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1 Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2008 A Biographical Study of the Trombone Soloists of the John Philip Sousa Band: Joseph William Frye Follow this and additional works at the FSU Digital Library. For more information, please contact lib-ir@fsu.edu

2 THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC A BIOGRAPHICAL STUDY OF THE TROMBONE SOLOISTS OF THE JOHN PHILIP SOUSA BAND: By JOSEPH WILLIAM FRYE A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Spring Semester, 2008

3 The members of the Committee approve the treatise of Joseph W. Frye, defended on December 12, 2007 John Drew Professor Directing Treatise Jeffery Kite-Powell Outside Committee Member Frank Kowalsky Committee Member Christopher Moore Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii

4 This work is dedicated to my wife Christa J. Frye, for her support, encouragement, and patience throughout my musical career. iii

5 ACKNOWLEDGEMENTS In preparing to organize this document, I accumulated and examined various primary source materials. There are several individuals who granted me access to many of these materials, and it is extremely important that these generous individuals are recognized: Paul Bierley Scott W. Schwartz Adrianna Cuervo Kelly Cozzoli Sousa scholar and author, Westerville, Ohio Associate Professor of Library Administration, Director & Archivist for Music and Fine Arts, the University of Illinois, Champaign-Urbana, Illinois Assistant Archivist for Music and Fine Arts, the University of Illinois, Champaign-Urbana, Illinois Librarian, Stark County District Library, Canton, Ohio There are other individuals whose guidance and support throughout my doctoral studies at The Florida State University have been above and beyond the call of duty: Dr. John Drew Dr. Jeffery Kite-Powell Dr. Frank Kowalsky Dr. Chris Moore Professor of Trombone, the Florida State University Professor of Musicology, the Florida State University Professor of Clarinet, the Florida State University Assistant Professor of Trumpet, the Florida State University Throughout the research process, several libraries and collections were consulted. I would like to acknowledge the institutions whose materials made the production of this document possible: The Florida State University, Warren D. Allen Music Library, Tallahassee, Florida The Florida State University, Robert Manning Strozier Library, Tallahassee, Florida The University of Illinois, John Philip Sousa, Paul Bierley, Bill Pruyn, and Herbert L. Clarke Collections, Urbana-Champaign, Illinois The University of Michigan, UMI Dissertation Service, Ann Arbor, Michigan The Marine Band Library, Washington, D.C. The Library of Congress, Washington, D.C. The University of Texas, Fine Arts Library, Austin, Texas iv

6 TABLE OF CONTENTS List of Figures...vii Abstract...ix INTRODUCTION THE SOUSA BAND...5 Succeeding Gilmore A New Ensemble Instrumentation Programming Soloists 2. ARTHUR PRYOR...25 The Boy Wonder from St. Joseph Joining Sousa The Pryor Band Recording and Composing Final Years 3. LEOPOLD ZIMMERMAN...44 Early Years The Sousa Years The Recording Industry and Composing A Second Stint with Sousa Some Lighter Moments Summary 4. RALPH COREY...54 Early Years Sousa s Youngest Member The Strike Summary v

7 5. JOHN SCHUELER...62 Formative Years A Career with Sousa A Career in Music Education Family and Final Years 6. OTHER TROMBONE SOLOISTS...71 Arthur Bauer Manuel Yingling Charles Gusikoff One-Time Soloists Louis Schmidt Henry Wick Ford Joseph DeLuca CONCLUSION...85 APPENDIX A: VERIFIED PERFORMANCES BY SOUSA BAND TROMBONE SOLOISTS...87 APPENDIX B: COMPOSITIONS PERFORMED BY TROMBONE SOLOISTS WITH THE SOUSA BAND...90 APPENDIX C: CHRONOLOGICAL LISTING OF SOLO APPEARANCES BY SOUSA S TROMBONISTS...93 APPENDIX D: DISCOGRAPHY BIBLIOGRAPHY BIOGRAPHICAL SKETCH vi

8 LIST OF FIGURES 1. The Sousa Band: Johannesburg, South Africa, Instrumentation and percentage of total ensemble of the Gilmore Band in Instrumentation and percentage of total ensemble of the Sousa Band in Instrumentation and percentage of total ensemble of the Sousa Band during the World Tour Instrumentation and percentage of total ensemble of the Sousa Band in A Sousa Band Concert Program, as Printed A Sousa Band Concert Program, as Performed Arthur Pryor Arthur Pryor s Invitation to Join the Sousa Band Cadenza Written by Leo Zimmerman Leopold Zimmerman Ralph Corey s C. G. Conn Endorsement Ralph Heaton Corey John Paul Schueler The Arion Band Philadelphia Orchestra Trombone Section...81 vii

9 17. Joseph DeLuca...84 viii

10 ABSTRACT This document provides biographical information about the trombone soloists of John Philip Sousa s civilian band. During the Sousa Band s thirty-nine year existence from 1892 to 1931, the ensemble made annual cross-country trips, toured Europe on four separate occasions, and completed one thirteen-month tour around the world. The band was recognized in the United States and abroad as one of the premiere wind ensembles in the world. Between 1892 and 1931, ten different trombonists gave solo performances with the Sousa Band. Those trombonists were Arthur Pryor, Arthur Bauer, Leopold A. Zimmerman, Ralph Corey, Manuel Yingling, Charles Gusikoff, Henry Wick Ford, Louis Schmidt, Joseph DeLuca, and John P. Schueler. These soloists were featured on more than 270 verified occasions, performing solos, duets, and small chamber works with the Sousa Band. This treatise focuses on the trombonists who were featured soloists with the band and documents their individual careers with Sousa, while also providing information about their personal and professional lives both before and after their affiliation with the Sousa Band. This document also examines the history of the Sousa Band, the unique programming style of John Philip Sousa, and the role that soloists played in the ensemble. ix

11 INTRODUCTION The trombone s emergence as a solo voice in late nineteenth and early twentieth century wind bands is a unique chapter in the instrument s history. The rise in stature of the trombone correlated with the increasing popularity of the wind band in the United States. 1 The trombone began seeing a growth in significance in the early nineteenth century due, in part, to the increased use of the instrument in regimental bands. 2 In the mid-nineteenth century, town bands and military ensembles were numerous; however, there were also police and fire department bands, school bands, as well as bands organized by employers for their workers. The addition of these new ensembles, along with the growing popularity of civic and military bands, led to the widespread use of the trombone in the United States. The most recognized trombonist of this era was Arthur Pryor, who is regarded in many circles as the greatest trombone soloist ever to play the instrument. While Pryor s name is certainly the most recognized, remarkable musical ability and feats of virtuosity were continually displayed by other accomplished trombone soloists such as Frederick Innes, Charles Stacy, Leopold Zimmerman, and Gardell Simons. These trombonists were part of a broader spectrum of instrumental and vocal soloists who helped make band 1 Steve Wolfinbarger, The Solo Trombone Music of Arthur Pryor: Chapter II Early Trombone Soloists With Band, International Trombone Association Journal 11, no. 4 (April 1983): Anthony C. Baines, Arnold Myers, and Trevor Herbert. Trombone, Grove Music Online ed. L. Macy (Accessed 14 June 2005), < 1

12 concerts a significant source of musical culture during the late nineteenth and early twentieth centuries. Bandmasters Patrick Sarsfield Gilmore ( ) and John Philip Sousa ( ) were the two distinctive faces of this new American musical culture. The Gilmore Band was the predecessor of the Sousa Band, and was one of the first ensembles to have great success as a professional touring ensemble in the United States. The band of John Philip Sousa expanded upon the framework established by Gilmore and toured for thirtynine years, becoming the most recognizable and renowned wind ensemble of its era. Sousa spared no expense in employing outstanding musicians for his ensemble, several of whom were considered to be without equal on their respective instruments. Performances by the Sousa Band were entertaining events, and Sousa s wide array of musical selections along with his diverse programming style assured that there was something appealing for each audience member. John Philip Sousa believed that soloists were an essential component of a successful touring band. Sousa Band historian Paul Bierley suggests that Sousa knew from his own experience that solos contributed to the individual musician s confidence and poise by affording him a direct appeal to the audience. 3 It was this relationship between the soloist and the audience that Sousa valued, because it gave the people an opportunity to become familiar with the talented individuals of his ensemble while providing his performers an opportunity to showcase their exceptional abilities. In addition to featuring soloists from every section of the band, Sousa regularly included 3 Paul Bierley, John Philip Sousa: American Phenomenon, Revised Edition, (Miami, FL: Warner Bros. Publications, 2001),

13 performances by vocalists, violinists, cellists, and pianists. This is one of the reasons that Sousa s band has been described as a group of celebrated artists. 4 Among the hundreds of soloists who performed with the Sousa Band throughout its thirty-nine year history were ten trombone soloists: Arthur Pryor, Arthur Bauer, Leopold Zimmerman, Ralph Corey, Manuel Yingling, Charles Gusikoff, Henry Wick Ford, Louis Schmidt, Joseph DeLuca, and John Schueler. 5 Prior to the undertaking of this project, a biographical study of these trombone soloists with respect to their careers before, during, and after their affiliation with the Sousa Band has not been written. Several researchers have documented the life of Arthur Pryor; however, aside from Pryor and his notable achievements, very little information regarding the other trombone soloists is currently known. The primary purpose of this document is to provide as much biographical information as is available for each man who served as trombone soloist with the Sousa Band between 1892 and 1931, and to add to the increasing documentation of the history of the trombone. A sincere effort has been made to determine the specific events of each man s career that led him to join the Sousa Band, his activities and duties while a member, the events that led to his departure from the band, and any other pertinent biographical information that may have had an impact on any of these events. With the exception of Arthur Pryor, these trombonists and their music have been, to a large extent, forgotten by modern trombonists. It is the author s hope that this document will encourage modern trombonists to take an interest in the rich history of the trombone and 4 Ibid., See Appendix C for a complete chronological listing of trombone soloist performances with the Sousa Band compiled by the author from concert programs, concert reviews and press books from The Sousa Archives and Center for American Music at the University of Illinois. 3

14 develop a greater appreciation for these men who contributed in their own way to the overall advancement of the trombone and helped pave the way for trombonists worldwide. 4

15 CHAPTER 1 THE SOUSA BAND Bandmaster John Philip Sousa and band manager David Blakely s plan to establish an innovative, professional concert band in the United States during the late nineteenth century was a formidable task. To demonstrate his faith in the venture, Sousa purchased one thousand dollars of stock in the fledgling organization an astonishing amount at the time. 6 Sousa s faith was driven by an intense desire to lead an ensemble of his own, free of restrictions on travel and salary, with the sole purpose of performing concerts on a regular basis. 7 I had often dreamed of an ensemble of my own, Sousa stated, composed of the most talented musicians, who would provide the perfect response to my aspiring baton. 8 The relatively low number of exceptional bands exacerbated the demand for ensembles that could perform at an exceptionally high level. This situation prompted Sousa to state that Outside of the Marine and Gilmore bands there are no organizations in the country which meet this want in any sort of satisfactory manner. 9 Rather than focusing solely on rivaling American bands, Sousa also turned his attention to Europe, and what was considered to be the finest band in the world at that 6 Paul Bierley, John Philip Sousa: American Phenomenon, Paul Bierley, The Incredible Band of John Philip Sousa (Urbana and Chicago, IL: University of Illinois Press., 2006), John Philip Sousa, Marching Along, Revised Edition, ed. Paul E. Bierley, (Westerville, OH: Integrity, 1994), H. W. Schwartz, Bands of America (Garden City, NY: Doubleday, 1957),

16 time the renowned Garde Républicaine Band of Paris. Sousa created an ensemble that flourished for thirty-nine years and carried out the terms of the contract signed by Sousa and Blakely to the letter: It shall be the aim and duty of said Sousa by individual effort, and band rehearsal and practice, and by the preparation and furnishing of music, to make this band equal in executive ability of the Garde Républicaine in Paris. 10 Succeeding Gilmore The history of the Sousa Band can not be appropriately portrayed without first discussing the impact the Gilmore Band had upon Sousa. During the late nineteenth century, the Gilmore Band was considered the preeminent touring ensemble in the United States and was one of the most influential organizations in the history of early American wind bands. Advances instituted by Patrick Gilmore and his ensemble established a foundation which would influence the course of John Philip Sousa s ensemble. In the early history of the American wind band, Patrick Sarsfield Gilmore ( ) was the most celebrated bandmaster. Gilmore was an Irish cornetist who began his conducting career in Boston, Massachusetts, where he directed several ensembles including the Boston Brigade Band. When Gilmore organized his own concert band in Boston in 1859, it was composed of some of the finest musicians in the United States, and garnered national attention and widespread acclaim from the musical community. Two of Gilmore s greatest accomplishments were the National Peace Jubilee concert in 1869 and the World Peace Jubilee concert in 1872, both of which were organized by Gilmore and band manager David Blakely. The two jubilee concerts helped solidify Blakely s reputation as one of music s preeminent ensemble managers and promoters 10 Bierley, The Incredible Band of John Philip Sousa, 17. 6

17 The grandiose jubilee concerts enhanced Gilmore s reputation among audience members and fellow bandsmen. In 1873, he accepted leadership of the 22 nd Regiment Band of New York and began developing the group into an ensemble which would eventually be proclaimed the equal of any band in the world at that time. 11 Gilmore secured accomplished musicians from the United States and abroad and began the first of several acclaimed tours across the country, performing in cities where outstanding bands were not available. The Gilmore Band made several acclaimed tours throughout the United States and Canada, and, in 1878, embarked on a prominent tour of Europe. Through Gilmore s efforts, his ensemble best known as the Gilmore Band epitomized the standard by which all other professional American touring bands would be measured. Before organizing his own professional wind band, John Philip Sousa served as conductor of the United States Marine Band in Washington, D.C. Sousa was on tour in St. Louis in 1880 when he received a telegram informing him that he was being considered for the Marine Band s leadership position. He was appointed as the fourteenth leader in the history of the United States Marine Band and assumed command of the ensemble on October 1, John Philip Sousa served as leader of the United States Marine Band until July 30, The events that led to his separation from the Marine Band began in 1889, when Sousa approached the Marine Corps Commandant to inquire about official sanctioning for an extended concert tour. Sousa s tour request was denied, and travel was restricted except for official appearances, which frustrated the band leader. 13 After appealing to the President of the United States, Sousa was finally granted official sanction for his first 11 Richard Franko Goldman, The Wind Band (Westport, Conn., Greenwood Press, 1974), Bierley, John Philip Sousa: American Phenomenon, Ibid., 51. 7

18 concert tour, which was arranged for the spring of David Blakely, the acclaimed band manager who had handled several successful tours for the Gilmore Band and the Theodore Thomas Orchestra, was contracted to organize the Marine Band s first tour. 15 The five week tour through the Northeast and Midwest in the spring of 1891 was such a success that another was planned for the months of March, April, and May of the following year. The second tour of the United States Marine Band was a seven week tour in the spring of 1892 and included concerts on both the east and west coasts. 16 On April 27, 1892 at a concert in Duluth Minnesota, Sousa was informed of his father s death in Washington, D.C. His mother encouraged him to complete his tour, and informed him that the funeral would be postponed until he could return. Three days later, tour manager David Blakely met Sousa in Chicago, Illinois as the band traveled home to Washington D.C. In Chicago, Blakely approached Sousa and offered financial backing to help Sousa establish his own civilian ensemble if he resigned from the United States Marine Corps. The government was paying Sousa between 1,200 and 1,800 dollars per year to direct the Marine Band. Blakely offered Sousa a salary of six thousand dollars per year under a five-year contract along with twenty percent of the band s profits, a proposal that was very intriguing. 17 Two unresolved military issues resulted in Sousa s serious consideration of Blakely s proposal. The first was that the Marine Corps had not yet made Sousa a commissioned officer something which troubled him since he felt his position was worthy of the honor. 18 He was also distressed by ambiguous legislation which defined the salaries of the bandsmen, an item he had 14 Ibid., Ann M. Lingg, John Philip Sousa (New York, NY: Henry Holt and Company, 1954), Bierley, John Philip Sousa: American Phenomenon, Lingg, John Philip Sousa, Bierley, John Philip Sousa: American Phenomenon, 57. 8

19 struggled to rectify since he assumed command of the Marine Band. 19 Blakely was exceptionally convincing, particularly when he presented his immaculately conceived vision of unlimited future success for Sousa and his band. Convinced that the venture would be a success, John Philip Sousa and David Blakely signed a contract on May 27, 1892, establishing an ensemble that would come to be known as the Sousa Band. With the contract signed, Sousa was tasked with securing his release from the United States Marine Band. Upon arriving home in Washington, D.C., Sousa applied for a discharge from the United States Marine Band. In twelve years, Sousa had transformed the Marine Band from a mediocre conglomeration of instrumentalists into a revered ensemble that rivaled its European counterparts. Because of this, his acceptance of Blakely s offer was met with a storm of protest from the citizens of Washington, D.C. Residents did not want to see the man who had guided the Marine Band to such prominence depart, for fear that the ensemble would revert to the miserable condition it was in before Sousa s appointment. John Philip Sousa s request for discharge from the Marine Corps was reluctantly granted, and he presented his final concert as conductor of the United States Marine Band on the afternoon of July 30, A New Ensemble The revered status of the Garde Républicaine Band in Europe and the shadow of the Gilmore Band in the United States were not disregarded by Sousa as he labored to establish his new ensemble. Sousa realized that the expectations of his ensemble must be nothing short of musical and organizational superiority in order to equal the renowned ensembles of the era. He also understood that in order to accomplish this superiority, the 19 Ibid., 57. 9

20 highest caliber musicians must be employed, and that taking time to secure those individuals from the outset would pay dividends in the future. Following his resignation from the United Sates Marine Band in July, Sousa traveled to Philadelphia, Pennsylvania and New York City, New York to recruit musicians for his new ensemble. In the early planning stages of the band, Sousa and Blakely agreed, out of respect, not to recruit musicians from their chief rival, the Gilmore Band. The combination of Sousa and Blakely attracted the interest and allegiance of many of the finest musicians from both the United States and Europe, many of whom joined the ensemble. John Philip Sousa was given autonomy in selecting his ensemble personnel, and personally listened to every audition a selection process that lasted nearly six weeks. Having secured forty-six exceptional musicians, Sousa began the first rehearsals of his new ensemble in early September, 1892, two weeks prior to the first performance. At the time when Sousa was organizing his own ensemble, Patrick Gilmore was the most recognized and celebrated American bandmaster. The Sousa Band, by virtue of the contract between Blakely and Sousa, was to challenge the Gilmore band for supremacy as the consummate American wind band. Sadly, this competition would not come to pass, as Gilmore died on the evening of September 24, 1892; forty-eight hours prior to the Sousa Band s debut performance. The loss of Patrick Gilmore left an emotional void and a professional vacancy in the band world, both of which needed to be filled. Gilmore s death, while tragic, eliminated one of the more daunting obstacles standing in the path of success for Sousa s ensemble. The inaugural concert of John Philip Sousa s civilian band was presented on Monday evening, September 26, 1892 at 10

21 Stillman Music Hall in Plainfield, New Jersey, and included a tribute to the departed Patrick Gilmore. Although Sousa and Blakely had not actively recruited any of the Gilmore Band s members during the formation of the Sousa Band, several men resigned their positions with the Gilmore organization and joined the Sousa Band shortly after Gilmore s death. 20 By the close of the Sousa Band s first year, nineteen musicians from Patrick Gilmore s ensemble had been contracted to play under Sousa s baton, including several prominent soloists and principal players. 21 Figure 1. The Sousa Band: Johannesburg, South Africa, Following the inaugural concert in New Jersey, the Sousa Band embarked on its first tour, which was beset by problems early on, including an uncharacteristically poor job of scheduling and an attempted cancellation of the tour by manager David Blakely. In 20 Bierley, The Incredible Band of John Philip Sousa, Bierley, John Philip Sousa: American Phenomenon, Bierley, The Incredible Band of John Philip Sousa,

22 spite of the early turbulence, the Sousa Band proved to be an astonishing success. Sousa s gifts of programming, composing, and arranging coupled with Blakely s promoting skill, ultimately proved to be the mutually beneficial combination needed to establish the Sousa Band as the premier performing ensemble of its time. During its thirty-nine year existence, the Sousa Band crossed the United States on an annual basis and traveled around the world, eventually achieving Sousa s goal of touring over one million miles in The group performed thousands of concerts in countless venues for millions of audience members and presented concerts at national exhibitions, state fairs, building dedications, amusement parks, and performed before various heads of state. The Sousa Band completed four European tours and one thirteenmonth world tour in and was the featured ensemble at the fashionable Manhattan Beach in New York during the summer months, The Steel Pier in Atlantic City, New Jersey in late summer and fall, and Willow Grove Park in Philadelphia, Pennsylvania in the spring, sometimes playing all three venues in the same year. The Sousa Band was, in a word, incredible; a meticulous, yet expressive performing machine that represented the pinnacle of success during the Golden Age of the American concert band. Instrumentation By the time the Gilmore Band began touring the United States in the 1870s, professional wind bands had rapidly evolved from the brass bands of Civil War times. Changes in instrumentation changed the appearance and composition of bands, which began to resemble the ensembles of contemporary practice. Patrick Gilmore was one of miles.) 23 Ibid., 42. (Paul Bierley estimates the total mileage traveled by the Sousa Band is 1,272,

23 the first bandmasters to promote the use of a balanced instrumentation in regard to the ratio of brass and woodwinds. Gilmore increased the number of woodwinds in order to balance the louder-playing brass instruments, which at the time was not common practice. This new approach to instrumentation allowed for a wealth of color possibilities not previously enjoyed by American wind ensembles. John Philip Sousa was a young conductor and composer living in Philadelphia when he attended a Gilmore Band concert in1876, where he was exposed to Gilmore s innovative use of balanced instrumentation and resultant tone colors. 24 Sousa would eventually expand upon the tonal color concept he observed in Gilmore s Band and create a wind ensemble that could play music with the precision and polish of the finest symphony orchestra. Establishing his own ensemble gave Sousa absolute control in regard to the quantity and quality of the men on his roster, and the development of the band s tonal concept. At the band s first rehearsal, Sousa spent two and a half hours rehearsing sixteen bars of an overture, requesting that each member of each section in each family of instruments play together with uniform style, phrasing, and what Sousa termed oneness of tone. 25 The oneness of tone that Sousa sought to develop in his ensemble was essentially a pleasing, even balance between the woodwind and brass families. Sousa achieved this balance by increasing the number of woodwinds until the woodwind to brass ratio was nearly two to one. Though the number of individual section members in the Sousa Band often fluctuated, the woodwind to brass ratio remained relatively 24 Bierley, John Philip Sousa: American Phenomenon, Ibid.,

24 consistent, averaging 56% woodwinds to 38% brass from 1892 to This woodwind to brass ratio was also remarkably similar to that of the Gilmore Band when it was in its prime. For its European tour in 1878, the Gilmore Band traveled with a complement of sixty-six personnel, excluding vocal and string soloists. When the Sousa Band embarked on its world tour of , it consisted of only fifty-three musicians; however, the instrumental ratios were very similar to those of Gilmore s ensemble when it toured Europe thirty-two years earlier. To demonstrate this point, Figures 2 through 5 are presented. Woodwinds Brass 2 Piccolos 1 E-Flat Cornet 2 Flutes 2 B-Flat Cornets (1 st ) 2 Oboes 2 B-Flat Cornets (2 nd ) 1 A-Flat Clarinet 2 B-Flat Trumpets 3 E-Flat Clarinets 2 Flugelhorns 8 B-Flat Clarinets (1 st ) 4 French Horns 4 B-Flat Clarinets (2 nd ) 2 E-Flat Alto Horns 4 B-Flat Clarinets (3 rd ) 2 B-Flat Tenor Horns 2 Bassoons 2 Euphoniums 1 Contrabassoon 3 Trombones 1 Alto Clarinet 5 Basses 1 Bass Clarinet 1 Soprano Saxophone 27 Total Brasses (41%) 1 Alto Saxophone 1 Tenor Saxophone Percussion 1 Baritone Saxophone 4 Percussion 35 Total Woodwinds (53%) 4 Percussion Total (6%) 66 Total Musicians Figure 2. Instrumentation and percentage of total ensemble of the Gilmore Band in Ibid., Goldman, The Wind Band,

25 Woodwinds 2 Flute/piccolos 2 Oboe/English Horn 2 E-Flat Clarinets 12 B-Flat Clarinets 1 Alto Clarinet 1 Bass Clarinet 2 Bassoons/contrabassoon 3 Saxophones 25 Total Woodwinds (54%) Brass 4 Cornets 2 Trumpets 4 French Horns 3 Trombones 2 Euphonium/baritone 3 Basses 18 Total Brasses (39%) Percussion 3 Percussion 3 Total Percussion (7%) 46 Total Musicians Figure 3. Instrumentation and percentage of total ensemble of the Sousa Band in 1892 Woodwinds 4 Flute/piccolos 2 Oboe/English Horn 1 E-Flat Clarinet 14 B-Flat Clarinets 1 Alto Clarinet 1 Bass Clarinet 3 Bassoons/contrabassoon 3 Saxophones 29 Total Woodwinds (55%) 1 Harp (1%) Brass 4 Cornets 2 Trumpets 4 French Horns 4 Trombones 2 Euphonium/baritone 4 Basses 20 Total Brasses (38%) Percussion 3 Percussion 3 Total Percussion (6%) 53 Total Musicians Figure 4. Instrumentation and percentage of total ensemble of the Sousa Band during the World Tour 15

26 Woodwinds 6 Flute/piccolos 2 Oboe/English Horn 23 B-Flat Clarinets 1 Bass Clarinet 2 Bassoons/contrabassoon 7 Saxophones 41 Total Woodwinds (59%) Percussion 3 Percussion Brass 6 Cornets 2 Trumpets 4 French Horns 4 Trombones 2 Euphonium/baritone 6 Basses 24 Total Brasses (35%) 1 Harp (2%) 3 Total Persussion (4%) 69 Total Musicians Figure 5. Instrumentation and percentage of total ensemble of the Sousa Band in John Philip Sousa wrote The history of instrumentation has been largely that of a quest for tone color, and that the quest for tone color is more intense now than ever before. 29 The Sousa Band began with a roster of forty-six musicians in In the years that followed, Sousa experimented with the instrumentation and modified the woodwind to brass ratio until the band sonority closely matched his aural concept. To me, band instrumentation in those early days left a void that cried out to be filled I was never satisfied Sousa wrote in his autobiography. Wholly lacking were the qualities I felt a band should and could possess a tone as sustained as that of an organ and a brilliancy of execution similar to that of the piano Bierley, John Philip Sousa: American Phenomenon, John Philip Sousa, Why the World Needs Bands, Etude (September 1930), reprint The Instrumentalist VL/9 (April 1991), Sousa, Marching Along,

27 The sonority of the Sousa Band and the variety of colors the ensemble could produce presented limitless possibilities for Sousa when selecting literature for his ensemble. Although they were not accounted for in the total instrumentation figures, both John Philip Sousa and Patrick Gilmore always toured with vocal and string instrumental soloists. Sousa would utilize soloists and exciting compositions along with many other innovative programming concepts to captivate audiences for thirty-nine years. Programming To say that John Philip Sousa was a master programmer would be an understatement. The Sousa model of programming combined equal parts skill and variety, coupled with consummate showmanship throughout. Many experiences in Sousa s career had demonstrated to him the importance of performing music that audiences could appreciate and enjoy. Sousa historian Paul Bierley summarizes Sousa s philosophy of programming as What do you like? I ll play it if it kills me. 31 Sousa made a point of keenly observing the audience, paying careful attention to the music to which the masses would respond, and would program pieces appropriately to maximize their effect. He would often make changes to the program at the last minute, inserting a piece or pieces not originally included on the program, hoping to capitalize on the audience s attention to an item of popular interest. Sousa made it his business to recognize what the audience wanted and to ensure that his band provided it by way of diverse and innovative programming. Performances by the Sousa Band differed from traditional band concerts in several ways, but particularly in terms of pacing. Each performance was unique and tailored exquisitely to accentuate the current ensemble personnel, national and local 31 Bierley, John Philip Sousa: American Phenomenon,

28 cultural climate, and performance venue. Concert programs featured a diversity of musical styles including orchestral and operatic transcriptions, popular melodies, overtures, humoresques, solos, tone poems, and of course, marches. Sousa s concerts would always begin at the prescribed time, not early, and never late, unless on account of a late arrival by train. When the curtain went up, Sousa would walk briskly to the front of the band, take one or two short bows, step on the podium and immediately begin the opening number. 32 Once the concert commenced, it stopped only for intermission and the end of the final number. In the early years of the band, Sousa experimented with different programming formats, and was constantly refining and shaping the program until eventually he settled on a basic structural framework. Printed Sousa Band programs normally listed nine numbered works with an implied understanding that each number would be followed by at least one encore, sometimes two or three. Sousa s use of encores was one of the more innovative departures from conventional ensemble performances of the era. Before Sousa, encores traditionally followed a solo performance or the final work of a concert and were presented only at the insistence of the audience. Sousa, seeking a change of pace, chose to perform encores during the program. Encores were never printed on Sousa Band programs, but followed each printed selection within ten to fifteen seconds. 33 The nine printed numbers served as a general guideline, and in reality, the band would typically perform between twenty-five and thirty-five numbers. 34 The encores that were played ranged from classics to popular music, dramatic works to humoresques, and songs to ragtime pieces; however, most of the encores were marches composed by John Philip 32 Ibid., Bierley, The Incredible Band of John Philip Sousa, Bierley, John Philip Sousa: American Phenomenon,

29 Sousa. The final piece on the program rarely received an encore, although in later years Sousa concluded each of his concerts with The Stars and Stripes Forever, which was an indication to the audience that the performance was concluded. Figure 6 demonstrates a typical Sousa Band concert program, as printed, and Figure 7 demonstrates the same concert as it was actually performed. As Printed 1. Mignon: Overture Thomas 2. Showers of Gold Clarke Herbert L. Clarke, cornet soloist 3. Dwellers of the Western World, suite Sousa I. The Red Man II. The White Man Ill. The Black Man 4. Mad Scene, from Lucia di Lammermoor Donizetti Leonora Simonsen, soprano Flute obbligato by Louis P. Fritze 5. Songs of Grace and Songs of Glory, fantasy Sousa * INTERVAL * 6. Southern Rhapsody Hosmer 7. (a) Annie Laurie, song Traditional Joseph Marthage, harp soloist (b) Boy Scouts of America, march Sousa 8. Scotch Fantasie Boehm Louis P. Fritze, flute soloist 9. Rákóczy, March, from The Damnation of Faust Berlioz Figure 6. A Sousa Band Concert Program, as Printed This is a Sousa Band program from a concert in Utica, New York, on December 20, Bierley, The Incredible Band of John Philip Sousa,

30 As Performed 1. Mignon: Overture Thomas Encore: El Capitan, march Sousa Encore: White Bird, novelette Hager 2. Showers of Gold Clarke Herbert L. Clarke, cornet soloist Encore: Brighten the Corner Where You Are Gabriel Duet with Frank Simon Encore: A Perfect Day, song Bond Herbert L. Clarke, cornet soloist 3. Dwellers of the Western World, suite Sousa I. The Red Man II. The White Man III. The Black Man Encore: King Cotton, march Sousa Encore: The Gliding Girl, tango Sousa 4. Mad Scene, from Lucia di Lammermoor Donizetti Encore: Good Bye Tosti Leonora Simonsen, soprano Flute obbligato by Louis P. Fritze 5. Songs of Grace and Songs of Glory, fantasy Sousa Encore: The Pathfinder of Panama, march Sousa Encore [request] Mystic Potentate March F. A. Myers * INTERVAL * 6. Southern Rhapsody Hosmer Encore: Good-bye, Girls, I m Through Bellstedt Encore: Ragging the Scale Claypoole Encore: Sextette, from Lucia di Lammermoor Donizetti Messrs. Clarke, Simon, Russell, Corey, Perfetto, and Williams 7. (a) Annie Laurie, song Traditional Encore: Men of Harlech, patriotic air Traditional Joseph Marthage, harp soloist (b) Boy Scouts of America, march Sousa Encore: The Stars and Stripes Forever, march Sousa Encore: Manhattan Beach, march Sousa 8. Scotch Fantasie Boehm Encore: The Waltzing Doll Poldini Louis P. Fritze, flute soloist 9. Rákóczy, March, from The Damnation of Faust Berlioz Figure 7. A Sousa Band Concert Program, as Performed This is a Sousa Band program from a concert in Utica, New York, on December 20, Ibid., 20

31 Because of Sousa s use of quick encores, typical intervals of rest between selections vanished. Sousa would not allow pauses of more than twenty to thirty seconds between pieces, leaving barely enough time for the band members to get their music in place for the next selection. This meant that the musicians had little time to rest except during vocal, harp, and violin solo performances, which normally had sparse accompaniments. The Sousa Band concerts were a marathon from the performer s standpoint. Sousa never left the podium except for intermission, and the shortened intervals of rest differed greatly from what many of the musicians may have been accustomed to before joining the band. Performing with Sousa was the ultimate test of an instrumentalist s endurance, and each man gave everything he had without objection. Another innovative quality of the Sousa Band was showmanship, which Sousa held in high regard. He often went to great lengths to program a concert that was appropriate for the location where he was playing. Upon arriving in a city, Sousa would find a copy of the local, regional or national newspaper and search for a story or event that might correspond with a piece in the band s library. In order to elicit a greater audience response, Sousa would often program the music of local or regional composers and also play college and high school fight songs, both of which delighted residents. On the finales of some of his marches, Sousa would have the members of the brass section stand, come to the apron of the stage, and perform the final strain of the march by memory. This practice began with Sousa s composition The Stars and Stripes Forever, in which the piccolos would stand for their obbligato, and were later joined by the cornets, trumpets and trombones for the final strain Ibid.,

32 Soloists The role of virtuoso soloists was at the heart of John Philip Sousa s philosophy of programming, much as it had been to Patrick Gilmore years earlier. Essential to Gilmore s band concerts were the appearance of instrumental and vocal soloists who created variety and appealed to audiences through remarkable presentations of technical and musical virtuosity. The Gilmore Band featured many talented soloists such as clarinetist August Stengler, saxophonist E. A. Lefebre, cornetists Herman Bellstedt, Matthew Arbuckle and Jules Levy, and trombonists Frederick Innes and Ernest Clarke. Featuring soloists on concerts had been a staple of Sousa s programming during his tenure with the Marine Band, and continued when he established his own ensemble. Sousa s soloists demonstrated the depth of individual talent of the ensemble, and during the band s thirty-nine year history, every standard instrument in the band (with the exception of the tympani and various percussion instruments) was utilized in a solo capacity. Sousa also featured many vocalists of all voice ranges on his programs, but invariably, the female soprano soloists were always the most popular. String instrumentalists (normally violin, but occasionally cello) also made solo appearances, but were less frequent than other instrumentalists or vocalists. Many of the soloists who appeared with the Sousa Band were regarded as the greatest on their respective instruments. Some of Sousa s more notable featured artists were cornet soloist Herbert L. Clarke, trombonist Arthur Pryor, euphonium soloist Simone Mantia, saxophonist E.A. Lefebre, soprano Estelle Liebling, and violinist Maud Powell. Although Sousa always 22

33 presented a vast array of instrumental and vocal soloists, the most popular appearances were those of the brass soloists. 38 Typical Sousa band programs normally included nine numbered pieces. The featured instrumental solo was generally the second piece on the printed program, following the encores after the overture. This featured solo position was traditionally occupied by a cornet, trombone or euphonium. The next solo was the fourth number on the printed program and was normally reserved for the featured vocalist. Following the intermission, the second half was constructed in the same manner as the first, with the third soloist of the concert performing following the fantasia or suite which opened the second half of the performance. This third solo position was usually reserved for the violin, vocalist, or harp soloist. The eighth number on a typical program, and the final solo appearance of the concert, commonly featured the xylophone, violin, or a female vocalist. The Sousa Band was considered to be a peerless organization in the United States, and Sousa expected his soloists to perform in a manner that reflected this. He required that all of his soloists memorize the compositions they performed with the band, including encores a request which seemed unreasonable to some players. 39 Sousa demanded that the solos be memorized because he did not want a music stand to block the soloist from the spectators and interfere with the soloist s connection with the audience. 40 Many brass soloists like cornetist Herbert L. Clarke and trombonists Arthur Pryor and Leopold Zimmerman composed their own solo compositions to showcase their unique talents on their respective instruments. Though Sousa did not require his soloists 38 Bierley, John Philip Sousa: American Phenomenon, Bierley, The Incredible Band of John Philip Sousa, Paul Bierley, John Philip Sousa: American Phenomenon,

34 to compose their own pieces, many felt inclined to do so. During a typical concert, a soloist would perform their solo composition as well as two, three, or on an exceptional evening, four encores, and would have to be prepared to play every piece in their repertoire on command. On occasion, the soloists would be asked to play a memorized encore which was not included in their repertoire; a task which made even the most experienced soloists anxious. To counteract this, some soloists would tape small pieces of music to their bells or write notes on the cuffs of their band uniforms. 41 Another challenge faced by Sousa Band soloists was the lack of rest. The majority of the soloists, except vocalists and violinists, were expected to play each piece of the program, and Sousa s use of quick encores gave the band members little chance to rest, particularly before their solo appearances. Sousa s soloists thrilled audiences with their amazing skills and exquisite musicality for thirty-nine years. During that period, some of the most renowned soloists of the era made their debut as members of the Sousa Band, and his trombone soloists were no exception. Each of the trombone soloists departed the Sousa Band and made a name for himself, although some became much more prominent than others. Many capitalized on the skills they had learned and so brilliantly displayed during their time with Sousa, while others chose different routes. Arthur Pryor organized a band that became Sousa s chief rival; Leopold Zimmerman became a pioneer and legend in the recording industry, Ralph Corey continued to perform in the theatres of New York City, and John Schueler focused on improving the quality of public school music education in the United States. 41 Bierley, The Incredible Band of John Philip Sousa,

35 CHAPTER 2 ARTHUR PRYOR The artistry and skill of trombonist Arthur Pryor helped earn him such titles as The Paganini of the trombone, and The Trombone King. 42 He displayed dazzling feats of technique and musicality which many thought to be impossible on the instrument, and astonished millions of audience members around the world. 43 From his birth in a rural frontier town in Missouri to his triumphs on the finest concert hall stages of the world, Arthur Pryor s ascent into the spotlight as one of the most prominent instrumentalists and conductors in American history was a combination of phenomenal talent coupled with unyielding determination. The Boy Wonder from St. Joseph Arthur Willard Pryor was born on September 22, 1870 on the second floor of the Lyceum Theatre in the rural frontier town of St. Joseph, Missouri. He was the second of three sons born to Samuel D. and Mary Pryor, both of whom were musicians. Arthur s mother Mary was a proficient pianist, and his father Samuel was a bandmaster who had previously studied music in Chicago, Illinois and St. Louis, Missouri. Earlier in his career, Samuel served for three years as music director at the Lincoln Opera House in Lincoln, Nebraska, an experience that may have later influenced Arthur s decision to 42 Michael Meckna, Twentieth Century Brass Soloists, (Westport, CT, London: Greenwood Press, 1994), Bierley, John Philip Sousa: American Phenomenon,

36 direct for an opera company early in his career. After leaving the Lincoln Opera House, Samuel Pryor became a bandmaster in St. Joseph and in 1869 organized an ensemble he called Pryor s Military Band. The Pryor Band (as it was known) was busy, thanks in large part to Samuel, who was a master at securing engagements for his ensemble. The Pryor Band performed for parades, funerals, lodge meetings, and local fairs, and was renamed the Fourth Regiment Band of Missouri when the ensemble was sent to serve in the Spanish-American War. 44 Each of the three Pryor children showed an early interest in music. The Pryor boys gravitation toward music came as no surprise, given the rich musical environment into which they were born. Arthur Pryor s two musically inclined siblings would go on to become well-known musicians in their own right. His older brother Walter Pryor became an excellent cornetist and was featured on many recordings with Sousa Band cornet soloist Herbert L. Clarke. Arthur Pryor s younger brother, Samuel O. Pryor, played the trombone, but established himself as a drummer performing in theater orchestras in Kansas City, Missouri. Both Walter and Samuel Jr. later served as band members in the famed Pryor Band that their brother Arthur organized in the fall of Arthur Pryor s interest and ability in music manifested itself at an early age, and he was alleged to be a competent drummer by age three. 45 His formal musical training began at age six when he began studying piano with Professor Plato, a renowned theorist living in St. Joseph. Pryor also received instruction on several band and orchestra instruments from his father. Young Arthur began his instrumental studies by practicing 44 Daniel E. Frizane, Arthur Pryor ( ) American Trombonist, Bandmaster, Composer (diss., University of Kansas, 1984), Arthur Wise and Mary-Margaret Eitzen, Band March Composers-Arthur Pryor, The Instrumentalist (January, 1971):

37 violin and cornet at home, and was also taught to play the alto horn, bass viol, tuba, and valve trombone. 46 In 1881, Arthur Pryor gave his first public performance on the valve trombone at age eleven with Pryor s Military Band in Chicago, Illinois. Samuel Pryor was so confident in his son s abilities that he billed Arthur as the Boy Wonder from Missouri. 47 Soon after his performance in Chicago, Arthur Pryor had his first opportunity to play a slide trombone. The old battered instrument was left with Arthur s father as payment for a debt owed to Samuel by a tramp printer. 48 The instrument that was left with his father was the first slide trombone in St. Joseph, and Arthur was fascinated with it. His father noticed his interest and instructed him to go out to the barn and learn to play it. Arthur Pryor strived to master the instrument for roughly two years before learning that slide oil was needed to make the instrument work properly, and that there were also seven slide positions. A man in the town pool hall told Pryor that there may be as many as seven positions, and up to that point, Arthur had been using only two. 49 The man told the young Pryor that all he had to do was find the other five positions. Pryor discovered the five positions he had been missing, but the absence of a proficient slide trombone player or teacher in St Joseph to guide him resulted in Pryor playing notes in positions that many may have considered incorrect. In his career, Pryor would take full advantage of these alternate and false positions, as they often helped him play technical lines much faster than many other trombonists. Although he used more alternate positions than any 46 Steve Wolfinbarger, The Solo Trombone Music of Arthur Pryor: Chapter I The Life of Arthur Pryor, International Trombone Association Journal 11, no. 1 (January 1983): Glenn D. Bridges, Arthur Pryor, Pioneers In Brass [CD-ROM], Coupeville, WA: Trescott Research, Ibid. 49 Ibid. 27

38 other trombone soloist, Pryor played magnificently and with such great speed that it did not matter that he was not using the correct positions. Pryor also learned to produce false tones, notes in the extreme low register of the trombone that do not really exist on the instrument. He would obtain these false tones by bending an existing pitch flat with the lip until reaching the desired pitch. In an article written by J.W. Pepper, he claimed that Pryor had the ability to produce a pedal E-flat (E-flat 1 ), a note which is a half step lower than what was possible on his instrument. 50 Pryor began playing the slide trombone in Pryor s Military Band and quickly became a featured member of the group. He was fixated on mastering the slide trombone, and was nothing short of fanatical when it came to practicing. His boyhood friend John White recalled that at age thirteen, Arthur Pryor practiced at least ten hours each day, and that he had little time for anything else. 51 Pryor maintained this strict practice regimen for several years, and by the time he reached age fifteen, was playing with several local bands, performing at county fairs, and was developing a reputation as one of the finest slide trombonists in the area. In 1889, Italian bandmaster Alessandro Liberati organized his own band and embarked on a cross country tour. While in Kansas City, Missouri, Liberati was told about the abilities of the then nineteen year old trombone virtuoso Arthur Pryor. Liberati traveled fifty-five miles north to St. Joseph to visit the Pryor family, meet Arthur, and listen to him play in person. Impressed with the abilities of the young man, Liberati offered Pryor a contract to join his band for their summer tour as trombone soloist. Pryor accepted Liberati s offer and joined the organization for their tour of the western states 50 Frizane, Arthur Pryor ( ) American Trombonist, Bandmaster, Composer, Bridges, Arthur Pryor, Pioneers In Brass. 28

39 during the summer of Pryor s skills on the trombone were unmatched by trombonists of the era, and as such, no solo literature was available that could fully demonstrate his abilities. While on tour with Liberati, Pryor began composing his own trombone solos that would showcase his prodigious talents. Figure 8. Arthur Pryor52 While on break from Liberati s Band in 1890, Arthur Pryor returned home to St. Joseph and was asked by his father to perform with Pryor s Military Band at a concert in St. Louis. Arthur agreed and performed a trombone solo titled Rocked in the Cradle of the Deep with the band at the St. Louis performance. In the audience that day were several members of the famed Gilmore Band, who were performing an engagement at the 52 Bierley, John Philip Sousa: American Phenomenon,

40 St. Louis Fairgrounds. 53 The Gilmore men rushed back to tell their bandmaster about the abilities of the young trombonist Arthur Pryor. Gilmore extended an offer to Pryor to join his band as trombone soloist, but the invitation was turned down. Even though Pryor rejected Gilmore s initial offer, a standing invitation was presented to him if he ever decided to reconsider his decision. It is not known why Pryor did not accept Gilmore s offer to join his band as trombone soloist. Glenn Bridges believes that Pryor was influenced by the fact that his father was once an opera director, and that Arthur wanted a chance to conduct more and travel less. 54 Another plausible theory is that if he accepted Gilmore s offer, Pryor would be replacing trombone soloist Neil Frederick Innes, something that Arthur s father said could never be done. 55 After declining the offer to join the Gilmore band, Pryor traveled to Denver, Colorado and accepted a position as conductor with the Stanley Opera Company. According to Alice Nielsen, the leading soprano of the company, Pryor had great skill as a piano accompanist. She was impressed with his endless repertoire and his ability to play songs by ear. Pryor learned the importance of playing piano during his time with the Stanley Opera Company, and later stated that being proficient on piano aided him as a composer. 56 While on tour with the Stanley Opera Company, Pryor was asked to perform a trombone solo in Salt Lake City, Utah. His performance was very well received, even though Pryor felt he was extremely out of shape. The success of his performance made him seriously reconsider the standing offer to join the Gilmore Band; however, before he 53 Frizane, Arthur Pryor ( ) American Trombonist, Bandmaster, Composer Ibid., Ibid., Ibid., 8. 30

41 could make a decision, Pryor was struck with a severe illness, and returned home to St. Joseph to recover. Joining Sousa In the summer of 1892, John Philip Sousa resigned as the conductor of the United Stated Marine Band and began organizing his own civilian ensemble. Sousa hired many of the best musicians in the United States, and although he did not actively recruit musicians from the Gilmore Band, some of Gilmore s men resigned in order to join Sousa s new ensemble. Tom Shannahan, who had been one of Gilmore s musicians, informed Sousa about the astounding virtuosic abilities of Arthur Pryor, and encouraged Sousa to contact him. 57 Even though Sousa had engaged Frank Holton to serve as his first chair trombonist, he had a letter sent to St. Joseph, Missouri asking Arthur Pryor if he was willing to become a member of the Sousa Band, and if so, at what salary (See Figure 9). Arthur Pryor, having fully recovered from his illness, was touring with the Stanley Opera Company when the letter arrived. Pryor was content with his directorship of the opera and was reluctant to leave; however, upon further consideration, he accepted the offer and traveled to New York City. The St. Joseph News Press stated that when Pryor arrived in New York: Sousa did not know that young Pryor would arrive with only 35 cents in his pocket nor that the young man was destined to play before the crowned heads of Europe, and that he had spent the night on a bench in New York s Union Square Bridges, Arthur Pryor, Pioneers In Brass. 58 St. Joseph News-Press, September 14,

42 Figure 9. Arthur Pryor s invitation to join the Sousa Band 59 The story of Arthur Pryor s first rehearsal with the Sousa Band was often recounted by long-time Sousa Band trombonist Mark C. Lyon: When Sousa organized his band in 1892, Frank Holton and I were the two veteran trombone players. The band was rehearsing for the coming World's Fair, 59 From the personnel file for Arthur Pryor at The Sousa Archives and Center for American Music at the University of Illinois. 32

43 to be held in Chicago, the following year, which was to be Sousa's first major engagement. Young Pryor walked into the rehearsal room, looking very much in need of a hair cut. With introductions over, Mr. Sousa told Pryor that he might want to warm up a bit, which he did to the surprise of the whole band, for we had never heard such tones come out of a trombone before, but fast. Pryor was told to sit next to Holton, who was playing first chair, who was to brief Pryor on what we were going to play next. The band was in the process of rehearsing a number that Mr. Sousa wanted to use at the Fair and this piece had a very difficult passage for the trombone, which was giving Holton some trouble, on account of the tempo at which Mr. Sousa insisted upon. Holton pointed out this passage to Pryor, telling him to tear into it when they got to it. And tear into it he did. Mr. Sousa stopped the band at once and said: 'Frank that is fine, and the first time you got it right.' Frank stood up and said, 'Mr. Sousa it wasn't me playing, but this young fellow Pryor.' 60 Having made such an impression at the first rehearsal, Arthur Pryor cemented his place in the Sousa Band. After the rehearsal concluded, Frank Holton met in private with Sousa and requested his release from the band, stating that he was no longer needed, now that Sousa had Arthur Pryor to serve as his first chair man and trombone soloist. Sousa expressed concern that Pryor may just be a flash and asked Holton to remain until after the World s Fair in Chicago during the summer of Holton reluctantly agreed to stay with Sousa, and immediately relinquished all first chair and trombone solo duties to the young man from St. Joseph. Arthur Pryor spent six months playing with the Sousa Band before his first opportunity came to perform as soloist with the group. During the rehearsals leading up to the Columbian Exposition in Chicago, Pryor approached Sousa and showed him manuscripts of two waltz solos, Love s Enchantment and Love Thoughts, which Pryor had composed. Pryor wanted to perform one of the pieces at the exposition, but Sousa told Pryor, The public won t go for that type of solo on the trombone, you had better 60 Bridges, Arthur Pryor, Pioneers In Brass. 61 Ibid. 33

44 write something else. 62 Sousa s reluctance to feature him upset Pryor so greatly that while at the exhibition, he declared that if Sousa would not let him perform one of his solos, he was returning to St. Joseph. Sousa relented, and allowed the twenty-two year old Pryor to perform his own composition Love Thoughts, which he did with great skill and a terrific cadenza. The audience, who braved the rain for the concert, was in awe of Pryor s abilities and went wild with enthusiasm and threw their hats in the air following his performance. This marked the formal beginning of Pryor s eleven year career as John Philip Sousa s trombone soloist, and was the first of an estimated ten thousand solos that he performed as a member of the famed Sousa Band. 63 The response of audience members and fellow musicians to the trombone solos performed by Arthur Pryor helped to establish his reputation as the greatest virtuoso trombonist of the era. The majority of the trombone solos that he composed are still published and performed to this day; although few performers, even in the modern age, can compare to Arthur Pryor. His technique was utterly amazing to many of those who heard him perform, and it is said that even the clarinetists of the Sousa Band had difficulty in playing Pryor s technical solos on their instruments. 64 Cornet Soloist Herbert L. Clarke wrote the following story about Pryor s technical abilities: I remember once when we were playing a concert in Leipzig, Germany, in 1900, before an audience of 25,000 people, Pryor played one of his most difficult solos without a mistake of any kind, and the vast audience arose and gave him the greatest ovation ever known in that city. At intermission, many members of the Gewandhaus Symphony Orchestra, then directed by Arthur Nikisch, came up on to the stage to examine Pryor s trombone, taking off the slide, looking through it, and examining the mouthpiece, all to find out if there were not some contraptions whereby his technique could be 62 Ibid. 63 Steve Wolfinbarger, The Solo Trombone Music of Arthur Pryor: Chapter III Pryor s Trombone Music, International Trombone Association Journal 11, no. 3 (July 1983): Meckna, Twentieth Century Brass Soloists,

45 produced by artificial means. His trombone and mouthpiece were the same as any ordinary one, and he could do the same stunts on any trombone made. These musicians were speechless, and could not believe it possible. Such incidents explain why Arthur Pryor was so well known all over the world. 65 Pryor s feats of technical virtuosity on the trombone were matched only by the boundless depths of his musicality and expression. Although his single, double, and triple tonguing abilities at breakneck speeds, his fantastic slide technique, (which included the use of many alternate positions and false tones), and his effortless facility were incredible, Pryor was often more popular for his beautiful tone and expressive playing. 66 Pryor preferred slow, soft, ballads and operatic arias to the fast and technical compositions that John Philip Sousa insisted his soloists play first on concert programs. 67 Pryor performed many ballads during his career with Sousa including Silver Threads Among Gold, The Holy City (Adams), Be Bolt, and Celeste Aida (Verdi); however, his favorite was Oh, Dry Those Tears, a piece composed by Del Riego. 68 Oh Dry Those Tears was often performed as his final encore and was an audience favorite. Arthur Pryor s rich, golden tone was always accompanied by continuous and steady vibrato. Arthur s older brother Walter Pryor described the events that led to the discovery of Arthur s vibrato: "When Arthur was a young boy on our farm near St. Joe., Missouri, we had a mule and one day Arthur was out in the barn teasing the old animal when it kicked him on the left side of the face, causing a sort of paralysis of the muscles on that side of the face. He noticed when he played the trombone after this experience that he was getting a nice even vibrato or tremolo in his tone with no effort on his part." Wolfinbarger, The Solo Trombone Music of Arthur Pryor: Chapter I The Life of Arthur Pryor, Frizane, Arthur Pryor ( ) American Trombonist, Bandmaster, Composer Ibid., Bridges, Arthur Pryor, Pioneers In Brass. (See Appendix A for a list of pieces performed by Arthur Pryor during his career with the Sousa Band) 69 Ibid. 35

46 Pryor s vibrato was the source of ridicule among some professional musicians who referred to Pryor as the trombone player with the nanny goat tone. 70 Most of these musicians were cynical trombonists who tried to emulate Pryor and had failed. Arthur Pryor exceeded all expectations of what could be accomplished on the trombone, and his range was no exception. His range stretched four and one-half octaves, from F 1 to B-flat 5, which was unheard of at the time. Pryor would often showcase his range with the popular encore We Won t Go Home till Morning, playing the complete melody four different octaves. In his solo compositions, Pryor regularly wrote vast interval leaps from the high register into the pedal register and back. The most observable example of this is in his solo, Fantastic Polka, where, on several occasions, he writes many consecutive intervals covering two octaves or more. Arthur Pryor s pedal tones were legendary and were mentioned with regularity in newspaper reviews of Sousa Band concerts. One music critic stated that his pedal tones fired the shot heard round the world, while another said his vibrating pedal tones rattled the windows of the Theater and killed the goldfishes and stunned the canaries all the way out to the packing plant where even the iron gates trembled. 71 Pryor s pedal tones were produced with comfort and ease, even though the instrument he played on was small. For the majority of his career, Pryor performed on a C.G. Conn trombone with a six and one quarter-inch bell, and a bore diameter of.458 inches, which is roughly the same size as the modern B-flat trumpet, which has a bore 70 Ibid. 71 Ibid. 36

47 diameter of.455 inches. 72 To play on a trombone with such a small bell and bore size was not common practice at the time. 73 Most trombonists of the era could not produce a decent tone quality on an instrument with such a small bore diameter, but Pryor had great success for many years with that configuration. During his countless hours of practice, Pryor discovered and refined the skill of multiphonics, a method of producing a full chord by playing one pitch, humming another tone at a higher pitch, and adjusting the two until an acoustical difference tone is produced. Pryor became proficient with this advanced technique, and is alleged to have been able to produce not only three note, but also four-note chords. 74 In addition to his duties as trombone soloist, Arthur Pryor assumed duties as assistant conductor of the Sousa Band in His previous conducting and directing experience with the Stanley Opera Company, along with his innate sense of musicality qualified him for the position. As assistant conductor, Pryor would serve as full-time conductor when John Philip Sousa was ill or otherwise unable to perform. On those occasions when Sousa was unable to appear, Pryor would conduct, yet still continue to perform his own solos, choosing not to relinquish his place on the program. Pryor gained experience as the assistant conductor of the Sousa Band, which proved very useful when he organized his own band in the fall of Arthur Pryor spent eleven years performing as trombone soloist with the Sousa Band. During those years, he performed in the United States and Canada on an annual basis, and toured Europe on three separate occasions. In Europe, Pryor played before the 72 David Hickman, Trumpet Pedagogy: A Compendium of Modern Teaching Techniques (Chandler, AZ: Hickman Music Editions, 2006), H. W. Schwartz, The Bands of America (New York: Doubleday and Co., 1957), Frizane, Arthur Pryor ( ) American Trombonist, Bandmaster, Composer

48 crowned heads of many European nations including King Edward VII of England, Kaiser Wilhelm of Prussia, and Czar Nicholas II of Russia. 75 While performing a five day engagement at the Cirque Ciniselli in St. Petersburg, Russia in May, 1903, Arthur Pryor approached Sousa to discuss his current salary. According to soprano soloist Estelle Liebling, Pryor wanted an increased salary, and stated that he would hold out until Sousa agreed to his terms. Sousa was hurt by this, and rather than submit to his terms, told Pryor that he would be released from the band upon their return to the United States in August. Upon the band s arrival in New York, Arthur Pryor left Sousa s Band after eleven years. Sousa and Pryor parted on good terms, as both men knew that the parting was strictly a business decision. The two remained close friends, even as rival bandmasters. When John Philip Sousa died in 1932, Arthur Pryor served as one of the honorary pallbearers, and later assisted in an effort to establish a memorial in tribute to his former bandmaster. The Pryor Band Serving as John Philip Sousa s assistant conductor for eight years enhanced Arthur Pryor s capabilities as a conductor and bandmaster. When he resigned from the Sousa Band in August, 1903, Pryor began organizing a touring ensemble which he named The American Band, but it was better known as the Pryor Band. 76 Pryor invited Sousa Band euphonium soloist Simone Mantia to resign from Sousa s organization and serve as his assistant conductor. Mantia accepted Pryor s offer following Sousa Band engagements that ran through the beginning of October. After securing and rehearsing a full complement of bandsmen, Arthur Pryor made his debut with the American Band at Pryor, Ibid., Wolfinbarger, The Solo Trombone Music of Arthur Pryor: Chapter I The Life of Arthur 38

49 the Majestic Theatre in New York City on November 3, Many early Pryor Band programs included an appearance by the conductor as trombone soloist; however, as the years passed, Pryor made fewer solo appearances until his public performance career came to an end around Pryor often relinquished his traditional solo position on the program to euphonium soloist Simone Mantia, particularly when his duties as conductor made it impossible for him to practice at least two hours each day. Pryor s Band, as it became known, played for twenty summers at Asbury Park, New Jersey, ten spring seasons at Willow Grove Park, near Philadelphia, Pennsylvania, nine winter seasons at Royal Palm Park in Miami, Florida, and five summer seasons at Luna Park, Coney Island, New York. His band performed several engagements at the Steel Pier in Atlantic City, New Jersey, the Electric Park in Kansas City, and the Old Delmar Gardens in St. Louis. Pryor and his band were also often the focus of the national spotlight, performing at national expositions, including the 1904 World s Fair in St. Louis, Missouri. The Pryor band toured in the same manner as the Sousa Band had for six years, before Arthur Pryor grew tired of the grueling pace of touring. He decided to settle down and establish a residence in Asbury Park, New Jersey while still maintaining directorship of his band. The Pryor Band would continue performing spring and summer engagements at Willow Grove Park and Asbury Park respectively; however, the Pryor Band s primary source of income would come from working in the recording industry. Recording and Composing Arthur Pryor was first exposed to the recording industry while he was a member of the Sousa Band. While serving as Sousa s assistant conductor, Pryor directed the majority of the band s recording sessions. At that time, the recording industry was a 77 Frizane, Arthur Pryor ( ) American Trombonist, Bandmaster, Composer,

50 fledgling one, and John Philip Sousa had no appreciation for it, referring to it as canned music. 78 Sousa did allow Pryor and his other bandsmen to participate in the recording sessions, as it provided a means of financial support to the men when the Sousa Band was not otherwise engaged. Arthur Pryor saw the potential for growth and success in the recording industry, primarily as a means for ensembles to reach exponentially greater numbers of audience members who were not able to attend live performances. It is estimated that Arthur Pryor conducted up to seventy-five percent of the Sousa Band s recorded output that was produced by the Berliner and Victor Phonograph Companies. 79 Pryor maintained his association with the Victor Phonograph Company after his departure from the Sousa Band, and became the Music Director of the company on November 24, The relationship between The Victor Company, Arthur Pryor, and the Pryor Band was mutually beneficial for all parties and continued for more than thirty years. Pryor s ensemble filled the Victor library with recordings, and to this day, no band has surpassed the recording productivity of the Pryor Band. According to Steve Wolfinbarger: The band recorded an estimated 5,000 takes and placed 2,000 titles in the Victor Phonograph Company recording Entry Books (now preserved by the Radio Corporation of America). It is believed that Arthur Pryor conducted them all. 80 Arthur Pryor s interest in composition began early in his career and continued for the remainder his life. He began writing music when he joined Alessandro Liberati s band in Pryor s early compositions were trombone solos written to showcase his unique talents and abilities, and were something he believed each soloist should do. 78 Bierley, John Philip Sousa: American Phenomenon, Wolfinbarger, The Solo Trombone Music of Arthur Pryor: Chapter I The Life of Arthur Pryor, Ibid.,14. 40

51 Herbert L. Clarke stated that it was Pryor who was the first to encourage him to compose his own cornet solos, which he later did. 81 Many of Arthur Pryor s solo compositions were based on popular songs and familiar tunes; for example, Annie Laurie and Blue Bells of Scotland. His facility as a composer grew out of his ability to play and improvise on the piano, which he had studied from age six. Pryor s compositional output is estimated to be between one-hundred and three-hundred pieces of various styles and instrumentation, many of which survive today. 82 In addition to writing trombone solos, Pryor also composed in numerous other genres, including marches, novelties, waltzes, and comic operas. While his trombone solos are the compositions most widely recognized today, Pryor s most popular work during his lifetime was The Whistler and His Dog, a novelty written for full band by Pryor in Later Years Arthur Pryor was married in February of 1895 to a young girl from Salt Lake City, Utah named Maude Russell. Arthur and Maude had two sons, Arthur Jr. and Roger Pryor. The Pryor family resided for the most part in St Joseph, Missouri until 1909, when they moved to Asbury Park, New Jersey. This relocation coincides with the increase in recording sessions and a decrease in touring with the Pryor Band. In 1933, Arthur and Maude retired to their twenty-seven acre farm near Long Branch, New Jersey. Arthur s Band was disbanded after a thirty year run, and by this time, both of his sons were established in their own right. Arthur Jr. was vice president of a New York-based advertising company, played piano and cornet, and served as assistant conductor of the Pryor Band. Roger Pryor was a noted actor, radio personality, and dance band leader. 81 Wolfinbarger, The Solo Trombone Music of Arthur Pryor: Chapter III Pryor s Trombone Music, Frizane, Arthur Pryor ( ) American Trombonist, Bandmaster, Composer

52 During his retirement, Arthur Pryor taught several private students either at his studio in the Life and Time building in New York City or at his studio reserved for him by the C.G. Conn Company in Rockefeller Center. 83 Even in his old age, Pryor was just as demanding of his students as he had been of himself at an early age. He demanded nothing short of perfection from his students. Pryor traveled to colleges to conduct band clinics and served as guest conductor for special concerts. He was a charter member of the American Bandmaster s Association, was a member of the American Society of Composers, Authors and Publishers (A.S.C.A.P.), and wrote many articles for various music publications. Pryor did not, however, write a method book for trombone, as many people anticipated he would upon his retirement. If there ever were plans for a method book, they were dashed when he heard of claims that he used tricks to play as well as he had, or that his incredible natural talent, not his hard work and dedication, was responsible for his success. Pryor s reaction upon hearing these statements was let them learn the hard way, like I did. 84 Occasionally, Arthur would assemble what men remained of the Pryor Band for engagements at nearby Asbury Park. In the summer of 1942, Pryor agreed to organize an ensemble to perform for a series of twenty-seven concerts around the Memorial Day weekend. On June 17, following a band rehearsal for the second set of concerts, Arthur Pryor suffered a stroke brought on by a cerebral hemorrhage. He fell into a coma, never regained consciousness, and died at his home at 5:20 A.M. on June 18, 1942 at age seventy-one. 83 Ibid., Ibid.,

53 Not only was Pryor the first trombone soloist to play with the illustrious Sousa Band, he was also arguably, the greatest. His trombone playing was legendary, and the feats that he accomplished set the standard by which not only trombone soloists, but all trombonists are judged. Once concerned with how he could ever replace Frederick Innes in the Gilmore Band, Arthur Pryor created a new path for trombonists everywhere to follow and left a shadow that loomed larger than that of any other player in trombone history. 43

54 CHAPTER 3 LEOPOLD ZIMMERMAN In the fall of 1903, John Philip Sousa was tasked with finding a reliable musician to replace his departed first chair trombonist and trombone soloist, Arthur Pryor. Sousa said of Pryor, I do not believe there was a man in the world his [Pryor s] equal while he was with me, which made the process of selecting his successor all the more difficult. 85 When Pryor left the Sousa Band, he invited Simone Mantia, Sousa s first chair and solo euphonium, to leave as well, and serve as assistant conductor in the newly formed Pryor Band. Mantia accepted Pryor s offer and the two parted ways with Sousa and began organizing their new ensemble. These two key departures from the ensemble prompted Sousa to begin searching for high-caliber musicians to replace his departed soloists. John J. Perfetto joined the group in 1904, and succeeded Simone Mantia as the new first chair euphonium and soloist. To replace Arthur Pryor, Sousa engaged Leopold Zimmerman, a noted trombone soloist who had played with the Frederick Innes Band and the reorganized Gilmore Band. Early Years According to a Philadelphia newspaper article published in 1899, Leopold (Leo) Music, Wolfinbarger, The Solo Trombone Music of Arthur Pryor: Chapter III Pryor s Trombone 44

55 A. Zimmerman was born in Canton, Ohio on March 1, Leo was the youngest of three children born to Bavarian immigrants Caspar and Constance Zimmerman. Caspar Zimmerman worked as a carpenter at a repair shop in Canton, and Constance was a homemaker. 87 Like many professional musicians of the era, Zimmerman was not born into a musical family. Zimmerman s first musical experiences came, not on trombone, but on the cornet. As a cornetist, young Zimmerman performed with the Grand Army of The Republic (G.A.R.) Band in Canton. 88 According to Glenn Bridges, Zimmerman began playing trombone at age fifteen, but did not have a suitable trombone teacher. 89 Canton, Ohio, like many towns during the late 1800 s, did not have a trombone instructor, leaving Zimmerman to discover the means to play the instrument on his own, much like his predecessor in the Sousa Band, Arthur Pryor. Leo Zimmerman acknowledged that while a member of Frederick Innes s band in New York; he received tips from the bandmaster about the art of fast tonguing. 90 Aside from the occasional tips and advice of other musicians, Zimmerman was essentially self-taught. Zimmerman became proficient on the trombone in a short amount of time and began to develop a reputation in the Canton area as a fine trombonist; eventually re-joining the Grand Army of the Republic Band as a trombonist. As Zimmerman s trombone playing progressed, his reputation as an outstanding performer spread, and he began receiving offers to play with groups in larger cities. 86 Glenn D. Bridges, Leo A. Zimmerman, Pioneers In Brass [CD-ROM], Coupeville, WA: Trescott Research, United States Federal Census,1870. Washington: Government Printing Office, Unknown author, Leo A. Zimmerman, Philadelphia, June Bridges, Leo Zimmerman, Pioneers In Brass. 90 Ibid. 45

56 In 1896, Leo Zimmerman left Canton for New York City, presumably to accept an engagement to play trombone with the Innes Band. Frederick Neil Innes was a British trombonist who came to the United States in 1880 at the request of bandmaster Patrick Gilmore. Innes was to assume the position as trombone soloist with the Gilmore Band and provide competition for solo cornetist Jules Levy. 91 His conducting career began in 1887 when he accepted a brief engagement directing the Thirteenth Regiment Band of New York. After leaving the Thirteenth Regiment Band a few months later, Innes organized his own ensemble and began planning engagements across the United States. Innes was also a highly regarded teacher of brass instruments as well as band and orchestra directing. Many great musicians played with the Innes band, including cornetist Herbert L. Clarke, clarinetist Joseph Norrito, and trombonists Ernest Clarke and Leo Zimmerman, all of whom would later play with the Sousa Band. While in New York, Zimmerman not only played with the Innes Band, but also played with the Eighth, Thirteenth, Twenty-third, and Seventy-first Regiment Bands, and the re-organized Gilmore Band, under the direction of David W. Reeves. The Sousa Years As the Sousa Band began its return from its European tour in the fall of 1903, much of the press focused on the forthcoming resignation of trombone soloist Arthur Pryor. Upon their return to the United States in August, Arthur Pryor did resign from the Sousa Band and set off to organize his own ensemble. Meanwhile, The Sousa Band played a nine-day engagement at Willow Grove Park in Philadelphia, Pennsylvania while Sousa searched for a new trombone soloist. Leo Zimmerman was engaged to fill the 91 Glenn D. Bridges, Frederick Neil Innes, Pioneers In Brass [CD-ROM], Coupeville, WA: Trescott Research,

57 position vacated by Pryor, and while the exact date that Zimmerman joined the Sousa Band has not yet been found, he is listed as the trombone soloist during the second 1903 tour, which took place Sunday, August 30 through Sunday, October 4, By the time he began performing with the Sousa Band, Zimmerman had developed a reputation as a master technician, skilled in the art of articulation, including legato, single, double and triple tonguing. 93 Leo Zimmerman always performed on a medium bore trombone with a 7 ¼ inch bell, regardless of the style of music he performed, whether it was band, orchestral, chamber, or solo work. 94 Like many of his fellow bandsmen, including cornet soloist John Dolan, flute soloist Meredith Willson, trombone soloists John Schueler and Ralph Corey, and former trombone soloist Arthur Pryor, Zimmerman was endorsed by the C.G. Conn Company and played on instruments designed for him by the manufacturer. Leo Zimmerman was alleged to have a practical range of four octaves from F 1 to F 5, which is displayed in a cadenza (see Figure 10) from one of his compositions printed in an 1899 Philadelphia newspaper. 95 The unnamed newspaper author describes Zimmerman s playing as follows: It is astonishing to hear what he can do, and how he does it. His compass at present is over four octaves; he jumps four octaves with surety, plays cadenzas in a wonderfully easy and flowing manner, clear and distinct, and has a perfect lip trill, using either at will in some of his solos He plays a song with fine taste and expression, and occasionally, by way of variety, brings in the rapid gun-andmusketry-fire effect, which with so many soloists is more than they can do; besides that he plays an exceptionally fine trombone in the band Bierley, The Incredible Band of John Philip Sousa, Bridges, Leo Zimmerman, Pioneers In Brass. 94 Ibid. 95 Octave designations are those used by The Acoustical Society of America. 96 Unknown author, Leo A. Zimmerman Philadelphia. 47

58 Figure 10. Cadenza Written by Leo Zimmerman 97 Zimmerman s sound was described as full, round, bell-like and very clear and precise. One of the more striking characteristics of Leo Zimmerman s playing was the lack of any discernable vibrato. This must have been a remarkably different style of trombone playing than Sousa or his bandsmen were accustomed to hearing after performing with Arthur Pryor for eleven years. In addition to his many skills he demonstrated on the trombone, Zimmerman was also reported to be one of only two trombonists of the time to have the ability to use multiphonics at will. The other was Zimmerman s predecessor, Arthur Pryor. 98 The Recording Industry and Composing Leo Zimmerman s playing attributes, most notably his precision and clarity, made him very well-suited for work in the burgeoning recording industry of the early 1900s. From 1900 to 1925, Zimmerman was one of the busiest and most recorded brass 97 Ibid. 98 Unknown author, Triumph of March King, Canton (Ohio) Repository, October 14,

59 instrumentalists. 99 Zimmerman s recording career began in the late 1800s when he participated in recording sessions for the Columbia Phonograph Company as a member of the re-organized Gilmore Band. During his tenure with the Sousa Band, Zimmerman recorded between tours with various bands and orchestras for Edison Records, Zonophone Records, the Victor Phonograph Company, and the Columbia Phonograph Company. 100 For a twenty-year period between 1905 and 1925, Zimmerman recorded almost exclusively with the Columbia Phonograph Company, apart from his recordings with the Sousa Band, which were recorded between 1904 and 1910 by the Victor Phonograph Company. 101 Leo Zimmerman, like many brass soloists of the era, was not content to play the solo pieces of other composers, because he felt that they did not adequately demonstrate his unique abilities. In order to resolve this issue, Zimmerman composed his own trombone solo pieces, eight of which are still known. 102 His two most popular solos were Leona (also known as Leona Polka), and American Beauty (also known as American Beauties), both of which were performed repeatedly on Sousa Band tours. 103 Unlike Arthur Pryor, Zimmerman s compositional output appears to be limited solely to the genre of the trombone solo. Leo Zimmerman did not publish any of his trombone solos, and none are commercially available today; however, due to his extensive recording career, several of his compositions survive in audio format Bridges, Leo Zimmerman, Pioneers In Brass. 100 See Appendix D for a discography of recordings by Sousa Band trombone soloists. 101 Ibid. 102 See Appendix A for a list of pieces performed by Leo Zimmerman during his career with the Sousa Band. 103 Bierley, The Incredible Band of John Philip Sousa, Unknown author, Leo A. Zimmerman. 49

60 Leo Zimmerman served as the Sousa Band s first chair trombone and soloist from the fall of 1903 until October of Through recording for the Columbia Phonograph Company between Sousa Band tours and breaks, Zimmerman became associated with Charles Prince, a touring bandmaster with his own ensemble who also served as the leader of the Columbia house band and orchestra in New York City. After leaving Sousa s band, Zimmerman continued to play as a regular staff member at Columbia, and also played with the Charles Prince Band, Mr. Prince s touring ensemble. The Charles Prince Band played numerous venues throughout the eastern United States, including engagements at Willow Grove Park in Philadelphia, Pennsylvania and The Steel Pier in Atlantic City, New Jersey. After serving as first chair trombone and trombone soloist for John Philip Sousa, Leo Zimmerman s musical reputation was cemented. He moved to New York City and established himself as one of the finest trombonists in both the performing and recording industries, and was also a recognized composer of popular trombone music. The years after the Sousa Band were filled with engagements with various symphonies, theatres, recording studios, and bands, including the Conway Band and the Edwin Franko Goldman Band. A Second Stint with Sousa Following the five-month Golden Jubilee tour of 1928, the activities of the Sousa Band abruptly diminished as the Great Depression began to spread across the country. The Great Depression began in some countries as early as 1928 and drastically altered the financial, and by extension, the cultural climates in the United States. The arrival of the depression signaled the beginning of the end of the professional touring 50

61 band in America, and not even the renowned Sousa Band would survive the extensive fallout. The effects manifested themselves immediately, as Sousa saw the band s tour schedule dwindle from 232 concerts in 149 days in 1928 to only thirty-seven concerts in thirty-five days in The tours during the years from 1929 to 1931 were much shorter in length and did not stretch across the continental United States like the typical tours of the past. Still living in New York City, Leo Zimmerman began playing with the Sousa Band again in 1929, performing several short-term engagements. He performed in an offtour concert in June of 1929 in Princeton, New Jersey, and also played later that year with the Sousa Band for radio broadcasts. 105 Leo Zimmerman rejoined the Sousa Band full-time as first trombone and soloist beginning with the significantly shortened 1930 tours, which began on August Sousa s trombone soloist at the time, John P. Schueler, was unable to play the three short tours of 1930, and Sousa invited Zimmerman to fill in during Schueler s absence. Zimmerman remained with the Sousa Band until it stopped touring in the fall of 1931, and performed on each of the Sousa Band s radio broadcasts after that. A concert on September 8, 1931 was the last live performance of the Sousa Band, with the exception of radio broadcasts later that year. 107 Some Lighter Moments Leo Zimmerman, or Zimmy as he was affectionately labeled by his fellow bandsmen, was said to have been an extremely serious and confident musician; however, he was also known to be humorous and had a reputation as a practical joker. One prank 105 Bierley, The Incredible Band of John Philip Sousa, Ibid., Ibid.,

62 that Zimmerman masterminded was remembered fondly by band alumni many years after the event: A vaudeville act was playing at the Corn Palace as well, and as part of the routine an actor would pull a rope that released a trap door, allowing some two hundred hats to rain down onto the stage. Zimmerman discovered that the rope hung next to his seat at the end of the trombone section. It would liven their grueling tour, he thought, if part of the band could be showered with the hats during a concert. Fittingly, it was during the Manhattan Beach march that he took action. As Sousa recalled in his autobiography, apparently unaware that one of his musicians had been the instigator, We were the most surprised lot of men you ever saw when a shower of hats descended upon us. In the bells of the sousaphones they were piled nearly three feet deep. The laughter that overwhelmed the audience was so tremendous that you couldn t hear the band play at all, although they valiantly continued to play! According to John J. Perfetto, another soloist, Sousa also had a hearty laugh. 108 In addition to being the instigator of many pranks, Zimmerman was also on the receiving end as well. One story of revenge is described by Paul Bierley: Not everyone in the band knew he [Zimmerman] wore a toupee, but flutist Julius Spindler did, and he devised a scheme to get even for pranks Zimmerman had pulled on him. Just before the curtain went up one day, Spindler tied a fishhook to a piece of string, slipped up behind Zimmerman, and carefully embedded the hook in his toupee. Spindler tied the other end to the curtain, and when it went up, so did Zimmerman s hairpiece. It swung back and forth, leaving those in the front rows wondering about the symbolic meaning of a scalp dangling in front of the band. It remained there until intermission, when Zimmerman returned to full dress. 109 Zimmerman was well-liked by his fellow bandsmen, and his jokes and pranks often helped to raise the spirits of the men. John Philip Sousa even enjoyed hearing about Zimmerman s exploits. When Zimmerman left the band in 1909, many of the bandsmen were disappointed to see him go. 108 Ibid., Ibid.,

63 Figure 11. Leopold Zimmerman Summary Leopold Zimmerman holds the distinction as being the only trombonist to hold the position of trombone soloist with the Sousa Band twice. Following in Arthur Pryor s footsteps was no small task, yet Zimmerman did so admirably, retaining the position as trombone soloist of the Sousa Band for more than six years. Through numerous tours and engagements, Zimmerman performed with great virtuosity and style. After leaving the Sousa Band, he performed with several bands and orchestras and also established himself as a fixture in the recording industry. Leopold Zimmerman died on December 18, 1935, in Englewood, New Jersey at age sixty-nine. He was survived by his Wife Emma, and his son Brayton. 53

64 CHAPTER 4 RALPH COREY Ralph Corey is perhaps the most enigmatic of the trombone soloists to have performed with the Sousa Band. When he joined the band in 1906, he was the youngest member of the ensemble and became Sousa s longest-tenured trombone soloist, remaining with the group for fourteen years. Even though both of these accomplishments are significant, little written information regarding the life and career of Ralph Corey has been located, and he appears to be a mere footnote in the history of the trombone soloists of the Sousa Band. Early Career Ralph Heaton Corey was born on August 5, 1885 in Boston, Massachusetts to Albert and Catherine Corey. The Corey family lived on Boston s south side, where Albert made a living as a professional musician. 110 Albert achieved local notoriety as a conductor in the Boston area, and was the leader of the Bowdoin Square Theater Orchestra. The theater opened on February 15, 1892 and Albert Corey was one of the first orchestra directors of the new venue, located in Scollay Square. A 1906 newspaper reported that Ralph s mother Catherine played the cornet and was a musician worthy of mention United States Federal Census,1900. Washington: Government Printing Office, The Sousa Band Press Books, from The Sousa Archives and Center for American Music at the University of Illinois: Paul Bierley Papers (#21),

65 Ralph Corey demonstrated an interest in music at an early age and began learning to play trombone at the age of eight, and made rapid progress. According to Glenn Bridges, Ralph studied trombone at some point with former Sousa Band trombone soloist Arthur Pryor. 112 Corey was also said to have studied with another notable Sousa Band musician, cornet soloist Herbert L. Clarke. 113 Corey made remarkable progress on the instrument and was invited by his father, Albert, to play trombone as a member of the Bowdoin Square Theater Orchestra. 114 Sousa s Youngest Member Ralph Corey spent several years in the employment of the Bowdoin Square Theater Orchestra, and it was while performing at Bowdoin Square that his playing caught the attention of one of John Philip Sousa s friends. 115 The associate informed Sousa of Corey s abilities and encouraged him to send an invitation to the young trombonist and offer him a position with his band, which Sousa did. The twenty-one year old accepted Sousa s offer, and joined the band for the start of their third tour of 1906, which began in Asbury Park, New Jersey. At the time he joined the Sousa Band, Ralph Corey was the youngest member of the ensemble. 116 With the exception of the 1900 season, John Philip Sousa normally employed a compliment of three trombones in his ensemble. 117 When Corey joined in the fall of 1906, he became the fourth member of the trombone section, which would consist of three tenor trombones and one bass trombone. After the addition of Corey as the fourth 112 Glenn D. Bridges, Ralph Corey, Pioneers In Brass [CD-ROM], Coupeville, WA: Trescott Research, Ibid. 114 The Sousa Band Press Books, from The Sousa Archives and Center for American Music at the University of Illinois: Paul Bierley Papers (#21) Ibid. 116 Bierley, The Incredible Band of John Philip Sousa, Bierley, John Philip Sousa: American Phenomenon,

66 trombonist on the roster, Sousa would always employ a compliment of at least four (and sometimes five) trombones in his ensemble. 118 When Ralph Corey joined the Sousa Band in the fall of 1906, Leo Zimmerman was still the first chair trombonist and the featured trombone soloist. Corey served as a section trombonist for two years before he had an opportunity to perform in a solo capacity with the Sousa Band. Corey s first verifiable solo appearance came in the fall of 1908 during the Sousa Band s annual engagement at Willow Grove Park in Philadelphia, Pennsylvania, where he appeared as soloist on seven different concerts during the twentythree day engagement. 119 Ralph Corey appeared as soloist during the 1908 Willow Grove Park engagement, and demonstrated that he was capable of meeting Sousa s expectations as trombone soloist. In addition to his appearances at Willow Grove, Corey was a soloist during the Sousa Band s nineteen-day engagement at the Boston Food Fair in September and October, which closed the 1908 season. In 1909, Corey was again featured at Willow Grove, but did not appear on the long tour, as that responsibility fell to Leo Zimmerman. When the 1909 tour concluded, Zimmerman left the Sousa Band and twenty-four year old Ralph Corey was selected to succeed Zimmerman as first chair trombone and soloist. Corey proved to be a very capable and dependable trombonist, and performed as Sousa s trombone soloist on all long tours for ten seasons from 1910 to A 1915 Boston Globe review remarked that one of Corey s solo performances at the San Francisco 118 Ibid., Bierley, The Incredible Band of John Philip Sousa, See Appendix C for a chronological listing of pieces performed by Ralph Corey during his career with the Sousa Band. 56

67 Exposition garnered much praise and resulted in four encores. 121 Perhaps one of the greatest accomplishments of the Sousa Band was the World tour of The tour began in New York City in late December of 1910 and concluded with a performance at the Hippodrome in New York City on December 10, Ralph Corey served as trombone soloist for the historic tour and was described in a memento of the tour written by clarinetist Edmund A. Wall during the trip: Ralph Corey plays the first Trombone, And much ability he s shown; Another Beantown product he, A good white boy, you ll all agree. 122 Ralph Corey was also a representative for the C. G. Conn instrument company, and was furnished a free instrument in exchange for his endorsements of the C.G. Conn brand (See Figure 12). 123 Corey s trombone was similar in design to that of former Sousa Band soloist Arthur Pryor in the fact that the bore diameter (.458 inches) and bell size (6 ¼ inches) of Corey s trombone were considerably smaller than the instruments used by most trombonists of the era. Using instruments with smaller bore and bell sizes made them easier to fill, but very few players could produce a rich, beautiful tone on them. Corey, Pryor, and Gardell Simons (trombone soloist with the Conway Band) were three of the few trombonists who were able to use small bore instruments and achieve great success Unknown author, Boston Globe, (Boston, MA: July 18, 1915). 122 Edmund A. Wall, Around the World With Sousa: A memento of the World Tour., From the personnel file for Ralph Corey at The Sousa Archives and Center for American Music at the University of Illinois. 123 Bierley, The Incredible Band of John Philip Sousa, Schwartz, The Bands of America,

68 Figure 12. Ralph Corey s C. G. Conn Endorsement 125 Ralph Corey, like his Sousa Band predecessors Arthur Pryor and Leo Zimmerman, composed some of his own solos; however, his compositional output was far less significant than that of his predecessors. To date, only one trombone solo composed by Ralph Corey has been discovered. Corey s Valse Brilliante was never listed on any Sousa Band programs that have been located, nor is it included in the Sousa Band library. 126 A 1906 newspaper article states that Ralph Corey achieved great success as a trombone soloist and composer, although the only additional work that can be attributed to him is a march from the Sousa Library entitled Mardi Gras (March). 127 Ralph Corey played many solos composed by former Sousa Band trombone soloist Arthur Pryor, but 125 From the personnel file for Corey at The Sousa Archives and Center for American Music at the University of Illinois. 126 Ibid. 127 Bierley, The Incredible Band of John Philip Sousa,

69 typically performed the compositions of less prominent composers like Waldron, Campana, and Del Riego. 128 The Strike The complexion of the Sousa Band changed drastically following the tour. At the beginning of the 1920 tour, no less than twenty-eight new band members made their debut with the Sousa Band. The reason behind this massive influx of new personnel stemmed from an incident on January 5, 1920, in which two-thirds of the band members did not appear for a matinee concert in Winston-Salem, North Carolina. The absent band members did appear for the performance later that evening and completed the remaining week of the tour. The strike, as it has been called, was the band members way of expressing their dissatisfaction with inadequate hotel accommodations compounded by an altered railroad connection. 129 The band was scheduled to arrive in Winston Salem, North Carolina at 3:00 p.m. on Sunday, January 4; however, the train scheduled to make the run was canceled, and the band cars were attached to a slow-moving freight train. Instead of arriving at 3:00 p.m. on Sunday, the band arrived at 3:00 a.m. Monday morning, only to find that there were no hotel rooms available except those for Sousa, the female soloists, and cornet soloist Frank Simon. The majority of the men were forced to sleep in the hotel lobby on chairs, couches, and pool tables. In the morning, the men who had been unable to find beds the previous evening held an indignation meeting, where it was decided that they would demonstrate their displeasure by refusing to play the matinee concert. 130 For the Band. 128 See Appendix A for a list of pieces performed by Ralph Corey during his career with the Sousa 129 Bierley, The Incredible Band of John Philip Sousa, Ibid. 59

70 performance that afternoon, only nineteen out of the sixty-six member ensemble appeared on stage. There were no French horns, harp, tubas, or percussion, and only two cornet and two trombone players were on hand, along with a few clarinetists. 131 The concert went ahead with the undermanned ensemble, and Sousa announced at the conclusion of the program that the box office would issue refunds to anyone who sought them. Sousa was furious with the musicians who refused to perform and instructed his personnel manager (and trombonist) Jay Sims never to hire any of the striking musicians for future tours. John Philip Sousa stated that he had twenty-eight vacancies at one time; and wrote I cleaned them out. I took out twenty-eight at one shot and some of them [were] my best musicians. 132 Because very few of the fired members ever spoke of the strike, it is unclear whether or not Ralph Corey was the other trombonist on stage with Jay Sims during the performance in question. The fact remains that following the tour, Ralph Corey never appeared again as soloist with the Sousa Band. After Corey left the Sousa Band in 1920, he went back to work as a theater musician in New York and New Jersey and later served as the solo trombonist for Carl Eduarde s Strand Theatre Concert Orchestra in New York City. Summary Although the circumstances of his departure from the Sousa Band are unknown, Ralph Corey holds the distinction of being the longest-tenured trombone soloist to play with the Sousa Band. He served as a trombonist under Sousa for a total of fourteen years, and served as first chair trombone and soloist for ten. In 1913, at age twenty-eight, Ralph married a young woman named Celeste while he was still a member of the Sousa Band. 131 The Strike From Interview with Frank Simon 23 November 1963, The Bierley Collection at The Sousa Archives and Center for American Music at the University of Illinois. 132 Bierley, The Incredible Band of John Philip Sousa,

71 Celeste and Ralph had two sons; Ralph Jr. was born in 1918, and Albert, who was named for Ralph Corey Sr. s father, was born in Following his departure from the Sousa Band, little information regarding the life and career of Ralph Corey has been located. Figure 13. Ralph Heaton Corey Ibid.,

72 CHAPTER 5 JOHN P. SCHUELER The 1920 season of the Sousa Band was a unique chapter in the band s history. Following the strike, which took place during the tour, twenty-eight musicians were not re-hired for the following season. This left John Philip Sousa and personnel manager Jay Sims with the unenviable task of replacing more than one-third of the ensemble s personnel. 134 Trombone soloist Ralph Corey was among the members who did not return to the Sousa Band when it began touring again after a six month break during the first half of John P. Schueler was chosen to succeed Ralph Corey as Sousa s first chair trombone and soloist, and would remain with the ensemble until John Philip Sousa s death in March of Formative Years John Paul Schueler was born in Utica, New York on July 4, 1892, twenty-six days before Sousa resigned as the conductor of United States Marine Band. 135 John was the third of seven children born to Catherine and Henry Schueler, a local carpenter and building contractor. 136 Most of the Schueler children were musically gifted, and their home was often filled with the sounds of practice both before and after school. John and his brothers, William and Henry, all became well-respected bandsmen in their own right, and 14B. 134 Bierley, The Incredible Band of John Philip Sousa, Ibid., United States Federal Census,1920. Washington: Government Printing Office, 1921, sheet 62

73 their sister Betty became an accomplished pianist and organist in the Schueler s home town of Utica. Figure 14. John Paul Schueler 137 John Schueler began his musical career playing the cornet at age nine and received instruction from his older brother Henry, who was already very skilled on the cornet, although he was only in his teens. 138 After playing the cornet for one year, John began playing trombone at the age of ten. There is no mention of a trombone teacher that John studied with as a young man, so it is reasonable to assume that he received tips from his older brother Henry, as he had while playing the cornet. When he reached age thirteen, John continued his trombone studies on his own and assigned himself a rigorous 137 Bierley, The Incredible Band of John Philip Sousa, Alberta J. Dickinson, People Worth Knowing, Daily Press, (Utica, NY: 1955). 63

74 practice regimen of five or six hours each day, much like that of young Arthur Pryor. This practice schedule was integral to Schueler s musical and technical development; and as such, he maintained it each day for several years. While still a young man, John Schueler was a trombonist with Lincoln Holroyd s Band and the Schubert Theatre Orchestra, both of which were located in Utica, New York. In 1908, at age sixteen, John abandoned his studies at the Kemble School and the Utica Free Academy to accept an invitation to tour with the Ellis Brooks Band, based in Chicago, Illinois. The Brooks Band was a well-respected organization and afforded Schueler many opportunities to develop his trombone playing skills. While playing with the Brooks Band, Schueler studied with renowned cornetist and brass teacher Alfred F. Weldon, with whom many of the best brass soloists of the era also studied. After touring with the Ellis Brooks Band, Schueler accepted a trombone position with a local band and orchestra in Dayton, Ohio. The ensemble performed in theaters, the McAlpin Hotel, and presented weekly concerts at the Dayton Soldiers Home. 139 In 1917, Schueler followed in the footsteps of those men he played for each week and enlisted in the United States Army. 140 He was stationed at Fort Thomas, Kentucky and served as the assistant leader of the fort band. As the assistant leader, Schueler was responsible for recruiting and training new musicians for the ensemble. After serving at Fort Thomas, Schueler was transferred to the West Point Band and Orchestra in New York. Following the signing of the Treaty of Versailles in June, 1919, and the end of World War I, Schueler left West Point and moved to New York City where he resumed his trombone 139 Ibid. 140 Glenn D. Bridges, John P. Schueler, Pioneers In Brass [CD-ROM], Coupeville, WA: Trescott Research,

75 studies. During his time in New York City, Schueler studied privately with Arthur Pryor and Leo Zimmerman, both former trombone soloists with the Sousa Band. A Career with Sousa In 1920, John Schueler was extended an invitation to join the Sousa Band, which he accepted. He was to serve as the featured trombonist and also occupy the first chair trombone position which had been vacated by the departed Ralph Corey. It is not known if Schueler s former teachers Arthur Pryor or Leo Zimmerman had an influence on his selection as Sousa s new trombone soloist, but his affiliation with the two former Sousa Band soloists may have significantly increased his chances. John s brother William Schueler was also extended an invitation to join the band as a member of the clarinet section the same season. William, like his brother John, would remain with the band until the death of John Philip Sousa in March of William would go on after leaving the Sousa Band to become the director of the Daytona Municipal Band, a position he held for many years. A third Schueler brother joined the band in 1922, when Henry joined the ensemble as a cornet player. Henry only remained with the band for three seasons, but was very proud to be a member of the renowned ensemble with his brothers. John Schueler s first verifiable solo performance with the Sousa Band occurred on August 23, 1920 during the band s annual engagement at Willow Grove Park in Philadelphia, Pennsylvania. 141 He performed a trombone solo composed by Hartly, entitled Valse Fantastic, on the second of four concerts played that day. Following that 141 See Appendix C for a chronological listing of pieces performed by John Schueler during his career with the Sousa Band. 65

76 performance, Schueler became a regular soloist, frequently occupying the customary second slot on the program, which was reserved for the featured brass soloist. John Schueler did not compose any of his own solo works, instead choosing to champion the compositions of others. Schueler s favorite technical solos were those composed by Al Pinard, the first famous trombonist to endorse the King brand trombone manufactured by the H.N. White Company, and trombone soloist with the Pryor Band. 142 On several occasions, John Schueler performed a solo work composed by John Philip Sousa entitled The Fighting Race. 143 The piece was also used as a vocal feature, but was one of Schueler s most frequently performed solos. On all programs located before the Willow Grove Park season of 1926, the composer of The Fighting Race is listed as anonymous; however, during and after the 1926 Willow Grove Park engagement, The Fighting Race is attributed to John Philip Sousa. In addition to playing trombone solos by Sousa and Pinard, Schueler also performed compositions of Del Riego, Rollinson, and Pryor. Though not a master technician like Leo Zimmerman or Arthur Pryor; John Schueler established a reputation as a top notch first chair trombonist, and a consistent, well-rounded performer. 144 When it came to solo or small ensemble work, Schueler performed with great confidence and security. His trombone playing exhibited many of the same characteristics as one of his former teachers, Leo Zimmerman. John Schueler s tone was described by Glenn Bridges as of a bell-like quality, full and round. 145 These 142 Bridges, John P. Schueler, Pioneers In Brass. 143 Bierley, The Incredible Band of John Philip Sousa, Bridges, John P. Schueler, Pioneers In Brass. 145 Ibid. 66

77 tonal characteristics are also used to describe Zimmerman, who undoubtedly had a profound impact on the playing style of Schueler. Like each of the former Sousa Band trombone soloists, John Schueler endorsed several music products and services. Pryor, Zimmerman, Corey, and Schueler performed on C.G. Conn instruments, and the Sousa Band soloists were featured in numerous magazine and newspaper advertisements endorsing the C.G. Conn brand. Schueler s endorsement in a 1922 C.G. Conn Ltd. advertisement reads: I sincerely believe the Conn Trombones to be without equal in every detail. Remarkable playing qualities, rich tone, perfect scale, light and dependable slide action. 146 Schueler also endorsed cornetist Jean Baptiste Arban s method book, the Arban s Famous Method for Trombone, while he was a member of the Sousa Band. 147 In order to maintain a steady income, Schueler and many of Sousa s band members performed with various musical organizations while the Sousa Band was between engagements. In addition to his reputation as a Sousa man, Schueler also worked with the Pryor, Conway, Bachman, and Dr. Everett Moses s bands, Paul Whiteman s Orchestra, the vaudeville act of B. A. Rolfe, various bands and orchestras in New York City theaters, and also served as a substitute trombonist with the Walter Damrosch and Metropolitan Opera House Orchestras. 148 John Schueler spent eleven seasons with the Sousa Band from 1920 to During that time, he served as John Philip Sousa s featured trombone soloist and also occupied the first chair trombone position until the band stopped presenting live concerts 146 Unknown Author, 1922 Fall Tour Program from The Sousa Archives and Center for American Music at the University of Illinois. 147 From the personnel file for John Schueler at The Sousa Archives and Center for American Music at the University of Illinois. 148 Dickinson, People Worth Knowing. 67

78 in Schueler performed on nearly all tours during his eleven year career with Sousa, with the exception of three short tours in Sousa engaged former trombone soloist Leo Zimmerman to stand in during John Schueler s absence for the three short tours, and asked Zimmerman to remain with the group after Schueler returned. For the last tour of 1931 (the final tour of the Sousa Band), two of the finest trombone soloists of the age, John Schueler and his former teacher Leo Zimmerman, played alongside each other. Like many of the trombone soloists before him, John Schueler became familiar with the recording industry while he was a member of the Sousa Band. Throughout the 1920s, Schueler played first trombone on the majority of the phonograph recordings produced by the Sousa Band. 149 As the Sousa Band tour schedule declined in number of performances and length of tours, Sousa began to turn to radio as a viable performance medium. When the Sousa Band stopped performing live concerts in September of 1931, radio broadcasts were the only means of hearing a performance of Sousa s band. John Schueler performed on nearly all of the radio broadcasts. 150 The first Sousa Band concerts broadcast by radio occurred in 1929, and continued at intervals until Sousa s death in March of A Career in Music Education Following the death of John Philip Sousa and the disbanding of his ensemble, John P. Schueler returned home to Utica, New York. He spent a year playing in the Avon and Utica Theatres, and in 1933 accepted a music teaching position at Cook Academy in Montour Falls, New York, a position he held for seven years. Upon accepting the staff position at Cook Academy, John Schueler s performance career came to an end. He 149 Bridges, John P. Schueler, Pioneers In Brass. 150 From the personnel file for John Schueler at The Sousa Archives and Center for American Music at the University of Illinois. 68

79 dedicated himself to music education, and chose to retire from public performance, being content with his legacy as Sousa s last trombone soloist. In 1940, Schueler moved to Syracuse, New York and spent eight years organizing and directing school bands and orchestras. The next three years found Schueler in East Syracuse, where he assisted in the establishment of a school music system while also serving as an instructor for the Syracuse University Band. Schueler returned to Utica, New York in 1951, where he accepted a position as a music therapist at the Utica State Hospital. He stated that he felt a great sense of satisfaction and personal achievement from his work as a music therapist. 151 When his brother William resigned as director of the Utica Civic Band in 1953, John Schueler was chosen to replace him. He served as the conductor of the ensemble for six seasons until he retired in After leaving the Utica Civic Band and retiring from the Utica State Hospital, Schueler taught brass students two or three evenings each week, and, on occasion, traveled to Syracuse, New York to work as a piano tuner. 153 Family and Final Years John Schueler married pianist and bank teller Mabel Humphrey in 1928, while he was a member of the Sousa Band. 154 John and Mabel had one son, John Paul Schueler Jr., who apparently inherited some of his parents musical talent. He excelled as a cornetist, playing with several local school bands, but chose not to pursue music as a career, instead choosing to leave Utica and obtain a degree in Business Administration at The University of Cincinnati. John Paul Schueler Sr. died in Utica, New York on July 15, 1964 at age 151 Bridges, John P. Schueler, Pioneers In Brass. 152 Ibid. 153 Dickinson, People Worth Knowing. 154 Ibid. 69

80 seventy-two. He was the last of Sousa s full-time trombone soloists, and was also the last to pass away. 70

81 CHAPTER 6 OTHER TROMBONE SOLOISTS Although Arthur Pryor, Leo Zimmerman, Ralph Corey, and John Schueler performed as the full-time soloists for the vast majority of the Sousa Band s existence, other trombonists did make solo appearances with the famed ensemble. John Philip Sousa would most often use the band s regular summer engagement at Willow Grove Park in Philadelphia, Pennsylvania as a testing ground for prospective members and new soloists. The Sousa Band performed at Willow Grove Park, fourteen miles north of downtown Philadelphia, every summer from 1901 through 1926, with the exception of 1911, when the ensemble was on its world tour. The band performed a total of 2,751 concerts at Willow Grove Park, and was the park s greatest summer attraction for several years. 155 The Willow Grove Park engagements served as an extended audition for some members of the Sousa Band, while exceptional new musicians were featured as soloists. This gave Sousa an opportunity to evaluate the new talent and determine if new members had the necessary skills to become soloists on long tours. Sousa also used the Willow Grove Park engagement to establish his musical depth chart and determine which musicians would be capable of replacing current soloists if illness or injury prohibited them from appearing. In addition to the regular trombone soloists, six other men who played trombone solos with the Sousa Band have been identified: Arthur Bauer, Louis Schmidt, Manuel 155 Bierley, The Incredible Band of John Philip Sousa,

82 Yingling, Charles Gusikoff, Joseph DeLuca, and Henry Wick Ford. It is possible that more trombonists could be added to this list; however, no verifiable account of their performances can be located to date. Arthur Bauer Perhaps the most tragic story in the history of the Sousa Band trombone soloists is that of a promising young trombonist from Wisconsin named Arthur Bauer. Arthur Willard Bauer was born in Oshkosh, Wisconsin on December 25, 1881 to Mr. and Mrs. Charles Bauer. 156 Arthur was born into a very musical family, Mrs. Bauer being a skilled pianist and Mr. Bauer being proficient on several instruments. Arthur Bauer began playing violin at age eight and also demonstrated skill as a cellist. The resignation of trombonist Charles Fell from the Lockwood & Bauer Orchestra in Oshkosh presented Bauer an opportunity to learn to play trombone, in order to fill the position. His trombone skills rapidly developed, and by 1895, at age 14, he was playing trombone with the Columbia Band of Oshkosh. The following year, Bauer joined the Arion Band, which was regarded as one of the finest band organizations in the region. He remained with the Arion Band for four years, serving as first chair trombone and soloist with the group (See Figure 15). Arthur Bauer was a naturally gifted musician, and his abilities on the trombone were, for someone of his age, remarkable. Bauer was said to have a sweet and pure tone that was beautiful when playing soft dynamics and powerful at loud dynamics. He was skilled in all forms of articulation including single, double, and triple tonguing. He had great command of pedal tones and executed all of his solos with great clarity and 1901). 156 Unknown author, To Go With Sousa, The Daily Northwestern, (Oshkosh, WI, December 20, 72

83 security. Above all, he was a very expressive trombonist, which pleasantly surprised many listeners, given Bauer s youth. A Sousa Band concert in Wisconsin in March of 1899 was the event where Arthur Bauer and Arthur Pryor first crossed paths. Bauer expressed his desire to be a member of Sousa s band to Arthur Pryor and was invited to play for him in private. Pryor later recalled that Bauer was an unusually promising musician. 157 Bauer received a letter from Pryor in the weeks following the concert, stating that he had not forgotten about the young musician from Oshkosh, and that he had been searching for an opportunity to secure a position for him in a prominent band in the eastern United States. 158 In 1901, Bauer wrote to famous bandleader Allessandro Liberati at the insistence of Arthur Pryor. Liberati offered Bauer a position with his band, and Bauer accepted at a salary of eighteen dollars per week. He traveled to Philadelphia, Pennsylvania to join Liberati s Band in May of 1900 for a twenty week summer engagement. During his time with Liberati, he served as a section trombonist and trombone soloist, a position previously held by his mentor, Arthur Pryor, earlier in his career. When Bauer completed his contract with Liberati in the summer of 1901, he was offered a position during the fall and winter months with Seymour s Band, which was based in Saint Louis, Missouri. Bauer spent the winter and spring months of 1901 playing with Seymour s Band, but was also considering an offer to join the renowned Ellis Brooks Band, having been recommended for that position by Liberati. When not on tour with Seymour or Leberati s bands, Bauer performed with the Arion Band in Oshkosh. In 157 Unknown author, Pryor Sizes Up Bauer, The Daily Northwestern, (Oshkosh, WI, March 13, 1902). 158 Unknown author, To Play in Liberati s Famous Band, The Daily Northwestern, (Oshkosh, WI, May 19, 1900). 73

84 the summer of 1901, Bauer received a telegram from John Philip Sousa, director of the famed Sousa Band: Buffalo, N.Y.-Can you join us Monday for two week s engagement? Salary-$35 per week. Answer. 159 At the time Bauer received the telegram from Sousa, he was under contract with Liberati s Band as trombone soloist and was unable to accept the offer, which was to perform with Sousa s Band at the Pan-American Exposition. After his engagement with Liberati ended, Bauer again played with Seymour s Band until October and then rejoined the Arion Band for the remainder of the fall and winter months. Figure 15. The Arion Band (Bauer is seated on the far right) On December 25, 1901, Bauer s twentieth birthday, he received a telegram from trombonist Arthur Pryor regarding his plans for 1902: 159 Unknown author, Untitled Article, The Daily Northwestern, (Oshkosh, WI, June 20, 1901). 74

85 New York, December 25, 1901,- My Dear Bauer: Through efforts of mine, Mr. Sousa has consented to create a position for you among the trombones of his band. Now the salary will be $25 for the first road tour, which will last ten or twelve weeks, and will begin about January 10. Now, if you accept this engagement you must come on no later than January 3 so as to get your uniform and give me a chance to get you in form. You better accept, as I think you will advance and soon improve in salary and instrument. Please wire your answer at once and oblige. Your friend, Arthur Pryor. 160 Arthur Bauer accepted the offer and wired a simple reply Yes to Pryor in New York. Bauer left Oshkosh for New York City on January 3, When he joined the band in 1902, twenty year old Bauer was the youngest member of the Sousa Band. Upon arriving in New York City, The C. G. Conn Company presented young Bauer with a brand new trombone that would have cost one hundred twenty-five dollars. Arthur Pryor gave Bauer the second stand trombone position, next to himself, and helped to coach the young trombonist in every way possible to improve his abilities. During the first tour of ten weeks, Bauer was evaluated by both Pryor and Sousa. Bauer exceeded all expectations of the men and was invited to remain as a permanent member of the organization with an increase in his salary. 161 On March 11, 1902, the Sousa Band played a Concert in Oshkosh, Wisconsin, and Arthur Pryor yielded his position as soloist to allow his apprentice to present his first solo performance with the Sousa Band in his home town in front of a crowd of 1,300 people. Having secured a permanent spot with the Sousa Band and gained the confidence of his mentor, Arthur Pryor; Bauer seemed destined for great things. Soon after joining the Sousa Band, he was featured as a member of the brass sextet on the band s first tour from January to April of Bauer continued to perform as a member of the sextet 160 Unknown author, To Go With Sousa s Band, The Daily Northwestern, (Oshkosh, WI, December 30, 1901). 161 Unknown author, Amusements, The Daily Northwestern, (Oshkosh, WI, March 10, 1902). 75

86 during the Willow Grove Park engagement in the summer of Arthur Pryor was the trombone soloist during the Willow Grove Park engagement, making solo appearances at sixteen of the sixty eight concerts. On June 4, Pryor s understudy, Arthur Bauer, performed The Charmer (a trombone solo composed by Louis Boos) during the three o clock concert. The program noted that this was Arthur Bauer s first appearance at Willow Grove Park with the Sousa Band. Bauer appeared again as soloist one week later on June 11. On that occasion, Bauer performed his own composition, Love s Atonement, on the eight o clock program. The Willow Grove Park engagement ended on June 15, Sousa s next stop was an eighty-five day engagement at the Steel Pier in Atlantic City, New Jersey from June 28 to August 31. On one of the last days before the band left Atlantic City, Arthur Bauer became ill. He was left in the care of a local physician, and the remainder of the band moved on to their next engagement at the Pittsburgh Exposition, anticipating that Bauer would rejoin them after his recuperation. On September 2, Bauer was diagnosed with malaria; however, the illness quickly developed into typhoid fever. His symptoms were favorable for the first few days, but more troubling symptoms developed, and his health soon began to deteriorate. 162 On Wednesday, September 17, 1902, Arthur Bauer died of typhoid fever in Atlantic City, New Jersey at the age of twenty. News of Bauer s death reached the Sousa Band on September 18 while the ensemble was performing in Indianapolis, Indiana. Arthur Pryor had just taken his seat on stage when a messenger boy delivered a telegram from Atlantic City announcing the death of his most promising pupil, Arthur Bauer. Pryor told his fellow bandsmen of the 1902). 162 Unknown author, Arthur Bauer Dead, The Daily Northwestern, (Oshkosh, WI, September 18, 76

87 news, and they gathered around him to read the message. Pryor stepped away to the side of the stage and began to weep for the loss of his student and colleague. 163 The Daily Northwestern newspaper describes this scene from the Indianapolis performance on the evening of September 18, 1902: Pryor could not restrain his tears. He played a solo [Love s Enchantment], was encored twice and on the third encore, which was Nearer My God To Thee, he was forced to give up. He laid his trombone aside, dropped into his chair, and placed both hands over his face, cried as though his heart would break. 164 Pryor recognized that Arthur Bauer was destined for greatness. He stated that Bauer had perfect command of the instrument and a natural gift for music. 165 He also believed that Bauer would one day be the greatest trombonist in the world, perhaps even better than himself. 166 It is a logical conclusion that Arthur Pryor may have been training Arthur Bauer to be his replacement in Sousa s Band. Pryor had aspirations of becoming bandmaster of his own group, and in late 1903, left the Sousa Band to form his own ensemble. Although he only played with the Sousa Band for eight months, Arthur Bauer had a profound impact on the other men of the ensemble and made Oshkosh, Wisconsin very proud. Arthur Bauer was buried in his Sousa Band uniform, with his hands wrapped around his uniform cap. Manuel Yingling With the departure of Ralph Corey in early 1920, John Philip Sousa was again tasked with replacing a long-time trombone soloist. The twenty-nine day Willow Grove 163 Unknown author, Band Was Shocked, The Daily Northwestern, (Oshkosh, WI, September 23, 1902). 164 Unknown author, Overcome by His Feelings, The Daily Northwestern, (Oshkosh, WI, September 18, 1902). 165 Unknown author, Pryor Sizes Up Bauer. 166 Unknown author, Arthur Bauer Dead. 77

88 Park engagement of 1920 served as an audition for the vacant trombone soloist position. Manuel Yingling, Charles Gusikoff, and John P. Schueler each had an opportunity to stand in the spotlight as the trombone soloist of the Sousa Band and become the successor to Ralph Corey. Manuel Manny Yingling was born in Newcornerstown, Ohio on October 24, He became a career musician after going through the public school system in Newcornerstown. After leaving Ohio, Yingling pursued music studies at both Oberlin College of Music and The Boston Conservatory. He was associated with several bands and orchestras throughout his distinguished career, including the Theodore Thomas Orchestra (1893), Michael Brand s Cincinnati Band (1893), The Ellis Brooks Band, The Grand Army Band, Duquesne Theatre Orchestra (1896), Waite s Grand Orchestra ( ), Beilstedt and Ballenberg Band ( ), the Great Eastern Band (1898), the Thayer Military Band (1905), Prouty s Orchestra of Boston ( ), Neddermeyer s Band ( ), The Royal Scotch Highlanders Band ( ), Conway s Band (1919), Sousa s Band (1920), and Weber s Prize Band of America (1921). In nearly all of the bands that Yingling was associated, he was the featured trombone soloist. In addition to his performing career, Manuel Yingling was also a conductor, composer, and musical entrepreneur. As various performing engagements led him throughout the United States, he maintained a home in Newcornerstown, Ohio, and for many years, served as the conductor of the Hyperion Band, based out of that same city. Yingling was also a composer of band music. The majority of his compositional output is limited to marches and two-steps, although he did compose a solo for trombone entitled Hyperion Polka, which was named after the band that he conducted in Newcornerstown. 78

89 Yingling also owned a music store in Newcornerstown which sold mainly sheet music, records, and Victrolas, an expensive internal horn phonograph. 167 Unlike Sousa band trombone soloists who uniformly endorsed C. G. Conn instruments, Manuel Yingling endorsed the instruments of other manufacturers during his career. Yingling endorsed the Distin trombone until 1909, when Henry Distin sold his factory to Brua Keefer. When Keefer assumed control of the business, he changed the name and began manufacturing Keefer instruments, which Yingling would endorse for at least fifteen years. As the conductor of the Hyperion Band in Newcornerstown, Yingling arranged for the ensemble to play exclusively on Keefer instruments. After a factory fire in 1941, the Keefer Instrument Company went out of business, although some instruments still exist today. Yingling had a reputation as a very fine trombonist. The director of the Scotch Highlander Band once stated that he considered Yingling the equal of Arthur Pryor. 168 In 1920, Yingling would finally get the opportunity to prove true the claim that he was Pryor s equal when he performed as soloist with the Sousa Band. The exact date that Yingling began playing with the band is, at present, unknown; however, he was a section trombonist and soloist with the Sousa Band during the Willow Grove Park season in the summer of In a postcard sent from Willow Grove Park dated September 7, 1920, Yingling wrote: This pavilion in which we play seats nine thousand people and we have had it packed full on several occasions. This is our fourth week here. We start out on the road next Monday Gretchen Kisham Neiding, Personal Correspondence with Paul Bierley, Bierley Papers, The Sousa Archive for American Research at The University of Illinois. 168 From the personnel file for Manuel Yingling at The Sousa Archives and Center for American Music at the University of Illinois. 169 Ibid. 79

90 Yingling anticipated the fall tour with Sousa; however he would not remain with the Sousa Band very long. Tragically, his career with the Sousa Band was cut short when he suffered a stroke in late After recovering, Yingling returned home to Newcornerstown, Ohio, and invested the majority of his time into directing the Hyperion Band and operating his music store. The next few years were difficult for Yingling, as his health declined due to a series of strokes. Ultimately, it was a stroke that claimed his life on March 7, 1925 at age fifty-two. Charles Gusikoff The 1920 season, in addition to Schueler and Yingling, also presented trombonist Charles Gusikoff an opportunity to serve as soloist. Gusikoff was involved with the Sousa Band only during the 1920 summer season at Willow Grove Park, in Philadelphia Pennsylvania, where he was listed on all programs as trombone soloist. 170 Whereas John P. Schueler only had two verifiable performances, Gusikoff was featured on eight separate occasions. Although Schueler eventually became Sousa s long-tour trombone soloist for eleven years, the 1920 summer season belonged to Charles Gusikoff. Charles Gusikoff was born on July 13, 1897 in New York City, New York. Not much is known about his early career, but his career with Sousa began at Willow Grove Park in 1920 when Gusikoff was only twenty-three years old. His first performance as trombone soloist with the Sousa Band came on August 21, when he performed Del Riego s Oh, Dry Those Tears. Two days later, on August 23, Gusikoff performed At Dawning by Cadman. On August 25 and 26, Gusikoff was featured on consecutive evenings, performing Phillips s The King of the Vikings Am I and Sousa s The Fighting 170 From the personnel file for Charles Gusikoff at The Sousa Archives and Center for American Music at the University of Illinois. 80

91 Race, respectively. August 28 featured the trombonist on Cujus Animam by Rossini on the first evening concert. On August 30, Gusikoff was center stage for another solo performance of Del Riego s Oh, Dry Those Tears. His next solo opportunity came on September 3, when he performed Olcott s Macushla on the first concert of the day. Gusikoff s final verifiable performance with the Sousa Band was on September 10 when he again performed Rossini s Cujus Animam. The Willow Grove engagement, as well as Charles Gusikoff s brief episode with the Sousa Band, ended two days later on September 12, Figure Philadelphia Orchestra Trombone Section (Left to right: Robert Lambert, Charles Gusikoff, Earl Leavitt and Robert Harper) 171 Gusikoff left the Sousa band and went on to achieve many great musical accomplishments. In 1931, he was appointed principal trombonist with the Philadelphia Orchestra, a position he held until He continued to play as an assistant to Henry 171 Bruce Tracy, Orchestral Showcase: The Philadelphia Orchestra, International Trombone Association Journal 12, no. 3 (July 1984): Ibid.,

92 Charles Smith (one of his former students) for two seasons, finally retiring from the orchestra in Charles Gusikoff served as a staff member at the Conservatoire de Musique du Québec, and was also a member of the faculty at The Curtis Institute of Music in Philadelphia, Pennsylvania. As an educator, Gusikoff influenced some of the greatest orchestral trombonists of the second half of the twentieth century, including Glenn Dodson and Henry Charles Smith. Charles Gusikoff died in Philadelphia, Pennsylvania in September of One-Time Soloists The author has verified that three other men performed as trombone soloist with the Sousa Band during its thirty-nine year history. These three men, Louis Schmidt, Henry Ford, and Joseph DeLuca, may have replaced full-time trombone soloists when they fell ill or were otherwise incapable of performing. It is possible that these men performed on more than one occasion; however, verifiable information is not known at this time. Louis Schmidt joined the Sousa Band as a section trombonist in While on tour in 1917, Schmidt appeared as trombone soloist when the band appeared at Dominion Park in Montreal, Quebec, Canada from July 14 to July Schmidt left the Sousa Band in 1917, and went on to play with the New York Symphony Orchestra, which merged with the Philharmonic Society of New York to form the Philharmonic-Symphony Society of New York, which later became the New York Philharmonic. Schmidt rejoined the Sousa Band for radio broadcasts in 1929 and Henry Wick Ford first joined the Sousa Band for a portion of the tour and joined the ensemble full-time the following season. Wick Ford had his 173 Bierley, The Incredible Band of John Philip Sousa,

93 opportunity to demonstrate his skills as trombone soloist during the Sousa Band s annual engagement at Willow Grove Park in Ford was featured on the first concert program of the day on September 1 and performed The Wanderer by Harlow. As Sousa often used Willow Grove performances to guage the abilities of his men as soloists, it is likely that Ford did not meet with Sousa s strict standards. After playing as a section trombonist for two years, Wick Ford left the Sousa Band at the conclusion of the tour. Born in Rome, Italy in March of 1890, Joseph DeLuca became one of the bestknown euphonium soloists in the United States. He was a graduate of the Perugia Conservatory of Music in Italy, and was an accomplished musician in his home country; having played with many bands and orchestras before immigrating to the United States. He joined the Sousa Band in 1921, replacing John J. Perfetto as first chair euphonium and soloist. In addition to being a fine euphonium player, DeLuca was also a proficient trombonist. Although he played with the Sousa Band for many years, DeLuca was also a member of Victor Herbert s Orchestra and the bands of Giuseppe Creatore, Patrick Conway, and Frederick Innes. 174 DeLuca played with the Sousa Band until 1928, and during his time with Sousa, exhibited his skills on trombone as well as euphonium. He appeared as trombone soloist during the 1925 Willow Grove Park engagement, performing John Philip Sousa s composition, The Fighting Race. DeLuca may have appeared as trombone soloist on many other occasions; however, the programs to verify those performances have not yet been discovered. Deluca was a prolific composer, having over two hundred compositions attributed to his name. His compositional output is comprised largely of band music and 174 Ibid.,

94 euphonium solos, which he performed as a member of The Sousa Band. His most wellrecognized composition is the euphonium solo Beautiful Colorado. Joseph DeLuca left the Sousa Band at the close of the 1928 season. He went on to play in the recording studios for the Columbia Phonograph Company, Edison Records, and the Victor Phonograph Company. In later years, DeLuca served as conductor of the Tucson (Arizona) Symphony Orchestra and was the Director of Bands at the University of Arizona from 1928 to Joseph DeLuca died in Tucson, Arizona on October 22, 1935 at age forty-five. Figure 17. Joseph DeLuca Ibid. 84