Fadettes of Boston

Fadettes of Boston
All-women orchestra
A black-and-white photograph of an all-female orchestra, whose members are dressed in black dresses
The Fadettes, c. 1897
Former nameFadettes Ladies' Orchestra
FoundedOctober 1, 1888 (1888-10-01)
Disbanded1927 (1927)
LocationBoston, Massachusetts, US
Music director
Caroline B. Nichols

The Fadettes of Boston was an all-women orchestra based in Boston, Massachusetts, United States. Founded by Caroline B. Nichols and Ethel Atwood, it was formed in October 1, 1888, as the Boston Fadette Ladies' Orchestra, named after the titular character of George Sand's novel La Petite Fadette. The Fadettes, among other female-only orchestras, challenged gender norms of the 19th and 20th centuries, as many orchestral instruments were deemed inappropriate for women to play.

The ensemble originally comprised a small group of women from a given community who rarely went on tour, but as the Fadettes grew in size and popularity, they played for a paying audience. Between 1890 and 1920, the Fadettes performed at an estimated 6,000 concerts, largely due to a contract with vaudeville manager B.F. Keith signed in 1898. In 1897, Atwood attempted to sell the right to use the orchestra's name to a plaintiff, but the name was deemed non-transferrable, and the court determined that Atwood, not the members, owned the group's name.

The orchestra's success led to the incorporation of members in the Boston Symphony Orchestra at Keith's Theatre, and women horn players especially became more prevalent. The orchestra also gave away over $500,000 to more than 600 female musicians. After an infrequent concert schedule in the early 1920s, the Fadettes of Boston disbanded in 1927.

Background and history

During the 19th and 20th centuries, women faced discrimination in the musical industry. This led to the rise of all-women orchestras, originally known as lady orchestras, with one of the earliest known examples being the Vienna Ladies Orchestra in 1867.[1] American musicologist Judith Tick notes that the popularity of lady orchestras stemmed from their exploitation of gender discrimination by playing instruments that were typically reserved for men.[2][3] One of the more notable ensembles was the Fadette Ladies' Orchestra, established in October 1, 1888, by conductor Caroline B. Nichols and musician Ethel Atwood,[4][5] making Nichols one of the first female orchestra conductors in the United States.[6] Nichols was previously a violinist for the Marion Osgood Ladies Orchestra, which she left after deeming the orchestra's rules too restrictive.[7]

The group incorporated in 1895 as the Fadettes of Boston,[8] named after Fanchon Fadette, the titular character of George Sand's novel La Petite Fadette. The name was chosen for the orchestra as, like the character herself, they strived to bring happiness to their audience.[9][10] The number of members rose from 6 to 20 by 1898, the same year B.F. Keith booked the group into his theatres.[6] The orchestra included violinists, violists, and drummers,[11] and included musicians such as Annie Andros Hawley,[12] Mildred Rogers,[13] and violinist Lillian Thain.[14] Nichols was in charge of the orchestra for 30 years, having musically and professionally trained over 600 women.[15]

Court case

A landmark Supreme Judicial Court of Massachusetts case arose in 1897 (Messer v. The Fadettes, 168 Mass. 140, 46 N.E. 407)[16] concerning the legality of the orchestra's name at the time, the "Fadette Ladies Orchestra". Atwood attempted to sell the right to use the orchestra's name to the plaintiff, Messer, who brought a bill that enjoined Atwood from using a similar name,[17] "The Fadettes".[18] Additionally, the orchestra's name was deemed non-transferable as it was for personal trade.[16] The court determined that Atwood, not the members, owned the group's name,[19] and that the musicians Atwood employed could not "be put in control of any other person", citing the Thirteenth Amendment in their rationale.[20] Over the decades, Messer v. The Fadettes has been cited in American jurisprudence regarding the protection of musical group names against unauthorized use and unfair competition.[16]

Keith's Theatre

A black-and-white photograph of a street in Boston containing a theatre
Entrance to Keith's Theatre, Boston, with a poster for the Fadettes, 1906

According to Nichols, the Fadettes gave over 6,000 concerts between 1890 and 1920, with half of them as headliners in first-class vaudeville theatres.[6] At a concert in Pittsburgh in 1902, for instance, the Fadettes played marches, waltzes, songs and arias by Frederick Field Bullard, Daniel Auber, Karl Michael Ziehrer, and George M. Rosey, among others.[13] The group also performed at the Los Angeles Orpheum,[21] and at Keith's Theatre, members of the Fadettes replaced Boston Symphony Orchestra members during performances.[22] Starting around 1918, their music accompanied films that played in Boston and New York theatres. This was due to Nichols's growing curiosity about musical accompaniment for silent films.[23] From 1888 to 1920, the Fadettes donated over $500,000 ($17.9 million in 2025) to over 600 female musicians, but the Fadettes disbanded in 1927 following a sporadic concert schedule during the early 1920s.[5][24]

Performance style and legacy

The Fadettes of Boston initially operated as a club of local women, but as it expanded it began more regularly touring and performing for paying audiences.[25] The ensemble challenged gender norms, as the performers wore white shimmery gowns considered traditionally feminine, while they played a wide variety of instruments, which were considered unbefitting of women at the time.[26] Women horn players in particular became more common,[27] and the prevalence of women in the musical industry led to subsequent shifts in women's uniforms, going from white dresses similar to what the Fadettes wore to more formal black outfits, hinting at a more refined and professional ensemble.[28]

See also

References

  1. ↑ Jagow 1998, pp. 126–145.
  2. ↑ Tick 1973, p. 103.
  3. ↑ Bowers & Tick 1987, p. 329.
  4. ↑ Messer v. Fadettes, 168 Mass. 140 (1897).
  5. 1 2 Mitchell 2014, p. 26.
  6. 1 2 3 Tick 1973, p. 102.
  7. ↑ Edwards 2015, pp. 19–24.
  8. ↑ "The Fadettes Womans Orchestra of Boston brochure" (PDF). University of Iowa Libraries. c. 1910. Archived from the original (PDF) on March 5, 2016.
  9. ↑ Spitzer 2012, p. 70.
  10. ↑ Edwards 2015, p. 20.
  11. ↑ Willard 1897, p. 236.
  12. ↑ Sketches of representative women of New England, Boston: New England Historical Pub. Co., 1904, OCLC 123500907, OL 7194233M
  13. 1 2 "Fadettes win approbation: women's orchestra delights admirers of good music at exposition". The Pittsburgh Press. September 20, 1902.
  14. ↑ "The Final Curtain". Billboard. Vol. 55, no. 36. Nielsen Business Media, Inc. September 4, 1943. p. 29. ISSN 0006-2510.
  15. ↑ Hinely 1984, pp. 31–35.
  16. 1 2 3 Messer 1966, p. 13.
  17. ↑ Wright 1929, p. 232.
  18. ↑ Messer 1966, p. 27.
  19. ↑ Singer, Barbara 1992, p. 355.
  20. ↑ Messer 1966, p. 28.
  21. ↑ Singer 1992, pp. 103–113.
  22. ↑ "Keith's Theatre". The Cambridge Chronicle. Cambridge Public Library. May 31, 1902.
  23. ↑ Spitzer 2012, p. 75.
  24. ↑ Edwards 2015, p. 23.
  25. ↑ Edwards 2015, pp. 13–14, 17, 20.
  26. ↑ Macleod 1993, pp. 291–308.
  27. ↑ Jenkins 2016, p. 27.
  28. ↑ Macleod 1993, p. 299.

Citations

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  • Johns Hopkins University, Levy Sheet Music Collection. Marie Louka (composer). The Fadettes; March & Two-Step. Philadelphia: World Publishing Co., 1904. "Dedicated to Mrs. Caroline B. Nichols, Director of the Fadettes of Boston, The Famous Ladies' Orchestra."
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