''KJ, 'n THE LIFE AND WORK OF ROBERT RUSSELL BENNETT by ROY BENTON HAWKINS, B.M.Ed., M.M. A DISSERTATION IN FINE ARTS Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY Approved, August, 1989 • he Copyright 1989 Roy Benton Hawkins ACKNOWLEDGMENTS Anyone who has ever undertaken a project of this nature is surely aware that its completion would have been impossible without the kind­ ness, assistance, patience, and support of many people. This study stands as an example of one that could not even have begun without the cooperation of several key persons. Foremost among these is Kean K. McDonald, the grandson of Robert Russell Bennett. Mr. McDonald's kind permission to allow the author access to Bennett's memoirs was the central element in the decision to attempt this study. Only marginally less important was the contribution of Gayle T. Harris, whose compilation of two thick binders of material about Bennett amounted to a head start for the author of months, or perhaps years. Her catalogue, "Another Russell Bennett Notebook," gave structure to the wealth of information that she had collected. In fact, the appendix of this study should be considered an updated version of a portion of the Harris catalogue. Finally, and perhaps most importantly, her lively intellectual curiosity, the thoroughness of her scholarship, her cooperativeness, and her devotion to the memory of Bennett (whom she knew) served as both object lesson and inspiration to the author. Gratitude must also be expressed to Barbara G. Duffy of the Phila­ delphia National Bank, the executors of the Bennett estate, for making it possible for the author to examine those scores and other Bennett iii documents that are in the possession of the estate. This task was time consuming and the surroundings far less than comfortable, but one would not have known it from her unfailingly helpful, pleasant demeanor. The author is indebted to the supervising committee: Dr. Michael Stoune, Dr. Donald Bailey, Dr. Daniel Nathan, Dr. George Sorensen, and Mr. James Sudduth. All have been more interested in helping than in creating unnecessary obstacles, which is not necessarily characteristic of all doctoral committees. A special debt is owed to Professor Stoune, who guided the author through the many challenges of this project with empathy and good humor, and to Professor Sudduth for serving as mentor and role model for nearly twenty years. It has been the author's great good fortune to have had the benefit of the services of Mrs. Jeanette Megaw. Far more than merely a typist, she lent an editor's eye sharpened by over thirty years of experience and was motivated by the care and concern of one who has been a friend and supporter of the author from his childhood. Few doctoral candidates have ever been blessed with the opportunity to teach and write in such a positive, supportive atmosphere. Thanks go to the entire faculty and staff of Transylvania University for their friendship and encouragement. Particular recognition is extended to Dr. Asa A. Humphries, Jr., Dean of the College, for providing financial support for research and to the J. Douglas Gay, Jr., Library, especially Director Kathleen C. Bryson and Public Services Librarian Carolyn Tassie, for assistance far beyond what they were obligated to provide. iv The author is grateful to those associates of Robert Russell Bennett who shared their personal recollections, especially "Red" Barber, Donald B. Hyatt, and the late Ainslee Cox. Also deserving of special thanks for their assistance are Jean Green, American Waterways Wind Orchestra, Pittsburgh; Dr. R. Robert Hornyak, Professor Emeritus, University of Cincinnnati College-Conservatory of Music; Sergeant First Class Joseph E. Mariany, Music Librarian, The United States Military Academy Band; Dr. Myron Welch, Director of Bands, University of Iowa; and Jascha Zayde, President of "The Bohemians," New York. Various libraries made their resources available to the author and, in many instances, provided personal assistance. These include the Library of Congress; Margaret I. King Library of the University of Ken­ tucky; the library of the University of Cincinnati College-Conservatory of Music, Sibley Library of the Eastman School of Music, University of Rochester; the Kansas City (Missouri) Public Library; the New York Public Library; the New York State Historical Resources Center at Cornell University; and the Washington State University Library. Finally, the author wishes to express his deep appreciation to his mother, Alta Sue Turner Hawkins, for steadfastedly encouraging his musical abilities, despite frequent resistance, and to his wife, the former Cynthia Lynelle Baker, for her love, tolerance, dependability, enthusiasm, and support. It is quite possible that she is more respon­ sible for the completion of this study than is the author himself. Lexington, Kentucky July 25, 1989 TABLE OF CONTENTS ACKNOWLEDGMENTS iii ABSTRACT vii PREFACE viii CHAPTER I. A MIDWESTERN BOYHOOD (1894-1916) 1 II. MAKING A MARK IN THE BIG CITY (1916-1926) 17 III. A PILGRIMAGE TO EUROPE (1926-1929) 35 IV. AT HOME ON TWO COASTS (1929-1939) 53 V. A RADIO PERSONALITY AND OTHER ADVENTURES (1939-1952) .... 87 VI. A TELEVISION PIONEER, AN ELDER STATESMAN (1952-1981) ... 119 VII. CONCLUSION 157 SELECTED BIBLIOGRAPHY 161 APPENDIX CATALOGUE OF THE ORIGINAL COMPOSITIONS OF ROBERT RUSSELL BENNETT 177 VI ABSTRACT Robert Russell Bennett (1894-1981) was the foremost orchestrator of Broadway musicals from 1922 until about 1970, arranging the music for the great majority of the most successful works in that art form. In addition, he composed original music for a variety of genres including operas, symphonies, concerti, chamber music, choral music, band music, music for solo piano, and songs. He also wrote a significant amount of music for radio, television, and motion pictures. Based on Bennett's unpublished memoirs, this study documents the events of his personal and professional life, providing insight into contemporary critical attitudes toward his work. The study establishes a body of basic information from which future scholarship may bring forth more detailed knowledge of each of Bennett's many fields of endeavor. Included in this study is a catalogue of Bennett's original compositions, including all known information regarding title, medium, date of composition, premiere performance, publisher, and location of manuscript. vn PREFACE Robert Russell Bennett (1894-1981) is generally recognized to have made an unparalleled contribution to the stylistic development of the music of the American stage. He orchestrated the most influential works to have appeared on Broadway between about 1920 and 1970. During his career, Bennett collaborated with Jerome Kern, Cole Porter, Irving Berlin, George Gershwin, Richard Rodgers, Frederick Loewe, and literally dozens of other luminaries of the "Golden Age" of the American musical. He created the orchestral timbres that defined the sound of Broadway for generations of audiences. Bennett is also widely known for his pioneering work in music for television, especially for the background scores for the landmark documentary Victory at Sea and the acclaimed Project XX series. Prior to his experience in television, he contributed a number of motion picture sound tracks and spent several years as a radio personality. Less familiar is Bennett's output of original compositions: operas, symphonies, concerti, overtures, suites, and other works for orchestra, band, chorus, solo voice, and solo piano, as well as chamber music for a host of instrumental combinations. The purpose of this study isto document the life and musical output of Robert Russell Bennett. This focus was formulated in an indirect, almost accidental, fashion. The author first became familiar with vm Bennett's work as a high school student, performing several pieces for concert band and some of the many orchestral arrangements and "symphonic pictures," as he called them, of Broadway show music with which his name is so closely associated. As an undergraduate, Bennett's book, Instrumentally Speaking (1975), became a source of much information about techniques for arranging music for bands. As a conductor of bands, the author has had the opportunity to study, rehearse, and perform the same works found so attractive as a high school student. When the time came to select a dissertation topic, it was natural for the author to cast about among those musicians in whom he had an interest and of whom little had been written. Robert Russell Bennett was one who fit these criteria, and eventually the author settled on Bennett as a suitable subject for the current study. In the initial stages of research, the author contacted the American Society of Composers, Arrangers and Publishers (ASCAP), who referred him to Barbara Duffy of the Personal Trust Division of the Philadelphia National Bank, the executors of the Bennett estate. When contacted by telephone, Ms. Duffy mentioned the existence of an unpublished autobiography by Mr. Bennett, and referred the author to Bennett's grandson, Kean K. MacDonald, of Philadelphia. Mr. MacDonald graciously gave his permission for the author to borrow a photocopy of the handwritten first draft of the autobiography. (Citations in this study which include only page numbers refer to that page in the hand­ written draft). In addition, he shared two thick ring binders full of IX newspaper clippings, copies of correspondence,