Like many men who have achieved success Frank Simon, celebrated
bandmaster and cornet soloist, had to help support himself as a boy. “I
was not born with a silver spoon in my mouth,” he says, “but I came up
the hard way, for which I have always been thankful.”
Frank’s parents, Sol and Bertha Simon, who operated a small dry goods
store in Middletown, Ohio, recognized their son’s talent in his early
years.
In 1899 the ten-year-old boy began studying with the local bandmaster,
Q. C. Buckles, who soon advised Mr. Simon to send his son to nearby
Cincinnati for lessons. Frank studied there with W. J. Koop, then,
first trumpet with the Cincinnati Symphony Orchestra. Soon he attracted
the attention of Herman Bellstedt, eminent cornet master and military
band expert, who gave him lessons and great encouragement.
In his early teens Frank was doing the work of a man. He played in the
local Middletown Theater for road shows and also led a dance band. At
sixteen he directed the hometown band until he was hired by John C.
Weber of Cincinnati as the cornet soloist of his Prize Band of America.
Through the next few years young Simon toured the country with it and
other professional groups.
Soon the music world was talking about Frank Simon’s skillful cornet
playing. The Cincinnati Symphony Orchestra offered him a job in their
orchestra, a position he held for three years.
In 1914 Sousa asked him to be his cornet soloist and the assistant to
Herbert L. Clarke. Upon Clarke’s retirement from the band five years
later, Frank Simon succeeded him as premier soloist and assistant
leader.
But after two more years with Sousa, Simon wanted to create a great
band of his own. In 1920 he accepted an offer from the American Rolling
Mill Company to organize and conduct an industrial band for them.
Made up of fine musicians, this well-known organization successfully
advertised its sponsor at many important events in our country and in
Canada.
In 1930 when radio came into its own, Frank Simon reorganized his band
as a purely professional group. He engaged fifty talented Cincinnati
musicians for his great symphonic band which made an outstanding record
of broadcasting for ten years under one sponsor, The American Rolling
Mill Company. Simon endeared himself to young people by presenting on
each weekly broadcast some soloist or ensemble, selected from one of
our American school bands. This program became one of the most popular
on the air.
During this time Simon saw the need of keeping step with the times
and asked Ferde Grofe, eminent modern composer, to write some new
compositions for his band. A modern strain was added to his concert
band programs in the playing of numbers from Grofe’s _Grand Canyon_ and
other suites, but they did not replace the finest of classical music in
these broadcasts.
Among the honors and distinctions awarded Frank Simon is a Doctor of
Music degree conferred upon him by Capital College, Columbus, Ohio, “in
recognition of his efforts in the advancement of bands in the United
States.”
In 1932 Dr. Simon was appointed Director of the Band Department of
the Cincinnati Conservatory of Music. He at once established a band
department in the Cincinnati Conservatory which has attracted thousands
of young talented players to the school. Since the Armco Band left the
air, Dr. Simon has taken on other duties besides his responsibilities
at the Conservatory. He has been in popular demand as guest conductor,
judge and lecturer at band festivals and school band clinics in all
parts of the country.
But this has not interfered with his leadership of the artistic
concert band of about 150 musicians at the Conservatory. He gives
several concerts a year, featuring their outstanding vocalists and
instrumentalists and playing the best in band literature. His 65-piece
radio symphonic band has given local and national broadcasts.
Dr. and Mrs. Simon have two sons, David and Joseph. The older is a
doctor connected with the Jewish Hospital in Cincinnati, and Joseph is
with a radio station in Mason City, Iowa.
Dr. Simon has two hobbies, fishing and baseball. But his major hobby
might be said to be young people, for his devotion to young musicians
of the nation is widely recognized.
“Hundreds of my students are now engaged professionally in symphony
orchestras, radio and recording and in our educational institutions
throughout the land,” said Dr. Simon. “This, of course, is a source of
great pride to me.”
_The Salvation Army Band_
In Three Colts Lane in an old wool-shed
Glory, Hallelujah!
We frighten the living and raise the dead,
Sing Glory, Hallelujah,
Shout Glory, Hallelujah!
And while the rats were running round,
The boys and girls Salvation found.
William Booth began the work of his Christian Mission in the poorest
slums of London in 1865. He had determined to preach the Gospel to the
masses of people who were not members of any church. The beginning
was hard. Rough crowds gathered along the streets, shouting, yelling,
pelting Booth and his followers with stones, mud or old vegetables.
Many times the ‘Salvationists’ were forced to don clean uniforms before
taking their places in their meeting.
But Booth and his workers were brave and persistent. They soon realized
that singing, even when occasionally aided by a cornet, tambourine or
drums, was not suitable music to lead their crusade. In England in that
period, brass bands were at the peak of their popularity. Fortunately,
just at that time--1878--the Fry family, a group of successful
instrumentalists were converted to Booth’s cause. They offered the
services of their brass quartette, and soon a brass band became a
necessary part of the Salvation Army.
It was a wise choice. Trumpet tones and drum beats could silence an
unruly mob, and also carry the hymn tunes far and wide over the crowd.
Not only could a band play effectively in the open air, but the players
were able to carry the instruments and march as they produced the music.
The Christian Mission was reorganized in a military fashion. The name
was changed to the Salvation Army with General Booth at the head. The
Salvation Army brass bands began to multiply rapidly.
In 1880 George Scott Railton, an officer in General Booth’s Salvation
Army, arrived in New York from London. With him came seven fine,
wholesome-looking young women to aid in bringing Christianity to the
poor, down-and-out slum dwellers in America’s greatest city.
This small group of Salvationists was well aware of the valuable help
given by band instruments in their work. But on this first appearance
in the Bowery they had to depend on their voices alone. The little
company had sailed across the Atlantic in the steerage where there was
no room for their trumpets, drums and other instruments. Bravely they
marched along the street singing hymns set to the tunes of the popular
songs of those days.
The words of _All Around the World the Salvation Army Rolls_ were sung
to the tune of _Old Black Joe_. _What a Friend We Have in Jesus_ was
fitted to the tender melody of _In the Gloaming_. These and many other
touching songs brought numerous converts from among the listeners.
Before many months had passed Commissioner Railton found a number of
instrumental players among his members. Instruments were collected,
a brass band was assembled to inspire the people and “banding”--the
Salvation Army’s word for it--began in America. Songs had a great
influence in this religious campaign, especially when accompanied by
a good brass band. The rhythmic, catchy tunes were carried to the
watching crowd and many an unsavory barrage of stale eggs or tomatoes
was stopped by the strains of the music.
As a “militant religious” order, the Salvation Army naturally follows
the military-like rules and regulations issued by the International
Headquarters in London. These rules apply to bands as all band
members are required to belong to the Salvation Army. They must obey
all regulations pertaining to their habits, their personal living,
religious beliefs, wearing of the uniforms and their support of the
organization.
The Salvation Army Band’s top man is the bandmaster who is responsible
for all the music produced by the organization. He chooses the band
members after each one has been carefully investigated by the Salvation
Army authorities. The bandmaster also trains his group, and conducts
the rehearsals and concerts.
The bandleader, or band Sergeant, conducts the religious services for
the band members only. He is responsible for their spiritual welfare.
It is he who gives the bandsmen advice, counsel and discipline.
According to an unwritten law, each bandsman--unless previously
released by an acceptable excuse--attends every rehearsal and
engagement throughout the entire year.
The officers of the Salvation Army are chosen from the soldiers in the
ranks, who have had a high school education. They receive nine months’
training in one of the four Salvation Army Schools. This is a varied
course which even includes instruction in how to choose a wife or a
husband. No officers are permitted to marry anyone not in the Salvation
Army, nor without the consent of their superior officers. Army wives
always hold the same rank as their husbands.
Cadets, in addition to their other courses, learn to play several
musical instruments, including the accordion, euphonium, trumpets and
trombones. They are graduated as a probationary Lieutenant. After one
year of correspondence study--still on strict probation--they are given
the commission of 2nd Lieutenant and the standing of ordained ministers
of the Gospel. Their training continues through various ranks: 1st
Lieutenant, Captain, Major, in staff as Brigadier, Lieutenant Colonel,
Colonel, Lieutenant Commissioner to Commissioner.
The Salvation Army bands are in three different grades. The top-ranking
ones are the various Headquarters Staff Bands, all well-trained, expert
musicians. The Corps bands come second--there are many of them--more
bands of this class than in any other musical organization in the
world except school bands. One night each week band rehearsal is held
in each Corps hall and all the youngsters in the neighborhood gather
there, welcome to listen and learn. Many Corps bands hold a summer
camp, two weeks or more, for young musicians who are anxious to play in
a band.
The third band group is selected from the young people of the Salvation
Army with fully 18,000 members. These youth organizations are feeders
for the Corps bands. Many young musicians have been helped by this
organization. When a boy, Harry James--the famous trumpeter--played
in a Salvation Army band in Texas. George Paxton also took his early
instruction on the cornet in a Salvation Army boy’s band in Newark, New
Jersey.
No members of a Salvation Army receives any salary for his services.
James Petrillo once asked a bandsman in a street corner Salvation Army
band “What union do you belong to?” “The Union of God,” the player
answered. Petrillo made no reply but threw a coin on the drum as he
passed on.
The Salvation Army in the United States is divided into four
territories and each has a music secretary who directs all the musical
activities in his section. At present, these officers and their
territories are as follows:
Brigadier William Broughton--West --San Francisco
Major Frank Longino --South --Atlanta
Captain Richard E. Holz --East --New York
Lieutenant Bernard Smith --Central--Chicago
There are approximately 700 large, all-brass Salvation Army bands in
this country. These are among the most outstanding:
Flint Citadel (Michigan)
Oakland Citadel (California)
Boston Palace (Massachusetts)
Detroit Citadel (Michigan)
Lehigh Citadel (Philadelphia, Pennsylvania)
Brooklyn Citadel (New York)
Los Angeles Congress Hall (California)
Syracuse Citadel (New York)
Atlanta Temple (Georgia)
New York Temple (New York)
San Francisco Citadel (California)
The International Staff Band at the Headquarters in London is perhaps
the most widely-known of these Salvation Army bands. Many prominent
official positions and men of noted various professions may be found
playing beside a music-loving laborer or some one in a lowly walk of
life.
The New York City Staff Band of thirty men was organized in 1887 and
has played continuously ever since. This is the most famous Salvation
Army band in the United States. Brigadier William E. Bearchell, the
bandmaster, is an outstanding musician, versatile and talented. He is
a composer, a chorus conductor, organist and former bandmaster of the
Brooklyn Citadel Corps Band, which was then known as one of the finest
Salvation Army bands in America.
The New York City Staff Band is remarkable for its distinctive tone
color. This is due to the use of several unusual instruments: the
flugel-horn, the E-flat cornet and the G-trombone. The handle of this
trombone slides the slide down farther than other trombones and makes
the tone much deeper.
This famous band has given many concerts throughout Canada, toured
England where they played at Buckingham Palace, Crystal Palace and
various famous places in London. They have played at the White House
for every President since Theodore Roosevelt first invited them. They
have been heard in New York at the Metropolitan Opera House, Carnegie
Hall, Madison Square Garden, at the World’s Fair, and in great halls,
universities and cathedrals in all parts of the United States.
The Chicago Staff Band of the Central Territory Headquarters is another
nationally-famous band. This organization is highly rated by music
circles in the United States. With their outstanding bandmaster,
Captain Carl Lindstrom, these thirty bandsmen were recently guests of
the Texas Music Educators’ Convention.
In 1883 a music publishing department was established in London.
There all vocal and instrumental music was carefully edited and
published. This was in accordance with the rule that all music used
in the Salvation Army must be composed or arranged by its members
and published by the organization. This regulation is to insure the
use of music that is absolutely suitable for the service in order to
obtain the proper atmosphere and results. Good, appropriate music is
essential. The Salvation Army music is not intended for the use of the
public but for the Army alone.
The music material is thoroughly screened. Each number is played by the
Headquarters Staff Band for the Music Editorial Board, which carefully
judges its fitness and desirability.
Today in the United States the Salvation Army music is published in San
Francisco, Chicago and New York under the same rules and restrictions
as were originally observed in London. The instruments used by the
Salvation Army bands all over the world, are made in the Army’s
instrument factories at St. Albans, England. As with the Army music,
these instruments are sold only to Salvationists.
No longer can the music of the Salvation Army be classed as cheap or
inferior. For more than fifty years, high-ranking musicians, composers,
and outstanding performers on various musical instruments have
successfully done their part to build and keep the music and the bands
of the Salvation Army to a high standard of content and performance.
While contributions to Salvation Army Music are made by musicians from
all parts of the globe, three of the most prominent composers are
Americans. They are Erik Leidzen, considered by many as the foremost
arranger for bands in the world today; Emil Soderstrom, staff arranger
for NBC in Chicago; and Brigadier William Broughton, who has written
more music for the use of the Salvation Army than any other American
composer.
That the Salvation Army bands have achieved a high rating is proven by
the interest shown in them by Sousa in his time and by today’s noted
bandleader, Dr. Edwin Franko Goldman. And also by Albert Spalding,
Marian Anderson and other “greats” in the music world who have appeared
on the Salvation Army Band programs.
The Salvation Army bands proclaim salvation through their music. It
sustains the religious feelings, spirit, and fervor of the converts.
Salvationists regard their music as the greatest part of their
religious service. Some officers say it is fully sixty per cent more
effective than their preaching.
That the Salvation Army follows the ideas of the ancient Greek
philosophers is true: “the first duty of music is to ennoble the soul.”
Perhaps the musicians of the Salvation Army have come closer to the
real use and meaning of music. They know its power to rescue hardened
souls from sin, to inspire the disheartened with courage, to do right
and to instill new joy into saddened lives.