Music in the Museum Pt2

by Marcher

So what else is hidden there? The most important score must be that of the Band Service Memorial Fanfare composed by Leon Young in 1948 which carries the composer’s own title and dedication. ‘Fanfare – Dedication. The Spirit of Joy and Thanksgiving for Victory, and Meditation for those who gave their lives in its cause.’ This is also known as ‘To Comrades Sleeping’. An important historical item is Dr Gordon Jacob’s ‘Ceremonial Music – for Band and Fanfare Group’ which carries the composer’s words ‘To Major Paul Neville MVO RM and the Bandsmen of the Royal Marines’. This piece of music was especially composed by Dr Jacob for the 1970 Ceremony of Beat Retreat by the Massed Bands of the Royal Marines on Horse Guards Parade. Another historical item is the presentation score of The Preobrajensky March (1964). This final part of the article will describe a few more of the well-known, and lesser-known items.

His Majesty’s Ships

The Naval Band of HMS Impregnable in which J H Squire served. C.1899

J H Squire was one of the original Musicians who transferred from the Royal Navy to the Royal Marines when the Royal Naval School of Music was formed at Eastney. He served on HMS Impregnable which was a Devonport Training Ship; on board HMS Agincourt – the last fully-rigged sailing ship in the Royal Navy although she had auxiliary steam engines fitted. He was on board this ship at Queen Victoria’s Diamond Jubilee Naval Review, Spithead in 1897. He then served on HMS Terrible during a commission that saw service in the Boer War and the Boxer Rebellion in China. Terrible’s Captain was Percy Scott who designed the carriages for the 4.7” guns used in the relief of Ladysmith and, until recently, was commemorated by the Field Gun Run at the Royal Tournament. He then served on HMS Crescent, whose Captain was HRH The Duke of York, later King George V. After serving with the Commander-in-Chief’s Orchestra at Portsmouth and with the Staff Band of the Royal Naval School of Music he left the Service in 1906. As a civilian he put the first Light Orchestra on BBC radio, the J H Squire Celeste Octet which made its initial appearance in 1924. He was Musical Director of six West End theatres - all at the same time; he introduced ragtime music to London in 1911 and sold more than 2,000,000 gramophone records. He also wrote at least twenty-four compositions including a suite called ‘His Majesty’s Ships.’ This had three movements ‘The Cruiser – the cruiser is a lady – but she can scratch and bite’; ‘The Battleship – Mighty, Majestic, Magnificent, Monarch of the Fleet’, and ‘The Destroyer – Once described by the late Lord Fisher, Admiral of the Fleet, as the most devilish, dirtiest and damnedest uncomfortable ship in the Fleet’. This suite was dedicated as follows: ‘With deep regard and affection, this composition is dedicated to Major Harry Lidiard RM (Retd) formerly Chief Inspecting Bandmaster of the Royal Navy’. Originally this suite was written for Orchestra and for Military Band but the museum holds the transcription for piano by Norman Whiteley – a piece of music of unknown quality that is waiting to be examined and tested.

Per Mare, Per Terram – twice!

The Band of the Royal Marine Light Infantry, Portsmouth Division, for the Royal Tour of India in 1875. Bandmaster J F Kreyer is seated right of centre wearing a cap. HMS Serapis is in the background

During the second half of the twentieth century German Bandmasters were very much in vogue and the Royal Marine Divisional Bands had their fair share. The Chatham Division Band had J A Kappey from 1857 until 1897 whilst the Portsmouth Division had W Kreyer as Bandmaster from 1865 until 1885. Coincidentally both men wrote a piece of music called ‘Per Mare, Per Terram’ and piano arrangements of both have found their way to the museum. Similarities end there for Kappey, with the assistance of lyricist J G Bailey, wrote his ‘Per Mare, Per Terram’ as a ‘Martial Dramatic Cantata’ for orchestra, soprano, bass, tenor and chorus whilst Kreyer contented himself with a valse. The introduction to Kappey’s cantata describes the storyline. ‘A British Force is ordered abroad to avenge an insult offered by a foreign foe. The Cantata opens with a short instrumental introduction, followed by a Chorus of Soldiers eager to leave for the distant land. The Hero and his affianced bride bid each other farewell. A Sailor’s Chorus indicates the embarkation. The bride, left alone at home, is oppressed by gloomy forebodings as to the fate of those who have gone, but gives utterances to her hopes for their victory and safe return. On the arrival of the Force in the enemy’s country, the Officer exhorts his men to bravery, setting forth the joys and dangers of a soldier’s life. He is answered by his men, who express their determination to conquer or die. Night falls. The Sentry on guard is suddenly interrupted in his thoughts of home by the signal of the enemy’s approaching attack. The Battle-Prayer is succeeded by the noise of the fray, and by the cries of the combatants. After a short but decisive conflict victory declares for the British arms. The Officer commends the bravery of his men, and bids them to have a reverent care for those who have fallen. After the Funeral March the troops re-embark, and on their arrival at home the betrothed meet again. The Country bids “Welcome Home” to its defenders’.

Theme and Variations. Opus 26.

The three O’Donnell brothers as Royal Marine Directors of Music. B.W. O’Donnell is in the centre with P.S.G O’Donnell on the left and R.P O’Donnell on the right.

Bertram Walton O’Donnell was one of three brothers who all became Bandmasters, and then Directors of Music, of Royal Marine Divisional Bands. The story of these three brothers was most cleverly and knowledgeably written by ‘Nebuchadnezzer’ in the August 1979 issue of Blue Band. ‘BW’ served with the Royal Marines from 1917 until 1927 when he became the first Conductor of the BBC Wireless Military Band, a position that he held for many years and which earned him great acclaim. During the early 1920’s whilst Director of Music of the Band of the Royal Marine Light Infantry, Portsmouth, he composed a number of highly appreciated works. These were ‘Three Humoresques, Opus 28’; ‘Woodland Sketches’; ‘Two Irish Tone Sketches, Opus 20’; ‘Songs of the Gael, Opus 31’ and ‘Theme and Variations, Opus 26’. All, with the exception of ‘Woodland Sketches’ were recorded by the band of the Coldstream Guards under Lt Col Richard Ridings in the 1970’s. Ironically the first performance of ‘Three Humoresques’ was by the Royal Military School of Music Band, Kneller Hall, at the Royal Albert Hall in 1922. All of the mentioned recordings and performances were by military band but the museum holds the handwritten orchestral score and parts for ‘Theme and Variations, Opus 26’ which is believed to have been written in 1919. Hawkes & Son (USA) bought the copyright in 1920.

Hopefully these two articles have served to illustrate the interest that the museum holds in all matters relating to the Royal Marines – including the conservation and archiving of some of the most historically important, or interesting, of the Corps’ music. Allied to these holdings are a great many concert and ceremonial programmes of music, photographs, artefacts, uniform, letters and other documents relating to Royal Marine Bands and the training of its Musicians.

All images in this article are copyright of The Trustees of the Royal Marines Museum.