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Ann Arbor 200

A Full Dance Card: Ann Arbor's Chequamegon Band & Orchestra

It was a crisp Tuesday evening, the last week of April 1884. Hundreds of people gathered in downtown Ann Arbor. Outside a new brick building, near the corner of Ashley & Huron Streets, they waited for the city's first roller rink to open its doors. By the end of the night, roughly 700 people had enjoyed roller skating to the marvelous music performed by the Chequamegons. During intermissions, starstruck women approached the handsomely suited musicians, hoping to find a skating partner. The Chequamegons were in constant demand. Their performances always guaranteed a crowd. The Rink, as it was known, would eventually disappear into Ann Arbor's past. The Chequamegons may not sound familiar to you either, but this talented group of students laid the groundwork for University of Michigan bands and orchestras, and were shining stars in Ann Arbor's music history.

 

Chequamegon Orchestra
Chequamegon Orchestra, 1888. Back row, left to right: William D. Ball, Rollin E. Drake, Meade Vestal, Eli Moore, William W. Tidd, Ernest B. Perry, Carl Warden, Frank G. Plain. Front row, left to right: Henry M. Young, A. Ward Copley, Edward N. Bilbie, Lew H. Clement, Walter L. Moore. Courtesy Of The University of Michigan Bentley Historical Library

 

1880 - 1883: MUSICIANS WANTED

In the early, early days of the University of Michigan, music was not an educational offering. If a musical group was to form on campus, it was up to student musicians or vocalists to find each other, provide their own resources, and hatch a plan that everyone could agree on. Professional orchestras, like The City Band of Detroit, were hired from outside the university for major events like commencements. This is not to say that student musical groups didn't exist, but they came and went as frequently as the student population enrolled and graduated.

1883 mention
News of the band's appeal spread quickly in local newspapers. Ann Arbor Courier, July 20, 1883

In 1880, Fred Hamilton Weir was a University of Michigan student from Indiana. When he wasn't studying for his medical degree, he was trying to create a musical group on campus. He managed to arrange a small--yet talented and enthusiastic--orchestra of medical and dentistry students. Their first few years together were haphazard and inconsistent. Their lucky break came when Sarah Caswell Angell, wife of the University's president, invited them to perform at a commencement reception. The group called themselves the U of M Orchestra, despite having no formal support from the University. In June of 1883, the stars aligned for these young performers when they were offered a three month paid position at the Hotel Chequamegon in Ashland, Wisconsin. Five musicians from the group - Fred Hamilton Weir, Herman Frank, Stanley Holden, Will Park, and George A. Isbell - accepted the opportunity. They invested in uniforms, which were manufactured by Ann Arbor clothier A. L. Noble, and travelled to Lake Superior for a summer residency.

The name Chequamegon (prounounced “shi-wa-me-gone”) is of Ojibwe origin. It is derived from chagaouamigoung, a French transliteration of the Ojibwe Zhaagawaamikong or jagawamikiong, meaning a "a sand bar place" or "place of shallow water". In this case, it refers to Wisconsin's Chequamegon Bay on Lake Superior. Performing as summer musicians overlooking the bay, the U of M Orchestra began calling themselves the Chequamegon Band And Orchestra. When they returned to Ann Arbor, they brought their new name with them.

Chequamegon Hotel Letterhead
Chequamegon Hotel Letterhead, Courtesy of Wisconsin Historical Society, Image 88673.

1884: ANN ARBOR'S CELEBRATED BAND

Looking back on the history of this musical group, 1884 is when the Chequamegon Band And Orchestra was fully formed. The number of musicians in the band grew. Homer Drake, a dental student, joined the band and assumed leadership with Fred Weir. During the years 1884-87, the Chequamegon group retained their original members although a percussionist and a clarinet player were eventually added. Soon it seemed that every notable city event (like the opening of the skating rink mentioned earlier) was accompanied by a Chequamegon performance, and the band was tightly woven into the fabric of Ann Arbor. Usually around nine or ten musicians, they were able to "double" on both string and wind instruments. This versatility meant they could function as a brass band or string orchestra, whatever was appropriate for the situation.

One important factor in their popularity was that the University of Michigan did not have dormitories in the 1800s. Ann Arbor's population in the 1880s was roughly 8,500 people, and U of M students were living in boarding houses and rented rooms around the small city. The line between "town and gown" was nothing like it is today. The Chequamegons, as they were locally known, became popular not only with students, but with Ann Arbor residents as well. Many fans referred to them as "Ann Arbor's Celebrated Band", disregarding their student status altogether.

WHEN DID THEY HAVE TIME TO STUDY?

Led by Homer Drake, and later by his brother, Rollin E. Drake, the ensemble often performed at Ann Arbor’s St. James Hotel and played many, many evenings at The Rink. If a parade happened in Ann Arbor, the Chequamegons would be there. Dedication of a new building? Major city event? The Chequamegons would be there. In June of 1884, 10 members of the band headed back to Ashland, Wisconsin for another summer residency at the Chequamegon Hotel. This happened after the group played at numerous commencement ceremonies around the greater Washtenaw County area. Knowing how popular the band was, the town of Ashland went as far as to advertise tourism within the University of Michigan's 1884 commencement program - "Where the University of Michigan Band Plays!". 

Commencement Annual Advertisement
The Commencement Annual, Volume 4, University of Michigan, June 26, 1884

In 1885, Ann Arbor's Masonic Temple was dedicated and, of course, the Chequamegon orchestra played the event. They could also be seen performing in the 1884-1885 University Musical Society concert season. 1885 was the year that the University of Michigan first won a national collegiate championship. When fellow medical student Fred Bonine helped lead the track team to victory, the Chequamegon Band played at his welcome home celebration. Band members were making enough money from their frequent performances to pay their college expenses. In the summer of 1885, the group took a break from Wisconsin and spent two months in Marquette, Michigan. They split their time between performing at a popular roller skating rink and a residency at the Clifton House Hotel.

Gogebic Iron Tribune
Gogebic Iron Tribune, July 3, 1886

In 1886, The Chequamegon Band and Orchestra incorporated, becoming an official business entity. The demand for their performances held steady, and they spent the summer back in Ashland at the Hotel Chequamegon. 1887 saw a change in the band's lineup as several original members graduated, but the group continued to be successful. It became standard practice for area schools (Saline High School, in particular) to fundraise annually in hopes of hiring the Chequamegons to play their commencement ceremonies. One of the groups most notable gigs came in the summer of 1889 when they spent three months playing at Plank's hotel on Mackinac Island--better known to us today as The Grand Hotel, Michigan's beloved home away from home. They even performed on the boat ride north.

For Charity's Sake
"No sweeter music can be rendered by any orchestra...", Ann Arbor Register, December 5, 1889
Yearbook Advertisement
Chequamegon Orchestra Advertisement, 1891 Omega, Ann Arbor High School Yearbook

In 1893, the Ann Arbor Argus published "A Successful Organization" about the group's unwavering presence around town. "The dull times does not seem to affect the Chequamegons. Last Thursday evening they furnished music for the Kennedy wedding; last Friday, for Foley Guild dance at Nichols'; Tuesday night, for the Hallowe'en party, at Nichol's, tonight they play for the Wolverine Cyclers; tomorrow evening for the freshman spread, at Granger's, and Saturday, for Hobart Hall social. They have also secured the contract for furnishing the music for the El Astro Club series of five parties, and the Thanksgiving party, at Ypsilanti." Maintaining a schedule like this, along with an education in medicine or dentistry, must have been a challenge.

CHEQUAMEGONS IN THE 20TH CENTURY

On June 20, 1900, the Ann Arbor Courier-Register reported "The Chequamegon orchestra is probably the busiest musical organization in the state these days. They have so many engagements that it is necessary to secure a few outside men for assistance. Dundee, Manchester and Pinckney are among the out of town places that will hear Ann Arbor musicians this week." Despite the great demand, popular music and dancing styles were changing, and band member numbers began to dwindle. The University of Michigan's School of Music had emerged, numerous local music groups had formed, and musically-inclined students had a much wider variety of opportunities to choose from around Ann Arbor. Student turnover at the university continued to be a factor as well. 1902 saw one of the final summer residencies of the Chequamegons, on Stag Island in the St. Clair River. In 1903, the Chequamegon Orchestra played at the wedding of their trombone soloist, Louis Otto. Otto was the leader of his own band, and was one of the most popular musicians in Ann Arbor. 1905 was the last instance of the Chequamegon Orchestra being listed in the Ann Arbor City Directory, and soon the pioneering group became part of the city's history.

Years later, in 1954, The Michigan Daily interviewed retired dentist Dr. Rollin E. Drake ('88D) about his time in the Chequamegon Orchestra and Band. "We had to buy our own music, hire halls and make contracts," Dr. Drake said. Speaking about a long-running position at Ann Arbor's Whitney Theatre, "The rottener the show, the more the music was needed. We would play in the pit, while the greats like Edwin Booth and Madame Modjeska were on stage. For those engagements each man was paid $1.37 per engagement, including rehearsal time." Drake, like many of his fellow bandmates, went on to a career in medicine. Others became bankers, judges, and businessmen. Some, like Edward N. Bilbie and George A. Isbell, continued on to professional careers in music.

MAY I PENCIL YOU IN?

Chequamegon Dance - Front
Dance Card - Front, The Chequamegon Dance, November 23, 1888. Courtesy Of The University of Michigan Bentley Historical Library.
Chequamegon Dance - Back
Dance Card - Back, The Chequamegon Dance, November 23, 1888. Courtesy Of The University of Michigan Bentley Historical Library.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

This dance card, from an 1888 Chequamegon Orchestra formal, was an important piece of social etiquette. Ladies would wear these on their wrists, to keep track of the music and who their dance partner would be for each song.

Thanks to the Library of Congress's collection of audio recordings, you can hear a few songs that were played at this event. To immerse yourself in the Chequamegon music scene of the late 1800s, give the following playlist a listen: 

 

He's yours, for a song

He's yours, for a song image
Parent Issue
Day
18
Month
January
Year
1997
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Martin Bandyke Under Covers for December 2020: Martin interviews Graydon M. Meints, author of Pere Marquette: A Michigan Railroad System Before 1900.

The Pere Marquette Railroad has not one but two histories—one for the twentieth century and one for the nineteenth. While the twentieth-century record of the Pere Marquette Railroad has been well studied and preserved, the nineteenth century has not been so well served. Pere Marquette: A Michigan Railroad System Before 1900 is the latest book by railroad aficionado Graydon M. Meints which aims to correct that oversight by focusing on the nineteenth-century part of the company’s past, including the men who formed and directed these early roads, and the development of the system. 

The Pere Marquette Railroad was formed in 1900 by a merger of three Michigan railroad companies and lasted forty-seven years, disappearing in June 1947 by merger into the maw of the Chesapeake & Ohio Railroad. Prior to the 1900 merger, the Pere Marquette Railroad’s predecessors made up a motley collection of disconnected and unaffiliated short, local rail lines. After the financial panic of 1893, and with some commonality of ownership, the companies worked together more closely. Before the end of the decade, the three main railroads—the Flint & Pere Marquette; the Detroit, Lansing & Northern; and the Chicago & West Michigan—had decided that the only way to maintain solvency was to merge. 

Using a plethora of primary sources including railway timetables and maps, this work lends insight into the little-known corporate business history of the Pere Marquette Railroad.

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Martin Bandyke Under Covers for November 2020 : Martin interviews Ken Fischer, author of Everybody In, Nobody Out: Inspiring Community at Michigan’s University Musical Society.

Housed on the campus of the University of Michigan in Ann Arbor, the University Musical Society is one of the oldest performing arts presenters in the country. A past recipient of the National Medal of Arts, the nation's highest public artistic honor, UMS connects audiences with wide-ranging performances in music, dance, and theater each season. Between 1987 and 2017, UMS was led by Ken Fischer, who over three decades pursued an ambitious campaign to expand and diversify the organization's programming and audiences--initiatives inspired by Fischer's overarching philosophy toward promoting the arts, "Everybody In, Nobody Out."

The approach not only deepened UMS's engagement with the university and southeast Michigan communities, it led to exemplary partnerships with distinguished artists across the world. Under Fischer's leadership, UMS hosted numerous breakthrough performances, including the Vienna Philharmonic's final tour with Leonard Bernstein, appearances by then relatively unknown opera singer Cecilia Bartoli, a multiyear partnership with the Royal Shakespeare Company, and artists as diverse as Yo-Yo Ma, Elizabeth Streb, and Nusrat Fateh Ali Khan.

Though peppered with colorful anecdotes of how these successes came to be, this book is neither a history of UMS nor a memoir of Fischer's significant accomplishments with the organization. Rather it is a reflection on the power of the performing arts to engage and enrich communities--not by handing down cultural enrichment from on high, but by meeting communities where they live and helping them preserve cultural heritage, incubate talent, and find ways to make community voices heard.

State Flu Ban Stops Caruso Concert Here

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24
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October
Year
1918
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Legacies Project Oral History: Nancy Taylor

Nancy Emmons Taylor was born in 1941 and grew up in Luxmanor, Maryland. She attended Earlham College in Richmond, Indiana. She married Thomas Taylor soon after graduating, and they had two children. She received her Masters from the University of Michigan School of Public Health. When their children had graduated from high school, the Tayors moved to London for 12 years. Thomas was the administrator of an international Quaker program and Nancy was the warden of the Quaker meeting house and ran a program for international diplomats.

Nancy Taylor was interviewed by students from Skyline High School in Ann Arbor in 2014 as part of the Legacies Project.

Duke Ellington Dies

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Day
24
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May
Year
1974
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Contralto Blanche Thebom watches a May Festival Rehearsal, May 1950 Photographer: Eck Stanger

Contralto Blanche Thebom watches a May Festival Rehearsal, May 1950 image
Year:
1950
Published In:
Ann Arbor News, May 5, 1950
Caption:
OPERA STAR BLANCHE THEBOM WATCHES REHEARSAL: Contralto Blanche Thebom, who will be one of the soloists in tonight's performance of Bach's "Magnificat," watched the rehearsal intently. After Miss Welitch and Ormandy completed their hour of work, Thor Johnson directed part of the orchestra, the Choral Union, and soloists in a rehearsal for tonight's concert. Both Miss Thebom and Miss Welitch are members of the Metropolitan Opera Co.