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2008
A Biographical Study of the Trombone
Soloists of the John Philip Sousa Band:
1892-1931
Joseph William Frye
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THE FLORIDA STATE UNIVERSITY
COLLEGE OF MUSIC
A BIOGRAPHICAL STUDY OF THE TROMBONE SOLOISTS OF THE
JOHN PHILIP SOUSA BAND: 1892-1931
By
JOSEPH WILLIAM FRYE
A Treatise submitted to the
College of Music
in partial fulfillment of the
requirements for the degree of
Doctor of Music
Degree Awarded:
Spring Semester, 2008
The members of the Committee approve the treatise of Joseph W. Frye, defended on
December 12, 2007
__________________________
John Drew
Professor Directing Treatise
__________________________
Jeffery Kite-Powell
Outside Committee Member
__________________________
Frank Kowalsky
Committee Member
__________________________
Christopher Moore
Committee Member
The Office of Graduate Studies has verified and approved the above named committee
members.
ii
This work is dedicated to my wife Christa J. Frye,
for her support, encouragement, and patience
throughout my musical career.
iii
ACKNOWLEDGEMENTS
In preparing to organize this document, I accumulated and examined various
primary source materials. There are several individuals who granted me access to many
of these materials, and it is extremely important that these generous individuals are
recognized:
Paul Bierley
Scott W. Schwartz
Adrianna Cuervo
Kelly Cozzoli
Sousa scholar and author, Westerville, Ohio
Associate Professor of Library Administration, Director &
Archivist for Music and Fine Arts, the University of
Illinois, Champaign-Urbana, Illinois
Assistant Archivist for Music and Fine Arts, the University
of Illinois, Champaign-Urbana, Illinois
Librarian, Stark County District Library, Canton, Ohio
There are other individuals whose guidance and support throughout my doctoral
studies at The Florida State University have been above and beyond the call of duty:
Dr. John Drew
Dr. Jeffery Kite-Powell
Dr. Frank Kowalsky
Dr. Chris Moore
Professor of Trombone, the Florida State University
Professor of Musicology, the Florida State University
Professor of Clarinet, the Florida State University
Assistant Professor of Trumpet, the Florida State
University
Throughout the research process, several libraries and collections were consulted.
I would like to acknowledge the institutions whose materials made the production of this
document possible:
The Florida State University, Warren D. Allen Music Library, Tallahassee, Florida
The Florida State University, Robert Manning Strozier Library, Tallahassee, Florida
The University of Illinois, John Philip Sousa, Paul Bierley, Bill Pruyn, and Herbert L.
Clarke Collections, Urbana-Champaign, Illinois
The University of Michigan, UMI Dissertation Service, Ann Arbor, Michigan
The Marine Band Library, Washington, D.C.
The Library of Congress, Washington, D.C.
The University of Texas, Fine Arts Library, Austin, Texas
iv
TABLE OF CONTENTS
List of Figures ............................................................................................................vii
Abstract ......................................................................................................................ix
INTRODUCTION .....................................................................................................1
1. THE SOUSA BAND .............................................................................................5
Succeeding Gilmore
A New Ensemble
Instrumentation
Programming
Soloists
2. ARTHUR PRYOR.................................................................................................25
The Boy Wonder from St. Joseph
Joining Sousa
The Pryor Band
Recording and Composing
Final Years
3. LEOPOLD ZIMMERMAN ...................................................................................44
Early Years
The Sousa Years
The Recording Industry and Composing
A Second Stint with Sousa
Some Lighter Moments
Summary
4. RALPH COREY....................................................................................................54
Early Years
Sousa’s Youngest Member
The Strike
Summary
v
5. JOHN SCHUELER................................................................................................62
Formative Years
A Career with Sousa
A Career in Music Education
Family and Final Years
6. OTHER TROMBONE SOLOISTS .......................................................................71
Arthur Bauer
Manuel Yingling
Charles Gusikoff
One-Time Soloists
Louis Schmidt
Henry “Wick” Ford
Joseph DeLuca
CONCLUSION..........................................................................................................85
APPENDIX A: VERIFIED PERFORMANCES BY SOUSA BAND TROMBONE
SOLOISTS.........................................................................................87
APPENDIX B: COMPOSITIONS PERFORMED BY TROMBONE SOLOISTS
WITH THE SOUSA BAND..............................................................90
APPENDIX C: CHRONOLOGICAL LISTING OF SOLO APPEARANCES BY
SOUSA’S TROMBONISTS..............................................................93
APPENDIX D: DISCOGRAPHY .............................................................................109
BIBLIOGRAPHY......................................................................................................114
BIOGRAPHICAL SKETCH .....................................................................................117
vi
LIST OF FIGURES
1. The Sousa Band: Johannesburg, South Africa, 1911.............................................11
2. Instrumentation and percentage of total ensemble of the Gilmore Band
in 1878 ...................................................................................................................14
3. Instrumentation and percentage of total ensemble of the Sousa Band in
1892........................................................................................................................15
4. Instrumentation and percentage of total ensemble of the Sousa Band
during the 1910-1911 World Tour.........................................................................15
5. Instrumentation and percentage of total ensemble of the Sousa Band in
1928........................................................................................................................16
6. A Sousa Band Concert Program, as Printed ..........................................................19
7. A Sousa Band Concert Program, as Performed .....................................................20
8. Arthur Pryor ...........................................................................................................29
9. Arthur Pryor’s Invitation to Join the Sousa Band..................................................32
10. Cadenza Written by Leo Zimmerman..................................................................48
11. Leopold Zimmerman ...........................................................................................53
12. Ralph Corey’s C. G. Conn Endorsement .............................................................58
13. Ralph Heaton Corey.............................................................................................61
14. John Paul Schueler...............................................................................................63
15. The Arion Band....................................................................................................74
16. 1948 Philadelphia Orchestra Trombone Section .................................................81
vii
17. Joseph DeLuca .....................................................................................................84
viii
ABSTRACT
This document provides biographical information about the trombone soloists of
John Philip Sousa’s civilian band. During the Sousa Band’s thirty-nine year existence
from 1892 to 1931, the ensemble made annual cross-country trips, toured Europe on four
separate occasions, and completed one thirteen-month tour around the world. The band
was recognized in the United States and abroad as one of the premiere wind ensembles in
the world.
Between 1892 and 1931, ten different trombonists gave solo performances with
the Sousa Band. Those trombonists were Arthur Pryor, Arthur Bauer, Leopold A.
Zimmerman, Ralph Corey, Manuel Yingling, Charles Gusikoff, Henry “Wick” Ford,
Louis Schmidt, Joseph DeLuca, and John P. Schueler. These soloists were featured on
more than 270 verified occasions, performing solos, duets, and small chamber works with
the Sousa Band. This treatise focuses on the trombonists who were featured soloists with
the band and documents their individual careers with Sousa, while also providing
information about their personal and professional lives both before and after their
affiliation with the Sousa Band. This document also examines the history of the Sousa
Band, the unique programming style of John Philip Sousa, and the role that soloists
played in the ensemble.
ix
INTRODUCTION
The trombone’s emergence as a solo voice in late nineteenth and early twentieth
century wind bands is a unique chapter in the instrument’s history. The rise in stature of
the trombone correlated with the increasing popularity of the wind band in the United
States.1 The trombone began seeing a growth in significance in the early nineteenth
century due, in part, to the increased use of the instrument in regimental bands.2 In the
mid-nineteenth century, town bands and military ensembles were numerous; however,
there were also police and fire department bands, school bands, as well as bands
organized by employers for their workers. The addition of these new ensembles, along
with the growing popularity of civic and military bands, led to the widespread use of the
trombone in the United States.
The most recognized trombonist of this era was Arthur Pryor, who is regarded in
many circles as the greatest trombone soloist ever to play the instrument. While Pryor’s
name is certainly the most recognized, remarkable musical ability and feats of virtuosity
were continually displayed by other accomplished trombone soloists such as Frederick
Innes, Charles Stacy, Leopold Zimmerman, and Gardell Simons. These trombonists were
part of a broader spectrum of instrumental and vocal soloists who helped make band
1
Steve Wolfinbarger, “The Solo Trombone Music of Arthur Pryor: Chapter II – Early Trombone
Soloists With Band,” International Trombone Association Journal 11, no. 4 (April 1983): 27.
2
Anthony C. Baines, Arnold Myers, and Trevor Herbert. “Trombone”, Grove Music Online ed. L.
Macy (Accessed 14 June 2005), <http://www.grovemusic.com.proxy.lib.fsu.edu>.
1
concerts a significant source of musical culture during the late nineteenth and early
twentieth centuries.
Bandmasters Patrick Sarsfield Gilmore (1829-1892) and John Philip Sousa (18541932) were the two distinctive faces of this new American musical culture. The Gilmore
Band was the predecessor of the Sousa Band, and was one of the first ensembles to have
great success as a professional touring ensemble in the United States. The band of John
Philip Sousa expanded upon the framework established by Gilmore and toured for thirtynine years, becoming the most recognizable and renowned wind ensemble of its era.
Sousa spared no expense in employing outstanding musicians for his ensemble, several of
whom were considered to be without equal on their respective instruments. Performances
by the Sousa Band were entertaining events, and Sousa’s wide array of musical selections
along with his diverse programming style assured that there was something appealing for
each audience member.
John Philip Sousa believed that soloists were an essential component of a
successful touring band. Sousa Band historian Paul Bierley suggests that Sousa “knew
from his own experience that solos contributed to the individual musician’s confidence
and poise by affording him a direct appeal to the audience.”3 It was this relationship
between the soloist and the audience that Sousa valued, because it gave the people an
opportunity to become familiar with the talented individuals of his ensemble while
providing his performers an opportunity to showcase their exceptional abilities. In
addition to featuring soloists from every section of the band, Sousa regularly included
3
Paul Bierley, John Philip Sousa: American Phenomenon, Revised Edition, (Miami, FL: Warner
Bros. Publications, 2001), 174.
2
performances by vocalists, violinists, cellists, and pianists. This is one of the reasons that
Sousa’s band has been described as a “group of celebrated artists.”4
Among the hundreds of soloists who performed with the Sousa Band throughout
its thirty-nine year history were ten trombone soloists: Arthur Pryor, Arthur Bauer,
Leopold Zimmerman, Ralph Corey, Manuel Yingling, Charles Gusikoff, Henry “Wick”
Ford, Louis Schmidt, Joseph DeLuca, and John Schueler.5 Prior to the undertaking of this
project, a biographical study of these trombone soloists with respect to their careers
before, during, and after their affiliation with the Sousa Band has not been written.
Several researchers have documented the life of Arthur Pryor; however, aside from Pryor
and his notable achievements, very little information regarding the other trombone
soloists is currently known.
The primary purpose of this document is to provide as much biographical
information as is available for each man who served as trombone soloist with the Sousa
Band between 1892 and 1931, and to add to the increasing documentation of the history
of the trombone. A sincere effort has been made to determine the specific events of each
man’s career that led him to join the Sousa Band, his activities and duties while a
member, the events that led to his departure from the band, and any other pertinent
biographical information that may have had an impact on any of these events. With the
exception of Arthur Pryor, these trombonists and their music have been, to a large extent,
forgotten by modern trombonists. It is the author’s hope that this document will
encourage modern trombonists to take an interest in the rich history of the trombone and
4
Ibid., 153.
See Appendix C for a complete chronological listing of trombone soloist performances with the
Sousa Band compiled by the author from concert programs, concert reviews and press books from The
Sousa Archives and Center for American Music at the University of Illinois.
5
3
develop a greater appreciation for these men who contributed in their own way to the
overall advancement of the trombone and helped pave the way for trombonists
worldwide.
4
CHAPTER 1
THE SOUSA BAND
Bandmaster John Philip Sousa and band manager David Blakely’s plan to
establish an innovative, professional concert band in the United States during the late
nineteenth century was a formidable task. To demonstrate his faith in the venture, Sousa
purchased one thousand dollars of stock in the fledgling organization—an astonishing
amount at the time.6 Sousa’s faith was driven by an intense desire to lead an ensemble of
his own, free of restrictions on travel and salary, with the sole purpose of performing
concerts on a regular basis.7 “I had often dreamed of an ensemble of my own,” Sousa
stated, “composed of the most talented musicians, who would provide the perfect
response to my aspiring baton.”8 The relatively low number of exceptional bands
exacerbated the demand for ensembles that could perform at an exceptionally high level.
This situation prompted Sousa to state that “Outside of the Marine and Gilmore bands
there are no organizations in the country which meet this want in any sort of satisfactory
manner.”9 Rather than focusing solely on rivaling American bands, Sousa also turned his
attention to Europe, and what was considered to be the finest band in the world at that
6
Paul Bierley, John Philip Sousa: American Phenomenon, 55.
Paul Bierley, The Incredible Band of John Philip Sousa (Urbana and Chicago, IL:
University of Illinois Press., 2006), 16.
8
John Philip Sousa, Marching Along, Revised Edition, ed. Paul E. Bierley, (Westerville, OH:
Integrity, 1994), 333.
9
H. W. Schwartz, Bands of America (Garden City, NY: Doubleday, 1957), 148.
7
5
time—the renowned Garde Républicaine Band of Paris. Sousa created an ensemble that
flourished for thirty-nine years and carried out the terms of the contract signed by Sousa
and Blakely to the letter: “It shall be the aim and duty of said Sousa by individual effort,
and band rehearsal and practice, and by the preparation and furnishing of music, to make
this band equal in executive ability of the Garde Républicaine in Paris.”10
Succeeding Gilmore
The history of the Sousa Band can not be appropriately portrayed without first
discussing the impact the Gilmore Band had upon Sousa. During the late nineteenth
century, the Gilmore Band was considered the preeminent touring ensemble in the United
States and was one of the most influential organizations in the history of early American
wind bands. Advances instituted by Patrick Gilmore and his ensemble established a
foundation which would influence the course of John Philip Sousa’s ensemble.
In the early history of the American wind band, Patrick Sarsfield Gilmore (18291892) was the most celebrated bandmaster. Gilmore was an Irish cornetist who began his
conducting career in Boston, Massachusetts, where he directed several ensembles
including the Boston Brigade Band. When Gilmore organized his own concert band in
Boston in 1859, it was composed of some of the finest musicians in the United States,
and garnered national attention and widespread acclaim from the musical community.
Two of Gilmore’s greatest accomplishments were the National Peace Jubilee concert in
1869 and the World Peace Jubilee concert in 1872, both of which were organized by
Gilmore and band manager David Blakely. The two jubilee concerts helped solidify
Blakely’s reputation as one of music’s preeminent ensemble managers and promoters
10
Bierley, The Incredible Band of John Philip Sousa, 17.
6
The grandiose jubilee concerts enhanced Gilmore’s reputation among audience
members and fellow bandsmen. In 1873, he accepted leadership of the 22nd Regiment
Band of New York and began developing the group into an ensemble which would
eventually be proclaimed the equal of any band in the world at that time.11 Gilmore
secured accomplished musicians from the United States and abroad and began the first of
several acclaimed tours across the country, performing in cities where outstanding bands
were not available. The Gilmore Band made several acclaimed tours throughout the
United States and Canada, and, in 1878, embarked on a prominent tour of Europe.
Through Gilmore’s efforts, his ensemble—best known as the Gilmore Band—epitomized
the standard by which all other professional American touring bands would be measured.
Before organizing his own professional wind band, John Philip Sousa served as
conductor of the United States Marine Band in Washington, D.C. Sousa was on tour in
St. Louis in 1880 when he received a telegram informing him that he was being
considered for the Marine Band’s leadership position. He was appointed as the fourteenth
leader in the history of the United States Marine Band and assumed command of the
ensemble on October 1, 1880.12
John Philip Sousa served as leader of the United States Marine Band until July 30,
1892. The events that led to his separation from the Marine Band began in 1889, when
Sousa approached the Marine Corps Commandant to inquire about official sanctioning
for an extended concert tour. Sousa’s tour request was denied, and travel was restricted
except for official appearances, which frustrated the band leader.13 After appealing to the
President of the United States, Sousa was finally granted official sanction for his first
11
Richard Franko Goldman, The Wind Band (Westport, Conn., Greenwood Press, 1974), 59.
Bierley, John Philip Sousa: American Phenomenon, 43.
13
Ibid., 51.
12
7
concert tour, which was arranged for the spring of 1891.14 David Blakely, the acclaimed
band manager who had handled several successful tours for the Gilmore Band and the
Theodore Thomas Orchestra, was contracted to organize the Marine Band’s first tour.15
The five week tour through the Northeast and Midwest in the spring of 1891 was such a
success that another was planned for the months of March, April, and May of the
following year. The second tour of the United States Marine Band was a seven week tour
in the spring of 1892 and included concerts on both the east and west coasts.16 On April
27, 1892 at a concert in Duluth Minnesota, Sousa was informed of his father’s death in
Washington, D.C. His mother encouraged him to complete his tour, and informed him
that the funeral would be postponed until he could return.
Three days later, tour manager David Blakely met Sousa in Chicago, Illinois as
the band traveled home to Washington D.C. In Chicago, Blakely approached Sousa and
offered financial backing to help Sousa establish his own civilian ensemble if he resigned
from the United States Marine Corps. The government was paying Sousa between 1,200
and 1,800 dollars per year to direct the Marine Band. Blakely offered Sousa a salary of
six thousand dollars per year under a five-year contract along with twenty percent of the
band’s profits, a proposal that was very intriguing.17 Two unresolved military issues
resulted in Sousa’s serious consideration of Blakely’s proposal. The first was that the
Marine Corps had not yet made Sousa a commissioned officer—something which
troubled him since he felt his position was worthy of the honor.18 He was also distressed
by “ambiguous legislation which defined the salaries of the bandsmen,” an item he had
14
Ibid., 54.
Ann M. Lingg, John Philip Sousa (New York, NY: Henry Holt and Company, 1954), 89.
16
Bierley, John Philip Sousa: American Phenomenon, 54.
17
Lingg, John Philip Sousa, 100.
18
Bierley, John Philip Sousa: American Phenomenon, 57.
15
8
struggled to rectify since he assumed command of the Marine Band.19 Blakely was
exceptionally convincing, particularly when he presented his immaculately conceived
vision of unlimited future success for Sousa and his band. Convinced that the venture
would be a success, John Philip Sousa and David Blakely signed a contract on May 27,
1892, establishing an ensemble that would come to be known as the Sousa Band. With
the contract signed, Sousa was tasked with securing his release from the United States
Marine Band.
Upon arriving home in Washington, D.C., Sousa applied for a discharge from the
United States Marine Band. In twelve years, Sousa had transformed the Marine Band
from a mediocre conglomeration of instrumentalists into a revered ensemble that rivaled
its European counterparts. Because of this, his acceptance of Blakely’s offer was met
with a storm of protest from the citizens of Washington, D.C. Residents did not want to
see the man who had guided the Marine Band to such prominence depart, for fear that the
ensemble would revert to the miserable condition it was in before Sousa’s appointment.
John Philip Sousa’s request for discharge from the Marine Corps was reluctantly granted,
and he presented his final concert as conductor of the United States Marine Band on the
afternoon of July 30, 1892.
A New Ensemble
The revered status of the Garde Républicaine Band in Europe and the shadow of
the Gilmore Band in the United States were not disregarded by Sousa as he labored to
establish his new ensemble. Sousa realized that the expectations of his ensemble must be
nothing short of musical and organizational superiority in order to equal the renowned
ensembles of the era. He also understood that in order to accomplish this superiority, the
19
Ibid., 57.
9
highest caliber musicians must be employed, and that taking time to secure those
individuals from the outset would pay dividends in the future. Following his resignation
from the United Sates Marine Band in July, Sousa traveled to Philadelphia, Pennsylvania
and New York City, New York to recruit musicians for his new ensemble. In the early
planning stages of the band, Sousa and Blakely agreed, out of respect, not to recruit
musicians from their chief rival, the Gilmore Band. The combination of Sousa and
Blakely attracted the interest and allegiance of many of the finest musicians from both the
United States and Europe, many of whom joined the ensemble. John Philip Sousa was
given autonomy in selecting his ensemble personnel, and personally listened to every
audition—a selection process that lasted nearly six weeks. Having secured forty-six
exceptional musicians, Sousa began the first rehearsals of his new ensemble in early
September, 1892, two weeks prior to the first performance.
At the time when Sousa was organizing his own ensemble, Patrick Gilmore was
the most recognized and celebrated American bandmaster. The Sousa Band, by virtue of
the contract between Blakely and Sousa, was to challenge the Gilmore band for
supremacy as the consummate American wind band. Sadly, this competition would not
come to pass, as Gilmore died on the evening of September 24, 1892; forty-eight hours
prior to the Sousa Band’s debut performance. The loss of Patrick Gilmore left an
emotional void and a professional vacancy in the band world, both of which needed to be
filled. Gilmore’s death, while tragic, eliminated one of the more daunting obstacles
standing in the path of success for Sousa’s ensemble. The inaugural concert of John
Philip Sousa’s civilian band was presented on Monday evening, September 26, 1892 at
10
Stillman Music Hall in Plainfield, New Jersey, and included a tribute to the departed
Patrick Gilmore.
Although Sousa and Blakely had not actively recruited any of the Gilmore Band’s
members during the formation of the Sousa Band, several men resigned their positions
with the Gilmore organization and joined the Sousa Band shortly after Gilmore’s death.20
By the close of the Sousa Band’s first year, nineteen musicians from Patrick Gilmore’s
ensemble had been contracted to play under Sousa’s baton, including several prominent
soloists and principal players.21
Figure 1. The Sousa Band: Johannesburg, South Africa, 191122
Following the inaugural concert in New Jersey, the Sousa Band embarked on its
first tour, which was beset by problems early on, including an uncharacteristically poor
job of scheduling and an attempted cancellation of the tour by manager David Blakely. In
20
Bierley, The Incredible Band of John Philip Sousa, 17.
Bierley, John Philip Sousa: American Phenomenon, 153.
22
Bierley, The Incredible Band of John Philip Sousa, 10.
21
11
spite of the early turbulence, the Sousa Band proved to be an astonishing success. Sousa’s
gifts of programming, composing, and arranging coupled with Blakely’s promoting skill,
ultimately proved to be the mutually beneficial combination needed to establish the Sousa
Band as the premier performing ensemble of its time.
During its thirty-nine year existence, the Sousa Band crossed the United States on
an annual basis and traveled around the world, eventually achieving Sousa’s goal of
touring over one million miles in 1927.23 The group performed thousands of concerts in
countless venues for millions of audience members and presented concerts at national
exhibitions, state fairs, building dedications, amusement parks, and performed before
various heads of state. The Sousa Band completed four European tours and one thirteenmonth world tour in 1910-1911 and was the featured ensemble at the fashionable
Manhattan Beach in New York during the summer months, The Steel Pier in Atlantic
City, New Jersey in late summer and fall, and Willow Grove Park in Philadelphia,
Pennsylvania in the spring, sometimes playing all three venues in the same year. The
Sousa Band was, in a word, incredible; a meticulous, yet expressive performing machine
that represented the pinnacle of success during the Golden Age of the American concert
band.
Instrumentation
By the time the Gilmore Band began touring the United States in the 1870s,
professional wind bands had rapidly evolved from the brass bands of Civil War times.
Changes in instrumentation changed the appearance and composition of bands, which
began to resemble the ensembles of contemporary practice. Patrick Gilmore was one of
23
Ibid., 42. (Paul Bierley estimates the total mileage traveled by the Sousa Band is 1,272, 000
miles.)
12
the first bandmasters to promote the use of a balanced instrumentation in regard to the
ratio of brass and woodwinds. Gilmore increased the number of woodwinds in order to
balance the louder-playing brass instruments, which at the time was not common
practice. This new approach to instrumentation allowed for a wealth of color possibilities
not previously enjoyed by American wind ensembles.
John Philip Sousa was a young conductor and composer living in Philadelphia
when he attended a Gilmore Band concert in1876, where he was exposed to Gilmore’s
innovative use of balanced instrumentation and resultant tone colors.24 Sousa would
eventually expand upon the tonal color concept he observed in Gilmore’s Band and
create a wind ensemble that could play music with the precision and polish of the finest
symphony orchestra. Establishing his own ensemble gave Sousa absolute control in
regard to the quantity and quality of the men on his roster, and the development of the
band’s tonal concept. At the band’s first rehearsal, Sousa spent two and a half hours
rehearsing sixteen bars of an overture, requesting that each member of each section in
each family of instruments play together with uniform style, phrasing, and what Sousa
termed “oneness of tone.”25
The “oneness of tone” that Sousa sought to develop in his ensemble was
essentially a pleasing, even balance between the woodwind and brass families. Sousa
achieved this balance by increasing the number of woodwinds until the woodwind to
brass ratio was nearly two to one. Though the number of individual section members in
the Sousa Band often fluctuated, the woodwind to brass ratio remained relatively
24
25
Bierley, John Philip Sousa: American Phenomenon, 38.
Ibid., 144.
13
consistent, averaging 56% woodwinds to 38% brass from 1892 to 1928.26 This woodwind
to brass ratio was also remarkably similar to that of the Gilmore Band when it was in its
prime.
For its European tour in 1878, the Gilmore Band traveled with a complement of
sixty-six personnel, excluding vocal and string soloists. When the Sousa Band embarked
on its world tour of 1910-1911, it consisted of only fifty-three musicians; however, the
instrumental ratios were very similar to those of Gilmore’s ensemble when it toured
Europe thirty-two years earlier. To demonstrate this point, Figures 2 through 5 are
presented.
Woodwinds
2 Piccolos
2 Flutes
2 Oboes
1 A-Flat Clarinet
3 E-Flat Clarinets
8 B-Flat Clarinets (1st)
4 B-Flat Clarinets (2nd)
4 B-Flat Clarinets (3rd)
2 Bassoons
1 Contrabassoon
1 Alto Clarinet
1 Bass Clarinet
1 Soprano Saxophone
1 Alto Saxophone
1 Tenor Saxophone
1 Baritone Saxophone
Brass
1 E-Flat Cornet
2 B-Flat Cornets (1st)
2 B-Flat Cornets (2nd)
2 B-Flat Trumpets
2 Flugelhorns
4 French Horns
2 E-Flat Alto Horns
2 B-Flat Tenor Horns
2 Euphoniums
3 Trombones
5 Basses
35 Total Woodwinds (53%)
4 Percussion Total (6%)
27 Total Brasses (41%)
Percussion
4 Percussion
66 Total Musicians
Figure 2. Instrumentation and percentage of total ensemble of the Gilmore Band in
187827
26
27
Ibid., 144.
Goldman, The Wind Band, 62.
14
Woodwinds
2 Flute/piccolos
2 Oboe/English Horn
2 E-Flat Clarinets
12 B-Flat Clarinets
1 Alto Clarinet
1 Bass Clarinet
2 Bassoons/contrabassoon
3 Saxophones
Brass
4 Cornets
2 Trumpets
4 French Horns
3 Trombones
2 Euphonium/baritone
3 Basses
25 Total Woodwinds (54%)
Percussion
3 Percussion
18 Total Brasses (39%)
3 Total Percussion (7%)
46 Total Musicians
Figure 3. Instrumentation and percentage of total ensemble of the Sousa Band in 1892
Woodwinds
4 Flute/piccolos
2 Oboe/English Horn
1 E-Flat Clarinet
14 B-Flat Clarinets
1 Alto Clarinet
1 Bass Clarinet
3 Bassoons/contrabassoon
3 Saxophones
Brass
4 Cornets
2 Trumpets
4 French Horns
4 Trombones
2 Euphonium/baritone
4 Basses
29 Total Woodwinds (55%)
Percussion
3 Percussion
20 Total Brasses (38%)
1 Harp (1%)
3 Total Percussion (6%)
53 Total Musicians
Figure 4. Instrumentation and percentage of total ensemble of the Sousa Band during the
1910-1911 World Tour
15
Woodwinds
6 Flute/piccolos
2 Oboe/English Horn
23 B-Flat Clarinets
1 Bass Clarinet
2 Bassoons/contrabassoon
7 Saxophones
Brass
6 Cornets
2 Trumpets
4 French Horns
4 Trombones
2 Euphonium/baritone
6 Basses
41 Total Woodwinds (59%)
24 Total Brasses (35%)
Percussion
3 Percussion
1 Harp (2%)
3 Total Persussion (4%)
69 Total Musicians
Figure 5. Instrumentation and percentage of total ensemble of the Sousa Band in 192828
John Philip Sousa wrote “The history of instrumentation has been largely that of a
quest for tone color,” and that “the quest for tone color is more intense now than ever
before.”29 The Sousa Band began with a roster of forty-six musicians in 1892. In the
years that followed, Sousa experimented with the instrumentation and modified the
woodwind to brass ratio until the band sonority closely matched his aural concept. “To
me, band instrumentation in those early days left a void that cried out to be filled—I was
never satisfied” Sousa wrote in his autobiography. “Wholly lacking were the qualities I
felt a band should and could possess—a tone as sustained as that of an organ and a
brilliancy of execution similar to that of the piano.”30
28
Bierley, John Philip Sousa: American Phenomenon, 148.
John Philip Sousa, “Why the World Needs Bands,” Etude (September 1930), reprint The
Instrumentalist VL/9 (April 1991), 35.
30
Sousa, Marching Along, 363.
29
16
The sonority of the Sousa Band and the variety of colors the ensemble could
produce presented limitless possibilities for Sousa when selecting literature for his
ensemble. Although they were not accounted for in the total instrumentation figures, both
John Philip Sousa and Patrick Gilmore always toured with vocal and string instrumental
soloists. Sousa would utilize soloists and exciting compositions along with many other
innovative programming concepts to captivate audiences for thirty-nine years.
Programming
To say that John Philip Sousa was a master programmer would be an
understatement. The Sousa model of programming combined equal parts skill and
variety, coupled with consummate showmanship throughout. Many experiences in
Sousa’s career had demonstrated to him the importance of performing music that
audiences could appreciate and enjoy. Sousa historian Paul Bierley summarizes Sousa’s
philosophy of programming as “What do you like? I’ll play it if it kills me.”31 Sousa
made a point of keenly observing the audience, paying careful attention to the music to
which the masses would respond, and would program pieces appropriately to maximize
their effect. He would often make changes to the program at the last minute, inserting a
piece or pieces not originally included on the program, hoping to capitalize on the
audience’s attention to an item of popular interest. Sousa made it his business to
recognize what the audience wanted and to ensure that his band provided it by way of
diverse and innovative programming.
Performances by the Sousa Band differed from traditional band concerts in
several ways, but particularly in terms of pacing. Each performance was unique and
tailored exquisitely to accentuate the current ensemble personnel, national and local
31
Bierley, John Philip Sousa: American Phenomenon, 136.
17
cultural climate, and performance venue. Concert programs featured a diversity of
musical styles including orchestral and operatic transcriptions, popular melodies,
overtures, humoresques, solos, tone poems, and of course, marches. Sousa’s concerts
would always begin at the prescribed time, not early, and never late, unless on account of
a late arrival by train. When the curtain went up, Sousa would walk briskly to the front of
the band, take one or two short bows, step on the podium and immediately begin the
opening number.32 Once the concert commenced, it stopped only for intermission and the
end of the final number.
In the early years of the band, Sousa experimented with different programming
formats, and was constantly refining and shaping the program until eventually he settled
on a basic structural framework. Printed Sousa Band programs normally listed nine
numbered works with an implied understanding that each number would be followed by
at least one encore, sometimes two or three. Sousa’s use of encores was one of the more
innovative departures from conventional ensemble performances of the era. Before
Sousa, encores traditionally followed a solo performance or the final work of a concert
and were presented only at the insistence of the audience. Sousa, seeking a change of
pace, chose to perform encores during the program. Encores were never printed on Sousa
Band programs, but followed each printed selection within ten to fifteen seconds.33 The
nine printed numbers served as a general guideline, and in reality, the band would
typically perform between twenty-five and thirty-five numbers.34 The encores that were
played ranged from classics to popular music, dramatic works to humoresques, and songs
to ragtime pieces; however, most of the encores were marches composed by John Philip
32
Ibid., 139.
Bierley, The Incredible Band of John Philip Sousa, 12.
34
Bierley, John Philip Sousa: American Phenomenon, 141.
33
18
Sousa. The final piece on the program rarely received an encore, although in later years
Sousa concluded each of his concerts with The Stars and Stripes Forever, which was an
indication to the audience that the performance was concluded. Figure 6 demonstrates a
typical Sousa Band concert program, as printed, and Figure 7 demonstrates the same
concert as it was actually performed.
As Printed
1. Mignon: Overture
2. “Showers of Gold”
Herbert L. Clarke, cornet soloist
3. Dwellers of the Western World, suite
I. “The Red Man”
II. “The White Man”
Ill. “The Black Man”
4. Mad Scene, from Lucia di Lammermoor
Leonora Simonsen, soprano
Flute obbligato by Louis P. Fritze
5. Songs of Grace and Songs of Glory, fantasy
Thomas
Clarke
Sousa
Donizetti
Sousa
* INTERVAL *
6. Southern Rhapsody
7. (a) “Annie Laurie,” song
Joseph Marthage, harp soloist
(b) “Boy Scouts of America,” march
8. “Scotch Fantasie” Boehm
Louis P. Fritze, flute soloist
9. Rákóczy, March, from The Damnation of Faust
Hosmer
Traditional
Sousa
Berlioz
Figure 6. A Sousa Band Concert Program, as Printed35
35
This is a Sousa Band program from a concert in Utica, New York, on December 20, 1916.
Bierley, The Incredible Band of John Philip Sousa, 11.
19
As Performed
1. Mignon: Overture
Encore: “El Capitan,” march
Encore: “White Bird,” novelette
2. “Showers of Gold”
Herbert L. Clarke, cornet soloist
Encore: “Brighten the Corner Where You Are”
Duet with Frank Simon
Encore: “A Perfect Day,” song
Herbert L. Clarke, cornet soloist
3. Dwellers of the Western World, suite
I. “The Red Man”
II. “The White Man”
III. “The Black Man”
Encore: “King Cotton,” march
Encore: “The Gliding Girl,” tango
4. Mad Scene, from Lucia di Lammermoor
Encore: “Good Bye”
Leonora Simonsen, soprano
Flute obbligato by Louis P. Fritze
5. “Songs of Grace and Songs of Glory,” fantasy
Encore: “The Pathfinder of Panama,” march
Encore [request] “Mystic Potentate March”
Thomas
Sousa
Hager
Clarke
Gabriel
Bond
Sousa
Sousa
Sousa
Donizetti
Tosti
Sousa
Sousa
F. A. Myers
* INTERVAL *
6. Southern Rhapsody
Hosmer
Encore: “Good-bye, Girls, I’m Through”
Bellstedt
Encore: “Ragging the Scale”
Claypoole
Encore: Sextette, from Lucia di Lammermoor
Donizetti
Messrs. Clarke, Simon, Russell, Corey, Perfetto, and Williams
7. (a) “Annie Laurie,” song
Traditional
Encore: “Men of Harlech,” patriotic air
Traditional
Joseph Marthage, harp soloist
(b) “Boy Scouts of America,” march
Sousa
Encore: “The Stars and Stripes Forever,” march
Sousa
Encore: “Manhattan Beach,” march
Sousa
8. “Scotch Fantasie”
Boehm
Encore: “The Waltzing Doll”
Poldini
Louis P. Fritze, flute soloist
9. Rákóczy, March, from The Damnation of Faust
Berlioz
Figure 7. A Sousa Band Concert Program, as Performed36
36
This is a Sousa Band program from a concert in Utica, New York, on December 20, 1916. Ibid.,
11.
20
Because of Sousa’s use of quick encores, typical intervals of rest between
selections vanished. Sousa would not allow pauses of more than twenty to thirty seconds
between pieces, leaving barely enough time for the band members to get their music in
place for the next selection. This meant that the musicians had little time to rest except
during vocal, harp, and violin solo performances, which normally had sparse
accompaniments. The Sousa Band concerts were a marathon from the performer’s
standpoint. Sousa never left the podium except for intermission, and the shortened
intervals of rest differed greatly from what many of the musicians may have been
accustomed to before joining the band. Performing with Sousa was the ultimate test of an
instrumentalist’s endurance, and each man gave everything he had without objection.
Another innovative quality of the Sousa Band was showmanship, which Sousa
held in high regard. He often went to great lengths to program a concert that was
appropriate for the location where he was playing. Upon arriving in a city, Sousa would
find a copy of the local, regional or national newspaper and search for a story or event
that might correspond with a piece in the band’s library. In order to elicit a greater
audience response, Sousa would often program the music of local or regional composers
and also play college and high school fight songs, both of which delighted residents. On
the finales of some of his marches, Sousa would have the members of the brass section
stand, come to the apron of the stage, and perform the final strain of the march by
memory. This practice began with Sousa’s composition The Stars and Stripes Forever, in
which the piccolos would stand for their obbligato, and were later joined by the cornets,
trumpets and trombones for the final strain.37
37
Ibid., 13.
21
Soloists
The role of virtuoso soloists was at the heart of John Philip Sousa’s philosophy of
programming, much as it had been to Patrick Gilmore years earlier. Essential to
Gilmore’s band concerts were the appearance of instrumental and vocal soloists who
created variety and appealed to audiences through remarkable presentations of technical
and musical virtuosity. The Gilmore Band featured many talented soloists such as
clarinetist August Stengler, saxophonist E. A. Lefebre, cornetists Herman Bellstedt,
Matthew Arbuckle and Jules Levy, and trombonists Frederick Innes and Ernest Clarke.
Featuring soloists on concerts had been a staple of Sousa’s programming during
his tenure with the Marine Band, and continued when he established his own ensemble.
Sousa’s soloists demonstrated the depth of individual talent of the ensemble, and during
the band’s thirty-nine year history, every standard instrument in the band (with the
exception of the tympani and various percussion instruments) was utilized in a solo
capacity. Sousa also featured many vocalists of all voice ranges on his programs, but
invariably, the female soprano soloists were always the most popular. String
instrumentalists (normally violin, but occasionally cello) also made solo appearances, but
were less frequent than other instrumentalists or vocalists. Many of the soloists who
appeared with the Sousa Band were regarded as the greatest on their respective
instruments. Some of Sousa’s more notable featured artists were cornet soloist Herbert L.
Clarke, trombonist Arthur Pryor, euphonium soloist Simone Mantia, saxophonist E.A.
Lefebre, soprano Estelle Liebling, and violinist Maud Powell. Although Sousa always
22
presented a vast array of instrumental and vocal soloists, the most popular appearances
were those of the brass soloists.38
Typical Sousa band programs normally included nine numbered pieces. The
featured instrumental solo was generally the second piece on the printed program,
following the encores after the overture. This featured solo position was traditionally
occupied by a cornet, trombone or euphonium. The next solo was the fourth number on
the printed program and was normally reserved for the featured vocalist. Following the
intermission, the second half was constructed in the same manner as the first, with the
third soloist of the concert performing following the fantasia or suite which opened the
second half of the performance. This third solo position was usually reserved for the
violin, vocalist, or harp soloist. The eighth number on a typical program, and the final
solo appearance of the concert, commonly featured the xylophone, violin, or a female
vocalist.
The Sousa Band was considered to be a peerless organization in the United States,
and Sousa expected his soloists to perform in a manner that reflected this. He required
that all of his soloists memorize the compositions they performed with the band,
including encores—a request which seemed unreasonable to some players.39 Sousa
demanded that the solos be memorized because he did not want a music stand to block
the soloist from the spectators and interfere with the soloist’s connection with the
audience.40 Many brass soloists like cornetist Herbert L. Clarke and trombonists Arthur
Pryor and Leopold Zimmerman composed their own solo compositions to showcase their
unique talents on their respective instruments. Though Sousa did not require his soloists
38
Bierley, John Philip Sousa: American Phenomenon, 174.
Bierley, The Incredible Band of John Philip Sousa, 12.
40
Paul Bierley, John Philip Sousa: American Phenomenon, 174.
39
23
to compose their own pieces, many felt inclined to do so. During a typical concert, a
soloist would perform their solo composition as well as two, three, or on an exceptional
evening, four encores, and would have to be prepared to play every piece in their
repertoire on command. On occasion, the soloists would be asked to play a memorized
encore which was not included in their repertoire; a task which made even the most
experienced soloists anxious. To counteract this, some soloists would tape small pieces of
music to their bells or write notes on the cuffs of their band uniforms.41 Another
challenge faced by Sousa Band soloists was the lack of rest. The majority of the soloists,
except vocalists and violinists, were expected to play each piece of the program, and
Sousa’s use of quick encores gave the band members little chance to rest, particularly
before their solo appearances.
Sousa’s soloists thrilled audiences with their amazing skills and exquisite
musicality for thirty-nine years. During that period, some of the most renowned soloists
of the era made their debut as members of the Sousa Band, and his trombone soloists
were no exception. Each of the trombone soloists departed the Sousa Band and made a
name for himself, although some became much more prominent than others. Many
capitalized on the skills they had learned and so brilliantly displayed during their time
with Sousa, while others chose different routes. Arthur Pryor organized a band that
became Sousa’s chief rival; Leopold Zimmerman became a pioneer and legend in the
recording industry, Ralph Corey continued to perform in the theatres of New York City,
and John Schueler focused on improving the quality of public school music education in
the United States.
41
Bierley, The Incredible Band of John Philip Sousa, 12.
24
CHAPTER 2
ARTHUR PRYOR
The artistry and skill of trombonist Arthur Pryor helped earn him such titles as
“The Paganini of the trombone,” and “The Trombone King.”42 He displayed dazzling
feats of technique and musicality which many thought to be impossible on the instrument,
and astonished millions of audience members around the world.43 From his birth in a
rural frontier town in Missouri to his triumphs on the finest concert hall stages of the
world, Arthur Pryor’s ascent into the spotlight as one of the most prominent
instrumentalists and conductors in American history was a combination of phenomenal
talent coupled with unyielding determination.
The Boy Wonder from St. Joseph
Arthur Willard Pryor was born on September 22, 1870 on the second floor of the
Lyceum Theatre in the rural frontier town of St. Joseph, Missouri. He was the second of
three sons born to Samuel D. and Mary Pryor, both of whom were musicians. Arthur’s
mother Mary was a proficient pianist, and his father Samuel was a bandmaster who had
previously studied music in Chicago, Illinois and St. Louis, Missouri. Earlier in his
career, Samuel served for three years as music director at the Lincoln Opera House in
Lincoln, Nebraska, an experience that may have later influenced Arthur’s decision to
42
Michael Meckna, Twentieth Century Brass Soloists, (Westport, CT, London: Greenwood Press,
1994), 191.
43
Bierley, John Philip Sousa: American Phenomenon , 175.
25
direct for an opera company early in his career. After leaving the Lincoln Opera House,
Samuel Pryor became a bandmaster in St. Joseph and in 1869 organized an ensemble he
called Pryor’s Military Band. The Pryor Band (as it was known) was busy, thanks in
large part to Samuel, who was a master at securing engagements for his ensemble. The
Pryor Band performed for parades, funerals, lodge meetings, and local fairs, and was
renamed the Fourth Regiment Band of Missouri when the ensemble was sent to serve in
the Spanish-American War.44
Each of the three Pryor children showed an early interest in music. The Pryor
boys’ gravitation toward music came as no surprise, given the rich musical environment
into which they were born. Arthur Pryor’s two musically inclined siblings would go on to
become well-known musicians in their own right. His older brother Walter Pryor became
an excellent cornetist and was featured on many recordings with Sousa Band cornet
soloist Herbert L. Clarke. Arthur Pryor’s younger brother, Samuel O. Pryor, played the
trombone, but established himself as a drummer performing in theater orchestras in
Kansas City, Missouri. Both Walter and Samuel Jr. later served as band members in the
famed Pryor Band that their brother Arthur organized in the fall of 1903.
Arthur Pryor’s interest and ability in music manifested itself at an early age, and
he was alleged to be a competent drummer by age three.45 His formal musical training
began at age six when he began studying piano with Professor Plato, a renowned theorist
living in St. Joseph. Pryor also received instruction on several band and orchestra
instruments from his father. Young Arthur began his instrumental studies by practicing
44
Daniel E. Frizane, Arthur Pryor (1870-1942) American Trombonist, Bandmaster, Composer
(diss., University of Kansas, 1984), 3.
45
Arthur Wise and Mary-Margaret Eitzen, “Band March Composers-Arthur Pryor,” The
Instrumentalist (January, 1971): 28.
26
violin and cornet at home, and was also taught to play the alto horn, bass viol, tuba, and
valve trombone.46 In 1881, Arthur Pryor gave his first public performance on the valve
trombone at age eleven with Pryor’s Military Band in Chicago, Illinois. Samuel Pryor
was so confident in his son’s abilities that he billed Arthur as the “Boy Wonder” from
Missouri.47
Soon after his performance in Chicago, Arthur Pryor had his first opportunity to
play a slide trombone. The old battered instrument was left with Arthur’s father as
payment for a debt owed to Samuel by a “tramp printer.”48 The instrument that was left
with his father was the first slide trombone in St. Joseph, and Arthur was fascinated with
it. His father noticed his interest and instructed him to go out to the barn and learn to play
it. Arthur Pryor strived to master the instrument for roughly two years before learning
that slide oil was needed to make the instrument work properly, and that there were also
seven slide positions. A man in the town pool hall told Pryor that there may be as many
as seven positions, and up to that point, Arthur had been using only two.49 The man told
the young Pryor that all he had to do was find the other five positions. Pryor discovered
the five positions he had been missing, but the absence of a proficient slide trombone
player or teacher in St Joseph to guide him resulted in Pryor playing notes in positions
that many may have considered incorrect. In his career, Pryor would take full advantage
of these alternate and false positions, as they often helped him play technical lines much
faster than many other trombonists. Although he used more alternate positions than any
46
Steve Wolfinbarger, “The Solo Trombone Music of Arthur Pryor: Chapter I – The Life of
Arthur Pryor,” International Trombone Association Journal 11, no. 1 (January 1983): 13.
47
Glenn D. Bridges, “Arthur Pryor,” Pioneers In Brass [CD-ROM], Coupeville, WA: Trescott
Research, 2001.
48
Ibid.
49
Ibid.
27
other trombone soloist, Pryor played magnificently and with such great speed that it did
not matter that he was not using the “correct” positions. Pryor also learned to produce
false tones, notes in the extreme low register of the trombone that do not really exist on
the instrument. He would obtain these false tones by bending an existing pitch flat with
the lip until reaching the desired pitch. In an article written by J.W. Pepper, he claimed
that Pryor had the ability to produce a pedal E-flat (E-flat1), a note which is a half step
lower than what was possible on his instrument.50
Pryor began playing the slide trombone in Pryor’s Military Band and quickly
became a featured member of the group. He was fixated on mastering the slide trombone,
and was nothing short of fanatical when it came to practicing. His boyhood friend John
White recalled that at age thirteen, Arthur Pryor practiced at least ten hours each day, and
that he had little time for anything else.51 Pryor maintained this strict practice regimen for
several years, and by the time he reached age fifteen, was playing with several local
bands, performing at county fairs, and was developing a reputation as one of the finest
slide trombonists in the area.
In 1889, Italian bandmaster Alessandro Liberati organized his own band and
embarked on a cross country tour. While in Kansas City, Missouri, Liberati was told
about the abilities of the then nineteen year old trombone virtuoso Arthur Pryor. Liberati
traveled fifty-five miles north to St. Joseph to visit the Pryor family, meet Arthur, and
listen to him play in person. Impressed with the abilities of the young man, Liberati
offered Pryor a contract to join his band for their summer tour as trombone soloist. Pryor
accepted Liberati’s offer and joined the organization for their tour of the western states
50
51
Frizane, Arthur Pryor (1870-1942) American Trombonist, Bandmaster, Composer, 177.
Bridges, “Arthur Pryor,” Pioneers In Brass.
28
during the summer of 1889. Pryor’s skills on the trombone were unmatched by
trombonists of the era, and as such, no solo literature was available that could fully
demonstrate his abilities. While on tour with Liberati, Pryor began composing his own
trombone solos that would showcase his prodigious talents.
Figure 8. Arthur Pryor52
While on break from Liberati’s Band in 1890, Arthur Pryor returned home to St.
Joseph and was asked by his father to perform with Pryor’s Military Band at a concert in
St. Louis. Arthur agreed and performed a trombone solo titled Rocked in the Cradle of
the Deep with the band at the St. Louis performance. In the audience that day were
several members of the famed Gilmore Band, who were performing an engagement at the
52
Bierley, John Philip Sousa: American Phenomenon, 175.
29
St. Louis Fairgrounds.53 The Gilmore men rushed back to tell their bandmaster about the
abilities of the young trombonist Arthur Pryor. Gilmore extended an offer to Pryor to join
his band as trombone soloist, but the invitation was turned down. Even though Pryor
rejected Gilmore’s initial offer, a standing invitation was presented to him if he ever
decided to reconsider his decision. It is not known why Pryor did not accept Gilmore’s
offer to join his band as trombone soloist. Glenn Bridges believes that Pryor was
influenced by the fact that his father was once an opera director, and that Arthur wanted a
chance to conduct more and travel less.54 Another plausible theory is that if he accepted
Gilmore’s offer, Pryor would be replacing trombone soloist Neil Frederick Innes,
something that Arthur’s father said could never be done.55
After declining the offer to join the Gilmore band, Pryor traveled to Denver,
Colorado and accepted a position as conductor with the Stanley Opera Company.
According to Alice Nielsen, the leading soprano of the company, Pryor had great skill as
a piano accompanist. She was impressed with his endless repertoire and his ability to play
songs by ear. Pryor learned the importance of playing piano during his time with the
Stanley Opera Company, and later stated that being proficient on piano aided him as a
composer.56 While on tour with the Stanley Opera Company, Pryor was asked to perform
a trombone solo in Salt Lake City, Utah. His performance was very well received, even
though Pryor felt he was extremely out of shape. The success of his performance made
him seriously reconsider the standing offer to join the Gilmore Band; however, before he
53
Frizane, Arthur Pryor (1870-1942) American Trombonist, Bandmaster, Composer 7.
Ibid., 8.
55
Ibid., 8.
56
Ibid., 8.
54
30
could make a decision, Pryor was struck with a severe illness, and returned home to St.
Joseph to recover.
Joining Sousa
In the summer of 1892, John Philip Sousa resigned as the conductor of the United
Stated Marine Band and began organizing his own civilian ensemble. Sousa hired many
of the best musicians in the United States, and although he did not actively recruit
musicians from the Gilmore Band, some of Gilmore’s men resigned in order to join
Sousa’s new ensemble. Tom Shannahan, who had been one of Gilmore’s musicians,
informed Sousa about the astounding virtuosic abilities of Arthur Pryor, and encouraged
Sousa to contact him.57 Even though Sousa had engaged Frank Holton to serve as his first
chair trombonist, he had a letter sent to St. Joseph, Missouri asking Arthur Pryor if he
was willing to become a member of the Sousa Band, and if so, at what salary (See Figure
9). Arthur Pryor, having fully recovered from his illness, was touring with the Stanley
Opera Company when the letter arrived. Pryor was content with his directorship of the
opera and was reluctant to leave; however, upon further consideration, he accepted the
offer and traveled to New York City. The St. Joseph News Press stated that when Pryor
arrived in New York:
“Sousa did not know that young Pryor would arrive with only 35 cents in his
pocket nor that the young man was destined to play before the crowned heads of
Europe, and that he had spent the night on a bench in New York’s Union
Square.”58
57
58
Bridges, “Arthur Pryor,” Pioneers In Brass.
St. Joseph News-Press, September 14, 1975.
31
Figure 9. Arthur Pryor’s invitation to join the Sousa Band59
The story of Arthur Pryor’s first rehearsal with the Sousa Band was often
recounted by long-time Sousa Band trombonist Mark C. Lyon:
“When Sousa organized his band in 1892, Frank Holton and I were the two
veteran trombone players. The band was rehearsing for the coming World's Fair,
59
From the personnel file for Arthur Pryor at The Sousa Archives and Center for American Music
at the University of Illinois.
32
to be held in Chicago, the following year, which was to be Sousa's first major
engagement. Young Pryor walked into the rehearsal room, looking very much in
need of a hair cut. With introductions over, Mr. Sousa told Pryor that he might
want to warm up a bit, which he did to the surprise of the whole band, for we had
never heard such tones come out of a trombone before, but fast. Pryor was told to
sit next to Holton, who was playing first chair, who was to brief Pryor on what we
were going to play next. The band was in the process of rehearsing a number that
Mr. Sousa wanted to use at the Fair and this piece had a very difficult passage for
the trombone, which was giving Holton some trouble, on account of the tempo at
which Mr. Sousa insisted upon. Holton pointed out this passage to Pryor, telling
him to tear into it when they got to it. And tear into it he did. Mr. Sousa stopped
the band at once and said: 'Frank that is fine, and the first time you got it right.'
Frank stood up and said, 'Mr. Sousa it wasn't me playing, but this young fellow
Pryor.'”60
Having made such an impression at the first rehearsal, Arthur Pryor cemented his
place in the Sousa Band. After the rehearsal concluded, Frank Holton met in private with
Sousa and requested his release from the band, stating that he was no longer needed, now
that Sousa had Arthur Pryor to serve as his first chair man and trombone soloist. Sousa
expressed concern that Pryor “may just be a flash” and asked Holton to remain until after
the World’s Fair in Chicago during the summer of 1893.61 Holton reluctantly agreed to
stay with Sousa, and immediately relinquished all first chair and trombone solo duties to
the young man from St. Joseph.
Arthur Pryor spent six months playing with the Sousa Band before his first
opportunity came to perform as soloist with the group. During the rehearsals leading up
to the Columbian Exposition in Chicago, Pryor approached Sousa and showed him
manuscripts of two waltz solos, Love’s Enchantment and Love Thoughts, which Pryor
had composed. Pryor wanted to perform one of the pieces at the exposition, but Sousa
told Pryor, “The public won’t go for that type of solo on the trombone, you had better
60
61
Bridges, “Arthur Pryor,” Pioneers In Brass.
Ibid.
33
write something else.”62 Sousa’s reluctance to feature him upset Pryor so greatly that
while at the exhibition, he declared that if Sousa would not let him perform one of his
solos, he was returning to St. Joseph. Sousa relented, and allowed the twenty-two year
old Pryor to perform his own composition Love Thoughts, which he did with great skill
and a terrific cadenza. The audience, who braved the rain for the concert, was in awe of
Pryor’s abilities and went wild with enthusiasm and threw their hats in the air following
his performance. This marked the formal beginning of Pryor’s eleven year career as John
Philip Sousa’s trombone soloist, and was the first of an estimated ten thousand solos that
he performed as a member of the famed Sousa Band.63
The response of audience members and fellow musicians to the trombone solos
performed by Arthur Pryor helped to establish his reputation as the greatest virtuoso
trombonist of the era. The majority of the trombone solos that he composed are still
published and performed to this day; although few performers, even in the modern age,
can compare to Arthur Pryor. His technique was utterly amazing to many of those who
heard him perform, and it is said that even the clarinetists of the Sousa Band had
difficulty in playing Pryor’s technical solos on their instruments.64 Cornet Soloist Herbert
L. Clarke wrote the following story about Pryor’s technical abilities:
“I remember once when we were playing a concert in Leipzig, Germany, in 1900,
before an audience of 25,000 people, Pryor played one of his most difficult solos
without a mistake of any kind, and the vast audience arose and gave him the
greatest ovation ever known in that city.
At intermission, many members of the Gewandhaus Symphony Orchestra,
then directed by Arthur Nikisch, came up on to the stage to examine Pryor’s
trombone, taking off the slide, looking through it, and examining the mouthpiece,
all to find out if there were not some contraptions whereby his technique could be
62
Ibid.
Steve Wolfinbarger, “The Solo Trombone Music of Arthur Pryor: Chapter III – Pryor’s
Trombone Music,” International Trombone Association Journal 11, no. 3 (July 1983): 20.
64
Meckna, Twentieth Century Brass Soloists, 192.
63
34
produced by artificial means. His trombone and mouthpiece were the same as any
ordinary one, and he could do the same stunts on any trombone made. These
musicians were speechless, and could not believe it possible. Such incidents
explain why Arthur Pryor was so well known all over the world.”65
Pryor’s feats of technical virtuosity on the trombone were matched only by the
boundless depths of his musicality and expression. Although his single, double, and triple
tonguing abilities at breakneck speeds, his fantastic slide technique, (which included the
use of many alternate positions and false tones), and his effortless facility were
incredible, Pryor was often more popular for his beautiful tone and expressive playing.66
Pryor preferred slow, soft, ballads and operatic arias to the fast and technical
compositions that John Philip Sousa insisted his soloists play first on concert programs.67
Pryor performed many ballads during his career with Sousa including Silver Threads
Among Gold, The Holy City (Adams), Be Bolt, and Celeste Aida (Verdi); however, his
favorite was Oh, Dry Those Tears, a piece composed by Del Riego.68 Oh Dry Those
Tears was often performed as his final encore and was an audience favorite.
Arthur Pryor’s rich, golden tone was always accompanied by continuous and
steady vibrato. Arthur’s older brother Walter Pryor described the events that led to the
discovery of Arthur’s vibrato:
"When Arthur was a young boy on our farm near St. Joe., Missouri, we had a
mule and one day Arthur was out in the barn teasing the old animal when it
kicked him on the left side of the face, causing a sort of paralysis of the muscles
on that side of the face. He noticed when he played the trombone after this
experience that he was getting a nice even vibrato or tremolo in his tone with no
effort on his part."69
65
Wolfinbarger, “The Solo Trombone Music of Arthur Pryor: Chapter I – The Life of Arthur
Pryor,” 14.
66
Frizane, Arthur Pryor (1870-1942) American Trombonist, Bandmaster, Composer 12.
Ibid., 12.
68
Bridges, “Arthur Pryor,” Pioneers In Brass. (See Appendix A for a list of pieces performed by
Arthur Pryor during his career with the Sousa Band)
69
Ibid.
67
35
Pryor’s vibrato was the source of ridicule among some professional musicians who
referred to Pryor as the “trombone player with the nanny goat tone.”70 Most of these
musicians were cynical trombonists who tried to emulate Pryor and had failed.
Arthur Pryor exceeded all expectations of what could be accomplished on the
trombone, and his range was no exception. His range stretched four and one-half octaves,
from F 1 to B-flat 5, which was unheard of at the time. Pryor would often showcase his
range with the popular encore We Won’t Go Home till Morning, playing the complete
melody four different octaves. In his solo compositions, Pryor regularly wrote vast
interval leaps from the high register into the pedal register and back. The most observable
example of this is in his solo, Fantastic Polka, where, on several occasions, he writes
many consecutive intervals covering two octaves or more.
Arthur Pryor’s pedal tones were legendary and were mentioned with regularity in
newspaper reviews of Sousa Band concerts. One music critic stated that “his pedal tones
fired the shot heard ‘round the world,” while another said “his vibrating pedal tones
rattled the windows of the Theater and killed the goldfishes and stunned the canaries all
the way out to the packing plant where even the iron gates trembled.”71
Pryor’s pedal tones were produced with comfort and ease, even though the
instrument he played on was small. For the majority of his career, Pryor performed on a
C.G. Conn trombone with a six and one quarter-inch bell, and a bore diameter of .458
inches, which is roughly the same size as the modern B-flat trumpet, which has a bore
70
71
Ibid.
Ibid.
36
diameter of .455 inches.72 To play on a trombone with such a small bell and bore size was
not common practice at the time.73 Most trombonists of the era could not produce a
decent tone quality on an instrument with such a small bore diameter, but Pryor had great
success for many years with that configuration.
During his countless hours of practice, Pryor discovered and refined the skill of
multiphonics, a method of producing a full chord by playing one pitch, humming another
tone at a higher pitch, and adjusting the two until an acoustical difference tone is
produced. Pryor became proficient with this advanced technique, and is alleged to have
been able to produce not only three note, but also four-note chords.74
In addition to his duties as trombone soloist, Arthur Pryor assumed duties as
assistant conductor of the Sousa Band in 1895. His previous conducting and directing
experience with the Stanley Opera Company, along with his innate sense of musicality
qualified him for the position. As assistant conductor, Pryor would serve as full-time
conductor when John Philip Sousa was ill or otherwise unable to perform. On those
occasions when Sousa was unable to appear, Pryor would conduct, yet still continue to
perform his own solos, choosing not to relinquish his place on the program. Pryor gained
experience as the assistant conductor of the Sousa Band, which proved very useful when
he organized his own band in the fall of 1903.
Arthur Pryor spent eleven years performing as trombone soloist with the Sousa
Band. During those years, he performed in the United States and Canada on an annual
basis, and toured Europe on three separate occasions. In Europe, Pryor played before the
72
David Hickman, Trumpet Pedagogy: A Compendium of Modern Teaching Techniques
(Chandler, AZ: Hickman Music Editions, 2006), 292.
73
H. W. Schwartz, The Bands of America (New York: Doubleday and Co., 1957), 200.
74
Frizane, Arthur Pryor (1870-1942) American Trombonist, Bandmaster, Composer 12.
37
crowned heads of many European nations including King Edward VII of England, Kaiser
Wilhelm of Prussia, and Czar Nicholas II of Russia.75 While performing a five day
engagement at the Cirque Ciniselli in St. Petersburg, Russia in May, 1903, Arthur Pryor
approached Sousa to discuss his current salary. According to soprano soloist Estelle
Liebling, Pryor wanted an increased salary, and stated that he would hold out until Sousa
agreed to his terms. Sousa was hurt by this, and rather than submit to his terms, told Pryor
that he would be released from the band upon their return to the United States in August.
Upon the band’s arrival in New York, Arthur Pryor left Sousa’s Band after eleven
years. Sousa and Pryor parted on good terms, as both men knew that the parting was
strictly a business decision. The two remained close friends, even as rival bandmasters.
When John Philip Sousa died in 1932, Arthur Pryor served as one of the honorary
pallbearers, and later assisted in an effort to establish a memorial in tribute to his former
bandmaster.
The Pryor Band
Serving as John Philip Sousa’s assistant conductor for eight years enhanced
Arthur Pryor’s capabilities as a conductor and bandmaster. When he resigned from the
Sousa Band in August, 1903, Pryor began organizing a touring ensemble which he named
The American Band, but it was better known as the Pryor Band.76 Pryor invited Sousa
Band euphonium soloist Simone Mantia to resign from Sousa’s organization and serve as
his assistant conductor. Mantia accepted Pryor’s offer following Sousa Band
engagements that ran through the beginning of October. After securing and rehearsing a
full complement of bandsmen, Arthur Pryor made his debut with the American Band at
75
76
Ibid., 15.
Wolfinbarger, “The Solo Trombone Music of Arthur Pryor: Chapter I – The Life of Arthur
Pryor,” 14.
38
the Majestic Theatre in New York City on November 3, 1903. Many early Pryor Band
programs included an appearance by the conductor as trombone soloist; however, as the
years passed, Pryor made fewer solo appearances until his public performance career
came to an end around 1920.77 Pryor often relinquished his traditional solo position on
the program to euphonium soloist Simone Mantia, particularly when his duties as
conductor made it impossible for him to practice at least two hours each day.
Pryor’s Band, as it became known, played for twenty summers at Asbury Park,
New Jersey, ten spring seasons at Willow Grove Park, near Philadelphia, Pennsylvania,
nine winter seasons at Royal Palm Park in Miami, Florida, and five summer seasons at
Luna Park, Coney Island, New York. His band performed several engagements at the
Steel Pier in Atlantic City, New Jersey, the Electric Park in Kansas City, and the Old
Delmar Gardens in St. Louis. Pryor and his band were also often the focus of the national
spotlight, performing at national expositions, including the 1904 World’s Fair in St.
Louis, Missouri. The Pryor band toured in the same manner as the Sousa Band had for six
years, before Arthur Pryor grew tired of the grueling pace of touring. He decided to settle
down and establish a residence in Asbury Park, New Jersey while still maintaining
directorship of his band. The Pryor Band would continue performing spring and summer
engagements at Willow Grove Park and Asbury Park respectively; however, the Pryor
Band’s primary source of income would come from working in the recording industry.
Recording and Composing
Arthur Pryor was first exposed to the recording industry while he was a member
of the Sousa Band. While serving as Sousa’s assistant conductor, Pryor directed the
majority of the band’s recording sessions. At that time, the recording industry was a
77
Frizane, Arthur Pryor (1870-1942) American Trombonist, Bandmaster, Composer, 34.
39
fledgling one, and John Philip Sousa had no appreciation for it, referring to it as “canned
music.”78 Sousa did allow Pryor and his other bandsmen to participate in the recording
sessions, as it provided a means of financial support to the men when the Sousa Band was
not otherwise engaged. Arthur Pryor saw the potential for growth and success in the
recording industry, primarily as a means for ensembles to reach exponentially greater
numbers of audience members who were not able to attend live performances. It is
estimated that Arthur Pryor conducted up to seventy-five percent of the Sousa Band’s
recorded output that was produced by the Berliner and Victor Phonograph Companies.79
Pryor maintained his association with the Victor Phonograph Company after his
departure from the Sousa Band, and became the Music Director of the company on
November 24, 1903. The relationship between The Victor Company, Arthur Pryor, and
the Pryor Band was mutually beneficial for all parties and continued for more than thirty
years. Pryor’s ensemble filled the Victor library with recordings, and to this day, no band
has surpassed the recording productivity of the Pryor Band. According to Steve
Wolfinbarger:
“The band recorded an estimated 5,000 takes and placed 2,000 titles in the Victor
Phonograph Company recording Entry Books (now preserved by the Radio Corporation
of America). It is believed that Arthur Pryor conducted them all.”80
Arthur Pryor’s interest in composition began early in his career and continued for
the remainder his life. He began writing music when he joined Alessandro Liberati’s
band in 1889. Pryor’s early compositions were trombone solos written to showcase his
unique talents and abilities, and were something he believed each soloist should do.
78
79
Bierley, John Philip Sousa: American Phenomenon, 19.
Wolfinbarger, “The Solo Trombone Music of Arthur Pryor: Chapter I – The Life of Arthur
Pryor,” 14.
80
Ibid.,14.
40
Herbert L. Clarke stated that it was Pryor who was the first to encourage him to compose
his own cornet solos, which he later did.81 Many of Arthur Pryor’s solo compositions
were based on popular songs and familiar tunes; for example, Annie Laurie and Blue
Bells of Scotland. His facility as a composer grew out of his ability to play and improvise
on the piano, which he had studied from age six. Pryor’s compositional output is
estimated to be between one-hundred and three-hundred pieces of various styles and
instrumentation, many of which survive today.82 In addition to writing trombone solos,
Pryor also composed in numerous other genres, including marches, novelties, waltzes,
and comic operas. While his trombone solos are the compositions most widely
recognized today, Pryor’s most popular work during his lifetime was The Whistler and
His Dog, a novelty written for full band by Pryor in 1903.
Later Years
Arthur Pryor was married in February of 1895 to a young girl from Salt Lake
City, Utah named Maude Russell. Arthur and Maude had two sons, Arthur Jr. and Roger
Pryor. The Pryor family resided for the most part in St Joseph, Missouri until 1909, when
they moved to Asbury Park, New Jersey. This relocation coincides with the increase in
recording sessions and a decrease in touring with the Pryor Band. In 1933, Arthur and
Maude retired to their twenty-seven acre farm near Long Branch, New Jersey. Arthur’s
Band was disbanded after a thirty year run, and by this time, both of his sons were
established in their own right. Arthur Jr. was vice president of a New York-based
advertising company, played piano and cornet, and served as assistant conductor of the
Pryor Band. Roger Pryor was a noted actor, radio personality, and dance band leader.
81
Wolfinbarger, “The Solo Trombone Music of Arthur Pryor: Chapter III – Pryor’s Trombone
Music,” 20.
82
Frizane, Arthur Pryor (1870-1942) American Trombonist, Bandmaster, Composer 51.
41
During his retirement, Arthur Pryor taught several private students either at his
studio in the Life and Time building in New York City or at his studio reserved for him
by the C.G. Conn Company in Rockefeller Center.83 Even in his old age, Pryor was just
as demanding of his students as he had been of himself at an early age. He demanded
nothing short of perfection from his students. Pryor traveled to colleges to conduct band
clinics and served as guest conductor for special concerts. He was a charter member of
the American Bandmaster’s Association, was a member of the American Society of
Composers, Authors and Publishers (A.S.C.A.P.), and wrote many articles for various
music publications. Pryor did not, however, write a method book for trombone, as many
people anticipated he would upon his retirement. If there ever were plans for a method
book, they were dashed when he heard of claims that he used tricks to play as well as he
had, or that his incredible natural talent, not his hard work and dedication, was
responsible for his success. Pryor’s reaction upon hearing these statements was “let them
learn the hard way, like I did.”84
Occasionally, Arthur would assemble what men remained of the Pryor Band for
engagements at nearby Asbury Park. In the summer of 1942, Pryor agreed to organize an
ensemble to perform for a series of twenty-seven concerts around the Memorial Day
weekend. On June 17, following a band rehearsal for the second set of concerts, Arthur
Pryor suffered a stroke brought on by a cerebral hemorrhage. He fell into a coma, never
regained consciousness, and died at his home at 5:20 A.M. on June 18, 1942 at age
seventy-one.
83
84
Ibid., 41.
Ibid., 44.
42
Not only was Pryor the first trombone soloist to play with the illustrious Sousa
Band, he was also arguably, the greatest. His trombone playing was legendary, and the
feats that he accomplished set the standard by which not only trombone soloists, but all
trombonists are judged. Once concerned with how he could ever replace Frederick Innes
in the Gilmore Band, Arthur Pryor created a new path for trombonists everywhere to
follow and left a shadow that loomed larger than that of any other player in trombone
history.
43
CHAPTER 3
LEOPOLD ZIMMERMAN
In the fall of 1903, John Philip Sousa was tasked with finding a reliable musician
to replace his departed first chair trombonist and trombone soloist, Arthur Pryor. Sousa
said of Pryor, “I do not believe there was a man in the world his [Pryor’s] equal while he
was with me,” which made the process of selecting his successor all the more difficult.85
When Pryor left the Sousa Band, he invited Simone Mantia, Sousa’s first chair and solo
euphonium, to leave as well, and serve as assistant conductor in the newly formed Pryor
Band. Mantia accepted Pryor’s offer and the two parted ways with Sousa and began
organizing their new ensemble. These two key departures from the ensemble prompted
Sousa to begin searching for high-caliber musicians to replace his departed soloists. John
J. Perfetto joined the group in 1904, and succeeded Simone Mantia as the new first chair
euphonium and soloist. To replace Arthur Pryor, Sousa engaged Leopold Zimmerman, a
noted trombone soloist who had played with the Frederick Innes Band and the reorganized Gilmore Band.
Early Years
According to a Philadelphia newspaper article published in 1899, Leopold (Leo)
85
Wolfinbarger, “The Solo Trombone Music of Arthur Pryor: Chapter III – Pryor’s Trombone
Music,” 20.
44
A. Zimmerman was born in Canton, Ohio on March 1, 1866.86 Leo was the youngest of
three children born to Bavarian immigrants Caspar and Constance Zimmerman. Caspar
Zimmerman worked as a carpenter at a repair shop in Canton, and Constance was a
homemaker.87 Like many professional musicians of the era, Zimmerman was not born
into a musical family.
Zimmerman’s first musical experiences came, not on trombone, but on the cornet.
As a cornetist, young Zimmerman performed with the Grand Army of The Republic
(G.A.R.) Band in Canton.88 According to Glenn Bridges, Zimmerman began playing
trombone at age fifteen, but did not have a suitable trombone teacher.89 Canton, Ohio,
like many towns during the late 1800’s, did not have a trombone instructor, leaving
Zimmerman to discover the means to play the instrument on his own, much like his
predecessor in the Sousa Band, Arthur Pryor. Leo Zimmerman acknowledged that while
a member of Frederick Innes’s band in New York; he received “tips” from the
bandmaster about the art of fast tonguing.90 Aside from the occasional tips and advice of
other musicians, Zimmerman was essentially self-taught. Zimmerman became proficient
on the trombone in a short amount of time and began to develop a reputation in the
Canton area as a fine trombonist; eventually re-joining the Grand Army of the Republic
Band as a trombonist. As Zimmerman’s trombone playing progressed, his reputation as
an outstanding performer spread, and he began receiving offers to play with groups in
larger cities.
86
Glenn D. Bridges, “Leo A. Zimmerman,” Pioneers In Brass [CD-ROM], Coupeville, WA:
Trescott Research, 2001.
87
United States Federal Census,1870. Washington: Government Printing Office, 1871.
88
Unknown author, “Leo A. Zimmerman,” Philadelphia, June 1899.
89
Bridges, “Leo Zimmerman,” Pioneers In Brass.
90
Ibid.
45
In 1896, Leo Zimmerman left Canton for New York City, presumably to accept
an engagement to play trombone with the Innes Band. Frederick Neil Innes was a British
trombonist who came to the United States in 1880 at the request of bandmaster Patrick
Gilmore. Innes was to assume the position as trombone soloist with the Gilmore Band
and provide competition for solo cornetist Jules Levy.91 His conducting career began in
1887 when he accepted a brief engagement directing the Thirteenth Regiment Band of
New York. After leaving the Thirteenth Regiment Band a few months later, Innes
organized his own ensemble and began planning engagements across the United States.
Innes was also a highly regarded teacher of brass instruments as well as band and
orchestra directing. Many great musicians played with the Innes band, including cornetist
Herbert L. Clarke, clarinetist Joseph Norrito, and trombonists Ernest Clarke and Leo
Zimmerman, all of whom would later play with the Sousa Band. While in New York,
Zimmerman not only played with the Innes Band, but also played with the Eighth,
Thirteenth, Twenty-third, and Seventy-first Regiment Bands, and the re-organized
Gilmore Band, under the direction of David W. Reeves.
The Sousa Years
As the Sousa Band began its return from its European tour in the fall of 1903,
much of the press focused on the forthcoming resignation of trombone soloist Arthur
Pryor. Upon their return to the United States in August, Arthur Pryor did resign from the
Sousa Band and set off to organize his own ensemble. Meanwhile, The Sousa Band
played a nine-day engagement at Willow Grove Park in Philadelphia, Pennsylvania while
Sousa searched for a new trombone soloist. Leo Zimmerman was engaged to fill the
91
Glenn D. Bridges, “Frederick Neil Innes,” Pioneers In Brass [CD-ROM] , Coupeville, WA:
Trescott Research, 2001.
46
position vacated by Pryor, and while the exact date that Zimmerman joined the Sousa
Band has not yet been found, he is listed as the trombone soloist during the second 1903
tour, which took place Sunday, August 30 through Sunday, October 4, 1903.92
By the time he began performing with the Sousa Band, Zimmerman had
developed a reputation as a master technician, skilled in the art of articulation, including
legato, single, double and triple tonguing.93 Leo Zimmerman always performed on a
medium bore trombone with a 7 ¼ inch bell, regardless of the style of music he
performed, whether it was band, orchestral, chamber, or solo work.94 Like many of his
fellow bandsmen, including cornet soloist John Dolan, flute soloist Meredith Willson,
trombone soloists John Schueler and Ralph Corey, and former trombone soloist Arthur
Pryor, Zimmerman was endorsed by the C.G. Conn Company and played on instruments
designed for him by the manufacturer.
Leo Zimmerman was alleged to have a practical range of four octaves from F1 to
F5, which is displayed in a cadenza (see Figure 10) from one of his compositions printed
in an 1899 Philadelphia newspaper.95 The unnamed newspaper author describes
Zimmerman’s playing as follows:
“It is astonishing to hear what he can do, and how he does it. His compass at
present is over four octaves; he jumps four octaves with surety, plays cadenzas …
in a wonderfully easy and flowing manner, clear and distinct, and has a perfect lip
trill, using either at will in some of his solos … He plays a song with fine taste
and expression, and occasionally, by way of variety, brings in the rapid gun-andmusketry-fire effect, which with so many soloists is more than they can do;
besides that he plays an exceptionally fine trombone in the band.”96
92
Bierley, The Incredible Band of John Philip Sousa, 164-65.
Bridges, “Leo Zimmerman,” Pioneers In Brass.
94
Ibid.
95
Octave designations are those used by The Acoustical Society of America.
96
Unknown author, “Leo A. Zimmerman” Philadelphia.
93
47
Figure 10. Cadenza Written by Leo Zimmerman97
Zimmerman’s sound was described as full, round, bell-like and very clear and
precise. One of the more striking characteristics of Leo Zimmerman’s playing was the
lack of any discernable vibrato. This must have been a remarkably different style of
trombone playing than Sousa or his bandsmen were accustomed to hearing after
performing with Arthur Pryor for eleven years. In addition to his many skills he
demonstrated on the trombone, Zimmerman was also reported to be one of only two
trombonists of the time to have the ability to use multiphonics at will. The other was
Zimmerman’s predecessor, Arthur Pryor.98
The Recording Industry and Composing
Leo Zimmerman’s playing attributes, most notably his precision and clarity, made
him very well-suited for work in the burgeoning recording industry of the early 1900s.
From 1900 to 1925, Zimmerman was one of the busiest and most recorded brass
97
98
Ibid.
Unknown author, “Triumph of March King,” Canton (Ohio) Repository, October 14, 1905.
48
instrumentalists.99 Zimmerman’s recording career began in the late 1800s when he
participated in recording sessions for the Columbia Phonograph Company as a member
of the re-organized Gilmore Band. During his tenure with the Sousa Band, Zimmerman
recorded between tours with various bands and orchestras for Edison Records,
Zonophone Records, the Victor Phonograph Company, and the Columbia Phonograph
Company.100 For a twenty-year period between 1905 and 1925, Zimmerman recorded
almost exclusively with the Columbia Phonograph Company, apart from his recordings
with the Sousa Band, which were recorded between 1904 and 1910 by the Victor
Phonograph Company.101
Leo Zimmerman, like many brass soloists of the era, was not content to play the
solo pieces of other composers, because he felt that they did not adequately demonstrate
his unique abilities. In order to resolve this issue, Zimmerman composed his own
trombone solo pieces, eight of which are still known.102 His two most popular solos were
Leona (also known as Leona Polka), and American Beauty (also known as American
Beauties), both of which were performed repeatedly on Sousa Band tours.103 Unlike
Arthur Pryor, Zimmerman’s compositional output appears to be limited solely to the
genre of the trombone solo. Leo Zimmerman did not publish any of his trombone solos,
and none are commercially available today; however, due to his extensive recording
career, several of his compositions survive in audio format.104
99
Bridges, “Leo Zimmerman,” Pioneers In Brass.
See Appendix D for a discography of recordings by Sousa Band trombone soloists.
101
Ibid.
102
See Appendix A for a list of pieces performed by Leo Zimmerman during his career with the
Sousa Band.
103
Bierley, The Incredible Band of John Philip Sousa, 426.
104
Unknown author, “Leo A. Zimmerman.”
100
49
Leo Zimmerman served as the Sousa Band’s first chair trombone and soloist from
the fall of 1903 until October of 1909. Through recording for the Columbia Phonograph
Company between Sousa Band tours and breaks, Zimmerman became associated with
Charles Prince, a touring bandmaster with his own ensemble who also served as the
leader of the Columbia house band and orchestra in New York City. After leaving
Sousa’s band, Zimmerman continued to play as a regular staff member at Columbia, and
also played with the Charles Prince Band, Mr. Prince’s touring ensemble. The Charles
Prince Band played numerous venues throughout the eastern United States, including
engagements at Willow Grove Park in Philadelphia, Pennsylvania and The Steel Pier in
Atlantic City, New Jersey.
After serving as first chair trombone and trombone soloist for John Philip Sousa,
Leo Zimmerman’s musical reputation was cemented. He moved to New York City and
established himself as one of the finest trombonists in both the performing and recording
industries, and was also a recognized composer of popular trombone music. The years
after the Sousa Band were filled with engagements with various symphonies, theatres,
recording studios, and bands, including the Conway Band and the Edwin Franko
Goldman Band.
A Second Stint with Sousa
Following the five-month “Golden Jubilee” tour of 1928, the activities of the
Sousa Band abruptly diminished as the Great Depression began to spread across the
country. The Great Depression began in some countries as early as 1928 and drastically
altered the financial, and by extension, the cultural climates in the United States. The
arrival of the depression signaled the beginning of the end of the professional touring
50
band in America, and not even the renowned Sousa Band would survive the extensive
fallout. The effects manifested themselves immediately, as Sousa saw the band’s tour
schedule dwindle from 232 concerts in 149 days in 1928 to only thirty-seven concerts in
thirty-five days in 1929. The tours during the years from 1929 to 1931 were much shorter
in length and did not stretch across the continental United States like the typical tours of
the past. Still living in New York City, Leo Zimmerman began playing with the Sousa
Band again in 1929, performing several short-term engagements. He performed in an offtour concert in June of 1929 in Princeton, New Jersey, and also played later that year with
the Sousa Band for radio broadcasts.105
Leo Zimmerman rejoined the Sousa Band full-time as first trombone and soloist
beginning with the significantly shortened 1930 tours, which began on August 24.106
Sousa’s trombone soloist at the time, John P. Schueler, was unable to play the three short
tours of 1930, and Sousa invited Zimmerman to fill in during Schueler’s absence.
Zimmerman remained with the Sousa Band until it stopped touring in the fall of 1931,
and performed on each of the Sousa Band’s radio broadcasts after that. A concert on
September 8, 1931 was the last live performance of the Sousa Band, with the exception
of radio broadcasts later that year.107
Some Lighter Moments
Leo Zimmerman, or “Zimmy” as he was affectionately labeled by his fellow
bandsmen, was said to have been an extremely serious and confident musician; however,
he was also known to be humorous and had a reputation as a practical joker. One prank
105
Bierley, The Incredible Band of John Philip Sousa, 246.
Ibid., 193.
107
Ibid., 194.
106
51
that Zimmerman masterminded was remembered fondly by band alumni many years after
the event:
“A vaudeville act was playing at the Corn Palace as well, and as part of
the routine an actor would pull a rope that released a trap door, allowing some two
hundred hats to rain down onto the stage. Zimmerman discovered that the rope
hung next to his seat at the end of the trombone section. It would liven their
grueling tour, he thought, if part of the band could be showered with the hats
during a concert.
Fittingly, it was during the Manhattan Beach march that he took action.
As Sousa recalled in his autobiography, apparently unaware that one of his
musicians had been the instigator, ‘We were the most surprised lot of men you
ever saw when a shower of hats descended upon us. In the bells of the
sousaphones they were piled nearly three feet deep. The laughter that
overwhelmed the audience was so tremendous that you couldn’t hear the band
play at all, although they valiantly continued to play!’ According to John J.
Perfetto, another soloist, Sousa also had a hearty laugh.”108
In addition to being the instigator of many pranks, Zimmerman was also on the
receiving end as well. One story of revenge is described by Paul Bierley:
“Not everyone in the band knew he [Zimmerman] wore a toupee, but
flutist Julius Spindler did, and he devised a scheme to get even for pranks
Zimmerman had pulled on him.
Just before the curtain went up one day, Spindler tied a fishhook to
a piece of string, slipped up behind Zimmerman, and carefully embedded
the hook in his toupee. Spindler tied the other end to the curtain, and when
it went up, so did Zimmerman’s hairpiece. It swung back and forth,
leaving those in the front rows wondering about the symbolic meaning of
a scalp dangling in front of the band. It remained there until intermission,
when Zimmerman returned to full dress.”109
Zimmerman was well-liked by his fellow bandsmen, and his jokes and pranks
often helped to raise the spirits of the men. John Philip Sousa even enjoyed hearing about
Zimmerman’s exploits. When Zimmerman left the band in 1909, many of the bandsmen
were disappointed to see him go.
108
109
Ibid., 139.
Ibid., 139.
52
Figure 11. Leopold Zimmerman
Summary
Leopold Zimmerman holds the distinction as being the only trombonist to hold
the position of trombone soloist with the Sousa Band twice. Following in Arthur Pryor’s
footsteps was no small task, yet Zimmerman did so admirably, retaining the position as
trombone soloist of the Sousa Band for more than six years. Through numerous tours and
engagements, Zimmerman performed with great virtuosity and style. After leaving the
Sousa Band, he performed with several bands and orchestras and also established himself
as a fixture in the recording industry. Leopold Zimmerman died on December 18, 1935,
in Englewood, New Jersey at age sixty-nine. He was survived by his Wife Emma, and his
son Brayton.
53
CHAPTER 4
RALPH COREY
Ralph Corey is perhaps the most enigmatic of the trombone soloists to have
performed with the Sousa Band. When he joined the band in 1906, he was the youngest
member of the ensemble and became Sousa’s longest-tenured trombone soloist,
remaining with the group for fourteen years. Even though both of these accomplishments
are significant, little written information regarding the life and career of Ralph Corey has
been located, and he appears to be a mere footnote in the history of the trombone soloists
of the Sousa Band.
Early Career
Ralph Heaton Corey was born on August 5, 1885 in Boston, Massachusetts to
Albert and Catherine Corey. The Corey family lived on Boston’s south side, where
Albert made a living as a professional musician.110 Albert achieved local notoriety as a
conductor in the Boston area, and was the leader of the Bowdoin Square Theater
Orchestra. The theater opened on February 15, 1892 and Albert Corey was one of the
first orchestra directors of the new venue, located in Scollay Square. A 1906 newspaper
reported that Ralph’s mother Catherine played the cornet and was a musician worthy of
mention.111
110
United States Federal Census,1900. Washington: Government Printing Office, 1901.
The Sousa Band Press Books, from The Sousa Archives and Center for American Music at the
University of Illinois: Paul Bierley Papers (#21), 154.
111
54
Ralph Corey demonstrated an interest in music at an early age and began learning
to play trombone at the age of eight, and made rapid progress. According to Glenn
Bridges, Ralph studied trombone at some point with former Sousa Band trombone soloist
Arthur Pryor.112 Corey was also said to have studied with another notable Sousa Band
musician, cornet soloist Herbert L. Clarke.113 Corey made remarkable progress on the
instrument and was invited by his father, Albert, to play trombone as a member of the
Bowdoin Square Theater Orchestra.114
Sousa’s Youngest Member
Ralph Corey spent several years in the employment of the Bowdoin Square
Theater Orchestra, and it was while performing at Bowdoin Square that his playing
caught the attention of one of John Philip Sousa’s friends.115 The associate informed
Sousa of Corey’s abilities and encouraged him to send an invitation to the young
trombonist and offer him a position with his band, which Sousa did. The twenty-one year
old accepted Sousa’s offer, and joined the band for the start of their third tour of 1906,
which began in Asbury Park, New Jersey. At the time he joined the Sousa Band, Ralph
Corey was the youngest member of the ensemble.116
With the exception of the 1900 season, John Philip Sousa normally employed a
compliment of three trombones in his ensemble.117 When Corey joined in the fall of
1906, he became the fourth member of the trombone section, which would consist of
three tenor trombones and one bass trombone. After the addition of Corey as the fourth
112
Glenn D. Bridges, “Ralph Corey,” Pioneers In Brass [CD-ROM] , Coupeville, WA: Trescott
Research, 2001.
113
Ibid.
114
The Sousa Band Press Books, from The Sousa Archives and Center for American Music at the
University of Illinois: Paul Bierley Papers (#21) 158.
115
Ibid.
116
Bierley, The Incredible Band of John Philip Sousa, 63.
117
Bierley, John Philip Sousa: American Phenomenon, 148.
55
trombonist on the roster, Sousa would always employ a compliment of at least four (and
sometimes five) trombones in his ensemble.118
When Ralph Corey joined the Sousa Band in the fall of 1906, Leo Zimmerman
was still the first chair trombonist and the featured trombone soloist. Corey served as a
section trombonist for two years before he had an opportunity to perform in a solo
capacity with the Sousa Band. Corey’s first verifiable solo appearance came in the fall of
1908 during the Sousa Band’s annual engagement at Willow Grove Park in Philadelphia,
Pennsylvania, where he appeared as soloist on seven different concerts during the twentythree day engagement.119
Ralph Corey appeared as soloist during the 1908 Willow Grove Park engagement,
and demonstrated that he was capable of meeting Sousa’s expectations as trombone
soloist. In addition to his appearances at Willow Grove, Corey was a soloist during the
Sousa Band’s nineteen-day engagement at the Boston Food Fair in September and
October, which closed the 1908 season. In 1909, Corey was again featured at Willow
Grove, but did not appear on the long tour, as that responsibility fell to Leo Zimmerman.
When the 1909 tour concluded, Zimmerman left the Sousa Band and twenty-four year old
Ralph Corey was selected to succeed Zimmerman as first chair trombone and soloist.
Corey proved to be a very capable and dependable trombonist, and performed as Sousa’s
trombone soloist on all long tours for ten seasons from 1910 to 1920.120 A 1915 Boston
Globe review remarked that one of Corey’s solo performances at the San Francisco
118
Ibid., 148.
Bierley, The Incredible Band of John Philip Sousa, 171.
120
See Appendix C for a chronological listing of pieces performed by Ralph Corey during his
career with the Sousa Band.
119
56
Exposition garnered much praise and resulted in four encores.121
Perhaps one of the greatest accomplishments of the Sousa Band was the World
tour of 1910-1911. The tour began in New York City in late December of 1910 and
concluded with a performance at the Hippodrome in New York City on December 10,
1911. Ralph Corey served as trombone soloist for the historic tour and was described in a
memento of the tour written by clarinetist Edmund A. Wall during the trip:
“Ralph Corey plays the first Trombone,
And much ability he’s shown;
Another “Beantown” product he,
A good white boy, you’ll all agree.”122
Ralph Corey was also a representative for the C. G. Conn instrument company,
and was furnished a free instrument in exchange for his endorsements of the C.G. Conn
brand (See Figure 12).123 Corey’s trombone was similar in design to that of former Sousa
Band soloist Arthur Pryor in the fact that the bore diameter (.458 inches) and bell size
(6 ¼ inches) of Corey’s trombone were considerably smaller than the instruments used by
most trombonists of the era. Using instruments with smaller bore and bell sizes made
them easier to fill, but very few players could produce a rich, beautiful tone on them.
Corey, Pryor, and Gardell Simons (trombone soloist with the Conway Band) were three
of the few trombonists who were able to use small bore instruments and achieve great
success.124
121
Unknown author, Boston Globe, (Boston, MA: July 18, 1915).
Edmund A. Wall, Around the World With Sousa: A memento of the World Tour., From the
personnel file for Ralph Corey at The Sousa Archives and Center for American Music at the University of
Illinois.
123
Bierley, The Incredible Band of John Philip Sousa, 49.
124
Schwartz, The Bands of America, 200.
122
57
Figure 12. Ralph Corey’s C. G. Conn Endorsement125
Ralph Corey, like his Sousa Band predecessors Arthur Pryor and Leo
Zimmerman, composed some of his own solos; however, his compositional output was
far less significant than that of his predecessors. To date, only one trombone solo
composed by Ralph Corey has been discovered. Corey’s Valse Brilliante was never listed
on any Sousa Band programs that have been located, nor is it included in the Sousa Band
library.126 A 1906 newspaper article states that Ralph Corey “achieved great success as a
trombone soloist and composer,” although the only additional work that can be attributed
to him is a march from the Sousa Library entitled Mardi Gras (March).127 Ralph Corey
played many solos composed by former Sousa Band trombone soloist Arthur Pryor, but
125
From the personnel file for Corey at The Sousa Archives and Center for American Music at the
University of Illinois.
126
Ibid.
127
Bierley, The Incredible Band of John Philip Sousa, 340.
58
typically performed the compositions of less prominent composers like Waldron,
Campana, and Del Riego.128
The Strike
The complexion of the Sousa Band changed drastically following the 1919-1920
tour. At the beginning of the 1920 tour, no less than twenty-eight new band members
made their debut with the Sousa Band. The reason behind this massive influx of new
personnel stemmed from an incident on January 5, 1920, in which two-thirds of the band
members did not appear for a matinee concert in Winston-Salem, North Carolina. The
absent band members did appear for the performance later that evening and completed
the remaining week of the tour. “The strike,” as it has been called, was the band
members’ way of expressing their dissatisfaction with inadequate hotel accommodations
compounded by an altered railroad connection.129
The band was scheduled to arrive in Winston Salem, North Carolina at 3:00 p.m.
on Sunday, January 4; however, the train scheduled to make the run was canceled, and
the band cars were attached to a slow-moving freight train. Instead of arriving at 3:00
p.m. on Sunday, the band arrived at 3:00 a.m. Monday morning, only to find that there
were no hotel rooms available except those for Sousa, the female soloists, and cornet
soloist Frank Simon. The majority of the men were forced to sleep in the hotel lobby on
chairs, couches, and pool tables. In the morning, the men who had been unable to find
beds the previous evening held an “indignation meeting,” where it was decided that they
would demonstrate their displeasure by refusing to play the matinee concert.130 For the
Band.
128
See Appendix A for a list of pieces performed by Ralph Corey during his career with the Sousa
129
Bierley, The Incredible Band of John Philip Sousa, 32.
Ibid.
130
59
performance that afternoon, only nineteen out of the sixty-six member ensemble appeared
on stage. There were no French horns, harp, tubas, or percussion, and only two cornet and
two trombone players were on hand, along with a few clarinetists.131 The concert went
ahead with the undermanned ensemble, and Sousa announced at the conclusion of the
program that the box office would issue refunds to anyone who sought them.
Sousa was furious with the musicians who refused to perform and instructed his
personnel manager (and trombonist) Jay Sims never to hire any of the striking musicians
for future tours. John Philip Sousa stated that he had twenty-eight vacancies at one time;
and wrote “I cleaned them out. I took out twenty-eight at one shot and some of them
[were] my best musicians.”132 Because very few of the fired members ever spoke of the
strike, it is unclear whether or not Ralph Corey was the other trombonist on stage with
Jay Sims during the performance in question. The fact remains that following the 19191920 tour, Ralph Corey never appeared again as soloist with the Sousa Band. After Corey
left the Sousa Band in 1920, he went back to work as a theater musician in New York and
New Jersey and later served as the solo trombonist for Carl Eduarde’s Strand Theatre
Concert Orchestra in New York City.
Summary
Although the circumstances of his departure from the Sousa Band are unknown,
Ralph Corey holds the distinction of being the longest-tenured trombone soloist to play
with the Sousa Band. He served as a trombonist under Sousa for a total of fourteen years,
and served as first chair trombone and soloist for ten. In 1913, at age twenty-eight, Ralph
married a young woman named Celeste while he was still a member of the Sousa Band.
131
“The Strike” From Interview with Frank Simon 23 November 1963, The Bierley Collection at
The Sousa Archives and Center for American Music at the University of Illinois.
132
Bierley, The Incredible Band of John Philip Sousa, 33.
60
Celeste and Ralph had two sons; Ralph Jr. was born in 1918, and Albert, who was named
for Ralph Corey Sr.’s father, was born in 1928. Following his departure from the Sousa
Band, little information regarding the life and career of Ralph Corey has been located.
Figure 13. Ralph Heaton Corey133
133
Ibid., 63.
61
CHAPTER 5
JOHN P. SCHUELER
The 1920 season of the Sousa Band was a unique chapter in the band’s history.
Following the strike, which took place during the 1919-1920 tour, twenty-eight musicians
were not re-hired for the following season. This left John Philip Sousa and personnel
manager Jay Sims with the unenviable task of replacing more than one-third of the
ensemble’s personnel.134 Trombone soloist Ralph Corey was among the members who
did not return to the Sousa Band when it began touring again after a six month break
during the first half of 1920. John P. Schueler was chosen to succeed Ralph Corey as
Sousa’s first chair trombone and soloist, and would remain with the ensemble until John
Philip Sousa’s death in March of 1932.
Formative Years
John Paul Schueler was born in Utica, New York on July 4, 1892, twenty-six days before
Sousa resigned as the conductor of United States Marine Band.135 John was the third of
seven children born to Catherine and Henry Schueler, a local carpenter and building
contractor.136 Most of the Schueler children were musically gifted, and their home was
often filled with the sounds of practice both before and after school. John and his
brothers, William and Henry, all became well-respected bandsmen in their own right, and
134
Bierley, The Incredible Band of John Philip Sousa, 33.
Ibid., 246.
136
United States Federal Census,1920. Washington: Government Printing Office, 1921, sheet
135
14B.
62
their sister Betty became an accomplished pianist and organist in the Schueler’s home
town of Utica.
Figure 14. John Paul Schueler137
John Schueler began his musical career playing the cornet at age nine and
received instruction from his older brother Henry, who was already very skilled on the
cornet, although he was only in his teens.138 After playing the cornet for one year, John
began playing trombone at the age of ten. There is no mention of a trombone teacher that
John studied with as a young man, so it is reasonable to assume that he received tips from
his older brother Henry, as he had while playing the cornet. When he reached age
thirteen, John continued his trombone studies on his own and assigned himself a rigorous
137
138
Bierley, The Incredible Band of John Philip Sousa, 73.
Alberta J. Dickinson, “People Worth Knowing,” Daily Press, (Utica, NY: 1955).
63
practice regimen of five or six hours each day, much like that of young Arthur Pryor.
This practice schedule was integral to Schueler’s musical and technical development; and
as such, he maintained it each day for several years.
While still a young man, John Schueler was a trombonist with Lincoln Holroyd’s
Band and the Schubert Theatre Orchestra, both of which were located in Utica, New
York. In 1908, at age sixteen, John abandoned his studies at the Kemble School and the
Utica Free Academy to accept an invitation to tour with the Ellis Brooks Band, based in
Chicago, Illinois. The Brooks Band was a well-respected organization and afforded
Schueler many opportunities to develop his trombone playing skills. While playing with
the Brooks Band, Schueler studied with renowned cornetist and brass teacher Alfred F.
Weldon, with whom many of the best brass soloists of the era also studied.
After touring with the Ellis Brooks Band, Schueler accepted a trombone position
with a local band and orchestra in Dayton, Ohio. The ensemble performed in theaters, the
McAlpin Hotel, and presented weekly concerts at the Dayton Soldiers Home.139 In 1917,
Schueler followed in the footsteps of those men he played for each week and enlisted in
the United States Army.140 He was stationed at Fort Thomas, Kentucky and served as the
assistant leader of the fort band. As the assistant leader, Schueler was responsible for
recruiting and training new musicians for the ensemble. After serving at Fort Thomas,
Schueler was transferred to the West Point Band and Orchestra in New York. Following
the signing of the Treaty of Versailles in June, 1919, and the end of World War I,
Schueler left West Point and moved to New York City where he resumed his trombone
139
Ibid.
Glenn D. Bridges, “John P. Schueler,” Pioneers In Brass [CD-ROM], Coupeville, WA:
Trescott Research, 2001.
140
64
studies. During his time in New York City, Schueler studied privately with Arthur Pryor
and Leo Zimmerman, both former trombone soloists with the Sousa Band.
A Career with Sousa
In 1920, John Schueler was extended an invitation to join the Sousa Band, which
he accepted. He was to serve as the featured trombonist and also occupy the first chair
trombone position which had been vacated by the departed Ralph Corey. It is not known
if Schueler’s former teachers Arthur Pryor or Leo Zimmerman had an influence on his
selection as Sousa’s new trombone soloist, but his affiliation with the two former Sousa
Band soloists may have significantly increased his chances.
John’s brother William Schueler was also extended an invitation to join the band
as a member of the clarinet section the same season. William, like his brother John,
would remain with the band until the death of John Philip Sousa in March of 1932.
William would go on after leaving the Sousa Band to become the director of the Daytona
Municipal Band, a position he held for many years. A third Schueler brother joined the
band in 1922, when Henry joined the ensemble as a cornet player. Henry only remained
with the band for three seasons, but was very proud to be a member of the renowned
ensemble with his brothers.
John Schueler’s first verifiable solo performance with the Sousa Band occurred
on August 23, 1920 during the band’s annual engagement at Willow Grove Park in
Philadelphia, Pennsylvania.141 He performed a trombone solo composed by Hartly,
entitled Valse Fantastic, on the second of four concerts played that day. Following that
141
See Appendix C for a chronological listing of pieces performed by John Schueler during his
career with the Sousa Band.
65
performance, Schueler became a regular soloist, frequently occupying the customary
second slot on the program, which was reserved for the featured brass soloist.
John Schueler did not compose any of his own solo works, instead choosing to
champion the compositions of others. Schueler’s favorite technical solos were those
composed by Al Pinard, the first famous trombonist to endorse the King brand trombone
manufactured by the H.N. White Company, and trombone soloist with the Pryor Band.142
On several occasions, John Schueler performed a solo work composed by John Philip
Sousa entitled The Fighting Race.143 The piece was also used as a vocal feature, but was
one of Schueler’s most frequently performed solos. On all programs located before the
Willow Grove Park season of 1926, the composer of The Fighting Race is listed as
anonymous; however, during and after the 1926 Willow Grove Park engagement, The
Fighting Race is attributed to John Philip Sousa. In addition to playing trombone solos by
Sousa and Pinard, Schueler also performed compositions of Del Riego, Rollinson, and
Pryor.
Though not a master technician like Leo Zimmerman or Arthur Pryor; John
Schueler established a reputation as a “top notch” first chair trombonist, and a consistent,
well-rounded performer.144 When it came to solo or small ensemble work, Schueler
performed with great confidence and security. His trombone playing exhibited many of
the same characteristics as one of his former teachers, Leo Zimmerman. John Schueler’s
tone was described by Glenn Bridges as “of a bell-like quality, full and round.”145 These
142
Bridges, “John P. Schueler,” Pioneers In Brass.
Bierley, The Incredible Band of John Philip Sousa, 402.
144
Bridges, “John P. Schueler,” Pioneers In Brass.
145
Ibid.
143
66
tonal characteristics are also used to describe Zimmerman, who undoubtedly had a
profound impact on the playing style of Schueler.
Like each of the former Sousa Band trombone soloists, John Schueler endorsed
several music products and services. Pryor, Zimmerman, Corey, and Schueler performed
on C.G. Conn instruments, and the Sousa Band soloists were featured in numerous
magazine and newspaper advertisements endorsing the C.G. Conn brand. Schueler’s
endorsement in a 1922 C.G. Conn Ltd. advertisement reads:
“I sincerely believe the Conn Trombones to be without equal in every
detail. Remarkable playing qualities, rich tone, perfect scale, light and
dependable slide action.”146
Schueler also endorsed cornetist Jean Baptiste Arban’s method book, the Arban’s
Famous Method for Trombone, while he was a member of the Sousa Band.147
In order to maintain a steady income, Schueler and many of Sousa’s band
members performed with various musical organizations while the Sousa Band was
between engagements. In addition to his reputation as a Sousa man, Schueler also worked
with the Pryor, Conway, Bachman, and Dr. Everett Moses’s bands, Paul Whiteman’s
Orchestra, the vaudeville act of B. A. Rolfe, various bands and orchestras in New York
City theaters, and also served as a substitute trombonist with the Walter Damrosch and
Metropolitan Opera House Orchestras.148
John Schueler spent eleven seasons with the Sousa Band from 1920 to 1931.
During that time, he served as John Philip Sousa’s featured trombone soloist and also
occupied the first chair trombone position until the band stopped presenting live concerts
146
Unknown Author, 1922 Fall Tour Program from The Sousa Archives and Center for American
Music at the University of Illinois.
147
From the personnel file for John Schueler at The Sousa Archives and Center for American
Music at the University of Illinois.
148
Dickinson, “People Worth Knowing.”
67
in 1931. Schueler performed on nearly all tours during his eleven year career with Sousa,
with the exception of three short tours in 1930. Sousa engaged former trombone soloist
Leo Zimmerman to stand in during John Schueler’s absence for the three short tours, and
asked Zimmerman to remain with the group after Schueler returned. For the last tour of
1931 (the final tour of the Sousa Band), two of the finest trombone soloists of the age,
John Schueler and his former teacher Leo Zimmerman, played alongside each other.
Like many of the trombone soloists before him, John Schueler became familiar
with the recording industry while he was a member of the Sousa Band. Throughout the
1920s, Schueler played first trombone on the majority of the phonograph recordings
produced by the Sousa Band.149 As the Sousa Band tour schedule declined in number of
performances and length of tours, Sousa began to turn to radio as a viable performance
medium. When the Sousa Band stopped performing live concerts in September of 1931,
radio broadcasts were the only means of hearing a performance of Sousa’s band. John
Schueler performed on nearly all of the radio broadcasts.150 The first Sousa Band concerts
broadcast by radio occurred in 1929, and continued at intervals until Sousa’s death in
March of 1932.
A Career in Music Education
Following the death of John Philip Sousa and the disbanding of his ensemble,
John P. Schueler returned home to Utica, New York. He spent a year playing in the Avon
and Utica Theatres, and in 1933 accepted a music teaching position at Cook Academy in
Montour Falls, New York, a position he held for seven years. Upon accepting the staff
position at Cook Academy, John Schueler’s performance career came to an end. He
149
Bridges, “John P. Schueler,” Pioneers In Brass.
From the personnel file for John Schueler at The Sousa Archives and Center for American
Music at the University of Illinois.
150
68
dedicated himself to music education, and chose to retire from public performance, being
content with his legacy as Sousa’s last trombone soloist.
In 1940, Schueler moved to Syracuse, New York and spent eight years organizing
and directing school bands and orchestras. The next three years found Schueler in East
Syracuse, where he assisted in the establishment of a school music system while also
serving as an instructor for the Syracuse University Band. Schueler returned to Utica,
New York in 1951, where he accepted a position as a music therapist at the Utica State
Hospital. He stated that he felt a great sense of satisfaction and personal achievement
from his work as a music therapist.151 When his brother William resigned as director of
the Utica Civic Band in 1953, John Schueler was chosen to replace him. He served as the
conductor of the ensemble for six seasons until he retired in 1959.152 After leaving the
Utica Civic Band and retiring from the Utica State Hospital, Schueler taught brass
students two or three evenings each week, and, on occasion, traveled to Syracuse, New
York to work as a piano tuner.153
Family and Final Years
John Schueler married pianist and bank teller Mabel Humphrey in 1928, while he
was a member of the Sousa Band.154 John and Mabel had one son, John Paul Schueler Jr.,
who apparently inherited some of his parents’ musical talent. He excelled as a cornetist,
playing with several local school bands, but chose not to pursue music as a career, instead
choosing to leave Utica and obtain a degree in Business Administration at The University
of Cincinnati. John Paul Schueler Sr. died in Utica, New York on July 15, 1964 at age
151
Bridges, “John P. Schueler,” Pioneers In Brass.
Ibid.
153
Dickinson, “People Worth Knowing.”
154
Ibid.
152
69
seventy-two. He was the last of Sousa’s full-time trombone soloists, and was also the last
to pass away.
70
CHAPTER 6
OTHER TROMBONE SOLOISTS
Although Arthur Pryor, Leo Zimmerman, Ralph Corey, and John Schueler
performed as the full-time soloists for the vast majority of the Sousa Band’s existence,
other trombonists did make solo appearances with the famed ensemble. John Philip Sousa
would most often use the band’s regular summer engagement at Willow Grove Park in
Philadelphia, Pennsylvania as a testing ground for prospective members and new soloists.
The Sousa Band performed at Willow Grove Park, fourteen miles north of downtown
Philadelphia, every summer from 1901 through 1926, with the exception of 1911, when
the ensemble was on its world tour. The band performed a total of 2,751 concerts at
Willow Grove Park, and was the park’s greatest summer attraction for several years.155
The Willow Grove Park engagements served as an extended audition for some
members of the Sousa Band, while exceptional new musicians were featured as soloists.
This gave Sousa an opportunity to evaluate the new talent and determine if new members
had the necessary skills to become soloists on long tours. Sousa also used the Willow
Grove Park engagement to establish his musical “depth chart” and determine which
musicians would be capable of replacing current soloists if illness or injury prohibited
them from appearing.
In addition to the regular trombone soloists, six other men who played trombone
solos with the Sousa Band have been identified: Arthur Bauer, Louis Schmidt, Manuel
155
Bierley, The Incredible Band of John Philip Sousa, 49.
71
Yingling, Charles Gusikoff, Joseph DeLuca, and Henry “Wick” Ford. It is possible that
more trombonists could be added to this list; however, no verifiable account of their
performances can be located to date.
Arthur Bauer
Perhaps the most tragic story in the history of the Sousa Band trombone soloists is
that of a promising young trombonist from Wisconsin named Arthur Bauer. Arthur
Willard Bauer was born in Oshkosh, Wisconsin on December 25, 1881 to Mr. and Mrs.
Charles Bauer.156 Arthur was born into a very musical family, Mrs. Bauer being a skilled
pianist and Mr. Bauer being proficient on several instruments. Arthur Bauer began
playing violin at age eight and also demonstrated skill as a cellist. The resignation of
trombonist Charles Fell from the Lockwood & Bauer Orchestra in Oshkosh presented
Bauer an opportunity to learn to play trombone, in order to fill the position. His trombone
skills rapidly developed, and by 1895, at age 14, he was playing trombone with the
Columbia Band of Oshkosh. The following year, Bauer joined the Arion Band, which
was regarded as one of the finest band organizations in the region. He remained with the
Arion Band for four years, serving as first chair trombone and soloist with the group (See
Figure 15).
Arthur Bauer was a naturally gifted musician, and his abilities on the trombone
were, for someone of his age, remarkable. Bauer was said to have a sweet and pure tone
that was beautiful when playing soft dynamics and powerful at loud dynamics. He was
skilled in all forms of articulation including single, double, and triple tonguing. He had
great command of pedal tones and executed all of his solos with great clarity and
156
Unknown author, “To Go With Sousa,” The Daily Northwestern, (Oshkosh, WI, December 20,
1901).
72
security. Above all, he was a very expressive trombonist, which pleasantly surprised
many listeners, given Bauer’s youth.
A Sousa Band concert in Wisconsin in March of 1899 was the event where Arthur
Bauer and Arthur Pryor first crossed paths. Bauer expressed his desire to be a member of
Sousa’s band to Arthur Pryor and was invited to play for him in private. Pryor later
recalled that Bauer was “an unusually promising musician.”157 Bauer received a letter
from Pryor in the weeks following the concert, stating that he had not forgotten about the
young musician from Oshkosh, and that he had been searching for an opportunity to
secure a position for him in a prominent band in the eastern United States.158 In 1901,
Bauer wrote to famous bandleader Allessandro Liberati at the insistence of Arthur Pryor.
Liberati offered Bauer a position with his band, and Bauer accepted at a salary of
eighteen dollars per week. He traveled to Philadelphia, Pennsylvania to join Liberati’s
Band in May of 1900 for a twenty week summer engagement. During his time with
Liberati, he served as a section trombonist and trombone soloist, a position previously
held by his mentor, Arthur Pryor, earlier in his career.
When Bauer completed his contract with Liberati in the summer of 1901, he was
offered a position during the fall and winter months with Seymour’s Band, which was
based in Saint Louis, Missouri. Bauer spent the winter and spring months of 1901 playing
with Seymour’s Band, but was also considering an offer to join the renowned Ellis
Brooks Band, having been recommended for that position by Liberati. When not on tour
with Seymour or Leberati’s bands, Bauer performed with the Arion Band in Oshkosh. In
157
1902).
Unknown author, “Pryor Sizes Up Bauer,” The Daily Northwestern, (Oshkosh, WI, March 13,
158
Unknown author, “To Play in Liberati’s Famous Band,” The Daily Northwestern, (Oshkosh,
WI, May 19, 1900).
73
the summer of 1901, Bauer received a telegram from John Philip Sousa, director of the
famed Sousa Band:
“Buffalo, N.Y.-Can you join us Monday for two week’s engagement? Salary-$35
per week. Answer.”159
At the time Bauer received the telegram from Sousa, he was under contract with
Liberati’s Band as trombone soloist and was unable to accept the offer, which was to
perform with Sousa’s Band at the Pan-American Exposition. After his engagement with
Liberati ended, Bauer again played with Seymour’s Band until October and then rejoined
the Arion Band for the remainder of the fall and winter months.
Figure 15. The Arion Band (Bauer is seated on the far right)
On December 25, 1901, Bauer’s twentieth birthday, he received a telegram from
trombonist Arthur Pryor regarding his plans for 1902:
159
Unknown author, Untitled Article, The Daily Northwestern, (Oshkosh, WI, June 20, 1901).
74
“New York, December 25, 1901,- My Dear Bauer: Through efforts of mine, Mr.
Sousa has consented to create a position for you among the trombones of his
band. Now the salary will be $25 for the first road tour, which will last ten or
twelve weeks, and will begin about January 10. Now, if you accept this
engagement you must come on no later than January 3 so as to get your uniform
and give me a chance to get you in form. You better accept, as I think you will
advance and soon improve in salary and instrument. Please wire your answer at
once and oblige. Your friend, Arthur Pryor.”160
Arthur Bauer accepted the offer and wired a simple reply “Yes” to Pryor in New York.
Bauer left Oshkosh for New York City on January 3, 1902.
When he joined the band in 1902, twenty year old Bauer was the youngest
member of the Sousa Band. Upon arriving in New York City, The C. G. Conn Company
presented young Bauer with a brand new trombone that would have cost one hundred
twenty-five dollars. Arthur Pryor gave Bauer the second stand trombone position, next to
himself, and helped to coach the young trombonist in every way possible to improve his
abilities. During the first tour of ten weeks, Bauer was evaluated by both Pryor and
Sousa. Bauer exceeded all expectations of the men and was invited to remain as a
permanent member of the organization with an increase in his salary.161 On March 11,
1902, the Sousa Band played a Concert in Oshkosh, Wisconsin, and Arthur Pryor yielded
his position as soloist to allow his apprentice to present his first solo performance with
the Sousa Band in his home town in front of a crowd of 1,300 people.
Having secured a permanent spot with the Sousa Band and gained the confidence
of his mentor, Arthur Pryor; Bauer seemed destined for great things. Soon after joining
the Sousa Band, he was featured as a member of the brass sextet on the band’s first tour
from January to April of 1902. Bauer continued to perform as a member of the sextet
160
Unknown author, “To Go With Sousa’s Band,” The Daily Northwestern, (Oshkosh, WI,
December 30, 1901).
161
Unknown author, “Amusements,” The Daily Northwestern, (Oshkosh, WI, March 10, 1902).
75
during the Willow Grove Park engagement in the summer of 1902. Arthur Pryor was the
trombone soloist during the Willow Grove Park engagement, making solo appearances at
sixteen of the sixty eight concerts. On June 4, Pryor’s understudy, Arthur Bauer,
performed The Charmer (a trombone solo composed by Louis Boos) during the three
o’clock concert. The program noted that this was Arthur Bauer’s first appearance at
Willow Grove Park with the Sousa Band. Bauer appeared again as soloist one week later
on June 11. On that occasion, Bauer performed his own composition, Love’s Atonement,
on the eight o’clock program.
The Willow Grove Park engagement ended on June 15, 1902. Sousa’s next stop
was an eighty-five day engagement at the Steel Pier in Atlantic City, New Jersey from
June 28 to August 31. On one of the last days before the band left Atlantic City, Arthur
Bauer became ill. He was left in the care of a local physician, and the remainder of the
band moved on to their next engagement at the Pittsburgh Exposition, anticipating that
Bauer would rejoin them after his recuperation. On September 2, Bauer was diagnosed
with malaria; however, the illness quickly developed into typhoid fever. His symptoms
were favorable for the first few days, but more troubling symptoms developed, and his
health soon began to deteriorate.162 On Wednesday, September 17, 1902, Arthur Bauer
died of typhoid fever in Atlantic City, New Jersey at the age of twenty.
News of Bauer’s death reached the Sousa Band on September 18 while the
ensemble was performing in Indianapolis, Indiana. Arthur Pryor had just taken his seat on
stage when a messenger boy delivered a telegram from Atlantic City announcing the
death of his most promising pupil, Arthur Bauer. Pryor told his fellow bandsmen of the
162
Unknown author, “Arthur Bauer Dead,” The Daily Northwestern, (Oshkosh, WI, September 18,
1902).
76
news, and they gathered around him to read the message. Pryor stepped away to the side
of the stage and began to weep for the loss of his student and colleague.163 The Daily
Northwestern newspaper describes this scene from the Indianapolis performance on the
evening of September 18, 1902:
“Pryor could not restrain his tears. He played a solo [Love’s
Enchantment], was encored twice and on the third encore, which was
‘Nearer My God To Thee,’ he was forced to give up. He laid his trombone
aside, dropped into his chair, and placed both hands over his face, cried as
though his heart would break.”164
Pryor recognized that Arthur Bauer was destined for greatness. He stated that Bauer had
“perfect command of the instrument” and “a natural gift for music.”165 He also believed
that Bauer would one day be the greatest trombonist in the world, perhaps even better
than himself.166 It is a logical conclusion that Arthur Pryor may have been training Arthur
Bauer to be his replacement in Sousa’s Band. Pryor had aspirations of becoming
bandmaster of his own group, and in late 1903, left the Sousa Band to form his own
ensemble. Although he only played with the Sousa Band for eight months, Arthur Bauer
had a profound impact on the other men of the ensemble and made Oshkosh, Wisconsin
very proud. Arthur Bauer was buried in his Sousa Band uniform, with his hands wrapped
around his uniform cap.
Manuel Yingling
With the departure of Ralph Corey in early 1920, John Philip Sousa was again
tasked with replacing a long-time trombone soloist. The twenty-nine day Willow Grove
163
Unknown author, “Band Was Shocked,” The Daily Northwestern, (Oshkosh, WI, September
23, 1902).
164
Unknown author, “Overcome by His Feelings,” The Daily Northwestern, (Oshkosh, WI,
September 18, 1902).
165
Unknown author, “Pryor Sizes Up Bauer.”
166
Unknown author, “Arthur Bauer Dead.”
77
Park engagement of 1920 served as an audition for the vacant trombone soloist position.
Manuel Yingling, Charles Gusikoff, and John P. Schueler each had an opportunity to
stand in the spotlight as the trombone soloist of the Sousa Band and become the
successor to Ralph Corey.
Manuel “Manny” Yingling was born in Newcornerstown, Ohio on October 24,
1872. He became a career musician after going through the public school system in
Newcornerstown. After leaving Ohio, Yingling pursued music studies at both Oberlin
College of Music and The Boston Conservatory. He was associated with several bands
and orchestras throughout his distinguished career, including the Theodore Thomas
Orchestra (1893), Michael Brand’s Cincinnati Band (1893), The Ellis Brooks Band, The
Grand Army Band, Duquesne Theatre Orchestra (1896), Waite’s Grand Orchestra (189798), Beilstedt and Ballenberg Band (1897-98), the Great Eastern Band (1898), the Thayer
Military Band (1905), Prouty’s Orchestra of Boston (1905-09), Neddermeyer’s Band
(1909-1910), The Royal Scotch Highlanders Band (1914-1920), Conway’s Band (1919),
Sousa’s Band (1920), and Weber’s Prize Band of America (1921). In nearly all of the
bands that Yingling was associated, he was the featured trombone soloist.
In addition to his performing career, Manuel Yingling was also a conductor,
composer, and musical entrepreneur. As various performing engagements led him
throughout the United States, he maintained a home in Newcornerstown, Ohio, and for
many years, served as the conductor of the Hyperion Band, based out of that same city.
Yingling was also a composer of band music. The majority of his compositional output is
limited to marches and two-steps, although he did compose a solo for trombone entitled
Hyperion Polka, which was named after the band that he conducted in Newcornerstown.
78
Yingling also owned a music store in Newcornerstown which sold mainly sheet music,
records, and Victrolas, an expensive internal horn phonograph.167
Unlike Sousa band trombone soloists who uniformly endorsed C. G. Conn
instruments, Manuel Yingling endorsed the instruments of other manufacturers during his
career. Yingling endorsed the Distin trombone until 1909, when Henry Distin sold his
factory to Brua Keefer. When Keefer assumed control of the business, he changed the
name and began manufacturing Keefer instruments, which Yingling would endorse for at
least fifteen years. As the conductor of the Hyperion Band in Newcornerstown, Yingling
arranged for the ensemble to play exclusively on Keefer instruments. After a factory fire
in 1941, the Keefer Instrument Company went out of business, although some
instruments still exist today.
Yingling had a reputation as a very fine trombonist. The director of the Scotch
Highlander Band once stated that he considered Yingling the equal of Arthur Pryor.168 In
1920, Yingling would finally get the opportunity to prove true the claim that he was
Pryor’s equal when he performed as soloist with the Sousa Band. The exact date that
Yingling began playing with the band is, at present, unknown; however, he was a section
trombonist and soloist with the Sousa Band during the Willow Grove Park season in the
summer of 1920. In a postcard sent from Willow Grove Park dated September 7, 1920,
Yingling wrote:
“This pavilion in which we play seats nine thousand people and we have
had it packed full on several occasions. This is our fourth week here. We
start out on the road next Monday.”169
167
Gretchen Kisham Neiding, Personal Correspondence with Paul Bierley, Bierley Papers, The
Sousa Archive for American Research at The University of Illinois.
168
From the personnel file for Manuel Yingling at The Sousa Archives and Center for American
Music at the University of Illinois.
169
Ibid.
79
Yingling anticipated the fall tour with Sousa; however he would not remain with the
Sousa Band very long. Tragically, his career with the Sousa Band was cut short when he
suffered a stroke in late 1920. After recovering, Yingling returned home to
Newcornerstown, Ohio, and invested the majority of his time into directing the Hyperion
Band and operating his music store. The next few years were difficult for Yingling, as his
health declined due to a series of strokes. Ultimately, it was a stroke that claimed his life
on March 7, 1925 at age fifty-two.
Charles Gusikoff
The 1920 season, in addition to Schueler and Yingling, also presented trombonist
Charles Gusikoff an opportunity to serve as soloist. Gusikoff was involved with the
Sousa Band only during the 1920 summer season at Willow Grove Park, in Philadelphia
Pennsylvania, where he was listed on all programs as trombone soloist.170 Whereas John
P. Schueler only had two verifiable performances, Gusikoff was featured on eight
separate occasions. Although Schueler eventually became Sousa’s long-tour trombone
soloist for eleven years, the 1920 summer season belonged to Charles Gusikoff.
Charles Gusikoff was born on July 13, 1897 in New York City, New York. Not
much is known about his early career, but his career with Sousa began at Willow Grove
Park in 1920 when Gusikoff was only twenty-three years old. His first performance as
trombone soloist with the Sousa Band came on August 21, when he performed Del
Riego’s Oh, Dry Those Tears. Two days later, on August 23, Gusikoff performed At
Dawning by Cadman. On August 25 and 26, Gusikoff was featured on consecutive
evenings, performing Phillips’s The King of the Vikings Am I and Sousa’s The Fighting
170
From the personnel file for Charles Gusikoff at The Sousa Archives and Center for American
Music at the University of Illinois.
80
Race, respectively. August 28 featured the trombonist on Cujus Animam by Rossini on
the first evening concert. On August 30, Gusikoff was center stage for another solo
performance of Del Riego’s Oh, Dry Those Tears. His next solo opportunity came on
September 3, when he performed Olcott’s Macushla on the first concert of the day.
Gusikoff’s final verifiable performance with the Sousa Band was on September 10 when
he again performed Rossini’s Cujus Animam. The Willow Grove engagement, as well as
Charles Gusikoff’s brief episode with the Sousa Band, ended two days later on
September 12, 1920.
Figure 16. 1948 Philadelphia Orchestra Trombone Section (Left to right: Robert Lambert,
Charles Gusikoff, Earl Leavitt and Robert Harper)171
Gusikoff left the Sousa band and went on to achieve many great musical
accomplishments. In 1931, he was appointed principal trombonist with the Philadelphia
Orchestra, a position he held until 1957.172 He continued to play as an assistant to Henry
171
Bruce Tracy, “Orchestral Showcase: The Philadelphia Orchestra,” International Trombone
Association Journal 12, no. 3 (July 1984): 16.
172
Ibid., 19.
81
Charles Smith (one of his former students) for two seasons, finally retiring from the
orchestra in 1959. Charles Gusikoff served as a staff member at the Conservatoire de
Musique du Québec, and was also a member of the faculty at The Curtis Institute of
Music in Philadelphia, Pennsylvania. As an educator, Gusikoff influenced some of the
greatest orchestral trombonists of the second half of the twentieth century, including
Glenn Dodson and Henry Charles Smith. Charles Gusikoff died in Philadelphia,
Pennsylvania in September of 1966.
One-Time Soloists
The author has verified that three other men performed as trombone soloist with
the Sousa Band during its thirty-nine year history. These three men, Louis Schmidt,
Henry Ford, and Joseph DeLuca, may have replaced full-time trombone soloists when
they fell ill or were otherwise incapable of performing. It is possible that these men
performed on more than one occasion; however, verifiable information is not known at
this time.
Louis Schmidt joined the Sousa Band as a section trombonist in 1916. While on
tour in 1917, Schmidt appeared as trombone soloist when the band appeared at Dominion
Park in Montreal, Quebec, Canada from July 14 to July 29.173 Schmidt left the Sousa
Band in 1917, and went on to play with the New York Symphony Orchestra, which
merged with the Philharmonic Society of New York to form the Philharmonic-Symphony
Society of New York, which later became the New York Philharmonic. Schmidt rejoined
the Sousa Band for radio broadcasts in 1929 and 1931.
Henry “Wick” Ford first joined the Sousa Band for a portion of the 1923-1924
tour and joined the ensemble full-time the following season. Wick Ford had his
173
Bierley, The Incredible Band of John Philip Sousa, 235.
82
opportunity to demonstrate his skills as trombone soloist during the Sousa Band’s annual
engagement at Willow Grove Park in 1925. Ford was featured on the first concert
program of the day on September 1 and performed The Wanderer by Harlow. As Sousa
often used Willow Grove performances to guage the abilities of his men as soloists, it is
likely that Ford did not meet with Sousa’s strict standards. After playing as a section
trombonist for two years, Wick Ford left the Sousa Band at the conclusion of the 19251926 tour.
Born in Rome, Italy in March of 1890, Joseph DeLuca became one of the bestknown euphonium soloists in the United States. He was a graduate of the Perugia
Conservatory of Music in Italy, and was an accomplished musician in his home country;
having played with many bands and orchestras before immigrating to the United States.
He joined the Sousa Band in 1921, replacing John J. Perfetto as first chair euphonium and
soloist. In addition to being a fine euphonium player, DeLuca was also a proficient
trombonist. Although he played with the Sousa Band for many years, DeLuca was also a
member of Victor Herbert’s Orchestra and the bands of Giuseppe Creatore, Patrick
Conway, and Frederick Innes.174
DeLuca played with the Sousa Band until 1928, and during his time with Sousa,
exhibited his skills on trombone as well as euphonium. He appeared as trombone soloist
during the 1925 Willow Grove Park engagement, performing John Philip Sousa’s
composition, The Fighting Race. DeLuca may have appeared as trombone soloist on
many other occasions; however, the programs to verify those performances have not yet
been discovered. Deluca was a prolific composer, having over two hundred compositions
attributed to his name. His compositional output is comprised largely of band music and
174
Ibid., 64.
83
euphonium solos, which he performed as a member of The Sousa Band. His most wellrecognized composition is the euphonium solo Beautiful Colorado.
Joseph DeLuca left the Sousa Band at the close of the 1928 season. He went on to
play in the recording studios for the Columbia Phonograph Company, Edison Records,
and the Victor Phonograph Company. In later years, DeLuca served as conductor of the
Tucson (Arizona) Symphony Orchestra and was the Director of Bands at the University
of Arizona from 1928 to 1935. Joseph DeLuca died in Tucson, Arizona on October 22,
1935 at age forty-five.
Figure 17. Joseph DeLuca175
175
Ibid.
84
CONCLUSION
Although John Philip Sousa featured some of the world’s finest trombonists
during his thirty-nine years as civilian bandleader, he was not the first to utilize the
trombone in a solo capacity with wind band. The Original Boston Brass Band, the
Theodore Thomas Orchestra, the bands of Patrick Gilmore, Patrick Conway, Alessandro
Liberati, and Frederick Innes each featured the trombone in a solo capacity. The
longevity and popularity of the Sousa Band made stars of Arthur Pryor and Leo
Zimmerman, but the rise of the recording industry and radio in the 1920s signaled the end
of the “Golden Age” of the American concert band.
The solo trombonists of the Sousa Band were phenomenal musicians, and many
went on to achieve great musical success and notoriety after their affiliation with Sousa.
Arthur Pryor, Leopold Zimmerman, and Joseph DeLuca, were among some of the most
important names in the early recording industry, making recordings for Edison Records,
the Victor Phonograph Company, and the Columbia Phonograph Company. Two former
soloists, Charles Gusikoff and Louis Schmidt, went on to perform with prestigious
orchestral ensembles, including the Philadelphia Orchestra, and the New York Symphony
Orchestra. Many soloists, like John Schueler, Joseph DeLuca, and Charles Gusikoff,
chose to use the skills they demonstrated as performers with the Sousa Band to educate
future generations of musicians. Several of the trombone soloists followed in the steps of
John Philip Sousa and became conductors. Joseph DeLuca directed the Tucson
85
Symphony Orchestra for several years, John Schueler served as director of the Utica
Civic Band, Manuel Yingling spent many seasons as conductor of the Hyperion Band,
and Arthur Pryor gained notoriety as a band leader with his own touring organization,
which he formed in 1903. Arthur Pryor’s name is the most recognized of the ten men
who served as John Philip Sousa’s trombone soloists. The other nine musicians, in spite
of their remarkable accomplishments, have been largely forgotten.
By the dawn of the twentieth century, the Sousa Band had established a reputation
as the preeminent musical ensemble in the United States, if not the world. Countless
young musicians were, no doubt, inspired by the musicians of the Sousa Band, and the
influence of the soloists as a source of inspiration to a younger generation of musicians
cannot be overlooked. Though their impact may have been subtle, it was nonetheless
significant as it contributed to the increase in popularity of trombone as an instrument and
established standards for future generations of players, conductors, and composers
regarding the capabilities of the instrument. Although the names of Bauer, Corey,
DeLuca, Ford, Gusikoff, Pryor, Schmidt, Schueler, Yingling, and Zimmerman may not
be familiar to the musicians of this generation, their impact on the lives of all of those
they touched at some point in theirs, has helped shape the face of the history of the
trombone.
86
APPENDIX A
VERIFIED PERFORMANCES BY SOUSA BAND TROMBONE SOLOISTS:
TROMBONE SOLOIST, YEARS OF EMPLOYMENT, COMPOSITIONS
PERFORMED, COMPOSERS, AND NUMBER OF VERIFIABLE SOLO
PERFORMANCES, 1892-1931
SOLOIST
Arthur Pryor
(1892-1903)
COMPOSITION
COMPOSER
Air and Variations
Air Varie176
American Fantasie
Annie Laurie
Blue Bells of Scotland
Comin’ thro the Rye
Cujus Animam from Stabat Mater
Down Deep Within A Cellar
Espirito d’Corps
Felice
Honeysuckle and the Bee, The
I Love You, But I Don’t Know Why
Just One Girl
Les Perles
Love Thoughts
Love’s Enchantment
Love’s Old Sweet Song
Nearer My God to Thee
Olympia
On the Banks of the Wabash
Only One Girl in the World for Me
Palms, The
Patriot, The
Pensee de Armour
Rocked in the Cradle of the Deep
Say Au Revoir, but Not Goodbye
Serenade from I Pagliacci
Signal, The
Sunflower and the Sun, The
176
Vorberon
Pryor
Pryor
Pryor
Pryor
Ennis
Rossini
Fischer
Pryor
Liberati
Penn
Edwards
Udal
Mayeno
Pryor
Pryor
Molloy
Unknown
Voberon
Dresser
Marion
Faure
Pryor
Pryor
Pryor
Kennedy
Leoncavallo
Brooke
Penn
NUMBER OF
PERFORMANCES
2
23
1
12
6
1
2
10
1
4
3
2
1
1
25
22
1
1
1
1
2
6
15
1
4
2
1
1
7
Arthur Pryor’s composition Air Varie was also listed in Sousa Band programs as Air and
Variations, Air Original, Air Varied, and Theme and Variations.
87
SOLOIST
COMPOSITION
COMPOSER
Sweet Lorena Ray
Tale of the Kangaroo from
Burgomaster
Theme and Variations
Valse Caprice
Arthur Bauer
(1902)
Leo Zimmerman
(1903-09, 30-31)
Ralph Corey
(1906-1920)
Charmer, The
Love’s Atonement
Love’s Enchantment
Aereo
Air Varie
American Beauty
Cujus Animam from Stabat Mater
Just My Style
Leona
Patriotic Medley
Pride of the West
Robin Adair
Waltz Caprice
When You Know You’re Not
Forgotten
Cujus Animam from Stabat Mater
Dear Old Pal of Mine
I Hear You Calling Me
Love’s Enchantment
Love That Flies Forever, The
Love Thoughts
Oh, Dry Those Tears
Polka Caprice
Valse Caprice
We Are Coming
88
NUMBER OF
PERFORMANCES
Pryor
Luders
4
3
Rollinson
Pryor
1
4
Total
171
Boos
Bauer
Pryor
1
1
1
Total
3
Zimmerman
Zimmerman
Zimmerman
Rossini
Unknown
Zimmerman
Zimmerman
Zimmerman
Unknown
Zimmerman
Unknown
2
1
5
3
1
5
1
1
1
1
1
Total
22
Rossini
Gitz-Rice
Marshall
Pryor
Unknown
Pryor
Del Riego
Waldron
Pryor
Unknown
2
2
9
4
1
3
4
3
3
1
Total
32
SOLOIST
COMPOSITION
COMPOSER
Charles Gusikoff At Dawning
(1920)
Cujus Animam from Stabat Mater
Fighting Race, The
King of the Vikings Am I, The
Macushla
Oh, Dry Those Tears
John Schueler
(1920-1931)
Wick Ford
(1925)
Joseph DeLuca
(1925)
Asleep in the Deep
Columbia Polka
Cujus Animam from Stabat Mater
Dear Heart
Fighting Race, The
Love Thoughts
Monarch, The
Oh, Dry Those Tears
Rocked in the Cradle of The Deep
Scene from Il Trovatore
Standard Watch, The
Valse Fantastic
Wanderer, The
Fighting Race, The
177
NUMBER OF
PERFORMANCES
Cadman
Rossini
Sousa177
Phillips
Olcott
Del Riego
1
2
1
1
1
2
Total
8
Petrie
Rollinson
Rossini
Mattie
Sousa
Pryor
Pinard
Del Riego
Knight
Verdi
Lindpainter
Hartly
1
2
2
1
9
1
6
9
1
2
1
1
Total
36
Harlow
1
Total
1
Del Riego
1
Total
1
The Fighting Race is attributed to Sousa in various programs, while in other programs, no
composer is listed.
89
APPENDIX B
COMPOSITIONS PERFORMED BY TROMBONE SOLOISTS WITH THE SOUSA
BAND:
TITLE OF COMPOSITION, COMPOSER, AND YEAR(S) PERFORMED
COMPOSITION
Aero
Air and Variations
COMPOSER
Zimmerman
Pryor
Air and Variations
Air Original
Air Varie178
Air Varie
American Beauty
American Fantasie
Annie Laurie
Asleep in the Deep
At Dawning
Blue Bells of Scotland
Charmer, The
Columbia
Comin’ thro the Rye
Cujus Animam from Stabat Mater
Voberon
Pryor
Pryor
Zimmerman
Zimmerman
Pryor
Pryor
Petrie
Cadman
Pryor
Boos
Rollinson
Ennis
Rossini
Dear Heart
Dear Old Pal of Mine
Deep Down Within A Cellar
Espirito d’Corps
Felice
Fighting Race, The
Mattie
Gitz-Rice
Fischer
Pryor
Liberati
Sousa
Honeysuckle and the Bee, The
I Hear You Calling Me
I Love You, But I Can’t Tell Why
Just One Girl
Just My Style
King of the Vikings Am I, The
Penn
Marshall
Edwards
Udal
Undetermined
Phillips
178
YEARS PERFORMED
1906, 30
1893, 94, 95, 96, 97, 98,
1900
1893
1899, 1901
1897
1903, 04
1903, 04, 05, 07
1898
1894, 96, 97, 1901, 02
1920
1920
1899, 1900, 01, 02
1902
1924, 27
1893
1903, 04, 05, 09, 20, 22,
30
1924
1919
1902, 03
1893
1894, 97, 98, 1901
1920, 22. 23, 24, 25,
26
1902
1915, 16, 17, 18, 19
1901
1899
1905
1920
Arthur Pryor’s composition Air Varie was also listed in Sousa Band programs as Air and
Variations, Air Original, Air Varied, and Theme and Variations.
90
COMPOSITION
Leona
COMPOSER
Zimmerman
Les Perles
Love’s Atonement
Love’s Enchantment
Mayeno
Bauer
Pryor
Love’s Old Sweet Song
Love That Flies Forever, The
Love Thoughts179
Molloy
Undetermined
Pryor
Macushla
Monarch, The
Monarch Polka
My Old Kentucky Home
Oh, Dry Those Tears
Olcott
Pinard
Knoll
Zimmerman
Del Riego
Olympia
Only One Girl in the World for Me
On The Banks of the Wabash Far Away
Palms, The
Patriot, The
Patriotic Medley
Pensee d’Armour
Polka Caprice
Polka Ronda
Pride of the West
Robin Adair
Rocked in the Cradle of The Deep
Rocked in the Cradle of the Deep
Say Au Revoir But Not Good Bye
Standard Watch, The
Sunflower and the Sun, The
Sweet Lorena Ray(song)
Tale of A Kangaroo, from Burgomaster, The
Theme and Variations
Theme and Variations
Valse Caprice
Valse Fantastic
Wanderer, The
Waltz Caprice
We Are Coming
When You Know You’re Not Forgotten
Voberon
Marion
Dresser
Faure
Pryor
Zimmerman
Pryor
Waldron
Waldron
Zimmerman
Undetermined
Knight
Pryor
Kennedy
Lindpainter
Penn
Pryor
Luders
Rollinson
Pryor
Pryor
Hartly
Harlow
Zimmerman
Undetermined
Undetermined
179
YEARS PERFORMED
1903, 04, 05, 06, 07,
30
1893
1902
1902, 03, 10, 11, 15,
17
1894
1918
1898, 99, 1900, 01, 02,
08, 09, 18, 21
1920
1921, 23, 24, 26
1926
1903, 04
1913, 14, 15, 20, 21, 22,
23, 24, 25, 26
1893
1896
1898
1897, 98, 1901
1901, 02, 03
1904, 06
1898
1913, 14
1914
1907
1905
1893, 1924
1894
1896
1924
1903
1897
1901
1893
1894
1898, 1917, 18
1920
1925
1904
1918
1907
Arthur Pryor’s composition Love Thoughts was also listed in Sousa Band programs as Love’s
Thought, Pensee d’Armour and Thoughts of Love.
91
DUETS
COMPOSITION
Cornettist, the Trombonist and the Stone
Breakers, The
Cousins
Duet from Aida
Fair Luna
Final Scene and Oh, Fatal Stone from Aida
Grand Scene from Oh, Fatal Stone
Grand Scene and Duet from Oh, Fatal Stone
Liberty Duet from Puritana
Miserere
Oh, Fatal Stone from Aida
Scene from Il Trovatore
See the Pale Moon
COMPOSER
Kling
YEARS PERFORMED
1892
Clarke
Verdi
Campana
Verdi
Verdi
Verdi
Bellini
Verdi
Verdi
Verdi
Campana
1908
1902, 15, 17, 23
1908
1916
1908, 09, 10
1907
1902
1906, 08, 09
1911, 1921
1921, 22
1904, 05, 07, 08
92
APPENDIX C
CHRONOLOGICAL LISTING OF SOLO APPEARANCES BY SOUSA’S TROMBONISTS:
SOLO TROMBONE PERFORMANCES BY YEAR INCLUDING: DATE, PERFORMANCE LOCATION, COMPOSITION,
COMPOSER, AND TIME.180
YEAR DATE
1892
October 14
1893
LOCATION
Chicago, IL
SOLOIST
Pryor, Arthur
July 1
July 7
Allentown, PA
Chicago World’s Fair (Columbia
Exposition)
Chicago World’s Fair (Columbia
Exposition)
Chicago World’s Fair (Columbia
Exposition)
Chicago World’s Fair (Columbia
Exposition)
Manhattan Brach, NY
Manhattan Beach, NY
July 13
July 16
Manhattan Beach, NY
Manhattan Beach, NY
Pryor, Arthur
Pryor, Arthur
July 18
July 21
Manhattan Beach, NY
Manhattan Beach, NY
Pryor, Arthur
Pryor, Arthur
December 9
June 7
June 17
June 19
June 28
COMPOSER
Pryor181
NOTES
Evening
Pryor, Arthur
Pryor, Arthur
COMPOSITION
Rocked in the Cradle of
the Deep
Stone Breakers, The
Theme and Variations
Kling
Rollinson
Duet
Pryor, Arthur
Espirito d’Corps
Pryor
Pryor, Arthur
Les Perles
Mayeno
Pryor, Arthur
Air and Variations
Vorberon
Pryor, Arthur
Pryor, Arthur
Air Varied
Rocked in the Cradle of
The Deep
Air and Variations
Rocked in the Cradle of
The Deep
Olympia (Olympic)
Comin thro’ the Rye
Pryor
Pryor
Evening – 7:15
Evening – 9:00
Vorberon
Pryor
Evening – 7:15
Evening – 9:00
Voberon
Ennis
Evening – 9:00
Evening – 7:15
180
The primary sources used in compiling this list were the Sousa Band printed programs and the Sousa Band Press Books on file at The Sousa
Archives and Center for American Music at the University of Illinois. There were numerous discrepancies in the programs and reviews with regard to titles,
composers and arrangers. Composition titles were frequently shortened or abbreviated and many programs listed composers, but not arrangers. There were also
widespread spelling inconsistencies with regard to the composition titles, composers, and performers.
181
This piece is attributed to Arthur Pryor on several occasions; however, it was more than likely composed by Joseph Philip Knight.
93
YEAR DATE
August 13
November 26
December 3
1894
January 18
July 3
1895
1896
LOCATION
Manhattan Beach, NY
Brooklyn, NY
Brooklyn, NY
Brooklyn, NY
Manhattan Beach, NY
SOLOIST
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
July 4
Manhattan Beach, NY
Pryor, Arthur
August 5
October 26
November 1
November 11
November 11
November 18
December 15
December 18
March 15
March 16
March 27
June 3
December 9
January 18
Manhattan Beach, NY
Saint Louis Exposition
Kalamazoo, MI
Rochester, NY
Rochester, NY
Boston Theatre, KY
Philadelphia, PA
Easton, PA
South Bethlehem, PA
Philadelphia, PA
Buffalo, NY
Quebec, Canada
Spartanburg, SC
Rochester, NY
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
January 18
January 18
Rochester, NY
Rochester, NY
Pryor, Arthur
Pryor, Arthur
January 18
Rochester, NY
Pryor, Arthur
May 31
May 31
Rochester, NY
Rochester, NY
Pryor, Arthur
Pryor, Arthur
April 25
Northampton/ Springfield, MA
Pryor, Arthur
94
COMPOSITION
Signal, The
Air Varie
Undetermined
Unknown
Serenade from I
Pagliacci
Cujus Animam from
Stabat Mater
Felice
Air Varie
Air Varie
Annie Laurie
Love’s Old Sweet Song
Theme and Variations
Air and Variations
Air Varie
Air and Variations
Air and Variations
Air and Variations
Air and Variations
Air and Variations
Only One Girl in the
World for Me
Annie Laurie
Only One Girl in the
World for Me
Say Au Revoir But Not
Good Bye
Annie Laurie, air varie
Say Au Revoir But Not
Good Bye
Air and Variations
COMPOSER
Brooke
Pryor
NOTES
Afternoon
Leoncavallo
Rossini
Liberati
Pryor
Pryor
Pryor
Molloy
Pryor
Pryor
Pryor
Pryor
Pryor
Pryor
Pryor
Pryor
Marion
Matinee
Pryor
Marion
Evening
Encore
Kennedy
Encore
Pryor
Kennedy
Evening
Encore
Pryor
Evening
Encore
Evening
Matinee
YEAR DATE
June 14
1897
1898
LOCATION
Manhattan Beach, NY
SOLOIST
Pryor, Arthur
Undetermined
Manhattan Beach, NY
Pryor, Arthur
Undetermined
Undetermined
January 27
January 27
February 6
February 6
February 6
March 28
March 28
March 29
March 29
April 1
April 1
April 26
May 14
May 16
July 5
October 16
Manhattan Beach, NY
Manhattan Beach, NY
Youngstown, OH
Youngstown, OH
St. Louis, MO
St. Louis, MO
St. Louis, MO
Rochester, NY
Rochester, NY
Rochester, NY
Rochester, NY
Utica, NY
Utica, NY
Boston, MA
Philadelphia, PA
Washington, D.C.
Manhattan Beach, NY
Western Pennsylvania Exposition
Society
New York, NY
New York, NY
New York, NY
Burlington, IA
Burlington, IA
Fremont/ Sandusky, OH
Rochester, NY
Pittsburgh, PA
January 8
January 8
January 8
February 14
February 14
February 28
March 3
September 9
COMPOSER
Pryor
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
COMPOSITION
New Fantasia, Annie
Laurie
Rocked in the Cradle of
the Deep
Air Varie
Felice
Annie Laurie
Palms, The
Annie Laurie
Sweet Lorena Ray
Palms, The
Annie Laurie, air varie
Sweet Lorena Ray
Annie Laurie, air varie
Sweet Lorena Ray
Annie Laurie, air varie
Sweet Lorena Ray
Air and Variations
Palms, The
Air and Variations
Air Varie
Felice
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Air and Variations
Pensee D’Armour
Valse Caprice
Valse Caprice
Palms, The
Valse Caprice
Valse Caprice
Love Thoughts
Pryor
Pryor
Pryor
Pryor
Faure
Pryor
Pryor
Pryor
95
NOTES
Pryor
Pryor
Liberati
Pryor
Faure
Pryor
Pryor
Faure
Pryor
Pryor
Pryor
Pryor
Pryor
Pryor
Pryor
Faure
Pryor
Pryor
Liberati
Encore
Encore
Encore
Evening
Encore
Evening
Encore
Evening
Encore
Encore
Encore
Encore
Evening
YEAR DATE
September 9
LOCATION
Pittsburgh, PA
SOLOIST
Pryor, Arthur
Pittsburgh, PA
St. Louis, Exposition, St. Louis,
MO
St. Augustine/ Jacksonville, FL
New Orleans, LA
Chicago, IL
Rochester, NY
Rochester, NY
Providence, RI
Manhattan Beach, NY
Newark/ Zanesville, OH
St. Joseph, MO
New York, NY
Berlin, Germany
Paris Exposition
U.S.M.S. St. Louis (At Sea)
Brooklyn, NY
Scranton, PA
Scranton, PA
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
January 17
February 18
February 18
Fresno, CA
Fresno, CA
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
February 18
Fresno, CA
Pryor, Arthur
March 28
March 28
Rochester, NY
Rochester, NY
Pryor, Arthur
Pryor, Arthur
September 9
October 14
1899
1900
1901
January 26
February 5
April 5
April 16
April 16
May 5
August 8
September 23
March 2
April 22
August 5
August 19
September 7
January 3
January 9
January 9
96
COMPOSITION
COMPOSER
On the Banks of the Dresser
Wabash Far Away
Palms, The
Faure
American Fantasie
Pryor
Love Thoughts
Love’s Thoughts
Air Original
Thoughts of Love
Just One Girl
Love Thoughts
Blue Bells of Scotland
Love Thoughts
Blue Bells of Scotland
Air and Variations
Air and Variations
Air and Variations
Love Thoughts
Patriot, The
Patriot, The
Tale of a Kangaroo,
from Burgomaster, The
The Patriot
The Patriot
I Love you, But I Can’t
Tell Why
Tale of a Kangaroo,
from Burgomaster, The
Patriot Polka, The
I Love you, But I Can’t
Tell Why
NOTES
Encore
Encore
Pryor
Pryor
Pryor
Pryor
Udal
Pryor
Pryor
Pryor
Pryor
Pryor
Pryor
Pryor
Pryor
Pryor
Pryor
Luders
Evening
Encore
Pryor
Pryor
Edwards
Evening
Encore
Luders
Encore
Pryor
Edwards
Evening
Encore
Evening
Encore
YEAR DATE
March 28
April 13
May 5
May 5
May 14
May 18
May 25
May 26
May 28
May 29
May 30
May 31
May 31
May 31
June 1
June 2
June 4
June 5
June 6
June 8
June 9
September 30
October 4
November182
December 1
December 4
LOCATION
Rochester, NY
SOLOIST
Pryor, Arthur
COMPOSER
Luders
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
COMPOSITION
Tale of a Kangaroo,
from Burgomaster, The
Patriot, The
Thoughts of Love
Palms, The
Patriot, The
Patriot, The
Patriot, The
Love Thoughts
Annie Laurie
Love Thoughts
Patriot, The
Love Thoughts
Blue Bells of Scotland
Annie Laurie
Felice
Love Thoughts
Patriot, The
Air Original
Blue Bells of Scotland
Felice
Love Thoughts
Love Thoughts
Love Thoughts
Worcester, MA
Rochester, NY
Rochester, NY
Big Rapids/ Muskegon, MI
Toronto, Canada
Willow Grove Park/ Philadelphia
Willow Grove Park/ Philadelphia
Willow Grove Park/ Philadelphia
Willow Grove Park/ Philadelphia
Willow Grove Park/ Philadelphia
Willow Grove Park/ Philadelphia
Willow Grove Park/ Philadelphia
Willow Grove Park/ Philadelphia
Willow Grove Park/ Philadelphia
Willow Grove Park/ Philadelphia
Willow Grove Park/ Philadelphia
Willow Grove Park/ Philadelphia
Willow Grove Park/ Philadelphia
Willow Grove Park/ Philadelphia
Manhattan Beach, NY
U.S.M.S. St. Louis (At Sea)
Glasgow, Scotland/ Glasgow
Exhibition
Empire Theatre, London, England
Sandringham, England
London, England
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Blue Bells of Scotland
Thought of Love
Love Thoughts
Pryor
Pryor
Pryor
182
Pryor
Pryor
Faure
Pryor
Pryor
Pryor
Pryor
Pryor
Pryor
Pryor
Pryor
Pryor
Pryor
Liberati
Pryor
Pryor
Pryor
Pryor
Liberati
Pryor
Pryor
Pryor
NOTES
Encore
Evening
Encore
Evening
Evening
Evening
Afternoon
Evening
Evening
Evening
Evening
Evening
Evening
Evening
Afternoon
Evening
The Sousa Band performed a fourteen day series of afternoon concerts at the Empire Theatre in London, England from November 23 through
December 7. Pryor’s performance fell on one of those fourteen days, although the exact date was not printed on the program found in The Sousa Archives and
Center for American Music at the University of Illinois.
97
YEAR DATE
1902
January 13
March 11
May 30
May 31
June 1
June 2
June 3
June 4
June 4
June 5
June 7
June 8
June 9
June 10
June 11
1903
LOCATION
Troy, NY
Oshkosh, WI
Willow Grove Park/ Philadelphia
Willow Grove Park/ Philadelphia
Willow Grove Park/ Philadelphia
Willow Grove Park/ Philadelphia
Willow Grove Park/ Philadelphia
Willow Grove Park/ Philadelphia
Willow Grove Park/ Philadelphia
Willow Grove Park/ Philadelphia
Willow Grove Park/ Philadelphia
Willow Grove Park/ Philadelphia
Willow Grove Park/ Philadelphia
Willow Grove Park/ Philadelphia
Willow Grove Park/ Philadelphia
SOLOIST
Pryor, Arthur
Bauer, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Bauer, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
June 11
June 12
June 15
September 18
September 18
Willow Grove Park/ Philadelphia
Willow Grove Park/ Philadelphia
Willow Grove Park/ Philadelphia
Indianapolis, IN
Indianapolis, IN
Bauer, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor Arthur
Pryor Arthur
September 28
November 24
November 24
Chicago, IL
Rochester, NY
Rochester, NY
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
November 24
January 2
January 2
January 27
January 27
Rochester, NY
London, England
London, England
Southport, England
Southport, England
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
98
COMPOSITION
Love’s Enchantment
Love’s Enchantment
Love’s Enchantment
Love Thoughts
Love’s Enchantment
Blue Bells of Scotland
Annie Laurie
Charmer, The
Patriot, The
Love’s Enchantment
Love Thoughts
Love’s Enchantment
Patriot, The
Love’s Enchantment
Liberty Duet from
Puritania
Love’s Atonement
Duet from Aida
Love’s Enchantment
Love’s Enchantment
Nearer My God To
Thee
Love Thoughts
Love’s Enchantment
Honeysuckle and the
Bee, The
In the Deep Cellar
Love’s Enchantment
Patriot, The
Love’s Enchantment
In the Deep Cellar
COMPOSER
Pryor
Pryor
Pryor
Pryor
Pryor
Pryor
Pryor
Boos
Pryor
Pryor
Pryor
Pryor
Pryor
Pryor
Bellini
NOTES
Bauer
Verdi
Pryor
Pryor
Evening
Duet/ Afternoon
Evening
Evening
Afternoon
Evening
Evening
Evening
Evening
Afternoon
Evening
Evening
Evening
Evening
Evening
Evening
Duet/ Afternoon
Encore
Pryor
Pryor
Penn
Fischer
Pryor
Pryor
Pryor
Fischer
Evening
Encore
Encore
Evening
Encore
YEAR DATE
January 31
February 2
February 2
February 4
February 4
February 20
February 20
March 4
March 4
March 9
March 9
LOCATION
Windsor Castle, England
Dublin, Ireland
Dublin, Ireland
Belfast, Ireland
Belfast, Ireland
Middlesborough, England
Middlesborough, England
Wigan, England
Wigan, England
Accrington/ Bury, England
Accrington/ Bury, England
SOLOIST
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
March 25
March 25
April 1
April 1
April 8
April 8
June 16
June 16
Coventry, England
Coventry, England
Bristol, England
Bristol, England
Taunton, England
Taunton, England
Windsor, England
Windsor, England
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
June 17
June 17
Aldershot, England
Aldershot, England
Pryor, Arthur
Pryor, Arthur
June 19
June 19
Reading, England
Reading, England
Pryor, Arthur
Pryor, Arthur
June 24
June 24
Sittingbourne, England
Sittingbourne, England
Pryor, Arthur
Pryor, Arthur
July 6
Bristol, England
Pryor, Arthur
99
COMPOSITION
Love’s Enchantment
Thoughts of Love
In the Deep Cellar
Thoughts of Love
In the Deep Cellar
Love’s Enchantment
In the Deep Cellar
Love’s Enchantment
In the Deep Cellar
Love’s Enchantment
Down Deep Within A
Cellar
Love’s Enchantment
In the Deep Cellar
Thoughts of Love
In the Deep Cellar
Love’s Enchantment
In the Deep Cellar
Love’s Enchantment
Sunflower and the Sun,
The
Love’s Enchantment
Sunflower and the Sun,
The
Thoughts of Love
Sunflower and the Sun,
The
Love’s Enchantment
Sunflower and the Sun,
The
Cujus Animam, from
Stabat Mater
COMPOSER
Pryor
Pryor
Fischer
Pryor
Fischer
Pryor
Fischer
Pryor
Fischer
Pryor
Fischer
NOTES
Evening
Matinee
Encore
Matinee
Encore
Matinee
Encore
Matinee
Encore
Pryor
Fischer
Pryor
Fischer
Pryor
Fischer
Pryor
Penn
Evening
Encore
Matinee
Encore
Matinee
Encore
Evening
Encore
Pryor
Penn
Matinee
Encore
Pryor
Penn
Evening
Encore
Pryor
Penn
Matinee
Encore
Rossini
Evening
Encore
YEAR DATE
July 6
1904
1905
LOCATION
Bristol, England
SOLOIST
Pryor, Arthur
July 14
July 14
Douglas, Isle of Man, England
Douglas, Isle of Man, England
Pryor, Arthur
Pryor, Arthur
July 14
July 14
Douglas, Isle of Man, England
Douglas, Isle of Man, England
Pryor, Arthur
Pryor, Arthur
July 15
July 15
Douglas, Isle of Man, England
Douglas, Isle of Man, England
Pryor, Arthur
Pryor, Arthur
July 16
July 16
Douglas, Isle of Man, England
Douglas, Isle of Man, England
Pryor, Arthur
Pryor, Arthur
August 29
August 31
September 1
Willow Grove Park/ Philadelphia
Willow Grove Park/ Philadelphia
Willow Grove Park/ Philadelphia
Zimmerman, Leo
Zimmerman, Leo
Zimmerman, Leo
September 2
September 3
September 5
May 16
May 28
Willow Grove Park/ Philadelphia
Willow Grove Park/ Philadelphia
Willow Grove Park/ Philadelphia
R.M.S. Baltic
Willow Grove Park/ Philadelphia
Zimmerman, Leo
Zimmerman, Leo
Zimmerman, Leo
Zimmerman, Leo
Zimmerman, Leo
May 31
June 2
June 4
Willow Grove Park/ Philadelphia
Willow Grove Park/ Philadelphia
Willow Grove Park/ Philadelphia
Zimmerman, Leo
Zimmerman, Leo
Zimmerman, Leo
June 6
June 7
June 9
October13
Willow Grove Park/ Philadelphia
Willow Grove Park/ Philadelphia
Willow Grove Park/ Philadelphia
Canton, OH
Zimmerman, Leo
Zimmerman, Leo
Zimmerman, Leo
Zimmerman, Leo
100
COMPOSITION
Sunflower and the Sun,
The
Thoughts of Love
Sunflower and the Sun,
The
Love’s Enchantment
Honeysuckle and the
Bee, The
Patriot, The
Sunflower and the Sun,
The
Love’s Enchantment
Honeysuckle and the
Bee, The
Leona
Air Varie
Cujus Animam, from
Stabat Mater
See the Pale Moon
American Beauty
Waltz Caprice
See the Pale Moon
Cujus Animam, from
Stabat Mater
See the Pale Moon
American Beauty
Cujus Animam, from
Stabat Mater
Leona
Robin Adair
American Beauty
American Beauties
COMPOSER
Penn
NOTES
Encore
Pryor
Penn
Matinee
Encore
Pryor
Penn
Evening
Encore
Pryor
Penn
Evening
Encore
Pryor
Penn
Evening
Encore
Zimmerman
Zimmerman
Rossini
Afternoon
Evening
Afternoon
Campana
Zimmerman
Zimmerman
Campana
Rossini
Duet/ Afternoon
Afternoon
Afternoon
Duet
Afternoon
Campana
Zimmerman
Rossini
Duet
Evening
Afternoon
Zimmerman
Unknown
Zimmerman
Zimmerman
Evening
Afternoon
Afternoon
Evening
YEAR DATE
October13
1906
January 25
August 16
August 22
August 27
September 3
1907
August 12
August 15
August 25
1908
1909
LOCATION
Canton, OH
Greensboro, NC
Willow Grove Park/ Philadelphia
Willow Grove Park/ Philadelphia
Willow Grove Park/ Philadelphia
Willow Grove Park/ Philadelphia
Willow Grove Park/ Philadelphia
Willow Grove Park/ Philadelphia
Willow Grove Park/ Philadelphia
SOLOIST
Zimmerman, Leo
Zimmerman, Leo
Zimmerman, Leo
Zimmerman, Leo
Zimmerman, Leo
Zimmerman, Leo
Zimmerman, Leo
Zimmerman, Leo
Zimmerman, Leo
August 27
September 23
December 6
December 6
Willow Grove Park/ Philadelphia
Mitchell, SD
Canton, OH
Canton, OH
Zimmerman, Leo
Zimmerman, Leo
Zimmerman, Leo
Zimmerman, Leo
August 17
August 24
August 25
Willow Grove Park/ Philadelphia
Willow Grove Park/ Philadelphia
Willow Grove Park/ Philadelphia
Corey, Ralph
Corey, Ralph
Corey, Ralph
August 27
August 28
September 5
September 7
August 17
August 23
Willow Grove Park/ Philadelphia
Willow Grove Park/ Philadelphia
Willow Grove Park/ Philadelphia
Willow Grove Park/ Philadelphia
Willow Grove Park/ Philadelphia
Willow Grove Park/ Philadelphia
Corey, Ralph
Corey, Ralph
Corey, Ralph
Corey, Ralph
Corey, Ralph
Corey, Ralph
August 29
Willow Grove Park/ Philadelphia
Corey, Ralph
183
COMPOSITION
Just My Style
Aereo
Leona
Patriotic Medley
Miserere
Miserere
Leona
See the Pale Moon
Grand Scene and Duet
from Oh, Fatal Stone
American Beauty
Pride of the West
Unknown183
When You Know You’re
Not Forgotten
Cousins
Love Thoughts
Grand Scene and Duet
from Oh, Fatal Stone
Miserere
Fair Luna
Cousins
See the Pale Moon
Love Thoughts
Cujus Animam, from
Stabat Mater
Cujus Animam, from
Stabat Mater
COMPOSER
Undetermined
Zimmerman
Zimmerman
Zimmerman
Verdi
Verdi
Zimmerman
Campana
Verdi
NOTES
Encore
Evening
Afternoon
Evening
Duet/ Afternoon
Duet/ Evening
Afternoon
Duet/ Afternoon
Duet/ Evening
Zimmerman
Zimmerman
Zimmerman
Undetermined
Afternoon
Afternoon
Evening
Encore
Clarke
Pryor
Verdi
Duet/ Afternoon
Evening
Duet/ Afternoon
Verdi
Campana
Clarke
Campana
Pryor
Rossini
Duet/ Afternoon
Duet/ Evening
Duet/ Afternoon
Duet/ Afternoon
Afternoon
Afternoon
Rossini
Afternoon
A Canton newspaper article dated December 7, 1907 states that Zimmerman appeared “in a rendition of a piece of his own composition,” but no title
is given.
101
YEAR DATE
September 2
LOCATION
Willow Grove Park/ Philadelphia
SOLOIST
Corey, Ralph
September 4
October 28
Willow Grove Park/ Philadelphia
Willow Grove Park/ Philadelphia
Corey, Ralph
Corey, Ralph
November 13
December 15
Corey, Ralph
Corey, Ralph
October 5
Boston, MA
Madison Square Garden/ New
York, NY
Los Angeles, CA
October 17
Los Angeles, CA
Corey, Ralph
November 11
November 13
Atlanta, GA
Atlanta, GA
Corey, Ralph
Corey, Ralph
November 15
August 15
September 14
Atlanta, GA
Luna Park, NY
Pittsburgh, PA/ Pittsburgh
Exposition
Pittsburgh, PA/ Pittsburgh
Exposition
San Francisco, CA/ PanamaPacific Exposition
San Francisco, CA/ PanamaPacific Exposition
Spokane, WA
Willow Grove Park/ Philadelphia
Willow Grove Park/ Philadelphia
1910
1911
1913
1914
September 24
1915
June 3
July 23
August 7
August 26
September 9
September 22
Pittsburgh, PA/ Pittsburgh
Exposition
COMPOSITION
Grand Scene and Duet
from Oh, Fatal Stone
Miserere
Grand Scene and Duet
from Oh, Fatal Stone
Love’s Enchantment
Love’s Enchantment
COMPOSER
Verdi
NOTES
Duet /Evening
Verdi
Verdi
Duet /Evening
Duet /Evening
Pryor
Pryor
Evening
Evening
Verdi
Duet
Verdi
Duet
Del Riego
Verdi
4:00
Duet
Corey, Ralph
Corey, Ralph
Corey, Ralph
Grand Scene and Duet
from Oh, Fatal Stone
Grand Scene and Duet
from Oh, Fatal Stone
Oh, Dry Those Tears
Grand Scene and Duet
from Oh, Fatal Stone
Polka Caprice
Polka Caprice
Polka Caprice
Waldron
Waldron
Waldron
2:00
Evening
Corey, Ralph
Oh, Dry Those Tears
Del Riego
Corey, Ralph
Love’s Enchantment
Pryor
Corey, Ralph
I Hear You Calling Me
Marshall
2:30
Corey, Ralph
Corey, Ralph
Corey, Ralph
Oh, Dry Those Tears
Oh, Dry Those Tears
Grand Scene and Duet
from Oh, Fatal Stone
I Hear You Calling Me
Del Riego
Del Riego
Verdi
Afternoon
Evening
Duet /Afternoon
Marshall
9:30
Corey, Ralph
Corey, Ralph
102
YEAR DATE
October 16
1916
October 24
October 25
LOCATION
Pittsburgh, PA/ Pittsburgh
Exposition
Willow Grove Park/ Philadelphia
Willow Grove Park/ Philadelphia
1917
July 16
July 24
August 27
September 4
September 6
Dominion Park/ Montreal
Dominion Park/ Montreal
Willow Grove Park/ Philadelphia
Willow Grove Park/ Philadelphia
Willow Grove Park/ Philadelphia
Corey, Ralph
Corey, Ralph
Corey, Ralph
Corey, Ralph
Corey, Ralph
1918
June 30
July 16
July 17
August 20
August 22
August 27
August 29
Dominion Park/ Montreal
Toronto
Toronto
Willow Grove Park/ Philadelphia
Willow Grove Park/ Philadelphia
Willow Grove Park/ Philadelphia
Willow Grove Park/ Philadelphia
Corey, Ralph
Corey, Ralph
Corey, Ralph
Corey, Ralph
Corey, Ralph
Corey, Ralph
Corey, Ralph
1919
August 25
August 28
September 8
August 21
August 23
August 23
August 25
Willow Grove Park/ Philadelphia
Willow Grove Park/ Philadelphia
Willow Grove Park/ Philadelphia
Willow Grove Park/ Philadelphia
Willow Grove Park/ Philadelphia
Willow Grove Park/ Philadelphia
Willow Grove Park/ Philadelphia
Corey, Ralph
Corey, Ralph
Corey, Ralph
Gusikoff, Charles
Schueler, John
Gusikoff, Charles
Gusikoff, Charles
1920
SOLOIST
Corey, Ralph
COMPOSITION
I Hear You Calling Me
COMPOSER
Marshall
NOTES
Corey, Ralph
Corey, Ralph
I Hear You Calling Me
Grand Scene and Duet
from Oh, Fatal Stone
I Hear You Calling Me
Waltz Caprice
I Hear You Calling Me
Love’s Enchantment
Grand Scene and Duet
from Oh, Fatal Stone
I Hear You Calling Me
I Hear You Calling Me
Valse Caprice
Love Thoughts
We Are Coming
Valse Caprice
The Love That Flies
Forever
I Hear You Calling Me
Dear Old Pal of Mine
Dear Old Pal of Mine
Oh, Dry Those Tears
Valse Fantastic
At Dawning
King of the Vikings Am
I, The
Marshall
Verdi
Afternoon
Duet/ Fourth184
Marshall
Pryor
Marshall
Pryor
Verdi
Afternoon
Afternoon
Second
First
Duet/ Fourth
Marshall
Marshall
Pryor
Pryor
Undetermined
Pryor
Undetermined
Evening
Evening
Evening
First
First
Third
First
Marshall
Gitz-Rice
Gitz-Rice
Del Riego
Hartly
Cadman
Phillips
Third
Second
Third
Second
Second
Third
Third
184
During the season of 1916, Willow Grove Park changed programming formats to be more concert-specific. The old system included only two
designations: afternoon and evening. Each designation had two concerts assigned to it. Concerts at 2:30 and 4:30 comprised the afternoon portion, while the
evening portion included concerts at 7:45 and 9:45. The new system (first, second, third, and fourth) replaced the afternoon and evening concert names while
maintaining the same schedule.
103
YEAR DATE
August 26
August 28
LOCATION
Willow Grove Park/ Philadelphia
Willow Grove Park/ Philadelphia
SOLOIST
Gusikoff, Charles
Gusikoff, Charles
August 30
September 3
September 7
September 10
Willow Grove Park/ Philadelphia
Willow Grove Park/ Philadelphia
Willow Grove Park/ Philadelphia
Willow Grove Park/ Philadelphia
Gusikoff, Charles
Gusikoff, Charles
Schueler, John
Gusikoff, Charles
1921
July 20
August 10
August 17
September 7
September 9
Dominion Park/ Montreal
Willow Grove Park/ Philadelphia
Willow Grove Park/ Philadelphia
Willow Grove Park/ Philadelphia
Willow Grove Park/ Philadelphia
Schueler, John
Schueler, John
Schueler, John
Schueler, John
Schueler, John
1922
July 25
August 15
Dominion Park/ Montreal
Willow Grove Park/ Philadelphia
Schueler, John
Schueler, John
August 29
Willow Grove Park/ Philadelphia
Schueler, John
September 7
September 8
Willow Grove Park/ Philadelphia
Willow Grove Park/ Philadelphia
Schueler, John
Schueler, John
August 14
August 18
August 31
September 13
June 21
August 6
Willow Grove Park/ Philadelphia
Willow Grove Park/ Philadelphia
Willow Grove Park/ Philadelphia
Willow Grove Park/ Philadelphia
Kennett Square, PA
Willow Grove Park/ Philadelphia
Schueler, John
Schueler, John
Schueler, John
Schueler, John
Schueler, John
Schueler, John
August 10
Willow Grove Park/ Philadelphia
Schueler, John
1923
1924
185
COMPOSITION
The Fighting Race 185
Cujus Animam, from
Stabat Mater
Oh, Dry Those Tears
Macushla
Asleep in the Deep
Cujus Animam, from
Stabat Mater
Oh, Dry Those Tears
Monarch, The
Love Thoughts
Oh, Dry Those Tears
Scene from Il
Trovatore
Oh, Dry Those Tears
Scene from Il
Trovatore
Cujus Animam, from
Stabat Mater
Fighting Race, The
Cujus Animam, from
Stabat Mater
Monarch, The
The Monarch
Oh, Dry Those Tears
Fighting Race, The
Oh, Dry Those Tears
Rocked in the Cradle of
the Deep
Fighting Race, The
This solo was composed by John Philip Sousa, but was not documented until a later date.
104
COMPOSER
Undetermined
Rossini
NOTES
Third
Third
Del Riego
Olcott
Petrie
Rossini
Second
First
Third
Third
Del Riego
Pinard
Pryor
Del Riego
Verdi
Afternoon
Third
First
First
First
Del Riego
Verdi
Matinee
First
Rossini
Fourth
Sousa
Rossini
Third
Fourth
Pinard
Pinard
Del Riego
Undetermined
Del Riego
Knight
First
Third
Second
Third
Matinee
First
Undetermined
Third
YEAR DATE
August 14
August 15
August 23
August 24
August 27
August 28
September 6
September 8
1925
August 10
August 25
LOCATION
Willow Grove Park/ Philadelphia
Willow Grove Park/ Philadelphia
Willow Grove Park/ Philadelphia
Willow Grove Park/ Philadelphia
Willow Grove Park/ Philadelphia
Willow Grove Park/ Philadelphia
Willow Grove Park/ Philadelphia
Willow Grove Park/ Philadelphia
Willow Grove Park/ Philadelphia
Willow Grove Park/ Philadelphia
August 31
September 1
July 19
July 19
July 29
July 29
August 8
September 2
August 1
August 26
August 31
September 1
Willow Grove Park/ Philadelphia
Willow Grove Park/ Philadelphia
Willow Grove Park/ Philadelphia
Willow Grove Park/ Philadelphia
Willow Grove Park/ Philadelphia
Willow Grove Park/ Philadelphia
Willow Grove Park/ Philadelphia
Willow Grove Park/ Philadelphia
Steel Pier, Atlantic City, NJ
Wilmington, DL
Steel Pier, Atlantic City, NJ
Steel Pier, Atlantic City, NJ
1926
1927
1930
SOLOIST
Schueler, John
Schueler, John
Schueler, John
Schueler, John
Schueler, John
Schueler, John
Schueler, John
Schueler, John
Schueler, John
DeLuca,
Joseph186
Schueler, John
Ford, Wick
Schueler, John
Schueler, John
Schueler, John
Schueler, John
Schueler, John
Schueler, John
Schueler, John
Zimmerman, Leo
Zimmerman, Leo
Zimmerman, Leo
186
COMPOSITION
Fighting Race, The
Oh, Dry Those Tears
Monarch, The
Fighting Race, The
Standard Watch, The
Fighting Race, The
Dear Heart
Columbia Polka
Oh, Dry Those Tears
Fighting Race, The
COMPOSER
Undetermined
Del Riego
Pinard
Undetermined
Lindpainter
Undetermined
Mattie
Rollinson
Del Riego
Undetermined
NOTES
Third
Fourth
Second
Fourth
Fourth
Fourth
Second
Third
Fourth
Second
Oh, Dry Those Tears
Wanderer Polka, The
Fighting Race, The
Monarch, The
Fighting Race, The
Monarch, The
Oh, Dry Those Tears
Fighting Race, The
Columbia Polka
Leona
Aereo
Cujus Animam, from
Stabat Mater
Del Riego
Harlow
Sousa187
Pinard
Sousa
Pinard
Del Riego
Sousa
Rollinson
Zimmerman
Zimmerman
Rossini
Second
First
4:30
Encore
Encore
4:30
4:30
The program from this concert indicates that euphonium soloist Joseph DeLuca performed as trombone soloist. No other programs have been found
to confirm or deny that DeLuca performed on trombone as soloist with the Sousa Band before or after the date in question.
187
This is the first indication that the piece The Fighting Race was composed by John Philip Sousa. All programs up to this point lack any recognition of
the composer of the work.
105
The following Table is a listing of compositions performed by trombone soloists with the Sousa Band and is compiled from
Paul Bierley’s text The Incredible Band of John Philip Sousa. The information from Bierley’s text is compiled primarily from Sousa
Band programs from his personal collection and those private collections of others to which the author did not have access. The
information is organized here to reflect a chronological order and includes a probable soloist based on the timeline of the known
trombone soloists.
YEAR
1893
1894
PROBABLE SOLOIST
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
1895
1896
1897
1898
188
COMPOSITION
Exposition Echoes
Annie Laurie
Blue Bells of Scotland
Rocked in the Cradle of the Deep
Rocked in the Cradle of the Deep
Annie Laurie
Blue Bells of Scotland
Rocked in the Cradle of the Deep
Laurina Ray188
Rocked in the Cradle of the Deep
Only One Girl In the World For Me
Blue Bells of Scotland
Rocked in the Cradle of the Deep
Home, Sweet Home
Mother’s Arms
Blue Bells of Scotland
Comin’ Thro’ the Rye
Only One Girl In the World For Me
Air and Variations
Annie Laurie
Blue Bells of Scotland
Petite Suzanne, La
COMPOSER
Pryor
Pryor
Pryor
Rollinson
Carlini
Pryor
Pryor
Rollinson
Undetermined
Knight
Marion
Pryor
Rollinson
Friday
Friday
Pryor
Ennis
Marion
Pryor
Pryor
Pryor
Pryor
NOTES
Used repeatedly on tour
Used repeatedly on tour
Used repeatedly on tour
Used repeatedly on tour
Used repeatedly on tour
Used repeatedly on tour
Used repeatedly on tour
Used repeatedly on tour
Used repeatedly on tour
It is possible that Laurina Ray is Arthur Pryor’s composition Sweet Lorena Ray, which he performed with frequency during the 1897 season.
106
YEAR
1899
1900
1901
1902
1903
1904
1907
1910
1911
1912
PROBABLE SOLOIST
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Zimmerman, Leo
Zimmerman, Leo
Zimmerman, Leo
Zimmerman, Leo
Zimmerman, Leo
Zimmerman, Leo
Corey, Ralph
Corey, Ralph
Corey, Ralph
COMPOSITION
On the Banks of the Wabash Far
Away
Rocked in the Cradle of the Deep
Air and Variations
Annie Laurie
On the Banks of the Wabash Far
Away
Just One Girl
Annie Laurie
Blue Bells of Scotland
Love Thoughts
I Love Them All
Honeysuckle and the Bee, The
Game of Eyes, The
Beyond the Gates of Paradise
Melody in D
Air and Variations
Blue Bells of Scotland
Honeysuckle and the Bee, The
Sunflower and the Sun, The
Beyond the Gates of Paradise
Melody in D
Air Varie
American Beauty
Leona
My Old Kentucky Home
My Old Kentucky Home
Pride of the West
Thoughts of Love
Love’s Enchantment
Love’s Enchantment
107
COMPOSER
Dresser
Knight
Pryor
Pryor
Dresser
Udal
Pryor
Pryor
Pryor
Undetermined
Penn
Brill
King, Robert
Lorenz
Pryor
Pryor
Penn
Penn
King, Robert
Lorenz
Zimmerman
Zimmerman
Zimmerman
Zimmerman
Zimmerman
Zimmerman
Pryor
Pryor
Pryor
NOTES
Used repeatedly on tour
Used repeatedly on tour
Used repeatedly on tour
Used repeatedly on tour
Used repeatedly on tour
Used repeatedly on tour
Used repeatedly on tour
Used repeatedly on tour
Used repeatedly on tour
Used repeatedly on tour
Used repeatedly on tour
YEAR
1917
PROBABLE SOLOIST
Corey, Ralph
1918
Corey, Ralph
Corey, Ralph
Corey, Ralph
Corey, Ralph
Unknown
Schueler, John
Schueler, John
Schueler, John
Schueler, John
Schueler, John
Schueler, John
Schueler, John
Schueler, John
Schueler, John
Schueler, John
Schueler, John
Zimmerman, Leo
Zimmerman/Schueler
Zimmerman/Schueler
1919
1920
1921
1922
1923
1924
1925
1926
1930
1931
COMPOSITION
Tale of a Kangaroo, from
Burgomaster, The
Love’s Enchantment
Petite Suzanne, La
Columbia Polka
When the Clouds Roll By
Annie Laurie
Atlantic Zephyrs
Annie Laurie
Atlantic Zephyrs
Annie Laurie
Atlantic Zephyrs
Atlantic Zephyrs
Atlantic Zephyrs
Atlantic Zephyrs
Monarch Polka
Atlantic Zephyrs
Am Meer (By the Sea)
Leona
Atlantic Zephyrs
Atlantic Zephyrs
COMPOSER
Luders
Pryor
Pryor
Rollinson
Undetermined
Pryor
Simons, Gardell
Pryor
Simons, Gardell
Pryor
Simons, Gardell
Simons, Gardell
Simons, Gardell
Simons, Gardell
Knoll
Simons, Gardell
Schubert, Franz
Zimmerman
Simons, Gardell
Simons, Gardell
108
NOTES
Used repeatedly on tour
Used repeatedly on tour
Used repeatedly on tour
Used repeatedly on tour
APPENDIX D
DISCOGRAPHY
CHRONOLOGICAL LIST OF SOLO TROMBONE PERFORMANCES BY SOUSA BAND SOLOISTS INCLUDING:
COMPOSITION, COMPOSER, PERFORMER, ACCOMPANIMENT INSTRUMENTATION, AND RECORDING LABEL.189
YEAR
1896
1897
1899
1900
1901
COMPOSITION
Signal Polka
Leona Polka
Parisian Melodies
We Won’t Go Home Until Morning
Blue Bells of Scotland
Dearie
Little Nell - Schottisch
Love Thoughts
Patriot, The - Polka
Polka Caprice
COMPOSER
Brooke
Zimmerman
Undetermined
Clifton
Pryor
Undetermined
Pryor
Pryor
Pryor
Undetermined
PERFORMER
Pryor, Arthur
Zimmerman, Leo
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Song of Home, A
Undetermined
Pryor, Arthur
Aero Polka
Answer
Zimmerman
Robyn
Zimmerman, Leo
Pryor, Arthur
189
ACCOMPANIMENT
Piano
The Edison Concert Band
Piano
Piano
The Sousa Band
Orchestra
Band
The Sousa Band
The Sousa Band
Duet with Walter Rogers, cornet
and piano
Duet with Walter Rogers, cornet
and piano
Band
Unaccompanied duet with Walter
Rogers, cornet
LABEL
Undetermined
Edison
Undetermined
Zonophone
Victor
Undetermined
Victor
Victor
Undetermined
Undetermined
Undetermined
Victor
The following list was compiled from multiple sources including the Bill Pruyn Collection, personnel files for Arthur Pryor and Leo Zimmerman,
and the Sousa Band Press books at The Sousa Archives and Center for American Music at the University of Illinois, liner notes from Arthur Pryor: Trombone
Soloist of the Sousa Band (Crystal Records CD451), and the Encyclopedic Discography of Victor Recordings.
109
YEAR
1902
COMPOSITION
Blue Bells of Scotland
Cheerfulness
COMPOSER
Pryor
Undetermined
PERFORMER
Pryor, Arthur
Pryor, Arthur
LABEL
Victor
Undetermined
Pryor, Arthur
Pryor, Arthur
ACCOMPANIMENT
The Sousa Band
Duet with Walter Rogers, cornet
and band
Piano
Duet with Herbert L. Clarke,
cornet and piano
Piano
The Sousa Band
Down Deep in the Cellar
Duet from The Mascote
Fischer
Audran
Pryor, Arthur
Pryor, Arthur
Home Sweet Home
I Can’t Tell Why I Love You, But I
Do
Intermezzo-Forever
Little Nell - Schottisch
Love Thoughts
My Old Kentucky Home
Parisian Melodies
Portugal Hymn, A
Stars of a Summer Night
Sweet Annie Moore
Tale of a Kangaroo from
Burgomaster
We Won’t Go Home Until Morning
Blue Bells of Scotland
I Can’t Tell Why I Love You, But I
Do
Little Nell - Schottisch
Love Thoughts
Lovely Night
Love’s Enchantment
Now the Day is Fading Slowly
Oh! How Delightful
Bishop
Edwards
Pryor
Pryor
Pryor
Foster
Arr. Pryor
Undetermined
Woodbury
Flynn
Luders
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
The Sousa Band
Band
The Sousa Band
Piano
Piano
The Sousa Band
Piano
Piano
The Sousa Band
Victor
Victor
Victor
Undetermined
Victor
Victor
Victor
Victor
Victor
Clifton
Pryor
Edwards
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Unaccompanied
The Sousa Band
The Sousa Band
Monarch
Victor
Victor
Pryor
Pryor
Chattaway
Pryor
Undetermined
Molloy
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
The Sousa Band
The Sousa Band
Trombone Quartet
Band
Trombone Quartet
Duet with Walter Rogers, cornet
Victor
Victor
Victor
Undetermined
Victor
Victor
110
Victor
Victor
Victor
Victor
YEAR
1903
1904
1905
1906
COMPOSITION
Parisian Melodies
Patriot, The - Polka
Song of Home, A
Stars of a Summer Night
Stay in Your Own Backyard
Sweet and Low
Sweet Annie Moore
Two Brassmen, The – Polka
Caprice
Blue Bells of Scotland
Congo Love Song from Nancy
Brown
Cujus Animam from Stabat Mater
Love Thoughts
Love’s Enchantment
Message of the Violet from Prince
of Pilsen
My Old Kentucky Home
Miserere from Il Trovatore
COMPOSER
Arr. Pryor
Pryor
Undetermined
Woodbury
Udall
Barnby
Flynn
Lamy
PERFORMER
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
ACCOMPANIMENT
Piano
Band
Duet with Walter Rogers, cornet
Piano
The Sousa Band
Trombone Quartet
Piano
Duet with Walter Rogers, cornet
LABEL
Victor
Undetermined
Victor
Victor
Victor
Victor
Victor
Victor
Pryor
Johnson
Pryor, Arthur
Pryor, Arthur
Band
The Sousa Band
Undetermined
Victor
Rossini
Pryor
Pryor
Luders
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
The Sousa Band
The Sousa Band
The Sousa Band
The Sousa Band
Victor
Victor
Victor
Victor
Foster
Verdi
Pryor, Arthur
Pryor, Arthur
Victor
Undetermined
Non E Ver
Patriot, The - Polka
Fantastic Polka
Inflamatus from Stabat Mater
Oh Dry Those Tears
Thoughts of Home
Cousins
Mattei
Pryor
Pryor
Rossini
Del Riego
Clarke
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
Zimmerman, Leo
Harlequin Serenade from Pagliacci
Leoncavallo
Pryor, Arthur
Piano
Duet with Walter Rogers, cornet
and band
Band
The Sousa Band
Band
Band
Band
Orchestra
Duet with Herbert L. Clarke,
cornet, with band
Band
111
Undetermined
Victor
Undetermined
Undetermined
Undetermined
Undetermined
Undetermined
Undetermined
YEAR
1907
1907
1908
COMPOSITION
Holy City, The
Cujus Animam from Stabat Mater
American Beauty Waltz
Duet, Act IV from Aida
Romeo and Juliette
Samson and Delilah
COMPOSER
Undetermined
Rossini
Zimmerman
Verdi
Gounod
Saint-Saëns
PERFORMER
Pryor, Arthur
Pryor, Arthur
Zimmerman, Leo
Pryor, Arthur
Pryor, Arthur
Pryor, Arthur
1908
1910
Undetermined
Undetermined
Undetermined
Undetermined
Slidus Trombonus
Autumn Dreams Waltz
Aero Polka
American Beauty - Waltz
Answer
Alice, Where Art Thou?
Lake
Undetermined
Zimmerman
Zimmerman
Robyn
Ascher
Zimmerman, Leo
Zimmerman, Leo
Zimmerman, Leo
Zimmerman, Leo
Zimmerman, Leo
Zimmerman, Leo
Undetermined
Undetermined
Undetermined
Undetermined
Undetermined
Autumn Dreams -Valse Brilliant.
Blue Bells of Scotland
Bunch of Roses, A
Concert Waltz
Cousins
Zimmerman
Pryor
Undetermined
Zimmerman
Clarke
Zimmerman, Leo
Zimmerman, Leo
Zimmerman, Leo
Zimmerman, Leo
Zimmerman, Leo
Undetermined
Undetermined
Undetermined
Cujus Animam from Stabat Mater
Four Stars, The
Girl I loved In Sunny Tennessee,
The
Killamey
Lassus Trombone
Leona Polka
Mid The Fields of Virginia
Rossini
E. F. Smith
Stanley Carter
Zimmerman, Leo
Zimmerman, Leo
Zimmerman, Leo
Balfe
Filmore
Zimmerman
Unknown
Zimmerman, Leo
Zimmerman, Leo
Zimmerman, Leo
Zimmerman, Leo
Undetermined
Undetermined
Undetermined
Undetermined
112
ACCOMPANIMENT
Band
Band
The Columbia Band
Duet with Emil Koenicke & Band
Band
Duet with Bert Brown, cornet and
band
Band
Band
Undetermined
Undetermined
Undetermined
Duet with Herbert L. Clarke,
cornet
Undetermined
Undetermined
Undetermined
Band
Duet with Herbert L. Clarke,
cornet and The Sousa Band
Rossini
Duet with Albert Sweet, cornet
Undetermined
Prince's Band
Edison Band
Duet with Albert Sweet, cornet
LABEL
Undetermined
Undetermined
Undetermined
Undetermined
Undetermined
Undetermined
Undetermined
Undetermined
Zonophone
Columbia
Columbia
Edison
Columbia
Edison
Unknown
Edison
Zonophone
Columbia
Edison
Columbia
Edison
Edison
YEAR
Undetermined
Undetermined
Undetermined
Undetermined
Undetermined
COMPOSITION
Miserere from Il Trovatore
Miserere from Il Trovatore
Miss Trombone
Quartet from Rigoletto
Robin Adair
COMPOSER
Verdi
Verdi
Filmore
Verdi
Keppel
PERFORMER
Zimmerman, Leo
Zimmerman, Leo
Zimmerman, Leo
Zimmerman, Leo
Zimmerman, Leo
Undetermined
Undetermined
Undetermined
Rocked In The Cradle Of The Deep
Romanza
Sea Shell(s) Waltz
Knight
Bennett
Zimmerman
Zimmerman, Leo
Zimmerman, Leo
Zimmerman, Leo
ACCOMPANIMENT
Duet with Vincent Buono, cornet
Duet with Albert Sweet, cornet
Prince's Band
Prince's Band
Duet with Herbert L. Clarke,
cornet
Undetermined
Undetermined
Undetermined
Undetermined
Undetermined
Undetermined
Undetermined
Undetermined
Undetermined
Undetermined
Undetermined
See Here Waltz190
Sextette from Lucia
She was Bred in Old Kentucky
Slidus Trombonus
Story of The Rose, The
Then You'll Remember Me
Tubarose Polka
Zimmerman
Donizetti
Stanley Carter
Lake
Undetermined
Balfe
Innes
Vacant Chair, The
Root
Zimmerman, Leo
Zimmerman, Leo
Zimmerman, Leo
Zimmerman, Leo
Zimmerman, Leo
Zimmerman, Leo
Zimmerman, Leo
Zimmerman, Leo
Undetermined
Prince's Band
Undetermined
Band
Undetermined
Undetermined
Undetermined
Undetermined
190
The Zimmerman composition See Here Waltz was more popularly known as Sea Shell(s) Waltz.
113
LABEL
Columbia
Edison
Undetermined
Undetermined
Edison Band
Edison
Edison
Victor &
Zonophone
Edison Band
Undetermined
Edison
Columbia
Edison
Columbia
Edison
Columbia
BIBLIOGRAPHY
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Music Online ed. L. Macy (Accessed 14 June 2005),
<http://www.grovemusic.com.proxy.lib.fsu.edu>.
Berger, Kenneth. The March King and His Band: The Story of John Philip Sousa.
New York: Exposition Press, 1957.
Bierley, Paul. John Philip Sousa: American Phenomenon, Revised Edition.
Miami, FL: Warner Bros. Publications, 2001.
______ “Sousa on Programming.” Instrumentalist 28 (December 1973): 38-41.
______ The Incredible Band of John Philip Sousa. Urbana and Chicago, IL:
University of Illinois Press, 2006.
Bridges, Glenn D. Pioneers In Brass [CD-ROM], Coupeville, WA: Trescott
Research, 2001.
Clarke, Herbert L., How I became a Cornetist: The Autobiography of a Cornet
Playing Pilgrim’s Progress. Joseph. L. Huber, 1934.
Dittmer, John S. and Joel Elias. “Thoughts of Love-Reminiscences of Arthur
Pryor.” International Trombone Association Journal 13, no. 2 (Spring
1985): 20-23.
Fagan, Tim, and William R. Moran. The Encyclopedic Discography of Victor
Recordings: Matrix Series: 1 Through 4999. Westport, CT: Greenwood
Press, 1986.
Frizane, Daniel E. Arthur Pryor (1870-1942) American Trombonist, Bandmaster,
Composer. diss., University of Kansas, 1984.
Goldman, Richard Franko. The Wind Band. Westport, CT: Greenwood Press,
1974.
114
Heslip, Malcolm. Nostalgic Happenings in the Three Bands of John Philip Sousa.
Laguna Hills, Ca: Malcolm Heslip, 1982.
Hemberger, Glen J. Selected Songs for Chamber Winds and Soprano:
Rediscovering a Forgotten Repertoire of John Philip Sousa. D.M.A. diss.,
University of North Texas, 2001.
Hester, Michael Eric. A Study of the Saxophone Soloists Performing with the John
Philip Sousa Band: 1893-1930. D.M.A. diss., University of Arizona,
1995.
Hickman, David. Trumpet Pedagogy: A Compendium of Modern Teaching
Techniques. Chandler, AZ: Hickman Music Editions, 2006.
Jameson, Philip. “The Arthur Pryor Trombone (1888-1988): A Centennial
Tribute.” International Trombone Association Journal 16, no. 3 (Summer
1988): 30-31.
Krebs, Jesse Daniel. The Clarinetists of the John Philip Sousa Band: 1892-1931.
D.M. treatise, The Florida State University, 2006.
Lingg, Ann M. John Philip Sousa. New York, NY: Henry Holt and Company,
1954.
Meckna, Michael. Twentieth Century Brass Soloists. Westport, CT, London:
Greenwood Press, 1994.
Mudge, Suzanne. “Arthur Pryor: This is Your Life!” International Trombone
Association Journal 15, no. 2 (Spring 1987): 28-29.
Rehrig, William H., and Paul Bierley ed. The Heritage Encyclopedia of Band
Music: Composers and their Music. Westerville, OH: Integrity Press,
1991.
Schwartz, H. W. Bands of America. Garden City, NY: Doubleday, 1957.
Smith, Glenn P. “Match Your Skills With Pryor’s.” International Trombone
Association Journal 12, no. 4 (October 1984): 41-42.
Sousa, John Philip. Marching Along, Revised Edition, ed. Paul E. Bierley.
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______“Why the World Needs Bands.” Etude (September 1930), reprint The
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115
Tracy, Bruce. “Orchestra Showcase: The Philadelphia Orchestra.” International
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The Instrumentalist (January, 1971): 28.
Wolfinbarger, Steve. “The Solo Trombone Music of Arthur Pryor: Chapter I –
The Life of Arthur Pryor.” International Trombone Association Journal
11, no. 1 (January 1983): 13-15.
______ “The Solo Trombone Music of Arthur Pryor: Chapter II – Early
Trombone Soloists With Band.” International Trombone Association
Journal 11, no. 4 (April 1983): 27-29.
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116
BIOGRAPHICAL SKETCH
Joseph William Frye currently serves as the Principal Trombonist with the
Midland-Odessa Symphony & Chorale and also serves as the trombonist with the
Lone Star Brass, a professional brass quintet based in Midland and Odessa, Texas.
He received a Doctor of Music degree with an emphasis in trombone performance
from The Florida State University, where he also served as a graduate teaching
assistant. He received a Master of Music degree in Trombone Performance from
The Florida State University, and a Bachelor of Music degree from The
University of Tennessee at Knoxville.
Joseph's primary teachers include Dr. John Drew, Don H. Hough,
Lawrence Borden, and Brad Kinney. In 2003, he was selected to represent the
United States and The Florida State University as a member of the FSU Brass
Trio, which performed as part of the Promising Young Artists of the 21st Century
program in San Jose, Costa Rica. He has performed with the Midland-Odessa,
Tallahassee, Oak Ridge, Albany, and Knoxville Symphony Orchestras. He also
plays trombone and euphonium with the 572nd Air National Guard Band of the
Smoky Mountains, where he holds the rank of Staff Sergeant and is the current
trombone soloist.
117