By Douglas M. Jordan
This reference consultant to the lifestyles and paintings of the prolific American wind band composer, Alfred Reed, features a short biography through distinct bibliography and discography sections. The biography strains Reed's lifestyles and people studies that helped to form his tune and philosophies. recognition is given to Reed's acceptance with and affects upon bands through the global and particularly in Japan. a whole directory of Reed's greater than 250 works and premiers are classified by means of style. The vast discography part cites greater than four hundred recordings, and the bibliography part comprises the various writings via and approximately Reed.This specific reference will entice track students and band administrators with an curiosity in Alfred Reed and in wind band track. As an invaluable study device, every one portion of the quantity is cross-referenced. also, appendices checklist Reed's compositions, one alphabetically and the opposite chronologically.
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Extra resources for Alfred Reed: A Bio-Bibliography (Bio-Bibliographies in Music)
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.
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!
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 Biography 27 the Reeds began searching for a way to change their lives in order to put all of these bad memories behind them. " 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.