by H. Owen Reed (Grade 4, 6:20)
Taken from Reed’s suite The Touch of the Earth, this work was originally published in 1987 as The Heart of the Morn. It is warm, rich, lyrical music with moving lines and a legato style. It also includes an optional mezzo soprano solo and optional SATB choral parts.
by H. Owen Reed (Grade 5, 4:45)
If you’re looking for a crowd-pleasing country hoe-down this is it. Based on an old American square dance fiddle tune, this work is pure fun and expertly crafted with alternating woodwind and brass writing. Also includes an optional solo fiddle part for the introduction.
“Reed’s ‘Missouri Shindig’ is one of the few works for band that can truly be called Americana. The flavor of Copland’s ‘Hoe-down’ resonates through this charming yet challenging opus. It is a joy to perform!” – Stanley DeRusha, Director of Orchestral Activities, Butler University
by H. Owen Reed (Grade 5, 8:30)
Commissioned by Mark Hindsley and the University of Illinois Band in 1958, this three-part work is based on a three note motive and is a showcase of contrapuntal writing. It is inspired by the Edna St. Vincent Millay poem. The number 5 is fundamental to the music from its 5/4 meter to the intervals used. The music builds throughout and is able to sustain the long-line so uncommon in many band works of today. Beautifully crafted, with big emotional power.
“A very attractive work by one of our most important composers. A mature ensemble will find the musical, rhythmic and technical challenges of the piece to be extremely worthwhile. It is great to have this outstanding composition back in print!” – John Whitwell, Director of Bands Emeritus, Michigan State University
by H. Owen Reed (Grade 4, 4:30)
This is H. Owen Reed’s first work for band from 1947. It represents one of the earliest attempts to incorporate elements of what was then a new jazz style called bebop into a concert work for band. Commissioned by Leonard Falcone and the Michigan State University Band it was premiered in 1947. Built on two themes, the opening is a chant-like section followed by a low brass motive which grows into a jazz-influenced section and culminates with the full ensemble on the opening theme.
“… a true gem for the modern wind ensemble. His first work for band, it was extremely progressive and has stood the test of time. It still sounds amazingly fresh with its blend of jazz and neo-romantic charm.” – William Berz, Conductor, Rutgers University Wind Ensemble
THEME AND VARIATIONS
by Ludwig van Beethoven/arr. H. Owen Reed (Grade 5, 9:00)
An excellent orchestration for band from 1954 of a set of five variations on a theme from Beethoven’s String Quartet No. 5 (1800). This is an artistic alternative to the typical band repertoire and it offers excellent opportunities to teach Classical style, form, counterpoint and the life of Beethoven. Beethoven’s variations are beautifully suited for a colorful orchestration into the concert band medium. A rousing march is heard in the fourth variation. How many times do concert bands get to play Beethoven? A timeless work.
“… masterfully scored for winds while retaining the quality and character of the great master’s skills. This is a wonderful vehicle for wind band students to experience the music of Beethoven first hand!” – Jack Stamp, Conductor/Composer, Indiana University of Pennsylvania