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Philip Spiess
Okay, folks, I have a certain sense that I post way too much commentary on this Forum -- I really do not wish to bore you or monopolize the site. But I want to comment tonight, having watched tonight on TV, both last year's and this year's "Fourth of July Concert on the National Mall in Washington" presentations (PBS), on their presentation of patriotic music. I will not dwell on the fact that for some years these concerts have become all too synonymous with all of the other concerts and shows -- Presidential Inaugural Ball specials and Presidential "Chrismas Concerts" at the National Building Museum (and even "special concerts" in the East Room of the White House), Memorial Day and Veterans' Day concerts on the Mall, special national awards shows at the Kennedy Center, and even the Oscar awards, the Tony awards, etc., etc. -- they are all too similar, grandiose, and stylized in the one Hollywood fashion.
No, right now I wish to focus on a passion of mine, the march music of John Phillip Sousa (who is buried in the Congressional Cemetery on Capitol Hill in Washington). I have enjoyed his music since the age of one or two, when I am told that I stood on a park bench in Burnet Woods in Clifton during the Thursday night summer band concerts (Herbert Tiemeyer was usually conducting) and directed his marches with my index finger. (Both Tiemeyer and another Burnet Woods conductor, "Smittie," director of Withrow High School's band, and a descendent of several generations of Smith, or Schmidt, German band directors in Cincinnati, always ended their concerts with Irving Berlin's "God Bless America," immortalized by the radio singer Kate Smith, which we all sang as we returned to our cars). Sousa, as I am sure we all acknowledge, was indeed the "March King," but I am driven crazy by the fact that nowadays, on almost all national holidays, all we hear of his many excellent works is his greatest march, "Stars and Stripes Forever" (which apparently came to him in a dream). I have nothing but admiration for this march, but I heard it at least five times tonight, and I am gagging in my Scotch -- Sousa wrote so many other good marches! I was a member of both the Walnut Hills Fighting Eagles Marching Band and the Walnut Hills Golden Eagles Concert Band for six years, and under Edgar Loar we played many of Sousa's marches (our book was March Masters, which also included classical European marches, German, Austrian, and French, which are quite different in style from American marches). At least the Army Band (or whoever it was) also played Sousa's second most famous march, "The Washington Post March" (named after the newspaper, not a military post, and which is really a "two-step" dance, not strictly a march), as well as his "The Thunderer," another of his really great marches. But there are so many others we rarely hear any more: "El Capitan" (for years the radio theme of the Cincinnati Redlegs baseball reporting with Waite Hoyt), "Semper Fidelis," "High School Cadets," "The Liberty Bell March," "Manhattan Beach," and so many others. Where are they now in performance?
But now we pass on to a sequel: The second greatest march master in America, after Sousa, was Henry Fillmore of Cincinnati, composing in the 1910s and 1920s. He wrote such works as "The Cincinnati Post March," (after the newspaper, perhaps as a response to Sousa's "Washington Post March"). But some of his finest works were for trombone slides: a whole "family" of trombone tunes, including "De Lassus Trombone" (the best, to my mind, in this genre), "Miss Sally Trombone," etc., and many other marches, which do not come readily to memory (if you want me to, I will reseach it; I have the resources). In the early 1960s, the University of Cincinnati Marching Band made a recording of many of his marches (including the trombone slides), but I don't think they've been recorded since (the Rochester School of Music recorded many of Sousa's marches in the mid 1960s in a three-volume set).
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