1854, G.W.E. Frederich [Brass Band Journal, 1854]
Philip’s Military Quick Step
? , Claudio Grafulla (1812 – 1880) [26th NC, CSA Band Books]
This same selection appears in both the 3rd NH “Port Royal” Band books and the 1st Brigade Band books, as Col. White’s Q.S. That is the same title under which J.W. Pepper published the work. Several early Grafulla works are included in the 26th NC band books, though no explanation for the change in name has been found.
Poet & Peasant Overture
1847, Franz Von Suppe (1819 – 95) [Francis Scala Collection, Library of Congress]
Franz Von Suppe was born in Spalato, Dalmatia (now Croatia), and by age 10, was composing serenades and by age 14 had written his Mass, Messa-Dalmatia, which was performed at the cathedral in Zara, followed by 2 more masses the next year. He composed a long string of operas, operettas, and other theater works, beginning with Virginia in 1837, completing his final work Das Modell in 1895, shortly before his death – over 133 items. He was conductor at the Leopoldstadt Theatre, Vienna, Austria, from 1865 till 1895. His most successful operas were Fatinitza and Boccacio; however, most of his operetta overtures remained popular, especially with brass bands. These include: Light Cavalry, Morning, Noon, and Night in Vienna, Jolly Robbers, The Beautiful Galatea, and Poet and Peasant.
This overture is still considered repertoire for band, today. Even non-musicians recognize it, as sections have been used in countless cartoons. Francis Scala, leader of the U.S. Marine Band, from 1855 – 1871 helped establish the tradition of fine service bands, in Washington D.C. An Italian by birth, Scala studied at the music college Naples. His principal instrument was the clarinet. Around 1841, Scala enlisted in the U.S. Navy as a Third-Class Musician, aboard the frigate Brandywine, then anchored in Naples. Scala was given the challenge to improve the quality of the man-of-war’s band in one month, and by doing so, received promotion to Bandmaster. After a rough ocean voyage from Gibraltar to Norfolk, Virginia, Scala became so seasick, he put in for his discharge. Despite recommendations for elite Navy and Army positions, the sight of salt water caused him to decline all offers, until he secured a place in the Marine Band. He soon became Fife Major, and then succeeded Raphael Triay as bandleader in 1855.
The arrangements found in the Scala Collection, run the gamut – from guitar and piano scores, to wind octets to large ensembles of mixed winds and brass. Some of the latter have as many as 20 separate parts.
Polonaise: Last Rose of Summer
18--, R.A. Milliken [25th Mass. Band Books]
This polonaise treatment of Last Rose has a sort of promenade feel to it. It could double as a grande marche.
Port Royal Gallop
186-, Gustavus Ingals (b.1824) [3rd NH “Port Royal” Band Books]
The 3rd New Hampshire served as the Post Band at Port Royal, South Carolina. This was a large supply depot and headquarters and saw many community socials. Obviously, this gallop was composed for such an occasion. Several theories abound concerning the curious “echo” figure in the Trio. Reminiscent of an attention getting “Yoo-hoo,” one might imagine a potential dance partner standing outside the dance floor, waving a handkerchief, vying for the attention of an otherwise occupied dancer. Others take the gallop literally, and hear the figure as horses “whinnying.”
Prayer from “Der Freischütz”
1821, Carl Maria von Weber (1786 – 1826) [4th NH, Manchester Cornet Band Books]
Leise, leise, fromme Weise, “Waft softly, gentle air, on high.” This is the lovely prayer Agatha sings for Heaven's protection as her grandfather's portrait had fallen from the wall and grazed her and this she took as an omen for Max's trial shot. It appears, unknown to Agatha, the portrait falls every time Max fires one of the magic (read: evil) bullets. See Freischütz Q.S.
Prima Donna Waltz
18--, Louis Antoine Jullien (1812 – 1860) [Brass Band Journal, 1854]
This is a condensed version of Jullien's famous waltz arranged by G.W.E. Frederich. Jullien was born in France to a popular bandmaster, who, as a tribute to his players, used each of their names as middle names for Louis — some twenty names.
Jullien entered the Paris Conservatory and later attempted to publish a band and orchestral journal but, due to financial problems, dropped the idea and moved to London to continue his conducting. In 1849 he organized three “super concerts comprising of a huge 400 piece orchestra, 3 choruses and 3 military bands. This is probably where Gilmore got the idea for his “Peace Jubilees.” Jullien was a showman, “the P.T. Barnum of music,” and gained international fame for his on-stage antics, fabulous attire and spectacular extravaganzas. He would conduct Beethoven only with a jeweled baton while wearing white kid gloves that were served on a silver platter at the podium. Despite his eccentricities, he was universally respected for his uncommonly fine musicianship.