Nappanee High School - Napanet Yearbook (Nappanee, IN)

Page 15 text:

 Mt was a bright, September morning. In the year of Nineteen Two That twenty-one little Freshies Decided what they should do. At tirst we were embarrassed By the Seniors smart, you know. But ‘ere a year had passed away Ve convinced them we were not slow. As sunshine follows shadow So praising follows sneers: And all the townsmen look so proud. When naughty six appears. There’s Curtis with his fortitude; And Lester’s just the same; But Joy and Merle and Belle and Ed Are what you'd call skin game. Now Anna. 1 am sure you'd say Was sweetest, if not tall: And Ivy who should be her mate In si .e. and weight and all. Cl-ASK POEM By MERLE CWIN And now comes Ida Pippenger With hair and eyes of brown, She’s very pleasant when she smiles, Hut, oh dear: what's her frown? Now Hilda’s next, a student strong And prophetess so great: She’ll tell your fortune for you all And all your hearts elate. Now Elite. 1 would like to say, Has hair of raven black; It falls in ripples round her face And makes the boys lips smack. And now comes Carie last not least Our president is he: He wouldn’t waver from his patli For man or Deity. Then Hah: Rah: Rah: for 100» . She's great and strong and free; Her boys and girls an like the pearls That glisten in the sea. 15

Page 14 text:

Ci.ass Song Tunc ROBIN ADAIR A TRIBUTE now we bring, Dear Nineteen-Six: And gladly for thee sing. Dear Nineteen-Six. We love the memory Of work and jollity Which we have had with thee. Dear Nineteen-Six. We’ve done our very beet, Dear Nineteen-Six: We’ll stand the future’s test. Dear Nineteen-Six. The pride we hope to be Of our community, And thus lie true to thee, Dear Nineteen-Six. We face the coming hour Dear Nineteen-Six: May each possess the power Dear Nineteen-Six; To right the wrongs we see, To practice charity, And e'er a blessing l e Dear Nineteen-Six. 14

Page 16 text:

Tiieodori By CARIE G TTlIBODORE THOMAS. late conductor of the Chicago Orchestra, was Ixirn in Easens, Hanover, Germany, on October 11. 1835 and came to New York when ten years old. His father was a musician, and the son early showed talent for the violin. He had made some concert appearances as an infant prodigy. At the age of six lie was able to play a solo in public. For the next two years the youthful Theodore devoted himself to study, although he frequently was heard in concert. Late in the year 1849. the young violinist started on a concert tour through the southern states. He rode horse lack from town to town, carrying his fiddle and posters announcing his concerts. Arriving in a town lie would make arrangements with his landlord for a concert in the ••parlor.” These arrangements completed he would distribute his posters and drum up patronage. Promptly at the hour announced for he was punctuality itself he would close the door, march to the platform and play his first number. This tour through the south lasted more than a year. In 1851 young Thomas returned to New York and took a position as one of the first violins at the opera there. In the company during these first seasons were Sontag. Jenny Lind, Grlsio. Mario and other celebrated artists. In 1853 lie gave up most of his engagements and devoted himself to musical study, under Rudolph Schelllnger. The next year Mr. fhomas became a member of the New York Philharmonic society, which in after years he directed. In 1855 he organized a chamber music organization, of which William Mason, .1. Mosrntha), Carl Berg-mann, G. Mat .ka, and F. Hergner were the other members. With these noted musicians he gave New York the first quartet evenings ever offered, introducing a number of compositions which had never been played in this country Mr. Thomas also returned to the opera and under Ardltl was concert master of the orchestra during the season when Madame Lagrange was the particular star. One evening Halevy's “The Jewess” was announced for performance, and when young Thomas arrived to take Ills place at the first desk of the violins. Anschutz the conductor was missing, as was the orchestral score. A hasty search for the score was made, and Thomas conducted the orchestra so successfully that he was engaged for such work. This was the beginning of four years of his life as conductor of German and Italian opera companies. In 1862 he was elected as conductor of the Brooklyn Philharmonic society, and the following season commenced his first series of orchestra I concerts. Li Thomas UISS During 1864-65 Mr. Thomas was also director of the musical department of the New York institution for the blind. His concerts in 1866 were given in Irving Hall. He had organized his orchestra in 1866 because he realized that efficient and satisfactory work was to be obtained only when the company was constantly associated. This orchestra was known as the Thomas Orchestra and soon its fame was as wide as the United States, for during more than twenty years which it existed it visited all the prominent towns and cities from New York to San Francisco. In 1864, Mr. Thomas, then a man of thirty-four, came to Chicago with his orchestra and was heard there for the first time as a director. In 1X71 he and his players were to give a series of concerts in the Crosby opera house, hut the great lire destroyed it so that Mr. Thomas and his men were unable to get nearer down town than Twenty-second street. I uring these years Mr. Thomas had been battling against odds. Others were beginning to reap the benefits of his labor in developing a taste for good music. New conductors appeared and patronage had to lie divided. The Thomas concerts lost money, and when a number of Chicago gentlemen associated themselves for the purpose of establishing an orchestra in Chicago, offering the place of conductor to Mr. Thomas, he accepted. He had a hard struggle at first, but maintained his high musical standard in the face of opposition and complaint. However his backers were faithful to him. and Just before he died liad erected for the orchestra a permanent home, the cost of which, $800,(MX), was raised by popular subscription. It is a monument that bears witness to the untiring efforts of the dead musician. There is an erroneous belief that he was the first advocate of Wagner In this country. Whatever credit belongs to that place must be awarded to Carl Hergmann, for it was he who played Wagner in season and out of season. Mr. Thomas greatest claim as a conductor Is to catholicity of taste. He saw Wagner, but not Wagner alone. There were unusual elements of technique in the Thomas orchestra at that time. The violins lx wed together, and learned to make ercsendos and diminuendos together, so that the quality of the sound would remain the same through the selection. His orchestra was small, forty-seven at first, fifty-seven later, but he soon reached a point where he would not willingly undertake a Beethoven symphony with less than sixty men. The Thomas orchestra is now considered one of tlie best in the world, but this honor sliould f e awarded to its first conductor who always maintained his high musical standard in t lie face of criticism and complaint.