or individual classes of students at her children’s schools. In 1922, the Hackenbergers moved from Washington, DC, to Haddon Heights, a southern-New Jersey suburb with a population of approximately 3,000. Hackenberger soon joined the Haddon Heights Woman’s Club, which was divided into various departments that would suit each member’s interests and/or level of social engagement. Hackenberger was an active participant, performing regularly at club meetings and social events. Her pursuits during this period correspond with the larger post-war club movement’s shift from the goal of self-development to an emphasis on civic reform. As her participation in club activities expanded, music began to take a secondary role to her growing commitment to her community’s economic and social welfare as chair of the Legislative, Civics, and Welfare Departments. In recognition of her contributions to the Haddon Heights Woman’s Club, members unanimously elected Hackenberger a trustee on 10 April 1931. Performing repertoire During the Gilded Age an increasing separation between cultivated and vernacular music occurred. By contrast, in the venues where the Mecklems performed there existed a greater “fluidity and routine intersection between popular and elite culture.” Lyceum and YMCA entertainments, benefit and band concerts still employed the traditional practice of mixing musical genres and of programming an eclectic assortment of works from the cultivated and vernacular traditions. Bessie Mecklem’s performing repertoire generally reflected the range of American popular tastes: popular songs, operatic selections (with or without variations), dances (like the waltz or polka), original compositions, and sacred music. Her most frequently performed numbers were sentimental ballads, such as Henry Trotère (1855-1912) and lyricist Clifton Bingham’s (1859-1913) song In Old Madrid or Charles Albert White’s (1832-1892) Marguerite. “Then You’ll Remember Me” from Michael William Balfe’s (1808-1870) opera The Bohemian Girl, follows the nineteenth-century trend of basing a popular song in English upon well-known operatic aria. In addition to programming arrangements and transcriptions, Mecklem occasionally performed original compositions for saxophone. E. A. Lefebre’s Grand Easter Concert, given at the Academy of Music in Brooklyn on 6 April 1890, concluded with Harry Rowe Shelley’s (1858-1947) Quartet “The Resurrection,” featuring Lefebre and Mecklem on alto saxophone, with piano and organ accompaniment. Another notable sacred song in Mecklem's repertoire was Chant Religieux by Jules Demersseman, which she performed on 2 July 1891 at the convention of the New York State Teachers’ Musical Association, held in Utica, New York. Mecklem and many other Gilded-Age musicians frequently programmed Jean