“What do you want to play young fellow?” asked the instructor of the
grade school band, turning to the applicant next in line.
“The cornet, sir,” replied the boy.
“You’re pretty young, aren’t you?” said the teacher, looking closely at
the small, bright-eyed lad.
“I’ll soon be nine, sir,” the youngster replied, eagerly, though he was
really stretching a point.
“Well, we’ll try you on an alto horn in the second alto section. What’s
your name?”
“Edwin Goldman, sir.”
Just two weeks later Edwin was asked to remain after band practice.
“What’s the matter boy?” asked the bandleader, “You don’t seem to be
able to play.”
“It’s hard to read that second part, sir,” said Edwin. “I’d rather
learn to play the cornet.”
“You’d better wait a year or two. I told you before that you are too
young. That’s all. Turn in your instrument.”
Eddie rushed out of the room fearing his tears would be discovered,
while the young teacher hurriedly wrote “No talent” after the name of
Edwin Goldman.
However the boy’s keen disappointment was so evident that two weeks
later the teacher said, “Well, Edwin, I’ll give you another try--on the
cornet this time--we’ll see what you can do.”
Edwin quickly showed what he could do. He made such amazing progress
that it was evident he had his full share of his family’s talent.
Edwin Franko Goldman was born in Louisville, Kentucky, January 1, 1878.
He had a rare heritage in a fine musical and cultural background.
Edwin’s mother, Selma Franko, came of a line of famous musicians. She
was the oldest of sixteen children, and so many in that large family
were musical that eight grand pianos were kept in their home to allow
all who wished to practice. Selma, a talented violinist and pianist,
was one of the five Franko children who toured the United States and
Europe as young musical prodigies.
David Goldman, the father of Edwin, was also a brilliant pianist
and violinist, but as an amateur only. He devoted his life to the
profession of law. He was highly educated, widely traveled and very
prominent in his field. Having descended from such a family, it is
small wonder that from his earliest boyhood young Edwin dreamed that
some day he would become a great musician.
The Goldman family moved to Evansville, Indiana, later to Terre Haute.
When Edwin was eight years old they left the middle west to live in New
York City.
Through his admittance to the public school band Edwin had obtained
possession of a cornet. His faithful practicing nearly drove the
neighborhood to distraction. Even his devoted family protested at
the labored trills, runs and scales. But deaf to all criticism, the
boy persisted. Before very long Edwin was asked to play at all the
neighborhood parties, and his music was the pride of his school. He
was voted the most popular boy in his class and received a prize for
excellent playing when he was graduated.
At fourteen, Edwin Franko Goldman won a scholarship at the National
Conservatory of Music where he studied composition under the great
Antonin Dvorak. Next year, Jules Levy then the world’s greatest
cornetist, hearing Edwin play, gave him an approving pat on the back
as he said, “Someday you will be a great cornetist--you put your whole
soul into the tones.” Levy, realizing the boy’s talent was happy to
take him as a free pupil.
Two years later--at seventeen--Dr. Walter Damrosch chose Edwin Franko
Goldman to be the solo cornet player in the Metropolitan Opera House
Orchestra. “The Baby of the Met,” the players called him; he was so
small and so young. In fact, he was the youngest musician ever to hold
such an important place in that great organization. There Goldman had
the privilege of playing under the direction of Mahler, Hertz and for a
while, under Toscanini.
For ten full years Edwin Goldman held this position. In the meantime
he organized and directed small orchestras which were then in popular
demand. Later on he began to play in various bands during his vacations
at the Metropolitan. In 1912 he announced that he was going to give up
his work in the Metropolitan Opera House organization. His family and
friends disapproved and objected.
“What do you intend to do?” they asked. Goldman would not give them a
direct answer. He had an idea, but he was not ready to disclose it. He
began to teach the cornet and the trumpet. He attracted pupils from
all parts of the United States and even from some countries in Europe.
Goldman’s warm, magnetic personality combined with his outstanding
musical ability made him a marvelous teacher.
While continuing his teaching this energetic young man conducted many
series of band concerts in the New York area. He liked this work, but
he was surprised and disgusted at the lack of systematic and adequate
training among bands. They played in a haphazard way, trying solely for
volume and noise. Goldman had always felt that this great difference
between band and orchestra playing should not exist. He determined to
form a band and train it in accordance with his own ideals. This had
been his real reason for leaving the Metropolitan Opera House Orchestra.
For a long time Edwin Goldman had envisioned a band with great wind
instruments of much power, yet rivalling an orchestra in delicacy of
tone and style. Now he hoped to form an organization of fine musicians
and direct them in the production of great works played in this
symphonic manner.
Few people sympathized with Goldman’s ideas. Most of those to whom he
confided his plans assured him that he could never succeed. But Edwin
Goldman had great faith and unlimited persistence. His first object
was to collect the best available players of wind and percussion
instruments, and with them raise the standards of bands and band music.
Having assembled his quota of chosen men, Goldman, as manager and
conductor, founded the New York Military Band. (A few years later this
name was changed to _The Goldman Band_.) With this group he put into
use the methods, and ways of directing which he had learned from the
great conductors under whom he had played at the Metropolitan Opera
House. Goldman directed each player as if he were giving him private
lessons. He marked instructions in red ink on their music scores, even
telling them when to breathe. At first, the men objected to his strict
supervision. “He treats us like kindergartners!” they said. Goldman
held long, careful rehearsals which many of the players resented at the
time, but later they found that a man trained by this expert teacher
could become a welcome member of any first-class symphony orchestra.
By his own efforts Goldman collected a fund of $50,000, and in 1918 on
_The Green_ of Columbia University, _The Goldman Band_ opened its first
season of free summer concerts. This new Symphonic Brass Band was a
distinct success. The newspapers praised it highly and people by the
thousands flocked to the concerts. A few years later Columbia needed
_The Green_ for new buildings, and the band concerts were given on the
Mall in Central Park three nights each week. On two nights weekly,
concerts were played in Prospect Park in Brooklyn.
In 1924 Daniel Guggenheim took over the costs of the concerts, making
them a gift to the city of New York. The necessary money is now donated
by the Daniel and Florence Guggenheim Foundation. The Goldman Band has
given many programs in other parks, other cities and even in Canada.
An interesting new feature was initiated on the Goldman Concert program
on the Mall in 1925--an Annual Music Memory Contest. For twelve
consecutive years Aaron Gold, a middle-aged, leather craftsman, from
the Bronx, won the first prize in this event. This music lover claimed
to have gained all his musical knowledge through his attendance at the
Goldman Band Concerts.
The Goldman Band, one of the first great organizations to play over
the radio, was chosen to play on NBC’s opening program, November 15,
1926. This band is said to have had a greater listening audience than
any other musical group.
In 1930 Dr. Goldman founded the American Bandmasters’ Association
made up of all the prominent Band Conductors of the United States and
Canada. The members elected Goldman their first president and some
years later he was made honorary life president. This influential
group has become a power in upholding the ideals of band music so long
desired by Dr. Goldman.
At first bandleaders were obliged to use orchestral scores of the
great masters’ compositions, rearranged for band instruments. Only
expert musicians could make such arrangements successfully and it was
an expensive procedure. Early in his career as bandleader Goldman had
written to every living composer of note asking them to compose music
for the band. “At first they all thought it was a joke,” said Dr.
Goldman with a chuckle, “but now, more band music is written than can
be used. A number of famous men, such as Grainger, Holst, Copland,
Shostakovitch, Milhand, Gould and others, have been contributors to the
repertoire of band music.”
On Dr. Goldman’s seventieth birthday, January 1, 1949, an unsurpassable
tribute was paid to this man who had worked for years to have
music--good music--composed especially for bands. The august League of
Composers presented in his honor a program of their music for symphonic
bands which was played by Goldman’s Concert Band in Carnegie Hall, New
York City.
The Band was jointly led by Walter Hendl, the assistant director of
the New York Philharmonic Association Society, and Percy Grainger,
composer-conductor. This was the first time a program of art music
written by noted living composers especially for the band, had been
offered to the public.
Edwin Franko Goldman and Adelaide Marbrunn were married in 1908.
Throughout the years they have shared a great love for music. Two
children were born to them, Richard Franko and Louise Elizabeth.
Richard Franko Goldman a thorough musician, a pianist, composer,
arranger and musicologist, is the assistant conductor of the Goldman
Band. Louise Goldman married and has a young son who seems to have
inherited the Goldman musical talent, and incidentally, he is the apple
of his grandfather Goldman’s eye.
A short time ago this eight-year-old Michael who began studying music
at the age of six, brought a brief music manuscript to his grandfather.
It was entitled “A Song to Music” and it was “Dedicated” to Gramp.
Neatly written in the key of four sharps, the final measure began with
a half-rest and ended with two full-toned chords high on the staff in
the right hand part.
“Gramp, do you know why I put the half-rests in the last measure?”
asked the budding composer.
“No, why did you?” queried Dr. Goldman.
“Why you see I had to have time to get my hands up there on the
keyboard,” replied the lad proudly. So watch for his name among future
composers, “Walter Michael Freed.”
The dynamic, but genial and kindly Dr. Goldman likes people and people
like him. He has many friends among the musical “greats” of today and
yesterday. And he knew intimately the noted bandleaders of the past
generation.
He admired the inimitable Patrick Gilmore who was the real founder of
the Concert Band. He enjoyed playing cornet duets with his good friend,
Herbert L. Clarke, known as the World’s greatest cornetist.
Although Goldman was almost a quarter of a century younger than John
Philip Sousa, the two were firm friends. At a party one evening at
which Dr. Goldman entertained a number of noted musicians, Sousa
remarked to the younger man, “I have always meant to tell you that I
owe much of my success to your mother’s family. The first really fine
music I ever heard was played by the five Franko children. When I was
a school boy I attended their concert in Washington and I was thrilled
and inspired by their wonderful playing.”
“Would you like to see one of those children again, Mr. Sousa?” asked
Dr. Goldman.
“Nothing would please me more,” replied Sousa.
“Come with me then,” said Goldman. He ushered the guest into the next
room, and proudly led him to a lovely white-haired lady. “Mother,” he
said as they smiled tenderly at each other, “I wish to present my good
friend John Philip Sousa who heard the Franko children play long ago.”
“Do you remember the little girl with the long braids, Mr. Sousa?” Her
dark eyes twinkled as she pointed to a photograph of the five Franko
children on the wall nearby.
“Indeed I do,” said Sousa. Stepping close to the picture he added,
“There she is, the one on the left.”
“I am she--Selma”--said Mrs. Goldman smiling.
“At last I can thank you,” Sousa replied, “for your fine music which
gave me inspiration and strengthened my desire to be a musician.”
If Dr. Goldman were the kind of man who glories in display, the walls
of his spacious studio would be crowded with various medals, emblems
and scrolls. He has received countless gifts and honors. He is the
first musician to have been given official honors from the City of New
York, including a beautiful New York City flag, several medals and
watches, besides scrolls upon which are written official resolutions.
Boston, San Francisco, Toronto (Canada), many other large cities and
the Commonwealth of Massachusetts have bestowed similar recognition
upon this outstanding musician.
An unique honor has been given to Dr. Goldman by the Pawnee Tribe of
American Indians who made him an Indian Chieftain and gave him the name
of Chief Bugle. And not only has his native land shown its appreciation
of Goldman’s achievements, but other countries as well. France made him
Officer de l’Instruction Publique. Italy presented him with the medal
of Cavaliere of the Order of the Crown.
Czechoslovakia made him a member of the Order of the White
Lion. Various Universities have conferred upon Dr. Goldman their
honorary degree of Doctor of Music. He also belongs to many musical
organizations, fraternities and unions. And indicative of his love for
young people, Dr. Goldman never fails to name his position as Music
Counselor of the 4-H Clubs of the United States and also of the Boy
Scouts of America.
But the honor which gave Dr. Goldman the “most profound satisfaction
of all” was the presentation by Mrs. Sousa of her late husband’s
favorite baton. Mrs. Sousa said, “I feel that my husband would have
wanted this baton to go to his good friend, Edwin Franko Goldman.” Most
leading musicians agreed that the honor of being the “Dean of American
Bandmasters” rightfully went from Sousa to Goldman, “the man who had
brought the band to a high pitch of musical perfection.”
Several books, very valuable to bandsmen, have been written by Dr.
Goldman. _Band Betterment_, published in 1934 and _The Goldman Band
System_ which came out in 1936 are two of these. His first book, _The
Foundation to Cornet Playing_ has been most popular with ambitious
cornetists and it quickly sold more than one quarter of a million
copies. A new series by Dr. Goldman is being brought out.
_Facing The Music_, the famous bandmaster’s autobiography, is to appear
shortly.
More than one hundred marches have been composed by Dr. Goldman,
many of which have become so popular that he ranks next to Sousa in
that field. _On The Mall_, Goldman’s best-known march, is often
requested by the concert crowds who, without a signal from the leader,
spontaneously join in singing or whistling the trio. Brooklyn is
equally enthusiastic when he plays _Hail Brooklyn_, a march which
Goldman composed and dedicated to the people of Brooklyn.
The United States Government recognizes Dr. Goldman’s great musical
ability. Recently he was appointed on a committee of three to make a
survey of the Government Service Bands in various centers including
Japan and the Philippines, and to suggest ways of improving these bands.
Dr. Goldman generously gives much time to worthwhile musical efforts of
various groups. Regularly, once each year, he conducts the Salvation
Army Band in New York City. And also, every year, he leads the band at
the Swedish Orphans’ Home to aid their money-raising campaign.
Young, talented musicians may be sure of a sympathetic hearing from
this great-hearted man of music. He is always happy to discover and
promote new musical geniuses.
At the funeral of the well-known Negro singer and composer, Harry
Burleigh, Dr. Goldman was attracted by an unusually beautiful voice
among the singers. He at once sought her out, gave her an audition and
offered her an opportunity to sing at the Goldman Band Concerts.
Dr. Goldman is an unforgettable figure. He is a handsome man with wavy,
white hair, brilliant dark eyes and a quick friendly smile. He is not
tall, but slender, trimly built and of distinguished appearance.
This maker of “music for the masses” is one of New York City’s
best-known men. While band music is his chief interest, he indulges
in a hobby, that of collecting autographs and letters of composers,
conductors, musicians and other famous people. Besides his other
numerous activities, Dr. Goldman finds time to aid his “pet
project”--_School and College Bands_.
Since the beginning of this movement Dr. Goldman’s efforts for its
advancement have been continuous. As a judge at contests and music
festivals, adviser and consultant, he has freely given his time. “These
High School and College Bands have a wonderful future and will exert a
great influence upon our country’s music,” said this music authority.
Dr. Goldman is in great demand as a judge or speaker at all music
festivals.
He firmly believes that every child should learn to play a musical
instrument. “With that hobby,” says Dr. Goldman, “boys will not loaf or
linger on the streets, not knowing what to do with their spare time.
Now, with shorter work hours, people have more unoccupied time. Those
who become interested in music will be interested in all the better
things of life--art, literature, and sculpture. The only worthwhile
things that last are cultural things. Music will remain with them
forever.”
[Illustration]
_Municipal Bands_
Clang! Clang! went the firebell. The members of the Lone Tree Band
practicing in a room above the fire department, dropped their
instruments and scuttled pell-mell downstairs to go to the fire. They
were led by their bandmaster who was also the fire chief.
Lone Tree might have been any town in the early 1900’s when a band
was as necessary to community pride and self respect as was its fire
department. The usual practice room was back of, or above the engine
house, or it may have been in the back room of a grocery store if
the proprietor chanced to be a bandmember. Here the public-spirited
citizens tooted away through long hours preparing for the weekly or
monthly concert.
To the townspeople these blaring sounds were a promise of good times
to come; for the band concert was a big social event, not only in
the towns but also in the surrounding communities. Stores remained
open on those nights. Hitching racks were all occupied. Families and
young couples came in various kinds of conveyances from lumber wagons
to surreys with fringed tops and occasionally a Ford or perhaps a
Pierce-Arrow. The young people strolled around the commons or parks in
the moonlight; older women visited with relatives or friends; while
the men gathered in small groups to talk about politics or crops. All
discussed their favorite “pieces” from _The Poet and Peasant_ overture
to _Listen to the Mocking Bird_ with variations. The latter gave the
cornetist an opportunity to display his technique, and he seldom failed
his audience.
The municipal band became a unifying influence of the entire community,
and by 1912 nearly every town of any size in the United States had
some kind of a band. Victor and Columbia Record Companies were selling
1,000,000 march records a year. The march kings were as eagerly
followed as the popular jazz kings of today.
Maintaining a band was not easy, but subscription and taxation
plans were used in many municipalities of all sizes even in rural
communities. Major George W. Landers of Clarinda, Iowa, a prominent
bandmaster himself, fathered the Iowa Band Law, a model for similar
legislation in more than half the states of the Union. This law
permitted towns and cities of less than 40,000 to levy a local tax
“for maintenance or employment of a band for musical purposes.” Major
Landers holds a high place in band history.
Police and fire department bands, many of which are still in existence,
have rendered a real service to their communities. Service clubs such
as Kiwanis, Rotary, Exchange, and Lion, have sponsored juvenile bands
in many towns and cities. Fraternal orders, American Legion Posts,
Veterans of Foreign Wars and other organizations today support some
fine bands.
The small-town band is a distinctly American tradition, one of those we
often associate with “the good old days.” But today’s municipal bands
are directly descended from those town bands, good or bad as they may
have been. Colonel George Howard, leader of the Army Air Force Band,
says, “Town bands were organized and conducted by men who had a real
love for music, organizational ability, and community spirit. We must
never underestimate the tremendous job they did in helping to elevate
the plane of American culture.”
Although relatively few cities maintain municipal bands now, there are
still some excellent ones to be found in the smaller cities. There
seems to be a trend toward more community-supported bands again with an
increased interest in public concerts, particularly park concerts where
large numbers can meet.