Collingwood Citizens’ Band rehearsing in a quarry, 1906 (Source: IBEW: phot19034)
Introduction:
The Prahran City Band, under the veteran conductor, E. T. Code, next took the stand. This band showed a wise departure in abandoning the old-fashioned circle and forming in a half-moon, and consequently, every man was facing his leader, and no one was nearer the judge than his neighbour. This method is an improvement and should be adopted by all bandsmen, and a better balance of tone will be accomplished. (“BRASS BAND CONTESTS.,” 1911)
So said a knowledgeable observer from Bendigo who was visiting the Ballarat and listening to the 1911 Royal South Street Eisteddfod band sections. Obviously, he noticed a distinct difference in the sound of the Prahran City Band as opposed to bands that mounted the platform and stood in a circle with the conductor in the middle. Granted, this was in 1911, so the wording is interesting. Bands standing in circles for certain performances was the status quo then. Old fashioned? Possibly. However, as with anything in the band movement, any significant change took time, and Australian bands generally followed developments from England. Is it ironic that the status quo was shaken up by an Australian brass band visiting England? There is more to that story.
Playing within the confines of band rotundas and on the elevated platforms used at band contests meant that bands performed in all sorts of shapes – circles, squares, the half-moon (thanks to Prahran City Band), and other formations. As a historical curiosity in the band movement, these formations bring the question of why because even though some unusual formations are necessary in modern times, in general, brass bands now perform in a generic formation wherever possible.
This post is about band formations mainly in outdoor settings, although some might say this applies to indoor performances as well. Unfortunately, there is a lack of written information about the specifics of early brass band formations for performances – no one has written a manual (apart from marching). Much of what can be discussed comes from the anecdotal evidence of photographs and the odd review of contests. The assumption then can be made that when bands formed up on elevated platforms and in band rotundas, formations were dictated by the platform’s shape and the conductor’s discretion.
Elevation:
One common element that has stood the test of time is the elevation of a musical ensemble for performances. A stage or platform tends to mean that bands (and orchestras, choirs, etc.) are better heard and seen by the audience. The Kalgoorlie Miner newspaper noted as such when reviewing a performance by the A.W.A. Brass Band in September 1903 prior to this band making the long journey to compete in Ballarat.
The advantages of an elevated position for band performers in submitting their programmes to the judgement of the public was made abundantly manifest at the Boulder Recreation Reserve last night when the various items in the bill were given from a temporary rotunda or covered-in platform, erected by the Boulder Orchestral society, to facilitate the object of the gathering last evening, and also for use when the members of that particular organisation take up the running in the absence of local bands at the Ballarat competitions. The players were not hemmed in and incommoded by spectators, and the music was conveyed with better effect. (“THE A.W.A. BRASS BAND.,” 1903)
Bands had also noted the advantages of band rotundas and bandstands, and the visit of the Besses o’ th’ Barn Band to Victoria was a catalyst for further work (de Korte, 2021). According to an article published in The Age newspaper in October 1907, Code’s Brass Band lamented the lack of facilities for performances.
It was mentioned that the great enthusiasm aroused by the playing of the Besses o’ th’ Barn Band should have the effect of showing the authorities that good band music is appreciated by the general public, and drawing their attention to the lack of facilities in Melbourne for bands to give open air performances. What is badly needed is the erection of suitable rotundas or band stands in public parks and reserves. At present when a band gives an open air performance, an unsightly temporary stand must be erected, or they must play standing on the grass, a proceeding not at all satisfactory either to the musicians or their audiences. (“CODE’S BRASS BAND.,” 1907)
Band Rotundas:
Band rotundas, by nature of design, were largely elevated structures, some more than others. Rotundas are also a classic example of where the structure somewhat dictated how a band was arranged. Older band rotundas in Australia were often designed in an octagon with the central performance area occupied with a ring of music stands and space for the conductor in the middle. Whenever a rotunda was opened in a locality, it was a special occasion as it meant the local band had a proper performance space, as this article published in The Daily Telegraph newspaper about the new structure constructed by the Newtown Brass Band shows.
A desire having been expressed that it should give more frequent public performances, arrangements have been made for it to play every week in one of the local parks – Victoria Park, Marrickville, and Erskineville. Hitherto the band has suffered under a great disadvantage when playing in the open by not having a proper stand. The result was that the players were liable to be encroached upon by the crowd, causing much inconvenience, whilst the music was not heard at its best. The attempts to get a stand provided for them having failed, the members, who included several tradesmen, set about constructing one of their own. They did all the work themselves, the only cost being that of the materials. They have succeeded in producing a structure admirably adapted for its purpose. It is octagonal in shape and will accommodate about 40 performers. It can be taken to pieces without much trouble, and removed on one day, the work of fixing it up occupying only about a quarter of an hour. There is an outer platform, on which the players will stand, uprights carrying supports for the music, whilst the conductor, from a smaller stand in the centre, has everything under his control. (“NEWTOWN BRASS BAND.,” 1904)
The band rotunda at Rushworth in northern Victoria is an example of this style of design. Below is a postcard dating from 1907 and a later photograph of the rotunda – thankfully, the ring of music stands has not been removed over a century later (de Korte, 2024c).
Postcard: Band Rotunda, Rushworth, Victoria, 1907. (Source: Jeremy de Korte Collection)
Photograph: Queen Jubilee Band Rotunda. (The photograph was taken by Jeremy de Korte, 26/05/2024)
It can be seen that this particular rotunda is a bit on the small size, and when visiting the town, this author was told by townspeople that the current Rushworth and District Concert Band does not play up on this rotunda at present due to space constraints. As with any structure of this type, they are of all different sizes and designs. Images of band rotundas from all over Australia can be viewed on the companion blog, Australian Band Stands: Iconic structures in towns and cities.
What a band might have experienced when playing on a rotunda like this can be viewed below where we can see the New South Wales Artillery Band playing at the Hyde Park Rotunda. The band members can just be seen standing around the edges of the rotunda facing inwards towards the conductor.
Postcard: Sydney : Hyde Park : Band-Musique de l’artillerie – Artillerie-Kapelle, (date unknown). (Source: Jeremy de Korte Collection)
Platforms:
Bands playing on temporary platforms was quite common, and again, still is to a certain extent. Like playing on rotundas, platforms tended to dictate the shape in which a band performed. Circles and rectangles tended to be the norm, but as the Prahan City Band demonstrated, other formations were used (“BRASS BAND CONTESTS.,” 1911). Perhaps the Collingwood Citizens’ Band, seen in the photograph at the head of this post, was rehearsing in a circle in preparation for a contest.
Thankfully, there are some newspaper articles and photographs that show bands performing on an elevated platform at a contest. The series of photographs below taken at the Inverell (N.S.W.) Musical Festival in 1907 and published in The Sydney Mail and New South Wales Advertiser newspaper is a perfect example. As we can see, the bands are on the platform formed up in a circle. The temporary platform is in full view, and when each band is getting their photograph taken, the next band is taking their turn on the platform. The photographs are displayed here separately, and the photograph of the massed bands has also been included.
Hillgrove Brass Band – Inverell Musical Festival. The Sydney Mail and New South Wales Advertiser, 10/04/1907, p. 925
Narrabri Enterprise Band – Inverell Musical Festival. The Sydney Mail and New South Wales Advertiser, 10/04/1907, p. 925
Emmaville Miners’ Brass Band – Inverell Musical Festival. The Sydney Mail and New South Wales Advertiser, 10/04/1907, p. 925
Howell Brass Band – Inverell Musical Festival. The Sydney Mail and New South Wales Advertiser, 10/04/1907, p. 925
Massed Bands – Toowoomba Australis (left), Newtown Brass Band (front), Inverell Austral Band (right) – Inverell Musical Festival. The Sydney Mail and New South Wales Advertiser, 10/04/1907, p. 925
Likewise, the 1911 Kalgoorlie Brass Band Competitions and Eisteddfod was well-documented by photographer Mr. R. Vere Scott, and his photos were published in the Kalgoorlie Western Argus newspaper (Scott, 1911b). On a side note, this contest was notable as it not only included some Western Australian bands but also the Broken Hill Band, which made the long journey to Kalgoorlie, as can be read about in a previous post (de Korte, 2019). One of the photographs that Mr. Scott took was of the Boulder City Band taking their turn on the contest platform on the main oval (Scott, 1911a). From looking at this photograph, one wonders how much the audience heard as the band members were all facing the conductor in the middle, and only some of the band members were likely to be pointing their instruments at the audience in the stands.
Boulder City Band – Kalgoorlie Brass Band Competitions and Eisteddfod. Kalgoorlie Western Argus, 10/10/1911, p. 21
Elevating an ensemble was important enough for the musicians and the audience. Yet there was the issue of sound production as well. It could be assumed that it was possibly easier to hear a band playing on rotunda due to the roof reflecting sound outwards. But what about a band playing in a shape on a platform? How much of that was heard? Would it be better for a whole band to project outwards, generally in one direction?
Much happened in 1924. The Malvern Tramways Band did not travel to the United Kingdom to compete in the famous English band competitions, as they were widely expected to do (de Korte, 2024a). However, the Newcastle Steel Works Band did travel to England and caused a stir when they got there, mainly for the fact that they won two of the major championships and came third in another major championship (Greaves, 2005). This was in addition to the numerous concerts and other events the band played at to earn some money during the tour – the trip was very expensive (Bythell, 1994; Helme, 2017).
While the Newcastle band astonished the English band aficionados with their playing, they did something else that changed the band world forever; they went on stage at the Belle Vue contest in Manchester – their second contest of the tour – and sat in a concert formation (Greaves, 1996).
Now, admittedly, the band had sat in concert formations at previous concerts in England, but this was the first time the band had sat in this formation at a contest.
Although they had already sat in formation at previous contests, the audience at the King’s Hall were still taken aback when the Newcastle Steel Works players arrived on stage – each carrying a wooden chair. They then proceeded to sit in the now ‘traditional’ formation before Albert Baile took the stage. (Mutum, 2024)
The Australian band historian Jack Greaves (1996) provides us with a more detailed description of the event and the implications of what Newcastle set in motion.
The year 1924 also saw the introduction by the Australian visitors of a new innovation at the Belle Vue contest. Up till then, it was customary for bandsmen to stand in a circle on the contest platform during the entire rendition of the test selection. Tradition was broken by the visitors, however, for when their turn to play came, each man carried on to the platform his own chair and the band then arranged itself into a horseshoe formation. As they were the second last band to play, it meant that each bandsman had the responsibility of retaining possession of his own chair for most of the day, which also meant carrying it about with him wherever he went. From then on, all bands at Belle Vue have played seated.” (pp. 49-50)
There is no record as to which Newcastle band member thought up the new formation, although one would suspect that Conductor Albert Baile was the instigator. Various accounts, however, do mention the band being coached by conductors James Ord Hume and William Rimmer prior to the Belle Vue contest – did they also have an influence? (Bythell, 1994; Greaves, 2005). Interestingly, the hall at the time was one of those arenas where the audience could watch the band from all four sides, so having a band perform on chairs in a concert formation must have been a novelty for them (Helme, 2017). One of the reasons (nominally the weakest reason) the English commentators used to justify Newcastle’s win was the different seating formation (Bythell, 1994).
So yes, it did take an Australian band visiting England to change the seating formation of brass bands. Below are photographs of the Newcastle Steel Works Band and their conductor Albert Baile upon their return to Australia in 1925 as published by The Observer newspaper.
Newcastle Steel Works Band. Observer, 10/01/1925, p. 34
What is evident from this little story is that evolution in the band world takes time and can happen quite suddenly. This was not a movement that did not copy developments in the orchestral world where orchestras had been sitting in a concert formation for centuries. As can be seen in the photographs from England and Australia, playing on an elevated platform was part of the performance practice. Playing in a shape with the conductor in the middle, which was a part of contests for the best part of three decades was something that could have been changed quite easily. However, for some reason, it was accepted musical practice for the benefit of the conductor, and possibly an adjudicator, but not for an audience sitting at a distance.
We can thank the innovations of the Newcastle Steelworks Band a century ago for changing the playing formations. What they did went from novelty to accepted practice very quickly.
References:
Band Contest, Yallourn. (n.d.). [Photograph]. [phot8000]. The Internet Bandsman Everything Within, Vintage Brass Band Pictures – Australia. http://www.ibew.org.uk/vbbp-oz.html
BRASS BAND CONTESTS : THE BALLARAT COMPETITIONS : A BENDIGONIAN’S IMPRESSIONS. (1911, 31 October). Bendigo Independent (Vic. : 1891 – 1918), 3. http://nla.gov.au/nla.news-article226819795
Bythell, D. (1994). Class, community, and culture: The case of the brass band in Newcastle. Labour History(67), 144-155. http://www.jstor.org/stable/27509281
Collingwood Citizens’ Band rehearsing in a quarry. (1906). [Photograph]. [phot19034]. The Internet Bandsman Everything Within, Vintage Brass Band Pictures – Australia. http://www.ibew.org.uk/vbbp-oz.html
Colliver Photo. (1907). Band Rotunda, Rushworth, Victoria [Postcard]. [194458]. W. T. Pater, Printers and Stationers, Shepparton, Victoria; Melbourne, Victoria.
Greaves, J. (1996). The Great Bands of Australia [booklet] [2 sound discs (CD) : digital ; 4 3/4 in. + 1 booklet]. Sydney, N.S.W., Sound Heritage Association Ltd. https://catalogue.nla.gov.au/catalog/2372005
Scott, R. V. (1911b, 10 October). KALGOORLIE BRASS BAND COMPETITIONS AND EISTEDDFOD. Kalgoorlie Western Argus (WA : 1896 – 1916), 21. http://nla.gov.au/nla.news-article33398332
Ward & Farrans Exchange Studios. (n.d.). Sydney : Hyde Park : Band-Musique de l’artillerie – Artillerie-Kapelle [Postcard]. [No. 48]. L. v. K., Sydney, N.S.W.
Postcard: Malvern Tramways Band World Tour 1924 (Source: Jeremy de Korte Collection)
Sir. I desire to bring under the notice of our authorities and your readers the splendid status of the Malvern Tramways Band, and that public interest may be awakened with a view to sending the Australia’s champion band to contest against England’s best at the famous Crystal Palace brass band contest in London. Our soldiers and sailors, actors and singers, riflemen, footballers and politicians have won fame for Australia, and I feel confident our bandsmen can add fresh lustre to our laurels, and at the same time advertise our resources. The time is opportune to show the mettle of our pasture on the English contest platform, where the best in the world compete. In Malvern band we have the men, and in Mr. Harry Shugg we have the man. Yours, etc., J. STURT ANDERSON
This letter by Mr. Anderson was published in the Prahran Telegraph newspaper on the 6th of November 1920, two weeks after the afore mentioned Malvern Tramways Band won the A Grade Section at the Royal South Street contests. His letter is telling for many reasons, namely, for the high-praise language that he used, and because he advocates for the band to travel to the United Kingdom (U.K.). This is for a band that in 1920 is only nine years old, yet up to this point, had a contesting record which was enviable in the Australian band movement. What Mr. Anderson probably foresaw, but could not have known at the time, was that Malvern Tramways Band was going to get better in the very near future…and they did.
As will be seen throughout this post, there is an ongoing tussle between hype and reality, and expectation could probably be mixed into this as well. On one hand, we have a highly regarded brass band that is lauded at every opportunity for their playing. With this reputation, commentators and others talk up the prospect of sending the MTB to the U.K. compete and try to predict how well they will do when they get there. This is the hype. One reality, as we will find, was that the MTB was that good. However, the other reality is that travel overseas for any ensemble was expensive, as we saw in a previous post.
This is the story of why the MTB never travelled the U.K. within a time frame that spans the best part of a decade from 1920-1927. In this post we will unpick the reputation of the MTB in the 1910s and 1920s, their contesting record, and the inter-related stories of other bands that were also trying to travel. We will also see where the travel plans took them and the talk about the personalities that were involved. This is a band that gained an amount of support for their endeavours and plans. Alas that it never came to be.
The Malvern Tramways Band: building a reputation:
Postcard: Malvern Tramways Band World Tour 1924 : Contesting Record. (Source: Jeremy de Korte Collection)
Above is the contesting record of the Malvern Tramways Band up to 1922 which was printed on the back of a souvenir postcard published in 1924. This record established the reputation of the MTB as one of the finest brass bands in Australia at the time. When considering the range of measures the MTB had in their favour during these years, including fine musicians and conductors, as well as a very active committee and the industry that supported the band, the advantages immediately become obvious.
Just looking at the conductors by themselves up to 1922, the MTB had the very best. From their inception in 1911 to 1914, they were conducted by Mr. William Ryder of Besses o’ th’ Barn Band fame, a musician who was detailed in a previous post (de Korte, 2018b). He led the band to its first contest win in 1912 in C grade after only thirteen practices where they surprised everyone – the Victorian Bands’ Association promptly promoted the band to B grade (Zealley & Ord Hume, 1926).
The second conductor of the MTB was the great Mr. Robert McAnally who took over for a short stint up until 1915 when Mr. Harry Shugg started a very long association with the band that lasted thirty-one years (Lawson-Black, 2010). These three famous musicians provided a foundation of musicianship and conducting for the band that set the MTB on a path to greatness in the early years of the band. By the time Mr. Shugg started at Malvern, he had already several successes at South Street with the Geelong Harbour Trust Band (Quickstep, 1920). Out of the three of these men it was Mr. Shugg that had the greatest impact and it is during his tenure that the MTB was primed to travel to the U.K.
Thanks to visits from some of the top bands in the world at the time, namely the Besses o’ th’ Barn Band and adjudicators from the U.K. from the early 1900s and beyond, the Australian band movement underwent a rapid rise in standards (de Korte, 2021). The Malvern Tramways Band, although having started during this rise, was also a beneficiary with the mentioned conductors doing their part to take Malvern to new heights. In addition, the South Street band sections, having been added to the eisteddfod programme in 1900, were regarded as the premier band competitions in Australia (Greaves, 1996).
If we drill down into the MTB contest results a bit deeper, it is the last three on the postcard that provide the most interest, a hattrick of wins at the Ballarat South Street Eisteddfod in 1920, 1921, & 1922 (Royal South Street Society, 1920, 1921, 1922). Of course, their earlier contest results were important in the development of the band. However, in terms of context, the MTB achieved a string of results that cemented their status, and prompted the speculation and commentary of when, not if, they would travel to the U.K.
The MTB was not only renowned for their contest successes. They were an extremely hardworking band that endeared themselves to the local community through their charity work, community singing events, performances, and parades (Lawson-Black, 2010). And while they were nominally a band strongly supported by the Malvern tram depot, they also were strongly supported by the Malvern City Council who considered them as the council band (de Korte, 2022).
Rivalry:
By 1922, there was no shortage of bands trying to bump Malvern off its status as the champion band of Australia. As Zealley & Ord Hume (1926) noted in the chapter on Malvern Tramways in their book ‘Famous Bands of the British Empire : Brief Historical Records of the recognized leading Military Bands and Brass Bands in the Empire’,
There have been 7 A grade contests in Victoria since Malvern has been an A grade Band (1915-1921) : Malvern was eligible to enter five of these and received 1st place on each occasion.”
(p. 60)
There were some Victorian A grade bands that were considered the main rivals of Malvern in competition namely Collingwood Citizens’ – they drew with Malvern at the 1915 South Street Eisteddfod – Hawthorn City, City of Ballarat, and St. Augustine’s Orphanage Band (Royal South Street Society, 1915, 1920, 1921, 1922). And then there were some interstate rivals including Newtown, South Sydney, Ipswich, and perhaps it’s greatest rival of the time, the Newcastle Steel Works Band (Greaves, 2005; Royal South Street Society, 1920, 1921, 1922). Although the Newcastle Steel Works Band only entered the South Street contests twice in these years, 1921 & 1922, they came second to Malvern both times (Greaves, 2005). However, unlike Malvern, the Newcastle Steel Works Band, then conducted by the great Albert Baile, did end up travelling to the U.K. in 1924, and won or placed in every contest that they entered (Greaves, 2005; Greaves & Earl, 2001).
What if the MTB had made it to the U.K. and competed in their famed brass band contests? Some commentators felt they were a much better band than Newcastle…
The first attempt: “To Seek Fresh Fame in England”:
Do not believe the hype. But no one told the newspapers and other commentators of the day. After each of the three wins at South Street, the legendary status of the MTB only grew bigger. So did the garnering of support to send the band to the U.K.
The letter from Mr. J. Stuart Anderson at the head of this post could be considered the start of the commentary and hype. Sure enough, by early 1921, an announcement was made by the MTB that they would seek to go to the U.K. in 1924, news that surprised no one and was announced in newspapers up and down the country. The article below published by the Northern Star newspaper of Lismore, N.S.W. in February 1921 being one example.
In October 1922 the MTB achieved the hattrick at South Street and once again carried off the Boosey Shield (Royal South Street Society, 1922). The MTB and its conductor Mr. Harry Shugg drew widespread praise for their win and the adjudicator, Mr. Christopher Smith, from Adelaide and a former conductor of the Besses o’ th’ Barn Band had this to say about the MTB. Two Victorian newspapers, The Herald and The Prahran Telegraph, published his comments on the band and the musical genius of Mr. Shugg.
Malvern Tramways Band is such a cultured musical combination that it would capture English audiences by its playing. It would do so by sheer merit.
[…]
The successful conductor is a puzzle. To me he is only a boy, and I wonder where he gets such beautiful effects. He is a genius in the middle of a band, seeming to be ever striving after the unattainable, and getting nearer to it all the time. Let Melbourne send the boy and his band to London, and Londoners will take them to its collective bosom, and perhaps never allow them to leave.
The articles from the newspapers, while helpful, could only promote so much news about the band from their own correspondents. From the MTB’s perspective, driven as they were to get to the U.K. by 1924, they needed someone who was a networker and promoter, as well as being a musician, to help them manage the tour arrangements. That person was Mr. Gibson Young, and he got stuck straight into the job as tour manager.
Mr. Gibson Young, musical influencer:
The MTB won the 1922 South Street A Grade section in October of that year, by December, an announcement was made that Mr. Gibson Young would be the “business manager and organiser of the world tour” (“A BAND ABROAD,” 1922). In Mr. Young, the MTB could not have made a better choice of tour manager.
Mr. Young was not unknown to the musical circles of Melbourne. He mainly known as an accomplished singer and music critic, and claimed to have been the first person to introduce community singing events to Melbourne in 1919 – events that soon attracted huge numbers of people (“GIBSON YOUNG,” 1936). His ability to promote and network, and his eloquent writing, was evident as Mr. Young sought to talk up the proposed tour of the MTB to the U.K. His description of a MTB rehearsal which opens an article published by The Herald newspaper on the 4th of December 1922, shows readers the inner workings of this band.
High up near the roof, and overlooking a sea of tramcars, is an employee lunch room at the Malvern Tramway sheds. Here a human dynamo induces into one circuit, or magnetic field of action, 30 players who make up the personnel of the Malvern Tramways Band – the champion brass band of Australia.
Having introduced the band, Mr. Young goes on to write about the influence of Mr. Harry Shugg and how he shapes the sounds in rehearsal. However, in the last paragraph of the article, attention turns to the upcoming tour and the feelings of the band members. It is obvious that Mr. Young has possibly attended his first real rehearsal of the MTB and is astute in his observations. He may not understand the band yet, but he does understand musical finesse and can see what the MTB is striving to achieve.
And then these coatless musicians become a round table of smokers, discussing the all-absorbing topic – the band’s world tour to begin in March 1924. For 12 years the members of this band have given unsparingly, and without reward, the energy of enthusiasm which is said to be able to move mountains, and at least it seems as though this self-sacrifice is to be rewarded. No need to remind these men that they must compete with the world’s best, and that an Australian band may not necessarily be successful at Manchester or the Crystal Palace. For the next 15 months the men will have little else in their minds, and Harry Shugg will leave nothing to chance. The moral of this band is good now, Mr. Shugg expects it to be almost perfect in March, 1924.
Up until September 1923, Mr. Young worked ceaselessly to promote the band and the tour by regularly penning articles and letters in newspapers, networking with politicians and community members, visiting various other states, and trying to secure more funding. Interestingly, he also uses his prowess in promoting community singing as a funding source for the band by having the band provide the accompanying music for community singing events (“MALVERN BAND CONCERTS,” 1923). This initiative started in January 1923 and collections were taken at each concert in Malvern and St. Kilda to benefit the touring fund.
There is no doubting the combination of community singing with the band was hugely successful. Mr. Young writes in a letter to The Herald newspaper on the 17th of January that 8,000 people had attended the most recent event at the Malvern Cricket Ground (Young, 1923h). Booklets of the songs were also produced and sold to attendees as another form of funding for the tour (Malvern Tramways Band, 1923). One page of this booklet is devoted to a letter written by Mr. Young inviting interested parties to a public meeting in May and subscribing to shares in a company set up to fund the tour (Young, 1923b). Mr. Young is quite honest in this letter as he suggests up to “£20,000” will be needed to fund the tour (Young, 1923b, p. 24). But he also tries to talk up the potential earnings of “£40,000” from the tour which he expects will be earned from 200 concerts across Australia, New Zealand, Great Britain, and other countries (Young, 1923b, p. 24).
Booklet (front cover): Community singing : St. Kilda Esplanade every Wednesday evening : words of songs & program, 1923 (Source: National Library Australia: nla.obj-52777212)
Mr. Young worked to solicit money from other sources while promoting the tour. In early April 1923 he was adjudicating in Launceston, Tasmania, and being the opportunist organises a concert with the Launceston City Band accompanying a community singing event with the money going towards the MTB tour (“MALVERN TRAMWAY BAND,” 1923). In May of 1923 we see that Mr. Young has approached the Federal Government for funding (“AN ENGLISH TOUR.,” 1923).
In some ways, Mr. Young provides the best commentary of all as he draws everyone into the potential of this tour. Occasionally, and perhaps naively, he invites controversy in his articles and letters. One article written in February 1923 where he takes aim at the Redfern Band of Sydney is an example of this (Young, 1923f). Later that year in May, Mr. Young pens another letter where he outlines a conversation he had with Mr. W. Partington, then conductor of the South Sydney Band of Redfern about the touring plans of the MTB (Young, 1923g). At the time, Mr. Partington is trying to raise his own all-Australian band, the Australian Imperial Band (AIB), to go to the U.K. in 1924 (de Korte, 2019a).
Three more letters were written to The Age, The Argus, and The Prahran Telegraph newspapers in April 1923 by Mr. Young as he seeks to dispel a rumour that the bandsmen are taking their wives using the band funding (Young, 1923c, 1923d, 1923e). One of Mr. Young’s more interesting letters was written in June 1923, just before the public meeting on June 14th where he addressed the composition of the touring party. Basically, he points out that some of the other attempts at touring parties were bands made up of bandmasters, unlike the MTB which has one band conductor and a band made up of very fine musicians (Young, 1923a). He is firm, but polite in this letter, especially in the first paragraph.
Sir. – Your correspondent, Mr Herbert Eden, is apparently acquainted with the full history of the attempts which have been made to send an all-Australian band abroad. He also realises how essential it is that any band that leaves Australia should have official status as a winner of championships, and that it should not merely be a combination of bandmasters filled with the wanderlust.
This is where Mr. Young leaves this story as he was busy organising the public meeting, but he will be back as this story is not quite done with him yet.
By June 1923 the organising of the tour was well-underway with Mr. Young at the helm of the business side of things, along with the president and committee of the MTB. There was some money coming in, and important figures had been engaged to lend support. Now, it was time to form the company to handle the touring money and for the public to buy into the tour.
On the 14th of June the MTB held a public meeting at the Malvern Town Hall where interested parties were invited to buy shares in the band company. By all accounts it was a grand affair with many councillors, dignitaries, members of the public, and three other metropolitan brass bands, Brunswick, Caulfield, and Hawthorn who teamed up with Malvern to present a recital on the front steps of the hall before proceedings commenced (“TOUR-SCHEME LAUNCHED,” 1923).
The challenge from the English band authorities had been accepted (“MALVERN BAND,” 1923a). To the keen observer, however, reality was obviously beginning to hit. The meeting was only attended by two-hundred interested parties and by the end of the night, only £2,000 had been raised (“TOUR-SCHEME LAUNCHED,” 1923). When Malvern Councillor Wettenhall “said that it was estimated that £10,000 would need to be subscribed before the band commenced the tour” (“MALVERN BAND,” 1923a), he was highlighting a certain reality of the situation.
By the end of September 1923, reports that the Malvern Tramways Band had abandoned their tour began surfacing, as the article above shows (“MALVERN BAND,” 1923b). By early October, it had been confirmed. Disappointment was an understatement as it was realised that many factors were against raising more funds. The band said that it was not due to the administration being faulty, and one could readily believe that given the management of the MTB and nous of Mr. Gibson Young (“MALVERN BAND,” 1923b). The decision to abandon the tour was mainly due to an almost complete lack of funds at a time when they needed them most. As part of an article published in the Geelong Advertiser lamented,
The paltry response by the public generally shows how little even a great musical combination like the Malvern Band, with its brilliant record of successes, counts within the public when it comes to a practical point.
It was probably fortunate the band abandoned the tour when it did considering the futility of trying to raise around £7,500 in such a short time frame (“WORLD TOUR DROPPED,” 1923). Also, there were factors overseas that were against them, mainly economic conditions (“MALVERN BAND WORLD TOUR.,” 1923).
The aftermath:
From viewing the newspaper articles of the day, perhaps the Prahran Telegraph newspaper offered the most pragmatic response to the abandonment of the tour, laced with a bit of local self-interest.
That the Malvern Tramway Band would have gained world laurels those most competent to judge have little or no doubt about it. The world’s loss is our district’s gain, and not a few, who made it a habit to attend the Malvern Band recitals, will be pleased to know that they will be still able to listen this summer to the exquisite playing of the Malvern Tramways Band
Oddly, perhaps the MTB still felt there was some kind of chance to go to the U.K. to compete, even though the tour had been officially abandoned, perhaps in administration but not in mind. In early April 1924, letters were published in all the major Victorian newspapers written by Mr. Frank Garson, then President of the MTB. It seems the MTB were a bit put out at the thought that the Australian Imperial Band might make it to the U.K. instead of the MTB.
Sir, – I am instructed by the committee of the Malvern Tramways Band to ask, through this column of your valuable paper, for the public support to send this band to compete at Belview Manchester, for the brass band championship of the British Exhibition in 1924. This band endeavoured to raise funds for a company, but was unable to get the necessary capital. I notice that the Lord Mayor of Melbourne (Cr. W. Brunton) has convened a meeting of citizens, to be held in the Melbourne Town Hall on Thursday, April 3, to consider the sending of an Australasian Imperial Band to the Empire Exhibition.
After outlining the credentials of the MTB (which most people were probably aware of), Mr. Garson did not ask for that much!
We have a complete set of uniforms and instruments, and can leave in a month’s time. All that will be necessary if for 150 residents of Victorian to contribute £50 each. Any surplus will be returned to the contributors. In the event of the band not going all money will be returned. Trusting this appeal will meet with success. – Yours, etc.
There is no indication that this appeal for late money was in any way successful.
Postcard: Australian Imperial Band, 1924. (Source: Jeremy de Korte Collection)
For the rest of the Australian band movement, the desire to go to the U.K. and compete still resonated in a couple of bands, and the hole left by Malvern’s absence was to be filled by another Australian band. The two bands in the running were the Australian Imperial Band conducted by Mr. W. Partington and the Newcastle Steel Works Band conducted by Mr. Albert Baile.
Briefly, the Australian Imperial Band was an ensemble made up of many fine brass musicians from around Australia and they proceeded to go on a grand tour around Australia to raise funds, and which no doubt cost them money. However, when they reached Perth and were just about to sail to the U.K, the funds had run out – they needed more funds, but the money was not forthcoming (Mitchell, 1924). This is one band that had not heeded the lesson from the MTB’s failed attempt at travelling to the U.K.
Then there were the exploits of the Newcastle Steel Works Band, which has previously been mentioned in this post. They had been quietly preparing for their own tour and when the chance to go came up, they took it (Greaves, 2005).
As for Mr. Gibson Young, his appointment with the MTB ended with the abandonment of the tour, so was free to do as he wanted, but did not let his experiences with a brass band go to waste. Ever the musician, he had kept up numerous activities while associated with the MTB. And as we found in a previous post, one of these appointments was directing the brass band and community singing at Pentridge Prison, which he left at the end of September to travel to the U.K. (de Korte, 2023; “GAOL MUSIC,” 1923). He was spotted in Perth in November before sailing for the U.K., where his photo and article published by the Sunday Times newspaper mentioned his new appointment.
In January 1924 it was announced that Mr. Gibson Young had contracted an Imperial Band from Australia to play at the Wembley Exhibition for eight weeks (“VICTORIAN BAND,” 1924). It was not hard to work out which band had been contracted (and it was not Victorian), but we know what happened to the AIB and its plans for this tour. He also put on his other hat as a music critic early in his next stay in the U.K. and wrote a very useful critique of the 1924 contest at Crystal Palace where the Newcastle Steel Works Band came third. In this article published by The News newspaper in Adelaide in November 1924, he observed some distinct differences between South Street and the U.K. contests.
Unlike South street, the adjudicators allot no marks and make no remarks. Presumably they judge by a combined process of impression and elimination, in my opinion, a difficult, dangerous, and unsatisfactory method. Too much strain is placed on the judge’s psychology, and too much depends on the playing position of the winning band in the draw.
And interestingly, he had this to say about final adjudication.
Out of the 17 competing bands, not more than ten appealed to me as essentially A grade. There are at least four Australian bands, not counting the Australian Imperial, which I have not heard, which could have defeated all the starters save one, the winner – St. Hilda’s Colliery Band. In my opinion and judging by the type of performance favoured by the judges, brilliant tone and a technically flawless performance, the Malvern Tramways Band would have won the contest given equal rehearsal opportunities with St. Hilda’s. The first three bands were St. Hilda’s, Black Dyke, and Newcastle (New South Wales) Steel Works in that order.
[…]
Some members of the Newcastle Band created mild amusement and some criticism by calmly and nonchalantly stripping off their tunics on the stage and playing in their shirtsleeves. This was not a gesture of defiance, but a natural desire to be comfortable.”
Postcard: St. Hilda Colliery Band, 1924. (Source: Jeremy de Korte Collection)
After a long absence from Australia, Mr. Young came back from England in April 1936 but by November he had sadly passed away at the relatively young middle-age of 48 (“GIBSON YOUNG,” 1936; “Mr. ERNEST GIBSON YOUNG.,” 1936).
This ends the story of the first tour plan with all the hype, and reality that led up to the tour being abandoned. But the Malvern Tramways Band did not rest, there were other things to do, and dreams do not always fade.
A side note: the 1925 consolation tour of New Zealand:
If there was one lesson that the MTB learned from their failed attempt to get to the U.K., it was to have a proactive and varied fundraising strategy if they were to go on international trips. With this in mind, in August 1924, the MTB made the decision to go to New Zealand in February 1925 to compete at the New Zealand National Band Championships, a trip that would probably be cheaper than a jaunt to England (“MALVERN TRAMWAYS BAND,” 1924). At this time, the band sections of the South Street Eisteddfod were not run from 1924-1932 and this left a gap in the competition calendar. While they could enter, and did enter, many other competitions around Australia during this time, the New Zealand trip offered them a different opportunity Once again, aspects of this tour have been documented in a previous post so the details of the fundraising effort have been noted here (de Korte, 2019b).
One cannot fault the MTB for their innovative and impressive fundraising efforts to get the band to New Zealand, and in November 1924, this fundraising effort was on full show. There were two major events in November that the MTB organised. The first event was a Massed Bands recital at the Melbourne Cricket Ground (M.C.G.) which was held in front of a crowd of 15,000 people (“MASSED BANDS PLAYED,” 1924). All members of the crowd were admitted by silver coin, and the MTB invited another eleven suburban bands to help them – as with any band event at the M.C.G., bands marched from Princes Bridge to the ground (“MASSED BANDS PLAYED,” 1924).
From the various suburbs 11 bands rallied, assembling at Prince’s Bridge and marching to the ground.
This was quite the line-up of bands, including some that would not normally get to participate in this kind of event. For some, like the Burnley Brass Band, it was a very special experience and the fact that the great MTB invited them made it even more special (“Burnley Brass Band.,” 1924).
Two weeks later the MTB held a carnival at the Malvern Cricket Ground and it was not a small affair It comprised of a sports carnival involving thirty athletic clubs, a Highland Dancing competition, and a dance at the Malvern Town hall (“MALVERN BAND CARNIVAL.,” 1924). And just to top things off, for the musical entertainment there were five brass bands and three highland bands (“MALVERN BAND CARNIVAL.,” 1924).
Gaining all the funding that they needed, the MTB started their six week tour of New Zealand on the 4th of February by sailing for Invercargill on the South Island (“MALVERN TRAMWAYS BAND,” 1925a). And as they were nominally a tramways band, the NZ authorities gave them free travel on all NZ trams and reduced fares on the trains as the travelled up from Invercargill to Auckland, playing recitals in every locality that they visited (“MALVERN TRAMWAYS BAND,” 1925a; “MALVERN TRAMWAYS BAND,” 1925b).
Perhaps the end results of the competition were a foregone conclusion as the MTB dominated proceedings in Auckland. The New Zealand bands were no match for the MTB and the championship points reflected this – ten points separated the MTB from the next band in the A Grade test section (“MALVERN WIN A GRADE TEST,” 1925; Newcomb, 1980).
Obviously, the win in New Zealand was impressive and only served to boost the reputation of the MTB. However, later in 1925, hype started building again and speculation grew that the MTB might again try to get to the U.K. to compete.
1926: The year they tried again:
There are several very fine bands in Australia, and I have heard some of the best of them, including the Malvern Tramways Band,” says Mr J Ord Hume, the well-known band adjudicator, in an interview published in the English Band News on his return to England from his visit to Ballarat.
“Melbourne has the finest all-round bands. There are also some very find bands in New South Wales and Western Australia,…Again, in my opinion, there are several much better bands than the Newcastle Steel Works Band (which won important contest in England), and the only thing required by all Australian bands in better and more finished tuition.”
James Ord Hume was not the only eminent band personage to have added his thoughts about the MTB, there were lots of others. What set these comments, and others apart, was the thoughts that the MTB was an infinitely better band than Newcastle Steel Works (“MALVERN TRAMWAYS BAND.,” 1926a). A flurry of articles was published in newspapers throughout April and May 1926 that reported on another planned trip by Malvern to compete in the U.K. in 1927. Much was made of the fact that the MTB was made up of working men and that the band needed more support from the public, as Mr. R. T. Patterson, President of the Management Committee explained in an interview.
We play all day on Sunday, practicing in the morning, performing at the Wattletree road park in the afternoon, and at the Central Gardens in Malvern, in the evening. The Tramways Board gives us a small subsidy for the afternoon performance, and the Malvern Council this year gave us £100 for playing at Central Gardens. But, although we often have 2000 people at these performances, collections yield very little.
However, a headline in an article published in April 1926 by The Sun News-Pictorial newspaper might as well have been the most realistic about this latest effort, as can be viewed in the article below.
At a special performance by the MTB and assisted by the Geelong Municipal Band at Central Park, Malvern, the Mayor of Malvern officially launched the campaign to send the MTB abroad (“MALVERN TRAMWAYS BAND.,” 1926b). One of the dignitaries was a Mr. J. Venn of London who was representing the brass bands of the U.K.
Mr. Venn, speaking on behalf of the bands of Great Britain, said the British bandsmen would welcome the Malvern Tramways Band with open arms. They preferred a regular band much before a composite band drawn from all parts of a State.
But as could be predicted, this second attempt by the MTB to get to the U.K. also came to nought, and the reasons why would probably be financial. Although, unlike the first tour when the abandonment was widely reported on, there was almost nothing in the papers in this instance. The last we hear of this tour is an article from April 1927 published in the Geelong Advertiser newspaper where, according to sources, the bandsmen of New Zealand give their best wishes to Malvern on their tour.” (“The Malvern Band,” 1927).
A tour which did not happen.
Conclusion:
The Malvern Tramways Band tried their best to answer the hype and expectations thrust upon them by an eager community who wanted the MTB to take their playing to the U.K., and win. There was no doubting that the MTB deserved all the accolades during these years as they were that good. There was probably no doubt that they would do very well in the U.K., as the commentators and adjudicators suggested. However, the pervasive reality around finances and funding was always going to surround their two attempts. As for an overseas trip, New Zealand would have to do.
The rhetorical what if question as to how well the MTB would do in the U.K. will probably be debated for as long as the history lasts. The MTB are legends in the Australian band movement, but in this year, a full century after they should have gone to the U.K., the debate still comes up. Band historians can continue this discussion when time allows.
Hype versus reality. An age-old tussle that never goes away.
References:
Anderson, J. S. (1920, 06 November). AUSTRALIA’S CHAMPION BAND : Malvern Tramways Band. Prahran Telegraph (Vic. : 1889 – 1930), 5. http://nla.gov.au/nla.news-article165153504
Auckland Weekly News. (1925). Australian band’s sweeping success : Malvern Tramways (Melbourne), Winners of all the A Grade Shields and the McLeod Cup. In Auckland Weekly News (AWNS-19250305-46-01 ed., pp. 46). Auckland, N.Z. https://kura.aucklandlibraries.govt.nz/digital/collection/photos/id/244635/rec/1: Ngā Pātaka Kōrero o Tâmaki Makaurau / Auckland Libraries Heritage Collections.
GIBSON YOUNG : Pioneer of Community Singing : Returns After Absence of 13 Years. (1936, 28 April). Telegraph (Brisbane, Qld. : 1872 – 1947), 6. http://nla.gov.au/nla.news-article183389164
Greaves, J. (1996). The Great Bands of Australia [booklet] [2 sound discs (CD) : digital ; 4 3/4 in. + 1 booklet]. Sydney, N.S.W., Sound Heritage Association Ltd. https://catalogue.nla.gov.au/catalog/2372005
Greaves, J., & Earl, C. (2001). Albert Baile : August 10 1882 – March 14 1961. In Legends in brass : Australian brass band achievers of the 20th century (pp. 11-12). Muso’s Media. https://catalogue.nla.gov.au/catalog/1522216
MALVERN BAND : Proposed World Tour : May be Abandoned. (1923, 28 September). Sun News-Pictorial (Melbourne, Vic. : 1922 – 1954; 1956), 8. http://nla.gov.au/nla.news-article274210227
Malvern Tramways Band. (1923). Community singing : St. Kilda Esplanade every Wednesday evening : words of songs & program. Malvern Tramways Band. http://nla.gov.au/nla.obj-52777212
Muntz, D. L. (1924). Malvern Tramways Band World Tour 1924 [Postcard]. Muntz Studio Pty. Ltd., Malvern, Victoria.
Muntz Studio. (1922, 28 September). TO SEEK FRESH FAME IN ENGLAND : Malvern Tramways Band and its Young Conductor. Herald (Melbourne, Vic. : 1861 – 1954), 15. http://nla.gov.au/nla.news-article243779263
Newcastle Steel Works Band. (1922). [Photograph]. [phot20975]. The Internet Bandsman Everything Within, Vintage Brass Band Pictures – Australia. http://www.ibew.org.uk/vbbp-oz.html
Warren, W. H. (1924). The Famous St. Hilda Colliery Band : World Champions : 1912 – 1920 – 1921 – 1924 [Postcard]. [Formal]. W. H. Warren, South Shields, U.K.
WORLD TOUR DROPPED : Malvern Band Disappointed : LACK OF FUNDS. (1923, 28 September). Geelong Advertiser (Vic. : 1859 – 1929), 3. http://nla.gov.au/nla.news-article166022301
Young, G. (1922, 04 December). MUSICAL DYNAMOS : Malvern Band at Practice : Preparing for World Tour. Herald (Melbourne, Vic. : 1861 – 1954), 9. http://nla.gov.au/nla.news-article246671641
Young, G. (1923b). The Malvern Tramways Band : An Appreciation. In Community singing : St. Kilda Esplanade every Wednesday evening : words of songs & program (pp. 24). Malvern Tramways Band. http://nla.gov.au/nla.obj-52777212
Young, G. (1923c, 23 April). MALVERN TRAMWAYS BAND TOUR : To The Editor of the Argus. Argus (Melbourne, Vic. : 1848 – 1957), 3. http://nla.gov.au/nla.news-article1892296
Young, G. (1923e, 25 April). MALVERN TRAMWAYS BAND WORLD TOUR : TO THE EDITOR OF THE AGE. Age (Melbourne, Vic. : 1854 – 1954), 12. http://nla.gov.au/nla.news-article204072904
Young, G. (1923f, 10 February). MUSICAL RIVALRY : Malvern Band Superior to Sydney Players. Herald (Melbourne, Vic. : 1861 – 1954), 7. http://nla.gov.au/nla.news-article243800219
Zealley, A. E., & Ord Hume, J. (1926). Famous Bands of the British Empire : Brief Historical Records of the recognized leading Military Bands and Brass Bands in the Empire. J. P. Hull. https://catalogue.nla.gov.au/catalog/4808576
Royal Victorian Institute for the Blind Band. ca. 1890. (source: State Library Victoria: cr001189)
Please note: This blog post has drawn upon information from photographic and print resources whereby the names of managers and deceased persons from former orphanages, secure health institutions, and penal institutions may have been mentioned. Also, there are depictions of the recreational activities of such institutions described in this blog post.
Introduction:
…undoubtedly music had a fundamental relationship to humanity. It softened and soothed the hardness and harshness of life.
If there is one aspect of our band movement that has stood the test of time it is a willingness to play for all and encourage participation in music making. One might say it goes with the territory. However, our bands are special groups, and at times, they have performed for people who are in life situations where they are separated from general society. It was judged at the time, rightly or wrongly, that this was necessitated, but it is not for this post to comment on the why. It is the purpose of this post to highlight where band music has made a difference to the lives of the people within various institutions.
Let us turn back time to the early 1900s where we will find that the description, function, and language of these institutions is very different to what we know now. It was not uncommon to read early newspapers and reports which mention Prisons and Orphanages, but also Lunatic Asylums, Benevolent Asylums, and Colonies. It was also not uncommon in the newspapers to label anyone who was resident at these institutes as inmates – even hospitals. The language of this post will draw upon the language of the time with its early usage and naming conventions, even if we are uncomfortable with this language in our own time.
Music had a role to play in such institutes, not only for listening but also for making and participating. In the early 1900s, much thinking was being given to the humane way in which the people in the institutes could be treated and kept occupied, and music was a key activity. We can view this as early forms of music therapy and there were some very forward-thinking people who made sure that music, partly through bands, became a staple part of the institutional routines.
At the start of this post is an early photograph of the (R.V.I.B.) Royal Victorian Institute for the Blind Brass Band from approximately 1890 which clearly displays how a meaningful activity such as a band was accessible. This post will firstly show how bands made a difference through performances as many different institutions invited bands to come and play for their residents. The next sections will highlight bands that were set up in institutes such as Orphanages, special institutes, and prisons. This post will not be able to cover all forms of music making. However, it will show how pervasive our band music was and how music was a pastime with a purpose.
Listening to music:
The institutions:
Several bands including the State Public Service Band, the Essendon and Moonee Ponds Salvation Army Band, and several other concert parties have kindly given concerts during this year. These entertainments are very much appreciated and do much towards relieving the monotony of the patients’ lives.
There was no shortage of thanks given to bands for the work they did in these years, this mention by Mr. John K. Adey, then Medical Superintendent of the Hospital for the Insane, Sunbury being just one of them. Aside from the two bands that are mentioned above, several other bands gave their services to the various Victorian Lunacy Department institutions including the Victorian Police Band, the Northcote Band (who visited the Hospital for the Insane, Ararat in 1925), the Beechworth Town Band, and the Essendon City Band (Victoria. Lunacy Department, 1914, 1927a, 1928).
Victorian Public Service Military Band. Herald, 06/06/1940, p. 7
This is just one series of examples noting bands visiting asylums, but why were they there? Firstly, these asylums were not pleasant places to be in, and too often we dwell on the negativity surrounding them, articles in the modern media being a prime example of focusing of the negativity of old asylums (Kamm, 2018; Pike, 2015). This perception of negativity is a holdover from the early part of last century where the public knew very little about what went on inside these asylums because they were, essentially isolated. As Ann Hardy (2019) notes in her blog post about perceptions and lost voices of the asylum,
Asylums were considered as having unsuitable management, and not providing adequate care, and being isolated only fuelled negative ideas about them and further pushed institutions and inmates out of societies view.
Research by Dolly MacKinnon, however, shows that some social practices permeated the operations of asylums. In a journal article about musical concerts in Queensland asylums, she wrote,
The insane were kept out of the public eye, yet the social and cultural values and practices of the times provided the filter through which appropriate musical recreation and employment were determined.”
In a later article she challenges the perceptions of the asylum.
Stereotypical views of asylums or mental hospitals do not conjure up images of recreation and entertainment, but rather places of isolation, gendered confinement, and boredom. Yet within the surviving Australian institutional records (from 1860 to 1945) it is clear that medical and lay staff, patients, and volunteers went to great lengths to provide entertainment and recreation of asylum inmates.
…between the 1860s and circa 1945 the provision of recreation for Australian psychiatric inmates came from three main sources; paid professional groups, volunteers (from both inside and outside the asylum), and the asylum band. Asylums made continuous and strenuous efforts to include the community in many of these activities. Those that did volunteer were publicly thanked in their efforts by the medical staff.
[…]
Recreation was one of the few asylum activities that attempted, albeit in a highly regulated way, to encourage patients to respond and interact in appropriate ways in a social, physical, as well as an emotional sense.”
It was not uncommon for bands of this time to go and support these institutions either through their playing at the institution or by raising money through other means. We can see this through articles published in the newspapers of the day and the reports that were submitted to the government of the day. An article published in an August 1904 issue of the Daily Telegraph newspaper from Sydney tells us that the Newtown Brass Band played at the Parramatta Hospital for the Insane and there were a number of visitors in the grounds to listen to them – although one the inmates escaped during the performance. (“ESCAPE FROM A LUNATIC ASYLUM.,” 1904). The Oakleigh Brass Band from Melbourne were quite active in this area of performance and the Talbot Colony for Epileptics and the Cheltenham Benevolent Asylum were two of the beneficiaries of their visits (“ASYLUM INMATES ENTERTAINED,” 1917; “Talbot Colony for Epileptics,” 1914).
General Hospitals also hosted performances of brass bands as they sought to bring some music and entertainment before their patients and staff. The Lakes Creek Brass Band (pictured below) was booked to play at the Rockhampton General Hospital at various times during 1914 (“THE LAKE’S CHEEK BRASS BAND.,” 1914). Likewise, the Darwin Brass Band paid a surprise visit to the Darwin Hospital to play a selection of music at Christmas time, a performance that was very much appreciated by the audience and communicated to the band by the Matron in charge (“XMAS AT THE HOSPITAL.,” 1920).
As well as boasting their own significant music program which once included a brass band, the Royal Victorian Institute for the Blind also hosted performances by various musical groups. The employees of the Melbourne and Metropolitan Tramways Board generously gave their time to provide some entertainment for the Institute and part of this entertainment included items played by the Malvern Tramways Band (“TRAMWAYS ENTERTAIN BLIND FOLK.,” 1925). Likewise, in later years, the bands of the Victoria Police (pipe and brass) also gave their time to play for the R.V.I.B. (“Police help for Blind Institute,” 1947).
Of course, the band movement in Australia was not alone in the way they provided music for these institutions. The band movement in Aotearoa New Zealand was similarly engaged in doing the same kinds of performances. For example, in the Te Waipounamu South Island city of Christchurch, on the Sunday before Christmas each year all the bands in the city would turn out to perform at various institutions and hospitals (“BANDS’ VISITING DAY,” 1938).
And as mentioned, the bands turned out for charitable events to aid in the care of the infirm. In one instance, the newly-formed Richmond Boys’ Band was featured in an article published by the Richmond Guardian newspaper when they assisted at an event to provide support for the Blind Soldiers’ Fund (“Richmond Boys’ Brass Band,” 1918).
The work of the Salvation Army bands should also be noted as they were also very active in this area of performance. Below is a photo of a Salvation Army Band visiting the Peel Island Lazaret which was a facility to house Queensland sufferers of Leprosy.
Salvation Army Brass Band visiting Peel Island Lazaret (Qld.) during 1920s. (source: State Library of Queensland: 74802)
There was no doubt that the bands were busy in this area of performance, and full credit to the work that they did.
Music-making:
Postcard: St. Augustine’s Orphanage Band. Champions of Australia, 1906 (source: Jeremy de Korte Collection)
While the workings of the Lunatic Asylums were virtually unknown to the public at the time, the same could not be said for other institutions such as the Blind Institutes and the Orphanages. And both mentioned types of institutions promoted their musical activities to the extent that the bands attached to them had excellent reputations. The musicians that both programs produced were very good and in Victoria for example, while some former R.V.I.B. musicians did display their talents outside the Institute, the Orphanages were better known for producing some of Australia’s finest brass musicians. This section will briefly examine the music-making at both forms of institutions.
The Royal Victorian Institute for the Blind:
Lantern Slide: Royal Victorian Institute for the Blind Orchestra, 1900. (source: Museum Victoria Collections: MM 95962)
Music-making at the R.V.I.B. was an activity that was immersed in the daily routines of the students, and this involved singing, piano, organ, a string orchestra, and a brass band. A first mention of a brass band at the R.V.I.B. is made in an article published by The Age newspaper as far back as 1874 where they played “The Standard Bearer March with excellent precision and time” (“DEAF AND DUMB INSTITUTE AND BLIND ASYLUM.,” 1874).
It appears that the Institute’s musicians were sent out to tour and raise funds as soon as they could do so. Judith Buckrich, in her book on the history of the R.V.I.B, details some of the tours of the musicians, and even in the earlier years, the touring was quite extensive. From an Institution that started in 1866, to have musical groups sent to various places in Victoria by 1877 was a remarkable achievement.
The Asylum’s musicians and singers were often on the road. In 1877, the choir gave concerts in Taradale, Kyneton, Castlemaine, Sandhurst, Eaglehawk, Echuca, Maryborough, Chinaman’s Flat, Stawell, Ararat, Beaufort, Learmonth and Ballarat. The band performed in Emerald Hill, Eltham, Dandenong, Footscray, Berwick and other places. They earned £827 for the Asylum.
(Buckrich, 2004, p. 36)
Reflecting on music-making at the Institute as a whole, some writers asserted that the musicians at the R.V.I.B were performing at a higher standard than amateurs. A writer under the pseudonym of ‘Assistant Needlewoman’ wrote an expansive article for the Argus newspaper in June 1886 in which she meticulously detailed the workings of the Institute (Assistant Needlewoman, 1886). She offered this considered opinion of the musical skills of the students.
While the musical world of Melbourne is divided as to whether there shall be a chair of music, a conservatoire, or whether, as would be best, we should be content for the present with a grand orchestra, the material for which is almost ready to hand, the claims of this well-known and deserving institutions are entirely overlooked. With one conscientious and painstaking music teacher, upon whom is laid the Herculean task of giving instruction in piano, organ, and solo-singing, the pupils of the Blind Asylum have already done enough to show that they are worthy of the best professional training to be had.
The article by ‘Assistant Needlewoman’ correlates with the history detailed by Buckrich as in 1888, there are some detailed accounts of how many students are involved in music-making.
Members of the choir and band numbered twenty-nine, and some students were members of both. Eighteen students were being taught the piano and two, the organ. Many concerts have been given during the year and this activity had earned the institution the tidy sum of £480 after expenses. It seems that the choir and band now enjoyed free travel on the railways.
(Buckrich, 2004, p. 50)
Four years after the article penned by ‘Assistant Needlewoman’, a writer with the pseudonym of ‘Benvolio’ visited the R.V.I.B. and was most impressed with what he saw during his visit – “All will agree that the Victorian Asylum and School for the Blind is one of the most humane establishments in the colony…” (Benvolio, 1890). He wrote an article for the Illustrated Sydney News newspaper which was just as detailed as the article written by four years earlier. Benvolio’s remarks on the music program provide us with some additional insight.
…in most cases, they find outside employment, either at their trades or in teaching music, for which most of them display a wonderful aptitude, one of the former pupils being a very successful teacher in one of the suburbs, and at present bandmaster of the Asylum, which boasts a very efficient brass band and string band, besides a senior and junior choir, and several very capable solo vocalists and pianists, to say nothing of the more advanced pupils referred to, whose performances on the organ are astonishing.
As mentioned, musical groups such as the choir and string orchestra frequently went on tour and we can see that in some Victorian and Tasmanian towns, the visits were precluded by letters in the local newspapers explaining the charitable situation of the Institute (Hogarth, 1897; Winkelman, 1897). The R.V.I.B. was always in need of funds and “one sources of funding that remained reliable was the concerts given by its various bands, orchestras and choirs.” (Buckrich, 2004, p. 58). While the R.V.I.B. groups were in the towns, they were assisted by many of the town’s folk – and the local bands. In two instances, the Ulverston Brass Band and the Rutherglen Brass Band were thanked for their help (Hogarth, 1900; “Victorian Institute for the Blind.,” 1893).
In the early 1890s we can see that the list of engagements for the band was not so much in towns and tours, but for specific events. The “Royal Agricultural Society Annual Show”, “Roman Catholic Bazzaar, Albert Park”, “Miss Turner Grammar School Sports”, and the “Caulfield Grammar School Sports” are just some of the engagements the band performed at during 1892 (Buckrich, 2004, pp. 58-59).
The work of the R.V.I.B. was expanded during the First World War to help returned soldiers who had become vision impaired and blind, and the choir and band “gave several concerts at the Base Hospital, as well as the Soldiers’ Lounge in St Kilda, to assist the Red Cross with funds” (Buckrich, 2004, p. 82). It is unclear as to the official status of the band in future years after the early 1900s. However, the music department is still an integral part of the Institute.
Seventy-three students received instruction in music during 1922 – mainly in pianoforte, violin. Class and solo singing, flute, cornet and other band instruments, harmony, counterpoint, and the art of teaching.
(Buckrich, 2004, p. 95)
The Orphanages:
The Largs Bay Orphanage Band. The Chronicle, 11/11/1922, p. 29
Admittedly, there is so much material on the exploits of the many Orphanage bands that they warrant a whole post just to unravel the fine work they did with their bands. And unfortunately, this post will gloss over most of the achievements of these groups. However, they do fit into this context of this post as the bands were set up to provide a musical activity to the routines of Orphanage boys and girls. The newspaper photo above of the Largs Bay Orphanage Band shows an Orphanage band that was unique in Australia as all the band members were female – this band was also mentioned in a previous post (de Korte, 2018).
Orphanage bands in Australia were a copy of practices in England where the teaching of music in boys’ institutions was commonplace (Sheldon, 2009). There was, however, a major difference to the outcomes of this musical education between the two countries. Boys who were trained as musicians in English institutions readily found themselves recruited into the bands of the British Army and Navy (Sheldon, 2009). Whereas the musicians that graduated from the Orphanage bands in Australia found themselves positions in the wider band movement. Sheldon (2009) identified some benefits to music education in British institutions which were applicable to Australian Orphanages.
The evidence from the boys’ letters shows that they valued the intrinsic benefits of belonging to the band and learning an instrument. For some poor boys, musical education offered a relief from the rigours of institutional care in circumstances where there were few pleasures on offer.
(p. 747)
We know that Orphanage bands in Australia have had a long and distinguished history, as well as enviable reputations. The St. Augustine’s Band from Geelong is probably the most famous of them all, and it is mentioned that by 1898 they were already putting the call out for a new set of instruments (“ST. AUGUSTINE’S ORPHANAGE BAND.,” 1898). St. Augustine’s went on to win many competitions at South Street in Ballarat and toured extensively – in one instance, in 1906 they won the A Grade Championships at South Street (Royal South Street Society, 1906). The band at St. Vincent’s de Paul in Melbourne was no less famous than their counterpart in Geelong and in 1921 they gained the services of Mr. Leslie Hoffman, a graduate of the St. Augustine’s Band, as their conductor (“St. Vincent’s Bandmaster,” 1921). The Minton Boys’ Home Band in Frankston gained the services of another champion Geelong bandsman, Mr. Harry Shugg, when he became their instructor in 1928 (“BOYS’ BAND.,” 1928; Davies, 2005). In Ballarat the boys at St. Joseph’s Orphanage Band were conducted by the very famous Frank Wright (pictured below) (St Joseph’s Orphanage Brass Band, 1924, 1924).
Frankston and Somerville Standard, 20/04/1928, p. 4
St. Joseph’s Orphanage Brass Band, 1924. (source: Victorian Collections: Federation University Historical Collection: 11049)
With so much talent from the Australian band movement involved in the music education areas of the Orphanages, it is no wonder that the bands did as well as they did. As well as being an activity to occupy the minds of the Orphanage boys and girls, it also gave them a sense of purpose and achievement.
Westmead Orphanage Boys’ Band. Southern Cross, 30/10/1936, p. 10
The fourth prison band in the world:
The clock in the prison tower strikes the hour of midday. The prison brass band – a dozen trained prisoners – has fallen in on the grass plot in the central quadrangle. At a signal from the official in charge it bursts into an inspiring rendition of Off to Glory march. There may be dilletante criticism of the music’s aesthetic quality. There can be no doubt of its volume and its lilting spirit.
Pentridge Prison really needs no introduction as an institution as innumerable stories have sprung from its bluestone walls. It was not a place that immediately springs to mind as a place for music-making. Yet that is exactly what happened in the early 1920s. Pentridge Prison became the institution that hosted the fourth prison band in the world.
Up until the early 1920s, Pentridge Prison was operated like many other prisons in Victoria under the governance of the Penal and Gaols Department. Reports on the on Victorian prisons from this time were not very informative and focused mainly on statistics – the reports of 1922 and 1923 being prime examples (Penal and Gaols Department, 1923, 1924). Conditions for the Victorian prisoners were hardly humane as prisons “had been designed to ensure prisoner separation” (Paterson, 1997, p. 134). However, as Paterson (1997) and Wilson (2014) identified in their respective research papers into the history of Victoria’s prison system, it is in the early 1920s when the Penal and Gaol Department, and Pentridge Prison, underwent a series of reforms. The key to these reforms was prisoner education and music-making was a strong part of this.
Efforts by people such as Mr. Gibson Young, an eminent Melbourne musician with strong managerial skills and an association with the brass band movement, sought to bring music into Pentridge through community singing. In 1921 he had the full intention of running community singing in the gaols.
Now that the Music Week organisation has been placed on a more or less permanent basis, my executive committee is anxious to do all in its power to bring the good tidings of music into every department of civic life, and realises that no better opportunity for upliftment exists than among the prisoners in our gaols.
While community singing was useful as an ad hoc form of recreation and a break in the prison routine, the new governor of the Pentridge in 1922, Major Walter Condor, had bigger ideas and he wanted to form a brass band. His plans were outlined at the Tattersalls Club in Melbourne where he was trying to solicit donations for three pianos at Pentridge (“PIANO FOR PENTRIDGE,” 1922). Major Condor, having previously overseen the A.I.F. camp at Langwarrin, had very firm ideas about making Pentridge a much more humane place for the prisoners and introducing educational reforms.
To the strains of “home, Sweet Home,” Victorian criminals may yet be welcomed back to the prisons after new convictions. The provision of music for prisoners is one of the ideals of the governor of Pentridge Major Condor, and he hopes for much from such an experiment in the reclamation of the State’s “Bad Hats.”
[…]
Major Condor said that one of the most humanising things was work, and next to that was music.
Ten days later, Major Condor gained further support for a brass band at a conference of the National Federation at Ballarat where some delegates thought it was a very good idea. A Dr. Booth thought his “idea was a good one” and that “It was essential that the prisoners should not only have plenty of work to do, but the mind should be occupied after working hours.” (“A PRISONERS’ BAND.,” 1922). And so, the brass band at Pentridge was created.
At first it was conducted by Mr. Gibson Young, and he had obviously used his contacts in the brass band movement to get the instruments and music that were needed – the Coburg Brass Band and Malvern Tramways Band were two bands that are mentioned as having donated these items (Cremona, 1923). Mr. Young, who was associated with the Malvern Tramways Band, had apparently “remarked that Major Condor might try to inveigle members of the Malvern Tramways Band into Pentridge to strengthen the personal of his band” (Cremona, 1923). One wonders what Mr. Harry Shugg, then conductor of the MTB, might have thought of this remark (if he knew about it).
An article published in TheHerald newspaper in February 1923 gives us some insight into the way music has begun to transform life at Pentridge.
There are already 15 men in the band. Some of them have had experience in regimental bands, some of have been connected with various bands that are not known in Pentridge. Others have just “taken to music” as the best means of whiling away the time until they can know again outside of the walls.
By April 1923, the work that was taking place at Pentridge was noticed by the Chief Secretary, a Mr. Baird who was most impressed with what he saw in the music-making and the effect it had on prisoners (“IMPROVEMENTS AT PENTRIDGE,” 1923). And some months later, Pentridge was a prison that was well on the way to reformation, all under the watch of Major Condor (“A NEW PENTRIDGE.,” 1923). Mr. Gibson Young, the bandmaster of the prison band and conductor of the community singing, left his position (and Australia) in September 1923 and was presented with a gold-mounted baton by the band (“GAOL MUSIC,” 1923).
Major Condor left the prison in November 1923 to try a new career radio broadcasting (Thomas, 2006). While he had only been governor at Pentridge for eighteen months, he had overseen substantial reforms that benefited the prisoner population and facilities.
He gave the prisoners more healthful surroundings, brightened their quarters, permitted slight decorations of the cells, and with a colour scheme has banished gloom from the long corridors. He gave them a brass band, Saturday and Sunday concerts, taught them games, improved their methods of working at trades by installing electric machinery in the shops, and increased their self-respect.
On a slightly humorous note, a letter was published in the Labor Call newspaper apparently from a prisoner at Pentridge. In this letter, he provides his ‘opinion’ on the band.
Our brass (very brass) band keeps a fellow from getting the “blues,” except when they play “Home, sweet home.” We are going to petition against the tune, as it only applies to the “Gov.” himself – he has a good home here.”
The band at Pentridge prison kept going from strength to strength at from these early years and were noted by all that saw them perform. They were, or course, part of a bigger picture of reform at the prison, and Pentridge was no longer seen as a dull institution (“AN HOUR IN PRISON.,” 1927). The band had established themselves quite a bit over the subsequent years, to the extent that the Governor of Pentridge at the time, Mr. J. Brown, thought that the prisoners at Pentridge led all other prisoners in Australia in their musical abilities – he wanted them to go up in musical competition with the prisoners at Goulburn prison. (“GAOL MUSIC DERBY,” 1935).
Literally there is music in the air at Pentridge every day. An accomplished brass band of 26 instruments, led by Warder George Williams, plays marches and waltzes as the gangs go to and from their labours at the lunch hour.
On a side note, when researching this post, this author learned that the Cornet used by Warder George Williams was donated to the Coburg Historical Society in 1978.
The Pentridge Brass Band lost the services of bandmaster Warder Williams in 1938 when he moved to Geelong to become an attendance officer for the Education Department (“FAREWELL TO PRISON BAND CONDUCTOR,” 1938). Depending on which source is accessed, he was the conductor of the band for seven to ten years. Evidently, the band was still in operation in the early 1950s as they were mentioned in an article published by The Herald newspaper about the new prison brass band which had been established in the Ballarat Gaol (“HARMONY IN GAOL,” 1951). In 1954, the State Government spent £1,000 for a whole new set of instruments for the Pentridge Brass Band (“News of the Day,” 1954).
It is unclear what happened to the Pentridge Prison Brass Band after the 1950s due to a scarcity of available records, and unfortunately, this author was unable to locate a picture of the band. However, it is evident that the band had a very positive effect on the prisoners and staff, and that it fitted into the reforms that swept over the Victorian prison system.
Conclusion:
There were many different types of music-making in these institutions, some which was kept hidden and others that were very much out in the open. However, whatever the type of institution, the singular aim was to improve the mind with wholesome activities. Music was the perfect activity, and bands were the outcome. This was music therapy at its best.
References:
Assistant Needlewoman. (1886, 26 June). AMONG THE BLIND: THE VICTORIAN ASYLUM AND SCHOOL. Argus (Melbourne, Vic. : 1848 – 1957), 4. http://nla.gov.au/nla.news-article6099966
Benvolio. (1890, 02 August). MELBOURNE INSTITUTIONS: THE VICTORIAN ASYLUM AND SCHOOL FOR THE BLIND. Illustrated Sydney News (NSW : 1881 – 1894), 9. http://nla.gov.au/nla.news-article63615405
Buckrich, J. R. (2004). Lighthouse on the boulevard : a history of the Royal Victorian Institute for the Blind, 1866-2004. Australian Scholarly Publishing.
Group of men wearing band uniforms and holding their brass instruments, R.V.I.B. [picture]. (1890). [negative : glass 16.3 x 21.4 cm. (full plate)]. [cr001189]. State Library Victoria, RVIB collection of glass negatives. http://handle.slv.vic.gov.au/10381/32332
Hogarth, J. T. (1897, 05 April). ROYAL VICTORIAN INSTITUTE FOR THE BLIND : To the Editor. Ballarat Star (Vic. : 1865 – 1924), 1. http://nla.gov.au/nla.news-article210364264
Hogarth, J. T. (1900, 22 May). ROYAL VICTORIAN INSTITUTE FOR THE BLIND : To the Editor. Rutherglen Sun and Chiltern Valley Advertiser (Vic. : 1886 – 1957), 3. http://nla.gov.au/nla.news-article268489459
AN HOUR IN PRISON : VISIT TO PENTRIDGE. : Where Gloom is Dispelled. (1927, 14 December). Recorder (Port Pirie, SA : 1919 – 1954), 1. http://nla.gov.au/nla.news-article96058047
Lake’s Creek Brass Band, Rockhampton. (1909). [Photograph]. [phot20842]. The Internet Bandsman Everything Within, Vintage Brass Band Pictures – Australia. http://www.ibew.org.uk/vbbp-oz.html
MacKinnon, D. (2009). Divine Service, Music, Sport, and Recreation as Medicinal in Australian Asylums 1860s-1945. Health and History, 11(1), 128-148. https://www.jstor.org/stable/20534507
MR. CONDER : CONTROL OF PENTRIDGE GAOL : FAREWELL BY PRISONERS. (1923, 07 November). Northern Star (Lismore, NSW : 1876 – 1954), 3. http://nla.gov.au/nla.news-article93506230
Paterson, W. C. (1997). Victoria’s prison policy 1851-1992: from hulks to unit management (Publication Number 21156) [PhD, University of Tasmania – School of Government]. Hobart, Tasmania. https://eprints.utas.edu.au/21156/
Penal and Gaols Department. (1923). Penal Establishments, Gaols, and Reformatory Prisons : Report and Statistical Tables for the year 1922 [Parliamentary Report](No. 25. – [1s] – 16851). Parliament of Victoria. https://www.parliament.vic.gov.au/papers/govpub/VPARL1923-24No25.pdf
Penal and Gaols Department. (1924). Penal Establishments, Gaols, and Reformatory Prisons : Report and Statistical Tables for the year 1923 [Parliamentary Report](No. 26 — [9D.] — 15596). Parliament of Victoria. https://www.parliament.vic.gov.au/papers/govpub/VPARL1924No26.pdf
PRISON DE LUXE : PENTRIDGE MADE PLEASANT : Band Music, Electric Light. (1923, 27 February). Herald (Melbourne, Vic. : 1861 – 1954), 12. http://nla.gov.au/nla.news-article243791944
Richmond Boys’ Brass Band to Make Debut at Racecourse Carnival for Blind Soldiers—Amazing Growth of Notable Movement that will Bring Fame to This District. (1918, 12 January). Richmond Guardian (Vic. : 1917 – 1918), 2. http://nla.gov.au/nla.news-article93811136
Royal Victorian Institute for the Blind. (1900). Lantern Slide – School Orchestra, Royal Victorian Institute for the Blind, circa 1900 [Lantern Slide, Standard (3¼ in. x 3¼ in.), Black & White]. [MM 95962]. Museum Victoria Collections, Royal Victorian Institute for the Blind Collection. https://collections.museumsvictoria.com.au/items/1390549
Salvation Army brass band visiting Peel Island Lazaret during 1920s. (2007). [copy print : b&w]. [74802]. John Oxley Library, State Library of Queensland, Brisbane, Queensland. https://hdl.handle.net/10462/deriv/208680
Sheldon, N. (2009). The musical careers of the poor: the role of music as a vocational training for boys in British care institutions 1870–1918. History of Education, 38(6), 747-759. https://doi.org/10.1080/00467600903305590
Victorian Institute for the Blind. (1893, 27 January). Coastal News and North Western Advertiser (Ulverstone, Tas. : 1890 – 1893), 3. http://nla.gov.au/nla.news-article216216052
Winkelman, H. G. A. (1897, 25 November). THE VICTORIAN INSTITUTE FOR THE BLIND—VISIT OF THE BAND AND CHOIR. Bairnsdale Advertiser and Tambo and Omeo Chronicle (Vic. : 1882 – 1918), 3. http://nla.gov.au/nla.news-article86326868
The Malvern & Caulfield East Juvenile Band, 1922. (Source: IBEW)
Introduction:
If there is one aspect that defines the band movement of yesteryear, it is the relationships they formed through the course of their existence. Some of these relationships were beneficial, others were not. Maintaining these relationships was sometimes difficult as issues needed to be ironed out. On occasions, some issues became insurmountable, and there was never any proper resolution.
When we look at a typical brass band from the era of the early to middle 1900s there were several stakeholders who were involved with the band – certainly the musicians and bandmaster, but also the ladies’ auxiliary, the local council, and supporters. It is probably the relationship with local councils that was most important to a band as the council allocated some funding, sometimes helped with a band hall, and gave permission for bands to use parks and bandstands. However, councils and some bands had their own way of doing things.
This post is essentially a case study and is different to other posts on this blog that have focused on the linked stories of many bands. The band in question is the Malvern City Band, a band that was only in operation from 1922-1939, but it is a band that offers an inordinate amount of information on how it worked, or did not work. It was a band that was started with the best of intentions but was forever living under shadows of other bands and its way of operating was questionable. The Malvern City Band drew an amount of controversy which played out through letters in the local papers. Thus, it presents an almost perfect case study on relationships with various stakeholders, including the powerful Malvern City Council.
We will see in this post several sides to the Malvern City Band. Firstly, there will be a brief history of the band including its initial desire to be recognized as an independent entity, difficult as that was when the other band in the municipality was the Malvern Tramways Band. From the outset the MCB had a difficult relationship with the Malvern City Council, and this will be explored from both sides of the disputes – and there were a few. The role of the local newspaper was interesting at the time and an examination of this role is very useful – their actions were very much like the social media of today. To conclude, a question will be asked as to who benefited during these years, the council, or the band?
The Malvern City Band:
Let us just say from the outset that it cannot have been easy for the Malvern City Band when it started in 1922 given that the resounding success of the Australian band movement at the time, and the band held up high by Malvern City Council, was the Malvern Tramways Band – a band that still survives to this day as the Stonnington City Brass.
They were not the first band in Malvern to hold this name. In 1899 another band started called the Malvern Tradesmen’s Military Band, soon to become the Malvern Town Military Band in 1901 (“Malvern,” 1901). This band stopped and started over the years. In 1907 it restarted as the Malvern Town Band and in 1911, it changed its name to Malvern City Band in line with the newly proclaimed City of Malvern (“Malvern Town Band.,” 1907; “MODERN MALVERN.,” 1911). The Malvern Town Band lasted another two years and was last seen in public on a parade in 1913 (Baritone, 1913).
In other band news from this time, the Malvern Tramways Band, originally known as the Prahran & Malvern Tramways Trust Band, started in November 1911 (Lawson-Black, 2010).
Coming into 1922, with the Malvern Tramways Band now well-established and having a highly regarded reputation in band competitions, the Malvern & Caulfield East Juvenile Band was started by Malvern East (Manning Road) resident, Benjamin Long. This band was started with the best intentions. It was a band that was all for training youth in brass bands, and as evident by the picture at the head of this post, it succeeded in raising a full band (Malvern & Caulfield East Juvenile Brass Band, 1922). A call went out in the Prahran Telegraph newspaper in August 1922 for more boys to join up as the band already had “twenty players” (“MALVERN JUVENILE BAND.,” 1922). The band was initially conducted by Mr. W. F. King, a bandsman who had been associated with the Rupanyup Brass Band for a short stint in 1914-15, and had taken twelve months leave from the South Richmond Brass Band in 1921 to take on the bandmaster position with this new Malvern band (“Rupanyup Brass Band,” 1914; “South Richmond Brass Band.,” 1921).
The band changed their name to the East Malvern Junior Band in 1923 and early newspaper reports indicate they were playing at some engagements, and received praise for their efforts (“EAST MALVERN JUNIOR BAND.,” 1923). However, in early 1924, they changed their name again to the Malvern City Band as it was felt they were making “rapid progress” and there was “high appreciation of their ability” (“MALVERN JUNIOR BRASS BAND.,” 1924). This latest name change could be viewed as naive as “Malvern City”, which the band argued was reflective of the geographic area, made it look like they were somehow associated with Malvern City Council. There was one problem though, during the lifetime of this band, it was never recognised as the official band of Malvern (“COUNCIL OBJECTS TO BAND’S NAME,” 1933). That honour went to the Malvern Tramways Band. More on this will be examined further in the post.
Nevertheless, the Malvern City Band continued to try to make a name for themselves, and according to an archival advertising flyer held by the Stonnington History Centre, they entered in the 1924 C Grade section at the Royal South Street Eisteddfod (Malvern City Brass Band, 1924). They even held a two-day bazaar to fundraise for their trip, of which the money was to be used for new uniforms (“MALVERN BAND.,” 1924; “MALVERN CITY BRASS BAND.,” 1924). The MCB were certainly listed as one of six entrants to this section as late as October 23rd, 1924, but according to the official results on October 25th, the day of competition, they never played – only five bands were listed in the results for C Grade, and Malvern City Band was not one of them (“BAND CONTESTS,” 1924; Royal South Street Society, 1924). The Victorian Bands’ Association records in the newspapers show that the Malvern City Band affiliated with the then VBA from 1924 – 1927 (de Korte, 2020).
The advertising flyer lists various charities and events the Malvern City Band played for, and it was true, the band did go out on many occasions to entertain, and continued to do so during their lifetime (Malvern City Brass Band, 1924). Trips to Mont Park hospital and Queenscliff would have been big adventures (“EAST MALVERN JUNIOR BAND.,” 1923; “THE MALVERN CITY BAND.,” 1927). For the most part, the MCB kept up a regular program of engagements at hospitals, parks and even some commemorations as they played at the 1926 Anzac Day in front of Parliament House (“THE PROGRAMME.,” 1926). In 1929, they were pictured leading a parade of Scouts (“Scout Display at Exhibition,” 1929). So, it would seem the MCB appeared as a normal, suburban brass band that got out and about, and played well when they did.
One aspect of their existence that they made much of was connections to the high offices of the land, namely two Governors of Victoria. At the time, the Victorian Government House was located at Stonnington Mansion, a grand house on Glenferrie Road just north of the intersection with Malvern Road (Heritage Council Victoria, 2022). In the early 1920s, the Victorian Governor was the Third Earl of Stradbroke who departed Victoria in April 1926 – the band played at a “welcome home” event in 1923 (Gardiner, 2006; “THE NEWS OF THE WEEK,” 1923). The next Governor of Victoria was Arthur Herbert Tenyson Somers who took up residence at Stonnington Mansion soon after, and in July of that year, he agreed to become a patron of the Malvern City Band (Gregory, 2006; “ITEMS OF INTEREST.,” 1926). Benjamin Long was ever fond of reminding people of these connections, as will be seen in the next sections regarding letters sent to the newspapers.
It is hard to find out about the official fate of this band, but if the newspaper reports are anything to go by, after 1939 there is no mention of them (“FRANKSTON AGRICULTURAL ASSN.,” 1939). Perhaps they simply folded, and the band members went separate ways. Of interest, however, is a subtle change of name in their counterparts, the Malvern Tramways Band. In newspaper reports from around this time, they are referred to as the Malvern Municipal and Tramways Band which could be interpreted as the band having less members who were tramway workers, and more that were members of the public. It is quite possible, although no-one may know for sure, that some members of the former MCB went and joined other bands including the Malvern Tramways Band.
The views of Malvern City Council:
Almost as soon as the band was started, it made applications to the Malvern City Council for financial assistance in the form of a subsidy, and to use collectors in parks when they were playing. Now this was a perfectly reasonable request, however, the council did not see it that way and while they refused to give any subsidy to the band, collectors were allowed. (“BAND COLLECTIONS.,” 1922). Councillors Mathews and Sylvester outlined in their feelings on the matter.
Cr. Mathews said that the Committee went thoroughly into the question. It was felt that the council could not subsidise the band, as that course would create an undesirable precedent. He would like to move that permission be granted to the band to take up collections and every alternate Sunday.
Cr. Sylvester said that every councillor’s sympathy went out to the band, which was composed of boys anxious to do something for the city. At the same time the councillors were the custodians of the public money, and to grant the band a subsidy would be creating a dangerous precedent. Other bands might be formed in Malvern and come along to the council and urge the same thing.
This is not to say there were some other opinions.
Cr. Wilmot said the motion had his hearty support. A gentleman had spent £300 in financing the band.
Cr. Wilson expressed his surprise at the action of the council in allowing collections to be taken upon Sundays in the Malvern parks and gardens for the funds of a band.
By 1924 the council’s position had changed somewhat and after a meeting in February 1924, a decision was made to refuse the Malvern City Band’s application to play every alternate Sunday in the Malvern gardens and take up a collection. Again, there were some discussions published in the Prahran Telegraph newspaper.
Cr. Sylvester, in opposing the application, said that the public was already well-catered for in the matter of bands on Sunday afternoons. The Malvern Gardens were comparatively small, and if the request were granted it would mean that considerable damage might be done to the plants and shrubs by children.
Cr. Love suggested that the band thought more of taking up a collection than providing music.
One might get the impression that the Malvern City Band did not have its finances completely under control, and maybe this was a result of having been refused permission to play in parks and gardens, and not have its collectors out and about. In 1925 an interesting snippet published in the Prahran Telegraph newspaper suggests that the MCB was still desperate to become the council’s band. The council adopted a report from the Parks and Gardens committee which made this recommendation (amongst others).
That the Council take no action in connection with the request of the Malvern City Brass Band, that the Council should take over the Band and its liabilities.
The issue of collectors comes up frequently in the band news of this time, not only for Malvern City Band, but for every band. Basically, bands sent out people around their local suburbs and towns with identifiable labels and uniforms to solicit money to help with the running of the band. Under normal circumstances, this practice did not cause any problems and there seemed to be some unwritten rules like not intruding on other bands ‘territory’. Unfortunately, some disagreements did arise, like an example from Richmond in 1917 where their collector switched from the Richmond City Contest Band to the Richmond Boys’ Band – the RCCB sent out a circular to residents informing them of this change (Admans et al., 1917).
(Source: Victorian Bands’ League Archives)
The Malvern City Band did not seem to understand how their collectors were to be used, identified, or which localities they should have stayed in or out of. Faced with various restrictions and refusals from Malvern City Council about collections at their performances in parks, the MCB sent their collectors into other suburbs, which was looked upon very unfavourably by neighbouring bands, individuals, and councils. There were a couple of instances in 1927 where collectors from the MCB were caught out in South Caulfield and Preston. The Secretary of the South Caulfield Brass Band, Mr. G. H. Wells, wrote a letter to Caulfield Council who admitted they were “powerless to act” against outside band collectors (“OUTSIDE BAND COLLECTORS IN CAULFIELD.,” 1927).
Cr. Patton: Our street is regularly canvassed on behalf of the Malvern City Band. Have we not the power to stop that?
Cr. Hall: Mr. Wells seems to think we have.
Cr. Page: The same thing cropped up during the time I was Mayor. The then Mayor of Malvern (Cr. Sylvester) said the Malvern band subsidy would be stopped if the band continued to send collectors into Caulfield. It had been a source of annoyance to him.
The Preston Citizens’ Band was no less angry with the MCB Collectors and in an article published in The Herald newspaper they clearly outlined their feelings on the matter as can be seen in the article here (“MALVERN BAND CHARGED WITH POACHING,” 1927).
The Malvern Council was put in a difficult position by October of 1927 and its patience with the MCB was wearing thin. A week before the Preston Band outlined their feelings, Malvern City Council placed further restrictions on the MCB by adopting a recommendation from their Parks and Gardens committee.
4. That permission previously given to the Malvern City Brass Band to play in High street gardens and Ardrie Park be withdrawn.
Despite this, complaints from other bands, individuals, and councils continued, with Malvern City Council writing to Kew Council in January 1928 disclaiming any connection with the Malvern City Band (“COLLECTIONS FOR BAND.,” 1928; M., 1928).
Over the next decade, due to the continuing poor business practices of the Malvern City Band and actions of its collectors, the Malvern City Council was forced to repeatedly state that the MCB had nothing to do with the Council – statements and letters published in the newspapers from Malvern Council were quite common.
The Mayor of Malvern (Cr. C. J. Waters) states that the Malvern City Brass Band, on behalf of which collectors have visited many city and country homes, is not recognised or subsidised by the council. The band is not connected with the Malvern Municipal and Tramways Band.
Mayor Waters also backed up these articles with letters to the newspapers (Waters, 1931).
Clearly the Malvern City Council were unhappy with the MCB, but what else could they do? The band simply did not respond in good faith. The MCB’s need for funds overrode any other respects it had for other bands and councils. The MCB had gone rogue.
If the year 1937 was anything to go by, Malvern City Council had had enough of the MCB, and they took the extraordinary step of writing a letter to every municipality in the State of Victoria. The letters were sent out in April 1937 and part of the letters had a simple but direct message for the other municipalities.
…that the Malvern City Brass Band is in no way connected with the council, and is not recognised or subsidised by the council in any way.
These letters were received and noted by councils across Victoria over April and May 1937 – as there were too many articles of council records from late April and May 1937 to cite here, these have been included in the reference list below.
As mentioned in the previous section, after 1939, nothing was to be heard about the Malvern City Band.
The Malvern City Council’s position was understandable, and they had a right to insist on proper business and ethical practice. Their view that the Malvern Tramways Band was Malvern’s Band was undeniable, and there was no other room for contenders against that view, and obviously no funding. One might think however, that the Council could have handled things differently. Other municipalities had multiple bands in their area which they managed to subsidize and handle issues like collectors, but the Malvern Council did not see it that way. And the fact should be noted that the Malvern Tramways Band did not really need outside collectors as they were funded and supported by the Tramways.
A local newspaper: fuelling the controversy:
On the 21st of January 1927 a letter penned by the Honorary Organiser of the Malvern City Band, Mr. Benjamin Long, was published in the Prahran Telegraph newspaper which took aim at a financial statement released by the Malvern City Council a week beforehand (Long, 1927h). What he, and the Prahran Telegraph newspaper did not realise at the time, was that this letter would be the first of twenty-four letters sent to this newspaper, plus some to other newspapers, all focused on the dispute between the Council and the band. It is worthwhile to note that much of the disagreement over the previous years the band had been in operation was conducted privately. In 1927 from January to May it was all aired to the public with various opinions thrown into the mix. Out of the twenty-four letters sent to the Prahran Telegraph, Benjamin Long was responsible for writing six of them because he was the kind of person that had to defend his position and that of the MCB (Long, 1927c, 1927d, 1927e, 1927f, 1927g, 1927h).
At the time, the Prahran Telegraph newspaper was published weekly with papers being sent out every Thursday. Which is why the whole thread of these letters span this time frame. We could equate this with the social media of today, except, instead of discussions being responded to in minutes, hours or days, these letters had replies that appeared a week later. Some weeks had more letters than others. The Prahran Telegraph did not really help matters as due to the influx of letters surrounding the band, they started branding them under their own headline so that everyone knew what was being talked about. The headline, “Malvern City Band Controversy” was first used at the start of a letter penned by ‘Malvern Ratepayer’ on the 18th of February (Malvern Ratepayer, 1927).
It has been quite clear through some of this post that the Malvern City Council had problems with the operations of the band, and vice versa. In part of the first letter written by Mr. Long on the 21st of January, he states,
Now, Sir, there are only two bands in this garden city of the South namely, the Malvern Tramways and our own (the Malvern City), and I wish it to be distinctly understood that we did not receive one penny of the £100 donated by the Council according to its balance sheet; and, further, I would like to state that it is over three years since we received anything from them, when they donated the sum of £25.
He did, however, make a good point towards the end of the letter comparing levels of support from different Councils.
Why, I see that in last week’s paper, where the Caulfield Council have voted three bands who play in their district (two of which have not even a uniform) sums that amount to nearly £300. Surely if Malvern is to uphold its name as the Garden City the Malvern Council should take a leaf out of the Caulfield Council’s book and give the Malvern City Band at least a small grain of encouragement.
This letter sparked several replies and one official response which were published a week later in the 28th of January issue of the newspaper, all under pseudonyms. Letters from ‘Disgusted’, ‘Mother of Five’ and ‘Old Timer’ were in support of the band while a letter from ‘South Caulfield’ questioned the motives of collectors who were out and about in Caufield supposedly collecting for the MCB (Disgusted, 1927; Mother of Five, 1927; Old Timer, 1927; South Caulfield, 1927). Buried in amongst these letters was an article which could be assumed was submitted by someone attached to Malvern Council and which refuted many of the claims put forward by Mr. Long.
The source of the trouble seems to be in a nutshell. The band, it is understood, finds its main financial support per medium of house to house collections. It is likewise stated that some time ago, when the band applied to the council for a subsidy, the council expressed a desire to be supplied with a balance-sheet. The band promised that this would be forthcoming, but so far no balance-sheet has come to hand. Therefore, the council remains fixed in its determination not to consider the question of granting a subsidy to the band until a balance-sheet comes to light. […] Surely Mr. Long will not deny that the council is entitled to a balance-sheet. This is generally recognised as standard practice in matters of this kind.
Benjamin Long could not let this go without a response and he wrote a very long letter to the Prahran Telegraph newspaper which was published on the 4th of February (Long, 1927c). In the same issue, another letter written by ‘Caulfield Resident’, claiming to be a member of the MCB, was published in reply to the letter written by ‘South Caulfield’ a week before (Caulfield Resident, 1927). When responding to the article which stated an ‘official view’, Mr. Long included a letter written to the MCB in 1925 by Mr. B. Crosbie Goold, the then Town Clerk.
Dear Sir,-I have to acknowledge yours of the 23rd inst., forwarding statement of receipts and expenditure for twelve months ended 14th December, 1924, but note that same has not been audited. I am returning it here with for the auditor’s formal certificate, and would be also glad if you would let me have a list of the office-bearers of the Band, so that same may be submitted to the Committee.
As these things often do, the series of letters spiralled out into a series of sub-issues encompassing the operations of the band, financial records, collectors, and some slurs and jealousy dished out to the Malvern Tramways Band. Not to mention a fair bit of who said what, when, and where. For example, six letters published over March and April were simply replies and rebuttals between two letter writers, Mr. Long and ‘Another Malvern Ratepayer’ (Another Malvern Ratepayer, 1927a, 1927b, 1927c; Long, 1927d, 1927e, 1927f). And there were still letters being sent in by supporters of the MCB, with one published on the 1st of April being unusual – this person sent it in under his real name (Johnston, 1927).
Additionally, Mr. Long sent three identical letters to The Argus, The Age, and The Herald newspapers in early April in an attempt to inform the public about the nature and conduct of their collectors, with a snide reference to the Malvern Tramways Band (Long, 1927a, 1927b, 1927i). The letter that was published in The Argus newspaper can be viewed below.
The Malvern Council could not remain silent for ever on these issues and sought to set the record straight. Since Mr. Long disputed the official view (published on the 28th of January), it was not until April that Councillor James D. Evans wrote the first of two letters which reinforced and reiterated the view of the Council.
Sir.- Apparently there are still some persons who do not know why the Council refuses to donate to the Malvern City Band. The official reason was given in your issue of 24-1-27, i.e that the grant had been held back owing to the non-production of an audited balance sheet.
[…]
Mr. Long states that he gave Cr. Francis the books; what really happened was this. A parcel containing only a number of docket butts was left at his house, and this was afterwards laid on the Council table and opened in the presence of myself and other councillors. Imagine a bank asking a firm for an audited balance sheet, and receiving a bundle of receipt buts instead.
[…]
I am not so much concerned with the controversy between the Malvern City junior band and the premier band of Australia, but I feel constrained to let the public know facts why the subsidy is withheld.”
Of course, Mr. Long could not let this letter lie and wrote again to the Prahran Telegraph newspaper on the 29th of April to refute Mr. Evans (Long, 1927g). Interestingly, Mr. Long’s position was backed up by another letter writer from Wangaratta on the 29th of April who was under the pseudonym of ‘Ex-Vice President’ – and he claimed to have held that position in the MCB (Ex. Vice-President, 1927). Mr. Evans wrote his second letter on the 6th of May to restate the Council’s and his views on the matter (Evans, 1927b).
The last letter of this sorry saga was published on the 13th of May by the MCB Secretary Mr. Joseph Leech, and this was an answer to the last letter from Mr. Evans from the 6th of May (Evans, 1927b; Leech, 1927). In this letter, Mr. Leech also included a rebuttal to another letter writer from the week before from ‘Above Board’ who had contributed another opinion (Above Board, 1927). The last part of Mr. Leech’s letter stated that,
In regard to our balance sheet, which is always open for inspection by our supporters, we are preparing another one shortly, which we shall ask you, Mr. Editor, to be good enough to publish in your paper.
However, at the end of this letter, as was sometimes the case, the Editor of the Prahran Telegraph newspaper added in a small paragraph.
(We shall be pleased to publish an audited balance-sheet. The whole correspondence has centred round the question of the production of an audited balance-sheet. With the above letter the correspondence now closes.)
So, in effect, the Prahran Telegraph newspaper seemingly ended this “controversy” as they originally called it in the belief that the MCB would supply them with the information that everyone wanted – which never ended up happening. We see the same thing sometimes in social media when threads are locked.
There was one voice that was conspicuously absent during this exchange of letters, that of the Malvern Tramways Band. One would have thought that they would write to defend their own positions, given that the Malvern City Band was trying to smear their name with a few falsehoods. The MTB did eventually raise their voice, but not through the local newspaper, and not directly addressing the previous topics of the letters. In July 1927, Mr. Harry Shugg, then conductor of the MTB wrote a small letter to the Geelong Advertiser newspaper with a basic message for the people of Geelong.
Sir.-I understand that a uniformed collector has been collecting in Geelong during this week on behalf of the Malvern City Band. I desire to notify the public personally that this collector has no connection with the Malvern Tramways Band of which I am conductor.
This was another measure in which the Malvern Tramways Band sought to distance themselves from the activities of the Malvern City Band. Just over a year later, another letter appeared in the Prahran Telegraph newspaper written by Mr. Charles Snelling, then Honorary Secretary of the Malvern Tramways Band. He was far more pointed in his language when addressing the fact that there were two bands in Malvern.
Sir.-For the benefit of your readers, and the Councillors of Prahran, I would thank you to allow me to state that there are two bands in the City of Malvern. People confuse another band with the Malvern Municipal and Tramways Band. We have no collectors at all, but other collectors are credited to our band. We frequently are blamed for these people calling on residents of the suburbs and even the country districts.
We saw where this was coming from previously in this post given the number of complaints sent to Malvern City Council and the extraordinary steps the Council took in 1937 with their own letter writing to all parts of Victoria. Mr. Snelling went on in his letter to make some interesting statements, including one that indicates just how favourable the MTB was to the Council.
The Malvern City Council have always treated my band splendidly, and we have no complaints whatever to make. Hoping that the Prahran residents will not confuse these collectors with my band, and thanking you.
Malvern City Council would have no doubt been pleased to read this letter from Mr. Snelling. The MTB brought prestige upon the name of Malvern through their many successes, and the Council sought to capitalise on that.
Maybe the Malvern City Band did not understand the relationships bands had with each other and the etiquette that was needed. They certainly did not understand the quid pro quo with Council. It was a band that did things their way and really, they should have known better. Yes, other bands in Australia had disagreements with their home councils over funding, halls, performances, and other such issues but for the most part these were resolved amicably and with little loss of respect for each other. Twenty-four letters to the local newspaper over the space of five months is unprecedented and without comparison.
Conclusion:
It would be fair to say that neither the Malvern City Band, Malvern City Council, or even the Prahran Telegraph newspaper exhibited very good practice through these years. In short, it was a big mess. And then there is the question of who to believe, which information is the most correct? All we must go on is a whole host newspaper articles and correspondence. When the band was performing, the articles were largely positive. However, letters to the editor suggested that something was amiss in the way the band did things, especially letters received in Malvern from other municipalities. So, while the band did its best to present a side that suggested it was supportive of charitable causes, the business practices it engaged in were very questionable when compared to other bands that were operating at the time. And of course, its jealousy of the Malvern Tramways Band was unwarranted. The MTB was a very different ensemble and much more established. Perhaps there was room for two bands in Malvern, but the MCB made life much more difficult for itself.
Malvern City Council was put in a difficult position by the MCB. However, when compared to the operations of other councils who supported multiple bands in their council areas, one would have thought the Council could have offered much more support than they did beyond permission to play in parks and gardens, and for a band to take collections. MCB had every right to ask the Council for support, the Council had every right not to give the band money unless the band opened its books. The year 1927 was a perfect example of when both parties failed in their best practice. And in the year 1937 when the Malvern council wrote to every other council in Victoria, this was a prudent measure but very heavy handed – although we could argue that the MCB brought that response upon themselves.
It should be seen that the Prahran Telegraph newspaper sought to capitalise on the situation in 1927 and deliberately inflamed tensions. When receiving letters all on the same topic, branding them under their own headline with the word “Controversy” immediately invited some confrontation, which the newspaper duly received in those letters. The local media then controlled some of the narrative, and the letter writers and the public were caught up in this. The Malvern Tramways Band was wise to stay out of this despite being on the receiving end of slurs and false information.
This case study of the Malvern City Band shows us many aspects about the operations and thoughts of the band, council, and local newspapers. It is fascinating, but when compared to the histories of other bands, many of which have been explored in other posts, this sorry tale need not have happened in the way it did. We cannot feel sorry for any of the parties, but we wish it could have been very different for the band and the council.
References:
Above Board. (1927, 06 May). MALVERN CITY BAND CONTROVERSY : RE BALANCE SHEET. : (To the Editor.). Prahran Telegraph (Vic. : 1889 – 1930), 5. http://nla.gov.au/nla.news-article165181080
Admans, G. R., Bowden, J., Davidson, J., & Hall, B. (1917). RICHMOND CITY CONTEST BAND : To the Citizens of Richmond. In Victorian Bands’ League Archive (Ed.), S04 – Letters, Documents & Books (Vol. S4.1 – Letters). Richmond, Victoria.
Alexandra Shire Council. (1937, 21 May). Alexandra and Yea Standard and Yarck, Gobur, Thornton and Acheron Express (Vic. : 1908 – 1949), 2. http://nla.gov.au/nla.news-article64735733
Another Malvern Ratepayer. (1927a, 01 April). MALVERN CITY BAND CONTROVERSY : (To the Editor). Prahran Telegraph (Vic. : 1889 – 1930), 6. http://nla.gov.au/nla.news-article165186163
Another Malvern Ratepayer. (1927b, 04 March). MALVERN CITY BAND CONTROVERSY : (To the Editor). Prahran Telegraph (Vic. : 1889 – 1930), 5. http://nla.gov.au/nla.news-article165178951
Another Malvern Ratepayer. (1927c, 18 March). MALVERN CITY BAND CONTROVERSY : Reply to Mr. Long : (To the Editor). Prahran Telegraph (Vic. : 1889 – 1930), 5. http://nla.gov.au/nla.news-article165179586
Disgusted. (1927, 28 January). MALVERN CITY BRASS BAND : Question of Council Support. : To the Editor. Prahran Telegraph (Vic. : 1889 – 1930), 5. http://nla.gov.au/nla.news-article165187999
Evans, J. D. (1927a, 14 April). MALVERN CITY BAND CONTROVERSY : Question of Council’s Subsidy. : Cr. Evans Explains : (To the Editor). Prahran Telegraph (Vic. : 1889 – 1930), 5. http://nla.gov.au/nla.news-article165179150
Evans, J. D. (1927b, 06 May). MALVERN CITY BAND CONTROVERSY : RE BALANCE SHEET. : (To the Editor.). Prahran Telegraph (Vic. : 1889 – 1930), 5. http://nla.gov.au/nla.news-article165181093
Ex. Vice-President. (1927, 29 April). MALVERN CITY BAND CONTROVERSY : CR. EVANS AND MALVERN CITY BAND : (To the Editor). Prahran Telegraph (Vic. : 1889 – 1930), 5. http://nla.gov.au/nla.news-article165179381
FRANKSTON AGRICULTURAL ASSN : GYMKHANA POSTPONED. (1939, 20 January). Frankston and Somerville Standard (Vic. : 1921 – 1939), 8. http://nla.gov.au/nla.news-article75009158
Lawson-Black, P. (2010). Bold as brass : the story of Stonnington City Brass then and now. Pat Lawson Black, Stonnington City Brass.
Leech, J. (1927, 13 May). MALVERN CITY BAND CONTROVERSY : Secretary Leech’s Views. : (To the Editor). Prahran Telegraph (Vic. : 1889 – 1930), 5. http://nla.gov.au/nla.news-article165179688
Livingstone Muntz, D. (1912, 19 December). CHURCH PARADE AT MALVERN.—TRAMWAYS BAND HEADING PROCESSION. OPPOSITE THE TOWN HALL. Punch (Melbourne, Vic. : 1900 – 1918; 1925), 53. http://nla.gov.au/nla.news-article175804920
Long, B. (1927b, 04 April). MALVERN BAND COLLECTORS : TO THE EDITOR OF THE ARGUS. Argus (Melbourne, Vic. : 1848 – 1957), 21. http://nla.gov.au/nla.news-article3847236
Long, B. (1927c, 04 February). MALVERN CITY BAND : Question of Council’s Subsidy : Mr. Long and Bands’ Balance Sheet. : (To the Editor). Prahran Telegraph (Vic. : 1889 – 1930), 5. http://nla.gov.au/nla.news-article165186979
Long, B. (1927d, 25 March). MALVERN CITY BAND CONTROVERSY : Mr. Long Continues the Battle : (To the Editor.). Prahran Telegraph (Vic. : 1889 – 1930), 5. http://nla.gov.au/nla.news-article165178512
Long, B. (1927e, 08 April). MALVERN CITY BAND CONTROVERSY : Mr. Long Hits Out Again : (To the Editor). Prahran Telegraph (Vic. : 1889 – 1930), 4. http://nla.gov.au/nla.news-article165181527
Long, B. (1927f, 11 March). MALVERN CITY BAND CONTROVERSY : Mr. Long Returns to the Charge. : (To the Editor.). Prahran Telegraph (Vic. : 1889 – 1930), 3. http://nla.gov.au/nla.news-article165186626
Long, B. (1927g, 29 April). MALVERN CITY BAND CONTROVERSY : The Allegations by Cr. Evans. : Emphatic Denials by Mr. Benjamin Long : (To the Editor). Prahran Telegraph (Vic. : 1889 – 1930), 5. http://nla.gov.au/nla.news-article165179380
Long, B. (1927h, 21 January). MALVERN CITY BRASS BAND : Question of Council Support : (To the Editor). Prahran Telegraph (Vic. : 1889 – 1930), 5. http://nla.gov.au/nla.news-article165187301
Malvern : Proclaimed a Town By the Lieut.-Govenor Sir John Madden : WEDNESDAY, 24th APRIL, 1901. (1901, 02 May). Punch (Melbourne, Vic. : 1900 – 1918; 1925), 22. http://nla.gov.au/nla.news-article175386859
Malvern & Caulfield East Juvenile Brass Band. (1922). [Photograph]. [phot11449]. The Internet Bandsman Everything Within, Vintage Brass Band Pictures – Australia. http://www.ibew.org.uk/vbbp-oz.html
Malvern City Brass Band. (1924). The Malvern City Brass Band Monster Bazaar. In Malvern Collections (Textual material; Graphic materials ed., Vol. MP571701). Malvern, Victoria: Stonnington Library + Information Service: Stonnington History Centre.
Mother of Five. (1927, 28 January). MALVERN CITY BRASS BAND : Question of Council Support. : To the Editor. Prahran Telegraph (Vic. : 1889 – 1930), 5. http://nla.gov.au/nla.news-article165187998
NARRACAN SHIRE COUNCIL. (1937, 14 May). Narracan Shire Advocate and Yallourn Brown Coal Mine, Walhalla and Thorpdale Lines Echo (Moe, Vic. : 1923 – 1943), 1. http://nla.gov.au/nla.news-article264532371
THE NEWS OF THE WEEK : RETURN OF VICTORIA’S GOVENOR : WELCOME TO LORD AND LADY STRADBROKE. (1923, 27 October). Weekly Times (Melbourne, Vic. : 1869 – 1954), 5. http://nla.gov.au/nla.news-article223834954
Old Timer. (1927, 28 January). MALVERN CITY BRASS BAND : Question of Council Support. : To the Editor. Prahran Telegraph (Vic. : 1889 – 1930), 5. http://nla.gov.au/nla.news-article165187957
Shire Council Promptly Despatches Business : Walpeup Councillors Make Important Decisions : HELP FOR OUYEN BATHS AND RECREATION OVAL SCHEMES : . (1937, 12 May). Ouyen Mail (Vic. : 1915 – 1918, 1931 – 1941), 6. http://nla.gov.au/nla.news-article255689463
The Victorian Bandmasters’ Association, approx. 1931 (Source: Victorian Bands’ League Archives)
Introduction:
There is no doubting that any band requires leadership and that the leaders of bands, whether they be musical – conductors/bandmasters, and Drum Majors – or in administration, require a set of qualities that are different from other band members. This has been the case in our band movement from almost the beginning and many musicians have aspired to be in such leadership roles. Often, they have succeeded. At times, the needs of the band have not been met. There is no doubting that these roles require lots of hard work and skill, not only as a leader but also as a musician.
We will see some criticisms from the great British band adjudicators who nearly always had plenty to say. Of course, we know that many Australian band conductors of the past were very highly regarded, but that fact was sometimes ignored by our British counterparts. However, given this post will touch on some controversial histories of Australia’s band movement, we will probably end up with more questions than answers.
Whatever we do in the band movement has some basis in history and tradition. There are three aspects to this post that will provide some context and history. Firstly, we will see some of the problems that existed in bands regarding musical leadership, mainly seen through the eyes of eminent band personalities. The second part of this post will talk about the interesting status quo of recruiting conductors who just happened to be Cornet players as well. In the third part of this post there will be an examination of possible solutions to musical training and knowledge, which was the cause of much hand wringing for many decades – good intentions were expressed, except many of these good intentions failed to come to fruition.
The problems at hand:
In 1902/03, Scottish band conductor and adjudicator James Ord Hume visited Australia and New Zealand to adjudicate at many Eisteddfods, and through this visit he imparted his knowledge and opinions whenever he had an opportunity. This visit, and his subsequent visit in 1924 were detailed in a previous post (de Korte, 2021). The influence he had on Australian bands, in conjunction with the tours by the Besses o’ th’ Barn Band, was profound and he noted as much when he visited again in 1924. In deference to the topic of this post however, his early impression of Australian bands was that they lacked “tuition”, and this he put down to the knowledge of the conductor – “…here it seems to be ‘Australia for the Australians,’ and that will not do in music at any rate” (“MR. J. ORD HUME.,” 1903). James Ord Hume was noted for the forthright nature of his comments (Thirst, 2006).
Did James Ord Hume have a valid point? He provided comment in 1902/03 when the Australian band movement was essentially at the start of rapid development. Perhaps he was laying a foundation for Australian bands to build on, rather than direct criticism. However, we cannot treat this as a purely isolated observation as other band identities, some of them visitors from the United Kingdom, made similar comments over time. In a wide-ranging interview published in the Australian Star newspaper in 1908, “Mr William Short, chief trumpeter in the private band of King Edward” had plenty to say regarding Australian bands and what conductors should be focusing on (“AUSTRALIAN BANDS,” 1908).
Your bands are badly in need of good tuition. Bands should play like one man. They should be taught by men who have a practical knowledge of the various instruments and a large experience. […] The bands in Australia want polishing up. One or two are really good and the others are mediocre. Teaching is everything. The conductor should insist on having complete charge of the band. He should not let anything slip. Some of the bands I have heard have very much the appearance of being under divided control.
Autograph of William Short, L.R.A.M., found in the autograph book belonging to Charles McKenzie Walker, 1908. (Source: Lockie Cresswell, grand nephew of William Short)
Now, perhaps this was a little unfair given the times, but again, like the comments from James Ord Hume, not unwarranted and it reflects the leadership situation in the Australian band movement at the time.
It must be noted that the tuition of bandsmen and bandmasters was a pet topic for Mr. Ord Hume and in 1909, an article written for the British Bandsmen magazine was reprinted in The Cairns Post newspaper (Ord Hume, 1909). For the sake of brevity, his words on tuition will not be directly quoted however there are some aspects of his article that are pertinent to the next section – the article can be accessed by the link on the citation.
When James Ord Hume visited Adelaide in October 1924 during his travels across Australia from Ballarat to Western Australia (and then back to England), he was interviewed by The Advertiser newspaper where he made some interesting observations. Generally, he was in praise of the rise in standards. However, he tempered this with some other pointed remarks about bands and conductors.
The chief fault in Australia in the lower sections he found was the lack of proper tuition. However enthusiastic a bandmaster might be, the lack of that particular tuition was keenly felt. Some of the bands in that section he had heard had no interpretative ability whatever. They were very enthusiastic, but were led by bandmasters who themselves should have had better tuition. That was a fault which should be remedied by the associations, which, to the best of his knowledge, did not permit others than bandmasters to train or conduct the bands. […] One band in particular played so poorly that he felt sorry for the bandsmen, who, in his opinion, were led like lost sheep. He felt inclined to go up and ask the bandmaster if he might be permitted to conduct those selections again, even without a rehearsal, to show what the bandsmen could really do. They lacked tuition, and that was the whole trouble.
(Foote) The News, 01/04/1925, p. 1. (Madge) The News, 23/01/1925, p. 10. (Levy) The News, 09/04/1925, p. 1.
Evidently, after James Ord Hume arrived back in England, he made some further remarks in relation to Australian bands, which touched off a war of words, most notably between several South Australian band identities. First was Mr. William Foote, then bandmaster of the Adelaide Tramways Band where he quoted some of Mr. Ord Hume’s words in an article published by The News newspaper in early June 1925. Mr. Foote stated,
It is the truth. In saying that the bands are more advanced than the bandmasters he has put his finger on the root of the trouble.” said Mr. W. H. Foote, A.R.C.M. speaking of the criticism against Australian bands by Lieut. J. Ord Hume.
[…]
“We have the musicians, but we lack the men to direct them.” Mr. Foote concluded. “The ‘painfully correct’ playing of which Lieut. Ord Hume complains is the direct result of the bandmasters’ want of artistry and skill.”
Mr. Foote was an ex-military bandsman from England with a high degree of orchestral training and he was brought out to work with the Adelaide Conservatorium and the Adelaide Orchestra. He was appointed conductor of the Adelaide Tramways Band in 1922 upon the resignation of Mr. Christopher Smith (“AN ENTHUSIASTIC MUSICIAN,” 1921; “NEW DIRECTOR FOR TRAMWAYS BAND.,” 1922).
In the same article that quoted Mr. Foote, Mr. W. Levy, then President of the South Australian Band Association (SABA), also supported Mr. Ord Hume’s remarks.
He is correct so far as the conductors are concerned,” he said, “and through there are some fine bandmasters, here there are many who can only bring a band up to a certain standard. […] Lieut. Ord Hume is one of the leading authorities on bands in the world, and his remarks should be treated with respect.
Almost immediately there was reaction from another member of the South Australian band community. Two days later, a letter was sent to The News newspaper by Mr. C. J. Madge, bandmaster of the Unley Municipal Band where he was very critical of the attitudes of Mr. Ord Hume, Mr. Foote, and Mr. Levy.
…the latest statement of Mr. Foote, in which he criticises the ability of our present conductors, is an insult to the intelligence of a body of men who are freely giving of their best in the interests of bands in Australia. The painfully correct playing of which Mr. Ord Hume and Mr. Foote complain was the playing that carried the Newcastle Steelworks Band ahead of the best bands that Britain and her conductors could produce. But Mr. Hume went farther, and stated that that there were even better bands in Australian than that at Newcastle. These better bands are conducted by Australian conductors whom Mr. Foote characterises as leading bands which only muddle along.
The remarks of Mr. W. Levy (president of the Bands Association) also call for comment. It is hard to credit that the president of the bands criticises the men who work for practically no or little remuneration. Certainly the conductors can improve, and from what we say of Mr. Ord Hume, while in Adelaide he, too, is not infallible, but it was hardly expected that our president would criticise bandmasters, and thus probably sow the first seeds of dissatisfaction in the bands he professes to cherish.
The colloquially titled letter writer, ‘Dulcet’ chimed in with a smaller letter published on the same day as Mr. Madge’s letter which suggested that Mr. Ord Hume “adapted his criticisms to suit various audiences” (Dulcet, 1925) – Mr. Ord Hume apparently said one thing in Australia and then upon returning to England he contradicted previous words – which may or may not be true – people had their opinions.
A day later after Mr. Madge’s letter had been published, Mr. W. Levy, wrote his own letter to clarify his previous comments and refute Mr. Madge.
It is not my intention to enter on a newspaper controversy, but I cannot allow to pass unnoticed the comment of Mr. C. J. Madge in regard to myself. When I expressed my opinion respecting Mr. Ord Hume’s remarks on bands and conductors in Australia my intention was not to criticise “the men who work for practically no or little remuneration.” I simply stated a fact as it presents itself to me, and shall indeed be sorry if the opinion expressed “sows the first seed of dissatisfaction in the bands I profess to cherish.
Unfortunately, the truth is hurtful at times, but one must sometimes be “cruel to be kind.” No one more than myself holds conductors and bandsmen in higher regard, or recognizes to the full the amount of hard work and sacrifices entailed by these men. Yet I cannot hide the fact that there are bandmasters who, unfortunately, for the bands concerned, have their limitations. They work hard and conscientiously unto their limit.
It was all very well and good for Mr. Levy to make these comments in his letter, and to try to clarify his attitudes towards band conductors. There is no doubting that he was trying to do the best he could for the band community. Certainly, Mr. Ord. Hume was a highly respected band authority. Maybe his remarks were taken out of context and misinterpreted by Mr. Foote and Mr. Levy…?
Some days later, another letter from Mr. A. B. Michell, Honorary Secretary of The Mitcham Band was published in The News newspaper where he took apart Mr. Ord Hume’s remarks.
Lieut. J. Ord Hume states that “Australian bands are ahead of their bandmasters,” but he does not say in what particular. Then he declares that “professional conductors are a necessity for the improvement of Australian bands.” This seems ridiculous when the population of Australia is compared to that of Britain. And you can count on ten fingers all the first-class all the first-class English bandmasters.
…and muddying the waters even more, Mr. Michell wrote,
I was surprised to learn of Mr. Foote supporting the statements of Mr. Hume because on one occasion when I spoke to him of Mr. Ord Hume, Mr. Foote said that he did not know of him in the musical world at home.
One wonders what the public thought of these exchanges.
In concluding this section, we can see some valid points come across. Firstly, the opinions of renowned bandsmen did not truly reflect or understand the Australian context. No doubt these visiting bandsmen meant well and tried to support the local band movement as best they could, however, their opinions did cause some controversy. Secondly, Australian bandmasters needed proper training to become bandmasters. The bandmasters needed to know more than just conducting, they needed to be musicians and teachers, and this will be partly explored in the next section. Thirdly, it was all very well saying tuition was the key, and the people that said this were probably correct. If tuition is the key, then the solution of setting up training programs is obvious, and it was. Except, as we will see in the third section of this post, that was easier said than done.
WANTED, CONTEST BANDMASTER. Cornet-Player preferred. Boulder City Band. Salary £5 per week. We have a good Band, 26 members, full instrumentation. Apply early. JAS. HARRIS, Sec., Box 19, Boulder, W.A.
If we were to read the many articles surrounding the bandmasters of old, we would see some common threads. One thread is that for the smaller bands and mainly country bands, the bandmaster they gained was most often a local music teacher who possibly had some knowledge of brass instruments. Mr. E. H. McKee, newly appointed bandmaster of the Port Macquarie Band in 1919 was a prime example. He was reputed to be able to play almost all instruments and was essentially a teacher of “violin, piano, banjo” (no mention of his brass playing credentials) – however, he was certified from Trinity College London (“New Bandmaster.,” 1919). There were many others like Mr. McKee.
The other common thread was that the bandmaster was a highly credentialed and trained Cornet player that had climbed the ranks of the brass band movement and was then encouraged or assumed the role of bandmaster. Some of them were legendary musicians. One can see by the photo of the Victorian Bandmasters’ Association at the top of this post that these musicians were the very pinnacle of bandsmen. They were also very fine conductors and adjudicators (de Korte, 2020a). So, within the band movement at the time, when it came to the appointing of new bandmasters, the preference was to gain a person who was also a Cornet player – the advertisements of the time which can be viewed through this section attest to this practice.
However, this was problematic, and it drew criticism. In 1908 an article was published in The Age newspaper outlining what it would take to improve band music. The author touched on many aspects, but one that stood out was tuition of bandsmen and bandmasters. There were some quite pointed words.
Our bandsmen, save in some isolated instances, seldom achieve real mastery, not because they lack ability or the necessary perseverance, but because they get too little tuition. What is more hampering, the tuition is not always of the best. Most of it is done by the bandmasters, and these, putting aside one or two who can be credited with good work, are mostly unequal to the task. They are as a rule cornet players, and their proficiency in this respect is supposed to give them the wherewithal to train recruits in the use of the saxhorn, the euphonium, the trombone, and what not.
This may have been a very Australian way of doing things (and we can draw from Mr. Ord Hume’s remarks in 1902/03 about just how the Australian band movement tended to have its own way of operating). As mentioned, James Ord Hume wrote a long article for The British Bandsmen in 1909 and the Cairns Post newspaper reprinted this article. It was not specifically directed at Australian bands. Although, we can see in his writing some indirect criticisms that would be applicable to Australian bands as evidently, some English bands were also appointing bandmasters who were Cornet players.
One of the members generally one who can blow a cornet, is the lucky choice as the bandmaster, regardless of his experiences or capability as a teacher, as long as he is good hard blower of the cornet.
[…]
No man appreciates the artistic cornet playing teacher better than I do. I consider that an artiste upon his instrument is the very best instructor. It is not to this class of cornet player I refer to but to the band that is continually advertising for a bandmaster – “cornet player preferred.” Why does this band not advertise honestly for a cornet player and have done with it? It is in such matters as this that ruination gradually comes in. The best instrumentalists are not necessarily the best teachers, and more than the best teachers should be also artists and instrumentalists.
He wrote further in this article on the problems of tuition (it was one of his favourite topics after all) and there is much to be taken from this article. But this did not end the criticism of the Australian band movement when it came to employing bandmasters. Many years later in 1932, a Mr. Frederick J. Nott, teacher of “organ trumpet, harmony, counterpoint and composition” at the Melbourne Conservatorium was interviewed by The Mercury newspaper when he was holidaying in Hobart in 1932 (“MUSIC AND MUSICIANS,” 1932). He was not a stranger to bands having played in A.I.F. bands and he understood the band movements in Britain and Australia. He had a bit to say about the training and qualifications of Australian band conductors.
Reacting to the suggestion that more musicianly conductors would make a vast different to bands, Mr. Nott said: “Yes, the mistake is often made of appointing a man as bandmaster because he is a good cornet-player. The proper place of such a man is as solo-performer, not as conductor. The ideal conductor is a thoroughly trained musician, and, let me add, he should, if possible, have a practical knowledge of every instrument in the band. A trained musician will not allow those crudities of interpretation to pass that are often heard from bands under the beat of solo-cornetists. […] In Australia on the other hand, a man who can play his cornet with a good tone and fair execution, without being able to explain the simplest problems in theoretical music, is considered a fit person to train and conduct a band. This, of course, is all wrong. It would be far better to get a trained musician as conductor, even if he could not play, as long as he understood the principles and the technique of the instruments.
We can see the pattern of what Mr. Nott was describing simply through the many advertisements, so it is no surprise that he was criticising the fact that many band conductors in Australia had gained their position because they were Cornet players who just happened to be bandmasters as well, or vice versa. Bearing in mind that this was some years after the comments from Mr. Ord Hume which is telling; it means that Australian bands were still hidebound by a practice of employing Cornetist-Bandmasters who may or may not have been good musicians. Again, it signifies that training specifically designed for bandmasters was not available at the time, there was no Australian Band & Orchestra Director’s Association for example, nor were there the courses (ABODA Victoria, 2018). So, in a sense, it wasn’t the fault of the Australian band movement that they kept to the status quo for so many years – there was no alternative.
Regarding the points made about the musical knowledge of conductors at the time, there were some interesting stories about conductors who prided themselves and were very confident about their abilities as conductors. Once instance was in 1914 when the then conductor of the Wagga Town Band, Mr. W. G. Philpott took umbrage to malicious rumours that had been circulating about him – “Old Philpott and his mob” (and other rumours about drinking) – so he issued a challenge to Mr. A. Long, conductor of the Junee Municipal Band which was republished in various regional newspapers (“Bandmaster’s Challenge.,” 1914).
I, the undersigned, hereby challenge Mr. A. Long bandmaster, or prospective bandmaster of the Junee Municipal Band, to compete against me for a knowledge of the science of music, from the most elementary rudiments to the highest branches of theory, harmony, counterpoint, and fugue composition, and instrumentation; […] I also challenge Mr. Long to compete against me as a bandmaster for a knowledge of the acoustic properties of all brass band instruments and scientific tuning, band training and conducting.
There was more to this challenge including getting the bands to face off against each other. It is interesting that the very facets of musical knowledge that Mr. Philpott is using as a challenge are the streams of knowledge that Mr. Ord Hume and others are saying that several Australian bandmasters lack. Perhaps they were right, and Mr. Philpott was an exception. Further to this little story, this was all there was in the papers about this. The challenge was issued but it appears there were no further developments.
The Longreach Town Band marching band in a procession to the Railway Station, leaving for Townsville to compete in the band contests at Easter, 1928. (Source: State Library of Queensland: 167364)
Bandmasters came to bands with a range of experiences and qualifications. So what were bands after, aside from the seemingly obligatory cornetist? Let us look to the Longreach Town Band where in 1928 they undertook a search for a new bandmaster. They presented a rationale for this decision which was at the head of a long article published in The Longreach Leader newspaper in June 1928.
At a meeting of the committee of the Longreach Town Band on Monday the terms under which the present Bandmaster (Mr. F. Affoo) was employed were fully discussed, and it was eventually decided that he could not be re-engaged under his terms, and applications are to be called through the Press for a new Bandmaster.
The experience of the Longreach Town Band is actually a very useful case study as a month later, another article was published in The Longreach Leader newspaper which detailed some of the discussion of the committee and it detailed the qualifications and experience of all fifteen applicants. There were some interesting points of view from the committee.
Mr. Cullimore contended that the first point to consider was the musical ability of the man they wanted and then the finance unless they got a good man it was certain they would not get the public support.
Mr. J. Coates did not agree; he thought the first and vital point to consider was finance, with musical ability next. The Band was not in the fortunate position of the Longreach Football League who received big gates for their matches. The Band had to depend upon money from concerts.
Mr. Browne disagreed with Mr. Coates. For a little extra money that might be involved a good man would be far more satisfactory to the Band and the public; the public would support the band for a fist class man but not for a conductor that was no good.
From looking through the applications of the fifteen bandsmen who applied for the Bandmaster position at Longreach, we can see some patterns emerge.
Twelve out the fifteen were already conductors of bands with two of them having the additional experience of having conducted an orchestra and a choir. The other three had no conducting experience with one of those three a Mr. Alf Cereso of Red Hill, Brisbane only stating that he had “wide experience in concert work.”
Eight of the applicants were Cornet players, some of whom listed their competition successes, others who just listed that they had fulfilled the role of Solo or Soprano Cornetists with various bands. Five did not list which instrument they played. Unusually for an application to become a bandmaster, Mr. A. E. Gallagher from Wallsend, N.S.W. proudly noted that he had been the Solo Euphonium and Baritone of the Newcastle Steelworks Band on their tour to England – but he had no conducting experience.
Another interesting pattern can be observed from these applications. Several of the bandsmen who applied listed that they had been part of many bands in the past, either as a player or conductor. We might call these bandsmen, ‘Journeyman Bandsmen’. In a measure of where these bandsmen had been, eleven had experiences in multiple bands. Out of those eleven, four had experiences with bands in other countries – two of them in New Zealand and two in England. And out of those eleven, most had experience from interstate bands with Victoria and New South Wales being most prominent. Some of the bands from interstate were impressive – Mr. V. Braddock (Warragul, Victoria) had played Cornet with the Malvern Tramways Band on their tour to New Zealand, Mr. F. A. Nicholls (Nundah) had once played professional cornet with the Geelong Harbour Trust Recreation Band Club, and it has been mentioned re Mr. A. E. Gallagher who had played Euphonium and Baritone with the Newcastle Steelworks Band. And some of these applicants claimed military band experience as well.
The band had to make a choice, and this was detailed near the end of the article.
After considerable discussion it was decided that Arthur J. Rees’ application should be accepted (terms £2/10/ weekly, with position, or £5 a week until a position could be secured for him.)
Mr. Fred Wedd, Innisfail was second choice, and Mr. Geo. B. Shakespeare (Longreach) was third choice.
The application from Mr. Rees had been quite detailed.
Over 40 years of age, with more than 20 years experience as player and conductor of contesting bands at Home (England), and also several years experience as conductor of male choirs; in Australia six months: at present conductor of Parkes Band, which position he secured out of 17 applications; but was desirous of leaving because employment could not be found for him; started a band of learners at Parkes (19 strong), and about September or October next expected his two sons (17 and 19 respectively) from England, who were good solo cornetists at present playing for T. J. Rees, the well-known conductor of South Wales; these boys would be brought to Longreach if positions could be found for them later on; he was receiving £2/10/ – at Parkes.
Employment outside of the band was a contributing, and necessary factor in these times. A previous post about Australian bands during the Great Depression touched on the issues regarding bandsmen being employed in and around where bands were located (de Korte, 2020b).
There is much we can take from this section regarding the qualifications and experience of bandmasters, and the fact that bands wanted bandmasters who were skilled Cornet players. Clearly, some disagreed with this practice, and they had their reasons. While some Bandmasters were very experienced, it could be argued bandmasters on a whole needed some real training specific to their position. This will be detailed in the next section.
To conclude, bandmasters were revered by many. In October 1908, an impassioned letter was published in The Ballarat Star newspaper asking municipal authorities to do what they could so that Mr. Albert Wade, then conductor of the Ballarat City Band, might stay in Ballarat. The letter was countersigned by many of the leading musical figures in Ballarat led by Mr. Fred Sutton (Sutton et al., 1908).
This section will examine the crux of the issues outlined in the first two sections, that of actual training for bandmasters. Over the course of fifty years, many plans were put forward to provide training to bandmasters as it was perceived, and in some cases demonstrated, that bandmasters lacked proper training which was applicable to their positions. However, this was where band associations and conservatoriums could have been more proactive. The evidence shows that many plans were put forward to train bandmasters. The evidence also shows that none of these plans came to be. This is not to say that some of the training bandmasters were receiving through their experiences in bands was wholly bad as there were some legendary conductors coming through. But overall, it could have been much better.
It must be recognized that many Australian bandmasters did not have the support of their local towns to send them overseas for more musical training, Percy Jones being a prime example as the city of Geelong paid for him to go to Europe to study (“BANDMASTER PERCY JONES.,” 1907). An Australian system had to be found.
In the second section, an article on improving band music published in The Age newspaper was quoted with the author making some pertinent points. The author also suggested some solutions regarding training.
England has its Kneller Hall, where bandsmen are trained in all that appertains to their work; other countries have similar institutions. Why not Australia? Here, if following the English model, bandsmen – training as professionals – could be taught music on the best academic lines, and these would be the men who would act the standard of band cultures throughout the country. No very large amount would be required, and if the band associations move in the matter there seems no reason why a workable scheme should not take shape.
There are a few things to unpack out of this paragraph that provide some context. One is the issue of tuition for bandmasters. Fair enough, they probably should have more knowledge to do their jobs and a school for bandmasters would probably be useful. But setting up an institution like the famed Kneller Hall in Australia purely for the training of largely amateur bandmasters was probably a bit too much. It was not the first time Kneller Hall would be mentioned in connection with these plans.
Mr. Henri Verbrugghen was a superb Belgian violinist and down-to-earth musician who was chosen to become the foundation head of the new N.S.W. Conservatorium of Music in 1915 (Carmody, 2006). By all accounts, he was a truly great teacher and administrator, and he recognized that musical training should be open to all. He also knew that there were many genres of music that people participated in, and he wanted to offer courses at the Conservatorium that would cater for all kinds of musicians, including those who were part of the brass band movement.
To this end special provision is to be made for the formation of a school of brass and military band instrumentation in the Conservatorium. Classes for the teaching of all a well-equipped bandmaster ought to know will be formed, and those who direct or intend to direct bands will be given every opportunity for perfecting themselves in the art of conducting. […] The scheme will take a little time to perfect, but the director is confident that if sufficient brass and reed students present themselves there will be no difficulty in finding the instructors among our local professional ranks.
This was very forward thinking by Mr. Verbrugghen, especially when considering the local conditions at the time. What is not apparent is whether these classes were fully introduced – it would have been transformative if they had gone ahead. In saying so, he respected the band movement. He adjudicated at the South Street Eisteddfod in 1921 where he was very impressed with the playing of the brass bands (“HENRI VERBRUGGHEN ON BRASS BANDS.,” 1921). So much so, that after South Street had concluded, he invited the Malvern Tramways Band to perform with his own orchestra, a fine compliment paid to this band (“MUSIC.,” 1921).
Postcard: Conservatorium of Music, Sydney N.S.W. (Source: Jeremy de Korte personal collection)
In the 1930s, a flurry of articles was published in Tasmania and Queensland newspapers advocating for institutions to be set up specifically for the training of bandsmen and band conductors. Again, had these plans been carried beyond the talking stage then they would have made a difference. Unfortunately, none of them did. We see that in 1933 that comments were made by music critic Mr. F. Bonavia where he thought that conducting classes at music festivals might be a good idea, however, he acknowledged that a few weeks of teaching would not be long enough (“Amateur Conductors.,” 1933).
1934 saw the official launch of the Australian Band Council. This was covered in a previous post, but one item that was mentioned was the setting up of a “school of band music, on lines similar to the Knellar Hall in England.” (de Korte, 2019; “HALL OF BAND MUSIC,” 1934). A fine idea, but it was an idea that was subsequently dropped due to expense (“BAND CHAMPIONSHIPS,” 1934).
The Mercury newspaper published an interesting article in 1934 where, again, the need for training conductors was highlighted, especially in the band movement. This was the year that Capt. Adkins was taking the A.B.C. Military Band on tour around the country, and he was interviewed by various newspaper around the country. The Mercury quoted and summarised Mr. Thorold Waters who had penned an article in the Australian Musical News.
Mr. Waters adds that as far as anyone seems to be aware there is not in the whole Commonwealth any place or man to whom the student might turn for lesson in conducting. He stresses the urgent need to founding a school for conductors – not necessarily an institution as complete as Kneller Hall – but one where the bad fashions of conducting rife in Australia could be altered at small cost.
This is probably the most useful statement on setting up a conducting school as it clearly says that a school is necessary, but it did not have to be like Kneller Hall of which so many writers and other administrators thought was needed for Australian bandmasters.
In a final word from these fifty years of plans and ideas, Mr. D. T. Beston, Secretary of the Australian Bands’ Council, suggested that “Tasmania should open up new fields for training bandsmen” – whatever this means (“TRAINING FOR BANDSMEN,” 1949).
Fifty years of plans with nothing much to show for it. Thankfully, in recent times, the training of conductors has become fully ingrained with the Conservatoriums and we have professional associations like ABODA to provide specific courses (ABODA Victoria, 2018).
Conclusion:
There is no doubting that these three intertwined issues surrounding the training and qualifications of Australian bandmasters were complex, opinionated, fractured and not very forthcoming. And history has not been kind. Why would it be? The Australian band movement faced an amount of criticism by those who did not really understand the Australian context or needs of Australian bands and bandmasters. It was not the fault of the Australian band movement that some conditions, like the employment of Cornetist-Bandmasters was kept up for so many years in the face of no other option. These ‘critics’ ignored the significant achievements of Australian bands at home and abroad.
Certainly, if the band associations and conservatoriums had worked to provide more training for bandmasters, a difference could have been made. The musical leaders of the time probably felt let down. But they persevered, and many of our bands survived. The Australian band conductors of the past, present and future should be congratulated for their work.
AUSTRALIAN BANDS : Lack Good Conductors : SAYS THE KING’S TRUMPETER. (1908, 13 November). Australian Star (Sydney, NSW : 1887 – 1909), 2. http://nla.gov.au/nla.news-article229091651
CROTCHETS AND QUAVERS : CONSERVATORIUM PROGRESS : MILITARY BAND SCHOOL : THE MELBOURNE RECITAL. (1915, 17 October). Sun (Sydney, NSW : 1910 – 1954), 22. http://nla.gov.au/nla.news-article221915763
A GREAT BANDMASTER : LIETENANT J. ORD HUME IN ADELAIDE : AUSTRALIAN BANDSMEN PRAISED. (1924, 30 October). Advertiser (Adelaide, SA : 1889 – 1931), 10. http://nla.gov.au/nla.news-article73434557
LONGREACH TOWN BAND : FULL DISCUSSION ON BANDMASTER’S POSITION : APPLICATIONS TO BE CALLED FOR BANDMASTER. (1928, 15 June). Longreach Leader (Qld. : 1923 – 1954), 12. http://nla.gov.au/nla.news-article37342371
MR. J. ORD HUME : AN INTERESTING INTERVIEW : WHAT AUSTRALIAN BANDS LACK. (1903, 25 February). Ballarat Star (Vic. : 1865 – 1924), 3. http://nla.gov.au/nla.news-article208462723
Musical band procession in Longreach, 1928. (1928). [photographic print : black & white]. [167364]. Brisbane John Oxley Library, State Library of Queensland, Queensland. https://hdl.handle.net/10462/deriv/132618
The Newly Formed Victorian Bandmasters’ Association. (1931). In S6.3.1 – Album Projects (Photocopies) (Photocopies of printed photographs ed., Vol. Album 3). Victoria: Victorian Bands’ League Archive.
Ord Hume, J. (1909, 04 November). Training a Bandsman : THE AFTER EFFECTS OF POOR TUITION : (By Mr. J. Ord Hume, in “The British Bandsman.”). Cairns Post (Qld. : 1909 – 1954), 7. http://nla.gov.au/nla.news-article39381330
Sutton, F., Gude, W., Opie, T., West, H., Mooney, J. T., Eyres, C., Bailey, J. C., Boustead, W. M., Hautrie West, W., & Herbert, G. (1908, 27 October). CORRESPONDENCE : THE CITY BANDMASTER : To The Editor of ‘The Star’. Ballarat Star (Vic. : 1865 – 1924), 1. http://nla.gov.au/nla.news-article218563934
Thirst, T. (2006). James Ord Hume 1864-1932 : a friend to all bandsmen : an account of his life and music. Timothy Thirst.
Band Blasts from the Past 