The American Expeditionary Forces as they grew in size found themselves possessed of some 390 regimental bands. These bands organized themselves, gathered such music as they could get, practiced, and presently regaled the soldiers of units to which they were attached; and then the inevitable happened—they played and played the same old pieces until their audiences yearned for something new. One day a cry of distress trickled through the cables, and then the plight of the hapless lover of band music in France became the problem of the quartermaster organization in the United States, resulting in the largest purchase of band music ever made, 200,000 sheets of it, costing nearly $50,000.
The music problem of the American Expeditionary Forces was put into the hands of a special committee of three well-known authorities in the musical world. Sergt. Berlin was the authority on popular numbers; Lieut. R. C. Deming, the bandmaster at Camp Meigs, Washington, D. C., was the member in charge of the ceremonial numbers; while Mr. Ward Stephens, the well-known composer, organist, and accompanist, was in charge of the concerted numbers.
This committee picked out a repertoire of 333 selections, consisting of 172 concert pieces, 43 ceremonial numbers, and 118 popular numbers. Four hundred complete sets of these were bought, one for each of the 390 bands of the American Expeditionary Forces, with 10 sets as a reserve. The music was bought from some 27 music publishers, the largest suppliers being Carl Fischer, the Waterson, Berlin & Snyder Co., the Leo Feist Co., the Jerome H. Remick Co., and G. Schirmer (Inc.), all of New York, and the Oliver Ditson Co., of Boston.
Each complete set was packed in a separate case so that each case upon arrival in France could be sent immediately to a band of the American Expeditionary Forces without being disturbed. The sorting and packing of this consignment of sheet music was handled by Sergt. Berlin and a staff of technical musical assistants, who, at his request, contributed their services.
The supply of music was but one of hundreds of enterprises required to make the Army efficient, comfortable, and happy, quite aside from the more obvious ones of supplying guns and ammunition, artillery, aerial observation, and food and clothing. And these scattered undertakings in military supplies accounted for the expenditure of hundreds of millions of dollars. Nearly all of them were quartermaster enterprises. But before we lift the curtain on this, one of the most interesting branches of our military preparation, involving, as it did, the scientific solution of problems ranging from the production of super-gasoline for the fighting airplanes to the proper and most economical method of cutting up the carcass of a steer, let us continue the musical overture by observing how the Army secured its band instruments.
There was a special branch of the Quartermaster Corps which concerned itself exclusively with the musical requirements of the Army. This branch bought in all approximately 143,000 musical instruments. These were secured at a saving of about $500,000 under the prices which the Government had been paying for such instruments prior to the war. Without going into the details of how this economy was effected, one typical instance may be cited. For years it had been the custom of manufacturers of musical instruments to embellish the trumpets and brass horns of bandsmen with engraving, chasings, and other markings. These were decorative only and had nothing to do with the quality of tone produced. By eliminating all such markings from the specifications, a substantial saving in cost was attained.
The principal suppliers of musical instruments were the Wm. Frank Co., of Chicago; J. M. York & Son, of Grand Rapids, Mich.; and the H. M. White Co., of Cleveland, Ohio. C. S. Conn & Co., of Elkhart, Ind.; the Eugene Geisler Co., of Chicago; and the Rudolph Wurlitzer Co., of Cincinnati, also supplied several thousand musical instruments.
FUEL, OIL, AND PAINTS.
During the months of hostilities the American public was constantly informed in advertising literature that fuel would win the war, and indeed fuel would win it, and did win it, in the sense that without fuel or with any grave shortage of fuel we could not have won. In this sense there was no commodity contributing to success in the great drama more important than coal. Coal not only furnished the power that transported the khaki-clad millions to France, but it furnished the manufacturing power in the United States and supplied the coke, which is essential to the manufacture of steel, thus entering into every rifle and piece of artillery.
