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 timelesss work.

THEME AND VARIATIONS by Beethoven/orch. H. Owen Reed (Bandworks Publications 2014)

V is a concert suite inspired by the works of Kurt Vonnegut.  The piece is intended to capture the humor, melancholy, fantasy, and introspection often found in his novels and stories.  

I. Hapless Hero establishes a main character; a man whom, like many of Vonnegut’s heroes is the center of unwanted attention.  The movement explores an awkward melody shared among the various instruments of the ensemble.  Often the melody is placed in precarious tessituras of the instruments creating a sense of strain of instability.  Vonnegut’s main characters are often out through a strand of events that transfigure their perspectives.   To emulate these trials the melody is reset throughout the movement, and can be heard from multiple perspectives all at once. 

II. Unstuck frolics within the farcical mood of Vonnegut’s fiction. Vonnegut’s satire often examines the views of free thinkers, conformists, and authority.  Taking a cue from these views, Unstuck involves three separate motives that are all trying to find their roles in the music.  As the movement begins, the first angular and absurd melody is thrown around the ensemble symbolizing conformity. Next a more lyrical, almost out-of-place melody is introduced symbolizing free thought.  No sooner does it gain momentum before the lyrical melody is squelched by the first angular tune.  As the movement continues, the two melodies attempt to co-exist by overlapping in the texture.  Little by little, more voices enter, including the “hero” melody from the first movement. As the texture becomes unreasonably cluttered, a third melody enters in the mallet instruments: a dissonant siren, symbolizing authority. Eventually all the voices climax in unison as they strike a balance with one another to end the movement.

III. Storm  represents the villainy in Vonnegut’s works. In most cases, Vonnegut did not write villains as individuals, but more often, as cultures or tyranny.  The movement begins with a melancholy motive, setting a scene of despair. As the introductory motive subsides, antiphonal bass drums and trumpets build into a tirade of chaos.  The motive re-emerges as a theme of outrage. The ensemble is thrust into a series of impacts and tantrums, as multiple waves of attacks build to the climax of the movement.  It is only in the very end of the movement that the “hero” melody barely emerges from the ordeal.  

IV. Postlude:  So It Goes is a short elegy for Vonnegut, whose life’s work entertained, awakened, and inspired so many people.  Once again, the “hero” melody is layered into the texture.  However, in this movement, the melody has transformed from an awkward melody, to a more lyrical major-based tune.  After the journey the hero has come to terms with the world around him.  Although, at the core he is still the same person, he finds a new comfort and peace in the end.  

This recording is a live performance of the Peabody Wind Ensemble under the direction of Dr. Harlan Parker in December of 2006.

V - Suite For Wind Ensemble

Bottom of the Ninth (2014)
Rex Isenberg
commissioned by Manhattan Saxophone Quartet and Uptown Brass
recorded live by MSQ and UB on April 30, 2014 at Church of the Intercession, New York, NY
 
What makes the instrumentation for this piece particularly compelling is that unlike many larger complements which tend to resemble a reduced orchestra, this nonet is instead comprised of two pre-existing standard groups: the saxophone quartet and brass quintet.  Bottom of the Ninth serves to make light of the opposition inherent in the juxtaposition of these two ensembles.  The quintet begins the piece by presenting a rhythm, which is quickly countered by the saxophones playing a more elaborate rhythm.  Not to be outdone, the brass retorts with an even more complex rhythm, and so on.  Eventually, the tension can no longer be sustained, and an all-out duel breaks out.  This experience reminded me of those old-timey baseball movies, where the audience sees the fans of two evenly matched teams arguing over this great play or that terrible call towards the end of a close game.  The piece was commissioned by two NYC-based ensembles: Manhattan Saxophone Quartet and Uptown Brass.  And what better captures the spirit of New York than a fiery dispute in the last inning of a baseball game?

Bottom Of The Ninth (2014)

"Febris Ver" by Nancy Galbraith, performed by IUP Wind Ensemble at CBDNA in 2012.

Febris Ver (Spring Fever)

"Euphonic Blues" by Nancy Galbraith, performed by Carnegie Mellon Philharmonic in 2012, conducted by Ronald Zollman.

Euphonic Blues

Commissioned and premiered by the Pittsburgh Symphony, Mariss Jansons, conductor.

A Festive Violet Pulse (1997)

Indiana University of Pennsylvania Wind Ensemble conducted by Jack Stamp.

Elfin Thunderbolt

First Fugue for Band

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THEME AND VARIATIONS by Beethoven/orch. H. Owen Reed (Bandworks Publications 2014)

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