Military Music Blog
Community Band Spotlight: Minneapolis Police Band February 25 2010, 0 Comments
In Minneapolis, MN, the winter snow may be falling, the temperatures might be dropping, and the wind might hit you in the face, but the Minneapolis Police Band will play on. This was the case this past December when the band performed in the Holidazzle Parades in Minnesota in bone-chilling 16 degree weather. Now that’s dedication! This group of musicians enjoys playing no matter what the situation may be. Comprised of both civilians and officers, both active and retired, the band strives to make music fun for all, including themselves.The Jive Bombers February 25 2010, 0 Comments
Today, the U.S. military is often used as an example of racial equality and opportunity, but before 1948 segregation was the rule. Even though President Truman ordered formal integration, President Franklin Roosevelt made a step forward six years before that by suggesting that the Navy create black bands to elevate the status of black Navy men.Band Music from the Civil War Era February 25 2010, 0 Comments
On September 27, 1974, the Music Division of the Library of Congress recreated a typical concert of brass-band and vocal music from mid-nineteenth-century America. Recorded selections from that concert were presented. These recordings were the result of several years of research by Jon Newsom of the Music Division and many more years of experience and study by the late Frederick Fennell, founder and former director of the Eastman Wind Ensemble and professor of music at the University of Miami, and Robert E. Sheldon, then of the Smithsonian Institution's Division of Musical Instruments and presently Curator of Musical Instruments in the Music Division, Library of Congress. Because the purpose of these recordings was to demonstrate the style and quality of the popular music of the era, the musicians used instruments appropriate to the period.Tunes of Glory - Marches of Two World Wars January 20 2010, 4 Comments
The twentieth century will be remembered mostly, not for innovations, but the two largest conflicts in world history. The Great War from 1914 to 1918 was to be the “War to End All Wars,” but within 21 years the world again was involved in a terrible clash. The world still is engaged in a horrible conflict. It is, however, music which seems to have the ability to transcend the quarrel. Many marches have been written to memorialize the battles and military units.Vinyl January 20 2010, 0 Comments
This interesting article is proof that you never know what you'll find at the flea market! A Note about the author, Lt. Justin Thompson: He is an officer serving with the Canadian Forces 4th Air Defense Regiment. He is an artillery officer. This story is very fascinating and has a great deal of human interest. Vinyl Essay By Lt Justin Thomson Canadian Forces Gagetown, NB Contributed by Jack Kopstein To Joe and Martha Thatcher, that Sunday morning started off like any other. For the past year now they had spent every Sunday morning at the flea market, in the same corner every week, selling their relics, old VHS tapes, and a large collection of novels. Joe loads the car and takes one last look around the house. He spies the small stack of vinyl records, dusty in the corner. With hesitation he asks his wife, “Should we bring the vinyl?” Flea markets are often synonymous with large collections of junk. At first glance, I’m inclined to agree: to my left a middle aged woman is selling a candle holder with two German shepherds dancing around the candle; one of the dogs has only one eye remaining. There is a man in the back with a stunning collection of tins and buttons, with a stack of random National Geographic magazines dating back to August, 1972. Right in front of me an elderly couple are selling what seems to be a lifetime supply of romance novels, a stack of Disney VHS tapes, and a box of vinyl records. It’s the stack of vinyl that catches my eye and draws me over. A month before this trip I purchased a brand-new record player from the local mall. It’s something I’ve always wanted to have. For a long time I’ve had a deep appreciation for music. My father has been a radio announcer for 25 years, and over time I’ve learned to play a variety of musical instruments. Even though records were phased out by cassette tapes, and made even more irrelevant with the introduction of CDs and mp3s, there is something about the sound of music on vinyl that I just love. In just a few short weeks I’ve managed to build a decent collection of my favourites: Jimi Hendrix, Led Zepplin, Bob Dylan, Nirvana, and lots of classical. This particular trip to the flea market has me looking for Michael Jackson’s Thriller. Although Thriller was my main objective, I always keep an eye out for the obscure, as any good collector does. Last week at the flea market I found a priceless gem, an album entitled How to Train Your Dog. I sometimes wonder if I’m abnormal for picking up a lot of what I do, but then I’m reminded of one of my neighbours, who is so devoted to her gardening that she’ll cover half her lawn with umbrellas when it rains to keep her beautiful flower arrangements dry. I take comfort knowing I’m just as crazy as my neighbours. I start leafing through the elderly couple’s small collection. A few records are catching my eye, and I start setting them aside. Most of it is Christmas-related, the Charlie Brown Christmas story for example. As I’m nearing the end of their collection, I discover the inspiration for this essay. Tucked away behind an album of great duets by Conway Twitty and Loretta Lynn (which I also picked up) is an album titled, THE GUNS – A Centennial Tribute to the Royal Canadian Artillery. It’s the only military related vinyl in their collection. I pull it out and start to look it over. Pulling it out, I see that it’s in great condition, no scratches. I wonder if it’s ever been played. The elderly gentleman at the table finishes with a customer and notices I’ve pulled a few records aside. “The records are a dollar each,” he tells me. Putting on my best poker face I pay him for the vinyl’s, trying to disguise my excitement. I’m afraid he’ll notice my tremendous interest and like a good economist, jack the price up. Lucky for me he doesn’t pick up on my paranoia, and I hurry home to hear the results of my dollar well spent. When I get home I head right for my record player. A quick glance at the back of the album cover reveals the fifteen tracks that make up the vinyl. My knowledge of the songs was limited. I’ve been to a few mess dinners before and seen the lyrics for “Screw Guns” on some of the menus. I recall that I’d heard a young vice PMC lead a choir of mess dinner attendees in the singing of that same song at one particular mess dinner, allowing everyone to indulge in a much needed fifteen minute bathroom break afterwards. As I further examine the record I am impressed with the artwork design that was chosen to contain the vinyl. The front cover is a simple pattern of the artillery’s colors, with the insignia in the center. The inside cover is decorated with a 2-part print of four artillerymen standing by what appears to be a firing an M105. The text in the corner is a description of the artillery memorial located on the historical “Major’s Hill Park” in Ottawa. Along with the track listing, the back cover is decorated with artwork of an artilleryman in ceremonial dress about to fire a cannon. Canadian Parliament is seen in the background. The back also states that the vinyl was recorded by the Royal Canadian Artillery Band, under the direction of a Major C.A. Villeneuve. Not knowing very much else about the vinyl I found curiosity increasing. I decided to embark on a challenging crusade to find out as much information as I could about this historical treasure. I started my search on the first website that popped into my head: E-Bay. It’s not that I would ever consider selling this relic; but that my immediate curiosity had me wondering if there was an accompanying monetary value, perhaps more than the dollar I used to purchase it in the first place. Neither my search on e-bay nor my quick google search turned up anything relevant. Not the best start, less than a day in and I’d almost exhausted all of my resources for finding out more information. I had one more option available that I’d brainstormed: the Royal Canadian Artillery Museum. By calling the museum I was able to get in contact with Clive Prothero-Brooks, who works with the collections that come into the museum. He got back to me via e-mail a few days later. Despite having a collection of over 400 military vinyls, he did not have the album in question. He did, however, give me some useful information. He wrote, “I am guessing the date of release might be 1971, that would be 100 years from the formation of the RCA in 1871.” He wasn’t sure on how many vinyls had been pressed, but he guessed not many. He told me about the International Military Music Society (www.immscanada.ca), saying that he used to be a member, and that they might have more information. Seeing as how my e-bay and google resources had wilted faster than my neighbour’s flowers in the frost, I saw no other option than to go forth and try the IMMS. Clicking on their ‘contact us’ page I sent an e-mail to CWO (retired) Jack Kopstein asking for help. Jack Kopstein delivered. Not only is Jack a member of the IMMS, he is also the site admin at worldmilitarybands.com. Further to that, he’s written a book entitled, When the Band Begins to Play – A History of Military Music in Canada. Needless to say, an essential ally in my crusade for knowledge. He confirmed that the record was released for Oct 20th, 1971, the centennial anniversary of the Royal Canadian Artillery. At the time, the album was recorded in Montreal by the RCA band, the oldest in the Regular Canadian Army, dating from 1899. This particular band, under the direction of (then) Major Charles Villenueve, was the band that, a few years later, would go back into the recording studio and record all of the national anthems for the 1976 Olympics in Montreal. As the plot thickens I find myself needing more information. I send Jack the track listing and he sends me back a description of just about every track on the album. I discover that a lot of the tracks, for good reason, are deeply rooted within the history of the artillery. A few were initially written to honour British artillery. One folk song was written as a ‘trot’ song for mounted horseback troops pulling gun carriages. “Post Horn Gallop” was used as a call to alert all on the gun line that the mail had arrived, an obvious favourite among the troops. The opening track, titled, “A Centennial Salute” was written by one of the band’s own members, G. Pando. As the needle touches the spinning vinyl, history comes to life as a boisterous fanfare erupts into my living room, sounding triumphant, not unlike the opening theme from Star Wars. It only cost me a dollar. I used to play violin in an orchestra before I joined the military, so I have a certain respect for each instrument, and how one person can bring together all that sound with metronome-like unison. I’m talking of the conductor. Jack tells me about Charles Villenueve. He was the director of music for the band from 1968-1978, later became the Supervisor of Music of the Canadian Forces, and retired as a Lt Colonel. Although he doesn’t have his contact information, he supplies me with a few leads to follow up on. A few days later I would be rewarded. Lt. Claude-Christian Richer from the musical History and Heritage section of NDHQ sends me an e-mail. He has included Charles Villeneuve’s military biography along with a phone number where I can reach his residence in Quebec. From the bio I learn that not only was he the CF music supervisor, but also was the music services adviser for the Chief of the Defence Staff, and the commandant of the Canadian Forces School of Music. After he retired from the regular force in 1984 he remained active in military music, holding director and advisor positions within the cadet music system. He fully retired in 1990 and enjoys spending his winters living in Florida. This is relevant because when I called him he was only a few weeks away from heading south, making me consider pressing a few vinyl records myself, in order to become famous enough to be able to afford the same luxury. When I dialled the last digit of Charles Villenueve’s phone number and heard it start to ring, everything came together and hit me. This all started as an innocent trip to the local mall on a Sunday. Now I’m calling the man who directed this very band to play the very songs that I hear wafting through my apartment. I went from knowing nearly nothing about the album to getting to know so much more about the culture and history of military music, and the people involved. I’m so full of myself I almost forget that Charles is waiting for me to respond. “Hello?” Best not keep him waiting; the man wants to get to Florida before the snow hits. I explain who I am and how I got his number, and why I am calling. He is very friendly and more than willing to humour me and answer my questions. We spend the next half hour or so chatting about the album, the band, and his experiences. He tells me that the record took only two to three days to record. While recording, if someone made a mistake, they would stop and raise their hand so that the band could stop and try another take. Some mistakes were able to be covered up through the work of the recording studio. He tells me that the soloist who preformed the “Post Horn Gallop” has since passed away of cancer. The project itself was all funded by the Royal Canadian Artillery, and he wasn’t sure on how many copies had been made, but he did pull his out while we were talking. He figured there weren’t many out there. Up until 2007 he’d been conducting an orchestra in Florida while living there, but now he said he enjoys his time with his wife, kids, and grandchildren. Finally, he shared a funny story that occurred during the artillery centennial anniversary celebration in Petawawa during the performance of “Screw Guns”. The band started playing the tune, oblivious to the fact that the artillery was setting up for a gun salute. Half way through the song a deafening BOOM explodes from the howitzers set up next to the band. Everyone in the band stops playing except for a lone trumpeter. After realizing what happened the band shares a laugh and joins back in, and finishes strongly together. My view of the record has totally changed from when I first laid my hands on it. I now have a much deeper appreciation for everything that went into making it, and it feels good knowing that I own a piece of history relevant to my profession, and was fortunate to learn as much as I did. I must take to time to recognize Clive, Jack, Claude-Christian and Charles, without your help I would not have had the opportunity to discover all that I did, so thank-you. Thanks to all who helped me on this endeavour, as I only made mention to the major contributors, there were a few more people behind the scenes that helped steer me in the right direction. I’d like to end with something that Jack Kopstein said to me in his first e-mail. He suggested that I transfer the recording to CD or onto my computer if I had the means, as it is valuable because of its historical significance. It made me wonder how I was able to attain it for less than the price of a cup of coffee. Whether you believe in fate or not, there is no denying I was in the right place at the right time; I’ve since returned to continue my search for epic vinyl, and I always see that couple selling their treasures, but have never again seen them with their box of vinyl. Altissimo! has one album by the Royal Canadian Artillery Band, entitled Encore!, available hereVirginia Allen, Respected Military Musician January 20 2010, 0 Comments
We at Altissimo! think it's only appropriate to recognize those who've made a significant contribution to the musical world, and if it's military music, even better to recorgnize them. This month we'd like to introduce you to someone we think is pretty special. Our contributor, Jack Kopstein, sent us an email about Virginia Allen. She is a former army band director who now works at the Juilliard School of Music, building up the future of music by educating the talented youth of the new generation. See the following biography at her website, viginiaallen.com Virginia Allen is the Associate Dean for Administration at The Juilliard School in New York City, where she previously taught conducting, co-founded and conducted the Juilliard Trombone Choir, and served as Executive Director of the Starling-DeLay Symposium on Violin Studies. She is a former faculty member at The Curtis Institute of Music in Philadelphia. She was also Artistic Director of the Sun Valley Summer Music Workshops in Idaho, where she founded and conducted the Sun Valley Youth Orchestra. A former conductor in the U.S. Army Bands Program, Miss Allen was a pioneer for women in military bands. She was the first woman to command and conduct an active duty military band that included women when she was appointed Principal Conductor of The U.S. Army Forces Command Band in Atlanta. As the Associate Conductor of The U.S. Military Academy Band at West Point, she was the first woman conductor of that historic organization, as well as the Cadet Glee Club and Cadet Band. She also performed on stages from the Hollywood Bowl to Europe as the first woman conductor of the Army's premier touring ensembles from Washington, D.C., The U.S. Army Field Band and The Soldiers' Chorus. Her military career included an assignment as the Department of the Army Staff Bands Officer in Washington, D.C., where she managed over 100 Army bands and band activities worldwide. Miss Allen frequently guest conducts, adjudicates and teaches master classes in the U.S. and internationally. She conducted Joseph Alessi, Principal Trombonist of the New York Philharmonic, and The Juilliard Trombone Choir on a compact disc recording released by the International Trombone Association in 1999 and now available as Beyond the End of the Century through Summit Records. Miss Allen collaborated with Mr. Alessi again another Summit recording, Trombonastics. As a composer and arranger, her music has been premiered, performed and recorded by members of the Chicago Symphony, the Philadelphia Orchestra, the San Francisco Symphony, the Washington Opera Orchestra, the Dallas Symphony, the Buffalo Philharmonic, the Brazilian Symphony Orchestra, The Juilliard Trombone Choir, The U.S. Army Band, The U.S. Army Field Band, and The U.S. Military Academy Band. Her music has been published by Carl Fischer, Southern Music, Ludwig Music, and TRN Music. A member of ASCAP, she is a Board Member for the World Association for Symphonic Bands and Ensembles (WASBE) and a former Board Member for the Conductors Guild. Miss Allen studied French horn and conducting and earned a Bachelor of Music Education degree and a Master of Music degree in Performance from the Catholic University of America in Washington, D.C. and a Diploma in Wind Conducting from the University of Calgary. She also completed an internship in Performance Activities at Juilliard. She is currently completing her Doctor of Education in the College Teaching of Music at Teachers College, Columbia University in New York City. Copyright VirginiaAllen.comGoing Into Battle Armed with a Trumpet - from CNN.com January 19 2010, 0 Comments
Check out this great article from CNN.com! If you can't click it, copy and paste into your web browser: http://www.cnn.com/2009/US/11/05/vif2.pilot.trumpet/index.htmlSongs That Won The War December 03 2009, 0 Comments
It seems hardly possible with all the world strife happening that in 2010 it will be 65 years since the end of World War II. It is even more astonishing that songs we sang and played during the war are still popular and have taken on a complete life of their own. Young people and baby boomers alike have helped to keep the home fires burning, so to speak, with their support of the great “Songs That Won the War.”Notable Events: US Marine Band! December 03 2009, 4 Comments
Love the Marine Band? Here's a detailed look at past and upcoming Fall/Winter 2009 events, including a performance at the lighting of the National Christmas Tree at the White House TONIGHT, December 3rd, 2009!Community Band Spotlight: December 2009 December 03 2009, 0 Comments
The Chesapeake Bay Wind Ensemble is a non-profit band, which performs for communities in and around the Hampton Roads area. As a non-profit, the Ensemble tries to give more than just music to its community. Since its founding, the band has given over five thousand dollars in scholarships to promising youth in musical fields, permitting them to further their education. With a variety of performers, the Chesapeake Bay Wind Ensemble has been allowed to touch all ages within the Virginia Peninsula, while permitting the younger members to learn from the extensive professional experience of the older members.Community Band Spotlight: November 2009 November 04 2009, 1 Comment
The ROSEVILLE COMMUNITY BAND, from Roseville, Minnesota, began as the Roseville Municipal Band. Founded by Mark Lammers, the first organizational meeting was held on March 10, 1964. In 1970 Lammers accepted a postition at Gustavus Adolphus College and was replaced by Roger Sorenson who directed the band for one year...The British Grenadiers March November 04 2009, 1 Comment
The British Grenadiers is a marching song for the grenadier units of the British military, the tune of which dates from the seventeenth century. It is the Regimental Quick March of the Grenadier Guards, the Honourable Artillery Company and the Royal Regiment of Fusiliers. It is also an authorized march of The Royal Gibraltar Regiment, The Royal Canadian Artillery, The Canadian Grenadier Guards, The Royal Regiment of Canada, The Princess Louise Fusiliers, and The 5th Canadian Mounted Rifles.The Royal Nova Scotia International Tattoo November 04 2009, 0 Comments
HALIFAX, NOVA SCOTIA, CANADA contributed by Jack Kopstein [imagebrowser id=6] Featuring over 2,000 world-class Canadian and international military and civilian performers, the Tattoo continues to live up to its reputation as one of the world’s premiere cultural and entertainment events. The Tattoo strikes a unique balance, featuring pipes and drums, military and civilian bands, historic re-enactments, dancers, acrobats, choirs, military displays and competitions, drama and comedy in a number of innovative acts, in a fast-paced two and a half hour family show. The Tattoo is held annually at the Halifax Metro Centre during the first week of July. A different show every year, the Tattoo is a masterpiece of colour, music, artistry, athleticism and nostalgia that continues to amaze audiences each year. To date, 23 countries have participated in the Royal Nova Scotia International Tattoo. This past year was our 30th Anniversary! It featured many bands from all over the world! Here are some examples. CANADA: Stadacona Band of Maritime Forces Atlantic National Band of Naval Reserve Land Force Atlantic Area Band The Band of the Ceremonial Guard The Massed Bands and Pipes of the Canadian Air Force Pipes & Drums of the 2nd Battalion The Royal Canadian Regiment 3 Area Support Group Pipes & Drums 12 Wing Shearwater Pipes & Drums 14 Wing Greenwood Pipes & Drums Nova Scotia Highlanders Pipes & Drums Canadian Cadet Pipes and Drums The RCMP Pipes and Drums Royal Nova Scotia International Tattoo/Black Watch Association Pipes & Drums OUTSIDE CANADA: The Royal Band of the Belgian Air Force Copenhagen Police Band Military District Band I (Germany) Royal Fire Brigade Band Malmo Sweden Regimental Band and Corps of Drums of the Royal Welsh Middlesex County Volunteers Fifes & Drums (U.S.A.) The Royal Nova Scotia International Tattoo thrills an audience of 60,000 every year. For more information, please visit our website at www.nstattoo.ca Our thanks for info to: Leah Whitehead Group Sales, Media Relations and Publications Coordinator Royal Nova Scotia International Tattoo 1586 Queen Street, Halifax, NS B3J 2J1 Phone: (902) 420-4620 Fax: (902) 423-6629Federal Drum Majors - from Jack Kopstein September 23 2009, 1 Comment
At the time of the American Civil War, music played an important part in military affairs. On a practical level, commands and orders were communicated by drum, or by bugles or trumpets in mounted commands. Bugles and trumpets were also making inroads into dismounted units, where drums were still standard. For marching, company drummers were generally grouped into regimental drum corps, and sometimes fifes, and even a bass drum, were added to complete this "field music". However, regiments that could manage it organized proper marching bands, generally brass bands of from 16 to 24 players, in addition to their drum corps. These were standard for US regular regiments, and were also authorized for volunteer regiments in 1861.
Wealthier peacetime militia regiments had often hired professional bands, either for the occasion, or even on a long-term contract. Many such bands, some of them of a high musical standard, marched off to war with the early regiments; some only went as far as the railroad station, but others went to the front, and served as stretcher bearers in battle.
Some of these bands could number as many as 50 players, and in an army corps where most Regiments had bands, there might be 40 or such bands of music. In July 1862, Congress abolished regimental bands and only the fifes and drums were left. The bands were sorely missed and brigade bands were authorized in their place, while some regiments raised funds to support more modest regimental bands at their own expense, a practice which worked well in the British Army.
In the Confederate service, no such cuts were made, no doubt because not quite so many regiments had bands in the first place. As a result, a few Confederate bands served right through the war.
A drum corps was led by one or two NCOs entitled "principal musicians," one of whom was usually termed a "drum major" (or in mounted corps, a "trumpet major"), while "fife majors" were also sometimes appointed.
Where a band existed, one of the principal musicians would take charge and was generally termed the "leader." While drum majors may have marched at the head of bands, leaders appear to have been musicians; the drum major's main responsibility was for the drum corps, though separately organized civilian bands attached to militia or volunteer regiments would probably have their own drum majors.
Regulations covered the dress of company musicians, who wore the uniform of their unit, but with "herring-bone" braiding in facing colour on the coat front. Sometimes a drum major might wear no more than musician's uniform, with the distinctions of an NCO; no specific chevrons were prescribed, but a version of sergeant's or sergeant-majors' chevrons, with an additional star or crossed drumsticks, was customary. For bandsmen, regulations simply required regimental uniform with "such additions in ornaments as (the commanding officer) may judge properly." In practice, this could vary from quite modest modifications to elaborate uniforms that bore no relation to what, when fronting a band, a drum major would wear.
Thus attired, drum majors could make quite a show; when the raw student recruits of Company "1" of the Confederate 4th Virginia Infantry encountered a colossal warrior "with a fierce moustache waxed into rat-tails," arrayed in a uniform that made their eyes clink, they were convinced that they met up with the "commander-in-chief of all the Confederate armies," but were disgusted to learn that he was merely the drum major of the First Virginia Infantry!
One of the most prestigious militia units of the period was the 7th Regiment, New York State Militia, which in the dark early days of war was one of the first regiments to march to the relief of an anxious President and a beleaguered capital, its journey funded largely by its businessman Colonel, Marshall Lefferts. The Seventh's brief period of service was up even before the battle of First Bull Run, but its arrival at Washington had boosted the morale of the North, and hundreds of its members later served as officers, and even generals, in the Union armies.
In 1858, the Seventh's dissatisfaction with its band, under Bandmaster Noll, came to a head during an excursion to Richmond, when the "mutinous conduct" of Noll and his men proved too much; "The fatigues of the journey," opined the regimental chronicler solemnly, "the heat of the weather, and perhaps the free flow of wine and lager-beer, had demoralized the band ..." Thankfully, Noll's contract was up that November, and the next month band-leader and composer C. S. Grafulla (Washington Grays march, see note 1) was engaged in his stead; 38 musicians were selected for the new band, and a contract made for new uniforms and equipment. Under Grafulla's leadership, the band went on to establish a national reputation for musical excellence.
The full dress of the Seventh was a shako and grey tailed coat, but the band adopted a more modern style based approximately on US regulation patterns, with a dark blue cloth shako, dark blue frock coat with scarlet trim and "plastron" front, and sky blue trousers. The scarlet facings were, perhaps, a reference to the earlier artillery status of the Regiment. The drum-major's dress differed in several respects, having gilt epaulettes, and no plastron, but outer rows of buttons, nine in number as for the centre row. The cuff patches bore three small buttons, and the collar carried a brass "7".
Instead of a bandsmen's shako, the drum major wore a bearskin hat with a feather plume, gold tassels and a scarlet bag with gold cord trim. His scarlet baldric had brass fittings - apparently an eagle of the type worn on US regulation "Hardee" dress hats, linked with a chain to a shield bearing miniature drumsticks. The remaining trim was gold lace.
The trousers were not the sky blue worn by the other bandsmen, but the grey trousers of the Regiment's officers, with a double, gold lace stripe set on black. The waist belt plate is that prescribed by the New York militia regulations of 1858 - gilt, rectangular, two inches wide, with a raised bright rim, and bearing a silver wreath of laurel and palm encircling the letters "N.Y" in silver Old English characters. Though sergeants of this regiment carried straight NCOs swords, the drum-major, in common with the other senior sergeants, wore an M 1851 type company officer's sword, without sword knot, in a scabbard studded to fit in a black.
Drum Majors proved to be an invaluable inspiration to the troops and bandsmen as they strutted in front of the Civil war bands and the custom remains to this day with the hundreds of military, civilian and School bands across North America. Federal bands often led troops in momentous battles and the drum majors played an enormous part in the performance of the duties of bands.
Main Sources : FP Todd Military Equipage 1851, Francis A Lord “Bands and Drummer Boys of the Civil war”, Regulations for Uniform Dress of the United States Marine Corps 1859, January 1987 issue of MILIITARY MODELLING©
1. WASHINGTON GRAYS is performed on 5 ALTISSIMO recordings
The Bicentennial Collection
Forward march
Front and Center
The Great March
An American Patrol
Go to www. militarymusic.com for information
A Civil War Retrospect from Altissimo! September 23 2009, 0 Comments
A CIVIL WAR RETROSPECT FROM ALTISSIMO
11th Gettysburg Music Muster Sounds of the Civil War at National Military Park 27 August 2005 Performances by authentic Civil War musicians filled the air on Saturday, August 27, 2005 , at Gettysburg National Military Park during the ELEVENTH annual Gettysburg Music Muster. The concerts were one-of-a -kind performances, played mostly on original instruments, and featured songs of the Irish Union soldiers, balladeers, Victorian dance music and dance performances, along with fife and drum, and more Music Muster performances began at the park's Cyclorama Center outdoor stage with performances by The Federal l City Brass. Returning for the third year were *Jan Villenueva and *Mark Elrod who founded and the Federal City Brass in2002. The sound and appearance of a traditional 1860's regimental band are recreated with music of the civil war The band plays primarily transcriptions and arrangements in quintet format, closely based on original scores from band journals, published music collections and sheet music of the period. The band, based in Baltimore, is comprised of professional and volunteer musicians, music educators, historians and re-enactors. The Federal City Brass is one of fourteen Civil War bands from across the country that were selected to participate in the National Civil War Band Festival in2003. The Susquehanna Travellers are composed of four members playing the guitar, banjo, recorder and violin. They play music of the Civil War, concentrating on Irish and Military Songs. Music Americana is a-12-pieceorchestra specializing in period music from the mid-19th century. The repertoire of this dedicated group included old favourites as well as many lesser-known but beautiful waltzes, inspiring marches, lively reels and polkas. Instrumentation includes flutes, violins, clarinets cornets, and percussion. All Music Americana members dress in the style of the Civil War. Based in Harford County, Music Americana has performed in Maryland, Pennsylvania, Virginia, and West Virginia. The 77th New York Balladeers took center stage at the Cyclorama, lead by cofounder John C. Quinn. Quinn along with the Balladeers whom are dedicated to preserving the songs, history and spirit of the 1860s they use the original Civil War music arrangements and lyrics to convey the thoughts, motives, and sorrows of the men and women who lived during one of the most defining periods of our American heritage. The songs are sung as they would have been performed in camp or the family parlour in the 1860s. Another great Civil re-enactment band is the 5th Michigan Regimental Brass Band from Novi, Michigan, consisting of 28 members. Today's 5th Michigan Regimental band is a historical recreation of the 1861 Band of the 5th Michigan Volunteer Infantry. The Band's musical repertoire includes popular marches, polkas, schottisches and waltzes that were played around the 1860s for parades, military balls, and musters on both sides of the Mason-Dixon line. The band director, Lieutenant Colonel Guy Smith, meticulously transcribed much of the music using material from the National Archives and original sheet music. The music is performed on period antique and replica Saxhorns and wood drums. The band wears copies of the wool uniforms worn by the 5th Michigan soldiers during the Civil War. Traveling with the band is a colour guard and ladies in Civil War period attire. *Jan Villenueva is the music historian who researched and discovered the history of TAPS and has written a book on the subject. *Mark Elrod is the co-author of Civil war era Musical Instruments and military bands and is a world authority on civil war music and bands. From the pages and files of the Frederick News Post 25 August 2005 We hope to list all Civil war re-enactment groups in our pages shortly . Write a blog and tell us about your activities.Paul Lavalle and the Cities Service Band of America September 23 2009, 30 Comments
Paul Lavalle was a conductor, composer, arranger and performer on clarinet and saxophone. He was born Joseph Usifer on September 6, 1908 in Beacon, New York, and died in Harrisonburg, Virginia on June 24, 1997. Lavalle’s parents were Ralph and Jennie Usifer, both Italian immigrants. Graduating from Beacon High School, he planned to study law at Columbia University. After winning a scholarship there, Lavalle studied music at the Juilliard School and was a student of composition of Joseph Schillinger. He performed in many 1930s bands, including one in Havana, Cuba. In 1933, he became an arranger and clarinetist in the NBC Symphony Orchestra when it was conducted by Arturo Toscanini. His first composition to be performed with this orchestra was Symphonic Rhumba (1939), conducted by Leopold Stokowski on December 6, 1942.New Music Tuesday! September 18 2009, 0 Comments
The Golden Age of the Concert Band
Hello everyone! Continuing in our Air Force birthday celebration, this week's New Music Tuesday release is The Golden Age of the Concert Band from the US Air Force Heritage of America Band. Featuring the works of John Philip Sousa and Edwin Franko Goldman among others, this album showcases the value of the modern concert band and also how the leadership, vision, and originality of these composers shaped the growth of the concert band by promoting a common ground for professional and student musicians across America. Even today, the music of the American Concert Band can still delight audiences of all ages!Jack's Musings: Lt Charles Benter and the US Navy August 24 2009, 9 Comments
L t Charles Benter certainly must take his place as one of the pioneers of military music in the United States. Whereas many military band leaders succeeded to the leadership of well-known military musical ensembles steeped in tradition, he founded his own organization, brought it to a state of perfection and remained as the leader of the Navy band from 1919 to his retirement in 1942. He was Born in New York, New York in 1887 and died in Washington, D.C in 1964.The Band Plays On August 24 2009, 0 Comments
Forest is a great town in which to live for many reasons. One of these is the fact that we are one of the few small towns left which has its own band. The Forest Excelsior Band has been around since 1884! That means that this year, 2009, is the 125th anniversary (“quasquicentennial” - try saying that three times fast!) of the band. One of our band’s claims to fame is that it is the oldest civilian band that has been in continuous operation in North America. The Forest Excelsior Band has even received recognition in Ripley’s Believe It Or Not...Altissimo CDs on Display August 24 2009, 0 Comments
We here at Altissimo love our Fans! Recently a very dedicated fan named Jack Cottone sent us some pictures of his Military collectibles display. He was gracious enough to include Altissimo CDs in his display so we of course want to display these to all of you! [imagebrowser id=1] If you have any pictures of you and Altissimo products feel free to email them in to eric@militarymusic.comJames Reese Europe and the Hellfighters Band August 24 2009, 4 Comments
One of the most fascinating stories to emerge from the Black American experience in World War I was the history of James Reese Europe and the illustrious 369th Infantry Regiment band. When the United States entered World War I, Violinist Noble Sissle and Europe enlisted in the army together and organized a regimental band. The group accompanied the acclaimed 369th Infantry Regiment, the first American unit to arrive in France. The brave black unit, including the band, earned the nickname "Hellfighters" for its participation in several vital military campaigns.Jack's Musings: A Marine and a 'March King' July 30 2009, 2 Comments
Musings - Jack Kopstein
A MARINE AND A "MARCH KING" From Nostalgic Happenings A biography of John Philip Sousa by Malcolm Heslip* Sousa had been performing on violin and conducting as well following an early stint in the United States Marine band. He married in December 1879 and took up residence in Philadelphia. Less than a year later he took up residence in Washington D.C . The first hint of their move from Philadelphia came in September, 1880, when Sousa, again on tour, received a letter while in St. Louis. That letter contained an offer for him to become leader of the United States Marine Band. Sousa's father, although retired from the band, had helped negotiate the offer. The young orchestra director accepted the position. It placed him in charge of the "President's Own Band," the only musical organization to play for White House functions. In the years that followed, Sousa and the Marine Band played hundreds of public weekly concerts at the White House, the Marine Barracks, and on the steps of the Capitol Building. As leader of this band, Sousa established a national reputation for both himself and the band. He served with distinction under Presidents Rutherford B. Hayes, James A. Garfield, Chester A. Arthur, Grover Cleveland, and Benjamin Harrison. The Columbia Phonograph Company engaged Sousa's Marine Band to make some of the earliest recordings for the newly-invented phonograph. Sousa did not conduct for the recordings, however. Three Sousa children were born in Washington, D.C., beginning with John Philip, Jr. in 1881, followed by Jane Priscilla in 1882, and Helen in 1887. The nearly twelve years spent in that city provided an exciting time for the entire family. While walking in downtown Washington after he became a well-known person, Sousa was stopped by one of Washington's prominent officials. The Washington Post newspaper official said, "Over twenty thousand school children and parents will gather at the Smithsonian grounds Saturday. They will be there not only to hear your Marine Band concert but to get the names of the winners of my newspaper's Prize Essay Contest." "Yes," answered Sousa, "It will be a big day." "Is it asking too much to request that you compose a special piece for the event?" asked the official. "My newspaper will give it wide publicity and play up the fact that it will be the premiere performance of the piece." "It would be difficult to produce a complete piece in three days," came the answer. "Not for a young musical genius like you, who has the reputation of creating music at a faster rate than that," responded the official. "Of course I can do it, but it may not turn out to be one of my best pieces," he replied. Nevertheless, the young composer produced the piece on schedule. Wisely, he named it the Washington Post. Over twenty-five thousand individuals did show up that Saturday in 1889. They enthusiastically applauded the first public playing of this number. Many years later, when Sousa wrote about creating the Washington Post march, he said: It was chosen almost immediately by the dancing masters at their yearly convention to introduce their new dance, the two-step. I sold this famous tune to a Philadelphia publisher for thirty-five dollars.' In his lifetime, Sousa would compose some 137 marches. Perhaps all Sousa researchers and enthusiasts now place Washington Post, produced in these three days, in the top six of this long list of his marches. A century later, bands throughout the world keep this piece in their repertoire and play it regularly. The Washington Post march was just one of many marches Sousa wrote while a leader of the US Marine band. *The author Malcom Heslip was an early member of the Sousa Naval band during World War 1 **The "Washington Post March" is performed on numerous ALTISSIMO Albums and may be found by scrolling through the US Marine CD’s and from other service bands at www.militarymusic.com**
The Clarinets of the John Philip Sousa Band July 30 2009, 3 Comments
The following article was received from our contributor, Jack Kopstein. It was written by Jesse Daniel Krebs of Florida State University in 2006.The Clarinets of the John Philip Sousa bands
By: Jesse Daniel Krebs, Florida State University A Treatise submitted for the Requirements of a Doctor of Music (Degree Awarded Spring 2006)
The clarinetists of Sousa's bands were phenomenal musicians and well known in their day. Many of the clarinetists, like August Stengler, Joseph Norrito, and Edmund C. Wall became famous from solo appearances that showcased their skill. They were regularly featured in advertisements for clarinets in music journals and were among the first clarinetists to take part in recordings for the Berliner, Victor, and Edison companies. Many also performed with other prestigious ensembles, including the New York Philharmonic, the Philadelphia Orchestra, the New York City Ballet Orchestra, and the Metropolitan Opera Orchestra. Yet today, many musicians are unaware of these clarinetists and their accomplishments. In 1972, Vance Jennings speculated that:
Perhaps it is the nature of the band with its massed clarinet sound plus the schedule of traveling, all of which prevented the influence of the band from establishing a stronger influence upon a national clarinet sound.... Not one of the [Sousa Band] players listed by W.C. White is a name which exerted any strong influence upon clarinetists of a later generation. Those listed as "famous artists" in the Sousa clarinet section are A. Stengler, J. Norrito, H. Weber, M. Pasquale, W. H. Langan, S. Schaich, W. Daugherty, Paul Jahn, M. Urbain, S. Lacalle, and R. Noyes. This writer feels certain that these gentlemen were fine players, but it is interesting to note that none of them made sufficient impression during their lifetimes to be known today.
Yet these clarinetists were heard all over the United States and the world from their tour performances, and in many cases they might have been the only clarinetists that young musicians would have had the opportunity to hear. By the early twentieth century, Sousa's clarinetists had a reputation as being the best in the music business. Jazz clarinetist Drew Page was offered an audition for a tour with Sousa's band in the early 1920s. He recalled in his autobiography: I didn't think I was good enough. Since Sousa's band was the big time, I thought he must have the best clarinet players in the world. Max said I could take the last chair if necessary, but I couldn't be persuaded. I had known only one other professional clarinet player - the one I was working with at the time - and I couldn't believe I would compare favorably with the big-timers in Sousa's band. As Jennings stated, the large number of clarinetists who performed with the Sousa Band may have been a reason for their lack of influence on today's clarinetists. Other factors might include the diversity of backgrounds from which they came and the fact that they were not featured as soloists as often as some of the other instrumentalists in the band. Sousa once wrote, "Why does the world need bands? Why does the world need flowers, sunlight, religion, the laughter of children, moonrise in the mountains, great masterpieces of art? Why indeed? Because the world has a soul, a spirit, which is hungry for beauty and inspiration." Truly, Sousa's clarinetists added to that beauty, for their music was enjoyed by all who had the great fortune to hear it.