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David Wallis Reeves
David Wallis Reeves | |
|---|---|
 | |
| Background information | |
| Born | February 14, 1838 Oswego, New York, U.S. |
| Died | March 8, 1900 (aged 62) Providence, Rhode Island, U.S. |
| Occupation(s) | Composer, cornetist, and bandleader |
| Instrument | Cornet |
| Years active | circa 1850–1900 |
D.W. Reeves
Reeves conducting the Gilmore Band circa 1892
Second Regiment Connecticut National Guard March
Burnside Zouaves March, 1868
David Wallis Reeves memorial fountain in Roger Williams Park
David Wallis Reeves (February 14, 1838 – March 8, 1900), also known as D. W. Reeves or Wally Reeves,[1] was an American composer, cornetist, and bandleader. He developed the American march style, later made famous by the likes of John Philip Sousa,[2] and his innovations include adding a countermelody to the American march form in 1876.[3] Sousa called Reeves "The Father of Band Music in America", and stated he wished he himself had written Reeves' "Second Regiment Connecticut National Guard March".[4][5] Charles Ives also borrowed from the "Second Connecticut" on four occasions.[6]
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Haley, John Williams (1929). The "Old Stone Bank" history of Rhode Island. Vol. 3. Providence Institute for Savings. p. 240.
...Wally Reeves and his famous American Band...
(referring to President Hayes' visit to Rhode Island in 1877) - ^ "History of the American Band". Archived from the original on August 17, 2017. Retrieved February 18, 2015.
- ^ "U.S. Army Bands in History: Civilian Bands Replace Military Bands". U.S. Army. Archived from the original on July 21, 2007.
- ^ Cite error: The named reference
RIGuidewas invoked but never defined (see the help page). - ^ James Cutler Chesebrough, "The marches of David Wallis Reeves: Performance editions of three marches dedicated to Connecticut organizations" (January 1, 2005). Dissertations Collection for University of Connecticut. Paper AAI3180191. http://digitalcommons.uconn.edu/dissertations/AAI3180191
- ^ Burkholder, J. Peter (1995). All Made of Tunes: Charles Ives and the Uses of Musical Borrowing. New Haven, CT: Yale University Press. p. 15. ISBN 0300056427.
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