Cecil Clarence Mullen: Enthusiastic commentator, historian and statistician of brass and military bands

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Front Cover, Mullen’s Bandsmen of South Street (1900-1951)”. Source: Jeremy de Korte’s Personal Collection

Introduction:

There has always been an ecosphere of activity surrounding brass bands, then and now ranging from retail to journalism and people who take a general interest in day-to-day activities.  This level of interest varies among people, and especially in the bands of old, there was an amount of engagement in these ensembles.  One only has to read past newspapers as a measure of this engagement.  Most readers of this blog know I dwell in the Trove archive to find information for these posts; it is through these newspaper articles that the life and atmosphere of these bands can be fully appreciated.

This post is different from previous posts where the focus is not on bands per se, but on a bands person who described himself as very involved in the brass band movement, Cecil Clarence Mullen.  I am very thankful to have been gifted one of his rare booklets, Mullen’s Bandsmen of South Street (1900-1951).  He wrote another article on the history of Victorian bands in 1965 for The Victorian Historical Magazine.  However, there is more to explore in his writing, including some of the opinions on the band movement and the work he did as a brass band statistician.

Mullen had a role to play documenting the band history of Victoria and it is unfortunate that his work is not really well known.  We will see where Mullen’s work was at its most valuable, but also where some of his work could be questioned – this post will be taking a subjective view of some of his writing and opinions.  It must be recognised that at the time, Mullen did not have the information resources at his disposal like we do now.  However, what he did do was make an effort to record and compile results in a way that was unique.

C. C. Mullen (1895-1983):

It was difficult to build a full picture of Mullen’s life as some resources were not comprehensive.  Through the research of State records (Public Records Office Victoria and Births, Deaths and Marriages Victoria), it is found that he was born in 1895 and initially lived in the Melbourne suburb of Richmond.  For much of his further life, he lived in the nearby suburb of Abbotsford and was still residing in that suburb when he died in 1983 at the age of 88 (Mullen, 1983).  As for employment, it is listed in some records that he worked as a Clerk at the Argus newspaper and various other local newspapers (Ruddell, 2010)

Mullen’s amateur interests were extensive and varied including music, sports, local history and it seems youth and education as well (Ruddell, 2010).  He was complimented on his work with local youth groups of which he made every effort to prepare youth for further work and education (“Richmond Boys’ Club,” 1932).  It is through further research in the Trove archive that we see a fuller picture of Mullen’s mindset as he was an avid contributor of letters to the newspapers.  He wrote on all sorts of topics; youth, education, transport, parks, library opening hours, manners at the opera, sports, politics, etc (Mullen, 1937, 1946, 1947, 1952a).  The articles displayed below are only a tiny sample of his letter output.

19371217_Argus_Mullen-Sport-Schools
Argus, 17/12/1937, p. 10
19401607_TheAge_Mullen_Volunteers
Age, 10/07/1940, p. 6
19471218_Herald_Mullen-School-Holidays
Herald, 18/12/1947, p. 15
19520103_Argus_Mullen-Letter
Argus, 03/01/1952, p. 6

Regarding his letter writing, it seems he did not write to the papers on one of his favourite topics, brass bands, except for one instance when he requested photos of the Kalgoorlie brass bands for his brass band history collection (Mullen, 1951a).  It is also in this letter that we see that Mullen has described himself as a “statistician and historian of brass and military bands” (Mullen, 1951a).

19510113_Kalgoorlie-Miner_Mullen-Letter
Kalgoorlie Miner, 13/01/1951, p. 2

This post will not dwell on Mullen’s interests in other subjects however they do provide some clues as to how Mullen went about doing things, and what his personal attitudes were like.  He gives the impression of being an egalitarian person and was a firm advocate for youth groups (Mullen, 1952b).  He did not like some of the aspects of competition, taking aim through one of his letters at “the selfish competition of mankind, instead of the co-operation of mankind” (Mullen, 1940).  In another one of the newspaper letters he advocates for the abolition of school sports, and in his booklet, he advocates for the abolition of grades in band contests (Mullen, 1937, 1951b).  In saying so, Mullen still supported the aims of the Royal South Street Society band competition sections and sponsored trophies for “Best Drummer” in 1958, another trophy in 1959, and a trophy in 1964 for “Bandmaster showing Best Deportment” (Royal South Street Society, 1958, 1959, 1964).   As for his historical work, we will examine his band history research in the next sections, however, it should be noted that there is an amount of conjecture over the accuracy of his sports history writing and statistics (Hay, 2010).

An enthusiastic commentator is probably an apt description of Mullen given his penchant for writing on all manner of subjects.  His band history work is what provides the most interest (for this post) and we will see a person who clearly enjoyed his statistics.

C. C. Mullen: Historian of Brass & Military Bands:

There is no doubt, through reading his works, that Mullen was an enthusiastic advocate, documenter and historian of brass and military bands.   Both his main works on the subject, his booklet and his later article attest to this.  This section will review his booklet first, then his article from 1965.

1951: “Mullen’s Bandsmen of South Street (1900-1951)”:

The first impression that is given about the booklet is that he clearly wrote this booklet as an outlet for his interest in brass bands and musicians. The aim of this booklet, as Mullen notes in the preface, was to publish

…for the first time in the history of brass bands in this country, a condensed history of bands and players who have taken part in most important annual band competitions in Australasia – that of South Street, Ballarat, Victoria. (Mullen, 1951b, p. 1)

With this aim, he achieved his goal and the book contains the names of musicians, the bands they were associated with, and which instruments they played.  Below is small except from one of the lists which makes up many of the pages of this booklet.:

19510000_Mullens-South-Street_p15
Excerpt from p. 15, Mullen’s Bandsmen of South Street (1900-1951)”, Bb Cornets. Source: Jeremy de Korte’s Personal Collection

In the preface, Mullen outlines his life in the brass band movement.  In summary he:

  • was a pupil of Edward Code,
  • apparently knew all the famous bandmasters of the day,
  • was embedded in the administration of the early Victorian Bands’ Association, and later the Victorian Bands’ League,
  • was a contributor of articles to all the famous band magazines (Mullen, 1951b).

He notes that the famous Bandmaster Edward Code was a great influence on his early life and that he felt honoured as a former pupil to have published this booklet (Mullen, 1951b).  Interestingly, both Edward Code and Mullen are buried in the same cemetery in Melbourne, the Coburg Pine Ridge Cemetery in Melbourne’s north – although 65 years apart.

Mullen was not afraid of expressing his opinions on bands and the administration of bands.  On page four of his booklet is a one-page treatise on the importance of brass bands to the community, with a paragraph (below) on his thoughts of bands in schools (Mullen, 1951b).  A previous post has touched on the historical discrepancies with the starting of school bands in Victoria and Mullen adds his own discrepancy when he declares “I had the first band in Victoria composed of schoolboys” (Mullen, 1951b, p. 4).  When reading this paragraph, it brings to mind a piece of writing in one of the old brass band magazines where the writer had some choice words for the headmasters of the day about not starting bands (“THE EDITOR’S BATON,” 1929).  Perhaps it was Mullen himself who wrote the article in this 1929 issue of The Australasian Band and Orchestra News, but we may never know for sure.

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Excerpt from p. 4, Mullen’s Bandsmen of South Street (1900-1951)”. Source: Jeremy de Korte’s Personal Collection

In finishing his one-page treatise on the importance of brass bands, Mullen laments that the State and National controlling bodies have not done enough to promote bands.  He states,

It is up to our band controlling bodies and the Australian Band Council to take this matter up seriously and see that more cannot be done to keep the importance of brass bands before the people of Australia. (Mullen, 1951b, p. 4).

The main aim of this booklet, as mentioned, was to document the prize-winning brass band musicians and bands who had participated in the South Street competitions over a number of years.  Two pages of the booklet are devoted to a poem Mullen wrote on South Street.  Another section of the book was written by a contributor, “Baton” who wrote a history of the band sections at South Street (Baton, 1951).  This contribution is comprehensive and valuable and adds to the existing histories of the band sections at South Street.

Mullen also wrote other small sections in the starting pages and ending pages of the booklet, where, we still see that he is using the booklet to express his own opinions – which is understandable.  Some section headings in the starting pages are telling;

  • “Test Selections need revising” (he felt that operatic works instead of technical works made better test pieces),
  • “Band grading should be abolished” (he felt the grading system had outgrown its usefulness)
  • “Bad drumming of class marches” (Apparently Bandmasters were not teaching or paying attention to the drummers about learning their parts properly) (Mullen, 1951b, pp. 6-8)

In the later pages of the booklet, Mullen provides some useful historical information on the South Street competitions, South Street judges, how Britain developed band music in Australia,  the Quickstep section and the formation of the Victorian Bands’ League (Mullen, 1951b).  Still, he is wanting to express his opinions in these pages and makes comment on how “Grand Opera assists bandsmen” (Mullen, 1951b, p. 61).  Mullen, as we’ve seen, is also a great advocate for the young and has used a section to advocate for young band conductors.  Also, in another section, while he congratulates young soloists for participating in South Street, he also took aim at their onstage deportment – Mullen obviously did not like young soloists who sat down while playing and he gave a serve to bandmasters “who encourage this sort of thing” (Mullen, 1951b, p. 62).

In one of the final sections of the booklet titled “High Cost of Running Brass Bands” (Mullen, 1951b, p. 62), we read that he is trying to advocate for more monetary support for the brass band movement.  He levels criticism at various entities such as the Federal Government on tariffs on musical instruments, the State Government on the money being spent on the upcoming Olympic Games, and the Australian Band Council for not talking to governments on behalf of brass bands (Mullen, 1951b).  Mullen takes a singularly myopic viewpoint, well-meaning, but possibly futile.  Of course, this is all in relation to his support for young musicians and their access to instruments and the expense of obtaining such instruments.  He laments that,

Unfortunately Australia is so “sports minded” that it is a much easier proposition to conduct a boy’s cricket or football team than to form a junior band and give youngsters the chance of a musical education or at least a musical mind. (Mullen, 1951b, p. 62)

Meaning, that if all things were ideal in Mullen’s viewpoint, money would be better spent on the brass band movement.

Would it not be a good investment for the future education of this country for our Governments to spend something on band music in order to help Australia to have a cultured mind – something she lacks at present. (Mullen, 1951b, p. 62)

In this section about the monetary challenges faced by brass bands and lack of support, Mullen has managed to draw in his other points of interest in sports, politics/government and education of youth!

In finishing a review of Mullen’s written paragraphs and opinions in this booklet, it is as has been mentioned; he used this booklet to express is many opinions, ideas and advocacy. His writing was well-meaning, but one wonders how much effect it had on the powers that be?  I personally feel that the lists of bandsmen, instruments and bands provide much more historical interest and meaning in this booklet.

1965: “Brass Bands have played a prominent part in the History of Victoria”:

In 1965, fourteen years later after publishing his booklet, Mullen published another article in The Victorian Historical Magazine with the above title.  Mullen is aged 70 in 1965 and his wealth of historical knowledge about the brass band movement is evident in this article.  The richness of historical information about bands, conductors, adjudicators, the South Street competitions and Victorian musical life can be fully appreciated here – possibly more so than his previous booklet which contained a limited range of historical writing (Mullen, 1951b, 1965).

Mullen provides an amount of context in this article.  To build the narrative, he starts off with the large and then brings focus.  In the opening paragraphs, this means tracing brass instruments from biblical times to the development of bands in England and then to Victoria with a focus on immigration (Mullen, 1965).  In this article, Mullen also draws in some historical information about Victorian bands and events, and he has quoted large parts of various band magazines.  For example, the next section after the introduction is about bands playing at the Eureka Rebellion of which he used information from “The Australian Bandsman.  26th October 1923” (Mullen, 1965, p. 31).  This section on the Eureka Rebellion is useful as it focuses on the band history of Ballarat – which became home to the famous Royal South Street band competitions.

Progressing through the article, we can see that Mullen provides lots of detail throughout various sections while continuing his historical narrative.  When reading, there is an impressive list of bands, bandsmen, competitions and little stories to be discovered.  He has written a section on the “Famous Band Families” such as “James Scarff, Samuel Lewins and Thomas E. Bulch” and the “Codes” – brothers “Edward, John, Alfred and William” and sons of Edward, “Percy” and brother “Samuel” (Mullen, 1965, pp. 36-39).  The South Street band competitions were a subject that had a special interest to Mullen and he devoted another whole section to them, again, listing memorable bands, bandsmen and adjudicators (Mullen, 1965).

In the later writing of this article, there were some notable historical events that Mullen mentions such as the early tours of Besses o’ the’ Barn Band and the Sousa Band, the formation of the Victorian Bands’ League, the impact of the World Wars on local bands, radio broadcasting and in the band world, the activities of the ABC Military Band (Mullen, 1965).  The final section of the article gives praise to the Victorian brass bands for maintaining a high standard of playing, although Mullen attributes this to,

…bandmasters setting a fine example in teaching young players a love for classical works of the of the great composers relating to Grand Opera, Ballet, Symphonies, Oratorio, Sacred and Religious works, and good songs that have been set to music. (Mullen, 1965, p. 46)

In other words, music that was not originally written for brass bands.

Mullen was ever fond of lists (which will be evident further in this post), and in this final section he has listed a number of notable brass band conductors, in addition to others previously named in his article such as “Harry Shugg” (Geelong Harbour Trust, Malvern Tramways & City of Ballarat) (Mullen, 1965, pp. 11, 43).  (The list below has been ordered into a bulleted list which is different from how it is presented in the article):

(Mullen, 1965, pp. 9-11, 47)

If there is one criticism of this article it is the way that Mullen has finished it, there is no real conclusion.  It just…ends.  Mullen leaves the article hanging by making mention of the most recent overseas visit of an international military band (prior to the publication of this article) in 1965).  The final paragraph reads:

The most recent visit of an overseas musical combination to Victoria was that of Her Majesty’s Scots Guards, under Captain James Howe, in March 1964, when it played at the Moomba Carnival in Melbourne. (Mullen, 1965, p. 47)

It is admirable that Mullen wrote an article such as this given that lack of historical writing on the band movement in Victoria as a whole.  What this article does do is create many links between bands, bandsmen and historical context, which is no doubt due to Mullen’s interests in these subject areas.  We should thank Mullen; despite this article being written fifty-five years ago to this date, it is still relevant and serves as a useful guide to much of the band movement history in Victoria.

C. C. Mullen: Statistician:

Returning to Mullen’s publication on brass bands, Mullen’s Bandsmen of South Street (1900-1951), we will see what can be considered to be the real historical value of this booklet, the lists of names and bands.  Mullen was meticulous in the way he compiled his lists.  No doubt he had access to the names and competition wins through his work at the newspapers, but to compile the lists covering fifty-one years is quite remarkable.  All of the bandsmen and bands can be cross-referenced with the Royal South Street results database (Mullen, 1951b; Royal South Street Society, 2020).

A small excerpt of one of the lists has been displayed earlier in this post.  The way Mullen has compiled these lists is quite logical.  He has started with all the conductors and then listed all the prize winners for every instrument of a brass band.  Interestingly, although South Street never held any solo competitions for Side or Bass Drummers, Mullen lists the bandsmen he considers notable on these instruments.  In the closing pages of the statistics, he lists all of the bands from every State and New Zealand that have participated in South Street over the time frame of this booklet (Mullen, 1951b).  Below are samples of some of the lists, and they are fairly self-explanatory.

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Excerpt from p. 19, Mullen’s Bandsmen of South Street (1900-1951)”, Bb Cornets. Source: Jeremy de Korte’s Personal Collection
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Excerpt from p. 15, Mullen’s Bandsmen of South Street (1900-1951)”, “Bass (G) Trombone”. Source: Jeremy de Korte’s Personal Collection
19510000_Mullens-South-Street_p63-64
Pages 63-64, Mullen’s Bandsmen of South Street (1900-1951)”, “Bands which have competed at South Street Competitions 1900-1951”. Source: Jeremy de Korte’s Personal Collection

As we can see above, Mullen clearly had an eye for statistical detail.  No doubt he felt he was doing the band movement service by publishing all of this, and to some extent he was.  This is the only booklet of its kind to emerge from this era.  Nowadays we can access all of these results through the South Street results database and find names in the Trove archive.  Mullen did not have these electronic means, and even though the lists do not include the competition scores and rankings of bandsmen, the lists are still very informative.  Another reason to thank Mullen for his work.

Conclusion:

Mullen has made a great contribution to the history of the band movement in Victoria through his own personal interest, dedication, and knowledge.  In the absence of any other work of this nature, both his booklet and later article provide an overall picture of the band movement.  Yes, his opinions were controversial when viewed in a new light.  However, I feel he meant well, and I also feel that Mullen’s work on the history of the band movement needs to be more widely known.

References:

Baton. (1951). South Street band competitions have achieved world wide fame. In Mullen’s Bandsmen of South Street (1900-1951) (pp. 5-6). Melbourne, Vic.: Horticultural Press.

THE EDITOR’S BATON: Bringing up the boy to the band. (1929). The Australasian Band and Orchestra News, XXV(2), 1 & 3.

Hay, R. (2010). Cec Mullen, Tom Willis and the search for early Geelong football. The Yorker, Spring(42), 3-5.

Mullen, C. C. (1937, 17 December). Sport in Schools. Argus (Melbourne, Vic. : 1848 – 1957), p. 10. Retrieved from http://nla.gov.au/nla.news-article11133645

Mullen, C. C. (1940, 16 July). Voluntary Service. Age (Melbourne, Vic. : 1854 – 1954), p. 6. Retrieved from http://nla.gov.au/nla.news-article204409992

Mullen, C. C. (1946, 08 January). NORTHERN TRAMWAY ROUTES. Argus (Melbourne, Vic. : 1848 – 1957), p. 5. Retrieved from http://nla.gov.au/nla.news-article22221100

Mullen, C. C. (1947, 18 December). School Holidays. Herald (Melbourne, Vic. : 1861 – 1954), p. 15. Retrieved from http://nla.gov.au/nla.news-article243844022

Mullen, C. C. (1951a, 13 January). Goldfields Brass Bands : To the Editor. Kalgoorlie Miner (WA : 1895 – 1954), p. 2. Retrieved from http://nla.gov.au/nla.news-article256809482

Mullen, C. C. (1951b). Mullen’s Bandsmen of South Street (1900-1951). Melbourne, Vic.: Horticultural Press.

Mullen, C. C. (1952a, 03 January). LETTERS (in a nutshell) : Too old. Argus (Melbourne, Vic. : 1848 – 1957), p. 6. Retrieved from http://nla.gov.au/nla.news-article23155399

Mullen, C. C. (1952, 03 January). Youth in the Wrong Jobs. Age (Melbourne, Vic. : 1854 – 1954), p. 2. Retrieved from http://nla.gov.au/nla.news-article204978021

Mullen, C. C. (1965). Brass bands have played a prominent part in the history of Victoria. The Victorian Historical Magazine, 36(1), 30-47.

Mullen, C. C. (1983, 01 January). This is the last will and testament of me…. Will and Testament. Wills and Probates, (919/613, VPRS7591/P9 Unit 22). Public Record Office Victoria.

Richmond Boys’ Club : Fine Work by C. C. Mullen. (1932, 17 December). Sporting Globe (Melbourne, Vic. : 1922 – 1954), p. 4. Retrieved from http://nla.gov.au/nla.news-article189122433

Royal South Street Society. (1958, 25 October). 1958-10-25 Brass Band Contests. Royal South Street Society. Retrieved from https://results.royalsouthstreet.com.au/results/1958-10-25-brass-band-contests

Royal South Street Society. (1959, 23 October). 1959-10-23 Brass Band Contests. Royal South Street Society. Retrieved from https://results.royalsouthstreet.com.au/results/1959-10-23-brass-band-contests

Royal South Street Society. (1964, 24 October). 1964-10-24 Victorian Brass Band Championship. Royal South Street Society. Retrieved from https://results.royalsouthstreet.com.au/results/1964-10-24-victorian-brass-band-championship

Royal South Street Society. (2020). Results. Royal South Street Society (1891-2016). Retrieved from https://results.royalsouthstreet.com.au

Ruddell, T. (2010). Introducing Cec Mullen: pioneer sports historian. The Yorker, Spring(42), 2.

The poetry of brass bands

Introduction:

While undertaking research for my blog posts thus far I have come across all manner of writing describing brass bands, their members and competitions.  Much of the writing is very useful in finding the “little stories” behind people, places and events.  Occasionally I have come across some oddities in the mix and this post is going to highlight an aspect of writing; poetry.

In this context of brass band history, penning up a poem about musicians, bands and competitions might seem very colloquial.  And in some respects, it is.  One only has to look at the style of writing and while the poems might not have won any literature awards, they were helpful in bringing to life some little stories in a unique style.

Below are just three of these brass band poems.  I have not been actively searching for these.  However, if while searching for material on other topics and they appeared, I have made a note of them for the novelty.  These are defiantly the needles in haystacks!  Two of the poems were published in local newspapers by writers using pseudonyms while the third poem was composed by brass band writer C. C. Mullen in his rare book, Mullen’s Bandsmen of South Street (1900 – 1951).

I am quite sure there are other brass band poems in other newspaper articles so this post might be expanded in the future.  Please enjoy the language and stories that are being told here and remember that they were for another time.  Perhaps this blend of artforms might be used again one day.

“A Welcome” by ‘Bannerman’ (1918):

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Herald, 23/10/1920, p. 4

One of the first blog posts in Band Blasts from The Past was about the famous Cornetist and Conductor William Ryder who travelled to Australia in 1910 with the renowned Besses O’ Th’ Barn Band (de Korte, 2018).  Just eight years later, after stints with bands in Victoria and New South Wales, he arrived in Maryborough, Queensland to take the reins of the Maryborough Naval Band and we found that an enterprising contributor, under the pseudonym of ‘Bannerman’, had penned a poem to welcome him to town.  No doubt this would have been perceived as a very friendly gesture, and it gave the town some insight into the prowess and reputation of Ryder as a musician.  This poem was published in the Maryborough Chronicle, Wide Bay and Burnett Advertiser on Wednesday, 8thMay, 1918.

A WELCOME

Here’s a hearty welcome “Billy”,
To our pleasant country town,
And may Fortune every lead you,
And misfortune never frown.
We are pleased to have you with us,
And we hope you long may stay
To encourage local talent
In the latest style and way.

When you played the “solo cornet”
With the finest in the land,
You were classed as England’s champion
In the famous “Besses Band.”
And here in fair Australia
You can show us all the way
As the Champion of the Champions
From the South to old Wide Bay.

“Because” we all remember
When you played it at New Year,
When the silvery notes were finished
How the crowd did clap and cheer.
May our town and climate suit you,
May your notes prove ever true.
Here’s good-luck to wife and kiddies,
And long life and health to you.
(Bannerman, 1918, p. 6)

“Back to South Street” by Cecil Clarence Mullen (1951):

There is one brass band musician and writer among many who is significant to early Victorian brass band history, Cecil Clarence Mullen (C. C. Mullen).  His writing might be rare and hard to find now, however, being a band journal representative he had a unique insight into the workings of brass bands and was associated with many famous bands, conductors and administrators (Mullen, 1951).

It is in his little book, Mullen’s Bandsmen of South Street (1900 – 1951) that we find his poem, “Back to South Street”. In this piece of writing Mullen has cleverly highlighted the nostalgia of the South Street event while noting many of the famous names of bands and bandsmen.  It is a worthwhile poem to read for the sake of history.

19510000_Mullen
Source: Jeremy de Korte Personal Collection

BACK TO SOUTH STREET

Just let me go back to South Street
For a week with the famous bands,
And take with me others who would compete
In Australia’s Golden City of renown.

Just let me alight at the station
With cornet, trombone and drum,
And meet bandsmen from all over the Nation,
To whom South Street once more come.

Just let me line up in the station yard
And play through Handel’s “Hallelujah Chorus,”
Or “The Heavens Are Telling” by Haydn – just as hard,
As bands played in the days before us.

Just let me march along Sturt Street
With gay crowds lining the way,
With step by step and beat by beat,
Is South Street just the same to-day?

Just let me see who is judging again,
Is it Stead or Bentley with ears for tune?
Short, Beswick, Sutton or Morgan – men of fame,
Or King of them all – J. Ord Hume.

Just let me go through Inspection
As we did when we dressed with much care;
With the gayest uniform in our section,
That made all our rivals stare.

Just let me compete in the solos again
From the grand old Coliseum stage,
With “Adelaide” or “Gipsy’s Warning” – or “Pretty Jane,”
“Zelda” and “Miranda” of a later age.

Just let me mount he platform
And play through “Beethoven’s Works.”
Or any Alexander Owen’s selections
That South Street bands would not shirk.

Just let me play through the Test piece,
Be it “Mercandante.” “Mozart” or “Liszt,”
“Wagner,” “Chopin” of “Meyerbeer,”
The tests that were tests on our lips.

Just let me march in the Quickstep
With Ord Hume’s “B.B. and C.F.”
“The Challenge,” “Cossack” or “Ravenswood”
Or was the “Twentieth Century” the best?

Just let me see the others swing past,
Code’s, Prout’s, Rozelle and Boulder.
Wanganui, Newcastle and Bathurst Brass,
Great names that come dear to the older.

Just let me see those fine Geelong bands,
St. Augustine’s, Municipal and Harbour Trust.
Also Collingwood, Malvern, Richmond, Prahran,
Perth City – all great power among us.

Just let me see Geelong Town again
With Sharpe Brearley at the head of affairs.
They ranked with Prout’s in quickstep fame,
First in marching honours was often theirs.

Just let me see the giants of the baton,
Riley, Code, Bulch and Prout,
McMahon, Barkel, Jones and Hoffman.
Many, alas, have gone out.

Just let me see others again,
Partington, Shugg, Johnston, Bowden.
Men who kept time in South Street’s fame;
Wade and Baile must be among them.

Just let me think if I missed any,
Yes, there was Davison, Niven, Lewins – any more!
Hopkins, Ryder, Billy May among many,
Not forgetting Frank Wright and J. Booth Gore.

Just let me see the best of officials
And critics like Davey, Gartrell and Hellings,
Humphreys and Boyce – Kings of staff and whistle,
May march us again – well, there’s no telling.

So to-day just let me go back to South Street,
Most famous contest in the land,
Where many old timers I will heartily greet,
And yarn over years that were so grand.
(Mullen, 1951, pp. 2-3)

“Dungog Brass Band” by ‘Mad Mick” (1954):

19120000_Dungog-BB_phot16862
Dungog Brass Band, 1912 (Source: IBEW)

Above is a picture of the Dungog Brass Band from around 1912 and unfortunately, this is one of the only pictures I could find of them.  However, some thirty years later this prose was published in the Dungog Chronicle : Dungog and Gloucester Advertiserby a member of the band writing under the pseudonym of ‘Mad Mick”.  One may wince at some of the language, but this was the 1950’s!

From reading the poem it appears that ‘Mick’ is a third cornet player.  This poem is quite good in describing who the band is, what it does and where it goes, but the prose hints at some problems like attendance issues.  We can appreciate that this was a local town band, and this was the way they did things. I think every band has a ‘Mick’ in their midst and we can thank him for highlighting the Dungog Brass Band in the way that he did.

DUNGOG BRASS BAND

I’ve heard it said that Old King Cole was happy, gay and free,
And he liked music sweet and low, played by his fiddlers three,
But in Dungog we’re luckier than King Cole in his day,
We have a band of 25 with band-master, Bob Gray;
And of this band we all feel proud, a mighty job they do,
They play in aid of charities, and spastic kiddies too.
Some Saturdays they entertain at each and every pub,
They finish off the evening playing at the Bowling Club.

Now I would like to tell you all the names of those who play,
And how old Bob the baton waves, and gets them on their way;
Soprano cornet heads the list and that’s I. Kennedy.
That solo cornet it is played by little Johnny Lee;
Keith Kennedy is downstairs for he is baritone,
And forwards, backwards, goes Stan Leayr upon the old trombone;
Now solo tenor horn Barry Schofield plays alone,
Toot! Toot! Toot! Toot! Don Redman goes upon his saxophone.

First tenor horn’s Wal Arnold, third cornet Mick Neilson,
Johnny Schofield’s second cornet, Hector Robson the side drum;
Ken Wade with his euphonium, gets down to bottom D,
While second solo tenor horn is little Barry Lee;
Then there’s E bass Freddy Schofield and Ted Mathews is the same,
And there’s one more solo cornet, Artie Redman is his name;
The secretary is Jack Kerr, he’s also big bass drum,
While tenor horn number three is played by “Butch” Neilson.

There’s only six more instruments and players for to pen,
For to conclude the roll call of Bob and his merry men;
And Bob calls them “some-timers,” they don’t attend a lot,
Sometimes they’re there for practice and sometimes they are not.
There’s the E bass and the B bass, and repiano cornet too,
And they’re played by Tommy Ferris and Keith Lean and Shelton, Blue,
Well now I’ve two trombonists whose attendances are poor
And they are “Sambo” Neilson and offsider Dennis Moore.

Well, those are all the players who go to make this band,
But there are two more people who lend a helping hand;
First of them the Drum Major, he makes them look so fine,
And that of course is Perry, Bill, he sees they march in line.
Then last of all is Paddy with collection box in hand,
You’ll always find him snooping round somewhere behind the band,
He sticks his box beneath your nose and thinks he’s doing right.
No wonder folks have christened him the “great Australian bite!”
P.S. – Sorry folks I missed one out, it’s Ray Monaghan I’m sure,
He plays quite well, but still in all, attendances are poor.
(Mad Mick, 1954, p. 3)

…and something from me:

In concluding this next blog post in Band Blasts From the Past,
Some tales of bands and bands people, but they won’t be the last.
For as we know from history, stories wait until they’re found,
Of the many tales of bands people who were there to make a sound.

References:

Bannerman. (1918, 08 May). A WELCOME. Maryborough Chronicle, Wide Bay and Burnett Advertiser (Qld. : 1860 – 1947), p. 6. Retrieved from http://nla.gov.au/nla.news-article151083205

de Korte, J. D. (2018, 02 March). William Ryder: The first conductor of the Prahran & Malvern Tramways Employees Band. Blog post Retrieved from https://bandblastsfromthepast.blog/2018/03/02/william-ryder-the-first-conductor-of-the-prahran-malvern-tramways-employees-band/

Dungog Brass Band. (1912). The Internet Bandsman: Vintage Brass Band Pictures: Australia [Photograph]: Retrieved from http://www.ibew.org.uk/vinbbp/phot16862.jpg.

Mad Mick. (1954, 29 September). DUNGOG BRASS BAND (By ‘Mad Mick). Dungog Chronicle : Durham and Gloucester Advertiser (NSW : 1894 – 1954), p. 3. Retrieved from http://nla.gov.au/nla.news-article140539879

Mullen, C. C. (1951). Mullen’s Bandsmen of South Street (1900-1951). Melbourne, Vic.: Horticultural Press.

Quickstep. (1920, 23 October). Bandsmen’s Gossip : Celebrated Conductor. Herald (Melbourne, Vic. : 1861 – 1954), p. 4. Retrieved from http://nla.gov.au/nla.news-article242245731

 

Trans-Tasman connections: the lure of competition and performance. Part Two – Australian Bands in New Zealand.

Introduction:

In comparison to the first part of this series of posts, the Australian bands were not quite as proactive as crossing the Tasman as their New Zealand counterparts.  This being said, when the Australian bands did go to New Zealand, they tended to do very well in competition and performances gained rave reviews.  This part of the post will detail the trips that four Australian bands made to New Zealand between 1900-1940.

1907: Newcastle City Band – Christchurch International Exhibition Contest:

19070213_New-Zealand-Mail_Newcastle-Picture
1907, Newcastle City Band visiting New Zealand. New Zealand Mail, 13/02/1907 (Source: PapersPast)

It took a little bit longer for Australian bands to start reciprocal visits to New Zealand and in 1907 the then champion Newcastle City Band traveled to Christchurch via Wellington to participate in the International Exhibition Contest (“NEWCASTLE CITY BAND.,” 1907).  By all accounts, this was a huge event with no less than twenty-nine bands participating (Newcomb, 1980).  Also in attendance at the Exhibition was the world-famous Besses O’ Th’ Barn Band from England who performed to great acclaim (Newcomb, 1980).  Code’s Melbourne band was also intending to take part in the event however they did not end up going due to some of their bandsmen being unable to take time off work (Trombone, 1907).

 The Newcastle Band achieved a very credible third placing against some top-ranking New Zealand bands and some of their soloists also achieved good placings (“BAND CONTEST,” 1907).  However, soon after the contest finished, questions were being asked over the judging with Newcastle and others feeling that Newcastle should have been placed higher.  In an article published in the Wanganui Herald, a Mr. Edgar Nicholas from Ballarat who was visiting was asked about the adjudicating at the contest by Lieutenant Bentley, formerly of England.  Mr. Nicholas said in his interview that,

I have been at all the band contests in Ballarat, where the principal bands in Australia compete.  We had had Messrs Ord-Hume, Wade, and Beard from England, but, speaking generally, Mr. Bentley has given equal satisfaction in Ballarat with these gentlemen”. (“THE JUDGING AT THE CONTEST,” 1907)

Speaking pragmatically in the interview, Mr. Nicholas noted that an adjudicator sometimes fails to please everyone given that Mr. Bentley had to judge 30 bands.  Also, as Mr. Nicholas suggests, some bands may not have been at their best given the late hours that some of them competed (“THE JUDGING AT THE CONTEST,” 1907).  Mr. Nicholas kept drawing comparisons with the Ballarat South St. Eisteddfod, the first being that that in the case of large sections, Ballarat employed up to three judges and that in Australia there were separate gradings which, at the time, were not used in New Zealand (“THE JUDGING AT THE CONTEST,” 1907).

One Newcastle bandmember was quite firm in his comments which were published in a Newcastle Morning Herald and Miners’ Advocate article by saying,

When our band-master tells us we played well I am satisfied.  He tells us often enough when we don’t play well; but we never played better than in the competition.” (“THE CITY BAND.,” 1907).

Aside from this issue over the placings, most accounts note that the Newcastle City Band had an enjoyable trip and were welcomed in various locations.  On the ship home, they played for an appreciative audience and were welcomed home with a civic reception (“THE CITY BAND.,” 1907).

Band: Own Choice: Test: Total:
Wanganui Garrison 158 147 305
Kaikorai Brass 158 145 303
Newcastle City (Aust.) 156 146 302

(Source of table data: (Newcomb, 1980, pg. 40)

1923: Redfern Municipal Band – South Island Brass Band Association Contest, Dunedin:

Some sixteen years after the first Australian band traveled to New Zealand, it took until 1923 for the next Australian band to arrive.  The Redfern Municipal Band, conducted by Mr. W. Partington, was a formidable band at the time and they undertook a short tour through the South Island of New Zealand on their way from Wellington to Dunedin.  Upon arriving in Wellington, along with a contingent of N.S.W. Bowlers, they were given a large civic reception by the Mayor (“BOWLERS AND BANDSMEN,” 1923).  The arrival of Redfern had generated an amount of excitement throughout New Zealand, suffice to say that their conductor Mr. W. Partington had conducted one of their own champion bands, The Wanganui Garrison Band for a while (“ENTERPRISING BAND,” 1923; Newcomb, 1980) – the band from Redfern was not unknown in New Zealand.

Redfern Municipal was ultimately triumphant in Dunedin by winning the A Grade section and Aggregate.  This was no easy feat given that a number of New Zealand’s A grade bands were in the section, including Mr. Partington’s former band, Wanganui.  Newcomb (1980) wrote of Redfern and the A Grade contest,

In Dunedin, it competed against seven of New Zealand’s top A grade bands.  After a week of intensive rehearsal in the “Edinburgh of the South” Redfern was rewarded for its painstaking efforts when it took out the A grade title 12 points ahead of Invercargill’s Hiberian Band. The 1st Canterbury Mounted Regiment Band was third.

The talking point of the contest was the poor performance of the Wanganui Garrison Band, under Mr. J. Crichton.  The veteran Wanganui conductor’s ambition was to thrash the Redferners…” (p. 44)

Of course the triumph was noted in Australian and New Zealand newspapers, and rightly so, it was a great win for the Redfern band (“BAND CONTEST,” 1923; “REDFERN BAND,” 1923).  However, the backstory of the two conductors was intriguing and written up as part of an article published by the NZ Truth newspaper:

There is an interesting story (perhaps) behind the crossing of the Redferners.  Bandmaster Partington was over here for a while, and had charge of the Wanganui Band.  Within a very short period of training under his baton he made champions of them, winning the N.Z. honors last year.  Then there arose a controversy between Partington, of Aussieland and Jim Crichton, of Wanganui, the ex-bootshopman who knocked off trade to become a musician, undergoing a special course of study in London for the purpose of pursuing his brass-bound hobby.  He told P. that if he (C.) had the Woolston Band under his baton for a month he could beat anything that P. could bring against it.  There was such a heated argument that it was leading to something like a £1000 wager.  But P. left for Aussieland again, and took charge of the Redferners.  Now the question is: Did he bring the Sydneysiders over to compete against anything that Jim Crichton had under his wing? Well, Jim took the Wanganui cracks down to Dunedin to play against their old leader – and Wanganui was nowhere in the final! (“Brass Bands and Bandsmen,” 1923).

When returning to Australia, there was a snippet of thought that the Redfern Band might head to England to compete (“REDFERN BAND,” 1923).  However, this evidently did not eventuate.  Their conductor, Mr. Partington, went on to other activities and formed a representative band that travelled Australia with the aim of heading to England.  But as detailed in a previous post, that tour ended up running out of money upon arrival in Perth.

1925: Malvern Tramways Band – New Zealand National Band Championship, Auckland:

19250305_Auckland-Weekly-News_MalvernTB_
Malvern Tramways Band, Auckland. Auckland Weekly News, 02/03/1925, p. 46. (Source: Auckland Libraries Heritage Collections: AWNS-19250305-46-1)

Just two years later, another crack Australian band made the trip to New Zealand to compete.  The Malvern Tramways Band was renowned throughout Australia as one of the elite bands of the Commonwealth having won numerous competitions by this time.  So much so that the Malvern Band, like many others, tried to get to England however they too were unable to raise sufficient funds.  To compensate, they did arrive in New Zealand early in 1925 to commence a six-week tour culminating in the championships in Auckland (“Malvern Tramways Band,” 1925d).

The reputation of Malvern preceded them to New Zealand and all manner of hospitality was afforded for the band including, special observation cars on trains, reduced rail fares and free travel on New Zealand trams! (“MALVERN TRAMWAYS BAND,” 1925b).  They sailed from Melbourne to Invercargill and from there travelled up to Auckland giving concerts in all the major towns on the way (“MALVERN TRAMWAYS BAND,” 1925a).  By late February they had reached Auckland and commenced competing in the band sections and solo sections.  In competition, the Malvern Tramways band was formidable and they won just about every section except for the Quickstep where they achieved third place (“MALVERN TRAMWAYS BAND.,” 1925b; “MALVERN WINS A GRADE TEST,” 1925).  Newcomb (1980) wrote of the contest:

After many years of bickering, common sense prevailed when the North and South Island associations joined forces to stage the 1925 national contest in Auckland.

It was made doubly interesting by the presence of the Malvern Tramways Band from Australia under the conductorship of Mr. Harry Shugg.

New Zealand’s top A grade bands proved no match for the highly fancied Australian combination which won both tests, the hymn and the championship aggregate. (p. 45).

After this astounding success in New Zealand, the Malvern Tramways Band sailed for Sydney where they performed their competition repertoire in concert to rave reviews (“MALVERN TRAMWAYS BAND,” 1925c).  Traveling back to Melbourne, the success of their New Zealand venture was written up a couple of months later by the local Prahran Telegraph newspaper (“MALVERN TRAMWAYS BAND.,” 1925a).

1936: Cairns Citizens’ Band – New Zealand National Band Championships, New Plymouth:

19351123_Evening-Post_Cairns-Band
Cairns Citizens’ (31st Battalion) Band. Evening Post, 23/11/1935. (Source: PapersPast)

In October 1935, the Cairns Post newspaper published the news that the Cairns Citizens’ (31st Battalion) Band would compete at the 1936 New Zealand Band Championships in New Plymouth (“MAKING HISTORY.,” 1935).  Conducted by James Crompton, a person that was not unfamiliar to the New Zealand brass bands, the band was nominally the first band from Queensland to compete in New Zealand and the first from Australian Military Forces (“MAKING HISTORY.,” 1935).

The Cairns Citizens’ Band won the New Zealand Championship that year, although they did not win the Test selection.  However, their aggregate points were enough that they could win the championship (“Cairns Band.,” 1936; Newcomb, 1980).  The New Zealand press was also impressed by the standards set in New Plymouth and an article published in the Evening Post newspaper praised the marching – the Cairns Citizens’ Band achieved 2nd place in the marching section (“GOOD MARCHING,” 1936).

Conclusion:

There was a similarity of experiences for bands crossing to either side of the Tasman; with civic receptions, a very interested and informed public and commentary from the newspapers.  The excitement generated by viewing a visiting band was also interesting to note – and there were plenty of other articles that were written about bands (but too many to list in these posts)!  It was interesting to note just how close the Australian and New Zealand brass band movements were in terms of standards and rules, so much so that any band crossing the Tasman could expect near similar conditions of competition.  The best bands of each country could match the other and in the spirit of competition, this was plain to see.

It is the collegial nature of band movements that enabled these visits to happen and to this day, the friendly rivalries remain, and visits continue to take place.  Kudos to the bands that made these early trips as they set a foundation for other bands to build on.

<- Part One – New Zealand Bands in Australia

References:

Auckland Weekly News. (1925). AUSTRALIAN BAND’S SWEEPING SUCCESS : MALVERN TRAMWYS (MELBOURNE), WINNERS OF ALL THE A GRADE SHIELDS AND THE McLED CUP. Auckland Council – Te Kaunhera o Tâmaki Makaurau : Auckland Libraries – Ngā Pātaka Kōrero o Tâmaki Makaurau : Auckland Libraries Heritage Collections [Digital Image AWNS-19250305-46-1]. Retreived from http://www.aucklandcity.govt.nz/dbtw-wpd/exec/dbtwpub.dll?BU=http%3A%2F%2Fwww.aucklandcity.govt.nz%2Fdbtw-wpd%2FHeritageImages%2Findex.htm&AC=QBE_QUERY&TN=heritageimages&QF0=ID&NP=2&MR=5&RF=HIORecordSearch&QI0=%3D%22AWNS-19250305-46-1%22: Auckland Weekly News.

AUSTRALIAN BAND FOR NEW ZEALAND CONTEST. (1935, 23 November). Illustrated. Evening Post (N.Z.). Retrieved from https://paperspast.natlib.govt.nz/newspapers/EP19351123.2.26.1

BAND CONTEST : Redfern Win The Aggregate : Wellington Watersiders Third. (1923, 24 February). Evening Post (N.Z.). Retrieved from https://paperspast.natlib.govt.nz/newspapers/EP19230224.2.68

BAND CONTEST : Winners of Competitions. (1907, 16 February). New Zealand Times (N.Z.). Retrieved from https://paperspast.natlib.govt.nz/newspapers/NZTIM19070216.2.61

BOWLERS AND BANDSMEN. (1923, 08 February). Evening Post (N.Z.). Retrieved from https://paperspast.natlib.govt.nz/newspapers/EP19230208.2.25

Brass Bands and Bandsmen. (1923, 03 March). NZ Truth (N.Z.). Retrieved from https://paperspast.natlib.govt.nz/newspapers/NZTR19230303.2.2.4

Cairns Band : Wins Championship. (1936, 02 March). Daily Mercury (Mackay, Qld. : 1906 – 1954), p. 6. Retrieved from http://nla.gov.au/nla.news-article172909750

THE CITY BAND. (1907, 27 February). Newcastle Morning Herald and Miners’ Advocate (NSW : 1876 – 1954), p. 5. Retrieved from http://nla.gov.au/nla.news-article136605589

ENTERPRISING BAND : Sydney Competition Band Likely to Visit Wanganui. (1923, 12 January). Hawera & Normanby Star (N.Z.). Retrieved from https://paperspast.natlib.govt.nz/newspapers/HNS19230112.2.17

GOOD MARCHING : Port Nicholson Band : Recent National Contest. (1936, 09 March). Evening Post (N.Z.). Retrieved from https://paperspast.natlib.govt.nz/newspapers/EP19360309.2.25

THE JUDGING AT THE CONTEST. (1907, 15 February). Wanganui Herald (N.Z.). Retrieved from https://paperspast.natlib.govt.nz/newspapers/WH19070215.2.32

MAKING HISTORY : Band For New Zeaand : Cairns to Cross Tasman. (1935, 02 October). Cairns Post (Qld. : 1909 – 1954), p. 5. Retrieved from http://nla.gov.au/nla.news-article41708070

MALVERN TRAMWAYS BAND. (1925a, 20 February). New Zealand Herald. Retrieved from https://paperspast.natlib.govt.nz/newspapers/NZH19250220.2.132

MALVERN TRAMWAYS BAND. (1925b, 20 January). Herald (Melbourne, Vic. : 1861 – 1954), p. 16. Retrieved from http://nla.gov.au/nla.news-article243874312

MALVERN TRAMWAYS BAND. (1925c, 10 March). Sydney Morning Herald (NSW : 1842 – 1954), p. 10. Retrieved from http://nla.gov.au/nla.news-article16207234

Malvern Tramways Band : Leaves for New Zealand. (1925d, 13 February). Prahran Telegraph (Vic. : 1889 – 1930), p. 8. Retrieved from http://nla.gov.au/nla.news-article165132427

MALVERN TRAMWAYS BAND : Recent New Zealand Tour. Success in Competitions. (1925a, 22 May). Prahran Telegraph (Vic. : 1889 – 1930), p. 6. Retrieved from http://nla.gov.au/nla.news-article165141099

MALVERN TRAMWAYS BAND : Wins Championship of New Zealand. (1925b, 06 March). Prahran Telegraph (Vic. : 1889 – 1930), p. 7. Retrieved from http://nla.gov.au/nla.news-article165137387

MALVERN WINS A GRADE TEST. (1925, 27 February). Evening Post (N.Z.). Retrieved from https://paperspast.natlib.govt.nz/newspapers/EP19250227.2.83.1

New Zealand International Exhibition. (1907, 12 February). Advertisement. Star (N.Z.), p. 3. Retrieved from https://paperspast.natlib.govt.nz/newspapers/TS19070212.2.57.2

The Newcastle (N.S.W.) City Brass Band; Champion Band of Australia, At Present Visiting New Zealand. (1907, 13 February). New Zealand Mail. Retrieved from https://paperspast.natlib.govt.nz/newspapers/NZMAIL19070213.2.235.6

NEWCASTLE CITY BAND : Going to New Zealand. (1907, 29 January). Newcastle Morning Herald and Miners’ Advocate (NSW : 1876 – 1954), p. 5. Retrieved from http://nla.gov.au/nla.news-article136608558

Newcomb, S. P. (1980). Challenging brass : 100 years of brass band contests in New Zealand, 1880-1980. Takapuna, N.Z.: Powerbrass Music for the Brass Band Association of New Zealand.

REDFERN BAND : New Zealand Triumph. (1923, 09 March). Evening News (Sydney, NSW : 1869 – 1931), p. 8. Retrieved from http://nla.gov.au/nla.news-article118834570

Trombone. (1907, 09 February). The Exhibition : The Band Contests. Lyttelton Times (N.Z.). Retrieved from https://paperspast.natlib.govt.nz/newspapers/LT19070209.2.71

 

International band tours of the early 1900’s: bringing music to Australia

Introduction:

It is a massive undertaking to take any musical group on tour which stands true even today.  But let’s examine these undertakings from another time.  When we look back at the grand tours of brass and military bands in the early 1900s, we can only marvel at the schedules they set for themselves, the places they visited, and the effect they had on local populations.  Australians it seemed had an insatiable appetite for viewing the best in the business and visiting bands were not disappointed when they toured here.

Visiting bands did not come all the way to Australia just to return home again.  Often, Australia was just one stop on a world tour.  From reading the Trove archive we can see that the movements of the bands in foreign countries was eagerly reported on because Australians knew they were next to see them.  And when the bands did arrive in Australia, each concert was widely advertised.

This was a great age of Australian and World banding.  It must have been quite a sight too when each band was alighting from ships and trains which were eagerly awaited on by an adoring crowd.  Parades of massed bands, dinners, receptions, concerts, photographs, articles and other events all greeted visiting bands when they stepped upon our shores. Thankfully our libraries hold some ephemera and newspaper articles from those tours, so we can imagine just what it would have been like.

This post will highlight some of the visiting band tours and will see that some bands had vast reputations which preceded them. However, the famous bands were not the only groups to visit.  This post will not cover all tours or bands.  Undoubtedly there might have been other bands that visited that are buried in time (more stories to uncover).  However, for the bands that did visit, their tours last in memories, and even in some of the local bands that were beneficiaries of the expertise of visiting bandsmen.  There are some fascinating stories that surround these tours.

Besses o’ th’ Barn Band travels around the world, twice:

18900000-19200000_Tour_Besses_Card
Early 1900’s Postcard showing the Besses o’ th’ Barn Band (Source: National Library of Australia: David Elliot theatrical postcard collection)

The reputation of this unique brass band is well-deserved. Besses o’ the’ Barn Band from the Manchester area, England is one of the oldest brass bands in the world and has been an ensemble of excellence since its establishment in 1818 (Besses o’ th’ Barn Band, 2018a).  So it was with a great deal of excitement the world over (and from the band itself) when Besses commenced its first world tour in 1906 (Besses o’ th’ Barn Band, 2018b).  This first tour took them to “North America, Canada, Hawaii, Fiji, South Africa, New Zealand, and Australia.” (Besses o’ th’ Barn Band, 2018b).  For each performance they attracted vast audiences and it is written in their history that their visit to Melbourne was most notable with no less than “twenty-two of Australia’s finest brass bands” (Besses o’ th’ Barn Band, 2018b) preceding them in a parade along Collins St.  This must have been quite the spectacle and sound!  Before they arrived in Melbourne they had been in Sydney and an article from The Sydney Morning Herald in 1907 gave an enthusiastic review of their performances (“BESSES O’ THE BARN” BAND,” 1907).  In July 1907 the Argus newspaper published an article which gives us an amount of detail about the parade and the massed bands that led it:

Immediately they alighted from the Sydney express the visiting bandsmen stepped across the platform into the railway yard and as they did twenty-two bands, under the conductorship of Mr. E. T. Code, commenced to play an inspiring march.  Each man in those twenty-two bands contributed his full share to the volume of sound the like of which has rarely been heard in Melbourne. […] A procession was formed and heralded by the twenty-two local bands, the Besses o’ th’ Barn Band were drive up Collins Street in two drags.  The street was crowded with citizens whose curiosity had prompted them to see the famous bandsmen at first opportunity.

[…]

The bands which took part in the ceremony of welcome were as follows: St Kilda City, Prahran City, Code’s Melbourne Band, South Richmond Citizens, Collingwood Citizens’, Richmond City, Malvern City, Williamstown Premier, Footscray City, Stender’s, Doncaster, South Melbourne City, Brighton City, Brunswick City, Warneeke’s, Bootmakers, Camberwell, Box Hill, Fitzroy Military, Clifton Hill, Fitzroy Citizen’s, Kyneton City, St Vincent de Paul Orphanage, St. Arnaud, Castlemaine, Maryborough, and Ballarat bands were also represented. (“BESSES O’ TH’ BARN BAND.,” 1907)

Regarding the huge crowds, an 1907 article in the Quiz newspaper from Adelaide which reported on the progress of the Besses tour thus far, noted that 70,000 people lined the parade route in Melbourne, which is a staggering amount of people for this kind of event (“Besses o’ th’ Barn Band,” 1907).  Such was the popularity and reputation of this ensemble.

However, Besses did not finish touring after this first monumental effort.  Not one year after they had arrived back in England, the band embarked on another world tour (“BESSES O’ TH’ BARN BAND,” 1909).  As noted in their band history (2018b), “Both trips lasted an incredible eighteen months.” (Besses o’ th’ Barn Band) which was a very long time for bandsmen to be away from home. Needless to say, Besses had not lost any popularity on their next world tour and again drew large crowds wherever they went.

Interestingly it was on their second tour where there were some changes in the Besses personnel due to one bandsman staying on in one city, and another bandsman joining them on their tour.  In a previous post, we can read the story of Besses Lead Cornetist William Ryder who absconded from the tour in Melbourne and joined the Wests Theatre Company before becoming the first conductor of the Prahran & Malvern Tramways Employees Band in 1911 (de Korte, 2018; Stonnington City Brass, 2018).  This being done, it appears that Besses invited one of our most famous bandsmen, Percy Code to join them on the rest of the tour (Bradish, 1929; Gibbney, 1981).  The conductor of Besses during this world tour was Mr. Christopher Smith and after the tour ended he was secured by the Adelaide Tramways Band for his services in 1911 (Seymour, 1994).

There is no doubt that Besses left their mark on Australian banding and were adored by audiences.  Certainly, in the succeeding years, many fine Australian bands dominated the landscape and as we saw some ex-Besses musicians now called Australia home.  Besses was one of the first bands to include Australia in their tour, but they were not the last.  Next to tour was the famous Sousa Band from the USA!

Sousa heads South:

18900000-19200000_Tour_Sousa-Card
A postcard that was issued to honor the visit of the Sousa Band to Australia (Source: National Library of Australia: David Elliot theatrical postcard collection)

The band of John Phillip Sousa was no less famous than the Besses band, although much bigger with sixty musicians and some additional soloists in their touring party.  They toured Australia and New Zealand from May 12th to August 23rd, 1911 and like the Besses band generated huge excitement wherever they went (Lovrien, 2012).  In fact, the excitement had started brewing before they had even arrived with newspapers reporting expected arrival dates and schedules (“SOUSA’S BAND.,” 1911).  As with the Besses tour that had just finished, the Sousa band was feted with ceremony, functions, awards, parades and large audiences – upon arriving in Sydney there was a grand parade featuring twenty NSW brass bands (“SOUSA AND HIS BAND,” 1911).

Inevitably, given the timing of the Sousa tour to the previous Besses tour, questions were asked as to which the finer band was.  In an article from May 1911, the World’s News newspaper sought to answer this question from a reader (“Sousa’s Band,” 1911).  The article reported on the differences between both bands and diplomatically opens the article by declaring that: “Comparisons are odious in connection with bands, as well as with politics” (“Sousa’s Band,” 1911).  However, it came down to the fact that one was a brass band as opposed to a military-style band and one band was much bigger than the other.  Musically, they were both very fine ensembles.

The Sousa band was a very different ensemble and they enthralled Australian audiences.  However, there is no real indication that the Sousa band had an influence on Australian bandsmen, and if they did, it was not reported.  One could assume the reason was that Australian bands, which were mostly brass at the time, were very much tied to the band tradition of England, not the USA.

From Australia, the Sousa Band traveled to New Zealand where they again delighted audiences and received rave reviews (White, 2018).  And after this swing through the Southern Hemisphere, they returned to the mainland USA via a visit to Hawaii (Lovrien, 2012).

The Sousa tour, despite the number of places that they visited and the largeness of the audiences, did not generate a huge financial windfall and it was very expensive to take the band around the world (Lovrien, 2012).  However, in 1913 a court case was heard regarding the profits from the Australian leg of the Sousa tour.  From the brief flurry of newspaper articles that were written at the time, it appears that a series of contracts were entered into by the promoter of the tour, Mr. Branscombe with a Mr. Quinlan, and later a Mr. Singer over £30,000 in profits (“SOUSA’S BAND IN AUSTRALIA,” 1913).  It is interesting that this case was heard two years after the tour had finished, and that these profits were not intended for the Sousa band itself.

Bythell (2000), writing on the band tours and exchanges between countries during this time says that “…the logistics and high costs or international tours and exchanges made them exceptional” (p. 229).  Certainly, it was noted in the New Zealand article on the Sousa visit that the tour (through Aus. & NZ) was costing “over £2,000 per week” (White, 2018).  Given the logistics of moving a sixty-piece band plus soloists around Australia and New Zealand, this figure is hardly surprising.

Despite this, the Sousa tour appears to have been a success for the band and audiences as Sousa was a renowned conductor and composer.  The time frame between this tour and the previous Besses tour had not dimmed the enthusiasm of the Australian public in wanting to see these kinds of entertainments.  The Sousa band did not disappoint.

The visit of a Belgian Band during the First World War:

The Besses and Sousa bands were undoubtedly famous, but that did not stop other promoters searching for bands that might tour, which is exactly what happened during the early stages of the First World War.  In 1915, a band from Belgium visited the country and apparently went on tour through Australia and New Zealand. (“MUSIC.,” 1915).  A paragraph in a Leader newspaper article from May 1915 provides some detail on this band, but the band had no name – they were simply known as the Belgian Band:

A Belgian Band comprising some of the finest instrumentalists in Belgium, has been engaged by J. and N. Tait for a tour of Australia and New Zealand, commencing in June. […] After considerable trouble, many cables and much correspondence, the band has at last been got together, and will prove on its arrival one of the finest aggregations of talent that have yet visited Australia.  The band comprises of 28 instrumentalists, recruited from the foremost bands of Brussels, Antwerp and Ostend, and augmented by half a dozen English players, and will be conducted by the brilliant M. Phillipe Meny, a remarkable musician, whose reputation is not only Belgian, but European. (“MUSIC.,” 1915).

The reaction of the Australian press to this visit was understandable.  A number of articles expressed admiration that the musicians had actually left Belgium, while also expressing sympathy and solidarity with the Belgian people under German occupation.  An example of this kind of article was from the Daily News in Perth (“THE BELGIAN BAND.,” 1915).  Notwithstanding the circumstances of this visit, the band drew the interest of an Australian public and received good reviews for their performances (“Visit of Belgian Band,” 1915).  In an act of decency, the band promoters donated all profits to “…the Belgian Relief Fund and the Wounded Soldiers Fund” (“BELGIAN BAND VISITS AUSTRALIA.,” 1915).

First came the Royal Marines, then came the Guards:

After the war, visits from overseas bands resumed quite early on with a visit from the Royal Marine Band, H.M.S. “Renown”.  This band was brought to Australia by J. and N. Tait, the same promoters who engaged the Belgian Band in 1915 (“RENOWN BAND.,” 1920).  The Royal Marines actually visited twice; their first visit was in 1920 and they followed up with another visit in 1927.  The concerts of 1920 received some very favorable reviews with one article printed in the Argus praising the sound and playing of this ensemble, and making a comparison of conducting styles with the great Sousa (“Concert by Renown Band.,” 1920).  On the second tour, a concert in Melbourne was presented as a massed bands concert in combination with the “Returned Sailors and Soldiers Memorial  Band” and the “Victorian Railways Military Band” with the Lord Mayor’s Hospital Appeal Fund the beneficiary of the proceeds from the concert (“FOR MAYOR’S FUND,” 1927).

19270508_Massed-Mil-Bands_Green-Mill_FC
The front cover of the concert program for the 8th May, 1927 concert featuring the Royal Marine Band, H.M.S. “Renown” and two local bands. (Source: Victorian Collections : Victorian Bands’ League Archives)

In 1934 the Band of the Grenadier Guards visited Melbourne as part of the Centenary of Victoria celebrations, with a subsequent tour of Australia as well.  There was some initial confusion as to which Guards band was going to visit with the Grenadier Guards, Coldstream Guards and Welsh Guards being mentioned in some press (“GUARDS’ BAND VISIT.,” 1933).  It seems there was also some objection to the tour on the part of the Musicians’ Union. A letter to The Herald in September 1933 berated the Union for their stance with the writer stating that “Their visit will be education and beneficial to our unemployed musicians.” (Musician, 1933).  A visit to Australia by a band of this caliber was beneficial to all who witnessed them (not just unemployed musicians).  The band made a special appearance at the South Street competition of 1934 with a concert presented to an appreciative audience which included the Duke of Gloucester who was also visiting Australia (“South-street Band Contests.,” 1934).

19341101-19341103_South-Street-Centenary-Contest_p6
Page 6 of the 1934 South Street “Centenary” Brass Band Contest program showing the events of the day, including the concert from the visiting Grenadier Guards Band. (from the Victorian Bands’ League archival collection)

These two British military bands were highly regarded, and it appears that their tours were more genuine with concerts in combination with Australian ensembles and presenting inspirational performances.  There was no comparison with the previous tours of Besses and Sousa as these were again, very different groups.  However, Australians were no less enthusiastic about the visits of these bands and made them feel very welcome.

Conclusion:

What we have seen here is only a small sample of the bands that visited Australia within a shorter time frame.  Each group was very different, yet they elicited an amount of excitement from the Australian audiences, bandsmen and public authorities.  Yes, they were expensive undertakings.  But musically they were invaluable.  This truly was a great age of banding.

References:

145695597 Australia extends the glad hand of welcome to Sousa and his band [postcard]. (1910). David Elliott theatrical postcard collection. Retrieved from http://nla.gov.au/nla.obj-145695597

145704095 Besses o’ th’ Barn Band [1] [postcard]. (1907). David Elliott theatrical postcard collection. Retrieved from http://nla.gov.au/nla.obj-145704095/view

THE BELGIAN BAND. (1915, 24 May). Daily News (Perth, WA : 1882 – 1950), p. 7. Retrieved from http://nla.gov.au/nla.news-article81173645

BELGIAN BAND VISITS AUSTRALIA. (1915, 20 June). Sunday Times (Sydney, NSW : 1895 – 1930), p. 6. Retrieved from http://nla.gov.au/nla.news-article120796314

Besses o’ th’ Barn Band. (1907, 09 August). Quiz (Adelaide, SA : 1900 – 1909), p. 8. Retrieved from http://nla.gov.au/nla.news-article166338966

BESSES O’ TH’ BARN BAND. (1909, 04 November). Table Talk (Melbourne, Vic. : 1885 – 1939), p. 13. Retrieved from http://nla.gov.au/nla.news-article145853191

Besses o’ th’ Barn Band. (2018a). History of Besses: A Glorious Past. Besses o’ th’ Barn Band. Retrieved from http://www.besses.co.uk/about/blasts-o-th-past/history-of-besses

Besses o’ th’ Barn Band. (2018b). History of Besses: From Whitefield to Wellington. Besses o’ th’ Barn Band. Retrieved from http://www.besses.co.uk/about/blasts-o-th-past/history-of-besses?showall=&start=1

BESSES O’ TH’ BARN BAND. WELCOME TO MELBOURNE. (1907, 29 July). Argus (Melbourne, Vic. : 1848 – 1957), p. 7. Retrieved from http://nla.gov.au/nla.news-article10125983

“BESSES O’ THE BARN” BAND. (1907, 15 May). Sydney Morning Herald (NSW : 1842 – 1954), p. 13. Retrieved from http://nla.gov.au/nla.news-article14867586

Bradish, C. R. (1929, 05 September). Prominent Personalities : PERCY CODE | CONDUCTOR OF NATIONAL BROADCASTING ORCHESTRA. Table Talk (Melbourne, Vic. : 1885 – 1939), p. 13. Retrieved from http://nla.gov.au/nla.news-article146712994

Bythell, D. (2000). The Brass Band in the Antipodes : The Transplantation of British Popular Culture. In T. Herbert (Ed.), The British brass band : a musical and social history (pp. 217-244). Oxford: Clarendon Press ; New York : Oxford University Press.

Concert by Renown Band. (1920, 04 June). Argus (Melbourne, Vic. : 1848 – 1957), p. 9. Retrieved from http://nla.gov.au/nla.news-article1708206

de Korte, J. D. (2018, 02 March). William Ryder: The first conductor of the Prahran & Malvern Tramways Employees Band. Blog Post Retrieved from https://bandblastsfromthepast.blog/2018/03/02/william-ryder-the-first-conductor-of-the-prahran-malvern-tramways-employees-band/

FOR MAYOR’S FUND: Renown Band Concert. (1927, 06 May). Herald (Melbourne, Vic. : 1861 – 1954), p. 19. Retrieved from http://nla.gov.au/nla.news-article243915027

Gibbney, H. J. (1981). Code, Edward Percival (1888-1953). Australian Dictionary of Biography, National Centre of Biography, Australian National University. Retrieved from http://adb.anu.edu.au/biography/code-edward-percival-5707

GUARDS’ BAND VISIT: Centenary Tour Almost Certain. (1933, 10 October). Age (Melbourne, Vic. : 1854 – 1954), p. 8. Retrieved from http://nla.gov.au/nla.news-article205104515

Lovrien, D. (2012, 13 June). The Sousa Band 1910-11 World Tour. Blog post Retrieved from http://sousamusic.com/sousa-band-1910-11-world-tour/

MUSIC. (1915, 15 May). Leader (Melbourne, Vic. : 1862 – 1918), p. 35. Retrieved from http://nla.gov.au/nla.news-article91368715

Musician. (1933, 11 September). GUARDS’ BAND VISIT. Herald (Melbourne, Vic. : 1861 – 1954), p. 6. Retrieved from http://nla.gov.au/nla.news-article243423748

RENOWN BAND. (1920, 05 July). Register (Adelaide, SA : 1901 – 1929), p. 5. Retrieved from http://nla.gov.au/nla.news-article62924146

Seymour, C. (1994). Adelaide’s Tramway Band. Trolley Wire, 35(4), 3-10.

SOUSA AND HIS BAND. (1911, 14 May). Sunday Times (Sydney, NSW : 1895 – 1930), p. 2. Retrieved from http://nla.gov.au/nla.news-article120777076

SOUSA’S BAND. (1911, 09 February). Argus (Melbourne, Vic. : 1848 – 1957), p. 7. Retrieved from http://nla.gov.au/nla.news-article10877792

SOUSA’S BAND IN AUSTRALIA: Question of profits: Writ for £7926. (1913, 01 October). Age (Melbourne, Vic. : 1854 – 1954), p. 8. Retrieved from http://nla.gov.au/nla.news-article196234795

Sousa’s Band: An interesting question asked by readers. (1911, 13 May). World’s News (Sydney, NSW : 1901 – 1955), p. 18. Retrieved from http://nla.gov.au/nla.news-article128266800

South-street Band Contests. (1934, 02 November). Age (Melbourne, Vic. : 1854 – 1954), p. 16. Retrieved from http://nla.gov.au/nla.news-article205082990

Stonnington City Brass. (2018). History of Stonnington City Brass. Stonnington City Brass. Retrieved from https://www.stonningtoncitybrass.org.au/history.html

Visit of Belgian Band: An enjoyable concert. (1915, 10 August). Queensland Times (Ipswich, Qld. : 1909 – 1954), p. 7. Retrieved from http://nla.gov.au/nla.news-article121995771

White, T. (2018, 13 July). Memory Lane: A famous musician brings his band to town. stuff.co.nz: Manawatu Standard. Retrieved from https://www.stuff.co.nz/manawatu-standard/lifestyle/105412732/memory-lane-a-famous-musician-brings-his-band-to-town

 

William Ryder: The first conductor of the Prahran & Malvern Tramways Employees Band

19150000_William-Ryder_front Mr. William Ryder is mentioned in the Stonnington City Brass centenary book, “Bold as Brass”, yet is mentioned as a mere footnote in a long line of conductors of the band.  He probably would have passed attention even further had it not been for a donation of photos to the band.  These photos were not only remarkable for their condition but for the portion of the history of Stonnington City Brass they have now filled in.  Discovering the story of Mr. Ryder has been very rewarding, and has reinforced old ties with one of the most famous brass bands in the world, the Manchester Besses O’ Th’ Barn Band.

Some particulars of Williams Ryder’s life are unknown but we do know that he was born and raised in England.  He apparently started out learning the Violin but switched to the Cornet soon after.  By all accounts, he became a very gifted musician and was tutored by the great William Rimmer, a very famous conductor of the time.  Mr. Ryder even played in the company of royalty on one occasion.

We know that William Ryder came to be in Australia when he was included in the Besses O’ Th’ Barn band on their worldwide tour in 1909-1911 as their lead Cornet.  However, his reputation had preceded him and in 1910 he joined the Wests Theatre Company in Melbourne and in 1911 became the first conductor of the Prahran & Malvern Tramways Employees Band.  This is only a small tie with the famous Besses band and they were very interested to find out about Mr. Ryder’s whereabouts – Besses apparently joke at concerts about the bandsmen who went on tour but never came back!

19090000_Besses-Bandroom

Mr. Ryder’s prowess as a musician can’t be discounted.  Like the vast majority of bandsmen, he was active in competition and in 1912 he achieved 2nd place in the Open Bb Cornet section at Royal South Street (Ballarat).  What is more remarkable is that in 1914 he not only won the Open Bb Cornet title but the Open Eb Cornet title as well at South Street in two days of competition!  He also conducted the early Malvern band to competition wins.

According to an early history of the Stonnington City Brass (Malvern Tramways) compiled by Mr. Charles Selling, Mr. Ryder left the band in July 1914.  Mr. Snelling wrote that “With the change of Bandmaster, several of our men left us, and another Band was formed in Malvern under Mr. Ryder.  This combination was short-lived, however.”.  Which, I might add, was a situation not unheard of in these times.  Succeeding Mr. Ryder as a conductor was Mr. McAnally however he only had a short tenure and in early 1915 the great Mr. Harry Shugg was appointed.

19180508_Maryborough-Chronicle_William-Ryder
Maryborough Chronicle, Wide Bay and Burnett Advertiser, 8 May 1918, Page 6

After his stint in Malvern, Mr. Ryder traveled to NSW to take up an appointment with the Rozelle District Band, then transferred to the South Sydney Band.  From this point up until the end of the First World War, Mr. Ryder was part of the AIF forces as an acting bandmaster.  After the war, he proceeded to Queensland and according to articles from the Queensland Times (Ipswich) 1926 and the Morning Bulletin (Rockhampton) 1931, he had been associated with the Maryborough Naval Band, Maryborough City Band, the Rossendale Band, the Ipswich Vice Regal Band, and the Rockhampton City Concert Band.  As a Cornet soloist, he also kept up his competing thrice winning the New South Wales Championships and winning the Queensland Cornet Championship. The last time he won this championship was in 1936 when he was 54 years of age.  Wherever Mr. Ryder went he was warmly welcomed.  A journalist from the Maryborough Chronicle in an article from 1918 even penned an enthusiastic poem to welcome Mr. Ryder to the town and the band!

Mr. Ryder did not slow down in the later years of his life having been appointed to the Gympie Band in the 1930s and in 1938 he took the band down to Sydney and won the D Grade competition against 16 other bands.  While in Gympie he also established the Gympie Boys’ Band and eventually handed over the reins of this band to his son, William Jnr.  In 1941 he joined the Military forces and conducted a Battalion band and was subsequently posted to New South Wales.  However, in 1942 he returned from New South Wales and entered a Brisbane military hospital where he died at the age of 60.  He was survived by his widow, three sons, and three daughters.

19150000_William-Ryder_backMuch of the story of Mr. Ryder’s life is anecdotal having come from the resources of the Trove archive and some of the Stonnington City Brass history.  I must acknowledge the active interest that representatives of the Besses O’ Th’ Barn band have in their own history as they were very forthcoming with material regarding Mr. Ryder, to which I thank them.

Mr. Ryder’s story is but one of many bands people who have played or conducted the Stonnington City Brass.  As I wrote in the opening paragraph, Mr. Ryder is a mere footnote in the Stonnington City Band history, however, he set a course for the early band and the band continues that legacy.

References:

A WELCOME. (1918, 08 May 1918). Maryborough Chronicle, Wide Bay and Burnett Advertiser (Qld. : 1860 – 1947), p. 6. Retrieved from http://nla.gov.au/nla.news-article151083205

NOTABLE BANDSMAN. (1926, 18 December 1926). Queensland Times (Ipswich, Qld. : 1909 – 1954), p. 4. Retrieved from http://nla.gov.au/nla.news-article115649816

CITY CONCERT BAND. (1931, 14 January 1931). Morning Bulletin (Rockhampton, Qld. : 1878 – 1954), p. 4. Retrieved from http://nla.gov.au/nla.news-article54688441

LATE MR. W. RYDER. (1942, 20 May 1942). Queensland Times (Ipswich, Qld. : 1909 – 1954), p. 5. Retrieved from http://nla.gov.au/nla.news-article115078488

Lawson-Black, P. (2010). Bold as brass : the story of Stonnington City Brass. Toorak, Vic.: Toorak, Vic. : Stonnington City Brass.

Stonnington City Brass. (2011). History of Stonnington City Brass. Stonnington City Brass.  Retrieved from http://www.stonningtoncitybrass.org.au/SCBJoomla/index.php/history