Part 1

Chapter 13,728 wordsPublic domain

_Great Bands of America_

_by_

_Alberta Powell Graham_

_Frontispiece by_ KURT WERTH

THOMAS NELSON & SONS _Toronto_ · NEW YORK · _Edinburgh_

Library of Congress Catalog Card Number: 51-13995

MANUFACTURED IN THE UNITED STATES OF AMERICA BY THE COLONIAL PRESS INC.

_TO THOSE WHO MAKE MUSIC FOR THE PEOPLE_

_OTHER BOOKS BY ALBERTA POWELL GRAHAM_

Strike Up the Band 32 Roads to the White House

_For Younger Children_

Christopher Columbus, Discoverer

_CONTENTS_

There’s Something About a Band 11

I Military Bands 15

UNITED STATES MARINE BAND 17

_Major William F. Santelmann_ 23

UNITED STATES NAVY BAND 27

_Commander Charles Brendler_ 32

UNITED STATES ARMY BAND 39

_Captain Hugh J. Curry_ 45

UNITED STATES ARMY AIR FORCES BAND 49

_Lt. Colonel George S. Howard_ 53

II Concert Bands 59

_John Philip Sousa_ 59

_Patrick Sarsfield Gilmore_ 70

_Arthur Pryor_ 81

_Patrick Conway_ 87

_Edwin Franko Goldman_ 92

III Municipal Bands 105

THE ALLENTOWN BAND 107

THE BARRINGTON BAND 109

_Herbert Lincoln Clarke_ 110

_Karl King_ 121

THE BAND OF HAGERSTOWN 124

PHILADELPHIA’S MUMMERS’ PARADE 125

IV Industrial Bands 127

_Frank Simon_ 130

V The Salvation Army Band 134

_Captain Richard E. Holz_ 142

VI Merle Evans, Toscanini of the Big Top 146

VII College and University Bands 156

UNIVERSITY OF ILLINOIS BAND 157

_Albert Austin Harding_ 158

_Mark H. Hindsley_ 161

UNIVERSITY OF MICHIGAN BAND 163

_William D. Revelli_ 165

VIII High School Bands 167

FARM AND TRADES SCHOOL BAND 171

_A. R. McAllister_ 174

IX As We Go Marching On 178

Books, Magazines, and Newspapers Consulted-- 183

_ACKNOWLEDGMENTS_

For help in collecting data for this book, I am especially grateful to--

MISS NORA BEUST _Specialist for Schools and Children’s Libraries United States Department of Education._

MISS VANETT LAWLER _Associate Executive Secretary of the Music Educators’ National Conference._

MRS. W. H. POWELL, for her aid in research and cooperation on the manuscript.

The following members of the staff of the Library of Congress:

COLONEL WILLARD WEBB, _Chief of the Stack and Reader Division_; MR. FRANK C. CAMPBELL MRS. MARGARET HASSELBUSH MR. OLIVER A. DUDLEY _All of the Music Division_; MR. DAVID H. COLE MR. STEWARD DICKSON MR. FRANK E. LORRAINE _Assistants in Charge of Public Reference._

_There’s Something About a Band_

What is more thrilling than a fine brass band? There’s something about a band that sets hearts pounding and pulses racing.

Band music stirs all ages. Young and old pour into the streets to see and hear a band. Mothers with babies in their arms and wide-eyed youngsters clinging to their skirts, line the sidewalks. Small boys run to keep pace with the drummer, then with shoulders back and stomachs stuck out, they proudly march beside them. Old men lift heads high, women’s eyes are tear-filled as the band brings sad memories.

All America loves a band. Even in Washington, the National Capital, the most popular parade ground in the United States, crowds quickly jam the streets to the very curb, as a band leads a parade along the Avenue. For it is a marching band which makes the deepest appeal to the emotions of the human mind and heart. A lively march will bring smiles to the faces, sparkles to the eyes and a rhythmic step to the feet.

Since that long-ago day when Joshua commanded his seven high priests--probably the first seven-piece wind band--to blow their rams’-horn trumpets as they marched seven times around the walled city of Jericho, countless marches have been played. And the walls still “come tumbling down” in hearts that thrill to band music.

Down through the ages the band, in its development, has sounded the call to arms and played the hymns of peace. In years gone by the music of the band led the townsfolk to the village green. Today the concert bands draw thousands of people to the public parks.

In our own country neither the Puritans nor the Quakers of New England’s early days would allow the use of musical instruments. But the German and Swedish colonists brought their music with them to this country.

The first band in New York City consisted of four sturdy Dutch citizens who played the trumpet, flute, violin and drum. They gave a free concert every Saturday afternoon at Bowling Green to crowds of one hundred or more people. This was in the 1630’s. A few years later seven younger, better-looking men made up a rival band. They played louder and became more popular.

Many small bands were organized in Boston during the next few years. Several little German bands came to this country and stopped in Boston. Some played on streets and were called Gutter Bands. Others were excellent musicians and one of their flute players became the flutist in the Boston Symphony Orchestra.

In 1773 Mr. Josiah Flagg formed a band of fifty or more men and gave concerts in Faneuil Hall. This was the first band of any size in America. Other bands were soon organized in Boston: The Green Dragon, and the Boston Brigade Band were very well known.

* * * * *

Bands may come and bands may go, but none like those found in a few small towns in the early 1800’s will ever be seen again.

Even in those days everyone loved gay uniforms. Some of the bandsmen wore home-made bandsuits which challenge description. The members of one little band in New England wore lined, red flannel trousers with dark but decorated coats. The bandleaders in those days seemed to concentrate on their hats. Some wore big plug hats with gay rosettes made of ribbon or flowers. Others wore gorgeous plumes. The men in the bands usually had cloth epaulets sewn on their shoulders; the leaders’ epaulets were trimmed so that they looked like glistening jewels. They usually wore whiskers, or at least well-waxed moustaches. The members of the bands, like their leaders, were often untrained and always unpaid. Though most of them could read music, many played “by ear.”

Human folk need some form of self-expression and music is an ideal mode for an individual to give vent to his feelings and voice his desires. Often the mousiest, quietest little man in town joins the band and insists upon playing the tuba or pounding the largest drum. It gives him a feeling of importance and the satisfaction of achievement. He may not make speeches, or write influential articles, but he can beat the rhythm or blow the loud “oompas” that set the pace for the whole band.

As America’s population increased, almost every village and town had a band. Their concerts in the public square became regular features. These village bands have done much for the advancement of music in our country. They have given more pleasure and delight to a greater number of people than any other agency. These bands have helped the love of music to find its way into the lives and hearts of the American people.

_U. S. Military Bands_

“When I hear music, I fear no danger. I am invulnerable. I see no foe.” Thus wrote Henry D. Thoreau in his journal a century ago.

General Washington knew how a brisk, rhythmical tune helped hungry, poorly-clad soldiers on the march and also inspired them to fight bravely in battle. He felt that music was so important that he ordered forty to sixty fifers and drummers in each regiment of his army. The bands were chosen from the troops. These “musics”, as Benjamin Franklin called them, were untrained and each man played in his own fashion, but their music gave the Revolutionists heart.

The influence of band music on the fighting man’s morale has been recognized since historians began to write. A band, especially a military band, may inspire courage, a wish to fight or a will to win. It beats the rhythm for marching feet and gives a tune for whistling. Lively, tuneful marches send the troops quick-stepping off to the battlefront. Grand, triumphal strains herald the return of the victorious army.

Troops will step faster and march for a longer time to the rhythm of a drum than to any other way of keeping time. What is more stirring than the heavy, measured boom-boom-boom of the bass drum, the rhythmic clatter of the snare drum and the great blasts of tone from the huge, wide-mouthed horns?

In the beginning American military band music mainly consisted of the shrill tones of the fife paced by the rattle of the snare drums with their vibrating snares. The famous picture “The Spirit of Seventy-six” shows a revolutionary “fife and drum” band of this type. They were often called the “Drum and Foof” bands. Since those early days of military bands there has been notable change in instrumentation. Gradually more mellow-sounding instruments such as the oboes, trumpets and clarinets came into use. Present day bands are superior to our ears not only because the modern instruments are more perfectly manufactured but because of this new tonal balance.

_The Marine Band_

“Boom-Boom-Boom-Boom!”

The drums beat loud, the fifes tooted shrilly, and the Marines tramped steadily down the dusty road. The offices of the U. S. Capitol had been moved from Philadelphia to the new Federal City on the Potomac early in June, 1800. Now late in July, on a hot muggy day, the Marine Corps and their band were on their way to Washington, 136 miles away. And they were marching on foot.

Since the organization of a Marine Corps in 1775, drums and fifes had furnished the music. The fife’s piercing tones carried the melody while the drums beat the rhythm and gave the signals for the officers’ orders.

These drums were wondrous things. Their tall, double-headed cylinders were capable of great vibrations caused by the gut strings across the lower head. The drums had red bodies and blue heads, painted to match the colors of the band uniforms. A coiled rattlesnake, with raised head ready to strike, was painted on the side of each drum, over the warning motto, “Don’t tread on me.”

At the close of the Revolutionary War, 1783, all military organizations were disbanded. But eleven years later the U. S. Navy was authorized by Congress; new duties were found for “Musics.” They were ordered to play on recruiting duty and on frigates. After they had become so generally useful, Congress decided that there must be a fully organized band in the Marine Corps. President John Adams approved the bill to form this branch of the Marine Corps in 1798. The very first U. S. Marine Band consisted of a “drum major, fife major, and thirty-two drums and fifes.”

Some Marine troops and their bands were sent to the U. S. warships engaged in the French Naval War. Others were dispatched to serve under Commander Stephen Decatur in his battles with the Barbary pirates in Tripoli Harbor.

One Marine Band unit, stationed in Philadelphia under Colonel William Ward Burrows, became the nucleus of the now famous Marine Band. Drum Major William Farr was appointed its leader.

Philadelphia people liked the Marine Band and its lively martial music. An especially large crowd enjoyed their playing on July 4, 1800, at the celebration of Independence Day. This was their last performance in Philadelphia; they moved to Washington in that same month, weary, footsore Marines camped in tents on a grassy slope overlooking the Potomac and the beautiful hills of Virginia beyond.

The people of Washington were thrilled and excited over the coming of the band and gladly welcomed it. This Federal City had proved sadly disappointing to its new residents, many of them from busy cities like New York, Philadelphia and Richmond. To them Washington was a desolate, forlorn-looking place--“mudhole in a wilderness” many called it. To these lonely people the band’s lively music hinted at dances and parties.

The Marine Band received orders to do all in their power to cheer the inhabitants of Washington. Shortly after reaching the city on August 21, the band gave its first concert. Fortunately they played in the open air, for almost everyone in the town and country around attended. Everyone was joyous and happy at this first attempt at any kind of entertainment for the people. Young and old were there, dressed in their best, all eager to hear the first band concert in Washington.

Similar evening entertainments were enjoyed throughout those summer and autumn months. The Marine Band grew very popular with everyone, particularly President Adams, Vice-President Jefferson and the Secretary of the Navy, Benjamin Stoddard. Colonel Burrows, proud of his band, bought a number of new instruments which included two French horns, two clarinets, one bassoon and a bass drum.

On New Year’s Day, 1801, the Marine Band for the first time played at the “President’s Palace,” as the White House was always called until it was burned by the British in the war of 1812. The occasion of this band concert was the formal reception held by President and Mrs. John Adams. Since that time the Marine Band’s playing at the Presidents’ New Year’s receptions has become traditional.

Not only was the music pleasing, but the players were glamorous. The band uniforms were gay and striking--short, scarlet, gold-buttoned coatees, faced and edged with blue and gold; high blue collars and blue shoulder straps trimmed with gold; blue pantaloons with a scarlet stripe; and brown hats turned up on the left side with a black leather cockade. Each bandsman wore the black leather stock, or collar, which gave the Marines their familiar nickname of Leathernecks.

Besides playing at many parties and balls, the band took part in religious services. The newspapers of that day say that it often played at the Sunday church services held in the Hall of Congress. “Their polished instruments and colorful uniforms made a dazzling appearance and their music was excellent.”

On their first Fourth of July in Washington, 1801, the Marine Corps, led by the band, marched in review before President Jefferson on the lawn of the Executive Mansion. Because of his great interest in it, President Jefferson was called the god-father of the band, and the name, _The President’s Own_, was often applied to it.

During the war with Great Britain in 1812, many Marine bandsmen laid aside their instruments and joined the fighting. They fought in the Battle of Bladensburg and also helped to save the records of the U. S. Marine Corps when the Capital was fired by the enemy troops.

It became customary for the different presidents to ask the band to perform many and varied services. Jefferson, during his presidency, received a huge cheese weighing 750 pounds from some of his enthusiastic admirers. He invited his friends to share the tasty delicacy and had the Marine Band play for their entertainment. Some years later when President Jackson was presented with a 1,400 pound cheese, he wanted the Band’s music to accompany the feasting of his guests too. But play as they would, no one heard them; for on that occasion the public stormed the White House, ruining carpets and furnishings in attempts to get portions of the immense cheese they had heard about.

Not only has this famous band played for the highest officials at all White House and State social affairs, but also for the first children’s party at the White House which was given by President Jackson. The youngsters at the first egg-rolling on the White House lawn were serenaded by the Marine Band.

The Marine Band has always been a part of inauguration ceremonies. It played at the first inaugural ball, James Madison’s, at Long’s Hotel. And beginning with that of James Monroe, this group has played at almost every inaugural ceremony, and it has marched in every inaugural parade.

President Lincoln insisted that the Marine Band give frequent out-of-door concerts during the Civil War to help the morale of the people in Washington. It accompanied him to Gettysburg when he delivered his famous address.

During its long life--more than 170 years--the Marine Band has had eighteen leaders. Although each did his best according to his musical training and experience, it was not until John Philip Sousa took over the leadership that the band reached the highest peak of its achievement.

The vigorous and dynamic Sousa saw the band’s possibilities and things began to happen. He reorganized the personnel and increased the number of players. He inspired his men to high performance. He persuaded Congress to send them on nation-wide tours. Soon the Marine Band was the best-known and most popular band in America.

Other leaders have carried on where Sousa left off--Francisco Fanciulli, W. H. Santelmann, Taylor Branson and W. F. Santelmann. The work of its great leaders together with the invention and improvement of instruments has revolutionized the Marine Band’s performance since the fife and drum days of 1775.

“The motto of the Marine Corps, _Semper Fidelis_--_Always Faithful_--is the keynote to which the band strives and it hopes to bring honor, glory and distinction to its proud history.”

MAJOR WILLIAM F. SANTELMANN

_Leader of the Marine Band_

Another 8th grade football game was on. Both teams were putting up a hard fight. Clutching the ball tight against his body, Bill Santelmann raced towards the goal. The next minute, it seemed to him, that both teams had landed on top of him. When the heap of waving arms and legs had been unscrambled, Bill couldn’t get up.

“That’s not too bad, fellow,” said the gym teacher cheerfully as he looked over the victim. “Just a broken collar bone, I think. It will heal in no time.”

But a horrible thought came into Bill’s mind. “Will I ever be able to play my violin again?” Just the night before, he had heard the Boston Symphony Orchestra Concert, with Fritz Kreisler playing his violin. He had resolved then and there that nothing should keep him from being a violinist.

“And now, this would happen!” he said to himself. “Well, this settles it. No more athletics for me! Playing my violin means more to me than playing football.”

William F. Santelmann was born on February 24, 1902, in Washington, D. C. His father, Captain W. H. Santelmann, was the leader of the U. S. Marine Band.

Of the six children in the Santelmann family, Bill was the only one who had inherited the father’s musical talent. Any one of the three daughters could play the piano well enough to accompany them and the whole family enjoyed singing together on their evenings at home. But Bill’s two brothers pooh-poohed the idea of having anything more than that to do with music.

However, Bill had loved music since he first heard his father play the violin, and he was always thrilled when he watched him lead the gay Marine Band. Finally, when the boy was six years old, Captain Santelmann gave in to his pleading and bought him a small violin. He at once began to give Bill music lessons and was very proud of his son’s love of practicing and his rapid progress.

When Bill entered the McKinley Training High School, he resisted the temptation to try out for any of the athletic teams. Instead he signed up for the orchestra where he was made a welcome member. He also studied at the Washington College of Music from which he was graduated in 1920. Then he left his home and native city to enroll at the New England Conservatory of Music in Boston, Massachusetts.

There young Santelmann studied under a staff of famous instructors. Playing in the orchestra, he enjoyed the association with some of the members of the Boston Symphony Orchestra who often played with the Conservatory group in order to gain practice and experience. During the time Bill was in this school he met Margaret Randall, an organ student from Ohio. He knew this was the girl he would marry some day.

Although Mr. Santelmann was willing and financially able to pay his son’s expenses at school, William wanted to help out. He did this by teaching at Groton, a well-known school for boys.

After his graduation from the Conservatory, William Santelmann returned home to Washington, D. C., where he has lived ever since. “In fact,” he said recently, “we Santelmanns like Washington. My sisters and brothers all live here too.”

In September, 1923, he entered the U. S. Marine Band, thereby achieving a boyhood ambition. As all bandsmen were required to play both a band and an orchestra instrument, William chose for his second instrument the euphonium which his father had also played in the same band.

William Santelmann progressed from rank to rank until he was the concert master of the symphony orchestra. In 1927 his father retired and Captain Taylor Branson then assumed the leadership with William as second leader. Thirteen years later Captain Branson retired and presented William with the same baton that his father had used.

Exceptionally well-trained in the traditions and duties of the Marine Band, Major Santelmann is a successful leader, well-liked by his men and popular in Washington. His enjoyable programs for state affairs and for other occasions have won high praise. After the concerts which he arranged for the visit of the rulers of England, Major Santelmann received personal thanks from King George and Queen Elizabeth.

Another unusual occasion which Major Santelmann will never forget was the concert played on the White House lawn, May 20, 1943. Prime Minister Churchill had requested a program of Stephen Foster ballads and American war songs. The audience was made up of President Roosevelt, Prime Minister Churchill, McKenzie-King of Canada and all the other members of the war planning staffs of America and England. Just as the band began to play the first number, the rain poured down in torrents. Nevertheless the drenched listeners sat through it all while Roosevelt and Churchill sang and whistled with the band.

The Santelmanns live on a half acre of ground in Virginia. Major Santelmann said, “I did marry my college sweetheart! In fact, we are still sweethearts although we celebrated our twenty-fifth anniversary in May, 1950.” They have two children, William Jr. and Betty Jane.

Major Santelmann’s hobbies center around his home too. “Yes, I have a hobby,” said he, “several of them in fact. I like to work with my hands, anything that is good hard work.” He has made cement blocks and covered an attractive terrace with them. He gives his garden a great deal of time in its season, and he likes to chop wood. By trimming and cutting the trees on his own land, Major Santelmann supplies all the wood needed for the fireplace.