MUSIC AND MUSICIANS © 
 OF MAINE = 
 
 CEORGE THORNTON EDWARDS oe 
 
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MUSIC AND MUSICIANS 
 OF MAINE 
 
 BY 
 
 GEORGE THORNTON EDWARDS 
 
 Being a History of the Progress of Music in 
 the territory which has come to be known as 
 fee St ATE OF MAINE 
 from 1604 to 1928 
 
 Y 
 
 THE SOUTHWORTH PRESS 
 PORTLAND, MAINE 
 1928 
 
GEORGE THORNTON EDWARDS 
 
DEDICATION 
 
 To all Maine Musicians and Music Lovers, 
 wherever located; to all who were born or 
 have resided within the limits of the State 
 of Maine; to those who are living, as well 
 as to those who have passed to the glorious 
 West; to those, who by their great talents, 
 or unceasing endeavor, have, through mu- 
 sic, brought fame to the State of their 
 nativity or adoption, and “to such as play 
 only the bass viol,” this book is affection- 
 ately dedicated by the Author. 
 
PREFACE 
 
 Some one has said that no history, which would be complete, could be written 
 of the music of Maine, but, if truth, which is always incomplete, provides for its 
 own further extension, then this would, in itself, seem to be an excellent reason 
 for undertaking the writing of it, since history, even though it be incomplete, is 
 truth, and therefore furnishes the very vehicle for its own continuance. 
 
 It is not the purpose of the author to burden the reader with an enumeration 
 of the difficulties that beset him during the nearly twelve years of constant _en- 
 deavor to produce a history of Music and Musicians of Maine that would be 
 worthy of the Pine Tree State, but one may gather some understanding of the 
 thoroughness with which the work has been gone into when he learns that, in 
 addition to the effort expended in consulting hundreds of books and volumes of 
 reference, more than a million columns of Maine newspapers covering a period 
 of a hundred and twenty-five years, were carefully scanned, and upwards of ten 
 thousand notations were made therefrom, that no item of musical importance 
 should escape. 
 
 Music was apparently not held in such high regard by editors in the early 
 days, as now, especially in those before Maine became a State, and such notices 
 of musical events as occasionally appeared, were notably conspicuous for their 
 brevity. Important musical references were contained in a few lines without 
 captions, and difficult to discover, hidden away, as they oftentimes were, between 
 advertisements which sound strange to the ears of those living in the twentieth 
 century, among which were announcements of arrivals of shipments of rum and 
 molasses, sales of lottery tickets, aromatic snuff, spermicetti, breweries, church 
 pews and gunpowder, testaments at auction, and one cent rewards for runaway 
 apprentices. 
 
 That such a work as a history of music and musicians of Maine was needed is 
 supported by the fact that when, in his search for material, especially in relation 
 to the older musical societies, and for copies of programs that were given by them, 
 the author sent inquiries to every historical society in the State, with but one 
 exception, none were able to furnish any information whatever, as nothing of a 
 musical nature was preserved in their files. 
 
 The author has indeed been fortunate in having had, for more than a quarter 
 of a century, a large acquaintance among the older Maine musicians, with some 
 of whom he has enjoyed a genuine and lasting friendship and he has received, in 
 his undertaking, the generous assistance and codperation of many representative 
 people, including musicians, historians, authors, librarians and officers of music, 
 literary and history clubs, some of whom now are, or during their lifetime were, 
 recognized authorities on the subjects regarding which they were consulted, and 
 many of these were able to contribute, from their personal memories of some of 
 the earliest musicians of the State, invaluable material for this work. 
 
 Among these, to all of whom he herewith acknowledges an everlasting debt of 
 gratitude, may be named the late Frederick R. Sweetsir, musician, historian, and 
 life-long friend of Annie Louise Cary, for the generous loan of more than a 
 hundred personal letters written by the diva; Sarah J. Merrill, her niece and 
 beneficiary, for the privilege of examining more than three hundred press clip- 
 
 Vil 
 
Vili PREFACE 
 
 pings collected by this great singer on her tours of America and of the continent; 
 the late Julia Norton Deland, the last surviving soloist of the Portland Sacred 
 Music Society and a neighbor of John Knowles Paine in his boyhood days, who 
 by her remarkable memory, in the one hundred and third year of her life, af- 
 forded the author a rare opportunity to verify statements of facts regarding this 
 old music association and to re-discover the birthplace of America’s first great 
 composer, the location of which no other living person remembered; Mrs. Josiah 
 Pierce (née Isabella L. Millett) of London, England, founder of the Portland 
 Rossini Club, for first hand information regarding the origin of this historic or- 
 ganization; the late Nancy T. Sleeper, whose manuscript history of music in 
 Rockland is one of the most complete local histories of music in the State of 
 Maine; Mrs. Frank L. Tuck, first President of the Schumann Club of Bangor, 
 through whose contributions to the history of music, which were published in 
 the Bangor daily papers, has been preserved much that would otherwise have 
 been lost; Elise Fellows White, historian and recitalist and member of the 
 Skowhegan Historical Society, whose sketches of music in the early days in 
 Skowhegan, as the result of much careful research, are highly valued for their 
 reliability; the late Mary Waters Thurston, widow of Samuel Thurston, whose 
 manuscript of his musical memories of Portland, is replete with information 
 concerning interesting events in the periods preceding and following the Civil 
 War; Caroline Fenno Chase, for more than twenty-five years a prominent music 
 teacher in the Capital City of the State and author of a sketch of the history of 
 music in Augusta from the date of its incorporation as a city; Annie J. O’Brien, for 
 many years organist at St. Dominic’s Church of Portland and author of a manu- 
 script sketch of the history of music of the Catholic Churches of Maine; Dora 
 Jameson Bird, past president of the Rubinstein Club of Rockland, and author of 
 a history of that musical society; and Mrs. E. T. Wasgatt, past president of the 
 Mendelssohn Club of Bangor, and author of a sketch of that organization, for the 
 generous permission of all of these to use from their valuable manuscripts what- 
 ever seemed best —a privilege of which the author has freely availed himself; 
 Miss M. B. Fairbanks, daughter of Hon. Joseph Woodman Fairbanks, a de- 
 scendant of Supply Belcher and well known genealogist, whose careful research 
 and writings in matters connected with Farmington history are of unquestioned 
 authority; Alice Jones Skolfield, one of the founders of the Clef Club of Lewiston, 
 who, for half a century, was organist in leading churches in that city; the Right 
 Rev. John Gregory Murray, Bishop of Portland, a close student of the history of 
 the early Catholic Missions in America; the late Mrs. Frederic E. Boothby, 
 former president of the Cecilia Club of Waterville; Dr. James A. Spalding, music, 
 art, and literary critic and author of valuable historical documents; the late 
 Juliet Stanley Warren, for many years prominent in music in Winthrop; the late 
 Levi W. Ballard, founder of musical organizations in Androscoggin County; the 
 late Charles W. Shannon of Saco, for nearly sixty-five years closely identified with 
 all important musical events in York County; the late Frederic $. Davenport of 
 Bangor, a leader, in its early days, in the affairs of the Old Penobscot Musical 
 Association; Prof. Walter R. Spalding, head of the Division of Music at Harvard — 
 University; the late Mrs. James A. McFaul, first president of the Maine Federa- 
 tion of Music Clubs; Julia Edwards Noyes, president of the Portland Rossini 
 Club and of the Maine Federation of Music Clubs; Louise Armstrong, secretary 
 
Pre a CE 1X 
 
 of the Portland Rossini Club; Jennie King Bragdon, for years a leading vocalist 
 in Portland; Adelbert Wells Sprague, director of the Department of Music, Uni- 
 versity of Maine; Hon. John T. Fagan, former chairman of the Portland Music 
 Commission and an authority on music of the American Revolution and band 
 music in the State; Major John M. Gould, son of Edward Gould, first president 
 of the Portland Sacred Music Society; Ira Stockbridge, who, as Maine’s pioneer 
 impressario and promoter of the famous Stockbridge Course of entertainments, 
 in Portland, had, perhaps, a broader acquaintance with professional and amateur 
 musicians throughout the State, and artists of national and international repute 
 than any other in his day; Rev. H. E. Dunnack, State Librarian of Maine; 
 Evelyn L. Gilmore, Librarian of the Maine Historical Society and Alice C. 
 Furbish and Jane L. Burbank, past and present librarians of the Portland 
 Public Library and their assistants; Eva L. Shorey, music editor of the Bridg- 
 ton News; Mina Caswell, music editor of the Portland Evening News and Jennie 
 Pierce Whitney, formerly music editor of the Portland Daily Press; all of whom 
 in the interest of accuracy, codperated with the author and gave freely of 
 their valuable time, in furnishing essential information or checking up facts as 
 stated in the text, that this history might be a dependable reference work. 
 
 The author desires to take this opportunity to thank the members of the 
 Eighty-third Maine Legislature for passing the resolve which made it possible 
 to place a copy of Music and Musicians of Maine in every public library and 
 normal school in the State, and especially the Hon. Henry F. Roy, who intro- 
 duced the resolve into the Legislature and Senator Herbert E. Holmes, Chair- 
 man, and the other members of the Library Committee, all of whom gave the 
 Resolve their friendly attention; and, in passing, to pay a tribute to his beloved 
 music masters, George W. Marston and Hermann Kotzschmar, the memories 
 of whom, for more than forty years, have been held among his most cherished 
 possessions, and without which, this work would never have been undertaken. 
 
 The attention of the reader is called to the fact that many of the quotations in 
 this volume are from copyrighted works of other authors. These excerpts, have, 
 in each case, been used with the consent of the author or publisher and credit has 
 been duly given in these pages. Those who would copy them should first ob- 
 tain from the copyright owners, written authority to use them. 
 
 In addition to the credits which have been given in the body of the work, the 
 author would make acknowledgment for permission to quote from other books 
 or publications as follows: 
 
 Oscar G. Sonneck, author of “James Lyon and James Hopkinson,” to whom 
 is accredited the distinction of having been first to bring Lyon to public atten- 
 tion, and who is regarded as the source of highest value for that composer, for 
 quotations from this authority; the musical magazine, Melody (Walter N. Jacobs, 
 Inc., publisher), for selections from the diary of Frederick Nicholls Crouch; the 
 Atlantic Monthly for reprint of a portion of John Fiske’s critique of John Knowles 
 Paine’s “St. Peter”; The Harvard Graduates Magazine for citations from an 
 editorial on “Oedipus Tyrannus”; the Right Hon. Sir Henry Norman, Bt. M.P., 
 London, for extracts from his book “The Harvard Greek Play”; Louis C. Elson 
 for a paragraph from his work “The History of American Music”; Houghton- 
 Mifflin Company for use of Richard Watson Gilder’s beautiful poem, ‘The 
 Voice,” which, as will be seen, opens the sketch of Lillian Nordica in these pages; 
 
x PREFACE 
 
 the late Henry T. Finck for reminiscences of Nordica, and references to her art, 
 from his book, “Success in Music and How It Is Won”; and Oliver Ditson Com- 
 pany, Boston, publishers of “Opera Singers,” by Antonne Kobbé, for extracts 
 from that valuable contribution to American musical history. 
 
 The author is indebted to those State and town historians who have recorded 
 items of musical interest in their works, and he would especially commend to 
 those who would continue their search for facts of a musically historical nature: 
 Williamson’s “History of Maine,” Williamson’s “Bibliography of Maine,” Wil- 
 liamson’s “History of Belfast” (Houghton-Mifflin Company, Publishers), North’s 
 “History of Augusta” (Clapp and North, Publishers), Willis’ “History. of Port- 
 land” and Emma Huntington Nason’s “Old Hallowell on the Kennebec.” 
 
 In compiling the upwards of eighteen hundred brief biographical sketches and 
 references, which appear in Chapter VII, of the native and resident Maine mu- 
 sicians, nearly all of whom were living at the beginning of the year, 1928, no ef- 
 fort has been spared to make it of value to students of Maine musical history. 
 None should expect to find references to every living musician in the State in 
 one volume, even though it were exclusively devoted to that subject, but much 
 less so within the limits of one chapter. 
 
 There may be quite complete sketches of certain musicians whom some may 
 think as of not very great importance, while of others, who may be held in high 
 regard, musically, there may be those whose names do not appear at all; but 
 there has been no intentional discrimination by the author, who, in his effort to 
 compile brief biographies of a fairly representative list of living Maine musicians, 
 mailed thousands of questionnaires to all parts of the country that he might be 
 enabled to give every Maine musician, of whom he had knowledge, that credit 
 to which he should be entitled in so small a portion of a book devoted to such 
 an extensive subject. 
 
 Those who did not respond to requests for information regarding themselves 
 will, of course, have no reason to complain if the references to them in this chapter 
 are found to be brief or if their names do not therein appear, while, with those 
 who have been unintentionally overlooked, the author can only plead forgiveness. 
 
 It is to be regretted that some whose talents and accomplishments really 
 should entitle them to considerably more space than has been allotted them be- 
 tween these covers, have been so modest that they felt that their little biographies 
 would be out of place in a volume in which so many of those who stand high in 
 the music of the State and Nation were to be included. 
 
 It is believed, however, that here will be found personal sketches of a suffi- 
 cient number of living Maine musicians to insure the value of this section to 
 future historians of the music and musicians of the State of Maine, and it is 
 hoped that this chapter may prove of service to those students of music who give 
 it their attention, for where it has been possible to ascertain it, the author has 
 given a synopsis of the educational equipment of those who are teachers of 
 music, that students may be better enabled to choose intelligently from them, 
 those who are best prepared to instruct in the branches of music which they most 
 desire to study. 
 
 The author trusts that the true worth of the work will be found, in its preserva- 
 tion of the history of music in Maine, since its beginning, by recording the prin- 
 cipal facts available, that it may thus become.a standard work of reference and a 
 
PREFACE i 
 recognized source book for libraries, women’s clubs, musical, literary and his- 
 torical societies, schools and colleges; that, through its being placed in the public 
 and school libraries of the State, talented young singers and musicians may re- 
 ceive inspiration from the life stories, contained herein, of Annie Louise Cary, 
 Lillian Nordica, John Knowles Paine, Luther Whiting Mason and other Maine 
 artists and educators, who, by their unremitting work and constant self denial, 
 won success and renown; that, through it, others may be informed of what the 
 State has to offer in the way of educational and cultural advantages, both in the 
 study and in the performance of music; and, in letting it be known to what extent 
 Maine has contributed to the world, truly great singers, composers and educators 
 in music, that all who reside, both within and without its borders, may come to 
 know of the leadership of Maine in the Music of the Nation. 
 
COUNT ENTS 
 
 PROLOGUE Music of the Indians of Maine 1497-1639 
 
 Pages 1 to 8 
 
 First Musicians of Maine —Music a compelling factor in Indian life—Nith Song of the 
 Eskimos — Penobscot Barter Song— Passamaquoddy Song of Greeting— First white man’s 
 song heard in Maine waters — First recorded history of music in Maine territory — Singing of 
 chants at first celebration of Midnight Mass in Maine — Vespers and Matins chanted on Island 
 of St. Sauveur— Early Catholic missionaries, first music teachers in Maine — Father Gabriel 
 Druillettes assists Indians in singing — Father Rale forms choir of forty young Indians — Death 
 of Father Rale— Bishop Cheverus hears Indians sing— The French settlers are driven to 
 Canada — First music performed at any English settlement in America, at Sagadahoc, Maine — 
 “Mary and John” and the “Gift of God” — Development of music of Maine traced from the 
 earliest English settlements. 
 
 CHAPTER | Music of the Province of Maine 1640-1775 
 
 Pages 9 to 19 
 Colonists an educated people — Cultivating music in the wilderness — The Bay Psalme Book — Odd 
 ideas regarding singing—A strange questionnaire regarding belief in singing— Rev. John 
 Cotton’s Tract on Music — Children musically starved — How ability to read music became a 
 lost art among the colonists — Melodies corrupted — Music sinks to low plane — Tunes “twisted 
 and tortured” — Singing in the meetinghouses — Discords grateful to ears of colonists — Walter’s 
 Singing Book — Reformation of music in America — Rev. Thomas Symmes’ lectures on the art 
 of singing — Notable exponents of reformation in manner of singing — Singing societies established 
 — Objections to singing in new way — Colonists excommunicated for singing by note — Council 
 of the churches held to regulate disorders occasioned by regular singing — History of early music 
 closely allied to that of churches — No music where there was no church — First church east of 
 Saco River — Growth of music checked by depredations of Indians— Dr. Watts’ Hymns in- 
 troduced — Singers’ seats — Musical limitations of most congregations — “Accomplished singers”— 
 Amusing activities of the tything-man — Music on the Continent — First pipe organ in America — 
 Opposition to its use— “Lining out the psalms” — Patience of Portland people ruling charac- 
 teristic — Spinning and singing — James Lyon — First American composer a resident of Maine — 
 Urania — Hood’s statement that it ruined its publisher — Unjust criticisms of prejudiced _his- 
 torians — First author in Maine to print books of own composition — Lyon’s parentage — Re- 
 ceives his Master’s Degree — First minister of Parish of Machias— Lyon an ardent patriot — 
 Subsists on fish and clams that he may carry on his work of preaching the gospel — Anecdote of 
 his color-blindness — Participates in America’s first naval engagement — Offers to head expedi- 
 tion to take Nova Scotia and add another province to America — Lyon considered by Prince- 
 tonians a “Great Master of Music” — His compositions sung at Princeton College — His music 
 ‘ on programmes of the Philadelphia Uranian Society — William Billings and his “New England 
 Psalm Singer’ — A new era of psalmody in New England — British hymns barred — Churches dis- 
 rupted by discussions on music— Music neglected during war with England — Declaration of 
 Independence — Maine becomes a district of Massachusetts. 
 
 Cuapter II Music of the District of Maine 1776-1819 
 
 Pages 20 to 41 
 English Hymns continue in disfavor — Native music applauded — The American composers’ op- 
 portunity — Attempts at “fuging” — “The American Harmony” — “The Harmonia Americana” 
 Supply Belcher — “The Handel of Maine” —““The Harmony of Maine” — How Bangor came to 
 be named for a psalm tune — Music and arts again neglected — Penalty for sleeping during the 
 sermon — Musical culture in Hallowell — Her intellectual leaders — John Merrick — The Vaughans 
 — Social life in Hallowell—Mrs. John Sheppard—The Abbotts— Going to meeting on 
 Sunday — The Old South Church — Sweet singers of old Hallowell — Discussion regarding modes 
 of singing in Brunswick churches—First musical instrument to be manufactured in Bangor—Bass 
 
 Xiil 
 
XIV CONTENTS 
 
 viol introduced into church choir in Augusta —Interest in music increases in Maine — Many 
 singing schools organized — “The Village Harmony” — “Templi Carmina” — “Baptist Hymns” — 
 “Columbian Harmony” — Abraham Maxim — “Northern Harmony” —Hymn tunes named for 
 Maine towns — Other psalm books published —A Hymn written under strange circumstances — 
 — First instruction book of instrumental music published in Maine —“The Musical Repertory” 
 —“The Parish Harmony” —”Songs of Zion”—The notable “Hallowell Collection” — “The 
 Salem Collection” —“The Ancient Lyre’—A quaint advertisement —“Temple Harmony” — 
 Edward Hartwell — “The Chorister’s Companion” — Music in the Longfellow family — Lectures 
 on music and oratorio— Dr. Samuel Emerson—A drummer boy at Bunker Hill—Dr. Ammi_ 
 
 Ruhamah Mitchell— The Hans-Gram Musical Society —Music diverted to secular purposes— 
 Blue laws of Massachusetts — Old fashioned singing schools flourish — Principal musical centers 
 in Maine at this time— First church organist in Portland—The Hancock Musical Society — 
 Opera first performed in Portland — Elizabeth Arnold — Early secular concerts —The Legend of 
 Fiddler’s Reach — Blue Hill originally named for a musician— The Handel Society of Maine — 
 John Merrick — Prentiss Mellen — Maine becomes a state. 
 
 Cuapter III Music of the State of Maine 1820-1835 
 Pages 42 to 68 
 
 Influence of the Handel and Haydn Society of Boston on Maine music — Early concerts at as- 
 sembling of legislature in New Hampshire — First musical society in America to be named for 
 Beethoven — First officers of Beethoven Musical Society of Portland — Conditions adverse to 
 cause of music in Maine — Portland’s industries and arts paralyzed by embargo act — First place 
 of meeting of Beethoven Musical Society — Works of Handel, Haydn, Beethoven and Mozart 
 undertaken — The organ of the Old Second Parish Meeting House, Portland — Records and 
 programs of the Beethoven Musical Society — A more powerful organ installed at Second Parish 
 Meeting House — Mr. and Mrs. Ostinelli— Charles Nolcini and Silas Allen — The First Parish 
 Organ — The organ of the Beethoven Musical Society — Mysterious notice regarding playing of 
 society’s organ — The swan song of the Beethoven Musical Society is sung— Contrast between 
 music in America and in Europe in the beginning of the century — Members of the old Beetho- 
 ven Musical Society, and who they were — Mr. Holland’s singing school in Augusta — The Philo 
 Harmonic Society of New Gloucester — The Handel Society of Bath — The Portland Handel and 
 Haydn Society — Musical instruments excluded at Freeport and Brunswick churches — Bass viol 
 introduced in Belfast churches — Organ installed at St. Paul’s Church, Portland — The “Hayden 
 Society” of Brunswick — Fiddler Gray of Portland— How music was used to circumvent the 
 blue laws — Description of old Rockland choir — Prominent Winthrop singers — Maine musical 
 publications — Old music teachers and singing schools — Author of “America,” Samuel Francis 
 Smith, a resident of Maine — John Maxim — Minor Maine composers — Period especially notable 
 for development of taste for classical music among the common people of the State. 
 
 CuaptTer IV Music of the State of Maine 1836-1856 
 Pages 69 to 112 
 
 Attempt to found academy of music in Portland — Program performed — First concert by the 
 Portland Sacred Music Society — Oratorio “Creation” first performed in the State of Maine — 
 A remarkable performance—-A marvellous Celestial spectacle— First published program of 
 society — Oratorio “David” performed — Performance of “The Messiah” — The Ilsley family — 
 Soloists of the Portland Sacred Music Society — Its officers — Oratorios performed by the society 
 — Lectures on music—Orchestra of the Portland Sacred Music Society — Frederick Nicholls 
 Crouch — His eccentricities — His. death in Portland—Casco Trio— Cumberland Musical As- 
 sociation — High standard in music set by Portland Sacred Music Society reflected throughout 
 the State— Concerts by other musical societies — “The Mocking-birds” — Visiting artists from 
 other states — Mr. Jungnickle — Hallowell Harmonic Society’s concerts of Ancient Music — The 
 Old South choirs — Maine State Musical Association — Music Festivals held in Portland, Bangor, 
 Lewiston, Augusta and Bath — Records lost in burning of Bangor Public Library —Old singing 
 teachers of Bangor — Forming of the Penobscot Musical Association —Its officers —Its musical 
 activities —Its notable leaders— Four day music festivals — Lectures on music — Publications 
 
CONTENTS XV 
 
 of Penobscot Musical Association — Luther Whiting Mason, internationally honored educator — 
 First to introduce American music to the Japanese nation — Luther Orlando Emerson, first com- 
 poser of note to be born in the State of Maine— Other prominent musicians of the period — 
 Maine musical publications. 
 
 CHAPTER V Music of the State of Maine 1857-1896 
 
 Pages 113 to 219 
 The Haydn Association of Portland — Its Officers —Its outstanding musical achievement — John 
 Knowles Paine, great American composer — His early life in Portland — His oratorio “St. Peter” 
 — First performance of an oratorio by an American, in America — “Oedipus Tyrannus” — The 
 opera, “Azara’”’— Other notable compositions — Receives highest praise from critics — Portland 
 Rossini Club, oldest musical club in America, whose membership is composed of women — Its 
 officers and members — Boston Peace Jubilee — Notable musical clubs, quartettes and church 
 choirs of this period — Hermann Kotzschmar— George W. Marston—A hand organ band — 
 Bangor Conservatory of Music — County music conventions and choral societies — Annie Louise 
 Cary — Her girlhood and ambitions — Her studies abroad and return to America — Her public 
 appearances and triumphs — Her home life and her charities. 
 
 Cuapter VI Music of the State of Maine 1897-1928 
 Pages 220 to 354 
 
 Maine Festival Chorus — The thrill of its first music festival — Its conductor and its officers — Com- 
 pletes its thirty years as state wide organization — Its influence on music in the State — Eastern 
 Maine Festival Chorus carries on work — Lillian Nordica — Her childhood and parentage — Her 
 capacity for study and work — Her success — The crowning event of her life— Her tragic death 
 — Emma Eames and her career — Geraldine Farrar, “a granddaughter of Maine” — Saco Valley 
 music festivals — Community singing — Chamber music — Singing clubs and orchestras — Quar- 
 tettes — Choirs and organists—— The Kotzschmar Memorial Organ, Portland— The Portland 
 Music Commission — Music study clubs of Maine — Maine Federation of Music Clubs — Maine 
 composers — Songs with Maine as their theme — Old time fiddlers — Music of the schools and 
 colleges — Musical industries — Historic instruments and collections — Bands and _ professional 
 
 orchestras. 
 
 Cuapter VII Biographical Section 1928 
 
 Pages 355 to 477 
 Brief paragraphs referring to more than eighteen hundred living Maine musicians. 
 
LISTOFILLUSTRATIONS 
 
 Page 
 GEORGE THORNTON EDWARDS Frontispiece 
 Photo by Kendall, Portland. 
 A PENOBSCOT SONG OF GREETING 2 
 Words and music from “The Indians’ Book.” By Natalie Curtis. 
 “THE NORSEMEN” 3 
 
 From whose ships may have been heard the first white man’s song to be wafted 
 across Maine waters. From a steel engraving by J. Andrews and J. Duthie (1850), 
 made from a drawing by H. Billings. 
 
 FATHER RALE 7 
 
 (Who formed a choir of forty young Abnakis Indians in 1693), in his chapel at 
 Norridgewock, Maine. From a steel engraving by D. L. Giover (1850), made 
 from a drawing by H. Billings. 
 
 TITLE PAGE, OF “URANIA” 15 
 
 Compiled by James Lyon (1761). The First American Composer, who for nearly 
 a quarter of a century was a resident of Maine. From a photostat. Courtesy 
 of Arthur B. Hunt, New York. 
 
 SUPPLY BELCHER, “THE HANDEL OF MAINE” 21 
 
 Compiler of “The Harmony of Maine” (1794). From an old painting in the Hiram 
 Belcher Homestead in Farmington. Courtesy of Miss M. B. Fairbanks. 
 
 THE OLD SOUTH CHURCH, HALLOWELL 27 
 
 Built in 1796. Famous for its music and its choirs. From an old print loaned 
 by Miss Annie F. Page. 
 
 ASSEMBLY HALL, KING STREET 36 
 
 Where dramatic and musical entertainments were given as early as 1794 and 
 where opera-was performed for the first time in Portland. From a photograph 
 taken by the author in 1927. 
 
 ELIZABETH ARNOLD POE, MOTHER OF EDGAR ALLAN POE 37 
 
 Who, as Elizabeth Arnold, at the age of nine, charmed Portland audiences (1796) 
 with her singing at the Old Assembly Hall on King Street. From an old print. 
 By permission of Dr. Appleton Morgan, New York. 
 
 JOHN MERRICK 39 
 
 First President of the Handel Society of Maine (1814). From a photograph of 
 a painting by C. L. Elliott (1856), loaned by Miss Annie F. Page, Hallowell. 
 
 PRENTISS MELLEN 40 
 
 Vice President of the Handel Society of Maine (1814). From a portrait by 
 Joseph B. Kahill in the Federal Courthouse at Portland. By courtesy of the 
 artist. 
 
 EDWARD HOWE 43 
 
 Founder and first President of the Beethoven Musical Society, Portland (1819). 
 The first musical society in America to bear the name of the great composer. 
 
 OLD PORTLAND ACADEMY 44 
 First meeting place of the Beethoven Musical Society (1819). From an old 
 woodcut. 
 
 Xvi 
 
XVill LIST OF ILLUSTRATIONS 
 
 OLD SECOND PARISH CHURCH ON MIDDLE STREET, PORTLAND 
 
 Where the first concerts by the Beethoven Musical Society were given (1819), 
 
 and where a complete standard oratorio was first sung in the State of Maine (1837). 
 Pen and ink sketch made from an unfinished drawing by George A. Gwynn, a 
 Portland architect (1858), who lived opposite this historic edifice. Original draw- 
 ing loaned by William W. Mitchell. 
 
 IRA BERRY 
 Early music critic in Portland and charter member of the Beethoven Musical 
 Society. Photo loaned by L. F. Jordan. 
 
 SAMUEL FRANCIS SMITH 
 
 Compiler of “The Juvenile Lyre” and author of “America.” For seven years a 
 resident of Waterville where he was a professor at the college. From a photograph 
 in the Colby College collection. 
 
 EDWARD GOULD 
 
 First President of the Portland Sacred Music Society (1836), the first choral asso- 
 
 ciation in the State to sing a complete standard oratorio (“Creation,” April 24, 
 1837). From a copy of a painting made by Joseph G. Cole in 1833. Photograph 
 loaned by Major John M. Gould, Portland. 
 
 ARTHUR L. ILSLEY AND MRS. E. D. BRANSCOMB (ESTHER ILSLEY) 
 
 Who, at the ages of twenty-five and eighteen, respectively, sustamed the principal 
 roles in the first presentation in the State of Maine of Haydn’s oratorio, “Creation.” 
 From photographs by S. Wing, Boston, taken about forty years after this event. 
 
 PROGRAM OF THE FIRST PERFORMANCE OF “THE MESSIAH” IN THE 
 STATE OF MAINE 
 
 Photographed from the original loaned by Rev. Vincent Silliman, D.D. 
 
 “SUSAN WHITNEY (FOX) 
 
 Who, at the age of twenty-three, sang the contralto solos on the occasion of the 
 first performance of “The Messiah” in the State of Maine, and of whom a critic 
 said, hers was “the best alto voice this side of St. Peter’s, Rome.” From a photo- 
 graph made about 1870. 
 
 F. NICHOLS CROUCH, F.RS. 
 
 Composer of “Kathleen Mavourneen.” For some years a resident of Portland 
 where he died in poverty (1896). Photo by Bachrach, Baltimore. 
 
 CASCO TRIO, PORTLAND 
 From a daguerreotype made by George M. Howe in 1845. 
 
 WILLIAM M. REED 
 
 Founder and first President of the Maine State Musical Association (1843) and 
 first President of the Franklin County Musical Association. 
 
 SOLON WILDER . 
 Organizer of the first singing school in Bangor. 
 
 WILLIAM H. MILLS 
 First President of the Penobscot Musical Association (1848). From an old steel 
 engraving loaned by Hon. Henry Lord of Bangor. 
 
 GEORGE W. MERRILL 
 
 One of the founders of the Penobscot Musical Association, and for eleven years a 
 Vice President. 
 
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LIST OF ILLUSTRATIONS 
 
 JOSEPH FORBES 
 
 First vocal director of the Bangor Musical Association (1847) and a Vice Presi- 
 dent of the Penobscot Musical Association. 
 
 JOSEPH WOODMAN FAIRBANKS 
 
 Chorister and leader of singing schools for many years in Farmington. 
 
 FREDERIC HOBBS 
 First President of the Bangor Musical Association (1847). Photo made by the 
 Copley Print Co., Boston, from an old daguerreotype and loaned by Miss Mary J. 
 Allen, Auburndale, Mass. 
 
 LUTHER WHITING MASON 
 
 pee eeely honored educator who introduced the eight tone scale into the 
 Orient for which he was accorded signal honors by the Japanese people and their 
 Mikado. Photo by Georg Brokosch, Leipzig. 
 LUTHER ORLANDO EMERSON 
 Composer and choral conductor. First musician of note known to have been born 
 in the “State of Maine” (1820). Courtesy of Oliver Ditson Co., Boston, Mass. 
 DR. ALBERT FISK STANLEY 
 Teacher of singing schools in Winthrop in the forties. 
 
 ELNATHAN DUREN 
 Secretary of the Penobscot Musical Association throughout the thirty-six years of 
 its existence (1848-1884). From a photograph made in his one hundredth year, 
 after he had become blind. 
 
 FRANCIS BLAKE 
 
 First President of the Haydn Association of Portland (1857). From a miniature 
 in a locket worn by his daughter, Cornelia Shaw Blake, and loaned by her. 
 BIRTHPLACE OF JOHN KNOWLES PAINE 
 Great American Composer (born in 1839, Portland, Maine). From a photograph 
 made in 1925 under the personal direction of the author. 
 JOHN KNOWLES PAINE 
 At the time of his first public appearance as an organist (1857). From a daguer- 
 reotype. 
 JOHN KNOWLES PAINE 
 
 At the time of his farewell organ recital in Portland (1858), before going aboard 
 to study. From a pastel loaned by Mrs. John W. Bowers. 
 
 PROGRAM OF THE FIRST PERFORMANCE OF PAINE’S ORATORIO 
 “Sl. PETER” 
 The first oratorio by an American composer to be performed in the country. 
 
 THE OLD CITY HALL IN PORTLAND 
 In which was sung, for the first time in the United States, an oratorio by an 
 American composer (1873). From a photograph loaned by the City Clerk’s 
 office, Portland. 
 
 JOHN KNOWLES PAINE 
 At the time of the production of his oratorio “St. Peter” (1873). 
 
 SCENE FROM “OEDIPUS TYRANNUS” 
 
 From “The Harvard Greek Play” 1881, by courtesy of the author, Right Hon. Sir 
 Henry Norman, M.P., of London, England. 
 
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XX LIST OF ILLUSTRATIONS 
 
 OPENING BARS OF “A CHRISTMAS PIECE” 
 
 From the original manuscript, by John Knowles Paine, written for and dedicated 
 to his sister, Helen, who gave music lessons in Portland in order that her gifted 
 brother might continue his studies in Germany. 
 
 CLOSING BARS OF “A CHRISTMAS PIECE” 
 With date and autograph of the composer. 
 
 JOHN KNOWLES PAINE 
 
 At the time he represented America at the unveiling of the Wagner Memorial at 
 Berlin (1903). From a photograph by M. Adler, Karlsbad. 
 
 BIRTHPLACE OF THE PORTLAND ROSSINI CLUB (1867) 
 
 Oldest musical organization in America, whose membership is composed wholly of 
 women. The spire and minarets at the right were those of the High Street Con- 
 gregational Church in which concerts by the Portland Sacred Music Society were 
 given as early as 1836. 
 
 MRS. JOSIAH PIERCE (ISABELLA L. MILLETT) 
 
 With whom the thought of organizing the Portland Rossini Club originated (1865). 
 From a photograph made by Elliott and Fry, London, in 1878. 
 
 MRS. WILLIAM HENRY DENNETT 
 First President of the Portland Rossini Club (1869-1870). 
 
 MRS. HARRIET N. WETHERBEE 
 
 Second President of the Portland Rossini Club (1870-1891), and soloist on the 
 occasion of the premiere of John Knowles Paine’s oratorio, “St. Peter,” in 1873. 
 
 MRS. EMILY KELLEY RAND 
 
 Third President of the Portland Rossini Club (1891-1917); Honorary President 
 (1917-1920) and a member of the club for more than fifty years. 
 
 JULIA EDWARDS NOYES 
 
 President of the Portland Rossini Club since 1917, and of the Maine Federation 
 of Music Clubs since 1926. 
 
 THE NATIONAL PEACE JUBILEE (Bosron, 1869) 
 
 In which more than two hundred Maine singers participated. From an old steel 
 engraving by J. W. Watts. 
 
 FLORA BARRY 
 
 Famous oratorio contralto and one of the “Bouquet of Artists” at the Boston Peace 
 Jubilee in 1869. From a portrait made in that year. 
 
 A GROUP OF REPRESENTATIVE PORTLAND MUSICIANS IN 1870 
 All of whom were members of the Kreutzer Club of Portland. 
 
 THE CECILIA QUARTETTE OF PORTLAND 
 From a photograph made in=1881. 
 
 THE PLEASANT HILL ORCHESTRA OF FALMOUTH 
 From a photograph made about 1885. 
 
 AMATEUR OPERA IN PORTLAND IN THE EIGHTIES 
 “Three Little Maids from School.” From “The Mikado.” 
 
 THE AFTERNOON CHOIR OF THE SECOND PARISH CHURCH, PORTLAND 
 From a photograph made in 1888. 
 
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Boe t OF TOLUSTRATIONS 
 
 HERMANN KOTZSCHMAR 
 
 Conductor of the Haydn Association and for nearly fifty years organist at the 
 First Parish Church, Portland. Photo by Lamson. 
 
 GEORGE W. MARSTON 
 
 Teacher, organist and composer of church music, whose anthems have been sung the 
 world over. Photo by Chickering, Boston. 
 
 WILLIAM HENRY DENNETT 
 
 For many years considered the greatest vocal teacher in Maine. 
 
 THOMAS E. GLYNN (“TOMMY GLYNN’) 
 Acclaimed just before his death the world’s greatest banjoist. 
 
 A. M. DUNHAM (“MELLIE DUNHAM”) 
 
 Whose fiddling captured thousands of hearts while touring the Keith Circuit in 
 the winter of 1925-1926. Photo by Jack Clifford, Lakewood, Ohio. 
 
 FREDERIC S. DAVENPORT 
 
 Early music teacher and conductor of the Handel Association of Bangor. From a 
 photograph made in 1864. 
 
 JOHN E. GODFREY 
 First President of the Handel Association of Bangor (1873). 
 
 WILLARD PATTON 
 
 Whose oratorio “Isaiah” received more than sixty presentations. 
 
 JOHN T. MERRILL 
 
 Organizer and conductor of the Cumberland County Music Conventions. 
 
 GROUP OF SINGERS 
 Attending a Cumberland County Music Convention in Gray (1890). 
 
 W. K. EMMINGER 
 
 First conductor of the Lewiston Musical Association (1857). 
 
 ALICE J. TUKESBURY 
 
 One of the founders (1881) of the Cecilia Club of Lewiston; first President (1894) 
 of the Clef Club and for more than fifty years an organist in that city. 
 
 CHARLES W. SHANNON 
 
 One of the founders of the Bangor Conservatory of Music and for more than sixty 
 years an organist in Saco. 
 
 ALICE TALBOT 
 
 For many years leader in music in East Machias. From an early photograph. 
 
 OLD WINTHROP CHOIR 
 From a tintype loaned by Juliet Stanley Warren. 
 
 SARAH DEARBORN CHANDLER 
 
 Prominent Winthrop singer in the sixties. From an old tintype. 
 
 CHOIR OF THE FIRST BAPTIST CHURCH, LIVERMORE FALLS 
 From a photograph made in 1866 and loaned by Mrs. Ethel L. Allen. 
 
 IRA STOCKBRIDGE 
 
 Pioneer impressario, to whom Western Maine owes much for the foundation of 
 its musical culture. 
 
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XXil LIST OF ILLUSTRATIONS 
 
 BIRTHPLACE OF ANNIE LOUISE CARY, WAYNE, MAINE 
 From a photograph taken by the author in 1925. 
 
 ANNIE LOUISE CARY 
 
 At age of seventeen, when a teacher at the North Scarboro schoolhouse. 
 
 ANNIE LOUISE CARY 
 When she first went abroad to study (1866). Photo by Giulio Rossi, Milan. 
 
 ANNIE LOUISE CARY 
 On her return to America, after her London debut (1870). From a stereopticon. 
 
 ANNIE LOUISE CARY 
 As she appeared at the Cincinnati Festivals (1873). Photo by Rocher, Chicago. 
 
 ANNIE LOUISE CARY 
 At the time of her appearances in Russia (1874). Photo by C. H. Bergamasso, 
 St. Petersbourg, Russia. 
 
 ANNIE LOUISE CARY 
 As Amneris in the opera “Aida” (1879). Photo by C. H. Bergamasso, St. 
 Petersbourg, Russia. : 
 
 ANNIE LOUISE CARY 
 At the time of her last appearance in public (1880). Photo by H. Rocher, Chicago. 
 
 WILLIAM ROGERS CHAPMAN AND EMMA FAULKNER CHAPMAN 
 Photo by Devore, San Diego, Cal. 
 
 EDWARD ALLING NOYES 
 
 First President of the Western Maine Festival Chorus. Engraving by J. A. J. 
 Wilcox, Boston, Mass. 
 
 HON. F. O. BEAL 
 First. President of the Eastern Maine Festival Chorus. 
 
 BIRTHPLACE OF LILLIAN NORDICA 
 Farmington, Me. 
 
 LILLIAN NORDICA 
 
 From an early portrait. 
 
 LILLIAN NORDICA 
 
 In costume worn at a fancy dress ball. Photo by Aimé Dupont. 
 
 LILLIAN NORDICA AS ISOLDE 
 Photo by Aimé Dupont. 
 
 FRANKLIN HOLDING 
 
 Who accompanied Lillian Nordica on her fatal world tour. Photo by Plummer, 
 Lewiston, Me. 
 
 EMMA EAMES 
 
 At her home in Bath, Maine. Photo by Hubbard, Portland. Courtesy of the 
 Portland Maine Publishing Company. 
 
 SIDNEY FARRAR AND HIS DAUGHTER, GERALDINE FARRAR 
 
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Diol, OF TLLUSTRATIONS 
 
 CHARLES MARSHALL 
 Dramatic tenor. Photo by Daguerre, Chicago. 
 
 ANDREW JACKSON 
 Song leader. The first to conduct an outdoor community sing in Portland. Photo 
 by Adams Studio, Portiand. 
 
 PORTLAND MEN’S SINGING CLUB 
 Photo by Tisdale, Portland. 
 
 ALFRED BRINKLER 
 Conductor Portland Men’s Singing Club, 1928. Photo by Kennedy, Portland. 
 
 LOUIS E. WHITE 
 President of the Portland Men’s Singing Club, 1928. Photo by Bachrach, Port- 
 land. 
 
 PORTLAND POLYPHONIC SOCIETY 
 Photo by Allen Hubbard. Courtesy Portland Maine Publishing Company. 
 
 WOMEN’S CHORAL SOCIETY, PORTLAND 
 Photo by Bicknell, Portland. 
 
 RUPERT NEILY 
 
 Founder and conductor of the Women’s Choral Society. Photo by Kennedy, 
 Portland. 
 
 CYRUS H. K. CURTIS 
 
 Donor of the Kotschmar Memorial Organ, Portland. Courtesy of the Portland 
 Maine Publishing Company. 
 
 HENRY F. MERRILL 
 Chairman of the Portland Music Commission, 1912-1922. Photo by Hanson, Port- 
 land. 
 
 JOHN T. FAGAN 
 Chairman of the Portland Music Commission, 1922 and 1923. Photo by Mansur, 
 Augusta. 
 
 HERBERT W. BARNARD, JR. 
 
 Member Portland Music Commission 1923-1929. Photo by Roger Paul Jordan, 
 Portland. . 
 
 WILLIAM S. LINNELL 
 Chairman of the Portland Music Commission, 1923-1928. Photo by Hanson, 
 Portland. 
 
 DONALD M. PAYSON 
 Member Portland Music Commission, 1922-1924 and 1928-1930. Photo by Roger 
 Paul Jordan, Portland. 
 
 WILL C. MACFARLANE 
 First municipal organist of Portland. Photo by Kennedy, Portland. 
 
 CHARLES RAYMOND CRONHAM 
 Municipal organist of Portland, and conductor of the Portland Municipal Orchestra. 
 Photo by Marshall, Portland. 
 
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XXIV LIST OF ILLUSTRATIONS 
 
 PORTLAND MUNICIPAL ORCHESTRA AND THE KOTZSCHMAR 
 MEMORIAL ORGAN 
 
 Photo by Marshall, Portland. 
 
 MRS. GEORGE F. GOULD 
 President of the MacDowell Club, Portland, 1928. Photo by Kennedy, Portland. 
 
 MRS. CHARLES BEDLOW 
 
 Founder and first President of the Marston Club, 1887. From a photograph made 
 about thirty-five years later. 
 
 CAROLINE FENNO CHASE 
 President of the Cecilia Club of Augusta, 1928. Photo by Howard, Augusta. 
 
 MRS. FRANK L. TUCK 
 
 First President of the Schumann Club of Bangor (1898). Photo by Chalmers, 
 Bangor. 
 
 MRS. HARRIS N. DOE 
 President of the Schumann Club of Bangor, 1928. 
 
 BANGOR SYMPHONY ORCHESTRA 
 
 ADELBERT WELLS SPRAGUE 
 
 Conductor Bangor Symphony Orchestra, 1920-1928, and director Department of 
 Music, University of Maine. 
 
 MELVILLE H. ANDREWS 
 Founder of the Bangor Symphony Orchestra. 
 
 BRUNSWICK ORCHESTRAL SOCIETY 
 
 MRS. BIRDENA POWERS PIERSON 
 President of the Lyric Club of Caribou, 1928 
 
 NELLIE LOUISE McCANN 
 
 First President, Annie Louise Cary Club, Gorham, Maine, 1925-1928. Photo by 
 Adams Studio, Portland. 
 
 MARY E. BURPEE 
 Founder and first President Houlton Music Club. 
 
 MRS. CLEVELAND W. TOWERS 
 Past President of the Houlton Music Club. 
 
 HENRY F. ROY 
 Founder and first President of Club Musical Litterarie, Lewiston-Auburn (1888). 
 
 ELIZABETH LITCHFIELD 
 First President of the Philharmonic Club, ieee. Photo by Hanson, Portland. 
 
 MRS. HAROLD SANDS (ELIZABETH HAYNES) 
 
 First President of the Clef Club of Presque Isle (1923). Photo by Chidnoff, 
 New York. 
 
 MRS. DORA JAMESON BIRD anp NETTIE EVELYN BIRD 
 Founders of the Harmony Club of Rockland, 1906. Photo by Hanson, Rockland. 
 
 MRS. JAMES A. McFAUL 
 First President of the Maine Federation of Music Clubs. 
 
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PE Cee Oe ee eee eS 
 
 LIST OF ILLUSTRATIONS 
 EMILY POOLE BAXTER 
 Organist twenty-two years, Church of the Sacred Heart, Portland. 
 
 DR. EDWARD HAMES WASS 
 
 Head of the Music Department Bowdoin College, and founder and conductor of 
 the Brunswick Choral Society. 
 
 DANIEL H. CHANDLER 
 Founder of Chandler’s Band, Portland. From a photograph in possession of the 
 Maine Historical Society. 
 
 CYRUS L. CURTIS 
 
 Trombonist in the old Portland Band, and conductor of most of its rehearsals. 
 From a photograph in possession of the Maine Historical Society. 
 
 JONATHAN COLE 
 
 Leader of the old Portland Band. From a photograph in possession of the Maine 
 Historical Society. 
 
 240TH COAST ARTILLERY MAINE NATIONAL GUARD BAND 
 Photo by Allen Hubbard. Courtesy of Portland Maine Publishing Company. 
 
 OFFICERS OF THE DIXFIELD BAND 
 OLD AMERICAN BAND OF WESTBROOK 
 HON. PERCIVAL P. BAXTER 
 
 JENNIE KING BRAGDON 
 
 PHOEBE CROSBY 
 
 EDITH M. DAVIDSON 
 
 ARTHUR HACKETT 
 
 MAY KORB 
 Photo by Apeda, New York. 
 
 MAY KORB 
 As Gretel in Humperdinck’s opera, “Hansel and Gretel.” Photo by Kennedy, 
 Portland. 
 
 CHARLES MARSHALL 
 
 As Samson in Saent Sans’ opera, “Samson and Delilah.” 
 HELOISE P. RENOUF 
 C. WINFIELD RICHMOND 
 
 MINNE SCALAR 
 Photo by Pragnall, London. 
 
 J. K. SPRINGALL 
 MRS. JOHN HUPPER TURNER 
 ELISE FELLOWS WHITE 
 HELEN YORKE 
 
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MUSIC 
 
 Music! The art 
 Of arts most beautiful! The one apart, 
 Which speaks, in simple language, all its own, 
 To every man of every tongue that’s known. 
 Solace to the grief afflicted one, 
 Hope to the helpless, it brings despair to none, 
 But lifts the aspiring soul to lofty height, 
 Or overcomes vast burdens in its might; 
 And, like a draft, refreshing, from the spring. 
 Who quaffs of it for very joy will sing, 
 And, singing, will put forth his very best. 
 Who drinks of it is doubly, yes, thrice blessed, 
 In calmer years the comfort of sweet sound 
 Will make the waiting days in peace abound 
 When music finds a place, in any day, 
 Then the unbeautiful will fly away. 
 As youth to manhood grows, ’tis he, that’s young, 
 Who, for a little, has to the four winds flung 
 Repression, and, like children, catching truth, 
 As children, expressing the pent-up joy of youth 
 In dancing, so, with gladness, unrepressed, 
 In music is his soul made manifest. 
 Ah, *tis a happy day for any land 
 When music and the dance go hand in hand! 
 
yr 
 
MUSIC AND MUSICIANS OF MAINE 
 
 ol OMPOXER BMG 
 
 Music oF THE INpIANsS oF MAINE 
 
 All moves to music. The vibrating stars 
 Traverse the heavens, their song and light are one 
 Amid the darkling skies. 
 Tides of the sea in cadence fall and rise, 
 Whose voice 1s thunder against the clif that bars 
 Their way forevermore; 
 Or the soft monotone 
 Of murmuring refluent waters on the shore. 
 The woodlands tune their windharps to the cry 
 Of the great blasts tumultous of the sky; 
 The sevenfold color of the rainbow sings 
 Answering the sevenfold gamut of the strings 
 Of viol and lute. 
 — Elizabeth Jones Pullen. 
 
 F the first music that was heard, 
 
 in that part of America which is 
 
 covered by the area now known as the 
 State of Maine, no man can tell. 
 
 The first peoples who inhabited it, of 
 whom the white man has cognizance, 
 were the North American Indians. Such 
 knowledge of music by this race of 
 people, which is believed by ethnolo- 
 gists to have lived in North America for 
 more than twenty-five thousand years, 
 is only that which has been remembered 
 by the descendants of these, and passed 
 along from throat to throat in song and 
 ritual to each succeeding generation. 
 
 None can tell how far, into the re- 
 mote fastnesses of the past, he would 
 have to go in order to learn of the man- 
 ner of the discovery of the science of 
 combining tones in rhythmic order by 
 this ancient race. If, as some scientists 
 claim, America was the first continent 
 to be formed on the sphere which is 
 known to us as the earth, then her orig- 
 inal singers may antedate all others. 
 
 It is known that paleolithic man made 
 crude attempts at fashioning musical 
 instruments from the horns of the rein- 
 
 deer and it is believed that his first en- 
 deavors at melody were the result of his 
 efforts to imitate the singing of the birds. 
 
 Dancing has been said to be the 
 mother of instrumental music, and it is 
 probable that the diverse and numerous 
 dances of the Indians were earliest ac- 
 companied only by instruments of per- 
 cussion. 
 
 Music has ever been a compelling 
 factor in the life of the North American 
 Indian. Every detail of his daily life 
 has its complement in some form of 
 music. There is no race or people in 
 either hemisphere whose every thought 
 and action oftener finds its interpreta- 
 tion in music than the North American 
 Indian. 
 
 One of the most powerful tribes, 
 called by the French, Abnakis, by the 
 English, ‘Tarranteens, and by the peo- 
 ple of New York, Owenagungas, was 
 located in the area lying between the 
 Piscataqua and the St. John’s Rivers. 
 The name, which is spelt also Abenaki, 
 Abenaques, Wapanachki, and Wabena- 
 kies, is derived from the Indian word 
 wanbanban, designating the people of 
 the Aurora Borealis, the place where 
 the sky soonest appears white at the 
 breaking of the day, thus the reference 
 to them as “The Children of the Dawn 
 Country.” 
 
 The Abnakis came of such an old 
 race, according toan early cosmogonist, 
 that they have never acknowledged any 
 ancestral tribe, and an Abnakis mis- 
 sionary is authority for the statement 
 that they claimed to have been created 
 where they were by the Great Spirit, 
 who, having produced a masterpiece in 
 
2 MUSIC AND MUSICIANS OF MAINE 
 
 ' Very rhythmically 
 
 hej 6a Hohe 2 ea. né 
 
 eee 7 7 
 SURG ERG A DEARMOND WAAL IRIEL PICATINNY FRUSAMERITSSY 
 —_ a se IFAS > AERATED 
 
 ne-Ga. he- Ge ye’ Ree eS | 
 
 He- ca 
 
 A PENOBSCOT SONG OF GREETING — WORDS AND MUSIC FROM “THE INDIANS BOOK, BY NATALIE CURTIS. 
 
 ’ COPYRIGHT, 1907, BY NATALIE CURTIS. 
 
 them, was so well satisfied that he made 
 all others with less care. 
 
 These, then, may be said to have 
 been the original musicians of Maine. 
 
 At the time Maine was first settled 
 by the white man the Indian’s music 
 had been developed to an interesting 
 degree, for woven between the monot- 
 onous beats of the tom-tom, if one knew 
 how to listen for them, were weird and 
 sometimes lovely melodies of unusual 
 tempo, which were so hard, even for the 
 musically cultivated ear to grasp, that 
 many of them remained undiscovered 
 for nearly two centuries after the Euro- 
 peans first settled in America. 
 
 The Indian’s religion found its every 
 expression in music. His conception of 
 the beginning of the world was that the 
 Creator sang the plants, the animals 
 and even the stars into life and being. 
 
 Melody and rhythm he modelled 
 from the songs of the birds of the air, 
 the running brooks, the pounding waves 
 on the beach, the crickets in the field, 
 and the frogs in the lowlands. Of har- 
 mony, he was content to listen for it in 
 nature, and, as he sang, the soughing 
 of the wind as it blew through the nee- 
 dles topping the pine trees of the forest, 
 or whistled through the bending grasses 
 of the prairie, the sighing of the sea, 
 and the humming of the bees and other 
 insects formed a harmonic setting to 
 his complete satisfaction. 
 
 Of musical instruments, the Ameri- 
 can Indians, as early as 1600, were fa- 
 miliar with the use of the drum, flute, 
 pan-pipe and “music-bow.” 
 
 COPYRIGHT, 1923, BY PAUL BURLIN. BY PERMISSION. 
 
 It is not unlikely that the barter song 
 of the Penobscot Indians had its origin 
 in the nith song of the Eskimos, who 
 were the Northern neighbors of this 
 Maine tribe. | 
 
 The nith song, as may be known, was 
 sung in settlement of an argument, by 
 two who had disagreed. Instead of 
 fighting it out, the disputants literally 
 sang it out in the presence of the whole 
 village. Thus were controversies settled 
 by public judgment of competitive sing- 
 ing based wholly on the comparative 
 merits of the songs of those concerned. 
 The one who excelled in sarcasm at the 
 expense of his opponent was declared 
 the winner. 
 
 The Penobscot Barter Song held a 
 unique place in the social life of these 
 people. It was used in their “game of 
 barter” in which two companies were 
 chosen from two separate wigwams. 
 From each of these one was chosen to 
 represent them in the game and he was 
 dressed in the costume of a nolmihigan 
 or clown. Having first selected some 
 article of very little value, one nolmi- 
 higan would conduct his company to 
 the wigwam of the other, and, praising 
 his almost valueless offering in song, he 
 would ask what they had to offer for it 
 in exchange. By numberless sallies of 
 wit, all sung to the tune of the barter 
 song, he would work the opposite com- 
 pany up to such a state of excitement, 
 and put them in such excellent humor, 
 that he would likely receive in exchange 
 something many times its worth—per- 
 haps a valuable seal skin or even a ca- 
 
MUSIC OF THE INDIANS OF MAINE 
 
 noe for an old wooden spoon. Then the 
 return visit would be made and the op- 
 posing nolmihigan would have his turn 
 at bartering. The company whose nol- 
 mihigan proved himself the most effec- 
 tive singer, and the wittiest at bartering, 
 would, of course, be the eventual winner. 
 
 The N’skawewintuagunul, or Song of 
 Greeting, was sung by the Abnakis 
 when their tribes visited one another in 
 this manner: On landing from his ca- 
 noe, the visitor, accompanied by his fol- 
 lowers, slowly approached the sagam 
 or chief who had gone with his people 
 to the shore to meet him, while the 
 Stranger offered his salutation. The 
 N’skawewintuagunul was sung, during 
 the rendering of which the singer’s 
 steps kept time with the rhythm. All 
 the people who had followed their sa- 
 gam to the shore sang, “hega, hega.” 
 
 _As the stranger drew close to the sa- 
 
 gam, he held out his hand and said, 
 roughly translated, “I greet you, sa- 
 gam of the Passamaquoddy.” After ex- 
 tending a similar greeting to the Meh- 
 chichikel or Lieutenant Chief and his 
 half dozen s’moganis or warriors, the 
 sagam of the Passamaquoddy tribe in 
 his turn performed the same ceremony 
 while singing the same song of greeting 
 
 to his visitors, after which all the peo- 
 
 ple went up from the shore together 
 and indulged in a great feast. 
 
 The monosyllables used by the Pe- 
 nobscot Indians in their war dance 
 song, “Kwa nu kwanu de he no, Kwa 
 nu de kwa nu de He no,” are said to 
 have been as devoid of translatable 
 meaning as those in Graun’s system of 
 damenization used by modern singers 
 
 in their vocal gymnastics; but, when 
 _ sung by the early Penobscots, were 
 
 fraught with significance and were, in 
 _ effect, an invitation to the dance. 
 
 The farewell songs, of which the Ab- 
 
 nakis had many, were called by them 
 the “songs of loneliness.” These are 
 
 “THE NORSEMEN,” FROM WHOSE SHIPS MAY HAVE 
 BEEN HEARD THE FIRST WHITE MAN’S SONG TO BE 
 WAFTED ACROSS MAINE WATERS. FROM A STEEL 
 ENGRAVING BY J. ANDREWS AND J.DUTHIE (1850), 
 MADE FROM A DRAWING BY H. BILLINGS. 
 
 among the most beautiful, as well as 
 the most plaintive and tender, of all 
 Indian songs. 
 
 The Penobscot War Song, Dance 
 Song and Medicine Song, the Penob- 
 scot and Passamaquoddy Songs of 
 Greeting and Maliseet and Passama- 
 quoddy Dance Songs are among those 
 that have been sung over and over by 
 succeeding generations of Maine In- 
 dians through centuries of time and are 
 to this day remembered and sung by 
 some of the native Indians at Eastport, 
 Lincoln and Oldtown, Maine. 
 
 Among the Maine Indians, who, dur- 
 ing their lifetime, were instrumental in 
 passing along the songs of their fore- 
 fathers to those who were able to write 
 them down were Bedaji, Big Thunder 
 of Oldtown, Maine; Joseph Nicolar of 
 the Penobscot Tribe; Asa Whis (John 
 Salis) of Eastport, Maine, and Blams- 
 we-Zozep Tene (Francis Joseph Dana), 
 who remembered the Penobscot Medi- 
 cine Song as sung by his grandfather. 
 
4 MUSIC AND MUSICIANS OF MAINE 
 
 The first white man’s song to be 
 heard in Maine waters may have been 
 a folk song of a hardy Norseman, as 
 Leif, son of Eric the Red, sailed along 
 the coast from Greenland to Vinland, 
 in the tenth century; or it may have 
 been that of a drinking song, from some 
 of the piratical crew of the expedition 
 under the ferocious Viking, Gumbijorn, 
 on one of his excursions of devastation, 
 while trying to discover the “newland.” 
 
 But whether it was one of these, or a 
 song of love and passion from an ar- 
 dent amoretto on the Italian expedi- 
 tion of the Zeno brothers, four hundred 
 years later; or a cheering chanty or a 
 Venetian boatman’s song from one of 
 the motley crew of John Cabot’s ship 
 as he coasted the Atlantic in 1497; or 
 yet, the songs of other explorers who 
 followed, or even preceded them, will 
 always remain a matter for conjecture. 
 
 Sixteen years before the Pilgrims 
 landed at Plymouth Rock, Midnight 
 Mass was celebrated (July, 1604) and 
 chants were sung on Holy Cross Island 
 in the St. Croix River by Rev. Nicholas 
 Aubry of Paris, France. This was the 
 first known celebration of the Mass in 
 New England. Sieur De Monts, who 
 had been granted an exclusive patent 
 by Henry IV of France to colonize 
 Acadie, explored the coast of Nova 
 Scotia in May, 1604. After entering 
 the Bay of Fundy he reached the 
 mouth of a large river on the 24th of 
 June and, this being the feast of St. 
 John the Baptist, he named the river 
 “St. John,” by which name it has since 
 been known. Continuing his voyage 
 westward, he entered a large bay (Pas- 
 samaquoddy) and proceeded up one of 
 its tributaries (St. Croix) to an island 
 which he called Saint Croix or Holy 
 Cross. (Doucet’s Island). 
 
 The expedition of Sieur De Monts 
 consisted of one hundred and twenty 
 men, among whom were laborers, ar- 
 
 tisans, perhaps a Huguenot, a clergy- 
 man and one Catholic priest. Accom- 
 panying him was the already famous — 
 navigator, Samuel De Champlain, and 
 together they wintered on the island. 
 Before relinquishing his claim to 
 Acadie to sail for more promising fields, 
 De Monts petitioned his sovereign to 
 send missionaries to the Indians of the 
 province. Accordingly, in 1611, two 
 French Jesuits arrived at Port Royal, 
 Nova Scotia. One of them, Rev. Peter 
 Biard, made many trips to the Maine 
 Coast. In 1613 he accompanied a col- 
 ony from France and, landing on the 
 eastern shore of Mount Desert Island, 
 planted a cross, celebrated Mass and 
 called the place Saint Sauveur. The 
 French were persuaded by the Indians 
 to adopt a site of their selection, which 
 was on a beautiful hillside sloping to 
 
 the sea, and here temporary dwellings _ 
 
 were erected by them near the shore. 
 Of this colony, Bancroft, in his His- 
 tory of the United States, says: “The 
 conversion of the heathen was the mo- 
 tive of the settlement; the natives ven- — 
 erated Father Biard as a messenger 
 from Heaven; and under the summer 
 sky around a cross in the center of the 
 hamlet, Matins and Vespers were reg- 
 
 ‘ularly chanted.” 
 
 Music is and always has been the 
 language that is most immediately and 
 most universally understood. There is 
 no mystery in its message to bewilder 
 or perplex. In its simpler forms it is 
 comprehended as easily by the ignorant 
 as by the erudite, by the savage as by 
 the civilized. It is in the hearts of all 
 the people of the world and most easily 
 finds expression in song. The deeply 
 religious import of the chants of the 
 early Catholic missionaries to Maine 
 found a ready response in the hearts of — 
 the natives who adopted the religion of — 
 their tutors with simple and unques- | 
 tioning faith. 
 
Maolt OF THE: INDIANS OF MAINE 5 
 SCY 
 
 The French missionaries were well 
 versed in the art of plain song, which 
 had reached its highest perfection in 
 the thirteenth century. As the Apostles 
 accepted all people with their customs, 
 so these “black robes” adopted the Ab- 
 nakis circle, and taught them to love 
 and reverence the pure and ennobling 
 music of the Divine office and of the 
 Mass. 
 
 Whether Father Biard or Josue Fles- 
 che, a secular priest, who preceded 
 him, or Father Gabrielle Druillettes, 
 who came later, was the first to teach 
 the chants to the untutored Indians in 
 Maine is a question that may be open 
 to debate. 
 
 Jesuit and Franciscan missionaries 
 found their way to Indian settlements 
 at Pentagoet (now Castine), Narant- 
 souac (now Norridgewock), Penawa- 
 miska (now Oldtown), Pleasant Point 
 and Dana Point. They also ministered 
 to French fishermen and other early 
 settlers scattered along the Maine coast, 
 who, though few in winter, increased 
 in summer to thousands. Their labors 
 left an impress on the music and liter- 
 ature of New England, and like Long- 
 fellow’s Father Felician, in that alto- 
 gether charming picture of Catholic 
 church and home life, as depicted in 
 Evangeline, each was, 
 
 “Priest and pedagogue, both,” and 
 
 “taught them their letters .. . 
 with the hymns of the church and 
 the plain-song.” 
 
 It is a matter of record that Father 
 Gabriel Druillettes was one who taught 
 singing to the Indians. He came to 
 Canada in 1643, and within a year he 
 Was sent out on the winter hunt with 
 the Algonquin Indians. It is related of 
 him and his Indians that at every stop- 
 ping place a chapel was built where 
 Mass was sung and morning prayers 
 were said, and, whenever they shifted 
 quarters, that a great cross, around 
 
 which they knelt to say their prayers 
 and sing some simple hymn, was 
 erected. 
 
 In 1646 two sagamores having ap- 
 
 plied to the church at Quebec for mis- 
 sionaries, Father Druillettes was trans- 
 ferred to the Abnakis, in Maine, and 
 Father Jogues to the Iroquois. 
 _ Father Druillettes set out in a canoe 
 in August of that year for his new mis- 
 sion which was to be known as the 
 Mission of the Assumption, and which 
 was located about a league above Cou- 
 sinoc (the old Indian name for Augus- 
 ta). The greater part of his journey 
 led him over roads of which he wrote 
 that they “seemed to lead to hell but in 
 reality make for Heaven.” He was the 
 first white man ever to make this jour- 
 ney. 
 
 On his arrival, the savages came 
 from far and near to see and visit him. 
 At Cousinoc, he met the agent, Ed- 
 ward Winslow, who became his lifelong 
 friend. He journeyed as far as the Pe- 
 nobscot where he found a small con- 
 vent of Capuchin Friars, who, as early 
 as 1632, had established a mission in 
 Acadie, which then included Hancock 
 County in Maine. Early in the follow- 
 ing summer he returned to Quebec ac- 
 companied by thirty braves who acted 
 as a voluntary escort. 
 
 As the Capuchins at that time 
 claimed priority over the entire District 
 of Maine, the Jesuits in 1648 resolved 
 to abandon the Mission, but both Ca- 
 puchins and Indians asked for the re- 
 turn of Father Druillettes. 
 
 Father Druillettes was born in France 
 in 1610 and died in Quebec in 168r. 
 He was sent as an envoy of the govern- 
 ment to negotiate a treaty with the 
 Puritans of New England at Boston, 
 for mutual protection, commercially, as 
 well as against the Iroquois, and was 
 appointed French Commissioner to at- 
 tend a meeting of the representatives 
 
6 MUSIC AND MUSICIANS OF MAINE 
 
 of the English Colonists at New Ha- 
 ven. His knowledge of the languages 
 of the Indians was remarkable, and 
 Marquette is known to have studied 
 the languages of the numerous tribes 
 with him before beginning his journey 
 of discovery of the West. 
 
 Father Druillettes was called “the 
 Patriarch” by his Abnakis. He was a 
 scholarly man, venerated by the French, 
 respected by the English, and revered 
 by his Indians. His name, with that of 
 other dignitaries of Church and State, 
 is inscribed on the monument which 
 commemorates the official appropria- 
 tion of the Northwest Territory, and 
 which was erected by the delegate of 
 Louis XIV, near the falls of Sault Ste. 
 Marie, on the northwesterly boundary 
 of the State of Michigan in 1671. 
 
 Perhaps none of the Catholic fathers 
 did more to excite and hold the interest 
 of the Indians of Maine in the music 
 of the chants than did Father Sebas- 
 tian Rale, who was born in 1657 or 
 1658 in Portalier in the Province of 
 Franche-Compte. At the age of thirty- 
 two he was sent to North America to 
 receive the charge of a mission to the 
 Indians connected with the French pos- 
 sessions. He embarked from La Ro- 
 chelle, for Quebec, July 23, 1689. 
 
 The mission to which he was as- 
 signed at Norridgewock was one that 
 had been established by Father Druil- 
 lettes in 1646. 
 
 After five months of painstaking 
 study among the Indians he mastered 
 the difficulties of the Indian language 
 sufficiently to translate the Masses and 
 Chants into their native tongue. 
 
 In or about 1693 Father Rale formed 
 a choir of forty young Indians at Nor- 
 ridgewock and provided them with cas- 
 socks and surplices to assist at services 
 and to chant hymns for processions in 
 which great numbers of Indians, many 
 of whom came from long distances, par- 
 
 ticipated. This is believed to have been 
 the first attempt to organize a choir or 
 teach choral singing on Maine soil. 
 
 Whittier’s descriptive picture of Fa- 
 ther Rale and his Indians at Norridge- 
 wock, in his poem “Mogg Megone,” is 
 familiar to Maine people: 
 
 On the brow of a hill, which slopes to meet 
 The flowing river, and bathe its feet,— 
 
 The bare-washed rock, and the drooping grass, 
 And the creeping vine, as the waters pass,— 
 A rude and unshapely chapel stands, 
 
 Built up in that wild by unskilled hands, 
 Yet the traveller knows it a place of prayer, 
 For the holy sign of the cross is there:’ 
 
 And should he chance at that place to be, 
 
 Of a Sabbath morn, or some hallowed day, 
 When prayers are made and masses are said, 
 Some for the living and some for the dead, 
 Well might that traveller start to see 
 
 The tall dark forms, that take their way 
 From the birch canoe, on the river-shore, 
 And the forest paths, to that chapel door; 
 And marvel to mark the naked knees 
 
 And the dusky foreheads bending there, 
 While, in coarse white vesture, over these 
 
 In blessing or in prayer, 
 
 Stretching abroad his thin pale hands, 
 Like a shrouded ghost, the Jesuit stands. 
 
 Writing to his nephew, Father Rale 
 said, “None of my neophytes fail to re- 
 pair twice a day to the church, early in 
 the morning to hear Mass, and in the 
 evening to assist at the prayers which 
 I offer up at sunset. As it is necessary 
 to fix the imagination of the Indians, I 
 have composed some appropriate pray- 
 ers for them to chant during Mass.” 
 
 The performance of the chanting for 
 the Masses, by the little band of Abna- 
 kis Indians who formed Father Rale’s 
 aboriginal choir, lent both dignity and 
 charm to the simple service conducted 
 by the ardent Jesuit in the wilder- 
 ness of Maine. Three years before the 
 arrival of Father Rale, Frontenac had 
 made his bloody raid on Schenectady, 
 Salmon Falls and Casco, and, in con- 
 sequence, a counter invasion of Canada 
 had been attempted by the English. 
 
MUSIC OF THE INDIANS OF MAINE 7 
 
 Summoned by Governor Dudley in 
 1703, the Indians met at Casco for a 
 conference, at which Father Rale was 
 present. 
 
 More than twenty years later, be- 
 cause of opposition to his religious faith 
 and the erroneous belief that he had 
 incited the Abnakis to attack the Eng- 
 lish settlers, the Government of Massa- 
 chusetts offered a reward of one hun- 
 dred pounds sterling for his head. 
 
 On August 23, 1724, a party of two 
 hundred or more men, accompanied by 
 three Mohawk Indians, under com- 
 mand of Captain Harmon of Kenne- 
 bunk, fell upon the Norridgewock set- 
 tlement and massacred eight of the In- 
 dians, together with their beloved 
 teacher, as he took his place at the foot 
 of the cross in the center of the village. 
 
 Beneath the spot, where once stood 
 the little church, lies buried his body, 
 
 placed there with tender hands by the ' 
 
 Indians who loved him so well, and to 
 whom he had been counsellor, minister, 
 comrade and friend. His death was one 
 of the most tragic and lamentable cir- 
 cumstances of the early settlements in 
 America. Father Rale was a skilful 
 worker in wood, and carved the many 
 ornaments which adorned his primi- 
 tive chapel. Before his death he com- 
 piled a French-Indian Dictionary which 
 contained nearly seven thousand five 
 hundred words, the original manuscript 
 of which is now in the library at Har- 
 vard. 
 
 Charlevoix in his History of New 
 France says, “Three years before his 
 death, on his superior suggesting that it 
 was time for him to withdraw from the 
 fury of England who had sworn to de- 
 stroy him, he replied that his ‘measures 
 were taken.’ ‘God has confided his flock 
 to me,’ he said, ‘I will follow its lot, 
 too happy to lay down my life for it.’” 
 
 Abbott in his history of Maine de- 
 clares, “Sebastian Rale was a gentle- 
 
 FATHER RALE (WHO FORMED A CHOIR OF FORTY 
 YOUNG ABNAKIS INDIANS IN 1693), IN HIS CHAP- 
 EL AT NORRIDGEWOCK, MAINE. FROM A STEEL EN- 
 GRAVING BY D. L. GLOVER (1850), MADE FROM A 
 DRAWING BY H. BILLINGS. 
 
 man by birth, education and culture. 
 Religious zeal incited him to leave the 
 endearments of a home of opulence and 
 congenial companionship and to spend 
 thirty-five years in the then unbroken 
 wilderness of Maine. His remarkable 
 character deserves more particular no- 
 tice.” 
 
 The small bell which, with its musi- 
 cal tongue, for years had called the con- 
 verted Indians to early morning Mass 
 and announced the evening Vesper 
 hour, is now preserved in the collection 
 of the Maine Historical Society in 
 Portland. 
 
 On the left shore of the Kennebec 
 River, near Norridgewock, stands a 
 granite monument to mark the site of 
 this ill-fated Indian village, and per- 
 petuate its memory and that of the 
 early Maine instructor of music who 
 gave his life for the cause which he so 
 faithfully espoused. 
 
 There is an unverified story, often re- 
 
8 MUSIC AND MUSICIANS OF MAINE 
 
 peated, that Bishop Cheverus, on the oc- 
 casion of his first visit to Maine, about 
 the beginning of the nineteenth century, 
 while on his way to a settlement of the 
 Abnakis Indians, suddenly heard the 
 sound of beautiful music, which seemed 
 almost Heavenly in the blending of sweet 
 voices. Believing that he was alone, it 
 at first seemed to him to be like a visi- 
 tation from Heaven, but, approaching 
 the spot from which the sounds seemed 
 to come, he found gathered there a 
 group of Indians who were singing the 
 same chants that had been taught their 
 fathers and grandfathers, more than 
 one hundred years before, by their be- 
 loved teacher, Father Rale. 
 
 The early attempts at colonization 
 by the French were finally broken up 
 by the English, and the French people 
 who had settled in the territories ad- 
 joining Passamaquoddy Bay and the 
 Penobscot and St. Croix Rivers were 
 driven northward into Canada, so it 
 becomes necessary, in tracing the de- 
 velopment of music in Maine, to begin 
 with the music of the first English set- 
 tlers rather than with that of the earlier 
 French emigrants. 
 
 It is more than likely that the first 
 music performed at any settlement 
 made by Englishmen in America issued 
 forth as a song of praise and thanks- 
 giving from the throats of the little 
 group of colonists who came over with 
 George Popham and Raleigh Gilbert in 
 the “Mary and John” and the “Gift of 
 God” on August 12, 1607, when they 
 
 made a safe landing at Sagadahoc, 
 Maine, though their first songs may 
 have been heard several days earlier, 
 when they went ashore on St. George’s 
 Island. 
 
 The old log book of the “Mary and 
 John” reads:— “Sondaye being the 
 gth of Auguste (1607) in the morninge 
 the most pt of our holl company of 
 both our shipes Landed on this Illand 
 the wch we call St. Georges Illand 
 whear the Crosse standeth and thear 
 we heard a sermon delyvred unto us 
 by our preacher gyvinge god thanks 
 for our happy metinge and saffe ary- 
 vall into the contry & So retorned 
 abord aggain.” 
 
 Wherever among the colonists there 
 was a church, there was psalm singing, 
 and the old log book records that:— 
 “After Capt. Davies’ departure they 
 full finished the trencht and fortefied 
 yt with twelve pieces of ordinannce 
 and built fifty houses therein besides 
 a church and store house.” 
 
 Had these colonists been possessed 
 of sufficient fortitude to withstand the 
 insufferable hardships which they un- 
 derwent and the vicissitudes of climate 
 and manner of living to which they 
 were subjected, Jamestown, Virginia, 
 could not then have laid claim to its 
 having been the first permanent Eng- 
 lish settlement in the New World, 
 but instead, it could then have been 
 said that the music sung in the first 
 permanent English settlement in Amer- 
 ica was at Sagadahoc, Maine. 
 
Wie Tire R aT 
 
 Tue Music or THE Province or MAINE 
 
 CotontaL Days 1640 To 1775 
 
 Down [teers the Bass with grave majeftick air 
 And up the Treble mounts with fhrill career; 
 With fofter founds in mild melodious ways 
 Warbling between, the Tenor gently plays; 
 But if the afpiring ALTUS join its force, 
 See! like the lark it wings its towering courfe 
 Then rolls the rapture thro the air around 
 In the full majick melody of found. 
 
 — From The Harmony of Maine. 
 
 4 Be one who is gifted with sufficient 
 imagination to picture the early 
 colonists, gathered shivering in groups 
 in unheated meeting houses, enduring 
 hardships, cold, fatigue, exposure, fam- 
 ine, and in constant danger of attack 
 from the Indians, or to see them under 
 happier circumstances singing in the 
 open, under summer skies, or in groups, 
 as they went to and from their meet- 
 ing houses, the story of their struggles 
 to establish good music along with their 
 religion in the Colonies is more en- 
 trancing than many a tale of fiction. 
 The first Colonists were not, as some 
 have been led to believe, a harum-scar- 
 um lot of soldiers of fortune in quest 
 of excitement and adventure; but they 
 were, for the most part, an educated 
 people drawn from the best elements of 
 the English nation, with high standards 
 in art, as well as in morals. They were 
 largely landed proprietors, merchants 
 (or traders as they were then generally 
 known), many of whom were gradu- 
 ates of colleges and universities. They 
 came to their new country to escape the 
 prescribed forms of worship imposed 
 upon them in the old homeland, and 
 to establish new colonies where they 
 could enjoy their devotions in their 
 own way. They werea deeply religious 
 people, and had their own notions in 
 
 regard to the uses to which music 
 should be put; and, believing that mu- 
 sic should be used only for the glory 
 of God, they eschewed it in all forms 
 except that found in the “Book of 
 Psalmes.” 
 
 Some of the first Colonists arriving 
 from England had brought with them 
 a book of tunes, the title of which was 
 Ainsworth’s Version of the Psalmes. 
 Here in the wilderness they hungered 
 for and cultivated music, and while their 
 performance may have been lacking in 
 musicianly rendition, their songs of 
 praise were sung with that gravity and 
 seriousness of purpose to which all 
 things religious are entitled. 
 
 They continued to use Ainsworth’s 
 Version until about 1640, when The 
 Bay Psalme Book, which had been 
 composed and compiled by about thirty 
 ministers, all university men, most of 
 whom had received their degrees at Ox- 
 ford and who had come to New Eng- 
 land as early as 1636, was published. 
 
 The Bay Psalme Book had the im- 
 mediate sanction of the church, but, 
 like nearly every other good thing that 
 has come into being since the world be- 
 gan, it had its opponents without num- 
 ber. 
 
 Perhaps the greatest obstacle to the 
 progress of music among the Colonists 
 was the general belief that “Christians 
 should not sing at all but only praise 
 God with the heart.” There were al- 
 most aS many opinions on the matter 
 of singing as there were adults in the 
 Colonies. Some “thought it proper to 
 sing, but that it was wicked to sing the 
 ‘Psalms of David’”; some, “that while 
 it was not right for Christians to sing, 
 
10 MUSIC AND MUSICIANS OF MAINE 
 
 others who were not of the faith should 
 be allowed to do so”; others thought 
 “that the psalms should be sung by a 
 leader alone and that the people as- 
 sembled should listen.” Those who up- 
 held the first belief contended that by 
 the word “singing” in the Scripture, 
 nothing more was meant “than thank- 
 fulness and joy of heart.” Then there 
 were those who held that the men 
 should be allowed to sing, but not the 
 women. 
 
 As an answer to this controversy 
 that bid fair to upset the equanimity 
 of the Colonists throughout New Eng- 
 land, the Rev. John Cotton, in 1640, 
 published a tract in which he stated 
 that, “Singing of Psalmes with a lively 
 voyce is an holy duty of God’s worship 
 now in the dayes of the New Testa- 
 ment”; and that, “not only the psalmes 
 of David, but any other spiritual songs 
 recorded in Scriptures may be sung in 
 the churches.” As to whether women 
 should sing, he said, “all should sing, 
 with liberty for one to sing a psalm 
 written by himself, after which the 
 church should respond, ‘Amen.’ ” 
 
 Other contentions, political and re- 
 ligious, arose in the Colonies. 
 
 There was almost constant trouble 
 with the Indians and the people were 
 subject to such exacting demands upon 
 their time, because of the necessity of 
 fighting for mere existence, that the 
 cultivation of music became neglected. 
 Through the indifference of their elders, 
 children were allowed to grow up with- 
 out learning how to sing the simplest 
 tunes by note. By 1680 there were few 
 music books among the several com- 
 munities of Colonists and these were so 
 widely different that congregations were 
 rarely able to find more than two or 
 three tunes alike in all of them and 
 these were sung and re-sung at the ex- 
 
 pense of learning others. With the pass- 
 ing of the ability of the Colonists to 
 read music, the singing was done most- 
 ly from memory, and the melodies soon 
 became sadly corrupted. One early au- 
 thority wrote, “Every melody was tor- 
 tured and twisted until it sounded like 
 five hundred different tunes roared out 
 at the same time” and it is said that as 
 little attention was paid to the time 
 and rhythm as to the air. 
 
 Referring to the low plane to which 
 music in the Colonies had fallen, Mr. 
 Walters, in the introduction to his sing- 
 ing book published in 1721, wrote of 
 the tunes found in the old Psalm Books, 
 ‘which when they first came out of the 
 hands of the composers of them were 
 sung according to the rules of the scale 
 of music but are now miserably twisted 
 and tortured and quavered in some 
 churches into a horrid medly of con- 
 fused and disorderly noises.” Continu- 
 ing, he says, “Our tunes are, for want 
 of a standard, left tothe mercy of every 
 unskilful throat to chop and alter, twist 
 and change according to their fancies. 
 I have observed in many places one 
 man upon one note, while another is 
 on the note before him which produces 
 something so hideous and disorderly as 
 is beyond expression bad.” 
 
 In some churches the tunes were 
 drawled out to such an extent that most 
 of those participating were sometimes 
 obliged to pause twice on one note in 
 order to take breath. The psalms were 
 sung as they were arranged in the book 
 without thought as to the text of the 
 sermon, and each was religiously gone 
 through with from start to finish, re- 
 gardless of its length, while the people 
 stood with bared heads, though the ma- 
 jority of them could not read a note or 
 distinguish a syllable that was sung. 
 
 One can imagine the devotion of 
 
MiuelC OF THE PROVINCE OF MAINE II 
 
 these musically benighted people who 
 endured such an ordeal for the sake of 
 their religious belief, when it is known 
 that the longest of the psalms occupied 
 a full half hour in the singing. The 
 knowledge of music, in the Province of 
 Maine, at this time, had declined to 
 such an extent, it was said, that the 
 very discord and confusion was grate- 
 ful to the ears of most of them, and a 
 melody sung in time and in tune was 
 really offensive. 
 
 In his desire to encourage the study 
 of music and the practice of reading by 
 sight, Mr. Walters dwelt for some space 
 on the subject of the art of singing by 
 note. He said in part: 
 
 “Singing is reducible to the rules of 
 art; and he who makes himself master 
 of a few of those rules is able at first 
 sight to sing hundreds of new tunes, 
 which he never saw or heard before, 
 and this by the bare inspection of the 
 notes, without hearing them from the 
 mouth of a singer just as a person who 
 has learnt all the rules of reading is 
 able to read any new book, without 
 any further help or instruction. This is 
 a truth, although known to and proved 
 by many of us, yet very hardly to be 
 received, and credited in the country.” 
 
 Walters’ Singing Book had the dis- 
 tinction of being the fourth singing 
 book published in the colonies and the 
 first to be printed with bars in America. 
 
 On its title page was this ingenuous 
 phrase: —“Walter’s Singing Book, — 
 the Grounds and Rules of Musick ex- 
 plained—or an Introduction to the Art 
 of Singing by Note— Fitted to the 
 meanest capacities.” 
 
 In 1720 the Reformation in Music in 
 America really began and the first di- 
 rect effort to improve church music 
 was undertaken. 
 
 In this year the Rev. Thomas 
 Symmes, an exponent of the study of 
 
 harmony, delivered a lecture in many 
 of the towns in Massachusetts on the 
 art of singing; there was a series of 
 revivals in the churches; societies for 
 promoting regular singing were formed 
 in different parts of New England and 
 lectures on music were given before 
 these organizations. The reform had 
 the support of the ablest men in the 
 Colonies, including those famous di- 
 vines, John Cotton, Thomas Symmes, 
 Thomas Price, John and Samuel Dan- 
 forth, Cotton Mather, and others, but, 
 as in the case of the introduction of the 
 Bay Psalme Book eighty years earlier, 
 the objectors were many. 
 
 Most of the people at this time had 
 become firmly convinced that music 
 could not be learned so as to sing a 
 new tune without first hearing it. 
 
 Some of the objections against sing- 
 ing by note were: “that it was a new 
 way;’ “that it was an unknown 
 tongue;” “that it was not so melodious 
 as the usual way;” “that there were so 
 many tunes they could never learn 
 them;” “that the new way made dis- 
 turbance in the churches;” “that it ex- 
 asperated good men and caused them 
 to become disorderly;” “that it would 
 introduce instruments;” “that the old 
 way was good enough;” “that it re- 
 quired too much time to learn;” “that 
 it made the young disorderly and kept 
 them from proper influence of the fam- 
 ily;” and “that it was just a contriv- 
 ance to get money.” 
 
 So great was the opposition to this 
 praiseworthy movement that in some 
 instances church folk were temporarily 
 ex-communicated for persisting in their 
 right to sing by note. 
 
 A curious questionnaire was sent out 
 to the prominent folk in some of the 
 churches at this time and among the 
 interrogations were these: 
 
 “Whether you do believe that the 
 
12 MUSIC AND MUSICIANS OF MAINE 
 
 singing in the worship of God ought to 
 be done skilfully?” ‘Whether you do 
 believe that skilfulness in singing may 
 ordinarily be gained in the use of out- 
 ward means by the blessing of God:” 
 and “Is it possible for Fathers of Forty 
 years old and upward to learn to sing 
 by rule? and ought they to attempt at 
 that age to learn?” 
 
 Such were some of the problems 
 with which these early singers, who 
 were endeavoring to satisfy their mu- 
 sic starved souls with learning to sing 
 the solemn psalm tunes of their day, 
 were confronted. 
 
 The New England Courant for 1723 
 contains an account of a meeting of the 
 Council of Churches held in the South 
 part of Braintree, Massachusetts, in 
 September of that year, “to regulate 
 the disorders occasioned by regular 
 singing in that place.” Mr. Niles the 
 minister suspended seven or eight of 
 his church members for “persisting in 
 singing by rule” contrary, as he under- 
 stood it, to the conclusions of a former 
 council, but the suspended ones were 
 restored to the right of partaking of 
 the communion, their suspension being 
 declared unjust and “the Congregation 
 ordered to sing by Rote and by Rule 
 alternately for the satisfaction of both 
 parties.” 
 
 The history of music in the very ear- 
 ly days of the colonies is so closely 
 allied with that of the church, that it 
 can be truthfully said that where there 
 was no music there was no church. Al- 
 though Maine had several settlements 
 prior to 1700, many towns, including 
 Portland (then Falmouth), were entire- 
 ly destroyed by the French and Indians 
 in 1690, and when King Philip’s war was 
 ended there were but five settlements 
 remaining within the boundaries of 
 Maine. In 1716 a re-settlement of Fal- 
 mouth was made and in 1719 the town 
 was organized. In March, 1726 (old 
 
 style), the first church east of the Saco 
 River was organized in Falmouth and 
 on this date the history of music in 
 Maine was already in the making. 
 Parson Thomas Smith, newly or- 
 dained minister of the First Parish 
 
 Meeting House, Falmouth (now Port-- 
 
 land), made the following entry in his 
 diary under date of March 8, of that 
 year, “We are the first church that ever 
 was settled to the eastward of Wells: 
 May the gates of hell be never able to 
 prevail against us. Amen.” 
 
 Each unmolested little town and 
 hamlet was struggling toward better 
 things. Some, however, were less for- 
 tunate than others. It is written of 
 Biddeford that no other single cause so 
 much retarded the growth of that town 
 or checked its prosperity as the Indians. 
 It was still a frontier settlement in 
 1735. In Saco, plans for a meeting 
 house were started in 1719, but the ed- 
 ifice was not completed until several 
 
 years thereafter. Dr. Watts’s hymns 
 
 were introduced in this historic build- 
 ing in 1742 when the church voted they 
 “should be sung at the sacrament in 
 conjunction with the Psalms of David 
 at the discretion of the pastor.” In 
 1769, in the meeting house in the town 
 of York, singing was “permitted to the 
 lower floor if persons occupying the 
 designated pews fit them up at their 
 own expense.” A local historian records 
 that the singers’ seats in this meeting 
 house were at first below on one side 
 of the center or broad aisle, but after- 
 wards they were in the gallery fronting 
 the pulpit. The deacons’ seats were di- 
 rectly in front of the pulpit facing the 
 congregation. Hymn books were scarce. 
 
 It is stated that in or about 1730 most — 
 
 congregations in Saco “could sing five 
 tunes with greater or less harmony” 
 and that sometimes in a congregation 
 whose membership included ‘“accom- 
 plished singers” this number could be 
 
 i i i i i i it | 
 
MeoeCOOF THE PROVINCE OF MAINE 13 
 
 extended to ten. The favorite tunes 
 were “York,” “Hackney,” “Martyrs” 
 and “Windsor.” They were sung with- 
 out instrumental accompaniment. 
 
 In Saco as in most other churches 
 the tything man was employed. His 
 duty was to prevent somnolently in- 
 clined members and parishioners from 
 taking a nap while the service was in 
 progress. Armed with a long slender 
 pole surmounted at one end with a 
 rabbit’s tail and at the other with a 
 rabbit’s foot, he would watch from a 
 convenient location for a nodding head 
 or other evidence of drowsiness, and 
 the rabbit’s foot brought no luck to the 
 man who was so hapless as to be 
 “caught napping” for it would be 
 brought down on his unsuspecting head 
 with a resounding thwack. The “good- 
 ies” however were more fortunate for 
 they would be wakened from their 
 slumber by the tickling of the rabbit’s 
 tail on their cheek or neck. 
 
 Of the musical services in the old 
 meeting house in Brunswick it is writ- 
 ten that “At the East end of the meet- 
 ing house Deacon Snow, who wore a 
 white wig, sat under or in front of the 
 pulpit and ‘lined out’ the hymn, so that 
 every man present might have an op- 
 portunity to sing.” 
 
 Tradition says of Crispus Graves, 
 who was the tything man in this meet- 
 ing house, that he had a great antipa- 
 thy for dogs and that if one got into 
 the meeting house, which was no un- 
 common occurrence, that he would in- 
 flict proper punishment with the lash 
 of his whipstock which he always car- 
 ried with him. Whether the prayer was 
 in progress or the sermon going on, 
 made no difference to him so that, 
 “even during the singing, the yelling of 
 the dog might be heard exceeding the 
 voices of the chorister or the double 
 altos of his choir.” 
 
 When one speaks of the early set- 
 
 tlers of this country and of their con- 
 stant struggles for simple existence one 
 is apt to think only of the physical 
 hardships which they had to endure, 
 their bodily deprivation and the lurk- 
 ing dangers with which they were con- 
 stantly menaced; but to many of them, 
 educated as they had been for higher 
 things, the self-imposed banishment 
 from all that was beautiful in the way 
 of art and music which the people of 
 England and Europe were so free to 
 enjoy must have meant more than their 
 physical discomfort or bodily fatigue; 
 for at the time of the re-settlement of 
 Falmouth, and while the people of this 
 country were wrestling with the sim- 
 plest of psalm tunes, Europe was being 
 feasted with some of the finest music 
 that up to that time had been pro- 
 duced, and although the majority of 
 those whom the world has come to rec- 
 ognize as the great music masters were 
 as yet unborn, Handel had already 
 made a name for himself and Bach was 
 performing his wonderful fugues on the 
 organs of the most famous cathedrals 
 of the continent. Handel’s “Messiah,” 
 however, was still unwritten, not being 
 produced until 1742, and Bach’s com- 
 positions were for the most part then 
 unpublished. 
 
 In 1713 the first pipe organ had been 
 brought into this country. So great, 
 however, was the opposition by those 
 who believed that it was wrong to 
 countenance the playing of instrumen- 
 tal music in the churches, that it re- 
 mained for seven months unpacked 
 and after it had been set up in the 
 Brattle Street Church in Boston, one 
 of the most influential members offered 
 not only to reimburse the church for 
 all the expense it had incurred, but to 
 give a sum of money to the poor of the 
 city if he might be given permission to 
 cause the unholy instrument to be 
 thrown into the harbor. 
 
14 MUSIC AND MUSICIANS OF MAINE 
 
 The ideas of the Colonists in this re- 
 spect later underwent some changes 
 and a pipe organ, which was described 
 as having two rows of keys and nearly 
 twelve hundred pipes, was built in 
 Boston in 1745. 
 
 One of the most meretricious devices 
 ever invented for the learning of music, 
 yet, owing to the scarcity of books and 
 the inability of the people to read either 
 words or music, one that apparently 
 became necessary for the time being, 
 was the custom of “lining out the 
 psalm,” which is thus described by a 
 critic of the times: “Ordinarily the 
 psalm is read line after line by him 
 whom the pastor desired to do the serv- 
 ice and the people generally sing in 
 such grave tunes as are most usual in 
 the churches of our nation, first pray- 
 ing, then singing.” There was often 
 much rivalry between the deacon who 
 was selected to line out the psalm and 
 the members of the choir, who could 
 see nothing good in this kind of per- 
 formance and there are instances on 
 record of choirs that openly rebelled 
 against this iniquitous method of con- 
 gregational singing. 
 
 The custom, however, was unfortu- 
 nately maintained for years, as from 
 constant practice it had come, in many 
 places, to be considered a religious 
 duty. 
 
 The journal of Parson Thomas Smith 
 and the diary of the Rev. Samuel Deane 
 each throw some light on the music in 
 Portland before the War of the Revolu- 
 tion and reflect the attitude of the peo- 
 ple of the state towards the subject of 
 music in its various forms and uses. 
 
 In 1756, 25 pounds were raised by 
 the people of the First Parish Church 
 to purchase 380 copies of Tate and 
 Brady’s version of the psalms with 
 tunes annexed. 
 
 In December, 1765, Parson Deane 
 noted, “I preached in the forenoon. 
 
 The board of singers went into the gal- 
 lery, 16 in number.” 
 
 It was then not an uncommon thing 
 for the majority of the people of the 
 town to be at work at six o’clock in the 
 morning and those with an ardent en- 
 thusiasm for music apparently thought 
 it nothing to arise an hour earlier, if by 
 so doing they could learn something 
 about music so that they might be able 
 to take an active part in chorus singing. 
 
 In June, 1785, Parson Smith wrote 
 in his journal, “We are all in ablaze 
 about singing; all flocking at 5, 10 and 
 4 o'clock to the meeting house to a 
 Master hired viz; (Mr. Gage).” 
 
 In these days of chimes and carillons 
 it seems strange to read that anyone 
 should ever have been opposed to the 
 placing of a bell on a meeting house. 
 The First Parish Church of Portland, 
 however, was having difficulty of this 
 nature in 1758. Parson Smith indited 
 in his journal of that year, “Parish 
 meeting about the bell Capt. Ross sent 
 for, which is come. After much con- 
 certed opposition, made by the out 
 families who threatened never to come 
 to meeting and talked of being set off 
 a separate Parish, the Parish voted 
 £100 to pay for it,” to which Samuel 
 Freeman, the editor of this valuable 
 manuscript added in a foot note, writ- 
 ten ninety-nine years later, “this was 
 the first bell which had been introduced 
 among us to summon the people to 
 church and was looked upon probably 
 as an innovation, or perhaps a con- 
 formity to popish usages, which beto- 
 kened degeneracy or declension in re- 
 ligion. The offensive novelties of one 
 age become the useful and necessary 
 sources of enjoyment inthe next. Thus 
 the degeneracies of the base viol, the 
 clarionet and the organ have produced 
 their discordant notes in religious so- 
 cieties and rent many in twain, to be at 
 last, recognized and legitimatized as 
 
Serie OF THE PROVINCE OF MAINE 15 
 
 REDUCED FACSIMILE OF TITLE-PAGE OF “URANIA” COMPILED BY JAMES LYON (1761), THE FIRST AMER- 
 
 ICAN COMPOSER, WHO FOR NEARLY A QUARTER OF A CENTURY WAS A RESIDENT OF MAINE. 
 COURTESY OF ARTHUR B. HUNT, NEW YORK. 
 
 PHOTOSTAT. 
 
 aids, if not to a devotion, at least to the 
 satisfaction of social worship.” 
 
 Music was appreciated by Parson 
 Deane, as witness the concluding par- 
 agraph of an account in his diary of an 
 unusual event which occurred in Port- 
 land in 1788, “More than 100 of the 
 fair sex assembled at the house of Dr. 
 Deane to give an exhibition of spin- 
 ning. More than 60 wheels were in mo- 
 tion. To conclude and crown the day 
 a numerous band of the best singers at- 
 tended in the evening and performed 
 an agreeable variety of excellent pieces 
 in Psalmody.” 
 
 First American Composer 
 
 James Lyon, for whom is claimed 
 the distinction of having been the first 
 American composer, the son of Yeo- 
 man Zophar and Mary Lyon, was, for 
 nearly a quarter of a century, a resi- 
 dent of Maine. He was born in New- 
 ark, New Jersey, July 1, 1735, and at- 
 tended Princeton College, where he re- 
 ceived his A.B. degree, September 26, 
 1759. Five days later an account of the 
 
 FROM A 
 
 exercises appeared in the New York 
 Mercury—the first published reference 
 undoubtedly to his musical career. In 
 1762 he acquired his A.M. degree and 
 within a few weeks was licensed by the 
 Synod of New Brunswick “to preach 
 the Gospel.” He was ordained in 1764, 
 and in 1765 he was sent by the Pres- 
 bytery to Nova Scotia, and for a time 
 (until 1771) ministered to the people 
 of his faith at Halifax, Onslow, and 
 other places in British territory, but 
 these townships were so sparsely set- 
 tled that he was unable to support him- 
 self and family in them. 
 
 It was in 1771 or 1772 that he ac- 
 cepted a call to Machias, Maine, to be- 
 come the first minister of the Parish of 
 Machias, eight years after the landing 
 of its earliest settlers. 
 
 At the end of the first year he was 
 so well liked that the Parish invited 
 him to remain at a salary of eighty- 
 four pounds, and one hundred pounds 
 additional as a settlement, together 
 with the right to share in the township. 
 
 In 1774 the population of the town 
 
16 MUSIC AND MUSICIANS OF MAINE 
 
 had increased so that there were “Eigh- 
 ty families and one hundred single 
 men,” and in this year the first meeting 
 house was built. 
 
 In 1781, after having served ten 
 years as a Presbyterian Minister, Mr. 
 Lyon organized a church there on Con- 
 gregational principles, and although he 
 served as its pastor for nearly thirteen 
 years he never was ordained as a Con- 
 gregational minister. 
 
 Mr. Lyon was deeply interested in 
 the subject of music and references to 
 his genius are found in diaries of his 
 day that have survived a sesqui-cen- 
 tenary of time. 
 
 In 1761 he published a collection of 
 psalm tunes which he called Urania. 
 It contained one hundred and ninety- 
 eight pages, on ninety of which were 
 printed anthems. The music plates 
 were, in point of mechanical skill, un- 
 equalled by any that had hitherto ap- 
 peared, and the paper on which the 
 book was printed was imported from 
 England. 
 
 Following the dedication there are 
 twelve pages of instructions, including 
 directions for the reading of music, 
 transposition, sharps and flats and so 
 forth. 
 
 There are four quaint and amusing 
 directions for singing: 
 
 1. In learning the 8 notes, get the assistance 
 of some person, well acquainted with the Tones 
 and Semitones. 
 
 2. Chuse that Part which you can sing with 
 the greatest Ease, and make yourself master of 
 that first. 
 
 3. Sound all high Notes as soft as possible, 
 but low ones hard and full. 
 
 4. Pitch your Tunes, so that the highest and 
 lowest Notes may be sounded distinctly. 
 
 A large proportion of the names of 
 the one hundred and forty-two sub- 
 scribers, which were printed in the vol- 
 ume, were those of officers and students 
 of Nassau Hall (Princeton) in New 
 
 Jersey. 
 
 A second edition of Urania followed 
 in 1767, and still another in 1773, after 
 its compiler had come to Machias to 
 become a resident of Maine. All these 
 editions were printed in Philadelphia. 
 
 It was soon after the publication of 
 the first edition of Urania that James 
 Lyon received his degree of Master of 
 Arts, to which reference has already 
 been made, and in the last edition of 
 Urania the designation of his later de- 
 gree is affixed to his name as the com- 
 piler. 
 
 While Hood’s History of Music is 
 authority for the statement that “Re- 
 port says that it ruined its publisher,” 
 and a later historian, F. L. Ritter (per- 
 haps because he placed too much cre- 
 dence in the authenticity of Hood’s 
 history), repeats the same declaration, 
 it does not seem as if this were prob- 
 able in view of the appearance of the 
 several editions, extending over such a 
 long period of time, unless, perhaps, 
 the last edition was an unusually large 
 one and changing tastes of a fickle pub- 
 lic, resulting from the promulgation of 
 the Declaration of Independence fol- 
 lowing the war with Great Britain, left 
 the publisher with too large a stock on 
 his hands. : | 
 
 Mr. Lyon announced that six “new 
 songs” were to appear in the book and 
 these which are indicated by asterisms 
 appear on Pages 44, 50, 63, 125 and 
 194 and are entitled the “Eighth 
 Psalm,” the “Twenty-Third Psalm,” 
 the ‘“Ninety-fifth Psalm,” anthems, 
 “The Lord Descended,” “Let the Shrill 
 Trumpet” and the “One Hundred 
 fourth Psalm” of Dr. Watts. Music 
 critics are agreed that these simple 
 compositions compare favorably with 
 the psalm tunes of his time. 
 
 Besides the six tunes marked with the 
 group of asterisks in Urania, the “Mar- 
 riage Hymn,” the “17th Psalm,” the 
 
MUSIC OF THE PROVINCE OF 
 
 MAINE 17 
 
 “roth Psalm” and “Friendship” are 
 among the compositions still extant 
 which can be traced to the pen of James 
 Lyon, though it is also possible that 
 other unsigned tunes in this volume 
 may have been written by him. 
 
 These tunes do not show that Lyon 
 was a composer of the first rank. In 
 fact they seem to indicate that he was 
 not fully conversant with musical gram- 
 mar; but that he had inherent talent 
 for composition to some degree cannot 
 be denied. His hymn, to “Friendship,” 
 contains phrases of considerable beauty 
 and seems somewhat inspired. 
 
 It is to be feared that the prejudiced 
 New England historians were over 
 harsh in their criticism of the work of 
 James Lyon, but, be that as it may, he 
 was much admired by both instructors 
 and students at Princeton College; his 
 compositions were sung at the com- 
 mencement exercises there; and the 
 Uranian Society of Philadelphia hon- 
 ored him by giving his music a place 
 on its programs. 
 
 Urania was a much larger collection 
 than any work of its kind that had 
 been previously published in the coun- 
 try. 
 
 It is a curious fact that, although 
 many hundred copies must have been 
 printed during its run through its sev- 
 eral large editions, but thirteen copies 
 were known to be in existence in 1927. 
 
 While the oldest existing music bear- 
 ing an American imprint is dated 1698, 
 and there is evidence that there were 
 even earlier editions, it has been con- 
 ceded that Urania was the first hymn 
 book to be printed in America in the 
 English language. For some time there 
 Was a controversy as to whether James 
 Lyon or Francis Hopkinson should be 
 entitled to the distinction of having 
 been the first American Composer. 
 
 In defense of James Lyon, Arthur 
 B. Hunt, in a contribution to Musical 
 
 America in January, 1923, writes: 
 “James Lyon was the first American 
 composer, evidently antedating Francis 
 Hopkinson. Hopkinson’s claim to be 
 the first composer rests upon his own 
 written statement to that effect, and 
 also because of the fact that one of his 
 manuscripts is dated 1759. Lyon, on 
 the other hand, published the Urania 
 in 1761. Lyon’s music was sung at a 
 Princeton commencement, two years 
 before Hopkinson’s music was included 
 in a program there—a further argument 
 in favor of the anteriority of Lyon.” 
 
 In 1774 Lyon made a journey to 
 Philadelphia, probably in the hope of 
 making arrangements for the printing 
 of a new book of music. 
 
 Oscar G. Sonneck, who was the first 
 to bring James Lyon to notice, in his 
 valuable monograph, “James Lyon and 
 Francis Hopkinson,” includes in that 
 volume several extended extracts from 
 the diary of Philip Vickers Fithian, who 
 became a member of the faculty at 
 Nomini Hall in Virginia, after he left 
 Princeton in 1772, to make his home 
 in Cohansie, New Jersey (April 22, 
 1774). Fithian wrote in his journal, 
 “Rode to the Stage early for the Pa- 
 pers, thence I went to Mr. Hunters 
 where I met with that great master of 
 music, Mr. Lyon. He sung at my re- 
 quest, and sings with his usual softness 
 and accuracy. He is about publishing a 
 new Book of Tunes which are to be 
 chiefly of his own composition—.. . 
 I returned towards Evening but prom- 
 ised first to visit him again to-morrow 
 afternoon.” 
 
 And on the following day appeared 
 the entry: “At home drawing off some 
 of Mr. Lyon’s Tunes and revising my 
 own Exercises —. . Afternoon accord- 
 ing to Appointment I visited Mr. Lyon 
 at Mr. Hunter’s. He sings with great 
 accuracy. I sung with him many of his 
 Tunes and had much conversation on 
 
18 MUSIC AND MUSICIANS OF MAINE 
 
 music, he is vastly fond of music and 
 musical genius’s. 
 
 “We spent the Evening with great 
 satisfaction to me.” 
 
 It is bélieved that the “new Book of 
 Tunes” to which Professor Fithian re- 
 ferred was never published, for diligent 
 search for it has gone unrewarded, and 
 even the manuscript seems not to have 
 survived the ravages of the years. 
 
 Mr. Lyon was an ardent patriot and 
 was, if anything, considered overzeal- 
 ous. 
 
 When Jeremiah O’Brion and his men 
 captured the “Margaretta” and killed 
 the British Captain Moore and also 
 when they came into possession of 
 Jones’ entire fleet of sloops and cap- 
 tured the “Diligence” and “Tatma- 
 gouch,” Lyon was one of the leading 
 spirits and thus became one of the 
 principal participants in America’s first 
 naval engagement. 
 
 Having become familiar with the 
 weak points in the British defenses by 
 reason of his residence in Onslow where 
 he had acquired knowledge of the New 
 Brunswick and Canadian coast lines, 
 he wrote to General Washington on 
 Christmas Day, 1775, offering to under- 
 take to head a secret attack against 
 Nova Scotia and to conduct an expedi- 
 tion for the express purpose, as he 
 wrote, “to add to the dominions of the 
 Continental Congress another province 
 before our enemies are able to defend 
 ita 
 
 Washington is said to have expressed 
 his gratification and pleasure at receiv- 
 ing such an offer but was obliged to de- 
 cline the proffered services of Lyon on 
 the ground that nothing could be done 
 in that direction to advance the cause. 
 
 It is related of Lyon that he was 
 color blind and that he was unable to 
 distinguish black from red. Making a 
 journey toa distant city for the purpose 
 of purchasing some black cloth for a 
 
 new ministerial frock he returned home, 
 greatly delighted with the quality of 
 the goods, until, much to his chagrin, 
 he was informed by his wife that the 
 cloth was not black but as scarlet as 
 were the coats of the British officers at 
 that time. : 
 
 As a minister, so fervent was he in 
 his efforts to spread the gospel, that, 
 for months at a time, notwithstanding 
 his church was in his debt to the amount 
 of more than nine hundred pounds, he 
 and his family subsisted almost entire- 
 ly on fish and clams taken with his own 
 hands from the waters of Machias Bay 
 and the flats on its shores, that he might 
 continue to carry on his work as a min- 
 ister when his parish was too poor to 
 pay his meagre salary. 
 
 With the exception of a period of a 
 little more than a year (1783-1785) 
 when he was “Stated Supply” to the 
 First Presbyterian Church of New- 
 town, Long Island, New York, he 
 preached the gospel almost continuous- 
 ly at Machias and East Machias for 
 the twenty-three years preceding the 
 date of his death. 
 
 In the Sketches of the Times (of 
 early Maine ministers) Mr. Lyon is 
 described as “a gentleman of respec- 
 table abilities and a good scholar and, 
 though not much of an orator, he could 
 deliver a written discourse very well, 
 and his compositions were good.” 
 
 In his religion he is said to have been 
 orthodox, though not rigid, and that 
 “usefulness, not display, was his aim.” 
 His manners are described as mild and 
 prepossessing. He was held in high es- 
 teem by his people. The authority 
 quoted above says, “Machias passed 
 through great vicissitude and suffering 
 while Mr. Lyon dwelt there, and dur- 
 ing most of the war there was a public 
 garrison in it. But at all times he shown 
 like a morning star.” 
 
MuUetG OF THE PROVINCE OF MAINE 19 
 
 Mr. Lyon was a learned man in not 
 a few of the arts and sciences, and be- 
 sides his musical works he printed sev- 
 eral books of a religious nature. He is 
 said to have been the first author in 
 Maine to print books of his own com- 
 position. One of his compilations was 
 The Saint’s Daily Assistant for Morn- 
 ing and Evening of Every Day in the 
 Year, each Founded on a Particular 
 Text of Scripture. 
 
 Had James Lyon received the ad- 
 vantages which he might have derived 
 from the opportunity of studying with 
 the best masters in Germany or Italy, 
 his talents might have been developed 
 to a degree that would have resulted in 
 his name now being numbered among 
 the truly great in music in America. 
 As it appears, he is declared to be the 
 first American composer, a distinction 
 that is not to be undervalued. 
 
 In 1770 William Billings of Stough- 
 ton, Massachusetts, published his first 
 work, The New England Psalm Singer. 
 
 With the publication of this hymn 
 book there was occasioned one of the 
 greatest controversies in the history of 
 the protestant churches in New Eng- 
 land, a controversy that extended over 
 a period of a number of years. 
 
 The obnoxious stamp act and equal- 
 ly offensive declaratory act had been de- 
 clared by Parliament in 1765 and 1766. 
 
 A large majority of the people were 
 becoming dissatisfied with every thing 
 British, and William Billings, with a 
 vision in advance of most of his con- 
 tempories, saw the possibilities in a 
 publication containing a good propor- 
 tion of “made-in-America” hymns. The 
 New England Psalm Singer was the re- 
 sult. The cultivation of music had been 
 greatly developed since the beginning 
 of the reformation, and the demand for 
 a variety in music far exceeded the sup- 
 ply. Billing’s psalm book had the ad- 
 
 vantage of being patriotic in its char- 
 acter, gave a greater variety than any 
 hitherto published collection of tunes, 
 and yet was not so different in the 
 type of songs it included as to cause 
 any prejudices to arise against it. 
 Though it came in for a large share of 
 criticism from the musically elect, it be- 
 came one of the most popular publica- 
 tions of its day. Besides the one hun- 
 dred and twenty tunes and several 
 anthems and the indispensable preface 
 that it contained, it included a ten-page 
 essay on “The Nature and Properties 
 of Musical Sound,” and twenty-two 
 pages of elementary instruction. This 
 book proved to be one of the “best 
 sellers” at a time when scores of other 
 similar books were being put on the 
 market to meet the cravings of these 
 early peoples for variety and for the best 
 in music, but it stirred up a tempest ina 
 teapot, and the feeling became so strong 
 between the adherents of the “Billing’s 
 School,” as it came to be called, and its 
 opponents that it is said that because 
 of it churches actually became disrupt- 
 ed, and congregations were broken up 
 and scattered, and separate churches 
 were formed. Though much criticised, 
 this work undoubtedly played a large 
 part in moulding the tastes of the colo- 
 nists in the matters of music. 
 
 in 1774 Parliament by the act of 
 that year, which was aimed at Massa- 
 chusetts, closed the port of Boston, al- 
 tered the government of the province 
 of which Maine was a part, and the 
 thrilling events which followed left the 
 people little time for the enjoyment or 
 cultivation of music. Two years later, 
 when the colonists met and declared 
 their independence, Maine became a 
 District of Massachusetts, and the sec- 
 ond epoch in the history of Maine mu- 
 sic—the music of the District of Maine 
 was begun. 
 
CHAPTER Ti 
 
 Tue Music or THE District oF MAINE 
 1776 To 1819 
 
 The breathing Flutes’ soft Notes are heard around, 
 And the shrill Trumpets mix their silver sound; 
 The vaulted Roofs with echoing Musick ring, 
 Touching the vocal Stops &3 trembling string. 
 — From an old music book. 
 
 ITH the Declaration of Inde- 
 
 pendence came a new order of 
 things, musically as well as materially. 
 English hymn tunes came into as much 
 disfavor during this period as did the 
 music of the German masters during 
 the more recent world war, and with as 
 little reason, to the great advantage, 
 however, of the American composers 
 then, as later, and “native music” was 
 applauded on every hand. 
 
 It is to be feared that some of the 
 material that was substituted for the 
 discarded English hymns would not 
 have stood the test of comparison of 
 unbiased criticism. A writer of that 
 time (1784) says of the efforts of the 
 early American psalm-tune writers, “the 
 style of the music of to-day is inelegant, 
 melody worse, harmony filled with mis- 
 erable attempts at fuge.” etc., but nev- 
 ertheless there was developed, in not a 
 few embryo hymn writers, that dor- 
 mant creative instinct from which, in- 
 duced by competition, was developed 
 the American composer. 
 
 Among the first of the American pub- 
 lications had been The American Har- 
 mony or Royal Melody which, in 1771, 
 was already in its sixth edition. This 
 would further indicate that the Colo- 
 nists were, for some years prior to the 
 separation from England, substituting 
 American made tunes for the old Eng- 
 lish airs. Among the delights of the 
 
 early American hymn writers were their 
 attempts at “fuging” as it was called. 
 The publisher of The American Har- 
 mony, in deference to the popular taste 
 of the times, announced that this vol- 
 ume would contain “A new and com- 
 plete Body of Church Musick adapted 
 to the most select portions of the Book 
 of Psalms, of either versions with many 
 Fuging Choruses and Gloria Patries to 
 the whole.” 
 
 The Harmonia Americana, which 
 soon followed (1791), was further in- 
 dicative of the prescience of the New 
 World publishers to recognize the com- 
 mercial value of the magic name, 
 “America,” in any form. 
 
 In 1794 was published in the Dis- 
 trict of Maine a volume of psalm tunes 
 by Supply Belcher, a Maine composer, 
 whose facility as a psalm tune writer 
 won for him the appelative, “the Han- 
 del of Maine.” 
 
 His collection of tunes, fifty-seven of 
 them, many of them original, together 
 with six anthems, bore the title of The 
 Harmony of Maine and because of its 
 unique place in the history of Maine- 
 made music, it deserves more than pass- 
 ing mention. 
 
 Squire Belcher was not only a com- 
 poser, hé was one of the original Maine 
 promoters. Many of his tunes were 
 named, after Maine towns, among which 
 were “Bath,” “Cumberland,” “Friend- 
 ship,” “Farmington,” “Hallowell,” “Lin- 
 coln,” ‘New Sharon,” “Readfield,” 
 “Turner,” “Union,” “Unity,” “Win- 
 throp,” “York” and others. The four 
 parts of the music were written on 
 three separate staves. The hymns were 
 
 20 
 
eetoeOF THE DISTRICT OF MAINE 21 
 i ane ee 
 
 preceded by “An Introduction to the 
 Grounds of Musick and Rulles for 
 Learners,” in which instructions were 
 set forth in paragraphs under titles such 
 as, “Of the Names and Measures of 
 the Notes, ufed in Mufick with their 
 Reits,’ “Of the Characters ufed in 
 Mutfick and their Ufes,” “Of the Vari- 
 ous Moods of Time Ufed in Pfalmody,” 
 “Of the Brace,” “Of Chufing Notes,” 
 “Of the Keys ufed in Mufick,” “Of 
 Leading Notes,” “Of Tranfition,” and 
 “Of Syncopation.” 
 
 The volume itself is, in point of 
 workmanship, interesting, for the covers 
 were of quarter sawn oak wood, thin 
 as veneer, to which the paper was 
 pasted on each side, and the whole 
 strongly bound with half leather back. 
 
 Following is taken from the title-page 
 of this now rare volume: 
 
 Harmony or Marine! Being An 
 OricINAL ComposiTIon oF PsaLtm and 
 Hymn Tunes of various Metre’s fuit- 
 able for Devine Worship, with a Num- 
 ber of Fuging Pieces and Anthems, To- 
 gether with A Concise Introduction to 
 the Grounds of Musick and Rules for 
 Learners, For the Use of Singing 
 Schools and Musical Societies, By S. 
 Belcher of Farmington, County of Lin- 
 coln, District of Maine. 
 
 Awake! the everlafting lyre! 
 
 That once the mighty Pindar Strung 
 When wrapped with more than mortal fire, 
 The God of Greece befung. 
 
 Awake! arreft the rapid foot of time 
 
 With liquid notes of joy and pleasures 
 tow’ring train 
 
 O praife ye the Lord, prepare your 
 glad voice. Psalm cx.ix. 
 
 Published by Act of Congress. Print- 
 ed, Typographically, at Boston, By 
 Isaiah Thomas and Ebenezer I. An- 
 drews. Sold by them at Faust’s Statue, 
 No. 45 Newbury Street, and by said 
 
 SUPPLY BELCHER, “THE HANDEL OF MAINE,” COM- 
 PILER OF “THE HARMONY OF MAINE” (1794) 
 FROM AN OLD PAINTING IN THE HIRAM BELCHER 
 HOMESTEAD IN FARMINGTON, COURTESY OF MISS 
 M, B, FAIRBANKS. 
 
 Thomas, in Worcester. Sold also by 
 the Booksellers in town and Country 
 — 1794. 
 
 On the back of the title-page are 
 these lines, 
 
 As the encouragement of Arts and Sciences is 
 beneficial to all countries, and especially when 
 the settlement is new the Author presumes that 
 the propagation of Sacred Musick will answer a 
 valuable purpose — that it will not only be a 
 means of forming the people into societies, but 
 will be ornamental to civilization. He therefore 
 presents the following work to the Public — not 
 that he expects it would stand the test of criti- 
 cism; but as his design is to subserve the interest 
 and promote the innocent pleasures of the com- 
 munity, he hopes to meet the approbation and 
 patronage of the candid judges of Musick: 
 
 He has aimed at originality in his composition, 
 as much as possible — has set a number of easy 
 and natural airs, for the benefit of learners, and 
 
22 MUSIC AND MUSICIANS OF MAINE 
 
 rnc nnn mememsnrensnipnh ns meet SElTiianAetnanSn RSS TTT EIST i IDET) ARTIS EF IGE I SEIS SNS 6 URN aaa MR A ey 
 
 a variety of others, for the amusement of those 
 who would (have sane) proficiency. To please 
 every one would be some thing new and to please 
 no one, would be as new. He hopes that no 
 piece will be condemmed without a fair trial. 
 
 Those who have encouraged this work by sub- 
 scription are respectfully thanked. The utmost 
 pains has been taken to render it correct, and 
 the Author sincerely wishes that the purchasers 
 may derive a sufficient advantage, as well as 
 amusement from it and make them adequate 
 compensation for their expences. And as the 
 primary and genuine intention of Psalm Singing 
 is to praise the King of Heavens, he most earn- 
 estly wishes that as often as it is attempted it 
 may be attempted with becoming decency and 
 reverence. 
 
 Supply Belcher was the son of Clif- 
 ford and Mehitable (Bird) Belcher of 
 Stoughton (now Sharon), Mass., and 
 was born on March 29, 1751, old style. 
 He was well educated, as education 
 went in those days, and on his moving 
 from Boston, after the outbreak of the 
 Revolution, he purchased a farm in 
 Canton where he opened a tavern which 
 came to be known as Belcher’s Tavern. 
 William Billings had taught music in 
 Stoughton in 1774, as a result of which 
 the first Stoughton Musical Society 
 came to be formed. 
 
 Mr. Belcher became a member of 
 this original Musical Society which 
 should not be mistaken for the later or- 
 ganization, formed in 1786, shortly aft- 
 er Mr. Belcher left Stoughton, which 
 having survived seven score years, has 
 come to be known by the name of the 
 Old Stoughton Musical Society and 
 which in 1927 was the oldest existing 
 musical society in America. The Tavern 
 became the meeting place of the musical 
 people of the town, and young Belcher 
 was thereby given an opportunity to 
 meet the leaders of the community in 
 musical thought and hear the best 
 which the place afforded in music. On 
 account of the war, during which he 
 
 served under General Washington, he 
 suffered severe financial losses, and 
 emigrated to Maine. Here he first set- 
 tled (1785) in that part of Hallowell 
 which has since become the city of Au- 
 gusta. In 1791 he moved to Sandy Riv- 
 er Township, which in 1794 (the year 
 in which “The Harmony of Maine” was 
 published), was incorporated as the 
 Town of Farmington. He became the 
 first Town Clerk of Farmington, re- 
 ceived a justice’s commission, repre- 
 sented the General Court from Farm- 
 ington in 1798; and for a part of that 
 period he served as Selectman. He 
 taught in the schools of Farmington, 
 became prominent as an educator of 
 his time, and took an active part in the 
 musical life of the community in which 
 he became its first choir leader. 
 
 Squire Belcher married’ Margaret 
 More of Boston, a refined and educated 
 woman, by whom he had ten children. 
 He died in 1836, 
 
 The town of Farmington was with- 
 out doubt prominent as a center of mu- 
 sic in the early days, and its interest in 
 musical development was always ap- 
 parent. On each Sabbath, in the old 
 Center Meeting House, Supply Belcher 
 led the singers in divine worship, and 
 John Titcomb accompanied them on 
 the flute. In 1800-an itinerant minister 
 relates that “Squire Belcher called his 
 singers together and gave us an eve- 
 ning of sweet music.” 
 
 The first house of worship in Frye- 
 burg was built in 1787. Rev. Samuel 
 Souther, in an address on the occasion 
 of the Fryeburg Centennial in 1863, 
 describes the music in the early days 
 in this town. “For many years wor- 
 ship was held in this first meeting house 
 of the town, standing on the Gamage 
 place, near Bear Pond. There were no 
 pews and no gallery; the women sat at 
 one side, the men on the other —. At 
 
feeee oe UP THE DISTRICT OF MAINE 23 
 
 the giving out of the Hymn, Mr. Josh- 
 ua Gamage rose near the desk and im- 
 mediately from right and left, filed the 
 sons and daughters of Asaph, skilled in 
 song, and formed in a solid phalanx 
 near their leader. Mr. Gamage was a 
 famous singer, and trained a host of 
 young Pequawketers to accompany 
 him; for our grandmothers were a 
 tuneful race, and some of our grand- 
 fathers learned to keep them company, 
 and their united voices, not only filled 
 the little temple of the Pond, but rang 
 out upon the forests around like the 
 sound of many waters.” 
 
 From these singers came to be or- 
 ganized the Hans Gram Musical So- 
 ciety which was probably the first reg- 
 ularly organized chorus in the State. 
 This society which was formed Octo- 
 ber 10, 1810, gave a number of success- 
 ful concerts during the few years which 
 immediately followed its organization. 
 Its name was taken from that of one of 
 the editors of the Massachusetts Com- 
 piler, the popular organist of the Brat- 
 tle Street Church, Boston, and a favor- 
 ite composer of his time, though not a 
 very strong or original one. One of 
 Gram’s pieces was “Sacred Lines for 
 Thanksgiving Day,” published in 1793. 
 
 Among the musical people of the 
 district in the early days was the Rev- 
 erend Seth Noble (1743-1807), a native 
 of Westfield, who had moved with his 
 family to Kenduskeag Plantation in 
 1786 where he was ordained under the 
 oaks at the corner of Washington and 
 Oak Streets in that year. The township 
 came to be known as Sunbury, and the 
 people residing there requested him to 
 procure from the General Court an act 
 of incorporation of the town under that 
 name. 
 
 Noble was said to have been one of 
 the best singers in the plantation, and, 
 like most of the religious folk of that 
 time, took keen delight in the doleful 
 
 minor tunes of the period. His favorite 
 hymn was called “Bangor,” and, on ac- 
 count of his love for this old grave air, 
 he presented that name instead of Sun- 
 bury to the General Court. Thus on 
 February 25, 1791, the first Maine 
 town to be named after a popular song 
 was incorporated. 
 
 If the music is in a minor key, in 
 what strain are the words of this grue- 
 some verse selected from that notable 
 hymn? Let the reader judge: 
 
 BANGOR 
 
 Stoop down my tho’ts that used to rise, 
 Converse awhile with death. 
 
 Think how a gasping mortal lies 
 
 And pants away his breath. 
 
 The whole country at this time 
 (1793-1798) was passing through one 
 of its most critical periods. The colo- 
 mies, which had stood staunchly by 
 each other in their fight for independ- 
 ence, now came to be suspicious of one 
 another. Each state felt that the other 
 states were trying to get an advantage 
 over it commercially, and laws were 
 enacted that favored foreign commerce 
 at the expense of intercolonial traffic. 
 Chaos ruled in many sections. The peo- 
 ple had little time for the finer things 
 of life and the arts had to be neglected. 
 The importance of attending church, 
 however, was deeply impressed on the 
 Colonists. For years after the first set- 
 tlements in America it had been for- 
 bidden to erect a dwelling at a distance 
 of more than two miles from a meeting 
 house. In the early part of the century 
 among the crimes punishable by hang- 
 ing or burning at the discretion of the 
 court were blasphemy, witchcraft, idol- 
 atry, marriage within the Levitical de- 
 grees, presumptuous Sabbath breaking, 
 and cursing, while, in at least one in- 
 stance, the whipping post was the pen- 
 alty which one had to pay for sleeping 
 during the sermon. 
 
 To the church and to the strict laws 
 
24 MUSIC AND MUSICIANS OF MAINE 
 
 that made it imperative to attend Di- 
 vine worship may be laid in a large de- 
 gree such progress in music as was 
 made in this new land, of which Maine 
 was an important part, during the 
 years prior to its becoming a State. 
 
 There was, at this time, no meeting 
 house in the village of Rockland, the 
 first meeting house to be built there not 
 having been erected until 1826, though 
 a brick church was built within the 
 town limits in 1820. 
 
 In Thomaston the old church on the 
 hill was built in 1795, but little is known 
 of its early attempts at musical expres- 
 sion. 
 
 Hallowell, which had been perma- 
 nently settled in 1754, was incorporated 
 as a town in 1771. Its population in 
 1780 was comprised of about two thou- 
 sand inhabitants scattered over a large 
 area in several settlements of half a 
 dozen or more houses, each grouped 
 around a church or stockade as a center. 
 
 Augusta, which had, up to 1797 been 
 a part of Hallowell, was incorporated 
 as a separate town on June ninth of 
 that year, and from that date that city 
 continued to progress, musically. 
 
 To Hallowell, in 1789, had come 
 John Merrick, Esquire, later to become 
 President and one of the founders of 
 Maine’s first state-wide musical society. 
 
 John Merrick, son of Samuel and 
 Mary Merrick, was born in London in 
 1766, and was of Welsh origin. He 
 married (1798) Rebecca Vaughan, who 
 died July, 1851. She was the daughter 
 of Samuel Vaughan, Esq., London. Mr. 
 Merrick was said to have been foremost 
 in every plan for the public good. In 1802 
 he became one of the Trustees of Hal- 
 lowell Academy and in 1829 President 
 of the Board. He was of refined tastes 
 and was not only a cultured gentleman, 
 but being possessed of a thorough 
 knowledge of astronomy, navigation, 
 mathematics, and surveying, was an 
 
 extremely intellectual one. In music, 
 his taste was exquisite. He had re- 
 ceived his musical education in Eng- 
 land, and his voice was described as be- 
 ing a very sweet and highly cultivated 
 tenor. He learned to sing “The Nativ- 
 ity,” in its entirety, when only a boy; 
 and, in college, easily took the leading 
 parts in the glee clubs and other musi- 
 cal activities. He played the violoncel- 
 lo, so it was stated by one of his con- 
 temporaries, “with extraordinary neat- 
 ness, accuracy and depth of tone,” and 
 he was without question one of the 
 ablest music critics of his day. Through 
 his guidance the choir of the Old South 
 Church of Hallowell became one of the 
 best “chanting choirs” in the country. 
 He devoted much time to instructing 
 the choir at the Gardiner Church, and 
 succeeded in bringing out many fine 
 voices in that town. He died at Hallo- 
 well at the age of ninety-six. 
 
 John Merrick was described as “a 
 remarkable man whom those who have 
 seen him can never forget. In his late © 
 years, with his elastic graceful figure, 
 his unusually intellectual features and 
 his long snowy locks, he was the pic- 
 ture of a patriarch.” He died October 
 22, 1862. 
 
 Benjamin Vaughan, M.D., before 
 coming to Maine had been a practicing 
 physician in London where he had 
 been a member of Parliament. He was 
 born in April, 1751, son of Samuel and 
 Sarah Hallowell Vaughan. He came to 
 Hallowell from England in 1797, when 
 
 about forty-six years of age. A gentle- © | 
 
 man by birth, with independent means, 
 he was able to maintain a home that 
 was the pride and delight of the coun- 
 try. His wife, Sarah Manning Vaughan, 
 was described as “a very handsome, 
 elegant and accomplished lady.” 
 Charles Vaughan, who had settled 
 in Hallowell six or seven years earlier 
 
Mia OF THE DISTRICT OF MAINE 25 
 
 than his brother, Benjamin, on the es- 
 tate which he had inherited from his 
 mother, was born in 1759. He “formed 
 magnificent plans” to make Hallowell 
 a great commercial center on the Ken- 
 nebec River. He married Frances 
 Western Apworth of Boston in 1774. 
 To them were born three children, 
 among them a son, Charles (in 1804), 
 who became an accomplished perform- 
 er on the flute and the violoncello. The 
 Vaughans, the acknowledged leaders of 
 all social events in Hallowell, were lib- 
 eral patrons of the arts, and they and 
 the Merricks were responsible in no 
 small degree for the prestige which 
 Hallowell was destined for nearly a 
 century to enjoy as a musical center, 
 and for the musical advancement of 
 the towns along the Kennebec River. 
 He died in 1839 at the age of eighty 
 years. 
 
 The seven children of Dr. and Mrs. 
 Benjamin Vaughan were tutored in 
 their home, studying the languages and 
 sciences, music and other subjects, as 
 befitted the sons and daughters of an 
 English gentleman, and John Merrick 
 was one of their instructors. Their 
 French teacher, Monsieur Lebell of 
 Paris, highly educated and exceedingly 
 cultured, was an excellent violinist. 
 
 In the households of the Vaughans 
 and the Merricks music played an im- 
 portant part in the everyday life. The 
 best instructors in piano, violin and 
 flute were employed to teach the young 
 people in both of these notable families. 
 Harriet Vaughan was an accomplished 
 pianist as well as an excellent vocalist. 
 
 A picture of the social life at the 
 Vaughans reads like a chapter out of a 
 history of the people of the period of 
 Louis XV. A writer of the time says of 
 it, “There was sufficient culture for 
 both gentlemen and ladies to spend 
 two hours of an evening conversing.” 
 Yet, on occasion, the musical members 
 
 of the families sang or played the vari- 
 ous instruments with which each had 
 become familiar. There were grand 
 balls, during the winter months, at 
 which times the mansion of the 
 Vaughans “presented a picture of ele- 
 gance not surpassed in subsequent 
 years by the splendors of the salons of 
 the Tuilleries—blazing with their myr- 
 lads of wax candles.” It is said that at 
 this time “no town in Maine could 
 boast a more select and charming circle 
 than Hallowell.” 
 
 Among the other Hallowell families 
 distinguished for their knowledge and 
 facility in music were the Sheppards 
 and the Abbotts. 
 
 Captain John Sheppard, an English 
 gentleman, married Sarah Collier, a 
 beautiful London girl, who had re- 
 ceived her education in a convent in 
 France. Mrs. Sheppard was gifted with 
 exceptional musical talent. They emi- 
 grated to Philadelphia and later, in 
 1791, located in Hallowell. 
 
 On the death of her husband Mrs. 
 Sheppard found it necessary to earn 
 her own living and accepted a position 
 as a school teacher. It is said of her 
 that she was “a woman of elegant sym- 
 metry and beauty” and that she had a 
 “voice for music.” She gave lessons in 
 voice and piano in Hallowell and after- 
 wards taught in Portland under the 
 patronage of Justice Mellen. She did 
 much to stimulate the study and ap- 
 preciation of classical music in both of 
 these cities. 
 
 The Abbotts came of a very musical 
 family. The children of Jacob and Har- 
 riett (Vaughan) Abbott were said to 
 have had “a double inheritance” of mu- 
 sical talent. 
 
 Rev. J. S. C. Abbott wrote of his 
 father and mother that both “were 
 sweet singers,” and adds, “my father 
 would join us with his bass viol and 
 play for our tiny feet over the floor 
 
26 MUSIC AND MUSICIANS OF MAINE 
 
 what we called a dance. Sometimes 
 one of the elder boys would favor us 
 with music of the flute.” 
 
 Major John Odlin Page, whose rich 
 bass voice and notable manner of sing- 
 ing attracted wide notice, was the son 
 of Benjamin and Abigail Odlin Page. 
 He was born in Exeter, March 22, 
 1772, and emigrated to Hallowell as 
 early as 1790. He married Sarah Kel- 
 ton, daughter of John and Mary Kel- 
 ton. He was “distinguished for elegance 
 of person, urbanity of manner, decision 
 of character, ardent philanthropy and 
 love of liberty.” He became an import- 
 er and acquired a fortune. In 1810 he 
 sailed for Europe and became the 
 bearer of American dispatches from 
 Paris to London, where he died in 1811. 
 His body lies in the Parish Church of 
 St. Michaels. His singing was for many 
 years one of the attractions at the Old 
 South Church. 
 
 Going to meeting on Sunday must 
 have been a pretty sight in those days; 
 the grand dames dressed, may be, in 
 their imported brocade sacks, embroid- 
 ered with rose, honeysuckle or peri- 
 winkle pattern, and quilted satin petti- 
 coats with ruffled cuffs of Flanders’ 
 lace; the young women in their tight 
 fitting bodices with necks cut to a 
 charming though modest depth, the 
 contours of their figures half hidden in 
 clouds of Mechelin, or rare black chan- 
 tilly or streamers of gay ribbons, their 
 swelling skirts of satine “very short,” 
 by which was meant that they were 
 just short enough to expose a tantaliz- 
 ing glimpse of a dainty ankle above the 
 smart high heeled shoes; or, as pictured 
 in an old London magazine as: 
 “Flowing loosely down the back” 
 Drawn “with art the graceful sack” 
 Ornamented “Well with gimping, 
 Flowers, furbelows and crimping” 
 With the “Ruffles many a row” 
 Guarding “elbows white as snow; 
 
 Knots below and Knots above, 
 Emblems of the tyes of love” 
 
 With the “hoop extending wide” 
 Showed “what petticoats should hide;” 
 
 The gentlemen looked very brave in 
 their padded coats, ruffled shirts with 
 lace at the wrists, embroidered waist- 
 coats, stiff collars, small clothes buck- 
 led at the knee, and silver buckled 
 shoes, while wearing the conventional 
 wigs of club curls, or tie, as best suited 
 the occasion and the man; the whole 
 topped off with their three-cornered 
 hats measuring sometimes two feet 
 from tip to tip. Even the boys of this 
 period, some of them, wore their hair 
 long and done up in a queue behind. 
 
 It must be remembered that, except 
 for the stage coach, there were no four- 
 wheeled carriages in Hallowell at this 
 time and it is doubtful if there were 
 many in Maine, though the two-wheeled 
 chaise had made its appearance in 
 Brunswick as early as 1768, for wagons 
 were not only rare but the use of them 
 was opposed by many for fear they 
 would frighten the horses. The ma- 
 trons and maidens rode on horse back, 
 often mounted on a pillion behind the 
 “sood men” of the town, looking con- 
 spicuously attractive with their faces 
 framed in cap and kerchief of filmy 
 lace as they alighted at the Old South 
 Church, mayhap later to blend their 
 voices sweetly together in the choir. 
 Ah! these were the days — the days of 
 chivalry and romance — days of which 
 one likes to dream, even though he 
 would not recall them. ’ 
 
 But an entirely different picture was 
 presented at this time at some of the 
 more austere churches in certain other 
 towns in Maine. At the old First Bap- 
 tist Church in Sanford, among the ear- 
 ly votes passed was this — regarding 
 wearing apparel: 
 
 December sth, 1772, church met and voted 
 that it shall be esteemed a matter of offense, 
 
Moers OF THE DISTRICT OF MAINE a7 
 
 I. For a brother to wear more buttons on his 
 clothes than are needful or convenient for ye 
 body. 2. To wear a silken ribband on his hair. 
 Also, for a sister. 1. To wear ruffles. 2. To 
 bow ribbands. 3. To wear laces on their cloaks. 
 
 The Old South Church of Hallowell 
 was built in 1796. This historic edifice, 
 loved and revered for nearly a century 
 by the people of the Kennebec, was de- 
 stroyed by fire December 1, 1878. 
 
 The singers’ seats in the Old South 
 Church, as indeed in most of the 
 churches of the day, were in the gal- 
 lery—two rows on each side extending 
 from North to South. Samuel Tenney, 
 before the days of the organ, was the 
 leader of the Old South Choir, and, 
 dressed in his grey coat, he wielded a 
 large bow over the strings of a mam- 
 moth bass viol. He would give the pitch 
 and his choir of well trained voices 
 would respond with one of Watts’ 
 hymns. The singers of the gentler sex 
 were decorously partitioned off in a 
 compartment of their own. The lead- 
 ing soprano and alto parts were taken 
 by Mrs. Thomas Bond and Lucy G. 
 Dummer (afterwards Mrs. Samuel K. 
 Gilman). In the choir, besides the 
 preceptor, Mr. Moody, were John Mer- 
 rick, Jacob Abbott, S. G. Ladd, Sam- 
 uel Locke, Samuel Manning and David 
 Heard. 
 
 The question of the manner of sing- 
 ing church music was, as early as 1763, 
 agitated in the churches of Brunswick, 
 and in that year the town voted “to 
 sing Tate and Brady’s Version with 
 the hymns annexed thereto, composed 
 by Isaac Watts, D.D.” 
 
 The “new mode of singing” was con- 
 sidered by the ruling elders of the 
 Church of Christ, Brunswick, at a 
 meeting held on April 17, 1786, and it 
 was voted, “that the psalms and hymns 
 should be read by the deacon ie., line 
 by line until all had time to provide 
 
 THE OLD SOUTH CHURCH, HALLOWELL. BUILT IN 
 1796. FAMOUS FOR ITS MUSIC AND ITS CHOIRS. 
 FROM AN OLD PRINT LOANED BY MISS ANNIE F. 
 PAGE. 
 
 themselves with books. Charles Thomes 
 was chosen Chorister at the East End 
 and John Deering at the West End of 
 the Town with liberty to appoint their 
 assistants.” At a meeting held July 5th 
 “there was a pretty warm discussion in 
 regard to the mode of singing.” Late in 
 the same year it was voted to allow the 
 people of the East end of the ‘Town- 
 ship to “regulate the way of singing in 
 Divine Service in the East end as they 
 think proper.” 
 
 During the early days of the Society 
 of the First Parish of Topsham (about 
 1770), when it used to. be a meeting 
 house at the East end of the town, the 
 choir was large and was led for a time 
 by Mr. Nichols, an excellent singer and 
 a shoemaker in Brunswick. Afterwards 
 it was led by a Mr. Ripley, and later 
 by a Mr. Blanchard. There was no in- 
 
28 MUSIC AND MUSICIANS OF MAINE 
 
 strumental music, though in 1821 ad- 
 vocates of the use of a bass viol as an 
 accompaniment were unsuccessful in 
 introducing it into the church services. 
 
 About 1800 the first musical instru- 
 ment to be manufactured in Bangor 
 made its appearance. It was a violin, 
 or fiddle, conceded by the pious to be 
 the main instrument in a “Diabolical 
 orchestra.” As there was such a strong 
 sentiment against these “instruments of 
 Satan,” the work had to be slyly done. 
 The wood was seasoned in the oven of 
 the great grandfather of the Rev. Mark 
 Trafton; the strings were made of the 
 sinews of a moose, and spruce gum was 
 used in place of rosin. History does not 
 record its use nor its fate, but it ap- 
 pears quite certain that it was not used 
 in any of the churches of the day. 
 
 The first musical instrument to be 
 introduced in Augusta was in 1802, 
 when thirty-five dollars was raised “for 
 the purchase of a bass viol for the use 
 of the parish and building a box there- 
 for.” This instrument was played by 
 Stephen Jewett, and no doubt was the 
 subject of much criticism by the ultra 
 conservative people of the town. 
 
 The history of the Old First Parish 
 Church of Saco is replete in musical 
 memories. Even back in 1806 when, 
 with its one hundred and twenty-six 
 foot spire, in the belfry of which hung 
 the Paul Revere Bell, it had its row of 
 “singing seats” which were at first in 
 the form of a circlé behind the pulpit, 
 and it was but a little later that its 
 first organ was installed. On the day 
 of its dedication a mammoth tent was 
 erected and there was a feast at which 
 a whole ox was roasted and in which 
 the members of the Parish and the 
 choir participated. 
 
 The beginning of the nineteenth cen- 
 tury was marked by a great increase in 
 interest in music. | 
 
 During this period singing schools 
 were organized in many towns and 
 hamlets throughout New England, and 
 this afforded a large market for singing 
 books, which had been produced by 
 other publishers. 
 
 The Village Harmony and The Tem- 
 pli Carmina were very popular among 
 the people of Maine, as, in fact, they 
 were also in New York state and in 
 nearly all parts of Massachusetts. The 
 former was printed in Exeter, and on 
 its title page was noted the fact that it 
 was for sale by William Hyde, Port- 
 land, and Wm. F. Laine, Hallowell, 
 which would seem to indicate that the 
 publishers took cognizance of the fact 
 that these two cities were at that time 
 among the most prominent musical 
 centers in the district. The more cul- 
 tured had some time since become 
 aware that American made music of 
 that period failed to satisfy as did the 
 works of the composers of the old 
 world. An attempt had been made to 
 Americanize some of the old English 
 hymns by “revising” and “correcting” 
 
 from “genuine and unadulterated Eu- 
 
 ropean copies.” This attempt to ingra- 
 tiate these who objected to any thing 
 English in music brought forth a storm 
 of protest from those who had been 
 educated to the best in musical compo- 
 sition. 
 
 Containing as it did, in its later edi- 
 tions, many tunes of more than ordi- 
 nary worth, including quite a number of 
 Handel’s, a selection from his “Mes- 
 siah” and the chorus from Haydn’s 
 “Creation,” besides not a few anthems, 
 the Village Harmony became of great 
 value to the people of the District of 
 Maine, for they were thus brought in 
 contact with selections from some of 
 the very best old world compositions 
 in music, though it must be confessed 
 their opportunities for further extend- 
 ing their acquaintance among the works 
 
Merwe Or THE DISTRICT OF MAINE 29 
 
 of the great composers were extremely 
 limited. 
 
 The Templi Carmina, the publication 
 of which followed shortly after that of 
 The Village Harmony, was consider- 
 ably superior to its predecessor in many 
 respects. The selections were made with 
 discrimination, taste, and _ excellent 
 judgment, and so highly was it regard- 
 ed by the Handel and Haydn Society 
 of Boston that it received from them 
 a very flattering endorsement. 
 
 These two song books, The Village 
 Harmony and Templi Carmina were 
 used by the musical and church going 
 people of Maine for many years. 
 
 Another Maine psalm tune book ap- 
 pearing in 1805 was 
 The Columbian Harmony or Maine Collection 
 of Church Music in three divisions containing 
 first: — The rules of vocal music laid down in a 
 plain manner,— Second:—a large variety of 
 Psalm and Hymn tunes of various metres, suit- 
 able for divine worship, arranged in alphabetical 
 order,— Third:— Anthems, dirges, odes, and 
 choruses suited to any occasion. ‘The whole 
 completed for the use of schools, singing soci- 
 eties and worshiping assemblies. 
 
 This work contained one hundred 
 and fifty tunes, “part from the best 
 selections and part original.” 
 
 In this year (1805) yet another no- 
 table collection of tunes appeared. This 
 was called Northern Harmony and was 
 compiled by a Maine composer, Abra- 
 ham Maxim. The title page set forth 
 its contents as “being a collection from 
 the works of many approved authors 
 of Sacred Music, containing: 1. The 
 rudiments of music laid down ina plain 
 and comprehensive manner. 2. Psalm 
 and Hymn Tunes adapted to the vari- 
 ous meters in common use, together 
 with several anthems calculated for use 
 in Music Schools and Religious So- 
 cieties.” 
 
 This work proved so popular that a 
 second edition was issued in 1808 and 
 a third edition, corrected, improved 
 
 and enlarged in 1810. In 1816 another 
 edition was published and in this edi- 
 tion the name of Japheth Washburn 
 appears on the title page with that of 
 the original compiler. Abraham Max- 
 im was another composer who selected 
 names for his tunes from those of the 
 towns in Maine, and among the titles 
 to his numerous psalm compositions are 
 found, “Buckfield,” “Portland,” “Hal- 
 lowell,” “Sumner,” “Turner,” ‘“Hart- 
 ford,’ “Bath,” “Anson,” “Hanover,” 
 “Minott,” “Monmouth,” “New Dur- 
 
 * ham,” “North Yarmouth,” “Winthrop,” 
 
 and “Wiscasset.” 
 
 Northern Harmony was not, how- 
 ever, Abraham Maxim’s first venture 
 into the field of publication, for in 1802 
 he had issued Oriental Harmony, “be- 
 ing an Oriental Composition in three 
 parts. Part 1. The Rudiments of Mu- 
 sic and Rules for Learners. Part 2. 
 Psalm and Hymn Tunes of various me- 
 ters. Part 3. Anthems designed chiefly 
 for the use of singing societies and 
 worshipping assemblies.” 
 
 It is said of Abraham Maxim that he 
 was a man of more than ordinary abil- 
 ity and that he acquired a thorough 
 knowledge of the principles of music. 
 It is related of him that, when a young 
 man, he met with a deep disappoint- 
 ment in love. So discouraged did he 
 become that one day he decided to end 
 his wretched existence. ‘Taking a stout 
 rope he wandered into the nearby for- 
 est, fully determined to carry out his 
 irrational plan. Coming upon a desert- 
 ed logging camp he sat down to rest 
 and give the matter such consideration 
 as the seriousness of the occasion de- 
 served. On the roof of a lumber shack 
 was a lone sparrow lamenting the des- 
 ecration of her nest by an enemy-bird. 
 It was some time before the plaintive 
 call of the bereft sparrow made its im- 
 pression on the sub-conscious mind of 
 the despondent young man. Rising, he 
 
3u MUSIC AND MUSICIANS OF MAINE 
 
 started to write, on the white bark of a 
 large birch tree, a message to the one 
 on whom he had bestowed his unre- 
 quited love, in the hope that she might 
 somehow see it written there. The 
 words he began to inscribe seemed to 
 form themselves naturally into a verse, 
 which, when completed, ran this wise: 
 As on some lonely building top 
 The sparrow tells his moan, 
 Far from the tents of joy and life 
 I’ll sit and grieve alone. 
 
 A plaintive melody, reminiscent of 
 the sparrow’s lament, came to his mind, 
 and he soon had the words mated with 
 a fortunate musical setting. His interest 
 now being distracted from its original 
 intent, he began writing the voice parts 
 of the song which he found himself 
 composing, and he visioned the har- 
 mony of the whole as the parts would 
 be sung by his choir at the meeting 
 house in the town. His interest in life 
 returned, and, tossing the nearly fatal 
 noose into the bushes, he returned to 
 his home, filled with a new ambition. 
 Thus was this young man, destined to 
 become one of Maine’s most popular 
 hymn-writers in his time, saved from 
 self-destruction, and under thesestrange 
 circumstances was the good old tune, 
 “Hallowell,” written and composed. 
 
 Abraham Maxim wrote more than 
 fifty tunes. Among his numerous com- 
 positions were a number of the popular 
 melodies of the day, then known as 
 “the Continentals.” Tunes written by 
 this modest composer were to be found 
 in the hymn books of some of the 
 Evangelical churches more than a hun- 
 dred years after they were published, 
 and in the programs of the old Stough- 
 ton Musical Society, as late as 1926. 
 
 Another publication, compiled by Ab- 
 raham Maxim, and published in 1818, 
 was the Gospel Hymn Book, “Being a 
 
 Selection of Hymns (words only) com- 
 posed by different authors designed for 
 the use of the Church Universal and 
 adapted to Public and Private Devo- 
 tions.” 
 
 In a record found in an old pocket- 
 book, once belonging to him, is writ- 
 ten: “Plympton, County of Plymouth, 
 January 3d, 1773, Abraham Maxim 
 was born. ‘Turner, County of Cum- 
 berland, now Oxford, May Ist 1781, 
 Anna Merrill was born. 1801, Sept. 11. 
 
 _ They joined their hands in wedlock’s 
 
 bands.” 
 
 Meanwhile other collections of psalm 
 tunes, published by Maine people, had 
 appeared with more or less doubtful 
 success, though some met with a ready 
 sale. 
 
 In 1810 Daniel Hazeltine published 
 The Instructor in Martial Music, con- 
 taining rules and directions for drum 
 and fife, “with a select collection of 
 beats, marches, airs etc.” This is be- 
 lieved to have been the first instructor’s 
 
 book of instrumental music to be pub- 
 
 lished in the District of Maine. 
 
 The Musical Repertory, containing 
 “a collection of the most approved an- 
 thems and modern songs in four parts,” 
 made its appearance in 1811. This vol- 
 ume, published and sold at the “Hallo- 
 well Book Store, Sign of the Bible,” 
 was compiled by Ezekiel Goodale of 
 Augusta and published by Peter Edes. 
 
 The Parish Harmony or Fairfax Col- 
 lection of Sacred Music, “containing a 
 concise introduction to the grounds of 
 music,” and, “a variety of psalm tunes 
 suitable to use in divine services to- 
 gether with an anthem,” was published 
 by Japheth Coombs Washburn of Chi- 
 na, Maine, in 1813. This book was 
 printed for the author by C. Norris & 
 Co. of Exeter, N. H. 
 
 Songs of Zion, “being a collection of 
 hymns for the use of the pious of all 
 
Moers Or THE DISTRICT OF .MAINE 31 
 
 denominations,” was compiled by Mo- 
 ses Springer, Jr. (1796-1870?), a Gar- 
 diner clergyman in 1817, and success- 
 fully ran through a third edition. The 
 second (1818) bore the imprint of Gla- 
 zier Of Hallowell and was published by 
 E. S. Goodale of that town. The last 
 edition was issued under the title, Songs 
 of Zion or Maine Collection of Sacred 
 Music. This edition was published by 
 Hinckley & Norcross of Charlestown, 
 Mass., in 1830. 
 
 In 1817 another Maine publication 
 made its appearance. It was The 
 Hallowell Collection of Sacred Music, 
 and was printed and published by E. 
 Goodale at Hallowell. 
 
 This work, which was an exceptional 
 one, and of which a second edition was 
 issued in 1824, was compiled by S. Ten- 
 ney, assisted by two of the ablest men 
 in the state, Chief Justice Prentiss 
 Mellen and John Merrick, Esquire. 
 
 Among other hymn books then used 
 by the people of Maine were, The Sa- 
 lem Collection, Watt's, and Belknap’s 
 Psalms and Hymns, and The Ancient 
 Lyre, “a collection of Old, New and 
 Original Church Hymns under the ap- 
 probation of the Professional Musical 
 Society in Boston, arranged and com- 
 piled by Ch. Zeuner, organist of the 
 Park Street Church and to the Handel 
 and Haydn Society.” 
 
 The last was an excellent collection, 
 which, like most of those previously 
 noted, ran through several editions, and 
 because of its merit and the prestige 
 given it by the fact that it was com- 
 piled by so noted a musician, it came 
 to be in great demand by the best mu- 
 sical societies. 
 
 That the booksellers and music deal- 
 ers were not able during the first years 
 of the century to live by the sale of 
 psalm books alone may be judged from 
 this unique advertisement of Clark’s 
 
 Bookstore taken from a Portland paper 
 published in September, 1813: 
 Now in Press and will be published 
 in October next, a large edition of 
 Smith and Sleeper’s Harmonies. 
 Cash given for Rags and Junk. 
 
 In 1818 Japheth C. Washburn com- 
 piled The Temple Harmony. This vol- 
 ume of psalm tunes was published 
 jointly by E. Goodale of Hallowell and 
 the compiler. In the advertisement of 
 the work it was cited: “Music being 
 a delightful part of Christian worship 
 and eminently calculated to inspire the 
 heart with sentiments of pleasure and 
 devotion it is therefore very important 
 that societies should be furnished with 
 those well selected and as much as pos- 
 sible of the same kind in order that 
 they may with greater convenience 
 unite in the performance of the same.” 
 
 In this same year was advertised in 
 the Maine newspapers, besides a num- 
 ber of the works already enumerated, 
 several collections of melodies for vari- 
 ous instruments, which included, 4 
 Choice Collection of Flute Melodies, 
 A New and Highly approved Violin 
 Preceptor, A New and Complete Pre- 
 ceptor for the Fife, and The Complete 
 Fifers Manual. 
 
 It was in the year 1818, it will be 
 remembered, that the flag of the Union, 
 with its thirteen stripes and a star for 
 each state in the field of blue, was 
 adopted, and it was also in this year 
 that the British surrendered Eastport 
 to the United States, at which event 
 the red coats marched out, so the pa- 
 pers of the day state, to the tune of 
 “Yankee Doodle,” then in the height 
 of its popularity. 
 
 The Instrumental Director (1819) 
 “containing rules for all musical in- 
 struments” in common use laid down 
 in a plain and concise manner to which 
 is added “a variety of instrumental 
 music of the richest and most popular 
 
32 MUSIC AND MUSICIANS OF MAPHE 
 
 kinds extant,” proved to be a popular 
 work. This volume was printed in Hal- 
 lowell by Glazier, Marsters & Smith 
 and ran through a number of editions 
 of which the sixth was published in 
 1836. 
 
 Yet another collection of songs by 
 one of the early emigrants to Maine 
 was The Chorister’s Companion, com- 
 piled by Edward Hartwell, who settled 
 in Old Canaan on the South side of the 
 Kennebec River about 1780. With him 
 came his wife and three children from 
 their former home in Concord, Mass., 
 while seven more children were born 
 after they took up their residence in 
 Maine. 
 
 Though the town records of Skow- 
 hegan were destroyed by fire, among 
 the Skowhegan Historical Society’s col- 
 lection of valuable documents are still 
 preserved the Eben Weston papers, the 
 author of which was born in 1802. 
 
 Referring to the Hartwells, he says: 
 
 “They were a family of singers, and 
 Stephen played the bass-viol. Ben was 
 a carpenter and joiner, and married a 
 daughter of Uncle Solomon Steward.” 
 
 “Two daughters of Edward Hart- 
 well, Emmeline and Angeline were the 
 leading alto and soprano in the Con- 
 gregational church choir for several 
 years. Samuel, the youngest son had a 
 fine tenor voice, and taught singing 
 school with credit.” 
 
 “Edward Hartwell was a well in- 
 formed man, an extensive reader for 
 his time, and sarcastic and witty in his 
 peculiar fashion. He was called a good 
 singer, though not so good as his son 
 Samuel, and he had a better knowledge 
 of music than any in the region around. 
 He compiled a singing book, which 
 contained some of his own composi- 
 tions.” 
 
 “His book was the first to introduce 
 tunes not strictly of a religious char- 
 acter. Among these was the ‘Indian 
 
 Philosopher’ with words not at all de- 
 votional. But it was afterwards adopted 
 by some more popular books of church 
 music, by the name of ‘Ganges.’” Words 
 by Charles Wesley were set to this old 
 air which has survived for more than 
 a century. 
 
 Edward Hartwell was born in Lun- 
 enberg, Mass., August 20, 1747. His 
 music book, which was written after he 
 came to Maine, contains a number of 
 psalm tunes named after neighboring 
 towns and localities. Among these are 
 “Norridgewock,” “Orrington,” ‘“Corn- 
 ville,’ “Union,” “Shiloh,” “Anson,” 
 “Mountain,” and “Skowhegan,” all but 
 one of which were set to Watts’ lyrics. - 
 Other tunes were named “Adoration,” 
 “Ashford” and “Tribunal.” 
 
 Part II of this volume contained “A 
 Variety of Valuable and Entertaining 
 Psalm Tunes, Odes and Anthems for 
 use on Particular Occasions, a Number 
 of which Were Never Before Pub- 
 lished,” among which were: 
 
 Anson, C. M. Hymn 8 b. 3. —Watts 
 
 Cowper, L. M. Words by Cowper 
 
 Mountain, C. M. 
 
 Wedlock, Words from Watts’ Lyric Poems 
 
 The Indian Philosopher. Words from Watts’ 
 
 Lyric Poems 
 Capernaum, P. M. M.H. Book 
 Emmaus (recitative) 
 
 Nativity, Words from Watts’ Lyric Poems 
 Salutation Hymn 18, B. 1 Watts 
 
 Self Consecration, Watts’ Lyric Poems 
 Compliance, Hymn 24 & 50 B, 2 Watts 
 Creation, C. M. Watts’ Lyric Poems 
 Skowhegan, Watts’ Lyric Poems 
 Independence (Psalm 18) — Watts 
 
 The Conquerors Song, to be sung on the Fourth 
 of July, in remembrance of the American Vic- 
 tories gained over two British Armies, viz. — 
 General Burgoyne and his whole army Oct. 
 1777 and Lord Cornwallis and his whole army, 
 Oct. 1781. 
 
 Chorazin, C. M. Hymn 62, B. 2— Watts 
 The hymn was made in a great sudden storm 
 of thunder, August the 2oth, 1697. 
 
 Southwick, C. M. Psalm 14th, 2d part—Watts — 
 by S. Hartwell 
 
 Morning Song, C. M. Watts by S. Hartwell. 
 
foo OF THE DISTRICT OF MAINE 33 
 
 Among the hymns, odes and an- 
 thems which the book contains are a 
 number by Billings, Holden, Dr. Arne, 
 S. Chandler and others. 
 
 The title page of the Hartwell book 
 reads as follows: 
 
 The Chorister’s Companion — containing — A 
 concise introduction to the grounds of Music — 
 A variety of plain Psalm Tunes and Occasional 
 Pieces,— Original and Selected,— in Two Parts 
 —I. An Introduction to the Grounds of Music 
 and a variety of Tunes suited to all the Metres 
 — Now Used in the American Churches,— II. 
 A variety of Anthems, Odes and Occasional 
 Pieces. By Edward Hartwell—Exeter—Printed 
 by C. Norris and Co. for the Author. Sold by 
 the Booksellers in the New England States, 1815. 
 
 The advertisement is dated Bloom- 
 field, November, 1815. The book con- 
 tains 15 pages of instruction. Part I, 
 90 pp. Part II, 91-166. There is also 
 an index of tunes, odes, anthems. 
 
 Solomon Steward, whose daughter 
 
 Mary married Benjamin Hartwell, was 
 the head of another musical family. 
 ‘ Mary Steward, who had a voice of 
 unusual quality, and her sister Zilpha, 
 who never married, were both singers 
 in the old meeting house which was 
 erected in Bloomfield in 1788 and was 
 later demolished. 
 
 There is much in Edward Hartwell’s 
 life of more than musical interest, since 
 he was one of the original minute men 
 at Lexington and participated in the 
 Battle of Bunker Hill and other events 
 of the Revolutionary War, to which he 
 contributed eight months of service. 
 He died in 1844. 
 
 Among the very first residents of 
 Skowhegan were a number who were 
 distinguished for their musical knowl- 
 edge and ability. To Eben Weston this 
 generation of musicians is indebted for 
 a description of the first music of which 
 there is any record in Skowhegan. 
 
 At first, church services were held in 
 the homes of the inhabitants of the 
 town. Afterwards a meeting house was 
 built in 1788. The sacred edifice, the 
 
 first in the town, occupied part of the 
 enclosure afterwards used as a grave- 
 yard and known as the Bloomfield 
 Cemetery. A parade ground, on which 
 the militia drilled, occupied the land 
 adjoining it. 
 
 In the Eben Weston papers it is 
 stated that the first singers in the old 
 meeting house were Joseph Emery, Mr. 
 Noyes,: and Joshua Jewett. Solomon 
 Steward, Jr., led the singing there, and 
 afterward, for several years, in the Bap- 
 tist Church. 
 
 “I well remember, when I was a 
 boy,” he writes, “seeing ‘Uncle’ Joe 
 Emery, who was the leader, a Mr. 
 Noyes, who sung counter, and Joshua 
 Jewett, bass standing up to sing in the 
 broad aisle near our pew, and making 
 the house ring with ‘Sherbourne’ or 
 ‘Complaint,’ or some of those old fugue 
 tunes. I thought it was very fine music. 
 
 ‘oe. 3 joseph Emery (born. 1757) 
 lived on the road toward Bigelow Hill. 
 He was the leading singer in Canaan 
 in early times, and was esteemed a 
 good singer of old-time music in old- 
 time style. The air was always sung 
 by male voices also the counter, except 
 that Mrs. Ben Hartwell sometimes sung 
 it an octave lower than it was set, since 
 she was a soprano singer. This con- 
 tinued till George Bixby kept a singing 
 school in the old Academy in 1820, 
 when new books and a new style was 
 introduced, the parts assigned as at 
 present; the counter became alto, and 
 the treble became tenor.” 
 
 In the twenties Mrs. Timothy Drew 
 played the bass viol in the first church 
 built in Bloomfield in 1788—a most 
 unusual circumstance —and it is not 
 unlikely that she was the only woman 
 instrumentalist in any church in New 
 England during that period when wom- 
 en’s activities were closely restricted by 
 the bonds of conventionality. 
 
 Charles Robbins, a cabinet maker 
 
34 
 
 who lived in Winthrop, was another of 
 Maine’s early composers. He wrote 
 both words and music that may be 
 found in the old psalm-tune books of 
 his day. He was the son of Luther 
 Robbins who came to Greene from 
 Hanover, Mass., in 1788 and who rep- 
 resented Maine at the General Court 
 of Massachusetts for many years. 
 
 Though not so closely identified with 
 music as with literary matters, it is 
 said that Nathaniel Deering of Port- 
 land “wrote a few tunes” and that the 
 Longfellows were a musical family. 
 
 Samuel Longfellow in his diary writes 
 that in 1817, “in the home there were 
 books and music” and “in the home 
 parlor the sister’s piano had replaced 
 the spinet of his mother’s youth. “The 
 Battle of Prague,’ ‘Governor Brook’s 
 March,’ ‘Washington’s March,’ and 
 other music of the period were familiar 
 and to such songs as ‘Henry’s Cottage 
 Maid,’ ‘Brignal’s Banks,’ ‘Bonnie Doon,’ 
 ‘The Last Rose of Summer,’ ‘Oft in the 
 Stilly Night,’ Henry lent his voice and 
 the training of the singing school, while 
 the lessons of the dancing class were 
 repeated in the parlor to the tunes of 
 ‘Money. Musk,’ ‘The Haymakers,’ and 
 ‘The Fisher’s Hornpipe.’ ” 
 
 In the Sunday evening devotions 
 were always included the singing of 
 one or more simple familiar hymns — 
 “St. Martin’s,’ “Dundee,” “Brattle 
 Street,” or some other generally chosen 
 from the Bridgewater Collection. 
 
 Zilpah Wadsworth came to the Wads- 
 worth-Longfellow Mansion (built 1784- 
 1786) when she was seven years of age 
 and it is written of her that “she was 
 fond of poetry and music, and in her 
 youth, of dancing and social gayety.” 
 
 Henry Wadsworth Longfellow be- 
 came quite an accomplished flutist and 
 it was said of him that he charmed the 
 birds in the garden back of his Con- 
 gress Street home by his playing. 
 
 MUSIC AND MUSICIANS OF MAINE 
 
 The poet, throughout his life, was a 
 lover of music, and some of his refer- 
 ences to music both in his prose and 
 poetical writings are frequently quoted, 
 but perhaps none more often than his 
 translation from the German of We- 
 ber’s “Music is the universal language 
 of mankind”; or his lines beginning, 
 “Still heard in his soul the music of 
 wonderful melodies,” from “The Day 
 
 is Done”; while his poems “The Sing- - 
 
 ers” and “The Arrow and The Song,” 
 have been recited times without num- 
 ber by children in the public schools 
 throughout the country. 
 
 Commander Alexander Scammel 
 Wadsworth (1790-1851) brother of the 
 mother of the Poet Longfellow, was 
 one of those who received his musical 
 education in Maine. He served with 
 distinction as Lieutenant under his 
 friend and neighbor Commodore Preble 
 on the old “Constitution” at Tripoli 
 and was second in command when the 
 British frigate “Guerriere” struck her 
 flag to that much revered vessel. He 
 passed his later years in Washington 
 where he continued his interest in mu- 
 sic until his death. 
 
 The people of New England, in this 
 early period, were really hungry for 
 good music, and lectures on music 
 came to be quite the vogue. 
 
 On May 28, 1800, Dr. Samuel Emer- 
 son of Kennebunk delivered a lecture 
 on “Oratorio and Music” in Portland, 
 and in 1812 Dr. Ammi 
 
 several lectures in Portland and else- 
 
 where “On Sacred Music.” Other sub- 
 jects for Dr. Mitchell’s public appear-_ 
 ances were “Oratorio,” and “Beetho- — 
 ven.” He was devoted to his art. His © 
 
 death occurred in 1824. 
 
 A number of musical lectures of the 
 time found their way into print. Among — 
 
 these were “An Oration on Music; pro- 
 
 nounced at Fryeburg, before the Hans- 
 
 Ruhamah ~ 
 Mitchell of North Yarmouth delivered — 
 
 ee 7 va ri 
 
MUSIC OF THE DISTRICT OF MAINE 35 
 
 Gram Musical Society, on the first an- 
 niversary, October 10, 1811. By Oliver 
 Bray, Esq.,an honorary member, Port- 
 land; Printed by Arthur Shirley. 1812. 
 8 mo. pp. 21,” and, “An Address on 
 Music; delivered before the Handel 
 Society, Dartmouth College, August, 
 1809. On occasion of their anniversary. 
 By Francis Brown” (1784-1820), who 
 resided in North Yarmouth from 1810 
 to 1815. This book was published at 
 _ Hanover, N. H., and was printed by 
 Charles and William J. Spear in 1810 
 (8vo. pp. 23). 
 
 Oliver Bray was prominent in ma- 
 sonry and music. He became Past 
 Master of the St. Albans Lodge of Ma- 
 sons of Guilford, Connecticut. 
 Musical societies were formed in 
 many parts of the State for the study 
 of serious music, and music of a relig- 
 1ous nature. 
 
 The principal musical centers in 
 Maine, then, appeared to be Augusta, 
 Biddeford, Fryeburg, Hallowell, Bath, 
 Brunswick, Bangor, China, Wiscasset, 
 Gardiner, South Paris, Norway, and 
 Portland, and some of the towns in the 
 Kennebec Valley. 
 
 Musical instruments were rare. The 
 Second Parish Church, on the corner of 
 what is now Middle and Vine Streets, 
 Portland, in 1798 boasted the first 
 church organ to be used in any church 
 in that city and Nicholas Blaisdell, who 
 became its organist, was voted a salary 
 of twenty-five dollars per year. 
 
 The Rev. Elijah Kellogg describes 
 the music as rendered in the Second 
 Parish Church, prior to the purchase 
 and installation of their first organ, as 
 follows: “At first there was no instru- 
 ment except the base viol. The choris- 
 ter, conscious of the dignity of his office 
 would rise with solemn air and run up 
 the scale, beating time with his hand, 
 and lift the tune. My father who had 
 been a drum major in the Continental 
 
 Army and was extremely fond of in- 
 strumental music introduced the cornet 
 and clarinet in addition to the base viol 
 in the Second Parish Church.” 
 
 The clarinet, or clarionet as it was 
 then called, and bass viol continued to 
 be used in some of the churches as the 
 least offensive means of accompani- 
 ment, though most of the meeting 
 houses still clung to the old pitch pipe 
 and chorister as their only means of 
 musical assistance. 
 
 The First Parish Church, at this 
 time, was using a bass viol as its only 
 instrument of accompaniment. ‘ 
 
 At this period the old fashioned sing- 
 ing schools flourished and furnished a 
 means of musical education as well as 
 a measure of entertainment. John Fair- 
 banks, one of the first singing masters 
 in Rockland, taught there in 1787. 
 
 Abial Briggs, who moved to Gorham 
 as early as 1780, came to be known as 
 a musician-farmer. General Irish of 
 that town, in 1790, engaged Mr. Briggs 
 “to keep a singing school” in his fa- 
 ther’s house and paid him in corn and 
 pork. Mr. Briggs married Lucy Per- 
 kins of Gorham and about 1800 moved 
 to Portland where his last days were 
 spent. 
 
 In 1816 P. Lewis, “professor of mu- 
 sic,’ taught the organ, pianoforte, vi- 
 ola, clarionet, flute and other instru- 
 ments in Portland. He resided over 
 Patten’s Book Store. 
 
 In November, 1817, William Davis 
 opened “a school for the instruction of 
 Ladies and Gentlemen in the rules of 
 singing” at Portland, and in the year 
 following N. Tenney opened a singing 
 school in Hallowell, “for the purpose of 
 giving instruction in Sacred Vocal Mu- 
 Sie 
 
 Even singing schools, however, were 
 looked upon askance by some of those 
 who were entrusted with the bringing - 
 up of the young people of Maine in the 
 
36 MUSIC AND MUSICIANS OF MAINE 
 
 ASSEMBLY HALL, KING STREET, WHERE DRAMATIC AND MUSICAL ENTERTAINMENTS WERE GIVEN AS 
 EARLY AS 1794 AND WHERE OPERA WAS PERFORMED FOR THE FIRST TIME IN PORTLAND. FROM A PHO- 
 TOGRAPH TAKEN BY THE AUTHOR IN 1927. 
 
 early days. Josiah Pierce’s History of 
 Gorham is authority for the statement 
 that the “scholars” at the Gorham 
 Academy about 1810 “‘were prohibited 
 from attending music or dancing 
 schools.” 
 
 Musical entertainments of a secular 
 nature were rare, and the drama was 
 wholly unknown in Maine previous to 
 the Warvof the Revolution. 
 
 The first theatrical presentation in 
 Portland was made during the evening 
 of October 7, 1794, at “the Assembly 
 Room,” which had been fitted up on 
 the second floor of a two and a half 
 story frame building on King [India] 
 Street, when a comedy, “The Lyar,” 
 and a farce entitled, ““The Modern An- 
 tiques or the Merry Mourners,” was 
 performed by Mr. and Mrs. Powell and 
 their company. Between the acts a 
 song entitled “The Learned Pig,” was 
 sung “with much success” by “Mr. 
 Jones,” a member of the cast. Six days 
 
 later Arnold’s comic operetta, “Incle 
 and Yarico,” was performed by the 
 same company. This was probably the 
 first performance of any opera in the 
 State of Maine. | 
 In 1796 a very young singer made 
 her appearance at the New Assembly 
 Hall, as this room was afterwards 
 named. This was not, as some are in- 
 clined to believe, her first stage appear- 
 ance, for that had been made earlier 
 in the year at Boston. Her sweet voice, 
 as she sang between curtains, won for 
 her many friends and she became a 
 general favorite with the Assembly 
 Hall patrons. This child, for she was 
 scarcely more than nine years of age, 
 destined to become the mother of one 
 of the greatest literary celebrities of his 
 age, Edgar Allan Poe, was the daughter 
 of the leading lady of the company by 
 her first husband and bore the name of 
 Elizabeth Arnold. Her vocal contribu- 
 tions to the program included the pop- 
 
 i 
 
MusetCoOF THE DISTRICT OF MAINE 37 
 
 ular songs of the day, two of which 
 were “The Market Lass” and “Listen 
 to the Voice of Love.” 
 
 The sentiment in Portland was de- 
 cidedly against theatrical productions, 
 in any form, and after a few weeks of 
 doubtful success, the company closed 
 its engagement in January,1797. Atthe 
 final appearance of the company, Miss 
 Arnold recited an epilogue, written for 
 her by Hon. James Deering, a gentle- 
 man of the town: 
 
 Tho’ now I like a bird of passage fly 
 When Phoebus’ rays with stronger ardor burn 
 With still stronger ardor shall I seek return, 
 
 Then may I hope at a maturer age, 
 Indulged by you, to tread the Portland Stage. 
 
 The leading parts in the operas were 
 sung by Mrs. Tubbs (Miss Arnold’s 
 mother), Mr. Tubbs, the manager, Mr. 
 Clapham and Mr. Partridge, while 
 minor parts were taken by aspiring 
 amateurs of the town. Mrs. Tubbs, 
 formerly of the Theater Royal, Covent 
 Garden, London, was a young and tal- 
 ented actress and a captivating singer. 
 
 Nearly all the programs were divided 
 into two or more parts, which generally 
 opened up with a tragedy and closed 
 with an operetta. 
 
 Among the operettas and comic op- 
 eras presented in Portland before 1805 
 were, “Babes in the Wood” (1789), 
 Storace’s “No Song, No Supper” 
 (1799), “The Highland Reel” (1804), 
 Shield’s “The Poor Soldier” (1804). 
 
 Each company brought its own pi- 
 ano, which was shipped from Boston 
 to Portland by packet. 
 
 On November 10, 1794, a concert 
 Was given in the Assembly Room by 
 Mr. Boullay, “master musician.” At a 
 concert in this hall in May, 1800, it is 
 noted that the orchestra was com- 
 posed of a clarinet, French horn, piano, 
 violin and hautboy. 
 
 The old building in which the As- 
 sembly Hall was located was built in 
 
 ELIZABETH ARNOLD POE, MOTHER OF EDGAR ALLAN 
 POE, WHO, AS ELIZABETH ARNOLD, AT THE AGE OF 
 NINE, CHARMED PORTLAND AUDIENCES ~ (1796) 
 WITH HER SINGING AT THE OLD ASSEMBLY HALL 
 ON KING STREET. FROM AN OLD PRINT. BY PER- 
 MISSION OF DR. APPLETON MORGAN, NEW YORK. 
 
 1793 by Nathaniel Coffin, 2nd, a Port- 
 land physician, and was still standing, 
 though in a state of semi-ruin, in 1928. 
 The Assembly Room on the second floor 
 had a floor space of about twenty- 
 seven by thirty-five feet and at either 
 end was a large fireplace. The stage 
 was at the back of the room with an 
 arch of about fifteen feet in width and 
 about nine feet deep. Between the 
 stage and the fireplaces the remaining 
 space accommodated about seventy- 
 five people when packed to capacity. 
 In December, 1805, a New Museum 
 of Wax Works at Stephen Lee’s Tav- 
 ern, Free Street, Portland, was adver- 
 tised with “Music on the Organ.” 
 Secular concerts and entertainments 
 by visiting artists were being given in 
 Union Hall, Portland, as early as 18109. 
 
38 MUSIC AND MUSICIANS OF MAINE 
 
 The Massachusetts legislature of 
 1806 had enacted its “blue laws” re- 
 garding the performance of dramatic 
 works, so for a while dramatic com- 
 panies visiting this section had to be 
 satisfied with giving “Moral and En- 
 tertaining Amusements” in place of 
 dramas, melodramas and comedies. 
 
 The first mention of any musician 
 in the history of Bath is contained in 
 the statement of an unusual incident 
 relating to the origin of the name of 
 Fiddler’s Reach, an elbow of the Ken- 
 nebec River at the lower extremity of 
 Long Reach. 
 
 Some years before Maine became a 
 State a little party of explorers were 
 aboard a sloop which entered the mouth 
 of the Kennebec River. As the boat 
 passed through the head of the river, 
 the small body of men on board be- 
 came jubilant when this “reach” of 
 water four miles in extent came into 
 view. Among them was a fiddler who 
 grew so enthusiastic that he went out 
 on the bowsprit to play a tune, when, 
 it is so related in the log of the vessel, 
 “At that time the wind slat the jib and 
 knocked him overboard and he was 
 drowned.” 
 
 While Bangor was probably the first 
 town in the State to be named for a 
 musical composition, the settlement of 
 Mackville (now Blue Hill) appears to 
 have been the first to be named for a 
 musician. Old Peter McFarland, the 
 town fiddler, a unique character of the 
 early days in that section, seems to 
 have been thus honored. It does not 
 appear that he was skilled in the clas- 
 sics but his popularity among the friv- 
 olously inclined was unequalled in 
 Hancock County. 
 
 The Handei Society of Maine 
 
 With the birth of the Handel and 
 Haydn Society in Boston in 1815 a 
 new era of Music was begun in New 
 
 England. The influence of this society 
 on the taste for cultural music was re- 
 flected in Maine by the forming of the 
 Handel Society of Maine. 
 
 The first official notice regarding the 
 Handel Society of Maine appeared in 
 the Portland Gazette of January 17, 
 1814. 
 
 The members of the Handel Society of Maine 
 are hereby notified that their first meeting will 
 be holden in Portland on Thursday, the third 
 day of February next at 10 o’clock A.M. in the 
 Chamber over the Portland Bank. A general 
 attendance is requested not only for the purpose 
 of musical performance, but the choice of officers 
 and the adoption of necessary regulations. 
 
 January 19. (unsigned) 
 
 An editorial in the same paper of 
 February 7, 1814, under the headline 
 “Handel Society,” said: 
 
 On Thursday last the Handel Society of Maine 
 held their first meeting in Portland for the or- 
 ganization of the Society. We understand it 
 consists of Gentlemen in various parts of the 
 District, whose object in associating is to pro- 
 mote a taste for correct, refined & Classical & 
 Church Musick. 
 
 John Merrick of Hallowell was chosen Presi- 
 dent;— John Watson of Portland, Secretary; 
 Horatio Southgate, Esq. do. Treasurer; Prentiss 
 Mellen, Esq. Vice President of the Section in 
 Cumberland; Dr. Samuel Emerson, do. do. York; 
 Mr. John Eveleth, Vice-President, do. do. Ken- 
 nebeck; and Professor Abbott, do. do. Lincoln. 
 
 Messrs. Merrick, Mellen, and Southgate were 
 the Standing Committee to superintend Musical 
 publications proposed by any member of the 
 Society. ; 
 
 From 1716 to 1760 the entire Dis- 
 trict of Maine from the Piscataqua to 
 the St. Croix Rivers was embraced 
 under the County of York. In 1760 
 Cumberland and Lincoln Counties were 
 established; and then, Lincoln County 
 included all the land east of the An- 
 droscoggin River. Kennebec County 
 was set off in 1799, from the northerly 
 part of Lincoln County, so it will be 
 seen that it was the intention of the 
 Handel Society of Maine to have each 
 county in the State represented by a 
 Vice President. | 
 
The scope of the Handel Society was 
 wide, but there is little of record re- 
 garding it. It was still in existence as 
 late as 1817 and may have been for 
 some time after that date. 
 
 Its semi-annual meetings were gen- 
 erally held at Bowdoin College in Sep- 
 tember and March of each year. It may 
 have been that the proposition was too 
 ambitious in design—this attempt to 
 include the whole state in a great so- 
 ciety of this kind at that time — or it 
 may have been that the professional 
 demands on the time of these gentle- 
 men may have precluded the possibility 
 of their giving the enterprise that at- 
 tention needful to its continued suc- 
 cess, or, what is more likely, it may 
 have been that the limited resources of 
 the majority of those who composed 
 the singing body (if indeed there was 
 one) of the organization, coupled with 
 the difficulties of traveling over roads 
 that were almost impassible for a con- 
 siderable portion of those seasons of 
 the year that are most propitious for 
 gatherings of such a nature, made the 
 project an impractical one for that 
 period. 
 
 Inquiries at the State Houses at Au- 
 gusta, and at Boston, fail to reveal that 
 the Handel Society of Maine was ever 
 incorporated as a society, and so far as 
 known there are no papers of incorpo- 
 ration of record either at the Cumber- 
 land County, Kennebec County or York 
 County Registry of Deeds. 
 
 Neither does there appear to be any 
 records of the society at the Maine His- 
 torical Society, at Bowdoin College, or 
 at any of the other historical societies 
 and libraries in the state. 
 
 A careful search of the files of the 
 newspapers of Portland and Hallowell 
 from 1814 to 1818 has not brought to 
 light any notice or advertisement of 
 any performance by the society, though 
 this would not necessarily mean that 
 
 Sec OF THE DISTRICT OF MAINE 39 
 $$ eee 
 
 JOHN MERRICK, FIRST PRESIDENT OF THE HANDEL 
 SOCIETY OF MAINE (1814). FROM A PHOTOGRAPH 
 OF A PAINTING BY C. L. ELLIOTT (1856) LOANED 
 BY MISS ANNIE F. PAGE, HALLOWELL, 
 
 none was given, for many of the events 
 of this period depended for their pub- 
 licity on the distribution of what was 
 then known as “small bills” on which 
 was printed the announcement. These 
 were tacked up on trees or posted in 
 other conspicuous places as was the 
 custom of the times. Of the men who 
 were sponsors for the Handel Society 
 of Maine, fortunately much has been 
 recorded for they were all men well up, 
 if not at the very top in their respec- 
 tive callings. 
 
 Of John Merrick, the first President 
 of the Handel Society of Maine, a brief 
 sketch will be found in the early part 
 of this chapter. 
 
 Chief Justice Prentiss Mellen (1764- 
 1840), Vice President of the Handel 
 
40 MUSIC AND MUSICIANS OF MAINE 
 
 PRENTISS MELLEN, VICE PRESIDENT OF THE HAN- 
 DEL SOCIETY OF MAINE (1814). FROM A PORTRAIT 
 BY JOSEPH B. KAHILL IN THE FEDERAL COURT- 
 HOUSE AT PORTLAND. BY COURTESY OF THE ART- 
 IST. 
 
 Society of Maine, was the eighth of 
 nine children born to the Rev. John 
 Mellen of Sterling, Mass., in which 
 town he was born. His mother was Re- 
 becca Prentiss, daughter of Rev. John 
 Prentiss of Lancaster. He received his 
 degree at Harvard in 1784, and was a 
 classmate of John Abbott, long a pro- 
 fessor at Bowdoin. He practiced law in 
 Biddeford; in 1804 he was appointed 
 Chief Justice. He was a member of the 
 Executive Council in Massachusetts in 
 1808, 1809 and in 1817; was delegate 
 at large to the Presidential election in 
 1816, and represented Massachusetts 
 in the Senate in 1817. He married Miss 
 Sallie Hudson of Hartford, Conn., in 
 May, 1795. Miss Hudson was a very 
 accomplished young lady and it was 
 
 her musical talents that were said to 
 have first attracted his attention. Six 
 children were born to them, all in Bid- 
 deford. Judge Mellen died at Portland. 
 
 John Abbott, Vice President of the 
 Handel Society of Maine, eldest son of 
 Capt. John Abbott and Abigail Abbott 
 of the Rowley line, was born at An- 
 dover in 1759. He was described as “a 
 scholar, a gentleman and a Christian.” 
 He studied at the Andover School, 
 graduated at Harvard in 1784, taught 
 at Phillips Academy, Andover, about 
 three years, and was tutor at Harvard 
 1787 to 1792. He studied for the Di- 
 vinity, but, on account of ill health, 
 was unable to preach, and so engaged 
 as cashier in one of the banks in Port- 
 land. In 1802 he was made Professor 
 of Ancient Languages and Classical 
 Literature at Bowdoin College and held 
 that place for fourteen years, during 
 the first three years of which he was 
 the only professor at that institution 
 of learning. When he resigned in 1816 
 or 1817 he was appointed trustee and 
 treasurer and was a member of the 
 faculty for about twenty-five years. In 
 1794 the college was granted five town- 
 ships. One of Professor Abbott’s duties 
 was to look after this property. It was 
 wild land and during his surveys he 
 would be for weeks at a time in the 
 trackless forests. The town of Abbott 
 in Piscataquis County, it is stated, was 
 named for him. He was noted for his 
 benevolence and tenderness in regard 
 to others. He died at Andover, July 2, 
 18437 
 
 Dr. Samuel Emerson, Vice President 
 of the Handel Society of Maine, settled 
 in Kennebunk and practiced medicine 
 there all his life. He was devoted to 
 music, was proficient on the organ, sang 
 tenor and played the bass viol and the 
 cornet in the Parish Church Choir. He 
 was also President of the York County 
 Musical Association and was an orator 
 
 ee a 
 
MeoeotouwFE THE DISTRICT OF MAINE 41 
 eo 
 
 on many occasions. He wrote little pa- 
 
 pers on music for the Village Visiter of . 
 
 Kennebunk, printed about 1820. When 
 LaFayette went to Kennebunk on his 
 way to Saco in 1825 Dr. Emerson 
 “drummed” in the parade, and was 
 Chairman of the Committee of Arrange- 
 ments on that auspicious occasion. He 
 had enlisted as a drummer boy in the 
 Revolutionary War at the age of eleven 
 or twelve, and was then exceptionally 
 large for his age. He died in 1851 at 
 the age of eighty-six. 
 
 John Eveleth, Vice President of the 
 Handel Society of Maine, came from 
 Stow, Mass., in about the year 1800 
 and settled in Augusta, where he first 
 formed a mercantile partnership with 
 John Brooks. He afterwards became 
 associated with Greenwood C. Child, 
 and later with John H. Hartwell, under 
 the firm name of Eveleth and Hartwell. 
 He was, for many years, a deacon of 
 the South Parish Church. The man- 
 sion which he built at the junction of 
 State and Western Avenues, and oc- 
 cupied during his life time, became a 
 hotel, known as the Central House. 
 Deacon Eveleth married Sarah Hall of 
 Harvard, Mass. He died at the age of 
 seventy-six in March, 1848. 
 
 Horatio Southgate, the Treasurer of 
 the Handel Society of Maine, was Reg- 
 
 ister of Probate in Portland for twenty- 
 one years. In 1823 he lived on Pleasant 
 Street, near Ann Street (afterwards 
 called Park St.), in that city. 
 
 Following shortly after the birth of 
 the Handel Society of Maine came the 
 organization of the Hancock Musical 
 Association. 
 
 What is thought to have been the 
 first notice of a meeting of this asso- 
 ciation appeared in the Bangor Week- 
 ly Register, January 8, 1818: 
 
 The members of the Hancock Musical Asso- 
 ciation are hereby notified that a special meeting 
 will be held at the dwelling house of the Rev. 
 Jonathan Fisher, in Bluehill, on the second 
 Tuesday of February next at ten o’clock A.M. to 
 take into consideration any matters which may 
 interest the society. Signed by order of the 
 president, Allen Gilman, secretary. 
 
 No records have been found that 
 would indicate the length of time that 
 this old musical society existed, but it 
 is believed that it was organized in 
 1816. 
 
 Whatever of glory was Maine’s in 
 her achievements in music, previous to 
 1820, she must share with Massachu- 
 setts of which she was then a part, but 
 on March 15, in that year, Maine was 
 admitted to the Union; another star 
 was placed in the firmament of blue in 
 the banner of America; and here the 
 real history of music in the State of 
 Maine begins. 
 
CHAPTERS 
 
 Tue Music or THE STATE OF MAINE 
 
 First Pertop 1820-1835 
 
 From north to south, from sea to sea, 
 
 State of Maine, my State of Maine, 
 Thy name shall ever honored be, 
 
 State of Maine, my State of Maine, 
 So guard it from all wrong decree, 
 Let there be none from blot more free 
 In this sweet land of liberty, 
 
 State of Maine, my State of Maine! 
 
 The Beethoven Musical Society 
 of Portland 
 
 N 1805 there had come to Portland 
 from Dorchester, Mass., at the in- 
 
 vitation of Rev. Elijah Kellogg, the 
 young pastor of the Old Second Parish 
 Church, a man to whom Portland owes 
 more for its early musical progress than 
 to any other. This was Edward Howe, 
 a cultured gentleman and a thorough 
 musician. His advent was unheralded 
 and his announcement, in the Eastern 
 Argus, of November 8 of that year, 
 modestly set forth that he “Respect- 
 fully informs his friends and the public 
 that he has taken the store owned by 
 Gen. Wadsworth, near the hay scales, 
 [now Monument Square] where he 
 proposes carrying on the upholstery 
 business in all its branches viz; stuffing 
 sofas, easy lolling and parlor chairs, 
 etc.” 
 
 On taking up his residence in Port- 
 land Mr. Howe became choir leader 
 and tenor singer at the Second Parish 
 Church. Among his accomplishments 
 he played the clarinet. He was an ar- 
 dent admirer of Beethoven’s music 
 and, having practiced under the lead- 
 ing choral conductors of the Common- 
 wealth, he was familiar with the music 
 of the principal oratorios of the period, 
 in a number of which he had appeared 
 
 42 
 
 as soloist in the tenor roles. His ability 
 to read music, rapidly and accurately, 
 won for him the respect and admiration 
 of the musicians of his day, and he 
 soon became the acknowledged leader 
 in Portland’s musical affairs. So great 
 an influence did he exert on the musical 
 life of the city of his adoption that the 
 beginning of Western Maine’s future 
 greatness, musically, can be dated from 
 the hour that he arrived to take up his 
 residence in the Forest City, for in 
 the year eighteen hundred and nine- 
 teen, while the Province of Maine, in 
 common with the other Provinces, Ply- 
 mouth, Acadia, and Sagadahoc, : were 
 still component parts of “The Royal 
 Province of Massachusetts Bay,” 
 through his efforts, there was organ- 
 ized what was, without doubt, the first 
 successful society for the serious study 
 of sacred music ever formed at Port- 
 land, and the first to bear the name of 
 Beethoven in America. 
 
 The Handel and Haydn Society, as 
 has been noted, had been organized in 
 Boston four years earlier and had 
 given its first complete presentation of 
 an oratorio in 1818. 
 
 Not a few of the people who had 
 come to Maine from Massachusetts 
 had been affiliated with this associa- 
 tion, and it was a natural consequence 
 that an effort should be made, by these 
 lovers of classical and sacred music, to 
 organize a similar society in the prin- 
 cipal city of Maine. 
 
 New Hampshire had already made © 
 
 a beginning in this direction and had 
 a well directed association of amateur 
 singers who gathered, annually, from 
 
 a ee ees ee 
 
MUSIC OF THE STATE OF MAINE~— 1820-1835 43 
 
 the various towns, at the assembling of 
 the legislature, to give a choral concert, 
 with instrumental and vocal ‘soloists 
 from the principal music centers of 
 New England. The study of the works 
 of Handel, Haydn, Mozart, Beethoven 
 and other great composers was earnest- 
 ly undertaken by these seekers after 
 musical knowledge. 
 
 The influence of the Handel and 
 Haydn Society was far reaching. Its 
 unusually excellent performances of 
 the works of the masters, the culture 
 of its members, the music which was 
 published through its aid, and under 
 its patronage, all contributed to aug- 
 ment the desire of members and officers 
 of other musical societies to excel in the 
 presentation of oratorio, and gave an 
 impetus to the study of classical music 
 which could have resulted from no 
 other agency. 
 
 In this year it was found that there 
 were enough good voices in Portland 
 to make it desirable to organize a cho- 
 rus, especially as quite a number had 
 acquired a sufficient knowledge of mu- 
 sic to read it fairly readily. 
 
 The society immediately began the 
 study of sacred music in the higher 
 forms. Following the lead of the Bos- 
 ton society in its efforts to present a 
 high order of music, they procured, 
 from that body, some of its publica- 
 tions, and other works published under 
 their direction, and endorsed by them, 
 and applied themselves to mastering 
 the intricacies of the numbers contained 
 in The Old Colony Collection of An- 
 thems (in two volumes), and the first 
 Volume of The Bridgewater Collection 
 of Sacred Music, as well as several 
 works of greater value which had been 
 produced by the parent society in Bos- 
 ton, under its distinguished director. 
 
 While their performance may have 
 lacked finish and the majority of their 
 untrained voices may have sounded 
 
 EDWARD HOWE, FOUNDER AND FIRST PRESIDENT OF 
 THE BEETHOVEN MUSICAL SOCIETY, PORTLAND 
 (1819), THE FIRST MUSICAL SOCIETY IN AMERICA 
 TO BEAR THE NAME OF THE GREAT COMPOSER. 
 
 harsh to a musical ear, it is said of 
 their singing that “in accuracy of time, 
 and in phrasing, they were entitled to 
 much credit.” 
 
 There must have been quite a few 
 good voices among them, however, for 
 a well-known local music critic of the 
 period stated that the solo and duet 
 numbers filled him with admiration. 
 
 The first officers of the Beethoven 
 Society were: President, Edward 
 Howe; Vice Presidents, Joseph Pope, 
 John Patten; Secretary and Treasurer, 
 Charles Morris; Trustees, John Patten, 
 Charles Morris and Hosea Ilsley. The 
 officers were the same in 1823. 
 
 One cannot but admire the courage 
 of these enthusiastic people in their 
 ambitious efforts to raise the standard 
 
44 
 
 OLD PORTLAND ACADEMY. 
 OF THE BEETHOVEN MUSICAL sociETY (1819). 
 FROM AN OLD WOODCUT. 
 
 FIRST MEETING PLACE 
 
 of music in this then far away seaport 
 town, which according to contemporary 
 reports, was, at that time, in desperate 
 need, musically. 
 
 In order to get a clear understanding 
 of the musical situation, at this period, 
 one should go back, in imagination, to 
 the beginning of the last century and 
 try to picture some of the difficulties 
 with which the inhabitants of old Fal- 
 mouth, as Portland was formerly called, 
 were struggling. 
 
 They’had passed through many vi- 
 cissitudes. Their town had twice been 
 destroyed by the Indians (in 1676 and 
 1690); in October, 1775, it had been 
 bombarded by Captain Mowatt in con- 
 sequence of which it had been nearly 
 eliminated from the map; it had hardly 
 begun to grow again when the embargo 
 
 MUSIC AND MUSICIANS OF MAINE 
 
 of 1807 followed by the war of 1812 
 came on, during which, though Maine 
 was at that time a part of the Royal 
 Province of Massachusetts Bay, it had 
 been left by the authorities of Boston 
 unprotected and practically at the mer- 
 cy of the enemy. The population could 
 not have been over three or four thou- 
 
 sand, judging by the census figures of © 
 
 the nearest dates available. Only a 
 small percentage of the people were 
 interested in the study of art or music 
 and they had, in fact, been able to find 
 little time for the development of the 
 finer talents with which they may have 
 been endowed; but notwithstanding 
 the conditions adverse to the cause of 
 music, locally, there was much that 
 came from the outside world to encour- 
 age and inspire. 
 
 The work of the Boston and New 
 York societies was an inspiration in it- 
 self, as well as an example, while the 
 friendly rivalry, between the different 
 musical societies of New England, did 
 much to keep the interest from flag- 
 ging. 
 
 Nor did they lack for exceptional 
 material to study and to enjoy. There 
 were the works of Handel, almost in- 
 comparable in their sublimity and gran- 
 deur; of Haydn, inspiring to a degree; 
 of Bach with their deep religious spirit; 
 of the divine Mozart with their burning 
 tenderness; and of Beethoven, greatest 
 of all instrumental composers, of whose 
 “Hallelujah, God’s Almighty Son” it 
 has been written that, “In all sacred 
 
 music it is difficult to find a choral 
 
 number which can surpass it in maj- 
 esty or power,” and for whom, with 
 rare discrimination, the members had 
 chosen to name their society. 
 
 A few copies of “The Messiah” and 
 “Creation” were owned by the mem- 
 bers of the Beethoven Musical Society 
 and selections from these works and 
 
 = a4 Piney ™ sts 
 a 
 
MUSIC OF THE STATE OF MAINE~— 1820-1835 
 
 from Beethoven’s “Mount of Olives” 
 were studied and sung in concert. 
 
 Although the Napoleonic Wars, with 
 their resulting embargoes, and the War 
 of 1812, had completely paralyzed 
 Portland’s industries and well nigh ex- 
 terminated the business interests of the 
 town, it had brought those, who had 
 become foolishly extravagant through 
 a period of nearly two generations of 
 unexampled prosperity, to serious re- 
 flection, and they had become disposed 
 to direct their attention to things more 
 durable than earthly riches, so that the 
 serious study of classical music was 
 eagerly undertaken by those musically 
 inclined. 
 
 The first place of meeting of the 
 Beethoven Society was in the old Acad- 
 emy Building on Congress Street, near- 
 ly opposite the First Parish Church, 
 on the corner of Temple Street, on the 
 site of which was later erected the old 
 Congress Hall in which the Colonial 
 Theater came to be located. 
 
 An advertisement of what is be- 
 lieved to have been the first concert at 
 which the society made an appearance 
 may be found in the daily papers of 
 Portland under the date of September 
 7, 1819. 
 
 The citizens of Portland are respectfully in- 
 formed that a concert of Sacred Music will be 
 given at the Meeting House of the Second Par- 
 ish to-morrow Evening to commence at half 
 past seven. 
 
 Par. 
 by Pucitta 
 Chapple 
 
 Strike the Cymbal 
 O. Come Let us Sing 
 Hailstone Chorus from Israel in Egypt 
 
 By Masters P. and J. Lewis Handel 
 Child of Mortality J. Bray 
 Part II. 
 
 Voluntary by Mr. Lewis 
 Chorus Mozart 
 Air Stevenson 
 Hallujah Chorus 
 
 by Masters P. & J. Lewis Handel 
 Mount of Olives Beethoven 
 
 Although the Beethoven Society is 
 unnamed in this notice, it is a fact that 
 
 45 
 
 OLD SECOND PARISH CHURCH ON MIDDLE STREET, 
 PORTLAND, WHERE THE FIRST CONCERTS BY THE 
 BEETHOVEN SOCIETY WERE GIVEN (1819), AND 
 WHERE A COMPLETE STANDARD ORATORIO WAS FIRST 
 SUNG IN THE STATE OF MAINE (1837). PEN AND 
 INK SKETCH MADE FROM AN UNFINISHED DRAW- 
 ING BY GEORGE A. GWYNN, A PORTLAND ARCHI- 
 TECT (1858), WHO LIVED OPPOSITE THIS HISTORIC 
 EDIFICE. ORIGINAL DRAWING LOANED BY WILLIAM 
 W. MITCHELL, 
 
 there was at this time no other musical 
 organization in Portland, and from a 
 comparison of the choral numbers per- 
 formed on this occasion, with those 
 given on the society’s later programs, 
 it is easy to believe that this was in 
 reality their first public performance. 
 It is, indeed, a significant coincidence 
 that the final number performed at 
 this concert was by the music master 
 for whom the society was named. 
 
 The Mr. Lewis who played the organ 
 voluntary on this program was the mu- 
 sic teacher who had taken up his resi- 
 dence in Portland some years before, 
 and the Masters P. and J. Lewis were 
 his accomplished young sons. 
 
40 MUSIC AND MUSICIANS OF MAINE 
 
 “The Meeting House of the Second 
 Parish,” in which this, and several sub- 
 sequent entertainments in which the 
 Society took part, was located on the 
 corner of Middle and Deer Streets, and 
 between Deer Street and Moose Alley 
 
 (afterwards Chatham St.). In 1788, 
 
 when it was opened for public worship, 
 it was just a plain two-story building 
 with no spire or other ornament, but 
 in 1793 an architecturally graceful 
 clock-tower, containing a bell, was add- 
 ed, and it then became one of the most 
 attractive buildings in the city. Its first 
 organ was a small one, said to have 
 been built by John K. H. Paine, but in 
 1820 “a new and more powerful organ” 
 was purchased and placed in the build- 
 ing, and this the Beethoven Society 
 was privileged to enjoy. The new or- 
 gan was described as containing “five 
 stops, a principal open Diapason, stop 
 diapason, twelfth and fifteenth” and it 
 probably had a single keyboard. It was 
 not long before the Society found it 
 necessary to have a hall it could call 
 its own, and the members fitted up a 
 room over the Bank of Portland for 
 this purpose; and here they sang their 
 first program on which the name of the 
 new organization appeared, but though 
 no copy of it seems to have survived the 
 ravages of time, to the local journals 
 of the day this generation is indebted 
 for the information that in this new 
 hall “the Beethoven’s performed a few 
 pieces of Sacred Music selected from 
 the works of Handel, Beethoven, Pur- 
 day and others on the evening of April 
 26th, 1820,” just twenty-seven days 
 after Maine had been admitted to the 
 Union as a State; so at this concert 
 was sung at least one number com- 
 posed by the Michael Angelo of Music. 
 
 The Bank of Portland, a three-story 
 brick building, large for that time, 
 should not be mistaken by local his- 
 torians and others for that of the Port- 
 
 land Bank of which John Abbott, Vice 
 President of the Handel Society of 
 Maine, was, for a time, cashier. The 
 Portland Bank was a wooden building, 
 formerly occupied as a dwelling, but 
 later by that institution as a banking 
 house and was thus used up to the 
 time of its being removed (in 1806) to 
 make room for the substantial brown 
 stone front building which came to be 
 occupied by the Canal National Bank. 
 
 Another concert by the society fol- 
 lowed six weeks later, and four days 
 after this concert the services of the 
 Beethovens were given for the benefit 
 of one of Portland’s Worthy Charities, 
 the Maine Charitable Mechanics As- 
 sociation. 
 
 In the fall of 1820 the Beethovens 
 again moved into newer and probably 
 still more commodious quarters. This 
 time back to the Academy Building on 
 Congress Street, the hall of which had 
 an audience capacity of less than two 
 hundred. 
 
 Concerts of sacred music were given 
 
 by the Beethoven Musical Society on. 
 
 the evenings of February 16, March 9, 
 April 13 and May 4 of 1821. 
 
 Although young in performance, the 
 fame of the Beethoven Society of Port- 
 land had already begun to be spread 
 abroad, as witness the following refer- 
 ence to the foregoing concert in the 
 Euterpeiad (of Boston) of May 12, 
 1821, which also indicates the growing 
 radius of musical activities, in the early 
 part of the nineteenth century, in 
 America: 
 
 It is headed, Musical Excitement. 
 
 During the last week we noticed the following 
 Musical Performances that were to take place 
 in the present month of May. 
 
 A Concert of Sacred Music, by the Beethoven 
 Society, at Portland, (Me.) a grand Oratorio at 
 Augusta, (Geo.) under the direction of Mr. 
 James Hewitt, formerly of Boston; a select Ora- 
 torio at Providence, by the Psallonian Society, 
 
Mier THE STATE OF MAINE— 1820-1835 47 
 
 under the direction of Mr. O. Shaw; a Grand 
 Concert of Music, for the benefit of the musical 
 fund at Philadelphia; the Grand Oratorio of 
 “The Creation” by the Harmonic Society at 
 Baltimore; a performance of Sacred Music, by 
 the New Hampshire Musical Society, at Han- 
 over, (N. H.) and in this town a Concert of In- 
 strumental and Vocal Music for the benefit of 
 Mr. Ostinelli; and the Public Oratorio by the 
 Handel and Haydn Society of this Metropolis, 
 for the benefit of The Howard Benevolent So- 
 ciety. 
 
 In October, 1821, the Society pre- 
 sented an ambitious program at a con- 
 cert which was repeated by request 
 about twenty days later. At these two 
 concerts were sung Beethoven’s Recita- 
 tive, “How the Work of Man’s Redemp- 
 tion” and his “Hallelujah Chorus.” 
 
 No other announcement of a con- 
 cert by the Beethoven Society ap- 
 peared in the press of that year but in 
 the first four months of 1822 four con- 
 certs of sacred music were given. 
 
 In October, 1822, the Beethovens were 
 assisting performers at a concert given 
 by the Ostinellis at the old First Parish 
 Church, in which an organ had been 
 installed in March or April of that 
 year. Following is the announcement: 
 
 Mr. and Mrs. OSTINELLI have arrived in 
 town and on WEDNESDAY EVENING, the 
 23d inst, will give an Oratorio in the Church of 
 the Rev. Dr. Nichols. On this occasion the or- 
 gan will be played by Mrs. Ostinelli. Mr. Osti- 
 nelli will lead the orchestra and introduce the 
 solos on the violin. Members of the Beethoven 
 Society and other Amateurs will assist in the 
 performance. 
 
 Oct. 22, 1822. 
 
 Mr. and Mrs. Ostinelli who were 
 destined later to become closely identi- 
 fied with music in Maine were musi- 
 cians much sought after in the early 
 twenties and the coming to Portland of 
 this noted couple was no small event 
 in music circles of the day. 
 
 A contributor to the Boston press in 
 1820 said of Mr. Ostinelli’s playing at 
 a concert there, 
 
 The exertions of this truly scientific and ac- 
 complished musician, were never more conspic- 
 uously exhibited, than on Thursday Evening, at 
 Boylston Hall. The selections for performance 
 were chaste and well arranged, the applause re- 
 sounding from every part of the Hall, was re- 
 iterated in thundering peals. We have not 
 room, at this late hour, to particularize the 
 several masterly scintillations of genius, fancy, 
 and taste, and can only add, 
 
 “He wak’d the soul by tender strokes of art, 
 
 He showed his genius, and he’s won a heart.” 
 
 Mr. Ostinelli was for a considerable 
 period the first violinist of the Handel 
 and Haydn Association of Boston. 
 
 In the early days of that society the 
 president of the association was sup- 
 posed to act as the conductor, but the 
 chorus and orchestra invariably fol- 
 lowed the time indicated by the leading 
 violinist. Signor Ostinelli was a born 
 musician and was recognized as one of 
 the leaders in advancing the cause of 
 music not only in Boston but in Amer- 
 ica, 
 
 Mrs. Ostinelli who, before her mar- 
 riage, was Miss Hewitt of Boston, was 
 at that time the organist of the Handel 
 and Haydn Society of that city, and 
 later became the organist of the First 
 Parish Church in Portland. 
 
 Other concerts by the Beethovens at 
 their hall in the Academy Building fol- 
 lowed. On December 10, 1822, a con- 
 cert was announced under the caption: 
 Select Oratorio. 
 
 This was later followed by announce- 
 ments of concerts which were to be 
 held in January, February and March, 
 1823. 
 
 On January 1, 1824, the Beethoven 
 Musical Society was legally incorpo- 
 rated by a special Act of Legislature. 
 
 After occupying the hall in the Acad- 
 emy Building for several seasons the 
 society made a contract with a Mr. 
 Gilbert, who had built a new brick 
 block on Middle Street, to occupy a 
 portion of that building, and purchased 
 
48 MUSIC AND MUSICIANS OF MAINE 
 
 a small, but remarkably sweet toned 
 organ of its own. This instrument, 
 made by Clementi in London, was used 
 for the first time in a public perform- 
 ance at the dedication of their new hall 
 in April, 1824. 
 
 The following notice is of interest, 
 not only because it shows the progress 
 of the society in its efforts to promote 
 musical appreciation, but because it 
 introduces for the first time in Portland 
 daily papers editorial criticism of a mu- 
 sical program. 
 
 On Wednesday evening last, this Society gave 
 their first Oratorio in their new Hall in Gilbert’s 
 Building,—a room very spacious and convenient, 
 and handsomely fitted up for the purpose — and 
 containing a most excellent organ, of great va- 
 riety and sweetness of tone. A _ respectable 
 number attended, though the storm had ren- 
 dered the streets extremely unpleasant. We 
 doubt not, at the next oratorio, should the eve- 
 ning be mild and fair, a full house will give ani- 
 mation to the laudable exertions of the Society. 
 They deserve every encouragement; and it can- 
 not be doubted they will command attention and 
 liberal patronage. The pieces of music per- 
 formed were judiciously selected and great ac- 
 curacy in time was observed by all. Most of 
 the solos were sung with much taste, delicacy 
 and power. It may at this time be proper, re- 
 spectfully to intimate that a great portion of the 
 company assembled on these occasions, would 
 be highly gratified with occasional voluntaries 
 on the organ by Mr. Nolcini and Mr. Allen, at 
 certain intervals during the evening. This 
 would give relief to the vocal performers and 
 display the powers of the instrument to much 
 greater advantage than when played as an ac- 
 companiment in solos and choruses. To per- 
 sons whose hearts and passions are rightly at- 
 tuned, an evening spent at one of these oratorios 
 is adapted to make good impressions and give 
 pleasure, of a higher and more exalted nature 
 than can be found at those places where it is 
 often so eagerly pursued. We hope the taste 
 and judgement of the Ladies and Gentlemen of 
 this town will be manifested by a disposition to 
 enjoy the “concord of sweet sounds” as often 
 as possible, while they will have at the same 
 time the satisfaction of reflecting that they con- 
 tribute something to the assistance of those who 
 are engaged in a good cause, and pursuing a 
 praiseworthy object. 
 
 April 17, 1824. 
 
 The Mr. Allen to whom reference is 
 made in this account of the concert 
 was, without doubt, Silas Allen, who 
 was at about this time in partnership 
 with Charles Nolcini. Their rooms 
 were on Middle Street. His name does 
 not appear in any lists of members of 
 the society, but it is apparent that he 
 played the society’s organ on occasion, 
 and was not unlikely a member of the 
 orchestra. 
 
 Their next announcement contains 
 a mystifying statement which so far as 
 is known has never been explained. 
 
 The Beethoven Society respectfully inform the 
 public that they intend giving their last Oratorio 
 (for the present season) on Friday evening next 
 to commence at half past seven o’clock. The 
 Society’s organ will be played notwithstanding 
 any report to the contrary. 
 
 Cuartes Morris, Sec’ry. 
 June 2, 1824. 
 
 Had some note of discord been struck 
 
 in the hitherto harmonious progress of 
 
 the society? Was there a controversy 
 
 over the question as to who should con- 
 duct or accompany the singing on this 
 occasion or had some one taken the 
 key to the instrument and refused to 
 allow the organ to be played unless the 
 opposing faction came to his views, or 
 had the sheriff served notice that the 
 organ should not be played until cer- 
 tain debts of the Society had been pro- 
 vided for? May be the real reason was 
 none of these. There appears to be no 
 reference whatever to the incident in 
 the newspapers of the day and it must 
 be left. to the readers’ imagination to 
 
 guess the solution of this musical mys-_ 
 
 tery of more than a century ago. 
 
 In January of the following year 
 members of the Beethoven Society 
 gave a concert in the First Parish 
 Church of Portland, and were favored 
 with the following review by a local 
 music critic: 
 
 On Wednesday Evening, Jan. 5th a Concert 
 was given by the Beethoven Society, which was 
 
 ee ee a a a ee 
 
MUSIC OF THE STATE OF MAIN E— 1820-1835 49 
 
 attended by a more numerous and respectable 
 audience than has been observed at any public 
 exhibition of the kind we recollect to have wit- 
 nessed in this town. The pieces for the eve- 
 ning’s entertainment were judiciously selected 
 and calculated to meet that variety of taste 
 which may always be expected in a numerous 
 company assembled on such occasions. The per- 
 formances were in a style of exactness and ex- 
 cellence both as to time and manner, that called 
 forth the most decided approbation from the 
 more scientific, while they afforded an unusual 
 degree of gratification to all who have a taste 
 for refined enjoyments. 
 
 We are much pleased to find the efforts of this 
 respectable Society which have been so long and 
 so untiringly exerted to cultivate — we may al- 
 most say to create—among us a taste for church 
 music of a pure and elevated style, have not 
 only become crowned with a high degree of suc- 
 cess as it respects their own improvement but 
 that these disinterested and perservering exertions 
 are justly appreciated by persons of judgement, 
 character and influence in society. Such appro- 
 bation and encouragement must be highly grati- 
 fying to the Society and an animating spring to 
 a more invigorated pursuit of their favorite ob- 
 ject;— since they may be sure that the appro- 
 bation, as well as substantial patronage of any 
 intelligent community will be liberally extended 
 to them, whenever an appeal is made in their 
 behalf. 
 
 The good effects of the advancement of this 
 Society in their cultivation of musical taste, are 
 not confined to their own circle, nor to the com- 
 panies by whom their exhibitions are from time 
 to time listened to;— since the members come 
 from various religious societies and cannot fail to 
 carry back with them and disseminate extensive- 
 ly a more correct and elevated standard of sacred 
 music. In every point in which the subject is 
 considered, we cannot but urge them to per- 
 serverance and wish them all reasonable success 
 and abundant patronage. 
 
 Advertiser, Jan. 12, 1825. 
 
 The society was not without an oc- 
 casional diversion in the way of recre- 
 ation. There is a record of its holding 
 at least one summer outing when, on 
 July fourth, 1825, the members went 
 to Diamond Cove on Hog Island (now 
 Diamond Island) in Casco Bay for a 
 holiday, where delightful hours were 
 spent in strolling through the woods, 
 visiting the Indian camps at Indian 
 Cove, carving their initials on the old 
 
 beech trees and enjoying the natural 
 beauties of the island and where “at 
 noon a chowder was partaken in the 
 open air.” 
 
 The following season opened on No- 
 vember 25 with a postponed concert, 
 the notice of which was signed by a 
 new secretary, Franklin Knight. 
 
 At the dedication of the new First 
 Parish Meeting House, which took 
 place on Wednesday, February 8, 1826, 
 the society gave such an excellent ren- 
 dition of its numbers that the following 
 appreciation was recorded in the Port- 
 land Advertiser, February 26. 
 
 It ought not to be expected that in noticing 
 events of this high religious import, occasion 
 should be taken to bestow praise on any indi- 
 viduals who may have contributed in any man- 
 ner to the devotional exercises of the day. It 
 may not, however be considered out of place to 
 remark, that connected with the powerful, ener- 
 getic, and effective addresses to the heart and 
 conscience which were comprehended the main 
 part of the religious services; the musical per- 
 formances by the Beethoven Society, were of a 
 character to give strong force and intensity to 
 the feelings naturally arising at such a religious 
 assembly. 
 
 The organ which since the finishing of the new 
 church has been set up and put in excellent tone 
 by Doct. Bourne of Kennebunk, was on this oc- 
 casion played by Mr. Nolcini with great taste 
 and exactness of execution. 
 
 The music for the hymns, chorus and duets, 
 it will be observed, were of his composition. It 
 was pronounced by competent judges to be 
 highly creditable to his well known professional 
 talents. 
 
 In addition to this there was this un- 
 signed “communication” in the same 
 issue of that paper: 
 
 The music was all that could have been de- 
 
 sired. ‘The Parish are much indebted to the 
 Beethoven Society who cheerfully contributed 
 
 their powers of harmony to gladden the day and 
 
 enrich its entertainments. The organ seemed 
 conscious of the occasion, under the skilful and 
 rapid touches of Mr. Nolcini. Among other 
 lofty pieces of music performed, two hymns were 
 sung, the former of the two was written by Dr. 
 Nichols. 
 
 It is perhaps needless to state that 
 Dr. Nichols wrote only the words to 
 
50 MUSIC AND MUSICIANS OF MAINE 
 
 this anthem. The music was composed 
 by Mr. Nolcini. 
 
 Charles Nolcini did not, however, 
 confine himself entirely to church mu- 
 sic for among his compositions are pre- 
 served a number of pieces in lighter 
 vein in sheet music form. In a volume 
 in the Boston Public Library may be 
 found: | 
 
 “The Grass Hopper’s Waltz,’ composed by 
 Nolcini, Boston. Published by Henry Prentiss, 
 No. 33 Court St. c. 1839. 3pp. “The subject 
 of this composition was derived from the mo- 
 tions of the insects whose name it bears.” It 
 has a decorated cover of two large grasshoppers 
 with the dome of the State House in the dis- 
 tance; “Les Sans Soucis, Galopade;” composee 
 par Nolcini 1pp. 
 
 A march dedicated to new beginners; com- 
 posed for the piano forte by Charles Nolcini. 
 Op. 1 Boston, Published for the author by T. 
 Spear, 21 School St. 3pp. 
 
 Charles Nolcini was organist for a 
 time at the Second Parish Church as 
 well as of the First Parish, and a teach- 
 er of Music and French and Italian 
 languages. He was an Italian by birth, 
 “a Musician of skill and rare taste,” 
 and a composer of more than local 
 reputation. At the old First Parish 
 Church he played as early as 1821 and 
 continued as organist in the new church 
 building until about 1826. He later be- 
 came organist at King’s Chapel, Boston. 
 
 He married a Miss Murray, “a mis- 
 chievous, though talented young lady,” 
 according to John Greenleaf Whittier, 
 who indited a poem to her over his 
 autograph. Mrs. Nolcini afterwards 
 taught music in Augusta. Prof. Nolcini 
 was said to have been an entertaining 
 companion and much sought after on 
 account of his genial personality. 
 
 It should be noted that it was in the 
 old First Parish Church a wooden 
 building which had been moved back 
 to make room for a more pretentious 
 and durable stone structure mentioned 
 above, that the first organ owned and 
 
 used by the Parish had been placed. 
 Its purchase had been authorized in 
 1821 when it was selected by Hon. 
 Prentiss Mellen at the request of the 
 Parish, at a cost of three hundred and 
 fifty dollars. 
 
 The singers up to this time, it is be- 
 lieved, had been accompanied only by 
 the clarinet, violoncello and bassoon. 
 
 At the time of the building of the 
 New Stone Church the organ was re- 
 moved from the “Old Jerusalem,” as 
 the wooden structure came to be known, 
 and placed in the new house of wor- 
 ship. It was this organ which was played 
 at the dedication of the New Stone 
 Church, and to the strains of which 
 the Beethovens raised their voices in 
 praise. 
 
 This organ served the parishioners 
 of the new church until 1853 when it 
 was replaced by a more modern one. 
 
 The Beethovens gave five concerts 
 in all during the season of 1825-26. 
 
 What is believed to be the last no- 
 tice of record of any concert by them 
 is found in the Portland Advertiser of 
 April 11, 1826, and reads as follows: 
 
 ORATORIO 
 
 by the Beethoven Musical Society, the 4th for 
 the season will be given to-morrow evening, 
 Wednesday, 12th inst. at Beethoven Hall com- 
 mencing at 7 o'clock. Holders of season tickets 
 are requested to leave their tickets with the 
 door keeper. Tickets for the evening may be 
 had at the several bookstores and at the door. 
 Lower floor 50¢. Gallery 25¢. 
 
 Apr. II F. Knicurt, Sec’ry. 
 
 And so the swan song of the historic 
 Beethoven Musical Society was sung, 
 but not before it had blazed the trail 
 for musical festivals to follow which 
 would surpass in grandeur the most 
 imaginative dreams of the members of 
 this notable society of more than a 
 hundred years ago. 
 
 On the disbanding of the Beethoven 
 Society Mr. Howe purchased their or- 
 
MiGerOrOF THE STATE OF MAIN E— 1820-1835 51 
 $$$ eee 
 
 gan and retained possession of it until 
 1866 when it was burned with the 
 house in which it stood, in the great 
 fire of that year. It is said that Mr. 
 Howe generously assumed and paid 
 the debts of the society. 
 
 While many of the concerts by the 
 Beethoven Society were announced as 
 “Oratorio,” it is not believed that the 
 society ever performed a complete 
 standard oratorio, but, rather, selec- 
 tions from a number of them. 
 
 In 1826, the year in which it is said 
 the society disbanded, John Patten was 
 serving as President of the Beethoven 
 Musical Society, Edward Howe and 
 Joseph Pope as Vice Presidents and 
 Franklin Knight as Secretary and 
 Treasurer. 
 
 Looking over the list of great com- 
 posers from whose works the selections 
 on these programs were chosen it is 
 interesting to note those who were con- 
 temporary musicians of the day, and 
 what of their works had been published 
 and used here. 
 
 While Handel, Haydn, Bach and 
 Mozart were of a generation gone, as 
 also were Gluck, Piccini and others, 
 Beethoven, who, at the time of the or- 
 ganization of the society which had 
 taken his name, had already completed 
 his famous “Seventh Symphony,” was 
 at the apex of his career. He was also 
 living, it may be noted, at the time the 
 society disbanded (1826). Franz Peter 
 Schubert had begun composing in 1812, 
 though his first songs were not pub- 
 lished until 1821. Vincenzo Bellini had 
 not begun writing his operas, so ‘“‘Nor- 
 ma,” “1 Puritani” and “La Sonnam- 
 bula” were still in embryo. Carl Von 
 Weber was still unknown to fame, 
 though it came to him two years later 
 when “Der Freischutz” was produced; 
 but it is hardly to be thought that any 
 New England choral society of that 
 day would have undertaken the works 
 
 of Bellini and Von Weber, even had 
 they lived in an earlier period, as the 
 singing of operatic selections by good 
 Christian people was, at this time, al- 
 most unheard of on this side of the wa- 
 ter. Indeed, the people of this period 
 were as a whole deeply religious and 
 most of the churches positively forbade 
 the singing of those songs which were 
 not for the glory of God. 
 
 Then there was the galaxy of Euro- 
 pean artists whose fame had already 
 crossed the Atlantic. News of the en- 
 thusiastic receptions that were being 
 given Ignaz Moscheles (afterwards 
 teacher of Mendelssohn and Thalberg), 
 in Germany and Paris in 1819 and 
 1820 was brought over by packet to 
 New York and Boston and found its 
 way to Portland by stage. Mayerbeer, 
 who had begun composing operas in 
 1812, had produced six of them from 
 1820 to 1824, though “Robert Le Di- 
 able” did not appear until 1831, nor 
 did “Les Huguenots” (that opera which 
 created a furor seldom accorded the 
 work of any artist musician) until 
 1838. Paganini had already excited the 
 wonder of the world by his masterly 
 playing of the king of instruments. 
 
 Rossini had made his first public ap- 
 pearance as a composer when in 1810 
 his first opera was performed. (“Tan- 
 cred” had been produced in 1813, and 
 “Otello” in 1815, but “William Tell” 
 was not produced until 1829.) Vogler, 
 immortalized by Browning, was still 
 the talk of the world as an organist, 
 though he had died five years before 
 the organization of the Beethovens. 
 
 One can get some idea of the music 
 we are privileged to enjoy, but which 
 the Beethoven Society and others of 
 this period had to forego when it is 
 known that in the year 1820 Mendels- 
 sohn was but eleven years old, Johann 
 Strauss but sixteen, R. Schumann but 
 ten, Franz Liszt but nine, Flotow but 
 
52 MUSIC AND MUSICIANS OF MAINE 
 
 eight, Wagner and Verdi but seven and 
 Gounod only two years of age, while 
 Clara Schumann and Pasdeloup (the 
 afterwards famous Parisian conduc- 
 tor), were still in their first year of 
 babyhood. Jenny Lind, whose fame 
 later encircled the globe, was not born 
 until the year in which Maine became 
 acetate: 
 
 In these days when a large percent- 
 age of all choruses runs to femininity it 
 is interesting to note that considerably 
 more than half of the members of the 
 Beethoven Musical Society were of the 
 sterner sex. 
 
 The following list contains the names 
 of the members of the Beethoven Mu- 
 sical Society from the date of its begin- 
 ning to its close, although they were 
 not all original members nor were they 
 all members at the same time. No list 
 of the original members is now avail- 
 
 able, it is believed. 
 
 Sopranos: Harriet Bagley, Priscilla H. Bart- 
 lett, Martha Beckett, Mary Bryant, Parmelia 
 Baker, Mary Ann Bartlett, Eliza Ann Capen, 
 Betsey Carter, Sarah Carter, Sally Clary, Sarah 
 Dorrance, Charlotte Freeman, Hannah Hum- 
 phrey, Harriet Jones, Mary Lambert, Sarah Low, 
 Elizabeth Noyes, Harriet Plummer, Louisa Pol- 
 leys, Harriet Tucker, Abigail Williams, Mrs. 
 J. F. Weeks. 
 
 Altos: Almira Hale, Rebekah Hale, Ferdinand 
 I. Ilsley, Frances Richards. 
 
 Tenors: John W. Clark, James Dresser, Na- 
 thaniel Ilsley, Francis L. Ilsley, Edward T. In- 
 graham, James Kimball, Jeremiah Kimball, 
 Charles H. P. McLellan, William Small, Charles 
 Tibbetts. 
 
 Basses: Ira Berry, Leonard Billings, Dexter 
 Brewer, William Davis, Oliver Everett, Isaac 
 Gage, John B. Hudson, Hosea Ilsley, Benjamin 
 Isley, Joseph H. Kellogg, Franklin Knight, Pe- 
 ter Lunt, Frederick Merrill, Charles Morris, 
 Charles Monroe, William B. Sewall, Ebenezer C. 
 Stevens, Stephen Swett, Daniel Smith, John 
 Trowbridge, Loring Varney, Joshua F. Weeks, 
 Joseph B. Walton. 
 
 Orchestra: William Knott, 1st violin; John 
 Patten, 2nd violin; Joseph Pope, violoncello; 
 Edward Howe, clarinet; David Brewer, bassoon; 
 James D. Hay, flute; A. H. Jenks, flute; Henry 
 Poor, flute; Nathaniel Deering, flute; Charles 
 Nolcini, organist. 
 
 These hardy pioneers in the study of 
 oratorio, and other forms of sacred and 
 classical music in Maine, are worthy of 
 more than passing mention. The name 
 James Dresser among the list of mem- 
 bers means nothing to the reader to- 
 day, but is it not something to know 
 that James Dresser was more than a 
 name, that he had a “fine tenor voice” 
 and that his days were spent in the 
 ropewalk where, 
 
 In that building, long and low, 
 With its windows all a-row, 
 Like the port-holes of the hulk, 
 he, with his fellow employes, did, like 
 
 Human spiders, spin and spin 
 Backward down their threads so thin 
 Dropping, each a hempen bulk, 
 
 while, 
 
 At the end, an open door 
 
 Squares of sunshine on the floor... 
 
 Lit the long and dusky lane 
 as, perhaps, like the potter in Keramos, 
 he sang as he worked and maybe 
 
 at times, 
 
 Whistled a tune between the rhymes, 
 
 As a melodious interlude. 
 _ This, then, is the excuse for present- 
 ing here such details as have been ob- 
 tainable, from authentic sources, of the 
 members of the chorus of this musical 
 society which was already in existence 
 when Maine became a state. Greater 
 interest will attach to these names 
 when it is known that from the ashes 
 of the Beethoven Society sprang the 
 Portland Sacred Music Society, as lat- 
 er, from the Sacred Music Society was 
 developed the Haydn Association, from 
 the members of which, in the process 
 of evolution, came forth the nucleus 
 of the great Maine Festival Chorus, 
 which for thirty years was the chief 
 
 annual musical attraction of the State. © ] 
 
 Edward Howe, the founder and first 
 President of the Beethoven Musical 
 Society, and one of its incorporators, 
 was not only held in high regard be- 
 cause of his musical ability, but he en- 
 
MUSIC OF THE STATE OF MAINE— 1820-1835 53 
 
 joyed the confidence of the commercial 
 men of Portland as well. He was born 
 in Dorchester, Mass., in July, 1783. 
 At the age of seventeen he left his fa- 
 ther’s brick yard in Boston and, in 
 1805, came to Portland. He served the 
 city of Portland for a time as a mem- 
 ber of the Board of Aldermen, and was 
 largely instrumental in forming the 
 Portland Gas Light Company of which 
 he later became President and was for 
 many years one of its Board of Di- 
 rectors. His store, for the greater part 
 of the time, was located at No. 5 Mer- 
 chant’s Row, which curiously enough 
 later became the site of the Portland 
 Gas Light Company’s office. He resid- 
 ed on Cross Street for more than fifty 
 years, until his house burned in the 
 fire of 1866. For more than seventy 
 years he was a Mason. It was said of 
 him that “his charities were hearty and 
 liberal.” There were but six older Ma- 
 sons in the country at the time of his 
 death, which occurred in January, 1877. 
 
 John Patten, Vice President, and 
 later President of The Beethoven Mu- 
 sical Society, and one of its incorpora- 
 tors, was a member of the school com- 
 mittee and an innholder, and resided 
 at what was then the corner of Middle 
 and Beaver Streets (Free and Brown), 
 He was one of the most active mem- 
 bers of the society, rarely, if ever, ab- 
 sent from its meetings. He is listed as 
 “second violin,’ though his being the 
 only violin in the orchestra for most of 
 the time he oftener played first violin 
 part. He is said to have “played 
 smoothly and with good intonation.” 
 He was born in 1788 at Biddeford, on 
 the farm on the Biddeford Pool Road 
 which bears the family name. His 
 daughter, Caroline, who later became 
 the wife of E. Reddington Mudge of 
 Boston, was “an accomplished per- 
 former on the violin” and had “a voice 
 which gave much pleasure.” ‘Two other 
 
 daughters were Mrs. Abigail Ward, who 
 resided in Saco, and Mrs. Augustine 
 Haines, who lived for a time in Port- 
 land, while a son, Charles R. Patten, 
 conducted a Commercial School in 
 Saco. Mr. Patten was a genial and 
 companionable man, and one of the 
 most popular bonifaces of his day. He 
 died in Portland in 1834. 
 
 Joseph Pope (1788-1852), a Vice 
 President of the society, was a Notary 
 Public and the Town Clerk. He was 
 also an officer in the Cumberland Bank 
 on Exchange Street and had a store at 
 No. 4 Mussey’s Row for the sale of 
 English and American manufactured 
 goods. He resided on the corner of 
 Gray and State Streets. He played the 
 violoncello in the orchestra. 
 
 The old cello played by Mr. Pope 
 has long been in the possession of John 
 T. Fagan, Esq., of Portland. 
 
 Charles Morris (1792-1840), the first 
 Secretary of the society, and also one 
 of its incorporators, was a member of 
 the School Committee. He was one of: 
 the firm of Morris and Haines on 
 Maine Street. His house was located 
 on Green Street (later changed to For- 
 est Avenue). 
 
 Hosea Ilsley, one of the original di- 
 rectors of the society, lived on Cum- 
 berland Street and afterwards on High 
 Street. He had a wonderfully rich and 
 powerful voice and was the society’s 
 principal bass soloist. He was born in 
 Newbury in 1799, and was the son of 
 Joseph Ilsley. He came to Portland in 
 1807 to live with his uncle for whom 
 he was named. He learned the painter’s 
 trade and became associated with Ste- 
 phen Noyes under the firm name of 
 Noyes and Ilsley. He was a member 
 of the Second Parish Choir with Ed- 
 ward Howe. He was prominent in poli- 
 tics, represented Portland in the legis- 
 lature of 1838 and later, on moving 
 from Portland, became Mayor of Chel- 
 
54 MUSIC AND MUSICIANS OF MAINE 
 
 sea and held many important offices 
 under State and Federal authority. He 
 spent five years in revising and copying 
 the Colonial Records in Massachusetts. 
 He married Abigail Neal in 1818, and 
 after her death married Abigail Wil- 
 liams in 1826. He was the father of 
 twelve children. His brother Joseph 
 Ilsley was long a resident of Portland. 
 He died in Chelsea in 1887. 
 
 John W. Clark was a cabinet maker 
 and resided at Church Street. 
 
 James Dresser was a cordwainer. He 
 was employed at the rope walk on 
 Maine Street (Congress Street) near 
 Stroudwater and lived on Fore Street. 
 He had a fine tenor voice, and, as a 
 soloist, was very popular with his au- 
 diences. He died in 1862 at the age of 
 fifty-five years. 
 
 Jeremiah Kimball, one of the incor- 
 porators of the society, was a grocer at 
 No. 3 Columbian Row, Middle Street, 
 and lived on Cross Street. He died in 
 1848 at the age of forty-six years. 
 
 James Kimball was a grocer on Cen- 
 ter Street and lived on Court Street 
 (Exchange). He died in 1855 at the 
 age of fifty-five years. 
 
 Nathaniel Ilsley (Nathan) was a cab- 
 inet maker at Union Street and resided 
 on Mayo Street. He was born in 1781 
 and died in Chelsea, Mass., in 1870. 
 
 Benjamin Ilsley, Jr. (1795-1880), 
 was a selectman, a surveyor of ma- 
 hogany, a cabinet maker and had a 
 shop on Union Street. He lived at the 
 corner of High and Danforth, and was 
 President of the Maine Charitable Me- 
 chanics Association. 
 
 Ferdinand I. Ilsley, one of the young- 
 er members of the society, having 
 joined when about seventeen years of 
 age, was the son of Nathaniel IIsley. 
 He is said to have had “a fine alto 
 voice,” and became a teacher of vocal 
 and instrumental music in Newark, 
 New Jersey. 
 
 Edward T. Ingraham was a grocer 
 and had a store on Fore Street. He 
 lived on Congress Street and died in 
 1828. 
 
 Charles Tibbetts, a dealer in boots 
 and shoes, was born in Dover, N. H., 
 in 1800 and died in Portland in 1883. 
 He is said to have had “a pleasing ten- 
 or voice and pretty good taste in mu- 
 Sin 
 
 William Small (1786-1879) was a 
 cabinet maker at Mr. Haskell’s on Con- 
 gress Street on which he also lived. 
 
 Charles H. P. McClellan was also 
 one of the younger members of the 
 chorus. In 1830 he became a practising 
 physician with an office on Federal 
 Street and later moved to Massachu- 
 setts. 
 
 Oliver Everett (1766-1863), one of 
 the incorporators of the society, was 
 one of the grocery firm of Everett and 
 Steele on Maine Street near Green and 
 lived on Free Street. 
 
 Leonard Billings (1793-1872) was for 
 many years connected with the man- 
 agement of the steamer that ran be- 
 tween Boston and Portland. 
 
 Joshua F. Weeks (1793-1875) was a 
 member of the grocery firm of Weeks 
 and Freeman on Hay Market Row, 
 Middle Street, and lived on the corner 
 of Fore and King Streets (India). 
 
 Franklin Knight, Secretary and 
 Treasurer of the society in 1826, was 
 one of the grocery firm of Knight and 
 Hunt and was a dealer in wood on 
 Central Wharf. He lived on Federal 
 Street. 
 
 Joseph B. Walton was proprietor of 
 a shoe store on Union Street and lived 
 on Federal Street. He died in October, 
 1831. 
 
 John Trowbridge was a butcher on 
 Jefferson Street (Brackett). 
 
 Peter Lunt was a grocer on Middle 
 Street near Plumb (Plum). He lived 
 
 on the corner of Cumberland and 
 
MUSIC OF THE STATE OF MAINE-— 1820-1835 55 
 
 Franklin and died in 1861, at the age 
 of seventy-four years. 
 
 Charles Monroe was another of the 
 younger members of the society. In 
 1830 he was in business as a trader 
 with an office at the head of Central 
 Wharf. He later moved to Medford, 
 Mass. 
 
 Stephen Swett was Deputy Sheriff 
 and Coroner and lived on Congress 
 Street. He died in 1849 at the age of 
 sixty-nine years. 
 
 Ebenezer C. Stevens (1794-1865) 
 was a tailor in Merchants Row on 
 Middle Street and resided on Wilmot 
 Street. 
 
 Isaac Gage kept a boarding house 
 on Middle Street near the Second Par- 
 ish Meeting House. He died in 1826 
 at the age of sixty years. 
 
 Daniel Smith was a joiner and lived 
 on Cumberland Avenue. Little is known 
 of him except that he was one of the 
 society’s bass singers. 
 
 Ira Berry (1801-1891), one of the 
 publishers of the Portland Daily Ad- 
 vertiser, WaS a music critic and author 
 of A Sketch of the History of the Bee- 
 thoven Society of Portland, published 
 in 1888. He was born in Durham, N. 
 H., and died in Portland. He was the 
 son of Stephen Berry and was for 
 many years the Grand Secretary of the 
 Masonic Grand Lodge of Maine. 
 
 William B. Sewall (1782-1869) lived 
 on State Street. In 1827 he was prac- 
 tising law in an office in the Cumber- 
 land Bank Building. 
 
 John B. Hudson (1799-1881) was a 
 painter by trade and lived on Church 
 Street. 
 
 Loring Varney was a cabinet maker 
 on Court Street and lived on the corner 
 of King and Fore Streets, afterwards 
 on Silver Street. Mr. Varney was a 
 police officer, and town constable. He 
 died in 1847 at the age of fifty-four 
 years. 
 
 IRA BERRY, EARLY MUSIC CRITIC IN PORTLAND AND 
 CHARTER MEMBER OF THE BEETHOVEN MUSICAL 
 SOCIETY. 
 
 Joseph H. Kellogg died in Septem- 
 ber, 1870, aged sixty-four years. 
 
 Dexter Brewer was a grocer in part- 
 nership with his brother David. Their 
 store was located at 1 and 2 Market 
 Square (Monument Square), at the 
 corner of Center Street. He later be- 
 came proprietor of the Brewer House 
 in Stroudwater. 
 
 James D. Hay, one of the flutists in 
 the Beethoven orchestra, was organist 
 at the Second Parish Church in 1821 
 and a music teacher by profession. 
 
 Henry Poor, one of the flutists in the 
 orchestra, was proprietor of a dry- 
 goods store at No. 3 Union Row, Mid- 
 dle Street. He’ lived on Hampshire 
 Street. 
 
56 MUSIC AND MUSICIANS OF MAINE 
 
 Nathaniel Deering (1791-1881), a 
 flutist in the Beethoven Orchestra, was 
 the head of one of the old Portland 
 families. He was a commission mer- 
 chant with an office on Long Wharf, 
 and lived on Cumberland Avenue. He 
 was the son of James Deering and was 
 a well-known humorist and magazine 
 contributor of his time, as well as a 
 poet and playwright. 
 
 David Brewer, bassoon player in the 
 Beethoven Society Orchestra, was the 
 senior partner of the firm of David and 
 Dexter Brewer. 
 
 A. H. Jenks, a flutist in the Beetho- 
 ven Orchestra, was employed as a 
 clerk at T. Fletchers’ store on Fore 
 Street. 
 
 William Davis in 1817 conducted a 
 singing school in Portland. 
 
 Francis L. Ilsley, son of Nathaniel 
 Ilsley, became a teacher of vocal mu- 
 sic. In 1834 he taught in Portland 
 where he lived on Franklin Street, but 
 later moved to New York where he 
 continued in his chosen profession and 
 died in that city. 
 
 Of Frederick Merrill nothing defi- 
 nite is recorded. 
 
 Harriet Bagley was believed to have 
 been one of the members of the Bee- 
 thoven: Society. She became the wife 
 of John B. Hudson. 
 
 Parmelia Baker (1803-1837) was the 
 daughter of Abel and Nabby Baker. 
 She married Phineas Towle, a joiner, 
 who had a shop on Federal Street. 
 
 Martha Beckett married John F. 
 Fraser of Day and Fraser. She is said 
 to have had a voice “of more than or- 
 dinary power and compass.” For many 
 years she lived alone on Pearl Street 
 where she cultivated flowering plants 
 from the sale of which she gained her 
 livelihood. She died in 1870 at the 
 age of sixty-six years. 
 
 Priscilla H. Bartlett married Enoch 
 Sawyer, a blacksmith, whose shop was 
 
 on Railway Wharf. She lived on Fed- 
 eral Street. 
 
 Mary Bryant married Joseph Brad- 
 bury of Mason & Bradbury. They lived 
 on Hancock Street. 
 
 Eliza Ann Capen (1804-1846) was a : 
 
 widow and resided on Cumberland 
 Street near Chestnut. She afterwards 
 became the wife of Charles Tibbetts, 
 a member of the Beethoven Society. 
 
 Betsey Carter married W. Kimball, 
 a morocco dresser on King Street. 
 They resided on Federal Street. 
 
 Sarah Carter became the wife of 
 H. K. Kingsley. 
 
 Sally Clary (1805-1859) married Ed- 
 mund Winship, a clerk at Martin 
 Gore’s Hat Store on Middle Street. 
 They lived on the corner of Church 
 and Federal Streets. , 
 
 Mary Ann Bartlett (1803-1887) mar- 
 ried Benjamin Fernald. Together they 
 conducted a private school for several 
 years. After Mr. Fernald’s death she 
 married the Rev. Hobart Richardson 
 and again became a widow. 
 
 Sarah Dorrance, who is spoken of 
 by a contemporary as “a most esti- 
 mable lady,” lived until about the year 
 1840. ; 
 Charlotte Freeman, one of the best 
 singers in Portland in her time, was 
 the daughter of Deacon Samuel Free- 
 man and was born in 1800. In 1827 
 she was married to the Rev. John Boyn- 
 ton, a Congregational minister who 
 died in Delaware in 1876, as the result 
 of an accident. She was the leading 
 soprano of the chorus and the principal 
 soloist. After her husband’s death, she 
 journeyed to California where she made 
 her home at Calistoga. 
 
 Rebecca Hale was possessed of a rich 
 contralto voice, and was also one of the 
 principal soloists of the Beethoven So- 
 ciety. She married Nathaniel Fernald, 
 who was employed as cordwainer on 
 Exchange Street and lived on Pleasant 
 
MUSIC OF THE STATE OF MAINE— 1820-1835 57 
 
 Street. She died in 1875 at the age of 
 seventy-five years. 
 
 Almira Hale was the wife of Silas 
 Hale, a cordwainer, who lived on Oak 
 Street. 
 
 Hannah Humphrey, one of the lead- 
 ing sopranos of the Beethoven Society, 
 lived until 1883 and attained the age 
 of eighty-five years. 
 
 Harriet Jones became the wife of 
 Joseph Pope. 
 
 Elizabeth Noyes married Ebenezer 
 Robinson, a shipmaster, who lived on 
 the corner of High and Pleasant Streets. 
 
 Harriet Plummer married Loring 
 Varney, a member of the Beethoven 
 Chorus. 
 
 Louisa Polleys (1803-1878) was mar- 
 ried in 1826 to George W. Smith, who 
 survived her by many years. 
 
 Frances Richards became the wife 
 of Calvin Dana, an apothecary on Fore 
 Street. They lived on the corner of 
 Congress and Hampshire Streets. 
 
 Abigail Williams married Hosea IIs- 
 ley, one of the trustees of the Beetho- 
 ven Society. 
 
 Elizabeth Weeks was the wife of 
 Joshua F. Weeks, a grocer whose store 
 was on Fore Street. They lived on 
 King Street. Mrs. Weeks died in 1883 
 at the age of eighty-eight years. 
 
 William Knott played first violin in 
 the orchestra of the Beethoven Society, 
 in its early days, and was considered 
 “a Master Player” on that instrument 
 to which he was much devoted. He was 
 a likeable person and was generally 
 loved by the members of the society. 
 
 Time, the cruel comedian, is apt to 
 play sad pranks with the lives and 
 destinies of those who become so ab- 
 sorbed in their art that they overlook 
 the necessity of providing against the 
 day when weakening nature unfits 
 them for the tasks they so much loved, 
 and so it was with William Knott. In 
 the fall of 1863 he died in an attic ina 
 
 dilapidated house in Boston, friendless 
 and alone, except for the presence of a 
 fellow member of the Beethoven So- 
 ciety who happened to learn of his ill- 
 ness, too late to be of other service than 
 to spend with him his last hour on 
 earth. 
 
 Who shall say that in the days of 
 his bitterest poverty he did not find, in 
 the music of his beloved violin, afflu- 
 ence in his penury, vigor in his infirm- 
 ity, companionship in his desolation, 
 and consolation in the hour of his 
 desperate need ! 
 
 These early Maine singers were not 
 professional musicians, but were, for 
 the most part, just plain working folks, 
 mechanics and tradespeople, busy for 
 hour after hour each day in humble 
 occupations which led them along pro- 
 saic paths, but they had found in 
 studying for the purpose of developing 
 a true appreciation of good music, ade- 
 quate compensation for every moment 
 spent in the endeavor, and music, in 
 their lives, grew to be like a wonder- 
 fully woven tapestry which formed a 
 richly colored setting to soften the petty 
 tyrannies which daily beset them in 
 the eternal struggle for material exist- 
 ence, and which ever seemed destined 
 to be, as they always have been to the 
 members of the human family, harshly 
 prominent in the foreground of the 
 diorama of life. 
 
 All honor to these men and women 
 and others like them in other towns in 
 the State, who, by their sacrifices, did 
 so much for the cause of music in the 
 early days of Maine’s statehood. 
 
 Who of us today would leave our 
 fireside of a stormy winter’s evening to 
 go to a hall so poorly heated that the 
 air would be nearly as chill as the out 
 of doors, and so poorly lighted that it 
 would be difficult to read the notes on 
 the pages of the psalm tune books, and 
 so poorly ventillated as to be almost 
 
58 MUSIC AND MUSICIANS OF MAINE 
 
 suffocating! He who has never seen the 
 dim light given out by a sperm oil 
 lamp or tallow candles, such as were 
 made before paraffine was used in the 
 manufacture of them, has no concep- 
 tion of the difficulties which attended 
 the attempts at lighting public places 
 during that period in American history. 
 One naturally thinks of the people of 
 this time as using kerosene oil for light- 
 ing, but petroleum was not discovered 
 until 1858, and coal for heating was 
 unused, if not unheard of, in America, 
 until sometime between 1820 and 1830. 
 Every house had its huge fireplace, but 
 many of the churches and public places 
 were unheated. 
 
 In 1822 a number of the members of 
 the famous South Parish Church in 
 Augusta, who desired to see an im- 
 provement in the music in their church, 
 engaged a Mr. Holland of New Bed- 
 ford, Massachusetts, to go to that city 
 and settle there as a professor of music. 
 Early in 1823 Mr. Holland opened up 
 a school “for the improvement of 
 psalmody,” which he advertised would 
 be taught “on a new system,” and in 
 March his singers “took seats with the 
 choir.” He gave his attention to the 
 teaching of the piano and created an 
 interest in music that led to the pur- 
 chase of the first organ in the town. 
 This instrument, made in England, was 
 procured at a cost of five hundred and 
 fifty dollars. The money.for this purpose 
 was raised by popular subscription. 
 The Sunday following its installation 
 (1823) the organ was played by Mrs. 
 Ostinelli. She had married Mr. Osti- 
 nelli but a few months before and they 
 were supposed to be on their wedding 
 tour. On September 19, 1822, an “Ora- 
 torio of Sacred Music” was given in 
 Augusta for the benefit of and under 
 the direction of Mr. Holland. On Sep- 
 tember 25 another concert was given, 
 at which Mr. Ostinelli played two se- 
 
 lections on the violin. It is said that 
 these were the only concerts of their 
 kind given in Augusta during this peri- 
 od and for more than thirty-five years 
 thereafter. Mr. Ostinelli was born in 
 Italy and was educated there. He spent 
 several years at a conservatory in 
 Paris where he studied under some of 
 the first masters of the world. Mr. Osti- 
 nelli, as an orchestra leader and violin- 
 ist, SO it is stated, was without a peer 
 in America at that time and played 
 only music of the highest order. He 
 was very jealous of his reputation and 
 became exceedingly angry if anyone re- 
 ferred to his instrument as a fiddle. 
 When importuned by a lady to play 
 for dancing, which followed one of the 
 entertainments at which he performed, 
 he deliberately cut the strings of his 
 violin and said “verree sorree, verree 
 sorree, madame you see Icannoplay!” 
 Nearly thirty-seven years after these 
 concerts were given in Augusta an 
 equally talented musician, Madame 
 Biscaccianti, sang in Meonian Hall in 
 that city. This was in June, 1859, and 
 the singer was the daughter of Mr. and 
 Mrs. Ostinelli. 
 
 Madame Biscaccianti, or Elise Osti- 
 nelli, as she was known when a girl, 
 lived in Portland for a time and be- 
 came well known in Boston. She later 
 resided in San Francisco and after- 
 wards went to Rome where she died 
 “in suffering and in want.” 
 
 Mr. Holland remained in Augusta 
 until September, 1823, when he re- 
 turned to New Bedford. It is said that 
 his influence on the musical life in Au- 
 gusta is felt to this day. 
 
 In 1823 Cyril Searle was temporarily 
 located in Augusta and he continued 
 the excellent work which had been 
 started by Mr. Holland. 
 
 At the various public events through 
 the years which followed, music of a 
 suitable and dignified character found 
 
MUSIC OF THE STATE OF MAIN E— 1820-1835 59 
 
 a place on many programs. On October 
 II, 1825, at the sixth anniversary of 
 the Augusta Union Society, held in Mr. 
 Tappan’s meeting house, Alfred Red- 
 ington sang lines written for the occa- 
 sion “with much taste.” 
 
 Music also had a prominent place in 
 some of the homes in Augusta at this 
 time. There is authentic information 
 that those passing by the house of 
 Schubael Pitts, which was situated on 
 the main street, would stop to listen to 
 the singing by a son and daughter of 
 the house. 
 
 Other musical societies in the state 
 were already sharing honors with the 
 musical organizations of Augusta and 
 Portland. 
 
 A lively account of the music in the 
 old church at Gorham in 1821 is found 
 in one of the histories of that town. At 
 that time, there being no organ in the 
 church, instrumental musical accom- 
 paniments were furnished by bass 
 viols, violins, cornets and flutes. As 
 there was no opportunity for feminine 
 or masculine display except for those 
 who sat in the singers’ seats, it seemed 
 as if all, whether they sang on or off 
 the key, wanted to belong to the choir, 
 and there were not nearly enough seats 
 to accommodate all. Some of the appli- 
 cants were considered too aristocratic 
 to sing in the choir, and some not sufh- 
 ciently so. Such a tempest was stirred 
 up that two separate singing societies 
 were organized. One was called the 
 Handel Society and the other the 
 Haydn. The weekly meetings of one 
 society were held at March’s Hall, 
 while the members of the other society 
 gathered weekly in Hunt’s Hall. The 
 Haydns were successful, in this battle 
 of music, in getting possession of the 
 singers’ seats. The members of the 
 “outs,” as the Handels were called, in- 
 cluded many of the best singers in the 
 town, and, in order that they might 
 
 have a place in which to sing, a sub- 
 scription list was started for a Free 
 Meeting House. So successful were the 
 proponents of the Handels that before 
 the year was out the Free Meeting 
 House was completed on a lot which 
 had been donated by Alexander Mc- 
 Lellan, and the Handels proudly oc- 
 cupied the singers’ seats in the new 
 church. Methodist, Universalist and 
 Baptist preachers expounded their be- 
 liefs from the pulpit and the Handels 
 sang for them all, a rare occurrence for 
 those days when creeds and dogmas 
 and intolerance predominated. 
 
 Portland Handel and Haydn Society 
 
 With the passing of the Beethoven 
 Society the interest in sacred and clas- 
 sical music in Portland did not seem 
 to wane, at least not for any extended 
 period. On the contrary, to the musi- 
 cal enthusiasts of the day, it seemed all 
 the greater reason for increased energy 
 and effort to sustain and develop the 
 interest already created in the study of 
 oratorio. In December of 1828 ap- 
 peared a notice that would indicate that 
 a new musical organization in Maine’s 
 metropolis was already under way. 
 This notice was signed by the Secre- 
 tary, E. Richardson, and “reminded” 
 the members of the Portland Handel 
 and Haydn Society that their “regular 
 meetings will be holden in their Hall 
 every Tuesday at % past 6 o'clock.” 
 
 In the early fall of 1829 this society 
 presented its first program at Beetho- 
 ven Hall. Of this concert the critic on 
 one of Portland’s daily papers said, 
 “The performances by the Handel and 
 Haydn Society on Wednesday evening 
 were received with great approbation 
 by a respectable audience. The lovers 
 of good music were highly gratified. 
 We hope that the patronage extended 
 them that evening will induce them to 
 continue their public concerts.” 
 
60 MUSIC AND MUSICIANS OF MAINE 
 
 A concert was given by the Handel 
 and Haydn Society for the benefit of 
 the Portland Wood Society in Febru- 
 ary, 1831, at the “Stone Church” (First 
 Parish), and repeated, a week later, for 
 the benefit of the same society. 
 
 The following communication to a 
 Portland daily of February 11 indicates 
 that the concert was successful finan- 
 cially, as well as artistically, for the net 
 proceeds of these two concerts was in 
 the neighborhood of two hundred dol- 
 lars. 
 
 The performance on Thursday Evening last 
 at the Church of the First Parish afforded a rich 
 entertainment to the large assembly that at- 
 tended and gave increased interest to the occa- 
 sion. The first parts were well sustained and 
 the house was filled with harmony. ‘The town 
 is deeply indebted to the ladies and gentlemen 
 who have thus a second time volunteered their 
 services and exerted their musical powers in the 
 cause of humanity and benevolence. We hope 
 and trust that they will not be weary in this 
 well-doing while so many hundreds are prompted 
 to aid them by listening to their strains. These 
 concerts show us how easy it is to render the 
 best feelings of the heart and in the performance 
 of duties, it dictates more and more pleasantly 
 by such sweet and delightful association. 
 
 (signed) A Lover of Music. 
 
 Although the name of the society 
 does not appear in any of the notices, 
 it is more than probable that these two 
 concerts were given by the Handel and 
 Haydn Society of Portland, and no- 
 where is the name of any officer, other 
 than the Secretary, to be found in the 
 daily papers of that period. 
 
 Some of the churches were exceed- 
 ingly slow about overcoming their pre}- 
 udices against instrumental music in 
 places of worship. 
 
 At a concert of ministers held in 
 the Freeport Congregational Church in 
 1805, it was voted unanimously to ex- 
 clude musical instruments, especially 
 the bass viol, for church worship. 
 
 About 1821 an attempt was made to 
 introduce a bass viol into the meeting- 
 
 house in Brunswick, but one of the in- 
 fluential members said he wouldn’t 
 
 -“hear a fiddle in God’s house,” so no 
 
 further effort was made in this direc- 
 tion. 
 
 From the time that Col. James W. 
 Webster was first connected with the 
 choir of the old First Unitarian Church 
 in Belfast, that old meetinghouse, which 
 had been established in 1796, was noted 
 for its music. Although the first settle- 
 ment of the town, which had been made 
 in 1770, had been broken up by the 
 British, nine years later, and the place 
 was again invested by the enemy in 
 1815, still the good people of the settle- 
 ment found time for the development 
 of music in its choirs, along with the 
 cultivation of things spiritual. As early 
 as 1822, when William Moody was ac- 
 companying the psalm-singing with his 
 old bass viol, Colonel Webster had be- 
 come connected with the First Church 
 choir. 
 
 At that time the leading soprano was 
 
 Eliza Watson; tenor chorister, William 
 
 Moody; and the leader of the bass, Dr. 
 Herman Abbott. With them were as- 
 sociated Elizabeth Moody and Dr. 
 Hollis Monroe. 
 
 Immediately succeeding this choir 
 Isaac Dunham was chosen chorister. 
 Mr. Moody returned to his viol for a 
 time and was assisted by Dr. J. P. Al- 
 den, John White, H. N. Palmer and 
 William Quimby, who played the vio- 
 loncello. James White was leader of 
 bass, Grace Ulmer, leading soprano, 
 and Alice Towle, principal alto. From 
 1822 to 1835 the bass viol was played 
 by William Quimby. In 1825 Oliver 
 A. Washburn, afterwards of Bridge- 
 water, was elected chorister. He served 
 until 1827, when Colonel Webster was 
 elected to the position of chorister, 
 which he retained for thirty years, ex- 
 cept for a few months in 1841. 
 
 During the early years of Colonel 
 
MUSIC OF THE STATE OF MAINE-— 1820-1835 61 
 
 Webster’s leadership the choir was 
 “sraced by numerous superior and dis- 
 tinguished singers,” among whom, until 
 1842, were Mrs. J. P. Alden, Mrs. Han- 
 nah Cushman, Sarah E. Whittier, Har- 
 riet S. Osborn, H. N. Lancaster, 'T. H. 
 Greeley, W. O. Poor, Joseph Wheeler 
 and Albert Bingham. 
 
 Occasional members of the choir from 
 1823 to 1835 were Major P. R. Hazel- 
 tine, James P. White, Sherburne Sleep- 
 er, E. T. Morrill, Daniel Haraden, Al- 
 bert G. Jewett, Mary Palmer, Eunice 
 E. Edmunds, Eliza and Susan S$. Kim- 
 ball and others. 
 
 Dancing was in vogue in Belfast as 
 early as 1806. Assemblies soon came to 
 be held at the Old Huse Tavern, cor- 
 ner of Main and High Streets. The 
 usual attendance was about thirty 
 couples. 
 
 In 1808 subscription dances were in- 
 augurated at which music was fur- 
 nished by a single musician. 
 
 In the following years Academy Hall 
 was used for assemblies, at which Ma- 
 jor Jack Douglass furnished the music. 
 
 In May, 1835, a contract was made 
 in Newburyport for an organ for the 
 First Unitarian Church of Belfast. ‘This 
 instrument was shipped on the ill-fated 
 schooner “New Packet” which, on the 
 fifth of June, 1835, went ashore near 
 the mouth of Penobscot Bay, within 
 thirty miles of its destination. Fortu- 
 nately the organ had been purchased 
 on such terms that it was not to be 
 paid for until delivery, so its loss, fi- 
 nancially, did not fall on the members 
 of the church. The crew and passen- 
 gers, among whom, strangely enough, 
 was Colonel Webster, were rescued. 
 Another organ was immediately pur- 
 chased from Henry Urban of Boston 
 and it was first played in the following 
 month. Frederick N. Palmer was the 
 first organist and held that position for 
 a period of one year. This organ served 
 
 the people of the First Unitarian 
 Church until 1848, when it was re- 
 placed by a larger one which had been 
 built by George Stevens of Boston, at 
 a cost of thirteen hundred dollars. The 
 old instrument was sold for four hun- 
 dred dollars. 
 
 The story of the Belfast choirs after 
 1835 properly belongs in another chap- 
 ter and will be found on some of the 
 succeeding pages. 
 
 Watts’ Collection, with its “Sacred 
 Poetry selected by the Rev. Jeremy 
 Belknap, D.D.,” was used in the new 
 meetinghouse in Belfast as early as 
 £o2, 
 
 The Handel Society of Bath was or- 
 ganized about the time the Beethoven 
 Musical Society came into being, and, 
 in 1821, its officers were Doctor Ben- 
 jamin D. Bartlett, President; William 
 Sewall, Vice President; Rufus Buck, 
 Secretary. 
 
 Good progress in music was, in the 
 meantime, being made in some of the 
 smaller towns of the State. 
 
 Of the Congregational Church in 
 Cumberland (1819), it is said, the par- 
 ents rode on horseback, the good-wife 
 on the pillion, the children going on 
 foot and cutting across lots to the 
 church, where the half frozen worship- 
 pers sat through a sermon an hour long 
 and a prayer which lasted another 
 hour, but the music consisted of “the 
 singing of the good old tenor stamp 
 performed by good natural voices in 
 the popular tunes of the day.” 
 
 The Town of Cumberland may well 
 be said to have been a musical center 
 at this time, for as early as 1829 the 
 Philo Harmonic Society was assisting 
 at concerts and public functions in that 
 and nearby towns. 
 
 In this year the Philo Harmonic So- 
 ciety sang several numbers at the fourth 
 of July celebration, including two odes, 
 
 “Swell the Full Anthem” and “The 
 
62 MUSIC AND MUSICIANS OF MAINE 
 
 Liberty Tree,” as well as a number of 
 hymn tunes. 
 
 A critic says: “The Singing of the 
 Philo Harmonic Society was performed 
 in an animated and judicious style, 
 which we have seldom heard sur- 
 passed.” 
 
 It is known that a society for the 
 study of choral music was in existence 
 in Brunswick as early as 1825. This 
 was the “Hayden Society,” spelt with 
 an “e” in the old histories of the town; 
 and was followed in 1829 by the Mo- 
 zart Society, which, it was stated, was 
 “founded for the cultivation of musical 
 tastes and social intercourse.” Its meet- 
 ings were held in the Tontine Hotel, 
 the Maine Hotel and Robert Orr’s of- 
 fice. Among its members were Robert 
 Orr, General Abner B. Thompson, 
 James McKeen, M.D., John H. ‘Thomp- 
 son and Benjamin Dennison. 
 
 The church of the First Parish, 
 Brunswick, in 1835 voted to receive an 
 organ in trust for the church. Two 
 years later the debt due on the organ 
 was assumed by the Parish. May 16, 
 1840, it was voted to pay the organist 
 fifty dollars. An objector at the Parish 
 meeting declared, “I have felt very un- 
 pleasant ever since the organ came into 
 the meeting house. It is not acceptable 
 to God. It is very offensive. It begins 
 to make a noise after each hymn is 
 read, before they begin to sing. It has 
 a very immoral tendency. It keeps our 
 minds on other things.” No other per- 
 son objected, so the motion was carried. 
 
 Prior to the fall of 1825 the “Philo 
 Harmonic Society” was organized in 
 New Gloucester, and on October 25, 
 1826, its anniversary meeting was held 
 at the meetinghouse of the First Parish 
 in that town, when “some select pieces 
 of music” were performed and an ad- 
 dress on music was delivered by Wil- 
 liam Bradley, Esq. 
 
 E. H. Merrill, at this time the Sec- 
 
 retary of the organization, and Rev. 
 Elisha Mosely, and Deacon Isaac Par- 
 sons were honorary members and zeal- 
 ous patrons of the Philo Harmonic 
 Society. 
 
 At the fourth of July celebration in 
 1827 the society rendered an anthem 
 “in Superior Style.” 
 
 This musical organization must have 
 been in existence for a period covering 
 three or more years and was supported 
 by the best people of the town. 
 
 Dancing in Maine had already come 
 to be looked upon with some degree of 
 favor in certain quarters, and on some 
 occasions, it is stated, the music to ac- 
 company it was brought from Boston. 
 
 At Brunswick, where the students 
 may have given some social distinction 
 to such events, Commencement Balls 
 were held as early as 1821, but a school 
 for dancing at the Godfrey House, 
 across the river, at Topsham, was in 
 existence as early as 1799. 
 
 A Grand Peace Ball was held at Bid- 
 deford in 1824, which was said to have 
 been unrivalled anywhere in Maine for 
 magnificence. Music was furnished by — 
 “Fiddler Gray of Portland.” 
 
 A dancing school in Saco had been 
 in operation as early as 1809 when the 
 “Master” or “Fiddler,” as he was 
 called, came from Portland. 3 
 
 The Inauguration Ball, given on 
 March 4, 1829, at the Exchange Coffee 
 House in Portland, was a great social 
 event of the times. The elite of Port- 
 land and the surrounding towns were 
 at this grand affair. The Exchange 
 Coffee House (where all the big society 
 events of the day were held) was op- 
 posite the Bethel Stone Chapel on Fore 
 Street, and, as undesirable as that par- 
 ticular locality afterwards became, it is 
 a strange circumstance, that sixty-eight 
 years later, all western Maine society 
 and music loving folk flocked to the 
 same spot to listen to the first perform- 
 
MUSIC OF THE STATE OF MAINE— 1820-1835 63 
 
 ance of the Maine Festival Chorus, 
 when the great auditorium, built on the 
 old Coffee House site, was filled to 
 overflowing. 
 
 Assemblies, to which season tickets 
 were sold, were held at Union Hall, 
 Portland, during the winter of 1828 
 and 1829. 
 
 Public entertainments of a musical 
 character during the first ten years of 
 Maine’s Statehood were rather infre- 
 quent, though traveling companies of 
 lecturers, comedians, and musicians 
 would sometimes spend several weeks 
 in Maine, giving a concert first in one 
 place and then in another, and return- 
 ing, so that sometimes they would give 
 four or five entertainments in a town 
 during a period of a month. 
 
 Actors, and those who craved the 
 drama, were at their wits’ ends to find 
 a way to circumvent the blue laws in 
 those places where the approbation of 
 the selectmen of the town could not 
 first be obtained, in order for them to 
 get the necessary license from the Court 
 of General Sessions of the Peace, be- 
 fore a performance could be given. 
 
 A study of the law revealed the fact 
 that if such a stage play, interlude or 
 other theatrical entertainment were 
 acted or carried on, “for profit, gain or 
 other valuable consideration” that the 
 owner of the building should forfeit a 
 sum not exceeding five hundred dollars 
 for each and every time such house or 
 building should be let, or hired, or suf- 
 fered to be used, and every actor as 
 well as those who assisted in any way 
 should also forfeit and pay four hun- 
 dred dollars. 
 
 About this time some ingenious per- 
 son conceived the idea that if a musical 
 entertainment to which an entrance fee 
 were charged should be given and the 
 dramatic parts of the program between 
 the musical features were presented 
 free, that such free exhibitions of the 
 
 drama could be presented with impu- 
 nity, sO music was the smokescreen 
 which was used to outwit the Puritani- 
 cal Massachusetts legislators who had 
 enacted this law before Maine became 
 a State. 
 
 Appended herewith is an announce- 
 ment of what was probably the first 
 dramatic entertainment in Maine, thus 
 
 camouflaged to evade the law. 
 
 The public are respectfully informed that 
 there will be A CONCERT of Vocal and 
 
 Instrumental music 
 On Friday Evening, June 23rd. 
 
 Between the parts of the concert will be per- 
 formed (gratis) a favorite Comedy in 5 acts 
 called the 
 
 Soldier’s Daughter. 
 
 The whole to conclude with a Musical enter- 
 tainment (gratis) called 
 
 Of Age To-morrow. 
 
 Tickets of admission to the upper seats, sev- 
 enty-five cents each; lower seats fifty cents. 
 
 These venturesome spirits were suc- 
 cessful in their design, and several other 
 similar programs were presented to au- 
 diences in Portland and other Maine 
 towns during June, July and August of 
 that year, apparently without inter- 
 ference by the officers of the law. 
 
 Happily the act of 1806 was repealed 
 by the new Maine Legislature at its 
 very first session, and on March 21, 
 1821, just one year and six days from 
 the time Maine became a state, this 
 obnoxious law became a thing of the 
 past. In Massachusetts, however, this 
 law continued in effect until 1826, when 
 the solons of the Commonwealth fol- 
 lowed the example of their Maine 
 brothers in abrogating the statute. 
 
 For a long time, however, public 
 sentiment of the majority of people in 
 certain localities in the State was so 
 strongly opposed to dramatic entertain- 
 ments in any form that they were not 
 tolerated. 
 
 Notwithstanding that the law against 
 dramatic entertainments had been re- 
 
64 MUSIC AND MUSICIANS OF MAINE 
 
 pealed in 1821, for very many years a 
 substantial number of the people in 
 Portland were so sensitive about at- 
 tending any kind of an entertainment 
 held in a theater that they refused to 
 enter such an unholy building, even 
 though the entertainments were far 
 from being of a theatrical nature. 
 
 There is, perhaps, no city in Maine 
 more musical than Rockland, nor one 
 of its size where musical voices, in 
 greater number, are to be found. For 
 years the names of Burpee, Partridge, 
 Spear, Tibbetts, Harrington, Wight, 
 Fuller, Bird and others have been syn- 
 onymous with music. 
 
 Rockland musical history dates back 
 to the year in which Maine became a 
 state. In that year the Old Brick 
 Church was built. While it was a Un- 
 ion Church it was used principally by 
 the Methodists and Universalists. 
 
 Nancy Sleeper, in her valuable man- 
 uscript history of “Music of Rock- 
 land,” says, “It had high pews with 
 doors and a gallery all round including 
 one for the choir, this being the first 
 choir in this vicinity. There were fif- 
 teen or twenty singers, and the only 
 instrument was a bass viol played by 
 John Spofford, who owned the first one 
 here. The singers met at the homes of 
 the members and learned some church 
 tunes but there were no regular re- 
 hearsals. Mr. Ed Hovey was leader. 
 Among the singers were Harvey Spear, 
 Elkanah Spear, Simeon Partridge, 
 Richard Smith, Tileston Healey, Mar- 
 garet Watson, Alma Partridge, Mary 
 Croner, Angelica Branton and Harriet 
 Spofford.” 
 
 During the period from 1825 to 1828 
 religious services were frequently held 
 in the house of James Partridge, where 
 the first quartette choir in the town 
 sang. This was composed of Mr. and 
 Mrs. Partridge, their oldest son and 
 daughter. 
 
 In 1828 the Methodists, who had or- 
 ganized in 1801, built a chapel of their 
 own, with steeple and bell, on the site 
 now occupied by the present church. 
 A choir, of which Harvey Spear and — 
 Simeon Partridge were leaders, fur- 
 nished music for its dedication. f 
 
 Old records throw interesting side- 
 lights on the attitude of some of the 
 people of Maine towards music at that 
 time. On one occasion a certain man 
 offered “to take lead of the singing in 
 case the church would refund to him 
 $25. which he says he has expended in 
 Boston for education.” At another, a 
 delinquent member, when urged to re- 
 turn to his church duties, refused to do 
 so “unless the church pledge them- 
 selves not to use the meeting house for 
 any other than religious worship and 
 turn out the present choir of singers 
 from the seats.” The playing of “worldly 
 fiddles” in the House of God met with 
 much opposition in nearly all places. 
 Rockland was no exception. The vio- 
 linist at the Methodist Church received 
 an anonymous letter requesting him to 
 stop playing the fiddle there. Later the 
 church owned “a seraphine” which was 
 played by Aldana Crocker, who was 
 also a singer of prominence. After the 
 organ was installed the seraphine was 
 sold to Edward Ingraham. 
 
 In 1854 the church building was en- 
 larged and an organ purchased. Mr. 
 Richmond, then a member of the choir, 
 with Deacon Hix were a committee to 
 purchase it. Mr. Whipple, the first or- 
 ganist, was succeeded by Sarah Wood, 
 who was afterwards succeeded by Sa- 
 rah Harrington. | 
 
 Mrs. William Wilson, Mrs. Ruth S. 
 Mayhew, Mrs. H. B. Ingraham, Fran- 
 cis Harrington and William J. Atkins 
 sang in this choir for many years. 
 
 At first only psalm tunes were sung 
 by the choir, but on one occasion “‘Be- 
 fore Jehovah’s Awful Throne” and 
 
MUSIC OF THE STATE OF MAINE— 1820-1835 65 
 
 other anthems were rendered. It was 
 reported that “This was considered a 
 wonderful performance.” — 
 
 _ The first organ used in this church, 
 which continued in use until 1906, was, 
 to every outward appearance, a pipe 
 organ, but was, in reality, without 
 pipes. This remarkable illusion was 
 produced by installing “pipes”? made of 
 gilded pasteboard. 
 
 The records of the Baptist Church 
 formed in 1833 disclose the fact that 
 it “owned an interest” in a bass viol 
 until 1835 when the church voted to 
 dispose of it. This was played at first 
 by Asa Hatch. 
 
 William Hatch was leader of the 
 Baptist Church choir and the other 
 members were Deacon Henry Ingra- 
 ham, Rebecca Lindsey, Harriet Spof- 
 ford, Adeline Harrington, Achsah In- 
 graham, and Sarah Holmes. Jacob Har- 
 rington played the violin and Stephen 
 Hatch appears to have succeeded Asa 
 Hatch at the bass viol. 
 
 “Before Jehovah’s Awful Throne,” 
 “Sound the Loud Timbrel,” and “Fly 
 Like a Youthful Hart or Roe,” were 
 favorite anthems of the choir. 
 
 After a time the Baptists sold their 
 church to the Congregationalists and 
 a new Baptist Church was built on the 
 site of the present one and dedicated 
 January 1, 1839. 
 
 The hymns sung at the dedication 
 were from Watts’ collection. Jacob Har- 
 rington was then leader of the choir. 
 
 In the old Congregational Church at 
 Rockland “they worshipped with fid- 
 dles” at first. Leander Starr played the 
 violin and Elkanah Spear the bass viol. 
 After a time a seraphine was used 
 there, but it was replaced by a small 
 organ. 
 
 When the pipe organ was installed 
 this small organ was stored in the 
 Campbell Building opposite the church. 
 A group of youngsters obtained access 
 
 to it and supplied themselves with 
 “wonderful whistles” that made them 
 the envy of all the other boys in the 
 town. 
 
 Winthrop may be regarded as one of 
 the earliest towns in Maine where the 
 people took a deep interest in music. 
 John Stanley, who was born in Attle- 
 boro, Mass., in 1771, was a very prom- 
 inent vocalist there. He came to Maine 
 in 1817 and lived in Readfield and 
 Winthrop for a number of years. In 
 1840 he returned to Attleboro where 
 he died at the age of ninety. 
 
 George W. Fairbanks of Wayne was 
 born in Winthrop, August 5, 1803. He 
 married Lucy Lovejoy, a musically 
 gifted lady, in 1828 and their house 
 became the musical center of the vil- 
 lage. He was a famous teacher of sing- 
 ing schools in his day and was, for 
 many years, the leader of the church 
 choir in Wayne. 
 
 The hospitality of the Fairbanks 
 home and the musical influence which 
 pervaded it brought to it a large circle 
 of talented friends. Mrs. Fairbanks, a 
 native of Wayne, died in 1883, and Mr. 
 Fairbanks survived her but five years. 
 
 During the early years of Maine’s 
 Statehood schools for instruction in mu- 
 sic and the allied arts were opened in 
 many towns in the State. 
 
 In January, 1821, L. Champrosay 
 opened a dancing academy at Stod- 
 dard’s Hall in Brunswick, and five 
 years later Miss Brown of Boston 
 started a school for musical instruction 
 in the same town, giving especial at- 
 tention to students of the harp and 
 piano, while in 1825 Luke Hastings’ 
 school for instruction in vocal music 
 was opened to the public. 
 
 In September, 1821, James D. Hay, 
 organist at the Second Parish Church 
 in Portland, announced that he “teach- 
 es pianoforte and organ” and is “like- 
 wise Opening a school for those desir- 
 
66 MUSIC AND MUSICIANS OF MAINE 
 
 ous of learning that pleasing and fash- 
 ionable instrument, the German Flute.” 
 
 In the Portland daily papers of the 
 winter of 1823 Cyrus White adver- 
 tised his singing school “for the in- 
 struction of young lads and misses in 
 Church Music on Wednesday and Sat- 
 urday of each week at the First Bap- 
 tist Meeting House.” 
 
 In March, 1823, Miss E. C. Kertells 
 announced her intention to teach music 
 with other studies at her Boarding 
 School in Portland. 
 
 In the winter of 1825 and 1826 R. 
 Claggett from Dartmouth College an- 
 nounced that he had opened a school 
 for advanced singers in Beethoven Hall, 
 Portland, and would give lessons to 
 beginners in a separate school. His 
 terms were twenty-five lessons for 
 three dollars. A later announcement 
 stated that he was Proprietor of the 
 Singing School at Dr. McLellans. 
 
 In February of the same year Miss 
 Murray advertised to give instruction 
 in music at her school for young ladies 
 to be opened on Pleasant Street in that 
 city. 
 
 H. Jackson opened a school in Port- 
 land in 1826 for the purpose of giving 
 lessons in sacred music with the very 
 liberal terms of twenty-four two-hour 
 lessons for two dollars. 
 
 In August, 1827, William H. Wood’s 
 Singing School was opened in a room 
 under Beethoven Hall. 
 
 In 1829 a Mr. Sawyer, in an adver- 
 tisement, offered to open a singing 
 school, using the “Monitoria System,” 
 “if Sufficient Encouragement can be 
 obtained,” and the following month 
 announced the opening of his school 
 for reading, writing, arithmetic, Eng- 
 lish and sacred music. 
 
 Mrs. Bartolini from Europe came to 
 Portland in 1828 and opened a dancing 
 school and a school of music on the 
 
 pianoforte, guitar, etc., and announced 
 that, “she keeps Guitars.” 
 
 In 1829 A. W. Searles, “a professor 
 of music intending to make Portland 
 his residence,” began the teaching of 
 piano, violin and bass viol in that city. 
 
 Other teachers of music in Portland © 
 at this time were Fayette Bartlett, or- 
 gan, piano, flute, flageolet and other 
 instruments; H. T. Harris, organ, pi- 
 ano and German flute. 
 
 In 1830, at Mr. Furbish’s Academy 
 in Portland, lessons “in the first prin- 
 ciples of Vocal Music auxiliary to a 
 good style of reading and speaking” 
 were given in a class of boys and 
 young gentlemen. ; 
 
 In 1832 George W. Hewitt “from 
 Boston” located in Portland where he 
 taught the piano and organ and adver-— 
 tised to arrange music for military 
 bands. 
 
 During the first decade of Maine’s 
 existence as a state there were a num- 
 ber of collections of psalm-tunes, sing- 
 ing books and other musical works 
 which bore the imprints of Maine pub- 
 lishers or were compiled by people liv- 
 ing within its borders. Among these, 
 one of the most notable was The Wes- 
 leyan Harmony, “or a compilation of 
 choice tunes for public worship; adapt- 
 ed to the various metres in the Meth-— 
 odist hymn book now in use; With a 
 table of the particular metres, hymns, © 
 and the names of the tunes annexed in 
 which they may be sung. Designed for 
 the Methodist societies, but proper for — 
 all denominations,” by Henry Little of 
 Bucksport, Maine. No date appears on 
 the title-page but a second edition, en-- 
 larged and improved, was printed by - 
 Goodale, Glazier & Co., of Hallowell, — 
 in 1821. | 
 
 Psalms, Hymns and Scriptural Song 
 “selected for the use of the united 
 churches of Christ, commonly called 
 
MUSIC OF THE STATE OF MAINE— 1820-1835 67 
 
 Free Will Baptists, and for saints of all 
 denominations,” was published by John 
 Buzzell, minister of the gospel, Kenne- 
 bunk, and printed by James K. Rem- 
 ick, for John Buzzell and Elias Libby 
 im 1827. 
 
 In March, 1826, Mr. Nolcini an- 
 nounced the forthcoming publication of 
 his anthem which had been sung at the 
 dedication of the new stone church in 
 Portland, as follows: 
 
 The Subscriber respectfully solicits the pat- 
 ronage of his friends and the public for publish- 
 ing the Anthem composed by him for the Dedi- 
 cation of the New Stone Church in this town 
 as performed on the 8th of February, 1826. 
 
 The work will consist of eight pages or more 
 quarto size to be printed by Messrs. Glazier 
 and Co. at Hallowell and will be completed in 
 the course of three weeks. Subscriptions will 
 be received and copies delivered when finished 
 at Mr. Wm. Hyde’s Book Store, Middle Street. 
 Price to subscribers twenty-five cents only. 
 
 Cuaries Notcin1. 
 
 James Emery (1795-1844), a Water- 
 boro clergyman, in 1829 published The 
 Gospel Hymn Book, “a new collection 
 of hymns and spiritual songs for the 
 use of the pious,” and in 1830 appeared 
 Sacred Songs, “being a collection of 
 hymns for the use of Christian denomi- 
 nations,” by C. T. Norcross. This was 
 printed in Hallowell by Glazier & Co., 
 Printers, at No. 1 Kennebec Row. 
 
 With the introduction of musical in- 
 struments into the churches and the de- 
 sire of the cultured to be able to per- 
 form on them, came a demand for in- 
 struction books, and in 1828 Glazier & 
 Co. published the Flute Instructor, 
 “containing a plain and easy introduc- 
 tion to the rules and principles of the 
 German and patent flutes; together 
 with a choice selection of new and val- 
 uable music consisting of preludes, airs, 
 duets, songs, waltzes, &c. Many of 
 which have never before been published 
 in this country. 2d. ed. corrected and 
 improved.” This work proved so pop- 
 
 SAMUEL FRANCIS SMITH, COMPILER OF “THE JU- 
 VENILE LYRE” AND AUTHOR OF “AMERICA.” FOR 
 SEVEN YEARS A RESIDENT OF WATERVILLE WHERE 
 HE WAS A PROFESSOR AT THE COLLEGE. FROM A 
 PHOTOGRAPH IN THE COLBY COLLEGE COLLECTION. 
 
 ular that it ran into no less than six 
 editions. 
 
 The Violin Instructor, “containing 
 a plain and easy introduction to the 
 rules and principles of the violin, to- 
 gether with a choice and extensive se- 
 lection of new and valuable music con- 
 sisting of preludes, duets, songs, waltz- 
 es, etc. many of which have never be- 
 fore been published in this country,” 
 which had been previously published 
 by this firm, was in its second edition 
 in 1828 and ran into a third edition 
 three years later. This last edition bore 
 the publishers imprint as Glazier & 
 Marsters. 
 
 The Juvenile Lyre, “or hymns and 
 songs, religious, moral and cheerful, set 
 to appropriate music for the use of 
 primary and common schools,” and 
 printed in Boston by Carter, Hendee 
 
68 MUSIC AND MUSICIANS OF MAINE 
 
 & Co. in 1835, was compiled, while a 
 resident of Maine, by Samuel Francis 
 Smith, D.D., author of those immortal 
 verses beginning: 
 
 My Country; ’tis of Thee, 
 
 Sweet, land of liberty, 
 
 Of thee, I sing; 
 
 Land where my father’s died! 
 
 Land of the pilgrim’s pride! 
 
 From every mountain side 
 
 Let freedom ring! 
 
 Samuel Francis Smith, 1808-1895, 
 though not born in Maine, was a Bap- 
 tist clergyman in Waterville from 1834 
 to 1841 and a professor at the Water- 
 ville College (afterwards called Colby 
 
 College), so Maine can fairly claim the’ 
 
 author of “America” as her own for 
 this period at least. 
 
 John Maxim composed several tunes 
 among which were “Carver” and “Wor- 
 ship,” both of which obtained a degree 
 of popularity. 
 
 Among the hymn tunes of the period 
 (1820 to 1835) that enjoyed the dis- 
 tinction of being named for Maine 
 towns were Sweetsir’s “Cumberland,” 
 Carey’s “Otisfield,” Holden’s “Hollis,” 
 Swan’s “Poland,” B. Sawyer’s “Nor- 
 way,” W. Paine’s “Wells,” and B. Tal- 
 
 bot’s ‘““Pownal.” 
 
 The epoch represented by the first 
 fifteen years of music in the State of 
 Maine covered practically the entire 
 time during which the Beethoven So- 
 ciety existed and may be described as 
 the reconstruction period in American 
 music. 
 
 The people of New England, espec- 
 ially, had already begun to take a saner 
 view in relation to British music. The 
 best of the English psalm tunes were 
 restored to the hymn books and the 
 majority of the poorer numbers that 
 had been substituted during the time 
 that America was at war with the 
 mother country were omitted as new 
 editions appeared. 
 
 Study of the works of the great mas- 
 ters by the musical societies had de- 
 veloped a desire among the people for 
 better and richer harmonies and the 
 music in the churches was improved 
 to such an extent that the change in 
 this regard seemed little short of mi- 
 raculous. 
 
 It was an epoch during which much 
 progress was made, and was especially 
 notable for the creation and develop- 
 ment of a taste for classical music 
 among the common people of the State. 
 
oul ae aoe Rad EUS) BAN 
 
 Tue Music oF THE STATE OF MAINE 
 
 SECOND PErRtiop 1836-1856 
 
 Real music is the voice of God, 
 Mind’s symphony complete. 
 Ideas are notes 
 And each one floats 
 To eternity’s rythmic beat. 
 — From “Music” by Anita Gray Little. 
 
 Portland Sacred Music Society 
 
 The story of the old Portland Sacred 
 Music Society should be written large 
 in the history of Maine music, for it 
 was the first organization to sing an 
 entire standard oratorio at a public 
 performance within the State of Maine, 
 and probably the first to present such 
 an ambitious undertaking in any city 
 or town east of Boston. 
 
 If one reads the journals of the day 
 he will find that The Portland Sacred 
 Music Society was an outgrowth of an 
 attempt to found a permanent acad- 
 emy of music in Portland. 
 
 In the spring of 1835 Ferdinand IIs- 
 ley, who had started a singing school 
 some time before, opened the season 
 with his “Portland Academy of Mu- 
 sic.” This was originally designed for 
 boys and girls, and, within a year, he 
 and his associates had secured nearly 
 three hundred pupils. 
 
 The first advertised concert of vocal 
 music by these young people, whose 
 ages ranged from seven to fifteen years, 
 was held at the church of the Second 
 Parish, “assisted by the organ,” on the 
 afternoon of September 9, 1835. 
 
 The concert was apparently success- 
 ful and was repeated one week later. 
 
 During the fall of 1835 a number of 
 men and women of Portland, desirous 
 of helping along the work of Mr. Isley, 
 joined the “Academy Choir,” and, in 
 December of that year, a meeting of 
 
 the association was held at the Third 
 Parish Church. The exercises consisted 
 of “Prayer, Music by the Association, 
 and an Address by Mr. Furbish.” 
 
 The announcement of the first adult 
 concert by the Portland Academy of 
 Music appeared in the Argus of March 
 Fos. 
 
 At this concert the program was 
 made up of selections from Arnold, 
 Beethoven, Bray, Handel, Haydn, Ives 
 and Shaw. 
 
 Press agents were rare, so not all 
 concerts were reported, in those days. 
 There was no editorial notice in either 
 of the Portland papers before or after 
 this performance. 
 
 The concert was repeated on April 
 21, “the evening of Fast Day,” at the 
 First Parish Church, being preceded 
 the night before by a rehearsa! at the 
 same place. 
 
 Of this performance the Evening Ad- 
 vertiser of April 23 said: 
 
 “On Fast day evening we had the 
 pleasure of listening to one of the best 
 concerts of Sacred Music ever given in 
 this city. The performers were remark- 
 able for three important characteristics, 
 namely; distinct pronunciation, good 
 taste, and accurate time. We were not 
 aware that there were so many good 
 voices among us. The solos and duets 
 were performed with a grace worthy 
 of all praise, and we are sure, from in- 
 dications on the part of the audience 
 that all present were of the same opin- 
 ion as ourselves. How delightful to 
 have such concerts frequent! What a 
 charming festival! How many tender 
 and religious emotions enlisted! We 
 are rejoiced to learn that the science of 
 
70 MUSIC AND MUSICIANS OF MAINE 
 
 EDWARD GOULD, FIRST PRESIDENT OF THE PORT- 
 LAND SACRED MUSIC SOCIETY (1836), THE FIRST 
 IN THE STATE TO SING A COMPLETE STANDARD 
 ORATORIO (“CREATION,” APRIL 24, 1837). FROM A 
 COPY OF A PAINTING MADE BY JOSEPH G. COLE IN 
 1833. PHOTOGRAPH LOANED BY MAJOR JOHN M. 
 GOULD, PORTLAND. 
 
 vocal music is beginning to receive that 
 attention among us which it eminently 
 deserves. May everyone feel it a duty 
 to lend his aid to the cultivation of a 
 science so important to the church, to 
 morality, and religion, to those emo- 
 tions which we all love to feel, as a 
 foretaste of enjoyment beyond the 
 grave.” 
 
 After this concert a meeting of “the 
 male members of the choir, hitherto 
 under the direction of the Portland 
 Academy of Music,” was called, and 
 the object of the meeting, as announced, 
 was “to adopt some measures that 
 may promote the interests of the choir.” 
 
 The first announcement in which the 
 name Sacred Music Society appears 
 was printed in the Advertiser of May 
 II, 1836, in which it stated that an ad- 
 journed meeting of the society would 
 be held on that evening so it would 
 
 seem that the birth of the Portland © 
 
 Sacred Music Society may be reckoned 
 from the date on which this first meet- 
 ing was held, viz., May 4, 1836, and 
 the place was the Temple Street 
 Church. 
 
 On June 24, 1836, it was announced 
 that “some of the principal Amateurs 
 in this City will give a Concert Of 
 Sacred Music To-Morrow Evening in 
 the church of the Third Parish to com- 
 mence at 8 o’clock precisely.” 
 
 It is more than likely that among 
 the amateurs who assisted at the per- 
 formance were members of this em- 
 bryonic music society which was to dic- 
 tate the musical policy of Maine’s me- 
 tropolis for the next eighteen years. 
 
 The first fall concert given in Octo- 
 ber, 1836, was “thinly attended,’ but 
 was repeated with better success about 
 ten days later. 
 
 A momentous announcement, calling 
 attention to the fact that Haydn’s 
 “Creation” was in rehearsal and stat- 
 ing “This occasion will furnish lovers 
 of Music in this city an opportunity of 
 listening to the whole of that sublime 
 composition which, we believe has 
 never been performed, as a whole this 
 side of Boston,” appeared in the 4d- 
 vertiser of December 27, 1836, and 
 contained the statement that the so- 
 ciety had procured several distinguished 
 musicians from Boston to play in the 
 orchestra. 
 
 The presentation of the oratorio 
 “Creation” in its entirety for the first 
 time in the State of Maine was given 
 by the Portland Sacred Music Society 
 on April 24, 1837, with David Paine 
 acting as organist, and supported by an 
 
 — 
 
 ee ee ee 
 
MUSIC OF THE STATE OF MAINE— 1836-1856 71 
 
 imported orchestra. Arthur L. Ilsley 
 and his sister Esther Ilsley were the 
 principal soloists. 
 The following is of interest as being 
 a copy of the advertisement of the 
 historic concert: 
 THE ORATORIO 
 
 by the 
 PORTLAND SACRED MUSIC SOCIETY 
 
 previously advertised, will be given, at the 
 Second Parish Church on Tuesday Evening next, 
 and repeated on Wednesday and Thursday 
 
 Evenings. Performance to commence at 
 
 6 % o'clock. Doors open at 6. 
 Leader of the Orchestra 
 Mr. R. Garbett of Boston. 
 Organist, Mr. D. Paine. 
 
 Messrs. Friedham, Pierce, Brockway and 
 Hanson, professors of the different instruments 
 are engaged for the occasion. 
 Family tickets not exceeding five $2.— 
 Single tickets fifty cents. 
 
 Of this performance the unmusical 
 but not unfriendly editor of the Argus 
 of the next morning had this to say: 
 
 “The Oratorio, — The first perform- 
 ance of the ‘Creation’ last evening was 
 well attended; and though the society 
 labored under some disadvantages (es- 
 pecially on account of the detention of 
 some of the Musicians from Boston, in 
 consequence of the snow storm), the 
 Oratorio was given in a manner which 
 equalled and we think surpassed the 
 most sanguine hopes of the friends of 
 the Society. It is to be repeated this 
 evening, the remainder of the orches- 
 tra having arrived; and as those per- 
 formers who were lacking in confidence 
 will have gained on that point, and the 
 music having become familiar to all, 
 we may fairly anticipate an improve- 
 ment.” 
 
 A music critic over the cognominal 
 initial “N,” writing in the Advertiser 
 of the same date, fairly bubbles over 
 in his enthusiasm at the success of this 
 achievement by Portland singers. His 
 contribution to this evening journal is 
 worthy of consideration by those who 
 
 would give attention to the history of 
 
 ‘music in Maine as this performance of 
 
 the “Creation” marks an epoch in the 
 musical annals of the State. 
 
 “Messrs. Gerrish and Edwards: I 
 have just returned from the Oratorio by 
 our Portland Sacred Music Society and 
 as late as it is and tired as I am with 
 plunging through snow-drifts, I cannot 
 make up my mind to go to sleep with- 
 out bearing a word of testimony in 
 season for to-morrow night. A new era 
 has occurred in the history of Port- 
 land. Forty-eight hours ago, I should 
 have been among the first to laugh at 
 the idea of getting up Haydn’s ‘Crea- 
 tion’ here — and now, instead of laugh- 
 ing at the projectors, I should be among 
 the foremost to vote them the thanks 
 of their country. Just think of being 
 found in this high northern latitude — 
 in depth of winter, with the snow three 
 feet deep on a level (if one could find 
 it) among a population of fifteen thou- 
 sand — fourteen thousand five hundred 
 of whom have no idea of music what- 
 ever, while one half, not to say three- 
 fourths of the remainder, have a wrong 
 one — just think of there being found 
 some forty or fifty persons, presump- 
 tuous enough —that’s the very word— 
 presumptuous enough, to dream of get- 
 ting up Haydn’s ‘Creation’ for the pub- 
 lic, with the help of four or five per- 
 sons from Boston—hit or miss! And 
 then just think of this succeeding! Yet 
 such is the fact! 
 
 “Haydn’s Oratorio of the ‘Creation,’ 
 one of the author’s greatest and most 
 astonishing peculiarities, tho written at 
 the age of sixty-five, with its solemnity 
 and sweetness, its energy, variety, orig- 
 inality and sublimity is understood here 
 —here! in this little bit of a place, a 
 village at best, in comparison with 
 other places, where with all their musi- 
 cal pretension they would as soon think 
 of getting up Milton’s ‘Paradise Lost’ 
 
92 MUSIC AND MUSICIANS OF MAINE 
 
 ARTHUR L. ILSLEY AND MRS. E. D. BRANSCOMB (ESTHER ILSLEY), WHO AT THE AGES OF TWENTY-FIVE 
 AND EIGHTEEN, RESPECTIVELY, SUSTAINED THE PRINCIPAL ROLES IN THE FIRST PRESENTATION IN THE 
 
 STATE OF MAINE OF HAYDN’S ORATORIO, “CREATION.” 
 
 FROM PHOTOGRAPHS BY S. WING, BOS- 
 
 TON, TAKEN ABOUT FORTY YEARS AFTER THIS EVENT. 
 
 as Haydn’s ‘Creation’ —and not only 
 understood here, but so well represent- 
 ed here, as to make it a pleasure for 
 those who have heard the best music 
 in the world to hear this. I have not 
 forgotten when it was performed some 
 fourteen or fifteen years ago, in the 
 great Cathedral at Baltimore, by a 
 troop of performers who had been re- 
 hearsing for months, and were selected 
 from a population, remarkable for their 
 musical taste and sensibility ; yet strange 
 as it may seem — owing partly to the 
 bad position of the organ there, and 
 partly by the unlucky reverberations 
 of the intersected ceiling — the effect of 
 the first passages there, was frequently 
 inferior to what we have just heard in 
 the wooden meeting house of the Sec- 
 ond Parish Church not withstanding 
 the pomp and power of the Baltimore 
 
 performance and their instrumental 
 force. 
 
 “We would urge all parents, whether 
 lovers of Music or not, themselves and 
 whether they understand it or not —to 
 take their children and their families 
 with them to-morrow night. If they 
 can hear and feel, that is enough—they 
 will get their money’s worth, we prom- 
 ise them; and learn something of that 
 which, if they miss this opportunity; 
 may continue forever unintelligible to 
 them —the astounding power of har- 
 mony; Half a dozen efforts like this 
 and the Character of Portland will be 
 established for a Century.” 
 
 Another, signing himself “M,” wrote 
 as follows: 
 
 “Messrs. Editors, — Surprised and de- 
 lighted as we have been with the per- 
 formance of this wonderful specimen 
 
aes 
 
 MUSIC OF THE STATE OF MAINE— 1836-1856 73 
 
 of Sacred Music, my views of philan- 
 throphy will not permit me to refrain 
 from directing others to the same source 
 of gratification. 
 
 “Many, we fear, will deny them- 
 selves the privilege of attending the 
 Oratorio from the simple fact that they 
 have no conception of the majestic gran- 
 deur of the piece to be performed; and 
 many more perhaps, from fear that they 
 have no talent to appreciate its beauty. 
 But to be gratified and even enraptured 
 with this production it is not necessary 
 that a man should be familiar with the 
 laws of ‘acoustics,’ or with music as a 
 science ;— he only needs to have a soul. 
 Whoever can listen to this without deep 
 emotion, however defective his educa- 
 tion or uncultivated his taste, might 
 have good reason to suspect that he has 
 mistaken his species and is not what he 
 thought himself to be—a human being. 
 
 “We were not a little astonished at 
 the array of musical talent and culture 
 exhibited on the first evening of the 
 performance in this city (the only op- 
 portunity we have had of judging). All 
 the voices were good, well adapted to 
 the parts assigned them; and the whole 
 was sustained throughout, with a spirit 
 and power which did honor, not only 
 to the performers themselves but to the 
 city to which they belong. The effect 
 upon the audience was indicated by the 
 
  death-like stillness which generally pre- 
 
 vailed and by the tears of many during 
 some particular parts. Who that were 
 there on this occasion can ever read 
 again with indifference the first chap- 
 ter of Genesis? Who could remain un- 
 affected with the majesty and power 
 and goodness of Jehovah, therein ex- 
 hibited? How did man, the most per- 
 fect speciman of creative power, rise in 
 his native dignity before our minds, 
 while the part was sung which com- 
 menced with ‘In native worth and 
 honor clad!” 
 
 During the second performance of 
 the Oratorio a marvellous thing hap- 
 pened, for one of the most spectacular 
 appearances of the aurora borealis 
 ever seen in this part of the country 
 occurred. 
 
 So brilliant was the display on this 
 occasion, and so strange was the fact of 
 its occurring at the particular hour that 
 it did, that for more than seventy-five 
 years frequent references were made 
 to it by the older residents of Port- 
 land as the strangest phenomenal co- 
 incidence ever to have occurred in the 
 State. 
 
 Samuel Thurston, in his Remznis- 
 ences, writes of this, “One of those re- 
 markable occurences, rare in history, 
 took place in Portland about seventy: 
 years ago during the performance of 
 the oratorio of the ‘Creation’ by the 
 Sacred Music Society at the old Second 
 Parish Church on Middle Street. While 
 the society was singing the chorus, “The 
 Heavens are telling the Glory of God,’ 
 there came the most extensive and bril- 
 liant auroral display the oldest inhabi- 
 tant had ever seen. The entire heavens 
 were aglow, being enveloped in corus- 
 cations of highly colored light, stream- 
 ing from the zenith to the horizon in 
 ever-changing form and hue, making a 
 scene of grandeur and beauty inde- 
 scribable. The performance halted while 
 the audience left the church to behold 
 the wonderful transformations of radi- 
 ant beauty which filled the heavens.” 
 
 Those who took part in this produc- 
 tion of the “Creation” had reason to 
 feel, as they stepped out of the hall to 
 the snow-covered sidewalk, and beheld 
 the gloriously resplendent Heavens, that 
 it was as if the Creator, Himself, had 
 taken this method of bestowing His 
 benediction upon this performance of 
 Sacred Oratorio—a marvellous mani- 
 festation of Celestial approval. 
 
 “The Audience last night,” it stated 
 
74 MUSIC AND MUSICIANS OF MAINE 
 
 in the morning paper, “was the most 
 numerous, we believe, ever assembled 
 at a Concert of Sacred Music in Port- 
 land and the attention with which they 
 listened was evidence of their gratifi- 
 cation.” 
 
 On the twenty-seventh the Oratorio 
 was again repeated to another large 
 house. for the benefit of the Portland 
 Benevolent Society, and a good sum 
 was realized for this worthy charity. 
 
 In a long editorial in the Advertiser 
 of January thirty-first this evening 
 journal said in part: “Our musical fes- 
 tival terminated on Friday evening last. 
 The performances were better than on 
 either of the preceding evenings. Every 
 part was well sustained and the audi- 
 ences, many of whom had listened to 
 the ‘Creation’ for four evenings in suc- 
 cession went away delighted and more 
 desirous than ever to hear it repeated. 
 This is certainly a new era in the Mu- 
 sical history of Portland. The people 
 are at last awake and for the future, 
 we may count upon increasing atten- 
 tion to the divine art.” 
 
 And so this first really great Maine 
 Music Festival, with its four perform- 
 ances of the “Creation,” passed into 
 history, and as had been prophesied 
 “The character of the town musically 
 had been established for the next fifty 
 years to follow.” 
 
 In the fall and winter of 1837 the 
 Portland Sacred Music Society pre- 
 sented the oratorio “David” complete 
 in such a manner as to call forth a de- 
 tailed criticism by the newspaper critic 
 the following evening, so long that a 
 portion of it occupied two columns of 
 fine type in that issue; and “Part 2nd” 
 (nearly two columns additional) was 
 printed the following evening. 
 
 Quoting from this the critic says: 
 
 “Take the whole performance to- 
 gether, it was astonishing — astonish- 
 ing for the faithfulness, the purity, the 
 
 sustained strength and the general ex- 
 pression of the performers, whether 
 acting together as a body or separately 
 in groups or individually,—the per- 
 formers of last evening were all of the 
 working-classes, operatives — men who 
 are regarded by common consent as the 
 uneducated. Uneducated! would that 
 we had time here to see what is meant 
 by education! — They were non-profes- 
 sional to a man—nay, there was but 
 one professional singer among the 
 whole —enough, is it not? to show 
 what the operatives can do if they 
 will.” 
 
 Of Francis Ilsley, who sang the part 
 of David, and Esther Ilsley, who sang 
 that of David’s Sister, he says: “Two 
 admirable voices —thorough-bred mu- 
 sicians;” Of Francis Ilsley, that “In 
 fulness, strength and modulation he 
 has gained prodigiously since last 
 year!” and then refers to “the sweetness 
 ful!” and then refers to “the sweetness, 
 clearness, tempo and strength of her 
 voice.” Of Cyrus Staples as Goliath, 
 he adds, his “body of tone and power- 
 ful manly voice we regard as of the 
 greatest value”; of Miss Brazier as the 
 Daughter of Saul, “another admirable 
 voice — brilliant and clear like the note 
 of a silver bugle”; of the Recitative of 
 Saul sung by Hosea Ilsley, “given with 
 prodigious power and simplicity”; of 
 Arthur Ilsley as Jonathan, “This fine 
 voice,” sang the recitative “with an 
 amplitude and smoothness which sat- 
 isfy the heart as well as the ear”; of 
 William C. Beckett as the Messenger, 
 “a fine voice with a good musical 
 taste”; of Mr. Kingsbury singing in 
 the part of High Priest, that it was 
 magnificent, and “the rich deep voice 
 of the performer was worthily min- 
 istered unto by the trumpet and other 
 instruments.” 
 
z) 
 
 MUSIC OF THE STATE OF MAINE— 1836-1856 75 
 
 Of the chorus, he concluded, “‘to 
 tell the truth we expected the Portland 
 Sacred Music Society to break down 
 for a while,—not forever——under this 
 very effort and for that reason have not 
 so much as attended a rehearsal. But 
 now—now that they have triumphed— 
 now that even with a first performance 
 in public, they have not even got ashore 
 for a moment and never failed in time 
 —we give it up. They can do anything 
 now.” ‘““The house was crowded to the 
 ceiling.” 
 
 In the fall of 1838 the Portland Sa- 
 cred Music Society gave another Mu- 
 sical Festival, presenting the Oratorios, 
 “Creation” on Monday evening, Sep- 
 tember 24; “David” on the evening of 
 September 25; “The Messiah” during 
 the afternoon of September 26; “Da- 
 vid,” again, on the evening of Septem- 
 ber 27; and ‘“The Messiah,” repeated, 
 on the evening of September 28, so 
 Wednesday, September 26, 1838, marks 
 the date on which “The Messiah” was 
 presented for the first time in the State 
 of Maine. The chorus was “accom- 
 panied by a powerful organ aided by 
 an efficient orchestra from Boston.” 
 
 The influence of the Portland Sacred 
 Music Society on the music in the 
 churches was already apparent. The 
 evening Advertiser in “A word to the 
 Portland Public” said “we beg you to 
 remember first that we owe the Port- 
 land Sacred Music Society a heavy 
 debt which now we can in part cancel. 
 They have improved your Church Mu- 
 sic wonderfully and in a manner and 
 to an extent which makes the church 
 choirs of Portland as good almost as 
 the very best in the country.” 
 
 Of the performance of “The Mes- 
 siah” an advance notice in the Argus 
 thus comments on the voice of one of 
 the soloists —Susan Whitney. 
 
 “This magnificent Oratorio of Han- 
 del will be performed for the first time 
 
 | ae 
 
 A 8ACRED 
 
 AV ORt. 
 
 RY HANDEL, : 
 ‘To = PERFORMED BY THE 
 
 pope Sacred Music Society, 
 ON WEDNESDAY AFTERNOON, 
 SEPTEMBER 26, 1838, 
 At the zd P Ferien cerns: Mowe 
 
 Es ceeeet codec teooraredscon eats SEES 
 tee tos eee 2 eC IE SERENE 
 
 Overture. | 
 
 -RECITATIVE, “Comfort ye, comfort ye my ope saith 
 your God ; speak y ye comfortably to Jerusalem and cry unto her, 
 that bar warfare is ae that her is par- 
 doned. 
 
 The voice of him that fee in the wider: ‘prepare ye 
 the way of the Lord, make straight in the desert a high my for 
 our God. 
 
 AIR. Every. va ie shall he exalted, and every mouniain and 
 hill made low ; the crooked straight, and the rough places plain. 
 
 CHORUS. And the glory of the Lord shall be revealed and 
 all flesh shall see it together ; for the mouth of the Loe hath 
 spoken it. . — 
 
 RECITATIVE. Behold a Virgin shall conceive au bear a 
 Son, and shall call his name Emanuel : God with ug. 
 
 AIR AND CHORUS. 0 thou that tellest good tidings No 
 Zion, get thee up into the high mountain ! O thou that fell est 
 wood tidings to Jerusalem, lift up thy voice with strength ! Jif it — 
 up, be not afraid! Say unto the cities of Judah, behold yous 
 
 REPRODUCTION OF THE FRONT PAGE OF THE PRO- 
 GRAM USED AT THE FIRST PERFORMANCE OF “THE 
 MESSIAH” IN THE STATE OF MAINE. PHOTO- 
 GRAPHED FROM THE ORIGINAL LOANED BY REV. 
 VINCENT SILLIMAN, D.D. 
 
 in our State this afternoon. All who 
 wish to hear the best alto voice this 
 side of St. Peter’s, Rome should hear 
 Miss Whitney in “The Messiah’— with 
 an almost perfect voice, Miss Whitney 
 displays, correct taste and good execu- 
 tion.” 
 
 It is interesting to compare the dates 
 of the early performances of oratorio 
 in America with those given in Europe 
 in order to show the relative advance 
 of singing societies in the presentation 
 of choral music in the larger forms, in 
 the old country and in the new. 
 
 It is said that the first performance 
 of an oratorio in England was at the 
 Haymarket Opera House, Haymarket, 
 in 1732, when the production was Han- 
 
76 MUSIC AND MUSICIANS OF MAINE 
 
 SUSAN WHITNEY (FOX), WHO AT THE AGE OF 
 TWENTY-THREE SANG THE CONTRALTO SOLOS ON 
 THE OCCASION OF THE FIRST PERFORMANCE OF 
 ‘iE MESSIAH” IN THE STATE OF MAINE, AND OF 
 WHOM A CRITIC SAID, HERS WAS “THE BEST ALTO 
 VOICE THIS SIDE OF ST. PETER’S, ROME. FROM A 
 PHOTOGRAPH MADE ABOUT 1870. 
 
 del’s “Esther” which had been written 
 nine years before. 
 
 “The Messiah,” Handel’s later com- 
 position, was brought out at Dublin in 
 1742, one year after its completion. 
 “The Messiah” was performed in Trin- 
 ity Church, New York, on January 9, 
 1770, and was 
 again in 1772. It is not known for a 
 certainty that these New York presen- 
 tations were complete performances, 
 but they were probably among the first, 
 if not the very first in this country. 
 The Handel and Haydn Association of 
 Boston, which had been organized in 
 1815, gave their first performance of 
 this complete oratorio on December 25, 
 1818. It was nearly twenty years after 
 this that “The Messiah” was first per- 
 formed in Maine. This was, as has 
 
 repeated in 1771 and_ 
 
 hitherto been stated, at the concert 
 given by the Portland Sacred Music 
 Society in Portland in September, 1838. 
 
 Haydn’s “Creation” was first per- 
 formed privately at Schwartzenberg 
 Palace on April 29, 1798, and later 
 performed publicly at the National 
 Theater in Vienna in that year. Its 
 first performance in London was in 
 1800. In America, it is said, that the 
 Moravian nuns sang this oratorio at 
 Bethlehem, Pa., in 1811. The Handel 
 and Haydn Society of Boston gave 
 their first complete presentation of 
 this oratorio in 1819, and the Portland 
 Sacred Music Society gave the first 
 complete performance of the “Crea- 
 tion” in Maine in 1837. 
 
 It was not until 1879 that an ora- 
 torio was presented in its entirety in 
 Chicago, when “The Messiah” was 
 sung (followed by the “Creation” in 
 1880). 
 
 Of interest, too, in this connection is 
 the statement that the first concert of 
 any kind ever given in Chicago was 
 not until 1835 and that no orchestra 
 played in that city until 1850 when a 
 group of German revolutionists, who 
 had been hired to work on the farm of 
 a Mr. Dyrenforth, as laborers, per- 
 formed under the direction of their 
 master at a concert, on which occasion, 
 it was discovered, that they were much 
 better musicians than farm hands. 
 
 Shortly after the close of this Mu- 
 sical Festival Francis L. Ilsley left 
 Portland. His departure was a distinct 
 loss to the community, musically, as 
 he had been untiring in his efforts to 
 assist the Portland Sacred Music So- 
 ciety in its undertakings since its be- 
 ginning. Mr. Ilsley had been formerly 
 a member of the old Beethoven Society. 
 
 To the Ilsleys, the City of Portland 
 owes much for its progress in music. 
 Of this remarkable family Samuel 
 Thurston writes: | 
 
Ney 
 
 MUSIC OF THE STATE OF MAINE— 1836-1856 - 
 
 “The Ilsley family was composed of 
 seven children, four boys, all tenors, 
 and three girls, all sopranos. Ferdi- 
 nand whose wife’s name was Isabella 
 (though they were not Spaniards) was 
 a superior violinist as well as a tenor 
 singer. He moved to New Jersey and 
 taught music in the public schools for 
 a long term of years. He ranked high 
 in his profession. Arthur was a solo 
 singer in the Sacred Music Society and 
 conductor also a portion of the time. 
 He also taught singing schools in the 
 city and neighboring towns and was 
 tenor in the Park St. (then Second 
 Unitarian) Church. Frank (or Fran- 
 cis) was a fine tenor singer in church 
 and oratorio. George had an excep- 
 tionally fine tenor voice and was a 
 very popular singer in this locality 
 when a young man, but he had an 
 attack of Western fever which was 
 very prevalent here about that time 
 and which took many people off. Miss 
 Elizabeth was one of the prominent, 
 and I may say the most prominent, 
 church and oratorio soprano in Port- 
 land for several years. Esther, who be- 
 came Mrs. Branscomb, was one of the 
 same sort, only a little less prominent 
 than her next older sister. Ann was in 
 the category only a little less promi- 
 nent than her next older sister. A sin- 
 gular point in this case is that so far 
 as I know, the parents were not par- 
 ticularly musical. I knew them several 
 years but never heard of either as sing- 
 ing or playing an instrument.” 
 
 The preservation of the names of the 
 soloists at the various concerts of the 
 Portland Sacred Music Society did not 
 seem of sufficient importance to some 
 of the secretaries of the society to be 
 written down in the records, so this 
 partial list, gathered from many sourc- 
 es, will have to suffice. 
 
 In 1837 the names of Arthur L. Ils- 
 ley, Esther Isley, Francis Ilsley, Cy- 
 
 rus Staples, Mary M. Brazier, Hosea 
 Ilsley, William C. Beckett and Joseph 
 Kingsbury are found on the old pro- 
 grams of the society. 
 
 In 1841 Harriet N. Cammett, Julia 
 Norton, Esther Ilsley and Mary M. 
 Brazier are mentioned. 
 
 In 1843 Cyrus Staples, A. L. Isley, 
 
 . Esther Ilsley, Harriet Cammett, H. S. 
 
 Edwards, Ann M. Ilsley, Elizabeth 
 Weeks, Harriet Beale and Mrs. E. D. 
 Branscomb (née Esther IIsley) appear 
 prominently. 
 
 In 1844 Harriet N. Cammett, Mrs. 
 S. W. Fox (née Susan Whitney), Mrs. 
 E. D. Branscomb, H. S. Edwards, Eliz- 
 abeth Weeks, A. L. Ilsley and Cyrus 
 Staples were soloists. 
 
 In 1845 are found the names of H. 
 S. Edwards, Mrs. S. W. Fox, Mrs. H. 
 M. Sampson, Cyrus Staples, A. L. Ils- 
 ley, Elizabeth Weeks and Harriet N. 
 Cammett; and in 1846 A. L. Ilsley, Cy- 
 rus Staples, Mrs. E. D. Branscomb, 
 Mrs. S. W. Fox, A. P. Pennell, Harriet 
 N. Cammett and G. J. Webb. 
 
 In 1847 the solo parts were upheld 
 by G. J. Webb, Mrs. Harriet F. Ayers 
 and Martha Webster. 
 
 In 1848 the names of several of those 
 who were later to enjoy: popularity 
 with Maine audiences for more than a 
 decade appeared. The soloists for this 
 year were John L. Shaw, Samuel Thurs- 
 ton, G. J. Webb, Cyrus Staples, Mrs. 
 M. E. Blanchard, Mrs. Harriet F. 
 Ayers, Sarah E. Polleys, Elizabeth 
 Weeks and Ella Merrill. 
 
 In 1851 Hermann Kotzschmar, F. 
 Nichols Crouch, Harriet N. Cammett, 
 Mrs. M. E. Blanchard, Mrs. Bradley, 
 Ellen Merrill and John L. Shaw made 
 appearances in solo parts. 
 
 In 1852 Harriet N. Cammett, H. So: 
 Edwards, Hermann Kotzschmar and 
 Ellen Merrill were numbered among 
 the principals. 
 
78 MUSIC AND MUSICIANS OF MAINE 
 
 In 1853 A. Arthurson, A. P. Whee- 
 lock, Joseph Poor, Harriet N. Cam- 
 mett, Lydia Harris, Abbie Cammett, 
 Jane Twitchell and Miss Higginson 
 were assigned principal numbers. 
 
 Others who sang before the society 
 were George A. Thomas and Mrs. 
 Sarah Kingsbury. 
 
 At what appears to have been the 
 last concert given by the Portland Sa- 
 cred Music Society (April 13, 1854) A. 
 L. Ilsley, Harriet N. Cammett, Cyrus 
 Staples and Harriet F. Ayers were the 
 soloists when selections from the Ora- 
 torio “David” were sung. 
 
 The Portland Sacred Music Society, 
 destined to carry on for seventeen 
 years the,work which the Beethoven 
 Musical Society had begun, was formed 
 in May, 1836, and incorporated by 
 special act of the Legislature in March 
 of the following year. Its incorpora- 
 tors were: James Furbish, Edward 
 Richardson, Francis L. Ilsley, Ferdi- 
 nand I. Ilsley, Horace V. Bartol, Abner 
 Lowell, Hosea Ilsley and James R. 
 Milliken. 
 
 The following were the officers of 
 the Portland Sacred Music Society for 
 the years stated: 
 
 Presidents: Edward Gould, 1836-1840; Samuel 
 R. Leavitt, 1843-1846, 1848, 1849, 1852; Horace 
 V. Bartol, 1847; James R. Milliken, 1850-1851; 
 Abner Lowell, 1853; William P. Stodder, 1854. 
 
 Vice Presidents: Horace V. Bartol, 1837; Sam- 
 uel R. Leavitt, 1838-1840; James R. Milliken, 
 1843-1846; William P. Stodder, 1847-1849; Sam- 
 uel Thurston, 1851; Benjamin C, Megquier, 
 1852; Charles W. Robinson, 1853-1854. 
 
 Secretaries: E.. P. Haines, 1836, 1843; Horace 
 V. Bartol, 1837-1842, 1844-1846; Charles W. 
 Robinson, 1847-1852; Parmenio W. Neal, 1853- 
 1854. 
 
 Treasurers: Edward Gould, 1840-1846; Al- 
 bert P. Pennell, 1847-1848; Charles W. Robin- 
 son, 1849-1852; Horace V. Bartol, 1853-1854. 
 
 Librarians: T. B. Moses, 1840; Parmenio W. 
 Neal, 1843-1846, 1852; E. R. Neal, 1847-1851; 
 George H. Pearson, 1853-1854. 
 
 First Vocal Conductors: J. Kingsbury, 1836- 
 1840; Arthur L. Ilsley, 1843-1847, 1851-1854; 
 
 Charles G. Young, 1848; John L. Shaw, 1848; 
 William P. Stodder, 1848; George A. Thomas, 
 1849. 
 
 Second Vocal Conductors: A. P. Wheelock, 
 1840; William Small, 1843-1844; Horace V. Bar- 
 tol, 1845, 1846, 1851; Cyrus Staples, 1847, 1850; 
 James R. Milliken, 1849; Joseph H. Poor, 1853; 
 John L, Shaw, 1854. 
 
 Organists: David Paine, 1837-1841; H. S. Ed- 
 wards, 1841-1850; Hermann Kotzschmar, 1851- 
 1857. 
 
 Among those who served as Councillors of the 
 society were: Albert P. Pennell, Henry S. Ed- 
 wards, I. P. Chamberlain, Abner Lowell, Horace 
 V. Bartol, Ainsworth Carlton, Joshua S. Shaw, 
 
 James Bailey, Thomas J. Sparrow, William 
 
 Small, William P. Stodder, Parmenio W. Neal, 
 Zebulon Black, George A. Thomas, E. P. Haines, 
 Cyrus Staples, Arthur L. Isley, Thomas Wright, 
 J. L. Paine, Benjamin C. Megquier, John L. 
 Shaw, E. R. Neal, and John Cammett. 
 
 Edward Gould, the first President of 
 the Portland Sacred Music Society 
 (1836-40) and its Treasurer from 1840 
 to 1846, was cashier of the Manufac- 
 turers and Traders Bank in Portland 
 and lived on Brown Street. . 
 
 James Furbish, one of the incorpo- 
 rators of the society, was a teacher and 
 lived at John Kingsbury’s place on 
 Free Street, | 
 
 Horace V. Bartol, one of the incor- 
 porators of the society, and afterwards 
 its Secretary, and its President in 1847, 
 was a member of the firm of Staples 
 and Bartol, proprietors of an iron 
 foundry at No. 1o York Street. 
 
 Ferdinand I. Ilsley, one of the incor- 
 porators of the society, and a former 
 member of the Beethoven Musical So- 
 
 ciety, was a superior violinist and tenor 
 
 singer. He was born in Falmouth, 
 Maine. At the age of twelve he sang 
 the alto solos in Handel’s “Dettengen 
 Te Deum” at the concert given in 
 April, 1820, by the Beethoven Musical 
 Society, reference to which has been 
 made in the preceding chapter. He 
 taught music in the public schools for 
 a long time, though not in Portland. 
 In 1838 he returned to Portland and 
 
MUSIC OF THE STATE OF MAINE— 1836-1856 79 
 
 taught piano, violin, violoncello and 
 double bass. He ranked high in his 
 profession. 
 
 Francis L. Ilsley and Hosea Ilsley, 
 two of the incorporators of the society, 
 were both formerly members of the 
 Beethoven Musical Society. Francis L. 
 Ilsley delivered a number of addresses 
 on music in Portland and other towns 
 of the State. 
 
 Abner Lowell, one of the incorpora- 
 tors of the society and its President in 
 1853, was a member of the firm of Lo- 
 well and Senter, Watchmakers and 
 Jewelers at 70 Exchange Street. He 
 lived at No. 2 Smith Street. 
 
 James R. Milliken, one of the incor- 
 porators of the society (1837) and its 
 President in 1850 and 1851, was its 
 second vocal conductor in 1849. He 
 was connected with the firm of E. 
 Wyer & Co. and lived at 38 Franklin 
 Street. He played the contra basso in 
 the orchestra. Mr. Milliken was one of 
 six to give and install the organ in the 
 Chestnut Street Church in Portland, 
 the first organ to be placed in a Meth- 
 odist Church in Maine. 
 
 Edward Richardson, one of the in- 
 corporators of the society (1837), was 
 cashier of the Bank of Portland and 
 lived on Congress Street at the corner 
 of Hampshire. 
 
 Joseph Kingsbury, the first vocal 
 conductor of the society (1836 and 
 1840), was a clerk at Hall & Conant’s. 
 
 Samuel R. Leavitt, Vice President 
 of the society (1840) and its President 
 in 1843, 44, 45, 46, 48, 49 and 52, was 
 a sailmaker on Long Wharf and lived 
 at 15 Myrtle Street. 
 
 Alonzo P. Wheelock, the second vo- 
 cal conductor of the society (1840), 
 
 was a prominent tenor soloist and 
 teacher of music. He conducted a sing- 
 
 ing school in Portland for a time and 
 “specialized in Glee Singing.” He lived 
 
 ‘ on Free Street, near Oak. 
 
 Joseph Brooks, one of the Trustees 
 of the society (1840), was a member 
 of the firm of Brooks & Leavitt, sail 
 makers on Long Wharf, and lived at 
 24 Summer Street. 
 
 Jacob S. Paine, one of the Trustees 
 of the Portland Sacred Music Society 
 (1840), a brother of David Paine, or- 
 ganist, teacher and composer, and of 
 William Paine, a trombonist in Chand- 
 ler’s Band, was proprietor of a music 
 store in Portland from 1845 until the 
 time of his death. 
 
 Notable dates and achievements of 
 the Portland Sacred Music Society in- 
 clude: First public performance by the 
 society, October 19, 1836, at the High 
 Street Church; first complete perform- 
 ance, in the State of Maine, of any Or- 
 atorio (the “Creation’”’), April 24, 1837, 
 at the old Second Parish Church on 
 Middle Street; first performance of 
 “The Messiah” in the State, Septem- 
 ber 26, 1838, at the Second Parish 
 Church; concert at the dedication of 
 the New Exchange Hall, January 22, 
 1840, and the performance of the 
 “Creation” at the Exchange Hall on 
 February 10, 1843, at which Asa War- 
 ren, the distinguished leader of the 
 Handel and Haydn Society’s orchestra, 
 conducted the instrumental perform- 
 ance, when he “was the only foreign 
 one present”; eleven performances of 
 Haydn’s “Creation” (six times in 1837, 
 once in 1838, twice in 1843, and twice 
 in 1844); seven performances of Neu- 
 kom’s Oratorio, “David” (three times 
 in 1837, twice in 1838, and twice in 
 1839); two performances of Handel’s 
 Oratorio, “Samson” (both in 1846); 
 three performances of “The Messiah” 
 (twice in 1838 and once in 1841; two 
 performances of Rossini’s “Stabat Ma- 
 ter” (both in 1851); two performances 
 of Haydn’s “Third Mass” (in 1852 
 and 1853, respectively); two perform- 
 ances of Handel’s “Grand Dettengen 
 
80 MUSIC AND MUSICIANS OF MAINE 
 
 Te Deum” (both in 1851); and the 
 performance of Romberg’s “Harmony 
 of the Spheres” in 1852. 
 
 A concert given in the New Ex- 
 change Hall in January, 1840, when 
 Romberg’s “Power of Song” and cho- 
 ruses from Handel, Haydn and Mozart 
 were performed, was a brilliant occa- 
 sion, long remembered by those who 
 were fortunate enough to be in the 
 audience. The beautiful dome which 
 arched the hall in the Exchange Build- 
 ing was studded with numerous lamps 
 which, as an enthusiastic writer de- 
 scribed, made the spectator feel “as if 
 among enchanted scenes.” 
 
 In April, 1839, a concert at the Park 
 Street Church was so well attended 
 that it was “too crowded for comfort, 
 and many turned away.” ‘The per- 
 formance was said to have been perfect 
 in both vocal and instrumental work. 
 
 At the concert given in May, 1841, 
 Henry S. Edwards, who had succeeded 
 
 Mr. Paine as organist of the society, © 
 
 appeared for the first time with only 
 one day’s preparation. From that hour 
 until the time Hermann Kotzschmar 
 came to Portland Mr. Edwards, then 
 a young man, was generally considered 
 first as organist and teacher of the 
 organ and piano in the State. He was 
 organist and director of music at High 
 Street Church for many years, and was 
 accompanist of the Portland Sacred 
 Music Society and later of the Haydn 
 Association. On the advent of Mr. 
 Kotzschmar, Mr. Edwards realized that 
 a master had appeared, and generously 
 resigned his position as organist of the 
 society, that Mr. Kotzschmar might 
 succeed him. 
 
 Other events long remembered by 
 the members of this society were: the 
 lecture on music, before the society, by 
 Rev. Mr. Chickering at the High Street 
 Church in January, 1844; the lecture 
 on music by E. Howe, Junior, then a 
 
 resident of New York, in September of 
 the same year; the excursion, by train, 
 to Gorham, followed by the concert in 
 the evening at the church, after which 
 a bountiful repast was served the mem- 
 bers of the chorus in the Seminary 
 Building; the excursion and picnic at 
 New Gloucester in July, 1851, and the 
 concert at the First Parish Church in 
 the following October when the society 
 was assisted by the orchestra of the 
 Germania Society of Boston; the con- 
 cert at Lancaster Hall, February 14, 
 1852, when, in addition to the “Stabat 
 Mater” and other classical selections, 
 Kotzschmar played his “Dedication 
 Ode” on the piano, Edwards and Kotz- 
 schmar played an overture for four 
 hands, and Miss Cammett sang two 
 operatic arias, “Qui la voce,” from the 
 Opera “I Puritani,” and “Care Cam- 
 pagne,” from “La Sonnambula” (the 
 first time, it is believed, that secular 
 music was sung at a concert by the 
 Portland Sacred Music Society), and 
 the complimentary concert to Hermann 
 Kotzschmar in Lancaster Hall in June, 
 1852, when a Chickering grand piano 
 was secured for the occasion and at 
 which the vocal soloists were Miss 
 Cammett and Ellen Merrill. 
 
 There is little mention regarding the 
 orchestra of the society in its records 
 until 1845, and even then none of the 
 names of the members appear, but the 
 instrumentation as given at that time 
 was: Ist and 2nd violins, viola, basso, 
 cello, 1st and 2nd flutes, 1st and 2nd 
 trumpets, 2 trombones, ophecleide and 
 horns. 
 
 At some of the rehearsals, also, the 
 members of the Sacred Music Society 
 enjoyed instrumental and vocal music 
 by accomplished visitors from Boston 
 and other cities, while, at others, they 
 had the rare opportunity of studying 
 under guest conductors of wider ac- 
 quaintance with the choral works of 
 
MUSIC OF THE STATE OF MAINE— 1836-1856 81 
 
 the great composers and from them 
 they were able to get a deeper insight 
 into the beauties of the numbers which 
 they were rehearsing. In September 
 and October, 1835, Mr. Greatorex of 
 Boston led the chorus on a number of 
 occasions. 
 
 In 1846 and 1847 William Keyser, a 
 Boston violinist, played at several of 
 the rehearsals; E. R. Chapman of Lon- 
 don conducted the chorus. 
 
 From April, 1848, to February, 1851, 
 no mention of any concert having been 
 performed is made in the records of the 
 society, though weekly rehearsals were 
 regularly held. It is to be feared from 
 some personal allusions in the records 
 that all the members were not in har- 
 mony with those who were endeavor- 
 ing to put the best interests of the or- 
 ganization ahead of selfish desires. The 
 society, for some reason, was without a 
 permanent conductor during this peri- 
 od. In 1848 four different persons 
 served as conductors of the chorus, so 
 that none was able, during this period, 
 to bring the chorus to that state of per- 
 fection necessary to the presentation of 
 a public concert in a satisfactory man- 
 ner. 
 
 About this time there arrived in 
 Portland one who was considered, by 
 many of his local contemporaries, as, 
 perhaps, the most eccentric musical 
 character that has ever been domiciled 
 in that city. This was Prof. Frederick 
 William Nicholls Crouch. He intro- 
 duced himself to the community by 
 giving a concert in the original City 
 Hall, at which he sang his famous com- 
 position, “Kathleen Mavourneen,” be- 
 sides several bass solos from each of 
 the oratorios, “The Messiah” and 
 “Creation.” Like most Englishmen he 
 knew these great oratorios by heart, 
 and had heard some of the world’s best 
 singers in them many times. He was a 
 basso profundo, sang well and was par- 
 
 ticularly good in the recitatives. His 
 voice was of wide range and excellent 
 quality and he sang low D in the bass 
 to high G sharp in the tenor. On this 
 occasion the hall was well filled with 
 an appreciative audience and the pa- 
 pers gave the concert high praise. 
 
 The Sacred Music Society was in 
 desperate straits for a conductor and 
 at a meeting of the Government on 
 May 20, 1850, it was voted “that we 
 recommend to the Society to engage 
 Mr. Crouch to lead the Society.” The 
 committee chosen at this meeting to 
 confer with Mr. Crouch reported that 
 he was willing to serve the society as 
 a conductor for the sum of three hun- 
 dred dollars per year, and it was voted 
 to engage him, but at an adjourned 
 meeting held nine days later a recon- 
 sideration of the vote was taken, and 
 no conductor was chosen. 
 
 Incrimination and recrimination and 
 threats of lawsuits followed; the mem- 
 bers took sides for and against Mr. 
 Crouch and the organization was near- 
 ly rent asunder. 
 
 The next meeting of the society was 
 conducted by A. Arthurson, also an 
 Englishman, and a soloist. Though he 
 was not a great artist, he was a pleas- 
 ing vocalist who could give a recitative 
 in as perfect a manner as one could 
 wish. He sang at the First Parish 
 Church for about a year, and, while re- 
 siding in Portland, was called to Bos- 
 ton to sing the tenor solos for the Han- 
 del and Haydn Society. Mr. Arthur- 
 son served the society well for the bal- 
 ance of the year and it succeeded in 
 giving three concerts under circum- 
 stances that at times must have been 
 quite disheartening. 
 
 Early in September, 1854, at a spe- 
 cial meeting of the society, the records 
 state, “members generally expressed 
 themselves as tired of going on as they 
 had been, as there is no Tenor in the 
 
82 MUSIC AND MUSICIANS OF MAINE 
 
 F. NICHOLS CROUCH, F.R.S., COMPOSER OF “KATH- 
 LEEN MAVOURNEEN. FOR SOME YEARS A RESI- 
 DENT OF PORTLAND WHERE HE DIED IN POVERTY 
 (1896). PHOTO BY BACHRACH, BALTIMORE, 
 
 City that can read our Music and with- 
 out them we cannot make a Chorus.” 
 At the regular meeting one week 
 later A. L. Isley was again elected Ist 
 Vocal Conductor of the society. But 
 the society’s time was nearly run, for, 
 on September 26, 1854, it was voted to 
 appoint a committee to confer with Mr. 
 Bartol on his proposition “to take the 
 property of the Society and pay the 
 debts,” and also that “this Committee 
 have full power to conclude a bargain 
 for the best interest of the Society.” 
 On October 4, 1854, is written, “on 
 motion of Mr. Bartol to continue our 
 rehearsals as formerly with renewed 
 energies, the opinion of those present 
 was called out and all seemed to con- 
 cur in the opinion that if the liabilities 
 
 of the Society were removed, we might 
 resume our rehearsals with pleasure 
 and profit.” 
 
 “An offer was made by Mr. Bartol 
 to take our resources and effects and 
 assume our liabilities, hire the hall and 
 give the Society the use of it gratis and 
 they might as soon as they chose re- 
 deem them. On motion of Mr. Shaw 
 that we continue our rehearsals, it was 
 accepted,” and on October 11, 1854, at 
 a meeting at the store of Tolford and 
 Co., on Free Street, the records briefly 
 state that, “The agreement between 
 Mr. Bartol and the Society was pre- 
 sented and accepted, the business done 
 and receipts passed.” 
 
 The next and last entry in the Rec- 
 ord Book, which is dated February 9, 
 1857, briefly states that “The Society 
 never met again, but a new one was 
 organized this evening to be called the 
 Haydn Association. Attest, 
 
 P. W. Neal, Sec’y.” 
 
 And thus passed the ancient and hon- 
 orable Portland Sacred Music Society. 
 The high standard which it set in Cho- 
 ral Music in Maine has been reflected 
 in the music in the churches, musical 
 organizations and clubs throughout the 
 State for more than ninety years, and 
 its influence will doubtless be extended 
 through a century more. Among the 
 side lights in the history of this old so- 
 ciety are notations on the margin of 
 the “Roll-book.” Against the name of 
 one member was jotted two significant 
 words. These were, ““Turned out.” An- 
 other noted the fact that “A. P. Mor- 
 gan paid part of his dues in Charcoal.” 
 
 Frederick Nicholls Crouch 
 
 The story of the life of F. Nicholls 
 Crouch, who became the storm center 
 of the tempest which threatened to 
 wreck the Portland Sacred Music So- 
 
 > 
 
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 Bh asst 
 ame 
 
 “aah 
 Pd 
 
 eae 
 
 ge ea 
 
 MUSIC OF THE STATE OF MAINE— 1836-1856 83 
 
 ciety, and in fact did hasten its end, is 
 one combining pathos and tragedy. 
 
 An autobiographical sketch of his 
 life, written about a year before his 
 death, bears mute testimony to his ear- 
 ly ambitions; his triumphs and failures ; 
 and his modest pride in his achieve- 
 ments as well as the bitterness which 
 he cherished in his heart because of the 
 treatment to which he had been sub- 
 jected by his fellow men. 
 
 Because Mr. Crouch’s career is so 
 
 full of human interest, and, during his 
 life in Portland, he became so well 
 known among the musical people of 
 Western Maine, the accompanying ex- 
 cerpts from his diary merit more than 
 passing attention. 
 
 “As I write I am eighty-six years of 
 age. So much has been published con- 
 cerning my birth, parentage and edu- 
 cation, most of it incorrect, that I make 
 the subjoined statements over my own 
 signature. I am the son of F. W. 
 Crouch, the English violoncellist, and 
 was born July 31, 1807. I will now jot 
 down a few events in the life of a man 
 once at the head of his profession, but 
 now in the sere and yellow leaf of life; 
 in early days, one of the band of the 
 royal household, the Hanoverian tam- 
 ily occupying the throne of England; 
 now passing out with the debris on the 
 ebbtide leading to oblivion. 
 
 “My masters were Dr. William 
 Crotch, composer of the oratorio, ‘Pal- 
 estine’; Thomas Atwood, organist of 
 St. Paul’s Cathedral; W. Hawes, mas- 
 ter of the choir boys, Westminster Ab- 
 bey and Chapel Royal. John Barnett, 
 composer of ‘Mountain Sylph,’ and W. 
 Watts, the Philharmonic secretary in 
 London, also instructed me. I was per- 
 sonally acquainted with Carl Maria 
 von Weber, Sir Henry R. Bishop, Mey- 
 erbeer, Rossini, Verdi, Balfe, Sir Mich- 
 ael Costa, Sir Jules Benedict, Sir George 
 
 * 
 
 Smart, Paganini, J. beCramer, Czerny 
 and Cipriani Potter, Charles Neate and 
 Moscheles, all of whom were friends 
 of Beethoven. 
 
 “T played in quartet with most of 
 these, and was, besides, intimate with 
 all the authors, dramatists and journal- 
 ists of that day in England. I played 
 for twenty-one consecutive years in 
 Drury Lane and Covent Garden the- 
 atres, and so became acquainted with 
 all the actors of celebrity, the Kembles, 
 Keans, Macreadys, Sheridan, Knowles, 
 the Wallacks and the Keeleys. I knew 
 every operatic singer of note and had 
 the satisfaction of bringing out Mali- 
 bran, Pasta, Grisi, Ciuti, Damoreau, 
 Viardot, Campaniri, Jennie Lind, Ca- 
 rydon, Heizinger and Veluti. Felix 
 Mendelssohn layed upon my breakfast 
 table his rough score of the ‘Midsum- 
 mer Night’s Dream’ Overture and com- 
 missioned me personally to transcribe 
 and make a partitur for the conduc- 
 tor’s desk and complete parts for the 
 Philharmonic Orchestra and to have 
 the whole in readiness for the ap- 
 proaching trial night. The score and 
 the parts were in possession of Cal- 
 kin, the Philharmonic librarian when I 
 left England in 1849. 
 
 “Four-fifths of a century have gone 
 their course on the wings of time. My 
 patron, the Prince Regent in the first 
 quarter was crowned George IV, at 
 which ceremony I officiated, as I did 
 also at that of her most gracious Maj- 
 esty Victoria. In 1822, by royal com- 
 mand, I was installed student of the 
 Royal Academy of Music, and while 
 there, completed my first vocal work, 
 ‘Friendship’s Offerings, dedicated to 
 the Countess St. Antonio. This was 
 followed by a Cavatina (‘Swiss Song 
 of Meeting’) for Malibran, and the bal- 
 lad, ‘Zephyrs of Home.’ In 1830 I 
 made an agreement with Charles Peace 
 Chapman. in London, to represent his 
 
84 MUSIC AND MUSICIANS OF MAINE 
 
 firm as a commercial traveler for the 
 West of England. It was at that time 
 that I commenced my series of Irish 
 works, in which will be found ‘Kath- 
 leen Mavourneen.’ The inspiration of 
 writing Irish themes was conceived on 
 horseback, while prosecuting my avo- 
 cation as a traveler, under the walls of 
 Endsleigh Castle, on the right bank of 
 the River Tamar. This castle is the 
 hereditary barony of the Dukes of Bed- 
 ford and Tavistock. Here I planned 
 the melody of ‘Kathleen Mavourneen.’ 
 
 “At a Cornish fishing town, ap- 
 proached by a chain cable steam ferry, 
 I soon reached stabling and my hos- 
 telry, the Bedford Arms. I slept hap- 
 pily on my inspiration and early the 
 following morning placed my idea upon 
 paper. In the course of the day, I 
 sang it to a few of my friends, who in- 
 sisted on my going with them to a mu- 
 sic-seller, by name P. E. Rowe. I sang 
 the song to the craze of Mrs. Rowe, 
 who made it then and there ‘sine qua 
 non,’ that I should give it at a concert. 
 My appearance at Mrs. Rowe’s con- 
 cert sent me back (willy nilly) to my 
 legitimate profession, in which I gath- 
 ered around me a large class of pupils. 
 In my teaching and sporting days I 
 had unlimited success and finally built 
 a large music salon, which I opened 
 with a thirty thousand pound stock, 
 combining pictures, ancient and mod- 
 ern, stationery, music, pianos of all 
 leading makers and instruments of 
 every description.” 
 
 Mr. Crouch finally left Devonshire 
 to become precentor of the publishing 
 department of D’Almaine & Co. 
 
 Continuing, he writes: 
 
 “I had an understanding to write for 
 no other house for seven years. During 
 the first twelve months, unlimited as to 
 the number of pieces, I received twen- 
 ty-five shillings on each composition; 
 the second year, five pounds; third, ten 
 
 id 
 
 pounds; fourth, fifteen pounds, and so 
 on in proportion. All this increased 
 amount of brain work was accom- 
 plished during the precentorship in 
 D’Almaine’s house, not to make note 
 of my literary writings, prose, songs 
 and verses, and my lectures on Ireland 
 and Masonic duties. 
 
 “At one of the rehearsals of Verdi’s 
 opera, ‘Masnadieri’ written for Jenny 
 Lind, was Maretzek, chorus master, 
 who made a proposition that we join 
 in attempting to establish Italian opera 
 in America when the London season 
 closed. Accordingly by Nov. 10, 1849, 
 I made my obeisance before an Amer- 
 ican audience in the Astor Opera 
 House, Eighth Street, New York. Our 
 first opera was Rossini’s ‘Il Barbiere,’ 
 and the executants were Bertucca, For- 
 ti, Guidi, Benevantarea, Sanquirica, 
 Novelli, Strini, Rosa Durando, the Pat- 
 ti family, Benedetti and others. The 
 results failed to recompense the outlay 
 in New York, as well as in Boston, 
 where the opera died of starvation, 
 leaving me with a sick wife in a city 
 where I did not know a living soul. 
 
 “T finally met Jacques Paine, a mu- 
 sic dealer of Portland, Me. By his ad- 
 
 vice I lectured on the oratorio ‘Mes- 
 
 siah’ before the Boston Handel and 
 Haydn Society, the members singing 
 the choruses. Finally, I was engaged 
 as conductor and translated for them 
 Rossini’s ‘Stabat Mater.’ I taught mu- 
 sic in Boston for seven years, and then 
 moved on to Philadelphia, where I con- 
 ducted Doctor Rush’s Saturday con- 
 certs. I also dramatized and arranged 
 entire acts, marches, recitations and 
 dialogues in English of Mehul’s ‘Jo- 
 seph in Egypt’ and produced them un- 
 der the patronage of a lady known as 
 the good angel of everything of taste, 
 worth and refinement. The morning 
 after the public performance I received 
 a letter of thanks and a check for $100. 
 
 —_— 
 
Sere bir So 
 
 7 hae > eu ae 
 
 PR Ae | me, 
 
 : aio ee, 
 / A 
 
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 re 
 
 pae™ 
 
 kee okey tA ee 
 
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 MUSIC OF THE STATE OF MAINE— 1836-1856 85 
 
 “At the close of Buchanan’s admin- 
 istration I moved on to Richmond, Va., 
 undertaking a position as organist in 
 Seeranrs +. &. Church. My success 
 here was nipped in the bud by the in- 
 vasion of Colonel Ellsworth and his 
 zouaves, styled ‘Pet Lambs. of New 
 York.’ I joined the Confederate cause 
 by enlisting in the First Regiment 
 Richmond Grays; Infantry. We were 
 ordered to Norfork after the destruc- 
 tion of the Cumberland and other ship- 
 ping and the firing of the Portsmouth 
 navy yards. 
 
 “English principles made me a Con- 
 federate soldier, and I fought in every 
 conflict throughout the State of Vir- 
 ginia, from Manassas to Appomattox. 
 I was never sick a day, and never re- 
 ported, and never had a furlough dur- 
 ing the whole war. After the capitula- 
 tion I turned laborer in the service of 
 Thomas Perkins of Buckingham Court 
 House. Gossip and bygone reputation 
 asking who the laborer was, I resumed 
 my profession and taught the resident 
 families of Buckingham and Albemarle 
 for a season. Afterward I was given a 
 class in the University of Virginia, and 
 finally returned to Richmond with a 
 young Confederate wife, where we were 
 looked upon as rebels by the citizens. 
 Thus rewarded for our partisan serv- 
 ices by hardships, privations and star- 
 vation, we moved on to Baltimore, Md. 
 
 “Want in its most bitter form prov- 
 ing to me that there was no hope of re- 
 sumption as a teacher, I took up the 
 business of practical repairer of pianos 
 and tuner and traversed the States of 
 Virginia and North Carolina until 
 physically worn down. I led months ot 
 this life in defiance of army wounds, 
 bodily prostration and old age and pro- 
 duced a miserable return, until I man- 
 aged to reach home, where I occasion- 
 ally wrote a composition in music. 
 
 “Remembrances of the past, poems, 
 lyrics and other subjects connected 
 with literature only keep the man of 
 mind and brain at the starvation point 
 all the time. Thirty-three American 
 jobbers, publishers and dealers in mu- 
 sic were publishing ‘Kathleen Mavour- 
 neen’ and others of my writings and 
 works, but I possessed no funds with 
 which to copyright them. . . . Each of 
 these music dealers has made thou- 
 sands on the sale of my compositions, 
 while the creator lives in poverty and 
 beggary. But for the industry of his 
 Confederate wife, who is a practical 
 tailoress and dressmaker, the writer of 
 ‘Kathleen Mavourneen’ must have per- 
 ished of actual starvation or terminated 
 his career in the poorhouse.” 
 
 The manuscript is signed “Prof. F. 
 Nicholls Crouch, F.R.S., M.D., 111 
 Penn St. Baltimore, Md.” 
 
 Several years before his death Pro- 
 fessor Crouch attempted to sing his 
 “Kathleen Mavourneen” before a Bal- 
 timore audience, but, time and expo- 
 sure had made him so weak that his 
 voice could scarcely be heard above the 
 piano. He was, however, greeted with 
 a storm of applause for which he bowed 
 his thanks again and again. 
 
 “One of Professor Crouch’s eccentric- 
 ities,” says Thurston’s Reminiscences, 
 ‘was his fondness for snakes. At one 
 time he had one hundred of them in 
 the room where he gave his lessons, 
 and frequently several of them, from 
 the largest, four feet long, to the small- 
 est would be crawling around on the 
 floor. I have met him on the street 
 when there would be one or two snakes’ 
 heads peeping out under the side of his 
 hat. He frequently carried one or two 
 in his pocket. He and his wife lived in 
 the room where he gave his lessons and 
 kept his snakes.” 
 
 Because of Mr. Crouch’s liking for 
 reptiles and of his unusual manner of 
 
86 MUSIC AND MUSICIANS OF MAINE 
 
 CASCO TRIO. LEFT TO RIGHT, GEORGE M, HOWE, 
 JAMES S. STAPLES AND JOHN L. SHAW. FROM A 
 DAGUERREOTYPE MADE BY GEORGE M. HOWE IN 
 
 1845. 
 
 handling and exhibiting them, many 
 failed to understand him, and some in 
 fact feared him, but his peculiarity 
 was not so much, as may be suspected, 
 an evidence of the hobby of an eccen- 
 tric as an illustration of the enthusiasm 
 of a naturalist. He was a close student 
 of nature. He loved the birds and in- 
 sects as well as the reptiles, all the 
 lower animals, in fact, passionately. 
 When he could not be with them in the 
 fields, he would have them with him 
 in his house. 
 
 Mr. Crouch had the manner of a 
 gentleman of education, polished and 
 refined, but he was temperamental to a 
 degree. 
 
 His last days weie indeed lonely. Re- 
 pelled by some, who detested his Eng- 
 lish mannerisms; he was abhorred by 
 others who loathed his reptilian eccen- 
 tricities; and, because he had worn the 
 
 uniform of the enemy, he was abomi- 
 nated by the majority in the places in 
 which he chose to dwell. He became 
 estranged in those communities whose 
 people failed to place appreciation of 
 his art before their intolerance of his 
 loyalty to the cause for which he chose 
 to fight, or set the value of his accom- 
 plishments ahead of their antipathy to 
 his peculiarities. 
 
 This world acclaimed composer, who 
 had numbered kings and queens among 
 his patrons; who had counted the 
 greatest celebrities of his day among 
 his personal friends; and who had val- 
 iantly fought in many battles for a 
 cause which he believed to be just; 
 broken in health and spirit and too 
 proud to ask for aid, died in the city 
 of Portland, Maine, in 1896, when he 
 was penniless and but for the timely 
 help of a well remembered friend of 
 many a struggling musician, must in- 
 deed “have perished of actual starva- 
 tion or terminated his career in the 
 poorhouse.” His is one of the saddest 
 stories in the musical history of Amer- 
 ica. 
 
 As late as 1845 there was no regular- 
 ly organized male quartette in Portland. 
 There was a male trio, however, which 
 practiced one evening each week and 
 sang on many private and some public 
 occasions. George M. Howe was first 
 tenor, James S. Staples second tenor 
 and John L. Shaw bass. They all sang 
 in the First Baptist Church, then on 
 Federal Street, where Frances Pennell, 
 who later became Mrs. John L. Shaw, 
 was organist. This trio, for a time, went 
 by the name of the Casco Glee Club. 
 
 When Mr. Staples’ engagements be- 
 came so exacting that he was obliged 
 to withdraw, his place was taken by 
 Samuel Thurston. 
 
 Then another voice was added and 
 Portland’s first organized “male quar- 
 
MUSIC OF THE STATE OF MAINE— 1836-1856 87 
 
 tette” was established. The new mem- 
 ber, Washington Elliot, came from 
 Bath. He had an exceptional tenor 
 voice, in compass, ranging from C to 
 double high A, an octave above high 
 A (not a falsetto). It is said that when 
 he sang there appeared to be no break 
 or change in his voice which main- 
 tained the same unvarying quality 
 throughout. His lower tones were not 
 remarkably good, but his upper tones 
 were pure and powerful with no weak 
 spots. Had his voice been properly 
 trained he would probably have be- 
 come famous as a soloist. He remained 
 in Portland about two years and then 
 went to San Francisco where he ob- 
 tained a position which he held during 
 the remainder of his life as director 
 and tenor singer in a choir. The quar- 
 tette, which became known as Shaw’s 
 Quartette, continued with many chang- 
 es, especially in the first tenor and 
 bass, till late in Mr. Shaw’s life. 
 
 The Portland Orchestral Society was 
 an organization which flourished a few 
 years (1856-1859). George Churchill 
 was the first conductor, but when he 
 left the city he was succeeded by Mr. 
 Kotzschmar. This orchestra made ex- 
 cellent progress and gave several pub- 
 lic performances. 
 
 Its first officers were all well-known 
 business men of Portland. They were 
 President, Thomas Wright; Vice Presi- 
 dent, Benjamin Tukey; Secretary, 
 George M. Howe; Conductor, George 
 A. Churchill. 
 
 An interesting though unimportant 
 musical organization existing in Port- 
 land in 1838 was composed of some of 
 the younger people of the town, and 
 was known as “The Mocking-Birds.” 
 There were about twenty members, 
 each being designated by the name 
 of some bird. The ladies were known 
 as the Nightingale, the Lark, the 
 Goldfinch, the Oriole, etc., but no such 
 
 lovely names were bestowed upon 
 the gentlemen, among whom David 
 Paine was known as the Albatross, Dr. 
 Thomas as the Condor, Joseph Kings- 
 bury as the Crow and Charles P. Ils- 
 levoas: the, Bat, 
 
 Many concerts, at which artists and 
 soloists from other states appeared, 
 Were given in several cities in Maine 
 during the winter season, but perhaps 
 the greatest number took place in Port- 
 land. At one of the most notable of 
 these, soloists from the Handel and 
 Haydn Society of Boston gave a con- 
 cert in City Hall, Portland, in 1842; F. 
 F. Miller, organist of the Boston Acad- 
 emy of Music, and M. Colburn, the 
 “original inpersonator of David in 
 Oratorio,” gave’a recital at the Park 
 Street Church in that city. 
 
 The Casco Serenading Club of Port- 
 land was composed of twelve members. 
 On moonlight nights the members took 
 a square piano on a wagon body along 
 with them, and serenaded the people 
 of the town. Each member could play 
 one instrument and sing as well. It 
 was famous in its day. The club would 
 begin its serenading at about eleven 
 p.m. and keep at it until three o’clock 
 in the morning. It was said that “Noth- 
 ing was too good for them in the houses 
 before which they stopped and tuned 
 up their concerts.” The members were 
 George M. Howe, second tenor; Dr. 
 Charles Thomas, low bass; George A. 
 Thomas, first bass; Henry Boody 
 Churchill, first: tenor: George. A. 
 Churchill, second tenor; Samuel Thurs- 
 ton, second tenor; Washington Elliot, 
 first tenor; Samuel Johnson, flute; 
 Thomas Wright, guitar; Samuel Stev- 
 ens, guitar; Amos Osgood, flute; John 
 L. Shaw, low bass and _ violoncello. 
 The club was at its best about 1845. 
 
 It appears to have met with a bet- 
 ter reception than did another old sere- 
 nading club which was in existence in 
 
88 MUSIC AND MUSICIANS OF MAINE 
 
 1836, for a correspondent, in the Port- 
 land Argus of August 19 of that year, 
 complained of this “Night Band” and 
 expressed “a willingness to turn out 
 and help put its members into the 
 horse-pond,” to which the editor added, 
 ‘“‘We have no objections.” 
 
 Cumberland Musical Association 
 
 The Cumberland Musical Associa- 
 tion, a county singing society organized 
 at Gray, November 5, 1835, held its 
 first meeting with Francis L. Isley of 
 Portland, President; Charles J. Noyes, 
 Brunswick, and John Merrill, Poland, 
 Vice Presidents; Samuel True, Cum- 
 berland, Treasurer; John T. Harris, 
 Portland, Recording Secretary; Aaron 
 Eveleth, New Gloucester, Correspond- 
 ing Secretary; and Ira Berry, Port- 
 land, John Eveleth, Windham, and 
 Ferdinand I. Ilsley, Portland, Stand- 
 ing Committee. 
 
 Its first annual meeting was held on 
 the evening of December 31 in that 
 year in the Congregational Meeting 
 House at North Yarmouth when a lec- 
 ture on church music was given by the 
 Rev. Mr. Adams of Brunswick. The 
 “Choir” of one hundred and fifty sing- 
 ers, from thirteen towns, performed 
 selections from the Handel and Haydn 
 Society’s collection. 
 
 At a meeting held at the Congrega- 
 tional Meeting House, Gorham Corner, 
 Thursday, November 14, 1836, an ad- 
 dress by Rev. Mr. Chickering was 
 given before the society. : 
 
 For a few years the society, which 
 received the support of some of the 
 most musical people in the county, was 
 very successful. 
 
 The Hallowell Harmonic Society 
 
 Hallowell continued to be an active 
 center, musically, and it is claimed that 
 in the thirties and forties this little 
 town, which was then at the height of 
 
 its development, was, in musical cul- 
 ture, fifty years ahead of any other 
 city or town in Maine. 
 
 The Hallowell Harmonic Society was 
 organized in or about 1832 by Paul 
 Stickney, who became its conductor. 
 This society exercised no little influ- 
 ence on the musical taste of the peo- 
 ple of Central Maine. It was devoted 
 to the serious study of classical music 
 and it was instrumental in familiarizing 
 the people of the Kennebec Valley with 
 the best known of the standard ora- 
 torios to an extent not surpassed in any 
 part of the State. 
 
 Prominent among the members of 
 the Harmonic Society in Hallowell 
 were Elizabeth Dole, afterwards Mrs. 
 Elizabeth Dole Kimball, one of the 
 most gifted singers of the town; Alex 
 Jones, an exceptional tenor; 
 Stickney, a magnificent basso; John D. 
 Lord, and Colonel Livermore. Of Paul 
 Stickney it was said that “what he did 
 not know about music was not worth 
 knowing.” ; 
 
 Elizabeth Cheever, the organist for 
 the Harmonic Society, was the daugh- 
 ter of Nathaniel Cheever, the first edi- 
 tor of The American Advocate. 
 
 An excellent orchestra in which a 
 German musician’ named Weldenburg 
 played first violin; Charles Vaughan, 
 violoncello; Frank Day, double bass; 
 Horace Waters of Augusta, second vio- 
 lin; and Allen Drew, E flat clarinet, 
 assisted at most of the recitals and 
 “grand sacred concerts.” 
 
 In 1833 the Harmonics sang the cho- 
 rus from “Judas Maccabaeus” and se- 
 lections from Handel; and in 1834 Bee- 
 thoven’s “Hallelujah To the Father,” 
 “Awake the Harp,” from Haydn’s 
 “Creation,” and Persolesi’s “Gloria in 
 Excelsis.” 
 
 In 1836 the society announced “its 
 Sixth Oratorio,” consisting of selections 
 from Haydn’s “Creation,” but “owing 
 
 John’ 
 
 ——— es 
 
MUSIC OF THE STATE OF MAINE— 1836-1856 89 
 
 to the great number of balls and par- 
 ties,’ so it was stated in the press no- 
 tices of the concert, “it was not so well 
 attended as was desirable.” 
 
 John Merrick, Franklin A. Day, Paul 
 Stickney and Samuel Tenney were 
 among those who led the Old South 
 Choir, which was said to have been un- 
 excelled by any in New England. Ma- 
 jor Rowell, J. Q. Adams Hawes and 
 Allen Drew, who were later leaders, 
 were, like their predecessors, conduc- 
 tors of exceptional musical talent. Mrs. 
 Maria Boyd and Mrs. Elizabeth Hub- 
 bard were both prominent soloists at 
 the Universalist Church in Hallowell. 
 They were the daughters of Elizabeth 
 Decker whose father, Master Samuel 
 Locke, was a famous soloist in this part 
 of the country. Mrs. Hannah Dole, 
 Mrs. Joseph Barrett and the Liver- 
 mores also contributed to the musical 
 progress in Hallowell in this period. 
 Albert Davis was tenor in the Univer- 
 salist Choir and M. W. Boyd, bass. 
 When Marie Decker was soprano solo- 
 ist there, Mr. Boyd, who for a long 
 time acted as a leader of the Hallowell 
 band, was considered one of the best 
 equipped musicians of the town. 
 
 Maine State Musical Association 
 
 After the passing of the Handel So- 
 ciety of Maine several later attempts 
 were made, at different times, to organ- 
 ize state wide choruses; and, as the 
 modes of travel improved, better suc- 
 cess attended the efforts of the pro- 
 moters of these ambitious projects, so 
 that subsequent efforts, in this line, 
 were not subjected to the severe handi- 
 caps, in this particular, that attended 
 the old Handel Society. 
 
 The organization of the Maine State 
 Musical Association was the result of 
 a desire on the part of some of the mu- 
 sical people of the State to spread the 
 doctrine of better music, in the for- 
 
 ties, and it followed the old Handel So- 
 ciety of Maine as its logical successor. 
 This association was organized in 1843 
 with William M. Reed, President, and 
 was a successful musical organization 
 for more than fifteen years. 
 
 While no complete record of its ses- 
 sions is now available, it is known that 
 in 1851 its officers were: Columbus 
 Stewart, No. Anson, President; E. H. 
 Piper, Waterville, Cor. and Rec. Sec- 
 retary; and Joseph Marston, Water- 
 ville, Treasurer. 
 
 In 1852 the meeting was held at 
 Winthrop on the seventh day of Sep- 
 tember. 
 
 In 1854 its officers were: G. W. Fair- 
 banks, Wayne, President; J. C. Wil- 
 liams, No. Anson, N. S. Rice, China, 
 C. B. Brett, Strong, Church Fish, Hope, 
 Charles Milliken, Gardiner, Vice Presi- 
 dents; M. B. Sears, Winthrop, Reuben 
 Seavey, Hallowell, and W. M. Rice, Jr., 
 Bath, Trustees; Thomas D. Thorne, 
 Lewiston, Rec. Secretary; M. B. Sears, 
 Winthrop, Cor. Secretary; and Joseph 
 Marston, Waterville, Treasurer. 
 
 In January, 1857, a four days’ ses- 
 sion of this musical association was 
 held in Central Hall, Lewiston, under 
 the direction of B. F. Baker of Boston, 
 assisted by the Mendelssohn Quartette 
 Club of Boston. 
 
 The pianists were Mr. Henderson of 
 Boston and L. W. Ballard and R. C. 
 Pennell of Lewiston. 
 
 Two pianos were used and “Able 
 Vocalists” from all parts of the State 
 were present. Among these were 
 Ellen Barrows, John Morgan, J. L. 
 Shaw, S. Thurston and C. C. Buck of 
 Portland; H. C. Chandler and Miss 
 Edwards of Lewiston; Miss Carroll, 
 Waterville; Miss Poland, Auburn; Mrs. 
 Graves, Sabattus; R. C. Boothby, Liv- 
 ermore Falls; William Rice, Bath; 
 William Haskell, Topsham; and E. C. 
 Farrington, Auburn. 
 
90 MUSIC AND MUSICIANS OF MAINE 
 
 B. F. Baker’s new church music book 
 was used. On the evening of January 
 sixteenth a miscellaneous concert was 
 given; on the seventeenth an instru- 
 mental program by the Mendelssohn 
 Quintette Club was presented; and on 
 the eighteenth the oratorio “Creation” 
 was sung. 
 
 The fifteenth annual session of the 
 society was held in Bangor in October, 
 1858, at which time the Penobscot Mu- 
 sical Association united with this so- 
 ciety in presenting a four-day program. 
 
 In October, 1859, the Maine State 
 Musical Association held a musical 
 convention or four-day music festival 
 in Deering Hall in Portland. Professor 
 B. F. Baker of Boston directed the 
 choruses, and the soloists were Profes- 
 sors Baker and Ball, Harriet Cammett, 
 Samuel Thurston, and Mrs. J. H. Long 
 of Boston. The program consisted of 
 —songs, glees, duets and choruses. On 
 October seventh the oratorio “Crea- 
 tion” was performed, Hermann Kotz- 
 schmar was the pianist. 
 
 The Maine State Musical Associa- 
 tion elected October 7, 1859, the fol- 
 lowing officers: Joseph Marston, Wa- 
 terville, President; C. H. Additon, Port- 
 land, Dr. William H. True, Freeport, 
 Wesley Birnier, Pittston, G. H. Car- 
 penter, Waterville, T. P. Magoon, Bath, 
 Vice Presidents; E. C. Farrington, Lew- 
 iston, Cor. Secretary; W. H. True, 
 Freeport, Rec. Secretary; O. S. Ed- 
 wards, Gardiner, Treasure1; N. O. 
 Mitchell, Gardiner, J. B. Bray, Bridg- 
 ton, E. C. Farrington, Lewiston, Trus- 
 tees; M. B. Sears, Winthrop, G. G. Ad- 
 diton, Portland and Dr. W. H. True, 
 Freeport, Com. on Resolutions. 
 
 Unlike the Maine Music Festival, 
 which for nearly thirty years confined 
 its annual sessions to Portland and 
 Bangor, this organization held its con- 
 ventions in a number of the larger and 
 more widely scattered towns and cities 
 
 of the State, notably, Portland, Ban- 
 gor, Lewiston, Augusta and Bath. It 
 cooperated with local and county mu- 
 sical organizations and assisted them in 
 many ways in presenting their pro- 
 grams and in stimulating an increased 
 desire for the best in music, and it aid- 
 ed musical instructors by holding spe- 
 cial classes for teachers. Its announced 
 purpose was to elevate the standard of 
 music in the State of Maine, and in 
 this it was very successful. 
 
 It is regrettable that there is now so 
 little remaining of record of this old 
 musical society, believed to be the first 
 to successfully undertake a state-wide 
 
 work for the advancement of music 
 
 and musical culture through choral 
 singing. This association had a print- 
 ed constitution, a list of its members, 
 and members of its teachers’ classes. 
 The loss by fire of the Bangor Public 
 Library in 1911, and the burning of 
 the larger part of Portland in the great 
 fire of 1866, materially assisted in wip- 
 ing out many of the records of this 
 and other old time musical societies, 
 yet enough remains in the hands of in- 
 dividuals to show that the Maine State 
 Musical Association played no small 
 part in developing a state-wide inter- 
 est in music. ‘The teachers’ classes 
 were held during the summer vacation 
 periods, the first annual session of 
 which was held in Bath in August, 
 1854. 
 
 William M. Reed, Esq., of Farming- 
 ton, born June 27, 1801, founder and 
 first president of the Maine State Mu- 
 sical Association, was the son of Asa 
 and Sarah Reed. He married Ann 
 Wentworth. As a young man he lived 
 in Phillips but moved to Farmington 
 in middle life. 
 
 In the minutes of the twentieth an- 
 nual session of the Penobscot Musical 
 Association held in Bangor in 1860 the 
 following brief sketch of him appears: 
 
MUSIC OF THE STATE OF MAINE— 1836-1856 QI 
 
 “Wm. M. Reed, Esq. of Farmington 
 died at his residence on August 7, 1860, 
 aged 59 years. 
 
 “He was a member of this Conven- 
 tion in 1854, and for about two years 
 a teacher in this city, and the leader 
 
 of one of our Church Choirs. 
 
 “Mr. Reed in early life left this 
 State and went to Boston in order to 
 avail himself of the advantages of that 
 city for the study of music, and about 
 thirty years since returned and settled 
 in Franklin County, where he resided 
 till his death. He has been a very 
 faithful and successful teacher of mu- 
 sic, making it the principal business of 
 his life. 
 
 “His favorite music was the choruses 
 of the old masters, such as Handel, 
 Haydn, Mozart, and Beethoven, and 
 in them he very much delighted, and 
 in the direction and performance of 
 them, he had but few superiors, or 
 even equals. 
 
 “Mr. Reed may justly be regarded 
 the father of the Convention system in 
 this State. It was mainly through his 
 influence that the State Convention 
 was formed about seventeen years 
 since, he being its first and for several 
 succeeding years its very efficient 
 President.” 
 
 His death was a tragic one. During 
 an epidemic of smallpox, like many 
 others of his time, he refused to be vac- 
 cinated, and becoming exposed to this 
 infectious disease he soon succumbed. 
 
 The Penobscot Musical Association 
 
 Bangor, destined to become one of 
 the great musical centers of Maine, 
 was, at first, slow in responding to the 
 call of Polyhymnia. To be sure, way 
 back in 1791 it had its psalme singers, 
 notably Seth Noble, but for nearly 
 fifty years thereafter ‘little was done in 
 the way of musical advancement. At 
 first such music as was imparted to the 
 
 WILLIAM M. REED, FOUNDER AND FIRST PRESIDENT 
 OF THE MAINE STATE MUSICAL ASSOCIATION (1843) 
 
 AND FIRST PRESIDENT OF THE FRANKLIN COUNTY 
 
 MUSICAL ASSOCIATION. 
 
 good people of that town was dispensed 
 by the old time singing masters. Two ot 
 these, J. W. Tufts and Horace R. 
 Streeter, were pioneer instructors among 
 Bangor folk, and the Queen City was 
 fortunate in having two such able men 
 to minister to its musical desires. 
 
 J. W. Tufts was a composer who had 
 received a much better education than 
 the average musician of his day. He 
 was a good contrapuntist and a thor- 
 ough musician, and it is said of him 
 that he placed the training-system of 
 public schools upon a much firmer 
 foundation than it had ever been before. 
 He lived in Bangor for a time, and 
 later resided in Camden. 
 
 Horace R. Streeter was a violinist. 
 Besides teaching a singing school he 
 had a small orchestra of his own to 
 
92 MUSIC AND MUSICIANS OF MAINE 
 
 SOLON WILDER WHO ORGANIZED THE FIRST SING- 
 ING SCHOOL IN BANGOR. 
 
 play at dances. He was leader of the 
 choir at the First Parish Church, Ban- 
 gor, “when it had a steeple on the other 
 end,’ and played the violin while 
 Frederic S$. Davenport played the or- 
 gan there. He also played chamber 
 music with J. W. Tufts and John D. 
 Conley. These three gave concerts with- 
 out remuneration, for the sheer delight 
 of it, 
 
 Solon Wilder, to whom Bangor owes 
 as much, musically perhaps, as to any 
 other one man, was a musician of great 
 prominence in the early days, and ac- 
 complished more than any one else in 
 developing musical appreciation and 
 musical talent among his fellow towns- 
 men. He organized the first singing 
 school in Bangor. Many of the most 
 prominent Bangor singers for years 
 were among the boys and girls who 
 had received their first musical instruc- 
 tion under the guidance of this keen 
 eyed and scholarly musician. The 
 
 Wilders were a musical family. Mr. 
 Wilder’s sister became a singer of 
 prominence. Though the Maine State 
 Musical Association had been organ- 
 ized in 1843, and a local musical or- 
 ganization, known as the Bangor Sa- 
 cred Music Society, gave concerts of 
 secular as well as sacred music in the 
 Queen City as early as 1839, there had 
 been for a long time a desire in Ban- 
 gor to form a county organization and 
 this found expression in the organiza- 
 tion of The Penobscot Musical Asso- 
 ciation. 
 
 One should not think it strange that 
 Bangor was so far behind the cities of 
 Western Maine in getting her musical 
 start, for Bangor was but a trading 
 station of the Indians, in the midst of 
 a virgin forest, for more than a hun- 
 dred years after the first settlement 
 had been made in Portland; and then 
 again its location was more than a hun- 
 dred miles farther into the Maine 
 woods than was the Forest City from 
 that seat of musical learning—Boston. 
 One might raise the point that Hallo- 
 well was not settled much earlier than 
 Bangor and that it was almost equally 
 as inaccessible, but Hallowell was ex- 
 tremely fortunate in having had such 
 musically educated and highly intel- 
 lectual people as the Merricks and the 
 Vaughans residing in her midst almost 
 from the date of its earliest settlement, 
 to give her an early musical impetus. 
 
 It is interesting to note in this con- 
 nection that while the growth of music 
 in Portland had been largely the result 
 of a desire for musical expression on 
 the part of the common people, that 
 the musical undertakings in Hallowell 
 had been led from the very beginning 
 by men representing the culture, refine- 
 ment and intellect of the town. 
 
 On September 27, 1848, a call was 
 sent out, through the columns of the 
 Bangor papers and by means of a cir- 
 
ee wee oe tee ee 
 
 br-yt: 
 
 MUSIC OF THE STATE OF MAINE-— 1836-1856 93 
 
 cular issued on that date, requesting 
 all amateur singers of church music to 
 meet at Market Hall in Convention, 
 October 9, 10 and 11 of that year, to 
 practice under the direction of Benja- 
 min Franklin Baker of Boston. 
 
 A constitution was adopted and the 
 name was given to the organization, by 
 which it has been known since that 
 day — The Penobscot Musical Asso- 
 ciation. 
 
 The date of organization of the Pe- 
 nobscot Musical Association is officially 
 given as October 9, 1848. The officers 
 elected were Wm. H. Mills, President; 
 Sidney K. Howard, Vice President; E. 
 F. Duren, Secretary and Treasurer; 
 Abner P. Guild, Joseph Forbes, Wil- 
 liam Arnold of Bangor, Augustus S. 
 French of Dexter, Lysander W. Hart- 
 well of Milo, John J. Colburn of Orono, 
 and Ora Oakman of Corinth, Executive 
 Committee. 
 
 On the first day, the record says, the 
 time was occupied in the practice of 
 music, using The Timbrel, a book ed- 
 ited by Mr. Baker, and listening to 
 lectures on the style or performance, 
 use of voice, etc. On the second day 
 the question of forming a permanent 
 organization was discussed, and the re- 
 sult was a vote to form it and a com- 
 mittee of five were appointed to pro- 
 pose rules and nominate officers. 
 
 The first concert by the Penobscot 
 Musical Association was given at the 
 Hammond Street Church, Bangor, on 
 October 12, 1848. B. F. Baker of Bos- 
 ton, the leader, was “assisted by the 
 Misses Hill and Elwell” of the Massa- 
 chusetts metropolis. Twelve selections 
 were given. Among the choruses were, 
 “See the Conquering Hero Comes,” 
 from Handel; ‘““The Marvelous Work,” 
 of Haydn, and Rossini’s “Inflamma- 
 tus’; solos, “With Verdure Clad,” 
 “Now Heaven in Fullest Glory Shone” 
 
 WILLIAM H. MILLS, FIRST PRESIDENT OF THE 
 PENOBSCOT MUSICAL ASSOCIATION (1848). FROM 
 AN OLD STEEL ENGRAVING LOANED BY HON. HENRY 
 LORD OF BANGOR. 
 
 and oe Rocked 
 Deep.” 
 
 The President of the society, Wil- 
 liam H. Mills, was one of Bangor’s ear- 
 liest financiers and was, for a long time, 
 one of the principal officers of the 
 Eastern Bank in Bangor. 
 
 Benjamin Franklin Baker, the first 
 conductor of the Penobscot Musical 
 Association, was a vocalist and music 
 teacher well known in his day. He was 
 born in Wenham, Mass., in 1811, and 
 in 1833 moved to Bangor where he en- 
 gaged in commercial pursuits. In 1836 
 he returned to Boston and while there 
 studied with John Paddon and had 
 charge of the music in Dr. Channing’s 
 Church. In 1841 he succeeded Lowell 
 Mason as Supervisor of Music in the 
 
 Boston Public Schools. He was elected 
 Vice President of the Handel and Haydn 
 
 in the Cradle of the 
 
04 MUSIC AND MUSICIANS OF MAINE 
 
 Society and served the Boston associa- 
 tion in that capacity for a period of six 
 years, during which time he appeared 
 as soloist at many concerts. 
 
 In 1841 he began the establishment 
 of a school of music in Boston. This 
 culminated in 1851 in the Boston Mu- 
 sic School of which he became the 
 principal and head of the vocal depart- 
 ment. In 1868 he retired. Perhaps his 
 best known composition is “Stars of 
 the Summer Night.” He composed 
 three cantatas and many quartettes 
 and anthems and a book on “Thorough 
 Bass and Harmony.” Mr. Baker was 
 also President of the Boston Musical 
 Education Society. 
 
 In the fall of 1850 the Penobscots 
 
 “gave the whole performance” of the 
 Oratorio “Absalom.” This, it is be- 
 lieved, was the first performance, as a 
 whole, of any oratorio in the Queen 
 City. The society was assisted by Pro- 
 fessor Woodbury of New York, Miss 
 Booth from Hartford, Mrs. Rogers 
 “and other prominent singers.” ‘This 
 performance was given at the First 
 Parish Church, Bangor. At this ses- 
 sion Rev. J. K. Mason of Hampden 
 was the speaker. 
 
 Nearly all of the concerts given by 
 the society were miscellaneous in their 
 nature. Hymns, anthems and chants 
 were given by the choruses, while most 
 of the principal solos fell to the foreign 
 artists, though, from the very first, lo- 
 cal talent was encouraged to partici- 
 pate in the presentation of solo num- 
 bers. 
 
 At the annual gatherings excellent 
 programs of music were sung. The 
 choruses sometimes numbered upwards 
 of four hundred, and addresses were 
 made by prominent people from all 
 parts of the State. 
 
 At the first conventions lectures were 
 given by E. H. Frost and Prof. Baker 
 
 on various practices which were injuri- 
 
 ous to the healthy development of the 
 voice, the teachirg and training of 
 choirs and other matters of value to 
 those that were studying singing. 
 
 Besides the early concerts that were 
 given in the Hammond Street and First 
 Parish Churches, meetings were held 
 in Norumbega Hall, and organ recitals 
 were held at the Hammond and Union 
 Street Churches. At least one of these 
 yearly events was held in Central Mar- 
 ket Hall. 
 
 Because of the wisdom of the officers 
 of the society in selecting leaders of 
 talent and experience to direct the sing- 
 ing, some fine effects with the choruses 
 were obtained, and the annual meet- 
 ings of the society were looked for- 
 ward to as no small event. 
 
 On account of the loss of the minutes 
 and publications of this society, no rec- 
 ord of membership for the entire period 
 of its existence is now available and it 
 is impossible to give a complete ac- 
 count of its progress from its begin- 
 ning to its close. In fact there is but 
 little of the history of the Penobscot 
 Musical Association now remaining of 
 record, excepting such accounts as may 
 be found in the columns of the news- 
 papers of the day. These and the 
 printed minutes of such few of its an-. 
 nual sessions as have escaped the rav- 
 ages of fire are about all that appear to 
 be accessible to the historian other 
 than a brief, but altogether reliable, 
 sketch of the society made by its Sec- 
 retary, Elnathan Duren, at the end of 
 its thirty-second year of existence, but 
 it is known that from the date of its 
 beginning until 1859 it had enrolled 
 the whole number of nineteen hundred 
 and twenty-three members. 
 
 As the society progressed the pres- 
 entation of more ambitious programs 
 was fearlessly undertaken. Principal 
 choruses, solos and recitatives from 
 the great oratorios including “The 
 
Re Be) ee 
 
 a a ae 
 
 MUSIC OF THE STATE OF MAINE— 1836-1856 95 
 
 Messiah,” ‘Creation,’ Redemption,” 
 “Hymn of Praise,” “St. Paul,” “Stabat 
 Mater” and others were often per- 
 formed. 
 
 The Penobscot Musical Association 
 was one of the most active musical or- 
 ganizations of its time. It issued an- 
 nual publications including catalogues 
 of the officers and members, with the 
 constitution and minutes of its annual 
 sessions from 1854 to 1868, after which 
 
 time they were published quite fully in 
 
 the daily papers of Bangor. 
 
 In Williamson’s bibliography of 
 Maine twelve of the publications of 
 this society are listed. Many of these 
 were in the Bangor Library at the 
 time the library was destroyed by fire 
 and cannot now be replaced. 
 
 In 1854 the membership consisted of 
 six hundred and forty-two singers, rep- 
 resenting eighty-two towns. 
 
 It is interesting to note from the fol- 
 lowing advertisement of the 1856 Con- 
 vention, which was held at Norumbega 
 Hall, George F. Root, directing, the 
 thoroughness with which the matter of 
 preparing for the annual concerts was 
 undertaken. 
 
 “Morning Session from 9 to 10.30 — 
 Elementary instruction, including prac- 
 tice in major, minor and chromatic 
 scales, time-keeping, intonation and 
 reading music, in connection with 
 Psalmody. 
 
 “From 10.40 to 12 — Vocal Instruc- 
 tion including exercises in position, 
 breathing, vowel and consonant ele- 
 ments, and resonance or quality of 
 tone. 
 
 “Afternoon — from 2.30 to 5. Glee 
 Singing, including Instruction in Phras- 
 ing, and other matters relating to style 
 and expression. 
 
 “Fyvening from 7 to 9. Church mu- 
 sic, anthems, choruses, etc. and Prac- 
 tice with reference to public perform- 
 ances.” 
 
 Dr. George F. Root (1820-1895), 
 the son of a farmer, was one of the 
 most admired directors of the Associa- 
 tion which held him in the highest re- 
 gard, not only for his genius as a com- 
 poser of popular melodies, but for his 
 great ability as a conductor as well. 
 Though not a native of Maine, Mr. 
 Root came to be identified with Maine 
 music to such a degree, through his 
 connection with the Penobscot Musical 
 Association, that anything that might 
 be said of him should be of interest. 
 He was born in Sheffield, Mass., in Au- 
 gust of the year in which Maine be- 
 
 came a State, but removed to New 
 
 York where he became organist at 
 “The Church of The Strangers” and 
 where he taught from 1844 to 1850. 
 After studying in Paris for a time he 
 went to Chicago, in 1859, where he be- 
 came a member of the publishing house 
 of Root and Cady. Mr. Root was the 
 originator of normal musical institutes. 
 He founded a school of distinctively 
 American music and was instrumental 
 in no small degree in improving the 
 standard of musicin America. He com- 
 posed more than forty songs which be- 
 came popular with the people of his 
 day. Among his best known composi- 
 tions are the cantata, “The Flower 
 
 - Queen” (1852), and the songs, “Hazel 
 
 Dell” (1853), “Rosalie the Prairie 
 Flower” (1855), the cantata, “The 
 Haymakers” (1857), the song, “The 
 Battle Cry of Freedom” (1861), which 
 gained such immense popularity that 
 at one time fourteen printing presses 
 were engaged in printing it so that the 
 demand might be supplied; the songs, 
 “Just Before the Battle, Mother” 
 (1863), “Tramp, Tramp, Tramp, the 
 Boys are Marching” (1864), “The 
 Old Potomac Shore,” and ‘Marching 
 Through Georgia.” Mr. Root was also 
 the composer of that immortal quar- 
 tette, “There’s Music in the Air.” He 
 
- 
 
 96 MUSIC AND MUSICIANS OF MAINE 
 
 GEORGE W. MERRILL, ONE OF THE FOUNDERS OF 
 THE PENOBSCOT MUSICAL ASSOCIATION, AND FOR 
 ELEVEN YEARS A VICE PRESIDENT. 
 
 directed the Penobscot Association a 
 number of years, though not succes- 
 sively. His cantata, “The Haymak- 
 ers,’ was presented no less than five 
 times by amateurs in Portland. In the 
 great Chicago fire of 1871 his publish- 
 ing house was entirely destroyed, and 
 the loss to his firm was a quarter of a 
 million dollars. He was obliged to sell 
 out his interest to others. He had a 
 wide reputation for skill and success 
 as a teacher and was known as a great 
 enthusiast in conducting musical con- 
 ventions. 
 
 Nathaniel Duren Gould (1781-1864), 
 born in Chelmsford, Massachusetts, 
 another Penobscot Musical Association 
 leader, was one of the pioneers in the 
 field of juvenile instruction in music, 
 
 even before Lowell Mason entered it. 
 He was one of the most active in lead- 
 ing music conventions in all the east- 
 ern cities, and was the author of a His- 
 tory of Church Music. Gould was in 
 reality his middle name. He came from 
 Middlesex, Massachusetts, where he 
 conducted the Middlesex Musical So- 
 clety. 
 
 George W. Merrill, Vice President 
 of the Penobscot Musical Association 
 for eleven years, was prominently iden- 
 tified with all the leading musical activ- 
 ities of Bangor during that period. He 
 had a tenor voice of beautiful quality 
 and sang for twenty-five years in the 
 quartette choir of the Episcopal Church 
 in Bangor. 
 
 Joseph Forbes, for several years 
 Vice President of the Penobscot Mu- 
 sical Association and the first Director 
 of the Bangor Musical Association, and 
 his wife were very active members of 
 the old musical associations in Bangor 
 as early as 1838. He was born in En- 
 field, Massachusetts, in 1808 and was, 
 for some time, organist at the Third 
 Parish Congregational Church, prior 
 to which he was the musical director 
 of the First Parish Congiegational 
 Church, Bangor. He was among the 
 foremost in musical activities in the 
 early days in that city. 
 
 What the Penobscot Musical Asso- 
 ciation did further for the cause of mu- 
 sic belongs in another chapter, as will 
 presently appear. 
 
 Cumberland County Philharmonic 
 Society 
 
 During this period county musical 
 organizations seemed to spring up over 
 night. Following in the wake of the 
 Penobscot Society, the Cumberland 
 County Philharmonic Society was or- 
 ganized in June, 1850, and these were 
 its officers in 1851: Samuel Jones, 
 Cumberland, President; Orin Dins- 
 
MUSIC OF THE STATE OF MAIN E— 1836-1856 97 
 
 more, Auburn, Vice President; and 
 Arthur L. Ilsley, Portland, Chorister. 
 
 Franklin County Musical Association 
 
 The Franklin County Musical Asso- 
 ciation, quite noted in its day, was or- 
 ganized in 1843 with William M. Reed 
 as President and Ezekiel Lancaster as 
 Vice President. Many were the musi- 
 cal entertainments that the people en- 
 joyed under the auspices of this society. 
 
 Like most of the conventions of the 
 County Associations they were held in 
 various towns in the county, with a 
 rehearsal in the afternoon and a public 
 gathering in the evening. 
 
 Franklin County Musical Institute 
 
 The officers of the Franklin County 
 Musical Institute in 1851 were: O. H. 
 Berry, New Sharon, President; O. H. 
 Sewall, Chesterville, Vice President; 
 W. Perkins, Farmington, Vice Presi- 
 ~ dent; Lyman Lancaster, New Sharon, 
 
 Secretary; Nelson C. Luce, Industry, 
 Treasurer. 
 
 These officers were succeeded by 
 William M. Reed, Farmington, Presi- 
 dent; John Titcomb, Farmington, Vice 
 President; John Sprague, Farmington, 
 Secretary; Eben Norton, Farmington, 
 Treasurer. 
 
 From the day that Squire Belcher 
 took up his home in Farmington this 
 little town, afterwards famed as being 
 the birthplace of Maine’s wondertul 
 song bird, Lillian Nordica, has always 
 _ enjoyed the reputation of being a mu- 
 = sical center. 
 
 - The fame of its old singing schools 
 spread into counties whose boundary 
 lines did not even border on those of 
 Franklin. 
 
 Hon. Joseph Woodman Fairbanks 
 _ (1821-1905), one of the old singing 
 
 school leaders, was the son of Colum- 
 
 bus Fairbanks, and acted as chorister 
 _ in Farmington for many years. In the 
 
 JOSEPH FORBES, FIRST VOCAL DIRECTOR OF THE 
 BANGOR MUSICAL ASSOCIATION (1847) AND A VICE 
 PRESIDENT OF THE PENOBSCOT MUSICAL ASSOCIA- 
 TION. 
 
 choir were then used the bassoon, the 
 trombone, and clarinet. A piano, man- 
 ufactured by Calvin Edwards, was pur- 
 chased by Hiram Belcher, son of Sup- 
 ply Belcher, and played in his home 
 where the choir met for rehearsals. It 
 is said that this was the first piano to 
 be used in Farmington. 
 
 Mr. Fairbanks had an excellent ten- 
 or voice and played the double bass on 
 occasion. He was one of the leading 
 men of Farmington where he had been 
 a merchant for many years. He be- 
 came President of the Franklin Coun- 
 ty Savings Bank, was a member of the 
 Maine Legislature four years and held 
 other important offices. 
 
 John Titcomb, 2nd, who was born 
 in that town in 1813, was also an in- 
 structor. He played several musical in- 
 
98 MUSIC AND MUSICIANS OF MAINE. 
 
 JOSEPH WOODMAN FAIRBANKS, CHORISTER AND 
 LEADER OF SINGING SCHOOLS FOR MANY YEARS IN 
 FARMINGTON. 
 
 struments, including the violin and 
 flute, and was a very good singer. He 
 had an exercise book which corre- 
 sponded somewhat with the musical 
 chart of today. It stood upon the plat- 
 form and was large in size, with notes 
 which could be seen and read from any 
 part of the room. He was leader of the 
 Old South Congregational Church 
 Choir for some time and played the 
 violin in the church before the organ 
 was installed there in 1855. He studied 
 music under Lowell Mason and like 
 many of the singing teachers of his 
 time his regular occupation was farm- 
 
 ing. 
 Bangor Musical Association 
 
 In the year before the Penobscot 
 Musical Association came into exist- 
 
 ence the Bangor Musical Association 
 was organized (1847) “to promote, the 
 Science of Music and especially for the 
 edification of its members.” It had a 
 constitution and by-laws, met weekly 
 for rehearsals, had regular dues and 
 male members were assessed equally 
 to defray the expenses of the society. 
 
 The first officers of this society were: 
 Frederic Hobbs, President; Joseph 
 Forbes, 1st Director; John H. Porter, 
 2nd Director; Zebulon S. Patton, Sec. 
 and ‘Treas.; William H. Cutter, Organ- 
 ist and Pianist. | 
 
 The records of this society were very 
 meager. The Secretary’s records, from 
 January, 1847, to September, 1856, oc- 
 cupied less than twelve small pages of 
 hand written matter. | 
 
 Only two concerts performed by the 
 society are mentioned —one on Janu- 
 ary 24, 1842, at which the receipts 
 were over fifty dollars, and the other 
 on February 21 of the same year. 
 From other sources it is learned that 
 a concert was given in January, 1848, 
 when a Miss Mallett was the pianist. 
 
 _ Mr. Patton resigned his position as 
 Sec.-Treas. in 1848 and he was suc- 
 ceeded by George W. Merrill. 
 
 The oratorios “David” and “The 
 Messiah” were studied by this society, 
 and it is believed that at one time Mr. 
 Tufts acted as organist of the associa- 
 tion, and F. S. Davenport was its con- 
 ductor. 
 
 The officers elected in November 27, 
 1848, were, A. P. Bradbury, President; 
 H. R. Streeter, First Director; Joseph 
 Forbes, Second Director; and G. W. 
 Merrill, Secretary and Treasurer. 
 
 Somerset Sacred Music Society 
 
 The Somerset Sacred Music Society 
 was an active musical organization 
 from 1842 to 1854 and held meetings 
 and gave some concerts at Skowhegan, 
 Solon and other towns in Somerset 
 
a 
 
 a tion. 
 
 i Sree ee ee 
 
 MUSIC OF THE STATE OF MAINE— 1836-1856 99 
 
 County. William M. Reed was its lead- 
 er in 1844, and in that year he opened 
 a Singing School in Skowhegan. It 1s 
 believed that Benjamin Edmund Mes- 
 ser was the organizer, though Columbus 
 Stuart of North Anson was its first 
 president. Asa S. Emery was, for 
 some time, its secretary. 
 
 Benjamin Edmund Messer was wide- 
 ly known in Maine as one of the found- 
 ers of the Penobscot Musical Associa- 
 tion and a teacher in singing, according 
 to the old school. For forty consecu- 
 tive years, in Maine, Illinois and Min- 
 nesota, he went about from village to 
 town, accompanied by his treasured 
 violin, of which he was complete mas- 
 ter. He held classes in churches, school- 
 houses and farmhouses and taught the 
 people rudiments of song. Mr. Messer 
 held many positions of public trust and 
 was esteemed by his fellow citizens in 
 three states. He was famed as a pioneer 
 in the temperance movement. 
 
 Mr. Messer was born at Hollis, N. 
 H., in 1812, and received his early edu- 
 cation at Peppereli Academy, in Mas- 
 sachusetts. He went to Maine in his 
 youth (as early as 1830) where he be- 
 gan to teach singing schools at the age 
 of eighteen. Possessed of a rich and 
 vibrant baritone voice and being an 
 accomplished violinist he met with fa- 
 vor in every town he visited, and it 
 was not long before his name was al- 
 most a household word in hundreds of 
 Maine homes. He was a cabinet maker 
 by trade, and when the singing school 
 began to lag with the warm weather of 
 the spring he took up his regular voca- 
 
 It was during one of his journeyings 
 in Maine that he met with Miss Mary 
 
 Burt Holt, the daughter of Rev. Fifield 
 
 Holt, at that time the minister of the 
 Skowhegan Congregational Church. 
 They were married in 1840. 
 
 #] 
 
 FREDERIC HOBBS, FIRST PRESIDENT OF THE BANGOR 
 
 MUSICAL ASSOCIATION (1847). PHOTO MADE BY 
 THE COPLEY PRINT CO., BOSTON, FROM AN OLD 
 DAGUERREOTYPE AND LOANED BY MISS MARY J. 
 ALLEN, AUBURNDALE, MASS. 
 
 Mr. Messer lived later in New Shar- 
 on, and his singing schools extended as 
 far east as Dexter and Bangor. On ac- 
 count of failing health he went to Min- 
 nesota in 1852 where he settled in St. 
 Anthony. He afterwards became iden- 
 tified with what is now Minneapolis 
 and built one of the very first houses 
 in that city. He was elected its second 
 sheriff, and joined a party to explore 
 the country to the west. He was also 
 one of the delegates to the constitu- 
 tional convention of that state but, 
 notwithstanding his duties as sheriff, 
 he continued his musical studies and 
 instruction with much enthusiasm, and 
 subsequently left Minnesota to become 
 musical instructor in the State Normal 
 Institute at Bloomington, Ill. This po- 
 sition he held for about three years, 
 until the breaking out of the Civil War, 
 
100 
 
 when, because Mrs. Messer desired to 
 move to Washington, that she might 
 become a nurse, they went to that city 
 where he secured and held, for twenty- 
 five years, a position in the Fourth Au- 
 ditor’s Office. He died in Washington, 
 December, 1895. His son Edmund 
 Clarence Messer, born in Bloomfield 
 in 1842, became an artist of more than 
 local fame. 
 
 Among the names of those who ap- 
 pear prominently in music in Skowhe- 
 gan during this period are Mr. Brett, 
 who opened a school for vocal music 
 in 1851, and who advertised, “He does 
 not confine his instruction to Church 
 Music but intersperses it with. glees, 
 duetts, etc.”’; O. P. Bigelow, who 
 opened a “flourishing singing school” 
 at Washington Hall in 1853, and who, 
 a year later, became teacher of music 
 at the Bloomfield Academy; Sam E. 
 Morrill, who opened a singing school 
 in 1851, and G. W. Chase of Farming- 
 ton, who gave a concert in 1854, at 
 which he was assisted by Boston tal- 
 ent and Miss H. Wentworth and Sarah 
 Fletcher of Skowhegan. 
 
 Waldo County Musical Association 
 
 The first session of the Waldo Coun- 
 ty Musical Association was held in Bel- 
 fast in October, 1850, with more than 
 one hundred members in attendance, 
 and a concert was given by them on 
 the tenth of that month. The first offi- 
 cers were: William Pitcher, President; 
 Hiram Bass, Vice President; William 
 C. Poor, Secretary; Augustus Peary, 
 Treasurer. 
 
 Other musical organizations of more 
 or less importance were formed in Bel- 
 fast during the forties and the early 
 fifties, and musical entertainments by 
 local talent have been noted by the 
 town historian. 
 
 During the summer of 1840 a con- 
 
 MUSIC AND MUSICIANS OF MAINE 
 
 cert was given by the Belfast Glee 
 Club. 
 
 In 1844 visiting talent from other 
 Maine towns was secured for some of 
 the entertainments, and the Bath 
 Quartette Club gave a concert at the 
 Court House. In February, 1845, the 
 Augusta Glee Club appeared in a con- 
 cert at Washington Hall. 
 
 In March, 1851, a “Musical rehears- 
 al of Selections from Opera and Ora- 
 torios,” directed by J. W. Webster, took 
 place at the Unitarian Church, and in 
 that year an entertainment was given 
 at Washington Hall by “The Druid 
 Band,” which consisted of seventy 
 members, all of whom performed on 
 ox-horns. 
 
 In May, 1852, a concert program 
 was performed by Henri Jungnickel on 
 the violoncello and flute, assisted by 
 Alonzo P. Wheelock and his daughter 
 of Portland. In this year, also, several 
 concerts were given by a musical so- 
 ciety which went under the name of 
 the Belfast Harmoneons. 
 
 Mr. Jungnickel had come to Port- 
 land from Germany, four years be- 
 fore, with Hermann Kotzschmar. Both 
 of these musical geniuses were mem- 
 bers of the Saxonia Band which was 
 composed of twenty young German 
 musicians who longed for the freedom 
 that America offered. 
 
 Henri Jungnickel is described as a 
 man of very “nervous temperament, of 
 strong sympathetic quality and seemed 
 overflowing with musical feeling.” 
 
 Mr. Thurston, in his Reminiscences, 
 says, “Mr. Jungnickel found little en- 
 couragement in Portland as those who 
 were interested tolearn the instruments 
 he taught were very few and there was 
 no local professional orchestra in that 
 city as early as this. After remaining 
 here a few months he went to Boston 
 and became one of the foremost solo 
 cello players in that city, but his career 
 
MUSIC OF THE STATE OF MAINE— 1836-1856 IOI 
 
 was cut short by illness and an un- 
 timely death. 
 
 “Once when our vocal and instru- 
 mental club was waiting a.short time,” 
 he continues, “Mr. Jungnickel picked 
 up a violin and commenced playing 
 Von Weber’s ‘Last Waltz.’ He played it 
 through several times. When he con- 
 cluded he said, “There, if I could write 
 a piece of music like that, I would be 
 ready to die.’”’ 
 
 Belfast, as has been said in a pre- 
 ceding chapter, was a musical center, 
 almost from its beginning as a settle- 
 ment. There was no diminution in the 
 interest in keeping up the standara of 
 its choirs during the next thirty years 
 which followed. 
 
 Colonel James W. Webster still con- 
 tinued to be the leader in Belfast mu- 
 sical life, and it has been said of him 
 that “to his exertions was, in a great 
 measure, to be attributed the develope- 
 -ment of the fine musical powers of 
 many of his associates in the choir.” 
 From 1843 to 1852 the soprano and 
 alto parts in the First Church Choir 
 were sung by his daughters, Pauline 
 and Caroline Webster. During this 
 period Mrs. W. H. Dutton became a 
 member of the choir and later Mary 
 L. Hanson joined it, while J. W. Fred- 
 erick sustained the bass. Mr. Frederick 
 was followed by Charles R. Thomes. 
 
 Following Mr. Frederick’s year of 
 service, Aurelia E. Quimby held the 
 position of organist in the First Church 
 for four years. After she gave up the 
 post A. H. Townley acted as organist 
 for a like period of time, until 1843, 
 when Martha Bradbury, then but six- 
 teen years old, took the post. Miss 
 Bradbury served for nine years when 
 she was succeeded by Caroline E. 
 Webster. | 
 
 From 1835 to 1843 the choir was 
 often supported by local singers, in- 
 cluding Mrs. Kendall, Elizabeth Bean 
 
 and Caroline Sleeper, who afterwards 
 became a regular member of the choir. 
 
 From 1843 to 1852 among those who 
 assisted were Mary A. and Susan J. 
 White and the Misses Wetherbee, and 
 in later years Mrs. Thomas W. Huse, 
 Mrs. L. W. Howes, Sarah Howes, Lucy 
 M. Hanson and Franklin R. Frederick. 
 
 It seems strange that societies of an- 
 cient music and antiquarian singing 
 should have been in existence more 
 than seventy-five years ago, but peo- 
 ple of those days derived as much en- 
 joyment from reproducing the psalm 
 tunes and costumes of their grandfa- 
 thers and grandmothers as do those of 
 1928. 
 
 In 1851 the “Antiquarian Singing 
 Club,” under the direction of Francis 
 Harrington, gave several successful 
 concerts, the proceeds of which went to 
 the poor and needy families of Rock- 
 land. 
 
 There was, for some years, a society 
 in Rockland called the Mozart Club of 
 which G. D. Smith was the director. 
 Its purpose was for the study of the 
 better kind of music, and they met in 
 the Band Hall for practice. 
 
 In 1857 G. D. Smith’s singers pre- 
 sented the “Flower Queen” at Beetho- 
 ven Hall. Mr. Smith directed the pres- 
 entation of Root’s Cantata, “The Hay- 
 makers,” in 1858. 
 
 G. D. Smith was the first music 
 teacher of prominence in the City of 
 Rockland. He was an artist as well as 
 a musician, and a gentleman of culture 
 and refinement. He moved to Rock- 
 land about 1853, and developed a large 
 class on the pianoforte. He was or- 
 ganist at the Congregational Church 
 until he enlisted in the war. He was 
 killed at Gettysburg. 
 
 At the Universalist Church, which 
 was not built until 1838, G. W. Brown 
 played the clarinet and Elkana Spear 
 the bass viol. An organ was purchased 
 
102 MUSIC AND MUSICIANS OF MAINE 
 
 LUTHER WHITING MASON, INTERNATIONALLY HON- 
 ORED EDUCATOR, WHO INTRODUCED THE EIGHT 
 TONE SCALE INTO THE ORIENT FOR WHICH HE 
 WAS ACCORDED SIGNAL HONORS BY THE JAPANESE 
 PEOPLE AND THEIR MIKADO. PHOTO BY GEORG 
 BROKOSCH, LEIPZIG. 
 
 by this church about 1854 and while 
 the name of the first organist is not 
 definitely known it is recorded that 
 Mrs. William Thorndike officiated in 
 that capacity for a long time. Among 
 the singers at this church were Colonel 
 Timothy Williams and his wife, who 
 sang both at this church and at the 
 Methodist Church, James Crockett, 
 Mr. and Mrs. Samuel Tibbetts, Alda- 
 na Crocker, Herman Stevens, Charles 
 Crockett, Horace Perry, Mrs. H. N. 
 Keene, Mr. and Mrs. Charles Tibbetts, 
 Ellen Pendleton, Samuel Tibbetts, Jr., 
 and S. T. Mugridge. 
 
 The choir at the Second Baptist 
 Church, organized about 1851, has al- 
 
 ways had excellent singers in it. S. H. 
 Chapman led the choir at one time and 
 Mrs. Louise Furbish played the organ 
 for a long period in this church. Au- 
 gusta and Theresa Butler were among 
 the sopranos and Mrs. M. A. Achorn 
 was prominent among the altos. B. P. 
 Roberts and A. T., Low were among 
 the bass singers. 
 
 During this period singing schools 
 were several times in evidence in the 
 “Old Yellow School House.” There 
 were nearly a dozen vocal teachers in 
 Rockland at this time. 
 
 Mary Berry was a teacher of juve- 
 nile singing in the old Lovejoy House 
 and another teacher was Professor 
 John Singhi. Mr. Singhi came to Rock- 
 land in 1833 and was immediately rec- 
 ognized as a thorough musician. He 
 was a native of Italy, and, like many 
 foreigners, had his eccentricities. He is 
 said to have been one of the best trom- 
 bone players ever known in the vicinity 
 of Rockland, 
 
 E. S. Blaisdell was another singing 
 teacher of about this period. At one of 
 his concerts Frances Snow, Mary Sears 
 and Melissa Condon were among the 
 soloists, and Charles Libby was an- 
 other, while Harriet Jones taught both 
 piano and singing. 
 
 Stephen H. Chapman, who moved 
 from Damariscotta to Rockand, taught 
 singing school at the North end at one 
 time. He had a splendid bass voice 
 and led the choir at the Cedar Street 
 Church. He was considered one of the 
 finest of the early musicians of Rock- 
 land. He was the first man to enlist in ~ 
 the Fourth Maine Regiment and the 
 first to bekilled inthe Battleof Bull Run. 
 
 When the Civil War came on Mrs. 
 R. S. Mayhew, who had taught juve- 
 nile classes at Rockland, entered the 
 army as a nurse. 
 
 Albert Smith, a native of Warren, 
 was one of the earliest singing teachers 
 
ee re ee? ae, ay ~~ aS (ec ‘ga Se A 
 
 MUSIC OF THE STATE OF MAINE— 1836-1856 103 
 
 in Waldo County. Nearly all the sing- 
 ers of Rockland of his day attended 
 his singing schools. Although he never 
 had the advantages of vocal training 
 he was thoroughly grounded in the 
 principles of music. 
 
 Mary Ann Hovey, who taught juve- 
 nile school in her father’s house for 
 some years, was quite accomplished as 
 a pianist, and her father owned the 
 first piano to be brought to Rockland. 
 It is said that this piano later came in- 
 to the possession of N. B. Cobb of that 
 city. 
 
 Among the earliest teachers of piano, 
 violin and organ were Mr. ‘Whipple, 
 Albert G. Merrill, E. S. Bradley and 
 Mrs. Collins. 
 
 One of the oldest musical organiza- 
 tions in Bath was The Musical Asso- 
 ciation of Bath which was organized 
 in December, 1835. It numbered many 
 fine singers who gave concerts through- 
 out the winter of 1836-37 in towns and 
 cities in Western Maine, including the 
 City of Portland. 
 
 Luther Whiting Mason 
 
 Luther Whiting Mason, acclaimed 
 by the people of the Japanese Nation 
 as their great benefactor in music, and 
 
 honored alike in America and Ger- 
 
 many for his achievements as an edu- 
 cator, was born in Turner, Maine, 
 April 3, 1818. He was a direct de- 
 scendent of Captain Hugh Mason, of 
 early historical fame in New England, 
 who was an ancestor of many distin- 
 
 - guished Americans, including Doctors 
 
 William and Lowell Mason and Daniel 
 Webster. 
 
 The death of his father, following in 
 the wake of disastrous floods which 
 had destroyed large tracts of forest 
 land owned by him, thereby causing 
 the family fortune to be wrecked on 
 the rocks of unfulfilled contracts, left 
 his mother in destitute circumstances 
 
 with four young children, two girls and 
 two boys, of which the eldest was Lu- 
 ther. A few years of desperate strug- 
 gle found the children scattered among 
 relatives, with Luther living in Gar- 
 diner in the care of Silas Mason, his 
 half brother by a former marriage of 
 his father. 
 
 In order to do his share of the work 
 necessary to his maintainance, Luther 
 arose at four each morning during the 
 winter months that he might “make” 
 the necessary time to attend his classes 
 in the village school, wrote his studies 
 on a black-board in the workshop of 
 his brother, who was a last maker, and 
 learned them while he worked. 
 
 By nature a musician, he applied 
 himself with diligence to learn the ele- 
 ments of music at home. He soon be- 
 came the leader of a church choir and 
 applied for and obtained a certificate 
 as a teacher in a common school in 
 order that he might have more time to 
 develop his musical talents. 
 
 From his slight means as a school 
 teacher he was enabled to pursue his 
 studies at the Gardiner Lyceum, and 
 with a substantial addition to his in- 
 come from the establishment of a sing- 
 ing school, and the help of his brother 
 Silas, he was soon able to go to Boston 
 where he entered the school of Lowell 
 Mason, George F. Root and William 
 Bradbury. 
 
 After receiving his certificate to teach 
 he accepted an offer of a position as 
 private tutor to a wealthy Scotch gen- 
 tleman in Gorham, Maine, where he 
 was able to continue his studies at the 
 Academy through the equivalent of the 
 freshman year at college. He then be- 
 came assistant teacher to a gentleman 
 who had a large class in music in Phil- 
 adephia. 
 
 His first venture in the work to 
 which his life came to be devoted was 
 as a teacher of English branches and 
 
104 MUSIC AND MUSICIANS OF MAINE 
 
 music in the Academic Department of 
 Delaware College where he taught mu- 
 sic to one hundred and twenty boys 
 whose ages ranged from seven to twen- 
 ty-one years. 
 
 He enrolled as a regular student in 
 Delaware College while acting as 
 teacher of music in that institution, 
 and at the end of the year he gave a 
 concert with his pupils who so well 
 performed under their talented master 
 that he was invited to become the di- 
 rector of the choir in one of the most 
 fashionable churches in Baltimore. 
 
 In this city he married Hannah Al- 
 len and to them were born four chil- 
 dren, two of whom, Mrs. H. A. Irish 
 and Catherine Mason, survived him. 
 
 Through the influence of his brother, 
 Dr. E. W. Mason, he afterwards be- 
 came teacher of music in the public 
 schools of Louisville. Hearing of his 
 success, a committee was sent from 
 Cincinnati and their report resulted in 
 an offer that he could not afford to re- 
 fuse. From one of the teachers of Ger- 
 man in Cincinnati Mr. Mason received 
 a copy of C.H. Héhmann’s 4 Practical 
 Course of Instruction in Music on 
 School Principles, the first graded 
 course of music to be published in any 
 language, and from this he developed a 
 system which he placed before leaders 
 in music at Boston and New York. 
 
 Carl Zerrahn was one of the first to 
 see the possibilities of the work and 
 by his advice the publication of it was 
 undertaken by Oliver Ditson with the 
 result that it is said to have caused a 
 revolution in school music throughout 
 the country and was inimediately re- 
 sponsible for the publication of “The 
 National Music Course,” the most suc- 
 cessful system of school music ever 
 published. 
 
 In Boston, to which city he was next 
 called, aided by the hearty codperation 
 of the School Committee and the Su- 
 
 perintendent, he achieved such unpar- 
 alleled results that he became famous 
 as an educator and his music books 
 came to be used in nearly every city 
 in the country. 
 
 At the Centennial Exposition in 
 Philadelphia in 1876 Professor Mason 
 became so interested in the Japanese 
 exhibit that he was led to inquire about 
 the condition of music in the Empire, 
 so he sought an interview with M. Ta- 
 netaro Megaba, who then held the title 
 of Vice Minister of Education from 
 Japan to America. | 
 
 Meanwhile representatives of the 
 Japanese Government to the Centen- 
 nial Exposition, who had become in- 
 terested in the “National System of 
 Music Books and Charts,” had taken 
 with them a set to Japan, and Profes- 
 sor Mason was soon after requested to 
 undertake the work of introducing the 
 American style of music into that 
 Country. 
 
 Before leaving to take up his new 
 duties as Director of the National Nor- 
 mal Institute of Music, which was un- 
 der the control of the Department of 
 Education in Tokio, Professor Mason 
 was tendered a farewell reception, in 
 Boston, at which his services to the 
 city were duly recognized. 
 
 The story of the results of Professor 
 Mason’s labors in Japan reads like a 
 fairy tale, for to the Japanese people 
 he became a magician who brought to 
 their hearts joys of which they had 
 never even dreamed. It is written that 
 “he introduced to the Japanese a sys- 
 tem of music entirely new to them. He 
 taught them to sing and play music 
 written in the eight-tone scale, instead 
 of the barbaric five-tone scale to which 
 they were accustomed. He taught them 
 to play the piano, the organ, the violin 
 and all the other instruments of our 
 modern orchestra, and to sing music in 
 several parts. Harmony was unknown 
 
MUSIC OF THE STATE OF MAIN E— 1836-1856 105 
 
 in their primitive music, and, when the 
 pure major chords of our system of 
 music sounded in their ears, their eyes 
 filled with tears at the new world of 
 beauty thus opened to them. 
 
 “He trained them to teach the new 
 music. From his school in Tokio, 
 teachers went to every part of the is- 
 land, and the ‘Mason Song,’ as the 
 Japanese fondly called American mu- 
 sic in honor of him who had taught it 
 to them, was soon sung from one end 
 of the empire to the other. 
 
 “The Japanese recognized the genius 
 of one who, in a brief three years, could 
 make of them a musical nation, and 
 never was a musician and teacher the 
 recipient of more honors than Profes- 
 sor Mason received at their hands.” 
 
 On leaving Japan he was showered 
 with gifts in profusion from those who 
 had met and known him. Children 
 from the Kindergarten presented him 
 with little slips of paper on which they 
 had painted simple little subjects with 
 their own hands or written verses 
 which were meant for him. Some were 
 quite pathetic. A free translation of 
 one of these reads, “Why are my 
 sleeves so wet before the autumn dew 
 has come? It is the tears of my sor- 
 row to part with you.” 
 
 From the University of Tokio he re- 
 ceived the degree of Professor. 
 
 The Mikado presented him with a 
 magnificent pattern of cloth of gold 
 and the Empress, that she might duly 
 express her gratitude to the benefactor 
 of Japan, granted him a public audi- 
 ence. He was the first foreigner ever 
 to be so highly honored. 
 
 On his return to America a recep- 
 tion, at which the Mayor presided, was 
 tendered him by the citizens of Boston. 
 He immediately began a revision of his 
 Music Course and visited nearly every 
 part of the country in the endeavor to 
 establish music firmly in the schools of 
 
 those cities where it had hitherto been 
 neglected. 
 
 While spending several months in 
 Europe in 1872, in search of health, he 
 studied the school system of music in 
 Switzerland. In 1874 he visited John 
 Curwen in England and during his stay 
 was the guest of this founder of the 
 Tonic Sol-Fa System. 
 
 In 1883 he traveled extensively in 
 Norway and Sweden and visited the 
 schools in every part of the Scandi- 
 navian Peninsular. 
 
 In 1890 he went to Europe for the 
 purpose of studying the school system 
 in Germany. After four months in 
 Berlin, studying the training of the 
 Dom (Cathedral) choir, he went to 
 Leipzig where he attended classes week 
 after week that he might improve “The 
 National Music Course” which had 
 been so popular in the United States 
 for more than twenty years. In Ger- , 
 many he was repeatedly invited to ad- 
 dress societies of musicians and teach- 
 ers. Among those who heard him ex- 
 plain the principles of his system were 
 Carl Reinecke, S. Jadassohn, Julius 
 Klengel, Heinrich Klesse, Professor 
 Oscar Paul and Prof. Albert Becker, 
 all of whom were enthusiastic in their 
 praise of his work and method. 
 
 As a result of these addresses a com- 
 mittee, consisting of a public school 
 teacher, a choir master, an organist, a 
 musician, an editor an author and two 
 interpreters and secretaries, were ap- 
 pointed to codperate with Professor 
 Mason in compiling a German edition 
 of his Music Course. 
 
 After months of painstaking effort 
 in which every detail in connection 
 with the undertaking of such a work 
 the German edition was published un- 
 der the title “Neuegesangsschule.” 
 
 Professor Mason’s achievement in 
 Germany, the land of music, may be 
 regarded as a national compliment 
 
106 MUSIC AND MUSICIANS OF MAINE 
 
 equalled only by his unparalleled suc- 
 cess in the realm of the Mikado. 
 
 Another complimentary testimonial 
 was tendered Professor Mason in 1895 
 when many notable representatives 
 from America and foreign countries, 
 where his personal activities had made 
 an impress, were present and made 
 memorable allusions to the great in- 
 fluence of his work among their people. 
 None, however, was more striking than 
 the speech by Rev. Watan Kitashima, 
 a Japanese gentleman educated in 
 America, who was the personal repre- 
 sentative of Hon. Washizachi, Consul- 
 General of Japan, who was prevented 
 at the eleventh hour from attending 
 the banquet. 
 
 “TI wish to testify to the position of 
 Professor Mason in Japan. 
 
 “His work there was of the highest 
 importance. The position of a foreign 
 music teacher in Japan was very diffi- 
 cult. The Japanese music is little more 
 than noise. In a concert, the Japanese 
 musicians go as they please. Each one 
 sings something else. Professcr Ma- 
 son came to us to build the foundation 
 of musical science. The Japanese, in 
 one way, are a musical people. The 
 language is very soft and melodious. 
 Professor Mason, with his prophetic 
 spirit, built according to the genius of 
 the people. Every one in the empire 
 interested in music looked to Professor 
 Mason for assistance. He had to adapt 
 the Japanese instruments to his meth- 
 ods. You cannot imagine how diffi- 
 cult his work was.” 
 
 Referring to one who had spoken 
 before him, Mr. Kitashima continued, 
 “Mr. Chase spoke of electing a presi- 
 dent by means of music. I can tell you 
 a bigger fact than that. The result of 
 the Chinese-Japanese War is due to 
 Professor Mason’s music. The Japanese 
 troops sang ‘Hail, Columbia!’ ‘Ameri- 
 ca’ and ‘Marching through Georgia,’ 
 
 and won their battles. Professor Ma- 
 son had taught them these. 
 
 “Professor Mason gave the Japanese 
 their musical foundation, and now the 
 Japanese are able to express their sen- 
 timents in music as well as in words. 
 It is all due to Professor Mason. His 
 music is making that happy nation still 
 happier. Professor Mason’s music has 
 made the complexions of the children 
 better and their eyes brighter. His 
 name is almost a household word. He 
 is venerated by all the Japanese musi- 
 cians. He has done far more for Japan 
 than many of the missionaries. 
 
 “Professor Mason, forty millions of 
 my people greet you; forty millions 
 
 now your works. Four millions of 
 their gods are invoked to bless you. 
 Your works are immortal in the land 
 of the rising sun.” 
 
 One of the things that Professor Ma- 
 son stressed at this reception was the 
 great need of the cultivation of music 
 in the rural schools in America. “I 
 have one ambition, it seems to me, for 
 the future. That is in connection with 
 this matter of rural schools. Taking 
 the whole country over, I think that 
 more than seventy-five per cent have no 
 regular instruction in music. Therefore 
 my ambition in the future is to make 
 provision for musical instruction in 
 those schools not now provided for.” 
 Thereafter his labors were principally 
 directed to the production of the course 
 now named in his honor, ‘“The Mason 
 School Music Course.” 
 
 On July 14, 1896, Professor Mason 
 succumbed to an attack of heart failure 
 brought on by an accident, followed 
 shortly by the death of his wife. Had 
 he lived but a few days longer he would 
 have received the greatest honor in the 
 power of the Japanese people to be- 
 stow upon a foreigner —the award of 
 the Decoration of the Third Rank — 
 but as all decorations must be returned 
 
heal 
 
 aie et) ee ae Se ee ee Ae 
 
 MUSIC OF THE STATE OF MAINE— 1836-1856 
 
 107 
 
 on the death of the recipient, the Jap- 
 anese Minister in Washington returned 
 it to his country. A large photograph 
 of it, together with a pair of valuable 
 Cloisonné vases, was sent his family 
 as a gift from the Emperor. 
 
 Few men in the musical profession 
 have been more honored or praised in 
 their lifetime than Luther Whiting 
 Mason. 
 
 His great accomplishment was equal- 
 ly recognized by the people of practical 
 America, the educators of musical Ger- 
 many and the ambassadors of the ab- 
 solute ruler of Japan. 
 
 But though he had taught nations 
 to sing, when, at last, he came back to 
 mingle with his early friends and enjoy 
 the simplicity of his former life, he 
 found no greater joy than in giving ele- 
 mentary instruction to classes of little 
 children and helping the humblest to 
 learn the rudiments of music, just as 
 when a boy he had taught his first 
 singing school in Gardiner, Maine. 
 
 Luther Orlando Emerson 
 
 Luther Orlando Emerson (1820- 
 1915), who was born at Parsonfield, 
 Maine, was the youngest son of Luther 
 Emerson, a farmer. He was educated 
 at the Parsonfield Seminary and Ef- 
 fingham Academy. The Emersons were 
 all musical, but there was little oppor- 
 tunity for the cultivation of music in a 
 place so remote. His father, who was 
 a good violinist, bought him a violon- 
 cello and gave him instructions on that 
 instrument, so that in a short time he 
 was able to play with the village choir. 
 
 When he became of age he went to 
 
 Boston and attended the Dracut Acad- 
 emy. He continued his practice of mu- 
 sic at the academy, and, three years 
 later, began a course of musical in- 
 struction under I. B. Woodbury, and 
 afterwards studied voice, piano, organ 
 and harmony with some of the best 
 
 LUTHER ORLANDO EMERSON, COMPOSER AND CHO- 
 RAL CONDUCTOR. FIRST MUSICIAN OF NOTE KNOWN 
 TO HAVE BEEN BORN IN THE “STATE OF MAINE” 
 (1820). COURTESY OF OLIVER DITSON CO., BOS- 
 TON, MASS. 
 
 teachers in Boston. Following several 
 years of preparation he began his pro- 
 fessional career as a teacher at Salem, 
 Mass. During the eight years that he 
 was in Salem he composed a collection 
 of choir hymns and anthems. He had 
 great difficulty in securing its publica- 
 tion and when it was finally placed be- 
 fore the public it proved a failure. Re- 
 turning to Boston he accepted a posi- 
 tion as organist and diréctor of music 
 at the Bullfinch Street church which he 
 held for four years. 
 
 Eight years more were spent as or- 
 ganist of the Second Congregational 
 Church at Greenfield, Mass., and as a 
 teacher in the musical department of 
 Powers’ Institute, at Bernardston, 
 Mass. It was not uatil he began de- 
 voting his time and talents to raising 
 the standard of church music that he 
 began to attain real success. He <hen 
 became active in musical conventions 
 and festivals all over the country and 
 was much sought after as a lecturer on 
 music and us a baritone singer. It is 
 said that he conducted three hundred 
 and fifty festivals in the United States 
 and Canada. He had a magnetic per- 
 
108 MUSIC AND MUSICIANS OF MAINE 
 
 sonality and was able to obtain re- 
 markable results with his singers. 
 
 From Findley College, Findley, 
 Ohio, he received his degree of Mus. 
 Doc. He married Mary Gove of Bos- 
 ton. 
 
 As a composer of church and school 
 music Mr. Emerson became famous. 
 Among his publications are “The 
 Golden Wreath,” of which forty thou- 
 sand copies were sold; a song book for 
 schools; “The Golden Harp,” a Sunday 
 School book; “Sabbath Harmony,” for 
 church; “Harp of Judah,” a book of 
 church music which became very pop- 
 ular; “Jubilate,” “Choral Tribute,” 
 “Standard and Leader,” “The Ideal,” 
 “Jehovah’s Praise,” “The Royal Sing- 
 er,” “The Salutation,” “Voice of Wor- 
 ship” and “Emerson’s Vocal Method.” 
 He published in all about thirty-five 
 books for churches, schools, societies, 
 and the household. Among Mr. Emer- 
 son’s songs, of which he wrote about 
 eighty, were the well-known “We Are 
 Coming, Father Abraham,” Whittier’s 
 “Negro Boatman’s Song,” “Out in the 
 Cold,” and many others. He also com- 
 posed three masses, a nuinber of an- 
 thems, string quartettes, piano pieces, 
 cu. 
 
 It is claimed that he was the best 
 melodist of all the psalmody writers, 
 and if he could have had an opportun- 
 ity for the proper development of his 
 talent when young, he would undoubt- 
 - edly have distinguished himself as a 
 composer of anthems and music in the 
 higher forms. In all, more than one 
 million five hundred thousand copies 
 of his works were sold. He was a resi- 
 dent of Hyde Park, Massachusetts, at 
 the time of his death. 
 
 Mr. Emerson’s birthday was August 
 third in Maine’s natal year, and, from 
 all the facts obtainable, it appears that 
 he was the first musician of note to be 
 
 born in the newly incorporated State 
 of Maine. 
 
 William Batchelder Bradbury 
 
 William Batchelder Bradbury, of 
 whom mention is made in a preceding 
 chapter, was born at York, Maine, in 
 1816, and it seemed for a time as if he 
 were destined to be a farmer. His 
 father was leader of the choir and his 
 mother was also musical. The boy, 
 William, worked on his father’s farm 
 until he was fourteen years old, when 
 the family removed to Boston. While 
 in his Maine home he had taught him- 
 self to play upon such musical instru- 
 ments as were then accessible, but he 
 had never seen a piano or organ before 
 he went to the capital of the Common- 
 wealth. With a spirit worthy of his 
 grandsire, who was one of the Signers 
 of the Declaration of Independence, 
 he decided that he would be a musi- 
 cian. He began at once to take les- 
 sons, and within three years became a 
 dependable organist. Removing to New 
 York in 1840 he began his career as 
 teacher of music and eventually had a 
 large number of pupils in the metrop- 
 olis and nearby cities. So successful 
 was he that seven years later, when but 
 a little over thirty years old, he took 
 his family for a trip abroad, and visit- 
 ed the principal countries on the con- 
 tinent. At Leipzig he spent some time 
 in study, and, returning to New York 
 in 1849, he began his career as conduc- 
 tor of musical conventions and editor 
 of singing books. He composed many 
 songs that became popular and had an 
 enormous sale. He was a prolific writer 
 as well as a composer and contributed 
 numerous articles on musical compo- 
 sition to the magazines of the day. 
 
 In 1854, in partnership with his 
 brother, E. G. Bradbury, he began the 
 manufacture of the Bradbury pianos, 
 which at one time were famous for 
 
,. Sr AS a ies Bl =e —~_— =  # 
 
 - 
 
 a aaa Sl AS 
 
 <upers a re a 
 
 a i Ea a 
 
 MUSIC OF THE STATE OF MAINE— 1836-1856 
 
 109 
 
 their quality. He published more than 
 twenty collections of music. “The Ju- 
 bilee,” which appeared in 1858, reached 
 a sale of more than two hundred thou- 
 sand copies. The success of these books 
 was attributed to the rhythmical quality 
 of the music in them, and especially 
 popular were the compositions by Mr. 
 Bradbury himself. 
 
 His sacred cantata, “Esther,” has 
 been sung thousands of times as a canta- 
 ta, and presented as an opera in costume 
 with scenery many hundreds of times. 
 
 Among his other contributions to mu- 
 sic are “The Golden Chain,” 1861, ““The 
 Key Note,” 1863, “The Shawn,” 1864, 
 “The Temple Choir,” 1865, and “Fresh 
 Laurels,” 1867. 
 
 He died at Montclair, New Jersey, 
 January 8, 1868. 
 
 Winthrop in the forties was quite 
 remarkable, for a country village, on 
 account of its proportionately large 
 number of exceptional male singers. 
 
 It would have been unusual to find 
 such a number of rare voices even in 
 a good sized city. Samuel Thurston, 
 writing of this fact in his Reminis- 
 cences, says, “The Bass was a profun- 
 do having a range from low C to F of 
 full round tones of an unusually mu- 
 sical quality, always at command. Ten- 
 ors who sing high C easily do not grow 
 on every bush in New England, but 
 Winthrop had three such, and one of 
 them had a voice remarkable for its 
 sweetness, compass and power. Win- 
 throp had a male quartette and had no 
 difficulty in finding a suitable voice for 
 the first tenor.” Unfortunately Mr. 
 
 Thurston omitted the names of these 
 
 singers from his paper but they were 
 undoubtedly among those whose names 
 follow. 
 
 Among the most notable tenors in 
 Winthrop at this time was George Fair- 
 banks, who later moved to Wayne and 
 whose son, George Fairbanks, Jr., was 
 
 DR. ALBERT FISK STANLEY, TEACHER OF SINGING 
 SCHOOLS IN WINTHROP IN THE FORTIES. 
 
 also musical; George Card, who died 
 in 1849 when still a young man; Joseph 
 W. Esty, who died about 1885, when a 
 little more than fifty years old; John 
 Russell Shaw, who was the father of 
 three musical daughters of whom, per- 
 haps, Mary, a contralto, possessed the 
 most beautiful voice; Dr. Albert Fisk 
 Stanley, an old-time singing teacher, 
 and Charles Glidden, a member of the 
 Congregational Church choir, who 
 played cornet in the old band; while 
 among the prominent bass singers was 
 Elias Miller Card, who died about the 
 beginning of the present century, after 
 he had attained an age of more than 
 ninety years, and who was also a mem- 
 ber of the Congregational Church 
 choir. 
 
 Dr. Albert F. Stanley, a native of 
 
110 MISS LC> ASN DD 
 
 MUSICIANS OF MAINE 
 
 Attleboro, was educated at Bowdoin 
 College where he received his degree 
 of M.D. in 1829. He practiced medi- 
 cine in Dixfield for twelve years and 
 moved to Winthrop in 1843 where he 
 died about 1857. 
 
 Horace Gould, an old time singing 
 teacher who visited Winthrop in the 
 thirties and forties, was one of the 
 prominent men of his time. 
 
 Other notable singers were Susan 
 Stanley, who afterwards married Cy- 
 rus Bishop, and Hannah Joy, who mar- 
 ried Orrin Stanley. Mrs. Stanley died 
 about 1870 at nearly sixty years of age. 
 
 The first organ in the Old Winthrop 
 Church was made by Deacon Stephen 
 Sewell. This was sold to the South 
 Paris Congregational Church in 1848. 
 A new organ was purchased about that 
 time, when Matilda Sewell, who later 
 married Dr. A. P. Shaw, became the 
 organist. 
 
 Columbus Fairbanks of Winthrop 
 was the father of a talented family 
 consisting of three sons and two daugh- 
 ters. Horatio Wood Fairbanks (1827- 
 1856), the eldest son, was of fine per- 
 sonal appearance, of genial disposition, 
 and had, in no small degree, the gift of 
 music. He was an organist in Win- 
 throp and Boston churches. It is said 
 of him that “He played the organ with 
 a great deal of expression, compre- 
 hending the soul of music and brought 
 forth from the keys the most wonder- 
 ful melody.” Of his sister, Phebe Fair- 
 banks, it is recorded that “she de- 
 lighted all who heard her play the or- 
 gan with her delicacy of touch and in- 
 terpretation.” 
 
 The Baptist church of Wayne, the 
 frame of which was raised in 1820, had 
 its first melodeon placed in the edifice 
 in 1849. This was followed by a sera- 
 phine in 1856 which was used by the 
 church until 1880 when a new organ 
 was installed. 
 
 When the North Wayne church was 
 dedicated in 1851 there was “a fine or- 
 gan presented by the ladies circle” and 
 “a fine choir rendered appropriate 
 selections.” 
 
 The first musical organization in 
 Saco was probably the old Beethoven 
 Musical Society which met for rehears- 
 als in the forties and fifties in Auber 
 Hall. This association was conducted 
 by a Mr. Pinkham and he was assisted 
 by an Englishman named Vickery, 
 who played a meiodeon, 
 
 While South Paris and Norway did 
 not make any pretentions to fame in 
 the matter of musical societies during 
 this period, Oxford County, then, as 
 later, contributed a large proportion 
 of men and women who became indi- 
 vidually prominent in music in Maine. 
 
 Captain Benjamin Maxim, who mar- 
 ried Susan Harlow, was the founder of 
 a family of Maxims, who were, like 
 themselves, musicians, poets, writers, 
 artists and teachers. It is said that 
 people came from far and wide to en- 
 joy the hospitality for which both were 
 famous, and to listen to their instru- 
 mental music. 
 
 Mrs. Maxim was the author of the 
 poem, “Welcome to Kossuth,” which 
 commemorated Louis Kossuth’s visit 
 to this country. The poem was widely 
 copied and recited throughout the 
 country. 
 
 Portland seems to have been well 
 supplied with music teachers in the 
 thirties. In 1835 Lyman Heath en- 
 gaged the vestry of the Third Parish 
 Meeting House, Portland, for the pur- 
 pose of giving vocal lessons, and R. 
 Foster “offered his services” as an in- 
 structor on musical instruments. 
 
 Two of those, who had names that 
 must have sounded strange to the ears 
 of the people of that period, were 
 Charles Plewinski and Julian K. Rozy- 
 ikowski, who advertised in 1836 as 
 
MUSIC OF THE STATE OF MAINE— 1836-1856 Ill 
 
 teachers of music, languages and fenc- 
 ing, and specialized on the guitar and 
 in French and German, but their stay 
 was a short one. 
 
 In 1836 William Gage announced 
 that he was ready to give instructions 
 in the Pestalozzian System at the ves- 
 try of the First Baptist Church; and 
 L. M. Dow taught Massini’s System 
 in his rooms over the Canal Bank. 
 
 The first name in the Portland Di- 
 rectory for 1837 is that of a music 
 teacher, Charles Abbott, who boarded 
 “at Lemuel Sawyers.” 
 
 In this year “Mr. Barnes” taught 
 German flute and fife at his school of 
 music; the Gorham Academy adver- 
 tisd that “Vocal musick is taught free 
 of charge. For instruction on the pi- 
 anoforte, tuition is $6”; Mrs. Ostinelli 
 announced that, having returned to the 
 city, she was prepared to give lessons 
 on the pianoforte and singing, applica- 
 tion to be made at the Cumberland 
 House; H. A. Brockway, who adver- 
 tised as professor of the flute from 
 Boston, taught there for a season; and 
 in the fall of that year P. W. Neal an- 
 nounced that he would open an eve- 
 ning school of music “as soon as a class 
 of twenty can be formed.” 
 
 Prof. Serafino Rebbechini, one of 
 the early Italian teachers of singing to 
 come to Maine, opened up a room 
 where he taught the old Italian method 
 of singing. Not being able to speak 
 English readily and not having a very 
 good singing voice, himself, he could 
 not get established in Portland and 
 therefore his stay was brief. 
 
 T. Vanden Berg was another who 
 taught piano at this time. 
 
 Among the music teachers in Bruns- 
 wick at this period were Charles J. 
 Noyes, who opened a school for in- 
 struction in vocal music in 1836, and 
 Fannie White, who was a teacher in 
 Miss Hinckley’s school in 1842. 
 
 L. W. Additon founded a singing 
 school in Lewiston in 1843. 
 
 In Vassalboro, Coker Marble was 
 teaching singing school, which he car- 
 ried on for more than twenty years, 
 and Cornelius Waters was a singing 
 teacher in Gorham for a like period. 
 Mr. Waters was chorister at the Old 
 Church there and the leading musician 
 of the town. 
 
 During this period, 1836-1857, there 
 appeared a number of musical publi- 
 cations by Maine composers and com- 
 pilers. 
 
 In 1839 Benjamin Sweetsir, Jr., com- 
 piled the “Cumberland Collection of 
 church music being a selection of the 
 best psalm and hymn tunes, anthems, 
 fancy pieces, etc. from Eurcpean and 
 American authors, together with many 
 pieces never before published, designed 
 for the use of schools and musical so- 
 cieties.” 
 
 On the title page are found the fol- 
 lowing lines on music: 
 
 What thinkst thou Music was ordained for? 
 This angels love, and devils do abhor; 
 ’Tis Music which doth evil spirits quell, 
 And clearly differs that of Heaven from Hell. ... 
 This heavenly art the best of men do use, 
 And ’tis the thing the worst of men refuse — 
 And such as do despise this sacred mirth 
 Are neither fit for heaven, nor earth. 
 
 — Tansur. 
 
 The Cumberland Collection was pub- 
 lished by William Hyde of Portland 
 and contained three hundred and four 
 pages. 
 
 In 1841 Social Melodies, a collection 
 of Hymns for the use of prayer meet- 
 ings, Sabbath-schools, bible classes and 
 families by C. C. Burr was published 
 by S. H. Colesworthy of Portland and 
 B. B. Mussey of Boston. This volume 
 contained two hundred and eighty- 
 eight pages and on the title page ap- 
 peared the couplet: 
 
 For never harp or lyre revealed 
 Such music as the heart can yield. 
 
112 MUSIC AND MUSICIANS OF MAINE 
 
 “The Portland Sacred Music Soci- 
 ety’s Collection of Sacred Music con- 
 sisting of Psalm and Hymn tunes, an- 
 thems and chants, composed and com- 
 piled under the special patronage of 
 the Portland Sacred Music Society and 
 adapted to the use of the choruses, 
 choirs and the social circle arranged 
 with small notes for the organ or pi- 
 anoforte compiled by David Paine, or- 
 ganist of the Portland Sacred Music 
 Society and the Park Street Church,” 
 appeared in 1839. 
 
 Charles P. Ilsley wrote some of the 
 music for this collection which had 
 more than ordinary merit. 
 
 John Edgar Gould (1820-1875) of 
 Bangor was a fine musician, pianist, 
 organist and teacher of music. He 
 composed several hymn tunes, anthems 
 and chants and his collection, The 
 Modern Harp and Songs of Gladness, 
 »published in 1840, proved a popular 
 psalm book. He died in Algiers, Afri- 
 ca, February 13, 1875. 
 
 The American Vocalist (1849), by 
 Daniel H. Mansfield (1810-1855), a 
 Bangor clergyman, “A selection of 
 tunes, anthems, sentences and hymns 
 old and new, designed for the church, 
 the vestry or the parlor. Adapted to 
 every variety of metre in common use, 
 and appropriate to every occasion 
 
 where God is worshipped and men are 
 blessed. From the compositions of Bil- 
 lings, Holden, Maxim, Edson, Holy- 
 oke, Read, Kimball, Morgan, Wood, 
 Swan etc. and eminent American au- 
 thors now living as well as from the 
 distinguished Europeancomposers. Em- 
 bracing a greater variety of music for 
 congregations, societies, singing schools 
 and choirs than any other collection 
 extant. Inthree parts. By D. H. Mans- 
 field, Boston,” was published by W. J. 
 Reynolds & Co., 24 Cornhill. Nearly 
 one hundred thousand copies were sold 
 in 1836. 
 
 Among other musical publications 
 issued in this period, but undated, was 
 Scriptural Melodies (Hymn Book), 
 published in Portland by Thurston and 
 Company. It consisted of four hun- 
 dred and forty-five pages and was 
 compiled by Joshua Smith and Sam- 
 uel Sleeper. 
 
 In 1838 A Memoir of Joseph Stone, 
 with selections from his original poetry 
 and music, was printed by Samuel S. 
 Smith, Bangor, 1838. 
 
 The Musical Journal, a monthly 
 magazine, was published in Brunswick 
 in 1855. George W. Chase was the ed- 
 itor and proprietor. Its existence was 
 unfortunately of short duration. 
 
 ee: a ee ee 
 
Clie 1 eee y, 
 
 Tue Music oF THE STATE oF MAINE 
 
 Tuirp Periop 1857 - 1896 
 
 Thy sons are known from east to west, 
 State of Maine, my State of Maine, 
 We hail thee and we call thee blest, 
 State of Maine, my State of Maine, 
 Land of the Pine Tree and of rest, 
 To thee we give our very best, 
 Extending welcome to each guest, 
 State of Maine, my State of Maine. 
 
 We the passing of the Portland 
 Sacred Music Society, in 1854, 
 music had fallen to a low ebb in the 
 Forest City. Several futile efforts were 
 made to revive this organization, though 
 without success. The year 1857, how- 
 ever, marked the beginning of a new 
 epoch in music in Maine, for in that 
 year was organized the Haydn Asso- 
 ciation, a Portland musical society 
 which during the first thirty years of 
 its existence was instrumental in bring- 
 ing choral music in Maine to such a 
 
 superb state of perfection that it has 
 
 never since been surpassed by any in 
 the State, and equalled by few, if any, 
 in the country. 
 
 The Penobscot Musical Association 
 
 Meanwhile at Bangor the Penobscot 
 Musical Association was undertaking 
 the study of the classics and drawing 
 on Portland, Boston and other cities 
 for talent for its concerts. 
 
 In 1858 the Maine State Musical As- 
 sociation met with the Penobscot so- 
 ciety and Hon. William Rice of Bath, 
 Mayor of the city, was elected Presi- 
 dent of the united societies. 
 
 More than forty Maine towns and 
 cities, covering a radius of over ten 
 thousand square miles, were represent- 
 ed in the membership of the society in 
 
 1859. 
 
 113 
 
 Even through those dreary and heart- 
 sickening days when the best men of 
 a nation, divided against itself, were 
 engaged in shedding each other’s blood, 
 the people of Eastern Maine were 
 cheered by the annual concerts of the 
 Penobscot Musical Association, the 
 programs of which were made up, for 
 the most part, of selections from Ora- 
 torio. 
 
 The war ended, the people seemed 
 thore eager than ever for music. In 
 1866 L. H. Southard was chosen di- 
 rector. 
 
 Among those who represented the 
 Penobscot Musical Association in the 
 Boston Jubilee in 1869, when it sent a 
 delegation of fifty-seven of its mem- 
 bers, were F. S. Davenport, director; 
 E. F. Duren, marshal; G. W. Merrill, 
 who acted as sub-marshal of the “so- 
 prani”; B. F. Bradbury of the “alti”; 
 L. A. Torrens of the “tenori”; and F. 
 W. Hardy of the “bassi.” ‘The Society 
 was the first organization outside of 
 Boston to announce its intention to be 
 present at Gilmore’s Musical Congress 
 and Jubilee in 1872, at which it was 
 represented by over one hundred mem- 
 bers. 
 
 The first great achievement of the 
 society was accomplished in 1869 when, 
 under the direction of Carl Zerrahn, 
 conductor of the Handel and Haydn 
 Society of Boston, assisted by George 
 F. Root, the Oratorio “Samson” was 
 performed. Among the soloists on this 
 occasion were J. W. Webster and My- 
 ron W. Whitney. Rev. S. P. Fay was 
 pianist. : 
 
 In 1870 “The Messiah” was pre- 
 sented. This performance was under 
 
114 MUSIC AND MUSICIANS OF MAINE 
 
 the direction of Professor Southard. 
 Mrs. H. M. Smith, Flora Barry, W. J. 
 Winch and J. F. Winch were the 
 soloists. 
 
 Flora Barry had already become one 
 of the greatest contralto soloists of the 
 country and here, as in other places 
 where she appeared, she received an 
 ovation. 
 
 The chorus, on this occasion, num- 
 bered six hundred voices, and the per- 
 formance was highly praised on every 
 side. The Whig, in its notice of this con- 
 cert, referred to Bangor as the most 
 musical city of its size in America, a 
 statement which is believed to have 
 been altogether truthful at that time, 
 for then, when its population was but 
 twenty thousand people, there were, 
 within its corporate limits, ““T'wo large 
 and well organized musical societies; 
 half a dozen musical clubs; thirty piano 
 teachers; a band that was second to 
 none in Maine; several orchestras of 
 acknowledged talent; quartettes with- 
 out number; thirteen .good church 
 choirs and two hundred young people 
 studying music, mostly there, but some 
 in foreign countries.” 
 
 Rossini’s “Moses in Egypt” was giv- 
 en by the society in 1871, L. H. South- 
 ard again directing, and the parts taken 
 were: Queen, Laura M. Cook; Esther, 
 Mrs. J. A. Crowell; Aaron, L. E. 
 Holden; and Pharaoh, G. T. Moody. 
 
 A wonderful performance, and a 
 week long to be remembered, was the 
 verdict of those so fortunate as to 
 attend. 
 
 Other soloists, at this convention, 
 were John R. Mason and Mrs. W. H. 
 S. Lawrence, vocalists, and Abbie Gar- 
 land, pianist. 
 
 In 1873 and 1874 George F. Root, 
 who had returned to the East again, 
 after his disastrous exp2rience in the 
 Chicago fire, successfully directed the 
 association. Dora Wiley, who had made 
 
 her debut to the Bangor public at the 
 1873 convention, was a soloist. 
 
 Willard Patten was a notable soloist 
 at the 1879 convention. 
 
 In 1880 the Penobscot Society agaia 
 performed Rossini’s “Moses in Egypt.” 
 The chorus was accompanied by An- 
 drew’s Orchestra and F. S. Davenport 
 acted as pianist. 
 
 The thirty-seventh session of the Pe- 
 nobscot Musical Association was held 
 in Bangor in 1884. J.C. Bartlett directed 
 the chorus which was accompanied by 
 Andrew’s Orchestra, led by Melville 
 H. Andrews. | 
 
 At this meeting the President, George 
 W. Merrill, the Vice President, T. J. 
 Stickney, and E. F. Duren, who had 
 served the society as its Secretary since 
 its incorporation in 1848, resigned. 
 
 Rev. John Smith Sewell, D.D., for 
 thirty years Corresponding Secretary 
 of the Bangor Historical Society and 
 one of the most popular ministers Ban- 
 gor ever had, was elected President. 
 George S. Silsby was elected Vice Pres- 
 ident and George M. Brown became 
 
 Secretary of the association. Interest — 
 
 in the work of the society had, how- 
 ever, begun to wane. The days of the 
 popularity of the Music Convention 
 had come and gone and the financial 
 problem could not be met without the 
 full and undivided support of the peo- 
 ple. There was a great falling off in 
 attendance and this honorable society 
 which had served the people of East- 
 ern Maine for so many years just nat- 
 urally seemed to pass out of existence. 
 
 ElInathan Duren (1814-1916), son of 
 Elnathan and Elizabeth Freeman Dur- 
 en, the life secretary of the Penobscot 
 Musical Association, inherited his mu- 
 sical talent and love of music from his 
 father, who was a Boston merchant and 
 one of the founders, it is said, of the 
 Handel and Haydn Society of that city. 
 
 He began singing in the church 
 
 eee 
 
Sn 
 
 MUSIC OF THE STATE OF MAINE-— 1857-1896 115 
 
 choirs when he was so small that he 
 had to stand on a stool in order that he 
 might look as tall as the rest of the 
 choir. 
 
 Mr. Duren moved to Bangor in 1834 
 and in 1836 he married Mary Clark 
 Hyde of Portland. He became organist 
 of the Hammond Street Congregation- 
 al Church in Bangor, where he played 
 for many years. He was deeply inter- 
 ested in the Penobscot Musical Associ- 
 ation and did as much as any other to 
 assist it in maintaining the high stand- 
 ard of music for which that society was 
 justly celebrated. 
 
 With the exception of three or four 
 years spent in Portland, he lived there 
 the whole of his life. Although stricken 
 with total blindness late in life, his 
 interest in the musical welfare of the 
 community never subsided. He learned 
 to use the typewriter, and at the age of 
 ninety began studying and thoroughly 
 mastered the Morse system, so that he 
 was able to read as well as many who 
 have been taught in the schools for 
 the blind. So keen was his interest in 
 music that he never missed a Bangor 
 performance of the Maine Music Fes- 
 tival, though when he attended the 
 last one before his death he was in the 
 
 one hundredth year of his age. 
 
 Notwithstanding age and infirmity 
 he walked from his house to the Ham- 
 mond Street Church every Sunday, 
 until he was ninety-nine years old. 
 Then the Men’s Club made arrange- 
 ments to provide an automobile which 
 called for him each Sabbath until the 
 time of his death. Had he lived two 
 months longer he would have been 
 one hundred and three years old. 
 
 Among those not already mentioned 
 who appeared as soloists at the sessions 
 of the Penobscot Musical Association 
 were Nellie Blaisdell, Frank L. Crow- 
 ell, Miss E. M. Densmore, John De- 
 lancy, Annie F. Drew, W. H. Gardner, 
 
 ELNATHAN DUREN, SECRETARY OF THE PENOBSCOT 
 MUSICAL ASSOCIATION THROUGHOUT THE THIRTY- 
 SIX YEARS OF ITS EXISTENCE (1848-1884). FROM 
 A PHOTOGRAPH MADE IN HIS ONE HUNDREDTH 
 
 YEAR, AFTER HE HAD BECOME BLIND. 
 
 William Holden, A. D. Harlowe, cor- 
 netist, Mrs. W. F. Shaw, Jennie Sellers, 
 G. V. Santford, flutist, J. Whitney, 
 Dora Wiley and Mrs. E. T. Wasgatt. 
 
 Of the Presidents of the Penobscot 
 Musical Association, William H. Mills 
 was elected for eight years; Rev. 
 George B. Little, Hon. John E. God- 
 frey and Rev. S. P. Fay, each for 
 three years; Rev. A. K. P. Small, for 
 eight years; Rev. Amory Battles, and 
 Rev. A. M. Knapp, each for one year; 
 Rev. S. Goodenough, Rev. G. W. Field 
 and Rev. H. W. Bolton, each for two 
 years; Rev. S. L. B. Speare served 
 nearly two years. 
 
 Of the Vice Presidents, S. K. How- 
 ard, Joseph Forbes, Stephen Chase, 
 were in office, each, two years; Au- 
 
116 MUSIC AND MUSICIANS OF MAINE 
 
 gustus H. French, six years; William 
 Arnold and T. G. Stickney, each one 
 year; Zebulon S. Patten, ten’ years; 
 George W. Merrill, eleven years. 
 
 Of the Executive Committee or Trus- 
 tees, the longest in office have been T. 
 G. Stickney, Z. S. Patten, G. W. Mer- 
 rill, J. A. Crowell and E. F. Duren, 
 
 B. F. Baker was Director for nine 
 years; J. B. Woodbury in 1850; N. D. 
 Gould and G. W. Pratt in 1851; W. B. 
 Bradbury, 1852, 1860; Dr. G. F. Root, 
 1856, 1857, 1873, 1874; E. H. Frost, 
 1850; Solon Wilder, with Prof, Brad- 
 bury in 1860, and Mr. Wilder again in 
 1865; Leonard Marshall, 1862; Luther 
 O. Emerson, 1863, 1864, 1865; Carl 
 Zerrhan and Dr. Root in 1869; L. H. 
 Southard, 1866, 1867, 1870, 1871; 
 Frederic S. Davenport, 1872; W. O. 
 Perkins, 1875, 1876; Willard W. Davis, 
 1877; J. Whitney, 1878; T. P. Ryder, 
 1879; S. B. Whitney, 1880. 
 
 Addresses were given by Directors 
 B. F. Baker, J. B. Woodbury, N. D. 
 Gould, L. O. Emerson, and L. H. 
 Southard; and by Rev. George B. 
 Little, in 1855; Rev. Nathaniel E. 
 Cornwall, in 1856; Hon. John E. God- 
 frey, in 1858-1859; Rev. A. K, P. 
 Small, in 1861; Rev. E. W. Gilman, 
 1862; Rev. Edwin Johnson, 1864; 
 shorter addresses were given by Presi- 
 dents Fay, Field and Speare and by 
 Hon. Isaiah Stetson, Mayor of Bangor. 
 
 In the first thirty-two years of its 
 existence the society expended more 
 than twenty-two thousand dollars in 
 its efforts to give Bangor the best in 
 Music. Fourteen thousand dollars was 
 paid directors and vocal and instru- 
 mental artists. 
 
 Inquiry among the few prominent 
 members of this old organization now 
 living in Bangor does not reveal that 
 the association ever disbanded but, on 
 the contrary, it appears that it is still 
 legally in existence. 
 
 Perhaps the old musical society, like 
 Rip Van Winkle, will some day awake, 
 and then, may be, the people of East- 
 ern Maine will be treated to a repro- 
 duction of the old Music Conventions 
 as their forbears knew them in the 
 late forties. 
 
 During this time other musical as- 
 sociations of prominence in Eastern 
 Maine were the North Penobscot Mu- 
 sical Association and the Penobscot 
 Valley Musical Association, both of 
 which were conducted by Solon Wilder 
 in 1862. | 
 
 A Musical Convention which held a 
 five-day session in Winterport in 1867 
 was conducted by C. M. Wyman of 
 Keene, N.H. Prominent singers “from 
 abroad” included Charlotte Ginn, a 
 Mr. Wardwell of Bucksport and L. 
 Eames of Jackson. 
 
 There were a number of County 
 Conventions in existence in the late 
 sixties but none met with wider success 
 than did the Penobscot society. 
 
 The Haydn Association of Portland 
 1857 - 1896 
 
 Before the outbreak of the Civil War 
 the influence of American music teach- 
 ers, who had studied with the best 
 masters in Germany, began to make 
 itself felt in a desire, among the more 
 earnest students of vocal and instru- 
 mental music, for a music culture of a 
 deeper and more inspiring nature than 
 could be obtained from the old choir 
 books which were in vogue at the mu- 
 sical conventions of that period. 
 
 As the number of advanced music 
 students increased, there came an ever 
 widening gulf between the cultured 
 ones and those whose elementary ap- 
 preciation of music had been developed 
 hardly beyond the extent of the so 
 called popular pieces of the day and 
 the simple exercises and easily learned 
 
MUSIC OF THE STATE OF MAINE— 1857-1896 
 
 117 
 
 tunes that they had been taught in the 
 old singing schools. | 
 
 This left the leaders in such a pre- 
 dicament that they had to choose be- 
 tween too few good singers to make a 
 chorus or a greater number without the 
 necessary ability to undertake the study 
 of standard oratorios. 
 
 There was a noticeable falling off in 
 the attendance, and it soon remained, 
 only, for the requiem of the music con- 
 vention to be sung. 
 
 With the growing tendency to follow 
 the idealists in the study of the ever 
 satisfying works of the great masters, 
 Handel, Haydn, Beethoven and Mo- 
 zart, and the forming of societies for 
 the study of the oratorio, there began 
 a marked improvement in music in the 
 churches throughout the country, and 
 a desire for opportunity to listen to the 
 performance of classical music by the 
 people of America. 
 
 The Haydn Association of Portland 
 was organized February 9, 1857. Fran- 
 cis Blake, who was a book publisher 
 and dealer, was its first President; and 
 Albert P. Pennell, Sr., baggage-master 
 on the P. S. and P. R. R., was its Vice 
 President. George A. Churchill, who 
 Was a commission merchant, was its 
 first vocal director, and Samuel Thurs- 
 ton, who was then a teacher of music, 
 acted as second vocal conductor at that 
 time. Charles P. Carlton, a piano 
 maker, was its first Secretary and Par- 
 menio W. Neal, collector of tolls on the 
 old Portland Canal, was the Treasurer. 
 George M. Howe, the daguerreotypist, 
 John L. Shaw, a chaise trimmer, and 
 Arthur L. Ilsley, a house carpenter, all 
 excellent singers, constituted the in- 
 vestigating committee. 
 
 Immediately after its organization 
 the Haydn Association began the study 
 of sacred music of a classical nature. 
 
 In October, 1857, the Haydn Asso- 
 
 ciation presented Haydn’s oratorio 
 
 “Creation” and Neukomm’s “David” 
 at the Chestnut Street Methodist 
 Church on two consecutive evenings. 
 At these George A. Churchill conduct- 
 ed and Hermann Kotzschmar was the 
 organist. They were supported by an 
 orchestra of Portland and Boston mu- 
 sicians. The soloists were Harriet N. 
 Cammett, Samuel Thurston, John L. 
 Shaw and Myron W. Whitney. 
 
 On Christmas night, 1857, “The Mes- 
 siah” was produced at the Chestnut 
 Street M. E. Church with John 
 Knowles Paine at the organ. So suc- 
 cessful was this concert that on New 
 Year’s day a repetition of this oratorio 
 was given by the society. 
 
 The Haydn Association began the 
 New Year (1860) with its second ‘con- 
 cert of the season, when it presented 
 “The Messiah” at the High Street 
 Church on January twentieth. This 
 was the last concert to be given by the 
 society until after the Civil War was 
 brought to a close. 
 
 On March 7, 1869, the society was 
 virtually re-organized, with Marshall 
 N. Rich as President and Hermann 
 Kotzschmar as conductor, and from 
 then on its history was one series of 
 remarkable achievements. 
 
 Not long after its re-organization an 
 
 announcement stating the objects of 
 the society appeared. | 
 “Objects, individual improvement 
 
 and raising the standard of public taste 
 in sacred music. The association has 
 convenient quarters in Fluent’s Hall 
 and meets every Wednesday evening. 
 The number of members at the time 
 of the annual meeting was three hun- 
 dred and three, the average attendance 
 at rehearsals has been one hundred and 
 fifty. The association has a valuable 
 collection of oratorio and other music.” 
 
 The library of the Association was 
 probably the best of its kind in the 
 State and, in 1872, contained, among 
 
118 MUSIC AND MUSICIANS OF MAINE 
 
 FRANCIS BLAKE, FIRST PRESIDENT OF THE HAYDN 
 ASSOCIATION OF PORTLAND (1857). FROM A MIN- 
 IATURE IN A LOCKET WORN BY HIS DAUGHTER, 
 CORNELIA SHAW BLAKE, AND LOANED BY HER. 
 
 others, the following works, all of 
 which were performed in public by the 
 association: The Oratorios of “David,” 
 “Saul,” “‘Creation,’ “St 2 aul ssa me 
 
 Messiah,” “Judas Maccabeus” and 
 “Samson” (from thirty to one hun- 
 
 dred complete parts or scores of each). — 
 
 Other numbers in their library were: 
 “Dettingen Te Deum,” Haydn’s “Mass, 
 B flat, No. 1,” “Stabat Mater,” Bach’s 
 “Passion Music” (concluding chorus), 
 “Harmony of the Spheres,” “The Pow- 
 er of Song,” “The Lord is My Shep- 
 herd,” Schubert, “Requiem of Heroes,” 
 Kotzschmar, “Merry Christmas Bells,” 
 Kotzschmar, “Barcarole,”’ Kotzschmar, 
 Haydn’s “Third Mass, in D flat,” “Ave 
 Maria,” “Spring Greeting,” Mozart’s 
 “Requiem,” “Sixty-seventh Psalm,” 
 selections from the Boston Peace “Ju- 
 
 bilee Music” and full copies of the “Ju- 
 bilee Music.” 
 
 A large number of the members of 
 the Portland Sacred Music Society be- 
 came members of the Haydn Associa- 
 tion. To Ira Berry and Joshua Weeks 
 belong the unique distinction of having 
 been successively members of the Bee- 
 thoven Musical Society, The Portland 
 Sacred Music Society and the Haydn 
 Association —three societies, the ex- 
 istence of which covered a period of 
 nearly eighty years. 
 
 The following is a list of Presidents 
 of the Haydn Association, as nearly as 
 can be ascertained, from the day of its 
 organization to the date of its close: 
 Francis Blake, 1857; Albert P. Pennell, 
 1858 and 1859; Thomas F. Tolman, 
 1866 and 1867; Marchall N. Rich, 
 1869; Abiel M. Smith, 1871 and 1879; 
 Samuel Thurston, 1872; John B. Coyle, 
 Jr., 1873 to 1883, and 1897; William 
 FE. Gould, 1884 to 1886; Jerome Rum- 
 ery, 1887 and 1888; Harry L. Hough- 
 ton, 1889 to 1891; Frederick A. Tomp- 
 son, 1892; Dr. Harry M. Nickerson, 
 1893; George F. French, 1894 to 1896; 
 James F. Macy, 1898. 
 
 Francis Blake, the first President of 
 the Haydn Association, was a man 
 much beloved by all who knew him. 
 He was born in Otisfield, but most of 
 his boyhood was spent in Harrison, to 
 which town his parents moved when he 
 was a child. He was in the book busi- 
 ness in Portland for many years and 
 was twice elected to the City Council. 
 Mr. Blake had a wonderfully pure 
 voice, and music was almost a passion 
 with him. 
 
 In the story of the Girls’ High School 
 in Portland is found this brief refer- 
 
 ence to Mr. Blake: “We always had a 
 
 piano and it was always paid for by 
 somebody. Girls who could play or 
 sing were encouraged to perform for 
 Our amusement on Wednesday and 
 
 ———- 
 
 a 
 
 0 a ee RS ea, on 
 
 : 
 
MUSIC OF THE STATE OF MAINE— 1857-1896 
 
 Saturday. We sang at morning devo- 
 tions from the ‘Songs of Zion’ and 
 sometimes again in the November twi- 
 light. Between 1857 and 1859, Mr. 
 Francis Blake came in a number of 
 times at Mr. Woolson’s request, and, 
 without pay, drilled us in singing these 
 tunes in good time and with expres- 
 
 forty-three was a sad circumstance. He 
 was stricken with tuberculosis in the 
 very prime of his life. It is related of 
 him that, when he was informed that 
 he had not long to live and that he 
 would soon be in another world, he ex- 
 claimed, “Then, Oh! how I shall sing!” 
 
 Mrs. Francis Blake, née Cornelia 
 Elizabeth Shaw, was also a talented 
 musician. When eighteen years old she 
 went to Boston to study the church or- 
 gan that she might be able to play in 
 the little church at Harrison where Mr. 
 Blake led the choir. 
 
 Among the other officers of the 
 Haydn Association were: 
 
 Vice Presidents, Albert P. Pennell, 
 1857 to 1859; M. N. Rich, 1871 and 
 1872; Samuel Thurston, 1877; G. B. 
 Buzzell, 1879; George C. Burgess, 1881 
 to 1883; Harry L. Houghton, 1884 and 
 1885; Jerome Rumery, 1886; C. F. 
 Swett, 1887; Frederick A. Tompson, 
 1888 to 1891; Harry M. Nickerson, 
 1892; Dr. N. M. Marshall, 1893; Wil- 
 liam T. Pierce, 1894 to 1896; James 
 F. Macy, 1897; Jabez True, 1898. 
 
 Secretaries, Charles P. Carlton, 1858 
 and 1859; Frank H. Cloyes, 1871 to 
 1875, and 1881 to 1895; George C. 
 Burgess, 1877 and 1879; Sterling T. 
 Dow, 1896 to 1898. 
 
 Treasurers, Parmenio W. Neal, 1858, 
 and 1859 to 1871, and 1872; Frank 
 Noyes, 1873 to 1875, and 1877; Ed- 
 ward A. Noyes, 1879, and 1881 to 
 1883; Frederic C. Cushing, 1884 to 
 1887; Clinton Tewksbury, 1888 to 
 
 119 
 
 1893; George H. Buxton, 1894 to 1898. 
 
 Librarians, Charles Staples, 1858 and 
 1859; Henry H. Lowell, 1872; William 
 D. Thompson (Asst.), 1872; S. C. 
 Fernald (Asst.), 1872; William P. Jor- 
 dan, 1877 and 1879, and 1881 to 1887; 
 Irving Lowell (Asst.), 1885; Harry F. 
 Merrill (Asst.), 1885; Fred E. East- 
 man, 1888 and 1889; George H. Bux- 
 ton, 1890; Harry M. Nickerson, 1891; 
 Herbert W. Barnard, Jr., 1892 to 1895; 
 Chester W. Doten, 1896; Marshall Da- 
 vis, 1897 and 1898. 
 
 First Vocal Conductors, George A. 
 Churchill, 1857 to 1859; Hermann 
 Kotzschmar, 1869, and 1871 to 1875, 
 and 1877-1879, and 1881 to 1898. 
 
 Second Vocal Conductors, Samuel 
 Thurston, 1858, and 1859 to 1871, and 
 1873; John L. Shaw, 1872 and 1877; 
 Albert P. Pennell, 1881 to 1886; J. B. 
 Coyle, 1886 to 1889; Harvey Murray, 
 1889 to 1893. 
 
 Pianists, Mrs. A. M. Smith (Lizzie 
 Dyer), 1871; Mrs. George O. Gosse, 
 1872 and 1873; Lucy Blanchard, 1875 
 and 1877; Fannie E. Jordan, 1879, and 
 1881 to 1883; Harvey Murray, 1884 to 
 1893; Minnie Plummer, 1894 to 1897; 
 Charles Latham True, 1898. 
 
 Among the Councillors were Mrs. 
 William Allen, Mrs. Clara Blanchard, 
 John O. Burke, Mrs. John W. Bowers, 
 John B. Coyle, Jr., Mrs. John B. Coyle, 
 Jr., Frederic C. Cushing, Charles P. 
 Carlton, Marshall Davis, Sterling T. 
 Dow, Mrs. H. L. Damon, Mrs. O. H. 
 Fellows, John T. Fagan, Mrs. Alice C. 
 Frazier, R. Greeley, Mrs. George O. 
 Gosse, Mrs. Lewis A. Goudy, George 
 M. Howe, J. Hall, Harry L. Houghton, 
 
 Martha F. B. Hawes, Arthur L. Ilsley, 
 
 A. W. Jordan, Mrs. Hermann Kotzsch- 
 mar, Henry H. Lowell, S. H. Libby, 
 Harriet Lewis, Arthur W. Laughlin, A. 
 S. Megquier, Harry F. Merrill, James 
 F. Macy, Frank Noyes, John E. Noyes, 
 Mrs. John E. Noyes, William T. Pierce, 
 
120 
 
 Frank H. Pierce, A. D. Pierce, Charles 
 G. Richards, Jerome Rumery, Henri- 
 etta D. Rice, John L. Shaw, William 
 D. Thompson, George A. Thomas, 
 Clinton Tewksbury, Harry Turner, Ja- 
 bez True, Carl F. A. Weber, J. M. 
 Watts, John P. Welch, Albert S. Wood- 
 man and Mrs. H. N. Wetherbee. 
 
 Some of the larger works undertaken 
 by the Haydn Association, besides 
 those heretofore noted, were Handel’s 
 “Theodora,” Randeggar’s “Fridolin” 
 (first time in America), Mendelssohn’s 
 “Elijah,” Mendelssohn’s “St. Paul,” 
 Handel’s ‘Samson,’ Mendelssohn’s 
 “Hymn of Praise,” Spohr’s “The Fall 
 of Babylon,” Gounod’s “Third Mass,” 
 Handel’s “Jephtha,” Cowan’s “Ruth,” 
 Barnby’s “Rebekah,” Spohr’s “The 
 Last Judgment” and Dudley Buck’s 
 “The Light of Asia.” Some of the 
 more familiar oratorios were repeated 
 over and over. 
 
 The soloists for the Haydn concerts 
 were selected largely from among those 
 who were considered the best singers 
 in Portland and other Maine cities. 
 Among those who sang leading roles 
 and appeared as soloists at the Haydn 
 Association concerts, were Mrs. Charles 
 Norcross, Mrs. Annie Greeley, Mrs. 
 Nettie Fellows (née Milliken), Mrs. 
 Lewis A. Goudy, Mrs. Jennie King 
 Morrison, Mrs. Warren P. Chase, 
 Mrs. Helen Allen (née Paine), Mrs. 
 Fred T. Flint, Mrs. H. L. Baker, Mrs. 
 Warren W. Cole, Mrs. S. E. Thomp- 
 son, Mrs. H. L: Damon, Mrs. Lizzie 
 N. Sawyer, Mrs. George O. Gosse, 
 Fannie M. Chandler (Mrs. Fannie C. 
 Hawes), Mabel Bates Burnham, Ella 
 Lewis, Alice Brown, Hattie Weeks, 
 Alice B. Blanchard, Margaret A. Bry- 
 ant, Jessie F. Grant, Frances Dodwell, 
 Nellie A. Eveleth, Ada B. Kennard, 
 Belle Bartlett, Nellie E. Webster, Susie 
 D. Dryden, John B. Coyle, Jr., Wil- 
 
 MUSIC AND MUSICIANS OF MAINE 
 
 liam H. Stockbridge, William S. Beck- 
 ett, H. C. Nichols, S. D. Cushing, A. 
 E.. Pennell, George C. Burgess, George 
 H. Buxton, Frank H. Cloyes, Herbert 
 W. Barnard, Jr., Harry F. Merrill, 
 Albert B. Hall, T. J. Adams, James 
 Watts, Charles M. Follansbee, Wallace 
 King, T. J. Somers, Lon fo ssrine 
 George J. Parker, C. M. Pratt, Fred 
 V. Chase, and Harry T. Harmon. 
 
 On the evening of June 3, 1873, the 
 Haydn Association, with a chorus of 
 one hundred and twenty-five, per- 
 formed in the City Hall of Portland a 
 musical work of such classic merit that 
 it placed it for the time being in the 
 forefront of all the musical societies in 
 the country, for not only was it the 
 first presentation in the United States 
 of America of a sacred oratorio by an 
 American composer and the first ora- 
 torio to be written on American soil, 
 but the work itself was the greatest 
 musical composition by an American 
 up to that time. 
 
 One can get an idea of how really 
 great this work was, and of the supe- 
 rior manner in which it was produced 
 by a Portland chorus which had been 
 conscienciously trained under Hermann 
 Kotzschmar, and was personally di- 
 rected by the composer, only by read- 
 ing some of the accounts in the jour- 
 nals or magazines of the day. A brief 
 excerpt from an extended notice, which 
 was published in the Atlantic Monthly 
 in August, 1873, in which it will be 
 seen that the chorus earned for itself 
 the highest enconiums of the critics, is 
 reproduced here: 
 
 “The pleasant little town of Portland 
 has reason to congratulate itself, first, 
 on being the birthplace of such a com- 
 poser as Mr. Paine; secondly, on hav- 
 ing been the place where the first great 
 work of America in the domain of mu- 
 sic was brought out; and thirdly, on 
 possessing what is probably the most 
 
 a a a er 
 
 va as ——a ee CU 
 
MUSIC OF THE STATE OF MAINE-— 1857-1896 121 
 
 BIRTHPLACE OF JOHN KNOWLES PAINE, GREAT AMERICAN COMPOSER (BORN 1839, PORTLAND, MAINE). 
 FROM A PHOTOGRAPH MADE IN 1925 UNDER THE PERSONAL DIRECTION OF THE AUTHOR. 
 
 thoroughly disciplined choral society in 
 this country. More artistic chorus- 
 singing it has never been our lot to 
 hear. Our New York friends, after 
 their recent experiences, will perhaps 
 be slow to believe us when we say that 
 the Portland choir sang this new work 
 even better than the Handel and Haydn 
 Society sing the old and familiar Ehi- 
 jah; but it is true. In their command 
 of the pianissimo and the gradual cre- 
 scendo, and in the precision of their at- 
 tack, the Portland singers can easily 
 teach the Handel and Haydn a quar- 
 ter’s lesson.” 
 
 The soloists at this performance of 
 “St. Peter” were Adelaide Phillips, con- 
 tralto, George L. Osgood, tenor, and 
 J. F. Rudolphson, basso, all Boston 
 singers and Mrs. H. N. Wetherbee, a 
 member of the Haydn Association of 
 
 Portland, soprano. Mrs. George O. 
 Gosse was pianist and the accompani- 
 ments to the chorus were played by the 
 Harvard Orchestra of Boston. It was 
 an epoch-making event in American 
 musical history. 
 
 John Knowles Paine 
 
 Upon the staff the old composer wrote 
 
 First one and then another lifeless note; 
 
 A youth, who at the organ sat, one day, 
 Brought forth the script and then began to play; 
 The organ answered to his magic touch, I own, 
 And for each lifeless note, sent forth a living tone. 
 
 America has produced many native 
 born composers during its more than 
 one hundred and fifty years of inde- 
 pendence, but none who has brought 
 more glory to his country, or to his na- 
 tive state, than John Knowles Paine. 
 It is, indeed, strange that the world’s 
 
122 MUSIC AND MUSICIANS OF MAINE 
 
 best loved and most widely read poet 
 (excepting only the immortal Shake- 
 speare), Henry Wadsworth Longfel- 
 low; one of America’s most famous 
 sculptors, Franklin Simmons; and her 
 greatest composer of his day, John 
 Knowles Paine—three of America’s 
 greatest creative geniuses of the nine- 
 teenth century—should have been born 
 in that farthest east corner of the 
 United States, known at the “State of 
 Maine.” 
 
 When one can produce an oratorio 
 of such overpowering beauty that the 
 performance of it is pronounced by 
 critics of national repute as being “the 
 outstanding musical event in America 
 for the season;” or, when the unchal- 
 lenged statement is made that “no 
 American, hitherto, has shown either 
 the genius or the culture requisite for 
 writing music in the grand style,” is he 
 not one worthy of a place in the major 
 histories of his native state; and of 
 having his principal works produced 
 annually by the great choral and or- 
 chestral societies of the commonwealth; 
 and one, the site of whose birthplace 
 should be marked with an enduring 
 tablet that future generations may 
 learn that here was born one of the 
 most gifted musicians America has 
 produced. 
 
 John Knowles Paine was born into a 
 musical family. His grandfather, John 
 K. H. Paine (1787-1835), built one of 
 the first church organs to be made in 
 Maine. This instrument which was 
 constructed at the Paine homestead on 
 the shores of Watchic Pond, in the 
 town of Standish, was used in the old 
 Baptist Church on Temple Street, 
 Portland, until it was destroyed by the 
 great fire of 1866. His father, Jacob 
 S. Paine (1810-1856), was said to have 
 been the organizer and was, for some 
 years, the director of the first band in 
 Portland. 
 
 The Paine family, to which John K. 
 Paine belonged, was a branch of the 
 original Paine family of whom there 
 were five brothers, John, Myrick, Jo- 
 seph, Richard and Uriah Paine who 
 settled on Cape Cod. 
 
 John K. H. Paine came to Maine be- 
 fore it became a state and settled in 
 the town of Standish, about two and a 
 half miles from what is now Standish 
 Village, and five and a half miles from 
 Sebago Lake Station. The locality in 
 which he settled has ever since been 
 known as the Paine neighborhood. 
 
 From here the family moved to 
 Portland sometime previous to 1831, 
 where Mr. Paine continued the manu- 
 facture of organs and his son Jacob 
 opened a music store. 
 
 David Paine, the brother of Jacob 
 S. Paine, became an instructor of mu- 
 sic in Portland, where he was located 
 in a room over Winship and Paine’s 
 store. 
 
 The family of Jacob Small and Re- 
 becca Beebe (Downes) Paine consisted 
 of five children, Helen M., the oldest, 
 born in 1834, who became a very excel- 
 lent vocalist, sang contralto with the 
 Haydn Association, was a member of 
 the Old St. Stephen’s, Old Universalist 
 and Old Second Parish Church choirs 
 in Portland, as well as one of the earli- 
 est members of the Portland Rossini 
 Club, and who, while studying under 
 F. Nichols Crouch, Madame Ostinelli 
 and Hermann Kotschmar, became an 
 accomplished pianist and taught both 
 voice and piano in Portland; Anne Re- 
 becca, who was born in 1840; Alma 
 Georgiana, who was born in 1842 and 
 died at the early age of seven years; 
 Addie, who was born in 1848; and John 
 Knowles Paine, who first saw the light 
 of day in a two and one-half story 
 house on Oxford Street in Portland on 
 January ninth, 1839. 
 
 As a boy, John Knowles Paine at- 
 
 a. lL Cl ee 
 
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 F 
 
 oy 
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 y 
 
 MUSIC OF THE STATE OF MAINE-— 1857-1896 
 
 tended the schools of Portland, and 
 early began his musical studies under 
 Hermann Kotzschmar with whom he 
 gained a thorough grounding at the 
 piano, in harmony, and especially at 
 the organ. At the age of sixteen he 
 wrote a composition for a string quar- 
 tette and when eighteen years old 
 made his first public appearance (June 
 25, 1857) as an organist, “acquitting 
 himself with great credit.” 
 
 On Christmas night, in ‘hat same 
 year, on the occasion of the presenta- 
 tion of Handel’s “Messiah” by the 
 Haydn Association in Portland, he was 
 entrusted with the complete accom- 
 paniments upon the organ, without or- 
 chestral assistance. Soon after three 
 subscription concerts were given by J. 
 K. Paine “to enable him to complete 
 his musical education in Germany.” 
 
 At the first of these, which was given 
 in Deering Hall, he was assisted by 
 Carl Gartner, solo violinist, Henri M. 
 
 _ Jungnickel, solo violoncellist, the Or- 
 
 chestral Union, Hermann Kotschmar, 
 conductor, and ‘the Haydn Association, 
 George A. Churchill, conductor. Others 
 assisting at the two succeeding con- 
 certs were Harriet Cammett, Mrs. Hel- 
 en Paine Allen, Samuel Thurston, John 
 L. Shaw, Jennie Twitchell, Heinrich 
 -Kehrbahn, “the renowned trumpet sol- 
 dier,” and ‘Carl Krebs, clarinetist. 
 
 Mr. Paine gave a farewell organ con- 
 cert in September, 1858, and that year 
 found him in Berlin studying at the 
 Hochschule for Musik. He spent three 
 years under the tutelage of August 
 Haupt, then one of the greatest of or- 
 ganists, and Wieprecht and Teschner, 
 masters in the art of composition. In 
 Berlin, and other cities of the German 
 Empire, during his student years, he 
 appeared frequently as an organ vir- 
 tuoso. On his return to America, in 
 1861, Mr. Paine became the leading 
 organist in the United States. ‘The 
 
 123 
 
 JOHN KNOWLES PAINE, AT THE TIME OF HIS FIRST 
 PUBLIC APPEARANCE AS AN ORGANIST (1857). 
 FROM A DAGUERREOTYPE. 
 
 magnificent F. Walcker & Sons’ organ 
 which had been imported from Lud- 
 wigsburg, Germany (1860), at a cost 
 of seventy thousand dollars and set up 
 in Music Hall, Boston, had been pur- 
 chased largely on account of his en- 
 thusiasm, while he was yet in Ger- 
 many. 
 
 Thousands went to hear him play on 
 the great instrument and listen to his 
 interpretations of the works of the 
 great composers. At these recitals he 
 took the opportunity to introduce com- 
 positions of Bach and Thiele which had 
 never before been produced in America. 
 
 It is said that he was the best ex- 
 ponent of legitimate organ playing in 
 Boston at that time, and that “the taste 
 for organ music according to the stand- 
 ards of the German School then began 
 
JOHN KNOWLES PAINE, AT THE TIME OF HIS FARE- 
 WELL ORGAN RECITAL IN PORTLAND (1858) BE- 
 FORE GOING ABROAD TO STUDY. FROM A PASTEL 
 LOANED BY MRS. JOHN W. BOWERS. 
 
 to form itself.” His early recitals are 
 acknowledged by musicians throughout 
 the United States to have had a great 
 influence on American music, an in- 
 fluence which has continued even to 
 this day. 
 
 In 1861 he was organist in the West 
 Church of Boston, but in 1862 he re- 
 signed to take the position as director 
 of music at Harvard, an opportunity, 
 which, at first, meant simply that he 
 had become college organist and chapel 
 master. He then began preparation for 
 the Harvard Musical Course, which, up 
 to 1869, amounted to little more than 
 private instruction, and gave, without 
 remuneration, a series of lectures on 
 the musical forms. 
 
 There was some delay in granting 
 permission to establish a musical course 
 
 MUSIC AND MUSICIANS OF MAINE 
 
 in the University, and, because at first 
 the course did not count toward a de- 
 gree, so few attended the lectures that 
 the innovation was soon abandoned 
 and was not again resumed until 1870, 
 when Dr. Eliot was in the presidential 
 chair. In this year Mr. Paine delivered 
 twenty lectures on musical history, and 
 in 1872 he introduced harmony and 
 counterpoint as a part of the curricu- 
 lum of the University. Mr. Paine was 
 made assistant Professor of Music in 
 1873. He sustained himself so admi- 
 rably, and by his efforts, demonstrated 
 the value of music as a form of art so 
 successfully, that in 1875 the chair of 
 full professorship was created for him. 
 This is said to have been the first chair 
 of music to be established in an Amer- 
 ican University. 
 
 Mr. Paine made an artistic tour of 
 Germany in 1866 and 1867, and while 
 in Berlin, in 1867, he directed “A Mass 
 in D,” his first great work, before a 
 large audience at the Sing-Academie, 
 in Berlin, a notable event in the history 
 of American music. At this perform- 
 ance several members of the Royal 
 family were present —in those days an 
 honor to be greatly coveted. 
 
 In this composition Mr. Paine ex- 
 hibited a masterly command of the re- 
 sources of fugue and counterpoint as 
 well as great structural ability. The 
 continental critics complimented the 
 young American composer highly upon 
 the exhibition of his attainments, but 
 declared that the work lacked poetic 
 originality. 
 
 When about thirty years of age Mr. 
 Paine married Mary Elizabeth Greeley, 
 a cultured lady of Boston, and a daugh- 
 ter of William E. Greeley, formerly a 
 merchant of Portland, in which city 
 she was born. 
 
 In 1873 came the production of Mr. 
 Paine’s first great work, “The Oratorio 
 of St. Peter,” which received its pre- 
 
MUSIC OF THE STATE OF MAINE— 1857-1896 
 
 miere in his native town, and created 
 such a furor, in musical circles through- 
 out the country, that he became famous 
 over night. 
 
 Of it, John Fiske, the celebrated his- 
 torian, essayist and critic, wrote in 
 part: 
 
 “For music-lovers in America the 
 great event of the season has been the 
 performance of Mr. Paine’s oratorio, 
 ‘St. Peter, at Portland, June third. 
 This event is important, not only as 
 the first appearance of an American 
 oratorio, but also as the first direct 
 proof we have had of the existence of 
 creative musical genius in this coun- 
 try... . With the exception of Mr. 
 Paine, we know of no American hither- 
 to who has shown either the genius or 
 the culture requisite for writing music 
 in the grand style. ... It must at 
 least be said, as the net result of our 
 impressions derived from the perform- 
 ance at Portland, that Mr. Paine’s ora- 
 torio has fairly earned for itself the 
 right to be judged by the same high 
 standard which we apply tothese noble 
 works of Mendelssohn and Handel. 
 
 “The overture, beginning with an 
 adagio movement in B- flat minor, gives 
 expression to the vague yearnings of 
 that time of doubt and hesitancy when 
 the oracles were dumb, and the dawn- 
 ing of a new era of stronger and diviner 
 faith was a matter of presentiment 
 rather than a definite hope or expec- 
 tation.” 
 
 The chorus, “And believe the glad 
 tidings of God,” is declared to be a 
 masterpiece of contrapuntal writing, 
 and, when produced by a chorus of 
 three hundred or more voices, is al- 
 most Overpowering in its effect. The 
 F-minor chorus, “We hid our faces 
 from Him,” is truly beautiful, while, 
 “He was brought as a lamb to the 
 slaughter,” is magnificent in its har- 
 monic progressions. “Awake thou that 
 
 PAINE S < JRA TOR TO 
 
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 bie Peter, 
 
 WITT RE LEAPED EX 
 
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 uch TIME AY THE 
 
 HAYDN ASSOCIATION, 
 
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 HE PERSON AL PLR OF VAR AE ORER, 
 
 if On Tuesday Ey ening, June 3, 73, 
 
 Cc x Lee 
 
 _ Miss ADELAIDE PHILLIPS, 
 
 (Contralta). 
 
 A 7 TT A L . 
 
 WISE StINGtiamy aRriste: Bae 
 
 aa Eee Neen acre 
 
 rs. HN. weTHeReee, Saprane. 
 
 Mr. GEO, L ‘osaoon, ‘Tenor. 
 
 —Asb THE . 
 
 _ HARVARD PBCHEST A’ of Boston. 
 
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 { 
 MR. t F RUD OLEMSEN, 2 Basso. _ 
 | Mrs. GEO. O. GOSsE, Pianist. P 
 
 HERMAN KOTZSCHMAR, os 
 
 A REDUCED FACSIMILE OF THE TITLE-PAGE OF THE 
 PROGRAM USED ON THE OCCASION OF THE PRE- 
 MIERE OF JOHN KNOWLES PAINE’S “ST. PETER,” 
 THE FIRST ORATORIO BY AN AMERICAN COMPOSER 
 TO BE PERFORMED IN THE COUNTRY. 
 
 sleepest,” is especially strong and rich 
 in its instrumentation and contains 
 some of the best writing in the work. 
 The deeply pathetic opening chorus of 
 the second part, “The Son of Man was 
 delivered into the hands of sinful men,’ 
 is followed by a joyous allegro, “And 
 on the third day He rose again.” 
 
 Mr. Fiske describes. the quartette, 
 “Feed the flock of God,” as having “all 
 the heavenly sweetness of Handel’s ‘He 
 shall feed His flock.’” This choral, as 
 also the one which follows the scene of 
 Pentecost, is taken from the Lutheran 
 Choral Book and arranged with orig- 
 
126 MUSIC AND MUSICIANS OF MAINE 
 
 THE OLD CITY HALL IN PORTLAND IN WHICH WAS SUNG, FOR THE FIRST TIME IN THE UNITED STATES, 
 AN ORATORIO BY AN AMERICAN COMPOSER (1873). FROM A PHOTOGRAPH LOANED BY THE CITY 
 
 CLERK’S OFFICE, PORTLAND. 
 
 inal harmony and instrumentation as 
 in oratorios by other great masters. 
 Following the lovely contralto aria, “As 
 for man, his days are as grass,” is a 
 stirring chorus in D-major, “This is the 
 witness of God.” “Praise to the Father” 
 may be said to be the beginning of the 
 epilogue which culminates in a lyric 
 outburst of thanksgiving. by the twelve 
 disciples and the full chorus, ““Now as 
 ye were redeemed,” the whole conclud- 
 ing in a grand final chorus in C-major, 
 “Great and marvellous are Thy works, 
 Lord, God Almighty.” 
 
 Mr. Paine’s next great work was his 
 first symphony in C minor. This is 
 
 known as “Opus 23” and was played 
 by Theodore Thomas’ Orchestra in 
 Boston in January, 1876, for the first 
 time, when it proved another great tri- 
 umph for the composer. Mr. Thomas 
 kept this number in his repertoire for 
 a number of seasons and his orchestra 
 played it many times. 
 
 Mr. Paine was one of the two Amer- 
 icans who were invited to write a com- 
 position for the Centennial Celebration 
 in Philadelphia in 1876. Dudley Buck 
 was the other. Both contributed nota- 
 ble performances to the opening exer- 
 cises. Paine’s “Centennial Hymn” set 
 to John Greenleaf Whittier’s verses 
 
MUSIC OF THE STATE OF MAINE— 1857-1896 
 
 127 
 
 was especially interesting because of 
 the fact that the great Wagner had 
 
 written a “Centennial March” for this 
 
 occasion, but Wagner’s composition was 
 not accorded the favorable reception 
 that was given Paine’s Hymn by the 
 critics. Another important composition 
 produced this year was his overture, 
 “As You Like It.” 
 
 The first important American com- 
 position to be performed at the Boston 
 Symphony Concerts by Gericke was 
 Professor Paine’s “Symphony-Fanta- 
 sia.” This composition, which was 
 based on Shakespeare’s play, “The 
 Tempest,” has been given many times 
 at the Boston Symphony concerts since 
 its first presentation in 1877, as well as 
 in many other cities throughout thé 
 country. 
 
 The Symphony-Fantasia was fol- 
 lowed by his “Larghetto and Scherzo” 
 for piano, violin and violoncello (1877), 
 and his “Duo Concertante” for violin, 
 violoncello and orchestra in 1878. 
 
 In 1880 Mr. Paine composed his Sec- 
 ond Symphony in A entitled, “Spring 
 Symphony Opus 34,” a work, which, 
 as the Harvard Magazine declares, ‘ ‘to- 
 day holds the freshness and continuity 
 of interest, the expressive beauty of its 
 
 melodic themes, the warmth and deli- 
 
 ee ee ee ee Tw 
 
 cacy of the harmonies ,— especially the 
 nobility and power of the climax. This 
 is considered a much greater composi- 
 tion than his first ‘Symphony in C. mi- 
 nor.” His work had already begun to 
 show a greater depth and a larger de- 
 gree of poetic originality and imagina- 
 tion. Some of his earlier critics had 
 been disposed to think that he was 
 mastered by the rules of music and that 
 his compositions were somewhat stilted, 
 but if he had ever been mastered by 
 the rules of theory and composition, he 
 was now the master of them all. 
 
 The four divisions of the “Spring 
 Symphony” are “Nature’s Awakening,” 
 
 JOHN KNOWLES PAINE, AT THE TIME OF THE PRO- 
 DUCTION OF HIS ORATORIO “ST. PETER” (1873). 
 
 “May Night Fantasy,” “A Promise of 
 Spring” and “The Glory of Nature.” 
 
 Preceding the motif, ‘“Nature’s 
 Awakening,” is a prelude containing 
 the “Winter Motif” which typifies the 
 period of numbing cold and hyperbo- 
 rean winds to which the North is an- 
 nually subjected—a period with which 
 the composer, as a Maine boy, was 
 not unfamiliar. 
 
 In this motif nature, gradually awak- 
 ening, first tremulously, and then a lit- 
 tle more boldly, looks about. After a 
 pause there is a movement of the vio- 
 lins which is not unlike the fluttering 
 of the wings of birds returning from 
 the Southland. The approach of spring 
 is announced by a melody that may be 
 interpreted as the song that issues from 
 
128 MUSIC AND MUSICIANS OF MAINE 
 
 —<—<—<—<$<$<$<—$——————— a 
 
 the throat of the first robin of the sea- 
 son. The theme is repeated cheerily by 
 the cellos and violins, and soon spring, 
 rampant in its surrender to the impul- 
 es of nature, seems to have become 
 victorious in its conquest of winter. 
 
 The oboes introduce the next move- 
 ment which is played against the win- 
 ter motif in another unsuccessful effort 
 to subdue it. In the receding of a semi- 
 climax of joyful abandon which fol- 
 lows, there is an opportunity for the 
 return of the spring motif, but this 
 time it is a tearful spring, in minor key 
 portrayed in a masterful and scholarly 
 manner by the composer. Again the 
 bird wings flutter and at last spring, 
 exultant, rejoices in an exuberance that 
 seems Heaven inspired. 
 
 The “May Night Fantasy,” in scher- 
 zo form, is not unlike a humoresque 
 which is suggestive of wood imps and 
 elves and is reminiscent of the croak- 
 ing of frogs, in which the simile is 
 heightened by the mournful ululations 
 of a lone bassoon. 
 
 In the “Romance,” which is in ron- 
 do form, these themes and the inter- 
 mezzo are deftly woven together and 
 this ends in a “Recollection,” sugges- 
 tive of sweetest remembrance. 
 
 “The Finale” is in sonata style with- 
 out introduction, and, as elaborated, 
 depicts a frenzied struggle, terminating 
 in a coda which is almost marvellous 
 in its effectiveness. 
 
 Louis C. Elson, author and music 
 critic, declares that it “is a glorious 
 outburst of thanksgiving almost com- 
 parable with the finale of that other 
 tribute to Spring, the great B flat Sym- 
 phony by Schumann.” 
 
 But an even greater work, by this 
 now illustrious composer, was yet to 
 appear — one that was to be acclaimed 
 by the critics as an American composi- 
 tion which not only equalled but ex- 
 
 writings. This was his music for So- 
 phocles’? “Oedipus Tyrannus” which 
 was arranged especially for the per- 
 formance by students of Harvard Uni- 
 versity in 1881, a prodigiously ambi- 
 tious effort when one stops to consider 
 that modern critics have been unani- 
 mous in placing this poetical work, 
 whose lyrics are not surpassed by any 
 in the Greek language, at the very apex 
 of Greek tragic art, and that any fail- 
 ure of the musical setting to measure 
 up to the dignity and pathos of this 
 literary achievement would have been 
 disastrous. | 
 
 The work, the production of which 
 was more than seven months in prepa- 
 ration, consists of an overture and 
 
 ‘seven choruses and semi-choruses for 
 
 male voices with spoken parts of the 
 play interspersed between the choral 
 numbers. As performed the strophes 
 were sung by a dramatic chorus of fif- 
 teen voices and the anti-strophes by the 
 dramatic chorus and a supplementary 
 chorus of sixty voices, composed of 
 members of the Harvard Glee Club. 
 The orchestra consisted of forty per- 
 formers. 
 
 One can scarcely conceive a more re- 
 volting yet more intensely fascinating 
 story than that of Oedipus Tyrannus, 
 and Mr. Paine’s musical setting to this 
 masterpiece of Greek literature seems 
 to fit its every turn. 
 
 The prelude to Oedipus which, for 
 some considerable portion of it, is in 
 Grave, Maestoso and Adagio move- 
 ments, though it contains some con 
 fuoco passages, is a magnificent and 
 elaborate piece of musical composition. 
 
 In Scene 1, Thebes, having become 
 wasted by a pestilence, a body of 
 Thebans of all ages, by the mouth of 
 their priest who acts as their spokes- 
 man, come as suppliants before the 
 royal palace to beg the king to endeav- 
 
 celled European settings of classical or to help them. The Chorus enter 
 
MUSIC OF THE STATE OF MAINE — 1857-1896 129 
 
 SCENE FROM “OEDIPUS TYRANNUS (1881) FROM “THE HARVARD GREEK PLAY,” BY COURTESY OF THE 
 AUTHOR, RIGHT HON. SIR HENRY NORMAN, M.P., OF LONDON, ENGLAND. 
 
 with prayer to Apollo and Athene for 
 aid; and their sufferings, which they 
 believe are caused by the unavenged 
 murder of Laius, their King, are de- 
 scribed in the first chorus. In the sec- 
 ond chorus, the music of which is weird 
 and indicative of horror and anxious 
 doubt, as Oedipus, their new King, is 
 accused by blind Teiresias, the theme 
 is descriptive of the pursuit of the mur- 
 derer of King Laius by “the dreadful 
 fates unerring.” ‘The allegro con fuoco 
 movements are bewildering in their 
 frightfulness but the movement pro- 
 ceeds into an arioso which, somewhat 
 Italian in style, is expressive of hope 
 and the last few adagioespressivo bars, 
 symbolizing the confidence reposed in 
 Oedipus, are altogether exquisite. 
 
 The music for Scene 3, in which the 
 quarrel between Oedipus and Creon 
 occurs, is set forth in the third chorus, 
 which opens with a Kommos, or pas- 
 sage in which the song of the chorus 
 alternates with the spoken words of 
 the principal characters, and is fol- 
 lowed by an effective semi-climax, 
 twice occurring, made up of a progres- 
 sion of nine ascending notes, the first 
 six of which are in the order of the 
 diatonic scale, the diminished seventh 
 
 becoming the antepenultima of the 
 figure which concludes with an aug- 
 mented seventh and the octave note, 
 and this ends in a melodious phrase 
 sung by Jocasta, the Queen. 
 
 The choral ode in Scene 4, beginning 
 with a prayer, and, with purity of life 
 and reverence of thought and- speech 
 for its theme, is one of rare beauty. 
 
 Jocasta tries to convince Oedipus 
 that no faith should be placed in divi- 
 nation. The chorus feel that her words 
 are impious and in the second strophe 
 become righteously indignant. 
 
 In Scene 5, the chorus speculate on 
 some divine origin of their king, who 
 had been found as a babe on a moun- 
 tain. These speculations are rather fan- 
 ciful and seem designed to relieve some- 
 what the feelings of the audience which 
 at this point are of high tensity and are 
 a diverting contrast to the tragedy 
 which is about to be enacted. 
 
 In Scene 6, when the slave arrives 
 and reluctantly tells Oedipus the story 
 of his exposure, thus convincing him 
 that he was the son of Laius and that 
 he had really fulfilled the dreaded or- 
 acle of Apollo, Mr. Paine’s work reach- 
 es such heights of musical mastery 
 that no praise could be too great. 
 
130 MUSIC AND MUSICIANS OF MAINE 
 
 In the opening strains there is a be- 
 wailing of the changes of fortunes of 
 the Thebans. The emotions of the 
 scene are wonderfully interpreted. 
 
 _ The music for this chorus, illustrative 
 
 of the misery which overtakes Oedi- 
 pus when his guilt, which had been un- 
 known to himself, has been divulged, 
 has been described as “‘an outburst of 
 sheer genius, overpowering, frighten- 
 ing,’ a wild tumult, as of a havoc 
 wrought soul and a heart broken with 
 anguish, which finally subsides to a 
 tremolo pianissimo. 
 
 The theme of the Postlude, in Grave 
 and Maestoso, as Oedipus comes forth 
 blinded by his own hand, is that which 
 was made famous by Solon, “Until 
 Death, no man’s life can safely be called 
 happy.” This terminates in an orches- 
 tral climax of fifty-six bars in Maestoso 
 and Adagio which crescendos to a 
 double fortissimo of great beauty and 
 fades out in a final pianissimo. 
 
 “Oedipus Tyrannus” was first per- 
 formed in the original Greek, but in 
 later productions, the text was given 
 in both Greek and English. Mr. Paine 
 departed from the Greek custom of 
 presenting the music wholly in unison 
 and octaves, and, using all the known 
 devices of unison, harmony and coun- 
 terpoint, of which he was then thor- 
 oughly the master, he produced a work 
 equalling in stateliness and impressive- 
 ness that of the great masters of the 
 old world, and again one of his works 
 was pronounced the greatest composi- 
 tion which, up to that time, had been 
 written by any American. The chorus- 
 es were so resplendent that they elicted 
 the praise of the most discriminating 
 critics and were declared truly magni- 
 ficent and conceived with great orig- 
 inality. 
 
 It is said of Mr. Paine, at this time, 
 that his advance in romanticism was 
 evidenced in the superb music for 
 
 “Oedipus” and what followed. “Truly 
 noble” is a phrase that has been used 
 by more than one critic in referring to 
 Paine’s Oratorio, “St. Peter,” and his 
 musical setting for “Oedipus.” 
 
 A very fine appreciation of Mr. 
 Paine and his “Oedipus Tyrannus” ap- 
 peared over the signature of Philip H. 
 Goepp in the Harvard Graduates Mag- 
 azine (Boston) in September, 1906, 
 shortly after the composer’s death. 
 
 Mr. Goepp says: 
 
 “The Oedipus music marks the high 
 point of the composer’s career at Har- 
 vard. No one who heard those per- 
 formances at Cambridge in the Spring 
 of 1881, least of all the musical men of 
 Harvard, will forget the great impres- 
 sion. With all the splendor of setting, 
 the fine detail of each part, the spirit 
 of the leading roles, above all the pow- 
 er and pathos of Oedipus himself,— 
 the music, when we come to review 
 the whole, was the best of the feast. 
 As often happens, the incidental be- 
 comes the essential. What saved the 
 great impression of the tragedy, made 
 it more than an antique revival, was 
 the rich, melodious, noble setting of 
 choruses and prelude. It gave the sen- 
 uous element by which alone a great 
 conception is felt and remembered. 
 The grim tragedy we knew in the class- 
 room; the tenderness that Paine found 
 and expressed was a new, delicious 
 note. Everything conspired to make a 
 rare success; the devoted absorption of 
 Mr. Paine, who was at the height of his 
 power, the grandeur and novelty of the 
 subject, the splendid seriousness of the 
 audience for whom he was writing. .. . 
 
 “From the purely musical stand- 
 point, apart from its immediate pur- 
 pose and effect, Paine’s setting of the — 
 Oedipus choruses have to-day, after 
 twenty-five years, the same potent 
 charm as on their production. In view 
 
MUSIC OF THE STATE OF MAINE— 1857-1896 131 
 
 of the rapid changes which the art of 
 music has undergone in this interval, 
 such a test is proof of a high degree of 
 beauty. It may be said with confi- 
 dence that a renewed general hearing 
 will result in a far higher estimate of 
 the work than has hitherto prevailed. 
 It is certainly true that never has the 
 pathos, in short the full reality of a 
 Greek tragedy, so come home to the 
 present writer as in a study of these 
 settings, and especially in the second 
 chorus. It shows to the full the power 
 of music to revive a noble conception 
 of long ago. It proves the wisdom of 
 Paine’s idea, to glorify the Greek po- 
 etry with all the resources of modern 
 music, instead of giving a mere repro- 
 duction of the primitive shifts of an 
 archaic phase of the art. There is a 
 special alternation of tender beauty 
 with dramatic power, with constant 
 surprise of delicate rhythm and bold 
 harmonies. We are struck with the 
 blending of melodic simplicity (neces- 
 sary for amateur singing) with the 
 highest plane of serious conception. 
 The Oedipus choruses will prove one of 
 the greatest works of modern music, 
 and the pride of Harvard musicians 
 will be redoubled in the double posses- 
 sion. There are in the work the ele- 
 - ment of striking originality and the fine 
 perfection of inner detail that proves 
 the highest sincerity. The two are so 
 different —the beauty that strikes for 
 the moment, or the charm that stays — 
 that one is tempted to set the one 
 against the other, to think them actu- 
 ally opposed. 
 
 “The work that starts with a sensa- 
 tional furore seems almost necessarily 
 _ surcharged with passages of mere et- 
 fect, lacking the touch of inner coher- 
 ence. This later quality of high fidelity 
 and simple spontaneity was a special 
 
 trait of Paine. To enjoy his works best, 
 
 _ you must always take them in their 
 
 continuous flow and in the complete 
 design. You must not look for pretty 
 bits and flashing chords, or mere strik- 
 ing moments. Yet here and there a 
 work will come, often at the high point 
 of a career, so concentrated in effort 
 and achievement that by the force of 
 its beauty it convinces once and for all. 
 So one feels like comparing the Oedipus 
 of Paine to the Faust of Gounod. 
 
 “The temper of Paine’s writing was 
 of a certain delicate Romanticism akin 
 to the vein of a Goetz, a Bruch, and 
 other tonal poets who have not as yet 
 found a full appreciation. He was a 
 disciple of none of the masters and of 
 none of the schools, though his early 
 works show a certain blended influence 
 of Mendelssohn and Schumann. In- 
 deed in these choruses there were no 
 models that he actually followed, in the 
 form or in the vein. One does not 
 think of Mendelssohn’s Antigone or 
 Oedipus as overshadowing examples. 
 The fact is that here, where there was 
 the immediate suggestion of a master, 
 Paine not only did not follow, but, it 
 may be said without over-boldness, 
 found a more expressive vein of his 
 own. And so we are impelled to a final 
 word about a work of which Harvard 
 may Well be proud,— springing pecul- 
 iarly from academic traditions, written 
 by one of the faculty for a college festi- 
 val, giving a worthy tonal setting, be- 
 fore the whole world of music, of the 
 ancient classic tragedy.” 
 
 Among the “Notes from the Harvard 
 Greek Play” in the Harvard Magazine 
 it was declared that “the music ranked 
 so high as a work of modern art, and 
 added so greatly to the comprehension 
 of the situations and therefore to the 
 profit of the audiences that the final 
 verdict must be one of satisfaction and 
 gratitude,” while the critic of the Na- 
 tion prophesied that it would be “in- 
 teresting to future generations as one 
 
132 
 
 MUSIC AND MUSICIANS OF MAINE 
 
 of the landmarks in the History of 
 Musical Art.” 
 
 Interesting are the statements that 
 George Riddle, the famous reader and 
 elocutionist, who assumed the part of 
 Oedipus, received a laurel crown for 
 the excellence of his performance, that 
 so great was the interest in the first 
 performance that people waited in line 
 for eighteen hours, that within half an 
 hour after the opening every ticket was 
 sold, and that many were unable to ob- 
 tain seats, though ten times the asking 
 price of admission was freely offered 
 by some of those who were turned 
 away. 
 
 The audience of more than one thou- 
 sand, at that first performance, was a 
 notable one and included in it were 
 Henry Wadsworth Longfellow, Ralph 
 Waldo Emerson, Oliver Wendell 
 Holmes, George William Curtis and 
 William Dean Howells, and it was said 
 of it that it was an audience which, for 
 literary distinction, probably never has 
 been equaled in America. 
 
 Mr. Paine’s Oedipus was later per- 
 formed at the Globe Theatre in Boston 
 and then at Booth’s Theatre in New 
 York. Both of these performances 
 were conducted by another eminent 
 American composer, George W.°Chad- 
 wick. 
 
 Other works by Professor Paine in 
 chronological order include the cantata 
 for men’s voices and orchestra, ‘““Phoe- 
 bus Arise,” words by Drummond, pub- 
 lished in 1882; Keat’s “Realm of Fan- 
 cy,” for chorus, quartette and orches- 
 tra, 1882; Milton’s “Nativity,” com- 
 posed for the Handel and Haydn As- 
 sociation festival, 1883, a very beauti- 
 ful composition from a contrapuntal 
 standpoint, and, in the same year, the 
 “Harvard Commencement Hymn,” 
 words by James Bradstreet Greenough. 
 
 His “Domine Salvum,” for chorus of 
 men’s voices and orchestra, was pub- 
 
 lished by the Harvard University 
 Press. 
 
 In 1899 was written what is, by 
 many, regarded as Mr. Paine’s best 
 work. This was his opera, “Azara,” 
 founded on that masterpiece of French 
 literature, ““Aucassin and Nicolette,” of 
 which it may be said that a tale of 
 truer love was never told. To appre- 
 ciate the fidelity with which Mr. Paine 
 has translated into terms of music the 
 simple sentiments of this little romance 
 of the middle ages, one should famil- 
 iarize himself with the story of “Au- 
 cassin, the frank and fair,” and “Nico- 
 lette the debonaire” of whom Aucassin 
 sang, 
 
 Her body sweet and the face of her 
 Take my heart as in a snare; — 
 
 a story of love, of the tender heart and 
 a sort of humorous resignation with a 
 poetical touch that makes it live on 
 through the years; how Aucassin, the 
 damoiseau, fair and goodly and great, 
 and featly fashioned of body and limb, 
 as, indeed, all heroes were in medieval 
 days, whose “hair was yellow in little 
 curls, his eyes blue-gray and laughing,” 
 and in whom “was none evil at all,” 
 for the promise of “two words or three 
 and one kiss,” went forth to do battle 
 with the blood-thirsty Saracen; and 
 how Nicolette, the little Paynim lady, 
 who had been purchased of the Sara- 
 cens, by the viscount for a slave girl, 
 whose locks, also, “were yellow and 
 curled, her eyes blue and smiling” and 
 of whom the shepherd who was best 
 able to use his tongue said, “a maid 
 came past, the fairest thing in the 
 world” and who was so very beautiful 
 that the other shepherds mistook her 
 for a fairy; as with her viol she went 
 playing through all the country; how, 
 when she escaped her jailors, after she 
 had been taken prisoner, “she cut her 
 curls of gold,” and how, when the 
 
MUSIC OF THE STATE OF MAINE— 1857-1896 133 
 
 auricomous lovers were finally restored 
 to each other, he 
 
 “Kissed her often, kissed her sweet, 
 Kissed her lips, her brows, her eyes.” 
 
 “and fair joy was between them.” 
 
 The striking contrasts between the 
 pastoral scenes and the Saracenic con- 
 testations, which abound in the poem, 
 gave the composer an excellent oppor- 
 tunity to exhibit his interpretative abil- 
 ity—an opportunity of which he availed 
 himself to the fullest extent of his cre- 
 ative powers. “Azara” is a remarkable 
 work and it is a great pity that in the 
 more than a quarter of a century since 
 it was written it has never been pro- 
 duced. 
 
 The opera is in three acts with or- 
 chestra in full score. The ballet music 
 from “Azara,” “Three Moorish Danc- 
 es,’ has been separately published. 
 
 Among Paine’s other important 
 works were “Op. 23, Symphony #1,” 
 orchestration for 23 parts; “Op. 28, 
 Overture to Shakespeare’s, As You 
 Like It,’ orchestration for 24 parts; 
 “Poseidon and Amphitrite,” and “Is- 
 land Fantasy, Symphonic poem,” or- 
 chestration for twenty-seven parts in 
 which he translates into musical terms 
 the beauty and terror of the sea as sug- 
 gested to him by two paintings of the 
 “Isles of Shoals in New Hampshire by 
 J. Appleton Brown; and “Symphonic 
 Poem, Shakespeare’s Tempest,” orches- 
 tration for twenty-six parts. 
 
 Each of the above works are con- 
 sidered by critics to be extremely valu- 
 able contributions to American Music. 
 
 In 1901 Mr. Paine made a musical 
 setting for men’s voices of that great 
 literary riddle, “The Birds” of Aris- 
 _ tophanes. This was first performed by 
 ' the Harvard Classical Club in May, 
 Igor, nearly twenty-three hundred 
 _ years after its author had written the 
 lyrics. The music is charmingly de- 
 
 scriptive and one can almost hear the 
 brown beaks 
 thrilling 
 With the holy music-trilling 
 While 
 
 Through the woodbine’s leafy bound 
 Swells the pure melodious sound. 
 
 Though Mr. Paine was not a prolific 
 writer, in the smaller forms, he wrote 
 some teaching pieces for the piano and 
 a few vocal solo numbers. Of the for- 
 mer, especially interesting are “Christ- 
 mas Gift,” “Nocturne,” “Romance in 
 C. Minor,” “Four Characteristic Pieces 
 (Vier Character Stuecke),” “Impromp- 
 tu,” “Woodnotes,” “Wayside Flowers,” 
 “A Spring Idyl,” “Birthday Impromp- 
 tu,” “Dance,” “Under the Lindens,” 
 “Millstream,” “Village Dance,” “In the 
 Country,” “Funeral March,” “Rondo 
 Giocosa.” 
 
 His “Fuga Giocosa,” built around 
 that homely theme oft chanted by 
 many a boy lover of the national game, 
 “Qver the fence is out boys,” as its 
 name implies, is written in jocose mood; 
 but it has, nevertheless, been pro- 
 nounced by musicians a real inspira- 
 tion. 
 
 His “Freedom,” and “Our Queen,” 
 arrangements for four-part chorus or 
 quartet, words by Oliver Wendell 
 Holmes, and Stedman’s “Hymn of the 
 West,” are among his best known 
 vocal numbers. 
 
 Four songs published in 1884 in- 
 clude, “A Bird upon a Rosy Bough,” 
 “Beneath the Starry Arch,” “Music 
 When Soft Voices Die” and “A Fare- 
 well.” ‘The last is set to Charles Kings- 
 ley’s verses beginning, 
 
 My fairest child I have no song to give you; 
 No lark could pipe to skies so dull and gray, 
 
 Quite contrary to the words of these 
 lyrics Mr. Paine has not only given a 
 song that is as sweet as one could wish 
 but one that as an encore number 
 
OPENING BARS OF “« CHRISTMAS PIECE” FROM THE ORIGINAL MANUSCRIPT, BY JOHN KNOWLES PAINE, 
 WRITTEN FOR AND DEDICATED TO HIS SISTER, HELEN, WHO GAVE MUSIC LESSONS IN PORTLAND, IN 
 ORDER THAT HER GIFTED BROTHER MIGHT CONTINUE HIS STUDIES IN GERMANY. 
 
 might oftener be used to advantage by 
 concert artists. 
 
 His compositions for the organ in- 
 clude, preludes, masses, and other 
 forms and, among others, variations 
 upon the “Austrian National Hymn” 
 and the “Star Spangled Banner,” and 
 two compositions for the organ, “Fan- 
 tasie uber Ein’ Feste Burg,” and con- 
 cert variations upon “Old Hundred.” 
 
 At the time of his death, April, 1906, 
 Mr. Paine was at work on a symphonic 
 poem illustrative of the character of 
 Abraham Lincoln. 
 
 It is said that Theodore Thomas 
 played his “Columbus March” at sev- 
 eral thousand performances. 
 
 America never had a more conscien- 
 tious composer than John Knowles 
 Paine. By critics, generally, his har- 
 mony was conceded to be faultless, his 
 counterpoint beyond criticism. Mr. 
 Paine’s care in composing gave oppor- 
 tunity to one of his admirers, with a 
 penchant for playing on words and 
 rhyming, to indulge in a pardonable 
 example of paronomasia by declaring 
 that 
 
 His harmony and counterpoint 
 
 Are both without defect 
 For all the works of John Knowles Paine 
 Are Paine-fully correct. 
 
 While his fame was as a composer 
 and organist, he possessed a clear and 
 broad technique at the piano. He 
 
 proved to be an able and interesting 
 lecturer and was an author of notable 
 works on music as well. 
 
 Through early articles in the North 
 American Review he opposed the the- 
 ories of Richard Wagner; but in his 
 later compositions he seems to have 
 shown a leaning towards similar ideals 
 of tone-painting. 
 
 Among his published contributions 
 to literature are, “Famous Composers 
 and Their Works,” and a “History of 
 Music to the Death of Schubert.” 
 
 Mr. Paine’s record as an educator 
 stands as a monument to his ability 
 and genius. He trained more than a 
 score who became widely known as 
 composers, organists and music critics. 
 Among these were Arthur Foote, Louis 
 Adolphe Coerne, Clayton Johns, Frank 
 Lynes, Walter R. Spalding, John Al- 
 den Carpenter, Frederick S. Converse, 
 Percy L. Atherton, Edward B. Hill, 
 Daniel G. Mason, Blair Fairchild, Wil- 
 liam C. Heilman, Henry M. Dunham, 
 Samuel Brenton Whitney, Charles H. 
 Morse, Henry T. Finck, William Fos- 
 ter Apthorp, Thomas Whitney Surette, 
 and Henry Dyke Sleeper. 
 
 Mr. Paine filed his resignation from 
 the faculty of Harvard in May, 1905, 
 to become effective the following Sep- 
 tember. He was retired on a pension 
 at the age of sixty-six, after having 
 
MUSIC OF THE STATE OF MAINE— 1857-1896 135 
 
 elbgderal, Lf ee dy 
 
 eANamanti rs Sons snnascr cede AtaRnendaneconadnie statis ae sieyscipenna sescoancenannnnie 
 
 CLOSING BARS OF “A CHRISTMAS PIECE” WITH DATE AND AUTOGRAPH OF THE COMPOSER. 
 
 served the University for forty-three 
 years. 
 
 The Harvard Graduates Magazine 
 for September, 1906, says, “While he 
 was one of the most famous members 
 of the Faculty, yet from the nature of 
 his subject he was not so well known 
 to the body of students and graduates 
 as most of his colleagues. Moreover, 
 it is probably true that the full value 
 of his work was more keenly perceived 
 abroad than in the University. The 
 Chair of Music was an experiment not 
 only at Harvard, but in American 
 Universities. At the close of Paine’s 
 career it can be said not only that he 
 held the office with great usefulness as 
 a teacher, but that he reflected high 
 renown upon Harvard from the bril- 
 liancy of his individual works. Yet the 
 acclaim of the latter almost necessarily 
 came from the musical world outside; 
 it is hardly to be expected that the Col- 
 
 lege should appreciate the true quality 
 of the creative work that was done, so 
 to speak, under its own auspices. 
 
 “In a country without great musical 
 traditions it was of incalculable gain 
 to have a master like Paine to encour- 
 age and lead the way. In art a single 
 living example is worth a hundred trea- 
 tises. Pupils of the greatest promise 
 are best taught by example, though 
 strict pedagogy can in no wise be dis- 
 ~ pensed with. 
 
 “Paine’s art was not merely aca- 
 demic. He did not write, like some 
 
 famous teachers of the past, merely to 
 show that he could do it. He lived for 
 composing, and so he was a vital stim- 
 ulus to his pupils. But, single minded 
 in his creative work, he was quick to 
 kindle the spirit of his students. He 
 had the kindly sense that sees the pos- 
 sibility rather than the reality. None 
 of his pupils can forget the personal 
 interest that seemed out of all propor- 
 tion to their own desert, —the hearty 
 welcome of himself and of his wife to 
 their home at all times. The power 
 and effect of Paine’s teaching is seen 
 in the line of active and successful mu- 
 sicians who got their training at Har- 
 vard. Under Paine, Harvard became 
 the leading school for composition in 
 America.” 
 
 His was the first music of an Ameri- 
 can composer to be performed abroad. 
 It was his composition that was played 
 at the Wagner Festival when, by invi- 
 tation, he was chosen to represent 
 America. On this occasion but one 
 composer representing each nation was 
 selected. 
 
 He received his honorary degree of 
 Master of Arts from Harvard in 1867 
 and Doctor of Music from Yale in 
 1890, and he was elected Fellow of 
 American Academy of Arts and Sci- 
 ences. 
 
 The Concert Hall at Harvard has al- 
 ways been known as the John Knowles 
 Paine Concert Hall and that is the in- 
 
JOHN KNOWLES PAINE AT THE TIME HE REPRE- 
 SENTED AMERICA AT THE UNVEILING OF THE 
 WAGNER MEMORIAL AT BERLIN (1903). FROM A 
 PHOTOGRAPH BY M. ADLER, KARLSBAD. 
 
 scription in very handsome lettering 
 above its entrance. 
 
 Critics are unanimous in their ex- 
 pressed opinion that none excelled 
 Paine as a composer and contrapuntist. 
 
 He has been pronounced the most 
 classic of all American composers and 
 has been variously referred to as “the 
 Father of American Music,” “the Dean 
 of American Composers,” and “The 
 Nestor of the American Composers in 
 the great classical forms.” 
 
 One has said that “Before Paine 
 there never had been an American 
 composer worthy of serious considera- 
 tion in the larger forms.” In fact for 
 a number of years “he stood alone the 
 one classical composer of America.” 
 
 John Fiske wrote, “He gradually de- 
 
 MUSIC AND MUSICIANS OF MAINE 
 
 veloped a department of instruction in 
 Music such as had never before been 
 seen in the United States. It is due to 
 him that music has been put on the 
 same level with philosophy, science and 
 classical philology, counting as much 
 towards the degrees of Master of Arts 
 or Doctor of Philosophy.” 
 
 Theodore Thomas, a great admirer 
 of John Knowles Paine, on one of his 
 visits to Portland, was asked for his 
 opinion of Paine as a composer. His 
 reply was that Mr. Paine was, “Easily 
 the greatest of all American Com- 
 posers.” 
 
 Referring to Paine’s oratorio “Saint 
 Peter,” W. S. B. Matthews, in his One 
 Hundred Years of Music, recites: 
 
 “In style the work somewhat re- 
 minds one of Mendelssohn, yet it is in 
 no sense an imitation. The solo parts 
 are largely recitative, passing by al- 
 most insensible gradations to arioso 
 and aria. The handling of the recita- 
 tive is masterly, the text being intelli- 
 gently declaimed in a musical setting 
 enhancing its emotional implications to 
 a remarkable degree. And it is safe to 
 say that in any other country than the 
 United States a great work by a dis- 
 tinguished native of the country would 
 not have been neglected to the extent 
 that Paine’s St. Peter has been. Some 
 allowance for this neglect may be made, 
 however, upon the score of the great 
 difficulty of the choral parts, in which 
 modulations are employed as freely as 
 in an instrumental fugue, and with per- 
 haps somewhat too little consideration 
 for the convenience of the voice.” 
 
 “St. Peter” was again produced on 
 May 9, 1874; this time in Boston by 
 the famous Handel and Haydn Society 
 with the Thomas’ Orchestra accom- 
 panying and with Mrs. J. Houston 
 
 West, Nelson Varney, Adelaide Phil- 
 
 lips and J. F. Rudolphson singing the 
 solo parts. 
 
MUSIC OF THE STATE OF MAINE— 1857-1896 137 
 
 For more than half a century critics 
 declared that Mr. Paine set a standard 
 in this truly great composition that 
 had not since been equalled by any 
 other American. 
 
 By his production of the oratorio 
 “St. Peter,” Mr. Paine’s reputation as 
 the first thorough composer in the 
 grand style in America was established. 
 Upton, in his “Standard Oratorios,” 
 says of it, “From the highest stand- 
 point, it is the only oratorio yet pro- 
 duced in this country,” while a critic 
 in the Musician of March, 1910, writ- 
 ten more than thirty years after the 
 first production of this oratorio says, 
 “Careful study of St. Peter brings to 
 light so many beauties and so many 
 touches of the kind we are accustomed 
 to rank as modern that we wonder why 
 it has not proved more popular.” He 
 declares that it is a stronger work mu- 
 sically and contrapuntally than either 
 of the two of Mendelssohn’s, and fur- 
 ther points out that the first soprano 
 solo, “The Spirit of the Lord,’ the 
 choral, “How Lovely Shines the Morn- 
 ing Star,” the tenor air, “Let not Your 
 Hearts Be Troubled,” the Chorus of 
 Angels, “Remember from Whence 
 Thou Art Fallen,’ and the contralto 
 solo, “The Lord is Faithful,” are all 
 remarkably available for church use, 
 given singers of musical feeling and 
 true vocal capacity. 
 
 It may be said here that, not only 
 was the oratorio “St. Peter” the work 
 of a great master, but its first perform- 
 ance in Portland seemed to indicate to 
 what a degree of choral perfection, in 
 interpretation of the oratorio, the 
 Haydn Association of that city had 
 arisen under the directorship of Her- 
 mann Kotzschmar. 
 
 W. L. Hubbard, in his American H1s- 
 tory and Encyclopedia of Music de- 
 clared “He nobly advanced the cause 
 of Music.” 
 
 Appleton’s Encyclopedia of Ameri- 
 can Biography said, “By eminent crit- 
 ics in Germany, Prof. Paine is ranked 
 among the foremost living composers.” 
 
 The music critic of the Outlook at 
 the time of Mr. Paine’s demise, wrote, 
 “Death last week ended a life which 
 has been of great value to America,” 
 that “His most distinguished quality 
 was his thorough knowledge of his sub- 
 ject,’ and that, “his pupils remember 
 the severe standards for musical com- 
 position, his extreme indulgence for the 
 student, his whimsical excentricities, 
 his naivete, his likable egotism, his ab- 
 sorption in his art and his fine simple 
 spirit and character.” 
 
 The editor of the Musician wrote 
 that “while Mr. Paine never caught the 
 popular ear he exerted a powerful in- 
 fluence upon musical ideals, through 
 his thorough education of so many 
 young American Musicians,” and that 
 he “always composed in a broad mas- 
 terly way.” 
 
 At the time that the restoration of 
 the Longfellow birthplace, in Portland, 
 was being undertaken by the Inter- 
 national Longfellow Society (1914) it 
 was discovered that a cheap glass pan- 
 elled door and frame had been substi- 
 tuted for the handsome Colonial door- 
 way which originally adorned the fa- 
 cade of this historic edifice. A com- 
 mittee immediately interested itself in 
 an attempt to procure an old doorway 
 of a design similar to that of which the 
 poet’s early home had been divested in 
 order that this literary shrine might 
 again appear as it was when first con- 
 structed. 
 
 The once fashionable, but then declin- 
 ing sections of the city, were scoured 
 with this purpose in view, until finally 
 an owner of an old Colonial house, 
 the interior of which had been made 
 over into tenements of the cheaper 
 class, consented to part with his very 
 
138 MUSIC AND MUSICIANS OF MAINE 
 
 handsome, though somewhat weather 
 worn doorway, in exchange for a new 
 one with plate glass panel and modern 
 trimmings. 
 
 It was not until more than ten years 
 after this episode that when, through 
 the efforts of one, who had been a 
 member of this old committee, to find 
 the house in which John Knowles 
 Paine was born, the location of which 
 seemed to have passed out of the 
 minds of all then living, the amazing 
 discovery was made that the stately 
 entrance with its mullioned side lights, 
 its arched transom, and its moulded 
 architraves which had been installed 
 by the zealous restoration committee 
 in the birthplace of the world’s best 
 loved poet, had been taken from the 
 recessed embrasure in the front of the 
 building that first sheltered America’s 
 first great composer. 
 
 Thus was the birthplace of the com- 
 poser of the Oratorio of “St. Peter” 
 robbed of its Colonial doorway that 
 the lintel of the home in which the 
 author of “Paul Revere’s Ride” first 
 saw the light of day, might be restored. 
 
 In the following paragraphs, taken 
 from a letter written by his nephew, 
 Hugh Paine Greeley in 1927, an inter- 
 esting reference to the simplicity of 
 Mr. Paine’s home life is presented. 
 
 “Prof. Paine was married to Eliza- 
 beth Greeley and tried to support her 
 by playing the organ at Appleton 
 Chapel. She treasured the 75¢ ring that 
 he gave her more highly than any oth- 
 er possession. They had about Seventy- 
 five Dollars when married. Young 
 Paine went to Eliot, President of the 
 University and‘urged that music should 
 be taught in American Colleges, Eliot 
 finally said, ‘If you will teach without 
 pay, you may doso.’ Paine took it up 
 with his bride and she wisely counseled 
 him to do so, even if they had to live 
 on the edge of starvation. At the end 
 
 of two years Yale offered the pioneer 
 Music teacher of America a salary and 
 Eliot quickly matched it. Paine taught 
 at Harvard from that day until his 
 death. 
 
 “His wife cared for him as for a 
 child. She stood between him and the 
 world. He was a guileless trusting man, 
 living in his own world of music and 
 of friendship, wholly unaware of the 
 schemes and selfishness that surround- 
 ed him. She managed the household. 
 She kept him from interruption when 
 he was composing. She husbanded his 
 small salary and made it answer all 
 needs. She entertained his friends, and 
 widened the circle constantly. She 
 fought his battles for him, dictated the 
 terms of his contracts, defended him 
 before the President and faculty of the 
 college, and saw that the furnace was 
 attended to, and the house painted at 
 the proper time. 
 
 “Prof. Paine took the liveliest satis- 
 faction in the writing of the libretto of 
 his opera ‘Azara.’ His mind for months 
 was full of this composition, and he 
 would recite portions of it gleefully to 
 callers at the house. 
 
 “During his last years diabetes tried 
 to discourage him, but he was buoyant 
 and responsive even with waning vi- 
 tality. The week of his death he at- 
 tended a luncheon given in his honor 
 at the Tavern Club in Boston, where 
 he was the idol of the party, vivacious, 
 entertaining and happy. Shortly before 
 his death he was at the Isle of Shoals, 
 with his nephews. They were about to 
 take a plunge in the swimming pool, an 
 arm of the sea, enclosed by a small 
 bay. In spite of age and infirmity, his 
 spirit prompted him to join them. He 
 hired a bathing suit, ran out on the 
 diving board and plunged in with a 
 perfect dive. Having swam out he was 
 distressed because he could not find his 
 glasses. He had forgotten to remove 
 
MUSIC OF THE STATE OF MAINE — 1857-1896 139 
 
 them and the pool was emptied that 
 night and they were recovered.” 
 
 Letters from some of the members 
 of Mr. Paine’s classes at Harvard Uni- 
 versity who are now numbered among 
 those who stand highest in the musical 
 profession would form a symposium 
 that would be of value as showing the 
 high regard in which he was held by 
 all his former pupils, and the admira- 
 tion which they had for his musical 
 skill. 
 
 A few, however, will suffice here: 
 
 Charles Henry Morse, first professor 
 of music at Dartmouth College and 
 one of the founders of the American 
 Guild of Organists, wrote, 
 
 “Tt was my great pleasure and priv- 
 ilege to study with Prof. J, K. Paine at 
 the New Eng. Cons’y of Music and 
 later in Boston University College of 
 Music in the ’70’s — Organ, Counter- 
 point, Free composition, Orchestration 
 and History of Music and I studied all 
 the great Bach and Thiele organ com- 
 positions with him. 
 
 “T also regard him as America’s 
 greatest composer by far and am proud 
 of the fact that I found him not only 
 an inspiring teacher but a very warm 
 personal friend. He was a most sincere 
 and honorable man, incapable of any- 
 thing petty or narrow. He wrote his 
 first Symphony when I was studying 
 with him and brought his first drafts 
 with penciled sketches of the instru- 
 mentation to our classes in orchestra- 
 tion, a most helpful object lesson. 
 
 “T heard both his great symphonies 
 at their first performances, which were 
 triumphant and inspiring. Prof. Carl 
 Baermann, with whom I studied Piano, 
 greatly admired and honored Prof. 
 Paine and told me after hearing the 
 first Symphony, then in Manuscript 
 that he considered it the equal of any 
 symphonic work since Beethoven. 
 
 “T heard, also, the first performance 
 
 of the Oedipus music at Sanders Thea- 
 ter (Cambridge), under his direction, 
 and had the great pleasure of giving it 
 two successful performances with my 
 college chorus and Orchestra, when 
 that great play was performed under 
 the direction of the Greek Department 
 at Dartmouth College some fifteen 
 years ago, while I was Professor of 
 Music there. 
 
 “The play was splendidly given and 
 the music made a great impression. 
 The Critic of the Boston Transcript, 
 wrote, “Ihe music of Prof Paine was 
 well worth the trip to Hanover.’ 
 
 “Many critics consider the Oedipus 
 music his finest composition.” 
 
 Arthur Foote, well-known organist 
 and ranked as one of “The Big Five” 
 among American composers, whose 
 music is sung in nearly every church 
 choir of any pretensions in the coun- 
 try said, 
 
 “T was glad to see that Portland has 
 not forgotten her distinguished son, 
 John Knowles Paine, the first Ameri- 
 can born musician to compose music 
 that placed him in the first rank. We 
 younger men all looked up to him. He 
 has never had the true recognition that 
 was his due. As a teacher (and friend) 
 I think of him with affection and grat- 
 itude — having studied with him my 
 last year at Harvard and after gradua- 
 tion —and owe him more than can be 
 expressed.” 
 
 Prof. Walter R. Spalding, head of 
 the division of music at Harvard Uni- 
 versity, wrote, 
 
 “Professor Paine, quite aside from 
 his compositions, certainly did a very 
 wonderful work in founding music at 
 Harvard and for this his name will al- 
 ways be held in lasting affection and 
 regard.” 
 
 Thomas Whitney Surette, Lecturer 
 on Music and formerly Director of Mu- 
 sic at Bryn Mawr College, stated, 
 
140 
 
 MUSIC AND MUSICIANS OF MAINE 
 
 BIRTHPLACE OF THE PORTLAND ROSSINI CLUB (1867), OLDEST MUSICAL ORGANIZATION IN AMERICA, 
 
 WHOSE MEMBERSHIP IS COMPOSED WHOLLY OF WOMEN. 
 
 THE SPIRE AND MINARETS AT THE RIGHT 
 
 WERE THOSE OF THE HIGH STREET CONGREGATIONAL CHURCH IN WHICH CONCERTS BY THE PORTLAND 
 SACRED MUSIC SOCIETY WERE GIVEN AS EARLY AS 1836. 
 
 “I am glad to pay what tribute I can 
 to John Knowles Paine with whom I 
 studied, not only in the Music Depart- 
 ment of Harvard but privately after 
 leaving the department, and for whom 
 I have always had a great admiration. 
 I have always deplored the neglect 
 which his compositions have suffered 
 during the last twenty years, and think 
 it would be of great benefit to Ameri- 
 can music if they were given more 
 often. I particularly admire his setting 
 of Milton’s ‘The Nativity, and I think 
 it is a finer work of its kind than any 
 other composition by an American.” 
 
 Henry M. Dunham, Boston organist 
 and composer, said, “I surely have the 
 very great honor and pleasure of hav- 
 ing been a pupil of Prof. John Knowles 
 Paine and studied with him at the time 
 when he was a Professor in two col- 
 leges at the same time,—Harvard and 
 
 the Boston University College of Mu- 
 sic. As a teacher he was genial and yet 
 thorough. As a Bach scholar and in- 
 terpreter he was inimitable in his day 
 
 'in this country.” 
 
 The Portland Rossini Club 
 
 “Fifty years 
 Went by with music; and the rapid beat 
 Of Time’s incessant feet 
 Fell half unheard amid the enchanting noise 
 Of instrument and voice.” 
 
 The Portland Rossini Club, which 
 bears the distinction of being the oldest 
 musical club in America, and perhaps 
 in the world, whose membership is 
 composed entirely of women, dates its 
 beginning back to the winter of 1867- 
 1868 when a few representative Port- 
 land women, eager to advance the 
 cause of music in that city, met in the 
 old Colonial homestead of Francis O. 
 
 — ee 
 
tr 7 
 
 ee See eye ee, Se oN 
 
 ION RO ae ME ee, ane ee 
 
 MUSIC OF THE STATE OF MAINE— 1857-1896 
 
 I4I 
 
 Libby, which then stood on the present 
 site of the J. R. Libby Memorial Build- 
 ing, at the corner of High and Congress 
 Streets in Portland. 
 
 The suggestion that such a society 
 should be formed came from Isabella 
 L. Millett of Portland and Elizabeth 
 Cushing of Augusta in the winter of 
 1865-1866. They called into consulta- 
 tion Mrs. William Henry Dennett and 
 she agreed to endeavor to interest 
 some of her most promising pupils in 
 the formation of such a club. These 
 three with Mrs. Emily K. Brown may 
 be said to have been the actual found- 
 ers of the Portland Rossini Club. 
 
 In the beginning the meetings were 
 of an informal character, just a gather- 
 ing, once a week, of a few enthusiasts 
 of more than ordinary talent, who met, 
 first at one house and then at another. 
 For four years these music lovers, to 
 the number of a dozen or more, con- 
 tinued to meet weekly during the win- 
 ter months. 
 
 Following the program at the meet- 
 ing on December 14, 1869, which was 
 held at the home of Julia Libby, this 
 
 society, destined to become one of the 
 
 most notable music clubs in the coun- 
 
 try, was organized and its first officers 
 
 were chosen. They were Mrs. William 
 
 Henry Dennett, President; Mrs. Emily 
 K. Brown, Vice President; Harriet S. 
 
 _ McCobb, Secretary; and Mrs. Frank 
 _E. Allen, Treasurer. 
 
 The principal object of the society, 
 
 _ at that time, was stated to be, “A fresh 
 
 impulse towards mutual development 
 through the efforts of each individual 
 
 ~ member.” 
 
 The membership was to be limited 
 to thirty-five, each of whom was ex- 
 pected “to contribute her part either 
 
 in singing or playing at every second 
 
 or third meeting, according to the dis- 
 cretion of the officers.” 
 At the following meeting, at which 
 
 JOSIAH PIERCE (ISABELLA L. MILLETT), 
 WITH WHOM THE THOUGHT OF ORGANIZING THE 
 
 MRS. 
 
 PORTLAND ROSSINI CLUB ORIGINATED (1865). 
 FROM A PHOTOGRAPH MADE BY ELLIOTT AND FRY, 
 LONDON, IN 1878. 
 
 fifteen members were present, and 
 which was held just a week later, the 
 epitheton of the society was chosen. 
 
 In the early post bellum days, when 
 funds were desired for any worthy 
 object, a raffle would be held, and so, 
 in 1871, when the need of a club piano 
 became urgent, a concert was given 
 and two raffles were arranged, and 
 from these sources the club realized 
 nearly three hundred dollars towards 
 the purchase of its first Chickering 
 Grand. 
 
 The first place of meeting of the 
 club, at other than private residences, 
 was in Samuel H. Stevens’ Piano Ware- 
 rooms on Middle Street, opposite the 
 head of Cross Street. There the society 
 met, for a season, and there its first 
 concert was given. 
 
142 MUSIC AND MUSICIANS OF MAINE 
 
 After 1870 the club held its meet- 
 ings first at the warerooms of W. G. 
 Twombley on Exchange Street, then 
 in Reception Hall which was located in 
 the old City Hall building, and after- 
 wards successively in Fluent’s Hall, 
 Mercantile Hall, the Rossini Hall on 
 Exchange Street, Kotzschmar Hall, the 
 Lafayette Hotel, Pythian Hall and 
 Frye Hall. 
 
 In the winter of 1925-26 it became 
 established in a capacious room in the 
 Blue Triangle House opposite Frye 
 Hall: 
 
 The Portland Rossini Club was in- 
 corporated by the State Legislature 
 February 18, 1871. The incorporators 
 were Harriet N. Wetherbee, Emily K. 
 Brown, Elizabeth C. Allen, Isabella L. 
 Millett, Harriet S. McCobb and Mary 
 D. Boyd. 
 
 The object of the society was then 
 stated, in the incorporation papers, to 
 be, “mutual improvement in the art of 
 music.” The capital stock to be issued 
 was three thousand dollars, subject to 
 increase by vote of the club to twice 
 this amount. 
 
 In 1891 the by-laws were amended 
 so that the club might hold personal 
 property not exceeding six thousand 
 dollars and real estate not exceeding 
 twenty thousand dollars. 
 
 Active members at the time of the 
 incorporation of the society with dates 
 of admission to membership were: 
 
 Mrs. Elizabeth C. Allen (Mrs. Frank 
 E. Allen), 1869; Mrs. Helen M. Allen 
 (née Helen Paine), 1870; Mrs. Jane 
 W. Anderson, 1869; Ellen J. Barker 
 (Mrs. Orrin S. Fogg), 1870; Mary D. 
 Boyd (Mrs. Franklin Barrett), 1869; 
 Mrs. Emily K. Brown (Mrs. George 
 L. Andrews), 1869; Mrs. Mabel Burn- 
 ham (Mrs. W. H. Fessenden), 1869; 
 Caroline N. Burpee (Mrs. E. P. Shaw), 
 1870; Sarah R. P. Carter (Mrs. Quim- 
 by), 1869; Ellen M. Corser (Mrs. D. 
 
 A. Easton), 1869; Mrs. Letitia J. Cum- 
 mings, 1869; Caroline E. Davis, 1869; 
 Mrs. Lina C. Dennett (Mrs. William 
 Henry Dennett), 1869; Elizabeth W. 
 Dyer (Mrs. Abiel M. Smith), 1869; 
 Mrs. Sarah M. Ellison, 1869; Mrs. Ab- 
 bie E. Emery (Mrs. Bloomfield Brow- 
 er), 1869; Mrs. Elsie H. Farley (Mrs. 
 Cyrus H. Farley), 1869; Susan Farley 
 (Mrs. William T. Ormiston), 1869; 
 Alice Gerry (Mrs. David Stewart), 
 1870; Elizabeth S. Jones (Mrs. Stanley 
 T. Pullen), 1869; Annie Lally (Mrs. 
 Frank H. Phipps), 1869; Ella C. Lew- 
 is, 1869; Henrietta H. Lewis, 1869; 
 Julia P. Libby (Mrs. Rollin Augusta 
 Ives), 1869; Harriet S. McCobb, 1869; 
 Mary S. McCobb, 1869; Mrs. A. Eliza- 
 beth Merrill, 1869; Isabella L. Millett 
 (Mrs. Josiah Pierce), 1869; Harriet J. 
 Morrill, 1870; Hannah C. Nichols 
 (Mrs. Charles Cushman), 1869; Mrs. 
 Deborah R. Norcross, 1871; Mrs. Mar- 
 tha D. Pierce, 1869; Mrs. Edward M. 
 Rand (née Emily Kelley), 1869; Anna 
 H. Shepley (Mrs. Dexter Tiffany), 
 1869; Mrs. Joseph P. ‘Thompson, 1871; 
 Mary A. Torrey (Mrs. Hermann Kotz- 
 schmar), 1871; Sarah E. Ware (Mrs. 
 John Mackay), 1869; Mrs. Emma S. 
 Waterhouse, 1869; Mrs. Jane M. U. 
 Webb (Mrs. Nathan Webb), 1869; 
 Mrs. Harriet N. Wetherbee (Mrs. Ho- 
 ratio N. Jose), 1869; Anna W. Wood- 
 bury (Mrs. George Wells), 1869. 
 
 Of the four original founders of the 
 Rossini Club but one, Mrs. Josiah 
 
 Pierce, was living in 1928. She is re- 
 
 membered by the older musicians as 
 
 Miss Isabella L. Millett. She, it was, 
 with whom the thought of organizing 
 such a club originated and she may be 
 said to be the mother of the Portland 
 Rossini Club. 
 
 For Mrs. Frank E. Allen (Mrs. 
 Elizabeth Cushing Allen), another of 
 the founders of the Rossini Club, it is 
 claimed that it was owing largely to 
 
 Se 
 
MUSIC OF THE STATE OF MAINE— 1857-1896 143 
 
 her great interest and energy that the 
 club was successfully launched. Mrs. 
 Allen studied with Hermann Kotz- 
 schmar, with whom she had a life long 
 friendship, and, as a pupil, Kotzschmar 
 delighted in her. She assisted him in 
 many of his musical enterprises. It is 
 said of her that, “She was born with 
 the gift of music.” 
 
 Mrs. George L. Andrews, née Emily 
 K. Oliver, who, as Emily K. Brown, 
 was one of the four who founded the 
 club, first married James Olcott Brown, 
 a scion of one of Portland’s best known 
 families. Mr. Brown lived only about 
 four years after their marriage. Several 
 years later she married General George 
 i. Andrews, U.S. A., and as an officer’s 
 wife visited many foreign ports. She 
 was the daughter of Henry Kemble 
 Oliver of Salem, author of several well- 
 known hymns, including the familiar 
 “Federal Street,” and inherited her mu- 
 sical talent from her father. Possessed 
 of a fine voice, she lent her influence to 
 all that was best in music. She was the 
 first to serve as Vice President of the 
 club, and was also one of the incor- 
 porators. She has been described as 
 “gifted, attractive, and with great 
 charm of manner.” Referring in after 
 years to the meeting at which the orig- 
 inators of the club gathered to form 
 this musical organization she wrote, 
 “We would hardly have dared to hope 
 the result of that hour’s talk would be 
 the thoroughly formed, strong musical 
 society, so high in standard, that bears 
 the name of the Portland Rossini 
 Club.” After General Andrews retire- 
 ment she lived with her husband in 
 Washington where she died in 1920. 
 
 Mrs. W. H. Dennett, one of the 
 Original members and the first Presi- 
 dent of the Rossini Club, was a very 
 prominent vocal teacher in Portland 
 for many years. 
 
 Mrs. Dennett served the society as 
 
 MRS. WILLIAM HENRY DENNETT, FIRST PRESIDENT 
 OF THE PORTLAND ROSSINI CLUB (1869-1870). 
 
 President for one year, when Mrs. 
 Harriet N. Wetherbee (who later be- 
 came Mrs. Horatio N. Jose) succeeded 
 her in the chair which she held for a 
 period of twenty years. 
 
 With the beginning of the third sea- 
 son (1871-1872) Mrs. Dennett was ap- 
 pointed the first musical director of the 
 club. 
 
 The ultra conservative local news- 
 papers of this early period, reflecting 
 the thought of the time, gave evidence 
 of their distrust of anything under- 
 taken by women. The only words of 
 criticism or praise of the performance 
 of one of the first programs of the 
 Rossini Club are found in the words, 
 “The following selections we are told 
 were really well done. . . .” 
 
 Mrs. Harriet (Wetherbee) Jose, 
 whose death occurred on August 9, 
 1912, was elected the second President 
 of the Rossini Club in 1870, and was 
 
144 
 
 MUSIC AND MUSICIANS OF MAINE 
 
  ——————————— 
 
 MRS. HARRIET N, WETHERBEE, SECOND PRESIDENT 
 OF THE PORTLAND ROSSINI CLUB (1870-1891), 
 AND SOLOIST ON THE OCCASION OF THE PRESENTA- 
 TION OF JOHN KNOWLES PAINE’S ORATORIO “ST. 
 PETER IN 1873. 
 
 reélected each year thereafter until 
 1891. Her musical career began as 
 Harriet Cammett, and she is remem- 
 bered as soloist, first, in the Old Port- 
 land Sacred Music Society, and later, 
 of the Haydn Association, and in the 
 principal choirs of the city. For years 
 she was the leading soprano in the 
 State and charmed every one with her 
 bird-like voice and wonderful execu- 
 tion. A critic said of her, “our country 
 has not yet produced a more accom- 
 plished songstress. Her power of ex- 
 ecution is remarkable and the compass 
 and flexibility of her voice are alto- 
 gether supreme.” 
 
 Mrs. Emily Kelley Rand, when she 
 died in 1920, had served the Rossini 
 Club as President for twenty-five years. 
 
 She had been an active member from 
 1869 to 1920; Treasurer from 1871 to 
 1891; President, 1891 to 1917; and 
 Honorary President from 1917 to 1920. 
 
 In November of the year of her 
 death the Rossini Club, assisted by the 
 Kotzschmar Club and prominent mu- 
 sicians, united in a memorial program 
 given to honor her memory at Frye 
 Hall. 
 
 On the evening of January 21, 1921, 
 the Portland Rossini Club celebrated 
 the golden anniversary of its incorpo- 
 ration, by giving a superb concert and 
 holding a reception at Frye Hall, in 
 Portland. 
 
 This proved to be the most brilliant 
 occurrence in its eventful history... 
 
 The program, which was especially 
 appropriate to this rare occasion, was 
 opened by a review of the achieve- 
 ments of the club, by the President. 
 
 Elizabeth Pullen’s poem, “The Gold- 
 en Milestone,” was read and an ad- 
 dress on music was made by Thomas 
 Errington Calvert, music critic. 
 
 The stellar attraction on the pro- 
 gram was Arthur Hackett, American 
 tenor, a native of Portland, who, with 
 his wife, Constance Freeman Hackett, 
 formerly of Yarmouth, at the piano, 
 appeared in two groups of songs. 
 
 Of unusual import was the singing 
 of Meyerbeer’s duet, “Per serbar me 
 fedele,” by Mrs. Frederick H. Palmer 
 (Florence Knight) and Mrs. Matthew 
 Keenan (Katherine Ricker), performed 
 in the same manner in which they had 
 given’ it twenty-eight years before at 
 the World’s Columbian Exposition. 
 
 In the golden anniversary book of 
 the Portland Rossini Club was printed 
 a complete list of its members, past 
 and present, with dates of admis- 
 sion (the last two figures of each year 
 being given here), and, as this is valu- 
 able as showing the period of activity 
 of some of Portland’s most highly cul- 
 
 ee ee ee ee 
 
 ee ee ee OL ee a ee a a a 
 
MUSIC OF THE STATE OF MAIN E-— 1857-1896 145 
 
 a = 
 
 tured and accomplished women mu- 
 sicians for half a century, it is, with 
 the exception of the names of the 
 charter members, which will be found 
 in an earlier part of this chapter, re- 
 produced here. Those against whose 
 names is placed an asterisk were mem- 
 bers of the club in its fiftieth anniver- 
 Bary year. 
 
 Mrs. Alberta Abbott,* ’11; Eleanor Adams* 
 (Mrs. Adam P. Leighton, Jr.), ’07; A. Eloise 
 Adams (Mrs. James Freebourne), ’95; Alice 
 M. Allen* (Mrs. John W. Bowers), ’85; Mrs. 
 E. S. Anderson, ’08; Mary Preble Anderson,* 
 ’89; Julia M. Andrews (Mrs. F. R. Jones), ’73; 
 Miriam Andrews,* ’17; Amy Anthoine, ‘Io: 
 Louise H. Armstrong,* ’02; Ellen Babcock, ’14; 
 Helen Baine* (Mrs. Howard Clark), ’10; Bea- 
 trice Banks* (Mrs. Alfred Brinkler), ’10; Con- 
 
 stance Banks* (Mrs. Earle Rundlette), ’10; 
 Beatrice Barber, ’04; Ina Barbour (Mrs. John 
 
 Blake), 06; Mrs. G. Mortimer Barney,* 98; 
 
 Alena Belle Bartlett (Mrs. Leonard Woodbury), 
 78: Mary Bates (Mrs. Stephen P. Gilbert); 
 Mildred Bennett, ’08; Lillian Bernstein,* ’19; 
 Minna Bernstein,* ’19; Fanny G. Berry (Mrs. 
 Calvin Woodside), ’95; Gertrude E. Berry,* ’00; 
 Mrs. Frank C. Bibber,* ’95; Mrs. Madeline Files 
 Bird (Mrs. Franklin H. Wilkins), ’05; Helen 
 Birkenmayer (Mrs. Bertram Adams), 712; Alice 
 B. Blanchard, 76; Lucy N. Blanchard,* 72; 
 Helen Bonney, ’o1; Mrs. J. H. Rounds, ’oo; Mrs. 
 William S. Bowen, 714; Mrs. C. Everett Boyn- 
 ton,* 712; Alice L. Bradford,* ’o2; Harriet P. 
 Brazier* (Mrs. Ralph G. Libby), ’10; Mrs. Mor- 
 timer N. Bremon,* ’07; Mrs. Charles W. Briggs, 
 ’o1; Elizabeth M. Brown, ’84; Louise S. Brown 
 (Mrs. Harry M. Verrill), ’94; Sally Carroll 
 Brown* (Mrs. Herbert Payson), ’86; Violetta 
 Brown* (Mrs. Harold Lee Berry), ’04; Beatrice 
 E. Bryant,* ’17; Margaret Bryant (Mrs. Alfred 
 McGrath), ’78; Miriam Burke, *16; Harriet 
 Burnham, 774; Mrs. Robert Burns, ’16; Gertrude 
 Buxton,* ’13; Anna C. Carey* (Mrs. Lux 
 Bock), 711; Lillian Carllsmith, ’83; Ada Cary 
 (Mrs. Frank McKenny), ’72; Ina E. Carlow, 
 ’t0; Marion Carter,* ’20; Frances M. Chandler 
 (Mrs. C. K. Hawes), ’72; Mrs. Ellen O. Chase, 
 73. Florence M. Cheney (Mrs. Fred Allen), ’94; 
 Alice O. Chick, ’02; Florence E. Chipman, ’o2; 
 Mrs. Elizabeth Choistry (Mrs. John Scott), 713; 
 Francine L. Clarke (Mrs. George Kettembile), 
 8c. Mrs. Franklin P. Clarke, ’o1; Geneva E. 
 Clark, ’o7; Gertrude Clark, 714; Minnie E. 
 Clark, ’91; Mrs. A. C. Cloudman,* ’o1; Emily S. 
 Cobb, ’96; Helen Cobb,* ’97; Mary Alice Cobb, 
 
 MRS. EMILY KELLEY RAND, THIRD PRESIDENT OF 
 THE PORTLAND ROSSINI CLUB (1891-1917); HON- 
 ORARY PRESIDENT (1917-1920); AND A MEMBER 
 OF THE CLUB FOR MORE THAN FIFTY YEARS. 
 
 ’91; Florence Coffey,* ’20; Susan G. Coffin,* ’05; 
 Harriett Collver, ’18; Mrs. Leroy Cook (Mrs. 
 Eunice M. Kiley), ’14; Mary P. Cox (Mrs. 
 Charles E. Longfellow); Blanche O. Cram (Mrs. 
 Longfellow), ’98; Helen H. Cressey,* ’05; Alice 
 M. Curtis* (Mrs. George E. Laird), ’03; S. 
 Helen Cushing (Mrs. W. H. Dearborn), ’73; 
 Janet Cutler, 16; Gertrude Dam* (Mrs. Charles 
 Tarling), 07; Frances Darker* (Mrs. Stanwood 
 Fisher), 11; Annie L. Davis (Mrs. Carl Akely) ; 
 Mrs. Gilman Davis,* ’02; Margaret B. Davis, 
 ’91; Sally Davis, ’10; Mrs. Mary T. Denison, 
 76; Florence Dingley, ’02; Mrs. Edward Dodge; 
 Mrs. Rex Dodge,* ’12; Frances Dodwell (Mrs. 
 Alexander Siemens), 777; Mrs. Charles Doten,* 
 ’r1; Ethel M. Dresser (Mrs. Ethel D. Shurtleff), 
 ’81: Kate F. Dyer (Mrs. Henry Wood), ’83; 
 Mrs. Emma Hayden Eames, 773; Mrs. Ada H. 
 Emerson (Mrs. Ada H. E. Hazel), ’75; Ellen O. 
 Eveleth* (Mrs. Charles D. Barrows), 76; Ellen 
 Fairfield (Mrs. Luther B. Moore), ’90; Harriet 
 W. Farnham (Mrs. Charles Pease), ’08; Grace 
 Farrington (Mrs. Grace F. Homsted), 03; Har- 
 riet H. Fassett, ’95; Mabel R. Field, ’88; Eva E. 
 Findley, ’92; Clementine Fletcher (Mrs. Arthur 
 
146 MUSIC AND MUSICIANS’ OF MATES 
 
 B. Morrill), ’83; Mary Fletcher (Mrs. Chase 
 Eastman), ’96; Mrs. Lucy M. Flint, ’ °743 Marion 
 Fobes (Mrs. Lawrence Brainerd), ’95; Evelyn 
 D. Fogg (Mrs. Hermann P. Olcott), ’98; Sarah 
 A. Folsom, ’09; Marie E. Foss (Mrs. Paul 
 Hutchinson), ’08; Harriet Foster* (Mrs. Harriet 
 F. Chadwick), ’95; Mrs. Henry P. Frank,* 711; 
 Claire L. Freeman, ’11; Lucille French, 08: 
 me Fullerton,* 10; Mrs. Helen G. Gardner, 
 ; Gertrude Gerrish® (Mrs. Daniel C. Pat- 
 be 16; Bertha G. Gilson, 96; Marguerite 
 Girouard,* ’ to; Eva A. Goodwin, 87; Margaret 
 Goodwin, ’93; Alice Goudy* (Mrs. Henry G. 
 Farley), ’06; Mrs. Annie J. Goudy (Mrs. Lewis 
 A. Goudy), 93: Louise Goudy (Mrs. George 
 Megrew) ; Elizabeth M. Gould (Mrs. Lyman 
 Rowland), 73; Ruth Gould (Mrs. Victor Gil- 
 patrick), ’12; Editha Gowen, ’12; Jessie F. 
 Grant, 783; Charlotte Gunn* (Mrs. George F. 
 Roche), ’o1; Mrs. Mary L. Hanson* (Mrs. 
 Harry S. Files), ’10; Mrs. Fanny Harford (Mrs. 
 Percy Andrews), ’10; Harriet B. Harmon,* ’04; 
 Carrie A. Haskell, ’86; Mrs. Robert Hatch, 715; 
 Mrs. Foster L. Haviland,* ’10; Martha F. B. 
 Hawes* (Mrs. Ernest J. Hill), ’95; Martha V. 
 Hemenway* (Mrs. David W. Snow), *72; Mar- 
 guerite Higgins (Mrs. Horace T. Hahn), °13; 
 Esther J. Holden (Mrs. Leon Bibber), 15; An- 
 nie C. Holmes* (Mrs. George J. Akers), 799; 
 Mrs. Robert V. Horan,* ’15; Lizzie L. Hovey, 
 (Mrs. Herbert Knight), ’92; Anna D. Howell,* 
 ’08; Alice H. Hudson (Mrs. Sanford Bray), ’85; 
 Mrs. Louis Huston, 708; Julia H. Jackson, 783; 
 Mrs. Theodore H. Johnson,* ’74; Mrs. Josiah H 
 Johnson,* ’ 11; Inez E. Johnston (Mrs. Clifford 
 Woodbury), ’05; Grace Jones, ’04; Louise Jones, 
 10; Alice M. Jordan (Mrs. Harry Dyer), 943 
 Eva Belle Jordan (Mrs. Arthur Warren), ’05; 
 Lillian M. Jordan (Mrs. Charles Baker), 93: 
 Lucy H. Jordan,* ’83; Margaret S. Jordan (Mrs. 
 Walter Fogg), ’96; Mary G. Jordan (Mrs. Sid- 
 ney Williams), ’94; Helen N. Jose (Mrs. Her- 
 bert H. D. Pierce), ’76; Agnes Keating,* *10; 
 Delma Kennedy* (Mrs. Clarence Dresser), 715; 
 Mrs. Kenniston, ’09; Mrs. Joseph W. Kilborn, 
 ’o1; Bertha King* (Mrs. Charles K. Fenderson), 
 ’08; Elizabeth King, ’96; Jennie S. King* (Mrs. 
 Frank J. Bragdon), ’77; Marietta King, ’73; 
 Mrs. W. A. Kirkpatrick (Mrs. W. H. Shurtleff), 
 o1; Florence G. Knight* (Mrs. Frederick H. 
 Palmer), ’88; Harriet E. Knight, ’10; Elizabeth 
 Kriger, ’15; Ione Lackee, ’12; Mrs. Carl Lam- 
 son, 06; Helen Lamson (Mrs. Frank Elwell), 
 ’93; Mrs. John C. Lane, ’08; Mildred Lang (Mrs. 
 Irving Rich), ’11; Lillian Lange (Mrs. James 
 Hendry), ’13; Helen Lewis,* ’o4; Alice Libby 
 (Mrs. Dana Grover), ’95; Florence H. Libby,* 
 ’08; Pearl G. Libby (Mrs. Pearl E. Flynn), ’03; 
 Mary L. Libby (Mrs. Arthur Chamberlain) , 
 
 ’95; Mrs. Richard Libby,* ’19; Mrs. Ellen B. 
 Littlefield,® Whe Ruth C. Long, 81; Mrs, James 
 Ks Lothrop,* 718; Eliza S. Lowell, ’95; Mrs. Effie 
 P. Malley,* ’19; Emily P; Mansfield, ’ 13; Grace 
 E. March (Mrs. Grace M. Cook), ’02; Marjorie 
 Mathis,* ’19; Mo I. McCalmon (Mrs. David 
 Gray Miller), ” ; Bhima McDonald* (Mrs. 
 James Stices sae 11; Mrs. James A. McFaul,* 
 12; Ellen B. McGregor, Oss Clara Fa. Merrill* 
 (Mrs. Frank O. Haskell), ’81; Dorothy Merrill,* 
 17; Elizabeth Merrill, 713; "Grace W. Merrill 
 (Mrs. Franklin C. Payson), ’77; Marcia Merrill, 
 18; Clarice Merriman* (Mrs. Alfred Smith), 
 11; Anna Miller* (Mrs. Joseph Korda), 17; 
 Henrietta A. Milliken (Mrs. O. H. Fellows), ’76: 
 Lois Mills,* 715; Eoline Monson (Mrs. Harry E. 
 Wilson), ’12; Yvonne Montpelier,* *12; Helen 
 Moody, ’09; Mary A. Moody (Mrs. H. L. Orr- 
 man), 776; Mollie F. Moore (Mrs. L. E. Wil- 
 lard), ’06; Mrs. Walter B. Moore,* *15; Loretta 
 Moran* (Mrs. Joseph B. Kahill), ’11; Ella W. 
 Morgan, ’90; Mrs. Walter W. Morong, ’o1; Alice 
 Morrison, ’08; Jennie R. Morse, ’74; Clara E. 
 Munger, 772; Emma F. Munger (Mrs. Horace 
 Parker), ’72; Helen E. Nash (Mrs. Frank E. 
 Sleeper), ’80; Mrs. Rupert Neily,* ’20; Helen 
 Nelson,* ’17; Julia Edwards Noyes,* ’93; Verna 
 Noyes, 714; Mary E. O’Brion, 778; Olive L. 
 O’Dea, ’10; Marguerite Ogden,* ’00; Mrs. James 
 B. O’Neill, ’95; Beatrice B. Orr, ’10; Mrs. Eliza- 
 beth Latham Otis,* 717; Clara Pancoast, 03; 
 Mrs. LeClaire Parmenter,* ’19; Emily Parsons,* 
 ’20; Catherine Patrick,* *10; Lucy E. Pennell, 
 ’90; Alice L. Philbrook,* ’81; Mrs. Mary Hill 
 Pierce, ’75; Charlotte Pike (Mrs. Charlotte P. 
 Lowell), ’11; Mrs. Cora F. Pike, ’92; Harriet 
 Pike (Mrs. Hartman Butler), ’80; Elizabeth 
 Pinkham (Mrs. Philip Brown), ’17; Ida May 
 Pinkham (Mrs. Edgar K. Wilson), ’o1; Re- 
 becca E. Poole* (Mrs. Robert H. W. Lord), ’07; 
 Mrs. G. C. Porcher, ’12; Florence Prescott, ’97; 
 Bernice M. Preston,* ’93; Annie E. Proctor, ’99; 
 Helen M. Randall, ’85; Lois Reardon, ’15; Hen- 
 rietta D. Rice,* ’89; Katherine M. Ricker (Mrs. 
 Matthew Keenan), ’90; Edith Robertson (Mrs. 
 George Jones), ’95; Mary Robinson (Mrs. Louis 
 Hills), ’00; Mildred Rogers, ’97; Mrs. Cara Bax- 
 ter Runciman,* ’20; Agnes Russell, ’00; Pauline 
 D. Sargent, ’99; Florence A. Sawyer (Mrs. Hiram 
 N. Cushman), ’04; Mary Sawyer, ’06; Alice C. 
 Scammon (Mrs. Charles R. Parker), 783; Mrs. 
 J. H. Seidel, ’14; Mary A. Seiders,* 96; Mrs. 
 Charles Shattuck, ’08; Harriet A. Shaw, 777; 
 Mildred Shaw, 713; Elizabeth C. Shirley, 785; 
 Ruth Sisson, 715; Ethelynde S. Smith, ’11; Mrs. 
 Fred Smith, ’13; Mrs. Edward H. Snow,* 10; 
 Lillian Soule (Mrs. Louis Bodin), ’10; Helene 
 Sparrow (Mrs. Helen E. Clarke),’73; Mrs. Sam- 
 uel McC. Stanton, 718; Mrs. Wentworth Steph- 
 
 ES ee ee a ee 
 
MUSIC OF THE STATE OF MAINE-— 1857-1896 147 
 
 enson; Athene Sterling (Mrs. N. Ward Thomp- 
 son), 708; Irene Sterling, ’08; Mrs. Frederick J. 
 Stevens* (Mrs. James S. Dickerson), ’94; Louise 
 S. Stevenson,* ’04; Bertha Steward* (Mrs. Jo- 
 seph W. Whitney), 798; Florence E. Stinchfield 
 (Mrs. Hoyt),’93;Gladys Stinson* (Mrs. Wallace 
 Cook), ’14; Anna Stockbridge,* ’78; Mary Stur- 
 divant, 715; C. Cawthorn Swallow, ’73; Marcia 
 B, Swan, 72; Ida K. Tarbox, ’83; Julia St. Felix 
 Thom (Mrs. Sidney W. Thaxter), ’78; Susan 
 A. Thomas, ’83; Dorothea Thomes (Mrs. Fred- 
 erick W. Banks), ’01; May Thompson (Mrs. 
 William Green), ’92; Mrs. Samuel S. Thompson, 
 10; Mrs. William N. Todd, ’10; Florence Top- 
 liff (Mrs. James G. Wallace), ’08; Edith C. 
 Trickey,*’95; Mrs. Ernest True,’95; Ruth Tuck- 
 er (Mrs. Leon Haines), 714; Mrs. John Hupper 
 Turner, 08; Ruth Turner (Mrs. Robert Rafter), 
 ’10; Mary E. Twigg, 96; Rose Tyler* (Mrs. 
 Maynard Bird), 06; Mrs. Luther P. Vaill, ’10; 
 Clementine Varney (Mrs. H. G. Huber), ’96; 
 Lois Wasson,* ’19; Bertha S. Webb (Mrs. Leon- 
 ard Paine), 785; Edna Webb* (Mrs. Latham 
 True), ’95; Clara E. Webster (Mrs. Leroy L. 
 Hight), 783; Ellen M. Webster (Mrs. L. H. Hal- 
 lock), ’79; Marion R. Weeks, ’93; Mrs. George 
 M. Whibley,* ’15; Arolyn White,* ’18; Mrs. 
 Elise Fellows White,* ’14; Mrs. Evelyn D. 
 White, ’96; Mrs. Robert Treat Whitehouse,* ’94; 
 Margaret V. Wildes* (Mrs. James H. Craven), 
 ’92; Anna C. Willey, 775; Myra Williams, ’95; 
 Margaret Wilson* (Mrs. M. A. Johnson), 09; 
 Sue Winchell* (Mrs. Charles T. Burnett), ’98; 
 Alice Wood,* 787; Ethel A. Woodbury (Mrs. 
 Albion Merrill), ’95; Florian Woodbury (Mrs. 
 Carleton Green), ’10; Helen Yorke, 713. 
 
 Since its Golden Anniversary year 
 the following have joined the Rossini 
 Club: 
 
 Pianists: Mrs. Maude Huston Haines, 
 Zilphaetta Butterfield, Arline Burnham, 
 Margaret McDuffie, Birdie Cohen, Sa- 
 die E. Albling, Helen L. Bradbury, 
 Mildred Corey, Mrs. Leah Peterson, 
 Lillian Wolfenberger, Mrs. Robert De- 
 Merritt, Frances Donnell, ‘Tillie Kap- 
 lan, Marion Kelly, Simonne LeSieur, 
 Martha McAdams, Phyllis Mosman, 
 Muriel Smith, Virginia Sweetser, Elea- 
 nor Carter, Leah Commeau, Ruth El- 
 len Dodds, Ruth May Gerry, Florence 
 Towle, Mrs. Alice Hay. — 
 
 Vocalists: Mrs. William T. Kuschke, 
 Mrs. Harry Seaford, Avis Lamb, Mari- 
 
 JULIA EDWARDS NOYES, PRESIDENT OF THE PORT- 
 
 LAND ROSSINI CLUB SINCE IQ9QI7, AND OF THE 
 MAINE FEDERATION OF MUSIC CLUBS SINCE 1926. 
 
 an Randall Dyer, Mrs. Floyd Richards, 
 Ursula Johnston, Doris McCausland, 
 Helen Ward, Gladys Russell Cook, 
 Mrs. Sadie H. Nissen, Mrs. Lucille 
 Potter Lavyn, Marion W. Theis, Eve- 
 lyn B. Carroll, May Korb Cronham. 
 
 Violinists: Emily Eldridge, Lillian 
 Webber, Hilda Baker, Lillian Talbot, 
 Dorothy Jones, Lois Pillsbury. 
 
 Cellists: Mrs. Marie Camara and 
 Elizabeth Chevalier. 
 
 Those who have been elected to hon- 
 orary membership of the Portland 
 Rossini Club have been: Ira Berry, 
 William H. Dennett, Hermann Kotz- 
 schmar, George W. Marston, Samuel 
 H. Stevens, Horatio N. Jose, Mrs. Ho- 
 ratio N. Jose (Harriett Cammett), 
 
148 MUSIC AND MUSICIANS OF MAINE 
 
 Mrs. George L. Andrews, Mrs. Sam- 
 uel E. Spring, Ella C. Lewis, Lucy 
 Nichols Blanchard, Mrs. Theodore H. 
 Johnson, Alice L. Philbrook, Mrs. Jo- 
 seph P. Thompson, Mrs. Abiel M. 
 Smith, Alice Wood, Mrs. Nathan 
 Webb, Mrs. Cyrus H. Farley, Mrs. El- 
 len B. Littlefield, Harriet S. McCobb, 
 Mrs. Josiah Pierce, Mrs. Stanley Pul- 
 len, Mrs. David W. Snow, Anna Stock- 
 bridge and Mrs. Latham True. 
 
 The officers of the Rossini Club, 1871- 
 1928, were Mrs. Edward M. Rand, 
 1917-1920, Honorary President; Mrs. 
 William Henry Dennett, 1869-1870; 
 Mrs. Harriet N. Wetherbee (Mrs. Ho- 
 ratio N. Jose), 1870-1891; Mrs. Ed- 
 ward M. Rand, 1891-1917; Julia E. 
 Noyes, 1917-1928, Presidents. 
 
 Mrs. Emily K. Brown, 1869-1874; 
 Sarah E. Ware, 1874-1876; Elizabeth 
 W. Dyer, 1876-1880; Mrs. Abiel M. 
 Smith (née Elizabeth W. Dyer), 1880- 
 1891; Mrs. Frank E. Allen, 1891-1896; 
 Mrs. Abiel M. Smith, 1896-1909; Mrs. 
 Latham True (née Edna Webb), 1909- 
 1916; Julia E. Noyes, 1916-1917; Mrs. 
 Frederick H. Palmer (née Florence G. 
 Knight), 1917-1924; Mrs. Charles Da- 
 na Barrows, 1922-1924; Marguerite 
 Ogden, 1925-1928; Henrietta D. Rice, 
 1925-1928, Vice Presidents. 
 
 Harriet S. McCobb, 1869-1872; Anna 
 W. Woodbury, 1872-1873; Sarah E. 
 Ware, 1873-1874; Henrietta Lewis, 
 1874-1876; Mary S. McCobb, 1876- 
 1878; Lucy N. Blanchard, 1878-1887; 
 Henrietta Lewis, 1887-Dec., 1888; Lucy 
 N. Blanchard, Dec., 1888-1893, Sec- 
 retaries. 
 
 Mrs. Herbert Payson, 1893-1894; 
 Margaret B. Davis, 1894-1895; Mrs. 
 Ellen B. Littlefield, 1895-1897; Edith 
 C. Trickey, 1897-1899; Mrs. Frederic 
 J. Stevens, 1899-1901; Alice Wood, 
 1g01-1904; Dorothea Thomes, 1904- 
 1910; Mrs. Frederic J. Stevens (Mrs. 
 
 Frederick A. Tompson), 1910-1917; 
 Mrs. Robert H. W. Lord, 1917-1920; 
 Mrs. Latham True, 1920-1921; Henri- 
 etta D. Rice, 1921-1925; Mrs. Charles 
 K. Fenderson, 1925-1926; Mrs. Josiah 
 H. Johnson, 1926-1928, Recording Sec- 
 retaries. 
 
 Lucy N. Blanchard, 1893-Jan., 1907; 
 Marguerite Ogden, Jan., 1907-1925; 
 Mrs. Harold D. Johnson, 1925-1927; 
 Mrs. Earle C. Rundlette, 1927-1928, 
 Corresponding Secretaries. 
 
 Mrs. Elizabeth C. Allen, 1869-1871; 
 Mrs. Emily K. Rand, 1871-1891; Alice 
 L. Philbrook, 1891-1907; Mary A. Sei- 
 ders, 1907-1928, Treasurers. 
 
 Elizabeth S. Jones, 1872-1874; Mrs. 
 Janie N. Thompson, 1874-1883; Mrs. 
 Mary T. Denison, 1883, 1887; Mrs. 
 Janie N. Thompson, 1887-1904; Louise 
 H. Armstrong, 1904-1928, Librarians. 
 
 The club, in its early days, had a pi- 
 ano quartette composed of Mrs. Frank 
 E. Allen, Mrs. Joseph P. Thompson, 
 Mrs. Abiel M. Smith and Mrs. Theo- 
 dore Johnson. 
 
 Later, a regularly organized piano 
 quartette was composed of Alice Phil- 
 brook, Marion Weeks, Helen Lamson 
 and Mary Alice Cobb. 
 
 Edith Trickey, Marion Fobes and 
 Mary Seiders were among those who, 
 as others dropped out, became mem- 
 bers of this quartette. 
 
 The Rossini Club has always given 
 a special program on the birthday of 
 the composer of the Barber of Seville, 
 and because Gioachino Antonio Ros- 
 sini was born on that day which recurs 
 but once every four years in the cal- 
 endar, it has come to be looked for- 
 ward to by the members as a quad- 
 rennial event of no small importance. 
 
 This has been generally observed by 
 an elaborate evening concert, some- 
 times complimentary to the friends of 
 the club, and at other times open to 
 the public. 
 
MUSIC OF THE STATE OF MAINE— 1857-1806 
 
 The fact that the Rossini Club is the 
 oldest of its kind in America was estab- 
 lished by Mrs. Theodore Thomas while 
 making a survey of the Women’s Mu- 
 sical Clubs in this country, in prepara- 
 tion for the Convention of Women’s 
 Amateur Musical Clubs at the World’s 
 Fair, Chicago, 1893. 
 
 To this convention four delegates 
 were chosen to represent the Rossini 
 Club. They were Mrs. Emily Kelley 
 Rand, President of the club; Florence 
 Knight, soprano; Katherine Ricker, 
 contralto; and Alice L. Philbrook, 
 pianist. 
 
 Because of its remarkable record 
 this Maine club was named the first of 
 the list of clubs recommended for di- 
 plomas of Special Honor by the Bureau 
 of Music, Theodore Thomas, Musical 
 Director, and the Expert Jury of the 
 World’s Columbian Exposition. 
 
 Of the individuals recommended for 
 special diplomas for the most artistic 
 performance of the whole convention, 
 but four names were mentioned. Two 
 of these were Florence Knight and 
 Katherine Ricker, of the Rossini Club. 
 Thus were new laurels added to this 
 historic organization. 
 
 In the nineties the limit of active 
 memberships was increased to fifty 
 musicians, each of whom should “con- 
 tribute her part to the program, as 
 often as required by the executive com- 
 mittee,” though provision was made in 
 the by-laws for substitute performers. 
 Those engaged in the study of music 
 were then first admitted as student- 
 members when elected by the Execu- 
 tive Committee. The requirements 
 were that they should be not less than 
 sixteen years of age and must be rec- 
 ommended by a teacher. Later the 
 limit of active membership was in- 
 creased to seventy-five. 
 
 Student members then, as now, en- 
 joyed all the privileges of the club — 
 
 149 
 
 except the right to vote—were ex- 
 pected to perform twice each season 
 before the active and student members, 
 only, and were admitted to the artists’ 
 recitals at half price. 
 
 Intermittently the Rossini Club has 
 had a chorus composed of some of its 
 most interested members, and among 
 the chorus directors have been Mrs. 
 Evelyn Day White, Arthur S. Hyde, 
 Mrs. Gilman Davis, Albert W. Snow 
 of Boston, Llewellyn B. Cain and Mrs. 
 James A. McFaul. 
 
 Since 1926 the chorus has been di- 
 rected by Mrs. Marion W. Theis. 
 
 In 1928, from among the club’s most 
 cultured members, the Rossini Vocal 
 Trio was organized, with Avis Lamb, 
 coloratura soprano; Mrs. Evelyn Bad- 
 ger Carroll, contralto; and Mrs. Mar- 
 ion Wentworth Theis, mezzo contralto. 
 Susan G. Coffin was chosen vocal 
 coach and accompanist. 
 
 In 1923 an instrumental group which 
 was first known as the Rossini Club 
 Orchestra was organized from among 
 the talented instrumentalists in the 
 club by Mrs. Foster L. Haviland. The 
 personnel and instrumentation of this 
 aggregation which later adopted the 
 name of the Rossini Orchestral En- 
 semble was, in 1928, as follows: 
 
 Violins, Lillian Talbot, Lois Pillsbury, Dorothy 
 Jones, Eleanor Willis, Molly Armstrong, Eliza- 
 beth Harriman, Ila Carr, Margaret Gerrish, Isa- 
 bel Pease, Grace Gifford, Agnes Mannette, 
 Frances Stimson, Thelma Latham, Janet Ken- 
 nedy; Viola, Prudence Burke; Cellos, Katherine 
 Hatch, Edith Lowell, Beatrice Pennell, Lillian 
 Schwenke, Reta Pates, Valeria Carrignan; Dou- 
 ble Bass, Marjorie Hodgkins; Clarinets, Ethel 
 Edwards, Marjorie Applebee; Flute, Inez Blais- 
 dell; Trumpet, Etta Reed Sheehan; Trombone, 
 Marion Schwenke; Percussion, Barbara Corbett; 
 Harps, Marguerite Ogden, Grace Tibbetts; Pia- 
 
 nos, Gertrude Buxton, Mrs. Mae F. Haviland, 
 Leader. 
 
 During the five year interim, among 
 those who, at one time or another, 
 
150 MUSIC AND MUSICIANS OF 
 
 MAINE 
 
 were members of the ensemble were: 
 
 Adele Belchner, Mrs. Maida Brown, Beatrice 
 Bryant, Mrs. Marie Camara, Elizabeth Cheva- 
 lier, Mildred Dugan, Emily Eldridge, Grace 
 Gifford, Marguerite Girouard, Victoria Grey, 
 Augusta Healy, Veronica Hebert, Helen Kelley, 
 Anna Korda, Mrs. Marion Priestly Horan, Mrs. 
 M. A. Johnson, Mollie Jones, Mrs. Raymond 
 Moore, Florence M. Parker, Gladys Parlin, Vir- 
 ginia Ripley, Helen Spear, and Lillian Webber. 
 
 _ Among those who have acted as Mu- 
 sical Directors of the club have been 
 Mrs. Herbert Payson, Alice Philbrook, 
 Mary G. Jordan and Lillian Jordan. 
 
 During the season of 1920-21 the 
 Portland Rossini Club joined the Na- 
 tional Federation of Music Clubs. 
 
 In the season of 1925-26 the Port- 
 land Rossini Club sent two of its mem- 
 bers, the President, Julia Edwards 
 Noyes, and Mary A. Seiders, as dele- 
 gates to the National Federation of 
 Music Clubs held at Portland, Oregon; 
 and in this season it established a 
 scholarship fund to be known as the 
 Emily K. Rand Memorial Scholarship 
 to help worthy music students. 
 
 In 1926-27 the Emily K. Rand Me- 
 morial Scholarships were awarded to 
 Loretta LaRochelle, pianist; Avis 
 Lamb, vocalist; and Emily Eldridge, 
 violinist. Personality, perserverance, 
 conscientious effort and love of the art, 
 were contributing factors in arriving 
 at the final decision. 
 
 There were but two awards in the 
 season of 1927-28. Loretta LaRochelle 
 was again one of the winners and Lois 
 Pillsbury, violinist, won the other 
 award. 
 
 Other activities of this club have 
 been the furnishing of music to the 
 Children’s Hospital and other institu- 
 tions in the city, participation in the 
 programs of National Music Week, as- 
 sisting stores and factories in the de- 
 velopment of music among their em- 
 ployees and the endeavor to establish 
 
 credits in the Portland schools for mu- 
 sic studied under private teachers. 
 
 Perhaps no greater tribute has ever 
 been paid a musical organization than 
 that of Thomas E. Calvert in his paper 
 on Music read before the club on the 
 occasion of its fiftieth anniversary, in 
 which he said, “For half a century the 
 Rossini Club has ministered to pure 
 aesthetic pleasure in the serious con- 
 templation of beauty — beauty in mu- 
 sic. It has been an inspiration, a solace 
 and a joy not only to its own members, 
 but to generations of music lovers in 
 this city.” 
 
 The Rossini Club of Portland was 
 one of the very first to recognize the 
 service which may be rendered prom- 
 ising young students of music by giv- 
 ing them opportunity to appear pub- 
 licly in recital and concert. It has 
 brought to Portland not a few note- 
 worthy artists and groups of musicians 
 who have presented rare programs of 
 music in their concert hall and has 
 thereby done much to create and main- 
 tain a desire for music in the classic 
 forms among the people of Maine. Its 
 aims have always been of the best and, 
 by its example, it has inspired in other 
 musical clubs in the State and in the 
 
 country a desire to attain to and main- 
 
 tain the Rossini standard. May it live 
 a century that it may continue in its 
 encouragement to the ambitions of the 
 youth of the State; may it never lower 
 its ensign in order to satisfy the de- 
 mands of those who crave only ephem- 
 eral music that can never prove to be 
 more than the fad of a day; and may 
 
 its members ever realize that they are 
 
 a part of 
 “the great music of Creation’s heart” 
 and 
 
 “Know themselves among the messengers of art.” 
 
 —————— 
 
MUSIC OF THE STATE OF MAINE— 1857-1896 151 
 
 The Mozart Club of Portland 
 
 One of the older local musical clubs 
 in the State was the Mozart Club of 
 Portland, which was in existence as 
 early as 1859, and which received its 
 name from the composer of the first 
 work that its members took up for 
 study—Mozart’s ‘““Twelfth Mass.” The 
 membership was composed of pupils 
 of Samuel Thurston, who met weekly 
 for the practice of opera choruses, glees 
 and other concerted music, though 
 some attention was given to solo work. 
 The society gave a few concerts which 
 were well received and presented the 
 first operetta given by amateurs in Port- 
 land, “The Haymakers,” by George F. 
 Root. The scenery was painted ex- 
 pressly for this production which was 
 presented in Deering Hall, which then 
 stood on the site later occupied by the 
 Fidelity Trust Company. Mr. Thurs- 
 ton conducted and Mrs. Thurston pre- 
 sided at the piano. 
 
 The operetta was so successful that 
 it was repeated numerous times in 
 Portland and in other cities of Maine. 
 
 Among those who took leading parts 
 in the several performances of the 
 opera were Vesta Atwood and Louise 
 Ilsley, sopranos; Hattie Eaton and Sa- 
 rah Bennison, contraltos; John Mor- 
 gan, tenor; George Leavitt, baritone; 
 and Arthur Mears and Stephen John- 
 son, basses. Mr. Morgan made his 
 debut on this occasion. 
 
 The Portland Musical Association 
 
 The Portland Musical Association, 
 the objects of which, as announced, 
 were “For improvement in vocal mu- 
 sic,’ was one of the old societies in 
 _ which Samuel Thurston and John L. 
 _ Shaw were the musical directors. Meet- 
 ings were held twice each week during 
 the winter months. 
 
 This should not be confounded with 
 
 The Musical Club which was another 
 society organized in 1873 and which 
 was composed entirely of young ladies 
 whose club was founded “on a basis 
 something like that of the Rossini 
 Glib.’ 
 
 Music has at times been put to 
 strange uses. On January 23, 1860, a 
 concert was given in Portland “‘in aid 
 of a fund to defray the expenses in the 
 trial of John W. Moody,” who had 
 been, as the papers stated, “convicted 
 in England of a high crime (which it 
 is equally well known has palliating 
 circumstances)” and who had been 
 sentenced to penal servitude for life. 
 His excellent record, as to character, 
 was extolled, and the editor made an 
 appeal to the people of Portland, in 
 which he urged, “Let the hall be 
 thronged, so that we shall afford the 
 renewed testimony to our unfortunate 
 townsman of the sympathy of his fel- 
 low citizens to cheer him in his dreary 
 imprisonment.” 
 
 In 1866 the Portland Musical Asso- 
 ciation presented Haydn’s “Imperial 
 Mass in D,” with an orchestra assist- 
 ing, for the benefit of a Portland citi- 
 zen who was “suffering from disease 
 and destitution in a land of strangers.” 
 
 In the seventies two concerts were 
 given in Bridgton to raise money to 
 buy a hearse. 
 
 The Polyphonic Club of Portland 
 Portland had a Polyphonic Club in 
 
 the late sixties. Its membership was 
 composed entirely of church singers of 
 the city. Its most conspicuous under- 
 taking was the production of George 
 W. Marston’s comic opera, “Don Bobo,” 
 at Deering Hall in the spring of 1866. 
 On this occasion the soloists were Dr. 
 S. C. Fernald, Otto Burnham, John 
 Morgan, Mrs. Mabel Bates Burnham 
 and Sarah Ware. Two performances 
 were given. The first for one of Port- 
 
152 MUSIC AND MUSICIANS OF MAINE 
 
 THE NATIONAL PEACE JUBILEE CONCERT (BOSTON, 1869), IN WHICH MORE THAN TWO HUNDRED 
 
 MAINE SINGERS PARTICIPATED. 
 
 land’s charities, known as the R. F. 
 Society, in “Aid of Freedom,” on March 
 fourteenth, and the second for the ben- 
 efit of the composer about ten days 
 later. There was no orchestra. Mr. 
 Marston played the piano accompani- 
 ment and it was said to have been a 
 great success. The hall was crowded 
 to capacity each night and the young 
 vocalists covered themselves with glory. 
 
 Boston Peace Jubilee 
 
 Perhaps the event which stands out 
 most prominently in the remembrance 
 of New England musicians who were 
 a part of it was the Boston Peace Ju- 
 bilee, in the month of June of 1869. 
 
 The proportions of this great musical 
 occurrence were of such magnitude 
 that it was necessary to erect a build- 
 ing especially for its performance, and 
 
 FROM AN OLD STEEL ENGRAVING BY J. W. WATTS. 
 
 a large and remarkable organ was con- 
 structed for the occasion. 
 
 So large was the hall that no ordi- 
 nary soloist could be properly heard 
 by the audience, and, to overcome this, 
 about thirty of America’s finest vocal- 
 ists united in singing the solo parts. 
 These were designated as, “the bou- 
 quet of artists,” and among these was 
 one Maine singer, Flora Barry. 
 
 Adelaide Phillips and Parepa Rosa 
 were the vocalists who sang alone but 
 theirs were voices of great power and 
 compass. 
 
 From the great chorus, every mem- 
 ber of which had to submit to a vocal 
 try-out before being allowed to partic- 
 ipate, about fifty of the most accom- 
 plished were chosen as leaders of the 
 chorus, and among these were Otto 
 Burnham, his wife, Mabel Bates Burn- 
 ham, of Portland and Mrs. Louise Ly- 
 
MUSIC OF THE STATE OF MAINE— 1857-1896 153 
 
 ford Marriner, a native of Waterville. 
 
 Nearly all the countries in the civil- 
 ized world sent their best bands to take 
 part in this great Jubilee. Some of 
 these were superb. 
 
 Germany sent two of her most pop- 
 ular composers, who conducted the per- 
 formances of some of their own com- 
 positions, one of whom was the famous 
 Johanna Strauss. 
 
 “The great and only” Patrick S. Gil- 
 more was the organizer of this World 
 Festival and the conductor of the 
 mighty aggregation of musicians. Ev- 
 erything was on a magnificent scale. 
 There were twenty thousand perform- 
 ers. 
 
 Eight hundred vocal organizations 
 were invited to send their choruses to 
 take part in this gargantuan affair, An 
 orchestra of five hundred performers 
 played the “William Tell” Overture; 
 and the obligato of the introductory 
 overture on the opening day, ordinarily 
 played by one performer, was per- 
 formed by two hundred violinists. 
 
 Mayerbeer’s “Coronation March” 
 was played with a full band of one 
 thousand instruments. 
 
 The scene from “Il Trovatore,” in- 
 troducing the “Anvil Chorus,” was 
 brought out by ‘the grand chorus, the 
 orchestra of five hundred performers, 
 the band of one thousand, the immense 
 organ, and several drum corps, and was 
 supplemented by the firing of artillery 
 just outside the building, and the ring- 
 ing of the city’s bells by electricity, 
 while the anvil accompaniment was 
 performed by one hundred members of 
 the Boston Fire Department, who had 
 been especially rehearsed for the event. 
 The effect was almost overwhelming. 
 The audience numbered nearly thirty 
 thousand, and with the aggregate of 
 performers was said to have been the 
 largest assemblage of musicians the 
 world has ever witnessed. 
 
 FLORA BARRY (BORN, PARIS, MAINE), FAMOUS 
 ORATORIO CONTRALTO AND ONE OF THE “BOUQUET 
 OF ARTISTS” AT THE BOSTON PEACE JUBILEE IN 
 1869. FROM A PORTRAIT MADE IN THAT YEAR. 
 
 Maine was well represented at this 
 great and inspiring gathering: Port- 
 land, by members of the Haydn Asso- 
 ciation, M. N. Rich, President, and 
 Hermann Kotzschmar, Musical Direc- 
 tor; Lewiston, by the Androscoggin 
 Musical Society, A. D. Lockwood, 
 President, and Seth Sumner, Director; 
 Damariscotta and Rockland, by mem- 
 bers of the Knox and Lincoln Musical 
 Association and the Rossini Club of 
 Damariscotta, J. J. Bulfinch, President, 
 and G. M. Thurlow, Director; Farm- 
 ington, by the Farmington Choral So- 
 ciety, C. A. Allen, President and Di- 
 rector; Augusta, by the Augusta Cho- 
 ral Society, George Weeks, President, 
 and Waldemar Malmene, Director; 
 Saco by the Saco Peace Festival Cho- 
 rus, F. N. Hodgdon, President, and G. 
 
154 MUSIC AND MUSICIANS OF MAINE 
 
 G. Additon, Director; and Bangor, by 
 the Penobscot Musical Association, 
 Rev. S. P. Fay, President, and Frederic 
 S. Davenport, Director. 
 
 In allthere were about two hundred 
 and seventy singers who went from 
 Maine to participate in the perform- 
 ance of this national peace jubilee, be- 
 sides many native sons and daughters, 
 listed as singers from other states, who 
 took active part in it. 
 
 Arion Club 
 
 The Arion Club, organized in Port- 
 land by John L. Shaw, in 1870, was a 
 singing association made up entirely of 
 men and numbered about forty active 
 members. They gave a number of con- 
 certs and sang on many occasions, 
 “highly to the satisfaction of those 
 present.” The music sung by them con- 
 sisted of choruses selected from favor- 
 ite German composers. Samuel Thurs- 
 ton was, for a number of years, con- 
 ductor of the Arion Club, which was in 
 existence as late as 1875. Among those 
 who assisted as soloists at the Arion 
 Concerts were Charles H. McLellan of 
 Bath, vocalist; J. Dwyer, clarinetist; 
 W. R. Carlton, baritone horn; and 
 Annie J. Leavitt, vocalist. 
 
 The Kreutzer Club of Portland 
 
 The Kreutzer Club was organized in 
 1870 and became one oi the most 
 promising of Portland’s musical asso- 
 ciations. It gave excellent entertain- 
 ments of a miscellaneous character and 
 continued successfully as an active mu- 
 sical organization for more than five 
 years. 
 
 In 1871 James Ellison was its Presi- 
 dent; W. Sylvester Beckett, Vice Presi- 
 dent; Ira C. Stockbridge, Treasurer 
 and Secretary; and John Morgan, Mu- 
 sical Director. 
 
 Mr. Ellison continued to be its Pres- 
 
 ident until 1875 when A. E. Webb was 
 
 elected to that office. 
 
 From 1873 to 1875 its other officers 
 were Charles Pearce, Vice President; 
 Frank Coffin, Treasurer; Fred Tukey, 
 Librarian; Ira Stockbridge, William H. 
 Stockbridge and William Howard, Ex- 
 ecutive Committee; and W. H. Den- 
 nett, Conductor. 
 
 The Portland English Glee Club 
 
 In 1877 the Portland English Glee 
 Club, which was established by John 
 L. Shaw and Samuel Thurston, had a 
 membership composed of ladies and 
 gentlemen to the number of about for- 
 ty. This association gave several ac- 
 ceptable concerts. John Morgan was 
 its Musical Director. 
 
 The Weber Club of Portland 
 
 The Weber Club of Portland was or- 
 ganized at the home of David Page 
 Perkins in Portland, on March 2, 1880, 
 when there were present the four who 
 became charter members of the club, 
 John Morgan, James Watts, William 
 C. Lambert and D. Page Perkins. Be- 
 fore the end of the year thirteen new 
 members, all of whom sang in Portland 
 churches or other musical organiza- 
 
 tions, were admitted. These were John — 
 
 Morgan, conductor of the Williston 
 Choir; James Watts, conductor, Wil- 
 liam Kelley, basso, J. B. Crisham, ten- 
 or, and Thomas Donnelly, bass, all of 
 the St. Dominic’s Choir; H. L. Hough- 
 ton, tenor, of the Chestnut Street; 
 Henry W. Pratt, bass, of the St. Steph- 
 en’s; Carl F. A. Weber, tenor, of the 
 New Jerusalem; Frank W. Shaw, ten- 
 or, of the India Street; C. M. C. Pratt, 
 of the Free Street; T. J. Somers, basso, 
 of the Cathedral of the Immaculate 
 Conception; a Mr. McMunn from St. 
 Joseph’s, Boston; William C. Lambert 
 and F. A. Edwards, formerly of the 
 Payson Memorial Choir; D, Page Per- 
 
 ee 
 
 ee 
 
; 
 
 nn 
 * 
 
 MUSIC OF THE STATE OF MAINE-— 1857-1896 
 
 155 
 
 A GROUP OF REPRESENTATIVE PORTLAND MUSICIANS IN 1870, ALL OF WHOM WERE MEMBERS OF THE 
 
 KREUTZER CLUB OF PORTLAND. 
 
 LEFT TO RIGHT, STANDING: WILLIAM HOWARD, CHARLES. LIBBY, 
 A. D. PEARSON, FRED TUKEY, W. SYLVESTER BECKETT, ALBERT DENNETT. 
 
 SITTING: JAMES R. ELLISON, 
 
 CASSIUS M. C, PRATT, FRANK COFFIN, IRA STOCKBRIDGE, WILLIAM H. STOCKBRIDGE, ALBERT WEBB, 
 
 JOHN MORGAN. 
 
 kins, tenor, and George A. Thomas, 
 basso, of the Haydn Association, and 
 Fred S. Sanford, baritone, of the Cum- 
 berland Male Quartette. John Morgan 
 was the conductor of the club from 
 
 1880 until 1890 from which date until 
 
 the disbanding of the club in Septem- 
 ber, 1892, Hermann Kotzschmar was 
 the conductor and Carl F. A. Webber 
 was the assistant conductor. 
 
 Others who joined after the year 
 1880 were: John D. Johnson, H. R. 
 Fling, W. E. Holden, George C. Gow- 
 en, H. G. Parkman, Charles E. Baker, 
 Fred E. Dow, Paul J. Lidback, Dor- 
 ville Libby, Jr., George W. Tennant, 
 F. H. Little, C. J. Stetson, H. G. Pear- 
 
 son, pianist, J. O. Burke, J. H. Mont- 
 
 gomery, William P. Goss, Frank C. 
 Bibber, J. E. Leighton, W. H. F. Em- 
 
 ery, Charles Barbour, Arthur N. Den- 
 nis, Fred Senter, George H. Curtis, 
 John E. Fisher, Frank Jones, Frank 
 L. Gray, George W. Cooper and George 
 Montgomery. 
 
 The Weber Club, for twelve years, 
 was the leading Men’s Singing Club in 
 the State of Maine. They gave many 
 successful concerts in Portland and in 
 neighboring towns and cities. 
 
 Because of the prominence in musi- 
 cal circles of Carl F. A. Weber, who for 
 a part of the time was President of the 
 Weber Club, many Portland people 
 were under the impression that the so- 
 ciety took its name from him; but in 
 reality, this society was named after 
 Karl Maria von Weber, the great Ger- 
 man composer. 
 
 Henry L. Houghton was the first 
 
MUSIC AND MUSICIANS OF MAINE 
 
 ai es 
 QUART 
 
 THE CECILIA QUARTETTE OF PORTLAND. LEFT TO 
 RIGHT, UPPER ROW: NETTIE A. MILLIKEN, BELLE 
 BARTLETT; LOWER ROW: JENNIE KING MORRISON, 
 MARGARET BRYANT, 
 
 President of the club; D. Page Per- 
 kins was the Secretary and Treasurer; 
 John Morgan was the Conductor and 
 John B. Coyle, Hermann Kotzschmar, 
 Charles D. Clark and John P. Welch 
 were honorary members. 
 
 Other Presidents were, Carl F. A. 
 Weber, 1885-1886; F. H. Little, 1886- 
 1888; Fred E. Dow, 1889-1890; and 
 F. E. Bickford, 1891-1892. 
 
 The Portland Choral Union 
 The Portland Choral Union, which 
 
 was organized in 1875, was composed 
 of singers belonging to the India Street 
 Church Choir. They gave a number of 
 successful concerts and were coached 
 
 by Charles E. Hodgkins. There were 
 forty voices in the chorus, and the or- 
 chestra was composed of six pieces. 
 
 The Cecilia Quartette of Portland 
 
 The “Cecilia” Quartette of Portland, 
 a very successful ladies’ quartette, 
 whose members had been chosen from 
 the best church choirs in the city, was 
 formed in 1881. 
 
 Nettie A. Milliken, of the First Par- 
 ish Church Choir, was first soprano; 
 Belle Bartlett, of the High Street 
 Church Choir, was second soprano; 
 Margaret Bryant, of the Free Street 
 Church Choir, was first alto; Jennie K. 
 Morrison, of the First Parish Church 
 Choir, was second alto; and Harvey 
 Murray, who was then organist at the 
 Williston Church, was the accompanist. 
 A. B. Morrison was the manager of 
 the quartette. 
 
 Later, the “Cecilian Ladies’ Quar- 
 tette” came into existence with the fol- 
 lowing personnel: Elizabeth Brown, 
 first soprano; Alice Sawyer, second so- 
 prano; Nettie A. Morrison, first alto; 
 and Jennie King Morrison, second alto. 
 
 Both the Cecilia Quartette and the 
 Cecilian Ladies’ Quartette gave many 
 concerts. The latter toured the coun- 
 try successfully with Karl Marshail, 
 while under the name of The Cecilian- 
 White Company, when this quartette 
 was made up of Elizabeth Brown, Jen- 
 nie King Bragdon, Edwina Richardson 
 and Alice Sawyer. 
 
 At the World’s Columb:an Exposi- 
 tion the quartette was accorded the 
 honor of a speciai resolution adopted 
 by vote of the Board of Lady Manag- 
 ers of the Commission. 
 
 Portland Ancient Harmony Society 
 
 The membership of the Portland 
 Ancient Harmony Society, which came 
 into existence soon after the close of 
 the Civil War, was made up largely of 
 
 Ce ae a a a a ee 
 
 a aS Te ee en, ee a ee 
 
MUSIC OF THE STATE OF MAIN E— 1857-1896 157 
 
 singers who, for various reasons, were 
 not able to undertake the study of the 
 classical oratorio. They therefore con- 
 tented themselves for the most part 
 with the study of the simpler forms 
 and gave entertainments at which they 
 sang from old psalm tune books, selec- 
 tions that were in evidence in the thir- 
 ties. One of the most ambitious feats 
 of the society was the performance of 
 Belshazzar’s Feast in the City Hall, 
 Portland, in March, 1872. 
 
 Old Portland Orchestral Society 
 The old Portland Orchestral So- 
 
 ciety was organized in 1852 for “im- 
 provement in instrumental music.” Its 
 first officers were Thomas Wright, 
 President; Benjamin ‘Tukey, Vice 
 President; George M. Howe, Secre- 
 tary; George A..Churchill, Conductor; 
 » Charles P. Carlton, Librarian; Benja- 
 min Tukey and Charles G. Richards, 
 Investigating Committee. 
 
 Ardon Coombs’ Orchestras 
 
 Chamber Music has always had its 
 little coterie of devotees among Maine 
 _ musicians who played, just for the love 
 of it, and in Portland, Ardon Coombs’ 
 Orchestra, as it was called, was a con- 
 Spicuous example of this type of musi- 
 cal aggregation. 
 
 Ardon W. Coombs, for many years 
 a well-known lawyer in Portland, was 
 a pioneer in Chamber Music in Mainc. 
 _ Though self-taught, he was a talented 
 violinist and played with excellent style 
 and finish and was considered by other 
 musicians as the most accomplished 
 amateur violinist in Portland in his 
 day. In the seventies Mr. Coombs as- 
 sociated himself with other music lovers 
 _and held regular rehearsals of chamber 
 _ music in his Vaughan Street home. 
 
 The first combination was made up 
 of Mr. Coombs, violin; Phineas Var- 
 
 num, violoncello; Alonzo Millett, flute; 
 and Charles Foye, piano. These were 
 all men of exceptional musical ability. 
 Mr. Varnum had been cellist in one or 
 more of the large metropolitan orches- 
 tras. About 1875 or 1876 Mr. Varnum 
 was succeeded by Dr. Alger French; 
 Mr. Millett by Charles H. Tolman; 
 and Mr. Foye by Walter S. Smith, 
 Mrs. Abiel Smith (mother of Mr. 
 Smith), and Julia N. Gosse, in succes- 
 sion. Mrs. Smith continued to play for 
 this organization for a number of years, 
 and, in fact, served as pianist for the 
 longest period of any. 
 
 In the nineties the quartette gen- 
 erally consisted of Mr. Coombs, Joseph 
 Tyler, Mr. Tolman and Mrs. Gosse. 
 Mr. Tyler had the misfortune to meet 
 with an irreparable injury to his hand 
 and Charles Dickey then became vio- 
 loncellist of the orchestra. Messrs. 
 Coombs, Dickey, Tolman and Hill con- 
 tinued to play together until Mr. 
 Coombs’ death, which occurred in 1914. 
 Others who acted as pianists in the or- 
 chestra have been Hermann Kotzsch- 
 mar, Harvey Murray, Mary Seiders, 
 Mrs. Harry Verrill, George Thornton 
 Edwards and Fred Lincoln Hill. 
 
 Mr. Coombs’ library of music, con- 
 sisting of arrangements from Beetho- 
 ven and Mozart, symphonies and selec- 
 tions from the standard grand operas, 
 besides many compositions for violin, 
 flute, violoncello and piano, came into 
 the possession of Mr. Tolman. 
 
 His quartette never gave a public 
 performance, though, occasionally, an 
 audience, numbering sometimes fifteen 
 or twenty invited friends, were allowed 
 to attend the rehearsals. The playing 
 of the quartette is said to have “reached 
 a higher plane of excellence than the 
 modesty of its members ever claimed 
 for it?” 
 
 Mr. Coombs was such an enthusias- 
 tic advocate of Chamber Music that 
 
158 
 
 for many years he had two orchestras 
 playing at his house each week. One 
 of these orchestras consisted of Mr. 
 Coombs, violin; Charles Richards, sec- 
 ond violin; Frank Prince, viola; Ly- 
 man Batchelder, violoncello; and Mr. 
 Tolman, flute. This ensemble played 
 for the most part arrangements of 
 symphonies and other works in which 
 the flute was given the difficult obligato 
 and solo parts. 
 
 On several occasions notable mu- 
 sicians played in this orchestra. Among 
 these were Thomas Ryan, famous clar- 
 inetist and performer on the viola, and 
 Wulf Fries, the celebrated cellist. Both 
 Mr. Ryan and Mr. Fries were veteran 
 members of the old Mendelssohn Quin- 
 tette Club of Boston. 
 
 Mr. Fries, whose summer home was 
 located at Blue Hill, Maine, became so 
 interested that as each Spring and Fall 
 came around, he arranged to stop over 
 on his way to or from Blue Hill to play 
 for an evening in Mr. Coombs’ orches- 
 tra. 
 
 The Schumann Club of Portland 
 
 The Schumann Club, which was in 
 existence of 1876, was another singing 
 society that was functioning in this 
 period. Its officers in the Centennial 
 Year were, D. W. Snow, President; B. 
 T. McKellan, Vice President; H. C. 
 Eaton, Treasurer; and J. H. O’Donnell, 
 Secretary. 
 
 It met regularly for the study of 
 classical music. Hermann Kotzschmar 
 was the musical director of the club. 
 
 Orpheus Symphony Club 
 
 About 1876 the Orpheus Symphony 
 Club was formed in Portland. Its 
 membership was composed of amateurs 
 in instrumental music. H. L. Moxcey 
 was its President, Arthur D. Morse, 
 its Secretary-Treasurer and F. L. 
 
 MUSIC AND MUSICIANS OF MAINE 
 
 Moseley, its Librarian. Johann Gottlieb 
 Friedrich ter Linden was the musical 
 director of this organization which con- 
 
 sisted of twenty members, all of whom — 
 
 were his pupils. 
 
 “Fred” ter Linden, as he preferred — 
 to be called by his friends, was the first — 
 
 to play the saxophone in America, al- 
 
 though there have been others who ~ 
 have laid claim to that distinction. He © 
 instructed his charming blonde niece, — 
 Louisa, on that instrument so that she © 
 made an early sensation as the first — 
 woman saxophonist in the United — 
 States. He was a very good violinist, — 
 was a member of Chandler’s Quad- — 
 rille Band and played in the Cornet © 
 Band on occasion. He gave two con- — 
 certs in Portland City Hall at each of — 
 which a trio played Beethoven selec- — 
 tions successfully. Lyman A. Batch- © 
 elder was cellist and Dr. James A. 
 Spalding was the pianist. Ter Linden ~ 
 composed, and dedicated to Dr. Spald- — 
 
 ing, a set of “Casco Bay Waltzes” 
 
 which were very melodious and ar- — 
 ranged them for stringed orchestra. He ~ 
 also composed an overture for brasses — 
 after the florid style of Rossini, and a — 
 dirge, or funeral march, “Hodie mihi — 
 
 cras tibi.” 
 
 Portland Philharmonic Orchestral 
 Society 
 
 Several attempts to organize philhar- — 
 
 monic and symphony orchestras have 
 been made in Portland, but none have 
 continued for a long period. 
 
 One of the most successful, however, — 
 was the Philharmonic Orchestral Socie- — 
 ty. Its first officers, elected in January, — 
 
 1882, as published in its by-laws, print- 
 
 ed in that year, were: Ardon W.Coombs, — 
 President; D. H. Chandler, Vice Pres- 
 
 ident; Arthur D. Morse, Secretary- 
 Treasurer; Hermann Kotzschmar, Di- 
 
 —_. = 
 
 rector; Frank Burnham, Charles Grim-_ 
 
 ee a a a ee 
 
MUSIC OF THE STATE OF MAINE— 1857-1896 159 
 
 mer and William F. Todd, Councillors; 
 and H. L. Moxcey, Librarian. 
 
 Its members were: J. E. Aubrey, E. 
 mrubrey, L. A. Bachelder, S. Bourne, 
 Charles H. Bowen, Charles M. Brooks, 
 A. E. Brown, Frank Burnham, Frank 
 W. Buxton, Charles P. Carleton, Wil- 
 liam E. Chandler, D. H. Chandler, 
 Frank. L. Collins, Ardon W. Coombs, 
 D. Davis, George C. Felt, A.W. French, 
 E. M. Gammon, M. B. Gilbert, Charles 
 Grimmer, Charles F. Jones, H. M. 
 Jones, Louis M. Jones, E. A. Jordan, 
 R. B. King, Hermann Kotzschmar, F. 
 W. Leavitt, M. D. Maher, John Melia, 
 F. Moore, Arthur D. Morse, H. L. 
 Moxcey, Charles E. Pierce, L. 8. Perry, 
 Frank L. Prince, C. G. Richardson, 
 William F. Todd, Joseph Tyler, Ed- 
 ward C. Webb, P. J. Willen, and F. H. 
 Whipple. 
 
 Harry A. Duncan was conductor of 
 the society for a time, and also its 
 organist. 
 
 Among those who afterwards played 
 with the Philharmonics were Frank H. 
 Little, Charles Tolman and Dr. Walter 
 S. Coleman. 
 
 Portland Philharmonic Orchestra 
 
 The Philharmonic Orchestral Society 
 was followed by the Philharmonic Or- 
 chestra organized September, 1888. The 
 newer organization functioned for near- 
 ly six years. 
 
 Bates Torrey, for the greater period 
 of its existence, was its leading spirit 
 and its President, while A. D. Morse 
 was Secretary. Its conductors were, 
 first, Harry A. Duncan, and afterwards, 
 W. E. Chandler. 
 
 Some Notable Quartettes 
 
 During this period a number of 
 quartettes, for concert work, were or- 
 ganized in Portland, and among these 
 the most prominent were:— 
 
 The Haydn Quartette, Florence 
 Knight, soprano; Katherine Ricker, 
 contralto; William H. Stockbridge, ten- 
 or; Harry Merrill, bass, and Alice Phil- 
 brook, pianist. 
 
 The John L. Shaw Quartette, Nettie 
 Milliken, soprano; Jennie King Morri- 
 son, contralto; William H., Stockbridge, 
 tenor; John L. Shaw, bass; and Mel- 
 ville C. Milliken, pianist. 
 
 The Forest City Quartette, Mrs. C. 
 K. Hawes, soprano; Margaret Bryant, 
 contralto; William H. Stockbridge, ten- 
 or; John L. Shaw, bass; and Hattie N. 
 Adams, pianist. 
 
 The Amphion Male Quartette, Wil- 
 liam P. Goss, first tenor; George W. 
 Cooper, second tenor; William E. Hol- 
 den, first bass; and Horace Perham, 
 second bass. 
 
 The Stockbridge Quartette, Nellie 
 Barker, soprano; Mrs. G. M. Cum- 
 mings, contralto; William H. Stock- 
 bridge, tenor and James Watts, bass. 
 
 Later the Stockbridge Quartette was 
 made up with Nettie Milliken, soprano; 
 Mrs. Lewis A. Goudy, contralto; Wil- 
 liam H. Stockbridge, tenor; John B. 
 Coyle, Jr., bass; and Albert E. Pennell, 
 pianist. 
 
 Another organization known as the 
 Amphion Quintette Club was com- 
 posed of William Davy, John Morgan, 
 William Chamberlain, and Fred Tukey, 
 with Leafy Chandler, pianist. Whcn it 
 first made its appearance (1873), its 
 vocalists formed a mixed quartette. 
 Mrs. C. K. Hawes was the soprano; 
 Alice Carle, contralto; John Morgan, 
 tenor; Fred Tukey, bass; and Julia N. 
 Gosse, pianist of the club. 
 
 An instrumental club formed at 
 Woodfords Corner (Portland) in Janu- 
 ary, 1877, was composed of Granville 
 M. Stevens, double bass; S. H. Stevens, 
 E flat cornet; Elmer Boothby, Ist vio- 
 lin; P. Mosher, B flat cornet; and Dr. 
 
 Alexander Parsons, violoncello. 
 
160 MUSIC AND MUSICIANS OF MAINE 
 
 THE PLEASANT HILL ORCHESTRA OF FALMOUTH. 
 
 Another instrumental club in Port- 
 land was the Artistes Quartette which 
 appeared in concerts in the early eight- 
 ies. Its members were Ada B. Ken- 
 nard, Addie Jackson, W. H. Seward 
 and Bertie Webb, violinist. 
 
 The Beethoven Club of Portland 
 practiced chamber music and appeared 
 in concert in Portland. Ardon W. 
 Coombs was the leader and the other 
 members were D. F. Davison, W. R. 
 Carlton and Phineas Varnum. 
 
 The Portland Concert Company, in 
 the eighties, gave concerts in a number 
 of New England cities. The company 
 was composed of Mrs. C. K. Hawes, 
 Jennie King Morrison, Albert E. Pen- 
 nell, and John L. Shaw, with Harvey 
 Murray, accompanist. A. E. Pennell 
 was the musical director. 
 
 An unnamed instrumental quintette, 
 
 LEFT TO RIGHT, STANDING: E. L. COBB, Cc. H. TOLMAN, 
 MRS. W. H. MERRILL, W. H. MERRILL, L. G. MILLIKEN; FRONT ROW, SITTING: F. A. MERRILL, FLORENCE 
 LEACH, ETTA KNIGHT, L. A. BACHELDER, M. CATHERINE PATRICK, 
 
 for some time, about 1865, met weekly 
 at Falmouth Corner and rehearsed 
 chamber music for the pleasure they 
 derived from it. The members were 
 Daniel Patrick, violin; Henry Prince, 
 cello; Algernon Stevens, flute; Henry 
 Waite, clarinet and Lyman A Batchel- 
 der, violoncello. 
 
 The Old Pleasant Hill Orchestra, 
 later organized at Falmouth, consisted 
 of Lyman A. Batchelder, Elbridge L. 
 Cobb, William H. Merrill and his 
 brother Fred A. Merrill, Charles H. 
 Tolman, Lemuel G. Milliken, Cath- 
 erine Patrick, Mrs. W. H. Merrill and 
 Etta Knight who was pianist of the 
 orchestra. 
 
 The Amphion Male Quartette of 
 Norway, organized in 1874, did consid- 
 erable concert work throughout Maine 
 and in New Hampshire for nearly ten’ 
 
 YM, <2 Seo ee ae 
 
 <o* TT oe 
 
MUSIC OF THE STATE OF MAINE-— 1857-1896 161 
 
 years. From about 1877 to 1882, Mrs. 
 Cora S. Briggs of Norway was the 
 pianist. Silas H. Burnham was first 
 tenor, Chester Howe, second tenor, 
 George A. Briggs, baritone and Enoch 
 Clement, bass. 
 
 In 1874, John L. Shaw and H.L. El- 
 lis leased the Old Fluent Hall, changed 
 the name to the Portland Museum and 
 opened a season of stock. In the com- 
 pany were J. A. Arnold, William H. 
 
 Tiller, Clara Fisher and Blanche Eller- 
 man. These sang together as the Port- 
 land Museum Quartette and became 
 very popular with the theater patrons. 
 William Ihnenfeldt was the musical 
 director and leader of the orchestra 
 which was composed of German mu- 
 sicians. “The Bohemian Girl” was pre- 
 sented by the cast on the opening night. 
 Several other operas were given by the 
 company during that season. 
 After a time the original orchestra 
 was succeeded by a local one which was 
 made up of Charles Grimmer, leader 
 and first violin; Frank W. Buxton, sec- 
 ‘ond violin; C. G. Richards, viola; E. A. 
 Jordan, bass; E. B. Beckett, flute; W. 
 'F.. Todd, clarinet, and T. B. Davis, 
 cornet. Frank Burnham and E. G. 
 Pennell were among those who later 
 played in this orchestra. 
 An amateur opera, “Cupid,” written 
 by Walter Goold, organist of St. Luke’s 
 ‘Cathedral, was produced at the Old 
 ~Museum, which had come to be known 
 as Fannie Marsh’s Theater, in 1878 by 
 the Warwick Club. It was announced 
 as an “opera bouffe” and all the parts 
 -weretakenby men. Four presentations 
 were given. The principals were E. E. 
 Elder, E. L. Bridge, Frank Curtis, Dr. 
 $8. C. Fernald and Frank Parker. 
 _ “Pinafore” was produced at the Mu- 
 -seum by local talent in 1879. The prin- 
 ‘cipals were Ilsley Noyes, Lewis E. 
 ‘Smith, F. H. Edwards, D. G. Pingree, 
 _ E.G. Jackson, C. G. Burnham, Frank 
 
 AMATEUR OPERA IN PORTLAND IN THE EIGHTIES, 
 ““PHREE LITTLE MAIDS FROM SCHOOL,” FROM “THE 
 
 MIKADO”; JENNIE KING MORRISON, FLORENCE 
 
 KNIGHT, ANNA STOCKBRIDGE. 
 
 Parker, Annie Fowler, and Inez Hop- 
 kins. Mr. Parker, who had assumed 
 the role of Genevieve, Queen of the 
 Fairies, in “Cupid,” played the part of 
 Josephine in Sullivan’s opera. 
 
 In May, 1888, a group of amateurs 
 gave a successful performance of the 
 “Pirates of Penzance” in Portland. 
 Among the principals in the cast were 
 Franklin C. Payson, David W. Snow, 
 Harry M. Nickerson, H. T. Water- 
 house, Frederick F. Talbot, Julia Stev- 
 ens, Alice Wood, Florence Knight, 
 Eliza Starr, and Harriet Randall. Wal- 
 ter Goold was the musical director, and 
 Grimmer’s Orchestra was in the pit. 
 
 One of the most successful amateur 
 operas ever given in Portland was a 
 production of “The Mikado” at about 
 this time, in the old City Hall at the 
 head of Exchange Street. Principals 
 in the cast were Florence Knight, 
 Katherine Ricker, Jennie King Mor- 
 rison, Anna Stockbridge, Dr. Harry 
 
162 
 
 MUSIC AND MUSICIANS OF MAINE 
 
 M. Nickerson, Elliott Mitchell and 
 Frank Pierce. 
 
 Imperial Mandolin and Guitar Club 
 
 One of the first Mandolin Clubs to 
 be formed in Portland was the Impe- 
 rial Mandolin and Guitar Club organ- 
 ized in November, 1886. 
 
 Frederick J. Ilsley was its leader for 
 several years until 1893, when he was 
 succeeded by G. W. Pennell. Mr. Pen- 
 nell was Secretary of the Society in its 
 early days, and later S. C. Barnum 
 was elected to that office. 
 
 Other members of the organization 
 were Sumner C. Varnum, Herbert Rob- 
 inson, and Carl Davis. On its concert 
 tours of the larger cities and towns of 
 the State, Tommy Glynn 'was fre- 
 quently the assisting artist. 
 
 “Chamber Concerts” in Portland 
 were inaugurated by Samuel Thurston 
 in about the Centennial year, when a 
 series of six concerts were given in 
 Muzzey’s Hall, which had been re- 
 built after the devastating holocaust of 
 1866 in which it had been destroyed. 
 The managers of the course embraced 
 the opportunity to present a large pro- 
 portion of the best vocal and instru- 
 mental performers in the city. Her- 
 mann Kotzschmar was accompanist 
 and solo pianist. The concerts were 
 fairly supported and well received. 
 
 It was during the great fire of 1866 
 that the forty-three Portland Catholics, 
 who attended the chapel which had 
 been erected on the lot acquired for a 
 site for the new Cathedral, saw their 
 place of worship and convent, together 
 with the uncompleted walls of their 
 beautiful new church edifice, reduced 
 to a smouldering ruin. They gathered 
 in a sail loft on the waterfront to hear 
 Mass and to sing Vespers until a tem- 
 porary structure could be erected on 
 their Chapel site. 
 
 Right Reverend David W. Bacon, 
 
 the first bishop of Portland, brought 
 teachers of music from Montreal when 
 
 he founded an academy for girls in 
 1864, and introduced Sisters of Notre 
 
 Dame of Montreal into the Diocese. 
 The academy building was located 
 
 on the site later occupied by the Jef- — 
 
 ferson Theatre, which was purchased 
 
 by Bishop Walsh, just before his death, © 
 to become a part of the Catholic Insti- 
 
 tute, a grammar and high school for 
 boys. The Sisters of Notre Dame in- 
 structed the small number of children 
 under their charge in the rudiments of 
 vocal and 
 
 who opened St. John’s School in Ban- 
 gor in 1865. 
 
 In 1873 the parochial schools of 
 Portland were placed in charge of the — 
 
 Sisters of Mercy, many of whom are 
 excellent musicians. 
 came to be established in the parochial 
 
 instrumental music and. 
 taught them hymns for church and ~ 
 school use, as did the Sisters of Mercy — 
 
 These Sisters — 
 
 schools in the principal cities of the © 
 State and in the state schools at the © 
 Indian Reservation at Oldtown, Pleas- — 
 
 ant Point (Eastport) and Dana’s Point 
 
 (Calais), and from the ranks of those, — 
 who, as children, were in their train- — 
 
 ing, adult choirs have been selected 
 for their churches. 
 
 Bishop Bacon was a zealous patron — 
 
 of the art of music. At the dedication of 
 the Cathedral of the Immaculate Con- 
 ception in 1869, Hermann Kotzschmar, 
 at his request, formed from the best 
 singers of the city, a choir numbering 
 nearly fifty vocalists who sang Weber’s 
 
 -— -y 
 
 “Wass in G” under the direction of W. — 
 H. Dennett with Mr. Kotzschmar at — 
 
 the organ. 
 Fifty years later, with organ and or- 
 chestra, at the celebration of the Gold- 
 
 en Jubilee of the Cathedral, the same 
 
 Mass was sung by the combined Cath- 
 
 q 
 L 
 y 
 ; 
 4 
 # 
 
 olic Choirs of Portland, when three © 
 
 thousand children from the parochial 
 
 ; 
 
MUSIC OF THE STATE OF MAIN E— 1857-1896 163 
 
 THE AFTERNOON CHOIR OF THE SECOND PARISH CHURCH, PORTLAND, EACH MEMBER OF WHICH WAS 
 
 A CONCERT ARTIST. 
 
 B. COYLE, JR., MRS. WARREN CHASE, AND HERMANN KOTZSCHMAR. 
 
 IN 1888. 
 
 schools of the city and surrounding 
 towns gathered at the Cathedral of the 
 Immaculate Conception and sang the 
 hymns of thanksgiving. 
 
 The first paid Catholic quartette 
 choir was organized and sang in the 
 Cathedral when Charles Libby was 
 organist under Bishop Bacon, and was 
 at that time pronounced one of the 
 finest in the State. Its members were 
 Sally Ellison, Nellie Barker, John Mor- 
 gan and W. H. Dennett. 
 
 One of the most important events in 
 the history of Catholic music in Maine 
 was the installation in the Parochial 
 School curricula for the study of Greg- 
 Orian music, the liturgical chant of the 
 Catholic Church, by the Right Rever- 
 end Louis §. Walsh, Bishop of Portland. 
 
 An event long remembered in Port- 
 
 LEFT TO RIGHT: WILLIAM H. STOCKBRIDGE, MRS. JENNIE KING MORRISON, JOHN 
 
 FROM A PHOTOGRAPH MADE 
 
 land, was the singing by the school 
 children of the city, on July 4, 1862, 
 under the direction of Samuel Thurs- 
 ton. Tiers of seats about twenty feet 
 in height had been erected on the west- 
 erly side of State Street in front of the 
 residences of Hon. William Pitt Fes- 
 senden and Judge Ether Shepley. On 
 these were seated two thousand chil- 
 dren who had been selected from the 
 Portland High School, Willis School 
 and the several grammar and inter- 
 mediate schools of the city, all waving 
 small American flags and “blooming 
 like June roses.” On the highest seat 
 stood a young lady, who impersonated 
 the Goddess of Liberty, and about her 
 were grouped thirty-four others, bear- 
 ing shields on which were emblazoned 
 the coats of arms of the States of the 
 
164 MUSIC AND MUSICIANS OF MAINE 
 
 Union. Accompanied by the Seven- 
 teenth Regiment Band, they sang pa- 
 triotic songs inspiringly. An address 
 was given by Hon. Israel Washburn, 
 Governor of Maine. The evening pa- 
 per declared it to be “the prettiest ex- 
 hibition that had ever taken place in 
 this state.” 
 
 Prominent on concert programs, in 
 Portland, in this period, other than the 
 Haydn Concerts, were, Hattie Adams, 
 Belle Bartlett, William S. Beckett, 
 Clara Blanchard, Nellie Barker, Ellie 
 L. Brackett, Elizabeth Brown, Mar- 
 garet A. Bryant, Mabel Bates Burn- 
 ham, Alice Carle, Charles E. Chase, 
 Mrs. W. P. Chase, Eva Cleaves, Clara 
 Cobb, John B. Coyle, Jr., Mrs. G. M. 
 Cummings, Sarah M. Ellison, Alice 
 Fairman, Nettie Milliken Fellows, 
 Alice Gerry, Mrs. Lewis A. Goudy, 
 Florence E. Grant, Mary Harking, 
 Fannie C. Hawes, William H. Haskeli, 
 W. R. Howard, Fannie E. Jordan, 
 Marietta King, Georgia May Latham, 
 Annie Leavitt, Alice Leavitt, Mary E. 
 Merrill, Belle Millett, Ada Cary Mc- 
 Kenney, Mary Moody, Jennie King 
 Morrison, Mrs. Charles Norcross, A. 
 E. Pennell, Virginia Dean Pingree, 
 Mrs. E. M. Pillsbury, Mrs. Charles 
 H. Pratt, Henrietta Rice, Annie Louise 
 Rice, John L. Shaw, Anna Starbird, 
 Nellie St. John, George A. Thomas, 
 Samuel Thurston, Charles L. Trow- 
 bridge, Emma Waterhouse, E. Free- 
 man Waterhouse, Alice Waterhouse, 
 Hattie Weeks, Harriet N. Wetherbee, 
 Mrs. Nathan Webb (née Jane Usher), 
 William H. Stockbridge, and Bertha 
 Webb. 
 
 Pianists were Annie Allen, Elizabeth 
 M. Allen, Annie Greely, Fannie Libby, 
 Mary Jordan, Harvey Murray, Mrs. 
 H. C. Nichols, Alice Philbrook, and 
 Mrs. J. N. Thompson. 
 
 William Sylvester Beckett sang at 
 many concerts in Portland and was a 
 
 member of the State Street Church 
 Choir. He afterwards went to New 
 York where he sang in Rockefeller’s — 
 Church. He had a baritone voice of — 
 beautiful quality and was said to have 
 been “the best bass singer, who ever 
 went out of Maine.” | 
 
 Alice Carle, a favorite Portland vo- — 
 calist, had a rich contralto voice and ~ 
 sang in a number of churches and at 
 many concerts. She was soloist at the 
 First Parish Unitarian Church, Cam- 
 bridge, 1873 to 1874, and sang with © 
 the Boston Opera Company. 
 
 Ada Cary McKenney (1853-1922) — 
 possessed a rich contralto voice which ~ 
 strikingly resembled that of her half 
 sister, Annie Louise Cary. She made 
 a successful tour of the country, dur- — 
 ing which she was accompanied by 
 John T. Fagan as flute soloist and ob- 
 ligatist. She was much sought after as _— 
 a concert artist in Maine and in many 
 New England cities. 7 
 
 Frances Dodwell, a pupil of W. H. 
 Dennett, a favorite vocalist, was pos- 
 sessed of a splendid voice, rich, mellow — 
 and powerful. She married Alexander — 
 Siemens, eminent British engineer, in 
 1881 and went with him to reside in 
 London. 
 
 John L. Shaw, who afterwards be- — 
 came one of the best known bass vo- — 
 calists of Portland and one of the long- — 
 est in the service in the choirs of that — 
 city, sang regularly with his father and — 
 mother in the choir of the old Chest- — 
 nut Street Methodist Church there. At — 
 the age of fifteen he sang alto parts in 
 the choir at the Methodist Church on ~ 
 the hill at Gorham. q 
 
 Later he joined the Third Parish . 
 Choir which, quite properly, came to 
 be: called “the Pennell choir,” because 
 it was composed of Albert P. Pennell, — 
 bass; Charlotte Pennell, alto; Frances 
 E. Pennell, soprano; Charles J. Pen- 
 nell, bass; George W. Pennell, tenor; 
 
 et ee ee he a hee ee ee eee he 
 
MUSIC OF THE STATE OF MAINE — 1857-1896 165 
 
 and John L. Shaw, bass. Richard Pen- 
 nell was the organist. Mr. Shaw after- 
 wards joined the Second Parish Choir 
 on Middle Street and, when George A. 
 Thomas went to California, succeeded 
 him in the choir of the St. Stephen’s 
 Church on Pearl Street. In the Pearl 
 Street Choir were Boody Churchill, 
 tenor; Julia Norton, soprano; Eliza 
 Norton, contralto; and Emily Kimball, 
 organist. Mrs. Shaw played the organ 
 at the Federal Street Church where 
 Mr. Shaw sang next, and for a time 
 they went together, playing and sing- 
 ing in the churches. Mr. Shaw became 
 director of music in the Pearl Street 
 Universalist Church Choir when at 
 that church were singing Harriet Ayers, 
 Daniel Chandler and Mary Blanchard. 
 When this church was burned in the 
 great Portland fire in 1866 Mr. Shaw 
 went to the Congress Square Univer- 
 salist Church, where he sang for seven- 
 teen years. He later joined the First 
 Parish Church Choir, which for years 
 consisted of Harrjet N. Wetherbee, so- 
 prano; Mrs. Charles Norcross, alto; 
 _ Samuel Thurston, tenor; and John L. 
 Shaw, bass; when Hermann Kotz- 
 _ schmar was organist, and here he re- 
 mained for twenty-seven years. 
 
 Samuel Thurston, who was promi- 
 nently identified with music in Port- 
 land from 1850 to 1880, was born in 
 Winthrop in 1825. He attended the 
 Winthrop schools and the Monmouth 
 _ Academy and studied voice with Fred- 
 - erick Nicholls Crouch. He sang at the 
 _ First Baptist Church on Federal Street, 
 and, after two years at the High Street 
 Church, he became a member of the 
 _ First Parish Church choir where he re- 
 mained for thirty years. During his 
 _ stay in Portland he was identified with 
 many of the musical societies of his 
 day — notably the Mozart Club which 
 he organized. Mr. Thurston was re- 
 _ sponsible for the introduction of mu- 
 
 sic into the public schools of Portland. 
 He married Mary Louisa Waters of 
 Gorham in 1858. 
 
 He was the author of a manuscript 
 which he called “Reminiscences” in 
 which there were references to many 
 matters of local and musical interest in 
 his time. 
 
 Mary L. Thurston, wife of Samuel 
 Thurston, was born in Gorham, Maine. 
 After studying for a time with Henry 
 S. Edwards, and a season in Boston 
 under excellent tutors, when about 
 twenty years old, she went to Ohio 
 where she taught vocal and instrumen- 
 tal music in a young women’s semi- 
 nary. In 1853 she married Mr. Thurs- 
 ton and came to Portland, where she 
 became organist in the St. Lawrence 
 Street Congregational Church. She was 
 an accomplished pianist and acted as 
 accompanist for many amateur pro- 
 ductions given in the theaters of Port- 
 land. During the Civil War she or- 
 ganized entertainments and was a 
 factor in raising funds for the troops 
 of the Union Army. 
 
 John B. Coyle (1841-1898), born in 
 Portland, was a great favorite with 
 Maine audiences for many years. He 
 sang at Dr. Gannett’s Church in Bos- 
 ton and afterwards at the State Street 
 Church in Portland. His voice was 
 basso cantante, rich and full. He was 
 a member of the Apollo Club, Boston, 
 and the Haydn Association in Portland. 
 
 The Thomas family of Portland was 
 an unusually musical one. Edward H. 
 Thomas was a flutist of more than or- 
 dinary ability. He played the music of 
 the best composers remarkably well, 
 met and intimately knew all the fa- 
 mous flutists of his day, and performed 
 with some of the world’s greatest in- 
 strumentalists. He used a Rudall-Carte 
 (Meyer system) flute which was es- 
 pecially constructed for him. The tone 
 which he produced was rich and mel- 
 
| 
 
 HERMANN KOTZSCHMAR, CONDUCTOR OF THE 
 HAYDN ASSOCIATION AND FOR NEARLY FIFTY YEARS 
 ORGANIST AT THE FIRST PARISH CHURCH, PORT- 
 LAND. PHOTO BY LAMSON. 
 
 low. After he lost his sight, in the lat- 
 ter part of his life, he frequently sat 
 near an open window on the State 
 Street side of his home and entertained 
 the passers-by with choicest melodies 
 from the operas and by his improvisa- 
 tions. 
 
 George A. Tlromas was a baritone 
 singer of local prominence, a member 
 of singing clubs, and a composer. He 
 sang for twenty years in the Old Epis- 
 copal Church on School Street; later 
 at Dr. Dalton’s Church on State Street; 
 and in the First Parish Church Choir 
 with his sister Elizabeth and his broth- 
 er Dr. Charles W. Thomas. Their 
 father played the viola. 
 
 Some of the music composed by 
 George A. Thomas in the early forties 
 and the flute which belonged to Ed- 
 
 MUSIC AND MUSICIANS OF MAINE 
 
 ward Thomas are in the collection of 
 music and musical instruments of John 
 T. Fagan, Esquire, of Portland. 
 
 “Aunt Charlotte” Thomas, a sister, 
 was long known as Portland’s patron 
 saint of music. 
 
 Kotzschmar and Marston 
 
 Only the poets, composers and think- 
 ers live in the hearts of the people for- 
 ever. These are the writers or creators. 
 The singer is soon forgotten and recol- 
 lections of her pass out of the memory 
 of man. In a few short years but a 
 handful of people are left who are able 
 to tell how she sang, or describe how 
 she looked. The teacher may be re- 
 membered not at all, but while his 
 name may be soonest forgotten, his 
 work, his teachings, his ideals and the 
 inspiration he has imparted to others 
 continue to live after him and are 
 passed on to still others, who will teach 
 
 ee ee ee a 
 
 Rie int* 
 
 as he taught and from them, yet again ‘ 
 
 to others, and so on indefinitely; and, 
 
 if he has always placed the welfare of © 
 
 his pupils before the adoration of his 
 art, and carried in his soul the worship 
 of God, and in his heart the love of 
 
 mankind, he may be sure that a part 4 
 
 of himself, his personality, a bit of his 
 
 soul, in fact, will continue to live in the — 
 
 hearts of new seekers after musical 
 
 knowledge, who come to study with © 
 
 those who have been his pupils and his — 
 
 pupils’ pupils. 
 There is no satisfaction that quite 
 compares with that which-comes to the 
 
 thoroughly competent and conscien-— 
 
 tious teacher while watching the de- 
 velopment of an artistic or creative 
 
 talent in a promising pupil under the ~ 
 
 direction of his guiding hand. 
 Two music teachers, neither of whom 
 
 were born in Maine, but whose teach- 
 
 Pr 
 
 hae 
 
 ; 
 : 
 
 ings have left a vital impress on the 
 
MUSIC OF THE STATE OF MAINE-— 1857-1896 167 
 
 music students of the State, were Her- 
 mann Kotzschmar and George W. 
 _ Marston. 
 
 Hermann Kotzschmar 
 
 Hermann Kotzschmar was born in 
 _ Finsterwald, a little town in Germany. 
 As a child he studied music with his 
 father, Gottfried Kotzschmar, who was 
 the Stadtmusiker, or town musician, 
 and from him he learned to play the 
 _ piano, violin, flute, clarinet and horn. 
 Finsterwald was not much over fifty 
 miles from either Berlin, Leipsic or 
 _ Dresden; all, at that time, centers of 
 music and art. 
 His father chose to send him to the 
 latter city to continue his musical edu- 
 cation, so when Hermann was yet a 
 boy he went to the capital of Saxony, 
 where he pursued his studies on the 
 _ piano and organ with Hayne, and in 
 - composition with Julius Otto. Here he 
 became familiar with the fugues of 
 _ Bach and mastered the intricacies of 
 counterpoint. 
 Before he had reached his twentieth 
 birthday he had become an excellent 
 Pianist and organist and could play 
 creditably upon the violin and other 
 instruments. He joined the Saxonia 
 _ Band, and, with this body of adven- 
 _ turous musicians, came to this country 
 in 1848. The members of this little 
 _ company, not understanding the cus- 
 _ toms and language of a new country, 
 soon found themselves stranded and 
 penniless, and, as the demand for for- 
 eign musicians in nearly every com- 
 munity in the new world, at that time, 
 _ Was exceedingly limited, they separat- 
 _ ed into as many different directions as 
 _ there had been members of the band. 
 Hermann Kotzschmar at first settled 
 
 in Boston. Here he was discovered by 
 
 ces 
 
 a 
 
 _ Cyrus L. Curtis who became much im- 
 _ pressed with the young musician’s un- 
 
 usual talent and ability. Through the 
 influence of Mr. Curtis he became 
 leader of the Union Street Theater Or- 
 chestra in Portland. Little did these 
 two then know that the lasting friend- 
 ship which was to spring up between 
 them would eventually become, through 
 the son of one of them, one of the 
 greatest factors in determining later 
 events of far-reaching import in the 
 musical life of the city in which they 
 were to live and die, and that for many 
 generations thereafter thousands of 
 music lovers in Portland would be able 
 to satisfy freely their desire to hear 
 the most beautiful in music. 
 
 The uncultivated musical tastes of 
 theater patrons of that day were ap- 
 peased only by the performance of the 
 most trivial and ordinary music and 
 young Kotzschmar was obliged to sub- 
 mit to the drudgery of playing over 
 and over again cheap refrains that 
 found no response in the soul of this 
 true musician, but the pressure of dire 
 necessity was upon him and in Port- 
 land he found his romantic wanderings 
 were at an end. 
 
 After two years of dull routine, dur- 
 ing which he strove, through constant 
 application, to prepare himself for bet- 
 ter things, should opportunity offer, 
 the efforts of Hermann Kotzschmar 
 were rewarded, for at the meeting of 
 the Portland Sacred Music Society 
 held December 4, 1850, it was voted to 
 engage Mr. Kotzschmar as pianist of 
 that society for the sum of fifty dollars 
 per year. On Sunday evening, March 
 16, of the following year, he appeared 
 as soloist in what is believed to have 
 been his first concert program in Amer- 
 ica as organist. His contribution con- 
 sisted of two voluntaries, but whether 
 they were compositions of the old mas- 
 ters or improvisations by the _per- 
 former, the record does not state. 
 
 A strong friendship had sprung up 
 
168 
 
 between Mr. Kotzschmar and some of 
 his admirers, who were among the 
 members of the Portland Sacred Music 
 Society. Three of these were John L. 
 Shaw, Samuel Thurston and Mrs. Har- 
 riett Wetherbee. In this year (1851) 
 Mr. Kotzschmar became organist at 
 the First Parish Church, Portland, and 
 held that position for forty-seven years. 
 During the greater part of this time 
 these three, who were, perhaps, during 
 that early period, Portland’s most not- 
 ed vocalists, sang continuously in this 
 church. 
 
 While for more than seven years the 
 Board of Government of the Old Port- 
 land Sacred Music Society was fighting 
 for its very existence, because of its 
 inability to procure a vocal conductor 
 who could satisfactorily direct the mu- 
 sic of the society, and under whom it 
 would advantageously progress, it had 
 overlooked the one man who could 
 have made the society what its mem- 
 bers hoped it would become. That Mr. 
 Kotzschmar’s high standing as a mu- 
 sician was at that time recognized by 
 the singers of Portland is evidenced by 
 two benefit concerts which were given 
 him by the Portland Sacred Music So- 
 ciety in 1850 and 1853, but he had al- 
 ways been regarded as a piano and 
 organ soloist and an accompanist, and 
 never once thought of as a conductor. 
 
 On the reorganization of the Haydn 
 Association after the Civil War (March 
 17, 1869) Mr. Kotzschmar, who had 
 been for most of the time since its or- 
 ganization accompanist for the chorus 
 and leader of its orchestra, became the 
 society’s conductor, and from that hour 
 was dated a new epoch in the progress 
 of music in Portland. 
 
 It is significant that under his di- 
 rection this society immediately began 
 the serious study of oratorio. The first 
 public performance by the Haydn As- 
 sociation under Mr. Kotzschmar was 
 
 MUSIC AND MUSICIANS OF MAINE 
 
 the presentation of Haydn’s “Crea- 
 tion” at City Hall, Portland, on May 
 18, 1869. Soloists from Boston and the 
 Germania Orchestra of thirty pieces 
 assisted the chorus of three hundred 
 voices in the production. It was a great 
 event in the musical annals of Maine 
 and a triumph for the conductor. 
 
 Under Mr. Kotzschmar’s baton the 
 Haydn Association became one of the 
 most noted, for performance of ora- 
 torio, in the country. 
 
 Mr. Kotzschmar later became con- 
 ductor of the Weber Club, the Phil- 
 harmonic Orchestra and the Orchestral 
 Union in Portland, and directed choral 
 societies in Gardiner, Lewiston and 
 Brunswick. He appeared as soloist at 
 the annual music festivals of the Pe- 
 nobscot Musical Association of Bangor 
 and at musical conventions at other 
 cities in Maine. 
 
 On December 16, 1872, he married 
 Mary A. Torrey, a native of Sacra- 
 mento, who then resided in Portland, 
 where she was attending a private 
 school for girls. 
 
 In 1898 Mr. Kotzschmar became or- | 
 
 ganist at the State Street Congrega- 
 tional Church where he served in that 
 capacity for about five years. In 1903, 
 
 from Bowdoin College, he received the — 
 
 honorary degree of Master of Arts, and 
 
 in 1905, from Eberhardt College, that — 
 
 of Doctor of Music. He was a charter 
 member of the Kotzschmar Club, and 
 its first, and up to the time of his death, 
 its only president. 
 
 ee ee ee 
 
 "es alte Mei dens 
 
 ee he 
 
 Par Cee 
 
 His “Te Deum in F” has been sung © 
 in nearly every church of importance © 
 in the country and his writings show — 
 a carefulness of detail and a thorough © 
 
 understanding of harmony and coun- — 
 
 terpoint that entitle them tothe respect 
 of musical critics. 
 
 Hermann Kotzschmar’s published pi- — 
 
 ano compositions are as follows: “Trois 
 Mazurkas,” “Arcturus,” “Aurora Bo- 
 
 ( 
 E 
 = 
 
 ey ae ee, 
 
 ee Se 
 
realis,” “Barcarolle,”’ “Romance,” “Ca- 
 rola,” Dance: “As You Like It,” “Fair- 
 ies’ Evening Song,” “Lullaby,” “Esprit 
 d’ Amerique,” and eight lesser dance 
 pieces. His songs are: “The First 
 Prayer,” “Immortality of Love,” “Yan- 
 kee Girls,’ “When Will Ye Think of 
 Me, My Friends?” and “Barcarolle” 
 (male quartet), and his anthems are, 
 “Te Deum in F,” “Deus Miseratur,” 
 “Rejoice in the Lord,” “Benedictus,” 
 “Lord, O Lord,” “When Death is Com- 
 ing Near,” “Slowly By God’s Hand 
 Unfurled,”’ “Angels Roll the Rock 
 Away,” “Angel Voices Sweetly Sing- 
 ing,” “Christmas Bells,” “On This Glo- 
 rious Christmas Morn,” and “Christ is 
 & Risen.” 
 
 Mr. Kotzschmar’s unpublished com- 
 positions include two movements for 
 string orchestra, performed at the 
 Maine Music Festival in 1897; a cho- 
 rus for women’s voices, written for the 
 Portland Rossini Club and performed 
 _ by them; many of the hymns used at 
 _ the vesper services of the First Parish 
 Church; and a few songs and piano 
 pieces. His earliest composition (marked 
 by himself Op.1) is a brilliant piano 
 solo entitled, “Souvenir de Finster- 
 ~ wald.” 
 
 Mr. Kotzschmar was one of the most 
 picturesque musicians who ever lived 
 ~ in Maine. His was a wandering nature, 
 __ yet he was possessed of that tenacity 
 _ of purpose which characterizes the Ger- 
 man people. 
 
 _ As a conductor of oratorio few 
 _ equalled and it is believed that none 
 excelled him. 
 
 After Mr. Kotzschmar’s death his 
 __ body was cremated and one year later 
 _ the cinerary urn which holds his ashes 
 _ was placed in a hollow niche that had 
 _ been chiselled out of the solid granite 
 _ wall of masonry in the First Parish 
 _ Meeting House, where his music had been 
 heard and admired for so many years. 
 
 ef: wo peadyiom 
 
 ie cl oe a al el ha ae i co a ey 
 
 Va ae 
 
 _ MUSIC OF THE STATE OF MAINE— 1857-1896 169 
 
 GEORGE W. MARSTON OF PORTLAND, -TEACHER, 
 ORGANIST AND COMPOSER OF CHURCH MUSIC, 
 WHOSE ANTHEMS HAVE BEEN SUNG THE WORLD 
 OVER. PHOTO BY CHICKERING, BOSTON. 
 
 The magnificent Kotzschmar organ 
 in the City Hall in Portland stands as 
 a memorial to this great musician, 
 whose bust in bronze adorns the cen- 
 tral niche in its ornamental facade, 
 while a manuscript of this much be- 
 loved composer and his baton are en- 
 cased in glass within the bronze tablet 
 which bears this inscription: “In Mem- 
 ory of Hermann Kotzschmar. For more 
 than fifty years pre-eminent as Organ- 
 ist, Composer and Teacher. Born Fin- 
 sterwald, Germany, July 4, 1829. Died, 
 Portland, Maine, April 15, 1908. Gift 
 ob Cyrus fk Curtis< 
 
 George W. Marston 
 
 George W. Marston, composer, and 
 for many years a music teacher of 
 prominence in Portland, was born in 
 
170 MUSIC AND MUSICIANS OF MAINE 
 
 Sandwich, Mass., May 23, 1840. On 
 his mother’s side he was directly de- 
 scended from the John Howland, who 
 came to Plymouth with Governor Car- 
 ver in the Mayflower. His father, Wil- 
 liam Marston, was an Englishman who 
 came to America when he was a young 
 man and completed his education here. 
 His maternal grandfather is said to 
 have had a “tenor voice of great beauty 
 and power.” As a boy George W. 
 Marston sang alto in the church in 
 Sandwich which his parents attended. 
 When twelve years of age he began 
 studying piano with a local teacher, 
 and at sixteen he became organist at 
 the First Congregational Church of 
 Sandwich. When he had completed his 
 studies in the high school and the acad- 
 emy in the town of his birth he went 
 to Waterville where he taught piano 
 and played the organ at the First Bap- 
 tist Church. After about a year in Wa- 
 terville he decided to go to Portland 
 which seemed to offer greater oppor- 
 tunity for advancement in the study of 
 piano and organ, and here he studied 
 with John W. Tufts and John Knowles 
 Paine. 
 
 He began composing music when 
 very young and his first composition 
 to attract attention from the musical 
 public was in ballad form, “Across the 
 Far Blue Hills, Marie.” It was very 
 successful and was soon followed by 
 “Marguerite” and his “Could ye Come 
 Back to Me Douglas.” Mrs. Craik’s 
 poem has had many musical settings 
 but the author declared that Marston’s 
 was her favorite one. This song was 
 afterwards arranged for male quartette 
 and in this form proved especially 
 popular. 
 
 In 1870 Mr. Marston went to Eu- 
 rope where he studied for a time with 
 Guisseppi Buonamici. During this per- 
 iod he practiced six hours a day and 
 studied all of the Beethoven Sonatas. 
 
 In the winter of 1874-75 he went to 4 
 
 Germany and took up the study of - 
 composition with Joachim Raff. After 
 his musical course in Europe there was 
 observed a notable change in the style — 
 of his compositions. He gave more at- — 
 tention to the elaboration of his ac-- 
 companiments, and his work exhibited — 
 an enlarged conception of the possibili- 
 ties of both harmony and counterpoint. 
 Three of his songs, published by Ira 
 Stockbridge of Portland in 1876, were 
 “Tender and True,” words by Miss ~ 
 Muloch; “The Sea Gull,” words by — 
 Florence Percy; and “To One In Par- 
 ticular,” words by Edgar Allen Poe. 
 Mr. Marston exercised a discrim- 
 inating taste in the choice of words for — 
 his songs and selected lyrics for his — 
 musical settings from the gems of the 
 
 literature of his day. A critic, com- 
 
 menting on this, observed, “One of — 
 these days, when Mr. G. W. Marston’s — 
 exquisite songs are collected, there will — 
 be formed in one charming volume the 
 
 finest poems in the English language, 
 set to music which shows in every 
 
 phrase the most delicate appreciation 
 of the well chosen words.” 
 
 Among his important works are in- _ 
 cluded, two books of German “Lieder,” _ 
 
 a book of English songs entitled, % 
 “Grave and Gay,” 
 cantata, “David.” On May 29, 1895, 
 
 his cantata was sung in Kotzschmar — 
 
 Hall, Portland, by the Haydn Associa- — 
 
 tion under Mr. Kotzschmar’s direction. — 
 Although Mr. Marston was himself a — 
 
 brilliant performer, his was such a 
 
 modest and retiring disposition that he — 
 
 chose to sit quietly in the audience — 
 rather than take an active part in the — 
 program. At the end of the first part © 
 
 the cry of “Marston” was heard in — 
 
 several parts of the hall, and, the en- — 
 thusiasm increasing, he was finally 
 obliged to rise and acknowledge this — 
 tribute, to which he graciously re- 
 
 and a dramatic 
 
MUSIC OF THE STATE OF MAIN E~— 1857-1896 171 
 
 sponded. The soloists on this occasion 
 
 were Mrs. John W. Bowers, Henrietta 
 
 Rice, Herbert W. Barnard and Frank 
 
 _ dH. Pierce. Harvey Murray was the 
 pianist. 
 
 _ Mr. Marston’s productive years were 
 all spent in Portland, and while in 
 that city he was organist at St. Luke’s 
 Episcopal, Congress Square Univer- 
 salist and State Street Congregational 
 Churches, successively. 
 
 As a teacher of musical interpreta- 
 tion Mr. Marston had no superior and 
 among his pupils are numbered not a 
 few who attained high places in music 
 
 in America. For more than twenty 
 
 _ years no serious student in Western 
 
 _ Maine felt that he had received the 
 
 _ best obtainable in musical instruction 
 
 unless included in his curriculum had 
 
 _ been a term or more of lessons in pi- 
 
 ano, organ and harmony under one of 
 
  Portland’s two great music teachers, 
 
 Hermann Kotzschmar or George W. 
 
 _ Marston. 
 
 His death occurred at the home of 
 
 his sister, Caroline Crocker, in Sand- 
 
 wich, Massachusetts, on February 2, 
 
 . 1901. After his demise the Kotzschmar 
 _ and Marston Clubs of Portland united 
 
 _ in a memorial meeting which was held 
 
 in Franklin Hall in the Baxter Build- 
 
 __ ing when they gave a musical program 
 
 _ which consisted entirely of Mr. Mars- 
 
 _ ton’s songs. 
 
 He was for years an honorary mem- 
 
 _ ber of the Portland Rossini Club. 
 
 _ Arthur P. Schmidt, the publisher of 
 
 “most of Mr. Marston’s music, solicited 
 
 the opportunity to publish his works 
 
 _ abroad. Two sets of his songs were 
 
 a B published ; in Leipsic with both German 
 
 i and English words. In fact this firm 
 
 _ came to publish, with the exception of 
 
 "a very few numbers, all that Mr. 
 
 2 ~ Marston wrote. 
 
 4 _ Mr. Marston composed more than 
 
 a Braree score of beautiful piano pieces 
 
 i Sst ap 
 
 Pi 
 
 and about an equal number of lovely 
 songs, some of which were of a secular 
 and some of a religious tone, but it was 
 in his church music that he is best 
 known, for his anthems and responses 
 have both heart and spirit appeal. 
 
 His was a deeply religious nature 
 which inspired him to write for the 
 churches music that struck a sympa- 
 thetic chord in the hearts of the people. 
 His sacred pieces are all very melodi- 
 ous and show a thorough knowledge of 
 harmony and composition and the 
 range of the human voice in all the 
 singing parts. In nearly all his church 
 music there seems to be an undercur- 
 rent of sadness which is difficult for 
 those who knew him to understand, 
 for his was such a genial nature that 
 he gave no outward evidence of the 
 depth of feeling that was in his inmost 
 heart. 
 
 His song accompaniments are nearly 
 always distinctive, yet unobtrusive. His 
 style could be exquisitely delightful, 
 profoundly somber, or quaintly simple 
 as he chose, yet all his compositions 
 are replete with richest harmonies and 
 embodied great depth of feeling. 
 
 His anthems are still widely sung in 
 America and Europe. Some of them 
 will endure as long as the hearts of 
 men continue to reach out after the 
 things that are of the best in life. 
 
 Historians of music have devoted too 
 little space to this composer whose 
 writings include some of the loveliest 
 phrases to be found in American music. 
 
 Kotzschmar and Marston: Maine 
 owes a debt of gratitude to these two 
 who spent the best years of their lives 
 in Portland and taught interpretation 
 of the classics in music to hundreds of 
 aspiring students throughout the State. 
 They laid the foundations upon which 
 succeeding generations of Maine teach- 
 ers have built their success as educa- 
 tors in music. Who shall say that their 
 
172 MUSIC AND MUSICIANS OF MAINE 
 
 influence will not be felt for genera- 
 tions and perhaps for centuries yet to 
 come. 
 
 Maine has not only produced great 
 vocal artists, but, within her bound- 
 aries, have dwelt music teachers who 
 have been instrumental in bringing out 
 other great singers who became world 
 famous. Among these architects of 
 vocal structure, who were either resi- 
 dents or natives of Maine, should be 
 mentioned Clara E. Munger, long a 
 resident of Portland, who started Em- 
 ma Eames on her notable career; Mrs. 
 J. H. Long, also sometime a resident 
 of the same city, to whose early teach- 
 ings Geraldine Farrar acknowledges 
 that she owes, more than to any other, 
 her success aS an Operatic star; and 
 Sarah Robinson Duff, a native of Ban- 
 gor, who gave to Mary Garden the 
 educational start that put her on the 
 road to musical fame and success. 
 
 Clara E. Munger, born in Portland 
 in 1850, began her work as a teacher 
 at nineteen. She studied with W. H. 
 Dennett and later with Clara Scott. 
 After a season under the best teachers 
 in Chicago, she went to Paris where 
 she studied with Madame La Grange 
 and Delle Sadie. From Paris she went 
 to London and Germany where she 
 completed her musical education. She 
 taught, first in Portland and later in 
 Chicago, but the larger part of her 
 career was spent in Boston where she 
 came to be ranked as one of the city’s 
 best vocal teachers. She counted many 
 fine singers among her pupils. 
 
 Mrs. J. H. Long, born in Lyme, N. 
 H., taught in Portland for a number of 
 years and afterwards in Chicago and 
 Boston. She studied with Lamperte in 
 Milan and became, also, a noted teach- 
 er of the voice. She was a concert and 
 oratorio artist, and sang in the Church 
 of the Unity in Boston, and in the 
 Meeting House Hill Quartette in Dor- 
 
 chester and appeared in the concerts of 
 the Handel and Haydn Society in Bos- 
 ton. Besides Miss Farrar, she num- 
 bered other celebrated singers among 
 her pupils, notably, Elvira Leveroue 
 and Janet Spencer. 
 
 A sketch of Sarah Robinson Duff 
 will be found on another page in this 
 volume. 
 
 Among those who were music teach- 
 ers in Portland from 1856 to 1870 were — 
 William H. Dennett, W. W. Davis and © 
 W. L. Fitch, who also conducted sing- — 
 ing schools; May Beasley Clark, H. S. — 
 Murray, M. C. Milliken, S. D. Rum- 
 ery, teachers of piano; Anna L. Davis, © 
 Frank Burnham and Charles Grim-— 
 mer, teachers of violin; Nettie A. Fel- 
 lows, Mrs. Wentworth Stevenson, Fran-_ 
 ces M. Hawes, vocal teachers; and — 
 Prof. A. J. Amon, graduate of the Mu- — 
 sic College of Vienna, whotaught piano — 
 and guitar. ; 
 
 In 1857 Ballou’s Singing School was 
 holding sessions at the old wooden 
 Post Office Building in Portland, on 
 Federal Street. Mr. Ballou developed — 
 a large class of singers (all ladies) and 
 gave several concerts. His was the first — 
 women’s chorus to be organized in the - 
 State. E 
 
 William Henry Dennett was for 
 years considered the greatest teacher 
 of voice in Maine. Many of the best 
 singers in the State were among those 
 who studied with him when he was 
 teaching in Portland. He studied abroad — 
 six: years and afterwards toured the 
 country with Parodi and then with 
 Biscaccianti. At his death he left a 
 legacy of one thousand dollars to the 
 Rossini Club of Portland. ; 
 
 Melville Cox Milliken, who was suc-_ 
 cessively organist at the Winthrop 
 Street Universalist Church at Augusta, 
 Pine Street, Portland, and at churches” 
 in Unity, Maine, and Worcester, 
 Mass., was, for years, a teacher of 
 
 & 
 
 Ee eT ee 
 
 Beit HS 
 
* MUSIC OF THE STATE OF MAINE— 1857-1896 173 
 
 piano and organ in Portland, his native 
 city. He was the son of James Race 
 and Susan Cressey (Bradbury) Milli- 
 ken. In 1853 he married Evelyn Kim- 
 ball. He was an authority on musical 
 _ matters in Augusta and Bangor for the 
 years 1866 to 1875 inclusive. Among 
 _ his compositions are “Rejoice Greatly, 
 O Daughter of Zion” and “Abide with 
 Me.” His daughter, Nettie Milliken 
 Fellows, for many years a prominent 
 soloist in Portland church choirs, was 
 much admired for her bird-like soprano 
 _ voice. 
 _ Frances M. Hawes, a successful vo- 
 cal teacher, soprano soloist and concert 
 artist in Portland, was a daughter of 
 Daniel H. and Mary Ann Chandler 
 and married Cornelius K. Hawes 
 (1873). She studied music under Wil- 
 liam H. Dennett and afterwards under 
 Rudersdoff of Boston. She had a large 
 class of pupils. 
 _ Mrs. Henry Chase, née Emily Chee- 
 ver Pitts (1839), daughter of James 
 Cox and Mary Fenno Pitts, was a 
 _ well-known teacher of piano and organ 
 in Augusta and officiated as organist 
 in all the churches in that city. She 
 was also a fine contralto soloist. She 
 : studied music with private teachers 
 in Augusta and Boston and comvosed 
 J a number of works for the organ (all 
 in manuscript). 
 “4 No madder prank was ever played 
 on the people of Portland than that 
 : _ planned and executed by the late Cap- 
 tain Benjamin J. Willard, jester ex- 
 ¢ sordinary, on July 4, 1874. 
 Because the City Government of 
 Portland had refused to provide its 
 usual appropriation for a celebration 
 _ on Independence Day in that year, he, 
 o and a few of his closest friends, de- 
 ebrmined that the citizens of Portland 
 _ should have some fun on the Fourth of 
 _ July and they were willing to pay for 
 Git 
 
 E 
 
 os 
 
 > 
 S 
 4 
 - 
 
 WILLIAM HENRY DENNETT OF PORTLAND, FOR 
 MANY YEARS CONSIDERED THE GREATEST VOCAL 
 TEACHER IN MAINE. 
 
 In the evening and morning papers, 
 “the day before,” appeared the an- 
 nouncement that a number of citizens 
 had, by private subscription, “hired a 
 fine band from Boston composed of the 
 best Italian and German talent” to 
 play all day in Lincoln Park. 
 
 Those who went to the park to hear 
 the band were astonished to find eleven 
 hand-organ grinders, with their in- 
 struments, grouped in such a manner 
 around the fountain in the center of 
 the park that their tunes might be “per- 
 mitted to mix.” From seven A.M. until 
 noon and from one in the afternoon 
 until six, without intermission, these 
 
 “musicians,” who were not allowed to 
 accept any money from the public, 
 stood, “playing away for dear life,” 
 
174 MUSIC AND MUSICIANS OF MAINE 2 
 
 THOMAS E. GLYNN (“TOMMY GLYNN’) OF PORT- 
 LAND, ACCLAIMED JUST BEFORE HIS DEATH AS THE 
 WORLD’S GREATEST BAN JOIST. 
 
 while the tunes from all the instru- 
 ments mingled together in a veritable 
 Babel of Music, and thus they played 
 until the Angelus pealed from the Ca- 
 thedral tower nearby, when 
 “The music all” was “ground, 
 And silence, like a poultice” came 
 “To heal the blows of sound.” 
 Seriously inclined musicians are apt 
 to regard the blatant banjo and the 
 humble harmonica and the frivolous 
 fiddle with something a little short of 
 contempt and it would, perhaps, ap- 
 pear to be a departure from the original 
 purpose of this volume to include in it 
 reference to those whose only claim to 
 musical recognition is from perform- 
 ances on such trivial instruments. Yet, 
 
 if one plays the banjo so well that he is 
 heralded as the greatest in his country, — 
 or if he executes difficult selections on — 
 the harmonica in such a manner that — 
 none are able to surpass him, or if he ~ 
 fiddles his way into the hearts of the 
 people so that he is acclaimed on all 
 sides as the greatest fiddler in the © 
 world, he merits more than passing — 
 mention, and his art is entitled to the © 
 respect of all musicians. | 
 
 The fiddle in the hands of a master 
 becomes a violin. The banjo and har- — 
 monica may not rise to such heights; — 
 yet since the twentieth century began 
 the banjo has come to be considered as — 
 an instrument that may yet finda place — 
 in the great symphony orchestras of — 
 the world, while the harmonica has not — 
 only been taught in a number of the 
 public schools in the country, and har- 
 monica playing contests among school — 
 boys have been encouraged in order to — 
 arouse an interest in them in the study 
 of music, but concerts have been given ~ 
 by boys’ harmonica bands under the — 
 leadership of school music supervisors — 
 in some of the larger cities of America, — 
 notable among which was the one given ~ 
 by the “Philadelphia Wizards” at the — 
 National Federation of Music Clubs’ — 
 Convention held at Chicago in April, © 
 1927. . 
 
 Thomas E. Glynn (1872-1897), or, 
 as he was better known professionally, — 
 “Tommy Glynn,” declared by vaude- — 
 villians of his day the greatest banjoist — 
 in the world, was born in Portland, — 
 Maine. He learned to play on an old — 
 and battered wooden rimmed instru- — 
 ment which had but one string. Later, — 
 when he was able to procure a better 
 banjo, he developed his talent and be- 
 came the solo attraction in concerts — 
 with the Imperial Mandolin and Gui- 
 tar Club of Portland. It was not long — 
 
 before he was appearing in Keith’s 
 Theater in Boston, New York and ~ 
 
h 
 
 MUSIC OF THE STATE OF MAINE-— 1857-1896 175 
 
 Providence, and he became widely 
 sought by vaudeville and concert man- 
 agers. The most difficult overture had 
 _ no terrors for him. Audiences went 
 _ wild with enthusiasm over his playing 
 and in a Jubilee competition he won a 
 three hundred dollar Stuart banjo. So 
 skilfull was he that musicians became 
 interested in him and the Temple Quar- 
 tette of Boston offered him the finest 
 musical education that the country of- 
 fered if he would abandon the banjo 
 and take up the study of some other 
 instrument, but he realized his limita- 
 tions and believed that on no other in- 
 strument could he ever hope to attain 
 to the immense success and popularity 
 which the banjo had given him. 
 His musical compositions, which are 
 resplendent with intriguing harmonic 
 _ changes, are among the most difficult 
 _ banjo pieces written. 
 Tommy Glynn was more than a tal- 
 ented performer on the banjo, he was 
 a genius. 
 
 When but twenty-five years of age 
 he became ill of a fever and died in 
 Cambridge, Massachusetts. In his last 
 hours, realizing that death was at hand, 
 he called for pencil and paper that he 
 might compose a funeral march for his 
 _ beloved banjo. 
 
 Charles Farrell, a Portland boy, was 
 _ the first to introduce harmonica play- 
 ing into Boston vaudeville, or, as it was 
 _ then called, “Variety Show.” 
 
 He played in many concerts through- 
 _ out New England, and his perform- 
 ances on that instrument have never 
 _ been excelled. He died when less than 
 _ thirty years of age. 
 
 Of Mellie. Dunham, who brought 
 _ a greater amount of publicity to Maine 
 _ than any other musician in a quarter 
 _ of a century of time, more will be 
 _ found on another page. 
 
 Slight as may have been their claim 
 _ to be numbered among the immortals 
 
 A. M. DUNHAM (“MELLIE DUNHAM”) OF NOR- 
 WAY, MAINE, WHOSE FIDDLING CAPTURED THOU- 
 SANDS OF HEARTS WHILE TOURING ON THE KEITH 
 CIRCUIT IN THE WINTER OF 1925-1926. 
 
 in music, each excelled in his chosen 
 profession, and though they may not 
 have contributed in as great a measure 
 as some to Maine’s fame as a musical 
 state, still Pine Tree folk are apt to be 
 rather proud of the fact that Maine 
 was the State that produced Charlie 
 Farrell, Tommy Glynn and Mellie 
 Dunham. 
 
 Grace Hiltz, a talented soprano, was 
 born near Portland about 1854. She 
 received her early education at Provi- 
 dence, R. I., and in 1872 went to Chi- 
 cago to study singing under Sara Her- 
 shey-Eddy. In 1876 she was in Boston 
 where she studied for two years with 
 George L. Osgood, Charles R. Adams, 
 Julius Jordan and Georg Henschel, 
 
FREDERIC S. DAVENPORT, EARLY MUSIC TEACHER 
 AND CONDUCTOR OF THE HANDEL ASSOCIATION OF 
 BANGOR. FROM A PHOTOGRAPH MADE IN 1864. 
 
 and meanwhile she filled concert en- 
 gagements, singing in the Union Con- 
 gregational Church at Providence, R. 
 I., where she received a salary of $1,000 
 a year, a large stipend in those days. 
 She was soprano soloist in Verdi’s “Re- 
 quiem” at the Worcester festival and 
 soon after returned to Europe to com- 
 plete her studies with Mme. Viardot- 
 Garcia, Mme. La Grange and Signor 
 Sbriglia at Paris. She sang in public 
 in Europe several times and met with 
 a favorable reception on the continent 
 and in London. She was soloist at the 
 second Heimendahl Symphony Concert 
 at Chicago in 1882. Her voice was a 
 
 rich, pure soprano and she was for a 
 number of years one of the great fa- 
 vorites as a concert singer both in 
 America and Europe. 
 
 Mr. Davenport's Chorus 
 
 Frederic S. Davenport (1839-1924) 
 was born in Boston. He studied piano 
 and organ with John W. Tufts and in 
 1852 moved from Boston to Bangor 
 where he became well known as an 
 organist and leader in music in Penob- 
 scot County. 
 
 Several years before the Penobscot 
 Musical Society had finished its labors 
 a local chorus was organized in Ban- 
 gor by Mr. Davenport, who gave six 
 music festivals on his own account in 
 the Queen City. During this time he 
 also held a Music Convention in Lew- 
 iston. Among the soloists at his con- 
 certs at Searsport was the celebrated 
 Flora Barry. 
 
 In 1917 he gave up his work in mu- 
 sic to go into the mercantile business. 
 
 Mr. Davenport collaborated with So- 
 lon Wilder in the publication of a song 
 book, “The Praise of Zion, a Collection 
 of Music for Singing Schools, Choirs 
 and Musical Conventions,” and he 
 brought the first grand opera to Ban- 
 gor. 
 
 The Handel Association of Bangor 
 
 The Handel Association of Bangor, 
 Maine, organized October 7, 1873, by 
 Willard Patten, was a prominent mu- 
 sical society for a time. 
 
 The officers of the society in 1874 © 
 were: John E. Godfrey, President; F. 
 M. Laughton, Vice President; W. E. 
 Brown, Secretary; George W. E. Bar- 
 rows, Treasurer; J. M. Sullivan, Libra- 
 rian; F. §. Davenport, Conductor; 
 Mrs. F. S. Davenport, Pianist; and the 
 Councillors were, George W. Merrill, — 
 J. A. Crowell, Mrs. H. L. Jewell, Mrs. 
 N. E. Bragg, and M. H. Andrews. | 
 
MUSIC OF THE STATE OF MAINE — 1857-1896 177 
 
 John Edwards Godfrey (1809-1884), 
 first President of the Handel Associa- 
 tion, was an excellent baritone singer. 
 He was born at Hampden, Maine, the 
 son of John and Sophia Dutton God- 
 frey. He first married Angela Stack- 
 pole, and after her death, Laura 
 Schwartz. He was a member of the 
 Hammond Street Church Choir, an of- 
 ficer in the Penobscot Bar Association, 
 President of the Penobscot Musical 
 Association for three years and Presi- 
 dent of the Bangor Choral Society. He 
 practiced law in Bangor for many 
 years, during which time he did much 
 research work relating to early Maine 
 history. | 
 
 The Handel Association continued in 
 existence during practically the whole 
 period in which the Penobscot Society 
 was functioning. Among those who 
 served as officers of the old Handel As- 
 sociation were: 
 
 Presidents: John E. Godfrey, Moody 
 Stickney, James C. Weston, G. W. 
 Merrill and George Farrington. 
 
 Conductors: Mr. Wichtendahl, James 
 Whitney, H. K. White and F. S. Dav- 
 enport. 
 
 Pianists: Mrs. H. L. Jewell, May 
 Lincoln and Mrs. F. S. Davenport. 
 
 Oratorios and other numbers per- 
 formed were, “Samson,” “Elijah,” 
 “Moses in Egypt,” “Creation,” “The 
 42nd Psalm,” Saint-Saén’s “Christmas 
 Oratorio,” Haydn’s “Third Mass,” But- 
 terfield’s cantata “Belshazza” and the 
 Boosey “Collection of Glees.” 
 
 The music committee, consisting of 
 Mrs. J. A. Crowell, Mrs. George Web- 
 ster, Mrs. W. F. Shaw, Mrs. W. H. 
 Gardiner, G. S. Farrington and G. T. 
 Moody, served nearly all the years of 
 the society’s existence. 
 
 On March 1, 1877, the society pre- 
 sented Haydn’s “Creation” when an 
 audience numbering three hundred and 
 forty people were present. It was said 
 
 JOHN E. GODFREY, FIRST PRESIDENT OF THE HAN- 
 DEL ASSOCIATION OF BANGOR (1873). 
 
 to be the first time, for a period of 
 more than twenty-five years, that such 
 a work had been given in its entirety in 
 Bangor without the aid of “talent from 
 abroad.” 
 
 Among the prominent soloists of the 
 Handel Association of Bangor were 
 Mrs. W. F. Shaw, Mrs. J. A. Crowell, 
 Mrs. E. T. Wasgatt, James H. Hayes 
 and Harriet Shaw, who was referred 
 to as “a bright star” in the accounts of 
 her appearance in the concerts given 
 by the society. All the oratorios were 
 studied under Frederic S. Davenport. 
 
 Cecilia Club of Bangor 
 
 While H. K. White was directing the 
 Old Handel Association of Bangor in 
 1883 he prepared and gave three per- 
 formances of Sullivan’s opera, ‘“Pa- 
 tience.” 
 
 Principals in the cast were Annie 
 
178 
 
 MUSIC AND MUSICIANS OF MAINE 
 
 WILLARD PATTON OF BANGOR, WHOSE ORATORIO, 
 “ISAIAH,” RECEIVED MORE THAN SIXTY PRESENTA- 
 TIONS. 
 
 Sweet, Miriam Robinson, Carrie Hodg- 
 don, Jennie Sellers, May Ross, L. F. 
 Brine, C. R. Maynard, D. H. Jepson, 
 R. S. Dow, George E. Boyd and George 
 O. Hall. The instrumental music was 
 performed by Andrew’s Orchestra, with 
 Abbie Garland at the piano. 
 
 The enthusiasm over the success of 
 the production of the opera was so 
 great that the singers decided to form 
 themselves into a society. This was the 
 beginning of the Cecilia Club of Ban- 
 gor. F. M. Laughton was the first 
 President; Richard §. Dow was the 
 Vice President; Fred D. Lincoln, Sec- 
 retary; and Joseph M. Bright, Treas- 
 urer. Abbie Garland was the pianist 
 and held this position throughout the 
 entire life of the club. 
 
 During the seven years of its ex- 
 istence it gave a number of concerts, 
 but presented only two oratorios, the 
 “Creation” and Gounod’s “Redemp- 
 tion.” 
 
 The first concert, given in Novem- 
 
 ber, 1883, was of a miscellaneous char- 
 acter. The chorus numbered at that 
 time one hundred and fifteen voices 
 and did some very effective work. 
 
 Among the soloists of the Cecilia 
 concerts were Mrs. J. A. Crowell, Mrs. 
 Edward Roberts, Annie Sweet, Mrs. 
 E. T. Wasgatt, Mrs. J. M. Bright, 
 Annie Semple (Mrs. Willard L. Bragg), 
 Annie Hurley, Carrie W. Leavitt, then 
 a favorite soprano of Bangor, Alice 
 Bucknam, Alma Haynes, Mrs. W. F. 
 Shaw, Dora Wiley, Mrs. W. A. Nelson, 
 Frances Mason, Mrs. Annie Wasgatt, 
 Grace A. Vinal, of Orono, George Boyd, 
 Fred D. Lincoln, Allan Ray, Byron 
 Roberts, G. T. Moody, W. A. Palmer 
 and John H. Dole. 
 
 Clarence L. Dakin, who succeeded 
 Mr. Laughton as President, was an en- 
 thusiastic worker for the society and 
 was then called the head “of the musi- 
 cal associations of Maine.” 
 
 Among the soloists that assisted the 
 club at its concerts were E. C. Adams, 
 a brilliant cornetist; Fred W. Adams, 
 a clarinetist, who studied with R. B. 
 Hall; Samuel H. Broadman, the di- 
 rector, who appeared as flute soloist 
 on one occasion, and at that time said 
 to be by Bangor people the best flute 
 
 player east of Boston; and F. §. Hun- 
 
 newell and Mae Silsby, organists. 
 
 H. K. White, J. C. Bartlett, Clarence 
 Marshall and M. H. Andrews were 
 successively musical directors of the 
 Cecilia Club of Bangor. 
 
 Willard Patton, who before he left 
 Bangor spelled his name Patten, found- 
 er of the Handel Association of Ban- 
 gor, was born in Milford, Maine. He 
 was a teacher of voice culture in Min- 
 neapolis for many years. He organized 
 the Cecilia Club of Bangor, 1883; was 
 a member of the Penobscot Quartette 
 and sang in several church choirs. From 
 1883 to 1890 he appeared in many con- 
 certs throughout the Northwest, and or- 
 
 AG LRT OE NBO CRS HOC Pid gh cee eee? 
 
ah 
 
 MUSIC OF THE STATE OF MAINE— 1857-1896 
 
 ganized and conducted the Philharmon- 
 
 *ic Club of Minneapolis. Among his com- 
 positions was his oratorio, “Isaiah,” 
 which had more than sixty presenta- 
 tions, including a silver jubilee produc- 
 tion in 1920. Other compositions were 
 his grand opera, “Pocahontas,” light 
 Opera, “La Fianza,” musical epics, 
 “Star of Empire” and ‘“Footstones of 
 a Nation,” cantatas, ““The Atonement” 
 and “Usona.” He also composed a 
 “Symphonic Fantasy” and numerous 
 songs. His orchestral works were played 
 by the Theodore Thomas’ and the 
 Minneapolis Symphony Orchestras. He 
 was twice President of the Minnesota 
 Musical ‘Teachers’ Association and 
 chairman of its examining board and 
 President of the Civic Music League 
 of Minneapolis. He was popularly 
 known as the Dean of Minnesota 
 composers. 
 
 The Bangor Conservatory of Music 
 
 The Bangor Conservatory of Music 
 was incorporated February 18, 1868. 
 The corporators were Hon. Hannibal 
 Hamlin, Rev. Daniel Goodwin, Moody 
 T. Stickney, Esq., Hon. A. D. Manson, 
 Moses Giddings, 'T. G. Stickney, Hon. 
 Samuel H. Dale, Rev. A. K. P. Small, 
 ove, ft, ray, i. H: Foge, W. H. 
 Dennett, Hon. G. K. Jewett, Thos. N. 
 Beery eney..(..C. Everett, Dr. L. 
 Chase, Hon. A. G. Wakefield, J. S. 
 Wheelwright, John H. Lynde, John S. 
 Patten, I.S. Johnson, Michael Schwartz, 
 Gen. Samuel F. Hersey, Rev. G. W. 
 Field, J. P. Greeley, Rev. A. Battles, 
 Sydney Thaxter, Dr. A. C. Hamlin, 
 Burleigh Pease and F. F. French. 
 Charles W. Shannon and John Hoyt 
 were the Executive Committee. 
 
 Its Board of Instruction consisted of 
 John Hoyt, teacher of piano, cultiva- 
 tion and formation of voice, notation, 
 English and Italian singing, and sing- 
 
 179 
 
 ing at sight; Charles W. Shannon, 
 teacher of piano, organ, notation, har- 
 mony, counterpoint and composition, 
 with reference to musical form and in- 
 strumentation; and John D. Conley, 
 A. D. Harlow and M. H. Andrews, 
 teachers of orchestral instruments. 
 
 The object of this institution, as 
 stated, was “‘to furnish a solid Musical 
 Education, in all its branches, practical 
 and theoretical, to those intending to 
 fit themselves for the profession, either 
 as Artistes or Teachers.” 
 
 A smaller organization in Bangor 
 during this period was the Apollo Quar- 
 tette which became very popular. It 
 appeared in concerts in a number of 
 Maine cities. Asa C. Morton was the 
 leader and its other members were W. 
 A. Palmer, Walter Gordon and Willis 
 Bunker. At one time Allan Ray and 
 George Moody were members of this 
 quartette. 
 
 Among other quartette and quintette 
 clubs in Bangor at this time were the 
 Banjo and Guitar Club, which con- 
 sisted of Mae Silsby, Lillian E. Silsby, 
 Nellie A. Friend, George S. Silsby, and 
 George E. Kempston; and a horn quar- 
 tette composed of Edward C. Adams, 
 Charles B. Dickey, F. D. Lincoln and 
 James McNulty. 
 
 The first organist of St. John’s Epis- 
 copal Church, Bangor, was W. S. K. 
 Howard, who was appointed in 1841. 
 He was followed by J. W. Tufts, who 
 afterwards became organist at King’s 
 Chapel, Boston, where he played for 
 more than forty years. 
 
 Among those who have, at different 
 times, been organists in this church 
 were, Mrs. G. W. Merrill, Mrs. F. S. 
 Davenport, Mrs. J. B. Ayer, Abbie N. 
 Garland, Abbie Dyer, Agnes Moody, 
 Fred C. Jones, Hannah Wiggin, George 
 E. Boyd, and Ella Merrill. George 
 W. Merrill for twenty-five years do- 
 nated his services as leader of the 
 
180 
 
 choir of the St. John’s Episcopal 
 Church. 
 
 Nearly all of the best singers of Ban- 
 gor began their choir work in this 
 church, from which fact, it was often 
 said, that “the Episcopal Church was 
 a training school for organists and 
 singers.” 
 
 Up to 1872 the music was furnished 
 by quartette choirs. Some of the mem- 
 bers were Mrs. Nettie Gratian Maling, 
 Mrs. J. A. Crowell, Annie Holbrook, 
 Mrs. George M. Brown, A. C. Morton, 
 George T. Moody, Grace Ross Buck, 
 May Ross Strickland, Minnie Brown 
 and Helen Jackman. 
 
 After 1872 leaders of the boys’ 
 choirs during this period were John H. 
 Davis, Francis H. Clergue, Leslie W. 
 Cutter, Frank L. Crowell and Herbert 
 Sellers. Ralph Gardner is remembered 
 as one of the best boy singers in this 
 choir. 
 
 The Hammond Street Congregation- 
 al Church has always been noted for 
 its excellent music. One of its most 
 notable quartettes (1874) was made 
 up of Dora H. Wiley, soprano; Mrs. 
 E. T. Wasgatt, contralto; Edward E. 
 Holden, tenor; William K. A. Pills- 
 bury, bass; and Sarah C. Berry, organ- 
 1st. 
 
 The singers at the Unitarian Church, 
 Bangor, in 1860 were Mrs. Jason A. 
 Crowell, John Holbrook and Mrs. E. 
 T. Wasgatt. F. S. Davenport was or- 
 ganist. 
 
 The funds for the organ in the Uni- 
 versalist Church, Bangor, were pro- 
 vided in 1860 by the City Engine Co. 
 No. 4, the majority of the members of 
 which belonged ito the Universalist 
 society. 
 
 In order to procure this organ for 
 their church they appropriated for that 
 purpose one thousand dollars which 
 was all the pay to which they were en- 
 titled for an entire year. The choir con- 
 
 MUSIC AND MUSICIANS OF MAINE 
 
 sisted at this time of Willard Patten, 
 tenor and chorister, Mrs. W. F. Shaw, 
 Jennie Sellers and Byron Roberts. 
 Mary Cutter was organist. 
 
 In 1884 the choir consisted of Carrie 
 Hodgdon, Mrs. W. H. Sawtelle, J. H. 
 Haynes and Byron Roberts, with Mrs. 
 F. S. Davenport as organist. Mrs. 
 Davenport served four years and was 
 succeeded by Mrs. Frank L. Tuck who 
 resigned the position later to Mrs. E. 
 E. Peck. 
 
 For a number of years, J. H. Haynes 
 served as chorister, tenor and Sunday 
 School leader, and Emily Merrill sang 
 for more than ten years in the choir 
 and later became leader of the Sunday 
 School, which came to be known as 
 the best singing Sunday School in Ban- 
 gor. Other singers in the Universalist 
 Church and Sunday School were Mrs. 
 J. H. Haynes, Mrs. James Dinsmore, 
 Harry Pote, E. T. Wasgatt, Mrs. Wil- 
 son Sawyer of Brewer, Mrs. B. B. Mer- 
 rill of Brewer, Rosa Berry and W. A. 
 Palmer. 
 
 Knox and Lincoln Musical Association 
 
 The Knox and Lincoln Musical As- 
 sociation was organized through the ef- 
 
 forts of Rev. J. K. Mason who was — 
 
 then the pastor of the Congregational 
 Church in Thomaston. He became its 
 first President. S. W. Jackson of Wal- 
 doboro was Vice President; George W. 
 French of Thomaston was Secretary; 
 and W. B. Evans, Treasurer. 
 
 The: first session was held in 186s, 
 at Thomaston, with Professor Wheeler 
 of Boston as conductor and thereafter 
 its sessions were held in September or 
 October of each year until its close. 
 
 Other sessions were held at Dama- 
 riscotta in 1866, 70, 777, 79, ’81; Rock- 
 land, 1867, "69, 771, 776, 9.) weuwea: 
 ’°86; Waldoboro, 1868; and Bath, 1875. 
 
 These conventions were conducted 
 for the most part by Boston leaders 
 
MUSIC OF THE STATE OF MAINE — 1857-1896 181 
 
 among whom were B. F. Baker, C. 
 Wyman, Luther O. Emerson, Carl Zer- 
 rahn, T. P. Ryder, W. O. Perkins, and 
 L. H. Southard. Other conductors were 
 J. P. Cobb, G. W. Dudley, L. A. Tor- 
 rens, and George L. Osgood. 
 
 At the Damariscotta Session in 1870 
 Camp Meeting John Allen came for- 
 ward on the platform, unannounced, 
 bringing with him his granddaughter 
 and insisted that she be given an op- 
 portunity to sing. After the request 
 had been granted, this young soloist so 
 completely charmed the audience with 
 her vocal powers that she was recalled 
 again and again. This was Lillian Nor- 
 ton, who afterwards became the great 
 Nordica. The conductor was so pro- 
 voked because his “imported soloist” 
 had been overshadowed, it was said, 
 that he treated Miss Norton with scant 
 courtesy. 
 
 Among soloists at these conventions 
 were Henry Clay Barnabee, Leonard 
 Marshall, and G. F. Meservey, pianist, 
 of Rockland, who “created a great 
 furor.” 
 
 The twentieth and last annual meet- 
 ing of the Knox and Lincoln Musical 
 Association was held at Damariscotta 
 in 1887 and this old organization, which 
 had served the musical people of two 
 counties for more than two decades, 
 was discontinued for lack of funds. 
 
 The best musicians of their day in 
 the counties of Knox and Lincoln took 
 leading parts at these annual gather- 
 ings. 
 
 Orpheus Club of Rockland 
 
 In 1872, with the assistance of Pro- 
 fessor A. M. Crockett, teacher of piano 
 and organ, at Rockland, the Orpheus 
 Club was organized in that city by 
 Capt. G. W. Brown, a man of wealth 
 and a great music lover. 
 
 Annie Harrington, who later became 
 Mrs. Augustus Small, was the first 
 
 pianist. On the marriage of Miss Har- 
 rington in 1874, Maria Tibbetts was 
 chosen as her successor. She served 
 until 1875 when Mrs. James Wight be- 
 came pianist of the society. Mrs. Wight 
 officiated in that capacity until the club 
 disbanded. 
 
 Capt. E. A. Burpee was conductor 
 during the entire period of the club’s 
 existence. The organization was very 
 popular and was employed at musical 
 conventions, concerts and other events 
 for many years. 
 
 The music in the churches of Rock- 
 land has always been of the best. 
 
 Among the singers at the Congrega- 
 tional Church during this period, and 
 later, were Mrs. George Kimball (Sr.) 
 who was, for many years, its leading 
 soprano; Chandler Tibbetts, for a long 
 time leader of the choir; Mrs. Tibbetts, 
 Mr. and Mrs. J. G. Torrey, Mrs. Alice 
 Treat, Miss S. Farrow, Miranda Wig- 
 gin, Luella Snow, Helen Everett, Caro- 
 line Keating, Penelope Morse, R. P. E. 
 Thacher, William Barker, W. M. 
 Snow, Jr., J. B. Litchfield, and Dexter 
 Morse. 
 
 Julia Spear, who succeeded G. D. 
 Smith as organist when he enlisted in 
 the Civil War, played in this church 
 for five years. During her term as or- 
 ganist Lucy McLoon Allen was so- 
 prano, Julia Spear, alto, James Wight, 
 tenor, and Llewellyn Wood, bass. Mr. 
 Wood was later succeeded by Charles 
 Miller. 
 
 There was then formed a choir which 
 continued for many years and became 
 more than locally famous. It consisted 
 of Mary Fuller, soprano; Julia Spear, 
 alto; James Wight, tenor; and E. A. 
 Burpee, bass. Carrie Burpee was the 
 organist. On Miss Burpee’s retirement 
 she was succeeded at the organ by Mrs. 
 Wight. George Torrey followed Mr. 
 Burpee in this choir and continued 
 with it until it disbanded. Clara Fur- 
 
182 MUSIC AND MUSICIANS OF MAINE 
 
 bish, while still a young girl, became 
 the choir’s soprano on Miss Fuller’s 
 retirement. 
 
 Among the singers at the Baptist 
 Church at this time were Olive Tup- 
 per, Theresa Butler, Flora Grant, Min- 
 nie Atkins, Ada Blackington, Frank 
 Leach, H. M. Lord, William Heath, 
 Elizabeth Jones and Martha Fuller, 
 and D. N. Mortland was leader of the 
 choir in 1871, when the old organ was 
 supplanted by a newer instrument. 
 
 At a concert given about this time 
 Lillian Norton was the soloist. 
 
 The Rockland Courier Gazette said 
 of Miss Norton’s performance, ‘““The 
 excellence of Miss Norton’s singing was 
 a pleasant surprise to the many whose 
 only knowledge of this lady had been 
 derived from reading her name on the 
 bills. She has a rich, pure and power- 
 ful voice and created a most favorable 
 impression.” 
 
 Mr. Mortland continued to lead the 
 choir for several years, during which 
 time Dr. Samuel Tibbetts was the bass. 
 For the most part of that period Ada 
 Blackington sang the soprano and 
 Nancy Sleeper the alto parts and Fred- 
 erick R. Sweetser was the organist. 
 
 Mary Hutchins, who afterwards se- 
 cured a position in a Boston choir, 
 was, for a long time, an admired singer 
 in this church. 
 
 The Free Baptist Church, organized 
 in 1851, numbered among its early 
 singers Lucy Sylvester and Harriet 
 Fairbanks, and, in later years, Mrs. 
 Carrie Smith Babbidge, Mrs. Eva 
 Snow and the daughters of A. J. Bird, 
 Emma, Mary, Ada and Harriet, were 
 among those connected with music in 
 this church. 
 
 E. A. Burpee was one of the most 
 prominent leaders in singing in the 
 Episcopal Church in which he was as- 
 sisted by Emily Phillips. 
 
 The Catholic Church there, as else- 
 
 where in Maine, made much of its mu- 
 sic and prominent in this was the Mc- 
 Namara family. 
 
 Rockland, in this period, did not 
 lack for vocal leaders. ate 
 
 N. A. Burpee and Leander Starr 
 taught a singing school at which all 
 who sang in the Baptist Choir received 
 instruction without charge. As any one 
 who could sing at all was eligible, it is 
 said that “there were many Baptists 
 in Rockland at that time.” 
 
 Mr. Mortland, who had taken up his 
 residence in Rockland in 1867, taught 
 a few terms of singing school, and 
 among those on his programs as solo- 
 ists, besides himself, were Mrs. Emma 
 Waterhouse, Edna Hall, Mary Fuller, 
 S. T. Mugridge and Samuel Tibbetts. 
 
 Bernard Schwaffle, a teacher of the 
 piano, was also located in Rockland 
 at one time. 
 
 Quite famous was the Ariel Quartette 
 composed of Mrs. F. R. Spear, Mrs. 
 D. N. Mortland, Mrs. Louise Furbish, 
 and Julia Spear, with Mrs. Wight as 
 accompanist. They made their first ap- 
 pearance in 1886 at a convention mat- 
 inee of the Knox and Lincoln Musical 
 Association which was being conducted 
 
 by George L. Osgood and sang for ° 
 
 some years on many public occasions. 
 
 In 1868 the opera “Pepita” was pre- 
 sented in Rockland by local talent, 
 with H. A. Litchfield as Don Carlos 
 and Mary Euller as Pepita. 
 
 In 1876 the opera was repeated un- ~ 
 
 der the auspices of the Orpheus and 
 Fletcher Clubs, when the correspond- 
 ing roles were taken by George E. 
 Torrey and Clara L. Furbish. 
 Professor Frederick R. Sweetser, in 
 
 his admirable manuscript entitled “Mu- — 
 
 sical People,” refers to the old musical 
 conventions held in Searsport, and 
 
 some of those who were prominent — 
 
 musically there. 
 “Among those who took part,” he 
 
 Se ee Le ee ae ee 
 
 a wie. wees 
 
MUSIC OF THE STATE OF MAINE — 1857-1896 
 
 writes, “was Miss Clara B. Nickeis 
 who, becoming interested, later culti- 
 vated her voice under the wonderful 
 teaching of Madame Rudersdoff. She 
 developed into one of the finest so- 
 pranos of the country and was in great 
 demand for church, concert and ora- 
 torio. She had a keen mind, was a 
 marvellous reader of music and made a 
 name for herself as being quite able to 
 carry anything through that she under- 
 took. She decided to study for grand 
 opera, and went abroad with Annie 
 Louise Cary. She spent one winter in 
 St. Petersburg singing with Patti and 
 Cary, also singing in Moscow in opera. 
 Later she studied in Milan, Florence, 
 and Paris. While in Moscow she 
 took the place of Pauline Lucca who 
 was taken ill. Miss Nickels died in 
 Paris just as she was about to start in 
 upon what would undoubtedly have 
 been a brilliant career. While in Mos- 
 cow she learned the opera of ‘La Juive’ 
 in two weeks time, and made a success 
 
 = i) it. 
 
 “Another local singer of great ability 
 
 _ was Mr. David Mortland who had a 
 
 rare tenor voice. He never studied, but 
 
 had a natural style, full of refinement. 
 
 a 
 & 
 
 _ of my choirs in Rockland, Maine, sing- 
 
 i 
 
 In later years he was a member of one 
 
 ing with Miss Ada Blackington who 
 had a glorious voice, soprano, Miss 
 Nancy Sleeper, contralto and Dr. Sam- 
 uel Tibbetts, bass. As members of my 
 quartette at the Universalist Church I 
 had Miss Ella Palmer, soprano, a fine 
 
 _ church singer, Miss Sprague, contralto, 
 
 ak 
 
 Mr. Edward Berry, basso, and also 
 
 ~ Mr. Mortland as tenor. 
 
 “Among the instrumentalists was 
 Miss Emma Simonton who spent much 
 
 _ time in perfecting herself, and who be- 
 - came a brilliant pianist. 
 
 o, 
 
 4 
 
 “Mrs. James Butman has had a great 
 
 influence in the uplifting of the musi- 
 
 _ cal taste of Searsport giving only of the 
 
 183 
 
 best. Her daughter, Miss Gladys, was 
 a most charming pianist, a pupil of 
 Carl Baermann, who considered her 
 full of promise. Her death occurred 
 in 1914, at the age of twenty-six years. 
 
 “Miss Margaret Butman graduated 
 from the New England Conservatory 
 and has since filled important posi- 
 tions in Brandon, Toronto and in the 
 south.” 
 
 Frederic R. Sweetser (1853-1924), 
 for many years organist and director 
 of music at St. James Church, New 
 London, Conn., was born in Searsport, 
 Maine, where he studied music with 
 Emeline Nickels. After a period of 
 study with Frederic S. Davenport of 
 Bangor he spent a year in Rotterdam, 
 Holland, under F. W. Van Gelder. 
 After another year in London he re- 
 turned to America and studied with 
 James M. Tracy, Hugo Leonard, Jul- 
 ius Eichberg and at the Boston Con- 
 servatory of Music. He was at the 
 head of the musical department of the 
 Boxwood School, Old Lyme, Conn., for 
 fifteen years, and was a member of the 
 Oratorio Society and the Mozart Club 
 and accompanist for the Orpheus Club 
 of New London. He was pianist at 
 many recitals and accompanist for 
 prominent singers and instrumentalists. 
 
 The Schubert Club of Skowhegan 
 The Schubert Club of Skowhegan 
 
 was an active club in its time. In 1882 
 it had a membership of seventy sing- 
 ers and an orchestra. Harry Kimball, 
 who was then said to have been the 
 best choir leader in the town, was its 
 conductor. In 1878 when the cantata 
 “Esther” was given the principals were 
 Mrs. Etta W. Haynes, Sandford Chase, 
 Albert Smiley, Mrs. Stella S. Morri- 
 son, Mrs. Davis Miller, Mrs. Emma 
 Dunton, and Mrs. Ella Pooler. 
 Musical conventions, under the di- 
 rection of Solon Wilder, were held in 
 
184 MUSIC AND MUSICIANS OF MAINE 
 
 Skowhegan in the fall of the years 1863, 
 1865 and 1873 and in this latter year 
 a musical convention was held under 
 William H. Sherwin of New York, and 
 a singing school was opened by Harry 
 F. Kimball, who held his classes at the 
 Engine Hall. 
 
 Among the teachers of music in 
 Skowhegan at this time were G. W. 
 Gardiner at the Bloomfield Academy 
 and L. E. Bigelow and Mrs. E. H. 
 Philbrick. Mr. Gardiner opened a sing- 
 ing school in the town in 1860, and 
 Mrs. Philbrick, who was afterward 
 connected with the faculty of Bloom- 
 field Academy, began playing the or- 
 gan in the old First Parish Church 
 when she was so small she could hard- 
 ly reach the key board, but she pa- 
 tiently preserved and held the position 
 for many years. Pauline Philbrick Hill 
 succeeded her sister, Elizabeth Philbrick, 
 who had succeeded Frank Hartwell. 
 
 In the early fifties William Morrill 
 was organist at the First Baptist 
 Church. Later, Hattie Morrill Smith 
 (his sister) played until 1860, when 
 Pauline Smith, who was organist at 
 this church for ten years, succeeded 
 her. An interesting picture of the choir 
 at this period is drawn by Orlinda 
 Weston: “In the front row, behind a 
 protecting curtain, stood the sopranos 
 and altos, a long line— Mrs. Marcia 
 Bigelow, with her rich soprano in the 
 center. My mother, and Mrs. Mary A. 
 Bray, Mrs. Angeline (Hartwell) Jewell 
 and her sister Emmeline Hartwell, the 
 two Snow girls, Annette and Ellen, and 
 Mrs. Steward Kincaid, are all that I 
 
 can recall. One step higher up, directly . 
 
 behind, stood the row of basses and 
 tenors. I shall never forget the im- 
 posing figure of Dr. Horace Stevens as 
 leader of the choir, as he stood directly 
 behind Mrs. Bigelow, and vigorously 
 and rather pompously beat the time 
 with his singing book back and forth.” 
 
 Other singers in this choir were Levi — 
 
 Bigelow, James Bray, Jotham Weston, ; 
 
 and Henry Steward, besides others 
 
 whose names are not recalled. ; 
 
 In 1860, when Pauline Philbrick first — 
 began as organist in the Baptist Church ~ 
 on the hill (the brick church), the — 
 
 choir was as follows: Mr. and Mrs. 
 
 Augustine Wyman, Joseph Steward and rs 
 
 Mrs. Norris Marston. Nellie Fletcher — 
 
 and Mrs. Helen Shepherd also sang ~ 
 there at one time. ‘ 
 
 In 1864 (about) the members of the — 
 choir at the Congregational Church on 
 the Island were Mr. Brock, Mrs. Etta 
 W. Haynes, Deborah Swan (Fellows) 
 and Clarence Weston. 
 
 Rossini Club of Damariscotta, Maine — 
 The Rossini Club of Damariscotta, — 
 
 organized soon after the ending of the 
 Civil War, united with the Knox and — 
 
 Lincoln Musical Association in send- 
 ing a delegation to take part in the 
 singing at the National Peace Jubilee — 
 
 in Boston in 1869. At that time its — 
 officers were Rev. J. J. Bulfinch, Presi- 
 
 dent; E. W. Dunbar, Secretary; A. G. © 
 Huston, Treasurer; N. H. Hussey, Li- — 
 brarian; G. M. Thurlow, Musical Di- 
 rector; and Mrs. W. D. Webb, Pianist. — 
 
 Among its members were: 
 
 Mrs. John Borland, Mrs. W. Hall, Mrs. H. N. 
 Melcher, Mrs. H. W. Metcalfe, Annie G. Bar- _ 
 stow, Nettie S. Hussey, Lizzie Huston, Lucella 
 
 M. Winslow, Miss A. F. Metcalfe and Miss E. D. _ 
 Thurlow, sopranos; Mrs. E. W. j 
 
 Hussey, Mrs. L. J. Stanwood, Mrs. W. D. Webb, 
 Mrs. Edward Wilkinson, Belle Chapman and — 
 
 Lizzie B. Cotter, altos; J. J. Bulfinch, N.J.Clapp, — ) 
 
 Warren R. Evans, C. F. Packard, Albert Rich- 
 
 ardson and Newell Winslow, tenors; E. W. Dun- 
 
 bar, N. H. Hussey, A Huston, Samuel — 
 
 Knowlton, J. Merriam and J. H. Stanwood, e 
 
 basses. 
 
 Piscataquis Musical Association 
 
 The Piscataquis Musical Association — 
 was a county organization which drew ~ 
 
 Dunbar, Mrs. 
 Louise A. Evans, Mrs. Alden Flye, Mrs. Alvan 
 
MUSIC OF THE STATE OF MAIN E~— 1857-1896 185 
 
 principally for its membership on Do- 
 ver and Foxcroft, but, as it received no 
 large measure of publicity, little is re- 
 membered of it. 
 
 : Cumberland County Music 
 as Conventions 
 
 John T. Merrill, for many years, was 
 _ prominent in musical work in all of 
 _ the small towns of Cumberland Coun- 
 ty. He was the first leader of the Cum- 
 _ berland County Music Conventions 
 _ which existed from 1875 until about 
 1890, and taught his first singing school 
 in 1853. He continued this work in the 
 towns of New Gloucester, Falmouth, 
 Cumberland and Gray for more than 
 twenty years. He married Frances H. 
 Young and both were members of the 
 old Portland Sacred Music Society. 
 Other leaders of the Cumberland 
 ~ County Music Conventions were Nich- 
 _ olas Rideout of New Gloucester and 
 _ David McIntyre. 
 Under Enos Blanchard, the last lead- 
 er of the Gray Music Convention, 
 _ oratorio was studied. Pianists at the con- 
 vention gatherings were Ella S. Mer- 
 rill of Gray, Ella Blanchard of Cumber- 
 land and Annie Burbank of Yarmouth. 
 Among the soloists at the Cumber- 
 ~ land County Music Conventions were 
 _ Katherine Ricker of Falmouth, Flor- 
 - ence Knight, Jane Furbish, Mrs. Alon- 
 _ zo Knight, who was the leading so- 
 _ prano, Mrs. Frank O. Haskell, Mrs. 
 Mernoch Knight, Mrs. L. T. Cushing, 
 _ Mrs. Charles W. Jordan of Yarmouth, 
 - Howard Buxton and Edward True. 
 _ Other singers were: 
 
 George A. Thomas, Ralph Hascall of Dur- 
 ham, a fine baritone; Mrs. Henrietta Merrill of 
 _ Cumberland; Mr. and Mrs. Columbus Knight of 
 _ Cumberland; Mrs. John T. Merrill of Gray; Mr. 
 _ and Mrs. O. S. Thomes of Cumberland; Sewell 
 2 
 t 
 
 _ Whitney; Rev. E. Bean, Alroy Noyes of Pownal 
 _ Center, who was the treasurer; James Whitney 
 
 of So. Gray; Hezekiah Whitney, Melvin Goff of 
 
 JOHN T. MERRILL OF GRAY, ORGANIZER AND CON- 
 DUCTOR OF THE CUMBERLAND COUNTY MUSIC 
 CONVENTIONS. 
 
 Gray; Mrs. Charles W. Jordan of Yarmouth; 
 William Merrill; a Mr. and Mrs. Young of Cali- 
 fornia; Mrs. Jennie Haskell of New Gloucester; 
 and Mrs. Emma Cushing. 
 
 Cornish Music Conventions 
 
 In 1883 the Cornish Music Conven- 
 tions were inaugurated by Dr. John T. 
 Wedgewood who had come to that 
 town in 1866. These four-day conven- 
 tions were largely attended by the peo- 
 ple who inhabited the Ossipee Valley, 
 and who had become noted for their 
 interest in music, which, to a large ex- 
 tent, had been encouraged and fostered 
 by Dr. Wedgewood while leading the 
 singing schools which he had organized 
 when he first settled in that locality, 
 
186 MUSIC AND MUSICIANS OF 
 
 MAINE 
 
 GROUP OF SINGERS ATTENDING A CUMBERLAND COUNTY MUSIC CONVENTION IN GRAY (1890). 
 THE NAMES OF MANY OF THEM WILL BE FOUND ON THE PRECEDING PAGES 
 
 and which he continued to conduct 
 until the time of his death. 
 
 Dr. Wedgewood was a native of 
 Parsonfield, where he was born in 1832. 
 During the years that he was endeav- 
 oring to secure a medical education in 
 Boston, he engaged in the piano mov- 
 ing business that he might earn money 
 to complete his course and receive his 
 degree. While there he became a mem- 
 ber of the Handel and Haydn Society 
 Chorus. He was possessed of a clear 
 bass voice of full tone and unusual 
 power, which he used “to advantage 
 and with exceptionally good taste.’ 
 Dr. Wedgewood’s influence in music 
 was far reaching and he became known 
 to music lovers throughout the State. 
 
 Mrs. Fred T. Flint, then of Cornish, 
 but formerly of Cambridge and Port- 
 land, “a magnificent contralto,” was 
 one of the principal soloists at the 
 Cornish Conventions. 
 
 The Farmington Choral Society 
 
 The Farmington Choral Society, 
 which was in existence in 1869, sent a 
 delegation of singers to the National 
 Peace Jubilee in Boston. At that time 
 its officers were: Charles Augustus Al- 
 len, President and Musical Director; 
 Jabez T. Gay, Secretary and Treas- 
 urer; and Mrs. Georgiana P. B. Woods, 
 
 Pianist; and its other members were: 
 
 Mrs. Ann L. Craig, Mrs. Julia S. H. Fairbanks, 
 Mrs. Sarah W. Haskell, Mrs. Abbie A. Jones, 
 Julia H. May, Flora Mitchell, and Abby R. 
 Wyman, sopranos; Mrs. Elizabeth Allen, Mrs. 
 T. W. Bean, Abbie C. Goodrich, Charlotte B. 
 Hunter, Lizzie M. Macomber, altos; John M. S. 
 Hunter, Isaac S. Jacobs, William Lancaster, J. 
 Currier Tarbox, tenors; and Robert McLeary, 
 Richard R. Norton, Daniel W. Pratt, Abel D. 
 Russell, M. P. Smith, John F. Woods, basses. 
 
 To a memoranda found in an old 
 hymn book this generation is indebted 
 for a complete list of the members of 
 the choir in the Congregational Church 
 of Farmington in 1863: 
 
 Chorister, Hon. Joseph W. Fairbanks; or- 
 ganist, Abby Hunter; “trebles,” Mary Gleason, 
 Ellen V. Goodenow, Julia $. Hunter, Laura P. 
 Milliken, Mrs. Henry M. Howes and Mrs. Emily 
 A. Richards; altos, Charlotte B. Hunter, Susan 
 C. Hunter, Emma J. Randall, Emma E. Stewart 
 and Mrs. William F. Gay; tenors, Joseph W. 
 Fairbanks, Henry M. Howes, Ezra Staples, I. 
 Warren Merrill and Richard S. Rice; basses, 
 Charles N. Fairbanks, who afterward became 
 chorister, John T. Luce, G. Dana Merrill, Ben- 
 jamin M. Titcomb, John Titcomb, Joseph Tit- 
 comb and William True. 
 
 Agnes Elizabeth Allen, the daughter 
 of Charles Augustus Allen of Farming- 
 ton, was said to have been one of the 
 ablest accompanists in New England. 
 
 The Gorham Musical Association 
 was, for a time, one of the most prom- 
 ising musical societies in any of the 
 smaller towns of Maine. It gave sev- 
 eral concerts in the winter of 1857-58, 
 including the presentation of the “Crea- 
 
a oe TEES 
 
 MUSIC OF THE STATE OF MAINE— 1857-1896 
 
 187 
 
 tion” and “The Messiah,” with “no 
 
 outside help,’ and the papers of the 
 _ day declared that they were very cred- 
 
 4 
 
 itable performances. 
 
 Lewiston Musical Association 
 The first distinctively local musical 
 
 _ association of importance to be organ- 
 ized in Lewiston was probably the 
 - Lewiston Musical Association, which 
 came into existence on December 23, 
 1857. In an old copy of its constitution 
 _ and by-laws printed in 1859 is found a 
 list of members of the Board of Gov- 
 
 ernment for that year. 
 
 They were 
 
 George A. Clark, President; F. Newell, 
 
 at 
 
 Tap cy Pale a 
 
 Vice President; W. K. Emminger, Con- 
 
 ductor; W. L. Fitch, Second Conduc- 
 tor; I. H. Weston, Treasurer; Eli Fer- 
 _nald, Secretary; and A. R. Littlefield, 
 _ Librarian. 
 
 A revival of interest in choral music 
 
 _ was taking place in Western Maine at 
 
 this time. It was earlier in this year 
 
 that the Haydn Association had been 
 _ organized in Portland. 
 
 Fortunately the names of the mem- 
 
 bers of this old society were printed 
 on the last page of its constitution and 
 
 by-laws and they, too, have thereby 
 
 _ been preserved. 
 
 Gentlemen — Joseph Barbour, William Beat- 
 
 ty, R. C. Boothby, Charles E. Coleman, George 
 
 A. Clark, George L. Duston, Albert Edwards, 
 W. K. Emminger, W. L. Fitch, Eli Fernald, 
 
 Cyrus Greeley, Charles A. Locke, A. R. Little- 
 field, A. C. Mitchell, F. A. Nickerson, F. Newell, 
 _ Charles Nudd, H. G. Otis, A. P. Philbrook, J. D. 
 - Rollins, Conrad Schafer, H. B. Sanborn, E. P. 
 - Sewall, L. Simmons, A. D. Thorne, Thomas D. 
 _ Thorne, I. H. Weston, C. C. Young. 
 
 Ladies — Mrs. O. A. Ayer, Emma Boothby, 
 Eliza Burgess, Carrie J. Blaisdell, Lina Cook, 
 Hattie L. Chase, L. Jennie Chandler, Julia A. 
 
 Coffin, Anna A. Clark, Melissa Chase, Eliza L. 
 
 Decker, Lucy E. Decker, Nelly Dingley, Sarah 
 Dunn, Miss M. W. Furbur, Mary E. Goss, 
 Nellie Hall, Julia M. Hammon, Maria A. Her- 
 
 _ rick, Mrs. Eliza J. Lufkin, Virgia W. Ludden, 
 _ Anne D. Libby, Ellen Libby, Mrs. Murray, 
 ~ Emma Morse, Eleanor Marston, Mrs. Frank M. 
 
 W. K. EMMINGER, FIRST CONDUCTOR OF THE LEW- 
 ISTON MUSICAL ASSOCIATION (1857). 
 
 Maxwell, Ada W. Newell, Mrs. E. A. Nickerson, 
 Melissa Otis, Mrs. Louisa C. Olfene, Frances 
 Perry, Amanda Perry, Julia Read, Vilena Stevens, 
 Filone F. Stevens, Sophronia Stevens, Mrs. Au- 
 gusta Small, Emeline D. Thurlow, Mrs. L. Ellen 
 Thurlow, Ann A. Thorne, Sarah L. Townsend, 
 Miss D. F. Townsend, and Annie Waterman. 
 W. K. Emminger was another one of ° 
 that little band of German musicians 
 who emigrated to Maine with Hermann 
 Kotzschmar. He was only twenty-one 
 years old when he arrived in this coun- 
 try but he soon came to be recognized 
 as the leader in musical events in the 
 twin cities on the banks of the Andro- 
 scoggin. For a short time he officiated 
 as organist at St. Joseph’s Church 
 in Lewiston, but soon after he accepted 
 a similar position at the High St. Con- 
 gregational Church in Auburn where 
 he served continuously until the break- 
 ing down of his health. He was a thor- 
 ough musician. His style was brilliant 
 and was coupled with a rare gift for 
 
188 
 
 MUSIC AND MUSICIANS OF MAINE 
 
 improvisation. He became widely 
 known as an orchestra leader and 
 could play every instrument in the or- 
 chestra. He was especialiy proficient 
 with violin and flute and for many 
 years he was conductor of the Andro- 
 scoggin Musical Assoc:ation. Both as 
 a leader and a teacher he was enthusi- 
 astic and inspiring and many who 
 studied the organ with him came to be 
 well known in their profession. 
 
 The Mendelssohn Club of Lewiston 
 
 The Mendelssohn Club of Lewiston 
 might well have been called the Cen- 
 tennial Club, for it was organized in 
 the year in which the United States of 
 America was celebrating ‘ts one hun- 
 dredth anniversary as a nation. It was 
 a men’s singing club and B. F. Wood 
 was its organizer and musical director. 
 
 For several years E. W. Hanscom 
 was its pianist and accompanist. It 
 gave at least one concert a season and 
 presented programs made up of works 
 from the best composers. 
 
 The officers of the society for 1877- 
 1878 were, Hon. George H. Pilsbury, 
 President; Hiram Dinsmore, Vice Pres- 
 ident; Burton H. Winslow, Secretary; 
 ‘George W. Goss, Treasurer; W. H. 
 Jones, Librarian; F. B. Sands, A. K. 
 Ordway and F. A. Conant, Business 
 Directors; and T. J. Adams, W. L. 
 Lothrop and J. Hartley Smith, Music 
 Committee. 
 
 The members of the organization 
 for this season were: 
 
 Tenors, J. H. Chase, A. W. Fowles, C. E. 
 Greenleaf, E. W. Greenleaf, A. F. Jackson, W. H. 
 Jones, F. M. Lamb, W. L. Lothrop, A. K. Ord- 
 way, W. M. Plummer, W. A. Robinson, E. W. 
 Rowell, F. B. Sands, J. F. Shattuck and S. D. 
 Wood. 
 
 Basses, T. J. Adams, F. A. Conant, Hiram 
 Dinsmore, C. H. Dodge, R. E. Gilkey, G. W. 
 Goss, F. E. Jordan, F. O. Mower, J. F. Merrill, 
 H. W. Oakes, Charles B. Reade, J. Hartley 
 Smith, George A. Turner and Burton H. Wins- 
 low. 
 
 Among others who later joined the 
 society were, 
 
 F. L. Blanchard, R. B. Hayes, A. R. Savage, 
 J. Callahan, H. F. Kimball, Fred Lufkin, E. F. 
 Scruton, G. W. Smith, basses; and George T. 
 Page and A. J. Shaw, tenors. 
 
 In 1882 the Mendelssohns, with the - 
 
 assistance of a women’s chorus made 
 up of some of the best singers of Lew- 
 iston and Auburn, and supported by a 
 large orchestra and a cast of fifty, pre- 
 sented “The Pirates of Penzance.” B. 
 F. Wood was the director, G. L. Cush- 
 
 ing the leader of the orchestra and Mrs. — 
 
 A. J. Tukesbury, pianist. Louise Bald- 
 
 win of Boston sang the leading roles — 
 and the other principal parts were — 
 
 taken by T. J. Adams, F. M. Lamb, 
 
 W. H. Jones, W. L. Lothrop, F. Tom 
 
 Lufkin, Edith Edwards, Estelle M. 
 
 Hall, Carrie Rogers and Miss L. P. — 
 
 Sumner. 
 Other operas were produced by the 
 society, among them “Pinafore,” with 
 
 practically the same members in the © 
 
 principal roles. 
 William F. Goulding was, for several 
 years, President of this society, and 
 
 other Vice Presidents were F. B. Sands ~ 
 
 and A. R. Savage. 
 
 The Ceciha Club of Lewiston 
 “Believing that an association for 
 
 the improvement in the art of music ~ 
 
 will be of great advantage, we, Mrs. — 
 
 Georgie E. Wood, Mrs. Alice J. Tukes- ; 
 bury, Mrs. Augusta Edwards, Miss — 
 
 Josie Thorne agree to form such an © 
 
 association and to be governed by the 
 following constitution.” 
 
 Thus in 1881 was the Cecilia Club > 
 
 of Lewiston born. This was an organ- 
 ization composed entirely of ladies, 
 with its members limited, “not to ex- 
 ceed twenty-four.” ) 
 
 The first officers of the club were 
 Georgie E. Wood, President; Au- 
 gusta Edwards, Vice President; Alice 
 
MUSIC OF THE STATE OF MAINE~— 1857-1896 189 
 
 J. Tukesbury, Musical Directress; Es- 
 telle M. Hall, Secretary; Lena Robie, 
 Treasurer; Lizzie D. Harlow, Libra- 
 rian; Augusta Edwards, Alice J. Tukes- 
 bury and Josie Thorne, Musical Com- 
 “mittee. 
 A list of the original members, twen- 
 ty-one in number, included: 
 
 Florence Benson, Hannah C. Harlow, Lizzie 
 D. Harlow, Etta Harlow, Mattie E. Hersey, 
 Nancy Hill, Grace Littlefield, Mrs. Georgie E. 
 Wood, Mrs. Helen M. Young of Auburn; Mrs. 
 Sarah J. Andrews, Mrs. Lizzie K. Dickey, May 
 
 _V. Dickey, Nellie Drew, Mrs. Augusta Edwards, 
 Estelle M. Hall, Carrie A. Horne, Mrs. Lena 
 Robie, Josie Thorne, Mrs. Alice J. Tukesbury, 
 
 -and Mrs. Sarah J. Washburn of Lewiston; and 
 Agnes Walker of Poland. 
 
 Its programs were of a classical na- 
 ture. This society thrived for some 
 years. Carrie Horne was the pianist of 
 the club. 
 
 Among its honorary members were 
 
 Bi. EH. Calvert, F. L. Dingley, E. W. 
 Hanscom, Harvey Murray and B. F. 
 Wood. 
 
 The Rossini Choral Union 
 The Rossini Choral Union, with its 
 
 chorus of fifty voices, gave a number 
 of concerts in Lewiston in the early 
 eighties. L. W. Ballard was the di- 
 rector and the chorus was usually ac- 
 companied by his orchestra. Mrs. Alice 
 J. Tukesbury was the pianist. Soloists 
 
 ALICE J. TUKESBURY, ONE OF THE FOUNDERS 
 (1881) OF THE CECILIA CLUB OF LEWISTON; FIRST 
 PRESIDENT OF THE CLEF CLUB (1894) AND FOR 
 MORE THAN FIFTY YEARS AN ORGANIST IN THAT 
 CITY. 
 
 Festival held in Lewiston, was born in 
 
 from Portland and other cities sang the 
 _ leading parts and principal solos. Prom- 
 -inent on these programs were Helen 
 Nash, soprano; Lulie Sumner, contral- 
 'to; A. E. Pennell and W. H. Stock- 
 bridge, tenors; and J. B. Coyle, bass. 
 Other soloists were Mrs. H. Parker, 
 Mrs. H. E. Wood, May Mitchell, Es- 
 telle Hall, Florence E. Stinchfield and 
 Mrs. Helen M. Young. 
 
 Levi W. Ballard, founder of the 
 
 Tamworth, N. H. 
 
 In 1857 Mr. Ballard came from Con- 
 cord, N. H., to Lewiston. He secured 
 a position as organist and soon ac- 
 quired a large class of pupils. In 1885 
 he moved to Minneapolis, Minn., where 
 he spent twenty-five years in musical 
 work. For twenty years before leaving 
 Lewiston he furnished music for schools 
 and college commencement exercises 
 throughout the State. 
 
 Maine State Musical Association, con- 
 ductor of the Rossini Choral Union 
 and director of the first State Musical 
 
 In 1910 he returned to Maine and 
 became conductor of the Philharmonic 
 Chorus in Lewiston. 
 
190 
 
 MUSIC AND MUSICIANS OF MAINE 
 
 Mr. Ballard conducted the first 
 standard oratorio to be performed in 
 Lewiston (1882). This was the “Crea- 
 tion.” His musical organization, which 
 was known as Ballard’s Chorus and 
 Orchestra, made up of more than two 
 hundred singers, later presented “The 
 Messiah” and several other oratorios. 
 He was prominent in all the large mu- 
 sical undertakings in Androscoggin 
 County for many years. He conducted 
 musical conventions throughout the 
 State and in Vermont; organized the 
 first orchestra at the Old Maine State 
 Seminary and the first symphony or- 
 chestra in Lewiston and was organist 
 at the Free Baptist Church, Lewiston, 
 for fourteen years. His activities cov- 
 ered a period of more than sixty years. 
 His cantata “Joseph,” the “Opera of 
 Life,” “Prayer and Praise,” the “One 
 Hundred Third Phalm” and the “Nine- 
 ty-first Psalm” are among his best 
 known compositions. 
 
 The Schumann Musical Association 
 
 In 1884 the Schumann Musical As- 
 sociation of Lewiston was organized, 
 and, on January 22, 1885, the society, 
 assisted by the State Street Church 
 Quartette of Portland, then composed 
 of Mrs. W. P. Chase, Mrs. L. A. Goudy, 
 W. H. Stockbridge and J. B. Coyle, 
 presented Schumann’s cantata, “The 
 Pilgrimage of the Rose.” Hermann 
 Kotzschmar was the director and Prof. 
 A. Beique was the accompanist. 
 
 In 1885 Rossini’s “Stabat Mater” 
 was given in Lewiston with Carl Zer- 
 rahn conducting and Mrs. A. J. Tukes- 
 bury acting as pianist. The local sing- 
 ers were assisted by the Germania Or- 
 chestra of Boston. The soloists were 
 Emma Juch, soprano; Emily Winant, 
 contralto; Charles ‘Thompson, tenor; 
 
 and D. M. Babcock, bass. 
 
 Androscoggin Musical Society 
 Another old county musical club was 
 
 el es ee hs et in te 
 
 the Androscoggin Musical Society. Its | 
 
 officers in 1869 were A, D. Lockwood, 
 President; F. Newell, Vice President; 
 R.C. Pennell, Secretary and Treasurer; 
 Seth Sumner, Musical Director; and 
 W. K. Emminger, Pianist; and among 
 its members were: 
 
 Mrs. E. J. Adams, Mrs. M. W. Chase, Mrs. 
 
 M. A. Corliss, Mrs. A. E. Edwards, Mrs. C. ~ 
 
 Freeman, Mrs. J. Goodwin, Mrs. O. P. Lane, 
 Mrs. D. Wiggin, Mrs. J. Woodside, and the 
 Misses L. Barker, A. Clark, M. A. Clifford, Ella 
 Downer, J. L. Farrington, Eva Farwell, G. E. 
 Hall, Eliza Pennell, Lottie Thompson, Josie 
 
 Thorn, Grace Waldron and Dora Witcher, so- — 
 pranos; Mrs. W. C. Darrah, Mrs. F. Gammon, ~ 
 Mrs. E. A. Kinsley, Mrs. P. M. Thurlow, Mrs. — 
 C. Walker, and the Misses E. M. Bodge, Eliza — 
 
 Burgess, S. A. Chase, Victoria Cook, Nellie 
 Drew, M. F. Sumner and Nellie Wyman, altos; 
 Charles H. Barrell, Benjamin Chandler, A. B. 
 
 Crafts, E. C. Farrington, T. Fillebrown, C. L. 
 Hunt, J. B. Jordan, Carlos Nudd, A. K. Ordway, — 
 
 R. C. Pennell and E. W. Rowell, tenors; J. H. — 
 
 Chase, M. W. Chase, C. A. Davenport, H. Dins- 
 more, A. B. Edwards, N. L. Fogg, D. W. Kins- 
 ley, A. D. Lockwood, F. Newell, Charles A. Pen- 
 
 dexter, A. E. Pennell, A. P. Pennell, J. W. Rick- — 
 
 er, W. A. Russell, Seth Sumner, T. D. Thorn 
 and B. F. Wood, basses. 
 
 The society sent a delegation of more 
 
 than sixty singers to take part in the © 
 
 National Peace Jubilee in Boston in 
 1869. 
 
 pianists. 
 
 One of the best women’s quartettes — 
 ever organized in western Maine was 
 the Philomela Quartette of Lewiston. — 
 Helen Nash Sleeper was the first so-— 
 
 prano and musical director; Belle Bart- 
 lett Woodbury, the second soprano; 
 Florence E. Stinchfield, alto; 
 
 programs. 
 
 B. F. Wood succeeded Mr. Sumner 
 as director of the Androscoggin Musi- — 
 cal Society and Harvey Murray and © 
 E. W. Hanscom subsequently became — 
 
 and 
 Martha F. Lufkin, second alto. This 
 quartette appeared on many concert 
 
MUSIC OF THE STATE OF MAINE— 1857-1896 _ of 
 Pee ee SES TERED iil!) 5 i: 191 
 
 The Alpha Quartette of Lewiston 
 
 also met with considerable success. 
 Mrs. Bertha Kenney Miller was the 
 first soprano; Mrs. Florence Campbell 
 _ Nevens, second soprano; Lucy Mitch- 
 ell Lane, first alto; and Mrs. Minnie 
 Goss Litchfield, second alto. 
 _ The Schumann Quartette of Auburn, 
 _of which M. Cora Bumpus was the so- 
 -prano, appeared in concert in a num- 
 ber of cities in the late seventies. Its 
 other members were Mrs. Lena Robie, 
 |W. L. Lothrop and T. J. Adams. 
 Another musical club which existed 
 in Lewiston at this time was the Ladies’ 
 Verdi Mandolin and Guitar Club. 
 Louise Baldwin, one of Lewiston’s 
 most gifted singers, sang in concert in 
 Boston and other cities where she be- 
 “came prominent as a teacher of the 
 voice. She was the daughter of Mrs. 
 Royal Quimby. She married Alberto 
 Randegger, composer, conductor and 
 professor of singing. Prof. Randegger 
 conducted Mozart’s “Magic Flute” at 
 Covent Garden, London, where he and 
 his wife went to live, and has directed 
 “many other notable concerts. Many 
 Maine singers were pupils of Randeg- 
 
 ager. 
 ; The Augusta Choral Society 
 : 
 
 _ Another organization to send a dele- 
 gation to the National Peace Jubilee in 
 Boston was the Augusta Choral Soci- 
 ety. In 1869 its officers were George 
 Weeks, President; A. Partridge, Sec- 
 
 ‘retary; A. Clark, Treasurer; Dr. A. H. 
 
 - 
 
 Chamberlain, Librarian; and Walde- 
 mar Malmene, Musical Director; and 
 ‘its members were: 
 
 _ Mrs. O. G. Turner, Fannie Allen, Julia Fol- 
 som, Brinda Fuller, Miss M. E. McArthur, 
 Annie Partridge, Mary Richards and Abba Tur- 
 ‘ner, sopranos; Mrs. Waldemar Malmene, Mrs. 
 ‘Laura Sewell, Carrie Blanding, Master Allen 
 Rutherford and Master Fred Staples, altos; Dr. 
 A. H. Chamberlain, Dr. W. Scott Hill, Frank 
 ‘Knowlton and W. Malmene, tenors; A. Clark, 
 
 SS 
 
 J. L. Hodsdon, Jr., Allen Partridge, George E. 
 Weeks, C. P. Weston and H. Wood, basses. 
 
 The Biddeford Choral Union 
 
 The Biddeford Choral Union was 
 organized by R. M. Hobbs soon after 
 the close of the Civil War. Charles W. 
 Shannon was accompanist and director 
 of the chorus. In 1869 the Peace Festi- 
 val Choir of Saco was organized large- 
 ly from the members of the Biddeford 
 Choral Union. This choir included 
 many of the best voices to be found in 
 these adjoining cities and among those 
 who went to sing in the great Boston 
 Jubilee were: 
 
 Mrs. Melinda K. Abbott, Mrs. E. H. Bailey, 
 Mrs. M. A. Hodgkins, Mrs. Eliza Howland, Mrs. 
 Hattie Littlefield, Mrs. J. W. Littlefield, Mrs. 
 FE. Manson, Mrs. T. L. Merrill, Mrs. J. E. Quin- 
 by, Mrs. J. T. Seaver, and the Misses M. R. 
 Atkins, R. C. Blake, Lizzie A. Burbank, Julia 
 Hill, C. M. Kendrick, Sarah H. Nowell, Flor- 
 ence Patten, Fannie E. Priest, Abby E. Robin- 
 son, Susie C. Smith, A. M. Sumner, J. M. Sum- 
 ner, Lissa A. Tuxbury, Sarah Usher, sopranos; 
 Mrs. Mary E. Clark, Mrs. George Googins, Mrs. 
 S. K. Hamilton, Mrs. William Perkins, Mrs. 
 Josie R. Seavey, Mrs. C. W. Shannon, Mrs. A. C. 
 Tuxbury, Mrs. H. L. Weaver, Lizzie P. Gold- 
 thwait, Amanda Haseltine, Annie Jewett, Mary 
 E. Sands, altos; G. G. Additon, Alonzo L. Berry, 
 Paul Chadbourne, James L. Emery, Edwin J. 
 Foss, Edwin A. Gowen, George E. Grant, Wil- 
 liam A. Hodgkins, Thomas L. Merrill, S. K. 
 Milliken, John Phantom, A. A. Tapley, Alonzo 
 Towle, Alfred C. Tuxbury, Charles E. Usher, 
 tenors; J. S. Additon, John Barker, George 
 Beaumont, James Boardman, R. S. Boulter, H. 
 G. Dean, George D. Emerson, F. N. Hodsdon, 
 S. C. Libbey, John M. Pevey, Albion Sands, 
 Albert C. Sawyer, J. T. Seaver, Manson Seavy, 
 C. T. Shannon, Charles W. Shannon, James H. 
 Shannon, George S. Watson, basses. 
 
 The Saco Chorus Club was organized 
 for the young people of Saco by Mr. 
 Shannon as a music school on a con- 
 servatory design. 
 
 In 1870 the Biddeford Choral Union 
 and the Saco Chorus Club assisted by 
 Chandler’s Band of Portland united in 
 a “grand concert” in the City Hall, 
 Saco. Among the musicians of promi- 
 
192 MUSIC AND MUSICIANS OF MAINE 
 
 CHARLES W. SHANNON, ONE OF THE FOUNDERS OF 
 THE BANGOR CONSERVATORY OF MUSIC AND FOR 
 MORE THAN SIXTY YEARS AN ORGANIST IN SACO. 
 
 nence who made public appearances in 
 Saco at about this time were 1,4. 
 Gowan and Mrs. Paul Chadbourne, 
 pianists; James Stanton, George Darl- 
 ing, Mrs. J. W. Littlefield, George Ey, 
 Grant, Mrs. E. Manson, Mrs. M. A. 
 Roberts, Kate Morris, Mrs. T. L. Mer- 
 rill, Mrs. C. W. Shannon, Mabelle S. 
 Shannon, Alice Goshen, Charles Ab- 
 bott, J. H. Fenderson, Mrs. W. F. Ab- 
 bott, Mrs. George Cutter, Hattie Ak- 
 kerson, A. C. Sawyer, L. B. Milliken 
 and Helen and Charlotte Bedell, vo- 
 calists. 
 
 Professor Charles W. Shannon, or- 
 ganist in Saco from 1862 until the time 
 of his death in 1925, was the grandson 
 of Deacon Richard Shannon. He was 
 born in New London, Conn., in 1837. 
 His father, Charles T. Shannon, was a 
 natural musician who could play on 
 any instrument without being taught. 
 The grandfather, Deacon Richard 
 
 Shannon, tried to discourage the mu- 
 sical ambitions of his son and forbade 
 him to play excepting on Sundays. 
 Fearing that his boy might become a 
 musician, he sent him to New York to 
 learn the prosaic occupation of soap 
 making, which to his mind was more 
 respectable. In order to rid himself of 
 the soap business, .which he detested, 
 Charles T. Shannon, answering an ad- 
 vertisement of “Musicians Wanted,” 
 joined the Navy. He had never before 
 seen a clarinet but on being asked by 
 the bandmaster if he could play it, sur- 
 prised himself with the ease with which 
 he mastered it. At the end of his en- 
 listment he returned to Saco where he 
 became organist in the First Parish 
 Church, a5 
 
 Charles W. Shannon first played the 
 organ in the First Parish Church at the 
 age of seven or eight, when he sup- 
 plied for his father, who had taught 
 him how to play and who, because of 
 sO many services in connection with a 
 convention then being held in Saco, 
 was unable to perform his regular du- 
 ties. When fourteen and sixteen years 
 old respectively, Charles W. Shannon 
 and Richard Cutts Shannon gave an 
 entertainment in Cutts Hall, Saco, at 
 which they were assisted by E. H. 
 Weeks, violoncellist, the Glee Club and 
 the Saco Cornet Band, P. H. Clark, 
 leader. 
 
 At one time three members of the 
 Shannon family were playing organs 
 in six separate churches in Saco and 
 Biddeford. | 
 
 Mr. Shannon played at the Congres 
 Square Church in Portland in 1869. In 
 the winter of 1887 and 1888 he went 
 abroad. On his return he again took 
 up his profession as organist and di- 
 rected choruses and many talented 
 choirs. He was one of the organizers of 
 the Bangor Conservatory of Music in 
 1868 and at one time had sixty pupils 
 
eye ee ee ee ee ee ON Pe ony 
 
 er eee ay Ce gee ee ap thy epee 
 
 MUSIC OF THE STATE OF MAINE-— 1857-1896 193 
 
 in Bangor. He organized a music 
 school and gave the only three musical 
 conventions ever held in Saco. He 
 never tired of telling how he “hired” 
 Annie Louise Cary for a concert before 
 she became famous and how, for her 
 appearance, he paid her fifteen dollars. 
 
 His services as organist covered a 
 period of sixty-three successive years. 
 
 L’?Union Musicale of Biddeford 
 
 Ever since the days of Father Ga- 
 brielle Druillettes the French people of 
 Maine have played an important part 
 in the music of the State. 
 
 Choral and instrumental musical so- 
 cieties, whose membership is composed 
 wholly of people of French descent, 
 have produced operas that compare 
 favorably with professional produc- 
 tions. 
 
 Their love for the artistic, their at- 
 tention to tone production as well as 
 other minute details have developed 
 among their people some of the best 
 musical aggregations to be found in the 
 State. 
 
 One of the earliest French Societies 
 in Maine was L’Union Musicale of 
 
 Biddeford, organized and conducted by 
 
 Pierre L. Painchaud, founder and lead- 
 er of Painchaud’s Band: This society 
 had a membership of sixty and Alfred 
 Bonneau was its President for some 
 time. Among the operas presented by 
 L’Union Musicale were “Chimes of 
 Normandy,” “Girofle, Girofla” and 
 “Olivette.” The title roles in “Chimes 
 of Normandy” and “Girofle Girofla” 
 were sung by Heloise P. Renouf, 
 daughter of the director, and that of 
 “Olivette” by Gerome Morin. 
 William Grant Brooks, born in Saco 
 in 1869, was organist for more than 
 twenty-five years in churches in Saco 
 and Biddeford. His hymns appear in 
 many hymn books and his band pieces 
 have been played by the most famous 
 
 bands in the country. He toured the 
 country as a lecturer on musical sub- 
 jects in a five-year course and gave 
 many lectures on travel subjects, dur- 
 ing which he traveled more than ten 
 thousand miles. His book, The World’s 
 Ready Helper, was translated into the 
 Chinese language and is used in China 
 by the school children of that country. 
 
 Charles Henry Granger, another mu- 
 siclan of Saco, was a musical genius 
 and a portrait painter. He played the 
 organ at the Old Unitarian Church in 
 Saco for a number of years. 
 
 The Parlor Musical Society 
 of Belfast 
 
 An organization which for some time 
 occupied a prominent place among the 
 musical clubs of Belfast was the Parlor 
 Musical Society. This club was organ- 
 ized in November, 1888, with twenty- 
 five members, “for the promotion of 
 music culture.” 
 
 Following its re-organization in 1898 
 its officers (1900) were Clarence Os- 
 good Poor, President; Rev. James Mon- 
 roe Leighton, Vice President; Bertha 
 I. Bird, Secretary; Elbert Simmons 
 Pitcher, Treasurer; and Essie M. San- 
 born, Librarian. 
 
 Mr. Poor retained the office of Presi- 
 dent for nearly all the years of its ex- 
 istence. Among others who were ofh- 
 cers of the society were Mrs. Charles 
 Walden, E. S. Pitcher and Louise Den- 
 nett. 
 
 No complete list of the members of 
 this musical organization being avail- 
 able, only a partial list of members 
 and officers can be given here. Among 
 the members were: 
 
 Mary E. Faunce, Mrs. E. S. Pitcher, Ralph I. 
 Morse, Charlotte Colburn, Mrs. Clement Wes- 
 cott, J. Lee Patterson, Helen M. Dunton, Isabel 
 Ginn, Mrs. Howard Whitten, Mrs. C. W. Wes- 
 cott, Mrs. Ralph H. Howes, Mrs. E. P. Frost, 
 Amy Stoddard, Marian Wells, Blanche Sulli- 
 van, Mrs. G. W. Chase, Annie Crosby, A. C. 
 
194 MUSIC AND MUSICIANS OF MAINE 
 
 Knight, Mrs. J. H. Quimby, Kitty Conant, John 
 Parker, Katherine Brier, Clara B. Marsh, Grace 
 Lamb, Isaphine Patterson, M. S. Crockett, Etho- 
 la Frost, Russell Lord and Gladys Pitcher. 
 The first concerts by this society 
 were given in the Unitarian Parish 
 House. Two programs were presented 
 each season. For nearly twenty years 
 this society served the people of Bel- 
 fast as its leading musical organization. 
 The Arion Quartette, whose mem- 
 bers were Messrs. Pitcher, Jones, Craig 
 and Pettengill, and The Ladies’ Quar- 
 tette, composed of Charlotte Colburn, 
 Miss Milliken, Mrs. J. H. Quimby and 
 Mrs. E. S. Pitcher, were, at this time, 
 rivals for popular favor in Belfast. 
 
 The Belfast Musical Society 
 
 The Belfast Musical Society was the 
 successor of the Parlor Musical Soci- 
 ety. C. O. Poor, who had been Presi- 
 dent of the older organization, became 
 the honorary president of the new so- 
 ciety. 
 
 Other officers were President, Ralph 
 I. Morse; Vice President, C. E. White; 
 Treasurer, BE. S. Pitchers “Secretary, 
 Edith Burgess; Librarian, Leon Beck- 
 with. 
 
 E. S. Pitcher was its director and 
 Mrs. Elon Gilchrist, Amy Stoddard 
 and Mrs. Leon Beckwith were its pi- 
 anists. 
 
 The new organization was not con- 
 tent with concert programs, so with 
 the aid of professional directors and 
 stage managers from Boston several 
 operas were produced by the members 
 of this society and their fellow towns- 
 people. The principal operas presented 
 were “The Chimes of Normandy,” 
 “Patience” and “Pepita.” 
 
 Among those taking the leading roles 
 in these productions were: 
 
 Katherine Quimby, Villa Phelan Pendleton, 
 Alice Simmons, Hazel Barnard, Anna Booker, 
 Edna Bedell, Ralph I. Morse, Arthur Johnson, 
 John J. Nolan, Charles Hammons, Elon Gil- 
 
 christ, Morris L. Slugg, Bertram L. Davis, in 
 “The Chimes of Normandy;” Ralph I. Morse, 
 Charles F. Hammons, E. S. Pitcher, Clarence 
 E. Hall, Arthur N. Johnson, E. B. Gilchrist, 
 Katherine Brier, Mrs. C. E. Read, Winnifred 
 Sanborn, Mrs. C. W. Wescott and Katherine 
 C. Quimby, in “Patience;” and Charles F. Ham- 
 mons, Robert S$. Rawson, Ralph I. Morse, El- 
 bridge S. Pitcher, Katharine C. Quimby, William 
 J. Havner, Katherine Brier, and Mrs. C. W. 
 Wescott, in “Pepita.” 
 
 In the orchestra, at the presentation 
 of “Pepita,” were: 
 
 Violins, Mr. and Mrs. Carl Lamson; cello, 
 Gladys Pitcher; bass, R. P. Chase; cornet, 
 Charles Bartlett; trombone, H. A. Drinkwater; 
 drums, John Parker; clarinet, Charles Harmon; 
 pianists, Mrs. Elon Gilchrist and Louise Den- 
 nett. f 
 
 The Belfast Musical Society did 
 much to cultivate musical appreciation 
 by securing well-known artists for lec- 
 ture recitals. 
 
 Previous to the organization of the 
 Parlor Musical Society the Belfast 
 Choral Society, organized in 1879, “for 
 the cultivation of music,” was a suc- 
 cessful society for a considerable per- 
 iod. Rev. Simon Goodenough was its 
 first President. 
 
 Other musical organizations, which 
 gave concerts in Belfast during this 
 period, were the Monarch Banjo and 
 Guitar Club, whose membership was 
 
 composed of young men of the city, 
 and the Clef Club. 
 
 The Musical Club of Brunswick 
 
 The Musical Club, a society whose 
 membership was composed of women, 
 was formed at Brunswick in 1878, “on 
 a basis something like the Ressini Club 
 of Portland,” and gave their first con- 
 cert in the spring of that year. Mrs. 
 Henry Carmichael was the pianist and 
 other members were Mrs. John Winch- 
 ell, Alice McKeen, Mrs. Elizabeth 
 Whitmore and Mrs. George Stetson. 
 
 One of the earliest organizations in 
 Bath was the Mozart Society of which 
 
MUSIC OF THE STATE OF MAIN E~— 1857-1896 195 
 
 William E. Rice was the leading spirit. 
 Carl Zerrahn was the concert director. 
 
 Other musical societies which flour- 
 ished in Bath during this period were 
 the St. Cecilia Society and the Bath 
 Quartette Club. 
 
 Harry McLellan writes of the music 
 in Bath at this time: “Between fifty 
 and sixty years ago, Bath was a very 
 musical place. My father has often 
 spoken of the ‘four Emmas’ as they 
 were known, Emma McLellan, after- 
 ward Mrs. John R. Houghtcn; Emma 
 Owen, afterward Mrs. G. E.R. Patten; 
 Emma Elliot and Emma Hayden (Em- 
 ma Eames’ mother), who later married 
 (apt. Eames. These four were very 
 prominent musically. At that time 
 Joseph Emerson, who possessed a beau- 
 tiful tenor voice, a friend and contem- 
 porary of Annie Louise Cary, provided 
 much vocal music. Annie Cary came 
 to town frequently to visit relatives 
 and her voice was often heard. My 
 father, Charles H. McLellan, had a 
 _ superb baritone voice and always took 
 _ part in all musical affairs. The older 
 _ generation will recall him as a member 
 of the Haydn Society of Portland. At 
 these concerts he appeared as soloist 
 @ in ‘Fridolin, “The Messiah, “Crea- 
 e tion,’ etc. 
 
 “Tn these days Luigi Dama, a Mi- 
 _ lanese, settled in Bath and gave les- 
 sons in singing to a very large class. 
 
 He afterward achieved distinction in 
 
 California. 
 
 “Thomas Ryan, the leader and or- 
 ganizer of the Mendelssohn Quintette 
 Club, also lived in Bath at that time. 
 _ The organization acquired an interna- 
 - tional reputation later. 
 
 “Ethel Hyde who died some years 
 ago had a magnificent dramatic so- 
 prano voice. She was the daughter of 
 General T. W. Hyde and _ studied 
 abroad. Her voice had warmth and 
 feeling. Impressarios in Europe tried 
 
 to persuade the General to let her go 
 into opera but for some reason he pre- 
 ferred that she should not.” 
 
 Mrs. T. W. Hyde (Mrs. Eames’ 
 sister and wife of General Hyde) was 
 very musical and an excellent accom- 
 panist as was also Mrs. John Howland 
 and Jennie R. Morse. 
 
 Arthur S. Hyde, son of General 
 Thomas W. and Annie Hayden Hyde, 
 was born in Bath. He studied in Bos- 
 ton, Paris and other musical centers. 
 He was organist of St. John’s Episco- 
 pal Church, Charlestown, Mass., and 
 then, until 1908, at the Emmanuel 
 Church in Boston, when he went to St. 
 Bartholomew’s in New York where he 
 remained until the time of his death. 
 As a trainer of choirs he gained a fore- 
 most place in the ranks of his profes- 
 sion. “During his musical career he con- 
 ducted choral societies in New York 
 and Boston and in a number of Maine 
 cities. 
 
 Almost since its organization as a 
 town East Machias has had the repu- 
 tation of possessing more than the av- 
 erage amount of musical talent. One 
 of its first singing school teachers was 
 Uriah Tufts, who also played the violin. 
 It is said that he belonged to the fam- 
 ily for whom Tufts College is named. 
 There was also a Mr. Billings who 
 taught music, not William Billings, al- 
 though among William Billings’ de- 
 scendants were some who were natives 
 of East Machias. 
 
 Other old time singing school teach- 
 ers of East Machias were Irving Chase 
 and “Ned” Parker. A “Prof. Bill” gave 
 musical instruction in East Machias 
 about 1863. Andrew Hanscom, who 
 was born in East Machias, taught sing- 
 ing schools all his life, and Irving Wil- 
 son was another native who taught mu- 
 sic there in the seventies. 
 
 Among the early teachers of music 
 
 in East Machias were Mrs. Abbie Bev- 
 
ALICE TALBOT, FOR MANY YEARS LEADER IN MUSIC 
 IN EAST MACHIAS. FROM AN EARLY PHOTOGR#APH. 
 
 erly, Mrs. Mabel Rose, Clayton San- 
 born, Marian Talbot, Mrs. Edwin 
 Dwelly, Mrs. Henry Whittier, Mrs. 
 Julia Sanborn, and Mrs. Alice ‘Talbot. 
 Later teachers have been Lizzie Brown, 
 Mrs. Clara Hall Knox, Clara S. Tal- 
 bot, and Hovey M. Wiswell. 
 
 In the early days Mrs. Albert Cush- 
 ing played the bass viol in the church, 
 and before the organ was _ installed 
 there one of the early musical instru- 
 ments used to accompany the singers 
 was an “elbow melodian.” This curi- 
 ous and rare musica]instrument, which, 
 to be played, was laid across the knees, 
 and blown by the motion of the arms 
 or elbows while the keys were played 
 by the fingers, came into the possession 
 of Mrs. Sarah Sanborn Ames. 
 
 Jessie Upton and Mrs. Mabel Chis- 
 holm McAlpine were prominent among 
 the early vocalists of East Machias, 
 while Mrs. Charles Dennison, Blanche 
 
 MUSIC AND MUSICIANS OF MAINE 
 
 Dewey and Arthur Sanborn were later 
 singers. 
 
 Among those who developed excel- 
 lent voices during Mr. Harris’ stay 
 there were Mr. and Mrs. Frank San- 
 born, Mrs. Julia Furber, Mrs. Martha 
 Hoyt, Mrs. Bertha Whittemore, Mrs. 
 T. M. Sanborn, Mrs. Lillie Shaw 
 Lynch, Mrs. Annie Shaw Burns and 
 Marian Talbot. 
 
 The Old Hundred Society of East 
 Machias may be said to have been the 
 original club for the promotion of choral 
 singing in that town. Colonel William 
 Pope was the one who was looked up- 
 on as a leader by his musical associ- 
 ates, among whom were Micah J. Tal- 
 bot, Eben Blackman, Luther Hall and 
 Daniel Savage. 
 
 The Mendelssohn Club of East Ma- 
 chias was organized in 1879. Herbert 
 Harris was President and Director and 
 Mrs. Alice Talbot was Accompanist. 
 
 Besides the Mendelssohn Club, 
 prominent among the musical organi- 
 zations of East Machias have been the 
 Glee Club, the Wiswell Brass Quar- 
 tette, the Young Ladies’ Sextette, the 
 Young Ladies’ Orchestra and the Fes- 
 tival Chorus. 
 
 The Young Ladies’ Orchestra, which 
 was in existence about 1900, was com- 
 posed of Carrie Maloon, violin; Mi- 
 
 nerva Maloon, violin and banjo; Lucy 
 
 Sanborn, cornet; Emily Sanborn, pi- 
 ano; and Nana Upton, cello and voice. 
 
 The Ladies’ Sextette was a vocal or- 
 ganization, the members of which were 
 Mabel Harris (leader), Julia Wiswell, 
 Annie Keller, Emily Harris, Susan 
 Sanborn and Marian Talbot. 
 
 The Wiswell Brass Quartette was 
 made up of Frank Wiswell and his 
 three sons, Thomas, Harry and Hovey, 
 
 while his daughter, Julia, acted as ac- 
 
 companist. 
 Among the East Machias musicians 
 who served as organists were Mrs. 
 
 ey i A, 2 
 
MUSIC OF THE STATE OF MAIN E/— 1857-1896 197 
 
 Se 
 
 OLD WINTHROP CHOIR. STANDING, LEFT TO RIGHT: JOSEPH W. ESTY, JULIET STANLEY, MARY STAN- 
 LEY, CHARLES AUGUSTUS WING; SITTING: SARAH WING (ORGANIST). FROM AN OLD TINTYPE LOANED 
 
 BY JULIET STANLEY WARREN. 
 
 Elizabeth B. Talbot, Emma Cary, Clay- 
 ton H. Sanborn, Mrs. Abbie Munson 
 Beverley, Mrs. Charlotte Coleman 
 Cary, Mrs. Nana Upton Oakes, Mrs. 
 Lena Hall Patton, Mrs. Alice Brown 
 Talbot, Emily F. Sanborn, Mrs. Mabel 
 Austin, Harris Rose, Marian Talbot, 
 Mrs. Sarah Sanborn De Merritt and 
 Mrs. Mary Talbot Whittin. 
 
 Mrs. George F. Cary who was, for 
 some time, the accompanist of the 
 Festival Chorus, taught singing in the 
 schools of the town. 
 
 In the old Baptist Church in East 
 Corinth was Nathan Herrick, who 
 played the bass viol, Franklin Herrick, 
 who played the violin, and Erastus 
 Ball, who played an elbow melodian. 
 These three comprised “the church or- 
 chestra.” Mr. Ball was also quite a 
 
 famous singer and it was said of him 
 that “his low notes would jar the seats.” 
 
 Deacon Stephen Decker was the 
 leading tenor and Elmira Decker, E]- 
 mira (Ball) Rollins and Maria (Deck- 
 er) Chapman sang the soprano and 
 alto parts. Alexander Drummond was 
 another who was a good singer at this 
 time. The old cabinet organ which 
 succeeded the orchestra in the church 
 in 1856 was played by Mary E. Ball. 
 
 Major Oakman taught singing 
 schools in East Corinth and at one 
 time took his family, who were all mu- 
 sical, on a concert tour. In his family 
 were Charles Oakman, violinist; Mari- 
 on Oakman, cellist; and George Oak- 
 man, pianist. 
 
 George W. Oakman, born in Cor- 
 inth, Maine, 1846, taught piano and 
 
198 MUSIC AND MUSICIANS OF MAINE 
 
 SARAH. DEARBORN CHANDLER, PROMINENT WIN- 
 THROP SINGER IN THE SIXTIES. FROM AN OLD 
 TINTYPE. 
 
 organ in Boston many years and was 
 organist in several churches in Boston 
 and vicinity. He was for ten years a 
 member of the Handel and Haydn So- 
 ciety of Boston and sang at the Boston 
 Peace Jubilee. 
 
 Winthrop has probably produced 
 more singers with exceptionally beau- 
 tiful voices than almost any town in 
 Maine. 
 
 Juliet Marion Stanley Warren, so- 
 prano, who was born in Dixfield, 
 Maine, went to live in Winthrop, where 
 for twenty years she sang in the Con- 
 gregational Church choir with her sis- 
 ter Jane Elizabeth Stanley, who sang 
 alto. Other prominent sopranos in Win- 
 throp, in this period, were Emily Au- 
 gusta Jacobs, who sang in the Meth- 
 odist Church; Sarah Dearborn Chand- 
 
 ler, who sang in the Congregational 
 Church choir; and Annie Webb, who 
 became organist at the latter church 
 after the new organ was installed. 
 
 Among the best alto singers were 
 Nellie Esty Bridgham, who sang in the 
 Congregational Church, then went 
 abroad for several years, and later re- 
 turned to Winthrop; Mary Malvina 
 Stanley Gower; Carrie Wing, who was 
 also an organist; Mrs. La Verne Kimp- 
 ton Maxfield, who was a member of 
 the old Winthrop Quartette; and Lona 
 Straw. 
 
 Elias Miller Clark was a fine bass 
 singer in Winthrop at this time as was 
 also Thomas B. Beals. Mr. Beals be- 
 came quite celebrated as a double bass 
 viol player, and, as a member of Fa- 
 ther Kemp’s Troupe, went to England, 
 and, on his return, became a resident 
 of Somerville; Charles Wing, another 
 excellent bass singer, was leader of the 
 Congregational Church choir for many 
 years; George Metcalf and Capt. Peleg 
 Benson were among those who also 
 sang bass in this choir. 
 
 Other musicians in Winthrop were 
 Frank Coy who sang tenor in the Con- 
 gregational Church choir for a number 
 of years and afterwards went west for 
 a time; and Annie Branscombe Gower 
 of Winthrop, a pupil of Willard Kim- 
 ball and an excellent pianist. 
 
 Among others who have been or- 
 ganists in Winthrop were Albert Page, 
 Sarah Wing, Horace Packard, Matilda 
 Sewall and Phoebe Fairbanks. 
 
 S. K. Whiting, a composer of several 
 songs, was a native of East Winthrop. 
 
 An old singing society which had a 
 chorus of forty members was promi- 
 nent in Winthrop in the seventies. 
 
 Another choir that became more than 
 locally famous was that of the First 
 Baptist Church of Livermore Falls. 
 
 Judge Roswell C. Boothby (1840- 
 1922), a native of Leeds, who sang solo 
 
tT ARR SEER 
 
 ad 
 Sas 
 
 gl 
 i 
 
 ae ene 
 
 oa ae 
 
 MUSIC OF THE STATE OF MAIN E— 1857-1896 199 
 
 CHOIR OF THE FIRST BAPTIST CHURCH, LIVERMORE FALLS (1866). 
 
 STANDING, LEFT TO RIGHT: DELIA 
 
 WOOD, JOHN DUNHAM, JUDGE ROSWELL C. BOOTHBY (CHOIR DIRECTOR), WILLIAM DOYEN, JOHN 
 ROWELL; SITTING: MRS, A. J. BURGESS, MRS. HELEN RAMSDELL, MRS. R. C. BOOTHBY (ORGANIST), 
 
 MRS. C. R. NOYES, MRS. JOHN DUNHAM. 
 ETHEL L. ALLEN. 
 
 bass, was its leader for more than fifty 
 years. Mr. Boothby held many high 
 offices. He was Superintendent of 
 Schools, County Commissioner and 
 member of the Governor’s Council. 
 Mrs. Helen Lancaster, born in New 
 Sharon, for twenty-five years sang so- 
 
 _prano in the choir. 
 
 The choir of the Bridgton Meth- 
 odist Episcopal Church at the time of 
 its dedication in January, 1872, con- 
 sisted of George Bradstreet, S. M. Cook, 
 Addie S$. Goodwin and her sister Mary 
 E. Goodwin. Nettie Burnham was the 
 organist. 
 
 Because of the mechanical limita- 
 tions of this volume, references to a 
 few of the musicians of this period who 
 left their impress in varying degrees 
 on the World of Music in Maine, 
 though brief, must suffice. 
 
 Willis Emery Bacheller (1861-1910), 
 
 FROM A PHOTOGRAPH MADE IN 1866. 
 
 LOANED BY MRS. 
 
 who was born in Union, Maine, was 
 musically educated abroad and made a 
 name for himself in this country as a 
 concert and oratorio singer (tenor) and 
 later as a teacher of singing. He count- 
 ed many prominent singers in his 
 studio. 
 
 Eugene Francis Johnson (1842-1876), 
 a native of Gardiner, was probably one 
 of the most remarkable pianists ever 
 born in Maine. He first studied with 
 Henry S. Edwards of Portland and la- 
 ter with J. C. D. Parker of Boston, and 
 in Germany with Speidle and Franz 
 Bendel. He was for a time organist at 
 the Congress Street Methodist Church, 
 Portland, and then at the Park Street 
 (Murray’s) Church, Boston. Among 
 his compositions are “Seaside Echoes,” 
 for piano, and two songs, “Old Robin 
 Bids Farewell to Thee” and “Village 
 Dear.” 
 
200 
 
 Albert R. Frank, born in Poland, 
 Maine, in 1859, studied with Myron 
 and William Whitney, and later, in 
 Florence, with Vannucini. He sang at 
 the Old South Church in Boston for 
 many years. For some time prior to 
 his death he was at the head of the 
 Boston Conservatory of Music. 
 
 Edward E. Holden of Bangor, for 
 many years a resident of Boston, was 
 the possessor of an exceptionally fine 
 tenor voice. He sang in a number of 
 male quartettes, among the most fa- 
 mous of which were the Apollo and 
 Weber Quartettes of Boston. He was 
 also a member of the Apollo Club of 
 that city. 
 
 Ella Lewis, daughter of Jacob Lewis 
 of Portland, studied with W. H. Den- 
 nett and later with Vannucini. She 
 sang with Theodore 'Thomas’s Orches- 
 tra for three consecutive seasons after 
 her return from Europe. 
 
 Dr. Augustus H. Burbank of Yar- 
 mouth was a prominent Maine musi- 
 cian. Ata musical convention in Phil- 
 adelphia his voice created a sensation 
 and he was called upon to lead the 
 singing. Receiving several attractive 
 offers he sang for a time in the church- 
 es there. After his return to Maine he 
 sang at the Congregational Church at 
 Yarmouth. 
 
 Esther Burbank, his sister, was also 
 very musical and his daughter, Annie 
 Burbank, who married William F. Ben- 
 nett of Yarmouth, was an exceptionally 
 good pianist. 
 
 Julia Fenderson received her musical 
 training in Italy. She gave a concert 
 in Steinway Hall, New York, and made 
 such a good impression that she was 
 engaged by Gilmore and made her 
 debut at Gilmore’s Garden as “Signori 
 Guiletta.” 
 
 Minna Bete of Lewiston had a voice 
 of such promise that the citizens of Lew- 
 iston gave a benefit concert at which 
 
 MUSIC AND MUSICIANS OF MAINE 
 
 three thousand dollars was raised as a 
 fund for her vocal training. She stud- 
 ied with Myron W. Whitney who said 
 of her “when Minna is in song, she is 
 not of earth, she is an angel. . . . Hers 
 is the most wonderful voice I have 
 heard in years.” Her Boston debut at 
 the Conservatory was a triumph for a 
 young girl who was then only about 
 nineteen years old, but on the follow- 
 ing morning she was carried to a hos- 
 pital and there within a few hours she 
 died. 
 
 Leila Farrell, sister of Charles Far- 
 rell, remembered by the older people 
 in Portland as a strikingly beautiful 
 school girl, developed more than ordi- 
 nary musical talent, and succeeded 
 Eliza Weathersby as Nat Goodwin’s 
 prima donna. Her voice, though not 
 big, was pleasing. Early in life her 
 career, like that of her brother, was cut 
 short by a fatal illness. Miss Farrell 
 appeared with Alice Carle in a produc- 
 tion of the “Mikado” by local singers 
 in Portland in the seventies. 
 
 Emma F. Griffith, daughter of Amos 
 W. and Azubah F. (Stockbridge) Grif- 
 fith, was the possessor of a fine soprano 
 voice and locally well known in her 
 young days in Dixfield where she was 
 born in 1847. She sang in concert: in 
 Dixfield and later in Boston. She was 
 a student at the New England Con- 
 servatory of Music at the time that 
 Lillian Nordica was studying there. 
 
 Among the old time singing school 
 teachers in this period were, Horace 
 True in Turner, Buckfield, Minott and 
 Auburn; John Everett Rand in Steep 
 Falls and Standish; Robert McLaugh- 
 lin in Scarboro; Elwin Symonds in An- 
 son; Thomas J. Wentworth in West 
 Baldwin; and Temple H. Snow, in 
 Westbrook. 
 
 Alden Wing Lovejoy, son of Nathan 
 and Temperance Wing Lovejoy, was 
 born in Wayne in 1829. His father was 
 
ee sed,» SS er es ity 
 
 he ek RACE 8 2 Sa 
 
 MUSIC OF THE STATE OF MAIN E— 1857-1896 201 
 
 a farmer. He evinced a taste for mu- 
 sic at a very early age and learned to 
 play the violin without an instructor. 
 His first violin was purchased by an 
 older brother for the sum of two shil- 
 lings, but having no strings he utilized 
 the thread of his father’s shoe ball for 
 this purpose. When still a small boy 
 he learned to sing alto parts in a local 
 quartette. Later his voice developed 
 into a fine tenor. He taught his first 
 singing school at Litchfield at the age 
 of sixteen. He became famous as a sing- 
 ing school teacher and organized schools 
 for singing, not only in Maine, but 
 in Massachusetts, Rhode Island and 
 Wisconsin. When he left his father’s 
 
 farm, at the age of seventeen, he first ' 
 
 went to Boston and traveled to Ohio, 
 to Wisconsin and back to Worcester 
 where, in 1858, he met and married 
 May Dudley of that city and they 
 moved to Boston. He became super- 
 intendent of the Roger’s Piano Com- 
 pany, and sang in many church choirs, 
 including Dr. Means’ Church in Bos- 
 ton, Dr. Sweetsir’s Church in Worces- 
 ter and the Universalist Church at Co- 
 lumbus, Ohio. He conducted many 
 musical societies and glee clubs. His 
 last years were spent at West Roxbury 
 where his leisure was occupied in mak- 
 ing violins and practicing and com- 
 posing music. 
 
 Thomas Jones, chime bell ringer, 
 who lived in Portland for many years, 
 died in that city about 1908 when 
 nearly eighty years of age. He played 
 cello in an orchestra in Boston and 
 also in Portland and had a room on the 
 top floor of the building on lower Ex- 
 change Street where for a number of 
 years a few elderly men gathered and 
 played as a string quartette. Mr. Jones 
 played the chimes in a church in Bos- 
 ton, and after taking up his residence 
 in Portland he played those which were 
 
 in the Plymouth Church. He enjoyed 
 the acquaintance of prominent singers 
 and instrumentalists in both cities. His 
 wife and daughter were both musicians. 
 
 To Stephen A. Emery (1841-1891), 
 one of the most popular teachers of 
 harmony in the New England Con- 
 servatory of Music, a large number of 
 important American composers have 
 been indebted for their fundamental 
 instruction in the art of composition. 
 Mr. Emery was born in Paris, Maine. 
 He was the son of Stephen Emery, dis- 
 tinguished Maine lawyer and jurist. 
 As a child, before he was able to read 
 music, he composed several little pieces 
 and, aided by an elder sister, who 
 showed him how to write out his com- 
 positions, he made considerable prog- 
 ress. He entered Colby University in 
 the fall of 1859, but, owing toill health, 
 and defective vision, was compelled to 
 give up his college plans at the end of 
 the freshman year. He took up the 
 study of piano and harmony with Hen- 
 ry S. Edwards of Portland, and upon 
 the advice of this teacher he went to 
 Leipzig in 1862. There he studied for 
 two years with Richter, Papperitz, 
 Plaidy and Hauptmann. After a short 
 stay in Dresden he returned to the 
 United States and remained in Port- 
 land until the great fire of 1866, when 
 he removed to Boston. On the opening 
 of the New England Conservatory of 
 Music in Boston, in 1867, he became a 
 teacher of the piano and was later ap- 
 pointed professor of harmony, theory 
 and composition in the Boston Uni- 
 versity College of Music, where he re- 
 mained during the remainder of his 
 lifetime. His compositions, numbering 
 in all about one hundred and fifty 
 pieces, nearly all of them in the smaller 
 forms, are full of grace and delicacy 
 and are all musical. 
 
 His “Foundation Studies in Piano- 
 
202 
 
 MUSIC AND MUSICIANS OF MAINE 
 
 forte Playing, Op. 35” (written for his 
 own children), a remarkably simple 
 and easy course for beginners, and his 
 “Elements of Harmony,” were for 
 many years used almost exclusively 
 throughout the country. 
 
 Mr. Emery’s reputation as a lecturer 
 upon musical subjects, a contributor 
 to musical papers, a composer, a teach- 
 er of harmony, counterpoint and piano 
 was nationwide. His editorial contri- 
 butions to The Musical Herald exerted 
 a wide-spread influence among the mu- 
 sical people of America, and through 
 them he was influential in elevating 
 the standard of musical taste. 
 
 Among Mr. Emery’s distinguished 
 pupils were Ethelbert Neven, Horatio 
 Parker, Henry K. Hadley and Homer 
 Norris. 
 
 Homer Albert Norris (1860-1920), 
 was born in Wayne. Among his Amer- 
 ican music teachers were George W. 
 Marston, F. W. Hale, Stephen A. Em- 
 ery and G. W. Chadwick. After study- 
 ing at the New England Conservatory 
 in Boston he went to Paris where he 
 spent four years in study under Du- 
 bois, Guilmant, Godard and others. 
 Returning, he became a teacher of mu- 
 sic in Boston. He was organist at the 
 Ruggles Street Baptist Church in Bos- 
 ton for twelve years and organist and 
 choirmaster at St. George’s Episcopal 
 Church, New York City, two years. 
 
 His compositions number about sixty 
 songs, most of them of a romantic na- 
 ture. “Protestations,” “Parting,” “O 
 Mother Mine” (words by Kipling), 
 “Peace,” “The World and a Day” and 
 “Twilight” are all beautiful numbers. 
 The last is considered by critics as one 
 of the best American songs. His first 
 song, “Rock-a-bye, Baby,” which is 
 said to have had a greater sale than 
 any hitherto published in America, he 
 sold for twelve printed copies. 
 
 Among his chief works are two can- 
 
 tatas, “Nain,” and “The Flight of the 
 Eagle” and a concert overture, “Zo- 
 roaster.” 
 
 Mr. Norris was a contributor to 
 various musical journals and author of 
 “Practical Harmony on a French Ba- 
 sis,’ in two volumes, and “The Art of 
 Counterpoint.” He married Henrietta 
 Hobbs of Boston. 
 
 E.. W. Locke, a native of Bath, was 
 a resident of Portland in 1861 and it 
 was in that city that he wrote many of 
 the songs that became popular in the . 
 United States army. He was a singer, 
 composer and lecturer. At the break- 
 ing out of the Civil War Mr. Locke 
 tried to enlist, but was rejected by 
 reason of an accident which had made 
 him lame. He received an appoint- 
 ment from President Lincoln to “go to 
 the army and cheer the men around 
 their camp fires.” With this commis- 
 sion in his possession he visited over 
 five hundred regiments and batteries, 
 and taught his songs to the soldiers 
 and remained with the army through 
 the war. 
 
 Mr. Locke sang at many hospitals 
 and prisons songs which he composed. 
 Among the best known were. “Hark 
 to Arms,” “We are Marching Down to 
 Dixie Land,” “We’re Marching on to 
 Richmond,” “TI feel I’m Growing Old, 
 Lizzie,” ‘““There’s a fresh Little Mound 
 near the Willow,” “Down by the Sea,” 
 “Strike for the Right,” and “Ship of 
 State.” 
 
 After the close of the war he con- 
 tinued writing and publishing popular 
 songs, few of which are now sung. Mr. 
 Locke neither asked for nor received 
 compensation for his services during 
 the war. 
 
 Among other composers in this peri- 
 od were Rev. F. M. Lamb, born in 
 Poland, 1858; Rev. Lorenzo B. Allen, 
 born in Jefferson, 1812; Nathaniel But- 
 ler, born in Waterville, 1824; and Rev. 
 
4 cpt <a 
 
 a 
 % 
 
 me 
 ie 
 
 MUSIC OF THE STATE OF MAIN E— 1857-1896 203 
 
 Henry M. King, born in Oxford, 1838, 
 all of whom were hymn writers. 
 
 George A. Quimby of Portland, who 
 transcribed much music for the Cath- 
 olic Churches, wrote some secular mu- 
 sic, among the most popular numbers of 
 which were “The Shepherd Boy’s Eve- 
 ning Song,” “Flying Clouds,” “N’ Im- 
 porte,” “La Rosiere,” “Polka Brilliante.”’ 
 
 Charles Whitney Coombs, a native 
 of Bucksport, who served as organist 
 at the American church in Saxony 
 from 1887 to 1891, composed a num- 
 ber of cantatas, among which were 
 “The First Christmas,” “The Ancient 
 of Days” and “The Sorrows of Death.” 
 
 Alfred Dudley Turner (1854-1888), 
 composed a series of “Octave Studies” 
 that have been declared to be among 
 the most valued contributions made 
 by an American to musical pedagogy. 
 
 Other Maine composers were Emily 
 Peace Meader, a native of Waterville; 
 Victoire Hayden, composer of “Father, 
 I go to Thee”; Prince Wheeler, a na- 
 tive of Phillips; Oliver T. Shaw, Ben- 
 jamin Whelpley, Alice Weston, Charles 
 E. Hamlen, Paul White and Mae Sils- 
 by White of Bangor. 
 
 Musical works and books on musical 
 subjects published at about this time, 
 included the operetta “Carlotta,” in 
 five acts, libretto by Mrs. J. H. Addi- 
 ton, music arranged by James Wight, 
 Rockland, 1870; “Helps to the Mercy 
 Seat,” consisting of original hymns and 
 selections, a book of two hundred and 
 sixty-five pages by Rev. John M. Put- 
 nam, published in Portland in 1870; 
 and “Baptist Hymn writers and their 
 Hymns” by Henry S. Burrage, Port- 
 land, Maine, 1888. 
 
 Other vocalists, and members of 
 church choirs, of consequence at this 
 time were, Della Ayers, Belle Bartlett, 
 Mrs. M. L. Baker, George A. Briggs, 
 
 IRA STOCKBRIDGE OF FREEPORT. PIONEER IMPRES- 
 SARIO, TO WHOM WESTERN MAINE OWES MUCH 
 FOR THE FOUNDATION OF ITS MUSICAL CULTURE. 
 
 Fred Day, and Alice B. Morrison of 
 Portland; Elsie Jordan of Yarmouth; 
 Fred Chase of Augusta; William Bourne 
 Brown of Lisbon Falls; and Albert 
 Davis of Hallowell. 
 
 From the end of the Civil War to 
 the close of this period Portland was 
 favored with appearances of many of 
 the greatest vocal and instrumental 
 artists of the world, for a large num- 
 ber of which that city was indebted to 
 Ira C. Stockbridge, the outstanding 
 impressario in Maine in his day. 
 
 Theodore Thomas’ Orchestra, Gil- 
 more’s Band, The Boston Symphony 
 Orchestra, the Germania Band and the 
 Boston Opera Company were a few of 
 the attractions which played in Port- 
 land during this time, and which were 
 attended by music lovers from all parts 
 of the State. 
 
 Lizzie P. Briggs, Martha Lufkin Coombs, Among the instrumental and vocal 
 
 xi 
 bres 
 
 Ete 
 
 ri 
 ts 
 
 AME Be aps 
 
 = ~J 
 7 
 
204 MUSIC AND MUSICIANS OF MAINE 
 
 IN 1925. 
 
 soloists who played or sang in Port- 
 land during these years were, Adelina 
 Patti, Adelaide Phillips, Teresa Parodi, 
 Mlle. Montmorency, Signor Stigelli, 
 Anna Bishop, Louis M. Gottschalk, 
 Carlotta Patti, Camilla Urso, Parepa 
 Rosa, Ole Bull, Clara Louise Kellogg, 
 Signora Biscaccianti, Herr Mollenhaur, 
 Carl Rosen, Carlo LeFranc, Bernard 
 Listemann, Marie Krebs, Teresa Car- 
 reno, Anton Rubinstein, Henri Wieni- 
 awski, Louise Leibhart, Emma Cranch, 
 Herr Von Bulow, Mlle. Theresa Ti- 
 tiens, Henry Clay Barnabee, Georgie 
 Dean Spaulding, Emma Abbott, Mme. 
 Madeline Schuller, Tom Karl, Emma 
 Thursby, Emma Nevada and Annie 
 Louise Cary. 
 
 Annie Louise Gary 
 You sing 
 And the melody of all the world 
 Falls on my wondering heart. 
 It cries and murmurs passionate and wild; 
 In me it thrills in exquisite pulsation, 
 And joy and pain and hope and exultation 
 Are mingled in eternity of bliss. 
 
 Leo RABELLE. 
 
 BIRTHPLACE OF ANNIE LOUISE CARY, WAYNE, MAINE, 
 
 FROM A PHOTOGRAPH TAKEN BY THE AUTHOR 
 
 When a “Warning out of Town” 
 was issued to constable Squire Bishop 
 of Winthrop in 1792, in which he was 
 directed to notify “John Clark, fiddler, 
 a transient person who has lately come 
 into this town for the purpose of abid- 
 ing therein, not having obtained the 
 town’s consent therefore, that he de- 
 part the limits.thereof within fifteen 
 days”; and when this constable warned 
 a man (bélieved to be the same man) 
 “Off of God’s Earth,” and, having re- 
 ceived in return the inquiry as to where 
 he should be expected to go, replied, 
 “Get out of the world—go to Wayne!” 
 (though, perhaps, in somewhat strong- 
 er phraseology), little did he realize 
 that this little hamlet, situated six- 
 teen miles west of Augusta, and about 
 ten miles from Winthrop, would some 
 day become famous as the birthplace 
 of one of the world’s greatest song- 
 birds; yet such is the irony of fate 
 that in this town of Wayne, despised 
 by the Winthrop constable, and elect- 
 ed by him as a fit place to send all 
 
MUSIC OF THE STATE OF MAINE — 1857-1896 205 
 
 itinerant fiddlers and others whom he 
 considered mere instruments of the 
 devil, was born one destined to be- 
 come an internationally famous singer, 
 whose clear, rich contralto voice would 
 some day enthrall thousands. 
 
 Like many New England houses the 
 birthplace of Annie Louise Cary is a 
 two-story frame dwelling with an ell 
 at the back, and a wide veranda run- 
 ning across the front. From its chest- 
 nut stair post to the thumb-latches on 
 its upper doors, it is typical of the pe- 
 riod and locality in which it was built, 
 as are the spacious parlors at the right 
 of the front hall which is at the middle 
 of the house. 
 
 It stands in a heater at the junction 
 of two roads and faces directly up the 
 main street and from its front porch 
 is an extended view of beautiful Po- 
 casset Lake. 
 
 To appreciate fully how this young 
 singer was able to overcome the almost 
 insurmountable obstacles which beset 
 her in her endeavor to secure a musi- 
 cal education, such as she alone real- 
 ized she must have, if she would one 
 day be great, and how she met and 
 triumphed over every discouragement, 
 one should go back several centuries 
 to the time of the Norman barons and 
 learn from what redoubtable stock An- 
 nie Louise Cary was descended. Suf- 
 fice it to say, the Carys never knew 
 such a word as failure, and it was such 
 a characteristic in this great American 
 _ vocalist which enabled her to keep up 
 the fight long after others would have 
 been ready to acknowledge defeat. 
 
 Simeon Cary, whose paternal grand- 
 father, several generations removed, 
 had settled in Bridgewater in 1634, was 
 a grandson of the Simeon Cary of Rev- 
 lutionary renown, and came to Maine 
 to settle, bringing with him a wife of 
 remarkable musical talent and a son 
 who came naturally by those excep- 
 
 tional gifts with which his mother had 
 been endowed. This son, an ambitious, 
 studious boy, was Nelson Howard 
 Cary, destined to be the father of 
 Annie Louise Cary. 
 
 Into the Cary home at Winthrop 
 came Marcia and Maria Stockbridge, 
 two of the daughters of William R. 
 Stockbridge, a direct descendant of 
 Elder Brewster of Mayflower fame, 
 and a prosperous merchant of Yar- 
 mouth. On Sundays Mr. Stockbridge 
 led the village choir in which his daugh- 
 ters had a prominent part. Desiring 
 that Maria and Marcia should have 
 the best obtainable in the way of cul- 
 ture and the facilities for a broader 
 education than could at that time be 
 obtained in Yarmouth, Deacon Stock- 
 bridge decided to send them to a fash- 
 ionable academy for young ladies at 
 Winthrop. 
 
 It was during a search for a place 
 in which to stay, while taking the 
 course at the academy, that the Stock- 
 bridge girls had come upon the Cary 
 homestead, where they were taken in, 
 and, with their new found friends, es- 
 tablished a veritable little musical com- 
 munity of their own. : 
 
 Nelson Cary was, at this time, a 
 
 teacher in the school at Winthrop. He 
 
 had a good robust baritone voice and 
 was an unusually good singer for those 
 days when voice building was not much 
 in evidence in that part of the country, 
 and he was an excellent performer on 
 the violoncello as well. 
 
 A contributor to the Winthrop Ban- 
 ner, in November, 1881, writes of Nel- 
 son Cary, “He was a young man of 
 good address; tall, straight and mus- 
 cular, with blue eyes, light hair and 
 florid complexion. Physically he re- 
 sembled his father more than his moth- 
 er, but his native musical gifts were 
 more particularly inherited from his 
 mother, who was the sweetest and 
 
206 MUSIC AND MUSICIANS OF MAINE 
 
 ANNIE LOUISE CARY, AT AGE OF SEVENTEEN, WHEN 
 
 A TEACHER AT THE NORTH SCARBORO SCHOOL- 
 HOUSE. 
 
 most charming singer our young ears 
 had then heard.” 
 
 Their mutual interest in musical 
 matters, as well as the intellectual 
 qualities of their minds, naturally at- 
 tracted Dr. Cary and "Maria Stock- 
 bridge to each other, and in the year 
 of 1829 they were married. Annie 
 Louise Cary, born October 22, 1841, 
 was the youngest of the six children 
 with which this interesting couple were 
 blessed, as may be seen from the fol- 
 lowing extract from the Cary family 
 record: 
 
 Cary FAMILY 
 
 Name Birth 
 Nelson H. Cary Jan. 1807 
 Maria Stockbridge Aug. 1806 
 
 Children 
 William Howard Aug. 1830 
 Joseph Stockbridge May 1832 
 Marcia Angelia May 1835 
 Ellen Maria Oct. 1837 
 Samuel Edwin Dec. 1839 
 Ann Louisa (Annie Louise) Oct. 1841 
 
 Stories of childhood incidents in the 
 lives of great people are always of in- 
 terest to those who admire them, and 
 there are two that those who knew 
 Annie Cary as a child in Wayne love 
 to tell. 
 
 It is related that, like most New 
 England girls of her time, in their 
 growing-up days, Annie Cary wore her 
 hair in two long braids, such as used 
 to be commonly termed, “pig-tails.” 
 One day she appeared before her 
 mother minus one of these hirsute ap- 
 pendages and, on being questioned, ex- 
 plained that she had cut it off and 
 planted it in the yard “so a hair-tree 
 would grow there.” 
 
 The other story is that at about this 
 time she exhibited a propensity for in- 
 discriminate hair-cutting and insisted 
 on trimming the locks of all the chil- 
 dren with whom she played, and that 
 on a certain occasion at about this 
 time one, who later in life came to 
 hold one of the highest judicial offices 
 in the land, is said to have been obliged 
 to beat an ignominious retreat before 
 the advance of the determined young 
 lady of the brandishing shears. 
 
 Soon after her mother’s death, which 
 occurred when Annie Louise was but 
 eight years old, the family moved to 
 Yarmouth and during certain periods 
 she visited a relative in the town of 
 Durham. 
 
 To Colonel Joseph Tyler, who taught 
 singing school in Durham, Annie Lou- 
 ise Cary acknowledged her first music 
 teachings. “Col. Joe,” as he was fa- 
 miliarly known throughout the coun- 
 tryside, received his title through the 
 militia. He was one of those to enlist 
 in the First Maine Cavalry under 
 Colonel Baldwin from Farmington. 
 The youthful pupils stood in awe of 
 their stern teacher, with his military 
 bearing and commanding manner. He 
 exacted strict attention from them dur- 
 
MUSIC OF THE STATE OF MAINE-— 1857-1896 207 
 
 ing the musical hour and fortunate 
 was the child who allowed his thoughts 
 to wander momentarily from the sub- 
 ject in hand if he escaped without a 
 thwack over the head with the fiddle 
 bow of the master. ‘The notes and 
 staff were drawn on the blackboard 
 with chalk and it was from such crude 
 beginnings that the little Annie Louise 
 Cary received her earliest instruction 
 in the art of sight reading. Long after 
 giving up her musical career, in a let- 
 ter to a friend, she wrote, “It was Col. 
 Joe from whom I had my first instruc- 
 tion in singing, from the blackboard 
 and chalk, and he with his fiddle. He 
 was a fierce looking man, and we were 
 always fearful for the safety of our 
 heads, but that is over sixty years ago. 
 Alas!” 
 
 When she was sixteen years of age 
 she went to boarding school in Gor- 
 ham and taught in the North Scarboro 
 school near that little town in order 
 to help in defraying the expense of her 
 tuition. 
 
 In 1860 she was graduated from the 
 women’s seminary in Gorham and in 
 that year, ambitious to obtain the best 
 New England afforded in vocal in- 
 struction, she went to Boston to spend 
 the winter with her brother, Joseph, 
 who had married and settled in that 
 city. 
 
 She sang in one of the Boston 
 churches during this first winter away 
 from her mative state, but, in the 
 spring, when the Civil War broke out, 
 because her brother was one of the 
 first to enlist in the Union cause, and, 
 because she was without funds, she 
 was compelled again to take up teach- 
 ing, so she returned to the little school 
 house in Scarboro where she once more 
 undertook her work as teacher. 
 
 That she might fulfill the longing 
 which possessed her to continue her 
 musical education she finally made ar- 
 
 rangements with some friends in Bos- 
 ton to assist in the menial duties of 
 their household in return for her board, 
 and, securing a position in another 
 church choir, she was enabled again 
 to take up her singing lessons. 
 
 She sang in the chorus of the Handel 
 and Haydn Society, but her soul was 
 filled with a desire to become a great 
 concert and oratorio singer, and while 
 she sat with the chorus she would pic- 
 ture herself rendering the solo parts of 
 the great oratorios. At this period of 
 her career Miss Cary made occasional 
 trips to Northern New England towns 
 where she sang solos in concert’ work, 
 and once she sang the contralto solos 
 in “Israel in Egypt” with Parepa 
 Rosa and the Handel and Haydn So- 
 ciety. Her principal instructors in Bos- 
 ton were J. Q. Weatherbee and Ly- 
 man Wheeler, two of the best vocal 
 teachers to be found in New England 
 at that time, and, for short periods, 
 she studied with J. F. Rudolphson and 
 Dr. Gailmette. 
 
 Among the early concerts, at which 
 Miss Cary appeared, was Edwin 
 Bruce’s Annual Concert at Tremont 
 Temple, April 8, 1863, at which, with 
 ten other soloists, she assisted. On this 
 program she sang in a quartette with 
 Theresa Gibson, B. F. Gilbert and 
 Henry Clay Barnabee. 
 
 But she realized that hers was a 
 voice that required nothing less than 
 instruction under the greatest teachers 
 the world afforded, so she decided, if 
 a way to get there could be found, to 
 go to Milan where two of her Ameri- 
 can girl friends were already located. 
 She could think of only one way to 
 raise the money, and, although the 
 risk was great, she hired the Boston 
 Music Hall, on her own responsibility, 
 acted as her own press agent, impres- 
 sario and manager, and gave a concert 
 which really started her on the road 
 
208 MUSIC AND MUSICIANS OF MAINE 
 
 ANNIE LOUISE CARY (1866), WHEN SHE FIRST 
 WENT ABROAD TO STUDY. PHOTO BY GIULIO ROSSI, 
 MILAN. 
 
 to success. Before the summer of 1866 
 was over she was in Milan, studying 
 with Viadot Garcia,.then generally con- 
 sidered the greatest teacher of singing 
 of his time, and had, besides, the sum 
 of six hundred dollars on which to live 
 and complete her musical education. 
 The first year abroad was so full of 
 discouragements that it would have 
 disheartened any but a girl possessed 
 of such resolute courage as was Annie 
 Cary: 
 
 Her overpowering ambition was 
 still to be a great singer of oratorio, 
 but her Italian masters could see noth- 
 ing for her except opera in which she 
 was not at that timein the slightest de- 
 gree interested. She had been brought 
 up to look on opera and the dramatic 
 stage as things to be avoided, things 
 that were dangerous, if not positively 
 sinful —for the influence of her stern 
 
 Puritan forebears had been passed on 
 to her —but to her Milanese teachers, 
 on the contrary, it would, of course, 
 have been incomprehensible to think 
 that there could be any wrong in sing- 
 ing on the operatic stage. The people 
 on the continent did not seem to care 
 for concert and oratorio and, with her 
 funds exhausted, and remittances from 
 home few and far between, there ap- 
 peared to be no alternative but to take 
 an engagement in opera, if she could 
 get one. This opportunity soon pre- 
 sented itself. Hazardous as was the 
 attempt to sing in opera, without hav- 
 ing first had an opportunity to perfect 
 herself in the art of acting, she man- 
 aged to keep at it because of her re- 
 markable voice with its unusual range 
 and beautiful quality, and her cap- 
 tivating personality. At first she sang 
 small parts, soprano, mezzo contralto, 
 tenor or high baritone, at the discre- 
 tion of the director. Her first appear- 
 ance in opera was in “The Masked 
 Ball” at Copenhagen in January, 1868. 
 She travelled with this opera company 
 for two years, playing in Norway, . 
 Sweden and Denmark, receiving in re- 
 turn a salary wretchedly small when 
 she was able to collect it at all, but 
 though, because of her appearance in 
 opera she came under the displeasure 
 of most of her kin who could have 
 given her pecuniary aid, she kept “car- 
 rying on,” for she keenly realized the 
 derision with which she would be greet- 
 ed, should she return unsuccessful. 
 Thus she was thrown entirely on her 
 own resources in what seemed to her a 
 merciless world. She struggled on, bor- 
 rowing a few dollars here and a hun- 
 dred dollars there, in order that she 
 might be enabled to continue her stu- 
 dies, until she became so deeply in 
 debt that she owed thousands. When 
 winter came she continued her tute- 
 lage with whom she could, some times 
 
MUSIC OF THE STATE OF MAINE— 1857-1896 209 
 
 with one teacher and sometimes with 
 another. The spring of 1870 found her 
 singing in London, and the references 
 to her in all the English papers, after 
 her London debut, when, at Covent 
 Garden, she appeared in Lucrezia Bor- 
 gia with her former teacher, Mlle. Ti- 
 tiens, were all very flattering for a 
 singer sO young. 
 
 Later in 1870, when singing in Brus- 
 sells, Maurice Strakosch heard her, and 
 promptly offered her an opportunity 
 to join a concert troupe which was to 
 tour the United States. The Strakosch 
 Troupe, with the celebrated Swedish 
 prima donna, Christine Nilsson at its 
 head, made its first appearance in 
 Steinway Hall, New York, in Septem- 
 ber, 1870. Miss Nilsson was heralded 
 as the Swedish Nightingale, while Miss 
 Cary was known to the audience only 
 as “A Boston girl who had been study- 
 ing abroad.” She then came to realize 
 in some degree her ambition to excel 
 on the concert stage, for she surprised 
 and delighted her audience on this oc- 
 casion to such an extent that she is 
 said to have fairly divided the honors 
 with the great prima donna. This was 
 indeed a triumph, for Nilsson was mar- 
 vellously fascinating, and was show- 
 ered with expressions of the most ex- 
 travagant approval. Miss Cary’s vi- 
 brant contralto awoke a depth of feel- 
 ing in her audience that surprised all, 
 critics and public alike, for they real- 
 ized that here was at last a voice that 
 would forever rival that of the so- 
 pranos with whom she would be as- 
 sociated. 
 
 From several hundred press notices 
 of Annie Louise Cary, which she her- 
 self had collected, the following brief 
 references will give some idea of her 
 progress in her chosen art at this time. 
 
 The critics, almost without excep- 
 tion, were in accord. The New York 
 Times said, “Miss Cary, the contralto- 
 
 a 
 
 ANNIE LOUISE CARY (1870), ON HER RETURN TO 
 AMERICA, AFTER HER LONDON DEBUT. FROM A 
 STEREOPTICON. 
 
 and almost mezzo-soprano ofithe troupe 
 won great favor before the evening 
 was ended. Her voice is even, extend- 
 ed, and of a most sympathetic quality, 
 and she uses it in a manner indicating 
 a culture very complete.” 
 
 The Tribune stated, “She has an ad- 
 mirable voice, full, deep, round and 
 mellow —a voice like that of Adelaide 
 Phillips, with a great deal of that pe- 
 culiarly sweet and touching quality 
 which seems to belong more or less to 
 all American girls who have any voice 
 at ale 
 
 The Standard declared, “She is real- 
 ly one of the sweetest and most deli- 
 cious contraltos who has sung in this 
 city for many years. Thereisa rollick- 
 ing charm in her singing, which earned 
 for her not only a favorable, but a 
 most enthusiastic reception. She was 
 thrice recalled. Already she is a favor- 
 ite with the American people, and she 
 may feel assured that the verdict of 
 
210 MUSIC AND MUSICIANS OF MAINE 
 
 New York will be the verdict of the 
 whole country.” 
 
 The Star commented, “In spite of 
 the thankless task of singing by the 
 side of the world’s greatest, Miss Cary 
 has succeeded in winning her own way 
 to a good many hearts. Miss Cary’s 
 treatment is a study in a certain style, 
 and less an individual appreciation and 
 treatment than Nilsson’s. The wild 
 charm of the latter was wanting; yet 
 with what consumate skill Miss Cary 
 sang! How carefully, how well! All 
 was finished as a Parian vase. It was 
 like a rosewood musical box, perfectly 
 in tune. Everything was precise and 
 true; the force of cultivation could go 
 no further. Our despair was that of 
 Pygmalion before his statue.” 
 
 So great was her success that with- 
 in eight days of her first appearance 
 she had become a prime favorite with 
 New York audiences, and on the eighth 
 evening she was presented with an 
 enormous bouquet which was accepted 
 in a manner to cause no little merri- 
 ment. In describing this incident the 
 New York Mai said, “Miss Cary and 
 Signor Verger each gave a solo, and 
 also sang together in a duo from ‘Don 
 Giovanni.’ Both were encored, Miss 
 Cary tumultuously. The lady was the 
 recipient of a quarter-acre bouquet of 
 flowers, which she was able to carry 
 off in triumph only by balancing it 
 gracefully on her head—to the amuse- 
 ment equally of herself and the audi- 
 ence.” 
 
 Of her voice, L. B. Barnes, noted 
 music critic, wrote, “We heard Miss 
 Cary at the same concert for the first 
 time since her arrival in this country, 
 and can truly say that, for quality of 
 voice and an artistic use of the same 
 she has few, if any, rivals in this coun- 
 try; and were she placed in any other 
 connection than by the side of one of 
 the greatest of living artistes, she would 
 
 be the recipient of the most flattering 
 testimonials to her artistic abilities. As 
 it is, she fully shares the honors with 
 her associates.” 
 
 While the New York Review of Oc- 
 tober thirty-first gave this very flatter- 
 ing though entirely truthful notice of 
 her attainments: 
 
 “Her’s is emphatically honest, abso- 
 lute singing, in which there is not a 
 note ‘shirked,’ not a passage, however 
 florid, left without its full measure of 
 genuine tone or metrical value, noth- 
 ing ‘made up’ or dependent upon aught 
 but true music for its effect. Miss 
 Cary’s voice, ranging from F, below to 
 B, above the staff, is rich, mellow, and 
 glowing with what is termed ‘warmth’ 
 of tone in the chest notes, full, strong 
 and resonant in the upper part, and is 
 one of the finest contraltos we ever 
 heard. Her training has been in the 
 best Italian school, for she executes an 
 ‘aria di bravura’ of Rossini (the great- 
 est of writers for the voice) with all 
 the solid brilliancy, large style of phras- 
 ing, and chiara-oscuro the great mas- 
 ter himself could have desired; but 
 she also sympathizes strongly with the 
 deeper and more thoughtful inspira- 
 tions of the classic German composers, 
 and can express them reverentially and 
 beautifully. Miss Cary, is, in brief, an 
 artist of the highest order.” 
 
 This was the turn of the tide with 
 Annie Louise Cary. Seventeen con- 
 certs were given in Steinway Hall in 
 the fall of 1870, and the two thousand 
 seats were sold out at every perform- 
 ance. The troupe travelled all winter, 
 giving over a hundred concerts in all 
 parts of the country, every one of 
 which but added glory to Cary’s grow- 
 ing fame. It is said that at this time 
 Miss Cary had only two stage gowns, 
 both of which she had brought from 
 Paris, a wardrobe hardly sufficient for 
 the requirements of seventeen appear- 
 
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 fe cas et ie OMIT ha 
 
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 4 
 
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 ec: 
 
 MUSIC OF THE STATE OF MAINE— 1857-1896 211 
 
 ances in one Metropolitan concert hall, 
 yet so completely had she won the af- 
 fection of the critical New York public 
 that if she had worn the same gown 
 every night it would not have mat- 
 tered. Neither did it matter to Annie 
 Louise Cary for her predominating 
 thought at this time was to repay 
 those who had aided her in the reali- 
 zation of her dreams. Suffice it to say 
 that the very first money she received 
 went to liquidate her obligations. 
 
 Philadelphia, Providence, Boston, 
 Albany, Rochester, and Buffalo, which 
 the Strakosch Company visited be- 
 tween times, successively capitulated 
 before the charm of Miss Cary’s voice. 
 
 On November fifteenth this year 
 she sang in Portland City Hall. So ea- 
 ger were Maine people to hear her that 
 the evening trains over the old Port- 
 land and Rochester, Portland and Og- 
 densburg, Portland and Kennebec, and 
 P. S. and P. Railroads were crowded 
 to capacity. Her reception in Portland 
 was nothing less than an ovation. The 
 account in the Morning Press is inter- 
 esting: “For more than an hour prev- 
 ious to the time advertised for the com- 
 mencement of the concert last evening 
 the crowd began to flock to City Hall, 
 including the large number of persons 
 that had been brought into the city 
 over the various railroads from Gor- 
 ham, Saco, Biddeford, Bath, West- 
 brook and other towns. Consequently 
 when the hour of eight arrived the hall 
 presented a sight such as has not been 
 witnessed for a long time. When we 
 say that the aisles were filled with 
 chairs, and that the audience over- 
 flowed into the lobbies and ante rooms 
 Wwe may convey some idea of the 
 throng that had assembled to welcome 
 their song-bird home. 
 
 “Miss Cary’s appearance was the 
 signal for a hearty outburst of ap- 
 plause. She came upon the stage with 
 
 a most winning smile upon her face 
 and took her station near the piano 
 with an easy grace and manner so un- 
 affected and pleasing that it was a 
 pleasure merely to look at her. She 
 was attired in a rich white corded silk 
 en traine with corsage trimmed with 
 geraniums, and ivy and geraniums in 
 her hair. Her only jewelry consisted 
 of a magnificent pair of diamond ear 
 drops, presented to her a fortnight ago 
 by her friends in Boston, and a locket 
 of Roman gold. What shall we say of 
 her rendering of the cavatina, ‘Ah! 
 quel giorno, from ‘Semiramide!’ What 
 wonderful fullness and richness her 
 voice possesses, so strong and firm in 
 its timbre; what smoothness of utter- 
 ance, nice modulation of tones, and ex- 
 cellent style! Her voice seemed exact- 
 ly suited to the florid music of Rossini, 
 and the bird-like trills and runs were 
 executed with a finish and ease that 
 afforded a treat seldom enjoyed. An 
 enthusiastic encore was responded to 
 most willingly, and ‘Home, Sweet 
 Home,’ was the piece selected. A more 
 appropriate selection could not have 
 been made, and the deafening applause 
 that followed the prelude on the piano 
 showed how well the audience appre- 
 ciated it. She sang that song, the sweet- 
 est in the English language, which is 
 more familiar probably to all of An- 
 glo-Saxon descent than any other, with 
 a simplicity and rare melodic truth, 
 free from any ornamentation what- 
 ever, that went straight to the hearts 
 of her hearers and completed the cap- 
 tivation. Then came Meyerbeer’s ‘No- 
 bil Signor,’ by Miss Cary, abounding 
 in the vocal adornments that are a 
 feature of this composer. The hungry 
 public insisted upon an encore which 
 called forth that exquisite ballad, ‘Kath- 
 leen Mavourneen,’ rendered with ia 
 pathos that almost brought tears to 
 the eye. If any one can imagine any- 
 
212 MUSIC AND MUSICIANS OF MAINE 
 
 ANNIE LOUISE CARY (1873), AS SHE APPEARED AT 
 THE CINCINNATI FESTIVALS. PHOTO BY ROCHER, 
 CHICAGO. 
 
 thing more tender than the manner in 
 which this gifted artist brought out 
 the words, ‘Ah, why art thou silent,’ 
 we should like to hear it.” 
 
 Miss Cary’s contract with Strakosch 
 was for a two-year period. In the sec- 
 ond season the troupe produced opera, 
 and her great success in this season 
 was as Azucena in “I] Trovatore.” 
 
 Her third season in America was 
 largely in concert work, and Carlotta 
 Patti, who had a reputation, world 
 wide, as “Queen of the Concert Stage,” 
 and by many considered the equal of 
 her sister Adelina, was the soprano of 
 the troupe, yet the critics were divided 
 again in their opinions as to who was 
 the greater singer, some even declar- 
 ing that Miss Cary was “incomparably 
 the finer singer of the two” and one 
 that “Patti was forced to second place 
 by the manifest wish of the audience.” 
 Her voice must indeed have been al- 
 together lovely to have brought forth 
 such expressions from the critics in all 
 
 parts of the country, north, south, east 
 and west, as these: “She sings more 
 like a bird than any one since the days 
 of Jenny Lind; her voice, joyous and 
 full of laughter makes her music ripple 
 like dancing water;” “Her voice is like 
 diamonds and pearls, absolutely flaw- 
 less, and her personality makes her 
 audience her friends;” “She is a glor- 
 ious woman with a voice of great pow- 
 er; rich, full and satisfactory; singing 
 with an honesty of purpose and a fi- 
 delity of execution that carries her 
 audience by storm;” and “she is the 
 sweetest songstress in America and the 
 rendering of her songs is brilliant, in- 
 tellectual and soulful.” 
 
 During her first season in America 
 Miss Cary appeared as soloist in Chi- 
 cago in “The Messiah,” and almost 
 every winter throughout her musical 
 career she found time to make at least 
 One Or more appearances in oratorio. 
 
 In May of 1873 she sang at the 
 first great Cincinnati Festival organ- 
 ized by Theodore Thomas, at which 
 she was easily the star. Eight concerts 
 were given in one week and her truly 
 superb rendering of selections from 
 Gluck’s “Orpheus” was pronounced 
 “the great artistic success of the Festi- 
 val.” It was during this season of 
 1872-73 that Rubinstein visited Amer- 
 ica and on hearing her sing he said of 
 Miss Cary’s voice, “Hers is the most 
 beautiful I have ever heard in the 
 world.” 
 
 With such unequivocal praise from 
 one of the world’s greatest music mas- 
 ters, the re-printing of further press 
 notices in this chapter seems almost 
 superfluous, yet memory is a fleeting 
 thing at best and lest it be forgotten 
 how truly great this wonderful Maine 
 singer was, it is well to re-read a few 
 from the multitude of highly flattering 
 ones Annie Louise Cary received dur- 
 
MUSIC OF THE STATE OF MAINE— 1857-1896 213 
 
 ing the memorable years of her event- 
 ful career. 
 
 The following excerpt from an edi- 
 torial which appeared in the Cincin- 
 nati Enquirer in May, 1873, recalling, 
 as it does, the adoration which was 
 then accorded this singer in all the 
 great cities in which she appeared, and 
 the mastery of her art as depicted in 
 her interpretation and presentation of 
 the character of “Orpheus” will for- 
 ever be of interest to all with whom 
 the name of Annie Louise Cary is 
 familiar. 
 
 “But standing magnificently in re- 
 lief against the whole picture, (for the 
 story was told to impressible minds, 
 as plainly as if spread upon canvas be- 
 fore them, and imprinted upon the 
 souls of the auditors by the superior 
 sensuousness of the Art which Gluck 
 raised over that of the painter) stood 
 the ‘Orpheus’ of the evening. Well 
 might Miss Cary have dreaded the or- 
 deal; well might she have trembled on 
 the first words of the aria, “Thus now 
 her death I mourn,’ for she stepped 
 then to a task which perhaps with any 
 other woman living would have bee:: 
 as that to which the soldier bounds 
 when he volunteers upon a forlorn 
 hope. Yet she began, as genius always 
 does in such cases, with a cool confi- 
 dence that reassured those who trem- 
 bled for her. In all the long recitatives 
 she was grand; in the arias, which fol- 
 lowed each other without rest or pause, 
 she never faltered, the whole score, 
 sublime in its very simplicity, being 
 rendered note for note in the very 
 spirit of the Master. 
 
 “Once or twice, during the appeals 
 of ‘Orpheus’ to the gradually relenting 
 furies, there were rumblings of ap- 
 plause, foretelling the earthquake that 
 was to come. When, after the chorus 
 had performed ‘Ope then the portals 
 wide,’ etc., accelerating and retarding 
 
 with a correctness and readiness that 
 spoke volumes for their discipline, the 
 final aria, ‘Ah, I have lost my Eury- 
 dice!’ was begun without other prep- 
 aration than the removal of the deli- 
 cate locket from the white throat. 
 When it was ended, a storm of bravos 
 broke out and were stilled only to 
 hear the remaining chorus and or- 
 chestral movements. 
 
 “Then again tumult reigned and 
 again and again was the diva—for 
 such she was to be evermore — called 
 to the stage amid the wildest cheering 
 we ever heard save once. A memorable 
 event in the musical history of the new 
 world had been consummated. A mem- 
 orable lyric triumph had been record- 
 ed, and a never-to-be forgotten hour 
 had fallen upon the life of the immeor- 
 tal prima donna contralto, Annie Lou- 
 ise Cary. Who that heard will ever for- 
 get the plaintive 
 
 ‘Leave me alone! This grave is sacred to my pain. 
 Let no one here remain to view my sorrow.’ 
 
 Or the wierd, sorrowful melody of 
 
 ‘Sad and lonely I wait 
 
 There, whence my fair one has flown, 
 By the deep, dark sea. 
 Oh, hard and cruel fate, 
 
 That doth my suppliant tone 
 Re-echo back to me! 
 
 “Who indeed! Not those who were 
 present at the greatest triumph Cin- 
 cinnati ever saw and certainly not 
 those whose souls have drunk in the 
 truth that ‘Orpheus’ is the embodi- 
 ment of melancholy music, and who 
 heard in the wails of the hero the sor- 
 rows of all lovers, who have mourned 
 for their dead ideals since the world 
 began. Yet ‘sublime in its simplicity,’ 
 we never expect to hear such another 
 composition until Cary and Thomas 
 and a May Musical Festival come to- 
 gether once more.” 
 
 Other parts in which Miss Cary 
 
214 MUSIC AND MUSICIANS OF MAINE 
 
 ANNIE LOUISE CARY (1874), AT THE TIME OF HER 
 APPEARANCES IN RUSSIA. PHOTO BY BERGAMASSO, 
 ST. PETERSBURG, RUSSIA, 
 
 again appeared during this season were 
 those of “Frederico” in ‘Mignon’; 
 “Azucena” in “Il Trovatore”; “Siebel” 
 in “Faust” and “Urban” the page in 
 “Les Huguenots”; and in all the cities 
 in which she sang she continued to re- 
 ceive notices flattering enough to turn 
 the head of any girl of twenty-two. 
 But as successful as her “Orpheus” 
 had been, her “Amneris” won for her 
 such enconiums as must have delighted 
 her heart. “Miss Cary achieved a mag- 
 nificent triumph as the Princess Am- 
 neris;” and, “It was a personation 
 which places her at the head of all 
 American artists,” were among the ex- 
 pressions of the critics, while the fol- 
 lowing by a musical editor of one of 
 the great New York dailies, written 
 fifteen years after Miss Cary had 
 created the part, bears testimony to 
 the greatness of her characterization of 
 
 “Amneris” as compared with that of 
 other artists who followed her. 
 
 “The cast was an uncommonly 
 strong one, save in the case of Frau- 
 lein Hunn, who was entirely over- 
 weighted with the grand role of ‘Am- 
 neris.’ It is probable that many of the 
 habitues of the German opera are 
 quite ignorant of the possibilities of 
 this part. Certainly, those who never 
 heard Annie Louise Cary in it know 
 nothing of its scope. If she had been 
 on the stage in the great duet of the 
 second act Lilli Lehmann would have 
 
 _ met with one of the surprises or her 
 
 career, for, as she went through the 
 scene last night, she would have been 
 completely overshadowed by the great- 
 est ‘Amneris’ that ever walked the stage.” 
 
 It will be remembered that the opera 
 “Aida” was originally written on a 
 commission from the Viceroy of Egypt, 
 who desired an original opera for the 
 opening of the new Grand Opera 
 House in Cairo. 
 
 Adensey Curiosibhay, Parsee Mer- 
 chant of Bombay, having heard Miss 
 Cary as “Amneris,” writing to a friend 
 in New York, said, “Miss Cary has 
 proved herself this winter a perfect 
 marvel of not only a powerful and 
 sweet singer, but of an actress that is 
 almost too good to be in an opera. 
 Had she been the original princess in 
 the opera of ‘Aida,’ when it was given 
 in Cairo, Egypt, Mustapha Pasha 
 would have smothered her in diamonds 
 and pearls, to say nothing of bales of 
 fine cashmere shawls, as her singing 
 and acting are perfectly superb.” 
 
 The same season in which “Aida” 
 was produced (1874) will be remem- 
 bered for the production of “Lohen- 
 grin” in New York, but, though it was 
 feared that Wagner would prove too 
 heavy for audiences that had been ac- 
 customed to more tuneful melodies and 
 lighter programs, its success was in- 
 
nd PGS TE ie Toe 
 
 sii aici 
 
 aR 
 
 ae’ 
 
 MUSIC OF THE STATE OF MAINE— 1857-1896 215 
 
 stantaneous, Nilsson, Cary, Campanini 
 and Del Puente filled the Academy of 
 Music night after night and from this 
 time until 1882 Annie Louise Cary 
 may be said to have been at the very 
 height of her fame and popularity as 
 one of the world’s greatest singers. In 
 the spring of 1874 Miss Cary’s third 
 great triumph of the season came to 
 her when she sang Bach’s “Passion 
 Music” with the Handel and Haydn 
 Society of Boston. Here she again 
 revelled in the music of the oratorio 
 so dear to her heart, and she after- 
 ward said that she was more proud of 
 this achievement than of anything else 
 she ever did. 
 
 In September, 1874, she again ap- 
 peared in opera, this time with Albani 
 and Carpi. Her great success this sea- 
 son was in Verdi’s “Requiem.” As was 
 the custom during these engagement 
 seasons the company or troupe would 
 give “sacred concerts” on Sunday eve- 
 nings at which most of the principals 
 sang selections from famous operas, 
 but Miss Cary always chose for her 
 numbers solos from the oratorios and 
 other works of a similar nature, yet 
 she was always the favorite at these 
 concerts. During November of this 
 season Mr. Strakosch brought out Ver- 
 di’s “Messa Solenelle,” and the critics 
 who were lavish in their praise of the 
 work of this Maine artist, in the pre- 
 sentation of this great composition, 
 pronounced it “all that the most exact- 
 ing critic could require.” 
 
 After five seasons in America Miss 
 Cary returned to Europe where she 
 appeared for two seasons with Adelina 
 Patti. In Moscow and St. Petersburg, 
 between which the seasons were divid- 
 ed, she was literally showered with 
 presents of silver and jewels, and was 
 wildly applauded at each appearance. 
 Here, her interpretation of the role of 
 “Amneris” created a veritable sensa- 
 
 ANNIE LOUISE CARY (1879), AS AMNERIS IN THE 
 OPERA “AIDA.” PHOTO BY BERGAMASSO, ST. PETERS- 
 BURG, RUSSIA. 
 
 tion, and for the excellence of her per- 
 formance she was rewarded by the 
 Russian Court with a testimonial 
 signed by all the dignitaries of that 
 august body. This beautiful specimen 
 of calligraphy hangs on the walls of 
 the Wayne public library to which she 
 donated it, together with a generous 
 portion of her valuable collection of 
 pictures, which she gathered while on 
 the continent. 
 
 An anonymous writer in The North- 
 ern Border, under the caption of “Na- 
 poleon Bonaparte and Miss Cary’s 
 Visit to Moscow,” thus commemorates 
 in rhyme two events of historical im- 
 portance that took place in this Rus- 
 sian Metropolis: 
 
 Napoleon went to Moscow, 
 The Russian bear to tame; 
 
 Miss Cary went there also, 
 To add unto her fame. 
 
 He went with sword and spear and gun, 
 She with Apollo’s arts; 
 
216 MUSIC AND MUSICIANS OF MAINE 
 
 He went to break the Russian’s heads, 
 She went to cheer their hearts. 
 He studied how to win the game, 
 At blood-stained Borodino; 
 She strove to higher raise her name, 
 And higher pile her “rhino.” 
 While Bona caused their wrath to boil, 
 Miss C. won admiration; 
 She raised a mighty homage blaze, 
 He caused a conflagration. 
 One kindled love, the other hate, 
 Yet still there’s this connection, 
 None can deny that both received 
 A very warm reception. 
 
 Between the two seasons in Russia 
 Miss Cary made a trip to America 
 especially to sing at the Centennial 
 Exposition in Philadelphia, at which 
 she created the wildest enthusiasm. 
 
 In the spring of 1877 she came to 
 America again and started on a long 
 concert tour with Theodore Thomas 
 and his orchestra. Twenty concerts 
 were given during this season in which 
 Miss Cary was the only soloist. 
 
 The two following seasons (1877-78 
 and 1878-79) she spent travelling with 
 Clara Louise Kellogg, giving concerts 
 for the most part, but occasionally 
 presenting operas, among which, of 
 course, was the now famous “Aida.” 
 One of the critics at this time says, 
 “she comes back to us, more bloom- 
 ing than ever, and she has lost none of 
 her hold on the public favor. The char- 
 _acter of Amneris she may be said to 
 ‘have made her own; she has never 
 been more perfectly fitted with a dra- 
 matic character, and there are few 
 parts which better display the splen- 
 dor of her rich voice.” 
 
 After nine years under the manage- 
 ment of Strakosch, Miss Cary left him 
 in 1879 to join the Mapleson troupe. 
 Here she was again associated with 
 Campanini, and “Aida” was again pro- 
 duced. Miss Cary’s popularity con- 
 tinued to increase and she became such 
 an immense favorite that some other 
 role for her was sought. It was decid- 
 
 ed to revive the time honored “La Fa- 
 vorita.” The parts assigned them suit- 
 ed both Campanini and Miss Cary, 
 and together they made a second sen- 
 sation of this season. 
 
 During the season of 1880-81 Etel- 
 ka Gerster joined the troupe and “Lo- 
 hengren” was again produced. Miss 
 
 Cary’s last appearance in opera was in 
 
 Philadelphia, April 22, 1881, and curi- 
 ously enough it was in “The Masked 
 Ball,” the identical opera in which she 
 had made her bow to the operatic pub- 
 lic in 1868. 
 
 Miss Cary’s three greatest persona- 
 tions in opera are acknowledged to be 
 those of “Leonora” in “La Favorita”; 
 “Ortrud” in “Lohengren”; and “Am- 
 neris” in “Aida.” One who had seen 
 her portray the character of “Amneris” 
 writes: 
 
 “From the moment she came on the 
 stage in the first act until she knelt, 
 weeping over the tomb of Rhadames, 
 every word she sang, every gesture she 
 made remain stamped on our memory. 
 It was not only that she had created 
 the part, and made it her own, it was 
 also that she never had any successor 
 in it. She gave the world its only no- 
 table ‘Amneris,’ and not until the pres- 
 ent generation has passed away, and 
 opera houses in both Europe and 
 America, are filled with those who 
 never saw nor heard her, will any other 
 interpretation of the character fail to 
 receive unfavorable comparison with 
 that of Annie Louise Cary.” 
 
 Miss Cary’s last. appearance was 
 not, however, in opera. 
 
 She sang ‘at a Brooklyn Philhar- 
 monic Concert the day following her 
 last Operatic appearance, and a week 
 later at the Damrosch Festival in the 
 Seventh Regiment Armory. Gersta, 
 who was also singing at this Festival, 
 after hearing Miss Cary sing a solo 
 from “The Messiah,” turned to her in 
 
Oo Ie RAE ad 
 
 FM ie ee SD ae A Ty WE GRY Tey Seer ay 
 
 MUSIC OF THE STATE OF MAINE— 1857-1896 217 
 
 astonishment and said, “Cary, I never 
 really heard you sing before. This is 
 your place.” 
 
 During the winter of 1881-82 Miss 
 Cary was obliged to cancel many of 
 her concert engagements on account of 
 a throat trouble. One of her note- 
 worthy appearances of this season was 
 with the Boston Symphony Orchestra 
 of which Georg Henschel was the con- 
 ductor. 
 
 The Boston Herald of the day fol- 
 lowing said: “The audience was en- 
 thusiastic in its applause throughout 
 the evening but the generous plaudits 
 showered upon the leader and his or- 
 chestra were as nothing to the spon- 
 taneous recognition of the superior ex- 
 cellence of Miss Cary’s efforts in her 
 two numbers.” ' 
 
 In the spring of 1882, when the sec- 
 ond Festival was organized by Theo- 
 dore Thomas, it was announced, in the 
 prospectus, that Miss Cary would be 
 one of the soloists, but when the first 
 night came the audience was disap- 
 pointed to find printed slips scattered 
 through the house stating that she 
 would be unable to appear. On Sun- 
 day afternoon, the last concert of the 
 Festival, she was there, and, although 
 it required almost superhuman effort 
 to go through with her part, she over- 
 came her trouble temporarily and sang 
 her number with that dramatic power 
 and perfection of vocal art that had 
 distinguished all her previous perform- 
 ances, in the twelve years of her pro- 
 fessional career. The enthusiasm on 
 this her last appearance was great, and 
 the following from the New York 
 Times of the next morning gives some 
 idea of the ovation that was accorded 
 her. 
 
 “Her entrance produced a demon- 
 stration. Audience and chorus rose to 
 receive her, and she was welcomed with 
 a fervor which published in unmistak- 
 
 ANNIE LOUISE CARY (1880), AT THE TIME OF HER 
 LAST APPEARANCE IN PUBLIC. PHOTO BY ROCHER, 
 CHICAGO. 
 
 able language the depth and sincerity of 
 the affection felt for her in New York.” 
 
 In June, 1882, Miss Cary married 
 Charles Monson Raymond of New 
 York and for twenty-seven years, until 
 Mr. Raymond’s death, they lived hap- 
 pily together, at first in New York and 
 afterwards at Norwalk, Conn. Their 
 winters were spent in Italy, and a few 
 weeks of each summer at Scarboro 
 Beach, in Maine. 
 
 Though after her marriage and her 
 retirement the greater part of her time 
 was occupied in her devotion to her 
 husband and to her charities, with 
 three other ladies she formed a quartet 
 for which the name of the Berkeley 
 Quartet was chosen, and, for a num- 
 ber of years, these ladies met and sang 
 for mutual pleasure or brightened the 
 hours of the shut-ins of New York by 
 visiting the hospitals and singing for 
 them. 
 
218 MUSIC AND MUSICIANS OF MAINE 
 
 In August, 1888, a Scarboro corre- 
 spondent to the Boston Herald wrote: 
 
 “Here, on Tuesday evening, when 
 the frivol was at its fresh beginning, 
 when the sound of the first waltz and 
 the polka was just dying out, a clus- 
 ter of chords was struck upon the 
 piano that were neither a waltz nor 
 polka, and then suddenly, unexpect- 
 edly, a voice that all summer we 
 had longed to hear was heard above 
 the piano chords, above the hum of 
 voices in hall and office, and outside 
 on the broad piazzas. The song was a 
 very simple one, that tender, pathetic 
 ‘Darby and Joan’ of Molloy’s. But the 
 voice was the voice of Annie Louise 
 Cary, now Mrs. Raymond. People 
 were talking all about the office and 
 the hall and the piazzas, in the usual 
 idle and aimless manner, when that 
 first note rose upon the air. As this 
 was followed by another and still an- 
 other note, a curious hush fell upon 
 the crowd; then, with one impulse, 
 everybody turned toward the parlor, 
 while those who were on the piazzas 
 flung up the windows and leaned in. 
 There was something oddly impressive 
 in the silent listening throng. Even the 
 children drew back and looked at the 
 singer with wide eyes, as her voice 
 floated out in those tender strains. 
 With the older people this hushed at- 
 titude was significant of the knowledge 
 they had that this was a rare occasion, 
 and that they must make the most of 
 ate 
 
 And a week later the same contrib- 
 utor adds: 
 
 “Tt was a week ago, on Sunday aft- 
 ernoon. A party of young Canadians 
 with charming voices, opened upon 
 Faure’s ‘Les Rameaux’ and Mrs. Ray- 
 mond, standing near, joined in the 
 chorus. A little later in the evening, 
 standing beside the piano in just the 
 old way we recall so well, she sang 
 
 ‘Rest in the Lord,’ and “The Lord is 
 Mindful of His Own.’ Following these 
 she gave us “The Lost Chord,’ and, by 
 request, that tear bringing song, ‘Doug- 
 las, Douglas, Tender and True.’ I 
 don’t think there was a dry eye among 
 the listeners. It is not the greatness of 
 a voice alone that does this; it is the 
 power that lies behind it—the power 
 of character and sympathy. I had 
 heard the ‘Douglas’ sung deliciously 
 by other singers, but they did not put 
 into it or rather express what Mrs. 
 Raymond did. Others whom I had 
 heard left you in your tears, with your 
 heart aching. Annie Louise Cary lifted 
 you in spite of your tears into a higher 
 and stronger atmosphere. When I 
 spoke of her in my former letter as 
 only singing in private to her domestic 
 circle of friends, I did not then know 
 that in some of the hospitals in New 
 York her voice was frequently heard— 
 that in the Maine General Hospital in 
 Portland, where she has placed a free 
 bed, she also sings, and indeed at 
 many charitable institutions she not 
 only helps to heal the stricken ones by 
 the enchantment of her song, but by 
 homelier ways of service. ‘She is a 
 Maine girl, God bless her,’ said one of 
 her friends, in speaking of her. A 
 Maine girl, the daughter of a physi- 
 cian, her hearty sympathy turns to her 
 native state. It is the charity that is 
 not content, however, to work in ruts, 
 but diffuses itself with liberal love 
 wherever there is need. 
 
 Although most of her time after her 
 marriage was devoted to her home and 
 the New York Diet Kitchen in which 
 she became deeply interested, for a 
 short time she appeared occasionally 
 in concerts for charity. For a number 
 of years she was a member of the Ru- 
 binstein ‘Club of New York and al- 
 though she sang with the chorus on a 
 number of occasions, she could never 
 
Ne ae een ee ee 
 
 ee eee ee ee ee ee ee ee ee 
 if A 
 
 MUSIC OF THE STATE OF MAIN E— 1857-1896 219 
 
 again be induced to sing a solo. She 
 seemed to prefer that all should re- 
 member her as at her best. There was 
 no farewell performance, and the pub- 
 lic never knew when she finally made 
 her last bow. Annie Louise Cary was 
 not only a great singer, but she was 
 possessed of a noble soul. She had no 
 whims or caprices, and even the or- 
 chestra loved her. She died at her 
 home in Norwalk, April 3, 1921 —the 
 last to survive, but one, of the six chil- 
 
 dren of Nelson H. and Maria S. Cary 
 
 —twelve years after the death of her 
 husband. Mrs. Raymond bequeathed 
 several funds for continuing a number 
 of the charities in which she was inter- 
 ested, among which were the free bed 
 and room at the Maine General Hos- 
 pital in Portland, known as the Annie 
 Louise Cary Room, and another at 
 the Central Maine General Hospital 
 in Lewiston, known as the Nelson 
 Howard Cary Room, in memory of 
 her father. The endowments she pro- 
 vided for these two eleemosynary in- 
 stitutions will forever bear mute testi- 
 mony to the generous heart of Annie 
 Louise Cary and always remain a 
 monument to the love she bore her 
 native State. 
 
 Samuel Thurston in his Remuinis- 
 cences says, “Whenever she was in 
 Portland she came to our choir at the 
 First Parish and joined us in singing. 
 The last time she came she sang Men- 
 delssohn’s ‘But the Lord is Mindful of 
 His Own,’ with a rendering new to me, 
 though I had heard it many times and 
 by some famous singers. But her grand 
 voice and broad, noble style, with her 
 heartfelt fervor, was beyond compari- 
 son with all previous renderings.” 
 
 On her visits to Portland and Gor- 
 ham and other towns of her youth 
 Annie Louise Cary would invariably 
 take a place in the choir of the church 
 on Sunday, and many a service in a 
 
 little country church was enriched by 
 the superb voice of this singer and 
 many an old acquaintance was thus 
 given an opportunity to hear her, in 
 the kind of music she herself loved 
 best. - 
 
 She loved her State of Maine to the 
 last, and to it she referred in many of 
 her letters. ‘What a wonderful State 
 is ours, and I am glad to have seen so 
 much of it,’ was a statement in one 
 of the last that she wrote. 
 
 In compliance with one of her last 
 requests, the State of Maine flag was 
 placed inside her casket and was bur- 
 ied with her body in its final resting 
 place. 
 
 An editorial in the Boston Evening 
 Traveller, on the occasion of her ap- 
 pearance at a complimentary concert 
 tendered Flora Barry, paid her this 
 tribute: “To Annie Louise Cary is 
 given, not only the matchless voice, 
 the marvellous power to charm; but 
 the charm is enriched and made per- 
 manent by the soul that shines through 
 the beautiful eyes, the dignity and 
 nobleness of character which the na- 
 tion holds in honor, and which will ever 
 insure to Annie Louise Cary-Raymond 
 the place of the greatest lyric artist 
 that America has ever produced.” 
 
 The following alliterative acrostic 
 was written of Annie Louise Cary by 
 one who admired her from afar. 
 
 Cary Carols! Carking Care 
 Admonished, As her Art Appears, 
 Retreats, and Rapture, Rejoicing, Recalls 
 Ye Youthful Yester- Years. 
 
 Hers was a triumphant and resplend- 
 ent career, but with all her success, she 
 remained throughout her life a noble 
 woman, unselfish and unspoiled —a 
 distinguished representative of the only 
 type of true nobility known on the 
 Western Hemisphere. 
 
CHAPTER WI 
 
 Tue Music oF THE STATE OF MAINE 
 FourtTH Perrop 1897 - 1928 
 
 The Maine Music F eating 
 
 The staunch old hills are listening — listening — 
 For the strains that float afar, 
 
 And the rippling rills are hastening—hastening— 
 Where the tuneful measures are. 
 
 Where the pine trees shed their fragrance 
 Where the breakers chant refrain, 
 
 Happy days are nearer bringing 
 Sounds of melody in Maine. 
 
 The leaflets soft are rustling — rustling — 
 In the fair old Pine Tree State; 
 
 And the waves are ever breaking — breaking — 
 Where her grateful children wait — 
 
 Wait with longing, wait with rapture 
 For the thrill of song again, 
 
 For the chorals grand that bring us — 
 Bring us melody in Maine. 
 
 — Caroline W. Stevens. 
 
 HE inauguration of the Maine 
 Music Festival in 1897 marked 
 the beginning of the Renaissance in 
 Music in the State, for with it came 
 the successful development of a great 
 chorus of State dimensions and the op- 
 portunity to study more difficult clas- 
 sical choral works than any that had 
 hitherto been undertaken; to support 
 and listen to the greatest living vocal 
 artists in the world, to present local 
 talent before the largest audiences ever 
 assembled in Maine, to perform com- 
 positions by Maine composers before 
 the musical people of the entire State, 
 and to study under a director of wide 
 experience and exceptional talent. 
 The Maine Music Festival, under 
 the direction of William Rogers Chap- 
 man, became and continued to be for 
 more than a quarter of a century one 
 of the institutions of Maine, and it was 
 recognized throughout the country as 
 one of the foremost annual musical 
 events in America. 
 Bangor and Portland newspaper ref- 
 
 220 
 
 erences to the Maine Music Festival, 
 and its assisting artists, have been free- 
 ly quoted in the musical journals and 
 magazines, not only of America, but of 
 the world. 
 
 Its wonderful concerts have been the 
 inspiration of many Maine singers. 
 
 Who is there, who remembers that 
 first Maine Music Festival in Port- 
 land, that does not recall the event 
 with a glow of pleasure! The day of 
 the festival, the streets seemed thronged 
 with people going to and from the re- 
 hearsals; and carriages, both hired and 
 privately owned, dashed hither and 
 thither, carrying those eleventh hour 
 patrons who desired to get one or more 
 of the best seats possible for the great 
 event at that late date. 
 
 There was a joyousness in the very 
 atmosphere which was infectious and 
 faces were aglow with pleasure at the 
 thought of the inspiring event about 
 to take place in their midst. ‘There 
 
 ~was no gloom visible in Portland on 
 
 that day and the spirit abroad in the 
 land was more akin to that found at 
 Christmas time than has ever been 
 noted, except at some of the succeed- 
 ing festivals. 
 
 And then came the eventful first 
 concert on that never to be forgotten 
 October evening. The air was fairly 
 tremulous with the suppressed excite- 
 ment of the audience which completely 
 filled the great Armory Building. There 
 was the magnetic conductor, the beau- 
 tiful Blauvelt and the glorious Nordi- 
 ca. What thunders of applause shook 
 the old Armory shed and reverberated 
 from its uncouth rafters which had been 
 
MUSIC OF THE STATE OF MAIN E— 1897-1928 221 
 
 WILLIAM ROGERS CHAPMAN, FOR THIRTY YEARS CONDUCTOR OF THE MAINE MUSIC FESTIVALS, AND HIS 
 WIFE, EMMA FAULKNER CHAPMAN. PHOTO BY DEVORE, SAN DIEGO, CAL. 
 
 partly hidden by the colorful decora- 
 tions; what richness of vocalization 
 was Blauvelt’s; what artistry was Nor- 
 dica’s; what precision of attack and 
 phrasing of melodies by the chorus! 
 And in a few hours, such as Maine 
 musicians have seldom experienced, 
 that first night was but a recollection 
 —but one that will be recalled as long 
 as memory serves, as a golden mile- 
 stone in the history of Maine music. 
 From that first experimental Festi- 
 val in Portland was developed the plan 
 for the organization of the Eastern and 
 Western Maine Music Festival Asso- 
 clations, and in 1898 and 1899, when 
 these plans had been perfected, F. O. 
 Beal of Bangor was elected President 
 of the Eastern Maine Festival Associa- 
 tion and Edward Alling Noyes of Port- 
 
 land, President of the Western Asso- 
 ciation. 
 
 A chorus was organized in every 
 county in the State, and during the 
 thirty years of its life more than five 
 thousand singers became its members. 
 
 All of the great oratorios were sung 
 and during the last five years of its ex- 
 istence Operas were rendered in cos- 
 tume and with action, among which 
 were “Waust) “Carmen”. “Aida; “Il 
 Trovatore” and “Martha,” while oth- 
 ers were given in concert form. 
 
 Mr. Chapman brought to the Maine 
 Music Festival some of the greatest 
 artists the world has ever known. Many 
 of these made their American debut in 
 the concert world at these Festivals, 
 numbered among whom were Ernes- 
 tine Schumann Heink, Amelita Galli 
 
222 MUSIC AND MUSICIANS OF MAINE 
 
 igs 
 SaRere 
 
 EDWARD ALLING NOYES, FIRST PRESIDENT OF THE 
 WESTERN MAINE FESTIVAL CHORUS. ENGRAVING 
 BY J. A. J. WILCOX, BOSTON, MASS. 
 
 Curci, Lillian Blauvelt, Nina Morga- 
 na, Gwilyn Miles and Evan Williams. 
 
 The Maine Symphony Orchestra, 
 which was also organized by Mr. Chap- 
 man, was composed of some of the 
 best professional instrumentalists to 
 be found in the State. 
 
 Horace D. Pullen, R. B. Hall, Frank- 
 lin Holding, Bret H. Dingley, Frank 
 Burnham, Willard Mayberry, Wood- 
 bury P. Harrington, Charles Brooks 
 and Dr. Oscar E. Wasgatt, who was 
 concertmeister, were among those who 
 were members of the orchestra, which 
 in some seasons gave twenty-five con- 
 certs in Maine and New Hampshire 
 besides assisting at the Festivals for 
 a period of ten years. 
 
 It would be impracticable to attempt 
 to give in this volume a complete list 
 of all those who sang in the Maine 
 
 Festival Chorus since its beginning, 
 but the following were members of the 
 Festival Chorus for twenty or more 
 years; and those marked with an as- 
 terisk were members for the full thirty 
 years of its existence: 
 
 Portland — William C. Allen,* Margaret S. 
 Bryant,* Mrs. J. H. Burnham,* Mrs. Martha H. 
 Hill,* Alice H. Nelson,* Arthur D. Pierce, 
 Charles E. Roby,* Clara B. Smart,* Mrs. A. B. 
 Taylor,* A. B. Taylor,* Albert S. Woodman,* 
 Louise H. Armstrong, Susan G. Coffin, Charles 
 R. Lewis, Joseph W. Thaxter, Walter F. Haskell, 
 Ellen C. Goudy, Mrs. Alice Goudy Farley, A. 
 W. Pierce, Mrs. A. W. Pierce, Mrs. John O. 
 Winship, Mrs. Clyde W. Pierce. Lewiston and 
 Auburn — Edwin L. Goss,* Mrs. W. W. Harts- 
 horn,* Mrs. C. A. Litchfield,* Mrs. Frank A. 
 Morey,* Berdena Channell, Mrs. Abbie Em- 
 mons, Mrs. Annie Skolfield, Mrs. William Stev- 
 ens, Murray Watson, Mrs. Seldon T. Crafts, 
 Seldon T. Crafts, Mrs. Augusta Doyle, Mrs. 
 Warren W. Gledhill, Joseph J. Jackson, Albert 
 L. Kavanaugh, Lucy Lane, Carrie Miller, Wini- 
 fred L. Shaw. Rockland —E. F. Berry,* Mrs. 
 E. F. Berry, Mrs. Oscar Burns,* Mrs. M. B. 
 Cook,* Mrs. J. H. Flanagan,* Mrs. G. W. Fos- 
 ter,* Mrs. L. N. Littlehale,* Mrs. Ambrose 
 Mills,* Sarah Sanson,* George Torrey,* Mrs. 
 James Wight,* Mrs. Edna C. Brown, Mrs. F. S. 
 Sherman, Mrs. J. R. Flye, Mrs. Florence Mc- 
 Millan. 
 Magoun,* Frostina E. Marston,* Mrs. Charles 
 L. Oliver,* Margaret Adams, Mrs. Herbert S. 
 Harris, Mrs. Robert A. Toothaker, Lloyd G. 
 Duley, Agnes W. Humphreys, Bessie Hunt, 
 John Shaw, Mrs. John Shaw. Brunswick — 
 Alice S. Dunning,* Mrs. A. J. Hutchinson,* 
 Mrs. E. L. Crawford, Mrs. C. A. Warren. 
 Kennebunk — Carrie B. Burke, Mrs. Carrie E. 
 Emmons, Mrs. Frances M. Goodnow, Bertelle 
 A. Smith, Mrs. Bertelle A. Smith. Biddeford 
 and Saco— Grace Burbank,* Mme. H. P. Re- 
 nouf,* Rose A. Garand, Alice Haskell, Isabel 
 Libby, Effie W. Talbot. Bangor — Mrs. M. D. 
 Barnes,*: J. M. Bright,* Mrs. J. M. Bright,* 
 Robert T. Clark,* Mrs. Robert T. Clark,* EI- 
 via M. Burrill,* Helena M. Tewksbury,* Wil- 
 bur Cochrane,* F. A.. Edwards,* Mabel Gar- 
 land,* Elizabeth Hayes,* Gertrude Simpson,* 
 Harriet L. Stewart,* Mrs. William P. Thomp- 
 son,* Josephine M. Wiggin,* Mrs. Frederic 
 Fox,* B. F. Farrington,* Bessie Bailey, Mrs. 
 Wade Brackett, Mrs. Harris N. Doe, Elizabeth 
 Firth, Emily Merrill, Mrs. W. N. Gardiner, 
 Mrs. C. L. McCurdy, Mrs. Galen Pond, Caro- 
 line Allen, Hannah Clapp, Frank R. Atwood, 
 
 Bath —Mrs. F. D. Hill,* H. Emma | 
 
 | 
 | 
 ; 
 
PES ae a 
 
 P> 
 \ 
 
 ee ee Ee ee I eee ee ee re a 
 
 MUSIC OF THE STATE OF MAINE — 1897-1928 223 
 
 Mrs. Frank R. Atwood, Emma Devoe, Mrs. 
 F. W. Jacques, Sara F. Field, Cora M. Pendle- 
 ton, Mrs. Samuel T. White. Skowhegan — J. N. 
 Smith.* Old Town — Mrs. Caro Conant, Susie 
 Dunphy, C. A. Elkins, Alice Gammon, F. W. 
 Phelps, W. H. Powell, Ardelle Sawyer, T. H. 
 Violette, W. H. Waterhouse, George Webster, 
 Mrs. Louise Averill, Mrs. G. E. Landry, Mrs. 
 F. W. Phelps, Mrs. C. W. Robbins, Mrs. Ella 
 Sawyer, Effie Webster. Calais — Olive Maher,* 
 Emily Bates, Alice Bates, Mrs. Elizabeth C. 
 Boardman, Mrs. W. E. Mann, Mrs. C. F. Pray, 
 Emma Robbinson. Ellsworth — Harry L. Crab- 
 tree, May Bonsey, Harriet K. Giles, Alice S. 
 Jellison. Machias — Alfred K. Ames, Frank S. 
 Ames. 
 
 The Maine Music Festivals consti- 
 tuted, without doubt, the greatest se- 
 ries of musical events, under the direc- 
 tion of one conductor, Maine has ever 
 known, and from the beginning the 
 Festivals were practically self-support- 
 ing. 
 Throughout the years of the Maine 
 Music Festival Mr. Chapman was 
 ably aided by his diplomatic and ac- 
 complished wife in his efforts to make 
 each festival an unqualified success. 
 
 In recognition of the service which 
 Mr. Chapman rendered the State 
 through his Festivals, he was given the 
 Honorary Degree of Doctor of Music 
 at the University of Maine, at Orono, 
 in June, 1926. 
 
 In 1927 a tree was planted in honor 
 of Dr, and Mrs. Chapman in the Hon- 
 or Grove in Central Park, New York. 
 
 But the magnificent achievement of 
 the great Music Festival which has an- 
 nually delighted thousands of music 
 lovers for thirty glorious years could 
 not have been accomplished had it not 
 been for those public spirited citizens 
 who sustained it by subscribing liber- 
 ally to its support. 
 
 Foremost among these was Edward 
 Alling Noyes, banker and philanthro- 
 pist, whose financial support and pow- 
 erful influence made possible the first 
 great music festival and whose per- 
 
 HON. F. O. BEAL, FIRST PRESIDENT OF THE EAST= 
 ERN MAINE FESTIVAL CHORUS. 
 
 sonal interest in its welfare was one of 
 the strongest factors in sustaining it 
 through its first critical years. 
 
 Mr. Noyes was not only a great mu- 
 sic lover, but he was an excellent mu- 
 sician himself. His fine tenor voice 
 gave pleasure to many when he ap- 
 peared in amateur entertainments giv- 
 en for charity in Portland or led the 
 music in the old Park Street Church 
 in that city. He served as President 
 of the Western Maine Music Festival 
 Association for nearly nineteen years, 
 until his death, which occurred on 
 May 24, 1916, and at one of the con- 
 certs in the <tall- of that year, as a 
 tribute to his memory and an expres- 
 sion of sorrow at his death, while the 
 audience sat in silence, the Festival 
 orchestra played Chopin’s Funeral 
 March. 
 
 On the death of Mr. Noyes, Albert 
 
224 MUSIC AND MUSICIANS OF MAINE 
 
 S. Woodman of Portland was elected 
 President of the Western Maine Fes- 
 tival Association and he served in that 
 capacity until after the last Festival 
 was given in Portland. 
 
 In Bangor, Hon. F. O. Beal, with 
 his assistants, built the auditorium for 
 the Eastern Maine Music Festival and 
 they labored together to create and 
 sustain local interest and enthusiasm 
 in the undertaking. After Mr. Beal’s 
 death the Bangor Chamber of Com- 
 merce took up the work and for years 
 this organization assumed all the fi- 
 nancial obligations of the Eastern 
 Maine Music Festival. 
 
 Harry W. Libbey succeeded Mr. 
 Beal as President of the Eastern 
 Maine Festival Association and the 
 presidents since that time have been 
 Harold Hinckley, 1921; Douglass A. 
 Crocker, 1922; Otis Skinner, 1925; 
 and Clarence C. Stetson, 1926. 
 
 Presidents of the local units of the 
 Maine Festival Chorus have been: 
 
 (Eastern Section) Augusta, Dr. G. M. 
 Twitchell, Andrew G. Ward, Charles A. Milli- 
 ken, Alice M. Richards, Dr. E. J. Roberts, C. 
 Bryce Little; Bangor, Mrs. H. L. Jewell, Albert 
 B. Taylor, Charles J. Wardley, Charles H. Hub- 
 bard, George L. Francis, C. D. McCready, F. R. 
 Atwood; Bar Harbor, Frank C. Whitmore; Bel- 
 fast, R. P. Chase, Rev. Adolph Rossbach, Ralph 
 I. Morse, Rev. J. M. Leighton, C. O. Poor; 
 Blaine, Henry C. Goss; Bucksport, Rev. Henry 
 W. Webb, Mrs. Albert C. Swasey, Mrs. James 
 L. McInnis; Calais, Dr. Charles Swan; Caribou, 
 Atwood W. Spaulding; Cherryfield, F. I. Camp- 
 bell; Dexter, Harry E. Hale, M. Olive Winslow, 
 Charles W. Yeaton; Dover-Foxcroft, Mrs. W. L. 
 Sampson, E. D. Merrill, Walter J. Rideout; 
 Eastport, W. F. Bradish; Ellsworth, Rev. J. M. 
 Adams, Rev. W. R. Hunt, H. E. Davis, John J. 
 Whitney, O. W. Tapley; Farmington, H. Her- 
 bert Rice, Mrs. Mittie T. Wade; Fort Fairfield, 
 W. W. Slocumb, A. O. French, Charles S. Os- 
 borne; Gardiner, Rev. R. W. Plant; Guilford, 
 J. T. Davidson, Mrs. J. S. Williams, Mrs. C. P. 
 Turner; Houlton, J. O. Wellman, G. E. Mc- 
 Ilwain, Lena Lord, Rev. John Nason; Jonesport, 
 Mrs. U. C. Norton, Mrs. John Sawyer, Mrs. 
 Willard M. Hinkley; Machias, P. H. Longfellow, 
 Eugene C. Donworth, Frank S. Ames; Last 
 
 Machias, Harry R. White, Emil Hermes, George 
 F. Cary; Millinocket, E. E. Morse; Milo, Mil- 
 dred L. Chapman; Monson, Dr. F. L. Varney; 
 Oakland, D. E. Wheeler, Nora Bartlett Greeley; 
 Old Town, W. H. Powell, Frank W. Phelps, 
 Charles A. Elkins; Orono, W. M. Munson; Pitts- 
 field, Mrs. Florice E. Marden, Mrs. Nellie M. 
 Hunnewell, S. R. Oldham, Florence S$. Buxton; 
 Presque Isle, Mrs. Ida H. McNamara, Rev. 
 
 _ W. A. Sparks; Richmond, Walter H. Sturte- 
 
 vant; Skowhegan, H. F. Kimball, J. Harvey 
 White, R. E. Atwood, Gladys Pennell, Frank 
 Oddy, Ethel Christenson, J. N. Merrill, M.D., 
 J. N. Smith; St. Croix, Henry B. Eaton, Dr. 
 C. E. Swan; Waterville-Fairfield, Prof. C. B. 
 Stetson, Prof. F. W. Johnson, H. L. Tappan, 
 H. D. Bates, Mrs. F. E. Boothby, Hon. F. E. 
 Boothby, Mrs. Edbert Kelley. 
 
 (Western Section) Bath, John S. Hyde, Ar- 
 thur B. Stearns, George W. Dean, John Shaw, 
 Allen Irish, Mrs. George D. Berry, Mrs. Grace 
 D. Warren, Lloyd G. Duley, Herbert E. Wil- 
 liams, Rev. David L. Wilson, H. Emma Ma- 
 goun, Robert S. Gordon, Mrs. Brenda F. Hill; 
 Bethel, Dr. I. Henry Wight, Charles E. Valen- 
 tine, A. E. Herrick, Rev. Arthur Varley, Rev. 
 A. D. Colson, Mrs. G. R. Wiley; Biddeford- 
 Saco, Mrs. H. Hamilton, Dr. F. L. Davis, M. 
 Isabelle Libby, J. Harry Seidel, Mrs. Albert H. 
 Day, W. L. Elmer; Boothbay Harbor, Mrs. A. 
 E. Nickerson; Bridgton, F. W. Seavey, Mrs. 
 Raymond Larrabee, Hon. L. F. McKenney; 
 Brunswick, F. E. Woodruff, Stephen C. Whit- 
 more, Henry L. Chapman, Mrs. A. J. Hutchin- 
 son, Mrs. E. L. Crawford; Buckfield, Horace A. 
 Irish, Stephen C. Heald; Cornish, Rev. T. M. 
 Davies, Rev. O. W. Peterson, William R. Copp; 
 Cumberland Center, Frank H. Chase; Damaris- 
 cotta-Newcastle, J. P. Ridley, William Keene 
 Hilton; Deering, Dr. W. H. Kimball; Freeport, 
 A. C. Bowden, Silas N. Adams, Harley R. 
 Adams, H. R. Alden, Annie F, Hunter; Gray, 
 H. C. Marsden, W. S. Eaton, Mrs. A. M. An- 
 drews, George T. Hill, Mrs. Lena S. Merrill; 
 Harrington, Mrs. E. M. Frye; Kennebunk, Leon 
 B. Rogers, Charles H. Cole, Bertelle A. Smith, 
 Ralph E. Arey, Mrs. C. W. Goodnow; Kenne- 
 bunkport, Walter Lane; Lewiston-duburn, Hen- 
 ry W. Oakes, Mrs. S. P. Robie, Mrs. W. H. 
 Hartshorn, Murray Watson, N. L. Mower, Al- 
 bert L. Kavanagh, Mrs. Seldon T. Crafts, J. J. 
 Jackson, Seldon T. Crafts, Edwin L. Goss, E. S. 
 Pitcher, Mrs. Warren W. Gledhill; Livermore 
 Falls, Dr. George H. Rand, Rev. Blanche A. 
 Wright; Mechanic Falls, May A. Hawkes, C. A. 
 Cousens; Norway, Herman L. Horne, Carl Har- 
 mon, E. Elliot Tower; Portland, John B. Coyle, 
 James F. Macy, George E. Smith, E. F. Tomp- 
 son, Albert S. Woodman, Marshall Davis, Solo- 
 
bE ak ee Te 
 
 MUSIC OF THE STATE OF MAINE-— 1897-1928 225 
 
 mon W. Bates, Charles R. Lewis, Ernest J. 
 Hill; Rockland, Dr. T. E. Tibbets, Joseph H. 
 Kalloch, Edward F. Berry, Osmond A. Palmer, 
 Raymond K. Greene; Rumford, Mrs. Emma 
 Talbot Mitchell, Daniel McMaster, Charles A. 
 Mixer, Harry Tozier, [Siete Kennard: Sanford- 
 Springvale, Rev. J. B. Ranger; South Berwick, 
 Sara J. Morton, Mrs. F. W. Freeman, John B. 
 Whitehead, Benjamin A. Ilsley; South Paris, 
 Mrs. J. S. Wright, Rev. A. K. Baldwin, J. Hast- 
 ings Bean; Turner, F. A. Ricker; Westbrook, 
 Walter F. Haskell, Mrs. John O. Winship; Wil- 
 ton, Rev. J. R. Clifford, Mrs. J. R. Bass; Yar- 
 mouth, Irving F. True, Charles G. Woodman, 
 Dr. G. L. Sturdivant, Mrs. L. W. Riggs, H. B. 
 Hodsdon. 
 
 From some of its most talented 
 members the local conductors and ac- 
 companists of the various choruses 
 were selected. 
 
 Among those who directed these 
 local choruses were: 
 
 (Eastern Section) Augusta, Hon. Warren C. 
 Philbrook, L. B. Cain, Dr. Latham True, J. 
 Francis MacNichol, Edward H. Wass, E. L. 
 Goss, Adelbert Wells Sprague; Bangor, George 
 S. Silsby, Prof. Karl P. Harrington, Frank B. 
 Lane, Adelbert Wells Sprague; Bar Harbor, 
 Maurice C. Rumsey; Belfast, E. S. Pitcher; 
 Bucksport, Ethyl G. Taylor, Mrs. Edwin Lan- 
 dry, Wilbur*S. Cochrane; Calais, Dr. H. B. 
 Mason; Caribou, Mrs. Emma Talbot Mitchell; 
 Cherry field, Henry I. Bowles, E. R. Wingate: 
 Dexter, J. Willis Crosby, Mary J. Cowie; Dover- 
 F oxcroft, W. E. Ayer, Mrs. A. E. Farwell, Alice 
 Genthner, Mrs. Lilla Atherton; Eastport, eG: 
 Beale; Ellsworth, F. W. Rollins, Rev. P. A. A. 
 Killam, | gael Crabtree, O. W. Tapley; Farm- 
 ington, Prof. George C. Purington; Fort Fair- 
 field, Rev. George B. Nicholson, Rev. T. E. 
 Chappelle, Mrs. E. K. (Guild; Guilford, sand he 
 Davidson, Helen Cobb, Mrs. N.N. Scales; Har- 
 rington, Helen Beebee; Houlton, E. L. Cleve- 
 land, Jr. G. E. Macliwain, Mabel A. Harris, 
 
 _ E.L. Cleveland; Jonesport, Mrs. Charlotte Nor- 
 
 ton; Machias, Ella T. Longfellow, F. S. Ames, 
 A. D. Ralph, Mrs. Addie Mahan, Mrs. A. D. 
 Ralph; East Machias, Mrs. George F. Cary, 
 Mrs. S. M. Rose;. Millinocket, E. L. Lowell; 
 
 ~ Milo, Ethel M. Peterson; Monson, Rev. Joseph 
 
 Grossa; Oakland, Rev. P. A. A. Killam, George 
 D. Pullen; Old Town, Mrs. G. E. Webster, 
 George S. Silsby, Mrs. G. E. Landry; Orono, 
 H. M. Estabrooke; Pittsfield, H. L. Williams, 
 Grace A. Rogers, Don Morrison, E. S. Pitcher, 
 Howard T. Pierce; Presque Isle, Dr. W. F. Mc- 
 Namara, Rev. W. A. Sparks, Rev. T. E. Chap- 
 
 pelle; Richmond, Walter H. Sturtevant; Skow- 
 hegan, H. F. Kimball, J. N. Smith, Elmer E. 
 Towne, H. A. Smith, R. W. Leighton! Mrs. 
 Rose A. Borden, Marguerite Craig; St. Croix, 
 F. H. Lowell, oe H. B. Mason, Allan Haycock, 
 Aubrey Denar. Mrs. W. E. Mani: W aterville- 
 Fairfield, George Pratt Maxim, é Brain 
 Latham True, Rev. Paul Sperry, Cecil Maurice 
 Daggett, H. A. Smith, Inez F. Armstrong. 
 
 (Western Section) Bath, Harry McLellan, 
 Arthur Hyde, Frederick E. Drake, Ne: Mower, 
 Rev. Paul Sperry, Ernest L. Crawford, Fred- 
 erick E. Drake; Bethel, Bennett C. Snyder, 
 C. E. Valentine, Dr. G. L. Sturdivant, Karl Les- 
 ter Tower; Biddeford-Saco, (aed Painchaud, 
 Linh: Cain, Dr. H. M. Nickerson, F. W. Stim- 
 son, W. E. Cole, Madame Heloise P. Renouf; 
 Boothbay Harbor, Mrs. A. E. Nickerson; Bridg- 
 ton, or ski MM: Nickerson, Dr. Latham True, 
 Mrs. Grace March Cook: Brunswick, H. 
 Kotzschmar, L. B. Cain, N. L. Mower, A. R. 
 Frank, Rev. Paul Sperry, Ernest L. Crawford, 
 Howard Pierce, Mrs. C. A. Warren; Buckfield, 
 Mrs. Horace A. Irish; Cornish, Mrs. Harry P. 
 Jameson, Wilfred E. Cole; Cumberland Center, 
 Mrs. L. T. Cushing; Damariscotta-Newcastle, 
 J. P. Ridley, H. E. Hall; Deering, Julius E. 
 Ward; Freeport, William H. Stockbridge, W. E. 
 Cole, Mrs. George Anderson; Gray, Mrs. L. T. 
 Cushing; Kennebunk, L. B. Cain, Mark S. 
 Dickey, Madame H. P. Renouf, Mrs. Frances 
 N. Goodenow; Kennebunkport, Charles C.Chase; 
 Lewiston-Auburn, O. D. Stinchfield, N. L. Mow- 
 er, Edwin L. Goss, Seldon T. Crafts; Livermore 
 Falls, N. L. Mower, Roswell C. Boothby, Dr. 
 relate Rand, Ernest Fogg: Mechanic Falls, O. D. 
 Stinchfield, Woo: Stockbridge; Norway, Rev. 
 Marcus H. Carroll, Mrs. H. L. Horne, Karl 
 Lester Tower; Portland, Hermann Kotzschmar, 
 Llewellyn B. Cain, N. L. Mower, J. Francis 
 MacNichol, Ernest L. Crawford, Seldon T. 
 Crafts, Ernest J. Hill; Rockland, James Wight, 
 Edgar A. Burpee, Mrs. Edward F. Berry; Rum- 
 ford, Mrs. Emma Talbot Mitchell, F. J. Rigby, 
 Charles A. Mixer; Sanford-Springvale, Mark S. 
 Dickey; South Berwick, Lena L. Dube, Seldon 
 T. Crafts, Madame H. P. Renouf; South Paris, 
 Mrs. Cora S. Briggs, Mrs. H. L. Horne, Karl 
 Lester Tower; Turner, O. E. Wardwell, O. A. 
 Sprague; Westbrook, Dr. Latham True, Mrs. 
 George J. Akers, Howard Clark; Wilton, J. J. 
 Armstrong; Yarmouth, Prof. Enos A. Blanchard, 
 Homer Humphrey, Dr. H. M. Nickerson, Dr. 
 G. L. Sturdivant. 
 
 Among those who served as accom- 
 panists for the local choruses of the 
 Maine Music Festival were: 
 
 (Eastern Section) Augusta, Bertha McClench, 
 
226 MUSIC AND MUSICIANS OF MAINE 
 
 re 
 
 Mrs. George E. Brickett, Lena Beane, J. Francis 
 MacNichol, Alice M. Richards, Helen C. Brown, 
 Mrs. John Robinson; Bangor, Mrs. Elizabeth 
 Tuck, Mae Silsby, C. Winfield Richmond, Mrs. 
 Carl Newman, Mrs. Neil E. Newman, Mrs. 
 Dorothy Hicks; Bar Harbor, Ina M. Guptill, 
 Effie Pendleton, Lora V. Parsons, Lindley H. 
 Varney; Belfast, Mary E. Faunce, June K. Hills, 
 Carrie M. Kingsbury, Louise Dennett, Mrs. 
 Elon Gilchrest, Mrs. Leon Beckwith, Amy Stod- 
 dard; Blaine, Flora Valley; Boothbay, Gertrude 
 Dodge; Bucksport, Mrs. Albert F. Page, Mrs. 
 H. R. Googins; Calais, Florence Mitchell; Cari- 
 bou, Mrs. Emma Talbot Mitchell; Cherryfeld, 
 Mrs. U. G. Gardner, Mrs. C. A. Ricker; Dexter, 
 Helen Abbott, Mrs. Norma Elliot, Mrs. Fannie 
 Bridgham; Dover-Foxcroft, Edith Waterman, 
 Alice Ham, Myles Atherton, Charlene Smith; 
 Ellsworth, Mrs. H. Greely, Lora V. Parsons, 
 Mrs. Sara Hall, Mary F. Hopkins, May Bonsey, 
 Eva Giles, Hazel Giles, Marjorie Jellison, Louise 
 Donnell, Charlotte Whitcomb; Farmington, Mrs. 
 Mittie T. Wade; Fort Fairfield, Thomas Rogers, 
 Mrs. C. A. Pearce, Beatrice Whitehouse, Mrs. 
 W. A. Richmond, Mrs. E. K. Guild; Gardiner, 
 Mrs. Ben Partridge; Guilford, Marjorie Cim- 
 pher, Mrs. R. W. Davis, Mrs. D. H. Edes, Mrs. 
 N. N. Scales; Harrington, Mildred B. Coffin; 
 Houlton, Betha Nason, Alice Ingersoll, Lena 
 Lord, Susie Campbell; Jonesport, Mrs. Char- 
 lotte Norton; Machias, Mrs. Alfred K. Ames, 
 Lucy S. Ames, Emily Sanborn, Mrs. Stanley F. 
 Rose, Mrs. Chester Hale, Mrs. Fred H.: Peavy, 
 Nellie H. Ames; East Machias, Emily Sanborn, 
 Marion Talbot, Mrs. Stanley Rose; Muillinocket, 
 Emma Gonya; Milo, Elizabeth Thompson, Mil- 
 dred L. Chapman; Monson, Mrs. R. M. Hes- 
 cock; Oakland, Mrs. G. D. Pullen; Old Town, 
 Annie A. Douglass, Maud L. Gould, Mrs. A. W. 
 Rowe, Mae Silsby, Mrs. Louise Averill, Ruth 
 Waterhouse; Orono, Annie Douglass; Pittsfield, 
 Grace A. Rogers, Mrs. W. C. Marden, Nellie 
 Leighton, Barbara Lancey, Ethel Lee; Presque 
 Isle, Laura Bolton, Mrs. Lula P. Upham; Rich- 
 mond, Jennie I. Hall: Skowhegan, Mrs. J. R. 
 Frost, Marjory Morrison, Clara J. Vosmus, 
 Berle L. Walton, Ethel Ames, Ella Flanders, 
 Mrs. Mildred Weston, Mrs. Rose A. Borden, 
 Mrs. Lilla French; St. Croix, Florence Mitchell, 
 Mary Newton, Mrs. Franklin Eaton, Elizabeth 
 Maher; W. aterville-Fair field, Nellie Webber, 
 Mrs. F. W. Johnson, Mrs. Minnie D. Smith, 
 Mary T. Newton, Miss M. J. Davidson, Mollie 
 Hanson, Christine Daggett, Mrs. H. A. Smith, 
 Inez F. "Armstrong. 
 
 (Western Section) Bath, Josie Owen, Mrs. John 
 Shaw, Mary B. Ward, Harriet R. Shaw, Mar- 
 
 garet J. Melcher, Max P. Cushing, Mrs. J. F. 
 Chaney, Helen M. Winslow, Mrs. C. A. Warren; 
 Bethel, Ethel Eames, Mabel Rand, Mrs. G. L. 
 Sturdivant, Alice Billings, Ruth King, Elsie 
 Hall, Mildred Hapgood; Biddeford-Saco, Virgie 
 Hill, Mrs. R. H. Merrow, Mollie F. Moore, 
 Helene Bassford, Heloise P. Renouf, Mrs. Mar- 
 garet Small; Boothbay Harbor, Grace Noyes; 
 Bridgton, Edith Bennett, Walter N. Brown, 
 Mrs. W. A. Richmond; Brunswick, Joseph C. 
 Breitling, Mamie Ward, L. B. Cain, Mary B. 
 Ward, Mrs. J. F. Chaney, Mrs. Carrie A. Camp- 
 bell, Mrs. C. A. Warren, Mrs. W. A. Richmond; 
 Cornish, Mrs. Harry P. Jameson; Cumberland 
 Center, Helen E. Chase; Damariscotta, Mrs. 
 W. H. Parsons, Mrs. J. S. Chandler; Deering, 
 Julius E. Ward; Farmington, Mrs. M. T. Wade, 
 Bessie E. Holmes, Mrs. A. L. Fogg; Freeport, 
 Bessie M. Jordan, E. Belle Jordan, Anna Stock- 
 bridge, Mrs. Arthur Warren, Mrs. C. A. Warren; 
 Gray, Mrs. George E. Merrill, Mrs. L. T. Cush- 
 ing; Kennebunk, Beth Merrill, Karl Lester 
 Tower, Mrs. Heloise P. Renouf, Mark S. Dick- 
 ey, Harry Fifield, Miriam Burke, Beatrice Da- 
 venport, Gertrude Lord, Mary Bennett; Kenne- 
 bunkport, Marion Hurley; Lewiston-Auburn, 
 Helen M. Winslow, Helen Watson, Mary E. 
 Pottle, Helen Cummings, Mrs. Seldon T. Crafts, 
 Hazel Penley; Livermore Falls, Mrs. Isabelle K. 
 Clary; Mechanic Falls, May A. Hawkes; Nor- 
 way, Mrs. H. L. Horne, Karl Lester Tower, 
 Mrs. Florence Fogg; Portland, Minnie A. Plum- 
 mer, Dr. Latham True, Mrs. Gertrude S. Davis, 
 Gertrude L. Buxton, Susan G. Coffin; Rockland, 
 Mrs. James Wight, Mrs. Carrie Burpee Shaw, 
 Faith W. Greenhalgh, Marjorie Stahl, Mrs. Ed- 
 ward F. Berry, Mrs. Albert E. Averill; Rumford 
 Falls, Arthur Cushman, Marguerite McKenzie; 
 South Berwick, Lena L Dube, Mrs. Margaret 
 Small; South Paris, Mrs. Cora S. Briggs; Turner, 
 Mary E. Andrews; Westbrook, Annie C.Holmes, 
 Mrs. George J. Akers: W ilton, Mrs. W. S. Bass, 
 Doris Fletcher; Yarmouth, Mrs. Ellen E. Wilson. 
 
 Besides furnishing the people of the . 
 State with some of the greatest thrills 
 to be obtained through music, the 
 Maine Music Festivals have been, 
 throughout this long period, of incal- 
 culable educational value to music 
 students. 
 
 Their glorious past will be treasured 
 in the memories of men and women of 
 Maine until the last one of this gen- 
 eration shall have passed away. 
 
= 3 = 
 
 eS eT 
 
 ii jae eC 
 
 oe ee, ee eT en ee! se ee ao eee 
 
 MUSIC OF THE STATE OF MAINE— 1897-1928 227 
 
 These are some of the Maine soloists 
 who have appeared in the concerts of 
 the Maine Music Festivals: 
 
 Sally F. Akers, Phoebe Crosby, Emma Eames, 
 Emilio de Gogorza, Franklin Holding, May 
 Korb, Charles Marshall, Katherine Ricker, 
 Everett Waterhouse, Herbert L. Waterous, 
 Helen Yorke, Margaret Abbott, Grace Haskell 
 Barnum, Lou Duncan Barney, Arthur Beaupre, 
 Millard Bowdoin, Edith Bradford, Jennie King 
 Bragdon, Llewellyn B. Cain, Lillian Carllsmith, 
 Gladys Russell Cook, Bret H. Dingley, H. B. 
 
 ’ Drake, Frances M. Drinkwater, H. L. Eustis, 
 
 Aline Glass, Herbert R. Gardiner, Thomas Hen- 
 derson, Martha Hawes Hill, Ernest J. Hill, 
 Marion Hitchings, Grace Farrington Homsted, 
 Ethel Hyde, Frederic A. Kennedy, Marion 
 Harper Kuschke, H. W. Libbey, J. Francis 
 MacNichol, Effie Pooler Malley, Henri Mar- 
 coux, Kitty McLaughlin, Harry Merrill, Marcia 
 Merrill, Mabelle Monaghan, Mary Allen Nelson, 
 Julia Edwards Noyes, Roger Nye, Florence 
 Knight Palmer, Henrietta D. Rice, Margaret 
 Ross, Antonia S. Sawyer, Ethelynde Smith, 
 Howard R. Stevens, A. B. Taylor, Dr. T. E. 
 Tibbetts, Dr. Oscar E. Wasgatt, Annie W. Wit- 
 tridge, and Lillian Nordica. 
 
 While the Maine Music Festival, as 
 a state-wide organization, ceased to 
 function in 1926, the choruses of the 
 Eastern part of the State were reor- 
 ganized in the early part of 1927 by 
 Adelbert Wells Sprague, their former 
 conductor, and the Eastern Maine Mu- 
 sical Association, with Clarence C. 
 Stetson as its President, gave its thirty- 
 first Eastern Maine Music Festival in 
 1927 and arranged for the bringing to 
 Bangor of the Cleveland Symphony 
 Orchestra, Nikolai Sokoloff, conduc- 
 tor, for the 1928 festival —a milestone 
 in its history as a major symphony 
 orchestra had not been heard in East- 
 ern Maine prior to 1928. Of interest 
 was the announcement made, that Ru- 
 dolph Ringwall, the assistant conduc- 
 tor of the orchestra, was a native of 
 Maine. 
 
 New singers from the best young 
 vocalists, including the total member- 
 ship of men’s and women’s glee clubs 
 and other picked voices from the stu- 
 
 dent body of the University of Maine 
 and the Bangor High School, were 
 added to the chorus. 
 
 An Auxiliary Chorus of young peo- 
 ple from the neighboring towns of 
 Bangor, trained by Mrs. Dorothy 
 Browne Dean, Supervisor of Music in 
 the Bangor schools, sang at the mati- 
 nee concerts, and, with the addition of 
 many of the leading church choir sing- 
 ers and soloists, who had not before 
 affiliated with the Festival forces, con- 
 tributed to make the 1928 chorus an 
 especially noteworthy one. 
 
 The officers of the Eastern Maine 
 Festival Chorus for 1927-28 were: 
 
 President, Frank R. Atwood; Vice President, 
 Harold W. Coffin; Secretary, Josephine M. Wig- 
 gin; Treasurer, Mrs. Robert T. Clark; Conduc- 
 tor, Adelbert Wells Sprague; Accompanist, Wil- 
 bur S. Cochrane. 
 
 The new officers of the Eastern 
 Maine Music Association, the admin- 
 istrative organization which was incor- 
 porated in 1927 to manage and carry 
 on the Eastern Maine Music Festival, 
 were: 
 
 President, Clarence C. Stetson; Secretary, Wil- 
 frid A. Hennessy; Treasurer, Sarah P. Emery; 
 Conductor, Adelbert Wells Sprague. 
 
 The following constituted the Ex- 
 ecutive Committee: 
 
 Frank R. Atwood, Wilfred A. Finnegan, Harry 
 W. Libbey, William McC. Sawyer, Adelbert W. 
 Sprague, Louis C. Stearns and Clarence C. Stet- 
 son. 
 and the Directors were: 
 
 Frank S. Ames, Frank R. Atwood, Albert E. 
 Bass, Harold S. Boardman, Franklin E. Bragg, 
 Lyman Blair, E. L. Cleveland, Harry L. Crab- 
 tree, Mrs. Sarah P. Emery, Henry B. Eaton, 
 Wilfred A. Finnegan, A. Langdon Freese, Fred 
 A. Gilbert, Edwin M. Hamlin, Wilfrid A. Hen- 
 nessy, Harold Hinckley, Harry W. Libbey, Wal- 
 ter J. Rideout, D. W. Rollins, William McC. 
 Sawyer, Adelbert W. Sprague, Louis C. Stearns, 
 Clarence C. Stetson and Hon. W. H. Water- 
 house. 
 
 In recognition of the service of their 
 former leader, Dr. William Rogers 
 
228 MUSIC AND MUSICIANS OF MAINE 
 
 BIRTHPLACE OF LILLIAN NORDICA, FARMINGTON, MAINE. 
 
 Chapman, he was elected honorary 
 conductor of the society. 
 
 Lillian Nordica 
 
 Rich is the music of sweet instruments,— 
 The separate harp, cornet, oboe and flute, 
 The deep-souled viola, the ’cello grave, 
 The many-mooded singing violin, 
 The infinite, triumphing, ivoried clavier; 
 And when, with art mysterious, some god 
 Thrills into one the lone and various tones, 
 Then is no hiding passion of the heart, 
 No sigh of evening winds, no breath of dawn, 
 No hope or hate of man that is not told. 
 But when a human voice leaps from that surge 
 ’Tis as a flower that bursts from th’ trembling 
 earth; 
 Something more wonderful assails the soul; 
 As, with exultant cries, up-curving, swift, 
 The shrill Walkure clamor against the sky, 
 Or pale Brunhilde moans her bitter fate. 
 — Richard Watson Gilder. 
 
 It has been said that if one would 
 become great in musical art, cosmo- 
 politan surroundings are as necessary 
 as is the training he receives; and it is 
 generally believed, though the rule 
 does not always seem to apply, that 
 one’s ancestry also has much to do 
 with one’s ability to achieve greatness. 
 One might go further and say that if 
 one would attain that degree of phy- 
 sique and endurance necessary to con- 
 
 tinued success, he should be born 
 among the hills of Maine, and in his 
 youth drink in the ozone that is ex- 
 haled from the pine trees of its inland 
 villages or the salt laden air of its sea- 
 coast towns. 
 
 Lillian Nordica early acquired a 
 physique which gave her a degree of 
 endurance that is frequently denied 
 the city-bred girl. Sprung from an an- 
 cestry of Revolutionary soldiers on one 
 side and a line of ministers on the 
 other, she had, besides, the distinct ad- 
 vantage of being born into a musical 
 family, the head of which was a man 
 of more than ordinary artistic ability. 
 
 Edwin Norton, the father of Lillian 
 Norton, was a son of James I. Nor- 
 ton, who was born in Tisbury, Mass., 
 March 8, 1783. ‘The wife of James 
 Norton was a daughter of Timothy 
 Smith, while he was a son of Ephraim 
 Norton from Massachusetts who had 
 come to this country with his wife De- 
 borah Instance in 1788. 
 
 Ephraim Norton was in turn a son 
 of Major Peter Norton, a Revolution- 
 ary soldier, who was born in Edgar- 
 town on the island of Martha’s Vine- 
 yard, Mass., September 9, 1718, and 
 
MUSIC OF THE STATE OF MAINE~— 1897-1928 229 
 
 who was a son of Ebenezer Norton 
 whose father was Nicholas Norton, of 
 whom the record says that he was 
 born at Weymouth and lived in Dukes 
 County, Mass., as early as 1669. 
 
 But Lillian Norton did not inherit 
 all her talents or stability of character 
 from her fighting forefathers. Love 
 Coffin, born in Nantucket in 1756, be- 
 queathed an inheritance of a brilliant 
 mind and industrious habits to her 
 children and grandchildren and through 
 the Rev. John Allen to his gifted grand- 
 daughter. When she was twenty-three 
 years of age Love Coffin married Wil- 
 liam Allen of Martha’s Vineyard, and 
 they were declared to be the finest 
 looking couple on the island. During 
 the Revolutionary War Love Coffin 
 Allen was a tailoress to the soldiers. 
 When they came to Maine with their 
 five children they unfortunately select- 
 ed one of the most unproductive farms 
 in Farmington and as a result had a 
 tremendous struggle for existence. ‘They 
 reared a family of ten children, each 
 of whom, through the self-denial of 
 their parents, received an excellent edu- 
 cation. Though too poor to purchase 
 books, the mother gave instruction to 
 her children by reciting poems from 
 Milton’s Paradise Lost and selections 
 from the classics of English literature 
 and by relating to them the principal 
 events of ancient and modern history. 
 Nearly every one of these children be- 
 came teachers. The eldest son was ap- 
 pointed assistant teacher in the Hallo- 
 well Academy, after only eight weeks 
 in that institution, a remarkable cir- 
 cumstance, as he had received no other 
 schooling after reaching the age of 
 twelve until entering that hall of learn- 
 ing. 
 
 Camp Meeting John Allen, father 
 of Lillian Nordica’s mother, was per- 
 haps as well known in New England 
 as any of his contemporaries. He was 
 
 a Methodist, converted at a camp 
 ground, and during his life attended 
 three hundred and sixty-eight camp 
 meetings. He is remembered as a 
 kindly old gentleman who may be said 
 to have had a strong liking for boys. 
 He died as he had always hoped he 
 would, at a camp ground. The one at 
 Strong, Maine, bears his name. As an 
 illustration of his sense of humor it is 
 told of him that at one time, when he 
 acted as chaplain for the Maine Legis- 
 lature, he dismissed that august body 
 with the benediction, “return ye ran- 
 somed sinners home.” 
 
 Lillian Norton’s mother must have 
 been the village belle in the days when 
 Farmington was young for she was 
 noted for her fine blue eyes, her sweet 
 smile and her lovely hair “which curled 
 around her face as soft as a little 
 childs.” Her father, a slender man 
 with courtly manner, large brown eyes 
 and curly brown hair, was more than 
 ordinarily musical. A friend of the 
 Norton children in those early days, 
 writing of Mr. Norton’s playing on the 
 violin, says, “If he played joyful mu- 
 sic, we children laughed and danced, 
 if it was sad, we cried, so you see he 
 was an artist.” 
 
 The story of the early efforts of Ed- 
 win Norton to play on his cherished 
 instrument is almost pathetic. For- 
 bidden by his father to bring the vio- 
 lin into the house, because he “thought 
 it was an instrument of the devil,” he 
 had no opportunity, except surrepti- 
 tiously, to enjoy it. His mother, who 
 did not share the father’s supersti- 
 tions, allowed him to hide the instru- 
 ment in her lower bureau drawer, and, 
 when the stern parent was away, he 
 would take it from its hiding place and 
 lovingly draw the bow across its re- 
 sponsive strings. 
 
 Mr. Norton sang with his wife in the 
 village choir at Farmington and his 
 
230 MUSIC AND MUSICIANS OF MAINE 
 
 rich deep bass blended with her sweet 
 soprano in “the only place where it 
 was then considered not sinful to sing.” 
 
 The Norton homestead, in which 
 Lillian was born and which had been 
 built by Edwin Norton about 1840, 
 was located in a hamlet about two and 
 one-half miles from what was then 
 Farmington Village. It was a typical 
 New England farm house with ell and 
 barn. A stone wall ran along the 
 front, bounding the line of land along 
 the road, and ample shade trees pro- 
 tected its occupants from the heat of 
 the summer sun. From the front porch 
 was a view extending from twenty to 
 forty miles to the mountains in Frank- 
 lin and Oxford Counties. 
 
 Lillian Nordica, the daughter of Ed- 
 win and Amanda Elizabeth (Allen) 
 Norton, was born in the old Norton 
 homestead on December 12, 1857. 
 
 As far back as her parents could re- 
 member Lillian seemed to be full of 
 music. She loved the sound of run- 
 ning brooks and singing birds and 
 would go into the woods and listen to 
 them for hours at a time. One day, 
 almost as soon as she had learned to 
 walk, she was missed from her home 
 and her mother instituted a search for 
 her. She had taken a tumbler and 
 gone to the brook for a drink, and 
 there they found her in her bright red 
 frock, sitting on a stone, the tumbler 
 in one hand, and, in the other, a small 
 stick with which she kept striking the 
 glass, bringing forth its rhythmic mu- 
 sical tones to the accompaniment of 
 the gurgling waters which played 
 around her bare feet, and she was 
 laughing delightedly for she thought 
 she had discovered or invented the 
 musical sounds which she was pro- 
 ducing. 
 
 Mrs. E. Sprague Swift, an old resi- 
 dent of Farmington, drew a delightful 
 picture of the home life of the Nor- 
 
 tons when she wrote “Nordica’s father 
 wished his children to have better ad- 
 vantages than the town schools afford- 
 ed, so he engaged a teacher and had a 
 private school in his own house. My. 
 sister and I were invited to attend the 
 school. In the morning, before school 
 commenced, we gathered around the 
 piano. Mrs. Norton played,—Nordica’s 
 father and uncle playing the violins 
 and all of us singing. The school room 
 was the one where, years later, the 
 baby Lillian first opened her dark eyes. 
 The baby then was Wilhelmina Kos- 
 suth, who used to touch the keys of 
 the piano with her soft fingers and 
 then look up into her mother’s eyes 
 and smile. As she stood among us at 
 the morning concert she could just 
 touch the keyboard opposite her eyes. 
 Lillian Nordica was then a tiny tot in 
 white muslin and curls, who kept fast 
 hold of her sister Imogene’s hand, or 
 the corner of her apron. The teacher, 
 Miss Hunter, sat on the piazza singing 
 to us till the lengthening shadows 
 warned us that it was time to go home. 
 All the evening Baby Lillian stood 
 leaning against her shoulder, listening 
 enwrapped tothe teacher’s sweet voice. 
 None of us then dreamed that there 
 was One among us, a baby, who would 
 one day sing before the Kings and 
 Queens of the earth; but I doubt not 
 Lillian’s mother kept all these things 
 and treasured them in her heart. 
 
 “We who remember those days, with 
 their constant musical drill and study 
 do not wonder that to-day one of 
 America’s greatest singers is one who 
 stood among her sisters at Edwin Nor- 
 ton’s private school. We all believed 
 in those days that another member of 
 the family would be the great singer. 
 We, who had stood at the old piano 
 and heard the clear bird like voice of 
 Wilhelmina rise at the morning con- 
 
MUSIC OF THE STATE OF MAINE 1897-1928 231 
 
 certs thought that she would be the 
 famous one.” 
 
 But it was Mrs. Norton who, with 
 a mother’s instinct, had discovered Lil- 
 -lian’s first faint cry to be more musical 
 than that of the other children. 
 
 Before Lillian Norton had reached 
 her eighth year her parents moved to 
 Boston (1864) in order that her sis- 
 ter Wilhelmina, who had developed a 
 remarkable voice, might be allowed 
 the opportunity to receive the best in- 
 struction New England afforded. Fate, 
 however, willed otherwise. Wilhelmina 
 died before she became eighteen, and 
 the hopes of the parents were then 
 centered on Lillian, who at a very 
 early age had shown a really great 
 talent for music. The family, at this 
 time, was in straitened circumstances 
 and Mrs. Norton worked for a while 
 in a department store that Lillian 
 might receive the best musical instruc- 
 tion to be had in Boston. 
 
 Lillian Norton entered the New Eng- 
 land Conservatory of Music at the age 
 of fifteen in order to study with John 
 O’Neil, a scholarly man and a student 
 of physiology of the voice. 
 
 Professor O’Neil was considered an 
 excellent teacher but he insisted that 
 his pupil forego the singing of songs 
 of any character, and devote three 
 years exclusively to exercises in tech- 
 nic emission. When she offered to 
 sing for him one of the songs she had 
 learned herself he laughed at her. Not- 
 withstanding the edict of her teacher 
 she began singing solos in church, and, 
 when Eben Tourgee organized his fa- 
 mous choir, she became the soprano. 
 Her voice was one of great purity and 
 her high C attracted wide attention. 
 On several occasions she was given the 
 “Inflammatus” from Rossini’s “Stabat 
 Mater” and so popular did she become 
 in the performance of this number that 
 
 LILLIAN NORDICA FROM AN EARLY PORTRAIT. 
 
 for more than thirty years, whenever 
 it was announced that she was to sing 
 the Stabat number, the house would 
 be filled to overflowing. 
 
 Professor Frederick R. Sweetser 
 wrote of Nordica as he remembered 
 her at this time, “Lillian Norton, after- 
 wards the celebrated Nordica, at the 
 time I was studying in Boston, was 
 then a breezy young girl with a lovely 
 light voice and was a great favorite 
 with all the students. Little did we 
 think at that time that she was to be- 
 come the greatest of Wagnerian sing- 
 ers. 
 
 At eighteen Lillian Norton graduat- 
 ed from the Conservatory with the 
 highest honors, making her first ap- 
 pearance at a pupils’ recital in 1876, 
 and she soon after made her concert 
 debut in Boston by appearing as one 
 
232 MUSIC AND MUSICIANS OF MAINE 
 
 of the soloists with the Handel and 
 Haydn Society in “The Messiah” in 
 the same year. The salary paid her 
 for her first church position at the 
 Grace Church, Boston, when she was 
 but eighteen, was one thousand dol- 
 lars, though it is said her first money 
 for her musical education was ob- 
 tained by singing in Boston Music 
 Halls. 
 
 It is related of her that in her con- 
 servatory days she was so slender that 
 she was enabled to squeeze through 
 the bars in the grating which separat- 
 ed the Music Hall from the Conserva- 
 tory, both of which were in the same 
 building, and could thus enjoy the re- 
 hearsals and performances that were 
 going on in the Music Hall, a privilege 
 of which she often availed herself. 
 
 About this time Lillian Norton was 
 granted an opportunity to sing for a 
 relative of the famous Hungarian pri- 
 ma donna Tietjens who had recently 
 come to America. Thinking to save 
 the young singer embarrassment Tiet- 
 jens had left word that she, herself, 
 would be too busy to hear her, but 
 would arrange to have someone else 
 hear her voice, but, while Lillian was 
 singing, she stole in, and when the 
 piece was finished she asked her to 
 sing an air from “Il Trovatore.” Tiet- 
 jens was delighted with her work, and 
 said to her, “You have a great voice; 
 there is a wonderful future for you if 
 you want to study and work,” and 
 thereupon presented her with tickets 
 for the opera in which she was appear- 
 ing. Miss Norton was advised by Tiet- 
 jens to go to New York and study with 
 Mme. Maretzek, who was solo harpist 
 in the orchestra, and to whom she was 
 given a letter of introduction. Acting 
 on Tietjen’s advice she studied with 
 Maretzek one summer. Through this 
 teacher she was introduced to Patrick 
 Gilmore who, on hearing her sing “Ah 
 
 non giunge” from “La Sonnambula,” 
 and “See the Bright Seraphim,” with 
 the obligato played by Arbuckle, his 
 solo cornettist, promptly decided to 
 give this “very pale little girl” a chance.. 
 On the opening night as he handed 
 her to the platform he said, “Now lit- 
 tle girl, don’t be afraid. Just sing right 
 out.” She performed her part so well 
 that she was promptly engaged as solo- 
 ist for a western tour with his band at 
 a salary of one hundred dollars a week 
 and expenses for her mother and her- 
 self, | 
 
 So delighted was Gilmore with his 
 young soloist that he re-engaged her 
 for a European tour in 1878. Her old 
 teacher John O’Neil, however, was 
 greatly perturbed. He had had higher 
 ambitions for her than “Singing with 
 a brass band,” and writing her he in- 
 quired “if this was what she had come 
 to.” Taking her first to England where 
 she appeared in seventy-eight con- 
 certs, singing twice a day, Gilmore 
 presented her in concerts at Paris, 
 where the Exposition was in progress, 
 and where she had the honor of being 
 the first American singer to be heard 
 in the new Trocadero. At Paris she 
 had’ the great advantage of studying 
 some of her roles with Ambroise ‘Thom- 
 as and with Gounod. Here she secured 
 some American pupils, and while in 
 Paris made a decision that determined 
 her future career. With her heart set 
 on opera, while yet in her teens, she 
 journeyed to Milan where she studied 
 for six months with San Giovanni, who. 
 gave her the name of “Giglia Nordi- 
 ca,” her own name Italianized but 
 liberally interpreted as “The Northern 
 Lily”; and, while with him, in that 
 brief period, she committed the scores 
 of ten operas. Lillian Norton adopted 
 the name of Nordica, not for the sake 
 of taking a euphonious cognomen or 
 because of the custom of adopting 
 
ce 
 
 — 
 
 ERLE IO BIL GP IND SES 
 
 i al tial es a 
 
 aA UR Ray ger eg alen DEUR H M of 
 
 a A ies sal ee eae nee 
 
 MUSIC OF THE STATE OF MAINE 1897-1928 233 
 
 Italian names for stage purposes, but 
 on account of the fact that she had 
 received letters from relatives at home 
 intimating that “she would disgrace 
 the family name by bringing it into 
 the theater.” This prejudice, fortu- 
 nately, was not shared by her parents. 
 That such letters had been received by 
 her is not to be wondered at when one 
 remembers her Methodist and Puri- 
 tanical ancestry only two generations 
 removed. 
 
 At the conclusion of her term of 
 study with San Giovanni she made her 
 debut as an opera singer at Brescia as 
 Violetta in the opera “La Traviata” 
 (1880). In Brescia she sang four 
 times a week for three months, for 
 which she received the munificent total 
 sum of one hundred dollars and was 
 given a benefit performance that net- 
 ted her sixty dollars more. From Bres- 
 cia she went to Novara where she sang 
 the role of Alice in “Robert le Diable.” 
 In Novara the little theater was not 
 heated. The dressing room walls, which 
 were of stone, were cold and damp, 
 and she was obliged to carry a little 
 brazier of coals from her lodgings to 
 the theater. Antonne Kobbé, in his 
 “Opera Singers,” writes of an unhappy 
 experience Nordica endured in Genoa 
 where she again appeared as Alice. 
 
 “After Novara, she sang Alice in 
 Genoa. The first night, after a certain 
 phrase, there were strong hisses. For 
 an instant they paralyzed her. Every- 
 thing swam around. She had the same 
 experience for several nights, and al- 
 
 ways after the same phrase. She con- 
 
 cluded there was something wrong with 
 her pronunciation. Finally one night, 
 after diligent study on her part, the 
 critical moment passed without a hiss 
 and her singing of the aria was fol- 
 lowed by a storm of applause.” 
 
 In October, 1880, she sang the part 
 of Marguerite in fifteen performances 
 
 of “Faust.” Then she went to Aquil- 
 la where she gave thirty-five perform- 
 ances of “Faust,” “Rigoletto” and “Lu- 
 cia.” She also sang at Genoa, Danzig, 
 Koningsberg and Berlin. Then at St. 
 Petersburg, which was the scene of her 
 first marked triumph, she sang the 
 part of Filina in “Mignon.” 
 
 It was in this year that she met a 
 Russian impressario who had come to 
 Italy to look for voices of excellent 
 quality. He desired a young singer 
 who could fill such roles as Inez in 
 “L’Africaine” and Queen Marguerite 
 in “Les Huguenots.” Hearing Nordica 
 sing, he offered her an engagement for 
 St. Petersburg and Moscow. Kobbé 
 says, “There were ten or twelve roles 
 to be learned and she had about six 
 weeks in which to master them. But 
 by dint of arduous study, at a time 
 when the heat in Milan was intense, 
 she prepared herself for the engage- 
 ment, which was continued for another 
 season, and led to her appearance at 
 the Grand Opera, Paris, where she 
 made her debut as Marguerite in 
 ‘Faust, having studied the role with 
 Gounod himself.” 
 
 Other appearances in St. Peters- 
 burg were as Cherubino in “Le Noz- 
 zi de Figaro”; Berta, in “Le Prophete” 
 and Zerlina in “Don Giovanni.” 
 
 She secured a return engagement for 
 another season at St. Petersburg but 
 owing to the assassination of the Czar 
 of Russia the season’s work of the 
 company was not completed. 
 
 From St. Petersburg she went to 
 Paris, in 1882, where she closed an 
 engagement at the Grand Opera which 
 lasted for eighteen months. Here she 
 sang her Marguerite in French, de- 
 lighting the critics of the French capi- 
 tal not only with her beautiful voice 
 and admirable acting but by her adap- 
 tation of their language to the opera. 
 She also appeared in the leading role 
 
234 
 
 MUSIC AND MUSICIANS OF MAINE — 
 
 in “Hamlet” and her interpretations 
 of her part in these two operas (“Ham- 
 let” and “Faust”) were, in a consider- 
 able measure, reflected by the advan- 
 tage she had received from brief peri- 
 ods of study with their composers, 
 Thomas and Gounod. 
 
 After her engagement at Paris she 
 toured with Mapleson, and in Novem- 
 ber, 1883, appeared at the Academy 
 of Music in New York where she won 
 much praise for her lovely voice, though 
 she did not, at that time, make a very 
 great impression on her New York 
 audiences. She sang only four or five 
 nights and then returned to London. 
 
 In 1883 she married Frederick A. 
 Gower, also a native of Maine, having 
 been born in the town of Sedgewick, 
 a scientist by profession. She then re- 
 tired from the stage. The marriage took 
 place in London. Her matrimonial ex- 
 periment proved disastrous, however, 
 and in 1885 she was suing for divorce. 
 While the suit was pending, in at- 
 tempting to cross the English Channel, 
 her husband met with a balloon acci- 
 dent at Cherbourg, France, and al- 
 though the balloon was recovered, his 
 body was never found. 
 
 After Mr. Gower’s death Nordica 
 toured again with Mapleson and, in 
 1887, she appeared at Berlin where she 
 met with favor seldom shown an Amer- 
 ican singer in this exclusive capital. 
 
 On March twelfth of this year she 
 made her debut at Covent Garden, 
 London, where she appeared as Vio- 
 letta. Though she sang under a great 
 handicap, Mr. Alexis Chitty, the Lon- 
 don critic, wrote of her on this occa- 
 sion that she met with instant success, 
 “on account of the purity of her style 
 and the richness and roundness of her 
 upper register.” Other critics, too, 
 were loud in their praises. One wrote 
 of “the silvry lyric quality which won 
 her such renown,” and another of “her 
 
 mellow, pure, expressive voice.” It is 
 related that the house had been closed 
 for so long and it was so miserably 
 cold that the Prince of Wales, who oc- 
 cupied one of the boxes, sat through- 
 out the evening without removing his 
 heavy topcoat. 
 
 Because of severe competition in the 
 operatic field Mapleson was forced to 
 retire, and Nordica then applied to 
 Augustus Harris who informed her 
 that he had all the singers he wanted. 
 His conductor, the eminent Mancilli, 
 however, urged him to hold her in re- 
 serve, to which he agreed, stating that 
 he would pay her two hundred dollars 
 for each appearance if she were need- 
 ed. As the women in the Harris Com- 
 pany were not as satisfactory as the 
 men, Nordica was sent for on the sec- 
 ond night, and, without a rehearsal, 
 sang Aida at this performance; and 
 followed this up by committing the 
 difficult part of Valentine in “Les Hu- 
 guenots” in a week. Nordica continued 
 with Augustus Harris for the next six 
 seasons as a regular member of his 
 company, and, during this period, she 
 sang at concerts at the Crystal Palace, 
 in oratorio at the Novello concerts in 
 Albert Hall and St. James Hall, at 
 the Handel and provincial festivals at 
 the Philharmonic, and at numerous 
 other concerts. At a state concert at 
 the Buckingham Palace she received 
 the personal thanks of the Prince and 
 Princess of Wales and was command- 
 ed to.appear before the Queen, Vic- 
 toria, at Westminster Abby. At this 
 concert she sang, “Let the Bright Ser- 
 aphim.” 
 
 An anecdote is related of Nordica 
 that, while in London, Mme. Albani, 
 having been taken ill and being unable 
 to sing her partin Sir Arthur Sullivan’s 
 “Golden Legend,” this eminent com- 
 poser was greatly annoyed to learn 
 that Nordica had been substituted, but 
 
bie aR telly eragpimmagec in il eg eile Soar 
 
 MUSIC OF THE STATE OF MAINE 1897-1928 235 
 
 after hearing her sing he called the 
 next day to thank the young American 
 vocalist for having sung his music “so 
 beautifully.” 
 
 In 1893 she created the part of Ze- 
 zica in “The Veiled Prophet.” After 
 six seasons of continued success with 
 Harris —five of them at the English 
 capital—she went to Bayreuth and 
 studied the part of Venus, in ‘““Tann- 
 hauser,” with Mme. Cosima Wagner. 
 The intense application with which 
 she undertook the study of this part 
 delighted Madame Wagner who paid 
 her the great compliment of engaging 
 her to sing the part of Elsa, in “Lo- 
 hengrin,”’ at the next Bayreuth Festi- 
 val. This was an unprecedented hon- 
 or for an American singer. ‘Three 
 months were given over to prepara- 
 tion, and with such thoroughness was 
 the work undertaken that the pronun- 
 ciation of a single word would some- 
 times be gone over as many as three 
 thousand times, and, when the studies 
 of the day were finished, Madame 
 Nordica would go straight to bed from 
 sheer exhaustion. It is needless to 
 say that by her wonderful voice, her 
 unblemished: art, and the enchanting 
 beauty of her face and figure, she 
 achieved the ideal Elsa. It is said that 
 her singing and acting created so much 
 enthusiasm as to elicit a public dem- 
 onstration in Bayreuth—the first of 
 its kind accorded any singer in this 
 undemonstrative town. 
 
 dmmediately after this she came to 
 America and, under the management 
 of Mr. Abbey, appeared with Calvé, 
 Melba, Eames, Plancon and the de 
 Reszkes. At the Metropolitan Opera 
 House in New York shé sang the parts 
 of Elsa, Venus, and Isolde in German. 
 The de Reszkes, Lehmann, Nordica 
 and the others came under the direc- 
 tion of Anton Seidl, who had been 
 Wagner’s assistant for five years, and 
 
 LILLIAN NORDICA IN COSTUME WORN AT A FANCY 
 DRESS BALL. PHOTO BY AIME DUPONT. 
 
 who was one of the most thorough and 
 painstaking of Wagnerian conductors. 
 
 Nordica’s great triumph as “Isolde” 
 in November, 1895, may be said to 
 have been the apex of her career but 
 she was able to maintain herself be- 
 fore the public on that high level for 
 many years thereafter. 
 
 At this time Wagner enthusiasm was 
 at its height in New York, this period 
 being “the golden age of German Op- 
 era’; and every effort was being made 
 by the director and the singers to in- 
 terpret the performances in a manner 
 as nearly approaching the Wagner 
 ideal as possible. It was declared that 
 Nordica and the de Reszkes at this 
 time effected what was virtually a Ren- 
 aissance of Wagner in America. 
 
 Of this occasion Nordica once said 
 
236 MUSIC AND MUSICIANS OF MAINE 
 
 (quoting from Kobbé), “We all felt 
 that we were starting out on this new 
 race side by side, with every nerve and 
 every thought on the alert. But it was 
 a great strain. Seidl came to me early 
 one morning to go over my role with 
 me, and he left me about two o’clock 
 in the afternoon, having gone over the 
 acting to the minutest detail. I had to 
 rest for two days. Every noise, every 
 sound brought up something from 
 ‘Tristan and Isolde.’ ” 
 
 Nordica’s training under Seidl was 
 the most valuable of any she had dur- 
 ing her life. He had heard her sing in 
 her younger days, before her voice had 
 become powerful; and he had often 
 said, “Wait, you will sing Wagner, one 
 of these days.” 
 
 “When I did,” Madame Nordica 
 wrote, according to Kobbé, “and be- 
 gan to study the role of Venus, it was 
 Mr. Seidl who taught it to me. Again, 
 it was Mr. Seidl who aided me in the 
 first study of Elsa for Bayreuth, an 
 aid of such authority, enthusiasm, and 
 assurance that it laid a foundation of 
 future purpose and determination.” 
 
 Under Seidl’s guidance her acting 
 became moredramatic. The late Henry 
 T. Finck, noted author and musical 
 critic, wrote of her at this time, “Never 
 was there a more conscientious artist, 
 Or One more eager to seize every hint 
 given by the composer, in libretto, 
 score, essay, or little subtle touches, 
 mostly, but such as add very much to 
 the picturesqueness of her impersona- 
 tion. She has brought some effective 
 details from Bayreuth, too, and does 
 not keep them for herself, but makes 
 them extend to her environment.” 
 
 Of her impersonation of Isolde, H. E. 
 Krehbiel said, “Let one fact be pon- 
 dered: “Tristan and Isolde’ was sung 
 in tune throughout. Never before have 
 we had a Tristan able to sing the de- 
 clamatory music of the first and last 
 
 acts with correct intonation, to say 
 nothing of the duet in the second act. 
 Never since Madame Lehmann left us 
 have we had an Isolde capable of the 
 same feat. But Mme. Nordica and M. 
 de Reszke, not only sang in tune; they 
 gave the text with a distinctness of 
 enunciation and a truthfulness of ex- 
 pression that enabled those familiar 
 with the German tongue to follow the 
 play and appreciate its dramatic value 
 and even its philosophical import. It 
 was wonderful how Mme. Nordica 
 rose to the opportunity which Wag- 
 ner’s drama opened to her. The gréat- 
 er the demand, the larger her capacity. 
 In the climaxes of the first act, in 
 which Isolde rages like a tempest her 
 voice rang out with thrilling clearness, 
 power and brilliancy and forced upon 
 all a recognition of the lesson which 
 Walther teaches Hans Sachs at the 
 song meeting in St. Catherine’s Church 
 —that ability comes with willingness 
 and desire.” 
 
 After hearing her Isolde in London, 
 the well-known song writer, Sebas- 
 tian Schlesinger, wrote, “How Nordica 
 has mastered the German language, of 
 which she knew nothing a little while 
 ago, is wonderful; her enunciation is 
 perfect, and as she ‘knows how to sing’ 
 her fatigue of voice is very little — 
 physical fatigue after long mental strain 
 must of course follow. While we have 
 many singers whose high registers call 
 forth our warmest admiration, we have 
 few, and with the exception of Lilli 
 Lehmann I know none, whose mezza 
 voce is as fine as Mme. Nordica’s. It 
 has great carrying power, and she uses 
 it a great deal more in this role than 
 other singers do, so that her interpre- 
 tation in this respect will be quite dif- 
 ferent from other singers, like Rose 
 Sucher, who, great as she is dramat- 
 ically, has evidently not had that vocal 
 instruction which makes the voice 
 
OR oar ED kere ee 
 
 er oe, 
 +s . 
 
 MUSIC OF THE STATE OF MAINE 1897-1928 237 
 
 biegsam or bel canto, and this is re- 
 quired for the ideal Isolde.” 
 
 When the first Wagner Festival was 
 given at Munich at the Prinz-Regenten 
 Theater, specially built for that occa- 
 sion, Nordica was the soprano in Tris- 
 tan. She received a very great compli- 
 ment through the press of that city, 
 which almost universally declared that, 
 “for once the part of Isolde was actu- 
 ally sung in Munich.” James Huneker, 
 correspondent of the Musical Courier, 
 who was present on this occasion, de- 
 clared, “Nordica rather startled the 
 natives by her artistic singing. Her 
 Isolde is a familiar assumption to us, 
 but for Munich it seemed a revelation. 
 I have heard her give the Liebestod 
 with more volume, though never with 
 such sorrowful tenderness. The en- 
 thusiasm was great over Nordica and 
 Fremstad (Brangane). It was decid- 
 edly a red-letter day for American 
 singers.” 
 
 Madame Nordica had such marvel- 
 ous control over her voice that she 
 could perform either dramatic or bel 
 canto singing with equal ease, and it is 
 said that “she retained her ability to 
 sing lyric roles with or without colora- 
 tura after she had become pre-eminent 
 as Isolde and Brunnhilde,” a feat so 
 unusual as to attract universal com- 
 ment. 
 
 Of her performance of Marguerite, 
 Mr. Finck declared, “Marguerite does 
 not require such a sonorous voice as 
 Brunnhilde; accordingly Mme. Nordi- 
 ca attuned her tone-volume tothe part, 
 revealing the full strength of her organ 
 only in the church scene and the final 
 trio, This showed not only good judge- 
 ment, but superlative control of her 
 vocal technic. She sang the jewel song 
 happily, the spinning song sentimen- 
 tally, the church scene with an agony 
 of remorse and despair seldom wit- 
 nessed on the stage. And while, in 
 
 singing Wagner, she always makes 
 noble use of the bel canto, so here, 
 conversely, she infused the charms of 
 the dramatic style into Gounod’s broad 
 melodies. The text was enunciated with 
 surprising clearness and the phrasing 
 most tasteful. In her action there were 
 many new details, and her conception 
 of the part was quite properly that of 
 Goethe rather than that of Gounod’s 
 French librettists. In a word, she in- 
 fused a hackneyed part with fresh in- 
 terest, and the audience recalled her, 
 with Mr. Alvarez and Mr. E. de Reszke, 
 numberless times after the acts.” 
 
 And later, “Go and hear Mme. Nor- 
 dica in Italian music, and then bear 
 in mind that she has made a specialty 
 of Wagner ever since the days of An- 
 ton Seidl, and you will realize that 
 Wagner, properly sung, strengthens 
 and beautifies the voice. . . . To crit- 
 ical ears it is inexpressibly soothing to 
 listen to a voice like this —a voice al- 
 ways produced without effort, always 
 luscious, always true to the pitch, and 
 at the same time imbued with the 
 deepest feeling; a voice which shows 
 that Wagner’s most difficult intervals 
 (which great artists a few decades ago 
 considered unsingable) can be made 
 as smooth and flowing as Mozart’s 
 cantilena; a voice which had a glorious 
 mountain freshness in it when it sang 
 the opening lines of Gotterdammerung, 
 ‘Zu neuen Thaten,’ and retained that 
 freshness till she uttered the last words, 
 ‘Selig gilt dir mein Gruss,’ after four 
 hours of the most exhausting song and 
 action.” 
 
 Lillian Nordica was liberally en- 
 dowed with unusual graces of person 
 and voice and artistic ability and in- 
 telligence. She was a woman of rare 
 charm and commanding pulchritude of 
 face and form, and never was her 
 beauty more admired than at the time 
 which may properly be called the 
 
238 MUSIC AND MUSICIANS OF MAINE 
 
  —_———————————— 
 
 LILLIAN NORDICA AS ISOLDE. THIS PORTRAIT SHOWS 
 THE PRIMA DONNA WEARING THE FAMOUS DIA- 
 MOND TIARA. PHOTO BY AIME DUPONT. 
 
 crowning event of her life, when at the 
 Metropolitan Opera House in New 
 York she was presented with a mag- 
 nificent diamond tiara. Mr. Finck who 
 was present on this occasion wrote: 
 
 “Tt was the greatest event, the most 
 triumphal occasion in her career. Aft- 
 er the first act, when the curtain had 
 been raised repeatedly in response to 
 tumultuous applause, a number of bas- 
 kets of flowers were handed up to her, 
 and in one of them was a casket con- 
 taining a large jewel-case. This M. 
 Jean de Reszke gave to the prima don- 
 na, who opened it and displayed the 
 much talked-of tiara with the 233 dia- 
 monds, that was made for America’s 
 greatest singer with the contributions 
 of 128 of her admirers, including the 
 
 names of many leading society people. 
 It is a tribute to genius such as few 
 singers have ever received. On the 
 front page of the parchment book con- 
 taining the names of the donors the 
 following was written: 
 
 “ “To Mme. Nordica: 
 
 “We beg your acceptance of the accompany- 
 ing ornament as a token of regard from some of 
 your friends and admirers, and in recognition of 
 your deserved artistic success, of which, as your 
 com-patriots, we are justly proud.’ 
 
 “Fraulein Olitzka — who was an im- 
 passioned Ortrud — helped to put the 
 tiara on Mme. Nordica’s head, while 
 the curtain was raised for a moment 
 so that the audience had an opportuni- 
 ty to see how becoming it was. She 
 did not need the ornament, however, 
 for she was a most lovely Elsa un- 
 adorned.” 
 
 Of that epochal occasion Mr. Finck 
 continues, “One could feel that her 
 mastery of the difficult role of Isolde 
 had made Elsa comparatively easy to 
 her. Talk of Tristan ruining the voic- 
 es of singers! If all singers’ voices 
 could be as delightfully ruined as 
 Mme. Nordica’s and Jean de Reszke’s 
 have been, the musical millennium 
 would be at hand. . . . Had Wagner 
 been present last evening he would 
 perhaps have felt that as he named 
 his love-drama “Tristan and Isolde,’ so 
 he ought to have called his first Grail 
 opera Lohengren and Elsa.” 
 
 There were some back home in her 
 native state who, when reading of this 
 Maine singer’s great triumph on that 
 never to be forgotten night, recalled, 
 no doubt, the incident of the wander- 
 ing gypsy who had, in passing, stopped 
 at the old Norton homestead in Farm- 
 ington when Lillian was but a little 
 girl, and who, seeing her standing in 
 the doorway, predicted, “Child, you 
 will some day wear a crown”—a proph- 
 ecy which, though fulfilled, was not 
 
pe a ee 4 poe Fi 
 RE STE el Se ie 
 
 Dee ie 4 
 
 MUSIC OF THE STATE OF MAINE 1897-1928 239 
 
 consummated in just the way that the 
 Norton neighbors had visualized it. 
 
 On May 28, 1896, Lillian Nordica 
 was married at St. Paul’s Episcopal 
 Church, Indianapolis, to Zolton F. 
 Doeme, the Hungarian tenor, whom 
 she had known for about seven years. 
 There were no attendants. Mr. and 
 Mrs. Doeme afterward went to the 
 Wagner Concert of the Indiana May 
 Festival at which she appeared. That 
 night she sang “I Know a Bank where 
 the Wild Thyme Grows” with a feel- 
 ing that brought tears to the eyes of 
 more than one in the great audience. 
 
 At the time of their marriage Nor- 
 dica was thirty-seven years of age and 
 Mr. Doeme was twenty-eight. To Mr. 
 Doeme and the de Reszkes Nordica 
 owed much for the development of her 
 dramatic action and poetic interpreta- 
 tion of Wagnerian roles. 
 
 In 1897 Madame Nordica left the 
 company and made a tour of the United 
 States, supported by Madame Scalchi 
 and Barron Berthold the young tenor. 
 
 It was during this year that she ap- 
 peared in Portland in the first Maine 
 Music Festival, when with her in the 
 same festival were Blauvelt, Evan Wil- 
 liams, Gwilym Miles and Hans Kron- 
 old. On the program with her were 
 several Maine musicians including Eth- 
 el Hyde, Lou Duncan Barney, Lillian 
 Carllsmith, Hermann Kotzschmar, Jen- 
 nie King Morrison and Harvey Mur- 
 ray. Many recall how this beautiful 
 daughter of Maine looked as she stood 
 on the platform of the old Armory 
 Building in Portland, tall, regal, hand- 
 some in her gown of emerald green 
 velvet; the profusion of flowers which 
 nearly covered her; the thunders of 
 applause with which she was greeted; 
 her personality which radiated charm 
 and graciousness and above all her 
 magnetic womanliness. 
 
 Afterwards she appeared in London 
 
 as Isolde with Jean de Reszke as Tris- 
 tan and in the Handel Festival. 
 
 In 1898 she joined the Grau Com- 
 pany at Covent Garden and sang with 
 Lilli Lehmann, Emma Eames, both 
 the de Reszkes, Mantelli and Van 
 Dyck, in German and Italian opera 
 during the season. 
 
 In 1904 Nordica obtained a divorce 
 from Mr. Doeme, and on July 29, 1909, 
 married (Q.V.) George Washington 
 Young, a New York banker, in Lon- 
 don. They spent their honeymoon to- 
 gether in Farmington, at the old home- 
 stead, “Norton Woods,” and then went 
 to live at her own home at Ardsley-on- 
 the-Hudson. Her residence at Ards- 
 ley she named “Amanda Villa” for her 
 mother, of whom she was always ex- 
 tremely fond. Madame Nordica at 
 this time also owned an apartment 
 house on Madison Avenue in which 
 she retained one of the apartments for 
 herself. 
 
 Two months before her fiftieth birth- 
 day Madame Nordica sang at a recital 
 in Carnegie Hall. Of her appearance 
 at this performance Mr. Finck wrote 
 in part, “Often as Schumann’s ‘Nuss- 
 baum’ has been sung here, she made 
 it marvelously interesting by the sen- 
 timent she infused into this story of 
 the leaves whispering about the maid- 
 en who dreamed, awake, of her lover 
 and the wedding to come till she fell 
 asleep and dreamed again. This is 
 usually sung monotonously, like the 
 whispering of the leaves. Mme. Nor- 
 dica’ emphasized the human side (the 
 heart story) and made a new song of 
 it that made one sit up and listen. Her 
 art has indeed ripened! ... 
 
 “Hers is the true bel canto, allied 
 with German sentiment. . . . Bizet’s 
 Vielle Chanson gave her a chance to 
 show that she has command of a 
 smooth and effective trill which quite 
 stirred the audience. Caré Selvé, an 
 
240 MUSIC AND MUSICIANS OF MAINE 
 
 air from Handel’s ‘Atalanta,’ was sung 
 in the true grand style, which Lill 
 _ Lehmann alone was supposed to pos- 
 sess. ‘There was ‘school’ in that ren- 
 dering! ... By her dramatic inten- 
 sity, which now and then thrills one’s 
 every fibre, Mme. Nordica reminds one 
 of Dr. Willner, but a Wiillner with a 
 voice of velvet and a finished art of 
 vocalization. She still has full com- 
 mand in her floating pianissimos, such 
 as no other singer now on the stage 
 has at command, and which would be 
 impossible with impaired breathing 
 power.” 
 
 About a week later Nordica sang 
 with the New York Symphony Or- 
 chestra and again proved that she was 
 the greatest of Wagnerian sopranos. 
 Mr. Finck declared that she sang the 
 Gotterdammerung finale “with an op- 
 ulence of tone and an emotional fervor 
 that were thrilling. What golden puri- 
 ty of tone and intonation! How ex- 
 quisite the pianissimo of the line ‘Ruhe, 
 Ruhe, du Gott!’ Here was the true 
 Brunnhilde voice,—the Voix de Soleil, 
 the voice full of sunshine .. .” 
 
 Nordica’s final appearance at the 
 Metropolitan was in December, 1909, 
 after an absence of four years, and al- 
 though her voice had begun to decline 
 she was given a nightly welcome by 
 the tremendous houses that greeted 
 her. 
 
 In November of this same year, sing- 
 ing the title role of Giaconda, she had 
 opened the Boston Opera House. 
 
 A critic in Harpers Weekly for No- 
 vember 12, 1910, under the caption, 
 “An American Singer’s Triumph in 
 France,” had this to say of Nordica, 
 “She is the foremost living exponent 
 of the greatest soprano roles in the 
 Wagner list. No other singing actress, 
 now before the public possesses in so 
 eminent degree ‘the grand style,’ none 
 other gives us an Isolde, a Brunhilde 
 
 so amply conceived, so broad and he- 
 roic in. despair, so sedulously in the 
 larger manner, as she does.” 
 
 Of her, Le Gaulois, the French re- 
 viewer, wrote, “The appearance of 
 Madame Nordica in “Tristan and Is- 
 olde’ was for the public a true revela- 
 tion, imposing, beautiful, the face ex- 
 pressive and mobile, in her look and 
 indescribable tenderness and languor, 
 and at the same time, power and alert- 
 ness; such is the physiognomy of Ma- 
 dame Nordica.” 
 
 Another Parisian reviewer referred 
 to her as “One of the glories of lyric 
 art, of whom Paris knew the universal 
 reputation, but whose talent until now, 
 it has but rarely had the opportunity 
 to admire. Nordica by her perform- 
 ance of Isolde placed herself in the 
 very first rank of those artists whom 
 Parisians elect to adopt as their very 
 own. Her enormous success in this 
 role will remain among the most cher- 
 ished memories of Parisian lovers of 
 opera. Her career has been rich in 
 numerous triumphs, fertile in great 
 episodes. 
 
 “The character of Isolde is truly her 
 very own. -With her breadth of style 
 and her adherence to the purist tradi- 
 tions, there are very few roles of the 
 master’s repertoire in which she has 
 not been acclaimed.” 
 
 When Nordica again sang at Port- 
 land with the Maine Festival Chorus, 
 October 15, 1912, the audience rose as 
 one person to greet her. After each 
 of her numbers she was again and 
 again recalled. 
 
 The press referred to her appear- 
 ance on this occasion as “a regal pic- 
 ture of womanly grace” and to the 
 concert as “a climax of thrills.” 
 
 Hers were the first solo notes heard 
 in the New Portland City Hall, with 
 the Kotzschmar Memorial Organ, when 
 in 1900, at a concert under Walter 
 
* aac —- 
 
 tlie 
 
 ema feet 
 
 MUSIC OF THE STATE OF MAINE 1897-1928 241 
 
 Damrosch’s direction, she sang to an 
 audience which was proclaimed by the 
 press of the city as “one of the largest, 
 handsomest and most notable in the 
 city’s history,” the music from “The 
 Parsifal,” “Tannhauser,” “Die Meis- 
 tersinger” and “Die Walkure.” Beau- 
 tiful she was to look upon, that “first 
 night,” in her cream satin gown 
 trimmed with silver and diamonds, and 
 her voice seemed as glorious as ever. 
 The audience included a delegation of 
 fifty from Farmington, the town of her 
 birth. 
 
 Nordica’s public appearances in the 
 last years of her life were not many, 
 but were always to crowded houses. 
 In these years she was very happy in 
 entertaining hundreds of friends dur- 
 ing the summer seasons at her home 
 in Deal, New Jersey. 
 
 In 1913 Nordica started on a world 
 tour and while en route received many 
 offers, but declined them all. It was 
 while on this voyage that the Dutch 
 steamship, Tasman, on which she was 
 a passenger, struck a reef in Torres 
 Strait, off the coast of New Guinea 
 near the Thursday Islands. Contract- 
 ing pneumonia, following a nervous 
 breakdown from the exposure, she 
 lived but a few months. She died at 
 Batavia, Java, on May 11, 1914. With 
 her were her cousin, Ada Baldwin, and 
 her sister, Mrs. Irene Walker, and in 
 her company were Franklin Holding, 
 Maine violinist, and Paul Dufault, 
 tenor. 
 
 During her life time Nordica was 
 honored by nobility and she was the 
 recipient of many beautiful gifts from 
 members of the royal families in the 
 monarchies of Europe. Among others 
 she received decorations from H.R.H. 
 Duke of Edinburgh and H.R.H. Duke 
 of Saxe Coburg and Gotha and the title 
 of Royal Chamber Singer. The Queen 
 of England presented her with a brooch 
 
 FRANKLIN HOLDING, WHO ACCOMPANIED LILLIAN 
 NORDICA ON HER FATAL WORLD TOUR. PHOTO BY 
 PLUMMER, LEWISTON, MAINE, 
 
 composed of pearls, emeralds and dia- 
 monds. 
 
 Among the beautiful jewels left by 
 Nordica at her death was a collection 
 of emeralds of almost priceless value; 
 a string of colored pearls which was 
 appraised at one hundred thousand 
 dollars; a string of matched pearls 
 valued at one hundred thousand dol- 
 lars; a string of black pearls said to be 
 worth seventy-five thousand dollars; 
 and a diamond collar composed of 
 sixteen strands fringed with large 
 white diamonds. 
 
 It is said that Nordica’s fondness 
 for pearls became almost a passion 
 with her and it was indeed a strange 
 
242 MUSIC AND MUSICIANS OF MAINE 
 
 circumstance that this great singer’s 
 career should have been terminated 
 among those very islands where scores 
 give up their lives yearly in quest of 
 those rare gems which she so much 
 admired. 
 
 As a concert artist there were but 
 two vocalists in her time who were 
 able to command a greater honorari- 
 um. For each performance she nightly 
 received two thousand dollars. It is in- 
 teresting to compare the amounts paid 
 contemporary artists, who in 1914 were 
 said to receive the following amounts 
 per concert: Melba, $3,000; Caruso, 
 $3,000; Schumann-Heink, $1,800; 
 Fremstad, $1,800; Sembrich, $1,500; 
 Eames, $1,500; Gadski, $1,200; Plan- 
 con, $1,200. 
 
 Nordica sang many times during her 
 musical career and it is reported that 
 in a single season she received for her 
 appearances one hundred and twenty- 
 eight thousand dollars. 
 
 Nordica never forgot her love for 
 Maine. She made three visits to Farm- 
 ington after she had become famous. In 
 1878, shortly after the M. E. Church 
 was dedicated, she sang there; in 1883 
 she appeared in concert at Merrill 
 Hall; and in August, 1911, following 
 the purchase of her birthplace, after 
 an absence of more than twenty-seven 
 years, she held a recital there to the 
 great delight of her audience, of towns- 
 people and others, numbering more 
 than two thousand, who came from 
 miles around to hear her sing again. 
 
 Nordica’s natural inclinations were 
 domestic. She learned to sew and 
 make her own dresses and it is said 
 that she designed most of the wonder- 
 ful gowns that she wore and which 
 were the marvel of Europe and Amer- 
 Ca: 
 Nordica took a deep interest in all 
 charitable, patriotic and musical enter- 
 prises, and, in her later years, delivered 
 
 a number of lectures, among which 
 was one on “The Progress of Women 
 in Music.” She was a contributor to 
 some of the leading American maga- 
 zines, was an ardent advocate of wom- 
 an’s suffrage, and at one time organ- 
 ized a benefit concert to aid that cause. 
 
 One of the last evidences of Nordi- 
 ca’s thoughtfulness of others was shown 
 when, but a short time before her 
 death, a young American, George Mac- 
 Donald, a fellow passenger on the Tas- 
 man, was taken suddenly ill and died. 
 Though ill unto death herself she 
 caused a suitable memorial to be placed 
 over his grave. 
 
 The story of Nordica’s life and her 
 capacity for and willingness to work, 
 unceasingly, that she might attain her 
 artistic ambitions will always be a 
 source of inspiration to young and am- 
 bitious singers, yet one cannot help 
 but feel saddened as he reads, for 
 there seems to have been an underly- 
 ing note of tragedy running through- 
 out its course. 
 
 Nordica’s life ambition had been to 
 open a school of music where promis- 
 ing young singers could study with the 
 foremost teachers of the world. She 
 bought a large tract of land near Os- 
 sining at Croton-on-the-Hudson at a 
 cost of one hundred thousand dollars 
 and made preparations for organizing 
 a great American Institute of Music, 
 similar to that of the Wagner Festivals 
 at Bayreuth. 
 
 Among the plans projected, besides 
 the school, was an opera house with a 
 seating capacity of five thousand. It 
 was planned to use the house which 
 stood on the property as an adminis- 
 tration building. 
 
 A million dollars was pledged, but 
 for reasons that may never be known 
 this project was not brought to fruition. 
 Her thought, she said, was to save 
 young artists of promise much of the 
 
Dee ae pe a RA et Pah ie Ie 
 
 ‘io 
 
 RET. Sa een et ee eh Pe erate 
 
 Perce 
 
 ete ere 
 
 er eee eit heh. 
 
 MUSIC OF THE STATE OF MAINE 1897-1928 243 
 
 hardship that she had endured so that 
 they might achieve their ends without 
 such great personal sacrifices as she 
 had suffered. 
 
 Of this she wrote, “I want to see 
 American girls with voices properly 
 started. I want to save them, as far 
 as possible, from the terrible fate that 
 overtakes so many of them who go to 
 Europe to study and then pass out of 
 sight. In most cases, poor students, 
 who go to Europe are at the mercy of 
 the world.” But she did not live to 
 realize her ambition to carry out this, 
 her great desire, as she had planned it, 
 and her entire estate, real and person- 
 al, estimated at over a million dollars 
 was bequeathed toher sisters, Madame 
 Imogene Castillo, Annie Baldwin and 
 Irene Fuller. 
 
 Success did not come easily to Lil- 
 lian Nordica, yet by sheer effort she 
 reached the heights. Her voice, which 
 at first was thin, was developed by un- 
 remitting practice under the best teach- 
 ers into one of the most beautiful as 
 well as powerful in the world. She did 
 not commit words to memory readily, 
 yet she had a repertoire which includ- 
 ed the leading roles in more than forty 
 operas. She did not come naturally by 
 linguistic accomplishments, yet through 
 unceasing effort she was able to mas- 
 ter every detail of the most difficult 
 foreign languages. 
 
 At the time of her death the Boston 
 Herald, of which Philip Hale was mu- 
 sic editor, said, “It was not easy for 
 her to master a role. There was need 
 of long and laborious preparation. Her 
 ambitions were great; her eagerness to 
 study; her admirable perseverance en- 
 abled her to accomplish an artistic 
 purpose.” 
 
 Of her success in German opera, it 
 continues, “Her grit enabled her to 
 triumph at last in operas that had 
 been a sealed book.” 
 
 All who are ambitious, whether de- 
 sirous to seek fame and fortune in the 
 world of music or any of the arts or 
 sciences, are commended to the thought 
 expressed by Nordica in a conversa- 
 tion with William Armstrong, who 
 wrote of her, ““Nordica has been to me 
 a most interesting example of success 
 through unstinted and unyielding work 
 and sheer force of energy and will. 
 She, herself, once said to me, in speak- 
 ing of the relative successes with and 
 without work: ‘If you work five min- 
 utes, you succeed five minutes’ worth; 
 if you work five hours, you succeed 
 five hours’ worth. Plenty,’ she added, 
 ‘have natural voices equal to mine, 
 plenty have talent equal to mine, BUT 
 I HAVE WORKED,” 
 
 Following her tragic death, editori- 
 als acclaimed her the greatest of Amer- 
 ican dramatic sopranos and attributed 
 her success to her indefatigable energy, 
 her tremendous ambition, and her love 
 for her work. 
 
 The New York Evening Post critic 
 referred to her as “The greatest vocal 
 artist America has produced’; the 
 Times that “none has surpassed Nor- 
 dica in vocal power, artistic compre- 
 hension, dramatic skill or ambition”; 
 the Sun that, “Nordica, achieved what 
 she did by sheer power of indomitable 
 resolution, unceasing study and fine 
 intelligence. She was one of the best 
 Aidas ever known to the stage; Her 
 Lenore in ‘I] Trovatore’ and Selika in 
 ‘L’Africaine’ have not been excelled; 
 Her Marguerite had qualities of great 
 beauty; Her Valentine in ‘Les Hugue- 
 nots’ was a model”; the New York 
 Glcbe, that “Sound teaching, hard 
 study and a firmness of purpose, un- 
 swervable, made Lillian Nordica a 
 singer to stand with the best that 
 America has given the world.” 
 
 From the Review of Reviews 1s 
 quoted, “As a Wagnerian singer and 
 
244 
 
 MUSIC AND MUSICIANS OF MAINE 
 
 actress Mme. Nordica for many years 
 had no equal. Aside from her majes- 
 tic figure and bearing, eloquent ges- 
 tures and expressive facial miming, she 
 possessed a voice of unusual clarity 
 and power, which lent itself admirably 
 to emotional utterances. Her German 
 diction spelled perfection and her in- 
 tonation, even in such a difficult scene 
 as the second act of “Tristan,’ never 
 deviated from correct pitch. Mme. 
 Nordica registered great successes also 
 in ‘Aida, ‘Marriage of Figaro,’ and 
 many other operas of the dramatic 
 type.” This critic also declared that 
 she was “one of the greatest and one 
 of the most popular artists ever at the 
 Metropolitan,” and spoke of her as 
 being generous, warm-hearted, ambi- 
 tious and a hard worker. | 
 
 The Musician referred to “the de- 
 velopment of personal strength of char- 
 acter which accompanied her growth 
 in artistic stature” and stated that her 
 enormous persistence and unremitting 
 diligence had brought her success. 
 
 In 1912 this same magazine had 
 said of Nordica, “Beginning with what 
 used to be considered the typical Amer- 
 ican soprano voice, high, light, sweet 
 and flexible she kept on undaunted at 
 work enlarging her sphere, both of ar- 
 tistic ambition and voice, by legiti- 
 mate means until she finds herself now 
 one of the world’s great singers, the 
 accepted representative of America’s 
 vocal art at its best;” and in another 
 issue of that year, that, “she rose to 
 fame and success on a ladder that at 
 times seemed to have unending rungs 
 of hardship, privation, disappointment 
 and work. Success has not altered 
 Nordica except perhaps to enrich her 
 character and to add to her wonderful 
 personal magnetism,— She loves her 
 work with an all-consuming love.” 
 
 The Review of Reviews again re- 
 ferred to her as “The greatest dra- 
 
 matic soprano America has produced 
 and one of the really great singers of 
 the world,” that she was “preéminent- 
 ly an artist judged by the highest 
 standards,” and that she was “best 
 known and loved in New York, but 
 her ripe art was as much admired in 
 London, Paris, Bayreuth, Munich, Ber- 
 lin and St. Petersburg.” 
 
 Who that has seen her Isolde will 
 not recall that sublime and marvelous 
 scene, as she sings the Leibestod, and 
 hear again in memory the modulations 
 of her wonderful voice as she executes 
 the impassioned melodies in that ex- 
 quisitely beautiful and most ecstatic 
 love song in the whole realm of music? 
 
 “See how softly he is smiling! 
 Parted eyelids, sweet beguiling! 
 See ye nothing? Not my love? 
 How he beameth, ever brighter, 
 Steeped in starlight bourne above? 
 See ye not how his heart with kingly zest 
 Calmly happy beats in his breast? 
 From his lips, in heavenly blends, 
 Sweetest breath he softly sends. 
 Harken all, hear ye not my friends? 
 Is it I alone am hearing 
 Strains so tender and endearing? 
 Passion swelling, 
 All things telling; 
 Love redeeming 
 From his beaming; 
 Sound that trembles, upward rushes; 
 Trumpet tone that round me gushes! 
 Brighter growing, 
 O’er me flowing; 
 Are these waves of wondrous brightness? 
 Are they clouds of filmly lightness? 
 See they rise and gleam and glisten! 
 Shall I breathe them, shall I listen? 
 Shall I drink them, dive within them, 
 To my panting breathing win them? 
 In the breezes around, 
 In harmonious sound, 
 In the world’s driving whirlwind be drowned; 
 And sinking, 
 Be drinking 
 In a kiss! 
 Highest bliss!” 
 
 The attainment of the highest suc- 
 cess in music may be said to be de- 
 pendent upon four important factors: 
 the gift of a rare voice, or more than 
 
= 
 oe 
 
 MUSIC OF THE STATE OF MAINE 1897-1928 245 
 
 usual talent for instrumental music or 
 composition; a desire to cultivate that 
 gift to the exclusion of all other inter- 
 ests; continued application to the study 
 of music, especially in the branches in 
 which one excels; and the willingness 
 to practice thrift and cultivate the 
 habit of saving, that one may come to 
 study with only the best teachers, in 
 order that the coverted end may event- 
 ually be attained. 
 
 The lives of Annie Louise Cary and 
 Lillian Nordica offer striking exam- 
 ples of determined effort and self de- 
 nial that resulted in the highest artistic 
 and material success— examples that 
 all ambitious young students of music 
 would do well to emulate. In them 
 was the zest for conquest and the will 
 to win, without which no true success 
 and happiness can be attained. 
 
 Emma Eames 
 
 Though born in Shanghai, China 
 (August 13, 1865), Emma Eames has 
 always been claimed as one of Maine’s 
 own daughters. Her father, Ithamar 
 Bellows Eames, a native of Freeport 
 and the son of an East Indian sea 
 captain, became a lawyer of interna- 
 tional reputation. Her mother, Emma 
 Hayden Eames, born in Bath, was her 
 first music teacher. After graduation 
 from the Bath High School Emma 
 Eames went to Boston where she be- 
 came a pupil of Clara Munger and 
 while there sang in the Channing 
 Church at Newton, Mass. 
 
 John Knowles Paine became inter- 
 ested in her voice and engaged her to 
 sing the soprano parts in vocal illustra- 
 tions for his series of lectures on Old 
 Church Music, and her musical ex- 
 perience with him was one of the most 
 valuable in her life. 
 
 One of her very earliest public ap- 
 pearances in Maine was in the Stock- 
 bridge Course in Portland 
 
 EMMA EAMES, AT HER HOME IN BATH, MAINE. 
 PHOTO BY HUBBARD, PORTLAND. COURTESY OF THE 
 PORTLAND, MAINE, PUBLISHING COMPANY. 
 
 In 1886 she went to Paris and stud- 
 ied singing with Mathilda Marchesi 
 and stage deportment with M. Pluque. 
 In 1891 Miss Eames married Julian 
 Story and after Mr. Story’s death 
 married Emilio de Gogorza, baritone 
 soloist, in IQII. 
 
 Her first appearance abroad was at 
 the Opera in Paris, March 13, 1889, 
 as Juliette in Gounod’s “Romeo and 
 Juliette” and she continued there for 
 two years, during which she created 
 the role of Colombe in Saint Saens’ 
 “Ancanio” and the title role in De la 
 Nux’s “Zaire,” and while there, from 
 the President of France she received 
 the decoration of “Officer of the Acad- 
 emy.” 
 
 She made her debut in Covent Gar- 
 den, London, April 7, 1891, as Mar- 
 guerite in “Faust.” While in London 
 she became an object of admiration of 
 Queen Victoria from whom she re- 
 ceived many rare and beautiful gifts. 
 
246 MUSIC AND MUSICIANS OF MAING 
 
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 a 
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 4 
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 d- 
 
 SIDNEY FARRAR, BORN IN SOUTH PARIS, ME., AND 
 HIS DAUGHTER, GERALDINE FARRAR. 
 
 Her first appearance in New York 
 was with Jeane and Edouard de Reske 
 as Juliette in December, 1891, and her 
 last in grand opera was at the Metro- 
 politan in “La Tosea? in 19m \onsthe 
 twenty-fifth anniversary of her debut 
 in Paris. Her last stage appearance 
 was in Portland in 1916 when she sang 
 for a fund for one of the city’s worthy 
 charities. 
 
 Her repertoire came to embrace 
 many grand opera roles and she was 
 acclaimed by critics as one of the great- 
 est among the world’s prima donnas. 
 Her performances at the Metropolitan 
 were a succession of triumphs. 
 
 Before Cary had retired from the 
 public eye, Nordica with all the fresh- 
 ness of youth came into notice and 
 while Nordica was at the height of her 
 glory Eames appeared. Since Eames 
 there has not been another Maine sing- 
 
 er who has been able to reach the 
 heights in vocal music that these have 
 done. Who will be the next and how 
 soon?! And when she appears will she 
 equal or surpass them all? Some young 
 vocalist, now attending one of the great 
 conservatories of the country? Per- 
 haps. Butit may be that the next great 
 Maine diva is as yet unborn. Maine 
 should not be content to rest on her 
 laurels. She should always be on the 
 alert to discover and encourage her 
 most talented sons and daughters that 
 she may continue to maintain her 
 leadership in the Music of the Nation. 
 
 But what a glorious galaxy were 
 these three: Cary, Nordica, Eames! A 
 trinity of vocal loveliness, unsurpassed 
 in any state or country in the world! 
 
 One naturally associates the name 
 of Emma Eames with Maine, not so 
 much because she came of Maine par- 
 entage, as because she spent a large 
 part of her life, as well as her child- 
 hood, in Maine; and she has therefore 
 come to be thought.of by the people of 
 the State of Maine as a Maine girl; 
 but another opera star, who, though 
 like Eames was not a native of Maine, 
 yet unlike her was not a resident, may 
 at least be said to be a granddaughter 
 of Maine, for her father, a Maine man, 
 was born in Paris, where from the 
 time he was a boy, in his spare mo- 
 ments, he ran bases for the home ball 
 team when he wasn’t singing tenor in 
 the choir of the little white church in 
 the town. 
 
 Sidney Farrar became famous as a 
 ball player in his day, and his talented 
 daughter, Geraldine, came to be one 
 of the most notable opera stars in her 
 generation. Miss Farrar’s” “success 
 came to her early. At nineteen she 
 sang Marguerite at the Royal Opera 
 in Berlin, when, by her novel spon- 
 taneity and the freshness of her youth, 
 she won the hearts of her hearers and 
 
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 MUSIC OF THE STATE OF MAINE 1897-1928 247 
 
 became the sensation of the season and 
 the idol of the German capital. 
 
 Her first appearance in America 
 came in November, 1906, as Juliette 
 at the Metropolitan, where she was 
 enthusiastically received; but her in- 
 ternational reputation had earlier been 
 made at the time of her debut with 
 Caruso at Monte Carlo. 
 
 Her Madame Butterfly, in which 
 she employed all her subtle arts of 
 make-up and mimicry, was considered 
 by many to be one of the most fin- 
 ished and artistic performances of that 
 role, but her Carmen, characterized by 
 scintillating qualities of resource and 
 an unrestrained display of frenzied 
 abandon that had been undreamed of 
 before, in any interpretation of the 
 part, was declared to be the most dra- 
 matic of any portrayal of that char- 
 acter by an opera star. 
 
 But there are other Maine musicians 
 who have become internationally fa- 
 mous and among these have been: Flo- 
 ra Barry (also born in Paris, Maine), 
 whose magnificent contralto voice and 
 intelligent interpretation of oratorio 
 was hardly second to that of her fa- 
 mous sister-in-law, Annie Louise Cary; 
 Minne Scalar, soprano (born in West 
 Paris), who in 1896 was leading dra- 
 matic soprano of the Royal Opera 
 House at the Hague, where she sang 
 for two years in the principal standard 
 grand operas, and afterwards for two 
 seasons at Covent Garden, London, 
 and at the Grand Opera House at Par- 
 is; Charles Marshall (tenor), famous 
 opera star with the Chicago Opera 
 Company; Arthur Hackett (tenor), 
 eminent American concert artist; and 
 Willie Ferrero, infant prodigy who 
 took nearly the whole of Europe by 
 storm with the wizardry of his con- 
 ducting of the largest and most fin- 
 
 ished orchestras on the continent. 
 
 Flora Barry made her professional 
 
 acd 
 
 CHARLES MARSHALL, DRAMATIC TENOR WITH THE 
 CHICAGO OPERA COMPANY. PHOTO BY DAGUERRE, 
 CHICAGO. 
 
 debut with the Mendelssohn Quintette 
 Club of Boston, which then included 
 Carl Meisel, Wolf Fries, Robert Goer- 
 ing and Thomas Ryan, who was its di- 
 rector, and who, having overheard her 
 taking a singing lesson, promptly en- 
 gaged her. As a result of her first ap- 
 pearance with this club she was signed 
 up a month later by the Handel and 
 Haydn Society to sing the alto solos 
 in Elijah with Mme. Guerabella in the 
 soprano role. Then followed an en- 
 gagement as soloist for an entire sea- 
 son with Gilmore’s Band, the first in 
 America to give concerts in halls and 
 theatres. Mrs. Barry, who was then 
 the wife of Capt. J. S. Cary, went with 
 his company into camp when the Civil 
 War broke out and there she became 
 a veritable “daughter of the regiment,” 
 singing and ministering to the soldiers. 
 
 Mrs. Barry appeared in concerts 
 with Camilla Urso, Carl Rosa and Ole 
 Bull and was also associated with Ru- 
 binstein. 
 
 In June, 1870, she sang under Ma- 
 
248 MUSIC AND MUSICIANS OF MAINE 
 
 bellini at Florence, Italy, in a perform- 
 ance of “La Messa Solenne” for the 
 repose of the soul of Gioachino Rossini. 
 Her last days were spent in Boston 
 where she died in penury. 
 
 Further reference to these artists, 
 all of whom, excepting Mrs. Barry, 
 were living in 1928, will be found in 
 succeeding pages of this book. 
 
 Saco Valley Music Festivals 
 
 From 1913 to the time of Maine’s 
 Centenary, the first week in August 
 of each year were memorable ones for 
 Bridgton, because of the series of con- 
 certs that were given during those 
 years at the sessions of the Saco Val- 
 ley Music Festival, with its chorus of 
 two hundred and fifty or more voices 
 and its nationally and internationally 
 famed soloists, many of whom were 
 summer residents of the lake regions 
 adjacent to the upper valley of the 
 Saco River. For seven years hundreds 
 of people annually journeyed to Bridg- 
 ton, not only from surrounding towns, 
 but from many cities in distant states 
 while others planned their vacations 
 months in advance in order that they 
 might be there during Festival time. 
 
 Olive Fremstad, Alice Nielsen, Marie 
 Sundelius, Rudolph Ganz, Charles 
 Harrison, Frederic Martin, Reed Mil- 
 ler, Frank Croxton, Andrea Sarto, 
 Myrna Sharlow, Ruth Thayer Burn- 
 ham, Beulah Gaylord Young, Blanche 
 Manley, Helen Yorke, Crescenzo, J. 
 Ellsworth Sliker, Jose Shaun, Lida Shaw 
 Littlefield, Lydia Vosberg, Arthur Loes- 
 ser and Inez Faye Armstrong (a native 
 of Bridgton) were a few of those who 
 contributed their artistry to the pro- 
 grams of the Saco Valley Festivals. 
 These artists, and many others, not 
 only gave generously of their talent in 
 order that the very highest in music 
 might be enjoyed by the people of 
 the Saco Valley, but they exhibited 
 throughout the whole period a friendly 
 
 interest in the work of the local chorus. 
 
 The idea of organizing choral unions 
 in the towns of the Saco Valley, to 
 meet as a grand chorus in midsummer 
 in Bridgton for a three days’ Festival, 
 with famous artists and orchestra as- 
 sisting, originated with Llewellyn B. 
 Cain, then a teacher of music in Port- 
 land. His thought was to develope la- 
 tent talent, to bring young and old to- 
 gether for the study of good music, to 
 establish a high standard among the 
 youth and to give opportunity to those 
 who lived away from the centers of 
 population to hear great singers and 
 musicians. In the fall of 1912 he or- 
 ganized choral unions which he con- 
 ducted in Bridgton, Kezar Falls, Steep 
 Falls, Standish, Limington and Frye- 
 burg, Maine, and North Conway, N. 
 H., and in the first season he conduct- ~ 
 ed one hundred twenty-seven rehears- 
 als. On August fourth and fifth, 1913, 
 the first Saco Valley Festival was held 
 in Bridgton’s Town Hall, when a chor- 
 us of three hundred, representing the 
 choral unions of the different towns, 
 was assembled. Marie Sundelius, the 
 then young and ever beautiful Swedish 
 singer, was the leading artist; Helen 
 Yorke, just beginning her musical ca- 
 reer, was a soloist; and the old Port- 
 land Symphony Orchestra furnished 
 instrumental music and accompani- 
 ments. 
 
 The concerts created a desire among 
 the townspeople to make the Festival 
 a permanent feature of each summer. 
 
 For several years concerts were also 
 given in the winter by the choral un- 
 ions, and a portion of the combined 
 choruses appeared at a number of the 
 Municipal concerts in Portland City 
 Hall. 
 
 In 1918 the Saco Valley Festival 
 reached the apex of its ambitious ca- 
 reer, when Madame Fremstad, Alice 
 Nielsen, the Bostonia Sextette, John 
 
—- oes 
 
 ei = NE a Yee, AR. Be ee 
 7 i A 
 
 MUSIC OF THE STATE OF MAINE 1897-1928 249 
 
 C. Freund, editor of Musical America, 
 Charles Harrison, Andrea Sarto, Mrs. 
 Beulah Gaylord Young and Lydia 
 Vosberg, were among the attractions 
 featured. 
 
 Officers of the Choral Unions who 
 contributed to the success of the Saco 
 Valley Festival Chorus were: 
 
 Bridgton Choral Union—Stephen T. Liv- 
 ingston, President; Allen P. Clarke, Vice Presi- 
 dent; Harold H. Burnham, Secretary; Jessie E. 
 Murphy, Treasurer; C. H. Mackay, Librarian; 
 Myrtle A. Burnham, Pianist. Steep Falls Choral 
 Union —F. L. Strout, President; Charles San- 
 born, Vice President; C. J. Henderson, Secre- 
 tary; J. R. Tompkins, Treasurer; L. D. Booth- 
 by, Librarian; Ruth Tucker, Accompanist. 
 Kezar Falls Choral Union—W. T. Norton, 
 President; Lottie Chapman, Secretary; Jeanie 
 Chapman, Treasurer; Florence R. Garner, Ac- 
 companist. Limington Choral Union —H. F. 
 Maxim, President; Mrs. H. H. McKenney, Vice 
 President; Mrs. W. H. McKenney, Secretary; 
 Alma C. Moulton, Treasurer; William A. Dim- 
 moch, Accompanist. Limerick Choral Union — 
 Mrs. Alton G. Johnston, President and Corre- 
 sponding Secretary; Alice J. Libby, Recording 
 Secretary and Treasurer; Mrs. Fannie M. Pease, 
 Librarian. Mount Kearsarge Choral Union — 
 Rev. D. A. Pearson, President; D. H. S. Mackay, 
 Vice President; R. W. Smith, Treasurer; M. A. 
 C. Pray, Librarian; Rev. John Dunstan, Secre- 
 tary. Fryeburg Choral Union — Mary Wood- 
 ward, President; Mrs. M. K. Woodside, Vice 
 President; Mrs. S. T. Achenbach, Secretary; 
 Mrs. Francis Swan, Treasurer; Mrs. Herbert 
 Lowell, Accompanist. South Windham Choral 
 Union — Arthur C. Soule, President; Walter 
 Harlow, Vice President; Mrs. Mary B. Soule, 
 Secretary; Mrs. Flora M. Gerry, Treasurer; 
 Katherine Soule, Accompanist. White Rock 
 Choral Union—C. Eugene Knight, President; 
 
 Orrie D. Bragdon, Vice President; Maude C. 
 
 Knight, Seretary and Treasurer; Gertrude Bodge, 
 Librarian; Mrs. Arthur C. Soule, Pianist. 
 While, for the lack of a conductor 
 with enthusiasm sufficient to carry on 
 the work begun by Mr. Cain, no Fes- 
 tivals have been held since 1920, con- 
 cert programs of community singing 
 and other musical events have been 
 annually held at the Town Hall and 
 interest in music has continued to be 
 manifested in school, church and com- 
 
 munity life throughout the length and 
 breadth of the Saco Valley. 
 
 Community Singing 
 
 Following the lead of Rochester, 
 New York, in which city the national 
 community chorus movement is be- 
 lieved to have originated in the winter 
 of I914-15, there was organized by 
 Charles Barnhardt, a little later in 
 New York City, a community chorus 
 of mammoth proportions. The Buf- 
 falo Community Chorus came into ex- 
 istence in January, 1917; and similar 
 choruses were formed in Manetta, 
 Ohio, Chester, Penn., Brooklyn, Buf- 
 falo and Ellicottville, N. Y., and Prov- 
 idence, R. I., in February of that year. 
 Maine was not far behind in this pop- 
 ular movement for during the first 
 week in March, 1917, the People’s 
 Community Chorus of Portland was 
 organized by George Thornton Ed- 
 wards. 
 
 While other laudable attempts at 
 community singing in the State had 
 been earlier made, notably by the in- 
 troduction of the singing of two or 
 three hymns each Sunday at the Mu- 
 nicipal Concerts in Portland and by the 
 forming of a chorus from singers who 
 had taken part in an _ evangelistic 
 campaign in February, 1917, which, 
 in March, had taken the name of the 
 “Portland Community Chorus,” the 
 first attempt at community singing in 
 its truest sense, in Portland, and per- 
 haps in the State, may be said to have 
 been made in the summer of 1913 
 when Andrew Jackson, a chorister in 
 one of the churches of that city, invit- 
 ed the people who lived in the neigh- 
 borhood known as Deering Center, and 
 others interested, to attend a series of 
 out-door community sings in the old 
 disused trotting park, known as Pre- 
 sumpscot Park, the site of which later 
 came to be occupied by the Deering 
 
250 MUSIC AND MUSICIANS OF MAINE 
 
 ANDREW JACKSON, SONG LEADER. THE FIRST TO 
 CONDUCT AN OUTDOOR COMMUNITY SING IN PORT- 
 LAND. PHOTO BY ADAMS STUDIO, PORTLAND, ME. 
 
 High School Building. The response 
 was immediate and for three seasons, 
 during the months of July and August, 
 community sings were held every week, 
 and the neighbors, sometimes to the 
 number of five hundred or more, gath- 
 ered to sing familiar hymns and songs 
 of other days, to the accompaniment 
 of a portable organ, under Mr. Jack- 
 son’s direction. 
 
 Portland Community Music 
 Association 
 
 The first community chorus to be 
 organized in the State of Maine on the 
 broad non-sectarian plan adopted by 
 the great community choruses first 
 cited above, was the People’s Com- 
 munity Chorus of Portland. 
 
 The first officers of the People’s 
 Community Chorus, which was organ- 
 ized in February, 1917, with the fol- 
 
 lowing purposes: “to develope com- 
 munity singing and community music 
 in all its branches; to bring out the 
 true community spirit; to discover and 
 develope local talent, musical, dramat- 
 ic, literary and artistic; to encourage 
 local composers, writers, musicians, 
 singers, readers, players and entertain- 
 ers; to assist, as far as possible, local 
 composers and writers in getting their 
 works before the public; to educate 
 the people to the real value of com- 
 munity singing to the community; and 
 all other things and purposes incident 
 to any and all of the above,” were 
 George Thornton Edwards, President 
 and Conductor, Ralph D. Littlefield, 
 Treasurer, and Abbie A. Robinson, 
 Secretary. ‘The society was incorpo- 
 rated under the name of the Portland 
 Community Music Association, as a 
 musical organization, under the laws 
 of Maine, in January, 1918. 
 
 Community sings by the People’s 
 Community Chorus were held weekly 
 from March until June, 1917, with ever 
 increasing interest, when in that month 
 a concert was given in the City Hall 
 in Portland in which more than four 
 thousand people, representing every 
 race and nation living in the city, par- 
 ticipated in the singing of the com- 
 munity and patriotic songs on the pro- 
 gram prepared for that occasion. 
 
 A number of community sings were 
 held in other halls and theaters in 
 Portland during the summer and fall 
 of 1917 in which thousands joined in 
 lending their voices to swell the vocal 
 volume in this well organized effort to 
 stimulate an interest in mass singing. 
 
 State Liberty Chorus 
 
 To meet the demands of patriotic 
 societies in Portland and other cities 
 in the State for assistance in raising 
 funds for war work, the State Liberty 
 Chorus was organized in December, 
 
Tat te eI 
 
 SE eee 
 
 Pe Re ee Se ETS A, ON CS ee SN ee wr Ta ee aE LN PT 
 
 MUSIC OF THE STATE OF MAINE 1897-1928 251 
 
 1917, and the People’s Community 
 Chorus automatically became the Port- 
 land Unit of the newer State-wide 
 organization. 
 
 Officers for the greater part of its 
 active life were: 
 
 President, Mrs. Sarah Rideout Abbott of 
 Saco; Vice President, Mrs. Frederic E. Booth- 
 by of Waterville; Treasurer, Rev. Frank E. Bald- 
 win of Fairfield; Secretary, Abbie A. Robinson 
 of Portland; and Director General of the Chorus, 
 George Thornton Edwards of Portland. 
 
 The Liberty Choruses throughout 
 America were organized in accord- 
 
 -ance with the plans of the Council of 
 
 National Defense and were originally 
 intended to help win the war. They 
 proved so useful that when the war 
 Was over the government urged all 
 Liberty Choruses in the country not 
 to relax their efforts but to become or- 
 ganized on a permanent basis to con- 
 tinue the work of welding the com- 
 munity spirit. 
 
 On December 18, 1918, the State 
 Liberty Chorus was incorporated un- 
 der the Maine law and its stated ob- 
 jects were: 
 
 “To mobilize the musical and patriotic forces 
 of the State of Maine into one great patriotic 
 chorus, the members of which shall learn and 
 know the same songs so that they may be able 
 to sing them under reliable, patriotic and in- 
 spiring leadership wherever they may meet at 
 any time and to be subject at all times to the 
 call of the Governor of Maine, and the Director- 
 General of the Chorus.” 
 
 Among its further aims it proposed 
 to develope Maine talent in so far as 
 possible, to encourage Maine compos- 
 ers and to make a collection of the 
 works of Maine composers past and 
 present. 
 
 More than fifty units of the State 
 Liberty Chorus were organized in as 
 many towns in Maine. ‘Thousands 
 gathered in the principal music centers 
 of the State and sang inspiringly to the 
 accompaniment of army and concert 
 bands and orchestras, supplemented 
 
 by choruses numbering sometimes sev- 
 eral hundred at the weekly “Liberty 
 Sings” which were held throughout 
 Central and Western Maine, first in 
 one city or town and then in another, 
 under their State Director. So popu- 
 lar were the “Liberty Sings” in Maine 
 that theatres and halls and churches 
 in many of the towns were not large 
 enough to accommodate the crowds of 
 people who came to participate in 
 them. 
 
 Among some of the most notable 
 “Liberty Sings,” which were held in 
 1918, was an outdoor sing led from 
 the steps of the City Building to aid 
 the War Savings Stamp Drive in Port- 
 land, when more than four thousand 
 people, accompanied by the Fifth In- 
 fantry C. A. C. Band, joined in the 
 singing of the “Liberty Songs.” 
 
 There were four memorable Sunday 
 afternoon “Liberty Sings” at Water- 
 ville during August, 1918, at the first one 
 of which but a handful of people were 
 in attendance, but at the second, held 
 on the following Sunday, a thousand 
 were present. At the third, the Opera 
 House was packed to capacity and, be- 
 cause they had become so popular, it 
 was necessary, in order to hold the 
 fourth “Liberty Sing,” to secure the use 
 of the Chautauqua tent for the evening. 
 On this occasion, according to esti- 
 mates, twenty-five hundred people, 
 who completely filled the canvas en- 
 closure, sang the “Songs of Liberty,” 
 while another thousand clamored for 
 admittance. These were followed by 
 a great outdoor sing at the Central 
 Maine Fair, when Liberty Chorus 
 members from all parts of the State 
 gathered to sing under their Director 
 General and nearly five thousand voices 
 were raised in song to the accompani- 
 ment of the Portland Band which 
 played under the leadership of W. E. 
 Chandler. 
 
252 MUSIC AND MUSICIANS OF MAINE 
 
 Brief excerpts from the account in 
 the Biddeford Journal of the morning 
 following the first of a series of sings 
 in that city, when more than a thou- 
 sand people joined in the singing, are 
 presented here in testimony of the 
 great degree of enthusiasm which pre- 
 vailed in many places wherever these 
 weekly “Liberty Sings” were held. 
 
 “Biddeford’s first great Liberty Sing at the 
 opera house Sunday evening was a big success. 
 The enthusiastic assemblage joined with all its 
 might in singing the ‘Songs of Liberty’ under the 
 compelling and inspiring leadership of State 
 Director General, George Thornton Edwards. 
 Long before the opening hour people arrived and 
 in less than ten minutes after the doors were 
 opened the hall was well filled .. . 
 
 “The singing by the people was, of course, the 
 feature of the evening, as had been previously 
 announced, and it was not long before Director 
 Edwards had the great throng singing with a 
 vengeance. It was some contest, when it came 
 to ‘Over There,’ and the rafters of the opera 
 house fairly reverberated .... 
 
 “‘The Suanee River,’ the phrases of which 
 were sung by the people in the body of the 
 house and echoed by those in the balcony and 
 ‘The Long Long Trail’ were sung over and over 
 again, the audience still asking for more .. . .” 
 
 Of the “Liberty Sing” held in Bid- 
 deford on the following Sunday eve- 
 ning when the theatre and broad stair- 
 ways were jammed with people unable 
 to get in and more than a thousand 
 others were turned away, the Journal 
 reported: 
 
 “Director Edwards conducted the singing of 
 the ‘Liberty and Victory Songs’ by the people, 
 and the vast assemblage entered heartily into 
 the spirit of the occasion by joining in with a 
 will and cheering their favorite number to the 
 echo. 
 meeting would be brought to a close by singing 
 the national anthem, there were calls from all 
 over the house for more.” 
 
 Another great occasion in which the 
 Liberty Chorus participated was the 
 “Welcome Home” to the Ossipee Val- 
 ley boys on July 4, 1919, when ten 
 thousand people gathered in the village 
 square to listen to and take part in a 
 huge “Victory Sing” in which the State 
 
 Even when it was announced that the . 
 
 Liberty Chorus Director was assisted 
 by the Cornish Unit of the State Lib- 
 erty Chorus, with fifty vocalists who 
 sang from a specially constructed plat- 
 form in the center of the square. 
 
 With the close of the war the work 
 of the State Liberty Chorus was done 
 and while the organization was still 
 in existence in 1928, its members which 
 numbered thousands came to be classi- 
 fied among the “scattered and gone” 
 and at that time it was believed that 
 its last song had been sung. | 
 
 The great mission of the Liberty 
 Chorus appears to have been that it 
 filled an immediate need during the 
 last days of the World War. Through 
 its various units, all over the country, 
 millions of dollars were raised for war 
 work and war relief and through the 
 thrill of joining their voices in the sing- 
 ing, with such large numbers of others, 
 in one great chorus, many were in- 
 spired to do generous deeds and under- 
 take individual burdens which enabled 
 the nation to “Carry On.” 
 
 The State Liberty Chorus of Maine 
 never refused its services for any pa- 
 triotic endeavor. Musically it aided 
 in giving Opportunity to singers with 
 but a slight acquaintance with music 
 to sing with others of greater musical 
 knowledge and it was said “that if the 
 Maine Liberty Chorus did nothing 
 more, it accomplished a great deal in 
 improving the singing in the grange, 
 and in the congregations of the church- 
 es in the smaller towns of the State.” 
 
 A few weeks before the close of the 
 war Mr. Edwards was appointed to 
 the office of State Musical Director by 
 the National Council of Defense. It 
 is estimated that during the active 
 period of the State Liberty Chorus 
 that he led nearly one hundred thou- 
 sand people in the State of Maine in 
 singing the “Songs of Liberty.” 
 
 The State Liberty Chorus of Maine 
 
A GN an, Ore ae 
 
 bie eixert is 
 
 pene Satya ae regs oh Ris BC, ats 
 
 MUSIC OF THE STATE OF MAINE 1897-1928 
 
 was the second Liberty Chorus to be 
 organized in America and the first to 
 be legally incorporated in the United 
 States. 
 
 During the war period community 
 singing was independently featured 
 with success in several of the larger 
 cities and towns in Maine, notably in 
 Lewiston, with Vernon Stiles as song 
 leader; Bangor, with Adelbert Wells 
 Sprague, leader; and Bridgton with 
 Charles Harrison, leader; while the Lib- 
 erty Chorus units scattered throughout 
 the State were conducted by their lo- 
 cal leaders, all of whom did splendid 
 work by aiding in attracting large num- 
 bers of people that the speakers, sent 
 to Maine by the government, might be 
 heard by many. 
 
 Chamber Music 
 
 In 1898, on his return to Portland 
 from Germany, Dr. Latham True or- 
 ganized a trio which began under the 
 name of the Chamber-Music Trio. 
 With him were William True Cousens, 
 violinist; and Charles F. Jones, vio- 
 loncellist. The first recital of the 
 Chamber-Music Trio of Portland took 
 place in December of that year, when 
 complete works by Gade and Reis- 
 siger were given. This organization 
 continued to function until 1911 and 
 gave public performances in a number 
 of Maine cities before invitation audi- 
 ences. Fred Given played in Mr. 
 Cousen’s place for about three seasons 
 and Carl Osterberg of New York 
 played violin for one winter. Later, 
 when its personnel consisted of Dr. 
 True, Mr. Cousens and Joseph Korda, 
 the name of this trio was changed to 
 the Beethoven Trio. 
 
 During the year and a half in which 
 this combination played, many suc- 
 cessful recitals were given. In 1914, 
 when Mr. Korda went to reside in an- 
 other city, Mrs. Marion Priestly Ho- 
 
 253 
 
 ran became the cellist of the organiza- 
 tion. 
 
 In 1903 an attempt was made to or- 
 ganize a Chamber-Music Club in Port- 
 land. Hermann Kotzschmar was elect- 
 ed President and Dr. Latham True 
 Musical Director. Among others who 
 were interested in this organization 
 were Albert F. Smith, who afterwards 
 became director of the Evansville, In- 
 diana, Conservatory of Music, piano; 
 Charles C. Blanchard and Dr. Frank 
 W. Searle, clarinets; Frank H. Little, 
 oboe; Charles Tolman, flute; and 
 Catherine Patrick, violin. But one re- 
 cital by the Chamber-Music Club was 
 given. 
 
 Portland had, at one time, a stringed 
 quartette composed of William True 
 Cousens, first violin; Willis Carter, 
 alternating with Catherine Patrick, as 
 second violin; Mazie Williams, viola; 
 and Charles F. Jones, violoncello. This 
 quartette met for practice, but never 
 gave a public performance. 
 
 Portland stringed quartettes 
 trios from I9I5 to 1928 included: 
 
 The Mendelssohn Trio — Ruth Flanders, vio- 
 
 linist; Marie Camara, cellist; Juanita Guptill, 
 pianist; The Haydn Trio — Emily M. Eldridge, 
 violinist; Elizabeth Chevalier, cellist; Zilphaetta 
 E. Butterfield, pianist (later Mrs. Anna Korda 
 became cellist in this trio); The Portland Trio — 
 
 and 
 
 Margaret Wilson Johnson, violinist; Marion 
 
 Priestly Horan, cellist; Howard W. Clark, pian- 
 ist; The MacDowell Trio — Emily Eldridge, vio- 
 linist; Mildred Dugan, cellist; Esther Foss, pian- 
 ist; The Philharmonic Trio— Mrs. Margaret 
 Wilson Johnson, violinist; Mrs. Marion Priestly 
 Horan, cellist; Lois Mills, pianist; The Brahms 
 Trio — Lillian Talbot, violinist; Mildred Dugan, 
 cellist; Frances Donnell, pianist; The Schubert 
 Quartette —Beatrice E. Bryant, violin; Mildred 
 Dugan, cello; Ruth Wilson, piano; and an un- 
 named quartette, Marguerite Ogden, harpist; 
 Victoria Grey, cellist; Beatrice E. Bryant, vio- 
 linist; Mrs. Foster L. Haviland, pianist. 
 
 Deane’s Orchestral Club 
 
 Deane’s Orchestral Club of Port- 
 land, organized about 1890, unique in 
 that, during all the years of its exist- 
 
 hy 
 
254 
 
 MUSIC AND MUSICIANS OF MAINE 
 
 ence as an orchestra, it never per- 
 formed professionally, and that, on one 
 occasion only, did it ever play at any 
 place other than at the home of Mr. 
 and Mrs. Frank N. Deane, its found- 
 ers, has throughout its existence exert- 
 ed a considerable influence among the 
 instrumentalists of Portland. Three- 
 fourths of its members have been pro- 
 fessional performers, who have met 
 Friday evenings from September to 
 June in each year since its organiza- 
 tion. The class of music that it has 
 played has always been of high order. 
 The musical library which the ensem- 
 ble uses is the property of Mr. Deane 
 who has collected upwards of twenty- 
 five hundred classical and concert num- 
 bers including three hundred and fifty 
 standard overtures. 
 
 Following is quite a complete list of 
 those who from time to time have made 
 up the personnel of the orchestra. The 
 names marked with single asterisks 
 were not living in 1928. Those marked 
 with double asterisks constituted the 
 membership of the organization in 
 1928: 
 
 . First violins — Willis E. Carter,** William T. 
 
 Cousens,* Fred Given,* Blanche Cram Long- 
 fellow,* Dr. George I. Geer, Roger Brunel;* 
 Second violin — Charles G. Richards;* Violas — 
 Frank L. Prince, Charles Manning;* Cellos — 
 Dr. Harry L. Stilphen, Clarence H. Brown,* 
 Frank H. Fish, Charles F. Jones, Lelia M. Deane, 
 Albert Shackley;** Bass viols — Arthur W. 
 Morse,* Ralph E. Knight,** John Woodbury,* 
 Fred Hamilton,* Frank H. Faught; Flutes — 
 Jacob N. Jacobson,* Charles H. Tolman, John 
 T. Fagan;** Clarinets — Dr. Frank W. Searle,* 
 Martin L. Jensen, Fred C. Corliss;** Cornets — 
 Alfred T. Smith, Edwin L. Gibson, Lena R. 
 Hanson, Willis E. True,** Clarence H. Rowe, 
 Cecil Stilphen, Frank Ford; Trombone — Frank 
 N. Deane;** Piano — Lelia M. Deane,** Leon 
 V. Walker. 
 
 Conductors from 1890 to 1928 were 
 Frank I. Moore,* Henry Gifford and 
 Thomas B. Peters.** 
 
 Portland Flutist’s Society 
 
 The Portland Flutist’s Society, as it 
 existed in 1926, was composed of all 
 of the professional flutists of Portland 
 and three who were non-professional. 
 The instrumentation consisted of con- 
 cert flutes, piccolos and bass flute. Ex- 
 cepting during the months of June, 
 July and August, meetings were held 
 each Sunday during the year. Music 
 of a serious nature, especially arranged 
 for the combination was studied. 
 
 The members were: 
 
 Fanning G. Maloney, Conductor; John T. 
 Fagan, Thomas Johnson, Walter L. Josselyn, 
 Harold Lawrence, James B. Norcross, Carl 
 Schneider, P. J. Story, Charles H. Tolman, 
 Harry T. Wall. 
 
 It is to be regretted that this inter- 
 esting organization, which gave prom- 
 ise of becoming one of the most at- 
 tractive musical combinations in the 
 State, lasted but a year. 
 
 Stimson’s Orchestra 
 
 Quite a number of attempts to or- 
 ganize symphony orchestras in Port- 
 land subsequent to I900 were made, 
 but none, to’ 1928, endured for any 
 length of time. The personnel of some 
 of these orchestras was composed al- 
 most wholly of amateurs while that of 
 others was made up largely of pro- 
 fessional musicians. Most of these may 
 hardly be considered to have reached 
 symphonic proportions. 
 
 F. W. Stimson’s Symphony Orches- 
 tra of Portland was organized in 1913 
 by Ralph W. E. Hunt and Mr. Stim- 
 son. This aggregation gave a number 
 of concerts successfully, during the two 
 seasons that it was in existence, and 
 for several years those who composed 
 its membership, all professional mu- 
 sicians, played under Mr. Stimson’s 
 direction for the Saco Valley Festival 
 Chorus. The personnel and instru- 
 mentation were as follows: 
 
MUSIC OF THE STATE OF MAINE 1897-1928 
 
 255 
 
 PORTLAND MEN’S SINGING CLUB 
 
 Left to right. Top Row — Andrew Jackson, Clarence M. French, Harold Jordan, John Hanson, H. Earle Shaw, 
 Louis E. White (president); Ernest J. Hill, Rev. Vincent B. Silliman, John Oakes Burke; Third Row — Ralph 
 Leighton, Lester N. Gerrish, Edwin W. Sadler, Harry L. Eustis, Harry S. Files, Stanley -S. Gerrish, James F. Macy, 
 Alfred H. Tracy, John Farr, Leroy Burns, Carl Johnson; Second Row — Herbert S. Kennedy, Donald Foss, Alfred 
 O. Halverson, Leroy Leonard, Philip Milliken, Luther Bonney, Richard Baker, William White, George McClung, 
 Albert B. Hall, Alfred Brinkler (conductor); Front Row-— Frank Thomes, Charles Blackwell, Elmer Mangum, 
 Fred Lincoln Hill, John P. Thomas, Howard Stevens, Pearce Francis, Charles Fenderson, Edwin M. Sadler, Photo 
 
 by Tisdale, Portland, Me. 
 
 First Violins — Percival Bodge (concert mas- 
 ter), Walter Hood, Glen Harmon, Mr. Broseau, 
 Mr. Simanski; Second Violins — Fred Lavine, 
 Earl Woodman, Henry Gifford, Frank Prince; 
 Violas — Arthur Warren, Charles Richards; 
 Cellos — Woodbury P. Harrington, Louis Pola- 
 kovitch; Basses — Nathaniel Blanchard, Joseph 
 Cote; Flute —Patrick Story; Oboe — Frank Lit- 
 tle; Clarinets — Horace E. Mills, Harry Ingra- 
 ham; Bass Clarinet — Frank Rikel; Trumpets — 
 Charles E. Downes, Harry Bridge; Horns — 
 Jacob Havener, Louis Fickett; Trombone — 
 Harry Eustace; Tympant and Drums — Howard 
 M. Shaw. 
 
 Portland Orchestral Society 
 
 A revival of interest in a symphony 
 orchestra for Portland was begun in 
 the winter of 1925-26 with the organi- 
 zation of the Portland Orchestral So- 
 ciety in which nearly fifty young peo- 
 
 ple, assisted by about a dozen profes- 
 sional musicians, were given an op- 
 portunity to study the simpler classi- 
 cal overtures under the direction of 
 Arthur F. Kendall, then leader of the 
 Strand Theatre Orchestra. 
 
 The good angel of this organization 
 was John Morris, who generously paid 
 for the rental of a suitable room in 
 which the orchestra might be able to 
 hold its weekly rehearsals and other- 
 wise contributed to its maintenance. 
 
 In the Spring of 1926 the personnel 
 of the Portland Orchestral Society was 
 as follows: 
 
 Arthur F. Kendall, conductor; Violins — E. 
 Raymond Shaw, concert master, Charles E. 
 Bourke, Ila Carr, Reginald D. Connor, Chris- 
 
MUSIC AND MUSICIANS OF MAINE 
 
 ALFRED BRINKLER, CONDUCTOR PORTLAND MEN’S 
 SINGING CLUB, 1928. PHOTO BY KENNEDY, PORT- 
 LAND. 
 
 topher Connolly, Henry C. Cook, Mrs. Harry 
 Dalton, Lincoln Draper, Mrs. Botho Felden, 
 Abraham Fineberg, Earl L. Flagg, Robert F. 
 Fredette, John S. Gardenier, Joseph Greenwald, 
 Munroe Hamilton, Ira W. Hamilton, Mrs. Maude 
 Hovey, Helen S. Beier William F. Kerr, Thelma 
 Latham, Everett Lombard, Vladimir Orlows, 
 Harriet F. Pease, Louis Rapoport, James C. 
 Riggas, Irvin Robbins, Samuel A. Sampson, 
 Ethan A. Soule, Eleanor Spear, Herman L. 
 White; Violas — Prudence M. Burke, Clinton 
 W. Graffam, John A. Gilmartin, Frank L. Prince; 
 Violoncellos — Valeria Carignan, Mrs. F. N. 
 Deane, Mildred M. Dugan, Dr. Botho Felden, 
 Lillian M. Schwenke, George A. Shackley; Bass- 
 es —Fred F. Hubbard, Ralph E. Knight, Mau- 
 rice Wade; Flutes — Herbert G. Jones, Walter 
 L. Josselyn, Harold M. Lawrence; Oboe — Frank 
 H. Little; Clarinets — Percy C. Chipman, Blan- 
 chard Comeau, Wendall Doherty, Mollie Jones; 
 Bassoons —Harry P. Lowell, Lloyd E. Morse; 
 Horns —Carl Brown, Randall Colby, Arthur 
 H. Stevens, Maynard A. Young; Trumpets — 
 Hyman Fineberg, James Nettleton, William 
 W. Simonton: Trombones — Orville Duplessie, 
 Charles Odlin, Marion L. Schwenke; Tuba — J. 
 Howard Crangle; Harp— Grace M. Tibbetts; 
 Timpani—Carl Liberty, Alston W. Parker; 
 
 Percussions Brae L. Downs, Floyd Hern, 
 Donald R. Parker. 
 
 Portland Men’s Singing Club 
 
 An organization that has brought 
 no little fame to the State of Maine is 
 the Portland Men’s Singing Club, or- 
 ganized March 9, 1914. 
 
 Will C. Macfarlane, Portland’s first 
 municipal organist, was its first con- 
 ductor. During Mr. Marfarlane’s stay 
 in Portland the club appeared each 
 season in the regular municipal con- 
 cert course. Henry F. Merrill was its 
 first President and Convers E. Leach, 
 Secretary. Other officers at that time 
 were: Vice President, Albert B. Hall, 
 and Librarian, John Oakes Burke. 
 On Mr. Macfarlane’s departure from 
 the city the club was, for a short time, 
 directed by Irving q Morgan, while 
 he was municipal organist of Portland. 
 
 When Edwin H. Lemare came to 
 take the post of city organist he be- 
 came conductor of the society and con- 
 tinued to act in that capacity during 
 his stay in the city. 
 
 Since January, 1923, the club has 
 sung under the direction of Alfred 
 Brinkler. 
 
 The following were the charter 
 members of the Men’s Singing Club: 
 
 First tenors —Wilfred E. Cole, Raymond 
 Frank, Frank L. Gray, Carl C. Hascall, Prince 
 S. Hayden, Ernest J. Hill, Frederic Kennedy, 
 Herbert S. Kennedy, Jr., Frank E. Thomes, and 
 Louis E. White; Second tenors — Herbert W. 
 Barnard, John Oakes Burke, Kelley Cole, Arthur 
 L. Douglass, Albert B. Hall, Thomas Smiley, 
 Arthur W. Vickerson, Harry E. Waite, Clayton 
 T. Whipple, and Joseph W. Whitney; Baritones 
 — Samuel N. Barnes, Harold T. M. Colby, Rex 
 W. Dodge, Harry S. Files, Malcolm W. Free- 
 man, Walter I. Kennedy, Roy A. Purrington, 
 Howard R. Stevens, Robert S$. Thomes, and 
 Alfred H. Tracy; Basses — Dr. W. S. Coleman, 
 Harry L. Eustis, Harold C. Furlong, James F 
 Macy, A. Howard McRonald, Harry Merrill, 
 
 Henry F. Merrill, Fred H. Oliver, Horace G. 
 Parkman, and Charles E. Wyer. 
 
 Fred Lincoln Hill has been the ac- 
 
ee a en, en ae ee ee 
 
 MUSIC OF THE STATE OF MAINE 1897-1928 257 
 
 companist for the club for the greater 
 part of its existence. The club is sup- 
 ported by sustaining memberships. As 
 a tribute to its founder, the members 
 early adopted Macfarlane’s musical 
 setting of Katherine Lee Bates’ lovely 
 poem, “America, the Beautiful,” as 
 the club song and a verse has since 
 been sung at the opening of every 
 program given by the society. 
 
 The Portland Men’s Singing Club 
 entered into a singing contest at Quin- 
 cy, Mass., in April, 1926, in which ten 
 of the leading Men’s Glee Clubs of 
 New England participated and there 
 won the first prize which consisted of 
 five hundred dollars in cash and a 
 free trip to the National Meeting of 
 the Associated Glee Clubs of America 
 held at the Sesqui-Centennial Exposi- 
 tion in Philadelphia, November, 1926. 
 
 In Quincy they participated in a 
 grand concert by all the competing 
 clubs, directed by Stuart Mason. 
 
 At the Sesqui-Centennial Exposition 
 meeting a program under the direction 
 of Dr. Daniel Prothero was rendered 
 by a combined chorus of twenty-five 
 hundred men’s voices, and while there 
 the members of the club were the per- 
 sonal guests of Cyrus H. K. Curtis, an 
 honorary member of the club. 
 
 In May, 1927, the Portland Men’s 
 Singing Club was the host to the New 
 England Federation of Men’s Glee 
 Clubs when they entertained about 
 five hundred men singers. A contest 
 and concert were held in the Portland 
 City Hall at which the Portland Men’s 
 Singing Club was awarded the third 
 prize. Dr. Will C. Macfarlane, the 
 first conductor of the club, was the 
 guest conductor of the combined cho- 
 ruses. 
 
 At the contest held by the New Eng- 
 land Federation of Men’s Singing 
 Clubs at Springfield, Mass., in the 
 spring of 1928, the Portland Men’s 
 
 LOUIS E. WHITE, PRESIDENT OF THE PORTLAND 
 MEN’S SINGING CLUB, 1928. PHOTO BY BACHRACH, 
 PORTLAND, ME. 
 
 Singing Club was again successful in 
 carrying off first honors. 
 
 The ideals of the Portland Men’s 
 Singing Club have been stated to be 
 the promotion of the love of music 
 written for men’s voices and the creat- 
 ing of an interest in the arrangement 
 of such music and presentation of the 
 same, especially among those singers 
 who may be able to qualify for mem- 
 bership in the club. 
 
 The officers of the organization in 
 
 1928 were: 
 
 President, Louis E,. White; Vice President, 
 Howard R. Stevens; Treasurer, Ralph W. Leigh- 
 ton; Secretary, Edwin M. Sadler; Librarian, 
 Charles H. Blackwell; Conductor, Alfred Brink- 
 
 ler. 
 The members were as follows: 
 
 First tenors — Stanley S. Gerrish, Ernest J. 
 Hill, Herbert S. Kennedy, Leroy E. Leonard, 
 
258 MUSIC AND MUSICIANS OF MAINE 
 
 PORTLAND POLYPHONIC SOCIETY 
 Left to right. Standing — Clifford Jones, Mrs. C. R. Phinney, Charles Hudson Blackwell, Ethel G. Berry, Guy 
 
 Kendall, Mrs. John P. Thomas, Mrs. 
 
 James Hamlin, Earle Shaw, John P. Thomas, Alfred Brinkler (conductor) ; 
 
 Charles K. Fenderson, Edwin Sadler, Mrs. Herbert Harrison, J. Arthur Hanson; Seated — Helen C. Ward, Mrs. 
 
 George F. 
 
 Frank E. Thomes, George A. Tibbetts, Louis E. 
 White, William C. White; Second tenors—Rich- 
 ard M. Baker, Charles H. Blackwell, Gustav W. 
 Bratt, John Oakes Burke, Reginald B. Cooke, 
 Donald M. Foss, Lester N. Gerrish, Albert B. 
 Hall, Carl S. Johnson, Elmer R. Mangum; Bari- 
 tones — Harry S. Files, Pearce J. Francis, An- 
 drew Jackson, Ralph W. Leighton, Percy B. 
 McCord, Edwin W. Sadler, H. Earle Shaw, 
 Howard R. Stevens, John P. Thomas, Alfred H. 
 Tracy; Basses —A. Hurford Crosman, H. Lin- 
 wood Eustis, John Farr, Charles K. Fenderson, 
 Harold C. Furlong, J. Arthur Hanson, Harold 
 C. Jordan, James F. Macy, Edwin M. Sadler, 
 Vincent B. Silliman; Accompanist — Fred Lin- 
 coln Hill; Honorary members —Cyrus H. K. 
 Curtis, Henry F. Merrill, Charles E. Wyer; 
 Substitute members — Luther I. Bonney, Leroy 
 M. Burns, Clarence M. French, Alfred O. Hal- 
 verson, Irving W. Maxwell, George W. McClung, 
 Philip I. Milliken. 
 
 The Portland Polyphonic Society 
 
 Among the musical societies of the 
 State which have striven for the ac- 
 complishment of the best in music 
 there has been none with more ambi- 
 tious aims than the Portland Poly- 
 phonic Society which was organized in 
 1922. Its work is devoted to the study 
 of the highest forms of artistic music. 
 Its sole purpose was stated at the time 
 
 Gould, Mrs. Charles K. Fenderson, Mrs. Alfred Brinkler, Mrs. Earle C. Rundlette. Photo by Allen 
 Hubbard. Courtesy of Portland Maine Publishing Company. 
 
 of its organization to be for the mutual 
 enjoyment of its members in singing 
 songs written for five or more parts. 
 The limitation of its membership was 
 planned as follows: four first sopranos, 
 four second sopranos, two first altos, 
 two second altos, two first tenors, two 
 second tenors, two baritones, three 
 basses, and a pianist. 
 
 In the choral work a richness of 
 harmony which is impossible to pro- 
 duce in the singing of ordinary four- 
 part choruses is effected. A number 
 of notable concerts have been given 
 by the Portland Polyphonic Society in 
 the five years of its existence. 
 
 Alfred Brinkler, who organized the 
 society, was its conductor in 1928 and 
 in that year the membership included: 
 
 First sopranos — Mrs. George F. Gould, Avis 
 Lamb, Helen Ward, Madeline Winfield; Second 
 sopranos — Ethel Berry, Margaret Ewing, Mrs. 
 James C. Hamlen, Jr., Mrs. John P. Thomas; 
 First altos —Mrs. Alfred Brinkler, Harriette 
 Ohler; Second altos —Mrs. Charles K. Fender- 
 son, Mrs. H. C. Harrison; First tenors — Clif- 
 ford L. Jones, Elmer R. Mangum; Second tenors 
 — Charles H. Blackwell, Guy P. Kendall; Bari- 
 tones —H. Earle Shaw, John P. Thomas; 
 Basses — Charles K. Fenderson, J. Arthur Han- 
 
MUSIC OF THE STATE OF MAINE 1897-1928 259 
 
 WOMEN’S CHORAL SOCIETY 
 
 Left to right. Top Row —Mrs. Isabel York, Yvonne Shevenell, Mrs. Florence L. Johnson, Mrs. Doris Nelson, 
 Rosa_Rizzo, Mrs. Charles D, Fullerton, Mrs. Anne Neily, Mrs. Ervette Jordan, Mrs. Merle Brown, Mrs. Clarence 
 E, Calden, Mrs. Edna G. Gaffney; Third Row—Mrs. Anna Parks Booker, Eloise Newcomb, Mrs. May 
 McDonnell, Addie D. Emerson, Mrs. Alice G. Farley, Mrs. Marion Eastman, Mrs. Gladys §. Birnie, Mrs. Ruth 
 
 _ Nickerson, Mrs. Marion A. Moulton, Mrs. Katherine Bonney, Mrs. William C. White; Second Row — Mrs. 
 
 S. S. Thompson, Mrs. E. L. Wallace, Mrs. Annie Hebert, Angelina Peverada, Pearl Elliott, Mrs. Marion J. Freeman, 
 Mrs, Ethel L. Mitchell, Mrs. Belle Cropley, Claire Shea, Mrs. Althea C. Wright, Mrs. Charlotte Lowell, Mrs. 
 Evelyn B. Carroll; Front Row— Mrs. Florence Bremon, Mrs. A. C. Cloudman, Mrs. Susan Bonney, Mrs. James 
 K. Lothrop, Mrs. Helen W. Talbot, Rupert Neily, Mrs. Muriel Millett, Margaret Strout, Mrs. Marguerite A. 
 
 Johnson, Mrs. Maud H. Haines. Photo by Bicknell, Portland, Me. 
 
 son, Edwin M. Sadler; Pianist — Mrs. Earl C. 
 Rundlette. 
 
 Among others who have been mem- 
 bers of the Portland Polyphonic So- 
 ciety are: 
 
 Mrs. Kenneth Chadwick, Emily Chase, Mrs. 
 Wallace L. Cook, Ruth Marshall, Beatrice Mc- 
 
 Leilan, Mrs. Eugene Merrill, Mrs. Harry Nixon, 
 Mrs. Harold Otis, Mrs. Chauncey Phinney, Mrs. 
 Emma M. Phinney, sopranos; Mrs. C. Everett 
 Boynton, Helen C. Howes, Marcia Merrill, Hen- 
 rietta D. Rice, altos; William V. Bradley, Gus- 
 tav W. Bratt, Walter P. Cushing, Stanley Ger- 
 rish, Frank L. Gray, William McLean, Harry 
 G. Mershon, tenors; Samuel N. Barnes, Harold 
 Furlong, Leonard D. Marshall, Ralph Wilson, 
 Charles E. Wyer, basses. 
 
 The officers in 1928 were: 
 
 President, Mrs. George F. Gould; Treasurer, 
 Mrs. Alfred Brinkler; Secretary, H. Earle Shaw. 
 
 The original officers of the club 
 were: 
 President, Charles E. Wyer; Secretary and 
 
 Treasurer, William McLean; Librarian, Mrs. 
 
 Alfred Brinkler. 
 
 As late as 1928 the Portland Poly- 
 phonic Society was the only chorus in 
 America which offered exclusively pro- 
 grams of old and modern glees and 
 madrigals, written for more than four 
 parts. 
 
 Women’s Choral Society 
 
 When Rupert Neily came to Port- 
 land from New York City in 1919 he 
 was amazed to find among the women 
 vocalists of Portland such a wealth of 
 beautiful voices, but no association for 
 their development in the art of choral 
 singing. The Women’s Choral Society 
 was the ultimate result of his endeavor 
 to give to Portland a singing organiza- 
 tion which should undertake the study 
 and interpretation of classical music 
 for women’s voices. 
 
260 MUSIC AND MUSICIANS OF MAINE 
 
 RUPERT NEILY, FOUNDER AND CONDUCTOR OF THE 
 WOMEN’S CHORAL SOCIETY. PHOTO BY KENNEDY, 
 PORTLAND. 
 
 In their programs the club has pre- 
 sented, with rare artistry, French, Ger- 
 man, Italian and English part songs 
 in the forms in which their composers 
 gave them to the world of music. In 
 articulation, tone, interpretation and 
 musicianship, this choir attained a de- 
 gree of excellence rarely equalled by 
 any similar group in the State. 
 
 The officers of the Women’s Choral 
 Society in 1928 were: 
 
 Mrs. Helen W. Talbot, President; Mrs. Marion 
 Eastman, Vice President; Mrs. Maud H. Haines, 
 Treasurer; Margaret Strout, Recording Secre- 
 tary; Katharine Bonney, Corresponding Secre- 
 tary; Mrs. Evelyn B. Carroll, Librarian. 
 
 Among the members have been: 
 
 Mrs. Gladys M. Bean, Mrs. Mabel Berryman, 
 Mrs. Gladys S. Birnie, Mrs. Susan Bonney, Mrs. 
 
 Katharine Bonney, Mrs. Anna Parks Booker, 
 Mrs. Florence Bremon, Mrs. Merle Brown, Mrs. 
 Clarence E. Calden, Mrs. Evelyn B. Carroll, 
 Mary M. Carson, Florence M. Clarke, Mrs. 
 George Clark, Mrs. Howard W. Clark,. Mrs. 
 Gerald P. Clifford, Mrs. A. C. Cloudman, Mar- 
 garet Craven, Mrs. Belle Cropley, Mrs. Delma 
 K. Dresser, Mrs. Marion Eastman, Pearl Elli- 
 ott, Addie D. Emerson, Margaret Ewing, Mrs. 
 Alice G. Farley, Edith Farr, Mary Faulkenham, 
 Mrs. Louis M. Files, Mrs. Ruth Carter Fobes, 
 Dorothy Foley, Mrs. Marion J. Freeman, Mrs. 
 Charles D. Fullerton, Mrs. Edna G. Gaffney, 
 Mrs. Guy P. Gannett, Mrs. Maud H. Haines, 
 Mrs. Annie Hebert, Mrs. Esther C. Hobbs, Mrs. 
 Florence L. Johnson, Mrs. Marguerite A. John- 
 son, Mrs. Ervette Jordan, Mrs. James K. Loth- 
 rop, Mrs. Charlotte Lowell, Mrs. May McDon- 
 nell, Mrs. Olive McDougal, Mrs. Helen Mc- 
 Intyre, Mrs. Esther Menish, Mrs. Muriel Mil- 
 lett, Mrs. Ethel L. Mitchell, Mrs. Celia Morse, 
 Mrs. Marion A. Moulton, Mrs. Anne Neily, 
 Mrs. Ruth Nickerson, Mrs. Doris Nelson, Lloy 
 Page, Angelina Peverada, Mrs. G. H. Purington, 
 Marion P. Randall, Mrs. Cora Ricker, Rosa 
 Rizzo, Mrs. Anna L. Robbins, Mrs: Charlotte 
 G. Roche, Mrs. Blanche T. Russell, Claire 
 Shea, Yvonne Shevenell, Hazel Shields, Mrs. E. 
 H. Snow, Mrs. Mildred Soule, Margaret Strout, 
 Mrs. Frances L. Talbot, Mrs. Helen W. Talbot, 
 Mrs. S. S. Thompson, Mrs. E. L. Wallace, Mar- 
 tha Wasson, Mrs. Ruth Waterhouse, Mrs. Jane 
 Whibley, Mrs. William C. White, Mrs. Althea 
 C. Wright, Mrs. Isabel York. 
 
 Rupert Neily was the director of 
 the Women’s Choral Society from its 
 inception. 
 
 Vocal Quartettes 
 
 Prominent among the vocal quar- 
 tettes in Portland during the early 
 part of this period were: 
 
 The Mozart Quartette — Dr. Harry M. Nick- 
 erson, Herbert W. Barnard, Jr., Harry F. Mer- 
 rill, Frank H. Pierce; The Mendelssohn Quar- 
 tette — Clementine Varney, Martha Hawes, Dr. 
 Harry M. Nickerson, Millard Bowdoin; The 
 Pilgrim Male Quartette — Robert Fitzgerald, 
 
 Harold S. Tripp, Percy F. Baker, Dr. George 
 B. Clark. 
 
 Among the more recent vocal quar- 
 tettes in Portland have been: 
 
 The Harvard Quartette—Ernest J. Hill, 
 Herbert S. Kennedy, Howard R. Stevens, Harry 
 
 L. Eustis; The Temple Quartette — Everett M. 
 Waterhouse, Howard R. Stevens, Joseph W. 
 
wel. Fea = i 
 
 PRE ne es I Ee Per Ne 
 
 - 
 
 MUSIC OF THE STATE OF MAINE 1897-1928 
 
 Whitney, Harry F. Merrill; The Knickerbocker 
 Male Quartette —W. V. Bradley, Leroy Leon- 
 ard, P. Byron McCord, Harold C. Furlong; 
 The Cosmopolitan Quartette — John Palmer, 
 Austin LaRose, William Petty, Augustus Mc- 
 Donald; The Cecilia Quartette —Mrs. Jane 
 Whibley, Lois Wasson, Helen Nelson, Josephine, 
 Gaskins; The Ladies’ Aria Quartette — Made- 
 line Welch, Margaret Wilson, Alice Parker, Ethel 
 Leeman; Rita Gibson, pianist. 
 
 Other important vocal quartettes in 
 Maine have been: 
 
 The Euterpe Quartette of Bangor —Carrie 
 Hodgdon, Annie Semple, Annie Sweet, Arione 
 Hurley; The Temple Quartette of Kennebunk — 
 Edward Lahar, M. S. Costello, H. Lombard, H. 
 Strayholm; The Harmony Four of Lewiston — 
 Edward Mixer, Adelard Beaucage, Lawrence F. 
 Eagan, Edward W. Conway; The Favorite Four 
 Male Quartette of Rumford —W. H. Wood, J. 
 A. Monteith, M. C. Wood, C. E. Freeman; The 
 Warren Male Quartette of Westbrook —Mat- 
 thias F. Mogan, Edmund A. Axelsen, Ernest 
 Theis, Leland W. Knight; The Excelsior Quar- 
 tette of Saco— Mrs. Winifred Ward, Mrs. Al- 
 freda D. Chadbourne, Charles A. Chadbourne, 
 Frederick A. Lord. 
 
 This quartette which was in existence 
 for more than twenty-five years was 
 considered one of the best in Western 
 Maine. 
 
 The members of the Ladies’ Quar- 
 tette of Guilford, sponsored by the 
 Woman’s Club of that town, were, in 
 1928: 
 
 Mrs. Donna Field, Mrs. Kathleen Sibley, Mrs. 
 
 Marcia Holmes, Florence Howes and Mrs. Ma- 
 belle Edes, Director-Accompanist. 
 
 Portland Choirs 
 
 Maine’s sweetest voiced singers have 
 always been found in the choirs of the 
 churches of the State. To attempt to 
 enumerate them all would be futile, 
 and even to list the majority of them 
 would be unprofitable, for it would in 
 most instances be but a repetition of 
 the names of those, accounts of whom 
 have appeared in these pages in con- 
 nection with the musical societies and 
 musical activities of the times in which 
 they lived. 
 
 261 
 
 In nearly every city in Maine there 
 has been one or two churches where 
 the music has always been an out- 
 standing feature of the service, and 
 among these, the First Parish Church 
 of Portland has been one, to the choir 
 of which all ambitious church singers 
 have aspired. Charles Nolcini was its 
 first organist at about the time that 
 Maine became a State, as has been 
 stated in an earlier chapter, and he 
 was followed by Madame Ostinelli, 
 who at that time had become one of 
 the leading teachers of piano and or- 
 gan in Portland. 
 
 Mrs. Sarah H. Gilman was organist 
 from 1832 to 1839 and in her choir for 
 a part of the time were William H. 
 Wood, tenor and chorister, and Charles 
 Cobb, bass. 
 
 Archie Twombley, an Englishman, 
 was organist at the First Parish from 
 1839 to 1840, when the choir was made 
 up of Elizabeth Weeks (daughter of 
 Joshua Weeks), soprano; Caroline Wil- 
 liams, alto; John S. Dunlap (“land- 
 lord” of the United States Hotel), 
 tenor; and Charles W. Thomas, bass, 
 and he was succeeded by David Paine. 
 In 1841 Ireneus Solomus was organist 
 there and among those who were mem- 
 bers of the choir at about this time 
 were Mary J. Emery, Mrs. Lendell 
 Boyd, Sarah Hooper, Charlotte Isley, 
 William Weeks and George A. Twitch- 
 ell. 
 
 Jennie Twitchell of Gardiner was 
 alto during Dr. Stebbin’s time. 
 
 Edward B. Robinson, who was the 
 immediate predecessor of Hermann 
 Kotzschmar, followed Mrs. Charles B. 
 Varney as organist at the First Parish. 
 Mr. Robinson, like Nolcini and Paine, 
 was a dealer in musical instruments. 
 Hermann Kotzschmar presided at the 
 instrument from 1851 to 1898. While 
 Mrs. Varney was organist, Elizabeth 
 Weeks was the soprano; Susan Whit- 
 
262 MUSIC AND MUSICIANS OF MAINE 
 
 ney, contralto; Henry Cushing, tenor; 
 and Dr. Charles Thomas, bass. Mr. 
 Cushing, though a man of otherwise 
 excellent education, sang wholly by 
 ear. Notes were valueless to him and 
 he was obliged to spend much time in 
 memorizing the tenor parts of hymns 
 and anthems so that he might be able 
 to sing them correctly at the services. 
 
 “At about this time” (1845), Mr. 
 Thurston writes in his Reminiscences, 
 “an important change introduced Har- 
 riet N. Cammett, as soprano; a young, 
 but very promising singer, fresh from 
 her musical studies in Boston. Her 
 voice was a pure soprano of remark- 
 able range; I have heard her sing 
 double F in public concert. Handel’s 
 roulades had no terrors for her. Her 
 style had a breadth and purity seldom 
 attained, and she was for many years 
 undoubtedly the finest vocal artist 
 Maine had produced.” 
 
 Those who heard Miss Cammett 
 (Mrs. H. M. Wetherbee) sing in the 
 forties and early fifties say that her 
 voice was really marvelous and that 
 had she studied abroad she would 
 probably have become one of the great 
 sopranos of her day. 
 
 At the time Miss Cammett was the 
 soprano, Jane M. Usher, who later be- 
 came the wife of Judge Nathan Webb, 
 was the contralto in the choir and she 
 has been described by contemporaries 
 as being a wonderfully sweet-voiced 
 singer. William Henry Dennett, who 
 had then recently returned from his 
 studies in Europe, sustained the bass 
 and Samuel Thurston the tenor parts 
 in the choir. Later, John L. Shaw 
 succeeded Mr. Dennett as bass. When 
 Miss Usher resigned her position, Mrs. 
 Charles Norcross became the contral- 
 to. The richness of her voice made 
 Mrs. Norcross a great favorite with 
 Portland audiences. 
 
 Henrietta Rice, the next contralto, 
 
 remained with the choir for an extend- 
 ed period, and Mrs. Nettie Fellows, 
 who was soprano there at that time, 
 served for a number of years. 
 
 One of the most appalling tragedies 
 that ever occurred in maritime history 
 was the sinking of the steamer Port- 
 land, on Sunday morning, November 
 27, 1898, when all on board perished. 
 Not one of the one hundred and fifty 
 persons aboard the vessel survived. 
 In a terrible storm, one of the worst 
 ever known on the Atlantic Coast, 
 when near Cape Cod, about nine a.m. 
 of that day, the steamer, which had 
 put out from Boston at seven o’clock 
 the night before, with all on board, 
 disappeared forever and none will ever 
 know how they perished. One of those 
 who were lost was Emily L. Cobb, then 
 soprano of the First Parish Church 
 Choir of which she had been a mem- 
 ber for several months. She was the 
 only living daughter of Edward and 
 Judith S. Cobb and one of the grand- 
 children of Capt. George Knight, who 
 for many years had followed the sea, 
 which in its relentless fury claimed her 
 as toll. | 
 
 In the services on the Sunday after 
 the disaster, John Carroll Perkins, 
 pastor of the church in which she had 
 so joyously sung, paid her this tribute: 
 
 ‘Her gift of song became the object 
 of her ambition. It shaped her life to 
 higher thinking, to more devoted effort 
 to a wider outlook into the future, to 
 new endeavor, to a broader sense of 
 service in the world. There was a 
 promise of great joy and worth in such 
 a nature and with such a gift.” 
 
 In 1898 there were many changes in 
 the choir of the First Parish Church. 
 No less than sixteen of Portland’s vo- 
 calists sang the soprano parts in that 
 year, and among these were: 
 
 Edna Webb (Mrs. Latham True), Mrs. Eve- 
 lyn Day White, Mrs. Charles Briggs, Mrs. Rob- 
 
MUSIC OF THE STATE OF MAINE 1897-1928 263 
 
 ert T. Whitehouse, Mary Libby, Harriet Foster 
 (Chadwick), Dorothea Thomes, Alice Wood, 
 Eva Findley, Harriet Fassett, Georgie Bates and 
 Bertha Steward. 
 
 Organists at the First Parish Church 
 after Mr. Kotzschmar’s time were: 
 
 Henry Baker Humphrey, 1898-1901; Walter 
 Smith, 1901-1912; Latham True, 1912-1921; 
 Gertrude Buxton since 1921. 
 
 The members of the choir since 1898, 
 in succession, have been: 
 
 Sopranos — Harriet Foster, Alice Wood, Ber- 
 tha Steward, Emily L. Parsons, Marion Dyer, 
 Ellen Blodgett; Altos — Elizabeth King, Edna 
 Webb, Gertrude E. Berry; Tenors — Herbert W. 
 Barnard, Jr., John Oakes Burke, Joseph Walker 
 Whitney, Charles Hudson Blackwell; Basses — 
 Frank H. Pierce, Walter S. Coleman, William 
 Thomes and Percy B. McCord. 
 
 Organists in some of the other prin- 
 cipal churches of Portland have been: 
 
 Cathedral of the Immaculate Conception, 
 Charles Libby, George A. Quimby (40 yrs.), 
 Bernadette Moreau; Central Square Baptist 
 Church, Walter Smith, Mrs. Maud H. Haines; 
 Chestnut Street M. E. Church, Charles O. Files, 
 Latham True, Karl Lester Tower, F. L. Hill, 
 Mrs. Foster L. Haviland, Mrs. Gilman Davis, 
 Julia N. Gosse; Church of the Messiah, J. W. 
 Woodbury, C. R. Cressey, Florence E. Chipman, 
 
 - E. C. Farnsworth, Edgar H. Paine, F. O. Fuller- 
 
 ton, Ethel Fullerton, Mrs. Dorothy Gustafson, 
 Harry T. Pierce, George E. Sawyer; Church of 
 the Sacred Heart, Emily P. Baxter, Marguerite 
 Dunphy, Mary E. Murray, Josephine O’Connor 
 (Mrs. James A. McFaul); Clark Memorial 
 Church, H. Allister Grant, F. L. Jackson, Marion 
 Johnson; Congress Square Universalist, Cornelius 
 K. Hawes, George W. Marston, James Bain, 
 Frank L. Rankin, Howard W. Clark; Congress 
 St. M. E. Church, Esther L. Holden, Mrs. Ruth 
 Knight Norton; First Baptist Church, John W. 
 Woodbury, Harry T. Johnson, Richard E. Lewis, 
 Esther Foss; First Free Baptist Church, Mrs. 
 Arthur A. Allen, Howard W. Clark, Fred Lincoln 
 Hill, C. H. Robie, C. F. Jones; Free Street Bap- 
 tist Church, H. W. Locke, Mrs. George A. Libby, 
 Ida May Pinkham, Gertrude Buxton; High St. 
 Congregational Church, James Bain, Velma 
 Willis Millay, Walter Smith; New Jerusalem 
 Church, Edgar H. Paine; Park St. Presbyterian 
 Church, Anna C. Willey; Pine St. M. E. Church, 
 Mae F. Haskell, Harold A. Loring; Second Par- 
 ish Church, Edward C. Farnsworth, Clayton 
 Frank; St. Joseph’s Church, John E. Fay; St. 
 Lawrence Congregational Church, William H. 
 
 Davis, Ethel Fullerton; St. Luke’s Cathedral, 
 Walter Gould, Walter H. Carter, James Wier 
 Jamieson, Henry King Fitts, Alfred Brinkler; 
 St. Pauls Church, Mrs. R. M. Fenton; St. 
 Stephen’s Episcopal Church, Mrs. H. L. Damon, 
 H. L. Ryser, Alfred Brinkler, Mrs. Hilliard D. 
 Cook; State Street Congregational Church, Her- 
 mann Kotzschmar, Harvey Murray, Arthur 
 Hyde, Seldon T. Crafts; Trinity Chapel, Mar- 
 guerite Ogden (27 yrs.); West Congregational 
 Church, Eva M. Dimmock, Mrs. Evelyn Jor- 
 dan, Frieda A. Hyde, Clara E. Smith; Williston 
 Church, Willard C. Kimball, Fred Lincoln Hill, 
 Susan G. Coffin; Woodfords Universalist Church, 
 Mrs. J. C. F. Strout; Woodfords Congregational 
 Church, Mrs. Iva Nutter Hodgkins; All Souls’ 
 Universalist Church, Inez Blaisdell. 
 
 Prominent among the church vocal- 
 ists of Portland have been: 
 
 Gustav Bratt, George A. Briggs, George F. 
 Cary, W. F. Coffin, Fred Day, Charles K. Fen- 
 derson, Louis M. Files, Pearce J. Francis, C. L. 
 Fullerton, Harold C. Furlong, Stanley Gerrish, 
 Andrew Jackson, George E. Laird, Leroy Leon- 
 ard, William Lewis, Leonard D. Marshall, P. 
 Byron McCord, William G. McLane, Howard 
 McRonald, Harry F. Merrill, Elliott C. Mitchell, 
 Arthur D. Morse, Hi G. Parkman, Thomas 
 Smiley, William H. Souviney, Howard R. Stev- 
 ens, William B. Thomes, Mabel Archibald, 
 Della Ayers, Elizabeth Babb, Mrs. M. L. Baker, 
 Belle Bartlett, Gertrude E. Berry, Rose Tyler 
 Bird, Mrs. Gladys S. Birnie, Mrs. C. Everett 
 Boynton, Mrs. Florence Bremon, Lizzie P. Briggs, 
 Mrs. Arthur Bucknam, Marion Carter, Emily E. 
 Chase, Mrs. Andrew C. Cloudman, Florence 
 Coolidge, Martha Lufkin Coombs, Mrs. Caro- 
 line F. Darker, Annie Farr, Leila Farrell, Mrs. 
 Bertha King Fenderson, Mrs. Louis M. Files, 
 Gertrude Flagg, Evelyn Frost, Mrs. C. L. Fuller- 
 ton, Mrs. George F. Gould, Mrs. Maud H. 
 Haines, Mrs. Martha Hawes Hill, Lizzie Hovey, 
 Mrs. Florence Leighton Johnson, Harriette 
 Knight, Ruth Merrill Knight, Mrs.George Laird, 
 Mrs. William Lewis, Mrs. James K. Lothrop, 
 Mrs. Mahlon H. Marston, Marcia Merrill, Mrs. 
 Julia Cowan Moore, Alice B. Morrison, Harriet 
 Ohler, Mrs. Elizabeth Latham Otis, Mrs.. Flor- 
 ence Knight Palmer, Mrs. E. A. Randall, Marion 
 Rines, Mrs. Charlotte Gunn Roche, Mrs. Flor- 
 ence Seaford, Mrs. Frances Talbot, Mrs. Inez 
 Perry Turner, Mrs. Jane Sterling Whibley, Mrs. 
 Joseph Whitney, Mrs. Madeline Files Wilkins, 
 Kate E. Wilson. 
 
 Bishop Bacon founded an institu- 
 tion of choral music when he first or- 
 ganized the children of the parochial 
 
264 MUSIC AND MUSICIANS OF MAINE, 
 
 schools of Portland for a St. Patrick’s 
 Day concert, for since then this cele- 
 bration has been an ;annual event. 
 Bishop Walsh later developed the 
 idea by uniting the parochial gradu- 
 ates of high and grammar schools in 
 general commencement programs with 
 four-part choral music interspersed. 
 
 Each year, during the episcopate of 
 Bishop Walsh, on the anniversary of 
 his consecration, children from the 
 parochial schools of that city to the 
 number of about two thousand assem- 
 bled at the Cathedral of the Immacu- 
 late Conception in Portland to assist at 
 Holy Mass celebrated by the Bishop 
 and to take part in congregational 
 singing. 
 
 This custom, established in recog- 
 nition of the consecration of the ruling 
 Bishop, was faithfully observed by his 
 successor, Right Reverend John Greg- 
 ory Murray, Bishop of Portland. 
 
 The annual bringing together of the 
 several Catholic choirs of Portland 
 made for higher choral work among 
 the Catholic churches and many mem- 
 orable musical programs have been 
 sung, notably: 
 
 “CGounod’s Solemn Mass in E flat,” 
 with organ and Festival Orchestra of 
 Boston, at the Silver Jubilee of the 
 Episcopacy of Right Reverend James 
 Augustine Healy, June, 1900; “Gou- 
 
 nod’s Solemn Mass in E flat,” at the 
 
 dedication of St. Dominic’s Church, 
 August 5, 1893; and “Weber's Mass in 
 G” at the Golden Jubilee of the build- 
 ing of the Cathedral of the Immacu- 
 late Conception. 
 
 Portland Branch, 
 American Guild of Organists 
 Following were the resident mem- 
 bers of the Portland Branch, New 
 England Chapter of the American 
 
 Guild of Organists, in 1928: 
 Alfred Brinkler, F.A.G.O., Regent, Gertrude 
 L. Buxton, Howard W. Clark, John Fay, Mrs. 
 
 Mae Ford Haviland, Fred Lincoln Hill, Secre- 
 tary-Treasurer, Mrs. Harold D. Haines, Mrs. 
 Margaret F. MacDonald, Velma Willis Millay, 
 Annie J. O’Brion, Marguerite Ogden, Elizabeth 
 M. DeWolfe, Susan Coffin; 
 and the non-resident members were: 
 Mrs. E. L. Howes, Brewer; Herbert A. Hurd, 
 Fryeburg; Ruth Olive Roberts, Saco; Edward 
 H. Wass, Brunswick; Nellie Jackson, South 
 Paris. 
 Former members were: 
 
 Mabelle E. Grant, Ethel M. Fullerton, Ruth 
 Knight, Mrs. Frank N. Gillise, Lillian B. Pay- 
 son, Walter S. Smith, Louis S. Stevenson, Ray- 
 mond Crawford, Gertrude Davis, Mrs. George 
 H. Brickett, Augusta, Mrs. Harry O. Furber, 
 Saco, Margaret J. Melcher, Bath, Harry Stott, 
 Sanford. 
 
 Portland Chapter of the National 
 Association of Organists 
 
 The Portland Chapter of the Na- 
 tional Association of Organists was 
 formed February 16, 1928. Charles 
 R. Cronham, the municipal organist of 
 Portland, was elected President and 
 Velma Willis Millay, Secretary-Treas- 
 urer. 
 
 The chapter was organized under 
 the direction of Alfred Brinkler, Maine 
 
 President of the National Association - 
 
 of Organists, which came into being 
 in 1908 for the purpose of giving na- 
 tional conventions, one of which was 
 held. in Portland in 1918 and another 
 in 1928. The Portland Chapter was 
 the first local chapter to be formed in 
 the State of Maine. 
 
 The Kotzschmar Memorial Organ 
 
 Can metal pipe and wooden box unloose 
 
 Young dreams,dear memories,and sweet imaginings 
 Rushing to meet in one rich mingling stream, 
 Until emotion swept, the throbbing heart 
 
 Sobs inwardly and vibrates its response? 
 
 How can tree speak, or iron and copper sing? 
 Knowthen the answer, that these questions bring! 
 
 Console and instrument, alone, each silence seeks; 
 Under the master’s fingers each pipe speaks! 
 Resulting concords, forward, backward float, 
 Till pipe and box each sings its separate note. 
 In richest harmonies they, blending, swell, 
 Sighing and crying, weaving their hallowed spell. 
 
 én ea 
 
ah Mage Ine tO Path ast 
 
 MUSIC OF THE STATE OF MAINE 1897-1928 265 
 
 Music knows no creed or religion, 
 no class distinction, no nationality. It 
 gives no more enjoyment to the mil- 
 lionaire than to the pauper; to the Ar- 
 yan than to the Ethiopian; to the mas- 
 ter than to the slave. 
 
 Pure music is neither national nor 
 international. It is universal. Whether 
 in time of peace or war, it should not 
 be battered about by either power or 
 prejudice. 
 
 The empire of music is imperish- 
 able. Nations may fall and new na- 
 tions may be born but the influence 
 and the glory of music will forever live 
 on, an immortal legacy from the Power 
 by which it was created and bequeathed 
 to all the people of the earth. It is, in 
 fact, the gift of God to all men, freely 
 to enjoy, each according to his own 
 understanding. 
 
 Other than the radio the two great- 
 est cultural contributions of the twen- 
 tieth century to humanity have been 
 the establishment of free municipal 
 organ recitals and orchestral concerts, 
 both of which have brought to the 
 great mass of people, whose opportu- 
 nity for listening to the best in music 
 before their introduction had been ex- 
 ceedingly limited, if not prohibited, 
 the wonderful privilege of hearing the 
 works of the greatest music masters 
 in the world, interpreted by intelligent 
 performers and conductors. It has 
 been said, that he who plants a tree, 
 that his fellow men may be sheltered 
 from the rays of the summer sun, 1s 
 thrice blessed; but how many thou- 
 sand times blessed will he be, who, by 
 his munificence, supports a municipal 
 orchestra, or gives to a city a great 
 musical instrument that its people may 
 have the opportunity to enjoy the best 
 in music without money and without 
 price! 
 
 Through the great privilege that all 
 have come to possess through these 
 
 CYRUS H. K. CURTIS, DONOR OF THE KOTZSCHMAR 
 MEMORIAL ORGAN, PORTLAND. COURTESY OF THE 
 PORTLAND MAINE PUBLISHING COMPANY. 
 
 agencies, and the radio, is being devel- 
 oped in the people of the world, and 
 especially in America, that faculty 
 which unites in the highest form the 
 power to enjoy understandingly the 
 product of the intellect, the heart and 
 the soul of the composer; and awakens 
 in those who never felt it before that 
 power of the imagination, that glow 
 of the emotion in which the enjoyment 
 of true music is born. 
 
 In the City Hall in Portland may 
 be found the Kotzschmar Memorial 
 Organ, the gift of Cyrus Hermann 
 Kotzschmar Curtis, to the people of 
 Maine in memory of his father’s old 
 friend, and Portland’s old music teach- 
 er, Hermann Kotzschmar. This splen- 
 did instrument, numbered among the 
 
266 MUSIC AND MUSICIANS OF MAINE 
 
 ee  TEEEEEEEIIE ESTES 
 
 HENRY F. MERRILL, CHAIRMAN OF THE PORTLAND 
 
 MUSIC COMMISSION, 1912-1922. 
 SON, PORTLAND. 
 
 PHOTO BY HAN- 
 
 great organs of the world, and which 
 was in 1928 the largest municipal organ 
 in America, is well-nigh perfect in 
 power and beauty of tone and work- 
 manship. It is, in fact, eight separate 
 organs in one, the great, swell, orches- 
 tral, solo, antiphonal, echo, percussion 
 and pedal organs, all under the con- 
 trol of a single performer. It occupies 
 an area of sixty feet in width and fif- 
 teen feet in depth, while its height is 
 forty feet over all. 
 
 With its one hundred and seventy- 
 seven speaking stops and couplers, 
 more than sixty-five hundred pipes 
 controlled by the electric current that 
 runs through its hundred miles of in- 
 sulated copper wire, and its immense 
 air chests, capable of holding a hun- 
 dred people, its effect, at times, is, in- 
 deed, stupendous. The remote echo 
 
 and antiphonal organs occupy a cham- 
 ber between the ceiling of the audi- 
 torium and the roof of the building, 
 and here are located a set of carillons, 
 all operated from the four keyboard 
 console on the platform. 
 
 Under the skilful direction of the 
 organist, the great organ is capable of 
 reproducing varied effects ranging from 
 the deep toned diapason to the deli- 
 cately voiced soft stops, in fact, as a 
 medium of musical expression, with its 
 flute, string, reed and sonorous bass, 
 marvelous effects, closely resembling 
 a great symphony orchestra, may be 
 created. 
 
 The organ was built by the Austin 
 Organ Company of Hartford, Con- 
 necticut. Its imposing front design 
 was by the eminent architects, Carrere 
 and Hastings. 
 
 JOHN T. FAGAN, CHAIRMAN OF THE PORTLAND 
 MUSIC COMMISSION, 1922 AND 1923. PHOTO BY 
 MANSUR, AUGUSTA. 
 
MUSIC OF THE STATE OF MAINE 1897-1928 267 
 
 The Kotzschmar Memorial Organ 
 was dedicated Thursday, August 22, 
 1912. Will C. Macfarlane, who was 
 organist and choir master of St. Thom- 
 as’ Church, organist of the Temple 
 Emanuel, New York City, and founder 
 of the American Guild of Organists, 
 played the two programs of Thursday 
 afternoon and evening the opening day, 
 and the Saturday afternoon program 
 of August twenty-fourth. Other or- 
 ganists who performed on this instru- 
 ment during the three-day festival 
 were R. Huntington Woodman of 
 Brooklyn and Ralph Kinder of Phila- 
 delphia. 
 
 The dedication was a notable event 
 in the history of music in the State of 
 Maine. Cyrus H. K. Curtis, the donor 
 of the organ, Mrs. Hermann Kotzsch- 
 
 HERDERT W. BARNARD, JR., MEM. PORTLAND MUSIC 
 COMMISSION, 1923-1929. PHOTO BY ROGER PAUL 
 JORDAN, PORTLAND. 
 
 WILLIAM §. LINNELL, CHAIRMAN OF THE PORT- 
 LAND MUSIC COMMISSION, 1923-1928. PHOTO BY 
 HANSON, PORTLAND. 
 
 mar, widow of the musician in whose 
 memory the organ was presented to 
 the City of Portland, and other dis- 
 tinguished people were on the plat- 
 form. 
 
 In presenting the organ, Mr. Curtis 
 said: 
 
 Mr. Mayor: 
 
 I present to the City of Portland through you, 
 this memorial to Hermann Kotzschmar, who 
 for more than fifty years was preéminent in this 
 city as an organist, composer and teacher, a man 
 who was loved by all classes for his kindly spirit, 
 his high ideals, and his devotion to music. 
 
 He cared little or nothing for material things 
 or for fame — he never sought them, but here 
 is his monument —a monument to one who 
 DID SOMETHING to make us better men and 
 women and to appreciate that indefinable some- 
 thing that is an expression of the soul. 
 
 The City Government had ably co- 
 Gperated with the donor by voting an 
 
268 
 
 MUSIC AND MUSICIANS OF MAINE 
 
 DONALD M. PAYSON, MEM. PORTLAND MUSIC COM- 
 MISSION, 1922-1924 AND 1928-1930. PHOTO BY 
 ROGER PAUL JORDAN, PORTLAND. 
 
 appropriation to enlarge the City 
 Building so that the instrument might 
 be placed to the best advantage in the 
 Concert Hall; by supplying a salary 
 of a sufficient amount to attract the 
 best organists in the world to the post 
 of city organist; and by creating a Mu- 
 sic Commission to look after choosing 
 the organist, planning the concerts, and 
 other matters connected with the new 
 department in municipal affairs in 
 Portland. ‘Thus was established, as 
 the first of its kind in America, a mu- 
 nicipal musical activity, recognized by 
 a city government as one of its con- 
 stituent departments with a commis- 
 sion in charge. 
 
 Portland has always been fortunate 
 in its selection of those who have 
 served on the Music Commission. 
 Those who have been members since 
 its creation are: 
 
 Henry F. Merrill, Chairman (1912-1922); 
 Arthur S. Bosworth (1912-1915); Convers E. 
 Leach (1912-1919); Frank C. Allen (1915- 
 1917); Adam P. Leighton (1919-1921); John T. 
 Fagan (1920-1923), Chairman in 1922 and 1923; 
 Mrs. Adam P. Leighton, Jr. (1921-1923); Don- 
 ald M. Payson (1922-1924); William S. Linnell 
 (since 1923) Chairman; Herbert W. Barnard, 
 Jr. (since 1923); and Donald M. Payson (re- 
 appointed in 1928). 
 
 It is a long stretch of time from the 
 day that blacksmith Blaisdell ham- 
 mered out psalm tunes on Portland’s 
 first organ in the old Second Parish 
 Church on Middle Street at fifty cents 
 per Sunday, to the installation of this 
 great instrument, whose organist holds 
 one of the highest paid offices in the 
 gift of the metropolis of Maine, and 
 by this comparison, may be judged the 
 enormous stride that Maine has taken 
 in the advancement of cultural music. 
 in a century. 
 
 The municipal organists of Portland 
 have been: Will C. Macfarlane, 1912- 
 1918; John Morgan, 1919-1920; Ed- 
 win H. Lemare, 1920-1924; Charles 
 R. Cronham, 1924-1928. 
 
 Of Will C. Macfarlane, Mus. Doc., 
 whose appointment as the first muni- 
 cipal organist in America, the Port- 
 land Music Commission states: 
 
 He brought to his task not only superior abil- 
 ity as a recitalist and unusual musical training 
 and experience, but a peculiar personal adapta- 
 bility to the work in view. By the vision which 
 inspired him, his initiative and indefatigable zeal, 
 his codperation with the Music Commission, and 
 with various other musical organizations and 
 through a personality which endeared him to all, 
 Dr. Macfarlane succeeded in his years of service 
 in establishing this newly born municipal enter- 
 prise upon the high plane which has character- 
 ized it as one of the most important functions of 
 the city for its people. 
 
 Of Edwin H. Lemare, Mus. Doc., 
 who was already world famous as one 
 
MUSIC OF THE STATE OF MAINE 1897-1928 
 
 of the foremost exponents of a new 
 school of organ playing before he came 
 to Portland, the Commission writes: 
 
 Early recognized throughout his homeland 
 England, and elsewhere abroad, as a master of 
 orchestral registration upon the organ, he came 
 to Portland from the position of City Organist 
 at San Francisco, and immediately, and through- 
 out his term of service at the console of the 
 Kotzschmar Memorial Organ, stirred the people 
 of Portland to wonder at the marvel of his 
 technique, the unusual interpretive genius and 
 gift for tonal production which were combined 
 in his representations of orchestral works upon 
 the organ. 
 
 Charles Raymond Cronham, muni- 
 cipal organist since 1924, of whom a 
 more detailed account will be found 
 in another place in this volume, came 
 to Portland from the Lake Placid Club, 
 Lake Placid, New York, where he had 
 attained marked success as organist 
 and director of music. 
 
 Of Mr. Cronham, it has been de- 
 clared that he is more than a muni- 
 cipal organist, he is a recitalist of dis- 
 tinction. In his program building, in 
 which he excels, he has exhibited his 
 ability to recognize the wide variety 
 of musical tastes, and with rare nicety 
 of preception, he has met the exac- 
 tions of the most discriminating lovers 
 of the classics in music by his skilled 
 interpretation of the masters, while, 
 “without sacrificing the dignity of the 
 instrument, he answers the appeal of 
 the lover of more modern compositions 
 with refreshing originality and inter- 
 pretive phrasing.” Under his com- 
 mand, many new beauties in the great 
 instrument which the people of Maine 
 and visitors from other states have 
 come to admire and enjoy, have been 
 discovered. 
 
 The Portland Music Commission 
 has always conceived it as its duty to 
 every resident of Portland, and all vis- 
 itors to the city, to place before them 
 the opportunity to hear the music of 
 the great composers interpreted by a 
 
 WILL C. MACFARLANE, FIRST MUNICIPAL ORGANIST 
 OF PORTLAND. PHOTO BY KENNEDY, PORTLAND, 
 MAINE, 
 
 master of the King of Instruments, 
 and to encourage musical activity 
 along other lines. 
 
 The daily recitals throughout the 
 summer months, the weekly Sunday 
 afternoon concerts during the winter 
 and an occasional evening concert with 
 assisting artists of note from other 
 cities, the production of great choral 
 works under skilled directors, and the 
 encouragement of orchestral ensemble 
 are among the educational features 
 sponsored by the Music Commission. 
 
 The City of Portland, through its 
 Music Commission, in truth, has 
 opened the door and extended to all 
 an invitation to freely enter and “re- 
 cieve the stimulus, the inspiration, the 
 peace and benediction or merely the 
 
270 MUSIC AND MUSICIANS 
 
 EE EEEEE EEE 
 
 eh ese tr E- 5 
 en geeerre® 
 
 OF MAINE 
 
 CHARLES RAYMOND CRONHAM, MUNICIPAL ORGANIST OF PORTLAND, AT THE CONSOLE OF THE 
 
 KOTZSCHMAR MEMORIAL ORGAN. 
 enjoyment of good music,” according 
 to the needs or desires of those who go 
 to listen. 
 
 Between forty and fifty thousand 
 people have attended the free Sunday 
 Concerts in the Portland City Hall 
 each year since the installation of the or- 
 gan, and audiences have not infrequent- 
 ly numbered four thousand people. 
 
 The music of the Kotzschmar Organ 
 in Portland, Maine, has brought joy 
 and happiness to the thousands of mu- 
 sic lovers who have gathered from 
 every part of the world to hear its 
 beautiful tones; and in many a heart 
 of those, whose good fortune it is to 
 live within the sound of the bell in 
 the City Hall Tower, and in the sha- 
 
 PHOTO BY MARSHALL, PORTLAND. 
 
 dow of its gilded vane, dwells a sincere 
 affection for the man, who, through 
 his love for Portland and her old Mu- 
 sic Master, was impelled to make such 
 a princely gift to the people of his 
 native city. 
 
 Portland Municipal Orchestra 
 
 With the passing of the Portland 
 Orchestral Society in the fall of 1926 
 the work of organizing a permanent 
 symphony orchestra for Portland was 
 undertaken by the Portland Music 
 Commission, and in February, 1927, 
 sixty-five players, among whom were 
 some of those who had belonged to the 
 Portland Orchestral Society and fif- 
 teen of whom were experienced mu- 
 sicians, a new symphony orchestra to 
 
MUSIC OF THE STATE OF MAINE 1897-1928 271 
 
 PORTLAND MUNICIPAL ORCHESTRA (82 PLAYERS); SEASON 1927-1928. CHARLES RAYMOND CRONHAM, 
 
 CONDUCTOR, AND THE KOTZSCHMAR MEMORIAL ORGAN. 
 
 be known as the Portland Municipal 
 Orchestra was organized, with Charles 
 Raymond Cronham, municipal organ- 
 ist, aS conductor. 
 
 The first concert by the new organi- 
 zation was given in Bridgton, Maine, 
 in May, 1927, and this was immediate- 
 ly followed by its first appearance in 
 Portland. Music of a much more diffi- 
 cult nature than any previously under- 
 taken was studied in its second year 
 and at its January concert in 1928 the 
 Portland Municipal Orchestra gave a 
 concert that would have done credit 
 to a much more mature organization. 
 This concert was repeated a week later 
 at Bowdoin College. Transportation 
 of the entire orchestra and instruments 
 including two pianos was furnished by 
 public spirited citizens. 
 
 PHOTO BY MARSHALL, PORTLAND. 
 
 In this year the personnel of the or- 
 chestra consisted of eighty-two play- 
 ers, which represented every instru- 
 ment required in a major symphony 
 orchestra. 
 
 The programs played by the orches- 
 tra in its second year gave every prom- 
 ise that here was founded an institu- 
 tion that must eventually come to rank 
 high among the amateur symphony 
 orchestras in the country. Composed 
 of men and women representing twen- 
 ty professions and lines of business 
 and boys and girls, the youngest of 
 whom was but fourteen years old, all 
 of whom played for the sheer love of 
 it, it offers one of the finest examples 
 of community interest and community 
 participation in the history of orches- 
 tral music. 
 
272 
 
 Following was the personnel of the 
 Portland Municipal Orchestra in 1928: 
 
 Conductor, Charles Raymond Cronham; First 
 Violins — Emil Hybert, concert master, Harry 
 Bacon, Samuel Blumenthal, Christine Bye, Ila 
 Carr,* Henry Cook, Arthur Erickson,* Eliza- 
 beth Harriman, Robert Lane, Angelo Lekouses, 
 Hazel Perkins, Hilda Richardson,* Sarah Silver- 
 man, Ethan Soule, Edward Tolan; Second Vio- 
 lins — Lewis Brown, Vernon Brown, Odele Bye, 
 Reginald Connor, John Gardinier,* Russell Har- 
 rington, Benjamin Haskell, Roland Humphrey, 
 Maurice Levinsky, John Munro, Priscilla Pen- 
 nell, Joseph Peno, Irvin Robbins, Joseph San- 
 tosky, Gladys Winn; Violas — Rose Fineberg, 
 Clinton Graffam,* Jane Kennedy, Phyllis Knight, 
 Thelma Latham, Everett Lombard, Frank 
 Prince;* Violoncellos — Aldana Brooks,* Elea- 
 nore Bye, Valeria Carignan, Mildred Dugan, 
 Katherine Hatch,* Merrill Hay, Reta Pates, 
 Harold Putnam, Lillian Schwenke; Basses — 
 Paul Drossel, Samuel Guimond, Fred Hubbard, 
 Ralph Knight,* Howard Sawyer; Piccolo — 
 Thomas Johnson; Oboe — Frank Little; Clari- 
 nets — Hurford Crosman, Mollie Jones,* Mau- 
 rice Lane, Joseph Russo; Flutes — ‘Thomas John- 
 son, Harold Lawrence,* Charles Tolman; Bas- 
 soons — Harry Lowell, Lloyd Morse; Horns — 
 Randall Colby, Arthur Stevens, Maynard Young; 
 Trumpets — Paul McIntire, James Nettleton, 
 Clarence Row, William Vacchiano; Trombones— 
 Albert Conant, Bernard Greely, Charles Moore, 
 David Rubinoff; Tuba — Howard Crangle; Tym- 
 pani — Fred Ward; Percussion — Samuel Fine- 
 berg,* Clifford Leeman; Harp — Grace Tibbetts; 
 Organ — Howard Clark. 
 
 The Portland Municipal Ensemble, 
 composed of the twelve members of 
 the orchestra whose names are marked 
 with an asterisk and Zilphaetta But- 
 terfield and Louis Sirois, pianists, made 
 its initial bow to Portland audiences 
 at the orchestral concert given in Jan- 
 uary, 1928, when they performed Saint 
 Saéns’ Zodlogical Fantasy, “The Car- 
 nival of Animals.” 
 
 In 1928 the Advisory Committee of 
 the Portland Municipal Orchestra con- 
 sisted of Clinton W. Graffam, Hurford 
 Crosman, Henry Cook and Fred Ward. 
 
 Robert Lane was Secretary; Her- 
 bert W. Barnard, Treasurer; and Ber- 
 
 MUSIC AND MUSICIANS OF MAINE 
 
 nard Cole, Librarian of the organiza- 
 tion. 
 
 The Kotzschmar Club of Portland 
 
 Perhaps no Maine organization has 
 done more to cultivate and maintain 
 an interest in legitimate music than 
 the Kotzschmar Club of Portland. The 
 society’s birthday, as recognized by its 
 members, occurred on February 8, 
 1900, though its real beginning may 
 be said to have been initiated on Jan- 
 tary 11 of that year, when, by a 
 strange circumstance, a group of men 
 who were to constitute the original 
 thirteen members of an organization, 
 that was to become one of Maine’s 
 most noted men’s musical associations, 
 gathered in a studio in a building that 
 had been erected on the very site of 
 the old Libby mansion, which forty- 
 three years before had been the birth- 
 place of her most famous’ women’s 
 musical society, the Portland Rossini 
 
 Club. 
 
 The musicians to whom the Kotzsch- 
 mar Club is indebted for its beginning 
 were Hermann Kotzschmar, organist 
 at the State Street Church; Henry B. 
 Humphrey, organist at the First Parish 
 Church; Walter Carter, organist at St. 
 
 ~ Luke’s Cathedral; Willard C. Kimball, 
 
 organist at the Williston Church; 
 Charles R. Cressey, organist at the 
 Church of the Messiah; Latham True, 
 organist at the Chestnut Street Church; 
 Dr. Harry M. Nickerson of the Wil- 
 liston Church Choir; John Oakes Burke 
 and Dr. Walter S$. Coleman, members 
 of the First Parish Choir; Albert F. 
 Smith, teacher of piano; O. Stewart 
 Taylor and Frank A. Bowdoin, vocal 
 teachers; and Charles C. Blanchard, 
 clarinettist. 
 
 On January 18 the first officers of 
 the Kotzschmar Club were nominated 
 as follows: 
 
MUSIC OF THE STATE OF MAINE 1897-1928 273 
 
 Hermann Kotzschmar, President; Latham 
 True, Vice President; Dr. Harry M. Nickerson, 
 Secretary; John Oakes Burke, Treasurer; and 
 Charles E. Wyer, Frank A. Bowdoin, and Albert 
 F. Smith, Directors. 
 
 At this meeting William H. Davis, 
 organist at the St. Lawrence Church; 
 Edgar Houghton Paine, organist at 
 the New Jerusalem Church; Dr. Fred- 
 erick A. Clarke, formerly organist at 
 one of the leading churches in San 
 Francisco; Dr. Charles O. Files, for 
 many years organist at the Chestnut 
 Street Church; Frank W. Searle, clari- 
 nettist; Benjamin G. Ward, Charles E. 
 Wyer, Charles S. Carleton, Charles S. 
 Briggs and Alden O. Blanchard, vocal- 
 ists; together with the thirteen who 
 were present at the preceding meeting, 
 became charter members of the 
 Kotzschmar Club. 
 
 The essay, has from its beginning, 
 been the chief feature of the club and 
 the reason for its existence. Around it, 
 its programs have been built, and 
 through it, the serious study of mu- 
 sical subjects have been undertaken. 
 These have for the most part taken 
 the form of critiques, disquisitions, re- 
 views, theses and treatises and have 
 included papers on technical, philo- 
 sophical, critical, biographical and his- 
 torical subjects. 
 
 Many have come and many have 
 gone in the more than a quarter of a 
 century of the club’s life and among 
 them have been numbered some of 
 the best musicians of Portland. 
 
 The officers of the Kotzschmar Club 
 (1927-1928) were: 
 
 President, Edgar Houghton Paine; Vice Pres- 
 ident, Fred Lincoln Hill; Secretary, George W. 
 Pennell; Treasurer, Harold V. Kemball; Direc- 
 tors, Howard W. Clark, H. Earle Shaw, Alfred 
 Brinkler. 
 
 Other members of the Kotzschmar 
 Club in 1928 were: 
 
 Frank Forrestall Adams, Hudson Blackwell, 
 William V. Bradley, Alfred Brinkler, John Oakes 
 
 - Burke, Reginald B. Cooke, Ph.D., Dr. F. A. 
 
 Clarke, Charles R. Cressey, Charles R. Cronham, 
 John E. Fay, Charles K. Fenderson, Harold C. 
 Furlong, Clinton W. Graffam, Ralph W. E. 
 Hunt, J. Arthur Hanson, F. L. Jackson, Harry 
 T. Johnson, Leonard D. Marshall, Elmer R. 
 Mangum, James B. Norcross, William W. Simon- 
 ton, Louis Sirois, John P.. Thomas, Sinclair A. 
 Thompson, Benjamin G. Ward. 
 
 Among former members were num- 
 
 bered: 
 
 Raymond A. Crawford, Dr. Charles O. Files, 
 Harry S. Files, Pearce J. Francis, Dr. Botho 
 Felden, James K. Lothrop, George W. Pennell 
 and Charles E. Wyer. 
 
 Howard W. Clark was elected Pres- 
 ident of the Kotzschmar Club for the 
 year 1928-1929. 
 
 The MacDowell Club of Portland 
 The MacDowell Club of Portland, 
 
 Maine, was organized in November, 
 1908, with a membership of fourteen. 
 Its aim was to give encouragement to 
 musicians lacking in self confidence. 
 It was at first planned to. have its 
 membership limited to twenty, but as 
 the club grew the limit was. increased 
 to forty and in 1928 it numbered forty- 
 one. 
 
 The first officers of the club were: 
 
 President, Gertrude E. Berry; Vice President, 
 Clara Pancoast; Treasurer, Mrs. George W. Pen- 
 nell; Secretary, Florence H. Libby. 
 
 Past presidents of the club have 
 been: 
 
 Gertrude E. Berry, Dorothea Thomes, Flor- 
 ence H. Libby, Mrs. Latham True, Annie G. 
 Weeks, and Ethel Berry. 
 
 Mrs. George F. Gould was President 
 in 1928 and the other officers were, 
 Mrs. Samuel §. Thompson, Vice Pres- 
 ident; Florence Coffey, ‘Treasurer; 
 Leah Comeau, Secretary. 
 
 The following were active members 
 in 1928: 
 
 Vocalists — Ethel Berry, Gertrude E. Berry, 
 Mrs. Evelyn B. Carroll, Alice Cutter, Margaret 
 
 Ewing, Irene Eagles, Mrs. George F. Gould, 
 Mrs. Herbert C. Harrison, Cora Letteney, Avis 
 
274 
 
 MUSIC AND MUSICIANS OF MAINE 
 
 MRS. GEORGE F. GOULD, PRESIDENT OF THE MAC- 
 DOWELL CLUB, PORTLAND, 1928. PHOTO BY KEN- 
 NEDY, PORTLAND. 
 
 Lamb, Mrs. Walter W. Morong, Mrs. Floyd H. 
 Richards, Mrs. Charlotte G. Roche, Mrs. Sam- 
 uel S. Thompson, Helen Ward; Pianists—Louise 
 H. Armstrong, Mrs. Anna Carey Bock, Arlene 
 Burnham, Florence Coffey, Susan Coffin, Leah 
 Comeau, Frances Donnell, Ethel Fullerton, Flor- 
 ence Libby, Ruth Lynn, Yvonne Montpelier, 
 Mrs. Leah Peterson, Mrs. Alice Waterman, Ne- 
 rissa Purington; Stringed Instruments — Sara 
 Silverman, Lillian Talbot, violinists; Mrs. Anna 
 M. Korda, cellist; Grace Tibbetts, harp. 
 
 Privileged members were: 
 
 Mrs. C. E. Bremon, Zilphaetta Butterfield, 
 Emily Chase, Mrs.Caroline Darker, Mrs. Chaun- 
 cey Phinney, Mrs. Irving Rich, Esther Foss, 
 Agnes Keating. 
 
 Among others who have been mem- 
 bers of the MacDowell Club were: 
 
 Ellen Blodgett, Emily Eldridge, Mrs. Harold 
 D. Johnson, Mrs. Laura E. Ross, and Mrs. 
 Clarice M, Smith. 
 
 The MacDowell Club was the first 
 to sponsor a Junior Musical Club in 
 Portland. Its original protege was 
 the Clifford Boys’ Music Club of the 
 Nathan Clifford School, organized for 
 the purpose of promoting serious study 
 among the young students of that 
 school. 
 
 The Marston Club, Portland 
 The Marston Club of Portland, 
 
 which takes its name from Portland’s 
 old music master and composer, George 
 W. Marston, was organized as a pri- 
 vate musical club for women in 1887 
 by Mrs. Charles Bedlow, who was its 
 first President. 
 
 Its charter members were: 
 
 Mrs. Ella Rolfe Allen, Mrs. Charles Bedlow, 
 
 Mrs. Fred Dyer, Mrs. Charles Haskell, Mrs. 
 Walter S. Smith and Mrs, Albert S. Woodman. 
 
 The officers of the Marston Club in 
 1928 were: 
 
 President, Florence M. Coffey; Vice President, 
 Mrs. Anna Carey Bock; Secretary, Mrs. Gladys 
 L. Calden; Treasurer, Mrs. Edna G. Gaffney; 
 Chairman of Music Committee, Elizabeth M. 
 Brown. 
 
 The active members in this year 
 were: 
 
 Mrs. Arthur H. Bailey, Mabel Berryman, Mrs. 
 Anna Carey Bock, Mrs. Anna Parks Booker, 
 Mrs. Florence Bremon, Elizabeth M. Brown, 
 Arlene Burnham, Mrs. Clarence E. Calden, Mrs. 
 Gerald P. Clifford, Florence M. Coffey, Leah 
 Comeau, Alice J. Cushing, Eleanor A. Donlan, 
 Ocey Downs, Mrs. Edna G. Gaffney, Mrs. Jane 
 Phinney Harlow, Veronica Hebert, Prudence 
 Hennigar, Mrs. Joseph B. Kahill, Mrs. William 
 W. Kimball, Mrs. Anna Korda, Ruth Lynn, 
 Hazel Perkins, Mrs. Leah T. Peterson, Nerissa 
 Purington, Marion Ratcliffe, Sara Silverman, 
 
 Mrs. Grace G. Simonton, Virginia Sweetser, 
 Florence Towle, Mrs. William C. White. 
 
 Mrs. Emma J. Dyer and Gertrude 
 Flagg were privileged members. 
 
 Among those who were formerly 
 connected with the club for one season 
 or longer were: 
 
 Mrs. George Akers, Ella Rolfe ie Doris 
 Amick, Mrs. Charles E, Baker, Mrs. Ella Bean. 
 
MUSIC OF THE STATE OF MAINE 1897-1928 275 
 
 Mrs. Charles Bedlow, Mrs. Charles L. Beecher, 
 Ethel Berry, Minnie Emory Clark, Elvira J. 
 Caswell, Mrs. Warren W. Cole, Mrs. Margaret 
 Cloudman, Mrs. George Duncan, Mrs. Fred 
 Dyer, Mrs. Nellie King Doten, Mrs. Helen El- 
 well, Helen Foster, Mabel Foster, Eva Findley, 
 Olive G. Flagg, Viola DeGrys, Mrs. Henry Gil- 
 man, Mrs. Florence Gardiner, Marguerite Gir- 
 ouard, Alice Goudy, Mrs. Mary Thompson 
 Green, Mrs. Charles Haskell, Mrs. Frank Has- 
 kell, Alice T. Homer, Marion Priestly Horan, 
 Emily Hamilton,,Grace Harding, Marion Jor- 
 dan, Belle Jordan, Annie Hamilton Johnson, 
 Mrs. James Kelly, Agnes Keating, Hester Lam- 
 son, Ethel Leeman, Irene Leeman, Edith Lowell, 
 Hattie Mulnix, May Manning, Yvonne Mont- 
 pelier, Helen C. Morrison, Mae Chenery Morrill, 
 Mrs. Walter Morong, Mrs. Frank Morton, Nel- 
 lie B. McGregor, Mrs. David Gray Miller, Mrs. 
 D. J. MacDonald, Beatrice Orr, Catherine Pat- 
 rick, Mrs. Mabel Pennell, Bernice Preston, Har- 
 riet Louise Pike, Mrs. James F. Perkins, Mrs. 
 Harry Seaford, Mrs. Daniel Sheehan, Mrs. Wil- 
 liam Simonton, Mrs. Celia Smart, Augusta Schu- 
 macher, Mrs. Walter Smith, Mrs. Gertrude Tarl- 
 ing, Mrs. Marion Theis, Mrs. Ella W. True, Mrs. 
 Luella C. True, Mrs. Harry Turner, Ida King 
 Tarbox, Martha Vose, Theresa Whittemore, Mrs. 
 Burton C. Witham. 
 
 Among the past presidents of the 
 Marston Club have been: 
 
 Mrs. Ella Rolfe Allen, Mrs. Florence Bremon, 
 Elizabeth Brown, Elvira Caswell, Mrs. Mar- 
 garet Cloudman, Mrs. Viola DeGrys, Mrs. Fred 
 Dyer, Mrs. Henry Gilman, Mrs. Charles Has- 
 kell, Mrs. Ethel Lanterman, Mrs. George W. 
 Pennell, Mrs. Laura E. Ross, Mrs. Walter Smith, 
 Mrs. Luella True, Mrs. George Way and Mrs. 
 Albert Woodman. 
 
 Anna Carey Bock was President of the 
 Marston Club for the year 1928-1929. 
 
 Augusta may well cherish a justifi- 
 able pride in the music which has al- 
 ways been heard in its churches. As 
 each of the various denominations 
 came to sufficient strength in numbers 
 and financial standing to erect and 
 maintain a place of worship, an organ 
 was installed and singers of promi- 
 nence engaged. In the list of those 
 who carried on this work are found 
 the names of Mrs. William K. Wes- 
 ton, Sarah Eveleth, Daniel Stanwood, 
 
 Eo 
 
 MRS. CHARLES BEDLOW, FOUNDER AND FIRST PRES- 
 IDENT OF THE MARSTON CLUB, 1887, FROM A 
 PHOTOGRAPH MADE ABOUT THIRTY-FIVE YEARS 
 LATER. 
 
 Melville C. Milliken, John D. Myrick 
 and Mrs. Myrick, Mrs. Emily Pitts 
 Chase, Helen Cushing, Lizzie Cushing, 
 Charles Johnson and Mrs. Fanny 
 Baker Milliken. 
 
 For a number of years there was no 
 regular musical organization in Augus- 
 ta, but singing schools were held where 
 excellent instruction was given and the 
 books used in those schools indicate 
 that the music sung tended toward a 
 decidedly classic type. One of the best 
 known of these old singing schools was 
 led by Josiah Bangs. 
 
 St. Mark’s Episcopal Church has, in 
 its organists, given much to the ad- 
 vancement of good music. One of the 
 most brilliant musicians to occupy an 
 organist’s post in Augusta was Fred- 
 eric Clarendon V. Hyde of Durhan, 
 England, who went to Augusta about 
 1884. His work as organist, choir 
 master and teacher was of a superior 
 
276 MUSIC AND MUSICIANS OF MAINE 
 
 quality and his exceptional talent was 
 recognized by musicians throughout 
 the State. 
 
 Among the later organists in the 
 churches of Augusta have been: — 
 
 Mrs. Guy Dow, Cecilia Fortier, Lila B. Friend, 
 Harrison C. Lyseth, Mrs. Charles Perkins, S. W. 
 Purinton, Mrs. Mildred W. Weston. 
 
 Choral Art Society, Augusta 
 
 In 1904 Edward H. Wass became 
 organist at St. Mark’s Church, Augus- 
 ta, and his stay was one of enrichment 
 to the City’s musical life. He formed 
 the Choral Art Society, an organiza- 
 tion which, for several years, present- 
 ed recitals of more than usual merit. 
 These concerts were given in St. Mark’s 
 and the repertory of the society was 
 selected mainly from the masterpieces 
 (a cappella) of the sixteenth, seven- 
 teenth and eighteenth centuries and 
 from modern works which demanded 
 a small chorus. The activities of the 
 Augusta Choral Art Society ceased 
 soon after Mr. Wass left Augusta in 
 1912 to take up his duties as professor 
 of music at Bowdoin College. 
 
 The first officers of the Choral Art 
 Society of Augusta were: 
 
 President, Albert W. Brooks; Vice President, 
 Harry P. Lowell; Corresponding Secretary, Hel- 
 en G. Child; Recording Secretary, Mrs. F. E. 
 Smith; Treasurer, F. B. Purinton; Directors, 
 Edward H. Wass, H. T. Elmore, Frank Dyer, 
 Mrs. O. C. S. Davies; Conductor, Edward H. 
 Wass; Accompanist, Mrs. G. H. Brickett; Li- 
 brarian, H. T. Elmore. 
 
 Cecilia Club, Augusta 
 
 The music club which most nearly 
 attained permanence in the city life of 
 Augusta was the Cecilia Club which 
 was organized in the early eighties. 
 Unfortunately the records of the club 
 were lost, and as the society never 
 published a year book, very little in- 
 formation concerning the early history 
 of this successful women’s organiza- 
 
 tion, which meant so much to the mu- 
 sical life of Augusta, is available. 
 
 Recitals by members of the club were 
 regularly given until 1927 and these 
 were supplemented by concerts at 
 which prominent New York and Bos- 
 ton artists appeared. The Wednesday 
 morning recitals by the Cecilia Club 
 were among the pleasantest social 
 events each season and the same high 
 standards set by the founders of the 
 club were consistently adhered to from 
 its beginning. 
 
 Numbered among its members were 
 women representing the culture and 
 wealth of the Capital City. Mrs. 
 Pauline Myrick was the organizer and 
 the first president of the Cecilia Club. 
 
 No meetings of the club were held 
 in*1927, but as the club had not offi- 
 cially disbanded, the officers in 1928 
 were those who had been last elected. 
 These were as follows: 
 
 President, Caroline Fenno Chase; Vice Presi- 
 dent, Mrs. Charles S. Browne; Secretary, Mrs. 
 R. H. Bodwell; Treasurer, Mrs. J. W. Taylor. 
 
 Its membership was constituted as 
 follows: 
 
 Active members, Mrs. Charles Brown, Mrs. 
 E. C. Burleigh, Mrs. R. H. Bodwell, Mrs. H. E. 
 Bowditch, Carrie Bradford, Marguerite Brooks, 
 Miriam Best, Dr. M. E. Coughlin, Caroline 
 Chase, Mrs. D. H. Fenn, Mrs. Lester B. How- 
 ard, Florence Moody, Mrs. W. L. MacDonald, 
 Mrs. Arthur Minchin, Mrs. Horace Ingraham, 
 Deborah Ingraham, Mrs. H. T. Elmore, Mrs. 
 W. H. Kenworthy, Mrs. Antonio Landry, Mrs. 
 E. S. LaBar, Mr. Robert Niverson, Mrs. Charles 
 Pettingill, Mrs. Robert Partridge, Mrs. Harry 
 Pierce, Mrs. Solon Purinton, Mrs. Horace Stur- 
 gis, Mrs. M. E. Sawtelle, Mrs. Frank Southard, 
 Mrs. Ralph Smith, Mrs. Thomas Smith, Mrs. 
 
 Joseph Taylor, Mrs. Harry Thompson, Irene 
 Tetreault and Lucy Titcomb. 
 
 Augusta Symphony Orchestra 
 
 An interesting step forward in the 
 history of Augusta’s music was made 
 in 1920 with the founding of what 
 came to be known as the Augusta 
 Symphony Orchestra which had its 
 
 OO ee 
 
 a 
 
 a eee ee ee a ee 
 
 LE a SS ee 
 
MUSIC OF THE STATE OF MAINE 1897-1928 
 
 277 
 
 beginning at a meeting of a few mu- 
 sicians at the home of Ernest R. Hill 
 on the evening of October 30, 1920. A 
 week later about forty musicians met 
 in Union Hall, :definitely organized 
 themselves, named a committee to 
 draw up a constitution and by-laws 
 and appointed Mr. Hill conductor. An 
 invitation was extended to all inter- 
 ested musicians to join the orchestra 
 meetings for practice and the first 
 public rehearsal was given January 
 30, 1921. The first officers of the 
 Augusta Symphony Orchestra were: 
 
 F. Trial, President; J. Paquin and Miss M. 
 Ramsdell, Vice Presidents; Miss B. Merrill, Sec- 
 retary and Treasurer; E. R. Shaw, Concert 
 Master; E. R. Hill, Musical Director. 
 
 The officers of the Augusta Sym- 
 phony Orchestra for the year 1926, 
 the last active year of this organiza- 
 tion, were: 
 
 W. J. Beauchaine, President; Mrs. E. R. Hill, 
 First Vice President; James L. Bates, Second 
 Vice President; Edith Newman, Secretary; 
 Dwight Higgins, Treasurer; R. E. Beane, E. R. 
 Hill, A. E. Wood, Mrs. Thomas Cony, W. P. 
 Berry, Executive Board. 
 
 The personnel of the orchestra was 
 then as follows: 
 
 Conductor, Ernest R. Hill; Violins — Robert 
 E. Beane, William J. Beauchaine, Elizabeth 
 Cony, Flora Guilfoil, Irene C. Tetreault, Martin 
 Lambert, Earl Peaslee, Frances O. Higgins, Mar- 
 tin B. Fox, Robert Ripley, Grace E. Gilcrease, 
 Elizabeth White, Harold L. Jones, Harley F. 
 Sawin, Cecil McGray, Alfred Plante, Samuel 
 Slosberg, Joseph Hamel, Warren R. Martin, Mrs. 
 J. Plante, Elwood L. Bean and Harold Fried- 
 man; Violoncellos — Ernest C. Hilton, Marion 
 E. Hill, Richard Higgins, Mabel E. Berry, Aaron 
 B. Ripley; Contrabasses — Alfred E. Eastman, 
 James L. Bates, Edwin J. Lyons; Flutes — Wal- 
 lace P. Berry, Carl Schneider; Clarinets — Jo- 
 seph Plante, James Hanson, Emil Couture; Oboe 
 — Allen E. Wood; Trumpets — Mae L. Dear- 
 born, Warren Keith, Selden Jones; Horns — 
 Edith L. Newman, Robert Kirk; Trombones — 
 Waldo I. Guild, Alfred J. Lacasse, Ernest D. 
 Hill, Eddie Lambert, Joe Moore; Cymbals — 
 Mrs. L. B. Howard; Percussion — Arthur Dorey; 
 Tympani — George E. Moore. 
 
 CAROLINE FENNO CHASE, PRESIDENT OF THE CE- 
 
 CILIA CLUB OF AUGUSTA, 1928. 
 ARD, AUGUSTA. 
 
 Gounod Club, Bangor 
 
 The Gounod Club of Bangor, a cho- 
 ral society organized in 1896 at the 
 suggestion of C. J. Marshall, had a 
 limited membership of forty. 
 
 The first officers were: 
 
 President, S. H. Boardman; Vice President, 
 J. M. Bright; Treasurer, W. A. Palmer; Secre- 
 tary, H. W. Libby; Librarian, Harry Pote; Mu- 
 sic Committee, Abbie N. Garland, Mrs. C. E. 
 Tilton, Joseph Emerson, F. A. Edwards and C. 
 J. Marshall. 
 
 Mr. Marshall, who had come to 
 Bangor at about that time, was the 
 possessor of an excellent baritone 
 voice. He was the director of the so- 
 ciety and while in Bangor was con- 
 nected with the Central Church Choir. 
 
 At the first concert, at which Gou- 
 nod’s “Gallia” was sung, Frances Ma- 
 
 PHOTO BY HOW- 
 
278 MUSIC AND MUSICIANS OF MAINE 
 
 son and Mrs. W. A. Nelson were the 
 principal soloists and Harry Libby, 
 who made his debut as baritone solo- 
 ist at this concert, became one of the 
 favorite singers of Bangor. 
 
 The Gounod Club was organized at 
 a time when there was no other large 
 musical society in Bangor. It is be- 
 lieved that had it not been limited in 
 its membership it would have been a 
 successful club, but it was not large 
 enough to be effective and many who 
 desired to join it were not able to do 
 so because of this unfortunate restric- 
 tion. The club lasted hardly a year. 
 Its second and last concert was given 
 April 14, in the year in which it was 
 organized. 
 
 Mendelssohn Club, Bangor 
 
 Following the proposal of Professor 
 Karl Pomeroy Harrington of the Uni- 
 versity of Maine, who saw in the abun- 
 dance of women’s voices in Bangor 
 and vicinity an opportunity for the 
 development of a women’s chorus, the 
 Mendelssohn Club of Bangor was or- 
 ganized in the fall of 1902. The offi- 
 cers of the Mendelssohn Club through- 
 out its brief existence were: 
 
 President, Mrs. E. T. Wasgatt; Secretary, 
 Emily Merrill; Treasurer, Mrs. J. H. Eldridge; 
 Musical Director, Karl P. Harrington; Accom- 
 panist, Mae Silsby. 
 
 Something over sixty, with voices 
 well distributed over the four parts, 
 were enrolled as members. 
 
 During the three years of the life of 
 the club it gave two concerts annually 
 in the City Hall, Bangor. Besides 
 these regular appearances it sang with 
 the Bangor Symphony Orchestra at 
 one of its concerts. 
 
 The works given during these years 
 included motets by Mendelssohn and 
 other works by its patron saint; can- 
 tatas by Brewer, Bartlett, and others; 
 Smart’s “King Rene’s Daughter”; Per- 
 golesi’s “Stabat Mater,” and many 
 
 part songs and arrangements of the 
 best type for women’s voices. The 
 club was assisted in its various con- 
 certs by New York, Boston and local 
 artists. 
 
 The work of the club was accorded 
 warm admiration and high commen- 
 dation by the critics and the society 
 was recognized as an important addi- 
 tion to the musical organizations of 
 Eastern Maine. 
 
 When Professor Harrington moved 
 from Maine the activities of the Men- 
 delssohn Club, which was unsuccess- 
 ful in finding another to take up the 
 burden of directing its work, came to 
 an end. 
 
 The following were members of the 
 Mendelssohn Club of Bangor in the 
 season Of 1903-1904: 
 
 First Sopranos —Mrs. Tabor Bailey, Mary 
 Winslow Bartlett, Annie Bass, Mrs. N. E. Bragg, 
 Mrs. W. E. Cobb, Grace Colburn, Mrs. Helen A. 
 Currier, Faustina Curtis, Mrs. F. H. Damon, 
 Mrs. Fred Dority, Sophie Dunton, Mrs. R. H. 
 Elms, Mabel Hanson, Mrs. J. H. Kane, Mrs. 
 A. W. Lowe, Mrs. C. L. McCurdy, Emily Mer- 
 rill, Mrs. W. L. Miller, Mrs. F. C. Ridley, Mrs. 
 F. M. Simpson, Mrs. A. B. Taylor, Josephine 
 Wiggin, Mrs. T. P. Wormwood; Second Sopranos 
 —Mrs. G. M. Brown, Elizabeth Currier, Mrs. 
 J. H. Eldridge, Mrs. G. M. Gowell, Mrs. A. E. 
 Ogier, Velma Rogers, Mrs. W. McC. Sawyer, 
 Mrs. E. E. Snow, Mrs. J. S. Stevens; First Altos 
 —Bessie Bailey, Sadie Catell, Frances Drink- 
 water, Alice Hanson, Georgia Holt, Marion 
 Louise Parsons, Mrs. E. H. Sanborn, Mrs. H. E. 
 Torrens, Mrs. S. T. White, Mrs. H. F. Whit- 
 man; Second Altos —Mrs. Fred A. Dillingham, 
 Mrs. G. B. Freeland, Mrs. W. H. Gardner, Mrs. 
 John Goldwaithe, Annie Hurley, Mrs. W. A. 
 Nelson, Mrs. E. E. Peck, Mrs. E. A. Pond, Mrs. 
 G. S. Pond, Mrs. Wilson Sawyer, Mrs. E. T. 
 Wasgatt, Mrs. Charles Whittier. 
 
 The first officers of the Mendelssohn 
 Club were: 
 
 President, Mrs. E. T. Wasgatt; Secretary, 
 Emily L. Merrill; Treasurer, Mrs. J. H. Eldridge; 
 Musical Director, Karl P. Harrington; Accom- 
 panist, Mae Silsby. 
 
 Derthick Club, Bangor 
 
 Accepting the plan of Wilbur M. 
 
 ah 
 
MUSIC OF THE STATE OF MAINE 1897-1928 279 
 
 Derthick of Chicago, who had de- 
 scribed in the Music Magazine the 
 clubs which he had formed throughout 
 the West and South to the number of 
 two hundred or more, the objects of 
 which were the study of the history 
 and literature of music and the culti- 
 vation of musical appreciation, the 
 Derthick Club of Bangor was organ- 
 ized by Mrs. Frank L. Tuck in 1896. 
 Nothing just like it in the musical line 
 had before been undertaken in the 
 East, for the plan of the club was to 
 take up the study of musical history 
 in the form of a game, and its mem- 
 bership was designed to include both 
 vocalists and instrumentalists. 
 
 The reception of the idea by the 
 musical people of Bangor was not at 
 first an enthusiastic one, but, after 
 many discouragements, an inaugural 
 program, which took place in the Cen- 
 tral Church Vestry in February, 1896, 
 was arranged for the purpose of illus- 
 trating the work of the club. 
 
 The charter members of the club, 
 which adopted its name as a tribute to 
 its originator and founder of this sys- 
 tem, were: 
 
 M. H. Andrews, A. C. Morton, Horace Pul- 
 len, Roland Sawyer, Dr. O. E. Wasgatt, George 
 Silsby, S. H. Boardman, Mrs. H. L. Jewell, Mrs. 
 C. P. Webber, Mrs. J. B. Ayers, Mrs. W. A. 
 Nelson, Ella Clifford, Mrs. E. E. Peck, Emily 
 Merrill, Grace Chalmers, Mae Silsby and Helena 
 Smith. 
 
 The officers elected at the first meet- 
 ing were: 
 
 Mrs. F. L. Tuck, President; Mrs. W. A. Nel- 
 son, Vice President; Mrs. Ella Clifford, Secre- 
 tary; Roland Sawyer, Treasurer. 
 
 In accordance with the constitution 
 at the close of the fifteenth meeting a 
 new set of officers was elected and 
 these were: 
 
 Mrs. H. L. Jewell, President; Mrs. J. B. Ayer, 
 
 Vice President; Edith M. Bradford, Secretary; 
 Roland Sawyer, Treasurer. 
 
 Among those who appeared as solo- 
 ists of the Derthick Club were: 
 
 Emily Merrill, Harry Libby, Mrs. W. B. 
 Goodenow, Dr. O. E. Wasgatt, Mrs. Gorham 
 Wood, Mrs. F. L. Tuck, Mrs. W. L. Bragg, Mrs. 
 E. E. Peck, Rosa Berry, Estelle Peck, Mrs. E. T. 
 Wasgatt, Ella Clifford, S. H. Boardman, Mrs. 
 H. L. Jewell, Mrs. C. P. Webber, Mrs. W. A. 
 Nelson, Mrs. J. B. Ayer, Edith Bradford, Mae 
 Silsby, Mrs. George Silsby, Alice Bond, Grace 
 Buzzell and A. C. Morton. 
 
 When the proposition to the musi- 
 cal people of Bangor to organize a unit 
 of the Maine Festival Chorus was 
 made it was thought best to merge this 
 very prosperous club into the new 
 chorus, so the old society forthwith 
 paid all its bills, surrendered its name 
 and ceased to exist as the Derthick 
 Club. 
 
 The crowning event of its short, 
 though brilliant career was a three- 
 day music festival, directed by Fred- 
 eric S. Davenport, in May, 1897, at 
 which the Athene Club, a woman’s 
 literary and social club, joined it in the 
 production of ‘The Messiah” with a 
 chorus of one hundred voices, assisted 
 by Boston soloists. 
 
 The Derthick Club was instrumen- 
 
 tal in awakening a greater interest in 
 
 music in Bangor than had been known 
 since the beginning of the old Penob- 
 scot Musical Association fifty years 
 before. 
 
 Schumann Club, Bangor 
 
 The Schumann Club was organized 
 in May, 1898, from members of the 
 Derthick Club. It was not intended 
 at first that the club should be a wom- 
 en’s club but, with the advent of the 
 music festival, there seemed to be the 
 opportunity for two organizations, and 
 it was then decided that the Schumann 
 Club should be a club whose member- 
 ship would be composed entirely of 
 women. 
 
 On the organization of the Schu- 
 mann Club copies of constitutions and 
 
280 
 
 MRS. FRANK L. TUCK, FIRST PRESIDENT OF THE 
 SCHUMANN CLUB OF BANGOR (1898). PHOTO BY 
 CHALMERS, BANGOR. 
 
 by-laws were obtained from several of 
 
 the most successful musical clubs in 
 America and from these the constitu- 
 tion and set of by-laws for the Schu- 
 mann Club were made and in this way 
 a model set of working rules was 
 evolved. 
 
 The object of the club was stated to 
 be “the permanent establishment of an 
 organization for the musical culture of 
 its members and the uplifting of the 
 standard of music in the city of Ban- 
 gor.” 
 
 The annual production of “The Mes- 
 siah” has always been a feature and 
 the principal musical clubs of the city 
 have always codperated with the Schu- 
 mann Club in the performance of this 
 oratorio. 
 
 MUSIC AND MUSICIANS OF MAINE 
 
 The officers of the Schumann Club 
 for the years 1898-1899 were: 
 
 President, Mrs. F. L. Tuck; Vice President, 
 Mae Silsby; Recording Secretary, Mrs. R. L. 
 Flanders; Corresponding Secretary, Faustina 
 Curtis; Treasurer, Mrs. E. E. Peck; Auditor, 
 Roland Sawyer; Librarian, Mary Weston; Di- 
 rectors, Mrs. W. L. Nelson, George Silsby and 
 Mrs, E. T. Wasgatt. 
 
 The original members were: 
 
 Byon Roberts, Roland Sawyer, Harry Libby, 
 Hal Sawyer, George Moody, Wilbur Cochran, 
 George S. Silsby, K. A. Ringwall, McCrillis Saw- 
 yer, A. C. Morton, M. H. Andrews, Mrs. W. H. 
 Gardiner, Mrs. F. L. Tuck, Mrs. W. L. Nelson, 
 Mrs. E. E. Peck, Mrs. R. L. Flanders, Mrs. E. 
 T. Wasgatt, Mrs. H. L. Jewell, Mrs. A. Pfaff, 
 Mrs. N. E. Bragg, Mrs. Charles Webber, Mrs. 
 Charles Cutler, Mrs. J. B. Ayer, Mae Silsby, 
 Faustina Curtis, Mary Weston, Isabel Weston, 
 Laura Tefft, Maude Johnson, Lillian Gray, Har- 
 riet Stewart, Estelle Peck, Emily Merrill, Inez 
 Merrill, Carrie Hanley, Myra Hinckley, Mary 
 Chapman, Lucille Getchell, Rosa Berry, Ger- 
 trude Dennett and Caroline Allan. 
 
 The officers of the Schumann Club 
 of Bangor in 1927-28 were: 
 
 President, Mrs. Harris N. Doe; Vice Presi- 
 dent, Mrs, Robert T. Clark; Recording Secre- 
 tary, Mrs. Albert B. Garcelon; Corresponding 
 Secretary, Mrs. Walter H. Godsoe; Treasurer, 
 Josephine Wiggin; Auditor, Mrs. Linwood M. 
 Jones; Press Committee, Mrs. Raymond Jenkins. 
 
 The members were: 
 
 Lydia Adams, Margaret Angley, Ruth Baker, 
 Mrs. Edgar S. Baker, Mrs. F. P. Banks, Mrs. 
 Clarence W. Bean, Mrs. John F. Cassidy, Mrs. 
 Robert T. Clark, Mrs. Roy S. Coffin, Bertha 
 Davis, Mrs. Leon A. Dean, Hilda Donovan, Mrs. 
 T. G. Donovan, Mrs. Harris N. Doe, Mrs. Henry 
 F. Drummond, Mrs. Herbert A. Dunning, Ethel 
 Duren, Viola Duren, Agnes Ebbeson, Mrs. Harry 
 Farnham, Mrs. A. B. Garcelon, Thelma Godsoe, 
 Mrs. Walter Godsoe, Mary H. Hayford, Mrs. 
 Dorothy Doe Hicks, Mrs. Frederick W. Jacques, 
 Mrs. Raymond P. Jenkins, Mrs. Linwood M. 
 Jones, Mrs. Maurice King, Josephine Lane, Ma- 
 bel Lane, Mrs. Frances McBride, Teresa Mc- 
 Laughlin, Mrs. James I. Mosher, Mrs. Carrie 
 Newman, Ellen Peterson, Mrs. Wilbur E. Pierce, 
 Mrs. Edward S. Redman, Maude Russell, Mrs. 
 V. K. Sipprelle, Mrs. Gertrude Sparks, Anna 
 Strickland, Helena M. Tewksbury, Mrs. Elmer 
 R. Tobey, Josephine M. Wiggin, Barbara Whit- 
 man and Mrs. B. P. Williston. 
 
MUSIC OF THE STATE OF MAINE 1897-1928 
 
 Past Presidents of the Schumann 
 
 Club have been: 
 
 Mrs. Elizabeth Tuck, who was its organizer, 
 1898-1909; Mrs. Helen Jewell, 1909-1914; Mrs. 
 George H. Larrabee, 1914; Anna Strickland, 
 1915-1918; Mrs. Helena Tewksbury, 1918-1920; 
 Mrs. Thomas Donovan, 1920-1923; Mrs. Henry 
 Drummond, 1923-1925; Mrs. Harris N. Doe, 
 
 1925-1928. 
 
 Bangor Symphony Orchestra 
 
 The suggestion that symphony con- 
 certs be given in Bangor was made by 
 Abbie N. Garland early in the sum- 
 mer of 1896. An enthusiastic and 
 ready acceptance on the part of the 
 musical public lead to the institution 
 of a subscription sale, and the first 
 program in a series of six, known as 
 the Pullen Symphony Concerts, was 
 presented in City Hall on the eve- 
 ning of November 2, 1896. This in- 
 cluded the performance of the “Wil- 
 liam Tell Overture,” Schubert’s “Un- 
 finished Symphony,” and three ex- 
 cerpts from “Tannhduser.” ‘The or- 
 chestra numbered only sixteen and the 
 men who constituted its personnel 
 were: 
 
 Horace M. Pullen, conductor; Dr. Oscar E. 
 Wasgatt, first violin; Harold C. Sawyer, second 
 ‘violin; Roland J. Sawyer, viola; Melville H. 
 Andrews, cello; Eugene A. Halen, bass; Samuel 
 H. Boardman, flute; Harvey J. Woods and J. 
 Frank Todd, clarinet8; Frank L. Tuck and J. 
 Harry Haynes, cornets; Charles H. Lord, trom- 
 bone; Edward C. Adams and Howard F. Sawyer, 
 horns; Henry D. Adams, drums; Knute A. Ring- 
 wall, piano. 
 
 _ After the third season the orchestra 
 
 took over its own financial burden. 
 The profits above the current expenses 
 and the pay of the men created a fund 
 for the purchase of instruments not-in 
 use locally and needed for the proper 
 expansion of the organization. Some 
 contributions from friends of the cause 
 were added, and the Athene Club pur- 
 chased a bassoon and furnished the 
 money for a player to secure instruc- 
 tion in Boston. 
 
 MRS. HARRIS N. DOE, PRESIDENT OF THE SCHU- 
 MANN CLUB OF BANGOR, 1928. 
 
 With the growth of the orchestra 
 the operating expenses steadily in- 
 creased, and the necessity of a reserve 
 fund became so urgent that in I90I a 
 corporation with a capital stock of ten 
 thousand dollars was formed under 
 the name of the Bangor Symphony 
 Orchestra. An interest was taken by 
 leading citizens and business men and 
 sufficient subscriptions of stock re- 
 sulted to encourage the cause. After 
 serving for a time as cellist of the or- 
 chestra M. H. Andrews became first 
 violinist, and upon the removal of Dr. 
 Wasgatt from the city he succeeded 
 him as concert master. In 1go1 Mr. 
 Andrews assumed the baton and Mr. 
 Pullen became concert master. He 
 continued as conductor until the spring 
 of 1904, when Mr. Pullen again re- 
 sumed the leader’s position. 
 
 About this time a period of misfor- 
 
 281 
 
282 MUSIC AND MUSICIANS OF MAINE 
 
 BANGOR SYMPHONY ORCHESTRA, SEASON 1927-1928, ADELBERT WELLS SPRAGUE, CONDUCTOR. 
 
 tune befell the orchestra and concerts 
 were discontinued. In IgII it met 
 with a real disaster. All the official 
 records which had been taken from 
 the bank vault in preparation for the 
 annual stockholders’ meeting were de- 
 stroyed in the great Bangor fire and 
 with the subsequent failure of the bank 
 a serious financial loss was suffered. 
 
 Nevertheless, during the season of 
 I912-13 three programs were present- 
 ed, as an experiment, under the title of 
 the “Young People’s Symphony Con- 
 certs.” These took place at 4.30 in the 
 afternoon and programs of one hour 
 in length were given. No soloists were 
 offered, but splendid audiences greeted 
 each concert. 
 
 In October, 1918, a new organiza- 
 tion was perfected in which the orches- 
 tra became self supporting. A board 
 of directors composed entirely of ac- 
 tive members of the organization was 
 elected, and, in place of the capital 
 stock of the old club, an endowment 
 fund was established to insure the 
 further permanency and growth of the 
 orchestra, with the stipulation that 
 neither the principal nor the interest 
 of this fund should be used until the 
 amount reached ten thousand dollars. 
 
 Frederick W. Adams, Dr. Fred E. 
 Maxfield and William E. Brown were 
 
 selected as the first trustees of the 
 fund. Substantial donations were made 
 and the orchestra members and citi- 
 zens of Bangor contributed liberally 
 to it. 
 
 At the close of the 1919-20 season 
 Adelbert Wells Sprague was chosen 
 conductor in place of Mr. Pullen, 
 resigned. Like Mr. Andrews, Mr. 
 Sprague first entered the orchestra as 
 cellist, but in later seasons he served 
 as first cellist and assistant conductor. 
 
 The new corporation, chartered un- 
 der the statute relating to fraternities, 
 charities, etc., proved to be a complete . 
 success. ‘I'wo policies in this more re- 
 cent epoch of the orchestra’s career 
 proved beneficial and stimulating: 
 First, the orchestra being a completely 
 self-governed organization became in- 
 dependent of that outside dictation or 
 control which obtains in the case of 
 many symphonic organizations, and 
 thus was created a better morale which 
 resulted in more perfect team work; 
 second, the determination of the man- 
 agement that no soloists except or- 
 chestra members should perform at the 
 concerts, tended to focus public in- 
 terest and enthusiasm upon the orches- 
 tra itself rather than outside talent as 
 
 - assisting artists. 
 
 Joint concerts with other active mu- 
 
MUSIC OF THE STATE OF MAINE 1897-1928 283 
 
 sical interests of Bangor were produc- 
 tive of a codperative spirit that was in- 
 valuable, both to all the participants 
 as well as to the city itself. 
 
 Following was the personnel of the 
 Bangor Symphony Orchestra in 1928: 
 
 Conductor — Adelbert Wells Sprague; Violins 
 
 — Harold O. Doe, Concert Master; Estelle Bau- 
 mann, Frances L. Bailey, E. Merle Bailey, A. 
 Stanley Cayting, George A. Deacon, Dorothy 
 Brown Dean, Hazel Robinson Dinsmore, Ken- 
 neth L. Dunham, Viola A. Duren, Hyman Em- 
 ple, M. Hilda Finnegan, M. Frances Flannigan 
 Hogan, Harold M. Inman, Charles C. Larsen, 
 Karl D. Larsen, Earl S. Merrill, Gertrude B. 
 McClure, Helena E. Murray, Leonard L. Pooler, 
 Eugene W. Rice, H. Edward Rice, Mabel M. 
 Sipprelle; Violas — Edith Bowen, Linwood J. 
 Bowen, Miriam Morris Edgecomb, W. Alonzo 
 Johnson, Margaret Raynes, Gwendoline Barnes 
 Robinson, Bernice Mayberry Sawyer, Edwin F. 
 Tewksbury, Russell A. Whittemore; Violoncellos 
 — Arthur L. Atwood, Maud Murray Bean, Faith 
 Donovan, Anna Torrens Dymond, Stanley T. 
 Leonard, James D. Maxwell, Carl W. Maxfield, 
 Gladys H. Merrill, Inez Stevens Ready; Contra- 
 basses — Lothrop Coldwell, Eugene A. Haley, 
 Arthur I. Rowe; Flutes —W. McCrillis Sawyer, 
 Herbert E. Thompson; Bassoon — Vaughn N. 
 Coffin, Owen F. Infiorati; Oboe and English 
 Horn — Lloyd M. Dearborn, Henry F. Drum- 
 mond; Clarinets — Frederick W. Baumann, Al- 
 ton L. Robinson; Horns—David L. Carver, Hall 
 C. Dearborn, Paul L. Leonard, Winfield F. Saw- 
 yer; Trumpets—Irving W. Devoe, J. Harry 
 Haynes; Bass Clarinet —Orman B. Humphrey; 
 Trombones — Maurice P. King, Raymond H. 
 Morrison, Benjamin T. Shaw; Tuba — Frank E. 
 Robinson; Harp—Florence Tourjee Young; 
 Tympani — Frank G. Burrill, Francis G. Shaw; 
 Percussion — Car] S. Baumann. 
 
 The Bangor Symphony Orchestra 
 was, in 1928, the oldest organization of 
 its kind in the State. Its conductors 
 have been: 
 
 Horace Mann Pullen, 1896-1901; Melville H. 
 Andrews, 1901-1904; Horace Mann Pullen, 1904- 
 1920; Adelbert Wells Sprague, 1920-1928. 
 
 With its more than thirty-two years 
 of experience in orchestra work its 
 performances, under these able leaders, 
 may besaid to compare favorably with 
 those of similar orchestras in the larger 
 musical centers of the country. 
 
 \ 
 
 ADELBERT WELLS SPRAGUE, CONDUCTOR BANGOR 
 SYMPHONY ORCHESTRA, 1920-1928, AND DIRECTOR 
 DEPARTMENT OF MUSIC, UNIVERSITY OF MAINE. 
 
 The officers of the association in 
 1928 were: 
 
 President, Adelbert W. Sprague; Vice Presi- 
 dent, W. McCrillis Sawyer; Clerk and Treasur- 
 er, Alton L. Robinson; Board of Directors, A. 
 Stanley Cayting, Hall C. Dearborn, Henry F. 
 Drummond, James D. Maxwell, Alton L. Rob- 
 inson, W. McCrillis Sawyer and Adelbert W. 
 Sprague; Trustees of the Endowment Fund, 
 Frederick W. Adams, William E. Brown and 
 Fred E. Maxfield. 
 
 M. H. Andrews, founder of the Ban- 
 gor Symphony Orchestra, was, during 
 the Civil War, a cornettist in an army 
 band stationed at Savannah. So popu- 
 lar did he become that on his departure 
 from that city he was presented by 
 his officers with a silver cornet, and by 
 the citizens with a gold watch, bearing 
 an appropriate inscription. He served 
 as fifer, drummer, and regimental lead- 
 
284 
 
 MUSIC AND MUSICIANS OF MAINE 
 
 MELVILLE H. ANDREWS, FOUNDER OF THE BANGOR 
 SYMPHONY ORCHESTRA. 
 
 er of the Twelfth Maine Regiment 
 Band from which he was retired in 
 April, 1866. Soon after returning to 
 Bangor he organized (1867) a little 
 orchestra of four or five pieces which 
 he led until 1890 and which was the 
 nucelus from which the Bangor Sym- 
 phony Orchestra started. Mr. An- 
 drews was also conductor of the Ce- 
 cilia Club Chorus and he was the 
 founder of the Andrews Music House 
 in Bangor. 
 
 The Bach Choir, Bangor 
 
 The ambitions of the officers of the 
 Bach Choir of Bangor, organized Sep- 
 tember 16, 1925, for the purpose of 
 
 giving a presentation of Bach’s “Pas- 
 sion according to St. Matthew,” and, 
 if interest was aroused, to continue to 
 sing Bach’s music, came to a full reali- 
 zation on Palm Sunday, 1927, when, 
 
 with the aid of the Bangor Festival 
 
 Chorus, it gave a memorable interpre- 
 tation of this great composition in the 
 St. John’s Episcopal Church. 
 
 The work was conducted by Mrs. 
 
 Elizabeth Tuck, founder of the choir, 
 
 and she was assisted by Mrs. Teresa 
 Tuck Thurston, at the piano, and Rob- 
 ert W. Smith, at the organ, while the 
 choir was made up of many of the 
 leading church singers in that city. 
 The Official Board of the Bach 
 
 Choir consisted of: 
 
 Mrs. Elizabeth Tuck, President; Allan Hay- 
 cock, Vice President; Mrs. Teresa Tuck Thurs- 
 ton, Secretary; Lloyd Jones, Treasurer; Anna 
 Strickland, Auditor; and those who composed 
 the choir were, Esther Armstrong, Bessie Bailey, 
 Mrs. Tabor Bailey, Mrs. George Bond, Mrs. 
 Adelbert Bridges, Mrs. Joseph Brown, Mrs. 
 Wilfred J. Butterfield, Wilbur Cochrane, H. W. 
 Coffin, Mrs. Marion Cushman, Agnes Ebbeson, 
 Olga Ebbeson, F. A. Edwards, Marion Foss, 
 Ross St. Germain, Charles Hamilton, Leigh 
 Hamilton, Allan Haycock, Mrs. Allan Haycock, 
 Harry Howland, Everett Hurd, Lloyd Jones, 
 Dr. Charles A. Metcalf, Mrs. James Mulvaney, 
 Ruth Newcomb, Mrs. Carrie Newman, Mrs. 
 Clifford Patch, Mrs. Willard Peck, Mrs. Clar- 
 ence Reynolds, Olive Smyth, Anna Strickland, 
 Teresa Tuck Thurston, Mrs. Elizabeth Watson, 
 Elsa Wood, Estelle Wray and Arline Wray. 
 
 Among those who have been or- 
 ganists in the Bangor churches were: 
 
 Mabelle G. Ames, Phelonise Boutin, Blanche 
 Bowden, Ida F. Brown, William H. Callinan, 
 Wilbur S. Cochrane, Delia Connor, Ella F. 
 Connor, Anne Russell Donovan, Huldah S. 
 Doron, Mrs. Elizabeth F. Fallon, Edith M. 
 Farrington, Mrs. Grace Bramhall Howes, Mrs. 
 Raymond. Jenkins, M..E. Merrill, C. Winfield 
 Richmond, Elizabeth Smith, Harriett Louise 
 Stewart, Helena M. Tewksbury, Miss A. Thi- 
 bodeau, Elizabeth Tuck, Barbara Huntington 
 Whitman, Mrs. Marion Sprague Williston. 
 
 Some of those who have sung in the 
 choirs of Bangor were: 
 Clinton D. Baldwin, Mrs. F. P. Banks, E. F. 
 
MUSIC OF THE STATE OF MAINE 1897-1928 285 
 
 BRUNSWICK ORCHESTRAL SOCIETY, SEASON 1922-1923, CHARLES A. WARREN, CONDUCTOR. 
 
 Bickford, Henrietta Blackwell, Josephine Buck- 
 ley, Herbert Bunker, Margaret A. Butterfield, 
 Mrs. A. P. Carron, F. B. Carter, Florence Ednah 
 Chipman, Charles R. Clark, Mrs. R. D. Crowe, 
 Mrs. L. F. Edminster, Harry Garvin, H. P. 
 Greeley, Frances Hackett, Almond J. Hart, Mrs. 
 W. R. Hart, Mrs. W. D. Hayes, Mrs. Earle 
 Herrick, Raymond Hitchcock, Dr. E. J. Houle, 
 Mrs. E. J. Houle, Mrs. W. H. Hyler, Mrs. H. R. 
 Hulley, Mrs. Linwood Jones, Richard Keys, 
 Helen S. Leonard, Mrs. John LeVasseur, Harry 
 W. Libbey, C. Leroy Lyon, Earl C. Luce, Mary 
 Mayo, C. D. McCready, John P. McGrath, 
 Walter H. Mills, Frank Nason, Mrs. Wilbur 
 Parke, Mrs. F. A. Peavey, Mrs. George Pelletier, 
 Ellen M. Peterson, Earl Randall, Mrs. Wesley 
 Randall, George Renwick, Mrs. Gwendoline 
 Barnes Robinson, Mrs. Elizabeth Robinson, 
 Frank Simmons, Dexter S. Smith, Dorothy 
 Smith, Flora Smith, Olive Smith, Mrs. Louise 
 Steeves, Anna Strickland, Ethel M. Woodman. 
 
 M paddlssohn Club, Bath 
 
 The Mendelssohn Club of Bath was 
 organized in September, 1896. In 1897 
 it became the Bath Festival Chorus, 
 but it always retained its original 
 name. Its first officers were: 
 
 President, John S. Hyde; Secretary-Treasurer, 
 Arthur B. Stearns; Conductor, Harry McLellan; 
 Accompanist, Jessie Owen. 
 
 Past Presidents since its beginning 
 have included: 
 
 John Shaw, George W. Dean, Arthur B. 
 Stearns, Allen Irish, Mrs. George Berry, Mrs. 
 Grace D. Warren, Lloyd G. Duley, Herbert E. 
 
 Williams, Rev. David L. Wilson, H. Emma 
 Magoun and Mrs. Brenda F. Hill. 
 
 Conductors of the society have been: 
 
 Arthur Hyde, Frederick E. Drake, N. L. 
 Mower, Rev. Paul Sperry and Ernest L. Craw- 
 
 ford. 
 In 1928 the officers were: 
 
 President, Robert S. Gordon; Vice President, 
 Mrs. Luther Thompson; Secretary, Frostina 
 Marston; Treasurer, Chester Plant; Conductor, 
 Frederick E. Drake: Accompanist, Mrs. C. A. 
 Warren. 
 
 The St. Cecilia Club, Bath 
 The St. Cecilia Club of Bath was 
 
 another quite successful organization 
 for a time. It was composed of a num- 
 ber of teachers and pianists who came 
 together to found the club. Among 
 its members were Jennie R. Morse, 
 Carrie F. Luce, Jennie R. Melcher, 
 Julia H. Jackson, Mrs. A. E. Maxwell, 
 Anna F. Stockbridge and Mrs. John 
 Shaw. 
 
 The Brunswick Orchestral and 
 Choral Society 
 
 The Brunswick Orchestral and Cho- 
 ral Society, organized in October, 1922, 
 adopted for its chief purpose the fur- 
 thering of musical education. Its cho- 
 rus, numbering seventy-two members, 
 was well sustained by an orchestra of 
 forty-one pieces. Both classical and 
 modern works were included in its 
 programs, which were generally pre- 
 
286 
 
 MUSIC AND MUSICIANS OF MAINE 
 
 sented in four concerts each season — 
 two by the chorus and two by the or- 
 chestra. Charles A. Warren was the 
 director of the orchestra and Prof. E. 
 H. Wass of Bowdoin College was the 
 conductor of the chorus. 
 
 The orchestra, selected largely from 
 local musicians, including young play- 
 ers from the schools of Brunswick and 
 Topsham, was occasionally augmented 
 by players from Portland and Boston. 
 
 The chorus, made up of residents of 
 Brunswick, Topsham, Bath and Free- 
 port, was generally substantially in- 
 creased by a number of the students 
 of Bowdoin College. 
 
 The officers of the Brunswick Or- 
 chestral and Choral Society since its 
 beginning were: 
 
 President, Charles C. Hutchins; Secretary, Ed- 
 ward H. Wass; Treasurer, Horace D. Lovell. 
 
 Following was the personnel of the 
 orchestra in 1926, its last active sea- 
 son: 
 
 Charles A. Warren, Conductor; First Violins 
 —M. Phillips Mason, Concert Master, Mrs. 
 Charles A. Warren, Aimee L. Stetson, John 
 E, Townsend, Eleanor L. Frost, Leon J. Ran- 
 cour, Mrs. John M. Cates, Emily C. Randall 
 and Stephen J. Karkos; Second Violins — 'Thel- 
 ma E. Cutler, Marguerite L. Clifford, Heliodore 
 E. Menard, Richard L. Marston, Jeannett C. 
 Gervais, Cecilia Leclair, Roberta Brackett and 
 Roland F. Masse; Violas — Melvin T. Collins, 
 Merle L. Walker, Harold E. Libby, Jr., James 
 E. Sawyer; Cellos — Roland J. Sawyer, Venise 
 M. Caron, Marguerite Z. Lamarre and John C. 
 Gatchell; Flute—Harry T. Wall; Basses—Mau- 
 rice A. Luce, Thomas T. Rideout and Charles 
 M. Plummer; Oboes—Charles C. Hutchins, 
 Olivine A. Bousquet; Bassoon — Harold Peter- 
 son; Clarinet — Horace Lovell; Horns — John 
 Yenco, Harvey E. Grant; Trumpets — Joseph 
 Belanger, Leslie R. Rancourt, Harry C. Des- 
 Marais; Trombone — John F. Stacy; Tympani 
 — Lew Barrett; Drums — Earle B. Douglas. 
 
 The members of the chorus 
 cluded: 7 
 
 Edward H. Wass, Conductor; Sopranos — 
 Mrs. Austin H. MacCormick, Mrs. Conrad L. 
 Drapeau, Mrs. Bertha McNaughton, Mrs. Wil- 
 frid H. Crook, Mrs. Martha E. Carlson, Mrs. 
 J. M. Royal, Alice S, Dunning, Edyth Adele 
 
 in- 
 
 Sadler, Isabel C. Ridley, Agnes Cloutier, Flor- 
 ence Moody, Marguerite Williams, Adrienne 
 Bernier, Alice Griffin, Doris Hudson, Eleanor 
 Skolfield, Corris Potter, Maybelle Beach, Doro- | 
 thy Frost, Martha Caswell, Emily D. Lippin- 
 cott, Rose Thibault, Rhena Roberts, Lillian G. 
 Powers; Altos —Mrs. Horace D. Lovell, Mrs. 
 Mrytie Hicks, Mrs. Addie Alexander, Mrs. Hol- 
 man Alexander, Mrs. Ernest L. Crawford, Mrs. 
 Robert Toothaker, Mrs. W. H. Kenworthy, Mrs. 
 B. F. Harmon, Ruth S. Ridley, Jeanette H. 
 Harvey, Alice Vermette, Ruth Bangs, Dorothy 
 Stimpson; Tenors — Geoffrey Vermette, Conrad 
 L. Drapeau, Alfred M. Strout, Howard M. 
 Chute, Richard G. Wignot, James E. Thompson, 
 Raymond C. Perry, Ronald D. Wilkes, Theron 
 H. Spring, Edward Fay, Arthur N. Davis, Philip 
 Smith, J. M. Joslin; Basses — Charles T. Bur- 
 nett, R. Seymour Webster, W. P. Stewart, Jr., 
 N. I. Greene, John F. Loud, John Riley, Don 
 Marshall, John F. Hagar, Gerald G. Wilder, 
 Henry E. Andrews, Albert C. Letarte, Edward 
 S. Hammond, James M. Royal, G. Allen Howe, 
 Thompson E, Ashby, John K. Ames, L. B. Hunt, 
 I. G. Stone; Accompanist — Edmund M. Mc- 
 Closkey. 
 
 Mozart Club, Brunswick 
 
 The Mozart Club of Brunswick, 
 which was organized in 1902, num- 
 bered among its members the fore- 
 most of Brunswick’s musicians. ‘The 
 active membership of the club was 
 limited to twenty but it included some 
 forty associate members. The club 
 met monthly for twenty-five years at 
 the residence of Mrs. Charles Burnett 
 where programs were presented by 
 members of the club, though occasion- 
 ally an artist from some other city was 
 featured. 
 
 The officers of the Mozart Club of 
 Brunswick for the season of 1926-1927 
 were: 
 
 President, Mrs. Sue Winchell Burnett; Vice 
 President, Mrs. Frances Skolfield Smith; Treas- 
 urer, Isabel Forsaith; Secretary, Amy Cushing; 
 
 and the membership included: 
 
 Mrs. Constance French Baxter, Mrs. Caro- 
 line Carey, Venise Caron, Mrs. Mary Cates, Mrs. 
 Janie Crawford, Mrs. Mildred Clark Crook, Mrs. 
 Amelia Cushing, Mrs. Emily Baxter Holmes, 
 Alice Lincoln, Emily Lippincott, Mrs. Florence 
 A. Lovell, Mrs. Gertrude MacCormick, Mrs. 
 Prudence Morrell, Marion Rancour, Isabel Rid- 
 
MUSIC OF THE STATE OF MAINE 1897-1928 287 
 
 ley, Adele Sadler, Mrs. John Thalheimer, Mrs. 
 Belle Jordan Warren. 
 
 Though the winter of 1926-1927 was 
 one of the most successful in the his- 
 tory of the club, it suspended opera- 
 tions, though perhaps not permanently, 
 at the close of this season. 
 
 Another instrumental organization 
 in Brunswick in 1927 was the Wom- 
 en’s String Quartette, whose members 
 were Eleanor Frost, Emily Randall, 
 Ruth Johnson and Venise M. Caron. 
 
 Lyric Club, Caribou 
 
 The Lyric Club of Caribou was or- 
 ganized October 17, 1924, with a stat- 
 ed purpose “to develop the talent of 
 its members, to give programs of vocal 
 and instrumental music, and to stimu- 
 late musical interest in the commu- 
 nity.” Its first officers were: Presi- 
 dent, Mrs. Carlotta Keyes; Vice Pres- 
 ident, Mrs. Birdena Powers Pierson; 
 Secretary, Edna Johnson; Treasurer, 
 
 Mrs. Dora Doyle. 
 Among its activemembers have been: 
 
 Mrs. Sarah M. Briggs, Mrs. Elizabeth Bou- 
 chard, Mrs. Elizabeth B. Collins, Mrs. Leta Col- 
 lins, Mrs. Anna Cyr, Mrs. Dora Doyle, Mrs. 
 Estella Gregory, Mrs. Ethel Havey, Mrs. Lima 
 Harmon, Mrs. Carlotta Keyes, Mrs. Louise 
 Kidney, Mrs. Charles Kinney, Mrs. Lena Leav- 
 itt, Mrs. Gladys Morton, Mrs. Blanche McNelly, 
 Mrs. Louise Dade Odell, Mrs. Birdena P. Pier- 
 son, Mrs. Ella Powers, Mrs, Mabelle Porter, 
 Mrs. Blanche L. Roberts, Mrs. Chavala Savage, 
 Mrs. Violet S. Scott, Mrs. Ada M. Shaw, Mrs. 
 Hazel G. Shaw, Mrs. Viora A. Soucie, Mrs. Flora 
 C. Woodworth, Hope Anderson, Avis Ebbett, 
 Anna L. Hallett, Marion Hitchings, Edna John- 
 son, Anna J. Keating, Elizabeth Sincock, Grace 
 Swenson and H. Reta Wheaton. 
 
 Mrs. Sarah Briggs was Second Vice President 
 and Elizabeth Sincock was Corresponding Secre- 
 tary, and the associate members in 1926 were 
 Mrs. Ollie Cunningham and Mrs. Margaret 
 Irvine. 
 
 The officers in 1928 were: 
 
 President, Mrs. Birdena Powers Pierson; Vice 
 President, Mrs. Sarah M. Briggs; Recording Sec- 
 retary, Mrs. Mabel L. Porter; Corresponding 
 Secretary, Grace Swenson; Treasurer, Mis. Dora 
 L. Doyle. 
 
 MRS. BIRDENA POWERS PIERSON, PRESIDENT OF THE 
 LYRIC CLUB OF CARIBOU, 1928. 
 
 Harmonic Club, Cornish 
 
 The Harmonic Club of Cornish was 
 founded by Mrs. Rose W. Jameson. 
 
 The first officers were: 
 
 President, Bernice A. Woodbury; Vice Presi- 
 dent, Alice E. Elliott; Secretary, Winnifred L. 
 Dils; Treasurer, Virginia L. Warren. 
 
 Its object was the promotion of mu- 
 sic along educational lines, to supple- 
 ment the work of the music teacher in 
 maintaining the interest of the pupil in 
 the serious study of music, ana, 
 through the evening programs, to give 
 to the student the confidence requisite 
 to public performance. 
 
 The officers in 1928 were: 
 
 President, Barbara Small; Vice President, 
 Phyllis Irish; Secretary, Dorothy Ingerson; 
 Treasurer, Elinor Syphers. 
 
 Members in 1928 included: 
 
 Edna Abbott, Helen Adams, Elizabeth Ben- 
 
288 
 
 NELLIE LOUISE MCCANN, FIRST PRESIDENT ANNIE 
 LOUISE CARY CLUB, GORHAM, MAINE, 1925-1928. 
 PHOTO BY ADAMS STUDIO, PORTLAND. 
 
 son, Alta Clemmons, Alice Elliott, Wilma Hatch, 
 Dorothy Ingerson, Phyllis Irish, Phyllis Loud, 
 Dorothy Minor, Winthrop Parker, Sadie Perkins, 
 Arnold Small, Barbara Small, Emma Small, 
 Eleanor Syphers, Elizabeth Syphers, Lillian 
 Teaubalt, William Teaubalt, Virginia Warren, 
 Bernice Woodbury. 
 
 Nordica Club, Fort Fairfield 
 
 The Nordica Club of Fort Fairfield 
 was organized August 7, 1924, with 
 its purpose “to encourage a greater 
 interest in music among its members 
 and to increase activities in the com- 
 munity.” 
 
 With the exception of the corre- 
 sponding secretary, until 1927 the of- 
 ficers from its beginning were: 
 
 President, Mrs. Laura Fessenden; Vice Presi- 
 dent, Mrs. E. Pauline Powers; Secretary, Mrs. 
 Caroline Matthews; Treasurer, Mrs. Alice Johns- 
 ton; Chorus Director, Mrs. E. K. Guild. 
 
 Mrs. Beryl Fowler was the first Cor- 
 responding Secretary of the Club but 
 
 MUSIC AND MUSICIANS OF MAINE 
 
 on her removal from Fort Fairfield 
 she was succeeded by Sarah Hopkins. 
 
 The monthly meetings of the Nordi- 
 ca Club were among the chief musical 
 and social events of Fort Fairfield. 
 
 Among those who were members of 
 the Nordica Club since its organiza- 
 tion have been: 
 
 Fern I. Achorn, E. Mildred Atwater, Mrs. 
 Verna L. Averill, Mrs. Benjamin Bird, Agnes 
 Bishop, Mrs. Austin Buck, Violet Buxton, Mrs. 
 Lillian V. Cary, Edna M. Chamberlain, Mrs. 
 Jasper Crouse, Leona Debeck, Mrs. Edward Ed- 
 munds, Jr., Mrs. N. Fessenden, Mrs. Winnifred 
 Field, Cecil Fisher, Alice French, Marian French, 
 Mrs. Rex. Gellerson, Norma H. Goodhue, Mrs. 
 Grace S. Goss, Mrs. Maude G. Gould, Mrs. 
 Mary A. Guild, Mrs. Henrietta B. Holt, Mrs. 
 Mattie C. Haines, Mrs. Lena Harvey, Sarah 
 Hopkins, Helen Hopkins, Ruth Hopkins, Mrs. 
 Ray Johnston, Mrs. Leland Jones, Mrs. Clyde 
 Knight, Edna Knowles, Pauline Le Vasseur, 
 Mrs. Kate B. Libby, Mrs. A. B. Loane, Jr., Mrs. 
 Junius Loring, Mrs. Caroline C. Matthews, Mrs. 
 Hazel C. McBride, Bess McDougal, Annie Mc- 
 Mennamin, Mrs. Alden Nightingale, Mrs. Frank 
 Osborne, Mrs. Loomis Osborne, Mrs. Helen D. 
 Perrier, Mrs. Fred Peterson, Mrs. H. T. Powers, 
 Mrs. Maude L. Rediker, Mrs. Elsie M. Reed, 
 Elizabeth Richards, Electra Sandstrom, Mrs. 
 Warren Sawyer, Mrs. Ellen Sharpe, Mrs. Ger- 
 trude R. Skolfield, Mrs. Robert Slipp, Mrs. 
 Clementine J. Yorke, Mrs. L. D. Young. 
 
 The officers in 1928 were: 
 
 President, Mrs. Austin Buck; Vice President, 
 Mrs. A. B. Loane, Jr.; Recording Secretary, Mrs. 
 Edward Edmunds, Jr.; Corresponding Secretary, 
 Ruth Hopkins; Treasurer, Annie McMennamin; 
 Chorus Director, Mrs. Benjamin Bird. 
 
 A.M. Abbott Chorale Society, Fryeburg 
 
 A society that has done much to 
 stimulate interest in music in the town 
 of Fryeburg is the A. M. Abbott Cho- 
 rale Society which was founded for the 
 purpose of establishing a permanent 
 musical organization in the Fryeburg 
 Academy. It was named in honor of 
 Alberta Mabry Abbott. 
 
 The first concert by this organiza- 
 tion was given on January 31, 1926, 
 in which one hundred and thirty-five 
 members participated and these were 
 
MUSIC OF THE STATE OF MAINE 1897-1928 289 
 
 assisted by an orchestra of seventeen 
 musicians, 
 
 In the two years following its or- 
 ganization the society gave seventeen 
 concerts. 
 
 The charter members were all form- 
 er pupils of Mrs. Abbott and these 
 were: 
 
 Daphine Barker, Helen Baker, Ethel Hall, 
 Clyde Johnson, Ruth Bell, Averil Harnden, 
 
 Esther Baker, Edmund Emerson, Annie Bemis,’ 
 
 Louis Solari and H. A. D. Hurd. 
 
 The officers since its beginning have 
 been: 
 
 President, Daphine Barker; Vice President, 
 Helen Baker; Secretary, Ethel Hall; Treasurer, 
 Clyde Johnson; Librarian, Robert Littlefield; 
 Accompanists, Ruth Shaw, Dorothy Haley, Clyde 
 Johnson; Director, H. A. D. Hurd; Chaplains, 
 Rev. E. W. Wild and Rev. L. A. Dole. 
 
 Anne Louise Cary Club, Gorham 
 
 The Annie Louise Cary Club of 
 Gorham, named for the celebrated 
 singer, was organized November 17, 
 1925, for the purpose of getting to- 
 gether the musical people of the town 
 in order that they might be an inspira- 
 tion to one another, to continue their 
 personal study and interest in music, 
 and to bring before the public, by oc- 
 casional open meetings, both music 
 and musicians for the enjoyment and 
 edification of the community. Its first 
 officers were: 
 
 President, Nellie Louise McCann; Vice Presi- 
 dent, Mrs. Lawrence N. Cilley; Secretary, Mrs. 
 Frank A. Smith; Treasurer, Mrs. David W. 
 Sturgis. 
 
 Officers of the Annie Louise Cary 
 Club in 1927-1928 were: 
 
 President, Nellie Louise McCann; Vice Presi- 
 dent, Mrs. Harry D. Boynton; Secretary, Mrs. 
 Joseph E. Parker; Treasurer, Mrs. David W. 
 Sturgis; Chairman Program Committee, Mrs. T. 
 Everett Fairchild; Chairman Executive Commit- 
 
 tee, Mrs. Hazel Langdon; Counsellor of Junior 
 Club, Mrs. Lawrence N. Cilley. 
 
 Other members in 1928 were: 
 
 MARY E. BURPEE, FOUNDER AND FIRST PRESIDENT 
 HOULTON MUSIC CLUB. 
 
 Mrs. Austin Alden, Miriam Andrews, Mrs. 
 Chase A. Boothby, Mrs. W. Stanley Carne, 
 Frances Brown, Mrs. J. Spencer Harris, Mrs. 
 Lewis M. Day, Mrs. Oscar E. Huse, Nellie W. 
 Jordan, Mrs. Philip P. Lewis, Mrs. William T. 
 Libby, Mrs. George Littlefield, Edith Lowell, M. 
 Loy Page, Mrs. Harry C. Palmer, Lois Pillsbury, 
 Mrs. Marshall M. Phinney, Mrs. James B. Ridg- 
 way, Mrs. John Sawtelle, Mrs. Edward P. Sink- 
 inson, Elizabeth Sinkinson, Margaret Sinkinson, 
 Mrs. Frank A. Smith, Mrs. William R. Stigman, 
 Mrs. Ludger Sylvain, Mrs. Arthur F. Talbot, 
 Mrs. Louis P. Woodward, Jennie Pierce Whitney. 
 
 Among the former members of this 
 club have been: 
 Margaret Boothby, Esther Collins, Mrs. 
 
 Stephen E. Patrick, Evelyn Viles, Olena Viles 
 and Martha Wasson. 
 
 During the club’s first season a Cary 
 collection of photographs and personal 
 mementoes of the prima donna was 
 begun. The initial gifts to the collec- 
 tion were made by Frederic Mariner, 
 Susie P. Clement and Mr. and Mrs. 
 Samuel Edwin Cary. 
 
290 MUSIC AND MUSICIANS OF MAINE 
 
 MRS. CLEVELAND W. TOWERS, PAST PRESIDENT OF 
 THE HOULTON MUSIC CLUB. 
 
 Houlton Music Club 
 
 The Houlton Music Club was or- 
 ganized in 1912 by Mary E. Burpee. 
 The announced object of the club was 
 “to develop in its members a higher 
 artistic standard in the rendering of 
 musical works and to advance the art 
 of music in the community.” 
 
 The presidents since its organiza- 
 tion have been: 
 
 Mary E. Burpee, Mrs. Beatrice Churchill, 
 Mrs. Lulu Lindsay,* Mrs. Minnie Hughes, Mrs. 
 Bessie Fairbanks, Mrs. Anna Goodridge, Mrs. 
 Lida B. Hodgins and Mrs. Daisy Towers. 
 
 The first officers of the club were: 
 
 President, Mary E. Burpee; First Vice Presi- 
 dent, Gertrude Attridge; Second Vice President, 
 Lucretia Packard; Recording Secretary, Mrs. 
 Cleveland Towers; Corresponding Secretary, Ilda 
 
 Perry; Treasurer, Mrs. Hadden Thomas; Audi- 
 tor, Helen Coan; Custodian, Annetta Terrill. 
 
 _The club joined the State Federa- 
 tion in 1922. 
 
 The officers of the Houlton Music 
 Club for the year 1927-1928 were: 
 
 President, Mrs. Bessie White; First Vice Pres- 
 ident, Mrs. Phyllis Cumming; Second Vice Pres- 
 ident, Mrs. Mabel Rose; Recording Secretary, 
 Mrs. Louise Currie; Corresponding Secretary, 
 Mrs. Rosina Wetmore; Treasurer, Mrs. Ruth 
 Barker; Auditor, Cecelia Downie; Librarian, Mrs. 
 Annie Barnes; Musical Director, Mrs. Mabel 
 Rose; 
 and the members for this year were: 
 
 Mary Allen, Mrs. Ruth Barker, Mrs. Annie 
 Barnes, Mrs. Dora Berrie, Cora Braun, Louise 
 Buzzell, Wilma Carll, Mrs. Zeula Carson, Mrs. 
 Beatrice Churchill, Mrs. Margaret Cotton, Mrs. 
 Sadie Crockett, Mrs. Phyllis Cumming, Mrs. 
 Louise Currie, Mrs. Anne Davenport, Mrs. Gold- 
 ie Dow, Cecilia Downie, Mrs. Ressie Fairbanks, 
 Mrs. Lila Gardiner, Mrs. Ruth Gilpatrick, Mrs. 
 Anna Goodridge, Mrs. Grace Hartley, Mrs. Rena 
 Hassell, Anna Hallett, Mrs. Lida Hodgins, Mrs. 
 Ina Hughes, Mrs. Dorothy Jenny, Mrs. Arlene 
 Jenkins, Mrs. Myrtle Knox, Doris Latneau, Le- 
 nona Lougee, Mrs. Mathilda Lowery, Francis 
 Mansfield, Mrs. Marion McCready, Eva Mc- 
 Ginley, Leah McIntyre, Virginia Monahan, Mrs. 
 Nellie Nichols, Myrtle Orchard, Mrs. Mabel 
 Rose, Mrs. Gertrude Scott, Mrs. Daisy Towers, 
 Mrs. Rosina Wetmore, Mrs. Bessie White, Mrs. 
 Caro Whitney, Mrs. Eleanor Wilson. 
 
 Other members have been: 
 
 Mrs. Jennie Baldwin, Mrs. Charlotte Bishop, 
 Hattie Blanche, Mary Bolter, Marion Buzzell, 
 Mrs. Mae Cleveland, Mrs. Kathleen Dalton, 
 Kathleen Dempsey, Mrs. Idella Fitzsimmons, 
 Mrs. Camilla Grant, Beatrice Hackett, Mrs. 
 Minnie Hughes, Mrs. Flora Hussey, Mrs. Vena 
 Jones, Mrs. Theresa Ludwig, Helen McKay, 
 Mrs. Winona Newell, Ada Ross, Drusilla Rus- 
 sell, Natalie Smith, Eleanor Taylor, Gretchen 
 Turner. 
 
 Club Musical Litterarie, Lewiston- 
 Auburn 
 
 The Club Musical-Litterarie, one of 
 the oldest existing clubs in Lewiston- 
 Auburn, was founded April 22, 1888, 
 and was incorporated the same year. 
 It originated in the choir of St. Peter’s 
 Church and was organized by Henry 
 F. Roy, who served as its President 
 
MUSIC OF THE STATE OF MAINE 1897-1928 291 
 
 and Musical Director for many years. 
 
 At first this club was known as “So- 
 ciete Ste. Cecile.’ When it combined 
 with the literary club, “The Club Cri- 
 mazie” (named after the Canadian 
 poet), it took its newer title. Its mem- 
 bers, composed largely of professional 
 and business men of Franco-American 
 element, in 1928, numbered about one 
 hundred and fifty. | 
 ’ The society specializes in the study 
 and presentation of light operas. 
 
 Among the musical productions it 
 has given are the following: “The 
 Drum Major’s Daughter,” “Olivette,” 
 “The Mascotte,” “Les Dragons de 
 Villars,” “The Bells of Corneville,” 
 and “La Fille de Madame Angot.” 
 
 There has also been presented, in 
 their hall, a large number of musical 
 programs with local talent. 
 
 Some of the best French speakers 
 in the world have been sent to them 
 by the Alliance Francaise of Paris. 
 The club at one time had a library of 
 three thousand volumes, largely French 
 classics. 
 
 The first officers of the society were: 
 
 President, Henry F. Roy; Vice President, Z. 
 Blouin; Secretary, Dr. L. E. N. Matte; Treas- 
 urer, L. T. Chabot; Assistant Treasurer, eo 
 Vincent; Musical Director, Henry F. Roy. 
 
 The officers of the Club Musical- 
 Litterarie in 1928 were: 
 
 President, Raymond Lévesque; Vice Presi- 
 dent, Lucien Bergeron; Secretary, Aimé Asselin; 
 Treasurer, Romain Marcoux; Musical Director, 
 
 Valdor Couture. 
 
 Androscoggin Musical Society 
 
 In the nineties the Androscoggin 
 Musical Society was a flourishing or- 
 ganization. B. F. Wood was, for some 
 time, its director, and later Hermann 
 Kotzschmar of Portland became its 
 conductor. At a concert given in Mu- 
 sic Hall in 1891 the Scriptural Idyll, 
 
 “Rebecca,” by Barnby, was presented 
 
 with a full chorus and orchestra. B. 
 
 HENRY F. ROY, FOUNDER AND FIRST PRESIDENT OF 
 CLUB MUSICAL LITTERARIE, LEWISTON-AUBURN 
 (1888). 
 
 F. Wood directed and Harvey S. Mur- 
 ray was pianist. The soloists were 
 Alice Esty, W. H. Fessenden and Dr. 
 G. Robert Clark. George Lowell Tracy 
 was the leader of the orchestra which 
 numbered twenty pieces, and there 
 were one hundred singers in the chorus. 
 
 Clef, Clavier and Spinet Clubs, 
 
 Lewiston 
 
 In 1892 a group of women (pianists 
 of former years in Lewiston and Au- 
 burn), who were desirous of resuming 
 their study of music, formed a reading 
 class which took up the history of mu- 
 sic. Later this same group, number- 
 ing fourteen, held regular meetings for 
 piano practice at the homes of the 
 members under the direction of Mrs. 
 H. A. Kelley. The name “Clavier” 
 
 was adopted and occasional recitals 
 
492 
 
 were given. Among those first inter- 
 ested were Mrs. Charles Goss, Mrs. 
 W. H. Hartshorn, and Mrs. N. 8. Tay- 
 lor. Fannybelle Libby succeeded Mrs. 
 Kelley as director. After a time the 
 original purpose of the club as a read- 
 ing club was abandoned and the so- 
 ciety gave itself up to the presentation 
 of musical programs. In 1902 the 
 membership had increased to thirty- 
 two. Among others who were promi- 
 nent in this society were Nettie Mer- 
 rill, Mrs. ds, J,-Bitter,: Mts aan: 
 Leonard, Mrs. F. E. Pomeroy and 
 
 Mrs. W. F. Robbins, who was its ° 
 
 President in 1902. 
 
 In May, 1894, E. Belle Oakes and 
 Carrie Miller made the first move to- 
 ward organizing a club which should 
 result in a better acquaintanceship 
 among the girls of Lewiston and Au- 
 burn, with music as the bond of union. 
 This club took “Spinet” as its name; 
 its object, as stated in the constitution, 
 being “to promote a knowledge of the 
 History of Music, Modern Musicians, 
 the Composers and their Composi- 
 tions.” The meetings of the Spinet 
 Club were held in the evening. The 
 Clavier, which was still meeting as a 
 class for regular practice and the study 
 of musical history, was an afternoon 
 club. The days of the Androscoggin 
 Musical Association had passed and 
 the Festival Chorus had not been or- 
 ganized so the Spinet met a special 
 need. 
 
 Regular programs were given by 
 these two clubs and the Spinet, even 
 at this early date, had a printed Year 
 Book. 
 
 During the same year (1894) Mrs. 
 Alice J. Skolfield, Mrs. A. W. Fowles 
 and Mrs. Abbie Dyer were instru- 
 mental in forming an afternoon club 
 which adopted the name of Clef Club. 
 
 The Clef Club and the Spinet Club 
 
 undertook a course of study each sea- 
 
 MUSIC AND MUSICIANS OF MAINE 
 
 son and developed and maintained an 
 interest in classical composers that 
 added much to the interest of their 
 members. Among those who served 
 as presidents of the Clef Club were: 
 
 Mrs. Abbie Emmons, Mrs. Maud Morey, Mrs. 
 Alice Parker, Mrs. Ida Packard, Mrs. Alice Skol- 
 field. 
 
 Musical Union, Lewiston 
 
 In February, 1899, the three clubs, 
 The Clef, Clavier and Spinet, began 
 holding occasional meetings together 
 and to provide for the joining of these 
 the Musical Union was organized. 
 
 Among those who appeared as solo- 
 ists of The Musical Union were: 
 
 Angie Starbird, Maud Teel, Carrie E. Miller, 
 Helen Winslow, Mrs. Louise Marie Bitter, Mrs. 
 W. H. Hartshorn and Mrs. Susie Jewett Folsom. 
 
 In the Spring of 1900 the operatta 
 “Genevieve” was given under the aus- 
 pices of the Musical Union with the 
 following soloists: 
 
 Maud Teel, Mrs. Martha Lufkin, Julia Bearce, 
 Ida Metcalf, Mrs. Louise Bitter, Mrs. Maud 
 Morey and Mrs. Minnie Hartshorn. 
 
 In the chorus were: sopranos, Mrs. 
 Lily Ellsworth, May Savage, Mrs. Au- 
 gusta Doyle, Alice Conant and Mrs. 
 Maud Winslow; altos, Mrs. Minnie 
 Wagg, Mrs. Nettie Leonard, Mrs. Rose 
 Howe, Della Young, Harriet Wing and 
 Hattie Curtis. 
 
 In 1901 the society presented the 
 song-cycle “In a Persian Garden” at 
 the Main Street Free Baptist Church 
 at which the soloists were Florence 
 Knight Palmer, Portland, soprano; 
 Henrietta Dennett Rice, Portland, con- 
 tralto; Frederick I. Day, Boston, ten- 
 or; Harry F. Merrill, Portland, bass. 
 
 Until 1903 all meetings of the clubs 
 were held in the homes of members, 
 the memberships being limited to thir- 
 ty or forty, but in three years they 
 united in engaging a studio in Lewis- 
 ton. The Spinet increased its mem- 
 bership limit to fifty at this time and 
 
 eee SS er OTe 
 
MUSIC OF THE STATE OF MAINE 1897-1928 293 
 
 the other two followed shortly in like 
 manner. 
 
 In 1913 the Clavier merged with the 
 Spinet and accepted the name of the 
 latter. In 1917 the Spinet and the 
 Clef merged and, because of the ex- 
 istence of the French Musical Society 
 L’Union Musicale, the name, Musical 
 Union, was changed to Philharmonic. 
 Spacious new studios were engaged in 
 1919, this time in Auburn, and the club 
 membership, comprising active and as- 
 sociate members, came to number 
 nearly four hundred. 
 
 The members of the Musical Union 
 were listed separately on its yearly 
 program as Division Numbers One, 
 Two and Three. 
 
 The officers of the society in the last 
 year of its existence under that name 
 were President, Mrs. Ida F. Packard; 
 Secretary, Gladys Chadbourne; Treas- 
 urer, Mrs. Helen Bradbury; Vice Pres- 
 idents, Mrs. Lenora Cushman, Marion 
 Washburn, Mrs. Martha Coombs; Di- 
 rectors, Mrs. Abbie Emmons, Mrs. 
 Eva Welt and Mrs. Abbie Goss. 
 
 Its members were: 
 
 Division Number One — Mrs. Madine Abbott, 
 Mrs. Elizabeth Bicknell, Mrs. Edith Barr, Mrs. 
 Grace Barnes, Ida Cummings, Mrs. Martha 
 Coombs, Mrs. Alice Crafts, Margaret Carson, 
 Mrs. Lenora Cushman, Birdena Channell, Mrs. 
 Mary Crowell, Louise Davis, Mrs. Augusta 
 Doyle, Mrs. Grace Ellis, Mrs. Addie Fowles, 
 Mrs. Nellie Greenleaf, Mrs. Emma Gledhill, Mrs. 
 Abbie Hersey, Mrs. Lottie Harlow, Bertha Irish, 
 Mabel Johnson, Mrs. Edna Kinsley, Lucy Lane, 
 Elizabeth Litchfield, Mrs. Minnie Litchfield, 
 Grace Lunt, Eunice Moulton, Mrs. Florence 
 Nevens, Lucy Polk, Mrs. Florence Peirce, Mrs. 
 Lillian Robbins, Mrs. Belle Rowe, Mrs. Alice B. 
 Record, Mrs. Therese Scannell, Eleanor Sands, 
 Mrs. Grace Webber, Helen Watson, Mattie 
 Wood, Mrs. Minnie Wagg, Abigail Waterhouse, 
 Mrs. Mabel Wellman, Jessie West, Della Young. 
 
 Division Number Two— Mrs. Lena B. Al- 
 ford, Sybil Albee, Exilia Blouin, Mrs. Catherine 
 Bliss, Marion Burnham, Mrs. Flora G. Chase, 
 Mrs. Verna Chadbourne, Mrs. W. E. Donnell, 
 Vertie Edwards, Lucy Farrar, Margaret Green- 
 leaf, Mrs. Abbie Goss, Ethel Gould, Cora F. 
 
 Heath, Effie M. Heath, Mrs. Millie Holman, 
 Lilla M. Howard, Maude Huskins, Margaret 
 Ham, Mrs. Ida Jordan, Blanche Linscott, Mrs. 
 Nettie Leonard, Ida Metcalf, Elizabeth Mc- 
 Kenna, Carrie E. Miller, Mrs. Grace McKenney, 
 Ellen M. Moseley, Mrs. Maude Morey, Mrs. 
 Beatrice Ness, Verna A. Noyes, Belle E. Oakes, 
 Georgie Philoon, Mrs. Alice Parker, Mrs. Sadie 
 Prince, Mary Pottle, Mrs. Ada W. Rollins, Mrs. 
 Lena Robie, Lillian Rowe, Angie Starbird, Mrs. 
 Helen Sleeper, Gertrude Smith, Mrs. Alice J. 
 Skolfield, Mrs. Lillian Sturgis, Mrs. Ethel Tem- 
 ple, Marion Washburn, Carrie E. West, Mrs. 
 Shirley Wilson. 
 
 Division Number Three — Mrs. Louise Bart- 
 lett, Hazel Bearce, Mrs. Helen Bradbury, Abbie 
 Buckley, Gladys Chadbourne, Mrs. Anna Chase, 
 Helen Conant, Elizabeth Danforth, Rose Doyle, 
 Mrs. Abbie Emmons, Margaret Flanagan, Mrs. 
 Effe Fogg, Mrs. Mary Gifford, Marguerite 
 Girouard, Mrs. Pearl W. Harriman, Rosalie 
 Horne, Mrs. Hattie C. Johnson, Mrs. Maude 
 Kavanaugh, Angelina LeBranch, Mrs. Nettie 
 Leonard, Mrs. Millie P. Litchfield, Eliza Lowell, 
 Mrs. Elizabeth Ludden, Elizabeth Marston, Mrs. 
 Lila Maloon, Gertrude May, Mrs. Alice Myrick, 
 Mrs. Ethel Nash, Mrs. Ida Packard, Mrs. Wini- 
 fred Packard, Mrs. Martha Robinson, Mrs. Emily 
 Shackford, Laura Stetson, Mrs. Emma L. Stev- 
 ens, Mrs. Sadie Tanner, Lona Tarr, Mrs. Lillian 
 Taylor, Elizabeth Tobey, Mrs. Annie Turgeon, 
 Mrs. Eva T. Welt, Mrs. Maud Whitney, Mrs. 
 Junita Williams, Helen Winslow. 
 
 Following are the names of those 
 who served as presidents of the Mu- 
 sical Union of Lewiston and Auburn: 
 
 Mrs. Ida Packard, Mrs. Helen Sleeper, Mrs. 
 W. H. Hartshorn, Mary A. Stevens, Mrs. A. W. 
 Anthony, Beatrice Phaneuf, Effe Heath, Mrs. 
 N. S. Taylor, Mrs. Elizabeth Ludden, Mrs. D. 
 D. Coombs and Elizabeth Litchfield. 
 
 Philharmonic Club, Lewiston 
 
 The Philharmonic Club has come to 
 be the principal Woman’s Musical So- 
 ciety of Auburn and Lewiston. The 
 first officers were: 
 
 Elizabeth Litchfield, president; Mary Pottle, 
 Vice President; Mrs. F. H. Holman, Secretary; 
 Mrs. C. A. Litchfield, Treasurer; Carrie E. Mil- 
 ler, Auditor; Mrs. Augusta Doyle, Librarian; 
 Martha Robinson, Mrs. Rena Lidstone and Mrs. 
 A. W. Fowles, Directors. 
 
 Elizabeth Litchfield served as presi- 
 dent for two years, and has been 
 treasurer since that time. The chief 
 
294 
 
 ELIZABETH LITCHFIELD, FIRST PRESIDENT OF THE 
 PHILHARMONIC CLUB, LEWISTON. PHOTO BY HAN- 
 SON, PORTLAND. 
 
 objects of the club are to develope and 
 encourage talent among local musi- 
 cians, especially the younger ones, and 
 to arrange occasional concerts in order 
 to bring artists to Lewiston, who would 
 not otherwise be heard there. 
 
 The club grew so rapidly during the 
 first year of its existence as the Phil- 
 harmonic Club that in the second sea- 
 son, being obliged to secure larger 
 quarters, it took over the rooms once 
 used by the Waseca Club of Auburn 
 —a men’s club which had disbanded 
 after the war broke out —and fitted 
 them up as a meeting place and a 
 studio in which to hold its recitals. 
 
 The officers of the Philharmonic 
 Club of Auburn-Lewiston, for the sea- 
 son of 1927-1928, were: 
 
 President, Mrs. Henri Crosby; Vice President, 
 Mrs. Samuel Cobb; Secretary, Mrs. Charles 
 
 Starbird; Treasurer, Elizabeth Litchfield; Cor- 
 responding Secretary, Florence Judkins; Libra- 
 
 MUSIC AND MUSICIANS OF MAINE 
 
 rian, Helen Watson; Auditor, Mrs. A. V. Raw- 
 stron; ‘Directors, Mrs. Seldon Crafts, Mrs. 5. 
 Merritt Farnum and Mrs. Oscar W. Jones. 
 
 The active members of the Phil- 
 harmonic Club in 1927-1928 were: 
 
 Mrs. Willis M. Abbott, Isabelle Allen, Mrs. 
 William Allen, Mrs. Harold Arris, Annie L. Barr, 
 Christabel Beaubier, Blanche Belleau, Eglantine 
 Belleau, Mrs. N. W. Benner, Exilia Blouin, Ena 
 Bolduc, Mrs. E. M. Briggs, Gertrude Burke, 
 Diane Cailler, Mrs. Carroll Campbell, Yvette 
 Cassista, Berdina Channell, Isabelle I. Chute, 
 Mrs. Franklin Clark, Mrs, Samuel T. Cobb, Mrs. 
 John Coburn, Helen Conant, Mrs. Seldon T. 
 Crafts, Mrs. Mildred M. Crossman, Mrs. Frank 
 M. Cummings, Ida Cummings, Mrs. John Cur- 
 rie, Claire Dostie, Mrs. Annie B. Douglas, Mrs. 
 Mellen T. Downing, Mrs. Augusta Doyle, Mrs. 
 Julian Ellis, Mrs. William E. Emerson, Mrs. 
 George Emmons, Audrey Estes, Mrs. S. Merritt 
 Farnum, Mrs. Vernon Faunce, Alice Flood, Mrs. 
 Harold Foss, Mrs. A. W. Fowles, Irma May 
 Francis, Mrs. N. G. French, Mrs. J. R. Gilman, 
 Mrs. Warren Gledhill, Mrs. Isaac Goodkowsky, 
 Mrs. E. L. Goss, Mrs. E. H. Grant, Mrs. E. D. 
 Greenleaf, Mrs. Nellie Greenleaf, Alice Halle- 
 well, Mrs. Jacob B. Ham, Mrs. Ralph G. Has- 
 kell, Cora Heath, Effie Heath, Mrs. Fannie Heth, 
 Lilla Howard, Maude Huskins, Alice Jones, Mil- 
 dred Jordan, Florence Judkins, Mrs. Albert L. 
 Kavanaugh, Mrs. Joseph Keene, Mrs. A. J. 
 Kroon, Mrs. Hazel Langdon, Mrs. Eugene Lang- 
 elier, Mrs. Pauline Roberts Lawrence, Mrs. C. A. 
 Litchfield, Elizabeth Litchfield, Mrs. J. H. Litch- 
 field, Mrs. Norman Litchfield, Eliza Lowell, Mrs. 
 F. E. Ludden, Mrs. William Ludden, Grace Lunt, 
 Mrs. Ray Lydston, Katheryn Lynch, Mrs. R. 
 Crawford Mcllroy, Elizabeth McKenna, Mrs. 
 Matthew McKinney, Carrie E. Miller, Harriet 
 Moody, Mrs. Frank A. Morey, Eunice Moulton, 
 Mrs. L. E. Moulton, Mrs. Ezra Nevens, Mrs. 
 John Ness, E. Belle Oakes, Mrs. E. E. Parker, 
 Mrs. Edward H. Parsons, Mrs. Milo Pearson, 
 Mrs. A. F. Pierce, Hazel Penley, Mrs. E. L. 
 Pennell, Mrs. E. H. Perry, Mrs. Charles Phillips, 
 Mrs. W. G. Phillips, Mrs. George Phinney, Mrs. 
 E. S. Pitcher, Mrs. F. E. Pomeroy, Mrs. W. F. 
 Robbins, Mrs. C. A. Robinson, Hazel Robinson, 
 Mrs. Ada Rollins, Hannah Scott, Mrs. Hazel 
 Scott, Angeline Simard, Mrs. H. R. Skillings, 
 Mrs. Alice J. Skolfield, Mrs. Fred Smith, Lillian 
 Soule, Mrs. Guy L. Spear, Mrs. Harry Staples, 
 Ruth Staples, Angie Starbird, Mrs. Charles Star- 
 bird, Louise Temple, Mrs. C. H. Thompson, 
 Anna Tighe, Elizabeth Tighe, Edris Turgeon, 
 Mrs. F. E. Wagg, Mrs. Fred W. Walker, Mrs. 
 Edward Walton, Mrs. Fred O. Watson, Helen E. 
 Watson, Mrs. Charles C. Webber, Mrs. Grace 
 
MUSIC OF THE STATE OF MAINE 1897-1928 295 
 
 Webber, Mrs. Ralph W. Webster, Mrs. Frank 
 Wellman, Carrie West, Jessie West, Mrs. Gladys 
 C. White, Mrs. D. W. Wiggin, Mrs. Dana S. 
 Williams, Anne Wiseman, Virginia Woodbury, 
 Pauline Yeaton, Della Young. 
 
 The Honorary Members were: 
 
 Mrs. Charles Bartlett, Mrs. E. H. Carritt, 
 Mrs. D. D. Coombs, Mrs. William Emerson, 
 Mrs, Virginia Miller French, Mrs. Gertrude May 
 Goss, Mrs. Mabel Johnson Harris, Mrs. Harriet 
 Hill, Mrs. L. Roland Jones, Lucy Lane, Mrs. 
 Martha Low, Eleanor Sands, Mrs. Ethel Gould 
 Steele, Helen Winslow and Hazel Woodbury. 
 
 These have served as presidents of 
 the society since it became known as 
 
 the Philharmonic Club: 
 
 Elizabeth Litchfield, 1917-20; Mrs. Bernard 
 A. Chase, 1920-21; Mrs. Samuel T. Cobb, 1921- 
 22; Mrs. Frank L. Wellman, 1922-23; Mrs. 
 J. H. Litchfield, 1923-24; Mrs. Charles A. Litch- 
 field, 1924-25; Mrs. S. Merritt Farnum, 1925- 
 26; Mrs. E. W. Walton, 1926-27; Mrs. Henri 
 Crosby, 1927-28. 
 
 At the annual meeting of the Phil- 
 harmonic Club, held in May, 1928, the 
 following were elected officers of the 
 society for 1928-1929: 
 
 President, Mrs. Samuel T. Cobb of Auburn; 
 First Vice President, Mrs. Albert L. Kavanaugh 
 of Lewiston; Second Vice President, Mrs. Seldon 
 T. Crafts of Lewiston; Treasurer, Elizabeth 
 Litchfield of Lewiston; Secretary, Mrs. Charles 
 M. Starbird of Auburn; Librarian, Helen Wat- 
 son of Auburn; Auditor, Mrs. Albert Rawstron 
 
 of Lewiston; Director for three years, Mrs. 
 Henri S. Crosby of Auburn. 
 
 The Lewiston and Auburn Oratorio 
 
 Society was organized in ,the fall of 
 1927 for the purpose of reviving an 
 interest in the music of the great ora- 
 torios. At Christmas time, in that 
 year, it produced “The Messiah” with 
 a chorus of seventy-five voices, under 
 the direction of Seldon T. Crafts, its 
 founder and conductor. 
 
 Following were the officers of the 
 Lewiston and Auburn Oratorio Chorus 
 in 1927-1928: 
 
 President, Albert L. Kavanaugh; Vice Presi- 
 dent, Avard L. Richan; Secretary, Edith Wood- 
 ard; Treasurer, John G. West; Pianist, Helen E. 
 
 Watson; Organist, Mrs. E. L. Goss; Director of 
 Chorus, Seldon T. Crafts. 
 
 The Foyer Musical 
 
 The Foyer Musical of Lewiston, 
 founded by Blanche Belleau, Novem- 
 ber 20, 1920, is composed solely of 
 women, with its principal object to 
 develop the literary and musical tal- 
 ents of its members. Its meetings are 
 held monthly. Mrs. A. Jacques is 
 choral director, Mrs. Eugene Langelier 
 is the conductor of the orchestra and 
 Charlotte Michaud is the instructor of 
 dancing. Public entertainments are 
 given each year on the anniversary of 
 its organization. 
 
 The officers in 1928 were: | 
 
 Mrs. Louis Provost, President; Mrs. J. O. Be- 
 langer, Honorary President; Mrs. E. Langelier, 
 Vice President; Alice Richer, Secretary; Aliette 
 Guertin, Assistant Secretary; Regina Marcotte, 
 Treasurer; Bernadette Dumont, Assistant Treas- 
 urer; Charlotte Michaud, Corresponding Secre- 
 tary; Adrienne Beliveau, Librarian. 
 
 Directors for three years: Mrs, J. O. Belanger, 
 Marie Gauvin and Laura Collet; for two years, 
 Mrs. Z. Dube and Mrs. Frank Landry; for one 
 veal, wvits...). By ot. Pierre and ‘Mrs..J)/-P. 
 Chevalier. 
 
 The society has upwards of one hun- 
 
 dred and fifty members. 
 
 L’Orpheon, Lewiston 
 
 L’Orpheon singing society was found- 
 ed November I0, 1912, by Pierre Per- 
 rault of Auburn. Dr. L. Raoul La- 
 fond has been its president and Al- 
 phonse Cote, organist at St. Louis’ 
 Church of Auburn, has been its musi- 
 cal director for the greater part of the 
 time since its beginning. The Or- 
 pheon has given a series of annual 
 concerts in Lewiston at which have 
 appeared some of the leading artists 
 of the country and has been one of 
 the greatest factors for development 
 of music appreciation among the French 
 people in Central Maine. In more 
 recent years it has presented ambi- 
 tious productions of opera, one of the 
 
 ‘most notable of which was that of 
 
 “Romeo and Juliette” with Mildred 
 
296 MUSIC AND MUSICIANS OF Mata 
 
 D. Litchfield and Alphonse W. Cote 
 in the title roles, supported by a chor- 
 us of sixty and an orchestra of twenty 
 performers. Among those who have ap- 
 peared as principals in these operatic 
 presentations in recent years have been: 
 
 Juliette Bernard, Clarisse Grondin, Alex Le- 
 mieux, Olivier Pelletier, Dr. L. R. Lafond, Jo- 
 seph Caouette, Adelard Roy, Rosario Tremblay, 
 Napoleon Sansoucy, Elie Langelier, Mrs. Anna 
 Deshaies, Rhea Couillard, Jean Couture, Charles 
 Theberge. 
 
 Seldon T. Crafts and Arthur Bru- 
 nelle have been among those who have 
 been musical directors of the society. 
 Yvonne Reny has been its accompan- 
 ist and George Filteau its artistic di- 
 rector. L’Orpheon has to its credit 
 the presentation of some of the most 
 artistic performances ever given in 
 amateur opera in Maine. 
 
 The officers of L’Orpheon in 1925 
 
 Were: 
 
 President, Dr. L. Raoul Lafond; Vice Presi- 
 dent, Joseph Caouette; Musical Director, Al- 
 phonse W. Cote; Assistant Director, J. N. San- 
 soucy; Secretary, Rosario Tremblay; Assistant 
 Secretary, Lucien Giguere; Treasurer, George 
 Berube; Assistant Treasurer, Elie Langelier; Di- 
 rectors, Adelard Roy, Arthur Jalbert and Ed- 
 
 mond Cote. 
 
 Before the days of L’Orpheon there 
 was an unnamed musical aggregation 
 which for nearly ten years presented 
 light operas with casts of amateurs 
 made up from the French speaking 
 people of Lewiston and Auburn. 
 George Filteau was its leading spirit. 
 Among the operas which they gave be- 
 tween the years 1896 and 1922 were 
 “The Chimes of Normandy,” “The 
 Mascot,” “The Drum Major,” “Oli- 
 vette,” “Fra Diavolo” and “Faust.” 
 It was said of these productions that 
 “they were as good as could be done 
 by amateurs.” 
 
 Lewiston-Auburn Symphony 
 . Orchestra 
 Roger W. MacGibbon of Auburn 
 may be said to have been the father 
 
 of the Lewiston-Auburn Symphony 
 Orchestra, for it was he who conceived 
 the idea of organizing such an associa- 
 tion of representative musicians of 
 Lewiston and Auburn to improve the 
 musical standards in orchestral music 
 in these two cities. The first meetings 
 were held in the fall of 1924. An or- 
 ganization was perfected with Fred I. 
 Bumpus of Auburn as President; Ar- 
 thur N. Pettengill of Lewiston, Vice 
 President; Harry Rubinoff, Auburn, 
 Secretary; Roger W. MacGibbon, Au- 
 burn, Treasurer; Isaac Martin, Lew- 
 iston, Business Manager. 
 
 Wilfred Tremblay of Lewiston was 
 its first conductor and coached the or- 
 ganization for its first concert which 
 it presented under his direction in the 
 Lewiston City Hall on the evening of 
 January 24, 1925. On Mr. Trem- 
 blay’s resignation, shortly after the 
 first concert, Josafa Morin of Lewis- 
 ton became the conductor and he was 
 succeeded by Arthur N. Pettengill who 
 has been the director of the orchestra 
 since the winter of 1926-27. 
 
 Following were the regular members 
 of the Lewiston-Auburn Symphony 
 Orchestra in 1928: 
 
 Conductor — Arthur N. Pettengill; First Vto- 
 lins — Romeo Collet, Concert Master; Harry 
 Baron, Robert Bloom, John Cloutier, Earl E. 
 Goodrich, Harvey Grant, Hector F. Richards, 
 Maurice Shiffer, Charles Siegel, Anna Tighe, 
 Louis Walleroff; Second Violins—Margret Boise, 
 Kenneth Chase, Ella Day, Rita Garneau, Lin- 
 dell Jordan, Maurice Jordan, Helen McGilvery, 
 Reginald Ouelette, Dorothy Parks, Walter Sar- 
 gent, Richard Simmons, Edwin Trafton; Viola — 
 H. L. Emery; Cellos — Ethel F. King, Mrs. Ma- 
 bel Martin, John Scruton, Elizabeth Tighe; 
 Basses — Beatrice Libby, Harry Milliken, El- 
 liott Sturtevant; Flutes — Donald Ham, R. W. 
 MacGibbon, Jennie Morse; Oboe—Edmond Mar- 
 tin; Clarinets — Gordon Gilbert, R. H. Newton; 
 Bassoon—Roger Saucier; Horns—Wilfred ‘Gar- 
 neau, Stanley Larocque, Herbert White; Trum- 
 pets — Peter Pelletier, Erwin Rafnell; Trom- 
 
 bones — Lucien Fournier, Mr. Gale; Drums — 
 Clifton Shea. 
 
 Oe ee ee ee ee 
 
MUSIC OF THE STATE OF MAINE 1897-1928 
 
 At the concerts the practice orches- 
 tra is augmented by the following mu- 
 sicians: 
 
 Viola—Allen Winslow; Basses—Harry Deihl, 
 
 Ralph Tuttle, Maurice Wade; Harp—F. S. 
 McPherson; Timpani — L. V. Plummer. 
 
 Parker Glee Club, Lewiston 
 
 The Parker Glee Club of Lewiston, 
 one of the younger men’s singing or- 
 ganizations in the State, was com- 
 posed, originally, of thirty of the best 
 trained men vocalists in Lewiston and 
 Auburn. In 1927 it took part in the 
 contest of New England Glee Clubs at 
 Portland and aroused enthusiasm with 
 their artistic work. Allen H. Winslow 
 was the conductor of the club in 1928 
 and among its members were: 
 
 Dr. Henry Sprince, Herbert A. Gatchell, Er- 
 lon M. Dunlap, Olin B. Kemmerer, Warren F. 
 Wardle, Edward F. Deihl, Adelarde P. Roy, 
 Alexander Lemieux, Alphonse W. Cote, Dr. John 
 P. Stanley, George W. Horne, Lionel Marcoux, 
 Lucien D. French, Harold B. Libby, Fred A. 
 Cluff, Albert R. Prince and Julian F. Ellis. 
 
 Its officers were: 
 
 Elvert E. Parker, President; Dr. Samuel E. 
 Sawyer, Vice President; Charles L. Abbott, 
 Pianist and Secretary; Willis P. Atwood, Treas- 
 urer. 
 
 Lewiston and Auburn Choirs 
 
 Organists in the churches of Lewis- 
 ton and Auburn have been: 
 
 Mary F. Angell, Frank M. Bailey, Grace W. 
 Barker, Mrs. Daniel A. Barrell, Nellie Bartlett, 
 J. O. Belanger, Mavorette E. Blackmer, George 
 A. Bower, Evelyn Brown, Homer C. Bryant, 
 Abbie A. Buckley, Frank L. Callahan, Roscoe 
 Catland, Gladys Chadbourne, Harold E. Chan- 
 nell, Bertha Chase, C. C. Chase, Sadie Clark, 
 Laura Cobb, Helen A. Conant, Mrs. Edith 
 Coolidge, Alphonse W. Cote, Seldon T. Crafts, 
 Isabelle Cummings, Christine W. Currier, Mrs. 
 G. W. Cushing, Leo C. Demack, Margaret Flan- 
 nagan, Esther Rogers Freeman, George G. Gi- 
 -boin, Mary Gifford, Mrs. Cecilia C. Goss, John 
 Goss, E. W. Hanscom, Mae F. Haskell, Edith 
 H. Hayes, William C. Hodgman, Mrs. Annie M. 
 Jefferson, Lizzie Jones, Mrs. Adelaide McFar- 
 land Marston, George E. Merrill, Mrs. George 
 E. Merrill, Lillian Merrill, Ellen M. Moseley, 
 
 297 
 
 Hazel B. Penley, Arthur N. Pettengill, Mamie 
 Pilotte, Edith F. Prescott, Evangeline Pulsifer, 
 Helen Rackliff, Harry Wilder Ranks, Harriet G. 
 Ridley, Harry E. Rodgers, Mary E. Rowbotham, 
 Dana Rowe, Emile Roy, Henry F. Roy, Fred N. 
 Shackley, Mrs. A. J. Skolfield, Elizabeth Smith, 
 Angie S. Starbird, O. D. Stinchfield, Wilfrid 
 Tremblay, Lisle B. Vanner, Margaret E. Walsh, 
 Laura Webster, Florence Annette Wells, Clara 
 Russell Wheeler, Mrs. Gladys White, Frank T. 
 Wingate, Helen M. Winslow. 
 
 Fred N. Shackley and E. W. Hans- 
 com were both composers of church 
 music. Mr. Hanscom was a leading 
 figure in musical circles for half a cen- 
 tury, in Auburn, where he was organ- 
 ist at the High Street Congregational 
 Church for twenty-five of these years. 
 Mr. Shackley, who studied with Ho- 
 mer Norris, was, for some time, organ- 
 ist of the Church of the Ascension of 
 Boston. Leo C. Demack was for a 
 considerable period organist at St. 
 Peter’s Episcopal Church, Beverly, 
 Massachusetts. 
 
 Brief accounts of a number of these 
 organists, who were living in 1927, 
 some of whom have played in the 
 churches of Auburn and Lewiston for 
 more than twenty-five years, will be 
 found in another part of this volume. 
 
 Among those who have been promi- 
 nent in the Lewiston and Auburn 
 choirs were: 
 
 Mamie Atchison, R. E. Atwood, W. P. Atwood, 
 Lillian Bearce, William Bennett, Mrs. Bessie 
 Bewley, Mrs. Louise Bitter, Exilia Blouin, L. T. 
 Chabot, Benjamin Chandler, Lottie F. Clark, 
 Fred Clough, W. H. Cook, Mrs. Martha Lufkin 
 Coombs, Mrs. Alice C. Crafts, Annie Curran, 
 Jennie M. Danforth, Francena Day, Mrs. D. A. 
 Doyle, George Drake, Elizabeth R. Dunn, Mrs. 
 Grace C. Ellis, Mrs. Susie Jewett Folsam, Mrs. 
 Eva Foster, A. W. Fowles, Mark A. Gatchell, 
 L. N. Gendreau, Edwin L. Goss, George Goss, 
 Charles Greenleaf, Fannie Hersey, Emily Hill, 
 Ada Holding, George W. Horne, Lilla Howard, 
 G. Allen Howe, Ralph Thurston Howe, G. Edlon 
 Jones, Oscar W. Jones, Flavel R. Jordan, A. L. 
 Kavanaugh, Lucy Lane, Mrs. Charles A. Litch- 
 field, Mildred Litchfield, Mrs. Minnie Goss 
 Litchfield, W. L. Lothrop, Mrs. Grace McKen- 
 ney, Mrs. Maud Teel McMurray, Ida Metcalf, 
 
298 MUSIC AND MUSICIANS OF MAINE 
 
 Mrs. Bertha K. Miller, Carrie E. Miller, Har- 
 riette A. Moody, Mrs. Maud Morey, N. L. 
 Mower, Mrs. Florence Campbell Nevens, Wil- 
 lard A. Noyes, E. E. Parker, G. L. Parker, 
 Mary Pottle, A. R. Prince, John L. Reade, 
 G. M. Robinson, John Rowbotham, Dana W. 
 Rowe, Mrs. Henry F. Roy, Lincoln Roys, 
 Eleanor P. Sands, J. N. Sancoucey, E. F. Scru- 
 ton, Mrs. E. F. Scruton, Mrs. Emily Hill Shack- 
 ford, Mrs. Helen Nash Sleeper, Louis E. Smith, 
 Dr. J. P. Stanley, Mabel Starbird, Thomas 
 Steele, William B. Stevens, Mrs. Guy Spear, 
 Mrs. E. S. Stackpole, Mrs. I. E. Sylvester, H. E. 
 Teel, Winnie Thompson, Mrs. Gladys Rogers 
 Walker, Margaret E. Walsh, Reginald Ware, 
 Helen Watson, Fred. J. Whitcher, E. A. Willard, 
 H. E. Winslow, Ralph Winslow, Minnie Wyman. 
 
 Harmony Club, Lincoln ° 
 
 The Harmony Club of Lincoln was 
 organized December 22, 1922. As 
 stated in the by-laws “the object of 
 the club shall be to foster and pro- 
 mote music and musical interest in the 
 community.” 
 
 Its first officers were: 
 
 President, Mrs. Paul Bray; Vice President, 
 Mary Buzzell; Recording Secretary, Millicent 
 Larrabee; Corresponding Secretary, Mrs. Joseph 
 Thomas; Treasurer, Helen Linton. 
 
 Following were the officers of the 
 Harmony Club of Lincoln in 1928: 
 
 President, Mrs. Glenroy Brown; Vice Presi- 
 dent, Mrs. Ella Burr; Recording Secretary, Mrs. 
 Madeline Aldrich; Corresponding Secretary, Mrs. 
 Mildred McKenzie; Treasurer, Mrs. Margaret 
 Osborne. 
 
 Active members in 1928 were: 
 
 Mrs. Mildred Annis, Mrs. Madeline Aldrich, 
 Mrs. Glenroy Brown, Mrs. Ella Burr, Mary 
 Buzzell, Norma Buzzell, Mrs. Adella Clay, Mrs. 
 Bessie Deering, Mrs. Mina Goodwin, Mrs. Ruth 
 King, Mrs. Mildred McKenzie, Donna Nelson, 
 Mrs. Hortense Noel, Mrs. Margaret Osborne, 
 Mrs. Mabel Robbins, Elaine Rossnagel, Jessie 
 Smith, Mrs. Dorothy Stevens, Dorothy Turner, 
 Mrs. Mona Weatherbee. Honorary member, 
 Mrs. Lucile Libby. 
 
 Instrumentation of the Harmony 
 Club Orchestra was: 
 
 First Violin — Mrs. Glenroy Brown; Second 
 Violins — Mary Buzzell, Jessie Smith; Mando- 
 lins — Norma Buzzell, Mrs. Mina Goodwin; 
 
 Accompanists — Mrs. Margaret Osborne, Mrs. 
 Mabel Robbins. 
 
 Past presidents have been: 
 Mrs. Irene Bray, Mary Buzzell, Mrs. Mabel 
 Porter, Mrs. Glenroy Brown. 
 
 Philharmonic Club, Mulinocket 
 
 The Philharmonic Club of Mi£illi- 
 nocket was organized in January, 1920. 
 Its first officers were President, Mrs. 
 F. Allison Currier; Vice President, 
 Mrs. Jennie Walker; Secretary, Mrs. 
 Grace Monahan; Treasurer, Mrs. Mary 
 Frost, and its objects were to promote 
 musical culture by the study of noted 
 composers and the rendering of their 
 musical works. 
 
 Following have been the presidents 
 of the Philharmonic Club since its 
 beginning: 
 
 Mrs. F. Allison Currier, 1920-21; Mrs. Jennie 
 McKay Walker, 1921-22; Mrs. Louise F. Jack- 
 son, 1922-23; Mrs. Mae Weeks Hinton, 1923-24; 
 Mrs. Thora Giorloff Stanwood, 1924-25; Mrs. 
 Annie Jones MacKay, 1925-26; Mrs. Margaret 
 Mitchell MacMullen, 1926-27. 
 
 The members of the society in 1928 
 were; 
 
 Margaret Booker, Mrs. Laura M. Bruce, M. 
 Rosamond Burr, Mrs. Alice H. Campbell, Marion 
 L. Conant, Mrs. Emma G. Corrigan, Mrs. Jo- 
 sepha V. Evans, Mrs. Mary B. Frost, Mrs. Ellie 
 M. Gonya, Mrs. Helen A. Hathaway, Mrs. Mae 
 W. Hinton, Mrs. Glenda R. Hoy, Mrs. Louise 
 F. Jackson, Mrs. Gertrude H. Jenkins, Mrs. An- 
 nie J. MacKay, Mrs. Margaret M. MacMullen, 
 R. Ella McGrath, Mrs. Nora C. Ripley, Mrs. 
 Thora G. Stanwood, Mrs. Margaret A. Stone, 
 Mrs. Ida M. Thompson, Mrs. Grace L. Trott, 
 Mrs. Jennie M. Walker. 
 
 Among former members were: 
 
 Ethel Lee, Mrs. Lulu Monty and Mrs. Mollie 
 Rowe. 
 
 The officers in 1928 were President, Mrs. Alice 
 Campbell; Vice President, Mrs. Grace Trott; 
 
 Secretary, Mrs.. Josepha Evans: Treasurer, Mrs. 
 Glenda Hoy. 
 
 Clef Club, Presque Isle 
 
 The primary object for which the 
 Clef Club of Presque Isle, Maine, was 
 organized (January 11, 1923) was for 
 the promotion of intensive study of 
 music among its members and the 
 furtherance of musical activity in the 
 community. 
 
MUSIC OF THE STATE OF MAINE 1897-1928 
 
 299 
 
 Its first officers were: 
 
 President, Elizabeth Haynes (Mrs. Harold 
 Sands); Vice President, Mrs. Ira B. Hull; Sec- 
 retary-Treasurer, Mrs. Storer Boone. 
 
 In 1924 the study course prescribed 
 by the National Federation of Music 
 Clubs was begun and was continued 
 during the four years following. 
 
 Soon after the organization of the 
 Clef Club, through its efforts, the Ly- 
 ric Club of Caribou and the Nordica 
 Club of Fort Fairfield were organized, 
 with the design to hold music festivals, 
 which should be to Aroostook County 
 what the Portland and Bangor Festi- 
 vals have been to the State. In June, 
 1925, the ambition of the combined 
 clubs was realized and the first festival 
 was held at Littleton, Maine, under 
 the direction of Dr. William R. Chap- 
 man. In this festival the music clubs 
 of Houlton, Fort Fairfield, Caribou 
 and Presque Isle participated. Since 
 1925 the festival has been an annual 
 event and new clubs have been added 
 to the chorus. These festivals have 
 not only brought to Aroostook County 
 some of the finest artists in America, 
 but they have been the means of at- 
 tracting a strong chorus and of furnish- 
 ing an incentive for the development 
 of boys’ bands throughout the county. 
 The Clef Club is a member of both 
 the state and national federations of 
 music clubs. 
 
 The officers of the Clef Club of 
 Presque Isle for the season of 1927- 
 1928 were: 
 
 President, Mrs. Zoe Lenfest; Vice President, 
 Mrs. Margaret Stevens; Secretary, Augusta Kal- 
 loch; Treasurer, Mildred Colwell; 
 and other members in this year were: 
 
 Virginia Ames, Mrs. Alyre J. Arsenault, Mrs. 
 Storer Boone, Mildred Colwell, Mrs. Sidney 
 Cook, Mrs. Roy Craig, Mrs. Lindley Dobson, 
 Mrs. Wilmot Dow, Mrs. Fred Drew, Ida Fol- 
 sam, Marjorie Hanson, Miriam Hayward, Mrs. 
 Lawrence Hedrich, Augusta Kalloch, Alice Kim- 
 ball, Mrs. George P. Larrabee, Mrs. I. R. Len- 
 fest, Mrs. E. W. Loane, Mrs. Philip Magill, Mrs. 
 
 MRS. HAROLD SANDS (ELIZABETH HAYNES), FIRST 
 PRESIDENT OF THE CLEF CLUB OF PRESQUE ISLE 
 (1923). PHOTO BY CHIDNOFF, NEW YORK. 
 
 George Margison, Mrs. Malcolm McIntire, Mrs. 
 Perley Mitchell, Mrs. S. E. Preble, Lydia Ryan, 
 Mrs. Harold Sands, Mrs. Earl Schoolcraft, Lydia 
 Smith, Mrs. F. P. Stevens, Mrs. John Stevens, 
 Mrs. E. I. Waddell, Marjorie Waddell and Mrs. 
 John Willett; 
 
 and the honorary members were: 
 
 Mrs. E. W. Fernald, Mrs. H. B. Forbes, Mrs. 
 Belford Kellam, Lucinda Marston, Mrs. A. C. 
 Perry and Mrs. D. A. Stevens. 
 
 Wight Philharmonic Club, Rockland 
 
 In the beginning of the year 1893 
 an antiquarian concert was arranged 
 by an entertainment committee of the 
 Y. M. C. A. of Rockland in an en- 
 deavor to cancel an indebtedness of 
 that organization. Those who partici- 
 pated, believing that both profit and 
 enjoyment could be had from continu- 
 ing a chorus of this nature, decided 
 to make it a permanent organization. 
 
 From this sprang the Wight Phil- 
 harmonic Club which at first was 
 
300 
 
 known by the more abbreviated title, 
 the Philharmonic Club, and which was 
 organized as a going society in Febru- 
 ary, 1893. James Wight was its con- 
 ductor and Mrs. Wight was pianist. 
 
 The society was among the first to 
 join the Maine Festival Chorus, but 
 though in its first year the club united 
 with the Bangor Chorus for the Festi- 
 val, because of the fact that that city 
 was less easily accessible, its members 
 afterwards sang at the Portland con- 
 certs. Besides its work with the an- 
 nual festival the Wight Philharmonic 
 Club has given a number of concerts 
 on its own account, all of which have 
 been of high order. 
 
 James Wight, the founder and di- 
 rector of the Wight Philharmonic 
 Club, was born in Lowell, Mass., in 
 1830. He inherited a very strong love 
 for music. He joined the Lowell brass 
 band at twenty years of age. When 
 twenty-two he led a band in Auburn 
 and soon after organized Wight’s Band 
 in Lewiston. In 1860 he went to Rock- 
 land to become leader of the Rockland 
 Band. He rehearsed the singers of 
 the Knox and Lincoln Musical Asso- 
 ciation for the Peace Jubilee. Mr. 
 Wight was choir director of the Con- 
 gregational Church, Rockland, for 
 twenty-five years, conductor of the 
 Rockland Choral Association and for 
 more than twenty years conducted the 
 Wight Philharmonic Club in Rock- 
 land. He composed a number of band 
 marches among which were “Our 
 Guiding Star,” “Twentieth Century 
 March” and the “Festival March.” 
 He died in New York City in May, 
 1924. 
 
 The choir of the Congregational 
 Church in Rockland, the members of 
 which were Mary F. Fuller, soprano; 
 Julia Spear, alto; James Wight, tenor; 
 and E. A. Burpee, bass; with Carrie 
 Burpee as organist, was in existence 
 
 MUSIC AND MUSICIANS OF MAINE 
 
 for the longest period of time of any 
 choir in Knox County. Mrs. Wight 
 succeeded Miss Burpee at the organ 
 and on the retirement of Mr. Burpee, 
 George Torrey became the bass and 
 sang in the choir until it disbanded. 
 Clara Furbish followed Miss Fuller in 
 the soprano part, and the choir, with 
 these singers, acquired a reputation 
 that spread beyond the confines of the 
 county. 
 
 Among the best known teachers that 
 Rockland has had were Mary Bird, 
 who afterwards became Mrs. Charles 
 D. Wood of Vancouver, Washington; 
 Florence Starr, who married James D. 
 Ronimus of Brookline; Mary Ella 
 Morse (Mrs. Thomas H. Potter) of 
 Denver, Colorado; Frederick R. Sweet- 
 ser, who came from Searsport; A. T. 
 Crockett, a native of Rockland, who 
 taught violin, piano and organ; Mrs. 
 Louise Furbish; Mrs. James Wight, 
 née Emma Burpee; Mrs. Carrie Bur- 
 pee Shaw; Mrs. Maria Tibbetts Bird. 
 
 The Burpee and Shaw families have 
 furnished church choirs, clubs and all 
 the leading musical organizations in 
 Rockland with some of their most 
 valued members. 
 
 Among the names of those who have 
 sung in the Methodist Church, Rock- 
 land, at different times were: 
 
 N. A. Burpee and Mrs. Burpee, Florence Starr, 
 Simeon Partridge, Dean Stabler, George Hop- 
 kins, Converse Collins, Chandler Tibbetts, C. C. 
 Chandler, Horace Perry, Dr. H. C. Evans and 
 Mrs. Evans, Aaron Howes, Oscar Kalloch and 
 Mrs. Kalloch, Albert Smith, Mrs. Rose Gould, 
 Mrs. M. E. Thurlow, Aldana Crocker, Marie 
 and Helen Johnson, Judith Ulmer and her sis- 
 ter, Mrs. Achorn, Mrs. William Farrow, Mrs. 
 Esther B. Carleton, Belle Raymond, Mrs. Sam- 
 uel Veazie, Edna Hall; while among the organ- 
 ists of this church have been Mrs. James Wight, 
 
 Mrs. Carrie Burpee Shaw, Mary Ella Morse Pot- 
 ter and Mrs. Mary B. Littlehale. 
 
 Rubinstein Club, Rockland 
 
 In the year following that in which 
 the Orpheus Club was organized, Hel- 
 
Meet OF THE STATE OF MAINE 1897-1928 301 
 
 en Fletcher, a western girl, who had 
 received excellent musical instruction 
 in her home town, arrived in Rockland 
 for an extended visit. While there, 
 she organized a woman’s club for the 
 study of vocal music. Her work was 
 very successful and her pupils, togeth- 
 er with those of Prof. Frederick R. 
 Sweetser, gave many recitals. This 
 club was known for a time as the 
 Fletcher Club. After the departure of 
 Miss Fletcher and Professor Sweetser 
 for broader fields, it was decided to 
 make a new start, and in the fall of 
 1882 the old club, reinforced by new 
 members, was re-organized, by-laws 
 were made and adopted, the name of 
 the club was changed to the Rubin- 
 stein Club, and Mrs. F. E. Hitchcock 
 was elected its first President. 
 
 At first the place of meeting was at 
 the homes of members, but, when the 
 membership became so large that but 
 few private residences could accom- 
 modate the company, the meetings 
 were held, during different seasons, 
 at the Thorndike Hotel and at various 
 halls. 
 
 The charter members of'the Rubin- 
 stein Club were: 
 
 Mrs. Maria T. Bird, Mrs. Lillian S. Coping, 
 Mrs, Cora Farwell, Mrs. Ella P. Grimes, Mrs. 
 Emily C. Hitchcock, Mrs. Rosa W. Littlefield, 
 Mrs. Ada B. Mills, Mrs. Lillian B. Mortland, 
 Mrs. Annie B. Perry, Mrs. Carrie B. Shaw, Mrs. 
 Clara L. Spear, Nancy T. Sleeper and Mrs. 
 Emma E. Wight. 
 
 For a number of years the Rubin- 
 stein Club sang under the leadership 
 of Mrs. Louise Furbish, a women of 
 exquisite taste of whom it was said 
 that, “She gave generously of her very 
 best. Each member was a personal 
 friend, and her cherished dream was 
 that the Club should reach great mu- 
 sical heights, each year surpassing the 
 last. So long as the Club remains in 
 existence so long will her memory re- 
 main a choice part of our inheritance.” 
 
 MRS. DORA JAMESON BIRD, PAST PRESIDENT OF THE 
 RUBINSTEIN CLUB OF ROCKLAND, AND HER DAUGH- 
 TER, NETTIE EVELYN (FROST), WHO FOUNDED THE 
 HARMONY CLUB OF ROCKLAND, 1906. PHOTO BY 
 HANSON, ROCKLAND, MADE AT ABOUT THAT TIME. 
 
 Many ladies from Thomaston and 
 Camden became members of the club, 
 which throughout its existence has 
 given special attention to choral work 
 and has come to be one of the most 
 flourishing in the State. 
 
 The presidents in succession have 
 been: 
 
 Mrs. Emily C. Hitchcock, Mrs. Louise Fur- 
 bish, Mrs. Agnes M. Pooler, Mrs. Lillian B. 
 Mortland, Mrs. Dora F. Bird, Mrs. Kathleen S. 
 Fuller, Mrs. Emily C. Hitchcock, Mrs. Grace 
 Armstrong, Mrs. Helen L. Carr, Mrs. Leila B. 
 French, Mrs. Maud S. Smith, Mrs. Myrtie B. 
 Judkins, Mrs. Ada J. Blackington, Mrs. Emily 
 W. Stevens, Mrs. Margaret G. Ruggles, Mrs. 
 Lillian $. Copping, Mrs. Maryon W. Benner and 
 Mrs. Faith G. Berry. 
 
 The officers of the Rubinstein Club 
 for 1927-28 were: 
 
 President, Mrs. Faith G. Berry; Vice Presi- 
 dent, Mrs. Lorita K. Bicknell; Secretary, Mabel 
 
302 MUSIC AND MUSICIANS OF MAINE 
 
 F. Lamb; Treasurer, Mrs. Emily W. Stevens; 
 Choral Directors, Mrs. Faith G. Berry, Mrs. 
 Maryon W. Benner, Margaret G. Ruggles; Ac- 
 companist, Mrs. Nettie B. Averill; Executive 
 Board, Lillian Sprague Copping, Gladys St. Clair 
 Morgan, ‘Elizabeth Donahue, Caro Littlefield 
 and Dora Bird. 
 
 Active members in this season in- 
 cluded: 
 
 Mrs. Nettie B. Averill, Mrs. Zulietta S. Ames, 
 Mrs. Faith G. Berry, Mrs. Maryon W. Benner, 
 Mrs. Lorita K. Bicknell, Mrs. Dora Jameson 
 Bird, Celia Brault, Mrs. Edna T. Browne, Ma- 
 belle S. Brown, Mrs. Rachel S. Browne, Ade- 
 laide F. Cross, Elizabeth Donahue, Alice Ers- 
 kine, Mrs. Ruth Ellingwood, Mrs. Kathleen Ful- 
 ler, Alcada Hall, Elsa Hayden, Mrs. Ethel Hay- 
 den, Mabel Holbrook, Mrs. Joyce Jones, Eliza- 
 beth Knight, Mabel F. Lamb, Bertha Luce, 
 Mrs. Kathleen Marston, Mrs. Gladys St. Clair 
 Morgan, Mrs. Carleen B. Nutt, Mrs. Kathleen 
 S. O’Hara, Mrs. Gertrude S. Parker, Beulah 
 Rokes, Margaret G. Ruggles, Mrs. Hattie C. 
 Snow, Margaret G. Stahl, Mrs. Emily W. Stev- 
 ens, Mrs. Lydia T. Storer, Ruth Thomas, Mrs. 
 Katherine F. Veazie and Mrs. Helen P. A. Went- 
 
 worth. 
 
 Among others who have been mem- 
 bers were: 
 
 Reta Calderwood, Mrs. Mae W. Cushing, Mrs. 
 Damie R. Gardner, Margaret C. Harrington, 
 Marion Knowlton, Mrs. Edith C. Pitcher, Mrs. 
 Ruth E. Sanborn. 
 
 At the 1928 annual meeting of the 
 Rubinstein Club the following officers 
 were elected for the year 1928-29: 
 
 President, Mrs. Vivian Hewett; Vice Presi- 
 dent, Mrs. Faith G. Berry; Secretary, Mrs. 
 Gladys S. Morgan; Treasurer, Mrs. Emily 
 Stevens; Executive Board, Mrs. Lillian $. Cop- 
 ping, Mrs. Dora Bird, Mrs. Lorita Bicknell, 
 Caroline Littlefield, Mrs. Maryon Benner, Ma- 
 bel F. Lamb; Director, Mrs. Faith G. Berry; 
 Accompanist, Mrs. Nettie Averill. 
 
 Harmony Club, Rockland 
 
 The Harmony Club of Rockland 
 was formed in 1906 by Nettie Evelyn 
 Bird, assisted by her mother, Mrs. 
 Dora Jameson Bird, from a group of 
 girls, then between the ages of twelve 
 and fifteen years. 
 
 The first officers were President, 
 Nettie Bird, and Vice President, Eve- 
 
 lyn Snow, and its charter members 
 were: 
 Ruth Blackington, Dorothy Bird, Madeline 
 
 Burrows, Helen Cooper, Rose Davis, Loreta . 
 
 Kenneston, Margaret Mayo, Marion Perry, 
 Geneva Rose, Winnie Simmons, Katherine Spear, 
 Helen Sullivan and Emily Webb. 
 
 The Harmony Club was organized 
 to serve aS an incentive to the study 
 of music and present a musical pro- 
 gram at its bi-weekly meetings. Since 
 its beginning it has taken a prominent 
 part in the social and musical activities 
 of Rockland and has served as a pre- 
 paratory club from which many have 
 been chosen for membership in the 
 Rubinstein Club. 
 
 Among past members who came to 
 be engaged in musical occupations or 
 have become prominent in music in 
 other cities have been Mrs. Ogarita 
 Rose Rugg, soprano; Mrs. Helen 
 Cooper Lord, composer and pianist; 
 Mrs. Dorothy Bird George, a graduate 
 of the New England Conservatory and 
 prominent in church and concert work 
 in Massachusetts; and Nettie Bird 
 Frost, the founder of the club, who 
 came to make her home in Lisbon, 
 N. H. 
 
 In 1928 the Harmony Club, which 
 has become an active federated club, 
 had a membership of thirty-three and 
 its officers were: 
 
 President, Alcada Hall; Vice President, Wini- 
 
 fred Coughlin; Secretary, Helen Feeney; Treas- 
 urer, Esther Fernald. 
 
 In this year its active members were: 
 
 Mary Bird, Helen Bird, Mabel Brown, Lorita 
 Bicknell, Winifred Coughlin, Katherine Creigh- 
 ton, Mildred Demmons, Leah Davis, Ellen Fer- 
 nald, Esther Fernald, Helen Feeney, Alcada 
 Hall, Margaret Johnson, Lillian Joyce, Alberta 
 Knight, Elizabeth Knight, Alena Knight, Ruth 
 Koster, Ruth Lawrence, Madeline Lawrence, 
 Kathleen Marston, Carleen Nutt, Vora Nye, 
 Mary Pratt, Lucy Rankin, Beulah Rokes, Nata- 
 lie Snow, Esther Stevenson, Clara Thomas, Vir- 
 ginia Winchenbaugh. ~ 
 
 In 1926 a Junior Harmony Club, 
 
 ee eS a, ee ee a 
 
MUSIC OF THE STATE OF MAINE 1897-1928 303 
 
 sponsored by the Senior Club, was 
 formed. The officers of the Junior 
 Club were: 
 
 President, Thelma Blackington; Vice Presi- 
 dent, John Moulaison; Secretary, Virginia Rich- 
 ardson; Recording Secretary, Hugh Benner; 
 Treasurer, Margaret Thomas; Directors from 
 the Harmony Club, history, Mrs. Lucy Rankin, 
 program, Mrs. Leola Noyes. 
 
 Beethoven Club, Rockland 
 
 The Beethoven Club of Rockland, 
 which existed about 1899 to 1903, had 
 a membership of eight women, all of 
 whom were lovers of Beethoven’s mu- 
 sic. Mrs. Maria T. Bird was the 
 founder and its first President and 
 Mrs. Maude Simpson its Secretary- 
 Treasurer. 
 
 Musical matinees were arranged by 
 its members, from the proceeds of 
 which a fine sepia portrait of Beetho- 
 ven was secured and hung in the Rock- 
 land Public Library and textbooks of 
 considerable value were purchased for 
 the musical department of the library. 
 These were the charter members of 
 the Beethoven Club of Rockand: 
 
 Mrs. Maria Tibbetts Bird, President; Harriet 
 M. Bird, Alice C. Erskine, Mabel Holbrook, 
 Lillian Fales, Mrs. Dora F. Bird, Mrs. Maud 
 Simpson Smith and Mrs. Caroline Blood (Reed). 
 
 Sanford Men’s Singing Club 
 
 The Sanford Men’s Singing Club of 
 Sanford, Maine, was organized March 
 16, 1919. Its first officers were: Pres- 
 ident, John Greenwood; Vice Presi- 
 dent, Joseph Leckenby; Secretary- 
 Treasurer, Clyde L. Reed. 
 
 Frank L. Rankin of Portland was 
 the conductor of the club from its or- 
 ganization. Among its past Presidents 
 have been John Greenwood, F. Ev- 
 erett Nutter and William M. Gray. 
 
 This club was one of the two Maine 
 Men’s Singing Clubs that participated 
 in the competition of Glee Clubs at 
 Quincy, Mass., in April, 1926. 
 
 Among those who have been mem- 
 
 bers of the Sanford Men’s Singing 
 Club were: 
 
 William S. Nutter, John Wilkenson, William 
 Gray, Daniel Greenwood Jos. L. Guielmette and 
 William Heffernan, First Tenors; Alfred Rous- 
 sin, Herbert Barraclough, Samuel Briggs, Row- 
 land Morgan, Kenneth Wiley, Earl Glidden and 
 Homer Barraclough, Second Tenors; George 
 Heaton, John Wright, F. Everett Nutter, Cleo- 
 phas Roussin, Odelon Roussin, Fred J. Darvill, 
 Dr. Louis P. Desjardiens and Dr. Joseph Brown, 
 First Basses; Fred. Russell, Fred. Roberts, Rus- 
 sell Goodall, Horace Eaton, George Hill, Herbert 
 Colby and Walter E. Nutter, Second Basses. 
 
 The officers in 1926 were William 
 Gray, President; John Wright, Treas- 
 
 urer; Walter E. Nutter, Secretary; 
 Frank L. Rankin, Conductor. 
 
 Euterpean Club, South Paris 
 
 The Euterpean Club of South Paris 
 was organized October 29, 1906. The 
 first officers were President, Mrs. Cora 
 Briggs; Secretary, Mrs. Edith Wheel- 
 er; Treasurer, Mrs. Stella Burnham. 
 
 Following were the officers of the 
 Euterpean Club of South Paris in 
 1928: 
 
 President, Mrs. Edith Wheeler; Secretary, 
 Mrs. Elsie Fleming; Treasurer, Mrs. Clara 
 Mosher; Librarian, Mrs. Madge Gray. 
 
 Other members in 1928 were: 
 
 Mrs. Agnes Morton, Mrs. Josie Tetley, Mrs. 
 Nellie Brickett, Mrs. Laura Shaw, Mrs, Stella 
 Burnham, Mrs. Grace Fogg, Mrs. Bertha Ab- 
 bott, Laura Brooks, Mrs. Bertha Clifford, Mrs. 
 Helen Clifford, Mrs. Ruth Conant, Mrs. Beryl 
 Farnham, Ruth Graves, Nellie Jackson, Mrs. 
 Ida Neal, Mrs. Agnes Perkins, Mrs. Eva Titus, 
 Emma West, Mrs. Bernice Wilson. 
 
 Other members have been: 
 
 Mrs. Elsie Barnes, Mrs. Laura Burke, Mrs. 
 Gladys Davis, Mrs. Grace Dean Robinson, Mrs. 
 Irma Fuller, Mrs. Anna Jacobs, Evelyn Wight, 
 Mrs. Alta Wood. 
 
 These have served as presidents of 
 the Euterpean Club from 1906 to 1927: 
 
 Mrs. Cora Briggs, Mrs. Madge Gray, Mrs. 
 Edith Wheeler, Mrs. Nellie Brickett, Mrs. Ag- 
 nes Morton, Mrs. Virgie Wilson, Mrs. Stella 
 Burnham, Mrs. Harriet Barnes, Mrs. Luella 
 Smiley, Hattie Leach, Nellie Jackson, Mrs. Ida 
 Briggs, Mrs. Geneva Barrows, Grace Thayer, 
 
304. MUSIC AND MUSICIANS OF MAINE 
 
 Ruth Graves, Mrs. Clara Mosher, Mrs, Eva 
 Titus, Mrs. Bernice Wilson and ‘Mrs. Edith 
 Wheeler. 
 
 Somerset Choral Society 
 
 The Somerset Choral Society was 
 organized at Skowhegan, September 
 30, 1896, as a unit of the Maine Festi- 
 val Chorus. The first officers were: 
 
 President, Harry F. Kimball; Vice President, 
 Mrs. Ella C. Pooler; Secretary, Elizabeth A. 
 Webb; Treasurer, Walter F. Robbins. 
 
 Staff Club, Washburn 
 
 The Staff Club of Washburn was 
 organized December 15, 1925, “Io 
 promote music in the community; to 
 study music and to help promote a 
 general interest in music.” 
 
 Its officers in 1928 were: 
 
 President, Evelyn T. Beck; First Vice Presi- 
 dent, Violet F arrar; Second Vice President, Ethel 
 Lancaster; Secretary, Marcella Gibson; Treas- 
 urer, Annie Durepo; Director, Flora Wood- 
 worth; Pianist, Carrie Adams; 
 and its members included: 
 
 Carrie Adams, Evelyn T. Beck, Eva Cheney, 
 Marion Duncan, Annie Durepo, Violet F arrar, 
 Ida Frank, Marcella Gibson, Ethel Lancaster, 
 Emma Rediker, Mildred Sanders, Mary Umph- 
 rey, Mae Wight, Flora Woodworth. 
 
 Former members have been: 
 
 Mrs. Floyd Christopher, Mrs. Margaret Crouse, 
 Mrs. Bessie Duncan, Mrs. Victoria Wilder. 
 
 Cecilia Club, Waterville 
 
 The Cecilia Club of Waterville owed 
 its existence to the persistent labors 
 of Mrs. George F. Davies and Mrs. 
 Frank B. Hubbard, who with seven- 
 teen others organized the society on 
 October 15, 1896. The officers elected 
 were: 
 
 W. C. Philbrook, President; Elwood T. Wy- 
 man, Vice President; Mrs. George F. Davies, 
 Secretary and Treasurer; Mrs. Frank B. Hub- 
 bard, Ella Downer, Susie Fogarty, Mrs. J. H. 
 Knox and Mrs. George A. Kennison, Directors. 
 
 The club was small and heroic la- 
 bors devolved upon its officers, yet 
 such was its success that after joining 
 
 the Maine Festival Chorus in January, 
 1897, by careful training under Prof. 
 George Pratt Maxim, it developed into 
 a full chorus of eighty voices which 
 gave two concerts and sang at the 
 Bangor Festival in the fall of that 
 year. Prof. Carlton B. Stetson served 
 the club as president from 1898 until 
 1902. 
 
 Mrs. Hascall S. Hall (then Nellie 
 Webber) was the first pianist. After 
 her removal from the city Mrs. Frank- 
 lin W. Johnson was elected and she 
 gave three years of work. 
 
 Mr. Maxim, who successfully con- 
 ducted the Cecilia Club for three sea- 
 sons, was succeeded by Llewellyn B. 
 Cain and later by Dr. Latham True 
 of Portland. 
 
 The Cecilia Club gave its services 
 to a number of patriotic endeavors 
 and its singing was one of the features 
 of the Waterville Centennial Celebra- 
 tion. A great deal of strength was 
 contributed to the club by its Fair- 
 field members. 
 
 Its officers in 1902 were: 
 
 President, H. D. Bates; Vice President, Frank- 
 lin W. Johnson; Secretary, Joseph T. Murray of 
 Fairfield; Treasurer, Blanche Smith (after- 
 wards Mrs. Frank W. Alden); Conductor, Dr. 
 Latham True; Pianist, Mrs. Franklin W. John- 
 son; Directors, Mrs. Frank B. Hubbard, Ella 
 Downer, Mrs. George F. Davies, Elizabeth Con- — 
 
 eae Fairfield and Mrs. Edbert Kelley of Fair- 
 eld. 
 
 For some time after 1902 H. L. 
 Tappan was President; Cecil M. Dag- 
 gett, Conductor; H. B. Black, Treas- 
 urer. 
 
 The Cecilia Club held a high place 
 in the esteem of the people of the 
 State. The officers of the club in 1922 
 were: ? 
 
 President, Mrs. F. E. Boothby; Vice Presi- 
 dent, Rev. C. F. Robinson; Secretary, Mrs. 
 Florence P. Libby; Treasurer, Mrs. E. M. Jep- 
 
 son; Conductor, Harrison A. Smith; Pianist, 
 Mrs. H. A. Smith. 
 
MUSIC OF THE STATE OF MAINE 1897-1928 305 
 
 Waterville Symphony Orchestra 
 
 The Waterville Symphony Orchestra 
 was organized in 1919 by Max G. 
 Cimbollek who has been its conductor 
 since its beginning. It was the second 
 symphony orchestra to be organized 
 in the State, and its membership has 
 always been composed largely of boys 
 and girls of high school age. 
 
 Following was the personnel and 
 instrumentation of the Waterville Sym- 
 phony Orchestra in 1928: 
 
 Max Cimbollek, Conductor; Cecile LeGendre, 
 Concert Master; Violins — Ellen Soule, Francis 
 Gray, George Coughlin, Arthur Wein, Kenneth 
 Proctor, Rita D’Nardi, Jamil Baraket, Arthur 
 Ouilette, Helen Brown, Roland Rancourt, Dana 
 Morin, Phylis Glazier, Felix Gondella, Lucile 
 Blanchard, Bernadine Libby, Corrine Langlois, 
 Irene Perreault, Cecil Daggett, Jr.; Violoncellos 
 —Edith Langlois, Liane Rancourt, Barbara 
 Johnson, Marion Lewis, Lucia Perreault; Viola 
 — Leonard Helie; Cornets — Beth Haines, Rich- 
 ard Johnson; Trombones — Henry McCracken, 
 Hallett Foster, Harold Smith; Percussion — 
 Robert Brann; assisted by George Pullen, Bass; 
 Roland Lavelle, Clarinet; Bertha Arnold, Pianist. 
 
 Westbrook Choral Union 
 
 The Westbrook Choral Union was 
 formed during the winter of 1921-22 
 by Prof. Henry Litchfield, then of 
 Portland, and gave one concert with 
 a chorus of fifty voices, immediately 
 after which its director went west, 
 since when this society, which held out 
 much promise, musically, has ceased 
 to exist. 
 
 Chopin Club, Westbrook 
 The Chopin Club of Westbrook, the 
 
 object of which was announced to be 
 the mutual improvement of its mem- 
 bers in music, was organized June 24, 
 1919. ; 
 
 Its first officers were: 
 
 Mabel Foster, President; Vera Davison, Vice 
 President; Helen Knight, Secretary-Treasurer. 
 
 The officers in 1928 were as follows: 
 
 Mildred Burnham, President; Hazel Wyer, 
 Vice President; Gladys Wyer, Recording Secre- 
 
 tary; Myrtle Burnham, Corresponding Secre- 
 tary; Mrs. Marcia Goff, Treasurer; Mrs. Marion 
 Theis, Musical Director; Lena Phillips, Libra- 
 rian; 
 and its charter members were: 
 
 Grace Carll, Vera Davison, Madeline Hunt, 
 Mabel Foster, Helen Hamilton, Helen Knight, 
 Esther Knowlton, Susie Wentworth, Edith Has- 
 
 kell, Ellie Hawes, Annie Crague, Mrs. Marion 
 Theis, Mrs. Alice Cousins, Mrs. Helen Colburn. 
 
 The members, in 1928, included: 
 
 Edna Blanchard, Josephine Briggs, Mrs. Effie 
 Brown, Mildred Burnham, Myrtle Burnham, 
 Mrs. Hope Cook, Mrs. Alice Cousins, Myrle 
 Elwell, Mabel Foster, Mrs. Marcia Goff, Edith 
 Haskell, Ellie Hawes, Mrs. Ina Hawkes, Veroni- 
 ca Hebert, Marion Kelly, Mrs. Grace MacPher- 
 son, Mrs. Esther Mitchell, Mrs. Dorothy Moore, 
 Mrs. Tena Mullen, Lena Phillips, Vera Steven- 
 son, Winona Taylor, Mrs. Marion Theis, Kath- 
 leen Vallee, Mrs. Lauretta Welch, Mrs. Helen 
 Williams, Gladys Wyer, Hazel Wyer. 
 
 Every year from the date of its or- 
 ganization the club gave a recital at 
 one of the churches of the city when a 
 cantata directed by Mrs. Marion Went- 
 worth Theis was presented. These have 
 been attended each year by music 
 lovers from Portland and other towns. 
 
 Belfast Philharmonic Association 
 
 Another musical organization which 
 flourished in the early part of this 
 period was the Belfast Philharmonic 
 Association. In 1915 its members put 
 on the opera “Mikado,” at the Colo- 
 nial Theatre and among those who had 
 leading roles were: 
 
 Charles F. Hammons, Arthur N. Johnson, 
 Ralph I. Morse, Elbridge S. Pitcher, Seldon 
 
 Hammons, Mrs. Hazel Shaw Bowker, Katherine 
 Brier, Carolyn Hatch and Mrs. C. W. Wescott. 
 
 Blue Hill Choral Society 
 
 Some of the smaller towns in Maine 
 have made excellent progress in music. 
 A musical organization that featured 
 works of classical composers in this 
 period was the Blue Hill Choral So- 
 ciety. Its officers in 1913 were: 
 
306 MUSIC AND MUSICIANS OF MAINE 
 
 President, Mrs. Eliza Herrick; Vice President, 
 Mrs. Gertrude Stover; Secretary, Josie Snow; 
 Treasurer, Fannie Stover; Pianist, Mrs. Florence 
 Fullerton; Conductor, Mrs. Abby Stover. 
 
 Among the music clubs that dated 
 their beginnings in the year 1928 were 
 the Schubert Club of Kennebunk, the 
 Ethelbert Nevin Club of Springvale 
 and the Fremstad Club of Bridgton. 
 
 Schubert Club, Kennebunk 
 
 The Schubert Club of Kennebunk 
 was organized January 25, 1928. Its 
 first officers were: 
 
 President, Mrs. Bessie M. Waterhouse; Vice 
 President, Mrs. Frances M. Goodnow; Secre- 
 tary-Treasurer, Mrs. Maud B. Wallace; 
 and its charter members included: 
 
 Mary H. Bennett, Mrs. Alice §. Chamber- 
 lain, Elizabeth Day, Mrs. Mary C. Day, Mrs. 
 Frances M. Goodnow, Edna C. Harmon, Mrs. 
 Grace P. Smith, Mrs. Maud B. Wallace, Mrs. 
 Bessie M. Waterhouse and B. Elizabeth Wil- 
 liams. 
 
 Other members who have joined 
 since its organization are, Margaret 
 Boothby and Helen E. Bakeman. 
 
 The Schubert Club was organized 
 for the purpose of stimulating and de- 
 veloping a larger and more universal 
 interest in good music both among the 
 club members and in the community. 
 
 Ethelbert Nevin Club, Springvale 
 
 The officers of the Ethelbert Nevin 
 Club of Springvale, organized in Janu- 
 ary, 1928, were: 
 
 President, Agnes L. Skillin; Vice President, 
 Mae C. Head; Corresponding Secretary, Susan 
 
 Frost; Recording Secretary and Treasurer, Ruby 
 G. Lowe. 
 
 Following were the charter members: 
 
 Mrs. Emma Baldwin, Mrs. Helen Brown, 
 Vena Buzzell, Grace A. Dow, Mrs. Lucy Ham- 
 mond, Mrs. Mae C. Head, Annie Hollinrake, 
 Edna Jewell, Gertrude Jewell, Blanche LaBlanc, 
 Mrs. Ruby Lowe, Mrs. Emma Mitchell, Mrs. 
 Eva M. Morrill, Elsie Newton, Mrs. A. C. Nick- 
 erson, Mrs. Marion Ogden, Mrs. Leora H. Os- 
 borne, Sarah A. Packard, Mrs. Anita C. Rich- 
 mond, Mrs. C. P. Richmond, Mrs. Pauline B. 
 Rowe, Mrs. Vernie B. Skillin, Agnes L. Skillin, 
 
 Florence Smith, Kva E. Stanfield, Mrs. Cleo J. 
 Thompson. 
 
 The Fremstad Music Club, Bridgton 
 
 The Fremstad Music Club, named 
 in honor of Olive Fremstad, was or- 
 ganized in 1928 “to develope the mu- 
 sical talent of Bridgton and to pro- 
 mote musical appreciation and codpe- 
 ration among its members and good fel- 
 lowship among the people of the town.” 
 
 The first officers chosen were: 
 
 President, Mrs. Willis E. Ingalls; Vice Presi- 
 dent, Mrs. H. A. Shorey, Jr.; Secretary, Mrs. 
 Lawrence Dunn; Treasurer, Margaret Hill. 
 
 The charter members were: 
 
 Laura Baker, Claire Barker, Mrs. Rosa Burn- 
 ham, Mrs. Philip Butterfield, Mrs. Edna Cabot, 
 Mrs. Eugene Chaplin, Mrs. Allen Clark, Blanche 
 Cole, Mrs. Herbert Cole, Stella Cole, Mrs. Her- 
 man Cook, Mrs. Frank Davis, Frances Davis, 
 Mrs. Clara Dow, Mrs. Florence Dunn, Mis. 
 Vera Farnham, Margaret Hill, Mrs. Alice In- 
 galls, Ada Keene, Mrs. Alfred Keene, Gladys 
 Lewis, Marion Lewis, Mrs. Mildred Littlefieid, 
 Mrs. Ada March, Mrs. Mary March, Mrs. Susie 
 Mack, Mrs. Alice Morrison, Mrs. R. M. Moxcey, 
 Jessie Murphy, Mrs. Charlotte Norton, Mrs. 
 Florence Oberg, Mrs. Winifred Plummer, Mrs. 
 Grace Richardson, Mrs. William Richmond, Mrs. 
 Helen Shorey, Della Staley, Mrs. La Vanche 
 Staley, Mrs. Dora Staley, Mrs. Louis Talcott, 
 Muriel Thomas, Mrs. Georgia Webb, Mrs. Ruth 
 Wells, Gertrude Whitcombe. 
 
 Choral Art Society of Portland 
 
 The Choral Art Society of Portland, 
 whose active membership was com- 
 posed wholly of members of church 
 choirs and soloists of the city, was or- 
 ganized in 1904. During the eleven 
 years of its life it gave a concert of sa- 
 cred music each season at St. Luke’s 
 Cathedral and one of secular music, 
 first in Kotzschmar Hall and later in 
 other halls in Portland. Its first offi- 
 cers were: 
 
 President — Harry F. Merrill; Vice President 
 — Frank H. Pierce; Corresponding Secretary — 
 Henrietta D.Rice; Recording Secretary—Charles 
 E. Wyer; Treasurer — Herbert W. Barnard; 
 Directors — Mrs. Fred H. Palmer, Mrs. Frank 
 J. Bragdon and Arthur Hyde; Honorary Mem- 
 bers — Rev. Robert Codman, D.D., and Her- 
 
 mann Kotzschmar. 
 
 a a ee 
 
MUSIC OF THE STATE OF MAINE 1897-1928 307 
 
 Others who became presidents of the 
 Choral Art Society were: 
 
 Harry F. Merrill, Charles E. Wyer and David 
 W. Snow. 
 
 Its chorus consisting, as it did, of 
 forty voices, selected from among the 
 best to be found at that time in the city, 
 was noted for its beauty of tone and 
 art in execution. 
 
 Its conductors were Albert Snow and 
 
 Arthur Hyde. 
 
 Maine Federation of Music Clubs 
 
 Through the efforts of the Portland 
 Rossini Club and its President, Julia 
 E. Noyes, the Maine Federation of 
 Music Clubs was organized in 1921. 
 This association, though young in 
 years, has accomplished much for the 
 cause of music. The aim of the Maine 
 Federation is that of the National As- 
 sociation, “A music club in every city, 
 in every county, in every state in the 
 Union, with Junior boys and girls 
 clubs auxiliary. & 
 
 Among its many objects, in conjunc- 
 tion with the National Federation, it 
 aims to make America the music cen- 
 ter of the world, to aid in carrying out 
 a uniform plan for national musical 
 development, and, by adequate prep- 
 aration, to assist in giving the best 
 musical and artistic training to be 
 found in America to the American 
 student. It also aims to cooperate 
 with the National Federation in all its 
 plans for aiding the Americanization 
 movement by fostering community 
 music; to encourage the development 
 of musical appreciation; to assist in 
 promoting and developing for Ameri- 
 can musical artists an opportunity 
 equal at least with those of foreign 
 birth, and to codperate in all ways in 
 making music useful in the civic life 
 of the community. 
 
 Through its first State Chairman, 
 Mrs. James Albert McFaul, it began 
 
 MRS. JAMES A. MCFAUL, FIRST PRESIDENT OF THE 
 MAINE FEDERATION OF MUSIC CLUBS. 
 
 the promotion of musical contests and 
 through the continuance of these it 
 has been successful in bringing promi- 
 nently before the public young artists 
 of exceptional ability. 
 
 One of the purposes of these con- 
 tests is to attract recognition to the 
 superior ability of American music 
 teachers by bringing their artist pupils 
 into prominence, to inspire and en- 
 courage music students to greater ef- 
 fort in artistic achievement, and to 
 give opportunity and publicity to the 
 most talented young musicians of 
 America, and thus aid them in the de- 
 velopment of a professional career. 
 These musical contests for young mu- 
 siclans are now looked forward to as 
 an annual event. 
 
 The Portland Rossini Club, the 
 Lewiston Philharmonic Club, and the 
 
308 MUSIC AND MUSICIANS OF MAINE 
 
 Kotzschmar Club of Portland are 
 among those which have offered cash 
 prizes for which the young artists 
 have contended. 
 
 Among the winners of the State 
 contests have been: 
 
 V oice — Georgina Shaylor of Falmouth, Harry 
 Box of Old Orchard, Marcia Merrill of Portland, 
 Avis Lamb of South Portland; Piano — Helen 
 Bradbury and Muriel Smith both of Portland; 
 Violin — Harry Schnecher of Portland. 
 
 The General Federation of Women’s 
 Clubs and the Maine Federation of 
 Musical Clubs are codperating to es- 
 tablish a music section in every public 
 library in the United States. Louise 
 H. Armstrong of Portland is Chairman 
 of Library Extension for Maine. 
 
 The first officers of the Maine Fed- 
 eration, elected at the time of its or- 
 ganization in 1921, were: 
 
 President, Mrs. James A. McFaul of Port- 
 land; First Vice President, Mrs. Henry P. 
 Frank of Yarmouth; Second Vice President, Mrs. 
 Thomas G. Donovan of Bangor; Third Vice 
 President, Mrs. Bernard A. Chase of Auburn; 
 Secretary, Bernice M. Preston of Portland; 
 Treasurer, Mrs. George J. Akers of Westbrook; 
 Auditor, June L. Bright of Bangor; Chairman of 
 Contests, Elizabeth M. Litchfield of Lewiston; 
 Executive Committee, Mrs. James A. McFaul, 
 Julia E. Noyes, June L. Bright, Mrs. Henry P. 
 Frank, Bernice M. Preston, Elizabeth M. Litch- 
 field and Mrs. Marion E, Theis. 
 
 The officers elected at the annual 
 meeting of the Federation in Portland 
 in 1927 were: 
 
 President, Julia E. Noyes, Portland; First 
 Vice President, Mrs. Guy P. Gannett, Cape 
 Elizabeth; Second Vice President, Elizabeth M. 
 Litchfield, Lewiston; Third Vice President, Mrs. 
 C. W. Towers, Houlton; Recording Secretary, 
 Mrs. Ernest Theis, Cumberland Mills; Corre- 
 sponding Secretary, Mrs. S. S. Thompson, Port- 
 land; Treasurer, Mrs. S. Merritt Farnum, Lew- 
 iston; Auditor, Clinton W. Graffam, Portland; 
 Directors, Mrs. E. W. Loane, Presque Isle; Mrs. 
 E. F. Berry, Rockland; Mrs. C. T. Burnett, 
 Brunswick; June L. Bright, Bangor. 
 
 In the spring of 1928 the major of- 
 ficers were reelected to serve a two- 
 year term. Mrs. Evelyn Badger Car- 
 
 roll, Recording Secretary; Mrs. George 
 F. Gould, Corresponding Secretary; 
 Mrs. S. Merritt Farnum, Treasurer; 
 and Clinton W. Graffam, Auditor, were 
 new Officers elected, and new Direc- 
 tors were Mrs. E. W. Locke, Presque 
 Isle; Mrs. E. F. Berry, Rockland; 
 Mrs. C. T. Burnett, Brunswick; Mrs. 
 Ernest Theis, Westbrook; Anna Strick- 
 land, Bangor. 
 
 The following junior music clubs of 
 the State were represented in the State 
 Federation of Music Clubs in 1928: 
 
 Junior Cecilia Club, Augusta, Miriam Best, 
 counselor; William R. Chapman Club, Bangor, 
 Mary Hayford, counselor; Junior Mozart Club, 
 Gorham, Mrs. Charles Boothby, counselor; Jun- 
 ior Annie Louise Cary Club, Gorham, Mrs. 
 Madelyn Cilley, counselor; Junior Mendelssohn 
 Club, Portland, Yvonne Montpelier, counselor; 
 Junior Handel Club, Portland, Yvonne Mont- 
 pelier, counselor; Junior Beethoven Club, Port- 
 land, Yvonne Montpelier, counselor; Junior 
 Marston Club, Portland, Elizabeth Brown, 
 counselor; Vivace Junior Music Club, Portland, 
 Ruth Burke, counselor; Junior Cecilia Club, 
 Portland, Mrs. Anna Carey Bock, counselor; 
 Valerian "Club, Portland, Edward Tolan, coun- 
 selor; Junior Harmony Club, Portland, Bernice 
 Preston, counselor; Schumann Musical Club, 
 Portland, Zilphaetta Butterfield, counselor: 
 Westbrook Seminary Junior Music Club, Port- 
 land, Doris Roberts, counselor; Young Ladies’ 
 Chorus, Warren Church, Westbrook, Mrs. 
 Marion Theis, counselor; Junior Harmony Club, 
 Rockland, Mrs. Lucy Rankin, counselor; Jun- 
 
 selor. 
 
 Maine Conservatory of Music 
 
 The Maine Conservatory of Music 
 of Portland, Maine, was incorporated 
 in 1920, “to offer instruction in the mu- 
 sical arts and related objects with the 
 right to grant certificates and diplo- 
 mas for such study.” On its staff of 
 instructors in 1928 were Rupert Neily, 
 teacher of singing; Anne Neily, teach- 
 er of piano; and Mrs. Bertha L. Nich- 
 ols, teacher of violin. Scholarships 
 were Offered in piano, technique and 
 vocal art to students of extraordinary 
 ability. 
 
 ior Schubert Club, Alfred, Ocy L. Downs, coun- 
 
MUSIC OF THE STATE OF MAINE 1897-1928 
 
 Quite a number Maine musicians 
 have left their native State to take up 
 their labors in other fields and some of 
 these were, Melville Warren Chase 
 (born in Minott, 1842), who studied 
 with Schilling and went to live in 
 Michigan; Irving Emerson (born in 
 Bridgton in 1842), who became chorus 
 director and Supervisor of Music in 
 the Hartford Public Schools and was a 
 composer of piano numbers and school 
 singing pieces; Clarence C. Brooks, 
 who sang tenor in the Apollo Male 
 Quartette in Boston; Mrs. Berle Wal- 
 ton Breed, pianist of Skowhegan, who 
 took up her residence in Oakland, Cal- 
 ifornia; Ella Flanders of Skowhegan, 
 who graduated from the New England 
 Conservatory of Music and became a 
 member of the faculty there; Harriet 
 Marble, vocalist and pianist, who be- 
 came a teacher in the Philippines; 
 Walter Gage, pianist and composer, of 
 Skowhegan, who took up his residence 
 in Hollywood, California; Mrs. Joseph 
 E. Green (née Margaret A. Walsh), 
 born in Portland in 1856, a pupil of 
 Dennett, whose voice was heard in the 
 church choirs of Portland until 1880, 
 when she moved to Massachusett 
 where she sang in concert and in the 
 churches until 1895; Henry Dike 
 Sleeper, born in Patten, Maine, 1865, 
 educator, organist and composer, who 
 at the time of his death was head of 
 the Music Department at Smith Col- 
 lege; Orlando E. Wardwell, born in 
 Monmouth, 1873, who played the eu- 
 phonium in Sousa’s Band; Edith Brad- 
 ford, contralto, of Bangor, who toured 
 the country with Francis Wilson’s 
 Company in “The Monks of Mala- 
 bar”; Edith L. Bradford of Calais, con- 
 cert artist and vocal teacher; Hiram 
 B. Drake of Lewiston, a pupil of Del 
 Papa, who became basso in the Grace 
 Church Choir of New York; Antonia 
 Savage Sawyer (Antonia Sawyer Min- 
 
 309 
 
 er) of Waterville, who became promi- 
 nent as a concert manager of New 
 York; Winifred Staples, born in Carth- 
 age, Maine, who became soprano so- 
 loist at St. Mark’s Episcopal Church 
 in New York; and Ralph W. Leighton 
 of Skowhegan, who sang in Boston 
 churches. 
 
 Rose Tyler, daughter of Joseph and 
 Jennie C. Tyler of Portland, studied 
 at the Damrosch School and the Insti- 
 tute of Musical Art in New York. Her 
 voice was soprano of rarely beautiful 
 quality. When twenty years old she 
 sang at the State Street Church, Port- 
 land, continuing there for four years, 
 when she became soloist in one of the 
 New London, Connecticut, churches. 
 From there she went to the Central 
 Congregational Church in Boston for 
 which position she was chosen from a 
 class of fifty applicants. She was one 
 of the first to appear as assisting artist 
 in the Portland Municipal Organ con- 
 cert course. She married Maynard 
 Bird, financier and banker, and died at 
 Cumberland Foreside on the birth of 
 her daughter. It is written of her that 
 “Her radiant youth and earnestness 
 of purpose were an inspiration to all 
 who came in contact with her.” 
 
 Mabelle Monaghan, soprano soloist, 
 was born in Ellsworth, Maine. She 
 possessed an unusual voice, but it did 
 not attract people’s attention until 
 early in 1895 when she appeared in 
 the title role in “Priscilla,” a comic 
 Opera, given in her native town by 
 amateurs. She was placed under the 
 instruction of Charles R. Adams of 
 Boston and she later studied with H. 
 Carleton Slack of Boston. Her voice 
 was lyric soprano, clear, pure, of rare 
 flexibility and absolutely true. She 
 sang in concert at Tremont Temple 
 and received much commendation from 
 both the press and the public. 
 
 Alice Morrison, the daughter of John 
 
310 MUSIC AND MUSICIANS OF 
 
 MAINE 
 
 EMILY POOLE BAXTER, ORGANIST TWENTY-TWO 
 YEARS CHURCH OF THE SACRED HEART, PORTLAND, 
 
 L. and Ann M. Morrison, was an ac- 
 tive member of the Rossini Club and 
 the Portland Ladies’ Quartet and for 
 eight years was the contralto of the 
 choir of the First Free Baptist Church 
 in Portland. She was a pupil of Mrs. 
 Jennie King Bragdon and later studied 
 under Myron Whitney of Boston. She 
 died in Los Angeles to which city she 
 had moved four years before. 
 Adelaide Eudora (Mrs. Frederic E.) 
 Boothby, mezzo soprano, born in Wa- 
 _ terville, was the daughter of Charles 
 H. and Vesta (Bailey) Smith. She 
 studied music under Rudolphson of 
 Boston, W. H. Dennett of Portland and 
 Madame Eames (mother of Emma 
 Eames). She was for some time a 
 member of the Universalist Church 
 Choir in Waterville and Augusta and 
 
 the Congregational Church, Waterville, 
 and she became prominent throughout 
 the State because of her work for the 
 Festival Chorus. In her parlors at the 
 Falmouth Hotel in Portland much of 
 the preliminary work for the Maine 
 Music Festival was done and there the 
 Festival Orchestra was planned and 
 organized. 
 
 Emily Poole Baxter (1874-1921), 
 daughter of James Phinney and Me- 
 hetabel Cummings Proctor Baxter, 
 who was organist and musical director 
 at the church of the Sacred Heart, 
 Portland, from 1899 to 1921, was born 
 in Gorham, Maine, and was educated 
 in the public schools and then at the 
 Bellows Private School of Portland and 
 Wellesley College, from which she grad- 
 uated in 1897, with the degree of A.B. 
 
 Miss Baxter studied music under 
 Hermann Kotzschmar, Harvey Mur- 
 ray and Dr. Latham True. She was 
 a student of the history of music and 
 was especially interested in early mu- 
 sic of the Roman Catholic Church. 
 She gave instruction on the church 
 organ to young people in the Church 
 of the Sacred Heart and always did 
 this gratuitously. Her life was devot- 
 ed to social service and church work. 
 A specially built church organ was in- 
 stalled in the family residence on Deer- 
 ing Street in Portland by her father, 
 for her use, and that of her brother, 
 former Governor Percival P. Baxter. 
 On his sister’s decease, Governor Bax- 
 ter had this organ removed from the 
 family home, and presented it, in mem- 
 ory of her, tothe Sacred Heart Church. 
 The organ, which was a two-manual 
 instrument of the pneumatic type, with 
 twenty-four speaking stops and cou- 
 plers for adjustable combinations, was 
 built by Jesse Woodbury & Company, 
 Boston. 
 
 A few of the many Maine musicians 
 
 q 
 q 
 f 
 
 SE Se ST 
 
MUSIC OF THE STATE OF MAINE 1897-1928 311 
 
 who went abroad to study in the seven- 
 ties and eighties were Addie Ryan, con- 
 tralto, Mabel Bates Burnham, soprano, 
 William S. Beckett, baritone, C. T. 
 Trowbridge,a powerful basso profun- 
 do, Mrs. G. M. Cummings, John Mor- 
 gan, whose high sweet voice earned for 
 him the sobriquet of “the Silver Tenor,” 
 Ella C. Lewis, William H. Stockbridge, 
 Joshua Pierce, Samuel D. Rumery, 
 Carrie B. Rice, Mr. and Mrs. W. H. 
 Dennett and Elizabeth Sparrow of 
 Portland; Gertrude Dodwin of Fal- 
 mouth Foreside; and Marjory Marri- 
 son and Mrs. Philo Steward of Skow- 
 hegan. 
 
 There have been many other musi- 
 cians in Maine who neither went abroad 
 for study nor yet became famous as 
 performers or composers, but whose 
 impress on Maine music will be felt 
 (though, perhaps, those whose musical 
 lives they have most influenced, may 
 not consciously realize it) for years yet 
 to come. Just a few of these may be 
 cited as examples of hundreds of others 
 who, during their lives as earnest 
 musicians, have exerted a_ beneficial 
 influence which has lived after them. 
 Among these were Mary Jordan and 
 Helen Foster of Portland, two thorough 
 teachers of piano, and exponents of the 
 Virgil Clavier method; Anna C. Willey, 
 organist in Portland for twenty-five 
 years, who, during this time, gave ele- 
 mentary instruction to classes of up- 
 wards of one hundred young students 
 annually, and who, at her death, de- 
 vised a considerable sum of money to 
 help in carrying on band concerts in the 
 parks of Portland; Mrs. Thomas P. 
 McGouldrick, of Cherryfield, who had 
 the largest number of pupils of any 
 teacher in Washington County; Char- 
 lotte Ginn Ricker, who helped train 
 every voice of promise during her life 
 in Cherryfield; Mrs. Leila Bucklin 
 
 French of Camden, teacher of piano 
 
 and supervisor of music in the public 
 schools, one of the foremost in helping 
 any worthy musical cause; Carrie Wing 
 Osborne, music teacher and organist in 
 Winthrop; and Solomon Wheaton Bates 
 of Portland, whose life was devoted to 
 the cause of music, and who was deep- 
 ly interested in the cultivation of mu- 
 sic in the public schools. 
 
 Maine has not produced a large 
 number of violinists, but some of them 
 have become known throughout the 
 concert world in New England, while 
 the popularity of others has reached 
 far beyond its borders. Among those 
 who have added much to Maine’s 
 prestige in music were, Blanche Cram, 
 Bret H. Dingley, Roscoe R. Frohock, 
 Grace Hall, Franklin Holding, Bertha 
 Webb, Donald Morrison of Skowhe- 
 gan, who studied at the Von Ende 
 School in New York and played in 
 London, New York and in the West; 
 Elise Fellows White of Skowhegan, 
 who made her debut with Nordica, 
 studied and played in public in Vien- 
 na, Boston, New York and throughout 
 the Northwest and Canada; Maurice 
 Swain Philbrook of Skowhegan, who 
 appeared as soloist with the Bowdoin 
 Glee Club, en tour; and Mrs. Rudgar 
 Young (Janet Peters), who went to 
 live in Joliet, Illinois. 
 
 Reference to some of these has been 
 made in an earlier part of this volume 
 while brief sketches of a few of those 
 who were living in 1928 will be found 
 in the following chapter. 
 
 Blanche Cram played professionally 
 in many cities of the country. She 
 married Arthur Longfellow, a grand- 
 son of a brother of the poet. Miss 
 Cram, as well as her brother, an ex- 
 cellent cellist, who was appointed 
 United States Counsul to France, was 
 born in Portland. 
 
 Roscoe R. Frohock, born in Read- 
 field in 1839, studied violin with Hein- 
 
312 MUSIC AND MUSICIANS OF MAINE 
 
 rich Erlich in Berlin. He was widely 
 known as a musician and a patron of 
 music and other arts. In 1876 he set- 
 tled in Malden, Massachusetts, where 
 he lived until his death. 
 
 Bertha Webb, one of Maine’s most 
 popular violinists was a native of 
 Bridgton. She toured the country and 
 met with much success. She took her 
 first music lesson of Charles W. Grim- 
 mer of Portland when she was eleven 
 years of age. She afterwards studied 
 with Eichburg and Listermann in Bos- 
 ton and Damrosch and Dannreutha 
 in New York. Her father, Edward C. 
 Webb, was one of the musicians in 
 Chandler’s Band and Orchestra and 
 one of five brothers to serve as mu- 
 sicians in the Civil War. Her mother 
 was Elizabeth Turner, herself an ex- 
 cellent musician. 
 
 Priscilla Alden, another excellent 
 violinist, became a pupil of Fred Giv- 
 en of Portland in 1894, but she later 
 went to Boston where she became a 
 student at the New England Conserva- 
 tory of Music in one of the classes of 
 Emil Mahr. After a year of study with 
 Jennie P. Daniell, she received train- 
 ing in string quartet and played in 
 the classes of Laura Webster, one of 
 Boston’s well-known women cellists. 
 Miss Alden was a member of the Bos- 
 ton Women’s Orchestral Society. 
 
 Maine Composers 
 
 Maine has given to America a good- 
 ly share of its composers, some, in- 
 deed, whose compositions have been 
 sung the world over. Perhaps there 
 is no song by a Maine composer that 
 is better known than Kate Vannah’s 
 “Goodby, Sweet Day.” 
 
 Kate Vannah, born in Gardiner, be- 
 gan to play on the piano and organ 
 when about nine years of age. She 
 was a bright student and was graduated 
 
 from the Gardiner High School before 
 she was sixteen, On which occasion 
 she wrote the farewell ode, her first 
 musical effort. Her first songs were 
 published at eighteen years of age 
 while a student at Emmettsburg, Md., 
 and their success was immediate. Her 
 first waltz, dedicated to Annie Louise 
 Cary, was the means of commencing 
 a warm friendship which was main- 
 tained during the life of the Diva. She 
 wrote newspaper articles under the pen 
 name of Kate Van Twinkle. Her song, 
 “Good-bye, Sweet Day,” became fa- 
 mous throughout the English-speaking 
 world and in the more than thirty 
 years since it was first published its 
 popularity has remained undimmed. 
 
 This was followed by “When Love is — 
 
 Told,” “Cradle Song,” and many others. 
 In all she has written nearly two hun- 
 dred compositions including “Heligo- 
 land,” a light opera in three acts writ- 
 ten in collaboration with Elinore Bart- 
 lett, “My Bairnie,” a very sweet melo- 
 dy made famous by Blauvelt, “Gray 
 Rocks and Grayer Seas,” “At Sea,” 
 and “Oh Night Unforgotten.” The 
 New York Commercial Advertiser at 
 one time stated that “there is more of 
 Kate Vannah’s music sold than there 
 is of any woman composer in the 
 United States or of any male composer 
 save DeKoven.” 
 
 Benjamin Lambord, born in Port- 
 land, Maine, 1879, studied in Portland 
 and taught there, but later moved to 
 New York where he continued his mu- 
 sical labors and became a pupil of Ed- 
 ward MacDowell. His compositions, 
 though not many, included an over- 
 ture to his unfinished operetta, “Wood- 
 stock,” based on a libretto from Scott’s 
 novel of that name; a concert waltz 
 for the piano and a number of songs. 
 Among these were “Under the Green- 
 wood Tree,” and “The Daffodils Se- 
 cret” as adapted to verses from some 
 
 Oe a - o - vy - = . 
 ee ee en a ee ee Se ee eee eee 
 
MUSIC OF THE STATE OF MAINE 1897-1928 313 
 
 of Heine’s poems, several small pieces 
 for the piano, two anthems, “To God, 
 Our Strength” and “Suffer Little Chil- 
 dren,” but his compositions, “Clytie” 
 and “Verses from Omar,” with orches- 
 tral accompaniment, were perhaps the 
 best things that he did. 
 
 He was organist in St. Luke’s Ca- 
 thedral, Portland, and in three church- 
 es in New York City. 
 
 He formed the Lambord Choral So- 
 ciety and from this, as a nucleus, the 
 Modern Music Society of New York 
 was organized in 1912. It is said of 
 him that he thrilled and entranced 
 with his skill as a conductor. 
 
 He was presented with the Mosen- 
 thal fellowship by MacDowell and 
 with the income from this he went to 
 Europe and studied with Vidal in 
 Paris. On his return he sketched some 
 symphonic poems which unfortunately 
 remain unfinished. 
 
 At the time of his death, which oc- 
 curred at Lake Hopatcong, New Jer- 
 sey, in June, 1915, he had more than 
 one hundred promising pupils and he 
 was engaged in writing a book on the 
 orchestra and orchestral music. 
 
 William Grant Brooks, composer, 
 organist and choir director, born in 
 Saco, Maine, in 1869, was organist for 
 more than twenty-five years in Saco 
 and Biddeford churches. During his 
 lifetime he traveled nearly one hundred 
 thousand miles on a five-year tour of 
 North America. His poems were used 
 for years in public schools and some 
 were translated into other languages. 
 “The World’s Ready Helpers,” which 
 was translated into the Chinese lan- 
 guage, was published in the Chinese 
 Illustrated News and is used by the 
 Chinese school children. His compo- 
 sitions included “Hail to our Star 
 Gemmed Flag,” “Crossing the Bar” 
 (setting), “At Last” (setting), “Where 
 Mother is Tis Home Sweet Home”; 
 
 marches, “Gettysburg,” “Our National 
 Honor,” “Prince of Peace,” etc.; his 
 band compositions have been played 
 by United States Marine Bands, Sou- 
 sa’s Band, New York Military Band 
 and others; his hymns appear in near- 
 ly a score of hymn books. 
 
 Mrs. Helen Willard Howard, daugh- 
 ter of Mr. and Mrs. Greenleaf D. Wil- 
 lard, was born in Auburn. Graduating 
 from Bates College in 1895 she studied 
 with George Lowell Tracy and became 
 a member of the MacDowell Club of 
 Boston. Her principal compositions 
 were “Lingering Memories” and “South- 
 ern Melody.” 
 
 Maine has never had a song, adopt- 
 ed by the legislature, as the official 
 song of the State, but a number of 
 composers have written melodies with 
 Maine as their theme. Chief among 
 these compositions with the State as a 
 subject have been: 
 
 “Beneath the Pines of Maine” by 
 Walter Rolfe; “Down in Maine” and 
 “The Old Maine Shore” by William 
 H. Buxton; “Down in Maine” by 
 William R. Chapman; “Homeland of 
 Maine” by Marion E. Gilbert; “Way 
 Down in Maine,” a school song, by 
 A. W. Barnlund; “Dear Old Maine” 
 by Mary Thompson Green; “Sons of 
 Maine” by Wilbur C. Spencer; “Some- 
 where in Maine” by Leona Stevens 
 Hollister; “When the Silv’ry Moon is 
 Shining O’er the Hills of Dear Old 
 Maine” by Ernest B. Orne; “Maine, 
 My Mother” by Mrs. Grace A. Wing; 
 “Dirigo” (the State’s motto) by Fan- 
 ning G. Maloney; “Maine” by Miriam 
 B. Andrews; “Maine” by Embert L. 
 Jones; “State of Maine, Kiwanis Song” 
 by Harry Stott; “A Song to Maine,” 
 music by Elise Fellows White; “Hail! 
 State of Maine” by J. Thomas, words 
 by sfonneile Ravan; “and “State ~ of 
 Maine, My State of Maine” and “Maid 
 
314 
 
 MUSIC AND MUSICIANS OF MAINE 
 
 in Maine” by George Thornton Ed- 
 wards. 
 
 “Down in Maine” by William H. 
 Buxton has been adopted as the official 
 state song by the Lion’s Clubs of 
 Maine and is printed with other state 
 songs in the National Song Book, is- 
 sued by that organization. “Dear Old 
 Maine” by Mary Thompson Green has 
 been used as the State Federation Song 
 of the Business and Professional Wom- 
 en’s Clubs; “The Pines of Maine,” 
 words only, by Elizabeth Powers Mer- 
 rill, sung to a familiar air, has been 
 adopted by the Maine Federation of 
 Women’s Clubs as its official song; and 
 this song is sung by the Schumann 
 Club of Bangor and is printed in its 
 year book; Elise Fellows White’s “A 
 Song to Maine” (words by Louise Hel- 
 en Coburn) has been accepted as the 
 state song of the Daughters of the 
 American Revolution. 
 
 “State of Maine, My State of Maine” 
 by George Thornton Edwards has been 
 sung at many meetings of the Maine 
 State Grange and has been adopted as 
 part of the order of service in some of 
 the subordinate granges. In 1920 it 
 was sung in every Maine city and town 
 where a Centennial Celebration was 
 held and was featured on Maine Cen- 
 tennial programs from the Atlantic to 
 the Pacific. The words of this song 
 have been widely copied in newspapers 
 and anthologies and it is estimated that 
 in all more than half a million copies 
 have been printed. It has been sung 
 by Maine people in every state in the 
 Union; has been adopted as the society 
 song by the Maine Women’s Club of 
 New York and other Maine clubs and 
 organizations in all parts of the coun- 
 try and has, for more than twenty 
 years, been generally recognized as the 
 State of Maine Hymn. 
 
 In the winter of 1927-28, the Maine 
 Federation of Women’s Clubs offered 
 
 a prize for a song that could be used 
 as a state song by the Music Clubs of 
 Maine. 
 
 The contest for the words of this 
 prize song closed in April, 1928, and 
 although eighty-six poems were sub- 
 mitted, none, in the opinion of the 
 judges, were found that would be 
 worthily representative of either the 
 Federation or of the State. The judges 
 of the contest were, Professor Charles 
 T. Burnett of Bowdoin College, chair- 
 man; Marguerite G. Ogden of the Port- 
 land Rossini Club; Mrs. David Wasson 
 of Bangor; Professor Edward H. Wass, 
 head of the department of music at 
 Bowdoin College; and Mrs. E. S. Pitch- 
 er of Auburn. 
 
 No composer contributed to the mu- 
 sical literature of Maine a greater num- 
 ber of beautiful songs, anthems and 
 instrumental pieces than did George W. 
 Marston, to whom some space has been 
 given in a preceding chapter. 
 
 The following list of titles has been 
 here preserved in the hope that none ~ 
 of this modest composer’s invaluable 
 contributions to the music of America 
 may be forgotten. 
 
 Songs — “At Evening,” “Annabel Lee,” “A 
 Stately Pine Stands Lonely,” “At Early Morn- 
 ing,” “Bedouin Love Song,” “Cradle Song,” 
 “Come May with all Thy Flowers,” “Cavalier’s 
 Song of the 16th Century,” “Days are Long,” 
 “Don’t Forget Me,” “In Evening,” “Douglas, 
 My Douglas,” “Free Lances,” “Far on the Coast 
 of Scotland,” “Farewell, Delight,” “Happy 
 Death,” “Heralds of Spring,” “In My Garden,” 
 “In April,” “In Dreams I saw a Desert Heath,” 
 “It seems to Me,” “Israfel,” “In Picardie,” “Last 
 Night a Dream Came to Me,” “Lonely,” “Lay 
 thy Cheek to Mine,” “My Own Country,” 
 “Milkmaid’s Song,” “Morning Star,” “Oh! Heart 
 of my Heart,” “O Sweet and Wondrous Mys- 
 tery,” “On the Water,” “O Mother Dear, Jeru- 
 salem,” “Persian Serenade,” “Soon Fades the 
 Violet,” “Segovia and Madrid,” “Sunday,” “Sep- 
 aration,” “See’st Thou the Sea,” “Springtime,” 
 “Song Album,” “The Triton in the Ilex Wood,” 
 
 “The Old Clock on the Stairs,” “The Promise,” | q 
 
 “The Days are Long,” “The Boat of my Lover,” 
 “The Homeland,” “The Chapel,” “The Little 
 
MUSIC OF THE STATE OF MAINE 1897-1928 315 
 
 Sand Man,” “The Lullaby Divine,” “The Duet,” 
 “There was an aged Monarch,” “The Leaf in the 
 Book,” “The Sailor’s Ave Maria,” “T’was in the 
 charming Month of May,” “Thou’rt like a love- 
 ly flower,” “The Lilac Tree,” “The Fairy Wed- 
 ding,” “The Land of Peace,” “The Water Lily,” 
 “T’was the Middle of the Night,” “Violet, Come 
 Rejoice with Me,” “When soft the vesper spar- 
 row sings,” “When the land was white with 
 Moonlight,” ‘“Wanderer’s Song,” “Waiting by 
 the Hedges,” “Where Thrums the Bee.” 
 Anthems, Responses and Sacred Songs — “Ave 
 Maria,” “As pants the Hart,” “A Day in Thy 
 Courts,” “Arise, Shine, For Thy light is Come,” 
 “Archangels, Fold Your Wings,” “Awake, put on 
 strength,” “By the Waters of Babylon,” “But 
 our God endureth forever,” “Be still and know 
 that I am God,” “Beyond the smiling and the 
 weeping,” “Bonum Est,” “Break forth into Joy,” 
 “Brightest and Best,” “Beloved, now are we the 
 sons of God,” “Cantate Domino,” “Close to the 
 hand that feeds me,” “Crossing the Bar,” “Come 
 unto Me,” “Christ our Passover,’ “Cantata 
 Domino,” “Far from my Heavenly Home,” “Fes- 
 tival Te Deum,” “Glory, Glory to our King,” 
 “How Beautiful on the Mountain,” “Hear O 
 Lord,” “Hail to the Monarch, who lies in a Man- 
 ger,’ “He is our God,” “Hope thou in God,” 
 “How lovely are Thy dwellings fair,” “Hark, 
 hark, with harps of Gold,” “His love Shines 
 over all,” “Hark, hark, my soul,” “Heaven is 
 My Home,” “Hark the Hosts of Heaven,” “It is 
 the Hour of Prayer,” “I will arise and go to My 
 Father,” “I lay my sins on Jesus,” “It came upon 
 a midnight clear,’ “I’m a pilgrim, I’m a stran- 
 ger,’ “In the Cross of Christ I glory,” “I can- 
 not always trace the Way,” “I’m but a stranger 
 here,” “I will lift up mine eyes unto the hills,” 
 “Jubilate Deo,” “Jerusalem the Golden,” “Jesus, 
 Lover of My Soul,” “Jesus the very thought of 
 Thee,” “Jesus is mine,” “Love not the World,” 
 “Lift up your heads, O ye Gates,” “Like as a 
 Father,’ “Lord of all Being, Throned Afar,” 
 “Light of those whose dreary dwelling,’ “My 
 Own Country,” “My Soul doth wait,” “My God 
 and Father, while I stray,” “My Soul Longeth,” 
 “Nearer, My God, to Thee,” “Not unto us, O 
 Lord,” “O come let us sing,’ “O Thou who 
 driest the Mourner’s Tears,” “O Shadow in a 
 sultry land,’ “OQ Love Divine,” “O Salutaris 
 Hostia,” “Out of the Depths,” “O taste and see,” 
 “OQ Jesu, thou art standing,” “One thing have I 
 desired of the Lord,” “O Ye that love the Lord,” 
 “O’er the distant mountains breaking,” “On 
 Jordan’s stormy banks I stand,” “Pilgrim, bur- 
 dened with thy sin,” “Peace, it is I,” “Rejoice 
 Greatly,” “Round Jerusalem stand the Moun- 
 tains,” “Still with thee, O my God,” “Slowly by 
 God’s hand unfurled,” “Sun of my Soul,” “Shout 
 the Glad Tidings,” “Sentences and Responses,” 
 
 “Thou Grace Divine,” “Turn us, O God of our 
 Salvation,’ “Thou Knowest Lord,” “The Lord 
 my Pasture shall Prepare,” “The Bird Let Loose,” 
 “Te Deum Laudamus,” “The Lord is King,” 
 “The Babe of Bethlehem,” “The Land of Peace,” 
 “The Land beyond the sea,” “The Night is far 
 spent,” “The Star of Bethlehem,” “The Day of 
 Resurrection,’ “The Lord is my Shepherd,” 
 “There is a safe and secret place,” “There’s a 
 bright land far away,” “The singing hosts of 
 heaven,” “Venite exultemus in B flat,” “Walk in 
 the Light,” “When streaming from the Eastern 
 Skies,” “While Shepherds watched their flocks,” 
 “We would see Jesus,” “When the Lord turned 
 again the captivity of Zion,” “Why seek ye the 
 living, among the dead,” “When Winds are 
 Raging,” “What are these that are Arrayed,” 
 “When Morning’s First and Hallowed Ray.” 
 
 Part-songs — “Blossom Time,” “Bugle Song,” 
 “How Sleep the Brave,” “Once Bloomed a rose 
 in Avon Town,” “Poppies and dreams,” “The 
 Night has a thousand eyes,” “The River of 
 Rest,” “The Sands O’Dee,” ‘The Chambered 
 Nautilus,” “Vesper Song,” “When green leaves 
 come again,” “When winds are raging o’er the 
 upper ocean.” 
 
 Pianoforte Duet — “Assyrian Battle March.” 
 
 Piano solos — “‘Ariel’s Dirge and Fairy Song,” 
 “A Night in Spain,” “An April Day,” “A Styri- 
 an Love Song,” “Aspiration,” “After the Ball,” 
 “Album Leaf,” “Adagietto,” “Bagatelle,” “Boat 
 Song,” “Berceuse,’ “Cradle Song,” “Funeral 
 March of a Canary,” “Gavotte in B minor,” 
 “Happy Home March,” “Hunting Song,” “Im- 
 promptu-Caprice,” “In the Church,” “Little Ga- 
 votte,” “Little Waltz,” “Melody,” “Memories,” 
 “March in D major,” “Mazurka,” “Minuet,” 
 “March of the Twenty Tin Soldiers,” “Play- 
 time,” “Primrose,” “Reverie,” “Romanza,” 
 “Souvenir,” “Souvenir De Baviere No. 1,” “Sou- 
 venir De Baviere No. 2,” “Souvenir De Baviere 
 No. 3,” “Styrienne,” “Slumber Song,” “Serenade 
 to a Doll,’ “The Return of the Regiment,” “The 
 Mill-wheel,” “Vacation Waltz,” “Village Dance,” 
 “What the Negro Minstrel Sang.” 
 
 Old Time Fiddlers 
 
 Nearly all the old time dancing mas- 
 ters were good at fiddling. Professor 
 Jeremiah Whitten, for many years a 
 dancing teacher and violinist in Belfast, 
 was born in Freedom, Maine, in 1823. 
 He attended the Freedom Academy and 
 studied music with his mother who 
 was an excellent performer on the vio- 
 loncello. His first violin was purchased 
 for the sum of ten cents. The bow was 
 
316 
 
 said to have been “as crooked as a 
 barrel hoop” and was strung with 
 black horsehair. At seventeen he 
 played in the churches and his name 
 appeared on some of the leading con- 
 cert programs in Belfast. He studied 
 with Charles H. Howard of Boston, 
 who had located in Belfast, and when 
 twenty years old opened his first danc- 
 ing school. 
 
 Among the early violinists who 
 played for dances in Belfast were Ja- 
 cob Douglass and Thomas Merrow. 
 Upon special occasions the violinists 
 would be assisted by two or three ex- 
 tra men who, without notes, played a 
 sort of accompaniment, which was 
 called vamping. 
 
 Professor Hanford Crosby, who 
 taught dancing there, played a fine old 
 Maggini, of beautiful tonal quality, 
 which later came to be owned by 
 Charles H. Crosby of Belfast. 
 
 George W. Oakman was one of a 
 large family, all of whom were mu- 
 sical, but especially so were his two 
 older brothers, Marion and Charles, 
 who played respectively the cello and 
 violin. In their younger days all three 
 were much in demand to play at danc- 
 es throughout a large section of Pe- 
 nobscot County. The sobriquet of “the 
 Oakman boys” followed them through- 
 out their lives. 
 
 In the winter of 1925 and 1926 fid- 
 dler’s contests were held in many cities 
 in New England and great was the 
 rivalry among the old time fiddlers, 
 many of whom were from sixty to 
 eighty years old. Some of those who 
 participated in fiddling contests held 
 in Portland were: 
 
 Prescott W. Carter, John F. Grant, Charles S. 
 Mills, D. Carter Hinds, Charles E. Reny of 
 Westbrook, Ridmond Gorey of Westbrook. 
 
 In the spring of 1926 a six-day, 
 world wide Fiddling Contest was held 
 in Lewiston in which fiddlers of eligi- 
 
 MUSIC AND MUSICIANS OF MAINE 
 
 ble age were invited to participate for 
 a World Championship Cup anda cash 
 prize of one thousand dollars, and for 
 these, competitors from England, Ire- 
 land, Scotland, and the Dominion of 
 Canada, as well as the northeastern 
 section of the United States, vied with 
 each other for first place. Cyril Nolin 
 of Auburn was the winner. 
 
 Prominent on the program as an 
 added attraction was “Joe” Patterson, 
 banjoist of Eastport, who as an old 
 time negro minstrel end man had cov- 
 ered a distance of more than sixty- 
 four thousand miles in his travels “on 
 the road.” 
 
 Other notable fiddlers in Maine have 
 included: 
 
 Reuben E. Bosworth of Fryeburg; John Par- 
 ker of Belfast; Frank Cates and Guy E. Linne- 
 kin, who won the prizes in a Rockland fiddling 
 contest; Peter Cordin of Biddeford, champion 
 fiddler of York County; Charles Franklin Ricker 
 of Harrison; Mrs. Caroline Richards of Orono; 
 George V. Smith of Bangor; Martin H. Haynes 
 of Lincoln Center; H. H. Jackson and E. O. 
 Barrett of Bangor; M. F. Lyon of Brockton; 
 George D. Jones of Lee; Daniel Thibodeau of 
 South Brewer; Ralph Bounton of Eddington; 
 Paul LaFond of Waterville; Gedeon Terreault, 
 Gedeon Audet, Jean Robitalle and William E. 
 Getchell of Lewiston; James Carter of Liver- 
 more Falls; Charles O. Stickney of Scarboro; 
 Fernando T. Philbrick and Oscar Robinson of 
 Rockland; A. J. Skolfield and James Jones of 
 Oxford Village; Jack Robbins of Bolton Hill; 
 James Carr of Livermore Falls; Uncle Steve 
 Kimball of Lovell Center, who with his company 
 of old time dancers, like Mellie Dunham, for 
 several months played to crowded houses in Bos- 
 ton and other cities. 
 
 Music of the Schools and Colleges 
 
 The history of the music of the 
 schools and colleges of the State, and 
 that of the bands and professional or- 
 chestras of Maine, should in all justice 
 be written into a separate volume for 
 there can be but barely sufficient space 
 in one book devoted to the music of 
 the State of Maine to more than slight- 
 ly touch upon these two important 
 branches of music. 
 
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 7 
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MUSIC OF THE STATE OF MAINE 1897-1928 317 
 
 As in other states, in the ten years 
 preceding 1928, considerable advance 
 in the teaching of music in the public 
 schools was made in Maine, and the 
 sixty or more school music supervi- 
 sors in that year were doing splendid 
 work among the young people who re- 
 ceived their education at the expense 
 of the State. 
 
 In 1928 nearly every high school 
 had its band and orchestra, as did 
 many of the schools of lower grades, 
 while the colleges with their glee clubs 
 and instrumental aggregations, made 
 up of advanced musicians, had done 
 much to promote an interest in music. 
 Especially notable among these or- 
 ganizations were the Bowdoin, Bates, 
 Colby, and University of Maine Mu- 
 sical Clubs. 
 
 As one looks back, Maine’s begin- 
 nings in school music seem to have 
 been rather crude, but the growth 
 may be said to have been a healthy 
 one. 
 
 Reference has already been made to 
 a number of the early teachers of mu- 
 sic in the schools in Maine, notably 
 Ferdinand I. Ilsley of Portland, who 
 in the sixties taught music in the 
 schools of Belfast; Samuel Thurston, 
 who was responsible for the introduc- 
 tion of music into the public schools 
 in Portland; and Levi W. Ballard, a 
 pioneer in school music in Lewiston 
 and Auburn. 
 
 The city of Augusta was one of the 
 first to establish music as a study in 
 the public schools. Charles C. Hunt, 
 for many years, taught music in the 
 schools of the Capital City. 
 
 At the 1864 convention of the West 
 Penobscot Musical Association in Ban- 
 gor, Rev. C. Johnson, in an address, 
 advocated the introduction of music 
 into the common schools and the fam- 
 ilies of that section as a daily exercise. 
 Dr. Lemuel A. Torrens was the first 
 
 instructor of music in the 
 schools of Bangor. 
 
 Mrs. Myles M. Atherton, President 
 of the Maine State Music Supervisors 
 Association in 1923 and Supervisor of 
 Music in the public schools of Augus- 
 ta, was instrumental in forming the 
 first band and orchestra at the Cony 
 High School. 
 
 Thomas E. Hazell, a teacher of mu- 
 sic in the public schools of Portland 
 from 1880 to about 1884, was an Eng- 
 lishman (born in London). He taught 
 the diatonic scale from an ingeniously 
 devised card with a sliding back that 
 would bring into view the notes with 
 all the sharps and flats of each scale 
 at the will of the student. He was a 
 very successful teacher. 
 
 Nathaniel L. Mower (1860-1916), a 
 native of Temple, Maine, was super- 
 visor of music in the Auburn schools 
 for twenty-five years. While at the 
 New England Conservatory of Music, 
 where he studied voice and_ public 
 school methods, he was made a mem- 
 ber, and, for some time, was the di- 
 rector of the Conservatory Quartette 
 which sang in many New England 
 towns. 
 
 Nearly all the seminaries of Maine 
 have well developed music depart- 
 ments. That at Kent’s Hill Seminary 
 in Readfield was established in 1870 
 and for nearly forty years was direct- 
 ed by Dr. Wilson F. Morse. In 1894 
 its excellently equipped music build- 
 ing (Ricker Hall) with its four studios 
 and fifteen practise rooms was dedi- 
 cated. 
 
 In 1920 the Coburn Classical In- 
 stitute at Waterville put its music de- 
 partment on a new basis, since when 
 Carl Jean Tolman has been its direc- 
 tor, and among his assistants have been 
 Nettie French Stevens, Eva Elizabeth 
 Knowles and Inez Faye Armstrong. 
 About three years later the trustees 
 
 public 
 
318 MUSIC AND MUSICIANS OF MAINE 
 
 PROF. E. H. WASS, HEAD OF THE MUSIC DEPART- 
 MENT BOWDOIN COLLEGE, BRUNSWICK, AND FOUND- 
 ER AND CONDUCTOR OF THE BRUNSWICK CHORAL 
 SOCIETY. 
 
 acquired the homestead of Augusta 
 West, adjoining the Institute grounds, 
 
 and this building has since been the 
 
 home of its music department. 
 
 Music, instrumental and vocal, has 
 been an important part of the school’s 
 work and recreation hours of the West- 
 brook Seminary in Portland since it 
 began its work in 1831. In 1922 the 
 piano department became a branch of 
 the Dingley-Mathews Piano Work un- 
 der the direction of Rachel Hollister, 
 daughter of Dr. Orlando K. Hollister, 
 who was then the principal of the 
 school. 
 
 Lillian Wolfenberger, a brilliant pi- 
 anist, followed Miss Hollister as di- 
 rector at the Seminary. In order to 
 enlarge the scope of the work, Ruth 
 
 Ellen Dodds, an experienced teacher 
 of the Dingley-Mathews Work, who 
 taught for twelve years in the Denver 
 Branch as an authorized normal teach- 
 er, was made director of the depart- 
 ment at the time of its reorganization 
 as a school for girls in 1925. 
 
 The Seminary requires every girl in 
 the school to attend the lectures on 
 Music Appreciation. The glee club is 
 also an important factor in its school 
 life. 
 
 Bowdoin College at Brunswick was 
 one of the first in the State to grant 
 credit for music study. Its music de- 
 partment, founded in 1911 by Edward 
 Hames Wass and since conducted by 
 him, comprises three courses, leading 
 to or counting toward the degree of 
 A.B., Music as an Art (history and 
 evolution of form); Harmony (ele- 
 mentary and advanced) ; Counterpoint. 
 
 The University of Maine, recogniz- 
 ing the great value of the Festival 
 Chorus to Eastern Maine, has granted 
 regular class credit for work done at 
 rehearsals and in concert and the two 
 upper classes of the Bangor High 
 School, with the codperation of the 
 school officials, was reorganized so that 
 the students in these grades might 
 make preparation for participating in 
 the Festival Concerts. 
 
 Bates College at Lewiston estab- 
 lished a course in musical appreciation 
 in 1925, and credits for this study are 
 given in the same manner as in any of 
 the other courses. The Bates Musical 
 Clubs. include two glee clubs (men’s 
 and women’s), the college band, the 
 orchestra, which is known as the Or- 
 phic Society, and the college choir. 
 Credits are given for faithful attend- 
 ance at rehearsals. Seldon T. Crafts 
 has been the director of the Music De- 
 partment since its introduction into 
 the college curriculum. 
 
 Some of the leading musical organ- 
 
 a Ne SS ee el 
 
MUSIC OF THE STATE OF MAINE 1897-1928 319 
 
 izations of Maine have joined with the 
 National Federation of Music Clubs 
 in its efforts to establish music credits 
 in the public schools of the State, and 
 future historians will undoubtedly be 
 able to record their success, for it is a 
 self evident fact and one that has 
 come to be appreciated by school su- 
 perintendents generally and by many 
 state legislators, not only in Maine, 
 but throughout the country, that mu- 
 sic is the natural heritage of the child 
 and that the privilege of participating 
 in the singing of beautiful songs with 
 others is the surest and simplest way 
 to create and cultivate musical appre- 
 ciation in the young; that the state 
 which does not provide its young peo- 
 ple with music training in its schools, 
 or allow credit for properly supervised 
 music study, either within the class 
 room or in the home of the student, 
 equivalent to that given to other basic 
 subjects, is withholding happiness from 
 those who are of such an age that it is 
 their right to have it; and that stimu- 
 lation of musical interest in the child 
 means not only a broader and better 
 appreciation of music in its desirable 
 forms by all the members of the house- 
 hold with which he comes in contact, 
 but, by the exciting of his interest to 
 learn to produce that which he loves, 
 his zest for the acquirement of knowl- 
 edge along other lines is quickened, his 
 capacity for learning is augmented, 
 and each of his daily tasks become a 
 joy to be looked forward to day by 
 day, instead of just one added burden. 
 
 There is, perhaps, no instrument by 
 the aid of which music appreciation is 
 more readily developed or music edu- 
 cation is more !thoroughly acquired 
 than the piano. As an aid to educa- 
 tion in music it is without a parallel. 
 Every singer and every violinist should 
 do some foundation work with this 
 instrument if he would have a broader 
 
 understanding of his art. Every child 
 of school age should be taught some 
 elementary work on the piano. It will 
 be a fine thing when there is a piano 
 in every schoolhouse throughout the 
 land and at least one teacher who is 
 able to give elementary and intermedi- 
 ate instruction on that instrument. 
 Here is an opportunity for Maine to 
 live up to her motto, for whether “Di- 
 rigo,” translated, signifies “I lead” or 
 “T direct,” she can point the way, if 
 she so desires, by being the first to 
 have a piano in every schoolhouse in 
 the State. Music clubs and service 
 clubs have here a rare privilege, to 
 spread joy and happiness among the 
 young, and there are undoubtedly 
 many homes in the country where pi- 
 anos have not been opened for years 
 which could be placed by generous 
 donors where they would open up new 
 worlds to the children in schools that 
 have never possessed one, so that they 
 might, under the guidance of their 
 teachers, go adventuring in the realm 
 of instrumental music. 
 
 To 1928 there was no state plan in 
 Maine for giving music credits in 
 schools for private music study; but 
 the state laws provision left it optional 
 with towns and cities. Thus were 
 found some places in which music was 
 encouraged while in others the young 
 people were deprived of the oppor- 
 tunity to learn and enjoy it. 
 
 While The National Bureau for the 
 Advancement of Music (in 1924) cred- 
 ited the City of Auburn with being the 
 first of the larger cities in Maine to in- 
 troduce a system of music credits by 
 giving credit in a limited way for mu- 
 sic study under accredited private 
 teachers, somewhat on the plan of the 
 system used in Denver, Colorado, 
 Brunswick may be said to have been 
 the pioneer town in Maine to give 
 credit for music studied outside the 
 
320 MUSIC AND MUSICIANS OF MAINE 
 
 school, for it was the first to recognize 
 no distinction between school practice 
 
 and outside practice of music in the 
 
 matter of school credit in music study. 
 Through the efforts of C. A. Warren, 
 Supervisor of Music in the Public 
 Schools of Brunswick, and the officers 
 of his orchestral society, full credit for 
 instrumental music in the Brunswick 
 Schools in school time was accom- 
 plished. 
 
 In nearly all of the public schools 
 in Maine credit was given in 1928 for 
 chorus, orchestra and band work, and 
 at this time there were upwards of 
 seventy places in which school music 
 supervisors were employed in the 
 State. 
 
 An important step in the promotion 
 of school music was made in 1927 by 
 Mr. Warren when he conceived the 
 idea of an orchestra made up entirely 
 of day teachers in the public schools; 
 for outside of the larger cities the num- 
 ber of professional teachers of orches- 
 tral instruments in any community is 
 always limited. 
 
 With this in mind, in the fall of 1927 
 he offered free instruction to all teach- 
 ers in the Brunswick school system on 
 any orchestral instrument. About 
 twenty-seven teachers immediately 
 availed themselves of the opportunity 
 with the result that Mr. Warren was 
 given a valuable teaching force in his 
 instrumental department and before 
 the school year ended, several of the 
 teachers taking this course were effec- 
 tively training the young people at- 
 tending the Brunswick schools. In the 
 spring of 1928 Mr. Warren was direct- 
 ing a school teacher’s orchestra of fif- 
 teen pieces in Yarmouth and another 
 of ten players in Freeport, as well as 
 his Brunswick School Teacher’s Or- 
 chestra. 
 
 The inauguration of the National 
 High School Orchestra, by its first as- 
 
 sembly in Detroit in 1926, to play, 
 with its two hundred and thirty per- 
 formers representing schools in all parts 
 of the country, at the convention of 
 music supervisors; the second assem- 
 bling of the orchestra in 1927, at the 
 convention of the department of Su- 
 perintendence National Education As- 
 sociation at Dallas, Texas, when two 
 hundred and sixty-eight performers 
 gave eleven programs with such amaz- 
 ingly splendid conception that the con- 
 vention passed a resolution recogniz- 
 ing music as one of the fundamental 
 educational subjects, and recommend- 
 ing that every school in America place 
 musical instruction on a basis of equal- 
 ity with other fundamentals; and the 
 institution of a National High School 
 
 Chorus to sing with the National High 
 
 School Orchestra at the 1928 Biennial 
 Convention at Chicago, all did much 
 to intrigue the interest of every young 
 student of musical ability and ambition 
 throughout the country. | 
 In February, 1927, Mr. Warren di- 
 rected the music at the convention of 
 superintendents in Dallas, Texas, in 
 which several Maine high school mu- 
 sicians, including Harvey Grant of 
 Auburn and Emily Randall of Bruns- 
 wick, participated, and, during the 
 winter of 1927 and 1928, he trained his 
 Brunswick High School Orchestra to 
 play for the 1928 Music Supervisor’s 
 National Conference. For the 1928 
 National High School Orchestra Miss 
 Randall was chosen as the only rep- 
 resentative from the State of Maine. 
 
 The Waterville High School Band 
 
 and Orchestra were taken to Boston 
 in 1925 and 1926 and again in 1927 by 
 Mrs. Dorothy H. Marden to partici- 
 pate in the New England Sectional 
 Band and Orchestra contest held each 
 year in May in conjunction with the 
 national contests, and these two or- 
 ganizations won first prizes in class B 
 
MUSIC OF THE STATE OF MAINE 1897-1928 321 
 
 (a high school with an enrollment of 
 less than 400), and, for three succeed- 
 ing years, also won the long distance 
 cup which was offered to the group 
 with the largest number of pupils, trav- 
 eling the greatest number of miles. At 
 this gathering Maine was represented 
 by two other similar groups, one from 
 Portland and one from Caribou. In 
 1928 Mrs. Marden began the develop- 
 ment of a State Band and Orchestra 
 Contest which was held at Waterville 
 during National Music Week of that 
 year. Morris Reed Robinson of Island 
 Falls was the promoter for Northern 
 Maine and Mrs. Marden for the South- 
 ern part of the State. While nineteen 
 states held similar contests in 1927, 
 Maine was said to have been the first 
 state east of Pennsylvania to attempt 
 such a contest. 
 
 In the 1928 conclave of Maine High 
 School Musicians nineteen schools were 
 represented by either band or orches- 
 tra. Entries in the orchestral division 
 were made by the Jordan High School, 
 Lewiston, Cony High School, Augusta, 
 Fay High School, Dexter, Waterville 
 High School, Pittsfield Grammar 
 School, Hartland Academy, Waterville 
 Junior High School, Lawrence High 
 School, Fairfield, Coburn Academy and 
 Traip Academy of Kittery. 
 
 School bands competing included 
 those from Bangor High School, Ed- 
 ward Little High School of Auburn, 
 Hebron Academy, Crosby High School, 
 Belfast, Caribou High School, Water- 
 ville High School, Island Falls High 
 School and the Lewiston Junior High 
 (Bugle and Drum Corps). 
 
 E. S. Pitcher, School Music Super- 
 visor of Auburn and President of the 
 Eastern Music Supervisors Confer- 
 ence, who was chairman of the band 
 committee of the New England Sec- 
 tional Band Contest in 1928, inaugu- 
 rated and held in Lewiston in 1927 
 
 a school music festival which was de- 
 clared to be one of the finest ever held 
 in the State. In this, seven hundred 
 boys and girls from the public schools 
 in Maine participated. Mr. Pitcher 
 was supported in this enterprise by 
 Mr. Warren and George W. Horne, 
 Supervisor of School Music in Lewis- 
 ton. 
 
 So great was the success of the Na- 
 tional High School Orchestra on its 
 appearance at Detroit and Dallas that 
 from it was developed the idea of a 
 National High School Orchestra Camp 
 which would combine the advantages 
 
 _of an extended period of music study 
 
 under advanced teachers, with recrea- 
 tional opportunities of outdoor life for 
 an eight weeks period, and to Charles 
 A. Warren of Brunswick the National 
 Bureau for the Advancement of Music 
 gives credit for originating it. 
 
 Mrs. Eva. Towne of Waterville was 
 chairman of the School Music Super- 
 visors of Maine and the following were 
 the local School Music Supervisors of 
 the State for 1927-28: 
 
 Helen Bakeman, Kennebunk; Mildred Ben- 
 nett, Freeport; Mrs. Ruby Briggs, Leeds; Mary 
 Burpee, Houlton; Rosamond Burr, East Milli- 
 nocket; Harry B. Carter, Presque Isle; Fred- 
 erick E. Chapman, Belfast; Marion Cobb, Bucks- 
 port; Ealeanor S. Colburn, East Livermore; 
 Dorothy Cotton, Sedgwick; Margaret Craig, 
 Charleston; Florence Crowley, Biddeford; Doro- 
 thy Dean, Bangor; Viola DeGrys, Cape Eliza- 
 beth; Helen M. Dolley, Limerick; Helen Dow, 
 Rangeley; Ruth Dunn, Kennebunkport; Louise 
 Fernald, Millinocket; Katherine Files, Hallowell; 
 Jane F. Foster, Dover-Foxcroft; Ida Fowle, 
 Boothbay Harbor; Leita French, Milo; Louise 
 Frohock, Sanford; Gertrude Goss, Berwick; May 
 Gould, Veazie; Mrs. Dawn Grant, Gray; Mrs. 
 E. H. Grant, Turner; Anna L. Hallett, Houlton; 
 Mina G. Haycock, Corinna; Villa Hayden, Cari- 
 bou; Florence Homer, Sangerville; George W. 
 Howe, Lewiston; Eleanor Howard, Rockland; 
 Herbert A. D. Hurd, Fryeburg; Helen N. Jew- 
 ett, Kenduskeag; Dorothy Knight, South Ber- 
 wick; Alice L. Leith, Temple; Ruth B. Libby, 
 South Portland; Sister Mary Lucile, Waterville; 
 Harriett Marble, Madison; Mabel E. Marshall, 
 Mexico; Eva J. Miller, Wells; Margaret P. 
 
322 MUSIC AND MUSICIANS OF MAINE 
 
 Mitchell, Islesboro; Donna E. Nelson, Lincoln; 
 Ruth Peabody, Mt. Desert; Elizabeth Pomeroy, 
 Jay; Grace A. Rogers, Hartland; Mrs. Esther 
 Rowe, Cumberland; Esther Rowe, New Glouces- 
 ter; Helen B. Shaw, Paris; Mary C. Smart, 
 Dexter; Marion Sinclair, Dexter; Albra V. Smith, 
 Vinalhaven; Esther Stevenson, Camden; Esther 
 M. Stevenson, Rockport; June Snell, Wilton; 
 Ida D. Sweatt, Rumford; Pearl E. Talbot, 
 Bethel; Carl J. Tolman, Waterville; Ruth E. 
 Thomas, Saco; Belle A. Virgie, Orono; Charles 
 A. Warren, Brunswick; Belle J. Warren, Tops- 
 ham; Hazelteen Watts, Monmouth; Helen E 
 Watson, Mechanic Falls; Doris Webb, North 
 Bridgton; Frederick A. Wescott, Bar Harbor. 
 
 Minstrelsy in the Maine Woods 
 
 During the summer vacation peri- 
 ods which, in New England, are “at 
 their height” from July fourth until 
 Labor Day, thousands seek relief from 
 the sweltering inland cities and more 
 southern states by journeying to the 
 seashore, or the woods bordering on 
 the lakes of Maine. 
 
 Each of the many boys and girls 
 summer camps scattered throughout 
 the State has its song leader and as 
 one rides along he may frequently 
 catch snatches of song from groups of 
 young people hidden from view in the 
 thick pine groves or hear an air played 
 by unseen hands on stringed instru- 
 ments of one kind or another, for many 
 happy hearts are there among the 
 youth, whose parents are able to send 
 them to spend a season in the health- 
 giving air of the Pine Tree State. 
 Morning exercises, boat drills and 
 pageants are but a few of the numbers 
 on the daily programs that are accom- 
 
 panied by singing or by instrumental 
 
 music, until, sometimes, the forests 
 fairly reverberate with melody. 
 
 In other places, groups of motor- 
 campers, who meet for a night around 
 the campfire in some tourist camp or 
 in the woods far from the crowded cen- 
 ters of population, may be heard blend- 
 ing their voices in part songs or join- 
 ing in unison in the familiar airs of the 
 
 day or of yesterday, but though am- 
 ple provision had been made for en- 
 tertaining at the majority of the boys 
 and girls camps in the State, few tour- 
 ist camps in Maine, up to 1928, had 
 made any attempt at organized singing. 
 
 The open-air entertainments and 
 concerts presented each evening during 
 the tourist season at the Underwood 
 Motor Camp at Falmouth Foreside, 
 near Portland, from the large outdoor 
 stage built in the midst of a pine grove 
 on the edge of a picturesque ravine, 
 were the first of such a nature to be 
 inaugurated in the East. These, and 
 
 the Sunday open-air community serv-_ 
 
 ices, at each of which hundreds of mo- 
 torists from all parts of the United 
 States and Canada nightly gather, have 
 aided in making this camp interna- 
 tionally famous. At each of the enter- 
 tainments about one half of the pro- 
 gram is put on by the management 
 while guests of the camp from all 
 parts of the world, who meet here in a 
 delightful spirit of comeraderie rarely 
 found among strangers, voluntarily 
 contribute numbers of more or less 
 musical interest to each entertainment. 
 What does it matter that when their 
 voices join in the community sorgs, 
 all do not ring true to tone, or that 
 some of the pieces are not'of a classi- 
 cal nature or that the little orchestra 
 opens with a popular number, for the 
 blazing community camp fire and the 
 mingling of melody and the lights and 
 shadows reflected from the moonlit 
 bay, make a never to be forgotten im- 
 pression on the heart and mind. The 
 Underwood Motor Camp was the first 
 tourist camp east of the Rocky Moun- 
 tains to introduce music as a feature 
 and one of the very first to institute a 
 Sunday Song Service in America. 
 
 Musical Industries 
 While Maine was yet a part of Mas- 
 
MUSIC OF THE STATE OF MAINE 1897-1928 323 
 
 sachusetts musical industries were be- 
 ginning to take an important place in 
 the commercial development of that 
 section. “Organ shops,” for the build- 
 ing of church organs, were early estab- 
 lished in several places in Maine. 
 
 Among the first were two at Kenne- 
 bunk—the one of Dr. Bourne who 
 “put in shape” the organ in the New 
 Stone Church of the First Parish in 
 Portland soon after it had been in- 
 stalled; and the shop of Mr. Allen, 
 who built a number of organs for 
 churches in Western Maine. 
 
 In 1810 a small organ, built by 
 Joshua Furbish of Wells, a mathemati- 
 cal genius who learned how to build 
 organs, unaided, was installed in the 
 First Parish Church of Kennebunk. 
 When the old organ was taken down 
 and sold at auction, in 1827, a new 
 organ, also built by him at a cost of 
 $400, was placed in the church. Eben- 
 ezer Shackley contributed one half the 
 cost of the new instrument which 
 served the Parish until 1850 when a 
 pipe organ was presented to the church 
 by Capt. William Lord, Jr. 
 
 John K. H. Paine, at his shop at 
 Watchic Pond, it will be remembered, 
 is said to have built the first organ to 
 be used in Portland. He was already 
 established in business in Portland 
 with Thomas J. Sparrow, in manufac- 
 turing organs at number seven Union 
 Street under the firm name of Paine 
 and Sparrow, when his son Jacob 
 opened his store in that city. Later, 
 in 1831, Paine and Sparrow were lo- 
 cated at Market Row, Middle Street. 
 
 Early directories give the occupa- 
 tion of Jacob S. Paine as an “umbrella 
 and musical instrument maker” and 
 _ “a dealer in musical instruments,” with 
 a place of business at Middle Street, 
 corner of Court (now Exchange) 
 Street in Portland. In those days, odd 
 as it may seem, umbrella making and 
 
 musical instrument building were allied 
 industries, perhaps for no other reason 
 than because of the fact that ivory was 
 used in the construction of both. 
 
 Calvin Edwards, who established a 
 factory in Gorham Village, in 1828 
 advertised “to make church and house 
 organs in the best possible manner and 
 warranted of the best quality,” and 
 that he had “ready made and for sale, 
 one church organ with eleven stops, 
 including the Trumpet and Hautboy 
 with swell and ornamental tubes in 
 front.” 
 
 On December 15, 1828, the mem- 
 bers of the First Parish Meeting House 
 in Gorham voted that they “do give 
 consent that the proprietors of the 
 organ may place the same in the meet- 
 ing house of said Parish” and “that 
 the rent arising from the Parish land, 
 after paying for the bell, and to the 
 amount not exceeding One hundred 
 Dollars, be appropriated to the pur- 
 chase of shares in the organ, provided 
 every exertion is made to enlarge the 
 present list ofsubscribers to said organ.” 
 
 This organ, claimed to be the first 
 organ made by Calvin Edwards, is 
 said to have been built by him in Gor- 
 ham in 1825. 
 
 As early Maine singers received 
 their inspiration to organize choral so- 
 cieties from the already far famed 
 Handel and Haydn Society of Boston, 
 so her earliest piano manufacturers 
 set themselves the highest standard 
 with which they were acquainted when 
 they endeavored to build instruments 
 equalling in tone and quality those 
 constructed in the Capital of Massa- 
 chusetts by Jonas Chickering of whom 
 President Coolidge declared, one hun-— 
 dred years after the famous manufac- 
 turer had built his first piano, that he 
 had “made the greatest contribution 
 to American Music in a Century of 
 Musical endeavor,” for the Chickering 
 
324 MUSIC AND MUSICIANS OF MAINE 
 
 piano, then as now, was reckoned as a 
 standard by which the tonal worth of 
 other American pianos were judged 
 and their intrinsic values determined. 
 
 William G. Twombly, accredited 
 with having constructed the first piano 
 manufactured in Portland, was born 
 in Poland, Maine, in 1811. His grand- 
 father was one of those who joined the 
 Shakers when their settlement was first 
 formed in New Gloucester, but his 
 father, though brought up in the Shak- 
 er Village, left there when he was four- 
 teen years old and settled in Poland. 
 
 Mr. Twombley was but four years 
 old when his father died. At fifteen 
 he journeyed to Portland and, until he 
 became of age, served an apprentice- 
 ship with George Clark, whose cabi- 
 net shop was then on the corner of 
 Congress and Preble Streets, but was 
 afterwards moved to Congress Street 
 near Brown and later to Federal Street. 
 
 While employed by Mr. Clark he 
 had occasion to go to a house on Free 
 Street to unpack a piano that had just 
 arrived from Boston, and in doing this 
 young Twombley became so interested 
 in the fine workmanship of the instru- 
 ment that he determined to learn how 
 to build one himself. With this end in 
 view he went to Boston and entered 
 the employ of Currier and Gilbert, 
 piano makers there. 
 
 A few years later when Calvin S. 
 Edwards decided to open a piano fac- 
 tory in Portland Mr. Twombley re- 
 turned to the Forest City to enter his 
 employ. The new enterprise was fi- 
 nanced by Nathan Howe, who added 
 additional capital and became a mem- 
 ber of the firm. While with this con- 
 cern Mr. Twombley built his first pi- 
 ano and later constructed a piano 
 which took the first prize at the Maine 
 Charitable Mechanics’ Association Ex- 
 hibition held in Portland in 1838. 
 
 ‘Nathaniel 
 
 The prize piano was purchased by 
 Warren, who afterwards 
 sold it to Joseph Walker. It then came 
 into possession of Mrs. Arthur Jordan 
 of Portland and later it was owned by 
 Georgiana Smith, who then lived on 
 Myrtle Street. From here all trace of 
 it seems to have been lost. 
 
 After having bought the interest of 
 George Clark, who had, in the mean- 
 while, joined with Mr. Edwards under 
 the name of Clark and Edwards, Mr. 
 Twombley became a member of the 
 firm of Calvin Edwards & Co. 
 
 During the time of this partnership 
 the factory employed ten men and it 
 was said that the Edwards piano com- 
 pared favorably with the best pianos 
 manufactured at that period. When 
 Mr. Edwards died in 1866 Mr. ‘Twom- 
 bley became the sole proprietor of the 
 business, but in the great Portland fire, 
 in that year, the factory which was 
 located at the corner of Middle and 
 Lime Streets was burned, since when 
 no pianos have been manufactured in 
 Portland. Mr. Twombley afterwards 
 opened a piano wareroom on the cor- 
 ner of Congress and Oak Streets, and 
 in 1868 he moved into a large store on 
 Exchange Street, then located on the 
 site since occupied by the Union Mu- 
 tual Insurance Co. building. Here he 
 remained until 1889 when he sold out 
 his stock of pianos at auction. For 
 some time prior to his death in 1894 
 he lived in a room over his old store. 
 
 The only other manufacturers who 
 made pianos in Portland before the 
 Civil War were William Andrews and 
 E. B. Robinson. These two joined to- 
 gether and continued business for a 
 few years under the name of Andrews 
 and Robinson. 
 
 In connection with the history of 
 Piano Manufacturing, the following 
 comparison of dates will be interest- 
 
 ing: 
 
MUSIC OF THE STATE OF MAINE 1897-1928 325 
 3 ee sestesnnesunsecessseeressny ees ee 
 
 First Piano invented and built by Bartolom- 
 meo Christofori of Padua between 1709 and 
 C74; 
 
 (This instrument is in the Crosby-Brown Col- 
 lection in the Metropolitan Museum in New 
 York.) 
 
 Piano first introduced into England in 1760. 
 
 First Piano manufactured in England in 1766. 
 
 First American Piano manufactured in Phila- 
 delphia by John Behrent, 1775. 
 
 First Piano manufactured by Stewart and 
 Chickering in Boston, 1823. 
 
 irst Piano manufactured in Portland about 
 1835. 
 
 Among the dealers in music and mu- 
 sical instruments in Portland who ear- 
 ly advertised their wares were Charles 
 Nolcini, who first opened a wareroom 
 Over a store at No. 4 Maine Street, 
 and was later located opposite Mer- 
 chants Bank, Exchange Street, who 
 guaranteed, in his announcement, that 
 “should any one instrument not prove 
 satisfactory after twelve months, it 
 may be exchanged or money refund- 
 ed”; Richard Ruggles at No. 4 Ex- 
 change Street who, among other things, 
 advertised “Prime bass viol and violin 
 strings, bassoon and clarinet reeds, silk 
 and cotton umbrellas”; William Mc- 
 Lellan, “Pianos from eighty to two 
 hundred and seventy-five dollars; Cre- 
 bore and Milton, A Babcock, Ryder 
 and Fallman, and McKays, makers, 
 and ‘One of middling quality’ ”; S. Lit- 
 tle, who offered “one elegant London 
 made Piano Forte — original cost one 
 hundred pounds sterling”; and Cyrus 
 Farley, 4 Union Row, who kept “viol 
 and violin strings.” 
 
 Another early music dealer in Maine 
 during the first years after Maine be- 
 came a state was Parker Sheldon who, 
 at his store in Gardiner (1821), kept a 
 supply of bibles, hymn books and sing- 
 ing books. 
 
 Other music dealers in Portland at 
 this time were S. Patten who, in 1831, 
 advertised as just received from Phil- 
 adelphia “more than ‘One thousand 
 pieces of Music,” and Colman’s where 
 
 they called attention to “Admired Airs 
 arranged for the flute and violin with 
 figures.” 
 
 David Paine’s Music Store in 1838 
 was on Middle Street “two doors west” 
 of the “Bank of Portland,” but in 1840 
 he moved into a large room over the 
 store of his brother, Jacob S. Paine, 
 who then had the agency for the Chick- 
 ering Pianos. 
 
 George Coleman kept a music store 
 in Portland in 1846 and in that year 
 Winship and Paine were “manufactur- 
 ers Of hats and umbrellas and dealers 
 in music and musical instruments,” 
 while Newell and Niebuhr announced 
 that they were the agents of the Hal- 
 lett and Davis Piano. 
 
 In 1858 H. A. Whitney was manu- 
 facturing melodians in Ware’s Block 
 on Federal Street, Portland, and among 
 those who were dealers in pianos and 
 organs in that city at about that time 
 were A. W. Ladd & Co., W. H. Den- 
 nett, Graves I. Chase, Samuel Thurs- 
 ton, TH Bix Robinson ky Cos sBis C 
 Sprague, W. P. Hastings, William 
 Paine and Bailey & Noyes. 
 
 James Dinsmore, in the Republican 
 Clarion of Skowhegan in 1854, in an 
 abbreviated and alliterative advertise- 
 ment announced that he “Sells sheet 
 music and Shoulder braces.” His 
 grandson Harry Dinsmore is the pro- 
 prietor of a music store in Skowhegan. 
 
 For many years after the Civil War 
 Hawes Music Store, which was located 
 in the building that was erected on the 
 site where the old Beethoven Musical 
 Society held its first meetings, and Ira 
 Stockbridge’s Music House, located on 
 Exchange Street near Congress, were 
 the only two music stores in Portland. 
 Contemporary with these enterprises 
 were the piano salesrooms of Samuel 
 Thurston on Free Street and those of 
 Samuel H. Stevens on Middle Street. 
 
 Samuel D. Rumery, who started in 
 
326 
 
 the piano business with Samuel Thurs- 
 ton, opened a store on Congress Street 
 just above Oak, soon after Collins and 
 Buxton went into the music business. 
 
 The piano and music house of Cres- 
 sey & Allen of Portland dates from the 
 year 1884 at which time Charles R. 
 Cressey opened his business in a small 
 store at 416 Congress Street in what 
 was then known as the Lynch Block. 
 One half of this store was occupied by 
 H. W. McCausland, a sewing machine 
 dealer, and the other half was leased 
 by Mr. Cressey for the sum of $12.50 
 a month. Mr. Cressey’s stock in the 
 beginning consisted of two Mason and 
 Hamlin organs, one square piano, a 
 few accordians, violins, harmonicas, 
 violin strings and a small collection of 
 sheet music and music books. Popular 
 music had not then made its appear- 
 ance. Classical, concert and teaching 
 pieces were the only kinds of music in 
 fashion. Mechanical instruments, play- 
 er pianos, graphophones and .radios 
 were then, of course, unknown. 
 
 In 1886 Mr. Cressey was joined in 
 business by William H. Usher who 
 withdrew after remaining in the firm 
 for a few months. In 1889 Charles F. 
 Jones bought a share in the business 
 and he retained his interest in the firm 
 until 1894.. In June, 1892, Mr. Cres- 
 sey was joined: by Frank C. Allen and 
 for thirty-five years this firm, which 
 was soon after located in the old Bax- 
 ter Block, has remained under the 
 same general supervision. In 1914 the 
 company was incorporated as Cressey 
 & Allen and since 1912 has occupied 
 spacious warerooms in the Porteous, 
 Mitchell & Braun building. Mr. Cres- 
 sey and Mr. Allen each have two sons 
 who have come to be connected with 
 the business. Cressey & Allen have 
 handled many of the leading makes of 
 pianos and have come to be whole- 
 sale as well as retail dealers in all kinds 
 
 MUSIC AND MUSICIANS OF MAINE 
 
 of musical merchandise, with a repu- 
 tation that is country wide. 
 
 _ Other piano dealers in Portland at the 
 time that Mr. Cressey made his start 
 in business were, W. G. Twombley, 
 Samuel Thurston, The New England 
 Organ Company, William P. Hastings 
 and E. B. Robinson. Music dealers 
 were Ira Stockbridge, William Chand- 
 ler and Cornelius Hawes and piano 
 tuners were Joseph Clark, Joel Wheel- 
 wright, S. A. Stone, James Cheney and 
 E. B. Robinson. At that time these 
 firms constituted all of the musical in- 
 dustries of the city. | 
 
 Maine is fortunate in its number of © 
 reliable dealers in music and musical 
 merchandise. Scattered, as they are, 
 throughout the length and breadth of 
 the State, they bring to music lovers 
 within its borders all that is best, as 
 well as all that is popular in both music 
 and instruments. 
 
 Among the other largest and oldest 
 established of these dealers in 1928 were, 
 M. Steinert & Sons Co., Hawes Music 
 Store and Kemball Music Company of 
 Portland; F. E. Tainter & Co. of Lew- 
 iston; and Andrews Music House Com- 
 pany of Bangor. 
 
 The Violin Makers Association 
 
 Though all of its members were 
 amateurs, who constructed for art’s 
 sake, and not one of them was profes- 
 sionally engaged or employed in any 
 branch of the wood working business, 
 “The Violin Maker’s Association of 
 the State of Maine” may be said to 
 have been one of the established mu- 
 sical industries of the State. 
 
 _ This association, which was organ- 
 ized in 1916 for the purpose of encour- 
 aging and promoting the art of violin 
 making and which is said to have been 
 the first of its kind formed in America, 
 met with considerable success during 
 its nine years of activity. Any resi- 
 
MUSIC OF THE STATE OF MAINE 1897-1928 327 
 
 dent of Maine who had made a violin 
 was eligible to membership in the as- 
 sociation. Annual contests were held 
 in Portland to determine the best vio- 
 lin made during the year. 
 
 Leander M. Nute, pioneer violin 
 maker in Maine, who was, for twenty- 
 five years, a resident of Portland where 
 he died in 1925, when at the age of 
 ninety-three he was the oldest alum- 
 nus of Dartmouth College and sole 
 survivor of the class of 1854, made 
 more than two hundred and seventy 
 instruments and won many prizes in 
 violin making contests. 
 
 Among the other prize winners were 
 Morrill H. Ames, A. A. Morgan, R. G. 
 Hall, Charles S. Mills, Benjamin F. 
 Foss, Frank Brown, Charles E. Reny, 
 M. T. Collins and Carl S. Bryant. 
 
 Some of the instruments made by 
 
 its members compared favorably with 
 many of the fine toned imported in- 
 struments, and violins that were made 
 in Maine are used by prominent vio- 
 linists in New England. The associa- 
 tion ceased its activities in 1925. 
 
 Historic Instruments and 
 Musical Collections 
 
 All musicians love an instrument 
 worthy of their talents. It is ever the 
 desire of those who are striving for the 
 highest goal in music, to possess the 
 most perfect obtainable. 
 
 To the New England pianist in the 
 twenties the name Stewart and Chick- 
 ering on a piano spelled the hall mark 
 of excellence so it is not to be won- 
 dered at that in the many houses of 
 the people of culture were to be found 
 square pianos bearing the Chickering 
 imprint. In fact, a search of - Jonas 
 Chickering’s old register reveals that 
 from the time he began to make piano- 
 fortes (1823) to the close of 1835 no 
 less than sixty-eight of his instruments 
 had been shipped into Maine. ‘This 
 
 appears to be all the more remarkable, 
 
 _ because of the fact that proficiency in 
 
 music was rare in New England in 
 those early days when Maine was a 
 rather sparsely settled territory. 
 
 The Chickering piano, in the posses- 
 sion of Professor Frank L. Rankin of 
 Springvale, a family heirloom, handed 
 down from his great-grandmother, Mrs. 
 Johanna Watson, thought to be per- 
 haps the oldest Chickering piano in 
 use in 1928, and the second oldest 
 of that make privately owned, in ex- 
 istence, may antedate all of those 
 recorded in Jonas Chickering’s regis- 
 ter, but as the serial number is miss- 
 ing it is not possible to establish that 
 fact. Although the name of Watson 
 does not appear in the ‘Chickering 
 Register this would not prove that it 
 was not what is claimed for it for 
 frequently instruments were shipped 
 from the factory to a music teacher 
 or dealer and the ultimate purchaser’s 
 name would therefore not be known 
 to the manufacturer. 
 
 Another piano which its owner be- 
 lieves is perhaps the oldest Chickering 
 piano in Maine and which was orig- 
 inally owned by the Sampsons, oil- 
 cloth manufacturers of Brooklyn, N. 
 Y., and Hallowell, Maine, bears the 
 date of 1823. This piano came into 
 the possession of Alden Sampson and 
 passing through several hands was la- 
 ter owned by Rose Wadsworth of Au- 
 gusta. 
 
 In Jonas Chickering’s first piano 
 register, written in his own hand, are 
 many entries of pianos shipped into 
 Maine. ‘The first so registered are 
 May 9, 1826, Mr. Robinson, Bath, pi- 
 anoforte No. 427; Sept. 1, 1826, Mr. 
 Cleavland, Brunswick, No. 451; June 
 27, °1827,.-|)< As Smith, Portland, ‘No. 
 477; May 19, 1827, Mr. Hinckley, 
 Brunswick, No. 495. 
 
 It is believed that Jeremiah Robin- 
 
328 MUSIC AND MUSICIANS OF MAINE 
 
 son, merchant and ship chandler of 
 Bath, was the Mr. Robinson to whom 
 piano No. 427 was shipped; Mr. Cleav- 
 land, who came to own No. 450, was 
 more than likely Parker Cleavland, 
 professor of mathematics and natural 
 philosophy at Bowdoin, who intro- 
 duced chemistry and mineralogy into 
 the college curriculum; John A. Smith, 
 one of the firm of Dana & Smith, 
 merchants, who were located at the 
 head of Central Wharf and Fore Street 
 in Portland, resided at D. Smith’s, 
 corner of Danforth and _ Brackett 
 Street; and Mr. Hinckley of Bruns- 
 wick was, so it may be believed, Judge 
 Aaron Hinckley of that town. 
 
 But perhaps the most interesting of 
 all of these, chiefly because of historic 
 associations, is the Chickering square 
 grand piano which occupies a place in 
 the old front room in the Wadsworth- 
 Longfellow House on Congress Street 
 in Portland. This piano was bought 
 of Jonas Chickering, July 20, 1843, by 
 the poet, himself, during the week fol- 
 lowing his second marriage, while he 
 was a Professor at Harvard Univer- 
 sity and was taken to his home in Cam- 
 bridge (the Craigie House) where it 
 was used by himself and family and 
 by his brother Rev. Samuel Longfel- 
 low for many years. It was afterward 
 taken to the poet’s summer home at 
 Nahant and about 1885 it was stored 
 for a time in Lynn. In 1898 it came 
 into the possession of C. P. P. Smith 
 who, in 1908, donated it to the home 
 of the poet’s youth. 
 
 On March 24, 1926, on the forty- 
 fourth anniversary of the poet’s death, 
 its quaint tones were broadcast by 
 radio in compositions of Beethoven, 
 Mozart and Chopin, interpreted by 
 Maurice Dumesnil, artist pianist, and 
 again by Viola de Grys of Portland in 
 1928. This rare old instrument, which 
 bears the serial number 5824, has be- 
 
 come a part of the Wadsworth-Long- 
 fellow Collection belonging to the 
 Maine Historical Society in Portland. 
 
 One of the first spinets to be brought 
 to Maine, and the very first to be tak- 
 en to Brunswick, was conveyed to Bath 
 by vessel from Boston in 1813, and 
 hauled from there to the home of its 
 owner, Marcia Dunlap. This instru- 
 ment later came into the possession of 
 the Pejepscot Historical Society. Miss 
 Dunlap, who was an exceptionally tal- 
 ented young lady, became the wife of 
 Dr. Isaac Lincoln. She was the pa- 
 ternal grandmother of Mrs. Hartley 
 C. Baxter of Brunswick. 
 
 The spinet, which at one time graced 
 the parlors of the historic Knox Man- 
 sion, and which was believed to have 
 been placed there before 1824, and 
 perhaps as early as 1795, was taken 
 to Washington’s home at Mt. Vernon, 
 where it occupies a space in a room on 
 the first floor, on the left of the front 
 entrance. 
 
 At the Second Congregational 
 Church, Biddeford, known as the 
 White Church, may be found the first 
 organ ever installed in Biddeford and 
 Saco. This organ was set up on the 
 platform back of the pulpit, while the 
 new organ was placed in the balcony 
 of the church. 
 
 The Shannon Memorial Organ, 
 which was installed in the First Parish 
 Church of Saco in 1912, at a cost of 
 forty thousand dollars, was the gift of 
 Richard Cutts Shannon, M.D., of New 
 York, a surgeon in the United States 
 Army, and was presented on the one 
 hundred and fiftieth anniversary of 
 the parish in recognition of his broth- 
 er’s faithful service of fifty years as 
 organist. 
 
 A curious instrument was made at 
 one time by Dr. E. F. Jackson from 
 stones gathered at Libby’s Beach and 
 Prout’s Neck. ‘The stones or rocks, 
 
 i 
 ee ee ee ee eS Le 
 
 =—S —— Se —” TS 
 
MUSIC OF THE STATE OF MAINE 1897-1928 
 
 which were tuned by chipping and then 
 laid upon a frame to produce a tone, 
 were designed to be struck by mallets 
 in much the same manner as a xylo- 
 phone is played. In 1921 it was stated 
 that there were but two other such in- 
 struments in America, although they 
 were made in foreign lands before the 
 time of Christ. 
 
 The military music and songs of the 
 American Revolution (1775-1783) is 
 the basis of a collection of songs and 
 music made by John T. Fagan of Port- 
 land, Maine. The nucleus of this col- 
 lection was made in 1876 and was add- 
 ed to from time to time until it became 
 one of the few well known collections 
 of that character in the country. It 
 includes the words and music of a great 
 majority of the songs which were sung 
 
 during the period of the American 
 
 Revolution. There is probably no 
 other which contains so many of the 
 fife tunes and marches that were played 
 by the fifers of the continental army. 
 The historical collection of these tunes 
 and marches with events of the Amer- 
 ican Revolution has been carefully re- 
 corded by the collector. Much of the 
 music is in manuscript form and was 
 written during that war. In some in- 
 stances the music is dated and auto- 
 graphed by the copyist. A consider- 
 able number of the tunes were taken 
 down by Mr. Fagan many years ago 
 as they were hummed or whistled or 
 played by pupils of revolutionary fi- 
 fers. The collection also contains sev- 
 eral thousand songs with music dating 
 from seventeen hundred to eighteen 
 hundred and seventy-six and includes 
 many first prints of Civil War songs, 
 a number of which bear the autographs 
 of their authors or composers. In 1928 
 it was stated that the entire collection 
 would eventually be donated to the 
 State Library at Augusta, Maine. 
 Another interesting collection of val- 
 
 329 
 
 uable musical works and music was 
 that made by Dr. James A. Spalding 
 of Portland. It contains more than 
 two hundred volumes of musical his- 
 tory, lives of the great musicians and 
 essays On music in all its branches and 
 in addition thereto one hundred vol- 
 umes of original transpositions of four- 
 hand pieces and duets from the works 
 of the masters. 
 
 Fred I. Bumpus of Auburn, during 
 his lifetime, made a collection of val- 
 uable violins which was acknowledged 
 to be the largest of its kind in the State. 
 It included many rare models and gen- 
 uine instruments which were the prod- 
 uct of noted Italian violin makers. 
 
 The public library of Auburn, Maine, 
 was probably the first in the State to 
 introduce a music department. In the 
 early part of the twentieth century its 
 musical collection had come to com- 
 prise one hundred and seventy-five 
 volumes, covering a wide range of mu- 
 sical publications in addition to which 
 there were in the library seventy-five 
 volumes on the study of music and the 
 lives of musicians. At that early date 
 the entire collection was placed in the 
 circulation department. 
 
 Bands and Professional Orchestras 
 
 When the band goes marching by, 
 And we see the colors fly, 
 As the music keeps time with measured beat 
 To the rhythmic tread of marching feet 
 Of the men with heads held high, 
 Many a tired eye is brightened; 
 Many a saddened heart is lightened; 
 And man is apt to forget his ills; 
 For there’s naught like the music that thrills 
 and thrills 
 When the band goes marching by. 
 
 When the band goes marching by, 
 And we see the colors fly, 
 Full many a heart forgets its care, 
 As the drums start drumming and trumpets 
 blare, 
 And windows are opened high; 
 
330 MUSIC AND MUSICIANS OF MAINE 
 
 DANIEL H, CHANDLER, FOUNDER OF CHANDLER'S 
 BAND, PORTLAND. FROM A PHOTOGRAPH IN POS- 
 SESSION OF THE MAINE HISTORICAL SOCIETY. 
 
 Children in wonderment stop their crying; 
 
 Careworn women then cease their sighing; 
 
 And the dull gray skies seem turned to gold, 
 
 For thrilled alike are the young and old 
 When the band goes marching by. 
 
 Band music in Maine may trace its 
 beginnings back to the time when 
 America was engaged in its second war 
 with Great Britain, but the occasion 
 was not one of a military nature for 
 on July 4, 1813, a secret organization 
 known as the Rub-a-dub-dub Society 
 which paraded through the streets of 
 Portland was “accompanied by Sol- 
 umn Musick.” 
 
 Although the Treaty of Ghent, which 
 ended the War of 1812, had been signed 
 on the day before Christmas, 1814, 
 news of the conclusion of hostilities did 
 not reach New England for several 
 weeks after its adoption. When it did, 
 British officers, “with a full military 
 band” from Canada, visited the town 
 of Castine and gavea grand ball which 
 
 was one of the most brilliant and mem- 
 orable events in the musical history of 
 Maine. 
 
 One of the first Maine bands was 
 that organized at Hallowell about 1820, 
 but there is little of record regarding it. 
 
 Soon after the separation of Maine 
 from Massachusetts John K. H. Paine, 
 grandfather of John Knowles Paine, 
 made an attempt to organize a band 
 in Portland. The instrumentation, it 
 is said, originally consisted of a fife, a 
 tenor drum, a bass drum, a bugle and 
 a clarinet. At first the critics were 
 not inclined to take this “band” very 
 seriously and disparagingly alluded to 
 it as the “Saccarap Band,” but band- 
 leader Paine persevered and with the 
 assistance of his son, Jacob S. Paine, a 
 marching musical organization that 
 commanded the respect of his fellow 
 citizens was given to the town. 
 
 Jacob S. Paine, while a very young 
 
 man, came to be leader of the band, 
 
 and, in 1827, organized his musicians 
 under the name of the Portland Band, 
 as has been stated in a preceding chap- 
 ter. He has thus been accredited with 
 being the organizer and leader of the 
 first band in Portland. 
 
 In the summer of 1829, on the oc- 
 casion of the visit of the Boston Rifle 
 Rangers to Portland, the Boston Bri- 
 gade Band accompanied them, and on 
 the evening of June twelfth a concert 
 was given by the band “in full uni- 
 form.” This, it is believed, was the 
 first military brass band to play on the 
 streets of that city. 
 
 The visit of the Boston Brigade Band 
 acted as a stimulus to the musicians of 
 Portland with the result that new mem- 
 bers and new instruments were added 
 to the Portland Band; and it is record- 
 ed that on July 4, "1832, this band 
 played a creditable part in the annual 
 celebration of the Declaration of Inde- 
 pendence. 
 
 a a ee lek le ee 
 
MUSIC OF THE STATE OF MAINE 1897-1928 331 
 
 Among the most enjoyed feature in 
 which the Portland Band participated 
 were the open air evening concerts 
 given on the dome of the Exchange 
 Building which then occupied the lot 
 on which the marble post office was 
 afterwards built. This “musical re- 
 gale” occurred twice a week during the 
 summer of 1842. 
 
 Daniel Hiram Chandler, who for so 
 long a period was identified with the 
 bands of Portland, that he was often 
 referred to as the father of band mu- 
 sic in the State, came to Portland in 
 1843 to accept an invitation to become 
 the leader of the Portland Band. 
 
 In that year the Portland Brass Band 
 gave what is believed to have been its 
 first indoor concert, when, at the City 
 Hall, it rendered a program “consist- 
 ing of marches, quicksteps, slow airs, 
 etc.” 
 
 Mr. Chandler was born in the town 
 of Merrimac, N. H., on April 17, 1818. 
 At the age of ten, having become pro- 
 ficient on the fife, he made his debut 
 as a musician. While still a youth he 
 organized a band and, when he was 
 but seventeen years of age, became its 
 leader and manager. He went from 
 Merrimac to Nashua and thence to 
 Lowell and finally to Boston before 
 deciding to try his fortune in the Pine 
 Tree State. Mr. Chandler was a fam- 
 ous bugler in his day and, for many 
 years, he had no superior in New 
 England. 
 
 Of the band of 1843 he was the last 
 survivor, though two who became mem- 
 bers of the band in 1845 were still 
 living at the time of his death. These 
 were Walter Thomas and P. J. Willey. 
 
 The Portland Band was “The band” 
 of Western Maine for many years. It 
 took part in all of the large celebra- 
 tions in various parts of the State up 
 to the time of the breaking out of the 
 Civil War. 
 
 CYRUS L. CURTIS, TROMBONIST IN THE OLD PORT- 
 LAND BAND, AND CONDUCTOR OF MOST OF ITS RE- 
 HEARSALS. FROM A PHOTOGRAPH IN POSSESSION 
 OF THE MAINE HISTORICAL SOCIETY. 
 
 Samuel F. Parcher, ex-mayor of Saco, 
 when interviewed by a Portland news- 
 paper representative in the year of his 
 death, made several illuminating ref- 
 erences to this old musical organiza- 
 tion of which he was a member in the 
 days before the Civil War. 
 
 Of the uniforms and business of the 
 band he said: 
 
 “We made a handsome appearance 
 and lots of music on parade. Our uni- 
 forms consisted of red coats, blue 
 trousers, besprinkled with brass but- 
 tons, all surmounted with bearskin 
 caps. They were merely the skin and 
 were as light as any cap, but I cannot 
 say that I think they were very be- 
 coming. Whenever we had a drum 
 major, which was not often, unless the 
 procession was particularly notable, he 
 wore an immense cap of the same ma- 
 terial. 
 
332 
 
 MUSIC AND MUSICIANS OF MAINE 
 
 JONATHAN COLE, LEADER OF THE OLD PORTLAND 
 BAND. FROM A PHOTOGRAPH IN POSSESSION OF 
 THE MAINE HISTORICAL SOCIETY. 
 
 “We played manuscript music, writ- 
 ten off for each man with pens. It was 
 slow work writing music. It was more 
 difficult music as a rule than is now 
 played. I played a baritone horn in 
 the band and a French horn in the 
 orchestra. ‘There were no slide trom- 
 bones. Instead of cornets, ophicleides 
 were used.” 
 
 In 1857 the roster of the Portland 
 Band was as follows: 
 
 Daniel H. Chandler, leader; Jonathan Cole, 
 Enos Blanchard, Edward Cobb, A. J. Locke, 
 William Morse, Charles G. Young, Edward M. 
 Gannon, Cyrus L. Curtis, Daniel Dimond, S. F. 
 Parcher, William P. Merrill, Walter H. Thomas, 
 M. B. Ellis, P. J. Willey, J. A. Leavitt, Alfred 
 Green, William C. Shaw and Asa Humphrey. 
 
 Cyrus L. Curtis, who played trom- 
 bone in the band, was a thorough mu- 
 sician and conducted most of its re- 
 hearsals. 
 
 Major J. A. Leavitt of the old firm 
 
 of Cummings, Leavitt & Widbur was - 
 
 the snare drummer in the band. 
 Jonathan Cole, who came from Ver- 
 mont and who became leader of the 
 
 band ‘about 1860, was a superior per-_ 
 
 former on the ophicleide, and E flat 
 bugle, and became one of the best E flat 
 cornet players in the State. During the 
 Civil War he was the leader of the Fifth 
 Cavalry Band under Sheridan. 
 
 Ernest Gatley, who played clarinet 
 
 later in the old band, afterwards went | 
 
 with Gilmore. 
 
 Clarence M. Richardson, familiarly 
 known as “Bob,” a native of North 
 Jay, played the tuba and later toured 
 with Denman Thompson in the Old 
 Homestead, as the old country fiddler. 
 He married Ada Abbott, a vocalist, who 
 sang in concert in the City Hall at Port- 
 land. 
 
 When the Civil War broke out the 
 Portland Band was chosen as the First 
 Regiment Band and nearly every mem- 
 ber of the band, including Mr. Chand- 
 ler, “went to war” and shared in all 
 the hardships that befall the soldier. 
 At the close of the war the majority 
 of the members of the First Regiment 
 Band enrolled in the Old Portland 
 
 Band with Daniel'H. Chandler once . 
 more as their leader, but in 1869 Mr. . 
 
 Chandler was again succeeded by Jon- 
 athan Cole. 
 In an advertisement of the Portland 
 
 Band, in 1869, appeared the announce- | 
 
 ment that it is “the oldest organization 
 for the performance of martial music 
 in the State.” 
 
 About the year 1865 T. B. Davis, 
 who was the solo B flat cornettist with 
 Chandler’s Band, organized the Forest 
 City Band and became its leader. This 
 organization continued in existence un- 
 til 1871 and was considered an excel- 
 lent band. 
 
 Some of those who were with the 
 Old Forest City Band were H. Backus, 
 
 a co ee 
 
 : 
 | 
 | 
 4 
 
 Se SS ee ee ee 
 
 a Oe oe 
 
 a. = ere o 
 
MUSIC OF THE: STATE OF MAINE 1897-1928 333 
 
 at one time director, A. McKenney, 
 leader, B. E. Adams, G. E. Brown;,B. 
 F. Brown, Daniel H. Backus and Peter 
 W. Stoneham. | 
 
 Mr. Davis was also solo B flat cor- 
 nettist in the Portland Band under 
 Jonathan Cole. 
 
 The Old Continential Band, which 
 was organized before the Civil War, 
 was another Portland Band. Nathan- 
 iel Cobb played the clarinet and Wil- 
 liam Harmon of Gorham and Amos 
 Knight, an old Portland bricklayer, 
 were the fifers. 
 
 William Harmon, or “Bill” as he 
 was commonly called, could play the 
 fife for country dances, in his day, as 
 well as any one of the old time fid- 
 dlers could fiddle. He was in great de- 
 mand in all parts of Cumberland 
 County, but wherever he went one of 
 the requirements was that he should 
 be furnished with plenty of good strong 
 tea. This beverage, without the addi- 
 tion of either milk or sugar, he sipped 
 freely between dances in order, as he 
 declared, to keep his lip in condition, 
 that he might thereby be able to play 
 the evening through, with no longer 
 pauses than would be required by a 
 performer on a stringed instrument. 
 
 Cobb’s Quadrille Band, organized 
 about 1863, lasted about two years. 
 Its members were Nathaniel Cobb, 
 clarinet; A. T. Walsh, first violin; Wil- 
 liam Bodge, second violin; T. B. Davis, 
 cornet; E. A. Jordan, double bass. 
 
 Many an old New England resident 
 
 will recall the days that were between 
 
 the ending of the Civil War and the 
 celebration of the centennial of the 
 founding of the United States of Amer- 
 ica, when political torchlight proces- 
 sions, in which any, who would, could 
 march, paraded up and down the main 
 street headed by the town band, which 
 was led by its high-hatted drum ma- 
 jor. In these parades numberless 
 
 lighted transparences, revealing the 
 sentiments of opposing political fac- 
 tions, were borne aloft, and as the 
 band, in passing, played inspiritingly 
 and the local drum corps drummed 
 thrillingly, they were greeted with un- 
 repressed cheering from those gathered 
 on the doorsteps and balconies of 
 houses, the windows of which were il- 
 luminated with scores of flickering 
 candles, while red fire burned at ir- 
 regular intervals on the curbstones of 
 the sidewalks along the line of march 
 and brilliantly tinted sputtering stars 
 shot fitfully into the air from number- 
 less roman candles. There were sere- 
 nades by the band for those from 
 whose home the community campaign 
 flag was flying, and again at the homes 
 of candidates for political honors, where 
 speeches were called for and refresh- 
 ments were served. 
 
 The Portland Evening Advertiser of 
 September I1, 1873, contained an ad- 
 vertisement stating that “The under- 
 signed have formed an association to 
 be known as Chandler’s Band,” signed: 
 D. H. Chandler, Charles Grimmer, J. 
 M. Mullaly, C. M. Richardson, J. Ty- 
 ler and E. M. Gammon. 
 
 The formal organization of Chand- 
 jer’s Band was not consummated, how- 
 ever, until January, 1876, when articles 
 of agreement were signed by twenty- - 
 two men, with D. H. Chandler leader. 
 Thus was Chandler’s Band of Port- 
 land born. | 
 
 Under Mr. Chandler the band played 
 in nearly every city in the area bound- 
 ed by Washington, Montreal, Detroit 
 and St. John and came to be regarded 
 as one of the first bands in the State. 
 
 From some of the most proficient 
 members of the band, in 1874, an or- 
 chestra, known as Chandler’s Crack 
 Six, was organized. It consisted. of 
 Charles Grimmer, first violin; Daniel 
 
 H. Chandler, second violin; J. M. Mul- 
 
334 MUSIC AND MUSICIANS OF MAINE 
 
 laly, clarinet; Clarence Richardson, 
 violin; Joseph Tyler, cornet; Edward 
 Gammon, double bass. This orchestra 
 played at many social functions up to 
 the time of its leader’s last illness. 
 
 Mr. Chandler became a great favor- 
 ite with the people of Portland and in 
 1885 was publicly presented with a 
 gold watch and chain as a gift from 
 more than one hundred of his admirers, 
 and a Knights Templar charm by the 
 members of his band. ) 
 
 In 1928 Chandler’s Band was conduct- 
 ed by Charles M. Brooks, under whom 
 it had played on almost every impor- 
 tant civic and patriotic occasion in Port- 
 land for more than twenty-seven years. 
 
 The personnel of Chandler’s Mili- 
 tary Band in 1928 was as follows: 
 
 Charles M. Brooks (trumpet), leader; Flutes 
 and Piccolos —H. T. Wall, Thomas Johnson; 
 Flute and Saxophone —P. J. Storey; E flat 
 Clarinet —H. T. Googins; B flat Clarinets — 
 John Leighton, O. J. Christian, F. O. Corliss, 
 H. W. Ingram, A. W. Whittier, F. C. Gibbs, 
 R. S. Tinkham; Trumpets —H. W. Varney, 
 E. G. Blanchard, G. W. Wood, J. L. Tourangeau, 
 E. A. Woodside, T. B. Peters; French Horns — 
 L. H. Wilson, E. P. Blackwell, H. M. Gifford, 
 H. E. Bacon; Baritones — A. S. Conant, E. E. 
 Hybert; Trombones — B. L. Greely, W. K. In- 
 gram, C. H. Hicks, F. L. Clark; Tubas — A. J. 
 Guimond, S. A. Guimond, W. P. Harrington, 
 J. H. Crangle; Snare Drum —F. S. Willams; 
 Bass Drum —H. T. Farrington; Cymbals — 
 F. L. Prince; Armorer — M. W. Libby. 
 
 Among those who were leaders of 
 Chandler’s Band have been Frank L. 
 Collins, William E. Chandler, Enos 
 Blanchard, Frank I. Moore and Philip 
 E. Robinson. 
 
 Others connected with the band have 
 been: 
 
 J. N. Jacobson, F. L. Bradford, F. L. Prince, 
 Ira M. Davis, F. O. Welcome, W. P. Harrington, 
 H. E. Mills, Dr. F. J. Chipman, Harry Wall, 
 L. W. Fickett, W. G. Newell, F. N. Colesworthy, 
 W. W. Mayberry, Wilfred Booth, Joseph Free- 
 man, Frank M. Chipman, Ernest Haskell, John 
 Woodbury, E. S. Beal, Walter Thomas, Daniel 
 Skillings, Eugene Lesser, James A. Bain, Charles 
 G. Richards, John T. Fagan, William Crockett 
 and Arthur Cole. 
 
 After the organization of Chandler’s 
 Band, Jonathan Cole continued to be 
 the leader of the old Portland Band 
 until 1882 when Frank L. Collins was 
 elected to succeed him. On reorgani- 
 zation of the band in 1899 William E. 
 Chandler, son of Daniel H. Chandler, 
 became leader and continued for about 
 two years until he became associated 
 with the American Cadet Band. 
 
 For a long period these two bands 
 were rival organizations in Portland. 
 W. E..Chandler for many years coached 
 other bands in the State. Among these 
 were Merriman’s Band, South Port- 
 land, Sanford Band, Kennebunk Band, 
 Dunstan Band and Winthrop Band. 
 
 The American Cadet Band of Port- 
 land, organized in 1886, had, at first, 
 but four members. These were Alfred 
 Whittemore, Jack Simpson, Frank 
 Stubbs and Andrew Westman and 
 
 they met every week for regular prac- 
 
 tice. Gradually other members were 
 added, and when the band finally ap- 
 peared on the street in the regalia of 
 the Old Portland Cadets, there were 
 twenty men in the organization. These 
 were: 
 
 Alfred Whittemore, Frank Stubbs, Joseph Le- 
 gault, Sylvanus Libby, H. M. Varney, H. T. 
 Wall, N. E. Tucker, James Doyle, Jack Simp- 
 son, Charles Artenzen, Leonard Libby, Fred 
 Pine, Ira W. Hamilton, Samuel Ross, Andrew 
 Westman, Robert Brown, Edgar E. Giles, S. H. 
 Bruns, Charles Norton and Harold Ingraham. 
 
 These were known as the charter 
 members. 
 
 Alfred Whittemore, solo cornettist, 
 was the first director of this band, and 
 he ‘was succeeded by Charles Schon- 
 land. Daniel H. Chandler had assisted 
 in coaching the band and its first ap- 
 pearance was a creditable one. 
 
 R. B. Hall, who, at that time, was 
 enjoying exceeding popularity as a 
 composer, then took the leadership of 
 the band and gave it considerable 
 prominence by featuring it en tour 
 
MUSIC’ OF THE STATE OF MAINE 1897-1928 335 
 
 240TH COAST ARTILLERY MAINE NATIONAL GUARD BAND, FRANK J. RIGBY, LEADER. 
 
 HUBBARD. 
 
 through Maine and Massachusetts. 
 William E. Chandler succeeded Mr. 
 Hall as leader and on Mr. Chandler’s 
 retirement Charles E. Downs assumed 
 the directorship of the band. Later 
 F. A. Nye became conductor. On the 
 roster of the organization in 1908 
 were: 
 
 Cornets—A. Currier, D. Cavanaugh, A. Whit- 
 temore; Piccolo —T. Johnson; Clarinets — Earle 
 Hamilton, Fred Gooch, Raymond Wilson; Bass- 
 es — Ralph Knight, Peter Massbyl; Trombones 
 — Charles Moses, Charles Farr, George Went- 
 
 worth; Alto — Edward Jordan; Drums— George 
 Beals, George Raynes. 
 
 Rigby’s Band of Portland was the 
 successor of The American Legion 
 Band, which Frank J. Rigby organ- 
 ized in 1920. Four years later the 
 name of the band was changed to Rig- 
 by’s Band. Under Mr. Rigby’s direc- 
 tion the band came to rival for first 
 place some of the best bands in the 
 State. Following were the players in 
 1928: 
 
 Director (trumpet) — Frank J. Rigby; Flute 
 and Piccolo — Harold Lawrence; Clarinets — 
 
 PHOTO BY ALLEN 
 
 COURTESY PORTLAND MAINE PUBLISHING COMPANY. 
 
 Donald Davis, Maurice Lane, Wendell Doherty, 
 John B. Gooch, Herbert Marshall, John Quinn, 
 Horace Oliver, Jose Wallace, Henry Merrill; 
 Trumpets — Frank P. Knapp, Leonard Hall, 
 Clarence Rowe, Everett Leighton, Linwood 
 Knight, Paul Drossel; Horns — Arthur Stevens, 
 Bryon Whitney, Maynard Young, Henry Cook, 
 Carl Brown; Euphonium — Ernest J. Ward; 
 Saxophones—Cecil Dyer, Kenneth Naylor, Law- 
 rence Farr; Trombones — Charles Odlin, Paul 
 Davis, Orville Duplissie, Paul Farrington, David 
 Rubinoff; Basses—Harold Little, Maurice Wade, 
 Norman Flagg; Percussion— Joseph Kenney, 
 
 Harry Marr, Fred Ward. 
 
 Mr. Rigby was also leader of the 
 240th Coast Artillery Maine National 
 Guard Band for some years, but, al- 
 though he was retired in 1926, he was 
 retained as acting band leader and 
 was directing this band in 1928, the 
 personnel of which was as follows: 
 
 Flute and Piccolo — Harold Lawrence; Clari- 
 nets — Donald Davis, Maurice Lane, George A. 
 Law, John Quinn, Horace Oliver, Herbert Mar- 
 shall, Jose Wallace, Henry Merrill, Roger Cal- 
 derwood; Trumpets —F. P. Knapp, Leonard 
 Hall, Clarence Rowe, William Vacchiano, Hyman 
 Fineburg; Euphonium — E. J. Ward; Horns — 
 A. Stevens, M. Young, H. Cook, C. Brown; 
 Saxophones — R. Frost, K. Naylor; Trombones 
 
336 - MUSIC AND MUSICIANS OF MAINE 
 CE aie e a ek et De atlases SSE 4 EN 
 
 — P, Davis, O. Duplissie, D. Rubinoff, P. Far- 
 rington; Basses —H. Little, N. Flagg; Drums 
 — Lew Barrett, Joseph Kenney, Fred Ward. 
 
 Several attempts to organize bands 
 were made by the Italian residents of 
 Portland. In 1922 Anthony De Cris- 
 tafaro, a former member of the Fifth 
 Infantry Band, and a graduate of the 
 Conservatory of Music at Naples, It- 
 aly, organized the Italian Caruso Sym- 
 phony Band, which gave several con- 
 certs before its leader moved from 
 Portland, and in 1925 the Guiseppe 
 Verdi Italian Band was organized by 
 R. Carlo. The Italian Caruso Sym- 
 phony Band, during its existence, as- 
 sisted at all the feasts and celebrations 
 of the Italian people in Portland and 
 other nearby cities. 
 
 An unusual band was the Portland 
 Girl’s Caledonian Pipe Band organized 
 in 1925. It proved to be an attraction 
 for parades and concerts. Major T. 
 John Smith was its leader. 
 
 The LeGault Boy’s Band of Port- 
 land, organized in‘1885 by Joseph D. 
 LeGault, was featured on many oc- 
 casions and was very popular in its 
 day. 
 
 Willard D. Mayberry, cornettist in 
 Chandler’s Band, pianist and violinist 
 and a composer as well, was born in 
 Windham and taught music in Port- 
 land for a number of years. Among 
 his compositions were “The Great 
 White Hall” and “Of Love and Duty.” 
 
 Charles G. Richards, who was also 
 a member of Chandler’s Band, in which 
 he played E flat alto, was a native of 
 Portland where he studied with Jung- 
 nickel and became leader of several or- 
 chestras. 
 
 Among the professional orchestras 
 in Portland were Grimmer’s Orchestra, 
 organized in 1880 and led by Charles 
 Grimmer, who was also leader of the 
 Portland Theatre Orchestra; and Giv- 
 en’s Orchestra (Fred Given, leader). 
 
 Alfred L. Ryser, a native of Neuf- 
 chatel, Switzerland, who, for more than 
 twenty-two years, was identified with 
 Gilbert’s Dancing Academy in Port- 
 land in the capacity of pianist, played 
 at many notable social functions dur- 
 ing his lifetime. He was organist at 
 St. Stephen’s Church for a long period 
 and afterwards played in the Central 
 Parish Church at Yarmouth. He was 
 one of the most popular musicians who 
 ever lived in Portland and at the time 
 of his funeral an orchestra of fifteen 
 pieces played during the service and 
 fifty bandsmen escorted the cortege on 
 its way to the cemetery. . 
 
 Portland had another organization, 
 in 1881, known as the St. James Band, 
 composed of the younger musicians of 
 the city. Frederick Davis was the 
 leader and it was under the tutelege of 
 F. L. Collins of the Portland Band. 
 
 The Maine State Fife and Drum 
 Corps, organized in Portland in 1885, 
 was very successful for a number of 
 years. John T. Fagan was the leader 
 for the greater part of the time, and 
 T. L. Callan for the last six months of 
 its existence. Among others prominent- 
 ly connected with it were Robert L. 
 Whitcomb, James T. Garrity, H. L. 
 Stimson, George S. Massey. The Maine 
 State Fife and Drum Corps played an 
 important part in Portland’s Centen- 
 nial Celebration in 1886. 
 
 The Maine Centennial Drum, Fife 
 and Bugle Corps, organized by John 
 T. Fagan in 1920, proved one of the 
 outstanding attractions in the celebra- 
 tion of Maine’s Centenary. Among its 
 members were veterans of three wars, 
 Peter Powers, a famous drummer in 
 his day, and Edward Raynes, one of 
 the fifers, were Civil War Veterans. 
 With its eleven fifers, nine buglers and 
 eighteen drummers, led by Mr. Fagan 
 and preceded by a group representing 
 “The Spirit of ’76,” the Maine Centen- 
 
ete rs 
 
 MUSIC OF THE STATE OF MAINE 1897-1928 
 
 nial Drum, Fife and Bugle Corps was 
 productive of thrills that were not ex- 
 celled by any other feature of the pa- 
 rade. 
 
 The United States Fifth Infantry 
 Band, stationed at Fort Williams on 
 Cape Elizabeth, near Portland, with 
 its eighty excellent musicians, its care- 
 fully selected instrumentation and 
 coached by highly trained army band 
 leaders, came to be regarded as an 
 outstanding United States Army mu- 
 sical organization. For some years the 
 band was under the instruction of 
 Master Sergeant William Illingworth, 
 a veteran army band leader; and under 
 his successor, Warrant Officer Kurt 
 Frier, it was developed into a high 
 class concert band which made several 
 appearances as such, each time to 
 crowded houses, at the City Hall in 
 Portland. The concert programs were 
 rendered with a verve which gave evi- 
 dence that the men had caught the 
 true spirit and imagination of their 
 talented leader. 
 
 The Fifth Infantry Band came to 
 possess many trophies of its tours to 
 foreign lands. It played in Belgium 
 before King Albert from whom the 
 band received one of its most prized 
 cups. In 1927 and 1928 the band was 
 directed by Warrant Officer A. D. Gin- 
 rich, who had come to Fort Williams 
 from the Thirty-fifth Infantry sta- 
 tioned at Hawaii, and under whom its 
 much admired playing of classical and 
 popular programs continued to be 
 heard on the Fort Williams military 
 reservation, and over the radio from 
 Station WCSH. 
 
 The first Bangor organization to 
 possess a musical standing sufficient to 
 attract recognition as a band was 
 Clark’s Band of which James Clark 
 was the leader. It is said to have been 
 organized in the early fifties, but little 
 is known of its history and it probably 
 
 337 
 
 ceased to exist long before the Civil 
 War broke out. 
 
 The Bangor Light Infantry Band, 
 which came into prominence a little 
 later through the efforts of William 
 Rounds and others interested, was 
 started in 1858 as an adjunct to the 
 Bangor Light Infantry and for the 
 purpose of furnishing music for any 
 engagement that might offer, but its 
 organization was not perfected until 
 early in the following year. The title 
 page of the record book of the band 
 bore the superscription, “Bangor Cor- 
 net Band, January 26, 1859,” the date 
 of its meeting in the hall of the Bangor 
 Light Infantry, and this is the time 
 from which the Bangor Band has since 
 dated its beginning. 
 
 Those present at this meeting, at 
 which the constitution was adopted, 
 were: 
 
 William Rounds, Charles A. Frost, George 
 Holt, John O. Young, W. N. Gillies, Elisha M. 
 Smith, C. F. Smith, Charles W. Small, William 
 T. Standish, William L. Boyd, H. P. Cronin and 
 H. P. Crowell. 
 
 Thése men were the founders of the 
 Bangor Light Infantry Band. W. L. 
 Boyd was elected the first President of 
 the band and W. T. Standish clerk and 
 leader. Mr. Standish, who was then 
 a member of James G. Wasgatt’s 
 Quadrille Band, had been connected 
 with Bond’s Band of Boston and was 
 a cornettist of considerable experience. 
 
 In February of the year in which it 
 was incorporated the Bangor Light 
 Infantry Band gave its first concert. 
 Its first set of instruments which had 
 been purchased of the old Union Brass 
 Band of Belfast, which had then just 
 disbanded, were rather archaic and 
 were far from satisfactory, if later rec- 
 ords are to be believed. The uniforms 
 were purchased of Bond’s Band of 
 Boston and they consisted of red coats 
 and white striped black trousers and 
 bear skin caps. 
 
338 MUSIC AND MUSICIANS OF MAINE 
 
 During its first season the band filled 
 more than sixty engagements, among 
 which were included military and fire- 
 men’s parades and musters, excur- 
 sions, concerts and serenades, some in 
 Bangor and some in other cities and 
 towns in the State. 
 
 In this year E. H. Goodale was 
 chosen leader, and, under the patron- 
 age of Dr. A. C. Hamlin, a course of 
 four “Musical Soirees” was given. At 
 them the best local talent assisted and 
 vocalists from Boston and other cities 
 were added attractions. From the pro- 
 ceeds of these concerts new uniforms 
 were purchased. 
 
 In 1860 A. D. Harlow of Saco was 
 chosen leader of the band, new quar- 
 ters were taken in Mechanic’s Hall 
 and many concert engagements were 
 filled. 
 
 A rival band known as the Citizen’s 
 Cornet Band had, in the meantime, 
 been organized, and, during this year, 
 an attempt was made to consolidate 
 the two bands. 
 
 In 1861 with renewed enthusiasm, 
 under their new leader, the band voted 
 to enlist in the war as the Second 
 Maine Regiment Band, and the fol- 
 lowing men enlisted: 
 
 A. D. Harlow, George Holt, W. B. Peakes, 
 Charles A. Frost, W. L. Seavey, W. N. Gillies, 
 E. M. Smith, E. Andrews, E. H. Goodale and 
 A. Morris. 
 
 The record book of the band con- 
 tains this interesting entry: “Previ- 
 ous to starting for the seat of war the 
 band men were invited on board the 
 good steamer M. Sanford (Capt. E. 
 H. Sanford) where they partook of a 
 bountiful collation, provided by the 
 officers of the boat, and, last, but not 
 least, were presented with a purse of 
 Fifty Dollars by the generous captain.” 
 The band followed the Second Maine 
 Infantry through the campaigns of 
 General McLellan on the Peninsula 
 
 until it was discharged in the summer 
 of 1862 by the Act of Congress which 
 discharged all bands. After its return 
 H.S. Morey acted as leader until 1863, 
 when Mr. Harlow was re-engaged, and 
 in March, 1865, the band re-enlisted 
 as the Sixth Maine Regiment Band. 
 
 In 1867 M. H. Andrews was chosen 
 leader and under his direction the band 
 came to be ranked as an organization 
 of high musical standing. New instru- 
 ments and uniforms were provided by 
 popular subscription, by the citizens 
 of Bangor, and music of a much higher 
 order than before was performed. 
 
 The uniforms were of dark blue, the 
 trousers having a light blue stripe at 
 the side trimmed with narrow gold 
 lace; the coat was set off with plain 
 gilt buttons and epaulettes of heavy 
 gold braid, the collar being trimmed 
 with wide gold lace; the fatigue caps 
 were flat, trimmed with lace and a 
 scroll of lace on top and the handsome 
 dress caps were trimmed with heavy 
 gold lace surmounted by a white plume 
 and pompon. 
 
 M. H. Andrews conducted the band 
 during each active season for fifteen 
 years and inspired the members with 
 loftier ideals. During this time the 
 work of the band showed remarkanle 
 improvement. 
 
 For this period, during the quieter 
 months, the band was conducted at 
 different times by A. D. Harlow, W. 
 B. Peakes, J. Phelps, J. M. Mullaly, 
 Castledini, M. Nesbitt, J. Delaney and 
 Cr E: Taylor. 
 
 The term 
 come into general disuse in 1877 the 
 
 name of the band was changed to Ban- 
 gor Band. 
 
 In 1883 R. B. Hall was elected lead- 
 er. In 1884 the band received the 
 Second Regiment appointment and 
 during the campaign which followed 
 it was presented by the Loyal League 
 
 “cornet band” having. © 
 
MUSIC OF THE STATE OF MAINE 1897-1928 339 
 
 with a bass drum, which it still has in 
 its possession. In 1885 John Mullaly 
 was leader, but in the following year 
 R. B. Hall was again chosen and he 
 was succeeded by Frank L. Tuck. 
 
 Steven Cream, an English bands- 
 man, who later acquired an interna- 
 tional reputation as a concert virtuoso, 
 became leader of the band in 1887, 
 and, because of his efforts among the 
 individual members, the work of the 
 band was brought to a more finished 
 state than ever before, but after having 
 served as leader for one year he left 
 Bangor to return to his native country. 
 
 Then followed several years of busi- 
 ness depression during which the band 
 was successively directed by Messrs. 
 Andrews, Tuck, Gilbert, Harlow, E. C. 
 Adams and Dr. O. E. Wasgatt. 
 
 In 1895 the prospect of continuing 
 the organization seemed so hopeless 
 that a committee was appointed to as- 
 certain the value of the assets of the 
 band, for the purpose of disposing of 
 them, and here the history of the Ban- 
 gor Band would have terminated but 
 for the encouragement given by their 
 leader, Dr. Wasgatt, to those who were 
 determined that the band should con- 
 tinue. 
 
 On account of professional duties, 
 which would not permit Dr. Wasgatt 
 to accept a permanent directorship of 
 the band, Harvey J. Woods was se- 
 cured in 1897, and under his direction 
 the band was again placed on a sub- 
 stantial basis. Mr. Woods was not 
 only an excellent teacher and coach, 
 but he possessed a knowledge of the 
 theory of music and an understanding 
 of the limitations and qualities of band 
 instruments on all of which he was a 
 performer. During the six years of 
 his leadership he worked unceasingly 
 to build up the organization so that it 
 would be one of the finest in New 
 England. He encouraged young mu- 
 
 siclans in their preparation for band 
 work and held rehearsals for amateurs 
 so that vacancies in the band, as they 
 occurred, might readily be filled. He 
 was a real inspiration to many of the 
 younger musicians and aroused in them 
 a keen interest in music for music’s 
 sake. 
 
 When Mr. Woods resigned in 1903 
 to move to Seattle, K. A. Ringwall be- 
 came leader of the band, and, under 
 him, at Lewiston on St. John’s Day 
 that year, the band took part in a 
 massed band concert in which two 
 hundred players participated. Mr. 
 Ringwall, who was a thorough musi- 
 cian, received his education, including 
 a conservatory course, in European 
 music centers. He became noted for 
 his marked ability in interpretation of 
 the works of the better composers. 
 
 In 1905 Mr. Ringwall was succeeded 
 by Howard C. Eaton, who, because 
 of his long and varied career as leader 
 of some of the best bands in the coun- 
 try, was well equipped to carry on the 
 work of conductor of such a band. Be- 
 sides exhibiting more than ordinary 
 skill in the technic of conducting, he 
 drilled the members in the field ma- 
 neuvers of a military band. 
 
 On his retirement, in 1908, he was 
 succeeded by Adelbert Wells Sprague, 
 who had first become affiliated with 
 this band in 1896, and under whom 
 the organization was brought to an 
 enviable standard of excellence as a 
 concert band. 
 
 In 1909 the band again enlisted and 
 for six years served as the Regimental 
 Band for the Second Maine Infantry, 
 National Guard. 
 
 The instrumentation and personnel 
 of the Bangor Band in 1927-1928 was 
 was follows: 
 
 Conductor, Adelbert Wells Sprague; Flute and 
 
 Piccolo — Delmar B. Lovejoy; Oboe — Henry 
 F. Drummond; Clarinets — Alton L. Robinson, 
 
340 MUSIC: AND MUSICIANS OF MAINE 
 
 Frederick W. Baumann, Fred W. Hicks, J. Frank 
 Todd, William Griffin, Kenneth W. Downing, 
 Lloyd A. Colby, Nelson J. Budway, Herbert F. 
 Monaghan, Arthur A. Field, Vaughan N. Coffin, 
 Nelson K. Ordway, Paul C. Sawyer; Saxophones 
 — Robert J. Hutchins, Charles F. Jordan, Owen 
 F. Infiorati, Paul E. Goodwin; Bassoon — Frank 
 E. Robinson; 7rumpets—Irving W. Devoe, Rod- 
 ney J. Rowe, J. Harry Haynes, Linwood Bowen, 
 Lawrence H. Huot, Raymond P. White, Win- 
 field L. Stubbs; Horns — David L. Carver, Hall 
 C. Dearborn, Winfield F. Sawyer, Paul L. Leon- 
 ard; Trombones — Benjamin T. Shaw, Mau- 
 rice P. King, Robert E. Pooler, Herbert C. 
 Hicks; Euphoniums — Charles C. Larsen, Karl 
 D. Larsen; Bass Tubas — Arthur I. Rowe, Eu- 
 gene A. Haley, Arthur L. Atwood; Tympani, 
 Xylophone and Chimes— Francis G. Shaw, 
 Frank G. Burrill; Drums and Bells —Carl S. 
 Baumann; Librarian — Charles F. Jordan. 
 
 In the seventies and eighties brass 
 bands were numerous in Maine. Band 
 tournaments, under the direction of 
 Frank L. Collins, were annually held 
 at Lake Maranacook, and in these 
 many bands participated. 
 
 Judgments were made on tone, tune, 
 precision and expression. Some no- 
 table men, among whom were J. B. 
 Claus, of the New England Conserva- 
 tory, Thomas H. Rollerson and W. S. 
 Ripley, served as judges. 
 
 These tournaments usually covered 
 a period of three or four days and the 
 prizes offered ran sometimes as high as 
 five hundred dollars. 
 
 The rivalry between the prominent 
 bands and even those from the smaller 
 towns was keen, and in the desire of 
 the men and their leaders to obtain 
 the coveted honor of winning one or 
 more of the prizes, many excellent 
 bands were developed. 
 
 It is said that nearly every band in 
 Maine, excepting Chandler’s, with 
 which none at that time cared to com- 
 pete, took part in the last tournament 
 held in 1886, when Glover’s Band of 
 Auburn carried off first honors and the 
 Portland Band, under Frank Collins, 
 was awarded the second prize. 
 
 Glover’s Band of Auburn was born 
 
 on the one hundredth anniversary of 
 the Declaration of Independence of the 
 United States, when six musicians 
 formed an impromptu band which rode 
 through the streets of Lewiston in a 
 hayrack, in a parade in celebration of 
 that day. These, with others, a few 
 weeks later founded the Auburn Cadet 
 Band. O. F. Alden was engaged as 
 first leader of the band. In 1877 New- 
 
 _ ell Perkins became director and George 
 
 H. Glover, who played in Johnson’s 
 Band, was chosen leader and teacher. 
 
 Because of the rivalry between John- 
 son’s Band and the Auburn Cadet 
 Band it was decreed that no player 
 should be eligible to membership in 
 both organizations, so the Auburn Ca- 
 det Band offered to change the name 
 of its organization to Glover’s Band if 
 
 Mr. Glover would stay with and direct © 
 
 it. 
 Glover’s Band became knownthrough- 
 out New England and won the prize 
 in two succeeding band contests which 
 carried with it the championship of the 
 State. Newell Perkins rehearsed the 
 band and directed it at the last tourna- 
 ment, at which time the members 
 were: 
 
 Piccolo — Will Sturtevant; Clarinets — Benja- 
 min Ingraham, Delton Records, Lawrence Pet- 
 tengill, Lin. Small; E flat Cornets — George H. 
 Glover, Benjamin Barrows; B flat Cornets — 
 Charles Johnson (solo), Howard Eaton, Bert 
 Alden, Al Foss; Altos — Enoch Perkins (solo), 
 Ed Hodgdon, Charles Yeaton, George Sturte- 
 vant; Trombones — Clifford McKenney, Sewell 
 Parker, Henry Lizotte; Baritone — George T 
 Wilson; Basses — Charles Davis, Charles Hart- 
 
 well; Snare Drum—Fred I. Bumpus; Bass 
 Drum — Charles Parker; Cymbals — Al Pike. 
 
 Among the noteworthy musicians 
 who were graduated from the ranks of 
 Glover’s Band were Newell Perkins, 
 who went west and organized an excel- 
 lent band in Boise City, Idaho; Will 
 Sturtevant, who became piccolo soloist 
 in a Boston orchestra; Fred Harlow, 
 trombone soloist; and Delton Records, 
 
 ee ne ee ee 
 
oS . 
 
 MUSIC OF THE STATE OF MAINE 1897-1928 341 
 
 who played clarinet in several sym- 
 phony orchestras throughout the coun- 
 try and wrote and lectured on musical 
 subjects. 
 
 Winfield Scott Ripley, who often 
 acted as one of the judges at these 
 tournaments (born in Paris, Maine, in 
 1839), came to be one of Maine’s best 
 known musicians. When a little more 
 than twenty years of age he enlisted as 
 a musician in the United States Navy. 
 For many years he was an instructor of 
 music in the Boston public schools. It 
 was declared that he taught more bands 
 in his lifetime than any other and was 
 a prolific composer of band and orches- 
 tra music. 
 
 The Union Brass Band of Belfast 
 and the Thomaston Brass Band were 
 two that were giving concerts in East- 
 ern Maine in 1847. A rival Belfast 
 Band composed of the younger men 
 of the town was organized in 1848 and 
 was also very popular for atime. The 
 old Union Brass Band disbanded 
 about 1859. 
 
 The Belfast Military Band was or- 
 ganized October 4, 1889. The first 
 officers were: 
 
 Ammi Cutter Sibley, President; George H. 
 Bruns, Vice President; Charles Haroden, Field 
 Secretary; Horatio Palmer Thompson, Treasur- 
 er; and Ammi Cutter Sibley, Arthur Irving 
 Brown, Charles Baker, George William Burkett, 
 
 David Pollard Flanders, Samuel Worth Johnson 
 and Elbridge Simmons Pitcher, Directors. 
 
 The instrumentation of the band at 
 this time consisted of six clarinets, five 
 cornets, two orchestral horns, two al- 
 tos, two tenors, two tenor slide trom- 
 bones, two E flat basses, one valve 
 tenor, one bass slide trombone, one 
 baritone, one double B flat, one pic- 
 colo, drums and cymbals. Frank J. 
 Rigby was the leader. 
 
 In 1898 this band enjoyed the un- 
 usual distinction of having two drum 
 majors — William H. Sanborn, who 
 weighed two hundred and sixty-one 
 
 pounds and who was the largest man 
 doing military duty in Maine, was the 
 senior drum major, while diminutive 
 Donald Orman Robbins, weighing for- 
 ty pounds and reputed to be the small- 
 est man in the State of Maine, may be 
 said to have been the junior drum 
 major. 
 
 Professor William H. Whiddon was 
 the first to organize an orchestra in 
 Belfast. His orchestra was known as 
 Whiddon’s Quadrille Band and was 
 made up as follows: 
 
 William H. Whiddon, 1st violin and leader; 
 Joseph H. Trussell, 2d violin; George W. Bur- 
 gess, bass; John Singhi, cornet; Percy Sanborn, 
 flute; and later Jacob L. Havner, bass. 
 
 In the sixties Professor Whiddon 
 moved to Boston where he became a 
 member of T. M. Carter’s Band. He 
 died in Everett, Mass., in the fall of 
 1909. 
 
 Hosea Ripley, who lived and died in 
 South Bethel, taught singing school in 
 Bethel about 1841 and was then con- 
 sidered one of the best vocal and in- 
 strumental teachers in those parts. 
 Possessed of a fine voice, and being 
 proficient on any wind or stringed in- 
 strument, he was much sought as a 
 teacher. He organized bands at Bry- 
 ant’s Pond, Bethel and other nearby 
 towns. | 
 
 Pierre L. Painchaud (1853-1909), 
 son of Joseph and Marie Anne La 
 France Painchaud, and organizer and 
 for many years leader of Painchaud’s 
 Band and Painchaud’s Orchestra of 
 Biddeford, was born at Waton, Cana- 
 da. He received his education in the 
 public schools and under a private 
 tutor, but was self-taught as a musi- 
 cian. He became an excellent violinist 
 and cornettist, and, for many years, 
 conducted church choirs, bands, eor- 
 chestras and light operas in Biddeford. 
 Painchaud’s Band, to which he gave 
 his name, became one of the best bands 
 
342 MUSIC AND MUSICIANS OF MAINE 
 
 in the State. On Mr. Painchaud’s 
 death Joseph Martin was elected its 
 leader and under him the band main- 
 tained the high standard of excellence 
 set by its founder. 
 
 In 1928 the personnel and instru- 
 mentation of Painchaud’s Band was 
 as follows: 
 
 Cornets — Ludger Picher, Warren F. Libby, 
 George Ward, Joseph Garrand, Henry Martin; 
 Horns — Arthur Plante, Ludger Binette, Frank 
 Bolduc; Trombones— Joseph Binette, Emile 
 Perreault, Arthur Henry, Henry Neven; Tubas 
 — Bert McLaughlin, Sam Bernier; Bass — Ar- 
 thur Lambert; Flute — Albert Neven; Clarinets 
 — Joseph Martin, Peter Laugerin, Joseph Morin, 
 Peter Larochelle, Peter Narmaud, Willie Gau- 
 dette, Wilfred Janelle; Drums — Joseph Verrier, 
 John Driscoll, Leo Spenard (bass). 
 
 Mr. Martin was also the leader of 
 the Biddeford Philharmonic Orches- 
 tra, organized in 1901, and in 1928 the 
 other members were as follows: 
 
 Violins — William P. Simard, Silas Simensky; 
 Cello — Alex Greemond; Cornets — Ludger 
 Picher, Warren Libby; Trombone — Arthur 
 Lambert; Bass — William Swenny; Clarinet — 
 Joseph Martin; Drums — Joseph Verrier; Piano 
 — George H. Casseboom. ‘ 
 
 The Bridgton Band was organized 
 by veterans of the roth Maine Infan- 
 try Band at the close of the Civil War. 
 Among those who composed its mem- 
 bership were John T., Edward C., and 
 Osgood B. Webb, Richard T. Bailey 
 and David D. Blanchard. 
 
 The Bridgton Cadet Band, which 
 came into existence in 1876, was a 
 later organization. H. G. Gerrish was 
 its director. 
 
 In 1878 the South Bridgton Cornet 
 Band was organized with E. C. Went- 
 worth, Conductor, and F. W. Sanborn, 
 Secretary. 
 
 Among the older bands of the State 
 should be remembered the Brunswick 
 Brass Band, which was organized 
 March 1, 1844. William R. Field, 
 Jr., was, for part of the time, its lead- 
 er and it numbered fifteen musicians. 
 
 Besides being a marching organization 
 it gave several instrumental concerts 
 in Maine’s oldest college town during 
 the six years of its existence. 
 
 The Brunswick Cadet Band was a 
 later band which was at its best about 
 1889. 
 
 St. John’s Band of Brunswick, or- 
 ganized in 1882, was a_ successful 
 French Band for many years and its 
 officers were: 
 
 Alphonse Saindon, President; Jo- 
 seph Belanger, Leader; Joseph Sain- 
 don, Sergeant; C. L. Lapont, Treas- 
 urer. 
 
 The Brunswick Drum Corps was led 
 by Alfred Saindon. 
 
 The Camden Brass Band was or- 
 ganized in 1848 with Paul Stevens as 
 leader. The following constituted the 
 personnel of this band at that time: 
 
 Jacob Anderson, Jr., Edmund Barnes, George 
 Berry, James Cusick, George P. Gilkey, Austin 
 Hosmer, Lorenzo Swett, Edwin R. Tyler, Theo- 
 
 dore P. Tyler, D. B. Withington and Thomas 
 Wood. 
 
 Each man in the band owned his 
 own instrument. So many fatalities 
 among the members occurred within 
 two years of its organization that at 
 the end of that time the survivors were 
 obliged to disband. 
 
 The Union Brass Band of Cape 
 Elizabeth was one of the bands, now 
 hardly remembered, that was in exist- 
 ence in the early seventies. The con- 
 certs given by this band in the church- 
 es were among the most popular events 
 in the town. 
 
 The Cherryfield @Band, which was 
 organized in 1869, Was one of the few 
 in the smaller towns of the State which ~ 
 continued to function after more than 
 fifty years of service. G, E. Church 
 was its promoter, organizer and lead- 
 er. Professor D. H. Chandler of Port- 
 land was employed as its first teacher 
 and he was followed by Frank Collins 
 
MUSIC OF THE STATE OF MAINE 1897-1928 343 
 erie eee en an ee oe 
 
 of Boston. Later the band was led by 
 R. B. Hall and E. C. Wakefield. The 
 list of its members was a large one and 
 some of them played in this band for 
 more than forty years. 
 
 Not a few of the smaller towns of 
 the State have boasted bands that ac- 
 quired more than local fame before 
 the Civil War. One of these was the 
 Old Cumberland Band which was or- 
 ganized in 1860, William L. Loring, 
 it is believed, was its first leader, and, 
 after the war, Professor Enos A. Blan- 
 chard directed it. Among its members 
 were: 
 
 William L. Loring, Homer Blanchard, F. W. 
 Blanchard, A. H. Buxton, Samuel True, E. P. W. 
 True, A. S. Sweetser, W. D. Sweetser, John P. 
 Merrill, Allan Morton, Henry Wyman, Mellen 
 ee D. L. Blanchard and Leonard F. Mer- 
 rill. 
 
 It flourished for more than ten years, 
 but disbanded some time in the seven- 
 ties. 
 
 Another band was organized in Cum- 
 berland in 1882 with Professor Enos 
 A. Blanchard as teacher and leader. 
 Among the members, though not all 
 at one time, were: 
 
 John H. Anderson, Edward G. Blanchard, 
 Roland H. Blanchard, Everett L. Blanchard, 
 Fenwick S. Blanchard, George Blanchard, Wil- 
 liam F. Blanchard, Walter E. Blanchard, A. N. 
 Buxton, George W. Collins, James L. Dunn, 
 Frank W. Doughty, Lyndon L. Farwell, Gorham 
 Farwell, Maurice L. Greeley, Charles H. Gree- 
 ley, David E. Loring, Preston M. Leighton, 
 Charles Lawrence, W. H. Mountfort, Josiah 
 Morrill, Walter E. Morrill, Wallace L. Merrill, 
 Carroll D. Prince, George C. Porter, Charles W. 
 Quimby, E. G. Reed, George T. Roberts, Percy 
 B. Rideout, George D. Sweetser, Loring B. 
 Sweetser, Frank L. Shaw, Fred R. Sweetser, 
 Bradford Stevens, Joseph W. Shaw, Frank 
 Sweetser, John B. Thomes, Robert S. Thomes, 
 William E. Wilson and Benjamin F. Whitney. 
 
 From these members, many of 
 whom did not know a note of music 
 when they enrolled, but all of whom 
 were eager to learn, Professor Blan- 
 chard, with infinite patience, perse- 
 verence and tact, developed the Cum- 
 
 berland Center Band. After months 
 of diligent practice they were able to 
 perform in public and came to play at 
 county fairs, and, on several occasions, 
 paraded with military companies in 
 Portland. 
 
 The weekly band meetings were al- 
 ways looked forward to with interest 
 by the members, many of whom had 
 to drive five or six miles to attend 
 them. 
 
 The last meeting of the Cumberland 
 Band was held in 1892. 
 
 The Damariscotta Brass Band ac- 
 quired more than local fame in its 
 day, and marched and played in Port- 
 land at the Celebration of America’s 
 Centennial in 1876. 
 
 The first bands, worthy of note, to 
 be organized in Lewiston were the 
 Montcalm Band (named for Louis Jo- 
 seph, Marquis de Montcalm, with 
 whose name every school boy is fa- 
 miliar), which was composed largely 
 of representatives of the French speak- 
 ing population, and the Irish Band, 
 which was made up of musicians from 
 the Irish citizens of the Sister Cities 
 on the Androscoggin River. Henry 
 Jagoe was the leader of both of these 
 bands. 
 
 Then followed the Old City Band, 
 Henry Miller, leader; Lurvey’s Band, 
 Samuel Lurvey, leader; Glover’s Band 
 of Auburn, George Glover, leader; 
 Johnson’s Band, Horace Johnson, lead- 
 er; Hobb’s American Band, H. C. 
 Hobbs, leader; and the St. Dominic 
 Association Band, Louis N. Gendreau, 
 leader. Professor Gendreau, who had 
 been a bandsman in the Royal Cana- 
 dian Artillery at the Citadel, Quebec, 
 led the St. Dominic Band for twenty 
 years and was instrumental in forming 
 the St. Cecilia Boy’s Band of Lewis- 
 ton. 
 
 Lurvey’s Band and Johnson’s Band 
 became rivals for band business in 
 
344 
 
 Lewiston and Auburn, and there not 
 being sufficient patronage to support 
 both, in 1887 it was decided to unite 
 these two bands by consolidating thir- 
 ty of the best musicians from both into 
 one organization; but each band being 
 jealous of its rights would not consent 
 to the election of either Mr. Johnson 
 or Mr. Lurvey as leader. The mem- 
 bers of the new band finally united on 
 Frederick G. Payne, who thus came to 
 be the first conductor of the new or- 
 ganization which was to be named the 
 Lewiston Brigade Band. 
 
 Frederick George Payne (1856- 
 1919), son of George Washington and 
 Mary J. B. Payne, and organizer of 
 the Lewiston Brigade Band and also 
 of Payne’s Second Maine Regiment 
 Band, of which for eighteen years he 
 was its chief musician, was born in 
 Unionville, Conn. He studied music 
 under Freichneckt, A. Cuirlo and Ern- 
 est Weber and became a clarinet and 
 saxophone soloist. At the age of six- 
 teen he was the leader of a band at 
 Unionville, Conn. Before coming to 
 Maine, in 1880, he was a member of 
 the 25th and ioth Regiment Bands 
 of New York and the Salem Cadet 
 Band, and conducted a weekly news- 
 paper at Thomaston, Conn. He was 
 a composer of about sixty marches, 
 caprices and waltzes for bands and 
 made over three thousand orchestra- 
 tions and band arrangements. He did 
 as much for band music in Maine as 
 any man of his time. 
 
 Mr. Payne served as conductor of 
 the band from 1887 to 1898 when he 
 was succeeded by Charles C. Johnson 
 (1899 to 1901), Henry M. Gifford 
 (1902 to 1909), and Arthur N. Petten- 
 gill (1910 to 1928). Under these di- 
 rectors the Lewiston Brigade Band 
 came to be recognized as one of the 
 leading bands of the State. In 1928 
 it was believed that the Lewiston Bri- 
 
 MUSIC AND MUSICIANS OF MAINE 
 
 gade Band held the record for “long 
 time” consecutive engagements. Among 
 these claimed by that organization 
 were: 
 
 Burnside Post, G. A. R., each Memorial Day 
 
 for thirty-seven years; Lewiston Municipal Con- 
 certs, thirty-seven years; Lewiston Commandery, 
 
 K.T., thirty-three years; Maine State Fair, — 
 
 thirty years; Oxford County Fair, eleven years; 
 Dunlap Commandery, K.T. (St. John’s Day), 
 fourteen years; Bates College (Commencement 
 Week), fourteen years, and Bowdoin College 
 (Class Day), three years. 
 
 Frederick Otis Currier (1872-1921), 
 who was solo cornettist with the Lew- 
 iston Brigade Band, came from a mu- 
 sical family. At an early age he ac- 
 quired a cornet and began studying 
 under his first teacher, William H. 
 Given, and later, successively, with 
 Frank Burnham of Portland, C. C. 
 Johnson of Lewiston and Dana Holt, 
 then of Lewiston. In 1894 he served 
 as solo cornettist in the Togus Band 
 under B. W. Thieme and continued as 
 such for a year or more. After play- 
 ing for a time in Lewiston and Port- 
 land he went with the State Soldier’s 
 Home Band at Bath, New York, and 
 then with the Soldier’s Home Band at 
 Hampton, Virginia. Besides playing 
 at most of the fashionable resorts on 
 the Atlantic Coast he was soloist in a 
 number of leading orchestras, brass 
 bands and concert companies in New 
 York, and played first trumpet in the 
 Hippodrome for five seasons under 
 Professor Klein. He was solo cornet- 
 tist at the Buffalo Exposition. When 
 Al Jolson toured the country from 
 coast to coast with his 
 Around” Company he took Mr. Cur- 
 rier with him. W. Paris Chambers, 
 the great cornettist, declared that Mr. 
 Currier was the best pupil he ever 
 taught. He was the only cornettist 
 who ever played Chamber’s “Voce de 
 Gabriel” in a manner satisfactory to 
 Mr. Chambers, and in appreciation 
 
 * 
 ——-. es eC 
 
 “Dancing — 
 
MUSIC OF THE STATE OF MAINE 1897-1928 345 
 
 thereof he was presented with a manu- 
 script copy of it by the composer. 
 
 Among notable drum and bugle 
 corps in Lewiston and Auburn were 
 the Kora Temple Drum Corps (twen- 
 ty-five members), E. E. Ramsdell, di- 
 rector, organized in 1923, and the Le 
 Montagnard Snow Shoe Club Drum 
 and Bugle Corps (twenty-eight mem- 
 bers), organized in 1924. 
 
 The Livermore Falls Band, Pooler’s 
 Orchestra and Murray’s Orchestra 
 were all leading musical organizations 
 in Livermore Falls in 1920. Pooler’s 
 Orchestra united with Murray’s under 
 the name of the latter. Allan Hyde, 
 who was director of the band, was 
 prominent in all of these organizations. 
 
 Livermore Falls, at one time, boasted 
 an industrial band. This group of play- 
 ers known as the Tri-Mill Chapter 
 Band of the Employers Mutual Benefit 
 Association of the International Paper 
 Company was a reorganization of the 
 Ste. Rose Band, made in 1924. This 
 band, which played both classical and 
 semi-classical music, gave concerts in 
 several nearby towns. 
 
 The Machias Cornet Band, which 
 was organized April 9, 1902, with Ho- 
 vey M. Wiswell as leader, played at 
 many open air concerts in the village 
 square and also played for all political 
 rallies, Memorial Day exercises, launch- 
 ings and other public gatherings in 
 Machias and East Machias for years. 
 
 The Wiswell Saxophone Orchestra, 
 of which the nucleus was composed of 
 Hovey M. Wiswell and his three chil- 
 dren, gave many entertainments in the 
 eastern part of the State for the ten 
 years succeeding 1918. Hovey S. Wis- 
 well (cornet and saxophone) was the 
 leader of the Wiswell Quartette and 
 the other members were Sarah C. Wis- 
 well, saxophone and marimba; Harry 
 S. Wiswell, cornet, saxophone and xylo- 
 phone; and Andrew M. Wiswell, saxo- 
 
 phone, trombone and xylophone. E. 
 H. Parlin, clarinet, Charles Sanborn, 
 drums, and Mrs. Adelaide Hall, piano, 
 completed the personnel of the or- 
 chestra. 
 
 The Madison Boy’s Band, directed 
 by Elmer E. Towne, was, for a num- 
 ber of years, a popular band that gave 
 concerts in all parts of Maine. Mr. 
 Towne, who, for nineteen years, was 
 supervisor of music in the schools of 
 Skowhegan, was a native of Pittsfield. 
 He attended the Boston School of 
 Music and for eight years was leader 
 of the First Battalion Cavalry Band 
 of Boston. 
 
 The Millinocket Band, which came 
 to be known as one of the best concert 
 bands in Aroostook and Penobscot 
 Counties, was organized in 1903 with 
 Charles Eaton leader, but after a year 
 of work the band was dissolved for 
 lack of support. Two years later the 
 band was reorganized with Roy Har- 
 low as its conductor. 
 
 Other directors were Howard Gor- 
 don, E. E. Morgan, James Simpson 
 and Frank M. Young, all capable lead- 
 ers. While Mr. Simpson was at the 
 head of the organization, through the 
 courtesy of the Great Northern Paper 
 Company, the band was given the use 
 of a room at the mill for their Sunday 
 morning rehearsals. 
 
 Mr. Simpson, who was a Scotchman, 
 had been a member of the Mussel- 
 burgh (Scotland) Band and the Edin- 
 burgh Silver Band. 
 
 The Norway Brass Band and the 
 South Paris Brass Band were both in 
 existence in 1888. A. E. Norsworthy 
 was the leader of the Norway Band. 
 These two bands united in 1921 as 
 the Norway-Paris Band. 
 
 Before Rockland had a band N. A. 
 Burpee and George W. Brown met 
 and played together, during the winter 
 months, for mutual pleasure. One aft- 
 
346 MUSIC AND MUSICIANS OF MAINE 
 
 er another, others joined them on their 
 practice nights in the old Yellow 
 Schoolhouse, corner of Limerock and 
 Union Streets, until a band was formed. 
 John Singhi was the first leader and 
 others were Mr. York, Mr. Fales and 
 Mr. Collins. The last surviving mem- 
 ber of that early band was Samuel 
 Burpee. 
 
 One of the earliest concerts by this 
 band was given in 1856. At this con- 
 cert Carrie Burpee, then about six 
 years old, made her first appearance 
 as pianist. On Mr. Collins retirement 
 as leader of the band in 1859 James 
 Wight, then of Lewiston, was secured 
 to direct it. The Rockland Band was 
 in request from far and near for mus- 
 ters, celebrations and public events. 
 One of the most notable pilgrimages 
 made by the band was when it ac- 
 companied the Fourth Maine Regi- 
 ment to Washington when its member- 
 ship was made up as follows: 
 
 E flat Cornets — James Wight, John Singhi; 
 B flat Cornets —E. A. Burpee, John Grafton, 
 James Partridge; Horns—C. M. Tibbetts, 
 Charles Crockett, W. H. Carey, Francis Har- 
 rington, George Stevens; Baritones —N. A. Bur- 
 pee, John Burpee; 7'ubas — William J. Atkins, 
 C. C. Chandler, a Mr. Cleveland, Fred Meser- 
 vey; Snare Drums —M. B. Labe; Bass Drum 
 — Moses Watton; Cymbals — William Harring- 
 ton 
 
 At Boston, when the band played 
 on the Common, alternating with the 
 Boston Brigade Band, it was given a 
 royal reception and surprised and de- 
 lighted the Boston people with its 
 playing of Ned Kendall’s “Woodup 
 Quickstep,” the difficult solo parts of 
 which, it was supposed, no one but 
 Kendall could play as they should be 
 executed, but James Wight elicited the 
 applause of those who had gathered to 
 listen to the band, for his rendition of 
 this composition was done in a man- 
 ner worthy of the composer. 
 
 Several of the members of the band 
 enlisted and served in the Civil War, 
 
 but, though the original band contin- 
 ued to function for some time after- 
 wards, it never again reached the high 
 plane to which it had attained before 
 the war broke out. 
 
 The Rockland Band of 1928 really 
 had its beginning in this band, though 
 it was reorganized under so many 
 different names that it is difficult to 
 follow the branches of its family tree. 
 After the war Mr. Wight reorganized 
 the Rockand Band which to all intents 
 and purposes became a new band. On 
 his retirement the Rockland Band was 
 successively reorganized as Hall’s 
 Rockland Band, Arthur Hall, leader; 
 the Rockland Military Band, Herbert 
 Farnham, leader; the Park Band (or 
 Oakland Park Concert Band), Clar- 
 ence Fish, leader; and on its final re- 
 organization it reassumed its original 
 name, The Rockland Band, while still 
 under the direction of Mr. Fish. 
 
 The Sunday afternoon appearances 
 of the Rockland Band in Oakland Park 
 and the concerts given by it in the Park 
 Theatre were, for many years, counted 
 among the most enjoyed events in 
 Rockland’s musical life. 
 
 Dixfield, with a population of about 
 twelve hundred people, for more than 
 ‘thirty-eight years supported a band, 
 none of the members of which ever 
 received any money from the band’s 
 engagements nor were ever subjected 
 to any assessments by the organiza- 
 tion. All moneys that the band re- 
 ceived .for its services were always 
 turned into the treasury for the pur- 
 chase of instruments, uniforms and 
 music and for general expense. 
 
 The first band in Dixfield was or- 
 ganized in the sixties and all that can 
 be told of it is that which has been 
 gathered from some of the oldest citi- 
 zens of the town. It was a small or- 
 ganization and was considered good 
 
 ee a, Oe ee ee ee ee eS eS ee eee Tee ee 
 
 ee ee ee ee ee, 
 
Menta, Or THE STATE 
 
 OF MAINE 1897-1928 347 
 
 OFFICERS OF THE DIXFIELD BAND, LEFT TO RIGHT, WILLIAM D. LADD, GEORGE W. HALL, THOMAS P. HOLT, 
 
 G. DANA HOLT. 
 
 in those days for a country band. Its 
 personnel included: 
 
 Dewitt Chase, Daniel DeLano, Wallace Eus- 
 tis, Foster French, Harry French, Pitt Gam- 
 mon, George Holt, George Mitchell, Ed. K. 
 Norcross, Henry Park, Aleck Saunders, Laforest 
 Saunders and Munroe Wormwell. 
 
 It existed only for a few years and 
 was not any more irregular in its re- 
 hearsals than the average small town 
 band of its day. 
 
 The Dixfield Band, organized De- 
 cember 9, 1890, was composed of the 
 following who were its charter mem- 
 bers: 
 
 George J. Brown, Elmer Brown, Alvah Curtis, 
 Everett Gould, Orman Gould, George W. Hall, 
 Charles Hall, Albert Hall, Wallace Hutchinson, 
 Thomas P. Holt, G. Dana Holt, William D. 
 Ladd, Charles Newton, Almon Stockbridge, Nel- 
 son Rose, Melvin Frost and Zenas Taylor. 
 
 Its first officers were: 
 
 Alvah Curtis, President; Everett F. Gould, 
 Vice President; Zenas W. Taylor, Secretary; 
 Charles Hall, Treasurer; William D. Ladd, Di- 
 rector; George W. Hall, Assistant Director. 
 
 To William Ladd, who had previ- 
 ously directed a band at Weld, Maine, 
 Wallace Hutchinson and Almon Stock- 
 bridge, the Dixfield Band owed its 
 beginning. 
 
 The three Hall brothers and Alvah 
 Curtis and Elmer Brown had all been 
 members of the West Peru Band, 
 which had disbanded a short time be- 
 
 fore, and George W. Hall had been its 
 leader. 
 
 Mr. Ladd was leader of the Dixfield 
 Band until 1895 when he was succeed- 
 ed by Thomas P. Holt, who had played 
 for two seasons under B. W. Thieme 
 of Togus. 
 
 On the death of Mr. Ladd, who was 
 serving as assistant director, he was 
 succeeded by George W. Hall. In 1909, 
 when G. Dana Holt, after a long ab- 
 sence, returned to Dixfield, he became 
 the leader of the band and Thomas P. 
 Holt became assistant and these two 
 piloted the band on its successful ca- 
 reer. 
 
 To educate the community as well 
 as the band to a better understanding 
 and appreciation of real music was the 
 constant endeavor of the organization 
 from its inception. 
 
 In 1928 the Dixfield Band possessed 
 a musical library which was valued at 
 nearly one thousand dollars, and which 
 included standard arrangements from 
 many of the great composers, old and 
 new. 
 
 The personnel of the Dixfield Band 
 in 1928 was as follows: 
 
 Cornets —G. Dana Holt (Director), George 
 W. Hall, Ferdinand Burgess, Merle Witham, 
 Kenneth Collins; Clarinets — Nelson Rose, Al- 
 
 ton Rose, Thomas P. Holt; dltos—Frank Davis, 
 William Frost, Albert Hall; Baritone — Edward 
 
348 . MUSIC AND MUSICIANS OF MAINE 
 
 A. Haynes; Trombones — Fred Childs, Robert 
 Ames, Herschel B. Holt; Basses— George J. 
 Brown, Roy Bisbee, Bert Kilbreth; Drums — 
 Charles A. Hall, Rodney Haynes. 
 
 Others who have been members at 
 ‘various times were: 
 
 Edwin Babb, Albert A. Burgess, Romanzo 
 Burgess, Wilder K. Chase, Howard Childs, Ril- 
 lie G. DeLano, Sherwood Foster, Wallace Ham- 
 mond, Vivian Horn, George Holt, Archie Kid- 
 der, Wallace Ladd, Pliney Ladd, Pearl Moore, 
 Roscoe Moore, Charles L. Stanley, George N. 
 Thompson, Laforest A. Waite and Cyrus Whit- 
 tier. 
 
 The Dixfield Band was fortunate in 
 always having as leaders musicians of 
 the first rank and in possessing a body 
 of men, the majority of whom played, 
 year in and year out, from the sheer 
 love of music. 
 
 George Holt (1833-1917), was a na- 
 tive of Saco, Maine. He became in- 
 terested in music while learning the 
 marble cutting trade in Portland ar 
 his first experience in the art was with 
 Chandler’s Band of that city. He went 
 from Portland to Bangor where he 
 finished his apprenticeship as a marble 
 cutter, but continuously pursued the 
 study of music. In July, 1861, he en- 
 listed as musician (leader) in the 2nd 
 Maine Regiment. In the army band 
 he played solo alto, arranged much 
 music for the band and being a good 
 mechanic, he kept the instruments of 
 the band in repair while in the service. 
 He established a monumental business 
 in Dixfield, married Vienna Austin 
 Yetten there and raised a family of 
 three sons, all of whom were musically 
 inclined and two of whom adopted 
 music as a profession. Up to 1903, at 
 which time he was stricken totally 
 blind, he had always been active as an 
 instructor of wind and string instru- 
 ments and an arranger of music for 
 band and orchestra. 
 
 The Durham Brass Band of twenty- 
 two musicians, which had been organ- 
 
 ized in 1869, by Col. Joseph C. Tyler, 
 
 was speedily developed into an organ- 
 ization which exhibited more than ordi- 
 nary musical talent. Colonel Tyler 
 played an E flat bugle and R. J. Has- 
 call a B flat cornet in this band. 
 
 At a gathering, at which bands from 
 all sections of Androscoggin County 
 were present, because the instruments 
 of the Durham Band were rather an- 
 cient origin, some jocose person took 
 occasion to refer to this band as the 
 “Durham short horns,” but the Dur- 
 ham Band outclassed many of the 
 others in superior musical skill, and so, 
 
 for a time, enjoyed the reputation of 
 
 being the best small band in that 
 county. 
 
 Lyman Parkman (1836-1900), a 
 native of Charleston, Maine, was con- 
 sidered an excellent musician in his 
 day. As a young man he worked on 
 his father’s farm and later became a 
 carpenter. He was organist at the 
 Methodist Church at East Corinth for 
 thirty years, and as the leader of the 
 East Corinth Band he became so pop- 
 ular that when bands from other towns 
 passed through East Corinth they — 
 would stop and serenade him. 
 
 An interesting story is told of him. 
 It seems that when he was hardly 
 more than a boy his father entrusted 
 him to drive his team to Bangor to 
 deliver a load of potatoes. After at- 
 tending to the business, roughly dressed 
 country lad as he was, he strolled into 
 a music store where one of the first 
 reed organs to arrive in Bangor was — 
 being ‘exhibited. The clerk of the 
 store, thinking to have some fun at his 
 expense, with a sly wink at a group of 
 ladies to whom he was showing the in- 
 strument, turned and said, “Play us 
 a tune, bub.” Much to his astonish- 
 ment and that of his prospective cus- 
 tomers, young Parkman played the 
 organ better than any in the group 
 could have played it, although it was 
 
MUSIC AND MUSICIANS OF MAINEI897-1928 349 
 RE Ee Die AN A et A lS LE Tole SR OE hi 
 
 the first time he had ever played on 
 anything but a four octave melodian. 
 
 Soon after the Civil War ended there 
 
 were bands formed in East Corinth, 
 Kenduskeag, Exeter, Garland, and 
 Hudson, all of which were first led by 
 Lyman Parkman, who went from town 
 to town to teach them. 
 _ After Mr. Parkman’s death Addison 
 Bragg led the old East Corinth Band 
 and he was in turn followed by his 
 son, Farmer Bragg. 
 
 George Bean, a fiddler who played 
 for dances, was clarinettist in this 
 band. 
 
 Alexander (Sandy) Davis, a former 
 member of the Queen’s Band in Lon- 
 don, went from Belfast to East Machi- 
 as and organized the first brass band 
 in that town. 
 
 These are the names of those who 
 were associated with him as members 
 of the band of which he became leader: 
 
 Cyrus Blackman, Elisha Blackman, Elisha 
 Chaloner, Jacob Foster, George D. Gaddis, An- 
 drew J. Hanscom, Lyman Hall, Oliver Hall, 
 Daniel Johnson, Edwin Mallon, Samuel Marsh, 
 Henry Maloon, Michael Malaska, Henry Ray- 
 mond, Andrew Smith and John Wiswell. 
 
 George Davis Gaddis, the last to 
 survive of all those who had been 
 members of the Hast Machias Band, 
 was nearly eighty-eight years old at 
 the time of his death in 1922. He had 
 been a blacksmith all his life. 
 
 The Ellsworth Band was another 
 band that was in existence before Fort 
 Sumpter was fired upon by the Mer- 
 rimac. Henry L. Moore, its organizer 
 and leader, was acornet soloist of more 
 than local repute. When ke died in 
 1923 he was in his ninetieth year. 
 
 West Falmouth was a very musical 
 place in the sixties and seventies. Be- 
 sides an orchestra of fine musicians, 
 and a string combination for playing 
 chamber music, it supported a small 
 but excellent band. Fred Merrill was 
 the leader of the organization which 
 
 was known as the West Falmouth Band. 
 
 At the time the Farmington Cornet 
 Band was organized (1873) the instru- 
 ments for its use were purchased with 
 two hundred and fifty dollars, which 
 was raised by popular subscription, 
 and upon their arrival “they were dis- 
 played at the home of Hon J. W. Fair- 
 banks to the satisfaction of all musical 
 people.” 
 
 Wheeler’s Band, its successor, which 
 served the people of Farmington for a 
 number of years, came to be, under 
 William F. Miner, concert director, 
 one of the prominent bands of the 
 State. The personnel of this band in 
 1928 was as follows: 
 
 Cornets —William F. Miner (Director), Dana 
 Robinson, John Varnum, Fred Barton, Carroll 
 A. Matthieu, Roy Stinchfield, Clifford Small, 
 Jesse Doyen, Gordon Spinney; Flute and Pic- 
 colo — Richard Mallett; Clarinets — Henry 
 Knapp, Nellie Card, Reginald Whitney, Clinton 
 Wright, Arthur Sampson, Merton Knapp, Doris 
 P. Miner, Lloyd Constantine, Edwin Brown, 
 George Thomas, Edward Blasl; E flat Altos — 
 Myron Starbird, George Howland; Saxophones 
 — Raymond -Knapp, Carl Milliken, Mildred 
 Frederic, Barbara Gammon, A. Lorraine Leith; 
 Horns — H. W. MacBurnie (solo), Edward Be- 
 saw, Harry Goodwin, Frank Pooler, Chauncy 
 Clark; Trombones —Lester Starbird, Carll N. 
 Fenderson, Willis Porter, Victor Huart, Tracy 
 Stevens, Kenneth A. Rollins, Sherman Averill; 
 Baritones — George McL. Presson, W. Raymond 
 Davis; Basses — John Gilkey, Jordan Tarbox, 
 Charles F. Howland; Snare Drums — George 
 Rand, Winifred Chapman, Bertram Starbird, 
 Ray Stewart; Bass Drum— George Brown; 
 Cymbals — George Mosher. 
 
 The first brass band in Pittsfield 
 was organized in 1866 with John 
 Green, leader. For four years after 
 1877, when the band was reorganized, 
 R. A. Conant acted as leader and he 
 was followed in 1881 by H. C. Hunter 
 who served in that capacity almcst 
 continuously for more than _forty- 
 seven years. 
 
 In 1928 the personnel and instru- 
 mentation of the Pittsfield Band was 
 as follows: 
 
ee, 
 
 350 MUSIC AND’MUSICIANS OF MAINE 
 
 Cornets —H. C. Hunter (leader), J. N. Vail, 
 Howard Towle, Leroy Sampson, Eugene Shaw; 
 Altos — Carroll Southard, Sidney F. Jones, Ver- 
 non L. Shorey, Glendon Brailey, Harold Wood- 
 ward; Baritone —A. E. Hunt; Trombones — 
 Warren Bean, A. G. Ryan, Leland White, Clifton 
 Humphrey, F. H. Haseltine; Basses — Charles 
 Small, F. M. Fairbanks, Ray Wright, Cais = 
 Hunter; Clarinets — A. W. Gibson, C. G. Snell; 
 Snare Drum — Frank Applebee. 
 
 In 1918 Sanford and Springvale 
 supported two bands. These were the 
 Parish Band, Wilfrid Bernard, Secre- 
 tary, and the Sanford Mills Band, 
 John Cowburn, Conductor. 
 
 Smith’s Orchestra, William Smith, 
 Conductor, was another prominent 
 professional organization there at that 
 time. 
 
 In 1928 there was but one band in 
 Sanford and Springvale. This band, 
 known as the Velmo Concert Band of 
 Sanford Mills, was led by Fred J. La- 
 Vigne with thirty players and modern 
 instrumentation. 
 
 The Rumford Band was led for 
 some years by Anton Eugene Mai- 
 nente, when it was known as the 103rd 
 Infantry National Guard Band, but 
 in 1925 it was reorganized and for a 
 time was directed by Henry M. Gif- 
 ford of Portland. Under him it gave 
 several concerts in the opera house 
 and played at all outdoor events in the 
 town. 
 
 The band at the National Soldier’s 
 Home, at Togus, Maine, was always 
 one of the first concert bands in the 
 State. For more than forty-four years 
 it was directed by B. W. Thieme, a 
 native of Germany and a survivor of 
 the Franco-Prussian War. On coming 
 to America Professor Thieme took up 
 his residence in New York, where he 
 played in some of the best bands and 
 orchestras to be found in the country. 
 Later he settled in Taunton, Mass., 
 and became leader of the famous Taun- 
 ton Band. After this band had dis- 
 
 solved, on account of hard times, he 
 
 took up his residence in Boston where ~ 
 he led the orchestra connected with the — 
 Brigade Band. a 
 _ The old Winthrop Band was organ- 
 ized in 1873 with Daniel Teague, lead- 
 er, Other members and instrumenta- 
 tion were: 
 
 _ Cornets — Fred Robie, Ronald Mcllroy, El- 
 liott Wheeler, Charles Parker, Howard Packard; 
 Horns —Zenas Lougee, Marvenus Woodman, — 
 Frank Butler, C. W. Hannaford, Edgar Jackson; — 
 Baritone — Leeman Butler; Basses — Albert H. — 
 Webb, Owen Cobb, Mandeville Boyd; Piccolo — 
 a Blunt; Clarinets — John Calmun, Archie 
 
 alker. 
 
 Albert H. Young, who for years was 
 known as “Old Zeb Coon,” was the © 
 bass drummer in the band, and How- — 
 ard Packard, who lived in East Win- — 
 throp, was its first instructor. Frank — 
 Bowles, a solo B flat cornet player, 
 though not a regular member, often 
 played with it. John Calmun, wao 
 came to be one of the first clarinet — 
 players in New England, was after- — 
 wards associated with the Togus Band. — 
 
 Reference has been made in another ~ 
 chapter to the remarkable voices pos- — 
 sessed by some of the men who lived 
 
 ; 
 
 in Winthrop in the forties. Four, who ~ 
 resided there in the seventies, became — 
 members of the Winthrop Band. They — 
 organized a quartette with H. E. Gale, — 
 first tenor; Ronald C. MclIlroy, second — 
 tenor; A. H. Webb, first bass; and 
 Marvenus Woodman, second bass. 
 These men were splendid singers and 
 the quartette brought no little fame 
 to the band. For fifteen years the © 
 Winthrop Band was probably the — 
 most popular in Kennebec County. — 
 An earlier Winthrop Band which ~ 
 was first taught by Joseph Estey was — 
 later led by Charles Glidden. 
 The Skowhegan Band was organ- — 
 ized in 1859. Its first director was 
 A. C. Bradbury, a pupil of Ned Ken- 
 dall, who led the band until 1862. 
 From an old diary it is learned that | 
 . 
 
 } 
 
 ; 
 
 % 
 
 7 
 
=— 
 
 MUSIC OF THE STATE OF MAINE 1897-1928 4361 
 
 Walter Hatch “fluted in the band,” 
 John McCrillis was snare drummer, 
 Mr. Mitchell was the “fife player” and 
 William Plummer, who later became 
 its leader, was the “bass player.” 
 
 Morrison’s Orchestra of Skowhegan, 
 organized in 1861, was very popular 
 and was much in demand for dances 
 and social occasions. Almost from the 
 date of organization of Skowhegan’s 
 first marching musical organization the 
 town was not without its band. 
 
 The Citizen’s Band, organized in 
 1920, was led by Arthur Plummer in 
 1928 and the St. Cecilia Orchestra was 
 at that time conducted by Professor 
 Abbott Kendall. 
 
 The Gorham Concert Band, organ- 
 izen in 1877, gave a number of con- 
 certs in that year. 
 
 John T. Merrill of Gray, director 
 of music conventions in Cumberland 
 County, was also leader of several 
 bands, among which were the Gray 
 Band and the New Gloucester Band. 
 
 The Kennebunk Band, which was in 
 existence in 1928, was led by Arthur 
 E. Calder and the other members and 
 instrumentation were as follows: 
 
 Cornets — George C. Ward, Archie Little- 
 field, Dr. J. H. MacDonald, George R. Spiller, 
 Clinton C. Groudy; Altos — Howard T. Burke, 
 Willis H. Day, Ralph Cousens; Baritone — Sid- 
 ney E. Jennison; Trombones — Oscar A. Mitch- 
 ell, Charles W. Dennett, Harry Stansfield; Pic- 
 colo—Frank Burke; Clarinets — Roswell A. 
 Meserve, Luther A. Jones, Arthur Potter; Saxo- 
 
 phone — Walter R. Cole; Drums — Raymond 
 H. Grant, Donald F. Grant, John Nadeau. 
 
 At the time of its organization, Oc- 
 tober, 1926, Elmer Redlon was leader 
 of the Kennebunk Band. Mr. Calder 
 became the leader in March, 1927. 
 
 Older bands in Kennebunk were 
 Moore’s Military Band, Frank L. Col- 
 lins, leader, and the Kennebunk Mili- 
 tary Band, William E. Chandler, lead- 
 
 er. 
 Drew’s Waterville Band was organ- 
 
 ized in 1918 by Harry Tilden Drew 
 and came to be one of the prominent 
 bands in Central Maine. This organi- 
 zation, which in 1928 numbered thirty 
 men, has been directed by Mr. Drew 
 since its beginning. 
 
 The Waldoboro Band, one of the old- 
 est, if not the oldest in continuous serv- 
 ice in the State, was organized in 1858 
 by Newell Winslow who, with his three 
 sons, all musicians, formed the nucleus 
 of the organization. Mr. Winslow was 
 its leader and manager for more than 
 twenty years.-At his death the man- 
 agement, for a time, was taken by 
 Guard Ludwig and he was succeeded 
 by I. Gardner Reed who directed the 
 band until 1906 when he was followed 
 by Walter H. Boggs. The officers of 
 the Waldoboro Band, which, at one 
 time, was known as the Paragon Button 
 Corporation Band, in 1928 were: 
 
 Manager — Walter H. Boggs; Leader — Roy 
 Copeland; Secretary and Treasurer — Ernest 
 Castner; President — Otis Ellis; 
 and the others who comprised its per- 
 sonnel were: 
 
 Cornets — Herman H. Kuhn, Claud L. Fitch, 
 E. G. Castner, Ernest A. Walter; Altos — Frank 
 E. Boggs, Fred G. Boggs, Fred Keaser, Harold 
 Glidden; Clarinets — John Greenrose, Luther 
 Clark, Aaron Clark, George Croudis, Otis Ellis; 
 Trombones — Elmer Wanig, Eugene McLaugh- 
 lin, George Olliver; Baritone — Roy Copeland; 
 
 Bass — Walter H. Boggs; Snare Drum — Arthur 
 Clark. 
 
 The Waldoboro Band played for 
 twenty-one consecutive years for the 
 North Knox Fair. 
 
 The old American Band of West- 
 brook was at one time one of the best 
 known bands in the State. At the 
 band muster at Lake Maranacook in 
 1890 it played in competition with 
 forty-eight bands, which had come 
 from all parts of New England, and 
 won one of the prizes. The members of 
 the band at that time were: 
 
 Howard Babb, George S. Rood, William Dav- 
 ie, Edwin W. McLellan, Richard C. Boothby, 
 
\ 
 352 
 
 MUSIC AND MUSICIANS OF MAINE 
 
 Mark E. Allen, Edgar A. Durell, Augustus C. 
 Hydrie, Claude Lefeye, Fred W. Babb, Harland 
 P. Babb, Edwin A. Richardson, John Sullivan, 
 John Minnick, William E. Knowlton, John D. 
 Knowlton, George H. Knowlton, Charles A. 
 Hurd, Charles A. Carleton, Jr., G. Fred Cook, 
 Samuel A. Guimond and J. Melvin Knight. 
 
 Howard Babb was the leader of the 
 American Band of Westbrook. George 
 Rood, the drum major, who was tall 
 and as straight as an arrow, led the 
 band with a Civil War musket which 
 he handled with great cleverness. 
 
 In 1922 the Westbrook Band was 
 led by Charles A. Guimond, a mem- 
 ber of Chandler’s Band for twenty 
 years. 
 
 The Presumpscot Band of Cumber- 
 land Mills was organized in 1889 by 
 Tony Clark, who later organized a 
 boy’s band known as Tony Clark’s 
 Band of Westbrook. The Presump- 
 scot Band came to be very popular as 
 a parade band. Its membership in 
 1892 included: 
 
 Jacob A. Bancroft, Henry W. Anderson, Roy- 
 den R. Leighton, Christian Petersen, Joseph Le- 
 beau, William Spiller, Hans Smith, Fred L. El- 
 well, Charles W. Frank, Fred H. Naylor, Edward 
 Thomes, Willard Mayberry, Bertram Lesser, 
 Robert W. Debeck, Augustine Rogers, Nathaniel 
 A. Blanchard, Henry L. Hendrickson, Walter T. 
 Anderson, Herbert Richardson, Ralph E. Tay- 
 lor, Frank I. Moore, Lester Verrill, John W. 
 Foye, Stephen E. Elwell, James M. Kelly and 
 Leonard H. Debeck. 
 
 Frank I. Moore was at one time lead- 
 er of the Presumpscot Band. 
 
 For some years the little City of 
 Westbrook not only boasted a band 
 with a state-wide reputation, and a 
 boy’s band, but it claimed the only 
 Danish Church Band in the State and 
 a Scotch Band of drummers and bag- 
 pipers. Rev. C. C. Kloth was the 
 leader of the Danish Church Band, of 
 which he was also the organizer and 
 teacher, and among its members were: 
 
 Alfred Christensen, Cornelius Hansen, Conrad 
 
 Kellar, Rev. C. C. Kloth (leader), Kriver Kloth, 
 Irving Neilsen, Paul Neilsen, Christian Neilsen, 
 
 Christian Smith, Henry Thompson and Chris- 
 tian Winther. 
 
 The Cumberland Mills Scotch Band, 
 named for the northern section of the 
 City of Westbrook, was led by Joseph 
 Cairns, and the other members of this 
 picturesque band in 1927 were: 
 
 Christopher Cairns, John Cairns, Joseph © 
 Cairns, Jr., William Cairns, Thomas Cairns, 
 Francis MacPherson, Carroll M. Richardson, 
 John Smith, Christie Smith, Joseph Smyth. 
 
 One of the most picturesque little 
 towns in Maine is Yarmouth, which, in 
 1928, had a band numbering forty men. 
 
 Ever since 1857 Yarmouth has had 
 its band. The old Yarmouth Band was 
 for a short time, during the Civil War, 
 attached to the First Maine Regiment. 
 
 The Yarmouth Brass Band, organ- 
 ized in 1866, was composed of six vet- 
 eran musicians from the volunteer 
 army. Samuel Chadbourne was the 
 leader and Enos A. Blanchard was di- 
 rector and among its first members 
 were Edward Raynes, John S. Greeley 
 and Charles L. Blake. In 1868 William 
 L. Loring became director, but, ten 
 years later, when Professor Blanchard 
 returned from Boston, where he had 
 moved some years before, he again took 
 up the directorship. In 1880 Edward 
 Raynes was leader of the band and on 
 July 5 of the following year, at a band 
 tournament held at Lake Maranacook, 
 this little band, which consisted of 
 eighteen pieces, played its selection in 
 such a manner that it thrilled the twen- 
 ty thousand people who had assembled 
 and won for it the third prize. Those 
 who were members of the Yarmouth 
 Brass Band at this time, all of whom 
 participated in the contest, were: 
 
 Director —E. A. Blanchard; Cornets — Ed- 
 ward Raynes, O. A. Mitchell, A. H. Buxton, 
 William L. Loring, C. A. Stoddard; Clarinet — 
 J. T. Hammon; Altos — Joseph Raynes, Mun- 
 roe Stoddard, Albert Grant; Tenors—C. L. 
 Blake, Nicholas Grant; Baritone — H. D. Brack- 
 
 ett; Basses —J. S. Greeley, A. H. Humphrey; 
 Solo B flat Cornet — A. F. Wyman; Bass Drum 
 
SS 
 
 MUSIC OF THE STATE OF MAINE 1897-1928 353 
 
 OLD AMERICAN BAND OF WESTBROOK. 
 GEORGE KNOWLTON, GEORGE S. ROOD, DRUM MAJOR, R. C. BOOTHBY, MARK ALLEN, FRED BABB, CHARLES 
 CARLETON, SECOND ROW-— CHARLES HURD, JOHN MINNICK, AUGUSTUS C. HYDRIE, HOWARD BABB, 
 
 CONDUCTOR, EDWIN A. RICHARDSON, 
 G. FRED COOK; 
 KNIGHT, SAMUEL A. GUIMOND. 
 
 —Albert Grant; Snare Drum—George B. Stone; 
 Cymbals — P. B. Dennison. 
 
 Edward Raynes continued to lead 
 the band until his death, January 1, 
 1922, since when George E.. Raynes has 
 been the director and leader of the Yar- 
 mouth Band. 
 
 In 1928 the members and instrumen- 
 tation of the Yarmouth Band were as 
 follows: 
 
 Director — George E. Raynes; Cornets — Paul 
 H. McIntire (solo), George B. Colesworthy, 
 Warren E. Winslow, William W. Simonton, Wil- 
 liam H. Freeman, Harry H. Colesworthy, Arthur 
 W.Goodwin; Altos—John A. Leslie (solo E flat), 
 Earl A. Tryon, Walter E. Curtis, Joseph Raynes, 
 Harry B. Hodsdon; Trombones — Fred F. Hub- 
 bard, Wallace Purinton, George W. Collins, Rob- 
 ert C. Peck, James D. Marston, Albert L. Bar- 
 bour; Baritones — James E. Bradley, Solon D. 
 Conner; Basses — Ralph E. Knight, Alfred W. 
 Doughty; Piccolo — John J. Beote; Clarinets — 
 Percy C. Chipman, Frank Kimball, William F. 
 Croudis, George S. Croudis, J. Burton Gooch, 
 William H. Merchant, David E. Loring; Saxo- 
 phones — Joseph Warren Raynes, George W. 
 Newell, Douglass Hill; Snare Drum — Willett F. 
 
 LEFT TO RIGHT: TOP ROW — CLAUDE LEFEYE, JOHN KNOWLTON, 
 
 HARLAND P. BABB, WILLIAM KNOWLTON, EDGAR A. DURELL, 
 FRONT ROW — JOHN SULLIVAN, EDWARD MCLELLAN, WILLIAM DAVEY, J. MELVIN 
 
 Knight; Cymbals — Bernard W. Croudis; Bass 
 Drum — Ferdinand M. Corliss. 
 
 The Fay and Scott Band of Dexter, 
 whose membership has always been 
 comprised largely of the employees of 
 the Fay and Scott Machine Shop, was 
 organized in 1916 and became especi- 
 ally notable, not only on account of its 
 being sponsored by an industrial or- 
 ganization, but because its leader, for 
 more than four years, was a woman. 
 Ralph B. Carleton was its organizer 
 and for some time its conductor, but, 
 from 1924 to 1928, the band was suc- 
 cessfully directed by Mrs. Lillian Lu- 
 cinda Snell. 
 
 The Dover-Foxcroft Band was for 
 some years conducted by Joseph Tay- 
 lor, a director of more than ordinary 
 ability. 
 
 In 1928 George W. Chaffee, who re- 
 ceived his training under United States 
 Army and Artillery Band instructors, 
 and who had undertaken the leader- 
 
354 
 
 ship of the Dover-Foxcroft Band in 
 1922, was still its conductor. 
 
 Smith’s Vinalhaven Band was one 
 of the important bands in Knox Coun- 
 ty and from its ranks a number of mu- 
 sicians went to play in bands and or- 
 chestras of national prominence. In 
 1928 the following were members of 
 this band: 
 
 Cornets — Joseph Kittredge (leader), Veli 
 Holmstrom, Leo Lane, Keith Carver, Scott 
 Mills; Clarinets —J. O. Roberts, L. C. Smith, 
 Vernard Warren, Max White, Roy Ames, T. 
 Holmstrom, Hugh Dyer; Trombones — Kilton 
 Smith, George Swears, Earl Calder, W. A. Smith, 
 E. A. Smalley; Altos — Neil Calderwood, Wal- 
 ter Lyford, Jr., Alfred Creed; Saxophones — 
 Bruce Grindle, Fred Chilles, Leon Arey, Harold 
 Arey, Arthur Patrick, Elwood Salls; Basses — 
 
 Lee Williams, Louie Merrithew, John Nichols; ’ 
 
 Bass Drum — Bylie Lyford; Snare Drum — Cal- 
 vin Vinal; Baritone — Bernard Ericson. 
 
 The Passamaquoddy Indian Band 
 is an interesting organization that rep- 
 resents only one phase of the develop- 
 ment of the musical side of the North 
 American Indians. The young men 
 and women of the Passamaquoddy 
 tribe have inherited their musical in- 
 stincts from their aboriginal forbears. 
 Many of the Indian maidens, trained 
 by, the Sisters of Mercy at the St. 
 Anne’s Convent School, became pro- 
 ficient on the piano, violin, cornet and 
 
 other instruments, while from the young. 
 
 men of the village was organized a 
 small band, among the members of 
 which have been: 
 
 Joe W. Dana, Simon Dana, Newell Noel, Steve 
 Newell, John Newell, Calvin Austin Nicholas, 
 Soctomer Sabattis, Simon Soctomer, Sabattis 
 Mitchell, Pete Stanley. 
 
 In 1925 the Passamaquoddy Band 
 played its first important engagement 
 when it participated at the St. Anne’s 
 Catholic Church in the celebration of 
 
 MUSIC: AND MUSICIANS OF MAINE 
 
 the Midnight Mass, when the congre- 
 gation, a choir of trained voices, altar 
 boys and musicians, was made up of 
 Indians, all of whom were of this an- 
 cient tribe. 
 
 Class Thirteen of the Sunday School 
 of the St. Lawrence Church at Port- 
 land, organized by Henry F. Merrill in 
 1906, with a membership originally 
 composed of seven young men, has 
 grown to be not only one of the most 
 noted Sunday School Classes in the 
 country, but, in 1928, it was the second 
 largest in New England. From among 
 its seven hundred and twenty members 
 a band of forty-five pieces, known as 
 the Class Thirteen Band, was organ- 
 ized in January of that year. Its lead- 
 er was Leroy L. Baker, a native of 
 Maine, and organist and a a of 
 several ocean steamship bands, includ- 
 ing the Steamship Leviathan Concert 
 Band. Every member of the Class 
 Thirteen Band, in 1928, was affiliated 
 with this famous Sunday School Class, 
 and among them were solo players from 
 the United States Fifth Infantry, Rig- 
 by’s and Chandler’s Bands of Portland. 
 The Class Thirteen Band was declared 
 to be the equal of some of the best 
 bands, connected with religious organ- 
 izations, in America. 
 
 Other bands in Maine in 1928 were: 
 
 Augusta Cadet Band, Bar Harbor Cadet Band, 
 Boothbay Harbor Band, Bucksport Military 
 Band, Calais City Band, Camden Cornet Band, 
 Danforth Band, Citizen’s Band of Dexter, Rubie 
 Band of East Livermore, East Millinocket Band, 
 Eastport Band, Guilford Band, Harmony Band, 
 Houlton Band, Colonial Band of Kennebunk, 
 Eastern Band of Lincoln, Matinicus Brass Band 
 of Matinicus Isle Plantation, Milo Military 
 Band, Monson Cornet Band, Palmyra Band, 
 Newport Military Band, Patten Band, K. of P. 
 
 Boy’s Band of Presque Isle, Waterville Military 
 Band, Turner Band, Winterport Cornet Band. 
 
 Bn Renee Bees) Mae 
 
a ee ee 
 
 Giver TE Rev II 
 
 Tue Music or tue State or Maine 
 
 BioGRAPHICAL SECTION, 1927-1928 
 
 le is fitting in a history of music and musicians of a state, that one chapter 
 
 should be devoted to those who were living at the time of its going to press, 
 for the musicians of today are the makers of the musical history of tomorrow; 
 and while the names of many, who, in their day, are well known to their con- 
 temporaries, would, but for the hand of the historian, be forgotten in a few short 
 years, the names of others, who are then but slightly known, may become house- 
 hold words to a future generation. 
 
 In either case, available facts of interest in their musical activities are worthy 
 of preservation. 
 
 In the following paragraphs will be found brief references to more than eighteen 
 hundred Maine musicians and members of musical organizations, nearly all of 
 whom were living in 1928, together with the last known address of each. 
 
 References to facts of musical interest in the lives of each of these have been 
 made without attempt to praise or to criticize. | 
 
 Below will be found an explanation of some of the abbreviations that occur 
 therein. The meanings of other and more commonly used ones are so obvious 
 that they require no detailed definition. 
 
 Acad., Academy; b., born; Bapt., Baptist; Cath., Catholic; Ch., Church; chmn., chairman; Coll., 
 College; com., committee; condr., conductor; Cong., Congregational; Corr. Sec., Corresponding 
 Secretary; d., daughter of; deg., degree; ed., educated at; g.d., granddaughter; g.s., grandson; grad., 
 graduate or graduated; H.S., High School; Inst., Institute; m., married; Meth., Methodist; mt., 
 music teacher (generally piano teacher); Pres., President; s., son of; sch., school; sem., seminary; 
 t., teacher of; Unit., Unitarian; v.t., vocal teacher. 
 
 ter and Clara Poole; piano with Alfred 
 Brinkler; sang in concert in New York 
 and B. F. Keith Circuit. Address, Colo- 
 nial Ave., Portland, Me. 
 
 Allen, Caroline, mem. Maine Festival Cho- 
 rus, 20 yrs. Address, Bangor, Me. 
 
 Allen, Mrs. Effie Saunders, pianist, organ- 
 ist; b. Mechanic Falls, Me., Feb. 18, 
 1877; d. Edward Augustine and Almeda 
 Saunders; m. Daniel T. Allen, Sept. 12, 
 1908; studied piano with E. W. Hans- 
 com, Auburn; Mrs. L. W. Clarke and 
 May Hawkes, Mechanic Falls; Mrs. C. 
 
 Aagerson, Elizabeth, m.t. 436 St. John St., 
 Portland, Me. 
 
 Adell, M. Louise, m.t. Address, Rumford, 
 Me. 
 
 Albling, Sadie, teacher of piano; d. Percy 
 and Fannie Albling; studied with Flor- 
 ence Libby, Anna Carey Bock and at the 
 Curtis Institute of Music, Philadelphia. 
 Address, 79 Sherman St., Portland, Me. 
 
 Alden, Zilpha May, organist and teacher 
 of piano; b. Sebec, Me.; d. Walter H. 
 and Leonora M. Alden; studied with 
 
 Mrs. Elmer Jenkins, University Exten- 
 sion Conservatory, normal piano; leader 
 of senior choir, Methodist Church; org. 
 Park St. Meth. Church; composer, “Oak 
 Leaves Reverie.” Res. 17 Park St., Milo, 
 
 A. Stephens, So. Paris; organ, Helen 
 Conant, Lewiston. Vocation, teacher in 
 public schools. Res., 19 Oak St., Mechan- 
 ic Falls, Me. 
 
 Allen, Florence I., m.t. 12 Sawyer St., 
 
 Allen, Blanche Viola, lyric soprano; stud- Portland, Me. 
 ied voice with A. R. Frank, Marion Car- Allen, Frank C., b. Portland, Me., Nov. 1, 
 
 355 
 
 Me 
 
356 
 
 MUSIC AND MUSICIANS OF MAINE 
 
 qe en ee ee 
 
 1870; s. S. Colman and Helen Bailey 
 Allen; m. Harriet Libby, June 5, 1895; 
 ed. Portland Schools; mem. Masonic 
 Order, Active 33rd Scottish Rite; Past 
 Pres. Maine Charitable Mechanics Asso.; 
 mem. Portland Music Commission, 5 
 yrs.; Treas. Cressey & Allen. Vocation, 
 merchant, pianos and music merch. Res., 
 80 Spruce St., Portland, Me. 
 
 Allen, Mrs. Jerry, m.t. Address, Kendus- 
 keag, Me. 
 
 Allen, William C., vocalist (tenor); b. 
 Brownfield, Me.; s. Charles G. and Eliz- 
 abeth Burbank Allen; m. Clara V. Mor- 
 rill; Vice Pres. Western Me. Festival 
 Asso.; mem. Portland Club, Portland 
 Country Club, Portland Rotary Club. 
 Vocation, merchant. Res., 53 West St., 
 Portland, Me. 
 
 Ames, Alfred K., mem. Maine Festival 
 Chorus, 25 yrs. Address, Machias, Me. 
 
 Ames, Mrs. Alfred K., accompanist, Fes- 
 tival Chorus. Address, Machias, Me. 
 
 Ames, Mrs. Ethel Whittier, teacher of 
 piano and organ; b. Skowhegan, Me.; d. 
 Smith and Almena Towle Whittier; 
 studied, N. E. Conservatory, Boston; 
 org. Bethany Baptist Church; accom- 
 panist, Me. Festival Chorus. Address, 
 Skowhegan, Me. 
 
 Ames, Frank S., mem. Maine Festival 
 Chorus, 25 yrs. Address, Machias, Me. 
 
 Ames, Morrill H., violin maker. Res., 152 
 Pearl St., Portland, Me. 
 
 Ames, Nellie H., accompanist, Festival 
 Chorus. Address, Machias, Me. 
 
 Ames, Virginia, violinist, music teacher; b. 
 Skowhegan, Me., May 18, 1904; d. Ralph 
 W. and Ethel Whittier Ames; ed. Bates 
 College, Lewiston, Me.; studied with J. 
 A. Kendall, David Fisher, Seldon Crafts; 
 mem. Paerian Club and Clef Club, 
 Presque Isle, Me.; former mem. Macfar- 
 lane Club (Bates College, Lewiston), 
 and Philharmonic Club, Lewiston. Res.., 
 28 Summer St., Skowhegan, Me. Mail 
 Address, Aroostook State Normal School, 
 Presque Isle, Me. 
 
 Anderson, Mrs. Frances Drinkwater, solo- 
 ist (contralto) ; studied with Sara Peakes 
 of Philadelphia, Madame Ravi-Brooks of 
 Bangor; soloist Bangor Festival, 1904; 
 soloist Central Congregationa! Church, 
 Bangor, Bangor Symphony Orchestra. 
 Address, Augusta, Me. 
 
 Anderson, Robert D., teacher of banjo, 
 mandolin, guitar; b. Portland, Me., Nov. 
 
 9, 1899; s. Stephan J. and Annie M. An- 
 derson; studied with Mrs. A. J. O’Brion, 
 F. Knapp, S. A. Thompson and Sister 
 Evangalista; State organizer and head 
 of Me. Chapt. of The American Guild of 
 Banjoists, Mandolinists and Guitarists. 
 Res., 16 Sherman St., Portland, Me. 
 
 me Clara, m.t. Address, Eastport, 
 
 e. 
 
 Andrews, Miriam B., composer, “Maine.” 
 Address, Gorham Normal School, Gor- 
 ham, Me. 
 
 Anthony, Aline E., vocalist; mem. Cecilia 
 Club, Augusta. Address, Augusta, Me. 
 
 Arbour, Joseph Edouard, instrumentalist 
 (slide trombone); b. Joliette, P.Q., Can- 
 ada, Dec. 4, 1899; s. Barthelemy and Ce- 
 lina Boivert Arbour; ed. public schools 
 of Augusta, Me.; studied with Ernest R. 
 Hill; mem. Augusta Symphony Orches- 
 tra. Address, 47 Washington St., Au- 
 gusta, Me. 
 
 Archibald, Annie L., m.t. 
 State St., Bangor, Me. 
 
 Archibald, Bernard, pianist; organist Uni- 
 tarian Church, Houlton, Me.; chorus di- 
 rector. Address, Houlton, Me. 
 
 Arey, R. Mont, soloist (clarinet); b. Vi- 
 nalhaven, Me.; s. Rufus and Eliza EIl- 
 len Arey; studied under private teachers 
 in Boston; solo clarinet player with 
 Rochester Symphony Orchestra, Ro- 
 chester, N. Y.; formerly mem. Detroit 
 Symphony, Philadelphia Symphony and 
 Brooklyn Mark Strand Orchestras. Ad- 
 dress, Rochester, N. Y. 
 
 Armstrong, Grace, violinist. Address, Rock- 
 land, Me. 
 
 Armstrong, Inez F., accompanist, Festival 
 Chorus. Address, Waterville, Me. 
 
 Armstrong, J. J., conductor, Festival Cho- 
 rus. Address, Wilton, Me. 
 
 Armstrong, Louise Holden, pianist; b. 
 Portland, Me.; d. Walter S. and Mary 
 Yeaton Armstrong; studied music with 
 Alice Philbrook; Librarian Portland 
 Rossini Club; mem. MacDowell Club; 
 former mem. Portland Festival Chorus. 
 Address, 78 High St., Portland, Me. 
 
 Armstrong, Mrs. Molly M., violinist; b. 
 Portland, Me.; d. Robert and Sara Mul- 
 lern; m. Harvard M. Armstrong; ed. 
 Portland Schools; studied with David 
 Fisher and Catherine Patrick; mem. 
 Rossini Club Orchestra. Vocation, Assist- 
 ant Postmaster, Cape Cottage, Me. Ad- 
 dress, Cape Cottage, Me. 
 
 Address, 18 
 
BIOGRAPHICAL SECTION—1927-1928 357 
 oo  t—“*##;# 
 
 Armstrong, Mrs. W. H., vocalist, music 
 teacher. Address, 23 Park St., Rockland, 
 Me. 
 
 Arris, Lois Goddard, teacher of piano; b. 
 Auburn, Me., Dec. 29, 1898; d. Edward 
 H. and Ella H. Goddard; m. Harold B. 
 Arris, Feb. 3, 1921; studied with Eman- 
 uel Wad of Peabody Inst., Baltimore; 
 mem. Philharmonic Club of Lewiston 
 and Auburn. Address, Danville, Me. 
 
 Atherton, Mrs. Lilla, conductor, Festival 
 Chorus. Address, Dover-Foxcroft, Me. 
 
 Atherton, Myles, accompanist, Festival 
 Chorus. Address, Dover-Foxcroft, Me. 
 
 Atwood, Frank R., Pres. Bangor Festival 
 Chorus (mem. more than 20 yrs.). Ad- 
 dress, Bangor, Me. 
 
 Atwood, Mrs. Frank R., mem. Bangor 
 Festival Chorus more than 20 yrs. Ad- 
 dress, Bangor, Me. 
 
 Auger, A. L., m.t. Address, 66 Third St., 
 Auburn, Me. 
 
 Averill, Mrs. Albert E., accompanist, Fes- 
 tival Chorus. Address, Rockland, Me. 
 
 Averill, Mrs. Louise, mem. Me. Festival 
 Chorus, 20 yrs. Address, Old Town, Me. 
 
 Avigliana, Mlle. Giovanna, soloist and 
 concert artist; b. Gardiner, Me.; d. Jo- 
 seph and Mary Carr Armstrong; ed. 
 private schools, Gardtner, Me., and grad- 
 uate of St. Joseph’s Academy, Emmetts- 
 burg, Md., at age of 15; studied with 
 Pedro de Abella, Francesco Lamperti 
 (Italian Opera); sang in opera in 25 
 Italian cities, 30 different operas; stu- 
 dent and professional life in Italy covered 
 a period of about Io yrs.; sang the role 
 of Donna Elvira in Don Giovanni with 
 Adelina Patti at Covent Garden, Lon- 
 don; studied oratorio with Sir George 
 and Lady Macfarren; appeared in Judas 
 Maccabeus with the Sacred Harmonic 
 Society of London; other engagements 
 in oratorio in Glasgow, Birmingham, 
 Newcastle and other English and Scot- 
 tish cities. Vocation, vocal teacher. Ad- 
 dress, 89 St. James Ave., Boston, Mass. 
 
 Axelsen, Edmund A., mem. Warren Male 
 Quartette. Address, Westbrook, Me. 
 
 Bachelin, Mrs. Joseph, m.t. Rumford, Me. 
 
 Bacon, Harry, mem. Portland Municipal 
 Orchestra (1st violin). Address, Port- 
 land, Me. 
 
 Bagley, Mrs. Alice Parkman, teacher of 
 piano and cornet; b. Charleston, Me.; d. 
 Lyman and Rowena (Stiles) Parkman; 
 
 m. George Bagley, Oct. 4, 1902; ed. Bos- 
 ton, Mass.; studied piano with Prof. 
 Tufts, Mrs. Colton and Edith Damon 
 Clark; cornet, R. B. Hall and H. C. 
 Brown of Boston; organist 15 yrs. at 
 Methodist Church, East Corinth; cornet 
 soloist Methodist Church, Pittsfield 
 (1918); teacher of piano in Bangor for Fs 
 yrs. and has been leader of numerous 
 orchestras; at present organist at Bap- 
 tist Church, East Corinth. Address, 
 Maine St., East Corinth, Me. 
 
 Bagley, Sarah Farnham, teacher of piano, 
 voice, harmony and other theoretical 
 subjects; b. Woolwich, Me.; d. William 
 Henry and Laura Barnes Bagley; ed. 
 Mrs. Potter’s School for Young Ladies, 
 Everett, Mass.; graduate N. E. Conser- 
 vatory of Music, 1907; studied piano 
 with Carl Stasny, Carl Baermann, Louis 
 C. Elson; theory and composition with 
 George Chadwick and organ with Hen- 
 ry Dunham; taught 7 yrs. Me. Wesleyan 
 Sem.; former mem. Handel and Haydn 
 peers Boston. Address, Woolwich, 
 
 e. 
 
 Bailey, Mrs. Arthur, vocalist. Address, 
 
 887 Forest Ave., Portland, Me. 
 
 Bailey, Bessie, mem. Festival Chorus, 25 
 yrs. Address, Bangor, Me. 
 
 Bailey, Mrs. Tabor, vocalist; mem. Bach 
 Choir, Bangor. Address, Bangor, Me. 
 
 Baird, Mildred Louise, teacher of piano; b. 
 Turner, Me., Nov. 23, 1894; d. Charles 
 H. and Grace Holman Webb; m. Elmer 
 L. Baird, Sept. 1, 1017; studied with 
 Grace Rogers; pianist Pittsfield Festival 
 re for 2 yrs. Address, St. Albans, 
 
 e. 
 
 Bakeman, Helen. School Music Super- 
 visor. Address, Kennebunk, Me. 
 
 Baker, Charles E., vocalist (bass); former 
 mem. High St. Congregational and Sec- 
 ond Parish Church Choirs and Portland 
 Men’s Singing Club; treas. Milliken 
 Tomlinson Co. Address, 307 Commer- 
 cial St.; res., 369 Danforth St., Port- 
 land, Me. 
 
 Baker, Hilda, violinist; mem. Portland 
 Rossini Club. Address, 8 Chapel St., So. 
 Portland, Me. 
 
 Baker, Richard M., vocalist (tenor); mem. 
 Portland Men’s Singing Club. Address, 
 g1 Lincoln St., Portland, Me. 
 
 Baker, Rev. William C., vocalist (tenor); 
 b. Worcester, Mass., Oct. 20, 1863; s. 
 Joseph and Martha Jane (Perrin) Baker; 
 ed. at Conference Seminary, East Green- 
 
358 MUSIC AND MUSICIANS OF MAINE 
 
 wich, R. I.; mem. of East Maine Confer- 
 ence; pastor at Troy, No. Vassalboro, 
 Vassalboro, Searsmont, So. Thomaston, 
 Spruce Head, Hartland, St. Albans, 
 Sheepscot, Maine Conference, Fryeburg 
 Harbor, Chatham, N. H., Orr’s Is., 
 Bailey’s Island, Wayne, No. Wayne, 
 No. Augusta, West Scarboro, Gorham 
 and Chicopee. Address, Gorham, Me. 
 
 Baldwin, Clinton D., vocalist (tenor); b. 
 Verona, N. J., May 23, 1874; s. DeWitt 
 C. and Anna F. Baldwin; ed. San Fran- 
 cisco; m. Carrie S. Cook, Jan. 23, 1895; 
 studied with Prof. Percy A. R. Dow; 
 mem. First Meth. Episcopal Church 
 Choir, Pine St., Bangor; formerly leader 
 Wesleyan Chorus. Vocation, purchasing 
 agent, Bangor and Aroostook R. R. Ad- 
 dress, 348 State St., Bangor, Me. 
 
 Baldwin, Louise (see Mrs. Alberto Ran- 
 degger). 
 
 Ball, Mary E., teacher; b. East Corinth, 
 Me.; d. Benjamin and Lettice (Whit- 
 more) Ball; studied under Madam Zim- 
 merman and others; organist, East Cor- 
 inth Church in 1856; has been connected 
 with the Baptist Church Choir at inter- 
 vals as organist for a period of more 
 than so yrs. Address, Pleasant Place, 
 Waterville, Me. 
 
 Ballard, Charmanatta Patricia Adollo, 
 music teacher, violinist, pianist, cornet- 
 tist; b. On the High Seas, June 11, 1889; 
 d. Col. Edward H. and Nancyetta Thyng 
 Ballard; ed. St. Catherine’s Academy, 
 Montreal, Canada; St. Joseph’s Acad- 
 emy, Portland, Me.; studied piano with 
 Hermann Kotzschmar, Harvey Murray, 
 Portland; studied violin with David E. 
 Fisher, Portland, Prof. Pullen, Bangor, 
 and Matusayi, New York; cornet with 
 B. W. Thieme, and Levy and Hartmann 
 of N. Y. City; mem. Fadettes and Bos- 
 tonia Ladies’ Orchestras; mem. Riedle 
 Demming Band, Worcester, Mass.; In- 
 structor of Music and Languages; Pro- 
 fessional Astrologer. Res., 65 Spring St., 
 Apt. 6, Portland, Me. 
 
 Banks, Mrs. Frank, org. Jefferson St. Bap- 
 tist Church. Address, Biddeford, Me. 
 
 Barker, Georgia, m.t. Address, Presque 
 Isle, Me. 
 
 Barker, Ruth Wilkins, vocalist; b. Presque 
 Isle, Me., Oct. 5, 1891; d. Charles H. and 
 “Annie Kempton Wilkins; m. Emerald J. 
 Barker, Aug. 21, 1917; ed. Aroostook 
 -State Normal School; studied music with 
 Mrs. Lou Upham and Mrs. J. Hollis 
 
 - Lindsay; mem. choirs at Presque Isle 
 
 and Houlton Congregational Churches; 
 Treas. Houlton Music Club. Address, 
 22 Bowdoin St., Houlton, Me. 
 
 Barnard, Herbert W., Jr., vocalist (tenor) ; 
 
 b. Calais, Me., Aug. 28, 1865; s. Herbert 
 W. and Ellen Young Barnard; m. Edith 
 Megquier; ed. Calais, Me.; studied with 
 William H. Dennett; mem. First Parish, 
 Congress Square and High St. Church 
 Choirs; charter member Portland Men’s 
 Singing Club; mem. Portland Music 
 Commission; Treasurer, Burnham & 
 Morrill Co. Res., 64 Neal St., Portland, 
 Me. 
 
 Barnes, Annie M., vocalist, pianist; b. Nor- 
 
 way, Me., April 17, 1871; d. Albert and 
 Louise (Lakin) Richardson; m. Charles 
 P. Barnes, Aug. 19, 1896; ed. Norway 
 High School, A. B. Colby College, 1894; 
 studied with Madame Scalar (Minnie A. 
 Plummer); Librarian Houlton Music 
 Club; formerly teacher of piano; partic- 
 ipated in Chapman Concert in Norway, 
 IOIO-I1; men W. Gl Uy ae 
 O. E. S., Am. Leg. Aux., Sigma Kappa, 
 Houlton Woman’s Club, Mayflower De- 
 scendents, American Association Univ. 
 Women, Guardian Camp Fire Girls. Ad- 
 dress, 108 Main St., Houlton, Me. 
 
 Barnes, Charlotte, m.t. Address, 456 Ham- 
 
 mond St., Bangor, Me. 
 
 Barnes, Helen Mary, music supervisor; b. 
 
 South Paris, Me., May 7, 1891; d. Thom- 
 as S. and Harriett Evelyn Barnes; ed. 
 American Institute of Normal Methods, 
 Lasell Seminary, Auburndale, Mass.; 
 studied with Howard Stevens, Henrietta 
 Rice, C. Y. Arthurs; mem. Congrega- 
 tional Church Choir, So. Paris (mezzo- 
 soprano); mem. Maine Supervisors of 
 Music Asso. Address, 3 High St., So. 
 Paris, Me. 
 
 Barnes, Mrs. M. D., mem. Me. Festival 
 
 Chorus, 30 yrs. Address, Bangor, Me. 
 
 Barnes, Samuel Norman, vocalist (bass); 
 
 b. Todmorden, Yorkshire, England, Nov. 
 16, 1882; s. John William and Sarah 
 Stott Barnes; m. Rose Ina Harvey, July 
 21, 1909; ed. public schools England and 
 Haverhill, Mass., Shaw’s Business Coll., 
 Portland, Me.; member vested male 
 choirs from age of 7 in England to close 
 of year 1920 (31 yrs.); member of quar- 
 tet, Free Baptist Church, Portland, Me., 
 1921-1922; Westbrook Congregational 
 Church, 1923, 1924, 1926, 1927-8; charter 
 member, Portland Men’s Singing Club; 
 Treas. 1922-1925; mem. American Le- 
 
 nn Sle 
 
 Pr Bic sepia Ga a Rate igs SPN RS a ah ll 
 
BIOGRAPHICAL SECTION—1927-1928 
 
 gion, Polyphonic Society of Portland, 
 Choral Art Society. Vocation, Manu- 
 facturer’s Agent. Address, 42 Prospect 
 St., Portland, Me. 
 
 Barnett, Mrs. Floyd L. (Helen Bradbury), 
 pianist; mem. Portland Rossini Club. 
 
 Address, 1223 Congress St., Portland, 
 Me. 
 
 Barney, Mrs. G. Mortimer (Lou Duncan 
 Barney), vocalist (soprano); b. Rock- 
 land, M 
 and Helen Adams Duncan; m. George 
 Mortimer Barney, Jan. 10, 1893; studied 
 with Clara Smart, Anna Granger Dow 
 and William R. Chapman; priv. mem. 
 Portland Rossini Club; soloist at the 
 first Maine Musical Festival Concert on 
 program with Lillian Nordica. Ad- 
 dress, 93 State St., Portland, Me. 
 
 Barnum, Mrs. Grace Haskell, concert solo- 
 ist (soprano); b. Portland, Me.; studied 
 with Errani and Madame Ashforth of 
 New York. Address, Brooklyn, N. Y. 
 
 Baron, Harry Morris, violinist; b. New 
 York, Dec. 31, 1908; s. Max and Rose 
 Baron; studied with L. G. Fenderson. 
 Vocation, clerk. Address, 344 Main at 
 Lewiston, Me. 
 
 Barrett, Lew L., m.t. (drums). 129} Wood 
 St., Lewiston, Me. 
 
 Bartlett, Mrs. Charles, Honorary Member 
 Philharmonic Club, Auburn-Lewiston. 
 Address, Lewiston, Me. 
 
 Bartlett, James Carroll, vocalist (tenor), 
 concert artist; b. Harmony, Me., June 
 14, 1850; s. Cyrus and Sarah Butler 
 Bartlett; m. Alice Hamant, Jan. 6, 1897; 
 ed. N. E. Conservatory; studied with 
 Emery, Osgood, O’Neill and Shakspere; 
 mem. Camilla Urso Concert Co. (1875- 
 6), Careno Sauret Co., Barnabee Con- 
 cert Co., soloist Old West Church, Unity 
 Church and Berkeley Temple, Boston, 
 Harvard Church, Brookline, Plymouth 
 Church, Worcester, King’s Chapel, Bos- 
 ton, Plymouth Church, Chicago; soloist 
 at Arlington St. Church, Boston, since 
 1900. Address, Main St., Medfield, Mass. 
 
 Bartlett, Vera, m.t. Address, 24 Quincy 
 St., Portland, Me. 
 
 Barton, Llewellyn, former mem. Me. Fes- 
 tival Chorus. Address, Naples, Me. 
 
 Bass, Albert E., Dir. Eastern Maine Musi- 
 cal Association. Address, Bangor, Me. 
 
 Bass, Mrs. J. R., Pres. Festival Chorus, 
 Wilton, Me. 
 
 e., April 17, 1868; d. Alphonso. 
 
 359 
 
 HON. PERCIVAL P. BAXTER. 
 
 Bass, Mrs. W. S., accompanist, Festival 
 Chorus. Address, Wilton, Me. 
 
 Bates, Alice, mem. Me. Festival Chorus, 
 25 yrs. Address, Calais, Me. 
 
 Bates, Emily J., m.t.; mem. Me. Festival 
 Chorus, 25 yrs. Address, Calais, Me. 
 
 Bates, John D., Vice Pres. St. Croix of 
 
 ao Festival Chorus. Address, Calais, 
 e. 
 
 Bates, Martha Cameron Shaw, teacher of 
 piano and organ, supervisor of public 
 school music; b. Paisley, Scotland, Sept. 
 15, 1900; d. John L. ‘and Jessie Bates; 
 studied with Mrs. John Shaw and Carrie 
 F, Luce of Bath, ‘Gorham Normal 
 School and the Northampton Institute 
 of Music Pedagogy, Northampton, 
 Mass.; began as organist and choir di- 
 rector at the First Baptist Church of 
 Bath, at age of fifteen; mem. Mendel- 
 ssohn Club. Address, 28 Andrews Road, 
 Bath, Me. 
 
 Baxter, Percival Proctor, organist; b. 
 Portland, Me., Nov. 22, 1876; s. James 
 Phinney and Mehetabel Cummings 
 
360 
 
 Beardsworth, Nellie, m.t. 
 
 Proctor Baxter; ed. Portland Public 
 Schools, Eton H. O. Sch., London, Eng.; 
 Bowdoin College (B.A.) and Harvard 
 Law School (sL.B:); studied with 
 Harvey Murray and Latham True; or- 
 ganist Bowdoin College, Brunswick, 
 Me., during college years; mem. Har- 
 vard Club of Boston and New York, 
 Cumberland Club, Portland, and Port- 
 land Country Club; Governor of Maine, 
 1921-24; activities, political. Res., I9! 
 Pine St.; 0., 22 Monument Sq., Portland, 
 Me. 
 
 ’ Bean, Elwood L., violinist; b. Vienna, Me., 
 
 April 19, 1901; s. Albert F. and Ollie 
 Curtis Bean; ed. Kent’s Hill Sem.; stud- 
 ied with E. R. Hill, Augusta, Me.; mem. 
 Augusta Symphony Orchestra. Voca- 
 tion, chemist. Address, 39 Oak St., Au- 
 gusta, Me. 
 
 Bean, Mrs. Gladys M., vocalist; mem. Port- 
 land Women’s Choral Society. Address, 
 16 Beacon St., Portland, Me. 
 
 Beane, Robert Edward, violinist; b. Ma- 
 chias, Me., April 1, 1880; s. Joshua F. 
 and Lydia (Crandelmire) Beane; m. 
 Sadie M. Beaulieu, Oct. 12, 1912; ed. 
 Augusta, Me.; studied with Harry 
 Perry; mem. Augusta Symphony Or- 
 chestra (1st chair); served in City Gov- 
 ernment; Dir. Augusta Chamber of 
 Commerce, 4 yrs.; State Commander 
 Maccabees, 1921-25; mem. Masons, 
 Shrine, Layman’s League. Vocation, 
 Assistant General Supervisor of the 
 Maccabees. Address, 2 Weston St., Au- 
 gusta, Me. 
 
 Address, 148 
 Beacon St., Portland, Me. 
 
 Beauchaine, William J., violinist; b. Hal- 
 lowell, Me., 1893; s. Leopold and Rosie 
 Beauchaine; m. Leonida Cloutier; ed. 
 public schools, Hallowell; studied with 
 W. F. Kerr; Pres. Augusta Symphony 
 Orchestra. 1925-26; mem. Rotary Club. 
 Vocation, Manager Western Union Tel- 
 egraph Co., Augusta, Me. Address, 24 
 Green St., Augusta, Me. 
 
 Beaudet, Arthur J., piano teacher and or- 
 ganist; b. Spalding, Mich. March 22, 
 1895; s. Frank and Virginia Beaudet; 
 ed. Rumford and Montreal; studied 
 piano with Prof. Rigby in Rumford, 
 with Prof. Anton Devoto at the New 
 England Conservatory, Boston; studied 
 organ with Joseph Jacob at the Institute 
 of France, Paris, France (1927); organ- 
 ist and choir leader of St. Jean Baptiste 
 
 MUSIC AND MUSICIANS OF MAINE 
 
 Church, Rumford. Address, 151 Frank- 
 lin St., Rumford, Me. 
 
 Beauparlant, Emile J., teacher of piano, 
 
 soloist; b. Haverhill, Mass.; s. John B. 
 and Lydia M. Beauparlant; ed. Haver- 
 hill, Mass.; m. Florilda Simard; studied 
 with James W. Hill; musical director of 
 orchestra. Address, 86 College St., Lew- 
 iston, Me. 
 
 Beck, Mrs. Evelyn T., Pres. Staff Club, 
 
 Washburn. Address, Washburn, Me. 
 
 Beck, Stella Glover, vocalist (soprano); b. 
 
 Sumner, Me., Sept. 12, 1878; d. William 
 R. and Mary R. Glover; m. Eugene I. 
 Beck, May 8, 1904; ed. public schools, 
 Livermore Falls, Me.; studied with Mrs. 
 Carrie Joselyn and Prof. Mower, of Au- 
 burn; mem, Turner Federated Church 
 Choir; sec. United Circle of the Fed- 
 erated Church, Turner, Me.; mem. Tur- 
 ner Grange; former mem. Maine Music 
 Festival Chorus. Address, Turner, Me. 
 
 Belanger, Charles Eugene, youngest or- 
 
 ganist in America; b. 1914; s. J. O. Be- 
 langer; began to play organ at age of 
 nine; organist St. Mary’s Church, Lew- 
 iston; plays every Sunday for 8 o’clock 
 Mass for children’s choir; composes and 
 improvises. Address, 124 Lincoln St. 
 Lewiston, Me. 
 
 Belanger, Joseph O., Lic. Mus., music 
 
 teacher, organist, saxophone soloist; b. 
 Sherbrooke, Que., Canada, Jan. 20, 1880; 
 s. Georges and Celanire Baillargeon 
 Belanger; m. Corinne Lapointe, Oct. 7, 
 1909; ed. St. Charles Seminary, Sher- 
 brooke; studied organ with Florence 
 Wells; singing with Alex Clerk, Mon- 
 treal; harmony and composition with 
 Alfred Wooler, Buffalo; Licenciate of 
 the Dominion College of Music, Mon- 
 treal; honorary mem. of L’Orpheon; 
 organist at St. Mary’s Church, Lewis- 
 ton; former mem. of the Harmony Band 
 of Sherbrooke (saxophone); composer 
 Mass in B flat, La Jongleuse Waltz, Ide 
 Fantansie de Concert, Valse Caprice in 
 G flat, Marche des Seminaristes, “Reine” 
 March, Corinne Waltz, Paul Emile 
 Waltz, O Salutaris (soprano solo), Tan- 
 tum ergo in D flat (bass solo and quar- 
 tette), Tantum ergo in B flat (alto 
 solo), and chorus and about one hun- 
 dred more not published. Address, 124 
 Lincoln St., Lewiston, Me. 
 
 Belanger, Mrs. Joseph O. (Corinne), vo- 
 
 calist (soprano); b. St. Alexandre, P.Q.; 
 d. Ulderic and Clarisse Lapointe; stud- 
 
 ee ee eT ee 
 
 tO eT 
 
 — Se 
 
BIOGRAPHICAL SECTION—1927-1928 361 
 
 ied voice with Hanscom; soloist St. 
 Mary’s Church Choir; Pres. Foyer Mu- 
 sical, Lewiston. Address, 124 Lincoln 
 St., Lewiston, Me. 
 
 Belinian, Asneve Alice, vocal teacher, 
 soloist (coloratura soprano); b. Arme- 
 nia, April 20, 1884; d. Jacobs and Flora 
 Camagian-Cameron; m. S. John Belin- 
 ian, July 10, 1900; ed. Constantinople 
 and Paris; studied with Frederick 
 Waterman, Sara Peaks, Mr. Spencer 
 and Edward Larsen; former mem. Ban- 
 gor Music Festival. Address, 30 Larkin 
 St., Bangor, Me. 
 
 Bell, Mrs. Leah, m.t. Address, Winthrop, 
 Me. 
 
 Belleau, Adrienne, harpist. Address, Lew- 
 iston, Me. 
 
 Belleau, Blanche E., m.t. 343 Sabattus St., 
 Lewiston, Me. 
 
 Bennett, Mary Harriet, organist, teacher of 
 piano; b. Kennebunk, Me., Feb. 3, 1901; 
 d. John H. and Alice Milliken Bennett; 
 ed. Northfield Seminary; studied with 
 Heinrich Gebhard; org. Cong. Church, 
 Kennebunkport, and later at Kennebunk; 
 mem. Schubert Club and Kennebunk Busi- 
 ness Girls Asso. Address, 58 Summer 
 St., Kennebunk, Me. 
 
 Bennett, Mildred, School Music Super- 
 visor. Address, Freeport, Me. 
 
 Bernard, Manual, pianist; studied in Italy, 
 with Elizabeth Strauss of N. Y. City, 
 and at Institute of Musical Art, N. Y. 
 Address, Rockland, Me. 
 
 Bernauer, Francis Stephens, musical edi- 
 tor; b. Gaines, Pa., s. Joseph B. and Mary 
 E. (Champney) Bernauer; ed. Oberlin 
 Meade 5.1). B.b.; m: at Chica- 
 go, Ill., Feb. 11, 1913; editor and pub. 
 Songs of Reality, Choice Revival Songs; 
 Mason, I. O. O. F., Clergyman. Res., 33 
 Maple St., Oakland, Me. 
 
 Berrie, Mrs. Dora Lavina, (soprano); 
 church singer; b. Nixon, New Bruns- 
 wick, March 10, 1876; d. H. L. and Julia 
 Powers Dryden; m. Perley S. Berrie, 
 Oct. 4, 1899; ed. Normal School, Fred- 
 ericton, N. B.; studied with Evans Bar- 
 nett, Hillsboro, N. B.; mem. choir and 
 soloist at Baptist Churches in Hillsboro 
 and Moncton, N. B., and Houlton, Me.; 
 mem. Houlton Music Club, Houlton 
 
 Woman’s Club. Address, North St., 
 Houlton, Me. 
 Berry, Edward F., Secretary, Festival 
 
 Chorus. Address, Rockland, Me. 
 
 Berry, Ethel, mem. Portland Polyphonic 
 Society, MacDowell Club and Marston 
 Ede Res., 113 Winter St., Portland, 
 
 e. 
 
 Berry, Faith Greenhalgh, organist; b. Cas- 
 tine, Me., June 24, 1881; d. Charles B. 
 and Matilda J. McKenzie Greenhalgh; 
 m. Edward F. Berry, Sept. 15, 1914; ed. 
 public schools, Rockland; studied with 
 Mrs. Gertrude Davis, Henry M. Dun- 
 ham, and Carl Baermann of N. E. Con- 
 servatory; organist First Baptist and 
 Congregational Churches, Rockland; 
 Pres. Rubinstein Club; pianist and con- 
 ductor of Wight-Philharmonic Society. 
 Res., 25 Grove St., Rockland, Me. 
 
 Berry, Gertrude E., soloist (alto); b. Port- 
 land, Me.; d. Ingalls H. and Harriet 
 Higgins Berry; ed. public schools, Port- 
 land; studied with W. H. Dennett, Wil- 
 liam L. Whitney, Henrietta D. Rice, 
 Rupert Neily; mem. First Parish Choir, 
 Portland, 28 yrs.; mem. Rossini Club; 
 first pres. MacDowell Club, also Wom- 
 an’s Choral Society. Address, 830 Wash- 
 ington Ave., Portland, Me. 
 
 Berry, Mrs. Harold Lee (Violetta Brown), 
 vocalist; priv. mem. Portland Rossini 
 Club. Res., 97 State St., Portland, Me. 
 
 Berry, W. P., mem. Augusta Symphony 
 Orchestra. Address, Augusta, Me. 
 
 Berryman, Mrs. Mabel M., vocalist, pian- 
 ist; mem. Women’s Choral Society. Ad- 
 dress, 24 Orange St., Portland, Me. 
 
 Best, Miriam, teacher of piano; b. Fre- 
 mont, No. Carolina; d. George D. and 
 Flora Crews Best; ed. Littleton Col- 
 lege; Southern Conservatory of Music, 
 Durham, N. C.; graduate of Faelten 
 Pianoforte School, Carl Faelten, private 
 teacher; mem. Cecilia Club, Augusta, 
 and counsellor Junior Cecilia Club; for- 
 mer mem. MacDowell Choral Club, 
 Tuskegee, Ala.; Music Study Club, Bir- 
 mingham, Ala.; Women’s Music Club, 
 Bellingham, Wash.; Washington State 
 Music Teachers’ Assn.; Bellingham Mu- 
 sic Teachers’ Assn. Accredited piano 
 teacher in State of Washington. Ad- 
 dress, ro Winter St., Augusta, Me. 
 
 Beverage, Mrs. Lottie H., m.t. Address, 
 North Haven, Me. 
 
 Bewley, Bessie Windle, soprano soloist 
 and vocal teacher; b. No. Turner, Me., 
 1887; d. Henry and Estelle Keene 
 Windle; m. John Bewley, 1908; studied 
 with Maine and Mass. Teachers; mem. 
 United Baptist Church; soloist, quartet 
 
362 MUSIC AND MUSICIANS OF MAINE 
 
 soprano, Auburn and Lewiston; mem. 
 Rossini Club, Portland, Philharmonic 
 Club, Lewiston, D. A. R. and B. P. W. 
 Club. Summer res., Cape Elizabeth. 
 Studio, 27 Deake St., So. Portland, Me. 
 
 Bibber, Mrs. Frank C., vocalist; priv. mem. 
 Portland Rossini Club. Address, East- 
 land Hotel, Portland, Me. 
 
 Bird, Dora Frances, pianist, vocalist (con- 
 tralto); b. Rockland, Me., Jan. 23, 1873; 
 d. Charles J. and Ellen Pendleton Jame- 
 son; m. A. Judson Bird, Sept. 16, 1891; 
 studied with Mrs. Louise Furbish, Mrs. 
 Mae Pendleton Nichols and Mrs. C. B. 
 Shaw; mem. and past pres. Rubinstein 
 Club; mem. Philharmonic Club; with 
 daughter, Nettie Bird (Frost), organ- 
 ized the Harmony Club. Address, 48 
 Camden St., Rockland, Me. 
 
 Bird, Maria Tibbetts, organist, teacher of 
 piano; b. Rockland, Me., May, 1854; d. 
 Alpheus Chandler and Fidelia Elisabeth 
 Farron Tibbetts; m. Augustus David 
 Bird, Oct. 21, 1880; ed. public schools 
 Rockland, Me.; studied with Mrs. E. 
 Wight, C. B. Shaw, Eugene Thayer of 
 Boston and Prof. Schench, of Baltimore, 
 Md.; org. St. Peter’s Church, Rockland, 
 Me.; mem. Philharmonic, Rubinstein 
 Clubs and Maine Festival Chorus; Pres. 
 Beethoven Club; composer, accompanist. 
 Address, 40 Camden St., Rockland, Me. 
 
 Birnie, Mrs. Gladys, mem. Women’s Cho- 
 ral Society. Address, 164 Coyle St., 
 Portland, Me. 
 
 Bishop, Charlotte C., vocalist (soprano); 
 b. Brunswick, Me., Nov. 6, 1903; d. Rob- 
 ert S. Corey; m. Francis P. Bishop, June 
 
 27, 1925; ed. Brunswick, Me.; mem. 
 Military St. Baptist Church Choir, 
 Houlton; mem. Houlton Music Club. 
 
 Vocation, housekeeper. Address, High 
 
 St., Houlton, Me. 
 
 Blackwell, Charles H., vocalist (tenor); 
 mem. Kotzschmar Club, Portland, Men’s 
 Singing Club, Portland Polyphonic So- 
 ciety, First Parish Church Choir. Voca- 
 tion, special agent, Me. Central Railroad. 
 Res., 176 Deering Ave., Portland, Me. 
 
 Blair, Lyman, Dir. Eastern Maine Musi- 
 cal Association. Address, Greenville, Me. 
 
 Blaisdell, Inez Dustin, organist; b. Dexter, 
 Me., Jan. 7, 1882; d. Frank E. and Ella 
 L. Dustin; m. Ernest D. Blaisdell, June 
 27, 1906; ed. Dean Academy, Franklin, 
 Mass.; studied with R. B. Hall, A. W. 
 Kimball and M. E. Blanchard; mem. 
 Laura E. Ross’ Orchestra (flute); or- 
 
 ganist All Souls Church; mem. Business 
 and Professional Women’s Club. Voca- 
 tion, bookkeeper and stenographer. Ad- 
 dress, 35 Alba St., Portland, Me. 
 
 Blake, Cornelia Shaw, pianist; b. Harrison, 
 Me.; d. Francis and Cornelia E. Blake; 
 studied with Hermann Kotzschmar and 
 Geo. W. Marston. Address, “Lawn 
 Crest,” 24 Poplar St., Melrose, Mass. 
 
 Blake, Edith R., m.t. Address, 485 Cum- 
 berland Ave., Apt. 13, Portland, Me. 
 
 Blake, Helen Pettengill, vocalist; b. Mon- 
 mouth, Me.; d. Weston and Orianna 
 (King) Pettengill; m. Carleton F. Blake, 
 Sept. 11, 1917; ed. Augusta and Boston 
 Lyceum School; studied with Eva Har- 
 riett Stone; Lyceum and. Chautauqua 
 concert artist under the name of “The 
 Carletons”’; mem. Monmouth Cong. 
 Church and Togus Soldiers’ Home 
 Choirs. Address, 11 Colonial St., Wa- 
 terville, Me. 
 
 Blanchard, Edward G., teacher of cornet. 
 Res., 69 Mountfort St., Portland, Me. 
 
 Blanchard, Lucy N., honorary mem. Port- 
 land Rossini Club. Address, 151 East 
 81st St., New York. 
 
 Blanchette, Jeannette, violinist; b. Lewis- 
 ton, Me.; d. Evangeliste and Marie Loui- 
 ser Blanchette; studied with Angelina 
 Simard and Josafa Morin; mem. St. 
 Mary’s Church Choir; mem. Musical 
 Literary Club. Address, 11 Roak St., 
 Auburn, Me. 
 
 Bliss, Alfred Veazie, organist; b. Bangor, 
 Me., Jan. 23, 1872; s. Charles E. and 
 Louise A. (Tyler) Bliss; ed. Bangor H. 
 .; A.B., Bowdoin, 18094; S.1.B:, -An- 
 dover Theo. Sem.; pastor, Cong., Lud- 
 low and Tyson, Vt., 1898-1903, Plym- 
 outh Cong., Utica, N. Y., 1903-1900, 
 Taunton, Mass., 1911-21; Dist. Sec. Am. 
 Missionary Assn., Boston, 1921-25; Supt. 
 Cong. Conf. and Missionary Soc. of Me., 
 1925-; chapel organist Bowdoin Coll. 
 1891-94; Andover Sem., 1894-97; mem. 
 Delta Kappa Epsilon Frat.; Mason; 
 Portland Cong. Club, Boston City Club. 
 Res., 122 Pine St.; 0., 95 Exchange St., 
 Portland, Me. 
 
 Blodgett, Ellen, vocalist (soprano); mem. 
 First Parish Church Choir and Mac- 
 Dowell Club. Res., 14 Spruce St., Port- 
 land, Me. 
 
 Blood, Charles Virgil, vocalist (baritone) ; 
 b. Willimantic, Me., Aug. 20, 1896; s. 
 Charles H. and Ella Kincaid Blood; m. 
 Ola M. Fairbanks, Nov. 27, 1919; ed. 
 
BIOGRAPHICAL SECTION—I9Q27-1928 363 
 
 Foxcroft Academy and University of 
 Maine; studied with J. K. Springall, Jo- 
 seph Taylor, H. Foster, and Adelbert 
 Sprague; mem. Universalist Church 
 Choir, Dover-Foxcroft Military Band 
 (drums) and the Quintette and Big Five 
 Orchestras. Vocation, Jeweler. Address, 
 18 Spring St., Dover, Me. 
 
 Blouin, Exilia M., vocalist; mem. Phil- 
 harmonic Club, Lewiston and Auburn. 
 Address, Lewiston, Me. 
 
 Boardman, Mrs. Elizabeth C., mem. Fes- 
 tival Chorus, 25 yrs. Address, Calais, 
 
 Me. 
 
 Boardman, Harold §., Dir. Eastern Maine 
 Musical Association. Address, Orono, 
 Me. 
 
 Bock, Anna Carey, teacher of piano, con- 
 cert artist; b. Boston, Mass., Sept. 22, 
 1896; d. Thomas A. and Mary E. Carey; 
 Pees ctiiueo Bock, M.D., Nov. to, 
 1919; graduate Portland High School 
 and St. Elizabeth’s Academy, Portland; 
 studied with Sister Evangelist, Dr. La- 
 tham True; Stern Conservatory, Berlin 
 (3 yrs.), taking regular piano course, 
 harmony, ensemble playing; also studied 
 with Krause, Rudolph Ganz, Buonamici, 
 Hans Ebel, Mason, Mrs. J. Lhevinne; 
 and harmony with Leslie Loth; mem. 
 Rossini Club, MacDowell Club and Mar- 
 ston Club. Res., 254 Spring St., Port- 
 land, Me. 
 
 Bodwell, Mrs. R. H., Sec. Cecilia Club. 
 Address, Augusta, Me. 
 
 Boggs, Walter H., instrumentalist (E flat 
 paces 8). 50.) nomaston, Me., July 11, 
 1886; s. George and Catherine Walter 
 Boggs; m. Augusta L. Brown; studied 
 with T. H. Rollinson, John Flockton 
 and W. S. Ripley; mem. Waldoboro 
 Band; Dis. Deputy, L. O. of M.; former 
 mem. E. Boston Cadet Band and Wal- 
 tham Crescent Band. Address, R. F. D. 
 No. 3, Waldoboro, Me. 
 
 Boisvert, Blanche MRacicot, teacher of 
 piano, soloist; b. Coaticooke, P.Q., Can- 
 ada; d. Dr. D. F. and Leda Vallee Raci- 
 cot; m. Antonio E. Boisvert, Feb. 10, 
 1915; ed. Ursuline Convent, Stanstead, 
 and Mont Ste. Marie, Montreal; studied 
 with Edward Clarke, Biddeford, J. A. 
 Bermier from Academie de la Musique 
 de Quebec and Latham True, Portland; 
 mem. Biddeford Thursday Club; Lau- 
 reate of L’Academie de Musique de 
 Quebec. Address, 249 Main St., Bidde- 
 ford, Me. 
 
 Bolster, Mabel Owen, vocalist (contralto) ; 
 Db. buxton, Me: d)-Prot,- E> J.cand ;Jo- 
 anna Lord Owen; m. Lester Bolster, 
 April 28, 1898; ed. public schools, Bux- 
 ton; studied with C. R. Cressey, Anna 
 Owen and Mrs. Towles; mem. Music 
 Festival Chorus. Address, Freeport, Me. 
 
 Bolton, Laura, acc., Festival Chorus. Ad- 
 dress, Presque Isle, Me. 
 
 Bond, Mrs. George, mem. Bach Choir, 
 Bangor. Address, Bangor, Me. 
 
 Bonfillio, Helen, m.t. Address, 26 A St., 
 Portland, Me. 
 
 Bonney, Katharine Bradford, vocalist; b. 
 Livermore, Me., April 8, 1882; d. Frank- 
 lin Bradford and Alice Raynes Bige- 
 low; m. Luther I. Bonney, June 20, 
 1908; ed. Leavitt Institute and Normal 
 Training School, Lewiston; studied with 
 Alice Morton, West Newton, and Ru- 
 pert Neily, Portland, Me.; former mem. 
 choir St. Stephen’s Episcopal Church, 
 Middlebury, Vt.; mem. choir Williston 
 Church, Portland; mem. Middlebury 
 Choral Society, Women’s Double Quar- 
 tet, Fortnightly Club, Portland; Vice 
 Pres. Women’s Choral Society. Ad- 
 open Surfsite Road, South Portland, 
 
 e; 
 
 Bonney, Luther Isaac, vocalist (bass); b. 
 Turner, Me., Sept. 17, 1884; s. Charles 
 Allen and Cora Merrill Bonney; m. 
 Katherine B. Bigelow, June 20, 1908; 
 ed. Leavitt Institute, Bates College; 
 mem. choir Williston Church, Portiand, 
 Me.; mem. Portland Men’s Singing 
 Club, Acacia Male Quartet; formerly 
 asst. dir. Middlebury College Glee Club; 
 former mem. St. Stephen’s Episcopal 
 Church Choir, Middlebury, Vt. Voca- 
 tion, life insurance. Res., Surfsite Road, 
 So. Portland. Mail address, 82 Ex- 
 change St., Portland, Me. 
 
 Bonney, Mrs. Susan, vocalist; mem. Wo- 
 men’s Choral Society. Address, 51 Co- 
 lumbia Road, Portland, Me. 
 
 Bonsey, May, m.t.; acc., Me. Festival Cho- 
 rus, mem. 28 yrs. Address, Ellsworth, 
 Me. 
 
 Booker, Mrs. Anna Parks, vocalist; mem. 
 Women’s Choral Society. Address, 46 
 St. Lawrence St., Portland, Me. 
 
 Boothby, Mrs. Alfred M., vocalist (alto); 
 mem. Portland Festival Chorus; Coun- 
 cillor since 1919. Address, 19 Melbourne 
 St., Portland, Me. 
 
 Boothby, Mrs. Ethel H., mt. 
 Gorham, Me. 
 
 Address, 
 
364, MUSIC AND MUSICIANS OF MAINE 
 
 Borden, Mrs. Rose, m.t.; acc., Me. Festival 
 Chorus. Address, Skowhegan, Me. 
 
 Boucher, Ralph A., instrumentalist (trum- 
 pet, cornet, French horn); b. Lewiston, 
 Me., Jan. 29, 1903; s. Treffle and Marie 
 Breton Boucher; ed. Auburn, Me.; stud- 
 ied with A. W. Cote and Charles John- 
 son; mem. Lewiston Symphony Orches- 
 tra, Watson’s Orchestra and Plummer’s 
 Orchestra; mem. Institute Jacque Car- 
 tier. Vocation, musician. Address, 3 
 Pulsifer St., Auburn, Me. 
 
 Boulette, Joseph T., m.t. 
 Water St., Waterville, Me. 
 
 Bourke, Charles E., m.t. Address, Augus- 
 ta, Me. : 
 
 Boutin, Phelonise, organist. Address, Old 
 Town, Me. 
 
 Bowdoin, Rosabelle, m.t. Address, Milo, 
 Me. 
 
 Bowen, Martha Edith, church and concert 
 singer; b. Fitchburg, Mass., Nov. 14, 
 1870; d. Andrew and Mary (Eaton) Rus- 
 sell; m. J. W. Brown, 1890; 2d, B. L. 
 Rich, 1896; 3d, H. H. Bowen, Sept.’ 3, 
 1925; est. Camp Overlook, Georgetown, 
 Me., 1923; mem. Eastern Star, Daughter 
 of Rebekah, Fitchburg Woman’s Club. 
 Res., Camp Overlook, Georgetown, Me. 
 
 Bowers, Mrs. John W. (Alice Maude 
 Allen), harpist; associate mem. Port- 
 land Rossini Club. Res., 614 Highland 
 Ave., So. Portland, Me. 
 
 Address, 165 
 
 Bowker, Mrs. Hazel Shaw, teacher of 
 
 piano; b. Winthrop, Me., Sept. 19, 1887; 
 d. Chester H. and Rose Jackson Shaw; 
 m. Thomas E. Bowker, Jan. 20, 1914; 
 studied piano with Carl Jean Tolman, 
 Frank L. Rankin and voice with Frances 
 MacNichol; org. First Parish Unitarian 
 Church and Universalist, Belfast, and 
 mem. choir (soprano) Cong. Church, 
 Belfast; mem. Belfast Musical Society 
 and former mem. Clef Club of Lewiston, 
 Me. Summer home, Winthrop, Me. Ad- 
 dress, 20 Miller St., Belfast, Me. 
 
 Box, Ethel Wentworth, vocalist (mezzo 
 soprano); b. Boothbay Harbor, Me.; d. 
 Benjamin and Sarah Wentworth; m. 
 Harry Box, Sept., 1916; ed. College of 
 Fine Arts, Syracuse University, N. Y.; 
 teacher of voice and piano, in Lexing- 
 ton; organist; mem. of National Organ- 
 ists Association. Address, 256 Kentucky 
 Ave., Lexington, Ky. 
 
 Box, Harry, vocalist, concert artist 
 (tenor); b. Birmingham, England, Dec. 
 1, 1887; s. Thomas H. and Ellen Box; m. 
 
 Ethel Wentworth, Sept. 2, 1916; studied 
 with private teachers; winner in State 
 of Maine Contest National Federation 
 of Music Clubs and winner $200 Schol- 
 arship Chicago Musical College; Evan- 
 gelistic Singer in U. S. and Canada. Ad- 
 Se: 256 Kentucky Ave., Lexington, 
 
 y. 
 
 Boyd, Mrs. Manlius W. (H. Marie), or- 
 ganist and vocalist (soprano); b. Hal- 
 lowell, Me., Sept., 1839; d. Henry W. 
 and Elizabeth Stanwood Locke Decker; 
 studied with Emerson and Wetherbee, 
 Boston; organist Universalist Church, 
 Hallowell, and mem. of old choir. Ad- 
 dress, 57 Winthrop St., Augusta, Me. 
 
 Boynton, Mrs. Alice, m.t. Address, 537 
 Congress St., Portland, Me. 
 
 Boynton, Mrs. Florence W., vocalist; Vice 
 Pres. and one of the founders of the 
 Annie Louise Cary Club, Gorham; di- 
 rector of church music in the State Fed. 
 o: ae Clubs. Address, Boothbay Har- 
 
 or, Me. 
 
 Brackett, Rowena, m.t. Address, 117 Gra- 
 ham St., Biddeford, Me. 
 
 Bradford, Carrie Mae, teacher of music; b. 
 Union, Me.; d. John L. and Aurie Keith- 
 
 Bradford; ed. Maine Wesleyan Conser-— 
 
 vatory, Kent’s Hill Seminary; studied 
 with John Orth; teacher of piano, 
 Kent’s Hill, 1904-7; Director Music 
 Dept. Oak Grove Seminary, Vassalboro, 
 1907-15; mem. Cecilia Club; Pres. Ken- 
 nebec’ Co. (W.-C, “Tiles ie oe 
 Water St., Augusta, Me. 
 
 Bradford, Clara Walker, vocalist (mezzo- 
 soprano); b. Benson, Vt., Aug. 8, 1808; 
 d. Rufus R. and Anna Lou Walker; m. 
 Rev. W. P. Bradford, April 5, 1917; ed. 
 Troy Conference Academy, Vt.; studied 
 with Grace Gunnison, Troy, N. Y.; 
 mem. Old South Congregational Church 
 Choir; mem. Current Events Club and 
 the Cecilia Musical Club of Augusta. 
 Address, 53 Middle St., Hallowell, Me. 
 
 Bradford, Edith, coach and teacher of pi- 
 ano and voice; studied with George W. 
 Marston of Portland and Whelpley, Bos- 
 ton. Address, Pierce Building, 12 Hunt- 
 ington Ave., Boston, Mass. 
 
 Bradford, Mrs. Maude, Treas. Livermore 
 Falls Festival Chorus. Address, Live;- 
 more Falls, Me. 
 
 Bradley, Etta Swett, vocal teacher; b. 
 Skowhegan, Me., March 19, 1892; d. 
 Timothy Fogg and Mary Elizabeth 
 Swett; m. Harold W. Bradley, Oct. 3, 
 
= 
 
 BIOGRAPHICAL SECTION—1927-1928 365 
 
 1910; studied with Mrs. Philo Steward 
 and T. A. Schroeder; formerly soloist 
 (soprano) at Congregational Church, 
 Skowhegan; soloist at First Parish 
 Church, Milton, Mass.; mem. Rebekah 
 Lodge. Address, 14 Maine Ave., Somer- 
 ville, Mass. 
 
 Bradley, William V., vocal teacher, solo- 
 
 ist (tenor); b. Falmouth Foreside, Me., 
 Aug. 21, 1895; s. Frank M. and Melissa 
 Kimball Bradley; m. Ella Gould, Dec. 
 31, 1918; ed. public schools, Portland, 
 Me., Portland, Ore.; studied with How- 
 ard R. Stevens, Henrietta D. Rice and 
 Rupert Neily, all of Portland, Me., and 
 Gio Tyler-Taglieri in Portland, Ore.; 
 former mem. solo quartette First Univ. 
 Church, Portland, Ore., and Trinity 
 Epis. Church of Portland, Ore.; toured 
 South and West as first tenor Knicker- 
 bocker Four (male quartette) from that 
 city; since I919 has been connected with 
 various church choirs in Portland, Me., 
 in succession as follows: mem. Willis- 
 ton Church Quartette; choir director 
 Church of Messiah; choir director First 
 Baptist Church; mem. solo quartette Im- 
 manuel Baptist Church; soloist and choir 
 director St. Lawrence Cong. Church, 
 1926; mem. Portland Men’s Singing 
 Club, Kotzschmar Club, Masons, Odd 
 Fellows. Studio, 562 Congress St.; res., 
 31 Vesper St., Portland, Me. 
 
 Bragdon, Mrs. Frank J. (Jennie King 
 
 Morrison), concert artist, music teacher, 
 vocalist (contralto); b. Portland, Me.; d. 
 Jairus Keith and Sarah Goold (Lewis) 
 King; m. Arthur B. Morrison, 1879; 
 Frank J. Bragdon, 1901; studied with 
 William H. Dennett of Portland, Frang- 
 ¢on Davies, New York, Agremonte, 
 New York, Signor Vannucini, Flor- 
 ence, Italy, Monsieur de Trabadello, 
 Paris, Prof. Henry Stanley, London; 
 mem. First Parish Church Choir, Port- 
 land, 1880 to 1883; Congress Square 
 Universalist Church Choir, 1883-1896; 
 mem. choir Church of the Divine Pater- 
 nity, New York, 1898-1901, and sung at 
 its dedication; mem. Second Parish 
 Church Choir; mem. Advisory Board 
 Portland Rossini Club; mem. Portland 
 Festival Chorus; sang 2nd alto for one 
 year with the Boston Ariel Ladies’ Quar- 
 tette; former mem. Cecilia Quartette, 
 organized in 1881, and toured the coun- 
 try as soloist with same; afterwards 
 member Portland ‘Concert Company and 
 the Cecilian Ladies’ Quartette. Address, 
 535 Cumberland Ave., Portland, Me. 
 
 JENNIE KING BRAGDON, CONTRALTO. 
 
 Bragdon, Marguerite, xylophone soloist 
 
 and drummer; b. Christiania, Norway, 
 July 7, 1894; d. Lewis and Josephine 
 Gilickson; ed. public schools of Kenne- 
 bunk, Me.; studied with Howard N. 
 Shaw; teacher drums, bells and xylo- 
 phone; mem. Laura E. Ross’ Ladies 
 Orchestra; mem. Katherine Hawkins’ 
 Orchestra of Brockton, 1918-20, and the 
 Fadettes of Boston; mem. Business and 
 Professional Women’s Club Orchestra, 
 Portland, 1922. Address, 12 Vail St.; 
 studio, 537 Congress St., Room 12, Port- 
 land, Me. 
 
 Bragg, Franklin E., Dir. Eastern Maine 
 
 Musical Association. Address, Bangor, 
 Me. 
 
 Bragg, Ina Mae (Guptill), piano teacher, 
 
 organist; b. Gouldsboro, Me.; d. Amos 
 Everett and Josephine Lydia (Martin) 
 Guptill; m. Dr. J. Sumner Bragg, Dec. 
 12, 1906; ed. Hans Schneider Piano 
 School, Providence, R. I.; organist Bar 
 Harbor Baptist Church, 1904-6; accom- 
 panist Bar Harbor Choral Society, 1902- 
 5. Address, 67 North Adams St., Man- 
 chester, N. H. 
 
 Bragg, Olive, pianist. Address, Rockland, 
 
 Me. 
 
366 MUSIC AND MUSICIANS OF MAINE 
 
 ace ne 
 
 Brandon, Mrs. Grace Hall, concert violin- 
 ist; b. Portland, Me. Address, 34 Spruce 
 St., Maplewood, Malden, Mass. 
 
 Brann, Edward, vocalist (bass); soloist 
 Sacred Heart Church. Address, 148 
 Washburn Ave., Portland, Me. 
 
 Brann, Mrs. Ethel F., m.t. Address, China, 
 
 Nee Nees 
 
 Bratt, Gustav W., vocalist (tenor); mem. 
 Portland Men’s Singing Club and Port- 
 land Polyphonic Society. Address, 74 
 Munjoy St., Portland, Me. 
 
 Braun, Cora W., vocalist; b. Millville, N. 
 B., Aug. 6, 1908; d. Ernest and Eleanor 
 P. Braun; ed. Aroostook State Normal 
 School; studied music with Mrs. Wil- 
 liam Jenkins, Houlton; mem. choir 
 United Baptist Church and mem. Houl- 
 ton Music Club. Vocation, teacher. Ad- 
 dress, 69 Pleasant St.. Houlton, Me. 
 
 Brazier, Carleen Merle, supervisor of mu- 
 sic in public schools; b. Warrenton Park, 
 Glencove, Me., May 25, 1897; d. Her- 
 bert N. and Clara W. Brazier; ed. N. E. 
 Conservatory of Music; studied with 
 Samuel Cole and William Tyler; voice 
 with Edith Castle; mem. Rubinstein 
 Club and Harmony Club of Rockland. 
 Me. Address, Warrenton St., Glencove, 
 Me. 
 
 Brearey, Alice M., vocalist. Address, San- 
 ford, Me. 
 
 Brearey, Gordon, organist and teacher of 
 piano and organ; b. Sanford, Me., April 
 21, 1895; s. Oswald and Edith (Taylor) 
 Brearey; m. Ethel Elizabeth Graves, 
 Nov. 11, 1918; ed. Sanford, Portland and 
 N. Y. City; studied piano with Sidney Sil- 
 ber Sherwood School of Music, Chicago, 
 Ill., Frank L. Rankin, A. K. Virgil; or- 
 gan with David McWilliams, Clement 
 R. Gale and Lynnwood Farnam; organ- 
 ist, Episcopal Church, Sanford, St. 
 George’s Memorial Church, Rumson, N. 
 J.; organist and choirmaster, St. Luke’s, 
 Jamestown, N. Y., St. Peter’s, Geneva, 
 N. Y., and Trinity Church, Williams- 
 port, Pa.; mem. Masons, Blue Lodge 
 and Chapter. Address, Trinity Church 
 House, Williamsport, Pa. 
 
 Bremon, Mrs. C. Eugene, pianist; mem. 
 MacDowell Club. Address, 566 Preble 
 St., So. Portland, Me. 
 
 Bremon, Florence Alsena Vaillancourt, 
 vocalist (soprano); b. Boston, Mass.; d 
 O.and Harriett Harmon Vaillancourt; m. 
 Mortimer N. Bremon, Sept. 27, 1899; ed. 
 So. Portland, Me., Chicagoand Oak Park, 
 
 Ill.; studied with Henrietta Rice, Rupert 
 Neily, Music Dept. Moody Institute and 
 Chicago Training School; Pres. Mars- 
 ton Club, 1920-21; mem. Rossini Club, 
 Marston Club, Women’s Choral Society, 
 Festival Chorus and Women’s Literary 
 Union; teacher of vocal and instrumen- 
 tal; church soloist. Res., 42 Mitchell 
 Road, So. Portland, Me. 
 
 Brennick, Helena A., m.t. Address, Rum- 
 ford, Me. 
 
 Breton, Octave, m.t. Address, 554 Wash- 
 ington St., Bath, Me. 
 
 Brewer, Arthur Roland, teacher of piano; 
 b. Bar Harbor, Me. Nove 24;)t000.-s: 
 Fred J. and Georgia Hodgkins Brewer; 
 mem. Northeastern University Band 
 (alto); ed. University of Maine; studied 
 with Louise L. Fernald; mem. Social 
 Science Club of Northeastern Engineer- 
 ing School. Address, 124 Cottage St., 
 Bar Harbor, Me. 
 
 Brickett, Nellie Letice, organist, teacher 
 of piano; b. Bangor, Me.; d. Rinaldo B. 
 and Fannie Patten Wiggin; m. James A. 
 Brickett; studied with W. C. Kimball 
 and George W. Marston; formerly or- 
 ganist at Baptist Church, So. Paris (18 
 yrs.); mem. Euterpean Club. Address, 
 East Main St., So. Paris, Me. 
 
 Bridges, Mrs. Adelbert, vocalist; mem. 
 os Choir, Bangor. Address, Bangor, 
 e. 
 
 Briggs, Mrs. George A. (Cora Skillings), 
 composer, organist, teacher of piano; b 
 So. Paris, Me., May 13, 1859; d. Frank 
 H. and Ellen Dunn Skillings; m. George 
 A. Briggs, April 22, 1876; studied har- 
 mony with Stephen A. Emery, Boston, 
 and piano and organ with Kotzschmar 
 and Hanscom; organist First Congrega- 
 tional Church, So. Paris, for forty-eight 
 years; accompanist for many of best ar- 
 tists in concerts; piano soloist; first pres. 
 and organizer, Euterpean Musical Club 
 of So. Paris; composer of “Hold Thou 
 My Hand” and about eighty sacred 
 songs and anthems, published. Address, 
 So. Paris, Me. Mail address, 29 Lake- 
 ville Place, Jamaica Plain, Mass. 
 
 Briggs, Ruby Clark, vocalist (soprano); b. 
 Brunswick, Me., 1887; d. William D. and 
 Ella F. Clark; m. Chester A. Briggs, 
 July 14, 1914; grad. Hebron Academy; 
 studied with L. B. Cain, Portland School 
 of Music and Washington College; mem. 
 choir Cong. Church, So. Paris, Court St. 
 Baptist, Auburn, and Mechanic Falls 
 
 i a ee 
 
BIOGRAPHICAL SECTION— 1927-1928 367 
 
 Chs.; mem. Mechanic Falls Study Club, 
 Rebekah, Colfax Lodge, Eastern Star 
 Granite Lodge. Supervisor school music. 
 Address, 50 Pleasant St., Mechanic Falls, 
 Me. 
 
 Bright, June Lowell, correspondent and 
 local representative of “Musical Amer- 
 ica”; b. Bangor, Me., June 27, 1885; d. 
 Joseph Mason and Nellie (Chapman) 
 Bright; ed. Dean Academy, Franklin, 
 Mass., and Bangor Kindergarten Train- 
 ing School; studied with J. Dudley Hall, 
 Boston; corresponding secretary, Schu- 
 mann Club. Res., 765 Hammond St., 
 Bangor, Me. 
 
 Brinkler, Alfred, teacher organ, piano and 
 harmony; b. Ramsgate, England, May 
 2, 1880; s. George B. and Mary (Smith) 
 Brinkler; m. Beatrice Bartol Banks, 
 Aug. 5, 1913; studied piano, organ and 
 choir training with Henry J. B. Dart; 
 organ and composition with Dr. T. 
 Haigh of Ramsgate, England; organist 
 St. Mary’s Church, Minster, Eng., 1898- 
 1902; St. Matthew’s Cathedral, Dallas, 
 Texas, 1902-5; St. Luke’s Cathedral, 
 1905-15, and St. Stephen’s Church, Port- 
 land, 1915-27, and St. Luke’s since 1927; 
 composer, Suite in A, Grand Choeur 
 and Capriccio for organ, organ pieces 
 and anthems; conductor Portland Men’s 
 Singing Club, Polyphonic Soc.; chair- 
 mae, tottiand Br. N. E. Chapt. Am. 
 Guild Organists; Asso. Royal College 
 of Organists, London, 1899; Fellow Am. 
 Guild of Organists, 1905; mem. Kotzsch- 
 mar Club, Portland Soc. of Art, Port- 
 land Club, Economic Club. Address, 104 
 Park St., Portland, Me. 
 
 Brinkler, Mrs. Alfred, mem. Portland Ros- 
 sini Club and Portland Polyphonic Soci- 
 ety. Address, 104 Park St., Portland, 
 Me. 
 
 Bristol, Fred E., vocal teacher; b. Brook- 
 field, Conn., Nov. 4, 1839; s. Eliud and 
 Mary (Sherman) Bristol; taught sing- 
 ing 62 yrs.; Prof. of Singing, Coburg 
 Royal Opera School, Germany, 6 sea- 
 sons; Bridgeport, Conn., 4 yrs.; New 
 Haven, Conn., 9 yrs.; conducted sum- 
 mer sch. Martha’s Vineyard, Mass., 22 
 seasons; Bristol Studio, Harrison, Me., 
 I5 seasons. Res., 466 West 153d St., N. 
 Y. City. Summer home, Harrison, Me. 
 
 Brooks, Aldana, instrumentalist (violon- 
 cello); b. Portland, Me., May 27, 1911; 
 d. Gerry Lynn and Mildred Brooks; 
 studied piano with Nellie Beardsworth 
 and Raymond Crawford; cello with Mrs. 
 
 Bertha Nichols, Boston; mem. Portland 
 Muncipal Orchestra; student. Address, 
 242 Bradley St., Portland, Me. 
 
 Brooks, Charles M., bandsman; b. Fort 
 Preble, Me., Aug. 8, 1859; s. James Mad- 
 ison and Anastatie Butler Brooks; m. 
 Aramede M. Thayer, Sept. 12, 1882; ed. 
 South Portland; studied with C. Grim- 
 mer and F. Burnham; mem. Chandler’s 
 Band and Brooks’ Orchestra (cornet); 
 mem. Athletic Club, Shrine Club, I. O. 
 O. F., Lincoln Club, Sons of Veterans, 
 G. A. R. (honorary member), Masons, 
 Portland Musicians Asso. Vocation, 
 salesman. Address, 68 Exeter St., Port- 
 land, Me. 
 
 Brooks, Laura Emelyn, organist, teacher 
 Ore pio: b,0150.' Paris, _Me.,.. July: 21, 
 1904; d. Leon A. and Rose Starbird 
 Brooks; ed. Bates College; studied with 
 Stella Burnham, So. Paris, and Seldon 
 Crafts, Lewiston; mem. choir Methodist 
 Church, So. Paris, and substitute organ- 
 ist; mem. Euterpean Club; Chapel Or- 
 ganist at Bates College, 1925-26. Ad- 
 dress, 48 Hill St., So. Paris, Me. 
 
 Brown, Cora, m.t. Address, Caribou, Me. 
 
 Brown, Dr. C. P., vocalist (bass); mem. 
 Portland Festival Chorus. Vocation, den- 
 tist. Address, 5 Deering St., Portland, 
 Me. 
 
 Brown, Elizabeth M., vocal teacher, solo- 
 ist (soprano); b. Augusta, Me.; d. Jo- 
 seph Lowell and Mary Getchell (Hilton) 
 Brown; ed. Boston, Portland, Paris, 
 Florence; studied with William Den- 
 nett, Charles R. Adams, Vannucini, 
 Sbriglia and Mdme. Clara Smart of Bos- 
 ton; concert artist with Cecilian Concert 
 Company for many years; priv. mem. 
 Marston Club and its former president; 
 former mem. Rossini Club, Festival 
 Chorus, Ladies Cecilian Quartette and 
 Haydn Asso. Summer Home, Farming- 
 ton, Me. Address, 655 Congress St., 
 Portland, Me. 
 
 Brown, Evelyn Lord, teacher of piano; b. 
 Auburn, Me., June 21, 1900; d. George I. 
 and Bertha R. Brown; ed. public schools 
 of Auburn; studied with Prof. E. W. 
 Hanscom; organist High St. Methodist 
 Episcopal Church; mem. Philharmonic 
 Club. Address, 1 Oak St., Auburn, Me. 
 
 Brown, Frances Gertrude, pianist, cellist, 
 accompanist; b. New Bedford, Mass., 
 Dec., 1906; d. Walter S. and Minnie F. 
 Brown; ed. Gorham Normal School; 
 studied with Eunice Church and Mrs. 
 
368 MUSIC AND MUSICIANS OF MAINE 
 
 a rn ener Le 
 
 Clarence Arey, New Bedford, and, Jo- 
 seph Korda, Portland: mem. choir Gor- 
 ham Cong. Church; former mem. Junior 
 Music Club, New Bedford; mem. Treble 
 Club, New Bedford, and Annie Louise 
 Cary Club, Gorham; Sec.-Treas. G. N. 
 S. Orchestra. Vocation, teacher, Gor- 
 ham Normal School. Address, 950 
 Pleasant St., New Bedford, Mass. 
 
 Brown, Mrs. Frederick B., vocalist (con- 
 tralto); studied with Henrietta D. Rice; 
 soloist at Methodist Church, Westbrook, 
 and in 1927 at Woodfords Cong. Church. 
 Address, 27 Hillis St., Portland, Me. 
 
 Brown, Gail Ridgway, violinist; b. Galion, 
 Ohio; d. Dr. N. B. and Belle Davis 
 Ridgway; m. Prof. Sydney Barlow 
 Brown, Sept. 4, 1921; ed. Oberlin Col- 
 lege and Conservatory of Music; stud- 
 ied with Fritz Kreisler in Berlin and 
 London; Prof. of Violin and Music His- 
 tory, Knox Conservatory of Music, 
 Galesburg, Ill., 1914-21; Instructor of 
 Violin and Piano, Cornell College, Mount 
 Vernon, Iowa, 1907-10; mem. Faculty of 
 Western Institute of Dramatic Art, 
 Denver, Col., 1912-13; mem. Illinois 
 State Teachers’ Asso., I917-21; com- 
 positions, A Song of Summer, May 
 Dance, Snowflakes, Venetian Serenade, 
 Winter Winds, Swedish Cradle Song 
 (transcription), pub. by Arthur P. 
 Schmidt Co., Boston; violin and piano 
 compositions, Danse Rustique, In 
 Dreamland, October Rain, April Song, 
 Dancing Butterflies; violin and organ, 
 Invocation; songs, In the Heart of a 
 Tree, and If I had Wings. Address, 85 
 Wood St., Lewiston, Me. 
 
 Brown, Mrs. Glenroy, violin teacher and 
 
 Pres. Harmony Club of Lincoln, Me. 
 Address, Lincoln, Me. 
 
 Brown, Grace Hayford, organist; m. Wil- 
 liam B. Brown, Oct. 10, 1918; organist, 
 25 yrs., Foss St. M. E. Church, Bidde- 
 ford; mem. M. E. Church Choir and or- 
 ganist, Nazarene Church, Livermore 
 Falls. Address, Church St., Livermore 
 Falls, Me. 
 
 Brown, Helen Nevens, teacher of piano; b. 
 Lewiston, Me., July 3, 1808; d. George D. 
 and Ella M. Nevens; m. Robert Parme- 
 lee Brown; ed. Beechwood, Penn., Mt. 
 Ida School, Boston, and at Fox-Buona- 
 mici School of Pianoforte, Boston; stud- 
 ied with Felix Fox, Dean Jensen and 
 Carlo Buonamici; former mem. Episco- 
 pal Church Choir, Lewiston, and Phil- 
 harmonic Club; mem. First Baptist 
 
 Church Choir and Cecilia Music Club, 
 Flint, Mich. Address, 708 Garland St., 
 Flint, Michigan. 
 
 Brown, Mrs. Joseph E. (Grace M.), vocal- 
 
 ist (soprano); b. Bangor, Me., Sept. 26, 
 1879; d. Frank O. and Susan Gordon 
 Buzzell; m. Joseph E. Brown, Oct. 21, 
 1902; studied with Aline Glass of Ban- 
 gor and Alice Garrigue Mott of N. Y.; 
 soprano in Unitarian Quartette, Io yrs.; 
 soloist, St. John’s Episcopal Church, Ban- 
 gor; 2nd Vice Pres. and mem. Board of 
 Dir. Y. W. C. A.; mem. Norumbegr Club, 
 Bach Choir; former mem, Schumani 
 Club and Bangor Festival Chorus. Ad- 
 dress, 56 Norfolk St., Bangor, Me. 
 
 Brown, Lewis Ronello, composer, violin- 
 ist, clarinetist; b. West Freeman, Me., ~ 
 
 Aug. 7, 1876; s. Lewis and Nancy J. 
 Brown; m. Mary W. Milliken, Aug. 7, 
 1906; studied with Fred Given and 
 George Towle; mem. Portland Munic- 
 ipal Orchestra; leader Bar Mills Band, 
 4 yrs., and a students’ orchestra of 150 
 pcs. in Boston, Mass., 2 yrs.; composer, 
 “Sunshine of My Old New England 
 Home,” “Old Home Week,” “Fabiola.” 
 Ha 1466 Forest Ave., Portland, 
 e. 
 
 Brown, Mrs. Merle S., vocalist; mem. Wo- 
 
 men’s Choral Society. Address, 109 
 Danforth St., Portland, Me. 
 
 Brown, Mrs. Ruth, m.t. Address, So. Ber- 
 
 wick, Me. 
 
 Brown, William Bourne, vocalist (bass); 
 
 b. Jay, Me., 1874; s. Augustus D. and 
 Mary D. Brown; m. Grace L. Hayford, 
 Oct. 10, 1918; ed. Kent’s Hill and Uni- 
 versity of Maine; studied with Miss 
 Beulah Small; mem. with three brothers 
 of male quartette; treas. Livermore Falls 
 Festival Chorus, 7 yrs.; mem. since 1808; 
 mem. choir Livermore Falls M. E. Church 
 since 1898. Address, 59 Church St., Liv- 
 ermore Falls, Me. 
 
 Brown, Zilda Jennings, Mus. Bac., pianist, 
 
 organist, composer; b. Farmington, Me., 
 Nov. 27, 1891; d. J. Eugene and Flora 
 Jennings Brown; ed. Farmington State 
 Normal; studied with Mabel Austin, 
 Latham True and composition and har- 
 mony in Chicago; organist, First Uni- 
 tarian Church, Farmington; mem. Old 
 South Ensemble; composer of songs 
 and smaller compositions; mem. Nordi- 
 ca Memorial Association. Vocation, 
 teacher. Address, 36 High St., Farming- 
 ton, Me. 
 
BIOGRAPHICAL SECTION—1927-1928 369 
 
 Browne, Mrs. Charles S., Vice Pres. Ce- 
 cilia Club. Address, Augusta, Me. 
 
 Browne, Edna Cobb Tibbetts, orranist, vo- 
 calist (alto); b. Rockland, Me., Dec. Io, 
 1886; d. William Farrow and Alice Cobb 
 Tibbetts; m. Alexander B. Browne, June 
 21, 1908; studied with Lillian Sprague 
 Copping, Mabel Holbrook, Maria T. 
 Bird and Mae Pendleton; mem, Episco- 
 pal Church Choir, Rockland; mem. 
 Wight Philharmonic Society, 28 yrs.; 
 mem. Rubinstein Club, 4 yrs.; mem. Me. 
 Festival Chorus, 27 yrs. Address, 31 
 Gay St., Rockland, Me. 
 
 Brunelle, Arthur, violinist and teacher of 
 violin for 25 yrs.; mus. dir. of “Le Mas- 
 cotte,” “Olivette,” “Chimes of Norman- 
 dy,” “Romeo and Juliet,” by Lewiston 
 and Auburn talent; hobby, repairing old 
 violins. Address, 78 Bartlett St., Lew- 
 iston, Me. 
 
 Bryant, Beatrice, violinist; d. Mr. and Mrs. 
 Ralph C. E. Bryant; mem. B. P. W. En- 
 semble. Address, Arlington St., Port- 
 land, Me. 
 
 Bryant, Margaret S., vocalist (alto) ; mem. 
 Portland Festival. Chorus, 30 yrs. Ad- 
 ee 349 Cumberland Ave., Portland, 
 
 e. 
 
 Buck, Mrs. Austin, Pres. Nordica Club, 
 Fort Fairfield, Me. Address, Fort Fair- 
 field, Me. 
 
 Buck, Eleanor Barrett, teacher of piano, 
 concert pianist; b. Bangor, Me.; d. Jo- 
 seph Edward and Eleanor Lyon Buck; 
 studied with Mme. Helen Hopekirk, 
 Carl Engel and John Orth. Address, 7 
 East Summer St., Bangor, Me. 
 
 Buck, Mrs. Mona, m.t. Address, Houlton, 
 Me. 
 
 Buckley, Abbie A., organist, Sixth St. Con- 
 
 gregational Church. Address, Auburn, 
 Me. 
 Bucknam, Arthur, composer; author of 
 
 “The Purple Cafe.” In collaboration 
 with Sidney Toler wrote and produced 
 “The Dream Trail.” Vocation, Sales- 
 man. Address, 97 Mussey St., So. Port- 
 land, Me. 
 
 Bucknam, Mrs. Arthur E. (Jennie W.), 
 soprano soloist; mem. choir Trinity 
 Episcopal Church; mem. Women’s Cho- 
 ral Society, Portland. Address, 97 Mus- 
 sey St., So. Portland, Me. 
 
 Bunton, George A., vocalist (basso); b 
 Whitefield, N. H., 1853; s. William and 
 Sarah J. Bunton; m. Mary E. Elliott; 
 ed. N. E. Conservatory; studied with 
 
 Dr. Guilmette; choirmaster, Hawes Uni- 
 tacian Church; So. Boston, 34 yrs; 5 
 yrs. at Lynn Universalist; and 5 yrs. at 
 Mt. Pleasant Unitarian, Boston; mem. 
 Apollo Club, Cecilia Club and Handel 
 and Haydn Society of Boston. Address, 
 11 Pine St., So. Portland, Me. 
 
 Hal Emily, m.t. Address, Augusta, 
 
 e. 
 
 Burgess, Ferdinand F., instrumentalist 
 (cornet); b. West Peru, Me., Jan. 30, 
 1883; s. Cyrus and Sophila A. Burgess; 
 m, Clara A. Whittier, Novy. 20, 1924; 
 studied with Thomas P. Holt, Dixfield; 
 mem. Dixfield Band, Grange; former 
 mem. Wheelwright’s Band. Address, 
 West Peru, Me. 
 
 Burke, Gertrude, vocalist (lyric and color- 
 atura soprano); b. Auburn, Me.; d. 
 Thomas F. and Mary A. Burke; ed. Ed- 
 ward Little High School, Auburn, and 
 Bliss Business College, Lewiston; stud- 
 ied with Isidore Braggiotti, Evangeline 
 Hiltz, Arthur Hubbard, Mrs. F. P. 
 Clark, Blanche Towle; piano with E. 
 W. Hanscom; mem. Philharmonic Club, 
 Auburn; one season with Aborn Opera 
 Co.; one season with Ben Hur Co.; 
 church soloist and concert singer. Vo- 
 cation, stenographer. Address, 175 Hem- 
 enway St., Suite 18, Boston, Mass. 
 
 Burke, John Oakes, vocalist (tenor); Pres. 
 Kotzschmar Club, 1925-26; charter mem. 
 Portland Men’s Singing Club (first li- 
 brarian); former mem. choirs, Church 
 of Messiah, First Parish, Plymouth Free 
 Baptist Church, First Free Baptist, 15 
 yrs.; Choir Dir. Chestnut St. Church 
 (tors). ‘Res,,7 183 ClarkSt: Bus. ad- 
 dress, 396 Congress St., Portland, Me. 
 
 Burke, Lawrence M., pianist. Vocation, 
 salesman. Res., 338 Woodfords St., 
 Portland, Me. 
 
 Burke, Prudence M., instrumentalist (vi- 
 ola); mem. Portland Orchestral Society, 
 1926; Portland Rossini Club, 1927. Ad- 
 dress, 124 Brackett St., Portland, Me. 
 
 Burke, Ruth M., m.t. Address, 171 Con- 
 gress St., Portland, Me. 
 
 Burleigh, Catherine Currier, vocalist; b. 
 Hallowell, Me., Dec. 10, 1893; d. Alger 
 V. Currier and Catherine (Moulton) 
 Currier Thrasher; m. Edwin C. Bur- 
 leigh; ed. Smith College; mem. Augusta 
 College Club, Cecilia Club and Koussi- 
 noc Chapter, D. A. R. Address, Melville 
 St., Augusta, Me. 
 
 Burnett, Sue Winchell, cellist; b. Bruns- 
 
370 MUSIC AND MUSICIANS OF MAINE 
 
 wick, Me.; d. John P. and Jennie For- 
 saith Winchell; m. Charles T. Burnett, 
 Dec. 16, 1914; mem. Bostonia Orchestra 
 and was three seasons with Fadettes; 
 studied with Alwin Schroeder and Josef 
 Adamowski; Pres. Mozart Club, Bruns- 
 wick; mem. Rossini Club, Portland. 
 Address, 232 Maine St., Brunswick, Me. 
 
 Burnham, Arline, teacher of piano; b. 
 Hollis, Me., July 8, 1897; d. Edward 
 Thomes and Luella Deering Burnham; 
 ed. Maine Central Institute; studied 
 with Carlo Buonamici and Felix Fox at 
 The Felix Fox School of Pianoforte 
 Playing, Boston; mem. Portland Ros- 
 sini Club. Address, 655 Congress St., 
 Portland, Me. 
 
 Burnham, Edith, music critic and play- 
 wright; b. Bridgton, Me., May 15, 1875; 
 d. P. P. and Helen Nichols Burnham, 
 well known organist and pianist and 
 composer of several songs; ed. N. E. 
 Conservatory, Boston University and 
 Radclifte College; studied with Helen 
 Nichols Burnham; Music Dept. Bucks- 
 port Sem. and William L. Whitney of 
 Whitney International School of Music; 
 mem. Berkeley Temple Choir, Boston; 
 music critic Boston Traveller, 2 yrs. 
 Vocation, publishing house work and 
 writing for newspapers and periodicals; 
 author of plays with incidental music. 
 Res., The Ritz-Carlton Hotel, Boston, 
 Mass. 
 
 Burnham, Frank, teacher of violin and 
 cornet; mem. Portland Musicians Asso- 
 ciation. Res., 116 Clark St. Studio, 537 
 Congress St., Portland, Me. 
 
 Burnham, Mrs. George, m.t. Address, So. 
 Paris, Me. 
 
 Burnham, Mildred, Pres. Chopin Club, 
 Westbrook. Address, Westbrook, Me. . 
 
 Burns, Leroy M., mem. Portland Men’s 
 Singing Club. Address, 40 Ocean St., 
 So. Portland, Me. 
 
 Burns, Mrs. Oscar, mem. Me. Festival 
 Chorus, 30 yrs. Address, Rockland, Me. 
 
 Burpee, Mary G., teacher piano and voice 
 (mezzo soprano); b. Fredericton Junc- 
 tion, N, -B., Canada, jan> 26,718825 41. 
 Moses and Caroline Alexander Burpee; 
 ed. Ricker Classical Inst., Mt. Holyoke 
 College and Wheaton Seminary; stud- 
 ied piano with H. G. Tucker, Boston; 
 voice with Mme. Alexander-Marius, 
 Boston, Oscar Saenger and Sergei Klib- 
 ansky, N. Y.; vocal teacher’s cert. Chi- 
 cago Mus. Coll.; soprano soloist, Church 
 
 of the Good Shepherd, Houlton, Me., 8 
 yrs. (2 yrs. dir. and soloist); soloist and 
 dir. Trinity English Lutheran Church, 
 Riverside, Cal., 1923-24; founder and 
 first pres. (5 yrs. in office) of Houlton 
 Music Club, now honorary mem.; mem. 
 Music Com. Maine Federation of Wo- 
 men’s Clubs, 1916-17; charter mem. 
 Houlton, Me., Festival Chorus, Rubin- 
 stein Club, N. Y., 1918-20, and Riverside 
 Choral Club, Riverside, Cal., 1923-24; 
 teacher of voice, Bessie Tift College, 
 Forsyth, Ga., 1926-27; head of Music 
 Dept., Ricker Classical Institute, Houl- 
 ton, Me.; org. and choir dir. Cong. 
 Church, Houlton. Address, 90 Court 
 St., Houlton, Me. 
 
 Burr, Howard, Vice Pres. Kennebunk 
 
 sete Chorus. Address, Kennebunk, 
 e. 
 
 Burr, Mary Rosamond, teacher of piano 
 
 and public school music; b. Watertown, 
 N. Y., May 26, 1900; d. Charles Henry 
 and Mary O’Neil Burr; ed. Boston 
 Univ., N. E. and. Ithaca Gone) .ana 
 Northampton Inst. of Music Pedagogy; 
 studied with August Schmid-Lindner, 
 Munich, Germany, 2 yrs.; mem. Pi 
 Lambda Sigma of Boston Univ.; chair- 
 man of program committee Philhar- 
 monic Club of Millinocket, Me., 1928; 
 composer; org., St. Peter’s; Public 
 School Music Supervisor. Address, 28 
 
 Pine St., East Millinocket, Me. 
 Butman, Anna Elizabeth Colson, pianist, 
 
 vocalist (mezzo-contralto), organist, 
 teacher of piano and voice; b. Thorn- 
 dike, Me., Jan. 25, 1861; d. George Wash- 
 ington and Susanna Nichols Colson; m. 
 James Pendleton Butman, July 15, 1884; 
 studied piano with Abbie Merrill, Sears- 
 port, Prof. F. E. Park, Boston, James 
 M. Tracey of Boston Conservatory and 
 Otto Bendix of the N. E. Conservatory; 
 voice with Prof. Tracey and Prof. Frank 
 E. Morse of N. E. Conservatory; organ 
 with Willard C. Kimball, Portland, Me.; 
 former mem. Dr. Duryea’s Choir, Bos- 
 ton. Res., Main Street, Searsport, Me. 
 
 Butman, Margaret Elizabeth, teacher of 
 
 piano; b. Falkland Islands, March 4, 1887; 
 d. James P. and Anna C. Butman; ed. 
 N. E. Conservatory, Toronto Conserva- 
 tory; studied with Alfred De Voto and 
 Paul Wells; mem. Morgantown, W. Va., 
 Music Club; teacher of piano, Univer- 
 sity of W. Va.; director of Piano Nor- 
 mal Dept. Address, 134 Hunt St., Mor- 
 gantown, W. Va. 
 
 tu 
 y 
 
 | 
 
 pe ———— re a ee 
 
BIOGRAPHICAL SECTION—I927-1928 371 
 
 Butterfield, Mrs. Wilfred J., vocalist; mem. 
 Bach Choir, Bangor. Address, Bangor, 
 Me. 
 
 Butterfield, Zilphaetta, m.t.; mem. Port- 
 land Rossini Club; mem. Haydn Trio. 
 Address, 39 Granite St., Portland, Me. 
 
 Buxton, Gertrude L., m.t., organist; mem. 
 Foriana branch N. EH. Chapt. Am. 
 Guild of Organists, Portland Rossini 
 Club; formerly org. Free St. Baptist, 
 All Soul’s, and Pine St. M. E. Churches; 
 ore iret Parish Church, Portland, 
 since 1906. Address, 18 Brentwood St., 
 Portland, Me. 
 
 Buxton, William Herbert, composer; b. 
 Portland, Me., Sept. 15, 1876; s. George 
 Herbert and Nellie (Chamberlin) Bux- 
 ton; ed. Hebron Acad.; m. Harriet 
 Susan Knight, April I, I911; composer, 
 Down in Maine, 1924, The Old Maine 
 Shore, 1925; author, Bridge Simplified 
 and the Auction Bridge Blue Book; Pres. 
 Cape Shore Community Club, 10924; 
 Pee counselor, U.>C. T.; Selectman, 
 Cape Elizabeth, 1922-26; mem. Portland 
 Athletic Club, U. C. T., Mason. Voca- 
 tion, salesman. Res., Cape Elizabeth, 
 Me. 
 
 Buzzell, Louise Newcomb, organist; b. 
 Brewster, Mass., Oct. 2, 1889; d. Wil- 
 liam F. and Sarah (Newcomb) Buzzell; 
 graduate music dept. Ricker Institute 
 and studied piano with Mrs. Clarence 
 White, Waterville, Me.; ed. Colby Col- 
 lege; org. Methodist Epis. Church, 
 Houlton; mem. Houlton Music Club 
 and B. & P. W. Club; chairman pro- 
 gram committee, Houlton Music Club, 
 and accompanist. Vocation, High School 
 teacher. Address, 74 Court St., Houl- 
 ton, Me. 
 
 Buzzell, Norma, m.t. 
 Me. 
 
 Bye, Christine, violinist; mem. Portland 
 Municipal Orchestra. Address, 32 Tre- 
 mont St., Portland, Me. 
 
 Bye, Eleanore, violoncellist, Portland Mu- 
 nicipal Orchestra. Address, 32 Tremont 
 St., Portland, Me. 
 
 Bye, Odele, violinist; mem. Portland Mu- 
 nicipal Orchestra. Address, 32 Tremont 
 St., Portland, Me. 
 
 Bye, T. F., pianist. Address, 32 Tremont 
 St., Portland, Me. 
 
 Cabot, Edna Louisa, vocalist; b. Brock- 
 tou, Mass, Jan. 21, 1873; d. Frederick 
 
 Augustus and Emeline Augusta Phillips 
 Smith; m. George Alfred Cabot, Oct. 
 
 Address, Lincoln, 
 
 21, 1902; studied with W. W. Leonard, 
 Brockton, and Segrid Lunds, Boston, 
 Mass.; former mem. choir Cong. Church, 
 Brockton, Mass., Univ. Church, Bridg- 
 ton, Me., Baptist Church, Roslindale, 
 Mass.; Massasoit Chorus, Massasoit 
 Club and Ladies Quartette. Address, 
 So. High St., Bridgton, Me. 
 
 Cain, Llewellyn B., conductor, vocalist 
 (baritone); b. Fairfield, Me., Jan. 28, 
 1867; s. George B. and Emily (Chase) 
 Cain; ed. N. E. Conservatory, Boston, 
 New York and Europe; m. Ethel Saw- 
 yer, Oct. 20, 1915; studied with Andrew 
 Keen, Arthur J. Hubbard, Frederick E. 
 Bristol, Oscar Saenger, Hans Morgen- 
 stern in Vienna, Alberto Randegger in 
 London, Lorenz in Coburg, Germany; 
 piano and theory with Emil Mollen- 
 hauer; appeared in oratorio in Louisville, 
 Ky., and western cities beginning 1895; 
 taught in Kentucky, 1893-8, New York. 
 1898, Boston, 1912, Portland, Me., and 
 other cities as teacher of voice; former 
 cond. Saco Valley Music Festival; mem. 
 First M. E. Church Choir, Kiwanis Club 
 and Church Federation all of Fresno, 
 Cal.; mem. faculty, Univ. of Cal.; chair- 
 man Festival for Cal. Federation Music 
 Clubs; conductor San Joaquin Valley 
 Oratorio Soc.; faculty high~ schools, 
 Fresno and Kingsburg, Cal.; in charge 
 music teachers, special music. Vocation, 
 teaching and conducting. Address, 1201 
 Ventura Ave., Kingsburg, Cal. 
 
 Cairns, Thomas H., bagpiper; b. Ruther- 
 glen, Scotland, Feb. 23, 1905; s. Joseph 
 and Rachel Cairns; ed. public schools, 
 Westbrook, Me.; studied with John H. 
 Smith; mem. Cumberland Mills High- 
 land Pipe Band (sergeant). Address, 
 446 Stroudwater St., Westbrook, Me. 
 
 Calden, Gladys Leavitt, vocalist (sopra- 
 no); b. New Vineyard, Me., Feb. 1, 
 1887; d. Arthur and Emma Pratt Leav- 
 itt. Clarence..7)- Calden,. Sept... 14, 
 1910; ed. Farmington State Normal 
 School; studied with Mabel Starbird, L. 
 B. Cain and Elizabeth J. Brown; mem. 
 choir Falmouth Foreside Methodist 
 Church; Sec. Marston Club; mem. Wo- 
 men’s Choral Society. Res., Falmouth 
 Foreside, Me. Address, R. F. D. No. 4, 
 Portland, Me. 
 
 Calder, Arthur E., leader of the Kenne- 
 bunk Band. Address, Kennebunk, Me. 
 
 Caldwell, John, Vice Pres. Milo Festival 
 Chorus. Address, Milo, Me. 
 
372 
 
 MUSIC AND MUSICIANS OF MAINE 
 
 Callinan, William H., m.t., organist; Ad- 
 dress, 95 Fifth St., Bangor, Me. 
 
 Calvert, Thomas E., music critic. Address, 
 98 Park St., Portland, Me. 
 
 Camara, Mrs. Marie, cellist; mem. Port- 
 land Rossini Club, Mendelssohn Trio. 
 Address, 5 Smith St., Portland, Me. 
 
 Campbell, Mary Alice, teacher of violin; 
 b. Gorham, N. H., July 1, 1888; d. John 
 and Mary (Smith) Hanley; ed. St. Jo- 
 seph’s Convent, Old Town, Me., and 
 Convent de la Presentation de Marie, 
 Coaticook, Que.; m. Franklin D. Camp- 
 bell, Jan. 1, 1914; studied violin with 
 Lillian Grey, Old Town, Horace Pullen, 
 Bangor, Fred Given, Portland, and piano 
 at Convent Coaticook, Que.; mem. choir, 
 St. Martin of Tours Church, Millinock- 
 et, Me.; Pres. Philharmonic Club. Res., 
 7 Pine St., Millinocket, Me. P. O. Box 
 462. 
 
 Campbell, Mrs. Sarah, m.t. 
 Bartlett St., Lewiston, Me. 
 
 Card, Otis Norris Edgar, vocalist (bari- 
 tone), teacher violin; b. Bath, Me., Feb. 
 3, 1895; s. Norris Edgar and Edith 
 Webber Card; m. Mildred Lucretia 
 Payne, May 26, 1920; ed. Bath, Me.; 
 studied with C. A. Warren, Brunswick, 
 Max Cimbollek, Waterville; mem. Wes- 
 ley M. E. Church Choir and musical 
 director of Wesley Choral Society at 
 Wesley M. E. Church, Bath, Me.; mem. 
 Brunswick Orchestral Society, Bruns- 
 wick, Me. Vocation, photographer and 
 draftsman. Address, rear 67 Court St., 
 Bath, Me. 
 
 Carignan, Valeria, violoncello; mem. Port- 
 land Municipal Orchestra. Address, 
 Portland, Me. - 
 
 Carleton, Leola, teacher of piano; b. Skow- 
 hegan, Me., April 23, 1889; d. George 
 and Lillian Etta Carleton; ed. North- 
 western Univ., Chicago; studied with C. 
 Winfield Richmond, Bangor, 15 yrs.; 
 assistant to C. Winfield Richmond; 
 taught in Maine, 13 yrs.; has class of 
 more than fifty pupils; formerly mem. 
 Bangor Festival Chorus; mus. com. 
 Bangor Woman’s Club; mem. Monday 
 Class in Music Appreciation; organizer 
 of the Richmond Class in Music Appre- 
 ciation. Pianist. Address, 292 Ham- 
 mond St., Bangor, Me. 
 
 Carleton, Ralph B., cornettist; b. Dover, 
 Me., Nov. 5, 1884; s. Frank and Stella 
 Pratt Carleton; m. Ethel C. Dow; ed. 
 Greenville, Me.; studied with Joseph 
 
 Address, 61 
 
 Taylor; business manager, Fay Scott 
 Band; mem. Carleton’s Orchestra; mem. 
 Odd Fellows, K. P., Masons. Vocation, 
 jeweler. Address, Dexter, Me. 
 
 Carleton, Robert A., instrumentalist; b. 
 Weld, Me., July 10, 1905; s. Anginon S. 
 and Carrie Carleton; ed. Weld, Me.; 
 studied with Joseph Udell and Josafa 
 
 Morin; mem. Lewiston-Auburn Sym-. 
 phony Orchestra. Address, 63 Academy — 
 
 St., Auburn, Me. 
 
 Carlin, M. Isabel, org. St. John’s Catholic 
 Church. Address, Bangor, Me. 
 
 Carll, Wilma Evelyn, vocalist (alto); b. — 
 
 Waterboro, Me., Feb. 19, 1905; d. Her- 
 bert H. and Cora Browne Carll; ed. 
 Bates College; studied with Leora H. 
 Osborne; mem. Military St. Baptist 
 Church, Houlton, Bates College Choir; 
 mem. Phi Beta Kappa Society; former 
 mem. MacFarlane Club and Houlton 
 Music Club. Vocation, teacher. 
 dress, Waterboro, Me. 
 
 Caron, Irene, m.t. Address, 47 Elm St., 
 Waterville, Me. 
 
 Caron, Venise Marie, cellist, organist; b. 
 Brunswick, Me., April 20, 1903; d. Louis 
 Philippe and Fabiola Soucy Caron; 
 studied with Mrs. Charles A. Warren, 
 Prof. Henri Gagnon, Quebec; organist, 
 Swedenborgian Church; formerly org. 
 St. John Church and mem. Brunswick 
 Choral and Orchestral Society and Wo- 
 
 Ad- 
 
 men’s String Quartet; mem. Mozart — 
 Club; in 1924 received scholarship for a — 
 
 year’s study on cello with C. A. Warren 
 and in 1925 with Mrs. Charles Burnett. 
 Address, 6 Lombard St., Brunswick, Me. 
 
 Carpenter, Delphine, vocalist (mezzo so- 
 prano); b. Northfield, Minn., Sept. 2, 
 1896; d. Clarence P. and Lulu M. Car- 
 penter; ed. Radcliffe College; studied 
 with Mrs. M. T. Ward and Agida Jos- 
 chia; former mem. King’s Chapel Choir, 
 Boston, and Trinity Church Choir, New- 
 ton Center, Mass.; director of Glee 
 Club, Choir, Orchestra and Chorus at 
 Nasson Institute. Teacher, voice and 
 violin, Address, Nasson Institute, Spring- 
 vale, Me. 
 
 Carr, Helen Louise, teacher of piano; b. 
 Thomaston, Me., Dec., 1876; d. Thomas 
 A. and Lizzie E. Carrsed, Noo. Cone 
 servatory; studied with Adolph Carpe 
 and Latham True; mem. and past presi- 
 
 dent Rubinstein Club, Rockland. Ad- 
 
 dress, 3 Elliot St., Thomaston, Me. 
 Carr, Ila, violinist; mem. Portland Munic- 
 
 = a 
 ee ee a a eS a ae 
 
 ae ar 
 
 — Se ee eee 
 
Da al i ee en ee ry 
 
 aan = 
 
 BIOGRAPHICAL SECTION—1927-1928 
 
 ipal Orchestra. Address, 553 Cumber- 
 land Ave., Portland, Me. 
 
 Carrier, Louis, trombonist; b. Canada, 
 Feb. 20, 1892; s. Narcisse and Aurelie 
 Carrier; m. Antonia Lemieux, Oct. II, 
 1920; ed. public schools, Lewiston, Me.; 
 studied with Ernest Hill; mem. Brigade 
 Band and Parker’s Orchestra, Lewiston. 
 Vocation, baker. Address, 68 Birch St., 
 Lewiston, Me. 
 
 Carritt, Mrs. E. H., honorary member 
 Philharmonic Club, Auburn-Lewiston. 
 Address, Lewiston, Me. 
 
 Carroll, Mrs. Evelyn B., soloist; mem. 
 Women’s Choral Society. Address, R. 
 F. D. No. 4, Portland, Me. Res., Fal- 
 mouth Foreside, Me. 
 
 Carson, Mary M., vocalist; mem. Women’s 
 Choral Society. Address, 255 Concord 
 St., Portland, Me. 
 
 Carson, Zeula Miller, vocalist, composer; 
 b. Littleton, Me., June 12, 1883; d. An- 
 son Colby and Josephine Wright Mil- 
 ler; m. John Carson, June 17, 1908; 
 studied with Mrs. J. E. Robinson; mem. 
 choir U. B. Church from childhood to 
 marriage (alto); organist, U. B. Church, 
 5 yrs.; mem. Houlton Music Club, 
 Grange and Houlton Farm Bureau; 
 composer, “In the Autumn When the 
 Leaves Begin to Fall,” ‘“Contrition,” 
 “Wanted A Pal by the Name of Mary,” 
 “Down the Path of Yesterday,” “Are 
 Heaven’s Gates in the West,” etc. Ad- 
 dress, North Road, Houlton, Me. 
 
 Carter, Ellinor, pianist; d. John Carter; 
 studied with Ethel Fullerton; student 
 N. E. Conservatory. Res., 490 Preble 
 St., So. Portland, Me. 
 
 Carter, Harry B., School Music Super- 
 visor. Address, Presque Isle, Me. 
 
 Carter, Mrs. Mabel, organist. Address, 
 124 Park Ave., Portland, Me. 
 
 Carter, Willis E., violinist; mem. Deane’s 
 Orchestral Club. Address, 379 Danforth 
 St., Portland, Me. 
 
 Cary, Mrs. Fred H., vocalist; soloist Win- 
 ter St. Church, Bath. Address, Bruns- 
 wick, Me. 
 
 Cary, George F., former pres. Machias 
 Festival Chorus. Address, 79 Highland 
 St., Portland, Me. 
 
 Cary, Mrs. George F., former conductor 
 Machias and East Machias Festival 
 Chorus. Address, 79 Highland St., Port- 
 land, Me. 
 
 Casseboom, George H., instructor piano, 
 
 373 
 
 organ and harmony; b. Saco, Me., Oct. 
 7, 1892; s. Samuel W. and Susan (Davis) 
 Casseboom; ed. Thornton Academy, 
 Saco; m. Adeline Gore, June 21, 1924; 
 studied with Arthur Foote; org., Main 
 St. Baptist Church, Biddeford; concert 
 dir. Philharmonic Orchestra; dir. of 
 music Philharmonic Society and Main 
 St. Bapt.; mem. Biddeford and Saco 
 Musicians Asso., Bidd. and Saco Coun- 
 try Club, all Masonic bodies, Shrine, 
 American Legion. Address, 491 Main 
 =e Saco; o., 138 Main St., Biddeford, 
 e. 
 
 Caswell, Elvira J., teacher of piano; b. 
 Portland, Me.; d. Cyrus M. and Mar- 
 garet Dearman Caswell; ed. Portland 
 and N. E. Conservatory; studied with 
 Carl Stasny; mem. Marston and Mac- 
 Dowell Clubs; Pres. Marston Club 2 
 yrs.; org., Westbrook Univ. Church, 
 1897; pianist, Westbrook Cong. Church, 
 1904. Address, 757 Congress St., Port- 
 land, Me. 
 
 Caswell, Mina H., music critic. Musical 
 Editor Portland Evening News. Ad- 
 dress, 139 Neal St., Portland, Me. 
 
 Cates, Mrs. Gertrude, m.t. Address, Skow- 
 hegan, Me. 
 
 Cayting, A. Stanley, teacher of violin. Ad- 
 dress, Pearl Building, Bangor, Me. 
 
 Chabot, Louis T., vocalist (bass); for 47 
 yrs. a member of St. Peter’s Church 
 
 Choir, Lewiston. Address, Lewiston. 
 Me. 
 Chadbourne, Alfredda Drew, vocalist 
 
 (contralto), violinist, pianist; b. Bidde- 
 ford, Me.; d. Mr. and Mrs. Frederic 
 Drew; m. Charles Allen Chadbourne, 
 1898; ed. Wesleyan University; studied 
 with A. R. Frank and W. H. Stock- 
 bridge; formerly mem. choirs in Bidde- 
 ford and Saco churches and Unitarian 
 Church, Kennebunk; mem. Tremont 
 Temple Chorus, Boston. Address, 143 
 Pleasant St., Saco, Me. Mail Address, 9 
 Thatcher St., Medford, Mass. 
 
 Chadwick, Julia, m.t. Address, Farming- 
 dale, Me. 
 
 Chaffee, George W., teacher cornet and 
 saxophone; b. Millburn, N. J., Jan. 17, 
 1883; s. William C. and Mary E. Parsell 
 Chaffee; m. Annie E. Smith, Aug. 15, 
 1905; ed. New Jersey; studied with Wil- 
 liam C. Chaffee; dir. Dover-Foxcroft 
 Band and mem. Quintette Orchestra; 
 mem. Knights of Pythias. Vocation, 
 manager, Observer Pub. Co. Address, 
 South St., Dover-Foxcroft, Me. 
 
374 MUSIC AND MUSICIANS OF MAINE 
 
 Chandler, Evelyn Parker, vocalist. Ad- 
 dress, New Gloucester, Me. 
 
 Chandler, Mrs. J. S., pianist; formerly 
 mem. Damariscotta Festival Chorus. 
 Address, Damariscotta, Me. 
 
 Chapman, Mrs. C. V., m.t. Address, Pat- 
 ten, Me. 
 
 Chapman, Frederick Elmer, organist, com- 
 poser, conductor, teacher; b. Bath, Me.; 
 s. Job and Elizabeth Kinsman Chap- 
 man; ed. special at Harvard Univ. and 
 Mass. Inst. of Technology; grad. Nat. 
 School of Public School Music; studied 
 with Dr. Luther Whiting Mason and 
 George A. Veazie; studied interpreta- 
 tion and conducting with Carl Zerrahn; 
 pianoforte and pipe organ with S. B. 
 Whitney and Charles L. Capen; har- 
 mony, counterpoint, fugue, orchestra- 
 tion and composition with George W. 
 Chadwick, Gustave Strube and others; 
 voice with Freiderich Zeuchtmann; org. 
 Bath, Me., at. 10. yrs. of age; Cong. 
 Church, Springfield St., Boston, 5 yrs.; 
 Columbus Ave., Boston, 7 yrs.; teach- 
 er public school music, Wa -erville, Me., 
 Reading, Mass., Cambridge, Mass. (20 
 yrs.), Portland, Ore. (4 yrs.); con- 
 ductor numerous choral societies and 
 orchestras; teacher Nat. Summer School 
 for pub. sch. music, Chicago; Univ. of 
 California; Univ. of Washington; State 
 of Maine Teachers Summer Insts. (11 
 yrs.); mem. Nat. Ed. Assn. (1885-1928) ; 
 composer and conductor of opera “The 
 Prince of Cairo’; con. of the Longfellow 
 Centenary at Sanders Theatre, Harvard 
 Univ., also the Lincoln Memorial there; 
 dir. Handel and Haydn Soc., Boston (9 
 yrs.); mem. Cecilia Club, Boston (12 
 yrs.); composer, “Consolation,” “Colin,” 
 “A Crooning ~ Song,” “‘Good “Nigne” 
 “Rockaby Lady” (for women’s voices), 
 “Mass in D minor,” “The Apollo Song 
 Book” (men’s voices), “Meditation,” in 
 D minor, for violin, harp and pipe or- 
 gan; author of Harmony for High 
 Schools; mem. Musicians Club, Port- 
 land, Ore.; Colleague of Am. Guild of 
 Organists; Director of Music in Public 
 Schools, Belfast, Me. Mail address, 
 Damariscotta, Me. 
 
 Chapman, Mildred L., pianist; Pres. and 
 Accompanist, Milo Festival Chorus. Ad- 
 dress, Milo, Me. 
 
 Chapman, William Rogers, choral director, 
 conductor, composer; b. Hanover, Mass., 
 Aug. 4, 1855; s. Rev. William Rogers and 
 Emily Bishop Chapman; ed. in New 
 
 York; m. Emma L, Faulkner; for many 
 years music teacher in N. Y. Public 
 Schools; org. Church of the Covenant, 
 N. Y., 1877; cond. Musurgia, Rubinstein, 
 Apollo Clubs and the Metropolitan Mu- 
 sical Society, N. Y.; cond. Philharmonic 
 Society, N. Y.; dir. Maine Music Festi- 
 vals, Portland and Bangor, for 30 yrs.; 
 Honorary Degree, Doctor of Music, Univ. 
 
 of Maine, Orono, 1926; tree planted in — 
 
 Honor Grove, Central Park, Aug., 1927, 
 in honor of Dr. and Mrs. Chapman. Ad- 
 dress, Waldorf Astoria, N. Y. Summer 
 res., Bethel, Me. 
 
 Chase, Annie P., teacher pipe organ; b. 
 
 Hallowell, Me.; d. Dr. James T. and Al- 
 mira (Parker) Chase; studied with Ho- 
 mer Norris, Boston; org., First Baptist 
 Church, Hallowell, and Winthrop St. 
 Baptist, Augusta; composer of choir 
 works, organ solos and violin and cello 
 solos. Res., 40 Middle St., Houlton, Me. 
 
 Chase, Caroline Fenno, teacher of piano, 
 
 vocalist (mezzo-soprano); b. Augusta, 
 Me., Nov. 30, 1871; d. Henry and Emily 
 Pitts Chase; ed. private schools, Au- 
 gusta; studied with John Hyde, John 
 Mason, Carl Lamson; Pres. Cecilia 
 Club; State Extension Chairman, Me. 
 Fed. Music Clubs; mem. Armitage Club, 
 D. A. R., League of Women Voters, 
 Kennebec Historical Society, Daughters 
 of Veterans; composer “The Festival of 
 the May Queen.” Supervisor of Music, 
 public schools of Augusta, 1920-21. Ad- 
 — 15 East Crescent St., Augusta, 
 e 
 
 er Daisy D., m.t. Address, Norway, 
 Chase, Emily, mem. MacDowell Club; 
 
 teacher drawing and music in Nathan 
 Clifford School; pianist, Clifford Boys’ 
 Music Club, Portland. Address, 128 
 Cumberland ‘Ave, Portland, Me. 
 
 Chase, Melville Warren, organist, teacher 
 
 and musical director; b. Minot, Me., Feb. 
 18, 1842; s. Joseph W. and Mary Ann 
 Chase; m. Olive C. Poland, 1874 (de- 
 ceased), and Mrs. Eleanor McMillan Hill, 
 
 1877; ed. Hebron Academy, and Maine ~ 
 
 State Seminary (now Bates College) ; 
 studied with Mrs. I. C. Bumpus, W. K. 
 
 Emminger, W. H. Schultze and Herman ; 
 Daum; org. Lewiston and Auburn church- — 
 
 es, 1866-68; org. Hillsdale College Church, 
 1869 to 1926, and dir. College Chorus, 20 
 yrs.; pianist for conventions in Lewiston, 
 1866 to 1869; former pres. Michigan Mus. 
 Teachers Asso. and Treas. 10 yrs.; rec’d 
 
BIOGRAPHICAL SECTION—1927-1928 375 
 
 honorary degree, Hillsdale Coll., Mus. 
 Doc. in 1887; became Director of Music 
 
 Dept. Hillsdale College, Michigan, in 
 1869; retired in 1923. Director emeritus 
 since 1923. Address, 157 Hillsdale St., 
 
 Hillsdale, Michigan. 
 
 Cheney, Mrs. J. F., Vice Pres. Brunswick 
 Festival Chorus. Address, Brunswick, 
 Me. 
 
 Cherry, Sara, m.t. Address, Eastport, Me. 
 
 Christensen, Eleanor Nielsine, supervisor 
 of public school music; b. Bangor, Me., 
 April 19, 1899; d. Hans and Bertha V. 
 Christensen; ed. N. E. Conservatory; 
 mem. Methodist Church Choir (so- 
 prano); teacher violin, cornet. Address, 
 
 14 Elm St., Bangor, Me. 
 
 -Church, William Austin, teacher of violin; 
 b. Cherryfield, Me., March 3, 1872; s. 
 George Edwin and Annie (Austin) 
 Church; m. Helen R. Schoppe, Oct. 27, 
 1910; studied with Wm. Eaton, Cherry- 
 field, M. H. Andrews, Bangor, and R. 
 Williams, N. Y.; mem. local orchestras 
 (1st violin). Address, Cherryfield, Me. 
 
 Chute, Isabelle May, vocalist, accompan- 
 ist; b. Lakeview, Ontario, Canada, May 
 0, 1800; d. Charles Walter and Mary 
 Chute; ed. Hartford School of Religious 
 Education, Hartford, Conn.; studied 
 with Mrs. Dudley Hayes Farrell and 
 Mrs. Helen Allen Hunt; mem. choir 
 Baptist Church, Rockland, Mass., So. 
 Cong. Church, Brockton, Mass., and 
 Hartford Seminary Choir; mem. Phil- 
 harmonic Club. Vocation, Director of 
 Religious Education. Address, 46 High 
 St., Auburn, Me. 
 
 Cilley, Madelyn L., organist, teacher of 
 piano; b. Livermore Falls, Me.; d. EI- 
 mer E. and Julia M. Lord; m. Lawrence 
 N. Cilley, Aug. 25, 1922; studied with 
 Florence A. Wells, Lewiston, and Mrs. 
 Gertrude Davis, Portland ; mem. choir 
 and org. School St. M. E. Church; mem. 
 Nat. Asso. of Organists; associate mem. 
 Portland Rossini Club; pianist, Eastern 
 Star; mem. Annie Louise Cary Club; 
 counsellor of Junior Annie Louise Cary 
 Club; mem. Altrurian Club. Address, 
 111 Main St., Gorham, Me. 
 
 Cimbollek, Max George, teacher of violin; 
 b. Germany, May 10, 1890; s. Anton and 
 Wilhelmina (Lasch) Cimbollek; m. 
 Helen Brown, June 14, 1916; leader 
 Waterville Symphony Orch.; Mason. 
 Res., 4 Graylock Rd.; 0., 165 Main St., 
 Waterville, Me. 
 
 Clark, Ethel H., organist, pianist; b. 
 Madison, Me.; m. J. Max Clark; studied 
 with Margery Morrison, Alfred Brink- 
 ler, Carl Mally. Vocation, assistant or- 
 ganist Empire Theatre. Address, 63 
 Washburn Ave., Portland, Me. 
 
 Clark, Florian Lester, teacher of trom- 
 bone; b. Plymouth, Me., July 28, 1903; 
 s. William H. Clark; studied with U. S. 
 Army bands: O2nd. Cc: AJ ©. and 2nd 
 C. A. C., Fort Williams; mem. choir 
 First Baptist Church, Rockland; mem. 
 Waldoboro Band; mem. Trombone 
 Quartet; mem. F. A. M., King Solo. 61. 
 Vocation, salesman. Res., 12 Masonic 
 St., Rockland, Me. Mail address, P. O. 
 158, Waldoboro, Me. 
 
 Clark, Dr. George B., mem. Pilgrim Male 
 Quartette. Portland, Me. 
 
 Clark, Mrs. George; mem. Women’s Cho- 
 ral Society. Address, Portland Farms, 
 Portland, Me. 
 
 Clark, Howard Winchell, solo pianist, 
 teacher of piano and organ; b. Roxbury, 
 Mass., July 13, 1885; s. Carroll Winn 
 and Belle (Winchell) Clark; m. Helen 
 Sumner Baine, Portland, June 16, 1914; 
 s. with Frank L. Rankin; organist and 
 choir dir., Cong. Sq. Univ. Church since 
 1913; o0rg., Plymouth Free Baptist Church, 
 1907-13; accompanist for many noted 
 soloists; mem. Kotzschmar Club; mem. 
 Portland Branch N. E. Chapter Amer- 
 ican Guild of Organists. Res., 12 Fair- 
 lawn, Ave., So. Portland. 
 
 Clark, Mrs. Howard W. (Helen S. Baine), 
 vocalist (soprano); mem. Portland Ros- 
 sini Club; Women’s Choral Society. Ad- 
 Sete 12 Fairlawn Ave., So. Portland, 
 
 e. 
 
 Clark, Mrs. R. T., Treas. Bangor Festival 
 
 Chorus. Address, Bangor, Me. 
 
 Clarke, Dr. F. A., mem. Kotzschmar Club. 
 Address, 156 Free St., Portland, Me. 
 
 Clarke, Florence M., vocalist; mem. Wo- 
 men’s Choral Society. Address, 45 Run- 
 nells St., Portland, Me. 
 
 Clarke, George Clarence, A.B., vocalist 
 (tenor); b. Portland, Me., Dec. 8, 1888; 
 s. James Melvin and Rose Ella Clarke; 
 m. Nellie Augusta Goodine, Aug. 31, 
 1914; ed. Portland High School, Uni- 
 versity of Maine; Maine Wesleyan Sem- 
 inary Conservatory of Music; studied 
 with Karl Dreschal, of Batavia, Ger- 
 many; leader Pawtucket Chamber of 
 Commerce Male Quartette, Pawtucket, 
 R. I.; formerly manager, Maine Musical 
 
376 
 
 Clubs. Vocation, Sec. Chamber of Com- 
 merce, Pawtucket. Address, 307 Main 
 St., Pawtucket, R. I. 
 
 Clarke, Helen Archibald, composer; b. 
 
 Philadelphia; d. Hugh Archibald and 
 Jane (Searle) Clarke; ed. private schools 
 and musical dept. of U. of Pa.; editor 
 (with Charlotte Porter), Poet Lore; lec- 
 turer on poetry, drama and mythology; 
 mem. Boston Browning Soc., N. Y. 
 Browning Soc.; mem. Boston Authors, 
 N. E. Poetry Soc.; editor Poems of 
 Robert Browning, 1896, The Ring and 
 the Book, 1897, Clever Tales, 1897, Rob- 
 ert Browning’s Complete Poetical 
 Works, 1898, Mrs. Browning’s Com- 
 plete Works, 1900, Browning Study 
 Programs, 1900, Shakespeare Studies, 
 1902, The Pembroke Editor of Shakes- 
 peare, 1903, Poets’ Parleys, 1903; author, 
 Browning’s England, Browning’s Italy, 
 Longfellow’s Country, Guide to Mythol- 
 ogy, Ancient Myths in Modern Poets, 
 Hawthorne’s Country, Poet’s New Eng- 
 land, Starrylocks in Butterfly-Land, 
 Browning and His Century, Gethsem- 
 ane, Balaustion’s Euripides, Hermes at 
 School; composer of piano music and 
 songs; founder and dir. The Symposium. 
 Summer home, Isle au Haut, Me. Res., 
 II Queensbury St., Boston, Mass. 
 
 Clement, Cacy Elizabeth, violinist; b. Lew- 
 iston, Me., July 22, 1908; d. Charles and 
 Nellie Clement; ed. Auburn, Me.; stud- 
 ied with Leigh Fenderson and Josafa 
 Morin; mem. C. L. H. S. and Lewiston- 
 Auburn Symphony Orchestra. Address, 
 20 Newbury St., Auburn, Me. 
 
 Cleveland, E. L., Dir. Eastern Maine Mu- 
 
 sical Association. Address, Houlton, Me. 
 
 Clifford, Beatrice, vocalist, pianist; b. Ban- 
 gor, Me., May 4, 1897; d. Milton S. and 
 Angela G. Clifford; ed. Bangor and Bos- 
 ton; studied with Anna Strickland and 
 Isabel Weston, Bangor; American 
 School of Music at Fontainebleau one 
 summer; Francis Rogers, Ella Backus- 
 Behr and Mannes School, N. Y.; piano 
 with Pauline Danforth, Boston; voice 
 with Mrs. Annie Whittredge, Boston; 
 mem. Schumann Club, Bangor. Ad- 
 dress, 60 Montgomery St., Bangor, Me. 
 
 Clifford, Mae Harrison, organist; b. Du- 
 luth, Minn., July 6, 1889; d. Thomas and 
 Luella Harrison; m. Dr. Gerald P. Clif- 
 ford, June 1, 1916; ed. Kent’s Hill and 
 Lasell Seminaries; studied organ with 
 Dr. Henry Dunham and piano with Alice 
 
 MUSIC AND MUSICIANS OF MAINE 
 
 Hall of N. E. Conservatory; church or- 
 ganist since 16 yrs. of age; mem. Mars- 
 ton Club, Portland; for. mem. Houlton 
 Music Club; Pres. Portland Lasell Club; 
 mem. Excelsior Literary Club; Second 
 Vice Pres. Federation of Women’s 
 Church Soc., Portland; Sec. of Woman’s 
 Home Missionary Soc., Portland Dis- 
 trict; Sec. of Conference Members Home 
 Missionary Soc. of Me. Res., Town 
 Landing, Falmouth Foreside, Me. 
 
 Cloudman, Mrs. Andrew C. (Margaret), 
 vocalist; Pres. Women’s Choral Soci- 
 ety; priv. mem. Marston Club; priv. 
 mem. Portland Rossini Club. Address, 
 9 Newcomb Place, Westbrook, Me. 
 
 Cloutier, Aimé, instrumentalist (violin, E 
 flat alto horn); b. Augusta, Me., Dec. ‘31, 
 1907; s. Arthur and Rose Cloutier; ed. 
 Augusta, Me.; studied with Josafa Morin 
 and Raymond Shaw; mem. Lewiston 
 Symphony Orchestra, Dominican Band 
 and A. S. D. Club; mem. Augusta Sym- 
 phony Orchestra, 1921-23. Address, 67 
 Maple St., Lewiston, Me. 
 
 Cloutman, Ernest Clifton, teacher piano 
 and organ; b. West Milton, N. H., Sept. 
 10, 1859; s. Charles A. and Ellen (Dear- 
 born) Cloutman; studied with Prof. 
 Frank L. Rankin and Louis C. Stanton; 
 organist, Baptist Church, Dover, N. H., 
 25 yrs.; org., Free Baptist Church, So. 
 Berwick; former mem. Nat. and New 
 Hampshire Music Teachers’ Associa- 
 tions. Address, 39 Elm St., So. Berwick, 
 Me. Mail address, P. O. Box 553, So. 
 Berwick. 
 
 Cobb, Grace Clifford, pianist; b. Bath, 
 Me.; d. Zina B. and Media L. Clifford; 
 m. Samuel T. Cobb, June 29, 1910; 
 studied with E. W. Hanscom, Mrs. An- 
 drew Haley and Arthur N. Pettengill; 
 mem. Auburn Trio (saxophone); Pres. 
 Philharmonic Club of Auburn and Lew- 
 iston, 1921-22. Address, 20 Davis Ave., 
 Auburn, Me. 
 
 Cobb, Marion, School Music Supervisor. 
 Address, Bucksport, Me. 
 
 Cobb, Ruth, vocalist. Address, Trelawney 
 Bldg., Portland, Me. 
 
 Coburn, Raymond Wesley, musical direc- 
 tor, teacher of piano; b. Lewiston, Me., 
 Dec. 26, 1890; s. Dwight J. and Addie 
 May Coburn; m. Maude H. Clark, Dec. 
 5, 1918; studied with Edward Hanscom 
 and Carl Deis; mem. Arcadians; 32nd 
 degree Mason, Shrine, Willowdale Golf 
 Club; formerly director Jefferson Thea- 
 
BIOGRAPHICAL SECTION—1927-1928 377 
 
 tre, Keith’s Theatre and the Empire 
 Theatre Orchestras, Portland. Res. 84 
 Free St., Portland, Me. 
 
 Cochrane, Harry Hayman, vocalist (bass- 
 baritone); b. Augusta, Me.; s. Major 
 James Henry and Ellen Maria (Berry) 
 Cochrane; m. Ida Lorena Gott, June, 
 1887; ed. Monmouth Academy, Bates 
 College (Honorary A. M. Degree) and 
 American Conservatory, Chicago; stud- 
 ied with Mrs. Flora C. Burnham, Arthur 
 C. Hubbard and Karlton Hackett; dir. 
 M. E. Church Choir; leader Monmouth 
 Band; mem. Winthrop Band (slide 
 trombone); dir. Cochrane’s Orchestra; 
 hon. mem. Lewiston-Auburn Rotary; 
 Trustee, Monmouth Academy; com- 
 poser of First Crusade, a musical drama 
 produced in principal Maine cities under 
 auspices of Masonic Fraternity and 
 Knights Templar in 1894-5, and a large 
 number of unpublished band, orchestra 
 selections and songs; former mem. New 
 York Festival Chorus; author of His- 
 tory of Monmouth and Wales. Voca- 
 tion, artist. Address, Monmouth, Me. 
 
 Cochrane, Wilbur S., teacher of music; 
 mem. Me. Festival Chorus, 30 yrs.; con- 
 ductor Bucksport Chorus. Address, 91 
 Fourth St., Bangor, Me. 
 
 Coffey, Florence, teacher of piano; Pres. 
 Marston Club; mem. MacDowell Club. 
 Portland Rossini Club. Address, 20 
 Spruce St., Portland, Me. 
 
 Coffin, Carl C., vocalist (bass); mem. Port- 
 land Festival Chorus. Address, 135 
 Glenwood Ave., Portland, Me. 
 
 Coffin, Harold W., vocalist; Vice Pres. 
 Eastern Maine Fes. Chorus, 1927-28; 
 mem. Bach Choir. Address, Bangor, Me. 
 
 Coffin, Susan G., vocalist (alto), teacher of 
 piano; coach and accompanist, Portland 
 Rossini Club Trio; priv. mem. Portland 
 Rossini Club; accompanist Portland 
 Festival Chorus; mem. 25 yrs.; organist, 
 Williston Church. Address, 226 Wood- 
 ford St., Portland, Me. 
 
 Cohen, Birdie, m.t. Address, 195 Congress 
 St., Portland, Me. 
 
 Cohen, Harry Jacob, teacher of violin; b. 
 Liskova, Russia, June 15, 1896; arrived 
 in U. S. A. at age of 2; s. Louis and 
 Bertha (Zagorski) Cohen; m. Minnie 
 Rose Glickman, May 9, 1917; ed. Rum- 
 ford, Me.; studied with Howard Fogg, 
 Carl Pearce and at N. E. Conservatory; 
 concert master, Rumford Symphony 
 Orchestra; mem. Elks, K. of P., and A. 
 
 F. of Music. Vocation, carbonated bev- 
 erage manufacturer. Address, 509 Pine 
 St., Rumford, Me. 
 
 Colburn, Eleanor S.., ; school music super- 
 visor. Address, East Livermore, Me. 
 
 Colby, Herbert E., vocalist (bass); Db. 
 Litchfield, N. H., May 28, 1873; s. Eben 
 C. and Abbie D. Colby; m. Nellie F. 
 Upton, 1899; ed. Pinkerton Academy, 
 Derry, N. H.; studied with Mrs. Eliz- 
 abeth Prescott; mem. First M. E. 
 Church Choir, St. Luke’s Methodist at 
 Derry, N. H., and Unitarian Men’s 
 Choir, Sanford, Me.; Vice Pres. Sanford 
 Men’s Singing Club. Vocation, meat 
 ANS Address, 7 Clinton St., Sanford, 
 
 e. 
 
 Coleman, Walter Strout, vocalist (bass) ; 
 b. Portland, Me., March 2, 1874; s. 
 Francis D. and Mary F. (Strout) Cole- 
 man; m. Gertrude M. Richardson, Oct. 
 5, 1896; ed. public schools, Westbrook 
 Seminary, and Harvard Dental College; 
 studied with W. L. Dennett (vocal in- 
 structor) and C. M. Brooks (cornet) ; 
 mem. Trinity Church Choir, Boston, 
 Williston Church Choir and First Par- 
 ish Church Choir, Portland (14 yrs.); 
 mem. several orchestras for. 11 yrs.; dir. 
 for Cumberland Co. of the work of the 
 Preparedness League of American Den- 
 tists during the World War; Past Mas- 
 ter Deering Lodge, A. F. & A. M.; mem. 
 Portland Commandery, K. T., and 32nd 
 degree Mason. Vocation, practicing den- 
 Re Address, 154 Concord St., Portland, 
 
 e. 
 
 Collet, Laura, teacher of piano; b. Lewis- 
 ton, Me.; d. Charles and Clara Poulin 
 Collet; studied with Miss M. M. Tontain 
 and Rev. Sister Dolores; directress 
 Foyer Musical. Address, 132 First St., 
 Auburn, Me. 
 
 Collet, Romeo, violinist; b. Lewiston, Me.; 
 s. Charles and Clara Collet; ed. Maine 
 School of Commerce, Auburn; studied 
 with Arthur Bounelle and Josafa Morin; 
 concertmaster, Lewiston-Auburn Sym- 
 phony Orchestra. Address, 132 First 
 St., Auburn, Me. 
 
 Comeau, Leah, pianist; mem. MacDowell 
 Club. Address, 280 Stevens Ave., Port- 
 land, Me. 
 
 Conant, Albert, trombone; mem. Portland 
 Municipal Orchestra. Address, Port- 
 land, Me. 
 
 Conant, Ella F., m.t. Address, 28 East 
 Summer St., Bangor, Me. 
 
378 MUSIC AND MUSICIANS OF MAINE 
 
 Conant, Forest Burbank, teacher saxo- 
 phone and drums; b. Hebron, Me., May 
 3, 1895; s. Albert A. and Nellie M. Co- 
 nant; ed. Hebron Academy; studied with 
 John D. McCarthy; mem. Grange, Ma- 
 son. Vocation, shoe business and can- 
 ning. Address, Buckfield, Me. 
 
 Conant, Helen Alfreda, teacher of piano, 
 organ; b. Lewiston, Me.; d. Alfred Per- 
 kins and Hannah Smith Conant; studied 
 with E. W. Hanscom and William H. 
 Sherwood; technical work with Prof. 
 Hambourg, London; organ with Dr. W. 
 G. Alcock of Westminster Abbey; 
 French music with Isidor Philipp, Paris; 
 held first position as church organist at 
 age of 15; organist and choir director, 
 Elm St. Universalist Church, Auburn; 
 mem. Philharmonic Club; former mem. 
 Musical Union and Clef Club. Address, 
 153 Pine St., Lewiston, Me. 
 
 Conant, Neil R., violinist; b. Mechanic 
 Falls, Me., April 5, 1900; s. William Q. 
 and Alma Conant; ed. Edward Little 
 High School and Bates College; studied 
 with Leigh Fenderson and Tavid Fish- 
 er; mem. Lewiston Musical Organiza- 
 tion and MacFarlane Club. Address, 246 
 Court St., Auburn, Me. 
 
 Connor, Ella, org. and choir dir. St. John’s 
 Catholic Church. Address, Bangor, Me. 
 Connor, Reginald, violinist;.mem. Port- 
 land Municipal Orchestra. Address, 118 
 
 Main St., So. Portland, Me. 
 
 Conway, Edward, vocalist (bass); mem. 
 Maine Harmony Four. Address, Lew- 
 iston, Me. 
 
 Cony, Mrs. Thomas O., m.t. Address, 4 
 Elm St., Augusta, Me. 
 
 Cook, Charlotte F., m.t. Address, 490 
 Washington St., Bath, Me. 
 
 Cook, Gladys (Russell), vocalist (colora- 
 tura soprano); b. Kennebunkport, Me.; 
 d. Seth Webb and Marilla Russell Stin- 
 son; m. Wallace Leslie Cook, Sept. 5, 
 1915; ed. Biddeford, Me.; studied coach- 
 ing with Marion Simms; voice, Freder- 
 ick Bristol, N. Y.; mem. Williston 
 Church Choir, Portland, and the Rossini 
 Club; church soloist in New York and 
 other cities. Res., 42 Exeter St., Port- 
 land, Me. 
 
 Cook, Henry C., violinist; mem. Portland 
 Municipal Orchestra. Address, 340 Au- 
 burn St., Portland, Me. Cees 
 
 Cook, Mrs. Hilliard D., organist, vocalist; 
 studied voice with Isidore Braggiotti; ed. 
 Institute of Music, N: Y.; org. St. Ste- 
 
 phen’s Episcopal Church, Portland; for- 
 merly org. Christ Church, Gardiner, St. 
 Paul’s Church, New Haven, Conn., St. 
 Margaret’s Church, Brighton, Mass. Ad- 
 dress, 92 Mechanic St., Westbrook, Me. 
 
 Cook, Mrs. Hope Jackson, vocalist (so- 
 prano). Address, Westbrook, Me. 
 
 Cook, Ruth Plummer, pianist, cellist; b. 
 Portland, Me., Feb. 16, 1899; d. George 
 Adelbert and Alice Atkins Plummer; m. 
 Sanger Mills Cook, Aug. 15, 1923; ed. 
 Boston Lyceum School and N. E. Con- 
 servatory; studied with C. Winfield 
 Richmond, Charles Dennee, Adelbert 
 Wells Sprague and Carl Webster; solo- 
 ist in Lyceum Work; organist, Newport 
 High St. Church, Pittsfield Univ., Pitts- 
 field Baptist; mem. Bangor Symphony 
 Orchestra, Pittsfield Tuesday Club and 
 B. & P. W. Club. Vocation, Head of 
 Maine Central Institute Music Depart- 
 Sra Address, 110 Main St., Pittsfield, 
 
 e. ' 
 
 Cooke, Reginald Bancroft, vocalist (ten- 
 or); b. Birkenhead, England, 1887; s. 
 Bancroft and Emily Sarah Cooke; ed. 
 M.A. University of California; PhD. 
 Univ. of Wisconsin; mem. Williston 
 Church Choir, Portland, Portland Men’s 
 Singing Club (former librarian and Sec.), 
 Kotzschmar Club, Portland; former 
 mem. Oakland Orpheus, Oakland, Cal.; 
 trained as a boy soprano, Llandaff Ca- 
 thedral, Wales, 1898-1901; author “Pla- 
 ten’s Sonnets” and “Some Sonnets of a 
 Passing Epoch.” Address,-738 Congress 
 St., Portland, Me. 
 
 Coombs, Charles Whitney, organist, com- 
 poser; b, Bucksport, Me., Dec. 25, 1859; 
 s. Luther Augustine and Caroline (Whit- 
 ney) Coombs; studied with Speidel and 
 Seifriz in Stuttgart and with Janssen, 
 Draeseke, Jahn and Lamperti in Dresden; 
 org. and choirmaster American Church, 
 Dresden, 1887-91, Church of the Holy 
 Communion, N. Y., 1892-08, St. Luke’s 
 Church, N. Y., since 1908; founder Amer- 
 ican Guild of Organists; composer, church 
 cantatas, “Vision of St. John,” “The First 
 Christmas,” “The Ancient of Days,” “The 
 Sorrow of Death”; anthems, “How Good- 
 ly are Thy Tents,” “How Lovely upon 
 the Mountains,” “O God Thou Art Great,” 
 “Where is He that is born King of the 
 Jews,” “As It began to Dawn”; songs, 
 “The Face,” “The Breath of the Dawn,” 
 “The Hills of Arcady,” “The Long Cliffs 
 
 ~of Devon,” “Her Rose,” “A Riot of Ros- 
 es,” “Four Leaf Clover,” “In the Dark, 
 
BIOGRAPHICAL SECTION—1927-1928 
 
 in the Dew,” “My Heart, It Was a Cup 
 of Gold,’ “A Knight of the Plain,’ “A 
 Garden of Dreams,” “A Benediction,” etc. ; 
 mem. Musicians Club, St. Wilfrid’s Club, 
 Clef Club. Address, St. Luke’s Church, 
 Convent Ave. and 141st St., New York. 
 
 Coombs, Mrs. Delbert Dana (Martha 
 Mitchell Lufkin), vocalist (contralto); b. 
 Lewiston, Me., Nov. 7, 1866; d. Israel 
 and Eliza Fowler Mitchell; m. Freder- 
 ick T. Lufkin, June 7, 1887, and Delbert 
 Dana Coombs, Sept. 10, 1902; studied 
 music with Signor Rotoli, Boston, W. 
 L. Whitney, Boston, W. H. Dennett and 
 W.H. Stockbridge, Portland; mem. Pine 
 St. Congregational Church Choir, Lew- 
 iston, First Universalist, Auburn, Con- 
 gress Square, Portland, High St. Con- 
 gregationalist, Auburn; honorary mem- 
 ber Philharmonic Club, Auburn and 
 Lewiston, 1922; councillor Lewiston and 
 Auburn Festival Chorus, 1898-99; mem. 
 Musical Union; hon. mem. Old Clef 
 Club. Address New Gloucester, Me. 
 
 Coombs, Mrs. H. W., m.t. Address, White- 
 field, Me. 
 
 Coombs, Jacob Flye (baritone); b. Au- 
 gusta, Me., June 18, 1866; s. Elbridge C. 
 and Abigail D. (Currier) Coombs; m 
 Mary Wheeler, Sept. 6, 1899, and Linnie 
 Albee, May 5, 1919; studied with Wil- 
 liam R. Howard; precentor, Immanuel 
 
 Baptist Church, Portland. Vocation, 
 accountant and paymaster, Portland 
 Stove Foundry. Address, 34 Pitt St., 
 
 Portland, Me. 
 
 Coombs, James Parker, vocal teacher, 
 opera singer (bass-baritone); b. Au- 
 gusta, Me., June 6, 1869; s. Elbridge C. 
 and Abigail D. Coombs; m. Bessie Hill, 
 June 3, 1917; ed. Brown University, 
 Providence, R. I.; studied with Dudley 
 Buck, William R. Lane and others; 
 mem. Ligonia Band (cornet); mem. 
 State St. Church Choir, Portland, and 
 others; bugler in U. S. Navy; Pres. of 
 N. Y. Hippodrome Employees Assn.; 
 coached and directed University of Me. 
 Glee and Banjo Clubs; produced “Dream 
 Trail” and Rip Van Winkle in Jefferson 
 
 Theatre, Portland, and sang in about 40 
 
 operas with H. W. Savage, Lee Shubert 
 ao others. Summer home, Peaks Island, 
 . Address, 235 W. ro7th St., N. Y. 
 
 ae Ray, leader Waldoboro fe 
 Address, Waldoboro, Me. 
 
 Copp, William R., former Pres. Cornigh 
 Festival Chorus. Address, Cornish, Me. 
 
 379 
 
 Copping, Lilian Sprague, vocal teacher 
 (mezzo-soprano); b. Rockland, Me., July 
 17, 1865; d. Edwin and Malvie Kimball 
 Sprague; m. Albert Copping (1887); 
 studied with Munger, Stuart, Harris, 
 Meckey, Burleigh, Wilde, Godfrey, 
 Smart, Townsend and Merrill; cond. 
 First Baptist Church Choir, Rockland; 
 sang in Univ. Quartette age 14; was 
 7 yrs. director Methodist Choir, Rock- 
 land; studied at University of California, 
 1915, studying music with Horatio Par- 
 ker, Glenn Woods and Mrs. Warren and 
 literature with Prof. Axson. Address, 
 39 Limerock St., Rockland, Me. 
 
 Corey, Mildred, teacher of piano; mem. 
 Portland Rossini Club. Address, 41 
 Glenwood Ave., Portland, Me. 
 
 Corliss, Fred C., mem. Deane’s Orchestral 
 Club. Address, Portland, Me. 
 
 Corneail, Annie I., Sec.-Treas. Ellsworth 
 Festival Chorus. Address, Ellsworth, Me. 
 
 Costello, M. S., mem. Temple Quartette. 
 Address, Kennebunk, Me. 
 
 Cote, Alphonse W., piano teacher, vocal- 
 ist (tenor); b. Lewiston, Me., Nov. 5, 
 1875; s. Joseph and Agnes Courtois 
 Cote; m. Marguerite Lafontaine, Sept. 
 5, 1898; ed. Lewiston, Me.; studied with 
 Henry F. Roy and E. W. Hanscome; 
 organist and choir director, St. Louis 
 Church, Auburn; dir. Orpheon Society; 
 promoter grand opera in Auburn and 
 Lewiston; composer, Latin pieces for 
 Catholic services. Vocation, piano tuner. 
 Address, 7 Third St., Auburn, Me. 
 
 Cotton, Dorothy, school music supervi- 
 sor. Address, Sedgewick, Me. 
 
 Cotton, Margaret Burnham, vocalist (al- 
 to); b. Houlton, Me., July 5, 1886; d. J. 
 Edgar and Maria P. Burnham; m. Alvin 
 L.. Cotton; Aug> 10, 1613;.ed: N.-E.-Con- 
 servatory; studied with Gertrude Miller 
 and Samuel Cole, Boston; mem. Uni- 
 tarian Church Choir; mem. Houlton 
 Music Club; teacher public school music. 
 Address, 13 Pleasant St., Houlton, Me. 
 
 Couillard, Louis, m.t. Address, 157 Pine 
 St., Lewiston, Me. 
 
 Coulombe, Yvonne M., 
 Winthrop, Me. 
 
 Courtemanche, Janette, m.t. Address, 138 
 Main St., Biddeford, Me. 
 
 Covey, Eugene Leslie, vocalist (tenor), 
 teacher of piano; b. Lamoine, Me., March 
 8, 1900; s. James S. and Julia E. Covey; 
 ed. Higgins Classical Institute, Charles- 
 
 m.t. Address, 
 
380 MUSIC AND MUSICIANS OF MAINE 
 
 ton, Me., Farmington State Normal 
 School and University of Maine sum- 
 mer school; studied piano with Helen 
 Nason, Kenduskeag, Me., Mrs. Isabelle 
 Clary, Livermore Falls, Me., and S. F. 
 Holt, Quincy, Mass. Address, 180 
 Bloomfield Ave., Hartford, Conn. 
 
 Covey, Dr. Florence Alice, vocalist (alto); 
 mem. Portland Festival Chorus. Res. 
 Wildwood, Cumberland Foreside, Me. 
 Office, 477 Congress St., Portland, Me. 
 
 Crabtree, Harry L., Conductor, Ellsworth 
 Festival Chorus; Dir. Eastern Maine Mu- 
 sical Association, 1928. Address, Ells- 
 worth, Me. 
 
 Crafts, Seldon T., organist, teacher, con- 
 ductor; b. Amherst, Nova Scotia; s. 
 Emules S. and Elizabeth Tupper Crafts; 
 m: “Abce—B. + Conant,” jan. 16.1905; 
 studied with Everett Truette, E. W. 
 Hanscom and Frank L. Rankin; Con- 
 ductor Portland Festival Chorus for 
 about 15 yrs.; Conductor Lewiston and 
 Auburn Festival Chorus; Conductor 
 Lewiston and Auburn Oratorio Society; 
 org. State Street Cong’l Church, Port- 
 land, 20 yrs.; Director of Music at 
 Bates College since 1925; teacher of 
 piano and organ. Mail address, 46 Lis- 
 bon St.; res., 6 Frye Street, Lewiston, 
 Me. 
 
 Cragg, Beatrice Baker, music teacher. 
 Address, 4 Davis St., So. Portland, Me. 
 
 Craig, Margaret, school music supervisor. 
 Address, Charleston, Me. 
 
 Crandelmire, Pauline, 1m.t. 
 Brownville, Me. 
 
 Crangle, Howard (tuba); mem. Portland 
 Municipal Orchestra. Address, Port- 
 land, Me. 
 
 Craven, Mrs. James H., pianist; mem. 
 Portland Rossini Club. Address, 99 
 Park St., Portland, Me. 
 
 Craven, Margaret, vocalist; mem. Wom- 
 en’s Choral Society. Address, 71 Winter 
 St., Portland, Me. 
 
 Crawford, Mrs. E. L., Pres. Brunswick 
 Festival Chorus. Address, Brunswick, 
 Me. 
 
 Crawford, Harold Ellms, vocalist (tenor); 
 b. Natick, -Mass., April 17, 1893; s. 
 Charles H. and Gertrude Ellms Craw- 
 ford; m. Blanche Vivian Watts, July 3, 
 1926; ed. Dexter, Me.; mem. Crawford’s 
 Orchestra (cornet). Vocation, woolen 
 mill mgr. and auditor. Address, Clinton, 
 Me. 
 
 Address, 
 
 Creighton, June Andrews, pianist and vo- 
 calist (soprano); b. Thomaston, Me.; d. 
 Nat. and Grace M. Andrews; ed. Thom- 
 aston High School and N. E. Conserva- 
 tory of Music; studied music under 
 Edith Castle and Samuel W. Cole; su- 
 pervisor of music in schools of Bar Har- 
 ber; mem. Congregational and Baptist 
 Church Choirs, Thomaston; mem. Mac- 
 Dowell Club, Boston. Address, Thom- 
 aston, Me. 
 
 Cressey, Charles Robert, organist, com- 
 poser; b. Gorham, Me., Dec. 7, 1854; s. 
 William W. and Frances Ellen Rounds 
 Cressey; m. Annie C. Johnson, Oct., 
 1882; 2nd Alice F. O’Neill, Nov. 23, 
 1924; ed. Gorham, Me.; studied with 
 George Quimby and George Marston; 
 organist, Pine St., Free St., Church of 
 Messiah and All Souls Church; mem. 
 Kotzschmar Club, Portland Club, I. O. 
 O. F., K. of P., and Gorham Grange; 
 Pres. Cressey & Allen, dealers in Music 
 and Musical Instruments, established, 
 1884; composer, 20 church anthems, 12 
 piano pieces, 3rd and 4th grade songs, 
 sacred and secular. Vocation, piano 
 dealer. Address, 64 Carleton St., Port- 
 land, Me. 
 
 Cressey, Cleveland B., vocalist (tenor); 
 b. Gorham, Me., Nov. 8, 1892; s. Frank 
 W. and Jennie -M. Berry Cressey; m. 
 Clara I. LaFountaine, Sept. 7, 1914; ed. 
 Biddeford, Me.; studied with Ernest J. 
 Hill, Portland; mem. Portland Festival 
 Chorus. Vocation, stenographer. Ad- 
 dress, 1066 Congress St., Portland, Me. 
 
 Crie, Kelley B., Treas. Rockland Festival 
 Chorus. Address, Rockland, Me. 
 
 Crockett, A. T., m.t. Address, 12 Grace 
 St., Rockland, Me. 
 
 Crockett, George Albian, pianist; b. Bath, 
 Me., July 23, 1890; s. William H. and 
 Emma Jane Crockett; ed. Brunswick, 
 Me.; studied with Mabel Murray; Vice 
 Pres. Musicians Union; mem. Ameri- 
 can Legion; composer, “Sleep Little 
 Piccaninny”; musical director amateur 
 minstrels; dramatic coach, entertainer. 
 Address, 22 Third St., Eastport, Me. 
 
 Crockett, Sadie Russell, pianist, vocalist; 
 b. St. John, N. B.; d. Fred M. and Mina 
 Conlogue Russell; m. Royal E. Crock- 
 ett, June 3, 1913; studied with Rose E. 
 Donovan (piano) and voice with Mary 
 Burpee; mem. St. Mary’s Catholic 
 Church Choir; mem. Houlton Woman’s 
 Club, St. Mary’s Charitable Society, 
 
BIOGRAPHICAL SECTION—1927-1928 381 
 
 American Leg. Aux. and Houlton Mu- 
 sic Club; Past Pres. Houlton Music 
 Club. Address, 23 Charles St., Houlton, 
 Me. 
 
 Cronham, Charles Raymond, concert or- 
 ganist; b. Jersey City, N.J., June 14, 1896; 
 s. Charles Edgar and Bessie A. Cronham ; 
 ed. nublic schools, N. J., Dartmouth Col- 
 lege; m. May Korb, May 28, 1925; stud- 
 ied with Prof. Leonard B. McWhood; 
 mem. National Association of Organists 
 and Pres. Port. Chapter; mem. Rotary, 
 Kotzschmar and Economic Clubs; org. 
 and inst. of music, Dartmouth College, 
 1919-23; org. and dir. of music, Lake 
 Placid Club, N. Y., 1923-24; municipal 
 organist, Portland, Me., since 1924; con- 
 ductor Portland Municipal Orchestra; 
 composer, pieces for organ, voice, chorus 
 and numerous transcriptions for organ 
 
 and instrumental combinations. Address, 
 Room T, City Hall, Portland, Me. 
 
 Cronham, Mrs. Charles Raymond (see 
 
 May Korb). 
 
 Cropley, Mrs. Eliza Belle, vocalist (so- 
 prano); b. Portland, Me., Oct. 24, 1876; 
 d. Edward M. and Eliza Ann Lang; m. 
 Alton Irving Cropley, Sept. 16, 1896; ed. 
 Westbrook Seminary; studied with Mrs. 
 Fred Palmer, William Whitney (at N. 
 E. Conservatory of Music), Furlong, 
 L. B. Cain and W. H. Dennett; former 
 mem. Woodfords Univ. Church Choir, 
 Festival Chorus and Madrigal Club; 
 mem. Women’s Choral Society, Wood- 
 fords Club, Eastern Star, O. E. S. 509. 
 vou 442 Woodford St., Portland, 
 e. 
 Crosby, Mrs. Henri, Pres. Philharmonic 
 Club, Lewiston. Address, Lewiston, Me. 
 
 Crosby, Phoebe Pendleton, concert artist 
 (soprano); b. Islesboro, Me., Jan. 26, 
 1889; d. Fields Coombs and Sabrina 
 Veazie Seeley Pendleton; m. Carl Kre- 
 ger Crosby, July 21, 1909; ed. Me. Wes- 
 leyan Seminary; studied with Dr. Morse; 
 former mem. Chaminade Club, Brook- 
 lyn; mem. Actors Equity Asso., Maine 
 Women’s Club of N. Y.; hon. mem. Int. 
 Printing and Pressmen’s Union of North 
 America; mem. Eastern Star. Address, 
 1085 Park Ave., New York. 
 
 Crosman, A. Hurford, vocalist (bass); 
 mem. Portland Men’s Singing Club and 
 Portland Municipal Orchestra (clari- 
 net). Address, 16 Marlow St., Portland, 
 Me. 
 
 Cross, Adelaide, vocalist. Address, Rock- 
 land, Me. 
 
 PHOEBE CROSBY, MEZZO SOPRANO. 
 
 Crouse, Ruth Porter, vocalist (contralto) ; 
 
 b. Danville, Quebec, Canada, April 25, 
 1901; d. Dr. Irwin J. and Evelyn Mead 
 Porter; m. Jasper F. Crouse, June 12, 
 1926; ed. Aurora College; studied with 
 Harry Detweiler, Maude Bouslough, 
 Albert Borroff, Leon Corliss; soloist 
 Bethel Baptist Church, Ft. Fairfield; 
 mem. choir Advent Christian Church, 
 First M. E. Church, Aurora, and Trinity 
 Epis., Chicago; mem. Aurora College 
 Orch. (violin); mem. Music Club of A. 
 C., Music News Subscriber, mem. Nor- 
 dica Club, Ft. Fairfield; dir. H. S. Glee 
 Club and orch. and dir. of Young Peo- 
 ple’s and Adult Choir at Bethel Baptist 
 Church, Fort Fairfield. Address, High 
 St., Fort Fairfield, Me. 
 
 Crowell, Alan W., violinist; b. Orono, Me., 
 
 Jan. 5, 1903; s. C. Parker and Mary H. 
 Crowell; ed. Bangor, Me., and M. I. T., 
 Cambridge, Mass.; studied with H. M. 
 Pullen; mem. Tech. Shaw Orchestra. 
 Address, 16 Parkview Ave., Bangor, Me. 
 
 Crowley, Florence, school music supervi- 
 
 visor. Address, Biddeford, Me. 
 
 Croxford, Lyndon Farrington, educator; 
 
 b. Carmel, Me., Aug. 4, 1900; s. Wilber 
 
382 MUSIC AND MUSICIANS OF MAINE 
 
 P. and Lois F. Croxford; ed. University 
 of Maine; studied with C. Winfield Rich- 
 mond of Bangor; College of Music, Sy- 
 racuse University; graduate Eastman 
 School of Music with degree Bachelor 
 of Music; also studied with Raymond 
 Wilson; formerly organist Methodist 
 Church, Carmel; mem. College Glee 
 Club and Orchestra; mem. piano faculty 
 of Eastman School of Music. Address, 
 142 N. Union St., Rochester, N. Y. 
 
 Cumming, Mrs. Raymond, m.t. Address, ~ 
 
 Houlton, Me. 
 
 Cummings, Mrs. Frank S., Sec. Lewiston 
 Festival Chorus. Address, Lewiston, Me. 
 
 Cummings, Helen L., pianist; accompan- 
 ist Lewiston-Auburn Festival Chorus. Ad- 
 dress, Lewiston, Me. 
 
 Cummings, Ruth, teacher of piano; b. 
 Norway, Me., March 6, 1896; d. Stephen 
 B. and Mattie (Jordan) Cummings; ed. 
 Faelten Pianoforte School, Boston, 
 Mass.; studied with Carl Faelten. Ad- 
 dress, 216 Main St., Norway, Me. 
 
 Cumston, Dr. Charles Henry, vocalist. Ad- 
 dress, Brunswick, Me. 
 
 Cunningham, Agnes Hall, vocalist (con- 
 tralto); b. Raynham, Mass., Aug. 13, 
 1866; d. David Buffington and Mary 
 Parsons Brimmer Hall; m. John Albert 
 Cunningham, Nov. 5, 1890; ed. Ells- 
 worth, Me.; studied with Mrs. W. F. 
 Shaw, Bangor, and Wm. Burton Robin- 
 son, Boston; mem. Cong. Church Choir, 
 Ellsworth; mem. Eastern Me. Festival 
 Chorus over 20 yrs. and Cong. Church 
 Choir, 35 yrs. Address, 41 Church St., 
 Ellsworth, Me. 
 
 Cunningham, Elizabeth A., m.t. Address, 
 144 Bridge St., Gardiner, Me. 
 
 Cunningham, Helen E., soloist (soprano) ; 
 b. Portland, Me., Nov. 22, 1895; d. Eubra 
 S. and Harriet E. Cunningham; ed. 
 Portland, Me.; studied with Howard 
 Stevens and Jennie King Bragdon; 
 mem. choir Second Parish Church. Ad- 
 dress, 514 Deering Ave., Portland, Me. 
 
 Cunningham, John Albert, vocalist (bass) ; 
 b. Ellsworth, Me., Jan. 7, 1868; s. Hud- 
 son Bishop and Emily Robinson Cun- 
 ningham; m. Agnes Hall, Nov. 5, 1890; 
 ed. Ellsworth, Me., studied with Frau- 
 line Schasingher; mem. Eastern Maine 
 Festival Chorus over 20 yrs., and Cong. 
 Church Choir, 25 yrs.; City Clerk; Agent 
 for Mutual Benefit Ins. Co. Address, 41 
 Church St., Ellsworth, Me. 
 
 Curran, Mary E., piano teacher; b. Port- 
 land, Me.; d. Martin and Eliza Naylor 
 Curran; ed. Portland; studied with Prof. 
 Quimby and Allen H. Daugherty; ac- 
 companist for the Elite Mandolin Or- 
 chestra; mem. Serenaders. Address, 100 
 Oxford St. Studio 5484 Congress St., 
 Portland, Me. 
 
 Currier, Christine Worthen, church organ- 
 ist, pianist; b. Corinna, Me., April 17, 
 1895; d. Joseph Henry and Mary Mad- 
 docks Worthen; m. Rey. George F. 
 Currier, June 22, 1918; ed. Corinna 
 Union Academy and Boston; studied 
 voice with Grace Lowell Bradbury, 
 and Mrs. F. P. Clark; piano with Louise 
 (Orth) Bosworth; mem. choir Howland 
 Baptist Church; church soloist (so- 
 prano). Address, Auburn, Me. 
 
 Curtis, Cyrus Hermann Kotzschmar, mu- 
 sic patron; b. Portland, Me., June 18, 
 1850; s. of Cyrus Libby and Salome 
 Cummings- Curtis; ed. N. E. Public 
 Schools; m. Louisa Knapp of Boston, 
 March 10, 1875 (died Feb. 25, 1910) and 
 Kate Stanwood Pillsbury (a second, cou- 
 sin), of Milwaukee, Aug. 2, 1910; when a 
 boy he learned to play piano and organ 
 from watching and listening to Her- 
 mann Kotzschmar, org. at First Parish 
 Unit., form. Cong., Church in Portland 
 and later sang tenor in a Boston choir; 
 was selected to sing in a Sunday School 
 Convention in Tremont Temple in a 
 quartet with Lillian Norton, who later 
 became famous as “Nordica”; in 1872 
 sang in the Great World Peace Jubilee 
 in Boston; went to Philadelphia in 1876 
 and became publisher of The Tribune 
 and Farmer. The magnificent Kotzsch- 
 mar Memorial Organ dedicated at Port- 
 land, Me., Aug. 22, 1912, was his gift to 
 the city in memory of the old music 
 master who had been his inspiration; 
 his other benefactions to music include 
 the Cyrus L. Curtis Scholarship in the 
 Curtis Institute of Music, which was 
 founded by his daughter, Mary Louise 
 (Mrs. Edward Bok) in Philadelphia in 
 1924, and which was endowed by him 
 in memory of his father; received hon- 
 orary degrees, Bowdoin College, M.A.., 
 1913; Ursinus College; isi. ators: 
 Pres. Curtis Publishing Co., publishers 
 of The Ladies’ Home Journal, which 
 he established in 1883, The Saturday 
 Evening Post, established by Benjamin 
 Franklin in 1728, and The Country 
 Gentleman; Pres. Curtis-Martin News- 
 
BIOGRAPHICAL SECTION —I1927-1928 383 
 Ep SRE SR a aS ASA as en a cc 
 
 papers, Inc., publishers of the Phila- 
 delphia Public Ledger, Philadelphia 
 Morning Sun and the New York Eve- 
 ming ost; x. Pres. N. E. Society of 
 Philadelphia; director of The Academy 
 of Music Corporation, First National 
 Bank, The Land Title and, Trust Com- 
 pany, all of Philadelphia, and The Mu- 
 tual Life Ins. Co. of N. Y.; hon. mem. 
 Portland Men’s Singing Club. Home, 
 Wyncote, Pa. O., Public Ledger Bldg., 
 Philadelphia, Pa. 
 
 Curtis, Faustina, mem. Schumann Club. 
 Address, Bangor, Me. 
 
 Curtis, Lora Leone, pianist; b. Hampden, 
 Me., Jan. 3, 1886; d. Walter and Mary 
 E. Whitmore; m. Everett F. Curtis, 
 Oct. 19, 1910; ed. Hampden Academy; 
 studied with Mrs. Allen Rogers, K. A. 
 Ringwell, Adelbert Wells Sprague and 
 C. Winfield Richmond; organist Meth- 
 odist Church, Hampden, Me. Address, 
 83 Center St., Bangor, Me. 
 
 Cushing, Alice J., pianist; b. Portland, 
 Me., d. Sylvester and Lucy M. Cushing; 
 studied with Mildred Kittredge Miller, 
 Helen Foster and Anna Carey Bock; 
 mem. Marston Club. Vocation, stenog- 
 rapher. Address, 107 North St., Port- 
 land, Me. 
 
 Cushing, Emma Merrill, teacher of voice, 
 piano; b. Gray, Me., Feb. 15, 1868; d. 
 John Tappan and Frances Young Mer- 
 rill; m. Louis Taylor Cushing, Nov. 28, 
 1895; ed. Bridgton Academy; studied 
 with Nettie Milliken Fellows, Mr. and 
 Mrs. W. H. Dennett, Portland, and Ma- 
 dame E. M. de Angelis, Boston; mem. 
 choir Williston and State St. Churches, 
 Portland, Bates St. Baptist, Lewiston, 
 and High St. Cong., Auburn; mem. Me. 
 Music Festival; conductor Gray Unit 
 for I5 yrs.; taught music in village 
 schools; soprano’ soloist. Address, 
 Church St., Gray, Me. Mail address, 
 Box 92, Gray, Me. 
 
 Cushing, Walter P., tenor; mem. Portland 
 Men’s Singing Club. Address, Portland, 
 Me. 
 
 Cushman, 
 Bach Ckoir, Bangor. 
 Me. 
 
 Cushman, Sylvia, pianist; 
 Ellsworth Festival Chorus. 
 worth, Me. 
 
 Cutter, Alice, mem. MacDowell Club. Ad- 
 dress, 116 Danforth St., Portland, Me. 
 
 Cutts, Grace Merrill, violinist; b. Saco, 
 
 Mrs. Marion, vocalist; mem. 
 Address, Bangor, 
 
 accompanist 
 
 Address, Ells- 
 
 Me.; d. Benjamin and Martha Merrill: 
 
 m. George Usher Cutts; studied with 
 
 Felix Winternitz. Vocation, teacher of 
 
 violin and elementary studies in public 
 
 ees Address, Boom Road, Saco, 
 e. 
 
 Daggett, Cecil Maurice, pianist, organist, 
 conductor, vocalist; b. Fairfield, Me., May 
 13, 1882; s. William T. and Harriet Bar- 
 rett Daggett; grad. Coburn Classical In- 
 stitute, 1899, Colby College, A.B., 1903; 
 studied music privately; m. Martha B. 
 Purinton, Sept. 12, 1905; org. and choir- 
 master First Baptist Church, Waterville, 
 1900-03; dir. Colby College Glee Club, 
 1902-03, Male Quartet and Male Glee 
 Club, Montreal, Y. M. C. A., 1903-04; org. 
 and choirmaster Unitarian Church, Wa- 
 terville, 1906; dir. Cecilia Choral Society, 
 1907-13, Colby College Glee Club, 1908-16, 
 Woronoco. Male Quartet since roIo, 
 Knights Templar Male Quartet since 
 1914; mem. Cecilia Choral Society and 
 Festival Chorus, Waterville. Address, 7 
 Sheldon Place, Waterville, Me. 
 
 Daggett, Doris N., vocalist; b. Rockland, 
 Me., Aug. 25, 1906; d. William H. and 
 Elizabeth M. Daggett; mem. choir 
 Littlefield Memorial Free Baptist 
 Church, Rockland, Me. Vocation, sten- 
 ographer. Address, 47 Granite St., Rock- 
 land, Me. 
 
 Daggett, Emma R., m.t. Address, R. F. D. 
 No. 1, Greene, Me. 
 
 Dallero, O. A., violinist; b. Portsmouth, 
 N: Hi. Dece1, 1007;"s. Alfredo and El- 
 vira Dallero; studied with Josafa Morin; 
 mem. Lewiston-Auburn Symphony Or- 
 chestra. Address, 374 Main St., Lewis- 
 ton, Me. 
 
 Dalton, Mrs. Harry, violinist; studied with 
 David E. Fisher; mem. B. P. W. Club 
 Orchestra, and Laura E. Ross’ Ladies 
 Orchestra. Address, 453 Cumberland 
 Ave., Portland, Me. 
 
 Dalton, Kathleen M., vocalist, pianist; b. 
 Houlton, Me.; d. Joseph and Barbara 
 Sharpey O’Brien; m. Louis Dalton, July 
 19, 1915; ed Houlton, Me.; studied piano 
 with Gertrude Attridge, voice with Mrs. 
 Hollis Lindsay; mem. choir St. Mary’s 
 Catholic Church: mem. Houlton Music 
 Clupvand Beew PP. W: Club. Vocation, 
 newspaper writer. Address, 3 Franklin 
 Ave., Houlton, Me. 
 
 Damon, Frances Brackett, song writer; b. 
 Dexter, Me., May 21, 1857; d. Nathan 
 G. and Mary Towle Brackett; ed. Nor. 
 
384 
 
 EDITH M. DAVIDSON, EDUCATOR. 
 
 Sch. 1880; m. Lyman R. Damon, Dec. I, 
 1883; writer of songs, short stories, es- 
 says, playlets, etc.; edited “Quiet Hours 
 Magazine,” “The Tally-Ho”; pub. “The 
 Bodfish Road”; Trustee State Reforma- 
 tory; prison and jail work. Res., 17 
 Prospect St., Dexter, Me. 
 
 Damren, Olive M., music teacher. Ad- 
 
 dress, 45 Thirlmere Ave., So. Portland, 
 Me. 
 
 Darker, Mrs. Caroline, vocalist; mem. 
 
 MacDowell Club. Address, Portland, 
 Me. 
 
 Davenport, Mrs. M. G. (Geneva A.), vo- 
 
 calist (soprano); b. Livermore Falls, 
 Aug. 27, 1895; d. A. P. and Vesta L. 
 Ricker; m. Aug. 10, 1916; ed. Livermore 
 Falls High School, and Palmer School 
 of Chiropractic, Davenport, Iowa; stud- 
 ied with Florence Sawyer and Mabel 
 Starbird; mem. Maine Music Festival 
 Chorus; M. E. Church Choir at Liver- 
 more Falls and M. E. Church at Ilion, 
 N. Y. Vocation, chiropractor. Address, 
 Livermore Falls, Me. 
 
 Davidson, Edith May, teacher of piano; b. 
 Belfast, Me., Nov. 6, 1883; d. John S. 
 
 MUSIC AND MUSICIANS OF MAINE 
 
 and Mary F. (Smith) Davidson; ed. N. 
 E. Conservatory of Music and Institute 
 of Musical Art, N. Y. City; studied with 
 Carl Baermann; former organist, Uni- 
 versalist, Unitarian and Methodist 
 Churches, Belfast; mem. Belfast Musi- 
 cal Society, Belfast Philharmonic Assn. 
 and Baermann Society of Boston. Ad- 
 dress, 57 Franklin St., Rumford, Me. 
 
 Davis, Arthur C., cornet soloist; b. Sidney, 
 Me., Jan. 6, 1869; s. Charles H. and 
 Eliza M. Davis; m. Jennie M. Trask, 
 June 4, 1891; ed. Sidney, Me.; studied 
 with F. A. Dennis; mem. Augusta Cadet 
 Band (Sec.- Treas.); mem. Augusta 
 Symphony Orchestra; Commander, H. 
 G. Staples Camp, S. O. U., U.S. A. Vo- 
 cation, freight clerk. Address, 6 Child 
 St., Augusta, Me. 
 
 Davis, Clara, Treas. Milo Festival Chorus. 
 Address, Milo, Me. 
 
 Davis, Mrs. Clifford, m.t. Address, So. 
 Paris, Me. 
 
 Davis, Mrs. Frederick L., m.t. Address, 
 So. Berwick, Me. 
 
 Davis, Gertrude (Kimball) Sartwell, or- 
 ganist, concert pianist; b. Whitefield, N. 
 H., Feb. 17, 1873; d. Joel McGregor and 
 Anna Elizabeth Sartwell; m. Gilman 
 Davis, June 30, 1891; at age of 14 suc- 
 ceeded her father as organist of the First 
 Baptist Church, Whitefield, N. H., which 
 position she occupied during her resi- 
 dence there; has been organist at Wil- 
 liston and Chestnut St. Churches, Port- 
 land; her early musical instruction was 
 obtained from her father; studied at N. 
 E. Conservatory, and with Frank L. 
 Rankin, Portland; after that for more 
 than a year at the Leschetizky School 
 in Vienna, Austria, during which time 
 she also did some work with Emil Sauer 
 at the Vienna Conservatory; accompan- 
 ist for Portland Festival Chorus and 
 Western Maine Festival Asso. 25 yrs.; 
 active mem. Rossini Club, Portland; 
 mem. Portland Branch, N. E. Chapter, 
 Am. Guild of Organists; organist since 
 June 3, 1926, at the First Church of 
 Christ Scientist. Vocation, piano teacher, 
 655 Congress St., Portland, Me. 
 
 Davis, Hazel Small, piane teacher; b. Guil- 
 ford, Me., Dec. 24, 1893; d. Leland A. 
 and Jennie J. Small; m. Raymond W. 
 Davis, Feb. 2, 1918; ed. Guilford, Me.; 
 studied with C. Winfield Richmond, 
 Bangor; organist Universalist Church; 
 mem. Woman’s Club of Guilford and 
 
BIOGRAPHICAL SECTION—1927-1928 385 
 
 Eastern Star. Address, Oak St., Guil- 
 ford, Me. 
 
 Davis, Marshall, vocalist (bass), violinist; 
 b. Portland, Me., 1870; s. John H. and 
 Jennie Constable Davis; m. Marguerite 
 Gifford, March 1, 1905; studied with Anne 
 Davis, Eva Goodwin, Ernest McKechnie 
 and Wm. H. Dennett; mem. Harvey 
 Murray’s State St. Chorus, Portland 
 Philharmonic, 1888-92; Librarian, Haydn 
 Association; Pres. and Luib., Portland 
 Festival Chorus. Vocation, bank teller. 
 Address, 10 Orland St., Portland, Me. 
 
 Davis, W. R., leader Baptist Church Choir, 
 Farmington, Me. 
 
 Davis, Mrs. W. R., m.t. Address, Farm- 
 ington, Me. 
 
 Day, Paul, Librarian Milo Festival Chorus. 
 Address, Milo, Me. 
 
 Day, Mrs. Walter F., m.t. 
 South St., Bath, Me. 
 
 Dean, Dorothy, school music supervisor. 
 Address, 63 Lincoln St., Bangor, Me. 
 
 Dean, Mrs. James Lowell, composer, vo- 
 calist (soprano); b. Clinton, Me., Feb. 7, 
 1875; d. John and Philena (Roundy) 
 Reynolds; studied with Mrs. F. B. Hub- 
 bard and Isidore Braggiotti; former 
 mem. Baptist Church Choir, Clinton; 
 mem. Cecilia Choral Society, Augusta; 
 mem. Maine Music Festival many years. 
 Address, 43 Benton Ave., Waterville, Me. 
 
 Dean, Mrs. Leon A., org. Forest Ave. 
 Cong. Church. Address, Bangor, Me. 
 
 Dean, Leroy, teacher public school music, 
 Bangor, Me. 
 
 Deane, Frank N., trombone; mem. Deane’s 
 Orchestral Club. Address, 20 Gray St., 
 Portland, Me. 
 
 Deane, Mrs. Frank N., cellist and pianist. 
 mem. Deane’s Orchestral Club. Address, 
 20 Gray St., Portland, Me. 
 
 DeGrys, Viola, pianist, music teacher. Ad- 
 dress, Eastland Hotel, Portland, Me. 
 
 Delano, Charles M. G., bandsman (bass); 
 b. Dixfield, Me., Jan. 12, 1878; s. Charles 
 G. and Abbie Sanders Delano; m. L. E. 
 Theall, Aug. 17, 1919; ed. Dixfield Acad- 
 emy and Bridgton Academy; former 
 mem. bands at Dixfield, Locke Mills, New 
 Gloucester, Madison, the Malcon Band, 
 Malden, Mass., 33 Reg. C. A. C. Band, 
 Mass., 12 Div. 1918, 3rd Maine Infantry 
 Nat. Guard, Rumford Band, 1920-23, 
 Mainente’s Band, Rumford, 1926; mem. 
 Rumford Symphony Orchestra and Rum- 
 
 Address, 62 
 
 ford Band. Vocation, R. R. telegraph op- 
 
 erator and station agt. Address, Dixfield, 
 e. 
 
 Delaronde, Charles A., musician; b. Ma- 
 lone, N. Y., April 22, 1871; s. Charles D. 
 and Henrietta (Thibodeau) Delaronde; 
 ed. Franklin Acad., N. Y.; m. Angelina 
 Belisle; Sec. and Treas. of Fed. of Mu- - 
 sicians. Vocation, merchant. Res., 166 
 College St., Lewiston, Me. 
 
 DeMerritt, Sarah Ames Sanborn, teacher 
 of piano; b. East Machias, Me., June 23, 
 1889; d. Frank and Elizabeth Brown 
 Sanborn; m. Robert Elwyn DeMerritt, 
 Nov. 15, 1918; studied with Nellie Long- 
 fellow Ralph, Machias, Me., Anne Gil- 
 breth, Cross School of Music, John H. 
 Mason, Prov., R. I., Mrs. Reuben Cot- 
 ton and Mary E. O’Brion, Boston, 
 Mass.; mem. Cong. Church Choir, E. 
 Machias; mem. Arion Club, MacDowell 
 Club and Monday Morning Musicale 
 Club, Prov.) R. L;: accompanist; mem. 
 Portland Rossini Club; faculty, Mary C. 
 Wheeler School, Providence. Res., 17 
 Cedar St., So. Portland. Mail address, 
 Fort Preble, Portland, Me. 
 
 Demers, Joseph A., m.t. Address, 2 Ham- 
 mond St., Portland, Me. 
 
 Demers, Valdemar Joseph, S. M., educa- 
 tor; b. Montreal, Canada, Jan. 9, 1895; 
 s. Louis O. and Delia Lajoie Demers; 
 ed. Catholic University, Washington, D. 
 C.; studied with N. R. Amelotle, Bos- 
 ton; director St. Mary’s Brass Band and 
 St. Mary’s Symphony Orchestra (clari- 
 net, saxophone, flute, baritone, violin, 
 cello); pres. and dir. St. Mary’s Philhar- 
 monic Society; mem. Van Buren K. C. 
 Orchestra; arranger for choir and or- 
 chestra; former mem. Our Lady of Vic- 
 tory Boys’ Choir, Boston, 1906-08, Mar- 
 ist Seminary Orchestra, Washington, D. 
 C., 1908-14, St. Mary’s Manor Choral 
 and Orchestra, Langhorne, Pa., 1914-15, 
 Catholic Univ. Choral and Orchestra. 
 Wash., D. C., 1915-21, Jefferson Orches- 
 tra, New Orleans, La., 1919-20. Clergy- 
 man, College Professor. Res., St. Mary’s 
 College, Van Buren, Me. 
 
 Denar, Aubrey, Conductor St. Croix of 
 
 ee Festival Chorus. Address, Calais, 
 e. 
 
 Dennis, Francis Arthur, band leader, mu- 
 sic dealer; b. Madison, Me.; s. George 
 F. and Emma E. Dennis; m. M. Myrtelle 
 Dyer; ed. Dirigo Commercial College; 
 studied with Carl Eichler and Henry 
 C. Brown; dir. and manager Augusta 
 
386 
 
 Cadet Band and Dennis Orchestra, 25 
 yrs. (violin, trumpet); mem. all Masonic 
 Bodies, I. O. O. F., Trinity Com., No. 7, 
 K. T., Kora Temple Mystic Shrine. Vo- 
 cation, music dealer. Res., 109 Cony St., 
 Augusta, Me. Address, 233 Water St. 
 
 Desaulniers, Lucy Jane O’Connell, reader; 
 b. Lewiston, Me., April 15, 1883; d. John 
 B. and Anna McCarty O’Connell; ed. 
 Tufts, M.D. 1907; m. Dr. George E. De- 
 saulniers, Nov. 22, 1917; house phys. at 
 Sherborn Ref., 1908; gen. prac. of med., 
 1909-19; examr. N. E. Tel. & Tel. Co., 
 1920-28; electro-physiotherapy special- 
 ist; mem. Andros. Co. Med. Assn., B. P. 
 W., Spinet Club, Philharmonic Club, 
 Stanton Bird Club and American Col- 
 lege of Physical Therapy and Fellow of 
 the American Medical Asso. Res., 92 
 Pine St., Lewiston, Me. 
 
 Devoe, Irving W., m.t. Address, 221 Elm 
 St., Bangor, Me. 
 
 MUSIC AND MUSICIANS OF MAINE 
 
 the Door,” “We’re Growing Old To- 
 gether,” “On the Kennebec,” “Milburn 
 Belles Waltzes,’ “My Heart Remem- 
 bers Thee,” “At Sunset,” “Goodbye 
 Mother,” “To the Land Where Our 
 Dreams Come True,” “Flag of Our 
 Country,” “For Flag and Country,” 
 “When Clover Is Wet with the Dew,” 
 and “Back to Childhood’s Home and 
 Mother,” etc.; 
 Council R. & S. M. of the U. S.; Na- 
 tional Grange, Past M. I. Grand Master 
 Grand Council of Maine, Maine Consis- 
 tory 32d degree, Grand Lodge of Me., 
 I. O. O. F.; Sec’y Official Board of Cen- 
 tenary M. E. Church, Skowhegan. Vo- 
 cation, mem. of music firm of Dinsmore 
 & Bickford, 41 Water St. Res., 72 East 
 Front St., Skowhegan, Me. 
 
 Dionne, Laurentine, piano teacher; b. Lew- 
 
 iston, Me.; d. Emile and Sarah Evans 
 Dionne; ed. Convent Dominicain, Lew- 
 iston; studied with Miss Tontain and 
 
 mem. General Grand © 
 
 ee ee ee See 
 
 Dewolfe, Elizabeth, m.t. Address, 193 
 Danforth St., Portland, Me. 
 
 Dingley, Bret Harte, violinist; b. Auburn, 
 
 Henry F. Roy. Address, Lewiston, Me. 
 
 Dixon, Lee W., teacher of violin; b. Lis- 
 bon, Me.; s. Arbury V. and Sarah Alice 
 
 Dingley - Mathews, 
 
 Me., Jan. 15, 1871; s. Frank L. and Lee 
 M. Dingley; m. Beatrice L. McMurray, 
 Dec. 30, 1903; ed. Nichols Latin School, 
 Bates College, Lewiston, and Amherst 
 College; studied with Carl Mosher of 
 
 Berlin, Hoche Schule in Berlin, Charles . 
 
 M. Loeffler of Boston Symphony Or- 
 chestra, and Emanuel Wirth of the Joa- 
 chim String Quartette; has appeared as 
 violin soloist at Maine Music Festival 
 and other concerts; hon. mem. Glover’s 
 Band, Auburn; chairman music commit- 
 tee of the High St. Cong. Church, Au- 
 burn, 1922; member for several years. 
 Vocation, newspaper publisher; Pres. 
 and Musical Editor of the Lewiston 
 Journal Co. Address, 11 Highland St., 
 Auburn, Me. 
 
 Mrs. Blanche (see 
 
 Channell Dixon; studied piano with Ar- 
 thur N. Pettengill, Seldon Crafts, Alfred 
 Brinkler and Julius L. Chaloff; violin 
 with his father, Josef Udell, C. Paul 
 Herfurth; voice with Alice Flood. Vo- 
 cation, teacher of piano and violin. Ad- 
 dress, Lisbon, Me. 
 
 Dodds, Ruth Ellen, teacher of piano and 
 
 theory; b. Petersburg, Ill.; d. Thomas 
 Campbell and Laurette Colby Dodds; 
 ed. Chicago Musical College and Ding- 
 ley-Mathews Piano School; studied with 
 Maurice Rosenfeld, Hans von Schil- 
 
 ler, Jessie L. Gaynor and Blanche Ding- | 
 
 ley-Mathews; mem. Rossini Club and 
 Woman’s Literary Union, Portland; 
 Treas. Colorado State Music Teacher’s 
 Asso., 1922-24; Cor. Sec. Denver Musi- 
 cians’ Society, 1922-23. Vocation, Direc- 
 
 Mathews). tor, Piano Dept., Westbrook Seminary. 
 Dinsmore, Harry Augustus, organist and Ven. 716 Stevens Ave., Portland, 
 
 pianist; b. Skowhegan, Me., Dec. 1, ss 
 
 1856; s. Tilson H. and Amanda H. Dins- Dodwell, Frances (see Mrs. Alexander — 
 
 more; m. Laura Belle Hoxie, June 5, Seimens). 
 
 1883; ed. Skowhegan and Kent’s Hill, Doe, Mrs. Annetta Clark, vocalist (so- — 
 
 Me.; studied with Prof. and Mrs. Morse 
 of Kent’s Hill; former mem. choir Cen- 
 tenary M. E. Church, Skowhegan; for 
 many years organist for all the Yorke 
 Rite Masonic Bodies of Skowhegan; 
 composer of 22 published pieces, “Sun- 
 rise with the Master” (sacred song), 
 “Where the Roses Twine the Trellis by 
 
 prano), and teacher of piano; b. Rock- — 
 
 land, Me., May 4, 1865; d. Oliver A. and 
 
 Elizabeth A. Clark; m. Harris N. Doe, © 
 
 Dec. 25, 1889; studied piano with A. T. 
 
 Crockett and voice with Mrs. Ellen God- — 
 
 frey, Rockland; former mem. executive 
 committee Bangor Festival Chorus 
 
 (mem. 27 yrs.); soloist in musical circles — 
 
BIOGRAPHICAL SECTION—1927-1928 387 
 
 of Rockland; mem. choir Episcopal 
 Church, Rockland; Cor. Sec. Woman’s 
 Republican Club, Bangor; mem. and 
 President (3 yrs.) Schumann Club, and 
 President (3 yrs.) of Woman’s Club of 
 Bangor. Vocation, teacher stenography 
 and typewriting in Doe Business Col- 
 lege. Address, 100 Highland St., Ban- 
 gor, Me. 
 
 Doe, Harold Oliver, violinist and teacher; 
 b. Rockland, Me., Aug. 19, 1893; s. Har- 
 ris N. and Annetta Clark Doe; ed. Ban- 
 gor High School, University of Maine; 
 studied with H. M. Pullen, Bangor, Felix 
 Winternitz at N. E. Conservatory, and 
 with Walter Habernicht of the Metro- 
 politan Opera House orchestra, New 
 York City; mem. Bangor Symphony 
 Orchestra (2nd violin and viola) 17 yrs.; 
 Bangor Festival Chorus (bass), Knights 
 of Pythias, Conduskeag Canoe and 
 Country Club, Bangor; 32 degree Mason 
 and Knight Templar; first violinist Bi- 
 jou Theatre Orchestra; concertmaster, 
 Bangor Symphony Orchestra. Address, 
 100 Highland St., Bangor, Me. 
 
 Doherty, Wendell W., clarinet, saxophone; 
 b. Mechanic Falls, Me., June 21, 1887; 
 s. John A. and Sarah A. Doherty; m. 
 Agnes C. LaRochelle; ed. Auburn, Me.; 
 studied with Fred O. Corliss, Carl 
 Khume; former mem. Jefferson Theatre 
 Orchestra; Sec.-Treas. Portland Musi- 
 cians’ Assn.; mem. Portland Orchestral 
 Society, 1926. Vocation, music teacher. 
 Studio, 5592 Congress. Res., 164 Brack- 
 ett st. Lortiand. 
 
 Dole, Nathan Haskell, author; b. Chelsea, 
 Miser nue. 3t, 2352; s. Nathan and 
 Caroline (Fletcher) Dole; ed. A.B. 
 Harvard, 1874; m. Helen James Bennett, 
 June 28, 1882; teacher, Des Veaux Coll., 
 1874-75, Worcester H. S., 1875-76; pre- 
 ceptor, Derby Acad., Hingham, Mass., 
 1876-78; lit., art and musical editor, 
 Phila. Press, 1881-87; lit. adviser, T. Y. 
 Crowell & Co., 1887-1900; sec. dept. of 
 pub., D. Appleton & Co., 1901; 20th 
 Century Club, Castilian, Authors, Har- 
 vard Mus. Assn.; Brookline Arts and 
 Letters, Dofobs and Brothers of the 
 Book, Chicago; Pres. Omar Khayyam 
 Soc. of Am.; Bibliophile Soc.; author, 
 Young Folks History of Russia, 1881, 
 A Score of Famous Composers, 1801, 
 Not Angels Quite, 1893, On the Point, 
 1895, The Hawthorn Tree, and Other 
 Poems, 1895, Poems for the Edu. Mus. 
 Course, 1896, Life of Francis William 
 Bird, 1897, Joseph Jefferson at Home, 
 
 1898, Omar the Tentmaker—A Romance 
 of Old Persia, 1899, Peace and Progress 
 —The Building of the Organ and On- 
 ward (poems), 1904, ’06, Six Italian Es- 
 says, 1907, The Pilgrims and Other 
 Poems, 1911, Alaska, 1909, Life of Count 
 Tolstoi, 1911, The Spell of Switzerland, 
 1913, Memoirs of the Baroness von Sutt- 
 ner, 19090, When Thoughts Will Soar, 
 1914, Tolstois Dramatic Works, 1923; 
 editor, The Rubaiyat of Omar Khay- 
 yam, 1896-99, The Mistakes We Make, 
 1898, The Greek Poets, 1904, The Latin 
 Poets, 1905, 10th edition of Bartlett’s 
 Fam. Quotations with additions, Poems 
 of Dr. Samuel S. Curry, with Biog., 
 1923; also hundreds of songs and lyrical 
 pieces for music from the Russian, etc.; 
 mem. adv. council Simplified Spelling 
 Bd.; hon. Vice Pres. Dante Soc. Am.; 
 Boston Music Lovers’ Club. Res., Ja- 
 maica Plain, Boston, Mass. Summer 
 home, “The Moorings,” Ogunquit, Me. 
 
 Dolley, Mrs. Helen M., school music su- 
 pervisor. Address, Limerick, Me. 
 
 Dolloff, Vesta, m.t. Address, Mount Ver- 
 non, Me. 
 
 Donald, May Norton, vocalist (alto); b. 
 Addison, Me., Sept. 25, 1869; d. Welling- 
 ton M. and Abbie B. Norton; m. Harry 
 M. Donald, Dec. 19, 1895; ed. Addison, 
 Me.; studied with Mrs. Stella Hall; 
 mem. M. E. Church Choir; Sec. Addison 
 Ladies’ Band; mem. Maine Musical Fes- 
 tival, Bangor, Me. Vocation, milliner. 
 Address, Main St., Addison, Me. 
 
 Donnell, Frances, music teacher, pianist; 
 b. Lancaster, N. H., Aug. 15, 1904; d. 
 James William and Jessie Maude Don- 
 nell; ed. Lancaster Academy; studied 
 with Florence Libby and Eliza Woods; 
 mem. choir Elm St. Methodist Church, 
 So. Portland, also subt. organist; mem. 
 Rossini Club, MacDowell Club; former 
 mem. Lancaster Academy Orchestra; 
 subt. pianist, Sunshine Trio. Address, 37 
 Atlantic Ave., So. Portland, Me. 
 
 Donovan, Ann Russell, organist for 25 
 yrs.; b. Bangor, 1869; d. William and 
 Ann Hammill Russell; m. Thomas G. 
 Donovan; ed. N. E. Conservatory; stud- 
 ied with H. W. Dunham; former Pres. 
 Schumann Club. Address, 34 Second 
 St., Bangor, Me. 
 
 Donovan, Rose Ella, organist; b. Houlton, 
 Me.; d. Timothy J. and Alice Hogan 
 Donovan; ed. Convent at Calais and St. 
 Elizabeth’s Academy, Portland; studied 
 with Sisters of Mercy; mem. choir and 
 
388 
 
 MUSIC AND MUSICIANS OF MAINE 
 
 a 
 
 org. at St. Mary’s Catholic Church, 35 
 yrs.; mem. Bryson’s Orchestra, 19 yrs., 
 and pianist and leader, 10 yrs.; mem. 
 Business and Professional Women’s Club. 
 Vocation, bank clerk. Address, 39 High- 
 land Ave., Houlton, Me. 
 
 Doron, Huldah S., music teacher, organist; 
 b. Rochester, N. Y., May 9, 1809; d 
 Charles Bedell and Mary Davis Doron; 
 ed. Smith College; studied with Mrs. C. 
 S. Huber, Mrs. Rodney Warren, Sara 
 Hamilton; organist Christian Science 
 Church. Vocation, teacher of piano. 
 Address, 133 Essex St., Bangor, Me. 
 
 Dorr, Harold W., m.t. Address, 100 Main 
 St., Bangor, Me. 
 
 Dostie, Claire, m.t. Address, 52 Howard 
 St., Lewiston, Me. 
 
 Dow, Helen Elizabeth, vocalist (soprano), 
 pianist; b. Lowell, Mass., Jan. 25, 1906; 
 d. George Lenwood and Rose Elizabeth 
 Dow; studied with Inez Field Damon 
 and William C. Heller. Vocation, super- 
 visor of music. Address, Box 318, 
 Rangeley, Me. 
 
 Dow, Mrs. Mae Haskell, m.t. Address, 94 
 Park Ave., Portland, Me. 
 
 Down, Edith, org. Stevens Ave. Church, 
 Portland, Me. Address, 32 Edgewood 
 Ave., Portland, Me. 
 
 Downing, Alfreda Rogers, vocalist (so- 
 prano); b. Auburn, Me.; d. William 
 Ernest and Josie Witham Rogers; m. 
 Mellen True Downing, June 12, I917; 
 ed. Auburn, Me.; studied at N. E. Con- 
 servatory and with Mae Haskell (piano) ; 
 voice with Blanche Towle, Boston, and 
 Howard R. Stevens, Portland; soloist 
 at Universalist Church, Lewiston; has 
 been soloist at Methodist, Universalist, 
 Sixth St. Cong. Churches, Auburn, Me.; 
 mem. Philharmonic Club; has taken 
 leading roles in number of operettas and 
 dramas. Address, 63 Court St., Auburn, 
 Me. 
 
 Drake, F. E., Conductor Bath Festival 
 Chorus. Address, Bath, Me. 
 
 Drew, Harry Tilden, musician; b. Marsh- 
 field Hills, Mass., July 4, 1878; s. Fred 
 W. and Hattie (Tilden) Drew; m. Ethel 
 B. Thibodeau, Nov. 19, 1912; K. of P. 
 Res, 3°: Summer: “o.,. 105 » Main cst. 
 Waterville, Me. 
 
 Drinkwine, Florence R., cellist; b. Bangor, 
 Me., 1901; d. Bennett and Addie Marcou 
 Drinkwine; ed. Bangor, Me.; studied 
 with Adelbert W. Sprague and Alice 
 Flood; mem. Lewiston-Auburn Sym- 
 
 phony Orchestra. Vocation, registered 
 nurse. Address, 39 Jefferson St., Lewis- 
 ton, Me. 
 
 Dufail, Raoul, vocalist (tenor). 
 Lewiston, Me. 
 
 Duff, Sarah Robinson, vocalist (dramatic 
 soprano) and teacher of singing; b. Ban- 
 gor, Me.; d. Henry K. and Frances Mc- 
 Clintock Robinson; m. Colonel Charles 
 Duff; studied in Paris, London and 
 Dresden under Mme. Marchesi, George 
 Haenschell; author, Simple Truths used 
 by great Singers, dedicated to her first 
 pupil, Mary Garden. Address, 235 East 
 62d St., New York. 
 
 Dugal, A. J., org. and choir dir. Holy 
 Family Church. Address, Lewiston, Me. 
 
 Dugan, Mildred M., cellist; b. Portland, 
 Me.; d. Walter H. and Anna Booker; 
 studied with Mrs. Marion P. Horan; 
 mem. Laura E. Ross Orchestra; mem. 
 B. & P. W. Club, MacDowell Club, 
 Portland Rossini Club, 1927, Portland 
 Orchestral Society; cellist, MacDowell 
 Trio and Brahms Trio. Res., 50 Water- 
 ville St., Portland. 
 
 Dumais, Ludger, m.t. Address, 5 Howard 
 St., Lewiston, Me. 
 
 Dunbar, Mrs. Oscar, m.t. Address, Ma- 
 chias, Me. 
 
 eee Bessie, m.t. Address, Washburn, 
 
 e, 
 
 Dunham, A.°M. (Mellie), fiddler; b. Nor- 
 way, Me., July 29, 1853; s. Alanson M. 
 and Mary A. Dunham; m. Emma F. 
 Richardson, Oct. 3, 1875; ed. public 
 schools Norway; leader Mellie Dun- 
 ham’s Orchestra; composer, “Rippling 
 Waves Waltz,” “Happy Hours Waltz,” 
 “Norway Schottische,” “Heywood Schot- 
 tische;” played for “old-time” dances for 
 56 yrs.; 22 weeks on Keith’s Vaudeville 
 Circuit; mem. Norway Grange, No. 45. 
 Vocation, farmer and snowshoe maker. 
 Res., R. F. D. No. 1, Norway, Me. 
 
 Address, 
 
 - Dunlap, Mrs. E. M., org. High St. Meth- 
 
 me Church, Auburn. Address, Auburn, 
 
 e. 
 
 Dunleavy, Margaret, m.t. Address, Ells- 
 worth, Me. 
 
 Dunn, Florence, m.t. Address, Franklin, 
 Me. 
 
 Dunning, Alice S., Sec. Brunswick Festi- 
 val Chorus. Address, Brunswick, Me. 
 
 Duren, Ethel A., music teacher, pianist, 
 
 vocalist (soprano); b. Presque Isle, Me., 
 June 24, 1896; d. Harry Freeman and 
 
 ee ee ee TR ee ee ee ee 
 
 eS ee ae ee eee 
 
BIOGRAPHICAL SECTION—1927-1928 
 
 Rose Munn Duren; studied with C. 
 Winfield Richmond; soloist; mem. choir 
 St. John’s Episcopal Church; mem. Mil- 
 ler’s Orchestra, Schumann Club and 
 Musicians’ Union; teacher of piano with 
 class of 60 to 70 pupils. Address, 268 
 Elm St., Bangor, Me. 
 
 Duren, Viola A., violinist and _ teacher, 
 concert artist; b. Presque Isle, Me.; d. 
 Harry Freeman and Rosa J. Duren 
 (both musicians); studied with A. Stan- 
 ley Cayting; mem. Schumann Club and 
 Symphony Orchestra, Bangor. Address, 
 268 Elm St., Bangor, Me. 
 
 Dwelley, Mary, m.t. Address, East Ma- 
 chias, Me. 
 
 Dwyer, Annie, m.t. Address, Orono, Me. 
 
 Dymond, Mrs. Anna Torrens, pianist, 
 cellist. Address, Bangor, Me. 
 Eagan, Lawrence, vocalist (baritone); 
 
 mem. Maine Harmony Four. Address, 
 Lewiston, Me. 
 
 Eames, Emma (see page 245). 
 Paris, France. 
 
 Eames, Emma H., music teacher; mother 
 of Emma Eames. Address, 12440 Cedar 
 Road, Cleveland, Ohio. 
 
 Eaton, Henry B., Dir. Eastern Maine Mu- 
 sical Association; Pres. St. Croix of Cal- 
 ais Festival Chorus. Address, Calais, Me. 
 
 Ebbeson, Agnes, vocalist; mem. Bach 
 Choir, Bangor. Address, Bangor, Me. 
 
 Edes, Mabelle Sawyer, pianist, accompan- 
 ist; b. July 20, 1887; d. Andrew C. and 
 Ella E. Sawyer; m. Dana H. Edes, Nov. 
 7, 1916; ed. University of Maine; studied 
 with Abbie Garland; formerly org. 
 Cnrstiane ocienice. Church, Bangor; 
 mem. Woman’s Club; dir. Ladies’ Quar- 
 tette, Guilford. Address, Guilford, Me. 
 
 Edgecomb, Frank M., violin teacher. Ad- 
 dress, Kezar Falls, Me. 
 
 Edgerly, Cora Emily, soloist (soprano), 
 teacher of piano; b. Portland, Me.; d 
 Frank J. and Abbie Waterman Edgerly;: 
 ed. Portland High School, Bates Col- 
 lege; studied music at American Insti- 
 tute of Normal Methods; pipe organ 
 with Latham True and Alfred Brinkler; 
 voice with Millard Bowdoin, Ernest Hill 
 and Elizabeth Brown; composer, “Gen- 
 eral Pershing March,” ‘Military Hesita- 
 tion Waltz,” “Roses in Bloom, Waltz 
 Song,” and others; mem. Rossini Club, 
 Portland Festival Chorus. Address, 341 
 Stevens Ave., Portland, Me. 
 
 Edwards, Azola Pike, piano téacher; b. 
 
 Address, 
 
 389 
 
 Norway, Me., Sept. 16, 1893; d. Dennis 
 and Nina Pike; m. Ashley Field Ed- 
 wards, July 3, 1918; ed. Norway High 
 School; studied with Cora S. Briggs; 
 mem. Kimball’s Orchestra. Address, 24 
 Winter St., Norway, Me. 
 
 Edwards, Claude H., organist, bandsman; 
 b. Luxulyan, Cornwall, England, Nov. 
 24, 1888; s. Samuel and Bessie Edwards; 
 m. Doris Irene Knowlton, July 22, 1918; 
 ed. Luxulyan; studied with Profs. Thom- 
 as, Milner, Elford; manager, dir. and 
 pianist of Edwards’ Orchestra; organist, 
 Methodist Episcopal Church; mem. 
 “Tweed Hyde’s Rube Band” (baritone 
 and E flat alto). Address, 13 Munsey 
 St., Livermore Falls, Me. 
 
 Edwards, Ethel Maud, vocalist (soprano), 
 clarinettist, violinist; b. Sabattus, Me.; d. 
 John W. and Emma J. Edwards; ed. 
 Brunswick High School, Farmington 
 Normal, N. E. Conservatory, and Insti- 
 tute Music Pedagogy; studied with Lulu 
 Houdlette, Prof. Wass, Joseph Swett, 
 Sinclair Thompson, Josef Udell; clarinet, 
 Frank J. Rigby; Frank Burnham, Arthur 
 Erickson and Jennie King Bragdon; also 
 Inst. of Music, Normal Methods at La- 
 sell and special subjects at Boston Univ.; 
 Sec.-Treas. Maine Music Supervisors’ 
 Assn.; mem. Me. Festival Chorus and 
 Nat. and Eastern Music Supervisors’ 
 Conference. Vocation, music supervisor 
 public schools of Maine. Address, R. 
 F. D. No. 6, Saco Rd., So. Portland, Me. 
 
 Edwards, F. A., vocalist; mem. Bach 
 Choir, Bangor. Address, Bangor, Me. 
 
 Edwards, George Thornton, author, com- 
 poser; b. Annapolis, Md., May 6, 1868 
 (a resident of Maine for more than 50 
 yrs.); s. Thomas and Mary J. (Peirce) 
 Edwards; m. Caroline Content Sackett, 
 of Rochester, N. Y., Feb. 14, 1893; author 
 “Music and Musicians of Maine” (1928), 
 “The Youthful Haunts of Longfellow” 
 (1907); “The Appeal of Liberty,” “The 
 New Hymn of Maryland’; compiler 
 (with wife), “The Maine Poet’s Calen- 
 dar” (1908) ; editor and publisher of “The 
 Garland of Delight” (1912); contbr. 
 verse to “Century,” “The Independent,” 
 etc., and author of many articles on 
 special subjects in other leading maga- 
 zines; composer, “America, My Amer- 
 ica,” a national peace anthem, “My 
 Heart’s in Tipperary Where the River 
 Shannon Flows,” “The Soldier’s Part- 
 ing Song,” “Rock-a-Bye Baby,” “A 
 Prayer,” “My Memories,” “Liberty, 
 
390 
 
 Sweet Liberty,” “America, My Coun- 
 try,” “Their Golden Wedding Song” 
 (words written by his wife), “A Little 
 Child’s Evening Prayer,’ “The Land 
 of Sweet Adventure,” “State of Maine, 
 My State of Maine,’ which has been 
 adopted as the society song by State 
 of Maine Societies in many states in 
 the Union, is used by the granges in 
 Maine as part of the service in confer- 
 ring the subordinate degrees, has been 
 sung by thousands of school children 
 throughout the State and was sung dur- 
 ing the Maine Centennial, 1920, in every 
 city and town in which a celebration 
 occurred; has set several of Longfel- 
 low’s poems to music, including, “The 
 Rainy Day,’ “My Lost Youth,” etc.; 
 composed successful vocal arrangement 
 and words for Italian Nat. Hymn, “Mar- 
 cia Reale’; Pres. Portland Community 
 Music Asso.; Director-General State 
 Liberty Chorus of Maine; former mem. 
 Nat. Community Music Assn.; mem. 
 com. of dept. nat. community music of 
 Nat. Alliance de Edn. Societe et Civique; 
 conductor People’s Community Chorus, 
 Portland, Me.; appointed State Musical 
 Director and song leader during war pe- 
 riod, during which he led thousands of 
 people in singing in the principal cities 
 in Maine and assisted in raising funds 
 for war work and war relief; has acted 
 as organist in several churches in Port- 
 land; former member Ardon Coombs’ 
 Orchestra (pianist), Haydn Association, 
 Portland, and teacher of singing at State 
 School for Boys; President, Geo. T. 
 Edwards Real Estate Co.; Development 
 of Suburban Real Estate, in the prog- 
 ress of which he has built more than 
 fifty dwelling houses and set out up- 
 wards of 1000 shade trees, bordering 
 fifteen miles of streets that he has laid 
 out and given to the city of Portland 
 and surrounding towns. Office, 547a 
 Congress St., Portland, Me. Home ad- 
 dress, Falmouth Foreside, Me. 
 Eldridge, Emily, m.t., violinist; mem. Mac- 
 Dowell Club, Portland Rossini Club, 
 Haydn Trio and MacDowell Trio. Ad- 
 dress, 110 Park Ave., Portland, Me. 
 
 Eldridge, Helen A., violinist; b. Foxcroft, 
 Me., Dec. 2, 1903; d. Ernest D. and 
 Annie M. Eldridge; ed. Foxcroft Acad- 
 emy; studied with Gray, Pullen, Hamil- 
 ton, Habernicht, Fisher; mem. Cong. 
 Church Choir and the Quintette Orches- 
 tra, Foxcroft, Me.; mem. Juanita Eileen 
 Guptill’s Trio and Jefferson Theatre Or- 
 
 MUSIC AND MUSICIANS OF MAINE 
 
 chestra, Portland. Address, 766 Con- 
 gress St., Portland, Me. 
 
 Eliason, Karin, pianist; accompanist Ells- 
 worth Festival Chorus. Address, Ells- 
 worth, Me. 
 
 Ellingwood, Ella Parsons, music teacher; 
 b. Cornville, Oct. 23, 1861; d. Samuel S. 
 and Jane Russell Parsons; m. Dr. Louis 
 N. Ellingwood, Sept. 21, 1887; ed. Har- 
 mony High School; studied with J. C. 
 Bartlett, J. W. Springall, T. P. Ryder, 
 Julius C. Hartt and at Grand Conserva- 
 tory, N. Y.; organist Harmony and 
 Athens Churches; taught music from 
 1877 to 1900; mem. Rebecca’s Grange. 
 Address, Athens, Me. 
 
 Elliott, Georgia, m.t. Address, Calais, Me. 
 Ellis, Beryl, m.t. Address, Parkman, Me. 
 
 Ellis, Mrs. Julian F. (Grace Collins), vo- 
 calist (soprano); b. Richmond, Me., 
 Oct. 19, 1884; d. Allen G. and Martha 
 Dinsmore Collins; m. March 19, 1902; 
 soloist Baptist Church, Auburn; mem. 
 Philharmonic Club, Auburn and Lew- 
 iston, 1922; mem. Women’s Literary 
 Union, Musical Union and Portland 
 Rossini Club. Address, 10 Harvard St., 
 Auburn; Me. 
 
 Emerson,’Alice Brett, pianist, accompan- 
 ist; b. Auburn, Me., Jan. 27, 1896; d. Eu- 
 gene P. and Louise Akerley Brett; m. 
 William E. Emerson, Aug. 27, 1917; 
 studied with Angie Starbird and Prof. 
 Arthur Pettengill; mem. The Auburn 
 Trio, Lewiston and Auburn Philhar- 
 monic Club. Address, 157 Gamage Ave., 
 Auburn, Me. 
 
 Emery, Mrs. Sarah P., Dir. Eastern Maine 
 
 ee Association. Addres: Bangor, 
 e. 
 
 Emmons, Carrie Ellsworth Hall, vocalist 
 (alto); b. Kennebunk, Me., July 8, 1861; 
 d. Woodbury Abbott and Cordelia 
 Whitehouse Hall; m. Irving Tripp Em-. 
 mons, Nov. 24, 1892; mem, Kennebunk 
 Festival Chorus, O. E. S. and D. A. R. 
 Address, 53 Main St., Kennebunk, Me. 
 
 Emond, Marie R., m.t. Address, 32 Pool 
 St., Biddeford, Me. 
 
 Epps, Dr. Franklin Stevens, vocalist (ten- 
 or), bandsman (alto horn); b. Waltham, 
 Mass., Oct. 30, 1902; s. Charles B. and 
 Alice Stevens Epps; studied with Mrs. 
 Elmer E. Pierce; mem. Utopian Male 
 Quartet, Auburn; Towle’s Orchestra, 
 Spanish War Vets. Band of Cambridge, 
 Mass.; mem. Am., N. E. and Maine Os- 
 
BIOGRAPHICAL SECTION—1927-1928 391 
 
 teopathic Societies; grad. Mass. Coll. 
 Osteopathy. Address, 34 Court St., Au- 
 burn, Me. 
 
 Eustis, Harry, vocalist (bass); mem. Port- 
 land Men’s Singing Club; Harvard Male 
 Quartet; choir dir. Church of Messiah. 
 Address, 113 Franklin St., Portland, Me. 
 
 Evans, Josepha Virginia, organist, vocalist 
 
 (contralto); b. Wakefield, Mass.; d. 
 Emory Felton and Josepha Restarrick 
 Sweetser; ed. Wellesley College (B.A.) 
 and graduate Missionary School, N. Y. 
 City; m. Rev. Frank W. Wheeler, Dec., 
 1902; 2d, Walter M. Evans, Nov., 1915; 
 studied with M. E. Burlington; org. at 
 various missionary meetings and at 
 Italian Mission at Emmanuel Baptist 
 Church, Bronx, N. Y.; org. and choir 
 leader at Baptist Church, Millinocket, 
 Me., at different times; Vice Pres. Milli- 
 nocket Philharmonic Club; author, po- 
 ems and stories for periodicals and for 
 Wellesley Volume of Verse (subjects 
 largely musical), public speaker on re- 
 ligious and kindred subjects. Res., Box 
 102, Millinocket, Me. 
 
 Evans, Ora Liston, pianist and organist 
 (retired); b. Dover, Me., May 22, 1893; 
 s. Liston P. and Clara Getchell Evans; 
 m, Lelia M. Gerry, July 12, 1917; ed. 
 Foxcroft Academy and Bowdoin Col- 
 lege; formerly organist Universalist 
 Church and mem. Quintette Orchestra; 
 mem. Mosaic Lodge, F. & A. M., Amer- 
 ican Legion and Zeta Psi Fraternity. 
 Vocation, publisher. Address, Dover- 
 Foxcroft, Me. 
 
 Fagan, John T., flutist; b. Portland, Me., 
 Dec. 14, 1864; m. Ellen G. Moulton, Oct. 
 20, 1897; studied with Frank L. Collins, 
 Charles W. Grimmer, Hermann Kotzsch- 
 mar, Frederick Schmidt; in early years 
 travelled with concert company; for- 
 mer mem. Chandler’s Band, Portland 
 (horn), 1885 to 1892; mem. Me. State 
 Fife, Drum and Bugle Corps (leader) 
 from 1882 to 1886; org. and leader of 
 Me. Centennial Fife, Drum and Bugle 
 Corps; mem. Deane’s Orchestra, Port- 
 land Flutists’ Society; formerly mem. 
 Portland Music Commission (chairman, 
 2 yrs.); arranger of band and orchestra 
 music. Vocation, lawyer. Res., 12 Win- 
 ter St., Portland, Me. O., 85 Exchange 
 St . 
 
 Fairbanks, Ressie Daggett, vocalist, choir 
 director; b. Smyrna Mills, Me.; d. Alon- 
 zo P. and Isabelle Marsh Daggett; m. 
 Sumner A. Fairbanks, June 14, 1911; ed. 
 
 nn SSS SSS 
 
 Ricker Classical Institute; studied with 
 Harriet Stewart, Mrs. J. Hollis Lindsay, 
 Prof. David Soderquist; dir. of choir 
 First Baptist Church, Houlton; mem. 
 O. E. Star, Houlton Woman’s Club, 
 Houlton Music Club; Past Pres. Houl- 
 ton Music Club. Address, 30 School St., 
 Houlton, Me. 
 
 Farley, Mrs. Cyrus H., honorary mem. 
 Portland Rossini Club. Address, 256 
 Vaughan St., Portland, Me. 
 
 Farley, Mrs. Henry G., vocalist (alto); 
 mem. Portland Rossini Club, Women’s 
 Choral Society, Portland Festival Cho- 
 rus, 20 yrs. Address, 93 William St., 
 Portland, Me. . 
 
 Farnham, Frances, organist; studied with 
 Grace B. Howes; org. So. Brewer 2nd 
 Cong. Church. Address, So. Brewer, Me. 
 
 Farnsworth, Edward Clarence, organist; 
 b. Bangor, Me., May 27, 1853; s. Ben- 
 jamin Brown and Caroline Babcock 
 Farnsworth; m. Mary Best, 1893; m. 
 Emma Russell, 1914; ed. Portland, Me.; 
 studied with George R. Paine, Hermann 
 Kotzschmar and harmony with J. K. 
 Paine; formerly organist at St. Ste- 
 phen’s, Second Parish, Swedenborgian, 
 St. Lawrence and Pine St. Churches; 
 organist for 47 yrs. for several bodies of 
 Odd Fellows; form. member Kotzsch- 
 mar Club; mem. Unity Lodge, I. O. 
 O. F.; author, poems and essays, St. 
 Helena and other poems, Euphrates and 
 other poems, The Revelations of John 
 and Explanation, Makers of Music, The 
 Ideals and Tendencies of Modern Art, 
 four volumes on Advanced Thought, 
 Mementos and Sea Pictures. Res., 106 
 Emery St., Portland. 
 
 Farnum, Natalie Hardy, pianist; b. Man- 
 chester, N. H., 1893; d. George H. and 
 Florence A. Hardy; m. S. Merritt Far- 
 num, 1918; ed. Fitchburg Normal 
 School; studied with Kate L. Smith; 
 Pres. Philharmonic Club and dir. 3 yrs.; 
 Treas. Women’s Literary Union; Sec. 
 Dir. and Past Pres. Women’s Hospital 
 Asso.; Treas. Me. Federation of Music 
 Clubs, 2 yrs.; Sec. Needlework Guild; 
 instructor for 6 yrs. in Fitchburg Nor- 
 mal School. Address, Hotel Atwood, 
 Lewiston, Me. 
 
 Farr, Mrs. Annie Mabel Thomes, vocal- 
 ist; b. Portland, Me., Nov. 5, 1876; d. 
 George Henry and Elizabeth Bond 
 Thomes; m. Harvey C. Farr, Sept. 23, 
 1903; studied with John Morgan, Wil- 
 liam Dennett, William Whitney, Clara 
 
392 MUSIC AND MUSICIANS OF MAINE 
 
 Tibbetts, Henrietta Rice, Llewellyn 
 Cain; mem. St. Lawrence, Church of the 
 Messiah, High St. Cong. (17 yrs.), Free 
 St. Baptist, First Baptist Church 
 Choirs; mem. Choral Art Society. Vo- 
 cation, real estate. Address, 80 Wilson 
 St., Portland, Me. 
 
 Farr, John, vocalist (bass); mem. Portland 
 Men’s Singing Club. Address, 85 Oak- 
 dale St., Portland, Me. 
 
 Farrar, Sidney D., soloist; b. So. Paris, 
 Me., Aug. 10, 1859; Ss. Sidney and Maria 
 Farrar, and father of Geraldine Farrar; 
 m. Henrietta Barnes, Dec. 24, 1880; 
 played in the Melrose Band and was 
 first baseman on Philadelphia National 
 League’s ball team several years; mu- 
 sician in band of roth Maine Regiment; 
 mem. Universalist and Episcopal Church 
 Choirs, Melrose, Mass.; mem. Amphion 
 Club, Melrose. Res., Melrose, Mass. 
 
 Farrington, Cora Ramsdell, vocalist (mez- 
 zo soprano); b. Chesterville, Me., Feb. 
 2, 1860; d. James H. and Helen Lancas- 
 ter Ramsdell; m. J. A. Farrington, Aug. 
 30, 1888; ed. Livermore Falls and Chau- 
 tauqua graduate; studied with Frances 
 Dodwell, W. H. Stockbridge and W. H. 
 Dennett; mem. Festival Chorus and 
 Haydn Asso. Address, Rocky Brook 
 Farm, Livermore Falls, Me. 
 
 Farrington, Edith M., organist; studied 
 with Grace B. Howes; org. Hammond 
 St. Church, Bangor. Address, Bangor, 
 Me. 
 
 Farrington, Harold Edward, bandsman; 
 b. Portland, Me., 1880; s. Fred R. and 
 Harriet Chandler Farrington; m. Ber- 
 tha May Bond, 10908; ed. Portland, Me.; 
 studied with W. E. Chandler, i ess | 
 Chandler and H. N. Shaw; mem. Port- 
 land Band (clarinet and drums); mem. 
 Wm. E. Chandler’s and Hybert’s Or- 
 chestras (drums); mem. U. C. T., Ma- 
 sons, Elks. Vocation, merchant. Ad- 
 dress, 210 Coyle St., Portland, Me. 
 
 Faught, Frank H., bass viol; mem. Deane’s 
 Orchestral Club. Portland, Me. 
 
 Faulkenham, Mary, music teacher; mem. 
 Women’s Choral Society. Address, 
 Peaks Island, Me. 
 
 Favor, Edward P., pianist; b. Cambridge, 
 Mass.; s. Zachary T. and Martha T. Fa- 
 vor; m. Alice M. Oakes, Nov. 9, 1906; 
 ed. Boston Conservatory of Music; 
 studied piano with Chelius; harmony 
 with Metcalf and Houard; composer of 
 the operas “King Pepper,” “Tourist and 
 
 the Maid,” and “The Star Teaching 
 Series,” “In the Valley of Visions,” 
 “City of Heavenly Light,” “Bereft,” 
 “Solitaire,” “Sea O’ Dreams,” “L’Ad- 
 miration Waltzes,” etc. Vocation, com- 
 poser, arranger and piano tuner. Ad- 
 dress, 41 So. Front St., Richmond, Me. — 
 
 Fay, John E., teacher of piano and organ; 
 b. Lynn, Mass., June 20, 1903; s. John L. 
 and Catherine F. Fay; studied with 
 Frank L. Rankin, Portland, Isador 
 Phillip and Joseph Bonnet of Paris; or- 
 ganist, St. Joseph’s Church, Portland; 
 mem. Kotzschmar Club. Address, 451 
 Deering Ave., Portland, Me. Studio, 
 562 Congress St. 
 
 Feeney, Charles E., vocalist; winner, 1927 
 State Atwater Kent Radio Audition. Ad- 
 dress, So. Portland, Me. 
 
 Fellows, Henrietta A., vocal teacher; b. 
 Portland, Me., May 18, 1857; d. Melville 
 C. and Evelyn (Kimball) Milliken; m. 
 Orra H. Fellows, Aug. 30, 1882; studied 
 with W. H. Dennett, Portland, Me., and 
 Trabadello, Paris; mem. choir First 
 Parish Church, Portland, for 20 yrs. 
 (soprano); mem. Haydn Assn., Festival 
 Chorus and Rossini Club. Address, 33 
 Kirkland St., Cambridge, Mass. 
 
 Fenderson, Bertha King, vocalist (mezzo- 
 contralto); b. Portland, Me., June 23, 
 1886; d. Helo H. and Edith Pinkham 
 King; m. Charles Kennard Fenderson, 
 Sept. 25, 1912; ed. Portland, Me.; stud- 
 ied with Jennie King Bragdon, William 
 Whitney; mem. Williston Cong. Church 
 Choir, Woodfords Cong. Church Choir, 
 Portland, Me., Malden Cong. Church 
 Choir and First Parish Cong. Church 
 Choir, Saco, Me., Immanuel Baptist 
 Church Choir, Portland, Malden Musi- 
 cal Club, Musical Art Club of Boston, 
 and Portland Rossini Club; soloist, re- 
 citalist. Address, 146 Elm St., Saco, Me. 
 
 Fenderson, Charles K., vocalist (bass); b. 
 Saco, Me., Feb. 13, 1886; s. James H. 
 and Ada Kennard Fenderson; studied 
 with Lillian. Carllsmith; mem. First 
 Parish Church Choir, Saco, Unitarian 
 Church, Kennebunk, and Immanuel Bap- 
 tist, Portland; mem. Kotzschmar Club, 
 Men’s Singing Club, Portland Poly- 
 phonic Society and Portland Club. Vo- 
 cation, Manager York County Motor 
 Corp. Address, 146 Elm St., Saco, Me. 
 
 Fenderson, Leigh G., violinist; b. Auburn. 
 Me., June 17, 1886; s. Frank J. and 
 Georgia Anna Goss Fenderson; ed. pub- 
 
BIOGRAPHICAL SECTION—I1927-1928 393 
 
 lic schools, Auburn, Me., and Salem, 
 Mass.; studied with Frank Holding, 
 Lewiston, and Arthur Luscombe and 
 Carl Troutman, Boston; teacher of vio- 
 lin for 20 yrs., has given many recitals. 
 Address, 133 Lisbon St., Lewiston, Me. 
 
 Fenderson, Sarah Wiswell, vocalist (so- 
 
 ‘prano); b. Machias, Me., Oct. 18, 1901; 
 d. Hovey M. and Nettie M. Stevens Wis- 
 well; ed. Univ. of Maine; studied with 
 H. M. Wiswell and Grace Hutchinson; 
 mem. Cong. Church Choir and Wiswell’s 
 Saxophone Orchestra; mem. Alpha Omi- 
 cron Phi. Address, Machias, Me. 
 
 Fenton, Mrs. R. M., organist St. Paul’s 
 Church, Portland. Address, 279 Con- 
 gress St., Portland, Me. 
 
 Fernald, Louise, school music supervisor. 
 Address, Millinocket, Me. 
 
 Ferrero, Willy, musical prodigy and or- 
 chestra leader; b. 78 Elm St., Portland, 
 Me., May 21, 1906; s. Victor and Jemimi 
 (Martoli) Ferrero; was taken to Italy 
 by his parents at age of 2; directed sev- 
 eral symphonic pieces at the “Troca- 
 dero” in Paris at age of 3 yrs., 8 mo.; 
 the great composer Massenet was among 
 those who assisted at this concert and 
 moved to the point of shedding tears 
 he kissed the tiny director and ex- 
 claimed, “Go, you are a born artist. Of 
 you, history will certainly speak”; at age 
 of 4 led orchestra in the Follies Bergere 
 in Paris; on Oct. 11, 1912 (age 6 yrs.), 
 he directed his first symphonic concert 
 
 in Rome at the “Teatro Costanzi’; on’ 
 
 Feb. 1, 1913, he directed the Imperial 
 Orchestra of 120 performers at St. Pe- 
 tersburg at the invitation of His Majesty 
 the Czar of Russia, Nicholas II, and was 
 given the ensign of the Order of St. 
 Stanislaus, a gold medallion and other 
 valuable presents; in 1914 directed or- 
 chestra at Albert Hall, London; was 
 decorated by Queen Alexandria and was 
 presented with a gold watch by her maj- 
 esty; in I915 was presented with gold 
 medal by the Italian Minister of Educa- 
 tion after successful appearance in the 
 Augusteum, where he conducted an or- 
 chestra and chorus of 500; in 1913 was 
 invited to the Vatican by Pope Pius X, 
 and again in 1917 by Pope Benedict XV, 
 and was presented by him with a large 
 medallion; as a musical prodigy received 
 enconiums from Leopoldo Mugnone, 
 Mo. Comm.; Sgambati, director of the 
 Royal Conservatory of S. Cecilia, Rome; 
 Alberto Gasco, critic of the “Tribuna”; 
 
 Prince Sergio Wolkonski, former direc- 
 tor Imperial Theatre, St. Petersburg; 
 Glasunof, director Conservatory of St. 
 Petersburg; Prof. L. Auer; Prof. Nicola 
 Solowieff; G. Tartascof, baritone of the 
 Imperial Opera; A. Klessin, director of 
 Imperial Orchestra; Prof. Sokolof of 
 the Academy of Fine Arts, and many 
 others; completed education at Musical 
 Academy of Vienna; more recent ap- 
 pearances as orchestra leader have been 
 in many of the larger cities of Italy. 
 Address, 9, Via-Bogino-Turin, Italy. 
 Fessenden, Mabel Bates, soloist, concert 
 artist; b. Fairfield, Me., Oct. 19, 1841; d. 
 Asa B. and Azuba M. Bates; m. Otho W. 
 Burnham, 1865; 2d, William H. Fessen- 
 den, 1876; ed. Waterville Academy; 
 studied with W. H. Dennett, Portland, 
 Vannucini, Florence, Italy, Pinsuti and 
 Mr. Deacon, London; mem. choir at 
 First Univ., First Parish and State St. 
 Churches, Portland, Me., and Church of 
 Unity, Boston, Mass.; charter mem. 
 Rossini Club, Portland; mem. Boylston 
 Club, Boston; sang leading role in Mars- 
 ton’s Opera “Don Bobo” presented in 
 Portland, 1860; as Mabel Bates Burn- 
 ham was one of the “Bouquet of Artists” 
 at the Great Peace Jubilee, Boston, 1869. 
 Res., 9 Getchell St., Waterville, Me. 
 
 Fickett, Louis W., music dealer; b. Stroud- 
 water, Jan. 2, 1878; s. Franklin and Ab- 
 bie (Chaplin) Fickett; m. Harriet M. 
 Berry, Oct. 17, 1910; employee of Cres- 
 sey & Allen, 1892-1917; part owner, 
 Maine Music Co., Rockland; Mason, 
 Elks. Res., 40 Rankin St.; 0., 397 Main 
 St., Rockland, Me. 
 
 Field, Arthur A., teacher clarinet and sax- 
 ophone; b. Bangor, Me., July 26, 1877; s. 
 George A. and Ellen H. Field; m. Lucy 
 C. Beck, Sept. 12, 1906; ed. Brewer, Me.; 
 studied with Hemenway, Leavitt and 
 Woods; mem. Bangor Band and Shrine 
 Band (clarinet) and mem. Miller’s Or- 
 chestra; mem. A. F. of M. Vocation, 
 prescription optician. Address, 31 Lane 
 St., Bangor, Me. 
 
 Field, Frances G., m.t. Address, 14 Pearl 
 St., So. Portland, Me. 
 
 Fife, Fredericka L., m.t. Address, 70 Grove 
 St., Augusta, Me. 
 
 Fifield, Alice Gould, teacher of cello; b. 
 Bangor, Me., Jan. 27, 1896; d. Frederick 
 T. and Cecilia (Campbell) Fifield; ed. 
 Bangor and Boston; studied cello with 
 Keller of Boston; piano with Adelbert 
 Wells Sprague; accompanist and mem. 
 
394 MUSIC AND 
 
 MUSICIANS OF MAINE 
 
 cece nn Se 
 
 of Pullen’s Symphony Orchestra and 
 Fifield Trio; mem. Bangor Symphony 
 Orchestra. Summer home, Winchenden, 
 Mass. Address, 186 Front St., Bangor, 
 Me. 
 
 Fifield, Marian Louise, teacher of violin; 
 b. Danforth, Me., May 13, 1892; d. Fred- 
 erick T. and Cecilia (Campbell) Fifield; 
 studied music under Horace Mann Pul- 
 len, Carl Reisland, Boston; mem. Fifield 
 Trio and Bangor Symphony Orchestra. 
 Address, So. Brewer, Me. 
 
 Files, Harry S., vocalist (baritone); mem. 
 Kotzschmar Club, Portland Men’s Sing- 
 ing Club. Address, 419 Cumberland 
 Ave., Portland, Me. 
 
 Files, Mrs. Harry S., pianist; priv. mem. 
 Portland Rossini Club. Address, 419 
 Cumberland Ave., Portland, Me. 
 
 Files, Katherine, school music supervisor. 
 Address, Hallowell, Me. 
 
 Files, Mrs. Louis M., mem. Women's 
 Choral Society. Address, 34 Deane St., 
 Portland, Me. 
 
 Finnegan, Wilfred A., mem. Bd. Dir. 
 Eastern Maine Musical Association. Ad- 
 dress, Bangor, Me. 
 
 Fish, Clarence A., cornettist, horn soloist; 
 b. Warren, Me., June 17, 1885; S. Judson 
 Cerand Francis L. Fish; ed. Camden 
 High School, Hudson River Military 
 Academy; studied with H. Schmitt, N. 
 Y.; dir. and manager of Camden Con- 
 cert Band and Oakland Park Concert 
 Band; mem. Marston’s concert and 
 dance orchestra; mem. I. O. O. F., Ma- 
 sons; composer, “Just You and I,” 
 “When October Comes,” “You Are the 
 Girl of My Dreams.” Address, 42 Pearl 
 St., Camden, Me. 
 
 Fisher, Cecil, m.t. Address, Fort Fairfield, 
 Me. 
 
 Fisher, David Ellery, teacher of violin; b. 
 Boston, Mass., Sept. 12, 1874; s. David 
 L. and Nettie (Oxley) Fisher; ed..N. E. 
 Conservatory of Music, 1895; m. Isa- 
 belle Tilton, Jan. 3, 1900; teacher of vio- 
 lin at Denver Univ., Col., 1895-96; 5 yrs. 
 in orchestras; won gold medal at Den- 
 ver, Col., 1896; taught violin, Portland. 
 since 1902; instructor violin Westbrook 
 Seminary; Mason (32d degree). Res., 
 211 Falmouth St.; 0., 719 Trelawney 
 Bldg., Portland, Me. 
 
 Fisher, Mrs. Stanwood, vocalist; mem. 
 Portland Rossini Club. Address, 326 
 Spring St., Portland, Me. 
 
 Flagg, Olive Gertrude, vocalist (mezzo- 
 
 soprano); b. Portland, Me.; d. Lester 
 and Lenora Sawyer Flagg; ed. Portland 
 High School and Kent’s Hill Seminary; 
 studied voice with Elizabeth Brown; 
 sec. Kent’s Hill Alumni Asso.; mem. 
 Marston Club; soloist for 18 yrs. at New 
 Jerusalem Swedenborgian Church; teach- 
 er of piano with Gertrude Buxton; grade 
 teacher, public schools; in charge Cham- 
 ber of Commerce Information Bureau. 
 Address, 633 Congress St., Portland, Me. 
 
 Flanders, Ruth Augusta, music teacher, 
 vocalist, pianist, violinist; b. Hampden, 
 Me., Nov. 13, 1903; d. Herbert Allen 
 and Gertrude Newcombe Flanders; ed. 
 Bates College, Lasell Seminary; studied 
 with David E. Fisher, Frank E. Burn- 
 ham, Ethel Fullerton and American In- 
 stitute of Normal Methods; mem. choir 
 Cong. Church, Norway, Me.; violinist 
 Univ. Church, Westbrook; mem. Port- 
 land Rossini Orchestra, McFarlane Club; 
 appeared as soloist and in trio work; 
 one season at Oak Grove Hotel, Booth- 
 bay Harbor. Vocation, supervisor of 
 music, mem. faculty, High School, Nor- 
 way, Me. Address, 25 Ellsworth St., 
 Portland, Me. Mail address, 81 Main 
 St., Norway, Me. 
 
 Flannigan, Anna F., org. St. Mary’s Catho- 
 lic Chureh. Address, Bangor, Me. 
 Fletcher, Edward, m.t. Address, Belfast, 
 
 Me. 
 
 Flinton, P. C., vocalist (tenor); mem. 
 choir Penney Memorial United Baptist 
 Church. Address, Augusta, Me. 
 
 Flood, Alice Ada, vocal teacher; b. Salem, 
 Mass., Aug. 19, 1888; d. James and Hat- 
 tie (Yeaton) Flood; ed. Inst. of Mus. 
 Art, N. Y.; studied with Mme. Ternina, 
 Lilly Lang Collins and Prof. Klamroth; 
 toured the U. S. and Canada; formerly 
 teacher in N. Y. City; since 1916 in Lew- 
 iston; mem. Literary Union, Philhar- 
 monic Society. Res., 24 Webster St.; o.. 
 138 Lisbon St., Lewiston, Me. 
 
 Flood, James P., drummer, banjoist, clari- 
 nettist; b. Ireland: ed. Dublin; became 
 bugler and then drum major ‘with the 
 British Fusiliers in England at age of 
 fourteen; came to America and settled 
 in Lewiston; played in Johnson’s Band, 
 Glover’s Band and Chandler’s Band; 
 joined the 8th Me. Volunteer Band of 
 Salem during the Civil War; was tym- 
 pani player with the Chicaso Symphony 
 Orchestra 15 years; toured as drummer 
 with Henry W. Savage for the ‘Prince 
 of Pilsen” and the “Merry Widow”; 
 
 eS Oe ee as 
 
BIOGRAPHICAL SECTION—1927-1928 395 
 
 drummed in every state in the union; 
 has made fourteen trips from coast to 
 coast; mem. of the Cowboy Band of 
 Colorado. which toured the Western 
 States. Address, Lewiston, Me. 
 
 Flye, Mrs. J. R., Librarian Rockland Fes- 
 tival Chorus. Address, Rockland, Me. 
 
 Fobes, Mrs. Ruth Carter, vocalist; mem. 
 Women’s Choral Society. Address, 42 
 
 porcustiman ot.,. Portland, Me. 
 
 Fogg, Evelyn (see Evelyn Fogg Orcutt). 
 
 Foley, Dcerothy, vocalist; Treas. Women’s 
 Choral Society. Address, 213 Walton 
 St., Portland, Me. 
 
 Ford, Frank, cornettist; mem. Deane’s Or- 
 chestral Club. Address, 166 Walton St., 
 Portland, Me. 
 
 Forsaith, Isabel S., teacher of piano; b. 
 Winterport, Me.; d. Edwin B. and Mar- 
 ion B. Forsaith; studied with Mrs. 
 Campbell and Mary E. O’Brion; former 
 mem. Mozart Club. Address, 106 Maine 
 St., Brunswick, Me. 
 
 Fortier, Germaine, m.t. 
 ford. Me. 
 
 Foss, Donald M., vocalist (tenor); mem. 
 Portland Men’s Singing Club. Address 
 54 Glenwood Ave., Portland, Me. 
 
 Foss, Esther A., org. First Baptist Church, 
 Portland. Address, Portland, Me. 
 
 Foss, Marian G., vocalist (soprano); Db. 
 Fort Fairfield, Me., March 24, 1900; d. 
 Austin M. and Matie F. Foss; ed. Kent’s 
 Hill Seminary; studied voice with Prof. 
 Torrens, Ellen Peterson; piano with K. 
 A. Ringwall and C. W. Richmond; mem. 
 choir Grace Methodist Church, Bangor, 
 Bach Choir and Schumann Club, Festival 
 Chorus and Ladies Choral. Vocation, 
 bookkeeper for Andrews Music House. 
 Res., Hampden, Me. 
 
 Foster, Barbara Lancey, pianist, accom- 
 panist; b. Pittsheld, Me.; d. Thomas 
 Greene and Delia Farnham Lancey; m. 
 Charles Fleet Foster, Oct. 25, 1925; ed. 
 N. E. Conservatory; studied with F. 
 Addison Porter; org., Univ. Church, 
 Pittsfield, Me.; mem. Bethlehem Chapt., 
 Opis er ittsheld; Address, 11 River 
 St., Dover-Foxcroft, Me. 
 
 Foster, Charles Sherwood, bandsman; b. 
 Kingfield, Me., Feb. 5, 1907; s. Sher- 
 brook Charles and Birdena May Foster; 
 studied with Thomas P. Holt and G. 
 Dana Holt; mem. Cong. Church Choir, 
 Dixfield, Baptist Church, Belfast; mem. 
 Dixfield Band. Address, Belmont Ave., 
 Belfast, Me. 
 
 Address, Rum- 
 
 Foster, Jane F.,! school music supervisor. 
 Address, Dover-Foxcroft, Me. 
 
 Foster, Mabel W., pianist. Address, West- 
 brook, Me. 
 
 Fowler, Mrs. E. Beryl, m.t. Address, Fort 
 Fairfield, Me. 
 
 Fowler, Ida, school music supervisor. 
 Address, Boothbay Harbor, Me. 
 
 Fox, Carrie Browne, music teacher; b. 
 Portland, Me.; d. Lewis P. and Harriett 
 E. Browne; m. Daniel Fox, Jan., 1877; 
 ed. in Ohio and Westbrook Sem.; stud- 
 ied with Hermann Kotzschmar and at 
 Chicago Musical College. Address, 18 
 Casco St., Portland, Me. 
 
 Francis, Irma May, violinist; b. Auburn, 
 Me., Aug. 8, 1907; d. Chester L. and 
 Irma Leighton Francis; grad. Edward 
 Little High School, Maine School of 
 Commerce, Auburn; studied with Leigh 
 G. Fenderson, Lewiston, Serge Korgueff 
 of Boston. Conservatory of Music, and 
 Karl Rissland of Boston Symphony Or- 
 chestra; mem. Lewiston-Auburn Sym- 
 phony Orchestra, Music Dept. B. & P. 
 W. Club and Philharmonic Club of 
 Lewiston and Auburn; Concertmeister, 
 Edward Little High School Orchestra; 
 violinist of the Alpha Trio, organized 
 Jan., 1926. Vocation, violinist. Address, 
 8 Gammon Ave., Auburn, Me. 
 
 Francis, Pearce J., vocalist (baritone); 
 mem. Kotzschmar Club, Portland Men’s 
 Singing Club, Cong. Sq. Univ. Church 
 Quartette. Address, 35 Warren Ave., 
 Cape Elizabeth, Me. 
 
 Frank, E. Clayton, organist Second Parish 
 
 rr Address, 9 Mayo St., Portland, 
 e. 
 
 Frank, Mrs. Henry P., instrumentalist 
 (horn); priv. mem. Portland Rossini 
 Club. Address, Yarmouth, Me. 
 
 Freeman, Ida May (Strout), vocalist (con- 
 tralto); b. Cape Elizabeth, Me., March 
 2, 1868; d. Miles Sewall and May Helen 
 Tinkham Strout; m. Frederick W. Free- 
 man, Aug. 27, 1890; ed. Thornton Acad., 
 Saco, and Univ. Exten.; studied with 
 private tutors in Bible, art, literature 
 and French; studied organ and piano 
 with -Prof..R. H. Phippen and Prof. 
 Howard W. Knight; voice with Prof. 
 Shannon and Prof. Butler, Saco, Prof. 
 C. J. Marshall, Bangor, Prof. O. Stew- 
 art Taylor, Portland, and Prof. A. R. 
 Frank, Boston; org. and first pres. Mo- 
 zart Club, So. Berwick; held offices in 
 Mizpah Chapt., O. E. S., Westbrook; 
 formerly mus. dir. Saco Grange and 
 
396 
 
 MUSIC AND MUSICIANS OF MAINE 
 
 Gene ntpeseen tS  C S  T 
 
 York Co. Pomona; Pres. Current Events 
 Club, Westbrook; org. and dir. Current 
 Events Dept. of Berwick Woman’s 
 Club; Pres. Berwick Woman’s Club of 
 So. Berwick; teacher of classes in art 
 interpretation in St. Albans, Vt.; First 
 V. P. and dir. Fortnightly Club, Bath, 
 Me.; mem. Westbrook Choral Chautau- 
 qua Chorus, Me. Music Festival, Men- 
 delssohn Club, Bath, Mozart Club, So. 
 Berwick; taught voice and dir. choruses 
 in So. Berwick and Lubec, Me. Address, 
 28 York St., Bath, Me. 
 
 Freeman, Marion Johnson, vocalist, so- 
 prano; b. Portland, Me., 1884; d. Isaac 
 H. and Nellie Harmon Johnson; m. 
 Harry M. Freeman, 1914; studied voice 
 with Rupert Neily; piano and pipe or- 
 gan with Willard Kimball and Dr. La- 
 tham True; formerly taught singing at 
 Windham High School; former mem. 
 quartette at Clark Memorial M. | 
 Church, Woodfords, and org. Univ. 
 Church, Clark Memorial, Portland, and 
 Univ., Westbrook; mem. Me. Festival 
 Chorus, Women’s Choral Society and 
 Clark Memorial Church, Portland. Ad- 
 dress, 511 Stevens Ave., Portland, Me. 
 
 Freese, A. Langdon, mem. Bd. Dir. East- 
 ern Maine Musical Association. Address, 
 Bangor, Me. 
 
 French, Clarence M., vocalist, mem. Port- 
 land Men’s Singing Club. Address, 25 
 Adelaide St., Portland, Me. 
 
 French, Mrs. Henry P., first Vice Pres. 
 Me. Federation of Music Clubs. Ad- 
 dress, Yarmouth, Me. 
 
 French, Leita Esther,: school music super- 
 visor; b. Brewer, Me., Jan. 12, 1905; d. 
 Daniel G. and Grace E. French; ed. 
 Univ. of Maine, B.A. degree; studied 
 with Adelbert W. Sprague, Mrs. Grace 
 Howes and at Inst. of Music Pedagogy, 
 Northampton, Mass.; org. First Meth. 
 Church, Bangor, and Baptist Church, 
 Brewer; mem. U. of M. Orchestra; re- 
 cital work. Vocation, music supervisor. 
 Address, 6 Highland Ave., Milo, Me. 
 
 French, Mrs. Virginia Miller, honorary 
 member Philharmonic Club, Auburn- 
 Lewiston. Address, Lewiston, Me. 
 
 Friedman, Harold, violinist, vocalist: b. 
 Randolph, Me., Aug. 18, 1909; s. Oscar 
 and Ida Friedman; studied with David 
 Fisher; mem. Augusta Symphony Or- 
 chestra; former Sec. Cecilia Club. Vo- 
 cation, salesman. Address, 6 Spruce St., 
 Augusta, Me. Mail address, 47 Cony St. 
 
 Friend, Mrs. Lilla, pianist; accompanist 
 Skowhegan Festival Chorus. Address, 
 Skowhegan, Me. 
 
 Frohock, Mrs. Jeanette Mary, teacher of 
 piano, Boston, Mass., and Hallowell, 
 Me.; b. Rockland, Me., July 7, 1882; d. 
 Elbridge G. and Nettie S. Stoddard; m. 
 Rodney C. Frohock, Sept. 9, 1906; stud- 
 ied with J. A. Jeffery and at N. E. Con- 
 servatory. Address, 16 Academy St., 
 Hallowell, Me. 
 
 Frohock, Louise, school music supervisor. 
 Address, Sanford, Me. 
 
 Frost, Doris, m.t. Address, Bethel, Me. 
 
 Frost, Evelyn Maude Brooks, vocalist (so- 
 prano); b. Pembroke, Me., Sept. 23, 
 1899; d. Capt. Alfred W. and Carrie 
 Marshall Frost; ed. Deering High 
 School, Portland, Mt. Ida School, New- 
 ton, Mass., and Whitney Studios, Bos- 
 ton; studied with Jennie K. Bragdon and 
 Vincent Hubbard; mem. Second Parish 
 and Trinity Episcopal Church Choirs; 
 mem. Rossini Club. Address, 167 Con- 
 cord St., Portland, Me. 
 
 Frost, Mrs. Katie M., m.t. Address, Pitts- 
 field, Me. 
 
 Frost, Nettie Bird, vocalist (alto); b. 
 Rockland, Me.; d. A. Judson and Dora 
 Jameson Bird; m. Clark Bradley Frost; 
 ed. Dana Hall; studied with Miss War- 
 ren, Mrs. Copping, Mrs. French and Mr. 
 Pendleton; organizer of Harmony Club 
 of Rockland, Me., and Pres. for several 
 years. Address, Lisbon, N. H. 
 
 Frost, Simeon A., music teacher, bands- 
 man, composer; b. Fall River, Mass.; s. 
 Capt. Simon N. and Margaret Harring- 
 ton Frost; studied with Prof. Richard 
 Spain, F. L. Collins; studied counter- 
 point, arrangement and composition 
 with Louis C. Elson; composer, “Ave 
 Maria,” “O Salutaris,” “Christ is Risen,” 
 “Stand by the Flag,” “Just Dreams,” 
 “Serenade,” “Progress”; instructor St. 
 Andrews Band, St. Andrews, N. B., 
 Eastport Cornet Band, Lord’s Cove 
 Band,:Dear Island, N. B., Red Men’s 
 Band, Lubec, Me., K. of P. Band, Grand 
 Manan, N. B., Winter Harbor Band. 
 Bar Harbor Band, New Haven Band, 
 New Haven, Conn.; Eastport Band 
 Asso., Philadelphia Band, Phila., Pa., 
 Georgetown Concert Band, Georgetown, 
 S. C., Eastport Boys’ Band, Eastport, 
 Me. Address, cor. Washington and 
 Brighton Sts., Eastport, Me. 
 
 Fuller, Alice L., m.t. Address, 25 Linden 
 St., Rockland, Me. 
 
BIOGRAPHICAL SECTION—1927-1928 397 
 
 aa a Ua a TY 
 
 Fuller, Frank Richard, bandsman (clari- 
 net, saxophone); b. Lincoln, Me., June 
 17, 1884; s. Edward T. and Mary R. Ful- 
 ler; studied at Boston Conservatory. 
 Vocation, musician and photographer. 
 Address, Lincoln, Me. 
 
 Fullerton, Mrs. Charles D., vocalist; mem. 
 Women’s Choral Society. Address, Con- 
 gress Sq. Hotel, Portland, Me. 
 
 Furber, Mrs. Bertha S., org. United Bap- 
 tist Church. Address, Saco, Me. 
 
 Furlong, Harold Clifton, vocalist (bass); 
 b. Portland, Me., Oct. 31, 1881; s. Charles 
 Henry and Laura Stacey Furlong; m. 
 Florence Mildred Heald, Nov. 30, 1907; 
 ed. Portland, Me.; studied with L. B. 
 Cain and R. L. Olmsted; Sec. Kotzsch- 
 mar Club, 1921-22; mem. Portland Men’s 
 Singing Club; mem. Boys’ Choir, St. 
 Luke’s, 9 yrs., bass soloist, St. Paul’s, 2 
 yrs., Trinity, 1 yr., Woodfords Congre- 
 gational Church Quartette, 44 yrs.; St. 
 Stephen’s Church Quartette, 4 yrs., First 
 Baptist Church Quartette, 5 yrs., Willis- 
 ton Church Quartette, 5 yrs., Free St. 
 Baptist Church, 7 yrs.; mem. Knicker- 
 bocker Male Quartette; bass soloist and 
 concert work and many operas pro- 
 duced in Portland during period of 20 
 yrs.; conductor Gorham Men’s Singing 
 Club, 1920-21. Vocation, wholesale gro- 
 cer, 252 Commercial St. Res., 690 Wash- 
 ington Ave., Portland, Me. 
 
 Gaffney, Mrs. Stephen J. (Edna G.), vo- 
 calist, organist; mem. Marston Club, 
 Women’s Choral Society; organist, St. 
 Patrick’s Church. Address, 131 Caleb 
 St., Portland, Me. 
 
 Gage, Walter R., composer; b. Skowhe- 
 gan, Me.; s. John W. and Carrie Rob- 
 bins Gage; ed. Skowhegan and Port- 
 land; studied under Prof. L. P. Mayo, 
 Waterville, Me.; began composing at 
 age of 12 yrs.; composer of 80 pieces, 
 vocal and instrumental; compositions, 
 “Impromptu for Left Hand,” “Softly 
 the Bells are Tolling,” “Skowhegan In- 
 Mane aliz. Sone, ' ‘etc.; author _ of 
 “Gage’s Piano Album,” pub. by Swisher, 
 Phila. Vocation, piano dealer, teacher 
 of music, real estate and hotel proper- 
 ties. Res., 1520 N. Hayworth Ave., 
 Hollywood, California. 
 
 Ganner, F. E., music teacher (cornet). Ad- 
 dress, Lincoln, Me. 
 
 Gannett, Mrs. Guy P., vocalist; mem. 
 Women’s Choral Society; first Vice Pres. 
 Me. Federation of Music Clubs. Address, 
 Shore Road, Cape Elizabeth, Me. 
 
 Garcelon, Helen Stowell, cellist, pianist; b. 
 Chicago, Ill., April 3, 1880; d. Frederic 
 B. and Nellie J. Stowell; m. Albert B. 
 Garcelon, May 6, 1906; ed. Chicago; 
 studied cello with Adelbert W. Sprague 
 and piano with Prof. Goldbeck, Chica- 
 go; mem. Bangor Symphony Orchestra, 
 Schumann Club (Sec.), Bangor, Euter- 
 pean Club, So. Paris, Me.; chairman of 
 music Bangor Federated Wo1nen’s 
 Clubs. Address, 122 Ohio St., North 
 Lovell, Me. 
 
 Garland, Abbie Nickerson, m1.ti3- be Ban- 
 gor, Me., Nov. 20, 1852; d. Francis J. 
 and Maria Goodale Garland; ed. Bangor, 
 Me.; studied with Stephen A. Emery 
 (harmony), piano with Mrs. W. A. Sher- 
 wood, Boston, Mrs. A. M. Virgil, New 
 York; dir. Bangor Piano School; com- 
 poser, teaching pieces for children, 
 “Melodies for Little Folks,” Collection, 
 ‘Harp Melody,” “Lullaby,” “Auto Ride”; 
 church organist 25 yrs. Address, we 
 Grove St., Bangor, Me. 
 
 Garton, Cedric H., composer, publisher; 
 b. Falmouth, Me., Sept. 4, 1800; s. Wil- 
 liam H. and Jessie S. Garton; m. Ida 
 Roach, 1919; grad. Portland High School; 
 composer, “My Belgian Rose,” “My Lit- 
 tle Rambling Rose,” “Gypsy Wanda”; 
 mem. Ancient Landmark Lodge, F 
 M., No. 17, Portland, Me. Vocation, pro- 
 prietor Garton Music Co., too Hanover 
 St., Boston, Mass. Address, 81 Bromfield 
 St., Wollaston, Mass. 
 
 Gatchell, John Campbell, cello soloist; b. 
 Brunswick, Me., March 20, 1909; s. John 
 and Syretha Hallett Gatchell; studied 
 with Mr. and Mrs. C. A. Warren and 
 Elizabeth Dolan; mem. Baptist Church 
 Orchestra; org. Friends M. H., South 
 Durham; former mem. Brunswick Or- 
 chestral and Choral Society; student 
 Bowdoin College. Address, R. F. D. 
 No. 3, Box 48, Brunswick, Me. — 
 
 Gaudette, Anna, m.t. Address, 116 Wal- 
 nut St., Lewiston, Me. 
 
 Gay, Gilbert Edward, Vice Pres. New- 
 castle-Damariscotta Festival Chorus, Ad- 
 dress, Damariscotta, Me. 
 
 Geer, Dr. George I., first violinist, Deane’s 
 Orchestral Club. Address, 499 Stevens 
 Ave., Portland, Me. 
 
 Geoffrion, Mrs. L. P., m.t. Address, Skow- 
 hegan, Me. 
 
 Gerrish, Lester N., vocalist; mem. Port- 
 
 land Men’s Singing Club. Address, Port- 
 land, Me. 
 
398 MUSIC AND MUSICIANS OF MAINE 
 
 Gerrish, Stanley S., vocalist (tenor) ; mem. 
 Portland Men’s Singing Club and Port- 
 land Polyphonic Society. Address, 592 
 Washington Ave., Portland, Me. 
 
 Getchell, Mark, choir dir. Auburn United 
 Baptist Church. Address, Auburn, Me. 
 
 Getineau. D. D., teacher of violin. Ad- 
 dress, Rumford, Me. 
 
 Giboin, Bertha M., m.t., organist and choir 
 director St. Louis Catholic Church. Ad- 
 dress, 47 Thomas St., Portland, Me. 
 
 Giboin, George G., teacher piano and or- 
 gan; b. Island Pond, Vt., Feb. 10, 1890; 
 s. W. H. and Ernestine Giboin; m. Eliz- 
 abeth Giguere, Oct. 25, 1920; studied 
 with Alfred Brinkler and Prof. Howard 
 Clarke of Portland; organist at St. 
 Andre’s Church, Biddeford, for 8 yrs., 
 and became organist at St. Peter and 
 Paul’s Church, Lewiston, in 1925; com- 
 poser, marches, preludes and sacred mu- 
 sic. Address, 76 Howard St., Lewiston, 
 Me. 
 
 Gibson, Arthur W., violinist, clarinettist; 
 b. Bridgton, Me., April 23, 1859; s. 
 Tobias and Silvia Gibson; m. Hattie 
 Buell, 1890; 45 yrs. performer and in- 
 structor of bands and orchestras; mem. 
 Old Bridgton Band, 1876; mem. Cadet 
 Band; first musician employed by B. F. 
 Keith in Boston; played 8 summers at 
 Bar Harbor; served as musician in 
 World War. Vocation, music dealer and 
 teacher. Address, Pittsfield, Me. 
 
 Gibson, Edwin L., cornet; mem. Deane’s 
 Orchestral Club. Address, 9 Brattle St., 
 Portland, Me. 
 
 Gibscn, George, educator and concert pi- 
 anist; member faculty New England Con- 
 servatory of Music, Boston. Address, N. 
 E. Conservatory of Music, Boston, Mass. 
 
 Gifford, Henry M., teacher violin; b. Old 
 Town, Me., April 22, 1864; s. Joseph and 
 Mary E. Nedom Gifford; m. Alberta 
 Currier, Sept. 16, 1889; ed. Lewiston, 
 Me.; studied violin with D. M. Teague, 
 Geo. L. Cushing, Lewiston, Frank Burn- 
 ham, Portland, and Jaques Hoffman of 
 the Boston Symphony Orchestra; life 
 mem. Lewiston, Lodge of Elks; mem. 
 Musicians Union, Portland, Me.; con- 
 ductor Lewiston Brigade Band from 
 1904 to 1910; leader of Music Hall Or- 
 chestra from 1896 to 1903; leader, New 
 Empire Theatre Orchestra, 1903 to 
 1910; played in Montcalm Band, the Old 
 City Band, Lewiston; Glover’s Band of 
 Auburn; mem. Lewiston Brigade Band, 
 
 1887 to 1910; mem. Chandler’s Band, Ca- 
 det Band and Portland Band, several 
 theatre orchestras, in Portland; mem. 
 Maine Festival Orchestra (first violin) 
 5 yrs.; formerly conductor Deane’s Or- 
 chestral Club; assistant in musical in- 
 struction in Portland Public Schools 
 since 1927. Res. 268 Concord St., Port- 
 land, Me. 
 
 Gifford, Hilda, org. St. Michael’s Episco- 
 pal Church. Address, Auburn, Me. 
 
 Giguere, Emile, music teacher. Address, 
 103 Shawmut St., Lewiston, Me. 
 
 Gilbert, Fred A., mem. Bd. Dir. Eastern 
 Maine Musical Association. Address, Ban- 
 gor, Me. 
 
 Gilbert, Gordon, instrumentalist (piano, 
 clarinet); b. Manchester, N. H., July 11, 
 1905; s. Charles E. and Elizabeth Gil- 
 bert; ed. Bates College; studied piano 
 with Mae Libby, Newport, Vt., and clar- 
 inet with Arthur Schonland, Manchester, 
 N. H.; mem. Lewiston-Auburn Sym- 
 phony Orchestra, Bates College Orches- 
 tra, t72nd Field Artillery Band, Man- 
 chester, N. H., Lewiston Brigade Band, 
 Y. M. C. A. and Bates Outing Club; 
 student at Bates College (1929). Ad- 
 dress, 15 Arch Ave., Lewiston, Me. 
 
 Gilbert, Joseph Jean, concert flutist; obli- 
 gatist; b. Lewiston, Me., Oct. 24, 1885; 
 s. Jean and Victoria Nadeau Gilbert; m. 
 Josephine M. Ashe, Sept. 7, 1909; ed. 
 Brockton, Mass.; studied with George 
 Chadwick. Maquerro, Barrere; mem Los 
 Angeles Philharmonic Orchestra (flute 
 and piccolo); mem. A. F. and A. M. 
 Boston Manuscript Society, Los Angeles 
 Woodwind Asso., honorary mem. L. A. 
 Flute Club, American Federation of Mu- 
 sicians; contributor to the Dominant 
 Magazine, N. Y.; composer, “Song to 
 the Night,” “A Modern Romance” (vio- 
 lin and piano), symphonic poem “Ber- 
 muda,” flute quartette and many songs; 
 author numerous articles on the flute; 
 solo flutist Maine Festival, 2 yrs.; for- 
 merly mem. St. Louis, Los Angeles and 
 Philadelphia Symphony Orchestras; ob- 
 ligatist with Mmes. Melba, Scotney, 
 Rhadeska, Panosian, Myrna Sharlow 
 and others. Vocation, teacher of com- 
 position and conductor. Address, 1933 
 West gist St., Los Angeles, California. 
 
 Gilberte, Hallett, composer; b. Winthrop, 
 Me., March 14, 1872; studied piano with 
 ’ his mother, then with Hermann Kotzsch- 
 mar, Portland, John Orth. Carl Baer- 
 mann, Boston; voice, with Signor Rotolo, 
 
 ss oe 
 
BIOGRAPHICAL SECTION—1927-1928 399 
 
 Charles R. Adams, Caroline Gardner 
 Clarke, Mme. Grace Van Dusen; com- 
 position with Ethelbert Nevin; studied 
 piano in New York with Joseffy and 
 voice with Mme. Luisa Cappiani; ap- 
 peared at World’s Fair as pianist on 
 Maine Day; concert tenor; toured 
 country featuring his own songs in reci- 
 tal; composer of 250 songs, more than 
 60 of which are published; has written 
 compositions for piano, violin and a 
 number of choral pieces for mixed, men’s 
 and women’s voices. Summer home, 
 “Melody Manse,” Lincolnville Beach, 
 Me. Address, Oak Knoll, Pasadena, 
 Calit. 
 
 Giles, Erva Lucille, vocalist, soloist; b. 
 
 Ellsworth, Me., Dec. 29, 1893; d. Lyn- 
 wood F. and Harriet K. Giles; ed. Bos- 
 ton and New York; studied with Prof. 
 Buonamici and Prof. Robert Hosea; org. 
 Unitarian Church; mem. Ellsworth Fes- 
 tival Chorus; known in broadcasting as 
 the “Heroine of the Royal Typewriter 
 ElOut a0r 4 yrs, from WJZ station; 
 Vice Pres. of E. Morris Music Pub. Co. 
 Address, 10 W. 58th St., New York 
 City. 
 
 Giles, Harriet K., Vice Pres. Ellsworth 
 Festival Chorus. Address, Ellsworth, Me. 
 
 Gilmartin, John Reed, instrumentalist 
 (violin, viola, saxophone); b. Meriden, 
 Conn., Sept. 14, 1880; s. Michael W. and 
 Catherine T. Reed Gilmartin; m. Mae 
 E. Esttinger, Sept. 20, 1909; ed. New 
 Bedford, Mass.; studied with Prof. 
 George Hill, William Needham, Elmer 
 Tolman, New Bedford, David E. Fisher, 
 Frank Burnham and Frank J. Rigby, 
 Portland, Me.; mem. B. P. O. Elks, 
 Knights of Columbus, Pleasantdale 
 Grange, Portland Club, Portland Ath- 
 letic Club, Portland Orchestral Society. 
 Vocation, City Treasurer, Portland, 
 Me.; Treas. Portland Bridge Dist.; 
 Treas. Portland State Pier Site District; 
 Custodian Funds of Evergreen Ceme- 
 tery. Address, 31 Bramhall St., Port- 
 land, Me. 
 
 Gilpatrick, Ruth Gould, vocalist, instru- 
 mentalist; b. Jonesboro, Me., Aug. 14, 
 1891; d. Frank S. and Abbie Jane Gould: 
 m. Victor Gilpatrick, May 7, 1913; ed. 
 Coburn Classical Institute; studied piano 
 with Mrs. Helen Lamson Elwell; voice, 
 Jennie King Bragdon; mem. choir, All 
 Soul’s Church, Portland, and Unitarian 
 Church, Houlton; mem. Portland Ros- 
 sini Club, Houlton Music Club. Ad- 
 dress, 7 Charles St., Houlton, Me. 
 
 Girouard, Marguerite Burke, teacher, vio- 
 lin, piano; b. Lewiston, Me.; d. Dr. J. 
 Ameder and Annie Burke Girouard; ed. 
 Bates College and N. E. Conservatory; 
 studied with Franklin Holding, David 
 Fisher, Portland, Adamowski and Vic- 
 tor Schmidt, N. Y.; mem. Schubert Trio, 
 Rossini Club, Marston Club, Portland, 
 Philharmonic Club, and School Board, 
 Lewiston. Address, 91 Pine St., Lewis- 
 ton, Me. 
 
 Gledhill, Mrs. Warren, Pres. Lewiston- 
 Auburn Festival Chorus. Address, 169 
 College St., Lewiston, Me. 
 
 Gogorza, Emilio, vocalist (baritone); con- 
 cert artist; b. Brooklyn, N. Y.; received 
 early education in France and England; 
 studied with Madame Giulia Sanchioli, of 
 Pau, Southern France, Moderati and 
 Agramonte in New York and M. Elmir 
 Bourgeois, Paris; m. Emma Eames. Ad- 
 dress, care of Curtis Institute of Music, 
 Philadelphia, Penna. 
 
 Goldburg, Harry L., musician; b. Gardi- 
 ner, Me., June 6, 1896; s. Frank P. and 
 Sophie (Laurie) Goldburg; m. Sarah 
 Snyder, March 10, 1918; U. S. Gov. Q. 
 M. C., 1916-17; musician, 1917-18; Ins. 
 Bus., Asst. Supt., 1918; Vice Pres. B’nai 
 B’rith. Res., 23 Maple St.; 0., 173 Main 
 St., Waterville, Me. 
 
 Goodhue, Albion Paris, vocalist (bari- 
 tone); b. Sidney, Me., July 25, 1873: s. 
 Charles R. and Amelia M. Cowan Good- 
 hue; m. S. Eleanor Brockbank, June 18, 
 1903; ed. Sidney and Oakland, Me.; 
 studied with L. B. Cain; former mem. 
 Cong., Methodist and Unitarian Church 
 Choirs, Belfast Musical Society and Bel- 
 fast Philharmonic Assn. Vocation, 
 plumbing and heating contractor. Ad- 
 dress, 43 Court St., Belfast, Me. 
 
 Goodridge, Mrs. Anna French, whistling 
 soloist; b. Houlton, Me., Dec. 12, 1884; 
 d. Fred B. and Sadie Ferguson French; 
 m. Oren Leslie Goodridge, Feb. 2, ro10; 
 ed. Ricker Classical Institute: studied 
 with Estelle Newhouse, Ella Chamber- 
 lain (Boston), and Mrs. Hollis Lindsay; 
 mem. Houlton Music Club and ex-Pres. 
 of same. Vocation, dancing teacher. 
 Address, 32 Pleasant St., Houlton, Me. 
 
 Goodnow, Frances M., vocalist (alto), or- 
 ganist; b. Milwaukee, Wis.; m. Charles 
 W. Goodnow, Aug. 10, 1880; ed. Fram- 
 ingham, Mass.; studied voice with L. B. 
 Cain and organ with Alfred Brinkler; 
 mem. choir Cong. Church; org. and mem, 
 orchestra Cong. Church; Vice Pres, Mu- 
 
400 
 
 sic Club of Maine; Pres. and Dir. of 
 Kennebunk Festival Chorus (mem. 26 
 yrs.). Address, 34 Summer St., Kenne- 
 bunk, Me. 
 
 Goodwin, H. E., vocalist (bass); mem. 
 choir Penney Memorial United Baptist 
 Church. Address, Augusta, M2. 
 
 Googins, Mary B., m.t. Address, Bar Har- 
 bor, Me. 
 
 Gordon, Lincoln, organist for 45 yrs. at 
 the Saco Ferry Church. Address, Saco, 
 Me. 
 
 Gordon, Mrs. Mabel, Sec. Livermore Falls 
 Festival Chorus. Address, Livermore 
 Falls, Me. 
 
 Gordon, Robert S., Pres. Mendelssohn 
 Club of Bath and Bath Festival Chorus. 
 Address, Bath, Me. 
 
 Gore, Mrs. Angie T., soloist (soprano); b. 
 Yarmouth, Me.; d. Warren and Gene 
 Jordan; m. F. E. Gore, Nov. 10, 1892; 
 ed. Yarmouth Schools; studied with W. 
 H. Dennett, Mrs. E. Wilson and Jennie 
 King Bragdon; mem. choir Central Uni- 
 tarian Church, Yarmouth, Yarmouth 
 Fortnightly Club. Address, South St., 
 Yarmouth, Me. 
 
 Goss, Mrs. Cecilia C., organist, United 
 Baptist Church, Lewiston, Me. 
 
 Goss, Edwin Lincoln, musical director, 
 vocalist (baritone); b. Lewiston, Me., 
 Oct. 22, 1862; s. John and Mary (Litch- 
 field) Goss; m. Marion H. Wing, July 
 7, 1886; 2nd Cecilia Christensen, Sept. 
 15,1921;studied with Hermann Kotzsch- 
 mar and Will Stockbridge; mem. Lew- 
 iston-Auburn Festival Chorus for 30 
 yrs. and its conductor 1913-1919; Board 
 of Directors, 1909-10 and 1924; Vice 
 Pres., 1898-99 and 1908; Board of Gov- 
 ernment, 1920; Pres., 1922-23; mem. 
 Mendelssohn Quartette, 1884-94; Main 
 St. Free Baptist Church Choir, Lewis- 
 ton, 1891-1917; High St. Cong. Church 
 Choir, Auburn, 1883-1891; dir. music, 
 United Baptist Church, 1917-23, and at 
 Bates College, 1914-25; Mason, Odd 
 Fellow. Vocation, salesman. Res., 60 
 Wood St.; 0., 41 Main St., Lewiston, 
 Me. 
 
 Goss, Gertrude, school music supervisor. 
 Address, Berwick, Me. 
 
 Gottesfeld, Malvin Davildd, violinist; b. New 
 York, March 2, 1910; s. David and Fanny 
 Gottesfeld; studied with Leigh G. Fen- 
 derson; mem. Lewiston-Auburn Sym- 
 phony Orchestra. Address, 56 Howe 
 St., Lewiston, Me. 
 
 MUSIC AND MUSICIANS OF MAINE 
 
 Gould, Bertha May, vocalist (soprano); b. 
 Portland, Me., Sept. 21, 1877; d. Alvin F. 
 and Mary Blake Bailey Welch; m. George — 
 F. Gould, April 28, 1904; ed. Miss Saw- 
 yer’s School, Portland; studied with Mrs. 
 Henrietta Fellows, L. B. Cain, Mrs. Mar- 
 tha Hawes Hill and Mrs. Katherine Rick- 
 er Keenan; Pres. MacDowell Ciub, Poly- 
 phonic Society; associate mem. Portland 
 Rossini Club; mem. Woman’s Literary 
 Union. Address, 88 Fessenden St., Port- 
 land, Me 
 
 Gould, Major John Mead, choir leader; b. 
 Portland, Me., Dec. 15, 1839; s. Edward 
 and Althea Chase Gould; m. Amelia J. 
 Twitchell, Nov. 13, 1866; ed. Gorham 
 Academy, Gould’s Academy and Port- 
 land High School; leader choir Sea- 
 men’s Bethel, Portland; served nearly 5 
 yrs. in Civil War, promoted Major, 1864; 
 for more than 25 yrs. Treasurer of West- 
 ern Maine Festival Chorus. Vocation, 
 Bank Cashier. Res., 148 Pearl St., Port- 
 land, Me. 
 
 Gould, Maud L., music teacher; accom- 
 panist Festival Chorus. Address, Old 
 Town, Me. 
 
 Gould, Mae E., music teacher, school mu- 
 sic supervisor. Address, 26 Washing- 
 ton St., Brewer, Me. 
 
 Gowen, Editha, teacher of piano; b. San- 
 ford, Me., Aug. 16, 1893; d. Charles Her- 
 bert and Lizzie Bodwell Gowen; ed. 
 Portland, Me.; studied with Ida Pink- 
 ham, Mrs. Hermann Kotzschmar and 
 Madame Antoinette Szumowska of Bos- 
 ton Conservatory; former mem. Rossini 
 Club and Portland Musicians’ Union. 
 Address, 14 Codman St., Portland, Me. 
 
 Graffam, Clinton W., instrumentalist (vio- 
 lin, horn); b. Gorham, Me., Dec. 31, 
 1885; s. John W. and Ida Rumery Graf- 
 fam; m. Eleanor D. Lowe, Aug. 12, 
 1908; ed. Gorham Normal School; stud- 
 ied with Frank Burnham; Past Pres. 
 Kotzschmar Club, Portland; dir. Nat. 
 Assn. Music Dealers; Treas. North 
 County Music Co., Berlin, Colebrook 
 and Lancaster, N. H.; mem. Portland 
 Municipal Orchestra; author of “Essays 
 on Music,” “Woman and Music” and 
 “Stephen Collins Foster.” Vocation, 
 manager music store. Res., 61 Lawn 
 Ave., Portland, Me. 
 
 Grant, Allister (Sandy) Harris, pianist 
 and organist; b. Quincy, Mass., June 8. 
 1903; s. Daniel P. and Georgie A. Grant; 
 m. Alice V. MacDonald, March 9, 1924; 
 studied piano with Roy Frazee, Boston; 
 
BIOGRAPHICAL SECTION—1927-1928 
 
 401 
 
 organ with John Herman Loud, Boston; 
 dir. choir Clark Memorial M. E. Church, 
 Woodfords; former org. First Baptist 
 Church, Salem, Mass.; organist Clark 
 Memorial Church; mem. B. F. Keith’s 
 Theatre Orchestra; formerly Essex 
 County C. E. organist of Mass., 5 yrs., 
 and pianist Salem Rotary Club, 2 yrs. 
 Address, 38 Sawyer St., Portland, Me. 
 
 Grant, Mrs. Dawn, school music super- 
 visor. Address, Gray, Me. 
 
 Grant, Mrs. E. H., school music super- 
 visor. Address, Turner, Me. 
 
 Grant, Mabelle E., organist; mem. Port- 
 land Branch, N. E. Chapter, Am. Guild 
 of Organists. Address, 1212 Forest Ave., 
 Portland, Me. 
 
 Graves, Ruth Marguerite, vocalist; b. 
 Wayne, Me.; d. Charles O. and Annie 
 Gould Graves; ed. Tilton Seminary (N. 
 H.),» Bliss Business College; studied 
 with Prof. Mower, Auburn, Me., Prof. 
 Arthurs, New York City, and Henrietta 
 D. Rice, Portland, Me.; former Pres. and 
 Vice Pres. Euterpean Club; Ist soprano 
 Nevin Ladies’ Quartette, So. Paris. Vo- 
 cation, stenographer and secretary. Ad- 
 dress, 157 Pine St., So. Paris, Me. 
 
 Re Mary E., m.t. Address, Pittsfield, 
 
 Gray, William Melven, vocalist (tenor); 
 De Richmond, N. B., Canada, Jan. 20, 
 
 1886; s. Samuel and Barbara Wills 
 Gray; m. Gertrude Smith, Oct., 1913; 
 ed. University of Maine, B.S.; mem. 
 
 choir North Cong. Church, Sanford, 
 Me.; Pres. Sanford Men’s Singing Club. 
 Vocation, prop. Gray’s Seed and Imple- 
 ment Store. Address, 15 Oak St., San- 
 ford, Me. 
 
 Greely, Bernard L., instrumentalist (trom- 
 bone and baritone); b. West Cumberland, 
 Me., March 6, 1872: s. Eliphalet and 
 Abbie Skillin Greely: m. Harriett Stew- 
 art, -1600;) ed, Portland, Me.; studied 
 with F. O. Wellcome; mem. Chandler’s 
 Band, theatre orchestras and Portland 
 Musicians Union; Mason; mem. Port- 
 land Municipal Orchestra. Vocation, 
 piano tuner. Address, 317 Spring St., 
 Portland, Me. 
 
 Green, Mrs. Elva, m.t. Address, Skowhe- 
 gan, Me. 
 
 Green, Raymond K., Pres. Rockland Fes- 
 tival Chorus. Address, Rockland, Me. 
 Greenwood, A. T., m.t. Address, 77 Jeffer- 
 
 son St., Biddeford, Me. 
 
 Grey, Charles Carroll, instrumentalist 
 
 (slide trombone and baritone horn); b. 
 Brooklyn, N. Y., Dec. 20,: 1900; s. 
 Franklin John and Mabelle Wilkins 
 Grey; ed. Portland, Me.; studied with 
 Frank J. Rigby; mem. American Legion 
 Band, Musicians Union and Y. M. C. A. 
 Vocation, radio operator. Address, 55 
 Clifton St., Portland, Me. 
 
 Griffin, Grace Alberta, vocalist; b. So. 
 Portland, Me., May 22, 1900; d. Albert 
 D. and Eva M. Griffin; studied with Jen- 
 nie King Bragdon and at Eastern Naza- 
 rene College, Wollaston, Mass.; voice, 
 piano with Prof. Vera F. Richards; mem. 
 choir So. Portland Church of Nazarene; 
 former mem. Maine Festival Chorus and 
 student mem. Portland Rossini Club, I 
 As Address, 119 Pine St., So. Portland, 
 
 e. 
 
 Guild, Mrs. Erlon K., m.t.; 
 accompanist Festival Chorus. 
 Fort Fairfield, Me. 
 
 Guild, Waldo Imlah, soloist (trombone 
 and vocal); b. Norwood, Mass., Oct. 20, 
 1859; s. Nathaniel H. and Sarah (Bab- 
 cock) Guild; m. Anna Jane Hunter, 
 June 6, 1894; mem. First Baptist Church 
 Choir; mem. Augusta Symphony Or- 
 chestra, LO, O. Fvand-Ay & & ALM; 
 dir. quartettes, choruses, band and or- 
 chestra for many years; mem. Maine 
 Commandery, K. T., No. 1. Address, 62 
 Kingsbury St., Gardiner, Me. 
 
 Guptill, Juanita Eileen, pianist, orchestra 
 leader; b. Augusta, Me.; d. L. Bert and 
 Ida Mae Owen Guptill; ed. St. Joseph’s 
 Convent and Gladsheim School; studied 
 with Howard Clark, Virgil Clavier School, 
 Dr. Latham True and Prof. Godfrey 
 Browne, London, England; Leader Jef- 
 ferson Theatre Orchestra, Mendelssohn 
 Trio and Juanita Guptill’s Gypsy Girls. 
 yaar 507 Cumberland Ave., Portland, 
 
 e. 
 
 conductor and 
 Address, 
 
 Hackett, Arthur, vocalist (tenor); b. Port- 
 land, Me.; s. Mr. and Mrs. Charles A. 
 Hackett; m. Constance Freeman, 1914; 
 ed. public schools of Worcester, Mass.; 
 studied violin with Michael Riedel; voice 
 with Arthur J. Hubbard, Boston; for- 
 merly soloist at Central Congregational 
 and Second Universalist Churches, Bos- 
 ton; soloist with Boston Symphony Or- 
 chestra in 1916; has since made 21 ap- 
 pearances with this orchestra in New 
 York, Boston and other cities at its reg- 
 ular concerts, singing under conductors 
 Muck, Rabaud, Monteux and Koussevit- 
 zky; chosen by Geraldine Farrar as 
 
402 
 
 ARTHUR HACKETT, LYRIC TENOR. 
 
 assisting artist on 5 concert tours cover- 
 ing the entire country; made concert 
 tour in 1917 as assisting artist with 
 Madame Melba; has appeared with the 
 New York, Philharmonic, Philadelphia 
 Symphony, Cleveland Symphony, St. 
 Louis Symphony, Minneapolis Sym- 
 phony, Los Angeles Philharmonic Or- 
 chestras; soloist at Worcester, North 
 Shore, Ann Arbor and other Festivals; 
 appeared with Handel and Haydn Soci- 
 ety of Boston 5 times and as soloist in 
 many concerts and recitals throughout 
 the country; tenor soloist at Brick Pres- 
 byterian Church, Fifth Ave. and 37th 
 St.. N. Y.; in Europe from 1924-27, sang 
 at Paris Grand Opera; soloist with La- 
 moureux Orchestra, Paris; soloist with 
 Melba on her farewell tour of British 
 Isles. Address, 320 Central Park West, 
 New York. 
 
 Hackett, Constance Freeman. teacher 
 piano, coach, accompanist; b. Yarmouth, 
 Me.; d. E. Dudley and Georgia Carlton 
 Freeman; m. Arthur Hackett, 1914; ed. 
 
 MUSIC AND MUSICIANS OF MAINE 
 
 Bradford Academy and N. E. Conserva- 
 tory; studied with Alfred De Voto; ac- 
 companist for Arthur Hackett and other 
 singers of note; mem. National Hono- 
 rary Musical Sorority of Mu Phi Epsi- 
 lon. Address, 320 Central Park West, 
 New York. 
 
 Haines, Beth E., m.t. Address, 2 Spring 
 Place, Waterville, Me. 
 
 Haines, Mrs. Harold D., organist, pianist; 
 mem. Portland Branch, N. E. Chapter, 
 Am. Guild of Organists; mem. Portland 
 Rossini Club; Vice Pres. Women’s Cho- 
 ral Society; organist and choir dir. Cen- 
 tral Sq. Baptist Church. Address, 63 
 Alba St., Portland, Me. 
 
 Haley, Eugene A., instrumentalist (tuba, 
 contra .bass); b. Bangor, 1855; s. Au- 
 gustus and Sarah J. Haley; m. Lucy H. 
 Crosby, 1889; studied with H. J. Butler. 
 R. B. Hall and E. P. Beckett; mem. 
 Bangor Band and M. H. Andrews and 
 the Bangor Symphony Orchestra. Res., 
 Bangor, Me. 
 
 Hall, Albert Bradish, vocalist (tenor); b. 
 Portland, Me., Jan. 6, 1857; s: Charles 
 H. and Caroline Page Hall; m. Clara C. 
 Webster, Oct. 20, 1880; studied with 
 William Howard, William H. Stock- 
 bridge and W. H. Dennett; mem. choirs 
 at First Baptist, Second Parish, High 
 St. Cong., Congress Sq. and Universa- 
 list Churches; mem. and formerly Pres. 
 Men’s Singing Club; former mem. 
 Haydn Asso., Choral Art Society and 
 Kotzschmar Club. Vocation, Fire Ma- 
 rine Ins. Address, 51 Thomas St., Port- 
 land, Me. 
 
 Hall, Alcada Lavinia, teacher of piano; b. 
 Thomaston, Me., March 30, 1904; d. Al- 
 bert and Louise Cleveland Hall; ed. 
 Coburn Classical Institute; studied with 
 Carl Jean Tolman, Helen Carr, Ella 
 Sampson Gowell and Ruth T. George; 
 org., Congregational, Episcopal Church- 
 es; Pres. Harmony Club; mem. Rubin- 
 stein Club. Address, Beechwood St., 
 Thomaston, Me. 
 
 Hall, Evelyn Arey, organist; b. Vinal- 
 haven, Me., June 8, 1895; d. Edmund W. 
 and Mary L. Arey; m. Elliott Edgar 
 Hall, Sept. 9, 1922; ed. Bates College; 
 studied with Linda A. Jones; mem. O. 
 E. S. Address, Springfield, N. J. 
 
 Hall, Grace (see Grace Hall Brandon). 
 
 Hall, Howard E., Conductor Newcastle- 
 Damariscotta Festival Chorus. Address, 
 Damariscotta, Me. 
 
BIOGRAPHICAL SECTION—1927-1928 403 
 
 Hall, Ruby Adelle, vocalist; b. Portland, 
 Me., Feb. 11, 1910; d. Irving E. and 
 Emily Kidder Hall; studied with Elsie 
 Lunt (piano) and voice with Mrs. Jen- 
 nie King Bragdon; mem. Portland Ros- 
 sini Club. Address, 139 Glenwood Ave., 
 Portland, Me. 
 
 Hallett, Anna Lee, music teacher; b. Mill- 
 wille, N. B., Canada, Nov. 17, 1808;- d. 
 Josiah and Elizabeth Hallett; ed. Aca- 
 dia Seminary, and New England Con- 
 servatory; studied with Mr. De Voto 
 and Mr. Wingate; mem. Houlton Music 
 apes A MT A. and A. C. 
 
 Hanson, Mrs. Grace E., m.t. 
 
 Hanson, James W., 
 
 Address, 
 Winter Harbor, Me. 
 
 clarinettist; b. Bel- 
 grade, Me. :Aug.)3T, 18790; °s. John F. 
 and Jia K. Hanson; m, Zana B; Bick- 
 ford, June 2, 1909; ed. Kent’s Hill Sem- 
 inary, Readfield, Me.; studied with pri- 
 vate teachers and U.S. Army; mem. 
 19th Infantry Band, 1899-1902, Band, 
 Dover, N. H., 1907-8; mem. Abnaki 
 Club, Am. Legion, Mason, Grange. Vo- 
 cation, State Adjt. General and Chief of 
 State Highway Police. Address, Bel- 
 grade, Me. 
 
 T. A.; director several bands, orchestras Hanson, J. Arthur, vocalist (bass); mem. 
 
 and glee clubs. Vocation, supervisor of Kotzschmar Club, Portland Men’s Sing- 
 music. Address, 64 Court St., Houlton, ing Club, Portland Festival Chorus. Ad- 
 Me. dress, 194 Prospect St., Portland, Me. 
 Halliday, Ada, m.t. Address, Calais, Me. Harkness, Vinton Orris, bandsman (clar- 
 Halverson, Alfred O., vocalist; mem. inet); b. Lincolnville, Me. Aug. 23, 
 Portland Men’s Singing Club. Address, 1898; s. O. A. and Anna E. Harkness; 
 117 Dartmouth St., Portland, Me. ed. University of Maine, Orono, Me.; 
 
 Hamilton, Charles Grant, vocalist, violin- mem. Second Maine and 1o3rd (Sa 2. 
 ist; b. Richford, N. Y., Aug. 19, 1900; s. Inf. Band; mem. Sigma Alpha Epsilon 
 Rey. Gilbert M. and Eva J. Grant Hamil- Fraternity and Veterans of Foreign 
 ton: ed. Arcade, N. Y., High School, Wars. Vocation, mechanical engineer. 
 Cazenovia, N. Y., Seminary, Univ. of | Address, R. F. D. No. 7, Bangor, Me. 
 Maine and Bangor Theological Sem.; Harmon, Harriet B., pianist; priv. mem. 
 studied with Nina Halsey, Groton, N. Y., Portland Rossini Club. Address, 12 
 and Mrs. W. A. Denison, Arcade, N. Y.; Deering St., Portland, Me. 
 
 mem. choir St. John’s Episcopal Church, Harper, John, flutist. Address, 25 Smith 
 Bangor; former mem. Bach Choir; mem. St., So. Portland, Me. 
 
 Pi Pi Kappa Fraternity at U. of M., . : : 
 Rising Virtue Lodge, No. 10, F. & A. M., Se ad Nee ay phi ees 
 Bangor; Vice Pres. Madison District Sun- Pe Ce A eta Hee (Haines) aM adtente 
 day School Asso. Vocation, clergymau. sy Ren janin Wd Haan TORE OR. 
 Address, Box 194, Solon, Me. 1910; ed. Conservatory, Kent’s Hill, 
 
 Hamilton, Gertrude Beane, pianist, teacher Me.; studied with Sarah F. Bagley. Ad- 
 of piano, composition and musical his- dress, Livermore Falls, Me. 
 
 tory; b. Katahdin Iron Works, Me.; d. — pyart 
 Joshua Fillebrown and Lydia A. Beane; fa hee ORT aceon eee 
 
 m. Donald Leigh Hamilton, June 30, Harrington, Margaret, vocalist t 
 me Desi : , vocalist, concer 
 1902; studied with Nina PL EOe: soloist. Address, Rockland, Me. 
 
 Thomas Tapper and-F. H. Shepard, 
 
 Orange, N. J.; composer, Twilight Songs; Harrington, Woodbury P., musician; b. 
 author, Musical Essays in Etude, short Harpswell, Me., Jan. 11, 1867; Ss. Joseph 
 stories and verse. Summer home, En- W. and Martha (Gahan) Harrington; 
 field, Me. Address, 217 State St., Ban- m. Carrie A. Turner, Oct. 3, 1894; pro- 
 fessional musician for 40 yrs.; city clerk, 
 
 gor, Me. 
 : eter’ Add SO. Portland, «12 yrs.; Mason; Bayard 
 Hamilton, Ira W., violinist. Address, 53 Koh eee ee Randall St., a es peea 
 
 Portland St., Portland, Me. 5 : ; 
 Hamilton, Leigh, vocalist; mem. Bach ane Oy City Clerk’s Office, So. Port- 
 
 pot Bango r. Address, Bangor, rhs Harris, Mabel Johnson, pianist; b. Auburn, 
 Hamlin, Edwin M., mem. Bd. Dir. Eastern Me., March 14, 1886: d. Walter H. and 
 
 Maine Musical Association. Address, Henrietta (Fairbanks) Johnson; m. 
 Milo, Me. Harold Glen Harris, May 8, 1919; ed. 
 Hanley, Celia C., m.t. Address, 67 Lincoln Lewiston, Portland, Me., and Boston, 
 Ave., Gardiner, Me. Mass:; studied with Frank L. Rankin 
 
404 MUSIC AND MUSICIANS OF MAINE 
 
 and Virgil Clavier School, Portland, and 
 Harris S. Shaw, Boston, Mass.; mem. 
 Philharmonic Society and Musicians 
 Union, Lewiston; representative of Coit- 
 Alber Lyceum and Musical Bureau of 
 Boston; teacher of piano in Lewiston 
 for more than 15 yrs. Address, 90 Maple 
 St., Malden, Mass. 
 
 Harrison, Charles, vocalist (tenor); b. Jer- 
 sey City, N. J.; s. Benjamin Franklin 
 and Martha Seguine Harrison; m. Beu- 
 lah G. Young, Nov. 15, 1925; studied 
 with Frederick Bristol; Sec’y-Treas. 
 Bristol Studio Association, Harrison, 
 Me.; Victor Recording Artist and Radio 
 Artist: concert and church soloist; Reci- 
 tal Concert and Symphony Orchestra 
 Tours. Res., Nyack, N. Y. Summer res., 
 Harrison, Me. 
 
 Harrison, Mrs. Herbert C., vocalist (alto) ; 
 mem. MacDowell Club, Portland Poly- 
 phonic Society. Address, 34 Pitt St., 
 Portland, Me. 
 
 Harvey, Edith L., m.t. Address, 34 Gran- 
 ite St., Augusta, Me. 
 
 Haskell, Christine Daggett, concert pian- 
 ist; b. Fairfield, Me.; d. William T. and 
 Harriett Daggett; m. Dr. Raymond 
 Haskell, June 17, 1914; ed. Coburn Clas- 
 sical Institute; studied with Helen Co- 
 nant, E. W. Hanscom, Florence Leon- 
 ard, N. Y., and Rudolph Maria Brie- 
 thaupt, Berlin, Germany; acc. Me. Fes- 
 tival; organist, 6 yrs., First Congrega- 
 tional Church, Waterville; mem. Main 
 Line Music Club, Philadelphia, and 
 Sewickley, Pa., Music Club. Address, 
 Broad St., Sewickley, Pa. 
 
 Haskell, Norman Edwin, tenor soloist and 
 concert artist; b. Waterville, Me., April 
 1, 1899; ed. Waterville grammar and 
 High Schools; enlisted in Ordnance 
 Corps during World War, stationed at 
 Camp Hancock, Ga.; married, June 2, 
 1924, to Miss Lillian A. Mason of Bath, 
 Me.; studied with Harrison A. Smith; 
 former mem. Baptist, Cong., Univ., 
 Episc., Meth., Unitarian and Catholic 
 Choirs, Cecilia Choral Society and Men’s 
 Singing Club; mem. of various quartets; 
 mem. Cong. Church, Kiwanis Club, 
 American Legion, Masonic Orders in 
 Waterville, Augusta and Portland. Vo- 
 cation, teller at The People’s National 
 Bank. Address, 9 Morrill Ave., Water- 
 ville, Me. 
 
 Haskill, Marion, teacher of violin. Ad- 
 dress, Norway, Me 
 
 Hatch, Alice Louise, music teacher’ (vocal 
 
 and instrumental); b. Portland, Me.; d. 
 William H. and Almira L. Hatch; for- 
 merly mem. Haydn Association of Port- 
 land; studied piano with Hermann 
 Kotzschmar; voice with Madame Fran- 
 ces Hawes, Portland, and Kate Parks of 
 Boston, a pupil of Madame Garretti, N. 
 4 Studio, 881 Congress St., Portland, 
 e. 
 
 Hatch, Mrs. Florence W., m.t., Address, 
 
 440 Sawyer St., So. Portland, Me. 
 
 ai Harold, m.t. Address, Newport, 
 
 e. 
 
 Haviland, Mrs. Foster L., pianist; mem. 
 Portland Branch, N. E. Chapter, Am. 
 Guild of Organists; mem. Portland Ros- 
 sini Club; organist Chestnut St. M. E. 
 Church. Address, 151 Pleasant Ave., 
 Portland, Me. 
 
 rece Louise, m.t. Address, Sullivan, 
 
 C 
 
 Hay, Mrs. Harry, vocalist (contralto). 
 Address, Westbrook, Me. 
 
 Hay, Mrs. Walter F. W. (Alice White), 
 teacher of pene: b. Westbrook, Me., 
 June 7, 1896; d. Charles and Jennie Wil- 
 son White; m. ‘Walter F. W. Hay, Sept. 
 4, 1920; ed. N. E. Conservatory of Mu- 
 SiC; studied with Lee Pattison and 
 George Proctor; mem. Portland Rossini 
 Club, Nat. Honorary Sorority of Mu 
 Phi Epsilon. Vocation, teacher, pianist 
 and accompanist. Address, 216 Dart- 
 mouth St., Portland, Me. 
 
 Haycock, Allan R., vocalist (baritone), 
 music teacher; b. Calais, Me., 1869; s 
 Willis M. and Ella Young Haycock; m. 
 Mina McKusick Lowell, July 1, 1925; 
 ed. Westbrook Seminary; studied with 
 Arthur Pennell, Carl Sobeski, Boston, 
 and Ross David in New York; mem. 
 Bangor Festival Chorus, K. of P., Chan- 
 cellor Commander, 1928: Vice Pres. 
 Bangor Bach Choir. Address, The Hay- 
 cock Vocal Studio, 169 Broadway, Ban- 
 gor, Me. 
 
 Haycock, Mina G., contralto soloist; b. 
 Calais, Me.; d. Marshall N. and Lucy J. 
 McKusick; m. Allan R. Haycock, July 3, 
 1925; ed. Calais Academy; studied with 
 Ross David, Y., Wheeler, St. Paul, 
 and Weaver School of Music. Vocation, 
 supervisor of school music. Address, 169 
 Broadway, Bangor, Me. 
 
 Hayden, Elsa M., vocalist (soprano); b. 
 Rockland, Me., Aug. 7, 1890; d. George 
 Dow and Harriet E. M. Hayden; ed. 
 Commercial College; studied with Edith 
 
BIOGRAPHICAL SECTION —1927-1928 
 
 Castle, Boston, Allan A. Ratnusay, Bath, 
 Paul Bleydon, Washington, D. C., Car- 
 rie Burpee Shaw; mem. choir First Bap- 
 tist Church; organist, 8 yrs.; mem. Ru- 
 binstein Club, Wight Philharmonic So- 
 ciety, Golden Rod Chapter, O. E. S.; 
 Vice Pres. Rubinstein Club 1 yr.; organ- 
 ist Golden Rod Chapter, O. E. S., 4 yrs.; 
 vocalist, Golden Rod Chapter, 4 yrs. 
 Vocation, stenographer and clerk. Ad- 
 dress, 68 Mechanic St., Rockland, Me. 
 
 Hayden, Ethel Lee, vocalist, :nstrumen- 
 talist, teacher; b. New York City; d. 
 William E. F. and Elizabeth La Domus 
 Smith; m. Rev. Ralph Henry Hayden, 
 M.A., Sept. 5, 1917; ed. St. Agnes School, 
 Washington Irving H. S. and Hunter 
 College; studied with Harriet MacKal- 
 lor (piano), Albert Wood (organ), Eva 
 Hawkes (voice); mem. choir Holy 
 Apostles Church, New York City (con- 
 tralto); organist Seamen’s Church I[n- 
 stitute and Church of Holy Apostles, N. 
 Y., and St. Thomas Church, Camden, 
 Me.; mem. Rubinstein Club and Lady 
 Knox Chapter, D. A. R., Rockland, Me. 
 Address, 33 Chestnut St., Camden, Me. 
 
 Hayden, Villa, school music supervisor. 
 Address, Caribou, Me. 
 
 Hayes, Earle R., vocalist (baritone); b. 
 Gardiner, Me., May 8, 1894; s. Patrick 
 and Annie L. Hayes; m. Leonia May 
 Gove, May 1, 1916; ed. Kent’s Hill Sem- 
 inary ; studied with Dr. Karl C. H. Drech- 
 al, Kent’s Hill, and L. Francis Mac- 
 Nichol, Augusta; mem. choir Unitarian 
 Church, Augusta, 3 yrs.; now at Cong. 
 Church, Augusta (5 yrs.); Past Master 
 Windsor Grange, P. of H.; Past Exalted 
 Ruler, Augusta Lodge, B. P. O. E.; mem. 
 Sons of Veterans. Vocation, insurance. 
 Address, R. F. D. No. 51, Weeks Mills, 
 Me. 
 
 Hayes, Elizabeth, Librarian Bangor Festi- 
 val Chorus. Address, Bangor, Me. 
 
 Hayford, Mary H., m.t. Address, 63 San- 
 ford St., Bangor, Me. 
 
 Haynes, Hazel Giles, vocalist (soprano), 
 pianist; b. Ellsworth, Me., Dec. 10, 1896; 
 d. Jeremiah Tibbetts and Julia Ann 
 Rowe Giles; m. Charles Albert Haynes, 
 June 28, 1922; studied with May Bonsey, 
 Ellsworth, and Mrs. Grace B. Howes, 
 Brewer; mem. choir and org. First Con- 
 gregational Church; mem. Woman’s 
 Club, Festival Chorus, Literature Club, 
 aourscay, Club, F. T. F. Church Club; 
 Vice Pres. Am. Leg. Aux., Frank E. 
 
 405 
 
 Whitmore Post, No. 63. Address, 26 
 South St., Ellsworth, Me. 
 
 Haynes, Mrs. William H., m.t. Address, 
 
 Richmond, Me. 
 
 Heath, Effie Mae, teacher of piano; b. Au- 
 burn, Me., 1873; d. Elbridge G. and 
 Eleanor Harmon Heath; ed. Auburn 
 Public Schools; studied piano with E. 
 W. Hanscom and William H. Sher- 
 wood; harmony with George Lowell 
 Tracy; Vice Pres. and honorary mem. 
 Clef Club, 10905-6-7; mem. Course of 
 Study Committee, Spinet Club, 1906-7; 
 mem. Philharmonic Club, Auburn and 
 Lewiston, 1922, and Musical Union. 
 Address, 33 Pine St., Auburn, Me. 
 
 Hebert, Veronica A., teacher cello and 
 violin. Address, 6 Myrtle St., West- 
 brook, Me. 
 
 Heim, Gustav, leader Norway Band. Ad- 
 dress, Norway, Me. 
 
 Henderson, Thomas M., vocalist (tenor), 
 soloist; toured Maine with W. R. Chap- 
 man; singer of Old English, Scotch and 
 Irish Ballads. Address, Westbrook, Me. 
 
 Hennessy, Wilfrid A., mem. Bd. Dir. 
 Eastern Maine Musical Association. Ad- 
 dress, Bangor, Me. 
 
 Hennigar, Prudence Melba, teacher of 
 piano; b. Portland, Me., March 1, 1896; 
 d. William Oscar and Anna Murphy 
 Hennigar; ed. N. E. Conservatory; stud- 
 ied with Helen Foster, Henry Goodrich 
 and Richard Stevens; mem. Marston 
 Club. Studio, 655 Congress St., Port- 
 land, Me. 
 
 Heth, Mrs. Fannie Tewksbury, vocalist; 
 d. Alice Skolfield; mem. Univ. Church 
 Choir for many years; teacher of danc- 
 ing. Address, Lewiston, Me. 
 
 Hewins, Charles Knowlton, vocalist (bass) ; 
 b. Wakefield, Mass., Dec. 14, 1903; s. 
 Frank and Alice Knowlton Hewins; 
 studied with Prof. Thieme and B. Ray 
 Shaw; mem. Universalist Church Choir; 
 
 mem. Augusta Symphony Orchestra 
 (violin). Address, 15 Flagg St., Au- 
 gusta, Me. 
 
 Hewins, Violet Eva, teacher of piano; b. 
 East Winthrop, Me., 1892; d. Fred L. 
 and Malista J. Hewins; studied with 
 Carl Jean Tolman; piano soloist; mem. 
 Cecilia Club, Augusta. Address, 35 
 Academy St., Hallowell, Me. 
 
 Hicks, Charles Edgar, trombonist; b. 
 Hampden, Me., June 1, 1899; s. Herbert 
 Crosby and Jennie Edgar Hicks; m. 
 Dorothy E. Doe, June 1, 1921; ed. Ban- 
 
406 MUSIC AND MUSICIANS OF MAINE 
 
 gor public schools and Doe’s Business 
 College; studied with Herbert C. Hicks 
 and Benjamin Shaw; mem. Bangor 
 Band and Bangor Symphony Orchestra; 
 mem. Bangor Masonic Club and Musi- 
 cians Asso. Vocation, trombonist, Bijou 
 Theatre Orchestra, Bangor, and Keith’s 
 Theatre, Portland. Address, 15 Fessen- 
 den St., Portland, Me. 
 
 Hicks, Dorothy Doe, accompanist, soloist, 
 teacher of piano, vocalist (soprano); b. 
 Bangor, Me. April 5, 1900; d. Harris 
 N. and Annetta Clark Doe; m. Charles 
 E. Hicks, June 1, 1921; ed. Bangor, Me.; 
 studied with Mrs. Geo. Dunning, Ban- 
 gor, and C. Winfield Richmond (piano), 
 and voice with C. Leroy Lyon, Bangor; 
 accompanist Maine Music Festival, Ban- 
 gor; mem. Schumann Club; accompan- 
 ist, Universalist and First Baptist 
 Church Orchestras. Address, 15 Fes- 
 senden St., Portland, Me. 
 
 Hicks, Herbert Crosby, cornettist; b. 
 Hampden, Me., June 15, 1873; s. Charles 
 Earl and Dorcas Loring Hicks; m. Jen- 
 nie Edgar, Aug. 25, 1897; ed. Hampden 
 Academy; studied with E. C. Adams; 
 mem. Bangor Band for 28 yrs.; mem. 
 Bangor Symphony Orchestra; Pres. 
 Musicians Union; Leader Annah Temple 
 Band; mem. Masonic Blue Lodge. Vo- 
 cation, builder. Address, 73 Center St., 
 Bangor, Me. 
 
 Hill, Brenda Frances (Emery), vocalist 
 (mezzo soprano); b. Bath, Me., Aug. 
 27, 1882: d» Charles D. and Fannie M. 
 Emery; m. Fred D. Hill, Sept. 3, 1908; 
 ed. Bath Public Schools; studied with 
 Millard Bowdoin and Mme. Rosa John- 
 son; soloist Grace Episcopal Church; 
 Sec. Bath Festival Chorus, 1914-1919, 
 Pres. 1922; Pres. Mendelssohn Club and 
 the Grace Church Guild. Address, 1006 
 High St., Bath, Me. 
 
 Hill, Dora M., m.t. Address, R. F. D. No. 
 2, Greene, Me. 
 
 Hill, Ethel Cary, teacher of violin; b. Lew- 
 iston, Me.; d. Edward H. and Charlotte 
 Corbett Thompson Hill; studied with 
 Willis Bacheller, George Lowell Tracy 
 and Otto C. De Scheda of Paris, France; 
 mem. Perry’s and Arthur N. Pettengill’s 
 Orchestra. Vocation, violinist, Priscilla 
 Theatre, Lewiston. Address, 136 Bates 
 St., Lewiston, Me. 
 
 Hill, Ernest J., vocalist (tenor); b. Bux- 
 ton, Me.; s. Albert G. and Lydia Dear- 
 born Hill; m. Martha F. B. Hawes, Nov. 
 20, 1912; ed. Me. Central Institute; stud- 
 
 ied with F. B. Peakes; mem. choir 
 Church of our Saviour, Wyncote, Pa., 
 St. Paul’s Church, Ogontz, Pa., Cathe- 
 dral of St. Peter and St. Paul, Phila., 
 Pa., and State St., Portland; mem. Or- — 
 pheus Club, Fortnightly Club, Philadel- — 
 phia; mem. Peakes Opera Co. and Port- 
 land Men’s Singing Club; Pres. Port- 
 land Festival Chorus. Vocation, Equi- 
 table Life Insurance Society, N. Y. Ad- 
 dress, 125 Allen Ave., Portland, Me. 
 
 Hill, Ernest Richard, musical director and 
 music teacher; b. Taunton, Somerset, 
 England, Dec. 28, 1877; s. Richard Cloud 
 and Eleanor Pyne Hill; m. Elizabeth 
 Mahan, June 1, 1905; ed. College of 
 God’s Gift, Dulwich, England; studied 
 with H. W. Merrick and Dr. J. G. Sur- 
 gey; dir. Masonic Band and Augusta 
 Symphony Orchestra; mem. Augusta 
 Lodge, No. 141, F. & A. M., Cusinoc 
 Chapter, No. 43, R. A. M., Trinity Com- 
 mander, No. 7, Emeth Chapter, Rose 
 Croix, Maine Consistory, Portland. Ad- 
 dress, 2694 Water St., Augusta, Me. 
 
 Hill, Fred Lincoln, teacher piano, organ 
 and harmony; b. Norwich, Conn., April 
 14, 1890; s. Irving Edward and Sarah 
 Oat Hill; m. Katharine Caswell, May 
 17, 1918; ed. Portland, Me., Syracuse, 
 N. Y.: ‘studied with Cathanr = fra-, 
 George Pabst and course at Toronto 
 University; mem. The New Portland 
 Instrumental Trio; Vice Pres. Kotzsch- 
 mar Club: Sec.-Treas. Portland Group. 
 Am. Guild of Organists; organist for all 
 Masonic Bodies in Portland, and Im- 
 manuel Baptist Church; mem. Kiwanis 
 Club, Royal Arcanum and St. Albans 
 Com., Knights Templar, and a Scottish 
 Rite Mason; composer of many songs; 
 accompanist Portland Men’s Singing 
 Club. Vocation, Head of Piano Dept., 
 Thompson School of Music. Res., 139 
 Neal St., Portland, Me. 
 
 Hill, George Thomas, vocalist (tenor); b. 
 Gray, Me., April 7, 18091; s. Luther 
 Weymouth and Mabel Frances Hill; ed. 
 Pennell Institute, Gray, Me.; Pres. Gray — 
 Festival Chorus; Treas. Gray Singing — 
 School; Treas. Gray Post American 
 Legion, No. 86. Vocation, mail carrier. 
 Address, Gray, Me. 
 
 Hill, Mrs. WHarriet, honorary member | 
 Philharmonic Club, Auburn-Lewiston. 
 Address, Lewiston, Me. 
 
 Hill, Helen E., mt. Address, 26 High St., 
 Saco, Me. 
 
 Hill, Mrs. Martha Hawes, vocalist (con-— 
 
BIOGRAPHICAL SECTION—1927-1928 407 
 i re 
 
 tra to), so‘oist; b.e Portland, Me.; d. 
 Char.es Boody and M. Josephine Knight 
 Hawes; m. Ernest J. Hill, Nov. 20, 1912; 
 ed. Portland, New York and London; 
 studied with Frederick Bristol; mem. 
 Rossini Club, Portland Festival Chorus 
 (30 yrs.); mem. High St. Church Choir, 
 Portland. Address, 125 Allen Ave., Port- 
 land, Me. 
 
 Hilton, Ernest C., teacher clarinet, cello 
 and saxophone; b. Union, Me.; s. Ches- 
 ter S. and Sadie E. Hilton; m. Ethel C. 
 Daggett, June 22, 1907; studied with 
 Prof. B. W. Thieme; mem. Odd Fellows, 
 Kiwanis Club; former mem. Colonial 
 Theatre Orch., Augusta Opera House 
 Orch.; mem. Augusta Cadet Band and 
 Augusta Symphony Orchestra. Address, 
 3 Scott St., Augusta, Me. 
 
 Hilton, William Keene, organist; b. Dam- 
 ariscotta, Me., Sept. 30, 1860; s. William 
 Keene and Abigail Bradford Keene Hil- 
 toOn,eneinma Me Smith, March 22, 
 tg1t; ed. Lincoln Academy, Bowdoin 
 College; studied with Lizzie Sewall, 
 Bath, Me.; Pres. local Festival Chorus; 
 formerly organist Baptist Church and at 
 Bowdoin College. Address, 11 Elm St., 
 Damariscotta, Me. 
 
 Hinckley, Harold, mem. Bd. Dir. Eastern 
 Maine Musical Association. Address, Ban- 
 gor, Me. 
 
 Hinckley, Mrs. W. M., Pres. Jonesport 
 Festival Chorus. Address, Jonesport, Me. 
 
 Hinds, Leo P., vocalist (tenor); b. Gardi- 
 ner, Me., April 7, 1891; s. Harry E. and 
 Jane Brown Hinds; m. Mary V. Kil- 
 bride, Oct. 31, 1917; studied with Llew- 
 ellyn B. Cain and Elizabeth Lathafn 
 Otis, Portland; formerly mem. choir 
 Cathedral of Immaculate Conception 
 (Ta yrs); mem. choir St. Patrick’s 
 Church, Portland. Vocation, City As- 
 sessor. Address, 40 Whitney Ave., Port- 
 land, Me. 
 
 Hinton, Mae Weeks, teacher of piano; b. 
 Oakfield, Me., Dec. 22, 1882; d. Avon D. 
 and S. Lavenia Weeks; m. William F. 
 Hinton, Dec. 7, 1910; ed. Boston, Mass., 
 and Hartford, Conn.; studied voice with 
 Harry Pepper; piano with Newton 
 Swift and Edith Flanders; studied pub- 
 lic school music with Ralph Baldwin of 
 Hartford, Conn.; studied 5 seasons with 
 C. Winfield Richmond, Bangor; organ- 
 ist, Congregational Church. Address, 
 Millinocket, Me. 
 
 Hitchings, Marion Thompson, organist; 
 
 b. Capac, Mich., Oct. 8, 1893; d. Herbert 
 B. and Clara (Dinsmore) Hitchings; ed. 
 Adrian College; studied with A. S. Wil- 
 liams, Master Graduate Royal Conser- 
 vatory, Leipsic; Mrs. Crosby Adams, 
 Chicago; Florence Leonard and Louisa 
 Hopkins, Philadelphia; Conductor of 
 Thursday Musicales; mem. Kappa Kap- 
 pa Gamma Fraternity, Woman’s Lit- 
 erary Club, Star Literary Society, Alpha 
 Society of Musical Research; chairman, 
 music committee Literary Club. Ad- 
 dress, Caribou, Me. 
 
 Hobbs, Jesse Percival, bandsman, teacher 
 
 brass instruments; b. Turner, Me., April 
 10, 1864; s. William H. and Mary C. 
 Hobbs; m. Minnie O. Sutton, Oct. 5, 
 1917; studied with Eby, virtuoso music; 
 mem. Lewiston Brigade Band (baritone) 
 and Hobbs Orchestra (cornet); mem. 
 M. of F. and K. of P.; former mem. 
 Hobbs A. M. Band, Lewiston, and Halls 
 Band, Waterville, Me. Vocation, barber. 
 Address, Turner, Me. 
 
 Hodgins, Eliza Blanchard, vocalist; b. 
 
 Calais, Me.; d. Charles Robinson and 
 Margaret Milligan Blanchard; m. Orin 
 Alvin Hodgins; Pres. Houlton Music 
 Club, 1922-24; State Extension Chairman, 
 Maine Federation of Music Clubs, 1922- 
 25; Pres. Unitarian Alliance, 1 yr., and 
 choir dir. for 4yrs.; Pres. Houlton Wom- 
 an’s Club, 1920-21, and at present chair- 
 man of the music committee; mem. Con- 
 servation Com. State Federation of Wom- 
 en’s Clubs; Sec. Lydia Putnam Chapt., 
 D. A. R., 4 yrs., and at present is State 
 Auditor. Address, Houlton, Me. 
 
 Hodgkins, Iva Nutter, teacher of piano; b. 
 
 East Corinth, Me., Sept. 13, 1891; d. Hi- 
 ram Bartlett and Dora Jewett Nutter; m. 
 Carroll William Hodgkins, June 5, 1920; 
 ed. Foxcroft Academy; studied with Dr. 
 Latham True, Arthur Foote and Rudolph 
 Ganz; org. Congress St. M. E. Church 
 and Woodfords Cong.. Portland. Ad- 
 dress, 49 Falmouth St., Portland, Me. 
 
 Hodgman, William A., teacher piano, or- 
 
 gan, harmony and theory; b. Lewiston, 
 Me., July 12, 1897; s. Benjamin A. and 
 Mabel S. Hodgman; ed. Auburn, Me.; 
 studied with Prof. Crafts, Testa and at 
 Boston Conservatory; formerly organist 
 United Baptist Church; mem. Red Men 
 and Y. M. C. A.; composer, “O! Little 
 House O’ Dreams,” “Sonata,” “Prelude 
 in C. Minor” and several teaching exer- 
 cises and books; mem. B. P. O. E. Vo- 
 
408 
 
 cation, theatre organist. Address, 5 
 Riverside Place, Lewiston, Me. 
 
 Hollister, Leona Stevens, composer of 
 “Somewhere in Maine” and other songs. 
 Address, care of Lamb’s Club, New York 
 City. 
 
 Holt, G. Dana, composer, bandsman; b. 
 Dixfield, Me., March 2, 1874; s. George 
 and Vienna (Yetten) Holt; m. Edith D. 
 Bezanson, July 15, 1908; studied cornet 
 under his father, George Holt, Enoch 
 Perkins, Lewiston, E. M. Bagley and 
 Henry C. Brown, Boston; many solo 
 engagements in Boston and other cities; 
 mem. Dixfield Band since its organiza- 
 tion in 1890, Baldwin’s Cadet Band, Bos- 
 ton, Lewiston Brigade Band, Colt’s Arm- 
 ory Band; mem. Snow’s Orchestra, No. 
 Conway, N. H., Geo. Lowell Tracy’s 
 Orchestra, Callahan’s Music Hall Orch., 
 Payne’s Orch. of Lewiston, Sedgwick’s 
 Orch., Hartford, Conn., Cobb & Hem- 
 ingway’s Orch., Asheville, N. C., Swift’s 
 Orch., Bretton Woods, N. H., J. How- 
 ard Richardson’s Orch., Boston, Mass., 
 Lucius Hosmer’s Orch., Colonial Thea- 
 tre, Boston, Wm. Capron’s Park Theatre 
 Orch., Boston; teacher of cornet and 
 brass instruments at Maine Conserva- 
 tory of Music; mem. Board of Trade. 
 Vocation, printer and marble worker. 
 Res., 19 Weld St., Dixfield, Me. 
 
 Holt, Thomas Paine, bandsman (trom- 
 bone, wind instruments, cello, bass, 
 viola); b. Dixfield, Me., Dec. 7, 1875; 
 s. George and Vienna (Yetten) Holt; 
 m. Mary S. Stowell, Oct. 11, 1910; stud- 
 ied with his father, George Holt, and 
 brother, G. Dana Holt; mem. Chase’s 
 Orchestra, Dixfield, Me. J. Albert 
 Snow’s Orch., No. Conway, N. H., 
 Wiley P. Swift’s Orch., Richmond, Va.. 
 1 yr., Frank Sedgwick’s Orch., Hart- 
 ford, Conn., 5 seasons; mem. Nat. Sol- 
 diers Home Band, Togus, Me., 2 sea- 
 sons, W. E. Chandler’s Band and Orch., 
 Portland, season 1894, Colt’s Armory 
 Band, Pope’s Band and Hatch’s Band of 
 Hartford, Conn.; Sec. Dixfield Band 
 and mem. Dixfield Orch., formerly 
 piano tuner for music house of Sedg- 
 wick & Casey, Hartford; director, in- 
 structor and one of the chief promoters 
 of the Dixfield School Band and Or- 
 chestra, organized Sept. 18, 1925. Voca- 
 tion, marble and granite works. Ad- 
 dress, 19 Weld St., Dixfield, Me. 
 
 Homer, Florence, school music supervisor. 
 Address, Sangerville, Me. 
 
 MUSIC AND MUSICIANS OF MAINE 
 
 Hood, Walter J., m.t. Address, 14 West 
 
 St., Waterville, Me. 
 
 Hopkins, Mary Frances, vocalist (so- 
 
 prano), pianist; b. Ellsworth, Me., d. 
 Albert M. and Sarah Padelford Hop- 
 kins; studied with Petersilia, Dr. Claus, 
 Charles Dennee and voice with Clara 
 Smart, John Hodgdon; organist, Uni- 
 tarian Church; mem. Me. Music Festi- 
 val Chorus, 26 yrs.; former mem, Ells- 
 worth Women’s Club and Orono Wo- 
 men’s Club; Pres. Music Study Club; 
 mem. Schumann Club, 19th Century 
 a Address, 329 Union St., Bangor, 
 e. 
 
 Hopkins, Mrs. M. L., m.t. Address, Bucks- 
 
 port, Me. 
 
 Horan, Mrs. Robert V. (Marion Priestly), 
 
 vocalist (alto), cellist; studied with Carl 
 Webster and Joseph Adamowski of Bos- 
 ton; first cellist with the Verdi and Wel- 
 lerman Orchestral Soc. of Boston; for- 
 merly mem. Oxford Trio; mem. Mars- 
 ton Club, Portland Rossini Club, Phil- 
 harmonic Trio; formerly mem. Bee- 
 thoven Trio. Address, 7 Codman St., 
 Portland, Me. 
 
 Horgan, Marie, vocal teacher (contralto), 
 
 soloist; b. Portland, Me.; d. John L. and 
 
 Ann M. Clarke Morrison; m. Frank A. 
 
 Horgan, Nov. 10, 1893; studied with 
 
 William H. Dennett; former mem. Con- 
 
 gress Square Church Choir, Portland. 
 
 oe 3646 Seneca Ave., Los Angeles, 
 al; 
 
 Horne, Mrs. Fannie Hight (Holmes), or- 
 
 ganist; b. So. Paris, Me., April 8, 1854; 
 d. E. Austin and Martha Hight Holmes; 
 m. Hermon Lester Horne, Oct. 18, 1876; 
 organist, Norway Cong. Church for 
 over 50 yrs. Address, Norway, Me. 
 
 Horne, George Wallace, vocal teacher, 
 
 soloist (tenor), school music super- 
 visor, Lewiston; b. Norway, Me., May 
 26, 1861; s. John L. and Hannah Key 
 Wallace Horne; m. Ellen M. Fitz, July 
 2, 1881; ed. New York City; studied 
 with W. H. Stockbridge, W. H. Den- 
 nett and Hattie Clapper Morris, New 
 York; mem. choir in the United Baptist 
 Church, Lewiston, Cong. Sq. Univ., — 
 Portland, 3 yrs., High St. Cong., Port- 
 land, 3 yrs., Pine St. Cong., Lewiston, 
 20 yrs., mem. Aeolian Quartette, Lewis- 
 ton, several years; first mem. to join 
 Lewiston Festival Chorus and first re- 
 hearsal of Festival Chorus held in his 
 studio; 32nd degree Mason, K. T. and 
 Shrine; mem. Vesper Quartette, Temple 
 
BIOGRAPHICAL SECTION—1927-1928 409 
 
 Quartette, and Parker Glee Club. Vo- 
 
 - cation, music supervisor, public schools, 
 since 1896. Summer home, Norway, 
 Me. Res., Lewiston, Me. 
 
 Houghton, John Cecil, concert soloist 
 (baritone); b. London, England, Feb. 6, 
 1904; s. John Chadwick and Annie 
 Houghton; studied with Sergi Klibon- 
 sky, N. Y.; mem. choir Church of Eng- 
 land. Vocation, florist. Address, 37 
 Court St., Houlton, Me. 
 
 Houlihan, Annie L., organist. Address, 
 697 Stevens Ave., Portland, Me. 
 
 ‘Houston, Mrs. Ruth, m.t. Address, Nor- 
 way, Me. 
 
 Hovey, Alice C., vocalist, pianist; b. South 
 Thomaston, Me.; d. William T. and 
 Eliza (Black) Hovey; ed. Rockland 
 High School and Rockland Commercial 
 College; studied with Mrs. Lillian S. 
 Copping and Mrs. B. A. Bass; mem. 
 Methodist Episcopal Church Choir and 
 Wight Philharmonic Society; Treas. 
 Woman’s Educational Club. Vocation, 
 stenographer and bookkeeper. Address, 
 14 State St., Rockland, Me. 
 
 Howard, Eleanor, school music supervisor. 
 Address, Rockland, Me. 
 
 Howard, Ralph Ellsworth, drummer; b. 
 Mechanic Falls, Me., Feb. 8, 1893; s. 
 Benjamin R. and Mary F. Howard; m. 
 J. Benita Swift, April 17, 1922; ed. Au- 
 burn, Me.; studied with I. J. Martin; 
 mem. Brigade Band, Lewiston, Masons 
 (Shrine) and Odd Fellows. Address, 
 144% Spring St., Auburn, Me. 
 
 Howarth, Elsie G., m.t. Address, 4 Emery 
 St., Sanford, Me. 
 
 Howe, Etta M., m.t. Address, Hanover, 
 Me. 
 
 Howe, George W., school music super- 
 visor. Address, 178 College St., Lewis- 
 ton, Me. 
 
 Howe, Reginald M., teacher of violin. Ad- 
 dress, 562 Congress St., Portland, Me. 
 
 Howes, Grace Bramhall, organist and 
 teacher of piano and organ; b. Bangor, 
 Me.; d. George P. and Abigail W. 
 Bramhall; m. Edwin L. Howes, June 4, 
 1919; studied organ with G. W. Whiting 
 and H. M. Dunham of Boston, J. W. 
 
 Andrews, N. Y.; piano with Clara F. 
 
 Joy and Mrs. J. B. Ayer; colleague 
 Am. Guild of Organists and National 
 Association of Organists; mem. Alumni 
 Assn. of Am. Inst. Applied Music, N. Y. 
 City; organist and director of music 
 
 First Baptist Church, Bangor. Address, 
 189 Exchange St., Bangor, Me. 
 
 Howes, Mrs. Grace M., m.t. Address, 107 
 State St., Brewer, Me. 
 
 Howland, Harry M., vocalist (baritone) ; 
 b. So. Penobscot, Me., Dec. 4, I901; s. 
 William H. and Annie Wescott How- 
 land; studied with Allan R. Haycock; 
 mem. Bach Choir and Essex St. Baptist 
 Church Choir, Bangor, Me.; former mem. 
 Bangor Festival Chorus. Address, 221 
 Centre St., Bangor, Me. 
 
 Hubbard, Mrs. Jessie, music teacher; 
 Address, 57 Elm St., Waterville, Me. 
 
 Hudson, Ethel Fredella, violinist, pianist; 
 b. Portland, Me.; d. Charles O. and Car- 
 rie Owen Hudson; m. Harry W. Hud- 
 son, Dec. 20, 1920; ed. Providence, R. I, 
 Gorham Normal and Cambridge Train- 
 ing School; studied with David E. Fish- 
 er; mem. Business Women’s Orchestra, 
 Laura E. Ross and Helen Kelley’s Or- 
 chestras; mem. Portland Teachers Asso. 
 and B. & P. Women’s Club. Vocation, 
 public school teacher. Address, 27 Arl- 
 ington St., Portland, Me. 
 
 Hughes, Minnie Currie, vocalist (so- 
 prano); b. Queensbury, N. B.; d. Rev. 
 Calvin and Mary Currie; m. Horace W. 
 Hughes; ed. Provincial Normal, and 
 Fredericton, N. B.; studied with Mrs. 
 J. Hollis Lindsay and others; mem. 
 Baptist, Episcopaland Methodist Church 
 Choirs at various times (soloist); mem. 
 Houlton Music Club, Houlton Woman’s 
 Club (Past Pres. of each); chairman 
 division of music, Maine Federation of 
 Women’s Clubs; chairman Aroostook 
 Co. Fed. of Music Clubs; former mem. 
 Cecilia Club, Augusta, 1921-22. Address, 
 113 Court St., Houlton, Me. 
 
 Hull, Mrs. Charles F. (L. Ferne Webber), 
 vocalist (lyric soprano); b. Richmond, 
 Me., Sept. 9, 1893; d. Quincy R. and 
 Cora Elvira Andrews Webber; ed. Mu- 
 sic Dept. Lancaster Jr. College of Lan- 
 caster, Mass., and American Institute of 
 Normal Methods, Auburndale, Mass.; 
 studied piano with Alvah Glover Salmon, 
 Boston, and voice with Prof. Edward H. 
 Dexter, N. Y.; org. M. E. Church; solo- 
 ist Univ. Church, Livermore Falls, 1922, 
 and M. EB. Church, Richmond; teacher 
 of piano; Supervisor of Music at Cor- 
 inna, Newport and Plymouth Union; 
 formerly at Richmond and Livermore 
 Falls. Address, Livermore Falls, Me. 
 
 Hulten, Rudolf, musician; b. New Bed- 
 ford, Mass., May 17, 1894; s. August 
 
410 
 
 MUSIC AND MUSICIANS OF 
 
 MAINE 
 
 Carl Hulten; ed. M. A. H. S., Boston; 
 teaching class in Houlton H. S. and 
 Island Falls H. S.; also private pupils; 
 Pres. St. Andrew Club, Houlton; mem. 
 Al uP :& AS Mee R aPC ice. 
 Room 21, Houlton Trust Co. Bldg. 
 Res., Houlton, Me. 
 
 Hume, Mrs. Lena L., m.t. Address, 602a 
 Congress St., Portland, Me. 
 
 Humphrey, Homer C., concert organist, 
 teacher, composer; b. Yarmouth, Me., 
 Aug. 1, 1880; s. Augustus H. and Flor- 
 ence I. (Gurney) Humphrey; first stud- 
 ied with E. A. Blanchard of Portland, 
 later graduate New Eng. Cons. of Mu- 
 sic under Wallace Goodrich, Louis C. 
 Elson, George W. Chadwick; later stud- 
 ied with Joseph Bonnet in Paris; organ- 
 ist of the Second Church in Boston; 
 charter mem. Phi Mu Alpha-Sinfonia 
 (Nat. Musical Fraternity); mem. execu- 
 tive board, N. E. Chapt. Am. Guild of 
 Organists; identified with various Ma- 
 
 - sonic bodies in Maine and Mass.; com- 
 poser of “Nocturne” for orchestra; trio 
 in one movement for violin, cello and 
 piano, “Legende” for piano; several 
 songs and organ pieces. Vocation, 
 teacher of organ and theoretical branch- 
 es, N. E. Conservatory of Music. Sum- 
 mer home, Yarmouth, Me. Address, N. 
 E. Cons. of Music, Boston, Mass. 
 
 Hunt, Ralph Waldo Emerson, piano 
 dealer; b. Portland, Me., Jan. 4, 1884; s. 
 Enoch W. and Sarah Frances Neal 
 Hunt; m. Agnes M. Snow, Sept. 3, 1907; 
 ed. Westbrook Seminary, Tufts College; 
 studied with Belle Connor, Mary Jor- 
 dan, Virgil Clavier School (piano); for 
 many years promoted all kinds of high 
 class musical activities, particularly or- 
 chestral, instrumental and chamber 
 music. Vocation, distributor of pianos. 
 Address, 8 Woodbury St., So. Portland, 
 Me. 
 
 Hunter, Herbert C., teacher of violin and 
 cornet; b. Clinton, Me., Dec. 18, 1867; 
 s. Melvin and Lovinia Hunter; m. Nel- 
 lie G. Maxim, June 9, 1888; studied cor- 
 net with R. B. Hall; mem. Hunter’s 
 Orchestra, and Pittsfield Band; com- 
 poser of “W. D. H. March” and “Hath- 
 orn Park March.” Vocation, piano 
 tuner. Address, 19 Hartland Ave., Pitts- 
 field, Me. 
 
 Hurd, Everett S., vocalist, concert artist; 
 b. Liberty, Me., July 5, 1805; s. William 
 Watson and Maud Ellen Hurd; ed. Maine 
 Central Institute and Univ. of Maine; 
 
 studied with Mario Carboni; mem. Bach 
 
 Choir and choirs in churches of Pitts- 
 
 burg, Chicago and Bangor; leader Maine 
 
 Glee Club, 2 yrs., mem. 4 yrs.; Pres. Da- 
 
 ine Address, 25 Central St., Bangor, 
 e. 
 
 Hurd, Herbert Archie Dearborn, teacher 
 of piano and organ; b. Fryeburg, Me., 
 July 13, 1894; s. Herbert and Jennie 
 Dearborn Hurd; m. Louise Adams, Aug. 
 14, 1924; ed. Fryeburg Academy; stud- 
 ied with Alfred Brinkler, E. E. Truette; 
 
 organist First Congregational Church; 
 
 dir. A. M. Abbott Chorale Society, 
 Fryeburg; Coll. American Guild of Or- 
 ganists and National Association of 
 Organists; composer of cantata, “The 
 Story of the Cross,” “Autumn,” “Ara- 
 besque,” “Benedictus,” “Prayer.” Voca- 
 tion, teacher piano and organ Fryeburg 
 Academy, and supervisor of music pub- 
 lic schools. Address, Bradley St., Frye- 
 burg, Me. _ 
 
 Hussey, Flora Edna, teacher of piano; b. 
 Houlton, Me., Oct. 8, 1888; d. Bennett 
 and Louise Shaw Haley; m. Harry B. 
 Hussey, Nov. 2, 1910; studied with 
 Mrs. J. E. Robinson, Houlton; former 
 mem. choir and org. Court St. Baptist 
 Church; former mem. Houlton Music 
 Club and pianist for Houlton Grange. 
 Vocation, saleswoman. Address, 11 Rus- 
 sell St., Portland, Me. 
 
 Hutchins, Charles C., Pres. Brunswick 
 Orchestral and Choral Society. Address, 
 Brunswick, Me. 
 
 Huxford, May, m.t. Address, Brooks, Me. 
 
 Hybert, Dorothy E., m.t. Address, 218 
 Park Ave., Portland, Me. 
 
 Hybert, Emil, violinist and concertmaster 
 Portland Municipal Orchestra. Address, 
 104 Franklin St., Portland, Me. 
 
 Ingalls, Arthur D., m.t. Address, Farm- 
 ington, Me. 
 
 Ingalls, Mrs. Arthur D., m.t. 
 Farmington, Me. 
 
 Ingalls, Mrs. Willis E., Pres. Fremstad 
 Club, Bridgton. Address, Bridgton, Me. 
 
 Inman, Ernest Ira, cornettist; b. Dover, 
 Me., May 10, 1895; s. James Ira and 
 - Allie (Bartlett) Inman; m. Alice Childs, 
 March 14, 1922; ed. Foxcroft Academy; 
 studied music with J. H. Taylor; mem. 
 Dover-Foxcroft Band (E flat circular 
 horn and E flat bass). Vocation, spin- 
 ning dept. American Woolen Mills. 
 Address, Box 98, Dover-Foxcroft, Me. 
 
 Address, 
 
 ~ 
 
BIOGRAPHICAL SECTION—1927-1928 All 
 
 Irish, Lewis M., vocalist (tenor); b. Hart- 
 ford, Me., May 27, 1879; s. Horace A. 
 and Virginia Mason Irish; m. Julia A. 
 Jones, June 6, 1906; studied with Otto 
 De Scheda; mem. Universalist Church 
 Choir and Mechanics Institute, Rum- 
 ford; Asst. Treas. Rumford Falls Trust 
 Co. Vocation, banker. Summer home, 
 Worthley Pond, Peru, Me. Address, 29 
 Rumford Ave., Rumford, Me. 
 
 Irish, Luther M., trombonist; b. Hartford, 
 Me., May 27, 1879; s. Horace A. and 
 Virginia Irish; m. Elizabeth H. With- 
 ington, Nov. 30, 1904; studied violin 
 with Benjamin Cutter, N. E. Conserva- 
 tory; trombone under Thomas P. Holt, 
 Fred Harlow, O. Edward Wardwell; 
 mem. Merriman’s Band, So. Portland, 
 1898; Togus Band, 1899; Payne’s Band 
 Lewiston, 1900; Maine Music Festival 
 Orchestra, 1900-1-3; Treas. Irish Bros. 
 Co. and the Ellingwood Novelty Co.; 
 Vice Pres. C. Withington & Sons, Buck- 
 field. Vocation, manufacturer. Address, 
 Buckfield, Me. 
 
 Jackson, Andrew, vocalist (baritone); b. 
 Portland, Me., Feb. 11, 1880; s. Charles 
 and Sarah (Young) Jackson; m. Alice 
 B. Dow, Nov. 7, 1905; mem. Central 
 Square Baptist Church Choir, 15 yrs.; 
 formerly with First Baptist Church 
 Choir, 2 yrs., and Free St. Baptist, 1 yr.; 
 mem. Portland Men’s Singing Club, 
 Lions Club, Willowdale Golf Club; Ma- 
 sons; Deering Lodge; Woodfords Club. 
 Vocation, contractor. Res., 45 Mon- 
 trose Ave.; o., 22 Monument Sq., Port- 
 land, Me. 
 
 Jackson, Mrs. A. P., m.t. Address, Milli- 
 nocket, Me. 
 
 Jackson, Joseph J., Treas. Lewiston-Au- 
 burn Festival Chorus. Address, 577 Main 
 St., Lewiston, Me. 
 
 Jackson, Julia Heath, teacher of piano; b. 
 Bath, Me., 1857; d. John S. and Harriett 
 Newell Jackson; ed. Bath and Portland, 
 Me.; studied with George W. Marston, 
 I. V. Flagler and R. Alice Rich; former 
 mem. of the Rossini Club, Portland; 
 organist 19 yrs., Elm St. Baptist Church; 
 10 yrs., Grace Episcopal; 10 yrs., Wes- 
 ley Methodist. Address, 800 High St., 
 Bath, Me. 
 
 Jackson, Louise F., pianist, accompanist, 
 music teacher; b. Chelsea, Mass., 1873; 
 d. William H. and Mary H. Atkinson; 
 m. Anson P. Jackson, May 17, 1901; 
 studied with Ephraim Cutter, Boston; 
 formerly org. at Congregational and 
 
 Unitarian Churches, Chelsea, Mass.; 
 org. Cong. Church, Millinocket, Me., 
 since 1920; former mem. Handel and 
 Haydn Society, Boston, Mass.; Pres. 
 Philharmonic Club, Millinocket, Me., 
 1922-1923. Address, 91 Highland Ave., 
 Millinocket, Me. 
 
 Jameson, Rose Wedgwood, organist, mu- 
 sic teacher; d. Dr. and Mrs. John T. 
 Wedgwood; m. ‘Harry Preston Jame- 
 son; studied piano and harmony with 
 George W. Marston, piano with Carl 
 Baermann and Edward MacDowell; or- 
 ganist Cong. Church; taught music in 
 public schools for more than 35 yrs.; 
 Pres. Harmonic Club, Cornish. Ad- 
 dress, Cornish, Me. 
 
 Jarrett, Florence E., m.t. Address, 136 
 Pleasant Ave., Portland, Me. 
 
 Jefferson, Mrs. Annie, m.t. Address, Tur- 
 ner, Me. 
 
 Jenkins, Alene Berrie, vocalist (mezzo 
 contralto), music teacher; b. Frederic- 
 ton, N. B., May 19, 1900; d. Perley S. 
 and Dora A. Berrie; m. William H. Jen- 
 kins, Sept. 12, 1922; studied piano with 
 Mrs. Susie Thomas and Mrs. Helen 
 Buck, Houlton; voice with Mrs. J. H. 
 Lindsay, Houlton; Minnie Hayden, 
 Boston; Theodore Schroeder and A. B. 
 Merrill, Boston; soloist, United Military 
 St, Baptist Ghurch; org. and dit, ofa 
 junior choir of 30 voices; mem. Houlton 
 Music Club, 7. yrs.; formerly org. at 
 Park Ave. Methodist Church, Somer- 
 ville. Vocation, vocal teacher and direc- 
 tor. Address, Maple St., Houlton, Me. 
 
 Jenkins, Augusta Marie, organist; b. 
 Brewer, Me., June 22, 1892; d. Francis A. 
 and Florence A. Brown; m. R. P. Jen- 
 kins, Aug. 5, 1914; studied with Grace 
 M. Howes; org. First Univ. Church, Ban- 
 gor; mem. 1913 Club, Brewer and Schu- 
 mann Club, Bangor (Pres. 3 yrs.). Ad- 
 dress, 30 Washington St., Brewer, Me. 
 
 Jenney, Dorothy Perkins, teacher of piano; 
 b. Brockton, Mass., Sept. 22, 1900; d. 
 Edward Lyman and Cordelia Tobey 
 Perkins; m. Lewis William Jenney, 
 Nov. 7, 1925; grad. N. E. Conservatory 
 of Music; studied with Mary Brooks 
 Sylvester and Stuart Mason; f. m. Cons. 
 Club; former supervisor of public school 
 music at Houlton, Me.; mem. Houlton 
 Music Club. Address, 32 North St., 
 Houlton, Me. 
 
 Jensen, Martin L., clarinettist; mem. 
 Deane’s Orchestral Club. Address, 70 
 Irving St., Portland, Me. 
 
412 
 
 MUSIC AND MUSICIANS OF MAINE 
 
 Jewell, Mrs. H. L., music teacher; Pres. 
 Festival Chorus. Address, 53 Charles 
 St., Bangor, Me. 
 
 Jewett, Mrs. Helen Nason, music teacher; 
 b. Kenduskeag, Me., April 17, 1893; d. 
 William E. and Nellie L. Nason; m. 
 Arno B. Jewett, Aug. 2, 1922; studied 
 with Mildred Stone, Boston; mem. choir 
 Baptist Church. Address, 397 Ohio St., 
 Bangor, Me. 
 
 Johnson, Carl, vocalist; mem. Portland 
 Men’s Singing Club. Address, Portland, 
 Me. 
 
 Johnson, C. C., cornettist, music teacher. 
 Address, 129 Lisbon St., Lewiston, Me. 
 
 Johnson, Mrs. Harold D., pianist; mem. 
 MacDowell Club; Cor. Sec. Portland 
 Rossini Club. Address, 15 Arlington St., 
 Portland, Me. 
 
 Johnson, Harry T., organist; mem. 
 Kotzschmar Club. Address, 84 Pine St., 
 Portland, Me. 
 
 Johnson, Isa W., m.t. 
 Me. 
 
 Johnson, Mrs. Josiah H. (Florence L.), 
 vocalist. (contralto soloist) ; mem. Wom- 
 en’s Choral Society; Rec. Sec. Portland 
 Rossini Club. Address, 59 Ocean Ave., 
 Portland, Me. 
 
 Johnson, Mrs. Margaret Wilson, violinist; 
 mem. Portland Trio and Philharmonic 
 Trio. Address, Portland, Me. 
 
 Johnson, Marguerite Allen, vocalist (so- 
 prano), pianist, and teacher; b. Acton, 
 Me.; d. Dr. George A. Allen and Linnie 
 Allen Bird; m. Ralph Henry Johnson, 
 April 27, 1915; ed. Portland-Deering 
 High Schools; studied piano with Clara 
 Smith Dow, Dora Young, Anne Neily 
 and Maine Conservatory of Music; voice 
 with Rupert Neily, Jennie King Brag- 
 don, Lewellyn B. Cain, Madeline Files 
 Bird; mem. Women’s Choral Society, 
 Portland Festival Chorus, Rossini Club 
 Chorus, Charles Griffes’ Club, Williston 
 Choir and Pilgrim Choir. Address, 62 
 Main St., So. Paris, Me. 
 
 Johnson, Mrs. Merle H., violinist; mem. 
 Portland Rossini Club. Address, 72 
 Lawn Ave., Portland, Me. 
 
 Johnson, Ralph H., bass; formerly mem. 
 Portland Festival Chorus. Address, 62 
 Main St., So. Paris, Me. 
 
 Johnson, Mrs. Rupert G. (Doris Mae 
 Thomas), concert and church soloist 
 
 (soprano); d. Alfred Henry Thomas; m. 
 Dec., 1925. Address, Standish, Me. 
 
 Address, Carmel, 
 
 Johnson, Mrs. Sumner E., org. Veazie 
 Cong. Church. Address, Bangor, Me. 
 
 Johnson, Mrs. Theodore H., honorary 
 mem. Portland Rossini Club. Address, 
 43 West St., Portland, Me. 
 
 Johnson, Thomas, piccolo; mem. Portland 
 Flutist’s Society and Portland Munic- 
 
 ipal Orchestra. Address, 36 Lawn Ave., 
 Portland, Me. 
 
 ‘Johnston, Harry F., cornettist, teacher; b. 
 
 So. Brewer, Me.; s. Walter C. and Ase- 
 neith Johnston; m. Helen McConnell, 
 Jan. 1I5, 1919; studied with Prof. F. 
 Davis, Boston, and John Bridge; mem. 
 Bangor Band, E flat bass; mem. Ameri- 
 can Legion, Knights of Pythias; former 
 mem. National Guard Band and U. S. 
 Band (18 months over seas). Address, 
 2 Crosby St., Orono, Me. 
 
 Johnston, Ursula, vocalist; mem. Portland 
 Rossini Club. Address, 279 Stevens 
 Ave., Portland, Me. 
 
 Jones, Charles F., cellist; mem. Deane’s 
 Orchestral Club; formerly mem. Port- 
 land Chamber Music Trio and Bee- 
 thoven Trio. Vocation, piano tuner. Ad- 
 dress, 1 Walker St., Portland, Me. 
 
 Jones, Charlotte, organist. Address, Rock- 
 land, Me. 
 
 Jones, Embert L., teacher piano and cello; 
 b. Ashland, Mass., Oct. 22, 1857; s. 
 George W. and Clarissa Jennings Jones; 
 m. Alice F. Richards, Sept. 12, 1896; ed. 
 Boston Conservatory; studied with Carl 
 Suck and Miss E. Stone; mem. Colonial 
 Orchestra, Boston, and Vibro Club, Gor- 
 ham; dir. Gorham Men’s Singing Club 
 and Colonial Orchestra; Vice Pres., 
 Gorham Board of Trade; composer, 
 “America the Glorious,” “A Letter from 
 Home,” “Maine,” “Hearts and Drums.” 
 “Little Lady Rose,” “Dinan, =] fads. 
 But Known,” etc. Vocation, artist. Ad- 
 dress, 37 School St., Gorham, Me. 
 
 Jones, Ernest L., vocalist (baritone); b. 
 Portland, Me., July 19, 1885; s. Sarah J. 
 Jones; ed. Kent’s Hill Sem.; studied with 
 Dr. Morse; mem. Clark Memorial Church 
 Choir; mem. Festival Chorus. Address, 
 13 Leonard St., Portland, Me. 
 
 Jones, Gladys St. Clair (see Gladys St. 
 Clair Morgan). 
 
 Jones, Isabelle, vocalist. 
 Spring St., Portland, Me. 
 
 Jones, Mrs. L. B. (Vena Smith Jones), 
 organist, teacher of piano; b. Millville, 
 N. B., Oct. 7, 1899; d. Henry By and 
 Alice M. Smith; m. L. B. Jones, Feb. 
 
 Address, 178 
 
BIOGRAPHICAL SECTION—1927-1928 
 
 413 
 2, 1921; studied with Mrs. J. E. Robin- Judkins, Florence, Librarian Lewiston- 
 son, Prof. Hollis J. Lindsay; formerly Auburn Festival Chorus. Address, Lew- 
 org. at Free Baptist, Court St. Baptist; iston, Me. 
 
 org. Methodist Church; former mem. 
 Houlton Music Club; mem. Nordica 
 Club, Philomathian Club. Address, 7 
 High St., Fort Fairfield, Me. 
 
 Jones, Lloyd, vocalist; mem. Bach Choir, 
 Bangor. Address, Bangor, Me. 
 
 Jones, Mrs. L. Roland, honorary member 
 Philharmonic Club, Auburn-Lewiston. 
 Address, Lewiston, Me. 
 
 Jones, Mollie, clarinettist; mem. Portland 
 Municipal Orchestra. Address, 25 Rich- 
 ardson St., Portland, Me. 
 
 Jones, Sybil, vocalist. Address, Rockland, 
 Me. 
 
 Jones, Mrs. William H., pianist. Address, 
 178 Spring St., Portland, Me. 
 
 Jordan, Alice M. Bean, vocalist; b. Bethel, 
 Me., Dec. 8, 1873; d. Nathan and Rosilla 
 Farwell Bean; m. Harry Ernest Jordan, 
 Aug. 5, 1900; ed. Gould Academy; mem. 
 Maine Music Festival, I901-4; mem. 
 Sunset Rebekah Lodge, Bethel, Brown 
 Woman’s Relief Corps; Past Pres. Dept. 
 of Maine Woman’s Relief Corps. Res., 
 Vernon St., Bethel, Me. Mail address, 
 P. O. Box 138, Bethel, Me. 
 
 Jordan, Charles Linwood Forrest, drum- 
 Mier. 9b, tottingnam, N. H., May 5, 
 1860; s. Charles Andrew and Emeline 
 Chamberlin Berry Jordan; m. Hattie 
 Amanda Cheney, Oct. 29, 1884; ed. pub- 
 
 lic schools, Maine and N. H.; studied 
 with Prof. Record, Auburn; mem. 
 Maine Centennial Drum Corps; Mana- 
 
 ger and Treas. Keystone Wheel & Rim 
 Mfg. Co., Beverly, N. J. Address, 20 
 Melbourne St., Portland, Me. 
 
 Jordan, Ervette, mem. Women’s Choral 
 Society. Address, 59 Oakdale St., Port- 
 land, Me. 
 
 Jordan, Harold, vocalist; mem. Portland 
 
 Men’s Singing Club. Address, Portland, 
 e. 
 
 Joslin, Tames Metcalf, vocalist (tenor); b. 
 Winchester, Mass., July 11, 1905; s. 
 Ralph Edgar and Fannie Davis Joslin; 
 ed. Lawrence Academy, Groton, Mass.; 
 mem. Epiphany Church of Winchester, 
 Mass., Bowdoin College Choir; mem. 
 Bowdoin College Glee Club; student. 
 DKE House, Brunswick, Me. 
 
 Joy, Clarence, org. Foss St. M. E. Church. 
 Address, Biddeford, Me. 
 
 Judelshon, Leah, m.t. Address, 9 Willis 
 St., Portland, Me. 
 
 Kahill, Mrs. Joseph B. (Loretto Vincent 
 Moran), teacher of piano; b. Portland, 
 Me., April 5, 1891; d. James Charles and 
 Anna Murphy Moran; m. Joseph B. 
 Kahill, artist, April 16, 1912; ed. public 
 schools of Portland; studied with James 
 A. Bain and Carlo Buonamici; piano 
 soloist and accompanist; mem. Marston 
 Club (formerly Secretary); priv. mem. 
 Portland Rossini Club; mem. MacDow- 
 ell Club. Address, 2 Crescent St.) Port- 
 land, Me. 
 
 Kalloch, Augusta, Secretary Clef Club, 
 Presque Isle. Address, Presque Isle, Me. 
 
 Kane, Anastasia, m.t. Address, 158 Park- 
 view Ave., Bangor, Me. 
 
 Kaplan, Tillie, pianist; 
 Rossini Club. Address, 
 Ave., Portland, Me. 
 
 Kavanagh, Albert L., Pres. Lewiston and 
 Auburn Oratorio Chorus. Address, 36 
 Lisbon St., Lewiston, Me. 
 
 Keating, Agnes, pianist; priv. mem. Port- 
 land Rossini Club. Address, Eastland 
 Hotel, Portland, Me. 
 
 Keenan, Katherine Ricker, vocalist (con- 
 tralto); b. Falmouth, Me.; d.- Went- 
 worth P. and Dorcas Merrill Ricker; m. 
 Matthew Thomas Keenan, April 10, 
 1920; ed. Westbrook Seminary; studied 
 with Charles R. Adams, Mme. Long, 
 William Whitney, Elizabeth Reed, Max 
 Heinrich and Olivieri, Boston, William 
 H. Dennett, Portland, Vannucini, Ran- 
 degger, Europe; mem. State St. Church 
 Choir, Portland; formerly mem. of the 
 choirs of the Williston and Second Par- 
 ish Churches, Portland, Central Cong., 
 Boston, for many years; has appeared 
 as soloist with Handel and Haydn So- 
 ciety, Cecilia Society, Boston, and Maine 
 Music Festival and Oratorio Societies 
 in New England and Canada; was one 
 of two singers who received diplomas of 
 honor at World’s Fair, Chicago, in 1893; 
 mem. Rossini Club, Portland, Profes- 
 sional Women’s Club, Boston; former 
 mem. Choral Art, Cecilia Society, Mc- 
 Dowell, Thursday Morning Musicales 
 and Music Lovers Clubs, Boston; chair- 
 man, Music Committee Professional 
 Women’s Club, Boston. Address, R. F. 
 D. No. 5, Woodfords, Me. 
 
 Keene, Abdon Wilder, teacher, conductor; 
 b. Appleton, Me.; s. Galen and Stativa 
 (Sprague) Keene; ed. N. E. Conserva- 
 
 mem. Portland 
 1 Cumberland 
 
414 MUSIC AND MUSICIANS OF MAINE 
 
 MAY KORB, LYRIC COLORATURA SOPRANO. PHOTO 
 BY APEDA, NEW YORK. 
 
 tory, Boston, class of 1880, and at Bos- 
 ton University College of Music, class 
 of 1883 (diplomas in singing, harmony, 
 theory, counterpoint, art of conducting, 
 history, aesthetics, composition, with 
 voice as leading study); studied with 
 John O'Neill, Stephen A. Emery, Wil- 
 liam F. Apthorp, Carl Zerrahn; mem. of 
 Faculty of N. E. Conservatory 12 yrs., 
 and later taught voice, harmony, counter- 
 point, etc., privately in Boston; con- 
 ductor Keene, N. H., Choral Union, 
 Boston Mendelssohn Club, etc.; organ- 
 ized the Bromfield Choir and conducted 
 same II yrs.; mem. board of Trustees 
 N. E. Conservatory 5 yrs. Address, 
 Camden, Me. 
 
 Keene, Frances M., m.t. Address, 39 
 Fourth St., Bangor, Me. 
 
 Kelley, Mrs. Helen S., teacher of violin; b. 
 Wiscasset, Me.; d. Charles B. and Lu- 
 etta Southard Seekins; m. Capt. William 
 Kelley, 1911; studied piano with Prof. 
 Kimball; violin with David Fisher, Kel- 
 ler Studio, Boston, and with Harriet 
 Schreyer; concertmaster Portland Or- 
 chestral Society, 3 yrs.; mem. Rossini 
 
 Ensemble. Vocation, professional vio- 
 linist. Address, 54 Clifton St., Portland, 
 Me 
 
 Kelly, Marion Adelia, pianist; music — 
 teacher; b. Westbrook, Me., July 27, — 
 
 1906; d. James M. and Jennie L. Kelly; 
 
 ed. Westbrook Seminary; studied with — 
 
 Howard W. Clark and Arthur Roundy; 
 mem. Warren Cong. Church Choir, 
 
 Schubert Quartette; Rossini Club, Cho- © 
 
 pin Club of Westbrook, and Marston 
 Club, Portland. Address, 57 Morton St., 
 Cumberland Mills, Me. 
 
 Kemball, Harold V., form. mem. Kotzsch- 
 
 mar Club. Vocation, music dealer. Ad- 
 dress, 169 Brentwood St., Portland, Me. 
 
 Kendall, Arthur Franklin, musical direc- 
 tor, teacher of piano; b. Auburn, Me., 
 Aug. 31, 1894; s. Thomas F. and Minnie — 
 
 K. Kendall; ed. Rumford High School; 
 
 m. Marion F. Woodbury, May 15, 10433) 
 
 formerly employed Tainter’s Music 
 Store; musician U. S. Soldiers’ Home 
 
 Band, Washington, D. C.; leader Em-. 
 
 pire Theatre Orchestra, Portland; stud- 
 ied in Coblenz, Germany; musical direc- 
 tor, Strand Symphony Orchestra and 
 
 Portland Orchestral Society. Res., 13 — 
 
 the St.; o., 565 Congress St., Portland, 
 e 
 
 Kendall, J. A., music teacher, violinist. 
 
 Address, Skowhegan, Me. 
 
 Kennedy, Annie S., teacher of piano; b. 
 Jefferson, Me., June 25, 1877; d. Samuel 
 
 H. and Clara B. Kennedy; ed. at Jeffer- 
 son, Me.; studied with Hannah Bond, 
 Annie Sanborn, Mrs. Bennett and La- 
 tham True; org., Methodist Episcopal 
 Church, Brunswick. Address, 11 McLel- 
 lan St., Brunswick, Me. 
 
 Kennedy, Frederic, concert singer, vocal- 
 
 ist (tenor); b. Portland, Me., July 29. 
 
 1879; s. William H. and Ella Perry Ken-— 
 nedy; m. Marion Jewell, June 12, 1905; 
 
 ed. Portland, Me.; studied with L. B. 
 Cain, Portland, Stephen Townsend, 
 Boston, John D. Meehan and Oscar 
 Saenger, N. Y.; soloist 2 yrs. Maine 
 Music Festival; twice toured the U. S. 
 singing in all but four states of the 
 Union; mem. State St. Church Choir, 
 Portland, and Henry H. Rogers Me- 
 
 morial Church Choir, Fairhaven, Mass.; — 
 former mem. Choral Art Society, Fes- 
 
 tival Chorus, Kotzschmar Club and 
 Portland Men’s Singing Club. Address, 
 Box 33, Wellesley, Mass. 
 
 Kennedy, Herbert S., vocalist (tenor); 
 
 mem. Portland Men’s Singing Club. Ad- 
 dress, 469 Summer St., So. Portland, Me. 
 
BIOGRAPHICAL SECTION—1927-1928 
 
 415 
 
 Kennedy, Jane, viola; mem. Portland Mu- 
 nicipal Orchestra. Address, Eastland 
 Hotel, Portland, Me. 
 
 Kenney, Mrs. Clara A., teacher of piano; 
 b. Portland, Me., Nov. 26, 1865; d. Wil- 
 liam P. and Sarah Lucy Evans; m. Wil- 
 liam A. Kenney, July 17, 1884; ed. South 
 Portland, Me.; studied with Hattie Fick- 
 ett. Address, 32 Forest Ave., So. Port- 
 land, Me. 
 
 Kenworthy, Mrs. W. H., vocalist (contral- 
 to); mem. South Parish Cong. Church 
 Choir. Address, Augusta, Me. 
 
 Kerr, Lena, organist, vocalist (soprano); 
 b. Oakland, Me., Oct. 26, 1892; d. Davis 
 A. and Susie E. Kerr; ed. Oakland High 
 School; studied piano with Nora Bartlett 
 Greeley and Mrs. H. L. Hunton of Oak- 
 land, Fred L. Hill, Portland, Christine 
 Daggett, Waterville; pipe organ with 
 Cecil Daggett, Waterville; mem. Water- 
 ville Festival Chorus. Vocation, school 
 teacher. Address, Oakland, Me. 
 
 Kidney, Mrs. Fred., m.t. Address, Cari- 
 bou, Me. 
 
 Kilbourn, Mrs. Scott Lesley (Pearl Fran- 
 ces Cook), teacher of piano, accompan- 
 ist; b. Norway, Me., Oct. 21, 1891; d. 
 Almon L. and Geneva A. Cook; m. 
 Scott Lesley Kilbourn; ed. Virgil Clavier 
 School, Portland; studied with Prof. 
 Frank L. Rankin. Address, 60 Pleasant 
 St., Norway, Me. 
 
 Kimball, Alice A., vocal teacher. Address, 
 Presque Isle, Me. 
 
 Kimball, Kathleen, m.t. Address, Fort 
 Fairfield, Me. 
 Kirkpatrick, Herbert Earl, instructor, 
 
 bandmaster; b. So. Thomaston, Me., April 
 26, 1889; s. Adam C. and Minnie Burns 
 Kirkpatrick; m. Adella Townsend Gil- 
 more, June 4, 1923; ed. public schools and 
 business college, Rockland, Me.; became 
 mem. 56th P. Inf. Band, 1917; army rat- 
 ing, Ist class musician, band sergeant and 
 later sgt. bugler; saw service in France 
 and in the Army of Occupation, Ger- 
 many ; played trumpet in City Opera 
 House, Waterville, 1919-25; opened a 
 studio in Rockland, Me., in 1926, teaching 
 trumpet, cornet and saxophone; instruc- 
 tor Rockland Boys’ Band; conductor 
 Rockland City Band; owner and manager 
 Kirk’s Orchestra; mem. Am. Legion, 
 Williams Brasier Post, No. 37, A. F. of 
 M., 735, Waterville, Me.; orchestra and 
 band arranger. Vocation, musician. Res., 
 58 Main St., Thomaston, Me. Studio, 280 
 Main St., Rockland, Me. 
 
 HUMPERDINCK’S OPERA 
 PHOTO BY KENNEDY, 
 
 MAY KORB, AS GRETEL IN 
 “STANSEL AND GRETEL.” 
 PORTLAND. 
 
 Kittredge, Joseph, leader Smith’s Vinal- 
 haven Band. Address, Vinalhaven, Me. 
 
 Knapp, Frank, trumpet; mem. Portland 
 Municipal Orchestra. Address, 547a 
 Congress St., Portland, Me. 
 
 Knight, Dorothy, school music supervi- 
 sor. Address, So. Berwick, Me. 
 
 Knight, Florence (see Florence Knight 
 Palmer). . 
 
 Knight, Leland W., mem. Warren Male 
 Quartette. Address, Westbrook, Me. 
 Knight, Phyllis, viola; mem. Portland 
 Municipal Orchestra. Address, 92 Pitt 
 
 St., Portland, Me. 
 
 Knight, Ralph E., bass viol.; mem. Port- 
 land Orchestral Society, Deane’s Or- 
 chestral Society, Portland Municipal 
 Orchestra. Res., Yarmouthville, Me. 
 Office, 534 Congress St., Portland, Me. 
 
 Knowles, Edna, m.t. Address, Fort Fair- 
 field, Me. 
 
 Knowles, Ethel May, vocalist (soprano), 
 organist, school music’ supervisor; b. 
 Shirley, Me.; d. James M. and Abbie A. 
 Knowles; ed. Foxcroft Academy; stud- 
 ied piano with Nettie M. Blethen, Dov- 
 er-Foxcroft, Prof. Kimball, Portland, 
 
416 MUSIC AND MUSICIANS OF MAINE 
 
 and Arthur J. Bassett, Worcester, Mass.; 
 pipe organ with Henry Dunham and at 
 N. E. Conservatory; voice with Mrs. B. 
 Dinsmore, Dover-Foxcroft, Sarah Peaks, 
 Bangor, Madame Antonia Sawyer, N. 
 Y., and M. Bell Moore, Boston, Mass.; 
 public school music with Samuel Cole, 
 N. E. Conservatory, and American In- 
 stitute Normal Methods, Boston, Mass. 
 Address, Dover-Foxcroft, Me. 
 
 Knowles, Mrs. Eva M., m.t. Address, 41 
 Veranda St., Portland, Me. 
 
 Korb, May, concert artist (lyric colora- 
 tura soprano); b. Newark, N. J.;.d. Ben- 
 jamin J and Alma E. Korb; m. Charles 
 Raymond Cronham, May 28, 1925; ed. 
 public and private schools and language 
 tutors; studied with Marcella Sembrich 
 (voice) and piano with Frederic Bau- 
 mann; formerly solo soprano at So. 
 Park Pres. Church, Newark; mem. Port- 
 land Rossini Club; guest artist with San 
 Carlo Opera Co., 1925-26; Hansel and 
 Gretel Opera Co., 1926-27. Address, 
 Portland, Me. 
 
 Korda, Anna Miller, teacher of piano, cel- 
 list; b. Portland, Me., March 14, 1899; 
 d. Andrew and Amelia Thorsager Mil- 
 ler; m. Joseph Korda, July 15, 1918; ed. 
 Portland, Me.; studied with Dr. Latham 
 True, Sonya Michel, Leo Schulz; mem. 
 Rossini Club, Eastern Star, Marston 
 Club, MacDowell Club; cellist in Port- 
 land Trio. Res., 194 Massachusetts Ave., 
 Portland, Me. 
 
 Korda, Joseph, bandmaster, cellist; b. 
 Poland, Europe, Aug. 28, 1888; s. Frank 
 and Mary Korda; m. Anna Miller, July 
 15, 1918; ed. St. Stanislaus School, Buf- 
 falo, N. Y.; studied with Leo Schulz, 
 Dr. Latham True, Albert Stoessel, 
 Francis Casadesus, and Pillois; Mason; 
 composer, Polish Dance, Cradle Song 
 and Romance; former mem. Kotzsch- 
 mar Club, Beethoven Trio; former Lieu- 
 tenant, Bandmaster, U. S. Army. Mu- 
 sic instructor at N. Y. M. A., bandmas- 
 ter Nat. Soldiers’ Home, Togus, Me. 
 Res., 194 Massachusetts Ave., Portland; 
 mail address, Togus, Me. 
 
 Koster, Ruth, soprano soloist. 
 Rockland, Me. 
 
 Kotzschmar, Mary Ann, teacher of piano; 
 b. Sacramento, Cal., Dec. 16, 1853; d 
 Midian and Mary Ann Griffin Torrey; 
 m. Hermann Kotzschmar, Dec. 16, 1872; 
 ed. The Misses Prince’s Home Institute, 
 Portland, Me.; studied with Hermann 
 Kotzschmar and Mr. and Mrs. A. K. 
 
 Address, 
 
 Virgil; mem. Rossini Club and Haydn 
 Asso., Portland, Me.; author, “Half 
 Hour Lessons in Music” and a number 
 of short stories for Ladies’ Home Jour- 
 nal. Address, 88 Pintard Ave., New — 
 Rochelle, N. Y. 
 
 Kriger, Elizabeth, concert artist (lyric so- 
 prano) and music teacher; b. Portland, 
 Me.; d. Joseph Henry and Ida Davis 
 Kriger; ed. Sterns Conservatory of Mu- 
 sic, Berlin; studied with Josephine Mc- 
 Faul, Henrietta Rice, David Bispham, 
 William Thorner, Prof. Hettisch, Prof. 
 Bachner, Frau Mattha Kierda, Berlin; 
 mem. Musical Optimiste Club; formerly 
 mem. Rossini Club. Address, 149 West 
 s7th St., New York. Citval Res. 270 
 Cumberland Ave., Portland, Me. 
 
 Kriger, Gertrude Seiger, vocalist; b. New 
 York City, Jan. 2, 1902; d. Samuel and 
 Mamie Seiger; m. Lewis H. Kriger, 
 June 16, 1925; studied with Henrietta D. 
 Rice, Portland, Frederick E. Bristol, N. 
 Y. Address, 42 Noyes St., Portland, Me. 
 
 Kyes, Aroline Treat, vocalist (soprano); 
 librarian, Portland Festival Chorus. Ad- 
 dress, 185 Clark St., Portland, Me. 
 
 Ladd, Bernard Everett, instrumentalist 
 (French horn); b. Island Pond, Vt., 
 Feb. .22, 1891; s. H. J. and May ada: 
 studied with F. J. Rigby; mem. 1o3rd 
 Infantry Band and Rumford Symphony 
 Orchestra. Vocation, piano tuner. Ad- 
 dress, 122 Penobscot St., Rumford, Me. 
 
 Lafond, Dr. L. Raoul, Pres. L’Orpheon, 
 Whe Address, Lisbon St., Lewiston, 
 
 e. 
 
 Lahar, Edward, mem. Temple Quartette. 
 Address; Kennebunk, Me. 
 
 Laird, Alice Curtis, vocalist, soloist (so- — 
 prano); b. Portland, Me., Nov. 22, 1882; 
 d. Gustavus H. and Flora Stinson Curtis; 
 m. George E. Laird, Dec. 18, 1912; stud- 
 ied with L. B. Cain, Stephen Townsend 
 and Rupert Neily; mem. Portland Ros- 
 sini Club; mem. Congress Sq. Univ. — 
 Church Choir. Summer home, Lake © 
 Grove, Auburn, Me. Address, 24 Morn- 
 ing St., Portland, Me. 
 
 Laite, H. Whitefield, baritone soloist; b. 
 Portland, Me.; studied with Frank Le 
 Farge, N. Y., made debut in Chicago 
 Opera Co. as Silvio in Pagliacci, 1919; 
 formerly soloist, Church of St. John the 
 Baptist, N. Y.; soloist with Gilman’s 
 Band. Address, Portland, Me. ~ 
 
 ‘Lamb, Albert E., vocalist (tenor); mem. ; 
 
 choir So. Parish Cong. Church. Address, — 
 Augusta, Me. 
 
BIOGRAPHICAL SECTION —1927-1928 
 
 417 
 
 ee 
 
 Lamb, Avis, vocalist (soprano); mem. 
 MacDowell Club, Portland Polyphonic 
 Society, Portland Rossini Club. Ad- 
 dress, 298 Pine St., So. Portland, Me. 
 
 Lamb, Frank M., vocalist, soloist (tenor) ; 
 b. Poland, Me., Jan. 30, 1858; s. Alonzo 
 P. and Lucinda Hackett Lamb; m. Mary 
 A. Bonney, Nov. 29, 1882; studied with 
 W. J. Winch and Charles R. Adams, 
 Boston; mem. choir old Hampshire St. 
 Church, High St. M. E. and High St. 
 Cong., Auburn; composer, “The Bird 
 with a Broken Wing,” “In the Crimson 
 Blush of Morning,” “A Dying Chris- 
 tian,” ‘““Weary Not,” etc.; has been song 
 leader and soloist in more than 100 
 evangelistic campaigns in 14 states and 
 2 maritime provinces; mem. Mendel- 
 ssohn Club in the early eighties. Clergy- 
 man since April, 1888. Address, Me- 
 chanic Falls, Me. 
 
 Lamb, Mabel Frances, organist and 
 teacher of piano; b. Rockland, Me., Jan. 
 14, 1880; d. Franklin D. and Adeline P. 
 Lamb; ed. Rockland Commercial Col- 
 lege and graduate Rockland High 
 School; studied with Alice Black, Mar- 
 garet Stahl, Mrs. Carrie Burpee Shaw, 
 Mrs. Effa Ellis Perfield, N. Y.; org. 
 Episcopal Church, Rockland, 3 yrs., 
 Methodist Church, Thomaston, 2 yrs.; 
 sub. org. Universalist Church, Rock- 
 land; mem. Chapin Class, Universalist 
 Church; Sec. Shakespeare Society, 4 
 yrs.; Sec. Rubinstein Club, 3 yrs.; for- 
 mer mem. Wight Philharmonic Society, 
 1s yrs. Address, 100 Limerock St. 
 Rockland, Me. 
 
 Lamb, Myron U., instrumentalist (piano. 
 
 and bassoon); b. Portland, Me., May 29, 
 1900; s. Freeman K. and Gertrude V. 
 Lamb; ed. Portland, Me., and Brown 
 University; studied piano with Gertrude 
 Buxton, Howard Clark, and bassoon 
 with A. Laus of the Boston Symphony 
 Orch.; studied landscape architecture at 
 Harvard 2 yrs. after teaching at Brown 
 Univ. I yr.; at present studying piano 
 with Mrs. Frances L. Grover, Boston, 
 and theory with Nicolas Slonimsky, 
 Boston; mem. Brown Univ. Orch. and 
 Kappa Sigma Fraternity. Address, 118 
 Brentwood St., Portland, Me. 
 
 Lambert, Edward, trombonist; b. Au- 
 gusta, Me., Aug. 17, 1898; s. Thomas 
 and Josephine Bougie Lambert; m. 
 Madaline Laflamme, May 14, 1923; ed. 
 Augusta, Me.; studied with Ernest R. 
 Hill; mem. Military and Cadet Band, 
 
 Augusta, and Augusta Symphony Or- 
 chestra; mem. the Artisans. Vocation, 
 painter. Address, 74 Northern Ave., 
 Augusta, Me. 
 
 Laming, Henry G., vocalist, baritone*solo- 
 ist; mem. Portland Festival Chorus. 
 Address, 14 Cherry St., Portland, Me. 
 
 Lamont, Fred C., vocalist; 2nd tenor Aca- 
 cia Quartette, Portland, Me. Address, 
 Portland, Maine. 
 
 Landry, Achille C., teacher of violin; b. 
 Biddeford, Me.; s. Joseph and Melina 
 Gendron Landry; studied with Jacques 
 Hoffman, Boston. Address, 18 Graham 
 St., Biddeford, Me. 
 
 Landry, Arthur B., vocalist (bass); b. 
 Westbrook, Me., July 9, 1891; s. Peter 
 Benjamin and Clara Landry; ed. West- 
 brook, Me.; studied with D. McCarthy, 
 Lewiston, Me.; Sec. Orpheon Musical 
 Society; musical dir. Musical Literary 
 Club; Sec. Cercle Canadian Club; mem. 
 Artisans Fraternal Society and Alliance 
 Francaise of N. Y.; soloist in ‘Fra Dia- 
 volo, oH.» M.2S,,Pinafore;” “Faust,” 
 “Olivette,” “Mascot,” “La Fille de Ma- 
 dame Angot,” “Rigoletto,” and “Romeo 
 and Juliet” in Lewiston, Me. Address, 
 248 Park St., Lewiston, Me. 
 
 Landry, Mrs. G. E., m.t.; mem. Festival 
 Chorus, 20 yrs. Address, Old Town, Me. 
 
 Lane, Albert A., organist; studied with 
 Grace B. Howes; org. 2nd Baptist Churcin, 
 Bangor; theatre pianist Old Town. Ad- 
 dress, Bangor, Me. 
 
 Lane, Alice Frye, teacher piano and or- 
 gan; b. Rockland, Me.; d. George A. 
 and Adel Spear Frye; m. Oscar C. Lane; 
 ed. Vinalhaven, Me.; studied with Carrie 
 Burpee Shaw, Rockland, Me.; organist 
 for several years, Union Church, Vinal- 
 haven; Past Matron, Marguerite Chap- 
 ter, Order Eastern Star, Vinalhaven. 
 Address, Box 308, Vinalhaven, Me. 
 
 Lane, Emma, m.t. Address, Patten, Me. 
 
 Lane, Lucy Mitchell, vocalist (alto); b. 
 Leeds, Me., Sept. 16, 1861; d. Orson and 
 Viora G. Lane; ed. Normal Training 
 School; studied with Mrs. Ada Wiggin, 
 John J. Turner, Madame De Angelis, 
 Warren Davenport, Boston; mem. An- 
 droscoggin Musical Society, Spinet 
 Club, Maine Music Festival, Alpha La- 
 dies Quartette, Philharmonic Club. Vo- — 
 cation, public school teacher. Address, 
 794 Warren Ave., Brockton, Mass. 
 
 Lane, Maurice Elton, bandsman; b. Stan- 
 dish, Me., Oct. 1, 1909; s. Perce E. and 
 
418 MUSIC AND MUSICIANS OF MAINE 
 
 Grace E. Lane; studied with Frank J. 
 Rigby; mem. Portland Municipal Or- 
 chestra (clarinet, saxophone); mem. 
 240th Nat. Guard and Rigby’s Band; 
 mem. I. O. O. F. Vocation, clerk and 
 musician. Address, 308 Allen Ave., Port- 
 land, Me. 
 
 Lane, Mrs. Merton A. (Ida M. Thomp- 
 
 son), vocalist (soprano); b. Portland, . 
 
 Me., May 18, 1879; d. Neal C. and Anna 
 Stevens Thompson; m. Merton A. Lane, 
 Oct. 27, 1897; ed. Curry School of 
 Spoken Word, Boston, Columbia and 
 Baker Summer Schools; studied with 
 Edgar Paine, Evangeline Pearson, Mes- 
 dames Hawes and Curry; mem. Wo- 
 men’s Literary Union, League of Women 
 Voters, Lincoln Club, Daughters of 
 Union Veterans, Sons of V. Aux., 
 Thatcher Corps; Past Pres. Portland 
 Society of Arts and Crafts; former mem. 
 Portland Festival Chorus, 15 yrs.; has 
 sung leading parts in amateur operas. 
 Address, 30 Devonshire St., Portland, 
 Me. 
 
 Lane, Oscar C., soloist (bass); b. Vinal- 
 haven, Me.; s. William S. and Mercy 
 (Delano) Lane; m. G. Alice Frye; ed. 
 Vinalhaven, Me.; studied with T. L. 
 Roberts, Utica, N. Y.; mem. Smith’s 
 Vinalhaven Band (trap drummer); Ma- 
 son, Odd Fellow; Past Commander of 
 De Valois Commandery, Knights Tem- 
 plar, Past Master of Moses Webster 
 Lodge, F. and A. M., Past Patron of 
 Marguerite Chapter Order of Eastern 
 hee Address, Box 308, Vinalhaven, 
 
 e. 
 Lane, Robert, violinist; mem. Portland 
 
 Municipal Orchestra. Address, 144 Clif- . 
 
 ford St., So. Portland, Me. 
 
 Langlais, Charles J., violinist. 
 Old Town, Me. 
 
 Address, 
 
 Langlois, Charles C., music teacher. Ad- 
 
 dress, 187 College Ave., Waterville, Me. 
 Langman, Sylvia, m.t. Address, Camden, 
 Me. 
 
 Lanterman, Ethel Leemon, vocalist (so- 
 prano); b. Portland, Me., Nov. 2, 1893; 
 d. Charles G. and Abbie G. Leemon; m. 
 Lester C. Lanterman, June 26, 1922; ed. 
 Portland, Me.; studied with Elizabeth 
 Brown; Past Pres. Marston Club; mem. 
 Ladies’ Aria Quartette; student mem. 
 Rossini Club; soloist Sacred Heart 
 Church, Portland. Address, Wadsworth 
 Apt. 38, Portland, Me. 
 
 Lapointe, Lelia, m.t. Address, Livermore 
 Falls, Me. 
 
 Larrabee, Myrta Skillings, vocalist (so- — 
 prano); b. Gray, Me., Sept. 25, 1875; d. © 
 Benjamin F, and Ellen Libby Skillings; — 
 m. George H. Larrabee, Aug. 15, 1805; © 
 studied with Mrs. O. H. Fellows, Wm, — 
 H. Dennett, Portland, and Sara Peakes, 
 Bangor; formerly mem. executive com- 
 mittee Bangor Festival Chorus; Pres, 
 Schumann Club, Bangor, 1914; mem. 
 Haydn Asso., Portland, Haydn Society, 
 and Cary Quartette, Damariscotta, ~ 
 Schumann Club, Bangor, Bangor Festi- 
 val Chorus and Portland Festival 
 Chorus. Address, 37 Orkney St., Port-— 
 land, Me. .- 
 
 Latham, Thelma, viola; mem. Portland 
 Municipal Orchestra. Address, 249 Con- 
 cord St., Portland, Me. 7 
 
 Laughton, Edith (see Edith L. Bradford). 
 
 Lauzier, Mrs. Aline, m.t. Address, 52 
 Birch St., Biddeford, Me. 
 
 Lavallie, F. X., choir dir. Address, Old 
 Town, Me. 3 
 Laverty, Mildred I., m.t. Address, 85. 
 Myrtle St., Westbrook, Me. 7 
 
 Lavigne, Fred J., leader Sanford Mills 
 Band. Address, Sanford, Me. 4 
 
 Lawrence, Harold M., solo flutist; mem. 
 Portland Orchestral Soc. and Portland 
 Flutists’ Society. Address, 80 Whitney 
 Ave., Portland, Me. 
 
 Leach, Mrs. Gilbert, m.t. Address, Cas- 
 tine, Me. 
 
 Leach, Sadie E., m.t. Address, 51 No. 
 Main St., Rockland, Me. 
 
 Leavitt, Ada I., teacher of piano; b. Weld, 
 Me.; d. Brooks D. and Mary H. Russell; 
 m. William N. Leavitt, Feb. 9, 1873; ed. 
 Wilton Academy, Wilton, Me.; studied 
 with L. W. Ballard, Lewiston, Me.; or-— 
 ne M. E. Church. Address, Wilton, — 
 
 e. a 
 
 Lebeau, Alpaida, m.t. Address, 213 Pine © 
 St., Lewiston, Me. 
 
 Leblond, Armaline, m.t. 
 Third St., Auburn, Me. 
 
 Lee, Ethel M., vocalist (contralto); b.— 
 Dark Harbor, Me., Jan. 31, 10037 dm 
 Frederick A. and Caro E. Lee; ed. Maine 
 Central Institute and N. E. Conserva- 
 tory; studied with Henry Goodrich and 
 U. U. Hubbard; mem. choir M. E. 
 Church. Vocation, supervisor of public 
 school music. Address, 124 Kennebec 
 St., Waterville, Me. in 
 
 Leech, Clara Avis, vocalist (soprano); b.. 
 Everett, Mass., Aug. 16, 1900; d. Fred 
 
 ’ 
 
 Address, 104 
 
BIOGRAPHICAL SECTION—1927-1928 419 
 
 Howard and Avis Richardson Leech; 
 ed. Oakland, Me.; studied with Frances 
 Cote, P. A. A. Killam, Alice Manter; 
 mem. First Baptist Church Choir and 
 Oakland Community Chorus. Vocation, 
 stenographer. Summer home, Lakeside, 
 Me. Address, Church St., Oakland, Me. 
 
 Leech, Fred Howard, vocalist (tenor); b. 
 Chicopee, Mass., June 2, 1866; s. George 
 C. and Julis E. Leech; m. Avis Richard- 
 son Bickford, Nov. 20, 1889; ed. Somer- 
 ville and Everett, Mass.; studied with 
 Josiah Kingman, H. O. Chelius and P. 
 A. A. Killam; mem. Oakland Commu- 
 nity Chorus and Oakland Festival Cho- 
 rus, 1917-20; mem. First Baptist Church 
 Choir, Oakland; Sec. Sons of Veterans; 
 Pres. Red Cross Society; Commander 
 ieee ee cr, CC, Vocation, salesman. 
 Summer home, Lakeside, Me. Address, 
 Church St., Oakland, Me. 
 
 Leen, Hazel Perry, soloist, violinist; b. 
 Sherman, Me., 1900; d. Byron and Kath- 
 erine Perry; m. Frederick Leen, Sept. 8, 
 1920; ed. Ricker Classical Institute; 
 studied with Prof. Lindsay and Faelten 
 Pianoforte School; mem. St. Martin of 
 Tours Church Choir; mem. Philhar- 
 monic Club. Res., Congress St., Milli- 
 nocket, Me. 
 
 Leighton, Clifford E., teacher of mandolin 
 and banjo, soloist; b. West Falmouth, 
 mes july 7, 1882; s. Addison G. and 
 Sarah W. De Creney Leighton; Sec. and 
 Treas. Serenaders; mem. Elite Mando- 
 lin Orchestra and I. O. O. F.; composer, 
 “Bayside Gavotte,” “Echoes of Glad- 
 ness,” “National Guard,” “Fraternity 
 March,” “Golden Sunset,” “Hill Top 
 March,” “Moonlight Gavotte,’ “The 
 Huntsman’s March,” etc. Studio, 5484 
 Congress St., Portland, Me. 
 
 Been Edith, m.t. Address, Milbridge, 
 e. 
 
 Leighton, Ralph W., vocalist (baritone); 
 mem. Portland Men’s Singing Club. 
 Address, Adelbert St., So. Portland, Me. 
 
 Lenfest, Effie, Sec.-Treas. Old Town Fes- 
 tival Chorus. Address, Old Town, Me. 
 
 Leonard, Mrs. Helen Spearin, vocalist 
 (alto); mem. Schumann Club, Bangor. 
 Address, Bangor, Me. 
 
 Leonard, Leroy E., vocalist (tenor); mem. 
 Portland Men’s Singing Club; mem. 
 Knickerbocker Male Quartette. Ad- 
 dress, 200 Park Ave., Portland, Me. 
 
 Leonard, Paul H., m.t. Address, 68 Church 
 St., Brewer, Me. 
 
 Lepine, Raoul, pianist; b. Biddeford, Me., 
 Dec. 19, 1899; s. Eugene and Marie 
 Louise Lavallee Lepine; ed. Biddeford, 
 Me.; studied piano with Prof. E. Clarke, 
 Biddeford, Edward Collins; harmony, 
 counterpoint and composition with Har- 
 old B. Maryott, Felix Borowski and 
 Louis V. Saar; grad. Musical College of 
 Chicago, Ill.; composer, instrumental 
 and technical ‘studies. Vocation, teacher 
 of piano, harmony, composition. Ad- 
 dress, 12 King St., Biddeford, Me. 
 
 LeProhon, Florence Best, teacher of piano; 
 b. Westbrook, Me.; d. John L. and 
 Mary Bean Best; m. Ernest de B. Le- 
 Prohon, June 3, 1917; ed. Portland, Me.; 
 studied with Frank Rankin, Carl Baer- 
 mann, Boston, and Virgil Piano School, 
 N. Y.; mem. U. L. U., Columbian League 
 Arts and Crafts and Brush and Thimble 
 Club. Address, Portland, Me. 
 
 Lesieur, Simonne, pianist; mem. Portland 
 Rossini Club. Address, Biddeford, Me. 
 
 Levasseur, Pauline V., vocalist; b. Ash- 
 land, Me., Sept. 5, 1906; d. William I. 
 and Sophie LeVasseur; studied with 
 Cecil Fisher; mem. choir St. Dennis 
 Catholic Church, Fort Fairfield, Me. 
 Address, 26 Blaine St., Fort Fairfield. 
 Me. 
 
 Levi, Thomas Anthony, instrumentalist 
 (saxophone); b. Lewiston, Me., March 
 13, 1900; s. Stephen and Agnes Berzoti 
 Levi; ed. Rumford, Me.; studied with 
 C. M. Dexter and A. E. Manetee; mem. 
 to3rd Me. Infantry Band, Rumford, 
 Me.; Pres. Lithuanian and Citizens 
 Club; mem. L. O. O. M., Rumford Lo- 
 cal 1136, American Federation of Musi- 
 cians. Vocation, millworker. Address, 
 215 Franklin St., Rumford, Me. 
 
 Lewis, Charles Russell, vocalist (tenor); 
 b. Boothbay, Jan. 27, 1857; s. Russell 
 and Mary (Hodgdon) Lewis; m. Helen 
 A. Dennison, Sept. 20, 1879; mem. Maine 
 Festival Chorus (28-¥rs.),.1..O,.0°2 F., 
 Portland Club, Rep. to Leg., overseer of 
 the poor. Transportation business with 
 Portland Steamship Co., Eastern Steam- 
 ship Co. Res., Cumberland, Me.; o., 
 State Pier, Portland, Me. 
 
 Lewis, Ella, m.t. Address, Steuben, Me. 
 Lewis, Helen L., pianist; priv. mem. Port- 
 
 land Rossini Club. Address, R. F. D. 
 No. 4, Portland, Me. 
 
 Lewis, Richard E., organist, music teacher. 
 Address, 565 Congress St., Portland, 
 Me. 
 
420 
 
 Lewis, William J., choir dir. First M. E. 
 Church, So. Portland. Address, 263 
 Lincoln St., So. Portland, Me. 
 
 Libbey, Mrs. C. T., m.t. Address, New- 
 port, Me 
 
 Libbey, Harry W., vocalist (baritone) ; so- 
 loist Bangor Festival; choir singer; Di- 
 rector Eastern Maine Musical Asso. Ad- 
 dress, Bangor, Me. 
 
 Libby, Beatrice Elizabeth, pane b. Lew- 
 iston, Me., Sept. 27, 1906; d. J. Milton 
 and Martha Day Libby; ed. Bates Col- 
 lege; studied piano with Florence E. 
 Wells; mem. Lewiston-Auburn Sym- 
 phony Orchestra (bass viol); mem. 
 Bates Orphic Society. Address, 204 
 Webster St., Lewiston, Me. 
 
 Libby, Florence Haskins, teacher of piano; 
 b. Portland, Me., March to0, 1886; d. 
 Thomas Lancaster and Cora Jordan 
 Libby; ed. Portland, Me., and Berlin, 
 Germany; studied with Dr. Latham 
 True, Prof. Stuart Mason,and Prof. Mar- 
 tin Krause; mem. MacDowell Club and 
 Portland Rossini Club. Address, 655 
 Congress St., Portland, Me. 
 
 Libby, Mrs. Frances A., m.t. 
 St., Portland, Me. 
 
 Libby, Isabel, Pres. Biddeford-Saco Fes- 
 tival Chorus. Address, Biddeford, Me. 
 
 Libby, Lucien P., organist. Address, 22 
 Bramhall St., Portland, Me. 
 
 14 Sawyer 
 
 Libby, Mrs. Lucile, honorary member 
 Harmony Club, Lincoln. Address, Lin- 
 coln, Me. 
 
 Libby, Ruth S., school music supervisor. 
 Address, So. Portland, Me. 
 
 Lindsey, Evelyn Cole, organist and accom- 
 panist; b. East Machias, Me., May 20, 
 1902; d. Everett C. and Mary Dyer 
 Lindsey; ed. Washington Academy, 
 East Machias; studied with Sarah San- 
 born De Merritt; organist Baptist 
 Church, East Machias; Pres. Pathfinder 
 Club. Address, East Machias, Me. 
 
 Linnell, William Shepherd, chairman Port- 
 land Music Commission since 1920; b. 
 Biddeford, Me., July 21, 1885; s. William 
 F, and Sarah Shepherd Linnell; m. Jes- 
 sie E. Hopkinson, Nov. 12, 1912; ed. pub- 
 lic schools, Saco, Me., Thornton Acad- 
 emy, Saco, Bowdoin College and George 
 Washington Univ. Law School. Voca- 
 tion, lawyer. Address, 81 Brighton Ave., 
 Portland, Me. Office, 188 Middle St., 
 Portland, Me. 
 
 Linscott, Walter Leslie, music supervisor, 
 
 Lipsky, Arthur Arnold, instrumentalist — 
 
 Litchfield, Alice Percy, musician; b. Bath, 
 
 Litchfield, Elizabeth M., teacher of piano; ‘ 
 
 te Millie Parker, piano soloist daa 
 
 vocal teacher; b. Hancock, Oct. 9, 1882; 
 s. Charles C. and Eva Estelle (Duns- ; 
 more) Linscott; ed. Coburn Classical — 
 Institute, University of Bishops Col- — 
 lege; studied voice with Mrs. Hubbard, — 
 Waterville, J. Francis MacNichol of 
 Augusta, L. B. Cain of Portland, Fred- — 
 eric Bristol of N. Y.; m. Hazael Foster, 
 Jan. 26, 1908; mem. and for 2 yrs. Pres. 
 Musical Colony, Harrison, Me.; Prin. | 
 Searsport High School, New Sharon 
 High School, Powers Inst. of Mass., — 
 Ashland High School; baritone soloist 
 and conductor; produced operas “Faust,” 
 “Rigoletto,” “Bohemian Girl” and “Ty | 
 Trovatore”’ many times in Maine and 
 Mass.; mem. Bristolian Trio (the other 
 members being Charles Harrison, Ha- — 
 zael Linscott); Mason, Shrine. Res., 12 
 
 Rockwood Ave., Bar Harbor, Me. q 
 
 MUSIC AND MUSICIANS OF MAINE 
 4 
 3 
 
 (violin, saxophone, trombone); b. Bos- — 
 ton, Mass., Feb. 22, 1901; s. William and — 
 Annie Fine Lipsky; ed. Bangor, Me., ~ 
 and at Harvard University; studied with - 
 H. M. Pullen and May Weston; mem. 
 Harvard University Band, Bangor 
 Symphony Orchestra, Pierian Sodality 
 Orchestra, Harvard Univ. and Boston — 
 Symphony Ensemble; Mason; mem. — 
 Alpha Omega Fraternity, Mu Sigma 
 Fraternity. Vocation, practising dentist 
 at 64 East 86th St., New York City. 
 pe address, 278 Main St., Bangor, 
 
 e. 
 
 Me., 1880; d. Andrew J. and Clara , 
 (Oliver) Percy; m. Harry E. Litchfield. — 
 Vocation, artist and restorer of antiques. ; 
 Res., 16 Bath St., Bath, Me. 
 
 b. Lewiston, Me.; d. William E. and 
 Clarawi: Litchfield; ed. Lewiston, Me.; — 
 studied with E. W. Hanscom and Har- . 
 vey Murray; Pres. Philharmonic Club, 
 6 yrs., Treas., 8 yrs.; state chairman, 
 Young Artists Contest, 3 yrs.; mem. 
 Philharmonic Club, Women’s Literary 
 Union, Rebekahs and Odd Ladies; mem. 
 Spinet Club, Lewiston, 20 yrs. Address, 
 III Bartlett St., Lewiston, Me. j 
 
 b. Auburn, Me., 1866; d. Sewell 
 Clarke and Melissa Foss Parker; m. John 
 H. Litchfield, 1884; studied with E. W.5 
 Hanscom, Auburn, and Prof. Frank L. 
 Rankin, Portland; mem. Spinet Club of 
 Lewiston-Auburn from the time of its. 4 
 incorporation, over a period of 20 yrs., 
 when it merged with the Clef and Cla-— 
 
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 ee WALKS SUS ines Meth pits 4 ae “ 
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 Page: 
 
 BIOGRAPHICAL SECTION—1927-1928 
 
 421 
 
 vier Clubs into the Musical Union and 
 in 1917 changed its name to the Philhar- 
 monic Club; served as Sec., Vice Pres., 
 Pres., Director and Program Committee 
 of Spinet Club; also Sec., Pres., Dir. and 
 Pro. Com. of Philharmonic Club; org. 
 the clubs in Music Appreciation and Un- 
 derstanding in Lew.-Aub., Jan., 1924, as 
 arranged and sponsored by the Nat. Fed. 
 of Music Clubs; Third Vice Pres. of 
 Maine State Fed. of Music Clubs its sec- 
 ond year; mem. Lew.-Aub. Festival 
 Chorus during its first years and dir. 
 Central Maine Festival Asso. Lewiston- 
 Auburn. Res., 329 Turner St., Auburn, 
 Me. 
 
 Little, Anita Gray, pianist; b. Portland, Me; 
 d. Francis Hall and Ella Gray Little; ed. 
 Portland public schools and Waynflete 
 School, Portland; studied piano with 
 Lucy Blanchard and Helen Lamson EI- 
 well; asso. mem. Rossini Club; com- 
 poser, “Cradle Song,” pub. by Oliver 
 Ditson Co., Boston, 1924, and about 20 
 songs in manuscript; author of a num- 
 ber of poems, some of which have been 
 published; received prize for poem, 
 “Music.” Res., 22 Stonybrook Road, 
 Cape Elizabeth, Me. 
 
 Little, C. Bryce, vocalist; s. Freemont J. 
 C. Little of Augusta; chorister Cathe- 
 dral St. John the Divine, N. Y.; Pres. 
 Festival Chorus. Address, Augusta, Me. 
 
 Little, Frank H., oboe; former mem. Port- 
 land Orchestral Society; mem. Portland 
 Municipal Orchestra. Address, Wood- 
 land Rd., So. Portland, Me. 
 
 Littlefield, Ellen Blanchard, pianist; b. 
 Portland, Me., March 14, 1844; d. Syl- 
 vanus R. and Christiana B. Lyman; m. 
 Henry B. Littlefield, Dec. 15, 1868; stud- 
 ied with Henry S. Edwards and W. H. 
 Dennett; Rec. Sec. Rossini Club from 
 1895 to 1897; mem. Portland Rossini 
 Club from 1872 to 1897; now honorary 
 member of same. Address, 100 Park St., 
 Portland, Me. 
 
 _ Littlefield, Mrs. George Edward, vocalist, 
 
 Pianist; b. Gorham, Me., May 28, 1901; 
 d. Leverett C.and Minnie Labarru Hol- 
 den; m. George E. Littlefield, June 30, 
 1921; ed. Gorham Normal School; stud- 
 ied with Nellie McCann, Gorham, Helen 
 Cressey, Portland, and Mrs. Marion 
 Theis, Westbrook; mem. choir, First 
 Parish Cong. Church, Gorham; mem. 
 Annie Louise Cary Club, Woman’s 
 Guild, First Parish Cong. Church; Pres. 
 Woman’s Aux. Am. Leg. Address, 
 School St., Gorham, Me. 
 
 Littlefield, Laura Comstock, vocalist (so- 
 prano); b. Malden, Mass.; d. Charles M. 
 and Ada Cummings Comstock; m. Rob- 
 ert Stanley Littlefield, June 8, 1905; ed. 
 Radcliffe College; studied with Mrs. H. 
 H. Gallison, Jean de Reszke and Her- 
 bert Witherspoon; mem. Old South 
 Church Choir, Boston; soloist with Bos- 
 ton Symphony Orchestra 12 times and 
 with the Apollo Club, Handel and Haydn 
 Society, Harvard Glee Club, Cecilia So- 
 ciety and for Victor Records. Vocation, 
 professional singer. Address, 87 St. Ste- 
 phen St., Boston, Mass. Summer ad- 
 dress, Pleasant Point, Knox County, Me. 
 
 Littlefield, Seth, m.t. Address, Orono, Me. 
 
 Long, Ella Boyce Fifield, teacher of piano 
 and pipe organ; b. Bangor, Me., April 1, 
 1894; d. Frederick T. and Cecilia (Camp- 
 bell) Fifield; m. William Puffer Long, 
 Sept. 26, 1917; ed. Bangor and Faelten 
 School, Boston; studied with Mrs. F. L. 
 Tuck and Grace Bramhall; organist Es- 
 sex St. Baptist Church, Bangor; mem. 
 Fifield Trio, Schumann Club and Ban- 
 gor Festival Chorus. Address, South 
 Brewer, Me. 
 
 Longfellow, Bertha, Treas. Machias Fes- 
 tival Chorus. Address, Machias, Me. 
 
 Loomis, Daisy, m.t. Address, Lincoln, Me. 
 Lord, Cora, m.t. Address, Belfast, Me. 
 
 Lord, Frederick A., mem. Excelsior Quar- 
 tette. Address, Saco, Me. 
 
 Lord, Helen Cooper, composer, pianist, 
 accompanist; b. Dec. 10, 1892; d. John 
 F. and Mary B. Cooper; m. Kenneth 
 Prince Lord, Sept. 6, 1913; ed. Bradford 
 Academy; studied with Madame French, 
 Dr. Latham True, Harris Shaw and 
 Madame Suza Doane; former mem. 
 Harmony Club (12 yrs.), Rubinstein 
 Club (4 yrs.); Sec. Fort Sill Study Club; 
 composer, “Old Pine,” “Sky Bird and 
 Tree,” 2Vale,” “In De Cabin Do,” “Mah 
 Lil Lamb,’ “Remembrance,” “The 
 Years at the Spring,” “Down by the 
 Locker of Davy Jones.” Address, 156 
 Limerock St., Rockland, Me. Mail ad- 
 dress, Lawton, Oklahoma. 
 
 Lord, Mary Marriner, pianist, organist; 
 b. Washington, D. C.; d. Chauncey and 
 Abbie Clement Towle Marriner; m. 
 Charles Ferdinand Lord, Jan. 22, 1889; 
 ed. Fryeburg Academy; studied with Her- 
 mann Kotzschmar, Portland, and Frederic 
 Beswirtz and Madame De Revelle Rice, 
 Chicago, and Benjamin Allen, Worces- 
 ter, Mass.; org. Church of the New 
 
422 
 
 MUSIC AND MUSICIANS OF MAINE 
 
 Jerusalem, Fryeburg; mem. Woman’s 
 Literary Club, Eastern Star, Pomonas and 
 Grange; former Pres. Woman’s Lit. Club 
 and Sec. of Grange. Vocation, teacher. 
 Address, Main St., Fryeburg, Me. 
 
 Loring, Harold, recitalist, lecturer, con- 
 cert artist, composer; b. Portland, Me., 
 June 27, 1879; s. Lincoln R. and Jennie 
 Burnham Loring; m. Carol Constant, 
 1913; studied with Carl Faelten, Boston, 
 A. K. Virgil, N. Y., and Willard Kim- 
 ball, Portland; mem. Phi Alpha Pi and 
 Musicians Club of N. Y.; spent 7 yrs. on 
 Indian Reservations, studying folklore, 
 languages and music; toured the U. S. 
 lecturing on “The North American In- 
 dian and his Music’; composer, “Song 
 of the Red Man,” “Sioux Indian Ghost 
 Song,” “My Heart is Sad,” “Cheyenne 
 War Song”; various transcriptions of 
 native Indian songs. Address, Indian 
 Hills Artists Colony, Colorado. 
 
 Lothrop, James K., mem. Kotzschmar 
 Club. Address, 90 Rackleff St., Port- 
 land, Me. 
 
 Lothrop, Mrs. James K. (May G.), vocal- 
 ist (contralto); mem. Women’s Choral 
 Society and past pres.; mem. Central 
 Sq. Baptist Church Quartette. Address, 
 90 Rackleff St., Portland, Me. 
 
 Lougee, Lenona Pauline, vocalist (alto) ; b. 
 Dyer Brook, Me., Feb. 16, 1906; d. Her- 
 man F. and Lettie Clark Lougee; stud- 
 ied with Eva McGinley and Rudolf Hul- 
 ten; mem. choir and orchestra (violin) 
 First Baptist Church; mem. Houlton 
 Music Club and Houlton Symphony 
 Orchestra. Address, 8 West St., Houl- 
 ton, Me. 
 
 Lougee, Marguerite Emma, vocalist; b. N. 
 Parsonsfield, Me. July 18, 1890; d. 
 Hugh B. and Anna (Eastman) Lougee; 
 ed. Parsonsfield Sem.; A.B. Bates, 1913; 
 A.M. Columbia Univ. and Bates, 1923; 
 mem. Me. Music Festival; supt. begin- 
 ners dept. United Bapt. Sunday School, 
 1920-23; mem. Phi Beta Kappa Frat., 
 N. E. Assn. Math. teachers; demonstra- 
 tion teacher, social director and in 
 charge of chapel music at Bates Sum- 
 mer School (1923); head of Math. Dept. 
 F. A. Day Junior High School, Newton- 
 ville, Mass., 1926; dir. Jordan High 
 School Mandolin Club, tr1919-26; dir. 
 Mandolin Club, F. A. Day Jr. High, 
 1927; composer school song, “We’re 
 Out to Win.” Address, 141 Nichols St., 
 Lewiston, Me. 
 
 Lougee, Nellie Delphine, vocalist (mezzo 
 
 soprano); b. N. Parsonsfield, Me., Oct. 
 19, 1888; d. Hugh Bartes and Anna ~ 
 Eastman Lougee; ed. Parsonsfield Sem- — 
 inary, A.B. Bates College; former mem. 
 Girls’ Glee Club, Bates Coll.; mem. 
 choir Lewiston churches; mem. Me. 
 Music Festival since 1911. Res., 141 
 Nichols St., Lewiston, Me. 
 
 Love, Evelyn, m.t. Address, 102 Pleasant 
 St., Auburn, Me. 
 
 Loveley, Ethel, vocalist (mezzo soprano); 
 b. Washburn, Me.; ed. Caribou Public 
 Schools; studied with Samuel W. Cole 
 and at N. E. Conservatory of Music; 
 mem. St. Luke’s Episcopal Church 
 Choir; graduate American Institute of 
 Normal Methods, Auburndale, Mass.; 
 formerly supervisor of music in public 
 schools at Caribou, Me., Provincetown, 
 Mass. Vocation, supervisor of music, 
 riba! Mass. Address, Maynard, 
 
 ass. 
 
 Lovell, Franklin Winslow, pianist, organ- 
 ist; b. Portland, Me., Dec. 20, 1899; s. 
 Walter H. and Edith H. Lovell; ed. 
 Portland, Me., and Bowdoin College; 
 studied with Frank L. Rankin, Leo Le- 
 Sieur and Prof. E. H. Wass; mem. Bow- 
 doin College Band (tuba, cymbals) and 
 Lovell’s, Harmonic and Bowdoin Col- 
 lege Orchestras; mem. Portland Athlet- 
 ic Club, Portland Lodge, No. 1, F. A. 
 M., Portland Musicians Asso. and Alpha 
 Delta Phi Fraternity, Bowdoin College. 
 Address, 45 Spring St., Portland, Me. 
 
 Lovell, H. D., music teacher, clarinettist. 
 Address, Brunswick, Me. 
 
 Low, Mrs. Martha, honorary member — 
 Philharmonic Club, Auburn-Lewiston. — 
 Address, Lewiston, Me. _ 
 
 Low, Mildred Caroline, teacher of piano 
 and voice; b. Springvale, Me., 
 1881; d. Frank and Levia (Hubbard) 
 Low; mem. Springvale Woman’s Club; 
 church organist and choir director; — 
 mem. Pleasant St. Free Baptist Church. © 
 Address, 16 Paine St., Springvale, Me. 
 
 Lowell. Charlotte, vocalist; mem. Wom- — 
 at Choral Society. Address, Portland, — 
 
 Lowell, Harry, bassoon; mem. Portland — 
 
 Municipal Orchestra. Address, % A. H. — 
 
 Berry Shoe Co., 149 Middle St., Port- 
 land, Me. x 
 Luce, Bertha Mae, violinist; b. Union, Me. 
 May 27, 1903; d. Dr. Irville E. and Mary — 
 Andrews Luce; ed. Farmington Normal — 
 School; studied violin with William — 
 
 Aug. It, @ 
 
BIOGRAPHICAL SECTION—1927-1928 423 
 
 Krafts, Dr. I. E. Luce, Augusta Talbot; 
 mem. Rubinstein Club, Rockland; for- 
 mer mem. Cecilia Club, Augusta, Phil- 
 harmonic Club and Harmony Club of 
 Rockland. Vocation, school teacher. Ad- 
 dress, Thomaston, Me. 
 
 Luce, Carrie F., teacher of piano; b. Five 
 Islands, Me., March 25, 1863; d. Francis 
 A. and Caroline Snowman Luce; ed. 
 Hallowell Classical Academy. Address, 
 97 Oak St., Bath, Me. 
 
 Lucille, Sister Mary, school music super- 
 visor. Address, Waterville, Me. 
 
 Ludden, Muriel B., pianist; b. Bingham- 
 
 ton, N. Y., May 21, 1900; d. Dr. Ray and 
 
 Carrie S. Beardsley; m. William Robin- 
 son Ludden, Dec. 25, 1922; studied with 
 Mrs. Charles McLean, Binghamton, N. 
 Y.; mem. and press reporter Philhar- 
 monic Club, Auburn. Address, 9 Win- 
 ter St., Auburn, Me. 
 
 Ludden, Rena H., vocal teacher; b. Bris- 
 tol, N. H., Aug. 14, 1884; d. Stephen F. 
 and Annie S. Hammond; m. Forest E. 
 Ludden, July 3, 1918; studied with Mrs. 
 Katherine Crafts and Mrs. Franklin 
 Clark; mem. Philharmonic Club. Ad- 
 dress, 9 Winter St., Auburn, Me. 
 
 Lunt, Elsie, m.t. Address, R. F. D. No. 3, 
 Freeport, Me. 
 
 Lurvey, Samuel S., bandsman (cornet- 
 tist) ; b. Norway, Me., 1859; mem. John- 
 son’s Cornet Band; became mem. Lynn 
 Brass Band, 1882, and played with this 
 band 9 yrs. when present Lynn Cadet 
 Band was organized he became leader 
 (about 48 musicians) ; mem. Masons, Odd 
 Fellows, Knights of Pythias, Knights 
 eat Red Men. Address, Lewiston, 
 
 e. 
 
 Lyford, Laura Alvena, teacher of piano 
 and pipe organ; b. Rockland, Me., Dec. 
 13, 1868; d. Houghton Hall and Clara 
 Caroline Putnam; m. Bertrand Everett 
 Lyford, Nov. 24, 1887; ed. Farmington 
 and Lewiston public schools; studied 
 with Alma Holmes, Tracy Young; mem. 
 Universalist Church Choir; organist M. 
 E. Church, Livermore Falls; former 
 Drea. vy. kt. M, 5. of M. E. Church; 
 mem. Pythian Sisters, M. E. Church. 
 Address, Livermore Falls, Me. 
 
 Lynch, Mrs. J. T., soloist, St. Peter’s 
 Episcopal Church. Address, 30 Kidder 
 St., Portland, Me. 
 
 Lynn, Ruth M., music teacher; mem. Mac- 
 Dowell Club. Address, 526 Stevens 
 Ave., Portland, Me. 
 
 Lyon, C. Leroy, teacher of singing, tenor 
 soloist; b. Leominster, Mass., Dec. 9, 
 1884; s. Albert E. and Julia Ada Lyon; 
 m. Alice Clair Silverthorne, Aug. 11, 
 1914; ed. Mt. Hermon School, Mass.; 
 studied with Arthur J. Hubbard; com- 
 pdsition with Benjamin Whepley, Bos- 
 ton, and directing with Frederick Wood- 
 ell; dir. Grace M. E. Church Choir; dir. 
 Lyric Male Quartet; composer, ‘“Wait- 
 ing,” “Carita,” “Isle of Dreams” and “I 
 Need My Father’s Love”; was army 
 song leader during war; teacher acting, 
 sight reading, harmony, voice. Address, 
 Bangor, Me. Winter address, 605 First 
 Ave., So. St. Petersburg, Florida. 
 
 Lyon, Ida Holtz, teacher of piano; b. Dan- 
 forth, Me., 1884; d. Ida M. McClain; m. 
 Percy W. Lyon, 1921; studied piano 
 with Mrs. Dwight Foster, Miss Leila 
 Bucklin, Camden, and Miss Abbie Gar- 
 land of Bangor Piano School; voice 
 with Sara Peakes, Bangor, and pipe 
 organ with Everett Hall, Bangor; grad- 
 uate of American Institute of Normal 
 Methods, Auburndale, Mass. Teaching 
 in public schools of Danforth. Address, 
 Danforth, Me. 
 
 Lyseth, Harrison C., org. and choirmaster 
 St. Mark’s Epis. Church; org. Augusta 
 State Hospital. Address, Augusta, Me. 
 
 MacDonald, J. Daniel, teacher of piano; 
 b. Portland, Me., June 16, 1895; s. Don- 
 ald and Mary Belle Corrigan MacDon- 
 ald; studied with Sisters of Mercy, Prof. 
 George Quimby, Dr. Alfred Brinkler, 
 and with noted Benedictine, Dom Ade- 
 lard Bouvilliers of Belmont Abbey; 
 studied voice with L. B. Cain and 
 Blanche Towle of Boston; started ca- 
 reer as boy soprano at Cathedral of Im- 
 maculate Conception, Portland, 1908; 
 returned to direct this same choir in 
 1924-25. Activities, piano teaching, vo- 
 cal coaching and concert playing. Ad- 
 dress, 602a Congress St., Portland, Me. 
 
 MacDonald, Mrs. Margaret, organist. Ad- 
 dress, 13 Grant St., Portland, Me. 
 
 MacGibbon, Roger W., teacher flute and 
 bassoon; b. Springvale, Me., June 27, 
 1899; s. of A. J. and F. W. MacGibbon; 
 studied with Prof. Arthur Brooke; mem. 
 Empire Theatre Orchestra; organizer, 
 Lewiston-Auburn Symphony Orches- 
 tra; former mem. of various theatre or- 
 chestras and concert bands throughout 
 New England. Vocation, musician. Ad- 
 dress, Empire Theatre, Lewiston, Me. 
 
 MacGregor, Eleanor B., music teacher, 
 
424 ~ MUSIC AND MUSICIANS OF MAINE 
 
 composer. Address, 44 State St., Port- 
 land, Me. 
 
 MacLaughlin, Marlin V., cornettist; b. 
 Brewer, Me., Dec. 27, 1903; s. James E. 
 and Abbie B. Skofield MacLaughlin; 
 ed. University of Maine; studied with 
 Dennis O’Neil and Irving Devoe; mem. 
 Eastern A. A., Bangor Band and direc- 
 tor of University of Maine Band; mem. 
 Tom Kaine’s Dance Orchestra. Address, 
 28 E. Summer St., Brewer, Me. 
 
 MacLean, Bessie Smith, organist, teacher’ 
 
 of piano; b. So. Portland, Me., Dec. 11, 
 1886; d. Horatio Nelson and Annie Bal- 
 lard Smith; m. Angus MacLean, Oct. 
 16, 1907; studied with Maude Gilman 
 and at New England Conservatory; or- 
 ganist; Elm St: Mi HE. «Church; “Fast 
 Pres. Matrons Club; has played for 
 Longfellow Chaper, O. E. S., for 14 yrs. 
 Address, 50 Cole St., So. Portland, Me. 
 
 MacMullin, Margaret Mitchell, music su- 
 pervisor in public schools; b. Orono, 
 Me., 1897; d. John J. and Alena Hunter 
 Mitchell; ed. University of Maine; m. 
 Joseph Percy MacMullin, Dec. 29, 1924; 
 studied at N. E. Conservatory and David 
 Mannes Music School, N. Y. City; mem. 
 St. Martin of Tours Choir, Millinocket; 
 soprano soloist, pianist; mem. Philhar- 
 monic Club; adviser of Junior Philhar- 
 monic Club. Address, Box 165, Milli- 
 nocket, Me. 
 
 Macomber, Mrs. Harry, m.t. Address, 
 Castine, Me. 
 
 Macy, Edward Hallett, vocalist (bari- 
 tone), pianist, accompanist; b. New 
 Bedford, Mass., July 4, 1870; s. Thomas 
 Hallett and Henrietta Luce Macy; for- 
 merly mem. St. Stephen’s Epis. Church 
 Choir, Portland, Maine Music Festival; 
 author of poems, including a published 
 volume, “Between Whiles”; sermon 
 story, “There and Back”; composer, an- 
 them, “Give Praise to God,” and words 
 of two popular songs. Vocation, minis- 
 ter. Address, 13 Beckett St., Portland, 
 Me. 
 
 Macy, James F., bass soloist; b. New Bed- 
 ford, Mass., July 3, 1869; s. William J. 
 and Amanda M. Peirce; m. Rose M. 
 Sayward, Dec. 9, 1896; ed. New Bedford 
 and N. E. Conservatory of Music, Bos- 
 ton, Mass.; studied with William L. 
 Whitney; mem. New Bedford No. Con- 
 gregational Church Choir 4 yrs., Willis- 
 ton Church Choir, Portland, 7 yrs., 
 Warren Church, Westbrook, 4 yrs.; 
 Pres. Haydn Asso. 2 yrs., Music Fes- 
 
 tival Chorus 1 yr.; mem. Portland Men’s 
 Singing Club, Kiwanis Club, Portland 
 Club; Treas. S. H. & A. R. Doten; M. & 
 M. Mutual Fire Insurance Co. Ad- 
 dress, 66 West St., Portland, Me. 
 
 Magill, Mrs. Philip, m.t. Address, Presque 
 
 Isle, Me. 
 
 Maher, Elizabeth, pianist; accompanist St. 
 Croix of Calais Festival Chorus. Ad- 
 
 dress, Calais, Me. 
 
 Mainente, Anton Eugene, teacher, com- 
 
 poser and conductor; b. Paterson, N. J., 
 Nov. 9, 1889; s. Emil and Pasqualina 
 Mainente; m. Marcelle Darneau, Sept. 
 27, 1921; ed. N. E. Conservatory, and 
 Paris; studied with G. W. Chadwick, L. 
 C. Elson, A. Gedalge, A. Caplet, E. 
 Klahre, B. Cutter, A. Brooke, and F. 
 Casadesus; band leader, The Mainente 
 Concert Band; dir. and founder, The 
 Mainente School of Music; composer, 
 “Fantasia Mesto, Symphonic Poem,” 
 “The Four Horsemen of Apocalypse,” 
 “Colonel Bigelow March,” “The Spirit 
 of Lakewood March,” and others; for- 
 mally conductor, Doree Opera Co., band 
 leader and instructor of the A F 
 Bandleaders School, Chaumont, France; 
 flutist with the Boston Symphony Or- 
 chestra during season of 1916. Address, 
 Rumford, Me. 
 
 Mallett, Mrs. Blanche B., m.t. Address, 
 
 Readfield, Me. 
 
 Maloney, Fanning G., flute soloist and 
 
 concert artist, vocalist (baritone); b. 
 Richford, Vt.; s. M. J. and Jennie Goff 
 Maloney; m. Blanche A.. Dostie, June 
 23, 1914; ed. Richford High School; 
 studied with Mon. André Maquarre; 
 piano and harmony with Madame Leach 
 of N. Y., flute solfeggio, theory and ad- 
 vanced harmony with Andre Maquarre 
 of the Boston Symphony who won first 
 prize in the Paris Conservatory; studied 
 composition with Massanet; composer 
 numerous songs and flute solos; former- 
 ly mem. Sousa’s Band (flute); mem. 
 Strand Theatre Orchestra; former mem. 
 Verdi Symphony Orchestra, MacDow- 
 ell Club, and Hotel Westminster Or- 
 chestra of Boston and flute soloist on 
 various Lyceum Bureaus; conductor 
 Portland Flutists’ Society. Res., 135 
 Sherman St., Portland, Me. 
 
 Mangum, Elmer R., vocalist (tenor); 
 
 mem. Kotzschmar Club, Portland Men’s 
 Singing Club, Portland Polyphonic So- 
 ciety. Address, 20 Hanover St., Port- 
 land, Me. 
 
 — 
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 Mansfield, 
 
 BIOGRAPHICAL SECTION—1927-1928 425 
 
 Mann, Mrs. William E., music teacher; 
 
 mem. Me. Festival Chorus, 25 yrs. Ad- 
 dress, Milltown, Me. 
 
 Frances Vivian, organist, 
 teacher of piano; b. Houlton, Me., Sept. 
 1, 1906; d. Harry Francis and Pearl 
 Barker Mansfield; studied at St. Mary’s 
 Academy, Houlton; piano, C. Winfield 
 Richmond, Bangor; voice, Mary Bur- 
 pee, Helen Spearin Leonard; mem. choir 
 and org. First Baptist, Houlton; for- 
 merly org. Church of the Good Shep- 
 herd and the Congregational; mem. 
 Houlton Music Club. Address, 19 Bow- 
 doin St., Houlton, Me. 
 
 Marble, Harriet Ladd (soprano); b. Skow- 
 
 hegan, Me., June 27, 1879; d. Edwin W. 
 and Elizabeth A. Marble; ed. Skowhe- 
 gan High School and Darlington Sem- 
 inary; studied voice with Mrs. Philo 
 Steward, Skowhegan; Sumner Salter, 
 New York, and The Institute of Musi- 
 cal Art, N. Y.; mem. Calvary Baptist 
 Church Choir, N. Y.; musical career 
 started at the age of seven; taught music 
 in Lebanon Valley College in Penn., and 
 Roanoke Institute, Dannville, Va.; 1916 
 went to the Philippine Islands; taught 
 music for a few months in the Girls 
 Academy at Iloilo; 1917 established and 
 was made head of the voice department 
 of the Conservatory of Music, Univer- 
 sity of the Philippines, at Manilla, P. L.; 
 and while there did research work in 
 Philippine music, collecting unpublished 
 folk music and translating old Spanish 
 records; retired from the Philippine ser- 
 vice in the Spring of 1925; in 1926 be- 
 came supervisor of music for the Dis- 
 trict of Skowhegan and Madison, Me. 
 Address, 3 Spring St., Skowhegan, Me. 
 
 March, Edith M., m.t. Address, 19 Bram- 
 
 hall St., Portland, Me. 
 
 Marcoux, Joseph Henri, vocalist, concert 
 
 artist; b. Waterville, Me., Dec. 5, 1892; 
 s. Antoine P. and Marie (Poulin) Mar- 
 coux; ed. St. Louis Comm. Coll., Trois 
 Rivieres Sem.; m. Marie Eva Begin, 
 June 27, 1921; studied voice with Isi- 
 dore Braggiotti; dir. Chorale St. Fran- 
 cois de Salles, 15 yrs.; gave concerts 
 Boston, Springfield, New Bedford, Mon- 
 treal, Quebec, Paris, France; mem. I. 
 O. O. F., Am. Legion, St. Jean Baptiste 
 D’Amerique. Res. 11 Summer St., 
 Waterville, Me.; 0., 1043 Beacon St., 
 Boston, Mass. 
 
 Marden, Mrs. Florice E. (Davis), teacher 
 
 of piano and violin; b. Pittsfield, Me., 
 
 See aay: 
 
 CHARLES MARSHALL, AS SAMSON, IN SAENT SANS’ 
 OPERA, “SAMSON AND DELILAH.” 
 
 Aug. 11, 1868; d. Joseph Henry and 
 Louise Maria (Connor) Davis; m. W. 
 C. Marden, M.D., June 23, 1806; ed. 
 Portland and Boston; studied with E. 
 H. Wass, Faelten School, S. P. Maxim 
 and H. Kotzschmar, and violin with Lil- 
 lian Gray Shesong. Address, 16 Middle 
 St., Pittsfield, Me. 
 
 Marquis, Lorette E., violinist; b. Auburn, 
 
 Me., Sept. 2, 1908; d. William S. and 
 Mary M. Marquis; studied with Mar- 
 guerite Girouard and Josafa Morin; 
 mem. Lewiston-Auburn Symphony Or- 
 chestra. Address, Minot, Me. 
 
 Marsh, Albert R., music teacher, violin. 
 
 Address, 95 Union St., Rockland, Me. 
 
 Marshall, Charles, concert artist, opera 
 
 singer; b. Waterville, Me., Sept. 15, 1886; 
 s. Thomas and Florence Marshall; m. 
 Annie Taylor, Nov. 16, 1912; ed. Auburn, 
 Me., and Boston, Mass.; studied with 
 William L. Whitney, E. Hanscom, Luigi 
 Vannucini and Luigi Lombardi; made 
 debut in 1905 in leading male roles in 
 
426 
 
 Tannhauser, La Giaconda and La Tra- Marston, Kathleen B., vocalist (contral- 
 
 viata; has sung seventy-eight different 
 parts in all principal opera houses in Eu- 
 rope, Italy, Russia, Turkey, Greece and 
 in America at Chicago, N. Y., Boston, 
 Pittsburgh, Washington and the coast; 
 toured Europe for two and one-half years 
 with Florence Opera Co.; with the Chi- 
 cago Opera Company since 1918. Address, 
 Kimball Bldg., Chicago, I. 
 
 Marshall, Evelyn, m.t. Address, 201 Water 
 St., Waterville, Me. 
 
 Marshall, Leonard D., vocalist (bass); 
 mem. Portland Polyphonic Society; dir. 
 Kotzschmar Club. Address, 458 Cum- 
 berland Ave., Portland, Me. 
 
 Marshall, Mabel E., school music super- 
 visor. Address, Mexico, Me. 
 
 Marston, Agnes L., composer, organist; b. 
 Snow’s Falls, Me., Oct. 20, 1862; d. Sam- 
 uel F. and Louise Keene Briggs; m. W. 
 H. Penfold, 2nd W. P. Marston; ed. Ox- 
 ford Normal Institute; studied with My- 
 ron Whitney, /‘W. H. Dennett, C. S. 
 Briggs, Will Stockbridge; org. Univ. 
 Church, 20 yrs., Baptist Church, 2 yrs.; 
 Pres. and Sec. Seneca Club and Euter- 
 pean Club; mem. Community Club of So. 
 Paris; composer, “We’re Growing Old 
 Together, You and I,” “When Night 
 Comes On,” “Summer Days are Passing 
 By,” “O Lord, Remember Me,” ‘Moon- 
 light March.” Vocation, journalist, daily 
 correspondent for Lewiston Journal, 18 
 yrs. Address, Pine St., So. Paris, Me. 
 
 Marston, Charles E., soloist (tenor); b. 
 Waterville, Me., Aug. 7, 1868;°s. Ste- 
 phen C. and Sarah Rogers Marston; ed. 
 Coburn Classical Inst., Waterville, Me.; 
 m. Ada M. McNelly, Aug. 16, 1923; has 
 sung continuously in choirs since 16 yrs. 
 of age, 15 yrs. in Waterville choirs and 
 25 yrs. in Augusta; mem. Univ. Quar- 
 tette, morning service; leader quartette 
 Maine Insane Hospital, afternoon ser- 
 vice; has sung continuously in this 
 quartette for 20 yrs.; mem. Blue Lodge 
 and Chapter; Mason; mem. Festival 
 Chorus first 7 yrs. of its existence. Vo- 
 cation,. clothing business. Res., 67 
 Green St., Augusta, Me. 
 
 Marston, Frostina Elizabeth, musician; 
 b. Bath, Me., Dec. 26, 1858; d. William 
 F. and Sarah (Carvill) Marston; Prin. 
 North Grammar Sch.; teacher 45 yrs.; 
 Pres. Bath Teachers Club; Sec. Fort- 
 nightly Club; Sec. Mendelssohn Club; 
 mem, Festival Chorus 30 yrs. Res., 179 
 Lincoln St., Bath, Me. 
 
 MUSIC AND MUSICIANS OF MAINE 
 
 to); b. Camden, Me., Nov. 18, 1893; d. 
 Edward B. and Elizabeth W. Ingraham; 
 m. Maynard L. Marston, Dec. 17, 1917; 
 studied with Mrs. Armstrong, Mrs. Lil- 
 lian S. Copping, Edith Castle; soloist 
 First Baptist Church, Rockland, Me.; 
 mem. Rubinstein Club, Harmony Club 
 and Choral Association; soloist 3 yrs. at 
 Cong. Church, Thomaston, and 3 yrs. at 
 Cong. Church, Rockland, Me. Address, 
 17 Masonic St., Rockland, Me. 
 
 Martin, Harry E., vocalist; ist Tenor Aca- 
 cia Quartet, Portland, Me. Address, Port- 
 land, Me. 
 
 Martin, Joseph, cornettist; leader of Pain- 
 chaud’s Band. Address, Biddeford, Me. 
 
 Mathes, Nettie M., m.t. Address, So. Ber- 
 wick, Me. 
 
 Mathews, Mrs. Blanche Dingley, pianist, 
 
 teacher of piano; b. Auburn, Me.; stud- — 
 
 ied with Barth and Busoni at Berlin; 
 MacDowell and W.S. B. Mathews, whom 
 she married; general director Summer 
 Normal Course for Western Teachers at 
 The MacDowell Club, Los Angeles, Cal. ; 
 head of Music Dept. at Westbrook Sem- 
 inary; studios in Colorado Center, Den- 
 ver, Colorado, and Michigan Center, De- 
 troit, Michigan; pioneer worker for sys- 
 tematic ear training; author of ook 
 “Harmonic Ear-Training and Theory.” 
 Address, Steinert Bldg., 162 Boylston St., 
 Boston, Mass. 
 
 Matthews, Mrs. Elwyn, m.t. Address, St. 
 Albans, Me. 
 
 Maxim, George Pratt, teacher of piano, 
 score reading and ensemble at Faelten 
 Pianoforte School, Boston; b. St. Al- 
 bans, Me.; s. Sullivan A. and Abbie S. 
 Maxim; m. Ethel L. Tupper, Aug. 20, 
 Igo00; ed. N. E. Conservatory; studied 
 with Phillipp, Paris, Luctschg, Berlin; 
 mem. Harvard Musical Asso.; author of 
 Score Reader, published by Schmidt. 
 
 Summer home, Waterville, Me. Ad. 
 dress, 30 Huntington Ave., Boston, 
 Mass. 
 
 Maxim, Martha, teacher of violin; b. Buck- 
 field, Me.; d. Benjamin and Susan Har- 
 low Maxim; ed. Marsick School, Paris; 
 formerly soloist Columbus Ave. Cong. 
 Church Choir and other churches in 
 Boston and member of a noted ladies 
 quartette of which Flora E. Barry was 
 leader (contralto); hon. mem. Boston 
 Daughters of Maine; author of travel 
 letters, poems, “From Paris, Maine, to 
 
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 ee Ee a ee —— 
 
 = 
 
 ——— 
 
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 I OE 
 
BIOGRAPHICAL SECTION—1927-1928 
 
 427 
 
 Paris, France,” “In the Land of the 
 Blue Bell and Heather” and “In the 
 Land of the Shamrock and Shillalah”; 
 organizer and leader of the Maxim Con- 
 cert Co., composed of five ladies and 
 one of the most popular musical organi- 
 zations of 25 or 30 yrs. ago; principal 
 for some years of Cambridge Prepara- 
 tory School of Music which she organ- 
 ized. Address, tor Walden Street, Cam- 
 bridge, Mass. 
 
 Maxim, Mary, teacher of piano and voice 
 (contralto); b. Buckfield, Me.; d. Ben- 
 jamin and Susan Harlow Maxim; stud- 
 ied with Flora E. Barry; has been mem- 
 ber of choirs in Boston and Gloucester, 
 Mass., and Saco, Me.; hon. mem. Bos- 
 ton Daughters of Maine; mem. Maxim 
 Concert Company for Io yrs.; writer of 
 occasional verse; chief distinction, artist 
 in water colors. Address, 101 Walden 
 St., Cambridge, Mass. 
 
 Maxwell, Irving W., substitute mem. Port- 
 land Men’s Singing Club. Address, 125 
 Chadwick St., Portland, Me. 
 
 erie Leola, m.t. Address, Limestone, 
 
 e. 
 
 Maynard, Louise Swanker, vocalist (mez- 
 zo contralto); b. Auriesville, N. Y.; d. 
 William Henry and Louise Mielke 
 Swanker; m. Cloyd Tabor Maynard, 
 Noy. 7, 1003; <d. Schenectady, N. Y., 
 and Union Classical Institute; studied 
 with Mrs. Augusta Nieper, Mrs. Sarah 
 Appel Carr and Irene Butler Skinner; 
 mem. Mt. Zircon Chapter, Order of The 
 Eastern Star; formerly mem. Schenec- 
 tady Choral Society. Address, 414 Pe- 
 nobscot St., Rumford, Me. 
 
 McAlister, Marion Kathleen Witham, col- 
 oratura soprano; b. Bangor, Me., Feb. 
 24, 1894; d. Florence Chute Pierce; m. 
 Charles de Ross McAlister, Jan. 20, 
 1915; ed. N. E. Conservatory and won 
 first prize in Paris Conservatory; stud- 
 ied with Louis Schalk, Ramon Blan- 
 chart, Charles Adams White, Mme. 
 Murkland, Boston, and Hettich and 
 Panzera, Paris; author of volume of 
 
 poems. Vocation, concert and opera. 
 Address, 11 Everett St., Cambridge, 
 Mass. 
 
 McCann, Nellie Louise, teacher of piano; 
 b. Westbrook, Me.; d. Joseph Harrison 
 and Mary Ella Bean McCann; ed. 
 Westbrook, Me., and with private 
 teachers; studied in Portland and Bos- 
 ton; writer of special articles and short 
 stories; Pres. Annie Louise Cary Club; 
 
 Chairman Junior Clubs, Maine Federa- 
 tion of Music Clubs, 1928-1930; mem. 
 Maine Federation Music Clubs and 
 Cosmopolitan Club, Gorham; piano 
 teacher, specializing in teaching of 
 children. Address, 66 South St., Gor- 
 ham, Me. 
 
 McCausland, Doris, vocalist; mem. Port- 
 land Rossini Club. Address, 61 Clifton 
 St., Portland, Me. 
 
 McCausland, Harriet S., honorary mem. 
 and charter mem. Portland Rossini 
 Club. Address, 180 Danforth St., Port- 
 land, Me. 
 
 McClung, George, vocalist; mem. Portland 
 Men’s Singing Club. Address, 157 High 
 St., Portland, Me. 
 
 McCobb, Harriet S., charter mem. and one 
 of the founders of the Portland Rossini 
 Club. Address, 180 Danforth St., Port- 
 land, Me. 
 
 McCobb, Mary S., charter mem. Portland 
 Rossini Club. Address, 180 Danforth 
 St., Portland, Me. 
 
 McCord, Percy B., vocalist (baritone); 
 mem. Portland Men’s Singing Club; 
 mem. First Parish Church Choir. Ad- 
 dress, 29 Capisic St., Portland, Me. 
 
 McCready, Marion Taylor, vocalist (alto) ; 
 b. Boston, Mass., July 20, 1878; d. John 
 and Annette Marden Taylor; m. Arthur 
 L. McCready, Feb. 10, 1895; studied 
 with Louise Leimer and at N. E. Con- 
 servatory of Music; mem. choir Court 
 St. Baptist Church; mem. Houlton Mu- 
 sic Club. Address, 11 Park St., Houlton, 
 Me. 
 
 McDonald, Mrs. Annie, 
 Eastport, Me. 
 
 McDonnell, Charles H., piano teacher; b. 
 Portland, Me., Dec. 23, 1877; s. Thomas 
 H. and Helen Twigg McDonnell; m. 
 May Alice Hall, Jan. 17, 1900; studied 
 with Frank L. Rankin and at N. Y. Cla- 
 vier School; organist St. Peter’s Church; 
 composer, masses, anthems and piano 
 pieces. Res., 9 Russell St., Portland, 
 Me. 
 
 McDonnell, May, mem. Women’s Choral 
 Society. Address, 9 Russell St., Port- 
 land, Me. 
 
 McDougal, Mrs. Olive, mem. Women’s 
 Choral Society. Address, 21 Pine St., 
 Portland, Me. 
 
 McGinley, Eva, m.t. 
 Me. 
 
 McGonagle, Mary K., m.t. Address, 56 
 Waterville St., Portland, Me. 
 
 m.t. Address, 
 
 Address, Houlton, 
 
428 
 
 MUSIC AND MUSICIANS OF MAINE 
 
 McInnis, John, organist. Address, Rock- 
 land, Me. 
 
 McIntire, Helen, vocalist; mem. Women’s 
 Choral Society. Address, R. F. D. No. 
 4, Portland. Res., Falmouth Foreside, 
 Me. 
 
 McIntire, Paul H., organist, trumpeter; b. 
 No. Yarmouth, Me., Oct. 19, 1895; s. 
 Edwin M. and Grace N. McIntire; m. 
 Helen L. Hatch, May 3, 1918; ed. Bow- 
 doin College; studied with his mother 
 and E. G. Blanchard; organist M. E. 
 Church, Falmouth Foreside; mem. Port- 
 land Municipal Orchestra and Yar- 
 mouth Band; former leader Bowdoin 
 College Band and mgr. of the orchestra. 
 Vocation, school teacher. Address, R. 
 F. D. No. 4, Portland, Me. Res., Fal- 
 mouth Foreside, Me. 
 
 McKay, Helen E., teacher of piano, or- 
 ganist; b. Houlton, Me., June 21, 1889; 
 d. Rev. Kenneth and Margaret A. Mc- 
 Kay; grad. American Inst. of Applied 
 Music, N. Y.; studied with Kate Chit- 
 tenden; charter mem. Houlton Music 
 Club and held various offices in same; 
 formerly org. Cong. Church; mem. B. 
 and P. W. Club, Houlton; Three Arts 
 Club, N. Y. Address, 175 W. 85th St., 
 Nea 
 
 McKeen, Lloyd Donald, conductor, teach- 
 er violin and orchestral music in high 
 school; b. Belfast, Me., Sept. 18, 1892; s. 
 Albert J. and Elmira (Sholes) McKeen; 
 ed: Belfast. H. S.;° Shaw's Bus: Goll; 
 Museum of Fine Arts and Fenway Sch. 
 of Illus.; m. Bessie J. Stuart, Oct. 15, 
 1921; orchestra leader, I2 yrs.; sign 
 painter, 7 yrs.; comm. Am. Legion; Ma- 
 son. Res., 22 Hight St., Belfast, Me. 
 
 McKenney, Ida E., m.t. Address, Milo, 
 Me. 
 
 McKenney, Luda Mabel, teacher of piano; 
 b. Bangor, Me., Aug. 17, 1898; d. Emer- 
 son and Mabel Effie (Cole) McKenney; 
 ed. public schools of Bangor; studied 
 piano with Mrs. M. D. Barnes and C. 
 Winfield Richmond; voice, C. Fred 
 Jackson of Philadelphia; mem. Eastern 
 Maine Festival Chorus; soloist Ham- 
 mond St. Congregational Church, Ban- 
 gor. Address, 491 Ohio St., Bangor, 
 Me. 
 
 McKenzie, Marguerite C., teacher of 
 piano; b. St. Stephen, New Brunswick; 
 d. John K. and Catherine McKenzie; ed. 
 Rumford High School and Westbrook 
 Seminary; studied at N. E. Conserva- 
 tory and with F. J. Rigby, F. F. Lincoln, 
 
 « 
 
 Homer Humphrey and Harris S. Shaw; 
 organist, Universalist Church, Rum- 
 ford; pianist, Rumford Community Or- 
 chestra. Address, 201 Knox St., Rum- 
 ford, Me. 
 
 McLean, Mrs. Bessie, organist. Address, 
 So. Portland, Me. 
 
 McLellan, Harry, composer, organist, 
 choirmaster; b. Bath, Me. June 22, 
 1863; s. Charles H. and M. Louisa Mc- 
 Lellan; m. Harriet S. Johnson, May 6, 
 1896; studied with George W. Marston, 
 Portland, Henry E. Duncan and Harry 
 Rowe Shelley of New York; formerly 
 choirmaster Grace Church, Bath, and 
 also mem. choir of Church of the Heav- 
 enly Rest, New York; was first director 
 of Mendelssohn Club of Bath, now an 
 honorary member of that organization; 
 composer of many songs, 
 “Thine Eyes Still Shine for Me,” “Es- 
 tranged,” ‘“Heartsease,”’ “Rest and 
 Sleep,” “Nevermore,” “Cavalier’s Song,” 
 “Blessed Dreams,” “Te Souviens-tu,” 
 etc.; for piano, “Morning Serenade,” 
 “Evening Serenade,” “Corona Waltzes,” 
 and others; for male voices, “Madrigal 
 —Lend Your Ear Pretty Maid”; sacred 
 music, “‘O Word of God Incarnate,” and 
 “OQ Jesu Thou Art Standing,” for cho- 
 rus choir with tenor solo; for full or- 
 chestra, “Perplexity,” “Dream of the 
 Dance,” and “Daffodil Dance”; for 
 strings, “Ludeah”; collaborated with na- 
 tionally known librettists as Cheever 
 Goodwin, Frederick Rankin, and Clay 
 M. Greene in the light operas, “The Re- 
 gatta Girl,” “Cocheta,” “Princess Mad- 
 cap,” and others produced in New York 
 and other cities; spent two winters in 
 Germany in study; spends part of each 
 year abroad; author of newspaper arti- 
 cles on musical matters, travel, and mu- 
 sical criticism. Retired. Permanent 
 address, Room 303, 85 Exchange St., 
 Portland, Me. 
 
 McLellan, James Alexander, church or- 
 ganist; b. Bath. Me.; s. John Houghton 
 and Louise McLellan; studied piano 
 with Mrs. Jesse Berry, Anna Howell, 
 Mrs. Mary Duncan, Alice McDowell; 
 organ with Wallace Goodrich, Henry 
 Dunham and Catherine Luce: solfeggio 
 with Mrs. Warner; piano and harmony 
 with Jane Foreitier; and special student 
 for 3 yrs. at N. E. Conservatory; mem. 
 Me. Festival Chorus and Portland Psy- 
 chology Asso.; formerly org. at Sweden- 
 borgian Church, Winter St. Cong. and 
 People’s Baptist Church, Bath, Kenne- 
 
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 including, — 
 
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ens 
 
 BIOGRAPHICAL SECTION—1927-1928 429 
 
 bunk Cong., All Soul’s Univ., and supply 
 at St. Luke’s Cathedral, Portland. Ad- 
 dress, 240 State St., Portland, Me. 
 
 McMennamin, Carrie L., teacher of piano 
 and orchestra leader; b. Houlton, Me., 
 Dec. 31, 1869; d. George A. Gerow and 
 Rest B. Green; m. John E. McMenna- 
 min, June 3, 1896; organist Episcopal 
 Church. Address, Limestone, Me. 
 
 Melcher, Margaret Jane, teacher of piano 
 and organ; b. Brunswick, Me., Dec. 30, 
 1864; d. Daniel M. and Margaret (Cham- 
 berlain) Melcher; organist at Epis. 
 Church. Res., 933 High St., Bath, Me. 
 
 Meleod, Albertina M., m.t. Address, Rum- 
 ford, Me. 
 
 Menish, Esther, vocalist; mem. Women’s 
 Choral Society. Address, 34 Belmeade 
 Rd., Portland, Me. 
 
 Merriam, Clarice Emma, pianist and 
 teacher; b. Readfield, Me., Oct. 25, 1890; 
 d. Eli and Celia J. Haines; grad. Port- 
 land High School; studied with Frank 
 L. Rankin, Portland, and Ellen Bronson 
 Babcock, Mrs. A. M. Virgil and Rudolph 
 Ganz; mem. MacDowell Club, Portland, 
 and Portland Rossini Club. Vocation, 
 teacher in Portland since 1908. Address, 
 111 Payson St., Portland, Me. 
 
 Merrill, Alice Knight, teacher of piano, 
 accompanist, violinist, organist; b. Fal- 
 mouth, Me., June 26, 1882; d. Columbus 
 and Octavia Prince Knight; ed. West- 
 brook Seminary; studied piano with 
 Prof. E. A. Blanchard; violin with 
 Frank Burnham and Bertha Webb; 
 played violin in Pleasant Hill Orch.; 
 piano in the Merrill Orchestra; mem. 
 First Cong. Church, Falmouth, and or- 
 ganist for 48 yrs.; mem. Falmouth His- 
 tory Club. Address, Falmouth, Me. 
 
 Merrill, Barbara Elizabeth, organist; b. 
 Augusta, Me., Nov. 30, 1892; d. Treby 
 and Amie (Barbour) Johnson; m. Ar- 
 thur S. Merrill, Aug. 16, 1917; organist, 
 Unit. Church, 1915-16, Univ. Church, 
 1919-20, Cong. Church, 1924; asst. li- 
 brarian at Lithgow, 1908; filing clerk, 
 Augusta State Hosp., 1914-16; mem. 
 American Legion Auxiliary; Kinder- 
 garten Mothers’ Club. Res., 84 Prospect 
 St., Augusta, Me. 
 
 Merrill, Mrs. Freeman, organist; studied 
 with Grace B. Howes; org. Pine St. 
 Methodist Church, Bangor. Address, 
 Bangor, Me. 
 
 Merrill, Mrs. Gertrude S., vocalist (so- 
 prano); mem. Portland Festival Chorus; 
 
 .mem. Portland Polyphonic Society. 
 Address, 42 Stevens Ave., Portland, Me. 
 
 Merrill, Gladys Helen, cellist; b. Solon, 
 Me., Aug. 1, 1893; d. Leon S. and Alice 
 Wilson Merrill; ed. University of Maine; 
 studied with Adelbert Sprague; mem. 
 Bangor Symphony Orchestra; mem. 
 Phi Mu Sorority, Phi Kappa Phi Fra- 
 ternity, Rebekahs and Grange. Voca- 
 tion, teacher of French and History. 
 ype: University of Maine, Orono, 
 
 e. 
 
 Merrill, Harry F., vocalist (bass); soloist, 
 oratorio and concert; has sung leading 
 roles in nearly all the oratorios produced 
 in Portland for 40 yrs.; studied with W. 
 H. Dennett. Vocation, banker; Treas. 
 Fidelity Trust Co. Res., 94 Emery St., 
 Portland, Me. 
 
 Merrill, Henry Foster, vocalist (bass); b. 
 Portland, Me., Feb. 15, 1864; s. Samuel 
 N. and Elizabeth Foster Merrill; ed. 
 Colby College (A.M. 1924); m. Mabel 
 A. Randall; Chairman Music Commis- 
 sion, Portland, for 10 yrs., and precentor 
 at Portland Municipal Sunday Concerts 
 for greater part of that time; Past Pres- 
 ident and honorary member Portland 
 Men’s Singing Club; mem. Portland, 
 Cumberland, Rotary and Lion’s Clubs; 
 Mason. Vocation, merchant; 46 yrs. 
 with Randall & McAllister, coal dealers; 
 Pres. of the Port of Portland; Chairman 
 N. E. Council; Vice Pres. National 
 Rivers and Harbors Congress; Trustee 
 State Reformatory for Men. Res., 5 
 Eastern Promenade; o., 84 Commercial 
 St., Portland, Me. 
 
 Merrill, Marcia, vocalist (mezzo contral- 
 to), soloist; studied with Mrs. Dudley 
 Fitts, Boston; mem. Portland Rossini 
 Club; soloist church choir, Brockton, 
 Mass.; concert and oratorio. Address, 
 94 Emery St., Portland, Me. 
 
 Merrill, Mrs. Sadie L., pianist; b. West 
 Scarboro, Me., July 8, 1808; d. Joshua 
 D. and Etta A. Milliken; studied with 
 R. O. Roberts, Saco, and Mrs. Rupert 
 Neily, Portland. Address, R. D. No. 6, 
 Box 75, So. Portland, Me. 
 
 Merrill, Wallace L., instrumentalist, clar- 
 inet and cornet; b. Cumberland Center, 
 Me., Dec. 14, 1865; s. P. Adam and Hen- 
 rietta (Burton) Merrill; m. Harriet Cut- 
 ler, June 23, 1906; ed. Greeley Institute; 
 mem. old Cumberland Band. Vocation, 
 building and farming. Res., R. D. No. 2, 
 Cumberland Center, Me. 
 
 Mershon, Harry G., vocalist (tenor); 
 
430 
 
 mem. Portland Polyphonic Society. 
 
 Address, Portland, Me. 
 
 Metcalf, Dr. Charles A., vocalist; mem. 
 Bach choir, Bangor. Address, Bangor, 
 Me. 
 
 Meyer, Mrs. Marion D., mt. 
 Eastbrook, Me. 
 
 Michaud, Ozella, teacher of violin. Ad- 
 dress, 205 Main St., Sanford, Me. 
 
 Millay, Edna St. Vincent, poet, librettist; 
 b. Rockland, Me., Feb. 22, 1892; d. Henry 
 Tolman and Cora (Buzzelle) Millay; 
 A.B. degree, Vassar, 1917; LL.D. hon- 
 orary degree, Tufts College, 1925; m. 
 Eugen Jan Boessevain, 1923; winner of 
 Pulitzer Prize ($1000), 1922, for best vol- 
 ume of verse; author of the book for 
 Deems Taylor’s Opera, “The King’s 
 Henchman,” and many poems of note. 
 Address, care of Harper Bros., New 
 York City. 
 
 Millay, Velma Willis, pianist, organist; 
 mem. Portland Branch N. E. Chapter 
 Am. Guild of Organists; mem. Chamber 
 Music Club, Portland; music teacher. 
 Address, 95 Pine St., Portland, Me. 
 
 Miller, Carrie Ella, vocalist (contralto); b. 
 Durham, Me.; d. Samuel Robinson and 
 Elizabeth Hodgkins Miller; ed. public 
 schools of Portland and Kent’s Hill 
 Seminary; studied with W. Stockbridge, 
 W. H. Dennett, Portland, and Myron 
 Whitney, Boston; soloist 7 yrs. Pine St. 
 Cong. Church, Lewiston; Pres. B. & P. 
 W. Club 3 yrs.; Treas. Stanton Bird 
 Club; mem. Eastern Star; author, Birds 
 of Lewiston-Auburn and Vicinity; for- 
 mer mem. Festival Chorus; first Pres., 
 Spinet Club, and mem. 1894 to 1917, 
 when it merged into the Philharmonic. 
 Vocation, banking. Address, 36 Cottage 
 St., Lewiston, Me. 
 
 Miller, Eva Joan, teacher of violin; b. 
 Auburn, Me., May 14, 1907; d. Morris 
 M. and Sarah E. Miller; studied with 
 Leigh Fenderson and Mark Fonaroff, 
 N. Y.; ed. Inst. Musical Art, N. Y., Bos- 
 ton University and summer course at 
 Inst. of Normal Methods, Auburndale, 
 Mass.; mem. Portland Rossini Club. 
 Vocation, music supervisor of No. Ber- 
 wick and Wells, Me. Address, 141 
 Hampshire St., Auburn, Me. 
 
 Miller, Mrs. Martha M., m.t. Address, 24 
 Kidder St., East, Portland, Me. 
 
 Miller, Thor, violinist, cellist; b. Portland, 
 Me., Nov. 19, 1900; s. Andrew and 
 Amelia Miller; ed. Univ. of Maine and 
 
 Address, 
 
 MUSIC AND MUSICIANS OF MAINE 
 
 B. U. Medical School; studied with 
 
 David Fisher and Joseph Korda; Ma- 
 
 son; mem. Lambda Chi Alpha, Sigma 
 Phi Sigma, and Alpha Kappa Kappa; 
 mem. theatre trio with David Fisher and 
 Raymond Coburn; mem. several con- 
 cert trios. Address, 194 Mass. Ave., 
 Portland, Me. 
 
 Millett, Mrs. Muriel M., vocalist (so- 
 prano); mem. Women’s Choral Society; 
 mem. Portland Festival Chorus. Ad- 
 dress, 247 Congress St., Portland, Me. 
 
 Milliken, Philip, vocalist; mem. Portland 
 Men’s Singing Club. Address, 11 Berke- 
 ley St., Portland, Me. 
 
 Mills, Lois F., teacher of piano; mem. 
 
 Portland Rossini Club; pianist, Philhar- | 
 
 Address, 82 Park Ave., 
 
 monic Trio. 
 Portland, Me. 
 
 Miner, Antonia Sawyer, impresario, con- 
 
 cert artist (contralto), church soloist; 
 
 b. Waterville, Me.; d. Asher M. and 
 Adeline Chase Savage; ed. public 
 schools at Waterville and Coburn Clas- 
 sical Institute; m. Henry Hubbard 
 Sawyer, later married Ashley Harrison 
 Miner; studied with Harriet Long, Bos- 
 ton, Charles R. Adams, Warren Daven- 
 port, Ivan Morowski; also in New York, 
 London and Paris; studied diction with 
 Leon Jancey and in Paris with Anna 
 de La Grange, in Germany with Mrs. 
 Victor Beuliam; studied Leider German 
 with George Henschel; coached for ora- 
 torio in London with Sir Joseph Barnby 
 and later sung in oratorios in London 
 for him; has sung in many churches; 
 was soloist I2 yrs. in the Old First Pres- 
 
 byterian Church on Fifth Avenue and 8 — 
 yee at the Jewish Temple on Fifth Ave., 
 
 Y.; as concert artist has appeared 
 in all the principal cities in the country; 
 toured America for one season with 
 Anton Seidl; as impresario has been 
 
 manager for some of the most famous — 
 
 artists in the world; founded music 
 
 center in Metropolitan District of New © 
 
 York. Address, Antonia Sawyer, Inc., 
 Aeolian Hall, New York City, and 106 
 Central Ave., White Plains, New York. 
 
 Miner, William Francis, band leader; b. 
 East Providence, R. I., March 3, 1873; 
 ed. elementary and high schools. East 
 Prov., R. I., and A.B. degree Brown 
 
 University; mem. Rhode Island Nat. — 
 Guard 6 yrs.; leader of Wheeler’s Band 
 
 of Farmington. Vocation, superintend- 
 ent of schools. Res., Farmington, Me. 
 
 ed ae = a - aieie , 
 OLS LE ee ee ee eee Loe Pe ee ee ee ee ee ee eT Pee 
 
BIOGRAPHICAL SECTION—1927-1928 431 
 
 Mitchell, Charles Banks, instrumentalist 
 
 (mandolin, mandola, mando-cello and 
 mando bass); b. Portland, Me., June 22, 
 1892; s. George W. and Ada L. Mitchell; 
 m. Elizabeth Pike, Oct. 22, 1921; ed. 
 Portland, Me.; studied with S. A. 
 Thompson; mem. Thompson’s Mando 
 Orchestra; mem. Woodfords Club, St. 
 Albans Commandery, K. T., Kora 
 Shrine, 32° Scottish Rite, Maine Consis- 
 tory. Vocation, civil engineer. Address, 
 Kezar Falls, Me. 
 
 Mitchell, Mrs. Ethel L., vocalist; mem. 
 Women’s Choral Society. Address, East- 
 land Hotel, Portland, Me. 
 
 Mitchell, Etta Andrews, teacher of piano; 
 vocalist (soprano); b. Turner, Me., 
 March 28, 1886; d. Seth Dean and Flora 
 Lombard Andrews; studied with E. W. 
 Hanscom; mem. Philharmonic Club, 
 Auburn, Me. Address, Saints Rest, 
 Buckfield, Me. 
 
 Mitchell, Margaret P., school music super- 
 visor. Address, Islesboro, Me. 
 
 Mogan, Matthias F., mem. Warren Male 
 Quartette. Address, Westbrook, Me. 
 
 Monteith, J. A., mem. Favorite Four Male 
 Quartette. Address, Rumford, Me. 
 
 Montgomery, John H., vocalist; former 
 mem. Portland Weber Club and Festi- 
 val Chorus. Address, 174 Eastern Prom- 
 
 _ enade, Portland, Me. 
 
 Montpelier, Yvonne, teacher of piano, ac- 
 companist; mem. Portland Rossini Club, 
 Portland Polyphonic Society and Mac- 
 Dowell Club. Studio, 562 Congress St., 
 Portland, Me. 
 
 Moody, Edna Luetta, vocalist (mezzo so- 
 prano); teacher of piano; b. Richmond, 
 Me., April 9, 1898; d. Arthur B. and 
 Alice M. Moody; ed. St. Joseph’s Con- 
 vent and at N. E. Conservatory; studied 
 voice with L. B. Cain, Nicolo Oulu- 
 kanoff, Rupert Neily and Lazar S. Sam- 
 oiloff of N. Y.; piano with Sister Caro- 
 lyn, Frank S. Watson and Dr. Latham 
 True; mem. Women’s Choral Society. 
 Address, 28 Lincoln St., Portland, Me. 
 
 Moody, Florence, m.t. Address, 38 Church 
 St., Gardiner, Me. 
 
 Moody, Jessie C., pianist; mem. Cecilia 
 Club, Augusta. Address, Augusta, Me. 
 
 Moore, Dorothy M., violinist; mem. Schu- 
 bert Quartet, Portland. Address, Port- 
 land, Me. 
 
 Moore, Mrs. E. G., m.t. Address, 127 
 Brunswick Ave., Gardiner, Me. 
 
 Moore, Grace Thompson, music teacher, 
 orchestral leader and accompanist; b. 
 Prospect Harbor, Me.; d. Samuel Oscar 
 and Ellen Hutchings Moore; ed. East 
 Maine Conference Seminary, Bucksport, 
 Me.; studied with B. J. Lang, Boston; 
 leader and manager Grace Thompson 
 Moore Trio; charter mem. Musicians 
 Club, New York; mem. Board of. Trus- 
 tees Professional Woman’s League, N. 
 Y.; mem. Maine Women’s Club of New 
 York, Maine Society of N. Y., Woman’s 
 Roosevelt Memorial Association, Inc.; 
 author, “Home,” “The Birches,” ‘“Au- 
 gust in Maine,” “Vacation Days,” “Our 
 Soldiers,” “Fulfillment,” “Daybreak,” 
 “The Squirrel,” “A Protest,” “Youth,” 
 “To a Wee Gray Cat,” “A Beloved 
 Gypsy,” “Life,” “Who Knows?” “Spring- 
 time Up In Maine,” “Lindbergh,” and 
 other poems; including a large collec- 
 tion of verses for children. Summer 
 home, “The Birches,” Prospect Harbor, 
 Me. Address, The St. Augustine, 96 
 Sterling Place, Brooklyn, N. Y 
 
 Moore, Mabel Cutler, teacher of piano; b. 
 Farmington, Me., Dec. 6, 1880; d. Rev. 
 Albert Weston and Sarah Frances 
 (Norton) Moore; studied piano with B. 
 J. Lang; piano and harmony with Mal- 
 colm B. Lang, Boston; harmony and 
 counterpoint, Siegel-Meyers; grad. Cor- 
 respondence School, Chicago; taught 
 privately in Lynn and Boston 14 yrs. 
 Address, Cliftondale, Mass. 
 
 Moreau, Bernadette, org. Cathedral of the 
 Immaculate Conception, Portland. Ad- 
 dress, 126 High St., Portland, Me. 
 
 Morey, Mrs. Frank A., vocalist (alto); b. 
 Lewiston, Me., Oct. 2, 1866; d. Oscar 
 G. and Phebe C. Douglass; m. Frank 
 A. Morey, June 24, 1880; studied with 
 Homer Norris; mem. Pine St. Cong. 
 Church Choir, Bates St. Baptist and 
 Main St. Free Baptist; mem. Philhar- 
 monic Club, Festival Chorus, Cosmos 
 Guild, Twin City Parliamentary and Mt. 
 Olivet Chap., O. E. S.; mem. Clef Club, 
 1895 to 1907. Address, 161 Wood St., 
 Lewiston, Me. 
 
 Morgan, Mrs. Gladys St. Clair, vocalist 
 (contralto); music editor; b. South 
 Hope, Me., Nov. 15, 1886; d. R. L. and 
 Grace St. Clair Jones; m. William E. 
 Morgan, May 22, 1925; studied with 
 Mrs. Lillian S. Copping, Agnes Pooler, 
 Clarence Pendleton and Allan H. Ram- 
 say; mem. quartet Univ. Church; mem, 
 Methebesec Club; mem. Exec. Board of 
 
432 MUSIC AND MUSICIANS 
 
 Rubinstein Club; former mem. Wight 
 Philharmonic Society; music editor 
 Rockland Courier-Gazette. Address, 462 
 Old County Road, Rockland, Me. 
 
 Morin, Rhea Couillard, concert and opera 
 artist (soprano); began study of piano 
 at age of five; studied voice with Rupert 
 Neily and Mrs. F. P. Clark; has ap- 
 peared in many Maine and Mass. cities. 
 Address, Lewiston, Me. 
 
 Morin, Josafa, violinist, teacher and _con- 
 ductor; b. St. Vital, Lampton, P. Q., in 
 1891; studied with Arthur Brunelle of 
 Lewiston, Fred A. Given of Portland, 
 Franklin Holding of Boston, Ovide 
 Musin and the Belgian Conservatory of 
 Music, N. Y. City; studied theory with 
 Edward Kilyeni of N. Y.; appeared in 
 recital in New York, at the Strand 
 Theatre, Portland; ‘violin soloist with 
 Orpheon Chorale Society, Lewiston, in 
 1916; former mem. Capitol Theatre Or- 
 chestra and concert master at Loew’s 
 State Theatre, New York; former pro- 
 fessor of violin at Gordon College of 
 Music, Brooklyn, N. Y.; in 1923 he estab- 
 lished the Belgian School of Violin in 
 Lewiston; form. cond. of the Lewiston- 
 Auburn Symphony Orchestra. Res., 112 
 Lisbon St., Lewiston, Me. 
 
 Morong, Mrs. Walter W., mem. Mac- 
 Dowell Club. Address, Falmouth Fore- 
 side, Me. 
 
 Morris, Frank, violinist. Address, 88 Park 
 St., Portland, Me. 
 
 Morrison, Jennie King (see Mrs. Frank J. 
 Bragdon). 
 
 Morrison, Margery, musical director, coach 
 and répétiteur; b. Skowhegan, Me.; d. 
 Lucius Lincoln and Estella Sawyer 
 Morrison; ed. Skowhegan High School 
 and Carleton College, Minn.; orchestral 
 pianist A.F.M.; studied with Julius 
 Hartt, Kate Chittenden, and in Fon- 
 tainebleau, Milan and Paris; has direct- 
 ed opera for Milton Aborn and has had 
 professional connection with French 
 Opera in San Francisco and the French- 
 American Opera-Comique in New York 
 and has lectured for the New York 
 Board of Education on Edward Mac- 
 Dowell. Res. Hotel Somerse:, 150 W. 
 47th St., New York City, N. Y 
 
 Morse, Mrs. Celia, vocalist; mem. Wo- 
 men’s Choral Society. Address, 147 
 Rochester St., Westbrook, Me. 
 
 Morse, Lloyd Ernest, instrumentalist 
 (bassoon); b. Millinocket, Me., Aug. 10, 
 1905; s. Ernest E. and Vena R. Morse; 
 
 OF MAINE 
 
 mem. Portland Municipal Orchestra; 
 
 former mem. Portland Orchestral So- 
 
 ciety; mem. 13 Club. Address, 90 Brack- 
 ett St., Portland, Me. 4 
 
 Morse, May, m.t. Address, 75 Green St., 
 Bath, Me. 
 
 Morton, Agnes Louise, organist; b. Paris, 
 Me., Oct. 20, 1862; d. Samuel Fessenden ~ 
 and Louise (Keene) Briggs; ed. Oxford ~ 
 Normal Inst.; m. William H. Penfold, 
 June 30, 1885; 2d William P. Morton, — 
 Feb. 12, 1908; church organist for 20 ~ 
 yrs.; daily correspondent for Journal, — 
 18 yrs.; Pres. and Sec. Seneca Club; 
 Pres. and Sec. of Euterpean Club; Com- 
 munity Club. Res., So. Paris, Me. 
 
 Moulton, Mrs. Marion A., vocalist; mem. 
 Women’s Choral Society; leader Young — 
 People’s Choir, West Cong. Church. — 
 Address, 19 Roberts St., Portland, Me. — 
 
 Mower, Mildred Louise, teacher of piano; 
 b. Auburn, Me, Dec. 17, 1897; d. Na- 
 thaniel Lincoln and Grace Wilder 
 Mower; ed. Auburn, Me.; studied N. E. 
 ‘Conservatory; mem. Eastern Supervi- 
 
 sor’s Conference; Philharmonic Society, 
 
 Auburn, Vocation, supervisor of music _ 
 in public schools in Lisbon Falls. Ad- — 
 dress, Lisbon Falls. Mail address, 11 ~ 
 Forest Ave., Auburn, Me. a 
 
 Mueller, Ruth Cunard, organist; b. Bloom- 
 ington, Ill.; d. Francis A. 
 Cunard Balles; m. John H. Mueller, 
 July 6, 1904; ed. Wesleyan School of 
 Music and Northwestern Univ.; studied 
 with Mrs. John R. Gray, O. R. Skinner, ~ 
 Alice Doty and William Hubbard Har- — 
 ris; org. Unitarian Church, Castine, — 
 
 Me.; chairman Music Com. Woman’s — 
 Club, Castine; former mem. Amateur — 
 
 Musical Club, Bloomington, Ill. 
 dress, Castine, Me. 4 
 Mulvaney, Delia Dunn, vocalist; b. Brew- — 
 er, Me.; d. Thomas Dunn; m. James D. 
 Mulvaney, June 20, 1888; ed. Brewer, — 
 Me.; studied with Prof. Lyon and Alan — 
 Haycock; mem. Schumann Club. Ad- 
 dress, 139 Pine St., Bangor, Me. 
 Munro, Ernest Albert, 
 (trap drums, bells, xylophone); b. Hol- — 
 yoke, Mass., July 18, 1897; s. Daniel and — 
 Lilla Mank Munro; m. Aletha P. Hyler, — 
 June 16, 1918; ed. Rockland, Me.; stud- — 
 
 Ad 
 
 ied with John D. McCarthy, Lewiston, — 
 Me.; mem. Rockland Concert Band and — 
 
 Marston’s Orchestra; mem. Masons, — 
 Blue Lodge, Chapter, Council, 
 mandery and Shrine, Elks, Lewiston 
 Musicians, Local 409, West Palm Beach © 
 
 and Jane © 
 
 instrumentalist 
 
 Com- — 
 
BIOGRAPHICAL SECTION—1927-1928 
 
 Musicians, Local 806, Loyal Order of 
 Moose, 1461, West Palm Beach; played 
 three seasons in Palm Beach; one sea- 
 son under Basso’s Del-Ra-Tone Park 
 Orch.; one season with Charlie Sharp 
 and his Melody Boys; Mirimar Inn 
 Orch., under Ed. Andrews of Boston, 
 and with Dudley Doe’s Society Orch.; 
 sub. in the West Palm Beach Band un- 
 der Everett Allen Moses. Address, 55 
 Grace St., Rockland, Me. 
 
 Murray, Harvey, organist, music teacher, 
 composer. Address, Washington, D. C. 
 
 Murray, Mary E., music teacher, organist; 
 org. and choir dir. Sacred Heart Church. 
 Address, 120 Grant St., Portland, Me. 
 
 Muzzey, Arthur E., organist and music 
 teacher; b. Rollinsford, N. H., July 18, 
 1870; s. George H. and Elizabeth Han- 
 son Muzzey; m. Mary L. Goding, Aug. 
 15, 1898; ed. Berwick Academy; studied 
 with Chas. H. Tobey; formerly org. St. 
 Mary’s R. C., Dover, and 1st M. E., 
 Tampa, Florida; also Beacon Univer- 
 salist Church, Brookline, Mass., and 
 Blockley Baptist Church, Philadelphia, 
 Pa.; org. First Parish, Dover, N. H.; 
 Sec. St. John’s Lodge, A. F. and A. M., 
 and Unity Chapt., No. 32, R. A. M.; 
 mem. Rotary Club. Address, Portland 
 St., So. Berwick, Me. 
 
 Nash, Helena, m.t. Address, 54 Elm St., 
 
 ~ Lewiston, Me. 
 
 Nason, Hamilton, dramatic tenor, vocal 
 teacher and concert artist; b. Brown- 
 ville, Me., Nov. 21, 1875; s. Horace B; 
 and Jessie Merrill Nason; m. Elsie 
 Graff, May 7, 1912; ed. Bates Coll., 1901; 
 studied voice with Madame Schoen- 
 René, N. Y.; violin with Herr Oswold 
 Schmidt; piano with Fannie Wilson 
 Palmer; composition with P. H. P. Ryd- 
 ning; familiar with the French, German, 
 Italian and Scandinavian languages; 
 appeared in leading cities in U. S., Eu- 
 rope and Canada; composer, ‘Mass in 
 F,” “Communion Service in C Minor,” 
 “Communion Service in E flat.” Studio, 
 515 Meagly-Tichnor Bldg., Portland, 
 Oregon. 
 
 Neily, Anne, concert pianist, teacher of 
 piano; b. Alton, Ill., Sept. 1, 18901; ra 
 William D. and Annie (Curtis) Mc- 
 Adams; ed. Alton, Ill, U. Decatur, 
 Paris, France; m. Rupert Neily, Feb. 12, 
 1916; traveled Canada and U. S. in con- 
 cert work, 1910-16; co-dir. Me. Conserv- 
 atory of Music; mem. Portland Rossini 
 Club and Women’s Choral Society. 
 
 433 
 
 Res., Stony Brook Road, Cape Eliza- 
 beth, Me. Studio, Baxter Block, Port- 
 land, Me. 
 
 Neily, Rupert, dir. music, teacher of sing- 
 ing; b. Lawrencetown, Nova Scotia; s. 
 George and Lucetta (Turpel) Neily; ed. 
 English H., Lynn, Mass., Priv. Inst. 
 Am. and Italy; m. Anne M. McAdams, 
 Feb. 12, 1916; organist and choirmaster 
 at Swampscott, Beverly, Newton, Mass.; 
 supervisor music, Westerly, R. L.; 
 teacher singing, Hollins Coll., Va., Lynn, 
 Westerly, N. Y. City, Portland; dir. Me. 
 Conservatory of Music, Portland; dir. 
 Williston Choir; founder and dir. Wom- 
 en’s Choral Society, Portland. Res., 
 Stonybrook Road, Cape _ Elizabeth. 
 Studio, Baxter Block, Portland, Me. 
 
 Nelke, Bernice, m.t. Address, 137 College 
 St., Lewiston, Me. 
 
 Nelson, ‘Alice Harford, vocalist (soprano); 
 Sec-Treas. Portland Festival Chorus, 
 22 yrs.; mem. for 30 yrs. Address, 187 
 Clark St., Portland, Me. 
 
 Nelson, Donna E., school music super- 
 visor. Address, Lincoln, Me. 
 
 Nelson, Mrs. Mary Allen, vocalist, solo- 
 ist (contralto) ; studied with Frank Her- 
 bert Tubbs of N. Y.; church and con- 
 cert soloist. Address, Bangor, Me. 
 
 Nelson, Nels J., instrumentalist (E flat 
 tuba); b. Jemptland, Sweden, July 3, 
 1896; s. Paul and Mary Nelson; m. 
 Mabel Catherine Roberts, June 16, 1916; 
 ed..Monson, Me.; studied with Walter 
 Jackson; mem. Dover-Foxcroft Band; 
 mem. Modern Woodmen of America, 
 Knights of Pythias, Knights of the Mac- 
 cabees of the World. Vocation, auto- 
 mobile mechanic. Address, Harvey St., 
 Dover-Foxcroft, Me. 
 
 Newcomb, Ruth, vocalist; mem. Bach 
 Choir, Bangor. Address, Bangor, Me. 
 
 Newman, Mrs. Carrie, vocalist; mem. 
 poe Choir, Bangor. Address, Bangor, 
 e. 
 
 Newman, Edith, Sec. Augusta Symphony 
 Orchestra. Address, Augusta, Me. 
 
 Newman, Mrs. Neal, music teacher; ac- 
 companist, Festival Chorus. Address, 
 Ellsworth, Me. 
 
 Newton, Elsie E., vocalist (soprano) and 
 music teacher; b. Sanford, Me., Nov. 8, 
 1903; d. Samuel G. and Julia E. New- 
 ton; studied with Harry Stott and Ru- 
 pert Neily; mem. Unitarian Church 
 Choir; mem. Ethelbert Nevin Club, 
 
434 
 
 “iat ‘ iis 
 
 MUSIC AND MUSICIANS OF MAINE 
 
 Rhuhamah Rebekah Lodge, 53, I. O. O. 
 F. Vocal teacher. Address, 4 East St., 
 Sanford, Me. 
 
 Nicholson, Elizabeth, vocalist; 
 with Jennie King Bragdon. 
 Cornell St., So. Portland, Me. 
 
 Nickerson, Mrs. Ruth, vocalist; mem. 
 Women’s Choral Society. Address, 32 
 Thomas St., So. Portland, Me. 
 
 Nickerson, Viola Isa, vocalist (soprano); 
 De arortiand 3: Me. set. 210.7 1602: 
 Charles L. and Isa Starling Nickerson; 
 mem. People’s M. E. Church Choir, So. 
 Portland; mem. Maine Music Festival 
 Chorus, Portland, Me. Vocation, clerk. 
 Address, 6 Alder St., So. Portland, Me. 
 
 Nissen, Mrs. Sadie H., vocalist. Address, 
 23 North St., Portland, Me. 
 
 Nixon, Harry E., vocalist (baritone); b. 
 Portland, Me., May 3, 1882; s, Edward 
 and Hattie Ingraham Nixon; m. Inez 
 M. George, April 30, 1914; studied with 
 Adelbert Sjoholm; mem. Portland Lodge, 
 F. & A. M., Mt. Vernon Chapter, Elks, 
 Mystic Lodge, I. O. G. T. Vocation, 
 lawyer. Address, 456 Woodford St., 
 Portland, Me. 
 
 Nixon, Inez M., vocalist (soprano); b 
 Lowell, Mass., Sept. 24, 1888; d. Ranson 
 N. and Adriana George; m. Harry E. 
 Nixon, April 30, 1914; studied with Hen- 
 rietta Rice; mem. choir at Central Sq. 
 Baptist Church, Woodfords, and War- 
 ren Cong. Church, Westbrook. Address, 
 456 Woodford St., Portland, Me. 
 
 Norcross, Esther Kathryn, piano teacher; 
 b. Old Town, Me.; d. Dr. Joseph and 
 Margaret Norcross; ed. Lasell Semi- 
 nary; studied with Miss Parkhurst and 
 
 studied 
 Address, 
 
 Paul Krummrich; mem. Neeburban 
 Club. Address, 6 High St., Old Town, 
 Me. 
 
 Norcross, James B., flutist; mem. Kotzsch- 
 mar Club and Portland Flutist’s Society. 
 
 Address, 30 Hutchinson St., So. Port- 
 land, Me. 
 Norton, Mrs. Florence, m.t. Address, 
 
 Parsonsfield, Me. 
 
 Norton, Ruth Knight, teacher of piano; b. 
 Portland, Me.; d. Howard E. and Ade- 
 laide Merrill Knight; ed. Deering High 
 School; studied with Louise Stevenson 
 and Alfred Brinkler; org., Congress St. 
 M. E. Church, Portland; accompanist 
 Juanita Quartette; mem. Deering Or- 
 chestra. Address, 904 Baxter Boulevard, 
 Portland, Me. 
 
 Norton, Mrs. U. C., conductor and accom- 
 
 panist Jonesport Festival Chorus. Ad- 
 
 dress, Jonesport, Me. 
 
 Noyes, Julia Edwards, vocalist (contral- 
 to); b. Portland, Me.; d. Edward Alling 
 and Julia Edwards Noyes; ed. Portland, 
 Me.; studied with Mr. and Mrs. W. ee 
 Dennett, Mrs. Evelyn D. White, Mrs. 
 Jennie K. Bragdon, Sally F. Akers, 
 Madame Picciotto and M. Georges 
 Duquenne of Paris and Maurice Lafarge 
 and Ethel Cave-Cole of New York; was 
 one of the delegates from Portland Ros- 
 
 sini Club at the Bi-ennial Convention of © 
 
 the Nat. Fed. of Music Clubs, 1924; 
 elected to represent the State of Maine 
 on the Board of Directors of the Nat. 
 Fed. of Music Clubs; in 1926, was re- 
 elected at Portland, Oregon; delegate to 
 Chicago Bi-ennial, April, 1927; Pres. 
 Portland Rossini Club; Pres. Maine 
 Federation Music Clubs; ‘director, West- 
 
 ern Maine Festival Association. Res., 
 394 Danforth St.. Portland, Me. 
 Noyes, Leola Flint, pianist, vocalist, 
 
 teacher of piano; b. Rockland, Me.; d. 
 Herbert H. and Eva Thompson Flint; 
 m. Warren C. Noyes, Sept. 24, 1913; ed. 
 N. E. Conservatory; studied with 
 Charles Haven Bishop, Prof. Alfred de 
 Voto and Dr. Latham True; musical 
 director Junior Harmony Club, Rock- 
 land; at age of 13 pianist Bontuit Orch. 
 and until graduating from high school; 
 composer “Sentry March,” “The Wig- 
 wam.” Address, 38 Orange St., Rock- 
 land, Me. 
 
 Noyes, Wendell Phillips, organist, orches- 
 tra leader; b. St. Albans, Vt., Dec. 1, 
 1898; s. John A. E. and Julia Phillips 
 Noyes; m. Mary E. Northgraves, June 
 18, 1924; ed. Bowdoin College; Studied 
 piano with Florence Best LeProhon and 
 Raymond W. Coburn; organ with Prof. 
 Edward H. Wass; orchestra leader since 
 sixteen years old; mem. Victory Theatre 
 Orchestra, Tampa, Florida, 1920; former 
 mem. Portland Band, Barnard’s Orches- 
 tra, Philadelphia, Collin’s Orchestra, Tam- 
 pa, Florida, and Ferdinando’s Havana 
 Orchestra, N. Y.; mem. Musician’s Un- 
 ion and Delta Upsilon; org. St. Peter’s 
 Episcopal Church, Portland, 1926; teach- 
 er piano, banjo, ‘drums. Vocation, mu- 
 sician, salesman. Address, Eastland Ho- 
 tel, Portland, Me. 
 
 Nye, Dora Trafton, teacher of piano; b. 
 St. Albans, Me, -April 23) (188; 2c; 
 Charles C. and Fronia S. (Marston) 
 Trafton; m. Floyd G. Nye, Aug. 20, 
 
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BIOGRAPHICAL SECTION—1927-1928 435 
 
 1906; ed. N. E. Conservatory, Boston; 
 studied harmony with Wallace Good- 
 rich and Harry Redmond; piano with 
 William Kimball, George Pratt Maxim, 
 Frederick Lincoln and Carl Stasny; 
 pianist at the Bethany Church and ac- 
 companist Skowhegan Festival Chorus; 
 mem. Woman’s Club, Skowhegan, W. 
 C. T. U., Sorosis Club; formerly teacher 
 in Hartland, Waterville and Skowhegan; 
 contributor to the Etude. Address, 33 
 Bush St., Skowhegan, Me. 
 
 Nye, Frank A., cornettist, vocalist (tenor), 
 
 band and orchestra dir.; b. Monroe, Me., 
 Oct. 22, 1863; s. David A. and Jane E. 
 Nealey Nye; m. Eva E. Tozier, May 20, 
 1890; ed. Monroe, Me.; studied with R. 
 B. Hall; dir. American Cadet Band; 
 formerly leader, Monroe Band, II yrs., 
 Searsport Band, 8 yrs., Stockton Springs 
 Band, 2 yrs.; played with Hobbs Band, 
 Boston, Post 120 Band, Lowell, Mass.. 
 Lewiston Brigade Band, Bangor Band 
 and Belfast Band; mem. Odd Fellows, 
 K. of P., Masons, Royal Arch Chapter; 
 composer, “Penobscot Park March,” 
 and several others. Vocation, funeral 
 director. Address, 353 Stevens Ave., 
 Portland, Me. 
 
 Nye, Roger A., soloist, concert artist 
 (tenor); b. Fairfield, Me., March 16, 
 1893; s. William W. and Cora Belle 
 Chapman Nye; m. Marie Elwell, Feb. 
 8, 1918; ed. Lawrence High, Colby Col- 
 lege and Alviene School of Dramatic 
 Arts; studied with Jessie Smith Hub- 
 bard, Waterville; Ethelyn Burleigh 
 Stubbs, Augusta, and Isidore Braggiotti, 
 Italy and Boston; coached abroad at 
 Naples and Milan; mem. Music Assoct- 
 ates of the State of Maine and mem. N. 
 Y. Matinee Musicale; appeared as solo- 
 ist Maine Music Festival and before the 
 Arkansas Governor and Legislative 
 Bodies. Res., 133 State St., Augusta, 
 Me. 
 
 Oakes, Frances A., pianist, teacher of 
 piano (retired); b. Old Town, Me.; d. 
 Hiram and Emily Oakes; studied with 
 L. W. Ballard. Address, 61 High St., 
 Lewiston, Me. 
 
 Oakman, Carl Shepard, M.D., violinist; b. 
 Corinth, Me., Oct. 26, 1876; s. George 
 W. and Georgie Clark Oakman; m. Har- 
 riet Brooks, Oct. 20, 1915; ed. Harvard 
 College and Medical School; studied 
 with Emil Mahr at N. E. Conservatory; 
 formerly mem. Boston Festival Orches- 
 tra; conductor of Pierian Sodality of 
 
 Harvard University, 1899-1900; Pres., 
 Fine Arts Society, Detroit, Mich., 1917- 
 19; Sec. Chamber Music Society, De- 
 troit, 1910-14; Sec. Music Festival Asso., 
 Detroit, 1916-21; organized and played 
 first viclin in the first string quartette in 
 serious work at Harvard Univ. (the 
 Haydn String Quartet); charter mem. 
 and first Sec. Harvard Musical Club 
 Vocation, physician. Res., 319 Riverside 
 Ave., Muncie, Ind. 
 
 Oakman, Walter Marion, violinist; b. Cor- 
 inth, ‘Me.,- Dec. 11, 1874; ‘s.. Francis 
 Marion and Mabelle Waugh Oakman; 
 studied with Oscar E. Wasgatt; mem. 
 Oakman’s Orchestra; played violin for 
 dances and other forms of entertain- 
 ment over a large portion of Penobscot 
 County for 30 yrs. Vocation, farmer. 
 Address, East Corinth, Me. 
 
 O’Brien, Annie J., organist; mem. Port- 
 land Chapter N. E. Branch, Am. Guild 
 of Organists; org. St. Dominic’s Church. 
 Address, 59 State St., Portland, Me. 
 
 O’Brion, Mary Eliza, pianist and music 
 teacher; b. Limerick, Me., March 9, 
 1859; d. Lewis and Martha Phinney 
 O’Brion; ed. Portland; studied with 
 George W. Marston, Portland, Giuseppe 
 Buonamici, Florence, Italy, Clara Schu- 
 mann, Frankfort, Theodor Leschetizky, 
 Vienna, and others; debut with Boston 
 Symphony Orchestra; engaged in con- 
 cert work for several years. Address, 47 
 Gardner St., Allston, Mass. 
 
 O’Connor, Elizabeth A., teacher of piano; 
 b. Portland, Me.; d. Bernard and Cathe- 
 rine Spelman O’Connor; graduate Con- 
 vent of Villa Maria, Montreal, Canada; 
 studied with Sisters at Villa Maria and 
 Portland; organ with Prof. George 
 Quimby; substitute organist Cathedral of 
 Immaculate Conception, Portland, and at 
 So. Berwick. Res., 73 Sherman St., Port- 
 land, Me. 
 
 O’Connor, Etta J., m.t. Address, 34 Otis 
 St., Bangor, Me. 
 
 Oddy, Frank, Pres. Skowhegan Festival 
 Chorus. Address, Skowhegan, Me. 
 
 Odell, Louise Dade, A.A.GO., organist, 
 music teacher; b. Hackney, London, 
 England, June 13, 1866; d. Jonathan and 
 Tulia Dade; m. Rev. Charles F. Odell, 
 Sept. 28, 1892; ed. London; studied with 
 Rafael Joseffy (piano); Dr. William 
 Crane Carl (organ); Clement R. Gale 
 (theory): org. Christ Epis., St. Mark’s 
 Epis., S. Ignatius and Memorial Chapel, 
 
436 MUSIC AND MUSICIANS OF MAINE 
 
 N. Y.; mem. St. Cecilia Club, Literary 
 Club, Caribou, Fortnightly Club, and 
 Philharmonic Club, Tarrytown, N. Y.; 
 associate Am. Guild of Organists; ed- 
 ited musical column for several years 
 Tarrytown Press-Record. Address, 32 
 So. Main St., Caribou, Me. 
 
 Odlin, Charles, trombonist. Res., Mitchell 
 Road, Cape Elizabeth, Me. 
 
 O’Donnell, Mrs. William, m.t. 
 Houlton, Me. 
 
 Ogden, Marguerite, teacher of harp and 
 organ; b. Bellows Falls, Vt.; d. Rev. 
 Charles T. and Anna Bennett Ogden; 
 ed. Ogantz School, Pa.; studied with 
 Kursteiner, Reintzel and H. A. Shaw; 
 org. Trinity Church, Portland; mem. 
 Maine Historical Society; asso. mem. 
 American Guild of Organists; Vice 
 Pres. Portland Rossini Club; Vice Pres. 
 Woman’s Auxiliary Protestant Episco- 
 pal Church; author, article on “Greek 
 Ecclesiastical Music” in “Greeks of 
 America,” by Burgess. Address, 53 
 Clifton St., Portland, Me. 
 
 Olcott, Mrs. Evelyn Dutton Fogg, vocal- 
 ist (contralto); b. Portland, Me., Jan. 
 20, 1880; d. Orrin Stanley and Helen 
 Barker Fogg; m. Herman Parker Ol- 
 cott, Dec. 22, 1915; studied with Emilio 
 Agramonte, Sally F. Akers, Mme. Milka 
 Ternina, Mrs. Toedt; mem. choir 4th 
 Ave. Presbyterian, West End Presb., N. 
 Y. City, First Presb. Church, Brooklyn, 
 Westminster Cong., Kansas City; solo- 
 ist with Minneapolis Symphony Orches- 
 tra, Kansas City Symphony Orchestra, 
 New York Oratorio Society, Brooklyn 
 Oratorio Society, University Extension 
 Concerts, Kansas Univ.; teacher of sing- 
 ing School of Fine Arts, Univ. of Kan- 
 sas, 1917-18; mem. Rossini Club, Port- 
 land, and Women’s Musical Club, Law- 
 rence, Kansas. Address, Choate School, 
 Wallingford, Conn. 
 
 Orr, Beatrice B., music teacher. Address, 
 454 Cumberland Ave., Portland, Me. 
 
 Osborne, Alice Julia, teacher of piano; b. 
 St. Albans, Me., Aug. 20, 1866; d. Isaac 
 and Laura Trafton Osborne; m. Ellwyn 
 Matthews, Aug. 7, 1887; ed. N. E. Con- 
 servatory; studied with Frederick J. 
 Lincoln; organist Methodist Church, St. 
 Albans. Address, St. Albans, Me. 
 
 Osgood, Mrs. Alton R., vocalist (alto); 
 mem. Portland Festival Chorus. Ad- 
 dress, 346 Stevens Ave., Portland, Me. 
 
 Otis, Mrs. Elizabeth L., vocalist (lyric 
 
 Address, 
 
 soprano); mem. Portland Rossini Club. i 
 Address, 5 Crescent St., Portland, Me. 
 
 Otis, Grace M., instrumentalist (mando- — 
 lin); studied with Clifford E. Leighton; — 
 mem. B. P. W. Club Orchestra and © 
 Laura E. Ross Ladies Orchestra. Ad- — 
 dress, 146 Sherman St., Portland, Me. 
 
 Ouellette, Reginald, violinist; b. Lewiston, — 
 Me., April 18, 1907; s. Pierre and Jenfiie ~ 
 (Gosselin) Ouellette; 
 studied with Josafa Morin and Henry ~ 
 Gifford; mem. Lewiston-Auburn Sym- — 
 phony Orchestra; mem. St. Mary’s 
 Church Choir (baritone). Vocation, 
 shoemaker. Address, 152 Lincoln St., — 
 Lewiston, Me. 
 
 Page, Edith Wentworth, teacher of piano; — 
 b. Gardiner, Me., Feb. 26, 1874; d. Au- 
 gustus C. and Climena Packard Page; — 
 studied with H. Kotzschmar. Address, 
 57 Chestnut St., Gardiner, Me. 
 
 Page, Madelyn Loy, vocalist, commer. — 
 teacher; b. Orono, Me., July 10, 1905; d. 
 Chester T. and Clara E. Page; ed. Univ. 
 of Maine and Lasell Seminary; studied 
 with Carrie Newman, Bangor; Mrs. — 
 - Kendall, Boston, and Mrs. Marion Theis, — 
 Westbrook; soloist Methodist Church, — 
 Orono and Gorham; mem. Annie Lou- — 
 ise Cary Club, Gorham, and Women’s 
 Choral Society, Portland. Vocation, — 
 teacher. Address, 111 Main St., Gor- ~ 
 ham, Me. 
 
 ree Doris, m.t. Address, New Sharon, 
 
 e. 
 
 Paine, Edgar H., teacher of piano; Pres. — 
 Kotzschmar Club, 1927-28. Address, 103 
 Oak St., Portland, Me. 
 
 wets E. Beryl, m.t. Address, Patten, — 
 e a 
 
 Palmer, Mrs. Florence Knight, vocalist 
 (soprano), soloist, teacher; b. Falmouth, — 
 Me., Aug. 30, 1870; d. Alonzo and Mary ~ 
 Merrill Knight; m. Fred H. Palmer, — 
 Nov. 24, 1897; ed. Westbrook Seminary; _ 
 studied with H. Dennett, Sig. ~ 
 Olivieri, Sig. Vannucini, Alberto Ran- — 
 degger and others; mem. choir High St., — 
 
 Cong. Sq., State St. Churches, Portland, — 
 
 and soloist, Tompkins Ave. Cong. 
 Church, Brooklyn, N. Y.; Vice Pres. 
 
 Portland Rossini Club; mem. Choral q 
 
 Art Society; was one of two artists to 
 receive special diploma of honor at 
 World’s Fair, Chicago, 1893. Address, 
 87 Carroll St., Portland, Me. 
 
 Palmer, John, vocalist; mem. Cosmopoli- 
 tan Quartette. Address, Portland, Me. 
 
 ed. Lewiston; — 
 
BIOGRAPHICAL SECTION—1927-1928 
 
 437 
 
 Pappas, Charles, music teacher; b. Ara- 
 hova, Greece, Jan. 2, 1901; s. Peter and 
 Pandora Pappas; studied with A. M. 
 Testa; dir. Lewiston and Auburn Man- 
 dolin, Banjo, Guitar, Ukulele Club. Ad- 
 dress, Lewiston, Me. 
 
 Paquin, J., Vice Pres. Augusta Symphony 
 Orchestra. Address, Augusta, Me. 
 
 Park, Ruth A., violinist, soloist. Address, 
 Fairfield, Me. 
 
 Parker, Ardelle, m.t. 
 Harbor, Me. 
 
 Parker, Mrs. Gertrude S., pianist. 
 - dress, Rockland, Me. 
 
 Parker, Otis Freeman, music teacher and 
 bandsman; b. Auburn, Me., Sept. 21, 
 1885; s. Dwight H. and Phylena Parker; 
 m. Margarett McCarthy, July 25, 1907: 
 ed. in public schools of Auburn; studied 
 with Prof. Thieme and Frank Rigby, 
 trombone and English horn with Myron 
 Watson and euphonium with Charles C. 
 Johnson; mem. Lewiston Brigade Band 
 (euphonium); mem. Barrett’s, Petten- 
 gill’s and Parker’s Orchestras (violin): 
 mem. A. F. of M., No. 409, Sons of 
 Veterans, A. C. Pray Camp, No. 2, Au- 
 burn, American Legion; former mem. 
 Coast Artillery Band, roth C. A. C. Vo- 
 cation, shoemaker. Address, 3134 Bates 
 St., Lewiston, Me. 
 
 Parker, Mrs. Walter, violinist; mem. Port- 
 land Rossini Club. Address, Cape Eliz- 
 abeth, Me. 
 
 Parker, Mrs. W. H., vocalist (soprano); 
 mem. Portland Festival Chorus. Ad- 
 dress, 64 Morning St., Portland, Me. 
 
 Parmenter, Esther Haley, pianist; b. San- 
 ford, Me., Sept. 14, 1893; d. Leroy and 
 Grace Frost Haley; m. LeClare Fall 
 Parmenter, April 23, 1918; grad. New 
 England Conservatory; studied with 
 Lucy Dean; mem. Portland Rossini 
 Club and The Woman’s Literary Union. 
 oe 23 Columbia Road, Portland, 
 
 e. 
 
 Address, Winter 
 
 Ad- 
 
 Parrott, Arthur F., Jr., musician; b. Au- 
 gusta. Me., June 9, 1900; s. Arthur F. 
 and H. Lillian Parrott; ed. Augusta 
 and at University of Maine; studied 
 with Carl Liberty; mem. Musicians 
 Union, Local 460, Augusta. Vocation, 
 salesman. Address, 15 7th Ave., Brook- 
 ben, NY. 
 
 Parsons, Mrs. W. H., pianist: accompan- 
 ist Newcastle-Damariscotta Festival Cho- 
 rus. Address, Damariscotta, Me. 
 
 Patch, Mrs. Clifford, vocalist; mem. Bach 
 Choir, Bangor. Address, Bangor, Me. 
 
 Patrick, Catherine, violinist; priv. mem. 
 Marston Club; priv. mem. Portland 
 Rossini Club; mem. Chamber Music 
 Club; former mem. Pleasant Hill Or- 
 chestra, Falmouth. Address, 42 West 
 St., Portland, Me. 
 
 Patrick, Mrs. Daniel C., pianist; mem. 
 Portland Rossini Club. Address, 104 
 Deerfield Rd., Portland, Me. 
 
 Pates, Reta, instrumentalist (violoncello); 
 mem. Portland Municipal Orchestra. 
 Address, Portland, Me. 
 
 Pattee, Lillian Mowry, violinist; b. Dor- 
 chester, Mass.; d. Albert Daniel and 
 Ella Frances Treat Mowry; m. Sumner 
 Chadbourne Pattee, M.D., May 25, 1911: 
 studied with Frederic R. Sweetser, Emil 
 Mahr, Mabel Beaman, Boston, and at 
 N. E. Conservatory; formerly org., Uni- 
 tarian Church, Belfast, Me., and mem. 
 First Cong. Church Choir, Searsport, 
 Me.; mem. John Cochran Chapter, D. 
 A. R: Primrose Chapter, ©. E. S.; B. & 
 P. Woman’s Club, Nat. Woman’s Civic 
 Federation and Unitarian Alliance. Vo- 
 cation, artist and teacher of dancing. 
 Address, Belfast, Me. 
 
 ce Ada C., m.t. Address, Hampden, 
 e. 
 
 Patterson, Mrs. Blanche E., vocalist (so- 
 prano); mem. Portland Festival Chorus. 
 Address, 241 High St., Portland, Me. 
 
 Patterson, Harriet Frances, music direc- 
 tor; b. Winslow, Me., Jan. 19, 1801; d. 
 Hollis A. and Maud E. (Grant) Simp- 
 son; ed. Winslow and Farmington Nor- 
 mal School; m. Sidney W. Patterson, 
 June 21, 1916; taught public schools, 
 Winslow, 1909-10, Skowhegan, 1911-16; 
 teacher of piano; organizer and dir. nor- 
 mal piano dept., Coburn; chairman of 
 music week com.; dir. mandolin club. 
 Res., R. D. No. 41, Waterville, Me. © 
 
 Payson, Donald, composer; s. Franklin C. 
 Payson; graduate Harvard College, 1908, 
 and Harvard Law School, 1911; m. Mrs. 
 Dorothy Bullitt. Vocation, lawyer. Res., 
 Falmouth Foreside, Me. Address, R. F. 
 D. No. 4, Portland, Me. 
 
 Payson, Mrs. Fred, vocalist; appeared in 
 Grand Opera with Mary Garden. Ad- 
 dress, So. Hope, Me. 
 
 Payson, Mrs. Herbert, pianist; priv. mem. 
 
 Portland Rossini Club. Address, 71 
 Bowdoin St., Portland, Me. 
 
438 
 
 Peabody, Ruth, school music supervisor. 
 Address, Mt. Desert, Me. 
 
 Peacock, Eleanor M., m.t. Address, Read- 
 field, Me. 
 
 Pearson, Mrs. Frank, m.t. Address, Houl- 
 ton, Me. 
 
 Pease, Isabelle, violinist; mem. Portland 
 Rossini Club. Address, 57 Coyle St., 
 Portland, Me. 
 
 Peavey, Olive M. (Mrs. William A.), or- 
 ganist and soloist (soprano), music 
 teacher; b. Orland, Me., May 28, 1875; 
 d. of Orrin P. and Mary A. (Hopkins) 
 Harriman; m. William A. Peavey, Jan. 
 13, 1898; ed. at Bucksport; studied with 
 Mrs. Mary Hopkins; org. Methodist 
 Church, Bucksport; mem. Bucksport 
 Festival Chorus; Sec. of Sunday School; 
 org. Eastern Star; Pres. Ladies Aid 
 Society,. Address; R= D.3,> Box /50, 
 Bucksport, Me. 
 
 Peck, Mrs. Willard, vocalist; mem. Bach 
 Choir, Bangor. Address, Bangor, Me. 
 
 Peirce, Louise Dennett, organist, teacher 
 piano; b. Bangor, Me., Nov. 12, 18809; d. 
 Jacob K. and Annie Riggs Dennett; m. 
 Harry E. Peirce, June 27, 1917; studied 
 with Helen Dunton Gilchrist; org. First 
 Parish Unitarian Church Choir; mem. 
 Belfast Musical Society, 1904-1912. Ad- 
 dress, Star Route No. 1302, Belfast, Me. 
 
 Penley, Hazel Belle, accompanist, teacher 
 of piano; b. Auburn, Me., June 10, 1904; 
 d. Walter E. and Ada Hascall Penley; 
 studied with Arthur Nash Pettengill; 
 org. First Universalist Church, Lewis- 
 ton; mem. Philharmonic Club. Address, 
 167 Summer St., Auburn, Me. 
 
 Pennell, George W., Sec. Kotzschmar 
 Club. Address, 164 Concord St., Port- 
 land, Me. 
 
 Pennell, Gladys F., soloist (soprano); b. 
 Harmony, Me., Aug. 27, 1896; d. Frank 
 P. and Emma C. Pennell; ed. Skowhe- 
 gan, Me., and American Institute of Nor- 
 mal Methods at Lasell Seminary, Au- 
 burndale, Mass.; studied with Mrs. Frank 
 B. Hubbard; mem. Methodist Church 
 Choir, Skowhegan; Pres. Skowhegan Fes- 
 tival Chorus; mem. Skowhegan Sorosis 
 Club. Summer home, Orr’s Island, Me. 
 Address, 91 West Front St., Skowhegan, 
 Me. 
 
 Pennell, Priscilla, violinist; mem. Portland 
 Municipal Orchestra. Address, 173 Bol- 
 ton St., Portland, Me. 
 
 Percious, Arthur T., violin teacher. 
 dress, 156 Free St., Portland, Me. 
 
 Ad- 
 
 MUSIC AND MUSICIANS OF MAINE 
 
 Perkins, David Page, composer, vocalist — 
 
 (first tenor); b. Eastport, Me., March 2, 
 1850; s. 
 Perkins; 
 June 10, 1884; ed. Eastman’s Nat. Bus. 
 
 David and Margaret Brazier — 
 m. Margaret W. Fessenden, © 
 
 Coll., Poughkeepsie, N. Y.; studied with | 
 
 John Morgan, Portland, Me.; 
 Swedenborgian Church Choir; 
 poser, ““Welcome” and words for “Cho- — 
 rus of Hunters” by Marston; author, — 
 
 mem. 
 
 com- 
 
 , 
 
 “Time Saving Manner of Conducting — | 
 Business,” “History of the Portland So- | 
 ciety of the New Jerusalem,” “Improved — 
 Rules of Multiplication” and game called — 
 
 “Multi”; founder of the Weber Club, 
 1880, Sec. of same; mem. Haydn Asso., 
 
 Maine Festival Chorus (Western Divi- — 
 
 sion); Scribe of Portland Encampment, 
 No. 19, I. O. O: F., for 28 yrs See ana 
 Treas. Spanish Literary Society; Pa- 
 trons of Husbandry, N. E. Order of 
 Protection, Temple of Honor, 
 Templars. Res.,- 286a Congress St, 
 Portland, Me. 
 
 Perkins, Hazel Clary, violinist; b. So. 
 Portland, Me., Aug. 28, 1905; d. Charles 
 H. and Jennie Perkins; studied with 
 David E. Fisher; mem. Portland Munic- 
 ipal Orchestra, Marston Club. Voca- 
 tion, stenographer. 
 mer St., So. Portland, Me. 
 
 Perkins, Mrs. Margaret, org. St. Mary’s 
 Catholic Church. Address, Augusta, Me. 
 
 Perkins, Marjorie, m.t. Address, Pray St., 
 Gardiner, Me. 
 
 Perry, Charles Sprague, pianist; b. Au- 
 burn, Me., May 4, 1878; s. Samuel T. 
 
 Good 
 
 Address, 387 Sum- | 
 
 and Ellen E. Perry; m. Mabel L. Whit- — 
 
 man, Oct. 29, 1903; ed. public schools of 
 
 Auburn; studied with Miss Yeaton and — 
 E. W. Hanstom; mem. Payne’s Second ~ 
 
 Regiment Band, 9 yrs. 
 Perry’s Orchestra (piano), Abou Ben 
 Adhem Lodge, I. O 
 
 (bass drum), — 
 
 O. F., Musicians — 
 
 Union, Local No. 409; Pres. Sprague — 
 
 Club. Vocation, shoe cutter. Address, 
 
 357 Court St., Auburn, Me. 
 
 Perry, E. Beryl, teacher of piano; b. Fort 
 Fairfield, Me., Nov. 13, 18901; 
 W. and Mora C. Knight Perry: ed. N. 
 
 d. Henry | 
 
 E. Conservatory; studied with Charles 
 Dennee; org. Methodist, Unitarian and — 
 Episcopal Churches; Vice Pres. Polly- — 
 
 anna Club; 
 mittee of the Philomathean Club; mem. 
 
 chairman of Music Com- — 
 
 Eastern Star Lodge, Cong. Church, and — 
 
 Tennis Club. Address, Main St., 
 Fairfield, Me. 
 
 Fort 
 
 Perry, Mrs. Eva Prentiss, vocalist (so- — 
 
BIOGRAPHICAL SECTION—1927-1928 
 
 439 
 
 prano), organist, music teacher; b. Oak- 
 land, Me., Sept. 30, 1865; d. William H. 
 Picmuinieeiee Prentiss; m. Oscar E. 
 Perry, May 13, 1904; ed. East Green- 
 wich Academy, class 1885; studied with 
 Proto. 1, Carter and F. Hathorne; 
 mem. Dunn Memorial M. E. Church 
 Choir, Tuesday Club and Rebekah 
 Lodge; Treas. Tuesday Club. Address, 
 Main St., Oakland, Me. 
 
 Peters, Thomas B., conductor, Deane’s 
 Orchestral Club. Address, 175 Coyle 
 St., Portland, Me. 
 
 Petersen, Mrs. Leah T., music teacher, 
 pianist; mem. MacDowell Club and 
 Portland Rossini Club. Address, 655 
 Congress St., Portland, Me. 
 
 Peterson, Edwin, Sec. Milo Festival Cho- 
 rus. Address, Milo, Me. 
 
 Peterson, Ellen M., m.t. Address, 50 Co- 
 lumbia St., Bangor, Me. 
 
 Peterson, Ethel M., m.t.; conductor Me. 
 Festival Chorus. Address, Milo, Me. 
 
 Petit, Elizabeth, vocalist (mezzo-sopra- 
 no); b. Biddeford, Me.; d. Ovide and 
 Julie Garneau Petit; ed. St. Joseph’s 
 School, Biddeford, Me.; studied with 
 Sisters of Good Shepherd, Prof. E. 
 Clarke and Prof. Brinkler; and Normal 
 Course at Siegel-Myers School of Mu- 
 sic, Chicago; mem. Society of Children 
 of Mary. Vocation, teacher of piano. 
 Address, 4 Graham St., Biddeford, Me. 
 
 Pettengill, Arthur Nash, teacher of piano, 
 organ and violin; b. Lewiston, Me., 
 April 8, 1877; s. George S. and Flavilla 
 Golden Pettengill; m. Florence D. Hill, 
 cellist, April 9, 1900; ed. public and pri- 
 vate schools; studied with Mattie G. 
 Wood, B. F. Wood, Otto C. de Scheda, 
 E. W. Hanscom and Charles Dennee; 
 choirmaster and organist Trinity Epis- 
 copal Church, 1904-1924, Calvary M. E. 
 Church since 1924; org., Ashla Lodge, 
 F, & A. M., King Hiram Chapter, Dun- 
 lap Council, Lewiston Commandery, K. 
 T., Lewiston Lodge of Perfection and 
 pianist Kora Temple, A. A. O. U. M.S.; 
 director Lewiston Brigade Band (trom- 
 bone), Arthur N. Pettengill Orctestra; 
 Vice Pres. Musicians Protective Union; 
 conductor, Lewiston-Auburn Symphony 
 Orchestra. Address, 535 Main St., Lew- 
 iston, Me. Studio, 198 Lisbon St., Lew- 
 isto.1. Me. 
 
 Pettengill, Lawrence C., clarinettist and 
 violinist; b. East Auburn, Me., Dec. 22, 
 fes0;) S. Isaac D.°and Deborah M. 
 
 (Gowell) Pettengill; m. Mary E. Saw- 
 yer, May 26, 1888; ed. East Auburn, 
 Me.; studied with F. D. Record and E. 
 Strasser; mem. Glover’s Band, Lewis- 
 ton Brigade Band, Arthur N. Petten- 
 gill’s Concert Orchestra, Given’s, Wil- 
 son’s, Callahan’s and Gifford’s Orches- 
 tras; played in Lewiston theatres for 20 
 yrs.; played summer engagements for 
 about 20 yrs. at Riverton, Old Orchard, 
 Cape Cottage, Popham Beach, and one 
 winter at Everett and Duval Hotels, 
 Jacksonville, Fla. Address, North River 
 Road, Auburn, Me. 
 
 Petty, Mrs. Eliza, Treas. Skowhegan Fes- 
 tival Chorus. Address, Skowhegan, Me. 
 
 Petty, William, vocalist; mem. Cosmopoli- 
 ton Quartette. Address, Portland, Me. 
 
 Phelps, Frank W., Pres. Old Town Festi- 
 val Chorus. Address, Old Town, Me. 
 
 Philbrook, Alice Linwood, teacher of 
 piano, concert artist; b. Portland, Me., 
 Jan. 20, 1861; d. Lysander V. and Rhoda 
 Heseltine; studied with Carl Baermann 
 and at N. E. Conservatory; honorary 
 mem. Portland Rossini Club (Treas. for 
 20 yrs.); mem. Verdi Club, New York. 
 Res., 4260 Broadway, N. Y. City. 
 
 Philbrook, Warren C., vocalist; b. Sedg- 
 wick, Me., Nov. 30, 1857; studied choir 
 singing with J. W. Dresser of Castine 
 and teachers in Portland and Boston; for- 
 merly director of various quartets, glee 
 clubs and choirs, and Pres. Waterville 
 Festival Chorus. Vocation, attorney and 
 Justice of Supreme Judicial Court. Ad- 
 dress, Waterville, Me. 
 
 Phillips, Lena M., violinist. Address, 42 
 Longfellow St., Westbrook, Me. 
 
 Phillips, William H., vocalist (bass); b. 
 Bethel, Me.; s. John W. and Catherine 
 R. Phillips; m. Carrie M. Harmon, July 
 4, 1880; ed. Bethel, Me.; studied with 
 Wm. L. Fitch, Wm. H. Dennett and 
 Millard Bowdoin; mem. Woodfords 
 Cong., First Baptist and Central Square 
 Church Choirs; mem. Maine Music Fes- 
 tival for 20 yrs. Address, 77 St. Law- 
 rence St., Portland, Me. 
 
 Pierce, Arthur D., vocalist (bass); mem. 
 Portland Festival Chorus, 30 yrs.; choir 
 director Second Parish Church. Ad- 
 dress, 335 Woodford St., Portland, Me. 
 
 Pierce, Mrs. Arthur D., vocalist (alto); 
 mem. Portland Festival Chorus. Ad- 
 dress, 335 Woodford St., Portland, Me. 
 
 Pierce, A. W., vocalist; mem. Portland 
 
440 
 
 Festival Chorus, 20 yrs. Address, 186 
 Stanford St., So. Portland, Me. 
 
 Pierce, Mrs. A. W., vocalist (alto); mem. 
 Portland Festival Chorus, 20 yrs. 
 dress, 186 Stanford St., So. Porinad: 
 Me. 
 
 Pierce, Mrs. Clyde W., vocalist; mem. 
 Portland Festival Chorus, 20 yrs. Ad- 
 dress, 79 Fessenden St., Portland, Me. 
 
 Pierce, Frank H., vocalist. Vocation, 
 grain merchant. Address, 194 Spring 
 St., Portland, Me. 
 
 Pierce. Irving, soloist (tenor); b. Pros- 
 pect, Me., May 13, 1800; s. Everett and 
 Josephine Pierce; m. Lillian Maxell, June 
 22, 1915; ed. Eastern Maine Conference 
 Seminary; studied with Mildred Stone, 
 Bangor; mem. choir Baptist Church, Old 
 Town; formerly dir. Methodist Episco- 
 pal Church, Old Town; former mem. 
 choir Baptist Church, Houlton, Methodist 
 Epis., Guilford; Vice Pres. Old Town 
 Festival Chorus; Mason. Vocation, chief 
 accountant University of Maine. Address, 
 34 Sixth St., Old Town, Me. 
 
 Pierce, Mrs. Josiah (Isabella L.), vocalist; 
 b. Portland. Me.; d. Daniel Warner and 
 Isabella (Hatch) Millett; m. Josiah 
 Pierce; studied with Hermann Kotzsch- 
 mar and Herr Schulhoff; one of the 
 founders and a charter mem. of the 
 Portland Rossini Club, also one of its 
 incorporators, now honorary mem. Ad- 
 dress, The Royal Palance Hotel, Ken- 
 sington, London, W. 8, England. 
 
 Pierre, Albert S., m.t. Address, 
 wick, Me. 
 Pierson, Mrs. Nelson (Birdena Powers), 
 
 music teacher; Pres. Lyric Club. Ad- 
 dress, Caribou, Me. 
 
 Pilote, Mamie, m.t., organist. Address, 87 
 Wood St., Lewiston, Me. 
 
 Piper, Frances Louise Cushing, vocalist, 
 pianist; b. Gray, Me., June 13, 1902; d 
 Dr. Louis T. and Emma M. Cushing; 
 m. Frank S. Piper, June 26, 1926; ed. 
 Wheaton College and Inst. of Normal 
 Methods, Northampton, Mass.; studied 
 with Hiram G. Tucker (piano), Henri- 
 etta D. Rice (voice); dir. Wheaton Coll. 
 Glee Club and Leavitt Inst. Chorus; 
 English instructor. Address, Kezar 
 Falls, Me. 
 
 Piper, Mabel, m.t. Address, Lincoln, Me. 
 
 Pitcher, Elbridge S., vocal teacher (basso), 
 band and choral conductor; b. Waldo- 
 boro, Me., Feb. 4, 1865; s. Horace W. 
 and Lucy Wentworth Pitcher; m, Em- 
 
 Bruns- 
 
 MUSIC AND MUSICIANS OF MAINE 
 
 ' Plante. Mrs. Joseph (Lucina B.), violin- 
 
 ma B. Pitcher, Dec. 31, 1889; ed. Castine 
 Normai School and N. E. Conservatory; — 
 studied with A. W. Keene, L. C. Elson — 
 and F. W. Hale; mem. Kiwanis Club — 
 and Maine Music Festival since its or- 
 ganization; dir. of music in public — 
 schools in Auburn, Me., for more than — 
 5 yrs.; have dir. choirs in Belfast and — 
 Lewiston, Me., for 25 yrs.; Pres. Belfast 
 Musical Society, 5 yrs.; mem. Belfast — 
 Band, 10 yrs., conductor 1 yr.; Pres; @ 
 Eastern Music Supervisors Conference. — 
 Address, 79 High St., Auburn, Me. . 
 
 Pitcher, Mrs. Elbridge S. (Emma B.), ~ 
 vocal teacher (contralto);' b. Belfast, — 
 Me., 1865; d. Daniel L. and Prudence ~ 
 (Dunbar) Pitcher; m. Elbridge S. — 
 Pitcher, Dec. 31, 1880; ed. Boston) 
 Mass.; studied with J. L. Hodgdon, Jr.; 
 mem. Universalist, Baptist, Unitarian — 
 and Congregational Church Choirs; — 
 chairman music committee State Fed- — 
 eration Women’s Clubs; mem. Execu- — 
 tive Committee, Belfast Musical Society. _ 
 Vocation, supervisor of music in public — 
 schools, Belfast, Me. Address, 79 High ~ 
 St., Auburn, Me. a. 
 
 Plant, Chester, Treas. Bath Festival Cho-— J 
 rus. Address, Bath, Me. 4 
 
 Plante, Alford, vocalist (tenor), violinist; — 
 b. Augusta, Me., Aug. 28, 1901; s. Omer — 
 and Celima Plante; studied with Ra- — 
 mond Shaw. Vocation, shoemaker. Ad- — 
 dress, 25 Washington St., Augusta, Me. 
 
 Plante, Joseph J. B., clarinettist; b. Au- 
 gusta, Me., June 24. 1890; s. Omer and — 
 Celima Plante: m. Lucina B. Bonneau. 
 Nov. 19, 1923; mem. Municipal Band — 
 and Augusta Symphony Orchestra. Vo- — 
 cation, shoemaker and carpenter. Ad- 
 dress, Thomaston Road, Augusta, Me. — 
 
 ist; b. Augusta, Me.. April 30, 1003; d. — 
 Noel and Adrienne Bonneau; m. Joséph _ 
 Plante, Nov. 19, 1923; mem. Augusta — 
 Symphony Orchestra. Address, Thom- — 
 aston Road, Augusta, Me. a 
 Plummer, Arthur. leader Citizens Band, — 
 Skowhegan. Address, Skowhegan, Me. 
 Plummer, Mary L., mt. Address, 639 — 
 Broadway, Bangor, Me. y 
 Pollard, Alice E., org. Church of the Mes- — 
 siah, Portland. Address, Portland, Me. - 
 Pollock, Paul, orchestral leader, music 
 teacher, violin soloist. Address, 635¢ 
 Congress St., Portland, Me. s 
 Pomerleau, Mrs. Pearl B., Sec. Skowhe-— F 
 
 —e oe 
 
BIOGRAPHICAL SECTION—1927-1928 441 
 
 gan Festival Chorus. Address, Skowhe- 
 gan, Me. 
 
 Pomeroy, Mrs. Elizabeth, music teacher, 
 school music supervisor. Address, East 
 
 Livermore, Me. 
 
 Porter, F. Addison, teacher and composer; 
 b. E. Dixmont, Me., Sept. 3, 1859; s. 
 Albert O. and Susan (Farnham) P.; m. 
 Lillian Mead of Walton, N. Y., Aug. 27, 
 1890 (deceased); 2d Laura Huxtable of 
 Boston, Nov. 29, 1907; grad. N. E. Con- 
 servatory of Music, 1884; post-grad. 
 study at Leipzig, Germany; teacher of 
 pianoforte since 1884; organizer and 
 supt. Normal Dept., N. E. Conservatory 
 of Music, 1892-1922; dir. Porter Piano- 
 forte Summer School; author of “N. E. 
 Conservatory Course for Piano,” ‘Prac- 
 tical Finger Exercises,’ “Intermediate 
 and Advanced Technique’; composer 
 fugues, sonatas, preludes, waltzes, ma- 
 zurkas, mocturnes, etude melodique 
 (leit) hand),  Komanza in A flat,” “A 
 Winter Sunset,” etc., for pianoforte; 
 Hon. Nat’l Pres. Kappa Gamma Psi 
 Fraternity, Hon. Pres. Porter Musical 
 Association; mem. Boston Art Club, 
 Harvard Mus. Assn., Euclid Lodge, A. 
 F. and A. M., St. Andrew’s Royal Arch 
 Chapter, Boston Council, De Molay 
 Commandery, Knights Templar. Ad- 
 dress, N. E. Conservatory of Music, 
 Boston, Mass. 
 
 Pouliot, Jean Patrice, pianist and accom- 
 panist; b. Athabaska Ville, P. Q., Cana- 
 da, Sept. 1, 1902; s. Edmond and Pauline 
 Labbe Pouliot; ed. St. John the Baptist 
 School; studied with Rev. Mother Mary 
 de Lourde of the Ursuline Sisters, Mrs. 
 Charles Warren and Olaf Jensen; on 
 tour, B. F. Keith Circuit, season 1924-25; 
 accompanist for Dolara LaCroix, Mrs. 
 Geoffrey T. Vermette, Anthime Fortin 
 and others; broadcasted from WCSH. 
 Vocation, teacher of piano. Address, 7 
 Bridge St., Brunswick, Me. 
 
 Pratt, John Haraden, organist, composer, 
 teacher of piano, organ and theory; b. 
 Freeport, Me., Nov. 20, 1848; s. Simeon 
 and Joann Emerson Dennison Pratt; m. 
 Sophie Christian, Aug. 23, 1890; ed. No. 
 Yarmouth Academy; studied with 
 George W. Marston, Portland; counter- 
 point with John W. Morgan, Oakland, 
 Cal.; theory with S. Jadassohn, Alfred 
 Richter, Oscar Paul; piano with Ernest 
 Frederich Wenzel, Theodor Coccius and 
 Bruno Zwintscher in Leipzig; certificate 
 from the Leipzig Cons., 1881; took ex- 
 
 aminations for associateship and fellow- 
 ship degrees in American College of 
 Musicians, 1888; formerly teacher of 
 theory at Mills College and at Kings 
 Conservatory, San Jose, Cal.; org. at St. 
 Mary the Virgin (Episcopal) Church, 
 San Francisco, 12 yrs., and First Jewish 
 Synagogue, Oakland, Cal.; org. Old 
 People’s Home, San Francisco, 35 yrs.; 
 Rites bodies; 13° yrs; org. Lyon St. 
 Church of the New Jerusalem; formerly 
 org. Cong. Sq. Univ. and First Baptist 
 Churches, Portland, Me.: composer, 
 songs, church music, “Piano Trio in 
 & SMaiors tecilent «lLears)  T antum 
 Ergo,” “Love’s Fillet,’ “English Mass 
 in C,” for men’s voices; historian and 
 pres. Musicians Club of San Francisco, 
 former Sec. and Past Pres.; Colleague of 
 the American Guild of Organists, and 
 twice dean of the Northern Cal. Chap- 
 ter Am. Guild of Organists. Address. 
 1530 Lombard St., San Francisco, Cal. 
 
 Prescott, Edith F., organist United Bap- 
 tist Church. Address, Auburn, Me. 
 
 Preston, Bernice M., music teacher, pian- 
 ist; priv. mem. Portland Rossini Club. 
 Address, 489 Cumberland Ave., Port- 
 land, Me. 
 
 Prince, Frank L., instrumentalist (viola, 
 violin); former mem. Portland Orches- 
 tral Society; mem. Portland Municipal 
 Orchestra and Deane’s Orchestral Club. 
 Address, 291 Spring St., Portland, Me. 
 
 Purington, Prof. Geo. C., vocalist (tenor) ; 
 conductor Festival Chorus at Farming- 
 ton; leader choir Cong. Church for many 
 years. Principal Farmington State Nor- 
 mal School. Address, Farmington, Me. 
 
 Purington, Mrs. G. H., vocalist; mem. 
 Women’s Choral Society. Address, 31 
 Hastings St., Portland, Me. 
 
 Quigley, Mrs. Corrine, m.t. Address, 
 Eastport, Me. 
 Quincy, Dorothea, vocalist, pianist; b. 
 
 Bangor, Me., June 14, 1900; d. F. G. and 
 Cynthia Green Quincy; ed. Bangor 
 High School, Comstock Conservatory 
 of Music and Miss Capen’s School, 
 Northampton, Mass.; studied piano with 
 Abbie Garland, Bangor, Elinor Com- 
 stock, N. Y., Blanche Dingley-Mathews, 
 Boston; studied voice with Isidore Brag- 
 giotti; mem. choir Church of Messiah 
 and Park St. Church, Boston; mem. 
 Handel and Haydn Society, Boston, 
 Choral Society, Bangor, Business and 
 Professional Women’s Club and Boston 
 
CHORAL CONDUCTOR AND 
 
 HELOISE P. RENOUF, 
 TEACHER. 
 
 Students Union. Address, 52 St. Ste- 
 phen St., Boston, Mass. 
 
 Raeburn, Harry Tindell, soloist and con- 
 cert artist (baritone); b. Toronto, Can- 
 ada; s. Robert C. and Emma Tindell 
 Raeburn; m. Phyllis Caroline Cul- 
 hane, Aug. 14, 1913; ed. Trinity Church 
 School, N. Y.; studied with Mme. Shel- 
 don, Dr. Victor Baier and David Bis- 
 pham, N. Y.; formerly soprano soloist 
 Trinity Church, N. Y., choirmaster St. 
 Barnabas Church, Berlin, N. H., and 
 dir. North Country Festival of Episco- 
 pal Church Choirs in N. H.; Vice Pres. 
 Portland Shrine Club; mem. Rotary 
 Club, Shrine Club, Portland and N. H. 
 Academy of Science. Vocation, direc- 
 tor of musical comedies, minstrels and 
 community song leader. Address, 181 
 Longfellow St.; mail address, 5423 Con- 
 gress St., Portland, Me. 
 
 Rafnell, Alfred Wilson, vocalist (tenor), 
 teacher of piano; b. Castine, Me., Feb. 
 14, 1875; s. Arthur J. and Sarah J. Raf- 
 nell; m. Clarice Anderson, Oct. 28, 1897; 
 ed. public schools, Castine; studied with 
 William M. Eddy; soloist Baptist 
 Church and Central Church, Bath, Me.; 
 mem. Brigade Band (cornet), Lewiston. 
 Pettengill’s Orchestra; dir. Castine 
 
 MUSIC AND MUSICIANS OF MAINE 
 
 Band, Bath Band and Rumford Band; 
 played in Columbia Theatre, Bath, Me., 
 9 yrs., Music Hall, Lewiston, 5 yrs., 
 Strand and Empire Theatre Orchestras, 
 2 yrs.; arranged music for band and or- 
 chestra and made a specialty of teaching 
 cornet and harmony. Vocation, piano 
 ee Address, 440 Turner St., Auburn, 
 e. 
 Ramsay, Allan, vocal teacher. 
 Oak St., Corner Lincoln, Bath, Me. 
 
 Ramsdall, Melba E., organist. Address, 
 956 Washington Ave., Portland, Me. 
 
 Rand, Mrs. A., music teacher. Address, 
 Winter Harbor, Me. 
 
 Rand, G. H., M.D., conductor Livermore 
 Falls Festival Chorus. Address, Liver- 
 more Falls, Me. 
 
 Randeggar, Lady Alberto (Louise Bald- 
 win), vocalist; m. Alberto Randeggar, 
 1897. Address, 5 Nottingham Place, W. 
 London, England. 
 
 Rankin, Frank L., m.t.; conductor Sanford 
 Men’s Singing Club. Address, 562 Con- 
 gress St., Portland, Me. 
 
 Rankin, Mary, org. Second Parish Uni- 
 tarian Church. Address, Saco, Me. 
 
 Rawstron, Hazel Arris, b. Auburn, Me., 
 Nov. 25, 1887; d. Frank H. and Annie 
 Barker Arris; m. Albert V. Rawstron, 
 Oct. 17, 1916; mem. and auditor Phil- 
 harmonic Club, Auburn; mem. Danville 
 Junction Grange. Address, 19 Summer 
 St., Auburn, Me. 
 
 Raynes, George E., leader Yarmouth 
 Band. Address, Yarmouth, Me. 
 
 Reed, Mrs. Elsie Dodge, Sec.-Treas. New- 
 
 castle-Damariscotta Festival Chorus. Ad-. 
 
 dress, Damariscotta, Me. | 
 Regan, Blanche, org. St. Christopher’s 
 
 Church, Peaks Island. Address, Peaks 
 
 Island, Me. 
 
 Rennix, Nellie G., m.t. Address, 30 Gra- 
 ham St., Biddeford, Me. 
 
 Renouf, Heloise Painchaud, vocalist, con- 
 ductor and teacher of piano; b. Bidde- 
 ford, Me., April 13, 1872; d. Pierre L. 
 and Marie C. (Reny) Painchaud; m. 
 Narcisse P. Renouf, Sept. 7, 1891; ed. 
 Biddeford public schools; studied with 
 R. H. Phippen and Pierre L. Painchaud; 
 org. St. Joseph’s Church, Biddeford; 
 mem. Universalist and Christian Science 
 Church Choirs (mezzo-soprano-lyric) ; 
 mem. Philharmonic Orchestra; formerly 
 conductor Universalist Church Choir, 
 So. Berwick Mozart Club, Kennebunk 
 
 Address, — 
 
 eee ee eee ee ee ee ee ee a ee eee Lee Tee ee ee 
 
 wih.» a re 
 
 * "a ae eee 
 
BIOGRAPHICAL SECTION— 1927-1928 
 
 443 
 
 Festival Chorus, Saco and Biddeford 
 Festival Chorus; Pres. and Director 
 Biddeford Unit State Liberty Chorus; 
 in 1928 director United Baptist Church 
 Choirs in Saco. Address, Sunnyside 
 Court, 256 South St., Biddeford, Me. 
 
 Renouf, Myrabelle, Treas. Biddeford-Saco 
 Festival Chorus. Address, Biddeford, Me. 
 
 Reny, Yvonne, pianist; studied with Al- 
 bert Auger, Auburn; mem. St. Louis 
 Church Choir; pianist for the Musical 
 Literary Society and also for operas 
 produced in Lewiston, including “Faust,” 
 1922, “Romeo and Juliet,” 1923, and the 
 “Mascot”; has appeared in leading parts 
 in musical comedies “All Aboard,” “Pin- 
 afore,” “Little Buttercup,” “The Drum 
 vous and “Olivette.” Res., Lewiston, 
 
 e. 
 
 _ Reynolds, Mrs. Clarence, vocalist; mem. 
 
 es Choir, Bangor. Address, Bangor, 
 e. 
 
 Rice, Henrietta Dennett, vocalist (con- 
 tralto); b. Stetson, Me.; d. Matthias E. 
 and Harriet Pierce Rice; ed. Auburn 
 -and Lewiston; studied voice with Ella 
 C. Lewis, Portland, Luigi Vannucini, 
 Florence, Italy, Alberto Randeggar, 
 London, England, Reinhold Herman, 
 Rappallo, Italy, William L. Whitney, 
 Boston, and Frederic E. Bristol, N. Y.; 
 2nd Vice Pres. Portland Rossini Club; 
 mem. choir First Parish and State St. 
 Churches, Portland, and the H. H. 
 Rogers Memorial Church, Fairhaven, 
 Mass. Vocation, teacher of singing. 
 aes 655 Congress St., Portland, 
 
 e 
 
 Rich, Mrs. Irving, mem. MacDowell Club. 
 Address, Portland, Me. 
 
 Richan, Avard L., Vice Pres. Lewiston and 
 Auburn Oratorio Chorus. Address, 152 
 Davis Ave., Auburn, Me. 
 
 Richards, Mrs. Floyd H., vocalist; mem. 
 MacDowell Club, Portland Rossini 
 Club. Address, 319 Summer St., So. 
 Portland, Me. 
 
 Richards, Laura E., author of “Seven Ori- 
 ental Operettas,” “Fairy Operettas” and 
 many books, including “The Piccolo,” 
 “Melody,” etc. Address, 3 Dennis St., 
 Gardiner, Me. 
 
 Richardson, Mrs. Frank, m.t. Address, 20 
 Hooper St., Biddeford, Me. 
 
 Richardson, Grace March, pianist; mem. 
 Fremstad Music Club, Bridgton. Ad- 
 dress, Bridgton, Me. 
 
 Richardson, Hilda, violinist; mem. Port- 
 
 C. WINFIELD RICHMOND, VIOLINIST AND TEACHER. 
 
 land Municipal Orchestra. Address, 
 
 193 Edwards St., Portland, Me. 
 
 Richardson, Mrs. Ida, org. First Baptist 
 Church. Address, Biddeford, Me. 
 
 Richardson, Prudence Mary, vocalist 
 (mezzo-soprano); b. Rangeley, Me.. 
 Oct. 7, 1881; d. Phineas and Addie Pills- 
 bury Richardson; ed. Hebron Academy; 
 studied with Florence Knight Palmer 
 and Mary Alice Cobb, Portland; for 
 many years prior to 1915 was soloist, 
 reader and elocution coach, and mem. 
 Baptist Church Choir, Rangeley. Voca- 
 tion, public stenographer. Res., Range- 
 ley, Me. 
 
 Richmond, Anita Clark, vocalist; mem. 
 Ethelbert Nevin Club, Springvale. Ad- 
 dress, Springvale, Me. 
 
 Richmond, C. Winfield, pianist, music lec- 
 turer, teacher of piano; b. Fayette, Me., 
 March 2, 1882; s. Charles H. and Clara 
 Jennings Richmond; ed. Coburn Classi- 
 cal Institute and Virgil Piano Conserva- 
 
444 MUSIC AND MUSICIANS OF MAINE 
 
 tory, N. Y.; studied with Rafael Joseffy, 
 N. Y., and Isidor Philipp, Paris; organ- 
 ist All Soul’s Church, Bangor, and Ma- 
 sonic body; pianist, Maine Music Festi- 
 val, 3 yrs.; mem. Music Teachers Na- 
 tional Asso., National Asso. of Organ- 
 ists, Musical Alliance of America, 
 Knights Templar and 32nd degree Ma- 
 son. Summer home, Long Cove Point, 
 Chamberlain, Me. Address, Andrews 
 Music Building, Bangor, Me. 
 
 Richmond, Cora Pierce, vocalist (so- 
 prano); b. New Bedford, Mass.; d. 
 Thomas W. and Mary Besse Pierce; m. 
 Eben A. Richmond, 1888; ed. Middle- 
 boro, Mass.; studied with A. J. Hub- 
 bard, .N. E. Conservatory; dir. ‘Cong, 
 Church Choir, Sanford, Me. Address, 
 183 Main St., Sanford, Me. 
 
 Ricker, Cora, mem. Women’s Choral So- 
 ciety. Address, Portland, Me. 
 
 Ricker, Frederick A., vocalist; b. Turner, 
 Me.; s. Danville A. and Lucinda Mason 
 Ricker; m. Annie S. Page, April 28, 
 1880; studied with H. H. Rich, Worces- 
 ter, Mass., and at Worcester Co. Music 
 School; mem. choir Unity Church, 
 Worcester, and Cong. Church, Turner; 
 mem. Music Festival Chorus, Worces- 
 ter, 3 yrs., and Me. Music Festival, 10 
 yrs. Address, Turner, Me. 
 
 Ricker, Katherine (see Katherine Ricker 
 Keenan). 
 
 Rideout, Walter John, vocalist (tenor bar- 
 itone); b. Charleston, Me. June 13, 
 1889; s. Whitney J. and Vina Wood- 
 worth Rideout; m. Helen Ruth Brickett, 
 Dec. 25, 1913; ed. Colby College; studied 
 with C. Winfield Richmond, Bangor; 
 mem. choir, Cong. Church, Danville, Vt., 
 Methodist, Guilford, Me., and Cong., 
 Dover-Foxcroft, Me.; dir. Eastern Me. 
 Musical Asso.; mem. Guilford Festival 
 Chorus, 1919-23; Pres. Dover-Foxcroft 
 Fes. Chorus, 1923-25. Vocation, super- 
 intendent of schools. Address, 11 Pleas- 
 ant St., Dover-Foxcroft, Me. 
 
 Ridley, Elizabeth Mae, vocalist (soprano), 
 teacher of music public and private 
 schools; b. Old Town, Me., March 25, 
 1875; d Frank O. and Mary A. Leavitt; 
 m. Fred C. Ridley, March 29, 1900; ed. 
 private schools, Bangor, Me.; Pres. 
 Woman’s Republic Club, Cor. Sec. 
 Home Culture Club, Rec. Sec. Wimo- 
 dansis Club, all of Bangor; mem. Festi- 
 val Chorus 20 yrs., Schuman Club, 
 Stearns Circle of Kings Daughters, 
 Eastern Star, Rebekah Lodge. Summer 
 
 home, So. Gouldsboro, Me. Address, | 
 3570 Spokane Ave., Tacoma, Wash. 
 
 Ridley, Harriette G., organist and radio — 
 
 director; b. Lewiston, Me., April 8, 1806; — 
 d. George E. and Elizabeth Royal Rid- — 
 ley; ed. Lewiston, Me.; studied organ — 
 with Ralph Kinder, Philadelphia; piano — 
 with Florence A. Wells; org., High St. 
 Cong. Church, Auburn, Me.; mem. — 
 
 American Federation of Musicians and ~ 
 
 Schubert Trio; org. and radio director — 
 
 John Wanamaker Store, Philadelphia. 
 
 ae 128 So. 54th St., Philadelphia, 
 a. 
 
 Ridlon, Mrs. Charles H. (Sadie Nicker- 
 
 son), violinist; b. Falmouth Foreside, 
 Me., Sept. 4, 1890; d. Charles L. and Isa 
 (Starling) Nickerson; studied with 
 Florence E. Chapman and Blanche 
 Cram Longfellow; mem. Laura E. Ross’ 
 Ladies Orchestra; mem. B. P. W. Club 
 and Y. W. C. A.; mem. Portland Rossini 
 Club. Address, 883 Congress St., Port- 
 land, Me. 
 
 Rigby, Frank J., music teacher, band 
 
 leader (clarinet and piano); b. New- 
 burgh, Me., 1862; s. Josiah and Ruth A. 
 Rigby; m. Kittie F. Conant, June 14, 
 1892; ed. Kent’s Hill Seminary; studied 
 at N. E. Conservatory, Boston, Mass.; 
 leader American Legion, C. A. C., N. G. 
 Me., during World War; dir. Belfast 
 Band 14 yrs., Rumford Band 8 yrs., and 
 has played with Germania Band; mem. 
 Portland Musicians Asso. Studio, 536a 
 
 Congress St. Res., 13 Gray St., Port 
 
 land, Me. 
 
 Riley, Arlen McKenney, vocalist (con- 
 
 tralto); b. Madison, Me., Oct. 19, 1805; 
 d. Rufus S. and Lina Moore McKenney; | 
 m. James Vincent Riley, Nov. 10, 1920; ~ 
 ed. Madison, Me., and N. E. Conserva- — 
 tory; mem. Congregational Church 
 Choir and leader High School Orches- 
 tra, Madison; formerly mem. Musical 
 Art Society, and Cecilia Choral, Boston, 
 Mass.; formerly taught in Nova Scotia, — 
 Texas, Christian University, Fort Worth, 
 Texas. Vocation, private teaching and — 
 public school music. Address, 29 Wes- 
 ton Ave., Madison, Me. 
 
 Ringwall, Knut Algot, musical director, 
 
 composer, pianist, teacher; b. Stockholm; 
 Sweden, Feb. 21, 1865; s. Fredric Wil- 
 helm and Sophia A. Ringwall; m. Tekla 
 Malmberg, 1887; ed. Stockholm, Swe- — 
 den; studied at Royal Conservatory of 
 
 Music; musical dir. Bijou Theatre Or- — 
 
BIOGRAPHICAL SECTION—1927-1928 AAS 
 
 chestra, Bangor. Address, 48 Grant St., 
 Bangor, Me. 
 
 Ringwall, Rudolph, orchestra leader; b. 
 ‘Bangor, Me.; educated at Vienna; 
 
 . studied with Arnold Rosé; played seven 
 years with the Boston Symphony Or- 
 chestra. Vocation, assistant conductor 
 of the Cleveland Symphony Orchestra. 
 Address, Cleveland, Ohio. 
 
 Ripley, Aaron Bryant, vocalist (tenor); b. 
 Washington, Me., May 12, 1867; s. Sam- 
 uel and Sarah Bryant Ripley; m. Sadie 
 Williams, May 4, 1891; Pres. Augusta 
 Symphony Orchestra, 1924-25 (cello); 
 former mem. Washington Cornet Band 
 (alto). Vocation, farmer. Address, 25 
 Howard St., Augusta, Me. 
 
 Ripley, Mrs. Charles E., m.t. Address, 391 
 Washington St., Bath, Me. 
 
 Ripley, Robert Samuel, violinist; b. Au- 
 gusta, Me., Dec. 10, 1911; s. Edward L. 
 and Alice (Cony) Ripley; ed. Farming- 
 ton Schools; studied music under Prof. 
 Thieme; mem. Augusta Symphony Or- 
 chestra. Address, 173 Cony Road, Au- 
 gusta, Me. 
 
 Ripley, W. S., organist, cornettist, com- 
 poser; attended singing school at ten 
 years of age; taught his first band in Gor- 
 ham, N. H., in 1860; has taught more 
 than fifty bands in four N. E. States; was 
 17 yrs. bandmaster at the House of Ref- 
 ormation and Marcella St. Home, Bos- 
 ton; composed more than three hundred 
 songs and hymns, five sets of band books. 
 Address, 11 Eaton St., Wakefield, Mass. 
 
 Rizzo, Rosa, vocalist; mem. Women’s 
 Choral Society. Address, 177 Frances 
 St., Portland, Me. 
 
 Robbins, Mrs. Anna L., vocalist; mem. 
 Women’s Choral Society. Address, 93 
 Margaret St., So. Portland, Me. 
 
 Robbins, Ida Elizabeth, teacher of piano 
 and accompanist; b. Union, Me., Dec. 
 6, 1881; d. Alphonso and Eliza Robbins; 
 ed. Union High School; studied with 
 Mrs. James Wight and Clarence Pen- 
 dleton, N. Y.; mem. Bethel Rebekah 
 Lodge; scenario writer of moving pic- 
 ture plays. Address, Union, Me. 
 
 Robbins, Irvin, violinist; mem. Portland 
 Municipal Orchestra. Address, Port- 
 land, Me. 
 
 Robbins, Reginald Chauncey, composer; 
 b. Boston, Mass., 1871; s. Royal E. and 
 Mary (Horton) Robbins; ed. A.B. Har- 
 Ward, 16902; m. Jane R. Hall, May 17, 
 
 1907; Vice-Treas. Waltham Watch Co. 
 VEvTe rm ACT CO NAVals Nh CSa6Ll.  sanOast 
 and overseas, IQI7-19; author: “Love 
 Poems,” 4 vols., 1903-5-10-12, “Poems of 
 Personality,” 3 vols., 1904-9-I19, “Earlier 
 Poems,” 1913, “Poems Domestic,” 1919; 
 composer of many songs; mem. Union 
 Club, St. Botolph, Harvard, Century, 
 Authors: commodore Beverly pacint 
 Club, Manchester Yacht Club; chrmn. 
 finance com. Town of Hamilton, Mass.; 
 chrmn. trustees, pub. library, Hamilton, 
 Mass.; chrmn. visiting com. on philoso- 
 phy and psychology; mem. Am. Philo. 
 Assn., Mass. Audubon Soc., Delta Kap- 
 pa Epsilon, Phi Beta Kappa Frats., Am. 
 Legion and Veterans of Foreign Wars, 
 Mil. Order, World War, S. A. R., May- 
 
 Ses Soc. Res., North East Harbor, 
 
 e. 
 
 Roberts, Mrs. Myra, m.t. Address, Mil- 
 bridge, Me. 
 
 Roberts, Ruth Olive, teacher piano and 
 organ; b. Fryeburg, Me.; d. Rev. J. H. 
 and Ellen Deane Roberts; ed. Colby 
 College (Bachelor of Arts); studied 
 piano with Heinrich Gebhard, Boston, 
 Mass., and Dr. Latham True; studied 
 organ with Dr. Irving J. Morgan, Port- 
 land, and John Hermann Land, Boston; 
 org. School St. Episcopal Church, Saco; 
 Colleague Am. Guild of Organists. Res., 
 30 Cutts Ave., Saco, Me. 
 
 Roberts, Mrs. Winnifred P., m.t. Address, 
 Richmond, Me. 
 
 Robie, Fred Clarence, bandsman; b. Lew- 
 iston, Me., Feb. 26, 1856; s. Henry and 
 Olive Sanborn Robie; m. Eleanor Annie 
 Townsend, Feb. 28, 1888; org. Cong. 
 Church; mem. Glover’s Band for 12 
 yrs.; mem. of several bands and orches- 
 tras (E flat and B flat cornet and 
 drums). Vocation, farming. Address, 
 Winthrop, Me. 
 
 Robinson, Alton L., music teacher (clari- 
 net). Address, 226 W. Broadway, Ban- 
 gor, Me. 
 
 Robinson, Blanche Atkins, 
 piano; b. Milford, Me.; d. Charles W. 
 and Delia S. Atkins; m. Reuel Robin- 
 son, Dec. 22, 1885; studied with Fannie 
 Clift Berry, Mrs. FEB oAyers org: Cong. 
 Church, Camden, 30 yrs. Address, Cam- 
 den, Me. 
 
 Robinson, Emmons, m.t. Address, Houl- 
 ton, Me. 
 
 Robinson, Helen Brown, teacher of piano; 
 b. Leadville, Colorado, July 26, 1887; d. 
 Charles L. and Etta (Coburn) Brown; 
 
 teacher of 
 
446 
 
 m. John M. Robinson, June 109, I912; 
 studied with Bertha McClench, George 
 R. Goodridge and R. Alice Rich of 
 Bath; org. Penney Memorial Church, 
 Augusta; accompanist Augusta Festival 
 Chorus, 2 yrs.; also org. First Baptist 
 Church, Gardiner, First Universalist 
 Church, Hallowell, and National Home, 
 Togus. Address, 23 Academy St., Hal- 
 lowell, Me. 
 
 Roby, Charles E., mem. Me. Festival Cho- 
 
 rus, 30 yrs. Address, 205 Ocean Ave., 
 Portland, Me. 
 
 Roche, Mrs. Charlotte Gunn, vocalist, 
 
 soloist (soprano); mem. Portland Ros- 
 sini Club, Women’s Choral Society, 
 Cong. Sq. Church Quartette; appeared 
 at Portland Municipal Concerts and at 
 Strand Theatre. Address, 72 Prospect 
 St., Portland, Me. 
 
 Rocheleau, Ida Elisette, vocalist (sopra- 
 
 no); b. Chisholm, Me., July 13, 1897; d. 
 Edward and Eugenie St. Peter Roche- 
 leau; m. Flavien Rocheleau, June 20, 
 1921; ed. Wallace School and Bliss 
 Business College, Lewiston; studied at 
 the Dominion College of Music, Mon- 
 treal, and with Prof. Belanger; soloist 
 St. Peter’s. Church; mem, . le «Foyer 
 Musical of Lewiston, Me.; teacher of 
 piano for 9 yrs. Address, 148 Pierce St., 
 Lewiston, Me. 
 
 Rodgers, Harry Everett, organist; b. 
 
 Brockton; «Masss-“: July £330 11000 teas: 
 George Fred and Laura Ferguson Rod- 
 gers; m. Jessie O. Youlden, Aug. 30, 
 1911; ed. N. E. Conservatory; studied 
 with J. Albert Jeffery and H. M. Dun- 
 ham; org. Strand Theatre; formerly 
 conductor Lewiston Symphony Orches- 
 tra; mem. Kora Temple Mystic Shrine, 
 Masonic bodies in No. Cambridge, 
 Mass.; composer light orchestra num- 
 bers. Address, 10 Libby Ave., Lewiston, 
 Me. 
 
 Rogers, Grace A., educator; b. Troy, Me.; 
 
 d. Nathan and Sarah Loud Rogers; ed. 
 N. E. Conservatory, Boston, and New 
 York University; studied piano with 
 Jessie Hubbard and organ with Edward 
 H. Wass of Bowdoin College; voice, 
 Ernest J. Hill; violin with Don Morri- 
 son of Oberlin Conservatory, Ohio, and 
 Walter Habernicht of Boston Sym- 
 phony Orchestra; class violin and or- 
 chestrations with Dr. Albert G. Mitch- 
 ell of Boston; 3 yrs. course in public 
 school music in School of Methods, 
 Hingham, Mass.; summer school at La- 
 
 MUSIC AND MUSICIANS OF MAINE 
 
 sell Seminary, Auburndale, Mass.; five- — 
 year course at University of N. Y. sum- ~ 
 mer school; 10 yrs. on approved list of 
 piano teachers at Maine Central Insti- 
 tute; taught school music at Pittsfield, ~ 
 18 yrs.; org., 15 yrs., First Universalist ‘ 
 Church, Pittsfield; dir. Pittsfield Fes- — 
 tival Chorus, 3 yrs.; head of music de- — 
 partment Maine Central Institute. Ad- — 
 dress, 18 Summer St., Pittsfield, Me. 
 
 Rogers, Vivienne Iolia, pianist, organist; 
 b. Pittsfield, Me.; d. George L. and @ 
 Cora B. Rogers; ed. Pittsfield, Me., Me. 
 Central Institute, Bates College, Lewis- 
 ton, Me., A.B.; Columbia University, 
 graduate work; studied with Grace © 
 Rogers, Bangor, Charlotte Barnes) @ 
 
 Heanette Stephenson, and Harrison ~ 
 
 Smith of Waterville; church org.; mem. — 
 Festival Chorus, Glee Club, Musical 
 Club. Address, 11 Peltoma Ave., Pitts- — 
 field, Me. 
 Rolfe, Doris, m.t. Address, Pittsfield, Me. 
 
 Rolfe, Walter, teacher piano and theory; — 
 b. Rumford, Me., Dec. 18, 1880; s. F. J. 
 and Emma E. Rolfe; m. Katherine Ar- 
 mour, Feb. 16, 1913; ed. Rumford, Me.; 
 studied with Hans van den Burg, A. W. 
 Lillianthal, N: “Y.> otg Fast Moe 
 Church; composer, “Kiss of Spring 4 
 Waltz,” “Pictures in the Firelight,” — 
 (piano suite), sacred and secular songs, — 
 duets, anthems, orchestral and band ~ 
 numbers; more than 300 in all. Address, — 
 235 Beacon St., Boston, Mass. a 
 
 Rollins, Doris Phebe Dow, teacher of © 
 
 piano; b. Sangerville, Me., Sept. 11, © 
 
 1891; d Sandy A. and Maude E. Dow; 
 m. Eugene V. Rollins, Nov. 26, 1912; 
 
 studied with B. Juanita Small; org. First 
 
 Universalist Church. Address, Sanger- 
 ville, Me. : 
 Rollins, D. W., mem. Bd. Dir. Eastern — 
 Maine Musical Association. Address, — 
 Dexter, Me. 4 
 Rose, George E., org. Veazie Cong. — 
 Church. Address, Bangor, Me. ‘a 
 Rose, ‘Mabel Harris, organist; b. Boston, — 
 Mass.; d. Austin and Emily Pope Harris; — 
 m. Stanwood Merton Rose, 1906; ed. 
 Washington Academy and at Smith Col- — 
 lege; studied with Herbert Harris, Smith — 
 Coll. Mus. School, Cook Co. Normal — 
 School at Chicago and N. E. Cons. of — 
 Music, Boston; org. and choir leader of 
 various churches; musical director of — 
 
 Houlton Music Club. Supt. cf music in 
 
 schools of Houlton. Address, 40 Pleas- — 
 ant St., Houlton, Me. : 
 
BIOGRAPHICAL SECTION— 1927-1928 447 
 
 Rosebrook, Alma Deane, violinist; b. Port- 
 land, Me., Nov. 22, 1900; d. A. M. and 
 E. R. Rosebrook; ed. Eastman College, 
 Poughkeepsie, N. Y.; studied with Earl 
 Woodman; mem. Laura Ross’ Ladies 
 Orchestra and B. P. Women’s Club 
 Orchestra. Vocation, bookkeeper. Ad- 
 dress, 69 Payson St., Portland, Me. 
 
 Ross, Laura E., teacher of piano, saxo- 
 phone, xylophone; b. St. John, N. B., 
 March 20, 1888; d. John E. and Edna M. 
 Mutch; m. Burnside E. Ross, May 16, 
 1920; ed. Boston, Mass.; studied piano 
 with Jennie Mack, Madame Zumouska; 
 saxophone with W. R. Amelotte; xylo- 
 phone with George B. Stone; dir. and 
 organizer Business and Professional 
 Women’s Club Orchestra and Laura E. 
 Ross’ Ladies Orchestra, Portland, Me.; 
 mem. Local 364, American Federation 
 of Musicians of Portland; mem. Art 
 Publication Society of St. Louis, Mo., 
 and National Academy of Music, N. Y., 
 and MacDowell Club; Pres. Marston 
 Club. Address, 225 Capisic St., Wood- 
 fords; studio, 655 Congress St., Port- 
 land, Me. 
 
 Roundy, Arthur F., m.t. Address, 7 West 
 St., Waterville, Me. 
 
 Roussin, Odilon Clovis, vocalist (bari- 
 tone); b. Biddeford, Me., Jan. 12, 1898; 
 s. William and Celina Landry Roussin; 
 m. Marian Houston, April 18, 1927; ed. 
 St. Joseph’s Biddeford; studied with 
 Harry Stott and Waldo Emery; mem. 
 choir St. Ignatius Catholic Church; 
 mem. Veterans of Foreign Wars and 
 American Legion. Address, 1 Park St., 
 Sanford, Me. | 
 
 Rowbotham, Mary Elizabeth, organist; b. 
 Lewiston, Me., Sept. 5, 1908; d. William 
 and Ellen Rowbotham; studied with 
 Mrs. Mary Maliar Murray, Prof. E. W. 
 Hanscom and Prof. A. N. Pettengill; 
 org. Trinity Episcopal Church; Sec. On- 
 away Club; Daughter of St. George, 
 Mizpah Lodge Odd Ladies. Address, 
 170 Blake St., Lewiston, Me. 
 
 Rowe, Mrs. A. W., m.t., accompanist Fes- 
 tival Chorus. Address, Old Town, Me. 
 
 Rowe, Clarence H., cornet; mem. Deane’s 
 Orchestral Club; mem. Portland Munic- 
 ipal Orchestra (trumpet). Address, 
 424 Sawyer St., So. Portland, Me. 
 
 Rowe, Esther P., music supervisor; b. 
 Biddeford, Me., March 4, 1901; d. Albert 
 W. and Minnie E. Pierce; m. Clarence 
 H. Rowe, June 28, 1921; ed. Crane In- 
 stitute of Music, Potsdam, N. Y., and 
 
 American Institute of Normal Methods, 
 Auburndale, Mass., studied with How- 
 ard Clark and Jennie King Bragdon; 
 mem. Maine Teachers’ Asso. and the 
 Eastern Music Supervisors’ Asso.; for- 
 mer mem. Portland Chorus of Me. Mu- 
 sic Festival. Address, 424 Sawyer St., 
 So. Portland, Me. 
 
 Rowe, Mrs. Frank D., m.t. Address, War- 
 ren, Me. 
 
 Rowe, Mildred, m.t. Address, Ellsworth, 
 Me. 
 
 Rowley, Edwin C., org. First 
 Church, Yarmouth, Me. 
 
 Roy, Emile H., organist and composer; b. 
 Lewiston, Me., Aug. 4, 1897; s. Henry 
 F. and Emilie (Coutourier) Roy; ed. 
 Paris National Conservatory; studied 
 with Jacob, Dubois, Widor; formerly 
 org. St. Peter’s Church, Lewiston; now 
 org. at St. Patrick’s, Lewiston; was asst. 
 org., Sacred Heart Church, Paris; mem. 
 National Asso. of Organists and Amer- 
 ican Federation of Musicians; mem. Mu- 
 sical-Literary Club, B. P. O. E., accom- 
 panist 3 yrs. in Paris for eminent Euro- 
 pean artists; teacher organ and voice; 
 composer, sacred anthems and organ 
 compositions. Res., 142 College St., 
 Lewiston, Me. 
 
 Roy, Henry F., organist and choir direc- 
 tor; b. Warwick, P. Q., Jan:.25, 1865;.s. 
 Onezime and Jane Racette Roy; m. 
 Emilie N. Coutourier, July 13, 1894; ed. 
 Providence, R. I., Montreal, P. Q., and 
 Boston, Mass.; studied with V. E. Ham- 
 merell, Providence; Calixa Lavallee, 
 Boston, and R. O. Pelletier, Montreal; 
 org. St. Peter’s Church, Lewiston, for 
 40 yrs.; founder of the Musical-Literary 
 Club (Club Musical-Litteraire); propri- 
 etor The Echo Publishing Co.; Rep. to 
 Maine Legislature, 1925-1927. Vocation, 
 publisher. Res., 142 College St.; 0., cor- 
 ner Ash and Canal St., Lewiston, Me. 
 
 Rumery, Samuel D., pianist; b. 1855; s. 
 Samuel and Rachel Rumery; m. Carrie 
 B. Rice; ed. Franklin School, Topsham, 
 Me.; studied with G. W. Marston and G. 
 Buonamici; 3 yrs. in piano business in 
 Portland (1879-1882). Vocation, typist. 
 Address, 18 Casco St., Portland, Me. 
 
 Rumery, Mrs. Samuel D. (Carrie B. Rice), 
 vocalist; b. Yarmouth, Me.; d. Samuel 
 B. and Emilie Soule; m. Samuel D. 
 Rumery; studied with Clara Munger and 
 at New England Conservatory; formerly 
 mem. choir at church, Marshall, Michi- 
 
 Parish 
 
448 
 
 MUSIC AND MUSICIANS OF MAINE 
 
 gan. Address, 18 Casco St., Portland, 
 Me. 
 
 Runciman, Mrs. Cara Baxter, vocalist; 
 priv. mem. Portland Rossini Club. Ad- 
 
 dress, 2 Storer St., Portland, Me. 
 
 Rundlette, Mrs. Earle C., pianist; priv. 
 mem. Portland Rossini Club. Address, 
 358 Danforth St., Portland, Me. 
 
 Russell, Mrs. Blanche T., vocalist; mem. 
 Women’s Choral Society. Address, 20 
 Grand St., Portland, Me. 
 
 Russell, Mrs. Carrol T., org. Winthrop St. 
 Univ. Church. Address, Augusta, Me. 
 
 Ryan, Lydia E., vocalist (lyric soprano) ; 
 b. Presque Isle, Me.; d. William H. and 
 Sara J. Ryan; ed. St. John’s School 
 Presque Isle; studied with Charlotte Kin- 
 ney, Houlton, John Jewett Turner, Bos- 
 ton; Mrs. Charles Adams and Leverett 
 Merrill, Boston; mem. Clef Club, East- 
 ern Star, Presque Isle and Mass. Phar- 
 maceutical Asso. Vocation, pharmacist. 
 Address, 110 Main St., Presque Isle, Me. 
 
 Sadler, Edwin Marshall, vocalist (bass); 
 b. Portland, Me., May 23, 1907; s. Ed- 
 win Walter and Ella F.. Sadler; ed. 
 Gray’s Business Coll.; studied with 
 Theresa Whittemore and Mrs. Alice 
 Boynton; mem. choir St. Luke’s Cathe- 
 dral; Sec. Portland Men’s Singing Club; 
 mem. Portland Polyphonic Society. Ad- 
 dress, 22 Crosby St., Portland, Me. 
 
 St. Germain, Ross, vocalist; mem. Bach 
 Choir, Bangor. Address, Bangor, Me. 
 
 Sampson, Arthur Laforest, clarinettist; b. 
 Temple, Me., Aug. 25, 1868; s. Rollo S. 
 and Julia Gleason Sampson; m. Blanche 
 M. Harrington, July 1, 1901; ed. Bates 
 College; studied with Charles E. Wheeler, 
 W. S. Ripley, Fred Payne, Lewiston; 
 mem. Wheeler’s Band, Farmington and 
 Bates College Band; director of college 
 and school orchestras; has played in 
 various orchestras and was concert solo- 
 ist for 30 yrs. Vocation, photographer. 
 Address, Temple and Farmington, Me. 
 
 Samuels, M. Louise, m.t. Address, 1098 
 Mass. Ave., Portland, Me. 
 
 Sanborn, Elizabeth Brown, vocalist (so- 
 prano); b. East Machias, Me., March 
 5, 1863; d. Joseph G. and Hannah Hunt- 
 ley Brown; m. Frank Sanborn, Dec. 5, 
 1885; studied with Herbert Harris and 
 Lillie P. Shaw; mem. Baptist and Cong. 
 Church Choirs, East Machias, Me.; 
 mem. Maine Festival Chorus. Address, 
 17 Cedar St., So. Portland, Me. 
 
 Sanborn, Frank, vocalist (tenor); b. East 
 Machias, Me., Dec. 5, 1843; s. Cyrus and 
 Susan Gardner Sanborn; m. Elizabeth 
 Brown, Dec. 5, 1885; studied with L. W. 
 Wheeler, Boston; mem. Cong. Church 
 
 Choir, E. Machias; mem. Machias and © 
 E. Machias Band (trombone) and Ma- — 
 
 chias Orchestra (violin, prompter and 
 
 piano); mem. Mendelssohn Club and — 
 17 & 
 
 Maine Music Festival. Address, 
 Cedar St., So. Portland, Me. 
 
 Sanborn, Percy A., teacher of violin; b. 
 Waldo, Feb. 10, 
 Zibiah Sanborn; 
 
 m. Carrie E. Poor 
 
 June 18, 1873; ed. Belfast public schools; — 
 studied with Prof. Andy Wyatt of © 
 Salem, Mass.; leader Old Belfast Band 
 Sanborn’s Orchestra — 
 
 (B flat cornet); 
 (violin); author of many articles, prose 
 
 and poetry, for contemporaneous papers; 
 
 manuscript orchestra music; composer, 
 violin solos, duos, studies, “Sweetheart, ‘ 
 “Legend,” “A rioso,” 
 
 Bravura,” “Pastorale,” “Potacca,’ ~~ Gas 
 
 99 «66 ” 
 non Ottava, Happy Days, 
 esque, 
 
 “The Mill Stream,” and many others. 
 
 Vocation, artist, oil and water color ~ 
 Address, — 
 
 paintings (old time ships). 
 Belfast, Me. 
 ee T. A., violinist. Address, Belfast, 
 e. 
 
 Sands, Eleanor Pepper, vocalist (contral- — 
 
 to), music teacher; b. Lewiston, Me., — 
 1885; d. Frederick Bradford © 
 (Pepper) Sands; ed. — 
 
 Aug. 15, 
 and Harriet E. 
 Bates College; studied with William L. 
 Whitney, 
 Frank Hemstreet, N. Y. 
 
 burg, Pa. 
 ker St., New Bedford, Mass. 
 
 Sands, Elizabeth Haynes, pianist, vocalist; r 
 
 b. Bangor, Me., May 12, 1901; d. Charles 
 
 Irving and Etta Canning Haynes; m. — 
 
 Harold Collender Sands, June 10, 1926; 
 
 ed. Presque Isle High, Beal Business Col- @ 
 lege, Bangor, and Columbia University, — ' 
 N. Y.; studied piano with Ivah Woodbury — 
 Phoda Erskine, © 
 N. Y.; voice with Alice Kimball, Presque — 
 Isle, and Madeline Conant, Boston; or-— 
 ganizer of Clef Club and Pres. for. two — 
 
 arm, 3 
 
 Waddell, Presaue Isle, 
 
 years. Address, Salmon Lake 
 
 Spaulding, Me. 
 
 1849; s. Josiah and 
 
 “Romance,” “Vil 
 lage Fete,” “Valse D’Amour,” “Hope — 
 Triumphant,” “Angel Voices,” “Aria di © 
 
 “Humor- — 
 “Rondino,” “Souvenir,” “Idyl,” — 
 
 Boston, A. R. Frank and@ 
 ; chorus conduc- — 
 tor and mem. choirs in Lewiston and — 
 Auburn; mem. Philharmonic Club, Lew- — 
 iston and Auburn. Vocation, teacher of — 
 singing. Res., 26 West 5th St., Blooms- 
 
 Permanent address, 40 Par- — 
 
 g 
 
BIOGRAPHICAL SECTION— 1927-1928 
 
 Sanford, Lee, bandsman (violin, trom- 
 bone); b. Guilford, Me., Jan. 26, 1884; s. 
 George W. and Mary A. Sanford; m. 
 Margaret E. Whitmore, Aug. II, 1909; 
 studied with Emanuel Fiedler and R. B. 
 Hall; mem. U. S. Marine Band since 
 1907; mem. U. S. M. B. Orchestra; com- 
 poser and arranger; compositions in- 
 clude “Lincoln Centennial March,” ‘“Sa- 
 lute to Washington March,” “Guilford 
 Centennial March,’ “Heart and Hand 
 Concert Waltz,” for orchestra, and a 
 number of trombone solos as well as 
 many other marches; played under B. 
 W. Thieme in band and orchestra, To- 
 gus, 2 seasons, R. B. Hall at Waterville 
 and several seasons with the Choral So- 
 ciety Orchestra at Bar Harbor; also 
 under Walter Damrosch, Gustav Strube 
 and Maurice Rumsey. Address, 1437 
 Potomac Ave., S. E., Washington, D. C. 
 
 Sanford, Winifred Pennell, concert organ- 
 ist, teacher of piano; b. Deering, Me.; 
 d. Walter and Annie Cranton Pennell; 
 ed. Los Angeles Conservatory of Music 
 and Arts; studied with Prof. Wilson 
 Moog of Smith College, Elizabeth Mor- 
 gan of Europe and Thilo Becker; mem. 
 First Methodist Church S. S. Orches- 
 tra; Wa Wan Club (900 members, mu- 
 sicians, poets, artists, etc.), John Wes- 
 ley League, First M. E. Church and 
 Philathea Class. Manager and pianist 
 Pennell Melody Trio. Address, 2830 
 Francis Ave., Los Angeles, California. 
 
 Sansom, Sarah Anne, vocalist (soprano); 
 b. Rockland, Me., April 30, 1870; d. John 
 and Ellen Crowley Sansom; ed. Rock- 
 land, Me.; studied with Major Brit Lord 
 and Mrs Minnie Shaw; mem. St. Ber- 
 nard’s Church Choir for 16 yrs.; mem. 
 Wight Philharmonic Society and Me. 
 Festival Chorus for 30 yrs. (charter 
 member). Vocation, dressmaker. Ad- 
 dress, 10 John St., Rockland, Me. 
 
 Saunders, Fred Prescott, vocalist, choir 
 director; b. North Waterford, Me., 
 March 30, 1869; s. Joshua and Mary 
 Ann Kilbourne Saunders; m. Isabel A. 
 Woodbury, Aug. 1, 1907; studied with 
 Frank Collins, Portland, N. E. Conserv- 
 atory, Boston, and Professor Heinrich 
 Hammer, Wash., D. C.; dir. choir and 
 church orchestra, Cong. Church, Bridg- 
 ton; former mem. Me. Festival Chorus, 
 Norway Band, Choral Society, Wash., 
 D. C., and Saco Valley Festival Chorus. 
 Vocation, dowel mfg. Address, 33 High 
 St., Bridgton, Me. 
 
 449 
 
 PHOTO BY 
 
 MINNE SCALAR, DRAMATIC SOPRANO. 
 PRAGNALL, LONDON. 
 
 Savage, C., m.t. Address, Caribou, Me. 
 
 Sawtelle, Mrs. M. E., vocalist (soprano); 
 mem. Penney Memorial United Baptist 
 Church Choir. Address, Augusta, Me. 
 
 Sawyer, Antonia Savage (see Antonia 
 Sawyer Miner). 
 
 Sawyer, Mrs. Helen, m.t. 
 bridge, Me. 
 
 Sawyer, Roland J., cellist and violinist; b. 
 Bangor, Me., Dec. 25, 1874; s. Andrew 
 C. and Ella E. Sawyer; m. Helen Hill, 
 June 3, 1907; ed. at Bangor and Boston; 
 studied with Emil Mollenhaur (violin), 
 Alwin Schroeder (cello); concert master 
 Bangor Symphony Orchestra, and Pul- 
 len’s Orchestra. Address, Bangor, Me. 
 
 Sawyer, William McC., mem. Bd. Dir. 
 Eastern Maine Musical Association. Ad- 
 dress, Bangor, Me. 
 
 Scalar, Minne (see Minne Scalar Stephens) 
 
 Address, Mil- 
 
450 MUSIC AND MUSICIANS OF MAINE 
 
 Schneider, Carl, mem. Portland Flutist’s 
 Society. Address, Portland, Me. 
 
 Schreyer, Harriet, violinist; mem. Port- 
 land Municipal Orchestra. Address, 
 Eastland Hotel, Portland, Me. 
 
 Schwenke, Lillian, violoncello; mem. 
 Portland Municipal Orchestra. Address, 
 Portland, Me. 
 
 Schwenke, Marion L., trombonist; mem. 
 Portland Orchestral Society. Address, 
 24 Vesper St., Portland, Me. 
 
 Scribner, Sarah W., teacher of piano and 
 mandolin; b. South Waterford, Me., Aug. 
 4, 1868; d. Charles and Harriet Young; 
 ed. Portland High School; m. Charles A. 
 Scribner, Nov. 28, 1889; studied with 
 Frederick Lincoln, H. Kotzschmar and 
 at N. E. Conservatory of Music; super- 
 visor of music at Bridgton Academy; 
 leader mandolin orchestra; choral con- 
 ductor at Universalist and M. 
 Churches; conductor community chorus 
 and local conductor of Saco Valley Fes- 
 tival Chorus at Bridgton; director Bridg- 
 ton Unit of State Liberty Chorus. Ad- 
 dress, 97 Main St., Bridgton, Me., and 
 14 Deering St., Portland, Me. 
 
 Seaford, Mrs. Harry, vocalist; mem. Port- 
 land Rossini Club. Address, 88 Ban- 
 croft St., Portland, Me. 
 
 Sears, Elsie Dickie, instrumentalist (man- 
 dolin, guitar, mandolin-banjo, banjo, 
 mando-cello, xylophone, piano); 
 Portland, Me., Nov. 16, 1903; d. George 
 Edmund and Elizabeth Johnson Sears; 
 studied with S. A. Thompson and R. J. 
 Robbins; mem. S. A. Thompson’s Or- 
 chestra, Portland, and H. F. Odell’s 
 Orchestra, Boston, Mass. Vocation, en- 
 tertainer in vaudeville, Lyceum and 
 Chautauqua Work. Home address, 22 
 Cottage St., Portland, Me. 
 
 Seavey, Flora I., m.t. Address, 727 Ham- 
 mond St., Bangor, Me. 
 
 Seiders, Mary A., pianist; Treas. and priv. 
 mem. Portland Rossini Club. Address, 
 45 Thomas St., Portland, Me. 
 
 Sellea, Helen Elizabeth, organist; b. Saco, 
 Me.; d. Charles H. and Helen (Mar- 
 shall) Sellea; ed. Saco, Me.; studied 
 with Charles Shannon, Saco, George W. 
 Marston, Portland, Carlisle Petersilea, 
 Boston, and Modern Kindu Musical 
 Training, N. Y.; activities, formulating 
 and developing, according to musical 
 law, a “Media for Liberal and Practical 
 education for the many as well as the 
 
 few.” 
 Me. 
 
 Shackley, Albert, cellist; mem. Deane’s 
 Oe Club. Address, Portland, — 
 e, | 
 Shaw, Alice Marion, composer, teacher — 
 piano and theory; b. Rockland, Me., — 
 July 22, 1890; d. Erastus Melville and 
 
 Address, 119 Middle St. Saco, & 
 
 Carolyn Burpee Shaw; ed. Rockland, — 
 
 Me., and Institute Musical Art, N. Y. © 
 City (grad. artist’s course, medal); stud- — 
 ied with Sigismond Stojowski (piano) — 
 and composition with Percy Goetschius; 
 accompanist for N. Y. Rubinstein Club, — 
 3 yrs.; Maine Festival 1916-17; has ac- — 
 companied many noted concert artists; 
 formerly teacher in Rockland Music 
 School, 4 yrs.; composer, 100 songs, or- — 
 gan, violin, piano, flute, cello, choruses, 
 trios, chamber music. Address, 106 West — 
 84th St, Nowe 
 
 Shaw, Mrs. Carrie Burpee, teacher of 9 
 
 piano, organ and harmony; b. Rockland, — 
 
 Me.; d. Hon. N. A. and Mary (Part-@ 
 ridge) Burpee; m, Rev. E. Melville — 
 Shaw, Oct. 7, 1873; ed. public schools, — 
 Rockland, Me.; studied with Stephen — 
 Emery, Hermann Kotzschmar, Effa © 
 Ellis Perfield, Mrs. Virgil, B. J. Lang, @ 
 
 Thomas Tapper, Dr. Percy Goetschius — 
 
 and F. Lamond; org. Cong., First Bap- 3 
 tist, St. Peter’s Episcopal, Pratt Memo- — 
 rial, Church of Immanuel, Rockland, 
 
 First Baptist, Portland, and Collegiate — 
 
 Church, Ridgewood, N. J.; mem. Ros- — 
 sini Club, Haydn Asso., Portland; Wight — 
 Philharmonic Society, Rubinstein and — 
 Methebesee Clubs, Rockland; composer, — 
 songs, quartettes, choruses, anthems — 
 and piano numbers; has taught music in — 
 Rockland, Me., Portland, Me, New ~ 
 Hampshire, Massachusetts, New Jersey, 
 and Washington, D. C.; now teaching — 
 in N. Y. Winter home, New York City. 
 Address, 43 Park St., Rockland, Me. 
 
 Shaw, Charles Carroll, vocalist (basso): — 
 b. Cumberland, Me., April 16, 1876; s. — 
 Joseph W. and Mary Gage Shaw; m. — 
 Esther L. Parker, June 27, 1907; studied 
 with Mrs. Foster L. Haviland; mem. — 
 Cong. Church Choir, Gorham; mem. — 
 Men’s Singing Club and Harmony Male ~ 
 Quartette, Gorham. Vocation, principal — 
 Gorham High School. Address, 19 © 
 South St., Gorham, Me. 
 
 Shaw, E. Raymond, concert master (vio- — 
 lin), Portland Orchestral Society. Stu- — 
 dio, 565 Congress St. Res., 129a Spring — 
 St., Portland, Me. 
 
BIOGRAPHICAL SECTION—1927-1928 451 
 
 Shaw, Harriet Reed, teacher of piano and 
 organ; b. Bath, Me., Aug. 13, 1874; d. 
 Frederick Albert and Flora Adelaide 
 Reed; m. John Shaw, Oct. 5, 1898; ed. 
 public schools, Bath; studied with Car- 
 rie F. Luce, Henry F. Duncan and 
 George W. Marston; org. and mem. 
 enow »Central Cong. Church; mem. 
 Cosmopolitan Club and Central Church 
 League; mem. Saint Cecilia Musical 
 Club, Mendelssohn Club and Maine 
 Music Festival Chorus. Res., 164 Oak 
 St., Bath, Me. 
 
 Shaw, Harris S., teacher of piano, organ 
 and theoretical music; b. Thomaston, 
 Me., Dec., 1882; s. Henry B. and Abbie 
 M. Shaw; ed. Thomaston; studied with 
 Carl Baermann, Wallace Goodrich, 
 Widor, Everett Truette, E. M. Bow- 
 man, Chadwick, and Hollins; org. Grace 
 Episcopal Church, Salem, Mass., for- 
 merly org. First Unitarian Church, 
 West Newton, Mass.; Pres. Music Man- 
 uscript Club, Boston, Mass.; Vice Pres. 
 Pianoforte Teachers’ Society, Boston; 
 degree mem. American Guild of Organ- 
 ists; National Assn. of Organists; Na- 
 tional Music Teachers Assn.; Musical 
 Alliance of U. S.; Pianoforte Teachers 
 Society, Boston, Psychology Club. Res., 
 Trinity Court. Town address, 175 Dart- 
 mouth St., Boston, Mass. 
 
 Shaw, H. Earle, vocalist (baritone); dir. 
 Kotzschmar Club; mem. Portland Men’s 
 Singing Club and Portland Polyphonic 
 Society. Address, 50 Westminster Ave., 
 Portland, Me. 
 
 Shaw, Helen B., school music supervisor. 
 Address, Paris, Me. 
 
 Shaw, Helen M., vocalist (mezzo sopra- 
 no), teacher of piano; b. Machias, Me.; 
 d. John and Relief A. Shaw; studied 
 with Miss Woodman and Miss Dyer, 
 Portland; voice with Herbert Harris, 
 East Machias, W. H. Whitney, Boston, 
 Mrs. H. M. Sawyer and Ivan Morowski; 
 sang for 6 yrs. with Handel and Haydn 
 Society; taught piano in Machias for a 
 number of years. Address, Machias, Me. 
 
 Shaw, Howard N. (drums), music teacher. 
 Address, 268 Middle St., Portland, Me. 
 
 Shaw, John, soloist and concert artist 
 (baritone); b. Bath, Me., Oct. 18, 1871; 
 s. John Oakman and Mary Elizabeth 
 Shaw; m. Harriet Ellen Reed, Oct. 5, 
 1898; ed. public schools, Bath; studied 
 with W. H. Stockbridge, G. F. Sanglier, 
 Mrs. M. F. Duncan, Millard Bowdoin, 
 A. R. Frank, and Mary R. Low; choir- 
 
 master Central Cong. Church; mem. 
 Solar Lodge, No. 14, F. & A. M., Mont- 
 gomery and St. Bernard Royal Arch 
 Chapter, No. 2, Acadia Lodge, No. 13, 
 Keron be Paws vides Garp. Now 46, 
 Sons of Veterans, Mendelssohn Club 
 and Maine Festival Chorus. Vocation, 
 clerk, Hyde Windlass Co. Res., 164 
 Oak St., Bath, Me. 
 
 Shaylor, Georgina, vocalist; winner, Young 
 Artist’s Contest, Me. Federation of Mu- 
 
 sic Clubs in 1921. Address, Portland, 
 Me. 
 Shea, Claire, vocalist; mem. Women’s 
 
 Choral Society. Address, 67 Neal St., 
 Portland, Me. 
 
 Shea, Louis Fletcher, bandsman (clarinet) ; 
 b. Rumford, Me., Feb. 6, 1905; s. James 
 and Mary Fletcher Shea; ed. Bates Col- 
 lege; mem. Bates Orphic and Lewiston 
 Brigade Band; mem. English 4A Play- 
 ers, 103rd Infantry Band. Vocation, 
 theatre manager. Address, Bates Col- 
 lege, Lewiston, Me. 
 
 Sheehan, Etta Reed, cornettist; b. Gar- 
 land, Me., 1874; d. ‘Martin V. and Addie 
 T. Cram Reed; m. Daniel Sheehan, 
 1895; studied with Willard Mayberry; 
 mem. Laura Ross’ Orchestra and B. P. 
 Woman’s Club Orchestra; mem. Rossini 
 Club Orchestra; past leader, Guild of 
 Handicraft of Woman’s Literary Union; 
 mem. Woman’s Literary Union, D. A. 
 R., Woodbine Rebekahs, Portland Psy- 
 chology Asso.; Pres. Portland League 
 of Women Voters: Address, 96 Atlantic 
 St, Portland; Me, 
 
 Shevenell, Yvonne, vocalist (lyric sopra- 
 no); b. Biddeford, Me., July 9, 1897; d. 
 Joseph and Anna Lord Shevenell; ed. 
 St. Joseph’s Convent, Biddeford, Me.; 
 studied with Edward Clark, Biddeford, 
 and Rupert Neily, Portland, Me.; mem. 
 St. Joseph’s Church Choir, Biddeford, 
 and Women’s Choral Society, Portland. 
 Address, 223 Brackett St., Portland, Me. 
 
 Shields, Hazel, vocalist; mem. Women’s 
 Choral Society. Address, Portland, Me. 
 
 Shiffer, Maurice, violinist; b. Auburn, Me., 
 Feb. 16, 1913; s. Harry and Leah Hy- 
 man Shiffer; ed. Auburn, Me.; studied 
 violin with Arthur Pettengill and Josafa 
 Morin; mem. Lewiston and Auburn 
 Symphony Orchestra. Address, 22 Sixth 
 Street, Auburn, Me. 
 
 Shute, Mildred E., m.t. 
 port, Me. 
 
 Siegars, Mrs. John Albert, m.t. 
 Waterboro, Me. 
 
 Address, Sears- 
 Address, 
 
452 MUSIC ‘AND’ MUSICIANS OF MAINS 
 
 Siegel, Charles, violinist; b. New York 
 City, Oct. 20, 1907; s. Joseph and Esther 
 Siegel; ed. Bates College; studied with 
 Arthur N. Pettengill; mem. Lewiston- 
 Auburn Symphony Orchestra, Orphic 
 Society and Young Men’s Hebrew As- 
 sociation; former mem. Pettengill’s 
 Orchestra. Address, 365 Main St., Au- 
 burn, Me. 
 
 Siemens, Mrs. Alexander (Frances Dod- 
 well), vocalist. Address, Westover, Mil- 
 ford-on-Sea, Hants, England. 
 
 Silliman, Rev. Vincent B., vocalist (bass); 
 mem. Portland Men’s Singing Club; 
 Pastor: First Parish. Church. Portland. 
 Address, 105 Pine St., Portland, Me. 
 
 Silverman, Sara, violinist; mem. Mac- 
 Dowell Club, Portland. Address, Port- 
 land, Me. 
 
 Simard, Angelina, violinist; b. Danville, 
 P. Q.; d: Isaie and Claudia Raymond 
 Simard; ed. Waterville, Me.; studied 
 with Emanuel Ondricek; mem. Phil- 
 harmonic Club, Lewiston. Address, 229 
 Pine St., Lewiston, Me. 
 
 Simard, William P., leader of Philhar- 
 monic Orchestra, Biddeford. Address, 
 Biddeford, Me. 
 
 Simensky, Blanch A., m.t. 
 Foss St., Biddeford, Me. 
 
 Simmons, Mrs. Gretchen A., m.t. 
 dress, 75 State St., Brewer, Me. 
 
 Simonton, William W., music teacher; 
 mem. Kotzschmar Club; (trumpet) 
 Portland Orchestral Society, 1926. Vo- 
 cation, teacher, Portland High School. 
 Address, Falmouth, Me. 
 
 Simonton, Mrs. William W., music 
 teacher; mem. Marston Club. Res., Fal- 
 mouth, Me. 
 
 Sinclair, Marion, school music supervisor. 
 Address, Dexter, Me. 
 
 Sirois, Louis, concert pianist. 
 Westbrook, Me. 
 
 Skolfield, Alice Jones, 
 Paris, Me., May 1, 1844; d. Orrin and 
 Phebe Garcelon Jones; m. C. D. Tewks- 
 bury, Sept. 6, 1865; m. W. S. Skolfield, 
 Oct., 1884; studied voice with W. W. 
 Davis, Boston, W. H. Dennett, Port- 
 land; piano with W. K. Emminger, H. 
 Kotzschmar; began church work (melo- 
 deon) at age of twelve in Oxford, Me.; 
 formerly org. and dir. at Methodist 
 Church, Oxford, Methodist, Auburn, 
 Court St. Free Baptist, Auburn, Elm St. 
 Universalist, Auburn, Hammond St. M. 
 E. Church, Lewiston, Main St. Baptist, 
 
 Address, 108 
 Ad- 
 
 Address, 
 
 m.t., organist; b. 
 
 Lewiston, Bates St. Univ., Lewiston, St. 
 Patrick’s for 29 consecutive yrs.; accom- 
 panist, Ballard’s Choral Union, Men- 
 delssohn Club, a performance of Stabat 
 Mater under Carl Zerrahn, Boston, The 
 Oxford County Musical Asso.; dir. Ce- 
 cilia Club; conductor Philharmonic 
 Club, Lewiston; former mem. Andro- — 
 scoggin Musical Society, Schubert Club, 
 Clef Club, Lewiston, and Haydn Asso., 
 Portland; former Pres. Clef Club and 
 Musical Union; charter mem. Festival 
 Chorus; composer church hymns, etc. — 
 Address, 39 Howard St., Lewiston, Me. — 
 
 Skolfield, Mrs. Raymond H., m.t. Ad- 
 dress, Fort Fairfield, Me. 
 
 Sleeper, Helen Nash, soloist (soprano); b. 
 Lewiston, Me., Jan. 12, 1860; d. Ammi R. 
 and Julia A. Nash; m. Frank E. Sleeper, 
 M.D., Feb. 2, 1888; soloist Hammond 
 St. Church, Lewiston; Pres. Musical 
 Union, Lewiston, 1902; mem. Mary Dil- 
 lingham Chapter, D. A. R., Lewiston; 
 Matron of Lakeside Chapter, No. 60, O. 
 E. S., Sabattus, 1899-01; Grand Matron, 
 O. E. S. of Maine, 1906-7. Res., Sabat- 
 tus, Me. 
 
 Slosberg, Charles, teacher of violin. Ad- 
 dress, 119 Sherman St., Portland, Me. 
 
 Small, Mrs. Clinton, m.t. Address, Presque 
 Isle, Me. 
 
 Small, Harry C., vocalist (tenor); b. Pitts- 
 field, Me.; s. David ‘H. and Lillian Small; 
 ed. public schools, Pittsfield, and Maine 
 Central Institute; studied with Grace 
 Rogers; mem. Universalist Church 
 Choir. Address, Pittsfield, Me. 
 
 Small, Mrs. Margaret, music teacher; ac- 
 companist Me. Festival Chorus. Ad- 
 dress, 230 South St., Biddeford, Me. 
 
 Small, William B., bandsman (trombone); 
 b. Newmarket, N. H., 1879; s. William 
 H. and Ida M. Small; m. Leah F. Cox, 
 Jan. 7, 1919; studied with William E. 
 Chandler and B. L. Greely, Portland, 
 and Archie Cony, Boston; former mem. 
 Chandler’s Band; mem. travelling bands 
 and orchestras, 1903 to 1917; mem. Ex- 
 change Club; Sec. and Manager Cham- 
 ber of Commerce, New Smyrna. Ad- 
 dress, Chamber of Commerce, New 
 Smyrna, Florida. 
 
 Smart, Clara B., vocalist (soprano); mem. _ 
 
 Portland Festival Chorus, 30 yrs. Ad- 
 dress, 52 Park St., Portland, Me. 
 
 Smart, Mary C., school music supervisor. 
 Address, Dexter, Me. 
 
 Smiley, Luella Cook, vocalist (contralto); 
 
BIOGRAPHICAL SECTION—1927-1928 453 
 
 b. Auburn, Me., May 25, 1873; d. George 
 W. and Luella S. Cooper Cook; m. 
 Charles Smiley, Nov. 1, 1898; ed. Kent’s 
 Hill Seminary; studied with Will Stock- 
 bridge, Portland, and Cora S. Briggs, 
 So. Paris; mem. choir Norway Cong. 
 iaurch 20 yrs.. Baptist Church, So. 
 Paris, and Southern - Pines, N. C., 
 Church; former pres. and charter mem. 
 Euterpean Musical Club. Address, 1 So. 
 Ashe St., Southern Pines, N. C. 
 
 Smiley, Thomas, vocalist. Address, 21 
 Longfellow St., Portland, Me. 
 
 Smith, Albert F., pianist; dir. Evansville, 
 Indiana, Conservatory of Music; pianist 
 Conservatory Trio; formerly mem. 
 Chamber Music Club, Portland. Ad- 
 dress, Evansville, Indiana, Conservatory. 
 
 Smith, Mrs. Abiel, music teacher, concert 
 pianist and accompanist. Honorary 
 mem. Portland Rossini Club. Address, 
 264 Hamilton St., Albany, N. Y. 
 
 Smith, Albra Vinal, vocalist (contralto); 
 b. Vinalhaven, Me., Sept. 29, 1875; d. 
 Austin B. and Georgie A. Vinal; m. 
 Mark P. Smith, July 3, 1906; ed. N. E. 
 Conservatory; studied with Mrs. Hum- 
 phrey Allen, Heinrich Meyn, Luise 
 Leimer, Edward Hale, Adolph Carpe 
 and Samuel W. Cole; chorister and solo- 
 
 ist, Union Church, Vinalhaven. Voca- 
 tion, supervisor of music in public 
 schools. Address, Box 103 K, Vinal- 
 haven, Me. 
 
 Smith, Alfred T., cornettist; mem. Deane’s 
 Orchestral Club. Musician. 565 Con- 
 gress St. Res., 150 Falmouth St., Port- 
 land, Me. 
 
 Smith, Mrs. Augusta Mann, teacher of 
 piano, organist; b. Shapleigh, Me., Dec. 
 13, 1870; d. John Hanson and Betsey 
 Roberts Mann; m. Dr. William Warren 
 Smith, Dec. 25, 1894; studied at Shap- 
 leigh with Frances Allen and Elizabeth 
 Emery, at N. E. Conservatory with L. 
 weeeison, i). VV. tale and Charles. F. 
 Dennee, and in Portland with Hermann 
 Kotzschmar; org. M. E. Church; Pres. 
 Ogunquit Woman’s Club, and Chair- 
 man of the Music Committee; ‘Past Pres. 
 York County Daughters of Hygeia; 
 chairman School Board of Wells; dir. 
 works County y. W.-C. A. and Public 
 Health Asso.; Trustee of the York Hos- 
 pital; mem. of the Wells Budget Com- 
 mittee; formerly teacher of music in 
 Lindsey High School, Shapleigh; also 
 taught in Cambridge, Waverly and Pea- 
 
 body, Mass. Address, Main St., Ogun- 
 quit, Me. 
 
 Smith, Beatrice Griffith, vocalist, pianist; 
 b. Carthage, Missouri, 1888; d. William 
 Albert and Mary Candace Berry Griffith; 
 m. Thomas S. Smith, Sept. 9, 1912; ed. 
 Smith College and Univ. of Illinois; 
 studied piano with Helen White; voice 
 with Henry Dike Sleeper; mem. choir at 
 Unitarian Church at Urbana, Ill., and 
 Carthage, Mo.; Pres. Smith Parent Teach- 
 ers Asso.; mem. Augusta College Club 
 and Cecilia Club. Address, 14 Sewall St., 
 Augusta, Me. 
 
 Smith, Caroline Estes, orchestra manager; 
 b. No. Lee, Me., Nov. 29, 1880; d. Willie 
 Albert and Mary Eva Estes; m. George 
 Leslie Smith, Oct. 2, 1899; manager 
 Philharmonic Orchestra of Los Angeles. 
 Address, 2439 St. Andrews PIl., Los 
 Angeles, Cal. 
 
 Smith, Catherine, m.t. Address, 57 Elm 
 St., Waterville, Me. 
 
 Smith, Celia French, teacher of voice and 
 piano; b. Bucksport, Me., March 16, 
 1893; d. Frank F. and Cora H. Smith; 
 ed. N. E. Conservatory of Music; stud- 
 ied with Charles F. Dennee; mem. choir 
 at Bucksport M. E. Church (soprano); 
 mem. of Festival Chorus; instructor 
 piano, voice and harmony. Address, 80 
 Franklin St., Bucksport, Me. 
 
 Smith, Mrs. Clarice M., pianist; mem. 
 MacDowell Club and mem. Portland 
 Rossini Club. Address, to9 Payson St., 
 Portland, Me. 
 
 Smith, Ethelynde, concert artist (sopra- 
 no); b. Portland, Me.; d. George E. and 
 Harriette Clark Smith; studied piano 
 with Lucy Blanchard and Dr. Latham 
 True; voice with Clara Tippett and in- 
 structors in New York City; made many 
 tours of the United States and Canada 
 and in 1926 toured Europe in concert 
 work. Res., 458 Cumberland Ave., Port- 
 land, Me. 
 
 Smith, Florence Maria, teacher of piano; 
 b. Springvale, Me.; d. Fred A. and Cath- 
 erine Stewart Smith; studied with Dr. 
 Latham True in Portland and at New 
 York School of Music and Arts; org. 
 Pleasant St. Baptist Church; associate 
 of Toronto College of Music. Address, 
 18 Front St., Springvale, Me. 
 
 Smith, Forest Glen, teacher of violin and 
 cornet; b. St. Albans, Me., April 2, 1801; 
 s. Theodore and Nina Ross Smith; m. 
 Gladys A. Sturtevant, Aug. 25, 1915; ed. 
 
454 MUSIC AND - MUSICIANS OF MAINE 
 prc nen a aa GRRE TETRIS SNOT SET SE 
 
 N. E. Conservatory; mem. Augusta Ca- 
 det Band, Smith’s Orchestra and Au- 
 gusta Symphony Orchestra; mem. Au- 
 gusta Rotary and I. O. O. F. Vocation, 
 piano tuner and salesman. Address, 64 
 Winthrop St., Hallowell, Me. 
 
 Smith, Harry A., vocal teacher. Address, 
 s High St., Waterville, Me. 
 
 Smith, Muriel, pianist; mem. Portland 
 Rossini Club. Address, Congress Park, 
 Portland, Me. 
 
 Smith, Ralph Fisher, teacher of piano, 
 theory, conductor; b. Stonington, Me., 
 Jan. 30, 1889; s. William B. and Susan 
 Rogers Smith; m. Eva A. Perham, July 
 6, 1918; studied at Faelten Pianoforte 
 School, Boston, A. E. F. Bandmasters 
 School, Chaumont, France, New York 
 University, Commonwealth School of 
 Music, Boothbay Harbor, and with Ar- 
 thur Foote, Boston; Frances Casadesus 
 and Jacques Pillois, Chaumont, France; 
 mem. 72nd C. A. C. Band, 1917-18 
 (French horn); mem. various Bangor 
 church choirs; mem. Geo. Edwin Kirk 
 Post, Am. Leg., and Bar Harbor Lodge, 
 F. and A. M.; Vice Pres., Maine Music 
 Supervisors Asso., 1922-23; sup. of mu- 
 sic, Bar Harbor, Me., 1921-24; head of 
 music dept., Albany High School, Al- 
 bany, N. Y., 1925-26; dir. of music edu- 
 cation, Reading, Pa., 1927. Address, 242 
 Endlich Ave., Mt. Penn., Reading, Pa. 
 
 Smith, Richard Stanley, vocalist (bari- 
 tone); b. Saco, Me., May 24, 1905; Ss. 
 John G. and Mary Gooch Smith; ed. 
 Thornton Academy; studied with Ruth 
 Olive Roberts, George Reny, Fred La- 
 vigne and Willard Mayberry; org. Bap- 
 tist Church, Kennebunkport, Me.; mem. 
 Biddeford National Band (cornet). Ad- 
 dress, 86 High St., Saco, Me. 
 
 Smith, Robert Thornton, vocalist (bass) ; 
 b. Saco, Me., Sept. 16, 1907; s. John G. 
 and Mary Gooch Smith; ed. Phillips- 
 Exeter, Exeter, N. H.; studied with 
 Ruth Olive Roberts, Fred Lavigne, Wil- 
 liam Simard, Bernard Greeley; org. 
 Baptist Church, Kennebunkport, Me.; 
 mem. Phillips-Exeter Glee Club; mem. 
 Biddeford National Band (trombone); 
 mem. Phillips-Exeter Orchestra. Ad- 
 dress, 86 High St., Saco, Me. 
 
 Smith, Walter Stevens, org.: b. Portland, 
 Me., July 27, 1864; s. Abiel M. and Annie 
 Willey Smith; m. Harriet Marston Thom- 
 as, 1885; studied with George W. Mar- 
 ston, Hermann Kotzschmar and Mrs. 
 Elizabeth Smith; org. First Parish, Sec- 
 
 ond Parish, Free St. Baptist, High St. 
 Cong. and Cong. Square Univ. Churches; 
 mem. Portland Branch, N. E. Chapt. 
 Am. Guild of Organists; former mem. 
 Kotzschmar Club; org. for Masonic 
 bodies for 40 yrs. Vocation, bookkeeper. 
 Address, 257 State St., Portland, Me. 
 
 Smith, Wynifred Staples, vocalist (sopra- 
 
 no), concert soloist; b. Carthage, Me.., 
 Sept. 17, 1881; d. Eugene Hale and 
 Pamelia Sanborn Staples; m. Frederick 
 Wilhelm Smith, Feb. 17, 1901; ed. Co- 
 burn Classical Institute and Pratt Insti- 
 tute, N. Y.; studied with Mrs. Hubbard, 
 Waterville, Charles Stuart Phillips, 
 Brooklyn, N. Y., and Dudley Buck, N. 
 Y.; mem. choir Holy Trinity Church, 
 Brooklyn, 1 yr.; soloist St. Mark’s, 
 Brooklyn, 1 yr., Elm St. Univ., Auburn, 
 Me., 2 yrs.; substitute work throughout 
 the state for 20 yrs; soloist at Univer- 
 
 salist Church, Rumford; teacher of 4 
 
 voice culture and music in public schools 
 for many years. Res., North St., Dix- 
 field, Me. 
 
 Smyth, Olive, vocalist; mem. Bach Choir, 
 
 Bangor. Address, Bangor, Me. 
 
 Snell, June, school music supervisor. Ad- 
 
 dress, Wilton, Me. 
 
 Snell, Lillian Lucinda, instrumentalist 
 
 (trombone, piano and saxophone); b. 
 Dexter, Me., May 15, 1873; d. William 
 Collins and Mary Jane Atwater; m. 
 Clyde Hosea Snell, June 24, 1908; stud- 
 ied with Prof. Fowler, Carter, Greeley, 
 
 Leonard and others; dir. Fay-Scott qa 
 
 Band and asst. dir. Dexter Orchestral 
 Club; mem. Royal Neighbors; was 4 
 yrs. on road with Snell’s B. & O. Band 
 (organizer); composer, “Just For To- 
 Night.” Vocation, music teacher, school 
 music supervisor. Address, Box 171, 
 Wilton, Me. Mail address, General De- 
 livery, Danbury, Conn. 
 
 Snow, Mrs. David W., hon. mem. Port- 
 
 land Rossini Club. Address, 131 Park 
 St., Portland, Me. 
 
 Snow, Mrs. Edward H., vocalist; priv. 
 
 mem. Portland Rossini Club; mem. 
 Women’s Choral Society. Address, 56 
 Carleton St., Portland, Me. 4 
 
 Snow, Harriett C., vocalist; b. Vinalhaven, 
 
 Me., Sept. 11, 1884; d. Charles C and 
 Nellie H. Carver; m. Robert A. Snow, ~ 
 June 18, 1908; studied with Alice G. ~ 
 
 Lane and Allan Ramsay; mem, Univer- _ 
 
 salist Church Choir, 2 yrs.; mem. Rubin- 
 stein Club and Philharmonic Society, — 
 
BIOGRAPHICAL SECTION— 1927-1928 Ass 
 
 Rockland. Address, 21 Suffolk St., 
 Rockland, Me. 
 
 Snow, Mary Louise, vocalist (soprano); b. 
 Bangor, Me., May 13, 1893; d. Joshua 
 H. and Nellie Sweetser; m. Percy F. 
 Snow, Sept. 7, 1921; ed. Gorham Nor- 
 mal; studied with Mrs. Madge Small 
 
 training with Grace Rogers, Pittsfield, 
 and Mrs. Jessie C. Cann; mem. Univ. 
 Choir for many years; choir dir. and 
 soloist Bethany Baptist Church, Skow- 
 hegan, Me.; mem. Univ. Church, U. L. 
 A. S. and Rebekah Lodge. Address, 6 
 West St., Pittsfield, Me. 
 
 Spear, Mrs. Eva F., vocalist (soprano); 
 mem. choir United Baptist Church, Lew- 
 iston, Me. Address, Lewiston, Me. 
 
 Spenard, Miss E., org. St. Andres Church, 
 Biddeford. Address, Biddeford, Me. 
 
 Sprague, Adelbert Wells, conductor, 
 
 and Martha Wasson; mem. B. P. Wom- 
 en’s Club; and Women’s Literary Union; 
 teacher in public schools. Address, 94 
 Pleasant Ave., Portland, Me. 
 
 Soule, Lillian M., vocalist, pianist; b. Lew- 
 iston, Me., Sept. 27, 1883; d. Elmer W. 
 
 and Nellie Davis Soule; ed. Lewiston 
 Normal School; studied voice with Mrs. 
 Louise Bitter and E. W. Hanscom and 
 piano with Beatrice Phaneuf; leader of 
 singing and asst. supt. of Primary Dept. 
 of the United Baptist Church; mem. 
 Philharmonic Club; former mem. Lew- 
 iston-Auburn Festival Chorus, Lewis- 
 ton-Auburn Oratorio Chorus. Vocation, 
 public school teacher. Address, 146 
 Pettengill St., Lewiston, Me. 
 
 Soule, Mrs. Mildred, vocalist ;mem.Wom- 
 en’s Choral Society. Address, 18 Bel- 
 mont St., Portland, Me. 
 
 Spalding, James Alfred, M.D., music crit- 
 ic, author, pianist; b. Portsmouth, N. H., 
 Aug. 20, 1846; s. Lyman Dyer and Su- 
 san Parrott Spalding; m. Sarah Chase 
 Shepley, Nov. 16, 1882; ed. Dartmouth 
 College, A.B. degree, 1866, Harvard 
 M.D., 1870; comp. mem. Portland Ros- 
 sini Club; author of “Essays on Schu- 
 bert,” “Pronunciation of the names of 
 musicians” and made many piano ar- 
 rangements of orchestral scores, for two 
 and four hands, 145 Medical Essays, 3 
 Lives, 188 Maine Medical Biographies; 
 his musical-literary library is said to be 
 the finest in Maine, consisting of more 
 than 200 volumes of lives of the music 
 masters and essays on music in all its 
 branches. Also has collection of more 
 than one hundred volumes of original 
 four hand pieces, pianoforte duets, as 
 well as arrangements of all the old mas- 
 ters in music and many of the new. 
 Vocation, eye and ear specialist. Ad- 
 dress, 627 Congress St., Portland, Me. 
 
 Spaulding, Helga Bostrom, vocalist, so- 
 ‘prano soloist, teacher of voice; b. Pat- 
 ansbyn, Sweden, Sept. 20, 1887; d. Peter 
 and Christina Ericson Bostrom; m. Her- 
 bert L. Spaulding, April 28, 1910; stud- 
 ied with Ernest Hill, Portland, Me., Don 
 Morrison, Oberlin College, J. Francis 
 McNichol, Augusta, Me., and _ choir 
 
 teacher of theory, composition, and 
 cello; lecturer, publicist; b. Boston, 
 Mass., March 1, 1881; s. Frederick El- 
 mer and Harriet Cordelia (Wells) 
 Sprague; ed. Univ. of Maine (S.B. 
 1905); studied with private teachers and 
 Music Div. Harvard Univ. (M.A. 1907); 
 conductor Bangor Band and Bangor 
 municipal concerts since 1908; member 
 Bangor Symphony Orchestra since 1807, 
 cellist, first cellist, asst. conductor; con- 
 ductor since 1920; bandmaster 2d Maine 
 Infantry Band, 1909-1915; Director 
 Dept. of Music, Univ. of Maine, since 
 1916; conductor Bangor Festival Chorus 
 since 1912; mem. Executive Board, East- 
 ern Maine Music Festival; Vice Pres., 
 1925-1927; conductor since 1926; mem. 
 Phi Beta Kappa, Phi Kappa Phi, Kappa 
 Sigma, Masons, 32d degree Scottish 
 Rite, Knights Templar, Mystic Shrine, 
 Sons of Veterans; composer orchestra, 
 organ, band, ensemble. Vocation, direc- 
 tor dept. of music, Univ. of Maine; con- 
 ductor. Summer home, Newport, Me. 
 Res., 217 Union St., Bangor, Me.; o., 
 350 Arts and Sciences Bldg., Univ. of 
 Maine, Orono, Me. 
 
 Sprague, Mrs. M. Irene King, teacher of 
 
 piano and harmony; b. Minneapolis, 
 Minn., Dec. 26, 1883; d. Ephraim and 
 Julie West King; ed. Minneapolis School 
 of Music; m. Adelbert Wells Sprague, 
 1926; studied with Maurice Eisner and 
 Magendanz of Utica Conservatory, Ed- 
 win Klahre of New England Conserva- 
 tory and Prof. Clarence G. Hamilton: 
 received teacher’s certificate in piano 
 teaching, harmony, music form and in- 
 terpretation; in 1921 took Master’s 
 Course, at Chicago Musical College and 
 studied with Rudolf Ganz. Address, 217 
 Union St., Bangor, Me. 
 
 Sprince, Henry, vocalist (tenor); b. Paris, 
 
 France, Aug. 16, 1898; s. Morris and 
 Elizabeth Sprince; ed. Bowdoin College, 
 McGill Medical University; studied with 
 
456 
 
 J. K. SPRINGALL, VIOLINIST AND TEACHER. 
 
 Profs. Wass, Horne and Pettengill; 
 mem. Parker Glee Club of Lewiston, 
 Associated Glee Clubs of America, Bow- 
 doin College Band and Musical Clubs; 
 mem. Old Orchard Pier, Imperial Roof 
 Garden and Henry Sprince’s Banjo-Sax 
 Orchestras; mem. Sigma Alpha Mu 
 Fraternity and American Federation of 
 Musicians; composer, “L. H. S. For- 
 ever,” “Sigma Alpha Mu Purple,” and 
 “Tdle Moments in Syncopation.” Voca- 
 tion, physician. Address, 481 Main St., 
 Lewiston, Me. 
 
 Springall, Joseph K., teacher of vocal and 
 instrumental music; b. Dexter, Me.; s. 
 Joseph and Maria Springall; ed. Boston, 
 Philadelphia, New York, London and 
 Paris; studied with Frederic Peakes, 
 Eugene Thayer and John Orth; organ- 
 ist and choir director, First Universalist 
 M. E. Church, Dexter. Address, Dexter, 
 Me. 
 
 Stackpole, Mary Elwell, vocal teacher 
 (soprano); b. Whitneyville, Me.. April 
 29, 1872; d. William Bartlett and Mary 
 (Hanscom) Elwell; m. Samuel Hill 
 Stackpole, Oct. 15, 1892; studied with 
 W. H. Dennett, 
 Portland and G. L. Horne of Lewiston; 
 mem. High St. Cong. Church Choir, 
 
 Elizabeth Brown of’ 
 
 MUSIC AND MUSICIANS OF MAINE 
 
 Auburn, Court St. Baptist Church 
 Choir, Auburn, Second Parish Church 
 Choir, Portland; Sec. and Treas. Far- 
 mington Festival Chorus, 1897. Address, 
 ot Main St., Farmington, Me. 
 
 Stacy, John F., vocalist (baritone); Db. 
 Bath, Me., Nov. 4, 1874; s. George L 
 and Annie E. Cook Stacy; m. Annie L. 
 Frazier, Dec. 28, 1897; ed. Bath, Me.; 
 studied with Payne and Maloney; mem. 
 Swedenborgian Church Choir; mem. 
 Gaudreau Concert Band and Payne 2nd 
 Regiment Band, Lewiston; mem. Bruns- 
 wick Orchestral Society, Colonial Club 
 and Local 760. Vocation, piano tuner. 
 Address, 31 Pleasant St., Bath, Me. 
 
 Stacy, Reginald, saxophone soloist; b. 
 Bath, Me., April 6, 1899; s. John F. and 
 Annie Frazier Stacy; ed. Bath, Me.; 
 studied with Joseph Gaudreau; mem. 
 Gaudreau’s Concert Band and Ed. 
 Brown’s Famous Orchestra; mem. Co- 
 lonial Club, Bath, Y. M. C. A. and Local 
 760. Address, 31 Pleasant St., Bath, Me. 
 
 Stahl, Marjorie, music teacher; accompan- — 
 
 ist Me. Festival Chorus. Address, 97 
 Limerock St., Rockland, Me. 
 
 Staley, Lavanche Knight, vocalist; mem. 
 Fremstad Music Club, Bridgton. Ad- 
 dress, Bridgton, Me. 
 
 Stanley, Dr. J. P., vocalist; mem. choir 
 Pine St. Cong. Church. Address, Lew- 
 iston, Me. 
 
 Stanley, Marion Isabelle, concert artist 
 (lyric soprano); b. Boston, Mass, but 
 was a resident of Winslow, Me., for 25 
 yrs.; d. Frank and Blanche Stanley: 
 studied 5 yrs. with Isidore Braggiotti 
 (voice); pantomime and lyric action 
 with Clayton Gilbert of N. E. Conserva- 
 tory: dramatic action with Albert 
 Cowles of the Albert Cowles School of 
 the Theatre; coached opera at the Vin- 
 ello-Johnson School of Opera and in 
 Europe with Maestro Eduardo Cabella 
 and Renato Bellini; studied languages 
 abroad and with native teachers in 
 America; also studied voice with Mrs. 
 Jessie Hubbard; director and soloist at 
 
 Central Methodist Church. Hot Springs, | 
 Arkansas: was mem. of Maine Music — 
 
 Festival Chorus, § yrs.; mem. Daughters 
 American Revolution, Pythian Sisters, 
 
 Odd Ladies, American Legion Auxili- — 
 
 ary. Vocation, vocal teacher and con- 
 cert artist. Res., 71 Benton Ave., Water- 
 ville, Me. Mail address, 323 Olive St., 
 Hot Springs, Arkansas. 
 
 Stanwood, Ernest T., vocalist (tenor) and © 
 
 e eS a a | 
 
 ae VS 
 
BIOGRAPHICAL SECTION—1927-1928 457 
 
 teacher of piano; b. Brunswick, Me., 
 May 16, 1899; s. John R. and Helen 
 (Merriman) Stanwood; organist Uni- 
 versalist Church, Brunswick; studied 
 with Carrie Campbell, Latham True 
 and Howard Stevens; mem. Maine Fes- 
 tival Chorus. Address, 61 Federal St., 
 Brunswick, Me. 
 
 Stanwocd, Thora I. C., soprano soloist; b. 
 Boston, Mass., Jan. 2, 1898; d. John 
 Giorloff and Ingeborg Ahrens Giorloff; 
 m. Creighton Boyd Stanwood, Sept. 9, 
 1922; ed. Ottawa, Can., and Boston, 
 Mass.; studied with Mme. Axeline de 
 Berg Lofgren. Boston (voice); mem. 
 Philharmonic Club; Pres. 1924-75. Res., 
 434 Penobscot Ave., Millinocket, Me. 
 
 Staples, Eugene Hale, vocal teacher, solo- 
 
 ist (tenor); b. Carthage, Me., Dec. 14, 
 1857; s. John B. and Lois Parker Sta- 
 ples; m. Eva Sanborn, Nov. 14, 1878; ed. 
 public schools Carthage and Lewiston, 
 Me.; studied with B. F. Emerson; mem. 
 Asa Youngman’s Orchestra; Master of 
 Grange; teacher of singing classes and 
 community concerts for many years; or- 
 ganizer singing classes, leader in gospel 
 and revival music at camp meetings and 
 other religious meetings. Vocation, 
 farmer and breeder of live stock and 
 supervisor of music, Dixfield Public 
 Schools. Address, Dixfield, Me. 
 
 Staples, Ruth May, violinist, concert solo- 
 ist, recitalist; b. Turner, Me.. Sept. 16, 
 ios a tiasty WwW. and .Tennye S. 
 Staples; ed. N. E. Conservatory; stud- 
 ied with Josef Udell, Portland, and Hugo 
 Kottschak of N. Y. City; mem. Lewis- 
 ton-Auburn Symphony Orchestra and 
 Philharmonic Club, Auburn, Me. Voca- 
 tion, teacher and soloist. Address, 643 
 Main St., Lewiston, Me. 
 
 Starbird, Angie, teacher of piano; b. Litch- 
 field, Me.; d. James Wilbur and Barbara 
 Robinson Starbird; studied with Mrs. 
 William Scholfield, E. W. Hanscom, 
 Mary A. Bass and Dr. Arthur Foote: 
 formerly organist at Auburn M. E. and 
 Baptist Churches; former mem. Spinet 
 Club, Philharmonic Club and Festival 
 Chorus; activities, club and lecture recit- 
 als. Address, 96 Wood St., Lewiston, 
 Me. 
 
 Stearns, Louis C., mem. Bd. Dir. Eastern 
 
 Maine Musical Association. Address, Ban- 
 gor, Me. 
 
 Steele, Mrs. Ethel Gould, honorary mem- 
 ber Philharmonic Club, Auburn-Lewis- 
 ton. Address, Lewiston, Me. 
 
 Stephens, Minne Scalar (Minnie Plum- 
 
 mer), prima donna; b. West Paris, Me.; 
 d. Zilpha Anne and John Fellman Plum- 
 mer; m. Dr. Charles Asbury Stephens of 
 The Youth's .Companion; received in- 
 struction in English and music from her 
 mother; at six yrs. of age studied piano 
 with a N. Y. teacher, teaching in Essex, 
 Conn.; at nine yrs. had five piano pupils; 
 studied piano, organ and composition 
 with Hermann Kotzschmar; voice with 
 William H. Stockbridge, Portland, Me.; 
 later studied piano with Edward Mac- 
 Dowell; voice with Samuel F. Whitney, 
 Boston; organ with Alexander Guilmaunt; 
 voice with Trobadello, Paris, France; 
 contralto roles in Italian with Vannucini; 
 French roles with Ernest Van Dyke in 
 Belgium; was org. at First Baptist, Con- 
 egress Square and Williston Churches, 
 Portland; succeeded Harvey Murray as 
 accompanist of the Hadyn Chorus (1894- 
 97); taught classes at Hebron Academy 
 and at Paris, Bethel, Norway and Porxt- 
 land, Me.; made debut in French Opera 
 at The Hague, Holland, in “Aida” as 
 Minne Scalar; sang 2 yrs. at The Hague 
 in “Aida.” “Les Huguenots,” “L’Afri- 
 caine,” “Faust,” “Lohengrin.” “Tannhau- 
 ser,’ “Herodiade” and “Il Trovatore’; 2 
 seasons at Covent Garden, London; at 
 Hague created the role of the Tosca in 
 “La Tosca” and the Fiancee in “La Fi- 
 ancee de la Mer,” and at London the role 
 of Lorelei in “The Lorelei’; sang San- 
 tuzza in “Cavaleria Rusticana” and Ame- 
 lia in “Il Ballo in Maschera”; sang en 
 representation at Amsterdam, Nice, Rot- 
 terdam, Schevenengen, Ostende, Berke, 
 Alsace Loraine, Paris, etc.: sang Wag- 
 nerian roles at the Grand Opera, Paris; 
 repertoire, 30 operas in different lan- 
 guages; in I9QI1I returned to America and 
 retired from opera; “Scalar,” which, in- 
 terpreted, is “climbing the stairs,” was 
 bestowed on her by the French people. 
 Res., The Laboratory, Norway Lake, M:. 
 
 Stephenson, Ronald B., m.t. Address, 779 
 
 Congress St., Portland, Me. 
 
 Stetson, Clarence C., Pres. Eastern Maine 
 
 Musical Association. 
 Me 
 
 Address, Bangor, 
 
 Stevens, Caroline W., author, music editor; 
 
 b. Portland, Me., d. Samuel H. and Sarah 
 M. Stevens; ed. public schools of Port- 
 land; author, “Melody in Maine” and 
 other poems and music reviews with 
 page articles on Maine Music Festival, 
 reported every music festival in Port- 
 land for 30 years; society and music edi- 
 
458 MUSIC AND: MUSICIANS OF MATS 
 
 tor, Portland Express and Telegram. 
 Address, 78 Winter St., Port'and, Me. 
 
 Stevens, Emily Wilson, vocalist (contral- 
 to); b. Frenchboro, Me., March to, 1880; 
 d. Byron C. and Victoria A. Wilson; m. 
 John O. Stevens, June 10, 1908; ed. 
 Thomaston, Me.; studied with Grace 
 Phelps Armstrong and Lillian S. Copp- 
 ing; Treas. Rubinstein Club, Rock!'and, 
 Me: Councillor Gen. Knox Chapter, D. 
 A. R., Thomaston, Me; Sec. American 
 Legion Auxiliary to Winslow-Holbrook 
 Post, No. 1; mem. D. A. R., Philhar- 
 monic Society. Shakespeare Society. 
 Address, 48 Talbot Ave., Rockland, Me. 
 
 Stevens, Howard Reed, soloist (baritone), 
 vocal teacher; b. Portland, Me., Oct. 14, 
 1876; s. William H. and Sara Reed Ste- 
 vens; m. Mildred Merryman, May 25, 
 1913; ed. Portland, Me.; studied with 
 Stockbridge, Olmstead. Saenger. Mee- 
 han, Bristol! and H. M. Stanley. Lon- 
 don; mem. Congress Sq. Universalist 
 Church Choir. 17 yrs, Mozart Quar- 
 tette, Ancient Landmark Quartette 
 (Masonic), Kotzschmar Club, 1904-15; 
 Vice Pres. Portland Men’s Singing 
 Club (charter member): dir. Girl’s 
 Chorus, Waynflete School. Res.. 160 
 Falmouth St. Studio, 537 Congress St., 
 Portland. 
 
 Stevens, Nellie French, pianist: b. Read- 
 field, Me.. June 18. 18091; d. Charles 
 Haynes and Charlotte French Stevens; 
 asst dir. Coburn Classical Institute, 
 Waterville, Me.; teacher piano and har- 
 mony. Address. Coburn Classical Insti- 
 tute, Waterville, Me. 
 
 Stevenson, Esther M., school music super- 
 visor. Address, Camden, Me. 
 
 Stevenson, Louis S.. mem. Portland 
 Branch, N. E. Chant. Am. Guild of Or- 
 ganists. Address, Portland, Me. 
 
 Steward, Mrs. Philo, m.t. Address, Skow- 
 hegan, Me. 
 
 Stewart, Harriett Louise, organist: b. 
 Bangor, Me.; d. Alfred O. and Mary 
 Elizabeth (Farnham) Stewart: ed. Ban- 
 gor and New York: studied with How- 
 ard Brockway and Mrs. David Mannes, 
 N. Y.; at age of seventeen played organ 
 First Baptist Church, Bangor, and con- 
 tinued as organist at that church for 25 
 _yrs.; org... Bar blarbor Church, 4, yts., 
 org. and choir dir. Universalist Church, 
 Bangor, Me.; mem. Bangor Festival 
 Chorus (alto). Address, Bangor, Me. 
 
 Stewart, Hartley M., vocalist (baritone); 
 
 b. Hodgdon, Me., Dec. 9, 1887; s. Albion 
 A. and Etta Bither Stewart; m. G. Maie 
 Auber; ed. Ricker Classical Institute; 
 
 studied with Warren W. Adams, Bos- _ 
 
 ton, Mass.; mem. choir Meth. Epis. 
 Church, Houlton; mem. Meduxnekeag 
 Club, Masons, Eastern Star, Grange, 
 
 Farm Bureau; Past Patron Fidelity — 
 
 Chapter, No. 32, O, Ei, S.28 Master oe 
 Houlton Grange, No. 16; formerly mem. 
 Cecilia Society, Boston, and Houlton 
 Male Musical Society. Address, Houl- 
 ton, Me. 
 
 Stilphen, Cecil E., instrumentalist (trum- 
 
 pet); b. Pittston, Me., Oct. 17, 1885; s. 
 A. L. and Georgia Hayland Stilphen; 
 m. Blanche Haskell, July 5, 1911; stud- 
 ied with B. W. Thieme; mem. Deane’s 
 Orchestral Club, 1926. Vocation, cigar 
 mfg.; Treas. Sebago Cigar Co. Office, 
 11 Exchange St Resp ropsan see 
 Portland, Me. 
 
 Stilphen, Harry Leslie, instrumentalist 
 
 (baritone, trombone, cello): b. Pitts- 
 ton, Me., Jan. 24, 1883; s. Alfred L. and 
 Georgia Hayland Stilphen; m. Laura 
 Mary Hall, Aug. 6, 1910; ed. Bridge 
 Academy and University of Vermont; 
 studied with B. W. Theime; mem. Rich- 
 mond Band; mem. Togus Band, 4 yrs.; 
 mem. Deane’s Orchestral Club; Mason; 
 Pres. Sebago Cigar Co. Vocation, phy- 
 ae Res., 53 Main St., Richmond, 
 e. 
 
 Stimson, Frank W., composer, instrumen- 
 
 talist; b. Gray, Me.; s. Horace O. and 
 Augusta M. Fling Stimson; m. Jennie E. 
 Mace, Dec. 5, 1886; studied with E. A. 
 Blanchard, Portland, !George Weigauil 
 and Charles Semielein, N. Y.; former 
 mem. Maine Festival Orchestra, Innes’ 
 Concert Band (trombone and asst. con- 
 ductor), Jefferson Theatre Orchestra; 
 dir. theatre orch., Cape Elizabeth, 10 sea- 
 sons, Velencia Orch., Hoboken, N. J., 
 1885 to 1888; composer “Neptune’s Car- 
 nival,” concert overture, “Voice of 
 Spring,” waltz for soprano and orchestra, 
 and over fifty numbers for both orches- 
 tra and band; mem. Am. Geographical 
 Society and Machias Chamber of Com- 
 merce; former officer in American Fed- 
 eration of Musicians. Vocation, book- 
 pee Address, 38 Broadway, Machias, 
 e 
 
 Stinchfield, Oliver Dorrance, organist and 
 
 instrumentalist (English horn); b. Dan- 
 ville, Me.; s. Jeremiah and Sarah Bridg- 
 ham Stinchfield; m. Lizzie R. Symonds; 
 studied at N. E. Conservatory; org. St. 
 
BIOGRAPHICAL SECTION — 1927-1928 459 
 
 Patrick’s and St. Joseph’s Churches for 
 20 yrs.; mem. Ballard’s Orchestra, Lew- 
 iston; first local conductor Lewiston and 
 Auburn Festival Chorus, 1897-1808; 
 composer, church music; conductor, 
 Mechanic Falls Festival Chorus, 18097. 
 President, 1900. Vocation, piano tuner. 
 Address, 15 Vine St., Auburn, Me. 
 
 Stockbridge, Anna, vocalist, pianist, ac- 
 
 companist; b. So. Freeport, Me.; d. 
 Micah and Lorenda Grant Stockbridge; 
 ed. Yarmouth Academy; studied with 
 George W. Marston and Mr. and Mrs. 
 W. H. Dennett; soprano soloist Pine St. 
 Chorens (sewiston, and So. Freeport; 
 hon. mem. Portland Rossini Club; mem. 
 Festival Chorus. Teacher of voice and 
 Pianos kh. -..D,, No. 4, Freeport, Me. 
 
 Stockbridge, Ira Cushing, organist; b. So. 
 
 Freeport, Me., April 22, 1842; s. Micah 
 and Lorenda Warren Grant Stock- 
 bridge; ed. Freeport and Yarmouth 
 Academy; studied with H. Kotzschmar 
 and Geo. W. Marston; organist First 
 Baptist, State St, and Congress Sq. 
 Churches; Treas. of Old Kreutzer Club; 
 conductor of musical clubs; manager 
 and owner of the famous Stockbridge 
 Entertainment Courses and the Stock- 
 bridge Popular and Matinee Courses; 
 composer, quartette, “Dream of Home,” 
 “The Old Canoe,” “Peace on the Deep,” 
 “Evenine Bells,” “Cradle Song,’ “I 
 Cannot Spin To-night,” “Sweet Nellie 
 Polka,” “Dreamland Waltz,” “Watching 
 
 1895; d. Jones W. and Charlotte E. 
 racy. Harl Be Storer; June 25,1917; 
 studied with Ethelynde Smith and Allan 
 Ramsay; mem. Rubinstein Club, Rock- 
 land; choir leader and mem. of numer- 
 ous choirs in Bath and Rockland. Ad- 
 dress, 54 Suffolk St., Rockland, Me. 
 
 Storey, P. J., flutist; mem. Portland Flut- 
 
 ist $2 o0ciety; “inusician, 20 -Preble St. 
 Res., Congress Sq. Hotel, Portland, Me. 
 
 Stott, Harry, teacher of piano and organ; 
 
 b. Halifax, England, March 8, 1882; s. 
 Levi and Mary J. Stott; m. Louise Car- 
 oline Graeber, 1913; studied with La- 
 tham True and at Dominion College, 
 Montreal, Canada (degree L.D.C.M., 
 1924); org. Ignatius Church; officer San- 
 ford Town Club; composer of masses 
 for Catholic Church, hymns, part songs 
 and solos; diploma from Westminster 
 Choir School, London; grad. with di- 
 ploma from N. Y. School of Music and 
 Arts, 1912; lecturer on Gregorian Chant 
 and liturgical music; author articles on 
 music. Address, 29 Elm St., Sanford, 
 Me. 
 
 Straw, Howard M., instrumentalist (vio- 
 
 lin, trombone); b. Brownfield, Me., 
 1884; s. William and Emma Libby 
 Straw; studied with Frank Burnham; 
 mem. Paramount and Straw’s Orches- 
 tras; conductor, Paramount Orchestra; 
 mem. Masons, Elks, K. of P. Address, 
 o1 Winter St., Portland, Me. 
 
 Strayholm, H., vocalist; mem. Temple 
 Quartette. Address, Kennebunk, Me. 
 
 Strickland, Anna, vocal teacher. Address, 
 73 Grove St., Bangor, Me. 
 
 Strout, Margaret, vocalist (soprano); b. 
 Deering, Me., July 31, 1895; d. John 
 Charles Fremont and Gracia Hilbourn 
 Strout; ed. Woodfords, Me.; studied 
 with Martha Wasson; Sec. Woman’s 
 Choral Society; mem. Williston Church 
 Choir and former mem. Charles Griffes 
 Club. Vocation, stenographer. Address, 
 899 Forest Ave., Woodfords, Me. 
 
 Stuart, Mae, teacher piano and organ; b. 
 Augusta, Me., Nov. 22, 1864; d. R. K. 
 and Love Stevens Stuart; m. B. P. 
 Stuart, May 31, 1888; studied with Mrs. 
 Myrick of Augusta and H. Kotzschmar 
 of Portland. Address, Belgrade, Me. 
 
 by the Sea,’ “The Old Millstream.” 
 Piano and music dealer. Address, R. F. 
 D., No. 4, Freeport, Me. 
 
 Stoddard, Amy Ellura, teacher of piano, 
 organist; b. Athol, Mass., Sept. 109, 1883; 
 d. Dr. Augustine O. and Martha Smart 
 Stoddard; ed. Boston, Waterville and 
 Pasadena, Cal.; studied with Madame 
 Beale Morey, Boston, Mrs. C. E. White 
 and Prof. Hallett of Colby College, 
 Waterville; accompanist and organist 
 Cong. Church, Belfast; formerly accom- 
 panist Belfast Festival Chorus; Regent 
 of John Cochran Chapt., D. A. R.; mem. 
 Primrose Chapt., No. 52, Eastern Star, 
 and North Church Guild; Vice Pres. 
 Business and Professional Women’s 
 Club; teacher of music in the Girl 
 Scouts. Address, 68 Church St., Belfast, 
 
 Me. ie ae 
 Stone, Mrs. Lester F., m.t. Address, No. aie sles Erato cousin leant Meer 
 Haven, Me. , “) gn. es 
 
 win and Jennie Hunter Howard; m. 
 Philip Dana Stubbs, Oct. 14, 1908; stud- 
 ied with Willis Bacheller, Jessie Hub- 
 
 Storer, Lydia Rachel, vocalist (contralto) ; 
 b. Southwest Harbor, Me., Dec. 20, 
 
460 
 
 bard, Isidore Braggiotti; mem. South 
 Cong. Church Choir, Augusta, and 
 Friend’s Church, Winthrop Center, Me. 
 Res., 39 Western Ave., Augusta, Me. 
 
 Stubbs, Mrs. Richard H. (Ethelyn Hope), 
 soloist, concert artist (dramatic sopra- 
 no); b. Linneus, Me.; d. Edwin C. and 
 Mary Bither Burleigh; m. Richard H. 
 Stubbs, M.D., April 20, 1904; ed. St. 
 Catherine’s, Augusta, and Mrs. Hayes 
 Private School, Boston; studied with 
 
 Charles R. Adams, Boston, Jessie Hub- ’ 
 
 bard, Waterville, Willis Bacheller, N. Y. 
 City, and Isidore Braggiotti, Boston; 
 Pres. and Sec. of the Music Asso. of the 
 State of Maine; former mem. Cecilia 
 Club; the famous Maine Class (com- 
 posed of singers from all parts of Maine) 
 met at her home bi-weekly for 5 yrs. to 
 study with Isidore Braggiotti, master 
 vocal teacher. Res., 133 State St., Au- 
 gusta, Me. 
 
 Sturtevant, Bhima MacDonald, vocalist 
 (mezzo-soprano); b. Detroit, Michigan; 
 d. Thomas Edward and Esther John- 
 ston MacDonald; m. James M. Sturte- 
 vant, M.D., Dec. 15, 1915; ed. Master 
 School, Brooklyn, N. Y., and Peabody 
 Conservatory, Baltimore, Md.: studied 
 with Jennie King Bragdon, Madame 
 Jaeger and Minetti; mem. Portland 
 Rossini Club. Address, 156 8oth St., 
 Jackson Heights. New York. 
 
 Sturtevant, Chester H., vocalist (tenor); 
 b. Fayette, Me., May 4, 1866; s. Josiah 
 H. and Helen E. (Ormsby) Sturtevant; 
 m. Charlotte L. Ham, July 20, 1808; 
 studied with W. H. Stockbridge and 
 Beulah Small; mem. choir First Baptist 
 Church, Waterville, and First Baptist 
 Church, Livermore Falls; mem. Liver- 
 more Falls Festival Chorus; asst. con. 
 1917, Vice Pres. 1916, Treas. 1913. Vo- 
 cation, Treas. Livermore Falls Trust & 
 See ae Co. Address, Livermore Falls, 
 e. 
 
 Sweatt, Ida D., school music supervisor. 
 Address, Rumford, Me. 
 
 Sweatt, Joseph Elmer, teacher of violin; b. 
 Westbrook, Me., 1867; s. Joseph S. G. 
 and Sarah (Hume) Sweatt; m. Zeruah 
 Morton Stewart, March 9, 1893; studied 
 at Boston Conservatory (Julius Eich- 
 berg), Charles N. Allen and Fritz 
 Listemann; mem. of orchestra St. Au- 
 gustine and Magnolia Springs, Florida, 
 2 seasons; mem. Bar Harbor Orches- 
 tras, 5 seasons; Theatre Orchestra, Bos- 
 ton. 2 seasons; instructor Colorado 
 
 MUSIC AND MUSICIANS OF MAINE 
 
 School of Fine Arts, Boulder, Col., 1902- 
 03; instructor violin Aroostook County, 
 Me., 1909-1928. Leader of orchestra, 
 Presque Isle Opera House. Res., Ma- 
 pleton, Me. 
 
 Sweetser, Mrs. Susan, m.t. Address, 43 
 
 James St., Auburn, Me. 
 
 Sweetser, Virginia C., teacher piano; mem. 
 
 Portland Rossini Club. Address, 650 
 Forest Ave., Woodfords, Me. 
 
 Swett, Clyde Irving, violinist, vocalist 
 
 (baritone); b. Bangor, Me., June 24, 
 1902; s. George Irving and Lillian M. 
 Swett; m. Laura Annette Hewey, Tune 
 24, 1922; ed. University of Maine, B.A., 
 and McGill University (M.D.C.M.); 
 former mem. Columbia St. Baptist 
 Church Choir; mem. U. of M. Band 
 (French horn), and Bangor Symphony 
 Orchestra (viola); mem. U. of M. Mu- 
 sical Clubs, American Federation of 
 Musicians and Sigma Alpha Epsilon; 
 former mem. McGill Choral Society. 
 Address, 187 Parkview Ave., Bangor, 
 Me 
 
 Sylvain, Marion Haynes, organist, teacher 
 
 of piano; b. Brighton, Mass., Nov. 1, 
 1890; d. Charles Frederick and Henri- 
 etta Woodman Haynes; m. Ludger A. 
 Sylvain, March 20, 1916; studied with 
 Miss Parks of Newton, Mass.; mem. 
 choir and org. 1st Pr. Church, Gorham; 
 mem. Altrurian Club, J. R. Adams Wom- 
 an’s Relief Corps, Gorham Grange, 
 No. 54, P. of H., Community Club, 
 Annie Louise Cary Club and M. E. 
 Church; formerly org. at School St. M. 
 FE. Church, Gorham; pianist in movies, 
 vaudeville and dance orchestras. Ad- 
 dress, 82 School St., Gorham, Me. 
 
 Tadder, Delmino, concert master Water- 
 
 ville Symphony Orchestra. Address, Wa- 
 terville, Me. 
 
 Tainter, Gilbert Ernest, music dealer; b. 
 
 Portland, Me., Feb. 28, 1881; s. Frank 
 E. and Nancy (Drew) Tainter; ed. Ed- 
 ward Little High School; Bryant and 
 Stratton Bus. Coll.; m. Alice Walker, 
 June I, 1904; mem. Martindale Country 
 Club, Rotary Club, I. O. O. F., 32nd de-. 
 gree Mason. Vocation, business known 
 as F. E. Tainter & Co, Inc. Res. 366 
 Turner St., Auburn; store, 42 Lisbon 
 St., Lewiston, Me. 
 
 Talbot, Alice Brown, teacher piano, or- 
 
 gan; b. East Machias, Me., May 20, 
 1860; d. Joseph G. and Hannah H. 
 Huntley Brown; m. Samuel H. Talbot, — 
 Dec. 4, 1876; ed. East Machias, Boston 
 
BIOGRAPHICAL SECTION — 1927-1928 461 
 
 and Chicago; studied with Herbert 
 Harris, Bb, Jj. Lang, W. S. B. Mathews, 
 Stephen Emery, Charles W. Landon, 
 Emil Liebling and Dr. Henry Hanchett; 
 org. E. Machias Cong. Church; accom- 
 panist, Mendelssohn Club, E. Machias, 
 Derthic Club, Escanaba, Mich. Address, 
 East Machias, Me. 
 
 Talbot, Augusta, concert artist, teacher of 
 violin; b. Milton, Mass., March 17, 18096; 
 d. Dudley and Mary Elizabeth Talbot; 
 ed. Miss Haskell’s School, Boston; stud- 
 ied with Lillian Shattuck, Boston; mem. 
 Rubinstein Club, Rockland, Me.; mem. 
 string quartette, trio and soloist for 
 clubs, churches, etc. Address, 16 Cen- 
 tral St., Camden, Me. 
 
 Talbot, Clara Scott, teacher of violin and 
 viola- pb. Alma, N. B:, Canada, March 1, 
 1883; d. Frederick Oscar and Kate 
 Waide Talbot; ed. public schools Alma 
 ancdesussex, \- b.; Calais; East Machias, 
 and at Washington Academy; studied 
 violin with Alice U. Burgess, Sussex, 
 N. B., David E. Fisher, Portland, Me., 
 Charles- J. Boyes, Norfolk, Va., Felix 
 Winternitz, Boston, and 1 yr. at N. E. 
 Conservatory of Music; first violinist 
 Symphony Orchestra, Norfolk, Va., 
 1907-8; mem. East Machias Division of 
 Chapman Festival Chorus, 1903-7, and 
 Machias Chorus, 1911 to 1928; teacher 
 of children’s dancing classes, 1902-26. 
 Address, Machias, Me. 
 
 Talbot, Mrs. Edward Eager (Effie Ward), 
 Wocalists (aito)> b. Machias, Me.: d. 
 Silas E. and Lucy Huson Ward; m. 
 April 8, 1899; ed. Machias and Farming- 
 ton; mem. Congregational Church 
 Choir, Machias; mem. Hannah Weston 
 Chapter, Ursula Penniman Literary 
 Club; Sec. Machias Festival Chorus. 
 Summer home, Hadleys Lake. Address. 
 Machias, Me. 
 
 Talbot, Effie W., Sec. Machias Festival 
 Chorus. Address, Machias, Me. 
 
 Talbot, Frances Lavinia, vocalist; b. Port- 
 land, Me., March 17, 1888; d. George T. 
 and Lavinia L. Drew; m. Arthur F. Tal- 
 bot, July 19, 1916; studied with Eliza- 
 beth Brown, Llewellyn Cain; mem. choir 
 Elm St. Church, So. Portland, Me.: mem. 
 Woman’s Choral Society, Portland, and 
 Annie Louise Cary Club, Gorham. Ad- 
 dress, Main St., Gorham, Me. 
 
 Talbot, Helen Wilson, vocalist (mezzo- 
 soprano); b. Falmouth, Me., June 16, 
 1896; d. Edgar N. and Ella L. Wilson: 
 m, Bred ©. Talbot, Sept. 28, 1920; e1. 
 
 Westbrook Seminary; studied with 
 Howard Clark (piano); Rupert Neily 
 (vocal); mem. choir Westbrook Cong. 
 Church; Pres. Women’s Choral Society. 
 Address, R. D. No. 5, Woodfords, Me. 
 Res., West Falmouth, Me. 
 
 Talbot, Kate Dorothea, pianist, accom- 
 panist; b. Machiasport, Me.; d. Fred- 
 erick O. and Kate Waide Talbot; mem. 
 East Machias Branch of Chapman Fes- 
 tival Chorus; accompanist for pupil’s 
 violin recitals and dancing classes of her 
 Sister, Clara’ S: Talbot; 1002-14. Ad- 
 dress, Machias, Me. 
 
 Talbot, Lillian M., violinist; b. Portland, 
 Me, Feb. 8, 1005; d. George F. and 
 Delia Talbot; studied with Catherine 
 Patrick; Ist violin and concert master 
 Rossini Club Orchestra; mem. Mac- 
 Dowell Club, Rossini Club; Brahms 
 Trio. Vocation, violin teacher and leader 
 of trio. Address, 42 Fairfield St., Port- 
 land, Me. 
 
 Talbot, Marion, music teacher; b. East 
 Machias, Me., Aug. 4, 1882; d. James R. 
 and Elizabeth B. Talbot; ed. Washing- 
 ton Academy and Wellesley College; 
 studied at New England Conservatory 
 of Music, Boston; mem. choir East Ma- 
 chias Cong. Church; former mem. Wel- 
 lesley Glee Club and choir. Address, E. 
 Machias, Me. 
 
 Talbot, Pearl F., school music supervisor. 
 Address, Bethel, Me. 
 
 Tarling, Mrs. Gertrude D., vocalist; mem. 
 Portland Rossini Club. Address, 91 Els- 
 mere Ave., So. Portland, Me. 
 
 Taylor, Albert B., Vice Pres. Portland 
 Festival Chorus. Address, 30a Preble 
 St., Portland, Me. 
 
 Taylor, Eleanor Fuller, vocalist (sopra- 
 no); .b. China: Me., 1004; d. Ernest O. 
 and Susie Taylor; ed. Maine Central 
 Inst. and Colby College; studied with 
 Carrie M. Bradford and others; mem. 
 Court St. Baptist Church Choir, Houl- 
 ton, YoeW eC. Awand.Chi. Omeéga- Fra- 
 ternity; adviser of Girl Reserves Dept. 
 of Y. W. C. A. in Ricker Classical Inst.: 
 mem. Pittsfield Festival Chorus, and 
 Woman’s Glee Club, Colby Coll.; mem. 
 Houlton Music Club. Vocation, instruc- 
 tor of mathematics. Address, Ricker 
 Classical Institute, Houlton, Me. 
 
 Testa, Angelo M., band and orchestra in- 
 structor and school children’s orchestra 
 promoter; b. Frigento, Italy, May 6, 
 1875; s Philip and Isabella Testa; m. 
 
462 
 
 Theis, Ernest, vocalist; mem. 
 
 Edna H. Blackmore, 1902; ed. Italy and 
 Boston, Mass.; studied with Prof. A. G. 
 Adams of San Pietro a Maiello, Italy; 
 mem. Royal Orchestra, Auburn; Supt. 
 Portland Academy of Music, Auburn; 
 instruments, mandolin, guitar, violin and 
 cornet, one of the pioneers in this coun- 
 try in class work, especially on violins. 
 Address, 154 Central Ave., Lewiston, 
 Me. Mail address, 72 Main St., Auburn, 
 Me. 
 
 Tetley, Mrs. Josie May, teacher of piano; 
 b. Orr’s Island, Me.; d. William H. and 
 Sarah Doughty Linscott; m. Rev. E. B. 
 Tetley. Oct. 3, 1900; studied with Her- 
 mann Kotzschmar; mem. choir Baptist 
 Church; mem. Euterpean Club. Ad- 
 dress, 101 High St., So. Paris, Me. 
 
 Tewksbury, Helena M., pianist, organist; 
 b. Bangor, Me.; d. Joseph F. and Annie 
 Foster Tewksbury: studied piano with 
 Clara F. Joy, Bangor, and Mrs Philip 
 Hale, Boston; organ with Mrs. E. L. 
 Howes, Bangor. and Henry M. Dun- 
 ham, Boston; org. Essex St. Baptist 
 Church, Bangor; mem. Festival Chorus 
 since its beginning and one of the older 
 members of the Schumann Club; one of 
 the organizers and mem. of the Music 
 Study Club. Address, 329 Union St., 
 Bangor, Me. 
 
 Thaxter, Joseph W., vocalist (tenor); | 
 Portland, Me., ue 18, 1856; s. Martin 
 W. and Sarah E. Thaxter; m. Emma L. 
 Knight, Jan. I1, 187 6; ed. public schools, 
 Portland, Me.; studied with Julia Ward 
 and John Morgan; mem. Friend’s 
 Church and First Baptist Church 
 Choirs; mem. So. Portland Glee Club 
 and mem. Festival Chorus for 29 yrs. 
 Address, 15 Shepley St., Portland, Me. 
 
 Warren 
 Male Quartette. Address, Westbrook, 
 
 Me. 
 
 Theis, Marion Eugene, vocalist (contral- 
 
 to), teacher of piano; b. Standish, Me., 
 July 10, 1892; d. Charles W. and Nettie 
 J. Wentworth; m. Ernest Theis, Oct. 1, 
 1912; studied in Portland and Boston; 
 organized first chorus and orchestra in 
 Westbrook High School; dir. Chopin 
 Club Chorus, Westbrook; dir. Rossini 
 Club Chorus, Portland; dir. evening 
 musical programs Warren Cong. Church, 
 Westbrook; mem. Verdi Concert Trio, 
 1915-18; Sec. Me. Fed. of Music Clubs; 
 Chairman of Music Dept., State Fed. of 
 Women’s Clubs; Past Pres. Ammon- 
 congin Literary Club, Westbrook; mez- 
 
 MUSIC AND ‘MUSICIANS 
 
 Thomas, 
 
 Thompson, Mrs. 
 
 OF MAINE 
 
 zo contralto in newly organized Rossini 
 Vocal Trio engaged in concert work. 
 Vocation, musician. Address, Cumber- 
 land Mills, Me. 
 
 Thibault, Alice, m.t. Address, 128 Fifth 
 
 St., Auburn, Me. 
 
 Thibodeau, Antoinette, teacher of piano, 
 
 concert artist; b. Old Town, Me., : 
 24, 1900; d. Joseph and Lydia C. Thibo- 
 deau; ed. St. Joseph’s Academy, Deer- 
 ing; studied with Prof. Clark Borgo and 
 C. Winfield Richmond; org. St. Joseph’s 
 Church, Old Town. Me. Address, 77 
 Bosworth St., Old Town, Me. 
 
 Thieme, Berthold W., music director (vio-— 
 
 lin, cornet); b. Zachan, Pomrania, Ger- 
 many, March 11, 1849; s. Ludwig and 
 Albertina (Hanson) Thieme; m. Anna 
 M. Berger, Oct. 18, 1873; ed. Von Un- 
 rech’s Music School and the Arnswolde 
 Music Academy, Pomrania; bandmaster 
 National Home, Togus, Me., for more 
 than 44 yrs.; mem. Masons, K. of T. 
 Harugari Diony’s Lodge; composer. 
 marches, waltzes, light military and or- 
 chestra music; solo cornettist 71st Reg. 
 Band, N. Ye City.” Addtessenisox iia: 
 National Home, Togus, Me. 
 
 Thomas, Clara, soloist (mezzo contralto). 
 
 Address, Rockland, Me. 
 
 John P., vocalist (baritone); 
 mem. Portland Men’s Singing Club. Ad- 
 dress, 171 Danforth St., Portland, Me. 
 
 Thomas, Ruth Ella, concert pianist and 
 
 teacher; b. Beachmont, Mass., Nov. 23, 
 1899; d. Frank H. and La Vaughn L. 
 Thomas; studied with Alfred De Voto; 
 
 grad. N. E. Conservatory of Music; for- 
 
 mer teacher of music in Camden and 
 Rockland public schools; at Am. Insti- 
 tute of Normal Methods, Lasell Semi- 
 nary, Auburndale, Mass.; composer “Im- 
 provisation,” “A Story,” “Waltz,” “Mer- 
 maid’s Song’; mem. Rubinstein Club, 
 Rockland, Me. Vocation, supervisor of 
 music in Saco public schools. Address, 
 2t Pearl St., Camden, Me. Mail address, 
 326 Main St., Saco, Me. 
 
 Thomes, Frank E., vocalist (tenor); mem. 
 
 Portland Men’s Singing Club. Address, 
 8 Homestead Ave., So. Portland, Me. 
 
 Thompson, Dorcthy K., teacher of piano; | 
 
 org. Church of Messiah. Address, 75 
 Pine St., So. Portland, Me. 
 
 Joseph P., honorary a 
 mem. Portland Rossini Club. Address, — 
 Orchard St., Portland, Me. 
 
BIOGRAPHICAL SECTION—1927-1928 463 
 
 Thompson, Mrs. Luther, Vice Pres. Bath 
 Festival Chorus. Address, Bath, Me. 
 
 Thompson, Sinclair A., teacher of music; 
 
 b. Oct. 15, 1876; s. William and Annie 
 Orr Thompson; m. Sara Mae Jones, 
 Oct. I, 1907; mem. Old Brunswick Band 
 (cornet); mem. Kotzschmar Club, 
 Woodfords Club, Deering Lodge, Ma- 
 Sone wort aul Chapter, Council, etc.; 
 composer several courses for fretted in- 
 struments; about 65 compositions for 
 solos and 20 for orchestras. Vocation, 
 dir. Thompson’s School of Music and 
 mgr. Eastern Musical Supply Co. Busi- 
 ness address, Libby Memorial Bldg. Res., 
 89 Fleetwood St., Portland, Me. 
 
 Thompson, Mrs. S. S., vocalist ; mem. Wom- 
 en’s Choral Society and MacDowell Club. 
 Address, Portland, Me. 
 
 Thorne, Gertrude, teacher of music; b. 
 
 Plymouth, Me.; d. Henry S. and AIl- 
 berta Small Thorne: ed. Maine Central 
 Institute and N. E. Conservatory: stud- 
 ied piano with James W. Hill, Haverhill. 
 Mass., and with Carl Stasny at Conserv- 
 atory; theory with Louis C. Elson; 
 harmony with Benjamin Cutter; voice 
 with Frank E. Morse; trained at Insti- 
 tute of Music Pedagogy. Northampton. 
 Mass., with Ralph Baldwin for public 
 school music; studied band work and 
 voice at Eastman School of Music, 
 Rochester, N. Y.; taught school music 
 at Corinna, Newport and Plymouth. 
 Vocation, supervisor of music at Au- 
 gusta, Me. Home address, Pittsfield, 
 Me. 
 
 Thurston, Florence, music teacher. Ad- 
 dress, Union, Me. 
 
 Thurston, Teresa Tuck, accompanist and 
 
 teacher of piano: b. Bangor, Me., Nov. 
 21, 1893; d. Frank Linden and Elizabeth 
 Tuck; m. L. Raymond Thurston, June 28, 
 1919; studied with Carl Faelten, Rein- 
 hold Faelten at Faelten Pianoforte School, 
 Boston, Mass.; Sec. Bach Choir; mem. 
 Parent Teachers Asso. and “Quipus”; 
 former mem. Schumann Club and Bangor 
 Festival Chorus. Address, 251 Nowell 
 Road, Bangor, Me. 
 
 Tibbetts, George A., vocalist (tenor); 
 mem. Portland Men’s Singing Club. 
 
 Address, 521 Cumberland Ave., Port- 
 land, Me. 
 
 Tibbetts, Grace, harpist; mem. MacDow- 
 ell Club and Portland Municipal Or- 
 chestra. Address, 85 Deerfield Rd., 
 Portland, Me. 
 
 Tibbetts, Mrs. Samuel (Virginia Haven- 
 
 er), vocalist (contralto), teacher of vio- 
 lin, cello and piano; b. Rockland, Me.; 
 d. Charles E. and Orissa M. Havener; 
 m. Dr. Samuel Tibbetts, 1907; studied 
 with H. E. Holt and at N. E. Conserva- 
 tory and Normal Institute of Vocal 
 Harmony, Lexington, Mass.; mem. 
 Knox-'Valdo School Music Asso. Vo- 
 cation, supervisor of music in public 
 ae Address, 33a Elm St., Camden, 
 Me. 
 
 Titcomb, Walter John, vocalist (bass); b. 
 
 Farmington, Me., March 7, 1859; s. 
 John and Catherine Merrill Titcomb; 
 m. Charlotta E. G. Cook, July, 1894; ed. 
 Normal School, Farmington; studied 
 with H. E. Holt, John W. Tufts and E. 
 W. Newton, Boston; grad. Am. Insti- 
 tute of Normal Methods; mem. Fall 
 River Orchestral Club and Wheeler’s 
 Band in the 80’s (slide trombone); mem. 
 New England Music Festival Asso and 
 the Eastern Music Supervisors Confer- 
 ence. Vocation, supervisor of music in 
 public schools. Res., 42 Chaloner St., 
 Fall River, Mass. 
 
 Tclman, Carl Jean, pianist, organist, com- 
 
 poser, instructor, conductor; b. Harri- 
 son, Me., March 22;°:1875:. 9. Charles 
 Elliot and Martha Osgood Richardson 
 Tolman; m. Charlotte E. Bailey, Tuly 
 22, 1907; ed. pub. and high schs., private 
 teachers; studied with Harvey S. Mur- 
 ray, Cora S. Briggs; Lyman F.. Brack- 
 ett; Carl Stasny; Carl oBaermann, H. A, 
 Clarke and others; has taught music 35 
 yrs.; coach for vocalists, 10 yrs.; associ- 
 ate ‘air. |udson Coll Alabama, Uo yr: 
 elected dir. following yr.; dir. of mus. 
 Coker Coll5 So. Garalina;.6. yrs ore. 
 Perkins St. Bapt., Somerville, Mass., 
 High St. Cong., Auburn, Me., Friends 
 Church, Winthrop Center, Me., Bapt. 
 Ch., Hartsville, S. C.; directed choruses, 
 glee clubs, choirs, bands, orchestras; or- 
 ganized and dir. Coker Coll. Choral Art 
 Society (100 voices); has given organ 
 and piano recitals since 1893; comp. for 
 piano (orchestrated and played at Bos- 
 ton Symphony “Pop” concerts), pipe- 
 organ pieces, songs and anthems; col- 
 league Am. Guild of Organists, N. Y. 
 Chapter; sub-dean and examiner Caro- 
 lina Chapter, Am. Guild Org.; mem. 
 Nat. Am. Organists; dir. of mus. Co- 
 burn Classical Institute, Waterville, 
 
 _Me.; org. for E. A. Bailey, Winthrop 
 
 Center, Me. Studio, Augusta, Me. Ad- 
 dress, Winthrop Center, Me. 
 
464 
 
 Tolman, Charles H., flutist; b. Portland, 
 Me., Feb. 10, 1864; s. Charles C. and 
 Mary Ilsley Tolman; m. Jennie M. 
 Sampscn, March 2, 1892; former mem. 
 A. W. Coombs Chamber Music Club 
 
 and Portland Philharmonic Society; 
 
 mem. Kotzschmar Club, Portland Flut- 
 ist’s Society and Portland Municipal 
 Orchestra. Res., 260 Vaughan St., Port- 
 land. 
 
 Torrens, Dr. Lemuel Allen, choral con- 
 ductor and teacher of singing; b. Ban- 
 gor, Me.; s. John and Ellen Torrens; 
 began study of music at very early age; 
 first instructor of music public schools 
 of Bangor; for many years directed mu- 
 sic festivals in East and West; dean of 
 the vocal faculty of the Cosmopolitan 
 School of Music and Dramatic Art, Chi- 
 cago; dean of vocal departments, Mas- 
 ter’s School, Dobbs Ferry on Hudson; 
 instructor of vocal music in Riverdale 
 School, Riverdale - on - Hudson, Dalton 
 High School, N. Y. City, and privately 
 in Chickering Building, N. Y. Address, 
 26 Gramercy Park, N. Y. 
 
 Torrey, George, Vice Pres. Rockland Fes- 
 
 tival Chorus. Address, Rockland, Me. 
 
 Toussaint, Mrs. O. J., music teacher. Ad- 
 
 dress, East Millinocket, Me. 
 
 Towers, Mrs. Daisy S., vocalist; b. Somer- 
 
 ville, Mass., Aug. 7, 1888; d. John D. 
 and Elizabeth Powe Stairs; m. Cleve- 
 land W. Towers, Nov., 1910; ed. Houl- 
 ton, Me.; studied with Mrs. Hollis Lind- 
 say and Prof. Sodequest; mem. choir 
 Military St. United Baptist Church, 
 Houlton, Me.; Pres. Houlton Music 
 Club and third Vice Pres. of the Maine 
 Federation of Music Clubs; mem. Houl- 
 ton Women’s Club, Portia Rebekah 
 Lodge, No. 76, and Fidelity Chapter, 
 No. 32, O. E. S. Address, 10 Heywood 
 St., Houlton, Me. 
 
 Towle, Blanche, vocalist (mezzo soprano), 
 
 teacher of singing; b. Lewiston, Me.; ed. 
 public schools; studied voice with W. H. 
 Dennett, Portland, Rose Stewart, Bos- 
 ton, 4 yrs. in New York and 1 yr. in Eu- 
 rope; sang with the Boston Festival 
 Orchestra; composer of quintette “Peace” 
 for voice and stringed instruments; for- 
 merly sang at Hammond St. Cong. 
 Church, Lewiston. Studio address, 175 
 Hemenway St., Boston, Mass. 
 
 Towne, Eva M., state music supervisor. 
 
 Address, Waterville, Me. 
 
 Tracy, Alfred H., vocalist (baritone); 
 
 MUSIC AND’ MUSICIANS OF MATS 
 
 mem. Portland Men’s Singing Club. 
 Address, 39 North St., Portland, Me. 
 
 Tracy, M. Irene, teacher of piano; b. Min- 
 
 neapolis, Minn., Dec. 26, 1883; d. Eph- 
 raim and Julie West King; ed. Minne- 
 apolis School of Music; studied with 
 Maurice Eisner and Magendanz of 
 
 Utica Conservatory, Edwin Klahre of 3 
 
 New England Conservatory and Prof. 
 Clarence G. Hamilton; received teacher’s 
 certificate in piano teaching, harmony 
 
 music form and interpretation; in 192r 
 
 took master’s course at Chicago Musical 
 College and studied with Rudolf Ganz; 
 also studied with Prof. Adelbert W. 
 Sprague of the University of Maine. 
 Address, 148 Essex St., Bangor, Me. 
 
 Trafton, Edwin, violinist; b. Portland, a 
 
 Me., Jan. 23, 1912; s. Ernest E. and 
 Agnes M. Trafton; ed. New York and 
 Auburn; studied with Prof. Josafa 
 
 Morin; mem. Lewiston-Auburn Sym-— i 
 
 Webster 
 Address, 
 
 phony Orchestra; leader, 
 School Orchestra, Auburn. 
 9 Sheridan Ave., Auburn, Me. 
 
 Trafton, Howard M., pianist; b. Portland, 
 
 Me., Jan. 23, 1912; s. Ernest E: and 
 Agnes M. Trafton; ed. New York and 
 Auburn; studied with Prof. Arthur N. 
 Pettengill and Prof. Emile Beauparlent; 
 mem. L.-A. local orchestras. Address, 
 9 Sheridan Ave., Auburn, Me. 
 
 Tremblay, Wilfred, pianist, organist; b. 
 
 Galeton, Penn., July 25, 1905; s. Wil- 
 liam R. and Marie Euler Tremblay; 
 studied with Seldon T. Crafts, Lewis- 
 ton, and Albert Anger, Auburn; Con- — 
 ductor Lewiston-Auburn Symphony Or- — 
 chestra, 1923-25; made concert tour of 
 Canada, 1925; composer “My High 
 School Days,” “British Rhapsody,” and 
 musical comedy, ‘Royalty Flushed’; — 
 org. Empire Theatre. Res., 112 Park | 
 Ave., Portland, Me. : 
 
 Treworgy, Anne Florence, pianist, accom- 
 
 panist; b. Penobscot, Me.; d. Solomon 
 J. and Ida Wardwell Treworgy; ed. 
 Colby College; studied with Mrs. Clar- 
 ence White, Waterville (piano), and 
 Mrs. Grace Bramhall Howes, Bangor 
 (pipe organ); org. Cong. Church, Water- 
 ville, 3 yrs., United Baptist Church, 
 Milo, 6 yrs.; composer, two high school 
 songs, ““M. H. S. Forever,” “Milo Chéer- — 
 ing Song” and several songs for Rotary 
 Club; music for many other songs for 
 
 special occasions; acc. musical produc- 
 
 tions, singers, violinists, etc. Vocation, 
 high school teacher. Address, 12 Clin- 
 
BIOGRAPHICAL SECTION— 1927-1928 
 
 ton St., Milo, Me. 
 Me. 
 
 Trickey, Edith C., pianist; priv. mem. 
 Portland Rossini Club. Address, 70 
 Thomas St., Portland, Me. 
 
 Trickey, Mrs. Henry S., associate mem. 
 Portland Rossini Club. Address, 70 
 Thomas St., Portland, Me. 
 
 True, Mrs. Jabez (Ella W.), violinist; b. 
 Portland, Me., 1868; d. Samuel and 
 Mary (Waters) Thurston; m. Jabez 
 True, 1899; studied with Julius Eich- 
 bere. Charlies N. Allen; Sec-Treas. 
 Marston Club. Address, 34 Farwell 
 Ave., Melrose Highlands, Mass. 
 
 True, Latham, organist, music teacher; b. 
 Portland, Me., June 1, 1874; s. Jabez 
 and Nettie A. (Latham) True; m. Edna 
 Webb, Jan., 1909; grad. Toronto Coll.; 
 Mus.B. degree Univ. Toronto; Mus.D. 
 degree N. Y. German Cons.; studied 
 with Kotzschmar, Marston, Torrington, 
 Fairclough, Krause, and Prout; associ- 
 ate Royal College of Organists, Lon- 
 don; fellow Am. Guild of Organists; 
 org. and choir dir. First Parish Church, 
 Portland, 9 yrs.; organizer Kotzschmar 
 Club, Portland; mem. Beethoven Trio, 
 1914-21; organized Chamber Music 
 Trio; asso. editor “The American Or- 
 ganist of N. Y.’’; composer; organist 
 and dean of music dept. Castilleja 
 School, since 1923. Address, Palo Alto, 
 California. 
 
 True, Mrs. Latham, formerly soloist First 
 Parish Church, Portland. Address, Palo 
 Alto, California. 
 
 True, Luella C., vocalist (soprano); b. 
 Portland, Me., Nov. 5, 1867; d. William 
 P. and Sarah Cole Evans; m. Ernest 
 True, June 1, 1890; studied with Mrs. 
 O. H. Fellows, W. H. Dennett, and at 
 N. E. Conservatory with W. H. Daniels; 
 mem. First Parish and Williston Church 
 Choirs; org. Stevens Ave. Cong. and 
 Christian Science; now org. at Little 
 Neck, L. I., N. Y.; mem. Rossini Club 
 and President Marston Club for 2 yrs. 
 Vocation, music teacher. Res., 1550 For- 
 est Ave., Portland, Me. Mail address, 
 4308 Marathon Parkway, Little Neck, 
 L. I., New York. 
 
 True, Mrs. Maude E., m.t. Address, Lee 
 Me. 
 
 True, Willis E., cornettist; mem. Deane’s 
 Orchestral Club. Address, 358 Wood- 
 ford St., Portland, Me. 
 
 Tuck, Elizabeth, teacher of piano and or- 
 
 Summer St., Surry, 
 
 46 
 
 MRS. JOHN HUPPER TURNER, CONTRALTO. 
 
 gan; b. Minaville, New York, Dec. 25. 
 1864; d. Asa B. and Elizabeth (Koons) 
 Peck; m. Frank L. Tuck, March 3, 1889; 
 ed. at Faelten Pianoforte School, Bos- 
 ton; studied with Mr. and Mrs. William 
 Sherwood; has been an organist for 20 
 yrs.; organizer of the Schumann Club 
 and Pres. for 15 yrs.; in 1925 organized 
 the Bach Choir in Bangor and in April, 
 1927, presented Bach’s “St. Matthew 
 Passion” in St. John’s Episcopal Church. 
 Summer home, Islesboro, Me. Address, 
 27 Grant St., Bangor, Me. 
 
 eae Olalie, m.t. Address, Brownville, 
 e. 
 
 Tufts, George Royal, trombonist; b. Lew- 
 iston, Me., Aug. 9, 1896; s. George Wil- 
 liam and Sadie (Washburn) Tufts; ed. 
 Frye Grammar School, Lewiston; stud- 
 ied with Ernest J. Hill; mem. Hobbs 
 American Band and a member of Hobbs- 
 Curtis Orchestra, Lewiston; mem. Mu- 
 sicians Protective Union. Address, 136 
 Nichols St., Lewiston, Me. 
 
 Turner, Gretchen M., vocalist; b. Houlton, 
 Me., Dec. 8, 1905; d. John and Gertrude 
 A. Turner; ed. Aroostook State Normal 
 
 School; studied with Mary Burpee, 
 Houlton, Me.; mem. United Baptist 
 Church Choir, Houlton Music Club. 
 
 Vocation, teacher public schools. Ad- 
 dress, 55 Franklin Ave., Houlton, Me. 
 
 ») 
 
466 
 
 i 
 
 Turner, Inez Perry, soloist, concert artist 
 (mezzo contralto); b. Portland, Me., 
 July 19, 1881; d. Albert E. and Alma A. 
 Perry; m. John Hupper Turner, 1901; 
 ed. Portland, Me.; studied with Nettie 
 Fellows, Henrietta D. Rice, Clara Tip- 
 pett, and Regneas of N. Y.; formerly 
 mem. choir at St. Lawrence Cong., War- 
 ren Cong., First Baptist, State St. Cong., 
 Pine St. Methodist and Williston Cong. 
 Churches; mem. Rossini Club; instiga- 
 tor of publicity committee and first 
 chairman; vocal teacher. Res., 38 Ves- 
 per St,Portiand,. Me. 
 
 Tuttle, Ralph Hodsdon, instrumentalist 
 (tuba, bass viol); b. Auburn, Me., Jan. 
 22, 1809; s. Harry C2 and- Mabel A. 
 Tuttle; m. Florine I. Maher, Oct. 16, 
 1921; studied with Arthur Croteau, C. 
 M. Plummer and Maurice Wade; Treas. 
 Lewiston Brigade Band; mem. Marble’s 
 Orchestra; Treas. Musicians Protective 
 Ass'n, Local 409, Lewiston, I. O. O. F. 
 Lodge, Raboni Lodge, A. F. of M., 32nd 
 degree Mason, Mystic Shrine, Lewiston 
 Lodge; -B: “Ps QO. °E. = Vocation,< Asst: 
 Treas. Lewiston Trust Co.; Pres. Bell 
 Tire Co., Inc. Address, 12 Bardwell St., 
 Lewiston, Me. 
 
 Usher. Ethel Watson, concert accompan- 
 ist, organist; b. Gorham, Me.; d. William 
 H, and Ella Watson Usher; ed. Portland, 
 Me.; studied with Mary Jordan, Hein- 
 rich Gebhard, Leopold Godowsky, Frank 
 La Forge, Walter Henry Rothwell; org. 
 and dir. of music, Harlem Presbyterian 
 Church, N. Y.; formerly org. United 
 Cong. Church, and Reformed Church, 
 Brooklyn; mem. American Woman’s As- 
 so. and Maine Women’s Society of N. Y., 
 Quota Club, International, Inc.; conduc- 
 tor Matinata Choral Club, N. Y.; com- 
 poser, vocal coach. Address, 127 West 
 VOUlaty ny 
 
 Vallée, Hubert Prior, orchestra leader, 
 saxophonist; b. Island Pond, Vermont; 
 s. Charles A. and Katherine A. Valée; 
 ed. Yale College; mem. Westbrook City 
 Band; featured at the Savoy, London, 
 England, nightly for one year; recorded 
 for English Victor and Columbia records; 
 featured with Bolton and Cipriano’s Or- 
 chestra and later became leader; soloist 
 with the Yale Collegians in their trans- 
 continental vaudeville tour across the 
 United States. Address, 36 Munroe Ave., 
 Westbrook, Me. 
 
 Vallée, Kathleen M., pianist; b. Island 
 Pond, Vt.; d. Charles A. and Katherine 
 
 MUSIC AND MUSICIANS OF MAINE 
 
 A. Vallée; ed. Westbrook High School 
 and Montreal; studied with Aaussault; 
 graduate Institute of Paris: pianist Cho- 
 pin Trio and Chopin Club, Westbrook. 
 Vocation, teacher of piano. Address, 36 
 Munroe Ave., Westbrook, Me. 
 
 Vannah, Kate, organist, accompanist, 
 journalist, poet; b. Gardiner, Me.; d. 
 Isaac and Eliza Vannah; Doctor of Mu- 
 sic degree at Joseph’s College, Em- 
 mettsburg, Md.; studied piano with Er- 
 nest Perabo; composition with Prof. 
 
 Eversmann of Baltimore and George W. — 
 Marston, Portland; has written many — 
 concert songs; her first song, “Goodbye 
 
 Sweet Day,” published 1893, and “Cradle 
 
 Song,” pub. about that time, are among 
 
 the most popular; has composed many 
 small pieces for orchestra, as well as 
 songs and instrumental numbers; au- 
 thor of magazine verse and articles; 
 collaborated with Elinore C. Bartlett in 
 
 writing opera, “Heligoland”’; her com- 
 
 positions have been sung and played by 
 
 almost every artist of prominence; 
 
 among her other best known songs are 
 “Eily,” “I Know the Place Where We 
 Will Rest,” “Ave Maria,” “When Love 
 Comes Knocking at the Gate,” “Come 
 
 Back to Me,” “The Dream Within Your — 
 
 Eyes,” “Will You “Hear.” ihe (ae 
 
 Long Day,” “Mary O,” and “Master, 
 
 Saviour, Make Me Thine.” Address, 
 Hotel Earle, Washington Square, New 
 York. 
 
 Vanni, Roberto, m.t. Address, 129 Lisbon | 
 
 St., Lewiston, Me. 
 
 Veazie, Mrs. Katherine, vocalist (sopra- 
 no). Address, Rockland, Me. 
 
 Vermette, Geoffrey Thomas, vocalist (ten- 
 
 or); b. Brunswick, Me., July 13, 1888; s. 
 Charles and Albina Ouellette Vermette; 
 
 m. Sophie LaBerge, May 10, 1913; stud- — 
 
 ied with Prof. Roberto Vanni; mem. 
 choir St. John’s Church and Brunswick 
 Orchestral Society. Vocation, railroad- 
 ing. Address, 22 Columbia St., Bruns- 
 wick; Me. 
 Vinal, Ernest L., concert artist, bands- 
 man; b. Vinalhaven, Me.; s. Woster and 
 Harriet Arey Vinal; studied with Felix 
 Fox and Clement Lenom of Boston; 
 
 mem. Alippo Shrine Band, Boston (clar- 
 inet, oboe, English horn); mem. Boston 
 
 Se eS a LE a ee ee ee ee Pee ee ae ee ee eee ee ee ee eee 
 
 a a 
 
 —— S. 
 
 Pe eee he 
 
 wre 
 
 Ver a) ee. 
 
 Musicians Asso., Alippo Shrine, Bos- — 
 
 ton, and De Valois Commandery, Vinal- 
 haven, Me.; formerly mem. Phinney’s 
 Band, Duss Band and Soldier’s Home 
 Band, also People’s Symphony Orches- 
 
 i a —— : one Pe ee a a eS ae are 
 a ee ee a eee Oe ee ee ok Cen aes ee 
 
BIOGRAPHICAL SECTION— 1927-1928 467 
 
 tra, Boston, and many other orchestras. 
 Vocation, insurance. Address, 158 W. 
 Brookline St., Boston, Mass. 
 
 Virgie, Belle A., m.t., school music super- 
 
 visor. Address, Orono, Me. 
 
 Waddell, Ivah Woodbury, teacher of 
 
 piano; b. Patten, Me., March 10, 1879; 
 d. Benjamin Collins and Albina Knowles 
 Woodbury; m. Edward I. Waddell, 
 Sept. 1, 1910; ed. Patten Academy; stud- 
 ied with George Folsom Granberry, N. 
 Y., Carl and Reinhold Faelten and 
 Marie Dewing Faelten of the Faelten 
 Pianoforte School, Boston, Mass.; org. 
 Unitarian Church; mem. Clef Club. Ad- 
 dress, 137 State St., Presque Isle, Me. 
 
 Wade, John Maurice, instrumentalist (con- 
 tra bass, cello); b. Farmington, Me.; 
 s. Lewis T. and Mittie Titcomb Wade; 
 m. Ola Wade, 1910; ed. N. E. Conserv- 
 atory; studied contra bass with Ger- 
 ald Whitman, Portsmouth, and Max 
 O’Kunze; cello with Ernest Boothman, 
 Boston, Robert N. Austin, Providence, 
 and Carl Stockbridge, of the Boston 
 Symphony; played with many hotel 
 concert orchestras, theatre orchestras 
 and bands. Vocation, musician, piano 
 tuner. Address, 148 Washburn Ave., 
 Portland, Me. 
 
 Wade, Mrs. Lewis T. (Mittie T.), super- 
 visor of music in public schools; b. Far- 
 mington, Me., Sept. 27, 1852; d. John 
 and Catherine Merrill Titcomb; m. 
 Lewis T. Wade, Nov. 27, 1878; ed. Wen- 
 dell Institute and 1 yr. at Vassar; stud- 
 ied with local teachers and L. T. Wade; 
 org. 30 yrs. Cong. Church, Farmington. 
 Address, Farmington, Me. 
 
 Wakefield, Edwin C., bandmaster (cor- 
 
 net), vocalist (bass); b. Steuben, Me., 
 July 16, 1841; s. George W. and Susan 
 Campbell Wakefield; m. Hattie S. Win- 
 gate; studied with his father and R. B. 
 Hall, Bangor, Frank Collins, Boston, 
 William Parks, 2nd Maine Band, and 
 Chandler of Portland; leader of the 
 Cherryfield Band sincé its organization, 
 1869. Vocation, machinist. Address, 
 Cherryfield, Me. 
 
 Walker, Leon V., trombonist; mem. 
 Deane’s Orchestral Club. Address, 3 
 Walker St., Portland, Me. 
 
 Walker, Marion J., organist, vocalist (so- 
 prano); b. Portland, Me.; d. Alphonzo 
 C. and Abba E. (Knight) Jones; m. 
 Walter W. Walker, Sept. 26, 1900; ed. 
 So. Paris High School; studied piano 
 
 with Cora S. Briggs; voice with Cora 
 Pike and Minnie A. Plummer; organ, 
 Minnie A. Plummer; harmony, Frank 
 L. Rankin; org. and dir. Norway Univ. 
 Church, 76 yrs, Woodfords Cong. 
 Church, 21 yrs., Friends Church; mem. 
 So. Paris Cong. Church Choir; soloist 
 and mem. Ladies Quartet, So. Paris, 
 Me.; mem. Rossini Club, Portland, Mu- 
 sic Appreciation Class, Woodfords; 
 Presi Seneca’ Club, ¥So.. Paris.) Vice 
 Pres. Organist Guild, Portland, Me.; 
 Pres. Pilgrim Vested Choir, Woodfords 
 Cong. Church; Pres. Mentone Club. 
 Portland. Vocation, organist, accom- 
 panist, teacher of piano and organ. Ad- 
 dress, 174 Glenwood Ave, Portland, Me. 
 
 Walker, Sophia, m.t. Address, Ellsworth, 
 M 
 
 e. 
 Walker, Walter W., vocalist (bass); b. 
 
 Harrison, Me.; s. Charles Lincoln and 
 Sarah Harmon Walker; m. Marion W. 
 Jones, Sept. 26, 1900; ed. No. Bridgton 
 Academy; studied with Wm. Stock- 
 bridge; soloist Norway Univ. and mem. 
 Woodfords Cong. Church Choir, So. 
 Paris Cong. Church Choir, Parisian 
 Male Quartette, So. Paris. Address, 174 
 Glenwood Ave., Portland, Me. 
 
 Wall, Harry T., mem. Portland Flutist’s 
 
 Society. Address, 497 Cumberland Ave., 
 Portland, Me. 
 
 Wallace, Mrs. E. L., vocalist ; mem. Wom- 
 
 en’s Choral Society. Address, 128 Brent- 
 wood St., Portland, Me. 
 
 Wallace, Stanley Chester, organist; b. 
 
 New (York City, “N. Y., May -24,..1895; 
 s. Stanley Chester and Charlotte Mary 
 Wallace: m. Halcyon Voigt, Feb. 6, 
 1922; ed. University of Pennsylvania; 
 studied with Charles Galloway, Ottmar 
 Moll, Arthur Dunham and Guilmaunt 
 Organ School, N. Y.; Bandmaster, U. 
 S. N., 1917-18; mem. Masonic Order 
 and Shrine; organist Strand Theatre, 
 Portland. Address, Congress Square 
 Hotel, Portland, Me. 
 
 Walsh, Margaret E., m.t. Address, 31 
 
 Harlow St., Bangor, Me. 
 
 Walsh, Ruth E. Pettengill, evangelistic 
 
 singer; b. Leeds, Me., Dec. 23, 1876; d. 
 Rev. W. R. and Fannie Libby Petten- 
 gill; m. Rev. A. A. Walsh, Sept. 23, 1902; 
 ed. Bates College; studied with Prof. 
 Pettengill and Prof. Robinson; soloist 
 and choir leader at evangelistic meet- 
 ings; supervisor and teacher in Leeds 
 pub. schools, 6 yrs.; State mus. dir. of 
 Maine W. C. T. U. since 1919; mus. 
 
468 MUSIC AND MUSICIANS OF MAINE 
 
 supervisor in schools of Waterboro; bus. 
 manager, Ladies’ Glee Club, Bates Col- 
 lege, 1900-1; cond. mus. many Maine 
 camp meetings and at clubs and conven- 
 tions. Address, Waterboro, Me. 
 
 Walton, Isabel Roberts, vocal teacher; b. 
 Portland, Me., Oct. 26, 1891; d. Dr. Wal- 
 ter H. and Lillian Osgood Roberts; m. 
 Edward Walton, July 4, 1910; studied 
 with Lewellyn B. Cain, Mrs. Franklyn 
 P. Clark and Miss Schumacher; soloist 
 Christian Science Church, Lewiston- 
 Auburn, United Baptist Church, Lewis- 
 ton; mem. choir United Baptist Church, 
 Auburn; mem. Philharmonic Club. Res., 
 18 White St., Lewiston, Me. 
 
 Ward, Helen, vocalist (soprano); mem. 
 MacDowell Club, Portland Polyphonic 
 Society and Portland Rossini Club. Ad- 
 dress, 108 Winter St., Portland, Me. 
 
 Ward, Helen McKearney, pianist and 
 vocalist (contralto); b. Yarmouth, Me., 
 Oct. 23, 1893; d. Joseph and Elizabeth 
 Slattery McKearney; m. Bernard M. 
 Ward, Oct. 15, 1917; ed. N. E. Conserv- 
 atory; studied piano with Alfred Brink- 
 ler, Portland, and Carl Stasny, Boston; 
 voice with A. R. Frank, Portland, and 
 Arthur Hubbard, Boston; mem. Rossini 
 Club, Portland; org. Sacred Heart. Ad- 
 dress, 8 Hillside St., Yarmouthville, Me. 
 
 Ward, Mary Belle, organist, pianist; b. 
 Brunswick, Me.; d. William F. and 
 Hannah M. Ward; studied with Harvey 
 Murray and Columbia Conservatory, 
 Brooklyn, N. Y.; org and mem. orches- 
 tra, Berean Baptist Church; org. First 
 Parish Cong.; former mem. Mozart 
 Club; mem. and accompanist, Festival 
 Chorus during its existence. Address, 
 4 Dunning St., Brunswick, Me. 
 
 Ware, Eve E., m.t. Address, Union, Me. 
 
 Warner, Mrs. R. C., mt. Address, 214 
 Broadway, Bangor, Me. 
 
 Warren, Belle Jordan (Mrs. Charles A.), 
 supervisor of music, pub. schools. 
 Brunswick, Me. 
 
 Warren, Charles A., teacher of violin; b. 
 Portland, Me.; s. True and Ellen P. 
 (Noyes) Warren; m. Eva Belle Jordan; 
 director of Brunswick Orchestral Soci- 
 ety; instructor of instrumental music in 
 the Brunswick schools; orchestral ex- 
 perience covers range from vaudeville 
 to grand opera; played in leading 
 theatres of Boston for 15 yrs.; former 
 member Bostonia Sextette which an- 
 nually toured country for years; ed. N. 
 
 E. Conservatory of Music; studied vio- — 
 lin with Emil Mollenhauer, Henry 
 
 Heindl and Felix Winternitz; harmony, — 
 
 counterpoint, etc, with J. K. Leavitt — 
 
 and Gustav Strube. Address, 5 Stetson — 
 
 St., Brunswick, Me. 
 
 Warren, Mrs. Ellen R., m.t. Address, — 
 
 Woolwich, Me. 
 
 Warren, Leon Hugh, teacher banjo and — 
 harmony, violinist; b. Augusta, Me, 
 
 April 16, 1903; s. Harry L. and Agnes ~ 
 Chaffin Warren; studied with Frank P. 
 Burnham; mem. The Yale Collegians, — 
 Phi Delta Theta, Alpha Kappa Kappa, — 
 Kappa Phi Kappa, Pi Gamma Mu, Elks, ~ 
 
 Masons, A. F. of M.; former mem. — 
 
 Chubb-Steinberg Orch. (broadcasting — 
 W.L.W.), Old Orchard Pier Orch.; 
 mgr. Lee Warren’s Collegians; medical | 
 student, Yale University. Address, 19 — 
 Cottage St., Portland, Me. 
 
 Warren, Nell, vocalist (lyric soprano); b. "4 
 
 Portland, Me., April 20, 1808; d. George _ 
 Siggins and Jennie Payson Jones Heal; — 
 m. Thomas Warren, Jr., March 9, 1917; i. 
 
 ed. Portland, Me., Bates College, and 
 Framingham Normal School; mem. 
 Church of Messiah Choir, Portland, — 
 Me.; Pres. Theta Delta Rho, Cam- @ 
 
 bridge, Mass., and American Federation — 
 Musicians; pianist at Jefferson, Elm, — 
 Empire, Portland, and Casco Theatres, q 
 Portland, at various times; toured in — 
 
 _vaudeville; newspaper writer and short — 
 
 story writer; composer, popular music. 4 
 Address, 709 Fidelity Bldg., Portland. 
 Me. . . 
 
 Wasgatt, Mrs. Elizabeth Helen (contral- a 
 
 to), vocal teacher, concert artist; bea 
 Fredericton, N. B., April 26, 1843; dom 
 John and Ellen Torrens; m. Dr. Emery * 
 
 T. Wasgatt, May 5, 1864; ed. Boston ~ 
 Music School; studied with B. F. Baker, — 
 
 Fannie Frazier Foster; mem. Unitarian 
 Church Choir, Bangor, at age of fifteen; — 
 Pres. Mendelssohn Club of Bangor and — 
 the Eastern Maine Music Festival; — 
 mem: music committee Bangor Festival — 
 Chorus, 1900-1-2. Summer home, Mere- 
 point, Me. Address, 87 Prince St., Ja- | 
 maica Plain, Mass. 
 
 Wasgatt, Dr. Oscar Emery, violinist, con- 
 
 cert master; b. Bangor, Me.; studied 
 violin with Emil Mollenhauer and other 
 Boston teachers; concert master, Ban- q 
 gor Symphony Orchestra and Me. Fes- _ 
 
 tival Orch., 7 yrs.; later of the Boston y 
 
 Festival Orchestra. Address, Bangor, — 
 Me. 
 
BIOGRAPHICAL SECTION— 1927-1928 469 
 
 Wass, Caroline, m.t. Address, Cherry- 
 
 field, Me. 
 
 Wass, Prof. Edward Hames, organist, 
 teacher; b. Weymouth, Mass., Dec. 7, 
 1874; s. Christopher and Annie Haines 
 Wass; m. Eva Beatrice Heigham, 1896; 
 ed. Harvard; studied with Searing, 
 Gerard Sallandier (piano); studied or- 
 gan with C. H. Whittier and Warren 
 Locke; theory and composition at Har- 
 vard; org. and choirmaster Church of 
 the Ascension, East Cambridge, St. An- 
 drew’s, Boston, St. Paul’s, Malden, 
 Trinity, Melrose, St. Mark’s, Augusta, 
 Me.; founder and conductor Choral Art 
 So., Augusta, Me., 4 yrs.; Augusta Fes- 
 tival (Chorus, 3 yrs.; dir. Cecilia Club, 
 Augusta, I2 yrs.; org. and choirmaster 
 Ist Cong. Church, Brunswick, Me.; Prof. 
 of Music at Bowdoin College and col- 
 lege organist; Colleague Am. Guild of 
 Organists; honorary degree of Doctor 
 of Music conferred in 1928 by Bowdoin 
 College. Summer home, Squirrel Island. 
 Address, 7 Page St., Brunswick, Me. 
 
 Wasson, Martha, public school music 
 supervisor; b. Wells, Minnesota; d. Van 
 R. and Nellie J. Wasson; grad. Milliken 
 Univ., Decatur, Ill., and Milliken Con- 
 servatory; studied theory, Institute Mu- 
 sical Art; voice with Rupert Neily; 
 taught singing several years at Maine 
 Conservatory, Portland; mem. Wom- 
 en’s Choral Society, 1919-26, and was 
 Sec.-Treas. 2 yrs.; mem. Portland Ros- 
 sini Club, 1919-22, Charles Griffes’ Club. 
 1922-23: supervisor of music in West- 
 brook, Me., 1922-25; in charge of music 
 dept. Gorham Normal School, 1925-26. 
 Address, 14 O’Neil St., Bergenfield, 
 Ney: 
 
 Waterhouse, Everett, vocalist; soloist 
 Maine Music Festival; mem. Temple 
 Quartette. Address, Saco, Me. 
 
 Waterhouse, Ruth, vocalist: mem. Wom- 
 en’s Choral Society. Address, 1080 Con- 
 gress St., Portland, Me. 
 
 Waterhouse, Ruth Elva, pianist, music 
 teacher; b. Old Town, Me., May 17, 
 1902; d. William H.and Clara L. Water- 
 house; ed. University of Maine; studied 
 with Abbie N. Garland, Bangor, and 
 Virgil Conservatory of Music, N. Y.: 
 accompanist Old Town Festival Chorus. 
 Address, 7 Bradbury St., Old Town. Me. 
 
 Waterhouse, Hon. W. H., dir. Eastern 
 Maine Musical Association. Address, 
 Old Town, Me. 
 
 Watson, Mrs. Elizabeth, vocalist; mem. 
 
 Hee Choir, Bangor. Address, Bangor, 
 
 e. 
 
 Watson, Helen E., m.t.; accompanist Me. 
 Festival Chorus. Address, 81 Highland 
 
 Ave., Auburn, Me. 
 
 Watson, Willis Elmer, clarinettist;  b. 
 Kennebunk, Me., Aug. 18, 1885; s. W. 
 Lester and Ida Morrill Watson: m. 
 Florence M. Cook, Oct. 30, 1912; stud- 
 ied with William E. Chandler; mem. 
 Pine Tree Orchestra, Kennebunk Band 
 and York County Masonic Band (clari- 
 net, saxophone); mem. A. F. S. A. M.., 
 Knights of Pythias, Redmen, 32d degree 
 Mason, K. R. S. Myrtle Lodge, K. of 
 P.; former mem. Kennebunk Festival 
 Chorus; composer “Twilight Memo- 
 ries,’ “Smile Down Suwanee Moon”; 
 “March of the Tinker Togs” and other 
 popular numbers. Pres. Star Print, Inc. 
 Address, 46 York St., Kennebunk, Me. 
 
 Watts, Hazelteen, school music supervisor. 
 Address, Monmouth, Me. 
 
 Watts. Mary E. C., m.t. Address, 44 Win- 
 ter St., Portland, Me. 
 
 Webb, Doris Geneva, pianist, violinist; b. 
 Cornish, Me.; d. Walter L. and Laura 
 Weeks Webb; ed. Westbrook Seminary; 
 studied with Mrs. Blanche Dingley- 
 Mathews, David Fisher; leader  Bridg- 
 ton Academy Orchestra. Vocation, 
 teacher of violin and piano. Address. 
 Bridgton Academy, No. Bridgton, Me. 
 
 Webber, Mrs. Grace, m.t. Address, 45 
 Gamage Ave., Auburn, Me. 
 
 Webber, Howard, teacher of violin. 
 dress, Rumford, Me. 
 
 Weeks, Norman Everett, instrumentalist 
 (saxophone); b. So. Gardiner, Me., 
 March, 1899; s. Daniel S. and Elizabeth 
 Everett Noble Weeks; ed. Portland, 
 
 Ad- 
 
 Me., and Palmer School. Davenport, 
 lav; mem. Dover-Foxcroft Band, Pis- 
 cataquis Club, Dover-Foxcroft, and 
 
 Hadattah Lodge 1) OO, F., Portland. 
 Vocation, chiropractor. Address, Union 
 Square, Dover-Foxcroft, Me. 
 
 Welch, Earl Hermond, vocalist (baritone) ; 
 b= Pittston) Me, Sept) 25... 1004? <s. 
 Emery E. and Harriett Welch; ed. pub- 
 lic schools, So. Weymouth, Mass.; stud- 
 ied with Mrs. Richard Stubbs and Isi- 
 dore Braggiotti; mem. St. Mark’s 
 Church Choir, Augusta, Me. Res.. 133 
 State St., Augusta, Me. 
 
 Welch, Dr. Francis J., violinist: b. Port- 
 land, Me., Aug. 27, 1879; s. Thomas J. 
 and Louisa Deehan Welch; ed. Bow- 
 
470 
 
 doin College; studied with Frank Burn- 
 ham, Portland, and Charles M. Loeffler, 
 Boston, Mass.; mem. Maine Festival 
 Orchestra, 9 yrs., concert master 2 yrs.; 
 mem. Elks, Kiwanis, K. of C. and med- 
 ical organizations. Vocation, physician. 
 Address, 44 Deering St., Portland, Me. 
 
 dir. Most 
 Address, 
 
 Welch, Lou, org. and choir 
 Holy Trinity Church, Saco. 
 Saco, Me. 
 
 Welch, Mollie B., m.t. Address, 363 Main 
 St., Biddeford, Me. 
 
 Wellcome, Frank O., teacher of brass in- 
 struments; b. Yarmouth, Me., June 8. 
 1862; s. Isaac C. and Mary (Decker) 
 Wellcome; m. Mary Lindsay, April 14, 
 1882; ed. public schools of Yarmouth, 
 Me: studied: with Prof. E. A. >Blan- 
 chard, A. E. Browne, Frank L. Collins 
 and Frank Burnham; mem. Unitarian 
 Church Choir, Yarmouth (baritone); 
 mem. Yarmouth Band, 1882-1886, Chan- 
 dler’s Band, Portland, 1887-1900 (trom- 
 bone); mem. Chandler’s, Gilbert’s, Wil- 
 son’s, Maine Festival and Portland 
 Theatre Orchestras; mem. American 
 Federation of Musicians; inventor of 
 tuning device for a trombone, patented 
 1891; composer of several hymns. Vo- 
 cation, postmaster. Address, 11 York 
 St; Yarmouth, Me: 
 
 Weller, Mrs. Paul, m.t. Address, Macliias, 
 Me. 
 
 Wells, Florence A., organist, Pine St. 
 Cong. Church, Lewiston. Address, Lew- 
 iston, Me. 
 
 Wentworth, Rev. Allison, vocalist (bari- 
 tone) and teacher of voice; b. Baldwin, 
 Me.,  June- 13; 1876: s; Phomas>]:4and 
 Ellen A. Wentworth; m. Winifred E. 
 Larrabee, Sept. 4, 1898; ed. Potter Acad- 
 emy, Sebago, Me.; studied with Thos. 
 J. Wentworth and Albert Clark; mem. 
 Newfield M. E. Church Choir; mem. 
 West Baldwin Band, 1898-1900; Pres. 
 and Dir. Newfield Singing Club, 1918- 
 1919. Pastor No. Deering Community 
 Church. Address, 16 Fobes St., Port- 
 land, Me. 
 
 Wescott, Mrs. C. W., vocal teacher. Ad- 
 dress, Belfast, Me. 
 
 Wescott, Frederick A., organist, vocalist 
 (tenor); b. Bar Harbor, Me., March 15, 
 1890; s. Orlando P. and Cecelia Lins- 
 cott Wescott; m. Pearl Otto, March 24, 
 1926; ed. Bar Harbor schools and N. Y. 
 University; studied piano with L. Var- 
 ney, E. Hall, and organ with A. Houl- 
 
 MUSIC AND MUSICIANS OF MAINE 
 
 ton; org. Episcopal Church, Bar Har- ~ 
 bor; mem. Bar Harbor Band and 303rd _ 
 Field Artillery Expeditionary Force — 
 (ciarinet, saxophone, piano); mem. La-— 
 Fayette Five Orch.; mem. Am. Legion, ~ 
 Knights of Pythias, Odd Fellows, Ma- 
 sons. Vocation, supervisor of public — 
 school music. Address, 11 Roberts ~ 
 Ave., Bar Harbor, Me. ‘: 
 
 Wescott, Pearl Otto, teacher of piano and ~ 
 pipe organ; b. Cambridge, Mass., 1893; — 
 d. William T. and Dora A. (Tracyj@ 
 Otto; m. Frederick A. Wescott, March 
 24, 1926; ed. at Philadelphia Musical 
 Academy and private teachers; studied — 
 with Mrs. Emma Bolton Leslie, Boston, ~ 
 Mass., and Richard Zeckwer, Philadel- — 
 phia; accompanist for Mrs. Horatio ~ 
 Slater and George Harris; theatre organ- — 
 ist; org. Unitarian and Cong. Churches, — 
 Bar Harbor. Address, 126 Main St., Bar 7 
 Harbor, Me. a 
 
 West, John G., Treas. Lewiston and Au- — 
 burn Oratorio Chorus. Address, 25 Lis- 
 bon St., Lewiston, Me. a 
 
 Westgate, Eleanor Ernestine, teacher of © 
 piano; b. Norwood, Mass., April 22,3 
 1897; d Elmer E. and Eleanor West- ~ 
 gate; ed. Canton High School and Far- — 
 mington Normal; studied with Florence ~ 
 Wells of Lewiston, Me.; mem. of sev- — 
 eral local orchestras; org. Universalist — 
 Church, Canton, Me. Address, Canton, — 
 Me. e 
 
 Weston, Mildred Retha, teacher of piano; — 
 b. Skowhegan, Me., Sept. 21, 1891; d. — 
 Horace M. and Helen B. Weston; m. — 
 Edward B. Weston, Sept. 4, 1917; ed. 4 
 Boston, Mass.; studied with Miriam A. — 
 Cochrane; org. Cong. Church, 1916-17, — 
 and Baptist Church, 1918, Skowhegan; 
 mem. Skowhegan Chapter, O. E. S., and © 
 Skowhegan Sorosis Club. Address, — 
 Skowhegan, Me. a 
 
 Wetmore, Rosina, vocalist; b. Houlton, — 
 Me:, Nov. 22, 1894; d. Leighton and ~ 
 Adelaide Rideout Shaw; m. Bertram ~ 
 Wetmore, Jan. 8, 1919; mem. choir First — 
 Baptist Church; Sec. Houlton Music 
 Cit Address, Franklin St., Houlton, 
 
 e. . 
 
 Wheeler, Edith Hayes, organist, vocalist 
 (soprano); b. Auburn, Me., Dec. 20, 
 1877; d. William and Anna Ham Hayes; — 
 ed, E. L. H. S.; A.B. Bates Colleges 
 1899; m. Alton C. Wheeler, April 18, 
 1905; teacher Greek History, E. L. H. 
 
Whipple, Leyland, m.t. 
 
 PIOGCRAPHICAL SECTION—1927-1928 471 
 
 Setecn- 1004; ore. Park St. M. E-. 
 ure ewiston, 2 yrs., Sixth St. 
 Cong., Auburn; Auditor Me. Women’s 
 S ifrage Assn., 2 yrs.; Treas. Red Cross 
 Oxford Co.; Pres. Seneca Club, Euter- 
 pean Club; First Pres. Community Club, 
 So. Paris; mem. Phi Beta Kappa; mem. 
 Quartette Baptist Church and Ladies 
 Nevin Quartette, So. Paris. Address, 7 
 Porter ot, 50. Paris, Me. 
 
 Whelpley, Benjamin Lincoln, composer, 
 
 organist, pianist and teacher; b. East- 
 port, te, Oct, 23, 1864; s: Henry and 
 Sara’) Moore Whelpley; ed. Boynton 
 Academy, Eastport; studied piano with 
 B. J. Lang, Boston; composition with 
 Sidney Homer, and with E. M. Dela- 
 borde, Paris; org. Arlington St. Church, 
 Boston; mem. Harvard Musical Asso- 
 ciation; composer, “Evening Song,” 
 “Dance of the Gnomes,” “Under Bright 
 Skies.” Office, 6 Newbury St., Boston. 
 Res., 81 St. Botolph St., Boston, Mass. 
 
 Whibley, Mrs. George M. (Jane), vocalist 
 
 (soprano) ; mem. Portland Rossini Club, 
 Women’s Choral Society; former mem. 
 Cecilia Ladies Quartette. Address, 17 
 Noyes St., Portland, Me 
 Address, 100 
 Maple St., Bangor. Me. 
 
 White, Bessie Alberta, vocalist (soprano) ; 
 
 b. Woodstock, N. B., June 23, 1897; d. 
 Simeon L. and Mary Bretton Sherwood; 
 m. Gordon R. White, April 26, 1916: 
 studied with Mary G. Burpee and David 
 Soderquest; mem. Mi itary St. Baptist 
 Church, Houlton; Pres. Houlton Music 
 Club; mem. Houlton Woman’s Club, 
 Order of Eastern Star, Rebekahs, 
 Grange. Address, 26 Weeks Ave., Houl- 
 ton, Me. 
 
 White, C. Edwin, music teacher, saxo- 
 phone. Address, 562 Congress St., Port- 
 land, Me. 
 White, Effie May, teacher of piano; b. 
 Everett, Mass., April 26, 1883; d. John 
 Yerxa and Eugene Dockendorff White; 
 ed. private teachers, Boston and Fitch- 
 burg, Mass.; studied with Mrs. Newton 
 Swift and H. C. Peabody; formerly org. 
 First Cong. Church, Richmond, Me. 
 Address, 7 Gardiner St., Richmond, Me. 
 
 White, Elise Fellows, concert violinist, 
 composer; b. Skowhegan, Me., Nov. 14, 
 1873; d. James and Deborah Fellows; m. 
 Bruce M. White, of British Columbia, 
 Nov. 16, 1898; began study of violin at 
 age of eight; studied violin 4 yrs. at N. 
 E. Conservatory, Boston, under Ada- 
 
 ELISE FELLOWS WHITE, VIOLINIST. FROM PHOTO 
 MADE IN 1895. 
 
 mowski and Campanari; harmony with 
 Stephen A. Emery, and theory with 
 Louis Elson; playing concerts in and 
 around Boston; appeared Boston Music 
 Hall at Quarterly Concert given by N. 
 E. C. in 1885; studied 7 yrs. with Franz 
 Kneisel, first violin Boston Symphony 
 Orchestra, also under Kneisel’s teacher, 
 Prof. Jacob Grtin, of Vienna, Austria, as 
 well as with Max Lewinger; made three 
 public appearances in Vienna, in 1891-2, 
 at musicale given by Frau Cecelia 
 Frank, playing Zigeunerweisen, and 
 Sonata by Reinhold; appeared at recital 
 given by Adele Mandlick and at recep- 
 tion given by Col. Fred. D. Grant, min- 
 ister to Austria; on return to America 
 was soloist under B. J. Lang, at King’s 
 Chapel, Boston; made debut as soloist 
 Boston Cecilia Club; became member 
 string quartet class under Kneisel; stud- 
 ied harmony and counterpoint under 
 Eugen Grinberg; in 1895-6, under man- 
 
472 
 
 agement of Wolfsohn’s bureau, went on 
 extended concert tour northwestern 
 Canada and U. S., playing Vancouver, 
 Seattle, Winnipeg, Duluth, Chicago, 
 etc.; on return played as soloist at con- 
 certs given by Memnon Club of Hart- 
 ford, under Mrs. Chas. Dudley Warner; 
 made N. Y. debut at Bagby Musicales, 
 Waldorf-Astoria, with Nordica; 1896 
 was first violin N. Y. Women’s Sym- 
 phony Orchestra, under Carl Lach- 
 mund; app. concerts Brooklyn, N. Y., 
 Bar Harbor, and first concert Maine 
 Festival Chorus, Skowhegan, 1898; in 
 1897-8 special course at Colby College, 
 first prize extemp. composition; after 
 marriage, 1898, res. Nelson, British Co- 
 lumbia; played concerts in Can. North- 
 west; in 1904 played Bruch G minor 
 Concerto at Matinée Musicale in Spo- 
 kane; played Portland Rossini Club as 
 active member in 1914; toured Maine 
 with Chas. Marshall in 1914; app. three 
 months as soloist Federated Church, 
 Skowhegan, 1926; broadcast radio WBZ, 
 program own compositions, in Boston, 
 1925; composer 12 pub. songs, one violin 
 concert piece, many unpub. songs, three 
 choral numbers, with own words, for 
 women’s voices, with violin obligato; 
 played own compositions on Maine 
 Composers’ Day, Portland Rossini Club. 
 in 1920; her Madrigal for thirty women’s 
 voices, with violin, was given at Spring 
 Concert, Portland Rossini Club, 1927; 
 contributor of about 50 musical articles, 
 essays, etc., to Musical Quarterly, Mu- 
 sical Observer, and New Music Review, 
 N. Y., also Violin World and Chicago 
 Music News; historical articles published 
 Lewiston Eve. Journal and Independent 
 Reporter; eligible through her mother 
 to Society Mayflower Descendants; for- 
 mer active, now priv. member Rossini 
 Club; former member Eunice Farns- 
 worth Chapter, now mem. Elizabeth 
 Wadsworth Chapter. D. A. R.; Maine 
 Writers’ Research Club; Pres. Portland 
 Alumnae Chapter, Sigma Kappa Soror- 
 ity; mem. Skowhegan Hist. Society and 
 former mem. Library Board; author 
 chapter History of Music in Old Bloom- 
 field, in Skowhegan Town History. 
 Res., 82 Fessenden St., Portland, Me. 
 
 White, Mrs. Gladys, org. Court St. Bap- 
 
 tist Church. Address, Auburn, Me. 
 
 White, Herbert Leslie, instrumentalist; b. 
 Brewer, Me., May 9, 1888: s. Leslie P. 
 and Linnie (Grant) White; m. Clara 
 W. Rice, July, 1918; ed. Brewer, Me.; 
 
 MUSIC AND MUSICIANS OF MAINE 
 
 studied piano and harmony with Geor- — 
 
 gia Holt, Bangor, and French horn with 
 H. Lorbeer of the Boston Symphony 
 Orchestra; mem. board of dir., Lewis- 
 ton-Auburn Symphony Orchestra; for- 
 mer mem. Hobbs American Band, Au- 
 burn, 1922-24, Navy Band, 1917-18. Vo- 
 cation, piano tuner. 
 View St., Auburn, Me. 
 
 White, Kenneth Vernon, trumpet soloist; — 
 b. Rockland, Me., Jan. 2, 1902; s. Arthur 
 
 I. and Frances F. White; m. Evelyn 
 Crouse, Oct. 5, 1920; ed. Rockland, Me.; 
 studied with Stanley Wallace; 
 Rockland Concert Band and Marsh’s 
 Orchestra; finance officer, American 
 Legion. Vocation, druggist. Address, 
 Box 475, Rockland, Me. 
 
 White, Louis E., vocalist (tenor); b. New- 
 
 buryport, Mass., April 23, 1878; s. Jo- 
 seph M. and Patience G. White; m. 
 
 Edna L Hotchkiss, Aug. 24, 1904; mem. — 
 
 choir churches New Britain and Hart- 
 ford, Conn.; Pres. Portland Men’s Sing- 
 
 ing Club; Past Pres. Woodfords Club; 
 
 Past Pres.. Boy Scouts of America, 
 Cumberland Co.; mem. Deering Lodge 
 of Masons, Kiwanis Club, Woodfords 
 Club, ,Portland Country Club, Settlers 
 Club; Pres. and Treas. H. E. Murdock 
 Co.; Pres. Brighton Club.; mem. N. E. 
 
 Asso. of Male Glee Clubs and Asso. — 
 
 Glee Clubs of America. Vocation, op- 
 
 tometrist. Address, 21 Deblois St., Port- — 
 
 land, Me. 
 
 White, Paul Taylor, violinist; b. Bangor, 
 
 Louis C. and 
 m. Josephine 
 
 Me., Aug. 22, 1895; s. 
 Grace Taylor White; 
 
 Kryl, Sept. 27, 1922; ed. Bangor, Me.; 
 
 studied with H. M. Pullen. A. 
 
 Sprague, Felix Winternitz, G. W. Chad- 
 
 wick, Stuart Mason, Ottokar Sevcik, 
 Eugene Ysaye; graduate highest hon- 
 ors N. E. Conservatory; mem. Bangor 
 Episcopal Church Choir, 1906; concert 
 master N. E. Conservatory; formerly 
 
 first violin Cincinnati Symphony Or- — 
 chestra; mem. Phi Mu Alpha and Sin- © 
 
 fonia Clubs; composer, poem for violin 
 
 and orchestra, Lyric Overture, Fenilles 
 Symphoniques, Old Fashioned Suite for — 
 
 Address, 7 Western — 
 
 mem, 
 
 PO ee Ee Se eT te ee ere ee ee 
 
 Orchestra, five pieces for violin and 
 
 piano published by Edition Cranz, Brus- 
 
 sels, London, and Leipsic; violin soloist, — 
 
 teacher, composer, conductor. Address, 
 73 Audubon Road, Boston, Mass. 
 
 White, Mrs. Ruth, Vice Pres. Marston 4 
 
 Club, 1925. Address, Portland, Me. 
 
 White, William C., vocalist (tenor); mem. 
 
BIOGRAPHICAL SECTION—1927-1928 473 
 
 Portland Men’s Singing Club. Address, 
 Falmouth Foreside, Me. 
 
 White, Mrs. William C., vocalist; mem. 
 
 Women’s Choral Society. Address, Fal- 
 mouth Foreside, Me. 
 
 Whitehead, John Bailey, vocalist (tenor) ; 
 b. So. Berwick, Me., July 2, 1852; s. 
 Charles E. and Mary Bailey Whitehead; 
 m. Ella P. Coison, Feb. 2, 1882; studied 
 with Carrie A. Brackett and S. B. Whit- 
 ney, Boston, Horace M. Walton, New- 
 tonville, Mass.; mem. choir Cong. and 
 Baptist Churches, So. Berwick, Cong. 
 and Catholic Churches, Salmon Falls, 
 Catholic Church. Portsmouth, N. H., 
 and Cong. and Catholic, Dover, N. H.; 
 mem. quartette choir Cong. Church, 
 Dover, N. H., 17 yrs.; mem. Masonic 
 Blue Lodge, Chapter, Council, Com- 
 mandery and 32d degree Scottish Rite; 
 Pres. Mozart Chorus, So. Berwick; 
 mem. Maine Festival Chorus; mem. 
 Boston Peace Jubilee, 1869 and 1872, 
 Dover, N. H., Choral Union, 1872, 
 Somersworth, N. H., Chorus, Concord, 
 N. H., State Festival Chorus and cho- 
 ruses at Kittery and Kennebunk, Me. 
 Vocation, merchant tailor. Address, 
 Elm St., So. Berwick, Me. 
 
 Whitehouse, Florence Brooks, vocalist; b. 
 
 Augusta, Me., d. Samuel Spencer and 
 Mary Caroline (Wadsworth) Brooks; 
 m. Robert Treat Whitehouse, 1894; ed. 
 St. Catherine’s Hall, Augusta, and Eu- 
 rope; studied with Miss White, Boston; 
 mem. choir Augusta Unitarian Church, 
 1893-4; mem. Rossini Club; chairman 
 Maine Branch Nat. Woman’s Party, 
 eivora the God of Things,” “The 
 Effendi,’ and short stories. Address, 
 108 Vaughan St., Portland, Me. 
 
 Whiting, Harriet Strout, teacher of piano; 
 b. Winthrop, Me., Sept. 12, 1866; d. 
 William Newell and Carrie Turner 
 Strout; m. W. A. Whiting, June 30, 
 1890; ed. Kent’s Hill; studied with Prof: 
 Turner and Hanscome; org. for 35 yrs. 
 at Cong. Church, Winthrop. Address, 
 Winthrop, Me. 
 
 Whitman, Barbara Huntington, pianist 
 
 and music teacher; b. Bangor, Me., Dec. 
 16, 1908; d. Henry F. and Emma M. 
 Whitman; studied with Abbie N. Gar- 
 land, Mary H. Hayford, Mrs. E. L. 
 Howes; formerly org. First Methodist, 
 Brewer; mem. Grace Church Orchestra; 
 org. Grace M. E. Church, Bangor; mem. 
 Schumann Club, William R. Chapman 
 
 im 
 
 Club; Vice Pres. Chapman Club. Ad- 
 dress, Bangor, Me. 
 
 Whitney, Jennie Pierce, vocalist (sopra- 
 
 no), music critic; b. Portland, Me.; d. 
 Capt. Benjamin F. and Frances Elder 
 Whitney; ed. The Misses Symonds Pri- 
 vate and High Schools; studied with Wil- 
 liam Henry Dennett, Portland, Albert E. 
 Pennell, Boston (voice); Prof. Lynch 
 and Harvey Murray (piano); music eci- 
 tor, Portland Daily Press and Sunday 
 Times, 1905-21; charter member Annie 
 Louise Cary, Cosmopolitan and Com- 
 munity Clubs of Gorham;Portland Busi- 
 ness and Professional Woman’s Club; 
 Maine Research Club. Address, 24 South 
 St., Gorham, Me. 
 
 Whitney, John J., Pres. Ellsworth Festi- 
 
 val Chorus. Address, Ellsworth, Me. 
 
 Whitney, Joseph Walker, vocalist (tenor) ; 
 
 b. Portland, Me., Nov. 25, 1877; s. Ammi 
 and Emily Haskell Whitney; m. Bertha 
 L. Steward, Oct. 7, 1908; ed. Portland 
 High School and Bowdoin College; 
 studied with Mrs. Henrietta Fellows, 
 Henrietta D. Rice, Mrs. Evelyn Day 
 White, William Whitney and A. R. 
 Frank; mem. Free St. Baptist Church 
 Choir, Portland, 1921-22, First Parish 
 Church Choir, 1907-18, Warren Church 
 Choir, Westbrook, and High St. Church 
 Choir, Portland; mem. Portland Men’s 
 Singing Club, 1921-22, Kotzschmar 
 Club, Choral Art Society, Mozart Quar- 
 tette, Masonic Quartette, and Bowdoin 
 Glee Club; dir. Kendall & Whitney and 
 Casco Mercantile Trust Co. Vocation, 
 seed merchant. Summer home, Great 
 Diamond Island. Res., 22 Clifford St.. 
 Portland, Me. 
 
 Whitney, Mrs. Joseph W. (Bertha Stew- 
 
 ard), vocalist (soprano); b. Hartland, 
 Me., July 9, 1879; d. Pembroke S. and 
 Lenora Bennett Steward; m. Joseph 
 Walker Whitney, Oct. 7, 1908; ed. Hart- 
 land Academy, Hartland, Me.; studied 
 with Mrs. Henrietta Fellows, William 
 H. Dennett, William Whitney, A. R. 
 Frank and Henrietta D. Rice; mem. 
 State St. Church Choir, Portland, since 
 1904 (1922); formerly mem. choir 
 Church of Messiah, First Parish Uni- 
 tarian Church, 18 yrs.; priv. mem. Port- 
 land Rossini Club, 1921; mem. Choral 
 Art Society. Summer home, Great Dia- 
 mond Island, Me. Address, 22 Clifford 
 St., Portland, Me. 
 
 Whittier, Mary Talbot, teacher of piano; 
 
 b. East Machias, Me.; d. Frederick Os- 
 
474 MUSIC AND MUSICIANS OF MAINE 
 
 car and Kate Waide Talbot; m. Henry 
 S. Whittier, Sept. 11, 1902; ed. Calais, 
 Me., Mt. Allison Ladies’ College, Sack- 
 ville, N. B., and at N. E. Conservatory; 
 org. Cong. Church, East Machias; mem. 
 Machias and E. Machias Festival Cho- 
 rus. Address, East Machias, Me. 
 
 Whittredge, Mrs. Anne Elizabeth (lyric 
 soprano), vocal teacher, concert artist; 
 b. Bangor, Me.; d. Dr. Emery and Eliz- 
 abeth H. Wasgatt; m. Edgar L. Whit- 
 tredge, Sept. 14, 1894; studied with 
 Lemuel A. Torrens, Chicago and New 
 York, and Mrs. Henschel, Europe, also 
 with Charles R. Adams and Emil Mol- 
 lenhauer. Address, Steinert Bldg., Bos- 
 ton, Mass. 
 
 Wiggin, Mrs. Charles, m.t. Address, Ells- 
 worth, Me. 
 
 Wiggin, Josephine, Sec. Bangor Festival 
 Chorus. Address, Bangor, Me. 
 
 Wight, Austin Jenness, teacher of violin; 
 b. Warren, Me., June 23, 1871; s. Wil- 
 liam Fessenden and Lucy Fuller Wight; 
 m. Ida Marion Hartshorn, Nov. 21, 
 1900; studied with Emil Mollenhauer 
 and Ovide Musin; mem. Boston Festival 
 Orchestra one season; formerly con- 
 nected with Olean, N. Y., School of Mu- 
 sic and Warren, Pa., Conservatory of 
 Music. Vocation, teacher of violin and 
 orchestra in the University of Georgia 
 and private studio. Res., 263 Hancock 
 Ave., Athens, Georgia. 
 
 Wight, Mrs. James (Emma E. Burpee), 
 organist, pianist; b. Rockland, Me.; d 
 Nathaniel Adams and Mary Jane (Par- 
 tridge) Burpee; m. James Wight, Nov. 
 24, 1864; studied piano with Mr. 
 Whipple and Mr. Hill of Boston and 
 organ with Mr. Hadley of Boston; org. 
 at Methodist, Baptist and for 37 yrs. 
 at Cong. Church, Rockland; also at 
 Baptist Church, Thomaston; accompa- 
 nist, Orpheus Club, Choral Association, 
 Wight Philharmonic Asso., Rubinstein 
 Club of Rockland. Address, Rockland, 
 Me. 
 
 Wight, Winfield Scott, vocalist (bass); b. 
 Gilead, Me.; s. Gardiner and Rachel 
 Stiles Wight; m. Flora Bartlett, May 7, 
 1889; ed. Gould’s Academy, Bethel, Me.; 
 studied with Payson Grover, W. J. Har- 
 rington, Horatio Newell and at Holt’s 
 Normal Music School, Boston (grad- 
 uate); mem. Oxford County Musical 
 Asso.; mem. Maine Music Festival, 26 
 yrs.; dir. of festivals, conventions, sing- 
 ing schools and choir leader for 35 yrs. 
 
 all over the 6 Eastern States, New York, 
 New Jersey, Nova Scotia, New Bruns- 
 wick, Canada and Florida. Address, 
 Bethel, Me. 
 
 Wilbur, Mrs. Minnie, m.t. Address, East- 
 
 brook, Me. 
 
 Wilcox, John Wesley, trombonist; b. Put- 
 
 nam, Conn., March 31, 1877; s. George 
 R. and Viola Bridge Wilcox; m. Blanche 
 Kimball, Sept. 1, 1904; ed. Putnam, 
 Conn.; studied with Al Herrick; mem. 
 Augusta Cadet Band and Augusta 
 Symphony Orchestra; mem. Musicians 
 Union and Grange, Augusta, and Na- 
 tional Soldier’s Home Band at Togus, 
 Me. Vocation, butcher. Address, R. F. 
 D. No. 54, Windsorville, Me. 
 
 Wilde, Edwin Ernest, organist and music ~ 
 
 teacher; b. Calais, Me., Aug. 31, 1887; s. 
 Cyrus and Helena A. (Williamson) 
 Wilde; ed. New Bedford, Mass.; studied 
 music with A. Madeley Richardson, H. 
 W. Richards and F. G. Schinn in Lon- 
 don; lecturer in music, Brown Univer- 
 sity, since 1914; instructor in harmony, 
 Columbia Univ. summer session, 1916; 
 org. and choirmaster, St. Stephen’s 
 Church, Providence; Pres. R. I. State 
 Federation of Music Clubs, 1914-16; 
 mem. Royal Coll. of Organists. London; 
 Associate Am. Guild of Organists Ad- 
 dress, 119 George St., Providence, R. I. 
 
 Wildér, Katherine E. Brier, vocalist (mez- 
 
 zo soprano); b. Belfast. Me.; d. R. W 
 and Emma Brier; m. William Wilder; 
 ed. Belfast, Me.; studied with Mrs. 
 Clement Wescott; mem. Univ. Church 
 Choir, Belfast; mem. B. & P. Women’s 
 Club and Aurora Rebekah Lodge. Ad- 
 dress, 90 Union St., Belfast, Me. 
 
 Wilkins, Mrs. Franklin H. (Madeline), 
 
 vocalist; priv. mem. Portland Rossini 
 Club; formerly Cor. Sec. Me. Federa- 
 tion Music Clubs. Address, 439 Cham- 
 berlain Ave., Portland, Me. 
 
 Wilks, Ronald D., vocalist; b. Dartmouth, 
 
 N. S., Dec. 19, 1906; s. Pearce and Em- 
 ma Betts Wilks; ed. Bowdoin Coll., 
 Class of 1929; mem. choir First Bap. 
 Ch., Danvers, Mass., and Meth. and Bapt. 
 Churches, Brunswick, Me.; mem. Clas- 
 sical Club, Masque and Gown, Psi Up- 
 silon Fraternity, Bowdoin College Glee 
 Club; mem. Brunswick Choral Society, 
 1926. Address, Psi U. House, Bruns- 
 wick, Me. 
 
 Williams, Bertha Elizabeth, vocalist; b. 
 
 Chatham, N. J., May 13, 1908; d. George 
 Alfred and Clara Andrews Williams: 
 
 PT RE ee ee ee ee OR Tee ee 
 
BIOGRAPHICAL SECTION—1927-1928 475 
 
 studied with Mabel S. Hall, Cora E. 
 Martin, Ida D. Sweate and Heloise P 
 Renouf; mem. St. Ann’s_ Episcopal 
 Church, and preceptor and soloist So. 
 Cong. Church, Kennebunkport; author 
 short stories; vocal soloist and piano ac- 
 companist. Address, Beachwood Road, 
 Kennebunkport, Me. 
 
 Williams, Harry B., teacher of piano and 
 manager musical artists; b. Gardiner, 
 Me., Jan. 23, 1861; s. Benviah and Re- 
 becca Lancaster Williams; studied with 
 Mme. Leitrich Strong. Res., Minerva 
 Hotel; studio, Pierce Bldg., Boston, 
 Mass. 
 
 Willis, Elinor, violinist; mem. Portland 
 Rossini Club. Address, 81 North St., 
 
 Portland, Me. 
 
 Williston, Marion Sprague, organist, pian- 
 ist, music teacher; b. Bangor, Me., Nov. 
 I1, 1892; d. George A. and Myrtie L. 
 Sprague; m. Benjamin P. Williston, 
 July 17, 1915; studied with Mrs. I. J. 
 Fifield, Mrs. H. L. Jewell, C. Winfield 
 Richmond; org. Grace M. E. Church, 9 
 yrs., All Soul’s Church, 5 yrs.; and then 
 at First Church of Christ Scientist; 
 mem. Schumann Club. Address, 264 
 French St., Bangor, Me. 
 
 Wilson, Hazel Deborah, vocalist (mezzo 
 soprano) and instrumentalist (mandolin, 
 banjo, piano); b. Cherryfield, Me., Sept. 
 13, 1892; d. Emerson Kidder and Har- 
 riet Noyes (Eaton) Wilson; ed. Far- 
 mington State Normal and Lowell State 
 Normal; studied with Mabel Starbird, 
 Farmington, Louis Schalk, Boston, and 
 Albert Edmund Brown, Lowell; dir. 
 glee club and orchestra in high schools; 
 mem. Maine Festival Chorus, Freeport, 
 and State Liberty Chorus, Cherryfield, 
 Me. Vocation, music supervisor. Ad- 
 dress, Cherryfield, Me. 
 
 Winchester, John Howard, vocalist (bari- 
 tone), bandsman; b. Corinna, Me., April 
 13, 1865; s. John and Elizabeth Stewart 
 Winchester; m. Sadie B. Dole, Sept. 5, 
 1886; 2nd Della M. Bemis, Jan. I, 1913; 
 ed. Maine Central Institute; mem. Co- 
 rinna Band for 20 yrs.; mem. choir 
 Cong. Church of St. Petersburg, Fla. 
 (so voices); Pres. J. H. Winchester & 
 Co.; Pres. Carmaine Holding Co. Vo- 
 cation, real estate. Res., 119 20th Ave., 
 St. Petersburg, Fla. June to November 
 at Corinna, Me. 
 
 Winfield, Madeline, vocalist (soprano); 
 mem. Portland Polyphonic Society. Ad- 
 dress, 377 Cumberland Ave., Portland, 
 Me. 
 
 Wing, Roswell A., vocalist (bass); b. 
 
 Livermore Falls, Me., Oct. 3, 1867; s. 
 
 Alonzo M. and Sarah J. Record Wing; 
 
 m. Georgie L. Wing, April 25, 1906; ed. 
 
 Colby College, Waterville, Me.; mem. 
 
 First Baptist Church Choir, Livermore 
 
 es Me. Address, Livermore Falls, 
 e. 
 
 Wingate, Edward R., vocalist (bass); b. 
 
 Cherryfield, Me., March 28, 1852; s. 
 George and Abigail Ricker Wingate; m. 
 Hattie Willey, Jan. 16, 1878; ed. Univer- 
 sity of Maine; studied with Stillman 
 Tucker and Mrs. C. A. Ricker; mem. 
 Cherryfield Band (alto, cornet, clari- 
 net); leader choir Baptist Church over 5 
 yrs.; former mem. Festival Chorus and 
 Liberty Chorus. Vocation, woodworker. 
 Address, Cherryfield, Me. 
 
 Winn, Gladys, violinist; b. Portland, Me., 
 
 April 13, 1910; d. Henry H. and Laura 
 Winn; studied with Arthur Erickson 
 and David E. Fisher; mem. Portland 
 Municipal Orchestra. Address, 15 Hig- 
 gins St., Portland, Me. 
 
 Winslow, Helen M., music teacher; ac- 
 
 companist Me. Festival Chorus. Ad- 
 dress, 141 Ash St., Lewiston, Me. 
 
 Wiswell, Andrew M., instrumentalist (sax- 
 
 ophone, trombone); b. Machias, Me., 
 Jan. 5, 1905; s. Hovey M. and Nettie 
 Stevens Wiswell; ed. Manlius Military 
 School, U. of M., and grad. Yale Univ.; 
 studied with H. M. Wiswell; mem. Ma- 
 chias Band, Manlius Band, Wiswell’s 
 Saxophone Orchestra, Univ. of Maine 
 Band, Yale Univ. Band, Yale Colle- 
 gians; played trombone in Vincent Lo- 
 pez Orch. N.Y. and Park: Central 
 Hotel Orch.; mem. Phi Gamma Delta 
 Frat. Address, Machias, Me. 
 
 Wiswell, Harry S., instrumentalist (saxo- 
 
 phone, cornet); b. Machias, Me., May 
 13, 1903; s. Hovey M. and Nettie Ste- 
 vens Wiswell; ed. Univ. of Me.; studied 
 with H. M. Wiswell; mem. Machias 
 Band, University of Maine Band and 
 Instrumental Clubs and Wiswell’s Sax- 
 ophone Orchestra; mem. Phi Gamma 
 Delta Fraternity. Address, Machias, 
 Me. 
 
 Wiswell, Hovey M., band leader; b. East 
 
 Machias, Me., Oct. 21, 1877; s. Frank 
 H. and Antoinette Chaloner Wiswell; 
 m. Nettie M. Stevens, Dec. 10, 1900; ed. 
 Washington Academy; studied with F. 
 M. Howe and A. I. C. Walker; leader 
 Machias Band for 17 yrs.; leader Wis- 
 well’s Saxophone Orchestra and band- 
 
476 
 
 master Machias Boys’ Band; mem. 
 Harwood Lodge, F. and A. M., R. A. 
 Chapter, St. Elmo Commandery, Grange, 
 K. of P. and M. W. A. Vocation, mer- 
 chant. Address, Machias, Me. 
 
 Witham, Burton B., piano tuner; b. West- 
 brook, Me., Dec. 14, 1899; s. Dr. A. N. 
 and Mary Pennell Witham; m. Celia A. 
 Smart, June 15, 1921; ed. Faust School 
 of Tuning, N. E. Conservatory; studied 
 with O, C.. Faust; Treas. Universalist 
 Comrades, Chapter No. 14, Cong. Sq. 
 Church, Portland, Me.; representative 
 of Cressey & Allen. Address, West- 
 brook, Me. 
 
 Witham, Mrs. Celia Smart, violinist; b. 
 Livermore Falls, Me., July 22, 1900; d. 
 Martin W. and Osca M. Smart; m. Bur- 
 ton B. Witham, June 15, 1921; ed. Port- 
 land, Me., Boston, Mass.; studied with 
 Elizabeth O. Cony and Carl Pierce; 
 mem. Marston Club and Griffith Club. 
 Address, Westbrook, Me. 
 
 Wood, Alice, honorary mem. Portland 
 Rossini Club. Address, 5 Bramhall St., 
 Portland, Me. 
 
 Wood, Allen E., instrumentalist (oboe); 
 b: Brandon, Vt., Dec. 16, 18635 s2 AZ J. 
 and H. E. Wood; m. Mary E. Lovejoy, 
 March 14, 1888; ed. Brandon Academy; 
 studied with B. W. Thieme; mem. Au- 
 gusta Symphony Orchestra and K. of 
 P. Vocation, watchmaker. Address, 33 
 Greenleaf St., Augusta, Me. 
 
 Woodard, Edith, Sec. Lewiston and Au- 
 burn Oratorio Chorus. Address, 181 
 Gamage Ave., Auburn, Me. 
 
 Woodard, Lula G, music teacher (man- 
 dolin, banjo); mem. B. & P. Women’s 
 Club String Quartette. Address, 156 
 Free St., Portland, Me. 
 
 Wocdbury, Hazel Delano, vocal teacher, 
 soloist (soprano); b. Auburn, Me., Jan. 
 14, 1888; d. Nathan F. and Nancy Dus- 
 ton Woodbury, studied with Beulah 
 Small, DeLoss Smith and Cecil Bur- 
 leigh in University of Montana, A. R. 
 Frank, Vernon Stiles, and Isidore Brag- 
 giotti, also music course at Columbia 
 University; soloist Christian Science 
 Church, Lewiston; mem. church choirs 
 in Lewiston and Auburn; soloist 34 yrs. 
 at St. Paul’s Episcopal Church, Bruns- 
 wick; State Pres. Maine Universalist Y. 
 P. C. U.; mem. Lewiston and Auburn 
 Festival Chorus and Philharmonic Club; 
 supervisor of music in public schools, 
 Mechanic Falls and Minot, Me.; super- 
 visor of music in Gardiner schools 3 yrs. 
 
 MUSIC AND MUSICIANS OF MAINE 
 
 and in University of Porto Rico at Rio 
 Piedras for 3 yrs. Address, 84 Court St., — 
 Auburn, Me. Studio, 133 Lisbon St., — 
 
 Lewiston, Me. 
 
 Woodbury, Virginia Snow, teacher of vio- 
 lin and piano; b. Auburn, Me., Aug. 18, © 
 1891; d. Nathan F. and Nancy Ellen — 
 
 Duston Woodbury; studied with Leigh 
 G. Fenderson (violin); piano with 
 Helen Watson; mem. Philharmonic 
 Club; mem. Lewiston-Auburn Sym- 
 phony Orchestra, 
 Church Choir, tg10-11. Res., 184 Court 
 St., Auburn, Me. 
 
 Woodman, Earl, violinist; mem. Korda © 
 Trio. Address, R. F. D. 4, Portland, Me. — 
 
 Woods, Harvey J., band leader; b. Ban- 
 gor, Me., Jan. 16, 1874; s. Horace F. and ~ 
 
 1921-22, and Univ. — 
 
 Sarah Southard Woods; m. Mae E. ~ 
 Hopkins, Sept. 3, 1903; ed. Bangor, Me.; — 
 
 studied clarinet with Fred Robbins and 
 harmony with I. H. Odell, Boston; dir. 
 Bangor Band, 1896-1900; mem. Pullen’s 
 Orchestra, 1893-1902; Ist clarinet Maine 
 Festival Orchestra, 1899-1900; also one 
 of the original mem. Bangor Symphony 
 Orchestra; dir. Nile Temple Shrine 
 Band of Seattle, Wash., since 1913; dir. 
 Nat. Assn. of Sheet Music Dealers; 
 
 a a a ee eo a ree 
 
 Pres. Woods Music Co., Seattle, Wash.; : 
 
 composer, band music (marches) “Path 
 
 of Glory,” “From the West,” “Imperial ; 
 
 Potentate,” “Glory of the Seas,” “Let’s 
 
 Go,” “Golf Girl,” “Age of Youth,” and ; 
 
 “Laurels of Seas,” published by Carl 
 Fischer; “Invincible America,’ pub. by 
 Boston Music Co.; “Our National Heri- 
 
 tage” and “Master Councilor,” pub. by 4 
 
 The John Church Co.; mem. Seattle 
 Symphony Orch., 1903-08 (first clari- 
 net); dir. Wagner’s Concert Band, 
 Seattle, 1927-28. Mail address, 1421 
 Third Ave., Seattle, Washington. 
 
 Woodside, Elmer A., instrumentalist (cor- 
 net, French horn, violin); b. Brunswick, 
 Me., May 27, 1891; s. Fred B. Wood- 
 side; m. Lena F. Haskell, April 28, 1917; 
 ed. Portland, Me.; studied with George 
 Stretz, Gustav Ludike and Willard May- 
 
 berry; mem. Chandler’s Band; former — 
 
 mem. C. A. C. N. G. Band, Portland, 
 and assistant bandmaster toth Regi- 
 ment Band. Vocation, salesman and 
 musician. Address, 20 Bean St., So. 
 Portland, Me. 
 
 Woodsum, Catherine, organist. Address, 
 Mechanic Falls, Me. 
 
ve. *, ” 
 
 BIOGRAPHICAL SECTION—1927-1928 
 
 477 
 
 Wocdworth, Orrie, m.t. Address, North 
 
 Haven, Me. 
 Woolfe, Elizabeth M., organist; mem. 
 Porencs oranci, N. HE. Chapt. Am. 
 
 Guild of Organists. Address, Portland, Me. 
 
 ~ Worden, Mrs. Harry, organist. Address, 
 
 18 Gilman St., Portland, Me. 
 
 Wray, Arline, vocalist; mem. Bach Choir, 
 Bangor. Address, Bangor, Me. 
 
 Wray, Estelle, vocalist; mem. Bach Choir, 
 Bangor. Address, Bangor, Me. 
 
 Wrenn, Victor Steven, vocal teacher; b. 
 Yarmouth, Me., June 26, 1891; s. Ste- 
 phen and Bessie Williamson Wrenn; ed. 
 N. E. Conservatory and Baypath Busi- 
 ness Coll., Springfield, Mass.; studied 
 with Elmer Sherwood Joyce, Elmer E. 
 Towne, W. L. Whitney and Mary Dins- 
 more, mem, I. 0. O. F.; mem. Win- 
 throp Ames’ Gilbert and Sullivan Opera 
 Co. of New York City (on trans-conti- 
 mental tour). Address, 20 Bean St., 
 Madison, Me. 
 
 Wright, Mrs. Althea C., vocalist; mem. 
 Women’s Choral Society. Address, 49 
 Foreside Road, Portland, Me. 
 
 Wyman, Jane S., mt. Address, 
 Sharon, Me. 
 
 York, Isabel, vocalist; mem. Women’s 
 Choral Society. Address, 165 High St., 
 So. Portland, Me. 
 
 a Mrs. O. A., m.t. Address, Howland, 
 
 e. 
 
 Yorke, Clarence Sherman, bandsman 
 (French horn); b. Weld, Me., May 14, 
 1862; s. James and Keziah Sanborn 
 Yorke; m. Marcia Narbis; mem. choir 
 Bethel Church (tenor); mem. Augusta 
 Band, Ist Maine Regt. Band, Vols. War 
 with Spain, 1898. Vocation, merchant. 
 Address, 70 Arsenal St., Augusta, Me. 
 
 Yorke, Helen Sherman, vocalist, colora- 
 tata soprano: b. Bethel, Me.; d. C. S. 
 Yorke of Augusta; studied piano and 
 organ in Augusta and at age of four 
 played in a Hallowell Church; first pub- 
 lic appearance as singer at age of three 
 years; mem. Festival Chorus, Bethel, at 
 age of twelve; studied vocal music in 
 Portland with Llewelyn B. Cain; and 
 three years in Italy with Sebastiani; 
 San@ tor 1% yrs. in Grand Opera in 
 Naples; returned to America and stud- 
 ied with Bispham; was Prima Donna 
 with the De Feo Grand Opera Co. with 
 which she toured the country; appeared 
 in many recitals in private homes and 
 clubs; soloist, Maine Festival, Portland, 
 
 New 
 
 HELEN YORKE, COLORATURA SOPRANO 
 
 1921-22; in role of Micaela in Carmen; 
 appeared before Rubinstein Club, N. Y., 
 Dec., 1921; first song recital Aeolian 
 Hall, where she was presented by David 
 Bispham; appeared at concert at Lex- 
 ington Theatre with the Russian Sym- 
 phony Orchestra, Oct., 1920; numerous 
 song recitals in America. Address, 471 
 Central Park, West, New York City. 
 
 Yorke, Marcia Evelyn (Narbis), soloist 
 (contralto); b. Orland, Me., May 209, 
 1866; d. Edward and Laura Crane Nar- 
 bis; m. Clarence Yorke; ed. Bucksport 
 Seminary; studied with L. B. Cain, Prof. 
 Doering and others; soloist in many 
 churches in Maine; mem. Rubinstein 
 Club, N. Y., and Beethoven Club; for- 
 mer mem. Cecilia Club, Choral Art So- 
 ciety and Festival Chorus, Augusta. 
 Address, 471 Central Park, W., New 
 im OLR tt val Neey 
 
 Young, Della Briggs, pianist; b. Auburn, 
 Me, Dece 250 18707. d Frank -and 
 Millie M. Young; studied with E. W. 
 Hanscom; mem. Philharmonic Club of 
 Lewiston and Auburn. Vocation, sten- 
 ographer. Address, 115 Winter St., Au- 
 burn, Me. 
 
or 
 
a * 
 
 ee ae ee oe 
 
 A 
 
 Aagerson, Elizabeth, 355 
 Abbott, Ada, 332 
 Abbott, Alberta, 145, 288 
 Abbott, Bertha S., 303 
 Abbott, Charles, 111, 192 
 Abbott, Charles L., 297 
 Abbott, Edna, 287 
 Abbott, Harriet V., 25 © 
 Abbott, Helen, 226 
 Abbott, Dr. Herman, 60 
 Abbott, Jacob, 25, 27 
 Abbott, John, 38 
 Abbott, Rev. J. S. C., 25 
 Abbott, Mrs. Madine, 293 
 Abbott, Margaret, 227 
 Abbott, Mrs. Melinda K., 191 
 Abbott, Mrs. Sarah R., 251 
 Abbott, Mrs. W. F., 192 
 Abbott, Mrs. Willis M., 294 
 Abbott, Willis P., 297 
 Achenbach, Mrs. S. T., 249 
 Achison, Mamie, 297 
 Achorn, Fern I[., 288 
 Achorn, Mrs. M. A., 102 
 Adams, A. Eloise, 145 
 Adams, Mrs. Bertram, 145 
 Adams, B. E., 333 
 Adams, Carrie, 304 
 Adams, Charles R., 175, 309 
 Adams, Eleanor, 145 
 Adams, E. C., 178, 179, 281 
 Adams, Mrs. E. J., 190 
 Adams, Frank F., 273 
 Adams, Fred W., 178, 282, 283 
 Adams, Harley R., 224 
 Adams, Hattie N., 159, 164 
 Adams, Helen, 287 
 Adams, Henry D., 281 
 Adams, Rev. J. M., 224 
 Adams, Lydia, 280 
 Adams, Margaret, 222 
 Adams, Silas N., 224 
 Adams, T. J., 59, 120, 188, 190 
 Additon, C. H., 90 
 Additon, G. G., 90, 154, 191 
 Additon, Mrs. J. H., 203 
 Additon, J. S., 191 
 Additon, L. W., 111 
 Adell, M. Louise, 355 
 Akely, Mrs. Carl, 145 
 Akers, Mrs. George J., 146, 225, 
 274, 308 
 Akers, Sally F., 227 
 
 BIOGRAPHICAL INDEX 
 
 Akkerson, Hattie, 192 
 
 Albee, Sybil, 293 
 
 Albling, Sadie F., 147, 355 
 
 Alden, Mrs. Austin, 289 
 
 Alden, Bert, 340 
 
 Alden, Mrs. Frank W., 304 
 
 Alden, H. R., 224 
 
 Alden, Dr. J. P., 60 
 
 Alden, Mrs. J. P., 61 
 
 Alden, O. F., 340 
 
 Alden, Priscilla, 312 
 
 Alden, Zilpha May, 355 
 
 Aldrich, Mrs. Madeline, 298 
 
 Alexander, Mrs. Addie, 286 
 
 Alexander, Mrs. Holman, 286 
 
 Alford, Mrs. Lena B., 293 
 
 Allen, Agnes E., 186 
 
 Allen, Alice M., 145 
 
 Allen, Annie, 164 
 
 Allen, Mrs. Arthur A., 263 
 
 Allen, Blanche V., 355 
 
 Allen, Camp Meeting John, 
 181, 229 
 
 Allen, Caroline, 222, 280, 355 
 
 Allen, Charles A., 153, 185, 
 186 
 
 Allen, Mrs. Effie S., 355 
 
 Allen, Mrs. Ella R., 274, 275 
 
 Allen, Mrs. Elizabeth, 186 
 
 Allen, Elizabeth C., 142, 148 
 
 Allen, Elizabeth M., 164 
 
 Allen, Fannie, 191 
 
 Allen, Florence I., 355 
 
 Allen, Frank C., 268, 326, 355 
 
 Allen, Mrs. Frank E., 141, 142, 
 143, 148 
 
 Allen, Mrs. Fred, 145 
 
 Allen. Hannah, 104 
 
 Allen, Mrs. Helen M., 142 
 
 Allen, Mrs. Helen P., 120, 123 
 
 Allen, Isabelle, 294 
 
 Allen, Mrs. Jerry, 356 
 
 Allen, Rev. John, 181, 229 
 
 Allen, Lucy M., 181 
 
 Allen, Rev. Lorenzo B., 202 
 
 Allen, Mark E., 352, 353 
 
 Allen, Mary, 290 
 
 Allen, Mrs. William, 119, 294 
 
 Allen, William C., 222, 229, 
 
 356 
 Ames, Alfred K., 223, 356 
 Ames, Mrs. Alfred K., 226, 356 
 Ames, Mrs. Ethel W., 226, 356 
 Ames, Frank S., 223, 224, 225, 
 
 227, 356 
 479 
 
 Ames, John K., 286 
 
 Ames, Lucy S., 206 
 
 Ames, Mabelle G., 284 
 
 Ames, Morrill H., 327, 356 
 
 Ames, Nellie H., 226, 356 
 
 Ames, Robert, 348 
 
 Ames, Roy, 354 
 
 Ames, Virginia, 299, 356 
 
 Ames, Mrs. Zulietta S., 302 
 
 Amick, Doris, 274 
 
 Among, Prof. A. J., 172 
 
 Anderson, Mrs. E. S., 145 
 
 Anderson, Mrs. Frances Drink- 
 water, 356 
 
 Anderson, Mrs George, 225 
 
 Anderson, Henry W., 352 
 
 Anderson, Hope, 287 
 
 Anderson, Jacob, Jr., 342 
 
 Anderson, Mrs. Jane W., 142 
 
 Anderson, John H., 343 
 
 Anderson, Mary P., 145 
 
 Anderson, Robert D., 356 
 
 Anderson, Walter T., 352 
 
 Andrews, Mrs. A. M., 224 
 
 Andrews, Clara, 356 
 
 Andrews, E., 338 
 
 Andrews, Mrs. George, 
 143, 148 
 
 Andrews, Henry E., 286 
 
 Andrews, Julia M., 145 
 
 Andrews, Mary E., 226 
 
 Andrews, Melville H., 114, 176, 
 178, 179, 279, 280, 281, 283, 
 
 8 
 
 142, 
 
 33 
 Andrews, Miriam B., 145, 289, 
 
 313, 356 
 Andrews, Mrs. Percy, 146 
 Andrews, Mrs. Sarah J., 189 
 Andrews, William, 324 
 Angell, Mary F., 297 
 Angley, Margaret, 280 
 Annis, Mrs. Mildred, 298 
 Anthoine, Amy, 145 
 Anthony, Aline E., 356 
 Anthony, Mrs. A. W., 293 
 Applebee, Frank, 350 
 Applebee, Marjorie, 149 
 Apthorp, William F., 134 
 Apworth, Frances W., 25 
 Arbour, Joseph E., 356 
 Archibald, Annie L., 356 
 Archibald, Bernard, 356 
 Archibald, Mabel, 263° 
 Arey, Harold, 354 
 Arey, Leon, 354 
 Arey, Ralph E., 224 
 
480 BIOGRAPHICAL INDEX 
 
 Arey, R. Mont, 356 
 Armstrong, Esther, 284 
 Armstrong, Grace, 301, 356 
 Armstrong, Inez rE blyA bane 5 
 248, 317, 356 
 Armstrong, J. Pe252556 
 Armstrong, Louise H. , 145, 148, 
 222, 274, 308, 356 
 Armstrong, Mollie, 149 
 Armstrong, Mrs. Molly M., 356 
 Armstrong, William, 243 
 Armstrong, Mrs. W. H., 357 
 Arnold, Bertha, 305 
 Arnold, Sas S02 37 
 Arnold, JA, 
 Arnold, William, sey 
 Arris, Mrs. Harold, 294, 357 
 Arris, Lois G., 357 
 Arsenault, Mrs. Alyre J., 2 
 Artenzen, Charles, 334 
 Ashby, Thompson E., 286 
 Asselin, Aime, 291 
 Atherton, Mrs. Lilla, 225, 357 
 Atherton, Myles, 226, ane 
 Atherton, Mrs. Myles i M., 317 
 Atherton, Percy L., 134 
 Athurson, A., 78, 81 
 Atkins, Minnie, 182 
 Atkins, Miss M. R., 191 
 Atkins, William J., 64. 346 
 Attridge, Gertrude, 290 
 Atwater, E. Mildred, 288 
 Atwood, Arthur L., 283, 340 
 Atwood, Frank res 222, 224; 
 
 227, 357 
 Atwood, Mrs. Frank R., 
 
 357 
 Atwood, R. E., 224, 297 
 Atwood, Vesta, 151 
 Atwood, W. P., 297 
 Aubrey, E., 159 
 Aubrey, J. E., 159 
 Audet, Gedeon, 316 
 Auger, A. ‘L., 357 
 Austin, Mrs. Mabel, 197 
 Averill, Mrs. Albert E., 
 
 223, 
 
 357 
 Averill, Mrs. Louise, 223, 226, 
 
 357 
 Averill, Mrs. Nettie B., 302 
 Averill, Sherman, 349 
 Averill, Mrs. Verna L., 288 
 Aviglianna, Mlle. Giovanna, 357 
 Axelsen, Edmund A., 261, 357 
 Ayer, Mrs. NPR espa is 180, 279 
 Ayer, Mrs. O. A., 187 
 Ayer, W. E., 225 
 Ayers, Della, 203, 263 
 Ayers, Mrs. Harriet F. Sly is Peg és 
 165 
 fee Mes. J. B., 279 
 
 B 
 
 Babb, Edwin, 348 
 
 Babb, Elizabeth, 263 
 
 Babb, Fred W., 352, 353 
 
 Babb, Harland P., 352, 353 
 
 Babb, Howard, 351, 462, 2355 
 
 Babbidge, Mrs. Carrie S.,. 182 
 
 Babcock, D. M., 190 
 
 Babcock, Ellen, i145 
 
 Bachelder, L. A., 159 
 
 Bachelin, Mrs. Joseph, 357 
 
 Bacheller, Willis E., 199 
 
 Backus, H., 338, 333 
 
 pays Rt. Rev. David W., 
 162 
 
 Bacon, Harry, 272, 334, 357 
 
 Baermann, Carl, 139, 183 
 
 Bagley, Mrs. Alice P., 357 
 
 Bagley, Harriet, 52 
 
 Bagley, Sarah F., 357 
 
 Bailey, Mrs. Arthur, 274, 357 
 
 Bailey, Bessie, 222, 278, 284, 
 
 357 
 Bailey, Mrs. E. H., 191 
 Bailey, E. Merle, 283 
 Bailey, Frances Be 283 
 Bailey, Frank M., 297 
 Bailey, James, 78 
 Bailev, Richard T., 342 
 Bailey, Mrs. Tabor, 278, 284, 
 
 357 
 Bain, Helen, 145 
 Bain, James, 263, 334 
 Baird, Mildred L., 357 
 Bakeman, Helen, 306, 321, 
 357 
 Baker, Benjamin F., 89, 90, 93, 
 116, 181 
 Baker, Charles E., 
 Baker, Charles, 341 
 Baker, Mrs. Charles, 146, 274 
 Baker, Mrs. Edgar S., 280 
 Baker, Helen, 289 
 Baker, Mrs. H. L., 120 
 Baker, Hilda, 147, 357 
 Baker, Laura, 306 
 Baker, Leroy L., 354 
 Baker, Mrs. M. L., 203, 263 
 Baker, Parmelia, 52, 56 
 Baker, Percy F., 260 
 Baker, Richard M., 
 357 
 Baker, Ruth, 280 
 Baker, Rev. William C., 357 
 Baldwin, Ada, 241 
 Baldwin, Annie, 243 
 Baldwin, Rev. A. K., 225 
 Baldwin, Clinton D., 284, 358 
 Baldwin, Mrs. Emma, 306 
 Baldwin, Rev. Frank E., 251 
 
 155, 357 
 
 255, 258, 
 
 - Barker, Daphine, 289 
 
 ’ Barney, Mrs. 
 
 Baldwin, Mrs. Jennie, 290 
 
 Baldwin, Louise N., 188, 191, . 
 358 
 
 Ball, Erastus, 197 
 
 Ball, Mary ES 197, 358 
 
 Sue Charmanatta P. Aaa | 
 
 Baltard, Levi W., 89, 189 
 Bancroft, Jacob oe 253 
 Bangs, Josiah, 275 
 
 Bangs, Ruth, 286 
 
 Banks, Beatrice, 145 
 
 Banks, Constance, 145 
 Banks, Mrs. Frank, 358 | 
 Banks, Mrs. F. P., 280, 284 
 Banks, Mrs. Frederick W., 
 
 147 
 Baraket, Jamil, 305 
 Barber, Beatrice, 145 
 Barbour, Albert L., 353 
 Barbour, Charles, 155 
 Barbour, Ina, 145 
 Barbour, Joseph, 187 
 Barker, Claire, 306 
 
 Barker, Ellen J., 142 
 Barker, Georgia, 358 
 Barker, Grace W., 297 
 Barker, John, 191 % 
 Barker, Miss L., 190 = 
 Barker, Nellie, 159, 163, ae F 
 Barker, Rut W. 290, 358 ; 
 Barker, William, 181 
 Barnabee, Henry C., 
 Barnard, Hazel, 194 
 Barnard, Herbert W., Jr., 119, 
 120, 171; 256, 260, 263,-2 
 268, 272, 306, 358 
 Barnes, Annie M., 290, 358 
 Barnes, Charlotte, 358 
 Barnes, Edmund, 342 
 Barnes, Mrs. Elsie, 303 
 Barnes, Mrs. Grace, 293 
 Barnes, Mrs. Harriet, 303 
 Barnes, Helen M., 358 
 Barnes, L. B., 210 3 
 Barnes, Mrs. M. D., 222, 358 — 
 Barnes, Samuel N., 256, 259, 
 
 358 
 Barnett, Mrs. Floyd L., 359 — 
 Barney, Lou D., 227, 239 ; 
 G. Mortimer, ~ 
 
 181, 207 
 
 145, 359 
 Barnlund, A. W., 313 
 Barnum, Grace H., 227, 359 
 Barnum, S. C., 162 
 Baron, Harry M., 296, 359 
 Barr, Annie L., 294 — 
 
 Barr, Mrs. Edith, 293 
 Barraclough, Herbert, 303 
 Barraclough, Homer, 303 
 
™ 
 
 les 
 
 —_s"- 
 
 . Barrett, Lew L., 
 
 BEOGRAPHICAL INDEX 
 
 481 
 
 Barrell, Charles H., 190 
 
 Barrell, Mrs. ar A esO7 
 
 Barrett, EO. 
 
 Barrett, Mrs. Franidin, 142 
 
 Barrett, Mrs. Joseph, 89 
 
 L., 286, 336, 359 
 
 Barrows, Benjamin, 340 
 
 Barrows, Mrs. Charles D., 145, 
 148 
 
 Barrows, Ellen, 89 
 
 Barrows, Mrs. ‘Geneva, 303 
 
 Barrows, George W. E., 176 
 
 Barry, Flora, $V4 CLR 2) TS3, 
 176, 219, 247 
 
 Barstow, Annie G., 184 
 
 Bartlett, Alena, 145 
 
 Bartlett, Belle, 120, 156, 164, 
 
 203, 263 
 Bartlett, Benjamin D., 61 
 Bartlett, Charles, 194 
 Bartlett, Mrs. Charles, 295, 359 
 Bartlett, Fayette, 66 
 Bartlett, James C., 114, 178, 
 359 : 
 Bartlett, Mrs. Louise, 293 
 Bartlett, Mary A., 52, 56 
 Bartlett, Mary W., 278 
 Bartlett, Nellie, 297 
 Bartlett, Pricilla Hi.-s2, 56 
 Bartlett, Vera, 359 
 Bartol, Horace Hise? S, 02 
 Barton, Fred, 349 
 Barton, Llewellyn, 359 
 Bass, Albert E.., 227, 359 
 Bass, Annie, 278 
 Bass, Hiram, 100 
 Bass, Mrs. 16 R..:225,-359 
 Bass, Mrs. W. S., 226, 359 
 Bassford, Helene, 226 
 Batchelder, Lyman A., 158, 160 
 Bates, Alice, 22%, 350 
 Bates, Emily, 223, 359 
 Bates, Georgie, 263 
 Bates, H. D., 224, 304 
 Bates, James L., 277 
 Bates, John D.., 3 59 
 Bates, Martha C. S 
 Bates, Mary, 145 
 Bates, Solomon W., 225, 311 
 Battles, Rev. A., 115, 179 
 Baumann, Carl o 283, 340 
 Baumann, Estelle, 283 
 Baumann, Frederick W., 
 340 
 Baxter, Mrs. 
 286 
 Baxter, Emily P., 263, 310 
 Baxter, Mrs. Hartley C., 328 
 Baxter, James P., 310 
 Baxter, Mehetable C., 310 
 Baxter, Percival P., 310, 359 
 
 + 359 
 
 283, 
 
 Constance F., 
 
 Beach, Maybelle, 286 ° 
 
 Beal, E. S., 334 
 
 Beal, F. O., BAT 329 224: 
 
 Beale, Harriet, 77 
 
 Beale, W. on 225 
 
 Beals, George, 335 
 
 Beals, Thomas B., 198 
 
 Bean, Mrs. Clarence W., 280 
 
 Bean, Elizabeth, 101 
 
 Bean, Mrs. Ella B., 274 
 
 Bean, Rev. E., 185 
 
 Bean, George, 349 
 
 Bean, Mrs. Gladys M., 
 360 
 
 Bean, J. Hastings, 225 
 
 Bean, Maud M., 283 
 
 Bean, Mrs. T. W., 186 
 
 Bean, Warren, 350 
 
 Beane, Lena, 226 
 
 Beane, Robert E., 277, 360 
 
 Bearce, Hazel, 293 
 
 Bearce, Julia, 292 
 
 Bearce, Lillian, 297 
 
 Beardsworth, Nellie, 360 
 
 Beatty, William, 187 
 
 Beaubier, Christabel, 294 
 
 Beaucage, Adelard, 261 
 
 Beauchaine, William J., 277, 
 360 
 
 Beier Arthur J., 360 
 
 Beaumont, George, I9I 
 
 Beauparlant, Emile J., 360 
 
 Beaupre, Arthur, 227 
 
 Beck, Mrs. Evelyn T., 
 360 
 
 Beck, Stella G., 360 
 
 Beckett, E. B., 161 
 
 Beckett, Martha, 52, 56 
 
 Beckett, William C., 74, 77 
 
 Beckett, William S., 120, 154, 
 164, 311 
 
 Beckwith, Leon, 194 
 
 Beckwith, Mrs. Leon, 194, 226 
 
 Bedell, Charlotte, 192 
 
 Bedell, Edna, 194 
 
 Bedell, Helen, 192 
 
 Bedlow, Mrs. Charles, 274, 275 
 
 Beebee, Helen, 225 
 
 Beecher, Mrs. Charles L., 275 
 
 Beethoven, 34, 83 
 
 Beique, Prof. A., 190 
 
 Belanger, Charles Eugene, 360 
 
 Belanger, Joseph O., 286, 297, 
 342, 360 
 
 Belanger, Mrs. Joseph O., 295, 
 360 
 
 Belcher, Hiram, 97 
 
 Belcher, Supply, 20, 225 97 
 
 Belchner, Adele, 150 
 
 Belinian, Asneve A., 361 
 
 Beliveau, Adrienne, 295 
 
 260, 
 
 304, 
 
 Bell, Mrs. Leah, 361 
 
 Belleau, Adrienne, 295, 361 
 
 Belleau, Blanche E., 294, 295, 
 361 
 
 Bale Eglantine, 294 
 
 Bemis, "Annie, 289 
 
 Benner, Hugh, 303 
 
 Benner, Mrs. Maryon W., 301, 
 302 
 
 Benner, Mrs. N. W., 294 
 
 Bennett, Edith, 226 
 
 Bennett, Mary, 226, 306, 361 
 
 Bennett, Mildred, 145, 321, 361 
 
 Bennett, William, 297 
 
 Bennett, William F., 200 
 
 Bennison, Sarah, 151 
 
 Benson, Elizabeth, 287 
 
 Benson, Florence, 189 
 
 Benson, Capt. Peleg, 198 
 
 Beote, John J., 353 
 
 Berg, T. Vanden, 111 
 
 Bergeron, Lucien, 291 
 
 Bernard, Juliette, 296 
 
 Bernard, Manual, 361 
 
 Bernard, Wilfrid, 350 
 
 Bernauer, Francis S.. 361 
 
 Bernier, Adrienne, 286 
 
 Bernier, Sam, 342 
 
 Bernstein, Lillian, 145 
 
 Bernstein, Minna, 145 
 
 Berrie, Mrs. Dora L., 290, 361 
 Berry, Alonzo L., 191 
 Berry, Edward, 183 
 Berry, Edward F., 222, 224, 
 361 
 Berrys Mirsieigs) FL 222,228; 
 226, 308 
 , Ethel, 258, 273, 275, 
 
 Berry, Faith G., 301, 302, 361 
 Berry, Fannie G., 145 
 Berry, George, 342 
 
 Berry, Mrs. George D., 224, 
 285 
 
 Berry, Gertrude E., 145, 263, 
 273, 361 
 
 Bary, Mrs. “Harold L.. 145, 
 301 | 
 
 Berry; ira; 252, 55,88; 148; 
 
 Berry, Mabel E., 277 
 
 Berry, Mary, 102 
 
 Oo EE 67 
 
 . Rosa, 180, 279, 280 
 
 Berry, Sarah C., 180 
 
 Berry, W. P., 277, 361 
 
 Berryman, Mrs. Mabel M., 260, 
 274, 361 
 
 Berube, George, 296 
 
 Besaw, Edward, 349 
 
 Best, Miriam, 276, 308, 361 
 
482 BIOGRAPHICAL INDEX 
 
 Bete, Minna, 200 
 Beverage, Mrs. Lottie H., pe 
 saan Mrs. Abbie M., 195, 
 
 Bare Bessie W., 297, nth 
 
 Biard, Rev. Peter, 4, 5 
 
 Bibber, Frank Es 155 
 
 Bibber, Mrs. Frank C., 
 362 
 
 Bibber, Mrs. Leon, 146 
 
 Bickford, E. F., 285 
 
 Bickford, F. E 156 
 
 Bicknell, Mrs. Elizabeth, 293 
 
 Bicknell, Mrs. Lorita K., 301, 
 302 
 
 Bigelow, Levi E., 184 
 
 Bigelow, Mrs. Marcia, 184 
 
 Bigelow, O. P., 100 
 
 Billings, Alice, 226 
 
 Billings, Leonard, 52, 54 
 
 Billings, William, 19, 195 
 
 Bingham, Albert, 61 
 
 Binnette, Joseph, 342 
 
 Binnette, Ludger, 342 
 
 Bird, Ada, 182 
 
 Bird, A. J., 182 
 
 Bird, Mrs. Benjamin, 288 
 
 Bird, Bertha I., 193 
 
 Bird, Dora F., 301, 
 362 
 
 Bird, Dorothy, 302 
 
 Bird, Emma, 182 
 
 Bird, Harriet, 182, 303 
 
 Bird, Helen, 302 
 
 Bird, Mrs. Madeline F., 145 
 
 Bird, Maria T., 300, 301, 303, 
 362 
 
 Bird, Mary, 182, 300, 302 
 
 Bird, Mrs. Maynard, 147, 263 
 
 Bird, Nettie E., 302 
 
 Birkenmayer, Helen, 145 
 
 Birnie, Mrs. Gladys S., 
 263, 362 
 
 Birnier, Wesley, 90 
 
 Bisbee, Roy, 348 
 
 Biscacciante, Signora, 58, 204 
 
 Bishop, Agnes, 288 
 
 Bishop, Charlotte C., 
 
 Bishop, Cyrus, 110 
 
 Bitter, Mrs. L. J., 292, 297 
 
 Bixby, George, 33 
 
 Black, H. B., 304 
 
 Black, Zebulon, 78 
 
 Blackington, Ada, 
 
 145, 
 
 302, 303, 
 
 260, 
 
 290, 362 
 
 182, 183, 
 301 
 Blackington, Ruth, 302 
 Blackington, Thelma, 303 
 Blackman, Cyrus, 349 
 Blackman, Eben, 196 
 Blackman, Elisha, 349 
 Blackmer, Mavorette E., 2 
 
 Blackwell, Charles H., 
 258, 263, 273, 362 
 Blackwell, Henrietta, 285 
 Blair, Lyman, 227, 362 
 Blaisdell, Carrie J., 187 
 Blaisdell, E. S., 102 
 Blaisdell, Inez D., 
 
 362 
 Blaisdell, Nellie, 115 
 Blaisdell, Nicholas, 35 
 Blake, Charles L., 352 
 Blake, Cornelia S., 362 
 Blake, Edith R., 362 
 Blake, Francis, 117, 118, 119 
 Blake, Mrs. Francis, 119 
 Blake, Helen P., 362 
 Blake, Mrs. John, 145 
 Blake, R. C., 191 
 Blanchard, Alden O., 273 
 Blanchard, Alice B., 120, 145 
 Blanchard, Charles C., 253, 
 
 272 
 
 Blanchard, Mrs. Clara, 
 164 
 
 Blanchard, David D., 342 
 
 Blanchard, D. L., 343 
 
 Blanchard, Edna, 305 _ 
 
 Blanchard, Edward G., 
 
 343, 362 
 Blanchard, Ella, 185 
 
 255, 257, 
 
 149, 263, 
 
 II9, 
 
 334, 
 
 Blanchard, Enos, 185, 225, 332, 
 
 334. 343, 352 
 Blanchard, Everett L., 343 
 Blanchard, F. L., 188 
 Blanchard, Fenwick S., 343 
 Blanchard, F. W., 343 
 Blanchard, George, 343 
 Blanchard, Homer, 343 
 Blanchard, Lucile, 305 
 Blanchard, Lucy N., 119, 145, 
 
 148, 362 
 Blanchard, Mrs. M. E., 77 
 Blanchard, Mary, 165 
 Blanchard, Nathaniel, 255, 352 
 Blanchard, Roland H., 343 
 Blanchard, Walter E., 343 
 Blanchard. William F., 343 
 Blanche, Hattie, 290 
 Blanchette, Jeanette, 362 
 Blanding, Carrie, 191 . 
 Blasl, Edward, 349 
 Bliss, Alfred V., 362 
 Bliss, Mrs. Catherine, 293 
 Blodgett, Ellen, 263, 274, 362 
 Blood, Mrs. Caroline, 303 
 Blood, Charles V., 362 
 Bloom, Robert, 296 
 Blouin, Exilia, 291, 
 
 297, 363 
 Blumenthal, Samuel, 272 
 Blunt, John, 460 
 
 293, 294, 
 
 - Bonfillio, Helen, 363 
 
 Boardman, Mrs. Elizabeth C., 
 223, 363 2 
 Boardman, Harold S., 227, 163 
 Boardman, James, 191 . 
 Boardman, 5. He aes, 279, 
 281 
 Bock, Anna C., 145, 274, 275, 
 308, 363 
 Bodge, Miss E. M., 190 
 Bodge, Gertrude, 249 
 Bodge, Percival, 255 
 Bodge, William, 333 . 
 Bodin, Mrs. Louis, 146 | 
 Bodwell, Mrs. R. H., 276, 363 
 Boggs, Frank jee 351 3 
 Boggs, Fred G.. 351 
 Boggs, Walter H., 351, 363 
 Boise, Margret, 296 
 Boisvert, Blanche R., 363 
 Bolduc, Frank, 294, 342 
 Bolster, Mabel Owen, 363 
 Bolter, Mary, 290 
 Bolton, Laura, 226, 363 
 Bolton, Rev. H. W., 115 
 Bond, Alice, 279 a 
 Bond, Mrs. George, 284, 363 
 Bond, Mrs. Thomas, 27 2 
 
 De ee 4 
 
 Bonney, Helen, 145, 363 
 Bonney, Mrs. Katharine, 260: 4 
 Bonney, Luther, 255, 258, 363 
 Bonney, Mrs. Susan, 260, 363° @ 
 Bonsey, May, 223, 226, 363 
 Booker, Mrs. Anna P., 194, — 
 260, 274, 363 7 
 Booker, Margaret, 298 
 Boone, Mrs. Storer, 299 
 Booth, Wilfred, 334 4 
 Boothby, Mrs. Alfred M., 363 _ 
 Boothby, Mrs. Charles, 308 i 
 Boothby, Mrs. Chase ’A., 289 
 Boothby, Elmer, 159 a 
 Boothby, Emma, 187 
 Boothby, Mrs. Ethel ae 363 
 Boothby, Hon. F. E., 224 
 Boothby, Mrs. F. E:, 224, 2514 
 304, 310 
 Boothby, Ls. D5 -240 
 Boothby, Margaret. 289, 306 
 Boothby, Hon. Roswell C., 187, — 
 198, 225. 354 
 Boothby, Richard C., 351 
 Borden, Mrs. Rose A., 225, 
 276: Bae ese 
 Borland, Mrs. John, 184 
 Bosworth, Arthur S., 268 
 Bosworth, Reuben E., 316 1 
 Bouchard, Mrs. Elizabeth, 287 
 Boucher, Ralph A., 364 
 Boulette, Joseph T., 364 
 Boulter, R. S., 191 
 
iy 
 
 BIOGRAPHICAL INDEX 
 
 Bounton, Ralph, 316 
 
 Bourke, Charles E., 255, 364 
 
 Bourne, Dr., 49 
 
 Bourne, S., 159 
 
 Bousquet, Olivine A., 286 
 
 Boutin, Phelonise, 284, 364 
 
 Bowden, A. C., 224 
 
 Bowden, Blanche, 284 
 
 Bowditch, Mrs. H. E., 276 
 
 Bowdoin, Frank A., 272, 273 
 
 Bowdoin, Millard, 227, 260 
 
 Bowdoin, Rosabelle, 364 
 
 Bowen, Charles H., 159 
 
 Bowen, Martha Edith, 283, 364 
 
 Bowen, Linwood J., 283, 340 
 
 Bowen, Mrs. William S., 145 
 
 Bower, George A., 297 
 
 Bowers, Mrs. John W., 119, 
 145, 171, 364 
 
 Bowker, Mrs. Hazel Shaw, 
 305, 364 
 
 Bowles, Frank, 350 
 
 Bowles, Henry I., 225 
 
 Box, Ethel Wentworth, 364 
 
 Box, Harry, 308, 364 
 
 Boyd, George E., 178, 179 
 
 Boyd, Mrs. Lendell, 261 
 
 Boyd, M. W., 89 
 
 Boyd, Mandeville, 350 
 
 Boyd, Mrs. Manlius W., 364 
 
 Boyd, Mrs. Marie, 89 
 
 Boyd, Mary D., 142 
 
 Boyd, William L.; 337 
 
 Boynton, Mrs. Alice, 364 
 
 Boynton, Mrs. C. Everett, 145, 
 259, 263 
 
 Boynton, Mrs. Florence W., 
 
 364 
 Brackett, Ellie L., 164 
 Brackett, HD... -352 
 Brackett, Roberta, 286 
 Brackett, Rowena, 364 
 Brackett, Mrs. Wade, 222 
 Bradbury, A. C., 350 
 Bradbury, A. P., 98 
 Bradbury, Benjamin F., 113 
 Bradbury, E. G., 108 
 Bradbury, Mrs. Helen, 293 
 
 Bradbury, Helen L., 147, 308 
 
 Bradbury, Martha, 1o1 
 
 Bradbury, William B., 108, 116 
 
 Bradford, Alice L., 145 
 
 Bradford, Carrie Mae, 
 364 
 
 Bradford, Clara Walker, 364 
 
 Bradford, Edith, 227, 279, 309, 
 
 364 
 Bradford, F. L., 334 
 Bradford, Mrs. Maude, 364 
 Bradish, W. F., 224 
 Bradley, Etta Swett, 103, 364 
 
 276, 
 
 Bradley, James E., 353 
 
 Bradley, William, 62 
 
 Bradley, William V., 259, 261, 
 273, 365 
 
 Bradstreet, George, 199 
 
 Bragdon, Mrs. Frank J., 146, 
 Pen 227, Ob. 3100. 466 
 
 Bragdon, Marguerite, 365 
 
 Bragdon, Orrie D., 249 
 
 Bragg, Addison, 349 
 
 Bragg, Franklin E., 227, 365 
 
 Bragg, Ina Mae, 365 
 
 Brace, MirsiN.-E., 176, 278, 
 280 
 
 Bragg, Olive, 365 
 
 Bragg, Mrs. Willard L., 178, 
 
 279 
 Brailey, Glendon, 350 
 Brainerd, Mrs. Lawrence, 146 
 Brandon, Mrs. Grace H., 366 
 Brann, Edward, 366 
 Brann, Mrs. Ethel F., 366 
 Brann, Robert, 305 
 Branscomb, Mrs. E. D., 77 
 Branton, Angelica, 64 
 Bratt, Gustav W., 258, 259, 
 
 263, 366 
 Brault, Celia, 302 
 Braun, Cora W., 290, 366 
 Bray, Mrs. Irene, 298 
 Bray, James, 184 
 Bray, J. D., 90 
 Bray, Mrs. Mary A., 184 
 Bray, Oliver, 35 
 Bray, Mrs. Paul, 298 
 Bray, Mrs. Sanford, 146 
 Brazier, Carleen Merle, 366 
 Brazier, Harriet P., 145 
 Brazier, Mary M., 74, 77 
 Breary, Alice M., 366 
 Breary, Gordon, 366 
 Breed, Mrs. Berle Walton, 309 
 Breitling, Joseph C., 226 
 Bremon, Mrs. E. Eugene, 274, 
 
 366 
 Bremon, Florence Alsena V., 
 
 145, 260, 263, 274, 275, 366 
 Brennick, Helena A., 366 
 Breton, Octave, 366 
 Brett, C. B., 89 
 Brewer, Arthur Roland, 366 
 Brewer, David, 52, 56 
 Brewer, Dexter, 52, 55 
 Brewster, Elder, 205 
 Brickett, Mrs. George E., 226 
 Brickett, Mrs. George H., 264, 
 
 276 
 Brickett, Nellie Letice, 
 
 366 
 Bridge, E. L., 161 
 Bridge, Harry, 255 
 
 303, 
 
 483 
 
 Bridges, Mrs. Adelbert, 284, 
 366 
 
 Bridgham, Mrs. Fannie, 226 
 
 Bridgham, Nellie E., 198 
 
 Brier, ‘Katherine, 194, 305 
 
 Briggs, Abial, 35 
 
 Briggs, Charles S., 273 
 
 Briggs, Mrs. Charles, 145, 262 
 
 Briggs, Mrs. Cora S., 161, 225, 
 226, 303, 366 
 
 Briggs, Mrs. E. M., 294 
 
 Briggs, George, 161, 203, 263 
 
 Briggs, Mrs. Ida, 303 
 
 Briggs, Josephine, 305 
 
 Briggs, Lizzie P., 203 
 
 Briggs, Mrs. Ruby, 321, 366 
 
 Briggs, Samuel, 303 
 
 Briggs, Mrs. Sarah M., 287 
 
 Bright, Joseph M., 178, 222, 
 
 277 
 Bright, Mrs. Joseph M., 178, 
 222 
 Bright, June Lowell, 308, 367 
 Brine, Leon F., 120, 178 
 Brinkler, Alfred, 255, 256, 257, 
 258, 263, 264, 273, 367 
 Brinkler, Mrs. Alfred, 
 258, 259, 367 
 Bristol, Fred E., 367 
 Broadman, Samuel H., 178 
 Brockway, H. A., 111 
 Brooks, Albert W., 276 
 Brooks, Aldana, 272, 367 
 Brooks, Charles M., 159, 222, 
 
 145, 
 
 334, 367 
 Brooks, Clarence C., 309 
 Brooks, Joseph, 79 
 Brooks, Laura Emelyn, 303, 
 367 
 Brooks, Marguerite, 276 
 Brooks, William Grant, 193, 
 
 313 
 Brower, Mrs. Bloomfield, 142 
 Brown, Alice, 120 
 Brown, A. E., 159 
 Brown, Arthur Irving, 341 
 Brown, B. F., 333 
 Brown, Carl, 256, 335 
 Brown, Mrs. Charles, 276 
 Brown, Clarence H., 254 
 Brown, Cora, 367 
 Brow dor (sla 07 
 Brown, Mrs. Edna Cobb, 222 
 Brown, Edwin, 349 
 Brown, Mrs. Effie, 305 
 Brown, Elizabeth, 156, 
 
 274, 275, 308, 367 
 Brown, Elmer, 347 
 Brown, Mrs. E. M., 145 
 Brown, Mrs. Emily K., 141, 
 
 142, 143, 148 
 
 164, 
 
484 
 
 Brown, Evelyn Lord, 297, 367 
 
 Brown, Frances Gertrude, 367 
 
 Brown, Francis, 35 
 
 Brown, Frank, 327 
 
 Brown, Mrs. Frederick B., 
 368 
 
 Brown, G. E., 333 
 
 Brown, Gail Ridgway, 368 
 
 Brown, George J., 347, 348, 
 349 
 
 Brown, 
 
 Brown, 
 278 
 
 Brown, Mrs. Glenroy, 298, 368 
 
 Brown, Capt. G. W., 101, 181, 
 345 
 
 Brown, Grace Hayford, 368 
 
 George M., 114 
 Mrs. George M., 180, 
 
 Brown, Helen C., 226, 305, 
 306 
 
 Brower Helen Neven, 368 
 
 Brown, Ida F., 284 
 
 Brown, q. Appleton, 133 
 Brown, James Olcott, 143 
 Brown, Dr. Joseph, 303 
 
 Brown, Mrs. Joseph E., 284, 
 368 
 
 Brown, Lewis Ronello, 272, 
 368 
 
 Brown, Lizzie, 196 
 Brown, Louise S., 145 
 Brown, Mabelle S., 302 
 Brown, Mrs. Maida, 150 
 Brown, Mrs. Merle S., 
 368 
 Brown, Minnie, 180 
 Brown, Mrs. Philip, 146 
 Brown, Robert, 334 
 Brown, Mrs. Ruth, 368 
 Brown, Sally Carroll, 145 
 Brown, Vernon, 272 
 Brown, Violetta, 145 
 Brown, Walter N,, 226 
 Brown, William Bourne, 203, 
 
 368 
 Brown, William E., 
 
 260, 
 
 76, 281, 
 
 283 
 Brown, Zilda Jennings, 368 
 Browne, Mrs. Charles S., 369 
 Browne, Mrs. Edna T., 302, 
 369 
 Browne, Mrs. Rachel S., 302 
 Bruce, Edwin, 207 
 Bruce, Mrs. Laura M., 298 
 Brunell, Roger, 254 
 Brunnelle, Arthur, 296, 369 
 Bruns, George H., 341 
 Bruns, S. H., 334 
 Bryant, Beatrice E., 
 253, 369 
 Bryant; Cart bp. 927 
 Bryant, Homer C., 297 
 
 145, 150, 
 
 ‘ BIOGRAPHICAL INDEX 
 
 Bryant, Margaret, 120, 
 156, -180, 164; 222; 469 
 Bryant, Mary, 52, 56 
 Buck, Mrs. Austin, 288, 369 
 Buck, Cite sie 
 Buck, Dudley, 126 
 Buck, Eleanor Barrett, 369 
 Buck, Mrs. Grace Ross, 180 
 Buck, Mrs. Mona, 69 
 Buck, Rufus, 61 
 Buckley, Abbie A., 
 369 
 Buckley, Josephine, 285 
 Buckman, Alice, 178 
 Buckman, Arthur, 369 
 Buckman, Mrs. Arthur, 
 369 
 Budway, Nelson J., 340 
 Bulfinch, Rev. J. J., 153, 184 
 Bumpus, Fred I. 296, 329, 
 340 
 Bumpus, M. Cora, 191 
 Bunker, Herbert, 285 
 Bunker, Willis, 179 
 Bunton, George A. 369 
 Burbank, Annie, 185, 200 
 Burbank, Dr. Augustus H., 
 200 
 Burbank, Emily, 369 
 Burbank, Esther, 200 
 Burbank, Grace, 222 
 Burbank, Lizzie A., 191 
 Burgess, Albert A., 348 
 Burgess, Edith, 194 
 Burgess, Eliza, 187, 190 
 Burgess, Ferdinand F., 
 _ 369 
 Burgess, George C., 
 
 145, 
 
 293, 297, 
 
 263, 
 
 347; 
 
 119, 120 
 
 Burgess, George W., 341 
 
 Burgess, Romanzo, 348 
 
 Burke, Carrie B., 222 
 
 Burke, Frank, 351 
 
 Burke, Gertrude, 294, 369 
 
 Burke, Howard T., 351 
 
 Burke, John Oakes, 119, 155, 
 255, 256, 263, 272, 273, 369 
 
 Burke, Mrs. Laura, 303 
 
 Burke, Lawrence M., 369 
 
 Burke, Miriam, 145, 226 
 
 pene Prudence M., 149, 256, 
 309 
 
 Burke, Ruth M., 308, 369 
 
 Burkett, George William, 341 
 
 Burleigh, Catherine C., 369 
 
 Burleigh, Mrs. E. C., 276 
 
 Burnett, Prof. Charles . 286, 
 
 314 
 
 Bunce Mrs. Charles T.,.147, 
 286, 308 
 
 Burnett, Sue Winchell, 286, 369 
 
 Burnham, Arline, 147, 274, 370 
 
 - Burpee, John, 346 
 
 Burnham, C. G., 161 
 Burnham, Edith, 370 i 
 Burnham, Frank, 158, 159, 161, — 
 172, 222, 344, 370 a 
 Burnham, Mrs. George, 370 
 Burnham, Harold H., 249 
 Burnham, Harriet, 145 
 Burnham, Mrs. J. H., 222 
 Burnham, Mabel Bates, 120, — 
 142, 151, 252.7 1o ee 
 Burnham, Marion, 293 
 Burnham, Mildred, 305, 370 
 Burnham, Myrtle A. 249, 305 
 Burnham, Nettie, 199 4 
 Burnham, Otto, 151, 152 
 Burnham, Mrs. Rosa, 306 
 Burnham, Ruth T., 248 
 Burnham, Silas H., 161 
 Burnham, Mrs. Stella, 303 j 
 Burns, Leroy M., 255, 258,370 © 
 Burns, Mrs. Oscar, 222, 370 
 Burns, Mrs. Robert, 145 
 Burpee, Caroline N., 142 
 Burpee, Carrie, 181, 300 
 Burpee, Capt. E. A., 181, 182, 
 225, 300, 346 
 Burpee, Emma, 300 
 
 Burpee, Mary G., 290, 321, ~ 
 
 370 a 
 
 Burpee, N. A., 182, 345, 346 
 
 Burr GC, Gy ate 
 
 Burr, Mrs. Ella, 298 
 
 Burr, Howard, 370 4 
 
 Burr, Mary Rosamond, 298, — 
 321, 370 a 
 
 Burrage, Henry S., 203 
 
 Burrill, Elvia M., 222 
 
 Burrill, Frank G., 283, 340 
 
 Burrows, Madeline, 302 
 
 Butler, Augusta, 102 
 
 Butler, Frank, 350 
 
 Butler, Mrs. Hartman, 146 
 
 Butler, Leeman, 350 
 
 Butler, Nathaniel, 202 
 
 Butler, Theresa, 102, 182 
 
 Butman, Anna Elizabeth C., 
 
 370 
 Butman, Gladys, 183 
 Butman, Mrs. James, 183 * 
 Butman, Margaret Elizabeth, 
 183, 370 
 Butterfield, Margaret A., 285 
 Butterfield, Mrs. Philip, "306 a 
 Butterfield, Mrs. Wilfred, 184, — 
 
 371 q 
 Butterfield, Zilphaetta, 147, 253, _ 
 
 292. 274. 30ne ere . 
 Buxton, A! 352 
 Buxton, i N., 343 
 Buxton, A. W., 343 
 
PILOGRAPHICAL INDEX 
 
 485 
 
 Buxton, Florence S., 224 
 Buxton, Frank W., 161 
 Buxton, Gertrude L., 145, 149, 
 226, 263, 264, 371 
 Buxton, George H., 119, 120 
 Buxton, Howard, 185 
 Buxton, Violet, 288 
 Buxton, William Herbert, 313, 
 314, 371 
 Buzzell, Grace, 279 
 Buzzell, John, 67 
 Buzzell, Louise N., 
 Buzzell, Marion, 290 
 Buzzell, Mary, 298 
 Buzzell, Norma, 298, 371 
 Buzzell, Vena, 306 
 Buzzelle, G. B., 119 
 Bye, Christine, 272, 371 
 Bye, Eleanore, 272, 371 
 Bye, Odele, 272, 371 
 Bye; T. F., 371 
 
 290, 371 
 
 8 
 
 Cabot, Edna L., 306, 371 
 
 Cailler, Diane, 294 
 
 Cain, Llewellyn B., 149, 225, 
 226, 227, 248, 249, 304, 371 
 
 Cairns, Christopher, 352 : 
 
 Cairns, John, 352 
 
 Cairns, Joseph, Jr., 352 
 
 Cairns, Thomas H., 352, 371 
 
 Cairns, William, 352 
 
 Calden, Mrs. Gladys Leavitt, 
 260, 274, 371 
 
 Calder, Arthur E., 351, 371 
 
 Calder, Earl, 354 
 
 Calderwood, Neil, 354 
 
 Calderwood, Reta, 302 
 
 Calderwood, Roger, 335 
 
 Caldwell, John, 371 
 
 Callahan, Frank L., 297 
 
 Callahan, J., 188 
 
 Calane le ho 336 
 
 Callinan, William H., 284, 372 
 
 Calmun, John, 350 
 
 Calvert, Thomas 
 144, 150, 189, 372 
 
 Camara, Mrs. Marie, 147, 150, 
 253,°972 2. 
 
 Cammett, Abbie, 77, 78, 79, 
 80 
 
 Cammett, Harriet N., 117, 123, 
 147, 262 
 
 Cammett, John, 78 
 
 Campbell, Mrs. Alice H., 298 
 
 Campbell, Mrs. Carrie A., 226 
 
 Campbell, Mrs. Carroll, 294 
 
 Campbell, F. J., 224 
 
 Campbell, Mary Alice, 372 
 
 Campbell, Mrs. Sarah, 372 
 
 Errington, 
 
 Campbell, Susie, 226 
 Caouette, Joseph, 296 
 Capen, Eliza Ann, 52, 56 
 Card, Elias M., 109 
 Card, George, 109 
 Card, Nellie, 349 
 Card, Otis Norris E., 372 
 Carey, Anna C., 145 
 Carey, Mrs. Caroline, 286 
 Carey, W. H., 346 
 Carignan, Valeria, 
 272, 372 
 Carle, Alice, 159, 164, 200 
 Carleton, Ainsworth, 78 
 Carleton, Charles A., Jr., 352, 
 
 149, 256, 
 
 353 
 Carleton, Charles P., 117, 119, 
 157, 159 
 Carleton, Charles S., 273 
 Carleton, Leola, 372 
 Carleton, Ralph B., 353, 372 
 Carleton, Robert A., 372 
 Carleton, W. R., 160 
 Carlin, M. Isabel, 372 
 Carll, Grace, 305 
 Carll, Wilma Evelyn, 290, 372 
 Carlo, R., 336 
 Carlow, Ina E., 145 
 Carlson, Mrs. Martha E., 286 
 Carlton, W. R., 154 
 Carmichael, Mrs. Henry, 194 
 Caron, Irene, 372 
 Caron, Venise Marie, 286, 287, 
 372 
 Carpenter, Delphine, 372 
 Carpenter, G. H., 90 
 Carpenter, John Alden, 134 
 Carr, Helen Louise, 301, 372 
 Carr, Ila, 149, 255, 272, 372 
 Carr, James, 31 
 Carrier, Louis, 373 
 Carritt Mrs. 2, 205, 373 
 Carroll, Mrs. Evelyn B., 147, 
 149, 260, 273, 308, 373 
 Carroll, Rev. Marcus, 225 
 Carron, Mrs. A. P., 285 
 Carson, Margaret, 293 
 Carson, Mary M., 260, 373 
 Carson, Zeula Miller, 290, 373 
 Carter, Betsey, 52, 56 
 Carter, Eleanor, 147 
 Carter, Ellinor, 373 
 Carter, F. -B., 285 
 Carter, Harry: B.) 3215373 
 Carter, James, 316 
 Carter, Mrs. Mabel, 373 
 Carter, Marion, 145, 263 
 Carter, Prescott W., 316 
 Carter, Sarah, 52, 56 
 Carter, Sarah R.P., 142 
 Carter, Walter H., 263, 272 
 
 Carter, Willis E., 253, 254, 373 
 
 Carver, David L., 283, Sek 
 
 Carver, Keith, 354 
 
 Cary, Ada, 145 
 
 Cary, Annie Louise, 164, 183, 
 1935) 105,;4204 Pt0 1220/2246, 
 ye ESO) 
 
 Cary, Mrs. Charlotte C., 197 
 
 Cary, Ellen Maria, 206 
 
 Cary, Emma, 197 
 
 Cary, Mrs. Fred H., 373 
 
 Cary, George F., 224, 263,373 
 
 Cary, Mrs. George F., 197, 
 225, 373 
 
 Cary, Joseph Stockbridge, 206, 
 247 
 
 Cary, Mrs. Lillian V., 288 
 
 Cary, Marcia Angelia, 206 
 
 Cary, Maria S., 219 
 
 Cary, Nelson Howard, 205, 206, 
 219 
 
 Cary, Samuel Edwin, 206, 289 
 
 Cary, Mrs. Samuel Edwin, 289 
 
 Cary, Simeon, 205 
 
 Cary, William Howard, 206 
 
 Casseboom, George H., 342, 
 
 373 
 Cassidy, Mrs. John F., 280 
 Cassita, Yvette, 294 
 Castillo, Madame 
 243 
 Castner, Ki Gs 951 
 Caswell, Elvira J., 275, 373 
 Caswell, Martha, 286 
 Caswell, Mina H., 373 
 Catell, Sadie, 278 
 Cates, Frank, 316 
 Cates, Mrs. Gertrude, 373 
 Cates, Mrs. John M., 286 
 Catland, Roscoe, 297 
 Cavanaugh, D. 335 
 Cayting, A. Stanley, 283, 373 
 Chabot, Louise T., 290, 297, 
 
 373 
 Chadbourne, Mrs. Alfredda 
 
 Drew, 261, 373 
 Chadbourne, Charles A., 261 
 Chadbourne, Gladys, 293, 297 
 Chadbourne, Paul, 191 
 Chadbourne, Mrs. Paul, 192 
 Chadbourne, Samuel, 352 
 Chadbourne, Mrs. Verna, 293 
 Chadwick, George W., 132, 202 
 Chadwick, Mrs. Harriet F., 
 
 146, 263 
 Chadwick, Julia, 373 
 Chadwick, Mrs. Kenneth, 259 
 Chaffee, George W., 353, 373 
 Chalmers, Grace, 279 
 Chaloner, Elisha, 349 
 Chamberlain, Dr. A. H., 191 
 
 Imogene, 
 
486 
 
 Chamberlain, Mrs. Alice S., 
 306 
 Ciamberata: Mrs. Arthur, 146 
 Chamberlain, Edna M., 288 
 Chamberlain, I. P., 78 
 Chamberlain, William, 27, 159 
 Chambers, W. Paris, 344 
 Champrosay, L., 65 
 Chandler, Benjamin, 190, 297 
 Chandler, C. C., 300, 346 
 Chandler, D. H., 158, 159, 165, 
 
 173, 330, 331, 332, 333, 334, 
 
 342 
 Chandler, Evelyn Parker, 374 
 Chandler, Francis M., 120, 145 
 Chandler, H. C., 89 
 Chandler, Mrs. J. $. 220. 374 
 Chandler, L. Jennie, 187 
 Chandler, Leafy, 159 
 Chandler, Mary Ann, 173 
 Chandler, Sarah Dearborn, 198 
 Chandler, William, 326 
 Chandler, William E., 159, 251, 
 
 334, 335, 351 
 
 haney, Mrs. J. F., 
 Channell, Birdena, 
 
 294 
 Channell, Harold E., 2 
 Chaplin, Mrs. Eugene, 306 
 Chapman, Belle, oe 
 
 226 
 
 222, 293, 
 
 Chapman, Mrs. a , 374 
 
 Chapman, E. R., 
 
 Chapman, Frederick Elmer, 
 321, 374 
 
 Chapman, Henry L., 224 
 
 Chapman, Jeanie, 249 
 
 Chapman, Lottie, 249 
 
 Chapman, Maria (Decker), 
 197 
 
 Chapman, Mary, 280 
 
 Chapman, Mildred L., 
 226, 374 
 
 Chapman, S. H., 102 
 
 Chapman, William Rogers, 220, 
 221, 223, 227, 308, 313, 374 
 
 Chapman, Mrs. William Rogers, 
 221. 223 
 
 Chapman, Winifred, 349 
 
 Chappelle, Rev. T. E., 225 
 
 Chase, Mrs. Anna, 293 
 
 Chase, Annie P., 374 
 
 Chase, Mrs. Bernard A., 295, 
 308 
 
 Chase Bertha, 297 
 
 Chase, C..C.,- 207 
 
 Chase, Caroline Fenno, 
 277, 374 
 
 Chase, Charles C., 225 
 
 Chase, Charles E., 164 
 
 Chase, Daisy D., 374 
 
 Chase, Dewitt, 347 
 
 224, 
 
 276, 
 
 BIOGRAPHICAL INDEX . 3 
 i 
 
 Chase, sae 259, 263, 274, 
 275, 3 
 Chase, Mis Flora G., 293 
 Chase, Fred V., 120, 203 
 Chase, Graves I., 325 
 Chase, G. W., 100 
 Chase, Mrs. G. W., 193 
 Chase, Hattie L., 187 
 Chase, Mrs. Henry, 173 
 Chase, Irving, 195 
 Chase, J. H., 188, 190 
 Chase, Kenneth, 296 
 Chase, Dr, Ly 179 
 Chase, Melissa, 187 
 Chase, Melville Warren, 
 309, 374 
 Chase, Mrs. M. W., 190 
 Chase, R. P., 194, 224 
 Chase, Sanford, 183 
 Chase, Stephen H., 102 
 Chase, Stephen, 115 
 Chase, Miss S. A., 190 
 Chase, Walter K., 348 
 Chase, Mrs. Warren P., 
 164, 190 
 Cheever, Elizabeth, 88 
 Cheever, Nathaniel, 88 
 Cheney, Eva, 304 
 Cheney, Florence M., 145 
 Cheney, James, 326 
 Cheney, Mrs. J. F., 375 
 Cherry, Sara, 375 
 Chevalier, Elizabeth, 147, 150, 
 
 ae Seu 
 Chevalier, Mrs. J. P., 
 
 190, 
 
 120, 
 
 1 295 
 Cheverus, Bishop, 8 
 Chick, Alice O., 145 
 Chickering, Jonas, 323, 327, 
 
 32 
 Child, Helen G., 276 
 Childs, Fred, 348 
 Childs, Howard, 348 
 Chilles, Fred, 353, 354 
 Chipman, Florence E., 
 
 263, 285 
 Chipman, Frank M., 334 
 Chipman, Dr. Fs J50334 
 Chipman, Percy C., 256, 353 
 Choistry, Mrs. Elizabeth, 145 
 Christensen, Alfred, 352 ° 
 Christensen, Eleanor NG aes 
 Christenson, Ethel, 224 
 Christian, 0. #334 
 Christopher, Mrs. Floyd, 304 
 Church, G. E., 342 
 Church, William Austin, 375 
 Churchill, Mrs. Beatrice, 290 
 Churchill, Boody, 165 
 Churchill, George A., 87, 117, 
 
 119, 123, 156 
 Churchill, ast B., 87 
 
 145, 
 
 Chute, Howard M., 286 
 Chute, Isabelle I., 294 
 
 Chute, Isabelle May, 375, 3 
 Cilley, Mrs. Lawrence N., 289 
 Cilley, Madelyn, 308, 375 q 
 Cimbollek, Max George, 305, © 
 
 375 
 Cimpher, Marjorie, 226 
 Claggett, R., 
 Clapp, Hannah, 222 
 Clapp, N. J., 184 
 Clark, Aaron, 351 
 Clark, Allen P., 249 
 Clark, Mrs. Allen, 306 
 Clark, Miss A., 190 
 Clark, Anna A., 187 
 Clark, A., 191 
 Clark, Arthur, 351 
 Clark, Charles D., 156 
 Clark, Charles R., 285 
 Clark, Chauncey, 349 
 Clark, Elias Miller, 198 
 Clark, Ethel H., 375 
 Clark, Florian L., 334, 375 
 Clark, Mrs, Franklin, 294 
 Clark, Geneva E., 145 
 Clark, George A., 187, 324 
 Clark, Dr. George B., 260, 375 
 «Clark, Mrs. George, 260, 375 
 Clark, Gertrude, 145 
 Clark. Dr. G. Robert, 291 
 Clark, Howard, 225, 253, 263, 
 
 264, 272, 273, 375 
 Clark, Mrs. Howard, 145, 260, 
 
 375 
 Clark, James, 337 
 Clark, John W., 52, 57 
 Clark, Joseph, 326 
 Clark, Lottie F., 297 
 Clark, Luther, 351 
 Clark, Mrs. Mary E., 191 
 Clark, May Beasley, 172 
 Clark, Minnie E., 145, 275 
 Clark, P P. Hieergs 
 Clark, Robert bea to) 
 oe Mrs. Robert Lio 
 
 cae, Sadie, 297 
 
 Clark, Tony, 352 
 
 Clarke, Dr. F. A., 273, 375 
 Clarke, Florence 'M,, 260, 375 
 Clarke, Francine L., 145 
 Clarke, Mrs. Franklin P., 145 
 Clarke, Dr. Frederick A., 273 
 Clarke, George Clarence, 375, 
 Clarke, Helen Archibald, peli 
 Clary, "Mrs. Isabelle RS "226 
 Clary, Sally; $2,562 — 
 Claus, J. Buse. 
 
 Clay, Mrs. Adella, 298 
 Cleaves, Eva D., 164 
 
 280, 
 
BIOGRAPHICAL INDEX 
 
 487 
 
 Cleavland, Parker, 328 
 Clement, Cacy Elizabeth, 376 
 Clement, Enoch, 161 
 
 Clement, Susie P., 289 
 Clemmons, Alta, 288 
 
 Clergue, Francis H., 180 
 Cleveland, E. L., 225, 227, 376 
 Clifford, Beatrice, 376 
 Clifford, Mrs. Bertha, 303 
 Clifford, Ella, 279 
 
 Clifford, Mrs. Gerald P., 260, 
 
 274 
 Clifford, Mrs. Helen, 303 
 Clifford, Rev. J. R., 225 
 Clifford, Miss M. A., 190 
 Clifford, Mae Harrison, 290, 
 
 376 
 Clifford, Marguerite L., 286 
 Cloudman, Mrs. Andrew C., 
 
 145, 260, 263, 275, 375 
 Clough, Fred, 297 
 Cloutier, Agnes, 286, 376 
 Cloutier, Aimé, 376 
 Cloutier, John, 296 
 Cloutman, Ernest Clifton, 376 
 Cloyes, Frank H., 119, 120 
 Cluff, Fred A., 297 
 Coan, Helen, 290 
 Cobb, Clara, 164 
 Cobb, Edward, 262, 332 
 Cobb, Elbridge L., 160 
 Cobb, Emily S., 145, 262 
 Cobb, Grace C., 376 
 Cobb, Helen, 145, 148 
 Cobb {2 P,° 181 
 Cobb, Judith S., 262 
 Cobb, Laura, 297 
 Cobb, Marion, 321, 376 
 Cobb, Mary Alice, 145, 148 
 Cobb, Nathaniel, 333 
 Cobb, N. B., 102 
 Cobb, Owen, 350 
 Cobb, Ruth, 376 
 Cobb, Mrs. Samuel T., 294, 
 
 295 
 Cobb, Mrs. W. E., 278 
 Coburn, Louise Helen, 314 
 Coburn, Mrs. John, 294 
 Coburn, Raymond W., 376 
 Cochrane, Harry H., 377 
 Cochrane, Wilbur, 222, 
 
 227, 280, 284, 377 
 Codman, Rev. Robert, 306 
 Coerne, Adolphe, 134 
 Coffey, Florence, 145, 
 
 Vi i 
 Coffin, Carl C., 377 
 Coffin, Frank, 154 
 Coffin, Harold’ W., 227, 284, 
 
 vie 
 Coffin, Julia A., 187 
 
 225, 
 
 273; 
 
 Coffin, Love, 229 
 
 Coffin, Mildred B., 226 
 
 Coffin, Mrs. Roy S., 280 
 
 Coffin, Susan G., 145, 149, 222, 
 226, 263, 264, 274, 377 
 
 Coffin, Vaughn N., 283, 340 
 
 Coffin, W. F., 263 
 
 Cohen, Birdie, 147, 377 
 
 Cohen, Harry J., 377 
 
 Colburn, Charlotte, 193-194 
 
 Colburn, Eleanor S., 321, 377 
 
 Colburn, Grace, 278 
 
 Colburn, Mrs. Helen, 305 
 
 Colburn, John J., 93 
 
 Colburn, M., 87 
 
 Colby, Harold T. M., 256 
 
 Colby, Herbert E., 303, 377 
 
 Colby, Lloyd A., 340 
 
 Colby, Randall, 256, 272 
 
 Coldwell, Lothrop, 283 
 
 Cole, Alice, 60 
 
 Cole, Arthur, 334 
 
 Cole, Bernard, 272 
 
 Cole, Blanche, 306 
 
 Cole, Charles H., 224 
 
 Cole, Mrs. Herbert, 306 
 
 Cole, Jonathan, 332, 333, 334 
 
 Cole, Joseph G., 70 
 
 Cole, Kelley, 256 
 
 Cole, Stella, 306 
 
 Cole, Walter R., 351 
 
 Cole, Mrs. Warren W., 120, 
 
 175 
 Cole, Wilfred E., 225, 256 
 Coleman, Charles E., 187 
 Coleman, George, 325 
 Coleman, Dr. Walter S., 159, 
 
 256, 263, 272, 377 
 Colesworthy, F. N., 334 
 Colesworthy, George B., 353 
 Colesworthy, Harry H., 353 
 Colesworthy, S. H., 111 
 Collet, Laura, 295, 377 
 Collet, Romeo, 296, 377 
 Collins, Converse, 300 
 Collins, Mrs. Elizabeth B., 287 
 Collins, Esther, 289 
 Collins, Frank L., 
 
 336, 340, 342 
 Collins, George W., 343, 353 
 Collins, Kenneth, 347 
 Collins, Mrs. Leta, 287 
 Collins, Melvin T., 286, 327 
 Colson, Rev. A. D., 224 
 Colwell, Mildred, 299 
 Comeau, Blanchard, 256 
 Comeau, Leah, 147, 273, 274, 
 
 159, 334, 
 
 377 
 Conant, Albert, 272, 334, 377 
 Conant, Alice, 292 
 Conant, Mrs. Caro, 223 
 
 Conant, Ella F., 377 
 
 Conant, F. A., 188 
 
 Conant, Forest B., 378 
 
 Conant, Helen Alfreda, 293, 
 294, 297, 378 
 
 Conant, Kitty, 194 
 
 Conant, Marion L., 298 
 
 Conant, Neil R., 378 
 
 Conant, R. A., 349 
 
 Conant, Mrs. Ruth, 303 
 
 Condon, Melissa, 102 
 
 Conley, John D., 92, 179 
 
 Connolly, Christopher, 256 
 
 Connor, Delia, 284 
 
 Connor, Ella, 284, 378 
 
 Connor, Elizabeth, 304 
 
 Connor, Reginald D., 255, 378 
 
 Connor, Solon D., 353 
 
 Constantine, Lloyd, 349 
 
 Converse, Frederick S., 135 
 
 Conway, Edward W., 261, 378 
 
 Cony, Elizabeth, 277 
 
 Cony, Mrs. Thomas O., 378 
 
 Cook, Charlotte F., 378 
 
 Cook, G. Fred, 352, 353 
 
 Cook, Gladys Russell, 147, 227, 
 
 378 
 Cook, Mrs. Grace M., 146, 225 
 Cook, Henry C., 256, 272, 335, 
 378 
 Cook, Mrs. Herman, 306 
 Cook, Mrs. Hilliard D., 263, 
 
 378 
 Cook, Mrs. Hope Jackson, 305, 
 
 378 
 Cook, Laura M., 114 
 Cook, Mrs. Leroy, 145 
 Cook, Lina, 187 
 Cook, Mrs. M. B., 222 
 Cook, Ruth Plummer, 378 
 Cook, Mrs. Sidney, 299 
 Cook, S. M., 198 
 Cook, Victoria, 190 
 Cook, Mrs. Wallace, 147, 259 
 Cook, W. H., 297 
 Cooke, Reginald B., 258, 273, 
 
 378 
 Coolidge, Mrs. Edith, 297 
 Coolidge, Florence, 263 
 Coombs, Ardon W., 157, 158, 
 159, 160 
 Coombs, Charles Whitney, 203, 
 378 
 Coombs, Mrs. Delbert Dana, 
 293, 295, 379 
 Coombs, Mrs. H. W., 379 
 Coombs, Jacob Flye, 379 
 Coombs, James Parker, 379 
 Coombs, Martha Lufkin, 203, 
 263, 293, 297 
 Cooper, George W., 155, 159 
 
488 
 
 Cooper, Helen, 302 
 
 Copeland, Ray, 351, 379 
 
 Copp, William R., 224, 379 
 
 Copping, Lillian Sprague, 301, 
 302, 379 
 
 Corbett, Barbara, 149 
 
 Cordin, Peter, 316 
 
 Corey, Mildred, 147, 379 
 
 Corliss, Ferdinand M., 353 
 
 Corliss, Fred C., 254, 379 
 
 Corliss, F. O., 334 
 
 Corliss, Mrs. M. A., 190 
 
 Corneail, Annie I., 379 
 
 Cornwall, Rev. Nathaniel E., 
 116 
 
 Corrigan, Mrs. Emma G., 298 
 
 Corser, Ellen M., 142 
 
 Costello, MSs 261, 379 
 
 Cote, ips W., 295, 296, 
 297, 3 
 
 Cote, EG 296 
 
 Cote, Joseph, 255 
 
 Cotter, Lizzie B., 184 
 
 Cotton, Dorothy, 321, 379 
 
 Cotton, John, 11 
 
 Cotton, Margaret Burnham, 
 290, 379 
 
 Coughlin, George, 305 
 
 Coughlin, Dr. M. E., 276 
 
 Coughlin, Winifred, 302 
 
 Couillard, Louis, 379 
 
 Couillard, Rhea, 296 
 
 Coulombe, Yvonne M., 379 
 
 Courtemanche, Janette, 379 
 
 Cousens, C. A., 224 
 
 Cousens, Ralph, 351 
 
 Cousens, William True, 253, 
 254 : 
 
 Cousins, Mrs. Alice, 305 
 
 Couture, Emil, 277 
 
 Couture, Jean, 296 
 
 Couture, Valdor, 291 
 
 Covey, Eugene Leslie, 379 
 
 Covey, Dr. Florence Alice, 380 
 
 Cowburn, John, 350 
 
 Cowie, Mary J., 225 
 
 Cox, James, 173 
 
 Cox, Mary P., 145 
 
 Coy, Frank, 198 
 
 Coyle, John B., Jr., 118, 119, 
 156, 159, 164, 165, 189, 190, 
 
 224 
 
 Coyle, Mrs. John B., Jr., 
 
 Crabtree, Harry L., 
 227, 380 
 
 Crafts, A. B., 1 
 
 Crafts, Mrs. Alice, 293, 297 
 
 Crafts, Seldon T., 222, 224, 
 263, 295, 296, 297, 380 
 
 Crafts, Mrs. Seldon T., 
 224, 226, 294, 295 
 
 119 
 22% 228. 
 
 222. 
 
 BIOGRAPHICAL INDEX 
 
 Cragg, Beatrice Baker, 380 
 Crague, Annie, 305 
 
 Craig, Mrs. Ann L., 186 
 Craig, Marguerite, 225 
 Craig, Margaret, 321, 
 Craig, Mrs. Roy, 299 
 Cram, Blanche O., 145, 311 
 Crandelmire, Pauline, 380 
 Crangle, J. Howard, 256, 272, 
 
 380 
 
 334, 380 
 Craven, Mrs. James H., 147, 
 380 
 
 Craven, Margaret, 260, 380 
 Crawford, Ernest L., 225, 285 
 Crawford, Mrs. E. L., 222, 224, 
 286, 380 
 Crawford, Harold Ellms, 380 
 Crawford, Mrs. Janie, 286 
 Crawford, Raymond, 264, 273 
 Cream, Steven, 339 
 Creed, Alfred, 353, 354 
 Creighton, June Andrews, 380 
 Creighton, Katherine, 302 
 Cressey & Allen, 326 
 Cressey, Charles R., 
 273, 326, 380 
 Cressey, Cleveland B., 380 
 Cressey, Helen H., 145 
 Crie, Kelley B., 380 
 Crisham, J. B., 154 
 Cristafaro, Anthony De, 336 
 Crocker, Mrs. Aldana, 64, 102, 
 300 
 Crocker, Caroline, 171 
 Crocker, Douglass A., 224 
 Crockett, A. M., 181 
 Crockett, A. T., 300, 380 
 Crockett, Charles, 102, 346 
 Crockett, George Albian, 380 
 Crockett, James, 102 
 Crockett, M. S., 194 
 Crockett, Sadie Russell, 
 380 
 Croner, Mary, 64 
 Cronham, Charles R., 264, 268, 
 269, 2°70, 271, 272, 273,, 381 
 Cronham, May Korb, 147, 227, 
 381, 416 
 Cronin, H. Ps 
 Crook, Mrs. Wiltid H:, 286 
 Cropley, Mrs. Eliza Belle, 260, 
 381 
 Crosby, Annie, 193 
 Crosby, Charles H.. 316 
 Crosby, Prof. Hanford, 316 
 seer Mrs. Henri, 294, 295, 
 
 pba J. Willis, 225 
 
 Crosby, Pheobe P., 227, 381 
 
 Crosman, A. Hurford, 258, 272, 
 381 
 
 264, 272; 
 
 290, 
 
 Cross, Adelaide, 302, 381 ; 
 Crossman, Mrs. Mildred M., — 
 
 294 
 Crotch, Dr. William, 83 . 
 Crouch, Frederick N., 77, 81, 
 82, 83, 85, 86, 122 
 Croudis, Bernard W., 353 
 Croudis, George, 351, 353 
 Crouse, Mrs. Jasper, 288 
 Crouse, Mrs. Margaret, 304 
 Crouse, Ruth Porter, 381 
 Crowe, Mrs. R. D., 285 
 Crowell, Alan W., 381 
 Crowell, Frank jae LES, 180 
 Crowell, fg IE Si 337 
 Crowell, J. A., 116, 176 
 Crowell, Mrs. Jason A., 
 177, 178, 180 
 Crowell, Mrs. Mary, 293 
 Crowley, Florence, 321, 381 
 Croxford, Lyndon F., 381 
 Croxton, Frank, 248 
 Cuirlo, A., 343 
 Cumming, Mrs. Phillis, 290 ; 
 Cumming, Mrs. Raymond, 382 © 
 Cummings, Mrs. Frank M., 294 
 Cummings, Mrs. Frank S., 382 
 Cummings, Mrs. G. M., 159, 
 164, 311 
 Cummings, Helen L., 226, 3829 
 Cummings, Ida, 293, 294 
 Cummings, Isabelle, 297 
 Cummings, Mrs. Letitia J., 142 
 Cummings, Ruth, 382 
 
 114, 9 
 
 Cumston, Dr. Charles Henry, q 
 
 382 
 Cunningham, Agnes Hall, 382 
 Cunningham, Elizabeth A., 382 — 
 Cunningham, Helen E., 382 . 
 Cunningham, John Albert, 382 _ 
 Cunningham, Mrs. Ollie, 287 
 Curran, Annie, 297 
 Curran, Mary E., 382 
 Currie, Mrs. John, 294 
 Currie, Mrs. Louise, 290 
 Currier, A., 335 
 Currier, Christine Worthen, 
 297, "382 
 Currier, Elizabeth, 278 
 Currier, Mrs. F. Allison, 298 
 Currier, Frederick Otis, 344 
 Currier, Mrs. Helen A., 278 
 Curtis, Alice M., 145 
 Curtis, Alvah, 347 
 Curtis, Cyrus H. K., 169, 257, 
 258, 264, 265, 267, 382 a 
 Curtis, Cyris*, A677 oa 
 
 332 
 
 Curtis, Faustina, 278, 280, 383 { 
 Curtis, Frank, iy ; 
 Curtis, George 1B 
 
BIOGRAPHICAL INDEX 
 
 Curtis, George William, 132 
 Curtis, Hattie, 292 
 Curtis, Lora Leone, 383 
 Curtis, Walter E., 353 
 Curwen, John, 105 
 Cushing, Mrs. Albert, 196 
 Cushing, Alice J., 274, 383 
 Cushing, Mrs. Amelia, 286 
 Cushing, Amy, 286 
 Cushing, Elizabeth, 141 
 Cushing, Emma Merrill, 383 
 Cushing, Mrs. Emma, 185 
 Cushing, Frederic a 119 
 Cushing, G. L., 188 
 Cushing, Mrs. G. W., 297 
 Cushing, Helen, 275 
 Cushing, Henry, 262 
 Cushing, Lizzie, 275 
 Cushing, Mrs. L. T., 185, 225, 
 226 
 Cushing, Mrs. Mae W., 302 
 Cushing, Max P., 226 
 Cushing, S. D., 120 
 Cushing, S. Helen, 145 
 Cushing, Walter P., 259, 383 
 Cushman, Arthur, 226 
 Cushman, Mrs. Charles, 142 
 Cushman, Mrs. Hannah, 61 
 Cushman, Mrs. Hiram N., 146 
 Cushman, Mrs. Lenora, 293 
 Cushman, Mrs. Marion, 284, 
 
 383 
 Cushman, Sylvia, 383 
 Cusick, James, 342 
 Cutler, Mrs. Charles, 280 
 Cutler, Janet, 145 
 Cutler, Thelma E., 286 
 Cutter, Alice, 273, 383 
 Cutter, Mrs. George, 192 
 Cutter, Leslie W., 180 
 Cutter, Mary, 180 
 Cutter, William H., 98 
 Cutts, Grace Merrill, 383 
 Cyr, Mrs. Anna, 287 
 
 D 
 
 Daggett, Cecil Maurice, 225, 
 304, 305, 383. 
 
 Daggett, Christine, 226 
 
 Daggett, Doris N., 383 
 
 Daggett, Emma R., 383 
 
 Dakin, Clarence L., 178 
 
 Dale, Samuel H., 179 
 
 Dallero, O. A., 383 
 
 Dalton, Mrs. Harry, 256, 383 
 
 Dalton, Kathleen M., 290, 383 
 
 Dam, Gertrude, 145 
 
 Dama, Luigi, 195 
 
 Damon, Frances Brackett, 383 
 
 Damon, Mrs. F. H., 278 
 
 Damon, Mrs. H. L., 119, 120, 
 203 
 Damren, Olive M., 384 
 Damrosch, Walter, 241 
 Dana, Francis Joseph, 3 
 Dana, Joe W., 354 
 Dana, Simon, 353, 354 
 Danforth, Elizabeth, 293 
 Danforth, Jennie M., 297 
 Danforth, John, 11 
 Danforth, Samuel, 11 
 Darker, Mrs. Caroline F., 
 274 
 Darker, Frances, 145 
 Darling, George, 192 
 Darrah, Mrs. W. C., 190 
 Darvill, Fred J., 303 
 Davenport, Mrs. Anne, 290 
 Davenport, Beatrice, 226 
 Davenport, C. A., 1 
 Davenport, F. S., 92, 98, 113, 
 114, 116, 154, 176, 177, 180, 
 183, 279 
 Davenport, Mrs. F. S., 
 177, 179, 180 
 Davenport, Mrs. M. G., 384 
 Davidson, Edith May, 384 
 Davidson, J. T., 224, 225 
 Davidson, Miss M. J., 226 
 Davie, William, 351 
 Davies, Mrs. George F., 304 
 Davies, Mrs. O. C. S., 276 
 Davies, Rev. T. M., 224 
 Davis, "Albert, 89, 203 
 Davis, Alexander (Sandy), 349 
 Davis, Annie L., 145, 172 
 Davis, Arthur C., 384 
 Davis, Arthur N., 286 
 Davis, Bertha, 280 
 Davis, Bertram L., 1 
 Davis, Carl, 162 
 Davis, Caroline E., 
 Davis, Charles, ee 
 Davis, Clara, 384 
 Davis, Mrs, Clifford, 384 
 Davis, Donald, 335 
 Davis, Frances, 306 
 Davis, Frank, 347 
 Davis, Mrs. Frank, 306 
 Davis, Dre Pe 126924003946 
 Davis, Mrs. Frederick L., 384 
 
 263, 
 
 176, 
 
 Davis, Mrs. Gertrude S., 226, 
 264, 384 
 
 Davis, Mrs. Gilman, 145, 149, 
 263 
 
 Davis, Mrs. Gladys, 303 
 Davis, Hazel Small, 384 
 Davis, H. E., 224 
 Davis, Ira M., 334 
 Davis, John H., 180 
 Davis, Leah, 302 
 
 489 
 
 Davis, Louise, 293 
 
 Davis, Margaret B., 145, 148 
 
 Davis, Marshall, 119, 224, 385 
 
 Davis, Paul, 335 
 
 Davis, Rose, 302 
 
 Davis, Mrs. R. W., 226 
 
 Davis, Sally, 145 
 
 Davis, deg Loe 9 925 333 
 
 Davis, William H., 263, 273 
 
 Davis, W. R., 349, 385 
 
 Davis, Mrs. W. R., 385 
 
 Davis, Willard W., 116, 172 
 
 Davis, William, 35, 52, 56 
 
 Davison, D. ae 160 
 
 Davison, Vera, 305 
 
 Davy, William, 159, 353 
 
 Day, Mrs. Albert H., 224 
 
 Day, Elizabeth, 306 
 
 Day, Ella, 296 
 
 Day, Francena, 297 
 
 Day, Franklin A., 88, 89 
 
 Day, Fred, 203, 263 
 
 Day, Frederick I., 292 
 
 Day, Mrs. Lewis M., 289 
 
 Day, Mrs. Mary C., 306 
 
 Day, Paul, 385 
 
 Day, Mrs. Walter F., 385 
 
 Day, Willis H., 351 
 
 Deacon, George A., 283 
 
 Dean, Mrs. Dorothy B., 227, 
 283 
 
 Dean, Dorothy, 321, 385 
 
 Dean, George W., 224, 285 
 
 Dean, H; G. 391 
 
 Dean, Mrs. James Lowell, 385 
 
 Dean, Mrs. Leon A., 280, 385 
 
 Dean, Leroy, 385 
 
 Deane, Frank N., 385 
 
 Deane, Mrs. Frank N., 385 
 
 Deane, Rev. Samuel, 14, 15 
 
 Dearborn, Hall C., 283, 340 
 
 Dearborn, Lloyd M., 283 
 
 Dearborn, Mae L., 277 
 
 Dearborn, Mrs. W. H., 145 
 
 Debeck, Leona, 288 
 
 Debeck, Leonard H., 352 
 
 Debeck, Robert W., 253 
 
 Decker, Eliza L., 187 
 
 Decker, Elizabeth, 89 
 
 Decker, Elmira, 197 
 
 Decker, Lucy E., 187 
 
 Decker, Marie, 89 
 
 Decker, Deacon Stephen, 197 
 
 Deering, Mrs. Bessie, 298 
 
 Deering, James, 37 
 
 Deering, John, 27 
 
 Deering, Nathaniel, 34, 52, 56 
 
 DeGrys, Viola, 275, 321, 328, 
 
 385 
 Deihl, Edward F., 297 
 Deihl, Harry, 297 
 
490 
 
 Delancy, John, ats 
 
 Delaney, J., 338 
 
 Delano, Charles M. G., 385 
 DeLano, Daniel, 347 
 DeLano, Rillie ce 348 
 Delaronde, Charles A., 385 
 Demack, Leo C., 297 
 DeMerritt, Mrs. Robert, 147 
 
 De Merritt, Mrs. Sarah S., 
 197 385 
 
 Demers, Valdemar Joseph, S. 
 M., 385 
 
 Demers, Joseph A., 385 
 Demmons, Mildred, 302 
 Dempsey, Kathleen, 290 
 Denar, Aubrey, 225, 385 
 Denison, Mrs. Mary T., 145,148 
 Dennett, Charles W., 351 
 Dennett, Gertrude, 280 
 Dennett, Louise, 193, 194, 226 
 Dennett, William H., 147, 154, 
 162, 163, 172, 173, 179, 310, 
 911,925 
 Dennett, Mrs. William Henry, 
 141, 142, 143, 148, 164, 311 
 Dennis, Arthur N., 155 
 Dennis, Francis Arthur, 385 
 Dennison, Benjamin, 62 
 Dennison, Mrs. Charles, 196 
 Dennison, P. B., 353 
 Densmore, Miss E. M., 115 
 De Reszke, Edouard, 237, 246 
 De Reszke, M. Jean, 236, 238, 
 
 246 
 Derthick, Wilbur M., 278 
 Desaulniers, Lucy Jane O., 386 
 Deshaies, Mrs. Anna, 296 
 Desjardiens, Dr. Louis P., 303 
 DesMarais, Harry C., 286 
 Devoe, Emma, 223 
 Devoe, Irving W., 
 386 
 Dewey, Blanche, 196 
 DeWolfe, Elizabeth, 264, 386 
 Dickerson, Mrs. James 5. 147 
 Dickey, Charles Bii57,.279 
 Dickey, Mrs. Lizzie K., 189 
 Dickey, Mark S., 225, 226 
 Dickey, May V.. 189 
 Dillingham, Mrs. Fred A., 278 
 Dils, Winnifred L., 287 
 Dimmoch, Eva M.. 263 
 Dimmoch, William A. , 249 
 Dimond, Daniel, 342 
 Dingley, Bret HH. Gs SN dar dp i de 
 311, 386 
 Dingley, Florence, 145 
 Dingley, F. L., 189 
 Dingley-Mathews, Mrs. 
 Blanche, 386 
 Dingley, Nelly, 187 
 
 283, 340, 
 
 BIOGRAPHICAL INDEX 
 
 Dinsmore, Harry Augustus, 
 325, 386 tad 
 
 Dinsmore, Hazel Robinson, 
 283 
 
 Dinsmore, Hiram, 59, 188, 190 
 Dinsmore, James, 325 
 Dinsmore, Mrs, James, 180 
 Dinsmore, Orin, 
 
 Dionne, Laurentine, 386 
 Ditson, Oliver, 104 
 
 Dixon, Lee W., 386 
 
 D’Nardi, Rita, 305 
 
 Dobson, Mrs. Lindley, 299 
 ee Ruth Ellen, 147, 318, 
 
 38 
 Dodge, C. H., 188 
 Dodge, Mrs. Edward, 145 
 Dodge, Gertrude, 226 
 Dodge, Rex W., 256 
 Dodge, Mrs. Rex, 145 
 Dodwell, Frances, 120, 
 164, 386 
 Dodwin, Gertrude, 311 
 Doe, Mrs. Annetta Clark, 386 
 Doe, Harold Oliver, 283, 387 
 Doe, Mrs. Harris N., 280, 281 
 Doeme, Zolton F., 239 
 Doherty, Wendell W., 
 335, 387 
 Dole, Elizabeth, 88 
 Dole, Hannah, 89 
 Dole, John H., 48, 178 
 Dole, Rev. L. A., 289 
 Dole, Nathan Haskell, 387 
 Dolley, Mrs. Helen M., 321, 
 387 
 Dolloff, Vesta, 387 
 Donahue, Elizabeth, 302 
 Donald, May Norton, 387 
 Donland, Eleanor A., 274 
 Donnell, Frances, 147, 
 274, 387 
 Donnell, Louise, 226 
 Donnell, Mrs. W. E., 293 
 Donnelly, Thomas, 154 
 Donovan, Ann Russell, 
 387 
 Donovan, Faith, 283 
 Donovan, Hilda, 280 
 Donovan, Rose Ella, 387 
 Donovan, Mrs. T. G., 280, 281, 
 308 
 Donworth, Eugene C., 224 
 Dority, Mrs. Fred, 278 
 Doron, Huldah S., 284, 388 
 Dorr, Harold W., 388 
 Dorrance, Sarah, 52, 56 
 Dostie, Claire, 294, 388 
 Doten, Mrs. Charles, 145 
 Doten, Chester W., 119 
 Doten, Mrs. Nellie King, 275 
 
 145, 
 
 256, 
 
 253; 
 
 284, 
 
 Doughty, Alfred W., 353 
 Doughty, Frank W., 343 
 Douglass, Annie A., 226 
 Douglass, Mrs. Annie B., 
 Douglass, Arthur L., 256 
 Douglass, Earle B., 286 
 Douglass, Major Jack, 61 
 Douglass, Jacob, 316 
 Dow, Mrs. Clara, 306 
 Dow, Fred E., 155, 156 
 Dow, Mrs. Goldie, 290 
 Dow, Grace A., 306 
 Dow, Mrs. Guy, 276 s 
 Dow, Helen Elizabeth, 321, 388 — 
 Dow; 2M. q 
 Dow, Mrs. Mae Haskell, 388 
 Dow, Richard S., 178 
 Dow, Sterling T., 119 
 Dow, Mrs. Wilmot, 299 
 Down, Edith, 388 
 Downer, Ella M., 190, 304 
 Downie, Cecilia, "290 q 
 Downing, Alfreda Rogers, 388 — 
 Downing, Kenneth W., 340 f 
 Downing, Mrs. Mellen. T., 294% 
 Downs, Charles E., 255, 335 % 
 Downs, Frederic Le 256 
 Downs, Ocey, 274, 308 
 Doyen, Jesse, 349 
 Doyle, Mrs. Augusta, 222, 292, 
 293, 294 
 Doyle, Mrs. Dora, 287, 297 
 Doyle, James, 334 
 Doyle, Rose, 293 F. 
 Drake, Frederick E., 225, 285, 
 388 3 
 Drake, George, 297 
 Drake, H. B., 227, 309 
 Drapeau, Conrad L., 286 4 
 Drapeau, Mrs. Conrad L., 286 — 
 Draper, Lincoln, 256 7 
 Dresser, Mrs. Clarence, 146 
 Dresser, Mrs. Delma K., 260 
 Dresser, Ethel M., 145 
 Dresser, James, 52, 54 
 Drew, Allen, 88, 89 
 Drew, Annie F., 115 
 Drew, Mrs. Fred, 299 
 Drew, Harry Tilden, 351, 388 © 
 Drew, Nellie, 189, 190 
 Drew, ‘Mrs. Timothy, 33 . 
 Drinkwater, Frances M., 227, — 
 278 
 Drinkwater, H. A., 194 
 Drinkwine, Florence R., 388 
 Driscoll, John, 342 
 Drossel, Paul, 272, 335 q 
 Druilettes, Father Gabrielle, 5, — 
 193 
 Drummond, Alexander, 197 . 
 Drummond, Henry F., 283, 339 — 
 
 294 4 | 
 
POG wor rub A Ly LN DIX 
 
 491 
 
 Drummond, Mrs. Henry F., 
 280, 281 
 
 Dryden, Susie D., 120 
 
 Dube, Lena L., 225, 226 
 
 Dube, Mrs. Z., 295 
 
 Dudley, May, 201 
 
 Dufair, Raoul, 388 
 
 Duff, Sarah Robinson, 172, 388 
 
 Dugal, A. J., 388 
 
 Dugan, Mildred M., 150, 253, 
 256, 272, 388 
 
 Duley, Lloyd G., 
 285 
 
 Dumais, Ludger, 388 
 
 Dumesnil, Maurice, 328 
 
 Dummer, Lucy G., 27 
 
 Dumont, Bernadette, 295 
 
 Dunbar, E. W., 184 
 
 Dunbar, Mrs. E. W., 184 
 
 Dunbar, Mrs. Oscar, 388 
 
 Duncan, Bessie, 304, 388 
 
 Duncan, Mrs. George, 275 
 
 Duncan, Harry A., 159 
 
 Duncan, Marion, 304 
 
 Dunham, A. M. (Mellie), 175, 
 316, 388 
 
 Dunham, Henry M., 134, 139 
 
 Dunham, Kenneth L., 283 
 
 Dunlap, Erlon M., 297 
 
 Dunlap, Mrs. E. M., 388 
 
 Dunlap, John S., 261 
 
 Dunlap, Marcia, 328 
 
 Dunleavy, Margaret, 388 
 
 Dunn, Elizabeth R., 297 
 
 Dunn, Florence, 306, 388 
 
 Dunn, James L., 343 
 
 Dunn, Mrs. Lawrence, 306 
 
 Dunn, Ruth, 321 
 
 Dunning, Alice S., 222, 286, 
 388 
 
 Dunning, Mrs. Herbert A., 280 
 
 Dunphy, Marguerite, 263 
 
 Dunphy, Susie, 223 
 
 Dunstan, Rev. John, 249 
 
 Dunton, Mrs. Emma, 183 
 
 Dunton, Helen M., 193 
 
 Dunton, Sophie, 278 
 
 Duplessie, Orville, 256, 335 
 
 Durell, Edgar A., 352, 35, 
 
 Duren, Elizabeth Freeman, 114 
 
 Duren, Elnathan F., 93, 113, 
 Tid> 15116 
 
 Duren, Ethel A., 280, 388 
 
 Duren, Viola A., 280, 283, 389 
 
 Durepo, Annie, 304 
 
 Duston, George L., 187 
 
 Dutton, Mrs. W. H., 101 
 
 Dwelley, Mary, 389 
 
 Dwelly, Mrs. Edwin, 196 
 
 Dwyer, Annie, 389 
 
 Dwyer, J., 154 
 
 S02) 224, 
 
 Dyer, Mrs. Abbie F., 179, 292 
 
 Dyer, Cecil, 335 
 
 Dyer, Elizabeth W., 142, 148 
 
 Dyer, Mrs. Emma J., 274 
 
 Dyer, Frank, 276 
 
 Dyer, Mrs. Fred, 274, 275 
 
 Dyer, Mrs. Harry, 146 
 
 Dyer, Hugh, 354 
 
 Dyer, Kate F., 145 
 
 Dyer, Marion Randall, 147, 
 263 
 
 Dymond, Mrs. Anna T., 283, 
 389 
 
 E 
 
 Eagan, Lawrence F., 261, 389 
 
 Eagles, Irene, 273 
 
 Eames, Emma, 172, 227, 239, 
 245, 246, 389 
 
 Eames, Mrs. Emma Hayden, 
 145, 195, 245, 310, 389 
 
 Eames, Ethel, 22 
 
 Eames, Ithamar Bellows, 245 
 
 Eames, L., 116 
 
 Eastman, Alfred E., 277 
 
 Eastman, Mrs. Chase, 146 
 
 Eastman, Fred E., 119 
 
 Eastman, Mrs. Marion, 260 
 
 * Easton, Mrs. D. A., 142 
 
 Eaton, Charles, 345 
 
 Eaton, Mrs. Franklin, 226 
 
 Eaton, Hattie, 151 
 
 Eaton, H. C., 158, 339 
 
 Eaton, Henry B., 224, 227, 
 389 
 
 Eaton, Horace, 303 
 
 Eaton, Howard, 340 
 
 Eaton, W. S., 224 
 
 Ebbeson, Agnes, 280, 284, 389 
 
 Ebbeson, Olga, 284 
 
 Ebbett, Avis, 287 
 
 Edes, Mrs. D. H., 226, 261 
 
 Edes, Mabelle Sawyer, 389 
 
 Edes, Peter, 30 
 
 Eddy, Sara Hershey, 175 
 
 Edgecomb, Frank M., 389 
 
 Edgecomb, Miriam M., 283 
 
 Edgerly, Cora Emily, 389 
 
 Edminster, Mrs. L. F., 285 
 
 Edmunds, Mrs. Edward, Jr., 
 288 
 
 Edmunds, Eunice E., 61 
 
 Edwards, A. B., 190 
 
 Edwards, Mrs. A. E., 190 
 
 Edwards, Albert, 187 
 
 Edwards, Mrs. Augusta, 188, 
 189 
 
 Edwards, Azola Pike, 389 
 
 Edwards, Calvin, 97, 323, 324 
 
 Edwards, Claude H., 389 
 
 Edwards, Edith, 188 
 
 Edwards, Ethel Maud, 149, 
 389 
 
 Edwards. E.cA:, 154.) 222;/277, 
 284, 389 
 
 Edwards, F. H., 161 
 
 Edwards, George ‘Thornton, 
 157, 249, 250, 251, 314, 389 
 
 Edwards, Henry S., 77, 78, 80, 
 165, 199, 201 
 
 Edwards, Julius, 183 
 
 Edwards, O. S., 90 
 
 Edwards, Vertie, 293 
 
 Egery, Thomas N., 179 
 
 Eichberg, Julius, 183 
 
 Elder, E. E., 161 
 
 Eldridge, Emily, 147, 150, 253, 
 274, 390 
 
 Eldridge, Mrs. J. H., 278 
 
 Eldridge, Helen A., 390 
 
 Eliason, Karin, 390 
 
 Eliot, Dr. Charles W., 
 138 
 
 Elkins, Charles A., 223, 224 
 
 Ellerman, Blanche, 161 
 
 Ellingwood, Ella P., 390 
 
 Ellingwood, Mrs. Ruth, 302 
 
 Elliott, Alice E., 287, 288 
 
 Elliott, Emma, 195 
 
 Elliott, Georgia, 390 
 
 Elliott, Mrs. Norma, 226 
 
 Elliott, Pearl, 260 
 
 Elliott, Washington, 87 
 
 Ellis, Beryl, 390 
 
 Ellis, Mrs. Grace, 293, 297 
 
 Pilg ib 161 
 
 Ellis, Julian F., 297 
 
 Ellis, Mrs. Julian F., 294, 390 
 
 Eihs: Me Bs 432 
 
 Ellis, Otis, 351 
 
 Ellison, James, 154 
 
 Ellison, Mrs. Sarah M., 142, 
 163, 164 
 
 Ellsworth, Mrs. Lily, 292 
 
 Elmer, W. L., 224 
 
 Elmore, H. T., 276 
 
 Elmore, Mrs. H. T., 276 
 
 Elms, Mrs. R. H., 278 
 
 Elson, Louis C., 128 
 
 Elwell, Mrs. Frank, 146 
 
 Elwell, Fred L., 352 
 
 Elwell, Mrs. Helen, 275 
 
 Elwell, Myrle, 305 
 
 Elwell, Stephen E., 352 
 
 Emerson, Mrs. Ada H., 145 
 
 Emerson, Addie D., 260 
 
 Emerson, Alice Brett, 390 
 
 Emerson, Edmund, 289 
 
 Emerson, George D., 191 
 
 Emerson, Irving, 309 
 
 Emerson, Joseph, 195, 277 
 
 124, 
 
492 
 
 BIOGRAPHICAL INDEX 
 
 Emerson, Luther O., 
 116, 181 
 
 Emerson, Ralph Waldo, 132 
 
 Emerson, Dr. Samuel, 34, 38, 
 40, 41 
 
 Emerson, Mrs. William E., 294, 
 
 295 ; 
 Emery, Mrs. Abbie E., 142 
 Emery, Asa, 99 
 Emery, H. L., 296 
 Emery, James, 67 
 Emery, James L., 191 
 Emery, Joseph, 33 
 Emery, Mary J., 261 
 Emery, Sarah P., 227, 390 
 Emery, Stephen, 201 
 Emery, Stephen A., 201, 202 
 Emery, W. H. F., 155 
 Emminger, W. K., 187, 190 
 Emmons, Mrs. Abbie, 222, 292, 
 293 
 Emmons, Mrs. Carrie E., 222, 
 390 
 Emmons, Mrs. George, 294 
 Emond, Marie i FOO 
 Emple, Hyman, 283 
 Epps, Dr. Franklin Stevens, 
 
 107, 108, 
 
 390 
 Erickson, Arthur, 272 
 Ericson, Bernard, 354 
 Erskine, Alice, 302, 303 
 Estabrooke, H. M., 225 
 Estes, Audrey, 294 
 Esty, Alice, 291 
 Esty, Joseph W., 109, 197, 350 
 Eustis, Harry ie 237 205. 
 256, 258, 260, 391 
 Eustis, Wallace, 347 
 Evans, Dr. H. C., 300 
 Evans, Mrs. H. C., 300 
 Evans, Josepha V., 298, 391 
 Evans, Mrs. Louise A., 184 
 Evans, Ora Liston, 391 
 Evans, W. B., 180 
 Evans, Warren R., 184 
 Eveleth, Aaron, 88 
 Eveleth, Ellen O., 145 
 Eveleth, John, 38, 41, 88 
 Eveleth, Nellie A., 120 
 Eveleth, Sarah, 275 
 Everett, Rev. C. C., 179 
 Everett, Helen, 181 
 Everett, Oliver, 52, 54 
 Ewing, Margaret, 258, 
 273 
 
 260, 
 
 F 
 
 Fagan, John T.. 53, 119, 164, 
 166, 254, 266, 268, 313, 329, 
 
 334, 336, 391 : 
 Fairbanks, Mrs. Bessie, 290 
 
 Fairbanks, Charles N., 186 
 Fairbanks, Columbus, 110 
 Fairbanks, George J., 1 
 Fairbanks, F. M., 350 
 Fairbanks, George W., 65, 89, 
 109 
 Fairbanks, Harriet, 182 
 Fairbanks, Horatio W., 110 
 Fairbanks, John, 35 
 Fairbanks, Hon. Joseph W., 97, 
 
 98, 186, 349 
 julia Sretae 
 
 Fairbanks, Mrs. 
 186 
 Fairbanks, Phebe, 110, 198 
 Fairchild, Blair, 134 
 Fairfield, Ellen, 145 
 Fairman, Alice, 164 
 Fales, Lillian, 303 
 Fallon, Elizabeth F., 284 
 Farley, Mrs. Alice Goudy, 222 
 Farley, Mrs. Cyrus H., 142, 
 148, 391 
 Farley, Mrs. Elsie H., 142 
 Farley, Mrs. Henry G., 
 391 
 Farley, Susan, 142 
 Farnham, Mrs. Beryl, 303 
 Farnham, Frances, 391 
 Farnham, Harriet W., 145 
 Farnham, Mrs. Harry, 280 
 Farnham, Herbert, 346 
 Farnham, Natalie Hardy, 391 
 Farnham, Mrs. Vera, 306 
 Farnsworth, E. C., 263, 391 
 Farnum, Mrs. S. Merritt, 294, 
 295, 308 
 Farr, Annie, 263, 391 
 Farr, Charles, 335 
 Farr, Edith, 260 
 Farr, John, 255, 258, 392 
 Farr, Lawrence, 335 
 Farrar, Geraldine, 172, 246 
 Farrar, Lucy, 293 
 Farrar, Sidney, 246, 392 
 Farrar, Violet, 304 
 Farrell, Charles, 175, 200 
 Farrell, Leila, 200, 263 
 Farrington, B. F., 222 
 Fayrington, Cora Ramsdell, 
 
 392 
 Farrington, E. C., 89, 90, 190 
 Farrington, Edith M., 284, 392 
 Farrington, George S., 177 
 Farrington, Grace, 145 
 Farrington, Harold Edward, 
 392 
 Farrington, H. T., 334 
 Farrington, J. L., 190 
 Farrington, Paul, 335 
 Farrow, Miss S., 181 
 Farrow, Mrs. William, 300 
 
 146, . 
 
 - Fenderson, Mrs. 
 
 Farwell, Mrs. A. E., 225 
 Farwell, Mrs. Cora, 301 
 Farwell, Eva, 190 
 Farwell, Gorham, 343 
 Farwell, Lyndon L., 343 
 Fassett, Harriet, 145, 263 
 Faught, Frank H., 254, 392 
 Faulkenham, Mary, 260, 392 
 Faunce, Mary E., 193, 226 
 Faunce, Mrs. Vernon, 294 
 Favor, Edward P., 392 
 Fay, Edward, 286 
 Fay, John E., 273, 392 _ 
 Fay,/ Rev. S. P., 113, 115, 116.98 
 154, 179 
 Feeney, Charles E., 392 
 Feeney, Helen, 302 
 Felden, Dr. Botho, 256, 273 
 Felden, Mrs. Botho, 256 
 Felician, Father, 5 
 Fellows, Deborah Swan, 184 
 Fellows, Mrs. Nettie, 119, 120, 
 146, 164, 172, 173, 262, 392 © 
 Felt, George C., 159 
 Fenderson, Bertha King, 392 
 Fenderson, Carll N., 349 
 Fenderson, Charles K., 255, q 
 258, 263, 273, 392 
 Charles K., 
 146, 148, 258, 263 
 Fenderson, J. H., 192 
 Fenderson, Julia, 200 
 Fenderson, Leigh G., 392 
 Fenderson, Sarah is 393 
 Fenn, Mrs. D. H; 4 
 Fenton, Mrs. R. M. eer 393 
 Fernald, Eli, 187 - 
 Fernald, Ellen, 302 
 Fernald, Esther, 302 
 Fernald, Mrs. E. W., 299 
 Fernald, eae! 321, 393 
 Fernald, Dr.28; -Gi7 810, 154 
 161 
 Ferrero, Willy, 247, 393 . 
 Fessenden, Mrs. Laura, 288 
 Fessenden, Mabel Bates, 393 
 Fessenden, Mrs. N., 288 
 Fessenden, W. H., 291 
 Fessenden, Mrs. W. H., 142 
 Fessenden, William Pitt, 163 
 Fickett, Louis W., 255, 334, 
 
 393 
 Field, Arthur A., 340, 393 
 Field, Mrs. Donna, 261 
 F ield. Frances G., 393 
 ice Rev. G. W., 115, 116, 
 
 Field. Mabel R., 145 
 Field, Sara F., 223 
 Field, William R., Jr., 342 
 Field, Mrs. Winnifred. 288 
 
BIOGRAPHICAL INDEX 
 
 Fife, Fredericka L., 393 
 Fifield, Alice Gould, 393 
 Fifield, Harry, 226 — 
 Fifield, Marion Louise, 394 
 Files, Charles O., 263, 273 
 Files, Harry S., 255, 256, 258, 
 273, 394 
 Files, Mrs. Harry S., 146, 394 
 Files, Katherine, 321, 394 
 Files, Louis M., 263 
 Files, Mrs. Louis M., 
 Fillebrown, T., 190 
 Filteau, George, 296 
 Finck, Henry ee eA. 2361237 
 Findley, Myaek.. 145, 263,275 
 Fineburg, Abraham, 256 
 Fineburg, Hyman, 256, a3 5 
 Fineburg, Rose, 272 
 Fineburg, Samuel, 272 
 Finnegan, M. Hilda, 283 
 Finnegan, Wilfrid A., 227, 394 
 Firth, Elizabeth, 222 
 Fish, Clarence A., 346, 394 
 Fish, Church, 89 
 Fish, Frank H., 254 
 Fisher, Cecil, 288, 394 
 Fisher, Clara, 161 
 Fisher, David Ellery, 394 
 Fisher, John E., 155 
 Fisher, Rev. Jonathan, 41 
 Fisher, Mrs. Stanwood, 
 
 394 
 Fiske, John, 125, 136 
 Fitch, Claud L,, 351 
 Fitch, W. L..° 172, 187 
 Fithian, Philip V., 17, 18 
 Fitts, Henry King, 263 
 Fitzgerald, Robert, 260 
 Fitzsimmons, Mrs. Idella, 290 
 Flagg, Earl L., 256 
 Flagg, Gertrude, 263 
 Flagg, Norman, 335 
 Flagg, Olive G., 275, 394 
 Flanagan, Mrs. J. H., 222 
 Flanagan, Margaret, 293, 297 
 Flanders, David Pollard, 341 
 Flanders, Ella, 226, 309 
 ove Ruth Augusta, 253, 
 
 Poe Mrs. R. L., 280 
 Flannigan, Anna F., 394 
 Fleming, Mrs. Eisie, 303 
 Fletcher, Clementine, 145 
 Fletcher, Doris, 226 
 Fletcher, Edward, 394 
 Fletcher, Helen, 300 
 Fletcher, Mary, 146 
 Fletcher, ok a 
 Fling, H. R.., 
 
 Flint, Mrs. Pred # be 
 Flint, Mrs. Lucy M., 
 Flinton, PAA $04 
 
 260, 394 
 
 145, 
 
 ap 186 
 
 Flood, Alice Ada, 294, 394 
 Flood, James P., 394 
 
 Flye, Mrs. Alden, 184 
 Five, -Mrs. JiR. 222; 398 
 Flynn, Mrs. Pearl E., 146 
 Fobes, Marion, 146, 148 
 
 Fobes, Mrs. Ruth Carter, 260, 
 
 395 
 Fogarty, Susie, 304 
 Fogg, Mrs. A. L., 226 
 Fogg, Ernest, 225 
 Fogg, Mrs. Efhe, 293 
 Fogg, Evelyn D., 146, 395 
 Fogg, E. H., 179 
 Fogg, Mrs. Florence, 226 
 Fogg, Mrs. Grace, 303 
 Fogg, N. L., 190 
 Fogg, Mrs. Orrin S., 142 
 Fogg, Mrs. Walter, 146 
 Foley, Dorothy, 260, 395 
 Follansbee, Charles M., 120 
 Folsam, Ida, 299 
 Folsam, Mrs. Susie Jewett, 292, 
 297 
 Folsom, Julia, 191 
 Folsom, Sarah A., 146 
 Foote, Arthur, 134, 139 
 Forbes, Mrs. H. B., 299 
 Forbes, Joseph, 93, 96, 98, 115 
 Ford, Frank, 254, 395 
 Forsaith, Isabel S., 286, 395 
 Fortier, Cecilia, 276 
 Fortier, Germaine, 395 
 Foss, Al, 340 
 Foss, Benjamin F., 327 
 Foss, Donald M., 255, 258, 395 
 Foss, Edwin J., 191 
 Foss, Esther A., 253, 263, 274, 
 
 395 
 Foss, Mrs. Harold, 294 
 Foss, Marie E., 1 
 Foss, Marion, 284, 395 
 Foster, Barbara Lancey, 395 
 Foster, Charles S., 395 
 Foster, Mrs. Eva, 297 
 Foster, Mrs. G. W., 222 
 Foster, Hallett, 305 
 Foster, Harriet, 146, 263 
 Foster, Helen, 275, 311 
 Foster, Jacob, 349 
 Foster, Jane F., 321, 395 
 Foster, Mabel W., 275, 
 
 395 
 Foster, R. R., 110 
 Foster, Sherwood, 348 
 Fournier, Lucien, 296 
 Fowler, Annie, 161 
 Fowler, Mrs. E. Beryl, 
 
 305, 
 
 288, 
 
 395 
 Fowler, Ida, 321, 395 
 Fowles, Mrs. Addie. 293 
 Fowles, A. W., 188. 297 
 
 493 
 
 Fowles, Mrs. A. W., 292, 294 
 Fox, Carrie Browne, 395 
 Fox, Mrs. Frederic, 222 
 Fox, Martin B., 277 
 Fox, Susan Whitney, 75, 76 
 Foye, Charles, 157 
 Foye, John W., 352 
 Francis, George I Git oi 
 Francis, Irma May, 294, 395 
 Francis, Pearce, 255, 258, 263, 
 273, 395 
 Frank, Albert R., 200, 225 
 Frank, Charles W., 352 
 Frank. Bh. Clayton; 263,335 
 Frank, Mrs. Henry P., 146, 
 308, 395 
 Frank, Ida, 304 
 Frank, Raymond, 256 
 Frazier, Mrs. Alice C., 119 
 Frederic, Mildred, 349 
 Frederick, Franklin R., 101 
 Frederick, J. W., 101 
 Fredette, Robert F., 256 
 Freebourne, Mrs. James, 145 
 Freeland, Mrs. G. B., 278 
 Freeman, C. E., 261 
 Freeman, Claire L., 146 
 Freeman, Mrs. C., 190 
 Freeman, Charlotte, 52, 56 
 Freeman, Esther Rogers, 297 
 Freeman, Mrs. F. W., 225 
 Freeman, Ida May, 395 
 Freeman, Joseph, 334 
 Freeman, Malcolm W., 256 
 Freeman, Mrs. Marion J., 260, 
 396 
 Freeman, Samuel, 14 
 Freeman, William H., 353 
 Freese, A. Langdon, 227, 396 
 Fremstad, Olive, 248 
 French, Dr. Alger W., 
 French, Alice, 288 
 French, A. O., 224 
 French, Augustus H., 116 
 French, Augustus S., 93 
 French, Clarence M., 255, 258. 
 
 39 
 French, F. F., 179 
 French, Foster, 347 
 French, George F., 118 
 French, George W.. 180 
 French, Harry. 347 
 French, Mrs. Henry P., 396 
 French, Mrs. Leila B., 301, 311 
 French, Leita Esther, 321, 396 
 French, Mrs. Lilla, 226 
 French, Lucien D., 297 
 French, Lucille, 146 
 French, Marian, 288 
 French, Mrs. N. G., 294 
 French, Mrs. Virginia M., 295, 
 
 395 
 
 157, 159 
 
494 
 
 Friedman, Harold, 277, 396 
 
 Friend, Mrs. Lilla, 276, 396 
 
 Friend, Nellie A., 179 
 
 Frier, Kurt, 337 
 
 Fries, Wulf, 158 
 
 Frohock, Mrs. Jeanette Mary, 
 396 
 
 Frohock, Louise, 321, 396 
 
 Frohock, Roscoe R., 311 
 
 Frost, Charles A., 337, 338 
 
 Frost, Doris, 396 
 
 Frost, Dorothy, 286 
 
 Frost, Eben H., 94, 116 
 
 Frost, Mrs. E. 'M.. 224, 396 
 
 Frost, Eleanor L., "286, 287 
 
 Frost, Ethola, 194 
 
 Frost, Evelyn, 263 
 
 Frost, Mrs. J. R., 226 
 
 Frost, Mrs. Katie M., 396 
 
 Frost, Mrs. Mary, 298 
 
 Frost, Melvin, 347 
 
 Frost, Nettie Bird, 301, 
 396 
 
 Frost, Rig 335 
 
 _ Frost, Simeon A., 396 
 
 Frost, Susan, 306 
 
 Frost, William, 347 
 
 Frye, Mrs. E. M., 224 
 
 Fuller, Alice L., 396 
 
 Fuller, Brinda, 191 
 
 Fuller, Frank Richard, 397 
 
 Fuller, Irene, 243 
 
 Fuller, Mrs. Irma, 303 
 
 Fuller, Mrs. Kathleen S908, 
 
 302 
 Fuller, Martha, 182 
 Fuller, Mary, 181, 182, 300 
 Fullerton, Mrs. Charles D., 
 260, 397 
 Fullerton, C. L., 263 
 Fullerton, Mrs. C: Le 
 ee Ethel, 146, Bree 264, 
 
 302, 
 
 Racoer Mrs. Florence, 306 
 Furber, Mrs. Bertha S., 397 
 Furber, Mrs. Harry O., 264 
 Furber, Mrs. Julia, 196 
 Furber, Miss M. W., 187 
 Furbish, Clara, 182, 300 
 Furbish, James, 69, 78 
 Furbish, Jane, 185 
 Furbish, Joshua, 323 
 Furbish, Mrs. Louise, 102, 182, 
 300, 301 
 Furlong, Harold C., 256, 258, 
 259, 261, 263, 273, 397 
 
 G 
 
 Gaddis, George D., 349 
 Gaffney, Mrs. Stephen J., 260, 
 
 274, 397 
 
 Gage, Isaac, 52, 55 
 
 Gage, Walter R., 309, 397 
 Gage, William, 111 
 
 Gale; HE 350 
 Gamage, Joshua, 23 
 Gammon, Alice, 223 
 Gammon, Barbara, 349 
 Gammon, Edward, 334 
 Gammon, E. M., 159, 333 
 Gammon, Mrs. F., 190 
 Gammon, Pitt, 347 
 
 Ganner, F. E., 397 
 ee Ep Guy. P45 266; 
 308, 3 
 
 eee "tana M., 332 
 
 Ganz, Rudolph, 248 
 
 Garand, Rose A., 222 
 
 Garcelon, Mrs. A. B., 280 
 
 Garcelon, Helen Stowell, 397 
 
 Garcia, Mme. Viardot, 176, 
 208 
 
 Garden, Mary, 172 
 
 Gardenier, John Su) 256.5272 
 
 Gardiner, Mrs. Florence, 275) 
 
 Gardiner, G. W., 184 
 
 Gardiner, Herbert R., 227 
 
 Gardiner, Mrs. Lila, 290 
 
 Gardiner, Mrs. W. H., 
 278, 280 
 
 Gardiner, Mrs. W. N., 222 
 
 Gardner, Mrs. Damie R., 302 
 
 Gardner, Mrs. Helen G., 146 
 
 Gardner, Ralph, 180 
 
 Gardner, Mrs. U. G., 226 
 
 Gardner, W. H., 115 
 
 Garland, Abbie, 114, 178, 179, 
 277, 281, 397 
 
 Garland, Mabel, 222 
 
 Garneau, Rita, 296 
 
 Garneau, Wilfred, 296 
 
 Garner, Florence R., 249 
 
 Garrand, Joseph, 342 
 
 Garrity, James T., 336 
 
 Gartner, Carl, 123 
 
 Garton, Cedric H., 397 
 
 Garvin, Harry, 285 
 
 Gaskins, Josephine, 261. 
 
 Gatchell, Herbert A., 297 
 
 oe John Campbell, 286, 
 
 Gatchell, Mark A., 297 
 Gatley, Ernest, 523 
 Gaudette, Anna, 397 
 Gaudette, Willie, 342 
 Gauvin, Marie, 295 
 
 Gay, Gilbert RE 397 
 
 Gay, Jabez T., 186 
 
 Gay, Mrs. William F., 186 
 Geer, Dr. George I., 254, 397 
 Gelder, F. W. Van, 183 
 Gellerson, Mrs. Rex, 288 
 Gendreau, L. N., 297, 343 
 
 177, 
 
 BIOGRAPHICAL INDEX 
 
 Genthner, Alice, 225 
 Geoffrion, Mrs. L. P., 397 
 Geopp, Philip He 490 4 
 George, Mrs. Dorothy Bird, 
 302 on 
 Gerrish, Gertrude, 146 
 Gerrish, H. G., 342 4 
 Gerrish, Lester N., 255, 258, 
 
 397 
 Gerrish, Margaret, 149 | 
 Gerrish, Stanley S., 255, 257, 
 259, 263, 398 
 Gerry, Alice, 142, 164 
 Gerry, Mrs. Flora M., 249 
 Gerry, Ruth May, 147 
 Gerster, Etelka, 216 
 Gervais, Jeannett C., 286 
 Getchell, Lucille, 280 
 Getchell, Mark, 398 
 Getchell, William E., 316 
 Getineau, D. D., 398 
 Gibbs, F. C., 334 
 Giboin, Bertha M., 398 
 Giboin, George G., 297, 398 
 Gibson, Arthur W., 350, 398 
 Gibson, Edwin L., 254, 398 
 Gibson, George, 398 
 Gibson, Marcella, 304 
 Gibson, Rita, 261 
 Gibson, Theresa, 207 
 Giddings, Moses, 179 
 Gifford, Grace, 149, 150 - 
 Gifford, Henry, 254, 255, 334, 
 
 344, 350, 398 
 Gifford, Hilda, 398 
 Gifford, Mrs. Mary, 293, 297 
 Giguere, Emile, 398 
 Giguere, Lucien, 296 
 Gilbert, B. F., 207 
 Gilbert, Fred A., 227, 398 
 Gilbert, Gordon, 296, 398 
 Gilbert, Joseph Jean, 398 
 Gilbert, M. B., 159 
 Gilbert, Marion E., 313 
 Gilbert, Raleigh, 8 
 Gilbert, Mrs. Stephen P., 145 
 Gilberte, Hallett, 398 
 Gilchrist, Elon, 194, 226 
 Gilchrist, Mrs. Elon, 194 
 Gilcrease, Grace E., 277 
 Gilder, Richard Watson, 228 
 Giles, Edgar E., 334 
 Giles, Erva Lucille, 399 
 Giles, Eva, 226 
 Giles, Harriet K.., 
 Giles, Hazel, 226 
 Gilkey, George P., 342 
 Gilkey, John, 349 
 Gilkey, R. E., 188 
 Gillies, W. N., 337, 338 
 Gillise, Mrs. Frank N., 264 
 Gilman, Allen, 41 
 
 223, 399 
 
BIOGRAPHICAL INDEX 
 
 495 
 
 ee. eee 
 
 Gilman, Rev. Edward W., 116 
 Gilman, Mrs. Henry, 275 
 Gilman, Mrs. J. R., 294 
 Gilman, Mrs. Sarah H., 261 
 Gilmartin, John Reed, 256, 399 
 Gilmore, Patrick S., 153, 200, 
 
 232 
 Gilpatrick, Ruth Gould, 290, 
 
 399 
 
 Gilpatrick, Mrs. Victor, 146 
 
 Gilson, Bertha G., 146 
 
 Ginn, Charlotte, 116 
 
 Ginn, Isabel, 193 
 
 Ginrich, A. D., 337 
 
 Girouard, Marguerite, 146, 150, 
 175, 293, 399 
 
 Given, Fred, 253, 254, 312, 
 
 fie ts 
 Given, William H., 344 
 Glass, Aline, 227 
 Glazier, Marsters & Smith, 32 
 Glazier, Phylis, 305 
 Gleason, Mary, 186 
 Gledhill, Mrs. Emma, 293 
 Gledhill, Mrs. Warren W..,, 222, 
 224, 294, 399 
 Glidden, Charles, 109, 350 
 Glidden, Earl, 303 
 Glidden, Harold, 351 
 Glover, George H., 340, 343 
 Glynn, Thomas E., 162, 174, 
 
 175 
 Godfrey, John, 177 
 Godfrey, Hon. John E., 115, 
 LIG.076, 197 
 Godfrey, Sophia Dutton, 177 
 Godsoe, Mrs. Walter, 280 
 Goff, Mrs. Marcia, 305 
 Goff, Melvin, 185 
 Gogorza, Emilio de, 227, 245, 
 
 399 
 Goldburg, Harry L., 399 
 Goldthwait, Lizzie P., 191 
 Goldwaithe, Mrs. John, 278 
 Gondella, Felix, 305 
 Gonya, Mrs. Ellie M., 298 
 Gonya, Emma, 226 
 Gooch, Fred, 335 
 Gooch, John B., 335, 353 
 Goodale, Ezekiel, 30 
 Goodale, E. H., 338 
 Goodall, Russell, 303 
 Goodenough, Rev. Simon, 115, 
 194 
 Goodenow, Mrs. W. B., 279 
 Goodhue, Albion Paris, 399 
 Goodhue, Norma H., 288 
 Goodkowsky, Mrs. Isaac, 294 
 Goodnow, Mrs. C. W., 224 
 Goodnow, Ellen V., 186 
 Goodnow, Mrs. Frances M.., 
 222, 225, 306, 399 
 
 Goodrich, Abbie C., 186 
 
 Goodrich, Earl E., 296 
 
 Goodridge, Mrs. Anna French, 
 290, 399 
 
 Goodwin, Addie S., 199 
 
 Goodwin, Arthur W., 353 
 
 Goodwin, Rev. Daniel, 179 
 
 Goodwin, Eva A., 146 
 
 Goodwin, Harry, 349 
 
 Goodwin, H. E., 400 
 
 Goodwin, Mrs. J., 190 
 
 Goodwin, Margaret, 146 
 
 Goodwin, Mary E., 199 
 
 Goodwin, Mrs. Mina, 298 
 
 Goodwin, Nat., 200 
 
 Goodwin, Paul E., 340 
 
 Googins, Mrs. George, 191 
 
 Googins, Mrs. H. R., 226 
 
 Googins, H. T., 334 
 
 Googins, Mary B., 400 
 
 Goold, Walter, 161, 263 
 
 Gordon, Howard, 345 
 
 Gordon, Lincoln, 400 
 
 Gordon, Mrs. Mabel, 400 
 
 Gordon, Robert S., 224, 285, 
 400 
 
 Gordon, Walter, 179 
 
 Gore, Mrs. Angie T., 400 
 
 Gorey, Ridmond, 316 
 
 Goshen, Alice, 192 
 
 Goss, Mrs. Abbie, 293 
 
 Goss, Mrs. Cecilia C., 297, 400 
 
 Goss, Mrs. Charles, 292 
 
 Goss, Edwin L., 222, 224, 225, 
 297, 400 
 
 Goss, Mrs. E. L., 294, 295 
 
 Goss, George W., 188, 297 
 
 Goss, Gertrude, 295, 321, 400 
 
 Goss, Mrs. Grace S., 288 
 
 Goss, Henry C., 224 
 
 Goss, John, 297 
 
 Goss, Mary E., 187 
 
 Goss, William P., 155, 159 
 
 Gosse, Mrs. George O., 119, 
 TIO c12T 125 
 
 Gosse, Julia N., 157, 159, 263 
 
 Gottesfeld, Malvin David, 400 
 
 Goudy, Alice, 146, 275 
 
 Goudy, Mrs. Annie J., 146 
 
 Goudy, Ellen C., 222 
 
 Goudy, Mrs. Lewis A., 119, 
 120, 146, 159, 164, 189 
 
 Goudy, Louise, 146 
 
 Gould, Bertha May, 400 
 
 Gould, Edward, 70, 78 
 
 Gould, Elizabeth M., 146 
 
 Gould, Ethel, 293 
 
 Gould, Everett, 347 
 
 Gould, Mrs. George F., 258, 
 259, 263, 273, 308 
 
 Gould, Horace. 110 
 
 Gould, Major John M., 70, 400 
 
 Gould, Mae E., 321, 400 
 Gould, Mrs. Maude G., 288 
 
 Gould, Maud L., 226, 400 
 
 Gould, Nathaniel D., 96, 116 
 
 Gould, Orman, 347 
 
 Gould, Mrs. Rose, 300 
 
 Gould, Ruth, 146 
 
 Gould, William E., 118 
 
 Goulding, William F., 188 
 
 Gove, Mary, 108 
 
 Gowell, Mrs. G. M., 278 
 
 Gowen, Fditha, 146, 400 
 
 Gowen, Edwin A., 191, 192 
 
 Gowen, George C., 155 
 
 Gower, Annie Branscombe, 198 
 
 Gower, Frederick A., 234 
 
 Seuee Mary Malvina Stanley, 
 19 
 
 Graffam, Clinton W., 256, 272, 
 273, 308, 400 
 
 Grafton, John, 346 
 
 Gram, Hans, 23, 34 
 
 Grange, Madame La., 172, 176 
 
 Granger, Charles Henry, 193 
 
 Grant, Albert, 352, 353 
 
 Grant, Allister (Sandy) Harris, 
 263, 400 
 
 Grant, Mrs. Camilla, 290 
 
 Grant, Mrs. Dawn, 321, 401 
 
 Grant, Donald F., 351 
 
 Grant, Mrs. E. H., 294, 
 AOI 
 
 Grant, Flora, 182 
 
 Grant, Florence E., 164 
 
 Grant, George E., 191, 192 
 
 Grant, Harvey E., 286, 2096, 
 320 
 
 Grant, Jessie F., 120, 146 
 
 Grant, John F., 316 
 
 Grant, Mabelle E., 264, 401 
 
 Grant, Nicholas, 352 
 
 Grant, Raymond H., 351 
 
 Graves, Crispus, 13 
 
 Graves, Ruth Marguerite, 303, 
 304, 401 
 
 Gray, Mrs. Madge, 303 
 
 Gray, Fiddler, 63 
 
 Gray, Francis, 305 
 
 Gray, Frank L., 256, 259 
 
 Gray, Lillian, 280 
 
 Gray, Mary E., 4o1 
 
 Gray, William Melven, 303, 
 AOI 
 
 Gregory, Mrs. Estella, 287 
 
 Greeley, Mrs. Annie, 120, 164 
 
 Greeley, Charles H., 343 
 
 Greeley, Cyrus, 187 
 
 Greeley, Elizabeth, 137 
 
 Greeley, Hugh Paine. 137, 285 
 
 Greeley, Mrs. H., 226 
 
 Greeley, J. P., 179 
 
 Greeley, John S., 352 
 
 321, 
 
496 
 
 Greeley, Mary Elizabeth, 124 
 Greeley, Maurice L., 343 
 Greeley, Mellen, 343 
 Greeley, Nora Bartlett, 224 
 Greeley, R., 119 
 Greeley, T. H., 61 
 Greeley, William E., 124 
 Greely, B. L., 272, 334, 401 
 Greemond, Alex, 342 
 Green, Alfred, 332 
 Green, Mrs. Carleton, 147 
 Green, Mrs. Elva, 401 
 Green, John, 349 
 Green, Mrs. Joseph E., 309 
 Green, Mrs. Mary Thompson, 
 275, 313, 314 
 Green, N. I., 28 
 Green, Raymond K., 225, 401 
 Green, Mrs. William, 147 
 Greenhalgh, Faith W., 226 
 Greenleaf, C. E., 188, 297 
 Greenleaf, Mrs. E. D., 294 
 Greenleaf, E. W., 188 
 Greenleaf, Margaret, 293 
 Greenleaf, Mrs. Nellie, 293, 
 294. 
 Greenough, James Bradstreet, 
 132 
 Greenrose, John, 351 
 Greenwald, Joseph, 256 
 Greenwood, A. T., 401 
 Greenwood, Daniel, 303 
 Greenwood, John, 303 
 Grey, Charles Carroll, 401 
 Grey, Victoria, 150, 253 
 Griffin, Alice, 286 
 Griffin, William, 340 
 Griffith, Amos W., 200 
 Griffith, Azubah F., 200 
 Griffith, Emma F., 200 
 Griffith, Grace A., 401 
 Grimes, Mrs. Ella P., 301 
 Grimmer, Charles, 158, 
 161, P79; 31 BBu 480 
 Grindle, Bruce, 354 
 Grondin, Clarisse, 296 
 Grossa, Rev. Joseph, 225 
 Groudy, Clinton C., 351 
 Grover, Mrs. Dana, 146 
 Guertin, Aliette, 295 
 Guielmette, Joseph L., 303 
 Guild, Abner P., 93 
 Guild, Mrs. E. K., 225, 226, 
 288, 401 
 Guild, Mrs. Mary A., 288 
 Guild, Waldo Imlah, 277, 401 
 Guilfoil, Flora, 277 
 Guimond, A. J., 334 
 Guimond, Charles A., 352 
 Guimond, Samuel, 272, 334, 
 352, 353 
 Gunn, Charlotte, 146 
 
 159, 
 
 BIOGRAPHICAL INDEX 
 
 Guptill, Juanita, 253, 401 
 Gustafson, Mrs. Dorothy, 263 
 
 H 
 
 Hackett, Arthur, 144, 247, 401 
 
 Hackett, Beatrice, 290 
 
 Hackett, Constance Freeman, 
 144, 402 
 
 Hackett, Frances, 285 
 
 Hadley, Henry K., 202 
 
 Hagar, John F., 286 
 
 Haines, Augustine, 53 
 
 Haines, Beth E., 402 
 
 Haines, Edward P., 78 
 
 Haines, Mrs. Harold D., 264, 
 402 
 
 Haines, Mrs. Leon, 147 
 
 Haines, Mrs. Mattie C., 288 
 
 Haines, Mrs. Maude Huston, 
 147, 260, 263 
 
 Hahn, Mrs. Horace T., 146 
 
 Hale, Almira, 52, 57 
 
 Hale, Mrs. Chester, 226 
 
 Hale, F. W., 202 
 
 Hale, Harry E., 224 
 
 Hale, Philip, 243 
 
 Hale, Rebekah, 52, 56 
 
 Haley, Dorothy, 289 
 
 Haley, Eugene A., 281, 283, 
 
 340, 402 
 Hall, Mrs. Adelaide, 345 
 Hall, Albert Bradish, 120, 255, 
 256, 258, 347, 402 
 Hall,-Alcada Lavinia, 302, 402 
 Hall, Arthur, 346 
 Hall, Charles, 347, 348 
 Hall, Clarence E., 194 
 Hall, Edna, 182, 300 
 Hall, Elsie, 226 
 Hall, Estelle M., 188, 189 
 Hall, Ethel, 289 
 Hall, Evelyn Arey, 402 
 Hall, G. E., 190 
 Halli, George O., 178 
 Hall, George W., 347 
 Hail, Grace, 311, 402 
 Hall, Mrs. Hascall S., 304 
 Hall, Howard E., 225, 402 
 Hall, Jennie I., 226 ; 
 Hall, J., 119 
 Hall, Leonard, 335 
 Hall, Luther, 196 
 Hall, Lyman, 349 
 Hall, Nellie, 187 
 Hall, Oliver, 349 
 Hall, Ruby Adelle, 403 
 Hall, R. Bj 2178)> 222; 43345 
 338, 339, 343 
 Hall, R. G., 327 
 Hall, Mrs. Sara. 226 
 Hall, Mrs. W., 184 
 
 -Hamlen, Mrs. James C., Jr. — 
 
 Hallett, Anna Lee, 287, 290, © 
 321, 403 a 
 Hallewell, Alice, 294 
 Halliday, Ada, 403 
 Hallock, Mrs. L. H., 147 . 
 Halverson, Alfred O., 255, 403 — 
 Ham, Alice, 226 4 
 Ham, Donald, 296 
 Ham, Mrs. Jacob B., 294 
 Ham, Margaret, 293 
 Hamel, Joseph, 277 ¥ 
 Hamilton, Charles G., 284, 403 — 
 Hamilton, Earle, 335 
 Hamilton, Emily, 275 
 Hamilton, Fred, 254 
 Hamilton, Gertrude B, 403 
 Hamilton, Mrs. H., 224, 305 
 Hamilton, Ira W., 256, 334, © 
 
 403 
 Hamilton, Leigh, 284, 4¢3 
 Hamilton, Munroe, 256 
 Hamilton, Mrs S. K., 191 
 Hamlen, Charles E., 203 
 
 258 
 Hamlin, Dr. A. C., 179, 338 
 Hamlin, Edwin M., 227, 403 
 Hamlin, Hon. Hannibal, 179 
 Hammon, Julia M., 187 
 Hammon, J. T., 352 
 Hammond, Edwards S., 286 
 Hammond, Mrs. Lucy, 306 
 Hammond, Wallace, 348 
 Hammons, Charles, 194, 305 
 Hammons, Seldon, 305 
 Hanley, Carrie, 280 
 Hanley, Celia C., 403 
 Hannaford, C. W., 350° 
 Hanscom, Andrew, 195 
 Hanscom, Andrew J., 349 i 
 Hanscom, E. W., 188, 189, 190, — 
 
 207 4 
 Hansen, Cornelius, 352 
 Hanson, Alice, 278 
 Hanson, Mrs. Grace E., 403. 
 Hanson, J. Arthur, 258, 273, | 
 
 403 4 
 Hanson, James W., 277, 403 
 Hanson, John, 225 a 
 Hanson, Lucy M., 101 
 Hanson, Mabel, 278 
 Hanson, Marjorie, 299 ‘g 
 Hanson, Mary L., 101, 146 
 Hanson, Mollie, 226 . 
 Hapgood, Mildred, 226 
 Haraden, Daniel, 61 
 Harding, Grace, 275 
 Hardy, Frank W., 113 
 Harford, Mrs. Fanny, 146 
 Harking, Mary, 164 
 Harkness, Vinton Orris, 403 7 
 Harlow, A. D., 115, 179, 338 
 
BIOGRAPHICAL INDEX 
 
 Harlow, Etta, 189 
 
 Harlow, Fred, 340 
 
 Harlow, Hannah C., 189 
 
 Harlow, Mrs. Jane Phinney, 
 274 
 
 Harlow, Lizzie D., 189 
 
 Harlow, Mrs. Lottie, 293 
 
 Harlow, Roy, 345 
 
 Harlow, Walter, 249 
 
 Harmon, Mrs. B. F., 286 
 
 Harmon, Carl, 224 
 
 Harmon, Charles, 194 
 
 Harmon, Edna C., 306 
 
 Harmon, Glen, 255 
 
 Harmon, Harriet B., 146, 403 
 
 Harmon, Harry T., 120 
 
 Harmon, Mrs. Lima, 287 
 
 Harmon, William, 333 
 
 Haroden, Charles, 341 
 
 Harper, John, 403 
 
 Harriman, Elizabeth, 149, 272 
 
 Harriman, Mrs. Pearl W., 293 
 
 Harriman, Ruby Weston, 403 
 
 Harrington, Adeline, 65 
 
 Harrington, Annie, 181 
 
 Harrington, Francis, 64, 346 
 
 Harrington, Jacob, 65 
 
 Harrington, Prof. Karl P., 225, 
 277, 403 
 
 Harrington, Margaret, 302, 403 
 
 ‘Harrington, Russell, 272 
 
 Harrington, Sarah, 64 
 
 Harrington, Woodbury P., 222, 
 255, 334, 403 
 
 Harris, Augusta, 234 
 
 Harris, Emily, 196 
 
 Harris, Herbert, 196, 222 
 
 Harris, H. T., 66 
 
 Harris, Mrs. J. Spencer, 289 
 
 Harris, John T., 88 
 
 Harris, Lydia, 78 
 
 Harris, Mabel Johnson, 
 225, 295, 403 
 
 Harrison, Charles, 248, 249,253; 
 
 Mrs. 
 
 404 
 Herbert C., 
 258, 273, 404 
 
 Harrison, 
 Hart, Almond J., 285 
 Hart, Mrs. W. R., 285 
 Hartley, Mrs. Grace, 290 
 Hartshorn, Mrs. W. H., 224, 
 292, 293 
 Hartshorn, Mrs. W. W., 222 
 Hartwell, Angeline, a5 
 Hartwell, Benjamin, 33 
 Hartwell, Mrs. Benjamin, 33 
 Hartwell, Charles, 340 
 Hartwell, Edward, 32, 33 
 Hartwell, Emmeline, 32, 184 
 Hartwell, Frank, 184 
 Hartwell, Lysander W., 93 
 Hartwell, Mary S., 33 
 
 196, 
 
 Hartwell, Samuel, 32 
 Harvey, Edith L., 404 
 Harvey, Jeanette H., 286 
 Harvey, Mrs. Lena, 288 
 Hascall, Carl C., 256 
 Hascall, Ralph, 195 
 Haseltine, Amanda, 191 
 Haseltine, F. H., 350 
 Haskell, Alice, 222 
 Haskell, Benjamin, 272 
 
 Haskell, Carrie A., 14 
 
 Haskell, Mrs. Charles, 274, 
 275 hes 
 
 Haskell, Christine Daggett, 
 
 404. 
 Haskell, Edith, 305 
 Haskell, Ernest, 334 
 Haskell, Mrs. 
 185, 275 
 Haskell, Mrs. Jennie, 185 
 Haskell, Mae F., 263, 297 
 Haskell, Norman Edwin, 404 
 Haskell, Mrs. Ralph G., 294 
 Haskell, R. J., 348 
 Haskell, Mrs. Sarah W., 186 
 Haskell, Walter F., 222, 225 
 Haskell, William, 89 
 Haskell, William H., 164 
 Haskill, Marion, 404 
 Hassell, Mrs. Rena, 290 
 Hastings, Luke, 65 
 Hastings, W. P., 325 
 Hatch, Alice Louise, 404 
 Hatch, Asa, 65 
 Hatch, Carolyn, 305 
 Hatch, Mrs. Florence W., 404 
 Hatch, Harold, 404 
 Hatch, Katherine, 149, 272 
 Hatch, Mrs. Robert, 146 
 Hatch, Stephen, 65 
 Hatch, Walter, 351 
 Hatch, Wilma, 288 
 Hatch, William, 65 
 Hathaway, Mrs. Helen A., 298 
 Haupt, August, 123 
 Havey, Mrs. Ethel, 287 
 Haviland, Mrs. Foster L., 146, 
 149, 253, 263, 264, 404 
 Havner, Jacob, 255, 341 
 Havner, William J., 194 
 
 Hawes, Cornelius K., 173, 263, 
 326 
 
 Hawes, Ellie, 305 
 
 Hawes, Mrs. Fannie C., 120, 
 145, 159, 160, 164, 172, 173 
 
 Hawes, J. Q. A., 89 
 
 Hawes, Mrs. Martha F. B., 
 
 119, 146, 260 
 Hawkes, Mrs. Ina, 305 
 Hawkes, May A., 224, 226 
 Hawkins, Louise, 404 
 
 Frank O., 146, 
 
 497 
 
 Hay, Mrs. Alice, 147 
 
 Hay, Mrs. Harry, 404 
 
 Hay, James D., 52, 55, 65 
 
 Hay, Merrill, 272 
 
 Hay, Mrs. Walter F. W., 404 
 
 Haycock, Allan, 225, 284, 404 
 
 Haycock, Mrs, Allan, %284, 
 321, 404 
 
 Hayden, Elsa M., 302, 404 
 
 Hayden, Emma, 195 
 
 Hayden, Ethel Lee, 302, 405 
 
 Hayden, Mrs. Etta W., 183, 
 184 
 
 Hayden, Prince S., 256 
 
 Hayden, Victoire, 203 
 
 Hayden, Villa, 321, 405 
 
 Hayes, Earle, 405 
 
 Hayes, Edith H., 297 
 
 Hayes, Elizabeth, 222, 405 
 
 Hayes, R. B., 188 
 
 Hayes, Mrs. W. D., 285 
 
 Hayford, Mary H., 280, 308, 
 405 
 
 Haynes, Alma, 178 
 
 Haynes, Edward A., 348 
 
 Haynes, Hazel Giles, 405 
 
 Haynes, James H., 177, 180, 
 283, 340 
 
 Haynes, Mrs. J. H., 180 
 
 Haynes, Martin H., 316 
 
 Haynes, Rodney, 348 
 
 Haynes, Mrs. William H., 405 
 
 Hayward, Miriam, 299 
 
 Hazel, Mrs. Ada H. E., 1 
 
 Hazell, Thomas E., 317 
 
 Hazeltine, Daniel, 30 
 
 Hazeltine, Major P. R., 61 
 
 Head, Mae C., 306 
 
 Heald, Stephen C., 224 
 
 Healey, Tileston, 64 
 
 Healy, Augusta, 150 
 
 Healy, Rt. Rev. James A. 
 264 
 
 Heard, David, 27 
 
 Heath, Cora F., 293, 294 
 
 Heath, Effie Mae, 293, 294, 
 405 
 
 Heath, Lyman, 110 
 
 Heath, William, 182 
 
 Heaton, George, 303 
 
 Hebert, Mrs. Annie, 260 
 
 Hebert, fee 1600274, 
 305, 4 
 
 Hoe William Ge 
 Haines, Beth, 305 
 
 Hedrich, Mrs. Lawrence, 299 
 Hefferman, William, 303 
 Heim, Gustav, 405 
 
 Helie, Leonard, 305 
 Hemenway, Martha V., 146 
 Henderson, C. J., 249 
 
 Henderson, Thomas, 227.405 
 
498 
 
 BIOGRAPHICAL INDEX 
 
 Hendrickson, Henry L., 352 
 
 Hendry, Mrs. James, 146 
 
 Hennessey, Wilfrid A., 227, 405 
 
 Hennigar, Prudence Melba, 
 274, 405 
 
 Henry, Arthur, 342 
 
 Henschel, Georg, 175, 217 
 
 Hermes, Emil, 224 
 
 Hern, Floyd, 256 
 
 Herrick, A. E., 224 
 
 Herrick, Mrs. Earle, 285 
 
 Herrick, Mrs. Eliza, 306 
 
 Herrick, Franklin, 197 
 
 Herrick, Maria A., 187 
 
 Herrick, Nathan, 197 
 
 Hersey, Mrs. Abbie, 293 
 
 Hersey, Fannie, 297 
 
 Hersey, Mattie E., 189 
 
 Hersey, Gen. Samuel F., 179 
 
 Hescock, Mrs. R. M., 226 
 
 Heth, Mrs. Fannie T , 294, 405 
 
 Hewins, Charles Knowlton, 405 
 
 Hewins, Violet Eva, 405 
 
 Hewitt, George W., 66 
 
 Hewitt, Mrs. Vivian, 302 
 
 Heydrie, Gus, 353 
 
 Hicks, Charles Edgar, 405 
 
 Hicks, C. H., 334 
 
 Hicks, Dorothy Doe, 226, 280, 
 
 40 
 Hicks, Fred W., 340 
 Hicks, Herbert Crosby, 
 6 
 
 40 
 Hicks, Mrs. Myrtie, 286 
 Higgins, Dwight, 277 
 Higgins, Frances O., 277 
 Higgins, Marguerite, 146 
 Higgins, Richard, 277 
 Hight, Mrs. Leroy Tee 27 
 Hill, Brenda Frances, 224, 285, 
 
 406 
 
 Hill, Dora M., 406 
 
 Hill, Douglass, 353 
 
 Hill, Edward B., 134 
 
 Hill, Emily, 297 
 
 Hill, Ernest D., 277 
 
 Hill, Ernest J., 225, 227, 255, 
 266, a5. 260, 406 
 
 Hill, Ernest Richard, 277, 406 
 
 Hill, Mrs. FE. Ri, 277 
 
 Hill, Ethel Cary, 406 
 
 Hill, Mrs.-F, D222 
 
 Hill, Fred Lincoln, 157, 255, 
 256, 258, 263, 264, 273, 406 
 
 Hill, George T., 224, 303, 406 
 
 Hill, Harriet, 295, 4 
 
 Hill, Helen io Te 
 
 Hill, Julia, 191 
 
 Hill, Margaret, 306 
 
 Hill, Marion E., 277 
 
 Hill, Mrs. Martha H., 
 222, 227, 263, 406 
 
 340, 
 
 146. 
 
 Hill, Nancy, 189 
 
 Hill, Pauline Philbrick, 184 
 Hill, Virgie, 226 
 
 Hill, Dr. W. Scott, 19% 
 
 Hills, June K., 226 
 
 Hills, Mrs. Louis, 146 
 
 Hilton, Ernest Gs eb pee U2 
 Hilton, William Keene, 224, 407 
 Hiltz, Grace, 175 
 
 Hinckley, Judge Aaron, 328 
 
 Hinckley, Harold, 224, 227, 
 407 
 
 Hinckley, Myra, 280 
 
 Hinckley, Mrs. Willard M., 
 224, 407 
 
 Hinds, D. Carter, 316 
 
 Hinds, Leo P., 407 
 
 Hinton, Ma Weeks, a 407 
 Hitchcock, Pin Emily C 4 401 
 Hitchcock, Mrs. F. E., 301 
 Hitchcock, Raymond, "285 
 Hitchings, Marion T., 227, 287, 
 
 407 
 Hobbs, Mrs. Esther C., 
 Hobbs, Frederic, 98 
 Hobbs, Henrietta, 202 
 Hobbs, ti Ce 343 
 Hobbs, Jesse Percival, 407 
 
 260 
 
 Hobbs, R. M., 191 
 Be Carrie, 178, 180, 
 261 
 
 Hodgdon, Ed., 340 
 Hodgdon, F. N., 153, 191 
 Hodgins, Eliza B., 290, 407 
 Hodgkins, Charles E., 156 
 Hodgkins, Mrs. Iva Nutter, 
 263, 407 
 Hodgkins, Marjorie, 149 
 Hodgkins, Mrs. M. A., 191 
 Hodgkins, William A., 191 
 Hodgman, William A., 407 
 Hodgman, William C., 297 
 Hodsdon, H. B., 225, 353 
 Hodsdon, J. L., Jr., 191 
 Hogan, M. Frances Flannigan, 
 
 283 
 Holbrook, Annie, 180 
 Holbrook, John, 180 
 Holbrook, Mabel, 302, 303 
 Holden, Esther J., 1 
 Holden, Esther L., 263 
 Holden, L. E., 114 
 Holden, William, 115 
 
 Holden, William E., 155, 159 
 Holding, Ada, 297 
 Holding, Franklin, 222, 226, 
 
 241, 311 
 Hollinrake, Annie, 306 
 Hollister, Leona Stevens, 313, 
 408 
 Hollister, Dr. Orlando K., 318 
 Hollister, Rachel, 318 
 
 Holman, Mrs. F. H., 293 
 Holman, Mrs. Millie, 293 
 Holmes, Annie C., 146, 226 
 Holmes, Bessie E., 226 
 
 Holmes, Mrs. 
 
 286 
 
 Holmes, Mrs. Marcia, 261 
 Holmes, Oliver Wendell, 
 
 133 
 Holmes, Sarah, 65 
 Holmes, William T., 48 
 Holmstrom, T., 354 
 Holmstrom, Veli, 354 
 Holt, Rev. Fifield, 99 
 Holt, George, 336, 338, 347, 
 
 8 
 
 34 
 Holt, G. Dana, 344, 347, 408 
 Holt, Georgia, 278 
 Holt, Mrs. Henrietta B., 288 
 Holt, Herschel B., 348 
 Holt, Mary B., 99 
 
 Holt, Thomas ’Paine, 347, 408 “a 
 
 Homer, Alice T., 275 
 Homer, Florence, 321, 408 
 Homsted, Mrs. Grace F., 145, 
 
 227 
 Hood, Walter J., 255, 408 
 Hooper, Sarah, 261 
 Hopkins, George, 300 
 Hopkins, Helen, 288 
 Hopkins, Inez, 161 
 Hopkins, Mary F., 226, 408 
 Hopkins, Mrs. M. L., 408 
 Hopkins, Ruth, 288 
 Hopkins, Sarah, 288 
 Hopkinson, Francis, T? 
 Horan, Mrs. Marion Priestly, 
 146, 150, 253, 275, 408 
 Horgan, Marie, 408 
 Horn, Vivian, 348 
 Horne, Carrie A., 189 
 Horne, Mrs. Fannie Hight, 408 
 Horne, George Wallace, 297, 
 321, 408 
 Horne, Herman L., 224 
 Horne, Mrs. H. L., 225, 226 
 Horne, Rosalle, 293 
 Hosmer, Austin, 342 
 Houghton, Harry L., 
 1S450G8 
 Houghton, John Cecil, 409 
 Houghton, Mrs. John R., 195 
 Houle, Dr. E. J., 285 
 Houle, Mrs. E. J., 285 
 Houlihan, Annie L., 409 
 Houston, Mrs. Ruth. 409 
 Hovey, Alice C., 409 
 Hovey, Edward, 64 
 Hovey, Lizzie L., 146, 263 
 Hovey, Mary A., 103 
 Hovey, Mrs. Maude, 256 
 Howard, Charles H., 316 
 
 118, 
 
 Emily Baxter, 
 
 132) 
 
 ae 
 5 
 
 119, 4 
 
BIOGRAPHICAL INDEX 
 
 499 
 
 Howard, Eleanor, 321, 409 
 Howard, Mrs. Helen W., 313 
 Howard, Mrs. Lester B., 276, 
 
 277 
 Howard, Lilla M., 293, 294, 297 
 Howard, Ralph Ellsworth, 409 
 Howard, Sidney K., 93, 115 
 Howard, William R., 154, 164 
 Howard, W. S. K.. 79 
 Howarth, Elsie G., 409 
 Howe, Chester, 161 
 Howe, Edward, 42, 43, 51, 52 
 Howe, E., Jr., 80 
 Howe, Etta M., 409 
 Howe, G. Allen, 286, 297 
 Howe, George M., 86, 87, 117, 
 Ee ti0, 157 
 Howe, George W., 321, 409 
 Howe, Ralph Thurston, 297 
 Howe, Reginald M., 409 
 ~ Howe, Mrs. Rose, 292 
 Howell, Anna D., 146 
 Howells, William Dean, 132 
 Howes, Aaron, 300 
 Howes, Mrs. E. L., 264 
 Howes, Florence, 261 
 Howes, Grace Bramhall, 
 409 
 Howes, Mrs. Grace M., 409 
 Howes, Helen C., 259 
 Howes, Mrs. Henry M., 186 
 Howes, Mrs. Ralph H., 193 
 Howes, Sarah, 101 
 Howland, Charles F., 349 
 Howland, Mrs. Eliza, 191 
 Howland, George, 349 
 Howland, Harry M., 284, 409 
 Howland, John, 170 
 Howland, Mrs. John, 195 
 Hoy, Mrs. Glenda R., 298 
 Hoyt, John, 179 
 Hoyt, Mrs. Martha, 196 
 Huart, Victor, 349 
 Hubbard, Charles Pigea24 
 Hubbard, Mrs. Elizabeth, 89 
 Hubbard, Mrs. Frank B., 304 
 Hubbard, Fred F., 256, 272, 
 
 284, 
 
 353 
 
 Hubbard, Mrs. Jessie, 409 
 Hubbard, W. L., 137 
 Huber, Mrs. H. G., 147 
 Hudson, Alice H., 146 
 Hudson, Doris, 286 
 Hudson, Ethel F., 409 
 Hudson, John B., 52, 56 
 Hughes, Mrs. Ina, 290 
 Hughes, 
 
 409 
 Hull, Mrs. Charles F., 409 
 Hulley, Mrs. H. R., 285 
 Hulten, Rudolf, 409 
 Hume, Mrs. Lena L., 410 
 
 Minnie Currie, 290, 
 
 Humphrey, Asa, 332 
 
 Humphrey, A. H., 352 
 
 Humphrey, Clifton, 350 
 
 Humphrey, Hannah, 52, 57 
 
 Humphrey, Henry Baker, 263, 
 272 
 
 Humphrey, Homer C., 225, 410 
 
 Humphrey, Orman B., 283 
 
 Humphrey, Roland, 272 
 
 Humphreys, Agnes W., 222 
 
 Hunnewell, F. S., 178 
 
 Hunnewell, Mrs. Nellie M., 224 
 
 Hunt, Arthur B., 17 
 
 Hint hs. 750 
 
 Hunt, Bessie, 222 
 
 Hunt: C. i... 100 
 
 Hunt, L. B., 286 
 
 Hunt, Madeline, 305 
 
 Hunt, Ralph Waldo Emerson, 
 254, 273, 410 
 
 Hunt, Rev. W. R., 224 
 
 Hunter, Abby, 186 
 
 Hunter, Annie F., 224 
 
 Hunter, Charlotte B., 186 
 
 Hunter, F. H., 350 
 
 Hunter, Herbert eu Ao 955, 
 
 410 
 Hunter, Julia S., 186 | 
 Hunter, John M. S., 186 
 Hunter, Susan C., 186 
 Huot, Lawrence H., 340 
 Hurd, Charles A., 352, 353 
 Hurd, Everett S., 284, 410 
 Hurd, Herbert A. D., 264, 288, 
 321, 410 
 Hurley, Annie, 178, 278 
 Hurley, Arione, 261 
 Hurley, Marion, 226 
 Huse, Mrs. Oscar E., 289 
 Huse, Mrs. Thomas W., 101 
 Huskins, Maude, 293, 294 
 Hussey, Mrs. Alvan, 184 
 Hussey, Flora Edna, 290, 410 
 Hussey, N. H., 184 
 Hussey, Nettie S., 184 
 Huston, A. G., 184 
 Huston, Lizzie, 184 
 Huston, Mrs. Louis, 146 
 Hutchings, Mary, 182 
 Hutchins, Charles C., 286, 410 
 Hutchins, Robert J., 340 
 Hutchinson, Mrs. A. J., 
 224 
 Hutchinson, Mrs. Paul, 146 
 Hutchinson, Wallace, 347 
 Huxford, May, 410 
 Hybert, Dorothy E., 410 
 Hybert, Emil, 272, 334, 410 
 Hyde, Allan, 345 
 Hvde. Annie H., 195 
 Hyde, Arthur S., 
 225, 263, 306, 307 
 
 232, 
 
 149, 195, 
 
 Hyde, Ethel, 195, 227, 239 
 Hyde, Frederic Clarendon V., 
 
 275 
 
 Hyde, Frieda A., 263 
 Hyde) John"S,.-224. 285 
 Hyde, Mary C., 115 
 Hyde, Gen. T. W., 195 
 Hyde, Mrs. T. W., 195 
 Hyde, William, 28, 111 
 Hydrie, Augustus C., 352 
 Hyler, Mrs. W. H., 285 
 
 I 
 
 Thnenfeldt, Willliam, 161 
 
 Illingworth, Master Sergeant 
 William, 337 
 
 Ilsley, Ann, 77 
 
 Ilsley, Arthur L., 70, 72, 74, 77, 
 78, 82, 97, 117 
 
 Ilsley, Benjamin, Co saty 
 
 Ilsley, Benjamin A., 225 
 
 Ilsley, Charles P., 87 
 
 Ilsley, Charlotte, 261 
 
 Ilsley, Elizabeth, 77 
 
 Isley, Esther, :70) 72, ‘74; 97 
 
 Ilsley, Ferdinand I., 52, 54, 69. 
 Ti fo1 a 
 
 Ilsley, Francis L., 
 76, 77, 78, ee 
 
 thes Frederick J., 
 
 Ilsley, George, 77 
 
 Isley, Hosea, 43, 52, 53, 74, 
 ise deta: 
 
 IIsley, Joseph, 53, 54 
 
 Ilsley, Louise, 151 
 
 Ilsley, Nathaniel, 52, 54, 56 
 
 Infiorati, Owen F., 283, 340 
 
 Ingalls, Mrs. Alice, 306 
 
 Ingalls, Arthur D., 410 
 
 Ingalls, Mrs. Arthur D., 410 
 
 Ingalls, Mrs. Willis E., 306. 
 
 2) 50,274, 
 
 410 
 Ingersoll, Alice, 226 
 Ingerson, Dorothy, 287, 288 
 Ingraham, Achsah, 65 
 Ingraham, Benjamin, 340 
 Ingraham, Deborah, 276 
 Bp yeaa Edward T., 52, 54, 
 4 
 Ingraham, Harold, 334 
 Ingraham, Harry, 255 
 Ingraham, Mrs. H. B., 64 
 Ingraham, Mrs. Horace, 276 
 Ingraham, Henry, 6° 
 Ingram, H. W., 334 
 Ingram, W. K., 334 
 Inman, Ernest Ira, 410 
 Inman, Harold M., 283 
 Irish, Allen, 224, 285 
 Irish, Bertha, 293 
 Irish, Horace A., 224 
 
500 
 
 BIOGRAPHICAL INDEX 
 
 Trish, Mrs. H. A., 102, 225 
 Irish, Lewis M., 411 
 
 Irish, Luther M., 411 
 
 Irish, Phyllis, 287, 288 
 
 Irvine, Mrs. Margaret, 287 
 Ives, Mrs. Rollin Augusta, 142 
 
 it 
 
 Jackson, Addie, 160 
 
 Jackson, Andrew, 249, 250, 258, 
 263, 266, 411 
 
 Jackson, A. F., 188 
 
 Jackson, Mrs. A. P., 411 
 
 Jackson, Edgar, 350 
 
 Jackson, Dr. E. F., 328 
 
 Jackson, E. G., 161 
 
 Jacksongtk. i. 273 
 
 Jackson, H., 66 
 
 Jackson, H. H., 316 
 
 Jackson, Helen, 180 
 
 Jackson, Joseph H., 222, 224 
 
 Jackson, Joseph J., 411 
 
 Jackson, Julia Heath, 146, 285, 
 All 
 
 Jackson, Louise F., 298, 411 
 
 Jackson, Nellie, 264, 303 
 
 Jackson, S. W., 180 
 
 Jacobs, Mrs. Anna, 303 
 
 Jacobs, Emily Augusta, 198 
 
 Jacobs, Isaac S., 186 
 
 Jacobson, Jacob N., 254 
 
 Jacques, Mrs. A., 295 
 
 Jacques, Mrs. F. W., 223, 280 
 
 Jagoe, Henry, 343 
 
 Jalbert, Arthur, 296 
 
 Jameson, Mrs. Harry P., 225, 
 226 | 
 
 Jameson, Rose Wedgwood, 411 
 
 Jamieson, James Wier, 263 
 
 Janelle, Wilfred, 342 
 
 Jenkins, Mrs. Arlene, 290 
 
 Jenny, Mrs. Dorothy, 290 
 
 Jarrett, Florence E., 411 
 
 Jefferson, Mrs. Annie, 297, 411 
 
 Jellison, Alice S., 223 
 
 Jellison, Marjorie, 226 
 
 Jenkins, Alene Berrie, 411 
 
 Jenkins, Mrs. Augusta M., 411 
 
 Jenkins, Mrs. Gertrude H., 298 
 
 Jenkins, Mrs. Raymond P., 
 280, 284 ; 
 
 Jenks, A. H., 52, 56 
 
 Jenney, Dorothy Perkins, 411 
 
 Jennison, Sidney E., 351 
 
 Jensen, Martin L., 254, 411 
 
 Jepson, Mrs. E. M., 304 
 
 Jepson, D. H., 178 
 
 Jewell, Mrs. Angeline Hart- 
 well, 184 
 
 Jewell, Edna, 306 
 
 Jewell, Gertrude, 306 
 
 Jewell, Mrs. H. Li, -196,> 177, 
 224. 276, 280; 412 
 
 Jewett, Albert G., 61 
 
 Jewett, Annie, 191 
 
 Jewett, Hon. G. K., 179 
 
 Jewett, Mrs. Helen Nason, 
 421. AT? 
 
 Jewett, Joshua, 33 
 
 Jewett, Stephen, 28 
 
 Johns, Clayton, 134 
 
 Johnson, Mrs. Alice, 288 
 
 Johnson, Mrs. Alton G., 249 
 
 Johnson, Annie Hamilton, 275 
 
 Johnson, Arthur, 194, 305 
 
 Johnson, Barbara, 305 
 
 Johnson, Carl, 255, 258, 412 
 
 Johnson, C. C., 344, 412 
 
 Johnson, Charles, 275, 340, 344 
 
 Johnson, Clyde, 289 
 
 Johnson, Daniel, 349 
 
 Johnson, Edna, 287 
 
 Johnson, Rev. Edwin, 116 
 
 Johnson, Eugene Francis, 199 
 
 Johnson, Mrs. Florence L., 260,. 
 
 263 
 
 Johnson, Prof. F. W., 224, 304 
 
 Johnson, Mrs. F. W., 226, 304 
 
 Johnson, Mrs. Harold D., 148, 
 274, 412 
 
 Johnson, Harry T., 273, 412 ' 
 
 Johnson, Mrs. Hattie C., 293 
 
 Johnson, Helen, 300 
 
 Johnson, Horace, 343 
 
 Johnson, Inez E., 146 
 
 Johnson, I. S., 179 
 
 Johnson, Isa W., 412 
 
 Johnson, John D., 155 
 
 Johnson, Mrs. Josiah H., 146, 
 148, 412 
 
 Johnson, Mabel, 293 
 
 Johnson, Marie, 300 
 
 Johnson, Marion, 263 
 
 Johnson, Mrs. Marguerite Allen, 
 147; 150,660, 9402 
 
 Johnson, Margaret Wilson, 253, 
 302 412 
 
 Johnson, Maude, 280 
 
 Johnson, Mrs. Merle H., 412 
 
 Johnson, Ralph H., 412 
 
 Johnson, Richard, 305 
 
 Johnson, Mrs. Rupert G., 412 
 
 Johnson, Ruth, 287 
 
 Johnson, Samuel, 87 
 
 Johnson, Samuel Worth, 341 
 
 Johnson, Stephen, 151 
 
 Johnson, Mrs. Sumner E., 412 
 
 Johnson, Mrs. Theodore H., 
 146, 148, 412 
 
 Johnson, Thomas, 
 334, 335, 412 
 
 Johnson, W. Alonzo, 283 
 
 Johnston, Harry F., 412 
 
 254, 272, 
 
 Johnston, Ray, 288 
 Johnston, Ursula, 147, 412 
 Jones, Mrs. Abbie A., 186 
 Jones, Alex, 88 
 Jones, Alice, 294 
 Jones, Charles F., 159, 
 254, 263, 326, 412 
 Jones, Charlotte, 412 
 Jones, Clifford L., 258 
 Jones, Dorothy, 147, 149 pt 
 Jones, Elizabeth S., 142, 148, 
 182 (7a 
 Jones, Embert L., 313, 412 
 Jones, Ernest L., 412 
 Jones, Frank, 155 
 Jones, Fred C., 179 
 Jones, Mrs. F. R., 145 
 Jones, Mrs. George, 146 
 Jones, George D., 316 
 Jones, Gladys St. Clair, 412 
 Jones, G. Edlon, 297 
 Jones, Grace, 146 
 Jones, Harold L., 277 
 Jones, Harriet, 52, 57, 102 
 Jones, Herbert G., 256 
 Jones, H. M., 159 
 Jones, Isabelle, 412 
 Jones, James, 316 
 Jones, Mrs. Joyce, 302 
 Jones, Mrs. Leland, 288 
 Jones, Mrs. Linwood M., 280, 
 285 ‘ 
 Jones, Mrs. L. B., 412 
 Jones, Lizzie, 297 
 
 253, 
 
 . Jones, Lloyd, 284, 413 
 
 Jones, Louise, 146 
 
 Jones, Louis M., 159 
 
 Jones, Mrs. L. R., 295, 413 
 
 Jones, Luther A., 351 a 
 
 Jones, Mollie, 150, 157, 272, % 
 413 
 
 Jones, Oscar W., 297 
 
 Jones, Mrs. Oscar W., 294 
 
 Jones, Samuel, 96 ; 
 
 Jones, Selden, 277 
 
 Jones, Sidney F., 350 
 
 Jones, Sybil, 413 
 
 Jones, Thomas, 201 
 
 Jones, Mrs. Vena, 290 
 
 Jones, W. TL, 188 
 
 Jones, Mrs. William H., 413 
 
 Jordan, Alice M., 146 
 
 Jordan, Mrs. Arthur, 324 
 
 Jordan, A. W., 119 
 
 Jordan, Belle, 275 
 
 Jordan, Bessie M., 226 : 
 
 Jordan, Charles F., 340 ’ 
 
 Jordan, Charles Linwood, 413 — 
 
 Jordan, Mrs. Charles W., 185 
 
 Jordan, Edward A., 159, 161, | 
 $43) 345" 4 
 
 Jordan, Elsie, 203 
 
 —- 
 
BIOGRAPHICAL INDEX 
 
 501 
 
 Jordan, Eva Belle, 146, 226 
 
 Jordan, Mrs. Evelyn, 263 
 
 Jordan, Mrs. Ervette, 260, 413 
 
 Jordan, Fannie E., 119, 164 
 
 Jordan, Flavel R., 297 
 
 Jordan, Frank E., 188 
 
 Jordan, Harold, 255, 258, 413 
 
 Jordan, Mrs. Ida, 293 
 
 Jordan, Julius, 175 
 
 Jordan, J. B., 190 
 
 Jordan, Lillian M., 150 
 
 Jordan, Lindell, 296 
 
 Jordan, Lucy H., 146 
 
 Jordan, Margaret S., 146 
 
 Jordan, Marion, 275 
 
 Jordan, Mary G., 146, 150, 311 
 
 Jordan, Maurice, 296 
 
 Jordan, Mildred, 294 
 
 Jordan, Nellie W.. 289 
 
 Jordan, William P.., 119 
 
 Jose, Helen N., 146 
 
 Jose, Horatio N,, 147 
 
 Jose, Mrs. oe N., 
 143, 147, I 
 
 Joslin, James + retcalt, 286, 413 
 
 Josselyn, Walter L., 254, 256 
 
 Joy, Clarence, 413 
 
 Joy, Hannah, 110 
 
 Joyce, Lillian, 302 
 
 Juch, Emma, 190 
 
 Judelshon, Leah, 413 
 
 Judkins, Florence, 294, 413 
 
 Judkins, Mrs. Myrtie B., 301 
 
 Jungnickel, Henri M., 110, 123 
 
 142, 
 
 K 
 
 Kahill, Mrs. Joseph B., 
 
 274, 413 
 Kalloch, Oscar, 300 
 Kalloch, Mrs. Oscar, 300 
 Kallock, Augusta, 299, 413 
 Kallock, Joseph H., 225 
 Kane, Anastasia 413 
 Kane, Mrs. J. H., 278 
 Kaplan, Tillie, 147, 413 
 ‘Karkos, Stephen J., 286 
 
 146, 
 
 Kavanaugh, Albert L., 222, 
 224, 295, 297, 413 
 Kavanaugh, Mrs. Albert L., 
 
 294, 295 
 Kavanaugh, Mrs. Maude, 293 
 Keaser, Fred, 351 
 Keating, Agnes, 146, 274, 275, 
 287, 413 
 Keating, Caroline, 181 
 Keenan, Katherine Ricker, 413 
 Keenan, Mrs. Matthew, 144 
 Keene, Abdon Wilder, 413 
 Keene, Ada, 306 
 Keene, Mrs. Alfred, 306 
 
 Keene, Frances M., 414 
 Keene, Mrs. H. N., 102 
 Keene, Mrs. Joseph, 294 
 Kehbahn, Heinrich, 123 
 Keith, Warren, 277 
 Kellam, Mrs. Belford, 299 
 Keller, Annie, 196 
 Keller, Conrad, 352 
 Kelley, Mrs. Edbert, 
 Kelley, Mrs. H. A 
 Kelley, Emily, 142 
 Kelley, Helen, 150, 256 
 Kelley, Mrs. Helen S., 414 
 Kelley, William, 154 
 
 Kellogg, Clara Louise, 216 
 Kellogg, Rev. Elijah, 35 
 Kellogg, Joseph H., 52, 55 
 Kelly, James M., 352 
 
 Kelly, Mrs. James, 275 
 
 Kelly, Marion Adelia, 147, 305, 
 
 414 
 
 Kemball, Harold V., 273, 414 
 Kemmerer, Olin B., 297 
 Kempton, George E., 179 
 Kendall, Prof. Abbott, 351 
 Kendall, Arthur F., 255, 414 
 Kendall, Ned, 346, 350 
 Kendall, Guy P., 258 
 Kendall, J. A., 414 
 
 Kendrick, C. M., 191 
 Kennard, Ada B., 120, 160 
 Kennard, E. S., 225 
 Kennedy, Annie S., 414 
 
 224, 304 
 sere 
 
 ‘Kennedy, Delma, 146 
 
 Kennedy, Frederic, 414 
 
 oe Frederick A., 227, 
 2 
 
 er naa: Herbert S., 255, 256, 
 414 
 
 Kennedy, Jane, 272, 415 
 
 Kennedy, Janet, 149 
 
 Kennedy, Walter I., 256 
 
 Kenneston, Loreta, 302 
 
 Kenney, Mrs. Clara A., 415 
 
 Kenney, Joseph, 335 
 
 Kennison, Mrs. George A., 304 
 
 Kenworthy, Mrs. W. H., 276, 
 286, 415 
 
 Kerr, Lena, 415 
 
 Kerr, William F., 256 
 
 Kertello, E. C., 66 
 
 Kettembile, Mrs. George, 145 
 
 Keyes, Mrs. Carlotta, 287 
 
 Keyes, Richard, 285 
 
 Keyser, William, 81 
 
 Kidder, Archie, 348 
 
 Kidney, Mrs. Fred. 415 
 
 Kidney, Mrs. Louise, 287 
 
 Kilbourne, Mrs. Joseph W.., 
 146 
 Kilbourne, Mrs. Scott Lesley, 
 
 415 
 
 Kilbreth, Bert, 348 
 
 Kiley, Mrs. Eunice M., 145 
 
 Killam, Rev. Py A.” A., 225 
 
 Kimball, Alice A., 299, 415 
 
 Kimball, Eliza, 61 
 
 Kimball, Mrs. Elizabeth D., 88 
 
 Kimball, Emily, 165 
 
 Kimball, Evelyn, 173 
 
 Kimball, Frank, 353 
 
 Kimball, Mrs. George, Sr., 181 
 
 Kimball, Harry F., 183, 184, 
 188, 224, 225 
 
 Kimball, James, 52, 54 
 
 Kimball, Jeremiah. 42, 54 
 
 Kimball, Kathleen, 415 
 
 Kimball, Uncle Steve, 316 
 
 Kimball, Susan S., 61 
 
 Kimball, Willard, 198, 263, 
 
 272 
 Kimball, Dr. William H., 224 
 Kimball, Mrs. William W., 
 
 274. 
 
 Kincaid, Mrs. Steward, 18 
 
 Kinder, Ralph, 267 
 
 King, Bertha, 146 
 
 King, Elizabeth, so 263 
 
 King, Ethel F., 
 
 King, Rev. fae M., 203 
 
 King, Jennie S., 146 
 
 King, Marietta, 146, 164 
 
 King, Maurice P., 283, 340 
 
 King, Mrs. Maurice, 280 
 
 Kins. Ro BS 169 
 
 King, Ruth, 226, 298 
 
 King, Wallace, 120 
 
 Kingsbury, Carrie M., 226 
 
 Kingsbury, John, 78 
 
 Kingsbury, Joseph, 74, 77, 78, 
 87 
 
 Kingsbury, Mrs. Sarah, 78 
 
 Kingsley, Charles, 133 
 
 Kinney, Mrs. Charles, 287 
 
 Kinsley, Mrs. E. A., 190 
 
 Kinsley, Mrs. Edna, 293 
 
 Kinsley, D. W., 190 
 
 Kirk, Robert, 277 
 
 Kirkpatrick, Herbert E., 416 
 
 Kirkpatrick, Mrs. W. he 146 
 
 Kitishima, Rev. Watan, 106 
 
 Kittredge, Joseph, 354, 415 
 
 Kloth, Rev. C. C., 352 
 
 Kloth, Kriver, 352 
 
 Knapp, Rev. A. M., 115 
 
 Knapp, Frank, 335, 415 
 
 Knapp, Henry, 349 
 
 Knapp, Merton, 349 
 
 Knapp, Raymond, 349 
 
 Knight, Alberta, 302 
 
 Knight, A. C., 194 
 
 Knight, Alena, 302 
 
 Knight, Mrs. Alonzo, 185 
 
 Knight, Amos, 333 
 
502 BIOGRAPHICAL INDEX 
 
 Knight, C. Eugene. 249 
 Knight, Mrs. Clyde, 288 
 Knight, Columbus, 185 
 Knight, Mrs. Columbus, 185 
 Knight, Dorothy, 321, 415 
 Knight, Elizabeth, 302 
 Knight, Mrs. Enoch, 185 
 Knight, Etta, 160 
 Knight, Florence, 144, 146, 148, 
 149, 161, 185, 415 
 ee Franklin, 49, 50, 51, 
 52, 
 Knight vee George, 262 
 Knight, Harriet E., 146, 263 
 Knight, Helen, 305 
 Knight, Mrs. Herbert, 146 
 Knight, J. Melvin. 352 
 Knight, Leland W., 261, 415 
 Knight, Linwood, 335 
 Knight, Maude C., 249 
 Knight, Mel., 353 
 Knight, Phyllis, 272, 415 
 Knight, Ralph E., 254, 256, 
 272, 335, 353; AIS 
 Knight, Ruth Merrill, 263, 264 
 Knight, Willett F., 353 
 Knowles, Edna, 288, A415 
 Knowles, Ethel May, 415 
 Knowles, Eva Elizabeth, 317 
 Knowles, Mrs. Eva M., 416 
 Knowlton, Esther, 305 
 Knowlton, Frank, 191 
 Knowlton, George H., 352, 354 
 Knowlton, John D., 352, 354 
 Knowlton, Marion, 302 
 Knowlton, Samuel, 184 
 Knowlton, William E., 352, 
 
 353 
 
 Knox, Mrs. Clara Hall, 196 
 
 Knox, Mrs. J. H., 304 
 
 Knox, Mrs. Myrtle, 290 
 
 Korb, May, 227, 416 
 
 Korda, Anna Miller, 146, 150, 
 253, 274, 416 
 
 Korda, Joseph, 253, 416 
 
 Kossuth, Louis, 110 
 
 Koster, Ruth, 302, 416 
 
 Kotzschmar, Hermann, 77, 78, 
 80) 87,200; GIO, E17, ok 0: 
 120, 122, 1234125, 137, 143, 
 147, 153, 155, 156, 157, 158, 
 159, 162, 165, 166, 167, 168, 
 169, 170, 171, 187, 190, 225, 
 239, 253, a 263, 265, 267, 
 272, 273, 291, 306, 310 
 
 Koch Rue Ann, 
 142, 267, 416 
 
 Krebs, Carl, 123 
 
 Kriger, Elizabeth, 146, 416 
 
 Kriger, Gertrude Seiger, 416 
 
 Kroon, Mrs. A. J., 294 
 
 Kuhn, Herman Hs 351 
 
 119, 
 
 Kuschke, 
 
 147, 227 
 Kyes, Aroline Treat, 416 
 
 Mrs. William T., 
 
 L 
 
 LaBar, Mrs: 837276 
 Labe, M. B., 346 
 LaBlanc, Blanche, 306 
 Lacasse, Alfred J., 277 
 Lackee, Ione, 146 
 Ladds As-W.. 425 
 Ladd, Bernard Everett, 416 
 Ladd, Pliney, 348 
 Ladd, 5.-G 27 
 Ladd, Wallace, 348 
 Ladd, William D., 347 
 Lafay, Claude, 353 
 Lafond, Dr. L. Raoul, 
 296, 416 
 LaFond, Paul, 316 
 Lahar, Edward, 261, 416 
 Laird, Alice C., 416 
 Laird, George E., 263 
 Laird, Mrs. George E., 
 
 263 
 Laite, H. Whitefield, 416 
 Lally, Annie, 142 
 Lamarre, Marguerite Z., 286 
 Lamb, Albert E., 416 
 Lamb, Avis, 147, 149, 
 258, 273, 274, 308, 417 
 
 295, 
 
 145, 
 
 150, 
 
 Lamb, Rev. F. M., 188, 202, 
 417 
 Lamb, Grace, 194 
 
 Lamb, Mabel Frances, 302, 417 
 Lamb, Mary, 52 
 Lamb, Myron U., 417 
 Lambert, Arthur, 342 
 Lambert, Edward, 277, 417 
 Lambert, Martin, 277 
 Lambert, William C., 154 
 Lambord, Benjamin, 312 
 Laming, Henry G., 417 
 Lamont, Fred C., 417 
 Lamson, Carl, 194 
 Lamson, Mrs. Carl, 146, 194 
 Lamson, Mrs. Helen, 146, 148, 
 199 
 Lamson, Hester, 275 
 Lancaster, Ethel, 304 
 Lancaster, Ezekiel, 97 
 Lancaster, H. N., 61 
 Lancaster, Lyman, 97 
 Lancaster, William, 186 
 Lancey, Barbara, 226 
 Landry, Achille C., 417 
 Landry, Mrs. Antonio, 276 
 Landry, Arthur B., 417 
 Landry, Mrs. Edwin, 225 
 Landry, Mrs. Frank, 295 
 
 Landry, Mrs. G. E., 223, 225, 4 
 
 417 
 Lane, Albert A., 417 
 Lane, Alice Frye, 417 
 Lane, Emma, 417 
 Lane, Frank B., 225 
 
 . Lane, Mrs. John C., 146 
 ‘Lane, Josephine, 280 
 
 Lane, Leo, 353, 354 : 
 Lane, Lucy Mitchell, 191, 222, 
 293, 295, 297, 417 
 Lane, Mabel, 280 , 
 Lane, Maurice Elton, 335, 417. | 
 Lane, Mrs. Merton A., 418 4 
 Lane, Oscar C., 418 
 Lane, Mrs: QO. Pi 160 
 Lane, Robert, 272, 418 
 Lane, Walter, 224 
 Lane, William F., 28 
 Lang, Mildred, 146 a 
 Langdon, Mrs. Hazel, 289, 294 
 Lange, Lillian, 146 
 Langelier, Elie, 296 q 
 Langelier, Mrs. Eugene, 294, — 
 
 295 
 Langlais, Charles J., 418 
 Langlois, Charles C., 418 
 Langlois, Corrine, 305 
 Langlois, Edith, 305 
 Langman, Sylvia, 418 
 Lanterman, Mrs. Ethel Lee- 
 
 mon, 275, 418 
 Lapointe, Lelia, 418 
 Lepont, C. L443 
 LaRochelle, Loretta, 150 
 Larochelle, Peter, 342 
 Larocque, Stanley, 296 
 LaRose, Austin, 260 
 Larrabee, Mrs. George H., 281 
 Larrabee, Mrs. George P., 2 
 Larrabee, Millicent, 298 
 Larrabee, Myrta Skillings, 418 
 Larrabee, Mrs. Raymond, 224 — 
 Larsen, Charles C., 283, 340 
 Larsen, Karl D., 283, 340 
 Latham, Georgia May, 164 q 
 Latham, Thelma, 149, 256, — 
 
 272, 418 
 Latneau, Doris, 290 
 Laugerin, Peter, 342 
 Laughlin, Arthur W., 119 
 Laughton, Edith, 418 
 Laughton, F. M., 176, 178 
 Lauzier, Mrs. Aline, 418 
 Lavallie, F. X., 418 
 Lavelle, Roland, 305 
 Laverty, Mildred I., 418 
 LaVigne, Fred J., 255, 
 
 418 
 Lavyn, Mrs. Lucille Potter, 141 | 
 Law, George A., 335 
 Lawrence, Charles, 343 
 
 350, 
 
Botts PT ECA L LN DEX 
 
 503 
 
 Lawrence, Harold, 256, 
 272, 335, 418 
 
 Lawrence, Madeline, 302 
 
 Lawrence, Mrs. Pauline Ro- 
 berts, 294 
 
 Lawrence, Ruth, 302 
 
 Lawrence, Mrs. W. iSigceee ae 
 
 Leach, Convers E., 256, 268 
 
 Leach, Frank, 182. 
 
 Leach, Mrs. Gilbert, 418 
 
 Leach, Hattie, 303 
 
 Leach, Sadie E., 418 
 
 Leavitt, Ada I., 418 
 
 Leavitt, Alice, 164 
 
 Leavitt, Annie, 164 
 
 Leavitt, Annie J., 154 
 
 Leavitt, Carrie W.. 178 
 
 Leavitt, F. W., 159 
 
 Leavitt, George, I51 
 
 Leavitt, J. A., 332 
 
 Leavitt, Mrs. Lena, 287 
 
 Leavitt, Samuel R., 78, 79 
 
 Lebeau, Alpaida, 418 
 
 Lebeau, Joseph, 352 
 
 Lebell, Mons, 25 
 
 Leblond, Armaline, 418 
 
 LeBranch, Angelina, 293 
 
 Leckenby, Joseph, 303 
 
 Leclair, Cecilia, 286 
 
 Lee, Ethel, 226, 298, 418 
 
 Leech, Clara Avis, 418 
 
 Leech, Fred Howard, 419 
 
 Leeman, Clifford, 272 
 
 Leeman, Ethel, 261, 275 
 
 Leeman, Irene, 275 
 
 Leen, Hazel Perry, 419 
 
 Lefeye, Claude, 352 
 
 Legault, Joseph, 334, 336 
 
 Legendre, Cecile, 305 
 
 Lehmann, Lilli, 236, 239, 240 
 
 Leighton, Adam P.. 268 
 
 Leighton, Mrs. Adam P., Jr., 
 145, 268 
 
 Leighton, Clifford E., 419 
 
 Leighton, Edith, AIO 
 
 Leighton, Everett, 335 
 
 Leighton, J. E., 155 
 
 Leighton, Rev. James M., 
 224 
 
 Leighton, John, 334 
 
 Leighton, Nellie, 226 
 
 Leighton, Preston M., 343 
 
 Leighton, Ralph, 255, 
 258, 419 
 
 Leighton, Royden R., 352 
 
 Leighton, R. W., 225, 309 
 
 Leith, Alice L., 321, 349 
 
 Lekouses, Angelo, 272 
 
 Lemare, Edwin H.. 256, 268 
 
 Lemieux, Alex, 296, 297 
 
 Lenfest, Effie, 419 
 
 Lenfest, Mrs. I. R., 299 
 
 254, 
 
 193, 
 
 257; 
 
 Leslie, John 
 
 Leonard, Mrs. A. N., 292 
 
 Leonard, Helen S., 285, 419 
 
 Leonard, Hugo, 183 
 
 Leonard, Leroy, 255, 257, 261, 
 419 
 
 Leonard, Mrs. Nettie, 292, 293 
 
 Leonard, Paul, 283, 340, 419 
 
 Leonard, Stanley T., 283 
 
 Lepine, Raoul, 419 
 
 LeProhon, Florence Best, 419 
 
 Le Sieur, Simonne, 147, 419 
 
 A., 353 
 
 Lesser, Bertram, 352 
 
 Lesser, Eugene, 334 
 
 Letarte, Albert C., 286 
 
 Letteney, Cora, 273 
 
 LeVasseur, Mrs. John, 285 
 
 LeVasseur, Pauline, 288, 419 
 
 Leveroue, Elvira, 172 
 
 Levesque, Raymond, 291 
 
 Levi, Thomas Anthony, 419 
 
 Levinsky, Maurice, 272 
 
 Lewis, Charles.R., 222, 225; 
 419 
 Lewis, Hila C..120, 142, 148, 
 
 200, 311, 419 
 Lewis, Gladys, 306 
 Lewis, Harriet, 119 
 Lewis, Helen, 146, 419 
 Lewis, Henrietta H., 142, 148 
 Lewis, Jacob, 200 
 Lewis, Marion, nee 306 
 
 Lewis,.P.; 35, 4 
 Lewis, Mrs. Philip Peake 
 Lewis, Richard E., 263, 419 
 
 Lewis, William, 263, 420 
 
 Lewis, Mrs. William, 263 
 
 Libbey, Mrs. C. T., 420 
 
 Libbey, Harry W., 224, 227, 
 27 G\ 270" 2805 2n5, 420 
 
 Libbey, Herbert W., 227 
 
 Libbey, S. C., 191 
 
 Libby, Alice, 146 
 
 Libby, Alice J., 249 
 
 Libby, Anne By 2 187 
 
 Libby, Beatrice Elizabeth, 296, 
 420 
 
 Libby, Bernadine, 305 
 
 Libby, Charles, 102, 163, 263 
 
 Libby, Dorville, Jr., 155 
 
 Libby, Ellen, 187 
 
 Libby, Fannie, 164 
 
 Libby, Fannybelle, 292 
 
 Libby, Florence H., 146, 273, 
 274, 420 
 
 Libby, Mrs. Florence P., 304 
 
 Libby, Mrs. Frances A., 420 
 
 Libby, Francis O., 140 
 
 Libby, Mrs. George A., 263 
 
 Libby, Harold B., 297 
 
 Libby, Harold E., Jr., 286 
 
 Libby, Mrs. Harold G., 145 
 
 Libby, Harrold E., Jr., 286 
 
 Libby, Isabel, 222, 224, 420 
 
 Libby, Julia, 141, 142 
 
 Libby, Mrs. Kate B., 288 
 
 Libby, Leonard, 334 
 
 Libby, Lucien P., 420 
 
 Libby, Lucille, 298, 420 
 
 Libby, Mary, 263 
 
 Libby, Mary L., 146 
 
 Libby, M. W., 334 
 
 Libby, Pearl G., 146 
 
 Libby, Mrs. Richard, 146 
 
 Libby, Ruth S., 321, 420 
 
 Libby, Semon H., 119 
 
 Libby, Sylvanus, 334 
 
 Libby, Warren F., 342 
 
 Libby, Mrs. William T., 289 
 
 Liberty, Carl, 256 
 
 Lidback, Paul J., 155 
 
 Lidstone, Mrs. Rena, 293 
 
 Lincoln, Alice, 286 
 
 Lincoln, Fred D., 178, 179 
 
 Lincoln, Dr. Isaac, 328 
 
 Lincoln, May, 177 
 
 Lindsey, Evelyn Cole, 420 
 
 Lindsey, Mrs. Lulu, 290 
 
 Lindsey, Rebecca, 65 
 
 Linnekin, Guy E., 316 
 
 Linnell, William S., 267, 268, 
 420 
 
 Linscott, Blanche, 293 
 
 Linscott, Walter Leslie, 420 
 
 Linton, Helen, 298 
 
 Lippincott, Emily D., 286 
 
 Lipsky, Arthur Arnold, 420 
 
 Litchfield, Alice Percy, 420 
 
 Litchfield, Mrs. C. A., 222, 293, 
 294, 295, 297 
 
 Litchfield, Elizabeth M., 
 294, 295, 308, 420 
 
 Litchfield, H. A., 182 
 
 Litchfield, Prof. Henry, 305 
 
 Litchfield, J. B., 181 
 
 Litchfield, Mrs. J. H., 294, 295 
 
 Litchfield, Mildred, 295, 296 
 
 Litchfield, Millie Parker, 293, 
 297, 420 
 
 Litchfield, Mrs. Minnie Goss, 
 I9I, 293, 297 
 
 Litchfield, Mrs. Norman, 294 
 
 Little, Anita G., 69, 421 
 
 Little, C. Bryce, 225, 421 
 
 Little, Frank H., 155, 156, 159, 
 253, 255, 256, 272, 421 
 
 Little, Rev. George B., 115, 
 116 
 
 Little, Harold, 335 
 
 Littlefield, Archie, 351 
 
 Littlefield, A. R., 186, 187 
 
 Littlefield, Caroline, 302 
 
 293, 
 
504 BIOGRAPHICAL INDEX 
 
 Littlefield, Mrs. Ellen B., 146, 
 148, 421 
 
 Littlefield, Mrs. George Ed- 
 ward, 289, 421 
 
 Littlefield, Grace, 189 
 
 Littlefield, Mrs. Hattie, 191 
 
 Littlefield, Mrs. J. W., 191, 
 192 
 
 Littlefield, Laura Comstock, 
 
 420 
 Littlefield, Lida S., 248 
 Littlefield, Mrs. Mildred, 306 
 Littlefield, Ralph D., 250 
 Littlefield, Robert, 289 
 Littlefield, Mrs. Rosa W., 301 
 Littlefield, Seth, 421 
 Littlehale, Mrs. L. N., 222 
 Littlehale, Mrs. Mary B., 300 
 Livermore, Col., 88, 89 
 Livingston, Stephen T., 249 
 Lizotte, Henry, 340 
 Loane, Mrs. A. B., Jr., 288 
 Loane, Mrs. E. W., 299, 308 
 Locke, A. J., 332 
 Locke, Charles ih 18 
 Locke, 
 Locke, 
 Locke, Samuel, 27, 89 
 Lockwood, A. D- 153, 190 
 Loesser, Arthur, 248 
 Lombard, Everett, 256, 272 
 Lombard, H., 261 
 Long, Ella Boyce Fifield, 421 
 Long, Mrs. J. H., 90, 172 
 Long, Ruth C., 14 
 Longfellow, Arthur, 311 
 Longfellow, Bertha, 421 
 Longfellow, Blanche Cram, 254, 
 
 311 
 Longfellow, Mrs. Charles E., 
 
 145 
 Longfellow, Ella T., 225 
 ences Henry W., 34, 122, 
 
 Henctelod P) 224 
 
 Longfellow, Rev. Samuel, 34, 
 328 
 
 Loomis, Daisy, 421 
 
 Lord, Charles H., 281 
 
 Lord, Cora, 421 
 
 Lord, Frederick A., 421 
 
 Lord, Gertrude, 226 
 
 Lord, Helen Cooper, 302, 421 
 
 Lord, H. M., 182 
 
 Lord, John D., 88 
 
 Lord, Lena, 224, 226 
 
 Lord, Mary M., 421 
 
 Lord. Mrs. Robert H. W., 146, 
 148 
 
 Lord, Russell, 194 
 
 Lord, Capt. William, Jr., 323 
 
 Loring, David E., 343, 353 
 
 Loring, Harold A., 263, 422 
 
 Loring, Mrs. Junius, 288 
 
 Loring, William L., 343, 352 
 
 Lothrop, James K... 273, 422 
 
 Lothrop, Mrs. James K., 146, 
 260, 263, 422 
 
 Lothrop, W. L., 188, 190, 297 
 
 Loud, John F., 286 
 
 Lougee, Lenona, 290, 422 
 
 Lougee, Marguerite Emma, 422 
 
 Lougee, Nellie Delphine, 422 
 
 Lougee, Zenas, 350 
 
 Love, Evelyn, 422 
 
 Lovejoy, Alden Wing, 200, 201 
 
 Lovejoy, Delmar B., 339 
 
 Lovejoy, Lucy, 65 
 
 Lovejoy, Nathan, 200 
 
 Lovejoy, Temperance Wing, 
 200 
 
 Loveley, Ethel, 422 
 
 Lovell, Mrs. Florence A., 286 
 
 Lovell, Franklin W., 422 
 
 Lovell, Horace D., 286, 422 
 
 Lovell, Mrs. Horace D., 286 
 
 Low, A) £102 
 
 Low, Martha, 295, 422 
 
 Low, Mildred Caroline, 422 
 
 Low, Sarah, 52 
 
 Lowe, Mrs. A. W., 278 
 
 Lowe, Ruby G., 306 
 
 Lowell, Abner, 78, 79 
 
 Lowell, Mrs. Charlotte P., 146, 
 260, 422 
 
 Lowell, Edith, 149, 275, 289 
 
 Lowell, E. L., 225 
 
 Lowell, Eliza S., 146, 293, 294 
 
 Lowell, F. H., 225 
 
 Lowell, Harry P., 256, 272; 
 276, 422 
 
 Lowell, Henry H., 119 
 
 Lowell, Mrs. Herbert, 249 
 
 Lowell, Irving H., 119 
 
 Lowery, Mrs. Mathilda, 290 
 
 Lucca, Pauline, 183 
 
 Luce, Bertha M., 302, 422 
 
 Luce, Carrie F., 285, 423 
 
 Luce, Earl C., 285 
 
 Luce, John T., 186 
 
 Luce, Maurice A., 286 
 
 Luce, Nelson C., 97 : 
 
 Lucille, Sister Mary, 321, 423 
 
 Ludden, Mrs. Elizabeth, 293 
 
 Ludden, Mrs. F. E., 294 
 
 Ludden, Muriel B., 423 
 
 Ludden, Rena H., 423 
 
 Ludden, Virgia W., 187 
 
 Ludden, Mrs. William, 294 
 
 Ludwig, Guard. 351 
 
 Ludwig, Mrs. Theresa, 290 
 
 Lufkin, Mrs. Eliza J., 187 
 
 Lufkin, Fred, 188 
 
 Lufkin, Martha F., 190, 292 
 
 Lunt, Elsie, 423 
 
 Lunt, Grace, 293, 294 
 Lunt, Peter, 52, 54 
 
 Lurvey, Samuel S., 343, 423 
 Lydston, Mrs. Ray, 294 
 Lyford, Bylie, 354 
 
 Lyford, Laura Alvena, 423 
 Lyford, Walter, Jr., 354 
 Lynch, Mrs. J. T., 423 
 Lynch, Katheryn, 294 4 
 Lynch, Mrs. Lillie Shaw, 196 
 Lynde, John H., 179 
 Lynes, Frank, 134 
 Lynn, Ruth, 274, 423 
 Lyon, C. Leroy, 285, 423 
 Lyon, Ida Holtz, 423 
 Lyon, James, 15 to 19 
 Lyon, Fi 416 
 
 Lyons, Edwin J., 277 
 
 Lyseth, Harrison C., 276, 423 4 
 
 M 
 
 MacBurnie, H. W., ae 
 MacCormick, Mrs. pees He 
 28 
 MacDonald, Mrs. D. J., 275 
 MacDonald, George, 242 
 MacDonald, J. Daniel, 423 
 MacDonald, Dr. J. H., 351 
 MacDonald, Mrs. Margaret F., 
 264, 423 
 MacDonald, Mrs. W. L., 276 
 MacDowell, Edward, 312 ~ 
 Macfarlane, Will C., 256, 257, 2m 
 267, 268 4 
 MacGibbon, Roger W., 
 423 
 Macllwain, G. E., 224, 225 
 Mack, Mrs. Susie, 306 
 MacKay, Mrs. Annie Jones, 
 
 MacKay, C. H., 249 
 MacKay, D. H. S., 249 
 MacKay, Mrs. John, 142 7 
 MacLaughlin, Marlin V., 424 — 
 MacLean, Bessie Smith, 424 
 MacMullin, Margaret Mitchell, 
 298, 424 
 MacNichol, 
 226, 227 
 Macomber, Mrs. Harry, 424 
 Macomber, Lizzie M., 18 
 MacPherson, Francis, 352 
 MacPherson, Mrs. Grace, 305 
 Macy, Edward Hallett, 424 F 
 Macy, James F., 118, 119, 224, 
 Spe oes 258, 424 
 Magill, Mrs. Philip, 299, 424 
 Magoon, T. F.. 90 
 
 296, 
 
 J. Francis, 225, 
 
 Magoun, H. Emma, 222; 224, 
 
 285 
 
BOG RAP LCA L SLND E X 
 
 Mahan, Mrs. Addie, 225 
 Maher, Elizabeth, 226, 424 
 Maher, M. D., 159 
 
 Maher, Olive, 223 
 
 Mainente, Anton Eugene, 350, 
 
 424. 
 Malaska, Michael, 349 
 Maling, Mrs. Nettie Gratian, 
 180 
 Mallett, Mrs. Blanche B., 424 
 Mallett, Richard, 349 
 Malley, Mrs. Effie P., 146, 227 
 Mallon, Edwin, 349 
 Malmene, Waldemar, 153, 191 
 Malmene, Mrs. Waldemar, 191 
 Maloney, Fanning G., 254, 
 $13, 434 5, 
 Maloon, Carrie, 196 
 Maloon, Henry, 349 
 Maloon, Mrs. Lila, 293 
 Maloon, Minerva, 196 
 Mangum, Elmer, 255, 258, 273, 
 
 424 
 Manley, Blanche, 248 
 Mann, Mrs. William E., 223, 
 225, 425 
 Mannette, Agnes, 149 
 Manning, Charles, 254 
 Manning, May, 275 
 Manning, Samuel, 27 
 Mansfield, Emily P., 146 
 Mansfield, Frances Vivian, 290, 
 
 425 
 Manson, Hon. A. D., 179 
 Manson, Mrs. E., 191, 192 
 Marble, Coker, 111 
 Marble, Harriet Ladd, 
 
 321, 425 
 March, Mrs. Ada, 306 
 March, Edith M., 425 
 March, Grace E., 146 
 March, Mrs. Mary, 306 
 Marchesi, Mathilda, 245 
 Marcotte, Regina, 295 
 Marcoux, Joseph Henri, 227, 
 
 309, 
 
 425 
 
 Marcoux, Lionel, 297 
 
 Marden, Mrs. Dorothy H., 
 320 
 
 Marden, Mrs. Florice E., 224, 
 425 
 
 Marden, Mrs. W. C., 226 
 Margison, Mrs. George, 299 
 Mariner, Frederic, 289 
 Marquis, Lorette E., 425 
 Marriner, Mrs. Louise Lyford, 
 
 193 
 Marsden, H. C., 224 
 Marsh, Albert R., 425 
 Marsh, Clara B., 194 
 Marsh, Samuel. 349 
 Marshall, Charles, 227. 247, 425 
 
 Marshall, Clarence, 178 
 Marspall Co). 279 
 Marshall, Don, 286 
 Marshall, Evelyn, 426 
 Marshall, Herbert, 335 
 Marshall, Karl, 156 
 Marshall, Leonard, 116, 
 
 259, 263, 273, 426 
 Marshall, Mabel E., 321, 426 
 Marshall, Dr. N. M., 119 
 Marshall, Ruth, 259 
 Marston, Mrs. Adelaide Mc- 
 Farland, 297 
 Marston, Agnes, 426 
 Marston, Charles E., 426 
 Marston, C. H., 90 
 Marston, Eleanor, 187 
 Marston, Elizabeth, 293 
 Marston, Frostina E., 222, 285, 
 426 
 Marston, George W., 147, 150, 
 152. 107, O97 170. 171.4202, 
 SOT HEA tA 1 Sele 
 Marston, James D., 353 
 Marston, Joseph, 89 
 Marston, Kathleen B., 302, 426 
 Marston, Lucinda, 299 
 Marston, Mrs. Mahlon H., 
 263 
 Marston, Mrs. Norris, 184 
 Marston, Richard L., 286 
 Marston, William, 170 
 Martin, Edmond, 296 
 Martin, Frederic, 248 
 Martin, Harry E., 426 
 Martin, Henry, 342 
 Martin, Isaac, 296 
 Martin, Joseph, 342, 426 
 Martin, Mrs. Mabel, 296 
 Martin, Warren R., 277 
 Mason, Catherine, 104 
 Mason, Daniel G., 134 
 Mason, Dr. E. W., 104 
 Mason, Frances, 178, 277 
 Mason, Dr. H. B., 225 
 Mason, Capt. Hugh, 103 
 Mason, Rev. J. K., 180 
 Mason, John R., 114 
 Mason, Dr. Lowell, 93, 96 
 Mason, Luther Whiting, 103 
 
 to 107 
 Mason, M. Phillips, 286 
 Mason, Silas, 103 
 Mason, Stuart, 157 
 Massbyl, Peter. 335 
 Masse, Roland F.. 286 
 Massey, George S., 336 
 Mather, Cotton. 11 
 Mathes, Nettie M., 426 
 Mathews, Blanche Dingley, 426 
 Mathis, Mariorie, 146 
 Matte, Dr. BL. FE: N.. 291 
 
 181, 
 
 505 
 
 Matthews, Mrs. Caroline, 288 
 Matthews, Mrs. Elwyn, 426 
 Matthews, W. S. B., 136 
 Matthieu, Carroll A., 349 
 Maxfield, Carl W., 283 
 Maxfield, Dr. Fred E., 282, 
 
 283 
 Maxfield, Mrs. LeVerne Kimp- 
 ton, 198 
 Maxim, Abraham, 29, 30 
 Maxim, Anna M., 30 
 Maxim, Capt. Benjamin, 110 
 Maxim, George Pratt, 225, 426 
 Maxim, H. F., 249 
 Maxim, John, 68 
 Maxim, Martha, 426 
 Maxim, Mary, 427 
 Maxwell, Mrs. A. E., 285 
 Maxwell, Mrs. Frank M., 187 
 Maxwell, Irving W., 258, 427 
 Maxwell, James D., 283 
 Maxwell, Leola, 427 
 May, Gertrude, 293 
 May, Julia H., 186 
 Mayberry, Willard, 222, 334, 
 336, 352 
 Mayhew, Mrs. R. S., 64, 102 
 Maynard R.21768 
 Maynard, Louise S., 427 
 Mayo, Margaret, 302 
 ayo, Mary, 285 
 McAdams, Martha, 147 
 McAlister, Marion K. W., 427 
 McAlphine, Mrs. Mabel Chis- 
 holm, 196 
 McArthur, Miss M. E., 191 
 McBride, Mrs. Frances, 280 
 McBride, Mrs. Hazel C., 288 
 McCalmon, Martha I., 146 
 McCann, Nellie Louise, 289, 
 
 427 
 McCausland, Doris, 147. 427 
 McCausland, H. W., 326 
 McClench, Bertha, 225 
 McCloskey, Edmund M., 286 
 McClung, George, 255, 258. 
 
 427 
 McClure, Gertrude B., 283 
 McCobb, Harriet S., r41, 142, 
 148, 427 
 McCobb, Mary S., 142, 148, 
 
 427 
 McCord, Percy B., 258, 261, 
 263, 427 
 McCracken, Henry, 305 
 McCready, C. D., 224, 285 
 McCready, Marion ‘Taylor, 
 200. 427 
 McCrillis, John, 351 
 McCurdy, Mrs. C..L., 222, 278 
 McDonald, Mrs. Annie. 427 
 McDonald, Augustus, 260 
 
506 
 
 McDonald, Bhima, 146 
 
 McDonnell, Charles H., 427 
 
 McDonnell, Mrs. May, 260, 
 427 
 
 McDougal, Bess, 288 
 
 McDougal, Mrs. Olive, 260, 
 
 427 
 McDuffie, Margaret, 147 
 McFarland, Peter, 38 
 McFaul, Mrs. James A., 146, 
 
 149, 263, 307, 308 
 McGilvery, Helen, 296 
 McGinley, Eva, 290, 427 
 McGonagle, Mary K., 427 
 poneatiel Mrs. Thomas Pe 
 
 MeCrats Mrs. Alfred, 145 
 McGrath, John P., 285 
 McGrath, R. Ella, 298 
 McGray, Cecil, 277 
 vee Eleanor B., 146, 275, 
 
 Activa Mrs. R. Crawford, 
 
 294 
 Mcllroy, Ronald, 350 
 McInnis, Mrs. James L., 224 
 McInnis, John, 428 
 McIntire, David, 185 
 McIntire, Helen, 428 
 McIntire, Mrs. Malcolm, 299 
 McIntire, Paul, 272, 353, 428 
 McIntyre, Mrs. Helen, 260 
 McIntyre, Leah, 290 
 McKay, Helen E., 290, 428 
 McKeen, Alice, 194 
 McKeen, James, 62 
 McKeen, Lloyd Donald, 428. 
 McKellan, Bieter ss 
 McKenna, Elizabeth, 293, 294 
 McKenney, Ada Cary, 164 
 McKenney, A., 333 
 McKenney, Clifford, 340 
 McKenney, Mrs. Frank, 145 
 McKenney, Mrs. Grace, 293, 
 297 
 McKenney, Mrs. H. H., 249 
 McKenney, Ida E., 428 
 McKenney, Hon. L. F., 224 
 McKenney, Luda Mabel, 428 
 
 McKenney, Mrs. W. i, 249 
 McKenzie, Marguerite, 226, 
 428 
 
 McKenzie, Mrs. Mildred, 298 
 McKinney, Mrs. Matthew, 294 
 McLane, William, 259 
 McLane, William G., 263 
 McLaughlin, Eugene, 351 
 McLaughlin, Kitty, 227 
 McLaughlin, Robert, 200 
 McLaughlin, Teresa, 280 
 McLeary, Robert, 186 
 McLellan, Alexander, 59 
 
 BIOGRAPHICAL INDEX 
 
 McLellan, Beatrice, 259 
 
 McLellan, Charles H. P., §2, 
 54, 154, 195 
 
 McLellan, Edwin W., 351, 353 
 
 McLellan, Emma, 195 
 
 McLellan, Harry, 195, 225, 285, 
 
 428 
 McLellan, James 
 
 428 
 McLellan, William, 325 
 McMaster, Daniel, 225 
 McMennamin, Annie, 288 
 McMennamin, Carrie L., 429 
 McMillan, Mrs. Florence, 222 
 McMurray, Mrs. Maud Teel, 
 
 297 
 McNamara, Mrs. Ida H., 224 
 McNamara, Dr. W. F., 225 
 McNaughton, Mrs. Bertha, 286 
 McNelly, Mrs. Blanche, 287 
 McNulty, James, 179 
 McPherson, F. S., 297 
 McRonald, A. Howard, 256, 
 
 Alexander, 
 
 203 
 Meader, Emily Peace, 203 
 Mears, Arthur, 151 
 Megone, Mogg, 6 
 Megquier, Benjamin C., 78 
 Megquire, A. S., 119 
 Megrew, Mrs. George, 146 
 Melcher, Mrs. H. N., 184 
 Melcher, Margaret Jane, 226, 
 264, 429 
 Melcher, Jennie R.. 285 
 Meleod, Albertina M., 429 
 Melia, John, 159 
 Mellen, Prentiss, 25, 31, 38, 
 39, 4 
 Marcie Heliodore E., 286 
 Menish, Mrs. Esther, "260, 429 
 Merchant, William H., 353 
 Merriam, Clarice Emma, 429 
 Merriam, Ji 184 
 Merrick, john, OY heey fete fe 
 
 39, 89 
 Merrill, Mrs. A. Elizabeth, 142 
 Merrill, Albert G., 103 
 Merrill, Mrs. Albion, 147 
 Merrill, Alice Knight, 429 
 Merrill, Mrs. B. B.. 180. 
 Merrill, Barbara Elizabeth, 429 
 Merrill, Beth, 226, 277 
 Merrill, Clara H., 146 
 Merrill, Dorothy, 146 
 Merrill, Earl S., 283 
 Merrill, Ella, 179, 185 
 Merrill, Ellen. 77, 80 
 Merrill, Elizabeth, 146 
 Merrill, Elizabeth Powers, 314 
 Merrill, Emily, 180. 222, 278, 
 279. 280 
 Merrill, E. D., 224 
 
 Merrill, E. H., 62 
 
 Merrill, Mrs. Eugene, 259 
 Merrill, Fred A., 160 
 Merrill, Fred, 349 a 
 Merrill, Frederick, 52, 55 a 
 Merrill, Mrs. Freeman, 429 
 Merrill, George E., 297 oe 
 Merrill, Mrs. George E., 226, — 
 
 297 4 
 Merrill, G. Dana, 186 a: 
 Merrill, George W., 96, 98, — 
 113, 114, 116, 176, 177, 170m 
 Merrill, Gladys H., 283, 429 
 Merrill, Mrs. G. W., 177 - 
 Merrill, Grace W., 146 ar 
 Merrill, Mrs. Gertrude S., 429 | 
 Merrill, Harry F., 119, 120, ~ 
 159, 227, 256, 260, 261, a a 
 306, 354, 429 ‘ 
 Merrill, Mrs. Henrietta, 185 
 Merrill, Henry F., 256, 258, a 
 266, 268, 292, 335, 429 
 Merrill, Inez, 280 : 
 Merrill, I. Warren, 186 - 
 Merrill, J. F., 188 a 
 Merrill, J. N., 224 a 
 Merrill, John, 88 a 
 Merrill, John P., 343 4 
 Merrill, John T., 185, 351 ae 
 Merrill, Mrs. John T., 185 y 
 Merrill, Mrs. Lena S., 224 
 Merrill, Leonard F., 343 
 Merrill, Lillian, 297 
 Mery Marcia, 144, 227, 259, 4 
 203, 4 a 
 Merrill, Mie E., 164, 284 saa 
 Merrill, Nettie, 292 = 
 Merrill, Mrs. Sadie L., 429 
 Merrill, Thomas L., 191 om 
 Merrill, Mrs. T. L., 191, 192 
 Merrill, Wallace L., 429 
 Merrill, William, 185 
 Merrill, William H., 160 
 Merrill, Mrs. W. H., 160 
 Merrill, William P.. 332 
 Merriman, Clarice, 146 
 Merrithew, Louie, 354 2 
 Merrow, Mrs. R. H., 226 a 
 Merrow, Thomas, 316 a 
 Mershon, Harry G., 259, 429 
 Meserve, Roswell A., 351 a 
 Meservey, Fred, 346 
 Meservey. G. F., 181 a 
 Messer, Benjamin E., 98, 100 a 
 Messer, Edmund C., 100 a 
 i Dr. Charles A., 284, a 
 
 Saat 
 
 Metcalf George, 198 | 
 Metcalf. Ida, 292, 293, 297 4 
 Metcalfe, Miss A. F., 184 a 
 Metcalfe, Mrs. H. W., 184 3 
 Meyer, Mrs. Marion D., 430 
 
BIOGRAPHICAL INDEX 
 
 507 
 
 Michaud, Charlotte, 295 
 Michaud, Ozella, 430 
 Millay, Edna St. Vincent, 430 
 
 Millay, Velma on 263. 430 
 
 Miller, Anna, 
 
 Miller, Mrs. Berths Kenney, 
 I9I, 298 
 
 Miller, Carrie, 222, 292, 293, 
 294, 298, 430 
 
 Miller, Charles, 181 
 
 Miller, Mrs. David Gray, 146, 
 
 275 
 Miller, Mrs. Davis, 183 
 Miller, Eva J., 321, 430 
 Miller, F. F., 87 
 Miller, Henry, 343 
 Miller, Mrs. Martha M., 430 
 Miller, Reed, 248 
 Miller, Thor, 430 
 Miller, Mrs. W. L., 278 
 Millett, Alonzo, 157 
 Millett, Mrs. Isabella L., 141 
 142, 164 
 Millett, Mrs. Muriel, 260, 430 
 Milliken, Carl, 349 
 Milliken, Charles, 89 
 Milliken, Charles A., 224 
 Milliken, Mrs. Fanny Baker, 
 
 275 
 Milliken, Harry, 296 
 Milliken, James R., 78, 79, 173 
 Milliken, L. B., 192 
 Milliken, Laura P., 186 
 Milliken, Lemuel G., 160 
 Milliken, Melville C., 159, 172, 
 275 
 Milliken, Nettie A., 
 159 
 Milliken, Philip, 255, 258, 430 
 Milliken, Susan Cressey, 172 
 Milliken, S. K., 191 
 Mills, Mrs. Ambrose, 222 
 Mills, Charles S., 316, 327 
 Mills, Horace E., 255, 334 
 Mills, Lois, 146, 253, 430 
 Mills, Scott, 354 
 Mills, Walter H., 285 
 Mills, William H., 93, 115 
 Minchin, Mrs. Arthur, 276 
 Miner, Antonia Sawyer, 
 430 
 Miner, Doris P., 349 
 Miner, William Francis, 
 
 146, 156, 
 
 309, 
 
 349, 
 
 430 
 Minnick, John, 352, 353 
 Minor, Dorothy, 288 
 Mitchell, A. C., 187 
 Mitchell, Dr. Ammi R., 34 
 Mitchell, Charles Banks, 431 
 Mitchell, Elliott, 162, 263 
 Mitchell, Mrs. Emma T., 
 
 226, 306 
 
 225, 
 
 Mitchell, Mrs. Esther, 305 
 Mitchell, Mrs. Ethel L., 
 
 431 
 Mitchell, Etta Andrews, 431 
 Mitchell, Flora, 186 
 
 Mitchell, Florence, 226 
 Mitchell, George, 347 
 Mitchell, Margaret P., 322, 431 
 Mitchell, May, 189 
 
 Mitchell, N. O., yo 
 
 Mitchell, Oscar A., 351, 352 
 Mitchell, Mrs. Perley, 299 
 Mitchell, Sabattis, 354 
 Mitchell, William W., 45 
 Mixer, Charles A., 225 
 
 Mixer, Edward, 260 
 
 Mogan, Matthias F., 261, 431 
 Monaghan, Herbert F., 340 
 Monaghan, Mabelle, 227, 309 
 Monahan, Mrs. Grace, 298 
 Monahan, Virginia, 290 
 Monroe, Charles, 52, 55 
 Monroe, Dr. Hollis, 60 
 Monson, Eoline, 146 
 Monteith, J. A., 261, 431 
 Montgomery, George, 155 
 Montgomery, J. H., 155. 431 
 Montpelier, Yvonne, 146, 274, 
 
 260, 
 
 431 
 Monty, Mrs. Lulu, 298 
 Moody, Agnes, 179 
 Moody, Edna Luetta, 431 
 Moody, Elizabeth, 60 
 
 Moody, Florence, 276, 286, 431 
 
 Moody, George T., 114, 177, 
 179, 180, 280 
 
 Moody, Harriet, 294, 298 
 
 Moody, Helen, 146 
 
 Moody, Jessie C., 431 
 
 Moody, John W., 151 
 
 Moody, Mary A., 146, 164 
 
 Moody, William, 60 
 
 Moore, Charles, 272 
 
 Moore, Mrs. Dorothy, 305, 431 
 Moore, Mrs. E. G., 431 
 Moore, F., 159 
 
 Moore, Frank I., 254, 334, 352 
 Moore, George E., 277 
 
 Moore, Grace Thompson, 431 
 Moore, Henry L., 349 
 Moore, Joe, 277 
 
 Moore, Mrs. Julia Cowan, 263 
 Moore, Mrs. Luther B., 145 
 Moore, Mabel Cutler, 431 
 Moore, Mollie F., 146, 226 
 Moore, Pearl, 348 
 
 Moore, Mrs. Raymond, 150 
 Moore, Roscoe. 348 
 
 Moore, Mrs. Walter B., 146 
 Moran, Loretta, 146 
 
 More, Margaret, 22 
 
 Moreau, Bernadette, 263, 431 
 
 Morey, Mrs. 
 294, 431 
 
 Morey, H. S., 338 
 
 Morey, Mrs. Maud, 292, 293, 
 
 298 
 
 Morgan, A. A., 327 
 
 Morgan, A. P., se 
 
 Morgan, E. E., 345 
 
 Morgan, Ella W.. 146 
 
 Morgan, Mrs. Gladys St. Clair, 
 
 431 
 
 Morgan, Irving J., 256 
 
 Morgan, John, 89, 151, 154, 
 
 Pees, £60, TOs 208,: 318 
 
 Morgan, Rowland, 303 
 
 Morin, Dana, 305 
 
 Morin, Gerome, 193 
 
 Morin, Josafa, 296, 432 
 
 Morin, Joseph, 342 
 
 Morin, Rhea Couillard, 432 
 
 Morong, Mrs. Walter W., 146, 
 
 274, 275, 432 
 
 Morrell, Mrs. Prudence, 286 
 
 Morrill, Mrs. Arthur B., 146 
 
 Morrill, E. T., 61 
 
 Morrill, Mrs. Eva M., 306 
 
 Morrill, Harriet J., 142 
 
 Morrill, Josiah, 343 
 
 Morrill, Mae Chenery, 275 
 
 Morrill, Sam E., 100 
 
 Morrill. Wallace ie OG44 
 
 Morrill, Walter E., 343 
 
 Morrill, William, 184 
 
 Morris, A., 338 
 
 Morris, Charies, 442 AG. 52 
 
 Morris, Frank, 432 
 
 Morris, John, 255 
 
 Morris, Kate, 192 
 
 Morrison, Alice B., 146, 
 
 203, 263, 306, 309 
 
 Morrison, Ann M., 310 
 
 Morrison, Donald, ae 2314 
 
 Morrison, Helen er 275 
 
 Morrison, Mrs. Jennie King, 
 120, 156, 159, 160, 161, 164, 
 239, 432 
 
 Morrison, John L., 310 
 
 Morrison, Marjory, 226, 311, 
 432 
 
 Morrison, Nettie A., 156 
 
 Morrison, Raymond He 283 
 
 Morrison. Mre Stella S.. 187 
 
 Morse, Arthur D., 158, 159, 263 
 
 Morse, Arthur W., 254 
 
 Morse, Mrs. Celia, 260, 432 
 
 Frank A., 222, 
 
 156, 
 
 Morse, Charles H., 134, 139 
 Morse, Dexter, 181 
 
 Morse, Emma, 187 
 
 Morse, E. E., 224 
 
 Morse, Jennie R., 146, 195, 
 
 285, 29 
 Morse, Lloyd E., 256, 272, 432 
 
508 
 
 Morse, Mary Ella, 300 
 Morse, May, 432 
 
 Morse, Penelope, 181 
 
 Morse, Ralph I., 193, 194, 224, 
 
 305 
 Morse, William, 332 
 Morse, Dr. Wilson F., 317 
 Mortland, David N., 182, 183 
 Mortland, Mrs. D. N., 182 
 Mortland, Mrs. Lillian B., 301 
 Morton, Allan, 343 
 Morton, Mrs. Agnes, 303, 432 
 Morton, Asa C., 179, 180, 279, 
 280 
 Morton, Mrs. Frank, 275 
 Morton, Mrs. Gladys, 287 
 Morton, Sara J., 225 
 Moseley, Rev. Elisha, 62 
 Moseley, Ellen M., 293, 297 
 Moseley, F. L., 158 
 Moses, Charles, 335 
 Moses, T. B., 78 
 Mosher, Mrs. Clara, 303, 304 
 Mosher, George, 349 
 Mosher, Mrs. James I., 280 
 Mosher, P., 159 
 Mosman, Phyllis, 147 
 Moulaison, John, 303 
 Moulton, Alma C., 249 
 Moulton, Eunice, 293, 294 
 Moulton, Mrs. ‘ee E204 
 Se Mrs. Marion A., 260, 
 
 Aoantiare Wi 343 
 Mowatt, Captain, 44 
 Mower, F. O., 188 
 Mower, Mildred Louise, 432 
 Mower: Nil... 224, 225, 285, 
 298, 317 
 Moxcey, H. L., 158, 159 
 Moxcey, Mrs. R. M., 306 
 Mudge, E. Reddington, 53 
 Mueller, Ruth, 432 
 Mugridge, S. T., 102, 182 
 Mullaly, J. M., 333, 338, 339 
 Mullen, Mrs. Tena, 305 
 Mulnix, Hattie, 275 
 Mulvaney, Mrs. James. 284, 
 432 
 Munger, Clara E., 
 Munger, Emma F., 
 Munro, Ernest rywind 432 
 Munro, John, 272 
 Munson, W. M., 224 
 Murphy, Jessie eB 249, 306 
 Murray, Harvey, 119, 156, 157, 
 160, 164, 171, 189, 190, 239, 
 263, 291, 310, 433 
 Murray, Helena E., 
 Murray, H. S., 172 
 Murray, Rt. Rev. John Greg- 
 
 ory, 264 
 
 ae 172, 
 
 283 
 
 BIOGRAPHICAL INDEX 
 
 Murray, Joseph T., 304 
 Murray, Mary E., 263, 433 
 Mussey, B. B., 111 
 Muzzey, Arthur E., 433 
 Myrick, Mrs. Alice, 293 
 Myrick, John D., 275 
 Myrick, Mrs. John D., 275 
 Myrick, Mrs. Pauline, 276 
 
 N 
 
 Nadeau, John, 351 
 Narmaud, Peter, 342 
 Nash, Mrs. Ethel, 293 
 Nash, Helen E., 146, 189, 433 
 Nason, Bertha, 227 
 Nason, Frank, 285 
 Nason, Hamilton, 433 
 Nason, Rev. John, 224 
 Naylor, Fred H., 352 
 Naylor, Kenneth, 335 
 Neal, E. R., 78 
 Neal, Mrs. Ida, 303 
 Neal, Parmenio W., 
 LIT, TIF. T19 
 Neilson, Christian, 352 
 Neilson, Irving, 352 
 Neilson, Paul, 352 
 Neily, Mrs. Anne, 
 
 78, 82 
 
 260,908; 
 433 
 Neily, Rupert, 259, 260, 308, 
 
 433 
 Nelke, Bernice, 433 
 Nelson, Alice H., 222, 433 
 Nelson, Donna, 208, 322,484 
 Nelson, Mrs. Doris, 260 
 Nelson, Helen, 146, 261 
 Nelson, Mary ‘Allen, 22°F AGS 
 Nelson, Nels J., 433 
 Nelson, Mrs. W. A., 178, 278, 
 
 279 
 Nelson, Mrs. W. L., 280 
 Nesbitt, M., 338 
 Ness, Mrs. Beatrice, 293 
 Ness, Mrs. John, 294 
 Nettleton, James, 256, 272 
 Neven, Albert, 342 
 Neven, Ethelbert, 202 
 Neven, Henry, 342 
 Nevens, Ezra, 294 
 Nevens, Mrs. Florence Cole 
 
 bell, 191, 293, 298 
 Newcomb, Ruth, 284, 433 
 Newell, Ada W., 187 
 Newell, George W., 353 
 Newell, F., 187, 190 
 Newell, John, 354 
 Newell, Steve, 354 
 Newell, Mrs. Winona, 290 
 Newell, W. G., 334 
 Newman, Mrs. Carl, 226 
 
 ei: James B., 254, 2735 
 
 “Norton, Edwin, 228, 229, 230° 
 
 Baie Mrs. Carrie, 280, 284, 
 
 Nosmet Edith hice 15 
 Neweae Mrs. Neil Ee 
 
 433 
 
 Noses Charles, 347 
 Newton, Elsie, 306, 433 
 Newton, Mary, 226 
 Newton, R: F206 | 
 Nicholas, Calvin Austin, 354 a 
 Nichols, "Mrs. Bertha L., 308 
 Nichols, H.-Co ize ] 
 Nichols, Mrs. H. Cyn tags 164 
 Nichols, John, 354 - 
 Nichols, Mrs. Nellie, 290 
 Nicholson, Elizabeth, 434 
 Nicholson, Rev. George Be 2499 
 Nickels, Clara B., 183 
 Nickels, Emmeline, 183 
 Nickerson, Mrs. A. C.,. 306 
 Nickerson, Mrs. A. E., 2240 
 Nickerson, Mrs. E. A., 187, 
 
 225 a 
 Nickerson, F. A., 187 ‘4 
 Nickerson, Dr. Harry M., 118, 
 
 119, 161, 22%. 260, 272, 273, 
 ie Mrs. Ruth, 260, 
 
 Nickey Viola Isa, 434 
 Nicolar, Joseph, 3 — 
 Nielsen, Alice, 248 a 
 Nightingale, Mrs. Alden, 288 © 
 Nilsson, Christine, ge 
 Rees Mrs. Sadie H “; un 
 434 2 
 Niverson, Mrs. Robert, 276 — q 
 Nixon, Harry E., 434 a 
 Nixon, Mrs. Harry, 259, 136 4 
 Noble, Seth, 23, 91 
 Noel, ‘Mrs. Hortense, 298 
 N oel, Newell, 354 
 Nolan, John pe 194 ’ 
 Nolcini, Charles, 48, 50, 52, 
 67, 261, 324 
 Nolin, Cyril, 316 
 Norcross, Mrs. Charles, 
 142, 164, 165, 262 ; 
 Norcross, Ed. K., 347 q 
 
 ‘ 
 
 Norcross, Esther "Kathryn, 434. 
 
 120, 4 
 
 Nordica, Lillian, 97, 181, 182, 
 200, 220, 227 to 245 4 
 Norris, Homer Albert, 202 
 Norsworthy, Ay Fi sag oe 3 a 
 Norton, Amanda Elizabeth, 230 
 Norton, Mrs. Charlotte, 225. 
 226 os bs 
 Norton, Charles, 334 :.. 
 Norton, Deborah Instance, 227 
 Norton. Ebenezer, 97, 229 
 
BOOGRAPTILC ATL INDEX 
 
 Norton, Eliza, 165 
 
 Norton, Ephraim, 228 
 
 Norton, Mrs. Florence, 434 
 
 Norton, James I., 228 
 
 Norton, Julia, 77, 165 
 
 Norton, Lillian, 97, 181, 182, 
 Px IS tH: 245 
 
 Norton, Nicholas, 229 
 
 Norton, Major Peter, 228 
 
 Norton, Richard R., 186 
 
 Norton, Mrs. Ruth Knight, 
 263, 434 
 
 Norton, Mrs. U. C., 224, 434 
 
 Norton, W. T., 249 
 
 Nowell, Sarah H., 191 
 
 Noyes, Alroy, 185 
 
 Noyes, Edward A., 119, 221, 
 
 223 
 Noyes, Elizabeth, 52, 57 
 Noyes, Frank, 119 
 Noyes, Grace, 226 
 Noyes, Ilsley, 161 
 Noyes, John E., 119 
 Noyes, Mrs. John E., 119 
 Noyes, Julia Edwards, 146, 
 147, 148, 150, 227, 307, 308, 
 
 434 
 Noyes, Mrs. Leola, 303, 434 
 Noyes, Verna, 146, 293 
 Noyes, Wendell P., 434 
 Noyes, Willard A., 298 
 Nudd, Carlos, 190 
 Nudd, Charles, 187 
 Nute, Leander M., 327 
 Nutt, Mrs. Carleen B., 302 
 Nutter, F. Everett, 303 
 Nutter, Walter E., 303 
 Nutter, William S., 303 
 Nye, Dora Trafton, 434 
 Nye, Frank A., 335, 435 
 Nye, Roger, 227, 435 
 Nye, Vora, 302 
 
 O 
 
 Oakes, E. Belle, 292, 293, 294 
 Oakes, Frances A., 435 
 Oakes, Henry W., 188, 224 
 Oakes, Mrs. Nana U., 197 
 Oakman, Carl Shepard, M.D., 
 
 435 
 Oakman, Charles, 197, 316 
 Oakman, George W., 197, 316 
 Oakman, Marion, 177, 316 
 Oakman, Ora, 93 
 Oakman, Walter Marion, 435 
 Oberg, Mrs. Florence, 306 
 O’Brion, Annie J., 264, 435 
 O’Brion, Teremiah, 18 
 O’Brion, Marv E., 146, 435 
 O’Connor, Elizabeth A., 435 
 
 O’Connor, Etta J., 435 
 O’Connor, Josephine, 263 
 Oddy, Frank, 224, 435 
 
 O’Dea, Olive L., 146 
 
 Odell, Mrs. Louise Dade, 287, 
 
 435 
 
 Odlin, Charles, 256, 335, 436 
 
 O’Donnell, J. H., 158 
 
 O’Donnell, Mrs. William, 436 
 
 Ogden, Marguerite, 146, 148, 
 149, 253, 263, 264, 314, 436 
 
 Ogden, Mrs. Marion, 306 
 
 Ogier, Mrs. A. E., 278 
 
 O’Hara, Mrs. Kathleen S., 302 
 
 Ohler, Harriette, 258, 263 
 
 Olcott, Mrs. Hermann P., 146, 
 436 
 
 Olfene, Mrs. Louisa C., 187 
 
 Oliver, Mrs. Charles L., 222 
 
 Oliver, Fred H., 256 
 
 Oliver, George. 351 
 
 Oliver, Henry Kemble, 143 
 
 Oliver, Horace, 335 
 
 O’Neil, John, 231 
 
 O’Neill, Mrs. James B., 146 
 
 Orchard, Myrtle, 290 
 
 Ordway, A. K., 188, 190 
 
 Ordway, Nelson K., 340 
 
 Orlows, Vladimir, 256 
 
 Ormiston, Mrs. William T., 142 
 
 Orne, Ernest B., 313 
 
 Orr, Beatrice B., 146, 275, 436 
 
 Orr, Robert, 62 
 
 Orrman, Mrs. H. L., 146 
 
 Osborne, Alice Julia, 436 
 
 Osborne, Carrie Wing, 311 
 
 Osborne, Charles S., 224 
 
 Osborne, Mrs. Frank, 288 
 
 Osborne, Harriet S., 61 
 
 Osborne, Mrs. Loomis, 288 
 
 Osborne, Mrs. Margaret, 298 
 
 Osgood, Mrs. Alton R., 436 
 
 Osgood, Amos, 87 
 
 Osgood, George L.., 
 475, 151, 182 
 
 Osterberg, Carl, 253 
 
 Ostinelli, Elise, 58 
 
 Ostinelli, Signor, 47, 58 
 
 Ostinelli, Mrs., 47,58, 111, 122, 
 261 
 
 Otis, Mrs. Elizabeth Latham, 
 146, 263, 436 
 
 Otis, Grace M., 436 
 
 Otis, H. G., 187 
 
 Otis, Mrs. Harold, 259 
 
 Otis, Melissa, 187 
 
 Ouelette, Reginald, 296, 436 
 
 Ouilette, Arthur, 305 
 
 Owen, Emma, 195 
 
 Owen, Jessie, 285 
 
 Owen, Josie, 226 
 
 T2i. 4 12n. 
 
 509 
 
 P 
 
 PackarasC) Io 58a 
 
 Packard, Horace, 198 
 
 Packard, Howard, 350 
 
 Packard, Mrs. Ida, 292 
 
 Packard, Lucretia, 290 
 
 Packard, Mrs. Winifred, 293 
 
 Paddon, John, 89 
 
 Page, Albert, 198 
 
 Page, Mrs. Albert F., 226 
 
 Page, Edith Wentworth, 436 
 
 Page, George T., 188 
 
 Page, John O., 26 
 
 Page, Lloyd, 260, 289 
 
 Page, Madelyn Loy, 436 
 
 Page, Sarah: K:,.26 
 
 Painchaud, Pierre L., 193, 225, 
 341 
 
 Paine, Addie, 122 
 
 Paine, Alma Georgiana, 122 
 
 Paine, Anne Rebecca, 122 
 
 Paine, David, 70, 122, 261, 
 325 
 
 Paine, Doris, 436 
 
 Paine, Edgar Houghton, 263, 
 273, 436 
 
 Paine, Helen, 142 
 
 Paine, Jacob. 5.,. 79,122; 323, 
 325, 330 
 
 Paine, Jacques, 84 
 
 Paine, John Knowles, 117, 121 
 to 140. ine.; 170, 330 
 
 Paine John sks & Hii a6s 122, 
 323, 330 
 
 Paine, Joseph, 122 
 
 Paine, Mrs. Leonard, 147 
 
 Paine, Myrick, 122 
 
 Paine, Rebecca Downes, 122 
 
 Paine, William, 68, 79, 325 
 
 Palmer, E. Beryl, 436 
 
 Palmer, Ella, 183 
 
 Palmer, Florence Knight, 227, 
 263, 292, 436 
 
 Palmer, Frederick N., 61 
 
 Palmer, Mrs. Frederick H., 
 144, 146, 148, 306 
 
 Palmer, Mrs. Harry C., 289 
 
 Palmer, H. N., 60 
 
 Palmer, John, 261, 436 
 
 Palmer, Mary, 61 
 
 Palmer, Osmond A., 225 
 
 Palmer, W. A., 178, 179, 180, 
 277 
 
 Pancost, Clara, 146, 273 
 
 Pappas, Charles, 437 
 
 Paquin, J., 277, 437 
 
 Parcher, Samuel F., 331, 332 
 
 Park, Henry, 347 
 
 Park, Ruth A.. 437 
 
 Parke, Mrs. Wilbur, 285 
 
 Parker, Alice, 261, 292, 293 
 
510 
 
 BIOGRAPHICAL INDEX 
 
 Parker, Alston W., 256 
 Parker, Ardelle, 437 
 
 Parker, Charles, 340, 350 
 Parker, Mrs. Charles R., 146 
 Parker, Donald R., 256 
 Parker, Mrs. E. E., 294 
 Parker, Elvert E., 297, 298 
 Parker, Florence M., 150 
 Parker, Frank, 161: 
 
 Parker, George J., 120 
 Parker, Mrs. Gertrude S., 302, 
 
 437 
 Parker, G. L., 298 
 Parker, Mrs. Horace, 146, 189 
 Parker, Horatio, 202 
 Parker, John, 194, 316 
 Parker, lz Gab2:106 
 Parker, Mrs. Joseph E., 
 Parker, Ned, 195 
 Parker, Otis Freeman, 437 
 Parker, Sewell, 340 
 Parker, Mrs. Walter, 437 
 Parker, Mrs. Wilbur, 285 
 Parker, Winthrop, 286, 288 
 Parker, Mrs. W. H., 437 
 Parkman, H. G., 155, 256 263 
 Parkman, Lyman, 348, 349 
 Parlin; Ech; 345 
 Parlin, Gladys, 150 
 Parmenter, Mrs. LeClare, 146, 
 
 289 
 
 437 
 Parrott, Arthur F., Jr., 437 
 Parsons, Dr. Alexander, 159 
 Parsons, Mrs. Edward H., 294 
 Parsons, Emily, 146, 263 
 Parsons, Isaac, 63 
 Parsons, Lora V., 226 
 Parsons, Marion Louise, 278 
 Parsons, Mrs. W. H., 226, 437 
 Partridge, Allen, 191 
 Partridge, Alma, 64 
 Partridge, Annie, 191 
 Partridge, Mrs. Ben, 226 
 Partridge, James, 64, 346 
 Partridge, Mrs. Robert, 276 
 Partridge, Simeon, 64, 300 
 Patch, Mrs. Clifford, 437 
 Pates, Reta, 272, 437 
 Patrick, Arthur, 353, 354 
 Patrick, Catherine, 437 
 Patrick, Mrs. Daniel C., 437 
 Pattee, Lillian Mowry, 437 
 Patten, Ada C., 437 
 Patten, Charles R., 53 
 Patten, Florence, 191 
 Patten, Mrs. G. E. R., 
 Patten, John, 43, 51, 
 Patten, John S., 179 
 Patten, S., 325 
 Patten, Willard, 114, 176, 178, 
 
 180 
 
 195 
 52, 53 
 
 Patten, Zebulon S., 98, 116 
 Patterson, Mrs. Blanche 
 437 
 Patterson, Harriet Frances, 437 
 Patterson, Isaphine, 194 
 Patterson, J. Lee, 193 
 Patterson, Joe, 316 
 Patton, Mrs. Lena Hall, 197 
 Payne, Frederick G., 344 
 Payson, Donald M., 268, 437 
 Payson, Franklin C., 161 
 Payson, Mrs. Franklin C., 146 
 Payson, Mrs. Fred, 437 
 Payson, Mrs. Herbert, 145, 148, 
 150, 437 
 Payson, Lillian B., 264 
 Peabody, Ruth, 322, 438 
 Peacock, Eleanor M., 438 
 Peakes, W. B., 338 
 Pearce, Charles, 154 
 Pearce, Mrs. C. A; 226 
 Pearson, Rev. D. A., 249 
 Pearson, Mrs. Frank, 438 
 Pearson, George H., 78 
 Pearson, Horace G., 155 
 Pearson, Mrs. Milo, 294 
 Peary, Augustus, 100 
 Pease, Burleigh, 179 
 Pease, Mrs. Charles, 145 
 Pease, Mrs. Fannie M., 249 
 Pease, Harriet F., 256 
 Pease, Isabel, 149, 438 
 Peaslee, Earl, 277 
 Peavey, Mrs. F. A., 285 
 Peavey, Mrs. Fred H., 226 
 Peavey, Olive M., 438 
 Peck, Mrs. Bo fi thon eg 
 279, 280 
 Peck, Estelle, 279, 280 
 Peck, Robert C., 353 
 Peck, Mrs. Willard, 284, 438 
 Peirce, Mrs. Florence, 293 
 Peirce, Louise Dennett. 438 
 Pelletier, Mrs. George, 285 
 Pelletier, Oliver, 296 
 Pelletier, Peter, 296 
 Pendexter, Charles A., 190 
 Pendleton, Cora M., 223 
 Pendleton, Effie, 226 
 Pendleton, Ellen, 102 
 Pendleton, Villa Phelan, 194 
 Penley, Hazel, 226, 294, 297, 
 
 438 
 Pennell, Albert E., 
 164, 189, 190 
 Pennell, Albert P., 77, 78, 117, 
 118, 119, 120, 164, 190 
 Pennell, Beatrice, 149 
 Pennell, Charles J., 164 
 Pennell, Charlotte, 164 
 Pennell, Eliza, 190 
 
 Es 
 
 159, 160, 
 
 Pennell, E. G., 161 
 
 Pennell, Mrs. E. L., 294 
 
 Pennell, Frances E., 86, 164. 
 
 Pennell, Adi W., 
 273, 43 
 
 ee Aa George W., 23 
 
 Pennell Gifays, ep 438 
 Pennell, Lucy EB. 
 Pennell. Mrs. Mabel, 275 
 Pennell, Priscilla, 272, 438 
 Pennell, Richard, 165 
 Pennell, R. C., 190 
 
 Peno, Joseph, 272 
 Percious, Arthur T., 438 
 Percy, Florence, 170 
 Perham, Horace, 159 
 Perkins, Mrs. Agnes, 303 
 
 Perkins, Mrs. Charles, 276 od : 
 
 Perkins, David Page, 438 
 
 155 
 Perkins, Enoch, 340 
 
 Perkins, Hazel, 272, 274, uae 4 
 
 Perkins, Mrs. James F., 275 
 Perkins, John Carroll, 262 
 Perkins, Mrs. Margaret, 438 
 Perkins, Marjorie, 438 
 Perkins, Newell, 340 
 Perkins, Sadie, 288 
 
 Perkins, wee Bit O., 116, 181 
 
 Perkins, W., 
 Perkins, Mees William, I9I 
 
 Perrier, Mrs. Helen D. 288 a 
 
 Perreault, Emile, 342 
 Perreault, Irene, 305 
 Perreault, Lucia, 305 
 Perreault, Pierre, 295 
 
 Perry, Amanda, 187 
 
 Perry, Mrs. Annie B., 301 
 Perry, Mrs. A. C., 299 
 Perry, Charles Sprague, 438 
 Perry, E. Beryl, 438 
 
 Perry, Mrs. E. H., 294 
 
 Perry, Mrs. Eva Prentiss, 438 : 
 
 Perry, Frances, 187 
 Perry, Horace, 102, 300 
 Perry, Ilda, 290 
 
 Perry, L. Stee 
 
 Perry, Marion, 302 
 Perry, Raymond C., 286 
 
 Peters, Thomas B.. 254, 334, - 
 
 439 
 Petersen, Christian, 352 
 Peterson, Edwin, 439 
 Peterson, Ellen, 280, 285, 439 
 
 Peterson, Ethel M225; 4400 | 7 
 
 Peterson, Mrs. Fred, 288 
 Peterson, Harold, 286 cares 
 Peterson, Mrs. Leah, 147, ies 
 
 439 
 
 a 
 a s 
 
 Perkins, Mrs. David Page, 154, 
 
 % g ” 
 a 3 
 
 162, 1664 4 
 
 me 
 
 a 
 
 a 
 
BIOGRAPHICAL INDEX 
 
 Peterson, Rev. O. W., 224 
 
 Petit, Elizabeth, 439 
 
 Say ovae Arthur N., 296, 297, 
 344, 
 
 Poca Mrs. Charles, 276 
 
 Pettengill, Lawrence C., 340, 
 
 439 
 Petty, Mrs. Eliza, 439 
 Petty, William, 260, 439 
 Peverada, Angelina, 260 
 Pevey, John M., 191 
 Pfaff, Mrs. A., 280 
 Phaneuf, Beatrice, 293 
 Phantom, John, 191 
 Phelps, F. W., 223, 224, 439 
 Phelps, Mrs. F. W., 223 
 Phelps, J., 338 
 Philbrick, Mrs. E. H., 184 
 Philbrick, Elizabeth, 184 
 Philbrick, Fernando T., 316 
 Philbrick, Pauline, 184 
 Philbrook, Alice L., 146, 148, 
 149, 150, 159, 164, 439 
 Philbrook, A. P., 187 
 Philbrook, Maurice Swain, 311 
 Philbrook, ov Warren C., 
 225, 304, 4 
 Phillips, eee ie: boy 
 136, 152 
 Phillips, Mrs. Charles, 204 
 Phillips, Emily, 182 
 Phillips, Lena, 305, 439 
 Phillips, Mrs. W. G., 294 
 Phillips, William H., 439 
 Philoon, Georgie, 293 
 Phinney, Mrs. Chauncey, 259, 
 274 
 Phinney, Mrs. Emma M., 259 
 Phinney, Mrs. George, 294 
 Phinney, Mrs. Marshall M., 
 
 289 
 Phipps, Mrs. Frank H., 142 
 Picher, Ludger, 342 
 Pierce, Arthur D,, 120, 222, 
 
 439 
 Pierce, Mrs. Arthur D., 439 
 Pierce, Mrs. A. F., 294 
 Pierce, A. W., 222, 439 
 Pierce, Mrs. A. W., 222, 440 
 Pierce, Charles E., 159 
 Pierce, Charlotte, 146 
 Pierce, Mrs. Clyde W., 222, 
 
 126. 
 
 440 
 Pierce, Frank, 162 
 Pierce, Frank H., 120, 171, 260, 
 263, 306, 440 
 Pierce, Harry T., 263 
 Pierce, Mrs. Harry, 276 
 Pierce, Mrs. Herbert H. D., 
 146 
 Pierce, Howard T., 225 
 
 Pierce, Irving, 440 
 
 Pierce, Joshua, 311 
 
 Pierce, Mrs. Josiah, 141, 142, 
 148, 440 © 
 
 Pierce, Mrs. Martha D., 142 
 
 Pierce, Mrs. Mary Hill, 146 
 
 Pierce, Mrs. Wilbur E., 280 
 
 Pierce, William T., 119 
 
 Pierre, Albert S., 440 
 
 Pierson, Mrs. Birdena Powers, 
 287, 440 
 
 Pike, Al, 340 
 
 Pike, Mrs. Cora F., 146 
 
 Pike, Harriet, 146 
 
 Pike, Harriet Louise, 275 
 
 Pillsbury, Mrs. E. M.. 164 
 
 Pillsbury, Lois, 147, 149, 289 
 
 Pillsbury, William K. A., 180 
 
 Pilote, Mamie, 297, 440 
 
 Pilsbury, Hon. George H., 188 
 
 Pine, Fred, 334 
 
 Pingree, D. G., 161 
 
 Pingree, Virginia Dean, 164 
 
 Pinkham, Elizabeth, 146 
 
 Pinkham, Ida May, 146, 263 
 
 Piper, E. H., 89 
 
 Piper, Frances Louise Cushing, 
 440 
 
 Piper, Mabel, 440 
 
 Pitcher, Mrs. Edith C., 302 
 
 Pitcher, Elbert Simmons, 193, 
 194, 224, 225, 305, 321, 341, 
 
 440 
 Pitcher, Mrs: E. S., 
 294, 314, 440 
 Pitcher, Gladys, 194 
 Pitts, Emily Cheever, 173 
 Pitts, Mary Fenno, 173 
 Pitts, Schubael, 59 
 Plant, Rev. R. W., 224 
 Plante, Alford, 440 
 Plante, Alfred, 277 
 Plante, Arthur, 342 
 Plante, Chester, 440 
 Plante, Joseph, 277, 440 
 Plante, Mrs. Joseph, 277, 440 
 Plewinski, Charles, 110 
 Plummer, Arthur, 351, 440 
 Plummer, Charles M., 286 
 Plummer, Harriet, 52, 57 
 Plummer, L. V., 297 
 Plummer, Mary L., 440 
 Plummer, Minnie, 119 
 Plummer, Minnie A., 226 
 Plummer, William, 351 
 Plummer, Mrs. Winifred, 306 
 Plummer, W. M., 188 
 Poe, Edgar Allen, 36, 170 
 Polakovitch, Louis, 255 
 Polk, Lucy, 293 
 Pollard, Alice E.., 
 
 193, 194, 
 
 440 
 
 Sil 
 
 Polleys, Louisa, 52, 57 
 
 Polleys, Sarah E., 77 
 
 Pollock, Paul, 440 
 
 Pomerleau, Mrs. Pearl, 440 
 
 Pomeroy, Elizabeth, 322 
 
 Pomeroy, Mrs. F. E., 292, 294 
 
 Pond, Mrs. E. A., 278 
 
 Pond, Mrs. Galen, 222, 278 
 
 Poole, Rebecca E., 146 
 
 Pooler, Mrs. Agnes M., 301 
 
 Pooler, Mrs. Ella, 183, 304 
 
 Pooler, Frank, 349 
 
 Pooler, Leonard L., 283 
 
 Pooler, Robert E., 340 
 
 Pooler, William C., 100 
 
 Poor, Clarence Osgood, 
 194, 224 
 
 Poor, Henry, 52, 55 
 
 Poor, W. O., 61 
 
 Poore, Joseph H., 78 
 
 Pope, Joseph, 43, 51, 52, 53 
 
 Pope, Colonel William, 196 
 
 Popham, George, 8 
 
 Porcher, Mrs. G. C., 146 
 
 Porter, F. Addison, 441 
 
 Porter, George C., 343 
 
 Porter, John H., 98 
 
 Porter, Mrs. Mabel, 298 
 
 Porter, Mrs. Mabelle, 287 
 
 Porter, Willis, 349 
 
 Fote, Harry 180,277 
 
 Potter, Arthur, 351 
 
 Potter, Corris, 286 
 
 Potter, Mary Ella Morse, 300 
 
 Potter, Mrs. Thomas H., 300 
 
 Pottle, Mary E., 226, 293, 298 
 
 Powell, W.-H. 223, 224 
 
 Powers, Mrs. Ella, 287 
 
 Powers, Mrs. E. Pauline, 288 
 
 Powers, Mrs. H. T., 288 
 
 Powers, Lillian G., 286 
 
 Powers, Peter, 336 
 
 Pratt, Mrs. Charles H., 164 
 
 Pratt, Gos Co 9t20.28s4 
 
 Pratt, Daniel W., 18 
 
 Prett.<GeWe-116 
 
 Pratt, Henry W., 154 
 
 Pratt, John Haraden, 441 
 
 Pratt, Mary, 302 
 
 Pray: Mrs: C, -F-,.223 
 
 Pray, M. A:°C., 249 
 
 Preble, Mrs. S. E., 299 
 
 Prescott, Edith F., 297 
 
 Prescott, Florence, 146 
 
 Presson, George McL., 349 
 
 Preston, Bernice W., 146, 275, 
 308 
 
 Price, Thomas, 11 
 
 Priest, Fannie E., 191 
 
 Prince, Albert oh 297, 298 
 
 193, 
 
512 BIOGRAPHICAL INDEX 
 
 Prince, Carroll D., 343 
 Prince, .Frank U3. 156, 
 254, 255, 256, 272, 334 
 Prince, Henry, 160 
 Prince, Mrs. Sadie, 293 
 Proctor, Annie E., 146 
 Proctor, Kenneth, 305 
 Prothero, Dr. Daniel, 257 
 Provost, Mrs. Louis, 295 
 Pullen, Elizabeth, 144 
 Pullen, George D., 225, 305 
 Pullen, Mrs. G. D., 226 
 Pullen, Horace Mann, 222, 279, 
 
 159, 
 
 281, 283 
 
 Pullen, Mrs. Stanley T., 142, 
 148 
 
 Pulsifer, Evangeline, 297 
 
 Purington, Prof. George C., 
 520 
 
 Purington, Mrs. G. H., 260 
 
 Purington, Nerissa. 274 
 Purinton, F. B., 276 
 Purinton, S. W., 276 
 Purinton, Mrs. Solon, 276 
 Purinton, Wallace, 353 
 Purrington, Roy A., 25 
 Putnam, Harold, 272 
 Putnam, Rev. John, 203 
 
 Q 
 
 Quigley, Mrs. Corrine, 441 
 Quimby, Aurelia E., 1o1 
 Quimby, Charles W., 343 
 Quimby, George A.. 263, 263 
 Quimby, Mrs. J. He 194 
 Quimby, Katherine, 194 
 Quimby, Mrs. Royal, 191 
 Quimby, William, 60 
 Quinby, Mrs. J. E., 191 
 Quinn, John, 335 
 
 R 
 
 Rackliff, Helen, 297 
 Raeburn, Harry T., 442 
 Raff, Joachim, 170 
 
 Rafnell, Alfred Wilson, 442 
 Rafnell, Erwin, 296 
 
 Rafter, Mrs. Robert, 147 
 Rale, Father Sebastian, 6, 7, 8 
 Ralph, A. D., 225 
 
 Ralph, Mrs. A. D., 225 
 Ramsay, Allan, 442 
 Ramsdall, Melba E., 442 
 Ramsdell, E. E., 345 
 Ramsdell, Miss M., 277 
 Rancour, Leon J., 286 
 Rancour, Marion, 286 
 Rancourt, Leslie R., 286 
 Rancourt, Liane, 305 
 Rancourt, Roland, 305 
 
 Rand, Mrs. A., 442 
 Rand, Mrs. Edward M., 142 
 
 148 
 
 Rand, Mrs. Emily K., 144, 148, 
 149, 150 
 
 Rand, Dr. George H.., 
 349, 442 
 
 Rand, John Everett, 200 
 
 Rand, Mabel, 226 
 
 Randall, Earl, 285 
 
 Randall, Mrs. E. A., 263 
 
 Randall, Emma J., 186 
 
 Randall, Emily, 285, 287, 320 
 
 Randall, Harriet, 161 
 
 Randall, Helen M., 146 
 
 Randall, Marion P., 260 
 
 Randeggar, Alberto, 191 
 
 Randeggar, Lady Alberto, 442 
 
 Ranger, Rev. J. B., 225 
 
 Rankin, Frank L., 263, 303, 
 327, 442 
 
 Rankin, Mrs. Lucy, 302, 303, 
 308 
 
 Rankin, Mary, 442 
 
 Ranks, Harry Wilder, 297 
 
 Rapoport, Louis, 256 
 
 Ratcliffe, Marion, 274 
 
 Rawson, Robert S., 194 
 
 Rawstron, Mrs. A. V., 
 295 
 
 Rawstron, Hazel Arris, 442 
 
 Ray, Allen, 178 
 
 Raymond, Annie Louise Cary, 
 218, 219 
 
 Raymond, Belle, 300 
 
 Raymond, Charles 
 217 
 
 Raymond, Henry, 349 
 
 Raynes, Edward, 336, 352, 
 
 224, 225, 
 
 294, 
 
 Monson, 
 
 53 
 Raynes, George E., 335, 353, 
 442 
 Raynes, Joseph, 352, 353 
 Raynes, Margaret, 283 
 Read, Mrs. C. E., 194 
 Read, Julia, 187 
 Read, William M., 89, 90, 91, 
 
 97, 99 
 Reade, Charles B., 188 
 Reade, John L., 298 
 Ready, Inez Stevens, 283 
 Reardon, Lois, 146 
 Rebbechini, Serafino, 111 
 Record, Mrs. Alice B., 293 
 Records, Delton, 340 
 Reddington, Alfred, 59 
 Rediker, Emma, 304 
 Rediker, Mrs. Maude L., 288 
 Redlon, Elmer, 351 
 Redman, Mrs. Edward S., 280 
 
 Bee Mrs. Caroline Blood, 
 
 Reed Clyde L., 303 
 Reed, Mrs. Elsie D., 442 
 Reed, Ei is eam 
 Reed, Mrs. Elsie M., 288 
 Reed, I.. Gardner, 351: 
 Regan, Blanche, 442 
 Rennix, Nellie G., 442  . 
 Renouf, Heloise P., 193, 228g a 
 2200 226, 442 
 Renouf, Myrabelle, 443 
 Renwick, George, 285 
 Reny, Charles E416, 927 
 Reny, Yvonne, 296, 443 
 Reynolds, Mrs. Clarence, 284, — 
 443 Sa 
 Rice, Annie Louise, 164 
 Rice, Carrie B., 311 
 Rice, Eugene W., 283 
 Rice, H. Edward, 283 
 Rice, H. Herbert, 224 
 Rice, Henrietta D.., 120, 146, | 
 (148, 164; 279, 229) gag. 262, 
 292, 306, 443 
 Rice, Marshall N.., 
 Rice, N. S., 89 
 Rice, Richard S., 186 
 Rice, William, 89, 113 
 Rice, William E., ie a 
 Rice, W. M., jr. a 
 aoe Mrs. ‘age 146, 27h, 
 
 118, T1908 7 
 
 Rich Marshall N., 117, 1890 
 Richan, Avard b., 298, 4499 
 Richards, Alice M.. 224, 2a 
 
 Richards, Mrs. Caroline, ee 
 Richards, Charles G., 120, oO 4 
 sh 159, 161, 254, 255, 334) : 
 
 Richards, Elizabeth, 288 
 Richards, Mrs. Emily A 186 4 
 ee Mrs. Floyd, 147, 274, 4 
 
 Richards, Frances, pe 57 
 Richards, Hector EF. 296 
 Richards, Laura E., 443 
 Richards, Mary, 191 
 Richardson, Albert, 184 - 
 Richardson, Carroll M.., A. 
 Richardson, Clarence M., 33% 
 
 333, 334 
 Richardson, Edward, 59, Ra 
 Edwin A, 38am 
 353 ; | 
 Richardson, Edwina, 156 
 
 Richardson, Mrs. Frank, 44 
 Richardson, Mrs. Grace, 3 
 
 443 
 
 79 
 Richardson, 
 
BIOGRAPHICAL INDEX 
 
 Richardson, Herbert, 352 
 Richardson, Hilda, 272, 443 
 Richardson, Mrs. Ida, 443 
 Richardson, Prudence Mary, 
 
 443 
 Richardson, Virginia, 303 
 Richer, Alice, 295 
 Richmond, Anita C., 443 
 Richmond, C. Winfield, 226, 
 284, 443 ; 
 Richmond, Cora Pierce, 444 
 Richmond, Mrs. W. A., 226, 
 306 
 Ricker, Mrs. C. A., 226 
 Ricker, Charles F., 316 
 Ricker, Charlotte Ginn, 311 
 Ricker, Mrs. Cora, 260, 444 
 Ricker, F. A., 225, 444 
 Ricker, J. W., 190 
 Ricker, Katherine M., 144, 
 146, 149, 159, 161, 185, 227, 
 
 444 
 Riddle, George, 132 
 Rideout, Nicholas, 185 
 Rideout, Percy B., 343 
 Rideout, Thomas T., 286 
 Rideout, Walter J., 224, 227, 
 
 444 
 Ridgway, Mrs. James B., 289 
 Ridley, Elizabeth Mae, 444 
 Ridley, Mrs. F. C., 278 
 Ridley, Harriet G., 297, 444 
 Ridley, Isabel C., 286 | 
 Ridley, J. P., 224, 225 
 Ridley, Ruth S., 286 
 Ridlon, Mrs. Charles H., 444 
 Rigby, hej. 225, 335, 341, 
 
 444 
 Riggas, James C., 256 
 Riggs, Mrs. L. W., 225 
 Rikel, Frank, 255 
 Riley, Arlen McKenney, 444 
 Riley, John, 286 
 Rines, Marion, 263 
 Ringwall, K. A., 280, 281, 339, 
 
 444 
 Ringwall, Rudolph, 445 
 Ripley, Aaron Bryant, 277, 445 
 Ripley, Mrs. Charles E., 445 
 Ripley, Hosea, 341 
 Ripley, Mrs. Nora C., 298 
 Ripley, Robert Samuel, 277, 
 GE 
 Ripley, Virginia, 150 
 Ripley, W. S., 340, 341, 445 
 Rizzo, Rosa, 260, 445 
 Robbins, Mrs. Anna L., 260, 
 
 445 
 Robbins, Charles, 33 
 Robbins, Mrs. C. W., 223 
 Robbins, Donald Orman, 341 
 
 Robbins, Ida Elizabeth, 445 
 Robbins, Irvin, 256, 272, 445 
 Robbins, Jack, 316 
 
 Robbins, Mrs. Lillian, 293 
 Robbins, Luther, 34 
 
 Robbins, Mrs. Mabel, 298 
 Robbins, Reginald Chauncey, 
 
 445 
 Robbins, Walter F., 304 
 Robbins, Mrs. W. F., 292, 294 
 Robbinson, Emma, 223 
 Roberts, Mrs. Blanche L., 287 
 Roberts, Byron, 178, 180, 280 
 Roberts, B. P., 102 
 Roberts, Doris, 308 
 Roberts, Mrs. Edward, 178 
 Roberts, Dr. E. J., 224 
 Roberts, Fred, 303 
 Roberts, George T., 343 
 Roberts, J. O., 354 
 Roberts, Mrs. M. A., 192 
 Roberts, Mrs. Myra, 445 
 Roberts, Rhena, 286 
 Roberts, Ruth Olive, 264, 445 
 Roberts, Mrs. Winnifred P., 
 
 445 
 Robertson, Edith, 146 
 Robie, C. H., 263 
 Robie, Fred Clarence, 350, 445 
 Robie, Mrs. Lena, 189, 190, 
 
 293 
 Robie, Mrs. S. P., 224 
 Robinson, Abbie A., 250, 251 
 Robinson, Abby E., 191 
 Robinson, Alton L., 283, 339, 
 
 445 
 Robinson, Blanche Atkins, 445 
 Robinson, Mrs. C. A., 294 
 Robinson, Rev. C. F., 304 
 Robinson, Charles W., 78 
 Robinson, Dana, 349 
 Robinson, Edward B., 261, 324, 
 325, 326 
 Robinson, Emmons, 445 
 Robinson, Frank E., 283, 340 
 Robinson, Mrs. Grace Dean, 
 303 
 Robinson, Gwendoline Barnes, 
 283, 285 
 Robinson, G. M., 298 
 Robinson, Hazel, 294 
 Robinson, Helen Brown, 445 
 Robinson, Herbert, 162 
 Robinson, Jeremiah, 327 
 Robinson, Mrs. John, 226 
 Robinson, Mrs. Martha, 293 
 Robinson, Mary, 146 
 Robinson, Miriam, 178 
 Robinson, Morris Reed, 321 
 Robinson, Oscar, 316 
 Robinson, Philip E., 334 
 
 513 
 
 Robinson, W. A., 188 
 
 Robitalle, Jean, 316 
 
 Roby, Charles E., 222, 446 
 
 Roche, Mrs. Charlotte G., 260, 
 263, 274, 446 
 
 Roche, Mrs. George F., 146 
 
 Rocheleau, Ida Elisette, 446 
 
 Rodgers, Harry E., 297, 446 
 
 Rogers, Augustine, 352 
 
 Rogers, Carrie, 188 
 
 Rogers, Grace A., 225, 226, 
 322, 446 
 
 Rogers, Leon B., 224 
 
 Rogers, Mildred, 146 
 
 Rogers, Thomas, 226 
 
 Rogers, Velma, 278 
 
 Rogers, Vivienne Iolia, 446 
 
 Rokes, Beaulah, 302 
 
 Rolfe, Doris, 446 
 
 Rolfe, Walter, 313, 446 
 
 Rollerson, Thomas H., 340 
 
 Rollins, Mrs. Ada W., 293, 294 
 
 Rollins, Doris Phebe Dow, 446 
 
 Rollins, D. W., 227, 446 
 
 Rollins, Elmira B., 197 
 
 Rollins, F. W., 225 
 
 Rollins, J. D., 187 
 
 Rollins, Kenneth A., 349 
 
 Rood, George S., 351, 352, 353 
 
 Root, Dr. George F., 95, 96, 
 403,114, 114, 116, 151 
 
 Rosa, Parepa, 152 
 
 Rose, Alton, 347 
 
 Rose, Geneva, 302 
 
 Rose, George E., 446 
 
 Rose, Harris, 197 
 
 ee Mrs. Mabel, 196, 290, 
 
 44 
 Rose, Nelson, 347 
 Rose, Mrs. Stanley F., 226 
 Rose, Mrs. S. M., 225 
 Rosebrook, Alma Deane, 447 
 Ross, Ada, 290 
 Ross, Mrs. Laura E., 274, 275, 
 447 
 Ross, Margaret, 227 
 Ross, May, 178 
 Ross, Samuel, 334 
 Rossbach, Rev. Adolph, 224 
 Rossnagel, Elaine, 298 
 Rounds, William, 337 
 Roundy, Arthur F., 447 
 Roussin, Alfred, 303 
 Roussin, Odilon C., 303, 447 
 Row, Clarence, 272 
 Rowbotham, John, 298 
 Rowbotham, Mary Elizabeth, 
 297, 447 
 Rowe, Arthur I., 283, 340 
 Rowe, Mrs. A. W., 226, 447 
 Rowe, Mrs. Belle, 293 
 
514 
 
 BIOGRAPHICAL INDEX 
 
 Rowe, Clarence H., 254, 335, 
 447 
 
 Rowe, Dana W., 298 
 
 Rowe, Esther P., 322, 447 
 
 Rowe, Mrs. Frank D., 447 
 
 Rowe, Lillian, 293 
 
 Rowe, Mildred, 447 
 
 Rowe, Mrs. Mollie, 298 
 
 Rowe, Rodney J., 340 
 
 Rowell, E. W., 188, 190 
 
 Rowell, Major, 89 
 
 Rowland, Mrs. Lyman, 146 
 
 Rowley, Edwin C., 447 
 
 Roy, Adelard, 296, 297 
 
 Roy, Emile H., 297, 447 
 
 Roy, Henry F., 290, 291, 297, 
 
 447 
 Roy, Mrs. Henry F., 298 
 Roys, Lincoln, 298 
 Royal, James M., 286 
 Royal, Mrs. James M., 286 
 Rubinoff, David, 272, 335 
 Rubinoff, Harry, 296 
 Rudolphson, J. F., 121, 125, 
 
 136, 207 : 
 Rugg, Mrs. Ogarita Rose, 302 
 Ruggles, Mrs. Margaret G., 
 
 301, 302 
 Ruggles, Richard, 328 
 Rumery, Jerome, 118, 119, 120 
 Rumery, one D172. R11: 
 325, 44 
 Ree: Mrs. Samuel D., 447 
 Rumsey, Maurice C., 226 
 Runciman, Mrs. Cara Baxter, 
 146, 448 
 Rice Mrs. Earle C., 
 
 145, 
 148, 258, 259, 448 
 Russell, Abel D., 186 
 Russell, Agnes, 146 
 Russell, Mrs. Blanche T., 260, 
 
 448 
 Russell, Mrs. Carroll, 448 
 Russell, Fred, 303 
 Russell, Maude, 280 
 Russell, W. A., 190 
 Rutherford, Master Allen, 191 
 Ryan, Addie, 311 
 Ryan, A. G., 350 
 Ryan, Lydia, 299, 448 
 Ryan, Thomas, 158, 195 
 Ryder, T. P., 116, 181 
 Ryser, Alfred L., 263, 336 
 
 S 
 
 Sabattis, Soctomer, 354 
 
 Sadie, Delle, 172 
 
 Sadler, Edwin Marshall, 
 258, 259, 448 
 
 257, 
 
 Sadler, Edwin W., 255, 257, 
 
 258 
 Sadler, Edyth Adele, 286, 287 
 Saindon, Alfred, 342 
 Saindon, Alphonse, 342 
 Saindon, Joseph, 342 
 Salis, John, 3 
 Salls, Elwood, 354 
 Sampson, Alden, 327 
 Sampson, Arthur Laforest, 349, 
 448 
 Sampson, Mrs. H. M., 77 
 Sampson, Leroy, 350 
 Sampson, Samuel A., 256 
 Sampson, Mrs. W. L., 224 
 Samuels, M. Louise, 448 
 Sanborn, Arthur, 196 
 Sanborn, Charles, 249, 345 
 Sanborn, Clayton H., 196, 197 
 Sanborn, Elizabeth Brown, 448 
 Sanborn, Emily F., 196, 197, 
 226 
 Sanborn, Mrs. E. H., 278 
 Sanborn, Essie M., 193 
 Sanborn, Frank, 196, 448 
 Sanborn, Mrs. Frank, 196 
 Sanborn, F. W., 342 
 Sanborn, H. B., 187 
 Sanborn, Mrs. Julia, 196 
 Sanborn, Lucy, 196 
 Sanborn, Percy A., 341, 448 
 Sanborn, Mrs. Ruth E., 302 
 Sanborn, Susan, 196 
 Sanborn, T. A., 448 
 Sanborn, Mrs. T. M., 196 
 Sanborn, William H., 341 
 Sanborn, Winifred, 194 
 Sanders, Mildred, 304 
 Sands, Albion, 191 
 Sands, Eleanor Pepper, 
 295, 298, 448 
 Sands, Elizabeth H., 448 
 Sands, F. B., 188 
 Sands, Mrs. Harold, 299 
 Sands, Mary E., 191 
 Sandstrom, Electra, 288 
 Sanford, Capt. E. H., 338 
 Sanford, Fred S., 155 
 Sanford, Lee, 449 
 Sanford, Winifred Pennell, 449 
 Sansom, Sarah Anne, 222, 449 
 Sansoucy, Napoleon, 296, 298 
 Santford, G. V., 115 
 Santosky, Joseph, 272 
 Sargent, Pauline D., 146 
 Sargent, Walter, 296 
 Sarto, Andrea, 248 
 Saucier, Roger, 296 
 Saunders, Aleck, 347 
 Saunders, Fred Prescott, 449 
 Saunders, Laforest, 347 
 
 293, 
 
 Savage, A. R., 188 
 Savage, 
 
 Savage, Daniel, 196 
 Savage, May, 292 
 Sawin, Harley F., 
 Sawtelle, Mrs. John, 289 
 Sawtelle, Mrs. M. E., 276, 449 
 Sawtelle, Mrs. W. H. 
 Sawyer, Albert C., 191, 192 
 
 Sawyer, -Alice, 1 56 
 Sawyer, Antonia Savage, 227, 
 
 309, 449 
 
 Sawyer, Ardelle, 223 rE a 
 
 Sawyer, B., 68 
 
 Sawyer, Bernice M., 283 
 Sawyer, Florence A., 146 
 Sawyer, George E., 263 
 Sawyer, Harold C., 
 Sawyer, Mrs. Helen, 449 
 Sawyer, Howard, 272, 281 
 Sawyer, James E., 286 
 Sawyer, Mrs. John, 224 
 
 Sawyer, Mrs. Lizzie N., 120 
 
 Sawyer, Mary, 146 
 Sawyer, Paul C., 340 
 
 Sawyer, Roland J., 270, 280, E 
 
 281, 286, 449 
 
 Sawyer, Dr. Samuel E., 297% 
 
 Sawyer, Mrs. Warren, 288 
 Sawyer, William McC., 
 280, 449 
 
 Sawyer, Mrs. W. McC., 278, q 
 
 283 
 Sawyer, Mrs. Wilson, 180, 278 
 
 Sawyer, Winfield F., 283, 340 — 4 
 
 Scalar, Minne, 247, 449 
 Scales, 
 
 Schafer, Conrad, 187 
 Schmidt, Arthur P. 173 
 Schnecher, Harry, 308 
 
 Schneider, Carl, 254, 277, 450 q 
 
 Schonland, Charles, 334 
 
 Schoolcraft, Mrs. Earl, 299 : 
 
 Schreyer, Harriet, 450 
 Schumacher, Augusta, 275 
 Schwafile, Barnard, 182 
 Schwartz, Laura, 177 
 Schwartz, Michael, 179 
 Schwenke, Lillian, 149, 
 272, 450 
 Schwenke, Marion L., 149, 156, 
 450 
 
 so 
 
 Scott, Clara, 172 a 
 Scott, Mrs. "Gertrude, 200 sm 
 
 Scott, Hannah, 294 
 
 Scott, Mrs. Hazel, 294 
 Scott, Mrs. John, 145 — 
 Scott, Mrs. Violet S., 287 — 
 Scribner, Sarah W., 450 
 
 C., 449 a 
 Savage, Mrs. Chavala, 287 i 
 
 277 a 
 
 » 180 
 
 280, 281 
 
 Mrs. N. Ni, 3228; 226 a 
 Scannell, Mrs. distin 293 a a 
 
 7 
 
 wi 
 
 ee 
 
 a 
 
 a 
 
 “a 
 
BLOGRAPHICAL INDEX 
 
 515 
 
 Scruton, E. F., 188, 298 
 Scruton, Mrs. E. F., 298 
 Scruton, John, 296 
 
 Seaford, Mrs. Florence, 263 
 Seaford, Mrs. Harry, 147, 275, 
 
 450 
 Searle, Cyril, 58 
 Searle, Dr. Frank W., 
 254, 273 
 Searles, A. W., 66 
 Sears, Elsie Dickie, 450 
 Sears, Frances, 102 
 Sears, M. B., 89 
 Seaver, J. T., 191 
 Seaver, Mrs. J. T., 191 
 Seavey, Flora I., 450 
 Seavey, F. W., 224 
 Seavey, Mrs. Josie R., 191 
 Seavey, Reuben, 89 
 Seavey, W. L., 338 
 Seavy, Manson, 191 
 Seidel, J. Harry, 224 
 Seidel, Mrs. J. H., 146 
 Seiders, Mary A., 146, 
 150, 157, 450 
 Seidl, Anton, 235, 237 
 Sellea, Helen Elizabeth, 450 
 Sellers, Herbert, 180 
 Sellers, Jennie, 115, 178, 180 
 Semple, Annie, 178, 261 
 Senter, Fred, 155 
 Sewall, E. P., 187 
 
 253, 
 
 148, 
 
 Sewall, Matilda, 198 . 
 Sewall, oe * Ro ke 63 
 Seward, W.H 
 
 Sewell, Rev. in S. 114 
 
 Sewell. Mrs. Laura, 191 
 
 Shackford, Mrs. Emily, 293, 
 298 
 
 Shackley, Albert, 254, 450 
 
 Shackley, Ebenezer, 323 
 
 Shackley, Fred N., 297 
 
 Shackley, George A., 256 
 
 Shannon, Charles T., 191, 192 
 
 Shannon, Charles W., 179, 191, 
 192 
 
 Shannon, Mrs. C. W., 191, 192 
 
 Shannon, James H., 191 
 
 Shannon, Mabelle S., 192 
 
 Shannon, Deacon Richard, 192 
 
 Shannon, Richard Cutts, M.D., 
 192, 328 
 
 Sharlow, Myrna, 248 
 
 Sharpe, Mrs. Ellen, 288 
 
 Shattuck, Mrs. Charles, 146 
 
 Shattuck, J. F., 188 
 
 Shaw, Mrs. Ada M., 287 
 
 Shaw, A. J., 188 
 
 Shaw, Alice Marion, 450 
 
 Shaw, Dr. A. P., 110 
 
 Shaw, Benjamin T., 283, 340 
 
 Shaw, Mrs. Carrie Burpee, 226, 
 
 301, 450 
 Shaw, Charles Carroll, 450 
 Shaw, Cornelia E., 119 
 Shaw, Mrs. E. P., 142 
 Shaw, E. Raymond, 255, 277, 
 450 
 Shaw, Eugene, 350 
 Shaw, Francis G., 283, 340 
 Shaw, Frank L., 343 
 Shaw, Frank W., 154 
 Shaw, Harriet A., Ae 
 226 
 Shaw, Harriet Reed, 451 
 Shaw, H. Earle, 255, 258, 259, 
 273, 451 
 Shaw, Harris S., 451 
 Shaw, Mrs. Hazel G., 287 
 Shaw, Helen B., 322, 451 
 Shaw, Helen M., 451 
 Shaw, Howard N., 451 
 Shaw, Howard M., 255 
 Shaw, John, 451 
 Shaw, John R., 109 
 Shaw, Joseph W., 343 
 Shaw, Joshua, 78 
 Shaw, Mrs. Laura, 303 
 Shaw, Mary, 109 
 Shaw, Mildred, 146 
 Shaw, Oliver T., 203 
 Shaw, Ruth, 289 
 Shaw, Mrs. W. F., 
 178, 180 
 Shaw, William C., 332 
 Shaw, Winifred L., 222 
 Shaylor, Georgina, 308, 451 
 Shea, Claire, 260, 451 
 Shea, Clifton, 296 
 Shea, Louis Fletcher, 451 
 Sheehan, Mrs. Daniel, 275 
 Sheehan, Etta Reed, 149, 451 
 Sheldon, Parker, 325 
 Shepherd, Mrs. Helen, 184 
 Shepley, Anna H., 142 
 Shepley, Judge Ether, 163 
 Sheppard, Capt. John, 25 
 Sheppard, Sarah C., 25 
 Sherman, Mrs. F. S., 222 
 Sherwin, William H., 184 
 Shevenell, Yvonne, 260, 451 
 Shields, Hazel, 260, 451 
 Shiffer, Maurice, 296, 451 
 Shirley, Arthur, 35 
 Shirley, Elizabeth C., 146 
 Shorey, Mrs. Helen, 306 
 Shorey, Mrs. H. A., Jr., 306 
 Shorey, Vernon L., 350 
 Shurtleff, Mrs. W. H., 145, 146 
 Shute, Mildred E., 451 
 Sibley, Ammi Cutter, 341 
 Sibley, Mrs. Kathleen, 261 
 
 177, 
 
 115, 177, 
 
 Siegars, Mrs. John Albert, 451 
 Siegal, Charles, 296, 452 
 Siemens, Alexander, 164 
 Siemens, Mrs. Alexander, 145, 
 
 452 
 Silliman, Rev. Vincent B., 75, 
 255, 258, 452 
 Silsby, George S., 
 
 279, 280 
 Silsby, Mrs. George, 279 
 
 Silsby, Lillian E., 179 
 Silsby, Mae, 178, 179, 203, 
 
 226, 278, 279, 280 
 Silverman, Sara, 452 
 Simard, Angelina, 2904, 452 
 Simard, We Pe g49e ace 
 Simensky, Blanch A., 452 
 Simensky, Silas, 342 
 Simmons, Alice, 194 
 
 114, 179, 
 
 Simmons, Franklin, 122, 285 
 Simmons, Mrs. Gretchen A.. 
 452 
 
 Simmons, L., 187 
 
 Simmons, Richard, 296 
 Simmons, Winnie, 302 
 
 Simonton, Emma, 183 
 
 Simonton, Mrs. Grace G., 274 
 
 Simonton, William W., 256, 
 273, 353, 452 
 
 Simonton, Mrs. William, 275, 
 452 
 
 Simpson, Mrs. F. M., 278 
 Simpson, Gertrude, 222 
 Simpson, Jack, 334 
 
 Simpson, James, 345 
 
 Simpson, Mrs. Maude, 303 
 
 Sinclair, Marion, 322, 452 
 
 Sincock, Elizabeth, 287 
 Singhi, John, 102, 341, 346 
 
 Sinkinson, Mrs. Edward P.., 
 
 289 
 Sinkinson, Elizabeth, 289 
 Sipprelle, Mabel M., 283 
 Sipprelle, Mrs. V. K., 280 
 Sirois, Louis, 272, 273, 452 
 Sisson, Ruth, 1 
 Skillin, Agnes L., 306 
 Skillings, Daniel, 334 
 Skillings, Mrs. H. R., 294 
 Skinner, Otis, 224 
 Skolfield, cee Jie 269) 203: 
 294, 297, 45 
 Skolfield, A. J., ae 
 Skolfield, Mrs. ‘Annie, a2 
 Skolfield, Eleanor, 286 
 
 Skolfield, Mrs. Gertrude R., 
 288 
 Skolfield, Mrs. Raymond H.., 
 
 452 
 Slack, H. Carleton, 309 
 Sleeper, Caroline, 101 
 
516 BIOGRAPHICAL INDEX 
 
 Sleeper, Mrs. Frank E., 146 
 
 Sleeper, Helen Nash, 190, 293, 
 298, 452 
 
 Sleeper, Henry Dyke, 134, 309 
 
 Sleeper, Nancy T., 64, 182, 
 183, 301 
 
 Sleeper, Sherburne, 61 
 
 Slipp, Mrs. Robert, 288 
 
 Slocumb, W. W., 224 
 
 Slosberg, Charles, 452 
 
 Slosberg, Samuel, 277 
 
 Slugg, Morris L., 194 
 
 Small, Arnold, 288 
 
 Small, Rev. A. K. P., 115, 116, 
 179 
 
 Small, Mrs. Augustus, 181, 187 
 
 Small, Barbara, 287, 288 
 
 Small, Charles W., 337, 350 
 
 Small, Clifford, 349 
 
 Small, Mrs. Clinton, 452 
 
 Small, Emma, 288 
 
 Small, Harry Cy 452 
 
 Small, Lin., 340 
 
 Small, Mrs. Margaret, 226, 452 
 
 Small, William B., 52, 54, 78, 
 
 452 
 Smalley, E. A., 354 
 Smart, Mrs. Celia, 275 
 Smart, Clara Bb 1922.452 
 Smart, Mary C., 322, 452 
 Smiley, Albert, 183 
 Smiley, Luella Cook, 303, 452 
 Smiley, Thomas, 256, 263, 453 
 Smith, Abial M., 118, 142 
 Smith, Mrs. Abial M., 
 148, 157, 453 
 Smith, ine P2259. 1292 9274: 
 300, 
 Smith, Bibra Vinal, 322, 453 
 Smith, Alfred T., 254, 453 
 Smith, Mrs. Alfred, 146 
 Smith, Andrew. 349 
 Smith, Mrs. Augusta Mann, 
 453 
 Smith, Beatrice G., 453 
 Smith, Bertelle A., 222, 224 
 Smith, Mrs. Bertelle A., 222 
 Smith, Blanche, 304 
 Smith, Caroline Estes, 453 
 Smith, Catherine, 453 
 Smith, Celia French, 453 
 Smith, Charlene, 226 
 Smith, Christian, 352 
 Smith, Christie, 352 
 Smith, Clara E., 263 
 Smith, (CF 447 
 Smith, Mrs. Clarice M., 
 
 453 
 Smith “Gi Piceietee 
 Smith, Daniel, 52, 55 
 Smith, Dexter S., 285 
 
 LEO; 
 
 274, 
 
 Smith, Dorothy, 285 
 
 Smith, Elisha M., 337, 338 
 Smith, Elizabeth, 284, 297 
 Smith, Ethelynde S., 146, 227, 
 
 453 
 Smith, Flora, 285 
 Smith, Florence, 306, 453 
 Smith, Forest Glen, 453 
 au Mrs. Frances Skolfield, 
 28 
 Smith, Mrs. Frank A., 289 
 
 Smith, Mrs. Fred, 146, 276, 
 294 
 Smith, G. D., 101, 181 
 
 Smith, George E., 224 
 Smith, George V., 316 
 Smith, Georgiana, 324 
 Smith, Gertrude, 293 
 Smith, Mrs. Grace P., 306 
 Smith, G. W., 188 
 
 Smith, Hans, 352 
 
 Smith, H. A., 225, 304, 454 
 
 Smith, Mrs. H. A., 226, 304 - 
 
 Smith, Harold, 305 
 
 Smith, Helena, 279 
 
 Smith, Mrs. H. M., 114, 184 
 Smith, Jessie, 298 
 
 Smith, J, A. 327, 426 
 
 Smith, J. Hartley, 188 
 Smith, J. N:, 223, 224, 225 
 Smith, John, 352 
 
 Smith, Kilton, 354 
 
 Smith, LC. 354 
 
 Smith, Lewis E., 161 
 
 Smith, Louis E., 298 
 
 Smith, Lydia, 299 
 
 Smith, Mrs. Maud Simpson, 
 
 303 
 Smith, Mrs. Minnie D., 226 
 Smith, Muriel, 147, 308, 454 
 Smith, M. P., 186 
 Smith, Natalie, 290 
 Smith, Olive, 285 
 Smith, Philip, 286 
 Smith, Ralph Fisher, 454 
 Smith, Mrs. Ralph, 276 
 Smith. Richard Stanley, 454 
 Smith, Robert Thornton, 454 
 Smith, R. W., 249, 284 
 Smith, Samuel Francis, 67, 68 
 Smith, Susie C., 191 
 Smith, Thomas, 12, 14 
 Smith, Mrs. Thomas, 276 
 Smith, Major T. John, 336 
 Smith, W. A., 354 
 Smith, Walter S., 
 
 264, 454 
 Smith, Mrs. 
 
 157, 265) 
 
 27h ee 
 Smith, William, 350 
 
 Walter S., 274, 
 
 Smith, Wynifred Staples, 454 
 
 Smyth, Joseph, 352 
 
 Smyth, Olive, 284, 454 
 
 Snell, C. G., 350 
 
 Snell, June, 322, 454 at 
 Snell, Lillian Lucinda, 353, 454 
 Snow, Albert W., 149, 307 
 Snow, Annette, 184 4 
 Snow, David W., 158, 161, 307 | 
 Snow, Mrs. David W., 146, 148, 
 
 454 | 
 Snow, Mrs. E. E., 278 
 Snow, Mrs. Edward H., 
 
 260, 454 
 Snow, Ellen, 184 
 Snow, Mrs. Eva, 182 
 Snow, Evelyn, 302 
 Snow, Frances, 102 
 Snow, Harriett C., 302, 454 
 Snow, Josie, 306 
 Snow, Luella, 181 
 Snow, Mary Louise, 455 
 Snow, Natalie, 302 
 Snow, Temple H., 200. 
 Snow, W. M., Jr., 181 
 Snyder, Beane Ce 225 
 Soctomer, Simon, 3 54 
 Solari, Louis, 289 
 Solomus, Ireneus, 261 
 Somers, T. J., 120, 154 
 Sonneck, Oscar G., 17 
 
 146, ; 
 
 - Soucie, Mrs. Viora A., 287 
 
 Sotle, Arthur C., 249 
 Soule, Mrs. Arthur Ko 2A 
 Soule, Ellen, 305. 
 
 Soule, Ethan A., 256, 272 
 Soule, Katherine, 249 
 
 Soule, Lillian, 146, 294, 455 
 Soule, Mrs. Mary B., 249 a 
 Soule, Mrs. Mildred, 260, 455 
 Southard, Carroll, 350 © 
 Southard, Mrs. Frank, 276 _ 
 Southard, L. H., 113, 114, 116, 
 
 181 
 Souther, Rev. Samuel, 22 
 Southgate, Horatio, 38, 41 
 Souviney, William H., ieee 
 Spalding, Dr. James A., 
 
 329, 455 ‘a 
 Spalding, Walter R., 134. 139 a 
 Sparks, Mrs. Gertrude, 280 
 Sparks, Rev. W. A., 224, 225 
 Sparrow, Elizabeth, 311 
 Sparrow, Thomas J., 78, 323 
 Spaulding, Atwood W., 224 
 Spaulding, Helea Bostrom, Ass. { 
 Spear, Mrs. Clara L., 301 
 Spear, Eleanor, 256 
 Spear, Elkana. 64. 65, 101 
 Spear, Mrs. Eva F., 455 
 Spear, Mrs. F. R., 182 
 
BIOGRAPHICAL INDEX 
 
 Spenard, Miss E., 455 
 
 Spenard, Leo, 342 
 
 Spear, Mrs. Guy L., 294, 298 
 
 Spear, Harvey, 64 
 
 Spear, Helen, 150 
 
 Spear, Julia, 181, 182, 300 
 
 Spear, Katherine, 302 
 
 Speare, Rev. S. L. B., 115, 116 
 
 Spencer, Janet, 172 
 
 Spencer, Wilbur C., 313 
 
 Sperry, Prev. Paul., 225, 285 
 
 Spiller, George R., 351 
 
 Spiller, William, 352 
 
 Spinney, Gordon, 349 
 
 Spofford, Harriet, 64, 65 
 
 Spofford, John, 64 
 
 Sprague, Adelbert Wells, 225, 
 339, 455 : 
 
 Sprague, B. C., 325 
 
 Sprague, John, 97 
 
 Sprague, Mrs. M. Irene King, 
 455 
 
 Sprague, O. A., 225 
 
 Sprince, Dr. Henry, 297, 455 
 
 Spring, Mrs. Samuel E., 148 
 
 Spring, Theron H., 286 
 
 Springall, Joseph K., 456 
 
 Springer, Moses, Jr., 31 
 
 Stabler, Dean, 300 
 
 Stackpole, Angela, 177 
 
 Stackpole, Mrs. E. S., 278 
 
 Stackpole, Mary Elwell, 456 
 
 Stacy, John F., 286, 456 
 
 Stacy, Reginald, 456 
 
 Stahl, Margaret G., 302 
 
 Stahl, Marjorie, 226, 456 
 
 Staley, Della, 306 
 
 Staley, Mrs. Dora, 306 
 
 pialey, Mrs. LeVanche, 306, 
 
 45 
 Standish, William T., 337 
 Stanfield, Eva E., 306 - 
 Stanley, Dr. Albert F., 109 
 Stanley, Charles L., 348 
 Stanley, Jane Elizabeth, 197 
 Stanley, John, 65 
 Stanley, Dr. John P., 297, 298, 
 456 ; 
 Stanley, Juliet, 197 
 Stanley, Marion Isabelle, 456 
 Stanley, Mary, 197 
 Stanley, Orrin, 110 
 Stanley, Pete, 354 
 Stansfield, Harry, 351 
 Stanton, James, 192 
 Stanwood, Daniel, 275 
 Stanwood, Ernest T., 456 
 Stanwood, J. H.. 184 
 Stanwood, Mrs. L. J., 184 
 Stanwood, Mrs. Thora Giorloff, 
 298, 457 
 
 \ 
 
 Staples, Charles, 119 
 
 Staples, Cyrus, 74, 77, 78 
 
 Staples, Eugene Hale, 457 
 
 Staples, Ezra, 186 
 
 Staples, Master Fred, 191 
 
 Staples, Mrs. Harry, 294 
 
 Staples, James S., 86 
 
 Staples, Ruth, 294, 457 
 
 Starbird, Angie, 292, 293, 294, 
 297, 457 
 
 Starbird, Anna, 164 
 
 Starbird, Bertram, 349 
 
 Starbird, Mrs. Charles, 294, 
 295 
 
 Starbird, Lester, 349 
 
 Starbird, Mabel, 298 
 
 Starbird, Myron, 349 
 
 Starr, Eliza, 161 
 
 Starr, Florence, 300 
 
 Starr, Leander, 65, 182 
 
 Stearns, Arthur B., 224, 285 
 
 Stearns, Louis C., 227, 457 
 
 Steele, Mrs. Ethel Gould, 295, 
 457 
 
 Steele, Thomas, 298 
 
 Steeves, Mrs. Louise, 285 
 
 Stephens, Mrs. Minne S., 457 
 
 Stephenson, Ronald B., 457 
 
 Stephenson, Mrs. Wentworth, 
 146 
 
 Sterling, Athene, 147 
 
 Sterling, Irene, 147 
 
 Stetson, Aimee L., 286 
 
 Stetson, Prof. Carlton B., 224, 
 
 304 
 Stetson, Clarence C., 224, 227, 
 457 
 Stetson, Gif -1ss 
 Stetson, Mrs. George, 194 
 Stetson, Hon. Isaiah, 116 
 Stetson, Laura, 293 
 Stevens, Algernon, 160 
 Stevens, Arthur, 256, 272, 335 
 Stevens, Bradford, 343 
 Stevens, Caroline W., 220, 457 
 Stevens, Mrs. D. A., 299 
 Stevens, Mrs. Dorothy, 298 
 Stevens, Ebenezer C., 52, 55 
 Stevens, Mrs. Emily W., 301, 
 302, 458 
 Stevens, Mrs. Emma L., 293 
 Stevens, Filone F., 187 
 Stevens, Mrs. F. P., 299 
 Stevens, Mrs. Frederick J., 
 147, 148 
 Stevens, George, 346 
 Stevens, Granville M., 159 
 Stevens, Dr. Horace, 184 
 Stevens, Herman, 102 
 Stevens, Howard R., 227, 255, 
 256, 257, 258, 260, 263, 458 
 
 517 
 
 Stevens, Mrs. John, 299 
 
 Stevens, Mrs. J. S., 278 
 
 Stevens, Julia, 161 
 
 Stevens, Mary A., 293 
 
 Stevens, Nettie French, 317, 
 458 
 
 Stevens, Paul, 342 
 
 Stevens, Samuel, 87 
 
 Stevens, Samuel H., 141, 147, 
 159, 325 
 
 Stevens, Sophronia, 187 
 
 Stevens, Tracy, 349 
 
 Stevens, Vilena, 187 
 
 Stevens, Mrs. William, 222 
 
 Stevens, William B., 298 
 
 Stevenson, Esther, 302, 322, 
 458 
 
 Stevenson, Louis S., 264, 458 
 
 Stevenson, Louise S., 147 
 
 Stevenson, Mrs. Wentworth, 
 172 
 
 Steward, Bertha, 147, 263 
 
 Steward, Henry, 184 
 
 Steward, Joseph, 184 
 
 Steward, Mrs. Philo, 311, 458 
 
 Steward, Solomon, 32, 33 
 
 Steward, Solomon, Jr., 33 
 
 Steward, Zilpha, 33 
 
 Stewart, Columbus, 89, 99 
 
 Stewart, Mrs. David, 142 
 Stewart, Emma E., 186 
 Stewart, Harriet L.,-222, 280, 
 284, 458 
 Stewart, Hartley M., 458 
 Stewart, Ray, 349 
 Stewart, W. P., Jr., 286 
 St. Germain, Ross, 284 
 Stickney, Charles O., 316 
 Stickney, John, 88 
 Stickney, Moody T., 177, 179 
 Stickney, Paul, 88, 89 
 Stickney, Thomas G., 179 
 Stickney, TJ, 114; 11s 
 Stigman, Mrs. William R., 289 
 Stiles, Vernon, 253 
 Stilphen, Cecil, 254, 458 
 Stiphen, Dr. Harry L.; 254, 
 458 | 
 Stimpson, Dorothy, 286 
 Stimson, Frances, 149 
 Stimson, F. W., 225, 254, 458 
 Stimson, H. L., 336 
 Stinchfield, Florence E., 147, 
 189, 190 
 Stinchfield, O. D., 225, 297, 
 
 458 
 Stinchfield, Roy, 349 
 Stinson, Gladys, 147 
 Stockbridge, Almon, 347 
 Stockbridge, Anna, 147, 148, 
 161, 226, 285, 459 
 
518 
 
 Stockbridge, Ira C., 
 203, 325, 326, 459 
 Stockbridge, Marcia, 205 
 Stockbridge, Maria, 205 
 Stockbridge, William H., 120 
 154, 159, 164, 189 
 Stockbridge, William R., 205 
 sare Amy, 193, 194, 226, 
 
 Stoadard, Coan 352 
 
 Stoddard, Munroe, 352 
 
 Stone, George B., 353 
 
 Stone, I. G., 286 
 
 Stone, Mrs. Lester F., 459 
 
 Stone, Mrs. Margaret A., 298 
 
 Stone, S. A., 326 
 
 Stoneham, Peter W., 333 
 
 Storer, Mrs. Lydia R., 302, 459 
 
 Storey, Julian, 245 
 
 Storey, P. J., 254, 255, 334, 
 459 
 
 Stott, Harry, 313, 459 
 
 Stover, Mrs. Abby, 306 
 
 Stover, Fannie, 306 
 
 St. Pierre, Mrs. J. B., 295 
 
 Strakosch, Maurice, 209, 212, 
 215 
 
 Strauss, Johanna, 153 
 
 Straw, Howard M., 459 
 
 Straw, Lona, 198 
 
 Strayholm, H., 261, 459 
 
 Streeter, Horace R., 91, 98 
 
 154, 170, 
 
 Strickland, Anna, 280, 281, 
 284, 285, 308, 459 
 
 Strickland, Mrs. May Ross, 
 180 
 
 Strout, Alfred M., 286 
 
 Strout, F. L., 249 
 
 Strout Mrs. Ja Ce Fo 9s63 
 
 Strout, Margaret, 260, 459 
 Stuart, Mae, 459 
 Stubbs, Annie Howard, 459 
 Stubbs, Frank, 334 
 Stubbs, Mrs. Richard H., 460 
 Stubbs, Winfield L., 340 
 Sturgis, Mrs. David W., 28 
 Sturgis, Mrs. Horace, 276 
 Sturgis, Mrs. Lillian, 293 
 Sturdivant, Dr. G. L., 225 
 Sturdivant, Mrs. G. L., 226 
 Sturdivant, Mary, 147 
 Sturtevant, Bhima M., 460 
 Sturtevant, Chester H., 460 
 Sturtevant, Elliott, 296 
 Sturtevant, George, 340 
 Sturtevant, Mrs. James, 146 
 Sturtevant, Walter H., 224, 
 225 
 Sturtevant, Will, 340 
 Sullivan, Blanche, 193 
 Sullivan, Helen, 302 , 
 
 Sullivan, John, 352, 353 
 Sullivan, J. M., 176 
 
 Sumner, M., I91 
 
 Sumner, J. M., 191 
 
 Sumner, Lulie, 189 
 
 Sumner, Miss L. P., 188 
 Sumner, Miss M. F., 190 
 Sumner, Seth, 153, 190 
 Sundelius, Marie, 248 
 
 Surette, Thomas Whitney, 134, 
 
 139 
 Swallow, C. Cawthorn, 147 
 Swan, Dr. Charles, 224 
 Swan, Deborah, 184 
 Swan, Mrs. Francis, 249 
 Swan, Marcia B., 147 
 Swasey, Mrs. Albert C., 224 
 Swears, George, 354 
 Sweatt, Ida D., 322, 460 
 Sweatt, Joseph Elmer, 460 
 Sweet, Annie, 178, 261 
 Sweetser, A. S., 343 
 Sweetser, Benjamin, 68, 
 Sweetser, Frank, 343 
 Sweetser, Prof. Frederick R., 
 182, 183, 231, 300, 301, 343 
 Sweetser, George D., 343 
 Sweetser, Loring B., 343 
 Sweetser, Mrs. Susan, 460 
 Sweetser, Virginia C., 147, 274, 
 460 : 
 Sweetser, W. D., 343 
 Swenny, William, 342 
 Swenson, Grace, 287 
 Swett, C. F., 119 
 Swett, Clyde Irving, 460 
 Swett, Lorenzo, 342 
 Swett, Stephen, 52, 55 
 Swift, Mrs. E. Sprague, 230 
 Sylvain, Mrs. Ludger, 289 
 Sylvain, Marion Haynes, 460 
 Sylvester, Mrs. I. E., 298 
 Sylvester, Lucy, 182 
 Symmes, Rev. Thomas, 11 
 Symonds, Elwin, 200 
 Syphers, Elinor, 287, 288 
 
 Lik 
 
 T 
 
 Tadder, Delmino, 460 
 
 Tainter, Gilbert Ernest, 460 
 
 Talbot, Mrs. Alice B., 196, 
 197, 460 
 
 Talbot, Mrs. Arthur F., 289 
 
 Talbot, Augusta, 461 
 
 Talbot, Clara S., 196, 461 
 
 Talbot, Mrs. Edward Eager, 
 
 461 
 Talbot, Effie W., 222, 461 
 Talbot, Mrs. Elizabeth B., 1 
 
 BIOGRAPHICAL INDEX 
 
 Talbot, Mrs. Frances L., 
 
 263, 461 
 Talbot, Frederick F., 161 
 
 bei Mrs. Helen W., 260, ; 
 
 Talbot, Kate Dorothea, 461 
 
 Talbot, Lillian, 147, 149, 253, 4 
 
 274, 461 
 aire. Marion, 196, 197, 226, 
 
 Talbot, Micah J., 196 
 Talbot, Pearl F., 322, 461 
 Talcott, Mrs. Louis, 306 
 Tanner, Mrs. Sadie, 293 
 Tapley, A. A., 191 
 Tapley, O. W., 224, 225 
 Tappen, H. L., 224, 304 
 Tarbox, Ida K., 147, 275 
 Tarbox, if Currier, 186 
 Tarbox, Jordan, 349 
 Tee Mrs, Charles, 145, 275, 
 
 Tacx: Lona, 293 
 Taylor, Albert B., 
 227, 461 
 Taylor, Mrs. A. B., 222, 278 
 Taylor, C. E., 338 
 Taylor, Eleanor, 290, 461 
 Taylor, Ethyl fen 2 ep 
 Taylor, Joseph, 3 fi 
 Taylor, Mrs. Joseph, 276 
 Taylor, Mrs. Lillian, 293 
 Taylor, Mrs. N. S., 292, 293 
 Taylor, Ralph E., 352 
 Taylor, O. Stewart, 272 
 Taylor, Winona, 305 
 Taylor, Zenas, 347 
 Teague, Daniel, 350 
 Teaubalt, Lillian, 288 
 Teaubalt, William, 288 
 Teel, H. E., 298 
 Teel, Maud, 292 
 Tefft, Laura, 280 
 Temple, Mrs. Ethel, 293 
 Temple, Louise, 294 
 Tennant, George Ware 
 Tenney, N. & 38 
 Tenney, Samuel, 31, 89 
 Ter Linden, Johann GR 587 
 Terreault, Gedeon, 316 
 Terrill, Annetta, 290 
 Testa, Angelo M., 461 
 Tetley, Mrs. Josie, 303, 462 
 Tetreault, Irene, 276, 277 
 Tewksbury, Clinton, 119, 120 
 Tewksbury, Edwin F., 283 
 
 Tewksbury, Helena M., 222, F 
 
 280, 281, 284, 462 
 Thacker, R. P. E., 181 
 Thalheimer, Mrs. John, 287 
 
 Thaxter, Joseph W., 222, 462 a 
 
 260, 3 
 
 ae pal ia . 
 
 222, 224 0mm 
 
BIOGRAPHICAL INDEX 
 
 519 
 
 a ee Se a ee nesses pesnehesesinsnsepssnennenenessasineeemienvsiemnesseasc! 
 
 Thaxter, Sydney, 179 
 
 Thaxter, Mrs. Sydney W., 147 
 
 Thayer, Grace, 303 
 
 Theberge, Charles, 296 
 
 Theis, Ernest, 261, 462 
 
 Theis, Marion W., 147, 149, 
 275, 305, 308, 462 
 
 Thibault, Alice, 462 
 
 Thibault, Rose, 286 
 
 Thibodeau, Antoinette, 284, 
 462 
 
 Thibodeau, Daniel, 316 
 Thieme, Berthold W., 344, 
 
 347, 350, 462 
 Thom, Julia St. Felix, 147 
 Thomas, Dr. Charles W., 87, 
 166, 261, 262 
 Thomas, Charlotte, 166 
 Thomas, Clara, 302, 462 
 Thomas, Edward H., 165, 166 
 Thomas, George A., 78, 87, 120, 
 155, 164, 165, 166, 185, 349 
 Thomas, Mrs. Hadden, 290 
 Thomas, J., (pseudonym), 313 
 Thomas, John P., 255, 258, 
 273, 462 
 Thomas, Mrs. John P., 258 
 Thomas, Mrs. Joseph, 298 
 Thomas, Margaret, 303 
 Thomas, Muriel, 306 
 Thomas, Ruth, 302, 322, 462 
 Thomas, Susan A., 147 
 Thomas, Theodore, 125, 134, 
 136, 149, 179, 200, 203, 212, 
 217 
 Thomas, Mrs. Theodore, 149 
 Thomas, Walter, 331, 332, 334 
 Thomes, Charles R., 27, 101 
 Thomes, Dorothea, 147, 148, 
 263, 273 
 Thomes, Edward, 352 ; 
 Thomes, Frank E., 255, 256, 
 462 
 Thomes, John B., 343 
 Thomes, Oren S., 185 
 Thomes, Mrs. Oren S., 185 
 Thomes, Robert S., 256, 343 
 Thomes, William, 263 
 Thompson, Gen. Abner B., 62 
 Thompson, Charles, 190 
 Thompson, Mrs. C. H., 294 
 Thompson, Mrs. Cleo J., 306 
 Thompson, Denman, 332 
 Thompson, Dorothy K., 462 
 Thompson, Elizabeth, 226 
 Thompson, George N., 348 
 Thompson, Mrs. Harry, 276 
 Thompson, Henry, 352 
 Thompson, Herbert E., 283 
 Thompson, Horatio Palmer, 
 341 
 
 Thompson, Mrs. Ida M., 298 
 Thompson, James E., 286 
 Thompson, Mrs. Janie N., 148 
 Thompson, John H., 62 
 Thompson, Mrs. J. N., 164 
 Thompson, Mrs. Joseph P., 
 142, 148, 462 
 Thompson, Lottie, 190 
 Thompson, Mrs. Luther, 28s, 
 463 
 Thompson, May, 147 
 Thompson, Mrs. N. Ward, 147 
 Thompson, Mrs. S. E., 120 
 Thompson, Mrs. Samuel S., 
 147, 260, 273, 274, 308, 463 
 Thompson, Sinclar A., 273, 463 
 Thompson, William D., 1109, 
 120 
 Thompson, Mrs. William P., 
 222 
 Thompson, Winnie, 298 
 Thorndike, Mrs. William, 102 
 Thorne, Ann A., 187 ; 
 Thorne, A. D., 187 
 Thorne, Gertrude, 463 
 Thorne, Josie, 189, 190 
 Thorne, Thomas D., 89, 187, 
 190 
 Thurlow, Emeline D., 184, 187 
 Thurlow, G. M., 153, 184 
 Thurlow, Mrs. L. Ellen, 187 
 Thurlow, Mrs. M. E., 300 
 Thurlow, Mrs. P. M., 190 
 Thurston, Florence, 463 
 Thurston, Mary L., 165 
 Thurston, Samuel, 73, 76, 77, 
 78, 85, 86, 87, 89, 90, 100, 
 109,117, 2118;,°119,° 124) 151, 
 154, 162, 163, 164, 165, 168, 
 262, 317, 325, 326 
 Thurston, Mrs. Teresa Tuck, 
 
 284, 463 
 Tibbetts, Chandler, 181, 300 
 Tibbetts, Charles, 52, 54, 102 
 Tibbetts, Mrs. Charles, 102 
 Tibbetts, C. M., 346 
 Tibbetts, George A., 258. 463 
 Tibbetts, Grace, 149, 256, 272, 
 274, 463 
 Tibbetts. Maria, 181 
 Tibbetts, Dr. Samuel, 102, 182, 
 
 183 
 Tibbetts, Mrs. Samuel, 102, 
 
 403 
 Tibbetts, Dr. T. E., 225, 227 
 Tibbetts, Tiffany, Mrs. Dexter, 
 142 
 Tighe, Anna, 294, 296 
 Tighe, Elizabeth, 294, 296 
 Tiller, William H., 161 
 Tilton, Mrs. Charles E., 277 
 
 Tinkham, R. S., 334 
 Titcomb, Benjamin M., 186 
 Titcomb, John, 22, 97, 186 
 Titcomb, Joseph, 186 
 Titcomb, Lucy, 276 
 Titcomb, Walter John, 463 
 Titus, Mrs. Eva, 303, 304 
 Tobey, Mrs. Elmer R., 280 
 Tobey, Elizabeth, 293 
 Todd, J. Frank, 281, 340 
 Todd, William F., 159, 161 
 Todd, Mrs. William, 147 
 Tolan, Edward, 272, 308 
 Tolman, Carl Jean, 317, 322, 
 
 403 
 Tolman, Charles H., 157, 158, 
 159, 160, 253, 254, 272, 464 
 Tolman, Thomas F., 118 
 Tompkins, J. R., 249 
 Tompson, E. F., 224 
 Tompson, Frederick A., 118 
 11g 
 Tompson, Mrs. Frederick A. 
 
 ? 
 
 ? 
 
 148 
 
 Toothaker, Mrs. Robert A., 
 222, 286 
 
 Topliff, Florence, 147 
 
 Torrens, Mrs. H. E., 278 
 
 Torrens, Dr. L. A., 113, 181 
 317, 464 
 
 Torrey, Bates, 159 
 
 Torrey, George, 181, 182, 222 
 
 5] 
 
 ? 
 
 Torrey, J. G., 181 
 Torrey, Mrs. J. G., 181 
 Torrey, Mary A., 142, 168 
 Tourangeau, J. L., 334 
 Tourgee, Eben, 231 
 Toussaint, Mrs. O. J., 464 
 Tower, Carl Lester, 225, 226, 
 263 
 Tower, E. Elliot, 224 
 Towers, Mrs. C. W., 308 
 Towers, Mrs. Daisy, 290, 464 
 Towle, Alonzo, 191 
 Towle, Blanche, 464 
 Towle, Florence, 147, 274 
 Towle, Howard, 350 
 Towne, Elmer E., 225, 345 
 Towne, Mrs. Eva, 321, 464 
 Townley, A. H., 101 
 Townsend, Miss D. F., 187 
 Townsend, John E., 286 
 Townsend, Sarah L., 187 
 
 " Tozier, Harry, 225 
 
 Tracy, Alfred H., 255, 256 
 258, 464 
 
 Tracy, George Lowell, 291, 313 
 
 Tracy, James M., 183 
 
 Tracy, M. Irene, 464 
 
 Trafton, Edwin, 296, 464 
 
 ? 
 
520 
 
 Trafton, Howard M., 464 
 
 Treat, Mrs. Alice, 181 
 
 Tremblay, Rosario, 296 
 
 Tremblay, Wilfred, 297, 464 
 
 Treworgy, Anne Florence, 464 
 
 Trial ak -277 
 
 Trickey, Edith C., 147, 148, 
 465 
 
 Trickey, Mrs. Henry S., 465 
 
 Tripp, Harold S., 260 
 
 Trott, Mrs. Grace L., 298 
 
 Trowbridge, Charles L., 164 
 
 Trowbridge, C. T., 311 
 
 Trowbridge, John, 52, 54 
 
 True, Edward, 185 
 
 True, Mrs. Ella W., 275 
 
 True, Mrs. Ernest, 147 
 
 True, 2 P. W343 
 
 True, Horace, 200 
 
 True, Irving F., 225 
 
 True, Jabez, 119, 120 
 
 True, Mrs. Jabez, 465 
 
 True, Dri. Latham, 119," 225; 
 226, 253, 263, 272, 273, 304, 
 310, 465 
 
 True, Mrs. Latham, 147, 148, 
 262, 273, 465 
 
 True, Mrs. Luella C., 275, 465 
 
 True, Mrs. Maude E., 465 
 
 True, Samuel, 88, 343 
 
 True, William, 186 
 
 True, Willis E., 254, 465 
 
 Trussell, Joseph H., 341 
 
 Tryon, Earl A., 353 
 
 Tuck, Frank L., 281, 339 
 
 Tuck, Mrs. Frank L., 180, 226, 
 2'79, 280, 281, 284, 465 
 
 Tucker, Harriet, 52 
 
 Tucker, N. E., 334 
 
 Tucker, Olalie, 465 
 
 Tucker, Ruth, 147, 249 
 
 Tufts, George Royal, 465 
 
 Tufts, John W., 91, 92, 98, 
 170, 179 
 
 Tufts, Uriah, 195 
 
 Tukesbury, Mrs. 
 189, 190 
 
 Tukey, Beniamin, 87, 157 
 
 Tukey, Fred, 154, 159 
 
 Tupper, Olive, 182 
 
 Turgeon, Mrs. Annie, 293 
 
 Turgeon, Edris, 294 
 
 Turner, Abba, 191 
 
 Turner, Alfred Dudley, 203 
 
 Turner, Mrs, C. P., 224 
 
 Turner, Dorothy, 298 
 
 Turner, Elizabeth, 312 
 
 Turner, George A., 188 
 
 Turner, Gretchen, 290, 465 
 
 Turner, Harry, 120 
 
 Turner, Mrs. Harry, 275 
 
 A. J., 188, 
 
 BIOGRAPHICAL INDEX 
 
 Turner, Inez Perry, 466 
 Turner, Mrs. John Hupper, 
 147, 263 
 Turner, Mrs. O. G., 191 
 Turner, Ruth, 147 
 Tuttle, Ralph Hodsdon, 297, 
 466 
 Tuxbury, Alfred C., 191 
 Tuxbury, Mrs. A. C., 191 
 Tuxbury, Lissa A., 191 
 Twigg, Mary E., 147 
 Twitchell, George A., 261 
 Twitchell, Dr. G. M., 224 
 Twitchell, Jane, 78 
 Twitchell, Jennie, 123, 261 
 Twombley, Archie, 261 
 Twombley, W. G., 142, 324, 
 326 
 Tyler, 
 Tyler, 
 Tyler, 
 334 
 Tyler, Rose, 147, 309 
 Tyler, Theodore P., 342 
 
 Edwin R., 342 
 Col. Joseph, 206, 348 
 Joseph, 157, 159, 333, 
 
 U 
 
 Ulmer, Grace, 60 
 
 Ulmer, Judith, 300 
 Umphrey, Mary, 304 
 Upham, Mrs. Lula P., 226 
 Upton, Jessie, 196 
 
 Upton, Nana, 196 
 Usher, Charles E., 191 
 Usher, Ethel Watson, 466 
 Usher, Jane, 164, 262 
 Usher, Sarah, 191 
 
 Usher, William H., 326 
 
 V 
 
 Vacchiano, William, 272, 335 
 Vail, J. N., 350 
 
 Vaill, Mrs. Luther P., 147 
 Valentine, Charles E., 224, 225 
 Vallee, Hubert P., 466 
 
 Vallee, Kathleen M., 305, 466 
 Valley, Flora, 226 
 
 Vannah, Kate, 312, 466 
 Vanner, Lisle B., 297. 
 Vanni, Roberto, 466 
 
 Varley, Rev. Arthur, 224 
 Varney, Mrs. Charles B., 261 
 Varney, Clemetine, 147, 260 
 “Varney, Dr. F. L., 224 
 Varney, H. M., 334 
 
 Varney, H. W., 334 
 
 Varney, Lindley H., 226 
 Varney, Loring, 52. 55 
 Varney, Nelson, 136 
 
 Varnum, John, 349 
 
 Varnum, Phineas, 157, 160 
 Varnum, Sumner C., 162 
 Vaughan, Benjamin, 24, 25 
 Vaughan, Charles, 24, 28 
 Vaughan, Rebecca, 24 
 Vaughan, Sarah M., 24, 25 
 
 Veazie, Mrs. Katherine F., 302, _ 
 
 4 
 
 Veazie, Mrs. Samuel, 300 
 
 Vermette, Alice, 286 
 
 Vermette, Geoffrey, 286, 466 
 
 Verrier, Joseph, 342 
 
 Verrill, Mrs. Harry M., 145, 
 157 
 
 Verrill, Lester, 352 
 
 Vickerson, Arthur W., 256 
 
 Viles, Evelyn, 289 
 
 Viles, Olena, 289 
 
 Vinal, Calvin, 354 
 
 Vinal, Ernest L., 466 
 
 Vinal, Grace A., 178 
 
 Vincent, C. T., 291 
 
 Violette, T. H., 223 
 
 Virgie, Belle A., 322, 467 
 
 Vosburg, Lydia, 248 
 
 Vose, Martha, 275 
 
 Vosmus, Clara J., 226 
 
 Ww. 
 
 Waddell, Mrs. E. I., 299 
 
 Waddell, Iva Woodbury, 467 
 
 Waddell, Marjorie, 299 
 
 Wade, Mrs. Mittie T., 224, 
 226, 467 
 
 Wade, John Maurice, 335, 467 
 
 Wadsworth, Alexander S., 34 
 
 Wadsworth, Rose, 327 
 
 Wadsworth, Zilphah, 34 
 
 Wagg, Mrs. F. E., 204 
 
 Wage, Mrs. Minnie, 292, 293. 
 
 Wagner, Mme. Cosima, 235 
 
 Wagner, Richard, 134 
 
 Waite, Harry E., 256 
 
 Waite, Henry, 160 
 
 Waite, Laforest A., 348 
 
 Wakefield, Hon. A. G., 179 
 
 Wakefield. Edwin C., 343, 467 
 
 Walden, Mrs. Charles, 193 
 
 Waldron, Grace, 190 | 
 
 Walker, Agnes, 189 
 
 Walker, Archie, 350 
 
 Walker, Mrs. C., 190 
 
 Walker, Mrs. Fred W., 294 — 
 
 babies Mrs. Gladys Rogers, 
 29 
 
 Walker, Mrs. Irene, 241 
 
 Walker, Mrs. Jennie, 298 
 
 Walker, Joseph, 324 
 
 Walker, Leon V., 254, 467 
 
 Walker, Marion J., 467 
 
BIOGRAPHICAL INDEX 
 
 521 
 
 eee 
 
 Walker, Merle L., 286 
 
 Walker, Sophia, 467 
 
 Walker, Walter W., 467 
 
 Wall, Harry T., 254, 286, 334, 
 467 
 
 Wallace, Mrs. E. L., 260, 467 
 
 Wallace, Mrs. James G., 147 
 
 Wallace, Jose, 335 
 
 Wallace, Mrs. Maud B., 306 
 
 Wallace, Stanley C., 467 
 
 Walleroff, Louise, 296 
 
 Walsh, A. T., 333 
 
 ee Bishop Louis S., 162, 
 103 
 
 Walsh, Margaret E., 297, 298,. 
 6 
 
 407 
 Walsh, Ruth E. Pettengill, 467 
 Walter, Ernest A., 351 
 Walton, Berle L., 226 
 Walton, Mrs. Edward, 294, 
 
 295 
 
 Walton, Isabel Roberts, 468 
 
 Walton, Joseph B., 52, 54 
 
 Wanig, Elmer, 351 
 
 Ward, Mrs. Abigail, 53 
 
 Ward, Andrew G., 224 
 
 Ward, Benjamin G., 273 
 
 Ward, Ernest J., 335 
 
 Ward, Fred, 272, 335 
 
 Ward, George, 342, 351 
 
 Ward, Helen, 147, 258, 274, 
 468 
 
 Ward, Helen McKearney, 468 
 
 Ward, Julius E., 225, 226 
 
 Ward, Mary Belle, 226, 468 
 
 Ward, Mamie, 226 
 
 Ward, Mrs. Winifred, 261 
 
 Wardle, Warren F., 297 
 
 Wardley, Charles J., 224 
 
 Wardwell, O. E., 116, 225, 309 
 
 Ware, Eve E., 468 
 
 Ware, Reginald, 298 
 
 Ware, Sarah E., 142, 148, 151 
 
 Warner, Mrs. R. C., 468 
 
 Warren, Arthur, 255 
 
 Warren, Mrs. Arthur, 146, 226 
 
 Warren, Asa, 79 
 
 Warren, Charles A., 286, 320, 
 321, 322, 468 
 
 Warren, Mrs. C. A., 222, 225, 
 226, 285, 286, 287, 322, 468 
 
 Warren, Mrs. Ellen R., 468 
 
 Warren, Mrs. Grace D., 224, 
 285 
 
 Warren, Juliet Marion Stanley, 
 197, 198 
 
 Warren, Leon Hugh, 468 
 
 Warren, Nathaniel, 324 
 
 Warren, Nell, 468 
 
 Warren, Vernard, 354 
 
 Warren, Virginia L., 287, 288 
 Wasgatt, Mrs. Annie, 178 
 Wasgatt, Mrs. Elizabeth Helen, 
 115, 177, 178, 180, 278, 279, 
 280, 468 
 Wasgatt, E. T., 180 
 Wasgatt, James G., 337 
 Wasgatt, Dr. Oscar E., 222, 
 227, 279, 281, 339, 468 
 Washburn, Hon. Israel, 164 
 Washburn, Japeth, 29, 30 
 Washburn, Marion, 293 
 Washburn, Oliver A., 60 
 Washburn, Mrs. Sarah J., 189 
 Wass, Caroline, 469 
 Wass, Dr. Edward Hames, 
 225, 264, 276, 286, 314, 318, 
 469 
 Wasson, Mrs. David, 314 
 Wasson, Lois, 147, 261 
 Wasson, Martha, 260, 289, 469 
 Waterhouse, Abigail, 293 
 Waterhouse, Alice, 164 
 A ge ag Mrs. Bessie M.., 
 30 
 Waterhouse, Mrs. Emma S.. 
 142, 164, 182 
 Waterhouse, Everett, 226, 260, 
 469 
 Waterhouse, E. Freeman, 164 
 Waterhouse, H. T., 161 
 Waterhouse, Ruth, 226, 260, 
 469 
 Waterhouse, Ruth Elva, 469 
 Waterhouse, Hon. W. H., 223, 
 227, 469 
 Waterman, Mrs. Alice, 274 
 Waterman, Annie, 187 
 Waterman, Edith, 226 
 Waterous, Herbert L., 227 
 Waters, Cornelius, 111 
 Waters, Mary Louisa, 165 
 Watson, Eliza, 60 
 Watson, Mrs. Elizabeth, 284, 
 469 
 Watson, Mrs. Fred O., 294 ' 
 Watson, George S., 191 
 Watson, Helen E., 226, 293, 
 294, 295, 298, 469 
 Watson, Mrs. Johanna, 327 
 Watson, Margaret, 64 
 Watson, Murray, 222, 224 
 Watson, Willis Elmer, 469 
 Watts, Hazelteen, 322, 469 
 Watts, James, 120, 154, 159 
 Watts, Mary E. C., 469 
 Way, Mrs. George, 275 
 Weatherbee, J. Q., 207 
 Weathersby, Eliza, 200 
 Weaver, Mrs. H. L., 191 
 
 Webb, Alber H., 350 
 
 Webb, Annie, 198 
 
 Webb, A. E., 154 
 
 Webb, Bertha S., 147, 160, 164, 
 311, 312 
 
 ' Webb, Doris Geneva, 322, 469 
 
 Webb, Edna, 147, 148, 262, 
 263 
 Webb, Edward C., 159, 312, 
 
 342 
 Webb, Elizabeth A., 304 
 Webb, Emily, 302 
 Webb, Mrs. Georgia, 306 
 Webb, Rev. Henry W., 224 
 Webb, Mrs. Jane M. U., 142 
 Webb, John T., 342 
 Webb, Mrs. Nathan, 142, 148, 
 164, 262 
 Webb, Osgood B., 342 
 Webb, Mrs. W. D., 184 
 Webber, Mrs. Charles C., 294 
 Webber, Mrs. C. P., 279, 280 
 Webber, Mrs. Grace, 293, 295, 
 469 
 Webber, Howard, 469 
 Webber, Lillian, 147, 150 
 Webber, Nellie, 226, 304 
 Weber, Carl F. A., 120, 154, 
 155, 156 
 Weber, Ernest, 344 
 Weber, Karl Maria von, 155 
 Webster, Caroline, 101 
 Webster, Clara E., 147 
 Webster, Effie, 223 
 Webster, Ellen M., 147 
 Webster, George, 223 
 Webster, Mrs. George, 177, 
 225 
 Webster, Col. James W., 60, 
 100, IOI, 113 
 Webster, Laura, 297, 312 
 Webster, Martha, 77 
 Webster, Nellie E., 120 
 Webster, Pauline, 1o1 
 Webster, R. Seymour, 286 
 Webster, Mrs. Ralph W., 295 
 Wedgewood, Dr. John T., 185 
 Weeks, Elizabeth, 77, 261 
 Weeks, E. H., 192 
 Weeks, George E., 153, 191 
 Weeks, Hattie, 120, 164 
 Weeks, Joshua F., 52, 54, 117, 
 261 
 Weeks, Mrs. J. F., 52, 57 
 Weeks, Marion R., 147, 148 
 Weeks, Norman Everett, 469 
 Weeks, William, 261 
 Wein, Arthur, 305 
 Welch, Earl Hermond, 469 
 Welch, Dr. Francis J., 469 
 Welch, John P., 120, 156 
 
522 BIOGRAPHICAL INDEX 
 
 Welch, Mrs. Lauretta, 305 
 Welch, Lou, 470 
 
 Welch, Madeline, 261 - 
 Welch, Mollie B., 470 
 Wellcome, Frank O., 334, 470 
 Weller, Mrs. Paul, 470 
 Wellman, Mrs. Frank, 295 
 Wellman, J. O., 224 
 
 Wellman, Mrs. Mabel, 293 
 Wells, Florence Annette, 297, 
 
 470 
 Wells, Mrs. George, 142 
 Wells, Marian, 193 
 Wells, Mrs. Ruth, 306 
 Welt, Mrs. Eva T., 293 
 Wentworth, Rev. Allison, 470 
 Wentworth, Ann, 90 
 Wentworth, E. C., 342 
 Wentworth, George, 335 
 Wentworth, Miss H., 100 
 Wentworth, Mrs. Helen P. A., 
 302 
 Wentworth, Susie, 305 
 Wentworth, Thomas J., 200 
 Wescott, oat C, Wi 103; 194: 
 305, 4 
 Wott trraderee A., 322, 470 
 Wescott, Mrs. F rederick A., 
 
 470 
 
 Wescott, Pearl Otto, 470 
 
 West, Carrie, 293, 295 
 
 West, Emma, 303 
 
 West, Jessie, 293, 295 
 
 West, J. Houston, 136 
 
 West, John G., 295, 470 
 
 Westgate, plctnor Ernestine, 
 470 
 
 Westman, Andrew, 334 
 
 Weston, Alice, 203 
 
 Weston, Clarence, 184 
 
 Weston, C. P., 191 
 
 Weston, Eben, 32, 33 
 
 Weston, I. H., 187 
 
 Weston, Isabel, 280 
 
 Weston, James C., 177 
 
 Weston, Jotham, 184 
 
 Weston, Mary, 280 
 
 Weston, Mrs. Mildred, 
 276, 470 
 
 Weston, Orlinda, 184 
 
 Weston, Mrs. William K., 275 
 
 Wetherbee, Mrs. Harriet N., 
 120, 121, 125, 142, 143, 144 
 
 Wetherbee, Mrs. Mona, 291 
 
 Wetmore, Mrs. Rosina, 290, 
 470 
 
 Wheaton, H. Reta, 287 
 
 Wheeler, Clara Russell, 297 
 
 Wheeler, D. E., 224 
 
 Wheeler, Mrs. Edith, 303, 304, 
 470 
 
 226, 
 
 Wheeler, Elliott, 350 
 
 Wheeler, Joseph, 61 
 
 Wheeler, Lyman, 207 
 
 Wheeler, Prince, 203 
 
 Wheelock, Alonzo P., 78, 79, 
 100 
 
 Wheelwright, Joel, 326 
 
 Wheelwright, J. S., 179 
 
 Whelpley, Benjamin L., 203, 
 
 471 
 Whibley, Mrs. George M., 
 260, 261, 263, 471 
 Whiddon, William H., 341 
 Whipple, Clayton T., 256 
 Le Leyland, 471 
 s, Asa, 3 
 Whiteher, Fred J., 298 
 Whitcomb, Charlotte, 226 
 Whitcomb, Gertrude, 306 
 Whitcomb, Robert L., 336 
 White, Arolyn, 147 
 White, Mrs. Bessie Alberta, 
 290, 471 
 White, C. Edwin, 194, 471 
 White, Effie May, 471 
 White, Elise Fellows, 147, 311, 
 313, 314, 471 
 White, Elizabeth, 277 
 
 147, 
 
 White, Mrs. Evelyn D., 147, 
 149, 262 
 
 White, Fannie, 111 
 
 White, Mrs. Gladys C., 295, 
 297, 472 
 
 White, Harry C., 224 
 
 White, H. K., 177, 178 
 
 White, Herbert Leslie, 296, 472 
 White, Herman L., 256 
 White, James, 60 
 White, J. Harvey, 224 
 White, James P., 61 
 White, Kenneth Vernon, 472 
 White, Leland, 350 
 White, “Louise Bags 
 
 257, 258, 472 
 White, Mary A., ror 
 White, Max, 354 
 White, Paul Taylor, 203, 472 
 White, Raymond P., 340 
 
 256, 
 
 White, Mrs. Ruth, 472 
 
 White, Mrs. Samuel T., 22 
 278 
 
 White, Susan, tIo1 
 
 White, William, 255, 258, 472 
 
 White, Mrs. William C., 260, 
 274, 473 
 
 Whitehead, John Bailey, 225, 
 473 
 
 Wheetosse Beatrice, 226 
 Whitehouse, Mrs. Robert Treat, 
 
 147, 263, 473 
 Whiting, Harriet Strout, 473 
 
 Whiting, S. K., 198 
 
 Whitman, Barbara, Hunting- — 
 ton, 280, 284, 473 
 Whitman, Mrs. H. F., 278 a 
 Whitmore, Mrs. Elizabeth, 194 — 
 Whitmore, Frank C., 224 or, 
 Whitmore, Stephen C., 224 
 Whitney, Benjamin F., 343 
 Whitney, Bryon, 335 
 Whitney, Mrs. Caro, 290 
 Whitney, H. A., 325 
 Whitney, Hezekiah, 185 
 Whitney, J., 115, 116 
 Whitney, James, 177, 185 
 Whitney, Jennie Pierce, 289, 
 
 meee a 
 Whitney, John J., 224, 473 
 
 Whitney, Joseph W., 256, 260, 
 263, 473 
 
 Tae Mrs. Joseph W., 147, 
 203, 
 
 Whites ee Maud, 293 
 
 Whitney, Myron W., 113, 117, 
 200, 310 
 
 Whitney, Reginald, 349 
 
 Whitney, S. B., 116, 134 
 
 Whitney, Sewell, 185 
 
 Nor: Susan, 75 WO Fe 
 
 Whittemore, Alfred, 334, 335 
 Whittemore, Mrs. Bertha, 1 
 Whittemore, Russell A., 203 
 Whittemore, Theresa, 275 
 Whitten, Mrs. Howard, 193 
 Whitten, Prof. Jeremiah, 315 
 Whitter, Cyrus, 348 
 Whittier, A. W., 334 
 Whittier, Mrs. Charles, 278 
 Whittier, Mrs. Henry, 196 
 Whittier, John G., 6, 50, 126 
 Whittier, Sarah E., 61 
 Whittier, Mary Talbot, 473 
 Whittin, Mrs. Mary T., 197. 
 Whittredge, Mrs. Anne Eliza- 
 beth, 474 a 
 Wichtendahl, Mrs., 177 
 Wiggin, Mrs. Charles, 474 B. 
 Wiggin, Mrs. D. W., 190, 295 
 Wiggin, Hannah, 179 
 Wiggin, Josephine M., 222, 227, 
 278, 280, 474 
 Wiggin, Miranda, 181 
 Wight, Austin Jenness, 474 
 Wight, Mrs. Emma E., 301 
 Wight, Evelyn, 303 
 Wight, Dr. I. Henry, 224 
 Wight, James, 203, 346 4 
 Wight, Mrs. James, 181, 222, 
 226, 300, 474 a 
 Wight, Mae, 304 
 Wight, Winfield Scott, 474 
 
BIOGRAPHICAL INDEX 
 
 Wignot, Richard G., 286 
 Wilbur, Mrs. Minnie, 474 
 Wilcox, John Wesley, 474 
 Wild, Rev. E. W., 289 
 
 Wilde, Edwin Ernest, 474 
 Wilder, Gerald G., 286 
 Wilder, Katherin E. Brier, 474 
 Wilder, Margaret V., 147 
 Wilder, Solon, 116, 176, 183 
 Wilder, Mrs. Victoria, 304 
 Wiley, Dora, 114, 115, 178, 180 
 Wiley, Rev. G. R., 224 
 Wiley, Kenneth, 303 
 Wilkenson, John, 303 
 
 Wilkins, oe Franklin H., 145, 
 
 263, 4 
 Wilkinson” Mrs. Edward, 184 
 Wilks, Ronald D., 286, 474 
 
 Willard, Capt. 
 
 173 
 Willard, E. A., 298 
 Willard, Mrs. L. E., 146 
 Willen, P. J., 159 
 Willett, Mrs. John, 299 
 Willey, Anna C., 147, 263, 311 
 Willey, P. J., 331, 332 
 Williams, Abigail, 52 sa 
 Williams, Bertha E., 306, 474 
 Williams, Caroline, 261 
 Williams, Mrs. Dana S., 
 Williams, F. S., 334 
 Williams, Harry B475 
 Williams, Mrs. Helen, 305 
 Williams, Herbert E., 224, 285 
 Williams, H. L., 225 
 Williams, Mrs. Junita, 293 
 Williams, J. C., 89 
 Williams, Mrs. J. S., 224 
 Williams, Lee, 354 
 Williams, Marguerite, 286 
 Williams, Mazie, 273 , 
 Williams, Myra, 147 
 Williams, Mrs. Sidney, 146 
 Williams, Col. Timothy, 102 
 Willis, Eleanor, 149, 475 
 Williston, Mrs. Marion Spra- 
 gue, 264, 475 
 Williston, Mrs. B. P., 280 
 Wilson, Mrs. Bernice, 303, 304 
 Wilson, Rev. David L., 224 
 Wilson, Mrs. Edgar K., 146 
 Wilson, Mrs. Eleanor, 290 
 Wilson, Mrs. Ellen E., 226 
 Wilson, George T., 340 
 Wilson, Mrs. Harry E., 146 
 Wilson, Hazel Deborah, 475 
 Wilson, Irving, 195 
 Wilson, Kate E., 263 
 Wilson, L. H., 334 
 Wilson, Margaret, 147, 261 
 Wilson, Ralph, 259 
 
 Benjamin ime 
 
 475 
 Wiswell, Hovey M., 
 
 Wilson, Raymond, 335 
 Wilson, Ruth, 253 
 Wilson, Mrs. Shirley, 293 
 Wilson, Mrs. Virgie, 303 
 Wilson, Mrs. William, 64 
 Wilson, William E., 343 
 Winant, Emily, 190 
 Winch Jo FF. F314 
 Wineh AW. J 114 
 Winchell, Mrs. John, 194 
 Winchell, Mrs. Sue, 147 
 
 - Winchenbaugh. Virginia, 302 
 
 Winchester, John Howard, 475 
 Winfield, Madeline, 475 
 Wing, Carrie, 198 
 Wing, Charles Augustus, 
 198 
 Wing, Mrs. Grace A., 313 
 Wing, Harriet, 292 
 Wing, Roswell A., 475 
 Wing, Sarah, 197. 198 
 Wingate, E. R., 225, 475 
 Wingate, Frank T3207 
 Winn, Gladys, 272, 475 
 Winship, Mrs. John O., 
 pers ad. 
 Winslow, Allen, 297 
 Winslow, Burton H.,.188 
 Winslow, H. E., 298 
 Winslow, Helen M., 226, 
 293, 295, 297, 475 
 Winslow, Lucella M., 184 
 Winslow, M. Olive, 224 
 Winslow, Maud, 292 
 Winslow, Newell, 184, 351 
 Winslow, Ralph, 298 
 Winslow, Warren E., 353 
 Winther, Christian, 352 
 Wiseman, Anne, 295 
 Wiswell, Andrew M., 345, 475 
 Wiswell, Frank, 196 
 Wiswell, Harry S., 196, 345, 
 
 197, 
 
 223. 
 
 292, 
 
 196, 345, 
 
 475 
 Wiswell, John, 349 
 Wiswell, Julia, 196 
 Wiswell, Sarah C., 345 
 Wiswell, Thomas, 196 
 Witcher, Dora, 190 
 Witham, Burton B., 476 
 Witham, Mrs. Celia Smart, 275, 
 
 47 
 Witham, Merle, 347 
 Withington, D. B., 342 
 Wittridge, Annie W., 227 
 Wolfenberger, Lillian, 147, 318 
 Wood, Alice, 147, 148, 161, 
 263, 476 
 Wood, Allen E., 277, 476 
 Wood, Mrs. Alta, 303 
 
 523 
 
 Wood, B. F., 188, 
 291 
 
 Wood, Mrs. Charles D., 300 
 
 Wood, Elsa, 284 
 
 Wood, Georgie E., 188, 189 
 
 Wood, Mrs. Gorham, 279 
 
 Wood, G. W., 334 
 
 Wood, Mrs. Henry, 145 
 
 Wood, Mrs. H. E., 189 
 
 Wood, H., 191 
 
 Wood, Llewellyn, 181 
 
 Wood, Mattie, 293 
 
 Wood, M. C., 261 
 
 Wood, S. D., 188 
 
 Wood, Sarah, 64 
 
 Wood, Thomas, 342 
 
 Wood, William H., 66, 261 
 
 Woodard, Edith, 295, 476 
 
 Woodard, Lula G., 476 
 
 Woodbury, Anna W., 142, 148 
 
 Woodbury, Belle Bartlett, 190 
 
 Woodbury, Bernice A. , 287, 288 
 
 Woodbury, Mrs. Clifford, 146 
 
 Woodbury, Ethel A., 147 
 
 Woodbury, Florian, 147 
 
 Woodbury, Hazel, 295, 476 
 
 Woodbury, I. B., 107 
 
 Woodbury, J. B., 116 
 
 Woodbury, John, 254, 334 
 
 Woodbury, J. W., 263 
 
 Woodbury, Mrs. Leonard, 145 
 
 Woodbury, Virginia, 295, 476 
 
 Woodman, Albert S., 120, 222, 
 224 
 
 Woodman, Mrs. Albert S., 274, 
 
 275 
 Woodman, Charles G., 225 
 Woodman, Earl, 255, 476 
 Woodman, Ethel M., 285 
 Woodman, Marvenus, 350 
 Woodman, R. Huntington, 267 
 Woodruff, F. E., 224 
 ogy Mrs. Georgiana P. B., 
 18 
 peed Harvey J., 281, 
 
 47 
 Woods, John F., 186 
 Woodside, Mrs. Calvin, 145 
 Woodside, Elmer A., 334, 476 
 Woodside, Mrs. J., 190 
 Woodside, Mrs. M. K., 249 
 Woodsum, Catherine, 476 
 Woodward, Mrs. Flora C., 
 304 
 Woodward, Harold, 350 
 Woodward, Mrs. Louis P., 289 
 Woodworth, Mrs. Flora C., 287, 
 304. 
 Woodworth, Orrie, 477 
 Woolfe, Elizabeth M., 477 
 Worden, Mrs. Harry, 477 
 
 189, 190, 
 
 339, 
 
 287, 
 
524 
 
 Wormwell, Munroe, 347 
 Wormwood, Mrs. T. P.., 
 Wray, Arline, 284, 477 
 Wray, Estelle, 284, 477 
 Wrenn, Victor Steven, 477 
 
 Wright, Mrs. Althea C., 260, 
 
 Weicht, Rev. Blanche A., 224 
 
 Wright, Clinton, 349 
 
 Wright, Mrs. J. S., 225 
 
 Wright, John, 303 
 
 Wright, Ray, 350 
 
 Wright, Thomas, 78, 87, 157 
 
 Wyer, Charles E., 256, 258, 
 259, 273, 306, 307 
 
 Wyer, Gladys, 305 
 
 Wyer, Hazel, 305 
 
 Wyman, A. F., 352 
 
 Wyman, Abby R., 186 
 
 Wyman, Augustine, 184 
 
 Wyman, Mrs. Augustine, 184 
 
 Wyman, C. M., 116, 181 
 
 278 
 
 BIOGRAPHICAL INDEX 
 
 Wyman, Elwood T., 304 
 Wyman, Henry, 343 
 Wyman, Jane S., 477 
 Wyman, Minnie, 298 
 Wyman, Nellie, 190 
 
 x 
 
 Yeaton, Charles W., 224, 340 
 
 Yeaton, Pauline, 295 
 
 Yenco, John, 286 
 
 Yetten, Vienna A, 348 
 
 York, Isabel, 260, 477 
 
 York, Mrs. O. A., 477 
 
 Yorke, Clarence Sherman, 477 
 
 Yorke, Mrs. Clementine J., 
 288 
 Yorke, Helen Sherman, 147, 
 
 227, 248, 477 
 Yorke, Marcia Evelyn, 477 
 Young, Albert H., 350 
 
 Young, Beulah Gaylord, 248 
 Young, C. C., 187 4 
 Young, Charles G,, 78, 432° q 
 Young, Della Briggs, 292, 293, | 
 295, 477 a f 
 Young, Francis H., 185 © 
 Young, Frank M., 345 ae 
 
 Young, George ‘Washington, | 
 239 - 
 
 Young, Mrs. Helen M., 189 4 
 
 Young, John O., 337 pe a 
 
 Young, Mrs. L. D., 288 A 
 Young, Maynard A. 256, a7 
 
 335 a 
 Young, Mrs, Rudgar, ie: a 
 
 s ; - :. 
 
 Zenner, C. H., 31 ae 
 Zerrhan, Carl, 104, 113, 116, 
 181, 190, 195 4a 
 4 
 
 or aes 
 ie Coed 
 
 ae 
 te - 
 
 oe 
 
 Bes Sg a 
 , we e 
 ce. 
 
 MEE 
 
 a 
 a 
 cei 
 
 — ea 
 ry Oe aw 
 
A 
 
 Abbott, 40 
 
 Acadie, N. S., 5 
 
 Acton, 412 
 
 Addison, 387 
 
 Albany, N. Y., 211, 453 
 
 Allston, Mass., 435 
 
 Alma, N. B., 461 
 
 Alton, IIl., 433 
 
 Amherst, Mass., 35 
 
 Amherst, N. S., 380 
 
 Andover, Mass., 40 
 
 Annapolis, Md., 389 
 
 Anson, 29, 32, 200 
 
 Appleton, 413 
 
 Armenia, 361 
 
 Ashland, 419 
 
 Ashland, Mass., 412 
 
 Athens, 390, 474 
 
 Athol, Mass., 459 
 
 Attleboro, Mass., 65, 109 
 
 Auburn, 89, 97, 187, 188, 191, 
 290 to 298, 300, 313, 314, 
 317, 319, 321, 329, 340, 344, 
 345, 357, 362, 364, 367, 369, 
 372, 375, 376, 377, 378, 379, 
 382, 386, 388, 390, 391, 392, 
 395, 398, 403, 405, 409, 418, 
 420, 421, 422, 423, 425, 426, 
 430, 432, 437, 438, 439, 440, 
 442, 443, 451, 452, 458, 460, 
 461, 462, 464, 466, 469, 470, 
 472, 476, 477 
 
 Augusta, 5, 22, 28, 90, 100, 
 172, 173, 204, 275 to 277, 
 310, 317, 318, 329, 354, 356, 
 360, 361, 364, 367, 369, 374, 
 376, 377, 378, 379, 384, 386, 
 393, 394, 396, 400, 401, 404, 
 405, 406, 407, 415, 416, 417, 
 421, 426, 429, 431, 433, 435, 
 436, 437, 440, 445, 448, 449, 
 453, 459, 460, 468, 469, 473, 
 
 476, 477 
 Auriesville, N. Y., 427 
 
 B 
 
 Baldwin, 470 
 
 Baltimore, Md., 72, 82, 85 
 
 Bangor, 23, 28, 35, 38, 90, 91, 
 92, 93, 94, 95, 96, 98, 99, 
 113 to 116, 172, 173, 176 to 
 760, 183, 192, 193, 200, 203, 
 mag 245, 283, 261, 277 to 
 
 GEOGRAPHICAL INDEX 
 
 Bangor — Continued 
 284, 300, 309, 317, 318, 321, 
 326, 337, 338, 339, 340, 348, 
 355, 356, 357, 362, 363, 365, 
 366, 368, 373, 377, 378, 381, 
 383, 385, 386, 387, 388, 389, 
 390, 391, 392, 393, 394, 396, 
 397, 398, 402, 403, 404, 405, 
 406, 407, 408, 409, 410, 412, 
 413, 414, 417, 419, 420, 421, 
 427, 428, 429, 430, 432, 433, 
 435, 437, 438, 439, 440, 443, 
 444, 445, 448, 449, 450, 454, 
 455, 457, 458, 460, 462, 463, 
 464, 465, 467, 468, 469, 471, 
 472, 473, 474, 475, 476, 477 
 
 Bar Harbor, 354, 366, 400, 420, 
 470 
 
 bath, 420) 20. 36> 48.61, (87, 
 89, 90, 100, 103, 113, 180, 
 194, 202, 211, 245, 285, 327, 
 328, 359, 366, 372, 374, 378, 
 380, 385, 388, 396, 400, 411, 
 420, 423, 426, 428, 429, 432, 
 440, 442, 445, 451, 456, 463 
 
 Bath, N. Y., 344, 376 
 
 Beachmont, Mass., 462 
 
 Belfast, 60, 61, 100, I0I, 193, 
 194, 305, 315, 316, 317, 321, 
 337, 341, 349, 364, 384, 394, 
 395, 399, 421, 428, 437, 438, 
 440, 448, 459, 470, 474 
 
 Belgrade, 403, 459 
 
 Bellows Falls, Vt., 436 
 
 Benson, Vt., 364 
 
 Bergenfield, N. J., 469 
 
 Bernardston, Mass., 107 
 
 Berwick, 400 
 
 * Bethel, 341, 374, 396, 413, 439, 
 
 461, 474, 477 
 Bethlehem, Pa., 76 
 Beverly, Mass., 297 
 Biddeford, 35, 53, 62, 191, 193, 
 211, 252, 328, 341, 358, 364, 
 373, 379, 381, 390, 401, 413, 
 417, 418, 419, 420, 439, 442, 
 443, 447, 451, 452, 455, 470 
 Binghamton, N. Y., 423 
 Birkenhead, England, 378 
 Birmingham, England, 364 
 Bloomfield, 33, 100 
 Bloomington, IIl., 99, 432 
 Blue Hill, 38, 41, 305 
 Boise City, Idaho, 340 
 Boothbay Harbor, 354, 
 395, 419 
 
 525 
 
 364, 
 
 Boston, Mass., 5, 13, 14, 22, 
 23, 29, 31, 39, 42, 44, 50, 53, 
 54, 57, 61, 65, 76, 80, 84, 87, 
 89, 90, 91, 92, 93, 94, 100, 
 103, 104, 105, 107, 108, £IO; 
 Rae 113, 121, 123, 124, 126, 
 127,128 40.132, 136, 164, 
 105, 167, 173,174, 175,, 179, 
 182, 186, 188, 190, 191, 194, 
 195, 198, 199, 200, 201, 202, 
 207, 209, 215, 217, PSR GI IR 
 240, 247, 297, 310, 316, 323, 
 330, 331, 340, 341, 343, 345, 
 346, 357, 363, 364, 366, 369, 
 370, 376, 394, 410, 420, 425, 
 426, 427, 442, 445, 446, 451, 
 455, 456, 457, 464, 467, 471, 
 
 472, 474, 475 
 Braintree, Mass., 12 
 
 Brandon, Vt., 476 
 
 Brewer, 396, 400, 409, 411, 419, 
 424, 432, 452, 472 
 
 Brewster, Mass., o7T 
 
 Bridgewater, 60 
 
 Bridgton, 90, 199, 248, 249, 253, 
 oe 306, 309, 342, ue 371, 
 398, 410, 443, 449, 0 
 
 Ee Mass. aes oe ee 
 
 Brookfield, Conn., 367 
 
 Brooklyn, N. Y., 216, 249, 359, 
 399, 401, 431, 437 
 
 Brooks, 410 
 
 Brownfield, 356, 459 
 
 Brownville, 380, 433, 465 
 
 Brunswick, 13, 26, 27, 36, 39, 
 60, 62, 65, 88, 111, 168, 285, 
 286, 287, 314, 318, 419, 320, 
 327, 328, 342, 362, 366, 369, 
 370, 372, 373, 375, 380, pie 
 388, 395, 397, 410, 413, 4 
 422, 429, 440, 457, 466, 168, 
 469, 474, 476 
 
 Ris Pond, 341 
 
 Buckfield, 200, 378, 411, 426, 
 
 427 
 Bucksport, 116, 203, 354, 376 
 378, 408, 438, 453 
 Buffalo, N. Y., 211, 249, 344 
 Buxton, 363, "406 
 
 ? 
 
 C 
 
 Calais, 309, 354, 358, 359, 363, 
 385, 389, 390, 403, 404, 407, 
 424, 474 
 
526 
 
 Cambridge, Mass., 124, 164, 
 175, 186, 328, 392, 427, 470 
 
 Camden, 91, 301, 311, 343, 
 354, 394, 405, 414, 418, 426, 
 445, 458, 461, 463 
 
 Canaan, 32, 33 
 
 Canada, 373 
 
 Canton, 470 
 
 Capac, Mich., 407 
 
 Cape Cod, Mass., 122 
 
 Cape Cottage, 356 
 
 Cape Elizabeth, 337, 342, 371, 
 395, 397, 421, 436, 437 
 
 Caribou, 287, 299, 367, 405; 
 407, 415, 436, 440, 449 
 
 Carmel, 381, 412 
 
 Carthage, 309, 454, 457 
 
 Carthage, Missouri, 453 
 
 Casco, 6, 7 
 
 Castine, 5, 330, 361, 418, 424, 
 432, 442 
 
 Charleston, 348, 357, 380, 444 
 
 Charlestown, Mass., 195 
 
 Chatham, N. J., 474 
 
 Chelmsford, Mass., 96 
 
 Chelsea, Mass., 53, 54, 387; 
 
 AIl 
 
 Cherryfield, 311, 343, 375, 467, 
 469, 475 
 
 Chester, Pa., 249 
 
 Chesterville, 97, 392 
 
 Chicago, Ill; 76, 954.96, 172; 
 185, 212, 247, 279, 320, 426 
 
 Chicopee, Mass., 419 
 
 China, 30, 35, 89, 366, 461 
 
 Chisholm, 446 
 
 Christiania, Norway, 365 
 
 Cincinnati, Ohio, 104, 212, 213 
 
 Cleveland, Ohio, 389, 445 
 
 Cliftondale, Mass., 431 
 
 Clinton, 385, 410 
 
 Coaticooke, P. Q., 363 
 
 Cohansie, N. J., 17 
 
 Columbus, Ohio, 201 
 
 Concord, N. H., 189 
 
 Concord, Mass., 32 
 
 Corinna, 382, 475 
 
 Corinth, 93, 197, 435 
 
 Cornish, 185, 186,252. 287, 
 379, 411, 469 
 
 Cornville, 32, 390 
 
 Cousinoc, 5 
 
 Cumberland, 20, 61, 68, 88, 96, 
 185, 343, 351, 429, 450 
 
 Cumberland County, 38, 39 
 
 Cumberland Foreside, 309 
 
 Cumberland Mills, 352, 414, 
 462 
 
 GEOGRAPHICAL INDEX 
 
 D 
 
 Dallas, Texas, 320, 321 
 Damariscotta, 102, 180, 181, 
 _ 184, 343, 374, 397, 402, 407, 
 
 437, 442 
 Dana Point, 5 
 
 Danbury, Conn., 454 
 
 Danforth, 354, 394, 423 
 
 Danville, 357, 452, 458 
 
 Danville, Quebec, 381 
 
 Dark Harbor, 418 
 
 Dartmouth, N. S., 474 
 
 Deal, N. J., 241 
 
 Deering, 449, 459 
 
 Detroit, Mich., 321, 460 
 
 Dexter, 93, 99, 353, 354, 362, 
 372, 383, 384, 446, 452, 454, 
 
 45 
 Dixfield, 110, 198, 200, 346 to 
 348, 385, 408, 454, 457 
 Dorchester, Mass., 42, 53, 172, 
 
 437 
 Doucet’s Island, 4 
 
 Dover-Foxcroft, 185, 353, 357, 
 
 363, 372, 373, 391, 395, 410, 
 
 416, 433, 444, 469 
 Dover, N. 
 
 » 54 
 Duluth, Minn., 376 
 Dunstan, 334 
 Durham, 185, 206, 348, 430 
 Durham, N. H., 55 
 Dyer Brook, 422 
 
 E 
 
 East Auburn, 439 
 
 Eastbrook, 430, 474 
 
 East Corinth, 197, 348, 349, 
 357, 358, 407, 435 
 ast Livermore, 377 
 
 East Machias, 18, 195, 196, 197, 
 349, 385, 389, 420, 448, 460, 
 461, 473, 474, 475 
 
 East Millinocket, 370, 464 
 
 Eastport, 3, 31, 354, 356, 375, 
 380, 396, 427, 438, 470 
 
 East Providence, R. I., 430 
 
 East Winthrop, 198, 405 
 
 Edgartown, Mass., 228 
 
 Ellicottville, N. Y., 249 
 
 Ellsworth, 309, 349, 363, 379, 
 380, 382, 383, 388, 390, 399, 
 405, 408, 433, 447, 467, 473, 
 474 
 
 Emmettsburg, Md., 312 
 
 Enfield, Mass., 96 
 
 Evansville, Ind., 453 
 
 Everett, Mass., 341, 418, 471 
 
 Exeter, N. H., 30, 349 
 
 . F 
 Fairfield, 251, 371, 383, 39399m 
 404, 435, 436 a 
 Falkland Islands, 370 
 Fall River, Mass., 396, 463 4 
 Falmouth, 12, 78, 160, 185, 
 349, 397, 413, 429, 436, 452, — 
 461 a, 
 Falmouth Corner, 160 
 
 Falmouth Foreside, 322, 365, _ 
 
 373, 376, 390, 428, 432, 444, — 
 473 an 
 
 Farmingdale, 373 ; 
 
 Farmington, 20, 22, 90, 91, 97, 
 100, 186, 206, 229, 230, 241, 
 242, 349, 368, 385, 410, 430, 
 431, 448, 456, 463, 467, 
 
 Fayette, 443, 460 
 
 Fitchburg, Mass., 364 
 
 Five Islands, 423 
 
 Flint, Mich., 368 
 
 Florida, 310 
 
 Fort Fairfield, 288, 299, 369, 
 
 381, 394, 395, 401, 413, 415, 
 419, 438, 452 | 
 Fort Preble, 367 
 Fort Williams, 337 
 Foxcroft, 390 
 Franklin, 388 
 Franklin County, 91 
 Fredericton, N. B., 411, 468 
 
 Fredericton Junction, N.B.,370 
 
 Freedom, 315 
 Freemont, N. C., 361 : 
 Freeport, 60, 90, 245, 320, 361, 
 363, 423, 459 = 
 Frenchboro, 358 
 Friendship, 20 i 
 Fryeburg, 23, 34, 35, 249, 288, 
 410, 422, 445 A 
 
 G 
 
 Gaines, Pa., 361 
 
 Galeton, Pa., 464 
 
 Galion, Ohio, 368 . 
 
 Gardiner, 24, 31, 35, 89, 90,° 3 
 103, 107, 168, 199, 261, 312, 
 382, 399, 401, 403, 405, 407, 4 
 431, 436, 438, 443, 466, 475 
 
 Garland, 349, 451 ; 
 
 Georgetown, 364 
 
 Gettysburg, Pa., 101 
 
 Gilead, 474 
 
 Gilford, Conn., 35 
 
 Glencove, 366 
 
Gorham, 35, 36, 59, 80, 88, 
 103, III, 164, 165, 186, 187, 
 209, 251, 219, 288,289, 310, 
 323, 351, 356, 358, 363, 372, 
 375, 380, 400, 412, 421, 427, 
 436, 450, 460, 461, 466, 472 
 
 Gouldsboro, 365 
 
 Gray, 88, 185, 351, 
 406, 418, 458 
 
 Greene, 34, 383, 406 
 
 Greenfield, Mass., 107 
 
 Greenville, 362 
 
 Guilford, 261, 
 
 389, 449 
 
 383, 401, 
 
 354, 384, 385, 
 
 H 
 
 Halifax; P. Q., 1 
 
 Halifax, England, 459 
 
 Hallowell, 20, 22, 24, 25, 26, 
 27, 28, 29, 31, 32, 35, 39, 66, 
 67, 88, 89, 92, 327, 330, 360, 
 364, 369, 374, 394, 396, 405, 
 446, 454 
 
 Hampden, 94, 383, 394, 
 405, 406, 437 - 
 
 Hampton, Virginia, 344 
 
 Hancock, 420 
 
 Hancock County, 5, 38 
 
 Hanover, 29, 409 
 
 Hanover, Mass., 34, 374 
 
 Hanover, N. H., 35 
 
 Harmony, 354, 359, 438 
 
 Harpswell, 403 
 
 Harrison, 118, 
 404, 463, 467 
 
 Hartford, 411 
 
 Hartford, Conn., 
 309, 380 
 
 Hartland, 473 
 
 Harvard, Mass., 
 
 Haverhill, Mass., aes 
 
 Hebron, 378 
 
 Hillsdale, Mich., 375 
 
 Hodgdon, 458 
 
 Hollis, 68, 370 
 
 Hollis, N. H 
 
 Hollywood, Cal., 309, 397 
 
 Holy Cross Island, 4 
 
 Holyoke, Mass., 432 
 
 Hope, 89 
 
 Hot Springs, Ark., 456 
 
 Houlton, 289, 290, 299, 354, 
 356, 358, 361, 362, 366, 369, 
 370, 373, 374, 376, 379, 381, 
 82, 383, 387, 388, 391, 399, 
 403, 407, 409, 410, 411, 422, 
 425, 427, 428, 429, 436, 438, 
 445, 446, 458, 461, 464, 465, 
 470, 471 
 
 395, 
 
 119, 362, 367, 
 
 29, 94, 266, 
 
 GEOGRAPHICAL INDEX 
 
 Howland, 477 
 Hudson, 349 
 
 I 
 
 Indianapolis, Ind., 239 
 
 Indian Hills, Col., 422 
 Industry, 97 
 
 Island Falls, 321 
 
 Island Pond, Vt., 398, 416, 466 
 Islesboro, 381, 431 
 
 Isles of Shoals, N. H., 133 
 
 Jackson, 116 
 Jamaica Plain, Mass., 
 Jay, 368 
 
 Jefferson, 202, 414 
 Jemptland, Sweden, 433 
 Jersey City, N. J., 381, 404 
 Jonesboro, 399 
 
 Jonesport, 407, 434 
 
 366, 468 
 
 K 
 
 Keene, N. H., 115 
 Kenduskeag, 23, 349, 355, 412 
 Kennebec County, 38, 39, 88 
 Kennebunk, 7; 34, 40, 41, 49, 
 67, 261, 306, 323, 334, 351, 
 354, 357, 361, 370, 371, 379, 
 
 390, 400, 416, 459, 469 
 Kennebunkport, 378, 475 
 
 Kent’s Hill, 317, 403 
 Kezar Falls, 249, 389, 431, 440 
 
 Kingfield, 395, 459 
 Kingsburg, Cal., 371 
 
 L 
 
 Lake Maranacook, 352 
 
 Lakeview, Ontario, Can., 375 
 
 Lamoine, 379 
 
 Lancaster, N. H., 387 
 
 Lawrencetown, N. S., 433 
 
 Lawton, Oklahoma, 421 
 
 Leadville, Col., 445 
 
 Lee, 465 
 
 Leeds, 417, 467 
 
 Leominster, Mass., 423 
 
 Lewiston, 89, 90, 111, 168, 187 
 to 191, 200, 279, -as3e"261; 
 291 to 298, 300, 309, 316, 317, 
 318, 321, 326, 343, 344, 345, 
 359, 360, 361, 362, 363, 364, 
 
 527 
 
 Lewiston — Continued 
 368, 369, 372, 373, 376, 377, 
 378, 379, 380, 381, 382, 383, 
 385, 386, 388, 389, 391, 393, 
 394, 395, 396, 397, 398, 399, 
 400, 405, 406, 407, 408, 409, 
 4II, 412, 413, 416, 417, 418, 
 419, 420, 422, 423, 430, 431, 
 432, 433, 435, 436, 437, 439, 
 440, 443, 444, 445, 446, 447, 
 448, 451, 454, 455, 456, 457, 
 459, 460, 464, 465, 466, 468, 
 470, 475, 476 
 
 Lexington, Ky., 364 
 
 Liberty, 410 
 
 Limerick, 249, 387 
 
 Limestone, 427, 429 
 
 Limington, 249 
 
 Lincoln, 3, 20, 298, 354, 368, 
 371, 397, 420, 421, 433, 440 
 
 Lincoln County, 38 
 
 Lincolnville, 403 
 
 Linneus, 460 
 
 Lisbon, 386 
 
 Lisbon, N. H., 396 
 
 Liskova, Russia, 377 
 
 Litchfield, 201, 457 
 
 Littleton, 299, 373 
 
 Livermore Falls, 89, 198, 199, 
 345, 254, 363, 364, 368, 375, 
 384, 389, 392, 400, 403, 409, 
 418, 423, 442, 460, 475, 476 
 
 London, England, 164, 172, 
 176, 183, 191, 209, 234, 236, 
 239, 245, 247, 317, 409, 442 
 
 Los Angeles, Calif., 310, 398, 
 408, 449, 453 
 
 Louisville, Ky., 104 
 
 Lowell, Mass., 300, 331, 388, 
 434. 
 
 Lunenberg, Mass., 32 
 
 Luxulyan, Cornwall, 
 389 
 
 Lynn, Mass., 
 
 England, 
 
 328, 392 
 
 M 
 
 Machias, 15, 19, 345, 356, 360, 
 388, 393, 421, 451, 458, 461, 
 470 
 
 Machiasport, 461 
 
 Mackville, 38 
 
 Madison, 345, 375, 385, 444, 
 
 477 
 Malden, Mass., 366, 404, 421 
 Malone, N. Y., 385 
 Manchester, N. He 
 
 398 
 
 365, 391, 
 
528 
 
 GEOGRAPHICAL INDEX 
 
 ee 
 
 Manetta, ik 249 
 
 Mapleton, 460 
 
 Marshfield Hills, Mass., 388 
 
 Martha’s Vineyard, Mass., 228 
 229 
 
 Matinicus Isle, 354 
 
 Maynard, Mass., 422 
 
 Mechanic Falls, 355, 367, 378; 
 387, 409, 417, 476 
 
 Medfield, Mass., 359 
 
 Melrose, Mass., 362, 392, 465 
 
 Meriden, Conn., 399 
 
 Merrimac, N. H., 331 
 
 Mexico, 426 
 
 Middlesex, Mass., 96 
 
 Milbridge, 419, 445, 449 
 
 Milburn, N. J., 373 
 
 Milford, 179, 445 
 
 Millinocket, 298, 345, 354, 372: 
 391, 393, 407; 411, 419, 424, 
 432, 457 
 
 Milltown, 425 
 
 Millville, N. B., 366, 403, 412 
 
 Milo, 93, 354, 355, 364, 371, 
 374, 384, 385, 396, 403, 428, 
 
 439 
 
 Milton, 461 
 
 Milwaukee, Wis., 399 
 
 Minneapolis, Minn., 178, 179, 
 189, 455, 464 
 
 Minot, 29, 200, 309, 374, 425 
 
 Monmouth, 29, 165, 309, 362, 
 377, 469 
 
 Monroe, 435 
 
 Monson, 354 
 
 Montreal, Canada, 385 
 
 Morgantown, W. Va., 370 
 
 Mountain, 32 
 
 Mt. Desert, 4, 438 
 
 Mt. Kearsarge, 249 
 
 Mt. Vernon, 328, 387 
 
 Muncie, Ind., 435 
 
 N 
 
 Nantucket, Mass., 229 
 
 Naples, 359 
 
 Narantsouac, 5 
 
 Nashua, N. H., 331 
 
 Natick, Mass., 380 
 
 Newark, N. J., 15, 54, 416 
 
 New Bedford, Mass., 58, 367, 
 409, 424, 444, 448 
 
 Newburgh, 444 
 
 Newburyport, Mass., 472 
 
 New Durham, 29 
 
 New Gloucester, 62, 80, 88, 
 185, 324, 351, 374, 379 
 
 New London, Conn., 183, 192, 
 
 309 
 
 Newmarket, N. H., 452 
 
 Newport, 354, 404, 420 
 
 New Rochelle, N. Y., 416 
 
 New Sharon, 20, 97, 99, 199, 
 436, 477 ; 
 
 New Smyrna, Florida, 452 
 
 Newtown, N. Y., 18 
 
 New Vineyard, 371 
 
 New York, N. Y., 76, 84, 85, 
 94, 95, 104, 108, 164, 174, 
 192, 195, 200, 202, 209, 210, 
 211, 214, 217, 219, 235, 249, 
 327, 350, 359, 362, 379, 388, 
 399, 400, 402, 405, 408, 416, 
 428, 430, 432, 439, 450, 460, 
 464, 465, 466, 467, 477 
 
 Nixon, N. B., 361 
 
 Norfolk, Va., 85 
 
 Norridgewalk, 5, 6, 7, 32 
 
 North Anson, 89, 99 
 
 North East Harbor, 445 
 
 Northfield, Minn., 372 
 
 North Haven, 361, 459, 477 
 
 North Lee, 453 
 
 North Lovell, 397 
 
 North Parsonsfield, 422 
 
 North Turner, 361 
 
 North Waterford, 449 _ 
 
 North Yarmouth, 29, 34, 35, 
 88, 428 
 
 Norwalk, Conn., 217, 219 
 
 Norway, 35, 68, 110, 160, 161, 
 345, 358, 374, 382, 388, 389, 
 394, 404, 405, 408, 409, 415, 
 423 
 
 Norway Lake, 457 
 
 Norwich, Conn., 406 
 
 Norwood, Mass., 401, 470 
 
 Nottingham, N. H., 413 
 
 O 
 
 Oakfield, 407 
 
 Oakland, 361, 419 
 
 Oakland, Cal., 399, 415, 439 
 
 Ogunquit, 387, 453 
 
 Old Lyme, Conn., 183 
 
 Old Town, 357, 364, 398, 400, 
 417, 418, 419, 434, 435, 440, 
 
 444, 447, 462, 469 
 Onslow, N. S., 15, 18 
 
 Orland, 477 
 
 Orono, 93, 363, 381, 389, 412, 
 421, 424, 429, 436, 455, 467 
 
 Orrington, 32 
 
 Orr’s Island, 462 
 
 Ossining, N. Y., 242 
 Ossipee Valley, 185 
 Otisfield, 68, 118 
 Oxford, 20, 203 
 Oxford County, 110 
 
 be 
 
 Paisley, Scotland, 359 
 Palmyra, 354 
 Palo Alto, Cal., 465 
 
 Paris, 246, 247, 341, 432, 451, q 
 
 452 ee 
 
 Paris, France, 233, 234, 245; % a 
 
 247, 389, 455 
 arkman, 390 
 
 Parsonsfield, §, 107, 186, 434 
 Pasadena, Cal., 399 
 Patansbyn, Sweden, 455 
 
 Paterson, N. J., 424 
 
 es 309, 354, 374, 417,436, 
 
 467 
 
 Pawtucket, R. I., 376 
 Peaks Island, 392, 442 
 Pembroke, 396 
 Penawamiska, § 
 Penobscot, 464 
 Pentagoet, 5 
 Petersburg, Ill., 386 
 
 Philadelphia, Pa., 16, 17, 25, 4 
 
 84, 103, 104, 126, 211, 216, 
 257, 376, 383, 399, 444 
 Phillips, 90, 203 
 Piscataquis Co., 40 a 
 Pittsfield, 345, 349, 378, 395, 
 396, 398, 401, 410, 425, 446, 
 452, 455, 463 | 
 Pittston, 90, 458, 469 
 Pleasant Point, 5, 421 
 Plymouth, 375, 463 
 Pocassett Lake, 205 
 
 Poland, 68, 88, 200, 202, 234, 3 4 
 
 417 
 
 Poland, Russia, 416 
 
 Portland, 12, 29, 31, 34, 35, 37, 
 38, 39, 41, 42, 57, 59, 60, 62, 
 
 66, 67, 69 to 88, 90, 92, 96, : 4 
 
 97, 100, 102, I10, III, 113 
 
 to 126, 140 to 186, 187, 189, " 
 191, 194, 195, 199, 202, 203, 
 
 211, 219, 220, '239, 240, °245, 0m 
 247, 251, 253 to 268, 292, 
 
 300, 311, 312, 313, 314, 317, 
 318, 323, 324, 325, 326, 327, . 
 328, 329, 330, 332, 334, 335, 
 
 336, 348, 350, 355 to 448, 
 450 to 455, 457 to 477 | 
 
Portland, Ore., 433 
 
 Portsmouth, N. H., 85, 455 
 
 ‘Pownal, 68 
 
 Pownal Center, 185 
 
 Presque Isle, 298, 354, 356, 
 358, 363, 373, 388, 389, 413, 
 415, 424, 448, 452, 467 
 rospect, 440 
 
 Prospect Harbor, 431 
 
 Prouts Neck, 328 
 
 Providence, R. I., 176, 249, 
 474 
 
 Putnam, Conn., 474 
 
 Q 
 
 Quebec, P. Q., 5, 6 
 Queensbury, N. B., 409 . 
 Quincy, Mass., 257, 303, 400 
 
 R 
 
 Ramsgate, England, 367 
 
 Randolph, 396 
 
 Rangeley, 388, 443 
 
 Readfield, 20, 65, 317, 424, 
 429, 438, 458 
 
 Reading, Pa., 454 _ 
 
 Richford, N. Y., 403 
 
 Richford, Vt., 424 
 
 Richmond, 390, 392, 405, 409, 
 431, 445, 458, 471 3 
 
 Richmond, N. B., 401 
 
 Richmond, Va., 85 
 
 Rochester, NN. Y., 211, 249, 
 356, 382, 388 
 
 Rockland, 24, 35, 65, 101, 102, 
 1042180, IBI, 182; 203, 299, 
 303, 345, 346, 356, 357, 359, 
 361, 362, 365, 369, 370, 379, 
 380, 381, 383, 386, 387, 393, 
 395, 396, 401, 403, 404, 405, 
 409, 412, 413, 415, 416, 417, 
 418, 423, 425, 428, 430, 432, 
 434, 437, 449, 450, 455, 456, 
 458, 466 
 
 Rollinsford, N. H., 433 
 
 Roxbury, Mass., 375 
 
 Rumford, 261, 350, 355, 357, 
 360, 366, 377, 384, 395, 398, 
 All, 416, 419, 424, 427, 428, 
 429, 431, 433, 446, 451, 459, 
 460, 462, 463, 464, 469, 472, 
 
 _ 474 
 Rutherglen, Scotland, 371 
 
 GEOGRAPHICAL INDEX 
 
 S 
 
 Sabattus, 89, 389, 452 
 
 Baco, 12,614," 28,. $3, 62, 191; 
 193, 211, 251, 261, 313, 328, 
 331, 338, 348, 373, 383, 392, 
 397, 400, 406, 421, 442, 445, 
 
 450, 454, 462, 469, 470 
 Sacramento, Cal., 168, 416 
 
 Sagadahoc, 8 
 
 Saint Sauveur, 4 
 
 Salem, Mass., 107, 344, 394 
 
 Salmon Falls, 6 
 
 Sandwich, Mass., 170 
 
 Sandy River Township, 22 
 
 Sanford, 26, 303, 334, 350, 366, 
 377, 396, 400, 401, 409, 418, 
 430, 433, 434, 437, 444, 447, 
 459 
 
 San Francisco, Calif., 87, 273 
 
 Sangerville, 408, 446 
 
 Sault St. Marie, Mich., 6 
 
 Scarboro, 200, 218 
 
 Scarboro Beach, 217 
 
 Schenectady, N. Y., 6 
 
 Searsport, 370, 451 
 
 Seattle, Wash., 476 
 
 Sebago Lake, 122 
 
 Sebec, 355 
 
 Sedgewick, 234, 379, 439 
 
 Shapleigh, 453 
 
 Sheffield, Mass., 95 
 
 Sherbrooke, P. Q., 360 
 
 Sherman, 419 
 
 Shiloh, 32 
 
 Shirley, 415 
 
 Sidney, 384, 399 
 
 Skowhegan, 32, 33, 98, 99, 100, 
 183, 184, 309, 350, 351, 356, 
 364, 372, 373, 386, 396, 397, 
 
 _ 401, 414, 425, 432, 435, 438, 
 
 439, 440, 458, 470, 471, 472 
 Smyrna Mills, 391 
 
 Snow’s Falls, 426 
 
 Solon, 429 
 
 Somerville, Mass., 198, 365, 
 464 
 
 South Berwick, 376, 384, 415, 
 473 
 
 South Brewer, 391, 394, 412, 
 
 421 
 
 Southern Pines, N. C., 453 
 
 South Freeport, 459 
 
 South Gardiner, 469 
 
 South Gray, 185 
 
 South Hope, 431, 437 
 
 South Paris, 35, 110, 303, 358, 
 366, 367, 370, 384, 392, 401, 
 408, 412, 426, 462, 471 
 
 529 
 
 South Penobscot, 409 
 
 South Portland, 334, 363, 364, 
 366, 369, 370, 375, 378, 380, 
 384, 387, 393, 401, 403, 415, 
 417, 418, 424, 429, 434, 438, 
 
 440, 447, 448 
 South Thomaston, 409, 415 
 
 South Waterford, 450 
 
 South West Harbor, 459 
 
 South Windham, 249 
 
 Spalding, Mich., 360 
 
 Spaulding, 448 
 
 Springfield, N. J., 402 
 
 Springvale, 306, 327, 350, 372, 
 422, 423, 443, 453 
 
 St. Albans, 357, 426, 434, 436, 
 
 453 
 St. Alexandre, P. Q., 360 
 Standish, 122, 200, 412, 417, 
 462 
 St. Croix, 4 
 Steep Falls, 200, 249 
 Stetson, 443 
 Steuben, 419, 467 
 St. John, N. B., 380, 447 
 Stockholm, Sweden, 444 
 Stonington, 454 
 Stoughton, Mass., 19, 22 
 Stow, Mass., 41 
 St. Petersburg, Florida, 423 
 Strong, 89, 229 
 Stroudwater, 393 
 St. Stephen, N. B., 428 
 St. Vital, P. Q., 432 
 Sumner, 29, 360 
 Sunbury, 23 
 Surry, 465 
 
 T 
 
 Tacoma, Wash., 444 
 
 Tamworth, N. H., 189 
 
 Taunton, England, 406 
 
 Taunton, Mass., 350 
 
 Temple, 317, 448 
 
 Thomaston, 24, 180, 301, 328, 
 341, 363, 372, 380, 402, 423, 
 451 
 
 Thomaston, Conn., 244 
 
 Thorndike, 370 
 
 Tisbury, Mass., 228 
 
 Togus, 350, 416, 462 
 
 Topsham, 27, 62, 89 
 
 Toronto, Canada, 442 
 
 Troy, 446 
 
 Turner, 20, 29, 30, 103, 200, 
 354, 357, 360, 363, 401, 407, 
 411, 444, 457 
 
530 
 
 GEOGRAPHICAL INDEX 
 
 Oo —— ————— 
 
 U 
 
 Union, 20, 32, 199, 249, 364, 
 407, 422, 445, 463, 4 
 
 Unionville, Conn., 344 
 
 Unity, 20, 172 
 
 V 
 
 Van Buren, 385 
 
 Vassalboro, 111 
 
 Verona, N. J., 358 
 
 Vienna, 360 
 
 Vinalhaven, 353, 356, 415, 417, 
 418, 453, 454, 466 
 
 W 
 Wakefield, Mass., 391, 405, 445 
 Waldo, 448 
 Waldoboro, 180, 351, 363, 375, 
 379, 440 
 
 Waldo County, 103 
 
 Wallingford, Conn., 436 
 
 Waltham, Mass., 390 
 
 Warren, 102, 394, 447, 474 
 
 Warwick, P. Q., 447 
 
 Washburn, 304, 360, 388, 422 
 
 Washington, 445 
 
 Washington, D. C., 34, 100, 
 107, 421, 433, 449 
 
 Watchic Pond, 323 
 
 Waterboro, 372, 451, 468 
 
 Watertown, N. Y., 370 
 
 Waterville, 68, 89, 90, 170, 
 202, 203, 251, 304, 305, 317, 
 320, 321, 351, 354, 356, 358, 
 362, 364, 372, 375, 383, 385, 
 388, 393, 399, 402, 404, 408, 
 409, 418, 423, 425, 426, 427, 
 430, 437, 439, 447, 453, 454, 
 458, 460, 464 
 
 Wayne, 65, 89, 109, I10, 200, 
 202, 204, 206, 401 
 
 Weeks Mills, 405 
 
 Weld, 372, 477 
 
 Wellesley, Mass., 
 
 Wells, 12, 68, 347 
 
 Wells, Minn., 469 
 
 Wenham, Mass., 93 
 
 West Baldwin, 200 
 
 Westbrook, 200, 211, 261, 305, 
 351, 352, 357, 370, 371, 376, 
 378, 395, 404, 405, 414, 415, 
 417, 418, 419, 427, 431, 432, 
 439, 452, 460, 462, 466, 476 
 
 West Cumberland, 401 
 
 West Falmouth, 419, 461 
 
 Westfield, Mass., 2 
 
 West Freeman, 368 
 
 West Milton, N. H., 376 
 
 Westover, England, 452 
 
 West Paris, 457 
 
 West Peru, 347, 369 
 
 West Roxbury, Mass., 201 
 
 West Scarboro, 429 
 
 414 
 
 Weymouth, Mass., 229, 469 
 Whitefield, 379 
 Whitefield, N. H., 369, 384 
 
 White Rock, 249 
 Whitneyville, 456 
 
 Williamsport, Pa., 366 
 
 Willimantic, 362 
 
 Wilton, 356, 359, 418, 454 
 
 Winchester, Mass., 413 
 
 Windham, 88 
 
 Windsorville, 474 
 
 Winslow, 431 
 
 Winter Harbor, 403, 437, 442 
 
 Winterport, 116, 354, 395 
 
 Winthrop, 20, 29, 34, 65, 89, 
 109, 110, 165, 197, 198, 204, 
 311, 334, 350, 361, 364, 379, 
 398, 445, 463, 473 
 
 Wiscasset, 29, 35, 414 
 
 Wollaston, Mass., 397 
 
 Woodfords Corner, 159, 413, 
 459, 460 
 
 Woodstock, N. B., 471 
 
 Woolwich, 357, 468 
 
 Worcester, Mass., 
 
 201, 357 
 
 172, 176, 
 
 & 
 
 Yarmouth, 185, 200, 205, 320, 
 
 336, 352, 353, 395, 396, 400, 
 402, 410, 442, 447, 468, 470, 
 
 477 
 Yarmouthville, 468 
 York; 12, 26,108 
 York County, 38, 39 
 
 - 
 
 A 
 Zachan, Germany, 462 
 
GENERAL INDEX 
 
 A 
 
 - Abnakis, 1, 8 
 
 Ainsworth’s Version of the Psalms, 9 
 
 A.M. Abbott Chorale Society, Fryeburg, 288, 289 
 Amateur Opera, 161, 188 
 
 America, 67, 68 
 
 American Advocate, The, 88 
 
 American Guild of Organists, 264 
 American Harmony or Royal Melody, The, 20 
 American Revolution, Music of, 329 
 Andrews Music House, 284 
 
 Andrews Orchestra, Bangor, 114 
 Androscoggin Musical Society, 188, 190, 291 
 Annie Louise Cary Club, Gorham, 288, 289 
 Antiquarian Singing Club, Rockland, 1o1 
 Arion Club, Portland, 154 
 
 Armory Building, Portland, 220, 239 
 Assembly Hall, Portland, 36 
 
 Associated Glee Clubs of America, 257 
 Athene Club, Bangor, 279, 281 
 
 Auber Hall, Saco, 110 
 
 Augusta Choral Art Society, 191 
 
 Augusta Glee Club, 100 
 
 Augusta Symphony Orchestra, 276 
 
 Aurora Borealis, 73 
 
 Azara, 132. 133, 138 
 
 B 
 
 Bach Choir, Bangor, 284 
 Ballard’s Chorus, Lewiston, 190 
 Ballard’s Orchestra, Lewiston, 190 
 Banps 
 American Band, Westbrook, 351, 352 
 American Cadet Band, Pottland, 334 
 Auburn Cadet Band, 340 
 Augusta Cadet Band, 354 
 Bangor Band, 339 
 Bangor Cornet Band, 337 
 Bangor Light Infantry Band, 337 
 Bar Harbor Cadet Band, 354 
 Belfast Military Band, 341 
 Bond’s Band, Boston, 337 
 Boothbay Harbor Band, 354 
 Boston Brigade Band, 330, 346 
 Bridgton Band, 342 
 Bridgton Cadet Band, 342 
 ’Brunswick Brass Band, 342 
 Brunswick Cadet Band, 342 
 Brunswick Drum Corps, 342 
 Bucksport Military Band, 354 
 Calais City Band, 354 
 Camden Brass Band, 342 
 Camden Cornet Band, 354 
 Carter’s, T. M., Band, Boston, 341 
 Chandler’s Band, Portland, 79, 191, 333 
 Cherryfield Band, 342 
 Citizens Band, Dexter, 354 
 
 531 
 
 Banps — Continued 
 Citizens Band, Skowhegan, 351 
 Citizens Cornet Band, Bangor, 338 
 City Band, Old, Lewiston, 343 
 Clark’s Band, Bangor, 337 
 Class Thirteen Band, Portland, 354 
 Cobb’s Quadrille Band, Portland, 333 
 Colonial Band, Kennebunk, 354 
 Continental Band, Old, 333 
 Cumberland Center Band, 343 
 Cumberland Mills Scotch Band, 352 
 Damariscotta Brass Band, 343 
 Danforth Band, 354 
 Dixfield Band, 347 
 Dover-Foxcroft Band, 353 
 Drew’s Waterville Band, 351 
 Druid Band, The, 100 
 Dunstan Band, 334 
 Durham Brass Band, 348 
 East Corinth Band, 348 
 Eastern Band of Lincoln, 354 
 East Millinocket Band, 354 
 Eastport Band, 354 
 Edinburgh (Scotland) Silver Band, 345 
 Ellsworth Band, 349 
 Farmington Cornet Band, 349 
 Fay & Scott Band, Dexter, 353 
 First Battalion Cavalry Band, Boston, 345 
 First Maine Regiment Band, 332 
 First Portland Band, 122 
 Forest City Band, Portland, 332 
 Glover’s Band, Auburn, 340, 343 
 Gorham Concert Band, 351 
 Gray Band, 351 
 Guilford Band, 354 
 Guiseppe Verdi Italian Band, Portland, 336 
 Hall’s Rockland Band, 346 
 Harmony Band, 354 
 Hobb’s American Band, Lewiston, 343 
 Houlton Band, 354 
 Irish Band, Lewiston, 343 
 Italian Caruso Symphony Band, Portland, 
 
 336 
 
 James G. Wasgatt’s Quadrille Band, Ban- 
 OAS Et ga ate 
 
 Johnson’s Brass Band, Belfast, 341 
 
 Kennebunk Band, 334, 351 
 
 Kennebunk Military Band, 351 
 
 K. of P. Boy’s Band, Presque Isle, 354 
 
 Kora Temple Drum Corps, Lewiston, 345 
 
 LeGault Boy’s Band, Portland, 336 
 
 Le Montagnard Snow Shoe Club Drum and 
 Bugle Corps, Lewiston, 345 
 
 Lewiston Brigade Band, 344 
 
 Livermore Falls Band, 345 
 
 Lurvey’s Band, Lewiston, 343 
 
 Machias Cornet Band, 345 
 
 Madison Boy’s Band, 345 
 
532 GENERAL INDEX 
 
 Banps — Continued 
 Maine Centennial Drum, Fife and Bugle 
 Corps, 336 
 Maine State Fife and Drum Corps, 336 
 Matinicus Brass Band, 354 
 Merriman’s Band, South Portland, 334 
 Millinocket Band, 345 
 Milo Military Band, 354 
 Monson Cornet Band, 354 
 Montcalm Band, Lewiston, 343 
 Moore’s Military Band, Kennebunk, 351 
 Musselburgh (Scotland) Band, 345 
 National Soldiers Home Band, Togus, 350 
 New Gloucester Band, 351 
 ’ Newport Military Band, 354 
 Norway Brass Band, 345 
 Norway-Paris Band, 345 
 Oakland Park Concert Band, 346 
 Old American Band, Westbrook, 351 
 Old Gity Band, Lewiston, 343 
 Old Continental Band, 333 
 Old Cumberland Band, 343 
 Old Winthrop Band, 350 
 Old Yarmouth Band, 352 
 Painchaud’s Band, Biddeford, 193, 341 
 Palmyra Band, 354 
 Parish Band, Springvale, 350 
 Passamaquoddy Indian Band, 354 
 Patten Band, 354 
 Payne’s Second eens Band, 344 
 Pittsfield Band, 349 
 Portland Band, 122, 251, 330, 340 
 Portland Brass Band, 331 
 Portland Girl’s Calendonian Pipe Band, 336 
 Presumpscot Band, Cumberland Mills, 352 
 Rigby’s Band, Portland, 335 
 Rockland Band, 346 
 Rockland Military Band, 346 
 Rubie Band, East Livermore, 354 
 Rumford Band, 350 
 Saccarap Band, 330 
 Saco Cornet Band, 192 
 Salem Cadet Band, 344 
 Sanford Band, 334 
 Sanford Mills Band, 350 
 Saxonia Band, 167 
 Second Maine Infantry National Guard 
 Band, 339 
 Second Maine Regiment Band, 338 
 Sixth Maine Regiment Band, 338 
 Skowhegan Band, 350 
 Smith’s Vinalhaven Band, 354 
 pert s Home Band, Hampton, Virgenes 
 
 saath Theda Cornet Band, 342 
 
 South Paris Brass Band, 345 
 
 St. Cecilia Boy’s Band, Lewiston, 343 
 
 St. Dominic Association "Band, Lewiston, 343 
 St. James Band, Portland, 336 
 
 State Soldiers Home Band, Bath, N. Y, 
 
 344 
 
 Banps — Continued 
 Ste. Rose Band, Livermore Falls, 345 
 Taunton Band, Taunton, Mass., 350 
 Thomaston Brass Band, 341 = 
 Tony Clark’s Band, Westbrook, ae2 
 Tri-Mill Chapter Band, Livermore F alls, 345 
 Turner Band, 354 : 
 Union Brass Band, Belfast, 337, 341° 
 Union Brass Band, Cape "Elizabeth, 342 
 United States Fifth Infantry Band, 337 _ 
 be ae Band, Sanford-Springvale, 
 
 Waldcnore Band, 351 
 
 Wasgatt’s Quadrille Band, Bangor, 337 
 Waterville Military Band, 354 
 
 West Falmouth Band, 349 
 
 West Peru Band, 347 
 
 Wheeler’s Band, Farmington, 349 
 Whiddon’s Quadrille Band, Belfast, 341 
 Winterport Cornet Band, 354 
 Winthrop Band, 334, 350 
 
 Yarmouth Brass Band, 352 
 
 10th Maine Infantry Band, 342 
 
 10th Regiment Band, N. Y., 344 
 103rd Infantry Nat. ‘Guard Band, 350 
 240th Coast Artillery Nat. Guard Band, 
 
 335 . 
 
 Bangor Choral Society, 177 
 
 Bangor Conservatory of Music, 179, 192 
 
 Bangor Historical Society, 114 
 
 Bangor Musical Association, 98 
 
 Bangor Musical Education Society, 94 
 
 Bangor Public Library, 90, 95 
 
 Banjo and Guitar Club, Bangor, 179 
 
 Bank of Portland, 46, 79 
 
 Bates College, 317, 318 
 
 Baxter Building, Portland, 171 
 
 Bay Psalme Book, The, 9, 11 
 
 Beethoven Club, Portland, 160 — 
 
 Beethoven Club, Rockland, 303 
 
 Beethoven Hall, Rockland, 1o1 
 
 Beethoven Musical Society of Portland, 42 to 
 57, 68, 76, 78, 79, 118 
 
 Beethoven Musical Society, Saco, 110 
 
 Beethoven Trio, 253 
 
 Belfast Choral Society, 194 
 
 Belfast Musical Society, 194 
 
 Belfast Philharmonic Association, 305 
 
 Bell, Father Rale’s Chapel, 7 
 
 Bell Ringers and Chimes, 201 
 
 Biddeford Choral Union, 191 
 
 Birthplace of Annie Louise Cary, 204 4 
 
 Birthplace = John Knowles Paine, 121, 137, 
 i 
 
 Birthplace oe Lillian Nordica, 228 
 
 Birthplace of Portland Rossini Club, a } 
 
 Bloomfield Academy, 100, 184 
 
 Blue Hill Choral Society, 305 
 
 Blue Laws, 63 
 
 Book of Psalms, The, 9 
 
 Boston Academy of Music, 87 
 
GENERAL INDEX 533 
 
 Boston Academy’s Collection, 88 
 
 Boston Conservatory of Music, 183 
 
 . Boston Music School, 94 
 
 Boston Peace Jubilee, 113, 152, 153, 154, 190, 
 198, 300 
 
 Boston Public Library, 50 
 
 Boston Symphony Concerts, 127 
 
 Boston University, 201 
 
 Bowdoin College, 39, 40, 110, 
 314, 317, 318 
 
 Brahams Trio, Portland, 253 
 
 Bridgewater Collection of Sacred Music, 43 
 
 Brunswick Orchestral and Choral Society, 285 
 
 Building in which opera was first performed in 
 Maine, 36 
 
 Building in which a complete oratorio was first 
 sung in Maine, 45 
 
 Building in which an oratorio by an American 
 Composer was first presented in the 
 United States, 126 
 
 Building in which the oldest existing women’s 
 music club in America was born, 140 
 
 165, 271,-276, 
 
 C 
 
 Canal National Bank, 46 
 Casco Glee Club, Portland, 86 
 Casco Serenading Club, Portland, 87 
 Casco Trio, Portland, 86 
 Cathedral Choirs of Portland, 162 
 Catholic Church Music, 4 to 8, 162, 163, 182, 
 187, 263, 264, 310 
 Cecilia Club, Augusta, 276 
 Cecilia Club, Bangor, 177, 178, 179 
 Cecilia Club, Lewiston, 188, 189 
 Cecilia Club, Waterville, 304 
 Centennial Exposition, 104 
 Central Hall, Lewiston, 89 
 Central Maine General Hospital, 219 
 Central Market Hall, Bangor, 94 
 Chamber Music, 253 
 Chamber Music Club, Portland, 253 
 Chamber Music Trio, Portland, 253 
 Chandler’s Band, 79, 191 
 Chicago Opera House, 247 
 Chickering Pianos, 80, 141, 327, 328 
 Chimes and Bell Ringers, 201 
 Choirs, Portland, 261 
 Chopin Club, Westbrook, 305 
 Choral Art Society, Augusta, 276 
 Choral Art Society, Portland, 306 
 Chorister’s Companion, The, 32, 33 
 CHURCHES 
 Auburn 
 High St. Congregational, 187, 297 
 Augusta 
 St. Mark’s Episcopal, 275, 276 
 Winthrop St. Universalist, 172 
 Bangor 
 Central, 277, 279 
 First Parish, 92, 94 
 
 CuurcHEs — Continued 
 Bangor 
 Hammond St. Congregational, 93, 115, 180 
 St. John’s Episcopal, 179, 180 
 Union Street, 94 
 Unitarian, 180 
 Universalist, 180 
 Belfast 
 Unitarian, 60, 61, 100, 194 
 Biddeford 
 Second Congregational, 328 
 Boston 
 Brattle St., 
 Bridgton 
 Episcopal, 199 
 Brunswick 
 Church of Christ, 27 
 First Parish, 62 
 East Corinth 
 Old Baptist, 197 
 Farmington 
 Congregational, 186 
 Gorham 
 Congregational Meeting House, 88 
 Methodist, 164 
 Hallowell 
 Old South, 24, 27, 89 
 Lewiston 
 Free Baptist, 190 
 St. Joseph’s, 187 
 Livermore Falls 
 First Baptist, 198, 199 
 North Yarmouth 
 Congregational Meeting House, 88 
 Portland 
 All Souls Universalist, 263 
 Cathedral of the Immaculate Conception, 
 162, 163, 263 
 Central Square Baptist, 263 
 Chestnut Street M. E., 79, 164, 263, 272, 
 
 273 
 
 Church of the Messiah, 263, 272 
 
 Church of the Sacred Heart, 263, 310 
 
 Clark Memorial, 263 
 
 Congress Square Universalist, 165, 192, 263 
 
 Congress Street M. E., 263 
 
 Federal St., 165 
 
 First Baptist, 165, 263 
 
 First Free Baptist, 263, 310 
 
 First Parish Portland (Falmouth), 12 
 14, 35, 45, 47, 48, 50, 69, 81, 165, 166, 
 168, 169, 261, 262, 263, 272 
 
 Free Street Baptist, 263 
 
 High Street Congregational, 79, 80, 263 
 
 New Jerusalem, 263, 273 
 
 Park St., 80, 87, 223, 263 
 
 Pearl St. Universalist, 122, 165 
 
 Pine St. M. E., 263 
 
 School St. Episcopal, 166 
 
 Second Parish Congregational, 35, 45, 46, 
 50, 69, 72, 73, 79, 122, 163, 165, 263 
 
 13, 23 
 
534 - GENERAL INDEX 
 
 CuurcHEes — Continued 
 Portland 
 St. Joseph’s, 263. 
 St. Lawrence Congregational, 165, 263, 273 
 St. Luke’s Cathedral, 263, 272, 306, 313 
 St, Paul's 263% 
 St. Stephen’s Episcopal, 122, 165, 263, 336 
 State St. Congregational, 168, 190, 263, 
 272, 309 
 Third Parish, 69, 110, 164 
 Trinity Chapel, 263 
 West Congregational, 263 
 Williston Congregational, 263, 272 
 Woodfords Universalist, 263 
 Woodfords Congregational, 263 
 Rockland 
 Baptist, 182 
 Catholic, 182 
 Cedar St., 102 
 Congregational, 101, 181, 300 
 Episcopal, 182 
 Free Baptist, 182 
 Methodist, 64 
 Old Brick, 64 
 Second Baptist, 102 
 Universalist, 101, 183 
 Saco 
 First Parish, 28, 192 
 Unitarian, 193 
 Skowhegan 
 Brick, 184 
 Congregational, 32, 99, 184 
 First Baptist, 184 
 First Meeting House, 33 
 First Parish, 184 
 Thomaston 
 Congregational, 180 
 Topsham 
 First Parish, 27 
 Wayne 
 Baptist, 110 
 Winthrop 
 Congregational, 109, 198 
 Methodist, 198 
 Yarmouth 
 Central Parish, 336 
 City Hall, Bangor, 278, 281 
 City Hall, Portland, 81, 87, 120, 240, 250, 257, 
 265, 332 
 Clavier Club, Lewiston, 291, 292, 293 
 Clef Club, Belfast, 194 
 Clef Club, Lewiston, 291, 292, 293 
 Clef Club, Presque Isle, 298, 299 . 
 Clifford Boys Music Club, Portland, 274 
 Club Musicale Litterarie, Lewiston-Auburn, 290, 
 291 
 Coburn Classical Institute, 317 
 Colby College, 68, 317 
 Colby University, 201 
 Community Singing, 249 
 
 CoMPosERS 
 
 Abbott, Mrs. Alberta Mabry, 145, 288 
 
 Alden, Zilpha May,* 355 
 
 Allen, Rev. Lorenzo B.,* 202 
 
 Andrews, Melville H., 114, 176, 178, 179, 
 279, 280, 281, 283, 338 
 
 Andrews, Miriam B., 145, 289, 313, 356 
 
 Bacheller, Willis Emery,* 199 
 
 Baker, B. F., 89, 90, 93, 116, 181 
 
 Ballard, Levi W., 89, 189 
 
 Barnlund, A. W., 419 
 
 Belanger, "Joseph 1) 286, 297, 342, 360 
 
 Belcher, Supply, 20, 22, O70 
 
 Bernauer, Francis Stephens, 361 
 
 Bradbury, William Bachelder,* 108, 116 
 
 Bray, Oliver, 35 
 
 Briggs, oe Cora Skillings,* 161, 225, 226, 
 303, 
 
 Brinkler, ‘Alfred, 255,256, 287,258. (203) 
 264, 273, 367 
 
 Brooks, William Grant,* 193, 313 
 
 Brown, Gail Ridgway, 368 
 
 Brown, Lewis Ronello,* 272, 368 
 
 Brown, Zilda Jennings,* 368 
 
 Brunelle, Arthur, 296, 369 
 
 Burnham, Edith,* 370 
 
 Burr, Co Gia 
 
 Burr, Mary Rosamond, 298, 321, 370 
 
 Butler, Nathaniel,* 202 
 
 Buxton, William "Herbert,* 313, 314, 371 
 
 Carson, Zeula,* 290, 373 
 
 Cary, William, 68 
 
 Chapman, Frederick EK. sa3 c994 
 
 Chapman, William R., 220, 221, 223, 227, 
 308, 313, 374 
 
 Chase, Annie P.,* 374 
 
 Chase, Caroline Fenno,* 276, 277, 374 
 
 Chase, George W., 100 
 
 Chase, Mrs. Henry, 173 
 
 Clarke, Helen Archibald, 376 
 
 Cochrane, Harry Hayman,* 377 
 
 Coombs, Charles Whitney,* 203, 378 
 
 Cote, Alphonse W.,* 295, 296, 297, 379 
 
 Covey, Dr. Florence A., 380 
 
 Cressey, Charles Robert,* 263, 272, 273, 
 326, 380 
 
 Crockett, George Albian,* 380 E 
 
 Cronham, Charles Raymond, 264, 268, 269, , 
 270,271, 27a, 7440 
 
 Crouch, Frederic Nichols, 77, 81, 82, 83, 85, 
 86, 122 . 
 
 Damon, Frances Brackett,* 382 
 
 Davenport, Frederick §., 92, 98, 113, 114)" 
 
 116, 154, 176, 177, 180, 183, 279 
 Dean, Mrs. James Lowell,* 385 
 Deering, Nathaniel,* 34, 52, 56 
 Dinsmore, Harry Augustus,* 325, 386 | 
 Dole, Nathan Haskell, 387 
 Dunham, Mellie,* 175, 316, 388 
 Edgerly, Cora Emily,* 389 
 
 * Native of Maine. 
 
GENERAL INDEX 535 
 
 Composers — Continued 
 
 Edwards, George Thornton, 157, 249, 250, 
 251, 314, 389 
 
 Edwards, Henry S., 77, 78, 80, 165, 199, 201 
 
 Emerson, Irving,* 309 
 
 Emerson, Luther O.,* 107, 108, 116, 181 
 
 Emery, James, 67 
 
 Emery, Stephen A., *° 201, 202 
 
 Fagan, John T.,* 53, 119, 164, 166, 254, 
 266, 268, 313, 329, 334, 336, 391 
 
 Favor, Edward P., 392 
 
 Fish, Clarence A.,* 346, 394 
 
 Frost, Simeon A., 39 
 
 Gage, Walter R.,* 309, 397 
 
 Garland, Abbie Nickerson,* 114, 178, 179, 
 277, 281, 397 
 
 Garton, Cedric H.,* 397 
 
 Giboin, George G., 297, 398 
 
 Gilbert, Joseph Jean,* 398 
 
 Gilbert, Marion E., 313 
 
 Gilberte, Hallett,* 398 
 
 Glynn, Thomas E.,* 162, 174, 175 
 
 Goodale, Ezekial, 30 
 
 Goold, Walter, 161, 263 
 
 Gould, John Edgar, 112 
 
 Gould, N. D.,* 96, 116 
 
 Green, Mary Thompson, 275, 313, 314 
 
 Hamilton, Gertrude Bean,* 403 
 
 Hamlin, Charles E.,* 203 
 
 Hanscom, E. W.,* 188, 189, 190, 297 
 
 Hartwell, Edward, 32, 33 
 
 Hayden, Victoire, 203 
 
 Hill, Fred Lincoln, Po7rgss, 256, 258; 263, 
 264, 273, 406 
 
 Hodgman, William A.,* 407 
 
 Holden, Oliver, 68 
 
 Hollister, Leona Stevens, 313, 408 
 
 Holmes, Annie C., 146, 226 
 
 Holt, G. Dana,* 344, 347, 408 
 
 Howard, Helen W.,* 313 
 
 Humphrey, Homer C.,* 225, 410 
 
 Hunter, Herbert C.,* 349, 350, 410 
 
 Hurd, Herbert Archie,* 264, 288, 321, 410 
 
 Hyde, Arthur, 149, 195, 225, 263, 306, 307 
 
 Ilsley, Charles P87 112 
 
 Johnson, Eugene Francis,* 199 
 
 Jones, Embert L., 313, 412 
 
 King, Rev. Henry Ni” 203 
 
 Korda, Joseph, 253, A16 
 
 Kotzschmar, Hermann, 77, 78, 80, 87, 90, 
 eek 7.810. 120, 122, 123, 125, 137, 
 143, 147, 153, 155, 156, 157, 158, 159, 
 162, 165, 166, 167, 168, 169, 170, 171, 
 187, 190, 225, 239, 253, 261, 263, 265, 
 267, 272, 273, 291, 306, 310 
 
 Lamb, Rev. F. M.,* 188, 202, 417 
 
 Lambord, Benjamin,* 312 
 
 Leighton, Clifford E.,* 419 
 
 Lepine, Raoul,* 419 
 
 Little, Anita Gray,* 69, 421 
 
 Locke, Poy. 202 
 
 Composers — Continued 
 
 Lord, Helen Cooper, 302, 421 
 
 Loring, Harold,* 263, 422 
 
 Lougee, Marguerite Emma,* 422 
 
 Lovejoy, Alden Wing,* 200, 201 
 
 Lyon, C. Leroy, 285, 423 
 
 Lyon, James, 15 to 19 
 
 Macy, Edward H., 424 
 
 Mainente, Anton E., 350, 424 
 
 Maloney, Fanning G., 254, 313, 424 
 
 Mansfield, Nathaniel H., 112 
 
 Marston, George W., 147, 150, 152, 167, 
 169, 170, 171, 202, 263, 274, 314, 315 
 
 Mason, Luther Whiting,* 103 to 107 
 
 Maxim, Abraham, 29, 30 
 
 Maxim, John, 68 
 
 Mayberry, Willard, 222, 334, 336, 352 
 
 McDonnell, Charles H.,* 427 
 
 McGregor, Eleanor B., 146, 275 
 
 McLellan, Harry,* 195, 225, 285, 428 
 
 Meader, Emily Peace,* 203 
 
 Milliken, Melville C., 159, 172, 275 
 
 Murray, Harvey, 119, 156, 157, 160, 164, 
 171, 189, 190, 239, 263, 291, 310 
 
 Nason, Hamilton,* 433 
 
 Nolcini, Charles, 48, 50, 52, 67, 261, 324 
 
 Norris, Homer Albert,* 202 
 
 Noyes, Leola Flint,* 303, 434 
 
 Nye, Frank A.,* 335, 435 
 
 Orne, Ernest B.,* 313 
 
 Paine, David,* 70, 78, 79, 80, 87, 122, 261, 
 
 325 
 
 Paine, Jacob 8.;* 70, '122):323)°325, 330 
 
 Paine, John Knowles,* 117, 121 to 140, 
 170, 330 
 
 Paine, W., 68, 79, 325 
 
 Patten, Willard,* 114, 176, 178, 180 
 
 Payson, Donald M.,* 268, 437 
 
 Perkins, David Page,* 154, 155, 438 
 
 Porter, F. Addison,* 441 
 
 Pratt, John Haraden,* 441 
 
 Quimby, George A., 203, 263 
 
 Ringwall, Knute Algot, 280, 281, 339, 444 
 
 Robbins, Charles, 33 
 
 Robbins, Reginald Chauncey, 445 
 
 Rodgers, Harry Everett, 297, 446 
 
 Rolfe, Walter, 313, 446 
 
 Roy, Emile H.,* 297, 447 
 
 Sanborn, Percy Arville,* 341, 448 
 
 Sanford, Seete 449 
 
 Sawyer, B., 
 
 Shaw, Alice eee * 450 
 
 Shaw, Mrs. Carrie Burpee,* 226, 301, 450 
 
 Shaw, Oliver T., 203 
 
 Silsby, Mae,* 178, 179, 203, 226, 278, 279, 
 280 
 
 Sleeper, Henry Dike,* 134, 309 
 
 Sleeper, Samuel, 112 
 
 Smith, Joshua, 112 
 
 Smith, Samuel Francis, 67, 68 
 
 * Native of Maine 
 
536 
 
 Composers — Continued 
 Snell, Lillian Lucinda,* 
 Spencer, Wilbur C., 313 
 Sprague, Adelbert Wells, 225, 339, 455 
 Sprince, Henry, 297, 455 
 Springer, Moses, Jr., 31 
 Stinchfield, Oliver Dorrance,* 225, 297, 458 
 Stockbridge, Ira C.,* 154, 170, 203, 325, 
 326, 459 
 
 Stone, Joseph, 112 
 
 Stott, Harry, 313, 459 
 
 Swan, Timothy, 68 
 
 Sweetser, Benjamin, 68, 111 
 
 Talbot, B., 68 
 
 Ter Linden, Johann Gottlieb, 158 
 
 Thieme, Bertholde W., 344, 347, 350, 452 
 
 Thomas, George A., 78, 87, 120, 155, 164, 
 165, 166, 185, 349 
 
 Thomas, Ruth Ella, 302, 322, 462 
 
 Thomes, Frank H., 462 
 
 Thompson, Sinclair, 273, 463 
 
 Tolman, Carl Jean,* 317, 322, 463 
 
 Towle, Blanche,* 464 
 
 Treworgy, Anne Florence,* 464 
 
 True, Latham, 253, 263, 272, 273, 304, 310, 
 
 353, 454 
 
 465 
 
 Tufts, J. W., 91, 92, 98, 170, 179 
 
 Turner, Alfred Dudley, 203 
 
 Usher, Ethel Watson,* 466 
 
 Vannah, Kate,* 312, 466 
 
 Washburn, Japheth Coombs, 29, 30 
 
 Watson, Willis Elmer,* 469 
 
 Wellcome, Frank O.,* 334, 470 
 
 Weston, Alice,* 203 
 
 Wheeler, Prince,* 203 
 
 Whelpley, Benjamin Lincoln,* 203, 471 
 
 White, Elise Fellows,* 147, 311, 313, 314,471 
 
 White, Paul Taylor,* 203, 472 
 
 Whiting, S. K., 198 
 
 Wight, James,* 203, 346 
 
 Wilder, Solon, 116, 176, 183 
 
 Woods, Harvey j.* 281, 339, 476 
 Constitution and Guerriere, 34 
 Cornish Music Conventions, 185, 186 
 Creation, 70 to 75, 79, 81, 118, 186, 190 
 Cumberland Collection, The, 111 
 Cumberland County Music Conventions, 185 
 Cumberland County Philharmonic Society, 96 
 Cumberland Musical Association, 88 
 Cutts Hall, Saco, 192 
 
 D 
 Dartmouth College, 35, 327 
 Davenport’s Chorus, Bangor, 176 
 Dean of American Composers, 136 
 Deane’s Orchestral Club, Portland, 253 
 Deering Hall, Portland, 90, 123 . 
 Deering High School, Portland, 250 
 Delaware College, 104 
 Derthic Club, Bangor, 278, 279 
 
 * Native of Maine 
 
 GENERAL {[NDEX 
 
 First appearance of Annie Louise Cary in 7 
 
 E 
 
 East Machias Glee Club, 196 a 
 Eastern Maine Music Festival Association, 221 
 
 to 228 a 
 Eastern Music Supervisors Conference, 321 a 
 Eberhardt College, 168 a 
 Elbow Melodian, 196 ea 
 Esquimos Nith Song, 2 ‘oe 
 Ethelbert Neven Club, Springvale, 306 
 Euterpean Club, South Paris, 303 
 Exchange Hall, Portland, 79, 80 
 
 Fairfax Collection of Sacred Music, 30 
 
 Farmington Choral Society, 186 
 
 Father Kemp’s Troupe, 198 
 
 Fiddlers, 315, 316 
 
 Fifer’s Manual, 31 
 
 Findley College, 108 ion 
 
 First advertised concert by Portland Academy 
 of Music, 70 
 
 First American composer, The, 15 a 
 
 First American composer to write a sacred ora- = 
 torio, The, 120 “— 
 
 First. American oratorio performed, 120 - 
 
 First American singer to be bearg1 in the Tro- 1 
 cadero, Paris, The, 232 ; 
 
 First announcement in which the name us creda q 
 Music Society” appears, 70 a 
 
 First annual session of the Maine State Musi- . 
 cal Association, 89 
 
 zs 
 
 opera, 208 
 First appearance abroad of Emma Eames, 245 
 First appearance in New York of Emma Eames, oa 
 
 246 4 
 First appearance in America of Geraldine Fart 2 
 rar, 247 * 
 First attempt at choral singing in Maine, 6 7. 
 First me iy. to organize a choir on Maine 
 et a 
 
 First author in Maine to print books of own 
 composition, 19 
 First band organized in Portland, 46 
 First bank established in Portland, 46 
 First bishop of Portland, 162 a 
 First book to introduce tunes not of a religious 
 character, 32 ‘ 
 First celebration of Mass in New England, 4 
 First chair for music to be established in an 
 American university, 124 
 First choir leader of Farmington, 22 
 First church organ in Portland, 35 q 
 First church east of Saco River, 12 et 
 First church organist in Portland, 35 _ 
 First community sing in Portland, mle ee 3 
 First community chorus organized in Maine, 250 _ 
 First composer born in the State of Maine, 107 a 
 First composition of George W. Marston to at- q 
 tract attention, 170 re 
 
 : eo 
 2 1 o- ad Aah A 
 a es ae 
 
 oe) 
 
GENERAL INDEX 537 
 
 First concert by the Beethoven Musical So- 
 ciety of Portland, 45 
 
 First concert by the Portland Sacred Music 
 Society, 70 
 
 First concert of any kind given in Chicago, 76 
 
 First concert by the Cecilia Club of Bangor, 178 
 
 First concert by the Portland Muncipal Or- 
 chestra, 271 
 
 First concert given in City Hall, Saco, 191 
 
 First concert by the Parlor Musical Society, 
 Belfast, 194 
 
 First concert by the Penobscot Musical Asso- 
 ciation, 93 
 
 First conductor of the Orpheus Club, Rockland, 
 
 181 
 
 First conductor of the Hallowell Harmonic So- 
 ciety, 88 
 
 First county musical organization in Maine, 41 
 
 First dancing school opened in Brunswick, 62 
 
 First great achievement of the Penobscot Musi- 
 cal Society, 94 
 
 First Great Cincinnati Festival, 212 
 
 First house of worship in Fryeburg, 22 
 
 First hymn book bearing a Maine title, 20 
 
 First important American composition to be 
 performed at the Boston Symphony 
 Concerts, 127 
 
 First instruction book of instrumental music 
 published in Maine, 30 
 
 First leader of the Cumberland County Music 
 Conventions, 185 
 
 First Liberty Chorus to be incorporated in 
 United States, 253 
 
 First Maine Music festival in Portland, 220 
 
 First meeting of the Handel Association of Ban- 
 gor, 176 
 
 First meeting of Handel Society of Maine, 38 
 
 First meeting place of the Beethoven Musical 
 Society, 44 
 
 First meeting of the Cumberland Musical As- 
 
 sociation, 88 
 
 First meeting of the Penobscot Musical Asso- 
 ciation, 93 
 
 First municipal music commission to be es- 
 tablished in America, 268 
 
 First Municipal organist of Portland, 256 
 
 First music performed at an English settlement 
 in America, 8 
 
 First music performed at any settlement in 
 Maine, 8 
 
 First music of an American composer to be 
 performed abroad, 135 
 
 First music teacher, Annie ‘Louise Cary’s, 206 
 
 First musical association to be organized in 
 Lewiston, 187 
 
 First musical instrument introduced in Augusta, 
 58 
 
 First musical instrument manufactured in Ban- 
 gor, 28 
 
 First musical society in America to bear the 
 name of Beethoven, 42 
 
 First musical society to sing an entire stand- 
 ard oratorio in Maine, 70 
 
 First naval engagement, America’s, 18 
 
 First notable music festival in Maine, 74 
 
 First notice of Handel Society of Maine, 38 
 
 First officers of the Androscoggin Musical So- 
 
 _ ciety, 190 
 
 First officers of the Bangor Musical Associa- 
 tion, 98 
 
 First officers of the Beethoven Musical Society, 
 
 43 
 First officers of the Belfast Musical Society, 194 
 First officers of the Cecilia Club of Bangor, 178 
 First officers of the Cecilia Club of Lewiston, 188 
 First officers of the Cumberland County Phil- 
 harmonic Society, 96 
 First officers of the Franklin County Musical 
 Institute, 97 
 First officers of the Handel Association of Ban- 
 gor, 176 
 First officers of. the Haydn Association of Port- 
 land, 117 
 First officers of the Knox and Lincoln Musical 
 Asso., 180 
 First officers of the Kreutzer Club of Portland, 
 154. 
 First officers of the Lewiston Musical Associa- 
 tion, 187 
 First officers of the Maine State Musical As- 
 sociation, 89 
 First officers of the Mendelssohn Club of East 
 Machias, 196 
 First officers of the Mendelssohn Club of Lewis- 
 ton, 188 
 First officers of the Old Baridd Orchestral So- 
 ciety, 157 
 First officers of the Orpheus Symphony Club, 
 Portland, 158 
 First officers of the Penobscot Musical Associa- 
 tion, 93 
 First officers of the Portland Philharmonic So- 
 ciety, 158 
 First officers of the Portland Sacred Music So- 
 ciety, 78 
 First officers of the Rossini Club of Damaris- 
 cotta, 184 
 First officers of the Waldo County Musical As- 
 sociation, 100 
 First officers of the Weber Club, Portland, 155 
 First oratorio written on American soil, 120 
 First orchestra in Chicago, 76 
 First organ of Beethoven Musical Society, Port- 
 land, 46 
 organ of St. John’s Episcopal Church, 
 Bangor, 179 
 First organ owned and used by Old First Parish 
 Church, Portland, 50 
 First organ used in Old Brick Church, Rock- 
 land, 64 
 First organ used in Portland, 323 
 
 First 
 
538 
 
 GENERAL INDEX 
 
 First organ used in a Methodist Church in 
 Maine, 79 
 
 First performance of “Oedipus Tyrannus,” 
 
 First performance of opera in Maine, 36 
 
 First performed, Building in which an oratorio 
 by an American Composer was, 126 
 
 First performed, in Lewiston, Oratorio, 190 
 
 First performed, in Maine, Building in which 
 opera was, 36 
 
 First piano constructed in Portland, 324 
 
 First piano shipped into Maine, 327 
 
 First pipe organ brought to America, 13 
 
 First place of meeting of Rossini Club, 141 
 
 First presentation of an American oratorio in 
 the United States, 125 
 
 First presentation of a complete oratorio in 
 Chicago, 76 
 
 First presentation of the “Creation,” 76 
 
 First presentation of the “Creation” in London, 
 
 132 
 
 7 
 First presentation of the “Creation” in America, 
 
 7 
 First presentation of the “Creation” in Boston, 
 
 7 ‘ 
 First presentation of the “Creation” in Maine, 
 
 76 
 First presentation of “The Messiah” in Dublin, 
 6 
 
 7 
 First presentation of “The Messiah” by Handel 
 and Haydn Society of Boston, 76 
 First presentation of “The Messiah” in New 
 York, 76 
 First presentation of “The Messiah” in Maine, 
 é 
 
 Ff * 
 
 First presentation of Paine’s oratorio “St. Peter,” 
 124 
 
 First presentation of a complete oratorio in 
 Maine, 70 
 
 First presentation of an oratorio in England, 75 
 
 First presentation in the United States of a 
 sacred oratorio by an American com- 
 poser, 120 
 
 First presentation of “Samson,” 79 
 
 First president Eastern Maine Festival Chorus, 
 223 
 
 First cneadant and founder of the Beethoven 
 Musical Society, 52 
 
 First president of the Portland Sacred Music 
 Society, 78 
 
 First president of ae Somerset Sacred Music 
 Society, 9 
 
 First eee of Ake Handel Society of Maine, 
 
 First Saas of the Western Maine Festival 
 Chorus, 222 
 
 First president of the Portland Men’s Singing 
 Club, 256 
 
 First public performance of the Haydn Asso- 
 
 ciation of Portland, 117 
 
 First public performance of the Portland Sacred 
 
 Music Society, 79 
 
 First 
 
 Saco Valley Music F estival, 248 
 First 
 
 ciety, 53 
 session of the Knox and Lincoln Musical 
 
 Association, 180 
 
 First 
 
 First 
 
 Association, 100 
 First 
 First 
 First 
 
 State Music Festival, 90 
 
 state-wide Musical Association in Maine, 
 38 , 
 
 First theatrical presentation in Portland, 36. 
 
 First 
 
 America, 125 
 
 First time in America, the performance of an 
 
 oratorio by an American composer, 125 E: 
 
 First to conduct an outdoor community sing in 
 
 Portland, 250 
 
 First to introduce harmonica into Boston vaude- q 
 
 ville, 175 
 First to play ’ saxophone i in America, 158 — 
 First to teach American music in Japan, 103 
 First to teach chants to Maine Indians, 6 
 
 First town in Maine to be named for a musical — : 
 
 composition, 38 
 First vocal conductor of the Portland Sacred 
 Music Society, 79 
 
 First white man’ 8 song heard in Maine waters, 4 q 
 
 First white man’s song heard on Maine soil, 4 
 First woman saxophonist in America, 158 
 Fletcher Club, Rockland, 182 
 
 Fluent Hall, Portland, 161 
 
 Flute Melodies, uo Ad 
 
 Foyer Musical, Lewiston, 295 
 Franklin County Musical Association, 91, 97 
 Franklin County Musical Institute, 97 © 
 Franklin County Savings Bank, 97 
 Freedom Academy, 315 
 
 Fremstad Music Club, Bridgton, 306 
 Furbish’s Academy, 66 
 
 G 
 
 Germania Orchestra, Boston, 190 
 Gift of God, 8 
 
 Gilmore’s Musical Congress, 113 
 Girl’s High School, Portland, 118 
 Gorham Academy, 111 
 
 Gorham Musical Association, 186 
 Gorham Seminary, 80 
 
 Gospel Hymn Book, 30 
 
 Gounod Club, Bangor, 277, 278 
 
 Gray Music Convention, 185 = 
 
 Gregorian Music, 163 
 
 Hallowell Academy, 24, 2 
 Hallowell Collection of Sea Music, 31 
 Hallowell Harmonic Society, 88 
 
 secretary of the Beethoven Musical Sou 
 
 session of the Waldo County Musical , 
 
 settlement at Belfast, 60 . at 3 
 
 thorough composer of the grand style in 
 
 * 
 
GENERAL INDEX 
 
 539 
 
 Hancock Musical Association, 41 
 
 Handel and Haydn Society, Boston, 29, 31, 38, 
 42, 47, 79, 81, 84, 87, 88, 93, 94, 113, 
 fae 121, 136. 186, 207, 232, 323 
 
 Handel and Haydn Society’s Orchestra, 79 
 
 Handel Association, Bangor, 176, 177 
 
 Handel of Maine, The, 20 
 
 Handel Society, Bath, 61 
 
 Handel Society, Gorham, 59 
 
 Handel Society of Maine, 89 
 
 Hand Organ Celebration, 173 
 
 Hans Gram Musical Society, 23, 34 
 
 Harmonia Americana, The, 20 
 
 Harmonic Club, Cornish, 287 
 
 Harmony Club, Lincoln, 298 
 
 Harmony Club, Rockland, 302 
 
 Harmony of Maine, The, 9, 20 
 
 Harvard Chair of Music, 135 
 
 Harvard Classical Club, 133 
 
 Harvard Graduates Magazine, 135 
 
 Harvard Greek Play, 128 to 132 
 
 Harvard Musical Course, 124 
 
 Harvard University, 124, 128 to 132, 138, 328 
 
 “Hayden” Society, Brunswick, 62 
 
 Haydn Association, Portland, 80, 82, 113, 116 
 to 118, 119, 144, 165, 168, 187, 195 
 
 Haydn Trio, Portland, 253 
 
 Houlton Music Club, 289, 290 
 
 I 
 
 Imperial Mandolin and Guitar Club, 162, 174 
 Indian Philosopher, 32 
 
 Indian Reservations, 162 y 
 Indians of Maine, Music of the, 1 to 8 
 Industries, Musical, 322 to 327 
 
 Instructor in Martial Music, The, 30 
 Instrumental Director, The, 31 
 
 Instruments, Musical, 327 to 329 
 International Longfellow Society, 137 
 
 J 
 
 Japan, Minister of Education from, 104 
 Jefferson Theatre, Portland, 162 
 Juvenile Lyre, The, 67 
 
 K 
 Kathleen Mavourneen, 81, 82, 84, 85 
 Kent’s Hill Seminary, 317 
 King’s Chapel, Boston, 50 
 
 Knox and Lincoln Musical Association, 300 
 Kotzschmar Club, Portland, 144, 168, 272, 273, 
 
 308 
 
 Kotzschmar Hall, Portland, 306 
 
 Kotzschmar Memorial ,Organ, Portland, 169, 
 264, 269, 270, 271 
 
 Kreutzer Club, Portland, 154 
 
 L 
 
 Ladies Verdi Mandolin and Guitar Club, Lewis- 
 ton, 191 
 
 Lambord Choral Society, New York, 313 
 
 Lancaster Hall, Portland, 80 
 
 Lewiston and Auburn Choirs, 297 
 
 Lewiston and Auburn Oratorio Society, 295 
 
 Lewiston and Auburn Symphony Orchestra, 296 
 
 Lewiston Musical Association, 187, 188 
 
 Liberty Chorus, 250, 251, 252 
 
 Lining out the Psalm, 14 
 
 Longfellow Birthplace, 137, 138 
 
 - L’Orpheon, Lewiston, 295 
 
 L’Union Musical, Biddeford, 193 
 L’Union Musical, Lewiston, 293 
 
 Lyric Club, Caribou, 287, 299 
 
 M 
 
 MacDowell Club, Portland, 273, 274 
 
 MacDowell Trio, Portland, 253 
 
 Maine Charitable Mechanics Association, 46, 54 
 
 Maine Collection of Church Music, 29, 31 
 
 Maine Composers (See Composers) 
 
 Maine Conservatory of Music, 308 
 
 Maine Federation of Music Clubs, 307, 308 
 
 Maine Festival Chorus, 196, 197, 220 to 228, 
 279, 300 
 
 Maine General Hospital, Portland, 218, 219 
 
 Maine Historical Society, 39, 330, 331, 332 
 
 Maine Music Festival, 74, 115, 169, 220 to 228, 
 
 239 
 Maine State Musical Association, 89, 90, 113, 
 
 189 
 Maine State Music Supervisors Association, 317 
 Maine State Seminary, 190 
 Maine Symphony Orchestra, 222 
 Market Hall, Bangor, 93 
 Marston Club, Portland, 274, 275 
 Mary and John, 8 
 Melodian, Elbow, 196 
 Mendelssohn Club, Bangor, 278 
 Mendelssohn Club, Bath, 285 
 Mendelssohn Club, East Machias, 196 
 Mendelssohn Club, Lewiston, 188 
 Mendelssohn Quintette Club, Bath, 195, 247 
 Mendelssohn Trio, Portland, 253 
 Merrill Hall, Farmington, 242 
 Messiah, The, 76, 79, 81, 84, 113, 118, 187, 190 
 Mockingbirds, The, 87 
 Monarch Banjo and Guitar Club, Belfast, 194 
 Mozart Club, Brunswick, 286, 287 
 Mozart Club, Portland, 151, 165 
 Mozart Club, Rockland, 1o1 
 Mozart Society, Bath, 194 
 Mozart Society, Brunswick, 62, 194, 195 
 Municipal Concerts, 249, 265 to 269 
 Music Controversy, 10 
 Music Course, The National, 104, 105 
 Music Hall, Boston, 123 
 Music in the Maine Woods, 322 
 
540 GENERAL INDEX 
 
 Music of the District of Maine, 20 to 41 
 Music of the Indians of Maine, 1 to 8 
 Music of the Province of Maine, 9 to 19 
 Music of the State of Maine, 42 to 477 
 Music of the American Revolution, 329 
 Music, Reformation in, 11 
 
 Music Schools, Attendance prohibited, 36 
 Musical America, 17, 249 
 
 Musical Association of Bath, The, 103 
 Musical Club, Brunswick, 194 
 
 Musical Conventions, 183, 184 
 
 Musical Industries, 28, 31, 322 to 327 
 Musical Repertoire, The, 30 
 
 Musical Union, Lewiston, 292, 293 
 Muzzey’s Hall, Portland, 162 
 
 My Country ’Tis of Thee, 68 
 
 N 
 
 Nathan Clifford School, 274 
 
 National Association of Organists, 264 
 
 National Bureau for Advancement of Music, 
 319, 321 
 
 National Education Association, 320 
 
 National Federation of Music Clubs, 307, 319 
 
 National High School Chorus, 320 
 
 National High School Orchestra, 320 
 
 National Peace Jubilee, Boston, 186, 190 
 
 New England Conservatory of Music, 183, 201, 
 231, 309, 317, 340 
 
 New ses Federation of Men’s Glee Clubs, 
 
 New Babiend Psalm Singer, The, 19 
 Nith Song, 2 
 
 Nordica Club, Fort Fairfield, 288, 299 
 Northern Harmony, ‘The, 29 
 
 North Penobscot Musical Association, 116 
 Norumbega Hall, Bangor, 94, 95 
 
 O 
 
 Oedipus Tyrannus, 128 to 132 
 Old City Hall, Portland, 126 
 Old Colony C ollection of Anthems, 43 
 Old Hundred Society, East Machias, 196 
 Old Winthrop Choir, 197 
 Oldest women’s musical club in America, 140 
 Oratorio, St. Peter, 121, 124 to 126, 136, 137 
 ORCHESTRAS 
 Ardon Coombs’, Portland, 157 
 Augusta Symphony, 276 
 Bangor Symphony, 281 to 284 
 Biddeford Philharmonic, 342 
 Brunswick Orchestral ae 285 
 Chandler’s, Portland, 333 
 Dean’s Orchestral Club, Portland, 253 
 Grimmer’s, Portland, 336 
 Lewiston Symphony, 296 
 Morrison’s, Skowhegan, 351 
 Murray’s, ‘Livermore Falls, 345 
 Orpheus Symphony Club, Portland, 158 
 
 Orcuestras — Continued 
 Painchaud’s, Biddeford, 341 
 Philharmonic, Portland, 159 
 Philharmonic Orchestral Society, Old, Porte ; 
 
 land, 157, 158 e. 
 Pleasant ‘Hill, Falmouth, 160 
 Pooler’s, Livermore F alls, 345 
 Portland Flutists Society, 254 
 Portland Municipal, 270 
 Portland Museum, 161 
 Portland Theatre, 336 
 Smith’s, Sanford-Springvale, 350 
 St. Cecilia, Skowhegan, 351 
 Stimson’s, Portland, 254 
 Waterville Symphony, 305 
 Wiswell Saxophone, Machias, 345 
 Young Ladies, East Machias, 196 
 
 Organ, Beethoven Society, 48 
 
 Organ builders, 323 
 
 Organ, Second Parish Church, 46 
 
 Oriental Harmony, 2 
 
 Orpheus Club, Rockland, 181, 182 
 
 Orpheus Symphony Club, Portland, 158 
 
 Owenagungas, 1 
 
 P 
 
 Parish Harmony, The, 30 
 Parker Glee Club, Lewiston, 297 
 Parlor Musical Society, Belfast, 193 
 Parochial Schools, 162 
 Passamaquoddy Song of Greeting, 3 . 
 Peace Jubilee, National, Boston, 186, 190, 300 
 Pennell Choir, Portland, 164 
 Penobscot Barter Song, 2 
 Penobscot Medicine Song, 3 
 Penobscot Song of Greeting, 2 
 Penobscot War Song, 3 ‘a 
 Penobscot Musical Association, 90 to 96, 98, 113 
 
 to 116, 168, 279 . 
 People’s Community Chorus, Portland, 249, 3 
 
 250, 251 Ms 
 Pepperell Academy, 99 
 Philharmonic Chorus, Lewiston, 189 7 
 Philharmonic Club, Lewiston, 207, 293, 294, 295 E. 
 Philharmonic Club, Millinocket, 298 
 Philharmonic Trio, Portland, 253 
 Philo Harmonic Society, Cumberland, 61, 62 
 Philo Harmonic Society, New Gloucester, 62 
 Piano manufacturers, 324 
 Pianos, Old, 327 
 Piscataquis Musical Association, 184 
 Polyphonic Club, Portland, 151 
 Portland Academy, 44 
 Portland Academy of Music, 69, 70 
 Portland Academy Choir, 69 
 Portland Ancient Harmony Society, 156, 157. 
 Portland chamber concerts, 162 
 Portland Chamber Music Club, 253 
 Portland choirs, 261 * 
 Portland Choral Union, 156 
 
GENERAL INDEX S41 
 
 Portland City Hall, 270 
 
 Portland Community Chorus, 249 
 Portland Community Music Association, 250 
 Portland Concert Company, 160 
 Portland English Glee Club, 154 
 Portland Flutist’s Society, 254 
 Portland Men’s Singing Club, 255, 256 
 Portland Municipal Orchestra, 270 277 
 Portland Municipal Ensemble, 272 
 Portland Museum, 161 
 
 Portland Musical Association, 151 
 
 Portland Music Commission, 266, 267, 269, 270, 
 
 272 
 Portland Orchestral Society, 87, 157, 255, 256, 
 
 270 
 Portland Orchestral Union, 168 
 Portland Philharmonic Orchestra, 159, 168 
 Portland Philharmonic Orchestral Society, 158 
 Portland Polyphonic Society, 258 
 
 Portland Rossini Club, 122, 140 to 150, 168, 272, 
 
 307, 310, 314 
 
 Portland Sacred Music Society, 69 to 86, 80, 82, 
 
 118, 144, 167, 168, 185 
 Portland Trio, 253 
 Powers Institute, 107 
 Princeton College, 15, 17 
 Psalm, Lining out the, 14 
 
 Q 
 
 QUARTETTES 
 Alpha, Lewiston, 191 
 Amphion Male, Norway, ie 
 Amphion Male, Portland, 159 
 Apollo, Bangor, 179 
 Ariel, Rockland, 181, 182 
 Arion, Belfast, 194 
 Artistes, Portland, 160 
 Bath Quartette Club, 195 
 Cecilia, Portland, 156, 261 
 Cecilian Ladies’, Portland, 156 
 Cosmopolitan, Portland, 261 
 Euterpe, Bangor, 261 
 Excelsior, Saco, 261 
 Favorite Four Male, Rumford, 261 
 Forest City, Portland, 159 
 Harmony Four, Lewiston, 261 
 Harvard, Portland, 260 
 Haydn, Portland, 159 
 Knickerbocker Male, Portland, 261 
 Ladies’, Belfast, 194 
 Ladies’, Guilford, 261 
 Ladies’, Portland, 310 
 Ladies’ Aria, Portland, 261 
 Mendelssohn, Portland, 260 
 Mendelssohn Quartette Club, Boston, 89 
 Mozart, Portland, 260 
 Penobscot, Bangor, 178 
 Philomela, Lewiston, 190 
 Pilgrim Male, Portland, 260 
 Portland Museum, 161 
 
 QuartTeTrTEs — Continued 
 Schubert, Portland, 253 
 Shaw, John L., Portland, 87, 159 
 Shumann, Auburn, 191 
 State St. Church, Portland, 190 
 Stockbridge, Portland, 159 
 Temple, Kennebunk, 261 
 Temple, Portland, 260 
 Warren Male, Westbrook, 261 
 Winthrop, 198 
 
 R 
 
 Ricker Hall, 317 
 
 Rockland Choral Association, 300 
 
 Rossini Choral Union, Lewiston, 189 
 
 Rossini Club, Damariscotta, 184 
 
 Rossini Club, Portland, 122, 140 to 150, 168, 
 272, 307, 310, 314 
 
 Rubinstein Club, Rockland, 300 to 302 
 
 S 
 
 Saco Chorus Club, 191 
 
 Saco Glee Club, 192 
 
 Saco Valley Festival Chorus, 248, 249 
 Sanford Men’s Singing Club, 303 
 
 School Music, 162, 163, 165, 199, 309, 316 to 322 
 School Music Supervisors, 321 
 
 Schubert Club, Kennebunk, 306 
 
 Schubert Club, Skowhegan, 183 
 
 Schumann Club, Bangor, 279 to 281 
 Schumann Club, Portland, 158 
 
 Schumann Musical Association, Lewiston, 190 
 Singing by Note, Objections to, 11 
 Skowhegan Academy, 33 
 
 Skowhegan Historical Society, 32 
 
 Smith College, 309 
 
 Somerset Choral Society, 304 
 
 Somerset Sacred Music Society, 98, 99, 100 
 Songs of Zion, 30, 31 
 
 Staff Club, Washburn, 304 
 
 State band and orchestra contest, 321 
 
 State Liberty Chorus, 250, 251, 252 
 Stoughton Musical Society, 22-320 
 
 Strand Theatre Orchestra, Portland. 25k 
 
 St. Cecilia Society, Bath, 195 
 
 St. John’s School, Bangor, 162 
 
 St. Peter, The Oratorio, {21° 124 t0 £26, 136, 137 
 
 4s 
 
 Tarranteens, I 
 Temple Street Church, Portland, 70 
 Templi Carmina, The, 28, 29 
 Town named for musician, 38 
 Town named for Psalm Tune, 23 
 Towns, Psalm Tunes named for Maine 
 Anson, 29 
 Bath, 20, 29 
 Buckfield, 29 
 Cumberland, 20, 68 
 
542 GENERAL INDEX 
 
 Towns, Psalm Tunes named for Maine—Cont’d Urania, 1 5 
 
 Farmington, 20 
 Friendship, 20 
 Hallowell, 20, 29, 30 
 Hanover, 29 
 Hartford, 29 
 Hollis, 
 Lincoln, 20 
 Minott, 29 
 Monmouth, 29 
 New Durham, 29 
 New Sharon, 20 
 Norway, 68 
 North Yarmouth, 29 
 Otisfield, 68 
 Poland, 68 reeves 
 Portland, 29, 68 
 Pownal, 68 
 Readfield, 20 
 Sumner, 29 
 Turner, 20, 29 
 Union, 20 
 Unity, 20 
 Wells, 68 
 Winthrop, 20, 29 
 Wiscasset, 29 
 York, 20 
 Tufts College, 195 
 Tything Man, 13 
 
 U 
 
 Union Hall, Augusta, 276 
 
 Universalist Church, Hallowell, 89 
 University of Maine, 223, 278, B17, 0418 
 University of Tokio, 105 
 
 Uranian Society, 7 
 
 Village Harmony, The, 28, 29 
 Violin Instructor, The, 67 
 
 Violin Makers, 326, 32 
 Violin Preceptor, 4 
 Violinists, 311 
 
 Walter’ s Singing Book, 10, 
 Waseca Club, Auburn, 294 — 
 Washington _ Hall, Bel ast, (oon 
 Waterville College, 68 . 
 Weber Club, Portland, 7 
 Wellesley College, 310° 
 Wesleyan ee oe 
 
 Westbrook Seminars 
 Western Maine 
 221 to 228 i 
 West Penobscot Musical’ tion, 31° 
 Wight Philharmonic Club, Rock: a4 
 Women’ “i ice Society, 59 
 
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