Henry
James Metcalfe
1835
- 1906
The punctuation and layout of the titles
has not been changed to any extent. Especially, the spellings ‘amateur’ and ‘amatuer’ occur pretty well interchangeably in the various
copies of the Musical Express we have examined so far. Both forms occur in this article…
BRASS
BANDS THIRTY YEARS AGO,
AND AT THE PRESENT. TIME.
A short sketch of
the career of Mr. H. J. Metcalfe, may perhaps, be found useful, as to shewing the part which he has taken in reference to the
advancement of Brass Bands and to the many urgent requirements which, he
subsequently supplied them with, indeed, in the matter of “Dance Music”, it has
justly been said, that he fairly “lifted” the brass bands out of the greatest
obscurity in that respect, and set the pattern from which all others copied,
however, we will now proceed and hope our readers will derive some amount of
satisfaction, in finding that they are placed in a more favourable
position than were their brethren of thirty years ago
About the year 1857,
at which time Mr. H. J. Metcalfe, then a very young man, left “the service” in
Ireland, and proceeded to his native city, London, where he remained for a
short time, when he was persuaded by his mother and brothers, who had removed
to Walsall, Staffordshire, to repair to that town, so
that they might all live near each other. This advice Mr. Metcalfe, after some
hesitation accepted, and he arrived and settled in Walsall,
in the latter part of the same year 1857—at which time there had not been a
band in the town for twenty-two years, and being urged by many people, started
the “Walsall Brass Band” in that year. All the music
had to be written by hand, there were no Amatuer
Band Journals even then, and as the band advanced in proficiency, they were
invited out to parties, where the usual request was to play some “dance music.”
At this time we had to get pianoforte, or string band music, and arrange it for
brass bands, nothing in the line of Quadrilles, or Valses,
having up to that time been composed expressly for them, which made things very
awkward, as both the compass and style of pianoforte or violin is at complete
variance to the cornet, causing runs to be broken, and sometimes whole
strains to be left out in order to make the pieces playable by brass instruments,
and one circumstance connected with the affair used to bother the leaders of
the bands terribly, and that was—the difference in the quadrilles—first set,
Caledonians, Lancers, Victories, Kents, Parisians, etc.,
etc. Some one would come to the leader and ask for the first set of Quadrilles
to be played. Well, scarcely any of the leaders knew how to dance quadrilles,
nor how many times through to play the figures, consequently they would just
play the first figure as long as they thought fit, or until some of the dancers
would run up to them and tell them to stop, telling them to play the
"first set." Then the leader would turn his book over and ask if they
(the dancers) could tell them which were the “first set,”
many of the leaders thinking the dancers meant the first set of quadrilles that
were ever composed. Enquiries used to be made from fiddlers who played
at dances, and these would recommend some one set, and some the other, “The
Rats” quadrilles by Redler being great favourites about that time, as were Margaret D'Anjon—Agnes Sorel—Joan of
Arc--and several others of Le Duc's and Bohlmans, all of which, however, whilst fairly playable by
string bands or professional brass bands were too 'heavy' and difficult for
amateurs, especially to keep up for any length of time, consequently amateur
bands, were looked down upon by the dancers and it was generally said that
brass bands, even in the open air, were no good for dancing. Things continued
thus until 1861 when Mr. H. J. Metcalfe, Snr. [see note below - NF] then removed to Wolverhampton, and having been at a ball where there was a
string band, the idea struck him, why not compose some quadrilles “specially”
for brass bands, the same as the string writers compose to suit string instruments,
and “striking the iron whist it was hot,” he immediately hurried off home, and
before sleeping that night, had completed two figures, the next day the other
three were added, and the “Gentle Annie” quadrille was in existence. Having
arranged them for the band, he, with fear and trembling, produced them the next
night at practice. They were played right away, without any struggling at
awkward runs, and top notes, as had formerly been the case, and Mr. Metcalfe
received a regular ovation. They were the prettiest and best set of quadrilles
ever composed, said the bandsmen, (they tell him this every time he produces a
fresh piece, if it is easy, and has plenty of tune in it) and our readers may
be sure he returned home again that night quite elated, with the result of
this, his first experiment in composing quadrilles “specially” for brass bands,
an undeniable and complete success.
On the following
Monday, the band being engaged at a fete, where there were four other bands,
the new quadrille was put to the test, and as many of the THEN “popular airs”
had been produced, they created a perfect FURORE amongst the dancers, and very
soon every band in the country were playing these, seeing at a glance that the
dancers would take just as kindly to music newly composed “specially to suit
Brass Bands” as they did to the adaptations of the string music then in vogue.
Mr. Metcalfe then brought out in quick succession, the “Summer” quadrille —the
“Prarie Flower” quadrille - “Bob Ridley” quadrille
the “Ella Leene” quadrille—the “Merrimac” quadrille
the “Hazel Dell” quadrille—the “Monitor” quadrille—the “Fredericksburg”
quadrille—the “Arizona” quadrille the “American Star” quadrille—the
“Sensation” quadrille the “Pretty little
Sarah” quadrille—the “Annie Lisle” quadrille—the “High Holborn”
quadrille—besides various other pieces of dance music, it may be as well to
remind our readers that at that time the only set of Lancer-Quadrilles in
existence was the old original Lancers, as they were called. Now having had
such a splendid success with his other quadrilles, Mr. Metcalfe decided to try
his hand at “the Lancers,” but as these quadrilles had never been danced to
any other than one set of tunes (most excellent ones) and the dancers were so
used to them, that they often used to say no other tunes would ever do for them
but those composed for the dance at time it was invented. However, “faint
heart never won fair lady,” says the old adage, and on these lines Mr. Metcalfe
proceeded, and very soon the “Cavalier” Lancers appeared, and was so well
received that he shortly followed them with the “Victoria” Lancers—the
“Richmond” Lancers—the “British” Lancers, and the “Loyalist” Lancers, in
addition to the above, three new sets of quadrilles were brought out about this
time, called respectively, the “Victorian” (with six figures), the “Kent” (six
figures) and the “Pickwicks,” for these Mr. Metcalfe
composed, the “Royal Victorias” quadrille, the “Maid
of Kent” quadrille, the “Duchess of Kent” quadrille, the ‘Royal Pickwicks’ quadrille and the “Ball Room” Pickwick
quadrilles. The above quadrilles are entirely different to the ordinary
quadrille, the “Victorias” and “Kent,” having Valses, Polkas, and cornet cadenzas, the “Pickwicks,” being very “quaint” and ancient in style.
The sets above
spoken of had an original set of tunes composed for violin, but not only did
Mr. Metcalfe's sets which he composed for Brass Bands please the bandsmen, but
they speedily “knocked out” the “original” sets, which they superseded
entirely, and all the “String Bands” now began to “adopt” Brass Band music in
preference to their own for these special sets, and we may here remark that not
only did Mr. Metcalfe place the “Brass Bands” on an equality with the “String
Bands” as regards quadrille music, but brought out in the intervals many other
favorite pieces of dance music, amongst which we may mention the following :—
“The Bells” prize polka—the “Florence” polka—the “Brass Band” polka—the
“Ladies” polka—the “Albert Edward” polka—the “Catherine” polka—the “Waterfall”
polka—the “Volunteer,” polka—the “Clara” polka - the “Mountain Sylph”
polka—the “Old Maids” polka—the “Fusilade” solo polka
—the “Life Guards” solo polka—the “Feu de Joie” solo
polka—the “Silver Star” schottische—the “Queen of Day” schottische—the “Ball
Room” schottische—the “Lavender Girl” schottische —the “Clydesdale”
schottische—the “Fairy Queen” schottische—the “Star of De Vere”
schottische - the "Fairy Glen" varsoviana—the
“Village Belle” varsoviana—the “Juliette”—varsoviana—the “Great Eastern” prize varsoviana—the
“Victoria” varsoviana—the “Puleston”
varsoviana—the “Anne” mazurka—the “Lily” mazurka —the
“Riggollette” mazurka—the “Evening Star” valse —the “Prarie Bird” valse —the ‘Border Flower’ valse
—the ‘Echoes from Fairyland ‘ valse—the ‘Royal
Escort’ galop—and “ Merrie
Bells” galop—etc., besides quicksteps, slow marches,
fantasias, selections, and other pieces. All the above and numerous other
pieces were composed, and issued between 1861 and 1867, at which time, seeing
that the brass bands were well up with all descriptions of dance music in
general use, and as far as music went, able to hold their own in competition
with string bands, especially in out-door engagements, Mr. Metcalfe set himself
to find out if there was not some other kind of music wanted by the brass
bands, and found that there was no publishers in England, who published
“Christmas Music,” such as Christmas Anthems, Choruses, suitable Christmas
Hymns, etc., and knowing a bandsman’s love of a good "rolling bass,"
immediately set to work and sent forth his first “Christmas Number” of sacred
music suitable for Christmas playing, the old “sing-song,” drowsy psalm or hymn
tunes being cast aside, and the lively joyful pieces at once properly arranged
and made use of. Our readers well know the merits of “Metcalfe’s Christmas
Music," which, although
SOLD
AT DOUBLE THE PRICE
the other publishers
sell their Christmas numbers at, yet after all Metcalfe's music holds the field
against all comers and it is just as well to remind our readers that like the
introduction of specially composed dance music for brass bands, so with the
Christmas music, as Messrs. Metcalfe published “Christmas Music” for seven or
even eight years before any other publisher attempted to follow our lead.
Wherever a want has
been found to exist in connection with the amatuer
bands of this country, that want we have set ourselves to fill. That Mr.
Metcalf has not rested on his oars since the above mentioned list of music was composed,
may be inferred from a perusal of the subjoined list of his later compositions,
to which he is constantly adding new pieces, many of Mr. Metcalfe’s “old
subscribers” will recognize many an old friend, from amongst the following:-
The Lord of Lorne, quadrille—the Queen of May, quadrille—the Universe,
quadrille - the Belle Mahone, quadrille— The Sahara
quadrille--the Furore quadrille—the it Il Trovatore quadrille—the Mulligan Guards quadrille the
-Pretty Little Bessie quadrille —the Little Blue Eyes quadrille—the Jolities quadrille—the Old Ireland quadrille —the Royal
English quadrille—the Royal Welsh quadrille—the Royal Scottlish
quadrille- the King of the Mashers quadrille—the Queen of the Mashers quadrille
—the Beauties of Balfe quadrille—the Rosabel valse - the Queen of the
Ocean valse -
the Lily Queen valse—the Still Thine Own valse —the Songs of the
Season valse—The Sweet Violets valse—the
Dreams of Beauty Valse —the Le Bon Diable polka—The Æsthetic
polka—the Our Carries polka— the Best Out polka—the Volunteer schottische—the
Sweet Home schottische - the Queen of Scots schottische—the Heather Queen
schottische—the Mountain Maid schottische —the Primrose Dell schottische—the
Daisy Bell schottische, etc., etc.
Were we to proceed
with the list of Mr. Metcalfe’s compositions to the end, this paper would
contain little else, therefore we close this article without reference to the
scores of Quicksteps, Marches, Fantasias, Selections, Overtures, Christmas
Anthems, etc., of which Mr. Metcalfe is the author merely remarking that such
pieces as—Hosts of Angels - Loud the Mighty Hosts Proclaim - List The Angels -
Millions on Millions Grandly Sang - Glory to the New Born King - Merrie England - Bonnie Scotland - Cambrian Echoes -
Erin-go-Brah - The Congress - Semiramide
- Maritana - Bohemian Girl - Hugomont
- Quatre Bras - Verdi’s Works - Talavera
- and countless other pieces will bear testimony to his ceaseless and untiring
energy and persistence.
Note: H
J Metcalfe’s fourth child and eldest son Henry James Hugh Metcalfe was born
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