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.