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
NEW SERIES
MONOGRAPHS DEVOTED TO THE COMPARATIVE STUDY OF THE
Literary, Linguistic and Other Cultural Relations of Germany and America
EDITOR
MARION DEXTER LEARNED
_University of Pennsylvania_
CONTRIBUTING EDITORS
H. C. G. BRANDT
W. H. CARPENTER
W. H. CARRUTH
HERMANN COLLITZ
STARR W. CUTTING
DANIEL K. DODGE
A. B. FAUST
KUNO FRANCKE
ADOLPH GERBER
JULIUS GOEBEL
J. T. HATFIELD
W. T. HEWETT
A. R. HOHLFELD
HUGO K. SCHILLING
H. SCHMIDT-WARTENBERG
HERMANN SCHOENFELD
CALVIN THOMAS
H. S. WHITE
HENRY WOOD
PHILADELPHIA
AMERICANA GERMANICA PRESS
Berlin New York Leipzig
MAYER & MÜLLER CARL A. STERN F. A. BROCKHAUS
London Paris
KEGAN, PAUL, TRENCH, TRÜBNER & CO., Ltd. H. Le SOUDIER
* * * * *
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”