A Dictionary of Music and Musicians/Wind-Band

by Jacob Adam Kappey

WIND-BAND. The history of the development of wind-instrument music is so closely interwoven with the political and social state of Central Europe in the Middle Ages, that it is almost impossible to sketch the one without touching upon the other. Before the 12th century music of a popular kind was almost entirely in the hands of the wandering or 'roving' musicians, who, associated with actors, acrobats, loose women, etc., led an unsettled life. That their free and lawless existence offered great temptations to those of an unstable character may be inferred from the fact that their numbers increased so much that severe imperial and provincial edicts were enacted for their repression. 'Roving men' were considered 'shadows,' and as such out of the pale of law; they could not inherit landed property, recover debts, nor partake of any Christian sacrament.

Yet by the agency of these wandering vagabonds most of the ancient tunes or songs that we have were preserved. If a new melody grew up like a wild-flower, these fifers, fiddlers, or minstrels took it up and made it known far and wide. Although a social outcast, it was no breach of etiquette to allow the musician in the houses of high or low degree, and learn from him the last ballad or the newest dance-tune. On all great occasions, fêtes or church festivals, large numbers of them flocked together for the exercise of their merry calling. But their associating together as a 'band' was a matter of mere momentary convenience, and their performances only consisted of playing the melodies of songs, vocal dance tunes, and marches. Bagpipes being favourite instruments in these bands, we can form an idea of the quality of the 'music.' Trumpets and kettle-drums were strictly forbidden to ordinary minstrels, being reserved for the exclusive use of princes and men of high rank.

These instruments predominated in the bands which officially performed on state occasions, or at royal banquets. It is said that King Henry VIII's band consisted of fourteen trumpets, ten trombones, and four drums, in conjunction with two viols, three rebecs, one bagpipe, and four tambourines. Queen Elizabeth's band consisted (1587), beside a small number of other instruments, of ten trumpets and six trombones.^[1] The Elector of Saxony had in 1680 twenty court-trumpeters and three kettledrums, with apprentices trained for the performance of each instrument. Other courts had their trumpeter-corps, and their respective numbers were considered an indication of the importance, wealth, or power of the court. In the German Empire they formed the guild of 'Royal Trumpeters and Army Kettle-drummers,' which enjoyed many privileges and were under the special protection and jurisdiction of the Grand Marshal of the Empire, the Elector of Saxony. No one could be admitted to this corporation without having previously served an apprenticeship of several years. There is no doubt that this corporation exercised a very beneficial effect upon the artistic education of its members. The following example of a trumpet part, from Bach's Christmas Oratorio, proves what the instruments and players of those times were capable of doing, and we must remember that Bach did not write for artistes of a European celebrity, but for simple members of the town-band of Leipzig:—

Trumpet in D♮ Andante.

[App. p.817 "fourth stave of musical example, in the second bar a group of descending notes F, E, D, is to be inserted between the first and second groups of semiquavers and demisemiquavers, in order to complete the bar."]

The style of trumpet-music, due in a certain degree to the limits of the instrument, preserved its individuality down to our time; and many a phrase in the great works of Bach, Handel, and others, may have been played as a 'flourish' at a royal banquet.

But with regard to the roving musicians:—As early as the 13th century those 'pipers' who were settled in towns, and who felt the ignominious position of being classed with the wandering vagabonds, combined and formed 'Innungen,' or corporations for their mutual protection, in Germany, France, and England. The first of these, the 'Brotherhood of St. Nicolai,' was instituted at Vienna, 1288, and elected as 'protector' Count Peter von Ebersdorff, a high Imperial official. He organised a 'Court of Musicians,' obtained an Imperial charter for its perpetuation, elaborated a set of laws for the guidance of the members, and presided over it for twenty-two years.^[2] In Paris a 'King of Minstrels' was appointed and statutes enacted for the incorporation of the 'Brotherhood of St. Julian,' 1321.^[3] [See Roi des Violons, vol. iii. pp. 145–7.] In England the appointment of 'Patron' of minstrels owed its origin to a curious circumstance. Randal, Earl of Chester, being suddenly besieged, 1212, in Rhydland Castle by the Welsh at the time of Chester fair, Robert de Lacy, constable of Chester, assembled the pipers and minstrels, who had flocked to the fair in great numbers, and marching at their head towards the castle so terrified the Welsh that they instantly fled. In honour of the event the earls of Chester received the title of 'patrons of the minstrels.'^[4] This dignified title had however no influence whatever upon the progress of music, but merely perpetuated some useless public ceremonies once a year, down to the end of last century. But in Germany it was different. There the first guild at Vienna was imitated during the next two centuries by most of the large Imperial towns, who established regular bands of 'townpipers,' or 'townmusicians,' under the leadership of the 'Stadtpfeifer,' who had to provide all 'musics' at civic or private festivities. Wandering musicians were strictly prohibited from playing within the boundaries of the corporation. In some towns the number of musicians was regulated according to the importance of the occasion, or the rank of the family requiring a band. The 'full band' could only officiate on civic state occasions, or in connection with religious festivals. An alderman could only employ a reduced number; and if at a citizen's wedding more than from four to six pipers were employed, both the Stadtpfeifer and the offending citizen were mulcted in a fine. Kettledrummers and trumpeters dared not perform except at a nobleman's requisition; the lowest rank of the social scale who could indulge in this luxury being a doctor-at-law. Although the town bands had as yet but poor instrumentation, consisting mostly of fifes, flutes, schalmey, bombard (a sort of tenor or bass oboe), zinken (or cornetti, horns similar in shape to a cow's horn, with six holes, and played on a mouth-piece like that of a brass instrument), bagpipes, viols and drums,—yet they are the first germs from which modern bands originated.

In the year 1426 the Emperor Sigismund granted as 'an act of special grace' to the town of Augsburg the privilege of maintaining a corps of 'towntrumpeters and kettledrummers,' a grant extended during the next century to most other free towns; yet it does not seem that the results, in a musical sense, were of such importance as we might expect.

In the pieces written for a band, which date from about three centuries ago and have been preserved to our time, we find a strange habit of keeping different classes of instruments separate. Flutes, reed instruments, trumpets, and hunting-horns, were mostly treated as forming distinct bands. Louis XIV entrusted Lully with the organisation of certain regimental bands, which were to form a part of the regular army. Before that time the great officers commanding in the field engaged music, if they wanted it, at their own expense. These bands consisted at first of oboes (in four parts—treble, alto, tenor and bass, or bassoon) and regimental drums. The following march is one of the many written by Lully, the notation being that given by Kastner.^[5]

Premier Air de la Marche Française pour les Hautbois fait par M. de Lully.

A more ambitious composition is the next piece, evidently written for town bands. The 'cornets' are 'Zinken,' mentioned previously, [See Zinken.]

J. Pesalius.^[6]

Till the 17th century the music played by the bands of trumpeters was learned by ear, and transmitted without notation, as something of a secret nature. When princes took command of their armies in the field they were accompanied by their trumpeters, both for signalling and for enlivening the dreariness of the march or camp. As they served on horseback, the custom arose of looking upon trumpet-music as being specially appropriate to the cavalry service, and eventually it became regularly attached to it. The music of these bands, consisting only of trumpets and kettledrums, was naturally very simple.

Intrada.^[7]

The denomination 'Trompano' in the above score is somewhat singular. The usual names for the four different parts of trumpet-music were—Clarino primo, Clarino secundo, Principale, and Toccato. In the example above, the fourth part is either for Trumpet (in which case the bars written are to be played in 'doubletongue,') or for kettledrums, but probably for both combined.

The fact that all trumpet and horn music suffered from the absence of such important intervals as the third and seventh of the dominant chord, gave it a monotonous character. To obviate this the device was adopted of adding to the principal body of trumpets, in the key of the tonic, a few tuned in other keys. In the following example we find two trumpets thus introduced, one in the dominant and one in the second, the principal reason for the use of the latter being the note G, by which a modulation into A minor is effected, llude as may be these first attempts for enriching the harmonies, they are nevertheless the starting-point of the modern brass band. The adoption and extension of the custom of mixing in both trumpet- and horn-bands a variety of differently-tuned instruments made almost every harmonic progression possible, providing the band was numerous enough.

Intrada.^[8]

Although trombones were in frequent requisition they seem not to have been so often combined with either trumpet- or horn-bands as might have been expected. In a collection of Lutheran hymns by Johannes Krüger ('Psalmodia sacra,' publ. 1685) we meet with a fine example of the employment of a choir of five trombones, which weave around the simple four-part chorale a richly figured and most effective accompaniment. The diversity of duties imposed upon town-bands—having not only to provide the music for all sorts of civic fêtes, but also on high church-festivals to take part in the musical portion of the sacred rites—necessarily led to an enlargement of the limits of ancient instrumentation. Trombones came into general use, and being combined with flutes, oboes, pommers, zinken (cornetti), and sometimes a couple of trumpets and kettledrums, some very decent band-music emerged by slow degrees from the barbarous noise of former times. Instrumental music now began to be noted down, and we are enabled to trace its progress as we come nearer the 18th century. Bands separated more distinctly into three classes, each striving to perfect its own special mission—the full orchestra addressing itself to the cultivated musical intellects, whilst the military and brass bands appealed to the masses at large.

A new era begins with the invention and rapid improvement of the clarinet, which for wind-bands is as important as the violin is for the orchestra. Its brilliant tone, capable of every shade, from the softest to the loudest; its large compass, extended by the introduction of the smaller clarinets as well as by tenor and bass clarinets, at once placed it in the rank of the leading instrument, and the oboe was pushed into the second place. Two more instruments were so perfected in their construction as to become important additions to wind-bands, namely the bassoon and the French horn.

From 1763 military music assumed a definite form, and although still very rudimentary, we can trace in the instrumentation, as fixed by order of King Frederick II. of Prussia (Frederick the Great), the foundation upon which further development, in the shape of additions of other instruments, soon manifested itself. This first organisation comprised two oboes, two clarinets, two horns, and two bassoons, to which after a short time were added a flute, one or two trumpets, and a contrafagott. The French bands of the Republic (1795) consisted of one flute, six clarinets, three bassoons, two horns, one trumpet and one serpent, besides a number of side-drums. In the time of Napoleon military bands made rapid strides, both with regard to the augmentation of their numbers and to their executive capacity, and were admitted to be the best then in existence. It seems that between the years 1805 and 1808 the addition of bass-drum, cymbals and triangle was made; and also into the Prussian bands that most useless of toys, the crescent, found its way.

England having in no way contributed to improve or even influence the progress of wind instrumental music, we have of necessity to pursue its course on the continent, from whence any important advance was simply adopted. It is difficult to trace the introduction of military bands into the English service. In 1783 the Coldstream Guards had a band of eight musicians—two oboes, two clarinets, two horns and two bassoons. The Duke of York, wishing to improve the musical service, imported from Germany what probably was the first 'full band' of twenty-four men, who, besides the above-named instruments, brought flute, trumpets, trombones and serpent. To these were added three negroes with tambourines and crescent.^[9] A fuller description of the circumstances attending this introduction of a foreign band may be found in Parke's 'Musical Memoirs,' vol. ii. p. 239 (London, 1830).

In the beginning of the present century various inventions were introduced to improve the imperfect state of trumpets and French horns and render them capable of producing a complete scale. A similar slide to that of the trombone was added both to trumpets and horns, but its manipulation was so difficult that it did not gain ground. A more important addition was that of keys to the bugle. Although the tone was thereby rendered unequal, yet this defect was compensated for by the gain of a complete chromatic scale, and the key-bugle became a much-used favourite instrument in most military and brass-bands of the time. [See Bugle, vol. i. p. 280.] The greatest event however for all brass instruments was the invention of the Valve. [See vol. iv. p. 215.] Emanating from two obscure musicians in Prussia, it at first did not meet with the approval of the musical profession, who thought that the 'good old' character of the brass instruments was thereby deteriorated.

Valve-trumpets were introduced here and there, but without creating a favourable impression. Thus it went on till two men came to the front—one as a reformer of military music, the other as the inventor of scientifically-constructed brass instruments—Wieprecht and Sax. The former had an anomalous position, for being a civilian his propositions for reforming a purely military establishment were received but coolly by the military authorities. However, persevering in his endeavours, he at last succeeded so far as to be allowed (at the expense of the commanding officer) to introduce his instrumentation in a cavalry brass-band. It consisted of two high trumpets in B♭ (cornettinos), two key-bugles in B♭, two alto-trumpets in E♭ (cornettos), eight trumpets in E♭, two tenor-horns in B♭, one bass-horn in B♭, and three trombones in B♭, the former all having two or three valves, the latter being slide-trombones. The great advantage of this innovation was so apparent that Wieprecht was requested to introduce it into the bands of the Prussian Life Guards, and he went so far as to give the members of these bands personal lessons, to be assured of a proper perception of his ideas. In 1838 he was appointed director of all the Guards' bands, and in this influential position he successfully dealt with the formation and style of playing of the military bands throughout Germany. The first grand effort of combining many bands for a monster performance, at which he officiated, was at a fête given at Berlin on May 12, 1838, to the Emperor Nicolaus of Russia, who was on a visit to the King of Prussia, when Wieprecht conducted a performance of sixteen infantry and sixteen cavalry bands, consisting of 1000 wind-instruments, besides 200 side-drummers. He directed this great mass of musicians, all dressed in brilliant uniforms, in plain civilian garb, and it is said that the Emperor was so struck with the incongruity of the thing that Wieprecht was hurriedly put into uniform to conduct a second performance before the crowned beads four days after.^[10] Without following in detail the many results of his well-directed efforts, we will only give the instrumentation of the first military (reed) band, as reformed by him.

2 Flutes.
2 Oboes.
1 A♭ (high) Clarinet.
2 E♭ Clarinets.
8 B♭ Clarinets.
2 Bassoons.
2 Contrabassoons.
2 Tenor Trombones.
2 Bass Trombones.
Soprano Cornetts in E♭.
2 Altocornets in B♭.
2 Tenor Horns in B♭.
1 Bariton Tuba (Euphonium).
4 Bass Tubas (Bombardones).
4 Trumpets.
4 French Horns.
2 Side Drums, Bass Drum, Cymbals and Crescent. (47 men in all.)

For the cavalry he organised the bands thus (trumpet-bands):—

Cavalry.	Artillery.
Cornettino in B♭. 2 Cornettos in E♭. 4 Cornets in B♭. 2 Tenor Horns. 8 Trumpets. 1 Euphonium. 3 Bombardones.	3 Cornettinos in B♭. 3 Cornettos in E♭. 6 Cornets in B♭. 6 Tenor Horns. 3 Euphoniums. 12 Trumpets. 6 Tubas (Bombardones).
(21 men in all.)	(39 men in all.)

And for the light infantry (Jäger) the instrumentation was called 'horn-music,' consisting of,

1 Cornettino in B♭.
2 Cornettos in E♭.
4 Cornets in B♭.
2 Tenor Horns.
4 French Horns.
3 Trumpets.
2 Euphoniums.
3 Bombardons.

The regulation instrumentation of the Austrian bands at the same period differed from the above in so far that it regarded less the artistic completeness than the production of greater power, or loudness. We find therefore no flute, oboes, or bassoons. It consisted of—

Austrian Infantry Band 1860.	The same at present.
1 Piccolo. 1 high A♭ Clarinet. 2 E♭ Clarinets. 4 B♭ Clarinets. 2 Cornettinos (B♭). 2 Cornettos(E♭). 2 Cornets (B♭). 2 Tenor Horns. 2 Euphoniums. 4 Bombardons. 4 Trumpets. 2 French Horns. 2 Tenor Trombones. 2 Bass Trombones. 1 Side and 1 Bass Drum and one pair of Cymbals.	1 Piccolo in E♭. 1 Flute. 1 High A♭ Clarinet. 2 E♭ Clarinets. 8 B♭ Clarinets (in 4 parts). 4 Horns (E♭). 2 First Flugel Horns. 2 Second ditto. 2 ditto. B♭ Bass (or Tenor Horns). 2 Euphoniums. 10 Trumpets E♭ (in 4 or 5 parts). 2 Bass Trumpets (B♭). 3 Bombardons in F. 3 Tubas in E♭, C, or Contra B♭ 2 Side and 1 Bass Drum and Cymbals.
(35 men in all.)	(47 men in all.)[11]

This regulation number has however on nearly all occasions been overstepped, and there are frequently bands of from seventy to ninety performers. The natural aptitude of some of the nationalities, notably Bohemia, Hungary and Austria proper, for instrumental music, has made the strengthening of the number of performers a comparatively easy matter to the bandmaster.

Spontini recommended to the special commission for the reorganisation of the French military bands, at Paris, 1845, the following as the best instrumentation for bands of infantry regiments:—

1 Piccolo.
2 Concert Flutes.
2 E♭ Clarinets.
8 or 10 First B♭ Clarinets.
8 or 10 Second Ditto.
2 Alto Clarinets.
2 Bass Ditto.
4 First Oboes.
4 Second Ditto.
2 Bassethorns (Alt. Clarinet in F).
2 First Bassoons.
2 Second ditto.
2 high Saxhorns in E♭ (Cornettos).
4 Saxhorns in B♭ (Cornets).
4 Ditto (Althorns).
4 Bass Saxhorns in B♭ (Euphoniums).
4 Contrabass Saxhorns (Bombardones).
2 Horns without valves.
2 Ditto with 3 valves.
3 Trombones (slide—alt., tenor, and bass).
3 Ditto, with valves (ditto).
1 Serpent (Ophicleide).
1 or 2 Contrafagotts.

But it was not adopted.

Like Wieprecht in Germany, Sax in France created a revolution in the instrumentation of the military bands; but, whereas the former was prompted by purely artistic motives, the latter acted from scientific knowledge and for mercantile purposes. [See Sax, vol. iii. p. 232.] He adapted the German invention of the valve to all classes of brass instruments, and gave them the generic name of Saxhorns, Saxtromba, Saxtuba, etc., ignoring the fact that valve-trumpets, valve-horns and various other forms of valve-brass-instruments were known, although not in general use, long before he adopted them for his 'inventions.' The bombardons (by him called Saxtubas) were designed by Wieprecht, and introduced into the Prussian army before 'Saxtubas' were heard of.^[12] However, by a unity of design and a great number of ingenious improvements in the details of manufacture, he deservedly gained a great name as an instrument-maker. This, combined with influence at the court of Napoleon the Third, and the enthusiastic support of Berlioz, enabled him to bring about a complete reorganisation of the French military bands, he obtaining almost the monopoly of supplying the instruments. He designed a peculiar clarinet of metal, very wide in diameter and conical in shape, formidable-looking on account of a great number of keys, and called the Saxophone. The tone of this instrument is quite distinct from that of any other, and imparts to all French infantry bands, who have from four to six of them (soprano, B♭, alto E♭, tenor B♭, and baritone E♭), a peculiar reedy tone. It is a difficult instrument, requiring careful manipulation. The following lists of French infantry bands show that the instrumentation, as fixed by the government of the time, has already been considerably departed from—

In 1860.	In 1884.
2 Flutes. 2 Piccolos. 4 Clarinets. 2 Oboes. 2 Saxophones soprano. 2Do.alto. 2Do.tenor. 2Do.bariton. 2 Cornets à pistons. 2 Trumpets (cylinder). 3 Trombones. 2 Saxhorns, B♭ alto. 3 Saxtromba, E♭. 2 Saxhorns, baritone B♭. 3Do.bass in B♭ (4 cylinders). 1Do.contrabass in E♭. 1Do.contrabass in B♭. Side and Bass Drums and Cymbals.[13]	2 Piccolos in E♭. 1 Flute in D (concert). 2 Oboes. 1 E♭ Clarinet. 4 B♭ Clarinets. 1 Saxophone soprano. 1Do.alto. 1Do.tenor. 1Do.baritone. 2 Bassoons. 1 Petit Bugle in E♭. 2 Pistons in B♭. 2 Bugles in B♭. 2 Horns in E♭. 2 Trumpets in E♭. 3 Altos in E♭. 2 Barytones in B♭. 3 Trombones. Bass in B♭ (Euphonium). Contrabass in E♭. Do.in B♭. Drums and Cymbals.[14]

The bands of two more armies may be mentioned; the first on account of a rather peculiar instrumentation, and the second as a curious illustration of the influence of European ideas upon a very distant people.

Spain.

Japan.

1 Piccolo in E♭ (D♭). 1 Flute in E♭. 1 E♭ Clarinet. 10 B♭ Clarinets. 2 Saxophones sopr. in B♭. 2Do.alto in E♭. 2Do.tenor in B♭. 2Do.bass in C. 2 Flügelhorns in B♭. 4 Cornets in B♭. 3 Trumpets in E♭. 2 French Horns. 4 Tenor trombones in C. 1 Bass trombone in F. 2 Euphoniums in B♭. 2 Bombardons in E♭. 2 Tubas in C. 1 Tuba (Contra F). 1 high (shallow Side Drum). 1 do. (long, old pattern). 1 Bass Drum. 1 Cymbals. 1 Lyra (Glockenspiel). (To which are added, for various instruments, 10 pupils under training.)

2 Flutes. 1 Oboe. 2 E♭ Clarinets. 8 B♭ Clarinets. 4 Saxophones in B♭. 4Do.in E♭. 2Do.in B (bass). 2 Baritones in B♭. 3 Cornets in B♭. 2 Trumpets in E♭. 3 Trombones. 4 Euphoniums. 2 Bombardones in E♭. 2 Contrabasses in B♭. And 2 Drums, with Cymbals.[15]

English bands of line regiments consist of—

1 Piccolo.
1 Flute.
1 or 2 Oboes (C-Clarinets?).
2 E♭ Clarinets.
From 8 to 10 B♭ Clarinets (3 parts).
1 Alto Clarinet in E♭.
2 Bassoons (or Bass Clarinets).
4 Horns in E♭.
2 Cornets in B♭.
2 Trumpets in E♭.
1 or 2 Baritones in B♭.
1 or 2 Euphoniums in B♭.
2 Tenor Trombones in B♭.
1 Bass Trombone in G.
2 or 3 Bombardones in E♭.
1 Contrabass in B♭ (?).
Side and Bass Drum with Cymbals.

Military bands are now constructed upon the same system throughout the civilised world. Varying from twenty to sixty-five members, the instrumentation differs only in minor details from that of the bands named above.

An event of interest in the annals of military music took place in the year of the French Exhibition, 1867, as in connection with it a grand contest for military bands was organised, and every sovereign of Europe invited to allow one of his military bands to compete. The following bands responded, England making no appearance.

State.	Bands.	Number of Musicians.	Conductor.
1. Austria.	Band of the 73rd Regiment.	76	Zimmermann.
2. Prussia.	Band combined of two Regiments of the Guards.	87	Wieprecht.
3. Bavaria.	Band of 1st Infantry Regiment.	51	Siebenküs.
4. Baden.	Band of Grenadier Regiment.	54	Burg.
5. Belgium	Combined bands of the Guides and Grenadier Regiment.	59	Bender.
6. Holland	Combined bands of Chasseurs and Grenadiers.	56	Dunkler.
7. France	(a) Band of Mounted Guides. (b) Garde de Paris.	62 56	Cressonois. Paulus.
8. Spain	Band of 1st Engineer Corps.	64	Maimo.
9. Russia	Band of Mounted Guards.	71	Dorfeld.

The jury consisted of twenty members, under the presidency of General Mellinet, and included George Kastner, A. Thomas, Hans von Bülow, Felicien David, Leo Delibes, Grisar, Professor Hanslick; etc., etc.

The contest took place in the Exhibition before 30,000 spectators. The result was—

First prize: (a) Prussian band; (b) Paris Guards; (c) Austria.

Second prize: (a) Bavaria; (b) Russia; (c) French Guides.

Third prize: (a) Holland; (b) Baden.

Fourth prize: (a) Belgium; (b) Spain.

About the same time Mr. Gilmore brought the band of the 22nd Regiment of New York to Europe, giving concerts at Liverpool, Dublin, the Crystal Palace, Paris, etc. Although the band had a great reputation, its performances surpassed the expectation of even the most fastidious critics. Placed under exceptionally favourable circumstances at New York, Mr. Gilmore was able to organise a band of unusually good performers, capable of rendering the moat difficult passages in concerted pieces with a precision and refinement deserving the highest praise, and containing a number of solo-players of great skill and taste. Their intonation was correct, the attack vigorous and precise, while the gradations of tone from the greatest fortissimo to an almost vanishing point of pianissimo proved not only a most careful training of the band, but also the artistic merit of the conductor.

Their programmes (although, like those of other military bands, consisting mostly of arrangements of orchestral works) were carefully chosen and interesting. A noteworthy number was an adaptation of Liszt's 'Rhapsodie Hongroise,' the technical difficulties of which are rather increased by its transference from the piano to a wind-band, but the rendering of which created among the audience a genuine enthusiasm. The daily papers of May 1878, as well as the musical periodicals, were unanimous in their praise of 'Gilmore's Band.'

Their instrumentation was as follows:—2 piccolos, 2 flutes, 2 oboes, 1 A♭ piccolo clarinet, 3 E♭ clarinets, 8 first, 4 second, and 4 third B♭ clarinets, 1 alto and 1 bass clarinet, 1 soprano, 1 alto, 1 tenor and 1 bass saxophone, 2 bassoons, 1 contrafagotto, 1 E♭ cornetto, 2 first and 2 second B♭ cornets, 2 trumpets, 2 flügelhorns, 4 French horns, 2 E♭ alto horns, 2 B♭ tenor horns, 2 euphoniums, 3 trombones, 5 bombardons, 3 drums and cymbals—66 in all.

A few words are necessary with reference to horn-bands. Like trumpets, horns enjoyed the distinction of being reserved for the upper classes. They were used for signalling during the progress of the chase, and for playing merry fanfares and other pieces when the huntsmen took their meal in the forest or returned home. They developed a distinct characteristic strain, which with its lively rhythm, mostly in 6-8 time, suited its purpose admirably. [See Horn, vol. i. p. 751.] The number of fine compositions in which phrases for the horns 'à la chasse' occur give proof of the enduring impression they made, and they lost nothing of their effect by being transferred from the forest to the stage or concert-room. The most noted of these compositions is the overture to the opera 'Le jeune Henri,' by Méhul, which soon after its appearance made itself known over Europe under the name of 'Hunting Overture,' or 'Jagd Symphonie.' It is almost entirely constructed on old French hunting fanfares, and even yet is a favourite.

Having already recorded the reformation of the Prussian cavalry brass-bands by Wieprecht, a reformation which very soon extended into nearly every other European state, and the improvements of Sax, we may now proceed to the brass-bands of the present time.

No statistical record of the number of private brass-bands in Great Britain has yet been compiled, but their number is very large. A considerable number of these bands have reached a high state of excellence. Of course, looked upon from the point of 'high art culture,' brass bands are of no account. But viewed as a popular agent for the improvement of the musical taste of the people, they are of great importance. The comparative ease with which a brass instrument may be learned, the similarity of execution upon all of them, which promotes a feeling of equality, and gives no technical advantage to any player, and the imposing effect which a well-managed brass-band is capable of producing—these circumstances offer attractions to the toiling multitude which no other form of music can equal.

Originally introduced by some of the large employers of labour in Lancashire as an innocent and desirable recreation among their workpeople, brass-bands soon multiplied. As they improved in executive capability, an honourable spirit of emulation arose among the better ones for a public recognition of their respective claims to superiority. This led to the organisation of public contests, coupled with the award of prizes for superior merit. It is really marvellous that these contests have survived the tests of half a century, and flourish now more than ever. The task of employing part of the scanty leisure in the study of an uninteresting 'part,' the severe rehearsals necessary to ensure pre-eminence, and the fine results achieved by many of the existing bands, furnish a sufficient proof of the love of music among those whose life is passed in useful activity. These contests are watched annually by hundreds of thousands of spectators, and the award of prizes is a source of ever-increasing interest to the multitude, while it gives a distinguished position to the winning band. Mr. Enderby Jackson of Hull deserves to be mentioned as having been the active promoter of many of these contests in the midland and northern counties. The highest success which he achieved was the organisation of the 'Grand National Brass-band Contest' at the Crystal Palace, Sydenham, on the 10th and 11th of July, 1860. A hundred and sixty-nine bands were entered as competitors, the actual number appearing at the Palace being about seventy less. On six platforms the competition proceeded from 10 a.m. till late in the afternoon of each day. Three judges officiated at each platform and selected the two best bands of those which had played before them. The twelve bands thus selected had a final struggle for the honour of the first prize before the combined eighteen judges, whose award on the first day gave the following prizes:—

First prize.—The Blackdyke Mills band; conductor, Mr. Longbottom.

Second prize.—The Saltaire band; conductor, Mr. R. Smith.

Third prize.—The Cyfarthfa band; conductor, Mr. R. Livesey.

Fourth prize.—The Darlington Saxhorn band; conductor, Mr. H. Hoggett.

Fifth prize.—The Dewsbury band; conductor, Mr. John Peel.

The bands obtaining the first and second prizes on the first day were not allowed to enter into the competition of the second day, when the following bands respectively succeeded:—

First prize.—The Cyfarthfa band; conductor, Mr. R. Livesey.

Second prize.—The Dewsbury band; conductor, Mr. J. Peel.

Third prize.—The Goldshill Saxhorn band; conductor, Mr. J. Blandford.

Fourth prize.—The Chesterfield band; conductor, Mr. H. Slack.

Fifth prize.—The Meltham Mills band; conductor, Mr. H. Hartley.

The united bands, comprising over 1000 brass instruments, performed the following programme each day:—'Rule Britannia,' chorus—'Hallelujah,' Mendelssohn's 'Wedding March,' chorus—'The Heavens are telling,' and 'God, save the Queen.' The Times report of the proceedings said: 'The effect of the combined legions of "blowers" (upwards of 1200 strong) was tremendous. The organ which accompanied them, and which on less exceptional occasions is apt to drown everything, was scarcely heard.… The whole performance was conducted with wonderful vigour and precision by Mr. Enderby Jackson of Hull, a sort of "Delaporte" in his way'; etc.

Since then the movement has gone on in the Northern Counties and in Scotland, with fluctuations. There are periodical contests at many towns in Lancashire, Yorkshire, and elsewhere, and there is even a monthly organ for the movement, The Brass Band News (Wright & Round, Liverpool). It is, however, extremely difficult to obtain accurate information on so independent and fluctuating a matter. [See Brass Bands, in Appendix.]

In America similar circumstances produced similar results to those in England. A small army with a small number of bands leaves the musical field open to private enterprise, and the music-loving masses of large areas have themselves to provide the bands for their open-air recreation. It has been stated that in America there are 200,000 men connected with brass bands. Although we cannot go the whole length of this estimate, yet we may safely assume that the number of private bands is very large.

In all Continental countries the enormous armies absorb most of the average wind instrumentalists for military band purposes. Being permanent establishments, and carefully cultivated by the states as bands, the members of which have the privilege of following their professional pursuits undisturbed when not actually required on duty, it follows that there is no need for a development of private brass or other bands. This fact has to be considered when comparing the number of private bands on the Continent with those of England and America.

Brass-bands are confined by the narrow capacity of brass instruments to a limited range of executive possibility; but good work done, in whatsoever shape, is worthy of praise. Let us point out some mistakes frequently made. Some conductors wish to widen the legitimate range of brass-bands by adding brass clarinets to them. This is a most absurd proceeding, by which the very character of the instrumentation is destroyed. A squealing E♭ clarinet, the notes of which float over the brass tone of the band like a drop of vinegar in a basin of oil, is to a cultivated ear an abomination. So is the vigorous drumming. For marching purposes the addition of percussion instruments for the stronger accentuation of the rhythm is allowable, but out of that limit, if an addition is made, it should consist of kettledrums (timpani), which heighten the effect and are in character with the instruments. Another regrettable point is the absence of trumpets (with shallow mouthpieces) and the gradual conversion of brass-bands into 'horn-bands.' [See Horn, vol. i. p. 748.] By the universal use of the cornet, which absorbs the functions of trumpets and flügelhorns, a variety of tone-colour is lost, namely the contrast between a combination of trumpets and trombones, and one of flügelhorns, althorns, euphoniums, and bombardons, each combination quite distinct in quality. Let us hope that if the monotony of the brass-bands suggests the introduction of some variety, it will be made, not in the addition of reed or such-like instruments, but in the legitimate restoration of those mentioned above.

Finally, we may once more refer to the military bands with reference to an estimate of their strength. On a necessarily incomplete calculation, made from reports of bandmasters of each country, excluding all bands of the Indian and Colonial forces, and not counting the many smaller bands of the German battalions not authorised by the state, we find in Europe 1043 regimental infantry bands (reed-bands) and 352 cavalry brass-bands, containing at the lowest estimation over 51,000 military musicians.

If we examine the musical results achieved by this small army it must be confessed that the rapid strides which have been made in the perfection of all classes of wind-instruments have not been accompanied by a proportionate advance in the artistic capability of these bands. It is outside our present scope here to analyse the causes of this stagnation. The connection of the bands with the military service, by which simple utility is placed in 'the front rank,' whilst that of art is relegated to the 'rear column,' lies at the root of the evil. To the same cause may also be ascribed the state of the literature of wind-instruments, consisting mainly of dance music of the trashiest kind, or operatic arrangements of more or less merit. The few examples we have of pieces for wind-bands by the great masters are not generally of a high order, and lack the necessary characteristic of bold outline. Between the aims and effects of writing for the orchestra and writing for military bands there is the same difference as between a carefully executed painting, where the smallest details are rendered with minute fidelity, and a large fresco, painted with bold strokes and bright colours. We may however indulge the hope that wind-bands (combining all classes of wind- and percussion-instruments) will at no distant period rise outside the military atmosphere. The variety of tone-colour, the broad contrast possible in a really artistic instrumentation, and the brilliant effects obtainable by a full-sized band of artist-performers, are too palpable to remain neglected for ever. When this great material is placed on a better basis, and the attention of ever-varying fashion brings it before the cultivated world as something new, then perhaps the composer will also arise who with broad brush will lay on the colours of tone-pictures of a new order, which at present are still hidden in the future.

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Most of the following pieces were written for special occasions, to which the instrumentation had to be adapted. A high-class literature for military bands does not exist, and a fixed instrumentation applicable to most European countries has only been recently attempted.

Mozart wrote:—Ten pieces for 2 flutes, 3 trumpets in C, 2 trumpets in D, and four kettledrums—C, G, D and A; two Divertimentos for similar instruments; six Divertimentos for 2 oboes, 2 French horns, and 2 bassoons; three Serenades for 2 oboes, 2 clarinets, 2 French horns, and 2 bassoons; two Serenades for 2 clarinets, two alto-clarinets in F (basset-horn), 2 French horns, 2 bassoons, and a contrebass (or contra-bassoon); and two Divertimentos for 2 clarinets, 2 oboes, 2 English horns (alto-oboe), 2 French horns, and 2 bassoons. (See Köchel's Verzeichniss Tonwerke Mozarts; Leipzig, 1862.)

F. J. Gossec deserves especial mention in connection with wind-bands. [See vol. i. p. 611]. During the French Revolution he was appointed bandmaster of the Paris National Guard, in which capacity he had to write all the music for the grand national fêtes. As most of these were held in large open spaces, he organised a full orchestra consisting entirely of wind-instruments, which accompanied his patriotic hymns and funeral cantata. Among these, the hymn to the Goddess of Reason, to the Deity, etc., were of so high an order and produced so deep an impression, that the Directorate of the Republic decreed him to be 'a composer of the first rank.' On the collapse of the Republic, the new reign did not encourage popular fêtes, and Gossec's work came to an end. Although his compositions in this line bore the stamp of genius, they are now almost forgotten.

Beethoven has left:—(1) Marsch für Militair musik (for the Grand Parade, June 4, 1816) in D. (2) March in F for the same. (3) Sextet for 2 clarinets, 2 horns, and 2 bassoons in E♭ (op. 71). (4) Trio for 2 oboes and English horn in C (op. 87). (5) Octet for clarinets, oboes, horns, and bassoons in E♭ (op. 103). (6) Rondino for 2 clarinets, 2 oboes, 2 horns, and 2 bassoons in E♭. (7) Two Æquale for 4 trombones. (8) Three Duos for clarinet and bassoon.

Cherubini's autograph catalogue of his works contains the following pieces for Wind-bands, but of what instrumentation we are not aware:—1800. Two marches, (1) Marche du Préfet d'Eure et Loire; (2) Marche pour le retour du Préfet. 1805. March for wind-instruments composed at Vienna for the Baron de Braun. 1808. March for Wind-instruments. 1810, Sept. 22. Ditto, do. 1814, Feb. 8. March for the Band of the National Guard; Feb. 13. Quick-step for ditto.

Spontini wrote several Marches for the Prussian Guards' band.

Kühner wrote a number of Fantasias and Suites of variations for military band about fifty years ago, mostly published by Schott & Co.

Berlioz.—op. 16, Symphonie funèbre et triomphale, in three parts, for full military band, and separate string orchestra, with chorus ad lib. (Paris, Brandus).

Mendelssohn.—Overture in C for wind-instruments, op. 24. Although professedly for military band, this overture is not effective for outdoor performance. Even in the composer's time Wieprecht rearranged it for military band.

Meyerbeer's four Fackeltänze, of all modern compositions, give the true character of military music full scope. Generally for a trumpet-band and orchestra, placed opposite each other at the two ends of a great hall, the interweaving of true fanfares with the strains of the orchestra produces a most stirring effect.

Wieprecht deserves great praise, especially as for his admirable arrangements of six complete symphonies by Beethoven (2, 3, 5, 7, 9, and 'Battle'), two of Mozart, about thirty overtures, besides numerous operatic fantasies, etc. Most of these remain in manuscript.

Anton Reicha has written a number of works for wind-instruments—twenty-four Quintets for flute, oboe, clarinet, horn and bassoon (op. 88, 91, 99, 100); one Quartet for 4 flutes (op. 12), etc.

Various collections of music arranged for military bands exist, such as:—I. Boosey's Military Band Journal—for full Band (monthly). Do. Supplemental Journal (bi-monthly). Chappell's Military Band Journal (monthly). Lafleur's 'Alliance Musicale' (monthly). II. Boosey's Brass Band Journal (monthly). Chappell's B. B. Journal (monthly). R. Smith's B. B. Journals; and others.

[ J. A. K. ]

1. Lavoix, Histoire de l'instrumentation depuis le XVI siècle jusqu'a nos jours.
2. Forkel's Geschichte der Musik, Vol. i. 2ter Abschnitt. §72, etc. (Leipzig, 1801.)
3. Schletterer's Geschichte der Spielmannszunft in Frankreich. p. 115, (Berlin, 1884.)
4. Dr. Burney's General History of Music, vol. ii. p. 358. (London 1782.)
5. Georges Kastner, Manuel général de Musique Militaire, etc. (Paris, 1848.)
6. Johann Pezelius, fünfstimmige blasende Musik, etc. (Frankfort, 1688.)
7. Mss. Mus. 3193. Könlgliche Hof- und Staattbibliothek, Munich.
8. Zwey Aufzüge, etc. Mss. Mus. 3194, Könlgliche Hof- und Staatsbibliothek, Munich.
9. C. F. Pohl, Mozart and Haydn in London. (Wien, 1867.)
10. For a description of a similar performance see Berlioz, 'Voyage Musical,' Letter IX. Berlioz wrongly calls him Wibrecht.
11. A. Kalkbrenner, 'Wilhelm Wieprecht, sein Leben und Wirken,' etc. (Berlin, 1882.)
12. Wieprecht's Schriften. Published letter. (Berlin. 1867.)
13. Albert Perrin, Military Bands, etc. (London, 1863.)
14. A. Kalkbrenner, 'Die Organisation der Militairmusikchöre,' etc. (Hanover. 1884.)
15. Ibid.