THE BAND IN AMERICA

1. THE BAND IN AMERICA • BROUGHT TO AMERICA BY THE BRITISH ARMY IN THE 18th CENTURY • COLONIAL MILITIA • Regiment and Artillery Company of Philadelphia - 1756 - Benjamin Franklin, commander “Hautbois and Fifes in Ranks” • Continental Army - 1777 • MARCHES POPULAR WITH AMERICAN BANDS • “Washington’s March” - 1794 • “The March of the 35th Regiment” • THE UNITED STATES MARINE BAND • formed 1798

2. THE BAND IN AMERICA • SAMUEL HOLYOKE • taught instrumental music • published several volumes • “The Instrumental Instructor” - 2 vols. • vol 2 contains pieces for larger bands including“First Grand March” - scored for 7 instruments • WITH MORE INSTRUCTION, THE SIZE OF BANDS INCREASED • CIVIC BANDS • (Boston Brigade Band -1810) • INTRODUCTION OF KEYED BRASS INSTRUMENTS IN THE 1830s • invention of keyed bugle and ophicleide - complete scales

3. THE BAND IN AMERICA • change to all brass bands • Adolphe Sax (d. 1894) • family of instruments - saxhorns • instrumentation of bands changed with these new instruments • Grand March “The Sultan” • Claudio S. Grafulla (1810-1880) • Finest band composer of the mid-1800s • military, patriotic, political, and concerts • greater playing ability • by the Civil War, bands had become more advanced in instrumentation, repertory, and playing technique

4. RULES FOR BAND PRACTICE • 1st.    Tune all the instruments by the 1st Soprano. • 2d. First tune but two at a time. • 3d. Finally tune in a body. • 4th. No blowing or practicing between the pieces; that should be done at home. • 5th. Begin together. • 6th. Obey the leader or director, in every particular, in relation to the performance of the music; a Band to play well must be governed by one mind. • 7th. Let the drums beat VERY softly, otherwise it will be impossible to hear the defects. • Practicing in Concert, or Band Playing • Each member of the Band, having practiced all that has been laid down, will next take his part of the first lesson, practice that until perfectly familiar with it, so that he may be able to play it without its absorbing whole of his attention, for it often occurs, with beginners, that they are so engaged with the difficulties (or beauties) of their own part, that they are scarcely conscious that any but themselves have been playing; this should not be so; every member should be familiar enough with his own part to be able to pay some attention to what is doing about him, and although it is praiseworthy to play his part as if the whole effect depended upon the proper execution of that part, yet, at the same time, he should remember that band playing is not simply a number of men playing certain notes with great correctness and precision, it is, in addition to all that, a number of instruments harmonizing and sympathizing with each other, as if the same sensitive soul governed all, as one; let every member play his part and nothing more; if this is not difficult enough to show his abilities, let him play a solo; do not mutilate the arrangement of the music. Before beginning a new piece, look closely to the signature, observing what notes are made flat or sharp, what time it is in and how fast it is to be played. Attend closely to the Pianos; it is an old and very true saying, that "the fortes always take care of themselves"; there are many shades of forte and piano, which should be carefully attended to; then there are the forzandos, crescendos, diminuendos, staccatos, slurs, and all the other little marks connected with music, the attention to which evinces the excellence of a Band's training. • RULES RECOMMENDED FOR THE BAND ROOM • 1st.    Use no profane or vulgar language. • 2d. Keep your rehearsal room clean and orderly. • 3d. Have good music stands and suitable light. • 4th. Do not take pride in being the last one at the band meetings. • 5th. Do not attempt to lead the leader. • 6th. And finally, remember that noise is not music. • From, Dodsworth's Brass Band School, 1853

5. THE BAND IN AMERICA • 1861 - THE BAND WENT TO WAR • enlisted as a group • Armory Band of Richmond became attached to the Richmond Light Infantry Blues • parades and marching • band concerts in camp • PATRICK GILMORE (1829 - 1892) • best band in the Northern Army • 24th Mass. Regiment • Gilmore brought European Military bands to America in 1872

6. Patrick S. Gilmore • The most importantbandleader before Sousa • Born December 25, 1829, in Ireland • Emigrated to the U.S. In 1849 • Settled in Boston • Organized the GilmoreBand in 1859 • Gilmore’s Bandenlisted in 1861 • Gilmore and his musicians provided music for theRegiment and also served as stretcher bearers at battles in Roanoke, New Bern, Bull Run, Antietam, Fredericksburg, Chancellorsville, Gettysburg, Chickamauga, Nashville, Petersburg, and Richmond

7. Patrick S. Gilmore • Gilmore was posted to occupied New Orleans, Louisiana in 1863 and, as Grand Master of the Union Army, ordered to reorganize the state military bands. • It was at this time that he claimed to have composed the words and music to "When Johnny Comes Marching Home."

8. “When Johnny Comes Marching Home” • "When Johnny Comes Marching Home" is similar to the melody of the Irish song "Johnny, I Hardly Knew Ye," which might be considered a protest similar to "Where Have All the Flowers Gone?" The Irish song concerns conscription into the British Army • Where are your legs that used to run, huroo, huroo, Where are your legs that used to run, huroo, huroo, Where are your legs that used to run when first you went for to carry a gun? Alas, your dancing days are done, och, Johnny, I hardly knew ye.

9. “When Johnny Comes Marching Home” • The music for "When Johnny Comes Marching Home" was first published by Henry Tolman and Company of Boston in 1863. Gilmore published the song under the pseudonym Louis Lambert, although the title page also read "as introduced by Gilmore's Band.” • Two versions of When Johnny Comes Marching HomeModern Version As sung by John Terill in 1898 • Gilmore's "When Johnny Comes Marching Home" became popular with northerners and southerners alike.

10. Patrick S. Gilmore • While Gilmore was New Orleans, he showed himself to be an extraordinary showman by organizing a musical extravaganza, with 500 musicians and 5,000 or more school children, many from Confederate families, and staged a monumental concert in Lafayette Square. • After the war Gilmore organized a National Peace Jubilee in 1869 that featured over 1,000 instrumentalists and 10,000 singers. Ole Bull was the concertmaster. • In 1872 he presented an even larger World Peace Jubilee with 2,000 instrumentalists and 20,000 vocalists, including the composer Johann Strauss and his orchestra. During this extravaganza Gilmore made use of an electrically controlled cannon and one hundred Boston firemen to pound out Verdi's Anvil Chorus on real anvils!

11. Patrick S. Gilmore • In 1875, he leased the New York Hippodrome, renamed it Gilmore's Concert Garden, and gave regular concerts with his new ensemble, the 22nd New York Regiment Band. • In 1876 Gilmore's Band became the first ensemble to travel across the country, giving concerts from New York to San Francisco. • In 1878 they made an international tour. • in 1879 they opened the amusement park at Manhattan Beach.

12. THE BAND IN AMERICA • Patrick Gilmore died following a concert at the St. Louis Exposition on September 24, 1892. • Gilmore’s 22nd Regiment March performed by Arthur Pryor’s Band in 1908

13. JOHN PHILIP SOUSA • JOHN PHILIP SOUSA (1854 - 1932) • b. Washington, D.C. • Portuguese father and German mother • father was a member of the U.S. Marine Band • JP served as an apprentice • violinist • conductor • 1880 became 14th conductor of the U.S. Marine Band • resigned this position in 1892 and organized a professional civilian band • first concert September 26, 1892 at Stillman Music Hall in Plainfield, New Jersey • program began with an arrangement of Gilmore’s song “The Voice of the Departing Soul”

14. THE SOUSA BAND • 1892 - 1931 • TOURED THE U.S. FOR 6 MONTHS EACH YEAR • 50 PLAYERS IN 1892 • THE SOUSAPHONE • a bass tuba built to Sousa’s specs. in the late 1890s • REPETORY • transcriptions of classical compositions • soloists, both instrumental and vocal • most arrangements by Sousa • Sousa also composed original works

15. THE SOUSA BAND • 1892 1924 • 2 flutes 6 piccolos and flutes • 2 oboes 2 oboes 1 English horn • 2 bassoons 2 bassoons • 16 clarinets 29 clarinets • 3 saxophones 8 saxophones • 4 cornets, 2 trumpets 6 cornets, 2 trumpets • 4 horns 4 horns • 3 trombones 4 trombones • 2 euphoniums 2 euphoniums • 3 basses (tubas) 6 sousaphones • 3 percussion 3 percussion

16. THE SOUSA BAND • ENCORES were mostly Sousa marches - the most universally known music in the United States in the first quarter of the 20th century • COMPOSED 136 marches • SOUSA DEDICATED “Hands Across the Sea” to the Virginia Tech’s Highty Tighties - 1st performance was April 21, 1899

17. THE SOUSA BAND • 136 marches • Review March and Salutation March (1873) to the last marches written in 1931, the year before his death • Classic marches include: • The Thunderer 1889 • The Washington Post 1889 • El Capitan 1896 • The Stars and Stripes Forever 1896 • Hands Across the Sea 1899

18. THE STARS AND STRIPES FOREVER • Probably the most famous march ever written • Form: • brief intro • two strains • soft trio - tune and accomp. played by ww • break strain - loud brass and percussion • trio repeats w/ piccolo ob. • break strain returns even louder • trio returns w/ broader tempo • melody supported by full brass and percussion, t-bones full in pauses, piccolo sounds over it all • most Sousa marches written in the same manner • Stars and Stripes • Sousa Band Sousa Speaks • New Sousa Band

19. SOUSA • marches are uniquely American • bands and band music became deeply ingrained in American life • band music was everywhere • Sousa and his band played an important part in American popular culture • 1900 - playing his own ragtime arrangements • first American band to play abroad since Gilmore • recordings were among the most popular and widely available early phonograph discs • trombone smear originated in Sousa’s band • “The Trombone Sneeze” by Arthur Pryor • Sousa’s other compositions for band became the beginnings of a serious repertory

20. THE BAND IN AMERICA • The greatest era of American concert and military band lasted from the 1890’s to the onset of the Depression • Arthur Pryor, trombone virtuoso with Sousa’s band formed his own band in 1903 • “Serious” composers began writing for concert band but few works gained permanent status in band repertory • the Sousa Band began to perform works which included syncopated rhythms of ragtime • these rhythms are considered to be characteristically American

21. Band Music in the United States • 1876 - 1926 is the “Golden Age of the March” • 1926 - 1976 is the “Triumphal Era of the School Band in America” • The tradition of the professional concert band was prolonged by • Edwin Franko Goldman, Herbert L. Clarke and others • Music education in the schools dates from the time of Lowell Mason and the Boston schools in 1832 • By WW I many instrumental programs had been established in the schools

22. Band Music in the United States • After WW I colleges and universities added bands patterned after A. A. Harding and the University of Illinois Band • Harding and Sousa were good friends and the idea of concert band music as a professional art form spread • As the Sousa band was on the wane, high school and college bands were ready to take over • When Sousa died in 1932 more than a thousand school bands were competing

23. Band Music in the United States • The growth of the university band was due to the expanding budget generated by college football • The result was larger bands, both marching and concert • Harding began with the Sousa instrumentation and added woodwinds, brasses, and strings • The University of Illinois influence spread with standardization, rehearsal techniques, and performing practices

24. Band Music in the United States • The universities became training centers • The American Bandmasters Association (Sousa was the first life president) began a search for new music • Many well-known composers responded to the call including • Gustav Holst, Ottorino Respighi, Henry Cowell • The band movement became a driving force in American music • One very successful high school band director was William D. Revelli

25. William D. Revelli • Championship high school band in Hobart, Indiana • 5 consecutive national championships • Became director of bands at the University of Michigan in 1935 • Revelli became the most influential band director • Formed the CBDNA • Find, publish, perform, record

26. Virtuoso Players • Herbert L. Clarke 1867-1945 cornet. • The best known cornetist of his times. • Clarke traveled over 800,000 miles with Gilmore's Band, Innes' Band, Victor Herbert’s Band, John Philip Sousa' Band, and many under. • He performed over 6,000 cornet solos including 473 in one season. • Clarke made 34 tours visiting 14 different countries.

27. Virtuoso Players • Arthur Pryor 1870-1942 trombone & assistant conductor. • Arthur Pryor conducted most of the Sousa Band's recording sessions. • His most famous solo was his variations on The Blue Bells of Scotland. • He left the Sousa Band after several years to form his own band, which was also very successful.

28. Virtuoso Players • R. Meredith Willson 1902-1984 flute/piccolo. • After spending three years touring with Sousa, Meredith Wilson wrote one of the most famous Broadway musicals of all time, The Music Man. • Simone Mantia 1873-1951 baritone • Mantia's most famous solo was his variations on Thomas Moore's Believe Me If All Those Endearing Young Charms.

29. Virtuoso Players • William J. Bell 1902-1971 tuba. • Member of the Sousa Band 1921-1924, the Cincinnati Symphony 1924-1937, the NBC Symphony 1937-1943, the New York Philharmonic 1943. The Goldman Band, Indiana University 1961-1971August Helmecke 1869-? bass drum. • Helmecke was Sousa's highest-paid musician. .

30. Virtuoso Players • Marjorie Moody, vocalist. • Walter B. Rogers, cornet.

31. Virtuoso Players • Herman Bellstedt 1858-1926 cornet. He joined the John Philip Sousa Band in 1904 • Napoli • Frank Simon, cornet.

32. Arthur Pryor • born in St. Joseph, Missouri in September, 1870 • he mastered the cornet, alto horn, valve trombone, drums, violin, bass viol, and piano. • Turned down a job offer from Patrick Gilmore because he was pianist and music director at the Stanley Opera House in Denver. • Accepted a position in 1892 to join Sousa • Between 1893 and 1903 Pryor performed over 10,000 solos with the Sousa Band. • Pryor became Assistant Conductor of the Sousa Band in 1895 • Pryor led the Sousa Band in recording sessions.

33. Arthur Pryor • He resigned from the Sousa Band in 1903 and became Music Director for Victor Talking Machine Company (RCA). • He created the Arthur Pryor Band at that time and it remained popular until the 1920s. • With RCA he recorded over 2500 records. • Pryor composed over 300 works. • Retiring in 1933, Pryor called jazz the “parasite of music” • Pryor organized a new band in 1942 to support the war effort, but on June 17 1942, he suffered a severe stroke and died the following morning. • His son, Arthur Jr., let the Pryor Band that evening and closed the concert with his father’s last composition, We’ll Keep Old Glory Flying

34. Arthur Pryor recordings • 1. Bluebells of Scotland • 2. Intermezzo - Forever • 3. We Won't Go Home Until Morning • 4. Stay in Your Own Back Yard

35. The Band in America • New recordings of band music appeared • Stravinsky’s Symphonies of Wind Instruments • Hindemith’s Symphony in B-flat for Band • Since 1952 a great deal of new music has been written. • Vittorio Giannini 1903-1966 • Symphony No. 3 (1958) • Alan Hovhaness 1911-2000 • Symphony No. 4, Op. 165 • J. Scott McKenzie 1970- • This We’ll Defend

36. Frederick Fennell 1914 - 2004

37. Frederick Fennell • Born July 2, 1914 in Cleveland, Ohio • Studied at the Eastman School of Music • Member of the Eastman conducting faculty in 1939 • Founded the Eastman Wind Ensemble in 1952 • Conductor • Columbia University American Festival • National Music Camp • Yaddo Music Period • Eastman-Rochester Pops Orchestra • Eastman Opera Theatre

38. Frederick Fennell • As Conductor • Interlochen Arts Academy • guest conductor with the Boston Pops Orchestra, the Carnegie Hall Pops Concerts and the Boston Esplanade concerts. • Appeared with the Denver, San Diego, National, Hartford, St. Louis and London Symphonies; the Buffalo, Calgary and Greater Miami Philharmonic Orchestras, the Cleveland Orchestra and the New Orleans Philharmonic • Conductor of the first Honor Band of America in 1992, at the debut National Concert Band Festival, held at Northwestern University. • He was part of pioneering recordings with the Cleveland Symphonic Winds and Dallas Wind Symphony and he holds countless honors, awards, appointments and conducting appearances.

39. The Eastman School of Music • Frederick Fennell formed the Eastman Symphonic Wind Ensemble in 1952 • A versatile wind band of about 45 players • Easily cut back to play Haydn etc. • Original music could be played with a fresh new sound • Composers could decide the number of instruments on each part • Points: • Sousa popularized the band • Revelli brought it to maturity • Fennell trimmed it, added individuality, virtuosity, showmanship

40. Selected Recordings • Morton Gould 1913-1996 • West Point Symphony (Marches) • Vincent Persichetti 1915 - 1987 • Pageant, Op. 59 • Julius Fucik 1872-1916 • Thunder and Blazes • Henry Filmore 1881-1956 • Rolling Thunder • Samuel Barber 1910-1981 • Commando March