The Fadettes of Boston (1888-ca.1920) was an all-women orchestra based in Boston, Massachusetts, and directed by Caroline B. Nichols. "The original group of six expanded to twenty by 1898"[1] with "a first violin and director, four additional first violins, four second violins, two violas, two violincellos, two contrabassos, kettle-drums and a bass, two flutes and piccolo, two clarinets, two cornets, two French horns, three trombones, snare-drum and 'traps,' and piano-forte."[2] The group incorporated in 1895 as "the Fadettes of Boston."[3]
The Fadettes, ca. 1897The Gartland March, by Victor G. Boehnlein, 1907 "Featured from Coast to Coast with Tremendous Success by the Famous FADETTES WOMAN'S ORCHESTRA"
In 1898 "vaudeville manager B.F. Keith booked them into his theatres all over the United States. According to Nichols, between 1890 and 1920 the Fadettes gave over 6,000 concerts, half of them as headliners in first-class vaudeville theatres."[1] At a concert in Pittsburgh in 1902, for instance, the Fadettes played marches, waltzes, songs and arias by Frederic Field Bullard, Daniel Auber, Karl Michael Ziehrer, George M. Rosey, Victor G. Boehnlein [4] and others.[5] The group also performed at the Los Angeles Orpheum.[6]
The performers "wore shimmery gowns."[7] Among the musicians were Annie Andros Hawley,[8] Mildred Rogers,[5] and Lillian Thain (violin).[9] Nichols "conducted the orchestra for thirty years and trained over six hundred women for professional careers as orchestral musicians."[10]
Portrait of Carrie Nichols, conductor, ca.1897
Portrait of Ethel Atwood, orchestra founder, business manager and musician, ca.1893
Entrance to Keith's Theatre, Boston, with poster for the Fadettes, 1906
Judith Tick. "Women as Professional Musicians in the United States, 1870-1900." Anuario Interamericano de Investigacion Musical, Vol. 9 (1973), pp. 95-133
Frances E. Willard (1897), Occupations for women: A book of practical suggestions, for the material advancement, the mental and physical development, and the moral and spiritual uplift of women, New York: The Success Company, OCLC2665928, OL24361133M
Stan Singer. "Vaudeville in Los Angeles, 1910-1926: Theaters, Management, and the Orpheum." Pacific Historical Review, Vol. 61, No. 1 (Feb., 1992), pp. 103-113
Beth Abelson Macleod. "'Whence Comes the Lady Tympanist?' Gender and Instrumental Musicians in America, 1853- 1990." Journal of Social History, Vol. 27, No. 2 (Winter, 1993), pp. 291-308
Mary Brown Hinely. "The Uphill Climb of Women in American Music: Performers and Teachers." Music Educators Journal, Vol. 70, No. 8 (Apr., 1984), pp. 31-35
"Fadettes took name from a Sands novel." The Pittsburgh Press - Jun 16, 1907
Blanche Naylor, The Anthology of the Fadettes. Boston, 1937.
Johns Hopkins University, Levy Sheet Music Collection. Marie Louka (composer). The Fadettes; March & Two-Step. Philadelphia: World Publishing Co., 1904. "Dedicated to Mrs. Caroline B. Nichols, Director of the Fadettes of Boston, The Famous Ladies' Orchestra."
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