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The Army School of Music 1922 - 1940

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The Army School of Music 1922 - 1940 The Army School of Music 1922 - 1940 Its formation and evolution with a critical assessment of the compositions of i t s f ir s t director, Wilhelm F ritz Brase 2 Volumes Captain Joseph J.Ryan BA, B.Mus., Mus.Dip., ARIAM Dissertation for Master of Arts Degree National University of Ireland St Patrick’s College, Maynooth Department of Music August 1987 Head of Department and Research Supervisor Professor Gerard G illen MAYNOOTH LIBRARY 00129599 VOLUME I The Army School of Music 1922 - 1940 The Formation and Evolution -i- CONTENTS Abstract and Acknowledgments iv Author's Note viii Introduction The P o litic a l and Cultural Background 1 Music in Ireland at the turn of the Century 4 Chapter I The Band Movement 26 The Band Movement : Ireland 29 Chapter II Genesis of the Army School of Music 40 The Authority to Proceed 47 Objectives Outlined 53 The Question of Pitch 59 Precedents and Models 63 Chapter III The Quest for a Director 76 The Situation of M ilitary Music in Germany 77 Wilhelm Fritz Brase 84 Acceptance of the Irish Appointment 97 Friedrich Christian Sauerzweig 99 Chapter IV Development 115 The Special Infantry Corps Band 115 The Curragh 126 Coming Out 133 I -ii- I Chapter V The First Concerts 144 The Array No.l Band 149 The Army Reorganization, November 1923 157 The National Anthem 167 Financial Restrictions 175 The Army Mutiny 177 Chapter VI Routine Order 190 The Creation of Bands 199 The Recruitment of Bandmasters 202 Festive Events and Tours 207 The Tailteann Games 210 Financial Concerns 211 A Home for the School 211 Chapter VII The Contribution of the School to Musical Activity outside the Army 228 The Dublin Philharmonic Society 228 The School's contribution to the Broadcasting Service 240 Chapter VIII An Appraisement 256 Appendices 263 Bibliography 279 —iii— ABSTRACT and ACKNOWLEDGMENTS The Army School of Music is an established, albeit small, component of Irish musical life. It is currently recognized through its four constituent military bands which make their contribution to the Defence Forces and the state much in the manner of bands in other European countries. Notwithstanding this, the institution, which encompasses the majority of musical agencies in the army, retains the original title although the school referred to is now a remote element. But the retention of the title reveals something of the ambitious concept which prompted its creation. This dissertation seeks to trace the formation and evolution of the Army School of Music, and to account for its early initiative and the reasons underlying the abatement of its influence. A brief review of music in Ireland at the turn of the century is provided to set in context the school's creation. Likewise, attention is devoted to the growth of the band movement, and the Irish position is contrasted with that of other European countries, most notably Germany whence hailed the f ir s t director of the school, Wilhelm F ritz Brase. There is a detailed exposition of the enterprising objectives set for the institution at its inception. The significant contribution made by the school and its individual members to broader musical activity and Irish music is also recorded. Volume I concludes with an appraisement of the school's influence both in real terms and in relation to its original design. Brase became one of the leading musical figures in Ireland, earning popular approbation as a composer and conductor. But fashions have changed to the extent that he i s p rin cipally remembered for his forceful personality. That a review of his work reaching beyond received wisdom should be undertaken i s therefore appropriate, if not overdue. Accordingly consideration is given in Volume II to the compositions and arrangements of Brase with a critical assessment of his creative significance. -iv- I This work would not have been completed without the assistance of many individuals and institutions. Relatives of the principal characters in this history were generous in their encouragement and in providing me with relevant papers. I have pleasure in recording my indebtedness to the following: Mr Bernhard Sauerzweig, Professor Risteârd Mulcahy, Mrs Sheila Larchet-Cuthbert, Mr Mairtin McCullough, Mr Domhnall McCullough, and Mr J.P.F lahive. I am esp ecia lly thankful to Miss Mona Brase for her encouragement which played a major part in the decision to undertake the project. I acknowledge also the contributions of Miss Rhoda Coghill, Mr Robert McCullagh, Professor Aloys Fleischmann, Mr Michael McCarthy, Mr Tom Maher, Rev.Canon Murray, and Master Terry de Valera. Much of the research had, of n ecessity, to be undertaken abroad and I gratefully acknowledge the assistance of the Royal Air Force School of Music, and particularly of its director of music, Squadron Leader Ian Kendrick for h is h o sp ita lity and patience. I am obliged also to the International Military Music Society, and especially to Lars Otto Kristensen and Mogens Gaardbo of the Danish branch; and a sp ecial thanks to Major Werner Probst of the German branch who was not only unwearingly helpful but also levied the aid of his colleague, Colonel (Oberst) Mashur, the former principal director of music for the German Federal Armed Forces. I should like to acknowledge the assistance I received from libraries and universities in the Federal Republic of Germany and in the German Democratic Republic, and particularly from the following: Staats - und Universitäts Bibliothek, Hamburg; Staatsbibliothek Preussischer Kulturbesitz, Berlin, and the valuable contribution from it s director, Dr Joachim Jaenecke; the la te Dr Hans Joachim Winter, Arbeitskreis Militärmusik der Deutschen Gesellschaft für Heereskunde, Kierspe; Frau Reschke, Staatliche Ackademische Hochschule für Musik (Hochschule der Künste), Berlin; Dr Wolfgang Goldhan, Deutsche Staatsbibliothek, (Musikabteilung), Berlin (East); Dr Petrick, Universitätsbibliothek, Greifswald. An especial word of thanks to the staff of the musicology department of the Universität zu Heidelberg who were most helpful during my period of research in that beautiful city. My appreciation goes to the many German publishing -v- houses which facilitated my search for the scores of Fritz Brase with universal courtesy. I am also indebted to Dr Caroline Grosch for her assistance during my visits to Germany. Irish institutions were equally generous in facilitating my investigation. I acknowledge the assistance of the Archives Department, University College, Dublin, and the Mulcahy Trust for allowing me access to the papers of General Richard Mulcahy. I am also beholden to the National Library of Ireland, the State Paper Office, and the Military History Society of Ireland. Radio Telefis Eireann provided me with every possible assistance and it is with gratitude that I record the help given by Mr John Kinsella, Mr Eimear ✓ 0 Broin, and Mr John Hughes of the music department; producers, Mr Jim McHale and Mr Johnny Devlin; Ms Joan Smith, RTE Sound Archives; Ms Mary Murphy, RTE Reference Library; Mr Paddy Clarke, RTE Broadcasting Museum. My thanks also to the former arts administrator of the Royal Dublin Society, Miss Betty Searson, and her assistant, Miss Evelyn Greif, who guided me through the society's archives. A salient contribution was also made by Mr Tomas 0 Ruairc of St James's Band. I wish to record my gratitude to the many individuals and agencies of the Irish Defence Forces who supported this work and especially to the following: Colonel J.Kissane and his staff in training section; Commandant Peter Young, Department of Defence Archives; Commandant Ryan and Captain Phelan, Officers' Records; Captain John Egan, Army Printing Press; Captain Austin Pender, editor, An Cosantoir. I am thankful also to all the past and present members of the Army School of Music who contributed, including Colonel J.M.Doyle, Captain Michael Bowles, Colonel John Brennock, Colonel J.McGee, and particularly Colonel Fred 0 'Callaghan for his constant support. Thanks are due also to those surviving members of the school's pioneering days who assisted with valuable recollections and documents. The head of department and research supervisor, Professor Gerard Gillen, was more than helpful throughout; for his encouragement and percipient comments I am most grateful; any errors which remain are -vi- solely attributable to my own obstinacy. I wish further to express my warmest thanks to Miss Valerie Harrison for her patience and advice regarding presentation. Finally, but centrally, I am grateful for the support of my parents and family to whom I dedicate th is work. Joseph J.Ryan August 1987 Dublin. -vii- AUTHOR'S NOTE The punctuation and sp ellin g employed follow the B ritish usage, but quotations are unaltered except in the case of obvious faults of typography in the original. Italics indicated in quotations are all o rigin al. Numerals are employed in the tex t except for numbers between one and ten, at the beginning of sentences, and in sequences where their use would be in con sisten t. A restrained approach has been adopted in the matter of hyphenation; hyphens are employed only when necessary or where collocations are in an attributive position before a noun. The Helmholtz system is used where reference i s made to specific pitch. The following abbreviations will be encountered in the footn otes: ASMA Army School of Music Archives DDAD Department of Defence Archives S’ RTEAD Radio Telefis Eireann Archives SPOD State Paper O ffice, Dublin -viii- INTRODUCTION The P o litic a l and Cultural Background The most surprising aspect of the creation of the Army School of Music is that it happened at all; for it was conceived and created in the most difficult period of Ireland's recorded history. The idea for the establishment of an Irish school of music, under the auspices of the army, was first discussed in the summer of 1922, when the Treaty was the foremost issue dividing the new state to the point of civil war.1 It is remarkable that in this period of political concentration there existed men with the vision to embark upon such a novel cultural project.
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