Great Bands of America

by
Alberta Powell Graham

Frontispiece by
KURT WERTH

THOMAS NELSON & SONS
Toronto · NEW YORK · Edinburgh

COPYRIGHT, 1951, BY ALBERTA POWELL GRAHAM

All rights reserved under International and Pan-American
Conventions. Published in New York by Thomas
Nelson & Sons and simultaneously in Toronto, Canada,
by Thomas Nelson & Sons (Canada) Limited.

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

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.

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.

Stationed in the Capital the Army Band participates in all Army ceremonies. It is frequently called on to give its services to various celebrations and parades, for Washington is the most popular place in the country for parades. The Army Band expresses the Nation’s welcome by playing to greet visiting royalty, foreign diplomats and other prominent guests.

It is always present at the Cherry Blossom fete and the opening baseball game of the season when the President of the United States throws the first ball. There are also sad occasions such as the funeral of a United States President or some high-ranking government official. Then the Army Band marches slow, playing a funeral march with muted instruments and black-draped, muffled drums. And as a contrast, the U. S. Army Band, flashing its brilliantly polished instruments, marches and plays in Washington’s proudest ceremony, the impressive inaugural pageant.

The U.S.A. marching band, the Concert Band and the chorus are all popular with Washington people and these band units give their services generously. They give regular programs at the Walter Reed hospital and the various other Veterans’ institutions. In the summer the Army Band presents concerts at the Watergate—the floating stage on the Potomac at the foot of Constitution Avenue. The series of winter concerts are held in the Departmental Auditorium. Weekly, on summer evenings, the U.S.A. Band takes its turn—as do the other service bands—in playing for the enthusiastic crowds who gather in the plaza before the East Front of the Capitol.

The mission of the U.S.A. Band is to serve the Army and the people.

CAPTAIN HUGH J. CURRY

Leader of U. S. Army Band

Clear and sweet the tones of a boy’s soprano voice rang out in an age-old Christmas carol, while the class whole-heartedly joined in the chorus. The music period in that third grade school room was a pleasure shared by the pupils and their teacher. They all enjoyed singing with Hugh Curry. And how Hugh liked to sing!

Music occupied a large place in the Curry home in Cambridge, Massachusetts. It was a great part of the regular family life. Both Mr. and Mrs. Curry were talented musicians. Hugh Curry, Sr., was a well-known amateur violinist as well as a popular singer.

Helen, the daughter of the family, made music her profession. She became the head of the Music Department of Teachers’ College at Fitchburg, Massachusetts. Hugh Curry, Jr., born in 1911, was reared in a fine musical atmosphere. From such a heritage and environment he naturally turned to music. He sang from his earliest years.

Soon the boy wanted to produce other music. Singing was really a part of him, but it was not enough to satisfy him. He begged to be allowed to play an instrument, and at the age of nine he began to study the trumpet. Then as his voice developed, vocal study was added to Hugh’s educational subjects.

Although devoted to music, Hugh was a good student and made outstanding records in his other, less showy studies. An all-round American boy, he was very fond of sports. No one ever dreamed of calling Hugh Curry a “sissy.” As a valuable member of the school’s baseball team and an ice hockey star, Hugh was extremely popular.

By the time he was ready to enter college Hugh Curry had won recognition as a professional musician in both vocal and instrumental fields. He enrolled at Boston University and his musical activities helped defray a large share of the expenses of his college education.

Curry was graduated from the University with a Bachelor of Music degree. Soon after his graduation, he married a college classmate, the former Kathleen Howard, prominent as a light opera singer. Curry began his professional career as an instructor in the U. S. Army School of Music. From the New York College of Music he was awarded the degree of Honorary Doctor of Music. He became increasingly active in Music Education and also achieved great success in light opera.

In 1941 Hugh Curry joined the United States Army. A thorough musician, a talented violinist and singer, as Chief Warrant Officer he was appointed Assistant Bandleader of the Army Band in North Africa. Curry worked with the Band all through the African-European tour to cheer and entertain the fighting men.

Captain Curry commented personally regarding this period. “While the United States Army Band was the only major service music organization to tour the combat area during World War II, it must be pointed out that such an experience and its unceasing companion, mental, physical, and spiritual discomforts seem glamorous to the men only in retrospect. The route of the Band through these areas was designed primarily to permit the organization to reach the maximum number of allied troops, and the needs of the Band were often sacrificed in order to bring our men a few moments of relaxation. In those hectic days of rapidly fluctuating battle lines, the Band, hampered by its necessary but unwieldy burden of instruments, was often exposed. Even in Antwerp, Belgium, an Army bandsman was wounded by a V-2 rocket bomb.”

When Bandleader Captain Darcy retired in September, 1945, he was succeeded by Captain Hugh Curry. A thorough reorganization was instituted. More new members were desired and applicants poured in from every part of the United States. All were carefully screened, not only in proficiency on their individual instruments, but also their adaptability to all types of music. Each was thoroughly tested, examined, auditioned and even his vocal ability was judged.

Finally Captain Curry enrolled more than one hundred of America’s finest bandsmen in the United States Army Band. They represent a large cross section of colleges, universities, symphony orchestras and many name dance bands, as well as almost every important American music school. Even the American Indian is represented by a full-blooded member of the Onondaga tribe. While at the very heart of the organization is a small and respected group of men remaining from the original “Pershing’s Own” Band.

Technicians, skilled arrangers and other necessary personnel have been added by Captain Curry to this perfectly balanced Army Band. Today, the United States Army Band under its handsome, dignified leader, is able to provide prompt and efficient response to the many demands laid upon it.

The United States Army Air Forces Band

The United States Army Air Forces needed a band. It had to be a good band too, one that would keep pace with—or better still—lead the streamlined Air Forces.

In 1942 Warrant Officer Alf Heiberg was appointed to organize and lead the new band. At Bolling Field, Washington, D. C., the national Headquarters of the U. S. Army Air Force, Officer Heiberg found a saxophone quartette happily playing “on their own.” With this group for a nucleus he began to assemble his band. It was an easier job than Heiberg had anticipated for there were many experienced and outstanding musicians among the fliers who were eager to play, and an adequate number of men were soon enrolled. They were all enthusiastic and practiced so faithfully that in an unbelievably short time the United States Air Force had a good band, one that compared favorably with the other service bands.

A new leader was assigned in March, 1944, Captain George Sallade Howard. He was the ideal man for the job, a man with talent, training and ideas. A highly educated musician. Captain Howard at forty had spent half his years in music teaching and directing bands and orchestras. An inspiring conductor, Captain Howard also possessed many original ideas which soon began to produce unusual results in his work with this new band.

After two months of intensive practice the Air Force Band went on a concert tour throughout eastern Canada. It was acclaimed by the critics as the finest concert band ever heard.

Upon returning to Washington the Band played at a command performance at the White House. That the program was successful was evident, as the Air Force Band was immediately sent on an exchange tour of Great Britain which brought the RAF Central Band to America.

From their first program in Royal Albert Hall in London, the Air Force Band was praised in highest terms by the foremost English musicians. At that time Britain was living on extremely short food and fuel rations. Many concerts were played by the Bandsmen bundled up in their heavy overcoats, and at times, even wearing their hats and gloves.

On account of the cold weather, and the unheated buildings, the people in England generally had colds. Consequently the audiences coughed noisily during the concerts, but they were enthusiastic over the fine playing of the great Air Force Band from America. Frequent air raids and buzz bombs also interfered with concert programs. After the “Battle of the Bulge” Captain Howard and his band returned to the United States.

At the end of the war in 1945, this Air Force group was disbanded. However, the United States Army Air Forces could not do without their fine band. Captain Howard had established his reputation as an unusually capable conductor. He was transferred to the permanent Air Force with the rank of Major and given the duty of organizing a permanent Air Force Band.

Only five of the one-hundred-piece wartime band were willing to reenlist. Major Howard had to start his new organization from the very beginning. He had decided ideas regarding the possibilities of a large military band and he proceeded to put them in force. Determined to have only the best musicians, he used the utmost care in selecting the players. Fully 1,100 men applied for admission and each one was critically auditioned.

One hundred and fifteen players were selected—a rare group—so many were experts, men who had occupied top places in topmost organizations. Some had been graduated from outstanding universities, others had played in famous orchestras, symphonic and popular swing bands. One player had been a symphony concertmeister, and the famous baritone soloist, Glenn Darwin, came from the Metropolitan Opera Company.

For his first assistant Major Howard appointed Chief Warrant Officer John F. Yesulaitis, who was not only a graduate in music, but also had an extensive military experience. He had been a bandleader in World War II and in charge of the 7th and 77th Infantry division bands in the South and West Pacific. He is the most decorated member of the band having made every landing and taken part in every important campaign in the Pacific.

Robert L. Landers, the director of the band’s famous glee club, “The Singing Sergeants,” is an important member of the Major’s staff. He has a Bachelor of Music degree from the Eastman School of Music, studied under Sir Thomas Beecham, Assistant Conductor of the San Carlo Opera Company, Leader of 529th Air Force Band at Atlantic City and also at Buckley Field in Denver.

These, and many other gifted artists, make up a splendid ensemble who are able at the same time to make their individual talents apparent. From this versatile organization, Colonel Howard—he was made a Lt. Colonel in 1949—can send out a marching band of one hundred or more men. He can choose eighty to ninety to form a symphonic band, seventy or as many as he likes for a concert orchestra. He has several dance bands, chamber music sextettes, and a well-balanced glee club.

A staff of music writers are kept at work making new arrangements, a well-trained narrator announces the program descriptions and reads the necessary script. And the maestro of this great band supervises the building of the programs which he rehearses and conducts for radio, concert stage and military duty. Besides these performances they average three concert tours a year, provide music for important military and state functions and represent the United States Air Force musically. The Air Force Band is usually in attendance when foreign diplomats or royalty happen to be in the Capital. During the summer military band concerts are given in various centers of Washington, and orchestra concerts are played during the winter in the Lisner auditorium. The concerts by the Air Force Band, as well as those by the other Service Bands, are free to the public.

Colonel Howard says, “We wanted a unit that was as streamlined as the Air Forces themselves.... We desired a band that could give a performance of Scheherazade or The Flying Dutchman comparable to that by any symphony orchestra, and in the next breath could rival Benny Goodman.”

In this they have succeeded.

LT. COLONEL GEORGE S. HOWARD

Leader of the U.S.A. Air Force Band

George Sallade Howard, son of Florence and Hayden Howard, was born February 24, 1903, in Reamstown, Pennsylvania. His father had been a soldier in the Spanish-American War and his Grandfather Howard a member of the Union Cavalry during the Civil War. George, the only son, liked to listen to his father’s thrilling war stories, and they had fought over the Spanish-American battles many times.

Although there was much music around the Howard home, young George Sallade Howard, the only child, didn’t want to be a musician. His mother was a professional pianist and Grandfather Sallade who lived with them was a former bandleader and clarinetist. But George would have no lessons from either of them.

But no one needed to tell Grandfather Sallade that George would some day be a great clarinet player, because he knew it. He knew it by the way George listened to music and by the questions he asked about the clarinet. However no one urged the boy to study music until he was ready.

That time came when at the age of fifteen he entered high school and heard the school band. Rushing home the first day, he announced, “I’m going to be in the band, and I want to play the clarinet. Will you teach me, Grandfather?”

His music-loving family knew that home instruction was not always satisfactory, so they sent him to study under a local teacher. He had more questions than ever to ask his grandfather, but it was many years later when George realized how much help and encouragement he had received from him during his school band days.

From high school George went to Ithaca College, Ithaca, New York, having won a three-year music scholarship there. Although his parents were well able to meet his college expenses, George earned all his spending money by playing in the Ithaca Theater Orchestra.

After receiving his degree from Ithaca, George started collecting more sheepskins. He studied at Ohio Wesleyan until he received his A.B. degree, then went on to Chicago Conservatory for his degree of Master of Music. His ambition still unsatisfied, he secured his Master’s degree at New York University and returned to Chicago Conservatory for his doctorate of music.

With all this extensive preparation and an armful of degrees, George Howard at the age of nineteen, began his career in Patrick Conway’s famous band. Five years later he was the clarinet soloist, a chair he held for two years.

Then he left the concert field to become an educator in the music field. He was asked to return to his first college, Ithaca, this time to teach clarinet and saxophone. From Ithaca he went to the second college he had attended, Ohio Wesleyan University, as instructor of wind pedagogy.

As George Howard’s reputation as a leader and teacher spread, he was in great demand. He accepted the job of Director of Music at the widely-known national home for young people maintained by the Moose Lodge in Mooseheart, Illinois. Here the Mooseheart Band under his direction won the Illinois state championship for four consecutive years.

From 1936 to 1942 Howard was Director of Music at Pennsylvania State Teachers College where they proudly tell about his achievements in their music department during that time. Reluctantly they released him “on leave” to the army.

His most satisfying experience came when he was sent to do special service for the United States Army in Greenland, Iceland, Newfoundland, and Labrador in 1942. He was given the rank of Captain and told that his job was to build up the morale of the soldiers stationed there. He traveled alone and found a new use for his talents and training.

To quote his own words, “I had always believed that music exerted a greater influence on people than any other type of culture, and this idea was fully verified when I took up my work on this assignment. There were these lonely men, stationed in isolated places, and with no entertainment during the long, sunless, winter hours. It was a fertile field for music’s spell, but it was very difficult at first to arouse their interest and cooperation.”

However Captain Howard’s wide experience had taught him how to make contact with many types of people. Genial, earnest and dynamic, he soon had an audience. He taught them to play on small, basic musical instruments such as the ukelele, harmonica and tonettes. The tonette is a midget clarinet that was very popular with U. S. troops the world over. He helped organize dance orchestras, military bands, and even “barber shop” quartettes.

“After a while,” continued the Captain, “music melted their hearts. Often six or seven hundred crowded into the room to sing together old songs and to learn new ones. Their faces, formerly dull and unresponsive, showed their pleasure and enjoyment. The talent of some of them surprised me. One soldier in Greenland made one of the finest-toned violins I have ever heard from a few strands of wire, some wood and a little glue.”

After Captain Howard had finished his assignment of setting up musical programs in the North Atlantic Command, he returned to Washington, D. C.

In March, 1944, he transferred from the Army to the Air Force as Commanding Officer and Conductor of the U. S. Air Force Band. He took the band on a tour of Eastern Canada and then overseas to England, Scotland and France.

When this unit was disbanded at the end of the war, Captain Howard had proven his outstanding qualities as a musical director. He was given the rank of major and a new assignment, that of establishing an Air Force Band on a permanent basis.

The Air Force had found in Major Howard the one person who could mold the kind of musical organization they wanted. Here was a young conductor of forty years, a recipient of five degrees in Music, who had a background of twenty years in the field of musical education. With his added experiences and achievements in both Army and Air Force music, Major Howard was a well-known man in the world of music. That made it easier for him to assemble a group of outstanding musicians for the new service band.

In 1949 the rank of Lt. Colonel was bestowed upon the Commandant of the now internationally known U. S. Air Force Band.

Colonel Howard is doing what most people would call a super-human job. When he was asked about his vacation, he said slowly, “Vacation. That is something I dream about.”

Colonel Howard rides horseback when he can. He likes to read fiction or to look at television or listen to his large collection of records in his bachelor apartment in Washington. Redecorating his apartment has grown to be a habit with the Colonel. Recently he has had three side walls painted a vivid dark blue and the fourth side a copper tone. The ceiling is white. The Colonel said, “This sounds startling, but it really isn’t as bad as it sounds.”

Colonel Howard’s medals are quite impressive. Among them are the Legion of Merit and the U. S. Army Commendation Ribbon with five oak leaf clusters.

He is the author of many magazine articles and of Ten Minute Self-Instructor for Pocket Instruments. Among his music compositions are: The Red Feather (theme song for Community Chest), American Doughboy, My Missouri, Niece of Uncle Sam, and General Spaatz March.

Lt. Colonel George S. Howard, “Chief of Bands and Music and Conductor, U.S.A.F. Band and Orchestra,” has earned the respect and affection of his musicians and of his public.

Concert Bands

JOHN PHILIP SOUSA

John Philip and his gang plunged through the weeds and briars along the muddy bank of the Potomac!

“Come on! It’s a band on the avenue!” cried Philip, dashing ahead. “Let’s hurry!”

This was a common occurrence in those exciting days. The War between the States was just beginning, and Washington, D. C., the headquarters of the Union Army, was a thrilling place to be.

The boys were kept busy watching the many activities. They saw officers on horseback galloping importantly in all directions. They saw men working furiously building large frame barracks for the soldiers or huge corrals for the thousands of horses and mules.

And now Philip’s father, Antonio Sousa, had quit his place as trombone player in the Marine Band and joined the Navy to do his part in fighting the war.

Bands were playing everywhere, but Philip was so fond of music he never grew tired of hearing them. He couldn’t keep away from a band or keep his feet from stepping in time when he was near one. Every day Philip Sousa slipped out of the house and attached himself to the first line of blue-clad soldiers he could find. He ran alongside them until he found the band. Sometimes he followed them all day long.

During the next few years the young boy saw many unusual sights. He saw people gay over some battles and sad over others. And then one awful morning Philip awoke to find the streets filled with crowds weeping instead of laughing. He saw the Capital city draped in black and all the flags hanging down low. When he asked about this, he was told that the flags were at half-mast because President Lincoln had been shot.

It was at Lincoln’s funeral that Philip first realized how sad music could be. The mournful sound of the muffled drums and the solemn, minor strains of music played by the bands marching in the procession, touched his young heart.

But the war scene that made the deepest impression upon Philip was the grand parade of the victorious armies. Hundreds of thousands of soldiers and countless bands marched in a procession so long that it took two days to pass the White House. Young as he was, the boy made up his mind that some day he would lead a marching band like these.

The war was ended. Antonio Sousa had come home and returned to his place in the Marine Band. The family went back to their normal way of living.

Antonio Sousa was of Portuguese parentage although he had been born in Spain. When a young man he had come to America, to New York City. He met and married Elizabeth Trinkhaus from Bavaria, who was visiting relatives in Brooklyn. The young couple went to live in Washington, D. C., and in a small brick house at 617 G Street, S.E. John Philip Sousa had been born. There he grew to manhood “in the shadow of the Capitol,” to use his own words.

The out-of-doors appealed to Philip; he liked to play with other boys and go hunting and fishing with his father. But above everything else the boy loved music. He was happy when he was allowed to visit the nearby Marine Barracks during rehearsals. The bandsmen liked him and often let him play the triangle or the cymbals.

When he was very young, Philip had begun to study the violin with an old Spanish friend of his father. Later he studied in an Academy of Music conducted by a son of his first teacher.

“I overheard the teacher ask my father to send me to his school,” said Sousa. “I was terribly insulted when he said, ‘Even if he doesn’t learn anything it will keep him off the street.’

“Although I neither answered a question asked by the teacher nor spoke a word in school, I learned all he taught. I won all the medals he offered in the examinations.... I have them yet, little gold lyres.”

Philip’s violin teacher found fault with his manner of bowing and they had a fiery argument. Angry and disgusted, the boy decided to give up music. He went to work at night in a bakery. His parents insisted that he continue going to school in the daytime, but he could not carry on such a sleepless, strenuous schedule. He gave up the bakery job and returned to the Academy after his father had made peace with the professor.

Although only thirteen years old, Philip organized his first band—a quadrille band he called it. He played the first violin. Seven men, all much older than he, played respectively: the second violin, viola, bass, clarinet, cornet, trombone and drum. They became quite a famous dance orchestra until young Sousa, urged by the other members asked for an increase in pay. When the manager refused him, Philip quit. The other members played on without a raise, but Sousa had lost his job.

Feeling very blue and despondent, Philip was quite in the mood to accept an offer which came to him just then—to play in a circus band. The job seemed full of gaiety and glamour, but he felt sure that his parents would never give their consent. The circus agent also knew this was true, but he finally won the boy’s promise to keep it a secret and go with the company when it left Washington.

Under the cloak of secrecy the idea grew more appealing, but Philip made the mistake of confiding in his friend who lived next door, swearing him to secrecy. The boy promptly told his mother all about it. His mother, just as promptly, told Philip’s mother. Horror-struck she went to her husband, but Philip’s father wisely said nothing to the boy.

The next day, however, Mr. Sousa and his son went out for a walk. The walk ended at the Navy Yard where, a few hours before, Mr. Sousa had conferred with the Commandant, General Zeilin. As a result John Philip Sousa enlisted in the Marine Band June 9, 1868, as a music apprentice.

This was the beginning of Philip’s training for his real career. He soon became an expert cornetist, but he did not neglect his violin practice. And before long he had begun to compose music.

He made friends rapidly. Among them was the Honorable William Hunter, Assistant Secretary of State. Mr. Hunter, a great lover of music, each week invited a group of young students to his home for a musical evening. He always gave them a bountiful supper and never failed to slip a five-dollar bill into the pocket of his favorite, Philip.

After a few years the Marine Band began to lose its glamour for Sousa. He wanted more independence. Through Mr. Hunter’s influence he was released from the organization. He began to teach the violin, and his classes grew fast. At the same time he took lessons from George Benkert, a fine violinist. By playing first violin in the orchestra at Ford’s Opera House, he was able to pay his way.

Soon Philip, a handsome young fellow of nineteen, accepted a position as an orchestra leader in Chicago. And before long he went to Philadelphia to play first violin in Offenbach’s Orchestra which had come from France to play at the Centennial Celebration. He also played in Mrs. John Drew’s popular theater orchestra. Later he managed and coached a company of society folk in the Gilbert and Sullivan opera, Pinafore.

Then young Philip Sousa fell in love with Jennie Bellis, a pretty sixteen-year-old actress in the opera cast. In less than one year they were married and living in a little home in Philadelphia. Three children were born to them throughout the years, two girls and one boy, Helen, Priscilla and Philip Jr.

On October 1, 1880, Sousa was recalled to Washington from Philadelphia to conduct the Marine Band. He took the group of well-trained but disorganized musicians and succeeded in establishing fine cooperation and rare good feeling. He built the Marine Band into the finest marching band in all America. “The President’s Own,” as it was called, always played at the White House for social and state affairs.

At 26, Sousa was a man of distinctive appearance with his square-trimmed black beard, gold-rimmed eyeglasses and his always immaculate uniforms. He never failed to put on a pair of clean white kid gloves for each performance. In later years after Sousa had achieved great wealth, he stepped into a large Fifth Avenue store in New York City and nonchalantly ordered twelve hundred pairs of white kid gloves, at five dollars a pair.

Although Sousa conducted with a gracious dignity, he seldom smiled. Yet his audience keenly felt his strong, magnetic personality. He had no affectations or mannerisms but stood still in his place very erect, swinging his arms in precise unison in his own individual fashion. The music seemed to come from his expressive hands.

Sousa was a wonderful showman with a keen sense of spectacular effects. Once when giving an outdoor evening concert, he noticed the lights were turned on gradually. First a tiny speck appeared in the darkness, slowly growing into a glaring blaze of light. That gave him an idea. Sousa had his band begin the opening number, Nearer My God to Thee, in a soft, tender pianissimo just as the faint beam of light appeared. The music gradually increased in power as the lights grew brighter, ending in an enormous crescendo as the illumination reached its greatest strength. This was so impressive and pleasing that the audience requested this hymn and the accompanying lighting effects be played throughout the entire season.

The people, not only in the capital city but over the whole United States, were enabled to hear the finest music of the time through John Philip Sousa and the Marine Band. At his request Congress, for the first time, granted permission for the U. S. Marine Band to make concert tours over the country. Those opportunities were appreciated for that was an era when a fine band was a great novelty. Many people gladly traveled long distances to large cities to hear Sousa’s Marine Band.

After twelve years Sousa retired from this great organization. A syndicate of Chicago men asked him to come there and form a band “which would not be excelled by any brass band on earth.” He was offered a huge salary besides a generous interest in the profits. “And in addition,” said Sousa, “they purchased a half interest in all my manuscript compositions and in any others I may write through the next five years. For twelve years, I have been conducting in Washington and my heart is here, but this offer is too good to be refused.”

Sousa had no difficulty in forming his new organization in Chicago. Soloists on the various band instruments and expert bandsmen from all parts of the country, eager to join the famous bandmaster, applied for membership.

Beginning at the Chicago World’s Fair in 1892, this noted concert band traveled all over the United States, playing in every large town and city. They toured many foreign countries and in addition, made one trip around the world, winning the greatest success and honor wherever they appeared. Sousa and his popular band gave command concerts for England’s royalty, and it was a London newspaper man that gave him the title of the “March King.”

Sousa believed that he was inspired to write marches by the influence of the Civil War days during his childhood in Washington. At that time the air was filled with the sound of marching troops and military bands, and this impression had never left him. Sousa is said to have been responsible for the great popularity of marches during the 1890 decade.

The Stars and Stripes Forever came to him during an ocean voyage. Called home by the death of his friend and manager, David Blakesly, he sailed from Naples. He spent hours pacing back and forth on deck, and this music came into his mind and would not leave. When he arrived home, he immediately wrote the composition as he had heard it. This march was published without any change at all, and from its various sources earned Sousa over $300,000.

In World War I Sousa gave up his band and his huge salary to join the Great Lakes Naval Reserve. He became conductor of the Great Lakes Band for which he accepted only one dollar a month. He at once shaved off his luxurious beard—“so the young fellows wouldn’t think me so much older than they.”

The number of enlistments fairly swamped the band quarters. Hundreds flocked to receive instruction from this noted bandmaster. There were so many that Sousa organized a band battalion of 350 with a full quota of officers. The remaining men he put into double battleship units which were assigned to each regiment at the station and to different ships as the Admirals requested. While he was with the Great Lakes Band, Sousa designed a new band instrument—a mellow-toned horn to replace the Helicon tuba with its harsh sound. This Sousaphone is in use in all large bands today.

At the end of the war Sousa reassembled his concert band of eighty-four top-notch players. This was generally acknowledged the finest concert band of all time. He traveled with the group through six months of the year and vacationed the remaining months. For some time Sousa refused to broadcast as he disliked the radio. He said that he missed the direct contact with his audience and the stimulation of its presence and applause. However, when he was seventy-five years old, he accepted the large salary offered him to play weekly broadcasts of one hour each.

Although the world at large knew Sousa as the March King, his more than one hundred marches represent only a small part of his writings. He also composed ten operas, including El Capitan, in which De Wolfe Hopper starred. The Queen of Hearts, The Bride Elect, Chris and the Wonderful Lamp, and The Charlatan, all big successes in their day. He composed more than twenty suites, forty or fifty songs, and a monumental work for orchestra, organ and choir, including The Last Crusade. He wrote three novels: Pipetown Sandy, in which he devoted a chapter describing the two-day march of the victorious U. S. Northern army; The Transit of Venus; and The Fifth String. He was the author of numerous magazine articles, and an illustrated biographical sketch ran serially in the Saturday Evening Post in 1925. His autobiography, Marching Along, was published in 1928.

So many sources of income brought Sousa great wealth. He had always liked to ride horseback, play golf, and shoot clay pigeons at the trap. To indulge in these hobbies he bought a large farm—700 acres—in North Carolina. There he also raised game birds—quail, grouse and partridges, as well as dogs and horses. But Sousa really spent most of his free time at his beautiful home at Sands Point on Long Island, New York. There he was happiest when surrounded by his devoted wife and family. There he often entertained his warm friends, among whom were Thomas A. Edison, Victor Herbert, Irving Berlin and Charles Chaplin.

Sousa was seventy-eight years old when he died of a sudden heart attack, March 6, 1932, at Reading, Pennsylvania. He had gone there to lead the Ringgold band on its eightieth anniversary. His body was brought home to Washington, his birthplace, and lay in state in the bandroom of the Marine Barracks, where at the age of thirteen his musical career had begun.

During his funeral the Senators and Representatives of the U. S. Government paused in their proceedings to pay a tribute to John Philip Sousa, whom they called “The world’s greatest composer of march music.”

Sousa is buried in the Congressional Cemetery on a grassy plot, not far from his beloved Capitol.

“Wherever he has gone,” Deems Taylor wrote, “I am sure he has found a welcome. There is a dining hall in the Elysian Fields marked Grade A Composers Only. If you could look in at the door tonight, you would probably see him there; perhaps not at the speakers’ table with Wagner and Beethoven and Mozart and Bach and Debussy and the rest, but somewhere in the room—at a small table, possibly, with Herbert and Strauss and Delibes.

“‘However did he get in here?’ asks some disapproving shade—a small-town Kapellmeister, probably ... ‘Who got him in?’

“The guide smiles, ‘The marching men. The men who had to go long miles, on an empty belly, under a hot sun, or through a driving rain. They made us take him in. They said he made things easier for them.’”

PATRICK SARSFIELD GILMORE

The Father of the Concert Band

Patrick Sarsfield Gilmore, America’s first great bandmaster, was born on Christmas Day, 1829, in the village of Ballygar, County Galway, Ireland. His parents hoped that he would go into the priesthood, but that idea did not appeal to Patrick. He loved music more than anything else in the world. Even when a very small boy he had a knack of making his own toys from wood, wire or whatever he could find. Always they were crude musical instruments, fifes, drums or fiddles from which he was able to blow, beat or scrape a bit of a tune.

At fifteen, Patrick having finished the village school, went to work in a mercantile house in the nearby town of Athlone. Several regiments of the British army were stationed in the town, and Patrick could not keep away from their bands. One of the bandmasters, a Mr. Keating, noticed the boy and taught him to play the cornet.

Before long Patrick’s employer discovered that his young clerk was giving more time to music than business. He kindly suggested that the boy teach his own sons what he knew about music. But Pat did not care to teach, he preferred playing. He learned so rapidly that soon Keating gave him a place in a regimental band. Later, when the regiments were sent over to Canada, along went Patrick Gilmore.

When Pat was nineteen, he became tired of the military service. He obtained his release from the British army, and drifted down to Boston which was then the musical center of the United States. Young Gilmore at once found a job in Ordway’s Music Store. This concern which had a band and a minstrel show held his interest for a short time. But Patrick, true to his first love, soon got a place in a band and became known as a skillful cornetist.

It was but a short time until Patrick Gilmore was the leader of the Charleston Band. His second venture in leadership was as the successor of Ned Kendall, the well-known bandmaster of the Suffolk Band. Gilmore’s experience in the army had taught him the value of discipline and practice and with his genial, friendly disposition, he had no trouble in training his bandsmen. His reputation grew as he took over the leadership of the Boston Brigade Band.

About this time a noted French bandleader, Louis Antoine Jullien, arrived in Boston. He had a fine orchestra and used many spectacular effects in his programs. One number which must have made a deep impression on Pat Gilmore was called The Firemen’s Quadrille. In this, fireworks were displayed and a company of firemen appeared drenching the aisles with water from the hose.

Gilmore gave up the Boston Brigade to accept an offer from the Salem Band at “$1,000 a year and all he could make.” After two successful years he returned to Boston where he organized his first band. Gilmore was then twenty-nine years old. Handsome, high-spirited and even-tempered, he made many friends. He was popular in various circles, especially among newspaper publishers, merchants and politicians. Pat never believed in hiding his accomplishments; he used every possible means of advertising himself and his band. He took his organization to the Charleston Convention, in 1860, and to the Lincoln Convention in Chicago’s Wigwam.

When the Civil War came on, Gilmore and his band enlisted in a body in the 24th Massachusetts Volunteers. Governor Andrews named Gilmore Bandmaster-General and Chief Musician of the State of Massachusetts. The regiment was sent to North Carolina, and later to New Orleans where Gilmore was put in charge of all the military bands in the Department of the Gulf.

In 1864, at a huge celebration in honor of the inauguration of the Honorable Michael Hahn as Governor of the Union State of Louisiana, Gilmore staged a spectacular concert. He assembled a chorus of 5,000 school children, a band of 500 pieces, a huge fife and drum corps, with cannon and bells coming in to accent the climaxes. Hail Columbia, Star-Spangled Banner, America and other patriotic choruses were sung. Bandmaster Gilmore scored a great success. He returned home filled with ambition and eager for new worlds to conquer.

Back in Boston he organized a new band, and made a tour of the country, reaping more honors for himself and his new organization. Then Patrick Sarsfield Gilmore conceived the great idea which carried him to the peak of his career. In June, 1867, he told his wife after asking her to keep the matter secret, “I’m going to get up the greatest musical festival and the grandest celebration in the world. It is to be a National Jubilee to celebrate the Coming of Peace throughout the land. It will be held in a great coliseum that will be built to hold 50,000 people.... The excitement over all the country will be tremendous and everybody will rejoice at the idea.”

Gilmore went to work at once on his great project. Boston people thought he was crazy. Neither New York nor Washington would have anything to do with such a wild scheme. Failing to get any city to undertake the plan, he determined to do it himself. With his winning Irish ways Gilmore talked to millionaire bankers, conservative music leaders, doctors, lawyers and merchants, everyone of influence whose interest he desired. And he won their cooperation in almost every case. Julius Eichberg, the director of the staid Boston Conservatory of Music, agreed to conduct the chorus of 20,000 school children. Carl Zerrahn, Boston’s top orchestra leader, promised to direct the mammoth orchestra in several great works. Singing societies from far and near accepted invitations to join the grand chorus of 10,000 voices. They wrote for programs and soon the choral numbers were being practiced in countless towns and cities, all getting ready for the great event.

Gilmore, producer or projector, as many spoke of him, personally carried out his gigantic plans, and neither his powerful energy nor his smiling good humor ever failed him. He wrote hundreds of letters and signed each one. “Praying that the grace of God be with the undertaking and direct it to a successful end.” Although there were great numbers of objectors and opponents to the stupendous scheme, Gilmore, undaunted, worked cheerfully on. Many hundreds of people gave money and help to the happy, confident originator of the plan.

The date was set, June 15, 16, 17, 1869. The immense auditorium, 500 feet long, 300 feet wide and 100 feet high, was erected in St. James Park,—now the site of the Copley-Plaza Hotel. Thousands objected to the huge coliseum, saying that it would be unsafe for a great crowd. Parents protested against the 20,000 children’s chorus singing in the new untried structure. The school board reported this to Gilmore who cleverly suggested that the children sing on the final instead of the first day, after the building had been tested by the crowds at the earlier programs. The school board consented to this.

The coming great Peace Jubilee was the talk of the whole country. Crowds were coming from great distances as well as nearby. Gilmore had won the consent of the railroad companies to sell half-fare train tickets to all visitors. The newspapers advertised low-priced rooms and lodgings. All Boston was hysterically excited over the gigantic celebration. When the huge bass drum arrived on a flat car—it was the largest drum ever made in America up to that time—the crowd of curious people completely jammed the railroad station so that no one could get in or out.