Lawrence E. Anderson

Sea Shanties

October 13, 2019 by Lawrence E. Anderson Leave a Comment

A fabled tradition from our seafaring past has all but disappeared from the rituals of men who go to the sea in ships. The era of singing sea shanties, or “songs of the sea,” was commonplace in the days of sailing ships, long before the 16th century. The singing of these sea songs was classified as folk music and was common in both merchant and naval war ships. Shanty, also spelled chanty or chantey, is derived from the French word chanter, meaning to sing.

On ships propelled by sails, singing of shanties helped make the sailors workload lighter and improved their spirits. The songs were not only used as work songs but were also sung for enjoyment and recreation.

“Music was important on board a sailing man of war, and instruments such as fiddles, fifes, and flutes were often played when sailors were off duty,” wrote Angus Konstam in Naval Miscellany. “There are reports of sailors singing on board until ordered to their hammocks at ‘pipe down;’ the men continuing to sing in their darkened berth.”

Sea shanties usually follow a similar form, made up of short verses and lively repetitive choruses. Lyrics were often ad-libbed, improvised and often repeated. The rhythm of a song was often more important than the words. Some songs had a call and response format.

While singing aboard ships was prevalent in the sailing era, dancing was a popular form of recreation and exercise and encouraged a positive spirit and attitude. Many sea captains encouraged the singing of shanties. The men enjoyed singing as it helped raise their spirits while doing hard, strenuous, and dangerous work, like furling sails high on the masts. Many songs were handed down from generation to generation and sung for decades. The British Royal Navy had numerous shanties, among these were: Nancy Dawson, Spanish Ladies, and Drops of Brandy.

Some larger ships carried a band that often played Rule Britannia, Hearts of Oak and Britons Strike Home, plus others. Some of the sea shanties originally sung on merchant ships were also popular on ships of war in the Royal Navy. Konstam wrote, “Music like sea shanties made the work appear easier, whether on board a merchant vessel or a sailing man-of-war.”

“Shanties contribute to the health, morale, rhythm and cohesion to everyday tasks of sailors and fisherman,” from The Shady Island Pirate Society.

Shipboard working songs date from the 15^Th century through the days of steamships into the first half of the 20^th century. The Golden Age of Shanties was in the mid-19^th century.

There are two main kinds of shanties: windlass and capstan are one kind, and forecastle or Halyard, another kind. The latter songs tell of historical events and ballads. The words and rhythms help the men work efficiently.

The famous composer, Ralph Vaughan Williams (1872-1958), arranged three British sea songs based on Princess Royal, Admiral Benbow, and Portsmouth. These sea songs were written for a British military band and make up the second movement of Williams’ great work, The English Folksong Suite.

To commemorate the 50^th anniversary of the death of Vaughan Williams, his sea songs were performed in 2008—at the last night of the “Proms”—the annual summer concerts in The Royal Albert Hall in London.

Some other popular sea songs are The Wide Missouri, The Banks of Sacramento, The Rio Grande, Drunken Sailor, Lowlands Away, Blow the Man Down, and What Do You Do with an Insmouth Sailor?

For years, sea shanties have been a vital part of seafaring and the men who toil at the myriad required jobs. The writing of sea songs goes way beyond the age of sailing ships. It is said that when no one was singing and the work was not going well, an officer would say, “Come on men, can’t any of you sing?” In other words, work went better when the sailors sang.

Many of us, at one time or another, have probably sung sea shanties without really knowing what they were or anything about them. All we knew was we enjoyed them, they were fun to sing, and left us with a good feeling.

Although sea shanties are not as prevalent as they used to be, they are still with us. More are being composed and there are even singing groups and societies where they are historically studied and promulgated. They are keeping this genre alive and well for future generations to enjoy.

Please submit your questions and comments to banddirector01@comcast.net. Visit our website at www.danvilleband.org for up-to-date information about the Danville Community Band.

The Steam Calliope

September 16, 2019 by Lawrence E. Anderson Leave a Comment

A venerated phenomenon of yesteryear is certainly the steam calliope. It was once a well-known fixture in the 19^th century and early part of the 20^th century. I believe that now in the 21^st century, it is widely unknown and obscure.

What is a steam calliope? It is a musical instrument that produces sound through a row of pipes that are connected to a steam boiler. Pressure from the boiler blows steam through metal whistles controlled by valves from a pinned cylinder or a keyboard. Keyboards were made from brass to offset the heat and moisture from the steam.

Background

Early experimentation with steam-driven sound occurred around 1732 and after. Most instruments were invented in Europe during this time, but the calliope is uniquely American in origin. Some of the first prototypes were locomotive whistles. Steam locomotives had plenty of steam to divert a small portion to a whistle that was very loud. A calliope usually has 32 whistles, but some may have as many as 67.

An American, Arthur S. Denny, circa 1850, was working on designs of a steam-driven organ previously conceived. He improved the design and construction. However, he did not patent his invention. Joshua Stoddard built a steam calliope and patented his design in 1855. His daughter demonstrated it in Worchester, Massachusetts on July 4^th, 1855. Other names sometimes attributed to the instrument are Steam Organ and Steam Piano. A distinctive feature of the early calliope was, it was an extremely loud instrument and could be heard for miles around.

The early venues for the calliope were riverboats and circuses. Because of its loud sound, one of its early uses was to attract attention and interest in circuses and fairs, thereby bringing people to these attractions.

What’s in a Name

How did the steam calliope get its name? It came from Greek Mythology. There were nine muses. The oldest of the nine muses was Kalliope, the muse of eloquence and ethic poetry. The name meant “beautiful voiced.” The “K” was changed to a “C”, hence the name calliope. The name meaning “beautiful voiced” is ironic because the sound produced by the instrument is shrill and loud, not what most would consider “beautiful.”

River Boats & Circuses

During the paddle-wheel era, many such boats were built for river travel. Most of these boats were on the Mississippi River, but there were also boats on the Missouri River and others. These boats provided an easy and convenient source of steam from their main boiler to run the calliope. It became popular to place a calliope on these boats, not only for entertainment of the passengers but also to announce the arrival of the boat at each stop along the way. Since the sound traveled far, the boats attracted large crowds.

The traveling circus was the other main venue for the calliope. Large circuses like Ringling Brothers and Barnum & Bailey used calliopes for many reasons. It was traditional upon arrival for the circus to have a parade through town to where the “big top” (circus tent) was set up. When on parade, the calliope was mounted on a very fancy, painted and decorated wagon, usually pulled by horses. It had a source of steam mounted on the circus wagon. Some circuses presented a short calliope concert before the main attractions.

How it is Played

The instrument can be played in two ways. It can be played manually by a pianist or organist. The keyboard is set up like a piano. It can also be played mechanically instead of an actual player. Around 1900, calliopes were beginning to use a box-drum or a roll-like a player piano. Some calliopes have the capability of both methods of playing while others have only one method.

The whistles that produce the sound from the steam going through them are tuned to a chromatic scale. The whistles are quite difficult to keep accurately tuned due to the variable temperature of the steam.

Merry-Go-Rounds/Carousels

There are other venues for the calliope besides riverboats and circuses. They are spread across the nation in many cities and towns. Calliopes are the source of music on many famous carousels. These special calliopes, for the most part, post-date the calliopes of the era of the riverboats and some of the circus instruments as well. Of course, not all carousels have a calliope, but those that do have an unmistakable sound.

Some carousels are quite old and acquire a reputation and a sizeable following from devoted fans. Some of the most famous have calliopes. Locally, we have some famous carousels, including one at the San Francisco Zoo (as a young boy I road on that one several times). There is one at the Oakland Zoo, and one at Tilden Park in the Berkeley hills. The one at the San Francisco Zoo is over 90 years old and has been refurbished and restored over the years to its original state and beauty. The carousel at Tilden Park was built in 1911. In 1976 it was named a historic place by the National Registry of Historic Places. It uses calliope style music

The Oakland Zoo carousel uses calliope style music also. We are fortunate to have historic carousels in the Bay Area for all to enjoy at reasonable prices. Take your kids for a carousel ride. I know they will enjoy the experience.

Modern Uses

The Beatles used tapes of calliope music in Sargent Peppers Lonely Hearts Club Band. Smokey Robinson’s, The Tears of a Clown featured a circus calliope. The Rock Band, Kiss, used it in Flaming Youth. Madonna used the calliope in her girlie show in the song, Holliday. Sponge Bob Square Pantsused it in the episode Free Samples. These are just a few examples of modern-day usage of calliope style music in contemporary times. Modern-day calliopes use compressed air rather than steam.

If you are traveling and contemplate a riverboat cruise on the Mississippi River or other great American Rivers, be sure to investigate and listen to the music of yesteryear on an authentic steam calliope. Take in the rare experience of a genuine paddle-wheel boat calliope concert. I’m sure you’ll enjoy it.

Visit our website at www.danvilleband.org for up-to-date information about the Danville Community Band or reach me at banddirector01@comcast.net.

Songs of Our Armed Forces

August 12, 2019 by Lawrence E. Anderson Leave a Comment

Last month on July 4^th, we celebrated our nation’s birthday with annual festivities including parades, family and friends’ get-togethers, barbeques, fireworks, and especially patriotic music. Similar celebrations occur on Memorial Day in May and Veterans Day each November. What could be more appropriate than honoring the men and women of the five military services—the Army, Navy, Marines, Air Force, and Coast Guard—than by playing patriotic music?

Most people in America know these patriotic songs and many even know the words. These songs have been with us and are part of our heritage our entire lives. We often take them for granted, but how many know the origins of the songs? Not many I would venture to say.

United States Marine Corps: The oldest of the service songs belongs to the Marine Corps. Both the words and the music date from the 19^th century. Some of the words were taken from corps mottos. “To the shores of Tripoli” were from a service flag after the battle of Derna, Libya in 1805. Some words have been attributed to Colonel Henry C. Davis who was in Mexico during the Spanish American War (1846-1848). “The Halls of Montezuma,” came from that conflict. Later, lyrics in the song came around the turn of the 20^th century. A Marine magazine called The Leatherneck first published the Marine Corps song in 1919, and ten years later in 1929, it was officially adopted as the official song of the Corps.

Since the aviation branch of the corps was added, a revision of the words was changed to reflect the presence of the air-corps and pilots in 1942. The change was from “On the land as on the sea” to “In the air on land and sea.”

From 1880 to1892 the famous and revered director of the Marine Band was the indomitable John Philip Sousa. Some of his most famous marches were composed while he was the director of the band.

The melody of the Marines Hymn most likely came from the French operetta by Jacques Offenbach called Genevieve de Brabant, of Can-Can fame. The Marines Hymn is not the only piece of music attributed to the Marine Corps. The march, Semper Fidelis (Always Faithful) was written by Sousa in 1888. This march was honored by becoming the official march of the Marine Corps. Sousa himself said it was one of his finest.

United States Navy: The official song of the U.S. Navy is Anchors Aweigh. It was originally conceived and composed as a fight song for the football team at the United States Naval Academy at Annapolis, Maryland. It was the custom of the academy band director Charles A. Zimmermann, to write a march for each graduating class.

Alfred H. Miles was a midshipman who was a junior. He collaborated with director Zimmermann to write a piece for his class of 1907—one that would be both inspiring and would live forever.

Zimmermann agreed to Miles request and set out to compose the piece. Miles took Zimmermann’s music and wrote two stanzas of words that were to be used at the annual Army-Navy Football game. Navy had not won the rivalry since 1900. The crowd was downcast in anticipation of losing another game. Lo and behold, the band played Anchors Aweigh and suddenly Navy scored. The band played the song again and Navy scored another touchdown. The game ended in a Navy shutout. Army did not score. The crowd went wild. Many thought the win was due to the academy band playing Anchors Aweigh.

The song was not made the official song immediately, but as time went on, it was officially adopted by the Navy. Some of the lyrics were changed in 1997 from an emphasis on the Naval Academy to become more representative of all the members of the Navy.

United States Army: Historically, the Army is the oldest branch of the armed forces. In its long and revered history it has several songs, marches and other pieces of music. They were first played by bugles and fife and drum corps. However, it was many decades before the army adopted an official song. The origin of The Army Goes Rolling Along dates back before WWI. The story goes that in 1908 Lieutenant Edmund L. Gruber, of a field artillery unit, was watching his men move the caissons (carts to carry ammunition) when he heard a command “Come on, keep ‘um rolling.” Upon hearing this, Gruber wrote several stanzas and with fellow officers came up with a tune for his words. He called the song The Caissons Go Rolling Along.

The song really caught on with the soldiers and the army; so, in 1917, they sought out J.P. Sousa and commissioned him to orchestrate it into a march. In 1918 the U.S. Field Artillery March was published for the first time. This march was still not considered the official song of the army until many years later. Ironically by the end of WWII, every branch of the service but the army had an official song. A contest was held with over 700 pieces submitted. The chosen song, The Army’s Always There was written by a civilian, Sam Stept. It was played at President Eisenhower’s inauguration in 1953 but it proved to be unpopular.

Officials voted to ask the army’s major commanders to decide and they voted for the song that had been sung for decades, The Caissons Go Rolling Along. To bring it up to today’s army the lyrics were changed by Harold W. Arberg, a musical officer stationed at the Pentagon. On Veterans Day, 1956, The Army Goes Rolling Along became the official song of the U.S. Army.

United States Air Force: The U.S. Air Force did not exist as its own branch of the service until 1947, two years after the end of WWII. In earlier times they were the aviation branch of the U.S. Army Air Corps. In the 1930s the song about the “wild blue yonder” was composed. U.S. Brigadier General Henry Arnold thought the Air Force needed a fight song. He had the idea to hold a national songwriting contest to select an appropriate song. In 1938 Liberty Magazine sponsored the contest. They received hundreds of submissions. The one selected came from Robert MacArthur Crawford, who was also an amateur pilot. The song was called The Army Air Corps March. The first time it was performed was in 1939. After the Air Force became a separate branch it was re-named The U.S. Air Force Song. It became the official song at the time the Air Force was established.

United States Coast Guard: During WWI President Woodrow Wilson created the Coast Guard in 1915. That was 41 years before the U.S. Air Force came into existence. Many may think the Coast Guard was the last service established, but that is not the case. A contest was held to adopt a song for the new service in 1927. Captain Francis F. Van Boskerck entered the contest with a song he had earlier composed. He was inspired by the Coast Guards motto, Semper Paratus, which translates to “Always Ready.” At the time he was writing the song, he was the commander of the Bering Sea Forces in the Aleutian Islands.

He composed the song on an old borrowed piano that apparently was the only one for miles around. The captain’s song, Semper Paratus, won the contest in 1928. It was then adopted as the official song of the U.S. Coast Guard.

Millions of Americans have most likely heard these service songs, some many times over. They are an important part of our heritage, our national pride and our sense of patriotism. What person does not have a special feeling when a military band marches down the street playing their service song?

I, for one, swell with a sense of great pride to be an American and I get an emotional rush when I hear one of the great service songs being played or sung. Long live the great songs of the five military branches of our armed forces.

The idea for this article came from Linda Aguirre, talented oboe and English horn player in the Danville Community Band. She not only recommended the title but also provided the research material, entitled How the Services Got Their Songs, by Linda Mcmaken.

Please submit your questions and comments to banddirector01@comcast.net

Visit our website at www.danvilleband.org for up-to-date information about the Danville Community Band.

Fife & Drum Corps

July 10, 2019 by Lawrence E. Anderson Leave a Comment

For most people it is common knowledge what a band, orchestra, chorus and even a string quartet is, and what they look like. But I would venture to say many people know almost nothing about a fife and drum corps.

In America, fife and drum corps date back to the colonial period and the founding of our country. With war on the horizon they were especially prevalent and important during the Revolutionary War. Fife and drum corps were a vital part of our early military history and served bravely in the many battles and wars in the early years of the Republic.

The colony of Virginia trained fifers and drummers to work with soldiers in the field. These musicians were all boys, 10 to 18 years old. Can you imagine boys of this age going into battle? They did not have guns or swords – all they had were their instruments.

Virginia, circa 1778, needed military involvement and protection for the capital city of Williamsburg. The general assembly of Virginia established the Virginia State Garrison Regiment. Troops were stationed at the towns of Hampton, Yorktown and Williamsburg, Virginia. Fife and drum players were assigned to this regiment and 22 boys made up the corps.

Today, the Colonial Williamsburg Fifes and Drums, also known as the Field Music of the Virginia State Garrison Regiment, has kept the tradition of this group alive since 1958. The modern Williamsburg corps is made up of both boys and girls 10 to 18 years old. Visitors enjoy this re-enactment of the revolutionary traditions and learn about the various aspects of the American Revolution.

Today these musicians are chosen from the long waiting lists of young boys and girls from local communities. They learn their introduction to military music at age 10 and practice once a week for the next eight years until graduating high school.

These young fife and drum players are considered musical ambassadors. They talk to the visiting public about 18th century military music, and the history surrounding the Revolution. The corps performs over 700 appearances each year. These young musicians have come to symbolize what is best about our country’s traditions dating back to its inception.

Early Beginnings

Historically, the first time the corps, using early ancestors of the fife were organized, was in Switzerland in the late 13^th century. In Europe fifes are called Schweizefeifs or Swiss Flutes; used in their modern form since the 16^th century.

In the 1400s a more developed and organized military need arose, and the corps had a more universal presence. The principalities of Germany used this form of military music in the 1500s and 1600s.

Queen Anne of England was succeeded by George I of Hanover, Germany. During this time the English army was rather undisciplined and disorganized. In due time it was reorganized into a more disciplined body with the help of the fife and drum corps. This English model was used and adopted by the colonist in Virginia.

Revolutionary Times

Music was very effective for motivating troops to march long distances and keep a positive attitude while enduring hardships along the way. Napoleon used the corps as a motivating factor with apparent positive results. Music was also used in camp-life to announce times to gather, rising in the morning, breakfast call, lunch, duty calls, dinner and lights-out.

During the Revolutionary War, both British and American armies used fife and drum music for tactical signals. Some examples are: when to advance, fire, cease fire and retreat. There is some disagreement about when the fife was first introduced in America. Some say it came with the colonists and others say it came later, around the time of the Revolution.

Civil War Times

The music of the fife and drum corps continued to be used by the American military up to and into the Civil War. With modern arms and methods of transportation, by both trains and steamboats, the corps was no longer needed and became obsolete. After and during the Civil War the bugle replaced the fife and drum corps. As the Civil War era phased out the corps in the military establishment, a new and revitalized role for the corps was being formed.

Civilian Era

During the 1876 Centennial of the American Revolution, the civilian fife and drum corps was born and developed a new, revitalized role. The new corps became very popular as patriotic and nostalgic Americans re-created the traditions and music of earlier times.

Many local communities formed fire-fighting companies that strongly supported fife and drum corps as town bands. These companies were the forbearers of folk-like traditions that drew support from all ages and generations of Americans. These civilian corps represented and re-created music from the Revolutionary War and Civil War. These groups were primarily located along the east coast from Virginia to Massachusetts. Connecticut appears to have the most groups.

The Kentish Guard was founded in 1774 in Greenwich, Rhode Island. They are the sixth oldest military organization in the United States in un-interrupted service. Their repertory consists of traditional, corps tunes and authentic pieces of the original corps of 1774. They play at military ceremonies, gubernatorial balls and for visiting VIP’s.

“It’s important for all drum corps to retain their distinctive sound and to carry their traditions forward – all will be lost if we alter our music, this is history, it has to remain the way it is,” said, Don Buell of the Chester, Connecticut Fife & Drum Corps.

The repertory of the corps consists of Yankee Doodle, York Fusiliers, Chester, Civil War tunes, including, The Girl I left Behind, The Battle Hymn of the Republic, American Patrol, America the Beautiful, Blue Bells of Scotland, Bonnie Doon, Hail to Columbia, My Country Tis of Thee, and more.

Design and Construction

The fife is defined as a small flute-like instrument with six to eight finger holes and usually no keys. Technically it is like a flauto traverso (transverse flute) that means horizontally held and played across the body. Most instruments are made from wood such as blackwood, grenadilla, rosewood, mopane and other dense woods. Some fifes are made of metal. In modern corps the fifes are replaced by the piccolo.

Colonial and revolutionary style drums are somewhat different than our modern-day snare drums. They are much longer and have rope tension on the drumhead rather than springs and/or threaded bolt-like fasteners. The ropes create tension on the heads, changing the sound produced by the drum.

Bass drums were also introduced in the corps. Unlike the British corps the tenor drum is not usually used in American groups. Drumheads were made from lamb or calfskins but in modern times they are made from plastic.

Uniforms

Typically, the uniform worn by the fife and drum corps is an authentic replica of the uniform of the corps of revolutionary times. This includes a tricorn or three-cornered “cocked hat,” waistcoat, knickers (knee breeches) ruffled cuffs and buckled shoes. Also, Civil war style uniforms of the Union and Confederate armies are worn by contemporary fife and drums corps.

Some time after the Revolutionary period, there was an extensive time of writing and publishing manuals that told of the methods to heighten the performance level of fifing and drumming. These were prevalent between 1801 to 1826.

In modern times fife and drum gatherings have become very popular in the town of Deep River, Connecticut. This has become a favorite venue for these popular meetings of the corps. Other performance venues include parades, concerts, festivals and state and local fairs.

The fife and drum corps are a rich chapter in the lore and fabled story of the founding of our wonderful country. We are indeed fortunate to have this legacy preserved in many townships across the nation. If you haven’t experienced a fife and drum performance, treat yourself to this bit of living history in your future travels.

The research for this information was enhanced by Fife & Drums in America by Ed Olsen. Also, an article, A History of the Fife & Drum Music of the Kentish Guards Fife & Drum Corps was helpful with this subject.

Please submit your questions and comments to banddirector01@comcast.net

Visit our website at www.danvilleband.org for up-to-date information about The Danville Community Band.

Musicians Who Overcame Physical Adversities

June 11, 2019 by Lawrence E. Anderson Leave a Comment

Remember to look up at the stars and not down at your feet. ~ Stephen Hawking

Many people, from all walks of life, have illnesses, afflictions or handicaps that do not prevent them from achieving their goals and having successful careers. It is indeed inspiring that people with debilitating health problems can and do achieve greatness and overcome their adversities.

Many feel composers, musicians and music people in general, live in a different world than most of the population. Perhaps they think because musicians have a special talent or ability (some feel it is God-given) they are not like “main-stream” individuals. Regarding health issues, this is not the case at all.

Musicians and composers are merely a microcosm of society in general. They are subject to all the ailments that we mere mortals endure. Yes, some disorders are more common in musicians, but in general they suffer the same diseases and afflictions as the rest of the population.

Many composers and musicians, especially in years past, were basically unhealthy and prone to all kinds of physical and emotional stresses and debilitating illnesses. Given the heavy burden of coping with pain and distress, it is truly remarkable that they were able to create and compose great, magnificent music throughout their working careers. However, some afflictions developed near the end of their careers. This explains the volume of their work that was accomplished before their health problems became serious.

Health Problems: Some common physical problems musicians have are repetitive strain injuries; caused by doing the same physical movements repeatedly. Carpal Tunnel Syndrome is one example. Tinnitus, and other hearing impairments, are common to musicians; probably caused by the constant level of sound they experience.

Respiratory disorders and mouth and teeth aliments are often present in wind instrument players; partially due to improper cleaning of the mouthpiece and the instrument. Musculoskeletal disorders and skin problems, among others, may contribute to career-ending disabilities. Overuse Syndrome may include Temporomandibular Joint Dysfunction (TMJ), Bursitis, and Tendonitis. These can be caused by heavy practice, incorrect posture and lack of rest.

A study by R. Lucia entitled, Effects of Playing a Musical Wind Instrument in Asthmatic Teenagers reported that “Playing a wind instrument has the potential of being a long-term therapeutic agent for asthmatics.”

Brass instrument musicians often experience Tinnitus, ear aches, malocclusion, unrestful sleep, emotional and even psychic disorders. Percussion players are exposed to loud sounds that often leads to hearing loss.

Prevention of these disorders can be accomplished by a comprehensive education plan reducing or eliminating the negative effects of these elements. If not checked they could lead to a shortened career or even worse, a shortened life!

Contemporary Musicians/Composers with Disabilities

Some blind musicians include Ray Charles, pianist/singer who became blind by age 7; Stevie Wonder, pianist/singer was born blind; George Shearing, Jazz pianist, was born blind; Jose Feliciano, singer/guitarist was born blind; Sammy Davis Jr. singer/dancer/instrumentalist, became blind in one eye due to a car accident; and Andrea Bocelli, singer/song writer, became blind at age 12 due to an eye injury accident. Hearing impaired singers include Johnnie Ray; Michael Bolton, and Brian Wilson of the Beach Boys, to name just a few. Mel Tillis, the country music legend, stuttered; singer, Rosemary Clooney was bi-polar, and Cher is dyslexic. Violinist Izhak Perlman had polio.

Musicians/Composers from the Past

The deaths of J.S. Bach and George F. Handel drew the Baroque Period to a tumultuous close. Unfortunately, these two giants both went blind in their 60’s, late in their careers. Blair Sanderson, wrote “The most famous disability in music history was the deafness of Ludwig Van Beethoven.” How devastating can it be for a musician to be deaf? Beethoven’s deafness started around 1796 and by 1824 he was totally deaf. He wrote the monumental 9th Symphony while deaf. Cause of his deafness was believed to be, his inner ears were malformed with lesions; of course, that is speculation.

Beethoven said, “Yet it was impossible for me to say to people, speak louder, shout! for I am deaf! Oh, how could I possibly admit an infirmity, in the one sense, which ought to be more perfect in me than others, a sense which I possessed in the highest perfection, a perfection such as few in my profession enjoy or ever have enjoyed.”

Wolfgang Mozart contracted Rheumatic Fever in childhood. This may have contributed to illnesses, high blood pressure and stress. Two doctors may have contributed to his earl demise by blood-letting; a common practice in the 18^th century. The genius Mozart died at the age of 35. He still composed over 600 works, many while he was in ill health. Just think what his contributions would have been if he had lived a normal lifespan.

Depression

Among famous composers that suffered from this ailment were: Robert Schumann; Piotr Ilyich Tchaikovsky; Sergei Rachmaninov; Hector Berlioz; Mikhail Glinka; Anton Bruckner and Charles Ives. Many of these composers, although depressed, were able to continue in their careers successfully.

Even the most invincible composers and musicians are subject to the vicissitude’s trials and tribulations of the common man. These men and others like them are examples of triumphs over their adversities.

Although he was not a musician, Stephen Hawking is an outstanding example of overcoming an incredible disability. Aworld-famous British physicist, he was one of the most beloved scientists in this generation. Hawking was diagnosed with ALS (Lou Gehrig’s Disease) at the age of 21. He became completely paralyzed and was confined to a motorized wheelchair. Hawking defied ALS for five decades before he died in 2018 at the age of 76. Normally, ALS takes most people’s life in two to three years. Even though his body was completely paralyzed, and the disease took away his voice; that did nothing to curb his contribution to science. He said, “If you are disabled, it is probably not your fault, but it is no good blaming the world or expecting it to take pity on you. One has to have a positive attitude and must make the best of the situation that one finds oneself in if one is physically disabled. One cannot afford to be psychologically disabled as well. However difficult life may seem, there is always something you can do and succeed at.”

Hopefully, his advice will be uplifting to all.

Please submit your questions and comments to banddirector01@comcast.netVisit our website at www.danvilleband.org for up-to-date information about the Danville Community Band.

Charlie Chaplin

April 7, 2019 by Lawrence E. Anderson Leave a Comment

Comic Actor, Writer, Producer, Director, Film Maker, Composer

Perhaps millions of people, worldwide, knew Charlie Chaplin, as a comic actor who appeared in numerous films specializing in comedic roles; but how many knew him as a musician, singer, instrumentalist, and composer of songs and film music?

Chaplin wrote the music for almost all his films. This came as a complete surprise to me, until I recently heard music composed by Chaplin on the radio. I was astounded, as I had never heard of Chaplin as a composer. Numerous books and articles have been written about Chaplin, but they usually don’t concentrate on Chaplin, the musician and composer.

Early Life: Charles Spencer Chaplin was born April 15th or 16^th (the day is disputed), in 1889 in South London, England. His father, Charles, was a music hall star and his mother, Hannah, was a singer in music halls. Young Charlie was exposed to music, dance, acting and singing at a very early age, by both parents. His early years were spent in the English music halls and vaudeville theaters.

At five years of age, Chaplin’s father took him to a music hall where his mother was scheduled to sing. Her voice was weakened, and she couldn’t perform. (Unfortunately, his mother later suffered from mental illness and eventually was committed to an asylum.)

It was decided that the young boy would take her place. “During his performance the audience started to throw money at him; he couldn’t gather it up fast enough. The audience laughed and shouted as they just couldn’t get enough of him. Obviously, this made quite an impression on young Chaplin,” wrote Kenneth S. Lynn, in Charlie Chaplin and His Times. The influence of the English music halls was present in Chaplin’s composing. “It was the music halls that would represent the breath of the streets and the dreams of ‘ordinary’ men and women on the stage,” wrote Simon Louvish, in Chaplin the Tramps Odyssey. “The music halls were his Eton College and his Harrow School for Boys; referring to the schools that he infrequently attended.” In other words, what he heard in the music halls was the basis of his education.

One day, Chaplin was walking around Kennington Cross in South London, when he heard the song, “Honey Suckle and the Bee,” being played by a clarinetist; Chaplin remarked, “It opened my soul to music.”

Chaplin was so enthralled with music he bought a violin. Being left-handed he reversed the strings and the bridge so he could easily play. He also learned to play the piano and cello. Again, he reversed the strings and the bridge on the cello allowing him to play left-handed. He practiced for hours at a time and became proficient on these instruments. He said music cheered him up when he was grim. He wrote,” I strove for a mood, usually music created it.”

Chaplin once heard a Hungarian violinist in a restaurant. He was so intrigued, he stayed four hours until closing time. Later, after 27 years, Chaplin remembered that violinist and brought him to life portraying him in an act, with Buster Keaton on piano.

During the years 1913 to 1919, Chaplin rose to fame in Hollywood. He was considered a super-star of the silent film era, doing a series of short comedies where he introduced his “Little Tramp” character. After 1918 he produced his own feature length films. He was a silent film star who easily transitioned into the “talkie” era. This was the start of a notable career, lasting more than 75 years.

Chaplin’s most famous character, “The Tramp,” was portrayed in five of his films dating from 1921 to 1935. They are: The Kid, The Gold Rush, The Circus, City Lights, and Modern Times, all became famous, popular movies.

A story that is most likely significant in the creation of the “Tramp” character, is about entertainer, George Robey. He was a music hall favorite who sang comic songs and had a very funny delivery. He dressed in a black clergyman’s coat, wore an ill-fitting bowler hat, elongated shoes and carried a flexible cane. Another prop was his black mustache that took on different permutations for different characterizations. “Could this be where Chaplin got his inspiration for “The Little Tramp?” wrote Simon Louvish, in Chaplin: The Tramps Odyssey.

Regarding Chaplin’s film making, much of it was innate, but he also learned from Mack Sennett, who was known as the “King of Comedy.” Sennett learned from D.W. Griffith, who also influenced the young comic. Chaplin was a tough task-master and disciplinarian and was not afraid of hard work, expecting the same from his employees. He sometimes spent hours and days on one shot in order to make it perfect. Chaplin made more than 70 films in his long career, composing the music for many of them.

In many ways Chaplin felt compelled to compose not only songs, but entire film scores for his many movies that he not only wrote, produced and directed, but starred in himself.

Music and Composing:

(Some information in this section was from Phil Posner’s article: His Musical Career: Chaplin The Perfect Composer)

Chaplin was not formally trained in music. His parents, being in show business in the English music halls, were responsible for his early learning experiences. He was blessed with a keen musical ear and a very good sense of rhythm. As a child, he became aware of the magic and mystery of music. He didn’t understand it, but he loved it.

It must be remembered that a large part of his film making, and acting was in the silent movie era. In this era, it was customary to have some musical accompaniment to go with the action on the screen. The music ranged from a single player on organ or piano all the way to a full symphony orchestra in the larger theaters. Before the 1920s the musical selections were largely left to the discretion of the local musicians. On major productions the studios would send cue sheets to indicate to the musicians what to play in certain scenes. The

purpose of the music was to enhance the dramatic action on the screen, whether comedy or tragedy.

Chaplin became aware of different musical styles both from performances he was in and from those he attended. Ragtime, jazz, show tunes from Broadway, and classical pieces, were often used in his own music, as he was very eclectic in composing.

In his comedic style, emotional content was paramount. He controlled mood in depicting situations and characters that were important for the audience appreciation of the story and the performers. To his credit he was aware of his own limitations as a composer and was not adverse to using arrangers and music directors when he felt he needed them. His music was said to be simple, elegant, romantic, but not too comedic. His first film score, The Kid, was made in 1921, before talkies.

In his music written for the talkies, it was, understandably, more subdued than his music for the silent era. The silent era music played almost an equal role to the action on the screen. Chaplin used a recurring theme or leitmotif, assigned to each character. Again, mood was very important in both depicting situations and characters. He used exciting chase music that added to the excitement and comedic action on the screen. He used short musical phases to accent an action or situation. Usually his music was serious unless he mimicked the action with appropriate music. Many of his musical sequences were dance rhythms—waltzes, tangos and two-steps.

Melodic development was an important part of Chaplin’s music. Some great melodies were assigned to female actresses. His melodies have elements of sweetness, loveliness, touching, and feeling. He re-used some of his own movie themes, he was not above self-borrowing. He also paraphrased other composer’s music for his own films. Some examples are: How Dry I Am, Comin through the Rye, Loch Lomond, The Flight of the Bumble Bee, and Sleeping Beauty.

Chaplin’s concept of character was both brilliant and original. His pictures that portrayed little nuances of vulgarisms came from his training and exposure in the music halls. “No other composer could have so well formed the moods and emotions for his films,” wrote, Phil Posner in his article, His Musical Career: Chaplin The Perfect Composer. “He was the only composer to be fully aware of their effects and was the perfect composer to attain them.”

Some of his familiar songs are: Smile, The Vagabonds, Breakaway, Getting Acquainted, Easy Street, His Trysting Place, Life After America, The Fatal Mallet, The Face onThe Bar, and The Circus.

Chaplin’s best-known films are: The Gold Rush (1925), City Lights (1931), and Modern Times (1936). Chaplin designated City Lights as the finest film he ever made. He said the music was one of the primary reasons for this conviction.

Chaplin, most likely, considered himself a lady’s man as he had numerous affairs, girlfriends and wives, frequently at the same time! He had four wives: Mildred Harris, his first wife, then, Lita Grey, Paulette Goddard, and Oona O’Neill; the daughter of Nobel and Pulitzer Prize-winning American playwright, Eugene O’Neill. (In 1937, O’Neill moved to Danville, California to “Tao House” where he wrote three of his most famous plays. Today the home is a National Historic Site that is open to visitors.) When his daughter, Oona, married Chaplin she was only 18 years old and he was 54, a 36-year difference.

In addition to his other accomplishments Chaplin authored several books, two of them were of an autobiographical nature: My Auto-Biography (1964), and My Life in Pictures (1974), written just three years before his death. Queen Elizabeth II, knighted Chaplin in1975. He became Sir Charles Spencer Chaplin, KBE (Knight of the British Empire).

Chaplin is regarded as one of the greatest comic actors ever to grace the silver screen, then and now. He is universally known as one of the most important and influential men in the film industry. Chaplin’s movies and music still enjoy world-wide appeal and fame and no doubt will, for years to come.

Please submit your questions and comments to banddirector01@comcast.net Visit our website at www.danvilleband.org for up-to-date information about the Danville Community Band.

Edvard Grieg and His Music

March 12, 2019 by Lawrence E. Anderson Leave a Comment

It is safe to say, not many classical composers are well-known to the general public, however there are some exceptions, and among these is the Norwegian composer, Edvard Grieg. His famous works have become world-wide favorites and the “Peer Gynt Suites” are at the top of the list.

The Composer

Edvard Grieg (1843-1907) was born in Bergen, Norway. His early training, at age six, was from his mother who started him on music lessons. At age 15, he went to Leipzig, Germany and studied piano and composition at the Leipzig Conservatory. It was reported that he conflicted with the school’s philosophy, so he eventually returned to Norway. After returning to Norway, Grieg met with Rikard Nordraak and together they organized the Norwegian Nationalist School of Music. In 1867, Grieg founded the Music Union in Christiana, (now Oslo) and was its conductor until 1880.

Scandinavian nationalism in general, can be described as a reaction to German-romanticism. This was due to some Scandinavian composers receiving their early training in Leipzig. Grieg was considered the most popular of the Scandinavian nationalist composers. He loved the customs, native traditions and wild mountain scenery of his native country. Grieg was creating a “Nordic Sound.” He was an important factor in furthering Norwegian nationalism by writing pieces using traditional aspects based on popular music. He took an active role in the national musical life of Norway.

Nationalism had a local flavor with its roots in Russia. Scandinavian composers reached for an indigenous style. Nationalism in music stressed native folk songs and subjects of national interests. Other countries were also experimenting with native folk music.

Music

Grieg’s concept of Norwegian music was to use the charm and attractiveness of native folk music. He was able to write beautiful music incorporating original subtle harmonies, folk-like melodies and distinctive dance rhythms. He firmly believed that Norwegian music expressed the spirit of the north.

Grieg’s music drew public attention through his many piano pieces, songs, sonatas for violin and piano, and other incidental music connected with his suites.

His famous Piano Concerto in A minor was one of his signature pieces that gave him prominence and much admiration.

Peer Gynt Suite was one of Grieg’s most celebrated and famous compositions. It was commissioned by Henrik Ibsen, author and playwright. He wanted Grieg to write incidental music for his play, Peer Gynt—a story of fairies of a different variety. This gave Grieg a vehicle to tell in musical terms the story of this Norwegian tale.

Originally, in earlier times, a suite was comprised of dance tunes all in the same key. Four tunes were common, although in some suites many more were used. The four usual dances were: Allemande, Courante, Saraband, and the Gigue. These classic dance forms are no longer used.

The sections in the suite that describe the core of the story are: “In The Hall of the Mountain King,” “Death of Ase,” “Arabian Dance,” “Anitras Dance,” and “Morning.”

“The Lulllaby,”in the suite is a combination cradle song in dirge. The Peer Gynt Suite made Grieg an overnight sensation as the suite was a tremendously popular success.

In 1884, Grieg accepted a commission to write a suite honoring Ludvig Holberg, the Norwegian philosopher and playwright. It started out as a five-movement piano piece and later he arranged it for string orchestra. This became the favorite version of the Holberg suite. It was very popular and met with great success.

Grieg’s reputation was very well established by 1885, with a body of substantial and popular works endorsed and enjoyed by the public. His writing took on a schedule of composing in the spring and early summer, and in the fall and winter he went on concert tours as he was always in demand. An ironic chapter in his life was, he was excellent as a miniaturist – he excelled in composing smaller forms and was thought by some to be without equal. He enjoyed listening to the longer forms, like symphonies and operas, but he felt he could not write the longer forms as well as other composers. He was dubbed the “Chopin of the North,” as he and Chopin both wrote in shorter forms.

Around 1862 Grieg went to Copenhagen where he met his cousin and future wife, Nina Hayerup. He built them a house in Troldhaugen where they lived the rest of their lives. Grieg has emerged in modern times as one of the most popular, serious composers of all times.

Long live his musical treasures.

The Phantom of the Opera

February 9, 2019 by Lawrence E. Anderson Leave a Comment

The musical, The Phantom of the Opera was, without a doubt, a truly phenomenal masterpiece of the late 20^th century. It was both remarkable in its musical makeup and format and marvelous in its popular audience appeal.

Andrew Lloyd Webber is the creator of this immensely unique, important musical theater work. An English composer, he is best known for his musical theater creations for stage and film.

The Composer: Lloyd Webber was born in South Kensington, London in March 1948, to musical parents. His father, William Lloyd Webber, was an organists, composer and director of the London College of Music. His mother, Jean Johnstone, was a piano teacher and violinist. Obviously, Lloyd Webber was exposed to music at a very early age. He studied piano, organ, violin, and French horn. At nine years of age he was proficient on organ, assisting his father at his performances.

His education included the Westminster School, Magdalen College, Oxford University and the Royal College of Music. He did not finish at the university, as his early fascination with musical theater was so strong, he left to concentrate on composing. By the time he left school, Lloyd Webber had already written nine musicals. It was obvious to him that he didn’t need any more schooling to be a successful composer.

He was married three times; with his first and third wives he fathered five children. His second marriage, the most famous one, was to the brilliant soprano, Sara Brightman in 1984. They had no children and at times it was a difficult relationship. He envisioned the role of Christine Daae, in The Phantom of the Opera, for Brightman, and wrote the role for her. She was the first of many Christine’s and undoubtably the most famous.

Knighthood and Politics: Lloyd Webber has had quite a few titles bestowed on him. He was knighted by Queen Elizabeth II in 1992 as “Sir Andrew Lloyd Webber.”

In 1997 to the present, the titles “Lord” and “Right Honorable” were added to his name. From 1997 to 2017 he was a member of the House of Lords. Being a strong supporter of the conservative party, he sat on the conservative side bench, when he infrequently attended the House of Lords sessions.

Awards & Honors: Lloyd Webber’s awards, honors and accolades are far too numerous to mention them all, however a few of the most significant are certainly worth citing. He has won three Grammy’s, six Tony’s, an Emmy, a Golden Globe, plus an Oscar in 1996, for best original song from the musical, Evita.

In addition, he was inducted into The Song Writers Hall of Fame. He won the Brit Award and is a Fellow in the British Academy of songwriters, composers and authors. Lloyd Webber was also honored with the Kennedy Center Award and the Laurence Olivier Award. He is only one of very few people to have won an Emmy, Grammy, Tony, and an Oscar; quite a feat for anyone to accomplish.

His Music: The most widely known and famous shows are: Jesus Christ Superstar in 1970, Evita in 1976, Cats in 1981 and the blockbuster, Phantom of the Opera in 1986. With the opening of the rock opera, Jesus Christ Superstar (composed when he was a mere 21 years of age), his fame became meteoric!

Lloyd Webber has written in many forms and genres of music including a Latin Requiem Mass in 1985. Also, many classical style pieces, rock, and jazz. He is truly a musical renaissance genius, composing and arranging music.

Lloyd Webber is an impresario, owning several theaters in London. Financially he is most likely the richest composer ever, in the field of music.

The London Sunday Times estimates his net worth at $1.2 billion! He is known as the most successful composer of our time.

Phantom of the Opera: Is Broadway’s longest running show, with music by Andrew Lloyd Webber, and lyrics by Charles Hart and Richard Stilgoe. The show has been popular since opening in 1986. In some venues, tickets are very hard to get and pricey. “The Phantom became the most successful, highest grossing entertainment event of all time,” wrote Steve Shelokhonov, in an article on the production.

The musical is based on a novel by French writer, Gaston Leroux. The novel was first published in 1909. Ideas for the story came from historical events that occurred at the Paris Opera House in the 19^th century. The story centers around a lovely soprano, Christine Daae. Raised in the opera house after her father dies, she is the object of obsession by a facially-disfigured and mentally-troubled musical genius who lives in the bowels of the Paris Opera House. Elements of adventure, comedy, romance, and tragedy are cleverly woven into the plot.

Songs that appear in the show are: Think of Me, Angel of Music, The Phantom of the Opera, The Music of the Night, Prima Dona, All I Ask of You, Masquerade, Wishing You Were Somehow Here Again, and The Point of No Return.

The music is engaging, combining excitement, romance, unrequited love, and frightening scenes; it is endearing with both superb drama and beautifully composed music. Most people consider this show unforgettable. Lloyd Webber is quoted as saying, “The crashing of the chandelier in The Phantom is the most theatrical moment I ever conceived.”

The Phantom has been produced in different languages in 20 countries using the same staging, direction, costumes and stage sets. It is so popular it is known virtually all over the world. It’s musical score, on DVD recordings alone, have brought in many millions of dollars over the years.

My wife, Jan, was so enamored by the production, she has seen it in seven different cities, the first one, shortly after it opened in London. “The music and the drama are so touching and beautiful, one never tires of seeing it,” Jan said. A young lady waiting in the ticket line in London said she had seen it 36 times, and she couldn’t wait to see it again. That says it all!

Television Musicians of the Past

January 9, 2019 by Lawrence E. Anderson Leave a Comment

Musical programs on television were a great form of entertainment in the recent past. They often featured vocalists, with a backup provided by a pianist, small or large ensemble, or an orchestra or band. Some of the most famous popular singers were: Perry Como, Dinah Shore, Dean Martin, Bing Crosby, and Frank Sinatra, among many others.

Variety shows became popular on television, presenting different musical styles only heard on radio or stage before television. Variety shows had big name recognition by well-known music directors, interesting hosts and talented stars. These names will surely bring back memories for those who lived in this era: Skitch Henderson, Mitch Miller, Liberace, Doc Severinsen and Lawrence Welk, were just a few. These were all great musicians during the 1950s through the 1970s and 1980s.

Skitch Henderson (1918-2005) His place of birth has been disputed for years. Some say a small town in Minnesota and some claim England was his true birthplace. Regardless of where he was born, he left a legacy of musical excellence in whatever capacity he was engaged. Henderson was a pianist, conductor, arranger and composer. He was raised on a farm by his aunt who taught him piano.

After World War II he worked for NBC Radio. Henderson was the music director for Frank Sinatra’s “Lucky Strike Show” and also Sinatra’s “Light-Up Time.” He was also on the “Philco Hour” with Bing Crosby. Arturo Toscanini, the great Italian maestro, invited Henderson to conduct the famous NBC Symphony.

Henderson was the original conductor for both “The Tonight Show,” with founding host, Steve Allen. During Henderson’s life he received three honorary degrees. He was also given New York City’s highest award—The Handel Medallion. Henderson died in 2005 at the age of 87.

Mitch Miller (1911-2010) was an oboist, conductor, producer and recording industry executive. Miller was a classically trained musician and in 1932 graduated from the Eastman School of Music with honors. He played with the Rochester Philharmonic Orchestra.

In 1938, Miller played in the orchestra that provided the music for Orson Wells’ classic radio production of “The War of the Worlds.” His television program “Sing Along with Mitch,” was on NBC from 1961 to 1964. On this show he directed a choral group singing old standards and encouraged the audience to sing-along. Prior to his television show he was on radio with a show called, “Mitch Miller and the Gang.” This was also a sing-along. Leslie Uggams was a regular singer on Miller’s television show that featured old-time favorites as an alternative to Rock-n-Roll.

Miller’s career had many facets, as he was a classic music producer for Mercury Records and later joined Columbia Records doing the same type of work. He helped the careers of Doris Day, Dinah Shore and Jo Stafford. Miller discovered Aretha Franklin.

He did not like Rock-n-Roll and described it as the “Gettysburg of music.” Miller favored emotional expression over vocal perfection. He conducted many orchestras and was guest conductor of the famed Boston Pops Orchestra.

Miller’s own medley from the movie, Bridge on the River Kwai featured The River Kwai March and the Colonel Bogey March. These songs were so popular, they were on the Billboard Charts for 29 weeks in 1958. Miller died in 2010 at the age of 99.

Doc Severinsen (1927-2018) was born in Arlington, Oregon. His father was a dentist and that is how his son got his nick-name, Doc. Severinsen became very proficient on the trumpet at an early age and later, won a state trumpet contest. He became known as one of the greatest jazz and pop trumpeters in the country.

In 1949 Severinsen got a job as a studio musician working with Steve Allen, Eddie Fisher, Dinah Shore and Kate Smith. Skitch Henderson, leader of The Tonight Show Band, asked Severinsen to be first chair trumpet. Five years later he became the band’s leader. The Tonight Band became one of the most famous and well-known “Big Bands” in the United States. Severinsen and Johnny Carson became close and he often substituted for Ed McMahon as Johnny’s side-kick. He continued as leader of the band until Carson retired in 1992.

Severinsen was a Pops conductor for several orchestras including the Phoenix Symphony, Buffalo Philharmonic and the Minnesota Orchestra. Severinsen retired from conducting in 2007. During his career he played with Charlie Barnet, Tommy Dorsey and Benny Goodman.

Liberace (1919-1987) was born in Wisconsin to a musical family and became a child prodigy on the piano. Later he became a pianist, singer and actor. By far his forte was as a pianist. He won a scholarship to the Wisconsin Conservatory of Music.

Liberace’s career spanned four decades. As a teenager he played at movie theaters and speakeasys. He debuted with the Chicago Symphony at the age of 17. Later, when he became famous and had his own television show, he lived a life of luxury and excess. He often dressed in elaborate sequined suits and costumes and wore lots of jewelry. From the 1950s through the 1970s he was the highest payed entertainer in the world.

Liberace not only gave concerts and made recordings but appeared in several movies and later had a popular television show. His television shows featured composers, musicians and many styles of music. On television he played classical and popular favorites. He always had his “trademark candelabra” on his piano and often featured his brother, George, on violin.

The Liberace Show was on from 1952 to 1969. He wrote an autobiography in 1972 that became a bestseller. “One of Liberace’s biggest accomplishments was his ability to turn a recital into a show full of music, glitter and personality,” wrote Gilbert Lee in an article about Liberace. In the 1970s it was reported that he spent $100,000 on his costumes yearly.

He was diagnosed with AIDS in 1985 – this was kept secret until his death. His final performance was in Radio City Music Hall in New York, November 2, 1986. He closed his show with the song “I’ll Be Seeing You.”

Lawrence Welk (1903-1992) was a musician who played accordion, a band leader, and a television personality. Welk was born in Strasburg, North Dakota to a German – American family. He grew up speaking German and English. Welk asked his father to buy a mail-order accordion and that started his musical career. At 21 he left the family farm to work in the music industry. In 1927 he graduated from the MacPhail School of Music in Minneapolis, Minnesota.

The term, “Champagne Music” came from an early job at the William Penn Hotel in Pittsburg. Here his music was termed “light and bubbly” as champagne. From 1949 to 1951 Welk had a national program on radio sponsored by Miller High Life–The Champagne of Bottled Beer.

From 1955 to 1982 he hosted one of the longest running shows on television–27 years. The show was a tremendous success and had a huge following. He featured singers, soloists, dancers and small ensembles as well as his famous orchestra. The Lennon Sisters were often featured as well as the “Champagne Lady,” Norma Zimmer. People made fun of Welk’s accent, but he didn’t care as he made his way happily to the bank.

Please submit your questions and comments to banddirector01@comcast.net

Visit our website at danvilleband.org for up-to-date information about the Danville Community Band. f

The Present That Lasts a Lifetime: A Musical Instrument

December 9, 2018 by Lawrence E. Anderson Leave a Comment

It is a little-known fact that the band instrument manufacturing center of the world was in Elkhart, Indiana, in the heartland of America. Elkhart, located in the northern part of the state almost to the Michigan border, is about 20 miles east of South Bend, Indiana, the home of the University of Notre Dame.

How Elkhart became “The Band Instrument Capital of the World,” is very interesting and intriguing. The man who started this empire of manufacturing band instruments was Charles G. Conn. He was born in New York in 1844. The family moved to Michigan in 1850 and then moved to Elkhart in 1851.

At the age of seventeen, Conn joined the Union Army as a drummer boy. From a mere private he advanced to the rank of captain. Later he was captured and sent to the notorious Confederate prison camp, Andersonville, in southwest Georgia. After the war Conn advanced to the rank of colonel, and that moniker followed him the rest of his life. He also received the Congressional Medal of Honor.

Connlearned to play the cornet at an early age. But an unfortunate incident lefthis ability to play in doubt. He was injured in a fight in 1873 and as a result,cut his lip so severely, he couldn’t play the cornet. He was determined tocontinue playing so he made a mouthpiece out of rubber and silver. He called itthe “elastic face.” This became so popular that he went into business makingthese mouthpieces. This mouthpiece could also be used by people with an irregular mouth structure including protruding lower jaw, upper teeth(overbite) or general malocclusion.

French instrument maker, DuPont, asked Conn if he could borrow some tools to make some instrument repairs. Conn decided after watching DuPont that he could make instruments himself and in 1875 he developed the first cornet made in America.

Until Conn started production, most instruments in the United States were made in Europe. Conn brought skilled European craftsmen to help his domestic employees. By 1880 he had 80 employees. Conn learned the methods of instrument construction through experimentation and the knowledge and skills of his European trained craftsmen.

Instrument manufacturing rapidly expanded, and he began making other instruments, including some ‘firsts’ in the United States. In 1889, Conn made the first saxophone as well as the first metal clarinet and the first double belleuphonium. By 1893 he had over 300 employees.

Many celebrated musicians and band directors used and endorsed Conn Instruments. These men included the great John Philip Sousa. Sousa took his band on an overseas tour. Conn generously gaveeach member of Sousa’s band a jeweled, engraved instrument.

In 1898 Conn made a new instrument, the Sousaphone; Sousa himself specified how the construction should be made. The Sousaphone faces forward rather than up like a tuba. Facing forward helps in projecting the sound.

Conn wasn’t satisfied with justmaking instruments; he was also active in politics and publishing and in 1880 he was elected Mayor of Elkhart. He was elected to the Indiana General Assembly in1888 and to the House of Representatives in Washington D.C. in 1892.

He also bought newspapers andstarted his own paper in Elkhart, called The Elkhart Truth in 1889. During his time in Washington D.C., he bought The Washington Times and after his termin congress he sold the newspaper when he returned to Elkhart.

Conn, unfortunately, had bad luckwith his factories. At least three burned down and each time he replaced thebuildings with a larger, expanded facility.

The success that Conn enjoyed with instrument making did not go without notice. It generated great interest from other would-be instrument makers. It was not long before other men who started working in the Conn Factory branched out on their own. They honed their skills learned at Conn and went into business for themselves.

Other noted instrument manufactures in business in Elkhart during this time were: The Martin Company, Selmer, Buescher, Blessing, Vincent Bach, Artley and Peddler, among others. It wasn’t long before instrument manufacturing began to develop rapidly. Elkhart quickly became the center of the band instrument making industry; hence the name, “Band Instrument Capital of the World.”

Conn advertising was not at all modest. Unabashedly it proclaimed that, “The Conn company was the originator ofall-important improvements in band and orchestra instruments in America,”writes author George Riebs from Elkhart,A Pictorial History.

They said they were the “Proprietor of the largest and best equipped factory in theworld for the manufacture of high-grade musical instruments.” Instruments madeby C.G. Conn were used and endorsed by all the great soloists and band masters in America.

Years went by and the instrument companies did quite well in Elkhart. But, as things sometimes do, changes usually occur. Because of a shortage of funds Conn sold the instrument company and The Elkhart Truth to C.D. Greenleaf in 1915. Shortly thereafter Conn moved to California, without his wife and daughter. He subsequently divorced his wife, married Suzanne Cohn and at the age of 70 fathered a son!

Conn lived until 1931 and died atthe age of 86. He died too destitute to pay for his own funeral. He led a“rags-to-riches to rags” life.

Although the early companies are gone, instrument manufacturing still has a presence in Elkhart. Trade names and companies were bought and sold but what is left is United Musical Instruments; that morphed into Conn Selmer and other companies still producing a full line of band instruments. The internet lists all the existing instrument manufactures in Elkhart.

My wife, Jan (Janet Olsen), was born and grew up in Elkhart. She says that when children were in third grade elementary school, teachers did not say, “Do you want to play an instrument?”Instead they said, “What instrument would you like to play?” The Band instrument companies generously provided the schools with student instruments, thereby encouraging children to embrace music and learn musical skills that they could carry throughout their adult years. Truly a beautiful gift.

If you, or a loved-one, is interested inplaying an instrument, a gift of a musical instrument is a gift that will last a lifetime and give one great satisfaction and joy.

Sunday, December 16, 2018 at 3:00pm, the Danville Community Band will present A Christmas Festival at San Ramon Valley High School in Danville. Free concert and parking. Note: Arrive early as seating is limited.

Please submit your questions and comments to banddirector01@comcast.net. Visit our website at www.danvilleband.orgfor up-to-date information about the Danville Community Band.