Military Music by Henry George Farmer; Handel's Kettledrums and Other Papers on MilitaryMusic by Henry George FarmerReview by: Richard S. HillNotes, Second Series, Vol. 8, No. 2 (Mar., 1951), pp. 348-350Published by: Music Library AssociationStable URL: http://www.jstor.org/stable/890010 .

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of music's countless Griegs and Scriabins. As he later demonstrates, Mr. Nabokov's early flirtations with these overaccessible tune-weavers led to a deep respect for the grander members of music history when an increase in wisdom brought them to his attention.

The second major section of the book concerns itself with the friendships made by Mr. Nabokov in his blithe Paris days. The figures of Diaghilev, Lifar, Nijinsky, Prokofiev, and Stravinsky strut before us, parading their absorbtion in them- selves, in their careers, and in the careers of their friends. Mr. Nabokov reminds us again of the great burden of responsibility devolving upon Dia- ghilev as he chose to acquaint France, and thus the entire world, with the endemic products of that ambiguous movement known as Russian National- ism. Additionally, we glimpse the great impresario's temper and tantrums, his insight, too, and the full range of his organizational talents. And owing to Diaghilev's belated generosity, Mr. Na- bokov is able to recount nobly and breathlessly the disappointments and frustrations which go to make up the

of music's countless Griegs and Scriabins. As he later demonstrates, Mr. Nabokov's early flirtations with these overaccessible tune-weavers led to a deep respect for the grander members of music history when an increase in wisdom brought them to his attention.

The second major section of the book concerns itself with the friendships made by Mr. Nabokov in his blithe Paris days. The figures of Diaghilev, Lifar, Nijinsky, Prokofiev, and Stravinsky strut before us, parading their absorbtion in them- selves, in their careers, and in the careers of their friends. Mr. Nabokov reminds us again of the great burden of responsibility devolving upon Dia- ghilev as he chose to acquaint France, and thus the entire world, with the endemic products of that ambiguous movement known as Russian National- ism. Additionally, we glimpse the great impresario's temper and tantrums, his insight, too, and the full range of his organizational talents. And owing to Diaghilev's belated generosity, Mr. Na- bokov is able to recount nobly and breathlessly the disappointments and frustrations which go to make up the

exaggerated pleasures of a first major commission.

The book's longest chapter deals with the alternating wrath and goodness of Sergei Sergeiyevich Prokofiev, and Mr. Nabokov draws a sketch such as only one Russian could make of another. Com- plete understanding of the man and his music-the same quality which illumines the Stravinsky chapter-marks every page. Even the analysis of Prokofiev's personal brand of musical fancy (which is compared to the "impersonal" wand- erings of Shostakovitch) is distinguished by a perceptivity rare in a volume of any kind. Throughout the book, in fact, Mr. Nabokov does not hesitate to tell us what he has learned about his col- leagues' works, advancing on the theory, no doubt, that a discussion of a com- poser's musical style reveals as much about the man as a listing of his physical characteristics and intellectual capacities. This keen and admirable theory is but one out of many that makes Old Friends and New Music an enchanting and di- verting book, a volume full of animation and genuinely rich in wisdom.

J. S. HARRISON

exaggerated pleasures of a first major commission.

The book's longest chapter deals with the alternating wrath and goodness of Sergei Sergeiyevich Prokofiev, and Mr. Nabokov draws a sketch such as only one Russian could make of another. Com- plete understanding of the man and his music-the same quality which illumines the Stravinsky chapter-marks every page. Even the analysis of Prokofiev's personal brand of musical fancy (which is compared to the "impersonal" wand- erings of Shostakovitch) is distinguished by a perceptivity rare in a volume of any kind. Throughout the book, in fact, Mr. Nabokov does not hesitate to tell us what he has learned about his col- leagues' works, advancing on the theory, no doubt, that a discussion of a com- poser's musical style reveals as much about the man as a listing of his physical characteristics and intellectual capacities. This keen and admirable theory is but one out of many that makes Old Friends and New Music an enchanting and di- verting book, a volume full of animation and genuinely rich in wisdom.

J. S. HARRISON

Military Music. (The World of Music, [Vol. 12]) By Henry George Farmer. New York: Chanticleer Press, [1950] [71 p., 4 pl. in color, 37 in black and white, 8o; $2.50] Handel's Kettledrums and Other Papers on Military Music. By Henry George Farmer. [London]: Hinrichsen Edition, [U. S. agent: C. F. Peters Corp., NYC, 1950] [109 p., illus., music, 4o; 15/-, $5.00]

Military Music. (The World of Music, [Vol. 12]) By Henry George Farmer. New York: Chanticleer Press, [1950] [71 p., 4 pl. in color, 37 in black and white, 8o; $2.50] Handel's Kettledrums and Other Papers on Military Music. By Henry George Farmer. [London]: Hinrichsen Edition, [U. S. agent: C. F. Peters Corp., NYC, 1950] [109 p., illus., music, 4o; 15/-, $5.00]

It is exceptional enough when almost simultaneously two books appear by the same author on the same subject. In the present instance, the really surpris- ing thing is that the two books give the impression of being by different authors, since their approaches to the subject are so diametrically opposed. The first is a general survey, similar to the other richly illustrated surveys re-issued in this country by the Chanticleer Press from English originals. It presents the main outlines of the development of military music in Europe from the Middle Ages to the present, with slightly greater em- phasis on English bands and with a number of references to military music

It is exceptional enough when almost simultaneously two books appear by the same author on the same subject. In the present instance, the really surpris- ing thing is that the two books give the impression of being by different authors, since their approaches to the subject are so diametrically opposed. The first is a general survey, similar to the other richly illustrated surveys re-issued in this country by the Chanticleer Press from English originals. It presents the main outlines of the development of military music in Europe from the Middle Ages to the present, with slightly greater em- phasis on English bands and with a number of references to military music

in this country. The second book is a photolithographic reprint, limited to 200 numbered copies, of a series of a dozen articles which appeared in The Journal of the Society for Army Historical Re- search between 1944 and 1949. One of these articles deals with the Turkish Influence in Military Music; the others are all devoted to some circumscribed problem in English or Scotch military music. As a further indication of the difference in approach, the former vol- ume has an occasional source reference worked discreetly into the text but not a single footnote, whereas the latter has as many as a dozen footnotes on a single page. With Professor Farmer as their

in this country. The second book is a photolithographic reprint, limited to 200 numbered copies, of a series of a dozen articles which appeared in The Journal of the Society for Army Historical Re- search between 1944 and 1949. One of these articles deals with the Turkish Influence in Military Music; the others are all devoted to some circumscribed problem in English or Scotch military music. As a further indication of the difference in approach, the former vol- ume has an occasional source reference worked discreetly into the text but not a single footnote, whereas the latter has as many as a dozen footnotes on a single page. With Professor Farmer as their

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author and with so very few books on the subject to choose from, it should be unnecessary to say that both of these new contributions are of value in their different ways. If a choice must be made between them, the general reader will no doubt prefer the Chanticleer publication, if only for its numerous ex- cellent pictures. Like the other small books in this series, it has been written by an expert who knows how to outline the significant aspects of his story with just the right amount of detail to give the outline body.

At the same time, there is much doubt in my mind as to whether our present knowledge of the subject has reached a point where simplified generalizations are altogether safe. Since Professor Farmer is easily the top authority on English military music and has brought the subject almost single-handed to the point at which it now stands, I rathei suspect that he would be the first to agree. After all, earlier music historians largely ignored military music, and thus there are no extended contemporary ac- counts to draw upon. The story must be laboriously fitted together from scat- tered entries in the War Office records, a sentence or two from a military his- tory (which like as not is flatly contra- dicted by some other military history), or perhaps even a chance remark from a book which has nothing to do with things musical or military. What is still worse, military music did not evolve smoothly and consistently. With typical conservatism, it might remain relatively constant for a century or more, and then suddenly move off in a completely new direction under the impact of some for- eign influence or directive from the War Office. Furthermore, although the offi- cial War Office records seem to imply that all of the regiments in a particular branch of service had much the same sort of music at any given period, actually a musical Colonel could completely trans- form the band in his regiment-and frequently did so. For example, the Rev. Percy Sumner in the aforementioned Journal (Winter, 1946, p. 203) quotes from a letter of the Adjutant-General in 1770 to the effect that it was customary

to "wink" at the addition of a moderate number of bandsmen, but that His Majesty felt that Earl Percy had gone too far when he "turned fourteen fire- locks into fiddlers." Since an infantry regiment at this time would normally have been allowed to carry from six to nine musicians on the establishment, the addition of fourteen men to a band of this size would obviously revolutionize the organization. With so much variety from year to year and from regiment to regiment, generalizations can be very deceptive, and consequently the more specific and detailed approach to a limited number of topics would still seem to be almost required. At the very least, the Hinrichsen volume, showing as it does the mosaic technique by which the simplest fact must be re-constructed, is the perfect antidote to the one issued by the Chanticleer Press. It may not cover as wide a field, but that which it does cover it documents thoroughly, and consequently it is likely to be the more permanently useful of the two.

Another reason for preferring it is that in two of the essays Professor Farmer prints some of the early tunes played by the Scotch regiments. With four books on military music to his credit, it may come as something of a surprise to learn that these two essays constitute very nearly the extent of his discussion of the music itself. The first of the essays is entitled Scots Duty, the Old Drum and Fife Calls of Scottish Regi- ments, and in it are reproduced four calls, complete with the drum accom- paniments, from a manuscript in the Farmer Collection at Glasgow University Library. At the end of the essay (p. 38), Professor Farmer says that "fragments" of these calls "still reveal themselves" in the United States. I have found the complete fife parts (but not the drum beats) of "The Reveilly" and "The Re- treat" in A new and complete Preceptor for the Fife (Albany, Daniel Steele, n.d.), and an arrangement of "The Gen- eral" for two fifes (again without the drums) in The Fifer's Companion (Salem, Cushing & Appleton, [1805?]), but am a little puzzled as to where the fragments may still be found in actual

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use. In the second essay, The Scots March, Professor Farmer announces an extremely interesting discovery. The early literature contains various refer- ences to "The Scots March," "The Irish March," and "The English March." It is supposed that the former was origin- ally a rhythmic composition beaten on a drum, but apparently a tune was written subsequently to fit the rhythm, and various claims have been made as to what that tune is. Since the present regimental march of The Royal Scots is "Dumbarton's Drums," this song has been the favorite contender. Professor Farmer shows that the words of "Dumbarton's Drums" were first printed in 17241 in Allan Ramsay's Tea-Table Miscellany, and indeed in such a way as to show that the poem had been written by one of Ramsay's contemporaries and friends. And having disposed of this and one other melody, he goes on to reproduce

use. In the second essay, The Scots March, Professor Farmer announces an extremely interesting discovery. The early literature contains various refer- ences to "The Scots March," "The Irish March," and "The English March." It is supposed that the former was origin- ally a rhythmic composition beaten on a drum, but apparently a tune was written subsequently to fit the rhythm, and various claims have been made as to what that tune is. Since the present regimental march of The Royal Scots is "Dumbarton's Drums," this song has been the favorite contender. Professor Farmer shows that the words of "Dumbarton's Drums" were first printed in 17241 in Allan Ramsay's Tea-Table Miscellany, and indeed in such a way as to show that the poem had been written by one of Ramsay's contemporaries and friends. And having disposed of this and one other melody, he goes on to reproduce

a composition which actually bears the title "The Scots Marche" from a manu- script of 1656 in the British Museum (Add. 10337) known as "Elizabeth Rogers Virginal Book." Scanty as this resum6 of the two essays has had to be, it should still serve to show that Pro- fessor Farmer knows quite as much about the music as he does about the English regiments, their bands, and their band masters. Since so much of the music, aside from the simplified melodies to be found in the 18th century "Tutors," is available only in manuscripts and exceptionally rare printed collections, the reproduction of a fair quantity of it, particularly if accompanied with a style critique, would be of tremendous value. Perhaps it is not too much to hope that there will be a fifth book from Professor Farmer's pen dealing with such aspects of the military music of England. RICHARD S. HILL

a composition which actually bears the title "The Scots Marche" from a manu- script of 1656 in the British Museum (Add. 10337) known as "Elizabeth Rogers Virginal Book." Scanty as this resum6 of the two essays has had to be, it should still serve to show that Pro- fessor Farmer knows quite as much about the music as he does about the English regiments, their bands, and their band masters. Since so much of the music, aside from the simplified melodies to be found in the 18th century "Tutors," is available only in manuscripts and exceptionally rare printed collections, the reproduction of a fair quantity of it, particularly if accompanied with a style critique, would be of tremendous value. Perhaps it is not too much to hope that there will be a fifth book from Professor Farmer's pen dealing with such aspects of the military music of England. RICHARD S. HILL

An Invitation to Band Arranging. By Erik Leidzen. Bryn Mawr, Penna.: Theodore Presser Co., 1950 [vi, 195 p., music, insert, 4o; $5.00]

The second quarter of the twentieth otherwise have little or no musical life; century has witnessed the phenomenal at its worst, the movement has forced growth of the wind band. Not only has the band to become an agent for the the band itself increased in strength and dissemination of musical enlightenment versatility, but the movement has spread -a role which it is ill-prepared to play. to nearly every community in the land. As a corollary with this latter usage Today, virtually every grammar and we witness the appearance of a spate of high school, every college and university, books dealing with the peripheral knowl- has its band proudly bedecked in uni- edge of music and bands and which forms of the school colors; service clubs, treat the band as an end in itself and patriotic groups, labor unions, the Boy not as part of the larger musical uni- Scouts, likewise sponsor bands. Truly verse. Such volumes attempt to combine this is an interesting social movement, the band with a textual consideration of equal perhaps to the Miinnerchor organ- harmony, ear training, "appreciation," izations so common to the Germany of and so forth. The latest arrivals on this the last half of the 19th century. scene are the various works dealing with

At its best this burgeoning of bands "band arranging." Such works attempt has provided a kind of pristine musical to particularize the study of instrumen- bill-of-fare for communities which might tation and center upon a consideration

of wind instruments to the neglect of 1 Professor Farmer gives this date as that members of the string group. of the first edition, saying that the unique

copy of it -s in the Huntington Library. A meritorious volume is before us, Actually, the Yale University Library pos- writtn b a man wh m ian sesses what was believed in 1940 to be the n y a man whose musicianship is only known copy of an edition of 1723, beyond reproach, whose innate feeling for printed in Edinburgh "by Mr. Thoma6 Rud- diman for Allan Ramsay at the Mercury, correct pedagogical procedure is amply opposite to the Cross-Well." It is set in demonstrated in the volume in question, completely different type from that of the 1724 edition. and whose knowledge of the subject

350

An Invitation to Band Arranging. By Erik Leidzen. Bryn Mawr, Penna.: Theodore Presser Co., 1950 [vi, 195 p., music, insert, 4o; $5.00]

The second quarter of the twentieth otherwise have little or no musical life; century has witnessed the phenomenal at its worst, the movement has forced growth of the wind band. Not only has the band to become an agent for the the band itself increased in strength and dissemination of musical enlightenment versatility, but the movement has spread -a role which it is ill-prepared to play. to nearly every community in the land. As a corollary with this latter usage Today, virtually every grammar and we witness the appearance of a spate of high school, every college and university, books dealing with the peripheral knowl- has its band proudly bedecked in uni- edge of music and bands and which forms of the school colors; service clubs, treat the band as an end in itself and patriotic groups, labor unions, the Boy not as part of the larger musical uni- Scouts, likewise sponsor bands. Truly verse. Such volumes attempt to combine this is an interesting social movement, the band with a textual consideration of equal perhaps to the Miinnerchor organ- harmony, ear training, "appreciation," izations so common to the Germany of and so forth. The latest arrivals on this the last half of the 19th century. scene are the various works dealing with

At its best this burgeoning of bands "band arranging." Such works attempt has provided a kind of pristine musical to particularize the study of instrumen- bill-of-fare for communities which might tation and center upon a consideration

of wind instruments to the neglect of 1 Professor Farmer gives this date as that members of the string group. of the first edition, saying that the unique

copy of it -s in the Huntington Library. A meritorious volume is before us, Actually, the Yale University Library pos- writtn b a man wh m ian sesses what was believed in 1940 to be the n y a man whose musicianship is only known copy of an edition of 1723, beyond reproach, whose innate feeling for printed in Edinburgh "by Mr. Thoma6 Rud- diman for Allan Ramsay at the Mercury, correct pedagogical procedure is amply opposite to the Cross-Well." It is set in demonstrated in the volume in question, completely different type from that of the 1724 edition. and whose knowledge of the subject

350

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