Royal Hawaiian Band

May 30, 2020 by Peter T Young Leave a Comment

St. Andrew’s Priory

At the invitation of King Kamehameha IV, the Anglican Church mission came to Hawaiʻi in 1862; the invitation was extended to both the Church of England and the Episcopal Church in the Unites States. The Church of England gave a favorable response.

At the time, the American Protestants, through the Congregational Church, and Roman Catholic Church were established and active in the islands. Each had also established schools within the islands.

Queen Emma recognized the educational needs of the young women of her island nation. Her mission of establishing a girls’ school in Honolulu took her to England to seek the counsel of the Archbishop of Canterbury.

Under his authority, the Sisters of the Church of England returned to Hawai’i with Queen Emma to begin their work.

Queen Emma was raised in the Anglican faith and envisioned a school where Hawaiian girls would receive an education equivalent to the education that was traditionally offered only to boys.

St. Andrew’s Priory School was founded on Ascension Day, May 30, 1867, by Queen Emma, wife of King Kamehameha IV, and Mother Priscilla Lydia Sellon of the Society of the Most Holy Trinity of Devonport, England.

St. Andrews Priory was named in honor of St. Andrew, which was also the dedication of the Cathedral. This name had been chosen for the Cathedral because St. Andrews Day, November 30, was the anniversary of the death of Kamehameha IV, for whom the building was a memorial.

The Society of the Most Holy Trinity used the Benedictine terminology, whereby the mother house of a religious order was called an abbey and a branch house a priory. Therefore, the school became St. Andrew’s Priory School for Girls.

The school opened with 11-boarders and a few day students; by the end of the year, 17-boarders had registered. Most of the boarders were aliʻi.

Priory was eligible and received government grants; in doing so, it had to follow government regulations. As such, curriculum included the required reading in English or Hawaiian, writing, arithmetic grammar, geography and training in industrial work,

Good English was the Priory’s chief objective, so all instruction was in English and the girls were not allowed to speak Hawaiian, even on the playground. The girls learned sewing and embroidery, music, drawing, in addition to the academic subjects. Religious classes were part of the school curriculum. (Heyes)

The Board of Education encouraged early entrance, before age 10, to English schools, so that students may learn English in their formative years. The Priory’s first 17-boarders ranged in age from four 1/2 to sixteen. In 1871, a 2 1/2-year old Kauaʻi student (McBryde) was admitted with her two older sisters.

The girls slept in dormitories (they furnished their own beds and bedding.) The girls had poi every day. Initially, the girls wore their own clothes, there was no uniform (however, every girl had a white dress for Sundays and special occasions – uniforms started sometime after 1918.)

By 1876, the school was well established; dormitory space had been almost doubled, making room for forty boarders. The number of day students also increased and in that year to a total of 118-students.

In the 1880s, the Royal Hawaiian Band played concerts twice a week in Queen Emma Square. “One of our pleasant diversions was to go to and hear Captain Berger’s band play at Emma Square every Saturday afternoon. … we all went and sat in the carriage just outside the park. There was usually a crowd there, as it was very popular.” (Sutherland Journal)

With the formation of the Republic of Hawaiʻi, the educational policy favored establishing the American system of free public schools for everyone. Government aid to private schools was forbidden. (However, private schools continued to flourish.)

In 1902, the school transferred to the jurisdiction of the Episcopal Church of the United States and was run by the Sisters of the American Order of the Transfiguration. The school was then dependent financially on tuition and gifts from friends.

Even with these changes, there was no basic change in the purpose of the school. An education suited for the “probable life circumstances” of the girls still placed high emphasis on the homemaking arts, as well as preparing the girls for teaching, nursing and secretarial work. (Heyes)

In 1903, a high school department was opened offering the girls an opportunity to receive secondary education, placing the Priory at the forefront of the secondary school movement in Hawaiʻi. At the time, the only other secondary education options for girls were Honolulu High School (later known as McKinley) and Punahou.

There was significant new construction between 1906 and 1914; in 1909 the cornerstone for the new Dickey-designed Priory was laid for a two-story building made of steel and concrete (the first of its kind in the islands.)

The Sisters of the American Order of the Transfiguration operated the school until 1969. Since that time, the school has been under the leadership of a head of school.

In 1976, the Priory became a non-profit corporation with a Board of Trustees and a charter of incorporation that continues to provide an official link with the Episcopal Church.

Founded as a school for girls, the Priory remains dedicated to this legacy. Today, the Priory provides girls in grades K-12 a college preparatory education within a Christian environment so that in any future community they will be self-confident, capable, participating members. (Lots of information here from Heyes.)

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Priory_Cross-decorated_each_year_by_Junior_Class_for_Ascension_Day

Honolulu and Vicinity-Dakin-Fire Insurance- 11-Map-1906-noting_St_Andrews_Priory

March 13, 2020 by Peter T Young Leave a Comment

‘Black George’

The history of the Black presence in Hawaiʻi goes back to the sailors; Blacks were crewmembers of Captain Cook’s second and third Pacific voyages.

There is a “high likelihood” for the presence of Blacks on many of the early ships that crossed the Pacific. Free and unfree Blacks had been serving onboard these ships in a variety of capacities.

Between about 1820 and 1880 hundreds of whaling ships annually pulled into (primarily) Honolulu and Lāhainā, and a significant number of Blacks stayed behind in the islands and became permanent residents where they worked as cooks, barbers, tailors, sailors on interisland vessels and members of musical groups.

Work on sugar plantations was considered too close to slavery that Blacks were not considered for contract labor by the Hawaiian Kingdom.

Later, however, a significant influx of Blacks to Hawaiʻi involved the migration of the first Portuguese and Puerto Rican contract laborers to work on the sugar plantations (a significant portion of these were of African ancestry.)

One of the earliest blacks in Honolulu, who first arrived in Hawaii in 1810 was Anthony Allen, from Schenectady, New York. He was keeper of a saloon, boarding house and practiced medicine (he may have been Waikīkī’s first hotel operator on his land near the intersection of King and Punahou.)

Another of the early African Americans to Hawaiʻi was George Washington Hyatt.

He was known as “Black George.”

Born in 1815 in Petersburg, Virginia, Hyatt was a former slave who had escaped and made his way to Hawaiʻi. He had been a member of the original King’s Band under Oliver (the original leader of the King’s Band, also an African-American,) playing both the flute and the clarinet.

Four Blacks formed a royal brass band for Kamehameha in 1834, and Hyatt, organized a larger band in 1845.

Not only did Hyatt play in the band, in 1845 he became the Bandmaster.

A “contract” dated May 26, 1845 states: Know all men by these presents, that we the undersigned do agree to appoint and we do hereby appoint George Hyatt to be leader of the Band, and Charles Johnson to be Captain. …

For our services we are each to be paid not to exceed $3 for a whole day, $2 for half a day and $1 for anytime less than half a day. (Bandy)

Hyatt remained in Honolulu following his three-year tenure as Bandmaster and lived in Hawai’i for the final 40 years of his life until his death at Queen’s Hospital on March 13, 1870 at the age of 65. (Bandy)

He was known to many within local society: “Everybody knew him as ‘Black George’ twenty years ago, and he was a general favorite, not only because he played on the flute and clarinet at social gatherings, but because of his amiability.” (Bandy)

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Royal Hawaiian Band on the steps of Iolani Palace with Henry Berger, 1916

February 1, 2014 by Peter T Young Leave a Comment

Kaulana Nā Pua

The “King’s Band” (later known as the Royal Hawaiian Band) had its beginning in 1836; it continues today. Founded by King Kamehameha III, it became a part of daily life by performing for the public, state occasions, funerals and marching in parades.

The band accompanied reigning monarchs of the time on frequent trips to the neighbor islands and brought their music to remote destinations of the kingdom, such as the Hansen’s Disease settlement at Kalaupapa on the island of Molokai.

“The King’s Band” members in 1848 signed contracts to serve in the band, noting they “agree to serve under the orders of William Merseburgh, the captain appointed by His Majesty … (and) to meet from time to time for the purpose of practicing and improvement in instrumental music.”

“We agree to play for the king and for the other officers of the government whenever called on by our captain for such reasonable compensation as he shall award, not less than one dollar nor more than three dollars per man for any time not to exceed one day.” (Hawaiian Star, September 22, 1906)

In the 1880s, the Royal Hawaiian Band played concerts twice a week in Queen Emma Square.

“One of our pleasant diversions was to go to and hear Captain Berger’s band play at Emma Square every Saturday afternoon. … we all went and sat in the carriage just outside the park. There was usually a crowd there, as it was very popular.” (Sutherland Journal)

After the 1893 overthrow of Queen Lili’uokalani, the Provisional Government under Sanford B Dole demanded a loyalty oath of all employees, including the musicians of the Royal Hawaiian Band.

Under a revised name, ‘Government Band,’ the musicians refused to do so; the striking bandsmen persuaded Ellen Kekoaohiwaikalani Wright Prendergast, a friend of Liliʻuokalani, to capture their feelings of anguish and pain in a song. (Nordyke, HJH)

She composed Kaulana Na Pua o Hawaii, also known as Kaulana Na Pua (“Famous are the Flowers (Children.)”)

Click HERE for a rendition of Kaulana Nā Pua by Cyrus Green.

The band was told they would end up eating rocks if they didn’t swear allegiance, a threat that inspired one of the song’s verses: “Ua lawa makou i ka pōhaku, I ka ai kamahao o ka ʻāina,” which translates, “We are satisfied with the rocks, The wondrous food of the land” (also giving the song the name Mele Ai Pōhaku: The Stone Eating Song.)

The song is rich in kaona, hidden meanings, and its sweet melody belies the passions embedded in it. The band members then organized into the “Pana Lāhui Hawaiʻi”, “The Hawaiian National Band”, which under the leadership of José Liborno went to the United States to drum up support for the Queen and for Hawaiʻi’s continuing independence. (RoyalHawaiianBand)

The “Mele Aloha ʻĀina” song first appeared in Hawaiʻi Holomua on March 25, 1893, under the title “He Inoa No Na Keiki O Ka Bana Lahui” (A Namesong for the Children of the National Band). (Stillman, HJH)

The credit line in the May 12, 1893 printing of the lyrics for “Kaulana Na Pua” also contains a date: February 10, 1893, barely one month after the overthrow of the monarchy. (Stillman, HJH)

The song was sung on February 1, 1894, the royalist anniversary of the resignation of Royal Hawaiian Band members who had relinquished their jobs rather than sign an oath of loyalty to the Republic of Hawaiʻi. (Nordyke, HJH)

The lyrics mention four sacred chiefs that represent the major islands of the Hawaiian chain: Keawe of the Big Island of Hawaiʻi, Piʻilani of Maui, Mano of Kauaʻi and Kākuhihewa of Oʻahu. The words are treated with a spiritual tone of reverence and respect. (Nordyke, HJH)

“Kaulana Na Pua” serves as a voice for the native Hawaiians in their protest against loss of self-determination and sovereignty. The powerful and reverent song symbolizes a pride of culture and a plea for understanding. (Nordyke, HJH)

Today, the Royal Hawaiian Band is an agency of the City and County of Honolulu and is the only full-time municipal band in the United States.

The band performs and marches in over 300 concerts and parades each year including: city, state, and military functions; schools, community centers, shopping malls, retirement communities, graduations, and private events. Weekly public performances are held on Fridays at ʻIolani Palace and Sundays at the Kapiʻolani Park Bandstand.

The image shows Henri Berger standing in front of the Royal Hawaiian Band – 1889. I have added other images to a folder of like name in the Photos section on my Facebook and Google+ pages.

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December 20, 2013 by Peter T Young Leave a Comment

A Lasting Legacy by a Brief Stop by Austrians in Hawaiʻi

Austria, politically weakened both domestically and abroad, was forced to relinquish its leading role in Germany after its defeat by Prussia in 1866. Conservative forces sought to retain the old Habsburg glory, but the progressive industrialization had its consequences. (all-history)

The imperial and royal monarchy of Austria-Hungary did not succeed in integrating the many ethnic groups under its rule. This phenomenon, paradoxically, led to a certain stability, given that no significant union was possible between so many competing nationalities. Meanwhile the civil servants remained loyal to their Habsburg paymasters. (all-history)

Germans and Hungarians were favored in the political process. Later, into the 1870s, tensions grew. (Internal conflict led in 1914 to the assassination of the heir to the Austro-Hungarian throne, the Archduke Francis Ferdinand – World War I began.) (all-history)

It was in this timeframe – 1860-1870s – that Austrians had a chance stay in Honolulu.

At that time Austria-Hungary, also known as the Danube Monarchy, was a major European power comprising some 60-million people who spoke 14-different languages and dialects. The country was ruled by the Habsburg dynasty.

The frigate SMS Donau (with a crew of 360-men,) together with the Corvette Erzherzog Friedrich of the Imperial Austrian Navy, left their base at Pola, Croatia on the Adriatic in late-1868 on a mission to strengthen Austria-Hungary’s trade and consular establishments in the Far East and along the coast of South America.

Donau translates to Danube (the Danube River runs through the core of Austria-Hungary; it’s about 1,000-miles long, from the Black Forest to the Black Sea.)

Off the coast of Japan, the two ships ran into two horrific typhoons. It was decided for the Erzherzog Friedrich to return to Europe and the damaged Donau to continue to Honolulu for repairs.

“Arrival of the Austrian Frigate Donau, HIR Austrian Majesty’s steam frigate Donau, Admiral Baron von Petz, commanding, arrived at this port on Monday the 20th, 37 days from Yokohama, Japan. She encountered two heavy cyclones during the passage, in the last of which she suffered serious damage.” (Hawaiian Gazette, December 22, 1869)

“The Donau carries 16 guns, and her engines are 200 horse power. At 10 o’clock AM, on Tuesday, she saluted the Hawaiian flag, which was returned from the Battery on Punch Bowl. She has on board the members of the Imperial Legation, consisting of Contre Admiral Baron von Petz, Envoy Extraordinary and Minister Plenipotentiary ; Baron von Trautteaberg, Secretary of Legation; Pfisterer, Officer Board of Trade; Schonberger, Czerey, Commercial Reporters.” (Hawaiian Gazette, December 22, 1869)

“In connection with the Donau, we would say that from private letters received from the officers of that ship, here, we are informed that all look back upon their visit in Honolulu with the utmost pleasure. The Hawaiian flag, hoisted over the Consulate at Valparaiso on the first Sunday of their visit there, was hailed with cheers by officers and crew.” (Hawaiian Gazette, October 5, 1870)

“The Austrian Frigate Donau … experienced heavy storms on the passage, damaging her spars, machinery and hull.” (Hawaiian Gazette, December 22, 1869)

“We hear that Messrs. Foster & Co. will undertake to repair the Austrian Frigate Donau. The job is a heavy one, and will require great skill and ingenuity on the part of the shipwrights, with the appliances at hand, but we understand that it can be done. The work will be commenced immediately.” (Hawaiian Gazette, December 22, 1869)

It took some 5 months to repair the ship.

While the Donau was being repaired, the ship’s marching band held daily dockside evening concerts to the great delight of the Honolulu populace.

“A Band in Honolulu, as a convenience on private occasions, and as a means of enjoyment to the public at large, can be easily appreciated, the more so, by the remembrance of the out-door concerts that have of late been given by the Bands attached to war-ships that have visited this port.” (Hawaiian Gazette, November 9, 1870)

“The Band of Kamehameha III, whose performances at the levees at the Palace, and on other occasions, have now nearly passed out of public remembrance, has entirely disappeared, not more than two members we believe being at present alive; the leader Mr. Mersberg, is living on Hawaii, where he is now engaged in instructing a volunteer Band of twelve instruments, with very great credit to himself as band-master.” (Hawaiian Gazette, November 9, 1870)

Based on the performances of the Austrian Band, folks petitioned King Kamehameha V to re-institute the Royal Hawaiian Band, originally established in 1836 as the “King’s Band.”

In debate in a legislative session to fund a band, legislator Harris noted:
“As for the item for a band, we needed one. We could dispense with very many things which we now have clothing; for instance, of some kinds. A band also exercised a very beneficial Influence on the people in general.”

“We had recently been favored with the band of the Austrian man-of-war Donau; everyone had been allowed to listen to their music, and its good Influence was shown by the fact of the decrease of crime in the city at that time. As regarded the band, it was the intension to get genuine musicians to instruct our young men in the art of music. All of that expense would be abundantly paid for.” (Hawaiian Gazette, July 13, 1870)

The legacy of the Royal Hawaiian Band lives on.

When the Donau arrived, it had six dead sailors aboard, 2-officers and 4-crew, who had perished in the storms. They were buried in the Catholic cemetery on King Street (across from Straub.)

In 2012, the Austrian Association of Hawaiʻi had a rededication ceremony in the cemetery for the deceased sailors; the Royal Hawaiian Band performed at the rededication ceremony.

Lots of info here is from a speech by H. Pepi Pesentheiner (Bürgermeister (President) of the Austrian Association of Hawai‘i,) at the rededication of the SMS Donau graves.

The image shows the Donau. In addition, I have included other images in a folder of like name in the Photos section on my Facebook and Google+ pages.

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August 9, 2013 by Peter T Young Leave a Comment

The “King’s Band” had its beginning in 1836, it continues today; founded by King Kamehameha III, it became a staple of daily life by performing for state occasions, funerals and marching in parades

The band accompanied reigning monarchs on frequent trips to the neighbor islands and brought their music to remote destinations of the kingdom such as Kalaupapa on the island of Molokaʻi.

In 1848, Band members signed contracts to serve, noting they “agree to serve under the orders of William Merseburgh, the captain appointed by His Majesty … (and) to meet from time to time for the purpose of practicing and improvement in instrumental music. We agree to play for the king and for the other officers of the government whenever called on by our captain for such reasonable compensation as he shall award, not less than one dollar nor more than three dollars per man for any time not to exceed one day.” (Hawaiian Star, September 22, 1906)

When the Provisional Government under Sanford B Dole in the wake of the Overthrow demanded a loyalty oath of all employees, the musicians of the Royal Hawaiian Band, renamed Government Band, refused to do so, an act of courage celebrated in Ellen Prendergast’s “Mele ‘ai pohaku” (The Stone Eating Song,) also known as “Kaulana nā pua” (“Famous are the Flowers (Children.”) (RoyalHawaiianBand)

Click HERE for Kaulana Nā Pua (Cyrus Green:)

The bandmembers then organized into the “Pana Lāhui Hawaiʻi”, “The Hawaiian National Band”, which under the leadership of José Liborno went to the United States to drum up support for the Queen and for Hawaiʻi’s continuing independence. (RoyalHawaiianBand)

One notable bandmaster was Heinrich (Henri or Henry) Berger. He came from Prussia at the request of Kamehameha V, who asked Emperor Wilhelm I to send a conductor. On June 3, 1872, Berger arrived in Honolulu on board the steamer “Mohongo” and one week later conducted his first public concerts.

It took him just two months to receive this accolade from the “Pacific Commercial Advertiser”: “The Band, under the able direction of Mr. Berger, has resumed the practice initiated two years ago by the band of the Austrian frigate Donau… The neighborhood of Emma Square looked quite lively for an hour or so on Thursday afternoon where lots of people in carriages and on foot had assembled to hear the really fine sounds of the ‘Hawaiian Military Band.’ As was remarked by one of the Honolulu delegation in the Assembly when the appropriation for the support of the military was under discussion: ‘The band is by far the best part of the army.’” (Atlantic Times)

After four years, Berger returned to Germany, had himself released from his duties in the Prussian military and then came back to Hawaiʻi for good. He gave 32,000 concerts, composed 250 Hawaiian songs, some of which are still being sung around the world, and 1,000 other tunes.

He wrote down indigenous hymns that had until then only been passed on orally. And on Sundays, taking turns with his friend, Queen Liliʻuokalani; he played the organ in Kawaiahaʻo Church. Lili’uokalani was a formidable composer in her own right. Her song, “Aloha ‘Oe” (Farewell to Thee), became world-famous. Berger had arranged it for her.

During the Second Wilcox Rebellion of 1895, Berger had to find new, mostly non-Hawaiian musicians. He was commanded by the now Republic of Hawaiʻi to give concerts in order to soothe the agitated mood of the citizenry.

As the twentieth century rolled around, things began to normalize, at least on the surface. The Band regained its former royal name and would perpetuate cherished traditions close to the hearts not only of many Hawaiians but of a good number of locals and visitors alike. (RoyalHawaiianBand)

The Royal Hawaiian Band was a cornerstone of the monarch and the essence of music of Hawaiʻi’s monarchy and continues the tradition of keeping Hawaiian marches and band arrangements alive by including several of these compositions among its repertoire. (AssociationOfHawaiianCivicClubs)

During its long history, band leaders included an escaped American slave, a Portuguese, a New Zealander, a Prussian and a German from Weimar. (SI-edu)

Today, the Royal Hawaiian Band is an agency of the City and County of Honolulu and is the only full-time municipal band in the United States. The Band is made up of 40 full-time positions and functions as a concert band, a marching band and a glee club ensemble.

The band performs and marches in over 300 concerts and parades each year including: city, state and military functions; schools, community centers, shopping malls, retirement communities, graduations and private events. Weekly public performances are held on Fridays at ʻIolani Palace and Sundays at the Kapiʻolani Park Bandstand.

The image shows Henri Berger standing in front of the Royal Hawaiian Band – 1889. I have added other images to a folder of like name in the Photos section on my Facebook and Google+ pages.

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