Sigma Alpha Iota

sai-national.org • Winter 2024 23 Music Histy At the Treasury Building there was a pageant of allegorical tableaux acted out. An orchestra performing the music from Wagner's Tannhauser accompanied these tableaux. No mention of whose orchestra this might have been is in any of the DC newspapers or the official program booklet. It was probably an all-male orchestra, but there were a number of all-female orchestras that were performing in 1913. The tableaux were timed to begin when the parade stepped off and they were to be completed as the parade marched into view at the Treasury Building. The parade and the tableaux began with no problems, but it quickly became apparent that the police were not going to quell the crowds who rushed into the street to block the parades' progress. The marchers, floats, horseback riders, etc., pushed their way through as best as possible. It took more than an hour for the parade to reach the Treasury Building and the rally site became more of a hospital than a stage for celebration. It is estimated that the crowd was half a million people, mostly men. The women in the parade were beaten, pulled from their horses, spit upon, and many were injured. The numbers range between 100 and 300 who were taken to hospitals. Ambulances could hardly get through the crowds. Finally, the militia was called in to restore order. But there is a silver lining. Remember that because of the inauguration, the city was filled with newspapermen. This became a lead story in virtually every newspaper across the nation. The notoriety of the 1913 Washington, DC parade caused other parades to spring up across the country and they were likely filled with women's bands. This renewed energy in gaining the vote came out of the newspaper coverage that had been long sought. One can only imagine that these events inspired women to compose more marches. Once the vote had been gotten, women continued to compose and to find that "necessary occupation" that Florence Nightingale had referenced. While composed after the ratification of the 19 th Amendment, Alice Bartell's way was paved by those who went ahead of her. We know that she must have lived in Chicago, because there is an address on the music that very likely was hers. Her march was quite possibly a piano selection first. Harry Alford, who was a big name arranger in the early 20th century, did the original band arrangement. Sadly, we know nothing else of Alice Bartell. She does not appear in either the 1920 or 1930 census. The US Marine March (1924) is dedicated to Gene Tunney. Gene Tunney served in the USMC during WWI. He began boxing as part of his duties in the service. When he returned to civilian life and the squared circle, he was nicknamed "The Fighting Marine," and if you aren't familiar with early pugilists, he was a champion. Marches and the military have always gone together. Various brigades and divisions had their own marches as far back as pre-civil war America. Band composers were commissioned to write these marches. Our next march is by Mrs. George F. Patton, Jr. Yes. That Patton. While women had fought for and won the right to vote by the time of this march, they were still struggling to find their voice when the US entered WWII. Notice that the march is by Mrs. George F. Patton, Jr. Did the publisher think it would sell better under the General's name? No doubt. It does, however, diminish the history and biography of Beatrice Ayer Patton. She grew up in a wealthy family in Lowell, Massachusetts. Educated in private institutions at a time when most women did not attend school, or go past the 8 th grade, she was bilingual and translated French Army Manuals into English for her husband. She was an accomplished equestrian, a fine lecturer, author, and composer of more than just the 2 nd Armored Division March. During WWII she covered the country doing war bond drives, where, I imagine, this march was played. To complete our soundtrack we have The Suffragettes March by Otto F. Schreiner. Otto Frederik Schreiner (21 Nov 1868-14 Nov 1952) was the son of Bavarian immigrants, but he was born in New York City. He was a musician who at one time worked for the Metropolitan Opera House. We know nothing of his musical training. It was not likely from his family as his father was a jeweler. Compositionally this march is extremely well done. My band didn't have double reeds so, I placed those parts in the alto Saxophone and bass clarinet. It parallels the double reed writing in the marches of John Philip Sousa. Sousa's favorite composer was Franz Joseph Haydn. So what of Otto F. Schreiner? What was his training? We only know of one other selection that he composed based on Gaudeamus igitur. Both pieces appear to have been published by Carl Fischer. The Suffragettes was published in 1910. But how does he learn to compose and why does it look Viennese? My best guess is that Otto studied with the father of his wife, Henrietta. She was born in Vienna but immigrated to the US with her family. I speculate that her father was Otto's teacher, and that he, like Sousa's teachers, knew the music of Haydn, Mozart and Beethoven. Women band musicians and composers were largely unreported in the period following the American Civil War to the beginning of the Civil Rights movement in the 1960s. Studying historic events often brings to light their stories. One hundred and some years later we can celebrate the achievements of these musicians and, hopefully, inspire research into others who can equally be judged to be The New Woman. Dr. Patricia Backhaus is a National Arts Associate initiated by the Milwaukee Alumnae Chapter in Epsilon A Province. She is a cornet/trumpet player, conductor, composer, and author of concert band mysteries (historical fiction) who is active in southeastern Wisconsin. Library of Congress, Music Division Library of Congress, Music Division

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