The Bent Brothers

 

The Bent Brothers

Benjamin, Arthur, Fred and Tom

 

 

Well known Cornet and Trumpet Soloists

 

 

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

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

 

 

 

 

 

 

 

Fred Bent circa 1881, possibly with the Dodsworth band

 

 

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

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

 

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

 

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

 

Doug Bent’s research reveals:

 

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

 

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

 

Another paragraph:

 

I PLAY UNDER A FAMOUS MAN.

 

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

 

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

 

Another paragraph:

 

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

 

 

 

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

 

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

 

Another Para: from Pioneers in brass

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

 

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

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

 

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

 

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

 

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

 

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

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

 

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

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

 

 

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

 

 

 

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

 

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

 

 

 

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

 

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

 

 

 

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

 

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

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

Frederick W. Bent obituary from the NY Times reads:

FAMOUS BANDMASTER DIES.

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

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

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

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

obituary from the NY Times:

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

 

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

 

 

 

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

 

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

 

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

 

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

 

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

 

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

 

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

Jules Levy, The greatest comet player living

M. Arbuckle, The great favorite American comet player

E. A. Lefebve, Saxophone

Carl Kegel, Clarinet

De Carlo, Piccolo

F. Bracht, Flute

F. Letsch, Trombone

B. C. Bent, Comet

Letsman, Tuba

Bernstein, Tympani

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

 

Doug Bent writes:

 

 

 

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

 

TWO

 

Benjamin C. Bent (1848-1897)

Another Review of his Life and Times

 

 

 

 

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

 

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

 

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

 

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

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

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

 

 

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

            

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

 

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

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

 

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

 

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

 

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

 

The Frederick Bent Obituary in the NY Times stated

 

Famous bandmaster Dies

Frederick W bent proprietor of Bent Brothers Band

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

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

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

Benjamin C.

born Aug 31,1847,died Dec 30 1898

Arthur

born January 23,1852, died April 27th 1885

Frederick W.

born 1857, died April 15th 1915

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

 

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The Valiant Musicians

THE VALIANT MUSICIANS

Wallace Hartley and the Titanic Ship‘s Orchestra

Jack Kopstein*

 

“You gentlemen of England

Who sit at home at ease

How little do you think

Of the danger of the sea”

- -Martin Parker 1656

 

 

Introduction

 

Countless books and  articles have been written about one of the greatest maritime disasters in world history, the sinking of the R.M.S. Titanic on the evening of 15 April 1912. The White Star Liner struck an iceberg and sank on it’s maiden voyage from Southampton to New York with a loss of two-thirds of the more than 2,200 people aboard, claiming aristocrats, and immigrants alike. It also claimed the lives of the eight piece Titanic orchestra including its leader Wallace Hartley.

 

Full studies by eminent musicologists have considered the several probabilities of the music that was played as the ship crossed the threshold into its last moments to sink forever to the bottom of the sea. The following is an effort in deductive reasoning to determine the state of mind of the shipboard musicians whom decided to stay the course and give the passengers a solemn sendoff. In gathering information, much use was made of the news reports of the day, later reconstructions in movies, first person reports, Internet studies, books and articles. Regarding the music performed on the ship it is fair to say that based on the time frame and the music published as well as the knowledge of salon repertoire, a musical blueprint will emerge.

 

In developing the outline for this article it was necessary to review numerous photographs of military bands to determine if any of the band members were former military musicians. This was a almost a fruitless task, but in a photograph of pianist Theodore Brailey he is seen in the dress uniform of the Royal Artillery band which had one of the finest orchestras in Britain at the time and spawned several significant musicians. Also in a photograph of the Royal Irish Rifles band dated 1909, which included the string section a striking resemblance to J.W. Woodward, is seen. 

 

Being a musician on a cruise ship in today‘s world is not unlike the musician employed in similar work in the past. It is by  nature incredibly hard work, you are on call for every conceivable shipboard event and the pay is deplorable. But in every instance the standard of musicianship is essentially star quality in comparison to the salary. The repertoire at the turn of the last century was extensive. The musicians were not employees of the White Star Line, but employees of Black Brothers in Liverpool. The Black Brothers were artistic agents with several maritime companies. Blacks had a bevy of musicians under contract and as a result could provide the musicians at a lower price. This caused a good deal of antagonism with the Musicians Trade Union-The Amalgamated Musicians Union. On the other hand musicians needed to work and salary with free room and board appeared a good inducement. Their salaries were about $30.00-40.00US per month with Hartley probably getting ten dollars more.  The maiden voyage of the Titanic prompted the White Star Line to seek out the best musicians available and as a result Hartley was extracted from his job with Cunard and off the Mauritania to take over the leadership of the Titanic orchestra. Prior to 1912 the musicians of the transatlantic liners were an integral part of the crew. They received monthly wages of $50.00 US and a uniform allowance of about $7.00US. At the end of 1911 Black Brothers offered musicians at the lower pay scale and no uniform allowance and the musicians were now under contract to Black Brothers. The musicians were also assigned

 Ticket    number 250654 which covered their passage as a group in second class. The fact that they were considered passengers would later work against their families

 MUSIC STYLES 1900-1912

  At the turn of the last century salon music, a genre ranging from original compositions to arrangements of orchestral works, operas or operatic extracts, was a phenomenon found all over Europe. A growing market, in which direct means of musical production was in it’s infancy, had to be supplied with compositions which were easy on the ear

 By the time of the sailing Salon(dinner) music was at its pinnacle. In the diary of   saxophonist Albert A Knecht of the Sousa band he remarks that the 5-piece salon orchestra on the White Star liner Baltic was excellent during the John Philip Sousa World cruise of 1910. He said they played in every corner of the ship.

 

 Similarly The Titanic orchestra performed nightly for the diners in or near the first class dining saloon. They also played regularly at the Veranda and Palm Court next to the First class smoking room. Dining in First Class was a formal occasion every night including the night to be remembered. The A la Carte dining room and the Parisien restaurants which were in close proximity also had musical entertainment on a daily and nightly occasion. The Grand Staircase was the focal point of the Titanic and behind the staircase was a spacious Reception room, where guests would arrive before dinner to discuss the day’s activities. The eight players usually separated into two groups. A trio played mostly in the lounge of the ala Carte reception room and the second-class dining room.

 

The other group members including Wallace Hartley remained in the first class lounge or in the dining saloon or the first class entrance to the boat deck. The portable string players would often venture into the midst of diners to provide music as strolling strings, where they would serenade the patrons with requests. A diverse and extensive repertoire was necessary. Mostly the orchestra kept to the ship policy of being heard but not seen, setting up behind palms and outside doorways. The policy of performing without being conspicuous was what the White Star Line referred to as their “seamless” crew and employees.   The orchestra was in attendance for Sunday services, which were usually conducted by the Captain, and the orchestra led the congregation in the hymn sing.

 

Since there was limited rehearsal space the orchestra met each morning in the instrument storage room on Deck E near the laundry locker located in the adjacent passageway. This deck was also to house the cramped quarters of the musicians and was in close proximity to the stern of the ship. The musicians room is shown on a cutaway drawing of the Titanic with the notation “musicians 5”. Deck E or Upper Deck in the ship configuration. It was 3^rd class accommodation but the ship’s band all appear on the “did not survive” listing as Second Class passengers. Since there was not an indication of where the remaining three musicians were quartered they may have been in the printer’s cabin, which held sixteen in bunk beds and was located next to the musician’s cabin. Their accommodation has been described as very cramped, and diagrams showing the interior of crew cabins do indicate bunk beds

 

Bandmaster Hartley would provide a schedule of the day’s activities, meals. . Rehearsals were brief, almost certainly for starts and stops, or musical marks to be observed.  Orchestra musicians were all members of the Amalgamated British Musician’s Union and had been hand picked by bandmaster Hartley through the musicians agency CW and FW Black of Liverpool Most of the musicians had vast experience on other ships of the line as well as the Cunard Ship Lines. Their professionalism is unquestionable based on their backgrounds, training and musicianship. Musician’s work to clock and the following is a frequently used method of scheduling performance routine on a daily basis.

 

Date	Undertakings	Time	Location
11 April 1912	Breakfast	0800-0900 hrs	2nd dining room
	Rehearse and Advise	0915-10:30	Storage cabin E deck
	Free Time	10:30-11:50
	Luncheon music	12:00-13:30	5 piece to Dining saloon D deck, Trio to A la Carte Restaurant/reception room or trio to second class dining room
	Free time	1330-1500
	Tea Time	1500-1600	5 pc Dining Room Trio A la Carte/reception room
	Early Dinner -for orchestra	1700-1750	2nd class
	Dinner	1800-1930	5 pc to First class dining and trio to A la Carte
	After dinner concert (*dancing?)	2030-?	As arranged*

  *It has been recounted that dancing was discouraged on the Titanic, and it not alluded to in the enormous volumes of material available to the author.

 

 

  The popularity of small ensemble music was due for the most part to the rise of young virtuoso violinist Fritz Kreisler. By 1910 the Austrian prodigy enjoyed enormous success and recognition, as a performer, which was reinforced by his numerous short tuneful compositions many of which by the time of the sailing of the Titanic had made their way into the small ensemble music list. Schon Rosmarin and Liebeslied are but two pieces that had gained universal appeal.

 

INSTRUMENTATION

  In examination of several books and articles, which refer to the Titanic “band”, it would appear that for all intents and purposes that it was a string orchestra.   Orchestra members were pre-selected by Hartley in conjunction with Black Brothers and some had experience on other White Star and Cunard ensembles. Others may have worked with on the RMS Mauritania and RMS Baltic.  The pianist Ted Brailey was very experienced, particularly because he had to fill in instrumental holes. What that means can be explained by outlining the instrumentation of a Ragtime band orchestration by Scott Joplin. The Maple Leaf Rag written by Joplin in 1898 and it was scored for piccolo, Bb clarinet Alto sax, trumpet Trombone, Violins 1 and 2, viola, cello, Bass, Piano and drums. Brailey certainly had numerous cues to play within the music.

 

Fixed instruments included five grand pianos and an Aeolian electric organ were stationed at various locations throughout the ship. As well two upright pianos (for steerage class sing- a -longs) were to be found on the ship. A set of bagpipes also was sent to the ocean floor when the ship sunk. They were owned by passenger Eugene Daly, and were Uillean Pipes. Two of the numbers he was known to play were Erin’s Lament and A Nation Once Again

 

Some of the items discovered by Dr Robert Ballard in July 1986 and 1987 during the search and salvaging of the Titanic were viewed by the author in Victoria BC at the Titanic artifacts display in 2007. It was disclosed that paper products did not survive with the exception of a piano/conductor part for a turn of the century number titled “Pleasant Memories”. Also discovered was a Db piccolo and a music holder or lyre. The instrument as shown in the display was very good quality despite the ravages of the sea, and one could determine that this was a professional type instrument.  The lyre was for a clarinet as it can be distinguished from other instrumental music holders by the fact that there is a place for a screw nut on it’s underside (screw missing).  The following is a chart showing the musician and instrument(s) played by the orchestra with remarks

 

 

Name	Instrument	Secondary	Remarks
Brailey,W Theodore	Piano	Cello?
Bricoux ,Roger	Cello		Trio
Clarke, John Frederick	Viola	String Bass?
Hartley, Wallace, Henry	Bandmaster-Violin
Hume, John, Law (Jock)	Violin
Krins,Georges	Violin		Trio
*Taylor, Percy Cornelius	Cello	Piano	Trio
Woodward, John Wesley	Cello

 

 

  *Taylor was listed as cellist but it is unlikely that Hartley would select three cellists for an eight-piece group. A balanced instrumental ensemble would see the scenario of Bandmaster (violin) Hartley, Hume (violin), Brailey (piano), Clarke (string Bass-Viola), Woodward (cello), in the five piece group and Krins (violin), Taylor (piano) and Bricoux (cello) in the trio.

  The fact that within the full ensemble that groups would break up and move individually or in pairs from room to room or to the tables for tips lends more credence to there being string players whom could play in a continental style.

The White Star Line was very interested in having the presence of continental musicians near both the Parisien and A la Carte dining rooms. Both Belgian musician Georges Krins and French Cellist Roger Bricoux fitted that scenario. Violinist “Jock” Hume also had the ability as a busker and there is no doubt that he delighted passengers with his artistry in other locations including  the veranda.

  A subject that needs to be scrutinized is the issue of both the White Star music book and the notion that the musicians would be required to memorize all of the music contained in the book. In one account it is stated emphatically that there was a “standard 352 piece repertory”, and this was reiterated in Ian Whitcomb’s   Titanic Songbook where he states that there was a 352-piece songbook, which had to be learned, by name and number.  The music played will be discussed later but generally the Titanic ”book” consisted of light music, waltzes, romances, serenades, excerpts from opera, period pieces, polkas, marches, show tunes and the newest sensation, ragtime. Whitcomb also refers to 114 in the White Star music book as “Songe d’Automne” being played on the Boat Deck by the strings as the passengers tried to escape the frenzy of the sinking ship.

 

Since this chronicle relies on research and some supposition, it is hoped that a little common sense musical logic can be applied.  The musicians selected for the cruise ship industry were schooled musicians with both orchestral and small ensemble experience. Thus, despite the fact that they may have had the ability to ad-lib or perform as buskers, they were professional musicians who took their craft seriously and they must have strived for musical accuracy. A posed photograph of an orchestra purported to be on the Titanic but is probably from the Olympic clearly shows music on the piano rack. In addition Walter Lord in his book “The Night Lives On” categorically states that both groups had separate libraries of music. The library meaning is music at hand.

 

 The best example of music that needs distinctive nuance is the “Blue Danube Waltz” by Johannes Strauss (Junior 1825-1899). The melodic line for this waltz certainly is not difficult to place in the memory bank. All that one can do however is to scrutinize the accompaniment which is the rhythmic essential in all waltzes, there are bars and bars of after beats, often shifting rapidly with chord changes.  This was the job of the 2^nd violin, cellist and string bass to provide a solid musical background.  Just imagine having 352 pieces of music, some 3 and 4 pages long, with several bars and memorizing the cello parts. This is an improbable scenario for any ensemble or musician. Most string ensembles seen by the author on present day cruise ships have 40-50 tunes memorized, which they play over and over again during a seven-day voyage.

The outpouring of sympathy by musicians all over England when they went down and the solidarity of the major London orchestras attested to Titanic’ band’s classical training and ability.

 

In the end the fact that the music was numbered in the White Star book is the universal method for calling out dance sets.  This is certainly very strong evidence that music existed and was performed.

 

The Titanic Musicians

 

Wallace Henry Hartley-Bandmaster -Violin He was born in the small community of Colne, Lancashire near and the sea port town of Harwich England. He was born in 1878 and studied under his father who was choirmaster of the local Bethel Methodist church. He began the study of the violin at an early age and reached a high level of proficiency by the time he was 15. He was a fleeting member of the Huddersfield Philharmonic orchestra in 1898, but he was sent a letter asking him “if they (the HPO) can rely on your attendance for rehearsals and concerts“. It was a reminder that they needed his services in the orchestra. It appears that he returned the next season as he is shown as a member in 1899.Later he was first violin of orchestras in Bridlington and Harrogate. In 1909 he decided to become a cruise musician. He was hired by the music-booking agency CW and FW Black out of Liverpool and assigned to various cruise ships in the White Star and Cunard registries. He appeared as a musician on the Liners Arabic, and Baltic In 1910 he was offered the leadership of the band on the Cunard Liner Mauritania. Before leaving to take up a position of bandmaster on the Titanic. He was credited with having   made 80 voyages. He joined the Titanic at age 33 and was a fully professional all-around-musician. The lure of being leader of the biggest and most decadent ship in the world helped to convince him to take the position plus the increase in pay. He was a very skilled violinist and leader. It was said he had very nimble fingers for jigs, reels and ragtime. Hartley was selected for leadership of the orchestra, because of his reputation as a highly trained arranger, composer and player and a man with the common touch. After the band stopped playing he was not seen again and his body was recovered by the Cable Steamer MacKay -Bennet. He was dressed in his uniform, which had green facings, a brown overcoat and black boots.  Some of his effects included a gold fountain pen, solitaire ring, silver cigarette case, and silver matchbox marked W.H.H.  As well as a nickel watch. His music case was also found strapped to his body (see note 1)

 

 

John Frederick Preston (NobbY) Clarke. -Bass Violin -Viola  John Clarke’s home residence was listed as Smithdown-road Liverpool and he was the string bass player with the Ship’s orchestra. He was a member of the Amalgamated Musician’s Union. Prior to joining the Titanic he had been a member of the Argyle Theatre of Varieties. He was well known in the Birkenhead, which is a town on the Wirral Peninsula on the west bank of the River Mersey, opposite Liverpool. The town was famous as a seaport and as a centre for shipbuilding as it was close to the maritime activity of Liverpool. His proximity to Liverpool presented him an opportunity to obtain employment in the cruise industry with the White Star Line. He was 35 when   he perished and was wearing a grey overcoat and uniform with green facing. His effects included a diamond pin, gold watch, and a memo book. Although the contents of the memo book were never divulged it may have been used to help maintain his work schedule. The Steam Ship Mackay – Bennett, recovered his body and he was buried at the Mount Olivet Cemetery in Halifax Nova Scotia Canada.  He was 30 years old at the time of his death.

 

W.Theodore Ronald Brailey- Piano He was a resident of London and had previously served on the Cunard Steamer Carpathia before join the White Star Line. As noted previously Brailey was part of a gifted group of pianists who could condense music score for a small group and provide numerous instrumental cues. He was a resident of London England. Prior to joining the band of the Titanic he was on the Cunard Steamer Carpathia. Brailey was an airman having been associated with the Freshfield Aerodrome. He was a member of the Southport Pier Pavilion band before taking employment in the cruise industry.  His body was not recovered.

 

Roger  Bricoux-Cello. Roger Bricoux was a permanent resident of 5 Place du Lion d/Or in Lille, France prior to sailing with the Cunard Line on the Carpathia. Lille is located in the  historical region of Flanders, a few kilometers from border with Belgium.

 He was born in France (place not known). Lille was an industrial city in the early 1900’s but there were a number of orchestra venues, particularly in the variety theatres, which were popular in France. Prior to joining the Carpathia and Titanic he was known to live in Monaco, France. His body if recovered was never identified.

  John (Jock) Law Hume-Violin John Hume was 28 years old when the Titanic went down. He was a professional violinist from Dumfires Scotland, which is located in the south west of Scotland. Dumfiries is the birthplace of Robbie Burns. The town is home to the Dumfiries Academy, which has had music as part of the curriculum since 1889. It is possible that Hume attended the school and began the study of violin as they produced a musical play every year beginning in the 1890’s. Hume must have made application to Black Brothers and since he was a well-known talented violinist the music contractor for service on the Titanic hired him. An interesting sidelight to his membership in the orchestra was the incident of Black’s notice regarding the uniform, which Hume was forced to purchase as a member of the Titanic band. The letter which post dated his drowning on the Titanic by over two weeks stated:

C.W.& F.N Black

30 April 1912

We shall be obliged if  you will remit us the sum of 5s. 4d, which is owing us as per the enclosed statement. We will also be obliged if you will settle the enclosed uniform account.  

  The uniform account was for 14 shillings and 7 pence. It appeared that to Black Brothers nothing was sacred. Hume was a very gifted busker and was adept in flushing out tips from the Titanic passengers in the first class areas of the ship. When his body was recovered by the Mackay-Bennett he was dressed in his uniform, a light raincoat and a purple muffler. His effects included a cigarette case, a silver watch, and a knife with a carved pearl handle. John Hume was buried in the Fairlawn Cemetery in Halifax Nova Scotia on May 8^th 1912

 

Georges Aleandre Krins-Violin Georges Krins was born in Paris on March 18^th; 1889.He was accepted for violin study at the Conservatoire Royal de Musique in Liege Belgium on October 30^thand studied there until 1908. The College, which Krins attended, is one of the most prestigious music schools in Europe, even by today’s standards. He seemingly had a desire to seek a career as a military musician, but his parents persuaded him to remain a civilian violinist. He worked for his father and also played in La Grande Symphonie of Spa, Belgium that had become his family’s home. In 1910 he performed as first violin at Le Trianon Lyrique in Paris. He eventually moved to London and played for two years at the Ritz Hotel which was a perfect fit as the Hotel had a Parisian flavor and “tea at the Ritz|” was the favorite pastime by London’s elite. In April 1912 he was recruited by Black Brothers of Liverpool to play on the RMS Titanic. He was the leader of the trio which played near the A la Carte restaurant. His last known address was in Brixton.  He was the most well skilled and educated musician among the professional musicians on board the ship. There is a good possibility that Krins was seeking to immigrate to the United States where good orchestral playing positions were in abundance.  Krins died in the disaster. His body if recovered was never identified.

 

Percy Cornelius Taylor-Cello-Piano Percy Taylor was a resident of London and was part of the London musical community and a well-trained professional musician with the ability to play both cello and piano. After scouring numerous photographs of military bands in Britain, a photograph, which is believed to be Taylor as cellist with the Irish Rifles band in 1909, is shown in figure 4.

  John Wesley Woodward-Cello John Woodward was born in West Bromwich England on September 11^th 1879. West Bromwich is in the heart of the West Midlands and is known, as “Black Country” The city is not far from the soccer Mecca of Wolver Hampton. He grew up in a family of six brothers and two sisters. He later moved to Oxford where they lived in the community of Headington.It was discovered at an early age that he had musical talent and he was trained on the cello and grew up playing in a number of string quartets (2 violins, viola, and cello). He left Oxford to join the Duke of Devonshire band in Eastborne, but he found he was not cut out to be a serviceman. In 1909 he joined the White Star Line, initially cruising to Jamaica in the Caribbean. He made several Trans-Atlantic sailings and at least three across the Mediterranean. He was on board the Olympia when she collided with the HMS Hawke and he narrowly escaped injury. He had taken his prized best cello for employment on the Titanic and he was scheduled to play at the May dinner of Magdelen College, Oxford. His brother Thomas Woodward became a well-known tenor vocalist with the Magdalen choir. Taylor perished in the disaster. His body if recovered, was never identified.

 

 The Music the Titanic Orchestra Played

  The Romantic period in music began in 1815 and ended in 1900. The 1890’was described as a gilded age, an era of supreme elegance and it carried on until the First World War in 1914, when there was a dramatic shift to military music and songs of war. The elements of music from the 1890’s were particularly romantic in light music. There was an abundance of love songs, waltzes with romantic titles such as Love’s Dream and Somebody’s Sweetheart I want to Be.The melody and harmony of the music remained consistently traditional. The timbre of the romantic period was of large orchestras, choirs, bands and most prominently small ensembles. In the early period of the twentieth Century a large volume of printed music was available. There was vast array of selections from shows, Fantasies, Serenades, Airs from opera, potpourri of classical nuggets, and medleys of music by popular composers and collections of songs. The music libraries of small ensembles were filled with the overtures of Jacques Offenbach, Waltzes by the Strauss family and music hall medleys. American music had just begun to become a craze in Britain and the continent and it was led by the new and exciting Ragtime music. The compositions of the American composer Irving Berlin had made it’s way across the Atlantic and British composer Lionel Monckton”s smash hitThe Acadians was making it’s first appearance on Broadway at the Liberty theatre in 1910. The following is a sampling of the music, which would have appeared in the White Star songbook.

 

 

 

 

 

Music Title	Composer
Alexander’s Ragtime Band (1911)-ragtime	Irving Berlin
The Merry Widow (1903)-operetta	Franz Lehar
Lilly of Laguna -Barn Dance and Cake walk -1909	Leslie Stuart
Somewhere a Voice is Calling-1911	Arthur Tate
Destiny -Slow Waltz-1905	Sydney Baines
Mon Coeur s’ouvre a at voix-from Sampson and Delilah -1877	Camille-Saint Saens
Music Hall Medley-I Do Like to be by the Seas side-1907, Fall in a Follow Me-1910, and Ship Ahoy-1909.	John Glover-Kind, Bennett Scott,
The Glow-Worm-1908	Paul Lincke
The Shop Girl Musical-1898	Lionel Monckton
The Chocolate Soldier- Operetta 1899	Franz Lehar
Frankie and Johnny-1912	The Leighton Brothers
It’s a Long Way to Tipperary 1912	Harry Williams
The Maple Leaf Rag-1899	Scott Joplin
Melody Rag-1911	Charles L Johnson
Music from Carmen-1875	George Bizet
A Little Night Music-1725	Wolfgang Amadeus Mozart
Una Furtiva Lagrima from L’Elisir D’Amore	Gaetano Donizetti
Mary’s a Grand Old Name-1904	George  Michael Cohan
Caprice Viennois , Op 2 1905	Fritz Kreisler
Rondo from Serenade- 1907	Fritz Kreisler
Slavonic dance in E minor	Antonin Dvorak
Black and White Rag-1909	George Botsford
The Gypsy Baron-1885-Operetta	Johannes Strauss (the Junior)
Shine on Harvest Moon-1908	Nora Baye-Norworth
The Yeoman of the Guard-1888	Gilbert and Sullivan
Waiting for the Robert E Lee-1912	Lewis F Muir
The White Star March-Polka-circa 1900	J.T. Gardner
Songe D’Automne waltz-1908	Archibald Joyce
Oh You Beautiful Doll-1889	Nat Ayer
Good-Bye Dolly Gray-1900	Paul Barnes
By the Light of the Silvery Moon-1909	Gus Edwards
Give My Regards to Broadway-1903	George M Cohan
Melody Rag-1911	Charles L Johnson
In the Shade of the Old Apple Tree-1905	Egbert Van Alstyne
Melodie in F-1875	Anton Rubenstein
The Skaters Waltz-1900	Emil Waldteufel
Il Baccio-1891	Luigi Arditi

 

  The Fateful Night -April 15^th 1912

  “It was an event that made the world awake and rub its eyes”. Said surviving passenger Lawrence Beesley. The greatest most majestic ship in the world struck an iceberg in the north Atlantic and sank within hours. This was the biggest event of the Twentieth Century. The heaven on earth ship had given way to the dangers that lurk in the sea, an iceberg the size of a 10-story building and the watertight compartments were overwhelmed because of a huge gash in the forward bulkhead. The collision had taken place at 11:40 on the 14^the and within minutes water had started to rush into the boiler rooms. Thus began the slow and painful demise of one the world’s crowning achievements. It was the beginning of the end for the Titanic, the death of a dream.

 

Hartley very quickly realized that he and the band must play to calm the passengers by playing up tempo ragtime and waltzes. It was probably the only time that the two groups had joined together during the short voyage. The orchestra members were roused and dressed in their green uniforms and wearing overcoats they moved with the throngs that were shuffling about, unaware that the ship had received mortal damage

  Many of the first class passengers had made their way to the lounge and the orchestra had struck up a variety of waltzes, polkas, and ragtime tunes and as one passenger expressed “there was a feeling of gaiety“. They were able to play in this location because one of the small upright pianos was located in the lounge near the first class staircase, which entered onto the boat deck. As the passengers made their way from their cabins out to the lifeboats they continued to provide entertainment.

  As the first class area of the lounge emptied  they moved out on the deck near the doorway to the lounge and the grand staircase. From here they continued without the piano, and with a reduced group of 5-6 players with the remote possibility that one of the musicians added another voice on piccolo. The others stood by in hope they could at least help passengers and one passenger recalls seeing a musician helping a woman on with her life jacket and into one of the lifeboats.

  The ship had begun to take on masses of water and it began to list, which caused consternation among the passengers, Hartley urged his musicians on, playing waltzes and other well known brisk tunes. Passengers who were now  lowered to the sea in lifeboats were rowed by crew to some distance from the ship. They could still hear above the din, the orchestra playing lively tunes.

 

One has to wonder now at the character of the musicians. When all around them there was panic and trauma they kept playing. They stayed their post through all of the agony that now had filtered through to the passengers  It had become common knowledge there was not enough lifeboats and many would perish. The ship was now commencing its final death clatter. It was at this time that they began to play what has been described as a hymn of sacrifice.  A lasting musical memento for many of the passengers who were never to see the light of day again and for those that survived.

 

There is also much mystification on what was their last song. From the lifeboats, a number of different songs were heard. Among them is “Nearer, My God to Thee”. Both the American and British survivors recall hearing it. This hymn is ordinarily played to entirely different music on both sides of the Atlantic. 

 Survivors recall hearing three different tunes in all! I find it very unlikely they played all of them unless the trio played in a different location. Also in the running are the hymn “Autumn” and the slow waltz “Songe d’Automne”. It is important to note that there were two separate bands on the Titanic and they had two totally different playing styles. None of the band members survived.

 

A book which was published in 1912 by a firm in Philadelphia titled “On Board the Titanic” has a illustrated page showing the hymn as played by the Titanic band called autumn. This is the hymn that was suggested in a statement by Harold Bride the surviving wireless operator when he said, “From Aft came the tunes of the band. it was a ragtime tune , I don’t know what . Then there was autumn” He may have been referring to the slow waltz Songe d’Automne, which had become very popular.

 

Following the catastrophe music was published to commemorate the sinking and Nearer to My God to Thee became a hit sensation along with tunes called Be British, The Ship will Never Sink andThe Wreck of the Titanic.

 

With the end being very close, Wallace Hartley called to his comrades that they may try and save themselves. None chose to do so and they remained together on the boat deck until the slope of the ship did not enable them to continue playing. Inevitably they stopped playing, as it was impossible to remain upright. Surviving passenger Colonel Gracie mentioned in a speech he made in November 1912 that he remembers the band stopped playing and laid   down their instruments about a half hour before the ship sunk. Gracie had been aboard almost to the end and recalls that he was there when they ceased performing.  A member of the orchestra was seen by a surviving passenger dragging his cello with the spike still intact, to some other location.

 

The final moments come at 2:18 am as all of the lifeboats have gone; no ship has been able to reach the Titanic in time. The crowd of people including orchestra members are on the stern and there is no hope of rescue.  As the bow sinks further and further the stern is lifted out of the water and a huge roar is heard as the ship breaks in two and within moments the lights go out. The stern will raise completely upright, then slide out of sight into the icy water of the Atlantic.

 

Aftermath and Memorial

  The heroism of the musicians was immortalized in the words of 2^nd class passenger Lawrence Beesley when he said” Much of the acts of courage achieved themselves this night, but none equalized the notch of those men who continued to play minute after minute while the ship was inserted more and more towards the place where they played-the music which they performed serving as a requiem.” and he went on to by saying ”they had the right to be engraved forever on the shelves of eternal glory.”  

 

Later it was learned through the secretary of the Trade Union of Musicians of Britain that the band had received an order to play in  order to avoid panic. It was also disclosed that none of them were wearing life jackets. First class passenger Pierre Marechal wrote later that he was convinced that in they’re both receiving the orders and responding, that they had sacrificed their lives in order to avoid disorder on board.

  Katherine Gold another survivor said that when she left the ship, she saw men on the boat deck smoking cigarettes and taping their feet to the sound of the lively and cheerful music of the orchestra. She said” I as particularly struck by seeing a violinist playing with a large life jacket in front of him. At that moment, the music was ragtime”.

 

  As the word filtered out that the great liner Titanic had hit an iceberg and sunk with the loss of several lives, the tales of survivors became front-page news in world newspapers. Headlines in Britain’s Daily Sketch screamed Orchestra Played On, and in New York the Times said Band Played Solemn Hymn As Great Ship Sunk. Eventually the name of the bandmaster Wallace Hartley surfaced as the central figure on the ship when it went down. The ensemble had achieved immortality. The bravery of the leader and band members in their effort to convey hope and comfort to others without any consideration of their own safety created a outpouring of sympathy around the world.

  Wallace Hartley was laid to rest in a ceremony befitting a monarch. The newspaper account describes the solemn occasion as “pageantry beyond Belief”. Over forty thousand people attended the funeral on May 18^th 1912. Seven bands led the possession.  Bass Violinist John Clarke was buried in Halifax Nova Scotia and the funeral was held on May 3^rd 1912. Violinist John Hume was interred in Fairview Cemetery on May 8^th 1912.  The Royal Canadian Regiment band under Captain Michael Ryan played these funerals and those of other passengers whose bodies were recovered.

  In 1915 a statue of Wallace Hartley w was erected in Colne to commemorate his heroism. In November 1912 a plaque was placed at Liverpool Philharmonic Hall, The hall was destroyed by fire in 1933 and also sustained damage during the war, but the plaque survived. The All Saints church in Headington near Oxford, England has an unadorned Brass Plaque in dedication to cellist John Woodward. A memorial was unveiled in Southampton in 1913, but was destroyed during the war. A replica was unveiled in 1990. Violinist Georges Krins was finally remembered in 2002 with a plaque, which was placed on the Hotel Cardinal in Spa Belgium. His parents had lived at this location in 1910 and 1911.

 

  Royal Albert Hall was the setting for an remarkable concert On May 24, 1912 in the city of London.  Several orchestras combined to number more than 500 performers for a once-in-a-lifetime performance for The Titanic Band Memorial Concert conducted by Sir Edward Elgar, Sir Henry Wood, Percy Pitt, Landon Ronald Thomas Beecham and the Dutch conductor of the Concertgebouw Orchestra, Willem Mengelberg. The orchestra played several commemorative pieces including Arthur Sullivan’s In Memorium Overture, and Chopin’s Funeral March. Henry Wood also provided an orchestration of the Hymn Nearer my God to Thee. The solemnity of the occasion was heightened by the voices of many of the audience. A rare photograph of the concert survives and the massed orchestras clearly reflect the respect and admiration the British musicians had for Hartley and the ship’s banded. 

 

The decision by the White Star line to carry the musicians as 2nd passengers in order to avoid paying them the shilling that was paid to personnel to make them official members of the crew would come back to haunt the families of the orchestra members. They were unable to claim for financial benefits under the Workman’s Compensation Act. White Star insisted that they were 2^nd class passengers and not covered by the act.  As well Black Brothers in Liverpool completely abdicated their responsibility to the musicians and declared that the  families should seek redress from the insurer. But the insurer claimed they were passengers working as independent contractors and were using Blacks as there booking company. The families finally went to court and the decision rendered was they were passengers working as independent contractors not employees. Even when the Musicians Union made an appeal to the White Star Line saying the men had performed an act of heroism, the Shipping Line did not relent. In the end the Titanic Relief Fund saved the families, which was an umbrella organization for worldwide charities.   The White Star Line   had demonstrated an appalling lack of gratitude to the musicians.

 

 

REQUIEM FOR THE MUSICIANS

 

The military refrain “Ours is not to question why, ours is to but to do or die” echoes throughout the disaster of the Titanic and the response made by Wallace Hartley and the orchestra. Conventional wisdom would tell us it was plain suicide to stand on the boat deck playing while others sought to save themselves. In discussing what took place at the turn of the last century it  is a far cry from today‘s world. Gallantry was not always the domain of the soldier. The official gallantry award system for acts of heroism at sea has evolved since 1854. Noble acts of heroism at sea often took place and were rewarded with a civilian Gallantry medal. The orchestra members were performing in an atmosphere of chaos, well above the call of duty.

 

The idea of playing music to calm fears and for people to move in an orderly fashion in the face of danger was recognized long before the Titanic disaster. John Philip Sousa the American bandmaster was called upon at various times with his band to quiet down unruly crowds during his outdoor concerts by playing one of his dazzling marches. Bands and orchestras playing for dancing would often break up drunken brawls by breaking into national anthems.  The idea that the passengers on the Titanic were lulled into a false sense of security by the band playing ragtime and that more of   them might have been rescued as has been recently presented may have some merit. We must  however, draw our own conclusions from  the turmoil that took place during the last terrible moments of the demise of the Titanic. The legend of the Titanic band continues to this day. Their devotion to duty has made them immortal.

 

No one will ever know what was in Wallace Hartley’s mind or that of his musicians.  Earlier in his  career  he told a friend what he might play   if a ship he was on was sinking but he never alluded to the fact that he would remain until the bitter end. The course he took cannot be measured in words; it is the deed that really counts, purely and simply an act of valor. A newspaper at the time of the catastrophe reported “the part played by the orchestra on board the Titanic in her last dreadful moment will rank among the noblest in the annuls of heroism at sea.”

  *Although this piece is not strictly a military band article per se it is in the editors opinion a story worth telling. I welcome your opinion on it’s relevance Thanks to Andrew Clarkson  edior and webmaster of the marvelous web site TITANIC-TITANIC this article is now been published. Please go to ARTICLES on the site for a more detailed review. -editor

Bibliography: There are several works from which information was reviewed; this list is by no means the complete list.

Books:

Titanic and Illustrated History – Don Lynch

Unsinkable-The Full Story -Daniel Allen Butler   Stackplole Books-1998

A Night to Remember-Walter Lord -Hold, Rinehart and Winston-1955

The Night Lives On-Walter Lord -Charnwood -1999

Titanic Halifax-A Guide to Sites -Alan Jeffers and Rob Gordon 1998

The \Titanic Song Book-Mel Bay Presents-Collection by Ian Whitcomb 1997

The Sinking of the Titanic Eyewitness Accounts-Edited Jay Henry Mowbray-Dover Publications -1998

Titanic-Simon Adams–Eyewitness Books -1999

Building the Titanic-Rod Green -Readers Digest Books 2005

The Birth of the Titanic -Michael McCaugan-1998

Story of the Titanic-Illustrations by Steve Noon-Written by Dr Dr Eric Kentley-DK Publishing 2001

Titanic Conspiracy-Robin Gardiner and Dan Van Der Vat-Citadel Press 1995

The Story of the Titanic as told by Survivors -edited by Jack Winocour -Dover Publications reprint 1960

On Board the Titanic Edited by Logan Marshall-Dover Publivcations-2006

The Incredible Band of John Philip Sousa -Paul Bierley University of Illinois Press-2006

Video

The Titanic Videos 1 and 2 A and E Television Network 1994

 

Newspaper Accounts:

The London Sketch

The New York Times

The London Daily Mail

Toronto Globe

 

Internet

Titanica -The Encyclopedia of the Titanic

Tags: maritime disasters, military musicians, royal artillery, titanic ship, wallace hartley
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