Captivator March, The
ABOUT THE COMPOSER
Cornetist and educator, Ernest S. Williams (1881-1947) was born in New Richmond, Indiana. He began playing the cornet at a very early age under the tutelage of his father. With the outbreak of the Spanish-American War, Williams joined the 158th Indiana Volunteer Regiment Band and became its conductor. In 1901 John Philip Sousa selected Williams to tour with the Sousa Band on its European tour. In 1904, Williams founded his own publishing business. Williams continued his successful performing career in 1917 as soloist with the Patrick Conway Band, first trumpet in Victor Herbert's Orchestra, and first trumpet with the Philadelphia Orchestra. From 1918 to 1922, Williams was also a soloist with the Goldman Band during its summer series at Columbia University. In June 1929, following the death of Patrick Conway, Williams was appointed Dean of the Conway Military Band School, affiliated with the Ithaca Conservatory of Music. Williams founded the Ernest Williams Music Camp in 1930 on property he owned in Saugerties, New York, at first as a companion to the Band School at Ithaca. But in 1931, he left that post to found the Ernest Williams School of Music at his home in Brooklyn. In 1932 the camp became an extension of the Williams School. The Williams School in Brooklyn closed in 1943 when World War II took away so much of its student body. The camp operated by Williams' second wife, Gladys, until Williams' death in 1947. Although the training was rigorous, the school motto was, "To be Williams-trained is to be successful." Many alumni, such as Frank Elsass, Raymond Crisara, Robert Hoffman, Joseph Losh, Gilbert Mitchell, George S. Howard, Ned Mahoney and Leonard B. Smith, went on to prominent careers as performers.
PERFORMING OPTIONS FOR THIS MARCH
For the first strain, countermelody people like the trombones should play a bit softer the first time and let the countermelody really project on the repeat. In the second strain, second time, it is recommended that all woodwinds should drop out and let the brass and percussion play alone on the repeat. On the last strain first time, a subito piano will provide a terrific contrast. Be sure you start the subito soft on the three pick up notes. The flute and piccolo should be allowed to project noticeably. On the last time of the last strain, the trombone countermelody can come to the fore.
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