This presentation will provide an overview of the life of a well documented, but no longer well-known 19th century cornet artist. Walter F. Smith (1859 –1937) performed with the Marine Band and the Sousa Band and left a legacy of photographs and correspondence which provides a detailed look into the life of military band soloist, and Sousa Band member. Smith prepared the 19th century equivalent of “multi-media shows” with cornet solos, lantern slides, and lectures to tour with during the off-season of the Sousa Band. In this session, Professor Jack L. Laumer will evoke the feeling of Smith’s performances with selections from Smith’s favorite solos.

Joel Treybig, reporter

The presentation provided a vivid pictorial and historic overview of the life of the 19th century cornet soloist Walter F. Smith (1859 – 1937). Carole Nowicke expertly prepared the lecture, which included a host of photographs and excerpts from Smith’s own letters. Although Walter F. Smith (not to be confused with Walter M. Smith of “Top Tones” fame!) is not as well known as many of his fellow cornetists of the era, he had a very successful career as a soloist, band member, chamber musician, and innovator.

The lecture was fascinating, and his letters provided many details about his life and career. Details such as what types of cornets he played (Distin model #3, Conn Wonder, Besson long model, Conn New Wonder) and other instruments he had specially made for him (Conn Flugelhorn, a Conn slide trumpet in F which he designed himself) were of interest to the audience, as were the many capacities in which he played. Smith’s career as a theater musician, member of a quadrille (dance) band, soloist, conductor, and section member of the early Marine Band and Sousa’s band were all made clear by Nowicke’s documentation of dates, schedules, pay rates, and cultural happenings at the time. It was also interesting to see photos of Smith as a member of two different chamber ensembles: a brass quartet and the Lucia Brass Sextet. By showing Smith’s old programs, one could glean which pieces were his favorites. Pieces such as Arban’s Fantasie Brilliante and Oberon, Damare’s Cleopatra Polka, Hartmann’s Surf Polka and Facilita all appeared often on the programs that were viewed during the lecture.

Nowicke’s research also indicated that Smith was an interesting and forward-thinking individual. He envisioned the concept of screw-rim mouthpieces long before they evolved, he found that knitting hammocks increased his finger dexterity, and that bicycle riding improved his endurance. He would take his photographic slides on tours, and in addition to playing solos for a crowd, he would show them slides of various themes, usually from photos he had taken himself (Washinton D.C., California, illustrations of “Ben Hur,” and “Trumpets of Sackingen.” His letters were often sarcastic and humorous, and his personality was made viable to the audience just by hearing excerpts from his writings read aloud.

While the lecture itself was captivating, the lecture was brought to life yet further when professor Jack Laumer came to the stage and performed two of Smith’s favorites: the aforementioned Cleopatra Polka and Ezra Bagley’s The “Three Star” Polka. Laumer took the effort to play these on two contrasting cornets. The first piece he played on a 1919 Holton-Clarke cornet with an authentic Clarke mouthpiece, and for the second he used a modern Leblanc Courtois cornet. Both renderings of these charming pieces were performed with flair, and like most polkas of this era, afforded the soloist the opportunity to triple-tongue to his heart’s desire!

This lecture truly brought to life the personality and career of this intriguing person. While I knew nothing of him as I entered the hall, I left the hall intrigued by Walter F. Smith. It is perhaps due to the fact that he did not actually compose cornet solos that he is now lesser known, but thanks to Nowicke’s presentation, we now know a great deal about this fascinating gentleman and musician though his writings and photographs.