INFORMATION TO USERS

This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer.

The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction.

In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion.

Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book.

Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order.

UMI University Microfilms international A Bell & Howell Information Company 300 North! Z eeb Road, Ann Arbor, Ml 48106-1346 USA 313/761-4700 800/521-0600

Order Number 9130640

The influence of Leonard B. Smith on the heritage of the band in the United States

Polce, Vincent John, Ph.D.

The Ohio State University, 1991

Copyright ©1991 by Poke, Vincent John. All rights reserved.

UMI 300 N. Zeeb Rd. Ann Aibor, MI 48106

THE INFLUENCE OF LEONARD B. SMITH ON THE HERITAGE OF THE BAND

IN THE UNITED STATES

DISSERTATION

Presented in Partial Fulfillment of the Requirements for the

Degree Doctor of Philosophy in the Graduate School

of The Ohio State University

by

Vincent Polce, B.M.E., M.M.E ***

The Ohio State University

1991

Dissertation Committee: Approved By

Dr. Peter Costanza

Dr. Jon Woods Adviser Professor Craig Kirchhoff School of Muè Copyright by Vincent John Polce 1991 Dedication To my mother and father George and Lena Polce

11 ACKNOWLEDGMENTS

This author would like to acknowledge those individuals who participated directly or indirectly in the completion of this project. It was indeed a labor of love. To my parents for their continued love and encouragement in all my musical studies. To Leonard B. Smith for his time, patience, and co-operation I extend my most sincere gratitude. His countless hours of dialogue and interest in the project was essential toward its completion. He provided without hesitation the necessary memorabilia from his wonderful career, and he was always available for consultation and advice. He is indeed a gentleman and one who holds my highest admiration. To Paul Bierley for his interest and encouragement as well as providing the many scores, books, and data pertinent to the study. Serving as a catalyst, he was a major influence. To all my past teachers, especially my father, Lou Marini, David Glasmire and Mark Kelly. True musicians and true gentlemen all. To Sue Bowling, thanks is extended for her computer, editorial and technical assis­ tance. Her many hours of formating and typesetting was critical. To the Defiance High School Band of 1991, especially the senior class. To Ruth Ann Weaver for her proofreading skills. To Dr. Robert Wendt for his insights. Thanks to my advisor. Dr. Peter Costanza and the reading committee of Dr. Jon Woods and Professor Craig Kirchhoff for their suggestions and assistance. Their interest and support was much appreciated. Finally, to Dr. Frank Tracz my heartfelt thanks and appreciation. It is difficult to express my genuine gratitude to him. His unfailing friendship and support has made the completion of this task possible. I consider myself fortunate to have him as a true friend. So, to both Wally II and Geralyn, I say thank you and I'll meet you at Rax. iii VITA

Septembei 14,1944 Bom, Dover, Ohio

1966 B.M.E., Bowling Green State University, Bowling Green, Ohio

1970 M.M.E., Vandercook College of Music, Chicago, Illinois

1966-1967 Director of Bands Grand Rapids High School, Grand Rapids, Ohio

1968-1984 Director of Bands, Defiance High School, Defiance, Ohio

1985-86 Graduate Assistant School of Music, Ohio State Uni­ versity, Columbus, Ohio

1986-1991 Director of Bands Defiance High School, Defiance, Ohio

FIELDS OF STUDY

Major Field: Music Education

Studies in Conducting, Professor Craig Kirchhoff

Studies in Marching Band, Dr. Jon R. Woods

Studies in Trombone Performance, Professor Joseph Duchi

IV TABLE OF CONTENTS

ACKNOWLEDGMENTS...... üi

VITA ...... iv

LIST OF PLATES...... - ...... vüi

LIST OF FIGURES...... xi

LIST OF TABLES...... xvi

CHAPTER PAGE

I INTRODUCTION...... 1

Need for the Study ...... 1 Purpose...... 2 Questions...... 2 Assumptions...... 3 Definitions...... 3 Limitations...... 3

n. METHODOLOGY...... 4

Materials and Procedures ...... 5 Chronological Questionaire ...... 6 Leonard B. Smith’s Early Training ...... 6 Leonard B. Smith’s Association with The Goldman Band, The Detroit Symphony, The United States Navy Band ...... 7 Leonard B. Smith’s Role as an Educator ...... 8 The Detroit Concert Band ...... 8 Philosophical Considerations ...... 9 Part II 11

III. Leonard Smith’s Eaiiy Life and Musical Training 1915-1935 ...... 11

IV. Leonard Smith’s Career as a Cornet Virtouso with the Goldman Band, Tiie Navy Band and The Detroit Symphony -1936-1945 ...... 32

V. Leonard Smith: The Cornet Virtuoso ...... 46

VI. Leonard Smith: The Composer and Arranger ...... 57

Partin 80

■ VII THE PROFESSIONAL BANDS OF LEONARD SMITH THE EVOLUTION OF THE DETROIT CONCERT BAND -1946 THE BEGINNING...... 80

VIII. MANAGEMENT/FINANCING/PUBLIC RELATIONS/ PERSONNEL/EQUIPMENT...... 101

IX. THE BAND LIBRARY...... 111

X. SEATING/INSTRUMENTATION/PROGRAMMING/ CONDUCTING...... 115

XI. THE BLOSSOM BAND...... 134

Xn. THE RECORDINGS OF THE DETROIT CONCERT BAND AND THE NEED FOR DOCUMENTATION...... 142

Xni. THE DETROIT CONCERT BAND: PERFORMANCES AND IMPACT...... 157

XIV. PHILOSOPHICAL CONSIDERATIONS TOWARD PUBLIC SCHOOL MUSIC EDUCATION/TOWARD THE COLLEGE AND UNIVERSITY BAND/TOWARD THE DETROIT CONCERT BAND PRESENT AND FUTURE/TOWARD HIS OWN LEGACY 168

General Conclusions...... 177

VI APPENDICES

A. Autographed Photos and Programs-Memorabilia ...... 180

B. Fraternal Affiliations and Awards ...... 189

G. Photographs of Early Bands and Bandmasters of influence on Leonard B. Smith ...... 191

D. Photographs of Variety of Performances of the Detroit Concert Band, Leonard B. Smith and Personnel 201

E. Discography of the Detroit Concert Band ...... 212

F. Time Line of Leonard B. Smith ...... 225

LIST OF REFERENCES...... : ...... 227

Vll LIST OF PLATES

PLATE PAGE

I. Leonard B. Smith ...... Frontispiece

n. The Poughkeepsie School Band -1927 under the direction of Frank Scofield. Even then, the band traveled to the football games to perform ...... 16

XU. The 21 St Regimental Band of Poughkeepsie, New York, Frank L. Scofield, Leader - Circa 1908 ...... 18

rv. TlieNew York Military Band 1930-31 ...... 25

V. The Goldman Band at the Golden Gate International Exposition, San Francisco, 1939 ...... 33

VI. Leonard Smith at age 20 with the Detroit Symphony...... 35

Vn. Smith at rehearsal for the Ford Evening Hour. The year is 1937. Garden Simons 1st trombone, Leonard 1st trumpet, Floyd O'Hara, 2nd trumpet...... 36

Vm. Leonard Smith, wife Helen and daughter Sandra ...... 37

DC. U.S. Navy Yard Band, Philadelphia, October 29,1942 ...... 41

X. Leonard Smith and Edwin Franko Goldman in performance in 1939 ...... 50

XI. Leonard with the Moslem Temple Shrine Band in Chicago marching down Michigan Avenue. Circa 1955 ...... 82

x n . John Philip Sousa Band at the Strand Theatre, Brooklyn, New York, 1927...... :...... 84

vlii Xin. Detroit Federation Band - Leonard B. Smith in 1937 ...... 86

XIV. Detroit Concert Band at Michigan State Fairgrounds ...... 90

XV. The Leonard B. Smith Band Circa 1947 ...... 91

XVI. Blossom Concert Band Circa 1973. The large crowd is typical of the attendance when Leonard conducts ...... 136

XVn. Cuyahoga Falls Mayor Donald Robart accepts manuscript score of "Lets Celebrate" from composter-conducter Leonard Smith 141

XVin. On September 14,1954, Leonard Smith and his band recorded "The Dodge Brothers March" by Victor Herbert ...... 143

XIX. Producer Cal Reed, shown here with Smith, flew to Detroit from Hollywood to supervise the recording of the music to the Rockwell film "An American Adventure."...... 155

XX. Sousa arrives at Steel Pier...... 192

.XXL The Sousa Band in Cleveland, 1927 ...... 193

XXn. Blossom Festival Concert Band, 1978 ...... 194

XXm. Leonard B. Smith and the Detroit Concert Band, 1983 ...... 195

XXIV. The Pryor Band ...... 196

XXV. Fairman’s Band, 1905 ...... 197

XXVI. Noted American Bandmaster at the White House April, 1932 ...... 198

XXVn. The Sousa Band, Tennessee, 1924 ...... 199

XXVm. Frank Simon's Armco Band...... 200

XXIX. Kaufman T. Keller, President Chrysler Corp. and Ed Stuison present cake to Smith on his birthday ...... 201

XXX. Detroit Concert Band at Meadow Brook 1988 ...... 202

XXXI. Detroit Concert Band, International Freedom Festival Concert ...... 204

i x XXXn. Detroit Concert Band, Inc., Livonia 1987 ...... 205

XXXin. Leonard B, Smith accepts plaque from Vince Polce while at Defiance High School in 1989 ...... 207 LIST OF FIGURES

FIGURE ...... PAGE

1. Leonard Smith, father Frank and brother Schubert at their home in Poughkeepsie Circa 1920 ...... 12

2. Leonard at 10 years of age with comet ...... 15

3. Ethel May Schubert Smith - Leonard's mother ...... 20

4. The Heckscher Foundation Orchestra and program featuring a trumpet solo by Leonard Smith and conducted by Isador Strassner - Circa 1929 ...... 21

5. Letter from Isador Strassner of the New York Philharmonic Orchestra. Leonards playing was gaining attention - Circa 1929 ...... 22

6. Smith as a student at the NYMA at the age of 14. A "Pro" at the age of 14 ...... 23

7. Herbert L. Clarke - Comet Virtuoso - This picture was given to Leonard when the latter was comet soloist of the Goldman Band ...... 26

8. Arthur Pryor - Trombone Virtuoso and band leader. He was one of the greatest influences on the career of Smith ...... 28

9. Mayhew L. Lake, Emest S. Williams and Henry K. Hadley at the Williams Music Camp, Saugeries, N.Y. These men were teachers of Smith at the Williams School ...... 29

10. The Georges Bareere Little Symphony - Circa 1936. Leonard said playing in this orchestra was one of his "finest musical experiences." ...... 30

11. Program from the Little Symphony ...... 31

xi 12. Goldman Band program - 1936 ...... 39

13. The Comet Trio from the Goldman Band. Frank Elsass, Ned Mahoney, Leonard Smith ...... j...... 40

14. Edwin Franko Goldman...... 40

15. U.S. Navy Yard Band program - Eugene Ormandy Conductor ...... 43

16. Col. Santelman, Leonard Smith, Frank Simon, Peter Buys, Circa 1944 ...... 44

17. Herbert L. Clarke and Leonard Smith at Mr. Clarke's home in Garden Grove, California. Smith had just completed an engagement as cornet soloist of the Goldman Band at the Golden Gate International Exposition in San Francisco and appeared with Clarke's Long Beach Band before returning to New York City, July 1939 ...... 47

18. Article from Poughkeepsie paper regarding his first solo ...... 48

19. Leonard Smith playing post horn solo with the Capital University Band in Columbus, Ohio, March 17,1963 ...... 54

20. Spring Tour Sheet - 1963 ...... 55

21. Mayhew L. "Mike" Lake...... 58

22. Treasury of Scales Performance Guide...... - ...... 75

23. Treasury of Scales Grouping of Instruments ...... 76

24. Treasury of Scales Format ...... 77

25. Belle Isle Band performing in Belle Isle in 1948 ...... 89

26. Program from 1952 ...... 92

27. Program from 1975 ...... 95,96,97

28. Advertising Contract ...... 106

29. Uniform Loan Agreement ...... 107

X ll 30. Agreement form for sponsorship of a concert by the Detroit Concert Band ...... 110

31. Band Instrumentation Chart ...... 116

32. Seating Chart ...... 118

33. Sample programs from 1971 ...... »...... 121

34. Sample programs from 1971 ...... 122

35. Sample programs from 1971 ...... 123

36. Sample programs from 1971 ...... 124

37. Sample programs from 1971 ...... 125

38. Sample programs from 1971 ...... 126

39. Advertising for 1990 Blossom Concert ...... 137

40. 1973 Blossom Program ...... 138

41. Personnel from Blossom Band ...... 139

42. Program from 1990 ...... 140

43. Smith with British Broadcasting producer Kenneth Corden as they discuss the score during the filming of the documentary on John Philip Sousa, "The March King."....; ...... 145

44. Soloist Album and Program ...... 148

45. Cover from gems of the Concert Band ...... 150

46. Program from Gems album Volume 3...... 151

47. Sample programs ...... 159

48. Program from "Our American Heritage" Concert ...... 162

49. Sampling of the band action ...... 165

Xlll 50. Caberet Concert Publicity...... 166

51. "Symphony of Gold" Concert Program ...... 167

52. Photographs of Great Bandmasters ...... 191

53. Detroit Concert Band during rehearsal ...... 203

54. Dr. Smith shows his obvious pleasure and satisfaction at the enthusiastic reception given his new March ...... 206

55. Light Guard Armory was filled to capacity for one of the Band's Cabaret concerts. They loved the "Sing-O-Rama" too ...... 206

56. Detroit Concert Band personnel, 1970 ...... 208

57. Detroit Concert Band personnel, 1985-86 season ...... 209

58. List of all persons who have played one season or more with The Detroit Concert Band since 1946 through 1970 ...... 210

.59. Detroit Concert Band, personnel 1965 ...... 211

60. Program from "Soloists of the Detroit Concert Band" ...... 213

61. Programs from Volumes 1 and 2 "Gems of the Concert Band" ...... 214

62. Programs from Volumes 3 and 4 "Gems of the Concert Band" ...... 215

63. Programs from Volumes 5 and 6 "Gems of the Concert Band" ...... 216

64. Programs from Volumes 7 and 8 "Gems of the Concert Band" ...... 217

65. Programs from Volumes 9 and 10 "Gems of the Concert Band" ...... 218

66. Programs from Volumes 11 and 12 "Gems of the Concert Band” ...... 219

67. Programs from Volumes 13 and 14 "Gems of the Concert Band" ...... 220

68. Programs from Volumes 15 and 16 "Gems of the Concert Band"...... 221

69. Program from Volume 17 "Gems of the Concert Band" ...... 222

XIV 70. The Sousa American Bicentennial Collection, Volumes 1-5...... 223

71. The Sousa American Bicentennial Collection, Volumes 6-10...... 224

XV LIST OF TABLES

TABLE PAGE

1. Talent and manufacturing costs...... 152

xvi Plate I Leonard B. Smith

» PARTI

CHAPTER I

INTRODUCTION

Need for the Study

The development and growth of the high school and university band in the United

States has been rapid during the past sixty years. The high school band is often the center of

a community and provides the only link to a cultural experience. The band is used to serve both in a Utilitarian manner as well as to provide an aesthetic experience for the performer and listener. However, it is often taken for granted, with little thought given to its past, present of future. Unfortunately, this lack of concern is prevalent not only among the general populace but also among those who are educators and musicians. Bands today still perform the music of Sousa and Goldman, but they (the performer and conductor) do not know of the rich heritage of these men and their bands. What influence did the Sousa and Goldman Bands, the Service Bands and the Leonard Smith Detroit Concert Band have on the bands of the present?

There was, of course, a time when the professional band was at a very high level of popularity. History reveals that Sousa was the main figure that we all relate to with reference to the profesional band musician. However, there were many more personalities and bands that provided countless years of entertainment through the concert band medium. What type of music did these bands perform? Who were their leaders and the prominent musicians in the ensembles? What effect did they have on the development of the high school band and

1 2 why are there so few remaining bands performing today? The band movement certainly has a rich heritage, but unfortunately one that is becoming little known and less spoken of among those who serve in the area of band teacher, conductor, and performer.

In the early part of the twentieth century there were many professional bands touring the country. Today there are few. One of the few remaining professional bands is the Detroit

Concert Band directed by Leonard Smith. Smith serves as one of the last links to the past, and it is because of men like him that an effort is made to continue the tradition of the concert band. The need to leam of this development, heritage, and interest promoted by Smith and those like him leads to the study of the band movement. It is this study of the past that gives us a better understanding of the present and the future.

Purpose of the Studv

The purpose of this study was to research the influence that Leonard Smith had in the band movement...past, present and future. How the tradition is being perpetuated by his

Detroit Concert Band was examined. While there was mention of the other great men who contributed much to the band field, the desire of this author was to concentrate on Smith.

Given the fact that an aging Leonard Smith is one of the few “living legends” and a last link to the past in the band field, the time may be soon that he will not be able to be used as a source of first-hand information about the band’s rich heritage.

Questions

This study centered around the following basic questions.

1. Who was Leonard Smith? What were his historical values as a performer, conductor, educator?

2. What were Leonard Smith’s contributions to the movement as a soloist, as a conductor, and as an educator?

3. What was the “professional band” and what was Smith’s role? 3 4. What was the Detroit Concert Band? What role does it now play? What was the

Smith influence on programming, scheduling, financing, selection of musicians, etc.?

Assumptions

The assumptions for this study are:

1. The band has a rich heritage

2. The development and heritage of the band is due to the efforts of many.

3. For the most part, this heritage of the band is not is not known by a large segment of band conductors, and thus it is not being sustained.

4. Leonard Smith was and still is a leading figure in the development and the prepetuating of the heritage of the band through the Detroit Concert Band.

5. Leonard Smith is one of the few living links to the past and, therefore is a source of much first hand information.

Limitations

• During this study, the author limited the research to Smith’s influence and contribu­ tions. The study included specific data and reaction to that data which centers around Leonard

Smith. He and the Detroit Concert Band did serve as a catalyst for personal opinion and historical data. In order to gain a better insight into Leonard Smith, the research also included his early life and musical training and traced his development toward and influence of the band movement in a variety of areas. CHAPTER n

Methodology

The basic methodology for research in this study was to speak on a personal basis with Leonard B. Smith. Personal interviews were held to indentify and analyze his life and musical contributions. These interviews allowed him to recall his early musical training and musical development. Smith was asked to provide a chronological background of his role in the band movement and of his subsequent work with the Detroit Concert Band. These interviews were tape recorded. This oral histoiy provided the primaiy source for this document. In addition, photographs, programs and other memorabilia were collected from Smith's files and are presented in this document. All such materials have not been previously published. In the presentation of this paper, direct unpublished quotations of Leonard Smith came from the taped recordings from specific periods of his life. The interviews occurred during the following times: September 13,1988 June 6,1989 June 7,1989 June 30,1989 July 17.1989 July 26,1989 December, 8,1989 December, 9,1989 March 29,1990 July 11,1990 . 5

September 23,1990

Other interviews with persons directly related to either Smith or the Detroit Concert

Band were held. They included interviews with members of his bands, musicians who have performed under his directions with other bands and prominent persons in the area of bands.

They were held at the same times as those with Smith.

Other data was collected from secondary sources that included text books, encyclope­ dias, history books, journals, magazines, newsletters, and brochures. These are listed in the references. This also included published material and quotes of Leonard B. Smith. Nationally known author and historian Paul Bierley served as a primary source of information and provided the insight into the needed sources. There was also a lengthly review of concert programs, recordings, and tapes. These are all listed in the references.

The procedure included finding the information that deals with the who, what, where, when, and why of the subject material. It was then presented in chronological form combined with-personal observations and conclusions. Leonard Smith served as the liaison between eras, and he was used extensively to put the data in perspective. Before the Smith interviews, a questionnaire was developed to assimilate as much information as possible and to place it in chronological sequence.

Materials and Procedures

This study included the researching of the material through the sources stated earlier and the research of printed materials. Most of the interview process dealt with Leonard

Smith, and this process permited him to speak about his associations with Sousa, Goldman,

Pryor, Simon, and others. The questioning eventually lead to the development of the Detroit

Concert Band and its continued growth. The procedure also included the attendance at a number of concerts performed by the Detroit Concert Band. Conclusions were then drawn. 6

Chronological Oiiestionainnaire The following outline was used to develop the data and information. Through the use of a tape recorder, the personal interview dealt with not only specific questions by the author, but it also allowed the subject to recall at his own pace. Basic questions were asked and many more were developed through the responses.

The first section of the document dealt with the personal development of Leonard

Smith. This was not intended to be a complete biography but rather a basis of information as to the identity of Leonard B. Smith, the person and musician. This was divided into sections as listed below.

Smith’s Earlv Life and Musical Training -1915-34

Where were you bom? When? Who were your parents?

Did you have any brothers or sisters? Were they musicians?

Did they encourage you in music?

• When did you begin to play an instrument? What did you play?

Did you have your own instrument?

Did you study privately? Who were your first teachers?

Where did you receive your 1st musical training?

Where did you attend college? Who were your teachers?

Where did college lead you? Did you graduate? What did you do immediately after

college? Where?

Did you play with Sousa?

What influence did Sousa have on you?

Detail your musical development up to 1945 listing important people and places and

give a general conclusion. 7 Smith’s association with the Goldman Band, the Detroit Symphony. The United States

Navy etc. - 1934-45

How old were you when you began to play in the Goldman Band?

What did you play?

How did you get the job?

Who were the other musicians in the band?

Who had the most influence on you?

How did you see your role with the band in your first few months?

When were you selected as the soloist?

What influence did Goldman have on you?

Did your young age prove any barrier?

How long were you with the Goldman Band?

Where did the band play? How often? Were you paid? How much? Were did the

money come from?

Under what circumstances did you leave the band?

Detail your thoughts about being with the Goldman Band and give general

conclusions.

When did you play with the Detroit Symphony?

What was your role?

Who was the conductor? Other musicians?

What influence did the Symphony have on you?

Under what circumstances did you leave?

Detail your years with the Symphony and give general conclusions

Did you enlist in the Navy?

How long were you in the United States Navy Band?

Under what circumstances did you leave the band? 8 Who was the conductor? Other musicians?

What influence did these years have on you?

Detail your years in the Navy Band and give general conclusions.

What was your role following the Navy?

Smith’s Role as a Comet Virtuoso

When did you decide to be a soloist?

Who encouraged you?

When did you realize you had the ability?

Where did you begin playing?

How long did you solo?

You have been called by many the “world’s greatest comet soloist of your time,”

• Detail the literature performed, where you performed, and with whom you

performed.

. Is there a discography of your playing?

Smith’s Role as an Educator

Did you teach in high school? College? Did you write educational materials for public schools? What? Is there a listing? How do you view the public school band today? In the past? What is the role of the school band? THE DETROIT CONCERT BAND This segment of the document dealt with the Detroit Concert Band. The questions related to the band and Smith’s attempt to perserve it and its heritage. Listed below are the basic areas that were questioned. In this segment, Smith detailed the history of the band with questions developed as he spoke. When did you start the Detroit Concert Band? Why? Where?

Who were and are the musicians?

Are they paid? If so, where do funds come from?

What was the name of the first Band?

Where and when was the “debut” of this band?

When did the name of the band change and why?

Where did you and do you now perform ? Rehearse?

Detail the following:

organizing the Band-the mechanics

the equipment, including music

programming

Seating

Auditions

Instrumentation

hiring of musicians

Public Relations

Adminstration

financing

long rang goals for him and the band

the legacy of the Detroit Concert Band

his own legacy

the band after his death

Philosophical Considerations

Toward public school bands

Toward the college and university band

Toward the city of Detroit, the band’s past, present, and future 10

Toward his own legacy

Conclusions Part II

Chapter HI

Leonard Smith’s Early Life and Musical Training 1915-36

“Growing up in Poughkeepsie, in the era of all the great bands and band leaders, was just wonderful. This, along with the influence of my parents, made me know I wanted to be a musician!” Leonard B. Smith

The bands of the early 1900’s provided the cultural and entertainment medium for many communities in the eastern United States. The quiet setting of Poughkeepsie, New

York was among those, and it was here that the legacy of Leonard Smith began.

Leonard Bingley Smith was bom September 5,1915, in Poughkeepsie, New York.

The son of Frank and Ethel May Schubert Smith, he had an older brother, Schubert, bom in

1912. His father played piano. His mother was the soprano soloist and choir director for the church in Poughkeepsie. It was in this church setting where they first met and then married on December 23,1909.

The elder Smith set an early musical example for his sons as he played profession­ ally and organized Smith’s Orchestra in which he played piano. His playing became so extensive that he would have three orchestras going at once and would travel from site to site playing many times each week. A well educated man, Frank held a degree in mathematics from the Eastman Business School. His life’s work was in Poughkeepsie where, along with his music, he worked for thirty years with the Poughkeepsie State Bank as a federal bank examiner in Nye. To indicate the high esteem he commanded, he was also elected to the 11 12 position of Commissoner of Police in Poughkeepsie.

With both parents being well educated and involved as professional musicians, it

followed that they both were very interested in providing Leonard and his brother with a

strong education in music. This was not, however, meant to serve as their vocation, but to

merely be a part of their education. None the less, they did vow that the boys would receive

the highest caliber of instruction. (See Figure 1).

I Figure 1. Leonard Smith, father Frank and brother Schubert at their home in Poughkeepsie Circa 1920 13

In 1923, his parents felt it was time for Leonard to beome involved with music. Of course, growing up in the era of Sousa, Pryor, and Gilmore, it was difficult not to be caught

up in the music of the professional bands. Hence, a band instrument was to be his first hands on musical experience. At the age of eight, Leonard Smith began his career as a cometist. His father had purchased a Hileron comet from Paris that was made by the Besson factory. The instrument was merely one made of the spare parts with only the name of the workman affixed to it as the manufacturer. Leonard’s father actually purchased the comet for his cousin at the price of $25.00 and later discovered that he really didn’t want to leam to play it. He then purchased it back for the price of $12.00 and gave it to Leonard for Christmas in 1923.

“I can still remember that moming. I got up and went to the tree and found the comet.

I picked it up and blew it. I played a big blast. I am sure it didn’t sound good, but my father thought I had real talent because I formed an embouchure and actually got a sound. He just knew I was going to be a wonderful player. All I knew was that I was really excited and wanted to do this.”

Smith then began his first formal training on comet with the town teacher, Robert

Coon. Of German descent, Coon was the only teacher in Poughkeepsie, and his means of earning a living was teaching all the instmments...at $.50 a lesson. He had been a conductor of bands and orchestras and taught Leonard the comet as well as scales, theory and harmony.

He was not a virtouso player but would demonstrate on an old alto hom. Since there were no suitable method books available, Coon would scratch out on a simple sheet of paper his daily assignments for his instrament. For theory and harmony, the Preston Ware Orem Book of Harmony was the text, and it was here that Smith leamed to draw the symbols of music and leam basic theory. Of Coon, Smith says, “he was a very affable person, and I enjoyed my first experience as a student. While he was by no means a great player himself, he had a great deal of patience and was well thought of in the town. All my memories of him were 14 very positive.”

Leonard progressed quite quickly, and in 1925 his father purchased his second cornet, a Martin with two mouthpieces, one for Leonard and one for himself. His father then began lessons with Coon but soon quit because of lack of progress and also because his son was obviously progressing at a faster rate. “I think my father wanted to be able to play duets with me, and in all honesty I was getting pretty good. He didn’t have enough time to practice and decided to stick with piano.”

After two years, Coon told Leonard’s father that he could not take Leonard any further. “This really impressed my father. You have to realize that Mr. Coon earned his living by giving lessons, and here he was sending me away. He was actually cutting into his own income. But, it was what was best for me, and my father was very appreciative of Coon’s sincerity.”

His father’s next task was to see that Leonard would continue to receive proper training. George Waterhouse, the tympanist in the Rochester Symphony and a teacher at the

Eastman School of Music, was a good friend of the Smith family. He made a contact with

Ernest Williams of the famous Ernest Williams School of Music. Williams accepted Leonard as a student and Leonard then traveled to Brooklyn, New York where he began his training at the home of Ernest Williams. Every three weeks the ten year old and his father would travel by train for his comet lesson. (See Figure 2).

“This was the ‘big time’ for me! Going to Brooklyn to study with the great Ernest

Williams was very exciting. Sometimes my lessons would last four or five hours I Of course, we didn ’ t play all the time, but we would talk about theory, harmony and other musical things.

Also, my father, being in banking, often consulted with Williams about his financial situation. It made for a long day but I really enjoyed going there. It was fun to ride the train and also to listen to my father and Mr.Williams talk.” 15

g

Figure 2 Leonard at 10 years of age with comet

Smith was making speedy progress and was really being challenged by Williams.

Following the lessons, he would be given a large amount of material on which to work. When

asked if he liked to practice, Smith responds with a laugh. “I can remember something Percy

Grainger told me. He said that he loved his mother, and his mother told him to practice. He

did. I loved my parents. They told me to practice. I did!”

It was in 1926, at the age of eleven, that Smith had his first band experience. While

Poughkeepsie, New York was known for its fine musicians and listed many fine town bands,

there was really not a so termed “school band”. Many youngsters were taught by their parents

and for a short time, led by local bandmaster Frank Scofield, they did play at a few school

functions and events. (See Plate II).

“This was as close as we got to a school band. It seems as though we only had practice

sessions. I only remember playing for a football game and the Rotary Club. The red uniforms were modeled from fi’om the Marine Band style, and then our mothers provided us the white duck trousers. It was a lot of fun, and I guess I was just like the others in that I liked to be with my friends and play my comet.” Plate II The Poughkeepsie School Band - 1927 under the direction of Frank Scofield. Even then, the band travelled to the football games to perform.

-t'fiitr -If I fi ; .1

POUCIIKKI'.I’Sli: Si lUKil. IÎANI» Uiiflrr Ihc direction of Mr. Prank I, Scofield, eon In* l»*i dn t nnd or ndiers in natty iiiiifornis, arc giving their services at HÎKh Sclioid and tirade School functions and athletic rvrnic. loM-lin); as i.,i afield as M'iddlctown with the football team . Six nirodiets weio absent when this picture was taken, 'i'tiose in ilic pn ion an-. Left to ri|(bt. front row: Homer (trace, Stephen I'alnirr. Leonard Sniilli. Andrew St reek, Carl f.nnstcdt, Sheldon St. John, Itonald tîniither, Robert Schlude, W alter Wanner. Rack row: Mr. Prank .Scofield, conductor; Prederiek Townsend. I'liili,. to. Uavinond Harralta, Daniel Maber, Louis Giunta ______[D avid K rakow er and Schubert Sm ith. ______On 17 Scofield also led one of the best of the many town bands, and it was here that Leonard played with what may be called his first real “professional” band. He played last chair in the

21st Regiment Band of Poughkeepsie known as “Scofield’s Band”. (See Plate III).

He had no real tryout for the band. His father knew Frank Scofield and Scofield knew

Ernest Williams. Leonard was studying with him. He was invited to play. He began as the seventh of seven cometists but soon worked his way up and, when he left, ended in the third position. All this was accomplished at the age of eleven in a band of trained adult players!

The band of Scofield’s actually was a Civil War Band that retained the name from the war and played at the functions in the town. Scofield himself was a highly trained musician, and the other musicians were of the highest quality. There were, of course, members of the town who had been in the service and were good musicians, but the roster also listed three members of the band that were former Sousa Band members. They were Harold Stambough,

Max Arnold and Earle Foote. They were first quality musicians.

• “This was my first band experience and it was of the first order. I was the youngest member. I just played and realized I could handle it. At that age, it was really great to be in this band and be able to say I played with men who really played with Sousa. Not only was this my first band that I played in, but it also was my first paying job on the comet. This was great for a kid my age.”

This also proved to be Leonard’s first experience with a “business band”. All members were paid and they played at nearly all the town functions. “I can remember playing for the big Italian festival of Poughkeepsie. Hundreds of people would come down from their homes. We would play as much Italian music as we could such as Inglesina and we would march to it. I just couldn’t do it correctly. Playing the march at 120 tempo and marching in a sauntering tempo was difficult! But I soon leamed. The crowd loved the Italian music, and we loved playing. We played in uniform, and this was where I really began to play solos. I knew this was what I wanted to do. It was great! ! To me it was a business. We rehearsed. Plate III The 21st Regimental Band of Poughkeepsie, New York, Frank L. Scofield, Leader - Circa 1908

^'Vrc- ■ j t ^ ^ ^ . .'t.-'Jîv f à ^

0 0 19 we played, we left, we got paid.”

Many great names of the era were from and around the Poughkeepsie area. “There

were several great bands in Poughkeepsie history that had an impact on the musical interest

of the area. The most famous was John M. Flockton. He was the great comet soloist with the

Gilmore Band in the late 1800’s. Also from Poughkeepsie was Ernest Albert Couturier. He

was the famous musical instrument manufacturer that made the first conical bore instru­

ments. The other bands during the 1920’sin Poughkeepsie were The Italian Band, conducted

by Umberto Barrata, and Rieser’s Band, conducted by Frank Rieser.” Leonard had the

opportunity to not only play with Scofield's Band but to listen to these other bands and hear

truly fine band music.

The bands of the community provided the towns with a great amount of music at a

high level of proficiency. “It was by playing with Mr. Scofield, my boyhood mentor, that I

leamed what good music was and how to play it. Frank Leslie Scofield had a great influence

on me, and because of him, I wanted this as my career.”

Even with all the fine musicians and the number of bands performing, there was no

such thing as a full time band musician. The bands playedperiodically at functions in the area

and were in regular rehearsals. The men liked to play, and it was a social event as well. One

of the many town participants was Smith’s mother. She was a vocal soloist with the bands

and really helped to develop Leonard’s interest and musicianship. (See Figure 3).

“My mother was a wonderful influence on me. She had a fine voice and was well

regarded in the community for her musical talent. She was always very positive and my love

and respect for her really was essential in the habits I developed.”

Until 1929, Leonard’splayingexperience was witii the bandensemble. It was in that

year, during his studies with Williams, that Smith had his first orchestral experience. It was

with the Heckscher Symphony Orchestra located in New York City. Rehearsing at the

Heckscher Auditorium on West 104th Street, the orchestra was comprised of very talented 20

I

Figure 3 • Ethel May Schubert Smith - Leonard’s mother musicians, all much older and more experienced than the fourteen year old Leonard Smith.

A world philanthropist in New York, August Heckscher provided the orchestral experience to well qualified young players.

“It was here that I had my first real experience with the string instruments and of course it was a real treat. I was able to judge myself as a musician with other fine players.

The string musicians were very talented and this added another dimension to my musical development. Among the players I recall were Isador Blank who became the 1st trumpet of the Metropolitan Opera Orchestra, Eleanor Allen who later became Nfrs. Felix Slatkin, and

Sol Schoenbade, the Philadelphia Orchestra’s great 1st bassoonist (See Figure 4).

Leonard Smith was quickly gaining fame for his trumpet playing from some of the most respected musicians of the era. His musical talents were being both discovered and developed through his playing in the band and orchestra. Many notable musicians were taking notice of the young Leonard Smith. (See Figure 5). 21

( i l m t r r r t GIVEN BY

t ^ w li 0 rl}pr ÜDunîiation ©rrhrstra UNDER THE DIRECTION OF ISIDORE STRASSNER

Î F i r s î 0 f s m p B o f (H o o ffM s IN THE Cl;iIbrpM*g # p a f r e I East 104th Street §>unàag EapMing, Brrembrr let, 1923 al B;39 P. iH. PROGRAM 1. Symphony in B flat ...... J. C. Bach Orchestra & Trumpet Solo L e o n a r d S m i t h 3. (a) Two Norwegian Dances ...... Grteg (b) Molly on the Shore ? ...... Grainger Orchestra 4. Woodwind Ensemble F lutes,}. Drumm, F. NercissienC/anw/r, J. Kerrigan, A. Newstadter Oboe, S. Spumberg Bassoon, S. Schoenbach 5. Suite Espagnole ...... La Feria...... P. Lacome Orchestra 6. Cello Solo . Eleanor Aller 7. Prelude...... Die Meistersinger ...... Wagner Tickets may be obtained at I East J04th Street

Figure 4 The Heckscher Foundation Orchestra and program featuring a trumpet solo by Leonard Smith and conducted by Isador Strassner - Circa 1929 22

THE HECKSCHER FOUNDATION FOR CHILDREN

orriCERSi , J 0 4 TM STREET charter members AU0U8T HICR*CHIM

new YORK TRUSTEES a. MAUmCt NCCKtCMIll WM 0>CKIN90N HART tCWCRHONI UNiVCRIirr ##0## AÜOU6T MCCKSCHIR MARTIN TAVI.OA O. MAURlCR MICRSCMCR «lei.pAitittiMv «1» eeuHMi. MfttN MeRiNttur *■ ^ ‘’«.U!". »o«t»Tm. m w T

""■‘"'.Yc’;*.?:..*’*" «»OUNr.T"o*Na T.V«. TH O M A f a VALCON MARTIN TAVLOR •intM A U MANAMA R C A tIC B. VCRNAM #. AT. BTROM CkARBNCtC. VCRNAM AAIIATANT VMAtWAI* L U C IL L E L . W OLLM AN Dec. 7th, 1929

Mr. Trenh B. Smith, fs Pouphheopslé Savings Bank, Poaghkeeraie, îî.Y.

Dear Ur. Smith:

I want to ccnsratulate 'fe? pour

son, Leonard, pl>- 7ed a trumpet Solo at cur concert on Dec­ ember 1st, I really believe that le'nard will be one of the future’s finest trumpet players in both soloist work and the work of a first trumpeter in a symphony orchestra. He is a natural born artist and he gave great pleasure to everybody at the concert. Sincerely yours.

%. SfB&SSHSB IfeDber of the Hew Tort Philharmonie Orchestra. ,

CtUBSi «im iik; uimimv, loeut. awumwa m te nanw ooua C L M S B M I AST. BANCMa OUMAIH^ MWIMO, «OUEMOr, WSAOt lUNIBNi, MOK. tacUAIIOKtt ACnVtimi 0AMiW0«auMA>r.ja«w«umxTU lum am m oN T otaiSRu,>oaju. bamcbm, onauoaa (vdmmo foob CAMP MU ta a a i. N.Y, n t: cmbmm •owAMweiaN. MnOnOMTIMUa MBWWIMa BOfrAtCUWC

Figures Letter from Isador Strassner of the New York Philharmonic Orchestra. Leonards playing was gaining attention - Circa 1929 23 Smith played with Scofield’s Band and the Hecksher Orchestra until 1930. That Sep­

tember, he left Poughkeepsie to attend the New York Military Academy at Cornwell on the

Hudson, New York. He auditioned in the summer of 1930 and received a scholarship. This

turned out to be a turning point in his career. (Figure 6).

Figure 6 Smith as a student at the NYMA at the age of 14. A "pro" at the age of 14. 24 “There is a humorous story behind how I got to the military school. My father told

Captain Chas. Tully, the bandmaster, that if he took me he should take my brother. Tully said

they didn’t want my brother because he played violin, and the school did not need violins.

My father then asked what they needed, and he said alto hom. My father told him I would

teach him. I taught Schubert alto hom over the summer by writing out the fingerings for the

chromatic scale and we both got scholarships! I guess I probably would have gone anyway,

but it really did help having both of us receive a scholarship. Not only did we receive a quality

education, but the scholarship meant a far less financial burden on the family.”

The academy gave Smith a fine education including his first dance band experience

by playing with another academy student named Les Brown. Leonard played in the Academy

Band conducted by Captain Tully and also as guest comet soloist with the West Point Band under the leadership of Lt. Philip Egner. (See Plate IV).

It was in the summer of 1932 that he visited the Williams’ Summer Music Camp as a guest. At that time, Willliams was the dean of the Conway Band School, named after the famous bandleader. Williams and his brother owned four hundred acres of land in the Catskill

Mountains where he ran the smhmer music camp. It was called the Ernest Williams School

Band Camp, and it would be in the following year that Leonard would enroll at the Emest

Williams School of Music in New York.

“I’ll never forget that visit. This was the first time I had heard, other than a recording of Herbert L. Clarke, my first good comet player. Williams was conducting the band and suddenly out walks this little kid in knicker pants. His name was Frank Elsass and he just played the spots out of Staigers’ The Camival of Venice.

"Now I had justplayed the same arrangement, and I thought I was pretty good. Frank played the entire Arban’s version. We all have to remember that nothing has dimension until it is tested in relation to something else. This boy really played and my father and I just couldn’t believe what I’d heard. Here was a boy my age that played better than I. He was from Plate IV The New York Military Band 1930-31

w LA 26 Ohio. What’s Ohio? Where’s Ohio? This gave me dimensions and itreally spurred me on.”

Smith continues. “Herbert Clarke was everything. The great Sousa soloist. He was

God! All others were merely apostles. Here was a boy my own age whose playing was the

revelation that told me I needed more practice. If this kid could do it, so could I. I wanted

to be the best. I think that event, more than anything made me practice, and practice, and

practice." (See Figure 7)

Following his graduation from the Academy in 1933, Smith returned to the camp in

that summer and continued to study with Williams. He played third chair in the band, and

above him were Ned Mahoney and Frank Elsass.

He had returned to the Williams Summer Camp with the idea of spending only the

summer and then enrolling in architecture school in the fall. This was because his father was

convinced there just was not a great opportunity for one to earn a good living as a musician.

: •■«s.-»*

:

Tfib pleturt ofHtrbtrt I. Chrkt wu ghMn to Ltonard B. Smith whtn tht lattor wet eonut ioloM of Tht OoUman Sand

Figure 7 Herbert L. Clarke - Comet Virtuoso - This picture was given to Leonard when the latter was comet soloist of the Goldman Band. 27 “If my father had his way, music was always going to be an adjunct for me. Y ou must understand that he knew that I had a great amount of ability, and he also knew that this was what I really wanted. But he felt that music as a career would not be self-sustaining to earn a living. He was really looking out for my best interests. Music as an adjunct would help my family financially, get me through school and prepare me for a good job out of music.

Because of my father, I had always prepared myself mentally to be an architect, but I really wanted to be a professional musician."

What turned out to be a turning point in his career occurred while at the camp. He had the opportunity to play with the summer camp band conducted by both Goldman and Pryor.

“I can remember us drawing straws to see who would play with which band. I drew Pryor,

Elsass drew Goldman. I played Bride of the Waves, and I recall Pryor discussing my dilemma with my father. He explained to Pryor that he wanted me to study architecture and not music.

Pryor convinced him that that he should send me down to the Emest Williams School for at least one year. My father could then decide about my future as either a musician or an architect. My father then told me of his conversation with Pryor and I was enrolled in the

Williams School of Music.” (See Figure 8).

Architecture was quickly to be forgotten! The Williams School curriculum included lessons in theory, solfeggio, harmony, conducting, and performance. During his years at the school. Smith was already in the business of performing. While a student, his reputation grew and he would play broadway shows, recordings, radio broadcasts and was on call as a substitute when needed. The Williams School provided the means to earn this reputation.

History will verify that this was a truly great era for the school. Among the graduates were Ned Mahoney, cometist with the Goldman Band for twenty years, Roger Smith, first trombone of the Metropolitan Opera, Robert Hoffman, solo clarinet of the Goldman Band for twenty years, Leroy Hoyt of the Goldman Band, Arthur Kubey, bassoonist of the Pittsburgh

Symphony for twenty years, Don Jacoby and Jimmy Burke popular trumpet and comet 28

Figure 8 Arthur Piyor - Trombone Virtuoso and band leader. He was one of the greatest influences on the career of Smith. soloists, french homist Charlie Fronheiser, and John Yesulaitis, assistant conductor of the

United States Air Force Band.

Many of the great teaching names were at the school. The list include Pierre Henrotte and Colonel George Howard for conducting, Erik Leidzen and M.L. Lake for composition and arranging, Georges Bairere, Arthur Pryor, Gardell Simons and all the soloists of the

Metropolitan Opaa Orchestra or New York Philharmonic as studio teachers. Serving on the

Board of Directors were such notables as Edwin Franko Goldman, Henry Hadley, Georges

Barrere, Herbert L. Clarke and Arthur Pryor. (See Figure 9)

“As students, we respected the quality of the people who served as our teachers. It was a great school. It was ‘the* school. The school continued until 1947 which was the time of Williams’ death. We should remember that his goal was to try develop fine performers, and it wasnotpattemed as an education college with a teaching degree. I wanted to be aplayer and never had the desire to teach so this was the place to be.*’ 29

Figure 9 Mayhew L. Lake, Ernest S. Williams and Henry K. Hadley at the Williams Music Camp, Saugeries, N.Y. These men were teachers of Smith at the Williams School.

It was also while he was at the Williams School that he had what he called one of his

“finest musical experiences”. In 1935 he was hired by Georges Barrere to perform with the

Georges Barrere’s Little Symphony, a position he held for two years. (See Figure 10)

“This was a highlight of my career. What a great group of musicians. I think I can remember them all by memory!” He lists them...by memory!

Violins: Misaha Bison, Jacques Lamer, Harry Fagen

Viola: George Hammer

Cello: Bonie Greenhouse

Bass: Sam Goldman

Flute: Georges Barrere -Paul Siebeneichen

Oboe: Carlos Mullenix

Bassoon: Angel Del Busto

Clarinet: Fred Van Amburgh 30 Horn: Rudy Pulitz

Cornet: Leonard Smith

Tympany: Ed Montrey

“This was truly a “little symphony”. Without doubt a vertibable who’s who in

musicians. This is where, along with Goldman and Williams, I learned so much about music.

The small orchestra made me listen. It made you adjust and play with control and

musicianship. This is where Ï learned about compatability of instruments. I had to leam to

play my instrument as a violin, oboe, flute, horn etc. Not in sound but in compatability. This,

plus the fact that I was playing with some really great players, made for a wonderful

experience. I still look back on this part of my career as one the the highlights. It was a terrific

experience.” (See Figure 11)

m

I

Figure 10 The Georges Bareere Little Symphony - Circa 1936. Leonard said playing in this orchestra I was one of his "finest musical experiences." 31

THE MUSICAL ART LEAGUE OF BINGHAMTON

. Prtsmts THE BARRERE LITTLE SYMPHONY '[ Founder, GEORGES BARRERE, Conductor Central High School Auditorium, March 17, 1936

PROGRAM I. La Italiana in Algeri (Overture) ...... Rossini II. Symphony in G major (The Hen) - - - , - - - Haydn Allegro spiritoao Andante ' Henuetto Vivaee ' III. The White Peacock Chas. T. Oriffes ditebuission ^ IT. Concerto in D major (For Flute) ...... Mozart Allegro aperto Andante ma non troppo Allegro G bobges Babbebs , S oloist V. For My Little Friends - - - • - • P iem i Faatorale (wind inatmmenta) March of the Idttle Tin Soldiera The Vigil of the Guardian Angel (atring inatmmenta) Fatandole VI. Three Pieces - Aïbeniz Oadk . Tango Begttldilla MrniagmtHl' CONCERT MANAGEMENT ARTHUR JUDSON, I k o . Divlilen Columbia Conecri* Corporation of Columbia Broadcanimg Syittm. COMING CONCERTS Apr. IS—Thdlmde and Romanoff, Daneen—now danein# in Max Reinhardt'# acrctn.prothictien . of "A Midanamar Night # Dreamy" accompanied by a String Tria

Figure 11 Program from the Little Symphony Chapter IV

Leonard Smith’s Career as a Cornet Virtuoso with The Goldman Band,

the Navy Band and the Detroit Symphony

1936-45

“Leonard Smith...The greatest comet talent I have ever known.” (E. F. Goldman, Forty Years 1946-1985 Detroit Concert Band)

Graduating from the Williams School in 1936 with a Certificate of Mastery of Music in Arranging, Performing and Conducting, Leonard was then hired by Edwin Franko

Goldman as 1st chair and the solo cometist. He held this position for six years, and it was dining this time that he gained stature as an outstanding comet virtouso.

“Goldman had a very positive influence on me. He was a man of very high standards and ideals. He was a very moral person, and there just was not anything I could ever find fault with about him.” About the musicians in the band. Smith says “they were all really excellent.

The band had very high standards and was a very high level performing ensemble. It was a combination of those great men as well as the leadership and musicianship of Goldman that really made this a wonderful experience. Obviously, this was another great highlight of my career.” (See Plate V)

Smith was only twenty years of age when he began playing with Goldman. The band played ten weeks of concerts annually, seven nights a week. On Sunday, Monday,

Wednesday and Friday in Central Park and Tuesday, Thursday, and Saturdays in Prospect

Park in Brooklyn. The band played on the mall in Central Park and in the Naumberg

32 Plate V The Goldman Band at the Golden Gate International Exposition, San Francisco, 1939.

% 34

Memorial Shell. Each concert was a paid one that was sponsored by the Guggenheim

Foundation.

“The Goldman Band, in its day was unquestionably the finest wind ensemble in existence. There was nothing its equal. That gave me and the other musicians a real sense of, shall I say, elitism? In other words, I was in the company of the greatest players. I enjoyed playing 7 nights a week. This is what I always waited for. Why wouldn’t I enjoy it? The response to my solo playing was really quite outstanding, and that of course made me feel great Also, I had money in the bank, and it was quite a feeling when you are that age and have that much money. It was a great dme for me and really helped to make my name known in the solo world.”

In 1937, after one year with the Goldman Band, Smith then was hired by the Detroit

Symphony where he also served as first trumpet. “I really had the best job in the country during this period of time. I was comet soloist with the finest band in the country and played

solo trumpet with the Detroit Symphony which also performed the widest heard good music program in the world. That was the Ford Sunday Evening Hour.” (See Plate VI & Plate VII)

“In its day, this was the widest heard musical program on the radio. We had 440

stations that carried us live for thirty nine weeks each season on CBS. We had dual resident conductors. They were Victor Kolar and Franco Ghione. Kolar was without a doubt one of the finest musicians I ever knew. I played for 5 consecutive years with the Detroit Symphony and then enlisted in the Navy in 1942. I played one season (1945-46) after returning from the service.” The year 1937 also marked another important year for it was the year that he met his future wife, the former Helen Rowe. They were introduced by Gardell Simons at a reception for new players of the Symphony held at the Detroit Institute of Arts. Married in Detroit in 1940, they have one daughter, Sandra Victoria, and a grandaughter Michelle Amanda Neilson. (See Plate VIII). 35

Plate VI Leonard Smith at age 20 with the Detroit Symphony 36 Plate VII Smith at a rehearsal for the Ford Evening Hour the year is 1937. Leonard 1st trumpet, Floyd O’Hara, 2nd trumpet.

k

Ê Plate V ni Leonard Smith, wife Helen and daughter Sandra, 1952. 38 Smith's career and stature as a soloist was rising quickly. In 1939, the Goldman Band

appeared at the World’s Fair in San Francisco (Golden Gate International Exposition) and

played 210 concerts during which time Leonard Smith performed solos daily. It was during

that year he established the world’s record by playing more than 525 solos. (Doris

Scharfenberg - Record Album - Gems of the Concert Band Volume 3. 1981.) (See Figures

12.13 & 14)

His career took another course when he enlisted in the Navy on March 9, 1942 in

Philadelphia, where he served until September 4,1945. (See Plate 9)

“I recall vividly how it came that I enlisted. The Goldman Band was playing in New

York in 1939 at the World’s Fair, and I was having dinner with Tom Darcy, also a Williams student and conductor of the U.S. Army Band in Washington. His band was there playing in New York and he told me that if our country ever got into a “scrap” he would save a place in the Army Band.

• "Of course the war came, and I also had a chance to go in via the R.O.T.C. but chose not to because I wanted to play my instrument. I was seriously thinking of joining the Army

Band but was then approached by Eugene Ormandy.”

“At the time, he was conducting the Philadelphia Orchestra and was serving as guest conductor with the Ford Hour in Detroit On this particular appearance in 1941, Ormandy had come to Detroit and visited my home for dinner. He came not only to visit, but he said he wanted to organize a band for the Navy. It would be in Philadelphia with some of the greatest players from the Curds Institute, Eastman, JuIIiard and all the other great schools.

He was going to conduct what he thoiight would be a “band unlike any ever heard”. His plans were to go into the Navy as a commissoned officer and lead the band. I would be the assistant conductor, and we would use the library I had been developing." 39

THE GOLDMAN BAND I'LAVINC ! WICK II SII.Y liN I II. JUI.Y Ï. 1913 DR. EDWIN ERANKO (iOLDMAN, Conductor Richard Franko Goi.dman. Associate Conductor

f 'FUESDAV. MAY Hi. 193!» A f ter noon :>;0I) III I: I'» I*. ,M. I’ \itl 1 I. Cii'aiid M ardi, A iiU 'riia ...... (itildinaii ‘2. OMiiuif, Rii) Idas...... tMeiuMssuliii ;i. .\vc .Maria ...... Sdiiihrrt 4. l-'iiM MoNcnii-in, .Second Syiiiplioiiy ...... H im nlin . I'.ARl- II 5. Marche Slave ...... Tchaikovsky (i. Cornel Solo. W’illow Echoes ...... Sim on I.KON.MII) II. SMITH, fo n iftisl 1. (a) Italian Polka...... A n. h) lOulimaniuoll (h) March. .Sie|i|jing .Moii}* ...... (ioldm an S. Walu. Kiii|ieror...... Slmiiy> Kucning li:(l(l ro 7:1.5 r. m. P.\RT I I. 'I'riiiiiiphal Mardi. Cleo|iatra ...... M ancinelli ‘2. OxciTure. I a (laz/a I.adra ...... Rossini 3. (a; Prelude and I'ligiie (llh .Minor) ...... Bnr/i (h) Fiii.'iie a la (d % iie ...... H inh-H oU t 4. S\ni|>honii I’ocin. I'nivei'.al jiuh^iueni...... \a id i s P.ART II 5. KhapsiHly. Life on ihe iMississippi ...... lleinttnacr li. Hand \ iniiosiiics (Solos lor \arions insiiTinienisi ...... !.A d ien 7. (a) From an Indian Lodge ...... M arltnw ell (h) March. In the S|n ingiiine ...... (ioldm nn 8. Dance of ihe Honrs, lai Oiocoiida ...... PontirU i it tr it Program Sutnrcl lo CItange Without Notice

Figure 12 Goldman Band program -1936 40

Figure 13 The Comet Trio from the Goldman Band. Frank Elsass, Ned Mahoney, Leonard Smith

‘••«Aw ****!%

Figure 14 V. Edwin Franko Goldman Plate IX U.S. Navy Yard Band, Philadelphia, October 29, 1942

m 42 "Well, as it turned out, he wasn’t given a rank that he thought was high enough, and he did not enlist. But the band still functioned with all Navy men, and it was a really fine group. It was a 28 piece band, and we played for two years at the Navy Yard in Philadelphia along with the regular Navy Band. I was called the assistant conductor and played many solos.

We had a radio program on WCAU in Philadelphia, and we were heard regularly for some two years.” (See Figure 15).

During his Navy time, he also served as comet soloist with the Washington-based

Navy Band under the baton of Commander Charles Brendler. “Colonel Brendler was a brillant musician. He came from Brooklyn, New York, and I do not think he had beyond a high school education. He had been clarinet soloist with the band and then moved to assistant conductor before he took over from Charlie Benter. Benter was not much of a musician. I really don’t have much regard for him as he was even court martialed out of the Navy. Charlie

Brendler was a fine person and conductor. I enjoyed playing for him.”

• “It was interesting that I was the solo comet player but wasn’t the 1st chair player.

Oscar Short, who had played 2nd chair solo comet with Goldman, had already been playing

1 St chair with the Navy Band, and I sensed Brendler had felt an obligation to put me 1 st chair because of my place with Goldman. Short was already the Navy Band’s solo comet player, and this put Brendler in an awkward position. So Iplayed 2nd chair by my choice. I suggested to Brendler I’d be delighted to play assistant to Oscar, and Brendler thought that was terrific.

This saved Brendler a lot of trouble because Short had been with him a long while, and I knew

I would not make the Navy a career." (See Figure 16)

When asked what he thought of theNavy musician. Smith replied that “by and large the service musician does not have the respect for music per se. He is almost a disinterested bystander in music. He is there because he must be and I think this is tme also of the conductors. Some musicians do not play with their heart. The artisan plays with his head and mind. The artist plays with his head, his mind and his heart.” Smith adds that “in my band 43

A u d ito r iu m 24 Juno, 1942 Recreation Center BAND COKCERT 16 3 0 Navy Y a rd , Philadelphia. NAVY YARD BAND

CONDUCTED BY

EUGENE ORf^ANDY

ORGAN RECITAL BEFORE CONCERT By KENNETH A. HALUETT CONCERT BY BAND, ENSEMBLES AND SOLOS

1. Anchors Awelgh Zimmerman 2. Overture - Raymond Thomas 3. Chorale Jesu, Joy of Man's Desire Bach 4. Ride of the Valkyries , Wagner 5. Cornet Solo - Spanish Caprice, Composer-Soloist L. B. Smith 6. Dance - Hungarian No. 5 Brahms 7. Woodwind Quintet, Beethoven Quintet Op. 71,Rondo •Allegro 8. String Ensemble - Londonderry Air P. Grainger Jazz Fizzicatto L. Anderson 9. Accordion Solo - Perpetual Motion • Magnante A* 01 Simone 10. Valse - Tales from the Vienna Woods ' Strauss 11. Marche Slava Tschalkenrsky

S tar Spangled Banner

Harvey F. Prescott 0. C. T. Remington ' Bandmaster Offioer-in-Charge

CREW OF.RBCEZVZNO STATION WHO ATTEND MAY HAVE THEIR SUPPER AFTER CONCLUSION OP CONCERT. . ^

C. M. HALL

Figure 15 U.S. Navy Yard Band program - Eugene Ormandy Conductor 44 the musicians play with their heart. I have many former service band members playing for me. I guarantee you they play better now than when they were playing in the service.”

Smith left the Navy band on very good terms. Brendler even suggested that he remain with the band and possibly take over as conductor. However, the goal of soloing with the

Goldman Band and conducting his own band led him to leave the ser/ice and return to Detroit.

Upon Smith’s return to civilian life in 1945, he had planned to return to the Goldman

Band. However, there was no opening in the Goldman Band. At the time of Smith’s enlistment, Goldman had hired Del Staigers as Smith’s replacement. Staigers was subse­ quently replaced after one year and Jimmy Burke was then hired as the permanent comet soloist.

Figure 16 Leonard Smith, Frank Simon, Col. Santleman, Peter Buys, Circa 1944. 45 “It was a no win situation for both Goldman and me^ He could not just replace Burke, and I didn’t want to cause problems. Plus I knew that I eventually wanted to start my own band so it actually worked out well for both of us. I played a few solos with his band but then returned with the symphony.”

“I left the Goldman Band with the fondest of memories and the closest of relationships with him. We remained the best of friends, and I even had him brought him to Detroit in celebration of the city’s 150th anniversary. I remember it was a very prestigious event and the city turned out. We had a great time and a banquet in honor of Goldman. Everyone had heard of him and the dignitaries were present. Thateveningat the concert, over 15,000people attended to hear the Detroit Concert Band with Goldman conducting and with me playing a solo. He was a very special man.”

Smith-returned to the symphony to play for what he termed “the world’s worst conductor, Karl Krueger. Krueger prided himself on being the only American bom conductor of a major symphony. He was just a complete incompetent and just could not do the job. He had an uncanny ability to move away from the perfect tempo... always fighting the orchestra.

It was because of him that I resigned. I was so unhappy and just had to get away.”

Smith was uncertain of his future. His wife was expecting their first child; he had just purchased a house, and he really was not certain of what course his future would take. But he was certain of one thing...he wanted to conduct his own band in the tradtion of Sousa,

Pryor, Fillmore, and Goldman. It was during this period that he began in earnest to formulate plans to reach his goal. CHAPTER V

Leonard Smith: The Comet Virtouso

“To my friend Leonard Smith, the greatest American talent on a brass instrument to appear in the last 50 years.” (Gardell Simons, And Now Leonard Smith, Leonard Smith Band Publications Inc.)

The above quote, stated in 1938, by the first trombonist in the Detroit Symphony,

simply echoes what other musicians have said about Leonard Smith. Beginning with his

career in the Goldman B and until well into the 1950’ s, he held the title given him by Goldman

himself... that of America’s premier comet virtouso.

. His solo playing began with Frank Scofield’s band at the age of thirteen, and it was

evident that he would excel. “I remember very well to this day that first solo. It was “Camival

of Venice” by Staigers. As I said, he was an idol of mine, and I recall having two of his recordings. I tried to imitate him. Impossible...but I didn’t do too badly. I don’t remember being nervous, and I couldn’t play as fast as him but it wasn’t too bad. The people applauded and everyone seemed to enjoy it. I know I did!” (See Figure 17).

“You know, my imagination was just as vivid as any other boy my age. I really wanted to play with the Sousa Band. I would sit at home and practice...always trying to play as well as Herbert L. Clarke. Then, when I thought I was good enough, I would put the window up and envision that Sousa would be coming by. I would imagine he would hear me, say what wonderful player I was, then hire me! !”

46 47

Figure 17 Herbert L. Clarke and Leonard Smith at Mr. Clarke's home in Garden Grove, California. Smith had just completed an engagement as comet soloist of the Goldman Band at the Golden Gate International Exposition in San Francisco and appeared with Clarke's Long Beach Band before returning to New York City, July 1939.

Smith’s earlier playing included solos in church with his mother as the pianist His

first solo with an orchestra was with the Heckscher Symphony at the age of fifteen. He played

Premier by Ed Llewellyn, the solo trumpeter of the Chicago Symphony. Other orchestra

solos were with the Newburgh and Middletown Symphonys in New York state. (See Figure

18).

His solo playing gained momentum while at the Williams School and the summer

camps. It was now not unusual for him to play two or three solo engagements a summer and

all by memory. “Even then I memorized everything! In fact, I can recall only one time in

my entire career that I did not play by memory. That was for the ASBDA. I did a recital for

^ them at the Park Sheraton Hotel in Detroit in the late 50’s. The great musician Will Reed was 48

MEN’S PROGRAM

Methodist Clüh Plans r Group Attendance,. SPECIAL SERVICE Rev. Stacey-To Preach Suitable Sermon I* JL apMlai «ervie» WiU. be heUU mt ;th* WaabiBston Street M. H. Churchy jots Susdar'eveniss at 7:30'a'eipek.' (wbca. tb# mtBtbees'. of - :h«.Z ltn ’a *ÆInb wia. attend-'lH* » body, -, -o t tB*.eenaeK.w%b# W « m ’jë^aéeôiDpUeBM'MÎB^ Ow-aout «ftaib. and P^miIhk-' Bf^maaK aAAw, daa year# w!(h, Zkmaat' 8L WHUama and does a o it cTbKihdrXKrXew' Tetk fiitf.. a»--wiU.appeàr}»MtaI-a«iB. » ua'ta nr%«We& aindfevi manlBC w üàrphaîr gftm g tra a t’Cteelg»^«».-- V - ^ T&# ToiUA# U d' licttlw enott» w ill : tlio ifv» apMal niule far tba oeea.- sloiu. t.Bia Rar. FMd .Tl% Staecr. paitor* at t&# 'cboMbj *1» bav* "llanheay^ aà Iba.nbleet for Us Vi'/-:

Figure 18 Article from Poughkeepsie paper regarding his first solo, 1930 49 my accompanist, and Alfred Reed turned pages for me. I did this on the spur of the moment

and that was the reason I didn’t memorize. They wanted some new literature played.”

While at the Williams School he had the opportunity to play engagements in New

York City and was “on call” as a soloist. “I played a lot of Broadway shows, clubs and things

like that. During that time, I really was grateful for the opportunity to play with Barreres

‘Little Symphony’. I played two seasons with him. It was great!”

Again, the young and talented Leonard Smith was impressing those notables in the

music field. Like those who heard his music before him, Georges Barrere was equally

impressed.

“Leonard Smith is not a mere trumpeter, he is an accomplished artist of the highest

type. His masterly playing on both trumpet and comet has a musical background which

makes his interpretations beautifully artistic. Leonard Smith is decidedly a commanding

musical figure of our time.” (Pamphlet: Georges Barrere, Conductor, The Barrere Little

Symphony. New York. 1936.)

While his solo playing continued into the 80’s, it was really during his time with the Goldman Band and into the 1950’s that he gained his fame. From the years 1936 until 1942, he was playing solo comet with Goldman and solo trumpet with the Detroit Symphony. Playing with the band seven nights a week, he would solo four and sometimes five nights a week. At the Golden Gate International Exposition at San Francisco, Califomia in 1939 and until the close of the Goldman Band season that year. Smith played a record number of solos- unequalled by any other soloist at any time-over 500 solos in 175 days." (Brochure: The Leonard Smith Band Inc., 1971.) “That was a wonderful time for me. The crowds were terrific, the band was great,

and I really enjoyed what I was doing. Of course, Goldman treated us all really well. That made it all the more enjoyable. But I knew that it couldn’t last because the war came, and

I was off to the Navy.” (See Plate 10) 50

Plate 10 Leonard Smith and Edwin Franko Goldman in performance in 1939.

r m w m 4 .

•Vÿv>w

m .A'

m 51 Upon his enlistment in the Navy, he continued to solo with the Navy Band and, with

naval musicians, also play engagements in Philadelphia. This continued until his return to

civilian life in 1945.

To be sure. Smith had by now established himself as the premier comet soloist in the

world. His influence as a performer, developed by his strict practice habits and his unrelenting musical integrity, was the standard by which all others were judged.

Practice habits were essential to the success of Leonard Smith, the soloist. Nothing was left to chance, and when he would solo and speak on the art of comet playing, the topic of practice and its subsequent results was always a high priority.

“Thus far in my musical experience, I have yet to meet the person who can regularly and reliably perform on his instmment without having devised and maintained a carefully planned and comprehensive routine of practice. There apparently is no golden elixir, panacea or magic formula which will give a player the controls he seeks on his instmment. Only practice will do it." (Smith, Leonard, International Musician. June, 1960, pp. 14).

“A well thought out and carefully organized practice routine can do wonders. But one must be certain of exactly what he seeks, must realize his aims and objectives. Practicing without a plan reminds me of a classic statement made by Dr. Alexander Ruthven, former president of the University of Michigan, when he defined a fanatic as “one who redoubles his effort when he has lost sight of his objective." (Smith. Intemational Musician. June 1960, pp.

15).

“I always thought out what I wanted to do. I worked first for tone because this is really what a musician is first judged on. Of course, the problem then arises on how to maintain that quality tone for an extended period of time. That is the difficult task...endurance.”

“My practice routine serves many purposes, but basically it continually develops and strengthens the controls of the four techniques with which we work: lips, fingers, tongue and breath. Each depends upon and affects the others. Production of the tone, therefore, requires 52 the simultaneous and perfect coordination of these four techniques. I have tried to eliminate the unessentials and to concentrate only on the essentials.” (Smith, Intemational Musician.

June 1960, pp. 15).

“One other point about practice needs to be touched upon. It concerns the attitude toward practice. I believe all practice should be done in the spirit of a Carnegie Hall concert, for every tone we play is, in reality, an audition. " (Smith, Intemational Musician. June 1960, p. 15).

His practice paid off, earning plaudits from everyone ranging from the average concert-goer to high school and university conductors, to the giants in the music world. At the age of twelve, this author recalls his father, a euphonium soloist himself with Fillmore and

Simon, saying there is none other like Leonard Smith. He would play recordings and point out the wonderful tone and technique of this virtouso.

The accolades for his playing are endless.

“Haydn’s Trumpet Concerto...executed with the neatness and delicacy by Mr. Leonard B.Smith.” Virgil Thompson, N.Y. Herald Tribune

“Leonard B. Smith...the genius of the comet.” RCA Victor Corporation

“Haydn Concerto...played with startling virtuosity by Leonard B.Smith. No one would believe that the trumpet, which ordinarily blares forth in martial fashion, could also be made to sing with such refinement and such light facility.” Louis Chapman, Providence Journal

“Herbert L. Clarke’s mantle has fallen on the shoulders of the youthful Mr. Smith.” Allentown Chronicle (Brochure: And Now Leonard Smith, Detroit Concert Band Inc. 1971). 53 This high level of visibility continued well into the late 1960’s and mid 70’s. His

playing included not only for high schools and universities, but other public events. One of

those was the many car shows in Detroit in the 1950’s. There were shows for all the car

manufacturers in Detroit; Chevrolet, Pontiac, Packard, Dodge, and Ford were all there.

“This was a big thing in Detroit, the motor car capital of the world. We would play

for all the executives, then the Detroit Dealers, the Flint dealers, then the Toledo dealers. My

band would play and I would solo. But you have to remember, as I did, I wasn’t the star...the

new model car was! How about that?”

Smith also recalls his performances for many church organizations. “I remember

being contracted by the Mormons. They booked me to play at Utah State University. Well,

if you are familiar with the Morman religion, it has, as their symbol on their temple, the statue

of Moroni holding an instrument resembling a hom. Also, their founder was Joseph E. Smith

and he was from Elmira, New York...near Poughkeepsie.

• "Well, I was to play my coach hom that night so in rehearsal I mentioned to the band

that I didn’t want to offend anyone but I pointed out that I was playing a hom similiar to their religious symbol. Then I said my name is Smith and that I was from Poughkeepsie, New

York... near Elmira. By the evening concert, the word had spread. They all thought that it

was really humorous. As a result of that concert I really made friends that night. For some years, I played up and down Utah from Cedar City, Provo, Ogden and others. They all wanted this man named Smith from New York.” (See Figure 19).

Smith was on the payroll from the Reynolds Instmment Company from 1952 to 1968 as a consultant and clinician. “I still booked myself and was also given a fee for working with

Reynolds. Others with me Siguard Rasher, Raphael Mendez, and Don Jacoby. We all were doing similiar business. Reynolds produced Leonard Smith model comets and trumpets. I would regularly go to Cleveland to test instraments and match playing attributes of each.”

As a comet soloist and conductor, he has performed in hundreds of communities in 54

Figure 19 Leonard Smith playing post horn solo with the Capital University Band in Columbus, Ohio, March 17,1963.

the US A during the past 50 plus years. His comet solo artistry is heard on RCA Victorrecords

and on the H & L Records. For many years, he was the trumpeter on the popular “Lone Ranger

radio program, the “Green Hornet, “Call of the Yukon” and Fox Movietone News.

(Scharfenberg, Doris, Forty Years 1946-1985-Detroit Concert Band.)

The typical exhausting schedule Smith followed is shown in the 1963 Spring Route

Sheet of solo appearances. (See Figure 20).

“He has been heard on the Firestone Hour, Ford Hour, Cities Service Hour,

International Harvester, on Movietone newsreels and March of the Time shorts, the

Philadelphia Orchestra, The Detroit Civic Light Opera, Radio City Music Hall, and Jam

Handy Motion Picture Studios. He has served under the batons of Bruno Walter, Eugene

Ormandy, Victor Kolar, Artur Rodzinski, George Szell, Fritz Reiner, Sir Thomas Beecham,

Jose Iturbi, Andre Kostelantz, Paul Whiteman, Edwin Goldman, Arthur Pryor, Franco

Ghione, Howard Barlow, Eugene Gossens, and many others." (Brochure: The Leonard 55

1963 SPRING ROUTE SHEET

Leonard B. Smith

February 4 8t 5 Altamont, Kansas 7 & 8 Bothell, Washington 11 Beaverton, Oregon 12 Eugene, Oregon 13 Myrtle Point, Oregon 14 Ashland, Oregon 18 Everett, Washington 22 Canton, Ohi o

March 8 & 9 Jamestown, New York 16 & 17 Columbus, Ohio 21 B eneviire, TtllMbis 29-30 Ogden, Utah (tentative)

April 4 & 5 Topeka, Kansas 8 Baltimore. Md. 9 Raleigh, N. C. 11 Cleveland, Ohio 12 Indianapolis, Ind. 13 Terre Haute, Indiana 15 Davenport, Iowa 17 Madison, Wisconsin 18 Grand Rapids, Michigan 20 Fort Wayne, Indiana

May 1 Spokane, Washington 3 & 4 Pullman, Washington 6 Seattle, Washington 8 Portland, Oregon 10 Salem, Oregon 13 & 14 San Francisco, Calif. 15 Sacramento, Calif. 16 Fresno, California 17 Los Angd.es, California 18 San Diego, California 19 Detroit, Mich. June 15 & 16 Quebec, Canada August 5,6, & "? Shreveport, Louisiana

NB: The above is subject to minor revision,

@ 1-26-63

Figure 20 Spring Tour Sheet -1963 56 Smith Band, 1971)

Smith estimates that he has played close to 4,500 engagements during his solo career.

“I had a long career in playing, of course, mainly with bands. Many of the places were for

All-State Bands in South Dakota, Utah, Texas, New York and others. I also played for concerts at the Mid-West Convention and regional bands in Pennsylvania, Oklahoma,

Michigan and others. You know, I always played comet with the band and trumpet with the orchestra. They both have their place and I respected that.”

Smith’s career as a soloist spanned an amazing seven decades. It came to an end in

July, 1983 when he made his final solo recording with his band.

“I quit playing then really because I felt it was getting to be more of an effort to maintain my proficiency. I could hear I just wasn’t quite as good. I didn’t want people to say they remembered me when I could really play. So, I just decided that was it. Remember, I was still playing with a lot of bands all around the country up until then so I fepl I still played vpry well. But, I figured that I started playing when I was 8 years old, and I just never missed practicing for the next sixty years. I always practiced right up until the time I quit. I think

I onlymissed a few days in all those years due to travel or sickness. I wanted to always keep my playing at the highest level. My final solo was “Heaven of Love” by Goldman. I made the band arrangement and we recorded it. After that, I put my horn away and have not had it out since.”

When asked whether he thought he could still pick up the comet after seven years and play, he laughed, then became very thoughtful. “You know, I never really thought about it.

I know I wouldn’t have any endurance...but I bet I could play for a little while!!!” CHAPTER VI

Leonard Smith: The Composer and Arranger

“I enjoy composing and arranging. I was fortunate to have some very outstanding teachers in my early development as a composer.” Leonard B. Smith

The compositions of Leonard Smith presently cover a period of sixty years that began at age fifteen and is still continuing. The majority of his works are marches, but he also has written solos, brass ensembles, arrangements of arias, overtures, intermezzos, waltzes, novelties and method books. He wrote for band and orchestra as well as the various solo instruments. He was, and still is, active in writing commissioned compositions, and his music has done much to enhance music education in the public schools.

He actually wrote his first composition at the age of fourteen. Prompted by Philip

Egner of the United States Military Academy, he wrote a song without words and dedicated it to his mother. However, it was at the Williams School that he began to learn the skills as a composer.

“I wrote my first march at the Williams School. I remember it wasn’t too good but, you know, we were all just learning. It was there I began to study composition with Mayhew

Lake.” Smith credits Lake with not only his interest in but also his initial development as a composer. “Wow, he could set you on fire...what a great teacher and musician. He was just a genius, and of course we all know now what a wonderful composer and arranger he was.

I was fortunate to have had such a teacher.” (See Figure 21).

57 58

Figure 21 Mayhew L. "Mike" Lake

Another of his teachers was Rosario Scalero. While in the Navy, Smith had studied with him at the Curtis histitute. The teacher of Gian Carlo Menotti and Samuel Barber, he gave Leonard a lesson every three weeks. Along with Lake and Scalero, Smith also studied with Erik Leidzen. 59 His first published composition was a comet solo titled Spanish Caprice. It was

published by Ernest Williams in 1936.

“I wrote a solo while I was with the Goldman band that was published in 1939. The

title was Ectasv. The copyright is still good, and I still get a royalty. I remember that Walter

Fischer told me that if it proved to be a good seller on piano he would make a band

arrangement. That was published in 1945.”

His solo writing has proven very valuable to the field of public education since his compositions have maintained a place in junior and senior school band repertoire for years.

Listed are his compositions for solo instruments and ensembles.

Published Comet Solos with Piano

ADONIS, pub. Belwin-Mills 1989 APOLLO, pub. Belwin-Mills 1980 . ARTEMIS, pub. Belwin-Mills 1980 AU PRINTEMPS, VALSE, pub. Belwin-Mills 1973 BOURREE IN THE STYLE OF HANDEL, pub. Belwin-Mills 1965 ECSTASY WALTZ, publ. Carl Fischer 1938 CHAMADE, pub. Belwin-Mills 1973 DIANA, pub. Belwin-Mills 1980 FANFARE AND CEREMONY MARCH, pub. Belwin-Mills 1970 FIESTA TIME, pub. Belwin-Mills 1964 FIREFLY, pub. Belwin-Mills 1963 GOLDEN GLOW, pub. Belwin-Mills 1963 GRAND PRIX, pub. Belwin-Mills 1970

HAPPY GO LUCKY, pub. Belwin-Mills 1964 60 HELIOSE, pub. Belwin-Mills 1980

ILIAD, pub. Belwin-Mills 1970 INTRODUCTION AND POLONAISE, pub. Belwin-Mills 1973 KALKASKA, pub. Belwin-Mills 1970 LITTLE MONARCH, THE, pub. Kjos 1941 NELDA, MINUETTO, pub, Belwin-Mills 1973 NEOPHYTE, pub. Belwin-Mills 1962 PACIFICA, pub. Rubank 1941 PASO DOBLE NUEVO, pub. Belwin-Mills 1965 PHAETON, pub. Belwin-Mills 1965 PICNIC TIME, pub. Belwin-Mills 1963 ROAD RUNNER, pub. Belwin-Mills 1973 SPANISH CAPRICE, pub. Colin 1936 TALL MEN, pub. Belwin-Mills 1964 VALIANT, pub. Belwin-Mills 1962 VENTURE, pub. Belwin-Mills 1962 VIGNETTE, pub. by Carl Fischer 1940 XEBEC, pub. Belwin-Mills 1970 YOSEMTTE, pub. Belwin-Mills 1970

Published Horn Solos with Piano

CHALET, pub. Belwin-Mills 1964 COUNT DOWN, pub. Belwin-Mills 1962 ENIGMA, pub. Belwin-Müls 1970 HUNTSMAN, THE, pub. Belwin-Mills 1962

INDIGO, pub. Belwin-Mills 1970 61 MOUNTAIN SHADOWS, pub. Belwin-Mills 1970

NOBILITY, pub. Belwin-Mills 1963 OUR FAVORITE, pub. Belwin-Mills 1962

TELESTAR, pub. Belwin-Mills 1963

TIGER EYE, pub. Belwin-Mills 1970

VIKING, pub. Belwin-Mills 1970

Published Baritone Solos with Piano ANDANTE CON MOTO, pub. Belwin-Mills 1962

CACTUS JACK, pub. Belwin-Mills 1962

CHALLENGER, THE, pub. Belwin-Mills 1963

CHEERIO, pub. Belwin-Mills 1965 CHEYENNE, pub. Belwin-Mills 1962 CONCENTRATION, pub. Belwin-Mills 1965 CONQUEROR, pub. Belwin-Mills 1964 COUNT DOWN, pub. Belwin-Mills 1973

DEBONAIR, pub. Belwin-Mills 1973 ECSTASY WALTZ, pub. Carl Fischer, Inc. 1938

ELECTRA in, pub. Belwin-Mills 1963 FIDELITY, pub. Belwin-Mills 1964

HOLIDAY WALTZ, pub. Belwin-Mills 1964

ILIAD, pub. Belwin-MiUs 1970

LIITLE NORWAY, pub. Belwin-Mills 1970

MIGNONETTE, pub. Belwin-Mills 1970

NORTHERN LIGHTS, pub. Belwin-Mills 1970

PIECE IN CLASSIC STYLE, pub. Belwin-Mills 1970

SENTINEL, pub. Belwin-Mills 1973 62

SPANISH CAPRICE, pub. Colin 1936 UNICORN, pub. Belwin-Mills 1970 VENTURE, pub. Belwin-Mills 1973 VIGNETTE, pub. Carl Fischer, Inc. 1940

Published Trombone Solos with Piano CAMPING OUT, pub. Belwin-Mills 1962 DOWNTOWN, pub. Belwin-Mills 1962 GAS LIGHT, pub. Belwin-Mills 1970 GOLD CUP WALTZ, pub. Belwin-Mills 1970 INDIAN SONG, pub. Belwin-Mills 1970 JACK IN THE BOX, pub. Belwin-Müls 1970 MARSHALL, THE, pub. Belwin-Mills 1962 QUIRINAL, pub. Belwin-Mills 1970 SONG WITHOUT WORDS, pub. Belwin-Mills 1964 SPOKANE, pub. Belwin-MiUs 1963 TOUCH-DOWN, pub. Belwin-Mills 1963

VISCOUNT, pub. Belwin-Müls 1963 WILDFLOWER, pub. Belwin-Müls 1970

Published Comet Trio Unaccompanied MARCH FROM “A FRENCH SUITE,", pub. Belwin-MiUs 1965 Published Comet Trios with Piano THREE TROUBADORS, THE, pub. Belwin-Mills 1978

TRIPLE THREAT, pub. Belwin-MiUs 1978 TRIPLICATURE, pub. Belwin-Mills 1974 63 VICTORIA WALTZ, pub. Belwin-Mills 1959

Published Brass Quartets

BLAZE OR BRASS, A, pub. Belwin-Müls 1978

BLUE FLAME MARCH, THE, pub. Belwin-Mills 1965

FOUR FOR THE MONEY, pub. Belwin-Mills 1978

Published French Horn Quartets

FOUR-TUNE HUNTERS, THE, pub. Belwin-Mills 1978

SAFARI, pub. Belwin-Mills 1978

Published Trombone Quartets Unaccompanied

OUR FAVORITE, pub. Belwin-Mills 1974

SEVENTY-SIX TROMBONES MINUS SEVENTY-TWO,

pub. Belwin-Müls 1978

SHOWBOAT FOUR, pub. Belwin-MiUs 1978

Published Brass Sextets

BOISTEROUS BRASS, pub. Belwin-Mills 1978

DEEP SIX, pub. Belwin-MiUs 1978

THEME FROM “AN AMERICAN RHAPSODIE,” pub.

Belwin-Müls 1965

ZANZIBAR, pub. Belwin-Mills 1974

Published Piano Solos

MAINLINER, March, pub. Bovaco 1944

SKY PARADE, March, pub. Bovaco 1942

His first published band composition was National Defense March established by the

Kjos Company in 1938. His writing continued into the Navy where he wrote the marches Sky

Parade and Mainliner. FoUowing his time in the Navy and his return to the Detroit Symphony, he continued to write. However, as he describes, “the compositions were not of great 64 consequence. It wasn’t until 1952 that he became seriously involved in composition." Listed below are his band compositions.

Published Original Compositions AMERICAN CHAMPION, March, pub. MUls Music, Inc., 1941 BATON TWIRLER, March, pub. Belwin-Mills 1954

BELLE ISLE, March, pub. Belwin-Mills 1951

BLUE FLAME, March, pub. Belwin-Mills 1960

CONCERT BOOSTERS, March, pub. Belwin-Mills 1962

CRESCENT AND SCIMITAR, March, pub. Bovaco 1989

DAUNTLESS, March, pub. Belwin-Mills 1964

ECSTASY, Comet solo, pub. Carl Fischer 1947

HAIL, DETROIT, March, pub. Belwin-Mills 1951 HORNS-A-PLENTY, March, pub. Belwin-Mills 1966

JURISPRUDENCE, March, pub. Belwin-Mills 1961

LET’S CELEBRATE, March, pub. Belwin-Mills 1987 LIGHT FANTASTIC, THE, March, pub. Belwin-Mills 1978

MAINLINER, March, pub. Bovaco 1943

MARCH KING, THE, March, pub. Associated 1954

MUSIC FESTIVAL, March, pub. Bovaco 1983

NATIONAL DEFENSE, March, pub. Kjos 1941

NON PAREIL, March, pub. Bovaco 1982

PACIFICA, Comet solo, Rubank 1941 ROUNDTABLE, March, pub. Belwin-Mills 1961

SKY PARADE, March, pub. Bovaco 1942

SPANISH CAPRICE, Comet solo, pub. Colin 1936

TOWN CRIER, March, pub. Belwn-Mills 1960 65 TRAVELER, THE, March, pub. Bovaco 1957

TREASURY OF SCALES, 96 Variations on the major and minor scales, hamronized

in chorale form, pub. Belwin-Mills 1952

VICTORIA WALTZ, Comet Trio, pub. Belwin-Mills 1959

Published Band Arrangements

Arditi, Luigi IL BACIO, pub. Bovaco 1982

Ame, Michael THE LASS WITH THE DELICATE AIR, pub. Bovaco 1987 Ame, Thomas WHEN LOVE IS KIND, pub. Bovaco 1973

Bach-Gounod AVE MARIA, pub. Bovaco 1973

Balfe, Michael THEN YOU’LL REMEMBER ME, pub. Bovaco 1982

Bax, Arnold OH DEAR! WHAT CAN THE MATTER BE?, pub. Bovaco 1982

Beach, Mrs. H.H.A. THE YEAR’S AT THE SPRING, pub. Bovaco 1982

. Berlioz, Hector MARCH HONGROISE, RAKOCZY (Damnation of Faust), pub.

Belwin-Mills 1957 Bizet, Georges HABANERA (Carmen), pub. Bovaco 1973

Bizet, Georges MICAELA’S ARIA (Carmen), pub. Bovaco 1973

Bizet, Georges SEQUIDILLA (Carmen), pub. Bovaco 1975

Bohm, Carl STILL WIE DIE NACHT, pub. Bovaco 1946

Brahms, Johannes, HUNGARIAN DANCE NO. 18, pub. Bovaco 1946 Brahms, Johannes, FELDEINSAMKEIT, pub. Bovaco 1987

Brahms, Johannes, GYPSY SONGS, Opus 103, No. 1, pub. Bovaco 1987 Brahms, Johannes, GYPSY SONGS, Opus 103, No. 3, pub. Bovaco 1987

Brahms, Johannes, GYPSY SONGS, Opus 103, No. 6, pub. Bovaco 1987

Brahms, Johannes, GYPSY SONGS, Opus 103, No. 8, pub. Bovaco 1987

Brahms, Johannes, GYPSY SONGS, Opus 103, No. 9, pub. Bovaco 1987

Butterfield, H.A. WHEN YOU AND I WERE YOUNG, MAGGIE, pub. Bovaco 6 6 1982

Campion, Edward THE NINETY AND NINE, pub. Bovaco 1982

Carey, Henry AMERICA, pub. Bovaco 1973

Chaminade, Cecile THE SILVER RING, pub. Bovaco 1982

Damrosch, Walter DANNY DEEVER pub. Bovaco 1982

Debussy, Claude MANDOLINE, pub. Bovaco 1982

Delibes, Leo GOOD DAY, SUZZANE, pub. Bovaco 1982

Delibes, Leo LES FILLES DE CADIX, pub. Bovaco 1974

Dell’Acqua, Eva VILLANELLE, pub. Bovaco 1982

Donizetti, Gaetano QUEL GUARDOIL CAVALIERE (Don Pasquale), pub. Bovaco

1973

Donizetti, Gaetano UNA FURTIVE LAGRIMA (L’Elisir d’Amour), pub. Bovaco

1975

Donizetti, Gaetano SEXTET (Lucia di Lammermoor), pub. Bovaco 1982

Flotow, Frederich von M’APPARI TUTT’AMOUR (Martha), pub. Bovaco 1973

Flotow, Frederich von MIDNIGHT QUARTET (Martha), pub. Bovaco 1982

Gatty, Alford Scott BENDEMEER’S STREAM, pub. Bovaco 1982

Giordani, Giuseppe CARO MIO BEN, pub. Bovaco 1975

Gounod, Charles F. AVANT DE QUITTER (Faust), pub. Bovaco 1974

Gounod, Charles F. SEND OUT THY LIGHT, pub. Bovaco 1982

Grieg, Edvard ICH LIEBE DICH, pub. Bovaco 1973

Grieg, Edvard THE LAST SPRING, pub. Bovaco 1982

Handel, George F. THE TRUMPET SHALL SOUND(Messiah), pub. Bovaco 1982

Handel, George F. DEFEND HER HEAVEN (Theodora), pub. Bovaco 1982

Holloway, John, WOOD-UP, pub. Bovaco 1985

Irish Tune DOWN BY THE SALLY GARDENS, pub. Bovaco 1982 67 Lehar, Franz VILYA (The Merry Widow), pub. Bovaco 1982

Leoncavallo, Ruggiero VEST! LA GIUBBA (Pagliacci), pub. Bovaco 1973

Liadow, Anatole DANCE OF THE AMAZONS, pub. Bovaco 1943

MacDowell, Edward THY BEAMING EYES, pub. Bovaco 1974

Mascagni, Pietro VOX LO SAPETE (Cavalleria Rusticana), pub, Bovaco 1973

Massenet, Jules LA REVE (Manon), pub. Bovaco 1982

Mendelssohn, Felix ON WINGS OF SONG, pub. Bovaco 1982

Middendorf, J. W. NAVAL ACADEMY, pub. Bourne, 1980?

Middendorf, J. W. OLD STATE HOUSE, THE, pub. Bourne 1982?

Middendorf, J. W. STAND UP FOR AMERICA, pub. Belwin-Mills 1975

Moore, Thomas BELIEVE ME IF ALL THOSE ENDEARING YOUNG CHARMS,

• pub. Bovaco 1982

Moussorgsky, Modeste SONG OF THE FLEA, pub. Bovaco 1973

Mozart, W. A. O ISIS UND ORISIS (Magic Flute), pub. Bovaco 1973

Mozart, W. A. DOVE SONO (Marriage of Figaro), pub. Bovaco 1982

Mozart, W. A. NON SO PIU COSA SON (Marriage of Figaro), Bovaco 1973

Nevin, Ethelbert O THAT WE TWO WERE MAYING, (La Boheme), pub. Bovaco

1982

Puccini, Giacomo CHE GELIDA MANINA (La Boheme), pub. Bovaco 1973

Puccini, Giacomo E LUCEVAN LE STELLE (Tosca), pub. Bovaco 1982

Purcell, Henry TRUMPET PRELUDE, pub. Bovaco 1981

Rimsky-Korsakow, Nicholas FLIGHT OF THE BUMBLE BEE (Comet solo), pub.

Bovaco 1980

Rimsky-Korsakow, Nicholas THE ROSE ENSLAVES THE NIGHTINGALE, pub.

Bovaco 1982

Rodney, Paul CALVARY, pub. Bovaco 1982 6 8 Rogers, Walter B. THE HARP OF TARA (Comet solo), pub. Colin 1936

Rossini, Giacomo LARGO AL FACTOTUM (Barber of Seville), pub. Bovaco 1973

Sarasate, Pablo ZIGEUNERWEISEN (Violin solo), pub. Bovaco 1982

Schubert, Franz AND DIE MUSIK, pub. Bovaco 1982

Schubert, Franz DU BIST DIE RUH, pub. Bovaco 1982

Schubert, Franz HARK, HARK THE LARK, pub. Bovaco 1982

Schubert, Franz WOHIN? (Whither?), pub. Bovaco 1982

Schumann, Robert DIE LOTUSBLUME, pub. Bovaco 1982

Scottish Air ANNIE LAURIE, pub. Bovaco 1982

Scottish Air O MY LOVE IS LIKE A RED, RED ROSE, pub. Bovaco 1982

Sibelius, Jean THE FIRST KISS, pub. Bovaco 1982

Smith, John Stafford THE STAR SPANGLED BANNER, pub. Bovaco 1973

Sousa, John Philip, PRESIDENT GARFIELD’S FUNERAL MARCH, pub. Bovaco

1987

Speaks, Oley IN MAY TIME, pub. Bovaco 1982

Spilman, J. E. FLOW GENTLY, SWEET AFTON, pub. Bovaco 1982

Strauss, Edward CLEAR TRACK POLKA, pub. Bovaco 1982

Strauss, Richard ALLERSEELEN, pub. Bovaco 1982

Strauss, Richard CADLIE, pub. Bovaco 1982

Strauss, Richard MORGAN, pub. Bovaco 1973

Strauss, Richad ZUEIGNUNG, pub. Bovaco 1973

Stults, R. M. SWEETEST STORY EVER TOLD, pub. Bovaco 1982

Thomas, Ambroise GAVOTTE (Mignon), pub. Bovaco 1982

Tosti, F. Paoli APRILE, pub. Bovaco 1982

Tosti, F. Paoli GOOD-BYE (Addio), pub. Bovaco 1982

Tschaikowsky, Peter I. LEGEND (Op. 54, No. 5), pub. Bovaco 1982 69 Tschaikowsky, Peter I. NONE BUT THE LONELY HEART, pub. Bovaco 1982

Tschaikowsky, Peter I. PAULINE’S ROMANCE (Pique Dame), pub. Bovaco 1982

Tschaikowsky, Peter I. WARUM? (Why?), pub. Bovaco 1982

Verdi, Giuseppe CELESTE AIDA (Aida), pub. Bovaco 1973

Verdi, Giuseppe O PATRIA MIA (Aida), pub. Bovaco 1974

Verdi, Giuseppe FATAL STONE DUET (Aida), pub. Bovaco 1982

Verdi, Giuseppe O DON FATALE (Don Carlos), pub. Bovaco 1982

Verdi, Giuseppe IN FELICE! E TUO CREDEVI (Emani), pub. Bovaco 1982

Verdi, Giuseppe QUANDO LE SERE AL PLACIDO (Louisa Miller), pub. Bovaco

1982

Verdi, Giuseppe LA DONNA E MOBILE (Rigoletto), pub. Bovaco 1973

Verdi, Giuseppe DE’MIEI BOLLENTISPIRITI (La Traviata), pub. Bovaco 1982

Verdi, Giuseppe DIPROVENZA IL MAR (La Traviata), pub. Bovaco 1973

. Verdi, Giuseppe MISERERE DUET (Il Trovatore), pub. Bovaco 1982

Verdi, Giuseppe STRIDE LA VAMPA (La Trovatore), pub. Bovaco 1973

Verdi, Giuseppe ERI TU CHE MACCHIAVI (Un Ballo in Maschera), pub. Bovaco

1973

Wagner, Richard DER ENGEL (The Angel), pub. Bovaco 1982

Wagner, Richard IM TREIBHAUS, pub. Bovaco 1982

Wagner, Richard MEIN HERR UND GOTT (Lohengrin), pub. Bovaco 1982

Wagner, Richard SCHMERZEN, pub. Bovaco 1974

Wagner, Richard STEHE STILL!, pub. Bovaco 1982

Wagner, Richard DICH THEURE HALLE (Tannhauser), pub. Bovaco 1974

Wagner, Richard TRAUME, pub. Bovaco 1974

Instrumental Pieces Arranged

Bach, J. S., ARIOSO FROM CANTATA NO. 156, (Horn & Piano), pub. Belwin- 70 Mills 1973

Bach, J. S., CHORALE MELODY No. 19 (Comet & Piano), pub. Belwin-Mills 1973

German, Edw., SHEPHERD’S DANCE (Henry III) (Trombone & Piano), pub.

Belwin-Mills 1964

Grieg, Edvard, LANDSIGHTING (Horn Quartet), pub. Belwin-Mills 1974

Grieg, Edvard, TO SPRING (Horn & Piano), pub. Belwin-mills 1964

Herbert, Victor, GYPSY LOVE SONG (Horn & Piano), pub. Belwin-MiUs 1964

Haydn, Josef, GYPSY RONDO (Baritone & Piano), pub Belwin-MiUs 1973

Liszt, Franz, LIEBESTRAUME (Four Comets unaccompanied), pub. Belwin-MiUs

1942

Mendelssohn, RONDA CAPRICCIOSO (Three Comets unaccompanied), pub.

Belwin-MiUs 1942

Mendelssohn, Felix, WAR MARCH OF THE PRIESTS from “Athalia” (Four

Comets unaccompanied), pub. Belwin-MiUs 1942

Meyerbeer, Giacomo, CORONATION MARCH “The Prophet” (Brass Quartet), pub. Belwin-Mills 1974

Mozart, W. A., ALLELUIA, (Brass Sextet), pub. Belwin-MiUs 1974

PuiceU, Henry, TRUMPET VOLUNTARY (Comet Trio with Piano), pub. Belwin-

MiUs 1974

Rubenstein, Anton, ROMANCE (Trombone & Piano), pub. Belwin-Mills 1963

Schubert, Ranz, ANDANTE (Horn & Piano), pub. Belwin-MiUs 1963

Schubert, Franz, MELODY FROM QUARTET IN D MINOR (Baritone & Piano), pub. Belwin-MiUs 1963

Schumann, Robert, LOTUS FLOWER, THE (Hom (Quartet) pub. Belwin-MUls 1974

Sullivan, Arthur CAREFUL ON TIPTOE STEALING (Trombone Quartet), pub.

Belwin-MUls 1974 71 Svendsen, Johann S., SWEDISH CORONATION MARCH (Four Comets unaccom­ panied), pub. Belwin-Mills 1942

Tschaikowsky, Peter I, HUMORESQUE (Horn & Piano), pub. Belwin-Mills 1970

Verdi, Giuseppe MARCH FROM AIDA (Brass Sextet), pub. Belwin-Mills 1974

Wagner, Richard EVENING STAR (Baritone & Piano), pub. Belwin-Mills 1965

Miscellaneous Unpublished Works

Original compositions and arrangements of other's works

An American Rhapsodie, Lenoard B. Smith

Dieam Pantomime from “Hansel and Gretel”, Humperdinck

Tone Poem, “Don Juan,” Richard Strauss

South Dakota, March, Leonard B. Smith

Battle Hymn of the Republic, Steffe

Cheyenne, Leonard B. Smith

Cordalia Malone, Jerone & Schwartz

Shenandoah

Sing-O-Rama

This is My Country, Raye

Carnival of Carnivals, A

Concertstuck for 4 Horns and Band (1st Movement), Schumann

A Glimpse of the Circus (12 minutes)

Happy-go-Lucky

Jim’s Intro (based on Carnival of Venice)

My Heaven of Love, Edwin Franko Goldman

Napoli, Bellstedl/Staigers, arr.

Showers of Gold, HL Clarke 72 Tahoe Charms, ES Williams

Venture

Caro mio Ben

Come to the Fiar, Easthope Martin

Dodge Brothers March, Victor Herbert

Give Me Your Tired, Your Poor, Irving Berlin

Ich Liebe Dich, Edvard Grieg

If I Could Tell You, Idabelle Firestone

It’s a Grand Night for Singing, Rodgers & Hammerstein

Love’s in My Heart, Huntington-Woodman

Mary Goes Round on her Merry-go-Round

Moon, The, Artemovsky

Ride on, Jesus, Dett

Methodist Church Service

Old Hundredth Psalm, Bourgeois

Iceland National Anthem

Finale, Symphony No. 5, Tschaikowsky

Fanfares

Works for Orchestra

(Published and unpublished)

Treasury of Scales, pub. Belwin-MiUs 1952

Concerto in Eb, Andante & Rondo, Josef Haydn

Ecstasy, Lake/Smith arr.

The Treasury of Scales

By his own admission, and along with the views of many music educators. The

Treasury of Scales is what Leonard Smith is best known for as a composer. He relates just 73 how it came to be.

“I was teaching the band at the University of Detroit in 1948 and ’49, and I discovered

that the students were lacking in basic musicianship. The university had no music department

so no credits nor scholarships were given to those with real outstanding ability. Conse­

quently, the players were long on enthusiasm but short on talent. As a device to organize the

talents of the band, I wrote out all the major and minor scales in manuscript for each player,

to be played in unison, at the outset of every rehearsal.”

“This was wonderful at the outset, but after a time when I’d say “let’s play our scales”.

I’d hear groans throughout the band. I realized two things. They wanted to play pieces but couldn’t play the scales. So, as a means to an end, I used the scale as a cantus fîrmus in the bass and proceeded to harmonize it first species counterpoint. I then put the scale in the upper voice and wrote a different harmonization below it. Next, I put the scale solo in the alto voice and then in the tenor voice, always in whole notes but each different in harmoniztion. The results were electric!!”

“I had studied harmony, theory and of course counterpoint. Counterpoint is the front door to music where harmony is the side door. Counteipoint views music in its linear aspects.

What we achieve vertically is called harmony. Thanks to those great teachers, I was very fundamentally sound. This is how I got into writing the Treasury of Scales...using some as the cantus firmus.”

“I realized this could be something, and I even envisioned it being published. The

Treasury of Scales was the real reason I got into publishing.” Taking 3 years to complete.

Smith decided on using the melodic minor scale because it allows use of the ascending and descending versions.

“It took me a long while to set my dimensions, but once I did, it was full steam ahead.

“This is what I am known for, and I don’t understand why Lake or Leidzen didn’t do it before me. For so many reasons, it really is a must for musicians.” 74 “In my opinion, scale mastery is the basis and only lasting foundation for true musi­ cianship. Since many of the student’s difficulties in sightreading, ear-training and technical proficiency stem directly form his lack of familiarity with all of the scales, both major and minor, it follows that the principle is wrong which places demands upon the performer in excess of his ability.” (Smith, Leonard, Treasury of Scales. 1952, pg. 4)

“Such an inability on the part of the individual performer reflects upon and shackles the ability of an ensemble. It is therefore essential that the performer possess complete knowledge and mastery of the tools with which he works before the artistic approach can begin.

There does not seem to be any indication that composers did, do or will choose key signatures merely for the sake of convenience for players. The exploitation of many keys, arising from modulation, compels the player to be thoroughly equipped to perform as well in one key as another." (Smith, Leonard, Treasury of Scales. 1952, pg. 4)

. “While it is true there is no formula for the development of genius, there is a road for the development of craftsmanship. Knowledge of this craftsmanship can serve to unlock the door for the performer’s future development. However, nothing that is lasting and worth­ while comes easily. All skill depends upon exercise." (Smith, Leonard, Treasury of Scales.

1952, pg. 4).

“Before being offered for publication, this work was subjected to a series of intensive and exhaustive tests. It is a proven guide. From my personal experience as professional musician and educator, I have reached the conclusion that no other approach yields more effective results." (Smith, Leonard, Treasury of Scales. 1952, p. 4) (See Figure22,23 and 24).

^'The Treasury of Scales was not a great success financially for several years. It cost me $7(X)0.00 to have the plates engraved. Today, that is $70,000.(X), and I didn’t realize any real profit until I sold it to Belwin. At first, I didn’t know if it was going to go or not. I took it to clinics, concerts, seminars and the like and promoted it. Let me clarify, that it was a 75

ON PERFORMANCE

The manner in which the scales are scored makes possible their performance by baiiih or orchestras of any size, or by string choirs, reed choirs or brass choirs as units.

It will be observed that the scale-solo, in each of the 12 major keys and 12 m inor keys.' is represented in every instrumental part, thereby affording the individual yterforiner an opportunity to play the scale- solo 24 times. (See chart on page 6 for division of instruments.)

it is important to note that although each of the 915 scales is harmonized differently, each starts and ends on the tonic chord in root position. Thus the player may observe and identify the correct tonality by hearing it firmly established and ultimately concluded. This feature should not only materially aid in developing ear training and in strengthening intonation but should provide and sustain ititerest on the part of the player.

T h e scale-solo is alsrays given in whole notes. This has been by direct intention, to minimize the rhythm factor. Also, tempi and dynamic markings have been purposely omitted, to allow such employ­ ment at the conductor's discretion. The scales are not graded according to ilegrce of difiiculty. simply becatise that which is easy for one imtrument is hot so easy for another. However, it will be found that the concert key* of 2b. S b and 4b pose the fewest problems for all instruments.

In band, the concert key signatures of 6 il and 7|| are illogical, for an exact diatonic transposition \A a A * ______t_•_____ 1_____ A i l __ I I A à ______e__ f t :______

the G g signature is preferred since it is brought about by direct diatonic transposition from concert key. The chart belosv makes this readily understood and shows the key signatures as they are written for each ittstromental part. Note that the enharmonic simplification is vrritten wherever possible. In the orchestra edition, the same procedure is followed.

Concert (C) F Bb Bb Db Instruments Instruments Instruments Instnunents Instruments

0 1* I f If I f I f I f I f

> tIiKt MM awitiM arftkl wiM u M Iht sadm’» dieSet i* larMiiliiin Um «wlodk mtiM K ik

Figure 22 Treasury of Scales Performance Guide 76

DIVISION OF INSTRUMENTS PLAYING THE SCALE-SOLO BY GROUPS

GROUP 1 GROUP 11 GROUP III GROUP IV

C Flute and Piccolo Oboe 3rd Db Clarinet Bassoon Db Piccolo 2nd Db C larin et Eb Alto Clartnci Bb Bass C larinet Eb Clarinc-i 2nd Eb ytJro Saxophom- Db T enor Saxophone Eb Barnette Sa.xophone 1st lib Cl.irinct 2nd Bb Cornet (Trumpet) Uariiotte (Treble) 3rd 1'tombotic 1st Eb Saxophone 3rd Bb Cornet (Trumpet) Baritone (Bass) Basses 1st nb Cornet (Trumpet) 1st F Horn, 2nd p IK tit 1st Trotithene Strttig Bass Hells » 3rd F llurti, -lilt 1 M>m 2nd Tremhone 1st ICb Horti, 2ttd Kb Hern 3rd Eb Horn, -Itlt Kb Hern

NO. It is important to understand that the chart indicates tïie division of instruments when employed as SOLO. It does not hold, necessarily, that the parts arc divided in iliis manner wi.cit not labeled SOLO. *•'* The indication for Percussion is given in the Conduct.’r’s Score in fim measure of each scale. The rhythm pattern illustrated (in Drums) is constant throughout the entire scale, until t!ic last measure. INDEX

FOR SCALE-SOLO

The groups of instruments having the scale solo are designated in the conductor s book by Roman Numerals. In the individual parts, when the scale-solo appears, it is labeled SOLO,

Concert Key Group I Group 11 Group 111 Group IV

C Major 79 f 19 45 D|j Major 1 57 27 39 D Major f f 83 63 31 Eb Major B1 81 73 19 E Major 6T S3 ■89 3 F Major 9 47 75 87 Gb Major 37 23 17 49 G Major 41 71 21 35 Ab Major 77 15 91 11 A Major 25 7 93 51 bb Major 29 69 13 53 B Major 43 95 67 61

C Minor 76 3.0 3R 92 C | Minor 74 60 4 28 D Minor 50 78 34 24 Eb Minor 94 44 72 58 E Minor 88 64 48 8 F Minor 80 20 82 14 FJ Minor 16 6 86 70 G Minor 68 12 46 96 C | Minor 32 54 10 IS A Minor 22 90 52 66 Bb Minor 62 42 56 26 B Minor 2 36 40 84

There is also an index in each instrumental part showing the location o f the scale-solo by key signature.

Figure 23 Treasury of Scales Grouping of Instruments 77

THE TREASURY OF SCALES F O U ItA N I) Conductor Dk MAJOR-GROUP I LEONARD B. SMITH

(BELLS)

B MINOR-GROUP I

2 11.

E MAJOR- GROUP IV

“O— f t — IT # XT ■ • - > v i P \ f r y , n o . . l j 3 -tH- = D C S t — '

C» MINOR- GROUP i n //tf.

(TIMPO

C MAJOR-GROUP n

(BELU)

Fl MINOR-GROUP n

R r-fPT M r-r M R R pr prr^

Figure 24 Treasury of Scales Format 78 success musically right away, but, because we had so many expenses, I didn’t realize much profit.”

Smith and Edgar Barrow, a saxophonist in The Detroit Concert Band, started

Bandland, a publishing firm, in May of 1951. This was where Treasury of Scales was first published. After a short period, Barrow elected to sell his share and Smith then became the sole owner in 1954. It was in 1960 that he sold the company to the Belwin Company.

It was at this time that Smith began to write the solos and also, with Fred Weber, the

First Division Band Method. “I did all the comet solos plus the trombone and baritone solos with Leonard Falcone and Phil Farkas’s name on them. I guess altogether I must have written over 100 solos. The nice thing about working for Belwin was that Fred had great guidelines with regard to range, rhythm, technique etc. He knew exactly what the younger player could and needed to play. I found it easy to conform.”

Another major area in his composing was the Accompaniments Unlimited series.

The concept of this series was to provide the musical accompaniment for the player who has to practice alone. Accompaniments for close to3000pieces of music were produced. Started in 1965, they were very well accepted by those who had tape recorders and were used in many junior and senior high schools.

“We had a few problems. For those who didn’t have variable speeds on their tape recorders couldn’t get it in tune. However, it did quite well.”

The next plateau in Smith’s career with regards to publishing was the formation of

BOVACO. This is an acronym for Bands-Orchestra-Vocal Accompaniment Company.

Smith, along with Mary Lou Homberger, began the company in 1974, and it continues today.

This catalog contains an outstanding collection of unusual band music. Over 400 titles are now available. The band accompaniments for vocal songs and arias, selected from the standard repertoire, represent the finest in band arranging technique. All have been meticulously prepared and in the most artistic manner. (Smith, Leonard, Treasury of Scales. 79 1952, p. 4).

“Culled from some of the great private band libraries, these arrangements have not been available to the public before, having been retained for the exclusive use of the proprietors. Obviously, their uniqueness, rareness and necesarily limited but discriminating sales market would make engraving and printing of them impractical. However, by photographing the original manuscripts, it now becomes possible to offer them to the public.”

“Many of them were prepared for the Goldman Band by men of the stature of Anton

Weiss and Wilhelm Strasser under the personal supervision of Edwin Franko Goldman. Emil

Mollenhauer, the distinguished arranger (Manzoni Requiem et al) and conductor of the famous Boston Band prepared several for that organization and for George W. Stewart’s

Band of Boston, as did Arthur Wonson, Frank Fiala and R.N. Davis. Edgar L. Barrow,

Mayhew L. Lake, Erik W. G. Leidzen, Paul Van Loan and Leonard B. Smith have prepared the arrangements for the exclusive use of the Detroit Concert Band.” (Bovaco Catalog of

Band Accompaniments, Forward by Leonard Smith, Detroit Concert Band, 1974).

Leonard Smith’s career with Belwin still continues although Belwin has since been purchased by Columbia Pictures which is owned by Coca Cola. “I’m still writing mainly commissioned numbers now. Community bands and foundations want marches written, and

I still take pride in my work.”

When asked whether he would rather compose or perform Smith responds. “I never thought about it on that basis. I enjoyed doing them all. It’s like asking the parents of five children which one is the best. I think the “best” would be playing a solo I wrote while I’m conducting my band. How’s that for an answer?” Part II

CHAPTER Vn

The Professional Bands of Leonard Smith

The Evolution of the Detroit Concert Band

1946

The Beginning

“It was really during the time I played in Scofield’s Band that I knew I wanted to conduct my own band.” Leonard Smith

Throughout his career as a musician, with men such as ScoHeld, Williams, Pryor and

Goldman, Smith was formulating plans to have his own band. He began to develop a band library from those of Goldman and Williams and for the price of two or three dollars a piece, he obtained some of the better band literature of the period. His ultimate goal, of course, was to organize and conduct his own band in the style of those before him.

His first opportunity actually came some 6 years earlier. In 1938, he started his own band called The Leonard Smith Training Band. This band involved the better high school players around the Detroit area and was organized with the assistance of area high school directors. Included in the band were notable musicians Harry Begian on trumpet and bass drummer Warren Benson. The band rehearsed at McAlister Hall in Detroit on Wednesday evenings and was quite successful.

80 81 “As I recall, I charged them $1.00 per rehearsal. I even gave scholarships for those

youngsters who couldn’t afford it. My concept was based on how Williams and Scofield ran

their bands, to give those outstanding youngsters a chance to develop their talents that they

couldn’t do with their own bands. I had it for two years before I had to stop when I went into

the service.’’

The year is now 1945, after his return from the Navy in September. This offically

began the era of Leonard Smith the conductor. His first offical responsiblilty was with the

Detroit Shrine Temple Band.

Now a 33rd degree Mason himself, he conducted that band until 1960. “I belonged

to the Masonic Order since I was 21 so I had a strong loyalty toward them. Harry Philip was

the leader of the band, and I took over when he became ill. Upon his death, they elected me

to continue. It was, as far as Shrine Bands went, very good. A Shrine Band is a lot like a high

( school band except the players are more older and stubborn. We played at the Masonic

Temple here in Detroit and had some qualilty musicians. When I took over the band there

were seventeen people coming to rehearsal. When I left some twelve years later, we had 104

on the rolls with around 75-80 coming regularly to rehearsals. It was a real fine experience

and, as you might expect, from a fraternal band, the social aspect of the band was very

important I really enjoyed it!” (See Plate XI)

The Shrine Band was the first band that Leonard Smith conducted in an offical,

professional capacity. This fraternal band provided a podium for him as he continued to plan

for his own ensemble. That goal was soon to be attained.

For some time, the city of Detroit had been funding a free to the public concert series.

Herman Schmeman was the leader and organizerof this band. When he died in 1935, the band

continued under the leadership of various conductors and a variety of musicians. These

conductors were hired by the Detroit Federations of Musicians Union, and they in turn hired

* * their own musicians. The band seldom, if ever, rehearsed. Plate XI Leonard with the Moslem Temple Shrine Band in Chicago marching down Michigan Avenue. Circa 1955

00w 83 “These concerts were pretty bad. In fact, they were so bad that Mayor Edward Jeffries

put the ultimatum to the Federation of Musicians Union that the city would cease funding the

band unless it became more organized and functional for the city! That’s how I got into the

act." "A man named Duane Sawyer, a famous saxophonist and flutist with the Minneapo­

lis Symphony, was in Detroit giving private lessons. He, I guess you would say, was the man

who sponsored me. He went to bat for me and introduced me to the powers that be in Detroit."

Smith proposed his ideas to the city on how he would run the band. He was able to

sell himself and the foundation upon which he would operate. Having purchased the George

W. Steart band library earlier, he had at his disposal one the main ingredients for success,

quality music. With this available music. Smith’s dream was now becoming a reality. He was

about to perpetuate the great tradition of the concert band as set forth by his boyhood idol,

John Philip Sousa.

• For nearly a quarter of a century, Sousa reigned the world over as the March King.

In the realm of band music, his band was unequalled. Until the time of his death, “John Philip

Sousa and His Band” was a household phrase in every Ainerican community. The arrival of

S ousa meant a rare treat in entertainment. And that enthusiasm, fostered by men like Gilmore,

Goldman, Conway, Pryor and others, still prevails throughout the nation. Memories of their

fine band music linger on. (Brochure: And Now Leonard Smith, The Project-as described by

Leonard Smith, 1946.) (See Plate XII).

With the exception of the justly celebrated Goldman Band, it is to be regretted that in these intervening years since Sousa’s death, hastily prepared programs played by inadequately trained “pick-up" bands have appeared from time to time. People have almost forgotten just how well a really fine band can perform because thay have been subjected to band music which has been of the “hasty-pudding” variety. These same bands have achieved neither permanence nor the high level of performance as delineated by the Sousa or Goldman Plate XII John Philip Sousa Band at the Strand Theatre, Brooklyn, New York, 1927.

I

oo 85 Bands. (Brochure: And Now Leonard Smith, The Project-as described by Leonard Smith,

1946)

“My conception of a really fine concert band is one that has the musical attributes of a mighty celestial organ. In organizing our band, I aspire to surround myself with musicians of such discriminating musical taste and performance that our band would quickly achieve a reputation for musical finesse and distinction. Once organized and ready for presentation, we hope to have a musical organization without a peer-one that will go down in musical archives as the greatest wind ensemble ever assembled. Then it is our plan to present the band on transcontinental tour, playing to every community which will sponsor its concerts."

(Brochure: And Now Leonard Smith, The Project-as described by Leonard Smith, 1946).

“I felt it was so very important to carry on this great tradition of band music in the lineage of those before me. Thanks to the city of Detroit and then a group of Detroit business men, I was able to realize this goal.”

• It was in 1946 that Mayor Jeffries appointed Leonard Smith as the Director of the

Detroit Federation Band. The band was funded by the Department of Parks and Recreation and administered by the Federation of Musicians.

“They wanted to call it the Detroit Parks and Recreation Band but couldn’t because they already had a childs’ band by that name. It was called several different names, but the one name we used most that year was the Detroit Federation of Musicians Concert Band. We played under that name for 3 years.” (See Plate XIII)

The Detroit Federation Band was indeed the first band connected to the city of Detroit that was led by Leonard Smith. However, during this time, he was actually conducting more than one band. In 1947, there was the Detroit Federation of Musicians Concert band that was funded by the Parks and Recreation Board. Also, there was the Leonard Smith Concert Band which was funded by private funds. Plate XIII Leonard B. Smith Band in 1946

^^!E^'lÆOrURO‘SMTO^;pA^ ^

OsOO 87 The Leonard Smith Concert Band was founded on April 5,1947. It was then that a

group of Detroit businessmen, recognizing the value and need for band music, signified their

intentions by forming a non-profit corporation to present a fine concert band to the nation.

An excerpt from the Articles of Incorporation describes the purposes of the corportation.

“To organize, establish and maintain a band of musicians and to conduct concerts.

“To promote musical art in Detroit and other cities throughout the United States by series of band concerts.

“To promote good-will for Detroit throughout the United States by a band acting as a musical ambassador.

“To foster and encourage public interest in good music.

“To do all and everything necessary and proper for the accom­ plishment of the foregoing purposes, and to exercise all general powers which non-profit coporations may have and enjoy under the laws of the State of Michigan." (Brochure: And Now Leonard Smith, The Project-as described by Leonard Smith, 1946).

“Those Detroit businessmen who helped get this first band going were very impor­

tant. They were F. Temple Hibbard-President, Adolph H. Lichter-Vice-President, Lloyd G.

Grinnell-Secretary-Treasurer, and Donald Sweeney-Counsel. On the Board of Directors

were George Rowe, Duane Sawyer, Tunis É. Stinson, George W. Stark and myself.”

This band. Hie Leonard Smith Band, was a private entity that was quite successful.

Along with the Detroit Federation of Musicians Concert Band, both were active concurrently.

“I selected all the players. Once the word got out on how good a group this was, I really had no trouble selling the band. We also funded the Leonard Smith Band for four recordings on the Bandland label. Bandland was a company which I solely owned for 20 years. I published music, and I eventually sold it to the Belwin Company. We played many prestigious functions in the city such as the General Motors Company, Pontiac, Kelvinator, 8 8

Chevrolet and Ford Motor Company. These were all private parties. We went on tour in 1948

and played in five states. It always paid its bills and it showed a profit. I think it is important

for me to make clear that this was a private band. It sold itself because of the high quality of

musicians that played in it. It really was a wonderful band.”

1949-54 The Belle Isle Band

The name “Detroit Federation of Musicians Band” was changed to the Belle Isle Band

in 1949. Since there were other bands in the area that were using the original name, and the

venue for the band was now Belle Isle, the new name was now the Belle Isle Concert Band.

(See Figure 25)

“We continued to rehearse at the Masonic Temple and played at Belle Isle for 6 years.

It was at the Jerome H. Remick music shell, and we then began to play not only there but also

at the Michigan State Fairgrounds. Remember,it was during this time we still had the Leonard

Smith Band operating under private funds with many of the same musicians. Many different organizations hired me and, dependent upon how we were financed, we were called by the

two different names”.

These early days at Belle Isle were really the heyday for Leonard and the Detroit

Concert Band. The word soon spread! Large crowds, including entire families and high school bands, would travel by bus to hear the wonderful music of Leonard Smith and the

Detroit Concert Band. (See Figures Plate XTV, Plate XV, Fig. 26)

1954:19,7g.Jhg of Tiipgs The bands, both the Leonard Smith Band and the Detroit Concert Band, had reached the height of popularity. Both were playing at prestigious city functions as well as for the standard concerts. 89 In 1971 the DCB became the Detroit Concert Band Incorporated. Smith registered

the name with the State of Michigan, and no other persons were permitted to use the name

of the Detroit Concert Band. A Board of Directors was established, and Ernest Jones became

the first president. The others who formed that first board were L. C. Goad, Vice President;

Robert Victor Peterson, Secretary; and Harry Nederlander, Treasurer.

“The Board of Directors helped us get established. Over the years, some were

musicians and others had clout in areas other than music. We later added a Board of Advisors.

These people formed a vital function to the band. They gave us not only financial support

Figure 25 Belle Isle Band performing in Belle Isle in 1948. Plate XIV Detroit Concert Band at Michigan State Fairgrounds

OVO Plate XV The Leonard B. Smith Band Circa 1947

• 92

TWCNTV rO aR TR COHCERT TWENTY ririH CONCERT JATURDAY. JULY I I lYU SUNDAY. JULY 2 0 .19S2 CITY OF DETROIT 1:15 P.H. 5:30 P M . (hiinilf withiwi nuiirm* iPtitHtuHi to iA.in4t w ithout fMiNce) DEPARTMENT OF

PABTI PARKS and RECREATION PABTI 1 Panamericana Victor Herbert 1 Grand Match "Haii. Ameiica'* Cvorge Drumm p i i t . n l i 2 Ovciturc "Sicilian Vespers" Giuseppe Vcttli 2 Overture "Tannhauser" Richard Wagner 3 NutetJcker Suila Pelet I Tschitikowsky 3 Kiccipts tiom "Oklahoma" Richutd Rodgers I Ovi''iii«i> MmiRiu'r 4 Excerpts from "Andrea The Belle Isle Concert Bond II M«'il>r 1.1 Uimw A itbr C h e n ie r" Umberto Giordano IV Ut-'tP d r w I f f DiAiiff LCOMU B. SMHI, Cuiicln V lU'H f VvMi licpAk VI ChMiO'if VII Ofrtc» d f t Mipl.ten» PABT II VIII VilM dv» PituU 5. Mardi Gras . Ferde Grote r m i i 6. Solo lor Cornel "Inllammatus" C. Rossini 4. Slavonic Dance No 9 Antonia Dvorak Mr. Leonard 0. Smith. Corneiist PROGRAM FOR 5. Clatinel Solo "How Can I Leave 7. (a) March "Americans We" Henry Fillmore Thee” R. Ritter (b) Blue Skies Irving Berlin Harger Wednesday, July 16, 1952 Mr Rudolph Waha. Clarinetist (cl March "Crescent and 6. la) Cod Bless America Irving Berlin Scimitar" Leonard B. Smith through

IRA WILSON & SONS DAIRY COMPANY Music G im — Bills Ills U U TIUMAH - n i » S4000

BELLE ISLE CONCERT BAND Leonard B. Smith, Conductor

TWEHTT-rnST COHCEir TWENTY-SECOND CONCERT TWENTY-TNIBD CONCEIT WEBBESDAT, JULY It,1152 TNDBSDAT. JULY 17. 115: rilOAY. JOLT It. 1152 1:15 FJL 1 :1 5 P K 1:15 P A fPiutfVti mibtest tv th»t\tv without ttoticti tP to ita m m a/j/kI to Khangf without rtutkei • Piotinin wuhi*ct to cAang# without nolke)

PABT I PABTI PABT:

1. Introduction to Act III I. Bravado ______Frederic Curzon 1 Marche and Cortege from "Lohengrin" Richard Wagner 2 Overture "lolaothe** . Sir Arthur Sullivan "Mlada" N. RimskyKorsakow 2. Overture Slrad 'H i" Frederic von Flolnur 2 Dvrrlnro to "Rienzi" Richard Wagner 3. Prelude No. II Cersttwin Mukon 3. Hungarian Dances No. S and 6 3. Lilt ol the Latin David Bennett ...... Johannes Brahma 4. Ezcerpta from "The New 4 The Trumpeters Erik W. G. Leidzen 4. Cole Porter Fovpritea art. by D. Bennett M o o n " . Sigmund Romberg Messrs. La Rose. Head. Schultz and Urea . 5. Excerpts from "Porgy and FABTH pjunrn Bess" George Gershwin 5. Broadcast Iron Brazil DavW Bennetl 5. Excerpt! from "Carmen" George: Bizel PABTM 6. Cornel Solo "Ecstasy'" Leonard B. Smith G. Solo for Xylopboat "Flight el the 6. Dark Eye* ...... art. by Long Hr. Leonard B. Smith, Coroetisl Bumblebee N. Rimsky Korsakow 7. Cornet Solo "0 Don Fatale" from 7. (a) Ernest William* Band School Mr Robert A Clark, Xylophonist "Don Carlos" Giuseppe Verdi March Mayhew Lester Lake 7. (a) March "M an Among Men" Henry Fillmore Mr Leonard B. Smith, Corneiist • (b) Night Beal Harold Waller* (b) Gavotte from "Classical n . (a) March "Gale City” A F. Weldon (c) March Under the Double Symphony" ProkoIieH Barrow Eagle" J F Wegaer (b) Ronde d'Amour Westerhout (c) March "Sky Parade" Leonard fi. Smith (c) Marche Lorraine Louis Cano: 8 Capriccio Espagnol N Rimsky Korsakow 8. Waltz from "The Swan * Pftordpd on #6,idl#nd afcootl Lake" Peter I. Tschalkow&ky 9 Arc on Ciel Waltz Emil Waldteufel

Figure 26 Program from 1952 93 but were good thinkers. Among tiicm were:

Dr. Joel E. Arem World-renowned gemologist Washington, D.C.

Paul Bierely Foremost Sousa authority and author Columbus, Ohio

Les Brown Conductor-’Band of Renown’ Hollywood, California

Dr. P.M. Crawford Former member of Sousa Band San Antonio, Texas

Merle Evans Bandmaster-Ringling Brothers Circus Sarasota, Florida

Arthur Fiedler Conductor-Boston Pops Boston, Massachusetts

Hon. Barry Goldwater United States Senator Washington, D.C.

Ll Colonel William Santleman Conductor-United States Marine Band Washington, D.C.

Robert Semple President-Detroit Symphony Orchestra Detroit, Michigan

Gordon Young Composer St. Clair Shores, Michigan 94 1975-1979 Problems Escalate

The Detroit Concert Band was still playing mainly at Belle Isle to large and enthusiastic crowds. However, as the years passed and the mid-70’s arrived, all was not well.

A small decline in attendance and interest occurred in the late 60’s which was the result of theracialdisturbancesinthecity. Inthemidl970’s,fundingwasbecomingasevereproblem,

There was much concern in 1975 whether the thirtieth season of the Detroit Concert Band would even begin. This caused much turmoil and the news media covered it extensively.

“The band’s musical director and founder. Dr. Leonard B. Smith, announced yesterday “it will be physically impossible” to present the season’s opening performance scheduled for June 15 at the Belle Isle Shell. His reason: “The city’s administration has been passing the buck instead of the budget." (Gebert, Armand, Detroit Free Press, May 28,1975,

Detroit, Michigan, P. 12).

The discrepency was that Smith says he really wasn’t contacted about the schedule and subsequently was not able to hold auditions. With this turmoil. Merle Alvey, president of the Detroit Federation of Musicians which receives the appropriation from the Recreation

Department, became involved.

“This is a very well organized band-one of the nation’s greatest,” Alvey said.

“Leonard is a very conscientious person and one of the greatest band conductors.” Alvey said the confusion over the Detroit Concert Band’s performance is due probably to a lack of communication between the federation. Mayor Young’s office, the Department of Recrea­ tion and Smith." (Gebert, Armand, Detroit Free Press, May 28,1975, Detroit, MI, p. 12).

This situation resolved, the band continued to provide musical entertainment for the city of Detroit and surrounding area. (See Figure 27).

Progressively, things were getting worse. Detroit’s racial problems continued into the mid and late 70’s. Society was changing. The general well being of the country was not good, and it was very evident in Detroit. What was once a well kept and beautiful band shell and 95

MUSIC GROVE - BELLE ISLE Hy ciiutlesy ol Coleman A. Young. Mayor, and llie (.'ommon Council of the City of Deiroil THE DEPARTMENT OF RECREATION presen I for I lie enjoyment and benefit of llie people of the City of Detroit and their welcomed guests THE SUMMER FESTIVAL SERIES featuring The Detroit Concert Band Dr. Leonard B. Smith, A.B.A., Conductor

30th Anniversary Season 1,281st Free Concert, Sunday, June 15,1975 7:30 PM

(Program subject to change without notice) PARTI THE NATIONAL ANTHEM arr. by Leonard B. Smith (The audience is invited to participate)

1. GRAND MARCH “FREEDOM FOREVER” EDWIN FR.ANKO GOLDMAN 187S -1956 Dr. Goldman’s third Grand March was completed late in 1939 and is dedicated to Mrs. Daniel Guggenheim, in appreciation o f her interest and support of the concerts given during the season by the Goldman Band on the Mall in Central Park, New York. The Daniel and Florence Guggenheim Foundation is one of America’s greatest philanthropic enterprises. Since 1924, the Guggenheim family has defrayed the entire cost o f the con* certs given by the Goldman Band to New Yorkers.

2. OVERTURE “OBERON”...... CARL MARIA VON WEBER 1786-1826 Weber was commissioned to write an English opera for Covent Garden in London after he had achieved European fame as a result o f Der Freischutz. The overture to Oberon is Weber at his best. The opening Adagio is marvelous in coloring; the three notes played by the horn, with the reply by the clarinets, create a haunting atmosphere. Weber’s skill in writing for horns and woodwinds is evident throughout. The horn motif is heard again in the Allegro, just before the introduction of the second subject. The Allegro is fresh and vigorous, fidl o f the delicate shading which was the particular secret of Weber. The band arrangement has been specially prepared for tonight’s concert.

I Figure 27 Program from 1975 96 Figure 27 (continued)

3. FOUR AMERICAN PLANTATION DANCES. . . MAURICE ARNOLD 1865-1937 These four characteristic dances enjoyed immense popularity some years ago, when they were played everywhere. For some time they were undeservedly forgotten. As music genuinely American in character, however, the dances rank with the best of their kind. They are presented at this concert in an arrangement especially made by Erik W. G. Leidzen. Maurice Arnold was well-known as a composer and teacher, and had the distinc­ tion of having been the favorite pupil of the great Antonin Dvorak. Dvorak esteemed Arnold’s talent highly, and had particular regard for these American Plantation Dances.

4. HIGHLIGHTS from “SOUND OF MUSIC” . . . . RICHARD RODGERS 1902- In “The Sound of Music”, Richard Rodgers and Oscar Hammerstein 2nd have written a score that ranks with their finest. The music is in Mr. Rodgers’ most melodic vein, ranging from the glowing title song through charming ballads, lilting airs and jaunty Austrian tunes to the soaring ceremonial music for the Abbey. The book was suggested by “The Trapp Family Singers” by Maria Augusta Trapp, tracing Maria’s days in the convent, her experiences with the Trapp children, and the terrors of the Nazi annexation of Austria, recalling the anxious days of 1938. The musical opened on Broadway on Nov. 16,1959 with tumultuous applause.

PART II

5. RUSSIAN SAILORS’ DANCE from “THE RED POPPY” . .REINHOLD GUERE 1874-1 9 5 6 This very thrilling number is perhaps the best known portion of the Ballet “The Red Poppy.” The composer was born at Kiev, Russia and was a pupil of Taneiev and Ivanow. He later became professor of music at the Conservatory in Moscow. He has written a number of symiriionies, symphonic poems, and much chamber music.

6. SOLO FOR CORNET “THE BUGLER” EDWIN FRANKO GOLDMAN 1 878-1956 Leonard B. Smith, Cometist This is one o f the many cornet solos by Edwin Franko Goldman, who in his young­ er years was himself a famous cornetist. The Introduction is founded on the best-known American bugle calls, which are arranged in a novel manner. Then comes a short, spirited solo. It is dedicated to Leonard B. Smith, who was for six years, cornet soloist o f the Edwin Franko Goldman in New York City.

I 97 Figure 27 (continued)

7. (a) THE ENTERTAINER ...... SCOTT JOPLIN 1868-1919 Scott Joplin was born in Texarkana, Texas of musical parentage. He mastered the piano in his youth and studied ragtime piano with Louis Chauvin in Chicago. He played in cafes in St. Louis and was an orchestra leader at the World’s Fair there in 1893. He is considered a pioneer in the “ragtime” school and wrote many ragtime instrumental pieces, and an opera “Tremonisha” (words and music which he produced at his own expense in Harlem in 1911.) His most famous piano piece is the ever popular “Maple Leaf Rag”. “The Enter­ tainer”, known originally as “Entertainer Rag” was introduced in the motion picture “The Sting” and has become an outstanding success.

(b) MARCH “THE HARMONICA WIZARD” .. JOHN PHILIP SOUSA 1854-1932 Leading a harmonica band was a novel experience for Sousa when he was invited to conduct Albert N. Hoxie's fifty-two member Philadelphia Harmonica Band in September, 1925. He was so impressed with their playing and the possibilities of the harmonica that he carried an endorsement for Hohner harmonicas in his 1928 programs and subsequently wrote this march for Hoxie’s boys. When the Sousa Band came to Philadelphia on November 21,1930, the mayor pro­ claimed the day Sousa Day. Among other events was Sousa’s leading the University of Pennsylvania Band, but the climax of the day was when Hoxie’s boys came to the stage during the Sousa Band concert and performed the new march Sousa had written for them. A special commemorative medal, with the emblem of the Philadelphia Harmonica Band on one side and a tribute to Sousa on the other, was presented to the “March King” at the close o f the concert. 8. RHAPSODIE “ ESPANA”...... EMMANUEL CHABRIER 1841-1 8 9 4 Alexis Emmanuel Chabrie'r occupies an eminent place among French composers of the late 19th century, but his name will be forever associated with the music of Spain because o f his masterpiece, the Rhapsody “Espana.” A portrayal o f the character and tha gaiety o f the most popular national dance — “La Jota” — this work of Chabrier recapi tures the musical style and sentiment o f Spain by means of a complete assimilation of thd Spanish soul. Because o f the life and spirit o f this Rhapsody, its force and plentitude, it& sparkling rhythms, Chabrier’s creation can be considered as the most extraordinary evoca) tion o f Spain ever penned by a foreign composer. 98 park area, was now deteriorating. Lighting was poor, the stage was in need of repair, and the

Hnancial and security problems continued to escalate. The crowd was now consisting of those who really did not want to hear a concert but merely wander the grounds and disrupt the programs. No one in city government took the necessary steps to see that the problems were corrected. Once again the media covered the problems Smith faced, and the end of the Belle

Isle Concert Series came in 1979.

"It was with a certain amount of relief that Leonard B. Smith, conductor of the Detroit

Concert Band, announced the cancellation of the band’s free summer concerts at Belle Isle earlier this week after more than three decades of tradition. The major reason was that the city couldn’t come up with the $89,000 needed to support the series. But Smith said he’s also been unhappy about a number of incidents during band concerts on the island in recent years. The most highly publicized occurred last summer when he and his band walked off the stage because someone playing a car stereo at high volume near the bandshell refused to turn it down. (Hoover, Barbara, Detroit Free Press, June 4,1980, Detroit, Michigan).

"They began using our shell for rock concerts and other functions. Drug use was rampant as well as alcohol and crowd control problems. We would come to the concert site the day after there had been another function, and we actually had to clean up the beer and wine bottles as well as remove drunkards who spent the night. We could see it coming that this was no longer going to be a viable concert site. People used to come to our concerts dressed in coat and tie but now the image was changing”.

“In 1979 we played our last concert. There were those big vans with speakers all over the place with kids blaring their music so loud we could not even hear the Star Spangled

Banner. There simply were no police or other security to help the situation so I simply turned and told the audience that I could not continue under the circumstances. This was always known as the ‘Blue Van Incident.’ The band and I left the stage and I’ve never returned.” 99 With obvious emotion, Smith says “I quit in complete amazement and disgust! It hit the papers and really caused quite a to do. This really cut all my ties with the city. What happened that night was really just the tip of the iceberg. For years we were fighting deficiencies with regard to concert environment. The shouting of obsenities, vagrants, drunkards, motor bikes and hecklers were becoming part of the norm.”

When asked what he felt his responsiblities were to the city and to Belle Isle he states.

“I am there to make music. The responsibility for the conditions which we play are directly the responsibilty of the Recreation Department and through them, not through us, the Police

Department. The action I took was not of temperamental impatience! It had to be done.”

Was racial tension a factor? “There are those who believe it was the plan of the mayor to stop the band because of the fact we had only four blacks,” says Smith. “I didn’t and still don’t think so. This was just a matter of enough is enough. I do think maybe they were upset that I didn’t have enough blacks, but I don’t think it was a calculated plan to stop the band.”

“Of course, after we did this, everyone from the Mayor’s office wondered what happened. They wanted to know why I didn’t contact them. I told them I did, but no one listened. I had to quit, and I have never been back since! Truthfully, the incident left a bad taste in my mouth and it will always be a bad memory.”

The Detroit Federation of Musicians offered to pay for a shortened series of concerts but could not pay the entire band of 54 players so Smith turned them down. The band coporation continued its concerts at other regularly scheduled events such as the Michigan

State Fairgrounds, Birmingham Civic Center, Meadow Brook Music Festival and others in the Detroit area.

“This also caused a problem with the Board of Directors. They really did not want me to quit but I was convinced I had made the right decision. Well, they didn’t go against me, but I guess they really didn’t come right out and support me either. I just told them that if they wanted to disband it would be fine with me. 1 would still have my own Leonard Smith Band. 1 0 0 They did not fight me on this, and the band continued.”

The incident at Belle Isle did cause Smith to re-think how he would continue to contract the band. He says “Since that time, we now have in our contract that certain conditions must exist before we will perform. There must be adequate police protection and the hall must be in an atmosphere conducive to concertizing. We realize that all will not be perfect, but I must require sufficient conditions. We have no desire to infict our music on anyone. But, we want people to come and be able to enjoy what we do play.”

The band's move to the Michigan State Fairgrounds was a good one. The final concert that year drew over 5000 people. The interest in the band was still at a high level. CHAPTER VIII

Management/Financing/Public Relations/Hiring of Personnel

“I guess you could say I do just about everything that is connected with the band. It is a labor of love!” Leonard Smith

The operation of the Detroit Concert Band is under the strict leadership of Leonard

B. Smith. He is the Detroit Concert Band; the Detroit Concert Band is Leonard Smith! The continuing process of the management of the band involves many areas such as clerical, rent, mailings, utilities, equipment, recording processes, telephoning, filing, and, of course, raising the necessary financial support

“It should be made clear that we are NOT an entier which is supported by any tax money! The term ‘Detroit* in our name does not and never has implied that we are or ever have been an adjunct of city government,” says Smith.

From its inception in 1946, he has been responsible for the total operation of the organization. He credits two persons for serving as his able aides during the years. They are

Helen Rowe and MaryLou Homberger. Serving as public relations director is wife Helen.

A political science major, she is a graduate firom the University of Michigan. She went to Hollywood in the mid-30’s to pursue an acting career. She returned to w o r k in Detroit as an ad agency model, married Leonard in 1940, and became active with the band when it formed in 1946. She has been Leonard’s only public relations director.

101 102 “Helen has good relations with the press. As we all know, this is so very important.

It is very frustrating when there is a story to be heard, but it is not printed. She has the ability to write and get our message out and has been invaluable behind the scenes.”

In 1965, MaryLou Homberger, a retired American Airlines employee, began as

Executive Director of the Band. She is a former trumpet student of Smith and studied at the

Eastman School. She left Eastman and began working for American Airlines. After her retirement, she still had a great love for music and the band and began to work with Leonard.

“She is excellent in the business world and does a fine job with the band,” says Smith.

“Along with being a fine musician, she is very accurate with the details in the office. She is half owner of BOVACO and, along with me, controls the daily operation of the band.”

Nearly everything used by the DCB is owned by Smith, including the entire library of music. He owns the stands, file cabinets, address-o-graph, tape recorder, copy machines, pictures, and CD player. The only asset that the band has are the 3 computers and the monies derived from record fund. Smith provides tables, pencils, books, and other office items. The firm of Joseph P. Moceii & Company, P.C. serves as the Band’s accountants.

In the 1940’s, Smith’s office was located at 35 West Grand River. He kept that office as a teaching studio while also working out of the Fox Building at 407 Fox Boulavard. This also housed the.Bandland Company. His music library and office was located at his home on Iroqouis Avenue, a twenty-five room house that at first could accomodate all the materials.

When he discovered that home could no longer hold everything, he moved back to the Fox

Building. He then moved to 20259 Mack Avenue in Grosse Pointe Woods, then to 20962

Mack Avenue before moving to 1933 Vernier Road also in Grosse Pointe Woods. His final

Detroit office was 12121 Mack Avenue where he located for a period of two months. His move to Scottsdale in 1990, Arizona now complete, the new office is located at 9443 East

Butherus Drive, Suite 100, Scottsdale, Arizona, 85260.

In the early years, all activities of the band were sponsored by Bandland and/or Ac­ 103 companiments Unlimited. Accompaniments Unlimited paid the rent in the early 60’s until the

band began to gradually underwrite some of its own expenses toward the end of the decade.

Now these expenses were shared by the band itself and Accompaniments Unlimited. It was

in 1975 that the band began underwriting its own expenses. That practice continues today.

Presently, the band’s revenues are derived from three major sources They are: 1) the

sales of its records and other band-related materials which includes BOVACO; 2). the

revenues from concert performances; 3) the world-wide sustaining membership.

“It is important to note that the Detroit Federations of Musicians and/or the Parks and

Recreation Board only funded the concerts by the band and not the band itself,” Smith makes

clear. “They paid for the musicians’ series only."

Although the band did receive a grant from the State of Michigan some years ago,

there are no federal or state grants issued to the band. According to Smith, he does not even

apply.

• “The orchestra, the ballet, and the opera seem to be the recipient of funds. Unfortu­ nately, a band does not qualfy under their guide as “cultured” enough. There are those individuals who believe grant money should only be given to the “elitist” of musicians. The band gets left out.”

The DCB operates the same as any corporation. There is a president, a Board of

Directors, and an accounting firm with CPA’s. All monies taken are accounted for and reported to state and federal offices. With this fundamental organizational structure, the DCB issues the following statement of purpose and invitation to membership.

"The Detroit Concert Band Society is a world -wide organization of band fans who pledge their moral support and membership dues to the commitment to preserve the great classic concert band heritage as instituted by Patrick Sarsfield Gilmore and further delineated by the careers and bands of John Philip Sousa, Arthur Pryor, Patrick Conway, Edwin Franko

Goldman and carried on today by Leonard B. Smith with the Detroit Concert Band through 104 concert performances and recordings.

"Your annual dues of $15.00 make all of this possible. In appreciation, we will keep

you informed about the Band’s work by sending you “Band Fan,” our newsletter throughout

the year. Through your membership, you have the privilege of purchasing the recordings of

the Band at substantial savings over retail store prices. You will also receive, with your initial

membership, a rare John Philip Sousa “Famous American” postage stamp, uncancelled and

in glassine envelope. Finally, you will receive a wallet card with your name on it, testifying

that your were one of the first to stand up for this great part of our American musical heritage,

for the present and for the future.

"Please consider this your invitation to membership in this unique organization. We

hope you will find many items of interest in this catalog of gifts pertaining to the world of

bands. We carry a selection of some hard-to-find books about bands as well as a notice of

availability of band arrangements featured by the Detroit Concert Band.

■ "Also included in the membership drive is the opportunity to purchase a life member­

ship for a contribution of $500.00. This entitles the member a gold card, embossed with his/

her name as well as a certifiicate. He or she also receives a complimentary copy of each new

release of recordings. The person’s name is then enshrined in a special brouchure, to

accompany the Gems series." (Statement of Philosophy, Detroit Concert Band)

Along with these memberships are the many individual and corporate sponsors.

Among them are Ford Motor Co., General Motor Corporation, American Motors Corp.,

ASBDA, American Society of Dental Technicans, British Broadcasting Corporation, and

Chrysler Corporation of Canada, Ltd. In the earlier years of the band, it was not unusual to receive many large gifts from both individual and corportate donors. However, there are a few

smaller gifts from those around the Detroit area. 105 While Executive Director Hornberger handles, with Smith, much of the paperwork

involved with the daily operations, it is Leonard himself who gets the subscribers for

advertising. Whether it be by personal contact, by letter, or by telephone, he is responsible

for selling the band.

“Often, I would have the advertisers send me the monies and necessary forms. There

are other instances where I would have a chairperson for a particular concert, and he or she

would be a middle man. Advertising is so very important to the success of our concerts. It

not only provides us with funds with which to operate, but also involves “name” individuals

and organizations that lend us moral support.” (See Figure 28)

The first uniform for the band consisted of a utility jacket rented from the musicians’

union. “I really didn’t care for that coat,” says Smith, “because other bands could also wear

them. We then went to white jackets, then to red.”

In the late 60’s, Smith designed a uniform that consisted of a bluejacket with a velvet

collar, trousers, and white shirt. Presently, the band wears a red jacket with dark trousers and

the white shirt. The regular members are all assigned a numbered uniform with members purchasing their own.

Smith himself wears a striking white tunic displaying impressive medals. One medal is the General Haller medal, the highest honor the Polish American Veterans can award. It was given to him for his work in bringing to the forefront the music of Polish composers.

Another medal is the one he received as first prize winner in a composition contest held in

Carnegie Hall, New York when he was a student of Mayhew Lake. The third medal is the one also seen on the uniforms of many band members, awarded all members to commemorate the band’s 25th anniversary.(See Figure 29) 106

ADVERTISING CONTRACT

DETROIT CONCERT BAND, INC. FIRST CABARET CONCERT - MARCH 22,1974

To: RICHARD A. RALSTON, Chairman 31437 Kenwood Madison Heights, Michigan 48071 Please insert our advertisement in your Program Book, size 6 x 9 as follows;

] Cover Page ...... $100.00 ) Full Page ...... $75.00 ] Half Page ...... $40.00 ] Quarter P age ...... $25.00 ] One Eighth P age ...... S I5.00 ] Names or one L ine ...... $5.00

Make Checks payable to Detroit Concert Band, Inc. MARCH 1 1 ,1 9 7 4 - DEADLINE FOR COPY [ ] Check enclosed for full amount [ ] Bill us

Please send us ORIGINAL and YELLOW copy. You keep PINK copy.

Firm Address

Per COPY

Figure 28 Advertising Contract DETROIT CONCERT BAND UNIFORM LOAN AGREEMENT

The Detroit Concert Band furnishes and hereby issues to the undersigned, on loan and without charge, the following merchandise:

One complete Detroit Concert Band Uniform, consisting of coat, trousers, belt with buckle, set of cuffs with links, de­ tachable collar, in DCS garment b^g, all in ■— "______condition, identified as Number^

All of the above described merchandise furnished by the Detroit Concert Band shall rem ain, at all tim es, the property of the Detroit Concert Band and shall be returned to it upon demand. The undersigned, in accepting the above merchandise so described,agrees to keep it in good condition and to replace it in the event it is lost or damaged, normal wear excepted. ■^AU L- X 6 ^ U f Y N a m e .

A d d r e s s . It» ^ C ity . s ta te

Telephones: (Residence) ^ { (Office) I ' , AXIo J 1 1 , ^ ' 1 0 I D a te A c c e p te dI ' i - .(LS) 3 Figure 29 Uniform Loan Agreement Form 108 The Hiring of the Personnel

The musicians from the Detroit Concert Band come from a variety of backgrounds.

The Federation of Musicians states that all musicians must be from the area unless there are not available personnel. Consequently, 90 percent of the band is from the Detroit area.

However, they all have one thing in common. They are hired by Leonard Smith and must meet rigid musical standards before they are employed.

“I culled them myself. My solo clarinet was a colleague of mine from the symphony.

There is one player playing today that played in 1946, Herman Kushner on clarinet. I bring in a few players from out of the area. I don’t compromise my standards.” Included in his roster are not only “professional” musicians but the roster numbers eight people who are music educators.

The players are selected by audition by Smith himself. Their selection is based on

“their musical ability, not by their race or gender.”

“I have in this band the highest quality of musicians anywhere. My type of work demands much. It is not like playing a symphony concert where the tuba player plays only a few times. These musicians must be very versatile and have endurance. I must also mention that many of my musicians are still with me that I hired in the SO’s. Our turnover is veiy small.”

Another factor in the hiring of musicians is the personnal traits Smith demands. He holds no quarter when it comes to the use of alcohol or drugs. He simply will not tolerate those who drink before an engagement While he has no objection to those who drink in moderation, he will not tolerate it at a rehearsal, performance or anywhere near thé bandstand.

He has fired musicians on the spot if they came to a rehearsal with beer or liquor on their breath. He has also released musicians for missing a performance due to the use of alcohol. 109 “Word got out real soon that I meant business. In the early years, there were still those

who would test me. Well, it really is the only way to run a band. It’s like the Goldman Band,

the Pryor Band, and the Sousa Band. These men auditioned and hired all the personnel. When

you are the director of a band like mine or any of the others, you are held responsible. I run

my band just like they did. I must audition the musicians and hire my people.”

He continues, “I know how to audition. I can tell you more about a player in a very

few minutes. I have more of an investment in the player than the player does in me. I simply

cannot make mistakes in hiring. I ask for a background, where did they study, with who, etc.

I ask them theory and harmony questions and then the scales. I give them test pieces It’s always from something in my library that we will play.”

Assisting Smith with the routine paperwork required by the union the past 20 years has been Robert Finzel who also plays trumpet with the band. He has served in the capacity of a contracter and makes the formal arrangements with the player. In the early years. Smith also served in this capacity. (See Figure 30) 1. That ttw ayomaof «iiall (xuvld* adéquat# atafllag to aaalat

THIS WMMMCtrr, #W ##&###* Into ëmy of , IVII# th# a.tnd'a property aeneger la onloadln# and la raleailaf

I t thm OCntOtT coactirr #tWO, inc.* # Wlcklgtm Cocpocttlon» equipaeot and aattlng up ol stage altk fiaaca. aaata, aualc wfMit tM cttt It l«l> V trtltr Aot4« aro ttt ffolttt itoedt* wlchlgtt recta and Incldantal «quipaent. 4tlH« f«K*cr«4 to At ilM "t##d,* to* f doo trook #. That the Sponsor abnll ptoulda public addraaa aqulpaant for

Mttic t aivltloo mt Otklaa* O tltortlty* ol koebttttr# the stega and a olcrophona for use by tk# Conductor and

MITOCStCTM» T. That the total acrvirea ol tha Band In coacart parCecaaac#

KtctCAS, %M paitlt4*0ffo ow tttllf «otlcooo of W vlof »W #to* shall not eaceed two and one-half |3 l/ll houta. and any fofo t coocttt at Mttéwi tiook Ihitle rattlval aoCtt tk# aatplea# aaralccs randatad In asccas of th# aforaaantloaad too and of ta# Stooeer. oma-kalf I2 I/ll hour period shall o# chargad for a# vow* ntaBfott* la coatHttatloo #1 tk# ott atatt ktctlaatktc tat ovartlaa at th# rata ol on# thouaaad, alght haadtad fifty

Cortk» tk# g trtU t4m ktttky M tM lty agrat at W&tat# ^ dollars Itl.dld.kOl par halt-hour or fractlo# tkaraof. I. Ikat tk# #aa4 akall yvttaat #m# (tl taactrt ptflaestltee ky provided hoaavar. that no oaertla# charge shall be Incurred

maoktt# of tk# D#tr#lt Coacart too* coaaU tlaf #f oU tytv# unleaa authorlrad In urltlag ky a repraiaatatlva of tk# Cfa» m ttlelaat, «kick aaakar akall laolote. U taari #. W ltk, Sponsor, apacifically daslgnaiad by tha Sponsor,

Caadoetoc aad laatffaaoatal aad to tal oololata, to taka yloco . i. That raapoaslklllty for the arrangamant of tha aualcal pro-

* a# rtlday, faa# N . IM» at tiM fH* at tka Watla# kcaak graana shall rest solely with Leonard a. Smith, Conductor,

N atit ro ttittif ktckttttr» M tklfaa. and that this concact pacfoimanca shall not k# kroadcaat by >. Ikat tac aactlcaa raadaaai la yaiCatotaf tka aaactft, tka

■ynattf akall ytatW a tka ktad altk a attatttta tkeaaaa# traaacrlkad without prior w ritten agraaaaat of tk# partlaa. tiva ktadrad dollar Ifll.lW .M I yaaraataa ylaa fifty

yaccaat il# t| of tka aat kaa-afCIca raetlyta tkatt alaty beyond tha control of the Sand, Leonard #. Smith, th# con­

tktataa# «altar#. IfM .tM .I ductor, or any member or mcobara of tha band la/ara «nabi#

1. tkat tk# yM ftataad fa# a* #13,1## akall ka yraaaata# ta tka to appear, th# band shall not bo held llabl# for suck •at* #a faaa IM t. Aay amaaaa akeaa tka kraak yalat of inability to appear,

IM .M # akall ka «tllwavad la tk# fora at a #k#ek, altkla in MitaCSS anfssoy, th# parties have haraunto aat thalr hands tha twa III o##t# aftar tka a####aa#at kaa taka# ylaca.

a. Ikat tka ayootot akall ytavlda tk# paacact facility for tk#

•aa«*a yotfoffaaaca aa tka «at# of tka eaacatt. llgktad, fU A iw n MOOS MUSIC P k s r iv a k kaatad, «aatai aa« elaaaad* altk alatytaa Ifll ckaira for

Ik# atay# aa« akall yr#«l«a tka M ai altk tka avalloklllty Managing D lractor o f t a a 111 iraaaloff raaaa aaar tka ataya far tka aaa aai aaaaa of tka iaa«. BCTSoiT coMccsr #aao, lac.

Figure 30 Agreement form for sponsorship of a concert by the Detroit Concert Band CHAPTER IX

The Band Library

“I have in my possession, one of the finest, if not the very finest in band libraries of its kind in existence.” Leonard Smith

Leonard Smith began acquiring his library while a student at the Williams School. He continues this practice today. The major acquistion was the George W. Stewart Band Library of Boston in 1946. This was the library from which Goldman and Sousa frequently borrowed music.

“This was in its day, and still is, the finest of band libraries. Stewart was the impressario of Boston, and in his day, was one of the most important musicians in the country.

He was the music director of the Louisiana Purchase Exposition, the World’s Fair in St. Louis.

He was proprietor of the Boston Festival Orchestra, The Boston Festival Chorus, The Boston

Band and leader of other music groups. It was he who arranged for the appearances of Sousa and his band and he also brought Camille Saint-Saëns to San Francisco. He also played 1st trombone for 10 years in the original Boston Symphony. You can imagine that anything he would have acquired would be of the very finest in literature.

“A colleague of mine in the Detroit Symphony Orchestra, bass clarinetist William

Herrick, told me of its availability. Bill was from Boston and hadplayed with Stewart’s Band.

My offer was accepted by the family, and I acquired the library. It took up half a freight car and everything was in perfect order when I received it. Mr. Stewart was extremely discerning in his choice of arrangements. A good portion of the library is in manuscript, and in some

111 1 1 2 of the most exquisite musicial handwriting. Great care was excercised in preparaton, such

as planning for page turns, etc,” Smith continues. (Band Fan, The Detroit Concert Band,

Spring 1990, p.3).

Since then he has also purchased all or portions of the libraries of Frank Scofield,

Michael Muro, Henry Everett Sachs, John Flockton, Ernest S. Williams and others. “While with Goldman, I took great pains to document those pieces I wanted to have for myself.

Playing so many concerts with so much diversified music was really wonderful. It seems like anytime I had any money, it went to purchase more music for my library.”

“I ’ve not tried to acquire quantity for its sake; I ’ve sought out the music I want to play.

The variety of music essayed at my concerts over the years and the items we’ve already recorded gives ample evidence of the breadth of the fine and well-arranged music available to the classic concert band,” Smith states. (Band Fan, The Detroit Concert Band, Spring 1990 p. 3).

• “Some of the more interesting pieces in the files include Mendelsohn’s Overture for

Band in the original Simrock edition dating to 1864, in its original cloth-laced binding. The parts have yet to be detached! Saint-Saëns’ Danse Macabre contains a correction made in the composer’s own hand, noted, “Corrige par I’auteur. C. Saint-Saëns.”

Included in the library, and one of its truly outstanding features, is the set of 55 encore books. The bound volumes contain pieces of a light nature, suitable for encore purposes. Each weighs about 5 pounds. They are kept at the player’s side readily available.

They contain an assortment of 175 encore pieces which the band can perform at a moments’ notice. Sousa’s Stars and Stripes Forever is number 10; Flight of the Bumblebee is no 19. Henry Fillmore’s Man of the Hour is 119. Music appropriate for most any occasion is available; to salute dignitaries or groups, ethnic, fraternal or otherwise! (Band Fan, The

Detroit Concert Band, Spring 1990, p. 3). 113 “A band library is something so very personal,” says Smith. “Mine is a heritage of

some of the greatest musicians and band personalities this world has known. There are manuscripts in the hands of Herbert L. Clarke, Mayhew L. Lake, John Philip Sousa, Edwin

Franko Goldman, among others.” (Band Fan, Detroit Concert Band, Spring 1990, p.3).

Smith devised his catalog system in 1945, and it has not been changed since. There are three indices, the primary source document being a 4x6 white card filed alphabetically by composer. The card contains the title, category, composer, arranger, publisher, copyright date and library catalog number. There’s also an 8 and one half x 11 numeric catalog file showing the library number, the title and composer. The entire library is checked annually against this file to ensure everything is in its proper file location. The book index, 8 and one half X 11, of which there are 5 copies, is divided into 16 categories: Overtures, Operatic

Selections, Ballet and Dance Music, Suites, Rhapsodies and Tone Poems, Marches, Grand

Marches, Waltzes, Miscellaneous Concert Music, Solos, Songs and Arias, Fugues, Oratorio and Sacred, Symphonies, National Airs, Brass Band and Orchestra Music. This catalog contains the same information as on the white cards. (Band Fan, The Detroit Concert Band,

Spring 1990, p. 3).

The library is designed for a band of up to 75 players. The numbering system is constant; No. 24 is always Baritone Saxophone, 33 is 4th horn, etc. After performance and before filing, the librarian sorts down the music by the instrumentation number. If any number is missing, a search is made at that time to retrieve the part. Usually, it is located immediately. The librarian then stamps the date and his initials and files it. The library is housed in a variety of steel X-Ray cabinets and other steel files. (Band Fan, The Detroit

Concert Band, Spring 1990, p.3).

In order to fund the remaining 17 volumes in the “Gems of the Concert Band” series.

Smith just recently announced his intention to sell this outstanding library. “The price is now within reach of potential buyers with whom I’ve had discussions. The best offer over 114 $275,000 will be accepted. That’s the cost of getting the music down on tape and that’s the first step. The cost of manufacturing will be accomplished in another manner.” (Band Fan,

The Detroit Concert Band, Spring 1990, p.l).

“I only hope whoever acquires my library will share my sentiments with respect to its musical significance and take decent care of it. It’s the quintessence of the heritage of the music of the American classic concert band.” (Band Fan, The Detroit Concert Band, Spring

1990 p.l). CHAPTERX

Instrumentation-Seating/Programming/Conducting

“The most important factor in the development of any fine ensemble is the care with which it is put together”. Leonard Smith

The above statement explains why the Detroit Concert Band is a premiere organiza­ tion. The meticulous manner in which Smith operates is evident in all facets of the band. Of primary concern to him is the seating and instrumention of his band. These areas are given great care.

“To my mind, a fine professional concert band should contain not less than forty-five players. The accompanying chart represents what I consider suitable instrumentations for bands of three sizes. These are based on what is practicable and available in so far as literature and its performance are concerned. I have also tried to regard the tonal balance these groups produce.” (Smith, Leonard, The Status of the Professional Band, International Musician,

June, 1961, pp. 22). (See Figure 31)

Smith makes clear that there is no such thing as an “ideal” instrumentation. The compositional techiques of the music to be performed is the primary concern. This will tell the conductor what instruments to employ.

The basic instrumentation utilized by Smith for the DCB has not changed over the decades.

115 116

80 PLAYERS 60 PLAYERS 45 PLAYERS 5 Flutes (Pic> 2-2-1 3 Flutes < Pic) 2 Flutes (Pic) 4 Oboes 2 Oboes 2 Oboes 4 Bassoons 2 Bassoons 1 Bassoon 18 Bj Clarinets <6-6-6) 16 Bo Clarinets 12 B'o Clarinets 4 E) Alto Clarinets 1 Ejj Alto Clarinet 1 Bj Bass Clarinet 4 Bj Bass Clarinets 2 Bg Bass Clarinets 4 Saxophones 4 Saxophones 4 Saxophones Cornets 5 Cornets 2 Trumpets 4 Trumpets 3 Trumpets 4 Horns 5 Horns 5 Horns 4 Trombones 6 Trombones 5 Trombones 2 Baritones 4 Baritones 2 Baritones 4 Basses 6 Basses 5 Basses 3 Percussion 2 String Basses 1 String Bass 4 Percussion 4 Percussion

Figure 31 Band Instrumention Chart

“The placement of the various instruments in the band should be a matter of prime concern. I believe it is even more critical in open air concerts than when playing within the confines of an auditorium; the sound in the auditorium is at least somewhat contained in a given area.” (Smith, Seating the Band Out Of-Doors, Instrumentalist. 19 pp. 46).

“I am responsible for the sound that hits the audience. Since our primary concern is to get the best balance of sound possible, we must have a plan to attack that area."

“So, logically, I divide the instruments into two categories. They are directional and 117 non-directional. Of course, the trumpets, trombones, euphoniums, tubas, and comets are di­ rectional. The sound from the woodwind instruments escapes through the tone holes. I classify the french horn as a non-directional instrument because the hand in the bell diffusing the sound. I could never really understand why many conductors seat their bands as they do.

Placing the cornets and other directional brass instruments in a position so they are playing across the stage means that a large portion of the audience will not hear the tone.”

Knowing his high regard for Sousa and his band, this author questioned Smith as to why he does not seat his band as Sousa did. His response was clear.

“Just because Sousa did it doesn’t mean it is good for me. You have to understand that

Sousa had star attractions such as Herbert L. Clarke and Arthur Pryor. Also, Sousa himself was the star attraction. He really sat his bands for showmanship as well as productivity.

Remember, he always ended his concerts with The Stars and Stripes Forever. His brass were in front so they could easily get to the front of the stage. People were paying money to see

Clarke, Pryor, Simon and the other greats. Really, this seating does not make sense to me, and others after him followed his pattern. Why? Because Sousa did it!”

“I prefer to seat my band with the non-directional instruments up toward the front of the stage, and across the entire width of the stage, on two risers. With the directional-toned instruments above and behind them, in a slightly semi-circular row facing the audience, the sound of the brass instruments then fuses with the woodwinds and offers the possibility of an excellent blend of sound.” (Smith, Seating the Band Out-Of-Doors, Instrumentalist. June,

1960, pp. 46).

"I will refer to the accompanying chart. (See Figure 32)

"If, for example, all the clarinets were to play the same tone, it would be heard as completely balanced tonally, equally distributed, and coming to the audience’s ear from across the entire stage. Since the oboes possess a more delicate tone, they are placed up front and near the center so they can more easily radiate clarity. The saxophones are ranked with 118

Scaling Plan of the Detroit Concert Band. Leonard BD Smith, Director ^ T ubas O

String Cornets Trom bones Bass

Trum pets Saxophones Horns Baritones

B assoons Alto & Boss Clarinets

Flutes

1st 2nd 3rd Clarinets O boes Clarinets Cond.

Figure 32 Seating Chart the horns, in the area of the bassoons and alto and bass clarinets, on risers. The flutes face the audience and their tone is welded into this total woodwind sound. (Smith, Seating The

Band Out-Of-Doors, Instrumentalist. June, 1960 pp. 47).

“A further examination of this seating arrangementreveals that many of the first chair players are in the proximity to each other. (These players are indicated on the chart by solid dots.) First chair clarinet, flute, and oboe are seated almost as close to one another as they are in quintet! The first chair horn, saxophone, comet, trombone, and tuba players are all grouped together. This obviously constitutes another factor in developing and maintaining ensemble precision. Also, the tenor-voiced instruments, which frequently perform together, are grouped in a concentrated area so that they too can perform with greater compatibility”.

(Smith, Seating The Band Out-Of-Doors, Instrumentalist. June, 1960 pp.47). 119 Smith suggests that a simple chorale is a fine means with which to enable the players themselves to hear the balance of sound that is produced by this seating arrangement. When the brasses are placed on risers above the woodwinds, it is easy to combine their sounds.

“Even if I had a larger band, say one of 125 players, I would still keep this same basic arrangement but I would have a double row of brass players."

“Lastly, from the audience’s visual standpoint, the band presented in this manner creates its own fascination. Those instruments most easily and frequently recognized and identified by sound can also be seen just as easily. And on these occasions when you want the comets, trumpets, and tromboes to rise, as on the last trios of some marches, the sight and sound are both highly effective. The golden edge to the tone quality of the brasses coming over the band in this manner never fails to remind me of the delightful way a French woman described the final trio of Stars and Stripes Forever:...like the American Eagle shooting arrows into the Auroa Borealis.” (Smith, Seating The Band-Out-Of-Doors, Instrumentalist.

June, 1960 pp. 47).

Progmmmmg “Programming is the most important part of the concert,” says Smith. “ It is not only what you play but when you play it. Its juxtoposition in the context of the program is so very important. I take a lot of care in the designing of my programs.”

After careful study of his programs, it is quite evident that he attempts to satisfy the musical tastes of many. The band is capable of playing all forms of concert music including the waltz, overture, symphony and the opera. Smith does them all and with a great deal of success.

“It is impossible to satisy everyone, but we try to present at least one item for every musical taste. Of course, the march is so important to the band tradition and I am proud to say no one plays them better than a band.” 120 As noted in the following examples, a typical Smith program always begins with the

Star Spangled Banner. That is followed by a familiar march, and an overture. There is a balance of tone poems, fugues, more marches and soloists and of course an encore which is generally The Stars and Stripes Forever. (See Figures 33-38)

“I include in every one of my programs, in so far as is possible, something fast, something slow, something loud, something soft, something new, something old. I always include a waltz, an overture, some marches, something from grand opera, something from current shows or a contemporary work. Also a display piece. It is usually around this display piece that I build the program. Playing the waltz at the conclusion of the concert seems to leave the audience happy and eager to return. Key relationships are important. I make every effort not to follow one composition with another in the same key. The garnishment of solos and novelties heightens the interest and enthusiam of the audience. My encore books are cherished items, for there are some 170 different pieces, of light nature, which make up these books. They contain encores, extra numbers, which are, in reality reward for the audience.”

(Smith, Leonard, The Status of the Professonal Concert Band, International Musician, June, 1981, pp 23,24).

One of the band’s most attractive features is the variety of music it has at its command.

We should not hesitate to draw upon music originally written for another medium if we can portray the music well.

You and I have heard it stated on occasion that we should not play transcriptions with the band; that the band should have its own repertoire from which to draw. If that were so, and carried into all other mediums of musical expression, then I presume that we should not want to hear the twenty-one Hungarian Dances of Brahms played by other than piano, since he had not otherwise scored them. (Parlow and Dvorak did the orchestra settings.) The important factor to consider is the quality of the expression of the music itself. (Smith,

Leonard, The Status of the Professional Band, Instrumentalist, June, 1961, pp 24). 121

m 1,I31st Free Concert Sunday, June 13, 1971 8:15 p.m. Belle Isle (Program subject to change without notice)

OPENING CONCERT Part I 1. Grand March "Freedom Forever" Edwin Franko Goldman 2. Overture "Roman Carnival" Hector Berlioz 3. Variations on a Theme by Schumann ...... Robert Jage" (First Performance) 4. Highlights from "Mame" . Jerry Herman

Part II 5. Farandole from "L'Arlesienne" ...... Georges Bizet 6. Solo for Cornet "The Harp of Tara" ... Walter B. Rogers Leonard B. Smith, Cornetist 7. (a) Pachinko ...... Paul Y o d er (b) March "We are C o m in g " ...... John Philip Sousa (c) M arch "The Blue F la m e " ...... L eonard B, Sm ith 8. Waltz "The Beautiful Blue Danube" Johann Strauss

(Also selected shorter items)

Figure 33 Sample program from 1971 122

1,132nd Free Concert Wednesday, June 16, 1971 8:15 p.m. Belle Isle (Program subject to change without notice)

Part I 1. March from "Le Coq d'Or" . .. N. Rimsky*Korsakow

2. Overture "Mignon" .. Ambroise Thomas

3. Solo for Trombone "Blue Bells of Scotland" Arthur Pryor W illiam E. la n e . T ro m b o n ist

4. Bacchanale from "Samson and Delilah" Camille Saint>Saens

Part II 5. Slavonic Dance No. 3 .. Antonin Dvorak

6. Excerpts from " S h o w b o a t " ...... Jerome Kern Mary Dean Campsie, Soprano and James Harkema, Bass Baritone, Soloists

7. (a) March "Naval R e s e r v e " ...... John Philip Sousa (b) March "Town C r i e r " ...... L eonard B. S m ith

8. Waltzes "Liebesiieder" .. Johann Strauss

(Also selected shorter items)

Figure 34 Sample program from 1971 123

1,133rd Free Concert Thursday, June 17, 1971 8:15 p.m. Belle Isle (Program subject to change without notice)

P art I 1. Marche Militaire Franz Schubert 2. Overture "Halka" . Stanislaw Moniuszko 3. Fugue ala G i g u e ...... Johann Sebastian Bach 4. Selections from "The King and I" ..... Richard Rodgers

P art II 5. The Blue Tail Fly .... Clare Grundmann 6. Solo for Soprano "Ouvre ton Coeur" Georges Bizet Faye Turner, Soprano 7. (a) March "New York Hippodrome" ... John Philip Sousa (b) March "World E v e n t s " ...... J. S. Zamecnik (c) March "The T r a v e l e r " ...... L eonard B. S m ith 8. Capriccio E s p a g n o l ...... N. Rimsky Korsakow a) Alborado b) Theme and Variations c) Alborado cO Scene and Gypsy Song e) Asturian Fandango (Also selected shorter items)

Figure 35 Sample program from 1971 124

1,134th Free Concert Friday, June 18, 1971 8:15 p.m. Belle Isle (Proiram subject to change without notice)

Part I 1. Marche Hongroise " R a k o c z / '...... H ector Berlioz 2. Overture "Barber of S e v i l le " ...... G ioacchino Rossini 3. Bourree from "B Minor P a r t i t a " ...... Johann Sebastian Bach 4. Polka & Fugue from "Schwanda, the Bagpipe P l a y e r " ...... Jaromir Weinberger

Part II 5. Spanish March "Amparito Roca" ...... Jaime Texidor 6. Solo for Cornet "Willow Echoes" ...... Frank Simon Leonard B. Smith, Cornetist 7. (a) March "Minnesota" .... John Philip Sousa (b) March "Chimes of Liberty" ... Edwin Franko Goldman 8. Excerpts from "The Sound of Music" Richard Rodgers

(Also selected shorter items)

Figure 36 Sample program from 1971 125

1,135th Free Concert Saturday, June 19, 1971 8:15 p.m. Belle Isle (Program subject to change without notice)

P art I 1. Grand March "Hail, America" George Drumm 2. Overture "Die Fledermaus"...... Johann Strauss 3. Prelude in G m i n o r ...... Serge Rachmaninoff 4. Excerpts from "Carmen" . Georges Bizet

P art II 5. Lady of Spain ...... Evans-Van Loan 6. Solo for Trombone "The Gondolier" Gardell Simons William E. Lane, Trombonist 7. (a) "What is this Thing called Love?" ...... Porter Harger (b) March "The Loyal L e g io n " ...... John Philip Sousa (c) M arch A. B. A. ... Edwin Franko Goldman 8. Pini di Rom a ...... Ottorino Respighi — Along the Appian Way (Also selected shorter items)

Figure 37 Sample program from 1971 12 6

1,136th Free Concert Sunday, June 20, 1971 8:15 p.m. Belle Isle (Proéram subject to change without notice)

Part I 1. Montmartre March from "Paris Suite"...... H aydn W ood 2. Overture "Academic Festival" . . Johannes Brahms 3. Symphonic Poem "Psyche and Eros" Cesar Franck 4. Excerpts from "M ary P o p p i n s " R. & R. S h erm an

Part II 5. Slavonic Dance No. 8 .. Antonin Dvorak 6. Solo for Soprano "Inflammatus" from "Stabat M ater" Gioacchino Rossini Faye Turner, Soprano 7. (a) March "Man behind th e G u n " ...... John Philip Sousa (b) M arch "V. F. W." .. Edwin Franko Goldman (c) March "Baton T w ir le r " ...... Leonard B. Smith 8. Waltz "Gold and Silver" ... Franz Lehar (Also selected shorter items)

Figure 38 Sample program from 1971 127 The Detroit Concert Band plays quality literature by quality composers. Much of this literature has been transcribed by Smith himself. There are also selections written specifi­ cally for the wind band. Whether the composer is Gershwin, Anderson, Strauss, Rossini, or

Sousa, Smith knows how to play to his audience. He is a showman as well as a musician.

It should be of special mention that the six programs illustrated all contain, except for the National Anthem, completely different literature. Each program is a true Tour De

Force in itself. Smith estimates that in one season his musicians will be called on to read over

400 compositions by nearly 150 composers.

“We always play a good rousing overture, early in the program. But the overture isn’t the only piece of “serious” music. Things like Saint-Saëns Bacchanale or the William Tell

Overture. I also like to play an extra, unprogrammed number after an overture or other large piece. This was something Sousa did, and his technique was to start the new selection while the applause was still going on the previous one. It never fails to produce enthusiasm!”

In keeping with the tradition of those men before him, soloists are an important part of his concerts. As Herbert L. Clarke, Frank Simon, and Arthur Pryor had done years prior with Sousa, Smith consistently features his outstanding brass soloists.

“The audiences love the flashy technique and beautiful tone produced by these players. It seems they always want an encore and we give it to them. Also, we feature vocal soloists and they are also very well received.”

One important aspect of programming is the fact that very little, if any, new literature is performed. His programs consistently envelope the traditional concert band literature.

“It is nice to champion new music. But newness for the sake of newness is very shallow. I really do not have much regard for a lot of the new music. There is so much quality literature already written that audiences truly love and appreciate. We must perform it! What perplexes me is that some of these composers think that what they are writing is good and right. I just do not believe that people want to hear some of this new music when we can give 128 them the great classics. There is so much wonderful literature that I just wish more conductors would take the opportunity to let audiences hear it!"

Variety has always been a trademark of the Detroit Concert Band. “As a repertory band, we sell concerts. Every concert must be designed to entertain. That is my primary consideration. If education rubs off in the process, that’s a plus feature, but entertainment is the key word. All I can say is that people leave my concerts saying they want to come back and not that they wished they had not come. I really try and please my audience.”

“It appears to me that many band directors, along with symphony conductors, have completely lost sight of the purpose of concertizing, which is to entertain. I understand

“entertain” to be a pleasant experience. A concert should fill a spiritual need just as food fills a hunger need. Smith continues by saying that he believes that many band conductors are

“closet syniphony conductors”. They don’t realize people want to be entertained. They wear their tuxes, stick up their heads like they are above the audience, and then can’t understand why the crowds are small. They stick in a Sousa march and say thay have programmed a great band concert. That is nonsense! What was in between was not worthy. My band entertains our audiences. They both love it!”

The performance of marches is integral to his programming. It is often that he will perform as many as six or seven in a single program. Many programs consist of a series of

3 marches played in succession near the end of the concert. They range fi-om the stately to the fast moving and the audience can always count on the great marches of Sousa, Goldman, and Smith himself.

“The basic item of the band’s repertory is the march. In this medium it excels.

Designed as a piece of music to be performed while on the march - hence its namesake, it is interesting to both the performer and the listener. Audiences enjoy good marches and they like to tap their feet. Why not let them?” 129 The most requested encore, and perhaps really expected to be the finishing touch to

a Leonard Smith concert, is the march The Stars and Stripes Forever. As did Sousa, Goldman,

Pryor and others before him, Smith brings out the piccolos for the obligato section then the

cornets, trumpets, and trombones join in a line for the final strain that always brings the

audience to their feet.

What gives the Stars and Stripes Forever such long-lasting appeal? Smith states that

it is not only the music’s drive, but the fact that the work was well written.

“I have analyzed Sousa, not only as a bandleader, but also as a composer. He was a

well-trained, highly skilled musician who knew how to create effects. He has techniques for

each march, each one different.” (Miller, Stephan, Leonard B. Smith: Semper Fidelis, In­

strumentalist, June, 1988 pp. 55).

“There’s something about going to a band concert in the park, sitting around in your

shirtsleeves under the stars, that gives people a good “American” feeling. I want to do my

bit to inculate this feeling of community. Band concerts carry with them a certain pride."

It is a point well made. Detroit, in the throes of social upheaval as are all of today’s

cities, wonders anxiously about the future of its evening park programs: yet these concerts

have been free from the incidents that have soured the reputation of other outdoor music

gatherings.

J. Moore, former mayor of Philadelphia, put it this way: “Wherever there is good music, there is harmony. Wherever there is harmony there are good citizens and therefore we must provide all the good music that is possible.”

"Leonard Smith and the Detroit Concert Band offer good music, well played. Their effect is definitely settling, inspiring, and, as the jargonists would have it, therapeutic. May thay play on and on and on.” (Scharfenberg, Doris, One Man’s Band, Instrumentalist. June,

1970, pp 27). 130 .Cgndtifcting Having been a conductor for over 50 years, and, having performed under the baton of many outstanding conductors, Leonard Smith certainly qualifies as a discriminating expert. It is this author’s belief that all too often the wind band conductor is not evaluated with regard to interpretive technique as is the orchestral conductor. Having observed the rehearsals and performances of maestro Smith, it is evident he is in complete control of two critical areas. These areas are the ability to command respect and control as well as possessing the musicianship to communicate the desires of the composer’s music to the ensemble. He elicits nuance and aesthetic beauty from any ensemble he is conducting.

“Everything that goes on in a band or an orchestra should pass through the conductor’s brain first. Not only must the conductor understand the uses and limitations of every instrument, he must be trained and skilled in many areas-in theory, counterpoint, sight- singing, dictation, and ear training, as well as baton techniques. There is nothing which will evoke accuracy and attention to detail, on the part of the performers, as much as a capable and discriminating conductor who hears what goes on in an ensemble. The ability to immediately correct a note by indicating What wrong note was played and what the right note should be commands respect. And this can be done on the spot, without resorting to a minute study of the score. But it takes practice if these skills are to be developed and maintained.” (Smith, The

Band Conductor as Musician and Interpreter, The Instrumentalist. April, 1973, pp.35).

When asked what he believed to be the most difficult part of conducting. Smith responds, “it is not difficult to teach a beat pattern, or to learn the ranges of instruments. These are the basics. The difficult thing is for any conductor is the interpretation, providing nuance, shadings, and dynamics. I think one of the best ways to help in gaining control of these items is by observing the really great conductors. I had the opportunity to perform under the baton of many truly great conductors. They each left me with something, even though they all were different from each other in style. The four were Bruno Walter, Fritz Reiner, Eugene 131 Ormandy and Victor Kolar and I must tell you about them."

"Bruno Walter conveyed his wishes to players by giving them the feeling that he had

an orb or sphere in front of him which he could mould. He was able to “draw” the music to

him, out of the players. He would look, for instance, at the first violins, shake his head slowly

back and forth, and half close his eyes. His outstretched hands would impress one that he was

attempting to bring their vitality to his (which was, in fact, what he was doing).” (Smith, The

Band Conductor as Musician and Interpreter, The Instrumentalist. April, 1973, pp. 36).

“Fritz Reiner was just great! He was viewed as a great technician. He was a very

gratifying conductor to play for. I’ll always remember the technique he used to reward a solo

passage by one of his musicians. He would move his left hand palm up to the player. Anyone

who has ever played for him could demonstrate it It made one feel good: sometimes it was

better than the paycheck!!

"Eugene Ormandy was, indeed, one of the greatest! I have seen him come on stage

for a-concert or broadcast rehearsal, see a “cold” score (i.e., one which has just been prepared in manuscript) for full orchestra with chorus and solo vocal line, and then proceed to read and conduct it flawlessly. Some lesser “lights” placed in that same circumstance have promptly turned the stick over to the concertmaster and made a bee-line into the control booth to “hear the balance” (when, in fact, they were hoping to get a chance to brief themselves on the unfamiliar score.” (Smith, The Band Conductor as Musician and Interpreter. The Instrumen­ talist. April, 1973, pp.36).

“You will recall, I had the opportunity to work with Ormandy for the U.S. Navy in

Philadelphia and got to know him quite well. He was amazing. A complete musician! The best thing I can say about him was his ability to make music! It was wonderful!

“I played for Kolar while in Detroit. In my opinion he was one of the greats but not many people are that familiar with him. Walter Damrosch brought him here. Kolar was concertmaster for Victor Herbert and a fine pianist as well.” 132 "Kolar was as neat as a pin in both his personal demeanor and his attention to musical details. I don't think I ever played the 4th or 5th Tchaikovsky symphonies with anyone who so correctly and consistently achieved the “right” tempo. He understood the stretto and, in

Tchaikovsky, this reveals the whole structure and subsequent interpretation. I well recall one instance in which the eminent pianist Sergei Rachmaninoff turned to the orchestra to compliment Kolar, stating that he had finally received the finest accompaniment for his concerto.” (Smith, The Band Conductor as Musician and Interpreter, Instrumentalist, April,

1973, pp. 36).

The many musicians of the bands conducted by Smith all praise him for the same criteria they responded to as a performing musician. His musicians include not only the full time band members of the DCB, but also highly regarded orchestral players.

“It is really a pleasure to play under his baton.” states Alan Squire, solo clarinet for the Blossoom Concert Band and clarinetist for the Cleveland Symphony “He knows the literature and demands much from the musicians. He really makes music!”

The manner in which Smith interprets his music decides the effectiveness of performance. “Interpretation is a matter of degree. There are underlying causes for interpretaton which are in the music itself. It really has nothing to do with sentiment. This is what most people, including conductors, do not understand.”

He continues by saying that “there are certain things that must always happen. For example, syncopated notes are to be accented and cut short. This must occur, but to what degree? That is the difficult part!”

Tucker Jolly, tubist from the University of Akron, The Akron Symphony, and the

DCB states “he is impeccable as a conductor. He is very musical, easy to follow, and interprets very well. He is always consistent and tasteful, whether it is a transcription or a standard band work. We all enjoy playing for him.” 133 Smith says, “I try to make my gestures easy to follow and fluid enough to bring about the nuance in music. With the DCB playing such a great amount of literature, I must really

‘know the score’ so to speak. I try to breathe life into the music! I try to show feeling and emotion through the interpretation of the music. Energy! I must always display energy to my musicians. I believe, from what they tell me, that I do just that.” CHAPTER XI

The Blossom Festival Concert Band

“The crowds at Blossom continue to marvel at the musicianship and entertainment provided by Leonard B. Smith.” David Zander, Personnel Director - Blossom Band (Personal interview 8 July, 1983).

Along with the Shrine Band and the Detroit Concert Band, the Blossom Festival Concert Band has been a staple in the career of conductor Smith. He made his debut at the Blossom Music Center in Cuyahoga Falls, Ohio on September 4,1972. The July 4,1990 concert marked the 47th and 48th appearance as conductor. “Clin Trogdon, Concerts Director of the Blossom Music Center and a former string bassist in the Cleveland Symphony, contacted me about the formation of the Blossom Band,” says Smith. “He knew of my work and my interest in the heritage of the classic concert band. He also felt there was a need to continue the band tradition and that people would come. The first concert we did was called “A Salute to Labor Day” and was quite a success.” The band consists of 65 musicians from and around the Cleveland area. They are hired by David Zander, personnel manager from the Cleveland Symphony Orchestra, with many from the Cleveland Symphony performing. Smithrelates that“01in knew of the quality of person I needed for the band. It was really interesting to see how much the symphony men enjoy playing this literature.” When asked if he uses any of the DCB players he responds “I always bring my two percussionists, Doug McLeod and Eugene Hanson. They know the music and what I want and they really are an asset. Once in a while I do bring in other players as soloists, but

134 135 generally the band consists of Cleveland musicians.”

When the project first began, the King Band Instrument Company, which was located

in Cleveland, promoted the concerts though advertizing, and the local high school band

directors assisted by providing outstanding students to participate in performance.

“This series has really grown since 1972. The grounds at Blossom are beautiful. They

have the pavillion seating and also seating on the lawn. People come from all over, and 1

remember in 1976 over 15,000 people paid $5.50 each to see our July 4 concert. In 1987 over

18,000 were in attendance. Just this year over 8000people paid from $10.50 to $34.00 to see

and hear the band. See, the classic concert band is not dead!” (See Plate XVI and Figure 39)

Not unlike the concerts in Detroit, the Blossom programs feature the great overtures, outstanding soloists, and high spirited marches. They also play to enthusiastic audiences. “1 bring to Cleveland the outstanding soloists from the DCB, and we also feature wonderful players from the symphony such as David Zauder,” says Smith. (See Figure 40, 41 and 42) “Some of the highlights were the premiere of a new march 1 wrote in 1986 called Let’s Celebrate. The Musical Arts Society of Cleveland commissioned the march which was dedicated to the people of the city of Cuyahoga Falls, Ohio, celebrating that city’s 175th anniversary of incorporation. The march was published by BOV ACC. (See Plate XVll) He continues by saying that “On several occasions we brought in John Philip Sousa in. He recounted how his grandfather came to write The Stars and Stripes Forever. Mike Whorf, internationally famous creator and producer of the syndicated radio program “Kaleidoscope” has narrated the program. Cometists David Zauder, James Underwood trombonist Williams Lane, and Earle Louder, euphoniumist were soloists.” Smith’s move to Arizona not withstanding, he plans to continue to serve as conductor at Blossom. “It is a mutual thing you know,” says Smith. “1 enjoy being there and they want me back. We always draw terrific crowds and the musicians and audience alike enjoy what

1 bring them.” Plate XVI Blossom Concert Band Circa 1973. The large crowd is typical of the attendance when Leonard conducts.

W OS 137

AMUSCMINTV-

FESTIVAL^ CONCERTS ★ BEGIN* ★ ^ TODAY AND TOMORROW ^ ^ JUNE 30 & JULY 1 ^ The Blossom Foslwal Band • Leonard 0. Smith, conductor ^ * " 1812 " * I OVERTURE * * & Fireworks* * ^ Tchaihovsf(y% W 2 Ow m w wlih cmmnom cap: fhw* NAh* bind concerts also foaiurino the music ot John Philip Souse, ^ Richard Wagner. Richard Rodgers, end others. The evenmg ^ W . #nds with a colorful fireworks display!' ^ , The concerts begin at 8:30 p.m. . V ' Saturday s concert IS sponsored by Ohio Edison. ^ pavillon $34, $33, $18, $13 Lawn $10.50 . TICKETS ON SALE NOWI * * lA: 'k'k'k'k'k'k'k if * FOURTH OP JULY! * . Wednesday, July 4 . ? ThcBlotaomFMlral Band .U o n v d a SmHf), conductor ^ if, «'STARS & STRIPES FOREVER" ic Û Wilh Firoworksl * ^ ^ Anannualtraditnn. A«ar.spangled(pactacularl ^ . Til* conetrtboBim at 7:30 p.m. . . AiltfckelsiAdwlta$10,Clinaran$6^ if TICKIIS ON SALS NOWI if In panan ol Sawaronca Hall. if AlthaBlauoMflfrtabafora if liw parfamwaca*. if ByphanafhraoghTiclialran. if * 524-0000 * * gLossam * * ★★★★★★★★★

Figure 39 Advertising for the 1990 Blossom Concert 138

blossom music center

PHESENTS

THE BLOSSOM FESTIVAL CONCERT BAND

DR. LEONARD B. SMITH Conducting

"A Salute to Labor Day"

Soloist: ELSIE INSELMAN

Monday Evening, September 3, 1973, at 7:30

PROGRAM Part I

THE STAR SPANGLED BANNER arr. by Leonard b. smith (The audience is invited to participate) 1. Introduction to Act III of “Lohengrin” ...... richard wagner 2. Overture, “Mignon” ...... ambroise thomas 3. Suite from “Swan Lake” ...... peter i. Tchaikovsky a) Scene b) Dance of the Swans c) Hungarian Dance 4. Highlights from “My Fair Lady” ______predrick loewe Part II 5. Handel in the Strand percy G rainger 6. Aria, “Amour viens aider” from “Samson and Delilah” ______CAMILLE SAINT-SAËNS ELSIE INSELMAN, Mezzo-Soprano

7. (a) March, “We are Coming” ______john ph iu p sousa (b) March, “Age of Progress" edwin pranxo G oldman (c) March, “The March King” Leonard b. smith 8. Rhapsodie, “Espana” Emmanuel chabrier 9. Labor Day Sing-o-rama ------compiled by Leonard b. sm ith Band and Audience

TIm taking of photagropk» during purfbnnancM in rti# Pavilion it not pownlttod. Top# racoidtn may not b# brought onto tht Moiiem grounds ot any lim#. • The Ktitaurant is optn hours bofor# oil performances; for reservations coll t AI >5474 (Cleveland) or 939.3048 (Akron). • food and beverages may not be brought Into the Pavilion. • Physicians and others expecting urgent coils ore requested to leave their name and seat number with the Security Office inside the Mein Gate, upon a rriv a l. • Biossem weather bulletins may be heard over your foverite radio station.

Figure 40 1973 Blossom Program 139

THE BLOSSOM FESTIVAL CONCERT BAND PERSONNEL nntea clarinets (continued) baritones Waller Mayhall Ken Mt-hnlko Richard Rodda Barbara Peterson Shirley Zielinski John Grigg Deidre McGuire Harry Golland bass clarinet trombones oboe* James Martin James Taylor Roger Rehm Michael Sexton Patricia Pogorzelski saxophones Leonard Holstein Patricia Taylor Albert Blaser Michael Corbissero Robert Beno Robert Hodgkinson engltah horn Richard Hershey Roy Hawthorne Patricia Pogorzelski Elmer Zelman tubas banooiu cornets Bernard Guzik Stanley Maret* Don Allcorn Janice Jonap David Zauder, Soloist Kenneth Hughes Robert Dolwick Tim Sabo cb clarinet James Darling* Richard Barth Robert Cole Martin Zielinski Sal Cardello string bass Frank Bradshaw clarinets Frank May* Alan P. Squire trumpets Angelo Fortini percussion Michael Limoli Mary K. Squire Robert Gref Richard Kolda George Alexsovich David Harris Ray Stoupal Gary Olmstead Carl DeMarco Jim Wonnacott Kenneth H. Baldwin Steve Barta Eugene Hanson William Rappaport french horns Karl Zahtnia harp Alfonso D’Emilia Albert Schmitter* Cindy Ratzloff Vince Sidoti Eileen Cress Harry Golub Judith Satx) librarian Thomas Tweedle William Slocum Louis Gangale George McCracken Nikolas Bryce* *Member of The Cleveland Orchestra

Figure 41 Personnel from Blossom Band 140

THE BLOSSOM FESTIVAL CONCERT BAND y

Saturday evening, June 30,1990, at 8:30 Sunday evening, July 1,1990, at 7:30

LEONARD B. SMITH, c o n d u c to r

The Star-Spangled Banner...... John Stafford Smith (1750-1836) (The audience is invited to participate.) arr. Leonard B. Smith

Prelude to Act III of L oh en grin Richard Wagner (1813-1883)

Overture to William T ell Gioacchino Rossini (1792-1868)

Comet Solo: Grand Russian Fantasy ...... Jules Levy (1838-1903) B yron L. A uthey , com et

Wing-Ding ...... Lou Singer (1912-1966) "Golden Friendships" March Henry Fillmore (1881-1956)

Symphonic Synthesis: The Sound of M usic Richard Rodgers (1902-1979)

INTERMISSION

American Fantasy ...... Victor Herbert (1859-1924)

Trombone Solo: Atlantic Zephyrs ...... Gardell Simons (1878-1947) W illiam E. Lane, trombone

“Spirit of Independence” March...... Abe Holzmann (1874-1939) “New York Hippodrome” March ...... John Philip Sousa (1854-1932)

Overture: "The Year 1812” ...... Piotr Ilyich Tchaikovsky (1840-1893) (with cannon)

Saturda/s conceit is sponsored by Ohio Edison.

The audience b invited to remain for a fireworks display that will begin hnmcdialdy alter the concert's end, weather permitting. The fireworks are by American Fireworks oi Hudson, Ohio.

Additional information for concart-goers — including concert policies, maps, personnel, and services — can be found in fhe 1990 Blossom Program Book. ■ In consideration of ttia m usicians on stage and your nsigltbors in the audience, it is requested that you not smoke in the Pavilion. ■ The taking of pictures (wilh or without flash) is not permitted in the Pavilion during performances. H Audio record­ ing equipment of any kind is not permitted on the Blossom grounds. ■

Figure 42 Program from 1990 141

Plate XVII Cuyahoga Falls Mayor Donald Robart accepts manuscript score of "Lets Celebrate" from composer-conducter Leonard Smith CHAPTER Xn

The Recordings of the Detroit Concert Band

The Need For Documentation

“Could you imagine George Washington’s “Farewell Address” or Lincoln’s “Gettysburg Address” being heard live once and never committed to paper for posterity?” Leonard Smith

Smith and the Detroit Concert Band got involved in the recording business in 1951.

The manner in which it occured was rather unusual.

“There was a Dodge dealer in Bridgeport, Connecticut who sent to the home office in Detroit apiano copy of a march by Victor Herbert called the Dodge Brothers. They wanted me to play the march at Belle Isle. Of course, I had to explain to them that I needed a band arrangement. They hired me to make them one and I did. We played it at BeUe Isle, and they were very pleased. However, they wanted to exploit it even more. I suggested to them that we record it so they could play it at the other car shows. They thought that was a great idea.

I think at the time, I charged them $1000.00 which was in the parameters of the Federations of Musicians fees. Bandland put out two recordings. They contained The Belle Isle March,

Hail Detroit, Willow Echoes, Ectasy, and the Dodge March. It was a one sided record on 78

RPM. (See Plate XVm)

This was just the beginning of what was and still is to be a monumental series of recordings of “classic concert” band literature. Smith believes there is a real need to preserve the heritage of the classic concert band through recordings.

142 Plate XVni On September 14,1954, Leonard Smith and his band recorded "The Dodge Brothers March" by Victor Herbert.

r 144 “It is important that the sound and true interpretation of this literature is available.

Once a concert is given, the music is lost. I believe it is a must to record this literature so it may be played years from now.”

He believes that while there are a large number of fine band recordings available, unfortunately, they do not contain much music of the era which he represents.

“The classic concert band tradition is not available nor being taught in the schools today. The proliferation of school bands, elementary through college, has given rise to a wholly different genre of musical literature which is unique to them and which is totally unlike the repertoire to which we refer. This is music which must be perserved.”

After his inital recording of the five selections, the only one made by Bandland, he began his next recording project. This series was derived from the soundtrack he and the band made in 1969. It was for the film on John Philip Sousa called The March King and it was for the BBC.

• “In 1969, Kenneth Corden, head producer for fine arts for the BBC, engaged me to provide the sound track for an hour-long TV documentary on the life of John Philip Sousa.

They flew to Detroit to film it and it was shown several times nationally on public television.

I actually did more than conduct. I secured the hall, took care of finançai contracts, and did many other little things. This exposure attracted many requests for recordings of the Sousa marches we played. (See Figure 43)

This project brought Smith, the band, and the city of Detroit much acclaim.

Recognizing the signifiance, Mayor Jerome Cavanagh officially proclaimed June 15,1969

“Detroit Concert Band Day”, and Senator Robert P. Griffin gave honor to the event in the

Congressional Record. “This was really a boost for us. The producers, camera men, stage hands, and reporters all were just delighted with the band. If there was any kind of a drawback it was that we could not use any women in the band. This caused a few hard feelings, but the producer wanted the band just like Sousa and Sousa had no women other than harps and 145

soloists.

Corden and Smith had met in Detroit to discuss the project. He was genuinely

impressed with what he had heard about the band.

“Everywhere I went, during my year-long evaluaton of concert bands,” stated

Kenneth Corden, “the name of Leonard Smith loomed so prominently in all discussions and recommendations, that it could not be ignored. His reputation for unswerving fidelity to the classic concert band tradition as delineated by John Philip Sousa, his uncompromising insistence upon excellence in performance, his knowledgeable and disciplined rehearsal techniques, his vast professional experience in film, TV and radio procedures, his genuine knowledge of Sousa and his compositions, his close association with members of the Sousa

Band, his accurate interpretations relative to tempi and dynamics of the Sousa marches, all led us to seek him out.” (Smith, Leonard, The Detroit Concert Band, International Musician.

October, 1969, p. 7).

4

Figure 43 Smith with British Broadcasting producer Kenneth Corden as they discuss the score during the filming of the documentary on John Philip Sousa, "The March King." 146 “We were so pleased he chose us. It really was a reflection not only on Leonard Smith,

but the Detroit Concert Band. You know, it gave us the impetus for our next project.” That

next project was the recording of Sousa marches.

Without doubt, the Sousa project was attainable through not only the musical skill of

Leonard Smith, but also his ability to market the project through advertising. “It was a

gamble. But, based on the fan mail we received following our appearance in the BBC

television documentary, I thought we could do it. I believed there was an audience out there who wanted to hear the marches of this great composer. Maybe Leopold Stokowski put his finger on it when he said that Sousa marches are the best of their kind...just like Beethoven symphonies and Strause waltzes.” “The need to document was there.”

“The first record was very well accepted. We sold out the first pressing and several since. We called the series, “The Sousa American Bicentennial Collection.” I said on

Volume 1 that it was our intention to record and thus document all the known published marches for band by Sousa.”

“It was a monumental task because, with an all-professional band of the size we used, costs are enormous. There is no such thing as free rehearsals or free overtime. All players are members of the AFM. Out of a three-hour recording session, one hour must go for rest.

Out of the two remaining hours, not more than 45 minutes of usable product may be recorded.

This is a business and in this business time is money. All the musicians are pros and realized this.”

All the recording was done on H&L Records (Helen and Leonard). Indeed, it was a monumental task, but all 116 known published marches by Sousa are now recorded by the

Detroit Concert Band. The project was paid for through sales of the records, the sustaining membership, and sale of concerts.

“I had to come up with creative titles for the albums. Some names were “Thru The

Y ears With Sousa,” “The Fraternal Marches of Sousa,” “Exposition Marches,” and “Marches 147 for His Friends,”

“Once the recordings are made, the distribution for sales becomes the next task.

“When we produced our first Sousa album, we tried to get it in retail outlets but, quite

understandably, a single album is of no interest to wholesalers or distributors. Since Schwann

lists only those items found in retail stores, we are not listed there. That left us our only

altenative: to promote it ourselves.

"We were extremely fortunate in leasing our Sousa marches to Book-of-the-Month

Club. During the tenure of that lease, we acquired sufficient funds to produce four of our

“Gems” albums. Realizing the need for and value of a mailing list, I would nightly suggest

to our concert-goers to fill our forms and received more information about the band. They

would fill out cards and would then be on the list. We could then contact these people about

purchasing the records.”

• To indicate the great popularity of the Sousa recordings, the Cincinnati Enquirer

named the collection one of the ten best albums of the 80’s.

Smith continues. “It was interesting that after the fourth volume, people started to

think we could only play marches. So, I decided to do the “Soloists of the Detroit Concert

Band” series. This showed off the great virtuosity of our players and let others know we could play more than Sousa marches. As you can see, there is some wonderful literature that our

soloists performed. The recording still continues to sell well. I might also say that we had

a few people who complained to us about giving up the Sousa project. They thought all we

should record were those marches. But they kept buying, and we eventually finished the

Sousa recordings.” (See Figure 44).

After the soloist album, and two more Sousa albums, the next recording project was titled “Gems of the Concert Band”. It is this series that best exemplifies Smith’s desire to document the heritage of the classic concert band. 148

mih tTcnco I.KONARDH. .SMITH, OiriiPi Soloists of t Carnit al of I enicr tt lLl.lAMK. UNK.TroinlHinf flliii’ Ui'lii ofStotland

EARLE L. LOUDER. Eophnniiim Betin'C me, if all those endearing young Charms

LMOGENE BIRD. Soprano yienna Dreams

ELSIE INSELMA.N. Mezzo-soprano Come to the Fair & When Love is K ind

CHRISTI.NE LVPECKYJ. Mezzo-soprano 0 Don Fatale

Messrs. SMITH. FI.NZEL & ALTREV. Cornet Trio Fictoria Waltz w Messrs. SMITH & AUTREY. Cornets LANE, Trombone, LOUDER. Euphonium Quartet from "Rigoletto"

Messrs. SMITH d FINZEL, Cornets LANE. RUSSO & O K U N , T ro m b o n es LOUDER. Euphonium Lroturd 8. Smith Condiirlur Sextet from "Lucia"

10 OUTSTANDING ARTISTS ON ONE RECORD!

Never before in the history of bands has such a galaxy of instrumental and vocal talent been captured on a single stereo album! One of the ineluctable charms of the professional concert band program is the appearance of the soloist. Hear these renowned and distinguished members of the World-Famous Detroit Concert Band as they perform their all-time favorites to the accompaniment of this supe* musical organization. This recording is dedicated to the thousands of young and aspiring instrumental and vocal artists of the future who, up until now, may never have had the opportunity to hear the compositions recorded herein as performed by such celebrated artists. It is hoped these performances will provide incentive and will stimulate them to higher levels of musical attainment. To order this unique and memorable listening experience, send $7.50* to DETROIT CONCERT BAND, INC., 20962 Mack Avenue, Grosse Pointe Woods, Michigan 48236.

Figure 44 Soloist Album and Program 149 The series is significant because it documents and preserves the classic concert band literature. It contains the literature from the great careers of the famous early bandsmen.

“These are truly gems of the band literature. So I called the series “Gems of the

Concert Band. I got pictures of gems from a gemologist, Richard Pearl, from Arizona, tying in pictures of the various gems and connected them with the gems of band literature. It gave retention in the mind of the purchaser. (SeeFigure 45).

“In selecting materials. I’ve tried to make “Gems” a selective, artistic documentation of the type of music those bands performed. I’m speaking of the classic concert band. It’s gratifying to find the response has been so great. The music is quality literature, and there is a bit of everything for just about everyone.”

When completed, the “Gems” series will number 36. Currently there are 19 com­ pleted. When final, the series will become a comprehensive anthology that will embrace the tradition of the concert band, including over400 compositions representing 200 composers.

Financial support for the project comes mainly from the sustaining memberships in the DCB as well as corporate and private funds.

“The “Gems” will contain an unprecendented, unusual and broad spectrum of musical literature: the compilation of which will provide a comprehensive and panoramic musical overview of the great bands of yesteryear. Students and scholars will now be able to hear the music played by the band of Sousa, Pryor Creatore, Conway and Goldman. There is everything of interest including marches, overtures, waltzes, rhapsodies, soloists and music that is not really familiar to many. They will have not only historical and educational value, but will authenticate a growth period in American culture.” (See Figure 46).

In 1988 there were 19 volumes to be completed. The cost to finish the project is the hurdle facing Smith. It is this project that now commands his daily attention. 150

LEON ARD B SM iTh COtNDUCIS

C'|J • . • t r •. Ttrnj't'U-t • / I*"/ : ...... » */,»•...I. I I- V Hill.,'; t • r^. ).„'l.'

Figure 45 Cover from Gems of the Concert Band 151

SIDE TWO

SLAVONIC IMNCE NO. 3 Antonin Dvorak drill.IHilt SIDE ONE Like the Hungarian «lances of Hruhm^, the Sliivontc dances arc early wnrks of Dvorak. They wi re written for piunuforte duel, When first pub* TIIR STAR SPANGI.ei) IIANNKK tishwl in l«7M, they xltrxcb'd the allfntioii of the John SlnfTonl Smllh ( ITSIAHM) musical world to u ywing mmpo'er wild WHS iWimil Th» text of the tJ.S. Nitiona! Anthem wax written soon to win workl.wide recognition, These eliince» are by Krincix Scott Key in 1814 ix he watched the bom» outstamling examples uf Dvorak's great genius as u banlmcnt of Hellimore, Mtrylnml. from a llritixh national composer. on which he whh ili'taine*! The mel'wly. uIikIi !)>•• text WAX inimtiiittlt'ly xiing. wh « the sonp iIk- ItKl.li:\KMKIF.\LI.TUdSK AnHcrcontic Suciety (a gentlemen'x musicoiiukin»; KNDK.UtiNti Vdl N(i CH.tKMS club), "To Anacreon in Heaven," by John Stafford Irish Smith. KIsie Inselman. Me2to>Mpr.ino This IS one "I the oliii of the Irish i<>Ik tunes and is also known :«s ".My l.iHlgmg Is on the t'oPI (•loiinil." Thomas Moore tl77P*ls52i. who tmmnr* INTRODUCTION, ACT III “I.OIIKNGKIN” iHluni many of the old airs of Ireland liv writing \ er­ Kichard WHKner(lHi;MM:t) ses to lit them, wrote the words to this lovely song. . The magnihcenl and xtiirtng introduction to thin The song has been a great favorite m America since act leada into the well known chorux which in xung by Colonial days. the bridal procenion aa they lead the Swan Knight and his bride to the nuptial chamber. "Lohengrin" ia a romantic opera in three acta, and wax firot pro* , dueed in Weimar, Germany, In IHSO, under the direc* MARCH "AMERICANS WE" tion of Frans Liaxt, who waa one of the Hrxt to ree* Henry Fillmore llriril*19.V») ogniu the genhu of Wagner. One of the must «nitsianiling mairh writers m this country. Henry Fillmore wrote some of the must popular marches heard today. He started in music hy OVERTURE **WILLMM TELL" jiisying the trombone and played for a time with a Gfoacchlno Roaaini Milan, Italy, in March IriPd. The first Leannid B. SmKk. Carnctlit American perfiicmance was given at the Arsitemy of Ranald M, Dcmkee, Conducting Music, New York, in November of the same yrar. Thia la one of the many comet solos by Dr. Cold* The story, is fiwmted upim the kirkland turbulent man, who in hie younger yaaea waa Wmaelf a kmoua happenings of the French Itevulution. Chenier is de- cometist. The Introduction la famded on the best- non need as a truitia". deydte his denial. The jeskais known American bugle cags, which are ammgnl in a (kTNnl mokes the amtsaliisi, then tells Miubtiilmi novel manner. Then cornea a ipiritrd aUrgrtx It is that ClamiiT is in iirisnn, mid avises his luve f«v Iwr. dnhcatnl to litveuml II. Smith, wh» was fie six SIh * seeks lu <>m'a|N> mal ulTers her hiaair fur yearn, comet soloist of the Edwin Franke Gukhmin Chenier's life tail witlwail nvml. t-henier sits in tht* Band in Hew York City. prisnn writing a |a>om. Mmlibilrna enters wilh Gerard ami Iwilvs the jailer tu put her name un the tlKilh list ill pliire uf umiihvr woman, iliat die may MARCH "lirU L E S AND DRUMS" lia* with her Im ei. They gi> to the execuliimer tie Edwin FrnnkoGoldman(lh7M.|95ii) gether. Thlsmofth WAS written in IttlTi. It whoumis, as the This inrongement ts the same as intnsliiced l»y title would suggest. In hugic and drum effects. The Jiihn Fhilip Suusu ami his ItamI ami is playwl from composer was bom In Kentucky and became one of manuscript ports. It was prepared by G Vannielti in America n foremost bandmasten and conductors. 1902.

Figure 46 Program from Gems album Volume 3 152 The players are paid the AFM national scale price. The size of the band is 62 players plus the conductor/contracter which brings the total to 64. Listed below is the cost sheet with which he must work. (Table 1)

“I’m working 24 hours a day to secure the necessary funds. This is a project I really

Table 1 Talent and manufacturing costs

Talent Costs

6 pre-recording sessions at a special DFM rate of $30.00 for each 2 and one/half hour session times 64 persons ...... $11,520.00 DFM local tax ...... $576.00 19 3 hour-rehearsals at rate of $63.00 per player times 64 ...... $296,035.20 10% AFM Pension Fund contribution...... $29,603.52 26 soloists, extra fee with quit-claim each is $150.00 ...... $3,900.00 Engineering, 19 sessions at $1300.(K) ...... $24,700.00 Auditorium Rental, 44 dates x $150.00...... $6,(KX).(X) Cartage of large instmments (AFM) ...... $4,000.00

TOTAL RECORDING COSTS...... $457,373.12

Preparation and Manufacture of Records and Cassettes

Art Work: Preparation of art work, typesetting, keylining and 4-color separations, ready for printer at $950.00 each times 19.. $18,050.00 Manufacturing 2,000 LP records at $1.68 each times 19 ...... $63,840.00 Manufacturing 2,000 cassettes at $1.68 each times 19 ...... $63,840.00

TOTAL MANUFACTURING COSTS (DELIVERED)...... $145,730.00

TOTAL PROJECT COST...... $603,103.12 153 want to complete, and I have every belief that it will be completed".

Smith’s recordings now number 19 “Gems”, the soloist album, the Christmas album,

and 10 Sousa recordings. This makes 31 volumes that are completed with seventeen to go.”

“Each record now costs $25,000 to make. This includes the hall, the musicians, editing,

recording engineer, and all the other preparations that go into production. We make them

available on record and cassettes but not CD as of yet.

“The “Gems of the Concert Band “ project was always formost in my mind long

before the Sousa project was undertaken. I believed then and now that it is of paramount

importance to document the heritage of men like Sousa, Gilmore, Goldman, Conway, and

Pryor.”

Among other projects in the area of recording was the producing of the entire musical

sound track for “The Indomitable Teddy Rossevelt.” This proved to be a terrific public

relations boon to the band.

The documentary centered on the life and times of the great president and statesmen,

Teddy Roosevelt. Producing the effort was producer-director Harrison Engle with the entire

musical score by the DCB.

“Engle had known me through his visits to Detroit and really had a great deal of

admiration for the band. He knew that I had some of the Sousa music, and he wanted to nse

all Sousa marches and other music. We discussed the parameters such as size of band, place

of recording, music to be used and costs. We did all the music in five sessions at the Bedford

Theatre in Detroit.”

Originally, Engle wanted Smith to come to California and perform with a band of area

musicians, but Smith convinced him otherwise. “I told him my band was equipped right now

to play in the Sousa style. I already had most of the music he wanted and we had already played it. That, plus the saving of money to keep it in Detroit, convinced him that was the way to go. I ended up writing a lot of music, mainly fill-in music, bridges, and a few little 154 things. We did it the way he wanted it and it was just great. He was very pleased.”

Shown on prime time television, with sponsorship by AT&T, it was viewed by an

estimated 34,000,000 viewers. “This was a great asset for us. We got letters, telegrams and

phone calls about the great music.”

“I must tell you that of particular interest was the specially developed techniques of

taking footage dating back to 1890 and then, by using great techniques, making it look like

the 1980’s. It was really quite an effort not only musically but technically as well.”

Two other projects were completed by the DCB. In 1986, a film was produced by

Handleman Filmworks called “Star Spangled Spectacular.” It featured the band in an hour

long documentary where the viewer is taken to one of the band’s concerts. It was filmed live

in front of the city hall in Livonia on Sunday, September 14,1986 and aired on July 4,1987.

Conductor Smith gave a running commentary between the selections in order to provide the

rapport he so often has with his audiences. This was aired on Michigan Public Televison.

The band also did a film for International Rockwell called “An American Adven­

ture.” The film related the story of the space shuttle Columbia and the paintings of Mort

Kunstler. It has been shown on national television.

“Rockwell had offices in Detroit and they had done a documentation of the shuttle.

They wanted music to fit the pictures, and I told them the only way I could do this was to see

the film. Boy, this was terrific. I made the various arrangements of patriotic selections. I’ll

never forget it. I really worked hard to get the music to end at exactly the time the shuttle

landed. It was great! After that, they wanted to make a film of the very same thing. They ask

me to make certain it was just like the docmumentary. They loved it and we made a film for

them.” (See Plate XIX)

Documentation is critical in the pursuits of Smith and the DCB. It is through his recordings, along with materials such as music and other memorabilia, that he is leaving his mark. Plate XIX Producer Cal Reed, shown here with Smith, flew to Detroit from Hollywood to supervise the recording of the music to the Rockwell film "An American Adventure."

'.I!

a*

%/t Ln 156 “One of the most vital aspects of living involves documentation because it provides a history of the past,” says Smith. “Sometimes we tend to think of the past as referring to the long, long ago. But even the present becomes the past.”

“We have done very well in our efforts to document. The recordings, the video tapes, the documentarie all have not only given us acclaim, but also continued our quest to document for historical purposes. Costs are increasing but we think we’ll be able to handle things even though it will be slower than we wanted. We have so much wonderful music to record.

Wouldn’t it be wonderful if someone were to come forward with the funds we need?”

However, until that time comes. Smith and the band must be content with securing the necessary funds through the sales of the current recordings and the sustaining member­ ships in the DCB. The process is slow but he is determined to complete the project. CHAPTER XIII

The Detroit Concert Band - Performances and Impact

“The Detroit Concert Band reflects grandeur celestial and cosmic. Its effects are electifying and stimulating. It possess qualities hitherto unknown in the field of band music.” (John Gardiner, Our American Heritage in Music, cited The Wind­ sor Star)

What began in 1946 as a life-long ambition has endured into six decades; six decades met with extraordinary acclaim from all who have heard and seen this marvelous band. John

Gardiner is not alone in expressing enthusiasm toward Maestro Smith and the Detroit Concert

Band. Whether it was in the 1940’s or well into the 1980’s and ‘90’s, the band’s effect its listeners is always one of high praise. Whether it is a columnist, layman, educator or musician of renown, the resulting responses are similiar.

Says Meredith Willson, who composed the stirring march 76 Trombones and was a flutist with the Sousa Band: “They (The DCB) are among the best I’ve heaid...an excellent band...yes, splendid.” (Gaydos, Jeff, Stars and Stripes and Sousa Forever!, Friends, The

Chew Owners Magazine. March 1980, pp. 5.)

There are also those whose names evoke thoughts of patriotism and immediate trast and confidence. Astronaut Wally Schiira comments, “I was told this music would be out of this world. Having been out of this world, I agree.” (Flyer, Our American Heritage In Music,

The Detroit Concert Band,)

The concertizing, while beginning in 1946, actually began to really flourish in 1952 when he took the band on tour and provided clinics on the various instruments prior to the concerts.

157 158 “We were the originators of that whole concept of putting on 10 simultanieous clinics for each instrument so that young musicians could get a chance to be shown how the best on that instrument perform,” Dr. Smith remarks, proud of being able to add to the tradition of concert band music. (Talbert, Bob, The Detroit Free Press. March 1980, p 7C).

“This was an era when bands were a great source of enjoyment. More and more youngsters were playing instruments, and it seemed only natural that we provide them with proper training,” Smith says. “We were able to bring them the finest soloists that they could imitate. It was really successful.”

While the band was, and still remains, active year round, it is in the months of summer that the heritage really continues. Then the band is heard by thousands of avid music lovers.

“The 52 piece Detroit Concert Band, preparing now for another summer under

Detroit’s unpredictable skies, has evolved into a group without peer. Its constant fans proudly point to the Band’s reputation, international in scope, a reputation owed chiefly to the Band’s, and Leonard Smith’s, unwavering fidelity to its Sousa heritage.” (Matel, John, The Detroit

Free Press. June 17,1979, pp. 22.)

“In the minds of many, summer really begins when they hear the band strike up the opening fanfare on the first day of the season. After the crowd has joined in singing the national anthem and gotten settled during the grand march that always follows, it’s ready for the first overture and the first soloist and the first of many encores, and ready, too, for the season so many Detroiters rank first of all.” (Matel, John, The Detroit Free Press. June 17,

1979, pp. 28.)

Whether it was at the Remick Band Shell on Belle Isle or the beautiful summer stage at Meadowbrook, the Detroit Concert Band always provided the listener with exciting and entertaining music. As noted in the following examples, the band plays a demanding schedule not only fmm the musical selections but also with regard to the vigorous physical scheduling. (See Figure 48) Special notice should be given to the number of concerts per 159

THiRTY-THIRD CONCERT THIRTY-FOURTH CONCERT THIRTY-FinH CONCERT MICHIGAN STATE FAIR GROUNDS BELIE ISIE B aiE ISLE SUNDAY. AUGUST 3. 1969 8:15 P.M. WEDNESDAY, AUGUST 6, 1969 8:15 P.M. THURSDAY. AUGUST 7. 1969 1:15 P.M. (P toitim flwfr/cer to c/utngo without notk«> (PtoCrnin tuhifet to chnngo miihnut notieo} (Ptogram lubfoot to chang» iviiFteur rw tko) PART I PART I PART I 1. Kin0 Dune«n'« M«reh from "Macbolh" Gtuieppo Verdi t. Procession of the Nobles 1. Military March from "Mlada" N. Rimsky-Korsakow "Pomp and Circumstance 2. Overlure No. 4" ...... Sir Edward Elgar "Romen Carnlvel*' . Heeler Berlioz 3. Overture "Die 2 . Overture "Italian in 3. (•) Sandpaper Ballet Leroy Anderson Maestersinger" Richard Wagner (b) Peille Walt: from Algiers" ...... Gioacchino Rossini "Album for the Young." 3 Gopak. Russian 3. Symphonic Poem Opua 39 Peter I. Tsehalkowiky Dance Modeste Moussorgsky "Psyche end Eros" .. . .. Cesar Franck 4. Dane# of the Hours from "la Gioconda" .... Amiicare Ponehielli 4. Excerpts from 4. Ballet Music from "la Traviata" Giuseppe Verdi "Prince Igor" .. . Alexander Borodin PART II 5. Farandole from "I'Arleslenne Suite No. 2" . Georges Bizet PART t! PART II 6. Soprano Sole "O lord 5. Slavonic Dance No. 7 Antonin Dvorak 5. Valdres March .. . Johannes Hanssen most Holy” ... Cesar Auguste Franck . Soprano Solo Faye Turner, Soprano 6. Soto for Trombone 6 "Carmens" ...... H. lan e Wilson 7 (a) The Golden "Atlantic Zephyrs" . Gardell Sir:ers Jubilee ...... Harvey Glassman Mr. William E. Lane. Trombonist Faye Turner, Soprano (To bo conductor by tho CompeitrJ 7. (a) Leonard B. Smith 7. The Nutcracker (b) March "From Maine March ...... Paul Van loan to Oregon" John Philip Sousa Suite Peter I. Tschaikowsky (b) March "Crescent and (c) March •) OvtrtiK* Minlatiwt •) Otflta Rui»t Trtpali Scim itar"...... Leonard B. Smith "King Karl" . . . Leonard B. Smith b) March# t) Oamw ChineiM c) Dam# Arab# g) Oanit da# Mirliteni 8 . Invitation to the d) Oanit dt ta t%t Vati# da# Sltutt 8 . W alt: Walti ...... Weber»Weingariner FaeDroga# "Gold and Silver" Franz iehar

(Mm Miectad dierttr Ittfns) (At## *alKi#d ihortar item#) (At## stlocttd ihontt (torn#)

"Muaic jney be fermed The cmtve/Mf /enduafe of ntenkincf, by which human feefind* ere made bqually intaltiiibla to eft*—Froni L iu t.

THIRTY.SIXTH CONCSm THIRTY-SEVENTH CONCERT THIRTY4I0HTH CONCttT MICHIGAN STATE FAIR GROUNDS CLOSING CONCERT CLOSING CONCERT FRIDAY, AUGUST 8 1969 #15 P.M. MICHIGAN STATE FAIR GROUNDS 8EUE ISLE ffragrem ssAjscf to cRanje without motim> SATURDAY, AUGUST 9, 1969 Bt15 PJM. SUNDAY, AUGUST 10, 1969 8:18 PJW. PART I tPtogtam mibfoet to ehongo without iM ko} (P toinm oubfoct to aJhane# wHhma ttotko) (D.I.T. Pregrem) PART I PART I (All Request Program) 1. Grand March (AH Request Program) "Utifveraity"....Cdwln Franko Goldman 1. Introduction to Act III 1. March "Lohengrin" Richard Wagner Militaire ... Peter I. Tschaikowsky 2. Overture "Academic 2 Overture 2. Overture Festival" ~ ...... Johannes Brahms "Tannhauser" Richard Wagner "Ruy Bias" .....— Felix Mendelssohn 3. (e) Turkey In the Straw .... Gulon-Sousa 3. (a) Fugue a la 3 . Excerpts from (b) Centre Dance Gigwe Johann Sebastian Bach "Sound of Music" ... Richard Rodgers No. 1 Ludwig Van Beethoven (b) Moorish Dance from 4. Tone Poem "Finlandia" .... Jean Sibelius "Aida" .. Giuseppe Verdi 4. Excerpts from PART H "The Music Man" ... Meredith Wilson 4. Excerpts from "Faust" ...... Charles F. Gounod 5. America the Beautiful...... Ward-Leldzen PART n 6. Solo for Cornet "Tho Carnival PART g of Venice" ...... Herbert L. Clarke 5. America the Beautiful .... Ward Dragon 5. Slavonic Dance No. 3 .... Antonin Dvorak Leonard 8. Smith, Cornetlst 6 Soprano Solo 6. Solo for Cornet "O Don Fatale" from 7. (a) March "Zuelgnung" ...... Richard Strauss V.F.W. Edwin Frartko -Goldman Faye Turner, Soprano "Don Carlos" Giuseppe Verdi Leonard 8. Smith, Cometlst (b) March 7. (a) March 7. (a) A Dixie Fantasy Emmet-Dragon "The Lambs" ..... John Philip Sousa "Horns-e-Plenty". . Leonard 8. Smith

(AIm ofhctad ohart#»ii«m#| (At## t#itcl#d #hoft#fttom#) (Ah# oalocnd otien## lt##u|

Figure 48 Sample programs 160 week, the amount of new literature and the similiarity of personnel.

The musicians who have performed for Smith maintain the same admiration and respect for him as do the critics and audiences. “Leonard Smith is a top-notch musician. He is impeccable in his musicianship and demands much,” comments Alan Squire, solo clarinetist of the Blossom Band. “It is a real treat to perform the older ‘chestnuts’ of band literature.”

Elsie Inselman, vocal soloist and instructor at Wayne State University, says that “he is rock-solid. He is so great to work with that we all enjoy the demands he puts on us. We just know what he wants.”

While assistant conductors, according to Smith “really do not conduct much,” the person who holds that immediate title is euphonium soloist, Earle Lauder. Presently euphonium instructor at Morehead State University, he travels from Kentucky to Detroit to perform with the DCB.

“His musicianship is wonderful,” says Louder. “He is easy to follow and the entire band has some really terrific players.”

Smith estimâtes that the band has played for over 6 million people over the years. The audiences range firom the well-trained musician and/or educator to the lay musician, to the blue collar family that simply enjoys the classic concert band music. Concerts not only for the public in the mid-West, but also for those many special events number over 6000.

Certainly there must have been highlights from these many concerts.

When asked to list the top three concerts he has performed. Smith was quick to respond. “Oh, that is not too difficult to do. “I would say that the first one would be the “Our

American Heritage in Music” concert. This was a show I wrote and produced, and it was first performed at the Masonic Auditorium in Detroit. We also did the show in Phoenix, in

California, and in Cleveland. It was terrific and had all the elements of our nation’s musical past. I wrote the complete script and produced it as well.” 161 “The second would be the show titled “A Tribute to Sousa.” This was with narrator and was designed like the old-time radio program. There is a musical underlay for even the narrator. I had some great reaction to these concerts. Also, I had some great narrators like

Bill Kennedy and Mike Whorf of WJR along with guests that really helped make it go. I must have done these concerts 20 times at least.”

Continuing, Smith says “These were like the old-time radio shows. You have a musical underlay for even the narrator. Each one concludes with a tribute to Sousa, and we would tell of the story behind the writing of the music.”

The third favorite selection Smith refers to were the shows he did for the Chevrolet

Division of General Motors. These were private shows called “The Chevrolet Shows.”

“I played trumpet on these shows for years and I think what was interesting was that general public didn’t know about it. They were performed for the dealers who were bused in to see all the new cars. My band played; I recall we did about 10 shows in a period of three weeks. In those days, before television and all the other activities, people really came out for these car shows. It was quite an event. (See Figure 49)

The Detroit Concert Band plays a wide range of concerts that consist of à variety of listeners. The background of those listeners matters little when it comes to their reactions to the music.

“It is a great evening of entertainment,” says Charlie Dillon of Royal Oak, Michigan, and the owner of a gauge shop. “I am here because I appreciate good band music, and Leonard

Smith is the greatest since Sousa.” Another audience member, Joe Katz, is a clarinet player in the Hamtramack Concert Band. He comments “There are real band lovers in the audience tonight. The band is first rate, and it is Leonard Smith that keeps it going.”

Always attempting to find that extra edge in programming, that added means to draw and satisfy the audience, Leonard Smith and the Detroit Concert Band continue to supply what is needed to meet the end result. 1 6 2

HEW ITT’S MUSIC, INC. QiNiity kwW* 1120 "DwfWm Ymtlftmi tnkUum”

RINFAIS # IISSONS # SAIIS # RIM IIS

m u MIMIC»# ttlllCRATIOT OIARIORH. MICM. 4R1M ROtlVILLI. MICM. 4IMI

m W. MI T M iT. «nnvANOTKi ROYAL OAK. MICM. MN > UTICA, MICM. 410» LI. l. | » 4 ni>m o A SùM itàAi ef tdl SleaJmg Stukum tnli IN MUSIC Jtektutùi^ There are 7,562,489,657,324 products ïh r DKTKOIT COM MIT II VM)

you can buy right now, but none of Dr. Leonard B. Smtih, Conductor them will give you more enjoyment (or longer-lasting enjoyment) than Kri.U;. %|,ril 2 .*. 1 V 7 5 RilMI pjn. ' a stereo music system from us. Mcr«7 ili^li Si'liool AuiÜtorium

sound advice- WiibiKiiP ... Mwf... UiihritrarMlofvpUta

•PROGtAM NOTES. 4Vi A^/<^ej4C TMl 9 k M Mkilt to t> u t «Aimert* M M m » «M AMA** «■ tnMnd«d M i puUie ■k n e w M f m e n t ef out MMan't tacMMi p« MKi tfynvnie Kiturt. It Mm a M peiMbie wi m Utt BiOpart el Council ifhierrw «*/,•.• I','Jiff ml#'.' .''Iff t e t ifM Am . U t t M m i in I B M *v iMr Mlrfn'pw LefWftwrt. Council prevMln e md e w i M v el prefiimi on# wwe t i in the Amene# the Brewolwl...... SemmiA. Wwd perfemMt. vtauel end R h t w t n , medeMi# ee le— niWty freupe Bmeie "New World Bv mphcnv" ...... Antonm Oro»iA

PertleleeMn# In the po m m wnlpd ## *# W m W * AOiiieFentetv • Omwl Emwii fwpme H. Hitty Ml. &WV Dtum Wi*umo e Dr.Leemerd#.$m*i.Cemdwe*e#neOeMeACemwt#emd SelM 1er Trombuw "Thnufit* wl lorr"...... Anhw«A*»er e Oeerte KemdeR, Neweeer - An u d nimnln,WeedceMer el m w ITif/htiiiC A.iim- fr(H«iKir # TWmeM.Me#IMieMlmelKe#erlneLee#eled ...... T—r R— A 'Vetniimdrr of Pe n e m e " ...... ^ennAtil# Bourne

• T W H M M t . f M . T n w * — VltRMie fetewetto* Hhytlww...... Ce«rpC#nr.w»n

e IdwindC HMI.BiMMlPCMrtw— 1 ettRele— AOeiM— BetHeHyiwiefthilletMliK...... Sirlle

I lieepwe tkd. Se p — .|NII.KMItSION>

> feui fi. Mwrlev. foww t lepeMer — T— W IPie Veice el MMfMhpSoiml iemboule. A Rn#>eo,l< l i * * * Semurl Ce t m d y Teytur “II trer I Would tervf tiimi * f . Fr.-drrKk lo*vur M — el errengnwnM 1er — #>1*4 pro#Mn were pm M t d bv Cw men Oregon (Amertca the BeMltlu», 0 — end Beetle Hynml. Int. W. U hl'-V^OtU' lemtew INew WerM &m$nenvl, inle K. Herpr lYeecweim' RhvilMn end II l««r t W o u M Irwf Veul. frenfc WmitrtKiiloin Ch«lie*H«'eM*»ef» . . . f.tort« F»jnknCf»'d->jn IBembeule) end Uenerd I. Sm w i IMeiical Menum). irtkolittfOAl...... irio*A'HM'ton *tJUr Amer— Mrrtfife At AW " ettrted. written. |tr— ccd end ItibuletoSuuto...... Myunte Whitn#» 5m

Figure 49 Program from "Our American Heritage" Concert 163 A description of the various types of concerts which the band has programmed are as follows.

“Pop Concerts: variety programs with choice of instrumental or vocal soloist. Plenty

of foot-tapping marches give each program “pizzaz”. (1 hour 50 minutes with 10 minute

intermission).

Cabaret Concerts: These are highly popular and successful. Usually feature “Sing-

0-Rama” with audience participation. (2 hours)

Family Concerts: These are designed for corporation sponsorship for employees.

Variety programs covering a wind range of musical items. Soloist featured. Sure to please every taste. (2 hours)

Our American Heritage in Music: A sparkling, fast-moving, patriotic musical pres­ entation. Complete package, with narrator, instrumental and vocal soloists. Concludes with a stirring ‘.‘Tribute to Sousa.” (2 hours).

Testimonial Concert: This program is designed to replace the traditional testimonial dinner. Formal concert has specially written narration with musical underlay. Commentary traces career of person being honored and includes his or her favorite tunes and other significant music. Several other features.

Composition Award Concert: Sponsor underwrites composition commission and first performance.

Estate Concert: Private concert on your grounds for your friends and clients. Host frequently takes part as guest-conductor. Audience participation-”Sing-0-Rama” also an option. Sunday afternoon suggested.

School Sponsored Concerts: Ten instrumental music clinics on afternoon of concert date precede evening concert. Virtuoso players demonstrate their instruments and offer valuable learning aids to aspiring young school musicians. These concerts have met with unusual success. Local school band director participates in concert as guest conductor.

Endorsed by leading music educators. 164 Other Concerts: We have many concerts which are known by various titles, ie: “An

American Salute,” “International Festival,” “A Musical Kaleidoscope,” “Music for all

Seasons,” “A Starlight Concert”, “A Viennese Night with the Band”, “Music Themes from the Bible,” “A Salute to Broadway,” “Music Under the Stars,” etc.” (Phamplet: Leonard

Smith and the Detroit Concert Band, Concerts Director, Grosse Pte. Woods, Michigan) (See

Figures 50-52) 165

Meredith Willson in rehearsal. He conducted his 4 1 the concert. Dr. Smith indicates a nuance to the ow n "76 Trombones” and. o f course, the "Stars Band. and Stripes Forever. "

This photo, taken over Earle.Louder’s shoulder, catches A t rehearsal, Meredith Willson picks up flute and the band in rehearsal for the Sousa concert. demonstrates his prowess with the instrument.

The band is warmly appreciated by the big Col. Santelmann, just after he was introduced to the audience at Ford Auditorium Nov. 6 th. Band bv Dr. Smith.

Figure 50 Sam pling o f the band in action 166

FIRST CABARET CONCERT BY THE DETROIT CONCERT BAND LEONARD B. SMITH, Conductor featuring WILLIAM E. LANE, Trombone V irtuoso IMOGENE BIRD, Soprano - SOLOISTS- AMeil Attraction - "AMERICANA SIN6 0-RAMA” FRIDAY, MARCH 22,1974 8 :1 5 PM Detroit Light Guard Armory 4400 East 8 Mile Road (BETWEEN RYAN AND MOUND) Admission $3.00, 4 .0 0 ALL SEATS RESERVED BEVERAGES ft FOOD AVAILABLE DANCING FOLLOWING CONCERT TICKETS: TABLES Grinneirs, Hudson’s and AVAILABLE at the door, Or call 888 0394 Seating eight or four Printing eourtaiy of COLONIAL FEDERAL SAVINGS AND LOAN

Figure 51 Caberet Concert Publicity PART II

LEONARD SMITH 7 Cutnrt Solo "The Carnivnt of Venire** . . . Hertfcrt L. Cliukv BAND Mr. Leoiuittl 11 Siiiilh, CmnriiM A. ExieriiU (mm ’ Maiiiuni K tiim en r ...... Oiiiwp/H* Vt nfi MISS PATRICIA MAIS, Soprano • I tiip » ti« « III Tuba Miium MR. ROBERT A. CIARK. X y lo p h a n M « > KroililniP •tl MR. UONARD B. SMITH, C ornolist • I k »8 Timtriiit.*» and THE SYMPHONY IN GOID FcaturiiiR the Sym phony in CuM

9. •'Oirnifiiu'* ...... //. Lane W dutn Mus Patricia Hall Soprano

. . P I tÙ G R A M .. 10. (a) March "High School Cadets" .... John P h dip Sousa (b) Flight of the Bum blebee ...... N. Rimsky-Korsakuw (c> March "Horns a Plenty" (new) .... Leonard B. Smith PAST I

11. Waltz "Acceleration” ...... Johann Strauu 1. Rakoccy Marcb ...... Neclor Betliot

2. Overture **Wi!liam T c i r ...... CsoaccAino Aowini FEISONNCl

W#afmka#o, 3. Solo for Xylophone "Dance of the Comediam* fo.iRl.aa, teonsoM^ from "The Bartered B rid e* Fr^derieh Smefene MvdtttaOB &WE M r Robert A. Clark, Xylophonist Oi.id W ImSma Mwmm f lamnBBoi W* f Sonaii. h. 4. B o le r o ...... Weurke Ravef Wdl,*» # R«dM riica*," u ttio A Mciiti surSi, R^w * M SoUvin R w » # * M U w lu 5. (a) March "The March Kin^ (new) . . . Leonard B. Smith Aa*#" V«n Ut.an (Dedicated to the memory of John Philip Sousa) H oot, Sm doo Ubo* (b) Italian P o lk a...... Serge Recfimeninoif (c) -Children's March" ..... Btfwin franko Goldman ClYDE F. JOSEV. General Manager EAKl TINSMAN. General Représentative 6. "Waltz of the Flowers" from “The Nutcracker H G. ROWE. Artists* Representative Suite" Peter I. Tschaikowsky (ovta)

5 Figure 52 "Symphony of Gold" Concert Program CHAPTER XIV

PHILOSOPHICAL CONSIDERATIONS

Toward Public School Music Education

Toward The College and University Band

Toward The Detroit Concert Band Present and Future

Toward His Own Legacy

“Music should be at the top of the list in the schools. Music develops one’s fundamental techniques to a greater degree than in any other subject.” Leonard B. Smith

By his own admission, Smith never taught nor intended to teach in the public schools.

However, he is quick to speak his viewpoint on the status of today’s music education program within the schools.

“The values of music spin off in many ways through the disciplines of music,” Smith says. “Where else can you find a subject that requires co-ordinated use of the lips, fingers, tongue, breath, eyes, and the ears all co-ordinated by the mind? Music can do so many positive things for the student.”

“The problem as I see it is how music is being taught in the schools. I see public school music as too much busy work. It is more of an entertainment situation rather than the teaching of music. There is just too much emphasis on the marching band. Not enough of the fundamentals of music are being taught, and the students are really short-changed. The fundamentals of music need to be taught in the lower grades. Scales, appregios, good tone etc. all are so important. We just do not need to put so much emphasis on the marching band, and we need to teach what music is all about.” 168 169 He continues, “It is unfortunate, but I see today’s band programs as an adjunct to the

athletic department. Too many administrators and other school people think that the only

reason we have bands is to play for their school games.”

When asked his opinion on the over-all status of the bands in the schools today, he

says simply that “there are just to few quality programs in the schools today. Oh sure, there

are a few scattered throughout the country, but there just are not enough of them.”

If the marching band is so dominating, then should it be in the schools? Smith

responds by stating that “I think it is necessary, but I do not think it should be so emphasized.

It seems like the schools think everything centers around manuevering. When you think of

it, how much time is spent outside drilling? It is way too much. If I were the administrator,

I would call in the band director, coach, and athletic director and say that the band will not

be responsible to march so much. I expect the band students to learn music and not be a drill

team. Let the gym classes provide the entertainment!”

On the status of conductors, he states “unfortunately, there are just not enough well

trained conductors. I blame the colleges and universities for that. Look at the literature they

play and teach. Where is the classic concert band literature in the colleges? It isn’t there, and

that is wrong. We have so much fine music, but it just is not being taught. I recall going to

a concert by a university band, and it seemed like all I heard were squeaks and squacks and banging percussion. Do they think this is music? Do they think they are being among the

‘elite’ if they play all this music? And then they wonder why the crowds are small.”

Leonard Smith graduated from the Williams School, the school thatprovided training for the musician who would be a performer and not a teacher. During this time, the

Vandercook College of Music was a leader in die training of music educators. When asked if he had any contact with that schools founder, H.A. Vandercook, Smith says no. 170 “Williams was trying to make only the finest musicians. He had no interest in the making of teachers. Vandercook was training musicians to be teachers. I was never interested in a teaching degree. I just did not want to be a band director in the schools. To be honest,

I did not want to conduct neophites. I guess the closest I came was with the Shrine B and. They really were not terrific musicians but we worked hard. I also conducted the University of

Detroit Band, and it was really an excercise in futility. I was seeking a high standard, a standard I could not get with high school or inept college musician.

“Let me explain it this way. I have been trained like a surgeon. For a surgeon to spend his time at a boy scout camp fixing a scratch would be a waste. I do not mean to demean those who do that, but it just is not for me. I wanted to work with those who have music as their lives and not an adjunct to their lives.”

Smith further establishes his view. “I played a lot of solos with some fine high school bands including yours in Defiance. But I also played with many inept bands. Boy, was that a struggle. There are so many bad high school groups who do not know any better because they have been poorly trained. I enjoy going out and guest conducting a group now and then, but it is really firustrating to not have a capable band. I must separate myself from that ineptness while I am conducting or soloing, and that is difficult to do.”

Does this mean Smith lacks patience and understanding? “Oh no”, he responds. “I demand a lot but I just wasn’t trained to tolerate poor playing. However, I think I did a lot for public education by writing those grade one and two solos and ensembles for the 1st

Division Series, and don’t forget the Treasury of Scales. This was a real boon to the high school band director. I did a lot for motivating students. They would hear me play or listen to me talk at the clinics, and I like to think I inspired them to be better players.”

Smith’s collegiate teaching career included serving as band conductor at the Univer­ sity of Detroit and as trumpet teacher at the University of Michigan. Both tenures were frustrating for him. 171 “I took over for Cliff Lilly a for one semester at Michigan while he was on leave. Boy, was I shocked? I had 27 trumpet students and I remember the first time I got them all together,

I gave a short seminar for them and played a short recital. Then I asked a little bit about them.

You know, where they were from, their age and grade, the playing experience they had. Then

I asked them each to play their major and relative minor scales. No one could do it! I was astounded. Well, from then on my requirements were scales, appregios and the like. I doubt

I made many friends, but I really believed that they must learn those fundamentals if they were ever going to be outstanding musicians. I didn’t intend to win a popularity contest.”

With regard to his relationship to the college band and conductors, he responds, “I think there are some fine college directors. However, I find many of them are going in the wrong direction with regard to programming. I dropped out of ABA because I just did not believe in their philosophies. I am concerned because, again, they are not interested in perpetuating our great tradition of bands. The literature they play, what they teach their students, just does not coincide with my views. They’re not programming the music that will continue to live; they must play music written by great composers.”

“So, rather than stay in, I dropped out. My resignation had to do with their not electing

Paul Lavalle and Keith Brian (the latter since having been elected) to membership. Paul

Lavalle did more to popularize bands during his 10 year tenure as conductor of the “Band of

America” than any other band personality. Personal jealousies kept him out and this really bothered me. Unfortunately, I think the ABA is headed for oblivion. Awards are given to composers who have their music played only once. I guess you need to have new composers...but. At any rate, to answer your question, yes, there are many college men who are doing a fine job. But, by in large, they are trying to out do each other with the programming of new literature. Someone once told me that experimentation is the bathroom of art...it should not be done public. That is what I think they are doing. They also somehow give the impression of always competing with the orchestra. That is just not necessary.” 172 “Also, what is wrong with calling a band a band? It seems that we are afraid of the term now-a days. I hear all the names like wind ensemble, symphonic winds, symphony of winds and the like. You know, the name band was good enough for Sousa, Creatore,

Goldman, Pryor, Gillmore and all the others. It seems like these psuedo orchestra conductors think they have to keep up with the image of the orchestra. They are afraid of the term band.

It isn’t “sophisticated” enough so they don’t use it. They should all be proud of the heritage that they teach”. Do the colleges prepare students to be fine high school conductors? Smith’ answer is explicit. “There are some, yes,” he states. “Again, I think it has to mainly do with the music exposed to them. I think there is just too much new literature being championed. The most important mission of the high school band is not to play all new music. The students must play music that is enjoyable and listenable to their audience. Those college directors who are aware of what their real purpose is will be successful. There just needs to be more of them.”

• Leonard Smith has called Detroit his home since 1940. Given the racial problems of the city and the recent lack of financial support, does the maescro have any regrets about settling there?

“Oh no,” he responded. “Detroit was a great city for the arts, and I had a great career.

There were some fine people who wanted the arts to grow. Of course, there were some really staunch supporters of me and the Classic Concert Band movement. I had people who would work hard to help me perpetuate that tradition.”

“I can understand the prime musical interest must be the Detroit Symphony. I think that now this city has undergone a metamorphosis. There is just not that much interest in fine music as there once was. In the early days, the city had an orchestra, two or three ballet companies, my band and three or four other bands. Now, there is very little left. Even the symphony is struggling for existence.” 173 When asked the reason for this change he says that “First of all, the majority of

sponsorship that came from the famous Detroit families has now dried up. These families

have moved to the suburbs or died, I think the mayor has taken the stand that if you don't like

how things in the city are run, then move away. I think a lot of people have done this. Black

and White! U nfortunately, I think it is somewhat of a racial issue. Today, the whites are afraid

to go downtown to Orchestra Hall or the Ford Auditorium. Also, plans are now to take down

the Ford Hall. B ut, anyway, the mayor is insulted if they do not agree with his policy. I believe

he has polarized the blacks and whites.”

“You may know that the State of Michigan bailed out the symphony with some four

or five million dollars. Now they are regretting that. My prediction is that the Detroit

Symphony will soon close up. It will be re-organized and called the Michigan Symphony.

It will be a state supported orchestra.”

While finances are a large part of problem with he orchestra. Smith also believes that

part of the problem is “there are to many people in management, and they are inadequate on

what they plan for their audience. I don’t understand why the staples of orchestral literature

are not performed more often. A person, a patron, wants to hear Beethoven, Mozart, and the

like. Contemporary music is important, but again, what is wrong with programming the great

literature?”

The Detroit Concert Band was not booked for the summer of 1990. The primary

reason, according to Smith, was the lack of funds.

“The Ford Motor Company took care of large portion of the monies. This year, we just did not get it. When I discovered that the money was not available, I just figured we could

not do it. Remember, we are not subsidized. If I book a concert, I must generate money. I

have to pay the musicians, the hall, the program, soloists, etc. We used to get considerable

monies in the winter from various corporations. Now we get letters from them saying that because of the problems the symphony is having, they cannot give us the money they once 174 did. Their letters may also say that they also are not giving to the arts any longer. Well, is that the handwriting on the wall!”

After a career spanning 40 years in Detroit, the Detroit Concert Band and Leonard

Smith are now operating out of Scotsdale, Arizona. Maestro Smith gives two main reasons for the move.

“First of all, as I said, the money from Ford has dried up. The second reason is that our landlord really hit us with a surprise. Our lease was coming due. On the 2nd of July, he said he was no longer going to rent the office space. Now I am thinking that with us having to find office space, plus the lacking money from Ford, now is the time to move to Phoenix.

It was a though fate was telling me something.”

The move to Scottsdale and Phoenix appears to be ideal. “The Phoenix area is very cosmopolitan. You have people from all over the country. There are many retirees, and these people are old enough to have heard the music of the bands before me and even me. We gave a çoncert here some years ago, and it well received. Of course the weather is very conducive to concertizing. I prefer indoor concerts and there are some really fine places to play. Tm not abandoning Detroit. I have to look for greener grass. I won’t have to fight the cold and snow any longer either. Plus, my daughter and grand-daughter are out there. Everything is a plus.”

Smith’s plans are to move everything to Arizona. There will be no band offices in

Detroit However, he still will remain in communication with Detroit and be in contact with his musicians. There will be a sophisticated telephone system that will permit this. “We will be able to still sell music and perhaps book concerts,” he says. “There will still be a Detroit

Concert Band if we get the bookings. I will come back and use the same musicians. I also want to complete the recordings. You know that is my big goal.”

After settling in Arizona, the formation of a concert band there will possibly be the next task. It will be called The Great American Concert Band. “I have every intention of keeping active in the world of bands,” he says. “There are many great musicians everywhere. 175 I know I can find them. This is a change of venue, not starting all over. No plans are made at this point as far as a date to get the band organized, but I know I can do it and do it well when that time comes.”

What about the band after his passing? The 75 year old Smith has been the force behind the band and all activity connected with it. He must have thought of the possible future of the band after his death. When confronted with the question of whether the band will continue, he pauses and then responds.

“That is a moot point! First of all, the Detroit Concert Band can exist for as long as it can be made a viable and profitable organization. We rely on our ability to secure funds.

Upon my death, if the band can be maintained on that basis, more power to them. That would be up to the Board of Directors and a new conductor. The music belongs to me, and I do not feel any reason to give it to the band.”

It seems to the lay person that for the band to continue, a logical transition would be for Smith to appoint a conductor to follow in his footsteps. When asked if this were something he has considered and would do, he gives this answer.

“That is not a feasible situation because I am only paid when I conduct. You cannot ask someone else to do this job without a salary. If there is a conductor that wants to do it, more power to him. But, the music is mine, and the band could not play the same literature.

If I could sell my libary now I would. I am asking $275,000.00.1 would turn the funds over to the band to finish the recordings. If I do not sell it then I must dispose of it Through the recordings, the legacy would live on. There was no band before me, and there does not have to be a band after me. The recordings will be the legacy of the Detroit Concert Band.”

This author pressed the point about the historical value of the band as well as the desire to see what is really the only band of its kind continue. Smith was asked again why someone could not sustain the heritage, the music notwithstanding. His answer? 176 "Another conductor could only come close to what I am doing if he is an idiot! I say

that not facitiously, but realistically, because I devote my entire energies to the band’s cause.

No one else would do that nor could they do that. That is so important! You have to realize that the Detroit Concert Band is Leonard Smith mainly by virtue of the fact that I own the library and guide the bands destiny. You must understand that if someone wants to do it they can go right ahead. I am not doing this for the future. I am doing it for now!”

"Take the Sousa band. Eugene LaBare tried to continue the band. It was a joke. Now

Keith Brion is trying to imitate Sousa. He is re-creating not sustaining. I have trained nobody.

A legacy to pass on to whom? The legacy is documentation. I am doing that with my recordings. That is the legacy.”

Does Leonard Smith have a strong belief one way or the other as to whether the Detroit

Band continues? “It would be a difficult assesment on my part to even speculate on that,” he answers "The Detroit Concert Band is a non-profit organization. The vehicle through which it functions before the public is in its performances. The concept is Leonard Smiths.

Again, if someone else does it, that is fine. If not, that is fine also.”

While the maestro is detached from the issue of the band continuing, there are many who would like to see it sustained. Certainly, the audiences and the musicians would like to keep the tradition going, but one of the biggest boosters of the Detroit Concert Band and

Leonard Smith has been narrator Mike Whorf. A radio personality of renown in his own right,

Whorf has some definate impressions of Smith and the band.

“He is the force behind the band. He is a wonderful musician and showman. What

I cannot understand is why the city of Detroit will not support this band full time! Every great occasion that calls for music should involve this band. This band is just as important as the

Detroit Symphony, and it should be treated as such. What happens when he dies? I really do not know. I do know that I want to see the band continue, but I really don’t know what Leonard has in mind. Smith and the Detroit Concert Band are so very important. I hope it can continue 177 after his death.”

And what about the Maestro himself? He has accomplished so much. How does he want to be charcterized and remembered?

“Who knows?” he laughs. “I would like to feel that I have exposed my talent where it has had some value. To the students, I hope I have imparted knowledge and philosophies.

To my audiences, I hope I have left favorable impression of myself and the band. I guess that is about it.”

Given his great multitude of talent as a soloist, composer, and conductor. Smith is asked into what area people most think of him. “Oh, I don’t know. Who does know? I have tried to be successful in many areas, and I take a great deal of pride in all of them. I believe

I may have been influential as a composer, a soloist, and a conductor. I really have no idea of what catagory people place me.”

When asked what would he be most remembered for if he were to die today he chuckles again and says “I have no idea and quite frankly, I don’t give a damn! ! Death has no virtues!”

How does Leonard Smith view himself? “I do the very best I can. That is all I can do. If it reflects favorably on somebody, that makes it worthwhile. I would like to have my wife, daughter, granddaughter and close friends think well of me. They are important to me.”

CondtisiQiTis Could it be, without Arthur Pryor’s influence, the man once called by Edwin Franko

Goldman, “the greatest comet talent I have ever known’*, not have been accorded that title?

This author, having spent countless hours with Leonard Smith, easily can answer that question. No! For even though the conversation with Pryor and Leonard’s father was a turning point, Leonard B. Smith was destined to be one of the music world’s truly outstanding members. 178 Leonard Smith is indeed a living part of band history. Dating back to the 1890’s and

Patrick Sarsfield Gillmore, he follows Sousa, Pryor, Clarke, and Goldman, in continuing the

heritage of the band.

An imposing figure, his presence commands respect. Smith is articulate, intelligent,

demanding, compasionate, sincere, candid, and sensitive. At times, he is intimidating. At

times outspoken. At times impatient. However, even more important, at all times, a gentleman.

Music, bands, and, in particular, the Great American Concert Band, are Leonard

Smith. His years number seventy-five; his energy unlimited. He has dedicated his life to excellence. Mediocrity is not in his vocabulary. His standards are set high for both himself and those under his charge.

To measure him only in individual categories would be an artificial separation of his talents. Although his contributions as a comet soloist, a composer and a conductor are individual functions, they have been juxtaposed throughout much of his career.

During his time as a performer, he was unequalled. His solo artistry well documented, he served as not only a link to the Herbert L. Clarke era, but also as an inspiration to those who have had the opportunity to hear him perform.

As a composer, Leonard Smith was instmmental in providing educational music in the public schools. His numerous solos and ensembles and the Treasury of Scales have served many junior and senior high school band programs well.

Smith’s role as a conductor has been enormous and influential. Along with compos­ ing, this role still continues. He>very quickly proved himself a master at musical expression and nuance, and he transfers from the podium a wealth of knowledge. A showman and musician, he excites audiences with the music of the classic concert band. 179 This author finds Leonard Smith to be a tireless worker. It is not unusual for him to labor twelve to fourteen hours a day working with the daily responsibilities of the Detroit

Concert Band. His move to Arizona and his desire to organize another Great American

Concert Band present a new challenge. Knowing Smith, this goal, along with the completion of the Gems recordings, does not appear to be out of reach.

He is a man not only of endless energy, but of extreme enterprise and confidence.

Smith combines this energy with a strong dedication to ideals and goals. After two years of personal interviews, concert attendance, viewing memorabilia, and speaking with other musicians about him, one conclusion drawn is that he is indeed a man on a mission. That mission is to perpetuate the days of those bands that preceded him. His respect and admiration for the concert band is so enormous that he has dedicated his life to this end. There are times when he desires the year to be 1951 and not 1991. Does he realize that society is not as it was decades ago? That the public has other entertainment options today? That, for the most part, people may not want to hear the music of The Great American Concert Band as they once did? He does. Accepting it is another issue. Why? Simply, Smith is motivated by aBerce respect for the past. But, whatever the reason, it is not of consequence.

What is of importance is that he is one of the few men in the country who believe in the tradition of the classic concert band and, more importantly, is capable of sustaining it. In his words, “We don’t consider the harpsichord as on the way to the piano. The band is a sound in its own right, a musical phenomenon whose artistic.possibilities remain with the interpreter, not with the combination of instruments employed. As a viable American institution, the concert band is unique. It must be maintained, preserved and perpetuated.”

A final picture of Leonard B. Smith would portray a man of immense physical energy and enthusiasm coupled with remarkable inner strength and integrity. He is a man with extremly high beliefs in his goals. Possessing a huge zest for the art of music, he fervently believes in its worth as well as his own. His complete energies are directed to fulfillment of his goals. Leonard B. Smith is indeed a musician’s musician and a gentleman’s gentleman! APPENDIX A

AUTOGRAPHED PHOTOGRAPHS and PROGRAMS

Leonard Smith has accumulated a multitude of materials autographed by eminent

musicans. This is a listing of those prominent.

Ford Sunday Evening Hour

(Bound copies by season)

(In its day, the Ford Sunday Evening Hour was the widest heard good music program in the

world..broadcast over 440 stations live on CBS network. It featured 75 members of the

Detroit Symphony Orchestra, a 24-voice chorus, soloist and conductor. Each program was

4.pages, listing items performed, program notes and biographies of the featured artists.

Leonard B. Smith played first trumpet in the orchestra.)

1937-1938

Jose Iturbi & Richard Crooks

Jose Iturbi & Kirsten Flagstad

Jose Iturbi & Lucrezia Bori

Jose Iturbi & Lauiitz Melchior

Jose Iturbi & Lotte Lehman

Eugene Ormandy & Bido Sayao

Eugene Ormandy & Jascha Heifetz

Eugene Ormandy & Olga Samaroff Stokowski

180 181

Eugene Ormandy & Charles Kullman & Dorothy Sandlin

Eugene Ormandy & Gladys Swarthout

Henry Ford, Eugene Ormandy & Lawmce Tibbett

Eugene Ormandy & Galliano Masini

Eugene Ormandy & Hephzibah Menuhin & Yehudi Menuhin (Inside back cover:”...and after thirty years, gratefully still here. Yehudi Menuhin, 1967.”)

Eugene Ormandy & Richard Bonelli

Eugene Ormandy & Ezio Pinza

Fritz Reiner & Beverley Lane

Fritz Reiner & Richard Qooks

Fritz Reiner & Elizabeth Rethberg

Jose Iturbi & “To Leonard Smith Best wishes, Jascha Heiftetz”

Fritz Reiner & Lauritz Melchior

Fritz Reiner & Rose Pauly

Ernest MacMillan & Kirsten Flagstad

Ernest MacMillan & Jose Iturbi (as pianist)

Ernest MacMillan & Lily Pons

Ernest MacMillan & Nino Martini

Jose Iturbi & Nelson Eddy

Jose Iturbi & Georges Enesco (as violinist)

Jose Iturbi & Gladys. Swarthout

Fritz Reiner & John Charles Thomas

Fritz Reiner & Efrem Zimbalist

John Barbirolli (To L. Smith - With all good wishes. Bravo!)

John Barbirolli & Bmna Castagna

John Barbirolli & Julius Katchen & Patsy Travers 182 John Barbirolli

1938-1939

Wilfred Pelletier (With Pleasure)

1941-1942

Hilda Burke, Felix Knight & Anna Kaskas

Artur Rodzinski (With best wishes.)

Rosemary Brancato

Eugene Goosens & Richard Crooks

1945-1945

Mischa Elman

DETROIT SYMPHONY ORCHESTRA

BOUND COPIES OF SEASONS

1937-38,1938-39,1939-40,1940-41,1941-42.

Jascha Heifetz, December 23,1937

Serge Rachmaninoff, December 4,1941

Tanuo Hannikainen & Adolf Busch, January 22,1942

Victor Kolar, Alec Templeton, Dorothy Maynor,

Albert Spalding, Efrem Kurtz (with inscription: “In kindest remembrance”)

Oscar Levant, Andre Kostelanetz, February 26,1942. 183 THE GOLDMAN BAND at THE GOLDEN GATE INTERNATIONAL EXPOSITION March 19th to July 1st, 1939

Entire collection of the 210 concerts performed, bound in one book.

THE GUGGENHEIM SERIES OF CONCERTS PERFORMED BY THE GOLDMAN BAND Edwin Franko Goldman, Conductor

CENTRAL PARK On the MaU

PROSPECT PARK Music Shell

BOUND COPIES BY YEAR. ALL PROGRAMS

1936 SEASON (60 concerts)

1937 SEASON (60 concerts)

1938 SEASON (60 concerts)

1939 SEASON (60 concerts)

1940 SEASON (60 concerts)

1941 SEASON (60 concerts)

GLOSSY PHOTOGRAPHS AUTOGRAPHED (Most are 8 X 10) Wilbur M.Brucker(B&W) “To Leonard B. Smith, leader of Leonard B. Smith Band.

A devoted and patriotic American who is not only gifted as a soloist and musician but leads one of the finest musical organizations in the world - with warm personal regards - Wilbur

M. Brucker, Secretary of the Army, Wash. DC, October 14,1957.”

J. William Middendorf (Color) “With Warm Regards to Leonard Smith, one of 184 America’s great Musicians and a great Bandmaster. Bill Middendorf, Secretary of the Navy,

May 6,1975.”

Rosario Scalero (B&W) “To my dear pupil, Leonard Smith, with the best wishes of

Rosario Scalero, January 26,1944.”

Victor Kolar (B&W) “To Leonard B. Smith and his charming wife, with best wishes for their future. Victor Kolar.”

William Steinberg (B&W) “To Mr. Leonard B. Smith, the excellent first trumpet of the Detroit Symphony, with all good wishes. William Steinberg.”

Georges Barrere (B&W) “To Leonard Smith in commemoration of his first success­ ful concerts with the Barrere Little Symphony and the hope of many more to come! ! Most sincerely and fraternally. George Barrere, April 3,1936, New York, NY.”

John Barbirolli (B&W) “Leonard Smith - In remembrance of my Detroit. With admiration - good wishes. John Barbirolli.”

George S. Howard (B&W) “To my good friend, Leonard Smith, a great artist and conductor. George S. Howard, Col. US Air Force Band, Washington, DC. April 20,1957.”

Ernest MacMillan (B&W) “For Mr. Leonard Smith, with warmest thanks for his fine trumpet playing. Ernest MacMillan, March, 1938.”

Karl King (B&W) “To Leonard Smith from Karl L. King.”

Bruno Walter (B&W) “For Mr. Leonard Smith, the excellent first trumpet of the

Detroit Orchestra. Every good wish. Bruno Walter, Detroit, Nov. 1,1941.”

Richard Crooks (B&W) “To Leonard Smith, Sincerely, Richard Crooks, 1937.”

Walter M. Smith (B&W) “To my friend Birley Gardner, with every good wish.

Walter M. Smith.”

Wilfred Pelletier (B&W) ‘T o Leonard Smith, with my good wishes for a brilliant career. Wilfred Pelletier.”

Lawrence Tibbett “To Leonard Smith with best wishes fro Lawrence Tibbett.” 185 Leonard Warren “To Leonard with best wishes. Leonard Warren.”

Jascha Heifetz “To Mr. Leonard B. Smith with best wishes. Jascha Heifetz, New

York, Feb. 26,1938.”

Reginald Stewart “To Leonard Smith with admiration. Reginald Stewart 1940.”

Eugene Ormandy “For Mr. Leonard Smith with best wishes for a successful career.

Eugene Ormandy 1938.”

John Philip Sousa: “Rudolph Becker Esq. from John Philip Sousa.”

Mayhew L. Lake “To Lenny from Mike with all good wishes.”

Jose Iturbi “To Mr. Leonard Smith, Very cordially, Jose Iturbi 1938.”

Ernest S. Williams “To Leoanrd Smith, Wishing him every success. Ernest S.

Williams, Saugerties in the Catskills, 1935.”

Albert Ernst Couturier, “Couturier.”

Birley Gardner, Cometist of Sousa and Pryor Bands.

Herbert L. Clarke “To Leonard Smith, wishing you great success. Much appreciation of the wonderful comet trio played today. Herbert L. Clark, 7-2-39.”

Herbert L. Clark “To Leonard with Best Wishes, Herbert L. Clarke, Sousa’s Band,

1916 (referring to date photo was taken.)

Del Staigers “To Leonard, With sincere regards to a great artist. Del Staigers, New

York, 8-15-37.”

Efrem Kurtz “The excellent Leonard B. Smith, with best of luck. Efrem Kurtz, 1940.”

Fritz Reiner “To Leonard Smith, With sincere best wishes. Fritz Reiner, Detroit,

April 1940.”

Garden Simons “To my friend Leonard Smith, The greatest American talent on a brass instrument to appear in the past fifty years— one who has everything - - a “Natural.”

Very unassuming and delightfully likeable. Gardell Simons, Los Angeles, 5/25/38.” 1 8 6 Howard Barlow “To Leonard B. Smith, Best wishes. Howard Barlow, 14 June 1946.”

Tauno Hannikainen “To Leonard B. Smith, Sincerely Tauno Hannikainen, Detroit,

Dec. 20,1940.”

Franco Ghione “AI Mr. Smith, Leonard, Cordialmente. Franco Ghione, Detroit, 4-3-

40.”

Sir Thomas Beecham, “For Leonard Smith with best wishes. Thomas Beecham.”

August Helmecke “To my good fimed, Leonard, From Gus.”

Erik Leidzen “To my friend and colleague, Leonard Smith with best wishes. Erik

Leidzen 1959.”

Milton Cross “To that fine musician and long standing friend, Leonard B. Smith. May

continued success be yours. Milton J. Cross.”

Philip Egner “To my dear friend, Leonard B. Smith. Philip Egner.”

Jaraslov Cimera “My best wishes to my good friend and a great trumpet virtuoso,

Leonard Smith. Jaraslov Jerry Cimera.”

PHOTOS NOT AUTOGRAPHED

William BeU

Camille Saint-Saëns & John Philip Sousa, taken in San Francisco, 1915

Arthur Piyor

Simone Mantia

Maurice Van Praag (Manager NY Philharmonic.)

Bohymir Kryl

John Philip Sousa and Patrick Conway, taken in San Francisco, 1915

Victor Herbert, cabinet portrait

John Schueler, Trombone soloist of the Sousa Band Jack Richardson, Sousaphone player with Sousa Band

Merle Evans, famous circus bandmaster with Leonard B. Smith

Harold 0. Stambaugh, Cometist with Sousa Band

Mayhew Lake and his “Merry Malones”, Cohan Revue show band

The Goldman Band, signed by Edwin Franko Goldman, Richard Franko Goldman and all players in the band (San Francisco, 1939.)

Sousa Band photo, Hamburg, Germany 1900. Size 30x40 inces; another taken in St. Louis 1904, size 20x24 (in oak frame). Another taken at Steel Pier, Atlantic City, 1927, size 10x40.

Goldman bands taken at different eras (most are large size)

Sousa Band players; some 250+ snapshots of Sousa Band players on tour throughout the United States. Also 20+ portraits of Sousa and other band players.

MISCELLANEOUS ITEMS

Cover and first page of score to “The March King” by Leonard B. Smith, commis­ sioned by the Sousa Band Fraternal Society, signed on occassion of Sousa’s birthday dinner.

New York by members of the Sousa Band in attendance. New York, 1954.

“The Bugler” cornet solo by Edwin Franko Goldman, and dedicated to Leonard B.

Smith, printed copy with dedication by author.

Haydn Concerto piano conductor part, inscribed to Leonard B. Smith by Edwin

Franko Goldman, complimenting the soloist’s premier performance.

Letter of reference for a fnend, written in hand by Gioacchino Rossini.

Camille Saint-Saëns’ comments on a band score for his Danse Macabre, referring to his pencil correction; “Corrige’ par Tauteur. C. Saint-Saëns.”

187 188

Various Sousa artifacts, Sousa Band uniforms, caps of different vintage, collar and breast pins, Personal letter from Mr. Sousa to his sister in 1930, just before leaving for

England to premier his new “Royal Welsh Fusiliers.” Several Sousa autographs on programs, scraps of paper, etc. Copy of Sous march “Sen-Sen” in turn-of-the-century color photography technique.

A variety of pieces of music with composer’s autographs on them.

Concert programs of various bands; also souvenir booklets of same.

Books, catalogs pictures and an array of artifacts concerning Fairs and Expositions, too. numerous to list here. Among them, a copy of “Illustrated Historical Register of the

Centennial Exposition, Philadelphia 1876 and of the Exposition Universelle, Paris, 1878” by

Frank H. Norton. Published by American News Company, it contains 20 colored art plates and 800 engravings, 400 pages. Gilt edged. Size is 13 1/2 by 18 1/2. Excellent condition.

Another copy, called “Frank Leslie’s Illustrated Historical Register” published also by American News Company, does not contain the color plates other than a title page but is printed from the same plates on size 111/2 x 16 paper. Does not contain the 100 or so pages of the Exposition Universelle. Good Condition. APPENDIX B

LEONARD B. SMITH FRATERNAL AFFILIATIONS

Masonic:

Kilwinning Blue Lodge No. 297, Detroit

King Cyrus Chapter RAM No.

Detroit Commandery No. 1 KT

Scottish Rite, Valley of Detroit

Moslem Temple Shrine, Detroit

Royal Order of Jesters, Detroit Court No. 28

Honorary 33rd Degree Mason, Ancient Accepted Scottish Rite

Honorary Masonic Memberships

St. Ceile Lodge No. 568, F & AM New York

Damascus Shrine Temple, Rochester, NY

Cyprus Shrine Temple, Albany, NY

Kismet Shrine Temple, Brooklyn, NY

Afifi Shrine Temple, Olympia, WA

Saladin Shrine Temple, Grand Rapids, MI

Professional Affiliations

American Society of Composers, Authors and Publishers (AS CAP)

American Federation of Musicians (APM)

189 190 American Bandmasters Association (Resigned)

Association of Concert Bands, Past President

Awards

Distinguished Service Medal, Kappa Kappa Psi

Freedom Foundation Award

Polish American Legion, General Haller Medal

Michigan Minuteman Governor’s Award

Honorary Member Phillipine Bandmasters Association

General William Booth Award, The Salvation Army

Music Chairman, Civic War Centennial Commission

3 Testimonial Resolutions from the City of Detroit Common Council

Testimonial Resolution from Michigan Senate

Testimonial Resolution form Michigan Legislature

VFW Citation of Appreciation from Detroit Police Post No. 1278.

Elected to Hall of Fame Windjammers Unlimited

Honorary Ringmaster, Ringling Bros, and Bamum & Bailey Combined Shows

Kentucky Colonel (3 times)

Michigan School Band and Orchestra Association

The Doctor of Humanities Degree from the Detroit Institute of Technology APPENDIX C

PHOTOS OF EARLY BANDS AND BANDMASTERS

Photographs of Great Bandmasters

F nJX .Ii

^ ü l

Ji4wi Phthp Patrick Ceitwajr

Figure 52 Photographs of Great Bandmasters

191 192 Plate XX Sousa arrives at Steel Pier

g n

M INSTREfô>HÜMAr]G1l»teN ÎA l L WlNc HORSES:»^, Plate XXI The Sousa Band in Cleveland, 1927

ty

• - - y ^ m w ‘*i * ? < a # k t 9 % Plate XXII Blossom Festival Concert Band, 1978 Plate XXIII Leonard B. Smith and the Detroit Concert Band, 1983

m i 5 1% Plate XXIV The Pryor Band

III t-: • •

i f : 0 1 B . ==.i-: Plate XXV Fairman's Band, 1905 Plate XXVI Noted American Bandmaster at the White House April, 1932

'M . I llA i ■

Ji \ Plate XXVn The Sousa Band, Tennessee, 1924

im Plate XXVIII Frank Simon's Armco Band

•f

r./

N> O APPENDIX D

PHOTOS OF VARIETY OF PERFORMANCES BY THE DETROIT CONCERT BAND AND LISTING OF PERSONNEL

Plate XXIX Kaufman T. Keller, President Chrysler Corp. and Ed Stuison present cake to Smith on his birthday.

«

201 202

IMatc X X X Detroit Concert ll.niii ;i! .Me;ulo'.\ lînxik IVXS

éajiM^fiuîT- 203

g

Figure 53 Detroit Concert Band during rcliearsal 204

Plate XXXI Detroit Concert Band, International Freedom Festival Concert

11,

m 205

Phiic.X.Wll Detroit Concert Itaiid, Inc., Livonia 1987 2 0 6

i

Figure 54 Dr. Smith shows his obvious pleasure and satisfaction at the enthusiastic reception given his new march

Figure 55 Light Guard Armory was filled to capacity for one of the Band's Cabaret concerts. They loved the "Sing-O-Rama" too. 207 Plate XXXIII Leonard B. Smith accepts plaque from Vince Polce while at Defiance High School in 1989.

F S.. ^ % 208

Detroit Concert Band Personnel 1970

Dr. Leonard B. Smith, Conductor

Francesco Di Blasi, Assistant Conductor

Flutes: C o rn e ts: Dayna L. Hartwick J. Gordon Small Hanna K. Lahti Robert L. Finzel Anthony P. Ferrara Donald C. Schultz Carolyn Curtis Piccolo: Anthony P. Ferrara Trumpets Francesco Di Blast Oboes: Antonio C. Valladares M odeste De Santis Robert Brocket! Warren T. Liliegren Horns: English Horn: David Young Lewis G. Hay 1er Warren T. Liliegren Ernestine Barnes Bassoon: Santo L. Urso, Jr. Roy B. Sheffield James L. Mason Euphoniums: C la rin e ts: Wilbur C. Wostenhofer , -.V,, Emile W . Acitelli Richard R. Schilinske ' Richard J. Temkow , S g W ; Carol Ober William E la n iiif # Anthbnv'Ai Rwsséi.f , Harry GrShwmaK& Gerald A. tyrnekgW m m pèiér c

S a 'ijr

^ pu . V' •• . . •. . f. :: b Sepraiw Soloist: Fay# Turner ■ •' Band Boyt James.A. Small

Figure 56 Detroit Concert Band personnel, 1970 209

THE DETROIT CONCERT BAND

Leonard B. Smith, Conductor Earle L. Louder, Assistant Conductor

Harp Cornets KerstlnAllvin James B. Underwood Flutes Robert L. Finzel Dayna L. Hartwick Byron L. Autrey Ervin D. Nichols David A. Houston Cynthia Ferris Trumpets Piccolo Brian D. Moon Cynthia Ferris Carol J. Biasko Oboes Irwin J.inseim an Stephen Caplan Horns Ann Augustin-Jacobs Karen Nixon Lane English Horn Arlene D. Nixon Stephen Capian William Bert Brown Bassoons Joseph A. Buono GaryCaperton Euphoniums Nora E. Schankin Andrew Glover Clarinets Om er D. Creech, III John Mohler Trombones Carol J. Ober William E. Lane Keith E. Dwyer Brian K. Robson Ernest G. Matchulat Andrew P. Jam es Bernard Okin Gregory Near Joseph Ramoge Elmer A. Jan es Emile W. Acitelli Tubas Eric Neubauer Burton B. Bronson Charles Weiner Joseph A. DeMarsh Herman Kushner John Fansher Walter F.Mison William Lake Guido Fucinarl String Bass JeanW.Tinney Marc Wililam Haas Giuseppe Merenda Percussion Bass Clarinet Douglas D. MacLeod Bernard H. Rosen Eugene R. Hanson Saxophones John Dorsey Judith M. Peters Personnel Manager Norman Gladstone Robert L. Finzel Robert W. Kutscher Librarian David E Fletcher Andrew Glover

The Detroit Concert Band Is an equal opportunity employer.

Figure 57 Detroit Concert Band personnel, 1985-86 210

This is a list of ail persons who have nlaverl one season or more with The Detroit Concert Band since ;0!6.

‘ Emile W. Acitelli E. Glailncs Head r.eortte F. i’.iikor Selwvn C. Alvcv Fred E. H eath M U.iiUi D. I’.-u'.rrson Jo h n A. A versa Francis HclKtcin R u -'cll J. I’eicrs William Heilstein L itn o ert I’low m .in C arlo Dsdal.imcnci William D. Herrick Frank D. Balaam William F. Rtirkcv •Randal! F. Hicks •Kenneth H. Baldwin Biruard H. RO'Cti Jo h n Hill Darrei L. Barnes •Af.thony A. Russo Paul D. Hoelzley •Ernestine D. Barnes Paul Srhal’er •F.dsçar L. Barrow Bvron Hooper Tack Wm. Horner •Richard R. Schilinske Leland Bartholomew 3. Oriel Howick R obert E. Schrocdcr R, Arthur Black Kenneth W. Humber; •Donald C. Sciiui'.r R ichard A. B'ohl Francis Hussev Ravmond C. Sciudtz •Linda Borushko W iliam Scott •Rnbert tV. Brockett Andrew V. Iz:o K enxcth a:-.-.iltz 'Villiam B. Brcwn •David M. Jackson •Harrs G. Snun.au •William E. Buckeyne Frederic B. J o h n so n Robert Shefhi'iil Joseph A. Buono •R q v 3. Sr.etiield •Gerald A. Bvrnes William 3. Kardos Jack E. Shelby Thomas Kcnnv Nicholas D. Cannici Laurence E. Sioat Vane H. Ketisinger Bert C. Carlson •J, Gordon Small John Kitzman Alfred Cavana igh Ci'.de Smith •August F. Klein Victor M. Charbonneau Nol le C. Smith Ersvin F. Kiocko Robert A. Clark Burdette W. Smvthe Glenn N. Knponen •Robert K. Collins William Earl Spalding Charles F. Krecji Terel H. Cox D avid S. Spencer Joseph A. Krecji •Carolyn A. Curtis Emtiio Scahgo John L. Kripl •G erald Stann Mark De Leonard •Eugenia K. Kuhnie G eorge Siimm •Modeste De Santis •Herman Kushner •Francesco Di Blasi Richard Temeriati Oscar F. LaGassey James A. Dugan •Richard I. Temkow • H a n n a K. Lahti Rex P. Thuston Fritz Estijrig O w en T. L andy •Jean W. Tinney Theodore M. Evans •William E. Lane •Stanley S. Towers Louis .A. LaRosc. Jr. •Faye Turner •Ronald Fane Mark H. Lawrence •Anthony P. Ferrara Donald L. Leih Harry Uren •Robert L. Finzel •Santo L. Urso. Jr. Hosvard Frenzel Norman L. Letvin Susan S. Fries •Warren T. Liljegren •Antonio C. Valladares •Giiido Fucinari, Jr. •Martin Lozano Andrew A. Van Deven •Guido Fudnari, Sr. Joseph Lucas Lyle Velte Edward J.Cagec Raymond Makowski Rudolph M. Waha John J. Cagec Dana Mason Clement H. Wallace James H. Gass •James L. Mason Gerhard Warms •Peter C. Geiger •Ernest Matchulat •Charles Weiner Ed. Gergosian Gordon C. Mathie •Wilbur C. Westenhofer Raymond McConnell Anton Wolf LairyGlow Frank Moffatt Peter Jon Gordon Arthur A. Moranz Ralph A. Yoapetta Oliver A. Green, Jr. •David Young •Bennie J. Giegurick Peter P. NuccUi Raymond A. Young John C. Hamel •Carol J. Ober •Baine U. Zajac Geofge E. Hamilton, Sr. Charles O'Brien David Zauder •Earle K. Harger Ronald Odmark •Dennis Zeisler •Dayna L. Hartwick Robert S. Odmark •Michael .A. Zelenak Harry A. Hayden, Sr. FJovd O’Hara Reinhardt W. Zunker •Lewis G. Hayler Mitchell Otadchuk Don Zwickey

Figure 58 List of all persons who have played one season or more with the Detroit Concert Band since 1946 through 1970. 211

DETROIT CONCERT BAND PERSONNEL 1965

DR. LEONARD B. SMITH, Conductor E. GLADNEY HEAD, Assistant Conductor

FLUTES: CORNETS: Susan S. Fries J. Gordon Small Hanna K. Lahti Robert L. Finzel Anthony P. Ferrara Louis A. la Rose E. Gladney Head PICCOLO: TRUMPETS: Anthony P. Ferrara Francesco Di Blasi Antonio Valladares OBOES: Robert W. Brockett Modeste De Santis Warren T. Liljegren HORNS: Burdette W. Smythe ENGLISH HORN: Ernestine Barnes Warren T. Liljegren Andrew A. Van Deven Santo L. Urso BASSOONS: Roy B. Sheffield James L. Mason Robert E. Schroeder EUPHONIUMS: Wilbur C. Westenhofer CLARINETS: Richard R. Schilinske Rudolph M. Waha TROMBONES: Jean W. Tinney Nicholas D. Cannlcl Dana Mason Emile W. Acitelli Martin Lozano Jack E. Shelby Anthony A. Russo Barney Rosen William E. Lane Guido Fucinari Gerald A. Byrnes Ernest Matchulat Charles Weiner TUBAS: Herman Kushner Russell J. Peters Bennie J. Gregurick William Heilstein John A. Averse Frederic B. Johnson William E. Buckeyne Gerald Stann STRING BASS: Robert K. Collins BASS CLARINET: Edgar L. Barrow PERCUSSION: Kenneth W. Baldwin (B.D.) SAXOPHONES: Robert A. Clark (S.D.) John Lawrence Kripl Richard A. Bohl fT) Ralph A. Yocapetia Joseph A. Krejci HARP: Andrew V. Izzo Eugenia K. Kuhnie LIBRARIAN: Guido Fucinari BAND BOY: Guido Fucinari, Jr.

Figure 59 Detroit Concert Band personnel, 1965 ■APPENDIX E

DISCOGRAPHY OF THE DETROIT CONCERT BAND

RCA Victor Records by Leonard B. Smith, cometist, with Frank Banta, Piano (78 rpm)

Bride of the Waves (Clarke) Ecstasy (Smith)

Kiss in the Dark (Herbert) Spanish Caprice (Smith)

Sounds from the Hudson (Clarke) My heaven of Love (Goldman)

Comet Solos with the Goldman Band, Edwin Franko Goldman, Conducting. For

Muzak (Ben Selvin) Electrical Transcriptions

Harp of Tara, (Rogers) Spanish Caprice (Smith) Kiss in the Dark (Herbert) My Heaven of Love (Goldman)

Comet Solos with Leonard Smith Band for Bandland Records (on 78 & 45)

Ecstacy (Smith) with "Hail, Detroit" March (Smith) Willow Echoes (Simon) with "Belle Isle" March (Smith)

Also all the Bugle Calls for the USNavy, Robinson Laboratories, Philadelphia, PA.,

1942 (78’s)

212 213

SOUCMSTS OF THE DETROrT CONCERT BAND (Av»iUtbtm on Cnosett» or LP Hmeotd} %riadons

Figure 60 Program from "Soloists of the Detroit Concert Band" Î14

VOLUME 1 GEMS OF THE CONCERT BAND (Avatlable on Cassette or LP Pécertf)

Monltryarlre March from 'E^uis Suite'...... Haydn Wbod Overture 'M ignon'...... AmbroiseThomas Fasdnatm' Rh^hm George Gershwin Comet Solo 'Concert Etade' ...... Alexandre Goedkke Leonard B. Smith, Cwnet March 'The Bhie Flame'...... Leonard B. Smith Russian Sailors' Dance from 'Red A ippy'.. .Reinhold Gliere Aria 'Amour viens aider' from 'Samson and Delilah' ...... Camille Saint-Saëns Elsie Insdmarv Mezzo-sc^nano Boston Commandety March. .Thomas M. Carter Flight of IheBuzhblebee ...... Nicholas Rmshy^Korsalcmv ChSdren's March. .Edwin Franko Goldman Vl«tz of the Flowers. k ter I. BchariBkowlcy

VOLUME 2 GEMS OF THE CONCERT BAND (Avsnabte on Cassette or LP Fecord)

Marche Hongnnse 'Rakoczy' ...... Hector Berlioz Overture "Die Fledermaus'...... Johann Strauss S'Wonderful...... George Gershwin Clear Track Polka...... Eduard Strauss Comet Trio 'Air & Variations in Bb'...... Bandel-Goldman Messrs. SmiOi, Finzel St SmaO, Cornels March "National Emblem' ...... Edwin E. Bagley Dance of the Amazons...... AnatukLiadow Song'Ouvre Ion C œ u r'...... Georges Bizet Imogviie Bird, Soprano March 'Homs-a-Plenty ' ...... Leonard B. Smith Irish Time from County Derry...... Percy A. Grainger IW Horn Galop...... I iermann Hcllsledt Leonard B Smith, Post I hn n Finale "Symphony No. 4* Prter I. Tschaikowsky

Figure 61 Programs from Volumes 1 and 2 "Gems of the Concert Band" 215

VOIJUUE 3 GEMS OF THE CONCSTT BAND (AvirilaMo on Caasette or LP Focontf

The StAT Spangled Rannar...... John Stafford Smith Inlrodiitlknv Art III 'Lohoigrir»'...... Jtidiani Winner OvTrtutre 'Wiffiam leil"...... Gioacdiino Rcesani Fnssatscs...... Ludwig van Pcrthovcn Cornel Soio 'The B ugkr'. Edwin Iranh» Goldman Leonard B. SmiÜ\ Comet March *Bugles and Dnims' Edwin Franko Goldman Siaxinnc Dance N a J ...... Antonin Dvorak “Believe Me if aP Those Endearing\hof>gC2iflnn^... Irish Ekie Insdoiaa Mezzo-soprano March “Americans Wle“ ...... Henry fUlmwc EmbraoeaUe Mxi...... Ceoige Gershwin March T h e Traveler'...... Leonard BL Smith EMcezpts hxnn 'Andrea Chemer' ...... UndiertoGandaaia

VOLUME 4 GEMS OF THE CONCERT BAND fAvatMit» on Caaaatta or LP Raeord)

Marche Militalfe Française...... Camille SaÈnt-Saen» Overture "Rrgr B ia s'...... J^ixMendeloahn ConbaDance M al...... Ludwig van Beethoven EujdwnianiScdo 'Bnvma ^hriafions'... .AdoiÿlieC Adam EaifeL. Louder; Euphonium ' ttafimlbllca...... SogeiHadMnanhudf Mardi'Aoierican Red GroBS'...... : ...Louis LAneOi BdktSuMe'The Seasons'...... AkxandlreGlazanDut W ise and Baodianaie Comet IHo'The lin e Blue ladcets' Ernest&W9Uans Measm Smlllv Ih ô e l dc SrnaiL Cbiriets Maidi'ibwn Crier'.... Leonard B.Smilh Liza .George Gershwin Leonard E Smith M acdb Fiul Van Loan WWtz 'Acceleration'...... fohann Strauss

Figure 62 Programs from Volumes 3 and 4 "Gems of the Concert Band" 216

VOLUME 5 GEMS OF THE CONCERT BAND (Available on Cassette or LP Record)

Amcrka the Beaiilifiil...... Samuel /\ugustus \Vard Overture 'Obcnm ' Carl Maria von Weber Ernest WiHiainsBand Ekhod March... Mayhew Lester Lake Whbtier and His Dpg...... Arthur Pryor Rhapsodie 'Espana' ...... Emmanuel Chabtier Shepherd's Hey...... IVrcy A. Grair^er Cornel Solo "Columbian Fantasy" .Walter B. Rpgers James B. Underwood, Comet March "Jurisprudence"...... Leonard B. Smith Hungarian Dance No. 18...... Johannes Brahms March "Barnum & Bailey's Favorite" Karl L King Marche Slave...... Peter 1. Tschaikowsky

VOLUME 6 GEMS OF THE CONCERT BAND (Amttabto on Cassette or LP Record)

Marche Joyeuse. JEnunanuel Chdirier Overture "La R uza del D estino". C liiseppe ^ferdi Blue Sides...... JnrbtgBeriin M w A 'C ak C M y" .. A.F. MWdon A Hun&igSoene. Ernesto Bucakjsai Farandole frtun "UArleslenne" Geoages Bizet Fiiphonhnn Sok> "BeauHful Colorado" ...... Joacph Détaxa Earle L. Louder, Enphnnitim March "Pirtgnsslve" Edwin Franko Goldman fesu, Joy of Man's D esirin g...... ^oharm Sébastian Bach Maréh "Mainiiner". .Leonard RSmilh Bacchanale from "Samson and DeWah". CamdHe Saint-Saëns

Figure 63 Programs from Volumes 5 and 6 "Gems of the Concert Band" 217

VOLUME 7 GEMS OF THE CONCERT BAND (AvaItabf0 on Caosetta or LP RaeorO)

Mardi from nànnhaiiser” ...... Richard Wagner Overture "Orpheus in the Underworid*’. - Jacques Offenbach Pn&a de Sakn...... JVter I. Tschaiknws&y Turicey in the Straw...... Oawd Cuion Blue Room...... Richard Rodge» 2nd Regiment ConnecUrul N.C. March ...... D. WReeves March “ Vhldres" Johannes Hannscn Trombone Soiu "AUantic 2Iephyrs' ...... GardeTI Simons William E Lane, Tm nbone March 'Dauntless''...... Xeonand B. &nilh Wahz "Bdle of the Rail' ...... 1 jeroy Anderson March "ItW d Evenk" ...... L^ZataecrSx. TboeR)em"Rmlandb": ...... JeanSbeUus

VOLUME $ GEMS OF THE CONCERT BAND (Aaailabla on Cnooatta or LP Rocant)

Occident and Orient...... ComflleSaint-Saena Oveitme'M eny Wives of VfindHor"...... OttoNicafai A Sleepy Lagoon...... JEric Coales March'Sjpiril of Independence*...... AbeHdzenann IheKafiirontheKana...... foihn Philip Sousa Moorish Dance fnmi'Aida'*. jQuseppe Wadi Cornet Soto *My Ifeavcn of LovcT.. Edvrin iianfco Gokbnian Leonard BL Smith, Comet The KUdes March...... jSemuel E Morris Country Cardens...... R icy A . Grainger March "The March iOng* ...... l.eonardR Smith Second Hungarian Rhapsoih^ ...... Franz Liszt

Figure 64 Programs from Volumes 7 and 8 "Gems of the Concert Band" 218

VOLUME 9 GEMS OF THE COMCERT BAND oji Cassette or LP RscordJ

American Patrol...... Frank W. Mrachatn Overture 'In Bohemia'...... Henry K. Hadley Comet Trio “The Three Solitaires' Victor Herbert Messrs. Simmnns, Hnzel dc Th orslenberg, Comets What is this'nûngcaSed Ijowe? ...... -ColeRjrtff March 'O n the MaiT ...... Edwin Frank* Ceddman Official West Rirnt March...... Phifip Egner If Ever] VHfruld Leave Ybu...... Frederick Loevre FaUi Foster, Soprano Picrettt...... HemylCHadiey Maich 'Baton Twvier' ...... Leonard B. Smith WhUzesfrom *E)cr Rosenkavaller' ...... JRichard Straoss

VOLUME 10 OEMS OF THE CONCERT BAND (Asa/ISAfe on Csssotto o r LP RecorO)

Rmamerfcana...... Victor Herbert Overture'FbytcDanto' ...... Jiranz vonSuppe Comet Solo'Tand of the FteeT...... WAerBRCgo» James R UndenvonL CoRwC Serenata...... XeigyAndenom March'On Jersey ShoR^...... Aithnrftjor Hm^arian Dance NO.B...... Johannes&ahm* SodethmmTheOr&k Beet'...... John F fflp Sousa Meson. V niienm d ft RiuxL Cdniels Imie ft SUhllifaoDfecines; louder ft OircciS Euphcsaums Mardi'The light RMbSSc'...... L eo m d & Sm tti Bogue a h OgiuieL ...... hhamnSAaSfianBadt E n^ Sifti'W lft a Sosig ta Mÿ H eaiT.... J&haid RlD(%en Batte L. Loodeat Enphoninm Mardi'Ughb OU' ...... Æ atlEM cCoy IbOca and fugue fioan 'Schwanda'. ■ .. Jarontir Wrinbergpr j

Figure 65 Programs from Volumes 9 and 10 "Gems of the Concert Band" 219

VOLUME 11 GEMS OF TtÆ CONCERT BAND (Awallabfa on CMasetto or LP Record)

Mardi frmn 'Ikfadbeth' ...... GSnseppe %rdi Overture‘lïfHnan Carnival*’...... Hector Berlksc PkodoSolo Through the A k" August Damm Susan Iveis Bam^FSccolo Bokm...... Mauske Ravel Maidi “Thelofcar*' ...... JW^hew Lester Late March "Musk tèsthrai”...... XemacdB. Smith Comet Trio "Echoes of the CalsXdBs" ...... WaherBLRqgeis Messrs. Sndth, Fbizet Ac SnalL Comets Ftnooasion of the S id ar fiom "Caucasian Skefches" JMkhael IppoUlov-Ivanow Handd in the StcanL ...... A n y A. Grainger RMnpandQRiiinstanoeNa.1...... A h van tE ^ ar

VOLUME 12 GEMS OF THE CONCERT BAND /AvaflMte oa Camoetto or LP JtecttnfJ

MImAhima "Los* ter Three Otan@»"-«^k%ge%Wm#ae#[ Overture "Rajmond"...... Andmiurlhonas March "GnccrtBooaten"...... LeoraidftSuddi IheCUiRSaHn...... Lenqr Amfcnon " W m d U if...... JahnH oüow ^ JUaqsaodk Ih au e n t e Baodbotila". Samuel Cafam%e>'fi9 fDr C M tC h a tM k t...... Johann Sirauau ThaxtemeS(itenhqigN»*fLove!"...... JirthnrPtyor Wiliam E. Lane, Trombone TMudernGMlnac...... Sergei Rad m an lnofl' March "Up the SlneT...:...... JhAerlGMone Eaoe#pbhean"SuheXn"...... AkrLtdwatewslgr

Figure 66 Programs from Volumes 11 and 12 "Gems of the Concert Band" 220

VOLUME 13 GEÊG OF THE CONCERT BAND (A¥0tfabt0 on Cnssetto or LP Aecorc^

M ardi'M x s in ty b n d " ...... V klw H eA ert Oeeituie *11 Guaiany*...... AnianioCailasGcHnez Maich 'Ameiican Champion*...... Xeonaid B. Sotilh Cam et Solo *Tb Have; Tb Hold, lb Love* ...... Ernest X. Bali James B. Underwood, Gnmet Wahz 'Gold and S ilv e r '...... A anz Lehar H ungarian Dance M a S...... Johannes Brahms Scu% 'Italian Love Song* ...... Victor Herbert Faith Foster Soprano March 'Under the Double Cagle' .J. E Wagner Pierrot JFfenry (C Hadley Ballet Musk'Firincejgor'...... Alexandre BkatnSn

VOLUME 14 GEMS OF THE CONCERT BAND (AvMobio on Caoootio or LP Paeota)

Marche Mihtaiie. Franz Schubert Overture "Zampa'...... Louis E J. Hcxold The Penny WhBde Song...... J^eroy Anderson March 'Chicago Tribune' ...... W. Paris C hanters Waltz 'Sleeping Beauty' ...... Paler I. Tschaikowslcy March'L e Coq d'O r' Nicholas RhmlyJCorsakow Cornet Solo 'Southern Cross* Herbert 1. Clarhe James R. UnderwoocL Come* Slavonic Dance N a 10. Antonin Dvorak March 'Entry of the Gladiators* ...... Julius Ftuik Finale 'The Pines of Rome' .Oliurino RcsjMghi

Figure 67 Programs from Volumes 13 and 14 "Gems of the Concert Band" 22 1

VOLUME 15 GEMS OF THE COMCERT BAND (Avsllmb/^ on Coagott» or LP Baeerd)

American Fadasy...... Vktor Herbert Overture 'Beaufifol Gabtea*. Franz vmSufpe Comrt Soio XinandRasarân Fantasy”...... Jules Levy DynaiL. AutrcÿCon** Thondkranf MgilrtningFtatka...... Johann Sbaies Ibradeof tiheGendaranes. Mayhevr Lestei Late Lady of Spain...... IblchanI Evans Badinage. .Victor Hadbert Mareh ^Gcdden ftiendshiper. Jicswy fîlm cn e Indian MaidiL...... Ed«nn Franko GaUman WfaBz'BeaiilUulBfae Danube'...... Johann Süauas

VOLUME 16 GEMS OF THE CONCERT BAND (Aaattabta on Caoaotta or LP Boeord}

Marche Militaire...... AXerI.%chnilanvdy Overture*HaOra”...... AanWaw Moniuszho Ihunbone Solo 'fantastic ftaUca*...... Jbthurl^yor WaiiamBLane; Tromteme Danse Hüanoc5 *V%lh Pleasu re'...... John Philip Soum Slavonic Dance N a l...... Antonin Dvorak March 'B elle I sle '...... LeooanlS.SinHh Many on the Shore...... A. Grainger M anh 'T hnd Alarm"...... BdwinlrnhoGoldinui D ie King of France...... JohnPinEp Sousa Toccata and Fugue inDhfinoe ...... Johann Sdnstiao Badi

Figure 68 Programs from Volumes 15 and 16 "Gems of the Concert Band" VOLUME 17 GEMS OF THE CONCERT BAND (Av9 ttatl9 Ctt CMaaattm or LP ttoeord)

IKuinfMI March 6am'Kida"...... Ciuaqjpe'Vtrdi Overture'Ug^tCavaliy”...... FranzvcnSuppe ...... l o u & ÿ r ComrtSo5o"'%heLulk"...... MMterB^Uqgim Janus B. Underwood, Cornet March of Ihe Royal Ihm pela...... John Philip Sousa March *Chlmn ofU bery...... Edwin Franko GoUman Feuillet d'A ibuia...... Befer L Tsdiaikowsky Maordi "On the Campus". Edwin Franko Goldman Excerpts "ManoDoid Requiem" ...... XSuseppe Merdi Dies Irae Tuba Mirum Recordare Ingcnisco RexTrenundae

Figure 69 Program from Volumes 17 "Gems of the Concert Band" 223 THE SOUSA AMERICAN BICENTENNIAL COLLECTION (COMPmSINGALL 116IWOWN PUBUSHED MARCHES FOR BANO BY JOHN PHIUP SOUSA.)

MB: LP RECORDS ARE AVAILABLE INDIVIDUALLY IN SINGLE VOLUMES. CASSETTES ARE AVAILABLE ONLY IN l-CASSETTE PACKAGE. NOT SOLD SEPARATELY.

H(X.i.SA VOLUME 111 AMKKICAN Ctoss/c AfnrcAes BICENTPJSM.VI. The Royal Welsh Fusiliers ax-LEcrnoN Semper Fidelis America First Power and Glory The Picador Sabre and Spurs Naval Reserve Wolverines Bxtammmaau» tW.2 The Aviators Magna Charta VOLUME I Marche» performed far the BBC-TV Documentary VOLUME IV "TAe tf«rcA Ktng* Fraternat IfnrcAen The Thunderer National Fendbles The liberty Bell The Boy Scouts of America OurFlirfailions The Gridiron C!id> Wushinehm Fast The Circumnavigators Club The Fithfinm of Fmanu The Beau Meal ElCnpttan The Lambs' The U S. Kdd Artillery NoUes of the Mystic Shrine We Are Coming Comrades of the Legion Geo. Washington BkemXexmial The Crusader The New Yocfc l^podiom e The Copooran Cadets The Belle o l Chicago The S lats and Stripes Forever VOLUME V VOLUME II Marche» for Hfa Frfaoda Expoalttoa Marcha» Manhattan Beach TheDircrtomrte Rerunaptkm KxngCottom The Gladiator A Ceatmy of nogress Congress Han Sesqiu-ceatenaial Exposition TheSatvaUon Army Yoriktown Ceotennial The Pride of A eW M verines LaFkrdeSevflU The National Game The Fairest o f th e Fair Guide Right TbeLcghmaires Keeping Step wiHi ihe Urrion The Invincible E ag^ Irnpeiiai Edward Hailtothel^MritofUberty The Diplomat

Figure 70 The Sousa American Bicentennial Collection, Volumes 1-5 224

VOLUME VI VOLUME IX A Sousa Potpourri A Sousa KaMdoscope The C îoryof the Yankee N avy Prince Charming Atlantic City Rageant Transit of Venus A ndent & Honorable Artillery Co. The Occidental Jack Tar TheChantyman's Who's Who in Navy Blue The Volunteeis Hands A aoss ilie Sea On Parade The High School Cadets Powhatan's D an ger The Gallant Seventh S did Men to flie Front! The Bride Elect Mother Hubbard Harmonica Wizard Pet of the Petticoats from Maine to Oregon Boniüc Annie Laurie The Rifle Regiment OntheTkamp The Wldte Flume The Free Lance

VOLUME VII VOLUME X Marches lor ihe Mttttary Through hte Years The Black Horse Troop aitth Sousa Globe and Eagle Revival Riders lor the Hag TriuttqA of Time Right-'oiward The Federal Esprit de Corps Mikado Right-Left The Triton Bullets and Bayrmels Mother Goose Anchor and Star The White Rose The Loyal Legion ■ Ben Bolt TheManBekkdtheGwn - Flags of Hcedon Sound off th e Charlatan When the Boys Come Sailing Home Across the Daiudre VOLUME VIII Pushing On Liberty Loan The Coitegtate Marches Golden Jubilee The Dauntless Battalion The Northern Pines Marqpielte Urdverdty D au^teis of Ihxas Urdverrity of Mmols On the Campus Kansas Wildcats University of Nebraska Wisconsin Forever Forward N ew M exko The Minnesota

Figure 71 Sousa American Bicentennial Collect Volumes 5-10 APPENDICE F

TIME LINE 1949 C-iO-'Q»! BoooroiEnoogtd for L'itio Symphony 19)4 inrrci oxpoiufo 10 a profomono#

publie ot ion*

Summor

k h o o i 1947

U$ Ngyy. Bond

1910 1920 1930

iX

ofehoitroi •xportoneo ô,oduat#d S s î

SI

vwmome Senool OMcnogod from tho Nory A ItlS-M rotumi to 0#lto# Sogra "pw###" Sympnony itonor pfwm g ky Dorforming m loevo# lymphony miiconanoout A bogm» 10 for* •ngogomonti m iioto ptara for n NV h# own bond

Conduetof of ttw MoHom Tompt» Snmne Bond

225 226

\H9 DC8 provid»! iQundtroek 1977 tor I h o March lOng DCS doeumpntaty of S o u q for tho B6C *$oio«ti or

t9S4 Dotrott Bocomot «0)0 C o n ço it ownor of Bond* Bondlond 1*90 It eemmoionod to wrto The

Movoi oMeot to Pud. Co. Scofddio. Ai

1950 @ 1 9 8 0

im 1911 Form S)om controet Co.

from

Bend h Ctovolond. OH LIST OF REFERENCES

Band Library offered for sale. (1990, Spring). Band Fan, p. 1

Band Library offered for sale. (1990, Spring). Band Fan, p. 1

Band Library offered for sale. (1990, Spring). Band Fan, p. 3

Band Library offered for sale. (1990, Spring). Band Fan, p. 3

Band Library offered for sale. (1990, Spring). Band Fan, p. 3

Band Library offered for sale. (1990, Spring). Band Fan, p. 3

Bierly, Paul. Personal Interview. 8 April. 1988

Bierly, Paul. Personal Interview. 4 March. 1989.

Bierly, Paul. Personal Interview. 10 March. 1990.

Bovaco Catalog of Band Accompaniments. (1974) Forward by Leonard Smith, Detroit Concert Band.

Bovaco Catalog of Band Accompaniments. (1974) Forward by Leonard Smith, Detroit Concert Band.

Detroit Concert Band Musicians - Other Concert Attending Individuals. Personal Interview. 30 June. 1989.

Gaydos, Jeff (1980, March). Stars and Stripes Forever! Friends The Chew Owners Magazine, p. 5

Gebert, Armand. (1975, May 28). Detroit Free Press, p. 12

Gebert, Armand. (1975, May 28). Detroit Free Press, p. 12

227 228

Leonard B. Smith (conductor). Gems of The Concert Band, Vol. 1 -32. Detroit Concert Band, Inc. Gross Point Woods, Michigan.

Georges Barrere, Conductor. The Barrere Little Symphony. New York. 1936. Pamphlet

Hoover, Barbara, (1980, June 4). A Not So Sad Farewell, Detroit Free Press

The Leonard Smith Band, 1971, Brochure

Leonard Smith and the Detroit Concert Band, Concerts Director. Grosse Pte. Woods, Michigan, Pamphlet

Matel, John. (1979, June 17). The Detroit Concert Band Forever. The Detroit Free Press, p. 22

Matel, John. (1979, June 171. The Detroit Concert Band Forever. The Detroit Free Press, p. 22

Matel, John. (1979, June 171. The Detroit Concert Band Forever. The Detroit Free Press, p. 28

Miller, Stephan. (1988, June). Leonard B. Smith: Semper Fidelis. Instrumentalist p. 55

And Now Leonard Smith. The Leonard Smith Band Inc., Publications. Board of Trustees. 1946

And Now Leonard Smith. The Leonard Smith Band Inc., Publications. Board of Trustees. 1946

And Now Leonard Smith. The Leonard Smith Band Inc., Publications. Board of Trustees. 1946

And Now Leonard Smith. The Leonard Smith Band Inc., Publications. Board of Trustees. 1946

And Now Leonard Smith. The Leonard Smith Band Inc., Publications. Board of Trustees. 1946

And Now Leonard Smith. The Leonard Smith Band Inc., Publications. Board of Trustees. 1946 229 O’Shea, Arthur. (1961, July 9). They Call Him Our “Music Man”-Will Detroit Make It Offical?. Detroit Free Press. Roto Living, pp. 8-9.

Our American Heritage in Music. Detroit Concert Band, flier. John Gardiner, The Windsor Star.

Our American Heritage in Music. (1975, April 25) The Detroit Concert Band, Flyer.

Scharfenberg, Doris. Forty Years 1946-1985 - The Detroit Concert Band. Brochure, p. 15

Scharfenberg, Doris. Forty Years 1946-1985 - The Detroit Concert Band. Brochure, p. 18

Scharfenberg, Doris. (Author) (1981) The Detroit ConcertBand. Gemsof the ConcertBand. (Record album, volume 3).

Scharfenberg, Doris. (Author) (1981) The Detroit Concert Band. Gemsof theConcertBand. (Record album, volume 3).

Scharfenberg, Doris. (1970, June). One Man's Band, Instrumentalist, p. 27

Smith, Leonard. (1973, April) The Band Conductor as Musician and Interpreter. The In­ strumentalist. p. 35

Smith, Leonard. (1973, April) The Band Conductor as Musician and Interpreter, Theln-

Smith, Leonard. (1973, April) The Band Conductor as Musician and Interpreter, Theln-

Smith, Leonard. (1973, April) The Band Conductor as Musician and Interpreter, Theln-

Smith, Leonard. (October, 1969) The Detroit Concert Band, International Musician, p. 7

Smith, Leonard. (June 19601 The Professjonal’s Goal in Practice. International Musician. p. 15

Smith, Leonard. (June 1960) The Professional's Goal in Practice. International Musician. p. 15

Smith, Leonard. (June 1960) The Professional's Goal in Practice. International Musician, p. 14 230 Smith, Leonard. (June I960) The Professional’s Goal in Practice. International Musician, p. 14

Smith, Leonard. (June 1961) The Status of the Professional Band. Instrumentalist, p. 24

Smith, Leonard. (June, 1981) The Status of the Professional Concert Band, International Musician, pp. 23,24

Smith, Leonard. (June, 1981) The Status of the Professional Concert Band, International Musician, p. 22

Smith, Leonard. (1952) Treasury of Scales. CPP/Belwin, Inc. p. 4

Smith, Leonard. (1952) Treasury of Scales. CPP/Belwin, Inc. p. 4

Smith, Leonard. (June 1960) Seating the Band Out-of-Doors, Instrumentalist, p. 46

Smith, Leonard. (June 1960) Seating the Band Out-of-Doors. Instrumentalist, p. 46

Smith, Leonard. (June 1960) Seating the Band Out-of-Doors, Instrumentalist, p. 47

Smith, Leonard. (June 1960) Seating the Band Out-of-Doors. Instrumentalist, p. 47

Smith, Leonard. (June 1960) Seating the Band Out-of-Doors, Instrumentalist, p. 4

Zauder, Dayid, Personnel Director - Blossom Band. Personal interyiew 9 July 1989.