SEE: D368 W147. O Most Wonderful (1996) (2:00) For concert band De Haske W148. Gypsy Dance from "Carmen" (1997) For concert band C. L. Barnhouse Originally written by George Bizet Part of the Barnhouse Classics for Concert Band Series SEE: D186 W149. Tritsch-Tratsch Polka (1998) For concert band C. L. Barnhouse Co. P a r t of the Barnhouse Classics for Concert Band Series SEE: D428 W 1 5 0 . A r i o s o (1998) For concert band In memory of John Paynter and Barbara Buleman C. L. Barnhouse Co. From C a n t a t a No. 157 by Bach P a r t of the Barnhouse Bach Series SEE: D67 ARRANGEMENTS OF BROADWAY MUSICAL SHOWS W151. Frank Loesser's Showtime Concert Bandhook (1954) For concert band Frank/HLPC W152. ThePajama Game Overture (1954) For concert band Frank Music Corp/HLPC

93

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W153. LVl Abner (1957) For concert band Hansen Music Corporation W154. Take Me Along (1959) For concert band Hansen Music Corporation Highlights from the David Merrich Production by Bob Merrill W155. The Music Man (1959) (5:00) For concert band Frank/HLPC Originally by Wilson SEE: D396 W156. Greenwillow (1960) (12:00) For concert band Frank/HLPC W157. The Unsinkable Molly Brown (1961) (7:30) For concert band Frank/HLPC W158. The Fantastics (1966) (8:45) For concert band Chappell/HLPC SEE: D376 ARRANGEMENTS OF MOTION PICTURE SCORES W159. Ballad of Davy Crockett (1955) For concert band Hansen Music Corporation Band and Orchestra versions W160. Cinderella (1955) For concert band Walt Disney Music Overture for band SEE: D118 W161. Peter Pan (1955) For concert band Walt Disney Music

Worlds and (Premieres Overture for band SEE: D266 W162. The Man With the Golden Arm (1956) For concert band Hansen Music Corporation SEE: D395 W163. Exodus (1962) For concert band Chappell/HLPC SEE: D146 W164. The Valiant Years (1962) (3:20) For concert band Chappell/HLPC Main theme from "Winston Churchill: The Valiant Years" SEE: D408 W165. The Wonderful World of the Brother's Grimm (1962) For concert band Hansen Music Corporation SEE: D409 W166. Lawrence of Arabia (1963) For concert band Hansen Music Publications SEE: D218, D219 Wl67.Mancini! (1965) (5:00) For concert band Hansen Music Corporation SEE: D220, D221 W168. Mary Poppins (1965) (8:35) For concert band Walt Disney Music Highlights for concert band SEE: D222, D223 W169. Rogers and Hart (1965) For concert band Hansen Music Corporation SEE: D298

95

96

Worlds and (Premieres ORIGINAL WORKS FOR ORCHESTRA AN D STRING ORCHESTRA

W170. Rhapsody for Viola and Orchestra (1966) For viola and orchestra Dedicated to Milton Kadems Carlton Coley and David Dawson, violas; NBC Symphony Orchestra under the direction of Tabor Serlory. Boosey & Hawkes 1959 Lauria Prize winning composition. W171. A Festival Prelude (1968) (4:45) For orchestra Piedmont/Marks/HLPC Orchestra transcription of A Festival Prelude (originally for band, 1962) SEE: D9, DIO, D l l , D12, D13, D14, D15, D16, D17, D18, D19, D20, D21, D22, D23, D24, D25, D26 W172. Titania's Nocturne (1968) (6:30) For orchestra For Victor Stern and the University of Miami String Orchestra. Piedmont/Marks/HLPC W173. The Pledge of Allegiance (1970) (2:00) For orchestra By Forrest L. McAllister and "The School Musician, Inc." and dedicated to the people of the United States of America May 2, 1970 Combined Tri-State Music Festival Band, Orchestra, and Chorus under the direction of Forrest L. McAllister in Enid, Oklahoma Piedmont/Marks/HLPC Version created as part of commission by Forrest L. McAllister and "The School Musician, Inc." SEE: B105, B106, B138, D407 W174. Testament of an American (1974) For orchestra, narrator and mixed chorus By Martin and Ethel Winkler CPP-Belwin Version created as part of commission by Martin and Ethel Winkler

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97

W175. Siciliana Notturno (1977) For string orchestra and harp For the Bicentennial Chamber Orchestra, Lucas Drew, conductor. September 19, 1976 Bicentennial Chamber Orchestra under the direction of Alfred Reed. Piedmont/Marks/HLPC W176. Greensleeves (1979) For orchestra Kalmus Transcription of Greensleeves (originally for band, 1961) W177. Suite Concertante (1982) For orchestra Kalmus Re-arrangement of Suite Concertante (for cello orchestra and double bass, 1978) W178. Strings W Things (1988) For orchestra Kalmus Part of the American Sketches Series I W179. Fashion Show (1988) For orchestra Kalmus P a r t of the American Sketches Series I W180. Country Night (1988) For orchestra Kalmus P a r t of the American Sketches Series I W181. By the Lagoon (1988) For orchestra Kalmus P a r t of the American Sketches Series I W182. The Mechanical Doll (1988) For orchestra Kalmus P a r t of the American Sketches Series I

98

Worlds and (Premieres

TRANSCRIPTIONS AND ARRANGEMENTS FOR ORCHESTRA AND STRING ORCHESTRA W183. Selections from "Oliver" (1970) For orchestra Richmond Organization Originally by Lionel Bart W184. Claire De Lune (1981) For orchestra Kalmus Originally by Claude Debussy W185. Come, Sweet Death (1981) For orchestra Kalmus Originally by J. S. Bach Transcription of Come, Sweet Death (originally for band, 1976) W186. In Dulci Jubilo (1981) For orchestra Kalmus Originally by J. S. Bach Transcription of In Dulci Jubilo (for band, 1970) W187. Jesu, Joy of Man's Desiring (1981) For orchestra Kalmus Originally by J. S. Bach Transcription of Jesu, Joy of Man's Desiring (originally for band, 1980) W188. My Jesus! Oh, What Anguish! (1981) For orchestra Kalmus Originally by J. S. Bach Transcription of My Jesus! Oh, What Anguish (originally for band, 1975) W189. Sheep May Safely Graze (1981) For orchestra Kalmus Originally by J. S. Bach Transcription of Sheep May Safely Graze (originally for band, 1981)

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99

W190. Thus Do You Fare, My Jesus (1981) For orchestra Kalmus Originally by J. S. Bach Transcription of Thus Do You Fare, My Jesus (originally for band, 1978) WORKS FOR INSTRUMENTAL SOLO AND ENSEMBLES W191. Havana Moon (1955) For clarinet choir and percussion Kalmus SEE: D188 W192. Seventy-Six Trombones (1958) For brass and percussion Frank/HLPC W193. Clarinette Valsante (1961) For clarinet choir For Lucien Cailliet December 1960 The Searl Pickett Clarinet Choir under Donald McCathren at the 1960 Mid-West Clinic, Chicago, Illinois Kendor SEE: D119 W194. Sarabande and Double (1963) For woodwind quartet Kendor From English Suite No. 6 by J. S. Bach SEE: D327 W195. Intermezzo (1964) For Eb alto clarinet and piano To Norman Rost, Director of Bands, San Diego State College. Carl Fischer W196. Claire de Lune (1965/1983) For flute solo and piano Hansen Music Corporation Work in volume titled "Modern Jazz Flute Solos" W197. Perdido (1965/1983) For solo trumpet and piano

100

Worlds and (Premieres Hansen Music Corporation Work in volume titled "Modern Jazz Trumpet Solos"

W198. Satin Doll (1965/1983) For solo trumpet and piano Hansen Music Corporation Work in volume titled "Modern Jazz Trumpet Solos" W199. Take Five (1965/1983) For flute solo and piano Hansen Music Corporation Work in volume titled "Modern Jazz Flute Solos" W200. The Midnight Sun Will Never Set (1965/1983) For solo trumpet and piano Hansen Music Corporation Work in volume titled "Modern Jazz Trumpet Solos" Vf 201. Afro (1966) For Eb contrabass clarinet and piano For Donald McCathren May 1956 Donald McCathren, soloist, and the Philips University Band at the Tri-State Festival in Enid, Oklahoma. Piedmont/Marks/HLPC Also available with band and orchestral accompaniments on rental SEE: D57 W202. Ballade (1966) For Eb alto saxophone and piano For Donald McCathren May 1956 Donald McCathren, soloist, and the Philips University Band at the Tri-State Festival in Enid, Oklahoma. Southern Music Reduction of Ballade for Eb Alto Saxophone and Band (1956) SEE: B140, D116 W203. Guaracha (1966) For Bb bass clarinet and piano For Donald McCathren May 1956 Donald McCathren, soloist, and the Philips University Band at the Tri-State Festival in Enid, Oklahoma. Piedmont/Marks/HLPC

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101

Also available with band and orchestral accompaniments on rental SEE: D185 W204. Haitian Dance (1966) (3:25) For Bb bass clarinet and piano For John Schuster Piedmont/Marks/HLPC SEE: D187 W205. Hoe-Down (1966) For Eb clarinet and piano. For Donald McCathren May 1956 Donald McCathren, soloist, and the Philips University Band at the Tri-State Festival in Enid, Oklahoma. Piedmont/Marks/HLPC Also available with band and orchestral accompaniments on rental SEE: D189 W206. Hora (1966)a For Bb clarinet and piano For Donald McCathren May 1956 Donald McCathren, soloist, and the Philips University Band at the Tri-State Festival in Enid, Oklahoma. Piedmont/Marks/HLPC Also available with band and orchestral accompaniments on rental SEE: D190 W207. March Variations (1966) (2:40) For Eb soprano clarinet and piano For Joseph Wilcox Jenkins Piedmont/Marks/HLPC W208. Ode for T r u m p e t (1966) For t r u m p e t and piano Southern Music Reduction of Ode for Trumpet (originally for band, 1956) W209. Pastorale (1966) (4:46) For Bb soprano clarinet and piano For Loran Eckroth

102

Worlds and (Premieres Piedmont/Marks/HLPC SEE: D264, D265

W210. Sarabande (1966) For Eb alto clarinet and piano Piedmont/Marks/HLPC Also available with band and orchestral accompaniments on rental SEE: D326 W211. Scherzo Fantastique (1966) (2:45) For Eb or Bb contra bass clarinet and piano For Robert E. Egner Piedmont/Marks/HLPC SEE: D328 W212. Serenata (1966) (6:00) For Eb alto clarinet and piano For G. B., with memories of B. G. Piedmont/Marks/HLPC SEE: D352 W213. Concertino (1968) For oboe and piano To John Schuster Carl Fischer W214. Variations on L. B. I. F. D. ("London Bridge Is Falling Down") (1970) (6:30) For brass quintet For Sam Pilafian and his "fearsome five" May 26, 1969 Members of various Music Theory classes at the University of Miami, Coral Gables, Florida UMMP/Plymouth SEE: D431 W215. Fantasy on "Black Is the Color of My True Love's Hair" (1973) (5:45) For woodwind choir Written for Charles Bradley Atlanta All-City Woodwind Choir under the direction of Charles Bradley. Piedmont/Marks/HLPC Based on the same theme Reed used in A Symphonic Prelude

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103

(originally for band, 1963) SEE: D148 W216. A Christmas Suite (1974) (15:25) For brass and percussion For Edward Livingston and the Illinois State University Madrigal Brass and Percussion. December 1972 Illinois State University Madrigal Brass and Percussion in Normal, Illinois. Piedmont/Marks/HLPC W217. Quadraphonic Fanfare (1974) (45) For four brass choirs and timpani Unpublished W218. Double Wind Quintet (1975) (16:06) For double wind quintet By the Iota Chapter of Kappa Gamma Psi and dedicated to the memory of Walter Beeler. May 2, 1974 Chamber music players under the direction of William McKenney at Ithica College, Ithica, New York. Piedmont/Marks/HLPC SEE: D135, D136, D137 W218. W219. Nun Komm, Der Heiden Heiland (1978) For oboe, celli, and double bass Kalmus After J. S. Bach W220. Siciliana Notturno (1978) (4:45) For Eb alto saxophone and piano Piedmont/Marks/HLPC Re-arrangement of Siciliana Notturno (for string orchestra and harp, 1977) W221. Suite Concertante (1978) For cello orchestra and double bass Kalmus W222. Trilogue (1978) (4:20) For double bass and two mallet percussion By the Frederick Zimmerman Memorial Fund for Lucas Drew October 2, 1977

104

Worlds and Tremieres Lucas Drew, double bass; Fred Wickstrom, marimba; Steve Parsons, vibraphone at the University of Miami, Coral Gables, Florida Kalmus SEE: D427

W223. Wenn Wir In Hoechstern Nothen Sein (1978) For English horn, celli, and double bass Kalmus After J. S. Bach W224. Fantasia A Due (1979) For tuba and piano Tubists Universal Brotherhood Association (T.U.B.A.) J u n e 15, 1978 Robert Whaley, tuba; Margaret Houck, piano at the Third International Tuba-Euphonium Symposium-Workshop at the University of Southern California, Los Angeles, California Piedmont/Marks/HLPC SEE: B140, D147 W225. Two Bagatelles for Four Trombones (1983) For trombone quartet Written for Charles Campbell and the 1983 Eastern Trombone Workshop. Eastern Trombone Workshop Trombone Choir at the University of Miami, Coral Gables, Florida C. L. Barnhouse W226. Two Bagatelles for Brass Ensemble and Percussion (1995) For brass ensemble and percussion Written for Ray Conklin and the Kentuckiana Brass and Percussion Ensemble April 8, 1994 and April 9, 1994 Kentuckiana Brass and Percussion Ensemble at St. Mary's Cathedral Basilica of the Assumption in Covington, Kentucky and at the Music Educators National Conference National Convention in Cincinnati, Ohio C. L. Barnhouse Co. Re-arrangement of Two Bagatelles for Four Trombones (originally written in 1983) SEE: D429

Worlds and (Premieres W227. French Suite for Four French Horns (1997) For French horn quartet For C. J. M. [Clark and Julie McAlister] with warm affection Kalmus W228. Joyeaux Noel (1998) For orchestra brass and percussion For C. J. M. [Clark and Julie McAlister] ... again! Kalmus W229. Laid-Back Rag (1998) For brass quintet To the Avator Brass Quintet Kalmus W230. Divertimento for Flute and Piano (1998) For flute and piano In progress Molenaar Edition Reduction of Divertimento for Flute and Winds

WORKS FOR CHORUS W231. Cathedral Chorus (1955) For chorus Hansen Music Corporation W232. The Prophecy (1955) For chorus Ethel Smith Music Corp. W233. Tears, Idle Tears (1956) For chorus Hansen Music Corporation W234. Seek Ye First the Kingdom of God (1963) For chorus Piedmont/Marks/HLPC W235. Song of the Singing Nun (1963) For chorus (two part) Hansen Music Corporation

105

106

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W236. A Sea Dirge (1965) For chorus Frank/HLPC W237. Choric Song (1966) For chorus Boosey & Hawkes Based on Alfred Lord Tennyson's "The Lotus Eaters" W238. The Pledge of Allegiance (1970) (2:00) For chorus By Forrest L. McAllister and "The School Musician, Inc." and dedicated to the people of the United States of America May 2, 1970 Combined Tri-State Music Festival Band, Orchestra, and Chorus under the direction of Forrest L. McAllister in Enid, Oklahoma Piedmont/Marks/HLPC Version created as part of commission by Forrest L. McAllister and "The School Musician, Inc." SEE: B105, B106, B138, D407 W239. Testament of an American (1974) For chorus (S.A.) and piano By Martin and Ethel Winkler CPP-Belwin Version created as part of commission by Martin and Ethel Winkler W240. Come Live With Me and Be My Love (1977) For chorus Piedmont/Marks/HLPC W241. Requiescat (1977) For chorus Piedmont/Marks/HLPC W242. The Moon Shines Bright (1977) For chorus (S.S.A.T.B.) a cappella Piedmont/Marks/HLPC A Christmas Madrigal W243. The Willow Song (1977) For chorus Piedmont/Marks/HLPC From Othello

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107

W244. All Hail to the Days! (1979) For chorus (S.A.T.B.) Kalmus A Christmas Madrigal W245. Prologue (1983) For chorus Piedmont/Marks/HLPC Song for St. Cecilia's Day

WORKS FOR MARCHING BAND W246. 101 For Band (1963) For marching band Hansen Music Corporation Some arrangements and editions by Alfred Reed W247. 102 For Band (1964) For marching band Hansen Music Corporation Some arrangements and editions by Alfred Reed W248. 103 For Band (1965) For marching band Hansen Music Corporation Some arrangements and editions by Alfred Reed W249. 104 For Band (1966) For marching band Hansen Music Corporation Some arrangements and editions by Alfred Reed W250. The Pledge of Allegiance (1970) (1:20 - 2:30) For marching band By Forrest L. McAllister and "The School Musician, Inc." and dedicated to the people of the United States of America May 2, 1970 Combined Tri-State Music Festival Band, Orchestra, and Chorus under the direction of Forrest L. McAllister in Enid, Oklahoma Piedmont/Marks/HLPC

108

Worlds and (Premieres Version created as part of commission by Forrest L. McAllister and "The School Musician, Inc." SEE: B105, B106, B138

W 2 5 l . A c a l a r a d o (1981) For marching band C. L. Barnhouse Arrangement of 3rd movement from Symphony for Brass and Percussion (originally for band, 1968)

Discography This list includes recording which are both commercially available, and those t h a t may be available from the source of publication. All citations are listed, whether or not they may be currently available. Unless indicated, the format of the recordings are 33 1/3 rpm. Listings include, if available and applicable, the following information: album title, publisher, publisher's number, date, performers, additional works on the same recording by Reed, and names of composers of other works on the recording. The parenthetical references refer to citations in the "Works and Premieres" section of this volume. "SEE" references refer to reviews in the "Bibliography" section of this volume. Dl. A Celebration Fanfare. (W65) Symphony No. 3. Kosei Publishing Company. 1989 1 sound disc [CD]. Kosei Publishing Company KOCD-3010. Tokyo Kosei Wind Orchestra; Alfred Reed, conductor. Wapawekka; Three Symphonic Preludes; Symphony No. 3. D2. A Ceremonial Fanfare. (W29) Ithica College Concert Band. Crest Records. 1971 1 sound disc. Crest Records CRE 9003. Ithica Brass Quintet; Ithica College Concert Band; Walter Beeler, Chuck Mangione, conductors. Russian Christmas Music. Leonard Bernstein, Leroy Anderson, and Chuck Mangione.

110 discography D3. A Ceremonial Fanfare. (W29) The Oswego High School Symphonic Wind Ensemble. Silver Crest. 1978 2 sound discs. Silver Crest NBA-78-14. Oswego High school Symphonic wind Ensemble. Nocturne, Op. 9, No. 2. Hector Berlioz, Elliot Del Borgo, Jerry H. Bilik, and Kenneth Alfrod. D4. A Ceremonial Fanfare. (W29) Band Concert, February 21, 1982. College of Musical Arts. 1982 1 sound cassette. Bowling Green State university concert Bands I, II, and III; Barry Kopetz and Joseph Ferraro, conductors. The Hounds of Spring. J a m e s Swearingen, J a m e s Curnow, Vincent Persichetti, and Warren Barker. D5. A Ceremonial Fanfare. (W29) Bowling Green State University Concert Band III Band Concert, February 2 1 , 1982. College of Musical Arts. 1982 1 sound cassette. Bowling Green State University Concert Bands I, II, and III; Barry Kopetz, Joseph H. Ferraro, conductors. The Hounds of Spring. J a m e s Swearingen, Richard Willis, J a m e s Curnow, and Vincent Persichetti. D6. A Christmas Celebration. (W61) Chimes of Christmas. Indiana University School of Music. 1996 1 sound cassette. Indiana University School of Music, Program 1996/1997, no. 447. Singing Hoosiers, Michael Schwartzkopf, conductor; Indiana University Symphonic Band, Ray E. Cramer, conductor; Brass Quintet, J a m e s Moore, conductor. Norman Dello Joio, Jeffrey H. Richard, Katherine K. Davis, Calvin Custer, Clare Grundman, Leroy Anderson. SEE: B139 D7. A Christmas Intrada. (W46) Let There Be Peace on Earth.

(DiscograpHy

111

United States Army Field Band. 1990 and 1995 1 sound disc. United States Army Field Band, Soldier's Chorus, Brass Quintet, and Barbershop Chorus; Colonel Jack H. Grogan, commander and conductor. Greensleeves. Leroy Anderson, Mel Torme, and J a m e s Pierpont. SEE: B15 D8. A Festival Prelude. (W10) 1965 Colorado All-State High School Band. Century Recordings. 1960 and 1969 1 sound disc. Century Recordings 21052. Colorado All-State High School Band (1965); Leonard Falcone, conductor. Vincent Persichetti, Houston Bright, Jimmy Van Husen, Gordon Jacob, and John Philip Sousa. SEE: B9, B140 D9. A Festival Prelude. (W10) Minnesota All-State High School Band. Century Records. 1965 1 sound disc. Century 22665. Minnesota All-State High School Band; Donald McCathren, conductor. Vincent Persichetti, Gabriel Pierne, Arthur Sullivan, and Sammy Nestico. SEE: B9, B140 DI0. A Festival Prelude. (W10) East Detroit High School Symphonic Wind Ensemble and East Detroit High School Concert Band. S. N. 1966 1 sound disc. East Detroit High School Wind Ensemble and East Detroit High School Concert Band; Alfred J. Marco, band director. J a m e s Christensen, Carl Maria von Weber, Norman Dello Joio, Clifton Williams, Eric Osterling, W. Francis McBeth. SEE: B9, B140 Dll. A Festival Prelude. (W10) New Mexico All-State Symphonic Band and New Mexico AllState Concert Band. Century Records. 1966

112

'Discography 1 sound disc. Century 23334. New Mexico All-State Symphonic Band, William A. Schaefer, director; New Mexico All-State Concert Band, J a m e s T. Matthews, director. Henry Fillmore, Norman Dello Joio, and Clifton Williams. SEE: B9, B140

D12. A Festival Prelude. (W10) The University of Iowa All-State Music Camp Black Band. Century Records. 1966 1 sound disc. Century Records 25342. All-State Music Camp Black Band; Warren G. Hatfield, director. Vittorio Giannini, Frank Erickson, Erik Leidzen, and Harold Walters. SEE: B9, B140 D13. A Festival Prelude. (W10) Illinois All-State Band and Chorus. Century Records. 1967 1 sound disc. Century 25954. Illinois All-State Band, Donald Cuthbert, guest conductor; Illinois All-State Chorus, Ed Sprague, guest conductor. Darius Milhaud, H. Owen Reed, J a y Dawson, and Ralph Vaughan Williams. SEE: B9, B140 D14. A Festival Prelude. (W10) A Festival Prelude. Franco Colombo. 1968 1 sound disc. Franco Colombo BP 106. University of Illinois Concert Band; Mark Hindsley, conductor. SEE: B9, B140 D15. A Festival Prelude. (W10) Prelude and Dance. Franco Colombo. 1968 1 sound disc. Franco Colombo BP 106. Performed by various bands under various conductors.

Discography

113

Paul Creston, David Van Vactor, Roger Nixon, and Herbert Bielawa. SEE: B9, B140 D16. A Festival Prelude. (W10) First Annual Senior High School Honor Band, EscambiaSanta Rosa Counties. Century Records. 1969 1 sound disc. Century Records 34040. Senior High School Honor Band; James R. Etherton, Eugene Gonzalez, Grier Williams, conductors. Clifton Williams, Jerry Bilik, John Cacavas, and Gustav Hoist. SEE: B9, B140 D17. A Festival Prelude. (W10) Nihon No Suisougaku 7 0 (All J a p a n Band Festival 70). CBS/Sony. 1970 1 sound disc. CBS/Sony Records Inc. CULT-29007. Various ensembles under various conductors. Peter Tchaikovsky, Dmitrii Shostakovich, Vaclav Nelhybel, and Karl King. SEE: B9, B100 D18. A Festival Prelude. (W10) North Hills Symphony Band "On the lighter side." Crest. 1976 1 sound disc. Crest NOH52476. North Hills Symphony Band; Warren S. Mercer, Jr., musical director. Franz von Suppe, Serge Rachamninoff, Richard Rogers, and J o h n Philip Sousa. SEE: B9, B100 D19. A Festival Prelude. (W10) The Compositions of Alfred Reed. Golden Crest Records. 1978 1 sound cassette. Golden Crest Records ATH 5057. Michigan State University Symphonic Band; A. Thad Hegerberg, Kenneth Bloomquist, and Alfred Reed, conductors; Roger Behrend, euphonium.

114 Discography The Music Makers; Seascape; Second Symphony; Prelude and Capriccio; Punchinello. SEE: B9, B100 D20. A Festival Prelude. (W10) Alfred Reed & Tokyo Wind Orchestra. Kosei Publishing Company. 1981 2 sound discs. Kosei Publishing Company KOR-8101 and KOR-8102. Tokyo Kosei Wind Orchestra; Alfred Reed, conductor. Second Suite for Band; Enchanted Island; Music Makers, Concert Overture; Russian Christmas Music; Ballad for Alto Saxophone and Band; Armenian Dances: Part I; Jesu, Joy of Man's Desiring; Also includes Alfred Reed speaking about his life and music followed by a recorded rehearsal of Reed's Second Suite for Band. SEE: B9, B100 D21. A Festival Prelude. (W10) 1983 East Tennessee State Band Association Senior Instrumental Clinic. USC Sound Enterprises. 1983 2 sound discs. USC Sound Enterprises KM 10914. Blue Band, Frank Piersol, conductor; Red Band, Anthony D'Andrea, conductor; Green Band, Alfred Watkins, conductor. Claude T. Smith, Clare Grundman, Gustav Hoist, Carmen Dragon, and Cesea Giovannini. SEE: B9, B100 D22. A Festival Prelude. (W10) Alfred Reed and the Tokyo Kosei Wind Orchestra. Kosei Publishing Company. 1986 1 sound disc [CD]. Kosei Publishing Company KOCD-3502. Tokyo Kosei Wind Orchestra; Alfred Reed, conductor. Second Suite for Band; Enchanted Island; Music Makers Overture; Russian Christmas Music; Ballade for Alto Saxophone and Band; Armenian Dances: Part I; Jesu, Joy of Man's Desiring. SEE: B9, B100 D23. A Festival Prelude. (W10) Second Suite for Band. Kosei Publishing Company. 1986

Discography 115 1 sound disc [CD]. Kosei Publishing Company KOCD-3502. Tokyo Kosei Wind Orchestra; Alfred Reed, conductor. Ballade for alto saxophone and piano; Second Suite for Band; Armenian Dances: Part I; Jesu, Joy of Man's Desiring; The Music Makers Overture; The Enchanted Island; Russian Christmas Music. SEE: B9, B100 D24. A Festival Prelude. (W10) Cornell University Wind Ensemble. Cornell University. 1987 and 1989 1 sound cassette. Cornell University CUWE 40. Cornell University Wind Ensemble; Marice Smith, conductor. Gustav Hoist, Arthur Sullivan, James Curnow, Carmen Dragon, and Nelhybel. SEE: B9, B100 D25. A Festival Prelude. (W10) Alfred Reed & Tokyo Kosei Wind Orchestra. Kosei Publications. 1996 1981 1 sound disc [CD]. Kosei Publications KOCD-2301. Tokyo Kosei Wind Orchestra; Alfred Reed, conductor. Second Suite for Band; Enchanted Island; Music Makers Overture; Russian Christmas Music; Ballade for Alto Saxophone and Band; Armenian Dances: Part I; Jesu, Joy of Man's Desiring. SEE: B9, B100 D26. A Festival Prelude. (W10) The 10th Anniversary Otonowa Concert. Blue Lights. 1998 2 sound discs [CD]. Blue Lights BLCD 0160. The 10th Anniversary Otonowa Special Band, Alfred Reed and J a m e s Barns, conductors; The Otonowa Wind Symphonica '98, Toru Ito, conductor; The Otonowa Wind Symphonica '98, Alfred Reed conductor. The Hounds of Spring; El Camino Real; Autumn Leaves; Praise Jerusalem!; Sixth Suite for Band; Danza Caribe; Curtain Up!; Concertino for Marimba and Winds; Armenian Dances Parts I and II. J a m e s Barns and John Philip Sousa. SEE: B9, B100

116 Discography D27. A Festive Overture. (W15) New Mexico All-State Concert Band and Symphonic Band. Century. 1965 1 sound disc. Century 20583. New Mexico All-State Symphonic Band; Nilo W. Hovey, director; New Mexico All-State Concert Band; Weymen E. Walker, director. Richard Rogers, Paul Creston, and Eric Osterling. D28. A Festive Overture. (W15) The All Southern California High School Honor Band (1965). Custom Fidelity Records. 1965 1 sound disc. Custom Fidelity Records CF-1344. All Southern California Honor Band; Justin Gray, Elmer Ramsey, and Alfred Reed, conductors. Symphonic Prelude: Based on "Black is the color of my true love's hair." Vincent Persichetti, John Philip Sousa, and Girolamo Frescobaldi. D29. A Festive Overture. (W15) Concerto for Saxophone. Century Advent Recording. 1973 and 1979 1 sound disc. Century Advent Recording USR 5865. The University of Akron Symphony Band; Richard Jackoboice, conductor. John Philip Sousa, Richard Wagner, and Cesar Franck. D30. A Festive Overture. (W15) West Shore Youth Symphony Tenth Anniversary. Silver Crest Custom, 1978? 1 sound disc. Silver Crest Custom WS-11077. West Shore Youth Symphony Orchestra; Bruce A. Harwood, conductor. Richard Wagner, Morton Gould, and Leonard Bernstein. D31. A Festive Overture. (W15) The Marimba Concerto. Kosei Publishing Company. 1992 1 sound disc [CD]. Kosei Publishing Company KOCD-3019.

Discography

117

Tokyo Kosei Wind Orchestra; Alfred Reed, conductor; Reiko Kono, marimba; Hitoshi Sekiguchi, clarinet. Concerto for Marimba and Winds; Vilabella; Springtime Celebration; Serenade for Solo Bb Clarinet and Band; Hymn Variants; Passacaglia. D32. A Festive Overture. (W15) Portrait of Alfred Reed. Koninklijeke Militaire Kapel. 1993 1 sound disc. KMK/KRO-006. Koninklijeke Militaire Kapel (Royal Dutch Military Band); Alfred Reed, conductor. Armenian Dances: Part I; Eventide; Fourth Symphony; Variations on the "Porazzi" theme of Wagner from Second Suite; El Camino Real. D33. A Festive Overture. (W15) Overture Bandleader. 1997 1 sound disc [CD]. Bandleader BND - 5121 The Royal Artillery Band; Major T. S. Davis, conductor. Von Suppe, Bernstein, Phillips, Winterbottom, Herold, Jacob, Duthoit, Odom, and Hunsberger. D34. A Jubilant Overture. (W27) A Jubilant Overture. Franco Colombo. 1970 1 sound disc. Franco Colombo BP 128. The University of Iowa Band; Frank Piersol, conductor. D35. A Jubilant Overture. (W27) Concert Fanfare Franco Colombo Publications. 1970 and 1979 1 sound disc. F. Colombo Publications BP 128. Clarence Senior High School Symphonic Band; Gary L. Good, conductor; New Mexico State University Symphonic Wind Ensemble, Ronald Thielman, conductor; University of Iowa Symphony Band, Frank Piersol, conductor; University of Illinois Concert Band, Mark Hindsley, conductor. Ron Thielman, Eugene Albert, Mark Hindsley, and Robert Kurka.

118 Discography D36. A Jubilant Overture. (W27) May 1971 Arkansas State University Symphonic Band. Custom Records. 1971 1 sound disc. Silver Crest Custom ARK6571. Arkansas State University Symphonic Band; Donald R. Minx, director; Arkansas State University Jazz Ensemble; J a r e d Spears, director. J a r e d Spears and Percy Grainger. D37. A Jubilant Overture. (W27) Northern Valley Regional High School at Old Tappan. Recorded Publications Company. 1971 1 sound disc. Recorded Publications Co. AX 95861 - AX 95862. 1970-1971 Golden Knights Concert Band. Northern Valley Regional High School at Old Tappan; Dallas Niermeyer, director. Robert Russell Bennett, John Barnes Chance, Gordon Jacob. D38. A Jubilant Overture. (W27) All West Tennessee Band 1972-73. Spectrum. 1973 1 sound disc. Spectrum SR-0110. All West Blue Band; Clarence Sawhill, conductor; All West Red Band; Wayne Pegram, conductor. F r a n k Erickson, Carmen Dragon, D. Delle Cese, and H. Owen Reed. D39. A Jubilant Overture. (W27) A Tradition of Excellence. S.N. 1976 1 sound disc. S.N. 43698. Southern U t a h State College Symphony band; Steven W. Allen, director. Jerry Bilik, Robert Russell Bennett, James Barnes Chance, and John Philip Sousa. D40. A Jubilant Overture. (W27) Arkansas Region II Senior Clinic Bands, 1976. Rico-Bell. 1976 1 sound disc. Rico-Bell RB-127.

Discography 119 Arkansas Region II Band; Hal Cooper, Ron Allen, Robert Gibson, conductors. Karl King, Caesar Giovannini, Georges Bizet, and John Cacavas. D41. A Jubilant Overture. (W27) 1982 Illinois Summer Youth Music. Delta Records. 1982 1 sound disc. Delta Records 82M 152. Illinois Summer Youth Music Senior Varsity Band; Randolph Kummer, conductor. Richard Wagner, Frederick Fennell, Malcolm Arnold, and John Philip Sousa. D42. A Jubilant Overture. (W27) Armenian Dances (complete). Kosei Publishing Company. 1991 1 sound disc [CD]. Kosei Publishing Company KOCD-3016. Tokyo Kosei Wind Orchestra; Alfred Reed, conductor. Armenian Dances: Part I; Armenian Dances: Part II; Sleepers Awake; Panis Angelicus; Song of the High Cascades. D43. A Jubilant Overture. (W27) The Wind Music of Alfred Reed. Kosei Publishing Company. 1994 4 sound discs [CD]. Kosei Publishing Company KOCD-3550/53. Tokyo Kosei Wind Orchestra; Alfred Reed, conductor. Second Symphony; Symphony No. 3; Fourth Symphony; Viva Musical; The Hounds of Spring; Evolutions; Golden Jubilee; The Music-Makers; A Springtime Celebration; Curtain Up!; Punchinello; Overture to a romantic comedy; First Suite for Band; Second Suite for Band; Third Suite for Band, Fourth Suite for Band; A Little Concert Suite; Music for "Hamlet;" Othello; The Enchanted Island; Praise Jerusalem! D44. A Little Concert Suite. (W52) March Golden Eagle I Symphony for Brass and Percussion. Kosei Publishing Company. 1990 1 sound disc [CD]. Kosei Publishing Company KOCD-3012. Tokyo Kosei Wind Orchestra; Alfred Reed, conductor.

120 Discography March Golden Eagle; Who Will but Let Himself Be Guided; Eventide; Symphony for Brass and Percussion; Seascape; Third Suite for Band; Greensleeves. D45. A Little Concert Suite. (W52) The Wind Music of Alfred Reed. Kosei Publishing Company. 1994 4 sound discs [CD]. Kosei Publishing Company KOCD-3550/53. Tokyo Kosei Wind Orchestra; Alfred Reed, conductor. Second Symphony; Symphony No. 3; Fourth Symphony; Viva Musica!; The Hounds of Spring; Evolutions; Golden Jubilee; The Music-Makers; A Jubilant Overture; A Springtime Celebration; Curtain Up!; Punchinello; Overture to a romantic comedy; First Suite for Band; Second Suite for Band; Third Suite for Band; Fourth Suite for Band; Music for "Hamlet;" Othello; The Enchanted Island; Praise Jerusalem! D46. A Little Concert Suite. (W52) Best of Alfred Reed: Vol. 2 "Suite Music." Sony Records. 1997 I sound disc [CD]. SRCR 1877. Philharmonia Wind Ensemble, Tokyo Kosei Wind Orchestra and Musashino Academia Musicae Wind Ensemble; Yasuhiko Shiozawa and Antonin Kuhnel, conductors. First Suite for Band; Second Suite for Band; Third Suite for Band; Fourth Suite for Band; Fifth Suite for Band. D47. A Northern Legend. (W30) Salutations! Kosei Publishing Company. 1989 1 sound disc [CD]. Kosei Publishing Co. KOCD-3009. Tokyo Kosei Wind Orchestra; Alfred Reed, conductor. Salutations!; El Camino Real; Might and Majesty; Praise Jerusalem! D48. A Springtime Celebration. (W71) New Band Music '91. Sony Records. 1991 1 sound disc [CD]. Sony SRCL 1780. Tokyo Kosei Wind Orchestra; Yasuhiko Shiozawa, conductor.

Discography

121

Vilia from "The Merry Widow." Swearingen, Sheldon, Huckeby, Shaffer, Duker, Barker. D49. A Springtime Celebration. (W71) The Marimba Concerto. Kosei Publishing Company. 1992 1 sound disc [CD]. Kosei Publishing Company KOCD-3019. Tokyo Kosei Wind Orchestra; Alfred Reed, conductor; Reiko Kono, marimba; Hitoshi Sekiguchi, clarinet. Concerto for Marimba and Winds; Vilabella; Serenade for Solo Bb Clarinet and Band; Hymn Variants; A Festive Overture; Passacaglia. D50. A Springtime Celebration. (W71) The Wind Music of Alfred Reed. Kosei Publishing Company. 1994 4 sound discs [CD]. Kosei Publishing Company KOCD-3550/53. Tokyo Kosei Wind Orchestra; Alfred Reed, conductor. Second Symphony; Symphony No. 3; Fourth Symphony; Viva Musica!; The Hounds of Spring; Evolutions; Golden Jubilee; The Music-Makers; A Jubilant Overture; Curtain Up!; Punchinello, Overture to a romantic comedy; First Suite for Band; Second Suite for Band; Third Suite for Band; Fourth Suite for Band; A Little Concert Suite; Music for "Hamlet;" Othello; The Enchanted Island; Praise Jerusalem! D51. A Springtime Celebration. (W71) Fifth Symphony. Walking Frog Records. 1996 1 sound disc [CD]. Walking Frog Records WFR140. Senzoku Gakuen Symphonic Wind Orchestra; Alfred Reed, conductor. The Music Makers; Fifth Symphony; Armenian Dances: Part I; Armenian Dances: Part II; Pro Texana. vD52. A Symphonic Prelude. (W13) The All Southern California High School Honor Band (1965). Custom Fidelity Records. 1965 1 sound disc. Custom Fidelity Records CF-1344. All Southern California Honor Band; Justin Gray, Elmer Ramsey, and Alfred Reed, conductors.

122 Discography A Festive Overture. Vincent Persichetti, John Philip Sousa, and Girolamo Frescobaldi. D53. A Symphonic Prelude. (W13) In Concert with the University of Illinois Symphonic Band. University of Illinois Symphonic Band. 1970 and 1979 1 sound disc. University of Illinois Symphonic Band 91. University of Illinois Symphonic Band II; Thomas Harris, conductor. Armenian Dances. Norman Dello Joio, Georges Bizet, and Ron Thielman. D54. A Symphonic Prelude. (W13) 1975 Mid-East Composer's Concert. Mark Custom Records. 1975 1 sound disc. Mark Custom Records MC-5379. Duquesne University Symphony Band; John Wilson, conductor; Alfred Reed, conductor, composer, clinician. Punchinello; A Symphonic Prelude; Alleluia! Laudamus te; In Memoriam; Armenian Dances: Part I. D55. A Symphonic Prelude. (W13) 1981 Illinois Summer Youth Music. Delta Records. 1981 1 sound disc. Delta Records DRS 81M 161. Illinois Summer Youth Music Junior Concert Band III; Daniel Fairchild, conductor. A Symphonic Prelude. Ralph Vaughan Williams, William Latham, and Edwin Franco Goldman. D56. A Symphonic Prelude. (W13) Othello. Kosei Publishing Company. 1987 1 sound disc [CD]. Kosei Publishing Company KOCD-3006. Tokyo Kosei Wind Orchestra; Alfred Reed, conductor. Second Century; Danza Caribe; Rushmore; Othello. D57. Afro, for solo Eb contrabass clarinet and piano. (W201) Contest Solos for the Clarinet Family.

Discography 123 Roxas Associates. 1960 and 1969 1 sound disc. Roxas Associates SR4M 1795-SR4M 1796. Donald McCathren, clarinets; William A. Chrystal, piano. Hoe-Down; Sarabande; Guaracha; Hora; March Variations; Serenata; Haitian Dance (Voodoo); Pastorale; Scherzo Fantastique. D58. Alleluia! Laudamus te. (W33) Pomp and Pipes Reference Recordings. 1 sounds disc [CD]. Reference Recordings RR - 58 Dallas Wind Symphony; Frederick Fennell, conductor. Karg-Elert, Gigout, Wills, Grainger, Dupre, Nelson, Wilder, and Weinberger. D59. Alleluia! Laudamus te. (W33) Contest Band Music Selections 7 4 . CBS/Sony. 1974 1 sound disc. Columbia SOEL-6. Philharmonia wind Ensemble; Yasuhiko Shiozawa, conductor. In Memoriam. Nixon, W. Francis McBeth, Charles Carter. SEE: B100 D60. Alleluia! Laudamus te. (W33) 1975 Mid-East Composer's Concert. Mark Custom Records. 1975 1 sound disc. Mark Custom Records MC-5379. Duquesne University Symphony Band; John Wilson, conductor; Alfred Reed, conductor, composer, clinician. Punchinello; A Symphonic Prelude; In Memoriam; Armenian Dances: Part I. SEE: B100 D61. Alleluia! Laudamus te. (W33) The St. Olaf Band 1975 Season. WCAL. 1975 2 sound discs. WCAL RSST 7552. St. Olaf Band; Miles H. Johnson, director; Mark Ulmer, horn soloist.

124 Discography Ron Nelson, Gordon Jacob, William Schumann, and Malcolm Arnold. SEE: B100 D62. Alleluia! Laudamus te. (W33) 1981 Seminary Winds Choir Festival. Southern Baptist Theological Seminary. 1981 1 sound cassette. Various ensembles under various conductors. Camp Kirkland, Clifton Williams, Morton Gould, and William Walton. SEE: B100 D63. Alleluia! Laudamus te. (W33) Curtain Up! Kosei Publishing Company. 1991 1 sound disc [CD]. Kosei Publishing Company KOCD-3017. Tokyo Kosei Wind Orchestra; Alfred Reed, conductor Curtain Up!; Rahoon; Golden Jubilee; Ode for Trumpet; Mr. Music!; First Suite for Band; Highlights from the Music Man. SEE: B100 D64. Alleluia! Laudamus te. (W33) Luther College Concert Band in J a p a n . Luther College. 1993 1 sound disc [CD]. Luther College LCCB-2900. Luther College Concert Band; Frederick A. Nyline, conductor; Satoshi Shigematsu, piano. Philip Sparke, Randall Thompson, Carl Orff, George Gershwin, Ray Cramer, Percy Grainger, Leonard Bernstein. SEE: B100 D65. Alleluia! Laudamus te. (W33) Hanover Wind Symphony. AMP Recording & Duplicating Service. 1994 1 sound cassette. Hanover Wind Symphony; Peter Boor, director David Holsinger, Franz von Suppe, Julian Work, and Julius Fucik. SEE: B100

Discography

125

D66. Alleluia! Laudamus te. (W33) Sinfonia Voci. Mark Recordings. 1995 1 sound disc [CD]. Mark Recordings MCD - 1870 Concordia University Wind Symphony; Richard Fischer, conductor. David Holsinger, Vaclav Nelhybel, Ralph Vaughan Williams, and Fred Allen. SEE: B100 D67. Arioso. (W150) A Vision of Majesty Walking Frog. 1998 1 sound disc [CD]. Walking Frog WFR - 186. The Washington Winds; Edward Peterson, conductor. Also contains The Golden Year and Tritsch-Tratsch Polka. Sheldon, Swearingen, Barnes, Longfield, Reineke, Shaffer, Huckeby, and Moore. D68. Armenian Dances: Parti. (W36) Michigan State University Symphonic Band, v. 2. Mark Records. 1970 and 1979 1 sound disc. Mark Records MC 1130. Michigan State University Symphonic Band; Kenneth Bloomquist, conductor. Samuel Barber and Ottorino Respighi. SEE: B121, B140 D69. Armenian Dances: Part I. (W36) The Small Symphonic Band, University of Illinois. Silver Crest. 1973 1 sound disc. Silver Crest CBDNA-73-2. University of Illinois Small Symphonic Band; Harry Begian, conductor. John Philip Sousa, Richard Wagner, Gustav Hoist, and John Barnes Chance. SEE: B121, B140 D70. Armenian Dances: Part I. (W36) 1975 Mid-East Composer's Concert. Mark Custom Records. 1975 1 sound disc.

126

Discography Mark Custom Records MC-5379. Duquesne University Symphony Band; John Wilson, conductor; Alfred Reed, conductor, composer, clinician. Punchinello; A Symphonic Prelude; Alleluia! Laudamus te; In Memoriam. SEE: B121, B140

D71. Armenian Dances: Parti. (W36) Southern Oregon College Symphonic Wind Ensemble. Silver Crest. 1975 1 sound disc. Silver Crest CBDNA-75-6. Southern Oregon College Symphonic Wind Ensemble; Max McKee, conductor. Glenn Matthews, Roger Nixon, and Max McKee. SEE: B121, B140 D72. Armenian Dances: Parti. (W36) Contest Band Music Selections 7 6 . CBS/Sony. 1976 1 sound disc. CBS/Sony 22AG 3. Philharmonia Wind Ensemble. Leland Forsblad, Morton Gould, Gordon Jacob, and Francis McBeth. SEE: B121, B140 D73. Armenian Dances: Part I. (W36) Emporia State University Symphonic Band. Silver Crest. 1977 1 sound disc. Silver Crest EMK5677. Emproia State University Symphonic Band; Melbern W. Nixon, conductor; Joseph D. Shirk, associate conductor; Harry Begian, guest conductor. Paul Hindemith, Robert Russell Bennett, and Norman Dello Joio. SEE: B121, B140 D74. Armenian Dances: Part I. (W36) 1981 Illinois Summer Youth Music. Delta Records. 1981 1 sound disc. Delta records DRS 81M 153. Illinois Summer Youth Music Senior Concert Band; Harry Begian, conductor.

Discography

127

Morton Gould, Richard Wagner, and John Philip Sousa. SEE: B121, B140 D75. Armenian Dances: Part I. (W36) Alfred Reed & Tokyo Wind Orchestra. Kosei Publishing Company. 1981 2 sound discs. Kosei Publishing Company KOR-8101 and KOR-8102. Tokyo Kosei Wind Orchestra; Alfred Reed, conductor. Second Suite for Band; Enchanted Island; Music Makers, Concert Overture; Russian Christmas Music; Ballad for Alto Saxophone and Band; A Festival Prelude; Jesu, Joy of Man's Desiring; Also includes Alfred Reed speaking about his life and music followed by a recorded rehearsal of Reed's Second Suite for Band. SEE: B121, B140 D76. Armenian Dances: Part I. (W36) Southwest Missouri State University Concert Band at MMEA. American Artists. 1982 1 sound disc. American Artists AAS-1583. Southwest Missouri State University Concert Band; Robert M. Scott, band director. Henry Fillmore, Percy Grainger, Gustav Hoist, Aaron Copland, and Robert Russell Bennett. SEE: B121, B140 D77. Armenian Dances: Part I. (W36) The Tennessee All-State Concerts. New Age Sight & Sound. 1985 2 sound discs. New Age Sight & Sound NA 164. Tennessee All-State Jazz Band; Don Hough, conductor; Tennessee All-State band; Harry Begian, conductor; Tennessee All-State Orchestra; David E. Becker, conductor; Tennessee All-State Chorus; Kenneth Jennings, conductor; Lee N. Mackey, piano. Percy Grainger, Aaron Copland, and Henry Fillmore. SEE: B121, B140 D78. Armenian Dances: Part I. (W36) Alfred Reed and the Tokyo Kosei Wind Orchestra. Kosei Publishing Company. 1986 1 sound disc [CD].

128

Discography Kosei Publishing Company KOCD-3502. Tokyo Kosei Wind Orchestra; Alfred Reed, conductor. Second Suite for Band; Enchanted Island; Music Makers Overture; Russian Christmas Music; Ballade for Alto Saxophone and Band; A Festival Prelude; Jesu, Joy of Man's Desiring. SEE: B121, B140

D79. Armenian Dances: Part I. (W36) Second Suite for Band. Kosei Publishing Company. 1986 1 sound disc [CD]. Kosei Publishing Company KOCD-3502. Tokyo Kosei Wind Orchestra; Alfred Reed, conductor. Ballade for alto saxophone and piano; Second Suite for Band; A Festival Prelude; Jesu, Joy of Man's Desiring; The Music Makers Overture; The Enchanted Island; Russian Christmas Music. SEE: B121, B140 D80. Armenian Dances: Part I. (W36) Music Knows No Borders. United States Air Forces in Europe. 199? 1 sound disc [CD]. United States Air Forces in Europe LEICO-8386. United States Air Forces in Europe Concert Band; Lieutenant Colonel Roger W. Sebby, Lieutenant John P. Graulty, Major Laszlo Marosi, conductors. "Rejoicing" from Three Revelations from the Lotus Sutra. Vivaldi, Kurt Weill, Timothy Mahr SEE: B121, B140 D81. Armenian Dances: Part I. (W36) 100th Anniversary Concert. University of Illinois Bands and Mark Custom Recording Service. 1990 1 sound cassette. Mark Custom Recording Service MCC-749/University of Illinois Bands 121. University of Illinois Symphonic Band; J a m e s F. Keene, Mark Hindsley, and Harry Begian, conductors. Richard Strauss, Johannes Brahms, Richard Wagner, Maurice Ravel, and J a m e s Curnow. SEE: B121, B140

Discography

129

D82. Armenian Dances: Part I. (W36) Armenian Dances (complete). Kosei Publishing Company. 1991 1 sound disc [CD]. Kosei Publishing Company KOCD-3016. Tokyo Kosei Wind Orchestra; Alfred Reed, conductor. Armenian Dances: Part II; Sleepers Awake; A Jubilant Overture; Panis Angelicus; Song of the High Cascades. SEE: B121, B140 D83. Armenian Dances: Part I. (W36) In Concert With the University of Illinois Symphonic Band, the Begian Years. Vol. 1. Mark Records. 1992 (originally released 1970) 1 sound disc [CD]. Mark Records MCD-1210. University of Illinois Symphonic Band; Harry Begian, conductor. Armenian Dances: Part II. Percy Grainger. SEE: B121, B140 D84. Armenian Dances: Part I. (W36) Minnesota Music Educators Association Concert Highlights. Westmark. 1993 1 sound disc [CD]. Westmark WCD 29302. Minnesota Music Educators Association Concert Band (1993) and (1986); Lewis Larson, director. The Hounds of Spring. John Philip Sousa, D. Delle Cese, J a y Chattaway, Elliot Del Borgo, and Percy Grainger. SEE: B121, B140 D85. Armenian Dances: Part I. (W36) Portrait of Alfred Reed. Koninklijeke Militaire Kapel. 1993 1 sound disc. KMK/KRO-006. Koninklijeke Militaire Kapel (Royal Dutch Military Band); Alfred Reed, conductor. A Festive Overture; Eventide; Fourth Symphony; Variations on the "Porazzi" theme of Wagner from Second Suite; El Camino Real. SEE: B121, B140

130 Discography D86. Armenian Dances: Part I. (W36) Brandenberrg Gate: A European Salute Bandleader. 1993 1 sound disc {CD]. Bandleader BND - 5046. The Band of the Royal Ari Force, Germany; Dora Wood, conductor. SEE: B121, B140 D87. Armenian Dances: Part I. (W36) Fifth Symphony (Sakura). Victor Entertainment, Inc. 1995 1 sound disc [CD]. Victor Entertainment Inc. PRCD-5161. Senzoku Gakuen Symphonic Wind Orchestra; Alfred Reed, conductor. The Music-Makers Overture; Fifth Symphony; Armenian Dances: Part II; Pro Texana. SEE: B121, B140 D88. Armenian Dances: Part I. (W36) Alfred Reed & Tokyo Kosei Wind Orchestra. Kosei Publications. 1996 1981 1 sound disc [CD]. Kosei Publications KOCD-2301. Tokyo Kosei Wind Orchestra; Alfred Reed, conductor. Second Suite for Band; Enchanted Island; Music Makers, Concert Overture; Russian Christmas Music; Ballade for Alto Saxophone and Band; A Festival Prelude; Jesu, Joy of Man's Desiring. SEE: B121, B140 D89. Armenian Dances: Part I. (W36) Armenian Dances. Kosei Publishing Company. 1996 1 sound disc [CD]. TOCZ 9282. Tokyo Kosei Wind Orchestra. Armenian Dances: Part II. Vincent Persichetti. SEE: B121, B140 D90. Armenian Dances: Part I. (W36) Fifth Symphony. Walking Frog Records. 1996 1 sound disc [CD].

Discography

131

Walking Frog Records WFR140. Senzoku Gakuen Symphonic Wind Orchestra; Alfred Reed, conductor. The Music Makers; Fifth Symphony; A Springtime Celebration; Armenian Dances: Part II; Pro Texana. SEE: B121, B140 D91. Armenian Dances: Part I. (W36) Live. Mark Custom Recording Service. 1996 1990 2 sound discs [CD]. Mark Custom Recording Service MCD-2223/2224. Piedmont Wind Ensemble; Robert Simon, conductor; with the Piedmont Chamber Singers and Salem College Community Choir. Leemans-Wiley, Grainger-Goldman, Creston, Meij, Giannini, Grainger, Hindemith. SEE: B121, B140 D92. Armenian Dances: Part I. (W36) Begian! Mark Recordings. 1997 1 sound disc [CD]. Mark Recordings MCD - 104. University of North Carolina at Greensboro Wind Ensemble; John R. Locke, conductor. Markis, Mahr, Fiser, Hindemith, and Barnhouse. SEE: B121, B140 D93. Armenian Dances: Part II. (W41) Contest Band Music Selections 7 9 . CBS/Sony. 1979 1 sound disc. CBS/Sony 22AG 626. Philharmonia Wind Ensemble. NOTE: Contains only the 3rd movement from Armenian Dances: Part II. F r a n k Erickson, J a r e d Spears, J a m e s Ployhar, and J a m e s Curnow. SEE: B122 D94. Armenian Dances: Part II. (W41) Lincolnshire Posey. Kosei Publishing Company. 1986 and 1988 1 sound disc. Kosei Publishing Co. KOCD-2818 and KOR-8418.

132 Discography Tokyo Kosei Wind Orchestra; Frederick Fennell, conductor. Percy Grainger, Arthur Sullivan, and Francis McBeth. SEE: B122 D95. Armenian Dances: Part II. (W41) Band Concert, April 20, 1989. College of Musical Arts. 1989 1 sound cassette. Bowling Green State University Band and Concert Band; J a y C. Jackson, conductor; Ann E. Goodwin, assistant conductor. J o h a n n a s Brahms, Claude T. Smith, Percy Grainger, Andre Waignein, and John Philip Sousa. SEE: B122 D96. Armenian Dances: Part II. (W41) The Claremont Winds. The Claremont Winds. 1990 and 1992 1 sound disc. Claremont Winds CWCD001. The Claremont Winds; Philip Browne, conductor. Philip Browne and J a m e s Barnes Chance. SEE: B122 D97. Armenian Dances: Part II. (W41) Armenian Dances (complete). Kosei Publishing Company. 1991 1 sound disc [CD]. Kosei Publishing Company KOCD-3016. Tokyo Kosei Wind Orchestra; Alfred Reed, conductor. Armenian Dances: Part I; Sleepers Awake; A Jubilant Overture; Panis Angelicus; Song of the High Cascades. SEE: B122 D98. Armenian Dances: Part II. (W41) In Concert With the University of Illinois Symphonic Band, the Begian Years. Vol. 1. Mark Records. 1992 (originally released 1970) 1 sound disc [CD]. Mark Records MCD-1210. University of Illinois Symphonic Band; Harry Begian, conductor. Armenian Dances: Part I. Percy Grainger. SEE: B122

Discography 133 D99. Armenian Dances: Part II. (W41) Fifth Symphony (Sakura). Victor Entertainment, Inc. 1995 1 sound disc [CD]. Victor Entertainment Inc. PRCD-5161. Senzoku Gakuen Symphonic Wind Orchestra; Alfred Reed, conductor. The Music-Makers Overture; Fifth Symphony; Armenian Dances: Part I; Pro Texana. SEE: B122 D100. Armenian Dances: Part II. (W41) Armenian Dances. Kosei Publishing Company. 1996 1 sound disc [CD]. TOCZ 9282. Tokyo Kosei Wind Orchestra. Armenian Dances: Part I. Vincent Persichetti. SEE: B122 D101. Armenian Dances: Part II. (W41) Fifth Symphony. Walking Frog Records. 1996 1 sound disc [CD]. Walking Frog Records WFR140. Senzoku Gakuen Symphonic Wind Orchestra; Alfred Reed, conductor. The Music Makers; Fifth Symphony; A Springtime Celebration; Armenian Dances: Part I; Pro Texana. SEE: B122 D102. Armenian Dances: Part II. (W41) Warren Bands Live '97. Warren Township High School. 1997 1 sound disc [CD]. Warren Township High School WTHS9697. Marching Band, Jazz Lab III, Freshman Concert Band, Jazz Lab II, Warren Concert Band, Jazz Ensemble, Warren Symphonic Band; Tom Beckwith, Christopher Jenkins, directors. Second Suite; Armenian Dances, Part II. SEE: B122

134 Discography D103. Armenian Dances (Complete or Unspecified). (W36 and/or W41) Danses Slaves Corellia Records. 1 sound disc [CD]. Corellia 895763 Musique de L'Air de Paris; Francois Bailleul, conductor. Dvorak, Borodin, Brahms, and Shostakovich. SEE: B121, B122 D104. Armenian Dances (Complete or Unspecified). (W36 and/or W41) In Concert with the University of Illinois Symphonic Band. University of Illinois Symphonic Band. 1970 and 1979 1 sound disc. University of Illinois Symphonic Band 91. University of Illinois Symphonic Band II; Thomas Harris, conductor. NOTE: Does not specify part(s) of work included. A Symphonic Prelude. Norman Dello Joio, Georges Bizet, and Ron Thielman. SEE: B121, B122 D105. Armenian Dances (Complete or Unspecified). (W36 a n d / o r W41) In Concert with University of Illinois Symphonic Band. University of Illinois Symphonic Band. 1970 and 1979 1 sound disc. University of Illinois Symphonic Band 28658. University of Illinois Symphonic Band; Harry Begian, conductor. NOTE: Does not specify part(s) of work included. Morton Gould and Andres Alvarez Calvillo. SEE: B121, B122 D106. Armenian Dances (Complete or Unspecified). (W36 and/or W41) Michigan State University Symphonic Band, v. 4-5. Mark Records. 1970 and 1979 2 sound discs. Mark Records MC 1244. Michigan State University Symphonic Band; Kenneth Bloomquist, conductor. NOTE: Does not specify part(s) of work included.

Discography

135

Ralph Vaughan Williams, Vincent Persichetti, and Pat Williams. SEE: B121, B122 D107. Armenian Dances (Complete or Unspecified). (W36 a n d / o r W41) University of Wisconsin-Milwaukee School of Fine Arts, Department of Music presents [the] 17th Honors Band Concert. UWM Department of Music. 1983 3 sound cassettes. Greater Milwaukee Youth Wind Ensemble; Richard Talbert, Thomas Dvorak, conductors; UWM High School "Panther" and "New York" Honors Bands; Daniel J. Peterson, David Amram, T. L. Dvorak, conductors; UWM Symphony Band; Randy Hopf, conductor. NOTE: Does not specify part(s) of work included. "March" from First Suite for Band. J a m e s Curnow, Eric Osterling, Lucas Zdenek, and Claude T. Smith. SEE: B121, B122 D108. Armenian Dances (Complete or Unspecified). (W36 a n d / o r W41) Band Concert, April 19, 1986. College of Musical Arts. 1986 1 sound cassette. Bowling Green State University Concert Band; Glenn C. Hayes, conductor; Jeff Halsey, double bass. NOTE: Does not specify part(s) of work included. Kenneth Snoeck, John Philip Sousa, Edward Diemente, and Loris Chobaian. SEE: B121, B122 D109. Armenian Dances (Complete or Unspecified). (W36 a n d / o r W41) The 10th Anniversary Otonowa Concert. Blue Lights. 1998 2 sound discs [CD]. Blue Lights BLCD 0160. The 10th Anniversary Otonowa Special Band, Alfred Reed and J a m e s Barns, conductors; The Otonowa Wind Symphonica '98, Toru Ito, conductor; The Otonowa Wind Symphonica '98, Alfred Reed conductor. NOTE: Specifies P a r t I and Part II; in addition to The Hounds of Spring; El Camino Real; A Festival Prelude;

136

Discography Autumn Leaves; Praise Jerusalem!; Sixth Suite for Band; Danza Caribe; Curtain Up!; Concertino for Marimba and Winds. J a m e s Barns and John Philip Sousa. SEE: B121, B122

DUO. Autumn Leaves. (W93) Exodus: Reed's symphonic pops. Kosei Publishing Company. 1990 1 sound disc [CD]. Kosei Publishing Company KOCD-3013. Tokyo Kosei Wind Orchestra; Alfred Reed, arrangerconductor. Highlights from Exodus; I Left My Heart in San Francisco; Cinderella; Peter Pan; Mary Poppins; Lawrence of Arabia; The Man With the Golden Arm; The Wonderful World of the Brother's Grimm; The Valiant Years; MancinU; Rogers and Hart. Dill. Autumn Leaves. (W93) The 10th Anniversary Otonowa Concert. Blue Lights. 1998 2 sound discs [CD]. Blue Lights BLCD 0160. The 10th Anniversary Otonowa Special Band, Alfred Reed and J a m e s Barns, conductors; The Otonowa Wind Symphonica '98, Toru Ito, conductor; The Otonowa Wind Symphonica '98, Alfred Reed conductor. The Hounds of Spring; El Camino Real; A Festival Prelude; Praise Jerusalem!; Sixth Suite for Band; Danza Caribe; Curtain Up!; Concertino for Marimba and Winds; Armenian Dances Parts I and II. J a m e s Barns and John Philip Sousa. D112. Ballade for Eb Alto Saxophone and Band. (W4) The East Atlanta Elementary Band in Performance, MidEast Instrumental Music Conference. Century Records. 196? 2 sound discs. Century Records V14825. East Atlanta Elementary Band; Charles Bradley, conductor. Greensleeves. D. Delle Cese, Borodine, Osterling, Schreiner, Robert Washburn, Ernesto Lecuona, Harold L. Walters, Tchaikowsky-Schinstine. SEE: B140

Discography

137

D113. Ballade for Eb Alto Saxophone and Band. (W4) 1972 Mid-West National Band and Orchestra Clinic. Crest Records. 1972 2 sound discs. Silver Crest MID-72-6. Harding Junior High School Band; Max Northrup, director. Richard Willis, Vaclav Nelhybel and Mayhew Lake. SEE: B140 Dl 14. Ballade for Eb Alto Saxophone and Band. (W4) Alfred Reed & Tokyo Kosei Wind Orchestra. Kosei Publications. 1996 1981 1 sound disc [CD]. Kosei Publications KOCD-2301. Tokyo Kosei Wind Orchestra; Alfred Reed, conductor. Second Suite for Band; Enchanted Island; Music Makers, Concert Overture; Russian Christmas Music; A Festival Prelude; Armenian Dances: Part I; Jesu, Joy of Man's Desiring. SEE: B140 D115. Ballade for Eb Alto Saxophone and Band. (W4) Alfred Reed and the Tokyo Kosei Wind Orchestra. Kosei Publishing Company. 1986 1 sound disc [CD]. Kosei Publishing Company KOCD-3502. Tokyo Kosei Wind Orchestra; Alfred Reed, conductor. Second Suite for Band; Enchanted Island; Music Makers Overture; Russian Christmas Music; A Festival Prelude; Armenian Dances: Part I; Jesu, Joy of Man's Desiring. SEE: B140 D116. Ballade for Eb Alto Saxophone and Piano. (W202) Second Suite for Band. Kosei Publishing Company. 1986 1 sound disc [CD]. Kosei Publishing Company KOCD-3502. Tokyo Kosei Wind Orchestra; Alfred Reed, conductor. Second Suite for Band; A Festival Prelude; Armenian Dances: Part I; Jesu, Joy of Man's Desiring; The Music Makers Overture; The Enchanted Island; Russian Christmas Music. D117. Chorale Prelude in E Minor. (Wl) 1985 CBDNA National Conference, Boulder, Colorado.

138 Discography CBDNA. 1985 1 sound cassette. CBDNA 85-SO. Various Bands. Robert Morrow, J a m e s Swearingen, David Maslanka, Quincy Hillard, and Timothy Broege. D118. Cinderella, Overture. (W160) Exodus: Reed's symphonic pops. Kosei Publishing Company. 1990 1 sound disc [CD]. Kosei Publishing Company KOCD-3013. Tokyo Kosei Wind Orchestra; Alfred Reed, arrangerconductor. Highlights from Exodus; I Left My Heart in San Francisco; Peter Pan; Mary Poppins; Lawrence of Arabia; The Man With the Golden Arm; The Wonderful World of the Brother's Grimm; The Valiant Years; MancinU; Rogers Exodus: Reed's symphonic pops. D119. Clarinette Valsante. (W193) Mini Winds: Chamber Music for Winds. Kosei Publishing Company. 1995 1 sound disc [CD]. Kosei Publishing Co. KOCD-3021. Tokyo Kosei Wind Orchestra; Alfred Reed, conductor. Two Bagatelles for Brass Ensemble and Percussion; Suite for Flute and Winds in A Minor; Double Wind Quintet; Sarabande and Double; Havana Moon; Variations on L.B.I.F.D.; Trilogue. D120. Come, Sweet Death. (W116) The World of Bach De Haske. 1 sound disc [CD]. De Haske 11.001 The Amsterdam Wind Orchestra; Heinz Friesen, conductor. Jesu, Joy of Man's Desiring. Dupont, Kimura, Horovitz, and Leist. D121. Come, Sweet Death. (W116) Band Concert, May 21, 1982. College of Musical Arts. 1982 1 sound cassette. Bowling Green State University Concert Band II, and III; Barry Kopetz and Joseph H. Ferraro, conductors.

Discography 139 Ralph Vaughan Williams, Elliot Del Borgo, and Clifton Williams. D122. Come, Sweet Death. (W116) Teaching Music Through Performance in Band: Resource Recordings GIA Publications. 1998 3 sound discs [CD]. GIA Publications UNTD - 1182 University of Texas Wind Symphony; Eugene Corporon, conductor. Sweeney, Daehm, Margolis, Jager, Brge, Grundman, Curnow, Stout, Gould, Ticheli, McBeth, Vaughan Williams, Holsinger, Carter, Benson, Kreines, and Barnes. D123. Concertino, for clarinet and band. (W96) Duquesne University School of Music 5th Annual Mid-East Instrumental Music Conference: Mid-East All-Star High School Band. Roxas Associates. 1964 1 sound disc. Roxas Associates ME-8. Mid-East All-Star Orchestra, Stanley H. Levine, conductor; Robert C. Marince, guest conductor (side 1); Edward T. Harn, conductor; Harry Meuser and Alfred Reed, guest conductors (side 2). H. Sopkin, G. Dasch. D124. Concertino for Marimba and Winds. (W74) The Marimba Concerto. Kosei Publishing Company. 1992 1 sound disc [CD]. Kosei Publishing Company KOCD-3019. Tokyo Kosei Wind Orchestra; Alfred Reed, conductor; Reiko Kono, marimba; Hitoshi Sekiguchi, clarinet. Vilabella; A Springtime Celebration; Serenade for Solo Bb Clarinet and Band; Hymn Variants; A Festive Overture; Passacaglia. D125. Concertino for Marimba and Winds. (W74) The 10th Anniversary Otonowa Concert. Blue Lights. 1998 2 sound discs [CD]. Blue Lights BLCD 0160. The 10th Anniversary Otonowa Special Band, Alfred Reed

140 Discography and J a m e s Barns, conductors; The Otonowa Wind Symphonica '98, Toru Ito, conductor; The Otonowa Wind Symphonica '98, Alfred Reed conductor. The Hounds of Spring; El Camino Real; A Festival Prelude; Autumn Leaves; Praise Jerusalem!; Sixth Suite for Band; Danza Caribe; Curtain Up!; Armenian Dances Parts I and II. J a m e s Barns and John Philip Sousa. D126. Concerto for Trumpet. (W83) Concerto for Trumpet and Winds. Victor Entertainment, Inc. 1998 1 sound disc [CD]. PRCD-5274. Senzoku Gakuen Symphonic Wind Orchestra, Alfred Reed, conductor; Osamu Takahashi, trumpet. La Procession Du Rocio; Nocturne, Op. 9, No. 2; Jesu, Joy of Man's Desiring; Praise Jerusalem!; Funiculi, Funicula; Radetzky March. D127. Concerto in C Major, for piccolo and winds. (W97) Concerto In C Major. Franco Colombo. 1969 1 sound disc. Franco Colombo BP 119. Kent State University Symphonic Band, North Hills High School Symphony band, and Sam Houston State College Band; various conductors. St. Anne's Fugue and Carmina Burana. D128. Concerto in C Major, for piccolo and winds. (W97) Second Symphony. Kosei Publishing Company. 1982 and 1987 1 sound disc [CD]. Kosei Publishing Company KOCD-3312. Tokyo Kosei Wind Orchestra; Alfred Reed, conductor. Punchinello; The Hounds of Spring; "Rejoicing" from Three Revelations from the Lotus Sutra; Second Symphony. D129. Concerto in C Major, for piccolo and winds. (W97) Band Concert, April 19, 1989. College of Musical Arts. 1989 1 sound cassette. Bowling Green State University Symphonic Band; Mark S. Kelly, conductor; J a y Jackson, assistant conductor; Suzanne Thierry, piccolo; Stanley George and Dennis

Discography

141

Lindsay, alto saxophones; Matthew Messersmith, tenor saxophone; Wesley Miller, baritone sax. Philip Sparke, Mark Camphouse, Warren Barker, and J a m e s Barnes. D130. Curtain Up! (W68) Curtain Up! Kosei Publishing Company. 1991 1 sound disc [CD]. Kosei Publishing Company KOCD-3017. Tokyo Kosei Wind Orchestra; Alfred Reed, conductor. Rahoon; Golden Jubilee; Ode for Trumpet; Mr. Music!; First Suite for Band; Alleluia! Laudamus te; Highlights from the Music Man. D131. Curtain Up! (W68) The Wind Music of Alfred Reed. Kosei Publishing Company. 1994 4 sound discs [CD]. Kosei Publishing Company KOCD-3550/53. Tokyo Kosei Wind Orchestra; Alfred Reed, conductor. Second Symphony; Symphony No. 3; Fourth Symphony; Viva Musica!; The Hounds of Spring; Evolutions; Golden Jubilee; The Music-Makers; A Jubilant Overture; A Springtime Celebration; Punchinello, Overture to a romantic comedy; First Suite for Band; Second Suite for Band; Third Suite for Band; Fourth Suite for Band; A Little Concert Suite; Music for "Hamlet;" Othello; The Enchanted Island; Praise Jerusalem! D132. Curtain Up! (W68) The 10th Anniversary Otonowa Concert. Blue Lights. 1998 2 sound discs [CD]. Blue Lights BLCD 0160. The 10th Anniversary Otonowa Special Band, Alfred Reed and J a m e s Barns, conductors; The Otonowa Wind Symphonica '98, Toru Ito, conductor; The Otonowa Wind Symphonica '98, Alfred Reed conductor. The Hounds of Spring; El Camino Real; A Festival Prelude; Autumn Leaves; Praise Jerusalem!; Sixth Suite for Band; Danza Caribe; Concertino for Marimba and Winds; Armenian Dances Parts I and II. J a m e s Barns and John Philip Sousa.

142

(Discography

D133. Danza Caribe. (W58) Othello. Kosei Publishing Company. 1987 1 sound disc [CD]. Kosei Publishing Company KOCD-3006. Tokyo Kosei Wind Orchestra; Alfred Reed, conductor. Second Century; A Symphonic Prelude; Rushmore; Othello. D134. Danza Caribe. (W58) The 10th Anniversary Otonowa Concert. Blue Lights. 1998 2 sound discs [CD]. Blue Lights BLCD 0160. The 10th Anniversary Otonowa Special Band, Alfred Reed and J a m e s Barns, conductors; The Otonowa Wind Symphonica '98, Toru Ito, conductor; The Otonowa Wind Symphonica '98, Alfred Reed conductor. The Hounds of Spring; El Camino Real; A Festival Prelude; Autumn Leaves; Praise Jerusalem!; Sixth Suite for Band; Curtain Up!; Concertino for Marimba and Winds; Armenian Dances Parts I and II. J a m e s Barns and John Philip Sousa. D135. Double Wind Quintet. (W218) Band Concert, November 14, 1987. College of Musical Arts. 1987 1 sound cassette. Bowling Green State University concert Band and Fall Wind Ensemble; Mark S. Kelly, conductor; Buddy Baker, Paul Hunt, and Timothy Cleal, trombones. Frederick Fennell, Vincent Persichetti, Joseph Downing, and D. Delle Cese. D136. Double Wind Quintet. (W218) Bowling Green State University Concert Band Band Concert, November 14, 1987. College of Musical Arts. 1987 1 sound cassette. Bowling Green State University Concert Band and Fall Wind Ensemble; Mark S. Kelly, conductor; Buddy Baker, Paul Hunt, Timothy Cleal, trombones. NOTE: Contains only the "Intrada" movement from Double Wind Quintet. Thomas Knox, Vincent Persichetti, Joseph Downing, and Richard Strauss.

(Discography

143

D137. Double Wind Quintet. (W218) Mini Winds: Chamber Music for Winds. Kosei Publishing Company. 1995 1 sound disc [CD]. Kosei Publishing Co. KOCD-3021. Tokyo Kosei Wind Orchestra; Alfred Reed, conductor. Two Bagatelles for Brass Ensemble and Percussion; Suite for Flute and Winds in A Minor; Clarinette Valsante; Sarabande and Double; Havana Moon; Variations on L.B.I.F.D.;Trilogue. D138. El Camino Real. (W59) Our Hispanic Heritage. 539th Air Force Band. 1985 1 sound disc [CD]. MCD-854. Band of the West; Major Daniel L. Schmidt, commander/conductor. Joaquin Rodrigo, H. Owen Reed, Carlos Surinach, and Manuel de Falla. SEE: B129 D139. El Camino Real. (W59) Salutations! Kosei Publishing Company. 1989 1 sound disc [CD]. Kosei Publishing Co. KOCD-3009. Tokyo Kosei Wind Orchestra; Alfred Reed, conductor. Salutations!; A Northern Legend; Might and Majesty; Praise Jerusalem! SEE: B129 D140. El Camino Real. (W59) Portrait of Alfred Reed. Koninklijeke Militaire Kapel. 1993 1 sound disc. KMK/KRO-006. Koninklijeke Militaire Kapel (Royal Dutch Military Band); Alfred Reed, conductor. A Festive Overture; Armenian Dances: Part I; Eventide; Fourth Symphony; Variations on the "Porazzi" theme of Wagner from Second Suite. SEE: B129 D141. El Camino Real. (W59) Symphonic Winds.

144

T)isco£raphy AMOS. 1994 1 sound disc [CD]. AMOS CD5749. Symphonic Winds; Alexander Veit, conductor. J a m e s Barnes, Gottfried Veit, J a n Van der Roost, J a h a n Wichers, Don Gillis, Ted Huggens and Sammy Nestico. SEE: B129

D142. El Camino Real. (W59) The 10th Anniversary Otonowa Concert. Blue Lights. 1998 2 sound discs [CD]. Blue Lights BLCD 0160. The 10th Anniversary Otonowa Special Band, Alfred Reed and J a m e s Barns, conductors; The Otonowa Wind Symphonica '98, Toru Ito, conductor; The Otonowa Wind Symphonica '98, Alfred Reed conductor. The Hounds of Spring; A Festival Prelude; Autumn Leaves; Praise Jerusalem!; Sixth Suite for Band; Danza Caribe; Curtain Up!; Concertino for Marimba and Winds; Armenian Dances Parts I and II. J a m e s Barns and John Philip Sousa. SEE: B129 D143. El Camino Real. (W59) Salute to J a p a n . Music Masters. 1998? 1 sound disc [CD]. Music Masters CD 408. Regimental Band of the Coldstream Guard; Major R. G. Swift, conductor. Contents of other composers unknown. SEE: B129 D144. Eventide. (W66) Portrait of Alfred Reed. Koninklijeke Militaire Kapel. 1993 1 sound disc. KMK/KRO-006. Koninklijeke Militaire Kapel (Royal Dutch Military Band); Alfred Reed, conductor. A Festive Overture; Armenian Dances: Part I; Fourth Symphony; Variations on the "Porazzi" theme of Wagner from Second Suite; El Camino Real.

(Discography

145

D145. Evolutions. (W75) The Wind Music of Alfred Reed. Kosei Publishing Company. 1994 4 sound discs [CD]. Kosei Publishing Company KOCD-3550/53. Tokyo Kosei Wind Orchestra; Alfred Reed, conductor. Second Symphony; Symphony No. 3; Fourth Symphony; Viva Musica!; The Hounds of Spring; Golden Jubilee; The Music-Makers; A Jubilant Overture; A Springtime Celebration; Curtain Up!; Punchinello; Overture to a romantic comedy; First Suite for Band; Second Suite for Band; Third Suite for Band; Fourth Suite for Band; A Little Concert Suite; Music for "Hamlet;" Othello; The Enchanted Island; Praise Jerusalem! D146. Exodus, Highlights From. (W163) Exodus: Reed's symphonic pops. Kosei Publishing Company. 1990 1 sound disc [CD]. Kosei Publishing Company KOCD-3013. Tokyo Kosei Wind Orchestra; Alfred Reed, arrangerconductor. I Left My Heart in San Francisco; Cinderella; Peter Pan; Mary Poppins; Lawrence of Arabia; The Man With the Golden Arm; The Wonderful World of the Brother's Grimm; The Valiant Years; MancinU; Rogers and Hart; Autumn Leaves. D147. Fantasia A Due. (W224) Octubafest 1995. Indiana University School of Music. 1995 1 sound cassette. Indiana University School of Music, Program 1995 - 1996, no. 224. SEE: B113, B140 D148. Fantasy on "Black is the color of my true love's hair." (W215) From our American Music. Mark Records. 1972 2 sound discs. Mark Custom Records MC-6760. Atlanta, Fulton County, and DeKalb County High School Band, J a m e s Sedlack, conductor; high School Men's Chorus and Band, Michael Henson, conductor; various

146 Discography choirs and ensembles with various conductors. Robert Dvorak, Howard Hanson, and John Philip Sousa. D149. Fifth Suite for Band. (W79) Best of Alfred Reed: Vol.2 "Suite Music." Sony Records. 1997 I sound disc [CD]. SRCR 1877. Philharmonia Wind Ensemble, Tokyo Kosei Wind Orchestra and Musashino Academia Musicae Wind Ensemble; Yasuhiko Shiozawa and Antonin Kuhnel, conductors. First Suite for Band; Second Suite for Band; Third Suite for Band; Fourth Suite for Band; A Little Concert Suite for Winds. SEE: B137 D150. Fifth Symphony. (W80) Fifth Symphony. Walking Frog Records. 1996 1 sound disc [CD]. Walking Frog Records WFR140. Senzoku Gakuen Symphonic Wind Orchestra; Alfred Reed, conductor. The Music Makers; A Springtime Celebration; Armenian Dances: Part I; Armenian Dances: Part II; Pro Texana. D151. Fifth Symphony. (W80) Fifth Symphony (Sakura). Victor Entertainment, Inc. 1995 1 sound disc [CD]. Victor Entertainment Inc. PRCD-5161. Senzoku Gakuen Symphonic Wind Orchestra; Alfred Reed, conductor. The Music-Makers Overture; Armenian Dances: Part I; Armenian Dances: Part II; Pro Texana. D152. Fifth Symphony. (W80) Masterpieces for Band 13: Fifth Symphony. Molenaar. 1998 1 sound disc [CD]. MBCD 31.1045.72. Harmonjeorkest Brabants; J a n Cober, conductor. Marcel Peters, Joseph Horvitz. D153. First Suite for Band. (W39) Contest Band Music Selections 7 7 .

Discography 147 CBS/Sony. 1977 1 sound disc. CBS/Sony 22AG 178. Philharmonia Wind Ensemble. Leland Forsblad, Jared Spears, and Robert Jager. D154. First Suite for Band. (W39) Tokyo Kosei Wind Orchestra. Kosei Publishing Company. 1979 1 sound disc. Kosei Publishing Company KOR-7902. Tokyo Kosei Wind Orchestra. Passacaglia. Ben Kaneda and Masaru Kawasaki. Passacaglia.D155. First Suite for Band. (W39) 1981 Illinois Summer Youth Music. Delta Records. 1981 1 sound disc. Delta Records DRS 81M 152. Illinois Summer Youth Music Senior Varsity Band; Sally Rynott, conductor. NOTE: Contains only the "Rag" and "Gallop" movements from First Suite for Band. Elliot Carter, Gustav Hoist, Robert Jager, and Carmen Dragon. D156. First Suite for Band. (W39) 22nd Annual All-District High School Band and the 17th Annual All-District Junior High Band. Micron Recordings. 1981 1 sound disc. Micron Recordings NR222. All-District High School Band; All-District Junior High Band. NOTE: Contains only the "Gallop" from First Suite. Karl King, Charles Carter, Ralph Williams, and John Zdechlik. D157. First Suite for Band. (W39) Cornell University Wind Ensemble. Cornell University. 1982 1 sound disc. Cornell University CUWE 31. Cornell University Wind Ensemble; Alfred Reed, conductor. The Garden of Prosperpine; The Hounds of Spring; Second Suite for Band.

148

(Discography

D158. First Suite for Band. (W39) University of Wisconsin-Milwaukee School of Fine Arts, Department of Music presents [the] 17th Honors Band Concert. UWM Department of Music. 1983 3 sound cassettes. Greater Milwaukee Youth Wind Ensemble; Richard Talbert, Thomas Dvorak, conductors; UWM High School "Panther" and "New York" Honors Bands; Daniel J. Peterson, David Amram, T. L. Dvorak, conductors; UWM Symphony Band; Randy Hopf, conductor. Armenian Dances; and "March" from First Suite for Band. J a m e s Curnow, Eric Osterling, Lucas Zdenek, and Claude T. Smith D159. First Suite for Band. (W39) Southwest Texas State University Wind Ensemble. Mark Records. 1988 1 sound disc. Mark Records MC-20923. Southwest Texas State University Wind Ensemble; John C. Stansberry, conductor; J a m e s E. Williamson, associate conductor. "Awakening" from Three Revelations from the Lotus Sutra. NOTE: Contains only the "Gallop" from First Suite for Band. Karl King, William Childs, Leonard Bernstein, and J a m e s Curnow. D160. First Suite for Band. (W39) Curtain Up! Kosei Publishing Company. 1991 1 sound disc [CD]. Kosei Publishing Company KOCD-3017. Tokyo Kosei Wind Orchestra; Alfred Reed, conductor. Curtain Up!; Rahoon; Golden Jubilee; Ode for Trumpet; Mr. Music!; Alleluia! Laudamus te; Highlights from the Music Man. D161. First Suite for Band. (W39) The Wind Music of Alfred Reed. Kosei Publishing Company. 1994 4 sound discs [CD]. Kosei Publishing Company KOCD-3550/53.

Discography

149

Tokyo Kosei Wind Orchestra; Alfred Reed, conductor. Second Symphony; Symphony No. 3; Fourth Symphony; Viva Musical; The Hounds of Spring; Evolutions; Golden Jubilee; The Music-Makers; A Jubilant Overture; A Springtime Celebration; Curtain Up!; Punchinello, Overture to a romantic comedy; Second Suite for Band; Third Suite for Band; Fourth Suite for Band; A Little Concert Suite; Music for "Hamlet;" Othello; The Enchanted Island; Praise Jerusalem! D162. First Suite for Band. (W39) Best of Alfred Reed: Vol.2 "Suite Music." Sony Records. 1997 I sound disc [CD]. SRCR 1877. Philharmonia Wind Ensemble, Tokyo Kosei Wind Orchestra and Musashino Academia Musicae Wind Ensemble; Yasuhiko Shiozawa and Antonin*Kuhnel, conductors. Second Suite for Band; Third Suite for Band; Fourth Suite for Band; Fifth Suite for Band; A Little Concert Suite for Winds. D163. Fourth Suite for Band. (W77) The Wind Music of Alfred Reed. Kosei Publishing Company. 1994 4 sound discs [CD]. Kosei Publishing Company KOCD-3550/53. Tokyo Kosei Wind Orchestra; Alfred Reed, conductor. Second Symphony; Symphony No. 3; Fourth Symphony; Viva Musica!; The Hounds of Spring; Evolutions; Golden Jubilee; The Music-Makers; A Jubilant Overture; A Springtime Celebration; Curtain Up!; Punchinello, Overture to a romantic comedy; First Suite for Band; Second Suite for Band; Third Suite for Band; A Little Concert Suite; Music for "Hamlet;" Othello; The Enchanted Island; Praise Jerusalem! D164. Fourth Suite for Band. (W77) Best of Alfred Reed: Vol. 2 "Suite Music." Sony Records. 1997 I sound disc [CD]. SRCR 1877. Philharmonia Wind Ensemble, Tokyo Kosei Wind Orchestra and Musashino Academia Musicae Wind Ensemble; Yasuhiko Shiozawa and Antonin Kuhnel, conductors.

150

(Discography First Suite for Band; Second Suite for Band; Third Suite for Band; Fifth Suite for Band; A Little Concert Suite for Winds.

D165. Fourth Symphony. (W76) Portrait of Alfred Reed. Koninklijeke Militaire Kapel. 1993 1 sound disc. KMK/KRO-006. Koninklijeke Militaire Kapel (Royal Dutch Military Band); Alfred Reed, conductor. A Festive Overture; Armenian Dances: Part I; Eventide; Variations on the "Porazzi" theme of Wagner from Second Suite; El Camino Real. D166. Fourth Symphony. (W76) The Wind Music of Alfred Reed. Kosei Publishing Company. 1994 4 sound discs [CD]. Kosei Publishing Company KOCD-3550/53. Tokyo Kosei Wind Orchestra; Alfred Reed, conductor. Second Symphony; Symphony No. 3; Viva Musical; The Hounds of Spring; Evolutions; Golden Jubilee; The MusicMakers; A Jubilant Overture; A Springtime Celebration; Curtain Up!; Punchinello, Overture to a romantic comedy; First Suite for Band; Second Suite for Band; Third Suite for Band; Fourth Suite for Band; A Little Concert Suite; Music for "Hamlet;" Othello; The Enchanted Island; Praise Jerusalem! D167. Fourth Symphony. (W76) Symphonies of Alfred Reed World Wind Music. 1997 1 sound disc [CD]. World Wind Music 500.008. La Artistia Bunol; Henrie Adams, conductor. Second Symphony and Symphony No. 3. D168. Funiculi, Funicula. (W144) Classics! Walking Frog Records. 1995 1 sound disc [CD]. Walking Frog Records WFR129. Washington Winds; Edward Petersen, conductor. Slavonic Dance, no. 8; Jesu, Joy of Man's Desiring;

(Discography

151

Radetzky March; Panis Angelicus; Hungarian Dance, no. 5; Greensleeves. D169. Funiculi, Funicula. (W144) Sampler, Volume 1. Walking Frog Records. 1996 1 sound disc [CD]. Walking Frog Records WFR139. The Washington Winds. "Khoomar" from Armenian Dances, Part II. J a m e s Swearingen, Henry Fillmore, Robert Sheldon, Warren Barker, Ed Huckeby, Dominic Spera, David Shaffer and Robert Longfield. D170. Funiculi, Funicula. (W144) Concerto for Trumpet and Winds. Victor Entertainment, Inc. 1998 1 sound disc [CD]. PRCD-5274. Senzoku Gakuen Symphonic Wind Orchestra, Alfred Reed, conductor; Osamu Takahashi, trumpet. La Procession Du Rocio; Nocturne, Op. 9, No. 2; Concerto for Trumpet and Winds; Jesu, Joy of Man's Desiring; Praise Jerusalem!; Radetzky March. D171. Golden Eagle. (W70) March Golden Eagle I Symphony for Brass and Percussion. Kosei Publishing Company. 1990 1 sound disc [CD]. Kosei Publishing Company KOCD-3012. Tokyo Kosei Wind Orchestra; Alfred Reed, conductor. Who Will but Let Himself Be Guided; A Little Concert Suite; Eventide; Symphony for Brass and Percussion; Seascape; Third Suite for Band; Greensleeves. D172. Golden Jubilee. (W62) Best of Alfred Reed. Sony Records. 1990 1 sound disc. Sony CSCL-1506. Tokyo Kosei Wind Ensemble. Viva Muscia!; Third Suite for Band; The Hounds of Spring; El Camino Real; Queenston Overture; Praise Jerusalem! D173. Golden Jubilee. (W62) Curtain Up!

152 discography Kosei Publishing Company. 1991 1 sound disc [CD]. Kosei Publishing Company KOCD-3017. Tokyo Kosei Wind Orchestra; Alfred Reed, conductor Curtain Up!; Rahoon; Ode for Trumpet; Mr. Music!; First Suite for Band; Alleluia! Laudamus te; Highlights from the Music Man. D174. Golden Jubilee. (W62) Northshore Concert Band. Mark Custom Recording Service. 1988 and 1989 1 sound cassette. Northshore Concert Band; J a m e s Curnow, Alfred Reed, Frank Battisti, conductors; various soloists. J a m e s Curnow, Percy Grainger, and Camille Saint-Saens. D175. Golden Jubilee. (W62) The Wind Music of Alfred Reed. Kosei Publishing Company. 1994 4 sound discs [CD]. Kosei Publishing Company KOCD-3550/53. Tokyo Kosei Wind Orchestra; Alfred Reed, conductor. Second Symphony; Symphony No. 3; Fourth Symphony; Viva Musica!; The Hounds of Spring; Evolutions; The MusicMakers; A Jubilant Overture; A Springtime Celebration; Curtain Up!; Punchinello; Overture to a romantic comedy; First Suite for Band; Second Suite for Band; Third Suite for Band; Fourth Suite for Band; A Little Concert Suite; Music for "Hamlet;" Othello; The Enchanted Island; Praise Jerusalem! D176. Greensleeves. (W9) The East Atlanta Elementary Band in Performance, MidEast Instrumental Music Conference. Century Records. 196? 2 sound discs. Century Records V14825. East Atlanta Elementary Band; Charles Bradley, conductor. Ballade for Alto Saxophone. D. Delle Cese, Borodine, Osterling, Schreiner, Robert Washburn, Ernesto Lecuona, Harold L. Walters, Tchaikowsky-Schinstine. SEE: B65 D177. Greensleeves. (W9) 1980 Illinois Summer Youth Music.

(Discography

153

Delta Records. 1980 1 sound disc. Delta Records DRS 80M 161. Junior Symphony Orchestra; William Jones, conductor. Henry Mancini, Mendelssohon, and Rossini. SEE: B65 D178. Greensleeves. (W9) Band Concert, April 22, 1983. College of Musical Arts. 1983 1 sound cassette. Bowling Green State University Concert Band II, and III; Glenn C. Hayes and Joseph H. Ferraro, conductors; Vicki Cindea, guest conductor. Howard Hanson, Charles Carter, Ralph Williams, John Barnes Chance, and Henry Fillmore. SEE: B65 D179. Greensleeves. (W9) The Most Wonderful Time. Mark Records and Military Airlift Command Band. 1987 1 sound disc. Mark Records MC-20879. United States Air Force Military Airlift Command Band, Scott Air Force Base, Illinois; H. Bruce Gilkes and Robert A. Pouliot, conductors. Eric Leidzen, Leroy Anderson, Norman Dello Joio, and Clare Grundman. SEE: B65 D180. Greensleeves. (W9) Christmas in Hampton Road. United States Air Force Tactical Band. 1990 and 1992 1 sound disc [CD]. United States Air Force Tactical Air Command Band MCD765. United States Air Force Tactical Air Command Band, Virginia; Lowell E. Graham, conductor. Russian Christmas Music. Tchaikovsky, Prokofiev, and Sammy Nestico. SEE: B65 D181. Greensleeves. (W9) Let There Be Peace on Earth. United States Army Field Band. 1990 and 1995

154

(Discography 1 sound disc. United States Army Field Band, Soldier's Chorus, Brass Quintet, and Barbershop Chorus; Colonel Jack H. Grogan, commander and conductor. Christmas Intrada. Leroy Anderson, Mel Torme, and J a m e s Pierpont. SEE: B65

D182. Greensleeves. (W9) March Golden Eagle I Symphony for Brass and Percussion. Kosei Publishing Company. 1990 1 sound disc [CD]. Kosei Publishing Company KOCD-3012. Tokyo Kosei Wind Orchestra; Alfred Reed, conductor. March Golden Eagle; Who Will but Let Himself Be Guided; A Little Concert Suite; Eventide; Symphony for Brass and Percussion; Seascape; Third Suite for Band. SEE: B65 D183. Greensleeves. (W9) Classics! Walking Frog Records. 1995 1 sound disc [CD]. Walking Frog Records WFR129. Washington Winds; Edward Petersen, conductor. Funiculi, Funicula; Slavonic Dance, no. 8; Jesu, Joy of Man's Desiring; Radetzky March; Panis Angelicus; Hungarian Dance, no. 5. SEE: B65 D184. Greensleeves. (1995) Men of Action Bandleader. 1995 1 sound disc [CD]. Bandleader BND - 5010. Band of HM Royal Marines; Capt. Peter Heming, conductor. SEE: B65 D185. Guaracha, for Bb bass clarinet and piano. (W203) Contest Solos for the Clarinet Family. Roxas Associates. 1960 and 1969 1 sound disc. Roxas Associates SR4M 1795-SR4M 1796. Donald McCathren, clarinets; William A. Chrystal, piano. Hoe-Down; Sarabande; Afro; Hora; March Variations;

(Discography Serenata; Haitian Dance (Voodoo); Pastorale; Fantastique.

155

Scherzo

D186. Gypsy Dance from Carmen. (W148) Jubilance Walking Frog Records. 1997 1 sound disc [CD]. Walking Frog WFR - 180. The Washington Winds; Edward Petersen, conductor. Two Bagatelles for Concert Band. Longfield, Sheldon, Swearingen, Barler, Clear, Reinike, and Huckeby. D187. Haitian Dance, for Bb bass clarinet and piano. (W204) Contest Solos for the Clarinet Family. Roxas Associates. 1960 and 1969 1 sound disc. Roxas Associates SR4M 1795-SR4M 1796. Donald McCathren, clarinets; William A. Chrystal, piano. Hoe-Down; Sarabande; Guaracha; Afro; Hora; March Variations; Serenata; Pastorale; Scherzo Fantastique. D188. Havana Moon. (W191) Mini Winds: Chamber Music for Winds. Kosei Publishing Company. 1995 1 sound disc [CD]. Kosei Publishing Co. KOCD-3021. Tokyo Kosei Wind Orchestra; Alfred Reed, conductor. Two Bagatelles for Brass Ensemble and Percussion; Suite for Flute and Winds in A Minor; Clarinette Valsante; Double Wind Quintet; Sarabande and Double; Variations on L.B.I.F.D.; Trilogue. D189. Hoe-Down, for Eb clarinet and piano. (W205) Contest Solos for the Clarinet Family. Roxas Associates. 1960 and 1969 1 sound disc. Roxas Associates SR4M 1795-SR4M 1796. Donald McCathren, clarinets; William A. Chrystal, piano. Sarabande; Guaracha; Afro; Hora; March Variations; Serenata; Haitian Dance (Voodoo); Pastorale; Scherzo Fantastique. D190. Hora, for Bb clarinet and piano. (W206) Contest Solos for the Clarinet Family. Roxas Associates. 1960 and 1969

156

(Discography 1 sound disc. Roxas Associates SR4M 1795-SR4M 1796. Donald McCathren, clarinets; William A. Chrystal, piano. Hoe-Down; Sarabande; Guaracha; Afro; March Variations; Serenata; Haitian Dance (Voodoo); Pastorale; Scherzo Fantastique.

D191. Hymn Variants. (W72) The Marimba Concerto. Kosei Publishing Company. 1992 1 sound disc [CD]. Kosei Publishing Company KOCD-3019. Tokyo Kosei Wind Orchestra; Alfred Reed, conductor; Reiko Kono, marimba; Hitoshi Sekiguchi, clarinet. Concertino for Marimba and Winds; Vilabella; A Springtime Celebration; Serenade for Solo Bb Clarinet and Band; A Festive Overture; Passacaglia. D192. Hymn Variants. (W72) Festive Adorations Mark Recordings. 1993 1 sound disc [CD]. Mark Recordings MCD - 1330. Concordia University Wind Symphony; Richard Fischer, conductor. Tscheshokoff, Stamp, Allen, Nelhybel, Holsinger, Curnow, Croft, Erickson, and Hanson. D193. Hymn Variants. (W72) Festive Adorations. Concordia University. 1993 1 sound disc [CD]. Concordia University Wind Symphony; Richard Fischer, conductor. J a m e s Curnow, David Holsinger, J a m e s Croft, Jack Stamp, and Frank Erickson. D194. Hymn Variants. (W72) Holidays in Hanover. AMP Recording & Duplicating Service. 1993 1 sound cassette. Hanover Wind Symphony; Peter Boor, director. John Moss, Stan Kenton, J a y Dawson, Tschaikovsky, Sammy Nestico, and Leroy Anderson.

'Discography

157

D195. / Left My Heart In San Francisco. (W100) Exodus: Reed's symphonic pops. Kosei Publishing Company. 1990 1 sound disc [CD]. Kosei Publishing Company KOCD-3013. Tokyo Kosei Wind Orchestra; Alfred Reed, arrangerconductor. Highlights from Exodus; Lawrence of Arabia; Cinderella; Peter Pan; Mary Poplins; The Man With the Golden Arm; The Wonderful World of the Brother's Grimm; The Valiant Years; MancinU; Rogers and Hart; Autumn Leaves. D196. If Thou Be Near. (W126) St. Olaf Band, 1984-85 Concert Season. WCAL. 1985 2 sound discs. WCAL KM13616. St. Olaf Band; Miles Johnson, director; John Ferguson, organ; Charles Forsberg, piano; Kristen Marks, bassoon. Timothy Mahr, Gustav Hoist, J a y Dawson, Percy Grainger, and Lucien Cailliet. D197. Imperatrix. (W31) 1972 Mid-West National Band and Orchestra Clinic: G. P. Babb Junior High School Symphonic Band. Silver Crest Records. 1972 2 sound discs. Silver Crest Records MID72-11. G. P. Babb Junior High School Symphonic Band; Donald E. Wilkes, Alfred Reed, H. E. Nutt, Victor Zajac, conductors. Brush, Debussy-Warner, Conley, Holcombe, King, MassanetHarding, Mozart-Gordon, Cacavas-Wilkes. SEE: B140 D198. Imperatrix. (W31) 14th Annual Gatorland Music Clinic, University of Florida, Gainesville, Florida, July 22-28, 1973. Bill Bailey & Associates. 1973 1 sound disc. Bill Bailey & Associates WD-1119. Orange Band; Blue Band; Honor Band; Gatorland Faculty Jazz Band; Gatorland Orchestra, Daniel Yuan, soloist; Florida Vocal Association Gatorland Workshop Choir; J e a n Keister, piano.

158

(Discography Paul Hindemith, Carl Maria von Weber, and Jared Spears. SEE: B140

D199. Imperatrix. (W31) 1976 Arkansas Region 8 Bands. USC Sound Enterprises. 1976 1 sound disc. USC Sound Enterprises RPP 509. Arkansas Region 8 Bands; Don Kramer. Wendell O. Evanson, conductors. Paul Whear, Robert Jager, and Ronald Lo Presti. SEE: B140 D200. In Dulci Jubilo. (W107) Holly and Ivy. Air Combat Command. 1993 1 sound disc [CD]. Air Combat Command Heritage of America Band, Langley Air Force Band, Virginia; Lt. Col. Lowell E. Graham, commander and conductor. Sammy Nestico and G. F. Handel. D201. In Memoriam. (W32) Contest Band Music Selections 7 4 . CBS/Sony. 1974 1 sound disc. Columbia SOEL-6. Philharmonia wind Ensemble; Yasuhiko Shiozawa, conductor. Alleluia! Laudamusa te. Nixon, W. Francis McBeth, Charles Carter. D202. In Memoriam. (W32) 1975 Mid-East Composer's Concert. Mark Custom Records. 1975 1 sound disc. Mark Custom Records MC-5379. Duquesne University Symphony Band; John Wilson, conductor; Alfred Reed, conductor, composer, clinician. Punchinello; A Symphonic Prelude; Alleluia! Laudamus te; Armenian Dances: Part I. D203. Intrada Dramatica. (W22) 23rd Annual Mid-West National Band and Orchestra Clinic. Silver Crest. 1969

(Discography

159

2 sound discs. Silver Crest MID69-9. Quachita Parish High School Band; Jack Weldon White, director; Bill Swor, Tommy Guilbert, Paul Yoder, conductors; Milton Bush, trombone soloist. Eric Osterling, Paul Yoder, George Gates, and Francis McBeth. D204. Jesu, Joy of Man's Desiring. (W122) The World of Bach De Haske. 1 sound disc [CD]. De Haske 11.001. The Amsterdam Wind Orchestra; Heinz Friesen, conductor. Come, Sweet Death. Dupont, Kimura, Horovitz, and Leist. D205. Jesu, Joy of Man's Desiring. (W122) Alfred Reed & Tokyo Wind Orchestra. Kosei Publishing Company. 1981 2 sound discs. Kosei Publishing Company KOR-8101 and KOR-8102. Tokyo Kosei Wind Orchestra; Alfred Reed, conductor. Second Suite for Band; Enchanted Island; Music Makers, Concert Overture; Russian Christmas Music; Ballad for Alto Saxophone and Band; A Festival Prelude; Armenian Dances: Part I; Also includes Alfred Reed speaking about his life and music followed by a recorded rehearsal of Reed's Second Suite for Band. D206. Jesu, Joy of Man's Desiring. (W122) Alfred Reed and the Tokyo Kosei Wind Orchestra. Kosei Publishing Company. 1986 1 sound disc [CD]. Kosei Publishing Company KOCD-3502. Tokyo Kosei Wind Orchestra; Alfred Reed, conductor. Second Suite for Band; Enchanted Island; Music Makers Overture; Russian Christmas Music; Ballade for Alto Saxophone and Band; A Festival Prelude; Armenian Dances: Part I. D207. Jesu, Joy of Man's Desiring. (W122) Classics! Walking Frog Records. 1995 1 sound disc [CD]. Walking Frog Records WFR129.

160

(Discography Washington Winds; Edward Petersen, conductor. Funiculi, Funicula; Slavonic Dance, no. 8; Radetzky March; Panis Angelicus; Hungarian Dance, no. 5; Greensleeves.

D208. Jesu, Joy of Man's Desiring. (W122) Sinfonia Voci Mark Recordings. 1995 1 sound disc [CD]. Mark Recordings MCD - 1870. Concordia University Wind Symphony; Richard Fischer, conductor. Alleluia! Laudamus te. Holsinger, Nelhybel, Vaughan Williams, La Reau, Allen, and Ticheli. D209. Jesu, Joy of Man's Desiring. (W122) Alfred Reed & Tokyo Kosei Wind Orchestra. Kosei Publications. 1996 1981 1 sound disc [CD]. Kosei Publications KOCD-2301. Tokyo Kosei Wind Orchestra; Alfred Reed, conductor. Second Suite for Band; Enchanted Island; Music Makers, Concert Overture; Russian Christmas Music; Ballade for Alto Saxophone and Band; A Festival Prelude; Armenian Dances: Part I. D210. Jesu, Joy of Man's Desiring. (W122) Concerto for Trumpet and Winds. Victor Entertainment, Inc. 1998 1 sound disc [CD]. PRCD-5274. Senzoku Gakuen Symphonic Wind Orchestra, Alfred Reed, conductor; Osamu Takahashi, trumpet. La Procession Du Rocio; Nocturne, Op. 9, No. 2; Concerto for Trumpet and Winds; Praise Jerusalem!; Funiculi, Funicula; Radetzky March. D211. La Procession du Rocio. (W98) Colas Breugon Overture. Franco Colombo. 1968 1 sound disc. Franco Colombo BP 105. Performed by various bands under various conductors. Passacaglia. Francis McBeth and John Barnes Chance.

discography 161 D212. La Procession du Rocio. (W98) 1978 College Band Directors Association Convention Milwaukee. Crest. 1978 1 sound disc. Silver Crest NCBDNA-78. Coe College Concert Band. Daruis Milhaud, Warren Benson, and Karel Husa. D213. La Procession du Rocio. (W98) The Wind Ensemble 1982. California State University, Fresno. 1982 1 sound disc. California State University, Fresno CSUF-2. California State University, Fresno Wind Ensemble; Larry Sutherland, conductor; Douglas Rogers, assistant conductor. Robert Jager, Joseph Schwantner, and H. Owen Reed. D214. La Procession du Rocio. (W98) Richardson Independent School District Presents L. V. Berkner High School. Mark Records. 1991 1 sound disc [CD]. Mark Records MCD-914. L. V. Berkner High School Symphonic Band; Frank Ticheli, H. Robert Reynolds, Greg Hames, Thomas Lee, Richard Floyd, conductors. Roger Nixon, Frank Ticheli, Percy Grainger, Frank Bencriscutto, Sousa, Edward Gregson, Carl Strommen. D215. La Procession du Rocio. (W98) European Tradition Brewster. 1994 1 sound disc [CD]. Brewster 4-4105-2. The Northshore Concert Band; John Paynter, conductor. Odom, Buehlman, and Banium. D216. La Procession du Rocio. (W98) Spectrum. University of Saskatchewan, Department of Music. 1996 2 sound discs [CD]. University of Saskatchewan Wind Orchestra; Marvin Eckroth, conductor.

162

(Discography Symphony No. 3; Variations on the "Porazzi" Theme of Wagner from Second Suite. Grainger, Samuel Barber, Ron Nelson, Vincent Persichetti, Robert Jager, Percy Grainger.

D217. La Procession du Rocio. (W98) Concerto for Trumpet and Winds. Victor Entertainment, Inc. 1998 1 sound disc [CD]. PRCD-5274. Senzoku Gakuen Symphonic Wind Orchestra, Alfred Reed, conductor; Osamu Takahashi, trumpet. Nocturne, Op. 9, No. 2; Concerto for Trumpet and Winds; Jesu, Joy of Man's Desiring; Praise Jerusalem!; Funiculi, Funicula; Radetzky March. D218. Lawrence of Arabia. (W166) Exodus: Reed's symphonic pops. Kosei Publishing Company. 1990 1 sound disc [CD]. Kosei Publishing Company KOCD-3013. Tokyo Kosei Wind Orchestra; Alfred Reed, arrangerconductor. Highlights from Exodus; I Left My Heart in San Francisco; Cinderella; Peter Pan; Mary Poppins; The Man With the Golden Arm; The Wonderful World of the Brother's Grimm; The Valiant Years; Mancinil; Rogers and Hart; Autumn Leaves. D 2 1 9 . L a w r e n c e of Arabia. (W166) 70 Years Bandleader. 1994/3 1 sound disc [CD]. Bandleader BND - 5009. The Central Band of the Royal Air Force; Eric Banks, conductor. Viva Musical D220. Mancinil (W167) Rapid City Public Schools present the Cobbler Symphonic Band and the All-City Junior High Band in Concert. Century Records. 1970 and 1988 1 sound disc. Century Records 24186.

(Discography

163

Cobbler Symphonic Band; All-City Junior High Band; Jim Yarrrington, director. Gustav Hoist, Henri Rene, and Nelson Riddle. D221. Mancinil (W167) Exodus: Reed's symphonic pops. Kosei Publishing Company. 1990 1 sound disc [CD]. Kosei Publishing Company KOCD-3013. Tokyo Kosei Wind Orchestra; Alfred Reed, arrangerconductor. Highlights from Exodus; I Left My Heart in San Francisco; Cinderella; Peter Pan; Mary Poppins; Lawrence of Arabia; The Man With the Golden Arm; The Wonderful World of the Brother's Grimm; The Valiant Years; Rogers and Hart; Autumn Leaves. D222. Mary Poppins. (W168) Center Stage. Wilson Audio. 1988 1 sound disc [CD]. Wilson Audio WCD-8824. National Symphonic Winds; Lowell Graham, conductor. John Williams, J a m e s Curnow, Richard Rogers, Warren Barker, Robert Lowden and Leonard Bernstein. D223. Mary Poppins. (W168) Exodus: Reed's symphonic pops. Kosei Publishing Company. 1990 1 sound disc [CD]. Kosei Publishing Company KOCD-3013. Tokyo Kosei Wind Orchestra; Alfred Reed, arrangerconductor. Highlights from Exodus; I Left My Heart in San Francisco; Cinderella; Peter Pan; Lawrence of Arabia; The Man With the Golden Arm; The Wonderful World of the Brother's Grimm; The Valiant Years; Mancinil; Rogers and Hart; Autumn Leaves. D224. Might and Majesty. (W8) Salutations! Kosei Publishing Company. 1989 1 sound disc [CD]. Kosei Publishing Co. KOCD-3009. Tokyo Kosei Wind Orchestra; Alfred Reed, conductor.

164

(Discography Salutations!; A Northern Legend; El Camino Real; Praise Jerusalem!

D225. Music for "Hamlet." (W34) Michigan State University Symphonic Band, v. 1. Mark Records. 1970 and 1979 1 sound disc. Mark Records MC 1158. Michigan State University Symphonic Band; Kenneth Bloomquist, conductor. H. Owen Reed and Richard Wagner. SEE: B107 D226. Music for "Hamlet." (W34) MENC North Central Division, Western Illinois University Wind Ensemble. Crest Records. 1973 2 sound discs Crest Records NCME-73-6. Western Illinois University Wind Ensemble; Christopher Izzo, conductor; Vaclav Nelhybel and Alfred Reed, guest conductors. Saint Saens-Frackenpohl, Fisher Tull, Louis Applebaum, Harry Freedman, Vaclav Nelhybel. SEE: B107 D227. Music for "Hamlet" (W34) 1974 Mid-West National Band and Orchestra Clinic. Crest Records. 1974 2 sound discs. Silver Crest MID-74-6. Nathan Hale High School Orchestra; Ronald Melby, director; N a t h a n Hale High School Symphonic Band; Joel Blahnik, director; West Allis Trombone Club, guest ensemble; N a t h a n Hale Chorale and Sinfonia; Robert Martin, director. Ralph Williams, Morton Gould, and Warren Benson. SEE: B107 D228. Music for "Hamlet" (W34) North Muskegon High School Band. Mark Custom Records. 1978? 1 sound disc. Mark Custom Records MC 1422. North Muskegon High School Band; Dennis L. Emmons, conductor.

(Discography Carl Orff, Robert Jager, and Henry Fillmore. SEE: B107 D229. Music for "Hamlet" (W34) Band Concert, April 20, 1984. College of Musical Arts. 1984 1 sound cassette. Bowling Green State University Concert Band I; Glenn C. Hayes, conductor; Vicki Cindea, guest conductor; John Sampen, saxophone. Vaclav Nelhybel, Richard Wagner, and Robert Jager. SEE: B107 D230. Music for "Hamlet" (W34) Bowling Green State University Concert Band I Band Concert, April 20, 1984. College of Musical Arts. 1984 1 sound disc. Bowling Green State University Concert Band I; Glenn C. Hayes, conductor; Vicki Cindea, guest conductor; John Sampen, saxophone. Vaclav Nelhybel, Richard Wager, Robert Jager, and Robert Schumann. SEE: B107 D231. Music for "Hamlet" (W34) Hamlet. Kosei Publishing Company. 1987 1 sound disc [CD]. Kosei Publishing Company KOCD-3007. Tokyo Kosei Wind Orchestra; Alfred Reed, conductor. Pro Texana; Prelude and Capriccio; The Garden of Prosperpine. SEE: B107 D232. Music for "Hamlet" (W34) Hamlet. Kosei Publishing Company. 1987 and 1988 1 sound disc. Kosei Publishing Company KOR-8107. Tokyo Kosei Wind Orchestra; Alfred Reed, conductor. Pro Texana; The Garden of Prosperpine; Prelude and Capriccio. SEE: B107

165

166

(Discography

D233. Music for "Hamlet" (W34) The Wind Music of Alfred Reed. Kosei Publishing Company. 1994 4 sound discs [CD]. Kosei Publishing Company KOCD-3550/53. Tokyo Kosei Wind Orchestra; Alfred Reed, conductor. Second Symphony; Symphony No. 3; Fourth Symphony; Viva Musica!; The Hounds of Spring; Evolutions; Golden Jubilee; The Music-Makers; A Jubilant Overture; A Springtime Celebration; Curtain Up!; Punchinello, Overture to a romantic comedy; First Suite for Band; Second Suite for Band; Third Suite for Band; Fourth Suite for Band; A Little Concert Suite; Othello; The Enchanted Island; Praise Jerusalem! SEE: B107 D234. My Jesus! Oh, What Anguish. (W114) 1975 Mid-West National Band and Orchestra Clinic Crest Records. 1975 2 sound discs. Silver Crest MID-75-12. Oconomowoc Junior High School Band; David Reul, director. Serenade for clarinet and piano. Gordon Jacob, William Latham, and J a m e s Christensen. D235. Nocturne, Op. 9, No. 2. (W115) 1977 Mid-West Band and Orchestra Clinic. Crest Records. 1977 2 sound discs. Silver Crest MID-77-10. VanderCook College of Music Band; Victor Zajec and Allan Harris, co-directors. Vaclav Nelhybel, Aaron Copland, William Walton, Robert Lowden, and Paul Bowles. D236. Nocturne, Op. 9, No. 2. (W115) The Oswego High School Symphonic Wind Ensemble. Silver Crest. 1978 2 sound discs. Silver Crest NBA-78-14. Oswego High school Symphonic Wind Ensemble. A Ceremonial Fanfare. Hector Berlioz, Elliot Del Borgo, Jerry H. Bilik, and Kenneth Alford.

'Discography

167

D237. Nocturne, Op. 9, No. 2. (W115) Live at the 1990 MENC National Biennial In-Service Convention Mark Recordings. 1990 1 sound disc [CD]. Mark Recordings. University of Florida Symphonic Band and Wind Ensemble; David Waybright, conductor. Wilson. D238. Nocturne, Op. 9, No. 2. (W115) Concerto for Trumpet and Winds. Victor Entertainment, Inc. 1998 1 sound disc [CD]. PRCD-5274. Senzoku Gakuen Symphonic Wind Orchestra, Alfred Reed, conductor; Osamu Takahashi, trumpet. La Procession Du Rocio; Concerto for Trumpet and Winds; Jesu, Joy of Man's Desiring; Praise Jerusalem!; Funiculi, Funicula; Radetzky March. D239. Ode for Trumpet. (W5) Have Conns, Will Travel. Constellation; Distributed by Musicade. 1960 and 1969 1 sound disc. Constellation C-38B-1058. Chicago Symphonic Band, J a m e s Neilson, director; Don Jacoby, trumpet and cornet. Clifton Williams, Meredith Wilson, and Jacoby-Jones. SEE: B140 D240. Ode for Trumpet. (W5) The Symphonic Band and Phi Mu Alpha's Men of Note. Century Custom Recording Service. 1964 1 sound disc. Murry State College Symphonic Band; Paul W. Shahan, conductor. Gordon Jacob, Clifton Williams, and Sergi Prokofieff. SEE: B140 D241. Ode for Trumpet. (W5) 5th United States Army Symphonic Band. 5th Army Region, Electronic and Communication Division. 1966 1 sound disc.

168

THscography U. S. 5th Army Region TR4S-3810. U. S. 5th Army Symphonic Band; B. G. Cook, conductor; John DeFlon, trumpet solo; Jack Briggs, vocalist; Allen M. Feltcorn, arranger. Richard Rogers, John Philip Sousa, and Harry Suneone. SEE: B140

D242. Ode for Trumpet. (W5) Favorites for Trumpet and Band. Trumpeter Recordings. 1980 1 sound disc. Trumpeter Recordings TR-1601. University of Maryland Wind Ensemble; John Wakefield, conductor; Emerson Head, trumpet. Herbert L. Clarke, Leroy Anderson, Edwin Franco Goldman, Clifton Williams, Del Staigers, and Leo Stanley. SEE: B140 D243. Ode for Trumpet. (W5) Curtain Up! Kosei Publishing Company. 1991 1 sound disc [CD]. Kosei Publishing Company KOCD-3017. Tokyo Kosei Wind Orchestra; Alfred Reed, conductor. Curtain Up!; Rahoon; Golden Jubilee; Mr. Music!; First Suite for Band; Alleluia! Laudamus te; Highlights from the Music Man. SEE: B140 D244. Othello. (W40) In Concert with the University of Illinois Symphonic Band. University of Illinois Symphonic Band. 1970 and 1979 1 sound disc. University of Illinois Symphonic Band 92. University of Illinois Symphonic Band II; Thomas Harris, conductor. Kenneth Snoeck and J a m e s Curnow. SEE: B108, B110, B i l l , B112, B133 D245. Othello. (W40) 1979 Tennessee All-State. Crest Records. 1979 2 sound discs. 1979 Tennessee All-State Chorus, Paul Salamunovitch, conductor; Band, J a m e s T. Matthews, conductor; Orchestra, A. Clyde Roller, conductor.

'Discography

169

Mikhail Glinka, Samuel Barber, and Aaron Copland. SEE: B108, B110, B i l l , B112, B133 D246. Othello. (W40) American Bandmasters Association Golden Anniversary, 1979, Presents the Hardaway High School Symphonic Band. Silver Crest. 1979 2 sound discs. Silver Crest ABA 79-3. Hardaway High School Symphonic Band; David Gregory, conductor; including guest conductors/composers Bowles, Reed, and Erickson, and arrangers Hindsley and Thurston. John Philip Sousa, Morton Gould, Vincent Persichetti, F r a n k Erickson, and Clifton Williams. SEE: B108, B110, B i l l , B112, B133 D247. Othello. (W40) 1980 E a s t Tennessee Band and Orchestra Association Senior Clinic Concert. Crest Records. 1980 2 sound discs. Silver Crest ET-2380. White Band, Ted Galloway, director; Green Band, Ray Babeley, director; Orchestra, Gary Parks, director; Red Band, Dan Elles, director; Blue Band, Howard Nicar, director. NOTE: Contains only movements 2 and 4 oi Othello. J a m e s Swearingen, Clifton Williams, Sammy Nestico, Claude T. Smith, and J a r e d Spears. SEE: B108, B110, B i l l , B112, B133 D248. Othello. (W40) Scaramouch. University of Illinois Band. 1980 and 1981 1 sound disc. University of Illinois Bands 92. University of Illinois Symphonic Band II; Thomas Harris, conductor. J a m e s Curnow. SEE: B108, B110, B i l l , B112, B133 D249. Othello. (W40) University of Illinois Symphonic Band II. University of Illinois. 1980 1 sound disc.

170 Discography University of Illinois Symphonic Band 92, 36988. University of Illinois Symphonic Band II; Thomas Harris, conductor. Kenneth Snoeck, and J a m e s Curnow. SEE: B108, B110, B i l l , B112, B133 D250. Othello. (W40) 1987 Indiana All-State Band Caboose Productions. 1987 1 sound disc . Caboose Productions NR 17023. Indiana All-State Band; Stephen E. Squires, conductor; Indiana All-State Honor Band; Richard J. Suddendorf, conductor. Ralph Williams, Clifton Williams, G. F. Handel, and Henry Fillmore. SEE: B108, B110, B i l l , B112, B133 D251. Othello. (W40) Othello. Kosei Publishing Company. 1987 1 sound disc [CD]. Kosei Publishing Company KOCD-3006. Tokyo Kosei Wind Orchestra; Alfred Reed, conductor. Second Century; A Symphonic Prelude; Danza Caribe; Rushmore. SEE: B108, B110, B i l l , B112, B133 D252. Othello. (W40) Wind Music from Ithaca College: A contribution of classics. Ithaca College School of Music. 1992 1 sound cassette. Ithaca College Concert Band, Mark Fonder, conductor; Ithaca College Symphonic Band, Harry Neubert, conductor; Ithaca College Wind Ensemble, Rodney Winther, conductor; Randie Blooding, narrator. Leonard Bernstein, Walter Beeler, Warren Benson, Aaron Copland, and Karel Husa. SEE: B108, B110, B i l l , B112, B133 D253. Othello. (W40) The Wind Music of Alfred Reed. Kosei Publishing Company. 1994 4 sound discs [CD]. Kosei Publishing Company KOCD-3550/53. Tokyo Kosei Wind Orchestra; Alfred Reed, conductor.

Discography

171

Second Symphony; Symphony No. 3; Fourth Symphony; Viva Musica!; The Hounds of Spring; Evolutions; Golden Jubilee; The Music-Makers; A Jubilant Overture; A Springtime Celebration; Curtain Up!; Punchinello, Overture to a romantic comedy; First Suite for Band; Second Suite for Band; Third Suite for Band; Fourth Suite for Band; A Little Concert Suite; Music for "Hamlet;" The Enchanted Island; Praise Jerusalem! SEE: B108, B110, B i l l , B112, B133 D254. Othello. (W40) Indiana University Band; Program, 1995-1996, no. 447. Indiana University School of Music. 1996 1 sound cassette. Indiana University School of Music; Program, 1995-1996, no. 447. Indiana University Band; Indiana University concert band; David C. Woodley, Lawrence F. Stoffel, Stephen W. Pratt, Scott A. Stewart, conductors. Ralph Williams, John Barnes Chance, Charles E. Duble, David Bedford, Gioacchino Rossini arr. Lucien Cailliet, Ronald Lo Presti. SEE: B108, B110, B i l l , B112, B133 D255. Panis Angelicus. (W133) Armeniana Dances (complete). Kosei Publishing Company. 1991 1 sound disc [CD]. Kosei Publishing Company KOCD-3016. Tokyo Kosei Wind Orchestra; Alfred Reed, conductor. Armenian Dances: Part I; Armenian Dances: Part II; Sleepers Awake; A Jubilant Overture; Song of the High Cascades. D256. Panis Angelicus. (W133) Classics! Walking Frog Records. 1995 1 sound disc [CD]. Walking Frog Records WFR129. Washington Winds; Edward Petersen, conductor. Funiculi, Funicula; Slavonic Dance, no. 8; Jesu, Joy of Man's Desiring; Radetzky March; Hungarian Dance, no. 5; Greensleeves.

172 Discography D257. Passacaglia. (W20) Alabama High School Music Festival, 1968. Century. 1968 1 sound disc. Century 29663. Alabama All-State White Band; Alfred Reed, conductor; Alabama All-State Blue Band; Robert Hawkins, conductor. Henry Fillmore, Richard Wagner, and Giovannini. D258. Passacaglia. (W20) University of Houston Symphonic Wind Ensemble. Oliver W. Perry. 1968 1 sound disc. University of Houston Symphonic Wind Ensemble; J a m e s Matthews, conductor. Vaclav Nelhybel and Richard Wagner. D259. Passacaglia. (W20) Colas Breugon Overture. Franco Colombo. 1968 1 sound disc. Franco Colombo BP 105. Performed by various bands under various conductors. La Procession du Rocio. Francis McBeth and John Barnes Chance. D260. Passacaglia. (W20) Passacaglia. Franco Colombo. 1969 1 sound disc. Franco Colombo BP 105. The University of Houston Concert Band; J a m e s Matthews, conductor. D261. Passacaglia. (W20) The Lotus Sutra. Kosei Publishing Company. 1979 and 1988 1 sound disc [CD]. Kosei Publishing Company KOCD-3071. Tokyo Kosei Wind Orchestra; Kazuyoshi Akiyama, conductor. Three Revelations from the Lotus Sutra; First Suite for Band. D262. Passacaglia. (W20) Tokyo Kosei Wind Orchestra.

Discography

173

Kosei Publishing Company. 1979 1 sound disc. Kosei Publishing Company KOR-7902. Tokyo Kosei Wind Orchestra. First Suite for Band. Ben Kaneda and Masaru Kawasaki. D263. Passacaglia. (W20) The Marimba Concerto. Kosei Publishing Company. 1992 1 sound disc [CD]. Kosei Publishing Company KOCD-3019. Tokyo Kosei Wind Orchestra; Alfred Reed, conductor; Reiko Kono, marimba; Hitoshi Sekiguchi, clarinet. Concertino for Marimba and Winds; Vilabella; A Springtime Celebration; Serenade for Solo Bb Clarinet and Band; Hymn Variants; A Festive Overture. D264. Pastorale. (W209) Contest Solos for the Clarinet Family. Roxas Associates. 1960 and 1969 1 sound disc. Roxas Associates SR4M 1795-SR4M 1796. Donald McCathren, clarinets; William A. Chrystal, piano. Hoe-Down; Sarabande; Guaracha; Afro; Hora; March Variations; Serenata; Haitian Dance (Voodoo); Scherzo Fantastique. D265. Pastorale. (W209) Images. Golden Crest. 1982 1 sound disc. Golden Crest RE 7074. Mark Thomas, flute; Christine Croshaw, piano. E m m a Lou Diemer, Everett Titcomb, Robert Schumann, Andre Previn, and Thorn Ritter George. D266. Peter Pan. (W161) Exodus: Reed's symphonic pops. Kosei Publishing Company. 1990 1 sound disc [CD]. Kosei Publishing Company KOCD-3013. Tokyo Kosei Wind Orchestra; Alfred Reed, arrangerconductor.

174

Discography Highlights from Exodus; I Left My Heart in San Francisco; Cinderella; Mary Poppins; Lawrence of Arabia; The Man With the Golden Arm; The Wonderful World of the Brother's Grimm; The Valiant Years; MancinU; Rogers and Hart; Autumn Leaves.

D267. Poetry and Power. (W19) 1971 Mid-West National Band & Orchestra Clinic: 25th Anniversary. Crest Records. 1971 2 sound discs. Silver Crest MID 71-12. VanderCook College of Music Band; John Brimhall, piano; Harold Bachman, Alfred Reed, Jerry Hoover, Lucien Cailliet, Jon Edmondson, Paul Yoder, conductors. J. P. Sousa, C. T. Smith, Shostakovitch, Puente, Demerssman, L. Cailliet, Giovannini, Lia, P. Yoder. SEE: B23 D268. Praise Jerusalem! (W63) "Pershing's Own" the United States Army Band. Mark Records. 1989 1 sound disc. Mark Records MW89MCD-7. United States Army Band; Eugene W. Allen, conductor; Frederick Fennell, John Paynter, and Harry Begian, guest conductors. Clare Grundman, Frank Piersol, Carl Maria von Weber, Edvard Grieg, and John Philip Sousa. SEE: B23, B123, B134 D269. Praise Jerusalem! (W63) Band Concert, J a n u a r y 27, 1989. College of Musical Arts. 1989 1 sound cassette. Bowling green State University Symphonic Band; Mark S. Kelly conductor; Harry Begian, guest conductor; Venti da Camera. Robert Jager, Robert Russell Bennett, Claude T. Smith, and John Philip Sousa. SEE: B23, B123, B134 D270. Praise Jerusalem! (W63) Bowling Green State University Symphonic Band Concert, J a n u a r y 27, 1989. College of Musical Arts. 1989

Discography

175

1 sound cassette. Bowling Green State University Symphonic Band; Mark S. Kelly, conductor; Harry Begian, guest conductor. Robert Jager, Robert Russell Bennett, and Claude T. Smith. SEE: B23, B123, B134 D271. Praise Jerusalem! (W63) Salutations! Kosei Publishing Company. 1989 1 sound disc [CD]. Kosei Publishing Co. KOCD-3009. Tokyo Kosei Wind Orchestra; Alfred Reed, conductor. Salutations!; A Northern Legend; El Camino Real; Might and Majesty. SEE: B23, B123, B134 D272. Praise Jerusalem! (W63) Best of Alfred Reed. Sony Records. 1990 1 sound disc. Sony CSCL-1506. Tokyo Kosei Wind Ensemble. Viva Muscia!; Third Suite for Band; The Hounds of Spring; El Camino Real; Queenston Overture; Golden Jubilee. SEE: B23, B123, B134 D273. Praise Jerusalem! (W63) The 56th Annual Convention of the American bandmasters Association, The Symphonic Band. Mark Custom Recording Service . 1990 1 sound disc. Mark Custom Recording Service ABA90-2. University of Illinois at Urbana-Champaign Symphonic Band; J a m e s Keene, Harry Begian, Gary Smith, and Mark Hindsley, conductors. Mark Hindsley, Aaron Copland, Walter Beeler, and J a m e s Curnow. SEE: B23, B123, B134 D274. Praise Jerusalem! (Wa63) The University of Illinois Band presents [sic] the Symphonic Band. Mark Custom Recording Service. 1990 1 sound disc [CD]. University of Illinois Bands ABA90-2CD.

176

Discography University of Illinois at Urbana-Champaign Concert Band. Camille Saint-Saens, Aaron Copland, J a m e s Curnow, Dimitri Shostakovich. SEE: B23, B123, B134

D275. Praise Jerusalem! (W63) Music for the Symphonic Band Rene Gailly. 1991 1 sound disc [CD]. Rene Gailly 87056. Symphonic Band of the Belgium Guides; Norbet Nozy, conductor. Absil, Dukas, Gershwin, Hansotte, and Thijssen. SEE: B23, B123, B134 D276. Praise Jerusalem! (W63) The Wind Music of Alfred Reed. Kosei Publishing Company. 1994 4 sound discs [CD]. Kosei Publishing Company KOCD-3550/53. Tokyo Kosei Wind Orchestra; Alfred Reed, conductor. Second Symphony; Symphony No. 3; Fourth Symphony; Viva Musica!; The Hounds of Spring; Evolutions; Golden Jubilee; The Music-Makers; A Jubilant Overture; A Springtime Celebration; Curtain Up!; Punchinello, Overture to a romantic comedy; First Suite for Band; Second Suite for Band; Third Suite for Band; Fourth Suite for Band; A Little Concert Suite; Music for "Hamlet;" Othello; The Enchanted Island. SEE: B23, B123, B134 D277. Praise Jerusalem! (W63) In Concert! Music From the Garden State. Mark Custom Recording Service. 1995 2 sound discs [CD]. Mark Custom Music Service MCD 1967-1968. Trenton State College Chorale, Michael D. Mendoza, conductor; Trenton State College Wind Ensemble, William H. Silvester, conductor. Jack Stamp, Ron Nelson, Percy Grainger, H. Owen Reed, Gustave Mahler, and Claude T. Smith. SEE: B23, B123, B134 D278. Praise Jerusalem! (W63) The 10th Anniversary Otonowa Concert. Blue Lights. 1998

(Discography

111

2 sound discs [CD]. Blue Lights BLCD 0160. The 10th Anniversary Otonowa Special Band, Alfred Reed and J a m e s Barns, conductors; The Otonowa Wind Symphonica '98, Toru Ito, conductor; The Otonowa Wind Symphonica '98, Alfred Reed conductor. The Hounds of Spring; El Camino Real; A Festival Prelude; Autumn Leaves; Sixth Suite for Band; Danza Caribe; Curtain Up!; Concertino for Marimba and Winds; Armenian Dances Parts I and II. J a m e s Barns and John Philip Sousa. SEE: B23, B123, B134 D279. Praise Jerusalem! (W63) Concerto for Trumpet and Winds. Victor Entertainment, Inc. 1998 1 sound disc [CD]. PRCD-5274. Senzoku Gakuen Symphonic Wind Orchestra, Alfred Reed, conductor; Osamu Takahashi, trumpet. La Procession Du Rocio; Nocturne, Op. 9, No. 2; Concerto for Trumpet and Winds; Jesu, Joy of Man's Desiring; Funiculi, Funicula; Radetzky March. SEE: B23, B123, B134 D280. Prelude and Capriccio. (W42) The Compositions of Alfred Reed. Golden Crest Records. 1978 1 sound cassette. Golden Crest Records ATH 5057. Michigan State University Symphonic Band; A. Thad Hegerberg, Kenneth Bloomquist, and Alfred Reed, conductors; Roger Behrend, euphonium. The Music Makers; Seascape; Second Symphony; A Festival Prelude; Punchinello. SEE: B140 D281. Prelude and Capriccio. (W42) Hamlet. Kosei Publishing Company. 1987 1 sound disc [CD]. Kosei Publishing Company KOCD-3007. Tokyo Kosei Wind Orchestra; Alfred Reed, conductor. Pro Texana; The Garden of Prosperpine; Music for "Hamlet." SEE: B140

178

(Discography

D282. Prelude and Capriccio. (W42) Hamlet. Kosei Publishing Company. 1987 and 1988 1 sound disc. Kosei Publishing Company KOR-8107. Tokyo Kosei Wind Orchestra; Alfred Reed, conductor. Music for "Hamlet;" Pro Texana; The Garden of Prosperpine. SEE: B140 D283. Pro Texana. (W53) Music for Concert Band. Southern Music Company. 1980 and 1989 2 sound discs. Southern Music Company J-25 and J-26. Louisiana State University Wind Ensemble; F r a n k Wickes, conductor. John Edmondson, Ann McGinty, and Everett Maxwell. SEE: B104 D284. Pro Texana. (W53) Hamlet. Kosei Publishing Company. 1987 1 sound disc [CD]. Kosei Publishing Company KOCD-3007. Tokyo Kosei Wind Orchestra; Alfred Reed, conductor. Prelude and Capriccio; The Garden of Prosperpine; Music for "Hamlet." SEE: B104 D285. Pro Texana. (W53) Hamlet. Kosei Publishing Company. 1987 and 1988 1 sound disc. Kosei Publishing Company KOR-8107. Tokyo Kosei Wind Orchestra; Alfred Reed, conductor. Music for "Hamlet;" The Garden of Prosperpine; Prelude and Capriccio. SEE: B104 D286. Pro Texana. (W53) Music For Concert Band: Volume 2 Florida Music Service. 1990 1 sound disc. Florida Music Service. Louisiana State University Wind Ensemble; F r a n k Wicks, conductor.

(Discography

179

Rhodes, Giraux-West, Edmunds, and Holsinger. SEE: B104 D287. Pro Texana. (W53) Fifth Symphony (Sakura). Victor Entertainment, Inc. 1995 1 sound disc [CD]. Victor Entertainment Inc. PRCD-5161. Senzoku Gakuen Symphonic Wind Orchestra; Alfred Reed, conductor. The Music-Makers Overture; Fifth Sympahony; Armenian Dances: Part I; Armenian Dances: Part II. SEE: B104 D288. Pro Texana. (W53) Fifth Symphony. Walking Frog Records. 1996 1 sound disc [CD]. Walking Frog Records WFR140. Senzoku Gakuen Symphonic Wind Orchestra; Alfred Reed, conductor. The Music Makers; Fifth Symphony; A Springtime Celebration; Armenian Dances: Part I; Armenian Dances: Part II. SEE: B104 D289. Punchinello. (W37) 1974 Mid-West National Band and Orchestra Clinic. Crest Records. 1974 2 sound discs. Silver Crest MID74-15. North Hills High School Symphony Band; Warren Mercer, Jr., director. Jerry Bilik, Gustav Hoist, Vaclav Nelhybel, and Cesar Giovannini. SEE: B140 D290. Punchinello. (W37) 1975 Mid-East Composer's Concert. Mark Custom Records. 1975 1 sound disc. Mark Custom Records MC-5379. Duquesne University Symphony Band; John Wilson, conductor; Alfred Reed, conductor, composer, clinician.

180

(Discography A Symphonic Prelude; Alleluia! Laudamus Memoriam; Armenian Dances: Part I. SEE: B140

te; In

D291. Punchinello. (W37) The Compositions of Alfred Reed. Golden Crest Records. 1978 1 sound cassette. Golden Crest Records ATH 5057. Michigan State University Symphonic Band; A. Thad Hegerberg, Kenneth Bloomquist, and Alfred Reed, conductors; Roger Behrend, euphonium. The Music Makers; Seascape; Second Symphony; A Festival Prelude; Prelude and Capriccio. SEE: B140 D292. Punchinello. (W37) Second Symphony. Kosei Publishing Company. 1982 and 1987 1 sound disc [CD]. Kosei Publishing Company KOCD-3312. Tokyo Kosei Wind Orchestra; Alfred Reed, conductor. Concerto in C Major for Piccolo and Band; The Hounds of Spring; "Rejoicing" from Three Revelations from the Lotus Sutra; Second Symphony. SEE: B140 D293. Punchinello. (W37) The Wind Music of Alfred Reed. Kosei Publishing Company. 1994 4 sound discs [CD]. Kosei Publishing Company KOCD-3550/53. Tokyo Kosei Wind Orchestra; Alfred Reed, conductor. Second Symphony; Symphony No. 3; Fourth Symphony; Viva Musical; The Hounds of Spring; Evolutions; Golden Jubilee; The Music-Makers; A Jubilant Overture; A Springtime Celebration; Curtain Up!; First Suite for Band; Second Suite for Band; Third Suite for Band; Fourth Suite for Band; A Little Concert Suite; Music for "Hamlet;" Othello; The Enchanted Island; Praise Jerusalem! SEE: B140 D294. Queenston Overture. (W51) Best of Alfred Reed. Sony Records. 1990 1 sound disc.

discography 181 Sony CSCL-1506. Tokyo Kosei Wind Ensemble. Viva Muscia!; Third Suite for Band; The Hounds of Spring; El Camino Real; Golden Jubilee; Praise Jerusalem! SEE: B118 D295. Radetzky March. (W143) Classics! Walking Frog Records. 1995 1 sound disc [CD]. Walking Frog Records WFR129. Washington Winds; Edward Petersen, conductor. Funiculi, Funicula; Slavonic Dance, no. 8; Jesu, Joy of Man's Desiring; Panis Angelicus; Hungarian Dance, no. 5; Greensleevesa. D296. Radetzky March. (W143) Concerto for Trumpet and Winds. Victor Entertainment, Inc. 1998 1 sound disc [CD]. PRCD-5274. Senzoku Gakuen Symphonic Wind Orchestra, Alfred Reed, conductor; Osamu Takahashi, trumpet. La Procession Du Rocio; Nocturne, Op. 9, No. 2; Concerto for Trumpet and Winds; Jesu, Joy of Man's Desiring; Praise Jerusalem!; Funiculi, Funicula. D297. Rahoon. (W17) Curtain Up! Kosei Publishing Company. 1991 1 sound disc [CD]. Kosei Publishing Company KOCD-3017. Tokyo Kosei Wind Orchestra; Alfred Reed, conductor. Curtain Up!; Golden Jubilee; Ode for Trumpet; Mr. Music!; First Suite for Band; Alleluia! Laudamus te; Highlights from the Music Man. D298. Rogers and Hart. (W169) Exodus: Reed's symphonic pops. Kosei Publishing Company. 1990 1 sound disc [CD]. Kosei Publishing Company KOCD-3013. Tokyo Kosei Wind Orchestra; Alfred Reed, arrangerconductor.

182 discography Highlights from Exodus; I Left My Heart in San Francisco; Cinderella; Peter Pan; Mary Poppins; Lawrence of Arabia; The Man With the Golden Arm; The Wonderful World of the Brother's Grimm; The Valiant Years; MancinU; Autumn Leaves. D299. Rushmore. (W47) Othello. Kosei Publishing Company. 1987 1 sound disc [CD]. Kosei Publishing Company KOCD-3006. Tokyo Kosei Wind Orchestra; Alfred Reed, conductor. Second Century; A Symphonic Prelude; Danza Caribe; Othello. D300. Russian Christmas Music. (W23) 1970 Mid-East All-Star High School Band. Mark Custom Records. 1970 1 sound disc. Mark Custom Records UMC 2226. Mid-East All-Star Band; Edward T. Harn, conductor. Clifton Williams, Fred Kepner, Lola Flores. SEE: B13, B34, B100, B126, B128, B135 D301. Russian Christmas Music. (W23) Aria and Toccata. Franco Colombo. 1970 1 sound disc. Franco Colombo BP 133. The Lamar State College of Technology Symphonic Band, Charles A. Wiley, conductor; The University of Illinois Concert Band, Mark Hindsley, conductor; Pioneer High School Symphony Band, Victor Bordo, conductor. Gordon Jacob and Masaru Kawasaki. SEE: B13, B34, B100, B126, B128, B135 D302. Russian Christmas Music. (W23) Russian Christmas Music. Franco Colombo. 1970 1 sound disc. Franco Colombo BP-133. Pioneer High School Symphony Band; Victor Bordo, conductor. SEE: B13, B34, B100, B126, B128, B135

(Discography

183

D303. Russian Christmas Music. (W23) West York High School Band. Mark Custom Records. 1970 1 sound disc. Mark Custom Records UMC 2266. West York Area High School Band; Alan Wyand, conductor; J a m e s W. Dunlop, guest conductor; Raymond Young, euphonium; Timothy day, flute. Giovannini-Robinson, A. Guilmant, William Schumann, Vivaldi-Cacavas, Caplet-Wummer, Vaclav Nelhybel. SEE: B13, B34, B100, B126, B128, B135 D304. Russian Christmas Music. (W23) Arkansas Region VII Bands 1971. Century Records. 1971 1 sound disc. Century 36918. Arkansas Region VII Bands; Gene Witherspoon, Wendell Evanson, conductors. Frances McBeth, Paul Whear, George Gates, and Claude T. Smith. SEE: B13, B34, B100, B126, B128, B135 D305. Russian Christmas Music. (W23) Ithica College Concert Band. Crest Records. 1971 1 sound disc. Crest Records CRE 9003. Ithica Brass Quintet; Ithica College Concert Band; Walter Beeler, Chuck Mangione, conductors. A Ceremonial Fanfare. Leonard Bernstein, Leroy Andreson, and Chuck Mangione. SEE: B13, B34, B100, B126, B128, B135 D306. Russian Christmas Music. (W23) National Music Camp High School Symphonic Band #2. National Music Camp/Silver Crest. 1971 1 sound disc. National Music Camp NMC-1971-18. National Music Camp Symphonic Band; George C. Wilson, conductor. John Philip Sousa, Gustav Hoist, and Robert Dvorak. SEE: B13, B34, B100, B126, B128, B135

184

(Discography

D307. Russian Christmas Music. (W23) The Twenty-fifth Annual Festival Concert. Fredlo. 1971 2 sound discs. Fredlo 7143LPS. Iowa All-State Band, Orchestra, and Chorus; Weston Noble, Frederick Ebbs, and Leo Kucinski, conductors. Carmen Dragon, Robert Russell Bennett, and Karl King. SEE: B13, B34, B100, B126, B128, B135 D308. Russian Christmas Music. (W23) West Virginia All-State Groups Concert. Century Records. 1971 2 sound discs. Century Records 39764. West Virginia All-State Band; Frederick C. Ebbs, conductor. Robert Jager, Lionel Bart, Robert Jager, Aaron Copland, and J a r e d Spears. SEE: B13, B34, B100, B126, B128, B135 D309. Russian Christmas Music. (W23) 1973 Mid-West National Band and Orchestra Clinic. Crest Records. 1973 2 sound discs. Silver Crest MID73-15. Huron High School Symphony Band; Edward Downing, director; Pioneer High School Symphony Band; Victor Bordo, director. John Philip Sousa, Robert Jager, and William Walton. SEE: B13, B34, B100, B126, B128, B135 D310. Russian Christmas Music. (W23) First Annual Southeastern United States Band Clinic, J a n u a r y 23-26, 1974. Mark Custom Recording Division. 1974 2 sound discs. Mark Custom Recording Division MC-7407--MC-7408. Merritt Island High School Wind Ensemble; Marion A. Scott, director; Butler High School Band; Frank H. Kendeigh, conductor. Henry Fillmore, Robert Jager, Richard Strauss, and Mozart. SEE: B13, B34, B100, B126, B128, B135 D311. Russian Christmas Music. (W23) Olmsted Falls High School Bands 1975. Century Records. 1975

(Discography

185

1 sound disc. Century USR 7922. Olmsted Falls High School Wind Ensemble; Olmsted Falls High School Symphonic Band; Olmsted Falls High School Jazz-Lab Band; John R. Simic, director. Elliot Del Borgo, Jared Spears, Clifton Williams, Charles Ives, F r a n k Erickson. SEE: B13, B34, B100, B126, B128, B135 D312. Russian Christmas Music. (W23) Sacred Band Classics. Mark Custom Recording Service. 1976 1 sound disc. Mark Custom MC8127. Wheaton College Band, Illinois; Arthur Katterjohn, conductor. Haydn, Bach, William Latham, and Morton Gould. SEE: B13, B34, B100, B126, B128, B135 D313. Russian Christmas Music. (W23) Alfred Reed & Tokyo Wind Orchestra. Kosei Publishing Company. 1981 2 sound discs. Kosei Publishing Company KOR-8101 and KOR-8102. Tokyo Kosei Wind Orchestra; Alfred Reed, conductor. Second Suite for Band; Enchanted Island; Music Makers, Concert Overture; Ballad for Alto Saxophone and Band; A Festival Prelude; Armenian Dances: Part I; Jesu, Joy of Man's Desiring; Also includes Alfred Reed speaking about his life and music followed by a recorded rehearsal of Reed's Second Suite for Band. SEE: B13, B34, B100, B126, B128, B135 D314. Russian Christmas Music. (W23) The United States Coast Guard Band Brings You the Musical Sounds of the Season. United States Coast Guard. 1981 1 sound disc. United States Coast Guard KM 6993. United States Coast Guard Band; Lewis J. Buckley, conductor. Leroy Anderson, Howard Hanson, and Morton Gould. SEE: B13, B34, B100, B126, B128, B135 D315. Russian Christmas Music. (W23) Cornell University Wind Ensemble. Cornell University. 1982

186

Discography 1 sound disc. CUWE 32. Cornell University Wind Ensemble; Marice Smith, conductor. Walter Hartley and Vaclav Nelhybel. SEE: B13, B34, B100, B126, B128, B135

D316. Russian Christmas Music. (W23) 1983 Fall Concert. Southern Baptist Theological Seminary. 1983 1 sound cassette. Southern Baptist Theological Seminary Winds; Douglas Smith, conductor. Douglas Smith, Francis McBeth, Dale Moore, and J a r e d Spears. SEE: B13, B34, B100, B126, B128, B135 D317. Russian Christmas Music. (W23) Twenty-Sixth Annual Chemung County Band Festival. Mark Custom Records. 1983 1 sound disc. Mark Custom Records MC-20352. Chemung County Band; Jack Lamb, Henry Neubert, guest conductors. John O'Reilly, Francis McBeth, Hugh Stuart, and Arthur Sullivan. SEE: B13, B34, B100, B126, B128, B135 D318. Russian Christmas Music. (W23) Alfred Reed and the Tokyo Kosei Wind Orchestra. Kosei Publishing Company. 1986 1 sound disc [CD]. Kosei Publishing Company KOCD-3502. Tokyo Kosei Wind Orchestra; Alfred Reed, conductor. Second Suite for Band; Enchanted Island; Music Makers Overture; Ballade for Alto Saxophone and Band; A Festival Prelude; Armenian Dances: Part I; Jesu, Joy of Man's Desiring. SEE: B13, B34, B100, B126, B128, B135 D319. Russian Christmas Music. (W23) Second Suite for Band. Kosei Publishing Company. 1986 1 sound disc [CD]. Kosei Publishing Company KOCD-3502. Tokyo Kosei Wind Orchestra; Alfred Reed, conductor. Ballade for alto saxophone and piano; Second Suite for Band;

(Discography

187

A Festival Prelude; Armenian Dances: Part I; Jesu, Joy of Man's Desiring; The Music Makers Overture; The Enchanted Island. SEE: B13, B34, B100, B126, B128, B135 D320. Russian Christmas Music. (W23) Christmas in Hampton Road. United States Air Force Tactical Air Command band. 1990 and 1992 1 sound disc [CD]. United States Air Force Tactical Air Command Band MCD765. United States Air Force Tactical Air Command band, Virginia; Lowell E. Graham, conductor. Greensleeves. Tchaikovsky, Prokofiev, and Sammy Nestico. SEE: B13, B34, B100, B126, B128, B135 D321. Russian Christmas Music. (W23) Fall Recital. Southold Symphonic Wind Band. 1993 1 sound cassette. Indiana University at South Bend. Program, 1993-1994, no. 8. Southold Symphonic Wind Band; Jerry Lackey, conductor. Jack Stamp, Mendelssohn arr. Seredy, Gian Battista Mantegazzi, John Zdechlik, Bob Lowden, Sousa. SEE: B13, B34, B100, B126, B128, B135 D322. Russian Christmas Music. (W23) Sounds of the Season. United States Air Force reserve Command Band. 1993 1 sound disc. Air Force Reserve MCD1400. Command Band of the Air Force Reserve; Air Force Reserve Singers. Warren Barker, Morton Gould, Warren Barker, and Claude T. Smith. SEE: B13, B34, B100, B126, B128, B135 D323. Russian Christmas Music. (W23) Alfred Reed & Tokyo Kosei Wind Orchestra. Kosei Publications. 1996 1981 1 sound disc [CD]. Kosei Publications KOCD-2301. Tokyo Kosei Wind Orchestra; Alfred Reed, conductor.

188

(Discography Second Suite for Band; Enchanted Island; Music Makers, Concert Overture; Ballade for Alto Saxophone and Band; A Festival Prelude; Armenian Dances: Part I; Jesu, Joy of Man's Desiring. SEE: B13, B34, B100, B126, B128, B135

D324. Russian Christmas Music. (W23) Christmas Pops. Calvin College. 1996 1 sound disc [CD]. Calvin College Band; Derald De Young, conductor. J a m e s Curnow, Clare Grundman, J a y Dawson, Beryl Red, J a y Dawson, Silent Night/Jay Dawson, J a m e s Ployhar. SEE: B13, B34, B100, B126, B128, B135 D325. Salutations! (W67) Salutations! Kosei Publishing Company. 1989 1 sound disc [CD]. Kosei Publishing Co. KOCD-3009. Tokyo Kosei Wind Orchestra; Alfred Reed, conductor. A Northern Legend; El Camino Real; Might and Majesty; Praise Jerusalem! D326. Sarabande, for Eb alto clarinet and piano. (W210) Contest Solos for the Clarinet Family. Roxas Associates. 1960 and 1969 1 sound disc. Roxas Associates SR4M 1795-SR4M 1796. Donald McCathren, clarinets; William A. Chrystal, piano. Hoe-Down; Guaracha; Afro; Hora; March Variations; Serenata; Haitian Dance (Voodoo); Pastorale; Scherzo Fantastique. D327. Sarabande and Double. (W194) Mini Winds: Chamber Music for Winds. Kosei Publishing Company. 1995 1 sound disc [CD]. Kosei Publishing Co. KOCD-3021. Tokyo Kosei Wind Orchestra; Alfred Reed, conductor. Two Bagatelles for Brass Ensemble and Percussion; Suite for Flute and Winds in A Minor; Clarinette Valsante; Double Wind Quintet; Havana Moon; Variations on L.B.I.F.D.; Trilogue.

(Discography

189

D328. Scherzo Fantastique, for Eb or Bb contrabass clarinet and piano. (W211) Contest Solos for the Clarinet Family. Roxas Associates. 1960 and 1969 1 sound disc. Roxas Associates SR4M 1795-SR4M 1796. Donald McCathren, clarinets; William A. Chrystal, piano. Hoe-Down; Sarabande; Guaracha; Afro; Hora; March Variations; Serenata; Haitian Dance (Voodoo); Pastorale. D329. Seascape. (W12) The Compositions of Alfred Reed. Golden Crest Records. 1978 1 sound cassette. Golden Crest Records ATH 5057. Michigan State University Symphonic Band; A. Thad Hegerberg, Kenneth Bloomquist, and Alfred Reed, conductors; Roger Behrend, euphonium. The Music Makers; Second Symphony; A Festival Prelude; Prelude and Capriccio; Punchinello. D330. Seascape. (W12) March Golden Eagle I Symphony for Brass and Percussion. Kosei Publishing Company. 1990 1 sound disc [CD]. Kosei Publishing Company KOCD-3012. Tokyo Kosei Wind Orchestra; Alfred Reed, conductor. March Golden Eagle; Who Will but Let Himself Be Guided; A Little Concert Suite; Eventide; Symphony for Brass and Percussion; Third Suite for Band; Greensleeves. D331. Seascape. (W12) A Shared Vision of Excellence. CAMPRO. 1993 1 sound disc [CD]. George Mason University Wind Ensemble; Anthony Maiello, conductor; Roger Behrend, euphonium. J a m e s Curnow, Jerry Brubaker, David Gillingham, and Vaclav Nelhybel. D332. Second Century. (W60) Othello. Kosei Publishing Company. 1987 1 sound disc [CD]. Kosei Publishing Company KOCD-3006.

190

(Discography Tokyo Kosei Wind Orchestra; Alfred Reed, conductor. A Symphonic Prelude; Danza Caribe; Rushmore; Othello.

D333. Second Suite for Band. (W44) 1981 Mid-West National Band and Orchestra Clinic. Crest Records. 1981 2 sound discs. Silver Crest MID-81-8. Valpraiso High School Band; Robert G, Miller, conductor. NOTE: Contains Mvts. 1, 3, and 4 from Second Suite. J a y Chattaway, Jerry Nowak, Malcolm Arnold, and Claude T. Smith. SEE: B114, B115 D334. Second Suite for Band. (W44) Alfred Reed & Tokyo Wind Orchestra. Kosei Publishing Company. 1981 2 sound discs. Kosei Publishing Company KOR-8101 and KOR-8102. Tokyo Kosei Wind Orchestra; Alfred Reed, conductor. Enchanted Island; Music Makers, Concert Overture; Russian Christmas Music; Ballad for Alto Saxophone and Band; A Festival Prelude; Armenian Dances: Part I; Jesu, Joy of Man's Desiring; Also includes Alfred Reed speaking about his life and music followed by a recorded rehearsal of Reed's Second Suite for Band. SEE: B114, B115 D335. Second Suite for Band. (W44) Cornell University Wind Ensemble. Cornell University. 1982 1 sound disc. Cornell University CUWE 31. Cornell University Wind Ensemble; Alfred Reed, conductor. First Suite for Band; The Garden of Prosperpine; The Hounds of Spring. SEE: B114, B115 D336. Second Suite for Band. (W44) Alfred Reed and the Tokyo Kosei Wind Orchestra. Kosei Publishing Company. 1986 1 sound disc [CD]. Kosei Publishing Company KOCD-3502. Tokyo Kosei Wind Orchestra; Alfred Reed, conductor. Enchanted Island; Music Makers Overture; Russian Christmas Music; Ballade for Alto Saxophone and Band; A

(Discography Festival Prelude; Armenian Man's Desiring. SEE: B114, B115

191

Dances: Part I; Jesu, Joy of

D337. Second Suite for Band. (W44) Second Suite for Band. Kosei Publishing Company. 1986 1 sound disc [CD]. Kosei Publishing Company KOCD-3502. Tokyo Kosei Wind Orchestra; Alfred Reed, conductor. Ballade for alto saxophone and piano; A Festival Prelude; Armenian Dances: Part I; Jesu, Joy of Man's Desiring; The Music Makers Overture; The Enchanted Island; Russian Christmas Music. SEE: B114, B115 D338. Second Suite for Band. (W44) Portrait of Alfred Reed. Koninklijeke Militaire Kapel. 1993 1 sound disc. KMK/KRO-006. Koninklijeke Militaire Kapel (Royal Dutch Military Band); Alfred Reed, conductor. NOTE: Contains only the variations on the "Porazzi" theme of Wagner movement from Second Suite; in addition to A Festive Overture; Armenian Dances: Part I; Eventide; Fourth Symphony; El Camino Real. SEE: B114, B115 D339. Second Suite for Band. (W44) The Wind Music of Alfred Reed. Kosei Publishing Company. 1994 4 sound discs [CD]. Kosei Publishing Company KOCD-3550/53. Tokyo Kosei Wind Orchestra; Alfred Reed, conductor. Second Symphony; Symphony No. 3; Fourth Symphony; Viva Musical; The Hounds of Spring; Evolutions; Golden Jubilee; The Music-Makers; A Jubilant Overture; A Springtime Celebration; Curtain Up!; Punchinello, Overture to a romantic comedy; First Suite for Band; Third Suite for Band; Fourth Suite for Band; A Little Concert Suite; Music for "Hamlet;" Othello; The Enchanted Island; Praise Jerusalem! SEE: B114, B115

192

(Discography

D340. Second Suite for Band. (W44) Alfred Reed & Tokyo Kosei Wind Orchestra. Kosei Publications. 1996 and 1981 1 sound disc [CD]. Kosei Publications KOCD-2301. Tokyo Kosei Wind Orchestra; Alfred Reed, conductor. Enchanted Island; Music Makers, Concert Overture; Russian Christmas Music; Ballade for Alto Saxophone and Band; A Festival Prelude; Armenian Dances: Part I; Jesu, Joy of Man's Desiring. SEE: B114, B115 D341. Second Suite for Band. (W44) Spectrum. University of Saskatchewan, Department of Music. 1996 2 sound discs [CD]. University of Saskatchewan Wind Orchestra; Marvin Eckroth, conductor. NOTE: Contains only the variations on the "Porazzi" Theme of Wagner movement from Second Suite; in addition to Symphony No. 3; La Procession Du Rocio. Grainger, Samuel Barber, Ron Nelson, Vincent Persichetti, Robert Jager, Percy Grainger. SEE: B114, B115 D342. Second Suite for Band. (W44) Best of Alfred Reed: Vol. 2 "Suite Music." Sony Records. 1997 I sound disc [CD]. SRCR 1877. Philharmonia Wind Ensemble, Tokyo Kosei Wind Orchestra and Musashino Academia Musicae Wind Ensemble; Yasuhiko Shiozawa and Antonin Kuhnel, conductors. First Suite for Band; Third Suite for Band; Fourth Suite for Band; Fifth Suite for Band; A Little Concert Suite for Winds. SEE: B114, B115 D343. Second Suite for Band. (W44) Warren Bands Live '97. Warren Township High School. 1997 1 sound disc [CD]. Warren Township High School WTHS9697. Marching Band, Jazz Lab III, Freshman Concert Band, Jazz

(Discography

193

Lab II, Warren Concert Band, Jazz Ensemble, Warren Symphonic Band; Tom Beckwith, Christopher Jenkins, directors. Armenian Dances, Part II. SEE: B114, B115 D344. Second Symphony. (W43) The Compositions of Alfred Reed. Golden Crest Records. 1978 1 sound cassette. Golden Crest Records ATH 5057. Michigan State University Symphonic Band; A. Thad Hegerberg, Kenneth Bloomquist, and Alfred Reed, conductors; Roger Behrend, euphonium. The Music Makers; Seascape; A Festival Prelude; Prelude and Capriccio; Punchinello. SEE: B140 D345. Second Symphony. (W43) The Music of Alfred Reed. USC Sound Enterprises. 1980 1 sound disc. USC Sound Enterprises KM 4971. Tennessee Tech Symphonic Band; Alfred Reed, conductor; Tennessee Tech Brass Choir; R. Winston Morris, conductor. Symphony for Brass and Percussion; Armenian Dances: Part I. SEE: B140 D346. Second Symphony. (W43) Second Symphony. Kosei Publishing Company. 1982 and 1987 1 sound disc [CD]. Kosei Publishing Company KOCD-3312. Tokyo Kosei Wind Orchestra; Alfred Reed, conductor. Punchinello; Concerto in C Major for Piccolo and Band; The Hounds of Spring; "Rejoicing" from Three Revelations from the Lotus Sutra. SEE: B140 D347. Second Symphony. (W43) The Wind Music of Alfred Reed. Kosei Publishing Company. 1994 4 sound discs [CD]. Kosei Publishing Company KOCD-3550/53. Tokyo Kosei Wind Orchestra; Alfred Reed, conductor.

194

^Discography Symphony No. 3; Fourth Symphony; Viva Musical; The Hounds of Spring; Evolutions; Golden Jubilee; The MusicMakers; A Jubilant Overture; A Springtime Celebration; Curtain Up!; Punchinello, Overture to a romantic comedy; First Suite for Band; Second Suite for Band; Third Suite for Band; Fourth Suite for Band; A Little Concert Suite; Music for "Hamlet;" Othello; The Enchanted Island; Praise Jerusalem! SEE: B140

D348. Second Symphony. (W43) Symphonies of Alfred Reed World Wind Music. 1997 1 sound disc [CD]. World Wind Music 500-008. La Artistia Bunol; Henrie Adons, conductor. Symphony No. 3 and Fourth Symphony. SEE: B140 D349. Serenade, for Bb clarinet and band. (W7) St. Olaf College Band, 1958-59. WCAL. 1959 1 sound disc. WCAL LP-592. St. Olaf College Band; Miles H. Johnson, conductor; Phillis Monson, clarinet. Lucien Cailliet, Joseph Wilcox Jenkins, Richard Wagner, Richard Rogers, and Gustav Hoist. SEE: B140 D350. Serenade, for Bb clarinet and band. (W7) The Marimba Concerto. Kosei Publishing Company. 1992 1 sound disc [CD]. Kosei Publishing Company KOCD-3019. Tokyo Kosei Wind Orchestra; Alfred Reed, conductor; Reiko Kono, marimba; Hitoshi Sekiguchi, clarinet. Concertino for Marimba and Winds; Vilabella; A Springtime Celebration; Hymn Variants; A Festive Overture; Passacaglia. SEE: B140 D351. Serenade, for Bb clarinet and piano. (W100) 1975 Mid-West National Band and Orchestra Clinic Crest Records. 1975 2 sound discs.

(Discography

195

Silver Crest MID-75-12. Oconomowoc Junior High School Band; David Reul, director. My Jesus! Oh What Anguish. Gordon Jacob, William Latham, and J a m e s Christensen. D352. Serenata, for Eb clarinet and piano. (W212) Contest Solos for the Clarinet Family. Roxas Associates. 1960 and 1969 1 sound disc. Roxas Associates SR4M 1795-SR4M 1796. Donald McCathren, clarinets; William A. Chrystal, piano. Hoe-Down; Sarabande; Guaracha; Afro; Hora; March Variations; Haitian Dance (Voodoo); Pastorale; Scherzo Fantastique. D353. Sixth Suite for Band. (W86) The 10th Anniversary Otonowa Concert. Blue Lights. 1998 2 sound discs [CD]. Blue Lights BLCD 0160. The 10th Anniversary Otonowa Special Band, Alfred Reed and J a m e s Barns, conductors; The Otonowa Wind Symphonica '98, Toru Ito, conductor; The Otonowa Wind Symphonica '98, Alfred Reed conductor. The Hounds of Spring; El Camino Real; A Festival Prelude; Autumn Leaves; Praise Jerusalem!; Danza Caribe; Curtain Up!; Concertino for Marimba and Winds; Armenian Dances Parts I and II. J a m e s Barns and John Philip Sousa. D354. Slavonic Folk Suite. (W2) Western State College Summer Music Camp Yoder's Symphonic Band. Century Records. 1960 1 sound disc. Century Records V12249. Yoder's Symphonic Band; Paul Yoder, Glenn C. Bainum, conductors. Charles Carter, Richard Bowles, and Morton Gould. D355. Slavonic Folk Suite. (W2) 1975 University of Tennessee Honors Band. Davis Sound. 1975 1 sound disc. Davis Sound RSR 137.

196

(Discography University of Tennessee Honors Band; Herbert Carter, Jack Connell, Thomas O'Neal, Frank Wickes, and Clifton Williams, conductors. Clifton Williams, Ralph Williams, Vittorio Gianinni, and J a m e s Spears.

D356. Slavonic Folk Suite. (W2) 1981 Mid-West National Band and Orchestra Clinic Crest Records. 1981 1 sound disc. Silver Crest MID-81-11. Reeve R. Thompson Junior High School Symphonic Band; Margene Pappas, conductor. J a m e s Curnow, Clare Grundman, and John Zdechlik. D357. Sleepers! Awake. (W127) Armenian Dances (complete). Kosei Publishing Company. 1991 1 sound disc [CD]. Kosei Publishing Company KOCD-3016. Tokyo Kosei Wind Orchestra; Alfred Reed, conductor. Armenian Dances: Part I; Armenian Dances: Part II; A Jubilant Overture; Panis Angelicus; Song of the High Cascades. D358. Song of the High Cascades. (W55) Armenian Dances (complete). Kosei Publishing Company. 1991 1 sound disc [CD]. Kosei Publishing Company KOCD-3016. Tokyo Kosei Wind Orchestra; Alfred Reed, conductor. Armenian Dances: Part I; Armenian Dances: Part II; Sleepers Awake; A Jubilant Overture; Panis Angelicus. D359. Symphony for Brass and Percussion. (W24) Ithica College 1971 Reunion Alumni Concert Band. Crest. 1971 1 sound disc. Crest CRE9005. Ithica College Alumni Concert Band. NOTE: Contains only the "Finale" from Symphony for Brass and Percussion. Norman Dello Joio, Gustav Hoist, and Hector Berlioz. SEE: B140

(Discography

197

D360. Symphony for Brass and Percussion. (W24) The Music of Alfred Reed. USC Sound Enterprises. 1980 1 sound disc. USC Sound Enterprises KM 4971. Tennessee Tech Symphonic Band; Alfred Reed, conductor; Tennessee Tech Brass Choir; R. Winston Morris, conductor. Armenian Dances: Part I; Second Symphony. SEE: B140 D361. Symphony for Brass and Percussion. (W24) All American Brass. P r o A r t e . 1987 1 sound disc [CD]. Pro Arte CDD 318. Summit Brass; Dave Hickman, trumpet; Carl Topilow, conductor. Paul Dukas, Leonard Bernstein, Aaron Copland, and Richard Strauss. SEE: B140 D362. Symphony for Brass and Percussion. (W24) Oberlin Symphony Band: Of the Conservatory of Music. Recorded Publications Company. 1989 and 1990 2 sound discs. Recorded Publications Company E3-QP-1101-E3-QP-1104. Oberlin Symphony Band. Morton Gould, Vincent Persichetti, Charles Carter, and Kemble Stout. SEE: B140 D363. Symphony for Brass and Percussion. (W24) March Golden Eagle I Symphony for Brass and Percussion. Kosei Publishing Company. 1990 1 sound disc [CD]. Kosei Publishing Company KOCD-3012. Tokyo Kosei Wind Orchestra; Alfred Reed, conductor. March Golden Eagle; Who Will but Let Himself Be Guided; A Little Concert Suite; Eventide; Seascape; Third Suite for Band; Greensleeves. SEE: B140 D364. Symphony No. 3. (W64) Symphony No. 3. Kosei Publishing Company. 1989

198

(Discography 1 sound disc [CD]. Kosei Publishing Company KOCD-3010. Tokyo Kosei Wind Orchestra; Alfred Reed, conductor. A Celebration Fanfare; Wapawekka; Three Symphonic Preludes.

D365. Symphony No. 3. (W64) The Wind Music of Alfred Reed. Kosei Publishing Company. 1994 4 sound discs [CD]. Kosei Publishing Company KOCD-3550/53. Tokyo Kosei Wind Orchestra; Alfred Reed, conductor. Second Symphony; Fourth Symphony; Viva Musical; The Hounds of Spring; Evolutions; Golden Jubilee; The MusicMakers; A Jubilant Overture; A Springtime Celebration; Curtain Up!; Punchinello, Overture to a romantic comedy; First Suite for Band; Second Suite for Band; Third Suite for Band; Fourth Suite for Band; A Little Concert Suite; Music for "Hamlet;" Othello; The Enchanted Island; Praise Jerusalem! D366. Symphony No. 3. (W64) Spectrum. University of Saskatchewan, Department of Music. 1996 2 sound discs [CD]. University of Saskatchewan Wind Orchestra; Marvin Eckroth, conductor. Variations on the "Porazzi" Theme of Wagner from Second Suite; La Procession Du Rocio. Grainger, Samuel Barber, Ron Nelson, Vincent Persichetti, Robert Jager, Percy Grainger. D367. Symphony No. 3. (W64) Symphonies of Alfred Reed World Wind Music. 1997 1 sound disc [CD]. World Wind Music 500.008 La Artistia Bunol; Henrie Adons, conductor. Second Symphony and Fourth Symphony. D368. Tarantella. (W146) River of Life Walking Frog Recordings. 1998 1 sound disc [CD]. Walking Frog WFR 185.

Discography 199 The Washington Winds; Edward Petersen, conductor. Huckeby, Sheldon, Clark, Longfield, and Reineke. D369. The Crowning Glory. (W6) The University of Kansas School of Fine Arts presents Midwestern Music Camp Band, July 2, 1961. Century Custom Recording Service . 1961 1 sound disc. Century V13767. Midwestern Music Camp Band; Russell L. Wiley, conductor; Leo Kucinski, conductor. Morton Gould, Richard Wagner, Percy Grainger, and John Philip Sousa. D370. The Enchanted Island. (W45) Alfred Reed & Tokyo Wind Orchestra. Kosei Publishing Company. 1981 2 sound discs. Kosei Publishing Company KOR-8101 and KOR-8102. Tokyo Kosei Wind Orchestra; Alfred Reed, conductor. Second Suite for Band; Music Makers, Concert Overture; Russian Christmas Music; Ballad for Alto Saxophone and Band; A Festival Prelude; Armenian Dances: Part I; Jesu, Joy of Man's Desiring; Also includes Alfred Reed speaking about his life and music followed by a recorded rehearsal of Reed's Second Suite for Band. D371. The Enchanted Island. (W45) Alfred Reed and the Tokyo Kosei Wind Orchestra. Kosei Publishing Company. 1986 1 sound disc [CD]. Kosei Publishing Company KOCD-3502. Tokyo Kosei Wind Orchestra; Alfred Reed, conductor. Second Suite for Band; Music Makers Overture; Russian Christmas Music; Ballade for Alto Saxophone and Band; A Festival Prelude; Armenian Dances: Part I; Jesu, Joy of Mans Desiring. D372. The Enchanted Island. (W45) Second Suite for Band. Kosei Publishing Company. 1986 1 sound disc [CD]. Kosei Publishing Company KOCD-3502. Tokyo Kosei Wind Orchestra; Alfred Reed, conductor. Ballade for alto saxophone and piano; Second Suite for Band;

200

(Discography A Festival Prelude; Armenian Dances: Part I; Jesu, Joy of Man's Desiring; The Music Makers Overture; Russian Christmas Music.

D373. The Enchanted Island. (W45) The Wind Music of Alfred Reed. Kosei Publishing Company. 1994 4 sound discs [CD]. Kosei Publishing Company KOCD-3550/53. Tokyo Kosei Wind Orchestra; Alfred Reed, conductor. Second Symphony; Symphony No. 3; Fourth Symphony; Viva Musical; The Hounds of Spring; Evolutions; Golden Jubilee; The Music-Makers; A Jubilant Overture; A Springtime Celebration; Curtain Up!; Punchinello, Overture to a romantic comedy; First Suite for Band; Second Suite for Band; Third Suite for Band; Fourth Suite for Band; A Little Concert Suite; Music for "Hamlet;" Othello; Praise Jerusalem! D374. The Enchanted Island. (W45) Alfred Reed & Tokyo Kosei Wind Orchestra. Kosei Publications. 1996 1981 1 sound disc [CD]. Kosei Publications KOCD-2301. Tokyo Kosei Wind Orchestra; Alfred Reed, conductor. Second Suite for Band; Music Makers, Concert Overture; Russian Christmas Music; Ballade for Alto Saxophone and Band; A Festival Prelude; Armenian Dances: Part I; Jesu, Joy of Man's Desiring. D375. The Entertainer. (W112) Cornell University Wind Ensemble. Cornell University. 1970 and 1979 1 sound disc. Cornell University Wind Ensemble CUWE-3. Cornell University Wind Ensemble; Marice Smith, conductor. Dmitri Shostakovich, Harris Lindfeld, Donald Erb, and Eric Osterling. D376. The Fantastics. (W158) Twenty-Third Annual Clinic Festival Concert. Century Records. 1967 1 sound disc. Century 25902.

discography 201 1967 Florida All-State Senior High School Concert Chorus, Hugh Thomas, conductor; 1967 Florida All-State Senior High School Concert Band, Clifton Williams, conductor. Clifton Williams, Samuel Ward, and Howard Hanson. D377. The Garden of Prosperpine. (W49) Band Concert, November 20, 1982. College of Musical Arts. 1982 1 sound cassette. Bowling Green State University Fall Wind Ensemble and Fall Concert Band; Mark S. Kelly, conductor; Edwin Bettes, trumpet. Samuel Adler, Gordon Jacob, and Warren Barker. D378. The Garden of Prosperpine. (W49) Cornell University Wind Ensemble. Cornell University. 1982 1 sound disc. Cornell University CUWE 31. Cornell University Wind Ensemble; Alfred Reed, conductor. First Suite for Band; The Hounds of Spring; Second Suite for Band. D379. The Garden of Prosperpine. (W49) Hamlet. Kosei Publishing Company. 1987 1 sound disc [CD]. Kosei Publishing Company KOCD-3007. Tokyo Kosei Wind Orchestra; Alfred Reed, conductor. Pro Texana; Prelude and Capriccio; Music for "Hamlet/' D380. The Garden of Prosperpine. (W49) Hamlet. Kosei Publishing Company. 1987 and 1988 1 sound disc. Kosei Publishing Company KOR-8107. Tokyo Kosei Wind Orchestra; Alfred Reed, conductor. Music for "Hamlet;" Pro Texana; Prelude and Capriccio. D381. The Golden Year. (W88) A Vision of Majesty Walking Frog Records. 1998 1 sound disc [CD]. Walking Frog WFR - 186. The Washington Winds; Edward Petersen, conductor. Arioso and Tritsch-Tratsch Polka.

202

(Discography Sheldon, Swearingen, Barnes, Longfield, Reineke, Shaffer, Huckeby, and Mercer.

D382. The Hounds of Spring. (W48) 1981 Mid-West National Band and Orchestra Clinic. Crest Records. 1981 2 sound discs. Silver Crest MID-81-13. VanderCook College of Music Band; Victor W. Zajec; VanderCook College of Music Choir; Karen French, conductor. Rex Mitchell, Forrest Buchtel, and Leonard Falcone. D383. The Hounds of Spring. (W48) Band Concert, February 21, 1982. College of Musical Arts. 1982 1 sound cassette. Bowling Green State university concert Bands I, II, and III: Barry Kopetz and Joseph Ferraro, conductors. A Ceremonial Fanfare. J a m e s Swearingen, J a m e s Curnow, Vincent Persichetti, and Warren Barker. D384. The Hounds of Spring. (W48) Bowling Green State University Concert Band III Band Concert, February 2 1 , 1982. College of Musical Arts. 1982 1 sound cassette. Bowling Green State University Concert Bands I, II, and III; Barry Kopetz, Joseph H. Ferraro, conductors. A Ceremonial Fanfare. J a m e s Swearingen, Richard Willis, James Curnow, and Vincent Persichetti. D385. The Hounds of Spring. (W48) Contest Band Music Selections '82. CBS/Sony. 1982 1 sound disc. CBS/Sony 25AG 850. Tokyo Kosei Wind Orchestra; Yasuhiko Shiozawa, conductor. Third Suite for Band. J a m e s Swearingen, Francis McBeth, Robert Sheldon, and Jared Spears. D386. The Hounds of Spring. (W48) Cornell University Wind Ensemble.

(Discography

203

Cornell University. 1982 1 sound disc. Cornell University CUWE 31. Cornell University Wind Ensemble; Alfred Reed, conductor. First Suite for Band; The Garden of Prosperpine; Second Suite for Band. D387. The Hounds of Spring. (W48) Second Symphony. Kosei Publishing Company. 1982 and 1987 1 sound disc [CD]. Kosei Publishing Company KOCD-3312. Tokyo Kosei Wind Orchestra; Alfred Reed, conductor. Punchinello; Concerto in C Major for Piccolo and Band; "Rejoicing" from Three Revelations from the Lotus Sutra; Second Symphony. D388. The Hounds of Spring. (W48) Live Performance with the 1983 Memphis State University Wind Ensemble. USC Sound Enterprises. 1983 1 sound disc. Memphis State University Wind Ensemble; Arthur E. Theil, conductor. Third Suite for Band. J o h n Philip Sousa, Henry Fillmore, and J a m e s Richens. D389. The Hounds of Spring. (W48) 1989 Indiana All-State Band. Caboose Productions. 1989 1 sound disc. Caboose NR 17951. Indiana All-State Band; Myron Welch, conductor; Indiana AllState Honors Band, Larry Rachleff, conductor. J a m e s Barnes, J a m e s Curnow, Percy Grainger, Warren Benson, and Henry Fillmore. D390. The Hounds of Spring. (W48) Best of Alfred Reed. Sony Records. 1990 1 sound disc. Sony CSCL-1506. Tokyo Kosei Wind Ensemble. Viva Muscia!; Third Suite for Band; El Camino Real; Queenston Overture; Golden Jubilee; Praise Jerusalem!

204

(Discography

D391. The Hounds of Spring. (W48) Minnesota Music Educators Association Concert Highlights. Westmark. 1993 1 sound disc [CD]. Westmark WCD 29302. Minnesota Music Educators Association Concert Band (1993) and (1986); Lewis Larson, director. Armenian Dances: Part I. John Philip Sousa, D. Delle Cese, J a y Chattaway, Elliot Del Borgo, and Percy Grainger. D392. The Hounds of Spring. (W48) The Wind Music of Alfred Reed. Kosei Publishing Company. 1994 4 sound discs [CD]. Kosei Publishing Company KOCD-3550/53. Tokyo Kosei Wind Orchestra; Alfred Reed, conductor. Second Symphony; Symphony No. 3; Fourth Symphony; Viva Musica!; Evolutions; Golden Jubilee; The Music-Makers; A Jubilant Overture; A Springtime Celebration; Curtain Up!; Punchinello, Overture to a romantic comedy; First Suite for Band; Second Suite for Band; Third Suite for Band; Fourth Suite for Band; A Little Concert Suite; Music for "Hamlet;" Othello; The Enchanted Island; Praise Jerusalem! D393. The Hounds of Spring. (W48) American Fanfare. United States Air Force Band of the Rockies. 1995 1 sound disc [CD]. United States Air Force Band of the Rockies; Col. H. Bruce Gilkes, commander/conductor. Michael Kamen, Robert Jager, Paul Hindemith, Claude T. Smith. D394. The Hounds of Spring. (W48) The 10th Anniversary Otonowa Concert. Blue Lights. 1998 2 sound discs [CD]. Blue Lights BLCD 0160. The 10th Anniversary Otonowa Special Band, Alfred Reed and J a m e s Barns, conductors; The Otonowa Wind Symphonica '98, Toru Ito, conductor; The Otonowa Wind Symphonica '98, Alfred Reed conductor. El Camino Real; A Festival Prelude; Autumn Leaves; Praise Jerusalem!; Sixth Suite for Band; Danza Caribe; Curtain

(Discography

205

Up!; Concertino for Marimba and Winds; Armenian Dances Parts I and II. J a m e s Barns and John Philip Sousa. D395. The Man With the Golden Arm. (W162) Exodus: Reed's symphonic pops. Kosei Publishing Company. 1990 1 sound disc [CD]. Kosei Publishing Company KOCD-3013. Tokyo Kosei Wind Orchestra; Alfred Reed, arrangerconductor. Highlights from Exodus; I Left My Heart in San Francisco; Cinderella; Peter Pan; Mary Poppins; Lawrence of Arabia; The Wonderful World of the Brother's Grimm; The Valiant Years; MancinU; Rogers and Hart; Autumn Leaves. D396. The Music Man, Highlights. (W155) Curtain Up! Kosei Publishing Company. 1991 1 sound disc [CD]. Kosei Publishing Company KOCD-3017. Tokyo Kosei Wind Orchestra; Alfred Reed, conductor. Curtain Up!; Rahoon; Golden Jubilee; Ode for Trumpet; Mr. Music!; First Suite for Band; Alleluia! Laudamus te. D397. The Music-Makers. (W25) Anoka High School Concert Band, 1974. Ark Recording Company. 1974 1 sound disc. Ark Recording Company 2144-5. Anoka High School Concert Band; Charles B. Olson, conductor; Sharon Prezdziecki, Sue Luger, soloists; Robert Maue, tuba. Hector Berlioz, Morton Gould, and Frank Bencriscutto D398. The Music-Makers. (W25) Music from Bofors. Grammofon At Electra. 1975 1 sound disc. Viking VIF 5007. Bofors Musikkar (Bofors Symphonic Band); Stig Gustafson, conductor. Eric Osterling, Fred Hartley, and Charles Carter. D399. The Music-Makers. (W25) The Compositions of Alfred Reed.

206

(Discography Golden Crest Records. 1978 1 sound cassette. Golden Crest Records ATH 5057. Michigan State University Symphonic Band; A. Thad Hegerberg, Kenneth Bloomquist, and Alfred Reed, conductors; Roger Behrend, euphonium. Seascape; Second Symphony; A Festival Prelude; Prelude and Capriccio; Punchinello.

D400. The Music-Makers. (W25) Alfred Reed & Tokyo Wind Orchestra. Kosei Publishing Company. 1981 2 sound discs. Kosei Publishing Company KOR-8101 and KOR-8102. Tokyo Kosei Wind Orchestra; Alfred Reed, conductor. Second Suite for Band; Enchanted Island; Russian Christmas Music; Ballad for Alto Saxophone and Band; A Festival Prelude; Armenian Dances: Part I; Jesu, Joy of Man's Desiring; Also includes Alfred Reed speaking about his life and music followed by a recorded rehearsal of Reed's Second Suite for Band. D401. The Music-Makers. (W25) Alfred Reed and the Tokyo Kosei Wind Orchestra. Kosei Publishing Company. 1986 1 sound disc [CD]. Kosei Publishing Company KOCD-3502. Tokyo Kosei Wind Orchestra; Alfred Reed, conductor. Second Suite for Band; Enchanted Island; Russian Christmas Music; Ballade for Alto Saxophone and Band; A Festival Prelude; Armenian Dances: Part I; Jesu, Joy of Man's Desiring. D402. The Music-Makers. (W25) Second Suite for Band. Kosei Publishing Company. 1986 1 sound disc [CD]. Kosei Publishing Company KOCD-3502. Tokyo Kosei Wind Orchestra; Alfred Reed, conductor. Ballade for alto saxophone and piano; Second Suite for Band; A Festival Prelude; Armenian Dances: Part I; Jesu, Joy of Man's Desiring; The Enchanted Island; Russian Christmas Music. D403. The Music-Makers. (W25) The Wind Music of Alfred Reed.

(Discography

207

Kosei Publishing Company. 1994 4 sound discs [CD]. Kosei Publishing Company KOCD-3550/53. Tokyo Kosei Wind Orchestra; Alfred Reed, conductor. Second Symphony; Symphony No. 3; Fourth Symphony; Viva Musica!; The Hounds of Spring; Evolutions; Golden Jubilee; A Jubilant Overture; A Springtime Celebration; Curtain Up!; Punchinello, Overture to a romantic comedy; First Suite for Band; Second Suite for Band; Third Suite for Band; Fourth Suite for Band; A Little Concert Suite; Music for "Hamlet;" Othello; The Enchanted Island; Praise Jerusalem! D404. The Music-Makers. (W25) Fifth Symphony (Sakura). Victor Entertainment, Inc. 1995 1 sound disc [CD]. Victor Entertainment Inc. PRCD-5161. Senzoku Gakuen Symphonic Wind Orchestra; Alfred Reed, conductor. Fifth Symphony; Armenian Dances: Part I; Armenian Dances: Part II; Pro Texana. D405. The Music-Makers. (W25) Alfred Reed & Tokyo Kosei Wind Orchestra. Kosei Publications. 1996 1981 1 sound disc [CD]. Kosei Publications KOCD-2301. Tokyo Kosei Wind Orchestra; Alfred Reed, conductor. Second Suite for Band; Enchanted Island; Russian Christmas Music; Ballade for Alto Saxophone and Band; A Festival Prelude; Armenian Dances: Part I; Jesu, Joy of Man's Desiring. D406. The Music-Makers. (W25) Fifth Symphony. Walking Frog Records. 1996 1 sound disc [CD]. Walking Frog Records WFR140. Senzoku Gakuen Symphonic Wind Orchestra; Alfred Reed, conductor. Fifth Symphony; A Springtime Celebration; Armenian Dances: Part I; Armenian Dances: Part II; Pro Texana. D407. The Pledge of Allegiance. (W28) We Are America.

208

(Discography Fifteenth Air Force Band of the Golden West. 1990 1 sound cassette. Fifteenth Air Force Band of the Golden West ARC-2753. Fifteenth Air Force Band of the Golden West; The Golden West Chorale; Dennis M. Layendecker, conductor; White Eagle, vocals; Robert D. Beckel, narrator. Morton Gould, William Schumann, John Philip Sousa, Aaron Copland, and Edwin Franco Goldman. SEE: B105, B106, B132, B138

D408. The Valiant Years. (W164) Exodus: Reed's symphonic pops. Kosei Publishing Company. 1990 1 sound disc [CD]. Kosei Publishing Company KOCD-3013. Tokyo Kosei Wind Orchestra; Alfred Reed, arrangerconductor. Highlights from Exodus; I Left My Heart in San Francisco; Cinderella; Peter Pan; Mary Poppins; Lawrence of Arabia; The Man With the Golden Arm; The Wonderful World of the Brother's Grimm; Mancinil; Rogers and Hart; Autumn Leaves. D409. The Wonderful World of the Brother's Grimm. (W165) Exodus: Reed's symphonic pops. Kosei Publishing Company. 1990 1 sound disc [CD]. Kosei Publishing Company KOCD-3013. Tokyo Kosei Wind Orchestra; Alfred Reed, arrangerconductor. Highlights from Exodus; I Left My Heart in San Francisco; Cinderella; Peter Pan; Mary Poppins; Lawrence of Arabia; The Man With the Golden Arm; The Valiant Years; Mancinil; Rogers and Hart; Autumn Leaves. D410. Third Suite for Band. (W50) Contest Band Music Selections '82. CBS/Sony. 1982 1 sound disc. CBS/Sony 25AG 850. Tokyo Kosei Wind Orchestra; Yasuhiko Shiozawa, conductor. The Hounds of Spring. J a m e s Swearingen, Francis McBeth, Robert Sheldon, and J a r e d Spears.

(Discography

209

D411. Third Suite for Band. (W50) Live Performance with the 1983 Memphis State University Wind Ensemble. USC Sound Enterprises. 1983 1 sound disc. Memphis State University Wind Ensemble; Arthur E. Theil, conductor. The Hounds of Spring. John Philip Sousa, Henry Fillmore, and J a m e s Richens. D412. Third Suite for Band. (W50) The Air Force Band of Mid-America presents Dream of Flight. Mark Records. 1984 1 sound disc. Mark Records MC-20588. United States Air Force Band of Mid-America; Roger W. Sebby, conductor. Henry Fillmore, Morton Gould, and Carmen Dragon. D413. Third Suite for Band. (W50) Best of Alfred Reed. Sony Records. 1990 1 sound disc. Sony CSCL-1506. Tokyo Kosei Wind Ensemble. Viva Muscia!; The Hounds of Spring; El Camino Real; Queenston Overture; Golden Jubilee; Praise Jerusalem! D414. Third Suite for Band. (W50) March Golden Eagle I Symphony for Brass and Percussion. Kosei Publishing Company. 1990 1 sound disc [CD]. Kosei Publishing Company KOCD-3012. Tokyo Kosei Wind Orchestra; Alfred Reed, conductor. March Golden Eagle; Who Will but Let Himself Be Guided; A Little Concert Suite; Eventide; Symphony for Brass and Percussion; Seascape; Greensleeves. D415. Third Suite for Band. (W50) The Wind Music of Alfred Reed. Kosei Publishing Company. 1994 4 sound discs [CD]. Kosei Publishing Company KOCD-3550/53. Tokyo Kosei Wind Orchestra; Alfred Reed, conductor. Second Symphony; Symphony No. 3; Fourth Symphony; Viva

210

(Discography Musica!; The Hounds of Spring; Evolutions; Golden Jubilee; The Music-Makers; A Jubilant Overture; A Springtime Celebration; Curtain Up!; Punchinello, Overture to a romantic comedy; First Suite for Band; Second Suite for Band; Fourth Suite for Band; A Little Concert Suite; Music for "Hamlet;" Othello; The Enchanted Island; Praise Jerusalem!

D416. Third Suite for Band. (W50) Best of Alfred Reed: Vol. 2 "Suite Music." Sony Records. 1997 I sound disc [CD]. SRCR 1877. Philharmonia Wind Ensemble, Tokyo Kosei Wind Orchestra and Musashino Academia Musicae Wind Ensemble; Yasuhiko Shiozawa and Antonin Kuhnel, conductors. First Suite for Band; Second Suite for Band; Fourth Suite for Band; Fifth Suite for Band; A Little Concert Suite for Winds. D417. Three Revelations from the Lotus Sutra. (W56) The Lotus Sutra. Kosei Publishing Company. 1979 and 1988 1 sound disc [CD]. Kosei Publishing Company KOCD-3071. Tokyo Kosei Wind Orchestra; Kazuyoshi Akiyama, conductor. Passacaglia; First Suite for Band. SEE: B139 D418. Three Revelations from the Lotus Sutra. (W56) Second Symphony. Kosei Publishing Company. 1982 and 1987 1 sound disc [CD]. Kosei Publishing Company KOCD-3312. Tokyo Kosei Wind Orchestra; Alfred Reed, conductor. NOTE: Contains only the "Rejoicing" from Three Revelations from the Lotus Sutra; in addition to Punchinello; Concerto in C Major for Piccolo and Band; The Hounds of Spring; Second Symphony. SEE: B139 D419. Three Revelations from the Lotus Sutra. (W56) Tokyo Kosei Wind Orchestra the Lotus Sutra. Kosei Publishing Company. 1982 1 sound disc. Kosei Publishing Co. KOR-7908.

(Discography

211

Tokyo Kosei Wind Orchestra; Kin Aoyama, conductor. SEE: B139 D420. Three Revelations from the Lotus Sutra. (W56) Southwest Texas State University Wind Ensemble. Mark Records. 1988 1 sound disc. Mark Records MC-20923. Southwest Texas State University Wind Ensemble; John C. Stansberry, conductor; J a m e s E. Williamson, associate conductor. NOTE: Contains only the "Awakening" from Three Revelations from the Lotus Sutra; in addition to "Gallop" from First Suite for Band. Karl King, William Childs, Leonard Bernstein, and J a m e s Curnow. SEE: B139 D421. Three Revelations from the Lotus Sutra. (W56) University of Illinois Symphonic Band. University of Illinois Bands. 1988 and 1990 1 sound cassette. University of Illinois 117. University of Illinois Symphonic Band; J a m e s F. Keene, conductor; Sherban Lupu, violin. NOTE: Contains only the "Rejoicing" from Three Revelations from the Lotus Sutra. Florent Schmitt, Jules Massenet, and Ottorino Respighi. SEE: B139 D422. Three Revelations from the Lotus Sutra. (W56) Sacred & Spirited II. Wartburg College. 1989 1 sound cassette. Wartburg College Band; Robert E. Lee, conductor. NOTE: Contains only the "Rejoicing" from Three Revelations for the Lotus Sutra. Henry Conwell, George Gershwin, Karl L. King, and John Philip Sousa. SEE: B139 D423. Three Revelations from the Lotus Sutra. (W56) Music Knows No Borders. United States Air Forces in Europe. 199? 1 sound disc [CD]. United States Air Forces in Europe LEICO-8386.

212

(Discography United States Air Forces in Europe Concert Band; Lieutenant Colonel Roger W. Sebby, Lieutenant John P. Graulty, Major Laszlo Marosi, conductors. NOTE: Contains only the "Rejoicing" from Three Revelations from the Lotus Sutra; in addition to Armenian Dances: Part I. Vivaldi, Kurt Weill, Timothy Mahr. SEE: B139

D424. Three Revelations from the Lotus Sutra. (W56) Live in Concert with the University of Illinois Symphonic Band. Mark Custom Recording Service. 1994 1 sound disc [CD]. Mark Custom Recording Service MCD-1865. University of Illinois Symphonic Band; J a m e s F. Keene, conductor. NOTE: Contains only the "Rejoicing" from Three Revelations from the Lotus Sutra. Ron Nelson, Malcolm Arnold, David Gillingham, Alberto Ginastera, Percy Grainger. SEE: B139 D425. Three Symphonic Preludes. (W136) Symphony No. 3. Kosei Publishing Company. 1989 1 sound disc [CD]. Kosei Publishing Company KOCD-3010. Tokyo Kosei Wind Orchestra; Alfred Reed, conductor. A Celebration Fanfare; Wapawekka; Symphony No. 3. D426. Thus Do You Fare, My Jesus. (W120) Bowling Green State University Concert Band I, Band Concert, April 20, 1985. College of Musical Arts. 1985 1 sound cassette. Bowling Green State University Concert Band I; Glenn C. Hayes, conductor; Doug Brokaw, guest conductor. Claude T. Smith, Darius Milhaud, Ralph Williams, and Fisher Tull. D427. Trilogue. (W222) Mini Winds: Chamber Music for Winds. Kosei Publishing Company. 1995 1 sound disc [CD]. Kosei Publishing Co. KOCD-3021.

(Discography

213

Tokyo Kosei Wind Orchestra; Alfred Reed, conductor. Two Bagatelles for Brass Ensemble and Percussion; Suite for Flute and Winds in A Minor; Clarinette Valsante; Double Wind Quintet; Sarabande and Double; Havana Moon; Variations on L.B.I.F.D. D428. Tritsch-Tratsch Polka. (W149) A Vision of Majesty Walking Frog Records. 1998 1 sound disc [CD]. Walking Frog WFR-186. The Washington Winds; Edward Petersen, conductor. Arioso and The Golden Year. Sheldon, Swearingen, Barnes, Longfield, Shaffer, Huckeby, and Moore. D429. Two Bagatelles for Brass Ensemble and Percussion. (W226) Mini Winds: Chamber Music for Winds. Kosei Publishing Company. 1995 1 sound disc [CD]. Kosei Publishing Co. KOCD-3021. Tokyo Kosei Wind Orchestra; Alfred Reed, conductor. Suite for Flute and Winds in A Minor; Clarinette Valsante; Double Wind Quintet; Sarabande and Double; Havana Moon; Variations on L.B.I.F.D.; Trilogue. D430. Two Bagatelles for Concert Band. (W85) Jubilance Walking Frog Records. 1997 1 sound disc [CD]. Walking Frog WFR - 180. The Washington Winds; Edward Petersen, conductor. Gypsy Dance from Carmen. Longfield, Sheldon, Swaeringen, Barker, Clark, Reineke, and Huckeby. D431. Variations on L. B. L F. D. (W214) Mini Winds: Chamber Music for Winds. Kosei Publishing Company. 1995 1 sound disc [CD]. Kosei Publishing Co. KOCD-3021. Tokyo Kosei Wind Orchestra; Alfred Reed, conductor. Two Bagatelles for Brass Ensemble and Percussion; Suite for Flute and Winds in A Minor; Clarinette Valsante; Double

214

(Discography Wind Quintet; Sarabande Trilogue.

and Double; Havana

Moon;

D432. Vilabella. (W108) The Marimba Concerto. Kosei Publishing Company. 1992 1 sound disc [CD]. Kosei Publishing Company KOCD-3019. Tokyo Kosei Wind Orchestra; Alfred Reed, conductor; Reiko Kono, marimba; Hitoshi Sekiguchi, clarinet. Concertino for Marimba and Winds; A Springtime Celebration; Serenade for Solo Bb Clarinet and Band; Hymn Variants; A Festive Overture; Passacaglia. D433. Villa from "The Merry Widow." (W140) New Band Music '91. Sony Records. 1991 1 sound disc [CD]. Sony SRCL 1780. Tokyo Kosei Wind Orchestra; Yasuhiko Shiozawa, conductor. A Springtime Celebration. Swearingen, Sheldon, Huckeby, Shaffer, Duker, Barker. D434. Viva Musical (W54) Best of Alfred Reed. Sony Records. 1990 1 sound disc. Sony CSCL-1506. Tokyo Kosei Wind Ensemble. Third Suite for Band; The Hounds of Spring; El Camino Real; Queenston Overture; Golden Jubilee; Praise Jerusalem! SEE: B17 D435. Viva Musical (W54) 70 Years Bandleader. 1994/3 1 sound disc [CD]. Bandleader BND - 5009. The Central Band of the Royal Air Force; Eric Banks, conductor. Lawerance of Arabia. SEE: B17 D436. Viva Musical (W54) The Wind Music of Alfred Reed. Kosei Publishing Company. 1994

(Discography

215

4 sound discs [CD]. Kosei Publishing Company KOCD-3550/53. Tokyo Kosei Wind Orchestra; Alfred Reed, conductor. Second Symphony; Symphony No. 3; Fourth Symphony; The Hounds of Spring; Evolutions; Golden Jubilee; The MusicMakers; A Jubilant Overture; A Springtime Celebration; Curtain Up!; Punchinello, Overture to a romantic comedy; First Suite for Band; Second Suite for Band; Third Suite for Band; Fourth Suite for Band; A Little Concert Suite; Music for "Hamlet;" Othello; The Enchanted Island; Praise Jerusalem! SEE: B17 D437. Wapawekka. (W26) Symphony No. 3. Kosei Publishing Company. 1989 1 sound disc [CD]. Kosei Publishing Company KOCD-3010. Tokyo Kosei Wind Orchestra; Alfred Reed, conductor. A Celebration Fanfare; Three Symphonic Preludes; Symphony No. 3. SEE: B8, B140 D438. War March and Battle Hymn of the Vikings. (W21) Maytan. Opus 3. 1980 1 sound disc. Opus 3 80-14. F r a m n a s Symphonic Wind Ensemble; Karlskoga, Sweden. Robert Jager, Norman Dello Joio, Valclav Nelhybel, and Percy Grainger. D439. Who Will But Let Himself Be Guided. (W138) March Golden Eagle I Symphony for Brass and Percussion. Kosei Publishing Company. 1990 1 sound disc [CD]. Kosei Publishing Company KOCD-3012. Tokyo Kosei Wind Orchestra; Alfred Reed, conductor. March Golden Eagle; A Little Concert Suite; Eventide; Symphony for Brass and Percussion; Seascape; Third Suite for Band; Greensleeves. D440. With Trumpets and Drums. (W73) 45th Annual Mid-West International Band and Orchestra Clinic Regina Lions Jr. "B" Band. Mark Custom Recording Service. 1991

216

(Discography 1 sound cassette. Mark Custom MW91-MC-20. The Regina Lions Jr. "B" Band; Robert L. Mossing, conductor; Tim Lautzenheiser, Alfred Reed, Bruce Person, guest conductors; John Griffiths, tuba. Warren Barker, Bruce Person, and John Edmondson. SEE: B120

Bibliography WRITINGS BY R E E D Bl. Reed, Alfred. The Balanced Clarinet Choir. Kenosha, Wisconsin: Leblanc Company, 1955. A sixteen-page pamphlet in which Reed describes his philosophy relating to the balanced clarinet choir in a wind group. B2. Reed, Alfred. "The composer and the music educator." The Instrumentalist 12, no. 2 (1956): 76-78. The importance of having a composer's music performed is the focus of this article. This can be achieved with cooperation between the composer and the music educator. The importance for the music educator to instill a love of music listening and performing in students, and to seek out the best possible music to perform with their school groups is the suggested way to achieve the development of musicians and music lovers. B3. . "The composer and the college band." Educators Journal 48, no. 1 (1961a): 51-53.

Music

Reed discusses his views about "where we [the band world] have been and where we are going." Much focus is given to projecting what may come in the future, and on the necessity to establish a standard instrumentation for band ensembles. The philosophy of having a clarinet choir as the basic tone color of the group is discussed. The article closes with

218

bibliography thoughts related to the influence of the conductor on the entire music profession.

B4. . "Show music for the concert band." The Instrumentalist 15, no. 7 (1961b): 34-41. The criticism of performing show or "entertainment music" with the concert band is addressed. Reed defends the use of show music. Reed supports his position through discussions relating the musical virtues of show music, the popular public acceptance of such music and the need to expose students to all styles of music. The rationale to perform this style of music is followed by a discussion of how this style of music can effectively be arranged for bands. B5. . "The instrumentation of the band." Music Educators Journal 49, no. 1 (1962): 56. Originally presented as a paper before the 1962 Music Educators National Conference in Chicago, Illinois. The purpose of this article is to encourage adoption of a standardized instrumentation for the concert band. The use of tone colors to determine basic sonority and doubling is thoroughly presented and discussed. The theory t h a t the clarinet section is the core tone quality of the band is explained. B6. . Scoring for the Contralto and Contrabass Clarinet. Kenosha, Wisconsin: Leblanc Company, 1964. A six page pamphlet describing the techniques employed by Reed while scoring for the harmony clarinets. B7. . "Sousa, Ludwig, Satz ... and me." The Ludwig Drummer 5, no. 1 (1965): 20-21. This article relates the story behind Reed's Ceremony of Flourishes [W14]. The story begins in 1956 with the purchase of The Trumpet and Drum by Sousa, and ends more t h a n four years later with the publication of the work. A description of the trumpet calls used in the composition, as well as historical background about the calls is provided. B8. . liWapawekka (White Sands) [W26] Canadian premier." Musicanada 4 (1967): 10.

bibliography

219

Announcement about the Canadian premiere performance of the work. SEE: D437 B9. . "Works A Festival Prelude [W10]." The School Musician 39, no. 8 (1968): 62-64. A harmonic, thematic and rhythmic analysis of the work. Many musical examples are included. SEE: D8, D9, DIO, D l l , D12, D13, D14, D15, D16, D17, D18, D19, D20, D21, D22, D23, D24, D25, D26 BIO. . "What every musician needs to know about the music business." The School Musician 46, no. 4 (1974): 38-40. This article contains an overview of careers in the music field. Reed provides definitions to classify vocations in the music business. An explanation of why the music business is so vast. Finally, a description of careers in the publishing, recording and producing aspects of the music business is outlined. This article was later revised and reprinted. SEE: B16, B19 Bll. ________. "Music Journal's gallery of living composers." Music Journal 32, no. 3 (1975): 44. Very brief biography and photograph. B12. . "Music editor." Music Educators Journal 63, no. 7 (1977): 110-111. Discussed are the responsibilities of the "editorial editor" and the "working editor." The closing section of the article relates the author's thought on how one can prepare for a career in music publishing. B13. . "A composer - conductor's view: Russian Christmas Music [W23]." The Instrumentalist 34, no. 3 (1979): 36-41. Reed discusses his Russian Christmas Music from the composer's and conductor's points-of-view. A great deal of discussion related to the tempo of the work is followed by a discussion on the vocal concept of the work. Reed provides an analysis of virtually every tempo change, dynamic impact, sonority and entrance. In addition, he provides performance

220

bibliography suggestions for the conductor and performer. This article focuses on how to garner the desired affect from the work. SEE: D300, D301, D302, D303, D304, D305, D306, D307, D308, D309, D310, D311, D312, D313, D314, D315, D316, D317, D318, D319, D320, D321, D322, D323, D324

B14. . "Personal insights on the music scene in J a p a n . " The School Musician 53 (1981): 32-33. A reflection of Reed's first trip to work in J a p a n . The aspects of the Japanese music scene which impressed the author most are discussed. These aspects include the great number of bands, the overwhelming support for the organizations, and the passion with which the Japanese pursue band music. B15. . "A Christmas Intrada [W46]." The School Musician 54 (1982a): 12-14. This article describes the inspiration behind the work. Included are the composer's thoughts about the images t h a t are associated with each carol in the work. A brief analysis of each carol is included. The article concludes with the composer's views about scoring for the brasses and woodwinds. SEE: D7 B16. . "Music editor (as a career)." Music Educators Journal 69, no. 1 (1982b): 52-53. Revised and reprinted. SEE: BIO, B19 B17. . "Viva Musical [W54] A celebration of the joys of teaching music." The School Musician 55, no. 4 (1983): 18. Reed traces the steps to publication for this work. The choice of the title is explained, followed by a brief thematic, metric and formal analysis. The meaning of the title and the images behind the music are clearly explained. SEE: D434, D435, D436 B18. . "What music are we playing?" Bandworld 1, no. 1 (1985): 23-25.

"Bibliography

221

The belief t h a t learning to play the right kind of music, even to a lesser degree t h a n perfection, is a worthwhile endeavor is the premise of this article. Further discussion is give as to w h a t constitutes "good" music, and why particular styles of music are programmed. Many compelling points are addressed. B19. . "Music business." The Bands of America 1, no. 1 (1986): 9, 28-30. This article contains an overview of careers in the music field. Reed provides definitions to classify vocations in the music business. An explanation of why the music business is so vast. Finally, a description of careers in the publishing, recording and producing aspects of the music business is outlined. This is a reprint of an earlier article. SEE: BIO, B16 B20. . "Composer - performer - publisher - audience: A quadraphonic relationship." The Instrumentalist 41, no. 12 (1987a): 22-24, + 3. This article provides a look into the relationship which exists between the composer, performer, publisher and audience member. Thisarticle contains a realistic description of the rolls of each member of the "quadraphonic" team from the prospective on an individual who has been in all four positions. Addressed are the economic and aesthetic attributes. Reed stresses t h a t performance is the one aspect t h a t permeates the relationship. A great deal of insight is provided on how the publisher interacts in this relationship. B21. . "What music are we playing?" Bandworld 3, no. 2 (1987b): 21, 30. Reprint of previous article. SEE B18, B25 B22. . "Bach and the Band Director." Band Director's Guide 3, no. 1 (1988a): 3-6. The misconception t h a t Bach's music is not simply beneficial as warm-up chorales is addressed in this article. A point-bypoint analysis of the melodic, harmonic and polyphonic characteristics and their benefits to band players reflects Reed's passion for Bach's music. How to choose a particular work to transcribe or arrange for band is a central focus of

222

"Bibliography this article. The conclusion of the article addresses the skill a band performer can improve upon by playing Bach transcriptions.

B23. . "The making of Praise Jerusalem! [W63]" The Instrumentalist 42, no. 11 (1988b): 18-19. The inspiration of the work is discussed in this article. The source for the theme, the transformation of this theme, and the attention to remaining true to the original music is discussed in detail. SEE: D268, D269, D270, D271, D272, D273, D274, D275, D276, D277, D278, D279 B24. . "The music business and you." Music Resources Fall 1988 (1988c): 12-13, 15, 17.

Performance

This article attempts to help the reader understand the breath of the music business. Reed discusses ten major sub divisions of the music industry. A summary of careers in the music business closes the article. B25. . "The saga of Susie, part 2." Bandworld 4, no. 4 (1988d): 33, 36. A continuation of the "What music are we playing?" articles (SEE B18 and B21). In this case, the article is written from the prospective of "Susie," an individual in the lower clarinet section of the band. B26. . "The string bass in a wind group." American String Teacher 38, no. 2 (1988e): 66-69. The importance of the use of the string bass in the wind ensemble and wind orchestra is stressed in this article. The distinct tone quality of the string bass is emphasized, along with Reed's philosophical position on scoring for the wind ensemble and wind orchestra. Much thought is related about the characteristics of the string bass. A case is made in favor of having the string bass, rather t h a n the tuba, as the foundation of the wind ensemble and wind orchestra since the clarity of sound is often not as "dull" from the string bass. B27. . "Careers in the Instrumentalist 44, no. 2 (1989a): 98.

music

industry."

The

Bibliography 223 Descriptions of careers in the music business are discussed. Careers in the recording, retail, engineering, publishing and wholesaling are described. The article closes with discussion about careers in copyrighting and music technology. Reprinted later. SEE: BIO, B16, B19 B28. (1989b): 38-40.

. "Careers in the music industry." Clavier 28, no. 9

A revision and compilation from previous articles (SEE: BIO, B16, B19, B24, B27). Descriptions of careers in the music business are discussed. Careers in the recording, retail, engineering, publishing and wholesaling are described. The article closes with discussion about careers in copyrighting and music technology. B29. . "A fond farewell Instrumentalist 44, no. 2 (1989c): 4.

(Claude

Smith)."

The

Written as a tribute to Claude T. Smith at the time of his death. This is a personal and concise letters which compliments Smith and his music. B30. . "Friendly advice on friendly Instrumentalist 44, no. 11 (1990a): 48-49.

advice."

The

In this letter, Reed offers his supporting views relating to a previously published article by another author. The belief t h a t the public, listener, and/or audience member are important factors in the music world are rearticulated. B31. . "How a composer works." The Instrumentalist 44, no. 11 (1990b): 48-49. This article is a description of the steps taken while composing a work. The basic premise discussed is the need for the composer to communicate to the listener. B32. . "Some thoughts on band instrumentation." The Instrumentalist 45, no. 2 (1990c): 12-16. Adapted from his preface to The Heritage Encyclopedia of Band Music (SEE: B35). Reed explains the importance of establishing the instrumentation of a performing ensemble

224

Bibliography based on the clarity of individual tone colors and the overall tone color of the ensemble. The use of the clarinet section as the foundation of the sound is stressed. The need to have an ensemble with a fixed instrumentation (concert band) and with a floating instrumentation (wind ensemble) is outlined.

B33. . "The miracle of music." The Instrumentalist 45, no. 8 (1991): 96. An explanation of how one reacts to music. Reed's views on the physiological reactions from a musical stimuli. The article attempts to answer a very difficult question. B34. . "Band Classics Revisited: Russian Christmas Music [W23]." The Instrumentalist 46, no. 6 (1992a): 59. An adaptation of Reed's 1979 analysis article - abbreviated and concise. SEE: D300, D301, D302, D303, D304, D305, D306, D307, D308, D309, D310, D311, D312, D313, D314, D315, D316, D317, D318, D319, D320, D321, D322, D323, D324 B35. . Preface to The Heritage Encyclopedia of Band Music, by William Rehrig, edited by Paul Bierley. Westerville, Ohio: Integrity Press, 1992. Reed was asked to "discuss the differences between the fullsized band and the wind ensemble, and how they both relate to one another and to the symphony orchestra." An advanced, and slightly different, copy of this preface was printed in The Instrumentalist (SEE: B32). Within the preface, Reed contrasts each performing group with discussion of the following categories: Ensembles, Tonal Concepts, Stability, Composers' Dilemma, The Matter of Variety, Fairness to Composers, and All in the Family. B36. . "My first master teacher: A fond remembrance of Paul Yartin." The Instrumentalist Under consideration (1994): A very personal self-reflection on circumstances in the author's life which lead to meeting his first theory teacher. S t a n d i n g C o l u m n "South of t h e Border" Included here are the first 60 columns which cover a time span of 15 years. Reed's contribution to the magazine continue to this day.

Bibliography

225

B37. Reed, Alfred. "South of the Border" (Column 1). Canadian Band Journal 6, no. 3 (Spring 1982): 8. This column begins a series of submission dealing with a reexamination of the total school band program. The author begins with an introduction to the inception of the series of columns, and a rationale for the series title. Provides a working definition of the word "band." A brief discussion about listeners' reactions to music, and the importance of programming good music. B38. . "South of the Border" (Column 2). Canadian Band Journal 6, no. 4 (Summer 1982): 5. An examination of the historical development of bands from their outset as outdoor organizations which performed a specific type of music and were utilized in a utilitarian function. The author provides a more in-depth discussion about the music performed by these groups. The article closes with a "thank you" to Canada for commissioning his work. B39. . "South of the Border" (Column 3). Canadian Band Journal 7, no. 1 (Fall 1982): 6. Continuation of discussion about the value of performed music, especially where marching band is concerned. The author shares his personal views about the validity of marching band in a band program. A discussion about the economical worthiness of having a marching organization in the total band program. Definition of "entertainment" music, and the difficulty with who and what determines if music is of entertainment value or serious. The author then provides his personal definition of entertainment music, and cautions the reader t h a t there can be many interpretations of this definition ~ one's taste influences one's definitions. The article closes with an admonishment t h a t it is sometimes best to keep one's personal views to one's self. B40. . "South of the Border" (Column 4). Canadian Band Journal 7, no. 2 (Winter 1982): 12. Continuation of the discussion about the marching band in a band program with the author's personal observations and suggestion for future courses of action. The author discusses

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Bibliography t h a t the marching band can and should be a musical organization. He examines the viewpoint t h a t marching b a n d is purely an entertainment organization. Information about who should control the total band program, specifically the inception of a marching band, and where t h a t program should fit within the structure of the program and school.

B41. . "South of the Border" (Column 5). Canadian Band Journal 7, no. 3 (Spring 1983): 3. This article focuses on the examination of where the concert and symphonic band belong in the total band program. The author shares his views t h a t the groups must be musical valid in order to be worthy of the amount of time and money t h a t it takes to produce. The belief t h a t a large concert-type band must be the focus of the instrumental program is discussed. The article concludes with an examination of the role of the concert band in the program, and the benefits of having the program centered around this organization. B42. . "South of the Border" (Column 6). Canadian Band Journal 7, no. 4 (Summer 1983): 9. Continuation of the discussion relating to having the concert band as the focus of the total band program. The author examines the trend of hiring "specialist" directors who are good at one aspect of the program, but not qualified or interested in maintaining the total program. The author encourages directors to develop their philosophy of the band program with the service of the student as the primary focus. Reed shares his philosophy about the band program, and reiterates his view t h a t the concert band should be the group which serves the most students and is therefore the focus of the program. B43. . "South of the Border" (Column 7). Canadian Band Journal 8, no. 1 (Fall 1983): 1. Since it has been established in previous columns t h a t the concert band should be the focus of the program, the author provides a definition of what the concert band is, and w h a t is should do. After this lengthy discussion, Reed begins to explore the instrumentation of the concert and marching band, and how the instrumentation relates to the styles of music which should be performed. The article closes by

Bibliography 227 urging the director to perform the right kind of music with the right kind of performing ensemble. B44. . "South of the Border" (Column 8). Canadian Band Journal 8, no. 2 (Winter 1983): 3. Reed begins to explore the similarities and differences between the concert band and the wind ensemble. The importance of having a good teacher, regardless of the amount of financial support t h a t a program receives, is stressed. Reed provides an examination of the reasons a student becomes involved in the concert band, marching b a n d and wind ensemble. Again, he reiterates his view t h a t the large concert band should be the center of the program, serving the most students, and the wind ensemble should be available for the more serious students. The author provides information on the musical, specifically characteristic sound, differences between the concert band and wind ensemble. B45. . "South of the Border" (Column 9). Canadian Band Journal 8, no. 3 (Spring 1984): 3. Continuation of the discussion dealing with the characteristic sounds of the wind ensemble, and how those differences should be addressed in terms of music and personnel. Reed discusses Frederick Fennell's definition of the wind ensemble, then uses Fennell's definition to contrast and support his definition of the group. In addition, Reed provides a definition of the wind orchestra. After discussing the differences in characteristic sound of each ensemble, Reed begins to describe the differences in how each individual may hear. He closes the article with historical information about the development of the instrumentation in the orchestra and wind groups ~ the thought t h a t each ensemble is based around one primary tone color. B46. . "South of the Border" (Column 10). Canadian Band Journal 8, no. 4 (Summer 1984): 3. Discussion about the evolution of the instrumentation of the symphony orchestra, and how this parallels the evolution of the band. Reed uses the fact t h a t the winds in a symphony orchestra are limited to one-on-a-part, and t h a t there is one primary tone color as the foundation sound of the group (the violins), as the basis for his discussion on the instrumentation of the wind ensemble. The distinction

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Bibliography between volume and brilliancy in the sound of the group is the driving factor for the correct instrumentation. Reed provides a detailed discussion relating to brilliancy in sound. F u r t h e r discussion of the clarinet sound as the primary sound of the wind group is provided. Reed closes t h a t article with detailed information on the physical principals (overtones) of the sounds and the potential for covering certain sounds if too many of a particular instrument are present. Some suggestions about section playing and matching tone qualities is provided.

B47. . "South of the Border" (Column 11). Canadian Band Journal 9, no. 1 (Fall 1984): 3. More historical development of the instrumentation of the symphony orchestra, band, wind ensemble and wind orchestra. Following this discussion, Reed provides the reader with the perspective of how a composer writes for the consistent instrumentation of the symphony orchestra and the inconsistent instrumentation of the bands. Reed then attempts to explain the disparity in numbers between symphony orchestra literature and band music. Reed then reiterates his support for the flexible instrumentation of the wind ensemble based on the necessity for clarity in the overall sound of the ensemble. Reed provides a description of the standard instrumentation of the wind ensemble, then discusses the implications to the concert band. B48. . "South of the Border" (Column 12). Canadian Band Journal 9, no. 2 (Winter 1984): 3. The purpose of this column is to assess the impact of the wind ensemble on the concert band. Reed provides a review of the historical development of the band. He then discusses the tone color of the larger outdoor and indoor bands, followed by a discussion which contrasts the sound of the wind ensemble. He then addresses the availability and appropriates of the music for the concert band and the wind ensemble. Three program organizational scenarios are provided as suggestions to the director. Labels are also given to directors who adopt these scenarios to help with further discussion of the plans. B49. . "South of the Border" (Column 13). Canadian Band Journal 9, no. 3 (Spring 1985): 3.

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Reed begins to develop his thoughts about the first of his three models for program organization - traditional. He begins the article with an overview of all three approaches. He believes the reason any of the three approaches should be chosen is based on the music we want the students to perform. Reed then shares his views on the way most band programs of today are organized, with the marching band being the center of the program, and why this is a detrimental approach. The articles closes with suggestions for the "traditional" director to help maintain his perspective while operating within this plan of organization. B50. . "South of the Border" (Column 14). Canadian Band Journal 9, no. 4 (Summer 1985): 3. Discussion of the "conservative" approach to organization of the band program. In this program, the wind ensemble/wind orchestra is the hub of the program. Reed then discusses the benefits of the smaller wind ensemble/wind orchestra to the student. He then discusses the educational values and benefits or losses to the concert band members when the smaller ensemble is the focus of the program. The scheduling of this program design is discussed next. Reed closes the column with suggestions for the director about how to maintain this "conservative" program. B51. . "South of the Border" (Column 15). Canadian Band Journal 10, no. 1 (Fall 1985): 11. Discussion on the "radical" approach to program organization which puts the marching band as the hub of the program. Reed believes t h a t this plan appeals to administrators, students and parents, but not necessarily directors. Reed then discusses the implications on the kind of music t h a t could become the focus of the program if this plan of organizations is adopted. The article closes with suggestions to the "radical" director. B52. . "South of the Border" (Column 16). Canadian Band Journal 10, no. 2 (Winter 1985): 5. In this column, Reed provides a detailed discussion about the choice of music for a band program. He stresses the importance of providing good music t h a t is appropriate and educational. He provides suggestions about how to find music t h a t will serve students, audiences, parents and

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Bibliography administrators. Reed takes the three directors discussed in the previous columns and traces their typical choices of music.

B53. . "South of the Border" (Column 17). Canadian Band Journal 10, no. 3 (Spring 1986): 5. Description of two surveys of record purchasing to illustrate trends in the musical choices of society, and how these musical choices influence the music choices of band programs. Reed justifies the listening choices t h a t individuals make by explaining t h a t recorded music is totally controlled by the listener, live music is not. He then explains the implications of having an audience of listeners who are accustomed to having total control on what they hear and when they h e a r it. The statistical results of the surveys are then shared. B54. . "South of the Border" (Column 18). Canadian Band Journal 10, no. 4 (Summer 1986): 7. Reed discusses w h a t can be gained form the results of the surveys he shared in the previous column. Addressed are the points of (1) what does the data tell us, (2) how students are affected, and (3) what educational/school music can fall within this data. Reed discusses the long-lasting impact t h a t a director's choice of music can have on a student. How the trends in record purchasing influence a students' choice of music are addressed next. Reed then examines how each of the three directors (traditional, conservative and radical) are affected by the data. Reed points out t h a t directors should not be influenced too much by the trends of music choice in general society. B55. . "South of the Border" (Column 19). Canadian Band Journal 11, no. 1 (Fall 1986): 6. Discussion relating to the role of the stage band in the total band program. Reed begins by tracing the historical development of the stage band, followed by a discussion on the importance of improvisation in jazz. Reed examines the appeal of improvisation to audiences and musicians. Next, he discusses improvisation in more traditional music. B56. . "South of the Border" (Column 20). Canadian Band Journal 11, no. 2 (Winter 1986): 12.

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Reed discusses the requirements and effects of jazz performance on our school instrumental programs while tracing the instrumentation and instrumental groupings. Reed reviews the importance of improvisation in the jazz program, and its appeal to the listener and performer. He provides the reader with an in-depth explanation of the development of the instrumentation of jazz groups throughout history; based on the solo performer concept. Band Journal 11, no. 2 (Winter 1986): 12. Band Journal 11, no. 3 (Spring 1987): 6. Discussion on the capability of the brain to perceive musical stimuli. Reed provides historical foundation on which to help illustrate points about the amount of information t h a t a h u m a n being can comprehend. He stresses t h a t the development of music was always centered on the clarity of the melody and text. Reed then discusses the implications and influences t h a t the concept of clarity has had on the music t h a t is written and performed today. He then takes this concept of clarity, based on solo lines, and relates it to the music performed by today's jazz bands. He traces the development of the jazz writing style from the completely freeform improvisation, to the structured compositions of today. B58. . "South of the Border" (Column 22). Canadian Band Journal 11 no. 4 (Summer 1987): 5. Reed begins this column with a concise review of the historical development of the instrumentation of the jazz band. He then traces the development of instrumentation into the full-size jazz bands of today. He does this by tracing, and explaining the significance and impact of each additional instrument. He then closes the article with a discussion on the music t h a t could now be performed, with the advanced harmonies, by the full-sized band. B59. . "South of the Border" (Column 23). Canadian Band Journal 12, no. 1 (Fall 1987): 9. Reed begins with an examination of how the harmonic possibilities affected the instrumentation of the jazz band. He then reiterates the importance and role of improvisation in jazz music, followed by an examination of the historical development of jazz-style music. He then begins to address the validity of jazz in the music program, and the need to

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Bibliography keep it in prospective in the total program. He closes the column by addressing the point t h a t jazz holds a place in American music history.

B60. . "South of the Border" (Column 24). Canadian Band Journal 12, no. 2 (Winter 1987): 9. Reed "shifts gears" completely at this point in the series and begins an examination of the purely musical elements of composition, performance and teaching. He begins focusing on the point t h a t it is more important "to play the right kind of music ... even if it cannot be played perfectly ... t h a n to play the wrong kind, even though it can." He then addresses the fact t h a t so much time and money is invested in a music program, therefore the best must be gained from the input. Reed believes t h a t all levels of music education should be accountable to the standard of performing quality music. He believes t h a t any style of music, including entertainment music, can provide a quality experience for the student. Reed closes the article with discussion on what is quality music. B61. . "South of the Border" (Column 25). Canadian Band Journal 12, no. 3 (Spring 1988): 8. Reed continues his examination of what music we are performing, with an interesting parallel between music and baby food. His basic point is t h a t putting music t h a t is designed for an advanced performer in front of a less experienced performer is not always the best thing to do. Conversely, a younger player must be moved from playing simple (baby food) music as soon as they are able. He illustrates his points by tracing the musical experiences of "Susie" in the second clarinet section of a fictional band in a fictional location. He discusses the compositional techniques of easy level music and the potentially harmful results t h a t constantly playing this music could have on Susie - a lack of independence. B62. . "South of the Border" (Column 26). Canadian Band Journal 12, no. 4 (Summer 1988): 6. Reed continues his discussion of baby food music beginning with when to wean a player from this music. He does, however, extol the values of baby food music when used in the right quantity. He next discusses the detriments of a continual diet of baby food music. He then brings back Susie

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and relates how it will help her at the beginning. Reed then focuses on the needs of the audience to hear more t h a n baby food music; or else they may become bored and no longer attend performances. Reed closes the column with his views on what the goals of music education should be today. B63. . "South of the Border" (Column 27). Canadian Band Journal 13, no. 1 (Fall 1988): 12. Reed discusses the use of original works and transcriptions for band. Ultimately, he believes t h a t it is more important to play the right kind of music even if it is not played well. He then discusses what the characteristics are of a good and b a d transcription and arrangement. Reed provides a checklist t h a t conductors should look for in the music they are considering. B64. . "South of the Border" (Column 28). Canadian Band Journal 13, no. 2 (Winter 1988): 13. Reed discusses the roles of, and differences between, the composer, transcriber and arranger. He first addresses the composer by providing a definition and description of their responsibilities. He then discusses how a composer formulates his ideas. Reed then defines and describes the responsibilities of a transcriber, then an arranger. He then explores the choices t h a t each music make when it comes to their craft by using two examples form his own works for the Barnhouse Bach Series. B65. . "South of the Border" (Column 29). Canadian Band Journal 13, no. 3 (Spring 1989): 12. Reed begins a discussion of the grading systems used for band music. The column discussion is approached from the point-of-view t h a t the system is not always useful or clear. Reed uses the example of how the grade was determined for his Greensleeves [W9]. He begins addressing the meaning of difficulty and the conflict t h a t arises while determining the technical and musical difficulties of a work. He provides another example relating to the difficulty in determining grade level from his own experience at the New York Youth Administration radio station. Ultimately, according to Reed, the director is responsible for assessing the difficulty of the work. He provides suggestions for the director to consider while examining a work.

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Bibliography SEE: D177, D178, D179, D180, D181, D182, D183, D184, D185

B66. . "South of the Border" (Column 30). Canadian Band Journal 13, no. 4 (Summer 1989): 4. Reed details and discusses the interpretive aspects of graded music. He provides a "check list" of factors a director music consider while planning his interpretation of a work. The correct selection of tempo is the focus of this column. He shares his views t h a t there is no one right tempo for any particular work, and discusses the factors t h a t must be considered while selecting the appropriate tempo. B67. . "South of the Border" (Column 31). Canadian Band Journal 14, no. 1 (Fall 1989): 17. In this column, Reed focuses on the next element of interpretive performance ~ the sustained line. According to Reed, the ability to sustain a line is one of the key factors in delivering clarity to the listener. He discusses how the selection of an appropriate tempo will affect the ability to sustain a line. He further discusses the affects a "dead" room can have on sustain and tempo. Reed closes the column with a detailed discussion of what a director can do to determine the correct tempo for a sustained-style work ~ sing. B68. . "South of the Border" (Column 32). Canadian Band Journal 14, no. 2 (Winter 1989): 8. Reed continues his discussion on how to find the proper tempo, after finding and singing all the melody lines. This article focuses on the possible acoustical considerations t h a t affect tempo choice. Even before discussing acoustics, Reed suggests t h a t the most important factor in determining the tempo of a sustained passage depends on the ability of the performing group to perform the passage with cleanliness and clarity. The conductor, according to Reed, must determine how clearly he wants the passage to sound. Reed provides the reader with a list of considerations and suggestions relating to the performance of sustained passages. The column closes with a discussion on the responsibilities of the conductor in determining all the interpretive elements, most importantly the tempo.

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B69. . "South of the Border" (Column 33). Canadian Band Journal 14, no. 3 (Spring 1990): 11. In this column, Reed shares his personal views on the use of the string and electric bass in a wind group. He begins by discussing the impact of the bass in the wind group. He discusses the historically outdoor nature of a wind group, and how this relates to the bass. He then leads the reader through a discussion of the use of the bass from the composers point-of-view; he provides a convincing "argument" as to why the string bass belongs in a wind group. His description of the tone color of the string bass, and how it blends with the other tone colors of the wind group is very detailed and informative. He contrasts the use of the string bass with the use of the tuba, pointing out t h a t the tuba is often too heavy for the wind group. B70. . "South of the Border" (Column 34). Canadian Band Journal 14, no. 4 (Summer 1990): 9. With this column, Reed begins a very in-depth examination of the use of trumpets and/or cornets in a wind band. He begins the column with the story of how he began studying cornet, then trumpet. He describes how he was taught at a young age t h a t there are distinct differences between the instruments tone color, construction, mouthpieces and how they are played. The end of this column is an introduction to the description of the tone colors of the instruments, which are discussed in the next column. B71. . "South of the Border" (Column 35). Canadian Band Journal 15, no. 1 (Fall 1990): 13. A description of the individual tone colors of the cornet and trumpet, along with a discussion about the differences and similarities, is the focus of this column. Reed provides the reader with a brief review of how he came to play the cornet and trumpet, and how he came to be indoctrinated in the differences in tone color. In addition to discussing the cornet and trumpet, Reed provides information about the tone color of the flugelhorn. Reed begins his discussion with a description of the physical differences and similarities between the instruments. This leads into a discussion about cylindrical and conical bore instruments, and the combinations and permutations of bore construction. The differences and similarities between the mouthpieces of the

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Bibliography instruments is next discussed. Reed closes the article with a description of the conical brass family of instruments.

B72. . "South of the Border" (Column 36). Canadian Band Journal 15, no. 2 (Winter 1990): 15. This column focuses on the musical differences and similarities between the cornet, trumpet and flugelhorn. Reed begins the discussion by alerting conductors and performers t h a t music written for cornet, was composed with the cornet tone color in mind, and therefore should be performed on the cornet. The same is true for the trumpet and flugelhorn. He discusses the importance for the composer to carefully choose the appropriate tone color to match the needs and qualities of the music. He provides the reader with historical background on how the cornet and trumpet were used for specific purposes. He then provides a description of the tone color of the cornet, followed by a discussion on how the tone color of the flugelhorn compliments jazz music. Again, as in the previous column, he describes the family of conical bore brass instruments, of which the flugelhorn is the soprano tuba. B73. . "South of the Border" (Column 37). Canadian Band Journal 15, no. 3 (Spring 1991): 22. Reed once again "shifts gears" with this column and begins to address the importance of rhythm as the basis of music. He begins the discussion by addressing the relationship between rhythm and tempo. Reed reviews information t h a t he h a s shared before about determining the appropriate tempo for a work, and the importance of clearly conveying the music to the audience. He then reiterates his views on w h a t the conductor m u s t consider when determining the tempo of a particular work. The discussion then moves into the topic of projection and volume, the differences and similarities. B74. . "South of the Border" (Column 38). Canadian Band Journal 15, no. 4 (Summer 1991): 21. In this column, Reed again addresses the importance of clarity in music, and how this relates to tempo and balance. He then addresses the element of sonority within like instruments and between dissimilar instruments. He then explores the qualities of resonance and projection, and the adjustments t h a t need to sometimes be made because of

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resonance and projection. Clarity is often affected by resonance and projection, and Reed provides suggestions on how to overcome problems t h a t can be caused by too much ringing of the sound. B75. . "South of the Border" (Column 39). Canadian Band Journal 16, no. 1 (Fall 1991): 9. Reed again explores the acoustical considerations t h a t need to be addressed in order to achieve clarity in musical performance. He begins the discussion by addressing the problems associated with performing in too dry a hall, especially when playing music of a sostenuto nature. He provides suggestion on maintaining a sustained style through slurring and glissando. He discusses the technical elements t h a t are associated with performing a sustained style. Reed addresses the responsibilities of the conductor including determining breathing/phrasing spots and tempo choice. He reiterates t h a t the conductor's taste is ultimately the deciding factor in interpretation. B76. . "South of the Border" (Column 40). Canadian Band Journal 16, no. 2 (Winter 1991): 9. In this column, Reed discusses, in greater depth, the contributions t h a t the room makes to the sound of a group. Specifically, he focuses on the difficulties t h a t younger players have when performing in a variety of rooms. He believes t h a t a student must be taught at an early age to play differently in different rooms, and provides the director with suggestions on how to teach this. He specifically address the differences between the rehearsal room and the performance hall, and provides suggestion to the conductor and performer on how to perhaps be more successful in these settings. B77. . "South of the Border" (Column 41). Canadian Band Journal 16, no. 3 (Spring 1992): 11. This article focuses on the demands t h a t a conductor may place on his players to produce clarity. Reed provides a detailed explanation of attacks, including how to execute various attacks, and where to place attacks around slurs. He provides a description of the physical characteristics of the "normal, accented and legato" attacks. Reed provides the reader with a description of how various attacks are used in performance. He then describes the use of the tongue in

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Bibliography relation to slurring (i.e., where to use the tongue, and how to keep the tongue from interfering with a smooth slur). Reed closes the article with instructions for the conductor on how to teach these attacks, and with encouragement for the conductor to be able to model these attacks for the students.

B78. . "South of the Border" (Column 42). Canadian Band Journal 16, no. 4 (Summer 1992): 15. Reed continues his discussion on the production of various articulations with a focus on the slurred passages. He reiterates t h a t nothing, including the tongue can interfere with the air stream during the slur. He discusses the importance of smooth fingering and slide motion, and t h a t slurs should be treated as though they were being sung. He closes the column with suggestions for the conductor to help achieve successful slurred passages from his ensemble. B79. . "South of the Border" (Column 43). Canadian Band Journal 17, no. 1 (Fall 1992): 18. With this column, Reed begins a discussion on the importance of teaching listening while performing music, especially for younger players. Reed believes t h a t technique is only the beginning of music development, and t h a t only through careful listening to musical performance can a student understand and achieve the musical elements in performance. Reed provides information on the difference between hearing and listening - the amount of activity. He provides suggestions and strategies for conductors to employ in their teaching. He spends a great deal of time explaining t h a t only the conductor and the audience can hear the entire sound of the group, and the conductor must have "final say" on any adjustments t h a t must be made to the sound of the ensemble, despite w h a t the individual student may hear from within the group. B80. . "South of the Border" (Column 44). Canadian Band Journal 17, no. 2 (Winter 1992): 7. This article focuses on the criticism t h a t students are t a u g h t to play music, but taught little about the construction of music during the process. Reed provides a formula on how directors can structure their rehearsals so students can learn about the music. The formula is based on w h a t the audience should hear while listening to the music t h a t is being

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performed. Reed uses the remainder of the column to begin providing strategies on the first two elements of his formula melody line and bass line. B81. . "South of the Border" (Column 45). Canadian Band Journal 17, no. 3 (Spring 1993): 23. Continuation of the discussion of Reed's formula for teaching about the construction of the music. He briefly reviews his previous discussion on the elements of melody line and bass line, and moves into the teaching of secondary melodic lines, tertiary melodic lines, and additional melodic lines. Because these layers of melodic material can sometimes create complexity in the music, Reed addresses how a listener "hears" the music (psychology and physiology). He then discusses the last two points in his formula - moving harmony and stationary harmony. He closes the column with thoughts on how to implement this process into rehearsals. B82. . "South of the Border" (Column 46). Canadian Band Journal 17, no. 4 (Summer 1993): 7. With this column, Reed begins a discussion on how to commission a work from a composer, and what should be considered while doing so. He begins the column from the point-of-view of the director who wants to initiate a commission. After providing steps for the director to follow, Reed begins a discussion about the controversy t h a t a commissioned work may be lacking in inspiration as compared to a work composed purely from the inspiration of a composer; to share his "thoughts" with the world. He then discusses the limitations and qualifications t h a t a director, or commissioner, may place on a composer. He cautions the director to be cautious when requesting certain technical and musical demands in the commission. He again uses an example from his past experience where a work was commissioned, but was unplayable because of the differences in the technical and musical demands. B83. . "South of the Border" (Column 47). Canadian Band Journal 18, no. 1 (Fall 1993): 13. Reed continues his discussion relating to the requested difficulty of a commissioned work. He shares t h a t in reality, commissioning a work is "a gamble." He then examines the common reasons for commissioning a work, and provides a

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Bibliography step-by-step guide for directors, or commissioners, to go through the process. He then addresses the issue of motivation for a composer to produce a commissioned work; t h a t the work will exist in the repertoire for years to come. He believes the true test of a good commission is t h a t it survives the premiere performance, and has repeated performances by various groups. He then discusses how to match a commission with the right composer, and the rights of the commissioning party.

B84, . "South of the Border" (Column 48). Canadian Band Journal 18, no. 2 (Winter 1993): 5. Reed begins a discussion on "playing for the audience" with a focus on young players. The definition of playing for the audience, according to Reed, is effectively conveying the meaning of the music to the listener. He believes t h a t even younger players can be taught, and understand this concept, and t h a t the audience is the main factor in the continuation of the art so they must be the focus of musical performance. Good tone quality is the number one factor in playing for the audience. He closes this column with information about how the hall, or performance venue, plays a part in the listeners' experience. B85. . "South of the Border" (Column 49). Canadian Band Journal 18, no. 3 (Spring 1994): 9. Reed continues his discussion on playing for the audience, by sharing the story of the commissioning of his A Symphonic Prelude [W13]. While attending the premiere of the work, he visited one of the feeder middle schools in the area where he observed a director who, in Reed's opinion, taught his students how to play for the audience. This director taught his students t h a t the quality of their sound starts with the breath, and is simply modified by the instrument on the way to the instrument. The director instilled in his students the image t h a t the sound is a stream of air, and t h a t simply playing all the notes and rhythms is not enough. In his summary to the column, Reed suggests t h a t students should be taught t h a t each note is important to the whole picture, and t h a t students should not simply be told what to do in the music, but why something is to be done. B86. . "South of the Border" (Column 50). Canadian Band Journal 18, no. 4 (Summer 1994): 8.

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In this column, Reed presents a discussion on the technical elements involved in producing a characteristic instrumental tone quality, sustaining t h a t sound with correct attack and release. The desirable tone quality, according to Reed, is one t h a t is open and will project well to the audience. He further discusses the fact t h a t the instrument is merely a conduit through which the sound is conducted. He believes t h a t one of the best ways a student can develop a good tone quality is to listen to good models. Reed then discusses four technical factors t h a t are involved in sound production. Three of these four factors involve correct use of the tongue, and the fourth is the ability to sustain a pitch of phrase. As a result, Reed reiterates his views on the production of articulation and slurs. B87. . "South of the Border" (Column 51). Canadian Band Journal 19, no. 1 (Fall 1994): 8. Reed opens a discussion on proper phrasing in this column. He believes t h a t a band conductor must understand the functions, workings and limitation of wind generated sound. Next, a conductor must examine a work in terms of phrasing to avoid holes in the sound. He discusses the relationship between tempo, dynamics, breathing and phrasing t h a t music be considered. He then addresses the issue of "bar line breathing," and stresses t h a t younger players must, and can, be taught to play with proper phrasing. He discusses the concept of teaching quick breathing to younger students. Singing is important when examining phrases, and conductors must sing phrases with the indicated articulation in order to understand how the player will perform the music. He closes the column with suggestions on how to avoid mistakes in performing complete phrases (i.e., allowing the tongue to interfere with wide interval slurs, and dropping the ends of a phrase). B88. . "South of the Border" (Column 52). Canadian Band Journal 19, no. 2 (Winter 1994): 11. A discussion on how to execute dynamics in order to "play for the audience." Reed begins the discussion by tracing the development of dynamics throughout music history. He discusses the difficulty with qualifying and standardizing dynamics. Because there are, and cannot be, set objective values for dynamics, he discusses the factors t h a t influence

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Bibliography relative dynamics. Reed stresses t h a t dynamic indications in the music are there for the audience, not for the individual performer. He then discusses the strategies t h a t a conductor can ask of the player to perform dynamics. He closes the column by stressing t h a t the player must be willing to adjust their performance according to the conductors suggestions, and t h a t the conductor must not hesitate to demand changes from the player.

B89. . "South of the Border" (Column 53). Canadian Band Journal 19, no. 3 (Spring 1995): 11. In this fifth column which addresses playing for the audience, Reed discusses the two most "dangerous" sounds in the b a n d ~ saxophone and tuba. Dangerous, according to Reed, m e a n s t h a t the sound interferes with the ensemble's ability to convey the composer's music to the audience, and the affect these tone colors have on the overall sound produced by the ensemble. He then discusses how the overtones produced by the saxophone and tuba interfere with the overtones produced by other instruments, creating a dulling effect on the total sound. He the specifically addresses the tone color of the tuba, and how its very dominate overtone series matches t h a t of many other instruments. He further describes the compounded problem when there are too many tuba players. B90. . "South of the Border" (Column 54). Canadian Band Journal 19, no. 4 (Summer 1995): 5. Reed continues his discussion of the "dangerous" tone colors in the band focusing on the saxophone. He begins by questioning to what family, woodwinds or brasses, the instrument belongs. He next provides the reader with information relating to the historic use of the saxophone in orchestral music. He then traces the construction of the instrument, and relates how much the quality of the instrument, reeds and mouthpiece changes the quality of the tone produced. He describes the attributes of the saxophone in blending the sounds of the woodwind section, but d a m p e n s the brilliance of individual instruments. He provides suggestions to the conductor to help eliminate the dangers of the saxophone, and suggests to the player t h a t they always have good reeds and mouthpieces.

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B91. . "South of the Border" (Column 55). Canadian Band Journal 20, no. 1 (Fall 1995): 7. In this column, Reed provides discussion on how one hears and reacts to musical stimuli based on physiological and psychological principals. Reed discusses two difficult questions: what is music, an what is sound? He answers these questions while discussing the fact t h a t music exists in physiological reactions organized into meaningful patterns. He discusses the physiology of sound perception, and the reactions to music t h a t may occur. He discusses the fact t h a t very little is actually know about how one hears and why one reacts to music; there is very little hard evidence to support any theories. He closes the column with a discussion about the implications for music educators based on what we know about reactions to music. B92. . "South of the Border" (Column 56). Canadian Band Journal 20, no. 2 (Winter 1995): 7. Reed presents discussion on the thought t h a t the recognition and understanding of music is an intellectual process. He addresses the fact t h a t there is sometimes great elitism in musical understanding. He next addresses the fact t h a t too much musical stimuli cannot readily be processed by the h u m a n brain, no matter how talented or gifted an individual may be. He then discusses the implications for music teachers; dealing with learners of varied ability levels. B93. . "South of the Border" (Column 57). Canadian Band Journal 20, no. 3 (Spring 1996): 7. In this column, Reed discusses the talented and/or gifted student in a music program. He cautions teachers to be realistic when it comes to the number of truly gifted students in the music world. He suggests t h a t the teacher must strive "not to achieve the best possible result, but the best result possible." He next discusses the debate surrounding the influence of genetics, training and environment on musical achievement. He discusses the reality t h a t music students are typically the better students in academic subjects, and this sometimes creates scheduling conflicts. He then traces the historical development of music instruction in education, focusing on the correlation between mathematics and music. Next he addresses the correlation between elements of visual art and musical art. He shares his views on standardized

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Bibliography measurement tool for musical talent, followed by suggestions of what the characteristics are of a musically talented student. He closes the article with suggestions about how to teach music the way language is taught.

B94. . "South of the Border" (Column 58). Canadian Band Journal 20, no. 4 (Summer 1996): 7. Reed centers his discussion in this column on the issue t h a t music is an art, not simply a science. He believes t h a t one must keep in mind the difference between knowing something and thinking something. He shares his belief t h a t what we know so little about, the functioning of the brain, is precisely w h a t we should know the most about. He discusses what he believes the be the inner-workings of the brains of a gifted and talented student. He believes the network t h a t enables transmission of data is fully developed earlier in the life of a gifted or talented student. He then addresses the question of whether musical ability can be developed. Reed believes that, yes, musical ability can be developed in an individual. He discusses the influence of the right attitude on the improvement of musical ability, and the differences in learning styles t h a t must be accommodated. B95. . "South of the Border" (Column 59). Canadian Band Journal 21, no. 1 (Fall 1996): 5. Reed begins this column with a review of his discussion t h a t not everyone's innate musical ability is the same. He shares his view t h a t teachers should strive for students who are able to understand and manipulate the musical language - this is the goal. He then provides five steps which lead to musicianship. The reader is given suggestions on how to teach these steps. He provides personal stories on how he h a s taught these steps. He then details the importance of early exposure to musical stimuli and exposure to a variety of styles and meters. He closes the column with a brief discussion on the importance of rhythmic ability. B96. . "South of the Border" (Column 60). Canadian Band Journal 21, no. 2 (Winter 1996): 5. The discussion in this column focuses on the importance of rhythm in music. He begins by describing the amount of time which is commonly devoted to rhythmic instruction in the band curricula. Despite this, the most frequent mistakes in

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performance, according to Reed, are rhythmic. He shares his desire to instill quality teaching at the most elementary levels, by citing an example from his past when he requested to teach the entry level music theory courses, not the most advanced students. He provides the reader with a step-bystep description of how he teaches rhythm starting with aural then written rhythmic dictation. This is followed by aural then written melodic dictation. Reed reports t h a t students who were taught using this sequence achieved better results t h a n those who skipped the entry level courses. He suggests t h a t directors should make their students count and sing passages, before playing. This musical performance should be very precise, not only for the benefit of the learner, but for the benefit of the listener. He closes the column by reiterating the importance of accurately singing a passage. WRITINGS ABOUT REED Theses and Dissertations B97. Fiese, Richard K. "The performance repertoire of college and university bands: 1980 - 1985." Unpublished master's thesis, University of Miami, 1986. A survey of college band directors. The results yielded t h a t the music of Alfred Reed was the most performed of living composers during the time. B98. music." 1995.

Jordan, Douglas M. "Alfred Reed: The man behind the Unpublished doctoral dissertation, University of Miami, A biographical-centered study which provides detail on the early life and music development of the composer. Appendices include a listing of Reed's works, writings by and about the composer.

B99. Stagg, David L. "A comprehensive performance project in band conducting with a catalogue of original works for wind ensemble or concert band by Alfred Reed from 1953 to 1983 with performance comments on selected works." Unpublished doctoral dissertation, University of Iowa, 1985. A catalogue of Reed's original works for band. The performance difficulties of fifteen of the works are described

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Bibliography in detail. Even though a brief biographical section is presented, the focus of this study is clearly on Reed's music.

B100. Williamson, James E. "Russian Christmas Music [W23] and Alleluia! Laudamus Te [W33] by Alfred Reed: An analysis and comparison." Unpublished thesis, University of Wyoming, 1980. A Master's study which begins with a brief tracing of the development of the wind bands in the United States. The author's thesis statement focuses on the lack of original literature for the wind band. He then briefly describes the stories relating to the composition, and commissioning of Russian Christmas Music [W23] and Alleluia! Laudamus Te [W33]. Each work is also give a detailed formal and thematic analysis, followed by a comparison of the compositional techniques employed by Reed. The closing section of the document is a description of Reed's scoring techniques for various instruments and groups/families of instruments. SEE: D58, D59, D60, D61, D62, D63, D64, D65, D66, D300, D301, D302, D303, D304, D305, D306, D307, D308, D309, D310, D311, D312, D313, D314, D315, D316, D317, D318, D319, D320, D321, D322, D323, D324 B101. Yarberry, Glenn A. "AJL analysis of five exemplary college band programs." Unpublished doctoral dissertation, The Pennsylvania State University, 1974. A study of five college band programs. The author discusses Reed's compositional style, and credits him for helping to establish a standardized instrumentation for wind bands. Books B102. Murakami, Y. The world of Alfred Reed: All about the composer and his 77 compositions. (Tokyo: Kosei Publishing Co., 1997) 283. Book entirely in Japanese. Contains a brief biographical section with photographs followed by detailed documentation about Reed's 77 original composition to date of publication. J o u r n a l and Magazine Articles B103. "Men of note." The Instrumentalist 12, no. 1 (1957a): 18.

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A brief biography which "introduces" Reed to the band world. B104. "More first performances by college bands (Pro Texana March) [W53]." The School Musician 28, no. 5 (1957b): 10, 40. Notice of the premiere performance of the work. SEE: D283, D284, D285, D286, D287, D288 B105. "(Pledge of Allegiance) [W28] Premiers." Music Educators Journal 56, no. 9 (1970a): 106. Notice of the premiere performance of the work. SEE: D407 B106. "(Pledge of Allegiance) [W28] Premiers." Music Journal 28, no. 5 (1970b): 8. Notice of the premier performance of the work, and information about the magnitude of the performance groups. SEE: D407 B107. "(Music for Hamlet) [W34] Premiers." Music Educators Journal 58, no. 5 (1972): 94. Notice about the premiere performance of the work. SEE: D225, D226, D227, D228, D229, D230, D231, D232, D233 B108. "Ithaca band premiers Dr. Reed's Othello [W40]." The School Musician 49, no. 4 (1977a): 48. A detailed announcement of the premiere performance of the work. Also contains information about the Walter Beeler Memorial Series, and Reeds relationship with Beeler. SEE: D244, D245, D246, D247, D248, D249, D250, D 2 5 1 , D252, D253, D254 B109. "University of Miami composers honored by ASCAP." The School Musician 48, no. 7 (1977b): 16. An announcement heralding a number of composers at the University of Miami who received awards from ASCAP. B110. "(Othello) [W40] Premier performance." The Instrumentalist 32, no. 6 (1978a): 32.

248

Bibliography Short announcement about the premiere performance of the work. SEE: D244, D245, D246, D247, D248, D249, D250, D 2 5 1 , D252, D253, D254

Bill. "(Othello) [W40]Premiers." Music Journal 36, no. 1 (1978b): 26. Brief announcement about the premier of the work. SEE: D244, D245, D246, D247, D248, D249, D250, D 2 5 1 , D252, D253, D254 B112. "(Othello) [W40] Premiers." Music Educators Journal 64, no. 7 (1978c): 113-114. Announcement about the premiere performance of the work, and information about the Tri-State Music Festival. SEE: D244, D245, D246, D247, D248, D249, D250, D 2 5 1 , D252, D253, D254 B113. "Fantaisa a Due [W224]." Brass Bulletin 23 (1978d): 19. An announcement about the writing of the work. SEE: D147 B114. "Suite for Band, No. 2 (Latino - Mexicana) [W44] people in music." The School Musician 50, no. 8 (1979a): 24. A brief announcement about the premiere performance of the work. SEE: D333, D334, D335, D336, D337, D338, D339, D340, D341, D342, D343 B115. "Suite for Band, No. 2 (Latino - Mexicana) [W44] premiers." Music Educators Journal 66, no. 4 (1979b): 9. Brief notice of the premiere of the work. SEE: D333, D334, D335, D336, D337, D338, D339, D340, D341, D342, D343 B116. "Changes at the University of Miami." The Instrumentalist 34, no. 9 (1980a): 111. Announcement about Reed taking over the responsibilities for the University of Miami Wind Ensemble from Frederick Fennell.

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B117. "People in music." The School Musician 52, no. 1 (1980b): 40. Announcement of Reed taking position of Wind Ensemble conductor at the University of Miami. B118. "Alfred Reed to premier a new work (Queenston Overture) [W51]." The School Musician 53 (1982): 32. Notice of the premiere performance of the work. SEE: D294 B119. "Reflections: An interview with Alfred Reed." Spotlight (publication of the United States Air Force Band of Mid-America) Winter 1997-98: 4-6. Because of his involvement in the Army Air Corps Band, Reed was the focus of this interview. The questions deal directly with Reed's involvement in, and reflections about, his time in the Air Corps. The final questions of the interview prompt Reed to relate his current involvement with Air Force bands. Several never published photos are printed with the interview. B120. Review of With Trumpets and Drums: A Northern salute, [W73] by Alfred Reed, In The Instrumentalist 47, no. 4 (1992): 69. A listing and brief description of the work in a new music column. SEE: D440 B121. Begian, Harry. "Alfred Reed's Armenian Dances [W36] a rehearsal analysis." The Instrumentalist 40, no. 3 (1985): 27-34. This in-depth rehearsal analysis is much more t h a t a typical harmonic analysis. Begian discusses performance issues relating to "style, tempo, rhythm, accentuation and balance." This is perhaps one of the most authoritative analyses of this work. SEE: D68, D69, D70, D71, D72, D73, D74, D75, D76, D77, D78, D79, D80, D81, D82, D83, D84, D85, D86, D87, D88, D89, D90, D91, D92, D103, D104, D105, D106, D107, D108, D109

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Bibliography

B122. Begian, Harry. "Alfred Reed's Armenian Dances, Part 1 [W41] a rehearsal analysis." The Instrumentalist 42, no. 7 (1988a): 24-30. A very detailed article. Contains information about the premiere of the work, the background of the song texts, suggestions related to tempi, and conducting tips. Information about the specifics of the work (i.e., sonorities, expression, balance, blend, harmonies, formal structures and thematic development) are also discussed. SEE: D93, D94, D95, D96, D97, D98, D99, D100, D 1 0 1 , D102 D103, D104, D105, D106, D107, D108, D109 B123. Begian, Harry. "A Rehearsal Analysis of Praise Jerusalem! [W63]" The Instrumentalist 42, no. 11 (1988b): 20-23. A detailed analysis, almost measure by measure, of the work. Includes discussion on thematic material, tempi, sonorities, accents, rhythm and style. Useful for conductor and performer. SEE: D268, D269, D270, D271, D272, D273, D274, D275, D276, D277, D278, D279 B124. DeCarbo, Nicholas J. "Alfred Reed composer of our time." The Instrumentalist 40, no. 3 (1985): 20-22. The author asks Reed question related to his background and influences. In addition, philosophical questions are posed about the status of American bands versus J a p a n e s e bands. The interview closes with questions about advice to music students. B125. Diblaso, J a y Richard. "A conversation with renowned composer and conductor Alfred Reed." Veritas 27, no. 7 (1987): 6-7. The article focuses on the development and implementation of the Music Business program at the University of Miami. A brief set of questions focus on other responsibilities t h a t Reed held. B126. Dunnigan, Patrick. "Reverse transcriptions, from bands to orchestras." The Instrumentalist 51, no. 7 (1997): 22-26. This article highlights those composers who have had band works transcribed or arranged for bands. Dunnigan discusses the rationale for transcribing band works, the

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historical foundation for doing so, and briefly addresses the issue of characteristics t h a t are not lost in the transcription of the works he has sighted. The transcription of Russian Christmas Music [W23] is briefly discussed in this article. SEE: D300, D301, D302, D303, D304, D305, D306, D307, D308, D309, D310, D311, D312, D313, D314, D315, D316, D317, D318, D319, D320, D321, D322, D323, D324 B127. Horning, Lee-Ann. "Combining music and business." Flute Talk 10, no. 1 (1990): 15-17. The author sent questionnaires to professors involved with music business programs throughout the United States. Alfred Reed was one of the respondents included in the article. Questions relating to students in the music business program, the job placement of students, the opportunities for advanced study in the field, and the recruitment of students. The final question posed allowed the respondents to offer advice to prospective music business majors. B128. Jordan, Douglas M. "The Russian Christmas [W23] t h a t took 24 years to arrive." The Instrumentalist 50, no. 3 (1995): 2627. Traces the historical development of the work from its inception to its published version. Highlights differences between the original and published versions. SEE: D300, D301, D302, D303, D304, D305, D306, D307, D308, D309, D310, D311, D312, D313, D314, D315, D316, D317, D318, D319, D320, D321, D322, D323, D324 B129. Knight, John W. "The challenge of asymmetric meter." The Instrumentalist 45, no. 4 (1990): 27-30,38. The focus of this article is on the difficulties related to controlling asymmetric meters for a conductor. The author outlines basic guidelines for conducting asymmetric meters. He then provides examples of asymmetric meters in b a n d music. Reed's El Camino Real [W59] is the author's example of subdivided asymmetric meter. An analysis of selected portions of the work, along with several examples from the score, are provided. SEE: D138, D139, DUO, D141, D142, D143

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B130. Knight, John W. "Elgar's majestic lyrical Nimrod [W105]: An analysis of Alfred Reed's arrangement for band." The Instrumentalist 52, no. 12 (1998): 38, 40, 42, 44. This article is a detailed analysis of Reed's arrangement. The author begins with a brief biography of Elgar, and some details on the inception of the original orchestral version. He then compares the orchestra score with the arranged b a n d score. Knight provides suggestions for the performer and conductor, including specifics about balancing, intonation, dynamics, and style. Consideration is also give to the careful choice of tempo. B131. Marcus, Rachel. "Professor/composer teaches realities of the changing music industry." Veritas 31, no. 5 (1990): 3. This article is a short biography mixed with light-hearted anecdotes of Reed's time as a professor at the University of Miami. B132. Miller, Margarette S. "Music will bind a nation together." The School Musician 42, no. 5 (1971): 44-46. A very informative article which focuses on the National Bellamy Award. Includes an historical account of past award winners, and information about various school flag honoring traditions. The circumstances surrounding the selection of Reed's work as the award composition, and details about its "premiere" are included. SEE: D407 B133. Moss, Lee. "Composer Alfred Reed's thoughts on creativity." The Instrumentalist 32, no. 8 (1978): 34-35. A transcription (mostly) from an address t h a t Reed delivered to students at Ithica College while he was on t h a t campus preparing for the premiere performance of Othello [W40]. Reed discusses the steps t h a t a composer takes toward composing a work, and his definition of creativity. Reed stresses the importance of the audience for a composer. SEE: D244, D245, D246, D247, D248, D249, D250, D 2 5 1 , D252, D253, D254 preparing for the premiere performance of Othello [W40]. Instrumentalist 41, no. 12 (1987): 58-60.

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Contains information related to the premier of the work, the historical context of the commission, and a discussion related to the original theme and formal development of the work. SEE: D268, D269, D270, D271, D272, D273, D274, D275, D276, D277, D278, D279 B135. Paynter, John. "The Writings of John Paynter." Instrumentalist 50, no. 9 (1996): 50-56, 87-91.

The

This article is a selected compilation of the author's "views on subjects from marching band to music education." Published following the death of the author. Contained within is a review of Reed's Russian Christmas Music [W23]. SEE: D300, D301, D302, D303, D304, D305, D306, D307, D308, D309, D310, D311, D312, D313, D314, D315, D316, D317, D318, D319, D320, D321, D322, D323, D324 B136. Pettit, Heather. Review oi Alfred Reed Conducts, by Alfred Reed, In The Instrumentalist 49, no. 5 (1994): 10. A record review of "The Wind Music of Alfred Reed [D43]." B137. Rocco, Roger. Review of Fifth Suite for Band, [W79] by Alfred Reed, In The Instrumentalist 50, no. 9 (1996): 76. Reed's Fifth Suite for Band is Rocco's "Reviewer's Choice." This review contains an overview of each movement of the suite. SEE: D149 B138. Schnier, Sanford. "Now the Pledge of Allegiance [W28] can be sung." The School Musician 41, no. 7 (1970): 52-53. This article contains information about the commissioning and premiere performance of the work. Information about the commissioner, and his thoughts related to the impact of the work, is included. In addition, the article includes a detailed biography about Reed. SEE: D407 B139. Strange, Richard. "The new music of Alfred Bandworld 2, no. 5 (1987): 18, 33, 40.

Reed."

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Bibliography This article provides the reader with an in-depth analysis of Three Revelations from the Lotus Sutra [W56], and A Christmas Celebration [W61]. The author opens the article by relating a personal account with Reed's music. Very detailed information. SEE: D6, D417, D418, D419, D420, D421, D422, D 4 2 3 , D424

Audiovisual Media B140. Composer Festival with Guest Composer Alfred Reed. Produced by Tennessee Technological University. 4 videocassettes. Tennessee Technological University, 1980. Videocassettes. Performances (in rehearsal and concert settings) of Fantasia a Due [W224], Serenade [W7], A Festival Prelude [W171], Ballade [W4], War March and Battle Hymn of the Vikings [W21], Prelude and Capricio [W42], Imperatrix [W31], Second Symphony [W43], Armenian Dances: Part 1 [W36], Symphony for Brass and Percussion [W24], Punchinello [W37], and Ode for Trumpet [W5]. Also includes an introduction of a speech by Alfred Reed, and lectures by Alfred Reed. Performances by the Tennessee Tech Chamber Orchestra, Tech Brass Choir, and Tech Symphony Band. SEE: D8, D9, DIO, D l l , D12, D13, D14, D15, D16, D17, D18, D19, D20, D21, D22, D23, D24, D25, D26, D68, D69, D70, D71, D72, D73, D74, D75, D76, D77, D78, D79, D80, D81, D82, D83, D84, D85, D86, D87, D88, D89, D90, D 9 1 , D92, D112, D113, D114, D115, D147, D197, D198, D199,D239, D240, D241, D242, D243, D280, D281, D282, D289, D290, D291, D292, D293, D344, D345, D346, D347, D348, D349, D350, D359, D360, D361, D362, D363, D438 B141. Copyright, the Law and You! Produced and directed by Larry McCormack. 1 videocassette. Sharper Video Productions, 1986. Videocassette. Larry McCormack interviews Alfred Reed on the subject of copyright laws and how they affect band directors.

Appendix A: Alphabetical List of Compositions Numbers following each title, i.e., W28, refer to the "Works and Premieres" section of the volume. The indication of "for concert band" may include designations for Wind Ensemble or Wind Orchestra. 101 For 102 For 103 For 104 For

Band, Band, Band, Band,

for for for for

marching marching marching marching

band, band, band, band,

W246 W247 W248 W249

A Celebration Fanfare, for concert band, W65 A Ceremonial Fanfare, for concert band, W29 A Christmas Celebration, for concert band, W61 A Christmas Intrada, for concert band, W46 A Christmas Suite, for brass and percussion, W216 A Festival Prelude, for concert band, W10 A Festival Prelude, for orchestra, W171 A Festive Overture, for concert band, W15 A Jubilant Overture, for concert band, W27 A Little Concert Suite, for concert band, W52 A Northern Legend, for concert band, W30 A Northern Nocturne, for concert band, W35 A Sacred Suite, for concert band, W l l A Sea Dirge, for chorus, W236 A Springtime Celebration, for concert band, W71 A Symphonic Prelude, for concert band, W13 Acalarado, for marching band, W251 Afro, for Eb contrabass clarinet and piano, W201 Air De Sarabande, for concert band, W102 All Hail to the Days! for chorus, W244 Alleluia! Laudamus Te, for concert band, W33

256 Appendix A Arioso, for concert band, W150 Armenian Dances: Part II, for concert band, W41 Armenian Dances: Part I, for concert band, Autumn Leaves, for concert band, W92 Azrael, for concert band, W119 Ballad of Davy Crockett, for concert band, W159 Ballade, for Eb alto saxophone and band, W4 Ballade, for Eb alto saxophone and piano, W202 Bolero, for concert band, W93 By the Lagoon, for orchestra, W181 Cantata Di Chiesa, for concert band, W121 Cathedral Chorus, for chorus, W231 Centennial! for concert band, W57 Ceremony of Flourishes, for concert band, W14 Chanson Triste, for concert band, W137 Chorale Prelude in E Minor, for concert band, W l Choric Song, for mixed voices and concert band, W18 Choric song, for chorus, W237 Cinderella, for concert band, W160 Clair De Lune , for orchestra, W184 Clair de Lune, for flute solo and piano, W196 Clarinette Valsante, for clarinet choir, W193 Come Live With Me and Be My Love, for chorus, W240 Come, Sweet Death, for concert band, W116 Come, Sweet Death, for orchestra, W185 Concertino, for solo clarinet and concert band, W96 Concertino, for oboe and piano, W213 Concertino for Marimba and Winds, for marimba and wind ensemble, W74 Concerto for Trumpet, for trumpet, cornet, flugelhorn and winds, W83 Concerto in C Major, for concert band, W97 Country Night, for orchestra, W180 Curtain Up! for concert band, W68 Danza Caribe, for concert band, W58 Deck Thyself, My Soul, With Gladness, for concert band, W139 Divertimento for Flute and Piano, for flute and piano, W230 Divertimento for Flute and Winds, for flute and concert band, W84 Double Wind Quintet, for double wind quintet, W218 Eighteenth Variation, for piano and winds, W109 El Camino Real, for concert band, W59 Elephants Tango, for concert band, W91 Eventide, A Song of Sunset for Winds, for concert band, W66

Appendix A 257 Evolutions, for concert band, W75 Exodus, for concert band, W163 Fantasia A Due, for tuba and piano, W224 Fantasy on "Black is the Color of My True Love's Hair," for woodwind choir, W215 Fashion Show, for orchestra, W179 Fifth Suite for Band, for concert band, W79 Fifth Symphony, for concert band, W80 First Suite for Band, for concert band, W39 Forget Me Not, O Dearest Lord, for concert band, W128 Fourth Suite for Band, for concert band, W77 Fourth Symphony, for concert band, W76 Frank Loesser's Showtime Concert Bandbook, for concert band, W151 French Suite for Four French Horns, for French horn quartet, W227 Funiculi, Funicula, for concert band, W144 God Still Lives! for concert band, W129 Golden Eagle, for concert band, W70 Golden Jubilee, for concert band, W62 Greensleeves, for concert band, W9 Greensleeves, for concert band, W78 Greensleeves, for orchestra, W176 Greenwillow, for concert band, W156 Guaracha, for Bb bass clarinet and piano, W203 Gymnopedies, for concert band, W95 Gypsy Dance from "Carmen," for concert band, W148 Haitian Dance, for Bb bass clarinet and piano, W204 Harlem Nocturne, for solo Eb alto saxophone and band, W105 Havana Moon, for clarinet choir and percussion, W191 Hoe-Down, for Eb clarinet and piano, W205 Hora, for Bb clarinet and piano, W206 Hymn Variants, for concert band, W72 I Left My Heart In San Francisco, for concert band, W99 If thou Be Near, for concert band, W126 Imperatrix, for concert band, W31 In Dulci Jubilo, for concert band, W107 In Dulci Jubilo, for orchestra, W186 In Memoriam, for concert band, W32 Intermezzo, for Eb alto clarinet and piano, W195 Intrada Drammatica, for concert band, W22 Jesu, Joy of Man's Desiring, for concert band, W122

258 Appendix A Jesu, Joy of Man's Desiring, for orchestra W187 Joyeaux Noel, for orchestra brass and percussion, W228 La Procession du Rocio, for concert band, W98 Laid-Back Rag, for brass quintet, W229 Lawrence of Arabia, for concert band, W166 Li'l Abner, for concert band, W153 Lumberjack Overture, for concert band, W3 Macarena, for concert band, W142 Mancini! for concert band, W167 March "Grandioso," for concert band, W106 March of the Little Tin Soldiers, for concert band, W123 March Variations, for Eb soprano clarinet and piano, W207 Mary Poppins, for concert band, W168 Mellennium III, for concert band, W90 Might and Majesty, for concert band, W8 Mr. Music! for concert band, W69 Music for "Hamlet," for concert band, W34 My Heart Is Filled With Longing, for concert band, W131 My Jesus! Oh, What Anguish, for concert band, W114 My Jesus! Oh, What Anguish! for orchestra, W188 Nimrod, for concert band, W104 Nocturne, Op. 9, No. 2, for concert band, W115 Nun Komm, Der Heiden Heiland, for oboe, celli, and double bass, W219 O Little Town, for concert band, W145 O Most Wonderful, for concert band, W146 Ode for Trumpet, for trumpet and concert band, W5 Ode for Trumpet, for trumpet and piano, W208 Othello, for concert band, W40 Our Father Who Art in Heaven, for concert band, W132 Panis Angelicus, for concert band, W133 Passacaglia, for concert band, W20 Pastorale, for Bb soprano clarinet and piano, W209 Pavanne, for concert band, W134 Perdido, for solo trumpet and piano, W197 Peter Pan, for concert band, W161 Pilgrim's Chorus, for concert band, W141 Poetry and Power, for symphonic band, W19 Praise Jerusalem! for concert band W63 Prelude and Capriccio, for concert band, W42 Prelude and Dance, for concert band, W101

Appendix A 259 Prelude No. 4 from "The Well Tempered Clavichord, Book 1," for concert band, W125 Prelude, Op. 9, No. 1, for concert band, W130 Presentation of the Silver Rose, for concert band, W135 Pro Texana, for concert band, W53 Prologue, for chorus, W245 Punchinello, for concert band, W37 Quadraphonic Fanfare, for four brass choirs and timpani, W217 Queenston Overture, for concert band/wind ensemble, W51 Radetzky March, for concert band, W143 Rahoon, for solo Bb clarinet and concert band, W17 Requiescat, for chorus, W241 Rhapsody for Viola and Orchestra, for viola and orchestra, W170 Rogers and Hart, for concert band, W169 Rushmore, for concert band, W47 Russian Christmas Music, for concert band, W23 Salutations! Fanfares and Intrada, for concert band, W67 Sarabande, for Eb alto clarinet and piano, W210 Satin Doll, for solo trumpet and piano, W198 Scherzo Fantastique, for Eb or Bb contra bass clarinet and piano, W211 Seascape, for baritone horn and band, W12 Second Century, for concert band, W60 Second Suite for Band, for concert band, W44 Second Symphony, for concert band, W43 Seek Ye First the Kingdom of God, for chorus, W234 Selections from "Oliver," for orchestra, W183 Serenade, for solo Bb clarinet and band, W7 Serenade, for Bb Clarinet(s) and winds, W100 Serenata, for Eb alto clarinet and piano, W212 Seventy-Six Trombones, for brass and percussion, W192 Severn Suite, for concert band, WHO Sheep May Safely Graze, for concert band, W124 Sheep May Safely Graze, for orchestra, W189 Siciliana Notturno, for string orchestra and harp, W175 Siciliana Notturno, for Eb alto saxophone and piano, W220 Silver Shadow, for concert band, W89 Sine Nomine, for concert band, W117 Sixth Suite for Band, for concert band, W86 Slavonic Folk Suite, for concert band, W2 Sleepers, Awake! for concert band, W127 Song of the High Cascades, for concert band, W55 Song of the Singing Nun, for chorus (two part), W235

260 Appendix A Song of Threnos, for concert band, W16. Strings 'N' Things, for orchestra, W178 Suite Concertante, for orchestra, W177 Suite Concertante, for cello orchestra and double bass, W221 Suite in A Minor, for flutes and woodwinds, W103 Symphony for Brass and Percussion, for brass and percussion, W24 Symphony No. 3, for concert band, W64 Take Five, for flute solo and piano, W199 Take Me Along, for concert band, W154 Tarantella, for concert band, W147 Tears, Idle Tears, for chorus, W233 Testament of an American, for concert band, narrator and mixed chorus, W38 Testament of an American, for orchestra, narrator and mixed chorus, W174 Testament of an American, for chorus (S.A.) and piano, W239 The Big East March, for concert band, W87 The Crowning Glory, for concert band, W6 The Enchanted Island, for concert band, W45 The Entertainer, for concert band, W112 The Fantastics, for concert band, W158 The Garden of Prosperpine, for concert band, W49. The Golden Year, for concert band, W88 The Hounds of Spring, for concert band, W48 The King of Love My Shepherd Is, for concert band, W81 The Man With the Golden Arm, for concert band, W162 The Mechanical Doll, for orchestra, W182 The Midnight Sun Will Never Set, for solo trumpet and piano, W200 The Moon Shines Bright, for chorus (S.S.A.T.B.) a capella, W242 The Music Man, for concert band, W155 The Music-Makers, for concert band, W25 The Pajama Game Overture, for concert band, W152 The Pledge of Allegiance, for concert band, W28 The Pledge of Allegiance, for orchestra, W173 The Pledge of Allegiance, for chorus, W238 The Pledge of Allegiance, for marching band, W250 The Prophecy, for chorus, W232 The Ramparts of Courage: Fanfare and Processional, for concert band, W82 The Strenuous Life, for concert band, W113 The Tsar's Farewell, for concert band, W i l l The Unsinkable Molly Brown, for concert band, W157 The Valiant Years, for concert band, W164 The Willow Song, for chorus, W243 The Wonderful World of the Brothers Grimm, for concert band, W165

Appendix A Theme from Leonardo Da Vinci, for concert band, W118 Third Suite for Band, for concert band, W50 Three Revelations for the Lotus Sutra, for concert band, W56 Three Symphonic Preludes, for concert band, W136 Thus Do You Fare, My Jesus, for concert band, W120 Thus Do You Fare, My Jesus, for orchestra, W190 Titania's Nocturne, for orchestra, W172 Trilogue, Scherzo for solo Double Bass and Two Mallet Percussion, for double bass and two mallet percussion, W222 Tritsch-Tratsch Polka, for concert band, W149 Two Bagatelles for Brass Ensemble and Percussion, for brass ensemble and percussion, W226 Two Bagatelles for Concert Band, for concert band, W85 Two Bagatelles for Four Trombones, for trombone quartet, W225 Variations on L. B. I. F. D. ("London Bridge Is Falling Down"), for brass quintet, W214 Verdiana, for concert band, W94 Vilabella, for concert band, W108 Vilia from "The Merry Widow," for concert band, W140 Viva Musica! for concert band, W54 Wapawekka, for concert band, W26 War March and Battle Hymn of the Vikings, for concert band, W21 Wenn Wir In Hoechstern Nothen Sein, for English horn, celli, and double bass, W223 Who Will But Let Himself Be Guided, for concert band, W138 With Trumpets and Drums, for concert band, W73

261

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Appendix B: Chronological List of Compositions Numbers following each title, i.e., W20, refer to the "Works and Premieres" section of the volume. The indication "for concert band" may include Wind Ensemble and Wind Orchestra. 1953

Chorale Prelude in E Minor, for concert band, W l Slavonic Folk Suite, for concert band, W2

1954

Lumberjack Overture, for concert band, W3 Elephants Tango, for concert band, W91 Frank Loesser's Showtime Concert Bandbook, for concert band,W151 The Pajama Game Overture, for concert band, W152

1955

Autumn Leaves, for concert band, W92 Ballad of Davy Crockett, for concert band, W159 Cinderella, for concert band, W160 Peter Pan, for concert band, W161 Havana Moon, for clarinet choir and percussion, W191 Cathedral Chorus, for chorus, W231 The Prophecy, for chorus, W232

1956

Ballade, for Eb alto saxophone and band, W4 Ode for Trumpet, for trumpet and concert band, W5 The Crowning Glory, for concert band, W6 Bolero, for concert band, W93 Verdiana, for concert band, W94 The Man With the Golden Arm, for concert band, W162 Tears, Idle Tears, for concert band, W233

264 Appendix B 1957

Serenade, for solo Bb clarinet and band, W7 Li'l Abner, for concert band, W153

1958

Might and Majesty, for concert band, W8 Seventy-Six Trombones, for brass and percussion, W192

1959

Take Me Along, for concert band, W154 The Music Man, for concert band, W155

1960

Gymnopedies, for concert band, W95 Greenwillow, for concert band, W156

1961

Greensleeves, for concert band, W9 The Unsinkable Molly Brown, for concert band, W157 Clarinette Valsante, for concert band, W193

1962

A Festival Prelude, for concert band, W10 A Sacred Suite, for concert band, W l l Seascape, for concert band, W12 Concertino, for solo clarinet concert band, W96 Concerto in C Major, for concert band, W97 I Left My Heart In San Francisco, for concert band, W99 La Procession du Rocio, for concert band, W98 The Valiant Years, for concert band, W164 The Wonderful World of the Brothers Grimm, for concert band, W165

1963

A Symphonic Prelude, for concert band, W13 Ceremony of Flourishes, for concert band, W14 Serenade, for Bb clarinet(s) and winds, W100 Lawrence of Arabia, for concert band, W166 Sarabande and Double, for woodwind quartet, W194 Seek Ye First the Kingdom of God, for chorus, W234 Song of the Singing Nun, for chorus (two part), W235 101 For Band, for marching band, W246

1964

A Festive Overture, for concert band, W15 Song of Threnos, for concert band, W16 Prelude and Dance, for concert band, W101 Intermezzo, for Eb alto clarinet and piano, W195 102 For Band, for marching band, W247

1965

Rahoon, for solo Bb clarinet and concert band, W17 Air De Sarabande, for concert band, W102 Suite in A Minor, for concert band, W103 Mancini! for concert band, W167

AppendixB 265

1965

Mary Poppins, for concert band, W168 Rogers and Hart, for concert band, W169 A Sea Dirge, for chorus, W236 103 For Band, for marching band, W248 Claire de Lune, for flute solo and piano, W196 Perdido, for trumpet solo and piano, W197 Satin Doll, for solo trumpet and piano, W198 The Midnight Sun Will Never Set, for solo trumpet and piano, W200

1966

Choric Song, for mixed voices and concert band, W18 Poetry and Power, for symphonic band, W19 Nimrod, for concert band, W104 The Fantastics, for concert band, W158 Rhapsody for Viola and Orchestra, for viola and orchestra, W170 Afro, for Eb contrabass clarinet and piano, W201 Ballade, for Eb alto saxophone and piano, W202 Guaracha, for Bb bass clarinet and piano, W203 Haitian Dance, for Bb bass clarinet and piano, Hoe-Down, for Eb clarinet and piano, W205 Hora, for Bb clarinet and piano, W206 March Variations, for Eb soprano clarinet and piano, W207 Ode for Trumpet, for trumpet and piano, W208 Pastorale, for Bb soprano clarinet and piano, W209 Sarabande, for Eb alto clarinet and piano, W210 Scherzo Fantastique, for Eb or Bb contra bass clarinet and piano, W211 Serenata, for Eb alto clarinet and piano, W212 Choric song, for chorus, W237 104 For Band, for marching band, W249

1967

Passacaglia, for concert band, W20 War March and Battle Hymn of the Vikings, for concert band, W21

1968

Intrada Drammatica, for concert band, W22 Russian Christmas Music, for concert band, W23 Symphony for Brass and Percussion, for brass and percussion, W24 The Music-Makers, for concert band, W25 Wapawekka, for concert band, W26 Harlem Nocturne, for solo Eb alto saxophone and band, W105 A Festival Prelude, for orchestra, W171 Titania's Nocturne, for orchestra, W172

266

AppendiT^B Concertino, for oboe and piano, W213

1969

March "Grandioso," for concert band, W106

1970

A Jubilant Overture, for concert band, W27 The Pledge of Allegiance, for concert band, W28 In Dulci Jubilo, for concert band, W107 Vilabella, for concert band, W108 The Pledge of Allegiance, for orchestra, W173 Selections from "Oliver," for orchestra, W183 Variations on L. B. I. F. D. ("London Bridge Is Falling Down"), for brass quintet, W214 The Pledge of Allegiance, for chorus, W238 The Pledge of Allegiance, for marching band, W250

1971

A Ceremonial Fanfare, for concert band, W29 Eighteenth Variation, for piano and winds, W109

1972

A Northern Legend, for concert band, W30 Imperatrix, for concert band, W31 In Memoriam, for concert band, W32

1973

Alleluia! Laudamus Te, for concert band, W33 Music for "Hamlet," for concert band, W34 Severn Suite, for concert band, WHO The Tsar's Farewell, for concert band, W i l l Fantasy on "Black is the Color of My True Love's Hair," for woodwind choir, W215

1974

A Northern Nocturne, for concert band, W35 Armenian Dances: Part I, for concert band, W36 Punchinello, for concert band, W37 Testament of an American, for concert band, narrator and mixed chorus, W38 The Entertainer, for concert band, W112 The Strenuous Life, for concert band, W113 Testament of an American, for concert band, W174 A Christmas Suite, for brass and percussion, W216 Quadraphonic Fanfare, for four brass choirs and timpani, W217 Testament of an American, for chorus (S. A.) and piano, W239

1975

First Suite for Band, for concert band, W39 My Jesus! Oh, What Anguish, for concert band, W114 Nocturne, Op. 9, No. 2, for concert band, W115

AppendixB 267 Double Wind Quintet, for double wind quintet, W218 1976

Come, Sweet Death, for concert band, W116 Sine Nomine, for concert band, W117 Theme from Leonardo Da Vinci, for concert band, W118

1977

Othello, for concert band, W40 Azrael, for concert band, W119 Siciliana Notturno, for string orchestra and harp, W175 Come Live With Me and Be My Love, for chorus, W240 Requiescat, for chorus, W241 The Moon Shines Bright, for chorus (S.S.A.T.B.) a capella, W242 The Willow Song, for chorus, W243

1978

Armenian Dances: Part II, for concert band, W41 Prelude and Capriccio, for concert band, W42 Thus Do You Fare, My Jesus, for concert band, W120 Nun Komm, Der Heiden Heiland, for oboe, celli and double bass, W219 Siciliana Notturno, for Eb alto saxophone and piano, W220 Suite Concertante, for cello orchestra and double bass, W221 Trilogue, Scherzo for solo Double Bass and Two Mallet Percussion, for double bass and two mallet percussion, W222 Wenn Wir In Hoechstern Nothen Sein, for English horn, celli and double bass, W223

1979

Second Symphony, for concert band, W43 Cantata Di Chiesa, for concert band, W121 Greensleeves, for orchestra, W176 Fantasia A Due, for tuba and piano, W224 All Hail to the Days! for chorus (S.A.T.B.), W244

1980

Second Suite for Band, for concert band, W44 The Enchanted Island, for concert band, W45 Jesu, Joy of Man's Desiring, for concert band, W122

1981

A Christmas Intrada, for concert band, W46 Rushmore, for concert band, W47 The Hounds of Spring, for concert band, W48 March of the Little Tin Soldiers, for concert band, W123 Sheep May Safely Graze, for concert band, W124 Clair De Lune, for orchestra, W184 Come, Sweet Death, for orchestra, W185 In Dulci Jubilo, for orchestra, W186

268

Appendi\B Jesu, Joy of Man's Desiring, for orchestra, W187 My Jesus! Oh, What Anguish! for orchestra, W188 Sheep May Safely Graze, for orchestra, W189 Thus Do You Fare, My Jesus, for orchestra, W190 Acalarado, for marching band, W251

1982

The Garden of Prosperpine, for concert band, Third Suite for Band, for concert band, W50 Suite Concertante, for orchestra, W177

W49

1983

Queenston Overture, for concert band, W51 Prelude No. 4 from "The Well Tempered Clavichord, Book 1," for concert band, W125 Two Bagatelles for Four Trombones, for trombone quartet, W225 Prologue, for chorus, W245

1984

A Little Concert Suite, for concert band, W52 Pro Texana, for concert band, W53 Viva Musica! for concert band, W54 If thou Be Near, for concert band, W126 Sleepers, Awake! for concert band, W127

1985

Song of the High Cascades, for concert band, W55 Three Revelations for the Lotus Sutra, for concert band, W56 Forget Me Not, O Dearest Lord, for concert band, W128 God Still Lives! for concert band, W129 Prelude, Op. 9, No. 1, for concert band, W130

1986

Centennial! for concert band, W57 Danza Caribe, for concert band, W58 El Camino Real, for concert band, W59 Second Century, for concert band, W60 My Heart Is Filled With Longing, for concert band, W131

1987

A Christmas Celebration, for concert band, W61 Golden Jubilee, for concert band, W62

1988

Praise Jerusalem! for concert band, W63 Symphony No. 3, for concert band, W64 Our Father Who Art in Heaven, for concert band, W132 Panis Angelicus, for concert band, W133 Pavanne, for concert band, W134 Presentation of the Silver Rose, for concert band, W135 Three Symphonic Preludes, for concert band, W136 By the Lagoon, for orchestra, W181

AppendixB 269 Country Night, for orchestra, W180 Fashion Show, for orchestra, W179 Strings 'N' Things, for orchestra, W178 The Mechanical Doll, for orchestra, W182 1989

A Celebration Fanfare, for concert band, W65 Eventide, A Song of Sunset for Winds, for concert band, W66 Salutations! Fanfares and Intrada, for concert band, W67 Chanson Triste, for concert band, W137 Who Will But Let Himself Be Guided, for concert band, W138

1990

Curtain Up! for concert band, W68 Mr. Music! for concert band, W69 Deck Thyself, My Soul, With Gladness, for concert band, W139 Vilia from "The Merry Widow," for concert band, W140 Golden Eagle, for concert band, W70

1991

Pilgrim's Chorus, for concert band, W141

1992

Hymn Variants, for concert band, W72 With Trumpets and Drums, for concert band, W73 Macarena, for concert band, W142

1993

Concertino for Marimba and Winds, for marimba and wind ensemble, W74 Evolutions, for concert band, W75 Fourth Symphony, for concert band, W76 Radetzky March, for concert band, W143

1994

Fourth Suite for Band, for concert band, W77 Greensleeves, for concert band, W78 Funiculi, Funicula, for concert band, W144

1995

Fifth Suite for Band, for concert band, W79 Fifth Symphony, for concert band, W80 The King of Love My Shepherd Is, for concert band, W81 The Ramparts of Courage: Fanfare and Processional, for concert band, W82 O Little Town, for concert band, W145 Two Bagatelles for Brass Ensemble and Percussion, for brass ensemble and percussion, W226

1996

O Most Wonderful, for concert band, W146 Tarantella, for concert band, W147

270

Appendi^B

1997

Concerto for Trumpet, for trumpet, cornet, flugelhorn and winds, W83 Divertimento for Flute and Winds, for flute and concert band, W84 Two Bagatelles for Concert Band, for concert band, W85 Gypsy Dance from "Carmen," for concert band, W148 French Suite for Four French Horns, for French horn quartet, W227

1998

Arioso, for concert band, W150 Mellennium III, for concert band, W90 Silver Shadow, for concert band, W89 Sixth Suite for Band, for concert band, W86 The Big East March, for concert band, W87 The Golden Year, for concert band, W88 Tritsch-Tratsch Polka, for concert band, W149 Divertimento for Flute and Piano, for flute and piano, W230 Joyeaux Noel, for orchestra brass and percussion, W228 Laid-Back Rag, for brass quintet, W229

Index Page numbers, i.e., p. 8, refer to pages in the "Biography"; numbers preceded by a "B" refer to the "Bibliography"; numbers preceded by a "D" refer to the "Discography"; numbers preceded by a "W" refer to the "Works and Premieres" section. $64,000 Dollar Question, p. 15 101 For Band, p. 36, W246 101-102-103 Band Book, p. 36 102 For Band, p. 36 102 For Band, W247 103 For Band, p. 36 103 For Band, W248 104 For Band, p. 36 104 For Band, W249 28th Army Air Corps Band, p. 15 29th Army Air Corps Band, p. 15 529th Army Air Force Band, p. 15, 16 8th Army Air Force, p. 14 A Celebration Fanfare, W65, Dl A Ceremonial Fanfare, W29, D2, D3, D4, D5 A Christmas Celebration, W61, D6, B139 A Christmas Intrada, W46,

D7, B15 A Christmas Suite, W216 A Festival Prelude, p. 34, W10, D8, D9, D10, D l l , D12,D13,D14, D15,D16, D17, D18, D19, D20, D21, D22, D23, D24, D25, D26, B9,B140 A Festival Prelude, for orchestra, W171 A Festive Overture, W15, D27,D28,D29, D30, D31, D32, D33 A Jubilant Overture, p. 42, W27, D34, D35, D36, D37, D38, D39, D40, D41, D42, D43 A Little Concert Suite, W52, D44, D45, D46 A Northern Legend, W30, D47 A Northern Nocturne, W35 A Sacred Suite, W l l A Sea Dirge, W236 A Springtime Celebration,

272

Ind&L

W71,D48,D49,D50,D51 A Symphonic Prelude, p. 51, W13, D52, D53, D54, D55, D56, B85 Acalarado, W251 Afro, W201, D57 Air De Sarabande, W102 Akiyama, Toshio, pp. xiii, 51 Alfred Reed International Association (ARIA), pp. 54, 60 All About Love, p. 26 All Hail to the Days!, W244 All-American Youth Honor Band, p. 39 All-Japan Band Association, p. 51 Alleluia! Laudamus Te, W33, D58, D59, D60, D61, D62, D63, D64, D65, D66 America Sends a Melody, p. 15 American Academy in Rome, p. 13 American Bandmasters Association (ABA), p. 58 American Broadcasting Corporation (ABC), pp. 22, 23 American Red Cross, p. 18 Answer for Anne, p. 27 Aoyama, Kin, pp. xiii, 52 Arioso, W150, D67 Armenian Dances: Part I, p. 49, W36„ D68, D69, D70, D71, D72, D73, D74, D75, D76, D77, D78, D79, D80, D81, D82, D83, D84, D85, D86, D87, D88, D89, D90, D91, D92, D109, B121, B140 Armenian Dances: Part II, p. 49, W41, D93, D94, D95, D96, D97, D98, D99, D100, D101, D102, D109, B122 Army Air Corps, pp. 13, 14

Art Production International, pp. 53, 54 ASCAP, p. 34 Ashe, Frederick, p. 38 Atlantic City (New Jersey), pp. 13, 14, 15 Australia, pp. ix, 52, 56, 59 Austria, pp. ix, 2, 56, 58, 59 Autumn Leaves, W92, DUO, Dill Azrael, W119 Bach, Johann Sebastian, pp. 11, 33, 42, 43 Bainum, Glenn Cliffe, p. 63 Ballad of Davy Crockett, W159 Ballade for Alto Saxophone and Band, pp. 48, 54, W4, D112, D113,D114, D115, B140 Ballade, for alto saxophone and piano, W202, D116, B140 Bane, David, p. 15 Barkema, Martha, p. 30 Barnhouse Bach Series, p. 42 Barnhouse, Charles, p. 42 Bartok, Bella, p. 31 Baskerville, David, pp. 40, 64 Baylor University, pp. 7, 18, 25,26,28,29,30,31 Baylor University Orchestra, p. 28 Beeler, Walter, pp. 22, 23, 27, 33, 44, 46 Beethoven, Ludwig van, pp. 1, 15, 19, 20 Begian, Harry, pp. xiii, 48, 49, 64, B121, B122, B123 Berken, Harry, p. 11 Berlin, Irving, p. 2 Blackhawk Restaurant, p. 26 Blackton, Jay, p. 27 Blake, Sid, p. 26 Blesser, Major, p. 13

Ind&t Bolero, W93 Boosey & Hawkes, pp. 21, 24 Bourgeois, John R., p. xiii Boyle, J. David, p. xiii Broadway, pp. 6, 8, 11, 12, 14, 27, 36, 56 Bronx (New York), pp. 4, 7 Bruckner Conservatory, p. 58 Buckley Field, pp. 15, 17 By the Lagoon, W181 C. L. Barnhouse Corporation, p. 42 Cafe Royal, p. 2 Canada, pp. ix, 37, 38, 56 Canadian Band Journal, pp. ix, 38 Cantata Di Chiesa, W121 Captain, Ralph, pp. 8 Cass Technical High School, p. 48 Caston, Saul, p. 17 Cathedral Chorus, W231 Catskill Mountains [New York], p. 8 Centennial!, W57 Ceremony of Flourishes, W14, B7 Certamen International Competition, p. 58 Chanson Triste, W137 Charles H. Hansen Music Corporation, pp. x, 12, 27, 32, 37 Chicago [Illinois], pp. 26, 31 Chorale Prelude in E Minor, W l , D117 Choric Song, W18 Choric song, W237 Christmas Day (Hoist), pp. 30 Cinderella, p. 35, W160, D118 Clair De Lune, W184 Claire de Lune, W196 Clarinette Valsante, W193, D119 Colgrass, Michael, p. xiii

273

College Band Directors National Conference (CBDNA), p. 53 Columbia Gramophone, p. 3 Come Live With Me and Be My Love, W240 Come, Sweet Death, W116, D120,D121,D122 Come, Sweet Death (for orchestra), W185 Concertino, W96, D123 Concertino, W213 Concertino for Marimba and Winds, p. 54, W74, D124, D125 Concerto for Trumpet, W83, D126 Concerto in C Major, W97, D127, D128, D129 Concours Music Festival, p. 57 Conn Corporation, p. 5 Connell, Frank, pp. 37, 38 Coral Gables [Florida], pp. ix, 41, 43, 59, 60 Country Night, p. 12 Country Night, W180 Creative America, p. 12 Curtain Up!, W68, D130, D131,D132 Dale, Ted, p. 25 Dallas [Texas], p. 32 Danza Caribe, W58, D133, D134 Davis, Clive, p. 41 DeCarbo, Nicholas, p. xiii, B124 Deck Thyself, My Soul, With Gladness, W139 Deley, Marjorie Beth, p. 12 Delicatessen Restaurant, p. 2 Denver [Colorado], pp. 15, 16, 18,63 Detroit [Michigan], p. 48 Diblaso, Jay Richard, B125

274

Ind&t

Dickinson [North Dakota], p. 37 Divertimento for Flute and Piano, W230 Divertimento for Flute and Winds, W84 Double Wind Quintet, W218, D135,D136,D137 Dowling, Lyle, p. 18 Dunnigan, Patrick, B126 E. B. Marks Publishing Company, pp. 34, 43 Eastman School of Music, pp. 46,51 Eastman School Symphony Band, p. 46 Eighteenth Variation, W109 Ein Heldenlieben, p. 19 El Camino Real, W59, D138, D139, D140, D141, D142, D143, B129 Elephants Tango, W91 Empire Brass, p. 43 Enid [Oklahoma], p. 33 Eternal Light, pp. 21 Ethel Smith Organ Company, p. 12 Eventide, A Song of Sunset for Winds, W66, D144 Evolutions, W75, D145 Exodus, W163, D146 Fantasia A Due, W224, D147, B140 Fantasy on "Black is the color of my true love's hair," W215, D148 Fascist Regime, p. 2 Fashion Show, W179 Feltman's, p. 2 Fennell, Frederick, pp. ix, xiii, 34, 39, 40, 44, 45, 46, 47, 48, 52, 53, 55, 63, 64, 65 Ferlazzo, Tommy, p. xiii Fiese, Richard, B97

Fifth Suite for Band, W79, D149 Fifth Symphony, pp. 55 Fifth Symphony, W80, D150, D151,D152, B137 First Suite for Band, W39, D153, D154, D155, D156, D157, D158, D159, D160, D161,D162 Fisher, Bernard, p. xiii Fitzgerald, Bernard, pp. 23, 63 Five Dances for Five Clarinets, p. 33 Flagstaff, Curtis, p. 12 Florida Association of Band Directors, p. 50 Florida Band Directors Association, p. 50 Ford 50th Anniversary Show, pp. 27, 29 Ford Motor Company, p. 27 Forest Park [Georgia], p. 46 Forget Me Not, O Dearest Lord, W128 Fort Cappella [Saskatchewan], p. 37 Fourth Suite for Band, W77, D163, D164 Fourth Symphony, p. 57, W76, D165,D166, D167 Frank Loesser's Showtime Concert Bandbook, W151 French Suite for Four French Horns, W227 Friedman, Alfred, pp. 2, 3, 4, 5,6,7 Friedman, Carl, pp. 3, 4, 5, 6, 8, 10, 13, 36 Friedman, Elizabeth, pp. 3, 4, 5, 6, 8, 10, 36 Friedman, Jay, p. 35 Friedman von Mark, Carl, pp. 2,3 Fuchs, Kenneth, p. 40 Fukuoka [Japan], p. 56

Ind&t Full Fathom Five, Thy Father Lies (Shakespeare), p. 31 Funiculi, Funicula, W144, D168, D169, D170 G. Leblanc Corporation, p. 34 G. P. Babb Junior High School, p. 46 Gabriel, Arnald, p. 48 General Lawson March, p. 18 Giannini, Vittorio, pp. 13, 18, 19, 22, 26, 37 Glass, Harry, p. 26 God Still Lives!, W129 Golden Eagle, W70, D171 Golden Jubilee, W62, D172, D173,D174,D175 Gould, Morton, p. 13 Green, Gary, p. xiii Greensboro [North Carolina], p. 16 Greensleeves, for orchestra, W176 Greensleeves, p. 36, W9, W78, D176, D177, D178, D179, D180, D181, D182, D183, D184, B65 Greenwillow, W156 Grupp, Morris, p. 14 Guaracha, W203, D185 Gutman, Arthur, p. 10 Gymnopedies, W95 Gypsy Dance from "Carmen," W148, D186 Haitian Dance, W204, D187 Hamamatsu [Japan], p. 59 Hammond Organ, pp. 12, 15 Handel, George Frideric, p. 16 Handleman, Joseph, pp. xiii, 40,41 Hansen, Charles H., pp. xi, 27, 28, 30, 31, 32, 33, 35, 36, 37, 39, 40 Hanson, Howard, p. 23 Harlem Nocturne, W105

275

Harris, Roy, pp. 16, 17 Havana Moon, W191, D188 Hawthorne, Harry, p. xiv Herman Ridder Junior High School, p. 4 Hindemith, Paul, p. 11 Hipp, William, p. 45 Hixon, Donald, p. xiii Hoe-Down, W205, D189 Hoffman, Joseph, p. 10 Holiday Hotel, p. 26 Holland, pp. ix, 57, 60 Hoist, Gustav, p. 30 Hora, W206, D190 Horning, Lee-Ann, B127 Howard, Peter, p. 26 Hufstader, Robert, p. 12 Hymn Variants, W72, D191, D192, D193, D194, D195 I Left My Heart In San Francisco, W99 I f T h o u B e N e a r , p. 42 If thou Be Near, W126, D196 Imperatrix, p. 49, W31, B140, D197, D198, D199 In Dulci Jubilo, W107, D200 In Dulci Jubilo, for orchestra, W186 In Memoriam, W32, D201, D202 Indianapolis [Indiana], p. 47 Interludium, pp. 12, 28 Intermezzo, W195 International Conservatory of Music in Lima, Peru, p. 39 Intrada Drammatica, W22, D203 Italy, pp. ix, 56, 59 Ithaca College, pp. 23, 44, 45 Ithaca College Symphonic Wind Ensemble, p. 45 Ito, Toru, p. 52 James Monroe High School, p. 7

276

Ind&t

Japan, pp. viii, 50, 51, 52, 53, 54, 55, 56, 57, 58, 59, 60 J a p a n Super Band, p. 52 Japanese Band Directors Association, pp. 50, 51 Japanese Ground Self-defense Forces Band, pp. 1, 54 Jesu, Joy of Man's Desiring, W122, D204, D205, D206, D207, D208, D209, D210 Jesu, Joy of Man's Desiring, for orchestra, W187 Johnson, Josephine A., p. xiv Jones, L. Bruce, p. 23 Jordan, Douglas M., B98, B128 Jordan, Earl R., p. xii Jordan, Shirley J., p. xii Jordan-DeCarbo, Joyce, p. xiii JoyeauxNoel, W228 Juilliard School of Music, pp. 7, 8, 18, 19, 20, 21, 22, 26, 28,29 Kalban, Bernard, pp. 27, 28, 34,42 Katims, Milton, pp. 13, 24, 25, 35 Kerkrade [Holland], p. 57 King, Sandy, p. 35 Kinyon, John, p. 45 KLZ, p. 15 KMYR, p. 15 Knight, John W., B129, B130 KOA, p. 15 Kono, Reiko, p. 54 Kozma, Tibor, p. 35 Krivin, Jewel, p. 20 Kuipers, Pierre, p. 57 La Procession du Rocio, W98, D211,D212, D213, D214, D215,D216,D217 Laid-Back Rag, W229 Landers, Robert, pp. 15, 17, 18

Laugh It Off, p. 26 Lawrence of Arabia, W166, D218, D219 Lee, William F., pp. x, xiii, 37, 38, 39, 40, 45 Leonora Overture, No. 2 (Beethoven), p. 19 Leyden, Norman, p. 15 Li'lAbner, W153 Lions Junior Band, p. 46 Little Hungary, p. 2 Lloyd, Norman, pp. 22, 23 Local 802, p. 9, 10 Loch Lomond, p. 9 Longfield, Robert, p. 40 Los Angeles [California], p. 31 Lose Your Tempo, p. 20 Lotus Sutra, p. 52 Lowry Field, p. 15 Lumberjack Overture, W3 Luria Prize, p. 35 Macarena, W142 Madison Square Garden, p. 8 Manhattan School of Music, p. 21 Mahler, Fritz, p. 12 Maltby, Richard, p. 25 Mamaraneck [New York], p. 21 Mamorsky, Morris, pp. 21, 22, 24,25 Mancini!, W167, D220, D221 Mann, Michael R., p. xiv Mannes School of Music, p. 22 March, Op. 99 (Sergei Prokofiev), p. 16 March "Grandioso," W106 March of the Little Tin Soldiers, W123 March Variations, W207 Marcus, Rachel, B131 Marriage In Distress, p. 24 Marry Poppins, p. 35, W168, D222, D223 Martin, Mary, p. 27

Inde% Maslanka, David, p. xiii Maxwell, Arthur, p. 27 McAlister, Clark, pp. 17, 40 McArthur, Edwin, p. 12 McCathern, Donald, p. 33 McCormack, Larry, B141 McKamie, William, p. 29 McMillen, Hugh, p. 23 Mellennium III, W90 Merman, Ethel, pp. 24, 27 Messiah, p. 15 Metropolitan Opera, pp. 3, 6, 8 Mexico, p. ix Miami [Florida], p. 35, 37 Miami Beach [Florida], p. 32, 35 Mid-West Clinic, pp. 46, 49, 50, 51, 60 Might and Majesty, W8, D224 Mike Barrows, Government Agent, p. 25 Miller, Margarette S., B132 Mink, Irving "Rudy," pp. 6, 7 Molenaar Editions, p. 57 Molenaar, J a n , p. 57 Momose, Kazuhori, p. 54 Moore, Donald I., pp. 19, 28, Moss, Lee, B133 Mower, Judy, p. xiv Mr. Music!, W69 Murakami, Y., B102 Music Educators National Conference (MENC), p. 47 Music for "Hamlet," W34, D225, D226, D227, D228, D229,D230, D231, D232, D233, B107 Music Merchandising, pp. x, 37, 40, 41 Music Theory Dictionary (Lee), p. 37 Musical Playhouse, p. 25 MUZAK, p. 25 My Heart is Filled With Longing, W131

271

My Jesus! Oh, What Anguish!, for orchestra, W188 My Jesus! Oh, What Anguish, W114, D234 My Jesus, Oh What Anguish, p. 43 National Association of Schools of Music (NASM), p. 40 National Youth Administration Radio Workshop, pp. 11 Nativity, p. 30 NBC Network, p. 17, 21, 24, 25,27 NBC Symphony Orchestra, pp. 3, 12, 24, 25, 35 NBC-TV, p. 25 Nelson, Fred, p. 35 Nelson, Mervyn, p. 26 New York City, pp. 1, 2, 3, 4, 7 , 8 , 9 , 12, 13,18,19,21,25, 26, 31, 41, 46, 55, 56 New York Herald Tribune, p. 35 New York Philharmonic, p. 8 New York Schools of Music, pp. 6, 7 NHK Symphony Orchestra, p. 54 Nimrod, W104, B130 Nishimura, Yukiko, p. 41 Nocturne, Op. 9, No. 2, W115, D235, D236, D237, D238 Norberg, John, B134 North Shore Concert Band, p. 49 Northwestern University, p. 49 Norway, pp. ix, 56, 58, 60 Nun Komm, Der Heiden Heiland, W219 Nussbaum, Abraham, p. 6

278

IndeTt

O Little Town, W145 O Most Wonderful, W146 Ode for Trumpet, W5, D239, D240, D241, D242, D243, B140 Ode for Trumpet, W208 Osaka [Japan], p. 56 Othello, p. 44, 45, W40, D244, D245, D246, D247, D248, D249, D250, D251, D252, D253, D254, B108, B110, B i l l , B112,B133 Otonowa [Japan], p. 56 Our Father Who Art in Heaven, W132 Our Silent Partner, p. 26 Panis Angelicus, W133, D255, D256 Paris Conservatoire, p. 10 Parker, Robert L., p. xiv Passacaglia, W20, D257, D258, D259, D260, D261, D262, D263 Pastorale, W209, D264, D265 Pavanne, W134 Paynter, John, pp. xiii, 49, 50, 64, B135 Pennsylvania Station [New York City], p. 13 Perdido, W197 Persichetti, Vincent, p. 43 Peter Pan, p. 35, W161, D266 Pettit, Heather, B136 Picture Scores, Inc., pp. 21, 25 Pilafian, Samuel, p. 43 Pilgrim's Chorus, W141 Pinecrest Villa, p. 8 Poetry and Power, W19, D267 Powers, Robert, p. 34 Praise Jerusalem!, p. 49, W63, D268, D269, D270, D271, D272, D273, D274, D275, D276, D277, D278, D279, B23, B123, B134 Prelude and Capriccio, W42,

D280, D281, D282 Prelude and Dance, W101 Prelude No. 4 from "The Well Tempered Clavichord, Book 1," W125 Prelude, Op. 9, No. 1, W130 Presentation of the Silver Rose, W135 Prince, Patti, p. 28 Prindl, Frank, pp. 23, 63 Pro Texana, pp. 19, 31, W53, D283, D284, D285, D286, D287, D288, B104 Prokofiev, Sergei, p. 11, 16 Prologue, W245 Promise of America, p. 12 Public School 116, p. 4 Public School 67, p. 4 Punchinello, W37, D289, D290, D291, D292, D293, B140 Quadraphonic Fanfare, W217 Queenston Overture, W51, D294, B118 Racusin, Norman, p. 41 Radetzky March, W143, D295, D296 Radio City Music Hall, pp. 10, 11,46 Rahoon, W17, D297 RCA Victor, p. 25, 41 Reed, Alfred, pp. Ix-xiv, 1, 8, 9, 10, 12-69, W1-251,D1440, Bl-96 Reed, Marjorie, pp. xi, 9, 13, 20,28,30,31,36,38,44, 47, 60, 62 Reed, Michael Carlson, pp. 34, 35 Reed, Richard Judson, pp. 30, 35 Regina [Saskatchewan], p. 46 Reisman, Henry F., p. 15 Reisman, Leo, p. 15

Ind&t Remkus, Harry, p. 58 Requiescat, W241 Revelli, William, p. 23 Rhapsody for Viola and Orchestra, pp. 31, 35, W170 Ring Theater, p. 44 Rissho Kosei-kai, p. 52 Robbins, Francis, p. 35 Robbins, Jerome, p. 27 Rocco, Roger, B137 Rogers and Hart, W169, D298 Roosevelt, Franklin D., p. 11 Rowlands, Gena, p. 28 Royal Dutch Military Band, p. 57 Rubinstein, Selma, p. 20 Rushmore, W47, D299 Russian Christmas Music, pp. 17, 20, 21, 22, 23, 24, 26, 27, 28, 33, 42, 46, 48, 49, 64, D300, D301, D302, D303, D304, D305, D306, D307, D308, D309, D310, D311, D312,D313, D314, D315, D316,D317, D318, D319, D320, D321, D322, D323, D324,B13,B34, B100, B126, B128, B135 Sacco, John P., p. 9 Saint-Saens, Camille, p. 10 Salutations! Fanfares and Intrada, W67, D325 Sam Fox Music Publishing Company, p. 43 Sarabande, W210, D326 Sarabande and Double, p. 33, W194, D327 Saskatchewan Summer School of the Arts, pp. 37,38 Satin Doll, W198 Scarlet and Gold, p. 18 Schantzer, Howard, p. 6 Schenck's Paramount House,

279

p. 9 Scherzo Fantastique, W211, D328 Schillinger System, p. 18 Schnier, Sanford, B138 School Band of America, p. 39 Schuman, William, p. 21 Seascape, W12, D329, D330, D331 Seattle Symphony Orchestra, p. 35 Second Century, W60, D332 Second Suite for Band, W44, D333, D334, D335, D336, D337, D338, D339, D340, D341, D342, D343, B114, B115 Second Symphony, W43, D344, D345, D346, D347, D348,B140 Seek Ye First the Kingdom of God, W234 Selections from "Oliver," W183 Sendai [Japan], p. 56 Senzoku Gakuen Wind Orchestra, pp. 53, 55 Senzoku Gakuen, pp. 53, 55, 60 Serenade, W7, D349, D350, D351,B140 Serenade, W100, D351 Serenata, W212, D352 SESAC, p. 25 Seventy-Six Trombones, W192 Severn Suite, WHO Shakespeare, William, p p . 3 1 , 44,51 Share and Stern, p. 8 Shaw, Arnold, p. 18 Sheep May Safely Graze, W124 Sheep May Safely Graze, W189 Siciliana Notturno, W175

280

IndeTi

Siciliana Notturno, for orchestra, W220 Silver Shadow, W89 Silverman, Robert, p. xiii Simmons, Harwood, p. 20, 22, 23,63 Sine Nomine, W117 Sinfonia Foundation, pp. xiii, 52 Sixth Suite for Band, W86, D353 Sixth Symphony (Roy Harris), p. 16 Slavonic Folk Suite, p. 33, W2, D354, D355, D356 Sleepers, Awake!, W127, D357 Smith, James, p. 19 Solem, Delmar, p. 44 Someone You Know, p. 24 Sonata, Op. 49 No. 2 (Beethoven), p. 20 Song of the High Cascades, W55, D358 Song of the Singing Nun, W235 Song of Threnos, W16 Songs My Mother Taught Me, p. 25 Sony Concert Band, p. 51 South Fallsburg [New York], p. 8 Spain, pp. ix, 56, 58, 60 St. Louis (Missouri), p. 31, 59 Stagg, David L., B99 Star Spangled Banner, p. 17 Stepping Along With TV, p. 26 Sternberg, Daniel, pp. 28,29 Stokowski, Leopold, p. 12 Strange, Richard, B139 Strauss, Johann, p. 10 Strauss, Richard, p. 19 Strausser, Elizabeth, pp. 2 Stravinsiky, Igor, p. 11 Strings 'N' Things, W178

Suite Concertante, W177 Suite Concertante, W221 Suite in A Minor, W103 Sullevin, Ed, p. 11 Swarthout, Gladys, p. 25 Swinging Shepherd Blues, p. 35 Symphony for Brass and Percussion, p. 28, W24, D359, D360, D361, D362, D363,B140 Symphony No. 3, pp. 47, 48, W64, D364, D365, D366, D367 Symphony No. 4 (Tchaikovsky), p. 8 Symphony No. 9 (Beethoven), p. 15 Take Five, W199 Take Me Along, W154 Tale of a City, p. 12 Tarantella, W147, D368 Tchaikovsky, Peter Ilyich, p. 8 Tears, Idle Tears, p. 30, W233 Technical Training Command, p. 14 Tempest, pp. 31, 34 Tennessee Technological University, B140 Tennyson, Lord Alfred, p. 31 Testament of an American, W38 Testament of an American, for chorus and piano, W239 Testament of an American, for orchestra, W174 The Big East March, W87 The Crowning Glory, W6, D369 The De Marcos, p. 26 The Enchanted Island, W45, D370, D371, D372, D373 The Entertainer, W112, D374, D375 The Ethel Merman Show, p.

Ind&£ 24 The Fantastics, W158, D376 The Garden of Prosperpine, W49, D377, D378, D379, D380 The Golden Year, W88, D381 The Great Waltz (Johann Strauss), p. 10 The Harp That Once Thro' Tara's Halls, p. 9 The Henry Morgan Show, p. 24 The Hounds of Spring, W48, D382, D383, D384, D385, D386, D387, D388, D389, D390, D391, D392, D393, D394 The Inner Man Steps Out, p. 26 The King of Love My Shepherd Is, W81 The Man With the Golden Arm, W162, D395 The Mechanical Doll, W182 The Midnight Sun Will Never Set, W200 The Moon Shines Bright, W242 The Music Man, p. 5, W155, D396 The Music-Makers, W25, D397, D398, D399, D400, D401, D402, D403, D404, D405, D406 The Pajama Game Overture, W152 The Pledge of Allegiance, W28, D407, B105, B106, B138 The Pledge of Allegiance, W250, B105, B106, B138 The Pledge of Allegiance, for chorus, W238, D407, B105, B106, B138 The Pledge of Allegiance, for orchestra, W173, D407,

281

B105, B106, B138 The Prophecy, p. 30, W232 The Ramparts of Courage: Fanfare and Processional, W82 The Strenuous Life, W113 The Tsar's Farewell, W i l l The U. S. Steel Hour, p. 24 The Unsinkable Molly Brown, W157 The Valiant Years, W164, D408 The Willow Song, W243 The Wonderful World of the Brothers Grimm, W165, D409 Theme from Leonardo Da Vinci, W118 Third Suite for Band, W50, D410, D411, D412, D413, D414, D415, D416 Three Revelations for the Lotus Sutra, p. 52, W56, D417, D418, D419, D420, D421, D422, D423, D424, B139 Three Symphonic Preludes, W136, D425 Thus Do You Fare, My Jesus, p. 43, W120, D426 Thus Do You Fare, My Jesus, for orchestra, W190 Titania's Nocturne, W172 Tokyo [Japan], pp. 51, 54, 55, 56 Tokyo Kosei Wind Orchestra, pp. ix, 51, 52, 54, 55, 56 Torres, Carmen, p. 26 Toscanini, Arturo, p. 24 Towers, Connie, p. 26 Treutel, Edward, p. 19 Tri-State Festival, pp. 33, 34, 37 Trilogue, W222, D427 Tristan and Isolde (Wagner), p. 48

282

Indei^

Tritsch-Tratsch Polka, W149, D428 Twice 55 Community Songs, p. 9 Two Bagatelles for Brass Ensemble and Percussion, W226, D429 Two Bagatelles for Concert Band, W85, D430 Two Bagatelles for Four Trombones, W225 University of Miami, pp. x, 37, 38, 39, 40, 41, 42, 44, 45, 47, 50, 56, 57, 60 University of Miami Music Publications (UMMP), p. x, 43 University of Miami Wind Ensemble, pp. x, 45 Upton Base, p. 14 Vacchiano, William, p. 19 Variations on L.B.I. F.D. ("London Bridge Is Falling Down"), p. 43, W214, D431 Verdiana, W94 Vienna Conservatoire, p. 10 Vilabella, W108, D432 Vilia from "The Merry Widow," W140, D433 Villabela, p. 43 Viva Musica!, W54, D434, D435, D436, B17 Volkwein Bros. Inc., p. 36 Waco [Texas], pp. 28, 29, 30, 31 Wagner, Richard, p. 8, 51, 52 Wajima [Japan], p. 56 Walker, Wilson, p. 36 Walt Disney Music Company

p. 34 Walter Beeler Commissioning Fund, p. 44 Wantagh [New York], p. 26 Wapawekka, W26, D437, B8 War March and Battle Hymn of the Vikings, W21,D438, B140 Warrant Officers School, p. 15 Watertown, pp. 13, 14 Wearing of the Green, p. 9 Wenn Wir In Hoechstern Nothen Sein, W223 WFPG, p. 15 Whiteman, Bob, p. 41 Who Will But Let Himself Be Guided, W138, D439 Wilkes, Donald, p. 46 Williams, Clifton, pp. 39, 43, 45 Williams, Kenneth, p. 43 Williamson, James E., B100 Winchell, Walker, p. 2 Wings Over France, p. 26 With These Hands, p. 26 With Trumpets and Drums, p. 46,W73,D440,B120 WNYC, p. 12 WORD Records, p. 30 World Association of Symphonic Bands and Wind Ensembles (WASBE), pp. 55, 57 World War I, p p . 2 World War II, pp. 13, 16, 54 Yarberry, Glenn A., B101 Yartin, Paul, pp. 10, 11, 25,33 Yoder, Paul, pp. 50, 51 Yokohama [Japan], p. 56

About the Author DOUGLAS M. JORDAN is the Chair of the Fine Arts Department and Director of Instrumental Music Activities at Palmer Trinity School in Miami, Florida. He was formerly the Assistant Director of Bands at Temple University in Philadelphia, Pennsylvania.

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