<div>Prelude&nbsp;</div><div> </div>In response to my agreeing to become Vice President of the Musical Club of Hartford at its last annual meeting to be held at the Town and Country Club in the late spring of 2019, I signed on to take an active role helping Carolyn Bernstein manage the High School Choral Competitions to be held in late January of 2020. Subsequently, I booked a flight to Colombia, S.A., a few days after the conclusion of these competitions in order to join my son in his personal journey at a retreat center near Cali. After my two weeks of venture and visits with friends, I checked in at the airport for my return flight home. The only question I was asked at the International Flights counter was: “Have you recently flown here from China?” Later I realized the significance of this query. By the end of March, 2020, the world was beginning to close down under the threat of the Covid-19 Pandemic and Sue was crafting cloth masks to cover our noses and mouths. This was the beginning of a tragic and eventful time for us all, truly ‘historic’ in its dimension and consequences. Our 2020-2021 Yearbook was unlike any that had preceded it. Inside the cover, we read: “For the first time since its founding, Musical Club has been forced to cancel or curtail its activities. Not in war-time nor in time of economic peril has the Club closed its doors—until this year.” Yet in the year that unfolded, we did find new and creative ways to be ‘faithful to the best in music.’ Movement I: 2020-2021, the 130th Anniversary Year of the Musical Club of Hartford<div>​</div>An initial look at the 2020-2021 Yearbook evokes a depressing catalogue of well-planned programs CANCELLED due to the Global Pandemic. What developed, however, was an amazing year of “virtual” programming via Zoom. Early on, Michelle Duffy published lively bulletins informing members of programs available ‘on line.’ People were generous with their creative electronics! It didn’t take long for a Virtual Program Task Force (aka AHCHOO) to take hold and begin planning, producing, and constantly evaluating an amazing program year that unfolded in the midst of uncertainty. Given some legal cover under the concept of “Force Majeure,” the Executive Board moved the scheduled May 2019-2020 annual meeting to a virtual Zoom webinar gathering on September 24. Zoom was to become the Club’s meeting space for more than a year. AHCHOO (Ad-Hoc Committee on Health-Oriented Operations) dedicated itself to bringing quality virtual programs from then on, thanks to Deborah Robin, David Schonfeld, Ginny Allen, Michelle Duffy, and Robert Connell, along with Michelle Duffy’s e-mail notices, as well as the improved website developed and maintained by David Schonfeld and Natalie Harbeson. In early December, the Executive Board received notice that MCH President Sylvia Goldstein, after careful deliberation, resigned for personal reasons. Thus, Vice President Bill Warner-Prouty assumed the Club’s presidency, initiating a bit of ‘musical chairs’ on the Executive Board. In the end, former President Suzanne Hertel agreed to serve as Vice President (providing wisdom and ‘guard rails’ to a newly minted President) until the next annual meeting. Ginny Allen agreed to replace Suzanne as Member at Large on the Board. This leadership adjustment was unanimously approved by the Board. “Force Majeure.” The New Year opened with a delightful virtual program of “Storytelling Oboes” performed by the Oboe Duo Agosto of Ling-Fei Kang, oboe and Charles Huang, English horn. Meanwhile, AHCHOO had been developing a Virtual Programming Survey, via “Survey Monkey,” to reach out to Club membership and see how we were doing with our virtual programs, realizing how much we all missed in-person programs. This survey provided ground-work for a Mid-Year Meeting scheduled for February 4, which gave us the opportunity to discuss the changes in Club governance, but mostly to give us all a chance to join smaller ‘chat groups’ for more personal inter-action, albeit, virtual. The Board members also spent time making ‘check-up’ phone calls to all the members listed in the 2020-2021 Yearbook, just to have some more personal contact. As we moved toward our Annual Meeting scheduled for May 6, AHCHOO had been arranging for an amazing range of programs: Bach to Bartok with Dr. Gary Capozziello, violinist; two ‘Roundtables’ with 2020 E.B. Storrs Scholars, arranged and moderated by Media Maestro David Schonfeld; and a Centenary look at the Hartt School of Music. As plans for the 2021-2022 program year were coming into place, we expected to be virtual until the end of the calendar year, but hopeful that we could return to the Westminster Sanctuary for full in-person musical enjoyment in 2022. Movement II: 2021-2022, the 131st Anniversary Year of the Musical Club of Hartford Looking through the hot-pink-covered yearbook sent out in late August of 2021, with a special dedication to Anne Mayo for her 20 years of editing, I had become keenly aware of how much work goes into the preparation, printing and dissemination of this indispensable member ‘handbook.’ “As the COVID Pandemic [was] beginning to loosen its hold on all of us…the Musical Club of Hartford [was] making plans to return to our normal activities.” This became a very complicated process that, in musical terms, could be described as a scherzo, active and improvisational, with some good humor along the way. Board meetings and programs were to continue through Zoom, with a variety of offerings: Listening to historical recordings with Mark Bailey at Yale’s Sound Recordings Collection; appreciating the accomplishments of the Hartt Community School competition winners, facilitated by HCD Interim Executive Director, Michelle Fiertek; a carefully planned membership Zoom gathering to prepare for a return to in-person gatherings in 2022; and an inspiring presentation of the Charter Oak Cultural Center Youth Arts Institute. Behind all of this the Board became very busy, first replacing two members-at-large who had become inactive with Stacy Cahoon and ‘two-fer’ conscription of Anne and Fred Fenn. Zoom made the geographical reach of Board membership extend as far as Barkhamsted! With a full Board in place, we set about addressing a host of issues relevant to the present and future operation of the MCH in the wake of the Pandemic. Top on the list was when and how we could return to safe in-person concertizing at Westminster. Following the church’s lead, protocols were developed to provide for a safe return: proof of vaccination; masks; spaced seating; limits on the types of performance. Our new VP Ginny Allen was a great help with her medical background and program scheduling knowledge. As we put together a revised program for 2022, other issues were also addressed: the Council of Presidents was convened for advice on past-present-future thoughts; a re-evaluation of the Red Book was conducted, resulting in setting aside 6 Committees; an evaluation and suspension of the High School Competitions to be replace by the Hartt Community Division competitions with the remaining annual E.B. Storrs competition and concert. A revised performance schedule was put into place taking us from the Storrs Piano Recital on March 24, 2022, to a final Music by Members program on June 16. We realized, too, that programs in the warmer, open-window months would be safer. The business year was concluded on June 9 with our annual meeting held in the social hall of Westminster, a real change necessitated by cost and convenience. Finally, the Executive Board concluded that it would be helpful to simply remain ‘in place’ into the new program year. This Board recommendation was approved by the membership with thanks to a fully active Executive Board: Bill Warner-Prouty, President; Virginia Allen, Vice President; Susan Lionberger, Recording Secretary; Adrianne Brown, Corresponding Secretary; Michelle Duffy &amp; Alan Kennedy, Co-treasurers; Cynthia Lang, Assistant Treasurer; Suzanne Hertel, Deborah Robin, Stacy Cahoon, Anne and Fred Fenn, Members-at-Large. The 131st Anniversary Year of The Musical Club of Hartford was in tune and ready for the next Movement. Movement III: 2022-2023, the 132nd Anniversary Year of the Musical Club of Hartford As the fresh-green-covered Yearbook came into shape over the summer through the combined efforts of Bulletin (Michelle Duffy, chair), Member List (Jerri Pease, chair), Publicity (Deborah Robin, chair) and Yearbook (Virginia Allen, chair) Committees, significant changes to the 2022-2023 performance schedule were adopted at the recommendation of the Schedule Committee, chaired by Karen de Bergh Robinson. Covid having made us aware of the risks of scheduling winter performances, along with some member frustration with weather cancellations, the Board adopted the recommendation that no performances be scheduled in January and February. Concerts would resume in March and the E.B. Storrs recital and member concerts would be extended into mid-June. This extension of the calendar would also enable music teachers who work in public school systems to perform. With plans to open the season with a reception following the concert, we were good to go. The season progressed high-lighted by some delightful music offered by members, even including a musical exploration of the Classical Music of South India presented by our own David Schonfeld. As the holiday season approached, a member reception was planned to follow the December 8 member concert provided by Virginia Allen, Michelle Duffy, Linda MacGougan, and Bob Breen. As the Executive Board continued its Red Book evaluation under leadership of Deborah Robin and Virginia Allen, a date was set in January (19th) for a Board future planning retreat to be held at the Quaker Meetinghouse. V.P. Virginia Allen volunteered to lead our gathering. January also featured a rescheduled Jolidon concert featuring West Hartford native, Talya Smilowitz, and her accompanist, Zisl Slepovitch. Ruth Yancovich was happy to host a reception after the concert. Spring was on the horizon with the Storrs Scholars’ recital on March 23. Plans were beginning to take shape for the next season’s budget prepared by Robert Connell and program schedule under Deborah Robin’s creative leadership. The results of the January “mini-retreat” offered a raft of ideas concerning the present needs and future options for the Musical Club of Hartford. But the Nominating Committee was having trouble recruiting members to serve on the Executive Board, especially the 4-6-year commitment required by for someone to accept the nomination as vice president. In early May, the Board was informed that Virginia Allen would not be able to continue as vice president. The issue of leadership succession was in a crisis. An emergency Board meeting was soon held at the home of Adrianne Brown. A planning document was prepared by Michelle Duffy and Robert Connell. Building upon the work done at the January retreat, this document provided a framework for the Future Planning Task Force that would eventually be put to work. Given the unexpected nature of this ‘crisis,’ the decision was made to continue with plans for the Annual Business Meeting on June 8, with the following slate of officers: Bill Warner-Prouty would continue for another year as Acting President; Vice President was to be determined (TBD); Susan Lionberger, Recording Secretary; Anne Filion, Corresponding Secretary; Michelle Duffy &amp; Alan Kennedy, Co-Treasurers; Assistant Treasurer, TBD; Robert Connell, Cynthia Lang, Anne &amp; Fred Fenn, and Stacy Cahoon, Members-at-Large. With the approval of the gathered membership the leadership of the Musical Club of Hartford voted on June 8, to move into the future, still ‘faithful to the best in music.’ Movement IV: 2023-2024, the 133rd Anniversary Year of the Musical Club of Hartford Before the 2023-2024 Yearbook in its ‘true blue’ cover reached the membership in early September vacancies in the Club’s Executive Board had been filled, with Anne Filion stepping forward as Vice President, Mel Ellis agreeing to take on the position of Corresponding Secretary, and Susan Mardinly taking on the responsibility of Assistant Treasurer. Scheduling chairperson, Deborah Robin and her committee had arranged for a full, yet slightly shortened concert season that included a February “sign up” program for a mid-winter lift, all to be complemented by two Musical Explorations, two Jolidon concerts, and, of course, the ‘bed-rock’ Storrs Scholars piano recital to bring us into the spring of the year. With the expert guidance of Vice President Anne Filion a Task Force was formed to plan for the future operations of the Musical Club of Hartford. Joining Anne in this work were Michelle Duffy, Linda MacGougan, Colette Switaj, Fred &amp; Anne Fenn, and Cynthia Lang. Early on in the new season, it became clear that post-concert coffee gatherings were needed, both for building community and providing a friendly setting for recruiting more membership involvement in the Club’s month-to-month, year-in, year-out operations. These opportunities for ‘sign-ups’ also became a helpful way to recruit member performers and ‘chairs of the day” for the 2024-2025 season. A full, helpful Task Force Committee Report was submitted to the Executive Board in December. Anne Filion was ready to resume the MCH presidency at the May 2, 2024 Annual Meeting and I was happy to hand over the gavel and place the presidential pin in Anne’s able hands.&nbsp; Coda It is truly remarkable what we all have been through over the past four years. Mine was something of an “accidental presidency,” but this role has brought me into an amazing community of talented and serious musicians as well as the ranks of ‘lovers of music,’ among whom I count myself. World Historical events, such as the Covid Pandemic, the January 6, 2020 assault on our nation’s capital, the Russia-inflicted war in Ukraine and the Hamas-inflicted war in the Middle East have impacted us all in different ways. Through it all, music has continued to be a true ‘balm in Gilead.’ As my tenure as president has drawn to a close, two words come to my mind: improvisation and resilience. The Musical Club’s ability to adapt to Zoom and virtual programming through the improvisational creativity of the “AHCHOO” group, along with a committed Executive Board, kept things happening. Finally, though, it was the willingness of the membership to learn, adapt and grow that attests to the resilience made possible by our common love of the arts and our common desire to be ‘always faithful to the best in music.’ By&nbsp;<span style="color: rgb(51, 51, 51); font-family: &quot;Open Sans&quot;, &quot;Segoe UI&quot;, Tahoma, Geneva, Verdana, sans-serif; font-size: 18px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; background-color: rgb(255, 255, 255); text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; display: inline !important; float: none;">William Warner-Prouty ​

The Covid Years (2020-2024)

In the first season of this decade the Schedule included some unique topics. The ingenuity and knowledge required must have sorely taxed the performers, for we find: ORIENTAL: Remote Influence and Indirect Influence; BIRDS and BEASTS; EARTH and AIR; FIRE and WATER; AMERICAN INDIAN: Peruvian, Mexican, Spanish; THE SONG: United States; GARDEN MUSIC, and a REPEAT PROGRAM. Hoping to make a profit, the Club decided to assume full financial responsibility for its concerts. Heretofore, Merritt Alfred of Gallup and Alfred's music store had been a "partner" and assumed the "profit or loss" of the public ticket sale. Taking a chance, Musical Club engaged <a target="_blank" href="https://en.wikipedia.org/wiki/Louis_Graveure" alt="Louis Graveure">Louis Graveure</a>, baritone, for a fee of $1,000.00. With a membership of 370, expenses were made and a savings account opened. In 1921-1922 there was an emphasis on "Modern Nationalism in Music". <a target="_blank" href="https://en.wikipedia.org/wiki/%C3%89va_Gauthier" alt="Eva Gauthier">Eva Gauthier</a>, soprano, and the Letz String Quartet gave concerts. Musical Club concentrated on "Ultra Modernism in the Fine Arts" in 1922-1923 with, appropriately enough, Mrs. Wallace Stevens, wife of the poet, as chairman for "20th Century Compositions in New England". The Schedule also listed a lecture by Professor Waldo S. Pratt and two voice recitals by local artists. A new policy of presenting Chamber Music concerts filled the need for hearing professional groups. The cost was $1500.00 for the <a target="_blank" href="https://en.wikipedia.org/wiki/Aurelio_Giorni#Elshuco_Trio" alt="Elshuco Trio">Elshuco Trio</a>, the Letz String Quartet, and the Barrère Ensemble. The Barrère Ensemble of woodwind instruments, organized and directed by <a target="_blank" href="https://en.wikipedia.org/wiki/Georges_Barr%C3%A8re" alt="Georges Barrère">Georges Barrère</a>, was something of a novelty. Some members "missed the sweet sounds of strings" but the concert was an artistic success and the Club was fortunate to be able to hear this group. A dedicated student of the flute, Mr. Barrère was responsible for reviving interest in this instrument through his teaching, arranging and performance. Former Musical Club President Ruth C. Dorsey was one of his students. A less esoteric approach followed in 1923-1924 with emphasis on "Nationalism in Music". Concerts featured the <a target="_blank" href="https://en.wikipedia.org/wiki/Flonzaley_Quartet" alt="Flonzaley Quartet">Flonzaley Quartet</a>, and Cosí fan tutte by Mozart, performed in concert form at Unity Hall. A delightful affair! With a larger membership, meetings became more formal. No longer were the programs written on a blackboard but were typewritten. Associate members were required to present membership tickets at the door. Most important of all, the accompanist received recognition. Her (or his) name was printed on the program! Active members were elected twice yearly in February and May. The Active membership was increased to 75, and four additional members were added to the Board "to act in an advisory capacity". Today they are the Members-at-Large. The Active membership was listed in the Yearbook in 1923-1924, which cost $100.00 for printing. Public sale of tickets for the <a target="_blank" href="https://en.wikipedia.org/wiki/Flonzaley_Quartet" alt="Flonzaley Quartet">Flonzaley Quartet</a> netted $543.50 at $1.50 per ticket. The Secretary, Mabel Wainwright, wrote in her report: "We have grown in the grace of friendship and tolerance, virtues so sadly needed in the musical world." In 1925-1926 there were 455 members. Balance on hand in May was $614.15. A new office was created, that of Corresponding Secretary, as the duties had become too much for one secretary. A concert by <a target="_blank" href="https://en.wikipedia.org/wiki/Harold_Bauer" alt="Harold Bauer">Harold Bauer</a> and <a target="_blank" href="https://en.wikipedia.org/wiki/Ossip_Gabrilowitsch" alt="Ossip Gabrilowitsch">Ossip Gabrilowitsch</a> on December 9, 1925 revived interest in two piano music. A rather uneventful season followed in 1926-1927 listing: "Excerpts from a program given by <a href="https://en.wikipedia.org/wiki/Jenny_Lind" alt="Jenny Lind">Jenny Lind</a> on March 26, 1851" in Hartford; Modern Organ Music; Music by Prokofieff, Stravinsky, Bloch; and Garden Day. The Student Fund had reached $417.00, and the Annual Meeting and Luncheon was held at the Town and County Club for the first time. The Musical Club moved again in 1927 to 187 Broad Street, formerly Hosmer Hall, which had been purchased by the Hartford Woman's Club. Topics for the year 1927-1928 were: "20th Century: Forebears and Today"; an Organ Program; the "Radio in Relation to Music Appreciation"; a program by Junior Students; and Ensemble. A choral group of twelve Musical Club members directed by Mrs. Grace P. Naylor performed on the Christmas Program. A concert by <a target="_blank" href="https://en.wikipedia.org/wiki/Walter_Gieseking" alt="Walter Gieseking">Walter Gieseking</a>, pianist, was a great event, and The English Singers, a madrigal group, were a delight to hear. In 1928-1929 the Schedule pursued: "Structure and Influence of Jazz"; "Influence of Religion on Music"; "Radio"; "Ultra Modern Music: Bax and Ravel". Visiting artists were <a target="_blank" href="https://en.wikipedia.org/wiki/Anna_Case" alt="Anna Case">Anna Case</a>, soprano, a former Metropolitan Opera star, and <a target="_blank" href="https://en.wikipedia.org/wiki/Jes%C3%BAs_Mar%C3%ADa_Sanrom%C3%A1" alt="Jesús María Sanromá">Jesús María Sanromá</a>, a fiery Spanish pianist, who soon settled in Boston and became official pianist for the Boston Symphony Orchestra. The Russian Symphonic Choir of mixed voices offered another remarkable concert. The entire program was sung in Russian with English translations written on the program. The singers, garbed in colorful national costumes, created an exotic and musically rewarding event. The Active members of Musical Club were guests of <a target="_blank" href="https://en.wikipedia.org/wiki/Havemeyer_family" alt="Miss Julia Havemeyer" class="on">Miss Julia Havemeyer</a> for lunch following the 1928-1931 Business meetings. No longer able to be an active performer, Miss Havemeyer chose to contribute to Musical Club by becoming its hostess. After her retirement, the Executive Board decided to continue the policy of luncheon following the Business meetings because it fostered good fellowship and friendliness in a somewhat leisurely fashion. Miss Havemeyer, a stately lady, gracious and generous, was a brilliant pianist and musical scholar whose influence extended beyond the Hartford area. Her brother, <a target="_blank" href="https://en.wikipedia.org/wiki/Loomis_Havemeyer" alt="Dr. Loomis Havemeyer">Dr. Loomis Havemeyer</a>, Dean of Student Activities at Sheffield Scientific School, Yale University, bequeathed the bulk of his estate to the Yale School of Music in memory of his sister. The gift was to be used for "awards to outstanding music students in Performance or Composition". At the May, 1929 Annual Meeting the membership was 487. Five former Presidents spoke about their respective regimes: Miss Grace Plimpton, Miss Mabel Johnson, Miss Lillian Bissell, Mrs. Nellie Carey Reynolds, and Mrs. Gertrude Fothergill. It was recorded that "perhaps some one would care to collect data for a history of the Club". No action was taken and no one volunteered. ​<span style="color: rgb(31, 31, 31); font-family: &quot;Open Sans&quot;, &quot;Segoe UI&quot;, Tahoma, Geneva, Verdana, sans-serif; font-size: 18px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; background-color: rgb(255, 255, 255); text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; display: inline !important; float: none;">​<span style="box-sizing: border-box; font-size: 18px; margin: 0px; padding: 0px; color: rgb(31, 31, 31); font-family: &quot;Open Sans&quot;, &quot;Segoe UI&quot;, Tahoma, Geneva, Verdana, sans-serif; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; background-color: rgb(255, 255, 255); float: none; display: inline !important;">(written by Priscilla E. Rose and excerpted from&nbsp;The Pursuit of Music, Vol. I) ​ <div class="se-component se-image-container __se__float-none" contenteditable="false" style="width: 50%;"><figure style="margin: 0px; width: 100%;"><img src="http://musicalclubhartford2.org/files/hosmer_hall.jpg" alt="hosmer_hall.jpg" data-rotate="" data-proportion="true" data-size="50%," data-align="none" data-percentage="50," data-file-name="hosmer_hall.jpg" data-file-size="0" origin-size="2238,1400" data-origin="," style="width: 100%;" data-index="0"><figcaption style="margin-top: 0px;"><div>Hosmer Hall</div></figcaption></figure></div>

Musical Club of Hartford: Coming of Age

The Programme for 1900-1901, the tenth season, was quite elaborate and an extra page was devoted to "General Outline". There was a total of twenty-four events, including an "Artist Recital" by Mme. <a target="_blank" href="https://en.wikipedia.org/wiki/Ernestine_Schumann-Heink" alt="Ernestine Schumann­ Heink">Ernestine Schumann­ Heink</a> on January 11, 1901 at Unity Hall for which her fee was $500.00, and a "Talk on Orchestral Instruments and Their Use" on February 7, 1901 by Mr. Richard A. Paine. Names of both Active and Associate members were listed in the Yearbook. Among the Associates were the Right Reverend <a target="_blank" href="https://en.wikipedia.org/wiki/Chauncey_B._Brewster" alt="Chauncey B. Brewster" class="on">Chauncey B. Brewster</a>, Charles Beach, M.D., Colonel Jacob L. Greene, Samuel Dunham, President of Hartford Electric Light Company, and Clement C. Hyde, Principal of Hartford Public High School. The roster contained the names of men and women who were prominent in the professional, business, social and cultural life of Hartford. Many members traveled abroad and brought home copies of the latest works by Grieg, Dvorak, and others, fresh from the press. Interest in and support of contemporary music and composers began early and has continued as a vital part of Musical Club programs. There was a less elaborate Yearbook for 1901-1902 in which only the Active membership was printed. It listed twenty-three meetings, each planned by a committee of three. Each member served twice during the Club season. In May, 1903 the total income from dues was $1,133.00. "Non-Active" membership, for former Active members who no longer wished to perform or hold office, was established. The classification of three types of membership was changed in 1939 to two: Active and Associate. On December 16, 1904, <a target="_blank" href="https://en.wikipedia.org/wiki/Eug%C3%A8ne_Ysa%C3%BFe" alt="Eugène Ysaÿe">Eugène Ysaÿe</a>, the great violinist, gave a recital at Parsons' Theatre. <a target="_blank" href="https://en.wikipedia.org/wiki/David_Bispham" alt="David Bispham">David Bispham</a> of the Metropolitan Opera presented a song recital on April 25, 1905 at Unity Hall. "OPEN" meetings for all members were held monthly and the large attendance necessitated the rental of Unity Hall. The topics were Nature, Children's Day, Women Composers, Opera, Modern Music, Moods in Music, and American Composers. In May, 1906 the fifteenth season of the Club closed with a total membership of 515 and a waiting list for Associate membership. That season <a target="_blank" href="https://en.wikipedia.org/wiki/Johanna_Gadski" alt="Johanna Gadski">Johanna Gadski</a>, Wagnerian soprano, was presented in a recital at Parsons' Theatre. Her accompanist, <a target="_blank" href="https://en.wikipedia.org/wiki/Frank_La_Forge" alt="Frank La Forge">Frank La Forge</a>, "required his name to be printed on the program." It seems that this was not always done. Mme. Gadski wrote to our President after the concert, thanking her "for the opportunity to sing for your Club". With a total of twenty-five meetings the Programme for the season 1906-1907 was the most impressive to date. It included five Open meetings, three in the morning, two in the evening, and one Business meeting in May. The topics: FIRST PERIOD Contemporary-Italy, Germany, and France 17th and 18th Centuries SECOND PERIOD Modern Music in the 20th Century Belgium, France, Germany, and America "Open" meetings consisted of music chosen from previous "closed" meetings. The membership contained 16 vocalists, 18 pianists [including organists], 3 violinists, and a cellist. In 1908 the term "Schedule" was used for the first time. The revised 1908 Constitution and By-Laws stated that "An Active member who refused to perform during a whole year will forfeit her membership unless an adequate reason for such refusal be given to the Executive Committee." ​<a target="_blank" href="https://en.wikipedia.org/wiki/Mischa_Elman" alt="Mischa Elman">Mischa Elman</a> played in 1909 and <a target="_blank" href="https://en.wikipedia.org/wiki/Ernest_Hutcheson" alt="Ernest Hutcheson">Ernest Hutcheson</a> gave a lecture on Strauss' "Electra", a controversial opera. The same year Mr. and Mrs. <a target="_blank" href="https://en.wikipedia.org/wiki/Arnold_Dolmetsch" alt="Arnold Dolmetsch">Arnold Dolmetsch</a> presented a program of Baroque Music on original instruments of the period. This was preceded by a paper the previous week on "Instruments of the Clavier Type" to bestir interest in the esoteric concert. It was a first for many listeners and they were intrigued by the sounds of the lute, treble and bass viols, viola d'amore, viola da gamba, and harpsichord, as played by these gifted musicians from England, assisted by Miss Emma Noyes, soprano. An elaborate schedule in 1909-1910 was devoted to "Romantic Music", "Ethnic Music", and "History of Musical Instruments". Papers which required considerable research and the learning of new and unusual music were assigned to committees for the day. It should be recalled that at this time music appreciation lectures and courses, both public or as part of academic programs, were relatively new. The Victor Talking Machine Company and its rival, the Edison Phonograph, were producing hand-cranked "talking machines" with perishable records. Expurgated recordings of large works were available, but most were produced with one selection per side. Books on "How to Listen" were a rarity, but many scholarly texts were consulted by Club members for their papers and the musical examples were carefully prepared by the performers. ​<span style="color: rgb(51, 51, 51); font-family: &quot;Open Sans&quot;, &quot;Segoe UI&quot;, Tahoma, Geneva, Verdana, sans-serif; font-size: 18px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; background-color: rgb(255, 255, 255); text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; display: inline !important; float: none;">(written by Priscilla E. Rose and excerpted from&nbsp;The Pursuit of Music, Vol. I<span style="color: rgb(51, 51, 51); font-family: &quot;Open Sans&quot;, &quot;Segoe UI&quot;, Tahoma, Geneva, Verdana, sans-serif; font-size: 18px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; background-color: rgb(255, 255, 255); text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; display: inline !important; float: none;">) ​

Musical Club of Hartford: Immediate Success

The year 1891 found Hartford residents transported by electric trolley, hacks or private carriages. The local <a target="_blank" href="https://en.wikipedia.org/wiki/Pope_Manufacturing_Company" alt="Pope Manufacturing Company">Pope Manufacturing Company</a> made one hundred bicycles a day, and for the "carriage trade" there were Top Carriages, Open Buggies, Speed Wagons, Road Carts or the Family Carriage. It was the era of the bustle, button shoes, cotton stockings, the parasol, corsets and hats for the ladies. Men wore whiskers, derby hats, overcoats, vests, stiff bosom shirts, and carried canes to church on Sunday. For several decades the literary life in Hartford had revolved around Nook Farm, where <a target="_blank" href="https://en.wikipedia.org/wiki/Mark_Twain" alt="Mark Twain">Mark Twain</a>, <a target="_blank" href="https://en.wikipedia.org/wiki/Harriet_Beecher_Stowe" alt="Harriet Beecher Stowe">Harriet Beecher Stowe</a>, and <a target="_blank" href="https://en.wikipedia.org/wiki/Charles_Dudley_Warner" alt="Charles Dudley Warner">Charles Dudley Warner</a> resided. Several theatres were well supported and by the turn of the century Parsons' Theatre on the corner of Prospect Street and American Row brought Shakespearian companies and other fine theatrical troupes from New York. That music was an important part of the artistic life of the city was evidenced by concerts given by the Opera Club in Unity Hall, and by the short-lived Mysurgia Club. Colt's Band, a Pope Military Band and the beginning of a small instrumental group (soon to become the Hartford Philharmonic Orchestra) provided performances of music indoors and outside. In 1891 Waldo Selden Pratt, internationally known music historian, was installed in the chair of Hymnology at the <a target="_blank" href="https://en.wikipedia.org/wiki/Hartford_Seminary" alt="Hartford Theological Seminary">Hartford Theological Seminary</a>. His scholarly lectures enriched the cultural life of the city for many years. Many homes were graced by a parlour organ or piano. There were over a dozen different makes of pianos advertised for sale by local merchants and seventy-live music teachers were listed in Geer's City Directory in 1890, the year the Hartford School of Music was founded. In 1961 there were fifty-eight. However, opportunities for local performers were limited. The Choral Union and trained church choirs provided opportunities for vocalists, but it was the heyday of the parlour musician who flourished throughout the land. A musical club was the natural outgrowth of these musical conditions, for it provided performers and audience in one group. For the girls of the period music lessons were a prescribed, imperative part of their education; if talented, so much the better: if not, at least they became more intelligent listeners. On Saturday, May 4. 1891, at eleven a.m., Miss <a href="http://musicalclubhartford2.org/content/frances-hall-johnson-(1865-1947)/1061" alt="Frances Hall Johnson">Frances Hall Johnson</a>, a pianist and teacher, called four of her musical friends to her home at 106 Gillett Street, Hartford, for the purpose of sharing their musical accomplishments. Thus, these ladies were the Charter Members of the Musical Club of Hartford: Miss Frances Hall Johnson, Founder Miss Bessie Davis Miss Sarah Goodwin Miss Mary Plimpton Miss Grace Plimpton The first meetings were serious but not too regular. By 1893 the Musical Club of Hartford came into existence officially, with elected officers, a membership of eighteen, voting by ballot and meetings for the entire season planned in advance. Meetings were held weekly on Saturday afternoons from November to May in members' homes. Occasional evening meetings with refreshments included invited guests. In 1895 under the presidency of Mrs. Ansel G. Cook, a decided advance was made toward greater efficiency, as well as formality, with the adoption of a definite plan of study and the renting of a room at Hosmer Hall on Broad Street, part of the Hartford Seminary. Here two pianos were available for all meetings. The Musical Club's fame spread. Relatives and friends of the performers were known to secrete themselves in the butler's pantry or at the top of the stairs, hoping to hear strains of music or bits of information from the erudite papers read monthly. Their presence discovered, there were soon "open meetings" in the evening to which friends were invited. With this group as a nucleus an Associate Membership was formed in 1897. In that year also, a Constitution and By-Laws was adopted. This is a document which the Club is still striving to improve. A rigorous program of work was laid out for the season, with weekly meetings on Saturday afternoons at four o'clock during eight months of the year. The members' ambition to enhance their enjoyment, and to profit from programs which they themselves could not provide, led to guest lectures and visiting artists. This, in turn, resulted in many artistic and financial problems which have enlivened Executive Board discussions ever since. As the membership had outgrown the spacious parlours of its founding members, so it also outgrew the lecture room at Hosmer Hall. In 1902 the Club followed the Hartford School of Music to its new home, 8 Spring Street, a few blocks away. The Active Membership was limited to forty, the entire membership to 400, with a waiting list. The dues were raised from two dollars to three. With the financial backing of this larger membership the Musical Club ventured to bring <a target="_blank" href="https://en.wikipedia.org/wiki/Edward_MacDowell" alt="Edward A. MacDowell">Edward A. MacDowell</a>, the eminent American composer-pianist, for a recital on March 11, 1898, at Unity Hall. The event was a great musical, financial and social success. Many dinner parties preceded the recital. Private carriages and hacks lined Pratt Street and neighboring avenues as passengers made their way up the long passageway and broad steps to Unity Hall which was the Meeting House of the Unitarian Society. In 1900, when the Club was scarcely ten years old, a New York newspaper published an article concerning its history, schedule and list of members. It began: "An organization of humble origin has developed into the well defined, most commendable and prosperous Musical Club of Hartford ... in few cities is there such devotion to music." That devotion was shown by Musical Club's support of other organizations. The Philharmonic Orchestra of thirty-six players was founded in 1899 and was assisted financially by individual Club members and by Club donations during its two and a half decades. In 1901 the Saturday afternoon meeting time was changed to Thursday morning at eleven o'clock. So it has remained, with adjustment of the hour from time to time as circumstances required. Candidates for Active Membership were required to perform for the Active Members of the Club, to be proposed and seconded by two Active members, passed upon by two committees and presented to the entire membership for voting on their "eligibility and musical qualifications". This method of acceptance for membership was continued for nearly a half century. For a decade the Nominating Committee presented a slate with two candidates for each office. However, with such a friendly spirit pervading, it became apparent that the choice of a single candidate for . each office could be left to the discretion of the Nominating Committee. The slate was presented at the Annual Meeting for election with members privileged to nominate from the floor. This is still true today. At first Musical Club membership was limited to singers and pianists and pianist-organists, but before the Tenth Anniversary several gifted violinists and a cellist had joined, providing a broader tonal spectrum. Even in the earliest years there were ensemble groups such as vocal duets and trios, piano duets and two piano music. It was through the medium of four-hand piano music that members became familiar with overtures, symphonies and concertos, works which are available today in their original arrangements by pushing a button or flicking a switch. So it was that Musical Club became one of the important educational arts organizations in the city. It enriched the lives of its members by stimulating study, musical understanding and performance. Presenting public concerts and lectures by noted musicians has been another facet of the Club's educational policy for nearly ninety years. With the restricted opportunities for concerted activity in cultural. educational and managerial areas that existed for women until World War ll, club life provided an outlet for their creativity. It was productive, educational, creative and fulfilling. The challenges stimulated the mental and artistic growth of the individual and created a close bond between the members. The Active membership has always been limited to women. However, men have been welcomed as guest performers and into the Associate Membership since 1897. In fact, in the Yearbook for 1900-1901 there were 79 men listed as Associate members, most of them related in some way to Club members. When the Club was formed, Brahms, Verdi, Tchaikovsky, Franck, Grieg, Dvorak, and MacDowell were alive. Clara Schumann was still concertizing and teaching. The great pianists, Anton Rubinstein and von Bulow died in 1894 and Paderewski was a rising star in the music firmament. The Boston Symphony Orchestra was organized in 1880. It played in this city for the first time on October 20, 1885 and has been coming here regularly ever since. Locally, the need for a music school where visiting artist-teachers would be available for advanced students and teachers led to the founding of the Hartford School of Music in 1890. Its founders were women of musical taste, knowledgeable and financially able to help the educational institution grow. They were also members of the Musical Club and a close association between the School and the Club was mutually beneficial for many years. The music performed in the early days represented a variety of taste and assortment of skills. The singers inclined to sentimental ballads and religious songs of moderate difficulty, chiefly in English. There were occasional duets or trios, often performed at church the following Sunday. Simpler piano pieces by Grieg, MacDowell, Raff, Chopin, and Schumann were heard. Duets appeared frequently and through this medium members became familiar with operatic and symphonic literature. In the barren lecture room at Hosmer Hall there were two pianos--a grand and an upright. To the delight of pianists, concertos and music for two pianos were now possible! The Programme for 1899-1900 contained twenty-five events, including lectures by Messrs. Waldo S. Pratt, historian; N.H. Allen, organist-composer; Philip Goepp, critic from Philadelphia, and John S. Camp, organist-composer-conductor. The topics for the lectures ranged from Contrapuntal Music to Song, Dance, and Sonata form. Programs based upon these topics followed each lecture. National programs appeared: Russian, Hungarian, Scandinavian, and songs by American Composers. Four Miscellaneous completed the list. The breadth and depth of this Programme indicated the seriousness of purpose and amount of time the Active members devoted to the preparation of the programs. (written by Priscilla E. Rose and excerpted from The Pursuit of Music, Vol. I) <div class="se-component se-image-container __se__float-none" contenteditable="false" style="width: 50%;"><figure style="margin: 0px; width: 100%;"><a href="http://musicalclubhartford2.org/content/frances-hall-johnson-(1865-1947)/1061" alt="http://musicalclubhartford2.org/content/frances-hall-johnson-(1865-1947)/1061" data-image-link="image"><img src="http://musicalclubhartford2.org/files/mrs_ansel_cook.jpg" alt="Mrs. Ansel Cook" data-rotate="" data-proportion="true" data-size="50%," data-align="none" data-file-name="mrs_ansel_cook.jpg" data-file-size="0" origin-size="982,1264" data-origin="1119px,849px" data-percentage="50," data-image-link="http://musicalclubhartford2.org/content/frances-hall-johnson-(1865-1947)/1061" style="width: 100%;" data-index="0"></a><figcaption><div>Mrs. Ansel G. Cook</div></figcaption></figure></div><div class="se-component se-image-container __se__float-none" contenteditable="false" style="width: 50%;"><figure style="margin: 0px; width: 100%;"><a href="http://musicalclubhartford2.org/content/frances-hall-johnson-(1865-1947)/1061" alt="http://musicalclubhartford2.org/content/frances-hall-johnson-(1865-1947)/1061" data-image-link="image"><img src="http://musicalclubhartford2.org/files/frances_hall_johnson_cropped.jpg" alt="Frances Hall Johnson (1865-1947)" data-rotate="" data-image-link="http://musicalclubhartford2.org/content/frances-hall-johnson-(1865-1947)/1061" data-proportion="true" data-size="50%," data-align="none" data-percentage="50," data-file-name="frances_hall_johnson_cropped.jpg" data-file-size="0" data-origin="," origin-size="2210,1676" style="width: 100%;" data-index="1"></a><figcaption><div>Frances Hall Johnson (1865-1947)</div></figcaption></figure></div>

Musical Club of Hartford: The First Decade

In 1898 Maida Miner became an Active Member of Musical Club. For nearly forty years thereafter, she appeared as piano soloist and accompanist on Musical Club and other area programs. Her career as Treasurer began in 1905-1907. In 1912, as Mrs. Edward B. Bryant, she was elected Secretary for one year. In 1918 she began her fifty-six consecutive terms as Musical Club Treasurer, a position for which her financial acumen well qualified her. Always dedicated to the welfare and stability of Club business affairs, she helped shape many important decisions during her seventy-eight years of membership. Her efforts assisted the Musical Club in maintaining a secure position, nearly always having "money in the bank". Mrs. Bryant was of ladylike manner and natural reticence. She was devoted to the highest personal and musical ideals, and she showed complete dedication to Musical Club during her long and useful life.

Maida Bryant (1875-1976)

Born in Hackensack, New Jersey, on April 11, 1870, Miss Vanderbeek spent her early childhood there, later moving with her family to New York City. While in New York she continued her serious study of music with Pauline Stabaeus and graduated from Hunter College in 1891. In that year, the Vanderbeek family moved to Hartford, and shortly afterward, Miss Vanderbeek was invited to join Miss Johnson's music group of serious young students. An exceptional executive, with astute judgment and discriminating musical and personal taste, Miss Vanderbeek was a leading member of Musical Club for eighty years. She served as President for four consecutive terms and held each office of the Club at least once. As a member of the Constitution and By-Laws Committee for a quarter of a century, and as a member of the Executive Board for the last thirty-five years of her life, Miss Vanderbeek played a vital role in shaping Club policy. Artistically, her pianism and fine musical scholarship added depth to many programs. Personally, her integrity, firmness of character, vision, and sympathetic understanding of human nature greatly influenced those who were privileged to know her.&nbsp;Viola Vanderbeek died on July 11, 1973, aged 103, and is buried at Cedar Hill Cemetery in Hartford.

Viola Vanderbeek (1870-1973)

Founder of the Musical Club of Hartford, Miss Johnson skillfully guided its development for a half century. Her many contacts in the&nbsp;musical world beyond the borders of her native city enabled Musical Club to present musical events of rare quality. A woman of personal charm, wide interests and sincere convictions, she also possessed an organizing ability which was unique in her time. As President of Musical Club, she lent dignity and grace to the office. Many students benefited from her excellent teaching, and her pian­istic skill and musicianship enriched innumerable Musical Club pro­grams. Miss Johnson was the author of "Musical Memories of Hartford" (1932) in which she traced the city's musical growth through two centuries. This book and the Musical Club represent her legacy to the cultural life of Hartford.

​Founder of the Musical Club of Hartford

Frances Hall Johnson (1865-1947)

Musical Club of Hartford: Stability and Conviction

<div>T.H. Parker wrote in the Hartford Courant: "The sustaining attribute of the Musical Club in one sense has been plain work. It has never known the la-de-da all too frequently that accompanies the arts." With this compliment as inspiration, we approached the hard work of the 70th Anniversary year. A program on January 19, 1961, in the Colonial Room, reflecting the origins of the Musical Club, was one of nostalgia and gaiety. Members were greeted by an exhibit of costumes and artifacts of the period 1890-1900 loaned by the Wadsworth Atheneum. The stage was appropriately decorated, and the performers were dressed in as authentic attire as could be found to fit. A narration, written and read by Mary Foster Collins, opened the program and introduced each group. The music was researched from Musical Club scrapbooks and consisted of a cello sonata by Beethoven, vocal solos and trios, piano solos and, as a grand finale, the Slavonic Dances by Dvorák for piano duet, an old-time favorite.&nbsp; Six of the oldest living members of the Musical Club were honored: Mrs. James P. Andrews, Miss Virginia Browne, Mrs. Edward B. Bryant, Miss Mabel Johnson, Miss Viola Vanderbeek, and Miss Marion Williams. The Anniversary Dinner and Concert were held at the Hartford Club on April 27, 1961. The presentation of an award to Janet Kline, an Active member, who had designed a Club Seal, was a reminder that talent in the arts is not necessarily confined to one medium. The "fun" part of the program consisted of several "skits" written and performed by Frances Weld, Mary Clark, and Elma Cafky. A song recital by one of our scholarship winners, Lillian Mernick, concluded a delightful occasion. In 1961-1962 it was with reluctance that Musical Club left the Colonial Room with its handsome, beautifully carved, wood interior and its fine acoustics. The move to the&nbsp;​<a target="_blank" href="https://towncounty.com/about" alt="Town and County Club">Town and County Club</a>, 22 Woodland Street, relocated the Musical Club one block west of Gillett Street where the first meeting was held in Miss Johnson's home. For a few seasons the concerts were held in the Colonial Room, but the parking problem soon necessitated scheduling all concerts and regular meetings at the Town and County Club. By 1962 there was a Club Seal, a Yearbook Committee, a revised Constitution and By-Laws, a Manual for Standing Committees, and a successfully launched Bulletin. During the following season twenty new Associate members joined Musical Club, and the Gifts and Scholarships Committee awarded $850.00. It was then that Musical Club's beloved <a target="_blank" href="https://en.wikipedia.org/wiki/Mildred_P._Allen" alt="Mildred P. Allen">Mildred P. Allen</a> passed on. She had contributed generously of her talent and time to the musical world before entering a career of public service. The Musical Library at the Hartt School of Music, University of Hartford, was dedicated to Mrs. Allen, and the Musical Club's donation in her memory was used for listening room equipment there. Many individual Club members contributed to the Music Library--a fitting memorial. The formation of the Past Presidents' Council became official in February, 1963. This was the result of a recommendation by President Frances Weld in her retiring speech and further reinforced by a letter from her lo the Board in 1963. It was "VOTED: This Committee shall be advisory, but shall meet twice yearly and shall propose to the Board for consideration ideas they consider apropos." The continuity of thought, experience and vision such a committee possesses has proven invaluable ever since. Dues were raised to $8.00 in 1963. Out of a $3,350 budget $1,600 was allocated for concerts. The balance in the Memorial Fund for Gifts and Scholarships was $1,946 in 1963-1964. The Exploration series was devoted to Bartók, Britten's "War Requiem", and Samuel Barber. It was declared to be "interesting and quite enlightening". Through the years it had been the policy of the Musical Club to present one or more concerts of chamber music each season. 1964-1965 featured a unique pair of artists who played piano duets. <a target="_blank" href="https://en.wikipedia.org/wiki/Yaltah_Menuhin" alt="Yaltah Menuhin">Yaltah Menuhin</a> and <a target="_blank" href="https://en.wikipedia.org/wiki/Joel_Ryce-Menuhin" alt="Joel Ryce-Menuhin">Joel Ryce-Menuhin</a> were most skillful and presented a program remarkable for its variety. Long a favorite form of piano playing, duets had been relegated to pupils' recitals, and it was refreshing to hear such an artistic performance in this familiar medium. The program for the 1965-1966 Diamond Jubilee season included three concerts: the Marlboro Trio; <a target="_blank" href="https://en.wikipedia.org/wiki/Frank_Glazer" alt="Frank Glazer">Frank Glazer</a>, piano; and <a target="_blank" href="https://en.wikipedia.org/wiki/Blake_Stern" alt="Blake Stern">Blake Stern</a>, tenor, with <a target="_blank" href="http://archives.news.yale.edu/v31.n15/story13.html" alt="Ward Davenny">Ward Davenny</a>, piano. All were held in the Colonial Room. The nine regular meetings were held in the <a target="_blank" href="https://towncounty.com/about" alt="Town and County Club">Town and County Club</a>. Program topics were devoted to specific composers and contrasting styles and periods. Two Exploration programs, held at private homes, featured discussions and performances by committee members. The big event, the 75th Anniversary Dinner, on April 21, 1966 was held at the Hartford Club with President Madelyn Serbin presiding. Seated at the head table were the Past Presidents; Mrs. Bryant; the Toastmistress, Mrs. Serbin; and the speaker and his wife, Mr. and Mrs. T.H. Parker. Members of the Board and of the Anniversary Committee were hostesses at the smaller tables. The two great ladies of the Musical Club, <a href="http://musicalclubhartford2.org/content/musical-club-of-hartford-history/803" alt="Mrs. Edward B. Bryant">Mrs. Edward B. Bryant</a> and <a href="http://musicalclubhartford2.org/content/musical-club-of-hartford-history/803" alt="Miss Viola Vanderbeek">Miss Viola Vanderbeek</a>, both beautifully gowned in black lace, were honored guests. Miss Vanderbeek's membership of 73 years and Mrs. Bryant's membership of 70 years spanned the years of the Club's establishment through the development to its prestigious status in the community. Mrs. Serbin paid tribute to Miss Vanderbeek's intelligence, wit, vision, and sound judgment, and to Mrs. Bryant's astute financial skill in handling our funds as Treasurer for over forty years. "They have been the guiding stars of Musical Club-they are our inspiration. We admire and respect them, and we love them dearly." The speaker of the evening, Mr. T.H. Parker, music critic for the Hartford Courant, sketched the tradition of music in Hartford starting with 1795 when the "New Theatre Orchestra" played and introduced the clarinet, French horn, and harp to audiences that mainly had known violins. He noted other interesting historical facts: <ul> <li>1807: The <a target="_blank" href="https://en.wikipedia.org/wiki/Messiah_Part_II#44" alt="Hallelujah Chorus">Hallelujah Chorus</a> was sung for the first time in the United States by the Choir of Center Church.</li><li>​<a target="_blank" href="https://en.wikipedia.org/wiki/Jenny_Lind" alt="Jenny Lind">Jenny Lind</a> sang at the Fourth Church in 1851.</li><li>1866: <a target="_blank" href="https://en.wikipedia.org/wiki/Theodore_Thomas_(conductor)" alt="Theodore Thomas">Theodore Thomas</a> and his 'huge' orchestra of 45 men played here.</li><li>Opera arrived in the 1870s.</li><li>​<a target="_blank" href="https://en.wikipedia.org/wiki/Walter_Damrosch" alt="Walter Damrosch">Walter Damrosch</a> brought his group in 1883.</li><li>​<a target="_blank" href="https://en.wikipedia.org/wiki/Anton_Rubinstein" alt="Anton Rubinstein">Anton Rubinstein</a> and <a target="_blank" href="https://en.wikipedia.org/wiki/Henryk_Wieniawski" alt="Henryk Wieniawski">Henryk Wieniawski</a> performed in a joint recital shortly thereafter.</li></ul> Mr. Parker concluded, "Certainly the Musical Club has played impresario on an infinite number of occasions. You have been, also, an educational force of measure and importance. Being able to listen with intelligence and discrimination that is the best." The entertainment consisted of a trio composed of Ruth Hurwitz (Active member), piano; her son, Isaac, violin, and her daughter, Jane, cello. <a target="_blank" href="https://www.legacy.com/us/obituaries/ctpost/name/karen-shaw-obituary?id=9283818" alt="Karen Shaw">Karen Shaw</a>, pianist, the daughter of a long time Active member, Juliet Wolfe Shaw, presented a group of solos played with rare skill and finesse. She was at the beginning of what became an illustrious career on the concert stage. A quiet season followed. The total membership in May 1967 was 363, and $150.00 was donated to Hartt College of Music for a plaque on a chair at Millard Auditorium. Scheduling problems at Town and County Club from 1967 to 1969 necessitated holding the concerts elsewhere. Gray Hall at South Church in Hartford was selected. The distance from the residences of members, however, created a problem, so the Club moved its concerts in 1969-1970 to the Tower Auditorium at the Hartford Insurance Group on Asylum Avenue. Because of rising prices in 1969-1970 the $2,000.00 concert budget required that dues be increased to $10.00. Our beloved Viola Vanderbeek celebrated her 100th birthday on April 11, 1970. Because of her frail health, plans for a Musicale-Tea were cancelled. Jean Schuler, President, Mary Clark and Helen Seymour called on Miss Vanderbeek and presented her with a "money-tree", a corsage, a plant, and a heart-shaped gold pin inscribed "To Viola with Love". At the Annual Meeting in May, 1970 the Club presented Mrs. Bryant with a gold watch in token of its deep appreciation for her fifty-six years of devoted service as Treasurer. All regular meetings and concerts were held at the Town and County Club in 1970-1971 with the exception of the 80th Anniversary celebration.&nbsp; On October 29, 1970 at Asylum Hill Church a Piano Recital by Karen Nelson, a scholarship recipient, was followed by a luncheon for all members. Having recently celebrated the 75th Anniversary rather elaborately, we recognized the 80th more quietly. In tribute to this milestone the season opened with a "Nostalgia" program researched by Janet Williams, who read an informative narration. The music chosen from programs of years past was performed by members. "Nostalgia II", with Mary Clark, Chairman, opened the second half of the season with a similar program. A highlight of the 80th season was a Voice Recital by <a target="_blank" href="https://en.wikipedia.org/wiki/Susan_Davenny-Wyner" alt="Susan Davenny Wyner">Susan Davenny Wyner</a>, soprano, and her husband, <a target="_blank" href="https://en.wikipedia.org/wiki/Yehudi_Wyner" alt="Yehudi Wyner" class="on">Yehudi Wyner</a>, pianist-composer. The singer had lived in Hartford as a child when her father, <a target="_blank" href="http://archives.news.yale.edu/v31.n15/story13.html" alt="Ward Davenny" class="on">Ward Davenny</a>, was Director of The Hartford School of Music. This personal interest added a special glow to the event. Susan Wyner's career grew steadily and in 1980 she was engaged to sing at the Metropolitan Opera. ​​​​(written by Priscilla E. Rose and excerpted from&nbsp;The Pursuit of Music<div class="se-component se-image-container __se__float-none" contenteditable="false"><figure style="margin: 0px;"><img src="http://musicalclubhartford2.org/files/Hosmer_Hall.jpg" alt="Hosmer Hall" data-rotate="" data-proportion="true" data-size="," data-align="none" data-percentage="auto,auto" data-file-name="Hosmer_Hall.jpg" data-file-size="0" data-origin="," origin-size="1398,813" style="" data-index="8" data-rotatex="" data-rotatey=""> </figure></div><div class="se-component se-image-container __se__float-none" contenteditable="false"><figure style="margin: 0px;"><img src="http://musicalclubhartford2.org/files/colonial_room.jpg" alt="Colonial Room" data-rotate="" data-proportion="true" data-size="," data-align="none" data-percentage="auto,auto" data-file-name="colonial_room.jpg" data-file-size="0" data-origin="," origin-size="1398,813" style="" data-index="9" data-rotatex="" data-rotatey=""> </figure></div><div class="se-component se-image-container __se__float-none" contenteditable="false"><figure style="margin: 0px;"><img src="http://musicalclubhartford2.org/files/Town_and_County_Club.jpg" alt="Town and County Club" data-rotate="" data-proportion="true" data-size="," data-align="none" data-percentage="auto,auto" data-file-name="Town_and_County_Club.jpg" data-file-size="0" data-origin="," origin-size="1398,813" style="" data-index="10" data-rotatex="" data-rotatey=""> </figure></div>The Town and County Club, Hartford, CT </div>

Musical Club of Hartford: Continuing Development

&lt;The topics "National Characteristics" and "Programs in Recital Forms", plus four concerts, provided an interesting season for 1941-1942. The Gordon String Quartet was a highlight because the first violinist, <a target="_blank" href="https://rbscp.lib.rochester.edu/2456" alt="Jacques Gordon">Jacques Gordon</a>, had recently organized a summer music colony at Music Mountain, in Falls Village. By 1980 <a target="_blank" href="https://www.musicmountain.org/" alt="Music Mountain">Music Mountain</a> presented one of the most significant summer chamber music concert series in Connecticut. Two lectures provided interesting supplements to the regular programs. Carolyn Cady of Barnard College spoke on "South America - Music of the People", and <a target="_blank" href="https://en.wikipedia.org/wiki/Douglas_Moore" alt="Douglas Moore">Douglas Moore</a> of Columbia University discussed his opera, <a target="_blank" href="https://en.wikipedia.org/wiki/The_Devil_and_Daniel_Webster_(opera)" alt="The Devil and Daniel Webster">The Devil and Daniel Webster</a>. World War efforts in 1942-1943 claimed the time and attention of everyone. Many members served in volunteer capacities, and several worked part-time in local factories. By May 1942, the membership had dwindled to 297. The Club purchased a Victory Bond of $1,000.00, and in January a committee was chosen to investigate the purchase of records for the Armed Forces. Priscilla Rose was chairman. This project was begun by a committee of musicians in New York, with <a target="_blank" href="https://en.wikipedia.org/wiki/Walter_Damrosch" alt="Walter Damrosch">Walter Damrosch</a> as Chairman. Each set of recordings cost $80.00 while a Junior Unit for ships was priced at $25.00. Mr. Harry Futterman, a New York lawyer was Fund Chairman and support from all over the country contributed to the success of the project. It was especially meaningful for submarine crews who were away from civilization for months at a time and who, for reasons of safety, could not use the radio. The Musical Club donated several units for their use. On January 16, 1943, in an effort to save fuel it was voted to discontinue all meetings until March 18, 1943. The Schedule was rearranged and lasted until later than usual in May. "Now that our country is at war, the importance of pure music and all the fine arts is much greater than ever. Music is the voice of civilization, and we must not lose interest in the very things we are fighting to preserve. Instead of neglecting or slighting music, we should cultivate it more earnestly in the months that are to come. To do this will be to fulfill one of the highest aims of patriotism." ​<a target="_blank" href="https://en.wikipedia.org/wiki/William_Lyon_Phelps" alt="William Lyon Phelps">William Lyon Phelps</a>​ (Musical Club Yearbook, 1942-1943) The <a target="_blank" href="https://en.wikipedia.org/wiki/William_Primrose" alt="Primrose">Primrose</a> Quartet presented a significant concert, and in the interest of economy three other concerts by lesser-known artists were also scheduled. On May 27, 1943, an added event was a piano recital by <a target="_blank" href="https://www.lib.umd.edu/ipam/collections/jane-carlson" alt="Jane Carlson">Jane Carlson</a>, a local musician whom Musical Club earlier had assisted financially and who was beginning her concert career. The season ended with a membership of 293. Again during 1943-1944 the plan for the year was altered due to war conditions. Meetings were held from the first Thursday in October to December 16, omitted until March 2, 1944, and then resumed until the first of June. Prices for concerts had increased; the <a target="_blank" href="https://en.wikipedia.org/wiki/Budapest_String_Quartet" alt="Budapest String Quartet">Budapest String Quartet</a>'s fee was $600.00; the <a target="_blank" href="https://adp.library.ucsb.edu/index.php/mastertalent/detail/107440/Coolidge_Quartet" alt="Coolidge Quartet">Coolidge Quartet</a> charged $400.00. The Musical Club also engaged the <a target="_blank" href="https://en.wikipedia.org/wiki/Busch_Quartet" alt="Busch String Quartet">Busch String Quartet</a> and a Trio consisting of&nbsp;​<a target="_blank" href="https://rbscp.lib.rochester.edu/2456" alt="Jacques Gordon">Jacques Gordon</a>, violin, <a target="_blank" href="https://en.wikipedia.org/wiki/Felix_Salmond" alt="Felix Salmond">Felix Salmond</a>, cello, and&nbsp; ​<a target="_blank" href="https://en.wikipedia.org/wiki/Rosina_Lh%C3%A9vinne" alt="Rosina Lhévinne">Rosina Lhévinne</a>, piano. They were an auspicious ensemble, and their performance was memorable. <a target="_blank" href="https://www.bach-cantatas.com/Bio/Carlton-Jean.htm" alt="Jean Carlton">Jean Carlton</a>, soprano, with harp, and flute, played by Musical Club's <a target="_blank" href="https://www.courant.com/news/connecticut/hc-xpm-1999-12-02-9912020020-story.html" alt="Ruth Dorsey">Ruth Dorsey</a> (Jean Carlton's sister) also gave a delightful program. On May 4, 1944, a local vocal student, Teresa Stitch, then sixteen years of age, was a guest performer. She sang again for the Club on a regular program on December 10, 1948. The Musical Club assisted her financially when she went to New York and felt well rewarded for its interest and support when she became a singer at the Metropolitan. As <a target="_blank" href="https://en.wikipedia.org/wiki/Teresa_Stich-Randall" alt="Teresa Stitch-Randall">Teresa Stitch-Randall</a> she made many recordings, became a member of the Vienna State Opera and was internationally recognized for her singing of Mozart. The membership stood at 281 at the end of the season. In 1944-1945 an important change was made in the policy of the Club. There were two morning programs each month on the first and third Thursdays. December was an exception, with programs on the first and second Thursdays. All meetings were scheduled at 10:45 o'clock. Dues were $5.00. Concerts were given by the <a target="_blank" href="https://en.wikipedia.org/wiki/Budapest_String_Quartet" alt="Budapest String Quartet">Budapest String Quartet</a>; <a target="_blank" href="https://www.genealogy.com/forum/surnames/topics/vankirk/462/" alt="Mary van Kirk">Mary van Kirk</a>, contralto; <a target="_blank" href="https://www.pristineclassical.com/collections/ensemble-roth-quartet" alt="Roth String Quartet">Roth String Quartet</a>; and <a target="_blank" href="https://www.lib.umd.edu/ipam/collections/jane-carlson" alt="Jane Carlson">Jane Carlson</a>, piano. Sale of tickets for the Budapest amounted to $214.00. The Schedule was not exceptional, the attendance rather small, and all events were held in the Colonial Room. An innovation occurred before the opening meeting: "A reception was held to greet new members" at 10:00 a.m. A Christmas program, with a vocal group led by Gertrude Brady featured candlelight and audience participation. Considerable controversy concerned the admission of Active members and resulted in new rules. Members were reminded that "Active membership should be worked for and prized." One of the Musical Club's programs was presented over WTIC! By May the total membership had increased to 338 and the Treasurer's report was pleasing: U.S. Savings Bonds $2,100.00 Bank Deposits 1,487.96 Total Assets $3,587.96 With a wider variety of instrumentalists in 1945-1946 the membership presented more ensemble groups, adding still greater diversity to the music heard. The total membership grew to 349. In her retiring President's speech Mrs. Weld recommended the formation of a group of experienced Active members to serve as advisors. Many years later this became a reality with the creation of the Council of Past Presidents. In the season 1946-1947 the number of standing committees increased. Since the Musical Club had acquired a variety of musical scores, a Librarian, <a target="_blank" href="https://www.legacy.com/us/obituaries/hartfordcourant/name/muriel-ainley-obituary?id=24593745" alt="Muriel Ainley">Muriel Ainley</a>, was appointed. Her delightful, highly original and witty reports in prose and verse, indicative of her many talents, animated many Annual Meetings. The concerts offered two singers; cello and piano; and the Budapest String Quartet. The Schedule indicated that there were no new centuries nor composers to discover! Anniversary celebrations for Mozart and Brahms provided programs in depth. ​<a target="_blank" href="https://en.wikipedia.org/wiki/Mildred_P._Allen" alt="Mildred Allen">Mildred Allen</a> served her second term as President. The wife of Hartford's former Mayor, <a target="_blank" href="https://en.wikipedia.org/wiki/Edward_N._Allen" alt="Edward N. Allen">Edward N. Allen</a>, she later became Secretary of the State of Connecticut. An excellent pianist, she was also gracious and charming. Her many contacts with musicians in New York enabled Musical Club to engage talented young musicians at reasonable fees. This afforded them a sympathetic audience and valuable press notices. <a target="_blank" href="https://en.wikipedia.org/wiki/Gary_Graffman" alt="Gary Graffman">Gary Graffman</a> was one of such young artists whom she introduced to the Club. In May 1947 the financial assets were listed at $1,615.51 and the membership at 363. The season 1947-1948 opened with a reception and a piano recital by <a target="_blank" href="https://www.legacy.com/us/obituaries/stltoday/name/audrey-hammann-obituary?id=2993952" alt="Audrey Kupperstein">Audrey Kupperstein</a>, daughter of an Associate member. She was then beginning her concert career. The <a target="_blank" href="https://www.discogs.com/artist/2998374-The-Albeneri-Trio" alt="Albeneri Trio">Albeneri Trio</a> performed beautifully, and the Schedule was very imaginative. Several developments in its organization added vigor to Musical Club life. A new standing committee was established to administer the Musical Club Memorial Fund for Gifts and Scholarships. This seemed necessary as appeals for funds were more numerous, and the Club's interest in helping other musical organizations as well as individuals had grown considerably. Muriel Ainley was invited to organize and conduct a chorus of Active and Associate members. This offered all members an opportunity to perform in the vocal ensemble. Also, a Hospitality Committee was formed to be responsible for Reception meetings. Regretfully, the Treasurer reported that the Musical Club was in the red $24.51, pointing to the need for a Finance Committee. The revision of the Constitution and By-Laws in 1948-1949 was the important event of that season. Handling funds donated by members for the specific purpose of Gifts and Scholarships made it necessary for Musical Club to become an incorporated body under the laws of the State of Connecticut. Its books were to be audited yearly by a Certified Public Accountant. A Manual for Committees was compiled. The Constitution and By-Laws Committee (<a href="http://musicalclubhartford2.org/content/maida-bryant-(1875-1976)/1067" alt="Mrs. Bryant">Mrs. Bryant</a>, <a href="http://musicalclubhartford2.org/content/viola-vanderbeek-(1870-1973)/1063" alt="Miss Vanderbeek">Miss Vanderbeek</a>, and Miss Rose, Chairperson) worked for several years on these changes, supported and encouraged by the Executive Board. ​<a target="_blank" href="https://faultbook.blogspot.com/2010/09/mary-b-davenport-1919-2010.html" alt="Mary Davenport">Mary Davenport</a>, contralto, donated her services for a scholarship recital held at the home of Mrs. Joseloff. A $100.00 scholarship was awarded to Teresa Stitch for study in New York. $50.00 for scholarship aid was sent to each of the two local music schools, The Hartford School of Music and the Julius Hartt School of Music, in appreciation of the contributions made to Club programs by their respective faculties. It should be noted that $50.00 also was sent to the <a target="_blank" href="https://www.macdowell.org/about" alt="MacDowell Colony">MacDowell Colony</a> as had been customary for many years. In 1949-1950 the Christmas program featured the Vocal Ensemble in a Bach Cantata, which honored the 200th Anniversary of the composer's death. In January <a target="_blank" href="https://en.wikipedia.org/wiki/Pierre_Bernac" alt="Pierre Bernac">Pierre Bernac</a>, baritone, and <a target="_blank" href="https://en.wikipedia.org/wiki/Francis_Poulenc" alt="Francis Poulenc">Francis Poulenc</a>, composer-pianist, charmed a large audience in the Colonial Room. Mrs. Allen entertained the Club at a buffet supper at her home afterward. The <a target="_blank" href="https://en.wikipedia.org/wiki/Daniel_Guilet" alt="Guilet">Guilet</a> String Quartet played in April. At the mid-winter business meeting reports of growth in membership (400) and in scholarship funds ($1,035.00) were encouraging. In May the Club contributed funds for a cello and case to the Hartford Instrumental Foundation for use in the public schools, and it continued to support this educational project for several decades. Also, $500.00 was given to help present programs in the public schools by members of the <a target="_blank" href="https://en.wikipedia.org/wiki/Hartford_Symphony_Orchestra" alt="Hartford Symphony Orchestra">Hartford Symphony Orchestra</a>. On November 2, 1950, a Reception and 60th Anniversary Program was presented. The stage of the Colonial Room was decorated to represent a typical living room of the 1890s, complete with sofa, pictures, tabouret and fern, easel and elaborate "throw" over the piano. Miss Vanderbeek read a short paper relating to the beginning of the Club. The performers wore costumes of (approximately) the period. The Board meeting on April 19, 1951, was held at the home of the president, Mrs. McKown. When the meeting closed at 12:00 noon, the radio broadcast the significant retirement speech which General MacArthur made before Congress. To hear this "live" was impressive and everyone present shared the historical event. In July the Board voted to give $100.00 to <a target="_blank" href="https://en.wikipedia.org/wiki/Betty_Allen" alt="Betty Allen">Betty Allen</a> to help defray her summer expenses at the Berkshire Music Center at Tanglewood. This experience for Miss Allen came at an opportune time in her musical life. While there she met many talented students, and her vocal skill was recognized by <a target="_blank" href="https://en.wikipedia.org/wiki/Leonard_Bernstein" alt="Leonard Bernstein">Leonard Bernstein</a>. When she married and moved to New York her rise in the concert world was steady. She sang for the Club in January 1952 and was voted an Active member in 1953. For many years Miss Allen had lived in Hartford and was a protegee of Dr. Eleanor Hope Johnson. She also studied with other local teachers and was a voice student of Sara Peck More of New York. She became a soloist with the <a target="_blank" href="https://en.wikipedia.org/wiki/Boston_Symphony_Orchestra" alt="Boston Symphony Orchestra">Boston Symphony Orchestra</a> (among others), sang in oratorio, and toured in Europe and South America. In July 1980 after three decades of concertizing, Miss Allen became director of the <a target="_blank" href="https://en.wikipedia.org/wiki/The_Harlem_School_of_the_Arts" alt="Harlem School of the Arts">Harlem School of the Arts</a>, founded by <a target="_blank" href="https://en.wikipedia.org/wiki/Dorothy_Maynor" alt="Dorothy Maynor">Dorothy Maynor</a>. To increase the Scholarship Fund the Club sponsored a Scholarship Tea on May 22, 1951 at the Governor's Mansion where the hostess was Mrs. John Cabot Lodge. Most appropriately, the performer was <a target="_blank" href="https://www.lib.umd.edu/ipam/collections/jane-carlson" alt="Jane Carlson">Jane Carlson</a>, pianist, a former recipient of scholarship aid. The proceeds were $902.50. At the May business meeting total assets were listed as $2,143.90. After luncheon Mrs. Weld, a former president, spoke of our love, respect for, and recognition of the varied contributions made to the Musical Club by Miss <a href="http://musicalclubhartford2.org/content/viola-vanderbeek-(1870-1973)/1063" alt="Viola Vanderbeek">Viola Vanderbeek</a> and <a href="http://musicalclubhartford2.org/content/maida-bryant-(1875-1976)/1067" alt="Mrs. Edward B. Bryant">Mrs. Edward B. Bryant</a>. Active members had contributed to the gifts presented: a gold circlet pin with forget-me-nots to each; to Miss Vanderbeek a traveling case; and to Mrs. Bryant a typewriter. Further recognition of the 60th Anniversary of the Musical Club consisted of a large birthday cake which was shared by all present. ​​​(written by Priscilla E. Rose and excerpted from The Pursuit of Music, Vol. I)

Musical Club of Hartford: Paths of Courage

A copy of the newly revised Constitution and By-Laws was sent to each member in the fall of 1951. The Christmas program to which guests were invited was of secular character and sung in costume by the Vocal Ensemble. Because of the rather poor attendance at events, it was suggested by <a href="http://musicalclubhartford2.org/content/viola-vanderbeek-(1870-1973)/1063" alt="Miss Vanderbeek">Miss Vanderbeek</a> that a newsletter be sent containing the list of coming Musical Club concerts and items of special interest related to our regular meetings. The first Bulletin was published in December 1952 and proved to be so popular that it has continued ever since. In 1952 three concerts were of rare quality: <a target="_blank" href="https://www.clevelandjewishnews.com/archives/eunice-podis/article_a155130a-a15a-5b0c-be91-521d1b06b28c.html" alt="Eunice Podis">Eunice Podis</a>, pianist: the <a target="_blank" href="https://en.wikipedia.org/wiki/Quartetto_Italiano" alt="Quartetto Italiano">Quartetto Italiano</a>; and the <a target="_blank" href="https://www.discogs.com/artist/2998374-The-Albeneri-Trio" alt="Albeneri Trio">Albeneri Trio</a>. The total cost was $1,350.00. An additional voice recital by Alice Howland was made possible due to the excellent state of the treasury. The Coffee Hour, or Reception, became a regular opening event for both the November and February programs, and the season ended with a membership of 373. In April 1953 Mrs. Ellison and Miss Rose announced that a "Study Group" would meet at Mrs. Ellison's home during the next season for the purpose of studying new or less familiar music. All members of the Club were invited to attend. From 1953-1954 through 1957-1958 the Study Group was listed as a standing committee. In the 1958-1959 Yearbook the title "Musical Exploration" was first used, and four dates were assigned, with "place of meetings to be announced". The attendance gradually increased and by 1974 it had outgrown private homes. The value of this educational project bad proven its worth. 1953 was an important year for the Club. It was voted to present all concerts in the n1orning. It was also decided at the suggestion of <a target="_blank" href="https://en.wikipedia.org/wiki/Fritz_Mahler" alt="Fritz Mahler">Fritz Mahler</a>, Conductor of the <a target="_blank" href="https://en.wikipedia.org/wiki/Hartford_Symphony_Orchestra" alt="Hartford Symphony Orchestra">Hartford Symphony Orchestra</a>, to commission a work by an American composer, at a fee of approximately $500.00. A committee was appointed to confer with Mr. Mahler. and finally, <a target="_blank" href="https://www.bach-cantatas.com/Lib/Harris-Roy.htm" alt="Roy Harris">Roy Harris</a> was chosen. A Lecture-Recital by Mr. Harris and his wife, Johana, pianist, occurred on the morning following the performance of his commissioned composition for piano and orchestra, "A Folk Song Fantasy", played by the Hartford Symphony with Mrs. Harris as soloist on November 17, 1954. In May 1953 a Scholarship Tea at the home of Mrs. Guiness, with <a target="_blank" href="http://www.halefuneralhome.com/?action=obituaries.obit_view&amp;o_id=426691&amp;fh_id=10707" alt="Rawn Spearman">Rawn Spearman</a>, tenor, as visiting artist, furnished a profit of $440.64, as well as a happy social time. The Vocal Ensemble presented <a target="_blank" href="https://en.wikipedia.org/wiki/Benjamin_Britten" alt="Benjamin Britten">Benjamin Britten</a>'s "<a target="_blank" href="https://en.wikipedia.org/wiki/A_Ceremony_of_Carols" alt="Ceremony of Carols">Ceremony of Carols</a>" in December 1953, an ambitious project, very well performed.Chester Watson, tenor, sang at Mrs. Roberts's home in May 1954 for the benefit of the Scholarship Fund. This was the last event of its kind because it entailed a great deal of work for relatively little profit. It was decided to ask for voluntary donations with payment of dues. This was a wise decision because annual donations have averaged five hundred dollars or more since then. In May 1954 there were 380 members, and a balance on hand of&nbsp;$1,493.48. A total of $450.00 was awarded to aid the <a target="_blank" href="https://www.macdowell.org/about" alt="MacDowell Colony">MacDowell Colony</a>, the Hartford Instrumental Foundation, and the General Fund of the Hartford Symphony. In 1954-1955 to ensure that the public was aware that the Musical Club was a "private" club, it was required that all members present their membership cards at the door. Guest days were indicated in the Yearbook. Today, for a small fee, guests are welcome at all regular meetings. The fame of the Vocal Ensemble spread beyond the borders of the state and in the spring of 1955 the group was invited to give a concert for the Longmeadow, Massachusetts, Woman's Club for a fee of $30.00! In 1955-1956, Associate members were included on standing committees and committees for the day. Later it was decided to ask Associate members to serve only on the Hospitality, Ushers and Stage committees. The season ended with a membership of 393. The program for December 6. 1957, "Music of the Holiday Season", was ecumenical: Hannukah songs by the Emanuel Synagogue Junior Choir; two songs by the Greek Orthodox Choir: Traditional Carols by the Vocal Ensemble; and familiar Christmas carols sung by the audience, led by Muriel Ainley. Betty Allen volunteered to give a scholarship benefit recital for Musical Club. The profit was $464.31. This exception to the avowed plan was most interesting but the return to voluntary contributions was considerably more desirable. <a target="_blank" href="https://en.wikipedia.org/wiki/Gerald_Moore" alt="Gerald Moore">Gerald Moore</a>. the renowned accompanist, gave a lecture-recital, "The Accompanist Speaks", which was the most unusual feature of the season. Parking at the Bushnell had become a grave problem and discussion&nbsp;about a future meeting place addressed a real issue. In 1959 the Club sponsored a Vanguard recording of Purcell Suites by the Chamber Orchestra of the Hartford Symphony with 5% of the royalty to be paid to the Club. We guaranteed $500.00, but the final cost (music, etc.) was $693.00. The recording took place on April 28, 1960. Forty-three members subscribed and eventually a small profit was made. ​​​(written by Priscilla E. Rose and excerpted from The Pursuit of Music, Vol. I)

Musical Club of Hartford: Changing Times

The Yearbook, with a golden cover, listed three concerts and an impressive Schedule: Rhythmic Progress; The Influence of Successive Cultural Eras upon Musical Form; and The Rise of Democracy - Freer Musical Forms. Seventeen programs were planned in detail by Miss Vanderbeek and her committee to encourage and stimulate Active members to greater efforts and to provide Associate members with a broader and deeper view of musical progress. A lecture on Primitive Rhythms by Professor Malcolm Pitt, with illustrative instruments, led up to the "Radicals - Poulenc, Bloch, and Schoenberg". A song recital by Maria Jelmar in November was followed by a gala event in the auditorium of the Bushnell - a two piano recital by <a target="_blank" href="https://en.wikipedia.org/wiki/Josef_Lh%C3%A9vinne" alt="Josef">Josef</a> and <a target="_blank" href="https://en.wikipedia.org/wiki/Rosina_Lh%C3%A9vinne" alt="Rosina Lhévinne">Rosina Lhévinne</a>, both at the height of their careers. Pianists from miles around attended and were awed by Mr. Lhévinne's performance of both Opus 10 and Opus 25 of the Chopin Etudes. Invitations for the Anniversary Dinner, November 25, 1940 were printed in gold ink and a program by the Yale Marionettes was planned to follow the dinner and speeches. The sudden death of Mrs. Normand F. Allen, an Associate member and the mother of Musical Club's President, Norma Allen Haine, cast a shadow on these plans. Her funeral was held on the afternoon of the day of the Anniversary Dinner, so it was decided to postpone that celebration until later in the season. Mrs. Allen was a patron of the arts and a personal friend of many members. President of Sage-Allen, a large department store, she was active in civic affairs and her daughter-in-law, Mildred, was Chairman of the Concert Committee of the Club at that time. The postponed Anniversary Dinner took place on April 28, 1941 at the Town and County Club. A large attendance taxed the capacity of the ballroom. Following the dinner a brief history of the founding of The Musical Club and its early struggles and triumphs was read by Miss Vanderbeek. Regrettably, our first President, Miss Frances Hall Johnson, was confined to her home as the result of a heart condition but she sent warmest greetings and a special message to all who were there. The entertainment which followed the dinner is best described by a quotation from Mrs. Haine's presidential report at the Annual Meeting in May: "The Entertainment Committee consulted Mr. A. Everett Austin, Curator of the Avery Memorial, and asked that he present an entertainment. All of you, I know, were disappointed in this feature of the program because, apparently, Mr. Austin lost complete sight of what we would really like, and produced poorly a Noel Coward bedroom farce of little merit. The Committee and I can only apologize. The play was neither what we wished or expected. When we celebrate our 100th Anniversary we will feel more confident that Musical Club talent is far superior to art society talent and we will insist on our members providing the entertainment, this lesson having been learned by bitter experience, the greatest of all teachers." <span style="color: rgb(31, 31, 31); font-family: &quot;Open Sans&quot;, &quot;Segoe UI&quot;, Tahoma, Geneva, Verdana, sans-serif; font-size: 18px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; background-color: rgb(255, 255, 255); text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; display: inline !important; float: none;">(written by Priscilla E. Rose and excerpted from&nbsp;The Pursuit of Music, Vol. I<span style="color: rgb(31, 31, 31); font-family: &quot;Open Sans&quot;, &quot;Segoe UI&quot;, Tahoma, Geneva, Verdana, sans-serif; font-size: 18px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; background-color: rgb(255, 255, 255); text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; display: inline !important; float: none;">)&nbsp;&nbsp; TO THE MUSICAL CLUB OF HARTFORD ON ITS FIFTIETH ANNIVERSARY Music! most personal, most creative art - Commanding the devotion of our years. In one, the singing gladness of the heart And the essence of our tears! Music is nature's pure upwelling spring To which our simple happiness gives birth; The joyous cry or tender murmuring Of all the loveliness of earth. It is the cool green sound of summer seas In endless chanting on the windy shore; It is the leafy voices of the trees Whose sheltering arms protect our door. Music is sacred fire and deep unrest; The spirit kindled by this holy flame Must follow evermore an eager quest, Impelled by love and not by hope of fame. Tonight, in looking backward through the years, Perchance the wind of yesterday will blow Sweetly to our pensive, waiting ears, The faint, forgotten tunes of long ago. We walk together on the elusive shore Of Memory--and many a radiant dream, Dissolved and lost--and faces loved before, Drift back upon the misty stream. We have created beauty in glad union Through half a century! These early few Who laid the cornerstone for our communion, Builded better than they knew! Upon our precious heritage we build With hearts and strings and voices pulsing free. To those who follow us, will be fulfilled Our testament--a living symphony. Strong, as high endeavor makes it strong; Rich, as loving gives us love to spend. So while the tragic world has need of song, Oh let us give great music to the end! Gertrude Damon Fothergill 1941

Musical Club: Golden Anniversary

With a membership of 525, once more there was a need for more space. 1930-1931 took Musical Club to the Colonial Room of the newly erected Bushnell Memorial, a building located one block south of 91 Elm Street where the Club had held its meetings from 1916 to 1920. There were also two concerts at Unity Hall and two recitals in the Woman's Club Hall. It was felt that some of the serious study aspects of Musical Club had been neglected, so two senior members wrote excellent papers to supplement the regular programs. Under the heading of "Influence of Environment upon the Creative Mind", Miss Vanderbeek spoke eloquently and Miss Bissell read a scholarly paper on "Ancient Instruments". In her book "Musical Memories of Hartford" (1931), Miss Frances H. Johnson paid tribute to Musical Club's origin, development and contribution to the musical life of Hartford. On January 28, 1932, Mrs. Ansel G. Cook, one of the Club's senior members, wrote a skit, "An Evening with Liszt". She appeared as the composer, with other members as Joseph Joachim, Clara Schumann, and Hans von Bulow. Music appropriate to the occasion was performed and all wore costumes--more or less accurate--of the period. In May, 1932 there was a deficit of $172.00. That year also marked the Bicentennial of the founding of Center Church, Hartford's first church, and of the birth of George Washington. Musical Club's tribute to those anniversaries, and to its own Fortieth Anniversary, was a program at the Colonial Room, in costume, by members and two non-member male singers. It consisted of a few short pieces by Mozart played by Stephen Pierce, aged 9, and the opera "Bastien and Bastienne" by Mozart. For a "grande finale" the "Battle of Prague", a piano war horse of the 1700s, was played by Mabel W. Wainwright (1869-1957). She was attired in a white satin costume worn by her Colonial ancestor, Wyllys Wainwright, complete with cocked hat and sword--which she removed when she played! This was a much-needed happy and gala occasion during the depression years of anxiety and discouragement. In the early days of the Club, the sociability of the small group was one of its assets, but with a larger membership it had become an impossibility. In 1932 it was voted to serve coffee before morning musicales at the Woman's Club. This refreshment hour was initiated by Mrs. A. J. W. Myers, President, who said "it becomes feasible and should increase the general flow of friendliness". Seeking new ways to do things, Mrs. Myers continued in her report, "We shall not fall into the sad way of worshiping 'things as they were'... We need music now, more than ever, to stimulate courage." The concerts were of exceptional caliber: the <a target="_blank" href="https://en.wikipedia.org/wiki/Antonio_Brosa" alt="Brosa String Quartet">Brosa String Quartet</a>; <a target="_blank" href="https://en.wikipedia.org/wiki/Elisabeth_Schumann" alt="Elisabeth Schumann">Elisabeth Schumann</a>, soprano; and <a target="_blank" href="https://en.wikipedia.org/wiki/Martha_Baird_Rockefeller" alt="Martha Baird">Martha Baird</a>, pianist. Miss Baird married <a target="_blank" href="https://en.wikipedia.org/wiki/John_D._Rockefeller_Jr." alt="John D. Rockefeller, Jr.">John D. Rockefeller, Jr.</a> and became a patron rather than performer of the Art of Music. In later years her husband established the Martha Baird Rockefeller Foundation to help young and struggling musicians in the beginning years of their careers. 1933-1934 brought to Musical Club more chamber music concerts and a schedule featuring individual composers. On December 14, 1933 the first Christmas program was listed. This new feature soon became a fixed part of the Schedule for over forty years. With a membership totaling 364 the finances were in good order. The season 1934-1935 offered "Hansel and Gretel" by a professional company performed at the Woman's Club; <a target="_blank" href="https://en.wikipedia.org/wiki/Henry_Cowell" alt="Henry Cowell">Henry Cowell</a>, American composer, in a lecture-recital; <a target="_blank" href="https://en.wikipedia.org/wiki/Jes%C3%BAs_Mar%C3%ADa_Sanrom%C3%A1" alt="Jesús María Sanromá">Jesús María Sanromá</a>, pianist; and the Philharmonic String Quartet. The membership dropped by 30, but with a savings account of $6,500.00 and a Student Fund of $620.00, the Musical Club was solvent at a time when many organizations were forced to disband. Maier and Pattison returned again in 1935-1936 in a duo piano recital, and <a target="_blank" href="https://en.wikipedia.org/wiki/Nicolas_Slonimsky" alt="Nicholas Slonimsky">Nicholas Slonimsky</a> gave a lecture-recital on March 19, 1936. After Mr. Slonimsky had spoken for about twenty minutes, William H. Mortensen, Director of the Bushnell Memorial, interrupted with a fateful announcement. The flood waters from the Connecticut River were overflowing into the lower East Side; Bulkeley Bridge, the only access to East Hartford at that time, would be closed within twenty minutes! We immediately adjourned. Mr. Slonimsky was taken to his room at the Hotel Bond and members hurried to their homes. The waters soon overflowed Bushnell Park, the Railroad crossing to the south, and into the lobby of the Hotel Bond. Our poor lecturer was unable to leave the hotel until the following Monday when he checked out of a water-filled lobby by boat, thence to the railroad station, and on to New York. In 1936-1937 the Bushnell Memorial management approached the Musical Club and suggested joint concerts by artists whom neither group could afford to sponsor alone. We agreed to that plan, and on May 6, 1937, <a target="_blank" href="https://en.wikipedia.org/wiki/Marian_Anderson" alt="Marian Anderson">Marian Anderson</a>, contralto, fresh from her European triumphs, sang under these joint auspices. Because she was more-or-less unknown to local music lovers, the seat sale was almost a disaster. By noon we had decided to "paper the house". This was done and a respectable audience greeted the great singer whose artistry was appreciated for its quality. The concert was a great musical success and shortly thereafter, Miss Anderson's New York debut placed her in the top rank of concert artists, far beyond local financial reach. On April 7, 1938, a concert by <a target="_blank" href="https://en.wikipedia.org/wiki/George_Enescu" alt="George Enescu" class="on">George Enescu</a>, violinist-composer, co-sponsored with the Bushnell Memorial, was another superb artistic success but less so financially. To have heard and seen this great musician, however, was a memorable experience for everyone. All meetings and concerts were held in the Colonial Room in 1938- 1939, and the Schedule was planned according to "Periods". The February luncheon at the Y.W.C.A. cost sixty-five cents! There were three concerts and one lecture the following year, (1939- 1940), and the Past Presidents were made an Honorary Committee to assist in planning the fiftieth anniversary in 1940-1941. In 1939-1940, the Musical Club enjoyed two Chamber Music Concerts and a Voice Recital by Grace Preston Naylor (Junior), the daughter of the Club's Vice-President. After her marriage to George D. Royster, the singer returned to Hartford and became actively engaged in Musical Club activities. This was the second event given by the daughter of a member, the first having been a Folk Song Recital by Ellenor Cook, daughter of Mrs. Ansel G. Cook. Shortly after World War I Mrs. Cook and her daughter toured the Balkan States and mid-European countries collecting songs and costumes, and learning native dances. A colorful and charming series of programs resulted from their sojourn. They were entertained by Queen Marie of Romania for tea, surely the only members of the Club ever to be so honored in the ninety years of its existence. In 1939-1940, two highly valued members passed on: Miss Lillian L. Bissell, teacher, pianist, and musician, who contributed richly to programs from the mid-1890s until ill health forced her to retire forty years later; and Mrs. Maud Tower Peck, a capable club woman, fine musician, and accompanist for thirty-five years, whose astute judgment and camaraderie were enjoyed. Norma Allen Haine was re-elected President in 1940 for the fifth term, the only President so honored.

Musical Club of Hartford: Hard Times - The Middle Years

​ The 125th Anniversary Committee, chaired by&nbsp;Walter and Anne Mayo, included Virginia Allen, Beth Berman, Nicole Chapman, Robert Connell, Michelle Duffy, Joan Fine, Claudia&nbsp;Gwardyak, Laura Holleran, Miriam Kennedy, Laura Mazza-Dixon, Ami&nbsp;Montstream, Russ Salk, David Schonfeld and Anita Wilson. The Committee’s goal was to have&nbsp;substantial member participation in the Anniversary Year and the&nbsp;planning process began with the Schedule Committee. Anne Mayo and&nbsp;Ginny Allen spent an afternoon at the CT Historical Society, looking&nbsp;through old file folders and past Musical Club programs. In their&nbsp;search they found a file folder full of old autographed programs: Marian Anderson, Pablo Casals,&nbsp;duo-pianists Josef and Rosina Lhevinne and others. This seemed&nbsp;instantly appealing, and a theme was born: “Autographs.” Anne and Walter had contacted Connecticut&nbsp;Explored magazine to see if they might print an article about Musical&nbsp;Club, to appear in their 2015 Fall issue. They agreed to do so, and&nbsp;their staff writer Jennifer Huguet created a six-page spread about&nbsp;Musical Club, including a number of old photos also unearthed at the&nbsp;Historical Society. So that the article could reach all Musical Club&nbsp;members, with the permission of Connecticut Explored Anne included a&nbsp;reprint of the article in a Souvenir Program of the year’s schedule, mailed to all&nbsp;members with postage courtesy of the magazine. The Souvenir Program also included reprints of some articles from Musical Club’s past, like an account of the early years by Viola Vanderbeek, along with photos of the performers who had autographed the original programs.​

125th Anniversary Season

At the Annual Meeting on May 4, 1911, the second decade of the Musical Club ended with a membership of 391. This Twentieth Anniversary, which fell on the exact date of the founding, was the first official recognition of Musical Club's history. The reading of a resume of the first twenty years by the President pointed hopefully to a "bright future for our Club". In the interest of economy, less well-known artists were engaged for the concerts. In 1912-1913 this proved to be a mistake and many Associate members resigned in protest, resulting in a deficit at the end of the year. We mended our ways immediately, and the next season brought <a target="_blank" href="https://en.wikipedia.org/wiki/Julia_Culp" alt="Julia Culp">Julia Culp</a>, mezzo-soprano, from the Metropolitan Opera for a concert at Parsons' Theatre; <a target="_blank" href="https://en.wikipedia.org/wiki/Arthur_Batelle_Whiting" alt="Arthur Whiting">Arthur Whiting</a>, pianist, from Boston; and a mixed vocal quartet also from Boston, both at Unity Hall. The program for that year was built around the theme of "Nationalism". On the days devoted to this topic, examples of folk music revealed clear influence upon "developed" music. On April 3, 1913, it was decided to ask for voluntary contributions to cover the deficit in the treasury. Also, a committee was appointed to "investigate new music" and members gave programs for "the less privileged groups in Hartford". The membership fluctuated from 254 in 1913 to 329 in 1918. The Schedule for 1914-1915 began with "ROME: Early Classic 1550- 1700" and continued chronologically. Two programs were devoted to VIENNA and one to "PARIS: Ultra Modern, 20th Century, 1900-1919". These were followed by "Negro Tunes and Spirituals" and "Miscellaneous", concluding with a "Request Program" on April 24th. The most popular topic through the first three decades was MISCELLANEOUS. This provided free choice for the performer, enabling the member with a somewhat limited repertoire to repeat a number every few years, and the ambitious member to present new, less familiar, or more daring works. A concert by the renowned <a target="_blank" href="https://en.wikipedia.org/wiki/Flonzaley_Quartet" alt="Flonzaley String Quartet">Flonzaley String Quartet</a> and a joint recital by <a target="_blank" href="https://en.wikipedia.org/wiki/Pablo_Casals" alt="Pablo Casals">Pablo Casals</a>, cello, with <a target="_blank" href="https://en.wikipedia.org/wiki/Povla_Frijsh" alt="Povla Frijsh">Povla Frijsh</a>, soprano, were greatly enjoyed. This was the first of many concerts given by the quartet and of several by Mme. Frijsh. On February 3, 1915 there was a joint recital by <a target="_blank" href="https://en.wikipedia.org/wiki/Ossip_Gabrilowitsch" alt="Ossip Gabrilowitsch">Ossip Gabrilowitsch</a>, piano, and his wife, <a target="_blank" href="https://en.wikipedia.org/wiki/Clara_Clemens" alt="Clara Clemens">Clara Clemens</a>, soprano, at Foot Guard Hall. The singer, a daughter of <a target="_blank" href="https://en.wikipedia.org/wiki/Mark_Twain" alt="Mark Twain">Mark Twain</a> and former resident of Hartford, had many friends here and it was a gala occasion. When The Hartford School of Music moved from 8 Spring Street to 91 Elm Street in 1916, the Club continued to meet in its Recital Room for several years. With the clouds of war spreading over Europe the musical scene changed. Musicians in war areas fled to neutral countries or were confined in their homelands. Berlin and Vienna ceased to be music centers; Paris was besieged. In this country strong anti-German groups were formed to support the Allies. Kreisler was mobbed at concerts. <a target="_blank" href="https://en.wikipedia.org/wiki/Karl_Muck" alt="Dr. Karl Muck">Dr. Karl Muck</a> refused to conduct our National Anthem at a concert in Boston, and in some areas German-born musicians were harassed. It resulted in freeing musicians from the strong Teutonic influences of the preceding half century, and we turned to the music of the Allies and the United States, broadening our musical horizons. Some members of the Musical Club worked in factories on Capitol Avenue while their menfolk were at the Front. Attendance at meetings and concerts suffered somewhat. Many knitted as they listened, but Musical Club tried bravely to "keep going". Miss Bissell, in her President's Message in May, 1918, spoke meaningfully:&nbsp;"It is only just to our better selves that we keep alive our interest and intimate association with music and let it do for us all that it is capable of doing in the otherwise material life which we are obliged to live at this particular time. The inestimable value of the quiet hour of music [the Club provides] in these days of constant strain should be treasured." Determined to "maintain our high standards", the 1918-1919 Yearbook listed more ambitious ideas, such as "Periods of Music in Great Cities: Rome, Vienna, Leipzig, Petrograd and Paris". On December 17, 1918, <a target="_blank" href="https://en.wikipedia.org/wiki/Guiomar_Novaes" alt="Guiomar Novaes" class="on">Guiomar Novaes</a>, then very young, gave a piano recital at Unity Hall. Her program contained works by Granados, Franck, Philipp, and Debussy. "Too much unfamiliar music" was the criticism by our members. They missed "the three Bs"! In 1919-1920, a crisis arose which nearly split the Club apart. It had been evident for some time that the recital room at the School of Music on Elm Street was too small. Musical Club had a waiting list and needed the income which a larger membership would provide. A "Committee of Investigation" presented a solution: move the regular meetings to the Center Church House, 60 Gold Street--one block away. A number of the Active members resisted the move because severing the association with the Hartford School of Music broke a long tradition. Some also felt that the Church House "lacked a musical environment". The rental fee was less expensive but there was a rental charge for a piano for the season. A questionnaire was mailed to each Active member requesting an unsigned reply. The majority favored the move, so the next season began in the new location. ​<span style="color: rgb(31, 31, 31); font-family: &quot;Open Sans&quot;, &quot;Segoe UI&quot;, Tahoma, Geneva, Verdana, sans-serif; font-size: 18px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; background-color: rgb(255, 255, 255); text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; display: inline !important; float: none;">(written by Priscilla E. Rose and excerpted from The Pursuit of Music, Vol. I) ​

Musical Club: The Early Years

Several volumes of The Pursuit of Music&nbsp;<span style="color: rgb(51, 51, 51); font-family: &quot;Open Sans&quot;, &quot;Segoe UI&quot;, Tahoma, Geneva, Verdana, sans-serif; font-size: 18px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; background-color: rgb(255, 255, 255); text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; display: inline !important; float: none;">have been published. Volumes that have been digitized cover the following years:<a target="_blank" href="http://musicalclubhartford.org/files/pursuit_of_music_vol_I.pdf" alt="1891-1981">1891-1981</a>&nbsp; (Vol. I) <a target="_blank" href="http://musicalclubhartford.org/files/pursuit_of_music_vol_II.pdf" alt="1981-1991">1981-1991</a>&nbsp; (Vol. II) <a target="_blank" href="http://musicalclubhartford.org/files/pursuit_of_music_vol_III.pdf" alt="1991-2001">1991-2001</a>&nbsp; (Vol. III) <a target="_blank" href="http://musicalclubhartford.org/files/pursuit_of_music_vol_IV.pdf" alt="2001-2016">2001-2016</a><span style="color: rgb(51, 51, 51); font-family: &quot;Open Sans&quot;, &quot;Segoe UI&quot;, Tahoma, Geneva, Verdana, sans-serif; font-size: 18px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; background-color: rgb(255, 255, 255); text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; display: inline !important; float: none;">&nbsp; (Vol. IV)​ <a href="http://musicalclubhartford.org/files/125th_commemoration_booklet.pdf" alt="​125th Anniversary Commemoration Booklet (2015)" target="_blank" class="on">​125th Anniversary Commemoration Booklet (2015)</a>