THE UNIVERSITY CF SHEM ELD

Department of Music

The Evolution of the Brass Bond and its

Repertoire in Northern England

Volume TWO

Thesis presented for the degree of A. De

Jack L-Scott

1970 ST COPY

AVAILA L

Variable print quality 2-c-FN

Appendix I

Musical Fx=ples 0)--7d)

NO* le Trumpet parts extracted from

General Reid's Marches for Military

Band., c*1785* I

T RUM PET.

0-. 10- i' » -0 - -d-

t/ -0- --* --0- _OL _OL -40- 1. MARCH 11. 12 1 r. F-19 i -ggr-- li 1

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MAIRCH. rv. -. -

. J. I. C. C. I1" n"ne" U ew.. - ý2-7 'ý'

No. 20 Horn parts extracted from

General Reid's I%rches for. Military

Band.. c. 1785. ý Z7ii-7F .,,

XIARCII i ill E.ý- C0RNI- Priello

Secondo

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If MARCH 11. in Eý. *

MARCH 111.

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c0RNI

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A'&dI slita 7.7`ýý

I. MARCH VI. c ORNI.

MARC H VIII. ' It-

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MA IR CH VIII. Z) RNI. in Eý. --CO. .

MARCH IX.

Rvid'%Marches. 277

All C I-I'X - v. nRNI.

MARCH -

AIARCH X11. lit,R- -

A

114-ld'. Marct .. No- 3- Clagget's =sic for two chromatic horm,, c- 1788. 27? I

I'& PA 3 celebrated Air of GIARDINI'S. Performed b Mefs'7MUgrove Henrard in ihe New y and Rooms ,tI I-dh few Hours 'Practice in Tone After a very all theNatural of the Horn and totally unaffifted by the Orcheftra. Andante p 11 ý-- -N - ý-- ---,------, K- .-- - ,-- --ý--, -.-\ ý

i III Hafftoot% ..

4 r, iratic III-rll No- 4- Fxtract from Thomas Harper's

Airs for Kent bugle, c., 1825- N'Vdral Carino. (.NToz art. ) Andantes

)10 )" Ap --

Airs. IL

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44

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PRO- I 477

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0" HiH No. 5., Extract from brass band score to Elijah, 1878. U4 ullýý A" . P,

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Tutor for keyed buglep 1831. C Ii IiOM AT IC SCAL9

Ascending by Sharps

k416 4334 02 -a. 6.1 0- 111i ,, I-. -1 -- -:7 + Descending by Flats 4 4- 0- A- *3- J-- - -0. ý3. A -.

+

The notes Which are )lot imillb'Cred. are t1m- open amf fixed sollilds of tim bligle,

EM A It KS ON TIr A I) m ON A 1. K EY S

The KentAmg-le with Six Key. % is cm mble of producin-, every note widiin the COMPassor t%o octaves except the lowEkTo supplytipis deficiencya. Keybas Leen added oil the left side ý of t11( bugHe, between the 11 And t lie "E -which is jl.sjý(j with t1je* first finger of the ICA Mind. Two are sometimes added to the buglesbelow the. F Key; tbese enable the perforiner is to prodtice a Shake upon the middle D; Ole higi; er'Key being dsed when the Imstrinnent in C, the lower, in D6; both with tile little finger of the left ..played and when are. shaken 'h' nd, tne note D heiiig souii&d D C M The E6 Key will also shake the D. whether in or

DIRECTIONS' V CoH..; C 11ANG FNG T11t PITCH

When 'pla)ing. with B Clarionetts, it b; necessary to put, the btigle in 13;this. is done by iet4in finger-. arfixhiW a sinall crt, ok* to it. Still lipwever. Die. performer injot the same itlK, thougii'the. pitch is altered C;. but Mlien the music is written in two flats, pit tLe. crook on, anti pýloy irý -wlien in F three flats 4- put the crook oil and play in DOUBLE 'AND F, 17%'G - TnIPLE T0NGU. We. sball now. give all exaxnpjý 611 double anti triple. t0n#g11i'il;9, R mode of articulatin* the notes. -wýbiýb.very feiv english. perl'ormers are acquaiii-ted With.

Put the bugle in 11 tung kit te keetting lung tung lung*kit te liatil"g-wrgfull-tung Idt te lia ja =-V Q- ,"a a .0 -0 OF 14- ý0- 9-6ý-ýihort short . -thc Hem, the -toil; n le nillst strike against. the tipper row or teetIA vvrýv shýrply, syllables , over the not! cs being uttered at the same moment

Example of tHple tongueing. tic kc tic ke tic ke tic ke tic ke tic ke tj( ke tic kr tic ke tic ke tic'ke tic ke tic ke tic ka.

I'mmunce by de-rces the Aypabýjes tic, kei tie, ke-, tic. ke, very slowl" y at first, thell acce.. ý- lerate P4 the prominciation of them to ;i F. S To. or the qtiickc. %t Illolement

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,Vf/. WEIII id M1.4 YEMDEM4. ' P-- LUCREZIA DORGIA 2, MCCO TV virml 0 WISEP4. 6, 10, LA STRANICRA. POVR TANT IýAIJOt'lt from 3, 1.4 -FAVORITF at. 41 71 11, 10 MOFFRII SOFFRII from BEATRICE- DI TENDA. 4, LRolortion from the Opora of "STRADELLA'. ' Flotow

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from the OPEU A. or LUCILF'". 401.11 BORGIA by DONIZETTY

ArranXed for tbe CORNET A PISTONS

With an ad libitum Accompanimeia for the Piano Forte.

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Fingering Charts No. 1* Halliday's chart for keyed bugle extracted from

British Patent No- 3334, May 5,* 1810. I I.. -.... db .. IL .. le -r 'b 11110

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Tutor for AMhoni , c. 1863- fl _.____a4__*.

The effect of the Pistons is to flatten or lower eachsound. lut 2ad 30 11.t& 4'LhPistons.,, & or 11 4'Lh or The secondJs the shortest, which being presseddown 21!d & 40 Pistons 0 .0.51 caus- ý-t# 0.: 1- -Q = "-j. Lk . -- -- eý the Instrument to sound half tone lower than the open ,a Qýi#g note; the_ first Piston leing. presýea down in like manner ...... UQ In F. Major. *a, tone lowen the third Piston InnV. Major. ' --'produce.s -whole -,A-hen pressed -i dovýn' produciýý..a tone and a half,' or an ejuiTalent to the 2 W& 4Vh or 2ad & 4101 or fir§t f#41 3'E(L& 4VII Pistons -. and second Pistons together: the fourth Piston* when 3td& 41LI,Pistons. JLt Z. down three half, 0-0m pressed produces tones and a 77-0 121. . .- The- following Table will show the 'effect produced.by the ...... in 10. Major. Pistonsi from which the Pupil will obtain a completeinsight 4 In E. Major. into the --variousways of fingering Scales,Passages, nd. Shakes. pt 3td & 4'Lh or 2S(dl 3id & 4Uh Pistons. 2S4 3IL41 4Uh Pistons-,, & ý, 0.0. #Q THE FUNDAMENTAL NO'tES WITH THEIR HARMONICS Q 2: it J4ý

...... Notes. lut Pistons. ,0v- -Open JL W2.. In XMa hC4. Major. hr%sla ajor. -Q. - -r -- == = = ýD- vS ...... THE ENHARMONIC EXTENT OFPHASEY IMPROVED EUPHONIUM. PerfectCbord of C-'31aJor. In 13ý.Major. orb- -o er #, 2nd Pistons. 4, eý Q). srdor1'-! &23n-dPi tons. 0 AQ 10. Lk Q0. -400- It 0;

...... In B. Major. In A. Major. N -J 2ad & 30 Pistons. 4 bý Q., Ut&3Ld or 4th Pistons. 4ý 4ý 'a 8,4ý or .0. IL -40-

i ý; , Llý in ". - ýA IU Frý ý- .a'.

...... ý. 25 Qor In Aý- Major. In G. Major. * -Q

+This is upon Phasey's Improved Euphonium only. Sold at Ch. ppell&H., mmon4*4 r, &CF) Note The "Notes fingered in ateJullien - marked 0 are only thus rapi(f p&1F&ges. 214 Regent St- former is for Note_ "Wien two fingerings are marked the 10829. the improved Euphonium- 10829. 5,111 ca Irr 40:1 Appendix III

British Patents Relative to Brass Instruments lv2q

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The Distin Family History 1/111

1 John Distin was born in 1798- Brown and Stratton give the 2 erroneous date of 1793. About the year 1810, Distin joined the

South Devon Militia as a band boy, playing the trumpet* in 1812

he played the trumpet part to Handel's Dettinger Te Deum receiving

ZlO as a fee. Later in 1812, the South Devon Militia were quarter-

ed near Sheffield and Distin played principal trumpet in a concert 3 given there on September 4y 1812. In Navember of 1812s the South

Devon Militia band, of vbich Distin was a member, were the cause of a fatal accident. "As ML-e Kirkby and his son returned home from chapel in his gig, the horse took fright at the noise of the &-ums which were beating for the evening parade of the South Devon Militia.

The horse bolted and mr. Kirkby was subsequently killed and his son injured. It may be proper here to state that the drum-major., the moment he perceived the horse was frightened, ordered the drums to c eas eb eating.

I* Adam Carsej. "Adolphe Sax and the Distin Family,, " in Yusic Review, Vol. 6,191+5, P-195- 2. James D-Brown and Stephen S-Stratton., British Yusical BioAraph London, 1897, P-125- 3. Sheffield Mercury# August 29s 1812. 4.9 -Ibid. November 12j. 1812. ., IIY2-

Distin joined the Grenadier Guards Band in 182J+, at the age

of sixteens for a seven year enlistment. He was appointed to the

Post of solo keyed bugle player. The keyed bugle at this time had five keys with an irregular fingering system and Distin suggest-

ed a revised system of six keys which was accepted and adopted by all makers. He later had seventh and eighth keys added for shakes and trills. In 1815.. Distin travelled to Paris with the band to join the A=7 of Occupation,, following the Battle of Waterloo.

Henry Distin, relates in a letter written to Enderby Jackson in 1896, the historical meeting between his father.. John Distin, and the 2 Grand Duke Constantine.

"Immediately after the battle of Waterloop the band of the Gren- adier Guards, in which my father john Distin played the solo 'Royal

Kent Bugle,, ' joined the famed regiment in Paris* A grand review of the allied troops was held,, in which the Grand Duke Constantine of

Russia took part in reviewing the tactical movements of the troops of the various regiments,, in company with the Marquis of Wellingtonj, and other conmi3ders of the allied forces; also the marching of the troops before the Grand stand headed by their respective bands. When the

British Grenadiers had in turn marched pasts with their band in fine form, the order 'cease playing' was given; and my father received

19 Appendix 119 No. 1.2. 2. Wrip:ht and Round's Brass Band News, October 1,1881. ,VY31, -

orders to take his Kent bugle, and go at once to the Grand Duke

Constantine., who was known to be a great lover of zml ics attended

by the gaudily dressed oriental cymbal player of the band -a large

handsome coloured man, an excellent linguist who spoke French well.,

to act as interpreters the Royal Duke speaking French fluently., but

only a few broken sentences in English. On their arrival., the Duke

carried on an anit-ted musical conversation respecting the band, and

the solo bugle. He asked the name of the new musical instrument my

father had previously at his request handed him for His Royal in- spections also the name of the player. Sambo answered: 'Sire., the instrument you hold is an English Royal Kent Bugle, and the player's name is John Distins who stands before your Highness'* The Duke saids

'Tel. l John Distin I wish to have one Royal Kent Bugle made under his special care and supervision; at least equal to this one I holds to take back with me to Russia. John Distin must see to it. Have one made as quicklys and as good as possible. Then bring it me. '

Due permission being obtained, my father selected Halevy of Paris as the makers who completed the order with added splendid moulded (Z20)o finish in two weeks at a cost of five hundred francs On the delivery of the instruments the Duke ordered his attendant to pay

Halevy's bill., and made a present of one thousand francs (ZW) to my fathers who shared it with his black interpreter and helpmate Sambo.

After the payments, the Grand Duke shook hands with my fathers and tax- ing his English, saids 'Good bye$ DistdxJ I go Russia. You come z/ L/11

Russia Distin see me. Good byel I The Duke also honored Sambo by a shake of the hand,, saying., I Good byej, good Clangl Clang! I

And that,, friend Enderby# is truly 'How the first chromatic- keyed buzle was a ent to Russia. I"

From the keyed bugle Halary developed the ophicleide.

Wbile in the service of the Grenadier Guards Band, Distin married and his first two sons were born, George., birth date unlMowns and Henry$ born in 1819o In 1821,, Distin was released from military service after fulfilling his enUstment and settled in London,, play- ing concertsy teaching truppet and bugle and "assuming new duties as I a family man.,, upon the reco=endation of the Duke of Kent., he band became a member of YJxz George IV private band at Windsor- The direction was thought to be one of the finest in Earope and under the the of Yxamer,, became a favourite of the King. Carse relates that " King once said "Kmmers what is the matter with Distin tonight? "I Kramer answeredj, "He has a bad lip, " at which the King remarked., 2 missed the trumpet in the last piece. " the When William IV ascended, an order was immediately given for discharge of the band in 1830. The men were given no pension and were asked to give up their band uniforms which were valued at seventy- led five guineas each, being heavy with solid gold laceo Distin an

1. Wright and Round's Brass Band Ndws# October ls, 1881- 2. Aclam Carsej, "Adolphe Sax and the Distin Family"., in YAmic Review. Vol-6,191*5, P-195- ZIYS-,

objection to being released without pension or being able to retain

th eir uniforms. The Lord Chamberlain 'withdrew the demand for the

coats and in lieu of a pension.. paid each member of the band from

Z250 to Z500 each,, according to their services.

Distin returned to London where Lord Westmorland assumed the

expenses of musical training for Henry and William at the Royal

Academo, of Musice GeorZe was learning the Jeweller's trade and

Theodor#., born in 1823., was only seven years of age- A daughter was

born in 1832. A letter to the Anthenaeum of 1838 suggests that

the Distins were having s=e financial difficulties in 1830-1832 and

that the father and sons practised regularly- Upon learning that

a neighbour was very ills they ceased their practice for a number of

weeks until they had learned. 'of her recovery.

In 3.833j. Distin and his family moved to Scotland -where he acc-

epted the post as bandmaster to the Marquis of Breadalbane at Loch

TaYs in the Highlands. VaAle in Scotland.. Distin taught all four

sons to play on brass instruments and they practised together as a

quintet. The first public appearance of the Distin brass quintet

was at the Adelphi Theatrep Edinburgh, where they were engaged for

one night, "and so took the public by storm, that they were retained by successive engagements for six weeksp becoming finally, the recipient

I. 1838s ýLnjLenaeum, March 3,v p. 172. I/

of a complimentary banquet tendered them by the press and leading 1 (1837) public men. " The family began a tour of Scotland 'Which 2 included concerts in Aberdeen, Banff, Elgin and Inverness.

The first English concerts appear to have been in Liverpool and Birmingham where Distin met with an accident and was disabled for two months. From Birminghams they went to Bath where they presented a concert on Yondayj, October 30j. 1837- Jackson errone- ously suggests that the instruments used by the Distins were valved 3 brasses made by Pace. No descriptions of the Distins suggest valved instruments prior to the early 1840's when Henry Distin occ- asionally used the cornet a piston.

The instruments used by the Distins for the Bath concert were trumpets keyed bugles, trombone, French horns and the "Royal

Hibernian Tenor Horn". This use of Cotter's patent of 1823 is the only known use of his tenor horn. The concert was successful as reported by the Bath Herald and quoted in the Musical World. 11-ge mist confess that the wonderful and the delightful are combined to an extent rarely ever equalled$ certainly not surpassed. Every piece was applauded with that earnestness which can never be mistaken for cold, common-place approval# and the concerted composition 'Crea dea

1. Wright and Round's Brass Band News# October 10 1881, 2* Masical Worlds July 28j, 1837# P-107- 3. Enderby Jackson,, "Origin and Promotion of Brass Band Contests" in Musical Opinion and Music Trade Review., March 1,, 1896.. P-392. '-/'/

si Miseral from Bellini's opera I Paritani. was rapturously 1 encored. "

The Distins returned to London giving concerts at Mr. Willis'

Rooms, Drury Lane Theatrej, Argyll Roomsq altermting with the Rainer performances and various other engagements. Distin was selected to play the principal trumpet aý the coronation of Queen Victoria in

June., 1838e The instruments used by the family at this date-were slide trumpet, trombone and three French Horns. Carse stated in

1945 that a lithograph existed which showed the Distin family with 2 this combination of instruments*

In 18"., John Distin took his family to the continent for a musical tour. No mention of the tour prior to their arrival in Paris is available from khe Distinse Comettant stated that the tour through

Belgium was a failure and that upon arrival in Paris had difficulýy 3 in finding engagements* The Distins' arrival in Paris is beat des- cribed by a letter from Henry Distin,, written in 1896 to Enderby

Jackson.

"nen in Paris in 184J+, I made special visits to the factories of known brass instrument makersp with the ultimate intention of be- coming in the future a manufacturer myself. Our family quintet were playing one night at a grand concert given by a famous singer. On

1. Musical World, November 17., 1837PP-158- 2* Adam Carsep "Adolphe Sax and the Distin Family"., in thsic Review# vol. 6,1945, p. 2009 3- Oscar C=ettant.. Histoire D'un Inventeur,, Paris# 1860, P-53- that occasion Is to my great astonishmentj. heard a new brass instru-

ment - entitled on the program "Sax horn" - played by a French artist whose name I have forgotten. 'Whatever make of instrument is thatV I

dewnded of our interpreter,, being struck amazed by the remarkable pur- ity and sweetness of tone produced from the new instrument. 'Ohl Mr.

Henryp it is merely a new fangled thing made by a "little manufacturer".

I have not thought it worthy of introduction to your notice'. I re- plied# 'Is that sol Well, tomorz morning be here early; we will to- gether visit and inspect the little maker's workshop-' In the morning we found the "little manufacturer" busy at work, with sleeves turned ups barearmed, supe'rintending and working with some six or eight more work- men* Yy introduction being effected, I learned that M. Adolphe Sax

(who afterwards achieved a world wide celebrity) had completed but three instruments built on the new models which I had heard played upon at the previous night's concert - viz. t a soprano E flatj contralto B flats and alto E flate At that time, howeverp he had not one of them for sale.

Before leavings I arrived at an arrangement for the loan of the three instruments. That very afternoon they were fully and fairly tried by the family at our hotel. The trial raised-within us all an indescrib- able artistic enthusiasm. The delicious evenness$ combined sweetness, and general purity of intonation and tone, * were recognised and admitted by each member of our family. Adolphe Saxwas at once sent for; andt after hearing us Play several trios# duets# and solos on them, he eager- ly agreed to certain suggested alterations., and gave his word to compete, on the suggested systemt without delayt five instruments bearing his qq9

name, as needed for the practical misical outfit of our quintet party* We waited in and around Farist concertisings until Sax cou- pleted the order to our satisfaction; when., having by hard practice attained sufficient facility in their use., they were brought out in public by us as Adolphe Sax's grand new invention, "Sax horns".

The first introduction of these instruments was at a grand con- cert at the Opera Comique given by 11-Berliozo the famous composer*

The selection we performed was from Meyerbeer's "Robert le Diable", and in this our navel quintet of Sax horns met with such vehement demonstrations of approval from the delighted audience that the same evening we were awarded the high honour of being engaged to perform upon them at the Conservatoire. On the conclusion of our first per- formance there, the committee of that world renowned institution award- ed each member of our family a silver medal., which I yet proudly poss- ess* From that time the grand continental tours of the Sax horn

Distin family formed a complete succession of triumphs- The press belauded us,, the public everywhere was enthusiastic.. and amongst many awarded honours Louis Ehilippe presented us with a magnificent engraved solid silver quintet set of Adolphe Sax's horns.

I was born on July 19th, 1819, and - after a chequereds advent- urous musical life - am yet full of energy, with a strong retentive memory; therefore, I have not forgotten the great musical exploits of our celebrated Distin family - in the fortiess terminating in 181+9 - when introducing throughout Europe and America Adolphe Sax's artistic innovation of open valved free air passagess as introduced by him in q S'o

his famous Sax horns: a title yet recognised by every brass bandsman,

although the origin of the name and the enormous benefits conferred

may almost be said to be forgotten by the present generation.. who are

now receiving the benefits of the early struggles of original invent-

ors. "

In reference to their arrival in Paris., an article taken from the

New York Times, by the Brass Band News confirms Comettant's remarks

about the Distins' difficulty in securing an engagement. The Distins

were very pleased to get a series of performances for one months seven

performances per week for only three thousand francs,, equal to about 2 twenty-five U. S. dollarse

The concert at which the Distins first heard a sax horn was a pro-

gramme organized by Berlioz at the Salle Herz which featured a group of

instruments made by Sax including an "improved bugle" played by Arban

(the name Distin had forgotten).

Paris the After their successful engagements, 9 Distins made a tour

'which included three months at Baderr-Baden and a private concert for the

Grand Duke at Carlsruhe who gave them a letter of recommendation to

Queen Victoria.

In his biography of Sax., written when Sax wasEtill living,, Comettant

1. Enderby Jacksons "Origin and Promotion of Brass Band Contests"s in Musical Opinion and Misic Trade Reviews July ls 18960 p. 674. 2. Wright and Round's Brass Band Newsp October 1.1881. ifs/

tells of the association between Sax and the Distins from an entirely

different point of view than that related by Henry Distino Accord-

ing to Comettant,, the Distins were desperate after their concert fail-

ures'in Belgium and came to Sax in despair, begging for help and advice.

Sax replaced their "inferior" instruments (trumpeti, cornet a pistons..

keyed bugles alto trombone and French horn) with his own and John Distins

in a "transport of joy" embraced the inventor with deepest gratitude.

From that moments the Distins had unfailing success thanks to the new

instrum. ents, by Sax.

After their success in France.. the family returned to England in

Novembers 184J+j, and played in a concert given by Jullien. on December 3.,

184,9 at Covent Garden Theatr6e Prior to the concert# Sax# Arban and

Dubois (first trumpet of the Paris Opera) had been to London and gave

a few performances on sax horns in October, 184J+,, with a band con-

ductea by Lauret., London cornet a piston soloist and band leader. Sax

and his-colleagues withdrew from the engagements after only a few per-

formances,, for the concerts did not prove satisfactory* Sax horns

'were actually introduced to England by the inventor although circum-

stanceswere far from ideal. The Distins' introduction of sax horns

were under more favourable conditions for Jullients programmes were

always well received. It was unfortunate for Sax that his English

introduction of his awn instruments billed under the name of sax horns

I* Oscar Comettant., Histoire D'un Inventeurs Paris$ 1860, P-53- should prove unsuccessful, whereas the performance by the Distins

was given without the instruments being named on the programme.

This obviously upset Sax who most probably was the "Foreign

Artist Resident in London" who wrote a letter to the editor of Musical

Worl complaining about the omission of the name sax horn from

Jullien's programme.

M-Sax and the Distin Family.

To the Editor of the lbsical World.

Sirp

Knowing you to be friendly to talents no matter whence spriM4. ngs,

I think it right to let you know a few particularsp whichs according to my own notion of justices demand publicity. When the Distin famr- ilys a short time sincep were engaged to play at the concerts of M.

Julliens they announced their perfo=iance for the first time on certain instruments which had been presented to them by his majesty Ming Louis

Ehilippe. It appears to me, that as a mere matter of justice., the

Messrs. Distin should have let the public know that the instruments called (Sax horns) on which they were about to play., were the invention of M-Sax, from whom they (the 116sars. Distin) received them as a don- (the ationp - and by whose influence they Messrs. Distin) were enabled to perform before the King of the French, who presented them with five hundred francs for their pains. One of these same instruments (Sax horns) was offered in person by M-Sax to his royal highness Prince

Albertp who honoured M-Sax by accepting it. These things should be qS3

9

made known., in justice to an artist of very great talents and most

unpretending manners - and if the "Misical World" will afford him

the advantage of its wide publicity., it will at the same time be

sustaining its reputation for impartiality, and performing an act

of nothing less-than strict justice* Pray excuse the liberty I take

in writing to you on the subjects and believe me your constant sub-

scriber and obedient servant, LONDON. NA FOREIGN ARTIST RESIDE= IN

P. S. -I enclose my name and address-

Wishing to do every one justice to the utmost of our POVIer., we

Our have inserted the above- column s we need scarcely says are

open to the Messrs. Distin., if they think proper to reply, We have 1 received the name and address of our correspondent. - Ed* M,71.

The reply from John Distin clarifies several points in addition to

the one raised by "Foreign Artist Resident in Londom"

The Sax Horns.

To the Editor of the M=ical World No. 6, Foley Place,, Great Portland Streetp , London,, Feb. I+ths 181+5-

Sirs

I beg to write a few lines in answer to a letter which appeared

1. Musical Worlas January 23s 1845s PP-41s 4-2- qS-41

in "Musical "Foreign the World" of the 23rd of January. 9 from a Artist

Resident in London,, " wherein he states (concerning our playing at

M. Jullien's concerts)# "as a mere matter of justice, the Messrso (called Distin should have let the public know that the instruments the Sax hornsj on which they were about to play were the invention of M-Sax. " When we were engaged by MJullien to perfoxm at Covent

Garden, we particularly requested 11-Sax's name to be mentioned, and

to call the instruments "Saxhorns" (the name which we gave them,, as

M-Sax thought of calling them Cylinder Bugles). But the party who had the management of these concerts said,, the name of Saxhorn should (previous be omitted, as they had already to our visiting London) been played by some parties at the Adelaide Galleryp and proved a failure.

It will be seen that it was not by our wish that the name of Sax was left out of those bills; we have never, on any occasion,, omitted his name in our concert bills- As regards the Sax horn presented by M. Sax to His Royal Highness Prince Albertj, which the "Foreign Artist Resident in London" designates "one of these same instrumentsj, " he is in error; as we have seen and tried it at Windsor Castle. It has not the same mechanism., but is a very old German or Italian invention, called the

"Double Cylinder., " not manufactured by Max. We were the first who introduced successfully these instruments to the public in Paris; - we played at all the principal concerts throughout the season. During this time we assisted and perfected the tenor and bass instrumentss qss-

making the set complete; and performed at the Great Concert of

I&Berlioz,, at the Opera Comique, and received the only "encore"

during the concert. As a proof of our successswe were presented

with silver medals by the "Concervatoire Royal de Ifusique" andý

"Society of Fine Arts; " and, without egotisms we were the making of

U-Sax's name as a manufacturer. We performed before His D'Jesty

King Louis Fhilippes through the interest of General de Rumigny. His

MaJesty conversed with us for some time.. and said - "I am delighted

'with your performance; I never expected to hear such beautiful sounds

from such instruments. I return you my best thanks for the pleasure

you have afforded me. Are the instruments of English manufacture? " the invention We answered - "Nos your Majesty; they are and manufacture introducing to of Max. " - At the same time turning round and M. Sax

his Majestys instead of M. Sax introducing us to him,, as the "Foreign

Artist Resident in London" asserts. Me king certainly dids as is

stated,, send us a present of 500 francs; and to M. Sax a considerable

sum,, as we understoods, to reimburse him for the instruments. It is

our intention to do every justice to M-Sax. Hopings Mr. Editors you will excuse me for trespassing so much on your valuable time,,

I remainp

your very obedient servant.,

JOHN DISTIN. 1

1. Itusical World, February 139 1845,, P-76. qg

The Distins were then engaged to play for the Queen, the Duke

Of Norfolkj, Duke of Buckingham., Duchess of Kent and on one occasion,.

played a piece especially composed for them by Prince Albert.

A tour of the United Kingdom was followed by a repeated tour of

the continent where arrangements were mde with Sax for the Distins

to sell his instruments in London.

A business was established as Distin and Sons which was at first

located at their residence but soon moved to 31 Crahbourn Street,

Leicester Square$ in London. The business sold =sical instruments by Sax and others and music* including a few publications of their own.

Distin's lalitary Quadrille., written by John Distizi and published about

184.6. was one of their earliest publications and is the only surviving 2 composition by John Distin.

A large lithographed picture of the Distin family was drawn in

July,, 18)+5 by Baugniet,, a Belgian artist resident in London. It was

published by Leader and Cock of New Bond Street- The picture shows

the sax horns to be trumpet shaped and that only four of them were sax horns, the fifth being a flugel horn with Vienna valves. A later

lithograph made after the death of George Distin shows the remaining

sons and father Distin with the four sax horns., the flugel being discarded.

The original sax horns were made with Berliner pumpen valves as originated

1. Wright and Round's Brass Band News, October 1,, 1881. 2* Appendix 1. No-7- Zis 7

by Moritz and IVieprecht in Germany- The picture in Karl Geiringer's books Musical Instruments,, vhich is said to be the Distin family with

the sax horns made by Sax in Vý44j, is entirely in error. Not only are

the instruments not sax horns but much later ventil horns, the men in

the picture are not the Distins. This picture is reproduced as

Appendix VI., FO-4- and is a good representation of the ventil horns made by Distin from the early 1860's.

The Manchester Guardian of March 27,181+7 announced four concerts to be given by the Distins on "Sax-horn and Sax-tubas" at the Theatre

Royal.

The first concert was reviewed by the Guardian in glowing terms.

"On Monday evening, Mr. Distin and his four sons gave the first of a series of four concerts., on the Sax-horns and Sax-tubas. These in- struments are made,, we believe,, by an ingenious mechanician named Sax,, upon the suggestions and under the direction of the elder Distin. The tubas have a shape not unlike the trombone, but more neat and compact in form., and of a less size- They have$ alsos a system of Valvess which gave great mechanical facility in the execution of passages. The horns appear to possess all the best features of the horn and cornet a piston, with an evenness and uniform quality of intonation which the horn does not possess. The great characteristics of this admirable quintet band,

I. Karl Geiringer, Musical Instruments., London., 1943., Plate LXII. L15V

upon both instrumentsp are., a perfectness of tune to which the most

critical ear can take no exceptiong a deliciousness of musical effect

almost surfeiting from its very sweetnessp an ease of execution, and a

precision and unity of expression., which would be incredible.. did we

not hear and see it realised. well deservedp indeed,, are the tributes

to their wor; derful skill in concert playingj, given by the celebrated

composers., Ireyerbeer and liarschner; ands trulyj, we rm, t subscribe to (the their opinion, that., 9during the entire of their Distins) concert,

nothing like the slightest idea of criticism could enter the minds of

the audience. '

The first instrumental piece we did not year; we believe it was the

famous tenor song., 'CuJus animampt from Rossini's exceedingly operatic lovely version of the grief-fraught 'Stabat Mater. 1 Curschmann's trio,

'Ti pregoj, 0 Yadre pias' we never heard sung with such a ravishing sweet-

ness of musical blending as it was on this occasion., arranged as a quintet.

'The soldier tired., ' with its difficulties for the trumpets surprises

rather than pleases. We admire that the veteran trumpeter has surmounted

the difficulties with such apparent ease, and that he executes shakes and

passages in triplets with such brilliancy. It is indeed a wonderful

performancet when the awkwardness of the task is considered. The fantasia

on themes from Robert le Diable., pleased us best of the pieces in the

second part; and the *National Anthem, ' arranged for the five Sax horns,, was beautifully played. There was some vocal music by Miss Moriatt

O'Connor, and some of the younger Distinss which was pleasing, because 415 ?

unpretending, and gave variety to the concert.

We would earnestly and confidently direct attention to these performeraj, as being admirable and perfect in their way; and we cert- ainly think that the old man$ surrounded by his interesting quartet of sons,, deserves., after a long and chequered career.. the cordial support of all who profess to patronise instrumental Music in one of 1 its most perfect forms. "

The news article confirms the trumpet shape as seen in the earlier lithograph. It would appear that the Distins continued to perform on the same original instruments as well as the new tuba shape.

In Aprils 1848s George Distin died. 14o appearances were made for several months and the music was rearranged as a quartet rather than taking in a new member.

After the family had recovered from the death of George,, they accepted an offer of twenty-five hundred dollars for forty concerts in the old Park Theatre in 14w York. A farewell benefit concert was held for them at the Theatre Royal in London which netted them Z500., a generous amount for a single concert. Their entire trip to America proved to be burdened with problems, often near disaster* The Distins at one time 'were billed as circus riders., the performers on sax horns being misread to be performers on six horses. Upon their arrival in

1. Manchester Guardian, lbreh 31v 1847- q6o

New York, they learned that the Park Theatre had burned down. 'Ihe hastily made arrangements for a concert tour of the United States.

They gave one concert in Boston for five hundred dollars but Henry

Distin developed quinsey and nearly died. He recovered in April and the family started a tour headed south. Concerts were given in Philadelphia,, Beltimore, Washington, Norfolk., Richmond and Peters- burg. Fear of typhoid fever in the South prevented extension of the tour any further south but they did give a concert in New Orleans.

From New Orleans,, the Distins returned north.. giving one concert in Ibntreal before it was destroyed by fireo From Montreals they

towns gave concerts in Kingston., Torontop Hamilton,. and other Canadian before returning to the U-S- in September. in they En route to the U-S- s the stage coach which were riding broke down in the little village of Port Stanley.. causing them to miss the boat to Buffalo* The local blacksmith talked them into giving a concert in the village which was held in a barn,, was well attended,, and netted the Distins seventy-five dollars.

Concerts were given in Albany$ Boston and New York and the Distins 1 returned to England,, arriving at Liverpool in November 181+9*

Henry Distin then assumed the business which became known after

1850 as H-Distin. A story related by Algernon Rose is totally without

authentication but the humour of the stor7 justifies its repetition.

1. Wright and Rounals Brass Newsp March Ij, 1882. _Band lq6 /

"Distin had plenty of self-reliance., and, ' in 1850, opened a

small musical-instrument shop in Cranbourne Street., Leicester Square, where he commenced business with scarce a stiver in his pocket after 'wherewithal' paying initial expenses. The'story of how he obtained the in Smiles's - which he quickly augmented - is worthy of a niche monu- in his mental Self-Help. Henry was whitewashing his store shirt-sleeves. l 'Here A stranger entering unannounced., said., 'Can I see 11ro Mstin? 'Wellp I amp' was the cheerful reply. 'I want a cornet-' W goods

are not yet unpacked; but if you can wait twenty minutes,, I'll got you the a beauty-' 'I'll wait.. ' assented the stranger. Hurrying out of

back door., Harry Distin took a cab down to Messrs. Behrend.. Blumbert &

Co. ts.,, a wholesale import house in the City. He there obtained., on 25s- Returning approval., a cornet, of which the trade price was post

haste to his shop# he expatiated on the splendour of the instrument, that and played the Carnival de Venise., with variations,, so delightfully

the ten guineas cash demandedj, appeared perfectly reasonable. Deduct-

ing 5s- for the cabs it is said that the balance of Z9 clear profit was

the actual capital with which the business started. The audacity dis-

played in adding so large a profit in the first instance,, may be pardoned

if part of it be considered as a professional fee for the artistic rend-

ering of the solo mentioned; or the charge might have been analysed as

follows: - For cornet, two guineas; for knowing haw to sell it# seven and 1 a-half guineast" 1. Algernon Rosej, Talks 'With Bandsmen., London., n. d.., c-1895P pp. 210s 23-lo YC? -

In a few months he had twenty men employed. At first he made only mouth pieces., and Levy., the cornet virtuoso claimed that as a boy he learned to form his lip on a Distin mouthpiece another boy, employed by Distin.. stole for him.

It was about this time that Distin published the Journal for Sax

Horn which was a series of cornet or sax horn solos arranged by John

Distin with piano accompaniments- For the most partp they were operatic 1 ariase About this same time an arrangement by John Distin of Sweash

Ifelodies as sung hX jerukv Lind for cornet a pistons was also published.

Distin began to manufacture his own instruments in 1850 as well as selling sax horns by makers other than Sax* At the close of the Indus- trial Exhibition, of 1851 where Sax won the Council Medal, Sax took away 2 his agency from Distin and assigned it to Rousselot & Co. In 1853,,

Sax transferred the agency to Rudalli, Rose and Co*

By 1854 Henry Distin had a strong business and advertised extensive 3 additions to his factory, In 1855 Distin received his first patent which was for a valve attachment vhich could be added to the mouthpipe 4 of a bugle to make it chromatic-

This invention inspired the chromatic bugle band created by James

Lawson for the Royal Artillery* At first the band was composed of two

E flat soprano buglesp eighteen regulation bugles and four E flat tenor

I* Appendix I, No. 8. 2. Yfusical World, November 8j 18519 P-718- 3. Rudall,, Rose and Carte, misical Directorn, 1854- 4ý British Patent., No-1465, June 26j, 1855- 416 3

1 bugles.. all made of copper by Distin. Laterp regular valved brassesp made of copper were added to the band-

In 1854. and 1855 Distin published Brass Band Scores which were arrangements for brass band of operatic selections* Scores only were issued with instructions for the copyist for different instrumentations.

The arrangements were designed to suit a brass or reed band of any 2 number from ten performers to twenty-four.

The family seldom made concert appearances after 1849. Henry

Distin gave this date as the end of their concerts., but Adam Carse states that they still appeared occasionally in 1855-56 and that John 3 Distins the "veteran Mr. DistirP still appeared as late as 1858. William

1855 Distin received British Patent Ko. 2688 of Novenber 28s for rotary valves but nothing is known of him after that date- Theodore became a baritone singer and appeared at Covent Garden in 1860. He was a member of the Pyne and Harrison Opera Company and an Associate of R-A-11* Sev-

eral songs were also written by Theodore Distin. He died April 129 1893-

In 1858., Distin patented his centre bell instruments, threeweeks 1* after Metzler and Waddell patented their bell front instruments. Distin's new design featured rotary valves and a forward bell projecting from the 5 centre of the instrument.

10 Henry George Farmers "Bugle Band,, " in Groves Dictionary of Music and, 1.rusicianss Vol-ls Eric London$ 1954, 1006. Blom., ed. s p. 2* Appendix Is N6.11. 3- Adam Carse, "Adolphe Sax and the Distin Familys" in Music Review., vol-62 1945s p-200. 4- British Patent No* 203.7, September 6s 1858; British Patent No. 1836, August l2s 1858- 5o Appendix VIs No-2* At the National Contests of 1860 and 1861 at Crystal Palace

Distin was present to award a circular bass to the winning bands which were Black Dyke in 1860 and Saltaire in 1861. Mr- Frank Gray to who conducted a band in the 1860 contest wrote in a letter the

Brass Band News of 1894s "Mr. Dis tin gave an E flat circular bombardons, Cit I believe the first that was made of that style was not] ; value

thirty-five guineas. I can well remember seeing Wl-- Distin going about

the palace with it Over his shoulder, letting the great army of bandsmen

hear what he could fetch out of it. "

The 1861 Crystal Palace so impressed the Illustrated News of the

World that they published a story about the contest in their August

1861 edition which included an engraved portrait of Henry Distin with

the double bass, circular model, given to the Saltaire band conducted 2 by R-Smith. In the 1862 contests Henry Distin led a band of buglers

at the concert.

In 1862 the business becameDistin and Co. In 1863, john Distin

died. Ijenry Distin produced his light valve cornet in 1861+which was

endorsed by Jules Levy., the cornet soloist.

From the unsuccessful centre-bell instrument, Distin des: ýgned the

ventil horns. These were made in the 1860's and were a type of sax

horn built in compact circular shape with the bell pointing upwards., News, 1. Frank Grays in a letter to Wriq: ht and Round's Brass Band April ljo 1894- 2. Appendix VI, No. 14- similar to the saxhorn-tuba shape except the tubing was coiled in I flat tight circles.. rather than open oval. Ventil horns were in- eluded in Distin's 1869 price list and -were made in sopranop alto, 2 ( tenor., baritone and bass euphonium class) - From the ventil horns came the Koenig horn., the later tenor corp and the ballad horn. These three instruments were made in circular form along the lines of the ventil horn with the general exception of having the bell pointing down., rather than up. Anthony Baines gives credit to Distin for the his invention of the ballad horn in 1870j. but Distin had sold business 3 although Boosey retained the Distin name. The ballad horn was taken from theventil horn family by Boosey and Co. and given the new pitch of C and the new riame of ballad horn.

The tenor cor was designed by Distin just prior to selling his business and a description of the tenor cor was given in Distin's

1869 catalogue. "Yessrs. Distin and Co. beg to call attention to the newly-invented horn or tenor cor.,, which combines the mellow tone of the French horn with the fulness (sic) of the tenor* The fingering is the same as the cornet$ hence a great desideratum, hitherto greatly required in military bands is obtained. Up to the present time., the disablement of the French horn player in the band of a Regiment has caused the immediate loss of that instrument,, the fingering of the

French horn being so totally diff erent from that of any other instrument. " lo Appendix VI,, No-3- 2. Appendix VI., No. 4. 3- Anthony Baines., "Ballad Hord's in Grovels Dictionaa--Of Music and l$ Londont 199+P Musigianss Vol. Eric Blom# ed. t P-375- q6 6-

Distin's original tenor cor was built in F or E flat in saxhorn tuba shape. It differed from the sax tenor horn in that the bell 1 Some- had a very wide flair similar to the bell of the French horn. by the tenor time after 1870$ Distin and Co. $ followed others., produced car in circular shape with the bell pointing down, giving the appearance tenor of a French horn with valves played by the right hand- The car., by being designed as a French horn substitutep was generally accepted amsýeur military bands and is still used by such groups for this pur- pose. As the French horn was seldom used in the brass band after the 1860, the tenor car was not used by brass bandsmen who preferred sax tenor horn. Henry Dis tin The World' a Exposition of 1867., in Pax-is , awarded a On June 19s 1868, prize medal for the excellence of his instruments.

Distin sold his business to BooseY for Z9,, 700 with intentions of retire- 2 mente He promptly lost a large sum of money in an unsuccessful concert lost by speculation at the Agriculture Ball. An even larger sum was Boosey endorsement to a friend- An agreement in the sales contract with London, forbade him to manufacture instruments within one hundred miles of so Distin invested his remaining funds in a hotel in Antwerp which proved his to a failure. Distin had to borrow money from one of waiters return 3 to London.

1. Appendix VI, No-3- 2. The name Distin and Co. was retained by Boosey and Co. until 1885- 3- Wright and Round's Brass Bond News. March 1,, 1882. q6 7

After a series of financial adventures, Distin sailed for New York,. eventually moving to FUladelphia where he maae instruments for J. W. Pepper.

/ Appendix V

Selected Origimal Music for Brass Band q'I

Original Brass Band Compositions

Belle Vue Open Contest Test Pieces

1925 Macbeth Keighley

1926 A Midsummer Night's Dream Keighley

1927 Merx7 Wives of Windsor Keighley 1928 Lorenzo Keighley

1930 Oriental Rhapsody Grenville Bantock

1931 Suite - Springtime Haydn Morris 1932 The Crusaders Keighley

1933 Princess No-da Denis Wright

1934 Pageantry Hexbert Howells

1935 A Northern Rhapsody Keighley

1936 Robin Hood Geehl

1938 Owain Glyndwr R-Maldwyn Price

1939 A Downland Suite John Ireland

1940 Clive of India Joseph Holbrooke

1944 Fantasia - The Tempest Waurice Johnstone

1945 Suite - Pride of Race K-A-Wright

1946 Overture - Salute to Eric Bell Freedom

1947 Tone Poem - Henry V R-Naldwyn Price q70

1948 Music for Brass Denis Wright

1949 Rhapsody in Brass Dean Goffin

1950 Resurgam Eric Ball

1951 Th e Conqu erors Eric Ball

1952 Scena Sinfonica, Henry Geehl

1953 The Three Maketeers George W. Hespe

1951* Tournament for Brass Eric Ball

1955 Sinfonietta, for Brass Band Eric Leidzen

1956 Mam ol Shanter's Ride Denis Wright

1957 Carnival Helen Perkin

1958 Sunset Rhapsodar Eric Ball

1959 The Undaunted Eric Ball

1961 Wain Street Eric Ball

1962 Island Heritage Helen Ferkin

1968 john ol Gaunt Gilbert Vinter

1969 Spectrum Gilbert Vinter '(7/

Origimal Brass Band CompositionS

Vational Festival Contests$ London

1913 Labour and Love Percy Fletcher

1920 Coriolanus Cyril Jeracins,

1921 Life Divine Cyril Jenkins

1922 Freedom Hubert Bath

1923 Oliver Cromwell HoGeehl

1924 On the Cornish Coast HoGeehl

1925 Joan of Am Denis Wright

1926 Epic Symphory Percy Fletcher

1927 White Rider Denis WrIght

1928 goorside Suite Gustav Hol-9t

1929 Vict0x7 Cyril JeNd-M

1930 Severn Suite Elgar

1931 Honour and Glory Hubert Bath

1932 Downland Suite Ireland

1933 Prometheus Unbound Bantock

1931+ Comedy Overture Ireland Kenneth Wright 1935 Pride of Race 1/7Z

1945 Overture for an Epic Denis Wright

1956 Festival Music Eric Ball

1957 Variations for Brass Band R. Vaughan Williams

1958 Variations on The Edinand Rubbra Shining River

1960 Three Figures Herbert Howells

1963 The Belmont Variations Sir Arthur Bliss

1964 Variations on a Ninth Gilbert Vinter

1965 Triumphant Rhapsody Gilbert Vinter

1967 Journey into Freedom Eric Ball

1969 High Peak Eric Ball Appendix VI

Photographs and Drawings No. 1. Metzler andWaddell's sonoro- phones,q extracted from British Patent No- 1836, August 12,1858- I C. q76

4 No* 2. Distin's Centre-Bell

instruments,, British Patent No*

2017., September 6,1858- 0 17. CIF IC AT I ON. No- 3o Distin's band imtrumentas extracted from Distin catalogue, 1869. v ly ý.'-DIPTIN & Cp. '4 BRASS ý BAIýP INSTR UMENTS. Manufactory: Gt. ' Newport Street, London, W. C.

V

Ventil Hon

Alto orPlugelhorn ýý'ValveTrumpet. A

te'

TenorHom Baritone.

Circular ContraBass.

111iPi

Euphonion,or Bas.. 2OMbardon or Contra Baas. -Tenor Cor. No. 4. Distin's Ventil Horns. 191??- No- 5- Black Dyke wills Band, c. 1865- q3q

C:)

Co

(Ti -J -J

U

ýz u

co No. 6. Cover sheet extracted from band book,, c. 1830.. Keighley M=eum. 1(96

ti ».V. i da.

01 ic::ý , -001ý, ?00111 e5ýz-

ý ax No- 7- Brass Band Contest Posters 1859. Al 17, ý17 41 FA gild D, ox ! Cl ý21 -

19,0 rd 0*. 1, --, C.1) ,i

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4-3 No* 90 Chappell-Albert mouthpiece advertisements, extracted from

Wright and Round' s Brass Band News.

March 1j. 1894- INS-

THE NEWTRIANGULAR Invented by A] bert Morie, and secured by MOUTHPIECE,Letters ratent.

T'The ordinary 31oathpiece deadens the sound, and requires the player to use great exertion to produce high or the low notes of the scale. With the new Triang-ular Mouthpiece. the player is spared all the exertion which is necessary to suppress lbt, rota7ube, action of the air in the Cup, and the sound not meeting with any obstacle is conducted directly . nt. the which considerably diminishes the necessary force to produce it. Beyond this, the high and the low notes can be produced with facility, thnR spAring the performer vreat fatigll-,. Sir Arthur Sullivan thinks it'a. most valuable invention for facilitating Ithe production of high notes. " L a. d. CORNET MOUTHPIECE, 040 silver-plated ...... MOUTHPIECES, for Fhwel 11orns and Bugles 056 silver-plated, Flaritones ...... Ditto ditto for and Trombones 066 Ditto ditto for Euphonium ...... 076 ...... Ditto ditto for Dombardon ...... 086 ...... Speciality in First-class Instruments. COURICIS. S. A. CHAPPELL. Lrnet-a-Pistuns, X S. d. class k. Class B. Classs C. in B-Ilat, with double waterl L a. d. L S. d. X a. d. key. Concert Room model (týrmtll large bore) 660... 550... 440 or ... 19901... Tenor Sax Horn, in F E-flat 11 11 0 770... 660... and ... a50 Bass Euphonium, 13-flat, 3 Pistons 14 14 0 990... 8S0... 770 or in ... B-flat, 4 Pistons 16 16 0 10 10 0 990... 880 in ... Boinbardon, F-flat, 3 Pibtons, 16 16 0 12 12 0 11 11 0 10 10 0 in upright modef ...... in E-flat, 4 Pistons, 19 19 0 14 14 0 13 13 12 1 0 upr)ght modol: ... 0 ... *2 Slide Trombone, Tenor. in B-flat 770... 550... 440... 3 :10 ...... Basý, in G 660... 5 -) 0.440 Is ...... 1880... , all. A. 3EL9&XXXXX: L C; X-Xft. 3EW3Eb3E1XxXa. SOLE AGENT FOR Autoina Co-artois' 33-rasslartrumonts ana Eugene Albut's Chrionets. O W'BLISHER .%L,, OF Vie Aerny Jouroj?, " co)itai)4inff the latest Selcetioios, Dance 21asic, J, c.. for Fill Ililitai%il Band. BPwASS 23AITD 011APPELL'S by CHARLES GODFREY, Bandmaster, Royal Iforse Gnards. Arranged %TOUIMAL,I HADDON HALL Sullivan. 41- ...... net. COSTER SONGS Chevalier. 4/- ...... r)et. UTOPIA. LIMITED Gilbert and Sullivan. 1 1 4/- net.

15M, lVeo-nmr : 13c3i: z3LcX 93*. 3mcýcvtý, 3r_,cmzcXc3ix3L, 'VW. Cvalve] No* 10 - Russian Stop

Trumpet extracted from Harper's

Instructions# c-1836. Flate3.

21

IL ýOz,ýw Va Wv ev. NO. 110 Cornopean, extracted from

IfacFarlanal s Cornopean Iristructor., c-1837- .01... IV%ý, ""IA

C6 No. 12. William Miller' is silver keyed bugle., 1851-7- 1850 -TO I No- 23- Sugden's double slide

contre bass trombone,, 1860. S-03 No. 34- Henry Distin with circular bass presented at 1861 Crystal Palace Contest.,

extracted from the Illustrated News of the

World., August 39 1861. -5'0 e No* 15* Richard Smiths founder of

ReSmith Champion Band Journal,,

extracted from Illustrated Igews of

the World., Augmt 3,v 1861. Sýd

ri W4,4, :11/, ;: . 7-A

!r Tp'"

//'>1Ilfi I

.. a. Appendix VII

"Mwical Priz e Fight" S'c

MUSICAL rRIZE FIGHT.

Fzw Londonfrequentcrs of spasand watering. plabcs know the sandytown of Redcar,on the north coast of Yorlshirc. It is one of those remote rerageswhich Nature hasprovided for batherswho are tired of eventhe nio(lerite gaiety Worthing; for of A north-countrymillownem who wishto w. awaythe smokeof Barnsley,or the sootof Shcfficld; for invalids who nre aMsed to By from the noiseof societyinto the noiseof the clemeAts,and for yachtingbarristers on the Northern Circuit who have more taste for catching cod-fish a scoro of miles out in, the GermanOcean, than for dangling after broad-hatted beauties at H.arrogate -, or Scarboroiigh. These are the Iii.-It and impor- ,A tant objectsfor which Redearhas risen from an. old and obscurecollection of fisbing-hutson a line of sand-hills,info a bmid, calm street of rea-brickedlod-hig-houses. There.is no more humantumult, there are no moresigns of life, thereis muchless of dissipation,in the Rcdcar High-strect on a Septemberevening, than in any wA-conductcdmetropolit. an cemeteg. The place maybe likencatoa longcell, into whichit is good for worldlings to retire for a while andreftect on the tenor of their pastlife, with a view of 1mroving the future. Thefew silent shopsseem , c,, a to the riemory of the namesover their doorways. and, all-houghthe draper's sends forth a perfume r werinocs,silks, and fustian, and the grocer's a scent -of coffee,tca, and p! Fýcr, both shops may, wilh very little im. - Vita ion, be taken -for family seputclires. A Cart mayjolt by with a load or glistening se,a-weed for manurinmland, but the horselooks drowsyand contentcS, as his hissingcar-go a, -o No 3 in Ion; bro*n flakeson the sandyroaý, ana driver moyesas if lie badhis whole-lifetime ia which to erformhis task. So closeas Redcar is to the ar and din of the Middlesboro'. ron or s, it neither bearsthem, nor arcs for them one jot. It wants to be left alone. It beyond -hasbeen a fishing-town the memoryof the.oldest man, aaaan fishingtown you.ývill be to let it It h, far for pleased remain. b--owe so halt a century as to net lodg-crs as well as 11sh but the lodgers were none of its seeking. As they think proper to come, they Tnust be respectably providedfor; but with no idcaof c--. tortion, or of making the most by them. Its FIrriltichil.3111 hotels, while they furnish every coin- not yet got beyond tile simplicity find inoderation of coný;icrcial travellers' prices. The iron road is too near not to tantaliso tile inhabitants with the prospect of cheap and rapid tnivelling-too distaut to be readily avail. able; the sts-gecoach is unknown, the omnibus has faded the heavy aw li. and rumblinglaramcd carrier's cart, vith its three coarse horses

a 570

I 6G ALT., THE YEAR ROT ND. .IC ýdýw by

be, a and tail, rculailis the undisputed ina'bter draper iii tile village), came out to ber father's of the position. door, and after surveying me for several minutes, The inhabitants of this hill district are clan- retired into the dim recessesof the shop, totally xish and self-reliant. They live and marry incapable of making me out. Another youn amongst ibeniselvcs, and pres; nt the high check- lady at a rival d rapcr's, who vas adorning. heg bones and hard features nhich generally inark sclf fur the mid-day festival, after examinin; the Yorkshire race. A fc%v vt05 offshoots are me several times, for periods of from one to Eve occasionally sent out as scouts, in the shape of minutes each, from her chamber window, con- wandering boys who ice the misty sea. between tinued her toilet, at last, in despair, because I the hills, down to its tempting fishin- too, unable to me ouL A and go I. she, was make b o.-its, and away in its gliding shi Zs; t the'r number of boys with vacaut faces and open return. as " master manners" to buried in mout13, who stood motionless in the road at their native moorland churchyard, and to add the front of the Golden Vou door, with their testimony to those who have been round their ]leads bent forward, their hands thrust into the world, and pronouhce thatl There is nothing their pockcts, and their knees disposed of at in it worth mentioning. different degreesof inward inclination, were also to An A farourable -specimenof -a moorland YMa.-c perfectly unable make me out. aged in the hills, is Lofthouse, in CleMand, about bandy-legged wau in drab cloth. gaiters, V110 half way between Redcar'and- 'Whitby. At- came to, anawcut from, the threshold of an op- tneted bya handbill. of a"G rand osite doorway. IiLc the figure over a Swiss advertisement himself Vill-,, e B.,. aCoutest" at this place,on Friday, iticy clock, was probably making quite September30, IS59, I procureda do.--caxt at ill. ia his fruitless endeavoUr'S"to make me Ilidear, and -wasdriven over the greatestpart out. A tottcriu. - old woman in an adjoining of the way, like the hero of Lammermoor, doorway was another observer of the single alongthe s:ýiidss, but with not quite sucha inclan- alicn amrstranger, and blic, like: the others, was Ictig down ilica able of making me out. - choly result. JU gth, winding-slowly a Lal which we had reached into a valley; Tlie Golden Lion, and its landlord, were ýast a wa---on heavily ladcti with provisions, far aboveany suchidle curiosity on sucýa busy- which waso7toilingover to the village festival, day (for thein), andwhile they were as ignorant while the g! oupof shoutingschoolbo5s who were as any one in the village as to who I was, or interested in its contents were paling short who I might be, they made ime pretty clearly cuts to Lofthouse, by scamperingover the understau5that they cared very little to know, "stubbly fields; past the village clergyman,and asIong as I stood out of the way. The usual his favourite driving the hotel form "showin-," "to " monitor, over on saine of oandme* a room, was cheerful crranl in a substantial four-Nvbcclcdcertainly gone through, I availed myself of chaise Tpeasautsast another wa-gon loadedwi0igravel- it to deposit my great-coat,and my travell.ing colour,; inixeSwith women,boys, and bag; but, finding that six Lofthoase menwere back-,front, themindow,, in lianging fing, girl-, on shafts, and sides, and al- ena-edOpreparations at out a and most on the wheels; past a solitary ornuibus tbai hadb-cri madefor tumin; this _'front Guisboro', specially chartered by one of andall the otlicr slecphi;- apartments.into tap- the conipciin-,hands, in which an ophielcide,as roomsat a later periodoi the day, I gaveit up, lar.-d as a villa_n ump, appearedto hold the without a niurniur, into: the bands of resolute t oast of lionour, anTdiu.-y Sx--hornswere nursed festivity, and proceededdown st: Cirs to the old- if they fashioned that g rough-lookingI muqic2 nurses.as were stone-flooredparlour, was alýo ftdr, of pricelessworth; past manypedes- kitchen,tap-room, and bar. trians who werejolt ing down onehill, and toil- Here I found the first band that bad come injý nothcr,on their road to the sceneof the into Lorthouseto try its niwsical slill, very busily in tryiu- the Loftbouse in nVprize tight ; past all the signs of a not en-p-edtanging %y rum ana very distant attraction, down into the valler, ale; while, u U*idlesbooks from the cell- acrossa stone bridge, and up through a dA- in- amongst inauy of dried winter fir-wood,until at laýi we droveup to t1ledoor of herbs, we'rooseveral corilopeans to be usedin the Kincip.-d inu in Laftbouse,the GoldenLion. the harmoniousfight. T ere was nothing very peculiar in inj The usual plan.of band-approachappeared appearance,escept that I was an alien and to be, to stop about two hundredýards outside a stran.-cr in a placeunaccustomed to public the houses,* and then to ininip in', playing a TLOors; but my general ill, re2sion.is that defiant warch. Upon drawing up before the Lofthouse Nvas wholly unable' to make me Golden Lion tlic plavers formed a circle, out. Several dogs canic up to examine me, and fillibliedolf with andher defianttune, which lolled Loftboase, We Fam- out their tongues and wagged theii seemedtb sayto all " are tails, and then disappearedin oncc*orothei dale; beatthat if you can!" of the 0Y en doorways. A large shopkeeper, Before the arrival of another party of com- in a Imal generalway of busines-,survcycý batants,these performers retired to oneof the ine froin betweena number of iniscellancon!drinking rooms,where the landlord gizea upon nrticles that it, ),is shopyindow ainongbýthem but fatherly interezt, having " 1" hIlle-boilles-stood ii"ith a silent (lead and expiring wasps. 'I moreregard to mbat they arank than to what "I. 11 voull,ý lady in full eveningcostanic, even to alov tlicv played. drc- ilicy i and crinoline (the daughter of a leadin,, but upon tables, and alon; benches ALL THE YEAR ROUND. 67

they " band that for*tle the wall they uflea pipes until strictly village" was entered t inisibl, in c ouds 0 t6baCc0-SmOkc; musical contest. CrC;,! lnC" brass in The L,1,05ca of their 'instruments tile whole village, though not quite tLj Ilostelry look from the important inthecombat, until the -ed, mile outullthe pointsit couia id""r . to its hands in like a InItary trumpet-makees shop. was quite willing stand still, with its its(. If to- Their Elecs were flushed with beer, if not with pockets, anho- give up gazing at t4umph, they cvcgthing and cycrybodT, and the ;,uticipated. and were encouraged moderate by the dissipation of fair. The daddics to *,mk victory presence of c.crtaingentle an cxtcmjloýscd their to (and is dozen them ?) s who h.ad sworn to wear colours what village without a of i; Yorkshire "Arabi" bad Jown the bill, blinV. the 5t. A couple of crawled up anX street with drifted from Iarge smiling the surueLow up some city of ing, satisraction; while palýnles in (and is ; Kpulation the county, and, while one offered what T1113-0 also without a dazeii of them ?) heross to ilean boots at a penny a pair, the other stood conferred with cach other cotta, " just beer Tile up with his nose above the mu " OV garden palings. children assembled round ;,, the intercs% in table, and San,- a popular song, until a r every object of sliglitest show or him the listened or a brassband extinguished with mouth 5E ecchless astonishment, and wherever I to have to t one to orajawnin aff ofibicleide. am sorry ere was man speaking another. these tile The individual who to take in the a,hint, in a candour, that wcrc only seemed festival. ith tp intellect, two boys in the village who seemed quite capable whole %Vl " as of "ang dusty U of me out,. was a Jýctflind-wboW-c-rourcY quarryman-or I now giy.e. the rules and the programme, as SOnIctbing 0? was returning iu to borne to dinner from his lie they were given excellent print me morning's% work. ItIrOULAITIONs. said nothing, although. he stood the midst of "That the distAct shall embrace all villages within a (Lorthou, ) crowd; but the twinkle of his band intending a distance of thirty milm That each eye, and tile saucy tilt of his ra-ed ca ap ok-e fourteen Us to compete aball consist of not more than volumes, even without words. Jacket was having been in the members,each member enrolled flung over his shoulder, in the form of a soldier's least before Paid band at three months contesting. b.reast-belt; and in 163 hand he held dangling a , That band have the of choosing each shall privilege tia can, like a small oil. can, which was niost. music, the other to be selected by the one piece of ýObably devoted to his daily uw,,. c, of t, Judg-e. That no professional shall be allowed to e looked as if his, body had been buried ia p1sy with any band. " cla three parts of his life, without destroying LOTTU9ICSE G RAIM VILMGE MAND CONTEST. hisylense of cliloynicut. or his belief that - On Friday, September 30,1859. -what- ," ever is, is right. The children gathered round - rlacards the of each 'N.B. annonricing name him is rouc one who W:is evidentl y goori'at be displayed tile plat- ,-A Land; as they play, will upon thinkinz, rluawho, ight ossiblý be give utterance f4m; reference then can made to the prograrnme. to that it te to lose. ing be deci by somithing wouFd not well Tilt order of pla), wild ided previously Their. however, draaing lots. expectations, disappointed, for, the Goldentobe PROCIR.OrIM after regardingwerca,, ulca Lion, the bands, the Test piece, to be played by each of the bana. assembled and spectators MarW Jon- the " Grand rarado .. -it opposite cottages, with another eye rerformers. Mr. twinkle, and another mcaning he Ais&A'isr rRAss BA_xD,9 -Leader, A smile, walked IL Corney. Slo! vIY doWu tile Tillage M11 the Whittly end, . Selection IIL& Somnambul&7 Bd7hd as lie had walled the hill the .. slowly up other at Redear his t.. 131"DALZBnASSBAnn, 12 rerfbrnicirs. -Leýder, Mr. end, swiuging a. can jauntily at Bart. his side, and drag3ing his licavilT. bootea leg W. :7 Stlection Twelfth Mass" Mozart. him, but further Os after m.,.%-ing ? no FAMNWALzBRASS BAND, 11 rerformers.-Leader, At leng-th the jme approached for the Ils-rotter. musical Struggle, ana the order was given to Selection "LucreziaBorgia" Doni: desert the the to ... . eftL ruin-glass'and zde-cwi, and Gctsisito!BRAss BAND, 12 rerformers.-Leader, 31r. niarch to the mcadow, %Nlicrethe judge and the Banni3ter. orchestra were ready. This was done in "'releection noble 11Trov store" re"J; stýle, each band of performers plaTiu; its own LOM, - 6rsz SAx.1loms BANn, to rerformers.- favourite inarch, in. its own favourite way, and Leader,31r. J. IVAlker. beingheaded by its farourite 111MI'J", own musicalviran. Cho" Randers_IfessýuL di4cs. This time it vrasthe turn.of the oxen Thecontest will commenceat one cýclock. in an adjoiiiing.jaddock. to be thoroughly Tile first is three of thesebands were what astonished,and, ,t, ter re-gardingthe troop of woor-bands- 'that is, a troop of per. visitorsand pLiSers %% ith becominggravity, they f,,--,! t, a inla district to the Lofthouse rs coii,, stra-rlingI'Zo of cot- evidentlycanic usual verdict, ! 471's,extending from teu twenty miles,the that they were not able to makeit out. The "ll"Itlitants or which have proportionatelyfew four or five policemenfroin the &-fferent Tilla-cs ý4iý,vurt unities for practising, togctber. disposelof the meadow, t? . Guisboro' music were round and cir 'band has tt '00 fortune to GrAduty, as usual, NvIstochnscutiruly boys, who C07acJTomtown that baastsa ba terminus, dodged(lehind hedzos instead ,c a railway of pavingsixýcnce, andwhicil call scarcelybecalleda-vilfaýc ; Nvilile andcoining in by ilie legal eutrauýc,up a lane. the LOfthouseSax-horn Thejudge into bathirg-m-achine, companywasathe only got a 0 which 63 ALL THE YEIR ROUND. - Vvolmbý22,IK93 bad ai,iftea up from the coastcm to the hills, to sp9ts, insteadof being black, were a very pro. serve him ns an observatory,and being duly minentwhite. There were screrat other moor fortified with applesand a bottle of liquid, lie flowers in this and other hands,with a taste aye the necessaryand Iong-expectedsign to for very similar waistcoats; and not the unap- Jullicn, in his Cý111.It proacliable all glory, could com- wasGuisboro! that led off first (by lot) witll parewith oneof these. A Mr. Jones's March ; and, without pretendinr; to To see such conductor3 waving a comopean, be critical, I play say that the performance more while " T' Twcl' 'Mass o' Mozart, " or 11S'lect. than equalled the composition. The Lofthouse shuns fram t' Narma, " as tboT were conversa- Sax-born band then took possessionof the arclia, tionally called, were be layed in rather and. showed the 'judge and the visitors what slow-and conscquelitlyiatliouse-time, was I villige amateurs can do. Bothor these com- a hopeful sight for those who travel through parties were dressed in something like uniform, the meorlanT district in the constant fear that which may, or may not, have bad an effect upon some ruffian will " fettle their mouths with a their musical unity; and itw,, not until the brick. " I do not pretend to say, that because Aislaby plavers stepped on the platform that 1. All, che la morte! is blown upon a Yorkshire for the had trumpet, fighting is to one, aiýongst audience, an oppor- Ests, %ut altogether a stranger tunity of regarding it lonely Ynrkshire moor- Yorkshire I think that the man who band, standing up without anv adventitious aid. conducts the melodies of Bellini, although in a 46rduroys, Without' inquiring too closýly into the daily crimson waistcoat and is not lil-ely to accupal ions of the performers (which, I am given ito off his ucighbour's car, or to ouge out his to understand, may range from farming to iron- neighbour's eve, and is very liMy to have a working-, and sometimes to keeting- a shop), I ill UCUCCOU SOMOOf his ICS3 CUlti- should snythat a journeyman ba cer, two rcgidar vated brc&rcu, besides. bar- three budley in their The the were declarea canal genicn, collicrs excitementwhen prizes Sundaydoilies, aworking blacksmith without to be awardedin the following rotation Lofthouse " First muchadornment, and twooScotch tally-men, Nro- .,. I. vided with dingy trombones,cornopeans, a%. Guisboro...... " Y scco,Third a.:.,,, borns, and,ophielcides, would completethe pic- arndale ...... turc of the Aiblaby band. The Farridalc and Bilsdale Four - Bilbdalc followed them, Aislaby ...... Last m6or-bandsthat were ...... twin brothers in appearance;and I say this wassufficient to showtsiat the cudgcli'ý:nd the aith no disrespectto thesehumble students of wrestling ring had not alto,,-eth; r been. ex. _,a refinedacconiplishment,but rather to their in- changed for the harp; and the clicers and fini1c,credit. Tiicyýv-crc,,tUworkiii-mciioftlie groans were sufficicritly loud and antagonistic luirdeA worling class,and they vianIlly showed to warrant the presenceof The police officers, like what they are. who had comefrom every villn-c within twenty When 31r. Jones's*March had been decently miles. The final musicalnssauTt of the day was blown,through the five brassbands and then got the triumphal return of the fire hands,in the t rid iDf,t lie secondtest of comparativemerit took order of their adjudgedexcellence, to the da- plarc -,I lie performanceof the operaticand sacred voted.and expectant Golden Lion, where all sclectious.The 3amerotation wmagainobserved, the dirty glassesand mugs of the morninghad atid after Guisboro'had led off witR a numberof beenwashed for the afternoon,and wherefresh RIT3from It Trovatore,the Lofthousc hand fol- barrelsof ale were set under groaningmachines lowedwith the HallelujahChorus, and the moor- to satisfyalike the demandsof the victor and Bilsdale The that handsof Ai, laby, Farridale,and respec. the vanquished. noise thesecnraged tivrly, wit It selectionsfront La Soninambula,Ltt- and.delighted musicians made, as they marcted creziaBorgia, and Mozart's; Twelfili 'MaS5. To into the village, all plaving- at once, and all saythat We performanceof thesediflitcult pieces playing differcut tunes, the barking of approachedperfection, would only conyry an do-s the shoutin-of chiblren, the cliceringof untnith, but it far exceededthe cirtlfnary frieQs, and the groaningof enemies,ban only be standard of eivilisation existing at. the p!accs comparedto Bartholomew'Fair in its palmicst from which t lie handswere drawn. The Bilsdale days,when every showman was beating his gong, band, less declaringWat lie althom.1i [Invin gwith tspirit, perhaps, and alone wasthe possessorof than someoT t icii rivalt,; h-td a keen scuseof tile origiual spottedboy. harmony,and a rich mellowtone, which suited my taste even better than the performanceof Nowready. price 5s. Gd., bound In cluth. t1leir It more successfulcompetitors. was a THE FIRST YOLUME sight to seethe leaderof this band,a short and sunburnt,young man, like a comitry "boots," tContaininsfrarnNos. Ito 20.both Inclusive) of dre-cAl in a waistcoat that rnight"have been .. ý Ilieceof leolinrit'sskin, except t flat the ground. ALL THE YEAR ROUND. being brown, lwsteadof was drinison,- and the To'bohad of all Rooksellem The ri qht of ALL TRE TUIL ROUND iS -MeMel I. V the JUthOr: . - I Selected List of References py

BARRETT,j Frank., A History of Queensbul: y,, Queensburys 1963-

BARRETT., William Alexander,, Balfe, His Life end Lforks., London, 1822.

BATEO Philips The Trumpet and Trombones London., 19; T.

BEM., Alexander B., ed.., Peeps into the Past., Sheffield., 1909.

BROCKHAUS., Konversations - Lexikon,, Berlin,, 1902.

BROWN, ismes and STRATTON,, Stephen S... British Musical Biogra Birmingham# 1897.

BRUTON,, F*A*,, Three Accounts of Peterloo b Eyewitnesses., Manchesterp 1921.

BUSBYO Thomas.. Concert Room and Orchestra Anecdotes# Vol-2,, London., 18259

CAME,, Adam., Msical Wind Instrumentss Londons 1939.

CLAGGET,, Charles,, Musical Fhaenomenap London,, 1793-

CLAPPE$ Arthur Aj, The Wind Band and its Instr=ents., Londons 1912.

Histoire D'un Inventeurs Pariss 1860. CCbM'XWT,s Oscar$

CIIRTISP S. Jo and BOULTWOODp If-E-A-p An Introductory History of English London, 196o. Education Since 180 p

CUST., Sir Edward# Annals-of Wars of the Nineteenth Cent=., Vol. l.,, London,, 1862.

DAUBERY,, Ulric, Orchestral Wind Instruments, London., 1920.

DAVEYp Henry, History of Erig-lish misic,, first edition London, ý895, second edition, London, 1921o

DUNLOP., Jocelyn,, English Apprenticeship and Child Labour, London, 1912. 51s-

FARMERO Henr Georgep of Rqval Artillery Band.,,y London,, 1951+*-History -the

FAMM., Henry Georgey Memoirs of-the Royal Artillery Bands Londono 190Zi..

1950. FAMERO Henry George., Military Musi p Londono

FA=q Henry Georgep Rise and Development-of Mlitary Masico London., 1912.

FETISS F. J. Biogmphie Universelle des Musiciens, Vol. 8o Paris,, 1875-

FORTESME., J-W-o A History the British A Vol. V, IK, Londono-of 1920. rdmrwo William., Music and Friends, London, 1838.

-GiMyr Alfredo A Life at One Living., Londono 1884.

GE=GERj Karlp Y-usical-Instrumentss London, 1943-

GIMBER.. E. L-o Neues Historj4ch - biop-pr_aphisches Lexi-ko der Tonkunstlero Ip Leipsizq 1812*

Great Exhibition of the Industry of All Nations, Jury Awards, London, 1851

Great Exhibition of the Works of Industry of All Nations,, Official Catalop,, ue,, 5th ed. 1851- , p HA12SON, Joseph N... origin, History and Achievements of the , Besses ol th' Barn Band,, blorthampton., n. d.,, c-1892.

Ham, Thomas, Instructions for the Trumpet with the Elide Chromatic also the Russian Valve TrumDet. the Cormet a Pistons or Small Sto t Keyed Bugle, London, ris des ce 0

HARIM,, Thomas, A Selection of Favori hirs adapted ane . London., n. d.,, Co

HOYLE, Eli# "History of Barnsley and Surrounding District from the Earliest Times to AD-1850"., manuscript, c-1900. V (01

HUGHES., Rosemary# Ha , London, 1950- JACKSON., Enderby., "Origin and Promotion of Brass Band Contests"s in The British Yusician, July, 1896.

JACKSONj, Enderby$ "Origin and Promotion of Brass Band Contests", in Yusical and Miasic Trade Review, March-Novemberp-opinion 1896.

MUMM., August,, Wilhelm Wieprecht., Berlin, 1882.

]KASTNER,, Georgess d'Instrumentatioli, Parisp 1837- -Cours USTNER, Georges,, 11anuel General de Musique Yllitaire., Paris# 1848-

LANGWILLp Lyndesay E.., An Index of Musical Wind Instrument Makers,. Edinburght 1960.

Life and Career of the Late Mr. Edwin Swift,, Milnsbridge, 19(Y+.

LLOYDj John.. Early Historv of the Old South Wales, Iron Works, Londons 190b.

London P. O. Directoas 1835-

English 1,hsic, London,, 1961+. ITAMU22MS E. D. pA Social History of MaTuss, Sir Philipj, "Industrial Education"j, in Education in the Nineteenth Century., R. D. Robertsp ed-9 cambridgep 1901.

KWELJ, Carl., The Instrumentation of Vilitary Bandsp Londons n. d., c-1859-

YAM Robert A. Masic for Pft9ple Glasgow,, 1889. ) -the VITI-IINGTON, William, Sketches of Local Musicians and lbsical Societies. Pendleburys 1884*

MORLEY-PEGGE,R., The Horn., Londons 1960.

MORLEY-PEGGE.,R., "The Horn and Later Brass",, in Musical Instraments Through the Apesj Anthony Baines, ed-p Middlesex,, 19ble 517

PURDAY, IeTop Tutor for The Royal Kent Bugle, London,, n. d.., c-1836.

RAISMICK., Arthur., Two Centuries of Industrial Welfareq London., 1938-

PMMAU F. Geoffreyp The Clarinetv London, 1954-.

RICHARDSM., F. ed-s Brass Band Annualp 1894# 1895P 1896,1900, Sibseys Boston.

RIEKANN Vusik Lexikons Vol. l., Mainz., 1959-

ROSE# Algernon., Talks with Bandsmens London,, n. d. 3 c*1895-

Rotherham Advertisers Reminiscences of Rotherham. and District, Rotherhams 1891.

London, 18.9+, 1855s 1856. RUDALLs ROSE Yusical Directo 9 & =TE,

R'USSRLLj John F. and The Brass Band Movements London$ 1836. =OTI J. H. 0

SACHS9 Curt$ The History of Musical Instruments, London., 1942.

SACHS, Curts Real Lexikon der Musikinstrumentes Hilde&heims 1 64 (reprint of Berlin edition, 1913).

Manchester Fifty Years Ap-o,, SLUGGj, J. T. 2 Reminiscences of ilanchesters 1881.

STALYBRIDGE CLD BAND., Stalybridge,, 1914-

Standina Orders for the Third West York Militia, London,, 1809.

SUNDELINO August,, Die Instrumentirung f4ýr das Orchesterp

MUM$ Thows., The Antiquities of Sheffield.. Sheffieldj, 1797-

TULLY, Tutor for the Kent Bugle,. London, n. d. 0 c-1831- VINCENT, Charles,, The Brass Band and How to Write for it'. London., 1908. !5ý/ f

J*E. Hesling., Short History of Bramley Ban Bramleys 1906.

VdaTES J. R. Waterloo to Peterloop Londons 1957-

17IMER., Thomas, ed. s An Old Eccles field Dia , Sheffield# 1921-

WRIGHTAND ed-v Amateur Band Teacher's Guide and R0M,Mij, Bandsman's Advisor,, Liverpool,, 1889.

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BATE$ Philip, "Cornophonell in Grove's Dictionary o Music and Musicianso Vol*II,, Eric Blom, ed., London, 1954.

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CERNUSAK, Gracian., "Polka".. in Grove's Dictionary of Music and Musicians, Vol. VIs Eric Blom,, ed-j, London$ 1954-

CHAFFLIL, William, and =ON., Frank, "Rule Britanniall's in Grove's Dictiona of Music and Musicians, Vol. VII, Eric Bloms ed.,, Londonj, 1954.

FAMM,, Henry Georgep "Bugle Band"., in Grove's Dictiona of Misic and Musicians,, Vol. I,, Eric Blom# ed.., London,, 1951*.

"Military Band",, in Grove's Dictiona HEMS Harold C. 2 of Music and Musicians, Vol-V, Eric Blom, ed-p London, 1954*

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ARTHEMEMI., veb. 24., Mar- 3., 1838- . "Neue Erfindung"» in Allgemeine PIEREY» G. B., 9 musikalische Zei Mayj 1815., Novembers 18179 JulYs 1818-

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DICKEZ Charles,, ed... All the Year Round., lqovenber., 1859-

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HOGARTHj, George# "Musical Instruments"s in Nusical World, February 17# 1837-

MMEY-PEGGE, Rep "The Regent's Bugle"s in Galpin Societ Journal., IX., June., 1956.

MICAL PROGRMS,, Septembers 1929-

MICAL WORLD,, Jan* 2.1835; Mare 180 June 179 Dec. 9# 1836; Dec. 23# 1836; Jan. 209 June 2., June 9., July 28e Oct. 20s Nov. 10* Dec. 15P 1837; Nov- 7s 1844; Jan. 23s Feb- UP 1&0; Nov. 8,1851-

Proceedings of the Royal Musical Association, LXXII,, 1945-

Bath Heralds oct. 27.. rov. 1-1., 1837-

Daily Telegraph, July lov 186o; Aug. 13,1894.

Eastern Counties July 20 1857- Herald., 52o

Hull News., July 5s 1856.

Hull Times, July 4j, 1857.

Illustrated June 29# 1861. London News,

Leeds Times,, May 26,, June 2.. 1855-

Manchester August 21,, 1819. Chronicl ,

Manchester Sept- 3., Sept- 10s 1853; Sept. 60 1854; Gmrdian, Sept- 3., Sept. 4., 1855-

Yanchester Aug. 171 1819- Heral . Sheffield My 22j, June 19., 1858- Independent.,

Sheffield July lla July 25j, Aug. 29# 1812; Mere= YaY 15., 1813; June 20,1814; Way 27,1815, April 25., 1818; Feb* 279 Oct. 16, Nov. 13, 1819; Feb* 12j. Feb. 20,, 1820; Oct. 13, Oct- 8P 1836.

WRIGHT AIM Brass Band News, Oct.. Nov. 1881; Mar. 1882; ROUND'S Uan. 188; Jan. ' 1891; Jan.,, Way, 1892; lbr. $ Aprilp 1894; Feb.., Ilar.,, 1896.

York Jan. 24p Feb- 7. Apr. 4j, July 25,1833- Chronicle,,

York January 5j, 1833. Gazette,

IUELD,, C" "Black Mills Dyke Banal' , unpublished manuscripts 1965- Index sa?"

Accrington Bana, 224

Albertp 100.9 495

Alderson, R.,, 237,, 24-2., 243., 4-88

Allison., C-A-p 101

Almondbury Bands 143

Alt horns 70s 75,86,147s 153

Alto sax horns 249 Alto tuba., 138,139s 141

Aluminium, go

Andre, 182 81 Arbans 79,v Arne,, T. A-s 180

Astor, ceorgep 57

Auger, Bob., 174., 175

Bacup Band, 248

Bacup Volunteer Band, 8

Balfes 50* 192

Ballad horns 97

Ball, Eric, 2660 267 5? -

Band., brasso 7o 9,1+9,65p 69,75,77s 85s 103P 105,119P 120s 1229 123,124,128p 129,135,137,138,139$ 14op 141$ 144p 345s v+6,161,1622 165o 171a 172p 173,1799 192, 193P 194,195s 2ols 202p 204

Bandp cavalry, 65p 122$ 128 47P 53P 55o Bandp military, 3o 5p 7,8, go 3J+p 21p 24p 27,29,31* 56,58,60,65p 69P 77p 85s 88, -89,93s 98,108o 111o 112s 117P 1909 124p 138s 139P 144o 147,168,171s 178P 179P 183P 184p 193# 209p 412,413,4149 415

Bana, militia, 3,7., 178

Band of music, 6s 15j, 16,120,121,179o 180-

Band, villages 18o 19* 31o 112# 134

Band., workso mill.. 18,112o 12J+,, 119

Bantocks Granville, 261p 262 W, Baritone, 65,67P 70o 75o 87s 130P 133p 1389 139,141,11+7, 149s 1509 1522 155P 156s 157o 159,160,165,1660 170P 175

Barnsley Band., 225 155o Basses, 87P 130,3.31# 132p 138P 139o l4lp 3479 152,1539 154P 1562 159* 160,162,163#'161+p 165P 1660 169, l7o, 3.75 (see bombardon)

Basses, circular# 76o 77s 163* 164 63o 117P Bass horns 21P 57,57n, 58,59,6op 61,620 109,110* 113o 126j 127P 128p 186

Bass horns contra, 59

Bass horn$ tenors 59

Bassoon, 5* 38P 55P 56, logo llop 117p 186

Bath$ Hubert$ 263,265

Batley Bando 117,129p 11+2o 143o 225,240,24.1

Batley Victoria Bando 224 5L/

Battee, 41,, 42

Battyes James, 225

Baugnet, 81

Bean Brothers' Band, 123

Beans Joseph., 49

Beethovens 22s U3x 178s 258

Belfordp A. E. L.., 90

Belle Vue, 135,136,137j, 13 8p 140s Wo 15 29 155p 156p 157,167, 175p 209p 218p 219p 220,222, 226p 227p 229v 2430 247, 252p 258$ 263

Belle Vue Bands 215

Bennetts Sterndale, 60

Berlioz., 204

9s l8p 32# 58 113 115* 116p 127s 137v Besses ol th' Barn Bandp j, * 138, Ws 158v 184, 2020 248p 252p 258p 261

Bessons 54s 55,69,86, 90, 102p 103# 105p 106,158,161p 163

Black Dyke Mills Band, 8s l9v 35s 68s 69n, 73s 76# 112., 11+1., 142s VJs U-8,349., 150s, 152., 152+#1560 161,161n, 165,184s 229., 2,34., 2-38s 21+1s 2)+5., 2472 248p 252p 261v 48)+

Blackman and Paces 193

Blaikley, D. J., 992 102

Blaina Band., 119

Blight., W... 211+

Bloomer., Mrs. A-J-j, 216

Bll=el,, 37

Blundell., Spence & Co. Band,, 143

Bolton Reed Band, 3,, 122s 201 S-25-

Bolton Volunteer Band, 3,8

Bombardon, 60,66,68s 75P 76,86,87., 89s 133., 134., 241., 142, 144,145,14,8s 149s 150s 1529 226 (see basses)

Boose, Carl, 889 209

Booseys 88,96n, 97,990 100s 102p 103* 105P 1500 209# 210,213# 214., 242

Boosey & Hawkes, 86,99,106

Bottomley, Henry, 148

Bower.. Fnineas, 156

Bramley Bands 117s 135s 136s 192j, 2020 203., 204s 244

Bridlington Bands 142., 239

Brighouse Band., 143

Brockelsby Band., 83v 130

Brooksp W-s 99

Browns Wm-s 93

Bugle, 269 39s E4v 85s 126,144,345,189

(see Bugle a clefss 27 keyed bugle)

Bugle a pistons 35

Bugle.. keyed (see keyed bugle)

Bugle, Regent's, 28

Burbage, 86

Burrs A-J-* 101

Bury Band., 225

Bury Borough Bands 135 S26-

Buslingthorpe Band., 14.2., 238

Butler, Georgep 85s 103

Callcott, John, 85

Calverley and Greengates Band, 206

Campton & Co., 86

Carlisle St. Stephen's Band, 265

Carty, Patrickp 58

Centre Bell Instruments, 95,96p 1+78

Cerveryj, V-F-v 75

495 Chappells 70.- 152., 21+7., Chappell and Hammond, 150

Chappellm S*A-s 100

Chesterfield Bando 150

Chlandis 69

Circuss 3-239200,201

Claggettj, Charles., 22., 279

Clapham..Thomas, 228

Clapham.,Wm-, 91 Clappe, Arthur, 73v 170s 171 128s clarinet., 5., 56, log., lio, 1-Li, 1139 116,11T, 118,120* 127s 1.3J+J.39. 3j+6,11+8., 3j+g, 15o., 153,186,188 ,

Clark$ Hamilton, 258

Cleggs James$ Johp, Joseph, 18$ 112

Clegg, John, 32,184 527

Clegg's Reed Band, 18,320 1120 18)+

Cleggs Mr-* 31,329 182

Close# William.. 36

Cocks, R. and Co.,, 125.. 1279 129,, 151s 193v 196s 200,201p 2090 245* 384* 385

Coldstream Guards Band.. 5,47,56,69

Collins,, Bandmaster,, 68

Concert,, first brass band., 202

Ccnn,, C. G., 67

Cornet a piston (cornet)s 32v 349 359 38P 43., 44o-50., 53j, 54j, 639 73P 74s 78,83v 98p 125,126n, 128,129,131,136,138, W. 145p. 161,165* 166,167,169,170,172p 139.. 141., - 3.73t 174s 188s 1910 1920 196,198o 201p 2109 211* 226s 233,237P 381v 382a 387., 389., 391-40.

Cornet simple (cornet ordinaire),, 44

Corni, 153

Cornopean., 34s 3% 44., 46,47n, 48,49Y 50v 53,54P 749 88s 119, 122v 12% 126s i28s 129P 130v 131P 133,136,186,1882 193s 194s 1980 2009 211+2215* 302v 303v 305-309v 499

Cornophones., 162., 167

Cotterp Joseph# 59,60

Courtois, 43,55,69, -87., 144,149 Crimean War, 85

Cx7stal Palaces 76,85., 91s, 134., 142j, 146,3J+7,150,162,171" 243j, 244,245,246,, 260

Cyfarthfa Band,,. 68,132., 133.. 134s 150j, 211 SIO?

D'Almaines 126., 194

Danamora Band,, 252

Darlington Band, 143

Daubenyp Ulricj. 61

Denbeigh 21ilitia Band, 49 191+

Denmans 191

Dewsbury Band, 116j, 135p 1360 2242 227

Dibdin, Charles, 179j. 413-416

Dickensp Charlesp 243

101 Dickinson., C-A-.* Distin Family, -59,, 77., 79j, 80,81.. 82p 84,121,125P 126,132,, 192., 198$ 199p 200p 201,202p 204,205,210,441-467

Distins George# 81p 1320 210

Distino Henrys 73s 78p 80,83,84, 85P 87* 900 92p 95P 96,97v 98v 99s 130P 1379 138,3-3 9p I"p 150,151P 152p 242p 246., 311., 478., 505

80,, 81, 821,84j. Distin,, John, 29.. 30,9 77j. 78.. p 120,181j, 200,205P 288-293p 295-300

Distin,, Theodore., 84

Distinp Williamp 84v 92

Doncaster, Balid; IIJ

Donizetti., 195

Dowling., bandmaster,, 220

(Percussion),, 84,, 127v 128P Drums - 5.- 9j, 56j, 109., 110., 113,, 117,, 118# 129. - 341,9 146,9 147,148,, 152.. 1539 154,, 155* 156., 160,166,, 167P 170,207P 237

Dubois, 81

Duhem, 212 East India Volunteer Bands 189

Ecclesfield Bands 116

Edgefold Band., 117

Elgars 261s 261+

F.Ilard, Andrews 42.. 43

Ellwood,, bandmasters 220

Elveys 189

Embach,, Luawig,, 44.9 45.9 47,, 4-8

Euphonic horns,, 85 88, Euphonium, 62,63,65,67,68,69# 70., 71,, 75,86,870 130.. 133 1349 14.1,145s 147,149j-157., 1599 160j, 165# 166: 169,1750 226s 2429 423

Fairbairn' s ýge3-jjngton Bandj, 142 9 240

Fawcett.. John., 117

Featherp Yim.., 217

Fifth Dragoon Guards Bandj, 217

First Battalion Rifle Brigade Band., 33

First Life Guards Band., 59,, 95., 229

Fletchers Percyp 261p 265 159., Flugel horns 35., 81j, 132., 345# 149., 153,, 19+, 155,157,158., 16o, 164,165s 1660 167* 168p 169,17o, 186,284

Flute, 5p 38s 56P 109# 1109 111s 117

Fourth Light Dragoons Band, 128

Foxhill. Bank Band, 225 930

Frampton-orSevern Volunteer Band, 26

French horn, 5., 21., 23., 36,9 39., 43P 47s 56 78,83., 931 98.103P log, lio, 113,117,118,120p 1229.. 125o 1260 127P 128s 1319 132j 133., 135.. 136,146,249Y 153) 167P 168,174s 175,186,188,192p 193,273-277

Frichotp Alexander., 57

Galloways F... 229p 231

Garde Republicaine Band, 71+

Garrett, Richard, 85

Gautrots F-L-s 87P 99

Gawthorpe Band, 14.2j, 143., 239

Geehls Hs 263s 265

George IV Band., 78

Gillespiej Dizzy., 88

Gisborne, 85,103s 105P 343,

Gladney, John., 154,247# 248,249v 391

Glossop Volunteers, 8

Godfrey, Charles, 152,153s 209s 252

Golcar Band, 248

Goldshill Band, 150

Goodison, Charles A. 91+s 102

Goose Eye Bands 215., 216

Gordons William, 155

Grand Duke Constantines 30

Grays Frank, 244 53 V'

Greenhill., Joseph, 32,85

Greenwoods bandmaster, 221

30., 75, 77., 86,182 Grenadier Guards Band,, 21,29,, 56,70,, v

Griessling & Schlott., 37

Grinsted., 102

Guillaume# Edme., 56

Guilmartin, J. H., 63P 102

Halary, 30., 43,60,61s 78

Halliday, Joseph., 26., 289 35s 36,419

Handels 1810 195,217

Handley., 201 HardmansDan, 1219 123

Hardman#Henry C-, 39 Harperp Charlesp 192

Harperp Edmund, 192 190,191,1922 H arpers. Thcmas (Sr)v 33s 469 50s 120s 182s 189s 1962 198s 200s 201,2819 2829 497

Harper, Thomas(Jr)s 1929 210,242 Hawkes, 86s 105

Haydn, 25

HeckmondwykeBands 225

Helicons 76 Henry., Andrew. 34

Heslings Alexanders 188 Heywood., B. J. 0 90 Hibernian tenor horns 126

Hibernicon, 59

Highams Joseph# 86,87# 92# 103v 105s 1069 14.19 WO 226

86 Hillyards, Wm.9 Hogarth., Georges 56,61,191

Holme Mills Bands 248

Holmes Tannery Band, 130,132,208

Holmfirth B&nd, 3.43

Holsts Gustav., 261s 263s 265., 266

Horsforth Bands W

Howells, 264

Huddersfield Bands 142s 143s 239

Hughes., Sam., 211s 242

Hull Brunswick Band, 143

Hull Druids, Bands 143

Hull Flax and Cotton Mills Band, 131s 143 Hull Kingston Cotton Y111 Band, 143

Hull Shipwright Band.. 143

Hunslet Leather Works Bands 11+3

Hunt., Henry.. 12., 15; 16,17

John, 25., 26 -Hyde, 633 .

Indu trial (1851) 55s 70# 86,95P 134s 135P 148P 217 Exhibition 9

Industrial Revolution.. 9,34,180 257

Ireland, Johns 261s, 264., 265

Jacksonp Enderby,, 142.. 346,, 347., 206,, 217., 218., 228,, 235s 237P 313-379 241., 242., 243,v Jenkins# Cyril,, 2619 262l 263j. 265., 4.06-411

Jerini on, John, 218 Johnson., Vm. 116

Jones,, J. Sidneys 217j, 250

Jordon,, 86 Jullien, 69,81,820 87P 10C, 182p 209s 210,211p 212,242

K.astnert Georgess 721 73* 75 Keiferts Carls 258

Keighley Band., 227

Keighley NewBanat 118,486

Keighleys Thomast 263

Kendal Volunteer Band, 3-17

Key and Co-# 35P 70p 76,86,87P 88p 89p 92 Keyed bugle (Kent bugle)o 27p 282 29P 31v 32P 33P 34* 35P 360 41# 63s 77,78v lll* 112s 113P 118v 125s 126,127P 128, 129-133,135,136,146,182$ 186s 188s 192p 193p 200 281v 282p 286s 419-421,501

Keyest Smith & Smithp ".101 5,341

King Jamess 225 ,. - Kingston Mills Band,, 2)+8

Klappenhorm, 28

Keat,, George.. 86

Kento Henry,, 50

Keats Henry& Sons, 86

Koenig, 87,2112 212

Koenig and Pasks 709 87

Koenig horns 97

KLlers John.. 33,48., 51., 529 53j, 51+, 85,87., 91+

Labbayes 87

Lakes 101 H-H. p Laurets 81

Lawson, James, 49,84v 344., 212

Leeds Joppa Band., 1429 238

Leidzens Erics 268

Lesters Septimuss 116

Libeufs 55

Linthwaite Band., 248

Low Moor Iron Works Band, 143

Loxleys Thomass 116

Luddite riotsp 3.1

Lynn Bands 143 MacFarlane, George, 47,47n, 48,49,50,62,63,88,125pJ29., 193v 196,197s 198p 2452 499

111 Yacfarren, t Rachintosh., Jack., 1712 172j, 173

86,103j. 105,, 167 Mahillon & Co. $, Malibran., 50

Mandel., C., 35

Mariner's Band., 228

Marsden, Dr.,, 212

Massed brass bandsj, 220p 245

Massed military bands., 2209 221 Matherj, Samuel, 4., 7

Mayer and Harrison,, 106

Melling, James,, 212,, 211+,j 217,, 218,9 228 Mellophone,, 168

Yeltham M21s Band, 129p 3J+3,9248

Mendelssohn, 61,1550 284

Metzler, 86,91,94v 95p 103v 105s 106,475* 476

Meyerbeers 79,2(Y+

Midgley, John, 90,91

Milburnp Herbert, 121+

Milburn's Bandp 225

11illerp William, 32,33,501 lall Town Band, 1+0

Moorep Thomas, 59 5736

Mori,, 189,190,192 Moritzo )+3# 5o, 6o, 62, 66P 72

Morley Band., 12+3

Mossley Brass Band, 225

Mossley Temperance Band, 135P 137,220, 225

kLlerp 193$ 200,201

Ihisic (perfomed) 5,6, 34,16,31s 33P 31+# 116,118p 180p 184# 187P 1931 194, 202,2o6,207, 2080 215s 219s 220v 223, 224,225s 228p 229p 2300 232p 233s 234v 235p 236,237# 241,, 244,, 21+5, P.50,251,, 262., 263

Nantwich Bands 135P

Nant Y Glo Iron Works Bands 119

Napoleon., 2

National Festival,, 176., 261,, 262,, 263,, 266

178 Naylor, E. W. 9 Nent Head Band, 18., 115.. 123

Neuschels Jorg, 90

Newark Band# 343

Newcastle-on-Tyne,, 143

Newton Bank Print Works Band, 135

Northallerton Band, 120,186,187

Novellop Clara# 198

Oakden., bandmasters 220

Oates., Dr-v 51

Obo e,, 109., 3.17 537

Oldham Rifles Band.. 20

Ophicleides 30,, 36s 47n, 56,6o, 61,620 63,66,67s 699 70s 78., 114,122,126,128., 129., 130,131,133., 134,o 135j, 136,138,141,, 146,247,148,3j+g, 150,156s 186, lgo, 211,9 242

Ord Hume, J. 257

Ossett Bands 142,240

Owenj Alexanders, 166,248,251., 259

Pace# Charlesp 48j, 49j, 78

Pace., Charles andFrederick, 27., 32

Pace., Charles and Sonst 86 Paces I%tthews 27v 32

Pairpoint,. Edward., 33

Pares., 71+ Parliament# 129 200 186

Parry, Johns 4.194p 195

Pashen, John# 32,86 Fasks John, 86

Patrington Bands 349 129

Pendelton Brass Band, 161 Perinets 54.

Peterloop 15,16,179 134

Phasey.. Alfred James, 69,70., 71,75p 86., 242., 423

Phasey., Alfred James (Jr).. '88 Piccolos 113s 127

Polyphonian trumpet-so 36

Ponder., ItL-.,, 190

Popowitzs 200

Potters Samuels 32

Power, Jamess 38 Praegerp 127* 128,129s 200

Prince Alberts 13h. Prince Regent's Band.. 28

Prosperes 2119 212

Fadsey West End Band, 143

Purday., J. T... 34m 191

Queenshead Bands 112p 115

Railway Foundry B&ndl 225

Reform movement, 15,16,17

Reidy Generalt 239 1792 271,273-277

Richardson, F.., 257

Riedle.. Johann., 60

Rimmer, VVm., 257 Rise Carr Rolling Mills Band,, 168,169

Roark, E. O.,, 101

Robertson, Joseph, 62,63

Rodenbostel., George Henry# 26 5'39 *

86, go Roe., J. # Roses Algernon, 77

Rotherham Band, 120

Rothwell Bands 343

Round$ Henry,, 2492 250,, 257., 4.020 403,, 04

Rousselot & Coo# 135

Royal Artillery Band, 5,, 34j, 491 58,629 68s 75,109,128ns 178

Royal Arti II ery Bras a Band, V+6

RoyalArtillery Bugle Bands 81+, 859 144s 345

83# 85,86,87,882 94, Rudall,, Rose and Carte.. et al os 769 103s 105,106,135

Russian bassoons 57

Russian Horn Banas 192

49,497 Russian valved trumpet.. 45, 46, 48.,

Saddleworth Band, 135

St. George Rifle Volunteer Band., 70

Salvation Army# 165., 168

Samson, G. R. p 94 Sax$ Adolphe, 51,72,799 80P 81,82s 87s go# 125* 1301 132,1350 201+

Saxhorns, 70,, 72,739 74s 79,80,1 81., 83s 84,870 88,89,97# 98, 124., 1329 133., 135., 136,137* 139P 141* 142s 143# 146P 349,153,162s 163P 170s 20)+, 2100 295-300

Sax tuba, 210

Scarsborough Band, 143

SchaUehn, Henry, 119n.

Schallehn., Ya-s. Henry., 119 4 sqo

Schmidt.. G. 28,182 J. 9 Schnitzers Jobats 90

Schuster, 37

Scots Fusilier Guards Band., 209

Scullys V. s 90 Second Life Guards Bands 45,46,48, 49

Serpent., 5j, 38,55., 56,57s 58,6o, 61,62s 63P 109s 110P 117) 1189 3.25P127s 128,129,18 6$ 188s 193

Shaw, James, 38s 39

Shaw, John., 37t-45s 51s 52p 94

Shaw.. Thomas., 40

Sheffield Band, 142p 143,1822 240

Sheffield Yllitia Band, 7

Sheffield Volunteer Band., 1+

Shelly Band, 225

Silkstone Band, 252

Silvani & Smith, 103,163

Sluggs J. T., 50

Smart, Sir Georges 189 Smithp Richard, 142,215s 225., 226, 241,242,2j+6s 257v 305-309., 507 Smith's Leeds Band, 142,239,241 Solocornu, 88,89 Sommers 68s 710 87

Sonorophone, 919 95,95n, 229,275s 276 SW

Soprano cornet, 131,132s 136,1389 139P 145s 347,149,151., 152, 153Y 154s 156,157s 159,160,165,166,169

Sousas John EhilliP# 77

Sousaphone, 77

South Devon Militia Bands 29,77s 181

Southport Bands 257

South West Yorkshire Yeomanry Cavalry Band., 122

Spital Hil-1 Band., 252 spohr., 6o

Spontinis 37,61

Stalybridge Band, OP l7s l9s 320 49P 58,62s 3.10s 13-li 114P 1159 128, IOP 150P 151s 155Y 156,157P 159# 183p 212

Stockton-on-Tees Union Band, 11+3

Stocksbridge Band., 252

Stolzel, Heinrichs 36j, 37s 64

Strutts John, 18

Strutt's Band, 18,134

102 Stuart., E. E. s Sugden, John., 91., 228s 503

Sullivan, Arthur, 63

Sundelin, August, 64

Swift, Edwin, 248 , .SZ/?,

Tattersalls Henryp 148

Temperance Movements 203p 201*., 216s 227

Tenor cor, 980 167Y 168s 4,80

Tenor cornets 136

Tenor horn, 130,133,138s 141s 145., 1471-160,165,166,168, 1699 170s 215

Tenor tubas, 138,139 302s 303 Tidswell, J. 2 224,215,225P Townend, 86 Trevithick., 10, lOn

Trimnell.. Tallis, 2170 218

Trombones 21s 39P 56s 78,83s 1020 103,105,109s 111s 113P 114 118,1220 125s 126,127* 1282 1290 130s 131s 136,138, 1391 141,146,347s 248,149P 150P 1529 153a 154s 155P 156s 157P 159s 160s 165s 1660 1690 170P 1759 1869 188j 1930 226# 233

Tro=bone, bass., 103s 126,127# 133., 138s 139., 14-1,147s 148s 156, 157* 159# 160,165# 166,1690 215P 233

Trombones contra basss 90,91,1672 228., 503

Trombones double slidep 90$ 91p 102s 167., 228.- 503 Trombone.,valved., 157 Trumpets 5P 17s 219 25s 262 280 29P 32# 36,399 40P 419 43P 46s 47.48,56,63,64s 72Y 78,109s 110p 3.13s 117s 118,1220 125s 1269 127P 1280 1290 132s 135,139s l1a, 11+6,167., 169s 170,171P 173s 181,1820 1860 188s 189s 191s 192, 193p 2330 271

Trumpets Clagget's chromatic, 22 Trumpets harmonic., 1+1

Trumpets keyed, 249 25s 27# 36s 63

Trumpetss polyphonians 36 593

Trumpet, tenors 36

Tubas 6ot 62,63p 66,67s 131s 138P 139P 163

Tullys 30s 33,186., 286,421

Valves, 22$ 34,35s 36,37s 39# 409 4.2s 43,44,45P 48,50s 51s 520 53P 54P 55p 60,63,649 652 662 67s 722 81$ 82s 84,88# 91p 929 93,94s 95s 96,1U+, 105,124s 144,, 151,163s 168,188.

Vaughan "Nilliams, Ralph, 174,265

Ventil horns, 96s 97P 4.80s 482

Vincent, Charless 169

Vinter., Gilbert., 261., 266

Waddell, Jamess 94., 950 229p 475P 476

Wagner, 60

Waites, 121p 123

62S Walker and Hardman Brass Band, )+g, 152,12J+

Walkery Jamest 1219 131

Walkers John# 150s 211

Waterloo,, 8,30

Weber# Gottfried, 90

Weidingerp A.., 24.9 27

Wessell & Co-p 195,196,201s 209

Whartonj Peters 1122 184

nitely Band, 244

Whitelyp Mr-p 23J+

'Vffiitworth Býp 225 Nieprechts Wilhelm, 65,66

Wigglesworths Georges 32., 48

Wilkinson,, William, 91

Wills, H. D. and W.O., 167 Wold. Band, 34,67v 70s 75P 131,132s 136s 208

Wombwell's Menagerie, 215

VfoodhampRichard, 25

Woodhouse Victoriap 343

Woodside Bands 135

Woodsp T-A*p 211+

Wright and Round, 160,249,250s 251s 251+p257., 402s 1+0394C4

Wright., Deniss 266

Virights Thomas Hargrovegs 249