Part 2

These hobbies have kept him physically fit and mentally alert for his exacting job. For Major Santelmann is successfully carrying on the ideals and high standards of his famous band, “The President’s Own.”

_The U. S. Navy Band_

The _Brandywine_, an American man-of-war, entered on her payroll of July 26, 1825, the name of James F. Draper, a musician at “ten dollars per month.” This was the first name on the band list of our Navy, but other names were added rapidly. James F. Draper, whether fifer or drummer we do not know, may not have rated as much of a musical man in his day, but his name is the first of a noted organization in the world of music.

Soon other ships had three or four musicians whom they called out on special occasions. When battles with pirates and other enemy ships thinned the numbers of the crews, the bands were sent ashore to recruit men to fill their quotas. The bands marched through the streets, loudly rolling their drums and tooting their shrill fifes, to call landsmen to join them in sailing the seas to find treasure and adventure.

Thirteen years later, 1838, a naval band was officially entered in the Pay-Table of the Navy’s Register. It consisted of a bandmaster, four first-class musicians, and one second-class musician. From that time on, bands were found on many ships, but this increase in the number of navy bands was due to the wishes of the individual commanders of ships, fleets and stations.

Their instruments were drums, fifes and trumpets. The music aboard ships was available for balls, entertainment programs, and funeral services. Some ships carried fine bands of as many as twenty players each. These bands became very popular and were soon considered a part of a ship’s life.

There was no distinction made between the musicians and the ordinary seamen. The bandsmen had to perform regular sailors’ duties such as shoveling coal, scrubbing the decks or doing whatever they were called on to do. In the beginning they were rated as seamen. After the year 1830, musicians were entered as first-class though they were still paid ten dollars per month.

In battle, bandsmen, like other sailors, had their own posts assigned to them. In the early days when they served as ammunition passers so many received injuries to their hands that the bands were depleted. It was then decided to detail them as stretcher bearers.

Bandsmen always keep on at their regular schedule of musical business, even in wartime unless engaged in battle. Rehearsals are held in the morning, concerts on deck at noon for the crew, and concerts for the officers in the evening. The band plays at all ceremonies. It plays colors when the ship is lying in port, plays at Sunday morning church services on the ship and also for a Sunday evening concert.

During World War I band music was very popular. Everyone--soldiers, sailors and civilians--wanted music, and the government gave them good music. Outstanding Navy bandleaders directed the finest talent obtainable in playing the music that everyone loved to hear. There were Sousa’s thrilling marches and there were songs that inspired courage and gave cheer--_Over There_, _Smiles_, _Keep The Home Fires Burning_ and dozens of others. In this period, America’s noted “March King,” John Philip Sousa, took over the leadership of the Great Lakes Navy Band and made it a world-famous organization.

With the Armistice came the breaking up of the marvelous service bands. But the Navy Department, now fully aware of the great necessity for band music, appointed a musical unit to officially represent the United States Navy. They chose their foremost musical group, The Navy Yard Band of Washington, D. C. The selection of a leader was most important, but after careful consideration, Bandmaster Charles Benter was appointed to the post. Lieutenant Benter left a successful term of service on the _U.S.S. Connecticut_ to reorganize and direct the Navy’s band of eighteen members. That the new leader was well qualified was soon plain to all. By 1923 Lieutenant Benter had sixty-three enthusiastic, capable performers playing twenty varieties of instruments. Under this able director, the Washington Navy Yard Band soon made a place in the hearts of all in the Capital city.

A special act of Congress, signed by President Coolidge on his inauguration day, made this organization the permanent, official band of the United States Navy. Congress also gave the U. S. Navy Band the official right to play for three organizations: the American Legion, the DAR and the American Red Cross. The band’s name was changed from the Washington Navy Yard Band to the United States Navy Band. Another noticeable change was made then,--the band gave up wearing the traditional bell-bottomed trousers, adopting instead the regulation Chief Petty Officers’ uniform, dark blue in winter and white in summer.

The United States Navy Band spends its working time in Washington, D. C. within the walls of the Naval gun factory. Their great library is housed here and also their valuable band instruments. In the huge, historic, sail loft the band practices, gives concerts and plays its radio broadcasts.

The regular duties of the U. S. Navy Band include playing at the Presidential Inauguration ceremonies, at many White House affairs, and in numerous parades held in the Capital. The U. S. Navy Band plays at the funeral services of all Navy men buried in Arlington Cemetery, as well as at funerals of statesmen, congressmen and other prominent officials.

The Navy Band has toured the United States playing in most of the large cities in every state. Canada, where it is a great favorite, Alaska, Panama, Cuba, Puerto Rico, Jamaica, Haiti and the Virgin Islands, have all been visited by this popular organization.

Many young men are eager to enlist in the Navy Band. They are attracted by its glamour and by the opportunity to get a good education and to see the world. But it isn’t easy to get into the music department of the United States Navy.

Every candidate must have a high school education or its equivalent and must pass the tough mental and physical examinations when he enlists. If he passes these--and not everyone does--he goes up against stiff examinations of his aptitude in music and his training and experience in it. Then follows a period of basic training in a “boot” camp. After this comes the _real_ test, an eighteen months’ course of hard work in the United States Navy School of music in the Washington Navy Yard. He studies ear training, harmony, theory, music history, two instruments and band music--all of these added to the regular military discipline and drill. After this course is all completed these well-trained Navy musicians are sent in regular band units aboard battleships, cruisers and carriers. Eventually some fortunate bandsmen return to Washington to fill vacancies in the U. S. Navy Band.

The whole idea of the Navy School of Music was planned and carried out by Lieutenant Benter during his leadership of the Navy Band. After almost twenty-five years in this service, Lieutenant Benter retired from his post January 1, 1942. He passed on his baton to Charles Brendler, the Assistant Band Leader, a member of the Navy Band since 1917. At this time the Navy School of Music was removed from the supervision of the U. S. Navy Band, and Lieutenant James M. Thurmand, Jr. was made director of it.

When Commander Brendler took over the leadership of the U. S. Navy Band he began to work on his theory that the band should play all types of music for all kinds of people. He increased the organization to one hundred members, and he also formed a number of different units within it. Most of these players are accomplished symphony orchestra performers and a dozen or more are recognized soloists. The Navy Band contains a complete symphony orchestra; a modern “swingphonette” which plays equally well light opera or the latest “bebop”; and small groups for dances or concert programs.

This versatile band has broadcast thousands of radio programs, of which the “Navy Hour” is the best known. Their summer evening concerts on Capitol Hill are attended by huge throngs of devoted listeners. Commander Brendler loves music and music-lovers, and wants his band, which he pronounces _the world’s finest_, to play for all America. Truly this _is_ a band for all the people.

COMMANDER CHARLES BRENDLER

_United States Navy Band_

Fifteen-year-old Charles Brendler, hugging his precious clarinet under his arm, without a word to his father, mother, or anyone, left home to join the United States Navy. He loved music more than anything in the world and was determined to give his whole time to it. Like many boys of his age, Charles had become fascinated by the Navy advertisements. He thought if he belonged to a band on a United States ship he would have nothing to do but practice and play.

Learning that the _U.S.S. Florida_ was anchored at the dock in New York, he made his way to find her. Carefully he watched his chance and climbed aboard, unseen by anyone. Luckily Charles fell into friendly hands. He was permitted to tell his story and to prove his unusual talent as a clarinet player. As a result Charles Brendler won a berth on the _U.S.S. Florida_ September 26, 1913. He was rated as a “landsman for musician.” When his parents found out where he was and what he was doing, they willingly consented to his plans.

Charles, the son of Ivan and Mary Brendler, was born in New York City in 1898, on Lincoln’s birthday, February 12. He was a happy, busy little boy whose greatest pleasure seemed to be in listening to the music of a band. There were plenty of bands for him to hear on the streets and in the parks of that great city, but soon Charles began to want to make his own music. The Brendlers realized that a small boy who had such an early love for music was unusual. They bought him a clarinet, and in a short time the ten-year-old boy was playing in the band in his grade school in Brooklyn.

At thirteen Charles was a cadet in John Wanamaker’s department store, playing in the boys’ band of that establishment. Wanamaker’s then had a school for the cadets and they also hired a capable director for the band.

The bandleader at this time was Frederick D. Woods, an Englishman who had come to America with a musical comedy company from London. Woods liked this new country so well that he made his home in New York and became conductor of the Wanamaker Band.

At the very first rehearsal Woods discovered Charles’s talent. In a cadenza the tones of one clarinet rang clear and true while the other players stumbled.

“Repeat that cadenza, please,” said Woods, looking at Charles. Again he played the passage perfectly.

“You are Charles Brendler?” asked Woods.

“Yes, sir,” the boy replied.

“Please see me after rehearsal,” said the instructor.

Charles wondered whether Mr. Woods was going to let him stay in the band.

“How long have you been playing the clarinet?” asked the leader after band practice.

“Since I was ten years old, sir.”

After asking him where and how much he had studied, he relieved Charles’s mind by saying, “You are so advanced in your playing that I should like to give you some special help in your music. I think you can go far.”

The training Charles received from Woods was invaluable. This fine musician has been a great influence and inspiration throughout Brendler’s years. The Commander says today, “Mr. Woods was a thorough musician and a wonderful teacher. I owe him a great deal.”

Young Brendler learned rapidly. He soon became soloist in the Wanamaker Band and he also played in the orchestra of the old Academy of Music in New York. It was then, when only fifteen, that Charles decided to make music his life work and enlisted in the U. S. Navy.

Aboard the _Florida_ this boy, never before outside of New York, embarked on a six-weeks’ Mediterranean cruise. Once, when asked if he were homesick on this first trip, Commander Brendler replied, “Homesick? I never knew the meaning of that word.”

When trouble arose between the United States and Mexico in 1914, the _U.S.S. Florida_ went to Vera Cruz. There our young bandsman had his first experience under shellfire. The first of the many ribbons with which he is decorated today was won at that time.

Brendler, still aboard the _Florida_, served through the entire World War I. He returned to Washington, after three exciting years aboard ship, to become a member of the U. S. Navy Yard Band, which then numbered eighteen men.

When the Navy Yard Band was reorganized in 1919, Charles Brendler took his first big step upward toward his goal: He was selected for the chair of solo clarinet in the U. S. Navy Band.

The Navy Band headquarters is not far from the Library of Congress, and there the ambitious musician resumed his studies. He took a course in music history under Carl Engel, Chief of the Music division of the Library. In addition Brendler availed himself of the marvelous opportunity to read, fairly devouring two or more books each week. He read many subjects: history, biography, criticism, and everything he could find about music, including innumerable music scores and their various arrangements, and all the grand operas.

Because of his fine musicianship, Brendler was promoted to Chief Musician, and in 1937 was appointed Assistant Leader. When the Conductor, Lieutenant Benter, retired from service in 1942, Brendler received the appointment to his place and his rank. He gained his highest achievement in 1947, when he was given the rating of Lieutenant Commander of the famous U. S. Navy Band then numbering eighty-eight men. Brendler is the first musician in the regular navy to gain that rank. When John Philip Sousa was made Lieutenant Commander, the honor was _conferred_ on him by the Navy. Commander Brendler _won_ his title, step by step.

Commander Brendler reached the top rank with many honors. He has been awarded the degree of Doctor of Music by Washington University. He is a member of the Press Club of Washington, also of the Variety Club. He is an honorary member--the only one--of the exclusive White House Correspondents’ Club. He belongs to the American Bandmasters’ Association, and other honorary groups.

Lining the walls of the Commander’s studio adjoining the Sail Loft, are various certificates and honorary awards from dignitaries in many states, beginning with far-off Texas. Outstanding among these documents is a citation from the late James Forrestal which reads in part:

“The Secretary of the Navy takes pleasure in commending Lieutenant Charles Brendler, United States Navy, for service as set forth in the following citation.

“For outstanding performance of duty as Leader, United States Navy Band.... By his excellent leadership and musical ability, Lieutenant Brendler effected a musical organization which has gained an enviable reputation throughout the Nation and has earned recognition as one of the country’s leading and most versatile musical groups....

James Forrestal Secretary of the Navy.”

Commander Brendler is married and has two grown children, who are both musical--but “home performers,” not professional. His son Ivan was graduated from the Maryland University in 1950. His daughter Alma (“Rickie”), is also a Maryland U. graduate. Both the son and daughter are married.

A handsome, genial, gentleman is Commander Brendler; five feet, nine inches tall, with dark brown hair and dark blue eyes. He is possessed of a warm personality combined with a gracious, dignified manner. A perfect master of music, the Commander has composed several successful marches; among them are _Aye, Aye, Sir_, _The Fighting Fleet_ and _The Navy E_. Although the Navy Band has an extensive and varied repertoire of more than 20,000 compositions, Commander Brendler invariably conducts from memory.

When asked about his hobbies Commander Brendler said, “Music has always completely absorbed me. When I was about nineteen or twenty years of age, I had a great love for Opera. At twenty-five I had turned to Tchaikovsky; at thirty-five my favorite was Brahms; at forty it was Wagner. I still ‘fall apart’ at a Wagner concert and when my band plays Wagner.”

At fifteen Charles Brendler wanted a job that would give him more time for his music. At fifty Commander Charles Brendler as Chief of the U. S. Navy Band has little time for anything but music. And that’s the way he wants it.

_The U. S. Army Band_

It was World War I. General Pershing was reviewing his troops in France. Suddenly he exclaimed to his aide, “Listen! Are our bands playing? I can’t hear them!”

The General was surprised and ashamed at the pitiful showing made by the United States Bands’ music in comparison with that of the Allied soldiers. France, Belgium and England had fine bands of from eighty to ninety men, all well-trained and experienced. The U. S. players, twenty-eight in each group, had been hastily taken from various regiments. With little or no training they had been ordered to play together.

“Black Jack” Pershing looked blacker than ever. “This won’t do!” he exclaimed. “Something _must_ be done at once!”

Although the General did not know what to do about the situation, he knew who would. He cabled the United States Army Headquarters in Washington, D. C. and asked for Walter Damrosch, America’s foremost music authority.

Dr. Damrosch immediately crossed the Atlantic to prescribe for the U.S.A. Bands. He visited the various army bands in the Chaumont area. He interviewed and examined every bandleader. Then he gave his report to General Pershing. “Give the bands many, many more musicians and have them all trained under competent bandmasters.”

This was made a rush order. Players were selected from the army ranks to form bands of from sixty to eighty men. Capable, experienced leaders were installed in camps to train numerous bandleaders in France and in similar camps in the United States, to make sure that additional bands would be prepared for service. From that time on the United States forces marched to the accompaniment of live, powerful music played by capable bands. And the General of the A.E.F. was proud of his Army Bands.

At the end of the War, General Pershing returned to Washington, D. C. as the U. S. Army’s Chief of Staff. One of the first things he did was to order the organization of a great United States Army Band for use in peace and war.

His command was at once carried out and a new band was built around the small group of honored bandsmen who had played in “General Pershing’s Own” overseas.

Under the leadership of Warrant Officer Francis Leigh the band entered training October 21, 1921, at the Army War College in Washington, D. C. Soon the formerly neglected Army Band was brought into its rightful place in the realm of music. The first public appearance of the U.S.A. Band was on November 21, 1921, when it led the funeral procession of the Unknown Soldier to the tomb in Arlington Cemetery.

Captain William J. Stannard who led the Army Band from 1923 to 1935, greatly increased the activities of the organization. A concert group and several small ensembles were formed within the band. During Captain Stannard’s leadership radio programs were initiated. Although these performances were much enjoyed by the public, they required many hours of planning and rehearsing.

However, not all the services of the U. S. Army Band have taken place within the United States itself. This was the first band ever sent out of the country by the government as an ambassador of good will.

In 1929 Captain Stannard and his men represented the United States at the Iberian-American Exposition in Seville, Spain. The band gave sixty concerts, including a command performance in Madrid, for King Alfonso XIII and the royal family.

The Pan-American Union in Washington chose the U. S. Army Band to be the official music ambassador on this occasion. They considered it excelled all other organizations in exploiting Latin-American music in the United States.

Captain Thomas F. Darcy, Jr., the third leader of the Army Band took office in July, 1935. He had a brilliant military record in World War I, during which time he had been wounded. At twenty-two years of age, as the leader of the 18th Infantry, First Division, A.E.F., Darcy was the youngest bandleader ever appointed to the regular army. He had received extensive music training in Europe and ranked high as a composer, conductor, cornetist and arranger.

Captain Darcy installed several new features into the band programs, especially in the radio performances. He also originated many attractive special ceremonies in connection with governmental functions.

During World War II, Captain Darcy and his band sailed on a tour of the combat area to carry music and entertainment to the men on the actual battle fronts. From Casablanca to Algiers, Tunisia, Italy, France, Germany and the British Isles, the U. S. Army Band traveled through two full years. They played more than 500 concerts to hundreds of thousands of lonely GI’s and unhappy civilians. They were brought home on army planes just in time to welcome General Eisenhower on his return June 18, 1945. And at the Washington airport, the Army’s own band greeted their victorious General with four ruffles and four flourishes and the triumphant _General’s March_.

On the twentieth anniversary of the first radio broadcast by the U. S. Army Band the following commendation was received by Captain Darcy.

“It gives me real pleasure and no small degree of satisfaction, that this outstanding musical organization was created by my orders, issued when I was Chief of Staff of the Army. It was my hope then, that in due course, it would come to be unsurpassed by any similar organization the world over, and I feel that none can today deny it this recognition....”

“John J. Pershing.”

Captain Darcy retired in September, 1945, relinquishing the office to the former Chief Warrant Officer, Hugh Curry. The new bandleader was a thoroughly trained musician, a professional violinist and a well-known singer. Forsaking a career successfully begun in light opera, Officer Curry had joined the U. S. Army Band in North Africa, in 1943. In his post as assistant bandleader during the European tour, he became perfectly acquainted with the needs of the band.

Upon Curry’s accession to leadership he reorganized the band. More members were desired and applicants poured in from every part of the United States. Each one was carefully examined, tested and auditioned and a band of one hundred was selected. Within this number a marching band, a concert band, several small ensembles, a complete dance orchestra and a chorus of twenty-five fine voices were organized.

Many in the dance orchestra had been members of nationally known “name” bands. This group can play any type of dance music upon request. Two competent assistant leaders are associated with Captain Curry: 1st Lieutenant Samuel Laboda and 2nd Lieutenant Herbert Hoyer.

The members of the United States Army Band wear specially tailored uniforms. The pockets on the coats are large enough to carry their octavo size music, and are buttoned closely to prevent any instrument being caught in them. On state occasions in the winter the men wear either a special olive drab uniform or their official army dress blues. During hot weather they are comfortably clad in tan tropical worsteds. On their left shoulder is a light blue arc tab with the words, “The U. S. Army Band,” embroidered on it in white.

The Army Band presents an attractive picture in spick and span uniforms and the various polished instruments. Especially noticeable are the modern, up-to-the-minute “mechanized” bass drums and tympani mounted on wheels, and the historic “Spirit of ’76” snare drums.