Alfred Cammeyer and Arthur Sullivan.

[Carl Anderton]

As a Gilbert and Sullivan enthusiast I've always wondered if multi-instrumentalist Arthur Sullivan played the banjo. The following message was sent to me by David Stone via the Savoynet.

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Alfred Cammeyer wrote a book of reminiscences, "My Adventuresome Banjo," published by Cammeyer's, London, 1934. Chapter XVIII is titled "Sir Arthur Sullivan (A Sullivan Episode)," and describes being invited (through Mrs Ronalds) to perform at a dinner at Sullivan's flat in Victoria Street, and that event. In a later chapter, Cammeyer includes a scrap titled "When Sullivan Played the Banjo," in which he writes:

"Following on a private dinner party at the Amphitrion Club in Albermarle Street, at which personnally was engaged, it so happened just after rendering a selection, that Mr. Alfred de Rothschild suddenly picked up my instrument and started strumming the novice's three elementary chords, which rathr amused H.R.H. The Prince of Wales, who was seated close by.
Naturally this spontaneous impulse lasted only a few seconds, and the moment it ceased, Sir Arthur Sullivan, who'd stood silently listening, and smilingly watching the manipulation, suddenly said:
If that's all you know, Alfred, you'd better come down to my place, and I'll show you a few more!
This sort of joking outburst greatly surprised me, hence broke in with the Question:
Whatever do you know about the banjo?
Receiving nothing in return but a pleasing smile.
This unexpected incident wasn't easily forgotten, for I'd held a rather curious feeling for a long time that Sullivan knew something about the Jo, although he never gave you any such impression by alluding to the instrument, still always remembered how he used to attentively listen, and watch my movements, when playing at Mrs. Ronalds', and other receptions, and sort of felt now he'd let the cat out of the bag.
Strolling down Piccadilly one afternoon, ran quite by chance in an acquaintance, who was an old personal friend of Sir Arthur's, they having been younsters together, so now was my chance to solve the mystery, hence mentioned the incident at the Amphitrion Club, which rather amused him, and he then informed me that Sullivan did know something about the banjo, for when he was a choir boy, he used to sing popular light songs, and accompany himself with that instrument."

I can find no indication that Cammeyer gave Sullivan any instruction.

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I'd love to find a copy of that book! I saw a quip from it on the Zither Banjo website, so I guess David Wade has one. Sounds like a great read.

ps-"Mrs. Ronalds" was Sullivan's mistress.

[Jody Stecher]

I've been looking for that book for several years. When it does occasionally show up it sells for a higher price than some Cammeyer banjos go for! Public libraries do not seem to have it.

[Carl Anderton]

All connections of Sullivan to banjo playing seem rather shaky, and this has just occured to me- the Cammeyer account says that Sullivan accompanied himself on popular light songs when he was a chior boy.

Born 13 May 1842 , Sullivan was a chorister at Chapel Royal, presumabably in the mid-1850's.

The banjo in the mid 1850's was a mostly crude affair, not really given to "light popular songs" outside of minstrelsy. And the stroke-style then in vogue doesn't quite fit my image of a young English choirboy accompaning himself.

Unless finger-style playing really had taken hold in England at that early date. (I'm aware that the style was being practiced then but all accounts say it was rare and very basic).

[Jody Stecher]

The account that says Sullivan encouraged Cammeyer to compose his own music and to take his arrangements of existing music more seriously seems solid enough to me. That's a "connection to banjo playing" surely. Banjos and banjo playing may have been simple mid 19th century but so were light popular songs. Three chords, small vocal range. What difference does it make whether the right hand was banging or picking, stroking or using a plectrum? Young Arthur could have been knocking out the chords with a garden trowel, it would still be the same 3 chords and the same oom-pah. Remember, the reference was to "popular light" not to "light classical".

Carl Anderton said:

All connections of Sullivan to banjo playing seem rather shaky, and this has just occured to me- the Cammeyer account says that Sullivan accompanied himself on popular light songs when he was a chior boy.

Born 13 May 1842 , Sullivan was a chorister at Chapel Royal, presumabably in the mid-1850's.

The banjo in the mid 1850's was a mostly crude affair, not really given to "light popular songs" outside of minstrelsy. And the stroke-style then in vogue doesn't quite fit my image of a young English choirboy accompaning himself.

Unless finger-style playing really had taken hold in England at that early date. (I'm aware that the style was being practiced then but all accounts say it was rare and very basic).

[David Wade]

Yes, it's a strange book. Written in 1934 and published by Camm from an address in Poland Street. Most copies seem to have been autographed by Camm, maybe sold at concerts although by this time he was 5 years off retirement. My copy came from Nick Bamber whose Dad had aquired a couple of copies - mine is unsigned and cost £1.50 from a second hand bookshop in Halifax....a few years ago I think!
The sub title is "A Banjo Sings Through" The introduction or "Curtain Raiser" puts it into context....
"It is solely due to repeated requests from close friendships, that ultimately induced the author to relate numerous incidents and happenings, experienced during his earliest assoication with the mystics of music. He apologizes for the somewhat unorthodox manner they are embodied within the following pages, as his cheif aim has been endeavouring to prtray such in as brief a style as possible."
There is a brief first chapter which leads up to his association with Adelina Patti who encouraged him to come to London in 1889. The book then full of his reminiscences of incidents and private functions that he played at. No mention is made of Essex that I can recall so I guess it really only covers the period to 1893.
Sullivan does get several mentions, including the way that he insists on paying Camm.
Just is case anyone gets confused Arthur Sullivan of G&S was not the same A Sullivan who wrote Toronot Jig.