W War I LIBERTY LOAN MARCH/ FIELD ARTILLERY John Philip SOUSA CONDUCTS VIC 18430

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Item: 126757458394

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Item must be returned within:30 Days
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Artist:CLICK RIGHT ARROW > FOR CONDITION,John Philip SOUSA,Sousa,SOUSA’s BAND
Format:Record
Release Title:LIBERTY LOAN MARCH/ The U. S. Field Artillery march
Material:Shellac
Genre:Hymns & Marches,Military
Record Label:RCA Victor
Record Size:10″
Style:Banda,Big Band & Swing,Brass,Ceremonial,Character Piece,Dixieland,Educational,English Folk,Fanfare,France & Belgium,Germany & Austria,Instrumental,Marching,Military Music,Music Hall,National Anthem/Patriotic,North American Music,Overture,Pipe & Drum,Ragtime,Rhapsody,Southern,Steel Band,Symphonic,Symphony,Traditional Country,Traditional Folk,Vaudeville,Waltz,Western European Music
Speed:78 RPM
Language:English
Composer:John Philip Sousa
MPN:18430
Sub-Genre:Symphonic & Orchestral

Shipping: All items will be packed safely in a sturdy package for safe shipping.We ship internationally and offer combined shipping for multiple purchases. Expedited, Priority Mail and FedEx shipping available Once payment is received, we ship your item on the next business day.INTERNATIONAL BUYERS: Pls check the shipping tab. Ebay does not display cheapest shipping on top of the listing. Over 1000 Records available. If you plan to buy several records: Click the “ADD TO CART” button. Once you have selected all the records you want, go to Cart and check out. COMBINED SHIPPING will be applied automatically. If shipping seems high: In Cart click REQUEST TOTAL, and I will send you an invoice. I am offering over 100 John Philip Sousa Records and records by Sousa’s Band from 1903 to 1930.Click on this link to see more Sousa Records A series of great French records: From Opera and folk song to beloved personalities of Movies and Stage WWar I PROPAGANDA in two new marches by John Philip SOUSA as Lieutenant of U.S. Naval Reserve ForceSOUSA’s FIRST RECORDING as a CONDUCTOR One of the handful recordings where John Philip SOUSA actually conducts member of the Sousa and Victor Bands.In any case, Sousa did not conduct during a recording session until December 21, 1917, and thereafter attended only three others–on September 6, 1918; March 29, 1923; and September 4, 1926 (during this one session of the electric era, he led the Philadelphia Rapid Transit Company BandIn 1917, Sousa—then 62—reenlisted, this time joining the U.S. Naval Reserve Force as America entered World War I. Lieutenant Sousa formed a huge musical battalion of over three hundred members and marched across the country in tremendous parades that raised millions of dollars for the war effort.”At the request of William J. McAdoo, secretary of the treasury, and Charles H. Schweppe, one of the Liberty Loan directors, this march was written for the Fourth Liberty Loan campaign of World War I. It was later dedicated to the officers and men of the 40th United States Infantry. Click on this link to see more records of John Philip Sousa conducting.Liberty Loan march John Philip Sousa (composer) ========= The U. S. Field Artillery march John Philip Sousa (composer)12/21/1917 Camden, New Jersey. New Office Building Auditorium Victor 18430Sousa’s Band (Musical group) John Philip Sousa (conductor) Description: BandInstrumentation: 10 clarinets, 2 oboes, 3 flutes, piccolo, 7 cornets, 4 trombones, 4 horns, 2 bassoons, baritone horn, 2 tubas, harp, and 2 trapsDisc label gives the composer’s name as “John Philip Sousa, U. S. N. R. F.”John Philip Sousa is shown as “Lieut. USNRF” in the Victor ledgers for this matrix. From Musician Biographies, http://www.musicianguide.com/biographies/1608000817/John-Philip-Sousa.html: “[John Philip Sousa’s father] took his son to the Marine Corps headquarters and had him signed up as an apprentice violinist. … When he was 20, Sousa received a special discharge from the Marines and embarked on a career as a professional musician. He toured with two companies and a vaudeville show, worked at two Philadelphia theaters, taught music, composed operettas, and even corrected proofs at a publishing company. … In 1917, Sousa—then 62—reenlisted, this time joining the U.S. Naval Reserve Force as America entered World War I. Lieutenant Sousa formed a huge musical battalion of over three hundred members and marched across the country in tremendous parades that raised millions of dollars for the war effort.”PLS SEE ABOVE FOR CONDITION March “Liberty Loan” (1917) At the request of William J. McAdoo, secretary of the treasury, and Charles H. Schweppe, one of the Liberty Loan directors, this march was written for the Fourth Liberty Loan campaign of World War I. It was later dedicated to the officers and men of the 40th United States Infantry. Its temporary popularity was partially dependent upon the “U.S. Field Artillery” march, with which it was paired on a Victor record. The Chicago Examiner printed the march with a request for verses. Dozens poured in, but as far as can be determined none was ever endorsed by Sousa. Sousa struggled for some time before hitting upon suitable melodies for this march. The flash of inspiration came one night at a dinner in Kansas City, and he jotted the notes on his cuff. In a test of his endurance he developed the march by working in his hotel room until dawn for two nights and then on the train from Kansas City to Chicago. March “U.S. Field Artillery” (1917) During Sousa’s brief wartime service in the Navy, he was invited to a luncheon meeting in New York with Secretary of the Navy Josephus Daniels and Army Lieutenant George Friedlander. Friedlander, of the 306th Field Artillery, asked Sousa to compose a march for that regiment, suggesting that the march be built around an artillery song then known by such names as “The Caisson Song,” “The Caissons Go Rolling Along,” and “The Field Artillery Song.” The song was believed to be quite old, perhaps of Civil War origin, and had not been published; the composer was believed dead. Sousa liked the song and agreed to use it. He set it in a different key, changed the harmonic structure, refined the melody, gave it a more snappy rhythm, and added this to his own original material. The complete composition was then published as the “U.S. Field Artillery” march. Sousa’s touch added the spark necessary to transform the little-known artillery song into the army’s most popular melody. The new march was eagerly adopted by the army’s artillery units and later by the army as a whole. The Victor Talking Machine Company promptly issued a recording of the march with Sousa personally conducting former members of his own band, and the piece became the best known of all Sousa’s World War I compositions. On the record it was paired with another Sousa composition also dedicated to the U.S. Army: the “Liberty Loan” march. In a year’s time, the recording sold over 400,000 copies. Sheet music of the march also sold well. Its attractive cover was the copy of a work by the sculptor James E. Kelly, well known for his portrayal of military subjects. Kelly set aside other work on a $200,000 piece of sculpture in Delaware to complete the clay bas-relief model for the cover. The march was also published in an outstanding band arrangement by Mayhew L. Lake. It came as quite a surprise to Sousa and Lieutenant Friedlander to learn that the composer of “The Caisson Song” was still very much alive and that the song was less than ten years old. It had been written in March, 1908, by Lieutenant Edmund L. Gruber of the U.S. Army Field Artillery at Camp Stotsenburg, Philippine Islands. The piece was composed in the presence of at least two fellow officers who assisted in writing the lyrics. No doubt Lieutenant Gruber was even more surprised to find that his song, much revised, had skyrocketed to fame. He raised no objections to Sousa’s use of the song, which was serving the army’s purpose so admirably. Gruber’s song had a peculiar history after the Sousa march was published. Sousa’s treatment of the melody had made it so attractive to several publishers that they fought over it. Shortly after the publication of the “U.S. Field Artillery” march, the melody found its way into several song collections and became exceptionally popular during the 1920s. It is not known whether or not Gruber gave written permission for the use of his song in any of these publications, but he did permit its incorporation into a volume of West Point songs in 1921. The melody became even more popular when the Hoover Vacuum Cleaner Company adopted it as its sales song. The company added its own words and used it in radio advertising. Unaware of the song’s origin, a Hoover salesman called on Mrs. Gruber in 1929 and attempted to sell her a sweeper. Mrs. Gruber informed him of the origin of Hoover’s sales song and suggested that this entitled her to a sweeper, gratis. She received one, and her husband endorsed Hoover sweepers. This did not please certain artillery officers, who later asked Hoover to refrain from the use of what they considered their own exclusive song. When Gruber’s personal application for a copyright of the song was denied in 1930, he gave up hope of ever claiming royalties. However, in 1942 the sponsors of the West Point publication reestablished their claim and brought suit against the E. C. Schirmer Company, another of the song’s publishers. The court ruled that the melody had in effect been dedicated to public use and that its widespread use for over thirty years with no substantial objection by the composer constituted a practical abandonment by the composer. This judgment was upheld in an appeal the following year. Gruber rose to the rank of brigadier general and died in active service in 1941. He had composed over a hundred songs for his own enjoyment and had not expected any of them to reach Tin Pan Alley. But the one paraphrased by John Philip Sousa achieved a popularity beyond his wildest dreams. It glorified the U.S. Army Field Artillery, so it mattered little to him that many users of his melody made money while he received nothing. The time-honored manuscript of his original song now hangs in the library of the U.S. Army Artillery and Missile School at Fort Sill, Oklahoma. More Great Records on sale right now: CLICK ON THIS LINK TO SEE MORE GREAT RECORDS CLICK ON THIS LINK TO SEE ALL ITEMS – VINTAGE BOOKS, VICTROLA and TURNTABLE ITEMS, CDs, Books and DVDs http://shop.ebay.com/carsten_sf/m.html ==== A Quick NOTE ON GRADING AND SHIPPING: As you can see from my feedback, I try hard to earn your POSITIVE FEEDBACK and FIVE STAR RATINGS. If for any reason your transaction was NOT SATISFACTORY, pls contact me and I will work something out with you. YOU WILL NEVER HAVE A REASON TO GIVE ME A NEGATIVE RATING or a LOW STAR RATING. Quick note on grading: The Grade (Excellent to Poor, I don’t give Mint) refers to the WEAR of the record. Any other defects are stated separately When I listen to a record, I may also give it an aural grade (again E to P), and make a SUBJECTIVE judgment of the pressing quality for hiss and surface noise.”EXCEPTIONALLY QUIET” is close to noiseless, like a vinyl pressing.”VERY QUIET” is an above average quiet record for a given pressing.”Quiet” is a record that is a great example with some noise. These judgments are SUBJECTIVE and will depend one the styli, phonograph etc. you use on your own equipment. Multiple item shipping: I am happy to combine items for shipment in one parcel. Records will be packed safely between corrugated cardboard in a sturdy box with plenty of padding for safe shipment. Shipment is usually Media Mail, unless you request another service. Shipping is at your risk, I will be happy to insure items at your cost. I charge actual postage plus a small handling fee for packing materials As always, I guarantee your satisfaction. If you don’t like the item, just return it, and I will refund the full purchase price. If you are in the San Francisco area, I welcome pick-up in person. I am very happy to ship records worldwide. Please use the EBAY shipping cost as a guideline. As always, I would appreciate any suggestions and corrections from you, pls contact me with any question. Thank you very much, and enjoy these great records!!! Powered by SixBit’s eCommerce Solution

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