H. Harold Hewitt 1900-1905
According to school board minutes, in June 1900, Professor Ellsworth was employed for one month as an experiment in teaching vocal music. He would teach three days per week at $5 per day, and the success of the class would be determined by the board after one month (1896-1903, p. 264). The program was successful, but Ellsworth resigned in December. Freeport hired H. Harold Hewitt, from Chicago, on December 21, 1900 to fill the position as the teacher of vocal music for the remainder of the year. His salary was set at “$60 per month for four days per week of service” (p. 291). Obviously, Hewitt found success with his classes, treble clef club, glee club, and orchestra since the board recommended on March 1, 1901 that he be engaged for the entire 20 days of each school month at $65 per month (p. 297). His salary remained the same from 1902-1904 and increased to $75 per month for 1904-1905. During this time, the only other “special teachers” listed by the board were German and Drawing. On September 1, 1905, Hewitt resigned from his position as supervisor of music, and Miss Minnie M. Davis was hired for the 1905 school year at a salary of $70 per month (p. 204).
National Happenings:
Birge (1966) found that, although high school orchestras were rapidly forming around the turn of the century, these early programs began with limited instrumentation and with no place in the school curriculum. Supervisors did not teach technique or train grade school orchestras until a movement in the 1910s; therefore, ensemble members consisted of private teachers’ pupils, those who already possessed sufficient ability. Typically, these musicians formed ensembles to play at school assemblies, public concerts, and commencement exercises. Standard performance pieces of the day included marches, waltzes, operatic arrangements, and overtures. Violin, cornet, trombone, clarinet, flute, drums, piano, and an occasional bass or cello was the standard instrumentation of the day (p. 178). With the exception of flute, this was the exact instrumentation of the Freeport High School Orchestra of 1900.
The “let’s get the band to play” mentality helped to drive the public image of the orchestras, as they were asked to perform at many functions including regional and state teachers’ association events. The movement spread from the Midwest to California, most notably Los Angeles, and to the eastern states. Although principals viewed the orchestra as an extra-curricular activity which offered the school additional prestige, they often did not deem it to have enough educational value to justify adding it to the curriculum for credit until later years (p. 180). Richmond, Indiana was the first school district, in 1905, to offer credit for music ensembles. Students received a half credit for playing in the after school orchestra; however, credit was rare at this time (Colwell & Goolsby, 2002, p. 7).
Will Earhart, director of Richmond’s orchestra from 1898-1912, described the circumstances of our earliest instrumental music educators in an article written for School Music in 1905. The orchestra typically met after school for 1 to 2 hours once per week, and students were given a half credit per semester. Students were admitted if they could demonstrate sufficient ability. The board of education supplied the music since costs were offset by not having to hire an orchestra for commencement exercises. Additionally, the orchestra also played for junior and senior dances, weekly chapel exercises, and the county teachers’ association and other lectures benefitting the school. Earhart remarked that “the only discouraging feature is the constant changing of personnel and instrumentation brought about by members graduating from or quitting the school” (cited in Birge, 1966, p. 182). He added, however, that performing was so gratifying that many of these students came back to play whenever needed for years after graduation. Despite the extra personnel, orchestras frequently lacked brass and would hire professionals for special occasions. Poor instrumentation hampered rehearsals and literature selection. Earhart also added that he could have a larger orchestra, but would never sacrifice the quality of playing and repertoire for a larger ensemble of inefficient players (p. 183).
More balanced instrumentation was eventually secured by providing large, non-soloistic instruments through donations, concert revenues, or school district appropriations. This, however, presented a different problem; learning these unusual instruments (p. 184). Los Angeles claims to have created the first grade school orchestras in 1904. These beginning ensembles eventually developed independent activity, but were initially created to ensure good players for the high school organizations (Colwell & Goolsby, 2002, p. 6).
High School Music:
In 1903, board of education minutes reveal a decision that “unprepared work, such as music, drawing, manual training, etc., will be given one-half as much credit as that given for prepared work” (1903-1908, p. 147). Hewitt taught general music at the high school during his tenure. This course was a yearlong elective to be taken at some point in high school. The class met every Wednesday and Friday during 4th or 6th hour. Students studied current musical events, operas, choral music, sight-reading, and harmony. Orchestra was “open to all students who are able to play any stringed instrument.” In 1904, it had 15 members, and met Friday evenings at the high school (Polaris, October 1904, p. 2). The orchestra played for the high school literary society meeting and teachers’ reception (Polaris, November 1904, p. 3). In a plea for more musicians to join, one student wrote, “The management will see to it this year that music and expenses are paid. It is not to be expected that students will give time and service and pay their own expenses” (Polaris, 1905, p. 9). In response, the high school principal pledged his support of the orchestra concert and reimbursement from this concert for necessary music and equipment. “The High School Orchestra deserves financial support from the city schools. Applause and praise are excellent in a way, but they will not pay the bills for music for orchestra, Glee Club, and Treble Clef Club” (Polaris, December 1904, p. 14). This first annual concert was performed at the Grand Opera House. Both the boys’ orchestra and the treble clef club were “compelled to respond to several encores” (Polaris, March 1905, p. 8). Orchestra personnel was listed as: Violin I - Frank Markel, Harry Rand, Oscar Hively, Charles McCarty; Violin II - Earl Huenkemeier, Dwight Riner (1907 graduate, would later become a director for the ensemble), James O’Conner; Piano - Arthur Franz; bass viol - Ralph Morris; Flute - Clyde Featherling; Trombone - Frank Fry; Clarinet - Clarence Schmich; Cornet - Roy Bowers; and Drum - Ross Oblander. The program included: Overture “Defender”, a violin/piano/cello trio, “Hearts and Flowers”, “King Cotton”, “Bunch of Violets”, and “America” featuring Edwin Rotzler on violin and Oscar Wagner on cello.
During this time, the board records reflect that the Freeport Concert Company was paid $13 for commencement music in August 1900 (1896-1903, p. 328), and Gibler’s Orchestra was paid $15 in August 1901 (p. 376) and $12 in 1902 and 1903. On May 5, 1905, however, the school entertainment committee chairman reported to the board that the High School Orchestra, Glee Club, and Treble Clef Club would furnish music for commencement. “As the High School Orchestra is in need of money (for music) the Committee would recommend that the Board donate $8.00 to the High School Orchestra” (1903-1908, p. 102). This is the first specific mention of the high school orchestra performing for commencement, even though it has been verified that an organization can be confirmed as of 1900. Perhaps Gibler’s community orchestra continued to perform due to an inability on the part of the high school students or due to the influence of J. H. Gibler, who was a member of the Board of Education prior to this time.