New Zealand – Band Blasts from the Past

A pastime with a purpose: band music in our institutions and the fourth prison band in the world.

April 23, 2023April 25, 2023 Jeremy de KorteLeave a comment

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.
(Hotson in “Sunday Night Meeting AT THE SOCIALIST HALL,” 1920)

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.
(Adey in Victoria. Lunacy Department, 1927b, p. 19)

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.
(Hardy, 2019)

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.”
(MacKinnon, 2000, p. 43)

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.
(MacKinnon, 2009, p. 128)

She further writes that,

…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.”
(MacKinnon, 2009, p. 134 & 145)

The presence and performances of bands in these kinds of institutions was very important to the well-being of patients and staff.

The bands:

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).

The Lakes Creek Brass Band, 1909. (source: IBEW)

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.
(Assistant Needlewoman, 1886)

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.
(Benvolio, 1890)

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.
(“A NEW PENTRIDGE.,” 1923)

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.
(Young, 1921)

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 of 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.
(“PIANO FOR PENTRIDGE,” 1922)

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 The Herald 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.
(“PRISON DE LUXE,” 1923)

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.
(“MR. CONDER.,” 1923)

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.”
(No. —, 1924)

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.
(“GAOL MUSIC DERBY,” 1935)

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

ASYLUM INMATES ENTERTAINED. (1917, 05 February). Herald (Melbourne, Vic. : 1861 – 1954), 6. http://nla.gov.au/nla.news-article242459034

BANDS’ VISITING DAY. (1938, 19 December). Press,13. https://paperspast.natlib.govt.nz/newspapers/CHP19381219.2.115

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

BOYS’ BAND. (1928, 20 April 1928). Frankston and Somerville Standard (Vic. : 1921 – 1939), 4. http://nla.gov.au/nla.news-article74994629

Buckrich, J. R. (2004). Lighthouse on the boulevard : a history of the Royal Victorian Institute for the Blind, 1866-2004. Australian Scholarly Publishing.

CONCERT BY WESTMEAD ORPHANAGE BOYS’ BAND. (1936, 30 October). Southern Cross (Adelaide, SA : 1889 – 1954), 10. http://nla.gov.au/nla.news-article167081032

Conder, W. T. (1926, 06 February). One Year of Broadcasting. Herald (Melbourne, Vic. : 1861 – 1954), 17. http://nla.gov.au/nla.news-article244058874

Cremona. (1923, 02 April). MUSIC AND MUSICIANS : CURRENT GOSSIP. Herald (Melbourne, Vic. : 1861 – 1954), 6. http://nla.gov.au/nla.news-article243801873

Davies, S. A. (2005). One thousand white onions : a history of caring for children from 1865. Menzies.

de Korte, J. D. (2018, 22 April). Early female brass bands in Australia: they were rare but they made their mark. Band Blasts from the Past : Anecdotes, Stories and Personalities. https://bandblastsfromthepast.blog/2018/04/22/early-female-brass-bands-in-australia-they-were-rare-but-they-made-their-mark/

DEAF AND DUMB INSTITUTE AND BLIND ASYLUM. (1874, 18 December). Age (Melbourne, Vic. : 1854 – 1954), 3. http://nla.gov.au/nla.news-article201534539

ESCAPE FROM A LUNATIC ASYLUM. (1904, 15 August). Daily Telegraph (Sydney, NSW : 1883 – 1930), 7. http://nla.gov.au/nla.news-article236885955

FAREWELL TO PRISON BAND CONDUCTOR. (1938, 17 January). Herald (Melbourne, Vic. : 1861 – 1954), 11. http://nla.gov.au/nla.news-article244947562

GAOL MUSIC. (1923, 22 September). Mirror (Perth, WA : 1921 – 1956), 2. http://nla.gov.au/nla.news-article77760324

GAOL MUSIC DERBY. (1935, 20 June). Telegraph (Brisbane, Qld. : 1872 – 1947), 15. http://nla.gov.au/nla.news-article182259204

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

Hardy, A. (2019). “Islands of the Insane” – our records, perceptions and the lost voices from the ‘asylum’. Hunter Living Histories : University of Newcastle. https://hunterlivinghistories.com/2019/10/16/islands-insane/

HARMONY IN GAOL. (1951, 12 November). Herald (Melbourne, Vic. : 1861 – 1954), 5. http://nla.gov.au/nla.news-article247850691

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

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Training Bandmasters in the art of conducting: the problems, the status quo, and the plans

April 4, 2022July 18, 2022 Jeremy de Korte2 Comments

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.
(“AUSTRALIAN BANDS,” 1908)

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.
(“A GREAT BANDMASTER.,” 1924)

(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.”
(“BAND CONDUCTORS,” 1925)

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 find 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.
(“BAND CONDUCTORS,” 1925)

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.
(Madge, 1925)

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.
(Levy, 1925)

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.
(Michell, 1925)

…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.
(Michell, 1925)

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.

The status quo:

WANTED, BANDMASTER, to teach WALCHA BAND. Must be a Cornet Player.Applications close 24/7/’08. H. DOAK, Secretary.
(Doak, 1908)

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.
(Harris, 1910)

Bandmaster / Cornetist:

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.
(“IMPROVEMENT OF BAND MUSIC.,” 1912)

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.
(Ord Hume, 1909)

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.
(“MUSIC AND MUSICIANS,” 1932)

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.

Qualifications:

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.
(Philpott in “Bandmaster’s Challenge.,” 1914)

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.
(“LONGREACH TOWN BAND.,” 1928)

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.
(“New Bandmaster for Longreach.,” 1928)

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.

(This data was summarised from “New Bandmaster for Longreach.,” 1928)

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.
(“New Bandmaster for Longreach.,” 1928)

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.
(“New Bandmaster for Longreach.,” 1928)

*The Sydney Morning Herald*, 28/11/1918, p. 12

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).

The many plans:

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.
(“IMPROVEMENT OF BAND MUSIC.,” 1912)

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.

*The Town and Country Journal*, 03/04/1918, p. 47

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.
(“CROTCHETS AND QUAVERS,” 1915)

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.
(“MUSIC AND MUSICIANS,” 1934)

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.

References:

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Advertising. (1914, 07 November). Daily Standard (Brisbane, Qld. : 1912 – 1936), 1. http://nla.gov.au/nla.news-article178849383

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Almond, H. C. (1916, 11 March). Advertising. St George Call (Kogarah, NSW : 1904 – 1957), 5. http://nla.gov.au/nla.news-article162766364

Amateur Conductors. (1933, 08 February). Mercury (Hobart, Tas. : 1860 – 1954), 11. http://nla.gov.au/nla.news-article24710870

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

BAND CHAMPIONSHIPS. (1934, 23 April). Courier-Mail (Brisbane, Qld. : 1933 – 1954), 16. http://nla.gov.au/nla.news-article1192269

BAND CONDUCTORS : Criticism Justified. (1925, 13 June). News (Adelaide, SA : 1923 – 1954), 6. http://nla.gov.au/nla.news-article129736006

BANDMASTER PERCY JONES. (1907, 30 November). Geelong Advertiser (Vic. : 1859 – 1929), 2. http://nla.gov.au/nla.news-article149219732

Bandmaster’s Challenge. (1914, 20 June). Armidale Chronicle (NSW : 1894 – 1929), 2. http://nla.gov.au/nla.news-article187607478

Carmody, J. (2006). Verbrugghen, Henri Adrien Marie (1873-1934). In Australian Dictionary of Biography. Retrieved 29 December 2021, from https://adb.anu.edu.au/biography/verbrugghen-henri-adrien-marie-8913

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

de Korte, J. D. (2019, 05 June). Finding National consensus: how State band associations started working with each other. Band Blasts from the Past : Anecdotes, Stories and Personalities. https://bandblastsfromthepast.blog/2019/06/05/finding-national-consensus-how-state-band-associations-started-working-with-each-other/

de Korte, J. D. (2020a, 21 May). Choosing music and grading bands: The unenviable tasks of band associations and their music advisory boards. Band Blasts from the Past : Anecdotes, Stories and Personalities. https://bandblastsfromthepast.blog/2020/05/21/choosing-music-and-grading-bands-the-unenviable-tasks-of-band-associations-and-their-music-advisory-boards/

de Korte, J. D. (2020b, 18 October). Testing times: the resilience of Australian bands during the Great Depression. Band Blasts from the Past : Anecdotes, Stories and Personalities. https://bandblastsfromthepast.blog/2020/10/18/testing-times-the-resilience-of-australian-bands-during-the-great-depression/

de Korte, J. D. (2021, 16 February). Influences from Britain: James Ord Hume and “The Besses Effect”. Band Blasts from the Past : Anecdotes, Stories and Personalities. https://bandblastsfromthepast.blog/2021/02/16/influences-from-britain-james-ord-hume-and-the-besses-effect/

Doak, H. (1908, 24 July). Advertising. Daily Telegraph (Sydney, NSW : 1883 – 1930), 3. http://nla.gov.au/nla.news-article238170790

Dulcet. (1925, 15 June). Band Conductors. News (Adelaide, SA : 1923 – 1954), 6. http://nla.gov.au/nla.news-article129734100

Elwin, G. B. (1913). Wanted [Advertisement]. The State Band News, 4(6), 21.

AN ENTHUSIASTIC MUSICIAN : Mr. W. H. Foote Interviewed. (1921, 16 March). Register (Adelaide, SA : 1901 – 1929), 7. http://nla.gov.au/nla.news-article63043619

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

Green, W. C. (1911, 23 March). Advertising. Examiner (Launceston, Tas. : 1900 – 1954), 7. http://nla.gov.au/nla.news-article50467046

HALL OF BAND MUSIC : Australian Proposal. (1934, 05 April). Central Queensland Herald (Rockhampton, Qld. : 1930 – 1956), 8. http://nla.gov.au/nla.news-article70310251

Harris, J. (1910, 08 November). Advertising. Daily Telegraph (Sydney, NSW : 1883 – 1930), 3. http://nla.gov.au/nla.news-article238666818

HENRI VERBRUGGHEN ON BRASS BANDS. (1921, 06 December). Toowoomba Chronicle (Qld. : 1917 – 1922), 4. http://nla.gov.au/nla.news-article253315624

IMPROVEMENT OF BAND MUSIC. (1912, 02 March). Age (Melbourne, Vic. : 1854 – 1954), 24. http://nla.gov.au/nla.news-article197401629

Levy, W. (1925, 16 June). Band Conductors. News (Adelaide, SA : 1923 – 1954), 6. http://nla.gov.au/nla.news-article129729171

LISTEN TO THE BAND! : Appeal by President : MORE PUBLIC SUPPORT NEEDED. (1925, 09 April). News (Adelaide, SA : 1923 – 1954), 1. http://nla.gov.au/nla.news-article129718612

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

Madge, C. J. (1925, 15 June). Band Conductors. News (Adelaide, SA : 1923 – 1954), 6. http://nla.gov.au/nla.news-article129734100

Michell, A. B. (1925, 29 June). Band Conductors. News (Adelaide, SA : 1923 – 1954), 6. http://nla.gov.au/nla.news-article129735730

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

Mr. Verbrugghen’s Return. (1918, 03 April). Australian Town and Country Journal (Sydney, NSW : 1870 – 1919), 47. http://nla.gov.au/nla.news-article263622163

MUSIC AND MUSICIANS : Mr. F. J. NOTT : Bands and Band Music. (1932, 23 November). Mercury (Hobart, Tas. : 1860 – 1954), 3. http://nla.gov.au/nla.news-article24688707

MUSIC AND MUSICIANS : SCHOOL FOR CONDUCTORS : Urgent Need. (1934, 14 March). Mercury (Hobart, Tas. : 1860 – 1954), 3. http://nla.gov.au/nla.news-article24918478

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

New Bandmaster. (1919, 18 January). Port Macquarie News and Hastings River Advocate (NSW : 1882 – 1950), 4. http://nla.gov.au/nla.news-article105147517

New Bandmaster for Longreach : CONDUCTOR OF PARKES BAND APPOINTED. (1928, 27 July). Longreach Leader (Qld. : 1923 – 1954), 21. http://nla.gov.au/nla.news-article37340861

NEW DIRECTOR FOR TRAMWAYS BAND : Mr. W. H. FOOTE APPOINTED. (1922, 18 February). Daily Herald (Adelaide, SA : 1910 – 1924), 7. http://nla.gov.au/nla.news-article106648236

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

PERSONAL. (1924, 04 October). Register (Adelaide, SA : 1901 – 1929), 8. http://nla.gov.au/nla.news-article57882534

Rose, G. (n.d.). Conservatorium of Music, Sydney, N.S.W. [Postcard]. [The Rose Series P. 5055]. Rose Post Cards, Armadale, Victoria.

SAVE THE BAND : VIEW OF MR. FOOTE : Corporation Levy Favored. (1925, 01 April). News (Adelaide, SA : 1923 – 1954), 1. http://nla.gov.au/nla.news-article129711540

Smith, A. (1907, 16 September). Advertising. Bunbury Herald (WA : 1892 – 1919), 3. http://nla.gov.au/nla.news-article87152593

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.

TRAINING FOR BANDSMEN. (1949, 03 November). Advocate (Burnie, Tas. : 1890 – 1954), 5. http://nla.gov.au/nla.news-article91771050

UNLEY MUNICIPAL BAND : Progressive and Ambitious : CREDIT TO CITY. (1925, 23 January). News (Adelaide, SA : 1923 – 1954), 10. http://nla.gov.au/nla.news-article129828551

Wales, N. S. (1918, 28 November). Advertising. Sydney Morning Herald (NSW : 1842 – 1954), 12. http://nla.gov.au/nla.news-article15813101

Earning points: proper deportment of band member’s

November 3, 2021 Jeremy de Korte1 Comment

Inspection of the B Grade Bands at the South Street Eisteddfod, 1949. (photograph of *The Courier* photograph taken by Jeremy de Korte on 30/09/2021)

Introduction:

The secretary will arrange for supply of Brasso etc. for polishing all instruments on the journey and the management committee will inspect the instruments from time to time. Members are asked to note that it is imperative to have hair cut very short (back and sides) and all wearing black shoes laced alike – with no tags showing.
(“Rules and Itinerary,” 1937)

If the above directive from the conductor and management of the Longreach Town Band seems a bit onerous, one could say it was a sign of the times. Except, this was not a sign of the times. It reflects the efforts that the band associations and individual bands went to ensure that all band members upheld the reputation of the movement. Which could be summarised as looking sharp and behaving properly according to a defined set of rules. Deportment of a band and band members was taken very seriously. Contemporary band members will relate to these concepts even now.

Deportment was regarded seriously enough that points were won and lost in various contests if there was any infraction of the contest rules. Inspection before the Quickstep section of a contest was part and parcel of the event, although some judges took it to extremes. Rules was generally standard and enforced by band associations. When a contest came down to mere points, the deportment of an individual mattered greatly.

In this post we will be exploring deportment in relation to the band movement and by default, the process of inspection and the governing rules. While we may not see exactly where these rules on deportment eventuated (or why) this aspect of the band movement is interesting. For a movement that prides itself on tradition, this is one tradition that holds true today.

Expectations:

Deportment can be literally defined as a “the way a person behaves” or “manner of bearing” (Cambridge English Dictionary, 2021). For a band member, their deportment was judged by everyone who looked at them, with perception of their behaviour judged by others. Throughout the newspaper articles that mention band competitions, or from some bands themselves, we can find references to deportment and the expectations that band associations and bands held for their members. Were band members expected to model higher standards of behaviour and dress than that of other people? If one were to believe the newspaper articles, then yes, they were seemingly held to higher standards. Hence, lists of competition rules were created that band members were expected to adhere to – these will be examined later in the post. Harking back to the expectations and standards the Longreach Town Band set for themselves, we find in the second-last paragraph of the article,

Win or lose, remember we are representing the far central west. Impress people with your good conduct. Be on the alert always to gain a point. No arguments, no bad feeling, plenty of rest, and the good comradeship element will go towards successes in this ambitious effort.
(“Rules and Itinerary,” 1937)

This is but one example of expectations that a band held for their members. Generally speaking, bands and band members were extremely well-behaved and dressed, and compliance with the many rules governing behaviour and dress were followed rigorously. However, that was not to say that there were other problems; bandsmen were people too. Digging deeper we find an article from 1911 where the Band Association New South Wales (BANSW) scolded the behaviour of bandsmen in a general way. This article published in the Daily Advertiser newspaper let everyone know that bandsmen were on notice – the start and end of the article are quoted here.

It is probably that the New South Wales Bands’ Association will take some action at an early date in the direction of impressing on bandsmen when visiting contests the advisability of being as circumspect in their deportment and behaviour as the average citizen is expected to be. On the march and when engage in the contest work, bandsmen as a rule are role models of discipline and behaviour.
[…]
It should be unnecessary for the Bands’ Association to have to prescribe a standard of conduct for bandsmen, but unfortunately the utter disregard for the feelings of others displayed by some few of the members of the numerous bands appears to render that course desirable.”
(“BANDMEN’S BEHAVIOR“, 1911)

This was not the first time and last time that the behavioural expectations of band members would be mentioned in print. The other side of this was a reminder to the public that band members were models of good behaviour, a way to promote bands as a very wholesome activity. Writing about the setting up of school bands in a 1929 issue of The Australasian Band and Orchestra News magazine, the Editor wrote,

As they advance in their studies, the boys are in all probability invited to practise with the senior bands in their districts. They become bandsmen, they find good occupation in their leisure, their minds are disciplined, and everyone knows that the good bandsman is never a bad citizen.
(“THE EDITOR’S BATON,” 1929)

A further reminder on deportment, this time to do with uniforms and dress, was issued by the Queensland Band Association in April 1930 when Mr. J. R. Foster (Secretary) was quoted in The Evening News newspaper, of which the article can be seen below.

Many of the issues surrounding deportment was seemingly applied to male band members. What of our female bands? We know that from a previous post there were very few of them around Australia, and when we do see mention of them, there is some indication that they also took the behaviour of their members quite seriously (de Korte, 2018a). The famous Sydney Ladies’ Band prided themselves on their behaviour and attitude. An article published by the Australian Women’s Weekly in 1938 detailed some of the behaviours that were frowned upon.

Boy-friends are not encouraged by the Band, because they would occupy valuable time that should be otherwise allotted to practice.
Married women are not accepted as members because their home ties distract them and they must ask their husbands’ permission to travel to country or interstate engagements.
(“SPINSTERS ONLY is the SLOGAN of the BAND,” 1938)

Hilda Tansey, the conductor of the Sydney Ladies’ Band outlined some other expectations, and it appears, she had a very dim view of ladies who transgressed.

Occasionally we get ‘passengers’ in the band – girls who join just to show off to their boy friends in our smart green uniform. But within a fortnight we discover them and we tell them in no uncertain terms that they have played their finale.
(Tansey in “SPINSTERS ONLY is the SLOGAN of the BAND,” 1938)

This photograph below of the Sydney Ladies’ Band from 1934 shows the members in the said uniform.

Sydney Ladies’ Band, 1934 (source: State Library Victoria: pi007746)

The deportment of band members was an issue that held the attention of some band commentators, to the extent they even sponsored prizes in major competitions, for example, Cecil Clarence Mullen (Royal South Street Society, 1959, 1964). We saw in an earlier post that Mullen had much to say about the band movement, and deportment on the stage while playing and conducting was one of those issues he took to heart (de Korte, 2020; Mullen, 1951). To refresh, Mullen was most displeased with “boys between 11 and 18 years in many cases taking a chair and sitting down to play their solo” (Mullen, 1951, p. 61). He also took issue with bandmasters who let this happen in the first place. Mullen was ever the commentator to let his opinions be known and although I cannot find any record of him adjudicating, he finished the little section on deportment in his book with these words,

On several occasions in recent years I have been called upon to judge solo competitions in school, suburban and country competitions and make no secret of the fact that I rang boys off very quickly for bad stage deportment. The late Mr. E. T. Code, the best trainer of boys we have ever had, was very strict in these matters.
(Mullen, 1951, p. 62)

Mullen had reason to criticise the deportment of younger band members, especially while playing, and he was possibly right in saying that they should not be sitting down as it affected their breathing (Mullen, 1951).

Negotiating the issues surrounding the deportment of band members were complex and time consuming. However, as we will see in the next section, some areas of deportment, namely looking smart, were easier to manage. And for bands, being very much in the visual space as well as a musical space was important – cleanliness of uniforms was taken as seriously as behaviour.

Looking smart:

Issues about the supply and funding of uniforms were touched on in a previous post about supplying the essentials for bands (de Korte, 2018c). Bands wanted to look smart on parade and expected their members to wear their uniforms with pride. They also expected their members to look after their uniforms. On occasions though, uniforms were the issue. In an earlier post on the first band sections at South Street Ballarat, we found that the conductor of the Launceston Garrison Band lamented that his band lost points because of “the stained and worn-out state of the Government uniforms” which were “severely condemned by the military judge” (de Korte, 2018b; “THE INTERCOLONIAL BAND CONTEST.,” 1900).

Uniforms were a much commented on part of bands in the media, even if the language of old newspaper might make us wince at times. The word ‘smart’ was a common descriptor linked to deportment regarding dress. In an article published by the Toowoomba Chronicle and Darling Downs Gazette in 1924, each band that participated in the Toowoomba contest that year received some sort of comment regarding their appearance, bearing, colours of uniform, and cleanliness of instruments (“INSPECTION OF BANDS,” 1924).

The two pictures below from The Sun and Daily News newspapers showing the Sydney Ladies’ Band and the East Kew Junior Brass Band provide perfect examples of this language being used. Although, in the caption for the Sydney Ladies’ Band, the word ‘pretty’ was also used to describe the members. Nevertheless, a band that was dressed smartly attracted attention. It spoke of a band that took pride in their appearance and demeanour. And especially when participating in contests and other events where the band was on show, a proper uniform was a must.

The Quickstep and Inspection:

Unsteadiness in Ranks	1 point for each offender
Untrimmed hair	1 point for each offender
Unshaven	1 point for each offender
Irregularities of Dress	1 point for each offender
Irregularities of Footwear	1 point for each offender
Incorrect Dressing	1 point for each offender
Incorrect Intervals	1 point for each offender
Dirty Instruments	1 point for each offender
Talking in the Ranks	1 point for each offender

(Australian Band Council, 1934, p. 17)

The band movement in Australia and New Zealand can be based on holdovers from the United Kingdom, with some key differences that become apparent in band contests. Unlike their counterparts in the U.K., a feature of the band movements and contests in Australia and New Zealand was the Quickstep sections and the preceding military-style Inspection. This post will provide a brief overview of the Quickstep and then focus on the Inspection, which is an aspect directly related to the topic of this post.

The Quickstep:

The Quickstep section that featured in Australian and New Zealand band contests for over one hundred years semes to be an invention by the band movements of both countries. Accounts are sketchy as to how it started, however, an article published in the Kalgoorlie Miner newspaper 1911 provides a little history.

The origin of the quickstep first came prominently before the Australian public at contests held in connection with the Druids’ Gala at Melbourne about 11 years ago. On that occasion the drill performed was very much the nature of cavalry section drill, but it was subsequently modified to conform to the infantry manual.
(“BRASS BAND CONTESTS.,” 1911)

Based on this account and history, this would mean that quickstep sections first appeared in Australian band contests around the late 1890s, and we can find evidence of this in an account of the Druids’ Gala published by The Age newspaper on Monday 11^th April 1898.

The marching and deportment of the men will be taken into consideration by the judge, Mr. F. Lyon, in awarding the prizes of £50, £20 and £10 offered for the military drill contest, the principal features of which were enacted at the gardens. Each band fell in for inspection separately, and marched 100 yards in 120 paces within a minute, to a quickstep, following up this performance by wheeling and countermarching manœuvres to appropriate music.
(“THE EASTER HOLIDAYS.,” 1898)

Some British judges who were brought out to adjudicate the contests had never seen anything like it and commented favorably on the section and what it represented. In 1902 James Ord Hume adjudicated at the famous South Street Eisteddfod and had this to say about the Quickstep section.

I thoroughly endorse the idea of this quickstep contests, as I am of opinion that brass bands, when marching, should always be spirited and also neat and uniform in the ranks. The music should be always of a bright and military nature and, indeed, the band should always prove by its marching in public, its standard of excellence.
(James Ord Hume in “THE INTER-STATE BAND CONTEST.,” 1902)

Three years later the South Street contest was adjudicated by Mr. Albert Wade from Wales, and he also was impressed with the Quickstep section.

But the marching was of the best and Mr. Wade found in the military style of the civilian bandsmen an example for the straggling Britishers who compose the village band in the old country.
(“BIG BAND BATTLES.,” 1905)

Unfortunately, there seems to be no films of early Quickstep contests in Australia. However, New Zealand’s Ngã Taonga Sound & Vision has in their resources a short film dating back to 1912 of the Dunedin Brass Band contests, Quickstep section (Gore, 1912). The link below will show a short film of this Quickstep section where the military judges can clearly be seen pacing the bands and taking notes.

Dunedin Brass Band Contest, Quickstep (F9933)

The Inspection:

*Newcastle Morning Herald and Miners’ Advocate*, 18/12/1938, p. 8

This part of the post started with a list of rules governing the Inspection published by the newly formed Australian Band Council in 1934. Every aspect of appearance and behaviour were detailed in various rules, and Duncan Bythell (2000) notes that “The rules for marching contests achieved a terrifying complexity, with the marks for being awarded for smart appearance and successful drilling than for musicianship.” (p. 236). Some bands bore the brunt of these rules with band members being penalised on numerous occasions at contests. The Wellington Garrison Band travelled to the Bathurst contests in 1899 from New Zealand and found themselves on the receiving end of the rules when nine bandsmen were penalised because they were unshaven – the band apparently “forgot” the regulations (“Bathurst Band Contest.,” 1899; “UNSHAVEN BANDSMEN,” 1899).

The research by Bythell can be corroborated by the band journals of the day as controversy surrounding the inspection was never hard to find. Accounts of an A.N.A contest in Melbourne were penned by many commentators in the January 1913 issue of The State Band News with a writer colloquially titled ‘Clarion’ detailing the inspection in his article, of which excerpts are quoted here.

For length of time occupied and the keen inspection each man received a “record” was easily established.
Some wags, who were getting impatient, struck up with great enthusiasm the “Midnight National Anthem”.”
The principal comment was – A contest does not consist of inspection.
Many bandsmen complained that points were taken off for marks on the slides of instruments – the said marks being put there for tuning purposes.
Beyond the general essentials of clean instruments, uniforms, haircuts, etc., no one seemed to know if any hard and fast rules were laid down for an inspection of this kind – evidently, it is left to the discretion of the drill judge.
The fact that Color Sergeant Humphries is the author of the official drill book used in connection with Quickstep Contests, no doubt is accountable for the very rigours inspection.
(Clarion, 1913, p. 5)

The writer of the opening article in the mentioned issue of The State Band News pointedly recommended that the Victorian Bands’ Association (V.B.A.) limit the inspection process to “5 minutes per band.” (“Band Chat,” 1913, p. 2).

As in the Quickstep, the whole theatre and process of the Inspection was a measure of comparison between contests in Australia and the United Kingdom. In 1907, Mr D. J. Montague, a musician from Ballarat, returned from an eight month tour of England, Scotland and Wales where he was fortunate enough to view many of the great band contests and compare them to the South Street Eisteddfod (“BRITISH VERSUS AUSTRALIAN BAND MUSIC.,” 1907). His interview with the Ballarat Star newspaper was wide-ranging and provided an interesting account comparing the band movements in both countries. Here in this article, we can see his thoughts on why the Inspection was a beneficial part of Australian and New Zealand contests.

He remarked that one difference between the contests in Great Britain and those in Australia was that here time is not so much account as in the old land. For instance, the great Crystal Palace and Belle Vue contests last only one day. The bands travel all night from far distant parts of England and Scotland to reach London early in the morning, and numbers of bandsmen are playing in various parts of the day. After the contest is over they hurry back by the night trains for home. He found that the bandsmen were very careless over their instruments, which were nearly always dirty and unpolished, and he took occasion to introduce to the directors’ notice the inspection and drill system obtaining at South Street, which resulted in smart looking bandsmen and clean instruments.
(“BRITISH VERSUS AUSTRALIAN BAND MUSIC.,” 1907)

While it was evident that many band members were very responsible when it came to keeping clean and tidy, there are accounts of the supporters of a band helping when needed. Maureen French, a local writer from Clunes in Victoria, wrote a book on the history of bands in Creswick titled ‘Following the bands : a journey down the years with the brass bands of Creswick’. She wrote a section on the Creswick and District Band experiences in the Quickstep and Inspection and details this little anecdote about how the band tidied themselves up.

But the greatest contribution was made by the small army of womenfolk who accompanied the band at competitions.
Points could be lost for dirty shoes, missing buttons, untidy hair, etc. With that in mind, once the players had assembled on parade, these good ladies would swarm over them, armed with clothes brushes, spit-and-polish, and all accoutrements required to remove a miniscule of fluff that could tarnish the image of their charges. All this of course, was a labour of love.
(French, 2013, p. 64)

As mentioned, the Inspection could either win or lose a band points. If we were to look at some of the accounts of contests where comments of judges were recorded, they are telling. Below is an excerpt from an article published by the Shepparton News newspaper in February 1914 detailing the judges’ comments on the contest that was held in town. These comments directly relate to the Inspection and the four bands that participated were the Shepparton Town Band, Rochester Brass Band, Benalla Brass Band and Shepparton Model Band (“INSPECTION.,” 1914).

Likewise, at a contest being administered by the Queensland Band Association in 1929, they left no doubt as to what would be taking place during the Inspection part of the contest (and every other event that was being undertaken during the day).

At the commencement each band is moved onto the grounds, and then marched to the oval and inspected by military judges, points being allocated for military deportment, appearance, smartness in the ranks, cleanliness of instruments and uniform.
(“TO-DAY’S PROGRAMME,” 1929)

Interesting that the expectation of the bands is that they display a military-like bearing, despite the bands (it is assumed) to be civilian.

No doubt the regulations on deportment were quite clear and it was up to the bands to adhere to them. As a measure of how points were deducted, we can read what happened to the Mackay Concert Band during a contest in Rockhampton in 1934.

The discipline of the band on parade was somewhat lacking, inasmuch as points were lost for detail in dress, deportment, and drill. For untidiness the band lost four points – two for untrimmed hair and two for unshaven faces, and for bad movements in drill four points were lost, making a deduction of 8 points from the maximum of 40, leaving the band with 32.
(“Concert Band.,” 1934)

One must not disregard all opinion of the Inspection process. While it was an important part of contest proceedings (and still is to some extent), every so often bands people advocated for change. One of them was Frank “Massa” Johnston, the famous band conductor from Melbourne who in 1939 was the conductor of the Melbourne Fire Brigade Band. He made some comments after coaching the Maryborough Federal Band at the 1939 Bundaberg contest which were detailed in an article published by the Central Queensland Herald newspaper (“BAND JUDGING IN QUEENSLAND,” 1939). One of his suggestions to the Q.B.A. was the Inspection of bands be eliminated as a separate part of the contest and instead “be incorporated with the diagram march with additional points for drill and appearance” (“BAND JUDGING IN QUEENSLAND,” 1939).

While diagram marching has fallen out of favour at band contests, street marching, and the inspection remain a part to this day, especially at the Australian National Band Championships. It is interesting to occasionally read commentary on the ubiquitous social media – modern bands people can be known to be passionate about rules and regulations. Bearing in mind that much of what we do as bands and band members has some grounding in history.

Conclusion:

There is much we can still learn about how bands of old handled the rules and regulations on deportment, and how they managed expectations. Pride in appearance and behaviour was one aspect, but there was also the public perception. Perhaps if we were to take a critical view, maybe the Inspection was over-policed by band associations. However, the Inspection, and the visual display of the Quickstep, were pointed differences between the band movements of Australia & New Zealand, and the band movement in the United Kingdom. There was pride in doing something differently and doing it well.

References:

Australian Band Council. (1934). Australian Band Council : Constitution : Contest Rules : Quickstep Regulations and Instructions [Constitution]. Oxford Press.

Band Chat. (1913). The State Band News, 4(6), 2 & 4.

BAND JUDGING IN QUEENSLAND. (1939, 20 April). Central Queensland Herald (Rockhampton, Qld. : 1930 – 1956), 59. http://nla.gov.au/nla.news-article70844529

BANDMEN’S BEHAVIOR. (1911, 26 May). Daily Advertiser (Wagga Wagga, NSW : 1911 – 1954), 2. http://nla.gov.au/nla.news-article143079764

BANDSMEN ON PARADE. (1939, 18 December). Newcastle Morning Herald and Miners’ Advocate (NSW : 1876 – 1954), 8. http://nla.gov.au/nla.news-article135450896

Bandsmen, Please Note! (1930, 17 April). Evening News (Rockhampton, Qld. : 1924 – 1941), 2. http://nla.gov.au/nla.news-article202494392

Bathurst Band Contest : Complaints from New Zealand. (1899, 17 November). Bathurst Free Press and Mining Journal (NSW : 1851 – 1904), 2. http://nla.gov.au/nla.news-article63910068

BIG BAND BATTLES : IN CITY OF STATUES : MEN FROM BOULDER CITY : ARE AUSTRALIA’S CHAMPIONS. : (From our special representative). (1905, 07 November). Evening News (Sydney, NSW : 1869 – 1931), 7. http://nla.gov.au/nla.news-article113288815

BRASS BAND CONTESTS : The Quickstep. (1911, 30 August). Kalgoorlie Miner (WA : 1895 – 1950), 2. http://nla.gov.au/nla.news-article91325368

BRITISH VERSUS AUSTRALIAN BAND MUSIC : INTERVIEW WITH MR D. J. MONTAGUE. (1907, 08 January). Ballarat Star (Vic. : 1865 – 1924), 5. http://nla.gov.au/nla.news-article210885760

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

Cambridge English Dictionary. (2021). Deportment. In Cambridge English Dictionary. Retrieved 16 October 2021, from https://dictionary.cambridge.org/dictionary/english/deportment

Clarion. (1913). A.N.A. Contests. : Contest Side-Lights. The State Band News, 4(6), 4-8.

Concert Band : CONTEST ADJUDICATOR’S COMMENTS. (1934, 05 April). Daily Mercury (Mackay, Qld. : 1906 – 1954), 3. http://nla.gov.au/nla.news-article173312584

de Korte, J. D. (2018a, 22 April). Early female brass bands in Australia: they were rare but they made their mark. Band Blasts from the Past : Anecdotes, Stories and Personalities. https://bandblastsfromthepast.blog/2018/04/22/early-female-brass-bands-in-australia-they-were-rare-but-they-made-their-mark/

de Korte, J. D. (2018b, 22 December). The first South Street band contest in October, 1900. Band Blasts from the Past : Anecdotes, Stories and Personalities. https://bandblastsfromthepast.blog/2018/12/22/the-first-south-street-band-contest-in-october-1900/

de Korte, J. D. (2018c, 08 July). Instruments, sheet music and uniforms: how the bands of old obtained the essentials. Band Blasts from the Past : Anecdotes, Stories and Personalities. https://bandblastsfromthepast.blog/2018/05/13/instruments-sheet-music-and-uniforms-how-the-bands-of-old-obtained-the-essentials/

de Korte, J. D. (2020, 06 March). Cecil Clarence Mullen: Enthusiastic commentator, historian and statistician of brass and military bands. Band Blasts from the Past : Anecdotes, Stories and Personalities. https://bandblastsfromthepast.blog/2020/03/06/cecil-clarence-mullen-enthusiastic-commentator-historian-and-statistician-of-brass-and-military-bands/

de Korte, J. D. (2021). Lake Wendouree, Vic. : The Courier (Newspaper) : 1949 Royal South Street Band competitions – City Oval : B Grade Bands – Inspection [Photograph (Newspaper photograph)]. [IMG_6741]. Jeremy de Korte, Newington, Victoria.

THE EASTER HOLIDAYS. : DRUIDS’ GALA. : OPENING DAY. : A GREAT ATTENDANCE. (1898, 11 April). Age (Melbourne, Vic. : 1854 – 1954), 6. http://nla.gov.au/nla.news-article191489906

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

French, M. E. C. (2013). Following the bands : a journey down the years with the brass bands of Creswick. Maureen E. C. French.

Gore, H. C. (1912). Dunedin Brass Band Contest, Quickstep [Moving Image]. New Zealand / Aotearoa, New Queens Theatre, Dunedin. https://ngataonga.org.nz/collections/catalogue/catalogue-item?record_id=67764

INSPECTION. (1914, 16 February). Shepparton News (Vic. : 1914 – 1918), 3. http://nla.gov.au/nla.news-article129652799

INSPECTION OF BANDS. (1924, 19 April). Toowoomba Chronicle and Darling Downs Gazette (Qld. : 1922 – 1933), 6. http://nla.gov.au/nla.news-article253775325

THE INTER-STATE BAND CONTEST : MR. J. ORD HUME’S CRITICISMS : WHAT HE SAYS ABOUT TASMANIAN BANDS : DETAILS OF RESULTS : (“Ballarat Star”). (1902, 06 November). Mercury (Hobart, Tas. : 1860 – 1954), 2. http://nla.gov.au/nla.news-article9590543

THE INTERCOLONIAL BAND CONTEST : Return of the Second Battalion Band. (1900, 11 October). Daily Telegraph (Launceston, Tas. : 1883 – 1928), 3. http://nla.gov.au/nla.news-article153769022

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

Regent Studio. (1923, 02 April). A GRADE TEST SELECTION. Brisbane Courier (Qld. : 1864 – 1933), 5-6. http://nla.gov.au/nla.news-article20611772

Royal South Street Society. (1959). 1959-10-23 Brass Band Contests [Eisteddfod Results]. Royal South Street Society Results Database. https://results.royalsouthstreet.com.au/results/1959-10-23-brass-band-contests

Royal South Street Society. (1964). 1964-10-24 Victorian Brass Band Championship [Eisteddfod Results]. Royal South Street Society Results Database. https://results.royalsouthstreet.com.au/results/1964-10-24-victorian-brass-band-championship

Rules and Itinerary : CORONATION BAND CONTEST : EASTER 1937 : LONGREACH TOWN BAND. (1937, 13 March). Longreach Leader (Qld. : 1923 – 1954), 5. http://nla.gov.au/nla.news-article37363142

SPINSTERS ONLY is the SLOGAN of the BAND : Musical Girls who Have Little Time for Cupid. (1938, 19 February). Australian Women’s Weekly (1933 – 1982), 40. http://nla.gov.au/nla.news-article51590948

Sydney Ladies’ Brass Band [picture]. (1934). [1 photographic print on cardboard mount : gelatin silver, hand col. ; 30 x 40 cm.]. [pi007746]. State Library Victoria, Tansey family collection. http://handle.slv.vic.gov.au/10381/336537

TO-DAY’S PROGRAMME. (1929, 18 August). Sunday Mail (Brisbane, Qld. : 1926 – 1954), 3. http://nla.gov.au/nla.news-article97690827

UNSHAVEN BANDSMEN. (1899, 10 November). Hawke’s Bay Herald. https://paperspast.natlib.govt.nz/newspapers/HBH18991110.2.22.1

Influences from Britain: James Ord Hume and “The Besses Effect”.

February 16, 2021January 2, 2022 Jeremy de Korte1 Comment

Postcard: Besses o’ th’ Barn Band. (1908) (Source: Jeremy de Korte collection)

Introduction:

The visit of one of the premier bands of Britain to Australia would be an event of great interest, and Mr. Hume, speaking on the matter, said that if the railways would guarantee to grant free passes to the members, he could almost promise that either the Besses o’ th’ Barn Band, of Lancashire or the Black Dyke Band, of Yorkshire, would come out. That the venture would be a success Mr Hume says he has not the slightest doubt, and he considers that the playing would come as a revelation to Australians.
(“MR. J. ORD HUME.,” 1903)

Australian bands, to put it simply, are an extension of the movement started in Britain and bands are one of Britain’s great cultural exports. As has been noted in other posts, the influx of people from the British Isles and other places carried their music with them. It is no surprise that in the early years, bands were established in localities across Australia.

There was no shortage of enthusiasm for starting a band, and no shortage of budding musicians willing to learn. However, training them, supporting them and giving them inspiration was at times problematic. Musical training was sometimes left up to those willing to take the job of bandmaster, whether they had brass band skills or not. This was the case in some places but not others as some bands became very proficient, very quickly.

Not that this mattered to some untrained ears. Many towns and localities were simply glad to have a band (a source of civic pride). Although the bands that were founded in the late 1800s and early 1900s possibly realised that their playing was not up to English standards. Bands were willing to learn, it was just a matter of whom to learn from. It was not until the advent of organised competitions and visits from English bands that the standard of playing was given a critical ear and adjudicators provided bands with helpful comments on how to improve.

This post will examine what was probably the greatest shift in musical standards amongst Australian bands that took place over the period of two to three decades. This rapid improvement was partly inspired by the visits of the eminent Scottish band adjudicator James Ord Hume and the famous Besses o’ th’ Barn Band from England. Thankfully, for the purposes of this post, we can see the comments of James Ord Hume over the course of his two visits as he judges the bands. We will also see that while the tours of Besses were significant in themselves, it is the lasting effect these visits had on Australian bands that deserves attention. This is a combined story; a story of how British band musicians did their best to inspire and help Australian bands to be the best they could be.

James Ord Hume, 1902-1903:

Lieutenant James Ord Hume was an “eminent English and Scottish bandmaster, composer, critic and adjudicator” (Mullen, 1965, p. 40). A lifetime of musical training in the British Army and civilian bands had provided him with a unique connectedness with all sorts of musicians, and he had utilised his opportunities to the full by learning to play all band instruments and study musical theory (Thirst, 2006). His reputation as a musician preceded him and he was highly sought after as an adjudicator and clinician. As Thirst (2006) writes in his book ‘James Ord Hume 1864-1932 : a friend to all bandsmen : an account of his life and music’,

He was a popular adjudicator throughout the British Empire, and frequently visited Australia and New Zealand to judge in the famous contest at Ballarat and elsewhere
(p. 47)

This was not an idle statement as many accounts of James Ord Hume show him to be a very forthright person with his adjudications and opinions, and he was appreciated by bandsmen all over Australia and New Zealand (“Bathurst Band Contests.,” 1902). One might say that with his attitude he was a bit free with his advice. Nevertheless, Ord Hume acted with the best intentions and sought to bring the standards of Australian bands up to where he thought they should be and provided solutions on how Australian bands might achieve this. Certainly, his foretelling that Australian bands would view the “playing” of Besses o’ th’ Barn Band as a “revelation” came to fruition some years later (“MR. J. ORD HUME.,” 1903).

When Ord Hume talked, Australian bandsmen listened and there are some notable examples of his advice being applied literally and quickly. He greatly followed developments in the brass band world, and it is because of him that Australian bands stopped using valve trombones – Ord Hume could not stand them. The article below published by the Molong Argus newspaper is testament to his comments, and it seems James Ord Hume was quite happy to repeat this mantra to whomever asked him about it (“About Trombones.,” 1902; “Bathurst Band Contests.,” 1902).

James Ord Hume first visited Australia in 1902-1903 where he adjudicated at various eisteddfods around the country, starting with the South Street band sections in Ballarat. Ord Hume was greatly impressed with the concept of the South Street and before the competitions had even begun, he had given them praise – and also a taste of what to expect.

He said he had always had a desire to visit Australia, and only demurred on receiving the invitation from the South-street Society to adjudicate at this year’s contests because of want of time. However, the musical people of England wanted to know how they stood with Australia in competitive work, and the mission he entered upon was to give a candid opinion of all that occurred in a general report. The musical contests of South-street were certainly the greatest in the world.
(“SOUTH-STREET COMPETITION’S,” 1902)

It would be fair to say that, barring some exceptions, he was not overly impressed with what he heard in the band contests and was quite clear about this in his comments (“BALLARAT COMPETITIONS.,” 1902). His parting comments were a measure of contrast. Of the good bands he said…

…had given splendid performances which would compare favourably with the best heard at contests in the old country.
(“BALLARAT COMPETITIONS.,” 1902)

And he was scathing about bands at the other end of the scale…

On the other hand some were distinctly bad. Their principal fault was a lack of tone; the men had not blown out their instruments as they should have done. If a player just obtained a good loud tone he could easily subdue it without losing breath and character. In the constant effort to play softly this was all lost.
(“BALLARAT COMPETITIONS.,” 1902)

This being said, he also offered practical advice on how bandsmen could improve.

To obtain tone he advised bandsmen to practise slow scales, and plenty of steady moving psalm tunes.
(“BALLARAT COMPETITIONS.,” 1902)

Timothy Thirst (2006) did note in his book that Ord Hume was “known to be sometimes rather sarcastic and outspoken in his comments.” (p. 55).

Ord Hume provide similarly forward comments when adjudicating in Bathurst, Sydney and New Zealand for various competitions, such was the hectic schedule of his visit. However, there are some indications that Australian bands were beginning to pick up their musical standards. After adjudicating in Sydney at the end of 1902, Ord Hume provided some observations.

He said that since he had been in Australia he had noticed an improvement in the playing of the bands. He had observed at Ballarat and Bathurst, and now here. He was about to proceed to Castlemaine (Vic.), and thence to New Zealand, and on his return the results of his observations would be published.
(“CHAMPIONSHIP BAND CONTEST.,” 1902)

When Ord Hume returned to Ballarat in 1903 prior to his travel back to England, he was asked what Australian bands needed to do to achieve a more excellent standard of playing.

“They require tuition” he said. “In many cases it has come to this, that the men have to come to know as much as the conductor himself, and in such a case the progress made is not very great as you may imagine. In New Zealand this fact is not so noticeable and it explains the reason why their bands, generally speaking, are much better than those here. They possess over there many instructors who have come out from the old country, but here it seems to be ‘Australia for the Australians,’ and that will not do in music at any rate.”
(“MR. J. ORD HUME.,” 1903)

As mentioned, Ord Hume was appreciated for his direct commentary and aside from his work adjudicating he was afforded all kinds of civic receptions at the conclusion of events. Perhaps this is understandable given his status as an eminent musical authority, but it was also for his honesty – what he said, he said with conviction. Granted, some bandsmen might have been offended. But in his own way he was trying to educate. Band Associations were very pleased to have someone of that calibre adjudicate which is why, after the 1902 Ballarat event he was made an Honorary Life Member of the Victorian Bands’ Association (“SOUTH STREET SOCIETY.,” 1902).

Frank Wright, the great Australian-born bandsman, summed up the first visit of Ord Hume to Australia when he wrote an appreciative article in the June 15^th, 1935 edition of British Bandsman after Ord Hume’s passing.

No other event in band history, except, perhaps the tour of the famous Besses o’ th’ Barn Band, can be compared with his visit, as having equal influence in setting the standard for Australian bands. He encouraged the young ambitious bandsman, and it was this personal interest that endeared him to the Australian people.
(Wright, 1935, p. 4)

If Ord Hume was an instigator of change in the way Australian band did things, the tours of Besses fanned further improvement as they provided a practical example of how an elite band sounded and operated. The Besses band was no stranger to Ord Hume and it appears there was some mutual admiration and respect. Ord Hume even arranged a Polka for Besses which can be heard below (Besses o’ th’ Barn Band Channel, 2022). This radio broadcast recording from 1940, played by the City of Ballarat Municipal Band was provided to the Besses band by the Ballarat Band historian Bob Pattie, and uploaded to YouTube by the historian of the Besses o’ th’ Barn Band, Stephen Hughes – thank you both! (This video was updated in January 2022)

Besses o’ th’ Barn Polka (Cornet Solo: Broadcast 1940). Soloist Jack Allan. Band: Ballarat City

Besses o’ th’ Barn Band, 1907 & 1910:

The welcome parade of the Besses o’ th’ Barn Band to Melbourne. The parade is being led by a combined 22 brass bands under the direction of Edward Code and is turning the corner from Collins St into Swanston St in front of the Melbourne Town Hall. (Source: Manchester Digital Music Archive, 13953)

The tours:

Much of the particulars of the two Besses tours were detailed in a previous post (de Korte, 2018a). In summary, the famous Besses o’ th’ Barn Band from Lancashire undertook two massive tours in the space of three years which took them all over the globe (Besses o’ th’ Barn Band, 2018). While in Australia, they were afforded concerts and engagements in towns and cities all over the country and never failed to please audiences – such was their reputation (“BESSES O’ TH’ BARN BAND.,” 1907a; “BESSES O’ TH’ BARN BAND.,” 1907c). Civic welcomes were par the course and the photo above of the parade turning the corner from Collins Street to Swanston Street at the Melbourne Town Hall is a case in point. Besses were greeted at Spencer Street Station by a combined twenty-two bands directed by Edward Code which led them in a procession up Collins Street to the Town Hall (“BESSES O’ TH’ BARN BAND.,” 1907e). It is said that 70,000 people turned out to watch this procession, which would have been an amazing sight to see! (“Besses o’ th’ Barn Band,” 1907).

Besses toured Australia again in 1910 and during this tour, lead Cornetist William Ryder left the band to join a local theatre ensemble and then became the first bandmaster of the then Prahran & Malvern Tramways Employees Band in 1911 (de Korte, 2018b; Quickstep, 1920b). Cornetist Percy Code, son of Mr Edward Code, took his place on the tour (Quickstep, 1920a). The Herald weekly columnist ‘Quickstep’ provides some insight into this development through separate articles which detail the band lives of William Ryder…

Leaving England as principal cornet soloist with the famous Royal “Besses o’ th’ Barn” Band on their second world tour, Mr Ryder left the band on the completion of its Victorian trip and settled in Melbourne. He was immediately engaged to play solo cornet in a picture theatre orchestra.
(Quickstep, 1920b)

…and Percy Code.

At the time the famous “Besses o’ th’ Barn” Band was touring Australia and Percy Code was offered an engagement which he accepted. While he was abroad, his brilliant playing was favourably commented on by British press. One leading band journal styled him “Percy Code the golden-toned,” also crediting him as one of the finest cornetists in England. Study in orchestration and composition was undertaken, under the guidance of Mr Alexander Owen, of Manchester, known as the greatest authority on brass band music in the world.
(Quickstep, 1920a)

Mr Alexander Owen at the time was the conductor of Besses during the first tour and part of the second tour and he was highly regarded in Australia and around the world – newspapers of the day were effusive in their praise, the Evening Telegraph newspaper from Charters Towers being one of them (“Mr. Alexander Owen.,” 1907). After the tour, the Assistant Conductor of Besses, Mr Christopher Smith accepted a position as conductor of the Adelaide Tramways Band (Seymour, 1994).

By all accounts, the two tours of the Besses band were huge successes and they opened up the ears and eyes of all who heard them.

The influence:

Postcard: The Royal Besses o’ th’ Barn Band. (1907) (Jeremy de Korte collection)

Besses o’ th’ Barn Band made a lasting impression on the Australian band movement. Notwithstanding their reputation prior to their visits to Australia, they certainly grew in stature on this unique part of their tours. One hallmark of their visits was the fact they were very much a band full of critical listeners, teachers, advocates and gentlemen who were always willing to offer advice and help.

Hundreds of newspaper articles were published during the two Besses tours, so it is impossible to reference them all. Buried in these articles are hints of information as to how the visits were perceived by Australian bandsmen, and what they learnt from the visiting band. In July 1907 the Besses band were giving a concert in Goulburn, New South Wales and after the concert they were entertained by the local Australian Horse Band. The Mayor of Goulburn was also present at this supper and his comments were noted in an article published by the Goulburn Herald.

He welcomed then not merely as bandsmen from the old country, but as brothers, and hoped their stay here would be a pleasurable one. He was sure it would be great value from an educational point of view to the bands in Australia. […] He hoped with all sincerity that the visit of the Besses would be crowned with the success it deserved, and that they would be able to say that the Australians were a loyal and patriotic people – which they were right up to the hilt – and pleased to accord their support to organisations such as the Besses o’ th’ Barn Band, which came so far to educate them.
(“BESSES O’ TH’ BARN BAND.,” 1907a)

It is interesting to note the language here from the Mayor of Goulburn, not so much for the comments on patriotism but the words on education. Besses were not really touring to educate Australia bands per se however, that was an inadvertent effect of them being in Australia. Further comments were made by Mr. Cody, Bandmaster of the Australian Horse Band in the same article.

The visit of Besses could have none other than a good effect on band music in Australia. The various bands would be moved to do greater things than in the past, and they result would be beneficial all round.
(“BESSES O’ TH’ BARN BAND.,” 1907a)

Besses visited Adelaide in August 1907 and comments made in the Register newspaper were equally full of expectation on what the Besses visit would mean for Australian bands.

…the Besses’ performances must unquestionably stimulate band music in the State, which has been the case of every town they have visited on the Australian tour. The artistic methods employed by Mr. Owen in conducting the Besses in their playing are said to be a revelation in technique and phrasing, and have been described by a leading Sydney bandmaster as being “an entirely new musical language for colonial bands to study”.
(“BESSES O’ TH’ BARN BAND.,” 1907c)

After touring Australia for a couple of months, in September 1907, Besses were in Bendigo and in an article published by the Bendigo Advertiser, perhaps, we can see some real analysis and insight into the benefits the Besses visit would bring to Australian bands.

There are two things which especially distinguish the Besses. In the first place the high degree of finish that characterises their playing, so that all bandsmen that have heard them have confessed that something new in band music had been revealed to them, possibilities in brass that were previously undreamed of, and in the second place, the courteous and obliging urbanity in which the conductor, Mr. Alexander Owen, and members of his corps, have done whatever they could to help those colonial bands which have appealed to them for advice and instruction. The present generation of bandsmen will never forget their impression of the Besses, which will more or less in the future influence their aspirations and efforts, and when a young generation of Tubal Cains grow up, whose lips are not yet too tender for the resounding brass, they will hear abundant reminiscences of how this or that passage was taken up by the Besses, until not impossibly, they will wish that at last that the Besses had never toured through Australasia.
(“BESSES O’ TH’ BARN BAND.,” 1907b)

As mentioned, Besses undertook a second world tour and in 1910 they were back in Australia. Alexander Owen stepped down from his conducting duties during this tour and Mr Christopher Smith took over to no less acclaim from audiences, such was the ability of this ensemble. Australian bands were also changing, and this had been noticed by various writers, which was attributed by the visit of Besses three years before. Said a writer in an article published by The Ballarat Star newspaper in June 1910.

It might truthfully be said that the standard of band music underwent an appreciable change for the better as the result of the visit of this celebrated combination.
(“AMUSEMENTS.,” 1910)

Mr. W. Bogle, manager of the Besses band during their second tour provided some interesting comments comparing band movements of the U.K. and Australia in a wide-ranging interview which was published by the Evening News newspaper in August (“THE MUSIC OF THE BAND.,” 1910). While his interview is too much for this post, the advice he provided was obviously valuable to the Australian band movement. And again, there were indications that Australian bands were heading the right way.

They had no doubt that the public of Australia would encourage the improvement of brass bands, and it was particularly pleasing to see they were assisted by the municipal bodies.
(“THE MUSIC OF THE BAND.,” 1910)

The legacy:

The influence of the Besses tours should not be viewed as just bands and band members attending their concerts or being instructed, advised and then feeling very much inspired. It can also be seen in other ways. William Ryder, Percy Code and Christopher Smith, bandsmen who had all been associated with Besses at high levels brought the Besses influences with them to their own bands, playing and adjudication. Australian bands began to rapidly improve after the first Besses tour and inspiration from the band itself. Instruction and adjudication from these men helped carry things further. Mr Christopher Smith, once a deputy conductor of Besses, gave high praise to certain bands and was in no doubt that Australian bands could compete with the best (“WOULD CAPTURE LONDON,” 1922). He adjudicated at South Street in 1922 and gave a general comment on the standards that were set.

“The standard was appreciably higher than when I judged bands here two years ago.” He said, “and what is pleasing to me is to find the unsuccessful bands more closely approaching the standard set by the victorious bands in all the grades.”
(“WOULD CAPTURE LONDON,” 1922)

He left his highest praise for the famous Malvern Tramways Band which had just won all the A Grade band sections of the 1922 South Street competition.

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.
(“WOULD CAPTURE LONDON,” 1922)

And in a final remark he highlighted advancements of bands in the lower grades.

Mr Smith went on to say that marked advances had been made by the “B” grade and “C” grade bands in their contest pieces.
(“WOULD CAPTURE LONDON,” 1922)

High praise indeed and this provided a good indication of where Australian bands were at, and where they were going just over a decade from the last Besses tour. The bands were definitely improving!

Interestingly, the tours of Besses were still being talked about in the early 1930s as the legacy of the visits still resounded in the band movement. The Daily News newspaper in Perth published an article in September 1930, essentially on Mr Hugh McMahon, the genius Cornetist but also mentions the state of brass bands in Western Australia as a whole. The article also had this to say about the legacy of the Besses tours.

Most memorable had been the visit of the Besses of the Barn Band which had shown what a brass band could do in the way of interpreting certain classes of music. The visitors had given a revelation of the playing of hymn tunes equal to that of any organ and had set a new view before Australian players.
(“EMPEROR OF CORNET,” 1930)

To finish this section on the Besses tours and the influence they left behind, we have these comments from a person speaking at the annual banquet of the Queensland based Howard and Torbanlea Citizens’ Band in December 1933.

After a loyal toast, the toast of the Howard and Torbanlea Citizens’ Band was proposed by Mr. G. J. Edmunds who stressed the many advantages of having a band in the community. Mr. Edmunds declared that the visit of the Besses o’ th’ Barn Band many years ago was the running point in the standard of band throughout the Commonwealth, and today, quite a number of bands had reached that standard.
(“BAND BANQUET,” 1933)

Australian bands had begun to reach the pinnacles set by Besses. And in the 1920s, with tours to England by the Newcastle Steelworks’ Band and the Australian Commonwealth Band, both conducted by Albert Baile, Australian bands proved they could match the much-vaunted English bands and win their competitions (Zealley & Ord Hume, 1926).

A side note, Mr John Dixon, Agent for Boosey & Co.:

James Ord Hume provided much advice to the Australian band movement on how to improve, and the Besses o’ th’ Barn Band clearly displayed an excellence in musicianship. One aspect that could be considered is that Australian bands needed the best of instruments and British instrument manufacturers saw opportunities in Australia & New Zealand for additional sales. Travelling with James Ord Hume in 1902 and on the first Besses tour in 1907 was an agent for the Boosey & Co. instrument manufactures, Mr John Dixon (“MUSIC ADJUDICATOR,” 1929).

Near the end of the 1800s and into the 1900s, Boosey & Co. “was flourishing, supporting a staff of 100 employees” (Howell, 2016, p. 61). John Dixon was one of their agents and he travelled the world to create find new markets and build contacts, so when James Ord Hume and Besses went on their respective tours it presented an opportunity for John Dixon to go along as well.

Unfortunately, not much is known about John Dixon’s life, but from brief range of articles we can see that he made extensive contacts in the band world (“An Exhibit of Musical Instruments,” 1906; “MUSIC ADJUDICATOR,” 1929; “Personals,” 1903). Writing a long letter to Wright & Round’s Brass Band News on February 1^st from New Zealand (published in their April 1^st issue), he noted of his experiences,

…In Coolgardie I met John Cox, late of Lassodie, now bandmaster Coolgardie City Band. He has a son a good cornet player. He asked me about a great many Fifeshire bandsmen, and I was able to tell him something about all. He asked me specially to remember him to Mr. James Carmichael of Cowdenbeath, Mr. George Peacock of Fauldhouse, Geordie Pemann and all the Penmans, muckle fat Geordie in particular said he, to Archie Carmichael of Glasgow, and many more. I met an old Bury lad full of the Lancashire love of contesting at Kalgoorlie, where he is bandmaster of the Town Band. Mr. Richard Weber is his name, and a fine fellow he is. He sends his best regards to all his old friends in the Bury, Radcliffe, and Besses districts, not forgetting “Trotter,” whom he says is a “corker.” (He must have meant an uncorker.) At Boulder City I met and heard Mr, Hugh McMahon, the Alex Owen of Australia who took his band 4000 miles to compete at Ballarat and at Bathurst. He is a wonder on the cornet and deserves his title. At Adelaide I found the Loco. Band very good and in charge of an enthusiastic viz., Mr. Charles Allison. […] I have had a very successful tour so far in a business sense, and have established a good many agencies. Give my regards to all old friends and tell them I shall be with them again when the flowers bloom in the spring tra-la. I leave Auckland on February 25^th and travel via., Fiji, Honolulu, Canada, New York, and Glasgow.
(Dixon in “Personals,” 1903, p. 7)

It is clear that John Dixon was good at his job and certainly found lots of band friends throughout Australia. His comments on the standards of Australian bands and bandsmen were certainly interesting. It could be debatable whether the sale of Boosey instruments to bands made them any better. However, Boosey (like numerous other instrument companies), milked the fact that certain bands and bandsmen were using their instruments to win competitions – a strong selling point in those days (Boosey and Co., 1919).

*The Australian Band News, 12*(10), 26/06/1919, p. 18

James Ord Hume, 1924:

In January 1924 there was much excitement in the band community as it was revealed that James Ord Hume would be making another visit to Australia to adjudicate, twenty-two years after his last visit in 1902 (“MR. J. ORD HUME,” 1924). The Ballarat Star newspaper published a long article full of praise for the work of Ord Hume in 1902 with a brief record of what he did in Australia in his first visit, read out by the President of the South Street Society, Mr Scroucher.

…There is no need for me to tell you who Mr J. Ord Hume is, for with the exception of the very young members of the club, all bandsmen will remember him. He came to Australia some twenty-odd years ago. He judged the South street contest, asked for more tone, told the bandsmen to throw the valve trombone on the scrap heap, gave the prizes to the right persons, and then skipped across to Bathurst. In Bathurst he judged all the musical items from piano right through the list, including all instruments, except, possibly, the bagpipes. He didn’t judge the pipes because there were none to judge. From Bathurst he went to New Zealand, did a lot of work there, created a breeze and skipped back to Sydney, where he judged a big contest. He also did other work, and good work too. Through his criticism and acting on his advice, many bands became better musical organisations. And now, after all these year he is about to visit us again.
(“MR. J. ORD HUME,” 1924)

Part of the rest of the article comprised of a ditty, which will not be written here for the sake of brevity. Needless to say, the ditty highlighted the delight in knowing that Ord Hume was coming back to Ballarat.

Frank Wright also eloquently wrote of the second visit in his memorial article for the British Bandsman in June 1935.

But since those early days a new generation of Australian bandsman had sprung up. A generation to whom the name of J. Ord Hume is no less magical than it was to those enthusiasts of 1901. It is little wonder then, that his second – and last – visit in 1924-5 was hailed as an even greater event than the first.
(Wright, 1935, p. 4)

Given that Ord Hume visited in 1902 and had provided advice to bands on how to improve, Besses toured in 1907 and 1910 and cast a lasting legacy over Australian bands, the fact that Ord Hume visited again in 1924 provides us with expert assessment on which standard Australian bands had reached. We need to only look at his words which were published in an Argus article in October 1924 upon his welcome to Ballarat. This was the only competition Ord Hume was to adjudicate in Australia this year.

Mr. Hume referred to the successes of the Newcastle Band in England, and said that it could rank with the cream of British bands. Australian bands had improved wonderfully, but he could not say the same of the English bands. […] His object in visiting Ballarat was not only to judge, but also to advise. If he could do anything to further raise the standard of band music in Australia it would be done. When in Melbourne on Sunday he had heard the Malvern Tramways Band, and he had been delighted with its excellent tone. It should always be the aim of a brass band to develop a good tone.
(“AUSTRALIAN BANDS.,” 1924)

‘*Famous Bands of the British Empire*‘, 1926, p. 6

Ord Hume was always one to make further comments and in 1926 he teamed up with Canadian Lieut. Alfred Edward Zealley to write a book, ‘Famous Bands of the British Empire’. This book was essentially a list of the best bands, military and brass, that they perceived to be the finest of the time. Four Australian bands made the list: New South Wales Lancers band, Malvern Tramways Band, Newcastle Steelworks Band and The Australian Commonwealth Band. It is in the section detailing the exploits of the Malvern Tramways Band thus far that we can find more of the story on Besses and Ord Hume in Australia. What is written here is a perfect response to his prophecy from 1903 at the top of this post.

‘*Famous Bands of the British Empire*‘, 1926, p. 60

Conclusion:

There is enough evidence to suggest that the visits of James Ord Hume and the Besses band to Australia were the great catalysts in boosting the standards of Australian bands. It is a fascinating story, and there is much that could have been added as there are always side stories that link into this central theme. It could be argued that there were other influences that were working on Australian bands. Certainly, in the early 1900s, there was a crop of highly skilled bands people coming through the ranks that were gaining notice in the band movement. However, help was provided from these British experts and their legacy, and memory, lives on.

References:

About Trombones. (1902, 28 November). Molong Argus (NSW : 1896 – 1921), 15. http://nla.gov.au/nla.news-article144160543

AMUSEMENTS : BESSES O’ TH’ BARN BAND : THE BALLARAT SEASON : OPENING PERFORMANCES. (1910, 04 June). Ballarat Star (Vic. : 1865 – 1924), 1. http://nla.gov.au/nla.news-article216365174

AUSTRALIAN BANDS : GREATLY IMPROVED : Visiting Adjudicator’s View. (1924, 15 October). Argus (Melbourne, Vic. : 1848 – 1957), 22. http://nla.gov.au/nla.news-article2050652

BALLARAT COMPETITIONS. (1902, 08 November). Adelaide Observer (SA : 1843 – 1904), 36. http://nla.gov.au/nla.news-article161788993

BAND BANQUET : Howard Function : ANNUAL MEETING. (1933, 21 December). Maryborough Chronicle, Wide Bay and Burnett Advertiser (Qld. : 1860 – 1947), 2. http://nla.gov.au/nla.news-article149267526

Bathurst Band Contests : A Warm Sort of Judge : His Remarks at Ballarat. (1902, 06 November). Mudgee Guardian and North-Western Representative (NSW : 1890 – 1954), 18. http://nla.gov.au/nla.news-article157697522

Bathurst Musical and Literary. (1902, 13 November). National Advocate (Bathurst, NSW : 1889 – 1954), 5-6. http://nla.gov.au/nla.news-article157251693

Besses o’ th’ Barn Band Channel. (2022, 02 January). Besses o’ th’ Barn Polka (1940) [Video (1940 Radio Broadcast)]. YouTube. Retrieved 02 January 2022 from https://www.youtube.com/watch?v=PE5vkyi1vIg

BESSES O’ TH’ BARN BAND. (1907a, 24 July). Goulburn Herald (NSW : 1881 – 1907), 2. http://nla.gov.au/nla.news-article100454780

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

BESSES O’ TH’ BARN BAND. (1907b, 06 September). Bendigo Advertiser (Vic. : 1855 – 1918), 5. http://nla.gov.au/nla.news-article89858023

BESSES O’ TH’ BARN BAND. (1907c, 10 August). Register (Adelaide, SA : 1901 – 1929), 5. http://nla.gov.au/nla.news-article56528158

Besses o’ th’ Barn Band. (1907). [Photograph]. [13953]. Manchester Digital Music Archive. https://www.mdmarchive.co.uk/artefact/13953/BESSES_O’_TH’_BARN_BAND_PHOTOGRAPH_1907

BESSES O’ TH’ BARN BAND : A NOTABLE CONDUCTOR. (1907d, 25 July). Herald (Melbourne, Vic. : 1861 – 1954), 3. http://nla.gov.au/nla.news-article243298679

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

Boosey and Co. (1919). A Famous Soloist [Advertisement]. The Australian Band News, 12(10), 18.

CHAMPIONSHIP BAND CONTEST : INTERESTING COMPETITIONS. (1902, 29 December). Sydney Morning Herald (NSW : 1842 – 1954), 3. http://nla.gov.au/nla.news-article14480823

de Korte, J. D. (2018a, 14 October). International band tours of the early 1900’s: bringing music to Australia. Band Blasts from the Past : Anecdotes, Stories and Personalities. https://bandblastsfromthepast.blog/2018/10/14/_international-band-tours-of-the-early-1900s-bringing-music-to-australia/

de Korte, J. D. (2018b, 02 March). William Ryder: The first conductor of the Prahran & Malvern Tramways Employees Band. Band Blasts from the Past : Anecdotes, Stories and Personalities. https://bandblastsfromthepast.blog/2018/03/02/william-ryder-the-first-conductor-of-the-prahran-malvern-tramways-employees-band/

EMPEROR OF CORNET : Some Triumphs of Genius : AUSTRALIA’S BAND MUSIC. (1930, 20 September). Daily News (Perth, WA : 1882 – 1950), 6. http://nla.gov.au/nla.news-article79474044

An Exhibit of Musical Instruments. (1906, 13 October). Star, 7. https://paperspast.natlib.govt.nz/newspapers/TS19061013.2.94.5

Howell, J. (2016). Boosey & Hawkes: The rise and fall of a wind instrument manufacturing empire (Publication Number 16081) [PhD, City University of London, School of Arts, Department of Creative Practice & Enterprise – Centre for Music Studies]. City Research Online. London, UK. http://openaccess.city.ac.uk/id/eprint/16081

Mr. Alexander Owen : THE GREATEST BRASS BAND CONDUCTOR IN THE WORLD. (1907, 01 July). Evening Telegraph (Charters Towers, Qld. : 1901 – 1921), 4. http://nla.gov.au/nla.news-article214932270

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

MR. J. ORD HUME : POPULAR WITH BANDSMEN. (1924, 26 January). Ballarat Star (Vic. : 1865 – 1924), 10. http://nla.gov.au/nla.news-article213955763

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

MUSIC ADJUDICATOR : Death of Mr. J. Dixon. (1929, 22 July). News (Adelaide, SA : 1923 – 1954), 2. http://nla.gov.au/nla.news-article129174877

THE MUSIC OF THE BAND : AUSTRALIA’S FUTURE : CHAT WITH BRITISH EXPERTS. (1910, 12 August). Evening News (Sydney, NSW : 1869 – 1931), 6. http://nla.gov.au/nla.news-article115252341

Personals. (1903). Wright & Round’s Brass Band News(259), 7. http://usir.salford.ac.uk/id/eprint/45510/

Prestwich, M. (1906). Besses o’ th’ Barn Band [Postcard]. Martin Prestwich, Manchester, United Kingdom.

Quickstep. (1920a, 11 September). Bandsmen’s Gossip : Australia’s Great Soloist. Herald (Melbourne, Vic. : 1861 – 1954), 14. http://nla.gov.au/nla.news-article242308980

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

The Royal Besses O’ Th’ Barn Band : The Finest in the World. (1907). [Postcard]. Besses O’ Th’ Barn Band.

Seymour, C. (1994). Adelaide’s Tramway Band. Trolley Wire, 35(4), 3-10. https://www.sydneytramwaymuseum.com.au/members.old/Trolley_Wire/259%20-%20Trolley%20Wire%20-%20Nov%201994.pdf

SOUTH STREET SOCIETY : A SOCIAL FUNCTION : TO MR J. ORD HUME. (1902, 04 November). Ballarat Star (Vic. : 1865 – 1924), 1. http://nla.gov.au/nla.news-article208361692

SOUTH-STREET COMPETITION’S : Inaugural Concert. (1902, 03 October). Argus (Melbourne, Vic. : 1848 – 1957), 6. http://nla.gov.au/nla.news-article9062176

Thirst, T. (2006). James Ord Hume 1864-1932 : a friend to all bandsmen : an account of his life and music. Timothy Thirst.

WOULD CAPTURE LONDON : Malvern Band Praised : “CONDUCTOR A GENIUS”. (1922, 30 October). Herald (Melbourne, Vic. : 1861 – 1954), 7. http://nla.gov.au/nla.news-article243776990

Wright, F. (1935). The late J. ORD HUME : An Appreciation. British Bandsman, 4-5.

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.

Australian society and brass bands: The Pneumonic Influenza pandemic of 1919

June 4, 2020September 15, 2021 Jeremy de Korte1 Comment

19190624_AIF_VAD-Band_phot16531 — Bandys Picnic June 24th 1919. Photo was taken at an Australian camp in England. (Source: IBEW)

Introduction:

Early in 1918 it began to be whispered that a new plague, the first pandemic scourge of the present world war, had made such inroads upon the German military machine, as well upon the “home front” behind, that the Western offensive had to be postponed until the worst of it was over. The end of the third week in March saw this point reached, and the onslaught began.
(Hirshberg, 1919)

So wrote M.D. Leonard Keene Hirshberg in an article for the Australasian newspaper in March 1919. The years of 1918, 1919 and 1920 were tumultuous times for society with the end of the First World War, the return of service men and women to homelands, and this horrific pandemic. This influenza touched every corner of the globe and has been noted in medical and social history.

This post will be about some of the local responses to the pandemic and the effect it had on the nations brass bands as they were nominally affected by what was going on around them. There were several ways the bands were affected, some through loss of members, others through loss of rehearsal spaces and performances, and other bands sought to keep up morale by continuing as best they could under the circumstances. Pandemic rules and responses from national, state, and local government meant that the bands had to adapt to an ever-changing situation.

Some might consider that there are parallels between this time and ours with many of our community bands in enforced recess. However, as they were back then, the bands were resilient enough to survive and continue to make music. I personally give my respect to all Australian bands and band members who are in recess due to the COVID-19 pandemic – this post is dedicated to you all.

The “Spanish” Influenza:

For want of a more accurate name this modern plague, the like of which has not been experienced by humanity for 400 years, has commonly been called Spanish influenza. Yet it did not originate in Spain, nor was it exactly the grippe or influenza of other days.
(Hirshberg, 1919)

To provide some context, a little history of the influenza must be explored. Hirshberg was right, the influenza did not originate in Spain. It was given this name as the then King of Spain was one of the more high-profile sufferers of this pandemic (he survived) (McQueen, 1976). Most accounts tell of a milder influenza originating in the USA and American troops bringing this form over to Europe in 1918, which then mutated and rapidly spread around the world (McQueen, 1976). This “Spanish” Influenza is reputed to have killed more than 50 million people around the globe (National Museum Australia, 2020).

Australia must face the fact that the scourge which has taken so heavy a toll from the rest of the world has invaded her own frontiers.
(“Influenza,” 1919)

Australian troops that were demobilising and convalescing in Britain were hard hit, as were troopships (McQueen, 1976). Australia was forewarned and enacted various quarantine measures in late 1918. Despite this, the influenza did arrive in Australia with returning troops and “40 per cent of the population fell ill and around 15,000 died.” (National Museum Australia, 2020). While countries such as New Zealand and South Africa sustained heavy loses, Australia appears to have got off lightly in comparison. What made this influenza so dangerous was that it was indiscriminate and affected age groups beyond the usual sufferers of influenza with young adults being particularly affected (National Museum Australia, 2020).

Victoria has today been declared an ‘infected’ state on account of the presence of pneumonic influenza which appears to be spreading fairly rapidly.
(Vosti cited in Frost, 2012, p. 104)

The first case of this influenza in Australia was recorded in January 1919 in Melbourne (National Museum Australia, 2020). Around Australia, Federal cooperation was fragmented and States closed their borders, set up quarantine stations, camps and emergency hospitals, and imposed social restrictions (McQueen, 1976). Times of infection varied depending on location and travel. While much of Eastern Australia faced the influenza from early 1919, the first case did not appear in Perth until June 1919 (National Museum Australia, 2020). By the end of 1919, this influenza pandemic had largely abated (National Museum Australia, 2020).

The bands are affected:

19180000_St-Arnaud_Soldiers-Parade_3361762672_o — Band leading a Returned Soldiers’ march at St Arnaud in 1918 (Source: HistoryInPhotos)

Society is the big picture; brass bands are a microcosm of society. And as mentioned in the opening of this post, brass bands were affected in several ways. To start with we can look to New Zealand which suffered through the influenza pandemic at a slightly earlier time frame than Australia, and their brass bands were similarly affected. In November 1918, a Mr Cyril Warin died at the Auxiliary Hospital in Warkworth, aged 19. He was noted as being “very musical, and was a member of the local brass band” (“Mr. Cyril Carson Warin,” 1918). A champion drummer of New Zealand and member of the Masterton Brass Band, Mr John Page died in December 1918 (The Referee Special, 1918). However, in more positive news for one NZ brass band, the Kaitangata Brass Band “obtained permission from the Health authorities to resume their musical practices, which were suspended during the epidemic” (“Kaitangata News,” 1918).

In Australia, local bands started experiencing the impacts soon after the first cases of the influenza appeared. The Boolaroo Brass Band was to have held a sports carnival in aid of the band in February, only to have it cancelled – this was a decision of their committee (“BOOLAROO.,” 1919). However, the Boolaroo Brass Band did participate in the welcoming home of a local soldier from France in this week of February (“BOOLAROO.,” 1919). Further south in Tasmania, the Stanley Brass Band found itself without a rehearsal room as their building at the showgrounds was taken over by the council for a hospital (“Local and General.,” 1919). All was not completely lost as the local council arranged for the band to rehearse in the local school (“Local and General.,” 1919).

*Newcastle Morning Herald and Miners’ Advocate*, 14/02/1919, p. 5

The Ipswich Brass Band had the distinct misfortune to be south of the Queensland border in New South Wales when the State border was closed. They were interred with many other Queenslanders in a temporary quarantine station set up on the Tenterfield showgrounds. However, they put their time to good use presented some impromptu concerts to entertain the other internees (“INFLUENZA.,” 1919).

An interesting discussion took place amongst the Richmond City Council (Melbourne, Vic.) in March 1919 over the activities of two of the local bands and proximity to the local hospital, which was no doubt treating influenza patients. Initially, the council had declined an application from the Richmond Juvenile Brass Band for the use of the City Reserve, similar to an application, which was also declined, made two weeks earlier by the Richmond City Band (“City Reserve Not Available,” 1919). The reason for both applications being declined by council was the “assembling of a large number of persons” (“City Reserve Not Available,” 1919). The second part of this issue was the proximity of the local hospital to the reserve, and the city band room. One councillor argued that patients “would be disturbed by the band performance” while another councillor took the position that the sounds of the band would be appreciated (“City Reserve Not Available,” 1919). The refusal of applications for use of the reserve was upheld by the council.

00000000_Dapto-Brass-Band_phot11479 — Dapto Brass Band (date unknown). (Source: IBEW)

In April 1919, the activities of one local band was disrupted with the Dapto Brass Band being the victim of an unfortunate set of circumstances. It must be noted that safety was important however, the loss of a function to aid the band (as detailed in the article below), would have hurt the band financially (“SAFETY FIRST,” 1919).

19190419_Sun_Dapto-BB_Flu-Scare — *The Sun*, 15/04/1919, p. 5

By the death of the late Frank W. Haase (Vice-President and late Organising Secretary), the Band Association of New South Wales has lost and esteemed officer and valuable worker, and the community at large a good citizen. A victim of the deadly pneumonic influenza his demise was sudden, many in fact, not knowing of it till some days after.”
(Atkins, 1919)

Sadly, the bands, as in society, felt the loss of their members due to the influenza. In May 1919 the President of the Stawell Brass Band, a Mr David John Thomas, passed away due to influenza (“STAWELL.,” 1919). The obituary tells of a man that was embedded in his community and participated in a wide variety of activities. Likewise, the passing of Mr. R. L. Tulloch of Morwell from influenza was also keenly felt by the town. He was only 26, a father of three young children, a fit gentleman who also participated in a range of activities including being a member of the Morwell Brass Band (“Influenza Victim.,” 1919).

19190510_Ballarat-Star_Stawell-Obiturary — *Ballarat Star*, 10/05/1919, p. 6

Influenza very prevalent in Moonee Ponds and Ascot Vale though mostly in a mild form.
(Vosti cited in Frost, 2012, p. 127)

For other bands, the times were tough as detailed in some reports presented at Annual General Meetings. The Taree Civilian Band, while surviving through enforced recess, found itself without a bandmaster as he had taken up an appointment as bandmaster of the Port Kembla Brass Band (they soon appointed a new bandmaster) (“Taree Civilian Band.,” 1919). In the AGM report, the secretary Mr. F. W. Barnett also makes mention of the effects of the influenza where he noted,

Owing to the unfortunate outbreak of influenza the band has been in enforced recess for the last couple of months, but notwithstanding this Mr Drake was able to get a scratch band together for the Peace Day celebrations on July 19. The band has now resumed regular practice and will be before the public in the near future.
(“Taree Civilian Band.,” 1919)

The Franklin Brass Band had faced similar difficulties throughout this time period and said as much in their annual general meeting report. This meeting, which was the first since they reformed after a five-year recess, told of the difficulties brought on by the great war and the influenza epidemic (“FRANKLIN BRASS BAND,” 1919). To the band’s credit, the retiring secretary of the band had worked hard to reduce the debt from five years ago despite the “stressing times” (“FRANKLIN BRASS BAND,” 1919).

00000000_Franklin-Brass-Band_phot17032 — Franklin Brass Band (Date unknown). (Source: IBEW)

The ‘flu has kept bands back.
The epidemic is passing in New South Wales, New Zealand and Victoria.
Ere long Queensland will be free, and all other States and their banding will go ahead.
Bands will do well to keep preparing for peace celebrations.
(“Short Notes and Personals,” 1919)

With life gradually returning to normal by the end of 1919, the effects of the epidemic were still being felt and in early 1920 we find little stories of bands being called upon to provide their services. In the tiny town of Westonia, located halfway between Perth and Kalgoorlie, the local band was called upon to help commemorate “the unveiling of two tablets over the graves of W. Lockie and Vic Fuhrman (victims of the recent influenza epidemic)” (“‘LEST WE FORGET.’,” 1920). Both men had returned from active service in the First World War.

Conclusion:

It has been interesting documenting some of the little band stories from 1919 as there were a variety of ways in which bands reacted to the rapidly changing circumstances. At times the circumstances were beyond their control, however, this did not stop them trying to carry on their operations as normal. If there is anything to be learnt from 1919 is that bands, for the most part, survived and thrived.

19190000_Riggs-Brass-Band-Gawler_photo821 — Rigg’s Brass Band Gawler, 1919 leading a parade of returning servicemen. (Source: IBEW)

References:

Atkins, W. D. (1919). The Late Frank W. Haase, A Tribute [Obituary]. The Australasian Bandsman, 32(10), 3-4.

Bandy’s Picnic June 24th 1919 : The best of the 300 Sisters, V.A.D.’s, Patients were shy. (1919). [Photograph]. [phot16531]. The Internet Bandsman Everything Within, Vintage Brass Band Pictures : Australia. http://www.ibew.org.uk/vbbp-oz.html

BOOLAROO. (1919, 14 February). Newcastle Morning Herald and Miners’ Advocate (NSW : 1876 – 1954), 5. http://nla.gov.au/nla.news-article139644485

City Reserve Not Available for Band Performances — Would Music be Soothing to Sufferers in Hospital? (1919, 01 March). Richmond Guardian (Vic. : 1907 – 1920), 2. http://nla.gov.au/nla.news-article255877197

Dapto Brass Band. (n.d.). [Photograph]. [phot11479]. The Internet Bandsman Everything Within, Vintage Brass Band Pictures : Australia. http://www.ibew.org.uk/vbbp-oz.html

FRANKLIN BRASS BAND. (1919, 09 December). Huon Times (Franklin, Tas. : 1910 – 1933), 3. http://nla.gov.au/nla.news-article140944253

Franklin Brass Band. (n.d.). [Photograph]. [phot17032]. The Internet Bandsman Everything Within, Vintage Brass Band Pictures : Australia. http://www.ibew.org.uk/vbbp-oz.html

Frost, L. (2012). Bandsman Vosti’s Diaries : war and peace in Essendon, 1917-1920. Lenore Frost.

Hirshberg, L. K. (1919, 29 March). “SPANISH” INFLUENZA. Australasian (Melbourne, Vic. : 1864 – 1946), 32. http://nla.gov.au/nla.news-article140221010

HistoryInPhotos. (2009, 16 March). Band leading a Returned Soldiers march at St Arnaud in 1918 [Photograph]. flickr. Retrieved 20 January 2020 from https://www.flickr.com/photos/historyinphotos/3361762672/in/album-72157613028413958/

Influenza. (1919, 28 January). Sydney Morning Herald (NSW : 1842 – 1954), 6. http://nla.gov.au/nla.news-article15822176

INFLUENZA : Seven Deaths To-day : Another Victim in Sydney – Case from Argyllshire. (1919, 12 February). Telegraph (Brisbane, Qld. : 1872 – 1947), 2. http://nla.gov.au/nla.news-article176303325

Influenza Victim. (1919, 01 August). Morwell Advertiser (Morwell, Vic. : 1888 – 1954), 3. http://nla.gov.au/nla.news-article65922832

Kaitangata News. (1918, 13 December). Clutha Leader, 3. https://paperspast.natlib.govt.nz/newspapers/CL19181213.2.7

‘LEST WE FORGET.’ : Unveiling Ceremony by the R.S.A. (1920, 07 February 1920). Westonian (WA : 1915 – 1920), 2. http://nla.gov.au/nla.news-article212529404

Local and General : Bandroom Wanted. (1919, 19 February). Circular Head Chronicle (Stanley, Tas. : 1906 – 1954), 2. http://nla.gov.au/nla.news-article162263034

McQueen, H. (1976). The ‘Spanish’ Influenza Pandemic in Australia, 1918-19. In J. I. Roe (Ed.), Social policy in Australia : some perspectives, 1901-1975 (pp. 131-147). Cassell Australia.

Mr. Cyril Carson Warin. (1918, 27 November). Rodney and Otamatea Times, Waitemata and Kaipara Gazette, 5. https://paperspast.natlib.govt.nz/newspapers/ROTWKG19181127.2.14.6

National Museum Australia. (2020). 1919: Influenza pandemic reaches Australia. National Museum Australia. Retrieved 15 May 2020 from https://www.nma.gov.au/defining-moments/resources/influenza-pandemic

Rigg’s Brass Band Gawler. (1919). [Photograph]. [photo821]. The Internet Bandsman Everything Within, Vintage Brass Band Pictures : Australia. http://www.ibew.org.uk/vbbp-oz.html

SAFETY FIRST : Scare Spoils Social. (1919, 15 April). Sun (Sydney, NSW : 1910 – 1954), 5. http://nla.gov.au/nla.news-article221450689

Short Notes and Personals. (1919). The Australasian Bandsman, 32(10), 2-3.

STAWELL : Obituary. (1919, 10 May). Ballarat Star (Vic. : 1865 – 1924), 6. http://nla.gov.au/nla.news-article212640834

Taree Civilian Band. (1919, 02 August). Northern Champion (Taree, NSW : 1913 – 1954), 3. http://nla.gov.au/nla.news-article157096567

The Referee Special. (1918, 18 December). INFLUENZA : Heavy Losses Sustained in Sport and Stage. Referee (Sydney, NSW : 1886 – 1939), 7. http://nla.gov.au/nla.news-article120312959

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

August 3, 2019September 9, 2021 Jeremy de Korte1 Comment

Introduction:

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

1907: Newcastle City Band – Christchurch International Exhibition Contest:

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

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

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

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

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

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

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

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

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

(source of table data (Newcomb, 1980, p. 40))

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

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

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

In Dunedin, it competed against seven of New Zealand’s top A grade bands. After a week of intensive rehearsal in the “Edinburgh of the South” Redfern was rewarded for its painstaking efforts when it took out the A grade title 12 points ahead of Invercargill’s Hiberian Band. The 1^st Canterbury Mounted Regiment Band was third.
The talking point of the contest was the poor performance of the Wanganui Garrison Band, under Mr. J. Crichton. The veteran Wanganui conductor’s ambition was to thrash the Redferners…”
(p. 44)

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

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

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

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

19250305_Auckland-Weekly-News_MalvernTB_ — Malvern Tramways Band, Auckland. *Auckland Weekly News*, 2/03/1925, p. 46. (Source: Auckland Libraries Heritage Collections: AWNS-19250305-46-1)

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

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

After many years of bickering, common sense prevailed when the North and South Island associations joined forces to stage the 1925 national contest in Auckland.
It was made doubly interesting by the presence of the Malvern Tramways Band from Australia under the conductorship of Mr. Harry Shugg.
New Zealand’s top A grade bands proved no match for the highly fancied Australian combination which won both tests, the hymn and the championship aggregate.
(p. 45)

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

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

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

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

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

Conclusion:

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

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

<- Part One – New Zealand Bands in Australia

References:

Auckland Weekly News. (1925). AUSTRALIAN BAND’S SWEEPING SUCCESS : MALVERN TRAMWYS (MELBOURNE), WINNERS OF ALL THE A GRADE SHIELDS AND THE McLED CUP [Digital Image AWNS-19250305-46-1]. Ngā Pātaka Kōrero o Tâmaki Makaurau / Auckland Libraries Heritage Collections, Auckland, N.Z. https://digitalnz.org/records/38490933/australian-bands-sweeping-success-malvern-tramways-melbourne-winners-of-all

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

MALVERN WIN A GRADE TEST. (1925, 27 February). Evening Post. https://paperspast.natlib.govt.nz/newspapers/EP19250227.2.83.1

New Zealand International Exhibition. (1907, 12 February). Star, 3. https://paperspast.natlib.govt.nz/newspapers/TS19070212.2.57.2

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

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

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

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

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

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

August 3, 2019September 9, 2021 Jeremy de Korte2 Comments

GLNZ Series — Wanganui Garrison Band being welcomed in Melbourne. *Auckland Weekly News,* 10/11/1910. (Source: Auckland Libraries Heritage Collections: AWNS-19101110-4-5)

Introduction:

It would be fair to say that the relationship between Australia and New Zealand, as countries and peoples, has been one of mutual respect, partnership, shared development, and healthy competitiveness. This has been evident in many instances and has also been evident in the brass band movement. So much so that over the years from just before 1900 up to 1950, bands regularly crossed the Tasman Sea with the aim of touring, performance, and participating in respective championships.

Travel was not always an easy task and was certainly expensive. Yet in these early days of ships and trains, bands managed this and for the most part, were met with civic welcomes and hospitality wherever they went. There were also times when eminent bandsmen also traveled to ply their services as adjudicators, conductors or band coaches. This allowed a flow of new ideas, expertise and criticism that certainly helped the band movements of both countries.

As far as the information allows it, we will see who went where and when. It has been interesting to read the perspectives of media from both Australia and New Zealand through using the resources of the Trove archive and DigitalNZ / PapersPast – media of the day reported on everything. Also, the results database of the Royal South Street Society, the Brass Band Results website (UK) and history books regarding the band history of New Zealand have been very helpful.

For the sake of brevity, this post has been divided into two parts and the details of visits are in basic chronological order. Part one is about the bands from New Zealand that traveled to Australia and part two highlights four of the Australian bands that went to New Zealand. There are some fascinating stories to come out of these trips and one can appreciate the initiative. I hope people enjoy reading both posts.

1897-1899: Invercargill Garrison Band, Oamaru Garrison Band & Wellington Garrison Band – Melbourne & Bathurst:

In the few years preceding 1900, Australia received visits from three New Zealand bands in relatively quick succession; the Invercargill Garrison Band in 1897, the Oamaru Garrison band in 1898 and the Wellington Garrison Band in 1899 (Newcomb, 1980). In 1897 the Invercargill Garrison Band visited Melbourne to compete in the Druid’s Gala Contest in Melbourne and gained a credible forth placing out of the eleven bands that competed (“VICTORIA.,” 1897). The next year, and in the same contest, the Oamaru Garrison Band visited and was higher placed although there’s some historical conjecture over the scores with an article in the Bendigo Independent newspaper reporting a tied third place other reports saying they achieved second placings in some sections (“THE BAND CONTEST.,” 1898; Newcomb, 1980).

*The Bendigo Independent*, 12/04/1898, p. 3

In 1899, the Wellington Garrison Band sailed to Australia and after a brief stop in Sydney, they traveled to Bathurst to compete in the Intercolonial Band Contest. They immediately set the tone of their visit and marched from the railway station to the hotel followed by enthusiastic crowds (“The Wellington Garrison Band.,” 1899). However, despite being a champion New Zealand band, they were brought undone in Bathurst by the deportment of their bandsmen. It was widely reported in New Zealand and Australian press that the reason they lost points in the marching was because of “nine of the bandsmen being unshaved” (“UNSHAVEN BANDSMEN,” 1899). Apparently Wellington band “forgot” the regulations on shaving and were subsequently placed fifth in the marching even though their playing matched the Code’s Melbourne Band (“Bathurst Band Contest.,” 1899). This being said, they redeemed themselves by winning the bulk of the solo contests in Bathurst (“BAND CONTEST.,” 1899).

1908 & 1921: Kaikorai Band – South Street Eisteddfod, Ballarat:

Early in 1908, a tiny snippet of news was printed by newspapers across New Zealand; the Kaikorai Band from Dunedin was intending to compete at the Ballarat South Street Eisteddfod in October – as seen here in this advertisement published by the Colonist newspaper (“Kaikorai Band,” 1908). The Kaikorai band was another one of New Zealand’s top bands at the time and obviously felt that they could take on the best of Australian brass bands (Newcomb, 1980). However, things did not go quite to plan on the day and Newcomb (1980) outlined one the main reasons:

Everything went wrong after one of the band’s top soloists, Billy Flea, cracked his lip. The Flugel Horn solo had to be taken by Jim Pearson. Though Billy was a strong player, Jim was the reverse. As a result, another soloist, who was in the habit of relying on the finish of the Flugel solo to dovetail his entry, simply didn’t hear Jim, so never got started!
Conductor Laidlaw was so taken aback that his baton simply froze. Some of the bandsmen maintained that the Scots conductor turned a shade of green! It was to his credit, however, that after the initial shock he pulled the band together.
(p. 40)

This, of course, was reflected in the comments on their playing, an account that was published in the Otago Witness newspaper (“Kaikorai Band at Ballarat,” 1908). However, the Kaikorai Band did achieve one triumph when they won the discipline prize for their marching.

21/10/1908 – Coliseum – Brass Solo Contests
24/10/1908 – City Oval – Brass Band Contests

(Royal South Street Society, 1908a, 1908b)

In 1921 the Kaikorai Band returned to South Street to compete, however on this occasion they did not go as well as Australian bands had developed quite a bit in preceding years and Kaikorai was no match for them (Newcomb, 1980). The only success on this occasion occurred in the Septette section where their group achieved first place.

19/10/1921 – Alfred Hall – Brass Solo Contests
22/10/1921 – City Oval – Brass Band Contests

(Royal South Street Society, 1921a, 1921b)

1910: Wanganui Garrison Band – South Street Eisteddfod, Ballarat:

Two years after the Kaikorai band visited South Street, another one of New Zealand’s top bands, the famous Wanganui Garrison Band made the trip. Conducted by Mr. James Chrichton for 21 years and succeeded by Mr. Alfred Wade in 1908, the band had built up an enviable contesting record and in 1910 they made the trip to Australia to compete (Newcomb, 1980; Zealley & Ord Hume, 1926).

Needless to say, the Wanganui Garrison Band was very successful at South Street and won both the Quickstep and Test sections over the Collingwood Citizens’ Band and both Ballarat bands – Prout’s and City (“THE GRAND BAND CONTESTS,” 1910). As well as this superb win in the band contest, Wanganui also had many soloists and ensemble enter various sections, and they were similarly successful with many of them gaining places.

17/10/1910 – Coliseum – Brass Solo Contests
18/10/1910 – Coliseum – Brass Solo Contests
19/10/1910 – Coliseum – Brass Solo Contests
20/10/1910 – City Oval – Brass Band Contests

(Royal South Street Society, 1910a, 1910b, 1910c, 1910d)

When Wanganui returned to Melbourne, they were given a rapturous welcome by the Lord Mayor and the Agent for New Zealand (pictured at the start of this post) (“THE WANGANUI BAND.,” 1910). After leaving Melbourne they traveled to Albury where they were given another civic reception (“WANGANUI BAND,” 1910). From Albury, they traveled to Sydney to take a ship back to Auckland where they were greeted with a huge celebration by proud New Zealanders (“VICTORY OF THE WANGANUI BAND,” 1910).

1920: 2^ndSouth Canterbury (Timaru) Regimental Band – South Street Eisteddfod, Ballarat:

19131121_Invercargill_Timaru-Regimental — Band of 2nd, South Canterbury, Regiment, Timaru (Source: Early New Zealand Photographers)

After the First World War ended and bands were gradually getting back to normal activities, the South Street Eisteddfod resumed and the 2^ndSouth Canterbury Regimental Band, also known as the Timaru Regimental Band, ventured to Australia to compete in the 1920 contests. Despite them being a national champion band in New Zealand, at least before the war, their results in Ballarat were not that spectacular (Newcomb, 1980). That being said, the A Grade section did include Malvern Tramways Band, Ipswich Vice-Regal Band, South Sydney and the City of Ballarat – Timaru came up against some of the best in Australia at the time. Timaru Regimental did have some success in the Trombone Trio and placings in other solo sections so their experience of South Street was somewhat worthwhile (“SOUTH STREET BAND CONTESTS.,” 1920).

18/10/1920 – Brass Solo Contests
20/10/1920 – Brass Solo Contests
23/10/1920 – Brass Band Contests

(Royal South Street Society, 1920a, 1920b, 1920c)

1934: Woolston Band – South Street “Centenary” Brass Band Contest, Ballarat:

In 1934 in the midst of a depression, the Woolston Band from Christchurch managed to find enough funds to make the trip to Ballarat with the aim of competing in the 1934 South Street “Centenary” Brass Band Contests – the name given as it was Victoria’s Centenary year since it became a separate colony. This was an auspicious event as it was attended by the Duke of Gloucester and the Band of His Majesty’s Grenadier Guards.

By all accounts they acquitted themselves very well and up against some of Australia’s best bands, they achieved second place. They did have some setbacks though. Newcomb (1980) writes of Woolston’s effort:

The Woolston Band may well have won the contest had it not drawn the dreaded No. 1 position in the second test piece. Bad weather resulted in a last-minute decision to stage the event indoors, and when the band started its performance it became evident that the standard seating formation did not conform with the acoustics of the hall.
After the contest, the adjudicator, Mr. Stephen York, told Mr. Estell the Woolston Band had not scored well because it was not properly balanced. Moreover, to add to the band’s misfortune, five members were suffering from influenza.
(p. 47)

The standard of competition was very high and this was noted by the press that attended the event (“BRILLIANT PLAYING,” 1934). The winning band was the famed Melbourne Fire Brigade Band.

01/11/1934 – City Oval – Brass Band Contests

(Royal South Street Society, 1934)

19341101-19341103_South-Street-Centenary-Contest_p3-p4 — Programme, South Street “Centenary” : Brass Band Contest : A, B, C and D Grades, pg. 3-4. (Souce: Victorian Collections: Victorian Bands’ League Archives)

1947: Wellington Waterside Workers Silver Band / Auckland Junior Waterside Workers Band – Australian Band Championships, Newcastle:

After the cessation of the Second World War, band competitions resumed in New Zealand and Australia and in 1947 the Australian Band Championships were held in Newcastle, N.S.W. Two New Zealand Bands made the trip to Newcastle that year with the Wellington band competing in A grade and the Auckland band competing in B grade. On this occasion, both bands did not receive a civic welcome to Newcastle but instead were awarded a function put on by the Newcastle Waterside Workers’ Social Committee (“Waterside Bands To Be Welcomed,” 1947).

Out of these two bands, the Wellington Waterside Band was the only one to gain a placing by achieving 3^rdplace however their soloists won most sections (Newcomb, 1980). The Auckland Junior band did not gain any placing and the A Grade championship was won by the Melbourne Fire Brigade Band (“FIREMEN SCORE IN BAND CONTEST,” 1947). Both Waterside bands performed at other events during their stay which helped contribute money to various waterside workers’ benefit funds (“New Zealand Bands Guest Artists,” 1947).

1949: St. Kilda Municipal Band – South Street Eisteddfod, Ballarat:

In 1949 the St. Kilda Municipal Band from Dunedin, elated by their success at the Auckland NZ Band Championships this same year, decided to come to Ballarat and compete for the Australian championship as well (Newcomb, 1980). Make the trip they did, and doing things differently to other New Zealand bands that had previously traveled to Australia, instead of taking a ship, they flew! (“NZ BAND WILL FLY HERE,” 1949).

To have a New Zealand band of this caliber at South Street was a major drawcard and they convincingly won or came 2^ndin every section that they participated in (“NZ band has a big day at Ballarat,” 1949). The section included bands from Ballarat and the famous Brisbane Excelsior Band.

28/10/1949 – City Oval – Brass Band Contests
29/10/1949 – City Oval – Brass Band Contests

(Royal South Street Society, 1949a, 1949b)

Conclusion:

In concluding part one of this series of posts, one must admire the drive and determination of the New Zealand bands. Success was never a guarantee; however, it was shown that the best New Zealand bands were certainly a match for the crack Australian bands (and vice versa). Having bands visit from New Zealand was also a major drawcard to competitions for the visiting public.

In part two of this series, we can see how the Australian bands fared in New Zealand.

Part Two – Australian Bands in New Zealand ->

References:

THE BAND CONTEST. (1898, 12 April). Bendigo Independent (Vic. : 1891 – 1918), 3. http://nla.gov.au/nla.news-article184290848

BAND CONTEST. (1899, 11 November). Australian Star (Sydney, NSW : 1887 – 1909), 5. http://nla.gov.au/nla.news-article228744480

Bathurst Band Contest : Complaints from New Zealand. (1899, 17 November). Bathurst Free Press and Mining Journal (NSW : 1851 – 1904), 2. http://nla.gov.au/nla.news-article63910068

BRILLIANT PLAYING : Ballarat Band Contest. (1934, 05 November). Evening Post. https://paperspast.natlib.govt.nz/newspapers/EP19341105.2.61

Early Canterbury Photography. (2014, March). McKesch, Henry John. Early New Zealand Photographers and their successors. http://canterburyphotography.blogspot.com/2014/03/mckesch-henry-john.html

FIREMEN SCORE IN BAND CONTEST. (1947, 22 September). Newcastle Morning Herald and Miners’ Advocate (NSW : 1876 – 1954), 2. http://nla.gov.au/nla.news-article134239668

THE GRAND BAND CONTESTS : Close of South-St Competitions. (1910, 24 October). Ballarat Star (Vic. : 1865 – 1924), 1. http://nla.gov.au/nla.news-article216382480

Kaikorai Band. (1908, 14 January). Colonist, 3. https://paperspast.natlib.govt.nz/newspapers/TC19080114.2.24.1

Kaikorai Band at Ballarat. (1908, 11 November). Otago Witness. https://paperspast.natlib.govt.nz/newspapers/OW19081111.2.151

N. Z. Govt, & Auckland Weekly News. (1910). THE WANGANUI GARRISON BAND IN MELBOURNE: WELCOMED BY A N. Z. Govt., & Auckland Weekly News. (1910). THE WANGANUI GARRISON BAND IN MELBOURNE: WELCOMED BY A HUGE CROWD AT THE NEW ZEALAND GOVERMENT AGENCY [Digital Image]. [AWNS-19101110-4-5]. Ngā Pātaka Kōrero o Tâmaki Makaurau / Auckland Libraries Heritage Collections, Auckland, N.Z. https://digitalnz.org/records/37929217/the-wanganui-garrison-band-in-melbourne-welcomed-by-a-huge-crowd-at-the-new

New Zealand Bands Guest Artists. (1947, 19 September). Newcastle Morning Herald and Miners’ Advocate (NSW : 1876 – 1954), 6. http://nla.gov.au/nla.news-article134230123

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

NZ band has big day at Ballarat. (1949, 31 October). Argus (Melbourne, Vic. : 1848 – 1957), 12. http://nla.gov.au/nla.news-article22788890

NZ BAND WILL FLY HERE. (1949, 27 August). Herald (Melbourne, Vic. : 1861 – 1954), 8. http://nla.gov.au/nla.news-article243675387

Royal South Street Society. (1908a, 21 October). 1908-10-21 Brass Solo Contests. Royal South Street Society. Retrieved 20 July 2019 from https://results.royalsouthstreet.com.au/results/1908-10-21-brass-solo-contests

Royal South Street Society. (1908, 24 October). 1908-10-24 Brass Band Contests. Royal South Street Society. Retrieved 20 July 2019 from https://results.royalsouthstreet.com.au/results/1908-10-24-brass-band-contests

Royal South Street Society. (1910a, 17 October). 1910-10-17 Brass Solo Contests. Royal South Street Society. Retrieved 20 July from https://results.royalsouthstreet.com.au/results/1910-10-17-brass-band-contests

Royal South Street Society. (1910b, 18 October). 1910-10-18 Brass Solo Contests. Royal South Street Society. Retrieved 20 July from https://results.royalsouthstreet.com.au/results/1910-10-18-brass-band-contests

Royal South Street Society. (1910c, 19 October). 1910-10-19 Brass Solo Contests. Royal South Street Society. Retrieved 20 July 2019 from https://results.royalsouthstreet.com.au/results/1910-10-19-brass-band-contests

Royal South Street Society. (1910d, 20 October). 1910-10-20 Brass Band Contests. Royal South Street Society. Retrieved 20 July 2019 from https://results.royalsouthstreet.com.au/results/1910-10-20-brass-band-contests

Royal South Street Society. (1920, 18 October). 1920-10-18 Brass Solo Contests. Royal South Street Society. Retrieved 20 July 2019 from https://results.royalsouthstreet.com.au/results/1920-10-18-brass-solo-contests

Royal South Street Society. (1920b, 20 October). 1920-10-20 Brass Solo Contests. Royal South Street Society. Retrieved 20 July 2019 from https://results.royalsouthstreet.com.au/results/1920-10-20-brass-solo-contests

Royal South Street Society. (1920c, 23 October). 1920-10-23 Brass Band Contests. Royal South Street Society. Retrieved 20 July 2019 from https://results.royalsouthstreet.com.au/results/1920-10-23-brass-band-contests

Royal South Street Society. (1921a, 19 October). 1921-10-19 Brass Solo Contests. Royal South Street Society. Retrieved 20 July 2019 from https://results.royalsouthstreet.com.au/results/1921-10-19-brass-solo-contests

Royal South Street Society. (1921b, 22 October). 1921-10-22 Brass Band Contests. Royal South Street Society. Retrieved 20 July 2019 from https://results.royalsouthstreet.com.au/results/1921-10-22-brass-band-contests

Royal South Street Society. (1934a, 01 November). 1934-11-01 Brass Band Contests. Royal South Street Society. Retrieved 20 July 2019 from https://results.royalsouthstreet.com.au/results/1934-11-01-brass-band-contests

Royal South Street Society. (1934). South Street “Centenary” : Brass Band Contest : A, B, C and D Grades [Programme]. Royal South Street Society. https://victoriancollections.net.au/items/5d425e0c21ea6b1a84382033

Royal South Street Society. (1949a, 28 October). 1949-10-28 Brass Band Contests. Royal South Street Society. Retrieved 20 July 2019 from https://results.royalsouthstreet.com.au/results/1949-10-28-victorian-brass-band-championship

Royal South Street Society. (1949b, 29 Ocotober). 1949-10-29 Brass Band Contests. Royal South Street Society. Retrieved 20 July 2019 from https://results.royalsouthstreet.com.au/results/1949-10-29-victorian-brass-band-championship

SOUTH STREET BAND CONTESTS. (1920, 25 October). Argus (Melbourne, Vic. : 1848 – 1957), 3. http://nla.gov.au/nla.news-article4575694

UNSHAVEN BANDSMEN. (1899, 10 November). Hawke’s Bay Herald. https://paperspast.natlib.govt.nz/newspapers/HBH18991110.2.22.1

VICTORIA : Intercolonial Band Contest. (1897, 22 April). Express and Telegraph (Adelaide, SA : 1867 – 1922), 4. http://nla.gov.au/nla.news-article209088576

VICTORY OF THE WANGANUI BAND : Magnificent Performance : Only Three off Possible in “Own Choice”. (1910, 03 November). New Zealand Times. https://paperspast.natlib.govt.nz/newspapers/NZTIM19101103.2.14

WANGANUI BAND : A Civic Reception. (1910, 29 October). Border Morning Mail and Riverina Times (Albury, NSW : 1903 – 1920), 5. http://nla.gov.au/nla.news-article111390543

THE WANGANUI BAND : Mayoral Reception in Melbourne. (1910, 27 October). Ballarat Star (Vic. : 1865 – 1924), 1. http://nla.gov.au/nla.news-article216382888

Waterside Bands To Be Welcomed. (1947, 11 September). Newcastle Sun (NSW : 1918 – 1954), 2. http://nla.gov.au/nla.news-article157898304

The Wellington Garrison Band. (1899, 07 November). National Advocate (Bathurst, NSW : 1889 – 1954), 2. http://nla.gov.au/nla.news-article156812212

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.

Names and status: the rare National and State bands

March 24, 2019September 7, 2021 Jeremy de Korte1 Comment

Postcard: Australian Silver Band, 1925. (source: Jeremy de Korte Personal Collection)

Introduction:

For the most part, the naming of bands is logical based on location, type, or business association. It stands to reason that if a band was associated with a town, then that would be the town band, however, there were a number of exceptions – the naming of some of the early private bands comes to mind. Likewise, if a band was in a locality and associated with an industry, a similar naming convention would follow, such as Newcastle Steelworks or South Australian Railways. This gave the bands identity and a purpose. Where two bands existed in the same area, there was undoubtedly some disagreements, although not generally over naming but over status and prestige…and performances! If a band was given an Australian or State name, that lifted their reputations almost immediately, yes? Possibly, but there were other factors involved.

The focus of this post is to explore a level up from the local bands where we delve into the rare State and National bands. Granted, there were not many of them. In fact, in the time period that is being focused on in this post, these types of bands were thin on the ground. In a previous post, the life of the ABC Military Band was explored, a unique ensemble in its own right and one that included bandsmen from all over Australia. This was a representative band but different from the more common brass bands in that it included woodwind and percussion. In this post, we will highlight brass bands.

Admittedly, there was some difficulty finding material on these rare bands due to their short periods of existence. That being said, there were other bands in Australia aside from the more notable ones and mention will be made of them. We will also see how a certain State band raised the ire of the governing body of its home State.

There is no doubt that being part of a National or State band was one that bandsmen aspired, and for the National bands, the best bandsmen were picked for a proposed or grand world tour. The one State band that was set up did so in unusual circumstances and the naming of them as a State band brought them much recognition and pride. With this in mind, National and State bands did exist and although they were sporadic and formed mainly for tours, they developed reputations in their own right and gave more bandsmen another musical outlet.

Early attempts:

State and National bands were mainly set up by organizations that had the resources to undertake such ventures. Remembering that this was an older Australia where the distances between places were sometimes very vast, and it was not easy to move people anywhere. Yet in the first instance, we can see that the Salvation Army pulled this off in 1898 with the formation of a Federal Band. An article which was published in the South Australian Register on the 14th of February 1898 is very informative and details the formation of the band and the tour it had undertaken thus far:

There is now in Adelaide an interesting band of clever musicians picked from the ranks of the Salvation Army. It is styled “the Salvation Army Federal Band” and has twenty-five playing members, exclusive of Major Taylor (Victoria), who is their director. The bandmaster is Ensign Cater (New Zealand), who takes up an instrument. Counting in Major Taylor, the seven colonies of Australia are represented in the following order: – Victoria, eight; South Australia, five; Western Australia; four; New South Wales, three; New Zealand, three; Queensland, two; Tasmania, one; total, twenty-six.
(“SALVATION ARMY FEDERATION.,” 1898)

The Salvation Army had begun planning for this band twelve months in advance, with the aim of the band being “the kind of which should tour the colonies and encourage the members of the Army, and by producing music of a high order raise funds for the work in the different parts of Australasia” (“SALVATION ARMY FEDERATION.,” 1898). By the time the band had reached Adelaide it had already toured from Melbourne to Western Australia, back to South Australia and from there had been to the Yorke Peninsula and Broken Hill (“SALVATION ARMY FEDERATION.,” 1898). According to another article published in The Advertiser, the Federal Band was a very fine combination of musicians and presented a wonderful concert (“SALVATION ARMY.,” 1898). As it is ever thus with Salvation Army bands.

*The Sydney Morning Herald*, 1/04/1908, p. 8

In 1908 a tiny article was published in The Sydney Morning Herald in which the title is misleading. As you can see in the article (pictured), there is no “Commonwealth Brass Band” that has been formed. Rather, it is a proposal to secure the services of the Newtown Brass Band to perform at the Anglo-French Exhibition (“COMMONWEALTH BRASS BAND.,” 1908). By all accounts, the Newtown Brass Band was very famous having won numerous competitions by this time and could have probably served as the Australian band at the exhibition (Greaves & Earl, 2001). However, the Prime Minister apparently rejected this proposal for reasons unknown.

The Australian Imperial Band:

Postcard: Australian Imperial Band, 1924 (source: Jeremy de Korte personal collection)

In terms of true Australian brass bands, the main one that is spoken about is the ‘Australian Commonwealth Band’ which was conducted by the great Albert H. Baile on two world tours – but more will be talked about this band in the next section (Sharp, 1993). However, preceding the ‘Australian Commonwealth Band’ was another ensemble which was known as the ‘Australian Imperial Band’ (AIB), formed by Mr. W. M. Partington in 1924 (“AUSTRALIAN IMPERIAL BAND.,” 1924). Mr. Partington is mentioned in some references – he did conduct the Ballarat City Band from 1909-1910 and numerous other bands (Pattie, 2010). That did not stop certain newspapers like the Ballarat Star waxing lyrical about his musical and organisational abilities (“AUSTRALIAN IMPERIAL BAND COMING.,” 1924). Nevertheless, it is evident that in much later years he managed to form a true National band and while it seems he never took the band to England, he did take it on tour throughout Australia.

1924 was an interesting year for Australian bands. Perhaps the most notable event was the tour of the Newcastle Steelworks Band to England where it achieved astounding success in competition under the baton of Albert H. Baile (Greaves & Earl, 2001). The AIB had wanted to go to England to compete but were unable to make the trip due to a lack of funds. The Newcastle Steelworks Band then went in their place (Cameron, 2020). We see in an article from the Daily Telegraph in June 1924 that there was an amount of work going on to try and secure more funds:

In Sydney, the Lord Mayor (Ald. Gilpin) now is issuing an appeal for funds, which should meet with a good response, as it is necessary for each State to provide a proportionate amount of expenses to send the band to Wembley and to compete in the Crystal Palace contests.
(“AUSTRALIAN-IMPERIAL BAND,” 1924)

However, as discussed in a previous post on bands that went on tour, it is a very expensive undertaking and the picture of the AIB (below) published by the Mirror newspaper in Perth is telling. One could assume that by the time the AIB reached Perth, their general touring money had run out. Which is probably a reason why there is no mention of the band traveling to England.

19240809_Mirror_Aust-Imp-Band-Money — *Mirror*, 9/08/1924, p. 1

The length of time this band was in existence was short however they managed to get themselves together and go on a grand tour of Australia, to some very favorable reviews. There is not much mention of the personnel of the band but given there were many quality bandsmen in the country at the time, finding gifted musicians was probably not a problem.

The Australian Commonwealth Band:

Postcard: Australian National Band – Concert Position, 1926 (source: Jeremy de Korte personal collection)

Postcard: Albert H. Baile, 1926 (source: Jeremy de Korte personal collection)

Albert H. Baile was one of the most famous band directors of this time and he had a masterful way of conducting his bands (Greaves & Earl, 2001). No sooner had Baile returned to Australia in 1925 with his Newcastle Steelworks Band, he made moves to reform the band in Sydney as the Australian Silver Band and apparently included some Queensland bandsmen in the new ensemble (“AUSTRALIAN SILVER BAND.,” 1925). Including some bandsmen from another State could probably justify the name change an Australian band. However, given the huge reputation of the Newcastle Steelworks Band after their competition wins, the name change stuck and the band proceeded on their first international tour to wide acclaim (“AUSTRALIAN COMMONWEALTH SILVER BAND,” 1926).

The band name seems to have begun evolving into the Australian Commonwealth Band in various media with the dropping of the world ‘Silver’ from it, hence the more recognizable name is etched in history. We see in the various photos and ephemera included in this post that they were a very smart looking ensemble and that they had a distinctly Australian look with slouch hats.

Aside from the way the name of the band continually evolving in the newspapers, this did not discount the fact that it was an extremely fine ensemble made up of the best brass soloists and led by Baile himself. Certainly, reviews from Australian newspapers as well as those from overseas, gave high praise to the sound of this band likening it to an “organ” or an “orchestra” (“Australian Silver Band,” 1925; “VISIT OF AUSTRALIAN BAND,” 1926). The newspaper article published by the Todmorden & District News (UK) in 1926 was very informative as to the concert it gave in their area, attended by 5,000 people, and the quality of the soloists, in particular, the Solo Cornet player, Mr Arthur Stender (“VISIT OF AUSTRALIAN BAND,” 1926). Below is a list of the band members as published in the book, “Legends in Brass : Australian Brass Band Achievers of the 20^thCentury”:

Postcard: Australian National Band, 1926 (source: Jeremy de Korte personal collection)

Front row: Len Ryan, Norm Forbes, Alf Cornish, Fred Myers, Vern Beacroft, Albert Baile, Clarrie Collins, Jack Stokes, Tom Bennett, Ossie Forbes
Middle row: Bob Gibson, Joe Clay, Len Atkinson, George Robertson, Stan Ryan, Albert Ovenden, Bill Murphy, Jack Murphy, Harold Hewson
Back row: Archie Moore, Harold Collins, James “Scott” Armour, Arthur Stender, Alfred Paxton, Joe Hardy

(Greaves & Earl, 2001, p. 51)

The Australian Commonwealth Band undertook two Australian/World tours, the first from 1925-1926 and the next from 1926-1928. As in their first tour, they received rave reviews during their second tour, of which an article in New Zealand’s Evening Post from February 1927 provides a brief summary (“COMMONWEALTH SILVER BAND,” 1927). This second tour was not all plain sailing. While the band was traveling around Australia, the Australian Musicians’ Union was up in arms about a boycott of the Commonwealth Band while it was touring America (“COMMONWEALTH BAND,” 1927). The Union started lobbying for retaliatory action against musicians visiting from overseas. It is unclear how this action was resolved however it is interesting that despite the reputation of the Commonwealth Band, there was this hiccup while on tour.

19271203_Figaro_Aust-Comm-Band-Farewell — *Queensland Figaro*, 3/12/1927, p. 1

The Australian Commonwealth Band was disbanded in Sydney in early 1928 after they had finished their last tour of Australia (Greaves & Earl, 2001). There is no doubt that this was a truly remarkable ensemble, started from the players of the Newcastle Steelworks Band to become a unique band in its own right. And it certainly boosted the reputation of Australian bands in general. The legacy of this fine ensemble was felt for years to come.

The Queensland State Band:

In the early 1930s, we see the formation of the one and only State band, the Queensland State Band. This was formed in unusual, but possibly well-meaning circumstances as the musicians were notionally “unemployed” (“QUEENSLAND STATE BAND.,” 1933b). The other aim of the band was to try to emulate the success of previous tours by the Newcastle Steelworks Band and the Australian Commonwealth Band by touring overseas and competing in England. Nevertheless, the band formed in September 1933 and included previous members of the Australian Commonwealth Band (“QUEENSLAND STATE BAND TOUR.,” 1933).

Almost immediately this band raised the ire of the Queensland Band Association (QBA) of which sent an annoyed letter to the Courier Mail published on October 9^th, 1933. In the letter, the QBA Secretary of the time, Mr J. R. Foster made some forceful points about the State band not being “tested for proficiency” under QBA rules, and the fact that the State band was professional yet had excluded some Queenslanders by bringing in bandsmen from Southern States (Foster, 1933). In addition, apparently, the Lord Mayor of Brisbane had allowed the State band to perform in a park while excluding other Brisbane metropolitan bands (Foster, 1933). It is fair to say that this letter (and the QBA) failed to have much impact on the operations of this band.

After being brought together, the Queensland State Band commenced a tour of Queensland where they visited many towns and rural centers north of Brisbane. The receptions they received were enthusiastic and many a town newspaper gave them favorable reviews of their playing (“QUEENSLAND STATE BAND.,” 1933a). Indeed, they also inspired many local town bands and schools, and it is noted that they played for a combined total of 20,000 people over the course of the tour (“STATE BAND DOGGED BY RAIN,” 1933). After this part of the tour ended, they were supposed to tour through Northern NSW and also raise finances for a trip to England, of which either activity does not appear to have happened.

As mentioned, this is one of the only instances during this time where a State band was formed. It is unclear why other States did not form their own representative bands. However, it does indicate that where there is a drive, things will happen even if all the aims are not met.

One more band:

There was only one more band to carry an Australian name during this time period, a band that was very short lived – the ‘Australian Girls’ Brass Band’ which was formed in 1934. We know how rare female bands were through a previous post, so perhaps this was a tokenistic ensemble. However, they were formed and presented one concert in Sydney where they were not exactly complimented for playing, but apparently looked very smart in green & gold uniforms (“Australian Girls’ Brass Band,” 1934; “FIRST CONCERT,” 1934). There is no more record of this band doing anything else beyond this one concert.

Conclusion:

If there is anything showing from the stories of these ensembles it is a distinct similarity between them. They were all formed basically for the one activity, which was touring. Except that this aim was obviously dependent on having enough money. That being said, the Australian Commonwealth Band took things a few steps further by acting on their aims to compete in England and tour around the world, and it was a band that was in existence for the longest time. Certainly, the fact that the Commonwealth Band undertook two world tours in quick succession is a testament to the organization and prowess of its manager and conductor, no doubt both well-honed from the previous Newcastle tour.

In any case, once again we see that these bands added to the reputation and life of Australian banding and through them, we have seen some interesting histories. Perhaps there are lessons to be learned and no doubt there are further stories to be unearthed. We do have a unique history of bands in this country and having bands that carried the Australian name or a State name gained for themselves a distinct historical legacy.

Postcard: Australian National Band – Soloists, 1926 (source: Jeremy de Korte personal collection)

References:

THE AUSTRALIAN COMMONWEALTH BAND. (1927, 03 December). Queensland Figaro (Brisbane, Qld. : 1901 – 1936), 1. http://nla.gov.au/nla.news-article84901454

AUSTRALIAN COMMONWEALTH SILVER BAND. (1926, 02 February). Geelong Advertiser (Vic. : 1859 – 1929), 1. http://nla.gov.au/nla.news-article232244596

Australian Girls’ Brass Band. (1934, 24 January). Sydney Mail (NSW : 1912 – 1938), 19. http://nla.gov.au/nla.news-article166103727

AUSTRALIAN IMPERIAL BAND. (1924, 09 January). Morning Bulletin (Rockhampton, Qld. : 1878 – 1954), 8. http://nla.gov.au/nla.news-article54107997

AUSTRALIAN IMPERIAL BAND COMING. (1924, 03 June). Ballarat Star (Vic. : 1865 – 1924), 2. http://nla.gov.au/nla.news-article214257314

AUSTRALIAN SILVER BAND. (1925, 29 September). Daily Mail (Brisbane, Qld. : 1903 – 1926), 10. http://nla.gov.au/nla.news-article218269176

Australian Silver Band. (1925, 27 November). Te Aroha News. https://paperspast.natlib.govt.nz/newspapers/TAN19251127.2.15.1

AUSTRALIAN-IMPERIAL BAND. (1924, 24 June). Daily Telegraph (Sydney, NSW : 1883 – 1930), 6. http://nla.gov.au/nla.news-article245712884

Cameron, K. (2020, 12 August). Actually the steelworks band benefited from this group’s misfortune. The Newcastle band filled the Wembley exhibition dates that had been… [Comment]. Facebook. Retrieved 12 August 2020 from https://www.facebook.com/groups/1404925869759642/?post_id=2612055202380030&comment_id=2612128729039344&notif_id=1597219322511437&notif_t=group_comment&ref=notif

COMMONWEALTH BAND : Retaliatory Proposals. (1927, 01 November). Western Argus (Kalgoorlie, WA : 1916 – 1938), 13. http://nla.gov.au/nla.news-article34420586

COMMONWEALTH SILVER BAND : What others think. (1927, 09 February). Evening Star. https://paperspast.natlib.govt.nz/newspapers/ESD19270209.2.93

FIRST CONCERT : Girls’ Band in Gold and Green. (1934, 18 January). Daily Telegraph (Sydney, NSW : 1931 – 1954), 10. http://nla.gov.au/nla.news-article248959700

Foster, J. R. (1933, 09 October). QUEENSLAND STATE BAND : To the Editor. Courier-Mail (Brisbane, Qld. : 1933 – 1954), 3. http://nla.gov.au/nla.news-article1128247

Greaves, J., & Earl, C. (2001). Legends in brass : Australian brass band achievers of the 20th century. Muso’s Media.

Minton Witts Studios. (1924). Australian Imperial Band in Sydney (Conducted by: Mr W. M. Partington) [Postcard]. Minton Witts Studios, Sydney, N.S.W.

Pattie, R. (2010). The history of the City of Ballarat Municipal Brass Band 1900-2010 : one hundred and ten years of music to the citizens of Ballarat (Rev. ed.). City of Ballarat Municipal Brass Band.

Photogelatine Engraving Company Co. Ltd. (1926a). Albert H. Baile (Musical Director) : Australian National Band (World Tour) [Postcard]. Photogelatine Engraving Company Co. Ltd., Ottawa, Canada.

Photogelatine Engraving Company Co. Ltd. (1926b). Australian National Band (World Tour) [Postcard]. Photogelatine Engraving Company Co. Ltd., Ottawa, Canada.

Photogelatine Engraving Company Co. Ltd. (1926c). Australian National Band (World Tour) Concert Position : Albert H. Baile, Musical Director [Postcard]. Photogelatine Engraving Company Co. Ltd., Ottawa, Canada.

Photogelatine Engraving Company Co. Ltd. (1926d). Australian National Band (World Tour) Soloists [Postcard]. Photogelatine Engraving Company Co. Ltd., Ottawa, Canada.

QUEENSLAND STATE BAND : Brilliant Conductor. (1933, 28 October). Cairns Post (Qld. : 1909 – 1954), 3. http://nla.gov.au/nla.news-article41230080

QUEENSLAND STATE BAND : Six Months Tour : Trade Propaganda. (1933, 09 September). Northern Herald (Cairns, Qld. : 1913 – 1939), 19. http://nla.gov.au/nla.news-article150003898

QUEENSLAND STATE BAND TOUR. (1933, 29 September). Courier-Mail (Brisbane, Qld. : 1933 – 1954), 20. http://nla.gov.au/nla.news-article1124687

SALVATION ARMY : The Federal Band. (1898, 14 February). Advertiser (Adelaide, SA : 1889 – 1931), 7. http://nla.gov.au/nla.news-article35105401

SALVATION ARMY FEDERATION : A Capital Band. (1898, 14 February). South Australian Register (Adelaide, SA : 1839 – 1900), 6. http://nla.gov.au/nla.news-article54519628

Sharp, A. M. (1993). Baile, Albert Henry (Bert) (1882-1961). In Australian Dictionary of Biography. Retrieved 22 March 2019, from https://adb.anu.edu.au/biography/baile-albert-henry-bert-9402

STATE BAND DOGGED BY RAIN : Northern Tour Ends : Successful Results. (1933, 30 November). Telegraph (Brisbane, Qld. : 1872 – 1947), 6. http://nla.gov.au/nla.news-article181171770

VISIT OF THE AUSTRALIAN BAND : Magnificent playing to big crowds. (1926, 20 August). Todmorden & District News,2. https://www.britishnewspaperarchive.co.uk/viewer/bl/0001940/19260820/182/0002

“WE WANT SOME MONEY-GIVE US SOME, DO!”. (1924, 09 August). Mirror (Perth, WA : 1921 – 1956), 1. http://nla.gov.au/nla.news-article76437154

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

October 14, 2018September 5, 2021 Jeremy de Korte4 Comments

Introduction:

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

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

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

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

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

18900000-19200000_Tour_Besses_Card — Postcard: Besses o’ th’ Barn Band, 1907 (Source: National Library of Australia: David Elliot theatrical postcard collection: nla.obj-145704095)

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

Immediately they alighted from the Sydney express the visiting bandsmen stepped across the platform into the railway yard and as they did twenty-two bands, under the conductorship of Mr. E. T. Code, commenced to play an inspiring march. Each man in those twenty-two bands contributed his full share to the volume of sound the like of which has rarely been heard in Melbourne. […] A procession was formed and heralded by the twenty-two local bands, the Besses o’ th’ Barn Band were drive up Collins Street in two drags. The street was crowded with citizens whose curiosity had prompted them to see the famous bandsmen at first opportunity.
[…]
The bands which took part in the ceremony of welcome were as follows: St Kilda City, Prahran City, Code’s Melbourne Band, South Richmond Citizens, Collingwood Citizens’, Richmond City, Malvern City, Williamstown Premier, Footscray City, Stender’s, Doncaster, South Melbourne City, Brighton City, Brunswick City, Warneeke’s, Bootmakers, Camberwell, Box Hill, Fitzroy Military, Clifton Hill, Fitzroy Citizen’s, Kyneton City, St Vincent de Paul Orphanage, St. Arnaud, Castlemaine, Maryborough, and Ballarat bands were also represented.
(“BESSES O’ TH’ BARN BAND.,” 1907)

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

Besses o’ th’ Barn Band welcoming parade turning from Collins Street to Swanston Street, Melbourne, July 1907. The massed bands are led by Edward Code. (Source: Manchester Digital Music Archive: 13953)

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

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

Postcard: Besses o’ th’ Barn Band, 1906 (Source: Jeremy de Korte personal collection)

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

Sousa heads South:

18900000-19200000_Tour_Sousa-Card — Postcard: Australia welcoming the Sousa Band (Source: National Library of Australia: David Elliot theatrical postcard collection: nla.obj-145695597)

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

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

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

Postcard: Sousa Band at the Glacarium, Melbourne, 1911 (Source: Jeremy de Korte personal collection)

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

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

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

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

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

Postcard: Belgian National Band, 1915 (Source: Jeremy de Korte personal collection)

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

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

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

First came the Royal Marines, then came the Guards:

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

19270508_Massed-Mil-Bands_Green-Mill_FC — Programme (front cover), featuring: Royal Marines Band H.M.S. “Renown”, Victorian Returned Sailors and Soldiers Memorial Band & Victorian Railways Military Band. (Source: Victorian Collections : Victorian Bands’ League)

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

19341101-19341103_South-Street-Centenary-Contest_p6 — 1934 South Street “Centenary” Brass Band Contest program, p. 6 (Source: Victorian Collections: Victorian Bands’ League)

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

Conclusion:

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

References:

Australia extends the glad hand of welcome to Sousa and his band. (1910). [1 postcard : col. ; 9.6 x 13.9 cm.]. [nla.obj-145695597]. National Library of Australia, David Elliott theatrical postcard collection. https://nla.gov.au/nla.obj-145695597/view

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

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

Besses o’ th’ Barn Band. (1907). [Photograph]. [13953]. Manchester Digital Music Archive. https://www.mdmarchive.co.uk/artefact/13953/BESSES_O’_TH’_BARN_BAND_PHOTOGRAPH_1907

Besses o’ th’ Barn Band. (1907). [Postcard]. [nla.obj-145704095]. National Library of Australia, David Elliott theatrical postcard collection. https://nla.gov.au/nla.obj-145704095/view

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

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

Besses o’ th’ Barn Band. (2018a). A Glorious Past. Besses o’ th’ Barn Band. Retrieved 04 October 2018 from http://www.besses.co.uk/about/blasts-o-th-past/history-of-besses

Besses o’ th’ Barn Band. (2018). From Whitefield to Wellington. Besses o’ th’ Barn Band. Retrieved 04 October 2018 from http://www.besses.co.uk/about/blasts-o-th-past/history-of-besses?showall=&start=1

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

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

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

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

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

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

Gibbney, H. J. (1981). Code, Edward Percival (1888-1953). In Australian Dictionary of Biography. Retrieved 20 April 2018, from https://adb.anu.edu.au/biography/code-edward-percival-5707

Glanville Hicks, E. (1927). MASSED MILITARY BANDS : (Including Band of H.M.S. “RENOWN”) : GRAND RECITAL [Programme]. City of Melbourne. https://victoriancollections.net.au/items/5caad8b321ea6703e46303f4

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

Lovrien, D. (2012, 13 June). The Sousa Band 1910-11 World Tour. John Philip Sousa. https://sousamusic.com/sousa-band-1910-11-world-tour/

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

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

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

Seymour, C. (1994). Adelaide’s Tramway Band. Trolley Wire, 35(4), 3-10. https://www.sydneytramwaymuseum.com.au/members.old/Trolley_Wire/259%20-%20Trolley%20Wire%20-%20Nov%201994.pdf

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

Sousa Band – Immense Audience, Glacarium, Melbourne. (1911). [Postcard]. Sousa Band, Melbourne, Victoria.

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

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

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

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

Stonnington City Brass. (2018). Band History. Stonnington City Brass. Retrieved 13 May 2018 from https://www.stonningtoncitybrass.org.au/history.html

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

Walmsley Bolton. (1915). The Great Belgian National Band. Conductor – – Mons Jules Ardenois (of Antwerp) [Postcard]. Walmsley Bolton, Nottingham, U.K.

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

Introduction:

Listening to music:

The institutions:

The bands:

Music-making:

The Royal Victorian Institute for the Blind:

The Orphanages:

The fourth prison band in the world:

Conclusion:

Introduction:

The problems at hand:

The status quo:

Bandmaster / Cornetist:

Qualifications:

The many plans:

Conclusion:

Introduction:

Expectations:

Looking smart:

The Quickstep and Inspection:

The Quickstep:

The Inspection:

Conclusion:

Introduction:

James Ord Hume, 1902-1903:

Besses o’ th’ Barn Band, 1907 & 1910:

The tours:

The influence:

The legacy:

A side note, Mr John Dixon, Agent for Boosey & Co.:

James Ord Hume, 1924:

Conclusion:

Introduction:

The “Spanish” Influenza:

The bands are affected:

Conclusion:

Introduction:

1907: Newcastle City Band – Christchurch International Exhibition Contest:

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

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

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

Conclusion:

Introduction:

1897-1899: Invercargill Garrison Band, Oamaru Garrison Band & Wellington Garrison Band – Melbourne & Bathurst:

1908 & 1921: Kaikorai Band – South Street Eisteddfod, Ballarat:

1910: Wanganui Garrison Band – South Street Eisteddfod, Ballarat:

1920: 2ndSouth Canterbury (Timaru) Regimental Band – South Street Eisteddfod, Ballarat:

1934: Woolston Band – South Street “Centenary” Brass Band Contest, Ballarat:

1947: Wellington Waterside Workers Silver Band / Auckland Junior Waterside Workers Band – Australian Band Championships, Newcastle:

1949: St. Kilda Municipal Band – South Street Eisteddfod, Ballarat:

Conclusion:

Introduction:

Early attempts:

The Australian Imperial Band:

The Australian Commonwealth Band:

The Queensland State Band:

One more band:

Conclusion:

Introduction:

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

Sousa heads South:

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

First came the Royal Marines, then came the Guards:

Conclusion:

1920: 2^ndSouth Canterbury (Timaru) Regimental Band – South Street Eisteddfod, Ballarat: