The Fadettes Womans Orchestra of Boston

              The Fadettes Womans Orchestra of Boston


THOMAS BRADY, REPRESENTATIVE, 1547 Broadway, NEW YORK CITY




Figure


The Fadettes Womans Orchestra of Boston



CAROLINE B. NICHOLS, Conductor



HOW IT HAPPENED



IN the city of Boston some years ago, or to be more exact, in 1888, a young woman sat brooding over a shattered idyl.  What it was is not important.  It was one that comes to every woman at some time or other, and if the shattering of this particular dream has become commonplace, it loses none of its heartbreak.  Different natures approach difficult problems in various ways.  Some go round or crawl under while some stop short and others simply climb over, and once on the other side never halt.  With Caroline B. Nichols the latter seemed the true method, and she still believes that it was the only way.



The problem of making a living was naturally the first to be considered.  She was far from being ill-equipped for the battle.  Her mother was behind her with years of experience, ready to advise and help with a kindly word in the right place, and she herself was blessed with a fund of wit and ability, coupled with strong constitution and good blood, that went a long way toward arming her for the struggle.  



Her mother had been operator of famous hotels and summer resorts, and she had inherited much of her skill in the gentle art of cooking; so, she could cook.  But while there is no art more worthy than cooking, she felt called to a different sphere.  She had inherited musical temperament and talent from her father, who was a natural musician and a prominent leader in all musical enterprises and societies in Boston.  She had been well educated in music, was a violinist of no mean attainment, and liked musical atmosphere.  This was to be no pretty accomplishment, mind you, but a serious life business and possibly a career.  A place on the concert platform as a successful soloist was only to be reached by years of endeavor, at much expense, and there was no one to offer to finance a budding genius and reap his or her reward in heaven.  Music teachers were as plentiful as pupils; there was, of course, no place for a woman musician, however clever, in the regular orchestra of men.

The field of the young woman in music was too restricted for her.  She decided to be a Leader and have an orchestra of her own; and what was more than that, it should be a GOOD orchestra and there should be none in it but women.  This was a radical departure, and was frowned or laughed at and voted impossible by all who knew or were supposed to know about such things.  The decision, however, had been made, and with this woman that of itself meant much.



She had musical girl friends, and it required little time for her to communicate her enthusiasm to them.  The consequence was that an orchestra of six young ladies was soon organized, and after some practice went into the field as professionals.  The business element of the undertaking was difficult, but it was not long before the clear-headed young leader mastered it and placed the enterprise upon a self-supporting basis.



Figure




They were young in those days, and when the question of a title came up it was settled in a rather poetic way that was thoroughly feminine.  They chose the name 
Fadette,
 the title character of one of George Sand's novels, who was a sprightly, cheerful, music-loving young girl who brought light and gladness into the hearts of all with whom she came in contact.




In 1890 their success made it an easy matter to induce others to join the ranks and the membership became fifteen.  By this time the personal attractiveness, good character, and musical ability of the members had made for them many friends, and secured the support of the better class of music-lovers; they had all the engagements they could fill, and their lines lay in pleasant places as well.  Their home city, known around the world for its exclusiveness, was proud of them, and they met, and met adequately, the demands of the music business in the grand old Commonwealth.




By this time The Fadettes had become very successful, and one of the original members who had acted as business manager, desiring to retire from business, sold the title, without consulting Mrs. Nichols, to a party who had ambitions to conduct a woman's orchestra.  Finding that the orchestra as a whole had decided to make no change as far as leadership was concerned, the purchaser took her empty title to the courts to find out to whom it belonged.  The courts decided that it remained with the originators; and so the controversy was settled for all time.




Immediately after this important decision still more members were added and the orchestra secured much of the valuable local business in the New England States.  Most of the weddings, receptions, and other affairs in the most exclusive society were furnished with music by a quota of Fadettes, and they were engaged annually at the Expositions held in the huge Mechanic's Building, Boston.  They also were substantially the only orchestra employed by the Women's Clubs of New England, and the orchestra in its entirety was to be heard at many of the great festivals where heretofore only men had been employed.




IN 1895 the idea of a business corporation suggested itself, and the State granted a charter, thus insuring to them exclusive right to their name, THE FADETTES.  The business care of the orchestra being too much for the leader, she formed a partnership with one of the members who took over that department, leaving the Leader to attend only to the musical elements of the orchestra.  To Miss Viola M. Dunn, therefore, may be credited much of the financial success that has been the portion of the organization, and she still acts as Treasurer and assistant manager and has charge of all the finances.




The old saying that two heads are better than one was never better illustrated than in this case, and the calm, level-headed Treasurer has saved the organization from many of the pitfalls that bestrew the pathway of all young financial propositions.






In the meantime, the Leader, with an eye to the future, began the study of Orchestral Conducting in earnest, having made up her mind that there was room for at least one woman director, in spite of the fact that such a thing had never been heard of in that day and age.  With her brilliant mind and high ideals she made the most of the period of study, and in a remarkably short time she felt equipped to leave New England and venture out into the world and see just how much chance a woman's orchestra enjoyed among strangers.




It required only one summer at beautiful Glen Echo Park in Washington, D. C., to demonstrate that where there were music lovers there were no strangers, and that the musical world was open to women who could play well, as it was to men.  The park opened on June 1, 1897, with an attendance of thirty people; but the thirty who came went back to the city to tell their friends about 
that orchestra of girls,
 and many more than sixty came the next day.  The increase in attendance was continuous throughout the engagement until, on the closing day, an audience of ten thousand people cheered them enthusiastically and shouted farewells and requests for an early return.  These audiences included daily many notables among the Diplomatic circles, the Chinese Minister, with his wife and suite, and the Russian Embassador being frequent visitors.  So great was the admiration of the Russian Embassador that at the close of the season he presented the Leader with a solid silver baton, set with malachite, and this charming memento is among her most cherished souvenirs.




From 1897 until 1902 The Fadettes spent the time touring the United States and Canada, giving concerts in almost every city east of the Mississippi River, and spending the summer months at beautiful Riverton Park, Portland, Maine, where they are beloved to this day.




IT was on the summer of 1902 that The Fadettes first came to the notice of Mr. B. F. Keith, and he soon secured their services for a series of popular concerts at his beautiful Boston theatre.  They fitted into the atmosphere at once and proceeded to win their way into the hearts of his patrons, and have since become a fixture that is highly appreciated by that fastidious clientele.




Their fame was wafted westward and in 1902 they were called to Pittsburg[sic Pittsburgh] for the annual Exposition, there to divide honors with the Sousa and Creatore bands and the Damrosch orchestra.  They were there again for the following season.  On each of these western trips the orchestra was augmented to fifty players, all women.




Other managers in the vaudeville field saw the advantage of this orchestra over the average male aggregation; a tour of the theatres devoted to this branch of the amusement business was arranged by Mr. Keith, and so successful was it that, with the exception of the annual summer season at Keith's Theatre, Boston, their time since has been continually filled in vaudeville in other cities; and it is a matter of much difficulty to arrange any vacation.




But in spite of their long business record, The Fadettes are still young and their enthusiasm has never waned.  So they go on from season to season, making new friends and holding fast to old ones, until, like Alexander of old, they sigh for new worlds to conquer; and to that end a European tour is being projected which they hope may prove only the beginning of a success as great in the Old World as that which has been theirs in the New.






BUSINESS RECORD





1888–95


Local Business in New England States


20 Players




1897


Summer Season, Glen Echo, Washington, D. C.


22 "




1897–98


Winter Season, Local Business in New England States


20 "




1898


Summer Season, Riverton Park, Portland, Me


16 "




1898–99


Winter Season, Concert tour, United States and Canada


20 "




1899


Summer Season, Riverton Park, Portland, Me


20 "




99–1900


Winter Season, Concert tour, United States and Canada


20 "




1900


Summer Season, Underwood Park, Portland, Me


20 "




1900–01


Winter Season, Concert tour, United States and Canada


20 "




1901–02


Winter Season, United States, Canada and Provinces


20 "




1902


Summer Season, Keith's Theatre, Boston


20 "




1902


Fall Season, Pittsburg[sic Pittsburgh], Pa., Exposition


50 "




1902–03


Winter Season, Vaudeville tour, United States and Canada


20 "




1903


Summer Season, Keith's Theatre, Boston


23 "




1903


Fall Season, Pittsburg, Pa., Exposition


50 "




1903–04


Winter Season, Vaudeville tour, United States and Canada


20 "




1904


Spring Season, Concert tour, Middle States


20 "




1904


Summer Season, Keith's Theatre, Boston


40 "




1904–05


Winter Season, Vaudeville tour, United States and Canada


22 "




1905


Summer Season, Keith's Theatre, Boston


40 "




1905–06


Vaudeville tour, from Coast to Coast


22 "




1906


Summer Season, Keith's Theatre, Boston


40 "




1906–07


Vaudeville tour


25 "




1907


Summer Season, Keith's Theatre, Boston


40 "




1907–08


Vaudeville tour


25 "




1908


Summer on Pacific Coast


25 "




1908–09


Vaudeville tour, Coast to Coast


25 "




1909


Summer Season, Keith's, Philadelphia and Boston


40 "




1910


Winter Vaudeville tour


25 "







A FEW FADETTE FACTS





1888


Organized with Six members.




1890


Musical direction assumed by Mrs. Nichols, and Orchestra increased to Fifteen Players.




1895


Incorporated under State Laws of Massachusetts and granted a Charter, thus giving us exclusive right to our name.  THE FADETTES OF BOSTON.




1909


Incorporated in New York State.







OUR



Purpose:  To please the Public.


Aim:  To make good popular music, and make good music popular.


Ambition:  To rank as the most complete and efficient Orchestra of Women Players in the World.


Ideal:  The Boston Symphony Orchestra.


Watchword:  
Advancement.


Motto:  
Once a Fadette, Always a Fadette.






AND what has been the impetus which started, and the bond that has held this body of women, which has grown from a mere handful to a forceful and permanent organization?  The answer is embodied in its Leader, with her untiring energy, unfailing enthusiasm, and great personal magnetism.  Musicians are notably over-sensitive, but by tact and patience she has overcome this tendency, and has stimulated and built up a 
Sodality
 or sisterhood with a strong and welding power that is cherished by all past and present members, and which has become embodied in their little catchword, 
Once a Fadette, always a Fadette
; the Alumni, numbering nearly two hundred players, being always glad and willing to rally to the assistance of their beloved Alma Mater.




This is, perhaps, the true inwardness of the reason why THE FADETTES have come to be the highest standard for women with orchestral aspirations, and why so many young players will tell you that 
It is the ambition of my life to become a member of The Fadettes.




Consider the thoughts of the Leader when she stands before her orchestra of fifty highly-trained artists and thinks of the devoted little band of six who braved criticism and censure to help her in her fight for the right of woman to carve out her future as she sees fit!  Some of the charter members are still there, some are living in retirement.  A few have gone before the Great Musician; but here before her is the realization of a life's work, a WOMAN'S SYMPHONY ORCHESTRA, the most complete and efficient in the world; and above all, recognized as such; and as she bows her stately head, lightly touched with silver now, to the plaudits of enthusiastic auditors, perhaps she should be forgiven if she feels that it is all in simple recognition of homage due.




Figure

CAROLINE B. NICHOLS, Conductor