Guiseppe Creatore: Colourful Genius of the Concert Stage
Contributed by Jack Kopstein
Born in Naples, Italy, 1871-Died in New York City, 1952
Giuseppe Creatore’s fame rivaled that of his contemporary, John Philip Sousa, during the first two decades of the twentieth century. By combining showmanship with musicianship, he and his concert band performed to huge and enthusiastic audiences in the United States, Canada, and England. Creatore was born in Naples, Italy, in 1871. He studied with Nicola d’Arienzo and Camillo de Nardis at the Conservatory of San Piestro a Majella in Naples and became an excellent trombonist and conductor. He reportedly became conductor of the Naples Municipal Band in 1887 when he was seventeen–some researchers believe that Creatore conducted a less well known band. He migrated to the United States in 1899, playing trombone in Ellery’s Royal Italian Band for a time and becoming an overnight celebrity when he replaced the conductor Minoliti, who had become ill. By taking the members of the Italian Band who were dissatisfied with their conductor and hiring several more musicians, Creatore formed his own band early in 1901, performed at the Atlantic City Steel Pier from February through July, and concluded the season with a 5,000 mile tour.
In spite of the rave reviews during the tour, Creatore was not satisfied with the quality of his musicians. Returning to Italy in the fall of 1901, he recruited sixty outstanding musicians who accompanied him back to the United States in 1902 for a series of triumphant concert tours. His cornet soloist from 1903 to 1906 was Michael Cupero, brother of the composer-conductor Edward V. Cupero. Creatore’s success encouraged the immigration of other Italian bandmasters, such as Marco Vessella, A.Ifredo Tommasino, and Don Philippini, but none had the phenomenal success enjoyed by Creatore. In his book Bands of America, H. W. Schwartz devotes several pages to the controversial Italian whose conducting mannerisms hypnotized some concert-goers and insulted others. In 1983 Leonard Falcone, a famous euphonium soloist and former conductor of bands at Michigan State University and Wayne University, wrote a letter which included the following personal description of a Creatore Band concert:
The one and only time I saw and heard Creatore and his band play was in Detroit some fifty or so years ago. The band stood up in a circle around the conductor–like the old way in Italy. Creatore was an imposing figure–tall and well built. He wore a white uniform and white gloves. His conducting style was still flamboyant. Occasionally he would walk over and conduct an individual player or section–in other words a great showman. Nevertheless, the band played beautifully–very artistic and with a very expressive style.(the Detroit Free Press was not as kind calling Creatore’s performance ‘Comic Relief” for Detroit autoworkers)
There is no doubt that Creatore had an animated style of conducting with contortions, leaps, darts into the middle of the band, flailing arms, jerky head motions, pleading gestures while he knelt down, cajoling his players with all manner of finger and arm movements while circling the baton, and all kinds of gymnastic techniques-exciting audiences to a frenzy of clapping, bravos, and other signs of approval. (Swartz p214)
During his heyday Creatore’s Band was booked solidly; his fee reportedly reached $5,000 for each performance. Although he made many successful tours on the Chataqua circuits between 1910 and 1916, the unstable wartime conditions and the competition from other business bands gradually reduced the number of concert opportunities. In 1917 Creatore formed an opera company which opened with a ten-week tour and continued for five years with longer seasons. The twenty-week 1918 tour opened in Allentown, Pennsylvania, and included the cities of Philadelphia, Chicago, Montreal, Quebec, Cleveland, Cincinnati, St. Louis, Minneapolis, Buffalo, Toledo, Toronto, and Detroit. The company’s repertory included such favorites as Rigoletto; Barber of Seville; Carmen; Cavalleria Rusticana; Pagliacci; Il Trovatore; La Traviata; Martha; Faust; Lucia di Lammermoor; La Gioconda: and Aida.
In 1931 Creatore began conducting a symphony orchestra in a series of open-air concerts and by 1937 he was conducting both the New York State Symphonic Band and the New York City Symphonic Orchestra in a succession of programs sponsored by the government Works Progress Administration. However, Creatore resigned his music post in 1940 after a disagreement with officials of the WPA Music Project. The rift developed when the officials refused to pay the conductor while he was guest conducting in other cities, and also because they felt he was not spending enough time on an arrangement for a combined band and orchestra concert. Creatore was quoted as saying, “I am a musician, not a bridge-building project. So I resign.” After a seven-year retirement, Creatore made his final public appearance in 1947 as guest conductor of the New York State Symphonic Band in a “pop” concert at the Tri-Boro Stadium on Randalls Island. He died in 1952 at the age of eighty-two, leaving his wife, Rosina, and children: Tommaso and Peter (of an earlier marriage), Ezio, Carlo, Luigi, and Alba.
Creatore arranged numerous Italian operatic selections for band–most are still in manuscript form. Some of his original march titles were changed by the publisher Di Bella. Examples include: Maresciallo Cadorna–Marshall (Luigi) Cadorna, which became Marcia Sinfonica in Fa Maggiore–Symphonic March in Fa Major, and La Sincope-Syncopation, changed to Marcia Sinfonica in Do Minore–Symphonic March in C Minor. These two, plus American Aviation; Columbia; March No. 2; and March No. 3, were recorded by the U.S. Coast Guard Band for the Heritage of the March series. Others include: American Navy; Columbus; Royal Purple; and Electric. Now available on NAXOS
Norman Smith march Notes ARSC Journal
(Information from Jeri Anne Cupero, Leonard Falcone, James W. Herbert, Robert Hoe, New York Times, Franz Pazdirek, Carlo Schmidl, H. W. Schwartz, Nicolas Slonimsky, and Frederick P. Williams)
Musings: Famous Marches
By Jack Kopstein
The following is a list of popular marches from around the world that are frequently performed. They are in alphabetical order for easy reading. No doubt there are other marches which are featured in concert or on parade. This list contains some well known and lesser known marches which are seen on various concert programs from the last several years. Many great marches have disappeared from the program schedules of bands and orchestras in North America. The Vienna concerts usually held on January 1st each year features the marvelous hand clapping march Radetsky. The popularity of the march Old Comrades (Alte Kameroden) has never wavered. Two very exciting marches which are rarely performed are VIMY by Bidgood and ARROMANCHES by Kelly. A recent march that has been very popular is GLORIOUS VICTORY by Kendal.
The list of well known and preferred marches is endless. In going through the massive lists of marches, one aspect of march writing which surfaced was the dedicatory march. Very often the music was marked at the top ‘Dedicated to’ a person, a place, or an event. Merle Evans of Circus fame dedicated a march called “Symphonia” to Charles Ringling of the Ringling Barnum and Bailey Circus. Victor Grabel devoted a march to the US Marines called Glory of the Marines which had an intro and trio with the US Marine song (From the shores of Tripoli etc). Well known march writer RB Hall called “The Tenth Regiment March” for that unit of Albany New York. Karl L King saluted Charlie Troops, bandmaster and trombonist of Wilmington Ohio with the march Trombone King.
John Philip Sousa dedicated numerous compositions to towns and cities and musicians and events. T.B. Boyer returned the favour by dedicating his march Sousa’s Triumphal in 1930. Many British marches have as their dedication names like Alford’s Vanished Army, Leo Stanley’s The Contemptables and Vivian Dunn’s Lord Mountbatten.
Altissimo Salutes America’s Oldest Police Band
Contributed by Jack Kopstein
HISTORY OF THE MILWAUKEE POLICE BAND
“The Oldest Police Band in America”
1898 to Present
The Early Years
In the fall of 1897, a number of police officers came together at the original Second District Station to practice whistling. Subsequently one of the whistlers, Officer William Stupenagel, organized some of the officers into a small band to which he was appointed bandmaster. Soon the band, having grown in size and stature, was too large for the district station and relocated to the abandoned morgue on Broadway St. where it was granted official status by Chief John Janssen. On April 9, 1898, the band played its first concert as the “Milwaukee Police Band” before members of the department.
On October 7, 1922, the band met John Philip Sousa at the train station and played for him when he came to Milwaukee to perform with his band. Later that evening, the Milwaukee Police Band performed Sousa’s march “Gallant Seven” with the Sousa Band at the Milwaukee Auditorium. On November 17, 1923, the band performed a second time with the Sousa Band, again at the Milwaukee Auditorium. The Milwaukee Police Band, now comprised of 67 officers, joined the 80 member Sousa Band in playing a Sousa favorite, “Sabres and Spurs”. Sousa presented Chief J.G. Laubenheimer and the Milwaukee Police Band with an American flag with streamers embroidered with Sousa’s name and date of presentation. This flag is currently on display the Milwaukee Safety Academy along with other items and photographs depicting the band’s rich history.
In November 1924, the band made its first appearance at the municipal Christmas tree lighting ceremony. To this day the band has never missed a tree lighting ceremony. On March 22, 1925, the band was joined by the New York City Police Band, who was on a national tour, for a benefit concert before an estimated 8,500 people at the Milwaukee Auditorium. It was during this time period that a local composer, Howard B. Weeks, wrote the “Milwaukee Police Band March”. The original manuscript rests in the archives of the Police Band located at the Safety Academy.
The 1940’s – 1970’s
On February 2, 1940, Dr. Robert O. Brunkhorst became the first civilian director of the Milwaukee Police Band. He was a dentist by profession, but also a highly respected musician. He conducted not only the Police Band but also the Tripoli Shrine Band. Under Dr. Brunkhorst’s direction, the band became a regular feature on WISN radio. Several 78-rpm audio discs from those broadcasts are on display at the Safety Academy.
From 1956 – 1974, in addition to the concert band, 6 band members also performed in the “Police Combo”. The combo performed at various civic locations, including hospitals and schools, as well as special occasions, including concerts at the Milwaukee Auditorium, the children’s Christmas party, Chiefs of Police conventions and on PBS – Channel 10.
In 1962, John Paulish, a city maintenance supervisor, became director. Director Paulish was an accomplished musician playing in the Tripoli Shrine Band and the American Legion Band. During Mr. Paulish’s tenure the elementary school concert program began. In 1964, Mr. Paulish was succeeded by Perry F. Chalifoux, a professional trumpet player who had led his own orchestra in the city since the mid 1920’s. Under Mr. Chalifoux, the band made annual trips to the Veterans Home in King, Wisconsin and also played Christmas concerts at the boy’s home in Plymouth, Wisconsin.
The 1980’s – 1990’s
In 1980, Officer Dennis Benjamin was appointed director by Chief Harold Breier. While Officer Benjamin was director, the elementary school program was enhanced to include a “McGruff” character and an Elvis impersonator carrying an anti-crime, anti-drug, and positive self-esteem message to area school children. In 1986, the format of the band’s annual fall concert and dance was changed to a ‘concert only’. For years, the concert and dance had been held at the Milwaukee Auditorium. With the change in format came a change in venue; the concerts were now held at the Historic Pabst Theatre. The Milwaukee Police Band Jazz Ensemble was also formed to offer a more versatile program by performing big band swing music of the 1930′s and 1940′s.
In July of 1988 the Milwaukee Police Band played a joint concert with the Minneapolis Police Band at the Milwaukee County Zoo. In July 1989, the band traveled to Minneapolis where the band combined with the Minneapolis Police Band and the Winnipeg, Manitoba Police Band and marched in the famous Aquatennial Parade. In 1990, a high school awards program was developed with the help of Dr. Nicholas J. Contorno and Marquette University. Students from area high schools were selected to perform with the Milwaukee Police Band in a concert at Marquette’s Varsity Theater. On November 15, 1991, Chief of Police Philip Arreola presented the band with a Chief of Police Superior Achievement Award.
On May 16, 1992, the Milwaukee Police Band appeared in Cleveland, Ohio at the Greater Cleveland Peace Officers Memorial Dedication Ceremony. Police pipe bands, choruses, military bands, and dancers from throughout the United States and Canada took part in this event. In October 1993, the Band was invited to appear at the Wisconsin Music Educators Association Music Conference in Madison, Wisconsin where they demonstrated their approach to youth programs.
In July 1998 the Milwaukee Police Band celebrated its’ 100th anniversary as the “Oldest Police Band in America”. They were invited to Washington D.C. for our nation’s Independence Day Parade, and proudly marched down Constitution Avenue.
In May 1999, Lieutenant Karen Dubis and Officer Bobby Lindsey were appointed co-directors of the Milwaukee Police Band by Chief Arthur Jones. This was the first time in the band’s history that a two-director format was utilized. Lieutenant Dubis was the band’s first female director and Officer Lindsey was the band’s first African American director.
2000 – The Present
March 2000, saw the expansion of the Milwaukee Police Band Youth in Arts Program to include a concert at Marquette Varsity Theater with new activities. Younger children were included in the program and paired with police officer-musicians who mentored and performed with the students at the All City Biennial Music Festival. The band members presented special awards to the student participants.
Since 2000, the Milwaukee Police Band has achieved several great milestones including marching in Milwaukee’s own Great Circus Parade (July 16, 2000 and July 15, 2001)), the South Shore Water Frolics (July 14, 2001 – received “Best Band in Parade” honors), Marshall Field’s Jingle Elf Parade in Chicago (November 21, 2001 and November 28. 2002) and Kettle Moraine Days Parade (June 24, 2007). The band also traveled to Florida to perform on Walt Disney World’s Tomorrowland stage in the Magic Kingdom and marched in the “Share a Dream Come True” parade (April 2003). On July 29, 2008, the Band performed at the Midwest Airlines Center for the FBI National Academy Conference.
The Band continues to perform regularly at the Law Enforcement Officer’s Memorial, recruit graduation ceremonies, the Law Enforcement Mass of Blessing at St. Josephat’s Basilica, the MPAA Police Picnic and other civic functions.
Since 2003, Lieutenant Dubis has been the sole director of the Milwaukee Police Band. Under Lieutenant Dubis’s baton, the band continues in their efforts as “goodwill ambassadors” for the Milwaukee Police Department. They cherish the opportunity they have been given to do their part in contributing to the quality of life in this fine community.
The Band is funded solely by the Milwaukee Police Athletic Association with occasional private donations. No city monies are utilized to fund the Band’s operations. The civilian and police members who perform with the band volunteer their time and talent.