U. S. Military Bands
“When I hearmusic, I fear no danger. I am invulnerable. I see no foe.” Thus wrote Henry D. Thoreau in his journal a century ago.
General Washington knew how a brisk, rhythmical tune helped hungry, poorly-clad soldiers on the march and also inspired them to fight bravely in battle. He felt that music was so important that he ordered forty to sixty fifers and drummers in each regiment of his army. The bands were chosen from the troops. These “musics”, as Benjamin Franklin called them, were untrained and each man played in his own fashion, but their music gave the Revolutionists heart.
The influence of band music on the fighting man’s morale has been recognized since historians began to write. A band, especially a military band, may inspire courage, a wish to fight or a will to win. It beats the rhythm for marching feet and gives a tune for whistling. Lively, tuneful marches send the troops quick-stepping off to the battlefront. Grand, triumphal strains herald the return of the victorious army.
Troops will step faster and march for a longer time to the rhythm of a drum than to any other way of keeping time. What is more stirring than the heavy, measured boom-boom-boom of the bass drum, the rhythmic clatter of the snare drum and the great blasts of tone from the huge, wide-mouthed horns?
In the beginning American military band music mainly consisted of the shrill tones of the fife paced by the rattle of the snare drums with their vibrating snares. The famous picture “The Spirit of Seventy-six” shows a revolutionary “fife and drum” band of this type. They were often called the “Drum and Foof” bands. Since those early days of military bands there has been notable change in instrumentation. Gradually more mellow-sounding instruments such as the oboes, trumpets and clarinets came into use. Present day bands are superior to our ears not only because the modern instruments are more perfectly manufactured but because of this new tonal balance.
“Boom-Boom-Boom-Boom!”
The drums beat loud, the fifes tooted shrilly, and the Marines tramped steadily down the dusty road. The offices of the U. S. Capitol had been moved from Philadelphia to the new Federal City on the Potomac early in June, 1800. Now late in July, on a hot muggy day, the Marine Corps and their band were on their way to Washington, 136 miles away. And they were marching on foot.
Since the organization of a Marine Corps in 1775, drums and fifes had furnished the music. The fife’s piercing tones carried the melody while the drums beat the rhythm and gave the signals for the officers’ orders.
These drums were wondrous things. Their tall, double-headed cylinders were capable of great vibrations caused by the gut strings across the lower head. The drums had red bodies and blue heads, painted to match the colors of the band uniforms. A coiled rattlesnake, with raised head ready to strike, was painted onthe side of each drum, over the warning motto, “Don’t tread on me.”
At the close of the Revolutionary War, 1783, all military organizations were disbanded. But eleven years later the U. S. Navy was authorized by Congress; new duties were found for “Musics.” They were ordered to play on recruiting duty and on frigates. After they had become so generally useful, Congress decided that there must be a fully organized band in the Marine Corps. President John Adams approved the bill to form this branch of the Marine Corps in 1798. The very first U. S. Marine Band consisted of a “drum major, fife major, and thirty-two drums and fifes.”
Some Marine troops and their bands were sent to the U. S. warships engaged in the French Naval War. Others were dispatched to serve under Commander Stephen Decatur in his battles with the Barbary pirates in Tripoli Harbor.
One Marine Band unit, stationed in Philadelphia under Colonel William Ward Burrows, became the nucleus of the now famous Marine Band. Drum Major William Farr was appointed its leader.
Philadelphia people liked the Marine Band and its lively martial music. An especially large crowd enjoyed their playing on July 4, 1800, at the celebration of Independence Day. This was their last performance in Philadelphia; they moved to Washington in that same month, weary, footsore Marines camped in tents on a grassy slope overlooking the Potomac and the beautiful hills of Virginia beyond.
The people of Washington were thrilled and excited over the coming of the band and gladly welcomed it. This Federal City had proved sadly disappointing to its new residents, many of them from busy cities like New York, Philadelphia and Richmond. To them Washington was a desolate, forlorn-looking place—“mudhole in a wilderness” many called it. To these lonely people the band’s lively music hinted at dances and parties.
The Marine Band received orders to do all in their power to cheer the inhabitants of Washington. Shortly after reaching the city on August 21, the band gave its first concert. Fortunately they played in the open air, for almost everyone in the town and country around attended. Everyone was joyous and happy at this first attempt at any kind of entertainment for the people. Young and old were there, dressed in their best, all eager to hear the first band concert in Washington.
Similar evening entertainments were enjoyed throughout those summer and autumn months. The Marine Band grew very popular with everyone, particularly President Adams, Vice-President Jefferson and the Secretary of the Navy, Benjamin Stoddard. Colonel Burrows, proud of his band, bought a number of new instruments which included two French horns, two clarinets, one bassoon and a bass drum.
On New Year’s Day, 1801, the Marine Band for the first time played at the “President’s Palace,” as the White House was always called until it was burnedby the British in the war of 1812. The occasion of this band concert was the formal reception held by President and Mrs. John Adams. Since that time the Marine Band’s playing at the Presidents’ New Year’s receptions has become traditional.
Not only was the music pleasing, but the players were glamorous. The band uniforms were gay and striking—short, scarlet, gold-buttoned coatees, faced and edged with blue and gold; high blue collars and blue shoulder straps trimmed with gold; blue pantaloons with a scarlet stripe; and brown hats turned up on the left side with a black leather cockade. Each bandsman wore the black leather stock, or collar, which gave the Marines their familiar nickname of Leathernecks.
Besides playing at many parties and balls, the band took part in religious services. The newspapers of that day say that it often played at the Sunday church services held in the Hall of Congress. “Their polished instruments and colorful uniforms made a dazzling appearance and their music was excellent.”
On their first Fourth of July in Washington, 1801, the Marine Corps, led by the band, marched in review before President Jefferson on the lawn of the Executive Mansion. Because of his great interest in it, President Jefferson was called the god-father of the band, and the name,The President’s Own, was often applied to it.
During the war with Great Britain in 1812, many Marine bandsmen laid aside their instruments and joined the fighting. They fought in the Battle of Bladensburgand also helped to save the records of the U. S. Marine Corps when the Capital was fired by the enemy troops.
It became customary for the different presidents to ask the band to perform many and varied services. Jefferson, during his presidency, received a huge cheese weighing 750 pounds from some of his enthusiastic admirers. He invited his friends to share the tasty delicacy and had the Marine Band play for their entertainment. Some years later when President Jackson was presented with a 1,400 pound cheese, he wanted the Band’s music to accompany the feasting of his guests too. But play as they would, no one heard them; for on that occasion the public stormed the White House, ruining carpets and furnishings in attempts to get portions of the immense cheese they had heard about.
Not only has this famous band played for the highest officials at all White House and State social affairs, but also for the first children’s party at the White House which was given by President Jackson. The youngsters at the first egg-rolling on the White House lawn were serenaded by the Marine Band.
The Marine Band has always been a part of inauguration ceremonies. It played at the first inaugural ball, James Madison’s, at Long’s Hotel. And beginning with that of James Monroe, this group has played at almost every inaugural ceremony, and it has marched in every inaugural parade.
President Lincoln insisted that the Marine Bandgive frequent out-of-door concerts during the Civil War to help the morale of the people in Washington. It accompanied him to Gettysburg when he delivered his famous address.
During its long life—more than 170 years—the Marine Band has had eighteen leaders. Although each did his best according to his musical training and experience, it was not until John Philip Sousa took over the leadership that the band reached the highest peak of its achievement.
The vigorous and dynamic Sousa saw the band’s possibilities and things began to happen. He reorganized the personnel and increased the number of players. He inspired his men to high performance. He persuaded Congress to send them on nation-wide tours. Soon the Marine Band was the best-known and most popular band in America.
Other leaders have carried on where Sousa left off—Francisco Fanciulli, W. H. Santelmann, Taylor Branson and W. F. Santelmann. The work of its great leaders together with the invention and improvement of instruments has revolutionized the Marine Band’s performance since the fife and drum days of 1775.
“The motto of the Marine Corps,Semper Fidelis—Always Faithful—is the keynote to which the band strives and it hopes to bring honor, glory and distinction to its proud history.”
Leader of the Marine Band
Another 8th grade football game was on. Both teams were putting up a hard fight. Clutching the ball tight against his body, Bill Santelmann raced towards the goal. The next minute, it seemed to him, that both teams had landed on top of him. When the heap of waving arms and legs had been unscrambled, Bill couldn’t get up.
“That’s not too bad, fellow,” said the gym teacher cheerfully as he looked over the victim. “Just a broken collar bone, I think. It will heal in no time.”
But a horrible thought came into Bill’s mind. “Will I ever be able to play my violin again?” Just the night before, he had heard the Boston Symphony Orchestra Concert, with Fritz Kreisler playing his violin. He had resolved then and there that nothing should keep him from being a violinist.
“And now, this would happen!” he said to himself. “Well, this settles it. No more athletics for me! Playing my violin means more to me than playing football.”
William F. Santelmann was born on February 24, 1902, in Washington, D. C. His father, Captain W. H. Santelmann, was the leader of the U. S. Marine Band.
Of the six children in the Santelmann family, Bill was the only one who had inherited the father’s musicaltalent. Any one of the three daughters could play the piano well enough to accompany them and the whole family enjoyed singing together on their evenings at home. But Bill’s two brothers pooh-poohed the idea of having anything more than that to do with music.
However, Bill had loved music since he first heard his father play the violin, and he was always thrilled when he watched him lead the gay Marine Band. Finally, when the boy was six years old, Captain Santelmann gave in to his pleading and bought him a small violin. He at once began to give Bill music lessons and was very proud of his son’s love of practicing and his rapid progress.
When Bill entered the McKinley Training High School, he resisted the temptation to try out for any of the athletic teams. Instead he signed up for the orchestra where he was made a welcome member. He also studied at the Washington College of Music from which he was graduated in 1920. Then he left his home and native city to enroll at the New England Conservatory of Music in Boston, Massachusetts.
There young Santelmann studied under a staff of famous instructors. Playing in the orchestra, he enjoyed the association with some of the members of the Boston Symphony Orchestra who often played with the Conservatory group in order to gain practice and experience. During the time Bill was in this school he met Margaret Randall, an organ student from Ohio. He knew this was the girl he would marry some day.
Although Mr. Santelmann was willing and financially able to pay his son’s expenses at school, William wanted to help out. He did this by teaching at Groton, a well-known school for boys.
After his graduation from the Conservatory, William Santelmann returned home to Washington, D. C., where he has lived ever since. “In fact,” he said recently, “we Santelmanns like Washington. My sisters and brothers all live here too.”
In September, 1923, he entered the U. S. Marine Band, thereby achieving a boyhood ambition. As all bandsmen were required to play both a band and an orchestra instrument, William chose for his second instrument the euphonium which his father had also played in the same band.
William Santelmann progressed from rank to rank until he was the concert master of the symphony orchestra. In 1927 his father retired and Captain Taylor Branson then assumed the leadership with William as second leader. Thirteen years later Captain Branson retired and presented William with the same baton that his father had used.
Exceptionally well-trained in the traditions and duties of the Marine Band, Major Santelmann is a successful leader, well-liked by his men and popular in Washington. His enjoyable programs for state affairs and for other occasions have won high praise. After the concerts which he arranged for the visit of the rulers of England, Major Santelmann received personal thanks from King George and Queen Elizabeth.
Another unusual occasion which Major Santelmann will never forget was the concert played on the White House lawn, May 20, 1943. Prime Minister Churchill had requested a program of Stephen Foster ballads and American war songs. The audience was made up of President Roosevelt, Prime Minister Churchill, McKenzie-King of Canada and all the other members of the war planning staffs of America and England. Just as the band began to play the first number, the rain poured down in torrents. Nevertheless the drenched listeners sat through it all while Roosevelt and Churchill sang and whistled with the band.
The Santelmanns live on a half acre of ground in Virginia. Major Santelmann said, “I did marry my college sweetheart! In fact, we are still sweethearts although we celebrated our twenty-fifth anniversary in May, 1950.” They have two children, William Jr. and Betty Jane.
Major Santelmann’s hobbies center around his home too. “Yes, I have a hobby,” said he, “several of them in fact. I like to work with my hands, anything that is good hard work.” He has made cement blocks and covered an attractive terrace with them. He gives his garden a great deal of time in its season, and he likes to chop wood. By trimming and cutting the trees on his own land, Major Santelmann supplies all the wood needed for the fireplace.
These hobbies have kept him physically fit and mentally alert for his exacting job. For Major Santelmann is successfully carrying on the ideals and high standards of his famous band, “The President’s Own.”
TheBrandywine, an American man-of-war, entered on her payroll of July 26, 1825, the name of James F. Draper, a musician at “ten dollars per month.” This was the first name on the band list of our Navy, but other names were added rapidly. James F. Draper, whether fifer or drummer we do not know, may not have rated as much of a musical man in his day, but his name is the first of a noted organization in the world of music.
Soon other ships had three or four musicians whom they called out on special occasions. When battles with pirates and other enemy ships thinned the numbers of the crews, the bands were sent ashore to recruit men to fill their quotas. The bands marched through the streets, loudly rolling their drums and tooting their shrill fifes, to call landsmen to join them in sailing the seas to find treasure and adventure.
Thirteen years later, 1838, a naval band was officially entered in the Pay-Table of the Navy’s Register. It consisted of a bandmaster, four first-class musicians, and one second-class musician. From that time on,bands were found on many ships, but this increase in the number of navy bands was due to the wishes of the individual commanders of ships, fleets and stations.
Their instruments were drums, fifes and trumpets. The music aboard ships was available for balls, entertainment programs, and funeral services. Some ships carried fine bands of as many as twenty players each. These bands became very popular and were soon considered a part of a ship’s life.
There was no distinction made between the musicians and the ordinary seamen. The bandsmen had to perform regular sailors’ duties such as shoveling coal, scrubbing the decks or doing whatever they were called on to do. In the beginning they were rated as seamen. After the year 1830, musicians were entered as first-class though they were still paid ten dollars per month.
In battle, bandsmen, like other sailors, had their own posts assigned to them. In the early days when they served as ammunition passers so many received injuries to their hands that the bands were depleted. It was then decided to detail them as stretcher bearers.
Bandsmen always keep on at their regular schedule of musical business, even in wartime unless engaged in battle. Rehearsals are held in the morning, concerts on deck at noon for the crew, and concerts for the officers in the evening. The band plays at all ceremonies. It plays colors when the ship is lying in port, plays at Sunday morning church services on the ship and also for a Sunday evening concert.
During World War I band music was very popular. Everyone—soldiers, sailors and civilians—wanted music, and the government gave them good music. Outstanding Navy bandleaders directed the finest talent obtainable in playing the music that everyone loved to hear. There were Sousa’s thrilling marches and there were songs that inspired courage and gave cheer—Over There,Smiles,Keep The Home Fires Burningand dozens of others. In this period, America’s noted “March King,” John Philip Sousa, took over the leadership of the Great Lakes Navy Band and made it a world-famous organization.
With the Armistice came the breaking up of the marvelous service bands. But the Navy Department, now fully aware of the great necessity for band music, appointed a musical unit to officially represent the United States Navy. They chose their foremost musical group, The Navy Yard Band of Washington, D. C. The selection of a leader was most important, but after careful consideration, Bandmaster Charles Benter was appointed to the post. Lieutenant Benter left a successful term of service on theU.S.S. Connecticutto reorganize and direct the Navy’s band of eighteen members. That the new leader was well qualified was soon plain to all. By 1923 Lieutenant Benter had sixty-three enthusiastic, capable performers playing twenty varieties of instruments. Under this able director, the Washington Navy Yard Band soon made a place in the hearts of all in the Capital city.
A special act of Congress, signed by President Coolidgeon his inauguration day, made this organization the permanent, official band of the United States Navy. Congress also gave the U. S. Navy Band the official right to play for three organizations: the American Legion, the DAR and the American Red Cross. The band’s name was changed from the Washington Navy Yard Band to the United States Navy Band. Another noticeable change was made then,—the band gave up wearing the traditional bell-bottomed trousers, adopting instead the regulation Chief Petty Officers’ uniform, dark blue in winter and white in summer.
The United States Navy Band spends its working time in Washington, D. C. within the walls of the Naval gun factory. Their great library is housed here and also their valuable band instruments. In the huge, historic, sail loft the band practices, gives concerts and plays its radio broadcasts.
The regular duties of the U. S. Navy Band include playing at the Presidential Inauguration ceremonies, at many White House affairs, and in numerous parades held in the Capital. The U. S. Navy Band plays at the funeral services of all Navy men buried in Arlington Cemetery, as well as at funerals of statesmen, congressmen and other prominent officials.
The Navy Band has toured the United States playing in most of the large cities in every state. Canada, where it is a great favorite, Alaska, Panama, Cuba, Puerto Rico, Jamaica, Haiti and the Virgin Islands, have all been visited by this popular organization.
Many young men are eager to enlist in the Navy Band. They are attracted by its glamour and by theopportunity to get a good education and to see the world. But it isn’t easy to get into the music department of the United States Navy.
Every candidate must have a high school education or its equivalent and must pass the tough mental and physical examinations when he enlists. If he passes these—and not everyone does—he goes up against stiff examinations of his aptitude in music and his training and experience in it. Then follows a period of basic training in a “boot” camp. After this comes therealtest, an eighteen months’ course of hard work in the United States Navy School of music in the Washington Navy Yard. He studies ear training, harmony, theory, music history, two instruments and band music—all of these added to the regular military discipline and drill. After this course is all completed these well-trained Navy musicians are sent in regular band units aboard battleships, cruisers and carriers. Eventually some fortunate bandsmen return to Washington to fill vacancies in the U. S. Navy Band.
The whole idea of the Navy School of Music was planned and carried out by Lieutenant Benter during his leadership of the Navy Band. After almost twenty-five years in this service, Lieutenant Benter retired from his post January 1, 1942. He passed on his baton to Charles Brendler, the Assistant Band Leader, a member of the Navy Band since 1917. At this time the Navy School of Music was removed from the supervision of the U. S. Navy Band, and Lieutenant James M. Thurmand, Jr. was made director of it.
When Commander Brendler took over the leadershipof the U. S. Navy Band he began to work on his theory that the band should play all types of music for all kinds of people. He increased the organization to one hundred members, and he also formed a number of different units within it. Most of these players are accomplished symphony orchestra performers and a dozen or more are recognized soloists. The Navy Band contains a complete symphony orchestra; a modern “swingphonette” which plays equally well light opera or the latest “bebop”; and small groups for dances or concert programs.
This versatile band has broadcast thousands of radio programs, of which the “Navy Hour” is the best known. Their summer evening concerts on Capitol Hill are attended by huge throngs of devoted listeners. Commander Brendler loves music and music-lovers, and wants his band, which he pronouncesthe world’s finest, to play for all America. Truly thisisa band for all the people.
United States Navy Band
Fifteen-year-old Charles Brendler, hugging his precious clarinet under his arm, without a word to his father, mother, or anyone, left home to join theUnited States Navy. He loved music more than anything in the world and was determined to give his whole time to it. Like many boys of his age, Charles had become fascinated by the Navy advertisements. He thought if he belonged to a band on a United States ship he would have nothing to do but practice and play.
Learning that theU.S.S. Floridawas anchored at the dock in New York, he made his way to find her. Carefully he watched his chance and climbed aboard, unseen by anyone. Luckily Charles fell into friendly hands. He was permitted to tell his story and to prove his unusual talent as a clarinet player. As a result Charles Brendler won a berth on theU.S.S. FloridaSeptember 26, 1913. He was rated as a “landsman for musician.” When his parents found out where he was and what he was doing, they willingly consented to his plans.
Charles, the son of Ivan and Mary Brendler, was born in New York City in 1898, on Lincoln’s birthday, February 12. He was a happy, busy little boy whose greatest pleasure seemed to be in listening to the music of a band. There were plenty of bands for him to hear on the streets and in the parks of that great city, but soon Charles began to want to make his own music. The Brendlers realized that a small boy who had such an early love for music was unusual. They bought him a clarinet, and in a short time the ten-year-old boy was playing in the band in his grade school in Brooklyn.
At thirteen Charles was a cadet in John Wanamaker’s department store, playing in the boys’ band of that establishment. Wanamaker’s then had a school for the cadets and they also hired a capable director for the band.
The bandleader at this time was Frederick D. Woods, an Englishman who had come to America with a musical comedy company from London. Woods liked this new country so well that he made his home in New York and became conductor of the Wanamaker Band.
At the very first rehearsal Woods discovered Charles’s talent. In a cadenza the tones of one clarinet rang clear and true while the other players stumbled.
“Repeat that cadenza, please,” said Woods, looking at Charles. Again he played the passage perfectly.
“You are Charles Brendler?” asked Woods.
“Yes, sir,” the boy replied.
“Please see me after rehearsal,” said the instructor.
Charles wondered whether Mr. Woods was going to let him stay in the band.
“How long have you been playing the clarinet?” asked the leader after band practice.
“Since I was ten years old, sir.”
After asking him where and how much he had studied, he relieved Charles’s mind by saying, “You are so advanced in your playing that I should like to give you some special help in your music. I think you can go far.”
The training Charles received from Woods was invaluable.This fine musician has been a great influence and inspiration throughout Brendler’s years. The Commander says today, “Mr. Woods was a thorough musician and a wonderful teacher. I owe him a great deal.”
Young Brendler learned rapidly. He soon became soloist in the Wanamaker Band and he also played in the orchestra of the old Academy of Music in New York. It was then, when only fifteen, that Charles decided to make music his life work and enlisted in the U. S. Navy.
Aboard theFloridathis boy, never before outside of New York, embarked on a six-weeks’ Mediterranean cruise. Once, when asked if he were homesick on this first trip, Commander Brendler replied, “Homesick? I never knew the meaning of that word.”
When trouble arose between the United States and Mexico in 1914, theU.S.S. Floridawent to Vera Cruz. There our young bandsman had his first experience under shellfire. The first of the many ribbons with which he is decorated today was won at that time.
Brendler, still aboard theFlorida, served through the entire World War I. He returned to Washington, after three exciting years aboard ship, to become a member of the U. S. Navy Yard Band, which then numbered eighteen men.
When the Navy Yard Band was reorganized in 1919, Charles Brendler took his first big step upward toward his goal: He was selected for the chair of solo clarinet in the U. S. Navy Band.
The Navy Band headquarters is not far from the Library of Congress, and there the ambitious musician resumed his studies. He took a course in music history under Carl Engel, Chief of the Music division of the Library. In addition Brendler availed himself of the marvelous opportunity to read, fairly devouring two or more books each week. He read many subjects: history, biography, criticism, and everything he could find about music, including innumerable music scores and their various arrangements, and all the grand operas.
Because of his fine musicianship, Brendler was promoted to Chief Musician, and in 1937 was appointed Assistant Leader. When the Conductor, Lieutenant Benter, retired from service in 1942, Brendler received the appointment to his place and his rank. He gained his highest achievement in 1947, when he was given the rating of Lieutenant Commander of the famous U. S. Navy Band then numbering eighty-eight men. Brendler is the first musician in the regular navy to gain that rank. When John Philip Sousa was made Lieutenant Commander, the honor wasconferredon him by the Navy. Commander Brendlerwonhis title, step by step.
Commander Brendler reached the top rank with many honors. He has been awarded the degree of Doctor of Music by Washington University. He is a member of the Press Club of Washington, also of the Variety Club. He is an honorary member—the only one—of the exclusive White House Correspondents’ Club.He belongs to the American Bandmasters’ Association, and other honorary groups.
Lining the walls of the Commander’s studio adjoining the Sail Loft, are various certificates and honorary awards from dignitaries in many states, beginning with far-off Texas. Outstanding among these documents is a citation from the late James Forrestal which reads in part:
“The Secretary of the Navy takes pleasure in commending Lieutenant Charles Brendler, United States Navy, for service as set forth in the following citation.“For outstanding performance of duty as Leader, United States Navy Band.... By his excellent leadership and musical ability, Lieutenant Brendler effected a musical organization which has gained an enviable reputation throughout the Nation and has earned recognition as one of the country’s leading and most versatile musical groups....James ForrestalSecretary of the Navy.”
“The Secretary of the Navy takes pleasure in commending Lieutenant Charles Brendler, United States Navy, for service as set forth in the following citation.
“For outstanding performance of duty as Leader, United States Navy Band.... By his excellent leadership and musical ability, Lieutenant Brendler effected a musical organization which has gained an enviable reputation throughout the Nation and has earned recognition as one of the country’s leading and most versatile musical groups....
“For outstanding performance of duty as Leader, United States Navy Band.... By his excellent leadership and musical ability, Lieutenant Brendler effected a musical organization which has gained an enviable reputation throughout the Nation and has earned recognition as one of the country’s leading and most versatile musical groups....
James ForrestalSecretary of the Navy.”
Commander Brendler is married and has two grown children, who are both musical—but “home performers,” not professional. His son Ivan was graduated from the Maryland University in 1950. His daughter Alma (“Rickie”), is also a Maryland U. graduate. Both the son and daughter are married.
A handsome, genial, gentleman is Commander Brendler; five feet, nine inches tall, with dark brown hair and dark blue eyes. He is possessed of a warm personality combined with a gracious, dignified manner. A perfect master of music, the Commander has composed several successful marches; among them areAye, Aye, Sir,The Fighting FleetandThe Navy E. Although the Navy Band has an extensive and varied repertoire of more than 20,000 compositions, Commander Brendler invariably conducts from memory.
When asked about his hobbies Commander Brendler said, “Music has always completely absorbed me. When I was about nineteen or twenty years of age, I had a great love for Opera. At twenty-five I had turned to Tchaikovsky; at thirty-five my favorite was Brahms; at forty it was Wagner. I still ‘fall apart’ at a Wagner concert and when my band plays Wagner.”
At fifteen Charles Brendler wanted a job that would give him more time for his music. At fifty Commander Charles Brendler as Chief of the U. S. Navy Band has little time for anything but music. And that’s the way he wants it.
It wasWorld War I. General Pershing was reviewing his troops in France. Suddenly he exclaimed to his aide, “Listen! Are our bands playing? I can’t hear them!”
The General was surprised and ashamed at the pitiful showing made by the United States Bands’ music in comparison with that of the Allied soldiers. France, Belgium and England had fine bands of from eighty to ninety men, all well-trained and experienced. The U. S. players, twenty-eight in each group, had been hastily taken from various regiments. With little or no training they had been ordered to play together.
“Black Jack” Pershing looked blacker than ever. “This won’t do!” he exclaimed. “Somethingmustbe done at once!”
Although the General did not know what to do about the situation, he knew who would. He cabled the United States Army Headquarters in Washington, D. C. and asked for Walter Damrosch, America’s foremost music authority.
Dr. Damrosch immediately crossed the Atlantic toprescribe for the U.S.A. Bands. He visited the various army bands in the Chaumont area. He interviewed and examined every bandleader. Then he gave his report to General Pershing. “Give the bands many, many more musicians and have them all trained under competent bandmasters.”
This was made a rush order. Players were selected from the army ranks to form bands of from sixty to eighty men. Capable, experienced leaders were installed in camps to train numerous bandleaders in France and in similar camps in the United States, to make sure that additional bands would be prepared for service. From that time on the United States forces marched to the accompaniment of live, powerful music played by capable bands. And the General of the A.E.F. was proud of his Army Bands.
At the end of the War, General Pershing returned to Washington, D. C. as the U. S. Army’s Chief of Staff. One of the first things he did was to order the organization of a great United States Army Band for use in peace and war.
His command was at once carried out and a new band was built around the small group of honored bandsmen who had played in “General Pershing’s Own” overseas.
Under the leadership of Warrant Officer Francis Leigh the band entered training October 21, 1921, at the Army War College in Washington, D. C. Soon the formerly neglected Army Band was brought into its rightful place in the realm of music. The first publicappearance of the U.S.A. Band was on November 21, 1921, when it led the funeral procession of the Unknown Soldier to the tomb in Arlington Cemetery.
Captain William J. Stannard who led the Army Band from 1923 to 1935, greatly increased the activities of the organization. A concert group and several small ensembles were formed within the band. During Captain Stannard’s leadership radio programs were initiated. Although these performances were much enjoyed by the public, they required many hours of planning and rehearsing.
However, not all the services of the U. S. Army Band have taken place within the United States itself. This was the first band ever sent out of the country by the government as an ambassador of good will.
In 1929 Captain Stannard and his men represented the United States at the Iberian-American Exposition in Seville, Spain. The band gave sixty concerts, including a command performance in Madrid, for King Alfonso XIII and the royal family.
The Pan-American Union in Washington chose the U. S. Army Band to be the official music ambassador on this occasion. They considered it excelled all other organizations in exploiting Latin-American music in the United States.
Captain Thomas F. Darcy, Jr., the third leader of the Army Band took office in July, 1935. He had a brilliant military record in World War I, during which time he had been wounded. At twenty-two years of age, as the leader of the 18th Infantry, FirstDivision, A.E.F., Darcy was the youngest bandleader ever appointed to the regular army. He had received extensive music training in Europe and ranked high as a composer, conductor, cornetist and arranger.
Captain Darcy installed several new features into the band programs, especially in the radio performances. He also originated many attractive special ceremonies in connection with governmental functions.
During World War II, Captain Darcy and his band sailed on a tour of the combat area to carry music and entertainment to the men on the actual battle fronts. From Casablanca to Algiers, Tunisia, Italy, France, Germany and the British Isles, the U. S. Army Band traveled through two full years. They played more than 500 concerts to hundreds of thousands of lonely GI’s and unhappy civilians. They were brought home on army planes just in time to welcome General Eisenhower on his return June 18, 1945. And at the Washington airport, the Army’s own band greeted their victorious General with four ruffles and four flourishes and the triumphantGeneral’s March.
On the twentieth anniversary of the first radio broadcast by the U. S. Army Band the following commendation was received by Captain Darcy.
“It gives me real pleasure and no small degree of satisfaction, that this outstanding musical organization was created by my orders, issued when I was Chief of Staff of the Army. It was my hopethen, that in due course, it would come to be unsurpassed by any similar organization the world over, and I feel that none can today deny it this recognition....”“John J. Pershing.”
“It gives me real pleasure and no small degree of satisfaction, that this outstanding musical organization was created by my orders, issued when I was Chief of Staff of the Army. It was my hopethen, that in due course, it would come to be unsurpassed by any similar organization the world over, and I feel that none can today deny it this recognition....”
“John J. Pershing.”
Captain Darcy retired in September, 1945, relinquishing the office to the former Chief Warrant Officer, Hugh Curry. The new bandleader was a thoroughly trained musician, a professional violinist and a well-known singer. Forsaking a career successfully begun in light opera, Officer Curry had joined the U. S. Army Band in North Africa, in 1943. In his post as assistant bandleader during the European tour, he became perfectly acquainted with the needs of the band.
Upon Curry’s accession to leadership he reorganized the band. More members were desired and applicants poured in from every part of the United States. Each one was carefully examined, tested and auditioned and a band of one hundred was selected. Within this number a marching band, a concert band, several small ensembles, a complete dance orchestra and a chorus of twenty-five fine voices were organized.
Many in the dance orchestra had been members of nationally known “name” bands. This group can play any type of dance music upon request. Two competent assistant leaders are associated with Captain Curry: 1st Lieutenant Samuel Laboda and 2nd Lieutenant Herbert Hoyer.
The members of the United States Army Band wear specially tailored uniforms. The pockets on the coats are large enough to carry their octavo size music, and are buttoned closely to prevent any instrument being caught in them. On state occasions in the winter the men wear either a special olive drab uniform or their official army dress blues. During hot weather they are comfortably clad in tan tropical worsteds. On their left shoulder is a light blue arc tab with the words, “The U. S. Army Band,” embroidered on it in white.
The Army Band presents an attractive picture in spick and span uniforms and the various polished instruments. Especially noticeable are the modern, up-to-the-minute “mechanized” bass drums and tympani mounted on wheels, and the historic “Spirit of ’76” snare drums.
Stationed in the Capital the Army Band participates in all Army ceremonies. It is frequently called on to give its services to various celebrations and parades, for Washington is the most popular place in the country for parades. The Army Band expresses the Nation’s welcome by playing to greet visiting royalty, foreign diplomats and other prominent guests.
It is always present at the Cherry Blossom fete and the opening baseball game of the season when the President of the United States throws the first ball. There are also sad occasions such as the funeral of a United States President or some high-ranking government official. Then the Army Band marches slow, playing a funeral march with muted instruments andblack-draped, muffled drums. And as a contrast, the U. S. Army Band, flashing its brilliantly polished instruments, marches and plays in Washington’s proudest ceremony, the impressive inaugural pageant.
The U.S.A. marching band, the Concert Band and the chorus are all popular with Washington people and these band units give their services generously. They give regular programs at the Walter Reed hospital and the various other Veterans’ institutions. In the summer the Army Band presents concerts at the Watergate—the floating stage on the Potomac at the foot of Constitution Avenue. The series of winter concerts are held in the Departmental Auditorium. Weekly, on summer evenings, the U.S.A. Band takes its turn—as do the other service bands—in playing for the enthusiastic crowds who gather in the plaza before the East Front of the Capitol.
The mission of the U.S.A. Band is to serve the Army and the people.
Leader of U. S. Army Band
Clear and sweet the tones of a boy’s soprano voice rang out in an age-old Christmas carol, while the class whole-heartedly joined in the chorus. The music period in that third grade school room was a pleasureshared by the pupils and their teacher. They all enjoyed singing with Hugh Curry. AndhowHugh liked to sing!
Music occupied a large place in the Curry home in Cambridge, Massachusetts. It was a great part of the regular family life. Both Mr. and Mrs. Curry were talented musicians. Hugh Curry, Sr., was a well-known amateur violinist as well as a popular singer.
Helen, the daughter of the family, made music her profession. She became the head of the Music Department of Teachers’ College at Fitchburg, Massachusetts. Hugh Curry, Jr., born in 1911, was reared in a fine musical atmosphere. From such a heritage and environment he naturally turned to music. He sang from his earliest years.
Soon the boy wanted to produce other music. Singing was really a part of him, but it was not enough to satisfy him. He begged to be allowed to play an instrument, and at the age of nine he began to study the trumpet. Then as his voice developed, vocal study was added to Hugh’s educational subjects.
Although devoted to music, Hugh was a good student and made outstanding records in his other, less showy studies. An all-round American boy, he was very fond of sports. No one ever dreamed of calling Hugh Curry a “sissy.” As a valuable member of the school’s baseball team and an ice hockey star, Hugh was extremely popular.
By the time he was ready to enter college Hugh Curry had won recognition as a professional musicianin both vocal and instrumental fields. He enrolled at Boston University and his musical activities helped defray a large share of the expenses of his college education.
Curry was graduated from the University with a Bachelor of Music degree. Soon after his graduation, he married a college classmate, the former Kathleen Howard, prominent as a light opera singer. Curry began his professional career as an instructor in the U. S. Army School of Music. From the New York College of Music he was awarded the degree of Honorary Doctor of Music. He became increasingly active in Music Education and also achieved great success in light opera.
In 1941 Hugh Curry joined the United States Army. A thorough musician, a talented violinist and singer, as Chief Warrant Officer he was appointed Assistant Bandleader of the Army Band in North Africa. Curry worked with the Band all through the African-European tour to cheer and entertain the fighting men.
Captain Curry commented personally regarding this period. “While the United States Army Band was the only major service music organization to tour the combat area during World War II, it must be pointed out that such an experience and its unceasing companion, mental, physical, and spiritual discomforts seem glamorous to the men only in retrospect. The route of the Band through these areas was designed primarily to permit the organization to reach the maximum number of allied troops, and the needs ofthe Band were often sacrificed in order to bring our men a few moments of relaxation. In those hectic days of rapidly fluctuating battle lines, the Band, hampered by its necessary but unwieldy burden of instruments, was often exposed. Even in Antwerp, Belgium, an Army bandsman was wounded by a V-2 rocket bomb.”
When Bandleader Captain Darcy retired in September, 1945, he was succeeded by Captain Hugh Curry. A thorough reorganization was instituted. More new members were desired and applicants poured in from every part of the United States. All were carefully screened, not only in proficiency on their individual instruments, but also their adaptability to all types of music. Each was thoroughly tested, examined, auditioned and even his vocal ability was judged.
Finally Captain Curry enrolled more than one hundred of America’s finest bandsmen in the United States Army Band. They represent a large cross section of colleges, universities, symphony orchestras and many name dance bands, as well as almost every important American music school. Even the American Indian is represented by a full-blooded member of the Onondaga tribe. While at the very heart of the organization is a small and respected group of men remaining from the original “Pershing’s Own” Band.
Technicians, skilled arrangers and other necessary personnel have been added by Captain Curry to this perfectly balanced Army Band. Today, the United States Army Band under its handsome, dignified leader, is able to provide prompt and efficient response to the many demands laid upon it.