HISTORICAL SERIES OF CORNET TALKS

BY HERBERT L. CLARKE.

Compiled by

Glenn D. Bridges

By Herbert L. Clarke

A note about Herbert L Clarke.  He was US born but spent a greater part of his early life in Canada. By 1898 he was recognized to be the a world class cornetist.  He played with Gilmore and Sousa . He was the solo cornetist with the Sousa band for several years.  He recorded most of his fifty odd numbers for cornet and was in his latter years the director of the Long Beach California Municipal band.

In some previous writings I have proclaimed that the cornet is the “King of Wind Instruments, although no offense is meant against all other equally fine musical wind-instruments, all of which have been represented by Wonderful soloists, both at home and abroad.

Numerous individuals as soloists on the cornet have contributed to the fame of the “King of Wind Instruments” by not only working out brilliant possibilities on this limited three-keyed instrument, but their persistency in acquiring virtuosity necessary to command the attention of the public, who are universally inclined to be conservative regarding the merits of a brass instrument to be used in solo work, compared to the piano, violin or cello.  Yet the public is always very capricious and to “take to” a brass instrument, to be used as a means of demonstrating the “hold” that one individual has upon an audience, it is no more than proper that the artist or artists who began to please the public should be given some attention- especially to the ambitious student, who struggles to emulate the great MASTERS of the comet, without the least knowledge of their history or careers.

It is inconceivable what a small amount of data and real knowledge one is able to secure about the great men who have passed away, only some thirty years ago.   I find none listed in a Who’s Who, of long standing, and one would think that the publishers of Who’s Who In Music might start something in the way of getting out a book entitled, “Who Was In Music.”  I’ll wager the firm would lose no money in the venture.  However it would require some searching for the editors to secure the proper data on the careers of many public performers from the cornet line alone.  However, this seeming lack of appreciation of the great cornetists of the now past, who have given so much pleasure to the public, has not reflected upon the drawing power of the instrument, and the present day cornetist.  He is still making the comet as popular as ever as a solo instrument.

It is only thoughtlessness or carelessness in the biographers not to have in some way presented a complete record of the great men of the past.  Perhaps our own research may help someone, sometime in the future for an authentic – if not a more complete – reference.

People, and musicians in general, know little or nothing about the struggles of the great cornetists to reach the TOP of the ladder, to leave something for us to “CARRY ON” - such as Arban, St. Jacome, Northcott, Alice Raymond, Bagley, Levy, Bent, Emerson, Henry C. Brown, Schreiber, Liberati, Chambers and others.  The celebrated cornetists won fame away from hometowns, and in foreign countries; this gives them an international reputation.  All have passed away but each has left behind a name in the “Hall of Fame,” which should be preserved in the memory of every comet player as an incentive to strive for renown and fame.  The living artists share equally with those who are gone in keeping up the enthusiasm of the public for the king of wind instruments, and I am more fortunate in the securing of better information from these, many of whom are friends of a long standing, and whose comradeship I cherish above most things in life.

Just a word concerning the earning powers of some cornetists, proving the popularity of an expert cornetist, in the way of remuneration or salary.  There was a time even forty years ago, when a certain cornetist received as much as $500 for a week and season, and in individual concert work far exceeded this amount.  The most I ever received for one week, when concertizing, was $650.  Of course, this did not last a year around, but it proves the possibilities of the earning powers of what a soloist on the cornet can command, and I think far exceeds any other wind instrument.  The highest salary paid by P. S. Gilmore was his solo cornetist, and the very same position in Sousa’s Band demands the highest salary paid any member.

Although there are hundreds, yes thousands of good cornetists in the world, yet the efficient and impeccable soloists are just as scarce as ever, and there is a broader field throughout the world than ever more engagements to be filled than ever before, more money to command, and a bigger chance for the cornet in the future to be more popular as an individual attraction in the music business.  I have told my pupils that each has equal chance to become the greatest comet player in the world, If they work up to it, as it is all up to the individual himself, by combining perseverance, “sticktoitiveness” or tenacity, using brains one hundred times more than physical powers, and by using common sense and patience in the little things, for the greater points will come naturally.  Then I can show them how to become great players, but not necessarily soloists, for that is another field.

It costs time and money to reach the highest pinnacle in any profession, besides a great deal of thinking and hard work, which is so sadly neglected by the majority of musicians, and is probably the reason why so many ambitious players lose out.  Too many become self-indulgent by practicing exercises, which please them, neglecting the most important features if one is to conquer bad habits in playing and to practice exercises that are difficult.  We don’t mean high notes, but certain exercises in cross fingering, to be able to play fluently in six sharps, as in one flat.  Others will notice the improvement, as well as themselves.  There are too many musicians who are “DREAMERS” in the profession, who become self-satisfied, which soon ends their career before they have commenced.  One of the greatest joys in my life would be to see, within the next ten years, at least one young man or men who will come to the front and astonish the musical world with his or their magnificent playing of the comet, with brilliancy, good musical interpretation and correctness in playing.  Oh, Boys! There is a great and big chance for you, better than ever.  The musical world is looking for you, and you will be found out and sought after, IF your playing contains the above requirements.  I know one or two who are nearing the TOP of the ladder now, and – IF they keep up their ambition and poise, it wont be long before the TOP rung is reached.  But the last three rungs are the highest and hardest to climb, because WE are inclined to think we are “PRETTY GOOD’ and the rungs become slippery, and sometimes TOO slippery to stay, so, one by one, we return to the middle of the ladder, hold on for a while, and then DROP.

*PIONEERS in BRASS Publication information