Military Music And Its Story - online book

The Rise & Development Of Military Music

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	THE RENAISSANCE.                              131
	training, and to ensure for themselves an entry into the best circles of the profession. During the greater part of the nineteenth century nearly all the leading "wind players" were military men, and Guardsmen mostly. Here is a run of clar­inettists, the principal artists of their day: Mahon and Lazarus —all from the army. Lesser "stars" were Hopkins, primo clarinet at the opera, etc., Cavallini— the "Paganini of the clarinet," and Cadwallader Thomas. Among famous bassoonists were " Ashley of the Guards," of the old-time Handel Festivals, Wotton, the foremost performer of his time, Waetzig, of the Queen's private band, and John Winterbottom, of Jullien's and Mellon's concerts. The most eminent trumpet players of the century were Harper and F. McGrath, to say nothing of Jules Levy and Howard Reynolds, the cornet virtuosi. Reinagle, subsequently a distinguished 'cellist, Callcott, the father of the com­poser, Jarrett and Thomas Mann, were all well-known horn players. I may recall among oboists, Grattan Cooke, a professor at the R.A.M., William Crozier and George Horton. Phasey and Guilmartin were re­nowned ophicleide and euphonium players, whilst William Winterbottom, R. H. Booth, Thos. Colton and Innes, were among our best performers on the trombone. The wave of patriotism which swept over England at the time of the Crimean war and after, gave a de­cided fillip to military bands. The Volunteer move­ment (1859) especially helped in this direction. In