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Title: Early German music in Philadelphia

Author: Robert Rutherford Drummond

Release date: March 9, 2024 [eBook #73127]

Language: English

Original publication: New York: D. Appleton and Company, 1910

Credits: Carla Foust and The Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive)


*** START OF THE PROJECT GUTENBERG EBOOK EARLY GERMAN MUSIC IN PHILADELPHIA ***



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  Early German Music in
  Philadelphia


  Robert Rutherford Drummond, Ph. D.

  _Sometime Harrison Fellow in Germanics at the University of
  Pennsylvania; Instructor in German at the University of Maine_


  UNIVERSITY OF PENNSYLVANIA

  D. APPLETON & COMPANY
  PUBLISHING AGENTS
  NEW YORK
  1910




  COPYRIGHTED BY ROBERT R. DRUMMOND
  1910


  BANGOR, MAINE
  BANGOR CO-OPERATIVE PRINTING COMPANY
  1910




TO MY PARENTS




FOREWORD


In this book I have sought to give a glimpse of the musical life of
Philadelphia during the 18th Century, laying especial stress on the
secular music, and considering principally the German music produced
and performed, and emphasizing the high standard of musical taste at
this time.

While confining myself to secular music, I thought it necessary in
the first period to treat somewhat in detail the religious music,
especially as the religious music was of more importance in the first
half century than the secular music. So, too, I have gone into detail
somewhat more in the first two periods than in the last, because these
periods have not been so thoroughly investigated as the last period
has. It may be objected by some, that I have not adequately considered
the concert life of the last period. To these I would say that this
period has been fully covered by O. G. Sonneck in his “Early Concert
Life” in such a manner that I, at least, could not improve upon it.

It is hoped that this book may help to correct the false impression,
that musical taste in America in the 18th century was an unknown
quantity.

       *       *       *       *       *

This study was undertaken at the suggestion of Prof. Marion D. Learned
and to him I am especially grateful for aid and encouragement in
preparing the work. To O. G. Sonneck of the Library of Congress I am
greatly indebted not only for material found in his books on early
American music, but also for his extreme kindness in placing at my
disposal unpublished material. His suggestions and encouragement have
been of great help to me. I wish to acknowledge here the courtesy
extended to me by the officers and attendants of the Pennsylvania
Historical Society and the Library of University of Pennsylvania and
also the aid given to me by various friends.

This Study was submitted in partial Fulfillment of the Requirements for
the Degree of Doctor of Philosophy, at the University of Pennsylvania,
1909.

                                         ROBERT R. DRUMMOND.

Bangor, Me. Sept. 1, 1909.




TABLE OF CONTENTS.


  Introduction                                                     1


  Part I. Beginnings before 1750                                   3

  Chapter I. Hymn Music of Germans in Philadelphia                 5

  Chapter II. Church Music and the Manner of its Performance      11

  Chapter III. Secular Music                                      24


  Part II. Period of Progress (1750-1783)                         35

  Chapter IV. Music Teachers                                      37

  Chapter V. Music Dealers, etc.                                  40

  Chapter VI. Concert Music                                       45


  Part III. Period of Greatest Development (1783-1800)            55

  Chapter VII. Alexander Reinagle                                 57

  Chapter VIII. Philip Roth and Philip Phile                      76


  Conclusion                                                      84


  Appendix. List of Reinagle’s Compositions                       85




INTRODUCTION.


The early immigration of Germans to Philadelphia increased to such
an extent, that before the middle of the eighteenth century the
English colonists became alarmed for fear that Pennsylvania might
be alienated from the English crown, and be dominated by the German
immigrants. Indeed, throughout the eighteenth century the greater
part of the German immigrants landed at Philadelphia, and from there
were distributed into other States. We should naturally expect, with
so great a population of Germans in Philadelphia and the surrounding
country, that these people would continually extend their influence,
and constantly spread abroad their ideas of art, religion, music and
literature.

Let us consider for a moment the condition of the Germans who landed in
this country. In 1683, moved by William Penn’s alluring proclamations
of the glorious new world, as well as by the fact that freedom of
conscience was granted in Pennsylvania to all, a band of German
immigrants arrived in Philadelphia and founded Germantown. With the
exception of the scholar, Francis Daniel Pastorious, there were no
highly cultured men or women among them. These people were of the
middle class, and were more interested in weaving and agriculture and
religious salvation, than in the cultivation of the fine arts. The
conditions in Germany were not conducive to culture.

The country was just recovering from the Thirty Years’ War, and the
strength of the people was being expended in building up the homes,
and improving the land made desolate during that fierce struggle. At
this time, too, the German people had little liberty, but rather were
under the thumb of absolutism, which was at that time the great force
in European countries. It was not an epoch favorable to the cultivation
of the fine arts. There was no great literature, no great art, no great
music. There was, however, a strong religious spirit, which is often
the result of hardship and suffering. It is in the field of religion,
too, that we find the best music during the seventeenth century,
although it was not original in style, but simply a continuation
of Luther’s music.[1] The hymn-writers of that time, both Catholic
and Protestant, are not to be despised, and we need mention but a
few, whose songs have lived even to the present day: as Paul Fleming
(1609-1640) and Paul Gerhardt (1606-1676), Protestant; Friedrich Spee
(1591-1635) and Johann Scheffer (1624-1677), Catholics. It can be said,
then, with some degree of surety, that the performance of music by the
early German settlers in Philadelphia was confined, in the province of
music, to hymns.

In this department the Germans hold an important position; not only was
their church music an essential part of their services, but the number
of hymn-writers and the many editions of German hymn-books published
in Philadelphia testify to the love which these new settlers had for
church music.

It is only necessary to mention a few of these hymn-writers to recall
to mind the extreme productiveness of this style of literature and
music. Among the most important hymn-writers were F. D. Pastorious,
of Germantown; Johann Kelpius, of the Wissahickon; Conrad Beissel, of
Ephrata, and Count von Zinzendorf, the Moravian.[2]


FOOTNOTES:

[1] Louis Elson, _National Music in America_, p. 18.

[2] Cf. for further information on this subject: J. H. Dubbs, _Early
German Hymnology of Pennsylvania_; Hausmann, _German American Hymnology
1683-1800_, in _Americana Germanica_ 1898, Vol. II. No. 3, p. II.




  PART I

  Beginnings before 1750




CHAPTER I.

HYMN MUSIC OF GERMANS IN PHILADELPHIA.


To Francis Daniel Pastorious has been assigned the honor of being the
first German hymn writer on American soil. Pastorious[3] was born Sept.
26, 1651 at Sommerhausen, Germany, of cultured parents of some means
and position in society. His father Melchior Pastorious had studied
Catholic theology and also jurisprudence, but had finally renounced his
faith and had become a Protestant. Needless to say Francis Daniel’s
education was not neglected. He was sent to school in various places:
as Windsheim, Basel, Nuremberg, Erfurt, Strassburg where he studied law
and the French language, Jena where besides law he studied Italian, and
finally he took his degree of Doctor of Laws at Altdorf, 1676.

He settled now at Frankfurt am-Main and practiced his profession. He
probably continued in this work until 1680, when, as the companion of
Johann Bonaventura von Rodeck, he made a journey, extending over two
years, through Holland, England, France, Switzerland, and Germany. Upon
his return to Frankfurt, November, 1682, he became interested in the
mysticism of Spener and his companions, and the movement to America
which they were promoting--filled him with an ardent longing to share
in it. So, with the consent of his father who provided him with money,
Francis Daniel set sail for America and arrived in Philadelphia Aug.
20, 1683, six weeks before the other immigrants landed.

Pastorious was the only highly educated man in this colony. He was
looked up to by the other colonists for this reason, and also because
he was the agent of a land company formed in Germany for the purchase
and sale of land in Pennsylvania. The new colonists chose as the spot
for their new homesteads a tract of land not far from Philadelphia,
where they founded Germanopolis or Germantown.

On Nov. 26, 1688, Pastorious married Ennecke Klostermanns and had two
sons, whose descendants live at the present day. In 1691, Pastorious
was elected to the newly-created office of “Bürgermeister,” an office
to which he was chosen three other times. Besides this office, he was
for many years elected to the position of “Stadtschreiber,” and was
also schoolmaster at different times. He was known as a writer of some
talent, and composed poems, hymns, epigrams, etc., in Greek, Latin,
German, French, Dutch, English and Italian. I will close this bare
outline with Pastorious’ account of himself as quoted by Seidensticker:

 “Der Verfasser dieses Manuscripts hat ein melancholis-chcholerisches
 Temperament und ist daher, nach Culpepper, sanftmüthig, zu einem
 nüchternen eingezogenen Leben disponirt, wissbegierig, unentschlossen,
 bescheiden, schüchtern, bedächtig, standhaft, und zuverlässig in
 seinen Handlungen, langsamen Witzes, vergesslich. Geschieht ihm
 Unrecht, so trägt er es nicht nach.”

This remarkable man died Sept. 27, 1719.[4]

Pastorious’ hymns are up to the standard of most hymns written at that
time.

       *       *       *       *       *

In point of time the next hymn-writers were the so-called “Hermits of
Wissahickon,” a band of men and women steeped in German mysticism, and
having a belief that the end of the world was soon to come and that
their one love should be the Lord Jesus Christ; so on this account
renouncing marriage as sinful. It was in this wilderness, beside the
Wissahickon Stream about eight miles from Philadelphia, that this band
of Pietists in the year 1694 took up their abode, and from whence
issued the strains of hymns, reminding one, in some instances of love
songs rather than praises to God.[5] There were in this congregation a
number of men of high culture and lofty aims such as Johann Kelpius,
Henry Bernhard Köster, Johann Gottfried Seelig, etc.

The most important man was Johann Kelpius, their leader, who composed
the greater number of their hymns.[6] Kelpius was the son of a pastor
in Denndorf in the Siebenbürgian district of Germany. He studied
theology at Altorf, where he was a pupil and favorite of the learned
doctor, Johann Fabricius.

 “Fabricius vertrat,” says Seidensticker, “die sogenannte irensche
 oder friedliebende Schule der Theologie, die von der bittern Fehde
 gegen andere Confessionen absah. Kelpius, anfangs ein strenger
 Calvinist, griff den Gedanken an ein innerliches Christenthum begierig
 auf und bildete ihn unter andern Einflüssen weiter.”[7]

In 1689, Kelpius obtained his master’s degree. In the years following
he composed an essay entitled: “Scylla Theologica, aliquot exemplis
Patrum et Doctorum, etc.” About this time he must have obtained a
knowledge of the religion of the mystics, and must also have come under
the influence of Jacob Böhme’s philosophy, and Spener’s theosophy.

Such was the man who led the band of hermits, which arrived in
Philadelphia, June 23, 1694. His life on the Wissahickon was one
of pious contemplation, and striving to follow out his idea of
Christianity. He died 1708.[8]

The Hon. S. W. Pennypacker has in his possession a hymn book composed
by these people, in which some of the hymns are dated 1707. He reports
that Kelpius wrote nineteen hymns; another writer possibly Köster
thirteen hymns; and Seelig four hymns.[9]

Not only did these “Hermits” worship God with song, but they
undoubtedly accompanied their voices with musical instruments, since
we know that they brought the latter with them from London.[10] Also
we find Kelpius in one of his letters desiring that two clavichords
with additional strings might be sent.[11] This simply goes to show
that this little band of religious fanatics was not deficient in
musical ability, and also that they carefully nurtured their love for
music. Gradually these Pietists died or renounced their faith and were
received into other religious societies,[12] and in the latter case
one may be sure that their musical instruments went with them and
were played and listened to with pleasure in a far wider circle than
formerly.

It is not our purpose to consider in detail the various German
hymn-writers in Pennsylvania, as the field is far too large, and
besides the composers for the most part, were not inhabitants of
Philadelphia. There are a few men, however, of sufficient importance
to be considered, even though they lie somewhat without our field
of operation. Perhaps the most picturesque figure in the history of
American music in this century is Conrad Beissel of Ephrata Cloister.
He not only evolved a _new_ system of music, but was also the _first_
composer of music in America. He wrote hymns and chorals in four, five,
six, and seven parts, while usually in other congregations the hymns
were sung in unison.[13]

The first edition of Ephrata hymns was published by Benjamin Franklin,
Philadelphia, 1730, while different editions of new hymns appeared
in 1732, 1736, 1739, 1754, 1755, 1756 (2 eds.), 1762, and 1766.[14]
Of these hymns, over 1,000 are attributed to Conrad Beissel. Not only
did he compose music, but he also wrote the first treatise on harmony
in America.[15] Concerning the quality of the music Dr. J. H. Sachse
says: “The peculiar sweetness and weird beauty of the songs of the
sisterhood, and the impressive cadence of the chorals and hymns of the
combined chorus”[16] is strikingly seen.

Before the end of the century nearly all the sects of the Pennsylvania
Germans had their editions of hymn-books, for the most part
abridgements of those in use in the mother country. A few sects,
however, had men versed in poetry as well as religion, and these helped
to swell the hymn-books, already in use, with new songs. The Moravians
were especially prolific, and under the direction of Count Nikolaus von
Zinzendorf, who himself wrote over 130 hymns in this country, produced
a work of some importance. “No authorized hymn-book for the Moravian
church was issued in America during the colonial period, but a small
collection printed at Germantown by [C.] Sauer [in] 1742, ‘Hirtenlieder
von Bethlehem’” was popular.[17] Zinzendorf was not the only hymn
writer among the Moravians, since there were also his two wives, his
son, Bishop Spangenberg and others, who had some ability in this line.
In speaking of the “German American Hymnology,” Hausmann remarks
that the hymns of all sects were subjective, excepting those of the
Moravians.[18]

In the 18th century, Philadelphia and Germantown were the two--for a
time the only two--important printing centres of Pennsylvania, and
here it was that the greater number of German hymn books were printed.
There can be no doubt, I think, that many of these German hymns were
known to most of the inhabitants of Philadelphia, but as to whether
or not these hymns had any influence upon the people, we are as yet,
not prepared to say. At this time, we can do no more than enumerate
the different editions of German hymn-books printed in Philadelphia
and vicinity during the 18th century, although we hope that we may
later investigate them thoroughly. In 1744 the Brotherhood of the
Inspired produced an abridgement of a larger European collection. This
became a favorite with the different Separatist bodies. It was called
“Das Kleine Davidische Psalterspiel der Kinder Zions.”[19] This book
contains 530 pages, and was printed by C. Sauer, Germantown. In 1752
Sauer reprinted the “Marburg Reformed Hymn Book;” 1753[20] “Die Kleine
Harfe,”[21] 1762, Marburg edition of the Lutheran hymn-book,[22] and
also in this same year the first edition of Schwenkfelder hymns,[23]
some of which were composed in this country, others taken from the
Lutheran and Reformed hymn-books, but based, in great part upon the
hymn-book of the Bohemian Brethren. It contains 917 hymns.[24] In 1763
was printed the “Marburg Reformed Hymn-Book;”[25] in 1786 the earliest
original collection of Lutheran hymns in this country, entitled
“Erbauliche Liedersammlung;” 1788 “Liebliche und Erbauliche Lieder,”
“Unparteiische Lieder Sammlung,” and others published by the German
Baptist Society;[26] 1797 “Neues und verbessertes Gesangbuch” printed
by Steiner & Kammerer, Phila., 1799, a third edition of the “Marburg
Lutheran Hymn Book”.[27] The total number of editions of German
hymn-books during this century was twenty-two, but besides that there
was a German hymn-book translated into English in 1795.


FOOTNOTES:

[3] Hausmann, “_German American Hymnology 1683-1800_,” in _Americana
Germanica_ (hereafter, Am. Ger.) 1898, Vol. II, No. 3, p. II.

[4] The material for this sketch was obtained in great part
from Seidensticker’s, _Geschichtsblaetter_ (_Bilder aus der
Deutsch-Pennsylvanischen Geschichte_) pp. 34 ff. Also M. D. Learned.
Life of Francis Daniel Pastorious.

[5] Cf. Seidensticker. _Geschichtsblaetter_, p. 87 ff.

[6] S. Pennypacker. _Hymn Book of the Hermits of the Wissahickon_
(_Penn. Mag. of History_ Vol. XXV, p. 338.)

[7] Seidensticker. _Geschichtsblaetter_ p. 91.

[8] For this sketch cf. Seidensticker. _Geschichtsblaetter_, pp. 91-100.

[9] _Penn. Mag. of History_, Vol. XXV, p. 338.

[10] Cf. Seidensticker, _Geschichtsblaetter_, p. 89.

[11] Cf. Seidensticker, _Geschichtsblaetter_, p. 100.

[12] Seidensticker, _Geschichtsblaetter_, p. 102.

[13] T. H. Sachse, _Music of the Ephrata Cloister_, p. 29 [hereafter,
“_Sachse_.”]

[14] _Amer. Ger._ Vol. II, No. 3, p. 19. Dubbs, p. 9.

[15] Sachse, p. 22.

[16] Sachse, p. 29. (For further information on this subject consult
the works quoted above.)

[17] Dubbs, p. 18 ff.

[18] _Am. Ger._ Vol. II, No. 3, p. 39.

[19] Dubbs, p. 21.

[20] Dubbs, p. 25.

[21] Dubbs, p. 21.

[22] Dubbs, p. 21.

[23] A. A. Seipt. “Schwenkfelder Hymnology” (_Americana Germanica_ vol.
7.)

[24] Dubbs, p. 16.

[25] Dubbs, p. 25.

[26] Dubbs, p. 21.

[27] Dubbs, p. 25.




CHAPTER II.

CHURCH MUSIC AND THE MANNER OF ITS PERFORMANCE.


It has already been mentioned that there were many German hymn-writers
in Philadelphia in the early eighteenth century, and it is now in place
to consider what was the quality of the music in the German churches at
that period, and whether musical instruments of any kind were used in
the Philadelphia churches.

For the first record it is necessary to go a little beyond Philadelphia
to the Hermits of the Wissahickon. To this people undoubtedly belongs
the honor of first using instrumental music in religious services. Of
their voyage across the Atlantic, Kelpius says:

 “We had also prayer meetings and sang hymns of praise and joy, several
 of us accompanying on instruments that we had brought from London.”[28]

Evidently the instruments which they brought with them were not
satisfactory or were regarded as inadequate for the worship of God, as
Kelpius in a letter to friends in London asked that two clavichords
with additional strings might be sent.[29]

Again the Hermits at the consecration of the new Swedish church--Gloria
Dei--July 2, 1700, act as choristers and furnish instrumental music.[30]

The first German minister ordained in this country was Justus Falckner,
who was consecrated by the Swedish Lutherans. In a letter to Rev.
Heinrich Muhlen, of Holstein (1701), Falckner shows that, even at that
early day, music was considered an important adjunct of the church
service. He says:

 “In short there are Germans here, and perhaps the majority, who
 despise God’s Word and all outward good order; who blaspheme the
 sacraments and frightfully and publicly give scandal....

 “I will here take occasion to mention that many others besides
 myself, who know the ways of the land, maintain that music would
 contribute much towards a good Christian service. It would not only
 attract and civilize the wild Indians, but it would do much good in
 spreading the Gospel truths among the sects and others by attracting
 them. Instrumental music is especially serviceable here. Thus a
 well-sounding organ would perhaps prove of great profit, to say
 nothing of the fact that the Indians would come running from far and
 near to listen to such unknown melody, and upon that account might
 become willing to accept our language and teaching, and remain with
 people who had such agreeable things; for they are said to come ever
 so far to listen to one who plays even a reed-pipe (rohr-pfeiffe):
 such an extraordinary love have they for any melodious and ringing
 sound. Now as the melancholy, saturnine stingy Quaker spirit has
 abolished (relegiert) all such music, it would indeed be a novelty
 here, and tend to attract many of the young people away from the
 Quakers and sects to attend services where such music was found,
 even against the wishes of their parents. This would afford a good
 opportunity to show them the truth and their error.

 “If such an organ-instrument (Orgel-werck) were placed in the Swedish
 church ... it would prove of great service to this church.

 “If there were music in the church, the young people would consider
 church-going a recreation.

 “The Lord of Hosts ... would be praised and honored with cymbal and
 organ.

 “And it may be assumed that even a small organ-instrument and music in
 this place would be acceptable to God, and prove far more useful than
 many hundreds in Europe, where there is already a superfluity of such
 things.

 “There are in Europe masters enough who would build such instruments,
 and a fine one can be secured for 300 or 400 thalers. Then if an
 experienced organist and musician could be found, and a curious one,
 who would undertake so far a journey, he would be very welcome here.
 In case this could not be, if we only had an organ, some one or other
 might be found who had knowledge thereof.”[31]

The writer of this missive was somewhat of a poet himself, and composed
several fine hymns, some of which are in use at the present day.[32]

Whether the appeal for musical instruments was of avail, we know not,
but in the _Journal of Rev. Andreas Sandel_ for July 20, 1702, is
mentioned one Jonas, organist of Gloria Dei church. Again, on November
24, 1703, when Falckner was ordained in this church, Sachse says:

 “The service was opened with a voluntary on the little organ in the
 gallery by Jonas the organist, supplemented with instrumental music
 by the Mystics on the viol, hautboy, trumpets (_Posaunen_) and kettle
 drums (_Pauken_).”[33]

The first church organ in Philadelphia, then, was placed in a Swedish
Lutheran church largely by means of a German. Although the merit for
this achievement must be divided between the Germans and Swedes, in
one department of music--the singing of hymns--the Swedes probably
were pre-eminent. In 1696 Charles, King of Sweden, sent to the church
at Wicacoa, one hundred hymn-books,[34] while in 1712 another lot,
consisting of “360 hymn books of three sorts” were shipped.[35] The
Swedes were strict, too, in the regulations of the church services,
especially of singing. In 1702, Rev. Andreas Sandel imposes a fine
“for untimely singing, six schillings.”[36] Especially interesting is
the account concerning the attempt of Pastor Andreas Hesselius, of
Christiana, Delaware, to reform church singing in 1713. Acrelius says:

 “He had special regard to propriety in church-singing, in which there
 was often such discord as though they intended to call their cows
 to the church. In opposition to which it was represented that as all
 those who possessed the gift of praising God with a pleasing voice in
 psalms and hymns should not stand mute, so, on the other hand, those
 who were unfitted for this should not with their harsh voices, hinder
 others and make confusion, but, by softly singing after the others,
 train themselves to correct singing. During the singing, he went
 around the church and aided where they failed.”[37]

It is very probable that in Philadelphia, this same instruction in
church singing prevailed, since Hesselius was for some time Provost,
and had a right to command, and also, because Samuel Hesselius, his
brother, occupied the pulpit at Wicacoa and could more easily be
coerced--if necessary--to establish this method of instruction.

In the other churches of Philadelphia, organs seem to have been
introduced at a relatively late date. On September 2, 1728, a committee
having been appointed at Christ Church “to treat with Mr. Lod. C.
Sproegel,[38] about an organ lately arrived here, report that they
had done the same, and that he insisted on £200 for said organ; and
that they had procured men of the best skill this place could afford
to erect the said organ in a convenient house in town, to make trial
thereof; which, being done, it is said the organ proves good in its
kind, and large enough for our church.”[39] Upon this recommendation
the organ was purchased. In the Moravian church, corner of Race and
Broad streets, there were two organs in 1743[40] one of which was sold
in 1796, and a new one built by David Tannenberger.[41] In this same
year (1743) the Moravians in Germantown had an organ costing £60,
but in 1744 both church and organ reverted to the German Reformed
Church.[42] The Catholic church had an organ in 1750.[43] These are the
earliest known organs in use in Philadelphia churches. From this time
on, the other churches in the city gradually established them as an aid
to their services.

One writer, who came to this country from Germany, evidently had no
knowledge of these organs when he said:

 “I came to this country with the first organ [1750] which now stands
 in a High German Lutheran church in the city of Philadelphia, and
 which was built in Heilbronn.”[44]

In the face of the evidence already produced, it is needless to say
that this statement is a little off color, to say the least.

There were then in Philadelphia several organs before 1755, and it
is reasonable to assume that in the Moravian church, that “wind” and
“string” instruments were used, since we find this true at the colony
in Bethlehem.[45] The testimony of travellers of that time or of
members of other churches is of some interest and importance. The first
witness is William Black, secretary of the commission appointed by
the Governor of Virginia to unite with commissions from Maryland and
Pennsylvania for the purpose of treating with the Indians. In the year
1744, he resided in Philadelphia, during which time he kept a journal
of interest and importance. June 8 he writes:

 “We went to the Moravian Meeting, where I had the pleasure to hear
 an Excellent Comment on that Passage in Scripture Relating to the
 Prodigal Son, and after _some very agreeable Church Music_, half an
 hour after 9 they broke up.”[46]

This testimony is not without its value, as this gentleman was
evidently somewhat of a musician himself, since under the same date in
his diary we find:

 “I Rose from my Bed and pass’d two hours in writing, the rest of the
 time till Breakfast, I spent with my Fiddle and Flute.”[47]

Concerning the music in the Moravian church we have other evidence, at
a later date. John Adams remarks in his diary for October 23, 1774:

 “The singing here [Methodist meeting] is very sweet and soft indeed;
 the first _music_ I have heard in any society _except_ the Moravians,
 and once at church with the organ.”[48]

He also remarks September 4, 1774, upon “the organ and a new choir of
singers at Christ Church, which were very musical.”[49]

Franklin, in 1755, speaks of hearing Moravian music at Bethlehem, and
praises it generously.[50] A year earlier Acrelius, who visited the
same place, gives a more detailed account in the following words:

 “It was finally agreed that we should sit below [in the auditorium
 of the church], as the music sounded better there. The organ had the
 accompaniment of violins and flutes. The musicians were back in the
 gallery, so that none of them were seen.” One of the ministers “read
 some verses of a German hymn book, after which they were sung with
 excellent music.”[51]

Their style of music and manner of performing it must have been
exceptionally good, as compared with the music of other churches,
to have impressed so favorably such men, who, we may be sure, were
quite different. There is the sturdy pastor Acrelius, understanding
church music and the manner of its performance; the cordial, genial
Ben Franklin, who knew something about music from living in London;
the somewhat cold but highly cultured, John Adams, with his Puritan
traditions; then the gentleman from Virginia, William Black, who most
probably partook of the nature of the warm, sunny-tempered Southerners,
himself somewhat of a musician. Could we ask for witnesses more unlike?

To the Moravian church undoubtedly belongs the palm for music during
the eighteenth century; but there was music, and good music, in some
other churches as well. We have already mentioned the music in Christ
Church and the Methodist Church. Concerning the music in the German
Lutheran Church, we have the testimony of Daniel Fisher, who writes in
his _Diary_ for May 25, 1755:

 “Went to the Lutheran Church, a neat Brick Building where there
 is a good organ[52] to which I heard them sing Psalms, agreeably
 enough.”[53]

Again he says:

 “The Lutheran Church has an organ, and a good one.”[54]

There were organs then in the churches, to a great extent, before
1750. The question now arises: Were there men who could repair these
instruments if they got out of order? By the end of the fifth decade,
there were several men who could not only repair an organ, but also
build one. Of these men Gustavus Hesselius is the most important,
as he was the first spinet builder in America, having produced
specimens as early as 1743,[55] and probably the first organ builder
in Pennsylvania. It is claimed that he was the first organ builder in
America, and in support of that claim an organ is mentioned as built by
him for the Moravian Church at Bethlehem, Pa., in 1746.[56] The fact is
lost sight of that a Boston man, Edward Bromfield, generally regarded
as the first organ builder, constructed an instrument in 1745.[57]
However Hesselius was undoubtedly the first man who built many church
organs.

Still another claimant appears for this title--no less a man than the
Englishman, Doctor Christopher Witt (1675-1765), another hermit of the
Wissahickon. Doctor Witt possessed a large pipe-organ presumably made
by him alone, but possibly aided by other Hermits. It was built at
least while he was living with the settlement on the Wissahickon, and
as he left that society shortly after the death of Kelpius,[58] which
took place about 1708,[59] the evidence is in his favor. This organ at
his death was valued at £40.[60]

Hesselius was not only a musician, but a painter as well. He died in
1755.[61] Connected with Hesselius in 1746 was John G. Klemm, a native
of Dresden, Germany. Three years later David Tannenberger arrived in
Philadelphia, a man whom many of his contemporaries conceded to be the
greatest organ builder in America, but, as is usually the case, there
is another claimant for this high honor, as will be seen later.

David Tannenberger[62] was born March 21, 1728, in Berthelsdorf,
Saxony. He was evidently an all-round musician, and could play,
sing--he possessed a good voice--build, or repair an organ as occasion
presented itself. It is known that he built at least fourteen organs
during his stay in Pennsylvania, while no record of the number of
spinets, which he made and sold for £22.10_s_, has been discovered.

As to Tannenberger’s reputation as an organ builder, we have the
testimony of a man who probably knew Tannenberger:

 “Tannenberg belongs to history as _the_ organ builder of his day and
 one of renown. He too, was of the German school. Fancy stops were not
 generally in vogue, except the trumpet in the great organ, and the vox
 humana in the swell, of which latter there was but one in the city,
 and that was in Christ Church, and to my young ear, a good imitation
 of the human voice.

 “There are several of Tannenberg’s organs yet in breathing existence
 [1857]. Lancaster, Litiz, and Nazareth still hold his memory in
 audible and respectful tones; and much of his work is worthy of
 imitation. His diapasons were particularly dignified, whilst his upper
 work, 12th, 15th, and sesquialtera, gave brilliancy to the whole.”[63]

This testimony of Abraham Ritter, an organist of good standing in the
Moravian Church, gives some idea of the excellence of the work and of
the reputation which Tannenberger still had in the nineteenth century.

In a letter written from Lancaster, Dec. 24, 1770, the following
testimony is added:

 “Yesterday we had the pleasure of hearing, for the first Time, the new
 Organ, in the High Dutch Reformed church of this Place, accompanied
 with a variety of vocal Music, composed on the Occasion which I may
 venture to say, not only from my own Experience, but the Approbation
 of all present, was never equalled in any Place of Worship in this
 Province, or perhaps upon this Continent. The Organ was made by Mr.
 David Tannenberg, of Litiz, a Moravian Town not far from this Place;
 and I dare venture to assert, is much superior in Workmanship and
 Sweetness of Sound, to any made by the late celebrated Mr. Feyring,
 who was so justly taken notice of for his Ingenuity; does great Honour
 to the Maker; is worth the Attention and Notice of the Curious, who
 may happen to pass this way; and will undoubtedly recommend him to all
 who are desirious of having Works of that Nature.”[64]

In spite of his reputation as an organ builder, we learn that in 1790
he was a bankrupt.[65] He died May 19, 1804, stricken by paralysis
while tuning an organ at York, Pa.[66]

We have already spoken of Gottlieb Mittelberger and his organ, and,
although we cannot depend upon his statements, there may be some truth
in his somewhat exaggerated account of the dedication of his organ.
It is at least interesting, and shows that the people as a whole were
certainly not prejudiced against music. He says:

 “After this work had been set up and tuned it was consecrated with
 great rejoicing and delivered to the Christian St. Michael’s Church
 for the praise and service of God.

 “The crowd of hearers was indescribably large; many people came from
 a great distance, 10, 20, 30, 40 and even 50 hours’ journey, to see
 and hear this organ. The number of hearers, who stood inside and
 outside the church, both German and English, were estimated at several
 thousands. I was appointed school-master and organist. As I became
 more and more known in Pennsylvania, and the people learned that I had
 brought fine and good instruments with me, many English and German
 families came 10, 20 and 30 hours’ journey to hear them and the organ,
 and they were greatly surprised because they had never in all their
 lives seen or heard an organ or any of those instruments.[67]

 “At the present time [1754] there are 6 organs in Pennsylvania--the
 first is in Philadelphia, the 2nd in Germantown, the 3rd in
 Providence, the 4th in New Hanover, the 5th in Dulpehocken, all
 of them came to this country during the four years of my sojourn
 there.”[68]

This statement concerning the number of organs in Philadelphia cannot
be true, as we have shown above that there were several. In his list of
the organs in Pennsylvania, he neglects to mention the one made for the
Moravian Church at Bethlehem in 1746.[69] The number of people which
he claims was present at the dedication is probably exaggerated, and,
as Mittelberger was the chief performer, we can pardon him this slip
of the pen. It is probable, however, that there was a large number of
people present, as there would be at any new event entering into their
narrow lives--especially as there was no charge for admission.

In 1762 a new organ was built in Philadelphia by Philip Feyring for
St. Paul’s Church. He is the other claimant to the honor of being
the greatest organ builder of his day.[70] One of the newspapers was
evidently partial to him, since it gives this notice.

 “The New Organ, which is putting up in St. Paul’s Church in this
 City, will be in such Forwardness as to be used in Divine Service on
 Christmas Day. It is of a new Construction, and made by Mr. Philip
 Feyring,[71] Musical Instrument-Maker, in this City, who may, with
 Justice, be said to be the best Hand at that ingenious Business on the
 Continent.”[72]

The organ was evidently in use on Christmas day and must have proven
satisfactory to call forth the following poem lauding both Feyring and
his organ.

 “On hearing the Organ at St. Paul’s Church, on Christmas Day, 1762.

    “Hail Heav’n-born Science! whose enlivening Touch,
    Thro’ Nature felt, makes all her Powers rejoice,
    And fills the Soul with Harmony, and Bliss
    Extatic--When Joy tumultuous revels
    In the swelling Breast, then thou, sweet Music,
    Majestically smooth, and soft as Zephyrs,
    The Voice assuasive to the Heart applyst.

    “If jarring Passions, like disgorging Etna,
    Wage War intestine, and with Rage destroy
    Then Mother Nature, instant at thy call
    They lose their Fury, and subside in Peace:--
    A sov’reign Balm thou pour’st into the Wounds
    Of bleeding Love, and sooth’st the Heart-felt Pain.

    “And thou, majestic Organ! taught by thee,
    We raise our Thoughts on Fancy’s Wing,
    Soaring beyond the darksome veil of Time
    Up to the empyreal Heav’n, where God-head habits,
    High thron’d above all Height, encircl’d round
    By Seraphims, whose well instructed choirs
    To pleasing Numbers tune their Harps of Gold--

    “Surely if ought of Heav’n on Earth we taste,
    ’Tis when we join in holy Acclamation
    With deep ton’d Organ, to rehearse the Praise
    Of God Omnipotent, who rules the Heav’ns;
    When ev’ry swelling Note bears us enraptur’d
    To the blest Abodes of Saints imparadis’d.

    “When God his six Days Work, a world had finishd
    Attended by a Band of heav’nly Music,
    The Harp symphonious, and the solemn Pipe
    The Dulcimer, all Organs of sweet Stop,
    Along the starry Pavement up he rode;
    While instant Nature heard the Song harmonious.
    And listening Planets ceas’d to fill their Orbs.

    “While Harmony divine knows to controul
    The boistrous Passions of the human Soul,
    Whilst Organ’s dulcet Notes the Breast inspire.
    With true Devotion, and a sacred Fire;
    Thy name O Fyring thy deserving Name
    Shall shine conspicuous in the Roll of Fame;
    Ages to come, and Men in future Days
    Shall greateful pay their Tribute to thy Praise.

                                         C. W. P.

 “Mr. Fyring is a German by Birth, but has for some years past,
 practic’d the making of Musical Instruments (particularly Spinets and
 Harpsichords) in this City, with great Repute.”[73]

This effusion explains itself. His workmanship must have been of
superior quality, as it was seldom that a musician at that time--or
even at the present day was much noticed, let alone publishing a poem
about him.

How many instruments were sold by these organmakers it would be
difficult to say, although undoubtedly parlor organs were found in many
houses. There are advertisements of two organs for sale among a list
of household goods before the end of 1750: A “small” organ belonging
to Benj. Morgan, 1748,[74] and a “large” one, the property of the late
Peter Kook, in 1750.[75]

Religious music in this half century was flourishing, and was
considered a valuable adjunct of the church service, not only in German
churches, but also in the Swedish and English churches. The composition
of hymns up to this time seems to have been confined to the Germans.


FOOTNOTES:

[28] Sachse, _German Pietists_, p. 22; Seidensticker,
_Geschichtsblaetter_, p. 100.

[29] Seidensticker, _Geschichtsblaetter_, p. 100.

[30] Sachse, _German Pietists_, p. 144 (hereafter quoted as G. P.).

[31] Cf. _The Missive of Justus Falckner of Germantown, Concerning
the Religious Condition of Pa. in the Year 1701. Translated by J. F.
Sachse._ Found also in _Pa. Mag. of Hist._, 1897.

[32] Sachse, _Justus Falckner_, pp. 20-21.

[33] _Justus Falckner_, p. 64; also G. P., pp. 354-5. Sachse believes
this organ was one brought over by Kelpius.

[34] Israel Acrelius, _A History of New Sweden, trans. by Wm.
Reynolds_, in _Memoirs of Pa. Hist. Soc._, Vol. XI, pp. 197, 366
(hereafter quoted as Acrelius).

[35] Acrelius, p. 367; also _Andreas Sandel’s Diary_, in _Pa. Mag.
Hist._ 1906, p. 446.

[36] Acrelius, p. 217.

[37] Acrelius, p. 276.

[38] Ludovic Christian Sproegel was one of the “Hermits of the
Wissahickon.”

[39] Quoted from the _Minutes of the Vestry of Christ Church_, by Benj.
Dorr, _History of Christ Church_, p. 61.

[40] Madeira, _Annals of Music in Philadelphia_, p. 24.

[41] Madeira, _Annals of Music in Philadelphia_, p. 24 (hereafter
quoted as Madeira).

[42] _Minutes and Letters of the Coetus of the German Reformed Church_,
p. 29.

[43] Madeira, p. 24.

[44] _Gottlieb Mittelberger’s Journey to Penn. in the Year 1750;
translated by Carl T. Eben_, p. 114.

[45] Wm. Reichel, _Something about Trombones_, p. 4 ff. See also the
statement concerning Justus Falckner’s ordination as quoted above,
where musical instruments of this character were used.

[46] _Penn. Mag. of History_, Vol. II, p. 43.

[47] _Penn. Mag. of Hist._ Vol. II, p. 40.

[48] _John Adams Works_, Vol. II, pp. 401 and 364.

[49] _John Adams Works_, Vol. II, pp. 401 and 364.

[50] Franklin, _Autobiography_, p. 325 [Lippincott, Phila., 1868].

[51] Acrelius, p. 413.

[52] The organ Mittelberger brought from Heilbronn; see above.

[53] _Penn. Mag. of Hist._, Vol. XVII, p. 267.

[54] _Penn. Mag. of Hist._, Vol. XVII, p. 272.

[55] _Penn. Mag. of Hist._, Vol. XVI, p. 473 (note)

[56] _Penn. Mag. of Hist._, Vol. XXIX, p. 131 ff; also Reichel, p. 4.

[57] L. Elson, _History of American Music_, p. 43.

[58] _German Pietists_, pp. 403, 412.

[59] _German Pietists_, p. 192.

[60] _German Pietists_, p. 418 (note).

[61] _Penn. Mag. of Hist._, Vol. XII, p. 503 (note).

[62] Spelled also Tannenberg.

[63] Abraham Ritter, _Hist. of the Moravian Church in Phila._ (1857),
p. 59 ff. (note).

[64] _Pa. Gaz._ Jan. 10, 1771.

[65] _General Adv._ Oct. 28, 1790.

[66] _Penn. Mag. of Hist._, Vol. XXII, p. 231 ff.

[67] This statement is utterly false, as it will be shown later that
there were musical instruments in Philadelphia long before this time,
and even concerts in 1740.

[68] Mittelberger’s _Journey to Penn._, p. 114.

[69] Cf. above, p. 17.

[70] Cf. above, p. 18.

[71] Spelled also Feyring.

[72] _Pa. Gaz._, Dec. 23, 1762.

[73] _Pa. Gaz._, Dec. 30, 1762.

[74] _Pa. Journal_, July 7, 1748.

[75] _Pa. Journal_, Jan. 2, 1750.




CHAPTER III.

SECULAR MUSIC.


From the preceding chapter it has been clearly seen, that the Germans
in Philadelphia, and indeed in the whole State, were strongly
religious, and were celebrated for their church music and instrument
makers, especially for their organ builders.

Were all the people in Philadelphia as religious as the Germans and
Quakers seem to have been, and were there no public amusements? This is
an important question, and one not easily answered, especially during
the first half of the eighteenth century. It may be thought that this
question is not related to German music, but indirectly it is, so that
it may be shown whether or not the people of Philadelphia were ready
to welcome music, whether they were in a state of mind favorable to
the introduction of any amusements. It is necessary to establish these
facts before we can clearly understand the reasons and cause for the
introduction of German concert music into America.

We know, that in Philadelphia during the eighteenth century, there
were men of every creed and religion, of every walk of life, of
many different nationalities, and we may be sure that in such
a conglomeration of men and ideas there would be some to whom
amusements would be necessary--even amusements which strait-laced
people would condemn. The information there is upon this subject
supports the opinion, that there were amusements even in the early
part of the eighteenth century. Foremost among the pleasures in which
the inhabitants of Philadelphia indulged, was dancing, and we have
reference to this art at an early period. In a book written in 1710 is
the following statement:

 “Among the rest of my Friends, I must not forget the facetious Mr.
 Staples, Dancing-Master, who was the first Stranger of Philadelphia
 that did me the Honour of a Visit.”[76]

As early as 1716 we find this record:

 “At the Yearly Meeting of the Friends, members were advised against
 ‘going to or being in any way concerned in plays, games, lotteries,
 music and dancing.’”[77]

Throughout the first half of the eighteenth century dancing was
evidently held in due respect by a certain element of the population.
In 1728 it forms a part of the curriculum of a boarding school.[78] In
1730 dancing is taught by Thomas Ball’s sister.[79] The first really
fashionable ball was probably that given by Governor Gordon, in 1726,
in honor of the Prince of Wales’ birthday.[80] To some extent, too,
music and dancing were surely a part of the marriage festivities, as
the following item shows:

 “We hear that Tuesday night last, a young Dutchman was married to an
 old Dutchwoman, who was known to have money. They had a fiddle at the
 Wedding.... She danc’d till it was late.”[81]

We find ministers of different denominations complaining of the
irreligion of some of the inhabitants. As one writer remarks:

 “We live in an age, when ’tis counted almost a scandal to be a
 Christian. Religion is stil’d Preciseness and Hypocrisy, and a
 strict Conformity to Truth and Virtue is imputed to be the Effect of
 Melancholy, a Distemper’d Imagination. We daily hear the greatest
 Mysteries of our Faith Ridicul’d and Banter’d, the Clergy Despis’d,
 Expos’d and Degraded; and that even by Men, who have not yet Publickly
 Renounc’d Christianity; but such as would be thought to have clearer
 Heads, and more refin’d Conceptions of Things than their Brethren,
 those Men to their Shame stand Pelting Religion at a distance, with
 little Scoffs and Jests, when there is a more Fair and Honourable way
 of deciding the Matter, by rational and undeniable Arguments.”[82]

In opposition to this we have the testimony of Benjamin Franklin, who
writes:

 “Our people, having no publick amusements to divert their attention
 from study, became better acquainted with books.”[83]

So, too, a correspondent in the _Weekly Mercury_ writes:

 “Here are no Masquerades, Plays, Balls, Midnight Revellings, or
 Assemblies to Debauch the Mind or promote Intrigue.”[84]

When, however, we read an advertisement in the same paper about a month
later like the following, we may be permitted to doubt somewhat the
statements of the last two men.

 “The Art of Dancing Carefully Taught (as it is now Practic’d at Court)
 by Samuel Perpoint, at his _School_ ... where for the Recreation of
 all Gentlemen and Ladies: There will be _Country Dances every Thursday
 Evening_; likewise he teaches small Sword.”[85]

From this time on, we notice the advertisements of various dancing
masters, who, often were school masters at the same time. Not only
did these Philadelphians enjoy dancing, but they were partial to late
suppers and card playing as well,--playing cards was a staple article
of importation after 1736.[86] Another favorite amusement, we may be
sure, was playing on the Jew’s harp, for after 1733, this instrument
frequently is advertised.[87] The Jew’s harp must have been considered
a harmless instrument by all sects, for as early as 1675 in one State
of Puritan New England it is stated that a law was enacted, “that no
one should play on any kind of music except the drum, the trumpet and
the jewsharp.”[88]

Besides the amusements already mentioned, the Philadelphians had an
opportunity to see a rope-dancer in 1724,[89] “Punch and Joan his
Wife,”[90] “Magick Lanthorn” exhibition,[91] “Camera Obscura and
Microscope,”[92] a musical clock with a man and woman appearing as
mountebanks.[93]

Music was evidently popular at society meetings, banquets, etc. Perhaps
there was nothing more than singing, but possibly a violin and spinet
helped to while away the time. For instance, in 1731 at the celebration
of “St. David’s Day,” by the “Society of Ancient Britons,” the evening
ended with “Musick, Mirth and Friendship.”[94]

In the two items which will be given now, may be detected, perhaps, the
incipient germs of musical criticism, or at least the idea, which most
people probably had of what a professor of music should know and be
able to do:

 “Elocution is not unlike Musick; there is scarce a Soul so rustick as
 not to admire both in their Excellency, altho’ the Masters of those
 Sciences may lose their proper Share of the Praise. He that having
 laid before him the several Parts of a Musical Instrument, can Unite
 them in their Places, and tune them to Harmony, merits the appelation
 of a Master in Musick and should be distinguished as such, as he that
 disposes Words into grammatical sentences, and eloquent Periods, is a
 Master of Language.”[95]

This quotation may argue for the popularity and respect in which music
was held at that time by at least some of the people. We find in this
crude statement, that music was thought worthy of a position by the
side of elocution, which has always held a high place in the minds
of every people, and so we may be safe in believing that music had a
place, and an important place, in Philadelphia, in the early history of
that city.

Another correspondent states that:

 “Women, like Instruments of Musick, require to be long used before
 their Sweetness or Discord are certainly discovered.”[96]

Unless the writer of the above knew something about music, and unless
music was an object of interest or pleasure, so that this comparison
would be appreciated, he would not likely have ventured to use such a
simile.

In 1733 there is a record of a “ball”[97] while, in the next year under
the heading “London news,” there is a notice concerning the marriage of
the Princess Royal to the Prince of Orange, which gives the following
information:

 “A fine anthem compos’d by Mr. Handell was perform’d by a great Number
 of Voices and Instruments.”[98]

This latter item proves nothing except that the name of Händel was
introduced into the colonies at an early date, and may have remained
in the memories of some of the people, since he was connected with
such an important event. This may possibly have helped to increase the
popularity which his works, later in the century, attained in America.

It has been seen that there was music and dancing at this time, and
it is now interesting to learn what kind of musical instruments were
used. It has been shown already, that there were Jew’s harps,[99] that
Kelpius had clavichords,[100] and assuredly there were some virginals,
although probably few. In the fifth decade the various instrument
makers mentioned above,[101] probably had quite a number of customers.

In 1729 Andrew Bradford, proprietor of the _American Weekly Mercury_,
advertises:

 “A well-strung Virginal to be sold; being in good Order. Enquire of
 Printer hereof.”[102]

Dr. Christopher Witt, referred to before,[103] was a capable player on
the virginal,[104] which at his death was appraised at £1, 15_s._;[105]
while a virginal belonging to the “Hermits” reverted to the widow of
Magister Zimmerman.[106]

The people who owned instruments of this kind had an opportunity to
learn to play, since in 1730 a woman--the first music teacher in
Philadelphia--makes an announcement in the newspaper as follows:

 [Thomas Ball’s] “Wife teaches Writing and French. Likewise Singing,
 Playing on the Spinet, Dancing and all sorts of Needle-Work are taught
 by his Sister lately arrived from London.”[107]

What class of music she and her pupils played, it would be hard to
say, but it did not cause anyone to start a music store, and it is not
until 1739 that any great musical works are advertised at the office of
the man of many parts, Benjamin Franklin. The following pieces were to
be obtained there: “Corelli’s Sonatas, Geminiani’s Concertos, Ditto’s
Solos.”[108]

Besides spinets and virginals there were probably violins, German
flutes, trumpets, drums, a few viols, etc. For instance, in 1749
Anthony Lamb, of New York, advertises among other things: “German
Flutes,”[109] while other men advertise, in 1750, “Hunting Pipes,”[110]
and “fiddle strings.”[111] From 1744 on numerous advertisements of
drums appear.

Before 1740 there is no record of any kind of musical organization, but
in this year there was such a society. During this year the evangelist,
Whitefield, visited Philadelphia and made a strong impression upon
people of all beliefs. One of his disciples caused this to be printed:

 “Since Mr. Whitefield’s Preaching here, the Dancing school, Assembly,
 and Concert Room have been shut up, as inconsistent with the Doctrine
 of the Gospel: and though the Gentlemen concern’d caus’d the Door to
 be broke open again, we are inform’d that no Company came to the last
 Assembly night.”[112]

One of the members, however, denied the charge that dances were
inconsistent with the doctrine of the gospel, and affirmed that the
hall was closed up by William Seward, an “Attendant and intimate
Companion” of Whitefield. This same writer speaks of “Members of the
Concert” and the rooms belonging to them. He also says that the members
“met the Night after according to Custom; and the Thursday following
the Company met to Dance as they used to do; but the Assembly being
only for the Winter Season is now discontinued of Course and the
Concert being for the whole Year still goes on as usual.”[113]

This is interesting, as it is the first record of concerts, and also,
because these _concerts_, continued the _whole_ year, not merely during
the winter months as nowadays. There were “Members of the Concert,”
too, who rented or owned rooms. There must then have been some kind of
a club or society, which gave these performances.

These concerts must either have been kept up for years, or new series
instituted year by year, since our friend William Black (already
quoted) says in his diary of 1744, June 5:

 “At 8 O’Clock went to hear a Concert of Musick; the Performers was
 some Town’s Gentlemen, and did Us the Honour of an Invitation,
 we staid till past 11, and I left the Company to go home to my
 lodgings.”[114]

It is important to observe, that William Black says he had the “Honour”
to be invited to a concert. One might say that this word was simply
a common expression. It probably was, and still is; but we believe
a man would hardly write such an expression in his diary, unless he
really thought he was honored. It seems probable that this concert
and those of 1740 must have been very exclusive and were not public
entertainments, which anyone might attend.

There was exhibited this same year (1744) a curiosity, which would
attract a large crowd of people. This was no less than:

 “The Unparallelled Musical Clock, made by that great Master of
 Machinery, David Lockwood. It excels all others in the Beauty of its
 Structure and plays the choicest Airs from the most celebrated Operas
 with the greatest Nicety and Exactness. It performs with beautiful
 graces, ingeniously and variously intermixed, the French Horn,
 Pieces, perform’d upon the Organ, German and Common Flute, Flageolet,
 etc., Sonata’s, Concerto’s, Marches, Minuetts, Jiggs and Scots Airs,
 composed by Corelli, Alberoni, Mr. Handel and other great and eminent
 Masters of Musick.”[115]

This is the first public record we have, that works of such famous
composers were played, and they must have become familiar, in a short
time to a great number of inhabitants.

It will be remembered that Miss Ball’s capabilities in the province
of music were confined to but two branches, voice and spinet. In 1749,
however, appears a truly musical genius, if we may judge by the number
of instruments which he played. This man was, as we learn from the
following:

 “John Beals, Musick Master from London [who] at his House in Fourth
 Street, near Chestnut Street, joining to Mr. Linton’s, collar maker,
 teaches the Violin, Hautboy, German Flute, Common Flute and Dulcimer
 by Note.

 “Said Beals will likewise attend young ladies, or others, that may
 desire it, at their houses. He likewise provides musick for balls or
 other entertainments.”[116]

Here was an opportunity for the inhabitants of the Quaker City to
improve their time by learning music, and as the variety of instruments
from which they might choose, was large, no doubt some of them became
proficient musicians.

This same year saw the beginnings of drama and opera in Philadelphia,
given by the English actors, Murray and Kean.[117] These dramatic
performances were soon discontinued on account of the opposition of
the public. From now until the latter part of the sixth decade of the
eighteenth century there were desultory attempts to give dramas, but
not until 1759 did the theatre prove successful and become permanent.

There was then in this decade an incipient appreciation of drama to
which some music was oftentimes joined. What other music was there at
this time? In 1750-4 Mittelberger says:

 “The cultivation of music is rather rare as yet.... Some Englishmen
 give occasional concerts in private houses with a spinet or
 harpsichord.”[118]

Mittelberger’s statement concerning the cultivation of music is not
quite true. Music undoubtedly was studied a great deal more than
Mittelberger seems to think. If his statement that occasional private
concerts were given by Englishmen is true, this was probably the kind
of concert William Black attended in 1749,[119] and may have been
similar to the concerts of 1740.[120]

During the first half of the eighteenth century Philadelphia was not
so utterly devoid of musical culture as some of our historians of
music would have us believe. The music was not entirely church music,
and although musical culture was not so important a factor in the
life of the people as at the present day, still music was beginning
to make itself felt among intelligent people, and interest in it and
appreciation of it were gradually growing.


FOOTNOTES:

[76] Hart, _American History told by Contemporaries II_, p. 77,
quoted from “_The Voyage, Shipwreck and Miraculous Escape of Richard
Castleman, Gent_,” appended to “_The Voyages and Adventures of Capt.
Robert Boyle_,” London, 1726, 4th Ed. 1786, p. 331.

[77] Scharf & Wescott, _History of Phila._, Vol. II, p. 863.

[78] _American Weekly Mercury_, March 5-14, 1727-8.

[79] _Pa. Gazette_, March 5-13, 1729-30.

[80] Scharf & Wescott, _Hist. of Phila._, Vol. I, p. 203.

[81] _Pa. Gaz._, March 15 to 22, 1738-9.

[82] _American Weekly Mercury_, June 19-26, 1729 [a correspondent].

[83] _Autobiography_, p. 207.

[84] _American Weekly Mercury_, June 19-26, 1729.

[85] _American Weekly Mercury_, July 31 to August 7, 1729.

[86] _American Weekly Mercury_, February 8, 1736 [first advertised].

[87] _American Weekly Mercury_, March 2, 1733 [first advertised].

[88] Perkins & Dwight, _History of Handel & Haydn Society_, p. 17
(note).

[89] Scharf & Wescott, Vol. II, p. 863.

[90] _Pa. Gaz._, Dec. 30, 1742.

[91] _Pa. Gaz._, Jan. 27, 1743.

[92] _Pa. Gaz._, July 2, 1744.

[93] _Pa. Gaz._, May 31, 1744.

[94] _Pa. Gaz._, Feb. 23 to March 4, 1730-31.

[95] _American Weekly Mercury_, Aug. 7-14, 1729.

[96] _American Weekly Mercury_, Sept. 10-17, 1730.

[97] _American Weekly Mercury_, Nov. 11, 1733.

[98] _American Weekly Mercury_, May 23, 1734.

[99] _Vide_ above, p. 26.

[100] _Vide_ above, p. 11.

[101] _Vide_ above, p. 17 ff.

[102] _American Weekly Mercury_, March 4-13, 1728-9.

[103] See above p. 18.

[104] _German Pietists_, p. 412.

[105] _German Pietists_, p. 418 (note).

[106] _Justus Falckner_, p. 64 (note).

[107] _Pa. Gaz._, July 2-9, 1730.

[108] _Pa. Gaz._, June 15-22, 1738-9.

[109] _Pa. Gaz._, Jan. 31, 1749.

[110] _Pa. Journal_, Jan. 9, 1750.

[111] _Pa. Jour._ and also _Pa. Gaz._, May 24, 1750.

[112] _Pa. Gazette_, May 1, 1740.

[113] _Pa. Gaz._, May 8, 1740.

[114] _Penn. Mag. of Hist._, Vol. I, p. 416.

[115] _Pa. Gaz._, July 12, 1744.

[116] _Pa. Gaz._, March 21, 1749.

[117] Madeira, _Annals of Music_, p. 29.

[118] _Mittelberger’s Journey_, p. 114 ff.

[119] Cf. above, p. 31.

[120] Cf. above, p. 30.




  PART II

  Period of Progress, 1750-1783




CHAPTER IV.

MUSIC TEACHERS.


From the preceding chapters it will be evident that secular music
was beginning to be a force in the life of the people although the
religious music certainly in the first half of the 18th century was
more prominent. From 1750 on, however, secular music gradually but
surely replaces religious music to a great extent, and becomes to all
intents and purposes the noticeable feature of the musical life of
Philadelphia.

The introduction of German concert music strange to say, evidently
was not due to Germans, although the various German teachers of music
may later have aided in popularizing the music of their native land.
Too much credit cannot be given to the different music teachers from
England, who inaugurated public concerts in Philadelphia, where the
works of the greatest artists of Germany, England, and Italy were
produced.

As early as 1729[121] a music teacher appeared in Philadelphia, while
in 1749[122] another member of the profession advertises for pupils.
From now on this class of men increases, but there is noticeable lack
of teachers with German names. The greater part of these men were
English; a few French, Italians, and Germans being present also.

In 1755 appears an unique advertisement showing that some of the German
music teachers were not dependent upon music alone for a livelihood.

 “The subscriber proposes to open a school on Monday next, in the house
 where the late Mr. Quin[123] formerly dwelt, for the instruction of
 Gentlemen and Ladies, in the following accomplishments:

 “First, The French, Italian and German languages, in a method concise
 and easy.

 “Secondly, To play on the violin after the Italian manner, with a
 peculiar method of bowing and shifting in solo’s or concerto’s.

 “Thirdly, Drawing and miniature painting with colours, flowers,
 insects, etc.... Likewise to draw patterns for embroidery, or any kind
 of needle work....

 “He has a variety of music, composed by the most eminent masters, for
 the violino solo, con cembalo et violoncello, to be disposed of on
 easy terms.

                                         John Matthias Kramer.”[124]

Five years later another accomplished German music teacher appeared
upon the scene, whose modest advertisement is a relief after reading
the previous effusion. This man confines himself to the German flute,
which seems to have been an instrument of some importance at that
period. This notice runs as follows:

 “This is to inform the Public,

 “That an Evening School for teaching young Gentlemen to play upon
 the German Flute will be opened by the Subscriber ... where young
 Gentlemen may be taught, by an easy and regular Method, to play with
 Judgement and Taste, for the moderate Price of Six Shillings per Week,
 and Thirty Shillings Entrance Money, provided the Subscriber can
 procure six Scholars. The Hours of Attendance will be every Evening
 (Sundays excepted.) from 6 to 8 o’clock. Said Subscriber will also
 attend Gentlemen at their Houses, one Hour every other Day, for one
 Guinea per Month and Thirty Shillings Entrance.

                                         John Stadler.

 N. B. If any Gentleman is desirious to know the character and
 abilities of said Subscriber as a Teacher of Music, they may be
 satisfied by enquiring of any Gentleman in this City, who is a Judge
 of these Matters.”[125]

It is to be noted that Stadler opened a _school_ for his instrument,
which emphasizes the popularity which this instrument must have enjoyed.

Two years later another German flutist, George Isenberg or
D’E’issenburg[126] increased the force of teachers in Philadelphia.
Again we find in 1774 Peter Kalckoffer advertising to teach the beloved
German flute as well as the Latin tongue.[127]

Probably the most important of these German musicians was H. B. Victor,
who went from Germany to London, in 1759,[128] and whose advertisement
appears in 1774--an advertisement worthy to be placed alongside of
some of those of the present day. He seems to have been an inventor
of musical instruments as well. The number of instruments he plays at
once, remind us of some of the street musicians of the present day.

 “Mr. Victor, Musician to her late Royal Highness the Princess of
 Wales, and Organist at St. Georges in London, lately arrived here,
 takes this method of acquainting the Musical Gentry in general, that
 he gives instructions on the Harpsichord, or Forte Piano, Violin,
 German Flute, etc., especially in the thorough Bass both in theory and
 practice, for that his pupils may soon come to a fundamental knowledge
 of that fine science.

 “N. B. Mr. Victor intended to give a concert, and to perform on his
 new musical instruments, but is obliged to postpone it for want of
 able hands; the one he calls Tromba doppia con Tympana, on which he
 plays the first and second trumpet and a pair of annexed kettle-drums
 with the feet all at once; the other is called cymbaline de amour,
 which resembles the musical glasses played by harpischord keys, never
 subject to come out of tune, both of his own invention. He is to be
 met with at his house in Callow Hill street near Water street.”[129]

According to this advertisement, Victor must have been a whole
conservatory of music in himself. However he was a musician of some
note in our early history, and as such is worthy a place here.

As would be expected the remainder of this period brings no new
teachers to notice as the colonies were busied with far more important
matters.


FOOTNOTES:

[121] See above, p. 29.

[122] See above, p. 32.

[123] Mr. Quin was a dancing-master, and his room is advertised for
rent in _Pa. Gaz._, Sept. 11, 1755.

[124] _Pa. Gaz._, Nov. 6, 1755.

[125] _Pa. Gaz._, Aug. 27, 1761.

[126] _Pa. Gaz._, May 15, 1763.

[127] _Pa. Jour._, June 8, 1774.

[128] Sonneck, _Early Secular Amer. Music_, p. 193.

[129] _Pa. Packet_, Oct. 17, 1774.




CHAPTER V.

MUSIC DEALERS, ETC.


To supply the needs of his pupils it is necessary for a music teacher
either to carry a line of musical wares himself or to satisfy his wants
from a merchant dealing in such things. For some time it is quite
likely that each teacher imported his own musical merchandise, although
it has already been noted that, at an early date, Benj. Franklin had
some music on sale.[130] As in every business there is some one ready
to grasp an opportunity, so in the music business a man stepped forward
to relieve the teachers of buying and selling. This man was Michael
Hillegas, who in 1759 opened, what may be called, the first real music
store in Philadelphia. A glance at the following advertisement will not
belie this claim.

 “To be sold by Michall Hillegas, at his House in Second street,
 opposite Samuel Morris, Esq., an extraordinary good and neat
 Harpsichord with four stops; a good Violin-cello, an Assortment of
 English and Italian Violins, as well common ones, as double lined, of
 which some extraordinary; a parcel of good German Flutes, imported
 here from Italy. Also imported in the last ships from London, a large
 Assortment of Musick, of the best Masters, viz.: Solo’s, Overtures,
 Concerto’s, Sonata’s, and Duets, for Violins, German Flutes, Hautboys,
 French Horns, Violoncello’s, and Guitars, Voluntaries, Lessons for
 Organs and Harpischords, ruled paper of various Sorts for Musick, and
 Musick Books, Tutors or Books of Instructions to learn to play on the
 Violin, German Flute, Hautboy, or Common Flute, without a Master,
 Song Books, Cantatas, Songs on Sheets, and a Choice Parcel of Violin
 Strings, etc.”[131]

From this advertisement may be deduced many things. In the first
place, such an inventory of stock would not be sneered at by a music
dealer of the present day; we may be sure then that the people were
musical and that there was a demand for the things advertised. We
should suppose that violins and German flutes were the most popular
instruments and were in great demand; while there was certainly more
than one player--perhaps many--of the above, common flute, French horn,
’cello, and guitar; and of course there were organists and harpsichord
players.

Thus we are certain, that, in a few years that the people must have
progressed rapidly in music, and probably now it was considered a
necessary part of every young lady’s and young gentleman’s education.
Music paper, too, is advertised by Hillegas. This may have been used in
copying compositions of other writers as we know Hopkinson did,[132]
or, perhaps, there were composers at that time of whom there is no
record. The song-books, cantatas, and songs imported would be those in
favor in London, as musical taste at this period in Philadelphia was a
reflection of English taste.

The name of Michael Hillegas will live as long as the United States
hold together, as he was an important figure in the early history of
our country.

Michael Hillegas[133] was born April 22, [O. S.]----in Philadelphia
of German parents. The tradition runs in the Hillegas family that
their ancestors were French. They had a coat of arms containing three
musical staves. However that may be Michael’s parents came from Baden
and settled in Philadelphia, where Michael Sr. was naturalized April
11, 1749. He was a merchant, and was interested in real estate and
prospered exceedingly. At his death Oct. 11, 1749, his property was
valued at £40,000 of which his son Michael had two shares.

Michael Jr. now carried on the business of his father. He was popular,
devoted to music and a skilful player on the flute and violin, and a
composer of “An Easy Method for the Flute.”[134] As early as 1753, he
advertises a church or house organ.[135]

Politically he was important, held various offices in Philadelphia,
and upon the adoption of the constitution became treasurer--the first
treasurer of the United States--an office which he held throughout the
war.[136]

Such in brief was the man who kept the first store of musical
merchandize. His influence in musical matters must have been felt,
although it cannot be proven. That he had good musical taste or that
the public did is seen from the list of standard works which he
advertised in 1764[137] including those of Tartini, Hass, Noseri,
Alberti, Vincent, Carter, Miller, Balicourt, Tessorini, Reed, Stanley,
Viaci, Cervetto, Davis, Quants, Martini, Weideman, Hellendaal, Pepush,
Triemer, Wodizka, Corelli, Depuis, Avison, Humphreys, Alcock, Festnig,
Händel, Vivaldi, Boyce, Ruge, Price, Burney, Fisher, Ferigo, Flackston,
Bates, Retzel, Benegger, Bezozsi, Albinoni, Graun, Stamitz, Fritz,
Barbella, Richter, Kleinecht, Lampugnini, Pasquali, M’Gibbon, Dottel,
Gerard, Stechwey, Battino, Campioni, Claget, Agzell, Figlio, Diragini,
Lanzetti, Kunzen, Scarlatti, Smith [Schmidt?], Barbandt, Berg. This is
a list of names of composers which, at that time were popular and some
of which hold an important place in the musical world of to-day.

Although Michael Hillegas, probably for some time, had almost a
monopoly of the selling of musical merchandize, it was not long
before another firm usurped the position which Hillegas had held in
the musical world, and apparently crowded him out of business, as
his advertisements, after a short time, are few and gradually cease
altogether. The music-house par excellence which now came to the front
was that of the English book-sellers, Rivington & Brown who carried a
remarkably large stock of musical merchandize.[138] However we are only
concerned with those storekeepers of German descent so we will have to
pass by this large and prosperous establishment.

Soon after this Theodore Memminger, a liquor dealer, advertises:

 “A Fine Parcel of Violins, at a very low Price. They are all made by
 the best Masters in High Germany. He has likewise the best Sort of
 Fiddle Strings.”[139]

In 1768 he seems to have increased his music business, as the following
notice shows:

 “A Variety of violins at different prices; the best kind of fresh
 fiddle strings: guitar and spinnett brass and steel wire: a fine pair
 of very good ivory German flutes. He spins all sorts of bass strings
 with silver wire.”[140]

Most of this business seems to have been in the hands of the English
for with the exception of one more German Conrad Batis, who advertises
among other things “a quantity of violins and violin strings,”[141] no
other German music dealer has been discovered.

There is, however, one more event of importance to chronicle, before
leaving the music dealers. It has been already stated that harpsichords
and spinets were made in Philadelphia at an early period. It remained
for John Behrent, a German, to add to the renown of Philadelphia in the
realm of music. In 1775 he advertised:

 “John Behrent, Joiner and Instrument Maker living in Third street
 continued in Campington, directly opposite Coate’s Burying-ground,
 Has just finished for sale, an extraordinary fine instrument, by the
 name of Piano Forte, of Mahogany, in the manner of an harpischord,
 with hammers, and several changes: He intends to dispose of it on very
 reasonable terms: and being a master of such sort of work, and a new
 beginner in this country he requests all lovers of music to favour him
 with their custom, and they shall not only be honestly served, but
 their favours gratefully acknowledged, by their humble servant, John
 Behrent.”[142]

Evidently the War of the Revolution interrupted any further progress in
musical development, as nothing more of importance is found during this
period.


FOOTNOTES:

[130] See above, p. 29.

[131] _Pa. Gaz._, Dec. 13, 1759.

[132] See below, p. 48.

[133] Oldest reliable spelling is Hilde-gras.

[134] Advertised in _Pa. Gaz._, June 19, 1776.

[135] _Pa. Gaz._, Aug. 9, 1753.

[136] Material for this sketch taken from “_Michael Hillegas and His
Descendants_” by Emma St. Clair Whitney; also, “_A Memoir of the First
Treasurer of the U. S._,” by M. R. Minnich.

[137] _Pa. Gaz._, Jan. 5, 1764.

[138] Cf. _Pa. Gaz._, Feb. 4, 1762, also _Pa. Jour._, Dec. 15, 1763.

[139] _Pa. Gaz._, Nov. 10, 1763.

[140] _Pa. Jour._, Nov. 17, 1768.

[141] _Pa. Gaz._, Feb. 17, 1773.

[142] _Pa. Pack._, Mar. 13, 1775.




CHAPTER VI.

CONCERT MUSIC.


In a previous chapter it was shown that a kind of subscription concert
was given as early as 1744, and although there is no record of public
or private concerts being given for sometime after that, it is only
natural to suppose that at least private chamber concerts were given.

We may be sure that bands were a feature at an early date, and no doubt
added somewhat to the musical life of Philadelphia. It is not until
1755, however, that there is any mention of such an organization.
However in that year we learn that a “Band of Musick” headed a
procession of Masons on St. John’s Day.[143] How important this
procession was considered by the onlookers is seen from the testimony
of Daniel Fisher who writes in his diary:

 “I should observe that on St. John the Baptist Day (June 24) there was
 the Greatest Procession of Free Masons to the Church and their Lodge,
 in Second Street that was ever seen in America. No less than 160 being
 in the Procession in Gloves, Aprons, etc., attended by a band of
 Music.”[144]

This band probably was not like those of the present time, but may have
been satisfactory to the inhabitants of old Philadelphia. We may assume
it was similar to a drum and fife corps, although this assumption may
do injustice to the musical taste of that time. Anyway we have the year
following a more detailed description of a procession including music.

 “The Philadelphia Regiment consisting of upwards of 1,000 able-bodied
 men after being reviewed and performing the Manual Exercises [went]
 thro’ the Town in Three Grand Divisions ... with Hautboys and Fifes in
 Ranks ... [and] Drums between the third and fourth Ranks.”[145]

This is certainly a small beginning but the band had come to stay and
apparently was popular, and probably was used in most processions and
public celebrations. After the victory at Louisburg fireworks were
displayed in Philadelphia and a performance of a “Band of Music playing
Britons strike home.”[146]

At a later date bands of the British regiments stationed in
Philadelphia, aided at the public commencements of the “College and
Charity School”[147] now the University of Pennsylvania.

The year 1757 is very important in the history of music in
Philadelphia. We have now the “first _public_ concerts on record,” says
O. G. Sonneck.[148] The advertisement runs:

 “By particular Desire. On Tuesday next, the 25th instant, at the
 Assembly Room, in Lodge Alley will be performed a Concert of Music,
 under the direction of Mr. John Palma,[149] to begin exactly at Six
 o’clock. Tickets to be had at the London Coffee House, at one Dollar
 each, and no Person to be admitted without a ticket.”[150]

Another concert was given March 25th, of this same year.[151] This
year, too, a man appears in musical circles, who undoubtedly exercised
more influence upon musical affairs in Philadelphia than any one man
before or since. This is no other than Frances Hopkinson, statesman,
signer of the Declaration of Independence, Lawyer, Writer, Inventor,
Composer of Music, etc., etc. His contributions to the music and
musical taste of this country is little known, but when we say that
the evidence points to him as the first native composer in America,
although Jas. Lyon of this city may have been--they both wrote music
as early as 1759[152]--this fact makes him a man of the greatest
importance in musical circles. We wish to correct here a statement made
by various writers on American music, that William Billings was the
first American composer. This is absolutely false, since Hopkinson and
Lyon composed music at least ten years before Billings did, while the
latter was yet a child.

It will not be out of place here to give a short account of Frances
Hopkinson, laying particular stress upon his musical labors, especially
as regards German music.

Frances Hopkinson was born in Philadelphia, Sept. 21, 1737, the son
of Thomas and Mary Hopkinson. He must have been keen, active, and
studious, since, while yet a boy of twenty, he received his degree with
the first class ever graduated from the College of Philadelphia. From
now on he advanced in knowledge and in favor with the world. In 1760 he
received the degree of Master of Arts from his Alma Mater, and in 1763
received the same degree from the College of New Jersey. In 1790 his
own college conferred upon him the degree of Doctor of Laws.

His public life was too active to give more than the briefest sketch.
His first public office was that of secretary to the governor in a
conference between the latter and the Lehigh Indians. From now on, he
held many offices, as secretary of the Library Company in 1759; 1772
Collector of the Port of New Castle; 1774 held a seat in Provincial
Council of New Jersey; 1776 delegate to the Continental Congress;
signer of the Declaration of Independence; 1779 Judge of the Admiralty
from Pennsylvania; 1778 Trustee of the College of Philadelphia. Besides
this, he wrote many political pieces of which “The Battle of the Kegs,”
1778, was the most popular. He was also for a time organist in Christ
Church, instructor in psalmody, a pillar of the church, and an inventor
of improvements for the harpsichord.[153]

Our first knowledge that Hopkinson studied music is a notice in the
magazine containing his “Ode on Music,” which remarks:

 “Written at Philadelphia by a young Gentleman of 17, on his beginning
 to learn the Harpsichord.”[154]

The only professional music master at that time was John Beals,[155]
but, later, 1757, came John Palma[156] and in 1763 James Bremner.[157]
Hopkinson may have taken lessons from any or all of these men for all
we know to the contrary; but it is certain that he was a pupil of Jas.
Bremner, a Scotch musician of some note.[158]

Hopkinson made his first public appearance as a musician probably in
1757 when the “Masque of Alfred”--words by Thompson-Mallett; music by
Dr. Arne--was given at the College of Philadelphia as an exercise in
oratory.[159] He may have been accompanist for this performance.

It is interesting to note with what music Hopkinson was acquainted at
this time and for this purpose I shall quote from Sonneck’s exhaustive
work:

 “The torso of a book with the memorandum ‘Frances Hopkinson, 1755,’
 attracts our attention. It is in manuscript, possibly of the owner.
 Most pieces have a figured base, and are Italian, French, English
 trios, songs, and duets, arranged for the harpsichord, amongst them
 for instance ‘A Song in the Triumph of Hibernia,’ an ‘Air in Atalanta’
 by Händel, and a famous ‘Water Piece’ by the same author.”[160]

Another book of manuscript bearing the date, 1759, contains pieces by
“Händel with _ten_ pieces (Samson, evidently being Hopkinson’s favorite
oratorio by the master), ‘Signor Palma,’ and ‘Signor Vinci’ both with
four: Arne with two; Pepush (Alexis a Cantata!) Dr. Boyce, Pergolesi,
and Purcell with one piece.”[161]

A third volume called “Lessons”, date not given, contains, among
others, compositions by: “Händel ‘who (_predominates_,) Scarlatti,
Abel, Stamitz, Vivaldi, Galuppi, Pugnani, Stanley, Smith, [Schmidt],
Pasquali, Giardini, Corelli, Geminiani, Lord Kelly.’”[162]

From these manuscripts it will be seen that Hopkinson was familiar with
many of the best composers of the world. He was evidently especially
fond of Italian and English composers, but we may judge that he
liked Händel’s music best of all. In the list directly above there
are mentioned the following Germans: Händel, Abel, Stamitz, Schmidt;
also the Englishman, Stanley, was a particular friend of Händel, and
his music, as was all music of England at that time, must have been
modeled after Händel’s; then there is Lord Kelley who studied music in
Germany. We believe that the greater part of this music was brought to
Hopkinson’s attention by the music-masters from London, and if that is
so, it naturally follows that others of their pupils became acquainted
with standard composers. We may be sure, too, that Händel, who was
almost idolized in England during this century, had impressed these
English American music-masters with his importance, and they would not
keep to themselves their knowledge of him and his works. Händel, says
one writer:

 “For nearly a century ... stood to the English school as a model
 of everything that was good and great, to such an extent that very
 little of original value was accomplished in that country, and when,
 by lapse of time and a deeper self-consciousness on the part of
 English musicians, this influence had begun to wane, a new German
 composer came in the person of Felix Mendelssohn Bartholdy, who, in
 turn, became a popular idol, and for many years a barrier to original
 effort.”[163]

To turn again to Hopkinson we find that he not only had manuscript
books of music, but also printed works such as:

 “Six Sonatas for the Piano Forte or Harpsichord, Composed by Frederick
 Theodor Schumann, Opera 5th _London_.[162]

 “Händel’s Songs selected from the Oratorios.”[162]

Then there were books by Italian composers, with which we are not
concerned.[164]

From the evidence already presented, it will probably be granted that,
the German concert music which was found in Philadelphia in the early
18th century, was brought in rather by the English musicians than by
the Germans. We find the taste for music in London reflected by the
various music teachers, and by the actors who came to Philadelphia from
London during the sixth and seventh decades. This English influence
lasted until the War of the Revolution during which there was a period
of quiescence. After peace was restored, the English, Germans, and
French--the latter exiles and victims of the French Revolution--all
aided in the continuance of high class music.

Subscription concerts or in fact concerts of any kind seem to have gone
out of fashion in Philadelphia, but in 1764 there was an awakening and
a series of concerts was instituted, beginning January the nineteenth;
“to be continued every other Thursday, till the 24th of May following.
No more than 70 Subscribers will be admitted, and each, on paying Three
Pounds for the Season, to have one Lady’s Ticket to be disposed of
every Concert Night, as he thinks proper.”[165]

This then was a series of subscription concerts and must have been
confined to the aristocracy of the town. The next year another
series of such concerts was given,[166] so they were evidently quite
successful. Of these concerts there has been no program discovered,
but in the spring of 1765 there is a program of a concert, which
is probably representative of the programs given at that time. The
advertisement for this concert is of interest:

 “On Wednesday evening the 10th Instant at the College Hall in this
 City was performed a solemn Entertainment of Music under the
 Direction of Mr. Bremner;[167] interspersed with Oratorios, by some
 of the young Students.... Nearly One Hundred and Thirty Pounds was
 raised for the Benefit of the Charity Schools belonging to the said
 College.”[168]

The program included overtures of Stamitz, Kelly, and Arne, and
Martini, and a concerto of Geminiani; also, sacred songs, orations, and
a violin solo.

Besides these exhibitions there were probably concerts of chamber
music, as witness:

 “Even in the last century [18th] it was usual for families to have
 meetings at their houses for their improvement in music. Governor
 Penn, who played the violin, had musical soirees every Sunday evening
 at his house in South Third Street, during a portion of the year. Dr.
 Adam Kuhn, himself an amateur, attended them.”[169]

The first definite mention of an orchestra was in 1767 when it was
announced that the singing in the Southwark Theatre was “accompanied
by a Band of Music.”[170] An estimate as to this orchestra is herewith
given: violins, flute, harpischord, oboe, ’cello, trumpet, and,
perhaps, French horn and drum.

There were sparks in the town, who also, indulged in serenading their
lady loves, an account of which is given by _an Englishman_ in a letter
to his sister:

 “Dear Sister, ... Pray (as old Polonious says) when you ‘was young and
 in love,’ did you approve of serenading? It is extremely in vogue here
 now. The manner is as follows: We, with four or five young officers
 of the regiment in barracks, drink as hard as we can, to keep out
 the cold, and about midnight sally forth, attended by the _band_,
 which consists of ten musicians, horns, clarinets, hautboys, and
 bassoons, march through the streets, and play under the window of any
 lady you choose to distinguish; which they esteem a high compliment.
 In about an hour all the blackguards who sleep upon the bulks, with
 gentlemen of a certain profession who sweeten the streets at night,
 are collected round, drawn by that charm which soothes a savage
 breast, and altogether make it extremely agreeable in a fine frosty
 morning.”[171]

In this letter are mentioned clarinets and bassoons, instruments
possibly not common in Philadelphia. The band probably belonged to the
regiment of which the writer was a member, and was very small compared
to the regimental bands of to-day.

That there could not have been many professional musicians in
Philadelphia is shown by a notice concerning the Southwark Theatre in
1769:

 “The Orchestra on Opera Nights, will be assisted by some musical
 Persons, who as they have no View, but to contribute to the
 Entertainment of the Public, certainly claim a Protection from any
 Manner of Insult.”[172]

Evidently at this early period people were beginning to be critical,
and, as the orchestra did not come up to their expectations, they did
not hesitate to show their resentment.

It has been said that no concerts are to be traced in Philadelphia in
1766 and 1767.[173] In 1767 however, Mr. Garner, a teacher of psalmody
advertises four charity concerts,[174] upon which a little light is
thrown by the following notices given by Mr. Garner concerning one of
these concerts:

 “The vocal parts by Mr. Wools, Miss Wainwright, and Miss Hallam. The
 greatest care shall be taken to render the entertainment pleasing and
 satisfactory.”[175]

The program not being in existence, we cannot say with a surety what
character it assumed. It may have been partly of a sacred character,
but it is also likely, since the three singers mentioned belonged to
the theatre, that the program had at least a semi-worldly tinge.

In 1767 arrived in Philadelphia an Italian, John Gualdo, who exercised,
for a few years, a great influence upon the musical taste of the
people. His choice of music was not limited to compositions of Italian
masters, nor to his own compositions, since one of his advertisements
states, that the instrumental music is “by Messieurs Geminiani,
Barbella, Campioni, Zanetti, Pellegrino, Abel, Bach, Gualdo, the Earl
of Kelley, and others.”[176]

Sonneck dates Gualdo’s first concert Nov. 16, 1769,[177] but according
to the following advertisement it would seem to have taken place a
month earlier:

 “TO THE PUBLIC:

 “At the Assembly Room, on next Wednesday (being the 18th of October)
 will be performed a concert of vocal and instrumental music, for the
 Benefit of a little Master, not seven years old, who will give a
 specimen of his early abilities.--The concert to be directed by Mr.
 Gualdo, after the Italian Method. Tickets at a Dollar a piece....
 After the Concert, the company (if agreeable) shall be furnished with
 a set of players, without any expences, in order to end the evening
 with a ball.”[178] Handbills were distributed giving the program.

In his next concert, Nov. 16, two of his performers were Germans, if we
may judge from the names. Mr. Curtz played the harpsichord, while Mr.
Hoffman Jr., was a clarinet soloist.[179] Another concert not noted by
Sonneck was to be given after the races on Sept. 27, 1770.[180] In his
next advertisement Gualdo gives a list of the instruments to be used
in his next concert, as follows: violins, German flutes, French horns,
clarinet, harpischord, and mandolin.[181] In 1771 Gualdo gave his last
concert. This same year is important as it brings to our notice a
German, Philip Roth, who was, perhaps, the first _German_ composer of
secular music in Philadelphia. This first piece was composed for the
following concert:

 “By Permission and particular Desire,

 For the Benefit of Mr. John McLean (Instructor of the German Flute).
 Will be performed, at the Assembly Room, in Lodge Alley, A Concert of
 Music, Vocal and Instrumental: To begin precisely at Six o’clock in
 the Evening. On Thursday the Fifth of December.

 The Concert will consist of two Acts, commencing and ending with
 favourite Overtures, performed by a _full Band_ of Music, with
 Trumpets, Kettle Drums, and every Instrument that can be introduced
 with Propriety. The Performance will be interspersed with the most
 pleasing and select Pieces composed by approved Authors; and a Solo
 will be played on the German Flute, by John M’Lean, and the whole will
 conclude with an _Overture, composed_ (for the Occasion) by _Philip
 Roth_, Master of the Band, belonging to his Majesty’s Royal Regiment
 of North British Fusileers, etc.”[182]

From this advertisement it will be seen that there must have been an
orchestra or band of some importance at this time, and it is quite
probable that the British regiments which at various times were
stationed in Philadelphia, were important factors in extending the love
of music, by means of concerts which the regimental bands must have
given.

In 1772 a concert program of little interest was given at the
State-house,[183] and in 1774 one by Sigr. Sodi.[184] In a previous
chapter was mentioned H. B. Victor, and the concert he intended to
give.[185]

The War of the Revolution soon dawned, and with it matters of a
serious nature engaged the minds of the people, although occasionally
a ball was given, and perhaps regimental concerts. The play houses,
which for over ten years, had been an important feature, and had been
well patronized by Philadelphians, were closed in 1778 by Act of
Congress, but, nevertheless, there was given occasionally a farce or
concert.[186] Still music and drama were almost at a standstill during
the war.


FOOTNOTES:

[143] _Pa. Gaz._, Jun. 26, 1755.

[144] _Pa. Mag. of Hist._, Vol. XVII, p. 273.

[145] _Pa. Journal_, Mar. 2-5, 1756.

[146] _Pa. Gaz._, Sept. 7, 1758.

[147] _Pa. Gaz._

[148] Cf. O. G. Sonneck, _Frances Hopkinson and James Lyon_.

[149] Palma was formerly a music teacher in London.

[150] _Pa. Gaz._, Jan. 20, 1757.

[151] _Pa. Journal_, Mar. 24, 1757.

[152] Cf. Sonneck, “_Frances Hopkinson_, etc.” [An admirable
discussion.]

[153] Cf. E. P. Cheney, _History of U. of P._, p. 288 ff. Also Cf.
Sonneck, “_Frances Hopkinson_, etc.”

[154] _American Magazine_, Oct. 1757.

[155] Cf. Above, p. There was however a music _mistress_. Cf. above, p.

[156] Cf. Above 9.

[157] _Pa. Gaz._, Dec. 1, 1763.

[158] Sonneck, _Frances Hop._, etc., p. 29.

[159] Sonneck, _Frances Hop._, etc., p. 22 and 40, _Pa. Gaz._, Jan. 20,
1757.

[160] Sonneck, _Fr. Hop._, etc., p. 32.

[161] Sonneck, _Fr. Hop._, etc., p. 33.

[162] Sonneck, _Fr. Hop._, etc., p. 34.

[163] W. S. B. Matthews. _A Popular History of Music_, p. 281.

[164] Sonneck, _Fr. Hop._, etc., p. 34.

[165] _Pa. Gaz._, Jan. 12, 1764.

[166] _Pa. Gaz._, Nov. 1, 1764.

[167] Cf. Above, p.

[168] _Pa. Gaz._, Apr. 18, 1765.

[169] W. G. Armstrong, _Record of the Opera in Phila._, p. 6.

[170] _Pa. Gaz._, Sept. 24, 1767.

[171] _Pa. Mag. of Hist._, Vol. XI, p. 281.

[172] _Pa. Gaz._, Nov. 30, 1769.

[173] Cf. Sonneck, _Early Concert Life_.

[174] _Pa. Journ._, Jan. 8, 1767.

[175] _Pa. Chronicle_, Feb. 2, 1767.

[176] _Pa. Jour._, Nov. 30, 1769.

[177] Sonneck, _Early Concert Life_, etc., p. 71.

[178] _Pa. Chron._, Oct. 16, 1769.

[179] Cf. Program in Sonneck’s, _Early Concert Life_, p. 31.

[180] _Pa. Jour._, Sept. 27, 1770.

[181] _Pa. Chron._, Oct. 8, 1770.

[182] _Pa. Gaz._, Nov. 28, 1771.

[183] _Pa. Gaz._, Aug. 19, 1772.

[184] Sonneck, _Early Concert Life_, p. 76.

[185] Cf. Above, p. 39.

[186] Madeira, _Annals of Music_, p. 33.




  PART III

  Period of Greatest Development (1783-1800)




CHAPTER VII.

ALEXANDER REINAGLE.


During the Revolutionary War it has been stated, that concert music was
at a premium. However in the fall of 1783 was founded by John Bentley,
the City Concert, “which was an important step in the musical life
of Philadelphia.” These concerts were to be given every two weeks.
As no programs have been preserved, we are unable to determine just
what music was used. As Sonneck says: “It goes without saying that
John Bentley engaged the best musicians to be had in the city and
that he performed music in keeping with the refined taste of such men
as Francis Hopkinson and Thomas Jefferson.”[187] These concerts were
evidently kept up until the season of 1785-6.

In 1786 a musician arrived in Philadelphia, who was of great importance
to the musical life of that time. This was Alexander Reinagle one of
the ablest musicians in America in that century.

He was born in 1765 at Portsmouth, England, of Austrian parents.[188]
He seems to have inherited, as did his brothers Joseph and Hugh, a
love of music from his father, who was a skilful musician. Alexander
studied music in Scotland with Raynor Taylor, who later became one of
the leading musicians in Philadelphia. The material concerning Reinagle
before his arrival in America is scanty, but the few data there
are show that he was known to the musical world of that time. In a
memorandum book[189] of his, preserved in the Library of Congress, is
an account of a trip which he took to Lisbon 1784-5 in company with his
brother Hugh, an eminent ’cellist,[190] who was sick with consumption.
They arrived in Lisbon the twenty-third of October, and Reinagle tells
of their lodgings there, expenses, etc. Of special interest is an item
for January, 1785:

“Had a Concert in the Assembly Room 8th Jany.--Performed to the Queen
and R. family Sunday 16th July. Rec’d. a present from her Majesty of 50
Moids.”

After burying his brother Hugh, who died the nineteenth of March,
1785, he “embarked from Lisbon Sat. 23d April sail’d 24th & arrived in
Portsmouth Tuesday 17th May. Made in Lisbon:

  By Concert                                       £100
  By Queen                                           67
  Two P. Fortes                                      30
  Four Ditto (?)                                     35
  Teaching                                            3  12
  Fund (?)                                           31  10
                                                     --  --
                                                    267   2

  Expences At Murrays                               £7
  Medicines                                        23
  Diet from 15 Mar. to 23d April at Mrs. Morleys      51
  In all Diet                                    £58
  Medicines                                       23
                                                  --
                                                  81

From these statements it would appear that his trip financially was a
decided success. It would seem from the large sums of money obtained
from his performances at Lisbon, that he must have been well known
as a prominent musician. There is further evidence of his standing
in the musical world disclosed by O. G. Sonneck in an article in the
“_Quarterly Magazine of the International Music Society_,” entitled
“Zwei Briefe C. Ph. Em. Bachs an Alex. Reinagle.” They were evidently
good friends, as Bach writes:

 “Monsieur

 Je Vous suis infinement obligé du Souvenir dont Vous m’honorez et je
 souhaite que Vous veuillez me le conserver toujours; et dans le cours
 de vos années les plus riantes. La nouvelle que Vous me donnez de la
 triste situation de Mr. Vôtre Frère m’a chagriné beaucoup; tant par
 rapport à Vous qu’à lui même. Le Ciel Vous comble de prospérités, une
 de plus chères c’est la santé même.

 Je Vous envoye la musique, que Vous m’avez demandé, le prix est fixé
 au prix ordinaire, la musique que je Vous ai donné pour vous même, à
 Hamburg étoit fixée au prix de premuneration, en Vôtre faveur. Quand
 Vous m’écrivez une autre fois, ne manquez pas de me marquer Vôtre
 sort, auquel je m’interesse beaucoup. En même temps je Vous prie de me
 faire avoir vôtre portrait et celui de Mr. vôtre frère, seulement en
 dessin, pour les placer dans mon cabinet de portraits des musiciens.
 Cela me servira d’aide dans le souvenir de vôtre amitié, dans le
 retour de laquelle je suis et serai toujours.

                            Monsieur
                                                Vôtre
  Hamburg                             très humble Serviteur.
     ce 25 du mois de Février 1785.   Ch. Ph. Em. Bach.”

The other letter is without date, but Sonneck conjectures that it was
written the last of 1785 or the beginning of 1786. It runs as follows:

 “Liebwehrtester Freund,

 Ich bedaure von Herzen den Verlust Ihres lieben und braven Herrn
 Bruders eben so sehr, als ich mich über Ihre gute Aufnahme in Lissabon
 und glückliche Wiederkunft in London gefreut habe. Ihr Project wegen
 meiner gedruckten Rondos kann mir in der Folge viel Schaden thun,
 weil meine mit grossen Kosten von mir in starken Auflagen verlegten
 Samlungen, worin sie stehen, unverkauft liegen bleiben werden. Die
 Liebhaherey zu den Rondos ist hier eben so gross, wie in London, und
 ich habe sie deswegen mit eingemischt, um meinen Verkauf zu befördern.
 Ich weiss aus der Erfahrung, dass sehr viele meine Samlungen blos
 wegen der Rondos kaufen. Folglich sind mir Exemplare von Ihren
 verlegten Rondos nichts nutze, sondern ich wünschte lieber, dass sie
 gar nicht nach Deutschland kämen, ohngeacht Westphal hier und Hummel
 in Berlin ganze Quantitäten von Ihnen würden kommen lassen. Ich will
 jedoch Ihnen, da Sie etwas damit zu verdienen glauben, einen Weg
 vorschlagen, wodurch Sie zu Ihrem Endzwecke kommen könnten, ohne einen
 Nachdruck befürchten zu dürfen. In der zweiten, dritten, vierten und
 fünften Samlung stehen überhaupt Rondos. Von diesen Samlungen haben
 Sie 4, aber die 5, glaube ich haben Sie noch nicht, und kann sie
 Ihnen, weil 2 Rondos darin stehen, überschicken. Zu diesen 11 Rondos
 will Ihnen noch 4 neue Rondos componieren; Ich will zufrieden seyn,
 dass Sie mir Erlaubnis zu dem Drucke dieser schon gedruckten 11 Rondos
 öffentlich kundthun; und endlich müssen Sie auch bekannt machen, dass
 ich ausdrücklich für Sie noch neue Rondos dazu gemacht habe. Diese 15
 Rondos können Sie in 4 oder wenigern Abtheilungen herausgeben. Es muss
 aber in jedem Theile etwas neues davon stehen. Dieses Mittel und meine
 öffentliche Erlaubnis sichert Sie gewiss vor einem Nachdruck.

 Für meine Schadloshaltung und für meine neu dazu gekommenen
 Composition verlange ich nicht mehr und nicht weniger als 34 Guinees.
 Ich verspreche Ihnen zugleich, dass ich die 4 neuen Rondos niemanden
 geben noch viel weniger drucken lassen will. Ich kann Ihnen versichern
 dass 1 Theil von meinen Samlungen, worin nur 2 Rondos vorkommen, nach
 Abzug aller Kosten, mir wenigstens 1000 Mark hiesiges Geld bisher
 eingebracht haben, ohne einige 100 Exemplare zu rechnen, die ich noch
 vorräthig habe, und welche nach und nach auch verkauft werden. Die
 Auslieferung meiner 4 neuen Rondos auf einmahl geschiehet zugleich
 bey der Bezahlung auf einmahl. Wir sind sterbliche Menschen. Wegen
 der Fantasien künftig oder mündlich ein mehreres. Eine baldige
 genugthuende Antwort mit Ja! oder Nein! elbitte ich mir.

 Mit vielen Grüssen verharre ich Ihr Freund und Diener.

                                         Bach.

 Hier in Deuschland hat mir noch niemand etwas nachgedruckt; ich würde
 auch so gleich in den Zeitungen einen solchen Nachdrucker öffentlich
 als einen Betrüger erklärt haben, Dafür hält man hier durchgehends
 einen solchen Menschen, und das will Keiner wagen. Meine öffentliche
 Erlaubnis zu Ihrem Drucke und die neuen eingemischten Rondos würden
 ganz gewiss einen Nachdruck zu Ihrem Schaden abhalten.”[191]

These letters merely show that Reinagle before coming to this country
was a capable musician, was known as such by prominent musicians in
Europe, and probably through his intimacy with Bach would have studied
quite extensively the compositions of German musicians.

It was in the year 1786 that Reinagle arrived in New York with the
intention of settling. He inserted the following advertisement in the
_New York Independent Journal_:

“Mr. Reinagle, member of the Society of Musicians in London, gives
lessons on the pianoforte, harpsichord and violin.”[192]

Evidently he did not prosper according to his expectations in New
York, since the same year he established himself in Philadelphia. He
at once became identified with the musical life of this city, and in
conjunction with H. Capron, W. Brown and A. Juhan, Reinagle continued
the “City Concerts” instituted in 1783.[193] The first programme played
in that year will give some idea of the taste of the people of that
epoch.


FIRST CONCERT, OCT. 19, 1786.


  ACT I.

  Favorite Symphonie                                         Vanhall
  Song, Mr. Capron                                           Gretrey
  Sonata, Piano Forte                             Haydn and Reinagle


  ACT II.

  Concerto Flute                                            Windling
  A Favorite Ronde.
  Solo Violoncello                                          Tilliere


  ACT. III.

  Concerto Violin                                             Cramer
  New Symphony                                            Haydn[194]
  Miscellaneous Concerto.

It will be seen by this programme that German music had its share of
importance, and in later concerts the compositions of Mozart, Haydn,
Händel, Bach, Pleyel, Abel, Stamitz, Schmittbauer, Heimberger, etc.,
were given. Undoubtedly the high grade of these concerts and the
predominance of the works of German composers, was due to the musical
taste of Reinagle.

It is not our intention here to give all the programs which were
performed in Philadelphia during this period. Our intention is,
however, to give new material which has hitherto not been published.
The “City Concerts” Sonneck has traced through the year 1788, and
then he adds that “apparently the City Concert was then discontinued
as no further reference to it is made until the attempted revival in
1792.”[195]

Although no records have as yet been found, still it seems very
probable that these concerts were continued without interruption
through 1789-90. For the year 1791 there is a complete file of the
programs given. The opening announcement is as follows:

“The first Concert will be held on Saturday the 22d instant, at the
New-Rooms in Chestnut street, where they will be continued every other
Saturday during the Season.”


PLAN OF THE FIRST CONCERT.


ACT I.

  1. Grand Overture of Haydn, Opera 51
  2. Song, by a young Lady, composed by Dr. Boyce
  3. Solo on the Clarinet,                                 Mr. Wolff
  4. Quartet of                                               Pleyel
  5. Concerto on the Grand Piano Forte                   Miss Moller


ACT II.

  1. New Overture of                                           Haydn
  2. Song, by a young Lady, composed by                  A. Reinagle
  3. Concerto Violin                                   Master Duport
  4. Duett, Grand Piano Forte and Violoncello,
                      Mr. Moller and Amateur
  5. Finale of                                          Dalisac[196]


SECOND CONCERT, FEB. 5.


ACT I.

  1. Overture                                                 Pleyel
  2. Song                                                  Mr. Wolff
  3. Concertante                                             Cambini
  4. Sonato on the Grand Piano Forte                     Miss Moller
  5. Concerto Clarinet                                     Mr. Wolff


ACT II.

  1. Overture                                                 Pleyel
  2. Song                                                  Mr. Wolff
  3. Duetto Violin and Violoncello                             Beval
                     By Mr. Duport and an Amateur
  4. Trio on the Grand Piano Forte, by                    Mr. Moller
  5. Quartet Violin                                     Mr. Reinagle
  6. Finale                                                    [197]


THIRD CONCERT, FEB. 19.


ACT I.

  1. Grand Overture of                                         Haydn
  2. Sonato Piano Forte                                  Miss Moller
  3. Quartett Violin                                          Pleyel
  4. Concerto Clarinet                                     Mr. Wolff
  5. Solo Violin (in which are introduced some
       favorite Scotch airs)                            Mr. Reinagle


ACT II.

  1. Overture                                                Stamitz
  2. Concerto Violoncello, by an Amateur.
  3. Sonato Piano Forte                                   Mr. Moller
  4. A favorite Concerto of La Motte by Master Duport
  5. Finale                                                    [198]


FOURTH CONCERT, MAR. 5.


ACT. I.

  1. Grand Overture of                                         Haydn
  2. Miscellaneous Quartet                              Mr. Reinagle
  3. Sonato, Grand Piano Forte                            Mr. Moller
  4. Quartetto, Clarinet                                   Mr. Wolff
  5. Concerto, Grand Piano                               Miss Moller
  6. Quartet, Violin                                          Pleyel
  7. Finale.


ACT. II.

  1. Overture of                                               Haydn

After the Concert Master Duport will perform a Grand Dance.[199]


FIFTH CONCERT, MAR. 26.


ACT I.

  1. Grand Overture of                                         Haydn
  2. Song.
  3. Sonato, Piano Forte                                 Miss Moller
  4. Quartette, Clarinet                                       Wolff
  5. Overture


ACT II.

  1. Overture of                                              Gossec
  2. Song.
  3. Miscellaneous Quartett                                 Reinagle
  4. Concerto Piano Forte                                     Moller
  5. Finale.[200]


SIXTH CONCERT, APR. 16.


ACT I.

  1. Overture                                                Ditters
  2. Sonata Grand Pianoforte                             Miss Moller
  3. Song                                                   Mrs. Gee
  4. Concerto, Clarinetto                                  Mr. Wolff
  5. Overture                                                   Abel


ACT II.

  1. Overture                                              Ld. Kelly
  2. Song                                                   Mrs. Gee
  3. Quartett Violin                                    Mr. Reinagle
  4. Concerto Grand Piano Forte                           Mr. Moller
  5. Finale of                                            Haydn[201]


LAST CONCERT OF THE SEASON, APR. 30.


ACT I.

  1. Overture                                                   Abel
  2. Sonata Piano Forte                                  Miss Moller
  3. Song                                                   Mrs. Gee
  4. Concerto Clarinetto                                   Mr. Wolff


ACT II.

  1. Overture                                                Stamitz
  2. Song                                                   Mrs. Gee
  3. Miscellaneous Quartett                             Mr. Reinagle
  4. Concerto Piano Forte                                Miss Moller
  5. Finale of                                            Haydn[202]

Besides the City Concerts, so-called Amateur Concerts were given at an
early period and were still kept up in 1791, contrary to the belief
of O. G. Sonneck. For instance there are advertisements and programs
showing that the usual standard of concert music was performed.


“AMATEURS’ CONCERT.


A concert will be performed at Mr. Henry Epple’s, at Seven o’clock this
Evening.”[203]

Again we are notified that “this Evening the 3d instant there will be a
Ball, only.”[204] It seems probable that these concerts were followed
by a dance.

Also benefit concerts were still given as the following shows:


Benefit Concert for Master Duport, Mar. 19.


ACT I.

  1. Overture of                                                Abel
  2. Concerto, Violin                                  Master Duport
  3. Quartett Clarinet                                         Wolff
  4. Sonato, Piano Forte                                    Reinagle
  5. Overture                                                  Haydn


ACT II.

  1. Overture                                                 Vanhal
  2. Trio of                                              Boccherini
  3. Overture, “La Divan de Village” of                Rousseau[205]


Benefit Concert for Miss Moller, Apr. 2.


ACT I.

  1. Overture                                                Ditters
  2. Song                                                   Mrs. Gee
  3. Sonato, Grand Piano Forte                           Miss Moller
  4. Concerto, Clarinetto                                  Mr. Wolff
  5. Duetto, Violoncello and Grand Piano Forte, by an
       Amateur and Mr. Moller.
  6. Finale                                                    Haydn


ACT II.

  1. Grand Overture                                          Martini
  2. Song                                                   Mrs. Gee
  3. Quartetto                          Messrs. Reinagle, etc., etc.
  4. Duetto, Grand Piano Forte                           Miss Moller
  5. Finale                                             Martini[206]

Concerts were given, too, at Vauxhall with programs equally as good
as those of the City and Amateur Concerts, and an orchestra was
undoubtedly present.[207]


“Vocal and Instrumental Concert at Vauxhall, May 18.


FIRST ACT.

  1. A Grand Overture of                                       Haydn
  2. Sinfonia                                                Stamitz
  3. Solo Rondo Violin                                         Phile
  4. Quartetto Violin                                         Davaux
  5. Sinfonia                                                Vanhall


SECOND ACT.

  1. Sinfonia of                                                Abel
  2. Song--Bright Phoebus.
  3. Quartetto Violino                                       Kammell
  4. Fisher’s Rondo, Clarinett by                          Mr. Wolff
  5. Sinfonia                                                   Abel
       After which Harmony, Music and Songs.”[208]


VAUXHALL CONCERT, MAY 27.


FIRST ACT.

  1. Overture of                                            Lachmits
  2. Sinfonia                                                Stamitz
  3. Quartetto Violin                                         Davaux
  4. Song, by                                             Mrs. Kenna
  5. Sinfonia                                                   Abel


SECOND ACT.

  1. Overture                                                  Phile
  2. Quartetto, Clarinetto                                     Wolff
  3. A Duetto, Song by                            Mr. and Mrs. Kenna
  4. Quartetto                                               Schultz
  5. Sinfonia                                                 Kammel
       Harmony Music and Songs by Mr. and Mrs. Kenna.[209]


VAUXHALL CONCERT, SEPT. 2.


  1. Grand Overture of                                       Martini
  2. Ditto                                                     Haydn
  3. Ditto                                           Selime and Azor
  4. Concerto, Violin by                                   Mr. Phile
  5. Solo Rondo, Clarinet, by                              Mr. Wolff
  6. Song, by                                         Mr. Wolff[210]

By comparing these programs it will be readily seen that the performers
in the City Concerts also take part in the Amateur and Vauxhall
Concerts, etc., so we may be sure that the concerts were all about on a
par.

       *       *       *       *       *

The City Concerts were continued the next season.[211] The following
announcement was made concerning them:

  “City Concert,
  Of Vocal and Instrumental Music.

 Under the direction of Messrs. Reinagle and Moller. The vocal parts by
 Mrs. Sewel and Mrs. Morris. The concert will commence on Saturday the
 19th instant, at the Assembly Room, in Chestnut street.”[212]


FIRST CONCERT, NOV. 19.


ACT I.

  1. New Overture of                                      Mr. Moller
  2. Hunting song                                        Mrs. Morris
  3. Concerto, grand piano forte                         Miss Moller
  4. Quartetto, violin                            Mr. Reinagle, etc.
  5. Overture.


ACT II.

  1. Overture of                                               Pichl
  2. Duett, violin and viola of                              Stamitz
  3. Song                                                Mrs. Morris
  4. Sonato, piano forte and violin,        Moller and Reinagle[213]


SECOND CONCERT, DEC. 3.


ACT I.

  1. Overture of                                                Abel
  2. Song                                                Mrs. Morris
  3. Sonata, Pianoforte                                  Miss Moller
  4. Miscellaneous Quartett                       Mr. Reinagle, etc.


ACT II.

  1. Overture                                               Reinagle
  2. Duetto, violin and viola.
  3. Song                                                Mrs. Morris
  4. Sonata, piano forte and violin              Moller and Reinagle
  5. Finale of                                             Abel[214]


THIRD CONCERT, DEC. 17.


ACT I.

  1. Overture of                                      Stamitz, senr.
  2. Duet,                              Mrs. Morris and Mr. Reinagle
  3. Sonata, Piano forte                                 Miss Moller
  4. Quartett of                                              Pleyel
  5. Overture                                                   Abel


ACT II.

  1. Overture                                                  Pichl
  2. New Miscellaneous Quartett                         Mr. Reinagle
  3. Song                                                Mrs. Morris
  4. Sonata, Piano Forte                       Mr. Moller, of Pleyel
  5. Finale                                                Abel[215]


FOURTH CONCERT, DEC. 31.


ACT I.

  1. Overture, 4th Opera, 10 of                                 Abel
  2. Song                                                Mrs. Morris
  3. Sonata, Piano Forte                                 Miss Moller
  4. Quartett of                                              Pleyel
  5. Periodical Overture                                        Bach


ACT II.

  1. Overture                                               Reinagle
  2. Miscellaneous Quartett                                  Stamitz
  3. Song                                                Mrs. Morris
  4. Concerto, Piano Forte,                 Mr. Mollen, of Schroeter
  5. Finale                                                Abel[216]


FIFTH CONCERT, JAN 14, 1792


ACT I.

  1. Overture of                                              Moller
  2. Song (from the New opera of the Woodman)            Mrs. Morris
  3. Sonata, Piano Forte                                 Miss Moller
  4. Concerto, French horn                           Mons. Pellisier
  5. Periodical Overture of                                     Abel


ACT II.

  1. Overture of                                           Holtzwara
  2. The 1st Miscellaneous Quartett of                        Vachon
  3. Song (Damon’s all inconstancy)                      Mrs. Morris
  4. Concerto, Piano Forte                                Mr. Moller
  5. Finale                                                    [217]


SIXTH CONCERT


ACT I.

  1. Overture 44th of                                        Vanhall
  2. Hunting Song                                        Mrs. Morris
  3. Sonata Piano Forte                                  Miss Moller
  4. Miscellaneous Quartett                             Mr. Reinagle


ACT II.

  1. Overture to Rosina                                       Shield
  2. Song (from the Woodman)                             Mrs. Morris
  3. Concerto, Piano Forte                                Mr. Moller
  4. Quartett, French Horn                             Mr. Pellisier
  5. Overture of                                        Jomelli[218]


SEVENTH CONCERT, FEB. 11.


ACT I.

  1. Overture 1st of                                    M. A. Guenin
  2. Song                                                Mrs. Morris
  3. Sonata, Piano Forte                                 Miss Moller
  4. Quartett of Pleyel                           Mr. Reinagle, etc.
  5. Overture 2d                                        M. A. Guenin


ACT II.

  1. Overture of                                             Stamitz
  2. Duetto, Violin and Viola                    Moller and Reinagle
  3. Song                                                Mrs. Morris
  4. Concerto, Piano Forte                                Mr. Moller
  5. Finale                                                Abel[219]


EIGHTH AND LAST CITY CONCERT OF THE SEASON HELD MAR. 10.


ACT I.

  1. Overture 6th, op. 10, of                                   Abel
  2. Song                                                Mrs. Morris
  3. Sonata, Piano Forte                                 Miss Moller
  4. Quartett, Pleyel                             Mr. Reinagle, etc.
  5. Overture                                                  Haydn


ACT II.

  1. Overture 57                                             Vanhall
  2. Miscellaneous Quartett
  3. Song                                                Mrs. Morris
  4. Concerto Piano Forte                                 Mr. Moller
  5. Finale                                              Crispi[220]


Finally a “City Concert Benefit” was given for Miss Moller.


ACT I.

  1. Overture, by                                              Pichl
  2. Song, The Traveller benighted,                      Miss Moller
  3. Quartette, French Horn                            Mr. Pellisier
  4. Grand Ariette, Sorti, with
        accompaniment by a Guitar,
        composed by                         Mr. Cassaignard, Amateur
  5. Concerto Violin                                       Mr. Phile


ACT II.

  1. Overture by                                                Abel
  2. Ariette Du Marquis de Floriant, by     Mr. Cassaignard, Amateur
  3. Concerto Piano Forte                                Miss Moller
  4. Duetto, Violin and Tenor             Messrs Reinagle and Moller
  5. Finale                                             Vanhall[221]

 Foot-Note; At a concert given at Vauxhall in 1792 the instrumental
 parts were taken by a number of Germans: Messrs. Phile, Schulz,
 Tremner, [_Scotchman Bremner_,] Roth, Christhilf, Spangenberg etc.,
 (Cf. _Am. Daily Adv._ June 8, 1792).

 Cf. Durang, _History of the Stage in Phila._, Chapter 12, who gives
 the name Trimmer.

A glance at these programs or at the City Concert programs published
by Sonneck[222] should convince anyone that the musical taste
of Philadelphia was good, also that the German composers were
favorites--at least with the managers--and a predilection was shown for
Abel, Stamitz, Pleyel, and Haydn.

Reinagle was not only interested in the artistic production of music,
but also, according to one writer, in the industrial development. He
is said to have had a share in the piano manufactory established by
Charles Tawes.[223]

Concerning the residence of Reinagle in Philadelphia, his
contemporaries have something to say. At that time Wignell was an
important factor in the theatrical world and in the fall of 1791
he “associated himself with Mr. Reinagle, a professor of music in
Philadelphia, and a composer of some note at that time.”[224] They
founded the first Chestnut Street Theatre, “the corner stone of which
was laid by Mr. Reinagle, a Master Mason, in Masonic form.”[225]

The new theatre was opened to the public for the first time on
Saturday evening, April 2d, 1793, “with a grand concert of vocal and
instrumental music.”[226]

“The orchestra department was under the direction of Manager Reinagle,
and the musicians were deemed equal in ability with the stage artists.
In truth the orchestra contained about twenty accomplished musicians,
many of them of great notoriety as concerto players on their respective
instruments.

“The concentration of that early date of so much dramatic, operatic and
instrumental talent, introduced a new era of theatricals here.

“Who that once saw old manager Reinagle in his official capacity, could
ever forget his dignified personne. He presided at his piano forte,
looking the very personification of the patriarch of music--investing
the science of harmonious sounds, as well as the dramatic school, with
a moral influence, reflecting and adorning its salutary uses with high
respectability and polished manners. His appearance was of the reverent
and impressive kind, which at once inspired the universal respect of
the audience. Such was Reinagle’s imposing appearance, that it awed the
disorderly of the galleries, or the fop of annoying propensities, and
impertinent criticism of the box lobby into decorum.

“It was inspiring to behold the polished Reinagle saluting from his
seat (before the grand square piano forte in the orchestra) the highest
respectability of the city, as it entered the boxes to take seats. It
was a scene before the curtain that suggested a picture of the master
of private ceremonies receiving his invited guests at the fashionable
drawing room.

“Mr. Reinagle was a gentleman and a musician. His compositions evinced
decided cleverness and originality, and some of his accompaniments to
the old opera music were much admired by good judges.”[227]

An article by William McKoy presents a clearer picture of Mr. Reinagle.
He says:

“Mr. Reinagle, one of the Managers, and a Professor of Music, used
to be seen, but only on particular occasions, seated at the Piano
Forte, then standing against the stage, in the rear of the band
[orchestra] for the mere purpose of touching a few notes solo, by
way of accompaniment to the silvery tones of Mrs. Wignell. * * * Mr.
Reinagle, while thus enjoying the effect of her inimitable chant,
exhibited to the audience a head not unlike that of Louis the XIV but
divested of the simplicity, bushy, powdered hair, large high forehead,
and round full face, illuminated by silver mounted spectacle glasses,
a perceptible smirk at all times about the mouth, and an extraordinary
depth of dimple in his cheek, while sitting there and surveying the
irritability of Mr. Gillingham, the Leader of the Band, on his being
obliged to leave the music of Händel and Mozart, and strike off into
the ‘President’s March.’”[228]

In Durang’s account, the compositions of Reinagle are spoken of highly;
there is the testimony of another man, an actor in Reinagle’s company,
to substantiate the above eulogy, as follows (1804):

“By the death of Wignell * * * the management devolved upon his widow
and Reinagle. * * * The musical department fell of course to the
charge of Reinagle, whose compositions and adaptations were deserved
favorites with the public.”[229]

Again, there is the testimony of a man of our own times to show that
the above praise was not undeserved. Speaking of some of Reinagle’s
sonatas, O. G. Sonneck says:

“These sonatas follow closely in the footsteps of Ph. Em. Bach and the
early Haydn without being void of individuality. If the larger works of
Reinagle all were as fine and effective as these sonatas he must have
been a composer of merit.”[230]

Sonneck has published titles of forty-two works ascribed to
Reinagle,[231] to which we have added several others some of which are
still in existence. These compositions include sonatas, overtures,
preludes, songs, opera music, adaptations, accompaniments, etc.

From all this evidence it will appear that Alexander Reinagle must have
been a great force in music in Philadelphia, and did much to shape
the taste of the people for good music--especially for German music,
and may thus be called the greatest German American musician of that
century.

Concerning his home life, it is known that Reinagle was married and had
two sons, Hugh, a scenic painter of some note, and Thomas. The later
years of his life Reinagle spent in the management of a theatre in
Baltimore, where he died September 21, 1809.[232]

Note: For a list of Reinagle’s compositions, Cf. Appendix.


FOOTNOTES:

[187] Sonneck, _Early Concert Life_, p. 79.

[188] Sonneck, _Quarterly Magazine of International Music Society_,
October-December, 1906, p. 112.

[189] O. G. Sonneck first called attention to this book in his article
in the _Quarterly Magazine of the International Music Society_ quoted
above p. 113.

[190] Cf. Articles on Hugh Reinagle, in Grove’s _Dictionary of Music_,
and in “_Dictionary of National Biography_.”

[191] The originals are deposited in the Library of Congress.

[192] Quoted from _History of the Pianoforte in America_, by Daniel
Spillane.

[193] Sonneck, _Early Concert Life_, p. 78.

[194] Quoted from ditto, p. 81.

[195] Sonneck, _Early Concert Life_, p. 87.

[196] Cf. _American Daily Adv._, Jan. 19, 1791.

[197] _Am. Daily Adv._, Feb. 1, 1791.

[198] _Am. Daily Adv._, Feb. 16, 1791.

[199] _Am. Daily Adv._, Mar. 4, 1791.

[200] _Am. Daily Adv._, Mar. 23, 1791.

[201] _Am. Daily Adv._, April 13, 1791.

[202] _Am. Daily Adv._, Apr. 29, 1791.

[203] _Am. Daily Adv._, Feb. 3, 1791.

[204] _Am. Daily Adv._, Mar. 3, 1791.

[205] _Am. Daily Adv._, Mar. 17, 1791.

[206] _Am. Daily Adv._, Apr. 2, 1791.

[207] _Am. Daily Adv._, Aug. 30, 1791.

[208] _Am. Daily Adv._, May 17, 1791.

[209] _Am. Daily Adv._, May 25, 1791.

[210] _Am. Daily Adv._, Sept. 2, 1791.

[211] Sonneck, _Early Concert Life_, p. 87.

[212] _Am. Daily Adv._, Nov. 9, 1791.

[213] _Am. Daily Adv._, Nov. 19, 1791.

[214] _Am. Daily Adv._, Dec. 1, 1791.

[215] _Am. Daily Adv._, Dec. 15, 1791.

[216] _Am. Daily Adv._, Dec. 30, 1791.

[217] _Am. Daily Adv._, Jan. 12, 1792.

[218] _Am. Daily Adv._, Jan. 28, 1792.

[219] _Am. Daily Adv._, Feb. 11, 1792.

[220] _Am. Daily Adv._, Mar. 8, 1792.

[221] _Am. Daily Adv._, Mar. 31, 1792.

[222] For a full discussion of concert life Cf. Sonneck, (_Early
Concert Life_), as well for French, English, and German influence.

[223] Cf. D. Spillane, _History of the Am. Pianoforte_, p. 99.

[224] Durang, _History of the Stage in Philadelphia_, chapter 15.

[225] Durang, _History of the Stage in Philadelphia_, chapter 19.

[226] Durang, _History of the Stage in Philadelphia_, chapter 19.

[227] Durang, chapter 19.

[228] Poulson’s _Daily Advertiser_, January 13, 1829.

[229] Wood, _Personal Recollections of the Stage_, p. 104.

[230] Sonneck, _Early Secular American Music_, p. 13.

[231] Cf. Sonneck, _Early Secular American Music_, p. 139.

[232] Durang, chapters 19 and 24.




CHAPTER VIII.

PHILIP ROTH AND PHILIP PHILE


Although Alexander Reinagle was the greatest musician of this period
there were others of importance as Juhan, Moller, Capron, Brown,
Schetky, Wolff, etc., etc. It is not our intention to take up these
men separately, as material is too scanty to warrant it. Sonneck has
given short biographies of most of these men.[233] There are two men,
however, Philip Phile and Philip Roth about whom we know considerable.
They were both musicians of no mean calibre, appeared frequently in the
concerts given in Philadelphia, and were also composers of music.

Philip Roth’s first public appearance, as far as is known, was in 1771
at the benefit concert of John M’Lean, when an overture composed by
him “for the occasion” was performed.[234] This piece was, perhaps,
the first of importance composed by a German in Philadelphia. The
advertisement speaks of him as “Master of the Band, belonging to his
Majesty’s Royal Regiment of North British Fusileers.” However, as will
be shown later, he was undoubtedly a true German.

From 1771 to 1785 we lose sight of Roth, but then he appears as a music
teacher in Philadelphia.[235] It is quite likely that he was here still
earlier. He lived in Philadelphia from 1785 on until his death in 1804.

The importance of Philip Roth lies in the fact that it has been claimed
by some, that he is the composer of “The President’s March” to which
the song “Hail Columbia” was set. Others claim that Philip Phile was
the author. The claims of Philip Roth, which at the most are meagre,
rest upon an article in a newspaper of 1829, written by Wm. McKoy,
twenty-five years after Roth was dead. This article, as will be shown,
contains one error, and may contain others. The article in question
reads thus:

 “The seat of the Federal Government of the thirteen United States
 being removed to Philadelphia, and in honor of the new President
 Washington, then residing at No. 190 High Street, the March, ever
 since known as the President’s March, was composed by a German Teacher
 of Music, in this city, named Roth, or Roat, designated familiarly
 by those who knew him, as ‘Old Roat.’ He taught those of his pupils
 who preferred the flute, to give to that instrument the additional
 sound of the drone, while playing in imitation of the Scotch Bagpipe.
 His residence was at one time in that row of houses back from Fifth,
 above Race street, at that time known as ‘The Fourteen Chimnies’
 some of which [1829] are still visible in the rear ground, north
 eastward of Mayer’s Church. In his person he was of the middle size
 and height. His face was truly German in expression; dark gray eyes,
 and bushy eye-brows, round pointed nose, prominent lips, and parted
 chin. He took snuff immoderately, having his ruffles and vest usually
 sprinkled with grains of rappee. He was considered an eccentric and a
 kind of drole. He was well known _traditionally_ at the Sampson and
 Lion, in Crown Street, where it seems, his company, in the Olden Time
 was always a welcome addition to the Pewter Pint Customers, gathered
 there, at their Pipes and Beer, while listening to his facetious
 tales and anecdotes, without number, of High Life about Town, and of
 the Players: Nick Hammond, Miss Tuke, Hodgkinson, Mrs. Pownall, and
 Jack Martin of the Old Theatre in Southwark. This said President’s
 March, by Roat, the popular songs of Markoe,[236] the City Poet, in
 particular the one called ‘The Taylor done over,’ and the beautiful
 air of ‘Dans Votre Lit,’ ... were sung and whistled by everyone who
 felt freedom (of mind) to whistle and sing.

       *       *       *       *       *

 “Public opinion having ... released itself from a passion for
 French Revolutionary Musick and Song, experienced a vacuum in that
 particular, which was immediately supplied by the new, National
 American Song of ‘Hail Columbia happy Land,’ written in ’98, by
 Joseph Hopkinson, Esq.[237] of this city, and the measure adapted
 by him very judiciously, to the almost forgotten President’s March.
 Even since 1798, the song of Hail Columbia, by Joseph Hopkinson, and
 the President’s March, by _Johannes_ Roat, being indiscriminately
 called for, have become, in a manner synonymous to the public ear and
 understanding, when they are actually and totally distinct in their
 origin, as above mentioned.

 “Such was the popularity of the song, that very frequently has Mr.
 Gillingham, Leader of the Band, [Orchestra], been forced to come to a
 full stop in the _foreign_ music, he had arranged for the evening by
 the deafening calls for this march, or song to the march.”[238]

In the first place, we wish to pick out a few errors, which will show
why we must use this testimony with caution. The writer says that Roth
was “well known traditionally,” evidentially not personally known to
him. Again he says that the “President’s March” at the time “Hail
Columbia” was written was “almost forgotten,” but on the contrary the
actor, Gilbert Fox, urged Joseph Hopkinson to set words to that tune
on account of its popularity. Thirdly, he says that the march was
written by _Johannes_ Roat. This is evidently an error in the Christian
name due to traditions as we will try to show. We have gone carefully
through the city directories from 1785 (when they were first printed,)
to 1806; also the newspapers of that time, and wills and letters of
administration but find no record of a “Johannes” Roat. We find a
_Philip_ Roth, and we shall strive now to give proof that they were one
and the same, as so far there has been no adequate statement of this
fact.

To recapitulate: Philip Roth, we have already discovered, was a Band
Master in a British regiment in Philadelphia, and wrote an overture in
1771.[239] All trace of him is lost during the war, but he probably
continued to fill his position in the British Army, or possibly the
same position in the U. S. army.

In 1785 there is the name Philip Roots in the city directory. In 1788
he has an advertisement in the newspaper,[240] while in 1789 we have
the following:

 “Mr. Roth, Music Master, In Pennington Alley running from Race to Vine
 Streets, between Fourth and Fifth Streets.

 “Teaches all kinds of Instrumental Music in the shortest manner, viz.
 Harpsichord or Piano Forte, Guitar, Flute, Hautboy, Clarinet, Bassoon,
 French Horn, Harp and Thorough-Bass, which is the Ground of Music,
 etc.”[241]

In this advertisement we have Mr. Roth; not Philip nor Johannes.
This would imply that the above-mentioned man was the only person in
Philadelphia by the name of Roth who was a music teacher. There was no
city directory after 1785 until 1791. In this year there appears this
entry:

“Philip Roth, musician 25 Crown St.”[242]

Now turning to the advertisement again we read that Mr. Roth lived:

“In Pennington Alley running from Race to Vine Streets, between Fourth
and Fifth streets.” But the city directory informs us that Crown St.,
and Pennington Alley were one and the same.[243] To go a step further,
let us compare the article on the ‘President’s March,’ above quoted, as
to the abode of Johannes Roat, which says:

 “His residence was at _one_ time in that row of houses back from
 Fifth, above Race street, at that time known as ‘The Fourteen
 Chimneys’ ... north-eastward from Mayer’s Church.”[244]

Now comparing these three dwelling places, we find that they were
on the same street--at least two of them--and the third in the same
neighborhood; but we find that there was only one man, which our
evidence gives, so we may be perfectly sure that the other two men may
be fused into the one--Philip Roth. This man lived, while he was in
Philadelphia in one locality as the directories show.

  1791 Philip Roth,   musician, 25 Crown St.
  1795 Philip Roth,   31 Race St.
  1798 Philip Roth,   Crown St.
  1797 Philip Roth    musician, Crown St.
  1798 Philip Roth,   musician Crown St.
  1799 Philip Roth,   teacher of music, 33 Crown St.
  1800 Philip Roth,   teacher of music, 33 Crown St.
  1801 Philip Roth,   music master, 33 Crown St.
  1802 Philip Roth,   music master, 33 Crown St.
  1803 Philip _Rote_, music master, 33 Crown St.
  1804 Philip _Rote_, music master, 33 Crown St.

His name is also given in the directory of 1805, but nevertheless he
died in 1804.

From the above, it is seen that he lived on the same street all the
time he was in Philadelphia, with the exception of the year 1795 when
he dwelt at 31 Race St., which however, was not far away. We see, too,
the different appellations given to him, as “musician,” “teacher of
music,” and finally “master of music,” Evidently he was skilled as a
musician, and was respected as such.

Little else is known about Philip Roth, but we may presume that he
played in the orchestra of the “Old Southwark Theatre”--perhaps was
even the leader, since we know that he was well acquainted with
the actors.[245] We do know that he composed a piece of music, or
rather set to music a “Hunting Song,” which was printed in the
“Universal Asylum,” April, 1790. He must indeed, have been a skilful
musician to be able to give lessons on all the instruments in his
advertisement--nine in all--although he could not have been proficient
on all. Still he must have been talented.

The date of his death has been misstated by the only author, who
has mentioned it at all. O. G. Sonneck, in his book “_Early Secular
American Music_” (1905) page 190, and in an article “_Critical Notes
on the Origin of Hail Columbia_” printed in the “_Sammelbände der
Internationalen Musikgesellschaft_” (1901) states that Philip Roth died
in 1805.

It is true that in the City Directory for 1805 his name is found while
in the directory for 1806 the following entry appears:

 “Rote, widow of Philip, music master, 94 N. 7th St.”[246]

To offset the above evidence there is the documentary proof as follows:

“On the 24th day of September, 1804, Letters of Administration were
granted unto Mary Roth on the Estate of her Husband, Philip Roth
deceased.

$200. Henry Lies of Philadelphia, Victualler. Jacob Grace of Nor.
Liberties, Carter. Sureties.”[247]

Philip Roth could not have amassed much wealth during his musical
career, since his surety was only $200.

So much for Philip Roth and his claims as author of the “President's
March.” The other claimant is Philip Phile, about whom we know
as little as about Philip Roth. As early as 1784 Phile was in
Philadelphia; as there is a concert advertised for his benefit in that
year.[248] Somewhat later than this Durang, a contemporary of Phile
tells us that:

 “The orchestra at the beginning of the “Old American Company”
 production was Mr. Philo, _leader_; Mr. Bentley, harpsichord; Mr.
 Woolf, principal clarinet, Trimmer, Hecker, and son, violoncello,
 violins, etc. Some six or seven other names, now not remembered,
 constituted the musical force. The _latter_ were _all_ Germans.”[249]

Mr. Phile was occupying a somewhat important position--the leadership
of a _German_ orchestra numbering some twelve or thirteen men. From now
on until his death in 1793,[250] Phile wandered back and forth between
New York and Philadelphia. In 1784 he appears on the concert programs
in the latter city. In 1786 with Alexander Reinagle he played a duet
for violin and ’cello in New York,[251] while the next year he is back
again in Philadelphia.[252] In 1792 he takes part in a concert together
with Philip Roth and other Germans.[253] Perhaps Roth was a member of
his orchestra. After 1789 he apparently settled down in Philadelphia,
and lived on Race St., between Front and Second.[254]

Such is the knowledge we have concerning Phile’s life. Let us consider
what are his claims to the authorship of the “President’s March.” As
in the case of Roth, the march was claimed for Phile by his friends;
but in his case there are two different accounts of its origin as
follows: 1. First it was claimed for him by his son, who says he was
present when it was played. He says that the march was composed by his
father, and played at Trenton Bridge in 1789 in honor of Washington,
who was on his way to New York to be inaugurated.[255] 2. Second, it is
said by the nephew of Washington, G. W. Custis (1860), that this march
was played in the John St. Theatre, N. Y., Nov. 24, 1789 in honor of
Washington, who was present that evening. The composer is said to be a
German named Feyles.[256] “Feyles” is a corruption of Phile and we also
find it spelled Philo, Phylo, Phyla, Phyle, Phyles, Fyles, etc.

There are, then, two different statements as to the composition of
this piece by Phile, which would lead us to think, that, in the minds
of the people it was a doubtful question as to how and when this march
was composed. To add to this, the claim that Philip Roth composed this
march, only makes the situation more confused. Sonneck has pointed out
in his article “_Critical Notes on the Origin of Hail Columbia_,”[257]
that there was no account in the daily papers of that time concerning
this march, as there probably would have been, had it been composed in
honor of so important a man as Washington. He, however, inclines to the
belief that Phile did write the march; but until a manuscript with the
name of the composer thereon is discovered, we cannot say with surety
who did write it.[258] We have, then, these two composers before us and
can pay our money and take our choice.

Concerning the compositions of these two men we know little. The
overture composed by Roth in 1771 has already been mentioned. Sonneck
also gives a “Hunting Song” set to music by Mr. Roth in 1790. Sonneck
credits Phile with the following compositions.

1787

  1. Violin Concerto by Mr. Phile.

1790

  2. Harmony Music, Phile.[259]

  In addition to these we have:

1791

  3. Overture by P. to be played at Vauxhall Concert, May 27.[260]

  4. Concerto Violin by Mr. Phile. At Vauxhall Sept. 2.[261]


FOOTNOTES:

[233] Sonneck, _Early Secular American Music_, Index.

[234] See Above, p. 54.

[235] Cf. _City Directory of Philadelphia_, 1785.

[236] Peter Markoe (1768-1792) born at Santa Cruz, West Indies,
educated in Eng., died at Phila.

[237] Son of Francis Hopkinson mentioned above as an important figure
in Phila. musical development, Cf. Above, pp. ff.

[238] Poulson’s _Daily Advertiser_, Jan. 13, 1829.

[239] Cf. Above, p. 54.

[240] _Pa. Jour._, Sept. 10, 1788.

[241] _Pa. Jour._, Jan. 7, 1789.

[242] _City Directory_, 1791, p. 110.

[243] _City Directory_, 1795, p. 81.

[244] Cf. Above p. 77.

[245] Cf. Above, p. 89.

[246] _City Directory_, 1806.

[247] Cf. _Letters of Administration, Book K_, No. 156, p. 178 in
office of Recorder of Wills, City Hall, Philadelphia.

[248] _Pa. Packet_, Mar. 6, 1784.

[249] Durang, _History of the Stage in Phila._, Chapter 12, [A rare
book].

[250] Sonneck, _Early Secular American Music_, p. 189.

[251] _N. Y. Packet_, Jul. 13, 1786.

[252] _Pa. Packet_, Jan. 13, 1787.

[253] See Above, Note to 72.

[254] Sonneck, _Article_ in Sammelbände (1901), p. 156.

[255] _Baltimore Clipper_, 1841.

[256] G. W. Custis, _Recollections and Private Memoirs of Washing._ p.
368. Also _Diary of Geo. Wash._ 1789-1791, (ed. B. J. Lossing, 1860),
p. 56.

[257] _Sammelbände der Internationalen Musikgesellschaft_, 1901.

[258] Many writers have expressed an opinion, but evidently their
information consisted of a knowledge of only _one claim_.

[259] Cf. Sonneck, _Early Sec. Am. Music_ for these compositions.

[260] _Am. Daily Adv._, May 25, 1791.

[261] _Am. Daily Adv._, Sept. 2, 1791.




CONCLUSION.


We have tried to show the gradual growth of musical taste in
Philadelphia, especially the taste for German music. As before
mentioned this taste was undoubtedly stimulated mostly by the English
musicians, at least until the last period. In that period the English,
and German musicians, seem to have worked in conjunction to keep up
the standard set by their predecessors. It must not be thought that
German music alone ruled in Philadelphia. During the French Revolution,
especially, many refugees arrived in Philadelphia and concerts of
French music were given and great enthusiasm was aroused among the
American citizens. However, on looking over the whole century,
German music seems to predominate over the music of other nations in
Philadelphia. Musical taste in Philadelphia after the Revolution will
compare favorably with the taste shown in Europe at the same period.




APPENDIX.

WORKS OF ALEXANDER REINAGLE.


Unless otherwise noted this list has been taken from O. G. Sonneck’s
“_Early Secular American Music_.” They are given here according to date
of production.


1787.

1. Overture.

2. “A Select Collection of the most favorite Scots tunes. With
variations for the pianoforte or harpsichord.”

3. A song (newly composed).


1788.

4. “_Federal March_, as performed in the grand procession in
Philadelphia, the 4th of July, 1788. Composed and adapted for the
pianoforte, violin, or German flute.”


1789.

5. Song.

“Adieu thou dreary pile.”

Arranged for pianoforte or harpsichord by Reinagle.

6. _Chorus_, sung before Gen. Washington, as he passed under the
triumphal arch on Trenton Bridge, April 21, 1789. “Set to music and
dedicated by permission to Mrs. Washington.”

7. _Song._ “In vain fond youth you would conceal.”

8. _Song._ “My soul is thine, sweet Nora.”

9. _Song._ “The Soldier tried, etc.”

10. _Song._ “Tantive back forward.”

11. _Song._ “Tis not the bloom on Damon’s cheek.”

(These songs were _arranged_ by R. for pianoforte or harpsichord.)

12. Overture. “La Schiava” (Piccini.)

13. Overture to opera “Maria” (Shield).

(These overtures arranged for pf. by R.)


1791.

14. Song. “Winter.” Set to music by R. with pf. acc.

15. Miscellaneous Quartet. Played at the “City Concert” Mar. 5, 1791
and often the remainder of the season.[262] This composition is dated
by Sonneck 1793.

16. _New_ Miscellaneous Quartet. To be played at the “City Concert”
Dec. 17, 1791.[263]


1794.

17. Song. “America, Commerce and Freedom.” By. R.

18. “La Chasse” (Rosetti). Arranged for pianoforte or Harpsichord by R.

19. “_Concerto_ On the Improved Pianoforte with Additional keys.”

20. “La Foret Noire (serious pantomime. _Overture_, etc., entirely new,
composed by Mr. Reinagle.”)

21. Occasional Overture.

22. “_Preludes_ in three classes, for the improvement of practitioners
on the pianoforte.”

23. “Robin Hood” (comic opera,) original overture by Baumgarten,
additional airs by R.

24. “Slaves in Algiers” (play interspersed with songs), Music by R.

25. “Spanish Barber” (opera translated from Beaumarchais, by G.
Colemann), additional airs by Reinagle and Carr.


1795.

26. “Harlequin shipwreck’d” (Pantomime). New music by R.

27. “Harlequins invasion” (Pantomime.) New medley overture by R.

28. “Volunteers” (comic opera). Music and overture entirely new.

29. “The Purse” (musical drama by J. J. Cross), accompaniments and new
airs by R.

30. “Auld Robin Gray” (opera), new music and a Scottish medley
overture by R.


1796.

31. “Mountaineers” (comic opera), accompaniments by R.

32. “Pierre de Province and La Belle Magulone” new music by R.
This was also called “The Rival Knights” or La “Belle Magalone”
a pantomime.[264] Probably this was the same thing as “Pierre de
Province” although the latter was advertised as a “ballet.”

33. “Grand Divertisement in the Temple of Liberty taken from the
celebrated Ballet, called, Warriors Welcome Home. The Overture and
Music compiled by Mr. Reinagle in which is introduced a number of Irish
and Scotch Airs.”[265]

34. “The Shamrock” (Irish dance), Irish medley Overture by R.[266]

35. “Witches of the rocks or Harlequin everywhere” (Pantomime), “with
an entire new overture, songs, choruses, and recitations composed by
Mr. Reinagle.”


1797.

36. “Columbus” (historical play), incidental music by R.

37. Savoyard (musical farce), music by R.


1798.

38. “‘The Gentle Shepherd’, written by Allan Ramsay. With original
airs and the accompaniment by Mr. Reinagle.” This was called “the
favorite comical Scot’s Pastoral” and was to be performed at the New
Theatre.[267]

39. “Italian Monk” (opera), music and accompaniment by R.


1799.

40. Monody. “On the Death of the much lamented, the late
Lieutenant-General of the Armies of the United States. The Music
composed by R. Taylor, and Mr. Reinagle.” To be given at the New
Theatre.[268]

41. “Blue Beard” (opera accompaniments by R.)

42. “The Arabs of the desert, or Harlequins flight from Egypt,” with a
new Overture and Music, composed by Mr. Reinagle.[269]


Probably before 1800 (date not known).

43. “Collection of favorite songs, divided into books. The basses
rendered easy and natural for the pianoforte or harpsichord by Alex.
Reinagle.”


1800.

44. Masonic overture.

45. “Naval pillar” (musical entertainment), accompaniments by R.

46. “Pizarro,” by Kotzebue; adapted by R. B. Sheridan; music by
Reinagle and Raynor Taylor.


FOOTNOTES:

[262] Cf. _Am. Daily Adv._, Mar. 4, 1791. Also programs given in this
book for 1791.

[263] Cf. _Am. Daily Adv._, Dec. 15, 1791.

[264] Cf. _Am. Daily Adv._, Jun. 27, 1796.

[265] Cf. _Am. Daily Adv._, Mar. 28, 1796.

[266] Perhaps the same as advertised in _Am. Daily Adv._, May 7, 1794.

[267] _Am. Daily Adv._, Apr. 16, 1798.

[268] _Am. Daily Adv._, Dec. 23, 1799.

[269] Cf. _Am. Daily Adv._, Apr. 13, 1799.




AMERICANA GERMANICA

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MONOGRAPHS DEVOTED TO THE COMPARATIVE STUDY OF THE

Literary, Linguistic and Other Cultural Relations of Germany and America


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Transcriber’s note


Minor punctuation errors have been changed without notice.
Inconsistencies in hyphenation have been standardized.

The spelling of the surnames was standardized. The exception is
Tannenberger/Tannenberg which was left as published because a footnote
refers to the alternate spelling.

Page 58: Dashes were removed from the table for readability purposes.

Page 68: For the “VAUXHALL CONCERT, SEPT. 2” section. Duplicate #3 and
#4 were removed.

The following printer errors have been changed.

  Page Ads: “The Influencs of Salomon”     “The Influence of Salomon”
  Page Ads: “Hymnology and the Souces”     “Hymnology and the Sources”
  Page 7:   “anfangs ein sternger”         “anfangs ein strenger”
  Page 7:   “Scylla Theologiae, aliquot”   “Scylla Theologica, aliquot”
  Page 10:  “of the Bohemian Bretheren”    “of the Bohemian Brethren”
  Page 10:  “Unparteysche Lieder”          “Unparteiische Lieder”
  Page 10:  “Neues und vesbessertes”       “Neues und verbessertes”
  Page 13:  “services, epecially”          “services, especially”
  Page 13:  “Christina, Dlaware, to”       “Christiana, Delaware, to”
  Page 18:  “on the Wissakickon”           “on the Wissahickon”
  Page 41:  “court of arms containing”     “coat of arms containing”
  Page 42:  “of musical merchandise”       “of musical merchandize”
  Page 46:  “was popular, and prabably”    “was popular, and probably”
  Page 47:  “and in 1763 recieved the”     “and in 1763 received the”
  Page 47:  “Provinicial Council of”       “Provincial Council of”
  Page 49:  “Pepush (Alex’s a Cantata!)”   “Pepush (Alexis a Cantata!)”
  Page 52:  “least a semi-worldy”          “least a semi-worldly”
  Page 59:  “ji suis et serai”             “je suis et serai”
  Page 59:  “trés humble Serviteur.”       “très humble Serviteur.”
  Page 59:  “mois de Fevrier”              “mois de Février”
  Page 60:  “öffenthich kundthun; und”     “öffentlich kundthun; und”
  Page 60:  “Sie noch nene Rondos”         “Sie noch neue Rondos”
  Page 60:  “niemand etwas nachgedcrukt”   “niemand etwas nachgedruckt”
  Page 60:  “einen solchen Nachdrucken”    “einen solchen Nachdrucker”
  Page 60:  “Eerlaubnis zu Ihrem”          “Erlaubnis zu Ihrem”
  Page 64:  “4. Quartete, Clarinet”        “4. Quartette, Clarinet”
  Page 78:  “evidentally not personally”   “evidentially not personally”
  Page 80:  “_Sammelbaende der             “_Sammelbände der_”
             Internationalen                Internationalen
             Musik-Gesellschaft”            Musikgesellschaft”
  Page 80:  “states that Philp Roth”       “states that Philip Roth”
  Page 86:  “24. “Spanish Barber””         “25. “Spanish Barber””

  Footnote Corrections:

  Italics for Footnotes 158-162, 164 were standardized.

   32: “Sasche, _Justus Falckner_”    “Sachse, _Justus Falckner_”
   55: “_Hist._,  XVI”                “_Hist._, Vol. XVI”
   76: “The Voyage, Shiprack and”     “The Voyage, Shipwreck and”
   78: “March 5-14, 172-7/8”          “March 5-14, 1727-8”
   80: “_Hist. of Phita._”            “_Hist. of Phila._”
   88: “_Haendel & Haydn_”            “_Handel & Haydn_”
  112: “_P. Gazette_, May 1”          “_Pa. Gazette_, May 1”
  115: “Mittelbergers Journey”        “Mittelberger’s Journey”
  224: “_History of Stage_”           “_History of the Stage_”
  229: “Personal _Recollections_”     “_Personal Recollections_”
  257: “Sammelbaender                 “Sammelbände der
        Internationalen                Internationalen
        Musik Gesellschaft”            Musikgesellschaft”







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