Biography of Edwin Franko Goldman

 

EDWIN FRANKO GOLDMAN

And the Goldman Band

 

 

By Jack Kopstein CD

 

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”.

 

The Goldman Band became one of the greatest in history and Goldman’s name became synonymous with musical excellence throughout the United States. He was the dean of bandmasters and certainly one of the most celebrated that ever lived. His famous series of live free concerts in New York’s Central Park and Prospect Park in Brooklyn were heard by more people than any other series of concerts in the world. He projected the spirit of old bandstands, the feature of every old-fashioned park and village square. He helped foster through his concerts a wholesome and happy nostalgia to the people of a great metropolis.

 

Goldman was the scion of a great American musical family and was born in Louisville Kentucky on January 1st 1878. . He began early studies on cornet with the eminent cornet soloist Jules Levy. He received a scholarship to the National Conservatory of music that was under the directorship of Anton Dvorak. At age 22 he had established himself as a virtuoso cornetist and performed with the Metropolitan Opera Orchestra for 9 years. In addition he was a writer for the Carl Fischer Music Company and had a very lucrative teaching practice with 90 students per week. During his tenure with the Met he had the opportunity to play under some great conductors including Walter Damrosch, Gustave Mahler and Arturo Toscanini.

 

In 1919 the famous series of regular Goldman concerts got under way on the Green of Columbia University as the New York Military Band with funds raised by subscription. The nucleus of the musicians of the band came from the major orchestras of New York City and the professional cadre of freelance players. In 1924 two families of Guggenheims took over support of the concerts and their aid continues to the present under the auspices of the Guggenheim foundation. Although the concerts have been given since 1923 in Central Park and other city parks, they are not municipal concerts.

For its first season as the Goldman Band in 1920, he began to present a vast array of soloists. Famous instrumental and vocal performers from the Metropolitan Opera appeared with the band on a regular basis. As well, Goldman had numerous guest conductors including composer Percy Grainger and Arthur Clappe.

 

The list of new works for band and specially created band transcriptions were presented annually by the Goldman band. As an example of his brilliant musicality Dr Goldman transcribed the Mussorgsky-Ravel “Pictures at an Exhibition” which the eminent conductor Leonard Bernstein called masterful. The band also premiered new serious works for concert band. Beginning in 1920 the American composer Carl Busch of Kansas City provided a commissioned work called a “Symphonic Episode”, A Chant from the Great Plains. Percy Grainger spoke in glowing terms of Goldman’s introduction of new works when he said, “you are spreading the word of the great and beautiful possibilities of a finely organized modern military band”. Goldman conceived of the idea of presenting both traditional and classical compositions in his programs with the introduction of works by distinguished composers comparable to Stravinsky and Ralph Vaughn Williams. He also featured American composers such as Henry Hadley and Bainbridge Crist. He later was able to encourage well known European composers to write material especially for the band and this group included Ottorio Respghi, Jarmomir Weinberger and Albert Roussel.

 

With a roster of the finest wind and percussion players, an ever increasing repertoire of original and transcribed music and a solid financial base with the Guggenheim endowment, the Goldman Band toured the USA and Canada appeared at exhibitions and shows and made numerous recordings, and as well performed for millions on radio and television.

The opening concert in the summer of 1923 summer season, in Central Park was attended by a crowd estimated at over 30,000 a remarkable testament to the popularity of the Goldman Band. In 1924 concerts were broadcast twice a week on a local radio station in New York City. Ultimately by 1928 broadcasts reached one hundred and fifty million listeners through the Mutual network of the National Broadcasting Corporation. Goldman believed that broadcasting to be a great entertainment medium. Eventually the band’s mastery over the airwaves exceeded the success of the Central Park concerts. The radio transcriptions that were sent to various radio stations in the USA and to the CBC in Canada were sensational and even today one can hear the incredible ability of the Goldman band musicians.

 

By 1942 for the first time it was possible to present a complete and balanced program of concert works originally composed for band and July 21st the Goldman Band gave what is considered the first concert in this exclusive realm of music for the wind ensemble

 

The program included Christmas March- E F Goldman, Spring Overture-Leo Sowerby, Canto Yoruba-Pedro Sanjun, Rhapsody Jericho-Morton Gould, A legend, Paul Creston, Newsreel-William Schuman, First Suite for Band-Gutave Holst, Festival Occasion-Henry Cowell, Curtain Raiser and Country Dance-E F Golden, Lost Lady Found-Percy Grainger, English Folk Song Suite-Percy Grainger.

 

The instrumentation for the band under Dr Goldman varied over the years but the complement for 1930-56 was distributed as follows: 4 Flutes (piccolo), 2 oboes (English horn), 1 Eb clarinet, 19 clarinets (8 firsts,6 2nds,5 thirds), 1 Bass clarinet, 2 alto saxophones,1 tenor saxophone,1 baritone saxophone, 2 bassoons, 4 cornets, 4 trumpets, 5 French horns, 6 trombones, 2 euphoniums, 4 tubas, 2 string basses, 1 harp, 3 percussion.

 

 

Edwin Franko Goldman was the first president of the American Bandmasters Association and is seen sixth from the left standing next to John Philip Sousa at the ABA meeting 1930. On Sousa’s right is Canadian military Director of Music Captain Charles O’Neill.

 

Goldman himself was a prolific composer and wrote a total of 150 works many in collaboration with Eric Leidzen and Mayhew Lake. His efforts to raise the concert and military band to new heights certainly impacted on Succeeding generations of music in America and had a universal effect on bands everywhere. His inspiration and legacy was felt in every aspect of the wind band field of endeavor. In 1945 he conducted various concerts for American service personnel in the Philippines Islands and Japan and wrote an official report on American service bands. His advice went a long way to change the profile of American military bands.

 

 

 

Goldman was known by more New Yorkers than any other living person of the time. His flowing white wavy hair, his ready smile and brisk cheerful appearance made him loved by one and all. He received more awards than seemed possible. He was a founder of the American Bandmasters Association and the recipient of over two dozen honorary degrees. He was a productive author and writer contributing an enormous wealth of material to schools and universities throughout America. In 1932 he received John Philip Sousa’s favorite baton which was presented by his widow.

Goldman passed away in 1956 at age 78 and his death marked the end of an era, John Philip Sousa had glorified the band, Goldman raised its station, giving it new stature in the world of symphonic music. He contributed a great deal to the public’s understanding and love of band music.

 

Goldman wrote several marches and solo works. His marches include On the Mall, Cheerio, The Chimes of Liberty, Jubilee, ,Kentucky and On the Hudson. The eminent American cornetist James Burke was often featured with the band and played several of Goldman’s compositions such as Jupiter and Espanita.  On the Mall remains a featured march and continues to be performed and recorded by bands throughout America and around the world.

 

It is estimated Edwin Franko Goldman was involved in over 8,000 concerts during his long distinguished career. During the period from 1927-1947 the band played every night in the summer months. His unprecedented contribution dramatically influenced the history of concert and military bands in America and the International community.

 

His son Richard Franko Goldman who carried on the great tradition of the band by introducing new and even more challenging music into the concert programs succeeded him. He helped to introduce several annual concert program works including the music of John Philip Sousa in which the entire second half of a program was dedicated to Sousa. Another distinctive element of the was the introduction of band music with an International flavor.

 

In 1976 Sir Vivian Dunn ex of the Royal Marines, made his debut as guest conductor of the Goldman band in Central Park in a program of English music which consisted of the American premier of his scintillating Mountbatten march, Overture Yeoman of the Guard by Sir Arthur Sullivan, Four Scottish Dances by Malcolm Arnold, A Welsh Rhapsody by Edward German, Westminster Waltz by Robert Farnon, Cockleshell Heroes by Dunn and the majestic William Walton Coronation march Crown Imperial. The concert was received with enormous audience approval.

 

The Goldman Band continued to perform concerts for the people of New York. In the 1980’s after the passing of Richard Franko Goldman, Ainslee Cox became the conductor and on his death in 1988, Gene Young who remained until 1997 when the present director David Eaton took over the podium replaced him. Free band concerts are played in New York’s Damrosch Park and the band is often employed in commemoration performances such as the 1999 Centennial concert. As well young musicians who are chosen by the school directors in the New York State music teachers association join the Goldman Memorial band each year in concert.The band was discontinued in 2005.

 

 

Bibliography: March Music Notes-Norman Smith

The Heritage Encyclopedia of Band Music-William H Rehrig, editor Publisher Paul E Bierley, Integrity Press, Westerville, Ohio

Bands of America-HL Schwartz

The Groves Encyclopedia of Music and Musicians

 

The Legacy of Edwin Franko Goldman-US Army Field Band

 

 

The recording of an interview of Richard Franko Goldman by Tony Thomas and the recordings of several Goldman band radio broadcasts.

I am also indebted to Frank McGuire of Victoria BC for his unrelenting assistance in the preparation of this article.

Tags: concerts in new york, edwin franko goldman, franko, goldman band, military band
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World Book P-R

Perspectives  on   Military Music and Bands

Historical Significance

 The military band is a band of wind instruments differing in its constitution from other wind bands, such as the waits and the brass band. The term ” military band ” is applied primarily to bands associated with the armed forces, but also to civilian bands of similar instrumentation. (At times bands consisting entirely of brass instruments have been formed by regiments in Britain and abroad, but they are considered elsewhere, the generally accepted connotation of the term ” military band ” being the combination of woodwind  brass and percussion instruments.)

The history of the military band in Britain, being similar to that of its evolution in other countries, will here be outlined as typical; but reference will frequently be made to conditions elsewhere. The first British army band appeared in 1678, but it is necessary to look farther back to discern the influences, which contributed to this musical entity. These were two in number the wait and the royal band (King’s Musick).      Both these groups grew from a common origin: the minstrels of the towns and cities became the waits, and the minstrels of the court became the royal band. An allusion to the former is seen in a record of 1442 mentioning payment to the “town minstrels” of Hull and, twenty-eight years later, an instance of the latter is found in the thirteen court minstrels of Edward IV, ” some with the shalmes and small pipes “. The Lord Chamberlain’s records Of 1503 give five names as those of players on ” Sakbusshes and Shalmoyes “, and. six years later are found four players on the ” Sakbutts and Shalmes of the Privee Chamber “. The Earl of Northumberland’s household book (c. 1512) alludes to the visit of the king’s ” Shames “. The shawm, with its modern counterpart, the oboe, formed the basis of the wind band for four centuries until ousted from principal place by the clarinet.

By the beginning of the 17th century the waits and the royal band each had similar instruments. In the treble register were recorders, flutes, shawms and cornetts; the middle register comprised tenor shawms, curtails (early bassoons) and sackbuts (trombones), together with cornetts, and recorders of lower pitch than the normal instruments;and the lowest register consisted of double curtails and double sackbuts with, occasionally, a large cornett. There is no record of all of these being found in any single band, the constitution of each differing according to the size of the group and to the musicians available. But such combinations formed the foundation of the modern band, flutes, sackbuts, together with the modern counterparts of shawms and curtails, still taking an important part in the present military ensemble. The recorders, owing to their weak tone, have disappeared and the cornetts  are now represented by their ” descendants “, the valved brass.

In 1663 the fifes and trumpets which had provided the martial music of the ” Companies des mousquetaires ” in the French army were replaced by hautbois, and shortly afterwards the number was fixed as four for each company. French composers of the time, including Lully and members of the Hotteterre and Philidor families, wrote special music or arranged traditional tunes for these groups.

This practice was copied by the British army, and the year 1678 may be considered momentous, for it is the year of the institution of the military band in England by the first official recognition in the army of instruments (other than fifes, trumpets or drums), the Lord Chamberlain’s records containing references to the appointment of “hautboys” to the strength of the troops of Horse Grenadier Guards; and it is interesting to notice that a few years later, according to the records of the Grenadier Guards, twelve hautboys were authorized as part of the establishment of the companies of the King’s Regiment of Foot Guards in London, a fictitious name being included on the roll of each of the other companies of the regiment with the object of securing higher pay for these musicians.

It is noticeable that cornetts and sackbuts were not introduced into army bands of the period despite their popularity, the next addition being the bassoon (in its early form). This acceptance of the natural bass of the group, replacing the lowest pitched oboe, was no doubt a further imitation of the wind groups of the French army, a picture of ” Les Douze Grands Hautbois ” of Louis XV showing twelve players, ten with oboes and two with bassoons. in this picture are several members of the Hotteterre family, and its date (1722) is also that of an order issued in England to the Honourable Artillery Company when ” one hautboy and one bassoon ” were added to the strength of the company.

There is no definite evidence regarding the exact time of the addition of horns to the military band, but it was probably during the early part of the 18th century. About the same time there appeared one or two trumpets as occasional (and later regular) members of the group, these martial instruments having hitherto been used only in their own separate entity of trumpets and drums. As was the practice in the orchestra, they were crooked in keys suitable to that of the music played, and the simple harmonic structure employed enabled their use throughout the military tunes of the time.

Between 1760 and 1770 the clarinet became an integral part of the instrumentation of army bands. A clause in the Articles of Agreement for the ” Band of Musick ” of the Royal Regiment of Artillery (1 762) provided for ten wind instruments, this number conflicting with a previous clause fixing the number of players as eight, who, incidentally, were also required to be capable of playing stringed instruments-the beginning of almost two centuries of history of this band both as a band combination and as an orchestra There were two trumpets, two horns, two bassoons and “four hautbois or clarinetts”. General Monckton’s March for the 17th Regiment o. Foot (1762) includes clarinets, and in the same year the King of France granted to the Swiss Guards a band of four oboes, four clarinets, four horns and four bassoons. A military march in the Fitzwilliam Museum, by William Beckford, dated 1770, is scored for two oboes, two clarinets, two horns and bassoon, but probably two players were used on the bassoon part.

The influence of continental wind bands on those of Britain was still considerable. In1763 Frederick the Great fixed the strength of Prussian army bands at two oboes, two clarinets, two horns and two bassoons, a combination accepted by several composers of the classic period for works for wind octet. The influence was carried across the Atlantic by the British troops engaged in the American war, and the result is seen in the constitution of an American Marine Band Of 1799, which had the usual two oboes, two clarinets and two horns, but only one bassoon. It will be observed that trumpets do not appear in any of these combinations.

General Monckton’s March, , has really only five parts, for the pairs of oboes and clarinets are each playing in unison and the general tendency is for these two parts to proceed in parallel motion, all built upon a simple harmonic structure. When the oboes and clarinets were each divided into first and second it was often the custom for the oboes and clarinets to duplicate each other, probably to ensure that the absence of oboes, which were not found in all bands, should not affect the balance of parts.

The opening bars from the second of two marches written by Haydn in 1795 for the Derbyshire Yeomanry show that the band for which it was composed had no oboes. The two marches in question may not have been actually arranged by the composer, whose contribution may have been only the pianoforte version, but it is interesting to note the same prevailing tendency, that of parallel movements in thirds and sixths. The inclusion of a single trumpet was another custom of the time as will be seen in the march written by John Parry about five years later . Another instance of the use of one trumpet is found in the list of a band of Hanoverians sent to replace the bandsmen of the Coldstream Guards in 1785, the latter (who were not attested men) refusing to attend a water party arranged by a newly appointed lieutenant-colonel. The Hanoverian band consisted of two oboes, four clarinets, one trumpet, two horns, two bassoons and one serpent.’

The addition of the serpent to lengthen the bass line will be noticed in the case of Haydn’s march (though another version of the same march has no part for that instrument) and of this Hanoverian band. A serpent part also appears in a military march by Samuel Wesley, supposed to have been written for one of the Guards’ bands in 1777 .This was the natural outcome of the gradual increase in the size of bands due to the popularity of the clarinet as the principal member of the wood-wind family in the military band. Altenburg in ‘Die Klarinette’ (1904) alluded to the great increase in the number of clarinets in French bands over a period of fifty years, from two in 1762 to nineteen in 1810. 

This increase was to some extent the outcome of a desire to rectify the balance of wind and percussion  instruments which had been disturbed by the introduction of ” Turkish Music “, a fashion which had traveled from Turkey, via Prussia, to England. Towards the middle of the 18th century black drummers had been introduced into military bands and there followed black players on other drums, cymbals, tambourines and the lowest register consisted of double curtails and double sackbuts with, occasionally, a large cornett. There is no record of all of these being found in any single band, the constitution of each differing according to the size of the group and to the musicians available. But such combinations formed the foundation of the modern band, flutes, sackbuts, together with the modern counterparts of shawms and curtails, still taking an important part in the present military ensemble. The recorders, owing to their weak tone, have disappeared and the cornetts are now represented by their ” descendants “, the  valved brass.

In 1663 the fifes and trumpets which had provided the martial music of the ” Companies des mousquetaires ” in the French army were replaced by hautbois, and shortly afterwards the number was fixed as four for each company. French composers of the time, including Lully and members of the Hotteterre and Philidor families, wrote special music or arranged traditional tunes for these groups. 

 This practice was copied by the British army, and the year 1678 may be considered momentous, for it is the year of the institution of the military band in England by the first official recognition in the army of instruments (other than fifes, trumpets or drums), the Lord Chamberlain’s records containing references to the appointment of “hautboys” to the strength of the troops of Horse Grenadier Guards; and it is interesting to notice that a few years later, according to the records of the Grenadier Guards, twelve hautboys were authorized as part of the establishment of the companies of the King’s Regiment of Foot Guards in London, a fictitious name being included on the roll of each of the other companies of the regiment with the object of securing higher pay for these musicians.

There is no definite evidence regarding the exact time of the addition of horns to the military band, but it was probably during the early part of the 18th century. About the same time there appeared one or two trumpets as occasional (and later regular) members of the group, these martial instruments having hitherto been used only in their own separate entity of trumpets and drums. As was the practice in the orchestra they were crooked in keys suitable to that of the music played, and the simple harmonic structure employed enabled their use throughout the military tunes of the time.

 Before the turn of the century the flute had been added to the military band, the Grenadier Guards in 1794 having one flute, six clarinets, three bassoons, two horns, one trumpet, serpent and drums. John Parry of the Royal Derbonshire wrote a series of marches .Each march bearing (as title) the name of one of the regiment’s officers. The same instruments are employed in each march, except that the flutes are sometimes in Bb and at other times in Ab (though they are misnamed as ” flutes in C ” or ” flutes in B ” respectively). Expression marks are sparsely used, being merely f or p, and these usually appear only between the clarinet staves.

This addition of the flute towards the end of the century is also evidenced by a number of military marches (in the printed music of the B.M.) written by Guest during the period 1795-1810 Parts for flutes and clarinets were included, but no oboe parts.

It will be seen that greater progress was made during the 18th century than at any other time, a hundred years having seen the band grow from a group of oboes and bassoon(s) into a complete musical entity of flutes, oboes, clarinets, bassoons, horns, trumpets and serpent. There is no reliable evidence as to the date of the return of the trombone since its discontinuance after the days of the ” hautboys and sackbuts “, but it probably occurred about the close of the century. Parke’s ‘ Musical Memoirs’ allude to trombones in the Coldstream Guards band of 1783,but regimental records disagree. A work for military band in the Royal Music Library (dated 1805) by Henry Pick has a part for ” serpent or trombone “, and the marches by Henry Dibdin, also of this period, have trombone parts. Continental bands were also using the trombone, French line regiments in 1802 having one flute, one clarinet in high F, sixteen clarinets in C, four bassoons, two serpents, two trumpets, one bass trumpet, four horns, three trombones and drums. Prussian bands of the time were smaller: two flutes, two or four clarinets, two oboes, two bassoons, one serpent, two trumpets, two trombones and drums.

The Chart below illustrates the bands in the period of 1828-45

Keyed bugles, bass horns and ophicleides were the next instruments to be added, but the previous comparative tables of three bands of the second decade of the century show that they did not receive immediate acceptance by all bands. It is also noticeable that two marches of the period by Bishop (in the B.M.) have parts for serpent but not for keyed bugle, bass hom or ophicleide.

Keyed bugles provided a valuable addition to the ” treble brass “, enabling melodic work to be played in that department in a regiser which had hitherto been covered only by trumpets without valves, and thus limited to notes of the harmonic series. Despite the introduction of the ophicleide and bass horn, serpents were still retained in many bands.

The band of the Duke of Lancaster’s Own Yeomanry had., in 1828, the following instruments:

3 Flute, piccolo, Eb clarinet, 8 Bb clarinets, 3 bassoons, horns, 2 trumpets, trombone, 2 serpents and drums.

. Clarinets in Bb had now replaced clarinets in C, the same step having been taken on the continent, as the following extract from Kastner’s ‘ Manuel Generale de musiqu militaire ‘ indicates:

“La substitution de la clarinette en si bemol a la clarinette en ut date de 1814. Cependat, sous la Restauration, quelques regiments se servaient encore de la premiare; mais les dispositions ministerielles, en date du 3 Octobre 1823, rendorent obligatoire l’adoptiode la clari.nette en si be mol.

The invention of the valve, besides contributing so greatly to the increase of amateur bands in many countries, had an equally important effect upon military bands. Keyed bugles were soon replaced by cornets, and the trumpets and horns, hitherto confined to “open” notes, adopted the valve. The woodwind section of the band had already become stabilized as at present, but the bass section, with its ophicleides, bass horns and serpents, was not strong enough to balance the brass and woodwind above them. This weakness is apparent in the following list of the 48 players of the Royal Artillery Band of 1839: one piccolo, two flutes, two oboes, three Eb clarinets, fourteen Bb clarinets, four bassoons, four trumpets, three cornets, two horns, four trombones, one ophicleide, two bass horns, two serpents and four percussion.

In 1838, in Prussia, Wilhelm Wieprecht took over the task of reforming Prussian bands and the result is seen in his constitution of an infantry band:

2 Flutes 2 oboes, clarinet in high Ab, 2 Eb clarinets, 8 Bb clarinets, 2 bassoons, 2 contrabassoons, 4 horns, 4 trumpets, 4 cornets, 2 tenor horns (baritones), euphonium, 4 trombones, 4 bombardons (basses) and 5 percussion.

Apart from the use of the high clarinet in Ab and the contrabassoons, the main difference between this band and that of the Royal Artillery of approximately the same strength lies in the use of tenor horns (baritones), euphonium and bombardons. In the Prussian band we have a complete team, including a quartet of French horns, good ” tenor voices in the baritone and euphonium (used today to reinforce the basses or to play solos or ” countermelodies in the tenor register) and the bombardons.,

The constitution of French regimental bands was fixed by a decree of 1845, but despite the inclusion of many instruments of the saxhorn family, including four Eb basses in a band of fifty, two ophicleides still remained. As the newest of the Sax inventions, saxophones also appeared, a curious instance of the introduction of the new keyed instruments together with the retention of the old.

The gradual adoption of valve instruments is illustrated by a few entries taken from a handwritten list evidently kept by the successive storemen of the Grenadier Guards band and produced for the annual inspection of the instruments by the commanding officer. The initial entry of 1848 gives the following list:

2 flutes and ” picolo “ [sic], 2 oboes (one doubling on corno inglese), 3 Eb clarinets, 8 Bb clarinets (on doubling on corno bassetto), 3 bassoon, Bb trumpet2,4 hrns horns, 2F trumpets, bass trumpet, althorn (baritone) 3 trombones (in C, Bb and G respectively), 2 ophicleid, bombardona and 5 percussion.

In this entry the name of George Miller, the first of a family of military musicians appears as the player on the Bb trumpet, and in the following year he is entered as playing Bb cornet with the notation “bought send hand” In 1850 a former ophicleide player now has a bass tuba. In 1851 the euphonium makes an initial appearance. In 1853 a bugle is listed this probably being a flugelhorn. In 1856 tenor horns are entered but very soon they were discarded. A list of the Artillery band in 1857 shows two flugelhorns. The saxophone became an noticeable feature as the Grenadiers acquired one in 1864. But it was a very long duration before the instrument became solidly entrenched in the military band.

British military bands derived lasting benefit from two developments which both occurred in the middle of the 18th century. The first was the introduction of the military journals which were regularly published and numbered original and arranged (transcribed) music for military band. The editions were edited by well known bandmasters and musicians and became the standard fare for bands in Britain and around the world. The second was the formation of the music class at Kneller hall in Twickenham which began in 1857. The school became the focal point for the ordination of bandmasters and subsequently also a marvellous teaching school for pupils that were already trained as musicians in line bands of the British army.

The real reason behind the organization of the school has been obscured by time but some of the suggestions put forward are three occurrences the sudden application by musicians and bandmasters at the outbreak of the Crimean war which resulted in the rapid disintegration of many military bands,(b) the poor display by British bands in comparison with those of France during a review at review at Scutari of troops intended for service in the Crimea., and (c) a massed band debacle when the British bands performed God Save the Queen in several different keys.

The following table shows the instruments in two British bands of the same date and, for comparison, that of the Belgian Guides:

 

 

Noticeable features of this list are the inclusion of the contrabassoon in the Grenadiers’ band and the absence of saxophones in the British bands, despite the fact that (according to Rose, ‘Talks with Bandsmen’) several line bands were using them, including the 4th Dragoon Guards, 16th Lancers, 2nd Royal West Surrey Regiment, 2nd Norfolk Regiment, Lancashire Fusiliers, Border Regiment and Oxfordshire Light Infantry.The Continental bands began the development of sax teams to bridge the gap between the clarinets and brass. The saxophones also helped to develop the rich inner sonority to military bands, which was a critical fault of the early bands.

By the end of the century the practice had grown up of arranging works so that they could be played by an ” engagement ” band of dimensions less than the full band, involving the cueing of such parts as the 2nd flute, 2nd Eb clarinet, 2nd oboe, 2nd bassoon, 3rd and 4th horns and trumpets. The string bass was also used in many bands.

Subsequent developments in British and other European bands may be briefly mentioned: alto clarinets have disappeared; the bass clarinet is used only for special purposes; saxophones, particularly the alto in Eb and tenor in Bb and baritone in Eb, are now essential. Bb trumpets have replaced Eb trumpets; the baritone has been abandoned in most European bands as no longer essential; the Boehm flute is now employed in place of the former military flute in D. North American bands have similar instrumentation but most bands have bass clarinet and also the electric bass has been added as another dimension.

The following lists show the constitution of some  bands before the outbreak of the second world war:

 

 

Military bands formerly played at high pitch. This was introduced in 1858 (as the ancient Philharmonic ” pitch) by the Duke of Cambridge. There had been no standard pitch for military bands before. The ” low ” pitch now used was adopted in 1929

The programme repertory of the military band, besides splendid arrangements of most of the standard works for orchestra, now has a number of works specially written for the medium. It is obviously not possible to give a list of these, but the first and second Suites for military band by Holst, and Vaughan Williams’s Toccata Marziale are excellent examples. The specific works for military band number in the thousands. In recent years band music in in America has made a tremendous leap forward and most  music arranged and composed for band can be played by both military and concert bands.

The ” conductor’s copy ” in military band music has usually consisted of a condensed three-line part, or even a cued solo clarinet part of works of a simple character, but full scores (some having as many as thirty staves) originally issued for a few works have now become universally employed.

An instrumentation list for present day British/Canadian/American/German/Italian/French/Dutch staff bands is given below, but it must be borne in mind that changes may take place and may involve allocation of the number of instruments for various ensembles (i.e. parades, concerts)

 

The rise of military bands in America and Canada had a very similar development as those in Europe and in Britain. In America the Civil war of 1861-65 was the catalyst for the military band movement with almost every unit in both the Confederate and Federal Armies having a band.(see Civil war bands)

 

Piling of the Drums

The ancient  ceremony of the Piling of the Drums had its origins where new banners or colors were  presented. Colors have always been regarded with great reverence. Historians record that Colors have been associated with religion from the earliest times. Israelites carried the social standard of the Maccabees which bore the initial letter of the Hebrew text. These early associations linking religion with the battle flags and standards have their counterpart in the ceremonial attached to Colours today. Many Commonwealth countries  adopted the British custom for the consecration of the Colors prior to the presentation to the Units. The drums are traditionally piled to provide an altar for the consecration. The drums are brought forward and piled in the center. The pile consists of five side drums in a circle with the emblazoning the right way up, facing outwards. The bass drum is laid on the side drums and a tenor drum on top, both with the center of the emblazoning facing the person blessing the Colors. The Colors are then draped on the pile for the consecration, the pikes resting on the hoop to retain the Colors pikes in position. There is no drill laid down for the piling drums, but the drummers concerned normally turn to their left and right and marches out in a single file, forming a circle around the designated spot, turn inwards and arrange their instruments in the center. After the Colors have been consecrated, the drums are recovered in the same way. The Colors after being blessed by the various religious leaders, is handed over to the visiting dignitary , who will present the newly consecrated Colors to the CO / Commander of the Unit. The Colors are then trooped.

 Pipe band 

A Pipe Bandis a musical ensemble consisting of pipers and drummers. The term used by military pipe bands, Pipes and Drums, is also common.

The most common form of pipe band, the Scottish pipe band, consists of a section of pipers, a section of snare drummers (often referred to as ’side drummers’), several tenor drummers and a singlebass drummer. The entire drum section is known collectively as the drum corps. The tenor drummers and bass drummer are referred to collectively as the ‘bass section’ (or in North America as the ‘midsection’). The band follows the direction of the pipe major; when on parade the band may be led by a drum major, who directs the band with a mace.

Standard instrumentation for a pipe band involves 6 to 25 pipers, 3 to 10 side drummers, 1 to 4 tenor drummers and 1 bass drummer. Occasionally this instrumentation is augmented to include additional instruments (such as additional percussion instruments or keyboard instruments), but this is typically done only in concert settings.

1.History of the Pipe Band

The pipe band began life in the military, but its origins are obscure, and historical records exist mostly in hints gleaned from contemporary regimental records that had no direct interest in pipes.

It is known that pipers served in regiments from the earliest times; the Royal Scots have records referring to pipers dating back to the early seventeenth century. Where pipers were employed as pipers (rather than just happening to be a soldier that also was able to play), they were employed by the officers of the regiments as private pipers. This situation continued until the 1840s, whenQueen Victoria’s enthusiasm for all things Highland was instrumental in the War Office’s decision that each battalion of the Highland Regiments be allowed five pipers and a Pipe Major, which continues to be all that the British Army provides funds for to this day. Any additional pipers in the battalion pipe band were and are equipped today by funds from the Officers’ Mess Fund of the battalion.

By this time, pipers were already playing together with drummers, probably modeling themselves on the fife and drum bands which had existed in Switzerland since the fifteenth century. Drumming is, of course, as ancient as the concept of formed military units, and their original purpose on the battlefield was to signal tactical movements and keep cadence on the march.

By the end of the Crimean War, pipe bands were established in most of the Scottish Regiments. The first civilian organizations to adopt pipe bands were police and fire brigade bands;^[1] even today, several forces maintain bands that play to a very high standard.

By the time World War I broke out, the pipe band represented a popular image of Scotland, both internally and externally.

Military pipers were killed and injured in significant numbers in the Great War, before the War Office banned the practice of playing in the trenches in 1915.^{[citation needed]} The ban was often not observed; Canadian piper James Richardson was awarded the Victoria Cross for playing in action in 1916. Pipes have occasionally played into battle, notably at El Alamein, Dieppe, the Normandybeaches, and the crossing of the Rhine. The Calgary Highlanders went into action for the first time at Hill 67 in Normandy with company pipers playing; it was the first and only time the Regiment did so.^[2] Military pipers have also served in both Gulf Wars.

 2. Military Pipes and Drums

In military and para-military organizations the term Pipes and Drums is used when referring to an ensemble of Highland bagpipes and drums, but the majority of modern military bands are quite similar to their civilian counterparts in their instrumentation and music. Many of the same standard tunes are found in both the military and civilian pipe band repertoires, and many similarities exist in terms of musical style, historical and musical influences, and dress and deportment.

Unlike civilian pipers, however, pipers in military bands have additional military responsibilities. Nowadays, musicians in British Army bands are normally required to take on a secondary role in the battlefield as medics. However, in most cases the pipes and drums in a Scottish or Irish infantry regiment constitute a machine gun platoon (as the Corps of Drums does in an English or Welsh infantry regiment). As a result, in addition to being musicians, members of the pipes and drums must also be qualified fighting soldiers. Unlike musicians, who belong to the Corps of Army Music, the pipers and drummers belong to the regiment in which they serve and are Soldiers first and foremost.

The British Army runs its own pipes and drums training facility, the Army School of Bagpipe Music and Highland Drumming, in Edinburgh, Scotland. To be qualified as a Pipe Major or Drum Major in the pipes and drums of a regiment of the British Army, candidates must successfully pass a series of courses at the school.

 3.Pipe Band Music

The music played by pipe bands generally consists of music from the Scottish tradition, either in the form of traditional folk tunes and dances or music from the Western tradition that has been adapted for pipes. Examples of typical pipe bands forms include marches, slow airs, up-tempo jigs and reels, and strathspeys. In recent years there has been a great deal of emphasis placed on new forms, especially the suite. A good example of a suite for pipe band is Don Thompson’s composition Journey to Skye (1987).

In conventional pipe band music, each section of instruments has a different role in the music. Generally speaking, the pipers deliver the melodic and harmonic material, while the side drummers provide a rhythmically interactive accompaniment part. The tenor drummers provide the fundamental rhythmic pulse and the bass drummer anchors the rhythms, providing a strong and steady beat. The roles of each section are broken down further below.

4.The Pipe Section

Since the bagpipe is the only pipe band instrument capable of producing distinct, variable pitches, the pipers are responsible for providing all of the melodic material in the music. Generally speaking, all of the pipers play a unison melody on their chanters, with their drones providing the harmonic support and filling out the sound. These unison melodies are often quite complex and demanding. It is this complexity that provides much of the musical interest.

When harmony is written within the pipe section, it is usually a two-part harmony, and is usually scored in a 2:1 ratio (with two thirds of the players on the melody and one third of the players on the harmony part). Because of the limited range of the chanter, the harmonic possibilities are somewhat limited, but well-written harmony in a pipe band setting can be quite effective. Pipe band harmony is sometimes referred to as ’seconds’, although this simply refers to a second part and not to the interval of a second. In fact, intervals of a second are rarely found in pipe band harmony parts, except in passing. Instead, it is the consonant intervals which are stressed, such as perfect fourths and fifths, and even more commonly, parallel thirds and sixths.

In contemporary arrangements, a merge between harmony and melody known as ‘counter-melody’ has been aired. A counter-melody is similar to a harmony part, but is distinguished because it has a melodic line of its own. Counter-melody can take a completely different thematic approach and can dramatically change the flow and atmosphere of the melodic unison. This technique is relatively new in the pipe band circuit, and in most cases require skill and timing to achieve in full unison.

5. The Drum Corps

The drum corps of a pipe band consists of a section of drummers playing Highland snare drums and the bass section (see below). In the early days of pipe bands, rope tension snare drums were common, but as the technology evolved, so did the music. Pipe band drummers now play on drums with very tight, knitted kevlar heads, designed for maximum tension to create a very crisp and strident sound. Due to technological innovations and changing aesthetics, this crispness has become an integral part of the pipe band sound. Since today’s drum is so facile as a result of its design, players are often able to execute extremely complicated and technically demanding rudimentary patterns.

The pipe band drum corps is responsible for both supporting the piping with a solid rhythmic foundation and sense of pulse, often creating an interesting contrapuntal line unto itself. The line played by the drum corps (referred to as the ‘drum score’) is usually based on rudimentary patterns and can often be quite involved, with solo, unison and contrapuntal passages throughout. A popular pattern in many scores is for the lead drummer to play a phrase, and the section to play in response. This technique is known as seconds.

While standard practice in pipe bands is for the pipe section to perform the traditional or standard arrangements of the melodies, including even the gracenotes, drum scores are very often composed by the lead drummer of the band. In competition, one of the adjudicators grades a band on how creative their scores are and how well they fit the piping – this aspect of the judging is known as ‘ensemble’.

6. The Bass Section

The bass section (also referred to as a mid section) usually consists of a section of tenor drummers and a bass drummer. Their role is to provide rhythmic support to the entire ensemble. In this respect, the bass section allows the drum corps to delegate their timekeeping responsibilities and allows more freedom in the drum scores.

Generally, the bass drum provides a steady pulse, playing on the downbeat and on the strong beats of the bar, and the tenors support that pulse, often adding supporting beats, accents and dynamic interest.

Tenor drums in their modern form are a relatively new addition to the pipe band. While pipe bands of yesteryear would often include tenor drummers, they would usually be “swinging tenors”, players who would swing their sticks for elaborate visual effect but who would rarely play. Today’s tenor drummers play pitched drums, and careful thought is given as to which pitches to use and at which times. In some cases, five or six tenor drummers have been used, providing a palette of individual pitches for use in a variety of musical situations. The swinging also known as flourishing has developed somewhat into an art form, with drummers playing and swinging in unison or sequential flows.

 

 7.Competition & The World Pipe Band Championships

Competition is a primary focus for many pipe bands throughout the world. Since 1930, when the Scottish band association (today known as the Royal Scottish Pipe Band Association) was formed, there has been an event known as the World Pipe Band Championships held in Glasgow every August. For competitive bands, the title of World Champion is highly coveted, and this event is seen as the culmination of a year’s worth of preparation, rehearsal and practice.

The entirety of the World Championships takes place on one day in August, on Glasgow Green. Typically, several hundred bands attend, traveling from all over the world. Bands arrive early and are required to perform in a qualifying round which takes place in the morning. The top bands at the end of the qualifying round play in a second event in the afternoon to determine an aggregate winner. To win, Grade One bands must perform in two events, a March, Strathspey & Reel event (known as a “set” or “MSR”) which consists of three pre-arranged tunes, and a Medley event, which consists of a short selection of music chosen and arranged by the band. The rules for the medley contest are very open, requiring only a minimum and maximum time frame (between 5:30 and 7 minutes) and a minimum of different time signatures that must be played as well as two 3 pace rolls played at the beginning of the tune (also known as an attack).

In addition to performing at the World’s, most internationally competitive bands participate in a season of events that are generally held during Scotland’s summer months. While events of this type are usually held at Highland Games, band competitions in Scotland, Ireland and Northern Ireland are often large enough to be held as events unto themselves. The grading and organization of these events is generally consistent with the World Championships and the events are typically administered by the governing Pipe Band Association.

8.Pipe band grading system

Prizes at the World’s are awarded in the following eight categories:

• Grade One
• Grade Two
• Grade Three “A”
• Grade Three “B”
• Juvenile
• Grade Four “A”
• Grade Four “B”
• Novice Juvenile

In the United States, there is also a fifth grade.

In the Novice Juvenile and Juvenile categories, band members must be under the age of eighteen, with the exception of one “adult” player, often an instructor, who may serve as the Pipe Major or Pipe Sergeant. The remaining categories have no age restriction, but are based on proficiency. Grade One is the highest of these categories, and Novice is the lowest. Grading and eligibility are overseen by the RSPBA, and bands must apply for downgrading or upgrading.

Because of time constraints, the RSPBA uses “A” and “B” designations in Grade 3 and 4, for major competitions. By doing this, bands are grouped based on prior-years’ performances, and can receive promotions within their respective grade. It is also important to note that these vary slightly throughout the world. For example, in the Republic of Ireland Grade 4 “B” is known as Grade 5, in North America, many regional associations have implemented Grade Five, an entry-level Grade, intended to help bands familiarize themselves with competition and in Australia and New Zealand there is no Novice grade at all.

 

9.Progressive Pipe Bands

The future for pipe bands is unclear. Currently, there are many pipe bands which perform in parades and other public events as a primary activity. These bands are sometimes referred to as “street bands”. Some military bands fall into this category as well, playing for regimental functions in lieu of, or supplemented by, competitions and/or concerts.

In the competitive pipe band community, some bands are starting to find the competitive system musically stifling, although it does demand high standards. Some advocate making the transition to aBreton model, where competitions are more flexible and with fewer restrictions.

Instead of giving up on the competitive model, a number of bands have instead turned to the concert stage to supplement their competitive activities. Performing in this setting allows a greater degree of musical flexibility and creativity, and encourages the inclusion of additional instruments and performers, to expand the musical possibilities. Notable examples of these endeavors by competitive pipe bands include the Simon Fraser University Pipe Band’s Carnegie Hall concert of 1998 and the recent recordings by the 78th Fraser Highlanders Pipe Band. Their albums The Immigrant’s Suite (1989), Live in Canada – The Megantic Outlaw Concert (1991), Flame of Wrath (1998), and most recently, Cascade (2003), showcase their attachment to traditional pipe band music and their desire to break out of the compositional mold and venture into undiscovered territory.

Polish Military Bands

Polish military bands reach back, as early as ancient Egypt and Rome. The oldest historical; sources which prove the existence of military bands in Poland date from 1411. Bands were known to exist in King Sigmundus the Old played during the Vienna Congress of 1515. In 1658 a  decree was issued ordering a formation of permanent military bands which consisted of: two drummers, five trebles (a high pitched shrill flute ,forerunner to the piccolo), four oboes and a piper. French style wind bands made their appearance at the Saxon Royal Court  with the infantry regiments having two clarinets, two flutes, two oboes, two horns, two bassoons and janissary drums. Cavalry regiments had trumpeters. At the time of the Duchy of Warsaw the infantry corps had military bands consisting of ten musicians. In the 1800’s prior to the Polish November 1830 insurrection there were military bands numbering from fifty to a hundred . Following teh revolt bands were eliminated and although some were raised again prior to World war I, the bands were abolished during the war . Although attempts were put in place to reestablish Polish military bands it was not until a Military School of Music was founded in 1930 that real progress was forthcoming. The school developed both instrumentalists and bandmasters. The school was able to provide bands for celebrations and through generous gifts maintained both uniforms and instruments.

With outbreak of World War II  bands were officially disbanded but even under German occupation bandmasters were able to raise bands in Western European countries. Following the war the Polish military military bands began to organize and there was a an expansion in the number of musicians and bands. Among the many that were organized was the Polish national Orchestra with 90 musicians and several District Orchestras each containing 60 musicians. Smaller garrisons had three types of  orchestras each with 25 to 36 musicians. The principal role of the bands representing the Armed Forces and bands of the Air Force and Navy is to participate in military and diplomatic ceremonies, play concerts, provided music for visiting personages and to participate in national and International Festivals. 

Portuguese Naval Military Bands

In the first half of the 18th century there existed Martial  Music in the navy entitled Charmela. The band sailed with the King visiting England, France and Belgium. The band made the first recording in Portugal in 1903. In 1922 the Navy band traveled to Brazil on board the Presidential ship . In 1982 they took part in Naval day exercises and made a visit to  Azores. In 1988 they were in Madeira to take part in the 500 year of discoveries event. 

 Prussian and German March Collections

“In order to assist the regiments of the Army in the choice of good military music, I have commanded a collection of proven musical pieces to be prepared and a set of them is to be supplied to each regiment.” It was to this decree of King Friedrich Wilhelm III of Prussia, issued in 1817, that the Prussian Army was indebted for its famous collection of military marches (Armeemärsche). Prior to this, due to the scarcity of printed musical scores, Prussian military musicians were largely dependent upon a repertoire which was passed down by word-of-mouth, a situation which inevitably resulted in the loss of a considerable number of musical compositions over the years. As organized, pieces in the Prussian March Collection were divided between “Slow Marches for the Infantry”, “Quick Marches for the Infantry” and Cavalry Marches, with each piece in the collection receiving the numerical designation AM I, II or III, respectively, depending upon its type, followed by an Arabic numeral denoting its number within its category. Thus, the march Herzog von Braunschweig, as a “slow” march for infantry, was numbered AM I, 9; the Marsch des Yorck’schen Korps, as a “quick” march for infantry, was numbered AM II, 37; and the Parademarsch Nr. 1 “Möllendorf”, as a cavalry march, was numbered AM III, 51. The collection was continually augmented until, by 1916, it had grown to a repertoire of 536 separate compositions, among which were included not only Prussian, but also Hanoveranian, Saxon, Hessian, Badener, Württembergian, Bavarian, Austrian, Swedish, Italian, Swiss and even Russian and British military marches! In the early 1930’s, the Prussian tradition of cataloging Armeemärsche was revived by the German armed forces which redesignated march compositions as Heeresmärsche, which were given numerical designations beginning with HM I, HM II and HM III respectively. Luckily for the enthusiast of military music, the West German armed forces undertook in the nineteen fifties, ‘sixties and ‘seventies, with various fits and starts, a systematic effort to record for posterity many of the pieces in the Prussian and German March Catalogues, being closely paralleled by the military musicians of the DDR, who “rediscovered” the heritage of the German march fairly early on and produced numerous recordings of their own. Brandenburg Historica is proud to present some of the best results of these endeavors, which have produced first rate performances of many of those marches which are today but little known, but are among the most illustrious in the repertoire, as well as definitive versions of the oft-performed “old standbys”.

 

Queen’s Piper

One of the most unique appointments in British military music is that of piper to HM The Queen. The duties of The Queen’s Piper require that he plays for Her Majesty every morning (Monday – Friday), from 9am – 9.15am. Thereafter, he escorts the Queen from her private apartments to her public reception room.The accommodation for The Queen’s Piper in Buckingham Palace overlooks the Mall and has housed all the sovereign pipers since 1842.Other duties include meeting the Queen’s visitors at the Grand Entrance and remaining with them until they are introduced to the Queen. Visitors include the Prime Minister, visiting dignitaries, Presidents and Ambassadors.

The Pipe Major also travels with the Queen to Windsor during Royal Ascot week and at Easter. He returns home to Scotland with the Queen for three months during the Royal Family’s summer break at Balmoral, where duties range from playing at dinner to standing by The Royal Family during the Gillies Ball and announcing the traditional Scottish dances.

Recordings Military band-Historical

Mr. Thomas Cat Performed by: Edison Grand Concert Band Record format: Edison Concert cylinder Release number: B-517 Release date: December 1900 NPS object catalog number: EDIS 4795 Kaiser Frederick march Performed by: British Military Band Composed by: Carl Friedemann Record format: Edison Gold Moulded cylinder Release number: 13061 (5) Release date: 1905 NPS object catalog number: EDIS 38237Semper fidelis march Performed by: United States Marine Band Composed by: John Phillip Sousa Record format: Edison Amberol cylinder Release number: 4M-140 (A- ..7) Release date: June 1909 NPS object catalog number: EDIS 35806 Stars and stripes forever march Performed by: Sousa’s Band Composed by: John Phillip Sousa Record format: Edison Amberol cylinder Release number: 4M-285 (A- ..22) Release date: November 1909 NPS object catalog number: EDIS 36682 Santa Lucia march Performed by: His Majesty’s Irish Guards Band Composed by: Lotter Record format: Edison Gold Moulded cylinder Release number: 10561 (A- .6) Release date: July 1912 NPS object catalog number: EDIS 37943

Hungarian rhapsody no. 2 – part 1
Performed by: Edison Concert Band
Composed by: Franz Liszt
Record format: Edison Diamond Disc
Matrix number: 2567-A-1-2 [7-1]
Recording date: 1913
Release number: 80135-R
Release date: August 1914
NPS object catalog number: EDIS 43462

William Tell overture – part 2
Performed by: Sodero’s Band
Composed by: G. Rossini
Record format: Edison Diamond Disc
Matrix number: 5577-A-7-1
Recording date: 1917
Release number: 80128-L
Release date: March 1914
NPS object catalog number: EDIS 43455

Military marches were also popular during this period, and were represented by The U.S. Field Artillery March, Sousa’s arrangement of E. L. Gruber’s song The Caissons Go Rolling Along, played by the New York Military Band, and by True to the Flag March, performed by the United States Marine Band.

*Instrumental Selections on the Edison Diamond Discs (1912-1929)–Selections: 

True to the Flag March (F. von Blon)–United States Marine Band, 1922

12th Street Rag (Euday L. Bowman)–Imperial Marimba Band, 1921

The U.S. Field Artillery March (John Philip Sousa)–New York Military Band, 1920

From 1906, an interesting recording of a United States Army lancers parade figure.

 

Company Edison’s National Phonograph Company Cylinder # 8247 Category Band Title U. S. Army Lancers, 1st Figure Performed by Edison Military Band Circa 1906 (re-make of the 1902 release) Announcement “United States Army Lancers played by the Edison Military Band.”

In late 1902, Edison released an unusual series of four U.S. Army lancer figures – parade maneuvers for cavalry – on five cylinders (the 4th figure requiring two cylinders).

Although unusual by today’s standards, at least the first two figures were fairly good sellers.   Originally recorded by the Peerless Orchestra, they were later re-issued by the Edison Military Band.

The music was written by prolific composer and arranger Theodore Moses Tobani, who most famously wrote “Hearts and Flowers”.   Theodore Moses Tobani wrote an enormous number of concert band pieces . His arrangements registered in the thousands. 

Retreat Ceremony

Similar to the tattoo is musical relic of the old ceremonial past which has had a revival in recent years. The original “retreat” had its origins in the conveyance of the signal to retire  to the rear during a battle. During  the 17th century the retreat  in the form of a signal usually drums to indicate the closing of the barriers of a town or camp. It was played at sunset.. It was similar to the Tattoo but the two ceremonies differed in that the drummers were placed on the ramparts and beat retreat …warning  that the gates are going to to shut. The Tattoo was usually to be beaten at 10:00 pm in summer and 8:00 in winter that in fact the gates were now shut.

In modern times the retreat ceremony serves a twofold purpose. It signals the end of the official duty day and serves as a ceremony for paying respect to the flag. Because the time for the end of the duty day varies, the commander designates the specific time for the retreat ceremony.

 In the USA The retreat ceremony may take place at the unit area, on the base parade ground, or in the vicinity of the flagstaff. If conducted at the base parade ground, retreat is a part of the parade ceremony. If conducted within the unit area, it is usually a ceremony not involving a parade. If the retreat ceremony is conducted at the flagstaff, the units participating may be formed in line or they may be massed, depending upon the size and number of units and the space available. Although retreat ceremonies are different according to tradition in many countries the ceremony of each retreat has its focal point, the gathering of troops and band or bands to honor their flag. Most Tattoo performances today include the retreat ceremony as the finale. The ceremony of Beating Retreat is often a massive display of bands as exemplified by the Liberation Of Holland Beating Retreat in May 1995. There were 6 bands from Canada 1 band from the United Kingdom and 4 bansd from Holland. The ceremony began with a four gun salute followed by an opening fanfare . The bands then marched  on to the the parade ground , This was followed by an impressive display of massed pipes and drums. The military bands now made their entrance and perforemd displays. The retreat ended with the playing of the last post and rouse with the National Anthems of all of the countries that participated.

.

 

Rogan, John, Mckenzie,

b. 5 February 1852 d.1932.Well known and respected band director of the Coldstream Guards served for 50 years as musician and bandmaster in the British Army. On his jubilee a concert to honour him was organized by Sir Thomas Beecham at Queens hall on February 5^th 1917. Retired with the  rank of full Colonel.

Royal Garrison Regiment bands(1)

The Royal Garrison Regiment was raised during the Boer War with the aim of providing a fresh source of trained manpower by re-enlisting ex-soldiers. These personnel were signed on for two years with the option of re engaging to complete 24 years from their first attestation. Pay was that of the rank that the man had held in the Reserve, with an additional 2d per day garrison pay. The intention was that these new battalions would release regular line regiments from garrison duty, with the newcomers being available for service in the garrisons of South Africa and other outposts of the British Empire.

Originally there were to have been eight battalions, but only five ever materialized, the first four in the latter part of 1901 and the fifth in 1902. Each of the five was provided with a regular established band. Shortly after their formation, the 1 st, 3rd and 4th battalions proceeded over seas to Malta whilst the 2nd went to Gibraltar. In 1904, all four were sent to South Africa along with their bands. The 5th Battalion meanwhile proceeded to Halifax, Nova Scotia in 1902.

In order to form the bands as quickly as possible, bandsmen from the cavalry and infantry were encouraged to transfer in, and similarly three of the bandmasters – WOls Griffiths, Guyton and Cooper (1st, 4th and 5th Battalions respectively) – were already serving bandmasters. There was a suggestion that these bands would ulti mately be elevated to minor staff band status, but in the event the Regiment was to disappear almost as quickly as it had emerged, and the proposal came to nothing. In 1906 all five battalions returned home and the 2nd, 3rd, 4th and 5th were disbanded. The 1st survived a little longer but in 1907 the Royal Garrison Regi ment ceased to exist and was never again resurrected. Most of the bandsmen were absorbed into other bands.  

Regimental Music(2)

  There is no mention of an official regimental march in the archives of Boosey and Hawkes, publishers of all authorized marches, or at the Royal Military School of Music. In view of the fact that the Royal Garrison Regiment had close affiliations with the Royal Garrison Artillery, it has been assumed that they used `British Grenadiers’, but there does not appear to be any evidence to substantiate this.(AWT)  

Royal Tournament

The Grand Military Tournament and Assault at Arms was held at the former Royal Agricultural Hall, in Islington from 21 to 26 June 1880. The Tournament was effectively a series of competitions contested by the officers and men of the regular and auxiliary units of the Army. Although crowds didn’t flock to the Tournament in the first year, it was held again in 1881 and subsequent years.

More audience friendly acts were added including music from military bands, re-enactments, Musical Rides by the Cavalry and Musical Drives by the Artillery. Crowds began to flock to performances at the Agricultural hall and during the early 1900s the show outgrow its home and moved to the west London venue of Olympia. The Royal Navy and the Royal Air Force also became involved. The show was renamed a number of times until it finally became the Royal Tournament.

After the Second World War, the Tournament once again moved to a larger stage and opened its doors to the public at the Earls Court Exhibition Centre in 1950. With the exception of the war years, the Tournament was staged every summer from 1880 to 1999. On Monday 2 August 1999, the Royal Tournament closed for the final time, after the ruling Labour party in the wake of the 1998 Strategic Defence Review decided it would be a good cost-cutting measure. The decision was further compounded by the financial loss incurred by the 1998 Royal Tournament. However, other events such as Trooping the Colour, the Edinburgh Military Tattoo and Royal International Air Tattoo have continued to remain an active part of British military pageantry. Nevertheless the Royal Tournament entered the history books as the First, Oldest and Biggest Military Tattoo in the World.

Russian Military bands 

Admiralty Navy Band-The Oldest Band in Russia

The history of the  goes back to the time of Peter the Great. Three months before Saint-Petersburg itself was founded, in February 1703, Peter I ordered the draft of twenty-nine singers from the Moscow Royal Choir in order to teach them to play oboes for the Admiralty. The destiny of these musicians is not known for sure, but the most likely version is that the twenty-nine musicians from Moscow were the ones who appeared in Saint-Petersburg a year later. If this version is correct, the birthplace of the Admiralty Navy Band is Moscow.

In autumn 1704 the General Admiralty Building in the Northern capital was founded. The music of oboes and drums mixed with the sounds of hammers and creak of capstan engines accompanied the construction of the Russian Fleet.

It seems that the new Navy music was initially rather poorly received, because the Tsar ordered the band to play “an hour before the noon” at the Admiralty building to make the band prepare and practice their performances. However, the task was carried out with such a success that the ordinary exercises turned into daily “before noon” concerts. Later, when the Admiralty tower was completed, the band moved there to perform concerts, which were accompanied by a noon volley of a signal cannon. Such concerts became one of the main sights of old Saint-Petersburg.

By the order of Peter the Great on 19 February 1711 (Old Style) the band received official status as The Chorus of the Admiralty Battalion. This order establishing military choruses (as military bands were then called) in the Russian Navy and Army turned out to be a cornerstone in the further development of military wind music.

Until the end of 18th century, there were concerts at the Admiralty tower. But time goes by. During his short reign, Tsar Paul I commenced a rebuilding of the Admiralty under management of Adrian Zakharov. The shipyard was replaced – and the Admiralty Battalion was disbanded. The concerts were stopped for a while. But in Russia there is nothing longer than temporary things. This stop is still present. The new Admiralty building itself was finished only during Tsar Alexander’s reign.

Nevertheless, there is an anniversary for the band connected with the name of Paul I. In 1798, after the Admiralty Battalion was disbanded, a Naval College of Ship Architecture was founded. For the next 200 years the history of the band was connected with that of the College.

In the middle of the 19th century the College moved to Kronstadt – a citadel of the Russian Navy. In Kronstadt, N.A.Rimsky-Korsakov, acting as the first Inspector of the Naval Bands of Russia, conducted the Admiralty Band as well as other bands of the Kronstadt port. Nikolay Rimsky-Korsakov organized a massed band of the Kronstadt port and conducted concerts for the benefit of the sick and injured. For those concerts the composer wrote his Variations for Oboe, Concerto for Trombone and Concerto for Clarinet. But, during rehearsals, the great composer didn’t like the latter composition and excluded it from the concert program.

The College was still located at Kronstadt during the Disavowal of Tsar Nikolas II, the revolution of 1917. After the revolution, the College was restructured and moved to Saint-Petersburg under the golden capstan of the Admiralty.

Before World War II the Naval College’s band was renowned as one of the best in the USSR Navy. In 1938 the band was headed by Colonel G.N. Stepanov and from August 1939 by Colonel S.P. Rotmil (1883-1943). In 1940 he was replaced by a brilliant musician Lieutenant-Colonel A.B. Tsvetkov. From 1950 until 1960 Major S.D. Polansky conducted the band.

From 1960 to 1976, the band was headed by V.M. Barsegian, a very talented conductor and composer. That was a legendary period of prime when the Admiralty Navy Band became the absolutely best in the garrison. Vartan Michailovich Barsegian left to us a great musical heritage which still embellishes the band’s repertoire.

Unfortunately there were also dark pages in the band’s history. In 1976 Major Barsegian was suddenly replaced by Lieutenant M.F. Borzhkov. His disgraceful work caused a lot of damage to the band which went through this period owing only to the mastery of the musicians and to the First Sergeant Nathan Vladimirovich Idson, a brilliant clarinet player and band manager who was acted as the band conductor in 1978 to1985.

Since 1985 the band has been led by Commander A.A. Karabanov.

Starting in 1991 the Admiralty Navy Band made tours in Europe – Belgium, United Kingdom, Germany, Denmark, Spain, Italy, Holland, Finland, France, Sweden, Switzerland – this became the geography of the band’s tours.

For their highly professional accompaniment of Queen Elisabeth’s II visit to Saint-Petersburg the band was rewarded with a Diploma of Gratitude of the President of the Russian Federation. And during a two-month tour in 1995 the British press called the Admiralty Navy Band “one of the best touring bands of the world”.

During celebrations of the 300th anniversary of Saint Petersburg, The Admiralty Navy Band was invited to play in the State Hermitage for more than forty (!) heads of state – the members of the Saint Petersburg Summit. For this performance, The Admiralty Navy Band is rewarded with an Honor Diploma of the State Hermitage. The Hermitage’s Director M.B. Piatrovsky said that the Band “is the most cultured military band in Russia.”

The Admiralty Navy Band has recorded seven CD’s:
       “50 Years of Victory”- 1995
       “Leningrad Reminiscences” - 1998
       “Salute from Saint Petersburg” - 1998
       “Under the Sign of Eagle” - 2000
       “Music of the Russian Imperial Guard – Vol. 1″ - 2000
       “Music of the Russian Imperial Guard – Vol. 2″ - 2005
       “Music of Russian Glory” - 2005

The band performed the music of composer V. Panchenko for the film “The Peculiarities of National Fisheries” in 1999.

Also, The Admiralty Navy Band was the first Russian military band presented on the Internet. Since 1997 the band’s life has been on-line (in Russian) at www.anband.pl.ru. In 1998 the Admiralty Navy Band was transferred from the Naval College and once again, as it had been nearly 300 years before, was stationed at the Saint-Petersburg Naval Base.

The many avid listeners of the Band include Queen Elisabeth II of the United Kingdom, Queen Beatrice of the Netherlands and King Karl-Gustav XVI of Sweden. as well as several crown princes and princesses. Prince Nikolai Romanovich Romanov and Prince Mikhail Romanovich Romanov, progeny of the Russian Emperor, are frequent guests at the Admiralty Navy Band concerts.

The modern Admiralty Navy Band of the Saint Petersburg Naval Base is a highly professional band of naval musicians. It is distinguished by a high performing level, delicate intonation, beautiful sound and endless repertoire. The band plays ceremonial and ancient military music, classical, modern and dance music. The Band’s performances in the best concert halls of Saint Petersburg has become a key part of the city’s concert life. The Admiralty Navy Band is a permanent participant at the international festivals held in Saint Petersburg, such as “Palaces of Saint Petersburg”, “Admiralty Music” and “The Festival of Military Bands”.
Every year foreign military musicians are invited as guest conductors to perform with the Band:
February 1998 – main conductor of the UK Royal Navy Bands, Commander Richard Waterer, at the Capella Hall – a program of “British Music”.
June 1999 – main conductor of the Royal Navy Band of the Netherlands, Major Morris Hammers, at the Grand Philharmonic Hall – a program of modern music for a symphonic band.
February 200 – conductor of the Hamburg Police Band, Christine Kresge, at the Capella Hall – “From Mozart to Jazz” with sololoist Jiggs Wigham from germany on trombone.
March 2002 – main conductor of the Defense Forces of Estonia, Captain Peter Saan, at the Capella Hall – a program of Estonian music “Capriccio Estogniol”.
February 2003 – chief conductor of the Royal Navy Band of Sweden, Lieutenant-Commander Andreas Hanson, at the Grand Philharmonic Hall, “Swedes on the Neva River”, a 300th anniversary performance.
February 2004 – chief conductor of the Defense Forces of Estonia, Major Peeter Saan, and chief conductor of the Navy Band of Finland, Captain-Lieutenant Timo Kotilainen, at the Grand Philharmonic Hall, The Music of Battles”.
March 2004 – Dr. William Malambri of the United staes of America, at the Grand Philharmonic Hall, a program entitled “Nostalgia”.

Tags: army band, brass and percussion, brass instruments, british army, civilian bands, earl of northumberland, military band, military music, wind band, wind bands, woodwind brass
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16th Lancers

The Regiment was raised in 1759 as a corps I of light horse then known as the 2nd or Queen’s Light Dragoons, and was clothed in red. It did not receive lancer designation until 1816. By that time, however, it had seen considerable active service commencing as early as 1761 by two troops at the siege of Belle Isle in the Bayof Biscay, then the Regiment went to Portugal, to America, Sent detachments to the French West Indies and as a regiment again to partake in the campaigns of 1793/4 in Flanders.

Returning to Portugal in 1809, by this time styled the 16th or The Queen’s Regiment of Light Dragoons. and dressed in blue with scarlet facings, it served throughout the Peninsula campaigns and was later present at Quatre Bras and Waterlco. joining in the march of the victorious army into Paris.

Returning from France in December, 1815 it proceeded to Romford, Essex, where it was reviewed by HRH The Duke of York who in-formed the Regiment that it was to be equipped as a corps of lancers. During the next three years, which were spent in Ireland, the 1 ~th was no doubt fully occupied with its new weaponry, and perhaps learning to cope with lance-caps. During the Peninsula wars the British army had come up against and suffered terrible casualties from the Polish lancers, so was not only to emulate them, and eventually surpass, in skill at arms, but also in appearance.

Scarlet pants were introduced for officers at levees and with the scarlet plastron of the coatee, facings. and top panels of lance-caps, presented a magnificent appearance. although the dress was otherwise quite impracticable.

In 1830 the whole of the British army. at the whim of a royal commander-in-chief, went into scarlet, but lancer regiments reverted to blue in 1846 with the single exception of the 16th who were to retain their scarlet for all time.

The battle honours PENINSULA and WATERLOO were no doubt added to the silken guidons, but the latter were discontinued in lancer regiments in 1834 and the badges and honours were to bedisplayedon drum banners and appointments.

In 1822 the regiment embarked for India thereby becoming the first British lancer regiment to serve in that country.

There are two stories about how and why the 16th were ordered abroad, one undoubtedly true. the other unsubstantiated, both connected with its loyalty to the Queen at a time when King George IV was embroiled in differences with his Consort, Caroline. Reports of frequent toasting the Queen in the officers’ mess reached the King, causing him to regard the Regiment with disfavour. The Queen died in 1821 and an unconfirmed story relates how the 16th were ordered to escort her remains to Harwich. a duty one would normally expect to be assigned to, and undertaken by, the Household Cavalry. It was also ordered that back Streets and by-ways out of London were to be used. But the Regiment would have none of it and proceeded by the most direct route, only to meet a barrier of mounted Life Guards blocking the road at Temple Bar, so the 16th simply charged straight through the disconcerted Household Cavalrymen, and took the royal remains through the principal thoroughfares Out of London, to the enthusiastic applause and delight of all spectators.

There was no applause from authority, however, as this was a serious breach of good order and military discipline and the Regiment was ordered abroad forthwith, some said it was banished. So from 1822 until 1846, a period of 24 years. the 16th lancers remained in India. only one man still serving and returning home from the original regiment that sailed from Gravesend in June, 1822.

Whilst at Cawnpore in 1832 the Regiment received its scarlet coatees which had been authorized in 1830. It was during the Sikh Wars in January 1846 that the Regiment won one of its most cherished honours at the battle of Aliwal. playing a vital part by a series of charges, to rout a Sikh force of 19,000. The Governor General’s dispatches describes the action: “HM 16th Lancers on this occasion have added to their former reputation acquired in various fields of battle in Asia by routing the enemies cavalry in every direction”. January 28th has been celebrated within the Regiment ever since.

During the l6th’s long period in India it earned six battle honours and these, together with the seven previously awarded up to Waterloo were now displayed on the drum banners, first recorded at lpswich in 1850 and again at Edinburgh in 1858. Between these two Stations, however, there was a five-year tour of Ireland, 1852-57 and it is quite possible that efforts to bring the band up to scratch were made at this time. A letter of thanks, dated 16th March 1853, from the Bandmaster of the 16th Lancers, Mr. J. G. Jones of the Cavalry Barracks, Dundalk, for the brass instruments recently purchased, was sent to Jullien & Co., Military Musical Instruments of Regent Street.

Our colour plate is based on the sketch by Ebsworth from Edinburgh showing the kettle-drummer, an old soldier who had seen action in India, on a dapple grey drum horse. The old coatee with brass shoulder scales, as shown in wear in the lpswich picture, had been abolished and the tunic introduced in 1955, a long garment with blue lancer piping on back seams had been substituted. It is shown in the colour plate open at a point below the shoulder belt, showing a blue half-plastron. The girdle is yellow with two scarlet stripes running through and the overalls have two yellow Stripes. The design of the drum banner can be seen clearly, all embroidery of gold and the battle honours on scrolls of scarlet. It would. appear that the shabrack is of special

pattern with a design very similar to that displayed on the drum banners and certainly no that used by officers at the time. Pill-box cap worn by the band were red with lancer quartering and piping over the crown with a yellow band around. The regimental pattern was blue with a yellow band and lancer quartering trumpet cords are red and yellow.

The second tour of Indian service followed in 1865, of shorter duration than the earlier, this time lasting until 1877, although there are no known pictures of band uniform or drum horse at that time. In fact the next evidence appears in Ireland c. 1885. The drum horse was photographed on The Curragh and by this time there had been some alterations, principally that new drum banners and shabrack had been acquired.

F. Stansell copied the 1885 photograph for the illustration he made for Gordon’s book and the drum horse cigarette card Series, the latter can be seen at bottom left of our colour panel, On the same panel are three versions of the drum banner, but in this instance the Bar’s Own Paper illustration, centre right. is inaccurate, and the cigarette card version left which has been copied from it is of course also incorrect.

This card is from the 1904 Player’s series Badges and Flags of British Regiments, and it may be interesting to note that yet another cigarette card Series of 50 cards issued by Gallagher in 1912, Regimental Colours and Standards contains four which show drum banners of lancer regiments the 5th, 9th, 16th and 17th. Although a very attractive, and expensive series, the card showing the banner of the 16th Lancers is again wildly inaccurate. On the other hand card No.19 from the 1924 Drum Banners and Cap Badges Series, top right on the panel, is a very good representation. Apart from the fact that the battle honour scrolls are now blue instead of scarlet, the overall design is the same as the previous pattern, and was to remain so until the 1 930s. To Sum up, therefore, the banners were of dark blue cloth edged with a two-inch gold lace border with a fringe below and on Outer edges; the lance pennons on the central crest were embroidered red over white, red and white embroidery on a Queen’s crown, whilst VR, laurel wreath and edging to battle honour scrolls and numerals XVI are all in gold embroidery. The battle honours are arranged five a side in the following manner:

TALAVERA FUENTES d’ONOR

SALAMANCA VITTORIA

HIVE PENINSULA

BHURTPORE ALIWAL

MAHARAJPORE GHUZNEE

WATERLOO AFGHANISTAN SOBRAGH

The shabrack was blue with broad gold edging, the regimental crest was on the hind Sections similar to that in the centre of the banners. A habit which the 16th Lancers adopted for some unknown reason is the “hitching up” of the banners at the top left corners above the strap securing the drums. The brow-band and nose pieces of the drum horse head harness are decorated with shells and a scarlet throat plume with a white tip is used.

The kettle-drummer wears the normal scarlet lancer full dress, is a Lance Corporal and probably an old soldier. He has the coveted embroidered badge of crossed lances on his left cuff, distinguishing him as one of the most proficient lancers in his troop. The band plume is the same as the regiment plume black, but it is “crimped”, a custom in the Regiment dating back to Aliwal when the lance pennons became so saturated with blood that they gave the appearance of having been crimped, so lance-cap plumes and lance pennons were crimped from that time onwards.

During this year a young man joined the band of the “Scarlet Lancers”, who was later to become one of the renowned Bandmasters of the British Army. John Amers entered the band in 1886, later transferred to the 2nd Life Guards and became a Band Corporal of Horse, and was sent for Kneller Hall training from that regiment. He was appointed bandmaster to the 2nd Bn. Devonshire Regiment in June 1901, later taking over the Royal Military College Band in October 1914. His final service appointment was to be Director of Music of the Royal Air Force Band from which he retired in 1931. It may also be recalled that his younger brother Harry became the celebrated Bandmaster of the Northumberland Hussars, (1)

The Regiment returned to Aldershot in November 1906 after staying once more in India, followed by South Africa war service. A 16th Lancer officer who served with the Regiment in India in the 1890s, and who reached high rank during World War I, published his memoirs in 1954(2) and this book contains a good photograph of the drum horse of 1908. A similar photograph which we reproduce here shows the same horse and drummer, Band Sergeant Hawkes who wears both Queen’s and King’s South Africa war medals with clasps, whilst a group photograph of the band about the same time shows Hawkes as an instrumentalist. As a senior NCO his collar, which has the Regimental crossed lances as collar badges, is embellished with lace at the top and opening.

The drum horse is a grey, the shells no longer decorate the head harness but are replaced with brass scales on the headband and on the breast girth; the throat plume is black and the design on the drum banners and shabrack exactly as before. By 1909 the grey drum horse was replaced by a chestnut and when photographed at Aldershot that year a younger man had taken over as drummer.

By the time the Regiment had moved over to Ireland in 1913, yet another horse, “Sunny Jim” was carrying the drums and a new drummer in the saddle. There were Still no alterations to the banners, although on the 23rd August, 1909 an Army Order had authorised the Regiment to add the honours BEAUMONT and WILLEMS to its appointments. These were not placed on the banners at this stage and, in fact, did not appear until new ones were acquired in the late 19305.

After the war in South Africa the regiment was awarded the battle honours SOUTH AFRICA 1900-02, RELIEF OF KIMBERLEY and PAARDEBERG bringing the total up to 18, the most held by any cavalry regiment.

Even after the 1914-18 War the Regiment continued to use the old drum banners with the VR cypher, this clearly shown in a band group photograph of 1932. The band of 31 musicians under Bandmaster Mr. R. C. Hanney, wears the scarlet, lancer full-dress but with peaked caps instead of lance’caps. This was not the case when at a daylight performance at the 1933 Tidworth Searchlight Tattoo, the mounted band was photographed in full-dress complete with lance-caps.

The Regiment was one of those selected for amalgamation in 1922 and joined by the 5th Royal Irish Lancers Squadron. The new Regimental title, the 16^th/’5th Lancers, later to become the l6th/5th Queen’s Royal Lancers. No move had been made to incorporate the 5th Lancers honours on existing banners of the 16th Lancers, so the old ones were kept in use up to 1936. One may easily have been misled by the very attractive cover of the Tidworth Tatoo programme in 1933 which correctly shows the kettle drummer of the 1 6th/Sth Lancers in the 16th Lancer’s full-dress, but with drum banners bearing the King George V cypher. This error was probably brought about by the programme artist consulting the Gale & Polden sheet illustration(3) instead of examining the actual banners in the possession of, and used by, the Regiment.

The sheet illustration can be seen on our panel and it may be noticed that the artist has also rearranged the scrolls and included the two early honours awarded in 1909, as well as those for South Africa. In fact he has shown the complete 18 which appeared in the Army Lists of pre-1914, but were never placed on the drum banners at that stage.

It is interesting to see how careful one has to be in accepting the evidence provided by cigarette cards and popular supplement sheets in some cases, in this instance only one can be accepted as reliable evidence from amongst the otherwise attractive examples illustrated, that being the card from the 1924 Player’s Series.

In 1937 new banners were obtained for the Coronation and these will be dealt with in our future article about the 5th Lancers.

Tags: 16th lancers, european military band, military band
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Music Since the 13th Century

SINCE THE 13TH CENTURY, IT HAS been striking fear into the hearts of the Turks’ enemies. Marching into battle with a flourish of shrilloboes and braying trumpets and a ruffle of thundering drums,the Mehter military band has terrified the Crusaders, brought down the walls of Constantinople and frightened the populace of Vienna. ”

When they pass all playing at the same time, the noise of them pressesmen’s brains out of their mouths,” noted the 17th century observer Evilya Celebi. ”They raise such a din that Venus begins to dance and the skies resound.”

They still do. Even today, in its present peaceful incarnation, the Istanbul-based 100-member band is a visible and audible symbol of Turkish military prowess. Twice disbanded during the past 166 years, Mehter was resurrected in 1952, with carefully researched costumes, music and instruments. It performs at state functions and on national holidays, and since 1957 has toured all over the world, most recently appearing at an exhibition on the Ottoman Sultans in Memphis, Tennessee.

Says Colonel Nejat Eralp, a historian at the Military Museum of Turkey in Istanbul: ”Mehter has become a state tradition, a manifestation of independence, a musical expression of Turkish-Ottoman power and humanism.” To witness Mehter in action is to step back into history.

Its commander, known as the corbacibasi, is a resplendent Janissary warrior in his white turban adorned with peacock feathers, fiery-red robes and a striped tunic; he also sports a bejeweled dagger in his wide leather belt and a scimitar on his right shoulder. Next to him a bearer holds aloft the red standard of the Sultan. Then come the red-cloaked ”jingling Johnnies” shaking staffs of bells, followed by oboes, trumpets, twin tom-toms, cymbals, bass drums and the greenflag of Islam. The band is subdivided into ”folds,” or groups of nine players, whose leaders wear red cloaks and turbans wrapped in white felt and whose mustachioed musicians are outfitted in blue. The orchestra’s centerpieces are the giant twin kos, kettledrums as big as the domes on a Turkish bath and covered with maroon velvet and embroidered in gold. In front of the kos stands the conductor, or mehterbasi, adorned in gold and red; behind comes the talismanic attack tug, a long pole topped by a circlet of brass from which hang twin horsetails, a symbol of the Turkish cavalry and one of the oldest military totems still extant. Eight lesser tug standards, flanked by gold-helmeted warriors in chain mail carrying bows and scimitars, punctuate the divisions between each group of players.

Tradition holds that the first royal Mehter was a gift to the founder of the Ottoman Empire, Osman Gazi, from the Sultan of the Anadolu Seljuks in 1289. After the conquest of Constantinople (a march played during the siege remains in the band’s repertoire today), Sultan Mohammed II built the regal Topkapi * Palace and honored Mehter by constructing its barracks right next door.

The band continued its martial duties in great battles like Mohacs, when the Turks subdued the Hungarians in 1526, and, with 400 drums thundering, the first siege of Vienna in 1529. It also celebrated official functions large and small, from the accession of a new Sultan to the moment when the Grand Vizier mounted his horse. In addition, from the time Turks turned Muslim in the 8th century, the band has had a semireligious function, playing five times each day after prayers.

Mehter’s musical influence is not limited to the Muslim world. The Crusaders were so impressed by the terrifying rumble of the kos that they brought a copy back to Europe. And while the Turks failed to conquer Vienna militarily, they did so musically. Turkish marches and warlike Janissary music were all the rage in Europe in the late 17th and early 18th centuries: Mozart’s The Abduction from the Seraglio is replete with ”Turkish” passages, and the finales of Beethoven’s Third and Ninth symphonies include a Turkish march. And with the introduction of the Turkish oboe, Mehter was the precursor of modern military bands all over the world. Nevertheless, it is in Turkey that Mehter has reached its apotheosis, still booming the ancient battle song: ”Mohammed Mustafa, God is one. Our victory is written in the Koran.” Modern Turks continue to thrill to the rousing sounds of Mehter — sounds that would stir any soul and that remind them of the time when they ruled one of the greatest empires in history.

Tags: mehter military band, military band, music since the 13th century
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1st Australian Horse

3rd, later 11th AUSTRALIAN LIGHTHORSE REGIMENT l898~l913

The 1st Australian Horse volunteers Regiment was formed by the New South Wales Colonial Government on 5th August 1897, the third Lighthorse Regiment in NewSouth Wales. The HQ and A Squadron were based at Murrumburrah (363krn) BSquadron and Band at Goulburn (210km) in the southern portion of the Colony,with C Squadron at Liamore (711km) D Squadron at Ta:nworth (350]on) and F Squadron at Ansidale (461km) from Sydney in the northern portion.

At Easter 1907, the Australian army held manoeuvres at a Divisional level in which the 1st ALH Brigade participated. The AIlB camped at Casula, 36km fromSydney. The 3rd AM Bend were early ercivals. The manoeuvres took place at Macquarie Fields 10km distant and the band led one of the columns to the exercise area. The 1st AM (MSW Lancers) led another. During these manoeuvres both bands undertook their stretcher bearer and regimental  duties.

Lord Morthcote, Governor-General paid the first visit of a Governor-General to Goulburn on 10th May 1907, the 3rd AM Band met the Governor-General on his arrival at the railway station and lead the procession to the town hall. It later played at three other functions attended by Lord Northcote.

In 1911, the band went on parade with a number of inexperienced horsemen, unused to controlling horses knees, whilst their hands were on their instruments. used to hand music. All went well until the DC sign on the march card, the band did not responded to the indication, discordant notes were sounded and shouts were heard. ‘prejudicial to good order and military discipline’.

The drum horse halted, lowered and shook its head until silence and good order returned. Then pricking up its ears, resumed its gait, followed by the other horses and on the sound of the drum the hand resumed playing.

On 5th August 1912, the Australian Lighthorse Regiments, Commonwealth Military Force, were restructured and renumbered. The 3rd AM unchanged became the 11th AM. A consequence of this reorganisation was that the band subsidy previously paid to the 3rd was discontinued. The band was allowed to retain its instruments and uniforms and became the Lighthorse Band. It was permitted to use the drill hall for band practice and it turned out for AM functions.

A number of the bandsmen re-enlisted in the 11th AM when their engagement was reached and later served in the AM in World War 1. It was under these conditions that the band paraded with the 3rd Light Horse Brigade (7thLancers), 9th NSW Mounted Rifles and 11th Australian Horse seven hundred men for the official Canberra Commencement Ceremony on 12th March 1913. The music was provided by the 7th NSW Lancers (Grays) end the 11th Australian (Bays) AM Regiments.

The ceremony commenced with the arrival of the Governor-General Lord Denman when the National Anthem (God Save the King) was played. After the naming  the Capital as Canberra was announced the band played the ‘Oh Hundredth’ (All People That On Earth Do Dwell), followed by ‘Advance Australia’ and the ‘National Anthems’. The Brigade then marched past in review by regiments and squadrons, led by the Band of the NSW Lancers with the 11th Australian Corps in the centre. An historic occasion for a military band to finish. The band continued as the Lighthorse Band until numbers diminished in the 1950’s

Sources: The author has been unable to find anything published on B Th;vmra ian Horse. The main source of information has been the National Library of Australia, Canberra. This includes the use of Government records Commonwealth and NSW Gazettes, newspapers – Gooldburn Herald and Post, Sydni Morning Herald, film and photographic collections. Mr S Tazewell, President of the Gouldburn Historical Society, assisted with bell programe’ xmas cards and photographs. History of Gouldburn (R T Wyatt) let edition I was also used.

Notes on the Band

From 1901 until 1912 under Bandmaster J Cody,  the Annual Report which contained a band roll, a engagements and an audited balance sheet. printed containing a photograph of the band. The Band produced and printed a photograph of the band, list of a band Christmas card was also viewed.

The Governor of NSW visited Goulburn in April 1903 to lay the foundation stone for the Sooth African War Memorial, the hand played at the Governor arrival at the railway station, the official reception on the lawns of the Law Courts and the foundation stone laying ceremony. At the ceremony after the stone was laid, the Band played ‘Let me Like a Soldier fall’.

The memorial is in the form of an Australian soldier, whose face is based on a photograph of Trooper Barker of Yarra (10km from Soulburn) of the let AH who was killed in the Transvaal.

In May 1903 the proposed restructuring of the Australian Lighthorse Regiments under Commonwealth Control was announced, with the southern squadrons plus a transfer of another squadron from the MSt4 Mounted Rifles and a rifle company into the 3rd Australian Lighthorse Regiment. The band was to be disbanded. There was a public protest and it resulted in the provision of a hand Subsidy. Phen the restructuring details were gazetted there was no provision for a band.

On 1st January 1904 new Dress Regulations for the ACH came into force and the red plumes were replaced. The New South Wales Regiments being identified by black feathers. The 3rd AlH wore black Orphington Cock feathers.

At the regimental ball in 1904 a new regular feature was introduced prior to the supper interval, a number of young ladies performed a dance and marching display.

The band played at a number of fund raising functions to meet the coats of the South African Memorial which was unveiled on 14th November no senior military officers were present, for on that day at Melbourne, Victoria, colours were presented to the Australian Infantry and Artillery Regiments. There was no reference of guidons for the AlH.

The hand competed in a band festival held in Goulburn in January 1905. It gained third place and the hand continued to participate in other band competitions. The 1905 competition was restricted to New South Wales Bands. The remainder of competitions the band entered were open to a~ Australian hands. later that year the position of bandmaster, Goulburn City Band was advertised and the actions of Bandmaster Cody were the subject of correspondence in the local press. The principal correspondent being a former member of the 1st AHI3rd AM Band and who later replaced Mr Cody as bandmaster. At Easter 1907, the Austrakan army held eanoeuvres at a Divisional level in which the 1st ALH Brigade participated.

Tags: 11th Australian Lighthorse Regiment, 1st Australian Horse, australian military bands, e, military band
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