Russian-American Unification in the Mid-Twentieth Century and Alfred Reed’s Russian Christmas Music What makes a piece of music great? Is it the time and place it was premiered? Is its greatness defined solely by the reputation of the composer who wrote it? Why do some pieces become part of a canon of works, while others simply disappear in to the volumes of history? I believe it is a combination of all the above; however, the greatest element is a piece’s ability to speak to many people in many times and places. The universal appeal of a piece of music is what allows it to be accepted and adored beyond just its premiere.The ability of a piece of music to reach far beyond the black dots and scribbled lines is what determines its place in the musical world. The composer Alfred Reed was a master of combining different elements and ideas to clearly communicate to more than just his works’ intended audience. Reed’s works are now part of a greater canon of wind band literature that speaks to performers and audiences now, in addition to the mass of those who have been inspired by his works for the past half-century. I want to discover the impact from Alfred Reed’s Russian Christmas Music on Soviet-American relations nearing the end of World War II.
The relationship between the piece and the time it was written would help others understand the social and political reasons, as well as the musical dichotomies present in the music, as to why Reed’s piece has become ingrained in the canon of wind band literature. The birth of Alfred Reed’s Russian Christmas Music (RCM) is quite unique. The piece was originally commissioned in 1944 to be played at a convention of new music by both Russian and American composers. Originally, the organizers had scheduled Prokofiev’s March, op. 99, but it had already been premiered in America.
The organizers wanted a premier; Reed, then only twenty-three, was given thirteen days to write a new piece for the convention. The result was the now famous Russian Christmas Music. It was originally written for a small, twenty-eight member army band with whom Reed was already working. In later years, Reed revised the piece for different instrumentation and for clarity of harmonic structure. There now exist three different versions of the piece but only the final arrangement written in 1969 is currently offered through publishers.
The piece itself is truly a dichotomy of musical styles and settings.Reed wrote the piece using different types of Russian melodies and styles; he then combined them with American types of harmonies and textures to show a growing relationship between the Soviets and Americans. The conference where the piece was first performed had the same idea in mind. RCM, as a whole, is a collection of Eastern Orthodox liturgical songs. This is an important aspect because there are no instruments in the Eastern Orthodox Church; however, Reed uses these classic, Russian religious liturgical songs and arranges them for an American army band.This is a dichotomy in itself.
The use of some of the instruments, such as the tubular bells, helps emulate the sounds of church bells throughout the piece but does not reduce the impact of the original monophonic liturgical music. There are many interesting connections that make the political and social events that happened in history relate even more closely to the music and its compositional style. The premiere of RCM was on December 12, 1944 in Denver, Colorado and was broadcasted on NBC nation-wide public radio.The work was written in a little under two weeks time for a small army band with whom Reed was currently working.
After the premiere performance of RCM, Reed did something quite unique for wind band composers. He went back and revised his score, not once but twice. In an article that Reed wrote for The Instrumentalist, he says that most composers look back on their past works and feel that they can improve them in some way. Reed also states that both Brahms and Stravinsky attempted to revise their earlier pieces and found it quite challenging.He concludes that there is never really a place to stop revising where one does not completely replace the work of their younger self, and in so doing, removing the piece’s original charm and character that was present at its premier. Because of Reed’s need to change and revise, he sets himself apart from other wind band composers of the time.
Reed is now saying that these wind band works are just as important as the orchestral works of Brahms and Stravinsky. As stated, there are now three different versions of RCM; however, Reed went to extreme measures to only allow the final edition to be published.In the same article, Reed mentions that RCM was only changed to increase its impact and ease of listening, but the piece remains almost exactly the same as when it was first written. Since no copies exist of the previous versions, it seems that Reed stated this to appease those who want to try and play RCM authentically. One of the most fascinating aspects of RCM is the format and what Reed decided to leave out of the final publication.
In the original version of the piece, Reed had subtitled four different sections of this continuous, undivided work; however, Reed does not give the subtitles to each of the sections in the final publication.Reed chose to clarify the sections in subsequent writings about his work. The first section of the work is labeled “Carol of the Little Russian Children. ” This carol is an old, Russian folk song that was traditionally sung by children in a classic, Eastern Orthodox service. The first section lasts from measures 1 through 31 and begins with a drone of the low reeds, string bass, and the chiming of the liturgical hour by the chimes.
The clarinets then enter with the melody at measure 4. Figure 1 below shows the main melody used through this section. Figure 1. Main Melodic Line of “Carol of the Little Russian Children”One of the points to note about the first melodic line above is the ambiguity of the key.
The first bar begins with a repeated E and then ascends a minor third to G; however, the second measure ascends a major third after the repeated E. The shift of a half step between the two different G’s used gives the sense of the unknown and the mystery of not only the key, but also the mystery of the Christian faith. In essence, this shows the unknown of the Resurrection of Christ. Along with Reed not using a key signature at the beginning of the piece, there are several other musical dichotomies and ambiguities spread throughout the entirety of RCM.The remainder of the sections are labeled “Antiphonal Chant,” “Village Song,” and “Cathedral Chorus,” respectively. The intriguing and unique feature of these last sections are that they are modeled after different, unnamed Eastern Orthodox Liturgical Songs; however, no one melody is actually borrowed or used by Reed.
These songs inspired Reed, but the last remaining sections are original compositions that reference the original, borrowed melody he stated at the onset of the piece. The “Antiphonal Chant” begins in measure 32 and goes till measure 85.In contrast to the opening, it is much louder and faster. The trombones and then the trumpets introduce the melody. The woodwinds join a while later to give a more frantic feel and to also lead to a loud, raucous ending. The “Village Song” then follows the loud ending.
In contrast to the loud, brassy feel of the chant, the “Village Song,” that lasts from measures 86 through 165, is much gentler in comparison. This section begins with an English horn solo and continues with different solo and soli lines throughout the woodwind choir.As with the beginning of this section, an English horn solo moves the listener to the last section entitled, “Cathedral Chorus. ” The “Cathedral Chorus” lasts from measure 166 to the end of the piece.
This last section is the grand finale of a great work. Douglas Jordan states, “The music builds to a climax, but then backs down for a final chorale in the woodwinds; the sound builds once again, and the piece concludes with a thundering chorale marked by liberal use of the chimes and tam-tam as well as soaring horn counterpoint. The overall format of the piece is wonderfully constructed and leads the listener through several different sounds and emotions. When RCM was first premiered in December of 1944, America and the USSR were only a few months from the end of the Second World War. Soviet-American relations were at their highest at this point in time. The Americans and Soviets were allies during the war.
This convention of Soviet-American music held in Denver was to show how the relations between the Soviet Union and America had improved despite the difference of the political systems used by each government.The purpose of the convention was to premiere newly composed pieces by both American and Soviet composers. Originally, Prokofiev’s March, Op. 99 was supposed to be the piece composed by a Russian; however, the work had already been premiered. Reed was given only thirteen days to create a new piece. The most important aspect that some scholars overlook is that the piece Reed needed to compose was to replace a Russian composer.
This was uniquely challenging for Reed. He was currently working with an Army band and had only ever written for that type of ensemble.Reed decided to use different American styles and instrumentation, in correlation with Russian Eastern Orthodox liturgical music, to show the blending and improved relations of the Soviets and Americans. Throughout RCM, Reed uses different musical dichotomies to show how Soviet and American relations improved throughout the 1930’s and 40’s. The first main musical dichotomy is the type of ensemble that Reed composed for.
The traditional way in which Eastern Orthodox music is performed is by only using the voice. Eastern Orthodox Christians do not believe in using instruments in their worship services.The use of the American Army band to display these different carols and liturgical themes is relatively drastic. If these songs have been traditionally sung, then using instruments to play them could offend someone. For this very reason, Reed writes, “Therefore it is obvious that literally every note, every rhythm, every melodic, harmonic, or rhythmic inflection in this score should produce an impression of singing, regardless of texture or tempo.
After all, is not the human voice, basically, a wind instrument also? ” This thought allowed Reed to truly blend the two different mediums for these Eastern Orthodox liturgical carols.As well as needing to essentially sing every line throughout the piece, the choice of instruments is also rather unique for each section. The “Carol of the Little Russian Children” begins with the clarinet choir in a middle range that is perfect for a singer. The two are essentially interchangeable. Another instrumental musical dichotomy is the use of the tubular chimes.
The beginning of the piece and the end of the piece mirror each other with the use of the chimes. The chimes are used to represent the colossal church bells that Russia is known for.This is another case where Reed uses an American band instrument to symbolize a part of Russia’s folk heritage. The chimes play an extremely important part in the piece and Reed actually recommends using two sets of them for the large “Cathedral Chorus” ending. The musical setting of the Russian Eastern Orthodox liturgical chants used in RCM were originally monophonic. This is one of the main musical dichotomies present in RCM.
Reed used the main chant melodies that were sung without accompaniment during a normal church service and incorporates them into the piece using a Western harmonic setting.Reed’s usage of a keyless key signature for the beginning of the work helps incorporate these monophonic chants into the Western Art Music setting used for band music of the 1940’s; however, the method that Reed uses to begin the work actually makes the use of no key signature quite ideal for the ambiguous key that begins the work. There is a drone in the string bass and low reeds with a chime that seems to chime the liturgical hour. The use of a drone at the onset of the piece seems to emulate different polyphonic chants later in history. Reed then moves to a key system when he begins the second part of the work.The dichotomy lies in the use of different types of Western harmonies, like plagal cadences and perfect authentic cadences.
The plagal cadences are often used at the end of sections to represent the “Amen” at the end of different church hymns. The usage of such cadences is a very Western idea that originally began with the hymns of the Catholic Church. Perfect authentic cadences are rarely seen in the monophony of the original Eastern Orthodox chant and are thus considered to be more of a product of counterpoint and the development of the Western Art Music genre.All of these musical dualities only lend to support the point that Reed was trying to create a piece that appealed to both Soviets and Americans. Alfred Reed’s masterwork Russian Christmas Music is considered by many to be a part of the canon of wind band literature.
The piece itself combines both the folk songs and hymns of the Soviet Union’s historic past with the current ensemble and Western musical settings of American wind bands. I believe this duality is what truly appeals to both musicians and audiences who have the pleasure of hearing this piece.The piece, to the Western listener, has an exotic quality that can be attributed to the melodies but is approachable because of the harmonic and phrasing structures that their ear is accustomed to hearing. What makes a piece of music great and able to stand the test of time is its ability to appeal to wide ranges of listener throughout history; it must have universal appeal. Russian Christmas Music is a piece that incorporates differences from across the world into one total piece of great music that premiered at the height of great Soviet-American relations. I wonder if Prokofiev’s work was played, would Alfred Reed still have composed RCM?Because of RCM, Reed went on to discover other Eastern genres in his pieces entitled Armenian Dances I and II.
If RCM did not exist, would Reed have continued composing for the wind band setting, would he have turned to a different medium, or would he have completely quit music altogether? The small twist of fate that led a twenty-three year old composer to write a piece of utter greatness in thirteen days still amazed Reed to the end of his days. Several years ago I had the distinct pleasure to meet Alfred Reed at the Midwest Band and Orchestra Clinic. He was sitting at a table in the hotel where the conference was being held.He happened to be sitting with Fredrick Fennell, the long-time conductor of the Eastman Wind Ensemble, and from whom Dr. Welker, my conducting teacher, studied conducting.
Dr. Welker introduced me to the two gentlemen and then was interrupted by another composer who wished for the Alabama Wind Ensemble to play his newly written piece. As I was standing there in awe of the two men, who at this time were well into their eighties, Dr. Fennell asked how “Gerald” was treating us. Of course I responded positively, and we continued talking about what we were currently playing. We happened to be rehearsing Prof.
Reed’s Russian Christmas Music in preparation for the Honor Band that was approaching after the Christmas Break. I will never forget the look of pure enjoyment that I saw appear on Prof. Reed’s face. He first asked what I thought of the piece. After I said it was a great piece and something more to that effect, he said something that I will never forget. Prof.
Reed turned his head, which still held a slight grin, and said, “Oh! I don’t know why people make such a big deal out of that piece. It’s really just a bunch of fluff. ” Bibliography Hansen, Richard K. The American Wind Band: A Cultural History. Chicago: GIA Publications, Inc. 2005.
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