Cultural History of Indianapolis: Music, 1875-1890 Eva Draegert*

The fashion in eighteenth century Europe of family orchestras performing their own compositions was vanishing from the scene by the late nineteenth century. America, though still somewhat dependent on Europe musically, did not adopt the fashion of family group performances. The trend for the average American was to become a spectator rather than a performer; this led to a small but select group of performers and to some decline in appreciation of music on the part of audiences. Indianapolis was experiencing this development from 1875 to 1890. Soloists studied both at home and abroad to increase their skill, and amateur groups frequently performed vocal and instrumental music under the baton of a paid expert conductor. The Indianapolis Opera Company was formed during this period, and a few years later a sym- phony orchestra was organized. Group participation, es- pecially in vocal music, was greatly stimulated by the Ger- mans. The musical accomplishments of the Germans had long been recognized. As early as 1850 the Indianapolis Journal, for instance, stated that “the Germans far excel the Ameri- cans in musical attainments for the reason that they pursue a knowledge of the ‘divine art’ with industry, while Ameri- cans are very apt to let their ‘ardor cool’ and withdraw from a pursuit that does not put them in possession of their object immediately.”’ The Indianapolis Maennerchor, since its establishment in 1854, had been active in regular concerts, and the Turn- verein had given the public music on a grand scale in the Saengerfest of 1867. About twenty years later, participation in the May festivals was quite general. Important services continued to be rendered by the Germans individually and as groups, and the Maennerchor assisted as an organization. Besides the Maennerchor there existed in 1870 the follow-

* Eva Draegert is instructor in social studies at Woodruff High School, Peoria, Illinois. 1Quoted in Theodore Stem fel, Festschrift zur Feim dsr Vollen- dung des deutschen Hauses in fndtanapolis (Indianapolis, 1898), 17. 266 Indiana Magazine of History ing musical organizations : Harmonie, established in 1869, composed of men only, and representing a consolidation of several societies, the Liederkranz, Harmonia, and Frohsinn ; the Druid Maennerchor, organized in 1868, likewise for men only, and restricted to members of the Druid Society; the Choral Union, with 125 members directed by James S. Black, and including an orchestra ; and the Philharmonic Orchestra, conducted by Dr. Robert A. Barnes, made up of the more proficient amateurs of the city. Three other musi- cal organizations were established before 1870 but existed for only a brief time: Musicale, devoted to classical music (1863-1865) ; Professor Benjamin Owen’s Musical Class (1864-1867) ; and the Mendelssohn Society (1867-1870) .z Indianapolis, no longer a rugged frontier village, had by 1875 become an urban community with a developing musical culture. Where once Mme Anna Bishop had been listened to with bewildered attention, and opera had been most un- popular, by the late seventies opera was becoming fashion- able and the oratorio well patronized. The quality of music heard in parlors, welcomed in concerts, and demanded in musical societies was ample evidence of the increasing level of culture to be found in Indianapolis. As the Indianapolis News declared, “Now we stand back for no city of our size west of the Atlantic.”s Along with this order of musical culture another was developing. Citizens complained of the increase of saloons and dance houses in the city, especially along West Washing- ton Street, where it was said that aften ten o’clock in the eve- ning the sound of bad music and hoarse voices disturbed pass- ersby. The Atlantic Garden, Fred Seitz’s old place, and the City Garden on East Washington Street added to those estab- lishments springing up like mushrooms farther west. Some feared that Indianapolis was trying to imitate New York. All this disturbed and irritated those “who prefer good order to hoodlumistic singing, and lecherous glances of blear-eyed women, and the usual turmoil and tumult attendant upon such places.”* Teachers of music rendered a dual service to the com- munity and were of inestimable value to Indianapolis cultural

2 William R. Holloway, Indianapolis, a Historical and Statistical Sketch of the Railroad City (Indianapolis, 1870), 266. 8 Indianapolis News, June 9, 1877. 4 Ibid., May 25, 1875. Cultural History of Indianapolis: Music, 1875-1890 267

life. Not only did they teach their pupils but they edu- cated their audiences as well, for these teachers often per- formed in concerts either as soloists or with groups. Often they served also as directors of orchestras or choruses. Music teachers in Indianapolis appeared to be excellent, for it w;ts said that “pupils who went elsewhere for higher study had very rarely to ‘unlearn’ what they had been taught here.”5 In 1871-1872 the city had two schools of music and three music teachers, two of the latter being German. The pres- ence in the city of five dealers in musical instruments and two music publishers indicated a lively interest in things musical.0 In 1875 sixteen music teachers were listed in the Indi- anapolis directory, and the next year eighteen. Listed also in 1875 were eight dealers in or makers of musical instru- ments, two bands, and two musical institutes-an indication to some extent of the musical interest and activity in the city.’ One of these teachers, Professor Peter R. Pearsall, a pioneer professional music teacher of Indianapolis who had taught there for thirty years,8 was given a benefit concert at the Grand Opera House, where he pleased his audience by playing the accompaniment for his daughter, Mrs. George H. Fleming. A former pupil, Clara Reinmann, assisted in the program. A critic was much impressed by the voice of Lavonne Kackley, a talented young lady who also appeared on the pr0gram.O Two days later the News announced that Professor Pearsall had netted $120 from his benefit.1° This was to be his last performance, for a few weeks later his death was announced.ll The custom of “benefits,” so popular in the theatrical world, was also extended to the field of music. Usually a let- ter signed by prominent citizens was sent to a musician inviting him to give a benefit performance. Shortly would appear in the paper a note of thanks from the musician with an

6 Jacob P. Dunn, Greater Indianapolis (2 vols., Chicago, 1910), I, 536. 0 Indianapolis City Directory, 1871-1878, p. 562. 7 Indianapolis City Directory, 1875, p. 522; Indianapolis City Directory, 1876, p. 568. 8 Indianapolis News, February 1, 1878. SIbid., February 11, 1878. 10 Zbz%., February 13, 1878. IlIbid., March 25, 1878. 268 Indiana Magazine of History announcement of the time and place chosen for the concert. The usual arrangement for dividing box office receipts is not clear. Probably because the musician was complimented by being invited to perform, the affairs were referred to as “complimentary benefits.” Usually these programs included other local or visiting musicians as well, and many a young amateur made his debut in this manner. Often a “com- plimentary’’ helped provide the means or encouragement for the next step in a musical career.la A local singer honored by such a benefit was Marcia Willard, who performed in good voice before a large and brilliant audience at the Grand Opera House.ls Sallie Bing- ham achieved considerably more than the average local musi- cian. After exhausting her opportunities in Indianapolis, she went to Boston to study in the late seventies, returning home for a few concerts, then left for Europe to complete her musical ed~cati0n.l~Returning again to Boston she found her golden moment had come. A leading vocalist, unable to ap- pear, was replaced by Miss Bingham, whose performance received favorable notices from the critics.16 Regular annual concerts were given by Professor James S. Black, one of the most popular teachers of the decade. Since 1867 he had done much to influence the musical taste of the community, for he had a part in the development of many of the best voices in the city. He was also director of the Choral Union.l6 Professor Ora Pearson was another popular teacher who assisted young local singers in compli- mentary concerts. He performed with Sallie Bingham in 1877 and with Lavonne Kackley in 1878; and in 1877 he also directed an operetta, Genevieve.17 Audiences at these con- certs were modest in size and included many of the social set. Another feature of the musical life of Indianapolis at this time was the parlor concert, which may have served to introduce a new musical talent or to benefit a cause, but which was always an invitational and exclusive affair. In

12 Ibid., September 13, 1877; September 21, 1877, complimentary concert for Sallie Bingham. laIbid., June 20, 1878. 14Ibid., July 10, 1878. 16 Ibid., March 29, 1879. leIbid., June 7, October 26, 1876. 17Ibid., May 31, 1877; June 17, 1878. Cultural History of Indianapolis: Music, 1875-1890 269

1874 the News commented that such concerts were becoming popular and expressed the hope that they would provide a means for elevating the taste for piano music.18 In 1879 a concert was given by Mrs. Ada Heine and her pupils at the residence of Judge John S. Tarkington for the purpose of helping the newsboys’ home. The program was reported to be delightful and the audience, though only fair in size, was “super-fair in quality.” Moreover, a “comfortable amount of money was netted.” The reporter concluded that “ ‘parlor concerts’ should , . . become the feature of amusement this season.”1g Group music activities were important to the culture of Indianapolis because they constituted a training ground for those with musical talent who were to become skilled amateur or professional performers, and at the same time gave opportunity for large numbers of interested persons to participate in musical activities. Vocal music was far more popular than instrumental music. Although there were prob- ably never less than two bands in active organization, and each musical society maintained an orchestra as well as a chorus, most of the performances gave principal expression to vocal music. Musicians who came from other cities either for individual concerts or to participate in the May festivals were principally vocalists. Among the instrumentalists active during the seventies was the Philharmonic Society. One of their evening concerts included compositions by Mendelssohn, Schumann, Strauss, and Schubert. Many of the “best citizens” attended and the orchestra was pronounced ‘‘superb.”2o Another instrumental group, the Academy of Music orchestra, was criticized for playing classical music ; the reporter complained that though the program was more lively than usual, they had not learned to “drop grave yard melodies.”21 As early as February, 1874, musicians in Indianapolis were involved in labor troubles. Members of the Academy of Music orchestra, said to be the lowest paid orchestra in the West, were employed by the week or day, not by the season, and were thus paid only for the days they actually

18 Interview with Anna Hasselman. Indianapolis News, December 7. 1874. 19 Indianapolis News, June 18, 1879. ZOZbid., January 26, 1874. ZlZbid., January 29, 1874. 270 Indiana Magazine of History performed, which, in one instance, amounted to thirteen weeks less one day during a five-months’ period in the best part of the theatrical season; it may be assumed that they were paid little or nothing for the balance of that year. In order to support themselves they had to do other work, and they were permitted to furnish substitutes in the orchestra if their affairs were in conflict. The question raised was whether a member could “reasonably be called on to refuse other employment when the Academy alone yields just enough to insure slow starvation.”22 In 1875 the chamber concerts, which had been well re- ceived the preceding season, were revived and a series of five or six programs of classical music was planned. But the next year one of the concerts held at Exchange Hall was a financial failure. Organ concerts were held occasionally ; one by a Professor Clarke at the First Baptist Church was much enjoyed by a fair-sized audience despite the fact that the program was long and “above the comprehension of the average listener.”23 The Indianapolis directory for 1875 lists two bands, Bradshaw’s band and the Mayer and Smith band. In 1876 there were nine organized bands with a total of 117 music- ians. In 1879 the Indianapolis Ladies’ Cornet Band, an organization of amateurs, gave a successful concert which was attended by “one of the finest audiences of the season.” Thus encouraged, a few weeks later another group of fourteen ladies organized a cornet band under the leadership of George T. Binager.24 Henry D. Beissenherz was almost a musical institution in himself. During this decade he conducted EL band which gave concerts at intervals. For many years thereafter, his organi- zation furnished music for English’s Opera House and for a wide variety of public gatherings. However, in 1879 his benefit concert failed financially, although the audience of a few hundred was appreciative “almost to the point of rudeness.” This failure may be partly explained by the fact that two other programs were held the same evening, one by the Harmonic Chorus Society, and the other by the Maen- nerchor which held its summer night‘s festival at Phoenix

22 Ibid., February 3, 1874. 2aZbid., September 24 and 29, 1876; January 20, 1876, 24Zbid., March 30, 1876; June 27, July 12, 1879, Cultural History of Indianapolis: Music, 1875-1890 271

Garden.25 Indianapolis possessed too few music lovers to assure three good audiences simultaneously. A similar situa- tion occurred again during the next decade when the theatri- cal competition was keen. A few weeks before his benefit concert, Beissenherz had proposed leasing six acres on the north side of Fall Creek, where it is crossed by the Illinois Street bridge, for a summer garden where full brass band concerts would be held twice a week. This plan was contingent on the extension of the streetcar line from the corner of Twelfth Street to the pro- posed garden, a distance of half a mile.26 If this garden was in fact established, it was probably a forerunner of the Fair- banks Garden of the 1890’s which was located at approxi- mately the same place. At the latter garden music entertain- ed the patrons who were seated at outdoor tables where light refreshments were available. Several such gardens were to be found in the city in the 1870’s, particularly along East Washington Street, and were frequented by a class of people hardly to be considered among the cultured popula- tion of Indianapolis. Musicians from other cities who gave concerts in In- dianapolis customarily received a warm welcome. One of these, nineteen-year-old Julia Rive, a pianist from Cincin- nati, appeared before an unusually small but select audience at Masonic Hall, April 25, 1874. The program, especially arranged as a farewell concert for Professor Thomas N. Caulfield, included several other musicians who performed before the appearance of Miss Rive. A newspaper critic stated that she was “without doubt the finest lady pianist ever to come before an Indianapolis audience.” She per- formed in the city twice the next year, in May and December of 1876, and again in 1877 when she was announced as Mme Julia Rive-King. Though her audiences were not always large, they were highly appreciative and regarded her as the “most wonderful of performer^."^^ Earlier, in December, 1875, she had completely captivated her listeners. “None can compare with Miss Rive except Rubenstein, and he excels her only in one or two points perhaps unattainable by a female

25 Ibid., June 2, 1879. 26Zbid., May 2, 1879. Twelfth Street in 1879 was located where Twenty-first Street is today. Z’Zbid., April 25, 1874; May 8, December 4, 1875; October 30, 1877. 272 Indiana Magazine of History artist,’’ declared the critic of the News. She appeared to be untiring, playing closing numbers of her program with as much vigor and animation as she exhibited at the beginning. At the close the audience paid her a rare tribute and “re- mained motionless after the last tones had died away, un- willing to believe the performance at an end.”28 In 1876 a world-famous pianist, Hans von Bulow, offered two concerts in Indianapolis. The small audience at first seemed cold and unsympathetic until “warmed and enthused by the consummate genius of the artist.” Hopeful that the next would see a full house “for the credit of Indianapolis musical taste and culture,” the News was constrained to re- port another “slim house.” Since music lovers of the city had turned out en masse for performances less meritorious, the cause of this apparent lack of enthusiasm was probably the “close financial times.” Two dollars seemed altogether too much to pay to hear only one performer, even though he were first class, for even in such times people often willingly paid more to hear an opera troupe with a large chorus. Moreover, von Bulow was suspected of being in the pay of a piano manufacturer ! So the two-dollar admission was regarded as extortion or fraud by the public who refused to patronize the concert. All this “in vindication of Indianapolis musical taste.”29 Quantity rather than quality was then the criterion of musical culture and excellence. Not how sweet but how loud ! Among the out-of-town ensembles and orchestras ap- pearing in the Hoosier capital in the seventies, the Boston Philharmonic Club, regarded as the finest musical organiza- tion in America, gave three concerts at Bradshaw Music Hall. In 1877 the Mendelssohn Quintette Club of Boston gave “one of the best performances ever heard here” to “one of the best audiences ever assembled.” Two years later they performed again in a “season of most delightful The high point of orchestral music was the two Theodore Thomas concerts in 1875. Each night the Grand Opera House was filled to the last seat by the “best audience Indianapolis can produce.” Concerning the second concert a critic de- clared,

28Zbid., December 4, 1875. 29Zbid., February 29, March 1, 1876. aOZbid., April 26, 1875; March 3, 1877; April 8, 1879. Cultural History of Indianapolis: Music, 1875-1890 273

It was a magnificent close to one of the most successful musical seasons ever enjoyed in Indianapolis. It is a source of gratification that these concerts have been so well patronized by the most intelligent and appreciative of our citizens. It is to be hoped that the reception Mr. Thomas has this time met with will induce him to include our city in his list whenever he makes a tour of the West.31 Returning in 1877 for two concerts, Thomas found his public not so enthusiastic and his audiences growing steadily smaller. Hard times were taking their toll. In the field of group vocal music, the earliest and great- est contribution was made by the Germans. The example set by the Maennerchor and other German singing societies was followed by several societies featuring English language singing. In the German group, the Maennerchor, established in 1854, sponsored the elaborate Saengerfest of 1867, which at that time consisted of only thirty members. From 1873 to 1880 the Maennerchor was under the direction of Max Leckner and was often assisted by prominent singers of Indi- anapolis outside the German group.32 Their concerts and en- tertainments were held in Washington Hall until 1878 when the new Maennerchor Hall was put to use. Formerly the old City Hall and police court room, it was completely re- decorated with frescoed ceilings and walls. A large stage was built in the south end and equipped with a scenic drop cur- tain painted by August Metzner. The gallery was converted into a refreshment room with tables, the old committee room below into a restaurant, and the second floor into club rooms. Thus the entire building was a sort of assembly hall for all the German societies. The moving-in was accompanied by a procession around the city with torches and Chinese lanterns, followed by a program of music and speeches-a notable event in the history of the German organizati~n.~~The hall was then dedicated by a concert, one of the very best ever given in Indianapolis, featuring Clara Reinmann as soloist, the Louisville orchestra, and the Louisville Liederkranz

Sllbid., October 21, 1875; May 2, 1877. 82 Josef Keller, Festschrift zur Feier des Goldenen Jubilaums des Zndianapolis Mannerchor am 23., 24. und 25. Juni 1904 (Indianapolis, 1904). 53 Indianapolis News, March 16, 1878. 34Zbid., March 26, 1878. 274 Indiana Magazine of History

The regular season for Maennerchor activities usually began in middle or late October and ended the latter part of May. Monthly rehearsals, sometimes referred to as concerts, were held at which other soloists and singing societies often participated. After the musical part of the program was con- cluded, the floor would be cleared and dancing “indulged in to a late In April, 1878, arrangements were made for fortnightly concerts, and the Maennerchor and Philhar- monic societies planned to unite under the name of the German Singing Society. In addition to the regular season’s activi- ties, the Maennerchor, loath to cease musical activity entirely through the summer, generally gave a “summer night’s fes- tival” at a suitable place, such as the Phoenix Garden at the corner of Meridian and Morris streets. There would be a concert, festoons of lights, banners, fireworks at intervals, and dancing until late in the evening. The festival in 1878 also provided a convenient meeting place for politicians and can- didates who were evident in large At times the progress of the German musical societies was obstructed by disagreement strong enough to divide the membership or at least interfere with normal activities of the organization. In the fall of 1879 one such incident occurred, and the Maennerchor anniversary festival which was sched- uled for September was not held until the following spring, “owing to a slight disruption among the members.” All former active members were urged to participate in the “festival chorus” which was to function for only that per- f ~rmance.~~ The Lyra Society, one of the German musical organiza- tions established in 1876 or 1877 as a result of one of these disagreements, was soon invited to join the Maennerchor ; but the Lyra Society rejected the proposal and proceeded to elect Carl H. Weegmann director. The Lyra at this time was said to be flo~rishing.~~In October, 1877, at the opening concert of the season, the Lyra orchestra, led by Emil Wul- schner, former leader of the Royal Orchestra at Munich, did excellent work for so young an organization and aroused the audience to a “high pitch of enthusiasm.” The concert

*5Zbid., May 22, 1874; October 16, 1875; April 22, 1876; March 16, 1877. 86 Ibid., June 14, 1877; April 15, August 13, 1878; August 21, 1879. 57Zbid., November 10, 1879. 38 Ibid., June 12 and 13, 1877. Cultural History of Indianapolis: Music, 1875-1890 275 closed with the usual dance. A series of highly successful entertainments followed, the newspapers reporting favorably. Professor Wulschner was apparently a leader of rare ability and the Lyra orchestra was considered the finest instru- mental organization in the city, superior to any other orches- tra that had ever performed in Indianapolis except the Theodore Thomas orchestra and the Patrick S. Gilmore or- chestra of Boston.3Q Lyra concerts so far had been held in Washington Hall, but in July, 1879, the society dedicated its new home in the German-English school building on Mary- land Street with a musical and social entertai~~rnent.~~ Another German singing society, the Liederkranz, main- tained an active program during this period. This group, which had a number of industrial and factory workers as members,41 probably performed a lighter, more popular type of music. On one occasion, the Liederkranz concert elicited much enthusiasm from its large audience which had come to the program despite the “frightful dampness of the ~e8ther.l’~~ Membership in German singing societies was usually confined to men, but women had their societies, too, and often held separate entertainments. Such an event was the summer night’s festival held by the ladies’ section of the Indianapolis Social Turnverein at the home of Mrs. Louis Schulmeyer, president of the ladies’ section of the Ohio Valley Tum- erei in.^^ The principal musical organizations of the English- speaking group of Indianapolis, organized much like the German societies, were the Choral Union, the Harmonic Society, and the Cecilian Glee Club. The Choral Union, oldest of these groups, was founded in 1869 and by 1877 had nearly a hundred members. Factional strife divided this group, just as it had the Germans, and in 1875 the Harmonic Society was formed by these dissenters. Despite efforts to reunite the dissidents no consolidation was achie~ed.~4 The Choral Union was directed by James S. Black, and its orchestra by Emil Wulschner, who also directed the Lyra

*BZbid., October 26, 1877; March 7, June 14, 1878. ‘OZbid., July 31, 1879. 41 Interview with Mrs. Carl Lieber. 42 Indianapolis News, January 28, 1876. 43Zbid., August 21, 1878. “Zbid., October 13, 1875; December 13, 1877; July 1, 1878. 276 Indiana Magazine of History orchestra. The objective of the Choral Union, as well as of the Harmonic Society, was the cultivation of music among the people of the community. The type of music generally pre- pared for public performance was the oratorio and other music of sacred character. The Choral Union performed The Messiah, Judas Maccabaeus, The Creation, The Seasons, and Elijah, performing seven oratorios in the first eight years of its existence.15 The Choral Union flourished under the direction of Emil Wulschner as had the Lyra Society. In 1878 the News stated that there had never been “so much enthusiasm in any of our home societies as . . . in the union since Wulschner assumed the He apparently directed both the chorus and the orchestra at the concert held that season in the First Baptist Church. The immense audience so entirely filled the pews, aisles, galleries, and vestibules of the church that many were turned away. In spite of the overcrowding the audience seemed thoroughly pleased with the excellent performance. The critic, trying to be objective, stated : Evidences of crudeness and want of sufficient practice were not wanting, but it was clearly demonstrated to the observer that Mr. Wulschner is competent to the task he has undertak- en, and that with the voices under his direction he can in time bring out as fine a society as any city in the west can boast of. The support of the orchestra in the choruses assisted very materially in making them successful.47 At the performance of Elijah in 1877 programs were fur- nished. Copies of Benham’s Musical Review, an Indianapolis publication containing a review and analysis of Elijah, were placed in all the seats. The oratorio was so well performed that it was reported that “Mendelssohn was probably never more understandingly listened to anywhere,” and that a “better satisfied audience never adjourned in Indianapolis.” Artists who participated included Myron W. Whitney, “the greatest living oratorio basso” ;W. H. Fessenden, a favorite of the evening; Professor Penfield at the organ; and Mme Ada Heine at the piano.48

45Zbid., April 22, 1874; May 12, 1875; May 23, 1876; December 13, 1877. 46Zbid., February 18, 1878. 47Zbid., February 20, 1878. 48Zbid., June 13, 1877. Cultural History of Indianapolis: Music, 1875-1890 277 As the decade advanced the Choral Union appeared to increase in popularity, as indicated by the quality and degree of appreciation of the audiences. This success was doubtless to some degree the result of occasional lectures given in the interest of musical culture. As early as 1874 J. Henry Kappes addressed the members urging a strong program of musical education. He pointed out examples of progress in music and the fine arts, evidences which indicated to him that Indi- anapolis, the Meridian City, might eventually supplant Bos- ton in culture and that it might then be called “the Hub!”48 On the tenth anniversary of the Choral Union in June, 1879, the Reverend Edward A. Bradley urged raising a fund for the establishment of a conservatory of music in Indianapoli~,~~ so that musical culture need not depend solely on the work of various clubs, purely voluntary groups, but would be sup- ported instead by an establishment with a continuous and progressive program in operation. The Harmonic Society, the other “oratorio-singing society,” proceeded under the baton of W. H. Clarke and secured a regular place for its meetings soon after its organi- zation. William H. Clarke and Company, organ builders,s1 had secured a building occupied by Trinity Church at Ala- bama and North streets and planned to fit it up as an organ studio and exhibition hall. The terraced stage would provide room for a hundred singers and a fine two-manual organ was to be installed. The new Harmonic Chorus Society planned to give regular monthly invitational concerts of classical and other types of music.62 General public reaction, however, was somewhat less enthusiastic for the Harmonic Society than for the Choral Union. In 1876 a program was rather coolly received by the small audience, and the reporter was inclined to criticize the society for its lack of preparati~n.~~Yet, later that season a fine audience attended the performance of Costa’s Naaman at the Grand Opera House, and the affair was declared suc- cessful. Among the soloists was the young contralto, Sallie Bingham, and others of equally professional caliber. One de-

49Zbid., December 16, 1874. 60Zbid., June 25, 1879. 61It is not known whether the director of the Harmonic Society had any connection with this firm. 62 Indianapolis News, May 29, 1877. 53Zbid., February 9, 1876. 278 Indiana Magazine of History fect was apparent; it had no orchestra, only a piano for ac- ~ompaniment.~~The final Harmonic concert of the next season proved to be a flat financial failure. The audience, only slightly larger than the chorus, was generally unre- sponsive despite the quality of the singing.65 The following year, the Harmonic Hall was only about half filled for the performance of Costa’s oratorio Eli. It was rumored that the Harmonic Society and the Choral Union were at this time contemplating a merger, but it failed to materiali~e.~~ The Cecilian Club, smaller than the other societies with a membership of only twenty-five, met at Wright’s new business block for rehearsals which were managed by Frank SCOtt.67 Concerts of these societies were probably of the paid- admission variety, so that the hard times of the seventies would have had a direct effect upon attendance. Moreover, the total number of citizens who might be depended upon to swell the attendance of musical affairs was not large. Thus, if too many performances were scheduled for the same evening, someone would certainly have to sing to empty benches. Attendance at the opera was always good, for this was a social event for the upper classes as well as an opportunity for genuine music lovers. It was the fashionable thing to go to the opera. Since the amount and kind of public en- tertainment for the well-to-do was somewhat limited, opera became a “must” for them. Nevertheless, the depression had some effect on opera in Indianapolis. Most companies were well received, but some were plagued by financial difficulty. In 1875 at the two performances of the Strakosch Italian Opera Company, the audiences were small and the management lost heavily.58 The following year the company’s opera was scheduled to appear for two nights but was cancelled because of “financial pressure.”58 The number of scheduled operatic performances was noticeably greater in 1873-1874 and the following season than

54Zbid., May 31, 1876. SSZbid., April 18, 1877. 56 Ibid., April 4, 1878. “Zbid., October 23, 1874. S8Zbid., February 11, 1875. SQ Zbid., December 1, 1876. Cultural History of Indianapolis: Music, 1875-1890 279

during the next season, 1875-1876, when the depression was 50 severe in Indianapolis. No early winter season of opera was booked in 1877, nor any for the spring season in 1878, probably as a result of the hard times. The 1878-1879 schedule was more nearly equal to that of 1873-1874. Of some interest in connection with the success or failure of an operatic season was the scheduling and local management of opera by the legitimate theater. Theatrical managers brought opera companies to the city as a part of their season’s program. This enabled them to vary their schedule with burlesque or minstrels to make up for any deficit they might have sustained because of the failure of an operatic season. Apparently no special agency managed or scheduled concerts of out-of-town artists or operatic per- formances. The appearance of expert professional musicians seems to be somewhat uncertain and haphazard until the 1890’s when Ona B. Talbot took over the concert manage- ment. The scheduling of opera continued in the legitimate theater probably because it required the facilities of the theaters, or opera houses, as they were called. Thoughout the decade of the seventies several of the more serious operas were performed but the lighter type was more popular; at least two performances of each of the following were given: The Chimes of Normandy, The Bo- hemian Girl, and H. M. S. Pinafore. Always welcome in Indianapolis and always highly praised for her superb contralto voice was Zelda Seguin, who with her husband, Edward Seguin, appeared with Emma Abbott and others in productions of the Hess Opera Company during the 1878- 1879 season. The opera Belshaxxar, King of Babylon, produced in 1875, was a most ambitious undertaking for the Cecilian Glee Club. The entire Philharmonic Orchestra and a full brass band especially organized for the occasion assisted the larger chorus. Costumes valued at four thousand dollars were worn by the cast, and beautiful scenery prepared especially for the opera helped make it, according to the advertisement, the “grandest entertainment of the season.” An entirely new cast performed each evening for admission prices of from fifty cents to $1.25.60 This wqs probably the

60 Zbkl., January 20, 1875, 280 Indiana Magazine of History only local attempt to produce opera during the decade of the seventies. A few years later the Indianapolis Opera Company was organized.61 For the most part, the critic who wrote accounts of oper- atic performances had nothing but praise for the presenta- tion, the audience and the community. In 1874, after a per- formance of Halhvy’s La Juive, the reporter stated that this work was seldom presented partly because .an average audience is not wont to be sufficiently advanced in musical taste and culture to appreciate its grandeur of style and depth of scientific construction. That an Indianapolis audience have listened to and admired, this truly classic work, is creditable alike to our community and the artists who have compelled such a tribute.62 Later, in 1878, the critic offered this caustic comment on the performance of Mignon by the Strakosch Opera Company: The opera last night was an event in the history of our badly- constructed, ill-ventilated, uncomfortable opera house. The building was literally ‘packed’ with people, there was hardly breathing space left when the curtain rose. . . . The merits of the overture cannot be well told, there was so much noise from late comers, and chatting and laughing by the early comers.63 And this even more caustic comment on the next perform- ance : The audience which filled almost every seat in the opera house last evening and overflowed into the lobbies was so ill- mannered that it deserves the first notice. During the over- ture men went to and fro as the original Mephistopheles did when he mingled with the sons of men who came to show them- selves, and there was general laughing and chatting with as little regard to the time and place as if it had been the first flare of B brass band at a circus. Thus Gounod’s glorious prelude to his master-work was almost utterly drowned in the senseless babble that busied the audience with its own appear- ance. It was a decided reflection on the musical taste of the as- sembled multitude and could not by any possibility be con- strued into a certificate of good manners. This will apply also to a nervous desire to applaud at every pause of a sustained flight of singing or acting, after the manner of political

61 Dunn, Greatw Zndiampolis, I, 532. 62 Indianapolis News, March 28, 1874. 68 Zbid., February 27, 1878. Cultural History of Indianapolis: Music, 1875-1890 281

speeches. All this has been noticeable through this opera sea- son and it is to be hoped at the next opportunity will be con- spicuous by its absence.64 Comment on the work of various members of the cast con- tinued in the same vein. The earliest mention of ticket scalpers during this period was in March, 1879. When tickets were placed on sale for performances of the Strakosch Opera Company, scheduled the following week, the usual rush to the box office did not occur, for speculators had purchased blocks of tickets and were selling them elsewhere. Upon investigation the reporter encountered Thomas Taylor, agent for the George C. Boni- face Company which was billed for an appearance the follow- ing week. The agent maintained that speculation was a fair practice, that in New York, Chicago, St. Louis, and other cities it was regularly done. Frequently the speculator and agent would work together and share the profits. When Strakosch had [Christine] Nilsson he knew he could sell every seat legitimately. Times were flush; money plenty. Now all he wants is to sell the house. He doesn’t care who buys it. It’s business, that’s all.65 The next day seats were not selling well; good ones were still available in spite of the sharks. When the night of performance arrived, a very large house was present for Carmen with all the best seats taken. The following night only a thin audience turned out for La Traviatu, which, though excellently performed, failed financially. The report- er declared that “the management have only themselves to thank that the season was not a success financially.”66 Near the close of the decade a musical event of interest occurred. Carlotta Patti, sister of the famous Adelina Patti, appeared in a concert at Masonic Hall. Indianapolis music lovers considered this a rare treat, for Carlotta Patti was regarded as the most brilliant vocalist who ever “delighted an American audience, not even excepting her more famous Her brilliant performance was greeted with vociferous enthusiasm and demands for numerous encores. “Everything, almost, was encored, and this manifestation of

64Zbid., February 28, 1878. 65Ibid., March 25, 1879. 66Zbid., March 26 and 31, 1879. 67 Ibid., November 8, 1879. 282 Indiana Magazine of History approval was carried to and across the verge of rudeness, and showed more of a spirit of greed than a discrimination of what was really worthy.”68 Five years earlier a reporter had urged that home managers ought to be careful in arrang- ing programs, for very few appreciated the beauties of vocal gymnastics ; a large proportion of simple songs should be well sung to insure full appreciation. Otherwise, he warned, until everyone had become an educated musician the programs would fail.6Q The gulf between performer and listener was growing wider in spite of the wonderful pro- gress made by the many singing societies, both German and English. After 1880 in the country at large the increased prosper- ity of the middle classes had a tendency to widen the scope of musical activity. Greater patronage and large endowments aided musical expression in numerous ways. The endow- ment of the New York Symphony by Henry L. Higginson in 1881 and the opening of the new Metropolitan Opera House in 1883 set a goal for the rest of the country. Not all music lovers could visit New York often, but what their eastern cousins had done they in the West felt capable of accomplish- ing also. Musical festivals had become popular in the East and a passion for bigness seemed much in evidence. In Boston in 1869, 10,000 voices and a 1,000-piece orchestra had per- formed under the direction of Patrick S. Gilmore. In 1872 for a performance of I1 Trovatore 20,000 voices and a 2,000- piece orchestra sang and played while firemen pounded fifty anvils and a battery of six cannon was discharged by electricity before an audience of some 40,000. This must have impressed Johann Strauss and Franz Abt who were said to be present.‘O Many European artists in this country, and most of the important American musicians had studied with foreign masters either in this country or abroad. Regardless of their ability to perform or compose, Americans seemed to be much influenced by European trends in this field and it was claimed that “America had nothing distinctive to say in

e*Zbid., November 12, 1879. 69Ibid., June 5, 1874. 70Charles A. and Mary R. Beard, The Rise of American Civili- zation (4 vols., New York, 1927), 11, 458-459; Indianapolis News, February 8, 1889, Cultural History of Indianapolis: Music, 1875-1890 283 music,” no indigenous folk music or strong national feeling, that “at no hour in the gilded age did a flame illuminate the heavens.”71 After the great wave of German immigration-the com- ing of the Forty-eighters preceding the Civil War-many more German immigrants arrived in the early seventies. Within a short time these people were finding expression in various community activities, especially music, and were making a valuable cultural contribution. Large numbers of Germans settled in Indianapolis as well as in other midwest- ern cities, such as Milwaukee and Cincinnati, and many musi- cal societies were established. Saengerfests had been held in Indianapolis as well as in other cities, and now, in the eighties, this activity spread beyond the German societies into other musical groups and there arose in Indianapolis a com- mon desire to organize large music festivals similar to those held in other cities. Some preferred a regular series of fine concerts rather than festivals for the reason that good music should be heard at more frequent intervals throughout the year and not just at festivals. At any rate, the festivals were appreciated by the residents of Indianapolis and much credit was given to the Germans for their contribution. Musical taste in the Inland City had progressed considerably during the preceding generati~n.?~ Another trend typical of the “golden” decade, 1880-1890, was the popularity of light opera and the local urge to produce it. Group musical performances had found such favor in the various choral societies that when the Gilbert and Sullivan works began to appear musicians in Indianapolis at once took them up. Amateur groups produced these and other light operas throughout the decade. Both light opera and the music festivals encouraged increased participation in musical activities and wider appreciation by the general public. The German societies by perfecting their organiza- tions and giving concerts under the batons of well-paid pro- fessional directors, and often using outside soloists, set a standard which effectively raised the level of musical culture in the city.la

71 Beard and Beard, The Rise of American Civilization, 11, 458-459. ‘2 Fr6dBric Louis Ritter, Music in America (New York, 1884), 371- 384; Indianapolis News, September 8, 1883. 73 Dunn, Greater ZdianapoZis, I, 532 ; Martha F. Bellinger, “Music in Indianapolis,” Indiana Magazine of History, XLI (1945), 351-353; Indianapolls News, September 17, 1887. 284 Indiana Magazine of History

The natural consequence of this activity was increased encouragement of local talent. Good teachers of music, es- pecially voice, found an expanding clientele and those with special ability found the means to study in the East or in Europe. Regular student recitals were held and benefits given to assist departing musicians both morally and finan- cially ; and of course the concerts of the singing societies and the festivals gave added experience to these novices. A few were fortunate in winning places in operatic companies in the East, but local companies provided some opportunities for those less fortunate. Katie McDowell was one of those who secured an engagement with an eastern company. In the 1883-1884 season she performed with the New York Opera Company in Queen’s Lace Handkerchief .74 Cincinnati musical facilities were convenient enough to enable young Indianapolis singers to go there for study, and occasionally soloists from that area gave concerts in Indianapoli~.~~Ruth and Oliver Torbett, Grace D. Levering, and Perle Rouse attended Cincinnati College early in the eighties.76 On occasion Indianapolis reciprocated by sending a soloist to Cincinnati for a concert. Armin Recker, instruct- or in cello in Indianapolis, composer, and former cellist with the Theodore Thomas orchestra, was engaged to play in the orchestra and gave several cello solos at the Cincinnati cen- tennial celebration. At least one local singer, Saidee (Sarah Layton) Walker, went to Chicago to study with Charles Abercrombie in 1888.’? Numerous benefit concerts were held which gave oppor- tunity to many talented singers. Usually the honored per- former appeared two or three times on the program, with the balance of the concert performed by other local musicians and readers of dramatic and poetic selections. Frequently James Whitcomb Riley gave readings on these programs. Sometimes these affairs were referred to as “testimonial con- certs.” A benefit held for Constance A. Heine, pianist, at Pfafflin’s music rooms in 1883 was well attended and was de-

74 Indianapolis News, September 17, 1877; English’s Opera House programs, 1883-1884, no. 33, MS collection, Indiana Division, Indiana State Library. 76 Indianapolis News, February 19, 1880. VeIbid., January 5 and 13, April 5, June 3, 1880. 77 Ibid., June 30, 1888. Cultural History of Indianapolis: Music, 1875-1890 285

clared to be a most pleasant affair.78 In 1886 a “testimonial” was given at Plymouth Church to Mrs. Levering who was assisted by numerous groups and soloists, both vocal and instrumental, including a string quartet and a vocal quartet from the St. Cecilia Society. A large audience of literary and musical people of the city regarded the concert as a great success.79 In 1889 a benefit was given to Annie Abromet who then departed for Europe to study voice. She was assisted by Zelda Seguin Wallace.8o During that year other singers of ability were mentioned by the press. Maud Myers, con- tralto, was winning a reputation in concerts in Minneapolis, and Carolyn Cooper was about to return home after studying voice for a year in Paris. Charles Holman Black, son of Professor J. S. Black, was heard in a concert at the Grand Opera House. This was the occasion for comment on the work of the popular voice teacher: Professor J. S. Black’s annual concerts have always shown a high degree of excellence, and his work here has developed some of the finest singers the city has had. It is not saying too much to assert that the high state of musical culture here is due more to Professor Black than any other one person.81 As for the son, he thoroughly pleased his audience and was regarded by some as superior to all the professional baritones who had sung in the city. It was pointed out that more substantial recognition than mere praise might be accorded him. Inasmuch as he was a Hoosier and had been reared in the capital of the state, his success, it was hoped, would encourage other talented Hoosiers. A critic suggested that Indianians might bear testimony to their regard for Mr. Black by recalling him from Europe to appear at the next May festival instead of engaging a foreign singer of less ability. He left shortly after this concert for Washington where he was honored by President Benjamin Harrison at a musicale given at the White House, after which he departed for Europe and study.82

78 Ibid., April 12 and 19, 1883. 79 Indianapolis Sentinel, October 23, 1886. 80 Indianapolis News, February 9, 1889. alZbid., September 21, October 5 and 7, 1889. 82Zbid., November 2, 1889. 286 Indiana Magazine of History

As has already been noted, prominent local citizens some- times addressed invitations to visiting performers requesting them to appear in concert and asking them to set the time and place they wished to sing. All interested persons would sign the letter, and this list of names itself was some indica- tion of the measure of popularity of the musician: February 27, 1880. Miss Lillian Stoddard: The citizens of Indianapolis whom you have so often delighted with your singing on so many public occasions, take pleasure in tendering to you a complimentary benefit at such time and place as will meet your convenience. So many of our home-concert audiences have been placed under obligation to you for entertainment and pleasure, that we feel justified in pledging you a most substantial evidence of our appreciation in the event of your acceptance of this invitation. Very respectfully, your friends, Daniel Macauley E. B. Martindale E. F. Claypool Jno. C. Shoemaker William W. Dudley Benj. Harrison S. C. Bannister S. M. Vernon Charles Soehner Jno. W. Ray John C. S. Harrison N. McCarty J. D. Williams M. A. Downing J. G. Shanklin Max Leckner T. A. Hendricks C. E. Wright, M. D. A. W. Hendricks J. A. Minick, M. D.M Mr. Hubert J. Schonacker, a local musician, received a similar invitation September 4, 1886, in which the signers stated their desire to encourage and patronize native talent and asked that the musician introduce his own compositions exclusively. Mrs. George H. Fleming, singer of ballads, and Grace D. Levering of Indianapolis received similar invita- tions which were signed by many prominent citizens includ- ing several of the same persons who had signed Miss Stod- dard's letter.s4 Sallie Bingham, whose musical ability was becoming recognized in the seventies, was heard in a farewell concert at the Park Theatre, September 1, 1880, prior to her depar- ture for the East and an operatic career. A feature of this

89 MS collection, Indiana Historical Society Library, Indianapolis. 84Indianapolis Sentinel, September 11 and 12, Odober 3, 1886. Cultural History of Indianapolis: Music, 1875-1890 287

concert was a song, the words of which were written by James Whitcomb Riley and the music by S. B. Morris. As usual she was assisted by a bevy of local musical talent.83 Two years later she returned for a complimentary concert which was much enjoyed by her audience. The improvement in her singing was noted and her critic stated that the smooth- ness and finish with which she sang were proof of what cultivation and hard study could do for a voice of fine natural quality.s8 A young singer who achieved an enviable reputation both here and abroad was Margaret Kackley, whose sister Lavonne had been highly regarded in local musical circles a few years before. Margaret was known professionally as Margaret Reid, a name she adopted after Parisians mispro- nounced her own name. She studied for two and a half years in Boston with Charles R. Adams and August0 Rotoli, then went to Paris for study. In May, 1889, she returned briefly to Indianapolis to participate in the May festival and was given a benefit concert at Plymouth Church where she was assisted by James Whitcomb Riley and others. She re- ceived an ovation at her festival appearance and the critic commented : She opened her mouth and sang like a bird. Then the audience opened its mouth and yelled with delight. Miss Reid has the town, and can give her orders.87 Zelda Seguin Wallace had an excellent voice and sang many seasons in opera, appearing frequently before Indi- anapolis audiences who always received her warmly and with pride in her achievements. She frequently participated in programs for the benefit of some local charity and in return was benefited at concerts in her honor.88 She sang in 1883 at Ford’s Theatre in Washington in the opera The Smugglers, written by John Philip Sousa, director of the United States Marine Band, and she was complimented there with a serenade by the Marine Band and the Light Infantry Band.89 That same year she also sang with the

85 Indianapolis News, August 13, 19, and 23, September 1, 1880. EeZbid., September 5, 1882. 87Zbid., April 13, 1889; see also ibid., January 5, March 5, May 30, June 3, 1889. 88 Ibid., September 22, 1888. 8s Ibid., March 14, April 2, 1883. 288 Indiana Magazine of History

Emma Abbott Company and later under the management of Max Strakosch.90 In 1887 she sang in Indianapolis with the Duff Opera Company of which Lillian Russell was a promin- ent member.g1 In addition to these singers who were always encouraged by good audiences and much applause, Indianapolis took pride in a number of young and rising composers among whom were Bessie Stone and Barclay Walker. The latter wrote an opera which was successfully produced in Indianapoli~.~~ The Indianapolis Sentinel up to this time had devoted little space to musical events but during this decade began to publish a regular column of musical notes, an indication of the increasing popularity of music in the city. Encouragement of local talent was not reserved for soloists but extended to group efforts as well, and a serious attempt was made to establish an operatic company in Indi- anapolis. In 1881 or 1882 Professor Ora Pearson organized the Indianapolis Opera Company, which flourished until about 1889.9s On April 18-19, 1882, this company produced The Chimes of Normndy at the Grand Opera House under the direction of Professor Pearson. The chorus and orches- tra, each with twenty members, were said to excel the aver- age professional operatic companies.g4 Since H. M. s. Pina- fore and The Pirates of Penxance had been performed during the preceding year, the company was probably established in 1881.95 The next year Fra Diavolo, directed by Carl Barns, was performed May 11-12, 1883. William Castle of the Abbott Company of Chicago was brought to the city to do the title role, while other parts were taken by local members of the company. The cast was supported by a chorus of fifty voices. Audiences were said to be large, fashionable, and apprecia- ti~e.~~The Mikado was produced in 1886 and The Pirates of Penxance in 1889 under the direction of Alexander Ernestin-

SoIbid., March 21, May 15, November 20, 1883. 91 Indianapolis Journal, March 3, 1887. 92 Indianapolis Sentinel, July 18, 1886. 93 Durn, Greater Indianapolis, I, 532; Indianapolis News, April 12, 1883 ; Indianapolis Times, August 16, 1937. 94 Dunn, Greater Indianapolis, I, 532 ; Indianapolis News, April 20, 1882. 95 Indianapolis News, April 20, 1882. 96Zbid., April 12 and 20, May 12, 1883. Cultural History of Indianapolis: Music, 1875-1890 289

off.eT In 1886 a local organization called the Home Opera Company performed The Little Tycoon under the direction of Carl Baru~.~~In 1889 the production of The Pirates of Penzance under Ernestinoff‘s direction was again mentioned as that of the Home Opera Company.g9 A somewhat unusual and quite spectacular affair was the production of Naiad Queen at the Park Theatre during the week of April 9, 1883. Nothing quite like it had ever before been done in Indianapolis. Professor Arthur C. McKnight of Washington, D.C., came to organize the chil- dren’s chorus of five hundred voices, and for a period of three months he rehearsed the chorus regularly every Satur- day afternoon. Scenery cost over thirty thousand dollars and many unusual effects were achieved. Fairies flew across the stage to the accompaniment of beautiful music and children were transformed on the stage to the amazement of the audience. It took one or two performances for the mechanical effects to operate smoothly, but eventually all moved like clockwork and the large audiences were most en- thusiastic. Many leading adult musicians in the city, some of whom were also members of the Indianapolis Opera Com- pany, assisted in the presentation.1oo Barclay Walker’s opera, Maganon, was first produced in May, 1887, with Ora Pearson as director. The next winter another performance was given under the composer’s direc- tion after the libretto had been rewritten by Charles B. Foster of Indianapolis. Following this performance Mr. Walker announced that his score had been turned over to a dramatist in Chicago who was writing a completely new libretto and that his opera would later be produced by profes- sionals in Chicago or New York.lol Although nothing further was heard of this opera, it was important as an expression of the advancement of musical culture in Indianapolis. It was notable as the first work of a young, self-made musician,

97 Dunn, Oreater Indianapolis, I, 532. 88 Indianapolis Sentinel, October 12, 1886. 99Indianapolis News, February 22 and 23, 1889. It may be that both these companies are the same organization and that the Indianapo- lis Opera Company had changed its name to the Home Opera Company, but there is no evidence to confirm this. 100 Dunn, Greater Indianapolis, I, 532; Indianapolis News, April 6, 11, 12, and 13, 1883. 101 Indianapolis News, May 20 and 23, 1887; February 15, June 16, 1888. 290 Indiana Magazine of History and whether it was good or bad, the fact that three or four local performances were given and that large audiences at- tended is worthy of mention. Mr. Walker went on to com- pose other types of music, vocal and instrumental solos, and one of his compositions, Militaire, seemed to meet with success and resulted in substantial royalties for the composer.lo2 An important agency for raising the level of musical culture in Indianapolis throughout this period was the Matinee Musicale, founded in 1876 or 1877, a ladies’ club said to be the second oldest women’s music club in the United States.lo3 Its purpose was to promote musical appreciation through the study of the history of music, composers, and their works. Quite naturally the programs of the club included the performance of the selections being studied, and at times it seemed that performance was emphasized much more than study. There may have been a tendency to encourage a membership composed principally of skilled musicians. Un- questionably the work of this club did raise the level of musi- cal taste and constituted an appreciative and discriminating audience for performers of talent. Beginning with ten charter members, it remained a small and exclusive club for, seven years later, its membership was limited to thirty.lO4 In addition to its regular program it sponsored between two and four recitals each year by artists of renown; these were free to members. Because the club soon established a fine reputation for excellence in performance, the concerts which it sponsored were well attended by the general public and became events of social importance for the community.lo5 The Matinee Musicale performed another valuable service by promoting friendship among the musical-minded. Since

10*Ibid., September 22, 1888; April 13, 1889. 103Ibid., April 21, 1883; Dunn, Greatei Indianapolis, I, 532; Bellinger, “Music in Indianapolis,” 356. 104 Indianapolis News, October 8, 1889; Bellinger, “Music in Indi- anapolis,” 356-357. Charter members were Mrs. Fred W. Baggs, Mrs. Clara H. Eddy, Mrs. U. J. Hammond, Mrs. 0. H. Hasselman, Mrs. W. C. Lynn, Mrs. S. L. Morrison, Mrs. M. H. Spades, Mrs. A. G. Cox, Mrs. Marcia Willard, and Mrs. Emma Ridenour. Kate Milner Rabb and William Herschell, An Account of Indianapolis and Marion County (Dayton, Ohio, 1924), 78; Max R. Hyman, Hymn’s Handbook of Indianapolis (Indianapolis, 1897), 217; Indianapolis News, April 21, 1883. IObHyman, Handbook of Indianapolis, 217. Compare this with the present Chamber Music Society which emphasizes only the concert feature. Indianapolis News, April 21, 1883; April 22, 1884; Indianapo- lis Jouml, January 10, February 6, 1887. Cultural History of Indianapolis: Music, 1875-1890 291 personal conflicts and animosities caused so many of the early clubs to be short-lived] there is no doubt that this society did much to keep the May festivals going.loB In October, 1881, a new singing organization, the Indi- anapolis Choral Society, was organized with eighty-six charter members, and William C. Smock as president. The following spring it adjourned, probably for the last time, owing to the sparse attendance of its A short time later, in 1884, another organization appeared, the Indi- anapolis Chorus, composed mostly of members of the First Christian Church and directed by Ora Pearson.108 Less than a year later it was announced that the Indianapolis Chorus had voted to combine with the Mendelssohn Society under the leadership of Professor Pearson. The combined groups, totaling some three hundred voices, planned to meet at Ply- mouth The Mendelssohn Society, only recently established, was much benefited by this merger and in the following Decem- ber was said to contain a large share of the best musical talent of the city.ll0 In August, 1886, a benefit concert for the Young Men's Christian Association building fund was planned, but by the following April it appeared that the society might dissolve. Its membership, reduced to ninety- three, paid no dues and proceeds from concerts provided the only source of revenue. These concerts apparently were not financially successful, for the treasury was depleted and all the officers together with the director, Ora Pearson, expressed their wish to resign.'l' However, in December, 1887, the society gave a concert at Plymouth Church under the direc- tion of Carl Barus which was declared to be a great success.ll* Two more concerts were given in March and in June, 1888, the latter offering a larger and more varied program than the preceding ones, and were well attended by prominent musicians of Indianapolis.'ls

108 Dunn, Greatel. Indianapolis, I, 532. 107 Indianapolis News, October 1 and 11, 1881; March 22, 1882. 108 Indianapolis Evening Minute, December 13, 1884. There is no evidence that these two societies had any connection with each other. 109 Indianapolis News, August 12, September 2, 1885. "OZbid., December 10 and 12, 1885. 111 Indianapolis Sentinel, August 15, 1886; Indianapolis News, ADril- 6, 1887. 112 Indianapolis News, December 10, 1887. 113Zbid., March 14, June 13, 1888. 292 Indiana Magazine of History

Among the temporary organizations of the decade was the festival chorus of six hundred girls assembled in re- hearsal in 1886 for the benefit of the Young Men’s Chris- tian Association building fund. These girls, ten to sixteen years old, were gathered from various Sunday schools of the city into a chorus directed by Ora Pearson. Mrs. Frederick W. Britton of Cleveland was the guest soloist and an orches- tra of forty-three combined with the chorus to give two con- certs. The Mendelssohn Society also gave a concert for the Y.W.C.A. fund.l14 Orchestras were included in the German musical societies but the work of independent instrumental groups received only slight notice during the eighties. The When Band, or- ganized by the When Clothing Store during the seventies as an advertising device, gave concerts in the eighties, some of them in collaboration with other organization^.^^^ Joseph B. Cameron, cornetist, organized a band in 1888, and planned a series of public concerts. Officers of this band were: George E. Mills, president ; Gustave Becker, vice-president; Perry Ingalls, secretary ; and William Carlin, treasurer.’la About the same time a Professor Belcher, who taught music at Spencer, attempted the organization in Indianapolis of a thirty-piece military band.l17 The principal musical activities of the period, however, were vocal, and by far the most out- standing events were the May festivals which began in 1886. The backbone of musical culture of the Inland City dur- ing the 1880’s and which more than anything else made pos- sible the May festivals was the German singing societies. Chief of these was the Maennerchor, which celebrated its twenty-fifth anniversary in 1880 with a program including the music of Weber, Mozart, Wagner, Mendelssohn, Dam- rosch, Beethoven, Verdi, and Meyerbeer.lls Many hoped that this festival would open a new era in the history of music in the city and become the forerunner of large music festivals that might be held biennially. A critic saw what was hampering the tremendous growth not only of the sing-

114 Indianapolis Sentinel, August 15, September 14, October 13, 1886. 115Zbid., August 5, September 2, 1886. 118 Indianapolis News, August 10, 1888. 117 Zbid., July 7, 1888. 118 Keller, Festschrift zur Feim des Goldenen Jubilaums des Indi- anapolis Mannewchor, 30-31. Cultural History of Indianapolis: Music, 1875-1890 293

ing societies but of the city as a whole. He pointed out that Indianapolis had sufficient talent and could the small prejudices and jealousies in our American and German societies be laid aside and a grand rally had under one baton in the hands of an able director, no doubt we could have a chorus second to few in the country. In a pecuniary point of view such festivals could only result in benefit to our city, for if we should only attract the people from the territory tributary to Indianapolis, instead of allowing them to pass through here, to go to Cincinnati, or other neighboring cities, as is now the case, it would be accomplishing a good work.119 The directors of the Maennerchor during the 1880’s were Alexander Ernestinoff and Carl Barus, men of outstanding musical reputation in their special fields. Alexander Ernesti- noff, born 1853 in St. Petersburg, Russia, and a pupil of Anton Rubinstein, came to Indianapolis in 1880 from St. Louis where he had directed operas, among which was the premier performance in the United States of Wagner’s Rienxi.lzo He directed the Maennerchor from 1880 to the close of its 1882 season. During that time its regular con- certs were successfully performed, and the second carnival in January, 1881, was carried out in a brilliant manner. Thousands of dollars were spent on arrangements and James B. Dickson made a special trip to New York to select two hundred costumes for the occasion.121 In July, 1882, Ernestinoff resigned and announced he would enter an opera orchestra; but later in 1883 he became director of the Lyra Society, a position he held until 1888.lZ2 Carl Barus came to Indianapolis late in July or early in August, 1882, as the new director of the Maennerchor. A Forty-eighter, he was born 1823 in Silesia and educated at Breslau and Berlin, where he studied music with Adolph Hesse and Heinrich Richter. Upon his arrival in the United States in 1849 he went first to Saginaw, Michigan, where he engaged in farming. Not satisfied with that, he moved to Cincinnati where he gradually established a reputation as a musician. He taught, directed, and performed with most of the outstanding musical groups of Cincinnati and organized

110 Indianapolis News, June 5, 1880. 120 Bellinger, “Music in Indianapolis,” 355. 121Indiana~olisNews. January 4 and 25. 1881. 122 Belling&, “Music. in Indianapolis,” . 355 ; Indianapolis News, July 13, 1882. 294 Indiana Magazine of History their first symphony orchestra. He was credited with much responsibility for the phenomenal musical culture of that city. Rather early he had identified himself with the work of the German singing societies and had directed many Gesangfestes of the North American Saengerbund beginning in 1854. He also directed several of the festivals of the In- diana Saengerbund. With this background and reputation it was hoped that Barus would be able to give Indianapolis a name and fame in the musical world, for local observers felt certain that the city possessed ample talent and that all it needed was the proper dire~ti0n.I~~ The first season under the new director was a busy one. Regular entertainments for members included four operettas, two concerts, the annual New Year’s ball, the annual bal- masque, and the summer night’s festival. In addition three public entertainments were held, Haydn’s The Creation, the annual grand carnival, and the opera StradeZZ~.~~* The carnival was held February 2, 1883, at English’s Opera House which was especially fitted and arranged for the occasion. The theater proper was floored over level with the stage, and scenery was erected to make it appear like a fairyland. Four check rooms and twenty dressing room were made available and A.R. van Horn, a costumer from Philadelphia, brought a large number of beautiful costumes for the selection of the Maennerchor members. The club spent two thousand dollars for costume rental, and William E. English spent another two thousand dollars on the theater. The Beissenherz band and Miller’s orchestra furnished music for the evening’s d8n~ing.I~~The masked balls or carnivals of the years from 1881 to 1884 are remembered as outstand- ing events of the society.12B The so-called “Dutch” societies have sometimes been criticized by persons who declare that these groups did very little more than drink beer and dance. The Maennerchor, by performing well known and well chosen contributed

123 Keller, Festschrift XWT Feier des Goldenen Jubilaums des Zndi- anapolis Miinnerchor, 33 ; Bellinger, “Music in Indianapolis,” 354-355.; William A. Fritsch, German Settlers and German Settlements in Znda- ana (Evansville, 1915), 58; Indianapolis News, August 26, 1882. 124 Indianapolis News, October 23, 1882. 125 Ibid., January 20, 1883. 128 Keller, Festschmrift zur Feim des Goldenen Jubilaum des Zndi- anapolis Mannerchor, 33. 127 Indianapolis News, April 27, 1883. Cultural History of Indianapolis: Music, 1875-1890 295 much to the musical culture of the community and made such criticisms unwarranted and unjust. While active mem- bers of the Maennerchor were Germans or of German descent, in the 1880’s there was an increasing number of as- sociate members, people who appreciated the opportunity to sing with other talented musicians and joined forces with them in the performance of the best music. No English- speaking singing society of any prominence was active at that time; so the Maennerchor performed a useful service.l*8 The progress of the Maennerchor was steady under the direction of Carl Barus. In 1886 the first regular concert of the season was attended by a large and enthusiastic audience. The singers’ voices seemed to be at their best and the orches- tra was in full accord, while the genial conductor appeared “like a father with a great, happy family around him.”128 In 1889 the society varied its activities with a fair, the first one in several years.lao Writers in the News have stated that the Maennerchor sang for love not for Certainly no great profits at any time accrued from the concerts, but neither did a deficit occur. From three concerts in the 1884-1885 season resulted a net balance of only $146.132 The Lyra Society, rival of the Maennerchor, had a large membership and a fine hall. In 1883 Reinhold A. Miller resigned as director and Alexander Ernestinoff was secured for the ~0sition.l~~The Lyra had originally been es- tablished in 1870 by dissatisfied members of the Maenner- chor, and amicable feelings between these two societies had never been e~tab1ished.l~~At intervals efforts were made to encourage them to consolidate. In 1880 such a proposal failed because the members could not agree on a name. Evidence of bad feeling between them arose again in 1882 and in

128 Bellinger, “Music in Indianapolis,” 352-353; Indianapolis News, May 14 and 19, 1884. 129 Indianapolis Sentinel, November 17, 1886. 130 Indianapolis News, November 21, 1889. 131Zbid., May 14 and 19, 1884. 132 Keller, Festschrift zur Feier des Goldenen Jubilaums des Id& anapolis Miinnerchor, 36. 133 Berry R. Sulgrove, History of Zndianupolis and Marion County, Zndiana (Philadelphia, 1884), 265 ; Bellinger, “Music in Indianapolis,” 354-355; Indianapolis News, July 2, 1883. 134 Bellinger, “Music in Indianapolis,” 354 ; Indianapolis News, October 3, 1882. 296 Indiana Magazine of History

1883.135 Nevertheless, Lyra continued to prosper and in 1884 had a mixed chorus of fifty voices to assist in its winter concerts. Its program of regular activities was somewhat similar to that of the Maennerchor, and in 1886 Lyra also produced the popular light opera The Mikado.136 Ernestinoff resigned from the Lyra directorship in 1888 and the following year organized an orchestra of fifty-five musicians, some of whom had been members of the Lyra while others were amateur musicians in the city. A series of concerts was planned, and the orchestra was reported to be quite prospero~s.’~~ In addition to the Maennerchor and Lyra societies, a third German club, the Liederkranz, flourished during the 1880’s. It dedicated a new hall in 1881, and in 1885 A. H. Moorehead of Richmond was named dire~t0r.l~~In 1884 the Harugari Maennerchor was organized and presented its sec- ond concert in February, 1885, under the direction of Ernst F. Kn0de1.l~~ The German singing societies of Indiana had organized a Saengerbund and in 1883 held their eighth Saengerfest in Indianapolis. Three concerts were held September 6-9 at English’s Opera House under the direction of Alexander Ernestinoff. The orchestra of sixty and chorus of two hundred from seventeen societies were assisted by vocal soloists from Cincinnati, Chicago, and New York. Each society performed separately, then all participated in a joint number. The united singing societies of Indianapolis opened the program and Governor Albert G. Porter addressed the assembly, praising the Germans for their contribution to the musical culture of the state. He said that America was not musical until the Germans came and since then societies for the cultivation of music and schools of music had sprung up so that a national music was beginning to develop which would be characteristic of our national life. The city was elaborately decorated for the event and a parade a mile long

135 Indianapolis News, September 2, 1880; October 3, 1882; August 30. 1883. 136Zbid., September 16, 1884; March 1, 1886. 18‘ Bellinger, “Music in Indianapolis,” 355 ; Indianapolis News, December 14, 1889. 138Indiaapolis News, October 27, 1880; October 8, 1881; Septem- ber 7, 1885. 139 Indianapolis Evening Minute, February 23, 1885. Cultural History of Indianapolis: Music, 1875-1890 297

helped to welcome the visitors, who were entertained by a free lunch at Maennerchor Hall. A deficit of twelve hund- red dollars was reported but this was of small importance compared to the benefits derived. A lasting impetus was given to musical culture in Indianapolis, a result impossible to measure in dollars and cents.140 These annual Saengerfests were excellent preparation for the May festivals held in Indianapolis beginning in 1886 and continuing until 1898, with the exception of the years 1887, 1888, and 1893. The first festival was conceived as a means to raise money for the Soldiers’ and Sailors’ Monu- ment, and it was planned to make this an annual affair. However, the state legislature passed a law in March, 1887, appropriating money for the Monument fund; so no festival was held that year or the next. Still, the 1886 festival and similar festivals in other cities had been so successful that a permanent festival association was soon formed and per- formances were resumed in 1889.141 The festival of June 1-8, 1886, was a splendid affair and something quite beyond anything yet attempted in Indi- anapolis. Since it was to be a benefit for the Soldiers’ and Sailors’ Monument, the Grand Army of the Republic was actively interested and, to heighten the enthusiasm, invited General William T. Sherman to be the special guest of the city on the second day of the concerts. The chorus and or- chestra, directed by Carl Barus, had been augmented with professional musicians from Cincinnati, and the principal soloist and only paid artist of the festival was the famous Lilli Lehmann, who was paid the magnificent sum of eight hundred dollars for the three evenings she sang.142 The new Tomlinson Hall was ready for the occasion and, though it seated eight thousand, it was scarcely large enough for the throng of music lovers and society folk who attended. The opening of the festival was something to remember. Fashionable carriages moved slowly up and down the streets, and the street cars were crowded with the less

140 Stempfel, Festschrift zur Feier des Vollendung des deutschen Hauses in Indianapolis, 60 ; Indianapolis News, December 18, 1882 ; May 16, August 23 and 27, September 4-13, October 30, 1883. 141 Dunn, Greater Indianapolis, I, 533,534 ; Indianapolis News, June 1, 1886; January 8, 1889. 142Dunn, Greater Znd~napolis,I, 533; Indianapolis News, June 1 and 5, 1886. 298 Indiana Magazine of History opulent. Long before the hour of opening, the area near the hall, including the stone courthouse fence and the roofs of nearby buildings, was packed with the curious. Many in the large audience were formally dressed. The chief difficulty encountered by one observer in the rear of the auditorium was his struggle to see around the many large ladies’ hats that were being worn that season. No one dared to suggest that the hats be removed-the ladies might feel insulted! The audience was a fine one and pleased Miss Lehmann, who thought Americans very warm and appreciative in contrast to what she had been told abroad. She expressed pleasure at the amount of musical appreciation and the good manners of Indianapolis citizens. She thought Americans possessed good hearts for music and were much more talented than were the Eng1i~h.l~~ On June 7 and 8 the American Opera Company and the Theodore Thomas orchestra gave concerts as part of the festival which helped swell the monument fund. At the close the receipts totaled ten thousand dollars and of this amount it was expected that the profits would be between four and five thousand dollars. The chorus of 650 voices could easily have been much larger, as not all the musicians of the city had exerted themselves; but much of the success achieved was due to the efforts of Carl Barus and the Maenner~h0r.l~~ On July 4-6, 1887, a festival was held as part of the convention of the National Music Teachers’ Association. The first of these concerts emphasized American composers while the second was devoted to European classics. The artistry of the performances surpassed the 1886 festival, and the audi- ences were highly appreciative. The number attending in- creased at the second and third concerts so greatly that it may be assumed that local music lovers were taking ad- vantage of the events. Sallie Bingham was the only local singer mentioned on the program. Max Leckner, local music teacher, was elected president of the Association. Though the receipts were six thousand dollars, the committee found that a deficit of two thousand dollars existed, and it was necessary to call on the guarantors for an assessment of about 30 per cent of the amount allowed.145

14aIndianapolis News, June 1 and 4, 1886. 144 Ibid., June 6 and 8, 1886; Dunn, Greater Indianapolis, I, 533. 145 Indianapolis News, July 5-9, 1887. Cultural History of Indianapolis: Music, 1875-1890 299

Early in January, 1889, the May Festival Association was formed and a board of directors elected. Nearly two hundred attended the first meeting of the chorus and by April 1 the number increased to over seven hundred. In February the agent of Gilmore’s Band arrived to assist in arrangements. Since it was the twentieth anniversary of the first of the great musical jubilees held in Boston, the agent hoped to arrange for a series of festivals to be held in the large cities of the United States. Final plans included an orchestra of musicians from the Thomas orchestra and the Boston Symphony ; soloists included Emma Juch of the American Opera Company, T6rGse Herbert-Foerster of the Metropolitan Opera Company, Margaret Reid of Indianapolis, Max Bendix, concertmaster, Victor Herbert, cellist of the Thomas orchestra, and Adele Aus der Ohe, pianist and prot6g6 of von Bulow and Liszt. Carl Barus conducted, Clarence Forsythe, local music teacher, directed the chorus, and Barclay Walker served as organist. The railroads co- operated with the festival by offering special excursion rates. The days of the festival, May 27-29, finally arrived, and the results were gratifying in all respects to the Festival Association and the city as a whole. Margaret Reid, in her first appearance before a home audience since her study abroad, re- ceived an especially warm welcome and pleased her friends with the excellence of her singing. Great appreciation was shown for the music performed, and the large audiences indicated the public spirit behind the project. Representa- tive people made up both the chorus and the audiences, thus indicating a universal love of music which was not re- stricted to a select group. A rule was made and strictly fol- lowed, to close the entrances and exits at eight o’clock, admit- ting no one during a number. This aided the success of the festival and contributed to the education of other Indianapo- lis Two evaluations which reflected some of the enthusiasm generated by the performances of the festival appeared in the News: The May Festival of five concerts has closed without a break in the line of successes. The music has all been of a high order

146 Dunn, Greater Indianapolis, I, 533; Indianapolis May festival programs, MS collections, Indiana Division, Indiana State Library; Indianapolis News, January 8, 14, and 28, February 8, March 2, April 1 and 13, May 11, 16, 22, 28-31, 1889. 300 Indiana Magazine of History

and the musicians have in their respective parts been fully equal to it. . . . The public support and enthusiasm have been greater than was ever before known in Indiana. The patronage has been liberal enough to enable the directors to provide for the $9,000 of expenses and to carry over something to the credit of the next festival. The receipts were about $9,170, of which $4,633.50 has gone to satisfy the contract with Mr. Locke’s Opera Company. . . . It has paid. . . . the affair has had a gratifying effect in an educational and social way. Its success can not be measured by this week’s results. It insures other festivals and musical growth. . . . The audience, whose taste had been cultivated during the week by the excellence of the preceding programs may have observed slight flaws in the performance, such as the chorus and orchestra being at vari- ance in several places in pitch and rythm [sic], but as an entirety . . . the result of last night’s work was gratifying in the extreme.147

A new element has come into the life of Indianapolis and Indiana, It has passed all doubtful or experimental stages. Its sturdy existence is demonstrated; and the beneficence of it! the good it will work in the purifying and elevating tone that it will communicate! the nucleus it will be, around which kindred influences will rally! The city, the State, take a higher stand for this music festival. Their added self-respect and pride are the sincerest thanks that they can give to the ladies and gentlemen, the leader and the humblest worker who have done this thing. The fullest meed of praise is theirs, and with the coming of another year a widening circle of generous ap- preciation shall beckon them eagerly to new successes.148 In October the chorus committee of the Festival As- sociation met to reorganize the chorus for the next May festival. The enthusiasm exhibited was a favorable indica- tion of a good season to Successful festivals were held almost every year from 1889 to 1898, but the last one was a dismal failure. Efforts to revive them in 1899 and 1900 failed, and although so-called May festivals have been held since, there has been no repetition of the grand affairs of the 1880’s and 1890’s. In 1893 Seidl and Locke broke their contract after the Association refused to meet their sudden demand for a three thousand dollar increase and for a day’s postponement of the opening. A consolation concert was given for the benefit of the festival fund, at which the

147 Indianapolis News, May 30, 1889. 1413 Ibid. 140 Ibid., October 6, 1889. Cultural History of Indianapolis: Music, 1875-1890 301 leading soloists, Mme Lillian Nordica, Margaret Reid, and Sadie Walker performed. This event occurred before the failure of two important Indianapolis banks, the Indianapo- lis National and the Commercial, which closed their doors July 25, 1893. But the panic did not stop the festivals, which were resumed in 1894.150 Probably the most famous musical stars to appear in Indianapolis in the 1880’s were Adelina Patti and Christine Nilsson. Adelina Patti sang at English’s Opera House on January 31, 1882, before a large and highly appreciative audience. Schedules had become confused, and not until a late moment was it certain whether Miss Patti would appear at Louisville or come to Indianapolis. However, the affair turned out well, with total receipts of $5,000. She recipro- cated the appreciation of the audience by calling the manager, William E. English, to her dressing room to compliment him on the acoustics of the theater.151 In 1883 Christine Nilsson sang at the Grand Opera House before a capacity audience which gave the artist rapt attention. She was regarded as the greatest singer ever to appear in the city, with the excep- tion of Adelina Patti.162 On February 8, 1883, Ottilie Klauczek, a pianist of Aus- trian birth and daughter of a countess, gave a concert at English’s. She had formerly lived in Indianapolis and had expressed a desire to return. Every seat was taken and the audience regarded her as a fine artist. A month later another concert was scheduled, but it failed because of poor advertis- ing. Taking it as a personal affront, the pianist was so af- fected that she experienced a breakdown. From City Hospital she was later removed to a mental institution. Friends stated that she had always been regarded as eccentric and that her nervous and excitable temperament was unable to stand the strain of overwork.153 A concert by Eduard Remenyi, renowned violinist, was the first program on the Indianapolis Lecture Course in 1883. In 1886 Mme Julia Rive-King played at Plymouth

160Dunn, Greater Indianapolis, I. 533-534; MS Diary of Susan Stewart, Indiana Historical Society Library. 161 Indianapolis News, January 31, February 1, 1882; English Col- lection, Indiana Historical Society Library. 152 Indianapolis News, January 27, 1883. 158 Zbid., February 8, March 19, 20, and 28, 1883. 302 Indiana Magazine of History

Church for the first time in six years and received her usual warm welcome.154 Famous instrumental groups, both bands and orchestras, which performed in Indianapolis in the 1880’s were more numerous than the soloists. An English group, the Albion Society, with two hundred members, gave an entertainment at Mozart Hall in 1881.155 In 1882 Leopold Damrosch’s or- chestra gave an all-classical concert and was most warmly received by the audience. The group was regarded as in- ferior to the Thomas orchestra, yet was spirited, intelligent, and c~1tivated.l~~Theodore Thomas brought his orchestra to Indianapolis for concerts in 1883, 1885, and again in 1889. Soloists were Mme Julia Rive-King in 1883, Charles Turner and Emma Juch in 1885, and for the last concert, Rafael Joseffy and Victor Herbert. Always considered the great musical event of the season and always well attended, the orchestra received an even more enthusiastic welcome in 1889 than at its preceding ~0ncert.l~~ Patrick S. Gilmore’s band, the one with the anvils and can- non, performed in 1886 without their hardware before two good audiences.158In 1889 they came again, bringing all their artillery, and gave two concerts, a matinee and an evening performance, at Tomlinson Hall, for which they were paid a total of four thousand dollars. This was their jubilee an- niversary. At the evening concert the audience of three thousand included a representative group of Indianapolis citi- zens besides a large number of visitors from other towns. They were enthusiastic with their applause but gave honors to one of the soloists, Helen Dudley Campbell, an Indianapolis In addition to these, the Mendelssohn Quintet Club of Boston gave a satisfactory concert in 1887 under the auspices of the Matinee Musicale, and the Boston Symphony Orches- tra played before a large and brilliant audience the same year. The latter presumably was well liked because it re- minded its listeners of the Thomas orchestra.160 In 1888 the

154Zbid., November 1, 1883; March 27, 1886. 155 Ibid., December 23, 1881. 156 Ibid., November 24, 1882. 157 Ibid., April 4, 1883; October 24, 1885; October 25, 1889. 158 Indianapolis Sentinel, November 24, 1886. 159 Indianapolis News, April 4, May 8 and 9, 1889. 160 Indianapolis Journal, March 5, 1887; Indianapolis News, May 3, 1887. Cultural History of Indianapolis: Music, 1875-1890 303

Yale Glee Club gave a concert at Plymouth Church, every number of which was applauded heartily.lB1 This decade might be called the age of opera, since far more opera was performed than any other type of music. Most popular were the light operas, especially Gilbert and Sullivan, whose works found immediate acceptance in Indi- anapolis. This was particularly true of The Mikado which was produced more often than all the others. There was a Mikado craze ; all sorts of merchandise-even wallpaper- were named ofter the operetta.lG2 The Mikado was first pro- duced in England some time in 1885, and that September was given at English’s Opera House by the Grau Company to a delighted audience; the next year it was given no less than four times in the city, each time well received. In addition H.M.S. Pinafore and The Pirates of Penxance were given in 1880; the latter again in 1882; and Iolanthe and Patience in 1883.165 Other light operas were given at intervals by traveling companies, while still others were produced by local groups. Grand opera was also frequently performed. At least thirty appearances were noted during the decade, and this by no means represented all. None was noted in 1884 and few in 1885. During this interval there seems to have been little activity on the part of the local opera company. In May, 1885, it was announced that the opera would close its regu- lar season and open a summer season at popular prices, ten cents and twenty cents-admittedly an experiment.ls4 The business recession was taking its toll of the musical world. Traveling companies presented practically the entire gamut of works familiar to present-day audiences, with two or more performances each of I1 Trovatore, The Bohemian Girl, and Fra Dia~olo.~~~In 1889 a change in technique was observed. The American Opera Company appearing at English’s Opera House was not conducted on the “star” system, but roles were assumed by artists of equal merit.lse

181 Indianapolis News, January 3, 1888. le*Zbid., March 13, 1886. 163Zbid., February 6, May 26, 1880; January 5, 1882; January 25 and 26, February 23, 1883; September 15, 1885. 164Indianapoli.9 Evening Minute, May 23 and 25, 1885. 165 Indianapolis Journal, Sentinel, News, 1880-1889, passim. 166 Indianapolis News, January 4, 1889. 304 Indiana Magazine of History

Advantageous from the audience point of view, this change presented some difficulty in arrangement of salaries, dress- ing rooms, and minor details of production and direction. The opera then as now was fashionable. All the “best” people attended, all dressed in their best. Probably many more women attended than men, particularly at matinee per- formances. Although well patronized in the seventies, opera grew steadily from its amateur status. Local productions of high quality and of ambitious proportions indicated the ex- tent and development of musical talent in the city. Still no music school or conservatory existed to act as feeder to these amateur productions, for the first conservatory was founded late in 1889 by Clarence Forsythe.ls7 The training came from private instruction together with the experience gained from singing with the choral societies. No attempts were made to organize an opera company after the 188O’s, and only many years later was it possible to establish a symphony orches- tra. Musically speaking, 1880-1890 was the golden decade for the Inland City.

16‘ Zbzil., September 2, 1889; Frederick Doyle Kershner, Jr., “A Social and Cultural History of Indianapolis, 1860-1914” (Ph. D. thesis, University of Wisconsin, 1950), 403.