USA > Indiana > Grant County > Centennial history of Grant County, Indiana, 1812 to 1912 : compiled from records of the Grant county historical society, archives of the county, data of personal interviews, and other authentic sources of local information > Part 61
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From a clipping furnished me by John O. Spurgeon, I find that in the autumn of 1871 G. R. Street. the pioneer singing teacher of that part of the county, sent forth the word that a gentleman ''rom Singers' tilen, Virginia, proposed to conduct a normal singing school near Sweet- ser. This word was received with enthusiasm, and the school was opened at Fausler's schoolhouse, one mile south of town. The man was Aldine S. Keifer. His students were divided into three classes, those studying thoroughbass and paying five dollars had the privilege of all sessions; those entitled to one-half the afternoon session and the night session paid two and a half dollars; those attending the night session alone, one dol- Jar. Many of the students of the all day session took their much. Among them were old and young alike. "It is hard." said Mr. Spurgeon, "10 remember all the names of those belonging, but here are a few: the Streets, the Dooleys, the Smiths, the Chaneys and the Heavelins. In the carly '70s the Normalites easily won first honors wherever they went but after twenty-eight years the major part of that class of 1871 is here to greet us no more. Some have removed to a distance, and others have been called from time to eternity. Among the last we can name James Heavelin, Ella Stanley, Allie Brown, Levi Dooley, Homer MeCann, Hester Ann Chaney, Lucinda Reynolds, Thomas Smith. David Dooley. Sarah Am Street, and William Street. 1 1910, on the occasion of a visit of one of the members of the old Heiffer class. there was held at the Christian church in Sweetser a reunion of the old singers still living. They sang the old songs out of the old books of thirty-nine years ago.
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The church was crowded with eager listeners. A badge of lavender ribbon bears the inscription : "Sweetser Keiffer Normal Singing School,
organized 1871. Do-re-mi-fa-sol-la-si-do. Sweetser, Indiana." The Mill's class was a later organization, and centered around the Mill's schoolhouse. I think there were a number of singing school teachers in Grant county about this time. Samuel Burrier was one of the old-time teachers. I find that Elijah Carter taught in and around Jonesboro. He was also for years the chorister of the Methodist church, his daughter, Jennie Carter, being the faithful organist. Henry Fields was a teacher conducting many old-time singing schools. David Kilgore also taught in and around Point Isabel.
In 1890 there was a musical organization in Jonesboro called the "Musical Assembly," which held together for a period of about four or tive years, meeting at the Methodist church. Mrs. Flora Stuart MeIntire, Mrs. Josie Wilson Knight, and Mrs. G. W. Mckinney were organisis during this time. I have the names of only a few of the singers : Mr. Will Young, Mr. and Mrs. Will MeIntire, Mr. Solomon Carter, Miss Knight, Mrs. Elijah Carter and Mrs. McKinney. They studied a good class of music. Mr. Dean and John Shideler, loving musie as they did and singing so much together, made a compaet that when one of them should be called to join the heavenly choir, the other should sing " Some Sweet Day" at his grave. John died suddenly at Indianapolis, being stricken with death on his way from spending the evening at his brother's house. So, when the body was brought to the cemetery in Jonesboro for burial, Dave Shideler prepared to keep his promise, asking his son, G. A. Il. (Holl) Shideler, to take up the song, if he could not carry it to the end. When partly through the song, he could go no farther, and Mr. Bol Shideler finished it as best he could, under the trying circumstances.
Aaron Shideler, father of Dave and John Shideler, would come to the Methodist church m Jonesboro in the old days when the weekly prayer meetings were not so regularly held, and at times finding the door locked, he would sit on the broad step of the old frame church and wait. After a length of time, if no one joined him, he would sing the hymns he loved, and bow his head over his clasped hands as he held his cane, no doubt in prayer, then with a clear conscience, went his way slowly home. Ananias Frazier (colored ) is a singing evangelist. There is scarcely a handlet in Grant county that has not beard him sing upon the streets. Ile visits Marion and sings upon the public square. He stands with the song book in one hand and the American flag in the other. His voice is strong and carries far. Personally I have a recollection of this man's singing. On several Sabbath mornings he would station himself on the Boots creek bridge at Fourteenth street, and sing old-time Gospel hymns. I remember it was uneany, and yet impressive to hear his clear voier and plainly spoken words ring out at five o'clock in the morning.
From different sources I have gathered these recollections, and with . them has come to my own heart a fuller sympathy and understanding of those sad times. Just prior to the war there had been the vigorous singing of national songs, for our country seemed to be on the eve of something. One of these songs was " Unfurt the Glorious Banner," another, "The Flag of Our Union," and a southern song also ( boast fully sung) was " King Cotton, " and a reply entitled, "Corn is King." I am toll that George F. Root, Henry C. Work and others who caught the spirit of the times, wrote with inspired peus the war songs that did almost as much as the recruiting officer to promote enlistment, and also to arouse those left at home to deeds of sacrifice and courage. One of the first war songs was "Take Up Your Gun and Go, John." Both Mrs.
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Barlow and Harriet Buchanan speak of Mollie MeClure (afterward Mrs. Gordon) and the impression that her fervent singing of this song made. "The First Gun is Fired," Mrs. Barlow sent for and received. as she said, almost damp from the press. This was sung at a college entertain- ment. "Haste on the Battle, " was another great song sung by Louise and Marietta Swayzee, with all their heart and soul put into it. The chorus,
"After the battle shall man, now a chattel, Stand forth in the image of God, "
was appealing. Following the battle of Stone river came the greatest of all songs, composed by Dr. Root, "Who'll Save the Left?" " How these songs thrilled us at the time, " writes Mrs. Barlow. When still another call came for more men, the answering song was: "We are Coming, Father Abraham, Six Hundred Thousand Strong," but it was not sung quite so bravely, for by this time it became apparent to the courageons singers and workers at home that of those who went forth with banners floating, so large a mumber never came back; and many who did come back were maimed for life, sick and worn. When the news was wafted back from camp and battlefield, the songs took up a sadder theme: "Just Before the Battle, Mother, " and "Tenting To-night," so vividly real to sad hearts. "My Brave Lad, He Sleeps in His Faded Coat of Blue, " was another. "O Wrap the Flag Around me, Boys," was sung by Miss Hattie Buchanan with a pathos that moved all. After the emancipation proclamation was sent out in 1563, a song was composed and sung by the Hutchinson family (concert singers) called "The Ghost of Unele Tom." While the wonder and awe of the Emancipation was filling people's minds, Mr. Hanby wrote the song, "Wake, Nieodenmis, To-day," prophetic and joyful. "The Battle Hymm of the Republic," written about this time by Julia Ward Howe and set to the "Glory Halleluja" tune, will never be forgotten. Mrs. Warren Stout tells me that she remembers well the concerts given to raise money for the sani- tary work of the war. These then new songs were sung, and it seems to me no music of to-day could have so tragie a setting. "The Vacant Chair, " sung by Maggie Brownlee, has been mentioned by several people. Times had become so sad and hearts at such a tension that the song, "The Little Major, " could hardly be sung, and when it came to the song of the dead soldier; "Softly, Now Tenderly, Lift Him with C'are, " the singer could get no farther than the first verse. The war was now said to be over, and in the midst of the sad rejoicing came the news, "Lineolu is shot ; he is dead." It was then the Hoosier poet, Irene Boynton, wrote Lincoln's Requiem, and a Hoosier, a Mr. Butterfield, set it to nisie. These are times, the memory of which, I am glad to help resente from that nowhere of past and ahnost forgotten events. It makes one see Marion as a center of the county's intense patriotic life, and certainly the music as described was a large part of it, inspired and kept alive as it was by these young people who had, for that day, such musical advantages in the academy and college.
It sets one thinking, will we ever again pass through an experience that will awaken the deep feeling that this war aroused ? In these days we cannot become divinely inspired to composition by the high cost of living. Even the suffragettes do not stir us to song. The world is bigger and better and very much wiser, but lacks incentive along emo- tional lines. We do not sing about the Panama canal, the greatest engineering feat and the fulfilment of the hopes of years. It has often been said that war and love are the themes of greatest inspiration, and in this day of commercializing every emotion, one cannot become wildly
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enthusiastic over impassioned love songs. Let us cherish the memory of these touching songs of long ago, for popular music of today is indeed different. After Professor Kelsey left the college to go to the war and drill his band on southern soit, Nan Sanford fell heir to his pupils, and for six years taught music in Marion. To show more fully what. class of music was being performed here in that early day, I will give these examples: In June of each year Miss Sanford's pupils gave two con- certs, one a recital, to show their proficiency; one, a foral concert con sisting of cantatas arranged and partly composed by herself. She says, "the last concert I gave in Marion, we sang three opera choruses, and one from an oratorio, the 'Phantom Chorus' from ' La Sonnambula,' . Hail to Thee, Liberty,' a six-part chorus from Semiramide'; Crowned With the Tempest,' from Verdi's ' Ernani." The bass obligato of this last selection was sung by the late Morris Blumenthal. The crowning number of the program was the ' Inflammatus' from Rossini's "Stabat Mater.' In this the difficult high soprano obligato was beautifully sung by Lydia Love, a girl of only sixteen years. I also used in concerts duets by Stephen Glover, Horn's: 'I Know a Bank Whereon the Wild Thyme Blows. ' duet From 'Norma' and songs From Mendelssohn, Beethoven, Sehubert and others. I was very proud of Hattie Buchanan and Marietta Swayzee (Steele) as vocal students. Laura Brownlee, Mary C'ary, Emma Zellar and Linnie Stretch were among the more advanced piano pupils." About this time Charles MeCTulloch, of Fort Wayne, visited in the family of James Sweetser, Sr., and played "Falling Leaves," and other pieces, showing that it was quite proper for a boy to play the piano. Miss Frances Wolfe, of Muncie, a sister of Mrs. Jason Willson, often visited here and delighted all who heard her play- ing. J. M. Wallace, of the Wallace Music Company, was Miss Sanford's first boy pupil taking piano lessons. She still has the plain gold ring given her in 1867, at the time of her last concert, bearing the inscription, "Nan, from her pupils." "The Marion Guards," a quickstep which she composed, was arranged by Ernst Guenin for his hand. She has always kept up her interest in music, taking lessons after her marriage of Wil- liam Sherwood. She has had charge of choirs, directed music in the schools of the different cities in which she has lived, and composed and arranged misie for entertainments, never losing her enthusiasm.
A lady of musical culture said to me, "The curse of modern music is commereialism, especially affecting it as a means of sacred influence. The singing of a high-priced quartette in a large church is often emin- ently correct, but absolutely freezing. " "Well, what is the remedy ?" I said. "Madame Selmann-lleink and others sing for gold, and yet are big enough artists to forget the commercial side and sing feelingly for art's sake. Could that same spirit be put into the amateurs might it. be that in selecting music for entertainments one could pass by those . compositions showing range of voice and vocal contortions, and give the old ballads, sweet of tone, or those of modern composers of like simplicity, and true musical merit?" Old-time people are truer crities than we credit them with being. They object to a classical piece of umsie because they miss something in it. They perhaps blame the selection, when it is really the spontaneous touch that is lacking. People are talking and writing lately of a return to the best in old-time music. With the ery, "Back to the soil !" is an answering note which does not mean less enlture, but, rather move along more simple and natural lines in all misie and, especially, in vocal music. "Genins, " Emerson says, "is to believe that what is true for you in your own heart, is true of all men." "Genius," says Coleridge, "is the power of carrying the fee]- ings of childhood into the powers of manhood." "Genius is the expres-
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sion of a God-given trust by a consecrated soul," said Mrs. Inger Paulson to me one day, "and carries one far beyond the mechanical expression of music." First, there was the disapproval of singing in church services, then came congregational singing with the aid of a leader, some church member of special musical inclination, the owner of a tuning- fork. After singing schools became popular, those of the congregation more versed in music made a point of sitting together so as better to lead the hymns. So we see a church choir was evolved by slow degrees. The first choirs were composed of church members almost solely, deeply religious most preferred, for they said in days of long ago, "The music is a part of the worship, not simply an entertainment. One must feel religious to be able to express it in song." The congregation joined in without fear. However, with the disapproval of shouting came the idea of subduing one's feelings, and as a belief began to dawn upon our more advanced civilization that there was a bare possibility of our future state of punishment not being of a sulphurous nature, old songs of the brimstone order could not be sung with so much fervor as of old. Every one now began taking vocal lessons, not the do-re-mi kind, but the voice-placing kind and there was mich talk about trained voices. This put the finishing touch to hearty congregational singing, for the rank and file knew that they sang through their noses and dragged a bit. There came a time finally when singers grew tired of attending choir practice and two or three services on Sunday, rain or shine, sick or well, as many a faithful singer and organist did in days past, all for nothing. The church now took up so many side-lines, all of them a great help, spiritually, and necessary in their way, that even the young people were completely occupied. Out of these changing conditions, you have the choir of today. Formerly, it was the minister and faithful choir leader who struggled with this question; now, a music committee and usually a competent conductor has the music in charge. The question is being widely discussed, what is to be the outcome of the church music prob- Jem? Changes are looked forward to and adjustments are to be made. In an earlier day a singer of any distinction flew straight as an arrow to some church choir, and the solos were easily disposed of. The trouble then often was, which one of two or three willing singers to give them to. A chorus choir of church members, who would go to meeting every time the bell rang, whether they sang in the choir or not, were not easily dislodged; and Faithful service was the result. In this day of more music and better music from a cultivated standpoint, the chorus choir is a changing quantity and quality. Music has become a profession and singers can not afford to sacrifice so much time as of okl. I am not speaking of our county or city especially, simply of conditions generally.
Beginning with an early time I will mention a Few of the choir members and leaders in the Christian (now Congregational church). The late W. W. Moore was among the first, if not the first leader. Among his choir members were: Dr. Milton day, Eliza Ayres, Enretta Webster, Lucy Cary and Hattie Buchanan. In 1870 Mr. L. V. Wheeler came to Marion and taught piano, organ and voice. It is said of him that his music was of a high order. He believed in good music only being performed. For about twenty years he was one of the most pop- ular teachers in Marion. He was also a composer; some of his hymns were well liked. "The Burning Bush," a sacred cantata of his com- posing, was produced for some benefit, the leading parts being taken by Mesdames Dodds, Keller. Tibbits, and Wheeler, and Messrs. Moore, Keller, George and Daniel Gunder and Ananias Arnold. He trained the Arion Glee Club, about the first make quartette in Marion, in which Mr. Daniel Gunder sang baritone; Ehmer Wheeler, son of L. V. Wheeler,
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first tenor; Mr. Wheeler, second tenor and George Gunder, bass. This Glee Club gave entertainments and was a musical feature of the town. Mr. Wheeler had charge of the Christian church choir after Mr. Moore resigned. In every church there are certain choir members who are important factors, although others may come and go. In this class were: Mr. and Mrs. O. H. Kellar, Mr. and Mrs. Daniel Gunder, Mr. George Gunder and Mrs. Gunder (now deceased), Mrs. W. C. Web- ster, Mrs. Mary Humphries (now Mrs. W. B. Dodds), Mrs. Addie Tib- bitts, Miss Emma Ayres, and, later, Mrs. Henry C. Clayton, Mrs. . 1. W. Carr and Miss Lettie Case. Mrs. Wheeler was also a choir member during their residence here, and it was she who taught Harry C. Moore, when a boy of ten years, to sing alto. He attended regularly, afterward singing tenor, and is still a member of the choir, now singing bass. During Mr. Wheeler's time the Choral Union was organized. Mr. Dau- iet Gunder was the manager and, it might be said. the promoter; L. V. Wheeler was the instructor. Almost all the singers in Marion belonged to this musical society. This was in 1875 or 1876. The meetings were held in the basement of the old Presbyterian church, where every Marion organization without other roof or sheffer was in the habit of meeting. Mr. Daniel Gunder now became leader of the Christian choir and held the place for about fifteen years, many of the same people remaining as members. Mr. George Webster, Jr .. was organist of this church for about seven years. Mrs. Enuna Bobby Strange, for a time, and Miss Candace Tombs, now Mrs. E. L. Goldthwait, was also organist. Miss Nora Eshleman, now Mrs. F. G. Leas, was organist for about six years. After the pipe organ was installed among those Ofling the place of organist were: Professor Wheeler, Professor Drummond, Mrs. Harry Miller, (now deceased), Mr. Robert Lohmeyer, Mrs. J. W. Nesmith, Mr. Bert Ricketts, Hattie Carr, Elmira Case. and Mrs. George Brown. During the pastorate of Rev. William Rainey Bennett the music of the church was made a leading feature. He was himself a fine singer, and was an inspiration to the choir. Mrs. Nesmith was organist at this time and, later, Mr. Ricketts who, I am told, played offen without notes, improvising beautifully. Mr. Wallace Lottridge is a bass singer, faith- I'ul in attendance. At this time, Mr. Fred Nolde delighted the large audience that filled the church to the doors with his violin solos. At the present time Mrs. Hattie Carr Fahrney, is leader of the choir.
On March 19. 1889, the "Naiad Queen," an operetta, was given at Sweetser's Opera House for the purpose of adding to the fund being raised to procure a pipe organ for this church chow Congregational ). A man from Cincinnati would come to Marion and drill home talent, if a certain sum of money could be guaranteed him. Mr. and Mrs. O. H. Keller took the risk and promised to stand responsible for the amount. The entertainment was a success and above expenses one hundred and sixty-five dollars was put away with the organ fund. A Mrs. Middle- ton, for a few years a resident of Marion, sang the principal part. Hiram Beshore headed the subscription list circulated for the purchase of this organ, and was so interested he finally solicited for subscriptions. Of this organ, Marion was very proud. I am told that Professor Wheeler was its first player, and as his experience had been with organs of a simpler make. he had some trouble in managing this one.
Mrs. Jennie Hulley recalls that when a little girl that the Methodist church people of musical turn would meet at her father's, the late Thomas J. Neal, and would gather around a table where John Hodge, brother of Mrs. Aaron Swayzee, would lead in singing, using the tuning fork and teaching the notes as they learned the hymns. This was before a choir was even thought of. They often met at other homes for these
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little singing classes. The congregational singing of the Methodist church (when it was still housed in the old building on Fifth street) was led by Aaron Swayzer. After the organization of a choir, as nearly as I can learn. Charles F. Mather was first leader. His work for the church as chorister is still spoken of by old church members, and during that time many singers dropped in and out. I can find the names of only a few, and they are hard to place in their regular order: James Neal, Sarah Lenfesty, Ed Lenfesty and Laura Brownlee (Lenfesty), later Mrs. S. Bebymer, Mrs. Ed Harry, Miss Fannie Bohymer and John Shideler who had come From Jonesboro to live here, afterward marrying Miss Behy mer, Mr. and Mrs. L. J. Starrett had charge of this choir for a time, and in order to purchase singing books a concert was given in the old courthouse. I will describe it as nearly as I can as Mrs. Starrett has told me. Her piano, an Emerson of the old-fashioned square type, was taken to the courthouse for this concert. Mrs. Addie Tibbits (then Addie Lenox) played "Sebastopol" on the guitar. Among other members there was a comic selection sung by a quartette composed of Mr. and Mrs. Starrett and two others, entitled " The Tragi- cal Tail of Poor Thomas Maltese," which made a hit. A fine bass singer, Mr. Charles Case, a brother of Isaac Case, a well-remembered resident of Marion, sang a solo and put so much force into it that he grew very red in the face. A lady in the audience whispered : " (live that man air, or he will burst!" The concert ended with a grand tableau, Addie Maple, Lennie MeDowell and Addie Lenox as the "Three Graces." They went through this trying ordeal without fear and trembling, even when Mr. Starett threw on the red light. "This was abont 1870, and the house was crowded," said Mrs. Starrett. "Achmis- sion, I think was ten cents and the books purchased with the proceeds were the Bradbury song books." Tom C. Neal was always interested in the music of the church, playing the organ when a young man as he said, before he could read notes on the staff. John W. Lacy who was a fine tenor singer, had charge of the Methodist choir for some years during his residence here. From an old picture of the choir preserved by Mrs. L. K. Price, I have taken a list of the members' names. Since these singers stayed together (with some changes) for as long a period of time as any group connected with the music of the church : Charles Cottin, Abbey Coffin, WiHl F. Brownlee, Charley Neal, Mrs. Sperist, Kate Neal, Ela Lyons Tibbits, Nora Hiatt, Maggie Charles, Mr. and Mrs. Price and Mrs. Jennie Watson, organist. Following Mr. Lacy the late L. K. Price was leader for twenty-two years. He was also a good bass singer and his long and faithful service can not be too highly appreciated. Mrs. Price was organist for a mumber of years. The same choir members, many of them, remained. Will Melntire was a member of the choir, as also was baura Clothier Birely, and Mrs. Jeumie Hatley must take the prize for devotion in musical service. She is still sing- ing her sweet alto although not now a regular choir member. In this work, later, were Mrs. W. HI. Bobbitt and Miss Louise Mather, taking solo parts as occasion demanded, and Mrs. Marietta Coffin Tukey of whom it can be said that she gave her voice gladly for the church. Mr. Charles Coffin was chorister for a time. Since the music has been in the charge of a salaried conductor, Mr. Reese Lewis and Mr. Owen Davies have each had charge of the music for a short time. Mr. Carlisle Tucker was conductor and also organist for some years. Miss Georgia Paulus was soloist for a time. David Baxter conducted for about one year. During this time a quartet composed of the following persons furnished the principal music : Mrs. bois Osborn Spencer, Mrs. Baxter, Mr. Reese Lewis and Mr. Baxter. The present conductor is Mr. P.
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