Leaders of Famous Bands [John Philip Sousa, W.H. Santelmann, William Weil, Frederick N. Innes]; Officers of the Philippine Constabulary Battalion [including W.H. Loving, director of Philippine Constabulary Band]; Giovanni E. Conterno; Luciano Conterno; Francesco Fanciulli; Frederick Phinney; Eugenio Sorrentino; Band Stand on Plaza St. Louis; The Boston Band; Connecticut Foot Guards Band; Cowboy Band; Dedication of the World’s Fair, April 30, 1903 [United States Marine Band]; An Evening Drill on Plaza St. Louis [unidentified band]; Fifth Canadian Artillery Band; First United States Cavalry Band from Jefferson Barracks; Mexican Artillery Band; Grenadier Guards Band and Le [sic] Garde Républicaine Band; Hale’s Fire Fighters Band; Indianapolis News Newsboys’ Band; The Kilties [three photographs]; Lindall’s Cliff Dwellers Indian Band; Luciano Conterno and Sons’ Superb Military Band and Orchestra (1892); Olympic Day [sketch of unidentified band in parade]; Opening Day Ceremonies at the Monument [band to the right]; Philippine Band in Opening Day Procession; Philippine Constabulary Band; Philippine Scouts Band [two photographs]; Reeves’ Band [from the turn-of-the-century]; Russian Imperial Troupe [with small band in rear]; Santelmann’s United States Marine Band; Sousa and His Band [at the St. Louis Monument, May 21, 1904]; Sousa and His Band [Opening Day]; Program for the Dedication of The French National Pavilion; Sousa’s Invitation to the Dedication Ceremonies; Paul Lascombes letter of commendation to Sousa; Sousa’s Band Stand; The United States Indian School Band; United States Marine Battalion, Passing in Review; John C. Weber and His Prize Band of America (1904); Weil’s Band.

Other Documents

Daily Official Program (8 October 1904):

Front Cover; Order of the Day; Concert Programs for The Berlin Band, Guilmant Organ Recitals, Organ Recital at Festival Hall, Grenadier Guards Band, Garde Républicaine Band, Mexican Artillery Band, Weil’s Band of St. Louis, Twenty-fourth U.S. Infantry Band, Constabulary Band.

Ground Plan of Louisiana Purchase Exposition St. Louis 1904

Map of Philippine Exposition

Back Cover (both sides)

Letter from George Stewart to The Kilties (15 August 1904)

Table of Contents

Part II

Database

Introduction ii

Observations iii

Composers iv

Pseudonyms vii

The Cornet ix

Designations for Locations (Events) of Band Concerts x

Designations for Bands (Origins) – and their Conductors xiii

Major References for Part II xv

Descriptions of the Eight Columns xvi

Database 1-315

Authors’ Preface

One hundred years later, The Louisiana Purchase Exposition, more commonly known as The St. Louis World’s Fair, still has a captivating effect on the world. It is difficult to imagine the powerful impact that this monumental event had on its visitors from Opening Day, April 30, 1904 to the Last Day, December 1, 1904. In the words of David Rowland Francis, President of The Louisiana Purchase Exposition, “The Exposition of 1904 holds a place in history more conspicuous than its projectors anticipated. For the opening decade of this century it stands a marker of the accomplishments and progress of man. So thoroughly did it represent the world’s civilization that if all man’s other works were by some unspeakable catastrophe blotted out the records established at this Exposition by the assembled nations would afford the necessary standards for the rebuilding of our entire civilization” (Francis 1913 vi).

The final draft of this work was completed on the One-hundredth Anniversary of the Dedication of the Louisiana Purchase Exposition. It was born out of the authors’ deep love and respect for this glorious event, and grew from their life-long professional involvement with bands and their music. The authors’ search for information about the bands at the Fair began six years ago when Iris became a member of the 1904 World’s Fair Society. Through establishing professional and personal connections with the members of that organization, the search was born. Evolving from curiosity to a desire for finding more facts and digging deeper into this fascinating subject, the project began to have a life of its own. Iris’ family connection to the Fair was her grandfather’s involvement with the event. He came to the United States in 1904 and was employed at the Fair as a busboy at the Tyrolean Alps.

Possessing a Bachelor of Music Education from Webster University, St. Louis, performing the flute and piccolo, teaching music, and conducting bands her entire professional career, Iris had always been deeply interested in bands and their music. Her husband, Richard, received his Ph.D. in Music Theory from Washington University, St. Louis, and is presently Associate Professor of Music at Virginia State University. Being a product of the University of Michigan Bands under William D. Revelli, he has always had a deep love for bands. Together, the authors hope that this book is a respectful and scholarly work, one that will stimulate interest in the bands at the Fair, and be a starting point for others who have a similar quest.

The authors wish to thank many people here for their continued support of this project and for their encouragement to the authors in completing a task that at times seemed to be an insurmountable one. The 1904 World’s Fair Society must be thanked for its friendship and assistance. Ideas for the project came out of conversations with many of the members and were the result of inspecting items displayed at meetings or in private collections. Any scholarly search is indeed meaningless without primary documentation. Kudos go to Max Storm for his constant “eye” on the Internet for information and his intense knowledge, many documents, and life-long love and commitment to the Fair. His unique sense of humor was a welcomed relief at the most appropriate times. Thanks go also to Bill Pieber whose friendship and knowledge of the event gave the authors great comfort and assurance that they could, in fact, finish the task at hand. He also provided documents that added important facts and lesser-known information to various places in the document.

Special thanks go to the Missouri Historical Society Library, St. Louis, and their staff. Without their kindness and understanding of our quest, one that must have seemed certainly like an obsession at times, this project would never come to fruition. The staff is always kind and concerned for the welfare of anyone who enters the stacks of the library. This professional staff quickly and accurately finds any document. The library is housed in the former building of the United Hebrew Congregation. The structure still has a hallowed atmosphere, as it contains the records of the events and lives of millions of people for well over two hundred years. The staff treats these records and documents with love and respect, and are willing and able to share them with any interested researcher. The authors especially want to thank Randy Blomquist. He is truly invaluable, a genuine treasure. The authors could call him at the library from almost a thousand miles away, and he would always meet our research requests with accuracy, concern, and a kind voice.

The following people must also be thanked, in alphabetical order, for their contributions to this work: Charles Conrad for his encouragement and enthusiastic contribution of the photograph and information concerning the Indianapolis News Newsboys’ Band; George Foreman for his kindness and contribution of photographs; Barry Owen Furrer for his friendship and kind contributions of photographs, information, and documents dealing with John Philip Sousa; Richard Karschner for his information about Eugenio Sorrentino; and Robert and Tra Wagenknecht for their ideas about bibliographic format. The authors also wish to thank the staff of the Washington University Gaylord Music Library, St. Louis University Pius XII Memorial Library, St. Louis Public Library, University of Missouri at St. Louis Library, and Virginia State University Library for making this project possible; and a heartfelt thanks goes to Dennis Blick of Imaging Solutions for his kind patience and astute knowledge of printing.

Our deepest love, gratitude, and respect are extended to every band musician, named and unnamed, who performed at the St. Louis World’s Fair. Without these great band musicians, the entire world would never have been complete. It is they who made this project a reality and it is to them that this work is humbly dedicated.

April 30, 2003

Richard I. Schwartz

Iris J. Schwartz

Readers can contact the authors at irisrick@aol.com for ordering information, comments or questions.

Table of Contents

Part I

Information and Photographs

Introduction 1

Performance Dates for Well-known Bands with Programs 7

Unidentified “Band” Mentioned without a Program 24

Rosters 26

The Bands; Banda Rossa 27

Garde Républicaine Band 34