CHAPTER IX - UCLA (1957 to the 1961 European Tour)

 By the fall of 1957, Sawhill had developed the UCLA Band Program into one of outstanding quality. In fact, the UCLA program was the most respected one on the west coast. The scope of the program was one of music education as well as the training of future band directors.

 It must be noted that although the modern concept of the wind ensemble had not yet been popular on the college campuses, Sawhill was already ahead of this movement with his establishment of a year-long concert ensemble. Programs of the fall concerts of 1957 and 1958 show typical Sawhill programming, including original band works together with student ensemble groups. Although they were never listed, Sawhill always ended a concert with a series of marches. This was in keeping with the tradition established by Harding with the Illinois Band.

 Due to the numerous clinics Sawhill began working, many outstanding students came to UCLA due to their contact with him. Those names would include Charles DeLancey, Richard Dufallo, Danell Randall, Don Shelton, Dick Picard, David Duke, Art Briegleb, Tom Scott, Bernie Pleischer, David Breidenthal, and Barbara Winters.

 The spring of 1959 saw the concert band in a most prolific season. Along with their normal March and May concerts, the Department of Music, sponsored a festival of contemporary music by American and British composers. On the Concert Bands' program for the festival, notable compositions included performances of Ingolf Dahl's "Concerto for Saxophone and Wind Orchestra, " "Symphony II" by Frank Erickson and Bernard Rogers' "Japanese Dances. "

 The March concert included a performance of William Schuman's "When Jesus Wept" featuring Barbara Winters on oboe and David Breidenthal on bassoon rather than the normal trumpet and euphonium setting. Winters, who had met Sawhill in Logan, Utah, during his many visits there for clinics, later became co-principal oboist in the Los Angeles Philharmonic.

 The literature programmed during the 1960 and 1961 years were typical of the Sawhill pattern. The opening number usually was one that was of a slower tempo and mood, often from the Baroque period. Sawhill stated he would program this type of number to establish the proper mental and musical attitude. Often these were Preludes and Fugues by Bach or other works of this nature.

Photo: The UCLA Symphonic Band in 1961

 Small ensembles and chamber music were always important and Sawhill usually featured one on both halves of the concert. Soloists were also often used. They were for the most part students from this band, rather than faculty members or guest artists.

 Marches are usually not listed, but the concert ended with one or more of Sawhill's favorites, most often by Sousa. His most favorite included, "Manhattan Beach, " "El Capitan”, and "Stars and Stripes. " Also it must be noted Sawhill would frequently perform one of Harding's transcriptions, mainly "Ein Heldenleben" and "Psyche and Eros. "

 The UCLA Marching Band had also established itself as the leader on the west coast. Kelly James had taken a full time position on the band staff as Assistant Director. His role had increased until he became totally in charge of the football band and the varsity band with Sawhill in a consulting role. Sawhill continued his activities as the musical director, but James was in charge of charting and teaching the drill aspects of shows. 

Photo:
UCLA Drum Major Kim Strutt

 During the 1950 's, many camps were started around the country shaped after the camp at Interlocken. Due to this increase in camps, many university directors, such as Sawhill, began directing camp bands during the summer months. By the late fifties, Sawhill was so active that his schedule was totally booked for the entire summer.

 Sawhill was so active that he would even print his summer schedule for his students and friends so they could keep in contact with him during the summer months. A brief listing of these activities included East Texas State, Tarleton State (Texas), University of Texas, University of Kansas, High Plains, Kansas (Fort Hays State) 1947-1967, 1971-1972, Ash Mark (l5 years), Morehead (Kentucky), Gunnison, Colorado, University of Kentucky, Peabody at Baltimore, University of Illinois, Pocatello, Idaho (1946-1968), Utah State University (20 years), University of Maryland, Nashville, Tennessee, Internation Music Camp (Utegard), Arrowbear Music Camp (California, 20 years), Siskiyou Band Camp (Washington), Southwestern Oklahoma Band Camp, University of Nevada-Reno, Cazadero Music Camp (Berkeley), Drake National Music Camp, Midwestern University (Texas), Arkansas Tech, University of New Hampshire, West Texas State, Sul Ross College (Texas), University of Portland, Fresno State College, Northern Michigan, Michigan State University, and Brigham Young University.

 He visited every state as a clinician, and most especially Texas, Colorado, Kansas, and California. Beginning with his work with the All-State Band in 1948, Sawhill became a fixture in Texas and made a great number of appearances throughout that state. He worked or the All State Band two or more times, and even conducted the All State Orchestra in 1954.

 One music company in Dallas brought Sawhill to work bands in the area for a week to ten days yearly during the sixties. Sawhill would rehearse several of these bands that were considered by many to be some of the best in Texas. Richard Floyd, Director of Bands at Baylor University stated, “Sawhill would come in every year from 1962 to 1967 while I was in Richardson. All the directors looked forward to his clinics."

 William Hill stated, "I can recall one spring when I was working with him at UCLA, he did seventeen All-State Bands in a row, only taking time for the Easter weekend to remain home with his family.

 Sawhill was constantly being emulated by other directors. Max Dalby, director of bands at Utah State University where Sawhill would direct the summer band camp each summer, related, "Sawhill's influence was so strong on me that the Utah State University developed a program where every student would study each of the instruments for one quarter during their undergraduate studies. He amazed us with his ability to pick up every instrument and get a good sound on it.”

 Wayman Walker stated, “Clarence was marvelous to watch in rehearsal, even greater to play for. Never wasted time with unrelated comments, etc. One could see what he wanted or expected musically from the expression on his face, and by the way he used his body, arms, and baton. He was a great actor in the best sense of the word, and he was a master of adjusting his rehearsal technique to the ability and age of the group - professional to grade school. Clarence never forgot that conducting was teaching and he was a master teacher.

 James Richards states, “His love of humanity and his joy in teaching are communicated to all the young people he teaches, and these young people in turn reach out and strive to please him and to love him as only young people can do. With all persons, both young and old, Clarence feels 'like an old shoe' that is so comfortable and fits so well that we never wish to take it off.”

 Lou Hiigel, Dean of the Fine Arts Department at El Camino College responded that, "I think there have been two rather distinct models of band management in the United States during the last thirty to forty years. I tend to classify the models as (1) Authoritarian, and (2) Humanitarian. It is the latter model that I think Dr. Sawhill has exemplified, and I would say that he was the leading exponent of this from 1950 to 1975…”

 Gary Garner, Director of Bands at West Texas State stated, “I was always struck, as was anyone who knew him, by his great humanity and compassion. I don't believe I've ever encountered a warmer, kinder human being. In spite of his success, and the wide professional acclaim and respect accorded him, he has always remained unaffected and completely without pretense. This peculiar combination of qualities - musical, educational, and personal - have made him one of the most influential men in this history of the band movement in this country.”

 Howard Dunn added, “Sawhill insisted the conductor be POSITIVE and was, as a role model, a loving man. He brought the best to the younger students and gave them not only knowledge, but the feeling that MUSIC was the thing. Communication with warmth was paramount and perfection was the goal to be sought. Clarence Sawhill has inspired hundreds of students, teachers, and musicians to strive for excellence.”

 Gary Garner stated, “Clarence, in his own analytical way, had devised a series of formulas for achieving good tone quality, intonation, balance and all the rest. He was constantly seeking new and better ways to do these things and seemed to have a particular fascination with developing a warm, resonant, homogenous band sound. I suspect it is this particular facet of his work that was perhaps best known and respected by his colleagues in the field.”

 Richard Floyd added, “There were three things about Sawhill’s rehearsals that were very evident. First he had an incredible knowledge of all the instruments. Second, he had the ability to immediately get to the seat of the problem and always had a solution for it. And, thirdly, he did it in such a warm way that after he left, the students had such an after glow of desire to perform musically in all that they were playing.”

 Ron Logan, who recently retired from his position as Senior Vice President of Entertainment at Disneyworld and was a member of the UCLA Band at this time states, "Kelly James would run the marching band, but Mr. Sawhill was always so supportive of him. He was away a lot of the time while we were rehearsing, but we always looked forward to having him there. He was so humanistic in his approach to people."

 Sawhill's rehearsals reflected his expertise in music education. His approach was to instruct from the podium the way a private teacher would teach: One-on-one. Logan stated, "We never got through a number in rehearsal; he was always stopping to work on sound or alternate fingerings and especially pitch."

 Sawhill's concept of teaching was not to emphasize the score itself. The music that was being performed was only the tool through which he would teach the proper instrumental performance patterns.

 In the fall of 1960, UCLA appointed a new chancellor, only the third one since the founding of the school. Franklin D. Murphy was inaugurated on September 23, 1960. The University Concert Band performed for this occasion as it did for the Charter Anniversary Programs each spring.

Murphy, who was extremely supportive of the UCLA music program, wrote Sawhill that same fall:

 “At half time last Saturday (October 29, 1960) evening I observed the UCLA Band in action, and I want you to know how impressed I was with the quality and character of this organization. It is beautifully disciplined in its maneuvers, and what is more important, it produces exciting music. You are certainly to be congratulated, and I now understand why you have developed the reputation which is yours countrywide.” 

 The band staff began to develop during this period into a large organization. Sawhill became more of a supervisor with many workers involved in their various jobs. Because of his ability to work well with people, many students worked or volunteered their services to the UCLA Band Staff.

 Kelly James continued in his position as associate director. Several outstanding workers filled the role of band manager during the late 5O's and early 60's. These included Wayne Galleher, Richard Robbins, Raymond Kirk, and others who served on a part-time basis or for brief periods of time. Also, Sawhill was able to help many of the students with part-time jobs.

In 1961, the UCLA Band was invited to perform for the American Independence Day Celebration in the Ribald National Park, in Aalborg, Denmark. This was quite an undertaking, but the band students were excited about the possibility of such a venture and undertook the project. The students were required to pay their own expenses.

 To help pay for part of the expenses, the UCLA Band sponsored a special concert in Royce Hall on the UCLA campus on May 17, 1961. Guest artists for the benefit included Gordon McRae who sang selections from the musicals "Oklahoma" and "Carousel " ; Alfred Newman who conducted an arrangement of his composition, "Conquest" from the movie, "Captain from Castile, " George Greeley, pianist, who performed "Street Scene" by Alfred Newman, with the composer conducting.

 Also on the program were Howard Keel, who sang "Old Man River" from "Showboat" and Dorothy Kirsten, who sang "Vissi d 'arte" from the opera "La Tosca". Both of these were conducted by Alfred Newman. The concert was a big success, and the revenues from the program helped to defray some of the students' expenses.

 The European Tour lasted twenty-seven days and included concerts in Victoria Embankment Gardens in London, Salle Pleyel in Paris, the Konberthaus in Vienna, the Amerika Haus in Munich, the Lord Mayor's home in Vejle, Denmark, Tivoli Gardens in Copenhagen, the Reventlow Staevne Concert in Naksov, Denmark, along with the program in Aalborg for the Fourth of July celebration. 

Photo: The UCLA Symphonic Band performing in Vielje, Denmark during the 1961 European Tour

 Along with the concerts, the band also visited Baden Baden, Germany, Lucerne, Switzerland, Innsbruch, Austria, and Hamburg, Germany. The Fourth of July Celebration was a very important event in Denmark and marked a special day in Denmark-American relations. For the ceremony of July 4, 1961, when the UCLA band was to appear, Walt Disney would be the special guest speaker. The tour was highly successful and the band enjoyed both the touring and performing. Sawhill commented that, "This was a unique experience both for the Band and for the audiences, since they were fascinated with these American students and an American College Band."

 A review by Andre Petriot appeared in "Horizons de France" following the UCLA appearance in Paris:

 “It was a marvelous evening with the UCLA Band. We most sincerely congratulate this triumphant group and the two excellent leaders who direct it with such simplicity, but with great warmth and efficiency. The UCLA Band, composed of students of the university, is a band of great value. It not only provided us with a musical pleasure of quality, but it also proved to us that the practice of music is not at all incompatible with the university's high level of studies. The universities of our country should become aware of this truth and restore this art to the position in our high schools and universities which has been owed to it Since the Middle Ages...”

Photo: A flyer announcing the UCLA Band’s appearance in Paris

 Glen Yarberry, whose dissertation included Sawhill and the UCLA Band program offered the following interview concerning the European trip from Sawhill. He was quoted as saying:

"We were one of the first college bands that ever played in France, Switzerland, Vienna, and Germany. That was the year that the Michigan Band went to Russia, and it started many of them (American college bands) going. I was very concerned about the European tour. . . .We never really lost anybody or any interest out of that trip. In other words those kids who went, the next fall, all of them were in school, they were right back in the band again. I kept after them (the students) all the time. My concern was that we had to have an organization when we came back. I tried my best to condition them for our return to campus. I expect they enjoyed that trip more than any trip they were ever on. "

 The fall of 1961 began a new era in the UCLA Band program and in Clarence Sawhill's term as Director of Bands. The summer trip to Europe had created a heightened interest in the band program at UCLA and had brought about a great deal of publicity to the band program.

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