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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, especially 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 musical 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 community 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 performed 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 instruments, 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 “complimentary’’ 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 musician. 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 appear, 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 complimentary 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 concerts 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 , .

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