A study of the saxophone soloists performing with the John Philip Sousa Band, 1893-1930. Item Type text; Dissertation-Reproduction (electronic) Authors Hester, Michael Eric. Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 04/10/2021 05:17:51 Link to Item http://hdl.handle.net/10150/187338 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. 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Contact UMI directly to order. UMI A Bell & Howell Information Company 300 North Zeeb Road. Ann Arbor. MI48106·1346 USA 3131761-4700 800:521·0600 A STUDY OF THE SAXOPHONE SOLOISTS PERFORMING WITH THE JOHN PHILIP SOUSA BAND: 1893-1930 by MICHAEL ERI CHESTER Copyright © Michael Eric Hester 1995 A Document Submitted to the Facu! ty of the SCHOOL OF MUSIC AND DANCE In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS WITH A MAJOR IN PERFORMANCE In the Graduate College THE UNIVERSITY OF ARIZONA 1995 UMI Number: 9620397 Copyright 1995 by Hester, Michael Eric All rights reserved. UMI Microfonn 9620397 Copyright 1996, by UMI Company. All rights reserved. This mirrofonn edition is protected against unauthorized copying under Title 17, United States Code. UMI 300 North Zeeb Road Ann Arbor, MI 48103 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Final Examination Committee, we certify that we have MICHAEL ERIC HESTER read the document prepared by--------------------------------------- en t itled___ A ___ S_TU_D_Y_O_F ___ TH_E_S_A_X_O_P H_O_N_E _S_O_LO_I_ST_S ___ P_ER_F_OR_M_I _NG___ H_IT_H ___ T~_I E ______ _ JOHN PHILIP SOUSA BAND: 1893-1930 and recommend that it be accepted as fulfilling the requirements for the Degree of DOCTOR OF MUSICAL ARTS II-ij -q~ Date Date Final approval and acceptance of this document is contingent upon the candidate's submission of the final copy of the document to the Graduate College. 1 hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilling the requirement. II - 22 - 15 D~rector Date STATEMENT BY AUTHOR This document has been submitted in partial fulfillment of requirements for an advanced degree at the University of Arizona and is deposited in the Universi ty Library to be made available to borrowers under rules of the Library. Brief quotations from this document are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the copyright holder. SIGNED:_--f'--__-fTf'-- ______ 3 ACKNOWLEDGMENTS In preparing to organize this document I accumulated and examined a great deal of primary source materials. There are several individuals across the United States who allowed me access to a wide variety of these materials and it is extremely important that these generous people are recognized: Paul Bierley: Sousa scholar and author, Westerville, OH. Keith Brion: Sousa scholar, band leader and conductor. Paul Cohen: Sousa scholar, author and saxophonist, Teaneck, NJ. Phillis Danner: Librarian for the John Philip Sousa Library, University of Illinois, Champaign-Urbana, IL. Barry Furrer: Sousa scholar and collector. Richard Kent: Saxophonist with Sousa (1921-1922), Champaign-Urbana, IL. William Kierig: Sousa scholar. Tom Kloss: Copyist and Librarian for the Frank Simon and Joseph De Luca Library, University of Arizona, Tucson, AZ. Susan Koutsky: Librarian for the United States Marine Band, Washington, DC. James Saied: Sousa scholar. Laras Schissel: Librarian for the Library of Congress, Washington, DC. There are other individuals whose help and support throughout my doctoral studies at the University of Arizona has been above and beyond the call of duty: Elizabeth Zinn Ervin: Professor of Saxophone, University of Arizona, Tucson, AZ. Gregg Hanson: Director of Bands, University of Arizona, Tucson, AZ. Roy Johnson: Former Graduate Advisor, University of Arizona, Tucson, AZ. Jocelyn Reiter: Graduate Advisor, University of Arizona, Tucson, AZ. LIBRARIES AND COLLECTIONS University of Arizona, Tucson, School of Music Library. University of Arizona, Tucson, Main Library. University of Arizona, Tucson, School of Music Frank Simon and Joseph De Luca Library. University of Illinois, Champaign-Urbana, John Philip Sousa, A.A. Harding, Herbert L. Clarke and Richard Kent Collections. University of Illinois, Champaign-Urbana, School of Music Library, Special Collections. University of Michigan, Ann Arbor, UMI Dissertation Service. The Marine Band Library, Washington, DC. The Paul Bierley Collection, Westerville, OH. The Barry Owen Furrer Collection of John Philip Sousa Memorabilia, Bound Brook, NJ. The Library of Congress, Washington, D.C. 4 DEDICATION This work is dedicated to Julia G. White-Hester, Judith and Jackson Hester and Matthew Hester, for their support and patience throughout my musical career. 5 T ABLE OF CONTENTS LIST OFILLUSTRATIONS ................................................................ 7 ABSTRACT ................................................................................... 9 PREFACE ..................................................................................... 10 INTRODUCTION ............................................................................ 12 CHAPTER 1: A CURIOUS INSTRUMENT, 1893-1905 ............................. 15 EDWARDA. LEFEBRE ............................................................ 15 Sousa's New MarineBand ................................................ 17 Lefebre and the Sousa Band ............................................... 17 JEAN H.B. MOEREMANS ........................................................ 24 Sousa's Saxophone Sections .............................................. 35 Height of Moeremans' Solo Career with the Sousa Band: 1903-05. 36 AFTERMOEREMANS ............................................................. 40 Benjamin Vereecken ........................................................ 41 CHAPTER 2: THE SAXOPHONE CRAZE, 1919-1930 ............................... 45 H. BENNE HENTON &JASCHA GUREWICH .............................. 45 Leading to the 1919-1920 Season: Ralph Lick ......................... 45 Leading to the 1919-1920 Season: Sousa and the Great Lakes ...... 45 Naval Training Center 1919: The Ever Changing Business of Music .......................... 47 H. Benne Henton: The Celebrity ......................................... 47 Jascha Gurc\vich ............................................................ 66 Jascha Gurewich: After Sousa ............................................ 7'2 1921 THROUGH 1930: BAYERS, GOODING, STEPHENS & HENEY. 75 Richard Kent ................................................................. 75 6 TABLE OF CONTENTS (continued) Sousa's Saxophone Sections .............................................. 79 Frederick Bayers ............................................................ 80 Richard Gooding: The Comedian ........................................ 80 Harold Stephens .... ,........................................................... 85 Edward J. Heney: Sousa's Last Saxophone Soloist.. ................. 92 CONCLUSION ............................................................................... 104 Solos Written by Sousa's Saxophone Soloists .......................... 107 Oral Tradition ................................................................ 109 APPENDIX A: SAXOPHONE SOLOISTS WITH THE SOUSA BAND ............ 111 APPENDIX B: SOLOS PLAYED BY SOUSA SAXOPHONE SOLOISTS ......... 114 APPENDIX C: CHRONOLOGICAL LISTING ......................................... 116 APPENDIX D: INTERVIEW WITH RICHARD KENT ............................... 131 REFERENCES: BOOKS AND ARTICLES .............................................. 136 REFERENCES: NEWSPAPERS .......................................................... 141 REFERENCES: HERBERT JOHNSTON PRESS BOOKS ........................... 145 REFERENCES: EXTANTMUSICANDSTUDIES ................................... 146