The Guild of Ancient Fifes and Drums

The Guild of Ancient Fifes and Drums

 

by Mike Hall

The Guild is perhaps largely unknown to the general world of military musicians, however, it is a band which recorded on the Bandleader label a remarkable evocation of British soldier’s music of yesteryear. It has seldom appeared in public.

It comprises mainly professional percussion and flute players from the capital’s principal orchestras, augmented by a few Corps of Drums Society members. The Guild, accoutered  in 16th Century uniforms, play music ranging from the earliest of these isles, to music of today, together with the occasional, amiable foray into the re-established, internationally famous tradition of drum and fife in Basle, Switzerland; (whence Britain is thought to have copied the fife). The Guild’s Basle fifes are compatible with concert piccolos and its melody instrument otherwise, is the 16th Century, keyless fife.

During 1966 on BFBS (Forces Radio) their music was to be heard in some stunning recordings, introduced by noted percussionist and Guild President, Professor James Blades. Today the Guild’s music is available on Bandleader CD BNA 5O13 (Cass CBND 61044). The music includes:

Drummers Call/ Drum demonstration/When the King enjoys his own again/ Warwickshire March/ Prince Ferdinand’s March/ General Wolf’s March/ Chester Castle/ Downfall of Paris/ To Danton Me/ The Rogue’s March/ Grenadiers March/ See the Conquering Hero Comes/ Toledo/ It’s a long way to Tipperary/ San Lorenzo/ Wandermarsch/ Morgenstreich/ Sans Gene/ Come Lasses and Lads/ Glopfgaisht/ Stainlemer/ Windischi/ Dritt Varrs/ Arabi/ Septem Juncta in Juno/ Der Vaudois/ S’laggerli.

The Guild always needs recruits: players, (particularly flute players twixt the ages of sixteen and sixty who are able to sight read pretty well, who are reasonably fit and very enthusiastic) or researchers and even non-players who are willing to take over some of the administrative tasks. If interested, contact: Mike Skinner (principal percussionist to the Royal Opera), 138 Springband Road, London 5E13 65U (081.698.7885).

Tags: british soldier, fifes, grenadiers march, military musicians
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Biography of John Philip Sousa

JOHN PHILIP SOUSA

The Marine Leader United States Marine Band, 1880-1892

Born: Washington, DC, November 6, 1854

Died: Reading, Pennsylvania, March 6, 1932

On the wall of John Philip Sousa‘s home on Long Island was a humorous account of his Marine Band’s popularity ~ yes earlier in Washington, DC. The writer related that when the band paraded through the streets it was followed by a small army of boys. Close behind the boys came some businessmen and other citizens. Following those were Congressmen, all mesmerized by the stirring sounds of Sousa‘s marches.

While this might have been an exaggeration, it gave an indication of the Marine Band’s great popularity while Sousa was leader.

John Philip Sousa did not begin his Marine career as leader; he began it as an apprentice musician. His father Antonio, a trombonist in the Marine Band, learned that young Philip was planning to run away from home and join a circus band. The elder Sousa promptly had him enlisted in the Marine Corps on June 9, 1868. He was 13 years of age at the time.

Even at age 13, Philip was not a stranger to the Marine Band. His father had been a member of the band since before the Civil War and had traveled to Gettysburg with the band when President Lincoln

made his famous address there. Since the family lived just a few short blocks from the Marine Barracks, Philip had been a visitor during many rehearsals and had even played cymbals, triangle, and E-flat alto horn at times. It must be assumed that his sudden enlistment, although a surprise, was not disagreeable. The fact is that he loved bands.

While an apprentice, Sousa received both music and scholastic training, for which $3.00 was deducted from his pay each month. He learned to play all of the band instruments, but the violin was his primary instrument. Meanwhile, he studied advanced music subjects with private teachers and performed nights in local theater orchestras.

This early period of his Marine service ended at age 20 in 1875, where upon he set out to expand his career as a violinist and conductor of theater orchestras. During America’s Centennial celebration in Philadelphia in 1876, he was a member of the first violin section in the orchestra of the celebrated French composer Jacques Offenbach. Sousa later received wide acclaim as a director of an HMS Pinafore company.

By the time a vacancy for leader of the US Marine Band was created, Sousa‘s exploits had been noticed by Marine Corps officials, including the Commandant, who went to Philadelphia to see Sousa conduct a musical revue. After some deliberation, they offered the position to him.

Sousa‘s father probably played a role in the appointment He had retired from the Marine Band a year earlier but stayed in touch with the bandsmen. More importantly, he had contact with the Commandant by doing cabinet work for him. It is reasonable to assume that the elder Sousa kept the Commandant informed of his son’s triumphs as a conductor and that he told his son of an impending change in the leadership of the band.

At age 25, Sousa became the 17th leader of the Marine Band, and for the first time in his life, he was conducting a military band. The band numbered about 40 at that time, and most of the musicians were older men from Germany and Italy.

Sousa updated what was an antiquated music library by acquiring modern classics, adding some new marches and transcriptions of his own, and beginning rigorous rehearsals. This displeased some of the older musicians, so he made arrangements for their immediate discharge upon written request. The band temporarily shrank in size to 30 members, but the improvements were dramatic. He recruited several young friends from Philadelphia to fill the vacancies.

After being in charge for a year, Sousa had conditioned the band to the point where performances around Washington were delightfully different from what they had been before. Presidents of the United States were among the many who took notice, because it was the Marine Band’s job to perform at White House functions. Sousa had more than passing acquaintances with the five Presidents he served under and tried diligently to present quality music offerings which would be both dignified and appropriate. His observations on the five presidents he served, as related in his autobiography, Marching Along, make for very interesting reading.

The five Presidents in office while Sousa was leader of the band were Hayes, Garfield, Arthur; Cleveland, and Harrison. The President closest to him was James A Garfield, since they both belonged to the same Masonic lodge. When Garfield was assassinated, Sousa probably felt the loss more keenly than most anyone else in Washington. Upon receiving the news, he left his house and walked aimlessly about town all through the night.   Upon returning home, he composed his solemn dirge, In Memoriam The Marine Band accompanied Garfield’s body to Cleveland for burial.

Being members of Masonic organizations was not only very important to military bandmasters during that era, it was expected.  When significant Masonic events took place in Washington, the Marine Band (often called the National Band or the Government Band) usually furnished the music with Brother Mason Sousa deciding which selections were appropriate. Several of his marches were inspired by these Masonic gatherings-perhaps more than we know about today.

Sousa endeared himself to his musicians because he had their welfare at heart. He made numerous attempts to have their salaries increased and even encouraged the men to take outside music jobs to augment their meager government pay. The bands wide acceptance in the community was especially good for the musicians morale, as was playing for a composer who would be known internationally as the “March King” before leaving his post. The musicians no doubt felt privileged to premiere many of Sousa’s marches which were to become some of the finest ever written such as ‘The Washington Post,” “Semper-Fidelis,” and “The Thunderer.”

The military ranks Sousa held as a Marine during his 12 years as leader have not been definitely established, but it is known that he was never a commissioned officer. Sousa resented this because band-masters in many foreign countries were commissioned officers. At the end of his Marine career, it is believed that he was a warrant officer.

As Sousa‘s reputation spread, so did the reputation of the band. Toward the end of his 12 years as leader, the band was considered the finest military band in America and had grown to 49 members.

Their concerts drew huge crowds, particularly the Saturday evening open air concerts, which became public social events.

When Sousa resigned from the Marine Corps to form his own civilian band in 1892, there was public outrage. Much of the criticism was directed at his manager David Blakely and a syndicate of Chicago businessmen who made him an offer that would have been hard to decline.

The Marine Band made entertainment history during Sousa‘s last two years as leader, but did so without his active participation. The phonograph had just recently been invented, and the band made numerous recordings on wax cylinders. Sousa believed the poor quality of the cylinders was in no way representative of his band’s sound, and not once did he set foot in the recording studio.

Only about one third of the band could be crowded into the small recording studio, with 10 individual acoustic recording devices (microphones had not yet been invented) placed around the periphery of the studio. This of course yielded 10 different sounding recordings. If 400 recordings of a selection were desired, the musicians had to record the selection 40 times, because a way to produce the cylinders en masse had not been worked out.

These primitive recordings were used mostly in the “nickel-in-the-slot” parlors. Sousa would have no part of the business, which he thought rather amusing, and he did not make his peace with the recording industry until a quarter of a century later. Aside from his objection on artistic grounds, he pointed out that he was not paid for the use of his music; instead, the producers benefited from the fruits of his labor He did, however, permit hand members to make the recordings. It is believed that conductors were not used for the recording sessions; presumably the solo cornet player gave a signal to start playing.

The Marine Band had traveled very little during most of the years Sousa was leader. Gradually, he changed that, and lengthy cross country tours were made during his final two years as leader. The bands first tour was conducted in 1891 and lasted five weeks; the 1892 tour went from coast to coast and lasted seven weeks. The success of the two tours inspired David Blakely, the tour manager, to lure Sousa away from the military service and form his own band.

Sousa‘s career as a Marine ended with a concert on Friday, July 29,1892. His first formal concert as conductor of the band had been at a New Year’s reception in 1881. His total Marine service, counting the years spent as an apprentice musician, was 18 years, 3 months.

“Semper-Fidelis” (Always Faithful)-the title of one of his finest marches, certainly applied to Sousa. Following his death on March 6, 1932, Marine honor guards stood by Sousa‘s body in the hand rehearsal hall at Marine Barracks, and the Marine Band led the funeral procession to Congressional Cemetery four days later. Sousa was buried with full military honors, and each year on the anniversary of his birth the Marine Band performs a ceremony there.

John Philip Sousa got his humble beginning in the band world as a Marine, and he was always quick to acknowledge that debt.  Without that start, he undoubtedly would have made his mark in the music world, perhaps as a composer and conductor of operetta and theater music. But such was not his destiny.  The world will long remember him as the “March King” This would not have been possible without the opportunity provided by the United States Marine Corps.

Tags: circus band, john philip sousa, pennsylvania march, states marine band, united states marine, united states marine band
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Biography of Edwin Franko Goldman

 

EDWIN FRANKO GOLDMAN

And the Goldman Band

 

 

 

By Jack Kopstein

 

For more than 90 years the Goldman band has been recognized as a vital part of America’s concert life. It has served not only to thrill and entertain the public, but also to cultivate in a purely professional manner the traditions and repertoire nurtured by two centuries of American bands. Eminent composer-conductor Edwin Franko Goldman founded the band in 1911 and the present band still retains the Goldman name under the current designation the GOLDMAN MEMORIAL BAND.

In speaking of his father, Richard Franko Goldman related in a broadcast interview that “the new image of the modern concert band is largely the work of one man Edwin Frank Goldman”. He went on to say “early in 1909 my father began to recognize that the musicians in New York who performed in the summer bands, most of whom were from the symphonies and the Metropolitan Opera, did not take the summer performances very seriously. The bands seldom rehearsed and considered the work only as a source of extra income. My father realized the enormous potential for a good wind ensemble. Subsequently in 1911 he founded a group which was initially called the New York Military Band. Later in 1920 when he was firmly established the ensemble became known as the Goldman Band”. … Continue Reading »

Tags: concerts in new york, edwin franko goldman, franko, goldman band, military band
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The Bent Brothers

 

The Bent Brothers

Benjamin, Arthur, Fred and Tom

 

 

Well known Cornet and Trumpet Soloists

 

 

The following research is taken from the work of Douglas Bent the Great Grandson of Thomas C Bent.  Some of the research material is taken from “*Pioneers in Brass” and Richard I Schwartz

 “The Cornet Compendium”.   We gratefully acknowledge their work on the Bent Brothers

 

 

 

 

 

 

 

Fred Bent circa 1881, possibly with the Dodsworth band

 

 

Taking his first lessons on the cornet from his father, a fine cornetist himself, Benjamin ran away with a circus band at ten years of age.  This must have been a difficult job for such a young man.  The music is always fast, loud, and unpredictable in terms of starts, stops, and cuts.  Often, the performer is lucky, a circus conductor will have time to give some indication of a preparatory beat.  It may have been different in Bent’s time, but the odds are certainly against it.  He was an extremely talented and hard working young musician, having become cornet soloist at twenty years of age with the Royal Artillery Band and special soloist in 1871 with Howe’s Great London Circus Band.  In 1872, Bent joined Harvey Dodworth’s Thirteenth Regiment Band of New York and Dodworth’s Ninth Regiment Band.  He performed with Gilmore’s New York Twenty-Second Regiment Band from 1875 to 1891 (Bridges [1972], 5). He was the consummate loyal musician, having stayed with Gilmore for almost two decades and survived the many personnel changes and professional disagreements.  Herbert L. Clarke was extremely impressed by Bent’s artistic playing, singing tone, clean technique, and serious attitude (Noble 1964, 19).

Benjamin C Bent taken while a member of the 22nd Regiment Band-”Gilmore’s Band” circa 1874.  Note the wide bore cornet and piston valves which allowed for more sonorous playing rather than the pea shooter cornets of the period.  This cornet was no doubt a Besson especially crafted for Ben.

 

At a concert given by Gilmore’s Band in St. Louis, prior to 1878, Charles Seymour, a famed conductor of bands in St. Louis, asked Bent why he sat with his comet on his lap during the entire concert.   He responded that he was hired to play only when Arbuckle took a rest, and there was nothing else for him to do.  Arbuckle apparently had some resentment against Bent for preparing for his position.  It has been said that Bent did not play one note during his entire first season with Gilmore (Schwartz 1957, 90).  In 1878, three years after he joined Gilmore’s Band, Bent was promoted to section leader to the certain dismay of Matthew Arbuckle.  In the same year, Ben married Louise Linden (a fine saxophone soloist), and they gave concert tours whenever they could.  Bent and Arbuckle could not make Gilmore’s trip to London in 1878 and were replaced on tour by Ezra Bagley on first chair, and by Walter Emerson on solo comet. After the tour, Bent returned to first chair and remained there until either 1890 (Schwartz 1957, 1 16) or 1891 (Bridges [ 1972] 5).  Bent may have resigned because Gilmore refused to give him a raise to $350.00 a week, since his salary was already at $300.00 a week.  Bent then accepted the position of first chair and cornet soloist with Innes Band.  It is interesting to note that Bent played with false teeth for years, and was still one of the best soloists ever heard by Herbert L. Clarke (Clarke 1934-5).

 

Benjamin Bent retired from public performance in 1894 and primarily continued to teach.  He formed the Bent Brothers military Band with his three brothers Arthur, Fred, and Tom, all cornetists.  The band was a popular attraction with circuses.  Ben and Arthur had performed together in Gilmore’s Band and were frequently featured in comet duets, one of them being Variations on a Swiss Boy by Benjamin Bent.  Both Fred and Tom were quite active as cornetists and conductors for many years.  Fred became a cornet soloist and the conductor of the Twelfth Regiment Band and Tom became assistant to Herbert L. Clarke with Innes’ Band in 1894 and later conductor of the Old Guard Regiment Band of New York.   Benjamin was a good investor and died a wealthy man.  Sources of information are listed throughout this entry.

 

Doug Bent’s research reveals:

 

Here are a few paragraphs from Herbert L. Clarke’s autobiography contributions relating to Ben Bent:

 

‘I remember a date when the famous Gilmore’s Band was booked for a concert, and on the morning it arrived in town I was at the depot to have a look at these wonderful musicians who were supposed to be the greatest instrumental performers in the world.  When the train pulled in and the men left the cars, I stood back in awe as they passed me, although I gladly would have helped “tote” grip or instrument to the hotel if I had had the nerve to approach any of them.  I wanted to speak with the celebrated Ben Bent, solo cornetist, and question him as to the correct way of practicing so that I might become a good player myself. but I could not muster enough courage to brazen it out and approach him, and so he too walked off with the rest of the bandsmen.  I realized that with his going I had let an opportunity slip by, and for so doing never really quite forgave myself, as perhaps I might have learned more in a few minutes’ conversation with this solo comet player, than so far, I had from all my studying.  Anyway, I attended the concert and was enthralled beyond words by the playing of this magnificent aggregation, which then was the only traveling band in the United States.  Oh, how tame our own town band sounded at our next rehearsal!  For the first time I began to notice the mistakes we all made that were allowed to pass by the leader, and to observe how little he made of dynamic and expression marks, carrying everything through without trying to produce contrasts, and without paying any attention whatever to proper interpretation.  Right then and there I made up my mind that If I became a good comet player I would make every endeavor to become a member of Gilmore’s great band, which was the best in the world; and well it might be as it was made up of picked men from all countries and comprised the best players that could be procured.

 

Another paragraph:

 

I PLAY UNDER A FAMOUS MAN.

 

Prior to the band contest, our band was engaged as escort for a Knights Templar Commandery bound for the Triennial Conclave held at St. Louis, Missouri.  We were in fine condition when we arrived, and made a very good appearance.  The band received congratulations from all over the country from citizens and bandsmen alike, when it wheeled about in its different formations while playing on parade.  The engagement lasted a week and there was plenty of playing to be done; it seemed these Knights Templar never went to bed, because we were kept up all night, serenading other Commanderies.  There were at least a hundred bands in the city that week.  Hearing the different groups play and mixing with their members, I learned much. It was here I first met Fred Weldon, who came down from Chicago with the Second Regiment Band, at the head of the Chicago Commandery.

 

Gilmore’s famous band was then playing at the Exposition, and all my spare time was spent listening to his wonderful concerts, which were an education for me.  I heard Ben Bent play several solos, which also gave me more food for thought.  He was an excellent cornetist, with the most natural and musical tone I had ever heard.  One morning Mister Gilmore invited every band in town to report at the fair grounds for a massed band concert, and there must have been a thousand or more musicians playing under the direction of the great bandmaster.  It was a wonderful experience, and my enthusiasm for band music mounted higher and higher.  “My, but I was proud to play under him!”   Perhaps some of my readers were present at this massed band concert, and remember the occasion.  This engagement was a great experience for us all, and we returned to Indianapolis with a wider scope of knowledge, and a much better band in every respect.’

 

Another paragraph:

 

Herbert’s brother gets a job in Gilmore’s band and he reflects.

 

 

 

I might mention here that brothers Ed and Ern had followed me from Indianapolis to Rochester, and we were all together once more.  Ed secured a position as first violin at the theatre with me, but Ern’s ambition quite outshone mine, for he had developed into a splendid trombone player, playing on his slide trombone all the comet solos I had practiced.  I used to marvel at how he could execute so rapidly on that instrument, and with as much perfection as a cornetist on his.  He had the nerve to make a trip to New York and apply to the great Patrick Sarsfield Gilmore for a job in his famous band, and, fortunately for him he secured it, all through his perseverance and ability to satisfy this wonderful bandmaster.  Naturally, I was proud of him, and once more my aspirations turned towards this famous organization.  I thought that if my brother should succeed and make a hit, in time his influence might help me to get in Gilmore’s Band. Ern was only twenty one years of age at that time, and it seemed remarkable to me that he had already climbed so high in the performers world as to be associated with the very best players in the country, for Gilmore was noted for engaging the greatest artists in the world, and naturally I classed Ern amongst them. His success encouraged me doubly, and I worked harder than ever.

 

“Both my brothers, Edwin and Ernest, were then living in New York, and I was Pleased to meet them again after having been separated for three years. Ernest went with me to Mr. Gilmore’s home, to introduce me.  I did not go home with my brother, but walked around in Central Park for several hours all alone for Mr. Gilmore’s home was close to the Park, on the West Side. During this time I nearly lost courage and was going to back out and return to Toronto.  When I thought of all the great comet players, then in New York, who had played with Gilmore, such as Jules Levy, Walter Emerson, Ben Bent, Liberati, and of a host of very fine cornetists there without a national reputation who Gilmore would need for his great project touring the country with the largest band in the world composed of the very best musicians that could be mustered from all countries, is it any wonder that I felt afraid to play before him for a position such as my brother Ernest had written me about?”

 

Another Para: from Pioneers in brass

During the winter of 1890-1891, Herbert L. Clarke was also engaged as conductor of the Heintzman Piano Company Band in Toronto; a position he held until his departure for his tryout with Gilmore’s band in the spring of 1892.  Pat Gilmore was searching for a cornetist to fill the chair left vacant by Ben Bent, when he accepted an offer to play with Innes Band.  Ernest Clarke who was already with Gilmore’s band, had been insisting that Herbert should come to New Your for a tryout with the band.

 

Another Para: Herbert win’s approval of his present employer (Heintzman band) in joining Gilmore’s band.

Upon reaching Toronto, I explained my good fortune to my employers, who in the most encouraging terms congratulated me upon my securing the desired position, and were perfectly willing to release me from my obligations saying that while they were sorry to lose me, they were proud that a Toronto boy had won the highest position within the grasp of a cornetist.  I wired Mr. Gilmore in regard to this release so that he would be sure of me for his tour.

 

Another paragraph: Herbert explains his position that was vacant from Ben Bent leaving Gilmore to Innes Band.

 

My practice during these few weeks was done with more thought and carefulness than ever, especially on the point of endurance, a thing very necessary with Gilmore; for I would have to play first comet in the band and solos at every concert, the whole requiring more energy than any one realizes until one has done this kind of work.

 

From Pioneers in Brass: explains Tom Bent joining Ernest Clarke (trombonist) and Herbert Clarke (cornet) in Innes Band.

 

Once more the Clarke brothers joined the reorganized Gilmore band, as Mr. Victor Herbert had lined up a six weeks tour of eastern cities; after which both Herbert and his brother Ernest Clarke joined Innes Band for a four weeks engagement at the Pittsburgh Exposition.  On this engagement Mr. Tom Bent was assistant to Mr. Clarke. The year was 1894.

Herbert L. Clarke writes of Sousa: Mr. Sousa and the late Patrick Sarsfield Gilmore (the pioneer of the concert band in America 75 years ago), were very close friends, and Mr. Sousa wrote quite a few characteristic numbers for Gilmore’s Famous Band of 100 players, realizing that Gilmore excelled in directing dramatic works of a sensational character.  I played these numbers when a member of this famous band. 

 

The Swiss Boy (song written by Ben Bent) was recorded by Clarke Herbert L. Clarke with John Hazel & Edison Band (cylinder).  Herbert L. Clarke with Emil Keneke & Victor Orchestra (Arthur Pryor, and brass trombone player was usually a current member of the Philadelphia Symphony Orchestra according to Mr. Clarke).

Herbert L. Clarke with Ross Millhouse & the Sousa Band.

 

 

A Bent Family portrait taken about 1881.  Ben is seated (wearing straw hat) next to Fred.  Arthur is seated to the left near the porch railing.  Tom is on the far right.  Their mother and a sister also appear in this photo. (the Doug Bent collection)

 

 

 

Ben left Gilmore’s band in 1893 to join Innes Festival Band joined with younger brother Tom (Doug’s Great grandfather) and played several famous events that occurred in the US during that year.

 

Another reference: Pioneers in brass, referring to Fred Innes band leader:

 

 

 

Many of the finest musicians in the band business played at one time or another with Innes Band, between 1887 and 1920, namely, Ben Bent, Herbert Clarke, Bert Brown, Bohumir Kryl, T. V. Short, Richard Shuebruk, Pechin, Keneke on cornet: Mantia and Manzia, euphonium; Leo Zimmerman, Chas. Randall and Ernest Clarke trombone; Alexander Selmer, Norrito and Schreuers clarinet.  The personnel changing from year to year.

 

Another reference: Pioneers in brass, referring to Bert Brown cornetist:

 

 

 

Here is a musician who made a national reputation, as a great first chair cornetist, very much in the manner of the celebrated cornetist Ben Bent, with Gilmore’s Band. While both Bent and Brown were both excellent soloists and did take their turn in their respective organizations, their forte was as first class business musicians of the highest caliber.

 

Another reference: Pioneers in brass, referring to Herman Bellstedt:

In 1889, Gilmore engaged Bellstedt as assistant to the famed Ben Bent.

Frederick W. Bent obituary from the NY Times reads:

FAMOUS BANDMASTER DIES.

F. W. Bent, Old Guard Leader, Succumbs to a Heart Attack.

Frederick W. Bent, proprietor of Bent Brothers Band, was found dead in bed last night at his home, 2266 Amsterdam Avenue.

Mr. Bent was a native of England and came to this country in 1872.

He played in various musical organizations, among which were Harvey C. Dodworths Band, well known during the eighties in this city.  In 1890, with his brother, he organized Bent Brothers’ Band, and while continuing with it became bandmaster of the Ninth Regiment in 1898 and three years later bandmaster of the Old Guard Band.

obituary from the NY Times:

I believe the Ninth Regiment band was Dodworths Ninth Regiment. The Old Guard Band is NY’s 69th Regiment Band, the famous “fighting 69th”.  Tom Bent took over the position of bandmaster from Fred upon his death.

 

This program was by the New York marine band conducted by Arthur Bent from Saturday June 14^th 1878 and included all three brothers (Arthur, Ben and Fred in a cornet Trio “Leviathon”. The concert was at the famous New York Landmark the Palace Pier. (The Doug Bent Collection)

 

 

 

Arthur Bent was a famous cornetist  and closest to Ben’s age out of the brothers, he played in several well known bands, he was assistant to Ben in Gilmore’s band, and some of NY’s famous bands, he played in Dodsworth band, and Innes.  He directed the “Marine Band” in NY, his music along with brother Ben is cataloged in the Library of Congress “American Music of the 1880′s”.

 

Gilmore’s band was the only National Act of the United States until his death of which time Sousa, Innes, and others rose to the distinction of being a “National Act”.  Gilmore’s band was so well received that the hippodrome in NYC changed its name to “Gilmore’s Garden” because of its association with the bands regular performances from May to Oct.  Upon Gilmore’s death Gilmore’s garden’s name was changed to Madison Square Garden.  Gilmore’s band was so well received in the United States that in Utah they were offered to perform at the Mormon Tabernacle.  Ben Bent was considered by Herbert L. Clarke to be the best of the early band cornetist, Clarke is known as America’s foremost Cornetist, Clarke was Sousa’s finest cornetist.  Ben Bent’s music “the Swiss boy” was recorded by Sousa’s band on three different occasion’s during the early recording years on Victor, Edison along with Clarke and other selected soloists for the duet of Bent’s music.

 

The world famous Brothers are laid to rest in Woodlawn cemetery in Brooklyn NY.  Here are some excerpt’s from Bands in America by H. W. Schwartz, Doubleday 1955 in reference to Ben Bent, pgs 89, 90,91. 

 

It must have been on this visit to St. Louis by Gilmore’s Band that Charles Seymour, a local budding cornetist, went to see Ben Bent, the celebrated cornet soloist of the band. Years afterward, when he had become a well-known performer on the comet and director of bands in St. Louis, Charles Seymour related the incident.  He had heard about Bent and his prowess with the cornet; in fact, being a youth and of susceptible age, he had developed a strong case of hero worship for the man.  He attended a concert, taking a front-row seat so he could observe the great soloist and learn, if possible, some pointers that would help him in his own struggle for mastery of the instrument.  What a disappointment, then, to watch the great Bent sit through the whole concert with his comet across his lap!  After the concert Seymour screwed up his courage to the utmost and introduced himself to Bent “I was greatly relieved,” related Seymour, “to find Bent friendly and affable.  During the conversation I made bold to ask him why he had not played at all during the concert.  Bent replied that he had been engaged by Gilmore to play only when Arbuckle, who sat in the first chair solo comet position, chanced to rest. Arbuckle, however, did not rest, and there was nothing for Bent to do but sit it out.

 

‘Much later I learned of the jealous disposition of Arbuckle and his resentment against Bent as an understudy for his position.  The story goes that Bent did not play a single note during the entire season. The following season, however, Arbuckle was paid back in kind, for the great Jules Levy was added to the band, and Levy made life so miserable for Arbuckle that Arbuckle forgot all about Bent.”

 

Three months after returning to NY, Gilmore took his band into its new home, called Gilmore’s Garden. Such concert gardens were more or less common in Europe, and in NY Theodore Thomas had been conducting his orchestra for several years in the Terrace Garden and in the Central Park Garden. Refreshments of various kinds were served at tables while the customers listened to the music, conversed with companions, and enjoyed the cool breeze of the summer evening.  Everything was very informal and relaxed, and somewhat bohemian in character.  Gilmore had taken over the old Metrodrome which P. T. Barnum had built two years before to house his “Greatest Show on Earth.”  This was a huge wooden structure occupying a square block bounded by Madison and Fourth, Twenty-Sixth and Twenty-Seventh streets, with entrances on Madison and on Fourth.  Gilmore had transformed the vast area into a quiet, green, cool garden, with broad gravel walks, growing plants, blooming flowers, and spouting fountains.  Except on Saturday there were no concerts in the afternoon, but the garden was such an inviting place that it attracted many people even then.  On Saturday afternoon and every evening, when Gilmore and his band appeared, the place was packed.  From May 29 until October 28 Gilmore and his band played one hundred and fifty consecutive concerts to overflow audiences.  Gilmore considered this some kind of record, and he celebrated the final concert with a special gala program. Never a man to pass up an opportunity to toot his own horn, he reveled in the questionable distinction of having presented such a long series of concerts.  Theodore Thomas and his orchestra had been doing it for several years at the Central Park Garden.  In fact, during his first season there Thomas performed one hundred and eighty concerts, and the second season one hundred and sixty.  In order to help Gilmore celebrate his achievement it is said that ten thousand persons pushed their way into the garden, each paying the regular fifty cents for admission.  Gilmore saw to it that they received their money’s worth.  After an otherwise thrill-packed program of special music Pat Gilmore sent them away with a final number that was the talk of the town for days afterward.  This was performed by four of the greatest comet players of that time-Matthew Arbuckle, Jules Levy, Ben Bent, and Pat Gilmore.  They played a quartet and band arrangement of  “Echo du Mont” by Suck, which gave scope to their individual and combined virtuosity.  After a farewell concert on April 1, 1876, at the 22nd Regiment Armory, Gilmore and his band left New York for a five-week tour, which took them to San Francisco.  Concerts were given on the way in Buffalo, Detroit, Chicago, Omaha, and Salt Lake City.  Utah was still a territory and was not to be admitted to the Union for another twenty years.  Only five years before Gilmore and his Band visited Salt Lake City, Brigham Young, leader of the Mormons, had been arrested for polygamy.  In 1869 the city listened to its first opera:  Offenbach’s La Grande Duchesse de Gerolstein. In the same year the nation’s attention had been focused on Ogden, Utah, about forty miles to the north, when former Governor Leland Stanford of California drove the famous gold spike uniting the Union Pacific and Central Pacific systems and establishing the first transcontinental railway.  Regardless of its frontier status Salt Lake city gave the band a tumultuous welcome.  When Gilmore’s troupe reached the city late in the evening of April 12, they were met at the station by a local band and half the people of the city, all cheering wildly.  A torchlight parade escorted them to the theater where the band was to play.  At the head of the procession pranced four beautifully matched horses, pulling an elegant barouche, in which were seated in regal style Gilmore and Emma Thursby, Arbuckle and Levy, the last two scowling at each other because of having to share the spotlight equally.  The next day merchants closed their stores during the matinee performance, which was given in the Mormon Tabernacle by special consent from Brigham Young.

 

A copy of the April 12 program shows the names of the soloists and principal musicians in the band, headed by Emma Thursby as featured soprano. Then follow:

Jules Levy, The greatest comet player living

M. Arbuckle, The great favorite American comet player

E. A. Lefebve, Saxophone

Carl Kegel, Clarinet

De Carlo, Piccolo

F. Bracht, Flute

F. Letsch, Trombone

B. C. Bent, Comet

Letsman, Tuba

Bernstein, Tympani

It is extremely amusing and a pointed example of the tact and diplomacy of Gilmore to read the words of appraisal following the names of Levy and Arbuckle.  Levy comes off better, it must be admitted, because of top billing if nothing else.  Arbuckle, however, is called the “great favorite” and it is brought out that he is an “American.”  Coming from Gilmore, these honeyed words sounded both to Arbuckle and to Levy as if Gilmore had given each top billing.   Arbuckle (pg 108) was a deserter from the British army and feared he would be detained in England if he risked putting in an appearance there.  Jules Levy did not make the trip either, but the reason is not known.  The solo-comet duties therefore fell on Ben Bent, and a young cornetist name Bagley, and a new star whom Gilmore engaged just before the tour began:  Walter Emerson of Boston, only twenty-four years old but a finished artist.  The time frame mentioned is 1880.

 

Doug Bent writes:

 

 

 

It is confusing as to exactly what years are being related to in this section of Bands in America as it relates to Gilmore’s band however it does make mention that Arbuckle and Levy left and Ben Bent did fill in as soloist when these times occurred.  It has been mentioned in “Pioneers in Brass” that Ben Bent and Arbuckle were deserter’s from the British Army. This information is pure fiction because American Immigration laws prohibited deserters from entering the USA following the end of the civil war in 1865.  Ben Bent did not proceed to Britain with Gilmore’s band because he had a full schedule of engagements in both Canada and the USA. (ed’s note)

 

TWO

 

Benjamin C. Bent (1848-1897)

Another Review of his Life and Times

 

 

 

 

Although some seventy years have passed, since the subject of this sketch was delighting his audiences with his fine comet playing, he will never be forgotten by the historians who write about the prominent musicians of band history.  Many including the late Herbert Clarke, called him the greatest of all first cornetists in the early band business.  For over fifteen years he was first chair cornetist in Gilmore’s band, and on numerous occasions the comet soloist.  Benjamin C. Bent was born in the city of Barnesley, Yorkshire, England, on August 31, 1847, not far from Sheffield, in the district where such an interest was taken in band contests, which turned out the best cornetists in England.  Ben received his first instruction on the cornet from his father who was himself known as a fine cornetist.  At ten years of age he ran away with a circus company, the management putting the young boy before the public as a phenomenal performer on the comet.  At twenty years of age he was engaged as solo cornetist with the Royal Artillery Band, stationed in Woolwich, England.  In 1871, Bent accepted an offer from Mr. Howes, the celebrated circus manager, to come to America with “Howes Great London Circus,” as a special comet soloist; after remaining one season with the circus, he accepted the position as soloist with Dodworth’s Band of New York, and later with Dodworth’s Ninth Regiment Band.  Pat Gilmore engaged Bent in 1875, as assistant to Arbuckle who was then both first chair cornetist and soloist.  When Arbuckle later withdrew from the band as a regular member, Bent became first chair cornetist.  When Gilmore took his band to Europe in 1878, neither Arbuckle nor Bent could make the tour, as they were both previously committed, Ezra Bagley being engaged as first chair man, and Walter Emerson as the special comet soloist.  On the return of Gilmore’s band to America, Bent again took over the first chair in Gilmore’s band, continuing in this capacity until the latter part of 1891, when he accepted a good offer to become first chair man and soloist with the Innes Band.

 

Ben Bent became a great attraction of Gilmore’s band, for his rendition of the many solo parts in the Operatic selections played by the band; he was always ready to play a solo, when any one of the famous soloists was not available, namely Levy, Arbuckle, Liberati.   It was said of him “the soloists come and go, but Bent goes on forever.  ‘The story has often been repeated that, both Arbuckle and Levy a bit jealous of the first chair cornetist, who could stand and play his own solos, and still take care of his first chair assignment; it was not often that Bent got a chance to program a solo.  It was an established fact that Gilmore paid him a good salary in order to keep him in his band.

 

The old timers in Gilmore’s band claimed that Bent was a superman, when it came to endurance, having a fine embouchure, but few knew that he had been playing with false teeth, for a number of years, made by the old vulcanized process.

 

Old Gilmore band members, who were living in St. Louis after World War 1, said this of Bent.

“Bent would receive a prolonged applause from the audience when he played “the Last Rose of Summer”, which was a solo part in the Opera Martha, playing while seated; and after the selection was finished, Mr. Gilmore would signal him to rise and take his bow.  Ben was a reserved person, not being a fellow easy to become acquainted with”.

There were four Bent brothers, all cornetists.  For a number of years, Arthur Bent was his brother’s assistant in Gilmore’s band.  On many occasions these two cornetists were featured in the ‘Swiss Boy’ duet, a Swiss theme with variations written and arranged for band by Ben Bent and later published.  This duet was first recorded by Herbert Clarke and John Hazel on a two minute cylinder, however it was recorded later by Messrs. Clarke and Millhouse with Sousa’s band.

 

 

An early photograph of Fred Bent, most likely a publicity picture circa 1885.  What is interesting is the Cornet he is holding which is a handmade Besson instrument which is burnished in silver and  contains the elaborate tubing of handmade instruments of the period.   

            

Fred Bent was also a fine cornetist who had settled in New York city, where for a number of years he was bandmaster of the Twelfth Regiment Band.  In 1894, Tom Bent was assistant to Herbert Clarke with the Innes’ Band.  Tom later became bandmaster of the Old Guard Regiment of New York, and incidentally living the longest of the four brothers. He died in 1931.

 

In 1878, Ben Bent married Miss Louise Linden, a prominent lady saxophonist; between tours with Gilmore’s band, Ben and his wife made a number of cross-country concert tours, playing solos, and being featured in duets together.  Ben Bent retired from public playing in 1894, although he and his brothers had a band which played a few engagements in the eastern part of the country, but in the main he confined himself to teaching, and to certain business interests in which he had invested, being considered a wealthy man when he died in New York City, on December 8, 1898.

We are not aware of any phonograph records made by Ben Bent.  However, the national Library in Ottawa have several very old recordings (circa 1901) of  Herbert L Clarke playing cornet solos which are not itemized and there is a good chance he did include one or more of the Arthur Bent trumpet solos.

 

The following are the notes to this paper by Doug Bent . Doug Bent lives in Stuart, Florida and is employed as a Pilot. If you have any further information regarding the Bent Brothers he would be very happy to hear from you his e mail address is : d737b@juno.com

 

* Family Tree Information: Moses Bent marries Elizabeth Crawshaw they have four son’s, all cornetists Arthur, Benjamin C., Frederick W., Thomas C.  Arthur had a son that died at an early age, they also had a daughter Marion who married vaudeville actor Pat Rooney II and were a team and a top draw on Broadway, they had a son Pat III also an actor, Benjamin C. married Louise Linden, she is mentioned in the program document taken from the “Journal of the Floating Palace” Marine band under the direction of “Arthur Bent”:. They had Benjamin and Marion (whom became Marion Taylor ?) Frederick W. married twice, he had three children from the first wife, Ralph H., Frederick, Adele (which became Adele Bunting?).  Thomas C. married three times, his first wife Elizabeth Nixon, they had Sidney G. (first wife died in childbirth). Sidney G. Bent was a trumpet player in “Yerke’s Novelty Players”, he married Eileen Templeton, (she graduated from University of Denver music major), went to what is now Julliard, taught concert Piano and voice.  She was friends with Paul Whiteman from Denver also and they later used to have social gatherings along with the Rooney’s at Thomas C. Bent’s Southold Long Island NY home (I have pictures of Whiteman sitting with friends, also autographed photo of Whiteman;  “from the fat fiddler” to Pat Rooney III) Eileen  and Sidney had two children, Eilanna E., and Sidney Thomas. Sidney Thomas married Jacquline E. Ormond and they had two son’s,, David T., and Douglas G. (Doug Bent)

 

*Arthur Bent wrote several works for cornet.  Two of which are The Clipper Polka, published circa 1890 by Lee and Walker in Philadelphia and Mollie Mavorneen march published by Frederick Blume of New York City registered on June 9th 1900.

 

The Frederick Bent Obituary in the NY Times stated

 

Famous bandmaster Dies

Frederick W bent proprietor of Bent Brothers Band

                        Mr. Bent was a native of England and came to this country in 1872.  He played in various musical organizations, among which were Harvey C. Dodsworth band, well known during the 80′s in NY City.  In 1890, with his brothers, Thomas, Benjamin he organized Bent Brothers band, and while continuing with it became bandmaster of the 9th Regiment in 1898, and three years later bandmaster of the Old Guard.  The previous director of the 9th Regiment band was Downing.  The Old Guard band of NY is the 69th Regiment band of which both Fred and Thomas were bandmasters.

The march noted in the photograph of the program by the Marine band of New York City lists the march the Plymouth Rock. Doug Bent comments that this was probably written by Arthur Bent. Louise Linden who was Ben’s wife was a saxophone soloist . They often appeared in concerts across the USA.  Frederick Bent who died in New York City in 1915 is mentioned in the Heritage Encyclopedia of band Music. He is credited with composing the Durland March published by Witmark in 1902.  Benjamin Bent is also listed as having composed the Swiss Boy Cornet solo or duet, published by Cundy Bettony

These are the correct gravesite dates for each of the Bent Brothers

Benjamin C.

born Aug 31,1847,died Dec 30 1898

Arthur

born January 23,1852, died April 27th 1885

Frederick W.

born 1857, died April 15th 1915

Thomas C born May 1,1864, died march 23, 1931

 

Tags: 22nd regiment, arthur fred, circus band, herbert l clarke, ninth regiment, regiment band, royal artillery, soloist, trumpet soloists
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Biography of Frederick Neil Innes

FREDERICK NEIL INNES

(1854-1926)

 

Some are born great, some achieve greatness, while others have it literally thrust upon them.  Frederick Neil lnnes achieved his greatness at an age when most young boys are playing with marbles.   He was already playing trombone in the Life Guards Band of London England.  His father before him was a cornetist in the same band.  lnnes really started his musical career at eight as a chorister in the choir of St. Paul’s Church, Knightsbridge, London, England.  Besides the trombone, he studied violin, piano and harmony at the London Conservatory of Music.

It has been said that Innes did for the trombone what the great Paganini did for the violin.   As the latter created a school of violinists, Innes did likewise for trombone players; his trombone exercises and various tutors for trombone became the panacea for an instrument.  Innes was born in London, England, on October 28, 1854.  As a young man his thought was that the trombone should take a more prominent place as a solo instrument.  He went in for more sensational methods to bring this about in a one-man campaign.  He was always an innovator even in his later advent into the musical society of America where he arrived in 1874 in Boston

He played one season in the Howard Street Theater, but he left suddenly for a return to Europe, in the latter part of 1875.  He was then twenty- one and beginning to dazzle the public with his brilliant trombone playing.  He went directly to Paris, where he vas engaged as special trombone soloist at the Follies Bergere, which was a new medium in this city.  Heretofore the trombone had never been used in such a spectacular manner.  The newspaper, Le Temps, characterized Innes as the greatest and newest thing in music to hit Pads in many years.  After one season at the follies Bergere, he went to Hamburg, Germany, where he was engaged as soloist with the Hans Halle Orchestra.  For a time he played solos with the famous Parlow Orchestra in Berlin.  He also played at the Winter Garden with Lauber and his orchestra and toured Europe’s principal cities as soloist.  It was during his engagement in St. Petersburg, Russia, that Innes met the young Czar of Russia, who was musically inclined.  The Czar so admired Innes that he presented him with a walking stick, having on it the coat of arms, set in rubies and diamonds.  He was honored by this presentation  After the mentioned tour of Europe, Innes returned to Paris, where he resumed playing at the Follies Bergere

There is an interesting story told about how Innes happened to return to America.  In 1879 and 1880, Jules Levy was at his peak as a soloist and was being featured with Gilmore’s Band at Manhattan Beach. The story goes that Pat Gilmore was slightly jealous of the attention Levy was getting, so he sailed for Europe in fall of 1879, in quest of someone to trim the sails of the high flying Levy.  When he arrived in Paris, he was told of a young trombonist who was playing at the Follies Bergere.  Quoting a written account:.

“Gilmore went to the Follies Bergere to hear Innes play, and was astonished by this young man’s virtuosity.  It had never occurred to him before, to use a trombone soloist as competition for Jules Levy, but after hearing lnnes play, this was something different.  He sent his card around with an invitation for lnnes to join him at another cafe in Paris.  As Gilmore was very convincing, it wasn’t long before he had convinced Innes that he should come to America to become trombone soloist of Gilmore’s Band.”

Innes arrived in New York, during the summer of 1880, going directly to Manhattan Beach, where Gilmore’s band was engaged in summer concerts. The following day Innes was programmed as soloist, following Jules Levy’s playing of his own “WhirlWind Polka”, after which Innes rose to play the same identical solo much to the astonishment of the audience, and to the genuine embarrassment of Mr. Levy,. In fact, he was furious. For one whole week, Innes continued playing, if humanly possible, any number that Levy might play.  The entire New York  music scene were talking about the battle of the “Blasters” out at Coney Island.  The newspapers played it up, consequently great crowds traveled to Manhattan Beach to see and hear the goings on.  Mr. Levy was getting madder by the minute but Gilmore was in his glory.  It was during the above mentioned engagement that Levy played a new solo written by Aronson, entitled the “Sweet Sixteen Waltz”, in which Levy injected his own extemporaneous Cadenza made up of everything he could do on the comet.  lnnes had been tipped off that Levy was going to do.  When his turn came to play, he also had something up his sleeve.  Innes had written a new solo for the trombone, entitled “Sea Shells Waltz” with a minute and one-half cadenza.  He arose to play his solo, playing with all of the skill he possessed.  Some of Levy’s followers had complained to the management about this rivalry.  Mr. Gilmore decided that Innes could play anything he wished, including Levy’s solos, but it was to be played on separate programs from Levy.  This one summer engagement gave Fred lnnes tremendous publicity, which even Gilmore had not anticipated.

Interspersed with his playing in Gilmore’s Band, he made one tour with the Mapleson Opera Company, then under the direction of the composer Arditi and at least two summer engagements with Baldwin’s Band at Point of Pines in Massachusetts.

Inries played with Gilmore’s Band until the spring of 1887, when he went to San Francisco to accept a solo engagement at the Exposition being held in the Golden Gate Park.  According to our research, we find that Innes was to play with the local band.  It seems he and the band were to be sponsored by the Market Street Railroad Company, but when Innes arrived in San Francisco, the comptroller had absconded with the money for the musicians and had left California, leaving a flock of creditors in his wake.  Innes talked with the Exposition president (a prominent banker,) a Mr. PB Cornwall, about his difficulties, who in turn conferred with the Board of Directors.  Out of this came the organization of a concert band to play at the Exposition under the direction of Mr. Innes.  He received permission to send east for a number of prominent musicians to fill positions in his band and to play several engagements at the Exposition; this was the beginning of his career as a bandmaster.  After the close of the engagement, he returned to New York, where he temporarily took over leadership of the Thirteenth Regiment Band of New York.  After a few months he organized his own traveling band and began booking engagements across the country.

Innes had always dreamed of having a purely Symphonic band, playing the classics only, but he was also a practical man and knew that the public was not ready to accept the concert band as a Symphonic organization.  He filled his programs with the classics, but he also had them interspersed with lighter music and presented many noted operatic singers.  Misses Lillian Nordica, Schumann-Heink and Alice Nielson appeared with the Innes Band.

Many of the finest musicians in the band business played at one time or another with the Innes Band, between 1887 and 1920, namely; Ben Bent, Herbert Clarke, Bert Brown, Bohumir, Kryl, I V. Short, Richard Shuebruk, Pechin and Keneke on cornet; Mantia and Manzia, euphonium; Leo-Zimmerman, Chas. Randall and Ernest Clarke trombone; Alexander Selmer, Nonito and Schreuers,  Jacob Epstein clarinet.  The personnel changing from year to year.

One of the first engagements that the Innes Band filled was in the playing of concerts at Prospect Park in Brooklyn, New York, where his new band was received with great enthusiasm.  His first major engagement was at the Chicago Worlds Fair in 1893.  His band played at numerous Expositions including the Omaha Exposition in 1898, the Buffalo Exposition in 1910, St. Louis Exposition in 1904, and the San Francisco Fair in 1915.  The last important engagements of the lnnes Band were the Cotton Exposition in Waco, Texas, and the Corn Palace in Mitchell, South Dakota.

In 1914, Innes moved to Denver, Colorado, where he succeeded Mr. Al. Sweet as conductor of the Denver Municipal Band, continuing in this capacity until 1916, when he opened his Music School; however he continued to contract outside engagements with his concert band until 1920.  Innes remained in Denver until after his wife’s death in 1923.  He moved to Chicago in 1923, where he became head of the Conn Band School.  In late 1926, he was stricken with heart trouble and died in a Chicago sanatorium on December 31, 1926. He was buried beside his wife in Cincinnati, Ohio.

A writer was fortunate enough to have conversation with Mr. Innes during the summer of 1926 in his office at the Conn Band School.  He told of the many fine performers who had played under his direction and other facets of the then dying band business.

Innes Band’s never recorded for any phonograph company. Mr. Innes never liked the idea of using small bands for recording sessions.  Neither would he allow even the mention of cutting and revising of standard overtures and selections to fit on a 10 or 12 inch disc

Innes composed several Orchestra Suites, also one Romantic Opera entitled, Ambassador.  He wote a descriptive Overture called California, and one grand march entitled Triomphale.  He also wrote a number of two step marches, one the best known being, Prince Chaffning.  His most notable solo compositions were Sea Shells Waltz, Phenomenal Polka and the Charmer Polka.

Henry Woelber once had this to say of Innes.

“Innes had very few intimates; little is known of his early history in England.  No person’s attitude here on the part of his America friends ever attracted his intimacy other than to call forth a general good comradeship and light talk.  Although a man of courage and rare intellect, he loved to frolic, and in spite of more or less adversity, he smiled; but behind that smile was plenty of sadness, disappointment, and sorrow.

The following note appeared in the International Musician, many years ago. Quoting:

“in 1913, lnnes led the annual master bar concert given by the Boston Musicians Mutual Relief Society.  After the rehearsal he strolled through the West End to have, perhaps, his last look at the old Howard Street Theater where he had played in 1874.  Then to the Charles River embankment Pausing he sighed: ‘Yes, there is the same old rooming house, with its back piazza, and pleasant memories of my canoeing days, and swinging in the old hammock in the moon light.’  Older men, later, realized why Innes was so fond of Beethoven’s Moonlight Sonata.  Masters of melody, and verse, find opportunities everywhere, for their genius.”

Tags: neil innes, trombone players, trombone soloist
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