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Three Revelations from Lotus Sutra: Movement I - Awakening: Concert Band Conductor Score & Parts

$120.00 USD
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Three Revelations from Lotus Sutra: Movement I - Awakening Cover Image

Three Revelations from Lotus Sutra: Movement I - Awakening: Concert Band Conductor Score & Parts

By Alfred Reed

Grade: 5

Item: 36-B394302

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Description
Three Revelations from the Lotus Sutra is an attempt to realize in music three different states of man's soul in his quest for ultimate perfection. The Lotus Sutra is the teaching of human respect, self-perfection and world peace – in a word, humanism, leading mankind from division to unity, from discord to harmony, from conflict to peace.

 

I. The first movement, Awakening, (To Awaken to the Light of the Universe) portrays the vastness and richness of the experience of the human mind on expanding its field of view from the narrow confines of daily life to the contemplation of, and merging with, the entire universe.

 

II. Contemplation (To Contemplate the Depths of the Soul) represents a turning-away of the mind from the “outer” to the “inner” universe -- the attempt to fathom the limitless possibilities of the human consciousness in its quest for identity, to answer the eternal questions beginning with the word “Why?”

 

III. Rejoicing (To Rejoice in the Beauty of Peace) depicts the realization that, while on earth, peace is not merely the absence of war, destruction, pain and suffering, but a thing of beauty in and of itself, and an occasion for heartfelt rejoicing on the part of all men everywhere, who share the same eternal quest as true brothers.

 

This suite was commissioned by, and is reverently dedicated to, Rissho Kosei-kai, on the occasion of the 77th birthday of its founder and president, the Reverent Nikkyo Niwano.

 

Program notes extracted from the Wind Repertory Project.

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Additional Details
Series: LudwigMasters Symphonic Band
Publisher: Keiser Productions, Inc.
UPC: 654690659620
SKU: 36-B394302

More about this title

About the Composer: Alfred Reed

Alfred Reed (1921, 2005) was one of the most prolific and performed composers for wind band, bringing symphonic ambition to the medium throughout his career. His works span from accessible educational pieces to large-scale programmatic suites, all marked by orchestral sensibility, clear harmonic language, and genuine respect for the instruments he wrote for.

Why we love this

Reed crafts a spiritual journey that feels earned rather than imposed. The philosophical framework, moving from awakening through contemplation to rejoicing, gives your band genuine architecture to build across three movements, and the orchestration supports that narrative arc without ever becoming precious or overly abstract.

What to expect

The first movement opens with a hushed sense of infinite possibility, then gradually builds outward into luminous, broad gestures. There's contemplative space alongside moments of genuine uplift; the music honors both the internal and the transcendent.

Who it's for

Bands at the upper-intermediate level with secure fundamentals and enough maturity to engage with programmatic content. This work rewards groups that can sustain tone quality and handle exposed passages without anxiety.

How to get the most out of it

  • Establish the opening sonority with clarity; the vastness the composer describes depends on ensemble blend and precise dynamic control across woodwinds and brass.
  • Shape longer lines by thinking through the harmonic progression rather than by mechanical phrasing; this keeps the music breathing naturally.
  • Balance the interplay between solo voices and tutti sections. Reed often features principal instruments in dialogue, and these moments need to register without getting lost in the full sound.

How to use it

Program this as an anchor piece for a concert exploring music with philosophical or spiritual roots. It sits equally well opening a program or anchoring the second half, and pairs naturally with other large-scale band works from the classical repertoire.

Skills your students will build

  • Sustaining long, legato phrases with consistent tone quality
  • Balancing exposed sectional and solo writing within a full ensemble texture
  • Reading and executing dynamic shading that serves architectural form rather than moment-to-moment expression
  • Responding to programmatic intent through musical shape and color

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