HMHPWBBiaWDHHHUaaHHBI 
 
GIFT OF 
 
 Sir Henry Heyman 
 
 7^- 
 
MUSIC IN PHILADELPHIA 
 
 AND THE 
 
 MUSICAL FUND SOCIETY 
 
This Edition is limited to Six 
 Hundred and Twenty Copies 
 
ANNALS OF MUSIC 
 IN PHILADELPHIA 
 AND HISTORY OF 
 THE MUSICAL FUND 
 SOCIETY 
 
 FROM ITS ORGANIZATION 
 IN 1820 TO THE YEAR 1858 
 
 COMPILED BY 
 
 LOUIS C. MADEIRA 
 EDITED BY PHILIP H. GOEPP 
 
 J. B. LIPPINCOTT COMPANY 
 PHILADELPHIA MDCCCXCVI 
 
T5H3 
 
 Copyright, 1896, 
 
 by 
 
 J. B. Lippincott Company. 
 
 J. a. JLippincott company, jm 
 
 Printed by J. B. Lippincott Company, Philadelphia. 
 
CONTENTS 
 
 CHAPTER I. Page 
 
 Early Conditions : Church Music : Bishop 
 White 17 
 
 CHAPTER 11. 
 
 Earliest Dramatic Entertainments : Preju- 
 dice against the Theatre : Legislation : 
 Local Musicians a6 
 
 CHAPTER III. 
 
 Instruments : First Piano-forte : Benjamin 
 Franklin : Musical Glasses : Eminent 
 Musicians : Societies 46 
 
 CHAPTER IV. 
 
 Beginnings of the Musical Fund Society . 57 
 
 CHAPTER V. 
 
 Early Years of the Musical Fund Society . 78 
 
 CHAPTER VI. 
 
 Building of the Hall 93 
 
 CHAPTER VII. 
 
 Early Plans and Experiments of the So- 
 ciety 102 
 
 i 
 
 bb^t»iJ'>^ 
 
CONTENTS 
 
 CHAPTER VIII. Page 
 
 Figures of the Time 1x3 
 
 CHAPTER IX, 
 
 English Musicians in Philadelphia . .123 
 
 CHAPTER X. 
 
 Summus Parnassus 142 
 
 CHAPTER XI. 
 
 Enlargement of the Hall : The Bazaar : 
 Two Great Pianists 157 
 
 CHAPTER XII. 
 
 The Age of Song : Sontag and Lind : The 
 Future 164 
 
 ADDENDUM. 
 
 List of Members of the Musical Fund So- 
 ciety and of Officers, with the Date of 
 Tenure, elected between 1820 and 1858 . 176 
 
 INDEX Z97 
 
ILLUSTRATIONS 
 
 BENJAMIN CARR. Page 
 
 From mezzotint by John Sartain, of painting 
 by J. C. Darley . . . Frontispiece. 
 
 RIGHT REV. WILLIAM WHITE, D.D. 
 
 From engraving by R. W. Dodson, of paint- 
 ing by H. Inman ao 
 
 MUSICAL FUND HALL 
 
 Before the last alterations • • • • 59 
 
 PROGRAMME OF SECOND PERFORMANCE OF 
 FIRST CONCERT. 
 
 Reduced fac-simile of first page . . . 70 
 
 PROGRAMME OF EIGHTH CONCERT. 
 
 Reduced fac-simile of first page . . . 103 
 
 MME. MALIBRAN. 
 
 From a contemporary lithograph . . . 108 
 
 S. THALBERG. 
 
 From a contemporary lithograph . . . 125 
 
 GIULIA GRISI. 
 
 From the portrait by Negelen, engraved by 
 
 F. C. Lewis 139 
 
 MEIGNIN'S SINFONIA. 
 
 Humorous Sketch of Stage and Orchestra. 144 
 
ILLUSTRATIONS 
 
 Page 
 PROGRAMME OF OLE BULL'S SECOND CONCERT. 
 
 Reduced fac-simile 149 
 
 VIEUXTEMPS'S CONCERT. 
 
 Fac-simile of ticket 154 
 
 THE BAZAAR ALBUM. 
 
 Reduced fac-simile of first page . • • 158 
 
 JENNY LIND. 
 
 From mezzotint by John Sartain, after a 
 daguerreotype by Richards . . , , 160 
 
 PROGRAMME OF MME. SONTAG'S EXTRA CONCERT. 
 
 Reduced fac-simile ..... 165 
 
 MME. SONTAG AS DONNA ANNA. 
 
 From the mezzotint by F. Girard, after the 
 painting by Paul Delaroche .... 169 
 
 PROGRAMME OF ADELINA PATTI'S SECOND CON- 
 CERT. 
 
 Reduced fac-simile of first portion . . 174 
 
 iv 
 
EDITOR'S PREFACE 
 
 M' 
 
 E are apt, in America, to 
 look forward too exclu- 
 sively, — to think we have 
 no history. ^Ve forget 
 that we have had a cult- 
 ure in the past, of w^hich we may be proud 
 for its own sake, from ^vhich ^ve may gather 
 encouragement and inspiration. 
 
 Musical culture to-day is an easier matter 
 than it was a century ago. In the sensa- 
 tional, almost too emotional character of 
 modern music there is an appeal as much 
 to the senses as to the mind. There is an 
 orgy of passive enjoyment, rather than the 
 clear thought of poetry. 
 
 It does not require, nor does it make for 
 culture in the hearer. In short, the musical 
 enthusiasm to-day in our great cities is a 
 less perfect measure of that particular state 
 of mental and moral development. The 
 musical life in early Philadelphia was of the 
 same cast as w^as the high atmosphere of 
 the Utopians at Concord. The sphere and 
 the scope of the Philadelphia musicians 
 II 
 
EDITOR'S PREFACE 
 
 were, of course, much more limited. But 
 we have a right to the same sort of pride 
 in their work as Massachusetts has in its 
 Transcendentalists. The works introduced 
 by Hupfeld and Carr were the same to 
 which to-day w^e turn with deepest rever- 
 ence. But in those days they were not 
 hallowed by the consecration of a century's 
 increasing appreciation. Then it needed 
 genuine courage of conviction, genuine 
 musical perception, to play them. 
 
 Around music clusters much of the actual 
 feeling of the past, — the view of life, whether 
 serious or gay, of amusement, of art. Its 
 history gauges the mental scope of former 
 generations ; it shows the extent to which 
 religion and church-life absorbed thought; 
 how these gradually and increasingly per- 
 mitted the romantic stimulus to secular 
 thought and feeling abroad to rouse the 
 citizens from the quiet routine of their 
 provincialism. Thus there are several 
 stages of distinct individuality in such a 
 history as ours : 
 
 First. When music was viewed as a 
 Bohemian, semi-respectable dissipation. 
 This attitude was due in part to the strict 
 tone of Quaker tradition, in part to the 
 quality of the music that actually reached 
 the city. 
 
EDITOR'S PREFACE 
 
 Second. "When, under the stimulus of 
 revolution at home and abroad, under the 
 influence of a growing intellectual freedom 
 and scope, prejudices melted away, music 
 and the other arts were actually encouraged. 
 
 Third. The transmission of the impe- 
 tus of the great classic masters. 
 
 Fourth. The age of the great virtuosi, 
 — instrumental and vocal. The establish- 
 ment of permanent institutions for the pro- 
 duction of musical master-works. 
 
 It is of common acceptance that the 
 homogeneous quality which made us dis- 
 tinctively one nation has now largely dis- 
 appeared, owing to constant introduction 
 of foreign multitudes which we cannot 
 assimilate. Inland cities have been thought 
 less affected by this evil than seaports. In 
 reality it is doubtful whether there is any 
 difference. Philadelphia has now a hope- 
 lessly conglomerate population. Hence 
 there is a peculiar interest in the culture 
 of old times. It represents a memorable 
 period of national development, and of its 
 expression in the arts. Of this culture 
 Philadelphia was the centre. A look into 
 the past, while it will rouse the pride of 
 Philadelphians, must fill them with a cer- 
 tain wistful w^onderment as to their future 
 destiny. If it is merely the general blight 
 13 
 
EDITOR'S PREFACE 
 
 of immigration, which has robbed them of 
 artistic hegemony, there is no reason to 
 doubt a recovery after the period of assimi- 
 lation. Nor does it seem that the passing 
 of commercial supremacy eastward will 
 permanently affect the question of literary 
 and artistic leadership. A city cannot be 
 given over to both trade and art, each in the 
 highest degree, any more than can an indi- 
 vidual. 
 
 Thus a glance at earlier times gives 
 courage and confidence for the future. 
 Even now the signs of a new civic vigor 
 are growing in literature, in painting, and in 
 music. The very leisure with which Phila- 
 delphia is taunted, is the best condition for 
 the concentration necessary for creative 
 work. In so far our present conditions are 
 like those of the whole country when our 
 literary classics were w^ritten. Unfortu- 
 nately the reception and appreciation of 
 our work is found elsewhere. Hence Phila- 
 delphia cannot as yet claim the credit of 
 her own artistic product. There must first 
 come a greater pervading culture through- 
 out the population. The intellectual life of 
 a city depends principally not upon her 
 workers, but upon the general tone which 
 appreciates, stimulates, and rewards the 
 former. In these days we are wont to 
 .14 
 
EDITOR'S PREFACE 
 
 solve every problem with the cheque of 
 rich individuals. "We are in danger of a 
 greater as a more vulgar system of patron- 
 age than in the worst days of Chesterfield 
 and of Grubb Street. 
 
 In olden times there was a democracy of 
 culture. There was no unwashed horde. 
 A record of musical doings is true of the 
 ■whole community, not of a small circle. 
 It is this which must be our aim, now and 
 always : not the support of an institution by 
 the wealthy few, but the gradual education 
 of all, as the only permanent soil for a 
 higher aesthetic life. To look elsewhere 
 for a lasting foundation would be much the 
 same folly as that of a church seeking the 
 support of a few rich men, indifferent to the 
 number of its members. 
 
 PHILIP H. GOEPP. 
 
 Since the beginning of this work, the 
 compiler, Louis C. Madeira, has passed 
 away. The collection of facts, illustrations, 
 and other materials for a musical history 
 ^vas for years his favorite occupation. Its 
 final publication was, perhaps, his most ab- 
 sorbing wish. 
 
 It was, probably, his connection with the 
 Musical Fund Society that first suggested 
 15 
 
EDITOR'S PREFACE 
 
 the idea, as it gave opportunity for its fulfil- 
 ment. His membership began in the season 
 of 1843-44. Soon he became one of the 
 managers. At the great Bazaar in 1847, in 
 the acme of the Society's career, he was 
 one of the moving spirits. He represented 
 the Society during the memorable reception 
 given to Madame Sontag in 1852, personally 
 bringing the singer's party to the city. He 
 was Secretary of the Society from 1856- 1858. 
 
 16 
 
ANNALS OF MUSIC 
 IN PHILADELPHIA 
 
 CHAPTER I. EARLY CONDITIONS: 
 CHURCH MUSIC: BISHOP WHITE 
 
 /IM^^HROUGHOUT the first century 
 g 1 of the history of Philadelphia 
 
 fl \ the conditions for the develop- 
 
 ^^^^^y ment of musical and literary 
 ^^^^ taste were most inauspicious. 
 Public feeling or demand for such expres- 
 sion may be said to have been at a point 
 belo^v zero. In religion and in politics, 
 opposition and interdiction often supply an 
 unwilling stimulus. It is not so in art. 
 
 The only evidence of musical entertain- 
 ments in Philadelphia before the middle of 
 the eighteenth century is of a negative 
 kind. In 1716, at the Yearly Meeting of the 
 Friends, members were advised against 
 "going to or being in any w^ay concerned 
 in plays, games, lotteries, music, and 
 dancing." It seems probable that this w^as 
 intended, if not as rebuke for actual indul- 
 gence, at least as a practical prohibition 
 
 b 17 
 
MUSIC IN PHILADELPHIA 
 
 rather than mere enunciation of an abstract 
 principle. 
 
 The development of a musical desire in 
 Philadelphia was one long struggle against 
 Quaker tradition and regulation. It is sig- 
 nificant that it was in the church that music 
 found her first refuge there, as it was in 
 the church that she was originally reared. 
 Slowly it dawned upon those early purists 
 that divine worship lost none of its serious- 
 ness by invoking the aid of music for its ex- 
 pression. Then came the final discovery 
 that even secular music might not be hostile 
 to a wholesome civic life, — nay, that in its 
 masterpieces might lie the expression of 
 just such a sentiment as that which drove 
 the Quakers to their colonial settlement. 
 
 Christ Church, founded in 1695, was the 
 first Episcopal Church in Philadelphia. Its 
 service was, of course, that of the Church 
 of England. In September, 1728, within a 
 year after the present building was begun, 
 a new organ was purchased for £"200, Peter 
 Brayton and others being a committee to 
 procure subscriptions for its purchase and 
 erection. It is inferred that there must 
 have been an organ of some kind before. 
 In November, 1763, a subscription was ob- 
 tained for the purchase of an organ from 
 Philip Feying, who had built one for St. 
 18 
 
EARLY MUSIC 
 
 Peter's. The vestry of Christ Church, in 
 April, 1764, were impressed with the efforts 
 of William Young and Francis Hopkinson 
 in teaching the children of the united con- 
 gregations of their own church and of St. 
 Peter's the art of psalmody, and expressed 
 their acknowledgments. In 1770, Francis 
 Hopkinson, having played the organ during 
 the absence of Mr. Bremmer, the organist, 
 was requested to continue in the office as 
 long as it was convenient to him. John 
 Bankson was at that time organist at St. 
 Peter's. On the 4th of June, 1782, the 
 vestry ordered that an orchestra be erected 
 in front of the gallery where the organ 
 stands, for the convenience of a number of 
 singers ; and in April, 1785, the clerks were 
 requested to sing such tunes only as "are 
 plain and familiar to the congregation ; the 
 frequent changing of tunes being generally 
 disagreeable." 
 
 Bishop White appears early in the ne^v 
 century as the strong champion of music in 
 the Episcopal service, parrying the exist- 
 ing prejudice by his high conception of its 
 function and by the severity with which he 
 denounced its abuse. 
 
 In a report made to the general convention 
 in 1808 is the following: "... as it is by 
 the Gospel that life and immortality are 
 19 
 
MUSIC IN PHILADELPHIA 
 
 brought to light : there would seem to be a 
 suitableness to its high design in celebrating 
 its prominent subjects in definite terms, so 
 that many edifying events, embodied with 
 Christian doctrine and essential to it, may 
 reasonably be rendered the more impressive 
 by their being carried to the heart on the 
 wings of poetry and music." 
 
 In a pamphlet on "Thoughts on the 
 Singing of the Psalms and Anthems in 
 Churches," Bishop White, in 1808, marks 
 the " distinction . . . between the making 
 of devotion pleasing by the aid of music and 
 the applying of music to convey a pleasure 
 not intended to be instrumental to devo- 
 tion." Further on he says, "concerning 
 interludes and voluntaries" that "nothing 
 contrary either to good taste or decency 
 should be tolerated for the gratification of 
 private whim, much less in violation of all 
 regard to religion and decorum." He in- 
 veighs against the "licentiousness . . . 
 conspicuous in some places, in those light 
 airs, which are calculated to send people 
 dancing out of the church." He adds that 
 "it is well known that some members of 
 congregations have been occasionally of- 
 fended by seeing persons exhibited in their 
 orchestras as singers who never appear in 
 any church at any other time, and whose 
 ao 
 
EARLY MUSIC 
 
 occupation, to say the least, is unfavorable 
 to piety and morals." In a letter to Dr. 
 Abercrombie, 1807, Bishop W^hite speaks oi 
 himself as "having been, so far as I know, 
 the first clergyman in the United States 
 who introduced chaunting into any of our 
 churches." He adds, in apologetic spirit, 
 *' W^e sing in translation. Now if it be found, 
 on experience, as is the fact, that rhyme, 
 especially in the English language, makes 
 the composition agreeable to the ear, it is 
 difficult to see what principle is endangered 
 by condescending to the v^^ell-known taste 
 of Christians generally in this respect." 
 The first Roman Catholic church in the 
 United States was St. Joseph's, Willing's 
 Alley. The first church building was erected 
 in 1730. The church records having been 
 lost or destroyed, little information can be 
 obtained relating to the musical part of the 
 services. Mention is made of an organ 
 having been in the church in 1748-50, and 
 the one used in 1780 is still in existence. 
 The Rev. Robert Harding took charge ot 
 the church in 1750, and the music of the 
 services was under the care of a cultivated 
 musician. The choir was composed of the 
 best voices obtainable, and new voices were 
 sought for whenever there was an oppor- 
 tunity. 
 
MUSIC IN PHILADELPHIA 
 
 It has been stated that Lafayette, the 
 Counts de Rochambeau and de la Grasse, 
 and other French officers of the Revolution 
 attended services at St. Joseph's. 
 
 The church was illuminated on March i, 
 1781, and a Te Deum was chanted, cele- 
 brating the ratification of the "alliance and 
 perpetual union of the States." Monsieur 
 de la Luzerne, the French minister, w^ith 
 his suite, was present. 
 
 At one time Benjamin Carr was the or- 
 ganist. 
 
 During the sitting of the Constitutional 
 Convention, W^ashington, in his diary, men- 
 tions having attended a high mass at St. 
 Joseph's Church on Sunday, May 27, 1787. 
 
 "In the Presbyterian Church," it is re- 
 corded, "the precentor, or singing leader, 
 was an important officer. His manner of 
 leading the tunes was as integral a part of 
 the service as the text and method of the 
 sermon. He stood beneath the pulpit, with 
 a tuning-fork in his hand, at a table or 
 desk placed on a slight elevation from the 
 church floor, and lined out the hymns."* 
 The singing, in which the congregation 
 joined, consisted generally of a simple 
 melody in unison. Here and there might 
 
 * Scharf and Westcott's History of Philadelphia. 
 22 
 
EARLY MUSIC 
 
 be heard parts of the harmony, sung by 
 those who had confidence enough to make 
 themselves conspicuous. ^A/hen the leader 
 had sung his first note and \vas about to 
 begin his second, down at the farther end 
 of the church they were starting on the 
 first note, much like the falling of bricks 
 set on end. Congregational singing was a 
 duty with Presbyterians. In his home the 
 church-member abstained from the use of 
 musical instruments. 
 
 The need of some harmonic instrumental 
 support evidently suggested the use of the 
 bass-viol. Its introduction into the church 
 met with vigorous opposition, especially on 
 the part of the ministers. To one of these 
 Tories a singer, wishing to improve on the 
 lines on Dr. Watt's ninety-second psalm — 
 
 " Oh, let my heart in tune be found 
 Like David's harp, of solemn sound" — 
 
 gravely proposed this change : 
 
 " Oh, may my heart be tuned within 
 Like David's sacred violin !" 
 
 to w^hich the reverend wag suggested as 
 amendment : 
 
 " Oh, may my heart go diddle-diddle 
 Like Uncle David's sacred fiddle." 
 23 
 
MUSIC IN PHILADELPHIA 
 
 The Baptists sang hymns in their ser- 
 vices, as did the German Reformed body, 
 while the music of the Swedes and of the 
 Lutherans resembled that of the Anglican 
 church. 
 
 The Moravians were noted for the excel- 
 lence of the musical part of their religious 
 services. In the eighteenth century, when 
 Philadelphia easily surpassed New York in 
 musical culture, the highest musical ac- 
 tivity in the country existed in Bethlehem, 
 the episcopal seat of the Moravians. They 
 used in their services (as they still do to- 
 day), besides the organ, brass and stringed 
 instruments, such as trumpets, trombones, 
 clarionets, the harp, violins, and bass-viols. 
 This shocked the Friends and Presbyte- 
 rians, to ^vhom the organ was "a box of 
 whistles." In the Moravian Church, at the 
 corner of Race and Broad Streets, there 
 w^ere two organs in 1743. The principal one, 
 growing old, was sold in 1796, and its place 
 soon supplied by a new^ instrument, made 
 by David Tannenberg. In 1808 still another 
 organ, built by John Schermer, was pur- 
 chased for $280. The Second Moravian 
 Church was furnished in 1805 with an organ 
 made by E. W. Scherr. 
 
 John Adams, in his diary in 1774, says 
 he found the chanting in the Catholic 
 24 
 
EARLY MUSIC 
 
 Church in Philadelphia " exquisitely soft 
 and sweet." The fervent emotional sing- 
 ing of the newly-settled Methodists also 
 impressed him deeply. He describes it as 
 •' the finest music I have heard in any 
 society except the Moravians, and once in 
 a church with an organ." 
 
 Typical of the violent opposition to the 
 organ in church is the remark of a 
 preacher, who, asked to lead in prayer after 
 the organ had been heard with the singers, 
 cried out, ** Call on the machine ! If it can 
 sing and play to the glory of God, it can 
 pray to the glory of God also. Call on the 
 machine !" 
 
 25 
 
MUSIC IN PHILADELPHIA 
 
 CHAPTER II. EARLIEST DRAMATIC 
 ENTERTAINMENTS: PREJUDICE 
 AGAINST THE THEATRE: LEGIS- 
 LATION: LOCAL MUSICIANS 
 
 ^^Ufjgf^HK first stirrings of a desire for 
 ^ I public entertainment other than 
 
 fl 1 cock-fights, rope-dances, and 
 
 ^^^^^ the exhibition of monstrosities, 
 ^^^^ to which the pious attitude 
 of the Friends had restricted the com- 
 munity, appear about the middle of the 
 eighteenth century. There are traces of an 
 association " formed in the city for musical 
 purposes, and also a dancing assembly," 
 composed, it is said, of prominent men, 
 nearly all being members of the Church 
 of England. *' Music masters" announce 
 themselves, who teach "the violin, haut- 
 boy, common flute, and dulcimer, by note." 
 Sometimes they eke out their nascent trade 
 by the more respectable vocation of draw- 
 ing bonds and leases. 
 
 Undoubtedly the earliest dramatic per- 
 formances took place in ""William Plum- 
 stead's warehouse, in King (now "Water) 
 Street, below Pine." The time and the 
 
 26 
 
EARLY MUSIC 
 
 names of plays and players are less certain. 
 There seems to have been a short-lived 
 attempt in 1749, by the English actors 
 Murray and Kean, who were probably 
 assisted by some local amateurs, to take 
 a stand against traditions and authorities. 
 The common opinion, however, which as- 
 cribes to the Hallam Company of English 
 actors the first ambitious dramatic enter- 
 prise in America is, in the main, right, but 
 it is difficult to tell which particular Hallam 
 deserves the magnificent title of " Father 
 of the American stage;" whether W^illiam, 
 the manager, who, staying at home, con- 
 ceived and organized the undertaking; 
 Lew^is, his brother, the actor, who launched 
 it successfully ; or Lewis, Jr., the latter's 
 son, who, for full half a century, ^vas the 
 leading actor in America. The original 
 company was not without repute in Lon- 
 don. Perhaps they felt the shadow of the 
 coming Garrick. Their plays, well-learned 
 before embarking, included "The Merchant 
 of Venice," "Richard the Third," "Ham- 
 let," and "Othello," together with a num- 
 ber of pieces of the day. In all, the plays 
 with the farces, which invariably followed 
 the former, numbered twenty-four. Of 
 these farces, some, like Cibber's " Hob in 
 the W^ell," are spoken of as operas, — which 
 27 
 
MUSIC IN PHILADELPHIA 
 
 can mean nothing more than a sprinkUng of 
 ballads throughout the play. 
 
 After a successful season in Williams- 
 burg, Virginia, where the company opened 
 with "The Merchant of Venice," on Sep- 
 tember 5, 1752, and another in New York, 
 Lewis Hallam procured, with the assistance 
 of many petitioners from Philadelphia, op- 
 posed by an almost equal number, permis- 
 sion from Governor Hamilton, of Pennsyl- 
 vania, to act twenty-four plays and farces, 
 not without strict provision against any- 
 thing "indecent or immoral." The per- 
 mission seems to have been sought from 
 a general foreboding of difficulties rather 
 than from knowledge of actual legal re- 
 striction. Perhaps it was granted because 
 it could not lawfully have been withheld. 
 The season began on April 25, 1754, in 
 the warehouse on Water Street, described 
 above, with the play, "The Fair Penitent," 
 followed by "Miss in her Teens." The 
 play nights were Mondays, W^ednesdays, 
 and Fridays. The ladies sent their negro 
 servants to keep their places from four 
 o'clock until six, when the curtain rose, or 
 until their mistresses came. The strife 
 raged fiercely. The champions, it seems, 
 were chiefly of the members of the Church 
 of England; the opponents were mainly 
 28 
 
EARLY MUSIC 
 
 Presbyterians and Quakers. In two papers 
 — Franklin's " Pennsylvania Gazette," and 
 Bradford's "Pennsylvania Journal" — one 
 "A. B." attacked the stage generally. He 
 was answered the folloTving week by " Y. 
 Z." in Franklin's "Gazette." Play-bills, 
 advertisements, prologues, and epilogues 
 (which were never omitted), all betray the 
 state of feeling in their apologetic tone. On 
 May 27, 1754, at the " New Theatre in 
 \A^ater Street," the after-piece was a "bal- 
 lad opera," called "The Country 'Wake," 
 or, " Hob in the "Well," which was, of 
 course, no more than a farce, with songs 
 interspersed. 
 
 The company disappeared for a number 
 of years. On returning to Philadelphia, 
 Douglass, who had succeeded Lewis Hal- 
 lam as manager at the latter's death, erected 
 a frame building at the southw^est corner of 
 South and Vernon Streets, in a region 
 called Society Hill. The theatre was just 
 outside of the city limits in Southwark. 
 W^e are told that it cost " upw^ards of £"300." 
 The contest against the imported corruption 
 w^as steadily maintained. Laws against 
 plays were regularly passed in the colonies, 
 and rejected by the council in England. It 
 was not without true courage that Judge 
 Allen, petitioned for an injunction to re- 
 29 
 
MUSIC IN PHILADELPHIA 
 
 strain the players, refused, saying that he 
 had received " more moral virtue from plays 
 than sermons." 
 
 A second theatre was built in Southwark 
 in 1766, on South Street, between Fourth 
 and Fifth, at the corner of a small street 
 since called Apollo. This was long known 
 as the "Old South Street Theatre." The 
 company, of which the young Lewis Hal- 
 lam was no^v the leading member, is from 
 this time called " The American Company." 
 
 Much importance is given by some chron- 
 iclers to the performance, by Hallam's 
 Company at the New Theatre on Society 
 Hill in 1759, of "Theodosius," as the first 
 attempt at opera, followed soon after by 
 Gay's "Beggar Opera." These representa- 
 tions, v/ithout the slightest claim to serious 
 musical standard, show the gradual growth 
 of a musical desire. Of similar significance 
 is a performance of Arne's " Masque of 
 Alfred," in 1757, by the students of the 
 College of Philadelphia. " Several young 
 ladies," it is reported, "condescended to 
 sing the songs." 
 
 Another occasion when amateurs ap- 
 peared in public was "an interlude of con- 
 cert music," in December, 1759, performed 
 by "some gentlemen of the city," for the 
 purpose of " purchasing an organ for the 
 30 
 
EARLY MUSIC 
 
 College Hall in this city, and instructing the 
 college children in psalmody." A "concert 
 of musical glasses," in 1765, was a success. 
 The singers were of Douglass' Company, 
 of which the members, we are told, "con- 
 tributed not a little to increase the taste for 
 music." 
 
 An announcement in the " Pennsylvania 
 Journal," in the fall of 1764, reads: "Sub- 
 scription Concert at the Assembly Room, 
 Lodge Alley, begins on Thursday, the 8th 
 of November next, to continue every other 
 Thursday till the 14th of March following. 
 Each subscriber on paying three pounds to 
 be entitled to two Ladies' tickets for the 
 season. The concert to begin precisely at 
 six o'clock in the evening. Tickets to be 
 had at the bar of the London Coffee House." 
 
 Another concert, given in 1764, was thus 
 advertised : 
 
 " For the benefit of Mr. Forage and 
 others, assistant performers at the Sub- 
 scription Concerts in this city, on Monday, 
 31st instant, at the Assembly Room, on 
 Lodge Alley, will be performed 
 
 A Concert of Music, 
 consisting of a variety of the most cele- 
 brated pieces now in taste, in which will 
 be introduced the famous Armonica or 
 Musical glasses, so much admired for the 
 31 
 
MUSIC IN PHILADELPHIA 
 
 great Sweetness and Delicacy of its tone. 
 Tickets at 7/6 each, to be had at the bar of 
 the London Coffee House. No person to be 
 admitted without a Ticket. The concert to 
 begin at six o'clock precisely." 
 
 So in 1770, Signor Gualdo announces "a 
 concert of vocal and instrumental music, 
 solos and concertos in various instruments, 
 the favorite mandolin not excepted." 
 
 During most of the time the American 
 Company, which seemed to be the sole 
 source of dramatic entertainment, was play- 
 ing at the Southwark Theatre, with inter- 
 vals of absences in New York and in 
 smaller cities. The fanatical spirit still 
 prevailed. But it does not seem to have 
 extended to music. On the contrary, re- 
 strictions against plays were commonly 
 avoided under the disguise of "concerts." 
 
 On March 22, 1770, Milton's masque 
 " Comus" was given by the Hallam Com- 
 pany. 1773 was probably their last season 
 of plays. The Continental Congress in 1774 
 passed a resolution *' discouraging every 
 species of extravagance and dissipation, 
 especially horse-racing, and all kinds of 
 gaming, cock-fighting, exhibitions of shows, 
 plays, and other expensive diversions and 
 entertainments." The course of political 
 events tended greatly to help the side of the 
 3a 
 
EARLY MUSIC 
 
 purists. A growing political independence 
 gave greater weight to the resolutions of 
 public bodies ; the sense of the coming 
 stress, of the necessity of concentrated 
 effort, left little spirit or resources for public 
 amusements. The only break in the long 
 absence of gayety was a season of amateur 
 drama by the British officers under General 
 Howe, who occupied Philadelphia during 
 the winters of 1777-78. Their forcible pos- 
 session of city and play-house did not pre- 
 vent an appreciative reception on the part 
 of many of the citizens. A somewhat 
 ironical stroke of fate, connected with this 
 chapter of Philadelphia history, is the story 
 that a drop-scene, painted by the unfortu- 
 nate Major Andre' for the military actors, 
 was actually used some twenty years later 
 as the scene of his own capture in a play 
 written on the subject. 
 
 On the i2th of October, 1778, Congress 
 found it necessary to recommend that the 
 several States pass laws to prevent theatri- 
 cal entertainments, "and such other diver- 
 sions as are productive of idleness." Direct 
 penalty of dismissal was enacted against 
 United States officials w^ho encouraged 
 plays. The preamble shows that the 
 reason was a temporary one, the need of 
 concentration on the common defence. 
 
 c 33 
 
MUSIC IN PHILADELPHIA 
 
 W^hile there was no actual prohibition, yet 
 players were almost as much in awe of 
 public opinion as of the law itself. This 
 state lasted for years after the war had 
 ended. Not until 1790 was there a regular, 
 frankly announced season of drama, again 
 by the American Company at the South- 
 Avark Theatre. But throughout the period 
 there are quaint evasions of the law (real or 
 supposed), yet with shamefaced apologies. 
 
 On March 12, 1785, Hallam opened the 
 Southw^ark with " Lectures, moral and en- 
 tertaining." Durang tells us that they 
 " consisted of scenes out of plays, scraps of 
 pantomimes, dancing, and singing."* The 
 '* Pennsylvania Mercury" approved. There 
 was a series of curious miscellaneous " at- 
 tractions." A puppet "opera," "The Poor 
 Soldier," with the singers behind the 
 scenes, was a great success in 1787. Better 
 than description is the bill for June 23, 1787, 
 which reads : 
 
 SPECTACULUM VIT^ffi 
 
 At the Opera House, 
 
 Southwark, 
 
 For the Relief of our Fellow Citizens 
 
 Enslaved at 
 
 ALGIERS. 
 
 * Durang's History of the Philadelphia Stage. 
 34 
 
EARLY MUSIC 
 
 On Monday next 
 
 Will be performed 
 
 A CONCERT, 
 
 Vocal and Instrumental, 
 
 In the first part of which will be introduced 
 
 THE GRATEFUL WARD; 
 
 Or, The Pupil in Love. 
 And in the second part will be presented the Musical 
 Entertainment of the 
 
 POOR SOLDIER, 
 ■with the original overture, accompaniment, songs, 
 and new scenery. 
 
 A poetical address, composed for the occasion, will 
 be delivered at the opening of the entertainment, and 
 the whole will conclude with an elegant 
 VAUD-VILLE. 
 N.B. — The managers of this entertainment, solici- 
 tious of contributing towards the relief of the unfortu- 
 nate American captives in Algiers, have cheerfully 
 complied with the request of many respectable citizens 
 upon this occasion, and having diligently endeavored 
 to render the Opera House as cool as commodious, 
 they purpose stopping a fortnight in this city, on their 
 way to Baltimore. During this short stay they hope 
 to merit and receive the patronage and appreciation of 
 the public. 
 
 The doors will be opened at half-past six o'clock, 
 and the concert to begin precisely at half-past seven. 
 
 . . . Ladies and gentlemen are requested to send 
 their servants in time to keep their boxes. Box, 7s. 
 6d. ; Pit, 5s. ; Gallery, 3s. gd. 
 
 So a play — "The Gamester" — is thus an- 
 35 
 
MUSIC IN PHILADELPHIA 
 
 nounced: "Between the parts of the con- 
 cert will be presented a serious and moral 
 lecture in five parts, on the sin of gambling, 
 at the request of several ladies and gentle- 
 men." Hamlet was a "moral and instruc- 
 tive tale, . . . introduced between the parts 
 of the concert, . . . called Filial Piety 
 Exemplified in the History of the Prince of 
 Denmark." 
 
 A genuine " Grand Concert of Sacred 
 Song" was given on May 4, 1786, at the 
 Reformed German Church, on Race Street, 
 for the benefit of the Pennsylvania Hospi- 
 tal, Philadelphia Dispensary, and the Poor." 
 
 Among the numbers in the " order of 
 music" are: "Martini's celebrated over- 
 ture," a flute and a violin concerto, both by 
 obscure Miltons, five anthems, and, at the 
 close, Handel's Hallelujah Chorus from 
 the " Messiah." One of the anthem com- 
 posers, W. Billings, of Boston, seems to 
 have been of much importance. He is 
 often called "the first American composer." 
 
 The prohibition of theatres, together with 
 the energetic management of a Mr. Adgate, 
 with a chorus of two hundred and thirty 
 voices, and a band of fifty instruments, 
 united to make it successful and eventful. 
 
 In Washington's diary he mentions at- 
 tending, during the Constitutional Conven- 
 36 
 
EARLY MUSIC 
 
 tion, a benefit concert for Mr. Juhan, at the 
 City Tavern, on May 29, 1787. Again there 
 is the grand overture of Martini, and a 
 sonata by Haydn, quite significant of im- 
 proved taste. It must have been a sonata 
 for violin and piano, played on the harpsi- 
 chord. Besides the real music, there is 
 always a plentiful display of "overtures" 
 and "concertos" by the local geniuses. 
 Among the Juhans, Reinagles, and Browns, 
 there is scant room for a Haydn. This 
 was partly due to the old tradition that a 
 musician must be a composer, partly to the 
 difficulty of procuring the great musical 
 works. W^e must content ourselves with 
 wondering whether the audience perceived 
 the difference between Haydn and Reinagle. 
 In justice much is owed to the pioneers 
 who were guiding the public in the right 
 way, in the days when there were no ac- 
 knowledged "Masters." 
 
 Again, w^e have evidence that the illustri- 
 ous Father of his Country bowed to the 
 humanizing influence of the stage. This 
 was at the Southwark Theatre, where 
 Washington attended three performances. 
 In his diary it is recorded that, to mitigate 
 the exactions of the Constitutional Conven- 
 tion, on the loth of July he witnesses 
 "High Life below^ Stairs," and the second 
 
 37 
 
MUSIC IN PHILADELPHIA 
 
 act of the " Poor Soldier." This must have 
 been the first time Washington ever saw 
 O'Keefe's comedy; but it continued to be 
 a favorite with him. On the 14th instant 
 he again attended the play. This time 
 it was a production of Dryden's version 
 of the "Tempest," and the interlude of 
 "Neptune and Amphitrite." Finally, on 
 the 2ist of the same month, he enjoys 
 Thomson's prohibited tragedy, " Edward 
 and Eleonora." 
 
 From this time on there is besides 
 "operas and musical pieces" at the South- 
 wark, a new series of musical entertain- 
 ment at Harrowgate Garden, near Frank- 
 ford. 
 
 In 1796 concerts and exhibitions were 
 given in Andrew Hamilton's Mansion, 
 Bush Hill, under the direction of John 
 Darley, from Birmingham, England, who 
 owned the mansion ; but the enterprise was 
 not successful. Bush Hill was built by 
 Andrew Hamilton, who died in 1741, a year 
 after it was completed. It stood on the 
 north side of w^hat is now Buttonwood 
 Street, between Seventeenth and Eigh- 
 teenth Streets. It was burned in 1808. 
 From it Hamilton Street derives its name. 
 
 There was also a Northern Liberties 
 Theatre opened in 1791. 
 38 
 
EARLY MUSIC 
 
 A new epoch begins with the erection of 
 the Chestnut Street Theatre, near Sixth. 
 It must have been of architectural merit. 
 It is described as presenting " a handsome 
 front on Chestnut Street of ninety feet, in- 
 cluding two wings of fifteen feet. The 
 centre building is ornamented with two 
 spirited and well-executed figures of 
 Tragedy and Comedy, on each side of the 
 great Venetian window, over which, in two 
 circular tablets, are emblematical insignia." 
 It was said to have been modelled from the 
 Bath Theatre in England. To test the 
 qualities of the new house, the managers 
 gave, in April, 1793, a " grand concert of 
 vocal and instrumental music." The first 
 dramatic performance (delayed by the 
 yellow-fever epidemic) in February, 1794, 
 was of the English "opera" "The Castle 
 of Andalusia," followed by a farce. All the 
 appointments of the house and of the com- 
 pany were of the highest standard then 
 known. Reinagle was evidently the chief 
 musical figure of the day. The leader of 
 the orchestra was George Gillingham, "the 
 celebrated violinist from London," under 
 whom, we are told, there were " about 
 t"wenty accomplished musicians," who were 
 " deemed equal in general ability with the 
 stage artists." The criticism of a contem- 
 39 
 
MUSIC IN PHILADELPHIA 
 
 porary has an unconscious value, especially 
 when it is considered that the operas were 
 merely connected plays w^ith familiar songs 
 set here and there. Our critic gently dis- 
 approves the tendency of the managers 
 to push the operatic entertainments at the 
 expense of tragedy and comedy. " The 
 country," he adds, "at that period had not 
 made any advances in the more scientific 
 music of the lyrical style, however au fait 
 in judgment our audience was in the regular 
 drama. Music of an elevated character, to 
 be properly appreciated, must have ade- 
 quate judges, which only old and refined 
 nations can furnish in sufficient numbers 
 to support so expensive an institution as 
 opera." * 
 
 So, on the performance of "Robin Hood" 
 in 1794, he says, " The day had not arrived 
 for operatic speculations. Music is only 
 now (1850) progressing with us to a just 
 appreciation, induced by the more elevated 
 compositions of the Italian school." He 
 speaks doubtfully of the distant prospect 
 of "a just musical taste." His only hope 
 is in Italian influence. 
 
 It is clear that the taste of the day re- 
 flected faintly that of London. The only 
 
 * Durang's " History of the Philadelphia Stage." 
 40 
 
EARLY MUSIC 
 
 music that really appealed to public taste 
 was that of English ballads, introduced in 
 English operas. There was, besides, an in- 
 cipient appreciation of some of the Ger- 
 man masters, like Handel and Haydn, w^ho 
 had visited England, and had succeeded, 
 by careful wooing, in conquering English 
 recognition. The way to which the worthy 
 critic points as the ideal was, in reality, a 
 backward step. It was the overwhelming 
 triumph of the superficial Italian school, 
 checking the study of the great German 
 classics, w^hich must account for a certain 
 chronic lack of seriousness in our musical 
 life. That early period, when the German 
 masters -were introduced and studied before 
 their greatness was blazoned abroad, is one 
 to which we can look with most pride, 
 wishing it might have continued and 
 averted a later degeneration. 
 
 Probably as the first performance of 
 oratorio, Handel's " Messiah" was given 
 in 1801 in the hall of the University of 
 Pennsylvania. The soloists were recruited 
 from the Chestnut Street Theatre. Among 
 them were Mrs. Oldmixon, one of the lead- 
 ing members, who was the first to sing 
 the " Blue Bells of Scotland" in Philadel- 
 phia. Her husband. Sir John Oldmixon, 
 performed on the violin. Later, Mrs. Old- 
 41 
 
MUSIC IN PHILADELPHIA 
 
 mixon kept a ladies' seminary at German- 
 town. A similar concert in 1810 seems to 
 have been long considered a famous occa- 
 sion. ^Vhile no entire choral work was 
 sung, the programme consisting of certain 
 numbers from Handel's "Messiah" and 
 from Haydn's "Creation," the magnitude of 
 the preparations, the size of the orchestra, 
 the number of prominent musicians who 
 took part, mark it as the result of the united 
 musical aspirations and efforts of the time. 
 "We are told that "thirty-four ladies and 
 gentlemen sang in the principal parts and 
 chorus. The orchestra was exceedingly 
 strong, much beyond the usual number of 
 the orchestras of that time." Besides 
 twenty-one violins and a corresponding 
 proportion of larger strings, there was the 
 extraordinary number of four clarionets and 
 six flutes. 
 
 Among the names of the leaders are 
 some that are still spoken of with en- 
 thusiasm. Above all, the personality of 
 Benjamin Carr stands out as one who, of 
 all the early musicians of Philadelphia, 
 wrought most vigorously to introduce the 
 best, chiefly in the oratorio and in the 
 church. An Englishman of breeding and 
 education, he was of a type in which Phila- 
 delphia has been fortunately rich. Carr and 
 4* 
 
EARLY MUSIC 
 
 Schetky had a music-store on Fifth Street 
 before 1800. 
 
 Raynor Taylor was an organist who 
 seems to have been very prominent. Vaux- 
 hall Garden, on the northeast corner of 
 Broad and Walnut Streets, was opened for 
 concerts and other entertainments in May, 
 1814. On one of the programmes it is 
 promised "that the temple and garden w^ill 
 be brilliantly illuminated with variegated 
 lamps. Admission, $1. . . . Smoking is 
 not permitted in or near the temple." 
 Taylor was organist on the opening night. 
 Gillingham w^as the regular conductor. On 
 one programme Taylor appears twice as 
 composer and Gillingham once. The only 
 familiar names are Pleyel and Kreutzer. 
 Most of the numbers are patriotic songs, 
 overtures, and grand marches ; the finale 
 is "The Columbian's March to Glory," 
 written by a gentleman of Philadelphia. 
 The garden was the great resort ; one of 
 the round of entertainments at Lafayette's 
 second visit in 1825 was held there. 
 
 Besides the members of the Chestnut 
 Street Theatre Company, who were con- 
 stantly in demand for public singing, there 
 ^vere prominent concert musicians at that 
 time, such as Charles P. Hupfeld, a vio- 
 linist, and Francis Blondan, a flutist. 
 
 43 
 
MUSIC IN PHILADELPHIA 
 
 A musical organization of small preten- 
 sions but of very considerable celebrity was 
 Johnson's Band, which came into notice 
 about 1815. It was organized and led by 
 Francis Johnson, a colored man. In his 
 early career he played the trumpet ; but 
 later he performed on the Kent bugle, which 
 at that time became very popular. At this 
 instrument he was considered the equal of 
 Willis, the leader of the band at the West 
 Point Military Academy. Willis's reputa- 
 tion was very high. 
 
 In spite of race prejudice, Johnson man- 
 aged, by musical talent and natural ability, 
 together with a strong personal tact, to 
 make himself a notability in his line. 
 W^ithout aspirations for classic music, he 
 had an excellent ear for melody and a 
 facility for preparing military music and for 
 changing popular airs. He could turn the 
 most melancholy refrain into a cotillon. 
 He also wrote many original marches and 
 dances, and had some ingenuity in inventing 
 quadrille music w^ith novel features. One 
 of them w^as the "voice quadrilles," in 
 which the band suddenly burst forth singing 
 in chorus. He called around him a number 
 of men of his own color, who were self- 
 taught but competent players. Johnson's 
 sphere lay chiefly in military music and in 
 44 
 
EARLY MUSIC 
 
 the ball-room ; for many years his band was 
 the only one employed on parade by the 
 State Fencibles, and was in great demand 
 for fashionable dances. In 1825 and during 
 many subsequent years it was a recognized 
 attraction at Saratoga. It furnished the 
 music at the Lafayette reception ball in 
 1824 at the Chestnut Street Theatre, for 
 which occasion Johnson wrote special num- 
 bers. In 1837, Johnson visited Europe with 
 his band, and performed, it is said, to royal 
 audiences. But during a visit of the Fen- 
 cibles to Boston the band was not allowed 
 to play in Providence, Rhode Island, on 
 account of their color. 
 
 45 
 
MUSIC IN PHILADELPHIA 
 
 CHAPTER III. INSTRUMENTS: 
 FIRST PIANO-FORTE: BENJAMIN 
 FRANKLIN: MUSICAL GLASSES: 
 EMINENT MUSICIANS: SOCIETIES. 
 
 ^^'BT'N a recently published life of La- 
 ^H I fayette there is the recorded im- 
 
 ■ I pression of a French nobleman, 
 
 ■ I the Marquis de Chastellux, of a 
 
 ■ B musical afternoon. It gives a 
 glimpse of the principal musical instru- 
 ments of a Philadelphia household in 1780. 
 The Marquis and Lafayette went to take 
 tea at Mrs. Shippen's. "This is the first 
 time since my arrival in America that I 
 have seen music appear in society, and 
 mingle with amusements. Miss Rutledge 
 played on the harpsichord, and played very 
 well. Miss Shippen sang timidly, but had 
 an attractive voice. Mr. Ottaw, secretary 
 to the Chevalier de la Luzerne, had his 
 harp brought, accompanied Miss Shippen, 
 and also played some pieces. Music natu- 
 rally leads to dancing ; the Vicomte de 
 Noailles strung some harp-strings on a 
 violin, and then played for the young people 
 to dance, while the mothers and other grave 
 persons conversed in another room." The 
 
 46 
 
EARLY MUSIC 
 
 Marquis does not miss the piano-forte, 
 which had been first manufactured in 
 Europe about the middle of the century. 
 Even in Philadelphia they -were then 
 known. The first piano in America was 
 made by John Behrent, on Third Street 
 below^ Brown. He advertised in 1775 that 
 he had "just finished an extraordinary in- 
 strument, by the name of the Piano-Forte, 
 made of mahogany, being of the nature of 
 a Harpsichord, with hammers and several 
 changes." Other makers follo'wed. Promi- 
 nent ^vas Charles Taws, a Scotchman, next 
 the corner of Third and Union Streets, 
 where he began manufacturing about 1787. 
 But the most important of all was an 
 Englishman, Thomas Loud Evenden, who 
 came to the city about 1810, and manu- 
 factured piano-fortes, in partnership with 
 Joshua Baker, at 130 Vine Street. Later he 
 carried on business on Fifth Street, where 
 his son and namesake, of whom we shall 
 hear more, taught piano-playing. They 
 seemed to have first found the advertising 
 key-note of later piano-makers. In 1816 
 they advertised that they "furnished pianos 
 much better in workmanship than even the 
 London pianos." They "confidently chal- 
 lenged any huckster in the city who had 
 the arrogance to call himself an importer 
 47 
 
MUSIC IN PHILADELPHIA 
 
 to disprove the assertion." A few years 
 afterwards, for some reason, the members 
 of the Evenden family dropped the final 
 name. Loud's pianos became very popular. 
 Thomas Loud, the younger, was one of the 
 principal musicians of Philadelphia. 
 
 Before we leave the eighteenth century 
 and its instruments, w^e must not omit an 
 episode, which, by curious chance, con- 
 nects our history at once with Philadel- 
 phia's tutelary personage and w^ith one of 
 the great English prose-writers. Arm- 
 strong, in his " Record of the Opera," 
 makes mention of Benjamin Franklin as 
 one of the earliest amateur musicians in 
 Philadelphia. " He is accredited with the 
 invention of the Harmonica or Musical 
 Glasses. He certainly made them avail- 
 able." The story is that Franklin concealed 
 his harmonica from his wife until it was fit 
 to play, and then -woke her with it one 
 night, when she thought it w^as the music 
 of angels. These musical glasses, played 
 on with moistened fingers, were a favorite 
 musical toy at one time. They were never 
 more than a curiosity. The construction of 
 Franklin's glasses is described in his letters. 
 Franklin also played the guitar. Leigh 
 Hunt, in his autobiography, writes of his 
 mother, who was the daughter of Stephen 
 48 
 
EARLY MUSIC 
 
 Shewell, a merchant of Philadelphia, and 
 "a vehement man both in public and in 
 family matters." Franklin and Thomas 
 Paine visited at the She wells'. " My 
 mother," Leigh Hunt writes, "had no ac- 
 complishments but the two best of all — 
 a love of nature and of books. Dr. Franklin 
 offered to teach her the guitar, but she 
 w^as too bashful to become his pupil. She 
 regretted this afterward, partly, no doubt, 
 for having missed so illustrious a master. 
 Her first child, who died, was named after 
 him." He then tells the story of Franklin's 
 harmonica. 
 
 Most of the leading men in music had 
 come from Great Britain. Generally they 
 settled first into the more purely com- 
 mercial lines of manufacture and publishing. 
 Probably the first music-store in the city 
 was Benjamin Carr's " Music Repository." 
 Carr stands out as the most vigorous force 
 for the best musical culture in his day. In 
 his circle were men like George Schetky, 
 Charles P. Hupfeld, and Raynor Taylor. 
 Coming to Philadelphia in 1793, after a 
 thorough musical education under the first 
 church-musicians in England, a man of 
 breeding and of broad culture, joining his 
 efforts with those of Hupfeld, who brought 
 the best German traditions in early boy- 
 
 d 49 
 
MUSIC IN PHILADELPHIA 
 
 hood, Carr and his group started the move- 
 ment which gave to Philadelphia so striking 
 a musical development in those days, when 
 both the country and the art were in their 
 infancy. The impression which he made 
 upon his associates is proven by the monu- 
 ment erected in St. Peter's Church. The 
 inscription speaks far more directly than the 
 customary language of colleagues, — 
 
 BENJAMIN CARR, 
 
 A DISTINGUISHED PROFESSOR OF MUSIC, 
 
 DIED MAY 34, 1831, AGED 62 YEARS. 
 
 CHARITABLE, WITHOUT OSTENTATION, 
 
 FAITHFUL AND TRUE IN HIS FRIENDSHIPS, 
 
 WITH THE INTELLIGENCE OF A MAN 
 
 HE UNITED THE SIMPLICITY OF A CHILD. 
 
 IN TESTIMONY OF THE HIGH ESTEEM IN WHICH HE 
 
 WAS HELD, THIS MONUMENT IS ERECTED BY 
 
 HIS FRIENDS AND ASSOCIATES OF THE 
 
 MUSICAL FUND SOCIETY 
 
 OF PHILADELPHIA. 
 
 The monument was designed by "William 
 Strickland, and executed by "William 
 Struthers. The first portrait for the So- 
 ciety, that of Mr. Carr, was painted by 
 J. C. Darley in 1831. Of his activity out- 
 side of his sphere in the church-service, in 
 which he was pre-eminent, we shall speak 
 later. 
 
 Hupfeld, who came from another region 
 50 
 
EARLY MUSIC 
 
 of Europe, brought his stimulating tradi- 
 tions from a different quarter of the field 
 of music. He it was who inspired his 
 friends, both amateur and professional, with 
 the delights of string-quartette practice, 
 that ideal form of German home music 
 ■which seems to typify the simple geniality 
 of German family-life. These meetings of 
 Hupfeld's friends were undoubtedly the 
 direct cause of the successful organization 
 which followed. 
 
 Thomas Loud has been mentioned. He 
 came to Philadelphia in i8i2, and finished 
 his musical apprenticeship under a distin- 
 guished teacher, George Pfeffer. It is told 
 that a rivalry arose between teacher and 
 pupil, and a public trial of skill on the piano 
 was arranged. Each performer w^as to 
 select his piece, Mr. Loud played so finely 
 that his reputation was at once established. 
 His principal field of activity, besides organ- 
 playing, was the conducting of choruses. 
 
 The Nestor of this group was Raynor 
 Taylor. Although associated with the 
 stage of English opera and of even lighter 
 programmes, he seems to have taken a 
 prominent position upon his arrival in 
 Philadelphia in 1793, when he was not far 
 from fifty years old. A monument in St. 
 Peter's church-yard tells us that he was 
 SI 
 
MUSIC IN PHILADELPHIA 
 
 " many years organist at St. Peter's 
 Church." An anecdote of his boyhood 
 links us with one of the patriarchs of the 
 art. He used to relate that when he was 
 choir-boy at the King's Chapel (1749-1760), 
 he attended Handel's funeral (April 27, 
 1759), and that " on this solemn and mem- 
 orable occasion his hat accidentally fell into 
 the grave and was buried with the remains 
 of that wonderful composer." " Never 
 mind," said some one to whom he told the 
 story, "he left you some of his brains in 
 return." All of which would certainly be 
 a more striking story if Taylor had chanced 
 to be a Mendelssohn. 
 
 The youngest of the group, who is still 
 well remembered, thus completes a long 
 line of musical traditions. Benjamin Cross 
 was born in Philadelphia in 1786, of Scotch 
 descent. A graduate of the University of 
 Pennsylvania, he chose his profession 
 against the original wishes of his parents, 
 who wanted him to study medicine. His 
 musical teachers and close associates were 
 Raynor Taylor and Benjamin Carr. Cross 
 transmitted from these men their traditions 
 of musicianship and manhood. His sphere 
 was a broad one. He is said to have sung 
 with distinguished success the barytone part 
 in the oratorios of Handel and of Haydn. 
 5* 
 
EARLY MUSIC 
 
 He taught singing and piano-playing with 
 striking results. But, above all, the monu- 
 ment in the minutes of the Society, whose 
 history we shall presently follow, speaks of 
 his work as vocal conductor. It acknow^l- 
 edges to him a peculiar debt for the founda- 
 tion of the prosperity and usefulness of that 
 famous Society. His portrait was painted 
 for the Society by Thomas Sully in 1861. 
 
 V/e have made passing mention of George 
 Schetky, a Scotchman, who deserves em- 
 phasis as an equal factor in the work of 
 organizing the musical forces of Philadel- 
 phia early in the new century. He came 
 as a boy in 1792, to live with his uncle, 
 Alexander Reinagle, but he returned home 
 after a short stay. On his second arrival 
 he soon achieved high standing as a " pro- 
 fessor of music." Of the seminaries in 
 which he taught, perhaps the most im- 
 portant was that of Madame Rivardi, in 
 the "Gothic Mansion," on Chestnut Street 
 near Thirteenth. One of his favorite pupils 
 was the late Mrs. Edward Shippen Burd. 
 During this period he lived with Benjamin 
 Carr in closest intimacy ; together with a 
 younger musician, Joseph C. Ta^vs, they 
 kept a bachelor's house. After a third 
 absence in Scotland, he married, in 1823, 
 one of his pupils, Elizabeth M. Paterson, 
 53 
 
MUSIC IN PHILADELPHIA 
 
 of Philadelphia. The Musical Fund So- 
 ciety likewise erected a monument to him 
 in St. Peter's church-yard, and had his por- 
 trait painted by J. C. Darley. His widow 
 survived him until 1888. 
 
 In leaving the eighteenth century, we 
 must confess that until its close music 
 received little encouragement from the 
 public. It was principally limited to the 
 churches and to the small circles which 
 grouped about the few resident musicians. 
 But with the beginning of the new century 
 there appears a decided impulse towards 
 the formation of musical societies, mainly 
 for the performance of the great vocal 
 masterpieces. The old Uranian Society 
 ^vas founded in 1787 for the improvement 
 of church music. It continued until after 
 1800, meeting at the corner of Third and 
 Market Streets. The Harmonic Society, 
 formed in 1802 for a similar purpose, aspired 
 nevertheless to concerts, and usually gave 
 at least one every year. Some of the 
 places of performance w^ere the Second 
 Presbyterian Church, at Third and Arch 
 Streets, and the Hall of the University, on 
 Fourth Street below Arch. The Haydn 
 Society, instituted in 1809, consisted in i8ig 
 of eighty ladies and fifty gentlemen. The 
 managers were the Rev. John Goodman, 
 54 
 
EARLY MUSIC 
 
 Joseph George, and George Emerick. One 
 announcement tells that "the object of the 
 Society has been for many years to intro- 
 duce and improve themselves in psalmody." 
 They might have added the study of rhe- 
 toric. 
 
 Probably of more importance was the 
 Handelian Society, which gave some 
 famous concerts, one of which, at the 
 Tabernacle Church in 1815, yielded for the 
 benefit of the poor the sum of $1017.95, a 
 sum which seems colossal even to the 
 Philadelphian musicians of to-day. It 
 would not be too bold a venture to assert 
 that no local concert has since surpassed 
 this achievement. 
 
 In 1817 a small choir was started in the 
 Rev. Thomas N. Skinner's church, known 
 as the Fifth Presbyterian, then on Locust 
 Street, west of Eighth, where now is 
 Musical Fund Hall. There was some diffi- 
 culty, as choirs -were unknown in the Pres- 
 byterian Church. Other societies were the 
 Harmonic, of St. John's English Lutheran 
 Church, meeting in 1819 at the corner of 
 Sixth and Race Streets. At the same time 
 the Independent Harmonic Society, of 
 which Joseph Mcllhenny was president, 
 met at Fourth and Vine Streets. Finally, 
 there was the Union Harmonic Society, of 
 55 
 
MUSIC IN PHILADELPHIA 
 
 the same period, in the rooms of the old 
 Harmonic, in Norris' Alley ; James W^eir 
 was the president. The St. Cecilia Society, 
 established in 1824, had its hall on South 
 Fourth Street. The first president was 
 John Neagle, the artist. He was succeeded 
 in 1825 by Colonel Andrew M. Prevost. 
 The leader was Edward R. Hansen ; 
 Thomas Carr was vocal conductor. 
 
 One of the greatest musical occasions 
 was the performance of selections from 
 the "Messiah" and from the "Creation" 
 at St. Augustine's Church, in June, 1810, 
 w^ith an orchestra of fifty performers. 
 
 All these forces, struggling for organized 
 musical activity, were finally crystallized in 
 one society, which in turn reacted with 
 strong impetus and with a greatly improved 
 standard on the musical life of the city. 
 
 56 
 
EARLY MUSIC 
 
 CHAPTER IV. BEGINNINGS OF THE 
 MUSICAL FUND SOCIETY. 
 
 ^^■^^^HERE is no doubt that most 
 
 ^ I events of moment to the world 
 
 M I began withou.t flourish of 
 
 ^^^^V trumpets, in ignorance of their 
 
 ^^^^ significance. Nay, it might be 
 
 said that it is in this unconsciousness that 
 
 lies the strength of the movement. 
 
 For several years previous to 1820, a 
 small circle of lovers of music were in the 
 habit of meeting during the winter months 
 on Wednesday evenings at their houses for 
 musical enjoyment and cultivation. Among 
 these ^vere Dr. ^Villiam P. De W^ees, Dr. 
 Robert M. Patterson, John K. Kane, Leon- 
 ard Koecker, Peter S. Duponceau, Charles 
 A. Poulson, and others. The best musi- 
 cians were invited, and chosen friends who 
 appreciated the quartettes of " Beethoven, 
 Boccherini, and other composers." Let us 
 hope these included Haydn and Mozart. 
 The musicians were Charles F. Hupfeld, 
 leader, John Hupfeld, second violin and 
 sometimes tenor (or viola), P. Gilles and 
 57 
 
MUSIC IN PHILADELPHIA 
 
 George Schetky, violoncellos. Occasional 
 violinists were John C. Hommann and his 
 two sons, John and Charles, and Dr. Rene 
 La Roche. 
 
 Charles Hupfeld, in 1816, tried to establish 
 with Benjamin Carr, P. Gilles, and others, 
 a society for regular practice. They met at 
 Earle and Sully's gallery of paintings, at the 
 house next to the northwest corner of Fifth 
 and Chestnut Streets. But they found it 
 difficult to keep a sufficient number of 
 players together. Gradually to the study 
 of concerted music was added the distinct 
 purpose of a fund for the relief of musicians. 
 
 This subject was frequently discussed at 
 the quartette parties ; and at length a public 
 meeting w^as held by a number of gentle- 
 men, professional and amateur, on Friday 
 evening, January 7, 1820, in the front room 
 of the second story of Elliott's hotel on 
 Chestnut Street, next door to Peter S. 
 Duponceau's residence, at the northeast 
 corner of Sixth and Chestnut Streets. 
 Among those present were Dr. William P. 
 De Wees, Dr. Robert M. Patterson, Joseph 
 Fisher, Benjamin Carr, George Schetky, 
 P. Gilles, the Messrs. Hommann, Charles 
 F. Hupfeld and his brother John, Thomas 
 Loud, John K. Kane, and Charles A. 
 Poulson. Dr. De W^ees presided, and Mr. 
 58 
 
t>ij/f': 
 
 - A 
 
 
 ■J 
 
EARLY MUSIC 
 
 Kane acted as secretary. The meeting 
 deemed it expedient that a society should 
 be instituted for the purpose of providing 
 a fund for the relief and support of decayed 
 musicians and their families. A committee 
 to draft a constitution was appointed, con- 
 sisting of Messrs. Carr, Charles Hupfeld, 
 Cross, and Dr. Patterson. At a late meet- 
 ing another committee, comprising most 
 of the last mentioned, "was appointed to 
 receive nominations for membership in 
 the proposed society. All the committees 
 consisted, for the most part, of professional 
 musicians. At a special meeting, on Febru- 
 ary 3, the report of the former committee 
 was unanimously adopted as the constitu- 
 tion of the Musical Fund Society of Phila- 
 delphia. On the 29th of the same month 
 a meeting for the election of officers was 
 held at Elliott's Hotel, which resulted as 
 follows : 
 
 Dr. William P. De Wees - President. 
 
 Dr. Robert M. Patterson - Vice-President. 
 
 Daniel Lammot - - - Treasurer. 
 
 John K. Kane - - - Secretary. 
 
 Managers of the Fund. — James W. Barker, Thomas 
 Artley, Francis G. Smith, Edward Hudson, Ben- 
 jamin Carr, William Strickland, Henry P. Barre- 
 kens, William Hawkins, Charles A. Poulson, Ben- 
 jamin Say, George Schetky, and Andrew Farrouihl. 
 59 
 
MUSIC IN PHILADELPHIA 
 
 Directors of Music. — Raynor Taylor, Benjamin Carr, 
 C. F. Hupfeld, P. Gilles, Benjamin Cross, M. E. 
 Brenan, Thomas Sully, I. Le FoUe, I. T. David, 
 George Schetky, Charles I. Nicholas, and J. C. 
 Hommann. 
 
 The following eighty-five names were re- 
 ported to be members of the Society : 
 
 Thomas Artley. 
 
 Allyn Bach. 
 
 John Brown. 
 
 H. P. Barrekens. 
 
 Geo, E. Blake. 
 
 Wm. C. Beck. 
 
 M. E. Brenan. 
 
 C. I. Brown. 
 
 Jas. H. Barker. 
 
 Dr. John Barnes. 
 
 Lewis F. Bernhart. 
 
 Ben. Carr. 
 
 Ben. Cross. 
 
 Jacob Churr, Jr. 
 
 Isaac P. Cole. 
 
 Ben. S. Clemens. 
 
 G. Carusi. 
 
 S. Carusi. 
 
 L. Carusi. 
 
 Geo. Campbell. 
 
 Dr. Wm. P. De Wees. 
 
 I. T. David. 
 
 Tobias W. Durney. 
 
 Elijah Dallett. 
 
 F. Eberl6 
 
 Jos. Fisher. 
 
 Henry G. Freeman. 
 I. L. Frederick. 
 Daniel C. Freytag. 
 A. Farrouihl. 
 John Fowle, Jr. 
 John Fury. 
 P. Gilles. 
 John F. Greland. 
 John Graham. 
 T. Greland. 
 Wm. Gallager. 
 C. F. Hupfeld. 
 John Hupfeld. 
 J. C. Hommann. 
 J. C. Hommann, Jr. 
 Wm. Hawkins. 
 Ed. Hudson. 
 Thos. Hopkins. 
 Wm. Harrison. 
 Francis Hopkinson. 
 Jas. Henderson. 
 Abram L. Hart. 
 Dr. Wm. E. Horner. 
 John K. Kane. 
 J. G. Klemm. 
 Leonard Koecker. 
 
 60 
 
EARLY MUSIC 
 
 John Keating, Jr. 
 Thos. Loud, 
 I. Le FoUe. 
 Daniel Lammot. 
 Rene La Roche, Jr. 
 Jacob Lex. 
 G. Marshall. 
 Wm. Mcllhenny, Jr. 
 Chas. I. Nicholas. 
 Philip N. Nicklin. 
 Chas. Penneweyre. 
 P. Perdriaux. 
 Chas. A. Poulson. 
 Dr. Robt. M. Patterson. 
 Thos. N. Palmer. 
 Thos. P. Roberts. 
 
 Chas. F. Roberts. 
 Thos. Sully. 
 Geo. Schetky. 
 F. G. Smith. 
 R. S. Smith. 
 Wm. Strickland. 
 David Sergeant. 
 John Sidebotham. 
 Gumey Smith. 
 Benjamin Say. 
 Robt. W. Sykes. 
 Jos. C. Taws. 
 Raynor Taylor. 
 John Wheeler, 
 Geo. F. Womrath. 
 
 Note.— David Sergeant declined, leaving the number eighty- 
 four. 
 
 Many of the most distinguished citizens 
 early became members of the Society and 
 took an active interest in its advancement 
 and work. 
 
 The relief of musicians, apparently the 
 original prime object, seems in reality to 
 have been rather an excuse, — that which 
 might give the society a surviving cause, 
 after the special circle of incorporating 
 members had departed. The title and the 
 term "decayed musicians" was undoubt- 
 edly suggested by that of the London 
 Musical Fund Society, which was in ex- 
 istence at that time. 
 
 6i 
 
MUSIC IN PHILADELPHIA 
 
 The fact that the beneficial purpose ap- 
 pears foremost in all the formal documents, 
 in the title, the legend, the stated object of 
 the first meeting, and the act of incorpora- 
 tion, is not convincing. According to the 
 annual report of Mays, 1831, "the primary 
 object . . . was to reform the state of neglect 
 into which the beautiful art of music had 
 fallen. The secondary object in the forma- 
 tion of the Society was the provision of a 
 fund for relieving decayed musicians. This 
 was a graft on the first project ; but its 
 value was so highly appreciated that in the 
 arrangement of the constitution it was 
 assigned the highest rank." The driving 
 motive in the whole undertaking was, with- 
 out doubt, a high ambition, far beyond that 
 of any existing musical association. It was 
 intended to advance music to the highest 
 point, and to present to the public the finest 
 compositions, both sacred and secular. But 
 in the linking of its twin objects, it w^as 
 probably unique in this country. Perhaps 
 it was a suggestion of the old verse, that 
 
 " Music, like mercy, is twice blessed, — 
 It blesseth him that gives and him that takes." 
 
 The early meetings of the directors were 
 held at the residence of Benjamin Carr, at 
 7 Powell Street, between Fifth and Sixth; 
 
 62 
 
EARLY MUSIC 
 
 once at George Schetky's, at 71 Locust 
 Street. At one of them there were elected, 
 as conductors of instrumental music, C. F. 
 Hupfeld, P. Gilles, and George Schetky; 
 as conductors of vocal music, L. F. Bern- 
 hart, Thomas Loud, and M. E. Brenan. 
 The curators were J. B. De Bree, T. M. 
 Durney, Thomas N. Palmer, and F. Gurney 
 Smith. It was agreed that the practising 
 should be held on Thursday evenings of 
 each week during the year, excepting the 
 months of June, July, and August, alter- 
 nately with vocal and instrumental music. 
 The first of these practisings were held in 
 the third-story room of the building No. 118 
 Chestnut Street, on the southwest corner 
 of Carpenters' Court ; afterwards at Carpen- 
 ters' Hall, when that building was rented 
 by the Society. 
 
 The board of managers held their first 
 meeting on the 7th of March, at the house 
 of the treasurer, Daniel Lammot, at 98 S. 
 Front Street. Subsequently, until a room 
 was rented, they met at Thomas Astley's, on 
 the southwest corner of Eighth and W^alnut. 
 
 An amusing correspondence between the 
 first secretary and two members-elect is 
 
 actually preserved in the original writing. 
 
 f 
 
 The first letter, written jointly by I H. 
 63 
 
MUSIC IN PHILADELPHIA 
 
 ^^^ I H., whom we discover in 
 
 James or " Gimmy" Henderson and Fran- 
 cis Hopkinson, is an elaborate structure of 
 puns and plays, none of w^hich we can 
 escape, as they are faithfully underlined 
 with unctuous gusto. So absolute is the 
 determination to import all phrases and 
 words which remotely bear on musical 
 terms, that the actual sense of the letter 
 lapses into an obscure background. They 
 complain of a bass viol-ation of the free- 
 dom of speech ; they are intent on put- 
 ting a stop to such high-toned infractions. 
 They threaten to flagellate the secretary 
 and make him shake. They tell him he will 
 meet with an insurmountable bar in the 
 fiddel-ity of their souls, and much other in- 
 nocent nonsense. They underscore every 
 appearance of "voices," "time," "sec- 
 onds." Finally they subscribe themselves: 
 " Hoping you may continue con gracio al- 
 ways affehioso and without variation a trio 
 of friends until the grand finale'' The 
 answ^er of the secretary, who easily van- 
 quishes his adversaries on their chosen 
 ground, is quite worth quoting in full. 
 
 — 1> — ^ 
 
 " To Messieurs | and \ , late 
 
 64 
 
EARLY MUSIC 
 
 members-elect of the Musical Fund Society 
 of Philadelphia, — 
 
 " Hautbois ! and did jrou think to beat, 
 By puns of neither point nor fire, 
 In a short note of half a sheet, 
 Those who have oii^n filled a choir? 
 
 •' You've strained your wits exceeding much, 
 
 Have marked your time and struck your blow, 
 But vile in every thing you touch, 
 Your vileness never sunk solo. 
 
 3- 
 
 " Your threats I value not a dime ; 
 
 For well does shaking Gimmy know 
 That hymn I've struck full many a time, 
 But he dared never give a blow. 
 
 4. 
 
 " Yet you oi flageoletting prate, 
 
 As though you n'er had tried the game, 
 Nor felt, ye Gadshill knaves, the weight 
 Of my much punned and dreaded name. 
 
 " Ye quavering fools, who do not know 
 A psalm tune from a country dance, — 
 Truly, we weep to mark your low 
 And-ante Christian ignorance. 
 e 65 
 
MUSIC IN PHILADELPHIA 
 
 6. 
 
 " For you bass trumpets are the thing, 
 Fitted to make a braying sound ; 
 That whether you do play or sing, 
 Your native notes may still resound. 
 
 7. 
 
 •* 'Twill not seem funny to you then 
 
 That we your concert should despise, 
 Nor wish for harmony with men 
 Who harmony can never prize. 
 
 8. 
 
 " Your scornful puns, ye harp-y pair. 
 We men of note with scorn repay : — 
 Ye members true of discord's bar. 
 We drum, you from our bar away. 
 
 " Signed and Sealed with the Society Seal." 
 ♦• Feb. 27, i8ao." 
 
 At one of the preliminary meetings the 
 members ^ve^e distinguished as professional 
 and amateur. The former were : 
 
 L. F. Bemhart. B. Carr. 
 
 A. Bacon. J. Churr, Jr. 
 
 G. E, Blake. I. P. Cole. 
 
 M. E. Brenan. J. B. DeBree. 
 
 G. Carusi. F. E. Eberl6 
 
 S. Carusi. I. L. Frederick. 
 
 L. Carusi. J. Fuss. 
 66 
 
EARLY MUSIC 
 
 A. Farrouihl. A. L. Hart. 
 
 P. Gilles. J. G. Klemm. 
 
 T. Greland. T. Loud. 
 
 C. F. Hupfeld. I. Le FoUe. 
 
 J. Hupfeld. J. Sidebotham. 
 
 T. Hopkins. J. C. Taws. 
 
 J. C. Hommann. R. Taylor. 
 
 J. C. Hommann, Jr. J. Wheeler. 
 
 A committee was appointed to wait on 
 such ladies as they might select, and solicit 
 them to become members of the Society.* 
 
 On the 29th of March a committee re- 
 ported that they had contracted with John 
 Lavel for a third-story room at No. 118 
 Chestnut Street, on the southwest corner 
 of Carpenters' Court, at a rent of one hun- 
 dred and fifty dollars for one year. From 
 the minutes it appears that before this lease 
 some meetings were held at Elliott's Hotel, 
 others at the house of Dr. De Wees, the 
 president, at No. 154 Chestnut Street. 
 
 Committees on finance and on distribu- 
 tion were appointed on April 19, and at the 
 same meeting the by-laws w^ere adopted. 
 One of the articles provided, in order the 
 more effectually to promote the benevolent 
 aim of the institution, that the board elect 
 
 * The members elected after incorporation will be 
 found enrolled in the appendix. 
 67 
 
MUSIC IN PHILADELPHIA 
 
 annually two physicians, and that the latter 
 visit, at the request of the Committee on 
 Distribution, such members and their fami- 
 lies as may require medical advice or assist- 
 ance, and in all cases prescribe gratuitously. 
 At the first annual meeting of the Society, 
 held at the hall, No. ii8 Chestnut Street, on 
 May 2, 1820, substantially the same officers 
 were elected. Francis G. Smith appears as 
 treasurer. 
 
 Much difficulty existed in obtaining copies 
 of parts in preparation for the first concert 
 of the Society. A letter from Peters, in 
 Leipzig, said that he was unable to fill the 
 order in its entirety. To procure the instru- 
 mental parts of Beethoven's " Hallelujah 
 Chorus" from "The Mount of Olives," one 
 of the members visited New York. Mr. 
 Gillingham was paid five dollars for making 
 copies of parts belonging to the Handel and 
 Haydn Society of New York. 
 
 It ^vas intended to give Haydn's " Crea- 
 tion" at the first concert, but the music 
 could not be procured, either from abroad 
 or from Baltimore, New York, or Boston. 
 Much time had been spent in rehearsing 
 the oratorio. 
 
 The following is the notice as published 
 in the newspapers relating to the prepara- 
 tions for the first concert : 
 
 68 
 
EARLY MUSIC 
 
 "MUSICAL FUND SOCIETY 
 OF PHILADELPHIA. 
 
 " The performing members of the Society and all 
 others concerned are respectfully requested to give 
 their punctual attendance at the appointed Rehearsals 
 as preparatory to the First Concert for the Benefit of 
 the Fund, to be held at the Grand Saloon, Washington 
 Hall, on Tuesday, 24th inst. [April], viz. : 
 
 " ist. On Tuesday evening, 17th instant, a Vocal 
 and Instrumental Rehearsal for Performing Members 
 only, at the Hall of the Society, lately occupied by the 
 Bank of the United States, Carpenters' Court, precisely 
 at 7 o'clock. 
 
 " 2d. On Thursday evening, 19th instant, at 7 o'clock 
 precisely, at the Society's Hall, a stated practising of 
 the Sinfonias, Overtures, Concerts, &c., at which the 
 Members of the Society may attend. 
 
 " 3d. On Monday, 23d instant, at 2 o'clock in the 
 afternoon, the Grand Saloon, Washington Hall, a Gen- 
 eral Rehearsal of the Concert, at which the Members of 
 the Society, not engaged in the performances, are 
 invited to attend. 
 
 "N.B. — In order to avoid confusion or intrusion, 
 the Members of the Society are requested to show their 
 tickets of Membership to the doorkeepers or janitor. 
 Those Ladies and Gentlemen who have kindly volun- 
 teered their assistance on this occasion will be pre- 
 sented with tickets of admission on Tuesday, 17th 
 instant, at the Hall of the Society, which tickets they 
 also will have the goodness to show to the doorkeepers 
 or janitor, at every succeeding Rehearsal or Practising. 
 
 " By order of the Board of Directors of the Music. 
 "G. SCHETKY, 
 
 " April 16, 1831." Secretary. 
 
 69 
 
MUSIC IN PHILADELPHIA 
 "MUSICAL FUND SOCIETY 
 
 OF PHILADELPHIA. 
 
 " The public are respectfully informed, that the First 
 Concert, for the benefit of the Fund, will be repeated 
 on Tuesday, 8th May, 1821, at the Grand Saloon, 
 Washington Hall, with the addition of some Vocal 
 Solos, &c. 
 
 " The Members of the Society will please to apply at 
 the Society's Hall, in Carpenters' Court, for their two 
 Ladies' Tickets, on Saturday, Monday, and Tuesday, 
 from 9 till I o'clock." 
 
 The first concert of the Society was 
 given on Tuesday, April 24, 1821, at W^ash- 
 ington Hall, on Third Street, near Spruce. 
 A programme has been most happily pre- 
 served of its second performance, of which 
 the wording follows ; a reduced fac-simile 
 of the first page is also given. In regard to 
 this repetition, a minute of a late meeting 
 records a vote that it "should not be con- 
 sidered as one of the two concerts . . . 
 authorized to be given this year." 
 
 SECOND PERFORMANCE 
 
 of the 
 
 FIRST CONCERT 
 
 for the benefit of the 
 
 MUSICAL FUND SOCIETY 
 
 OF PHILADELPHIA, 
 
 70 
 
SECOND PERFORMANCE 
 
 OF THE 
 FOR THE BENEFIT OF THE 
 
 MUSICAL FUND SOCIETY 
 
 OF PHILADELPHIA. 
 
 TUESDAY, MAY 8, IftBl. 
 ^t the Grand Saloon, Washington Hall, 
 
 with the addition of tome VOCAL SOLOS. 
 
 Conductors — Messrs. B. Can*, B. Cross, P. Gilles, 
 C. F. Hupfeld, T. Loud, G. Schetky. 
 
 PLAN OF THE CONCERT 
 
 PAUT FIRST. 
 
 Grand SInfonia in E. Romberg 
 
 Vocal Duett, " The Butterfly," Sale 
 
 Gay Being, bom to flutter thro' the day. 
 
 Sport in the sunshine of the present hour, 
 On the sweet rose thy painted wings display, 
 
 And cull the fragrance of the op'ning flowef ! 
 Time hastens on ; the summer ends too soon ; 
 
 Take then the rosy mmutes as they fly ; 
 For soon, alas, youf little life is gone. 
 
 To-day you sparkle, and to-morrow die. 
 
 Concerto Violoncello— -Mr. Gilles, from 
 B. Romberg's Concerto in D., followed by 
 an air with variations, composed by Mr. Gilles 
 
 Air, vocal, « Donald," Original Scottish Melody 
 
 When first you courted tnc, I own, 
 
 I fondly favoured you ; 
 Apparent worth and hi^ renown 
 
 Made me believe you true, Donald. 
 
EARLY MUSIC 
 
 Tuesday, May 8, 1821, 
 
 At the Grand Saloon, Washington Hall, 
 
 With the addition of some 
 
 Vocal Solos. 
 
 Conductors. — Messrs. B. Carr, B. Cross, 
 P. Gilles, C. F. Hupfeld, T. Loud, G. 
 Schetky. 
 
 PLAN OF THE CONCERT. 
 
 PART FIRST. 
 
 Grand Sinfonia in E. Romberg 
 
 Vocal Duett, "The Butterfly" Sale 
 
 Gay being, born to flutter thro' the day, 
 Sport in the sunshine of the present hour, 
 
 On the sweet rose thy painted wings display, 
 And cull the fragrance of the op'ning flower ! 
 
 Time hastens on ; the summer ends too soon ; 
 
 Take then the rosy minutes as they fly ; 
 For soon, alas, your little life is gone. 
 
 To-day you sparkle, and to-morrow die. 
 
 Concerto Violoncello — Mr. Gilles, 
 from B. Romberg's Concerto in 
 D, followed by an air with vari- 
 ations, composed by Mr. Gilles 
 Air, vocal, ** Donald" Original Scottish 
 
 Melody 
 When first you courted me, I own, 
 
 I fondly favoured you ; 
 Apparent worth and high renown 
 Made me believe you true, Donald. 
 71 
 
MUSIC IN PHILADELPHIA 
 
 Each virtue then seem'd to adorn 
 
 The man esteem'd by me ; 
 But, now the mask's thrown off, I scorn 
 
 To waste one thought on thee, Donald. 
 
 O then for ever haste away, 
 
 Away from love and me ! 
 Go seek a heart that's like your own. 
 
 And come no more to me, Donald. 
 For I'll reserve myself alone 
 
 For one that's more like me ; 
 If such a one I cannot find, 
 
 I'll Ry from love and thee, Donald. 
 
 Overture — Dell Opera Tancredi Rossini 
 
 Glee and Chorus — Awake, ^olian 
 Lyre, with orchestra accom- 
 paniments by B. Carr Danby 
 
 Glee and Chorus. 
 
 Awake, ^olian Lyre, awake ! 
 
 And give to rapture all thy trembling strings : 
 
 From Helicon's harmonious springs, 
 
 A thousand rills their mazy progress take. 
 
 The laughing flow'rs that round them blow. 
 Drink life and fragrance as they flow. 
 Now the rich stream of music winds along, 
 Deep, majestic, smooth, and strong, 
 
 Thro' verdant vales and Ceres' golden reign ; 
 Now rolling down the steep amain, 
 Headlong, impetuous, see it pour, 
 The rocks and nodding groves rebellow to the roar. 
 72 
 
EARLY MUSIC 
 
 PART SECOND. 
 
 Concerto Violin, Mr. Hupfeld Rode 
 
 Polacca, "Trifler, Forbear" Bishop 
 
 Recit. 
 
 Air. 
 
 Trifler, forbear ; deceit in flattery lies ; 
 We may endure it, but we must despise. 
 
 Go, trifler, go ; your flattery leave, 
 That lure which leads our sex astray ! 
 
 Still smiling only to deceive. 
 And more securely to betray ! 
 
 On Etna's side thus verdure bright 
 Deludes the swain, and hope inspires ; 
 
 While, with an overwhelming night 
 The dread Volcano pours its fires ! 
 
 Trifler, forbear! 
 
 Go, trifler, go, &c. 
 
 Grand Sinfonia in C Beethoven 
 
 New Glee and Chorus — Sequel to 
 the "Red Cross Knight," with 
 orchestra accompaniments by 
 B. Carr Dr. Clarke 
 
 SEQUEL TO THE RED CROSS KNIGHT. 
 
 Solo, Bass Voice. 
 
 I cannot stay, cried the Red Cross Knight, 
 Nor can I feast with thee : 
 But I must haste to a pleasant bow'r, 
 Where a lady's waiting for me, 
 73 
 
MUSIC IN PHILADELPHIA 
 
 Trio. 
 
 Oh, say not so, dear Red Cross Knight, 
 
 Nor heed that fond lady. 
 
 For she can't compare with my daughter so fair, 
 
 And she shall attend on thee. 
 
 Solo, Bass Voice. 
 
 Now must I go, cried the Red Cross Knight, 
 For that lady I'm to wed. 
 
 And the feast guests and bridemaids all are met, 
 And prepared the bridal bed. 
 
 Trio. 
 
 Now nay, now nay, thou Red Cross Knight, 
 My daughter shall wed with thee. 
 And the mass shall be sung. 
 And the bells shall be rung, 
 And we'll feast right merrily. 
 
 Chorus. 
 
 And the mass shall be sung, 
 And the bells shall be rung, 
 And we'll feast right merrily. 
 
 Trio. 
 
 And as the lady prest the Knight, 
 With her ladies clad in pall, 
 Oh then bespake a pilgrim boy. 
 As he stood in the hall. 
 
 Solo, Treble Voice. 
 
 Now Heav'n thee save. Sir Red Cross Knight, 
 I'm come from the North country, 
 Where a lady is laid all on her death bed, 
 And evermore calls for thee. 
 74 
 
EARLY MUSIC 
 
 Solo, Bass Voice. 
 
 Alas ! alas ! thou pilgrim boy, 
 Sad news thou tellest me, 
 Now must I ride full hastily, 
 To comfort that dear lady. 
 
 Treble Voices. 
 
 Oh heed him not, the ladies cried. 
 But send a page to see. 
 
 Trio and Chorus. 
 
 While the mass is sung. 
 And the bells are rung, 
 And we feast merrily. 
 
 Solo, Treble Voice. 
 
 Again bespake the pilgrim boy : J 
 
 Ye need not send to see, 
 For, know. Sir Knight, that lady's dead, 
 And died for love of thee. 
 
 Trio. 
 
 Oh ! then the Red Cross Knight was pale, 
 
 And not a word could say ; 
 
 But his heart did swell, and his tears down fell, 
 
 And he almost swoon'd away. 
 
 And where is her grave, said the Red Cross Knight, 
 
 The grave where she doth lay ? 
 
 Oh, I know well, cried the pilgrim boy, 
 
 And I'll shew thee the way. 
 
 The Knight was sad, the pilgrim sigh'd. 
 
 Solo, Treble Voice. 
 
 While the Warder loud did cry. 
 Let the mass be sung, 
 And the bells be rung, 
 And the feast eat merrily. 
 75 
 
MUSIC IN PHILADELPHIA 
 
 Trio and Chorus. 
 
 Let the mass be sung, 
 And the bells be rung, 
 And the feast eat merrily. 
 
 Overture — De L' Opera Les Deux 
 Aveugles De Toledo, full or- 
 chestra Mehul 
 
 LEADER— MR. C. F. HUPFELD. 
 
 Principal violins — Messrs. De Luce, Hein- 
 rich, Kahn, Getze, &c., &c. Principal 
 violoncello — M. P. Gilles. Violoncellos — 
 Messrs. Hommann, senr., &c. Tenors — 
 Messrs. Cantor, C. Hommann, &c. Princi- 
 pal double bass — Mr. Schetky. Double 
 basses — Messrs. J. Hommann and Klemm. 
 Principal flute — Mr. Dannenberg. Principal 
 bassoon — Mr. J. D. "Weisse, from Beth- 
 lehem. 
 
 The CONDUCTORS of the VOCAL 
 Music will alternately preside at the 
 ORGAN. 
 
 The Orchestra will consist of one hun- 
 dred Vocal and Instrumental performers. 
 
 TO COMMENCE AT 7 O'CLOCK. 
 
 At a meeting of the board of managers 
 
 on April 30, Dr. W^illiam P. De W^ees, 
 
 Benjamin Carr, and W^illiam T. Birch were 
 
 elected trustees, "in whom shall be vested 
 
 76 
 
EARLY MUSIC 
 
 all the estate and effects, now and v^hich 
 may belong to the Society, and in whose 
 names all future investments of the funds 
 shall be made, and execute all contracts for 
 the benefit of the Society." 
 
 ^A^ith all the magnificent progress ^ve 
 have traced, there was still a goodly rem- 
 nant of old prejudice. A suspicious taint 
 still clung to the professional musician. At 
 a meeting in May, 1820, it was resolved, 
 " That no female professional members be 
 admitted without a w^ritten certificate from 
 some lady of established character in this 
 city." 
 
 In the same year we find a bill of sixteen 
 dollars and sixty-three cents for candles ap- 
 proved by the board. Gas, it seems, was 
 still an experiment at this time. 
 
 77 
 
MUSIC IN PHILADELPHIA 
 
 CHAPTER V. EARLY YEARS OF 
 THE MUSICAL FUND SOCIETY. 
 
 ^^■r"N May, 1821, it was decided that 
 ^ll the oratorio of the " Creation" be 
 
 1 1 prepared for the next concert. 
 
 II A little later a lease was con- 
 
 11 eluded w^ith the Carpenters' So- 
 ciety for their hall, at a rent of three hundred 
 dollars a year. Alterations w^ere directed 
 to be made at an expense not exceeding 
 fifteen dollars. It is not so strange to find 
 in the treasurer's quarterly report, in July, 
 the promising balance of eleven hundred 
 and sixty-eight dollars and tw^enty-seven 
 cents. A more prodigal spirit led, in Janu- 
 ary of the next year, to the provision of 
 refreshments " for the performing members 
 at practisings and private rehearsals, under 
 such regulations as may be deemed proper, 
 the expenses not to exceed two dollars." 
 
 In preparation for the " Creation," the 
 instrumental parts were borrowed of the 
 Moravian Brethren at Bethlehem. In Feb- 
 ruary a committee, consisting of " other 
 than professional members," was appointed 
 "to procure an accession of Ladies and 
 Gentlemen to the vocal rehearsals." 
 78 
 
MUSICAL FUND SOCIETY 
 
 The performance of an oratorio was 
 something of a Herculean achievement in 
 those days. The honor of first producing 
 Haydn's "Creation" in the United States 
 belongs to the Moravians of Bethlehem, 
 where it was given in 1811. The copies, 
 made from the score of Peters, are still 
 preserved. The Handel and Haydn Society 
 of Boston gave the first complete perform- 
 ance of the oratorio in i8ig. 
 
 Too many difficulties there must haUrt 
 been ; for, instead of the oratorio, we find 
 this to be the programme : 
 
 THE SECOND CONCERT 
 For the Benefit of the 
 
 MUSICAL FUND SOCIETY 
 
 OF PHILADELPHIA 
 
 will be given on Tuesday Evening, March 19th, 1822, 
 
 at the Grand Saloon, Washington Hall, 
 
 commencing at 7 o'clock precisely. 
 
 Mrs. Burke and Mr. Phillips have politely offered their 
 assistance on this occasion. 
 
 
 LEADER, MR. HUPFELD. 
 
 
 PART I. 
 
 Sinfonia 
 
 Full Band Romberg 
 
 Song 
 
 Mr. Phillips "Gentle Airs" 
 
 
 from the Oratorio of Athalia. 
 
 
 79 
 
MUSIC IN PHILADELPHIA 
 
 Violoncello obligate Mr. Gilles Haendel. 
 
 Duet Mrs. Burke and Mr. Phillips " I love thee" Bishop. 
 Overture to Sophronista Paer. 
 
 PART 11. 
 
 Concerto for Violin Mr. Hupfeld Franzl. 
 
 Song Mr. Phillips. 
 
 Variations on " Robin Adair" for Violoncello. 
 P. Gilles, composed for the 
 Musical Fund Society P. Gilles. 
 
 Overture to Demophon Vogel. 
 
 Polacca Mrs. Burke " Soldiers' Rest" Clifton. 
 
 Finale Full Band. 
 
 Tickets for the Concert are for sale at G. E. Blake's, 
 13 South 5th Street, at Bacon & Hart's, No. 11 South 
 4th St., at Willig's, No. 171 Chestnut Street, and Carey 
 & Lea's, corner Chestnut and Fourth streets. 
 
 Members are requested to call for their Ladies' 
 tickets at the Hall of the Society on Carpenters' Court, 
 on Monday between 10 and 2, and on Tuesday between 
 10 & 5 o'clock. 
 
 It \vas still the old-fashioned kind of con- 
 cert of the first years of the century, — a 
 mass of ephemeral and local " celebrities" 
 floated by sparse mention of a Handel, 
 a Mozart, and a Paer. But the directors 
 reported a large attendance and a good 
 reception. 
 
 Mrs. Burke was the most famous Ameri- 
 can singer until she was outrivalled by a 
 Mrs. French. 
 
 80 
 
MUSICAL FUND SOCIETY 
 
 The loth of June was finally set for the 
 performance of "The Creation," at W^ash- 
 ington Hall. Announcements in the news- 
 papers read as follows : 
 
 «* ORATORIO 
 
 OF THE CREATION OF THE WORLD 
 BY HAYDN. 
 
 " This very celebrated work will be performed by 
 the Musical Fund Society for the first time in this city 
 on Monday next, June loth, at half past seven o'crock 
 in the evening at the Washington Hall. 
 
 " The Society has spared no pains to make this 
 programme as perfect as possible. The parts have 
 been in the course of preparation and rehearsal for 
 several months, and the vocal and instrumental per- 
 formers will amount to upwards of loo. 
 
 " The Society will be generously assisted by many 
 Ladies and Gentlemen not of their number, and among 
 these they have particular pleasure in being able to 
 name Mrs. French. 
 
 " A pamphlet has been published, containing the 
 words of the oratorio, with notes and observations on 
 the music, principally selected from the various Euro- 
 pean authors, who have written on this great composi- 
 tion. 
 
 " Tickets One Dollar, and the pamphlet at 12^ 
 cents, may be had at the music stores of Messrs. 
 Blake, Willig, Bacon & Hart, Frederick and George 
 Bacon, No. 66 Chestnut Street ; and at the book stores 
 of Messrs. Carey & Lea, A. Small, and of Thomas De 
 Silver, Market Street, of Messrs. Beck & Stewart, and 
 at the Hall on the evening of performance." 
 
 / 81 
 
MUSIC IN PHILADELPHIA 
 
 "MUSICAL FUND SOCIETY. 
 
 " The Ladies and Gentlemen engaged in the per- 
 formance of the Oratorio on Monday Evening are 
 respectfully requested to be in their places at the 
 orchestra at 7 o'clock, as the tuning of the instruments 
 will begin at that time. 
 
 " It is the determination of the conductors, that the 
 performance shall commence at the hour appointed, 
 half-past seven." 
 
 "MUSICAL FUND SOCIETY. 
 
 " The members are informed that a committee will 
 attend at the Society's Hall, in Carpenters' Court, on 
 Thursday, Friday, Saturday, and Monday next, from 
 10 until I o'clock for the distribution of Ladies' 
 Tickets for the approaching oratorio. Those amateur 
 members who have not yet taken their Tickets for 
 the present year will observe that there is due an 
 annual contribution of five dollars." 
 
 The title-page of the pamphlet above 
 mentioned is as follows : 
 
 THE WORDS OF 
 
 the 
 
 CREATION OF THE ^VORLD, 
 
 a 
 
 SACRED ORATORIO 
 
 By Joseph Haydn 
 
 as performed by 
 
 the 
 
 82 
 
MUSICAL FUND SOCIETY 
 
 MUSICAL FUND SOCIETY 
 of Philadelphia, 
 
 at Washington Hall, June loth, 1822, 
 
 with 
 
 Notes 
 
 Critical and Explanatory, a memoir of Haydn, etc. 
 
 Philadelphia 
 
 Printed for the Musical Fund Society by T. H. PalMer 
 
 1822. 
 
 The programme announces as conductors : 
 
 Vocal. Instrumental. 
 
 Benjamin Carr P. Gilles 
 
 Benjamin Cross Chas. F. Hupfeld 
 
 Thomas Loud J. G. Klemm, 
 
 as Leader, Mr. Hupfeld. 
 
 «• Moreover, on this occasion the orchestra will in- 
 clude more than one hundred and twenty performers ; 
 and the conductors are happy to inform the society 
 that Mrs. French has politely offered her valuable 
 assistance." 
 
 Mrs. French was a pupil of Benjamin 
 Carr. She is highly praised in Dyer's " Col- 
 lection of Church Music." Her triumph was 
 unquestioned. The newspapers, in their 
 rivalry of homage, frequently " dropped 
 into poetry" over her power. Of all these 
 verses, the following are given some point 
 by the accident of the falling of part of 
 83 
 
MUSIC IN PHILADELPHIA 
 
 the ceiling at Washington Hall during one 
 of Mrs. French's concerts. 
 
 " 'Tis said that Orpheus played so well 
 He raised Eurydice from Hell ; 
 And St, Cecilia sang so clear 
 That angels leaned from Heaven to hear. 
 
 " But our Cecilia far excels 
 These fabled feats. Her trills and swells 
 Enchant the vaulted roofs and walls, 
 Until the azure ceiling falls." 
 
 When it came to rehearsing the " Crea- 
 tion," it was found that the trombone parts 
 could not be filled by musicians of the city. 
 Again the aid of the music-loving Mora- 
 vians was invoked. Jedediah and Timothy 
 Weiss came down from Bethlehem with 
 another performer, and Jedediah thus de- 
 scribes an occurrence at one of the re- 
 hearsals : "I remember well, I played the 
 bass trombone ; w^hen the recitative was 
 sung, wherein the creation of the lion was 
 described, we, the trombonists, blew one 
 long note of four quarters. The conductor 
 rapped ; all became silent. The part was 
 repeated three times, with the same result. 
 One of the performers in our rear was 
 overheard to say, ' What folly to get 
 country folks to play such important parts 
 without any more practice than a last re- 
 84 
 
MUSICAL FUND SOCIETY 
 
 hearsal.' The recitative was repeated a 
 fourth time with the same result. ^A^e 
 then did not know that they had stopped 
 on our account. Mr. Hupfeld then came 
 and examined our notes, and proclaimed 
 aloud, ' They are right, gentlemen ! the 
 basses must hold out four full quarters.' 
 They had played short notes before. Tne 
 object of the composer was to imitate the 
 lion's roar, which was most effectively done 
 by long notes on brass instruments. After 
 the performance was over, one of the 
 players, a German, remarked to me, * You 
 blay veil your bart ;' to which I replied, * If 
 they give us nothing more difficult, this is 
 easy enough.' I did not let him know that 
 we had practised our parts thoroughly ere 
 we left home." At the concert, it is related, 
 these trombone players were the objects of 
 the greatest curiosity. Their large brass in- 
 struments were a novelty in a Philadelphia 
 orchestra; few had ever seen them before. 
 
 Newspaper comments on the great event 
 are doubly interesting : they sho^v the 
 public importance of the concert, and the 
 plane of journalistic criticism. On the 
 whole, too, they reflect best the actual state 
 of public appreciation. "Poulson's Daily 
 Advertiser," of June lo, 1822, says inter 
 alia: " So imposing a display of beauty and 
 85 
 
MUSIC IN PHILADELPHIA 
 
 fashion has seldom been witnessed in this 
 city. According to the general opinion of 
 those who are judges of music of that de- 
 scription; this great piece, never attempted 
 here before, was well got up and finely ex- 
 ecuted. The more soft, simple, and touch- 
 ing parts were universally admired. We 
 recognized the air and voice of our favorite 
 Mrs. French, with peculiar pleasure in the 
 last duet. A repetition of the performance 
 would equally contribute to the improve- 
 ment and benefit of the institution, to the 
 diffusion of scientific and sublime music, 
 and to the gratification of the public at 
 large." The audience was reported to 
 number from eighteen hundred to two 
 thousand, " the largest ever known at a 
 musical performance in this city." 
 
 One notice, by the naivete' of its com- 
 ment, tells most directly of the taste of the 
 day. " It was attended by a numerous and 
 respectable company of ladies and gentle- 
 men, who appeared to be more pleased 
 than it was expected they would be. Some, 
 indeed, were heard to say that, ' if they 
 were not fearful of their taste being called 
 into question, they w^ould not be pleased at 
 all,' and it may be supposed that others 
 would have made similar declarations, if 
 they had been equally candid." 
 
 86 
 
MUSICAL FUND SOCIETY 
 
 It ought, however, to be recollected that 
 they were unaccustomed to the genus to 
 which the music of this oratorio belongs. 
 Recitatives to any extent were never before 
 introduced at our concerts. Chromatic 
 and enharmonic passages also were but 
 sparingly used, the simple diatonic being 
 found most effective." * 
 
 The high standard was to be maintained 
 resolutely. The directors voted that the 
 Serenata of " Acis and Galatea," by Handel, 
 be performed at the first concert of the 
 ensuing year, instead of an oratorio. This 
 was not done ; however there were constant 
 signs of the strong public spirit of the mem- 
 bers of the Society. 
 
 In the preceding October, Thomas H. 
 Palmer made an offer to the directors of 
 the use of his organ until the end of the 
 year. Next autumn Dr. Robert M. Patter- 
 son presented to the Society three vol- 
 umes of the " London Quarterly Musical 
 Magazine." At a meeting in the follow- 
 ing November the directors of music re- 
 ported to the Board of Managers that the 
 oratorio of "The Creation" would be 
 ready for performance in three weeks. At 
 this meeting George Schetky gave the use 
 of his organ for the approaching occa- 
 sion. Benjamin Carr offers the loan of his 
 87 
 
MUSIC IN PHILADELPHIA 
 
 piano at a meeting in 1823 *' for the ensu- 
 ing concert." 
 
 The best test of the success of the ora- 
 torio concert was its repetition in November 
 of the same year in answer to a universal 
 wish. 
 
 The general opinion in which the young 
 Society w^as held is shown by various prop- 
 ositions made by established institutions. 
 They concerned the question of a concert 
 hall, which w^as the absorbing problem. 
 The first concerts had been given at "Wash- 
 ington Hall, in the "Grand Saloon," on 
 Third Street above Spruce. This building 
 seems to have resembled, in its general 
 plan, the hall built by the Society. It was 
 probably the favorite resort for concerts and 
 balls. In March, 1823, "Washington Hall* 
 was burned to the ground. Although this 
 event put the Society in some straits, it 
 undoubtedly hastened, if it did not cause, 
 the enterprise which completed its estab- 
 lishment in giving it a home. On the 22d 
 of March of this year, a meeting of the 
 board was held, at which, among other 
 things, a committee reported a certificate 
 of an act of the legislature, incorporating 
 
 * Strictly the hall of the Washington Benevolent 
 Society. 
 
 88 
 
MUSICAL FUND SOCIETY 
 
 the Musical Fund Society of Philadelphia. 
 At this meeting there was appointed a 
 committee to inquire into the expediency 
 of building a hall for the Society. The 
 necessity was urgent. The only hall which 
 could be used for concerts was the Chestnut 
 Street Theatre, near Fifth Street, for which 
 the rent of an evening was at that time 
 two hundred dollars. The theatre was, in 
 fact, engaged for the next concert, which 
 ■was given in April, 1823, with this announce- 
 ment : 
 
 The Third Miscellaneous 
 
 CONCERT 
 
 of the Musical Fund Society of 
 
 Philadelphia 
 
 will be given at the New Theatre on Thursday 
 
 evening the 24th inst. 
 
 Leader, Mr. Hupfeld. 
 
 Then follows the programme, of which 
 the first number was Mozart's overture to 
 " Figaro." Further down is a chorus of 
 Mozart used for ^vords on the landing of 
 Columbus. There is a Haydn Sinfonia, 
 which was certainly not a symphony. The 
 rest is made up of concertos for violin and 
 for violoncello, and of songs by English 
 composers ; the day of the Italians had not 
 yet come. But the report in May showed 
 a large gain from concerts. 
 89 
 
MUSIC IN PHILADELPHIA 
 
 In this connection it may be mentioned 
 that the first case of relief was favorably 
 reported at the stated meeting on July i. 
 In recommending a pension of two hundred 
 dollars a year to one highly distinguished 
 in his profession, the committee could not 
 "withhold an expression of satisfaction 
 that so conspicuous a proof of the useful- 
 ness of our institution has been presented 
 by the incident, and that the honor has been 
 reserved for the Society, of comforting the 
 age and relieving the distress of one of the 
 first and most honored among the profes- 
 sional men of our country." 
 
 The question of a permanent hall was 
 still unsolved. There was a thought of 
 holding the concerts exclusively for the 
 private entertainment of members. The 
 "Fourth Miscellaneous Concert" was given 
 at the "New Theatre" again, in March, 
 1824, with a programme much like the last 
 one. Rossini's "Overture to Tancred" ap- 
 pears "by particular request." But, evi- 
 dently, the serious ambition of the Society 
 was what were called "oratorio concerts." 
 In April of this year it was decided to an- 
 nounce in the newspapers that "the Society 
 indulge the hope that in the course of the 
 next season, they will be enabled to present 
 to the public some of the works of the im- 
 90 
 
MUSICAL FUND SOCIETY 
 
 mortal Handel, both sacred and secular, by 
 the performance of The Grand Dettingen 
 Te Deum, and the Serenata of Acis and 
 Galatea. ..." 
 
 One of the above-mentioned offers came 
 from the vestry of St. Andrew's Chu*th, 
 of the use of the church for oratorio in 
 consideration of the right to hold certain 
 rehearsals of the church chorus in the 
 practising hall (Carpenters') of the Society. 
 The Society allowed the latter without 
 claiming the former. 
 
 Another proposition seems to have come 
 from none other than the University of 
 Pennsylvania. At a meeting in April the 
 Building Committee was directed to confer 
 with a committee of the trustees of the 
 University "upon the subject of a building, 
 proposed to be erected, with authority to 
 devise a plan for uniting the efforts of both 
 institutions for that purpose." From a later 
 report it appears that the trustees finally 
 declined to co-operate with the Society in 
 building a hall. 
 
 The next refuge during the homeless 
 period was St. Stephen's Church, in which 
 the third performance of "The Creation" 
 was given by the Society in April, 1824. 
 
 The advertisement reads strangely to 
 our conception of early church traditions. 
 
MUSIC IN PHILADELPHIA 
 
 "The orchestra," it was promised, "will 
 be as complete as at the performance in 
 the Washington Hall in 1822, and, to pre- 
 vent inconvenience from the church being 
 crowded, the number of tickets for sale will 
 be limited." 
 
 A sign of the ambitious attitude of the 
 Society in the early years is the appoint- 
 ment of a "committee to inquire into the 
 expediency of contributing a fund for the 
 distribution of premiums for original com- 
 positions by members of the Society." 
 
 92 
 
MUSICAL FUND SOCIETY 
 
 CHAPTER VI. BUILDING OF THE 
 HALL. ^ 
 
 ^^H^^^HE great undertaking vvas defi- 
 ^ I nitely set in motion at a meet- 
 
 ■ 1 ing in April, 1824. A loan of 
 
 ^^^^^ $10,000 was authorized; details 
 ^^^^ were provided for payment of 
 interest and principal from the perfected 
 income. The committee were permitted to 
 pledge the hall and lot by mortgage. Next 
 month it was resolved to recommend to the 
 Committee on Finance to invest in the loan 
 the amount of the permanent fund and a 
 part of the contingent. The lot which was 
 in view^ and finally bought was that occu- 
 pied by the corporation known as the Fifth 
 I Presbyterian Church. Theirs was a queer- 
 
 shaped building, with a circular front on 
 Locust Street. From its appearance it was 
 often called the D meeting-house. Between 
 the building and the street was a green 
 sward, with some dozen tombstones. On 
 the west side, at the corner of Blackberry 
 Alley, was a two-story parsonage, which 
 ^vas not destroyed with the church building. 
 The surroundings, it seems, were consid- 
 93 
 
MUSIC IN PHILADELPHIA 
 
 ered objectionable by the members. On 
 the site was built the Musical Fund Hall. 
 
 On May 15, 1824, the building committee 
 presented a plan for the hall, which was ap- 
 proved. The credit of designing a concert 
 hall which is not surpassed for acoustic 
 excellence, belongs to William Strickland. 
 One of the original members of the Society, 
 he was from the beginning undoubtedly 
 the controlling counsellor in the matter of 
 building. The Society had at the outset 
 the good fortune of enrolling prominent 
 professional men on its list. One of the 
 most distinguished of these was the painter 
 Thomas Sully, who was regularly called 
 upon to make the portraits of those who 
 had deserved well of the Society. To have 
 an inscribed monument in St. Peter's 
 church-yard, and one's portrait painted 
 by Thomas Sully, were the highest honors 
 within the dreams of a member. Physi- 
 cians are perhaps most prominent of all 
 professions. The early presidents were 
 doctors. Lawyers are not far behind in 
 capturing the offices. The first two secre- 
 taries were members of the bar. Names 
 well known in finance appear early on the 
 list of members. Indeed, the roll of names 
 throughout the period of the Society's bril- 
 liant activity seems to represent very fairly 
 94 
 
MUSICAL FUND SOCIETY 
 
 the best citizens, in their various lines, a 
 true aristocracy, not a conventional. The 
 even distribution of names among the sev- 
 eral professions is no weak test of the 
 homogeneous quality of musical taste and 
 culture. It is very doubtful if to-day the 
 love of music is equally wide-spread. There 
 could have been in those days none of the 
 pride in musical ignorance w^hich it is com- 
 mon to see boasted. On the other hand, 
 musical cliques were probably less marked. 
 
 With a strange absence of flourish and 
 festivity the first concert in the new hall 
 was given on December 29, 1824. But the 
 high worth of the programme seems all the 
 greater. On the line of composers' names 
 Handel stands four times, Mozart twice. 
 The long-promised " Dettingen Te Deum" 
 filled all of Part I. A little book comes 
 down to us w^hich may have been in lieu of 
 a programme or in supplement. It is clad 
 in the plainest of stout blue paper. But 
 the type is clear, strong, well varied, and 
 perfect. We should like to give more than 
 the title-page. 
 
 The 
 
 WORDS 
 
 of the 
 
 DETTINGEN TE DEUM 
 
 of 
 
 HAENDEL 
 
 95 
 
MUSIC IN PHILADELPHIA 
 
 and of a 
 
 Miscellaneous Act 
 
 of 
 
 Vocal and Instrumental Music 
 
 as performed by the 
 
 MUSICAL FUND SOCIETY 
 
 of 
 
 Philadelphia 
 
 At the Opening of their new Hall, December 29th, 1824. 
 
 With Notes 
 
 Critical and Explanatory, &c. 
 
 Philadelphia 
 
 Published for the Musical Fund Society 
 
 by T. DeSilver. 
 
 1824. 
 
 W^e are sure there can be nothing new. 
 What we think the very latest fashion in 
 programmes is here anticipated to the last 
 dot of detail. ^A^ith the words are ap- 
 pended finely analytic comments, w^ritten 
 with learning and imagination, covering 
 every phrase of the music, just as they ap- 
 pear on the most modern of concert books. 
 The whole is composed in the most serious 
 vein, but with great simplicity. The only 
 allusion to the occasion of the opening of 
 the hall is concealed towards the end of an 
 account of the Te Deum : "The Board of 
 Directors of the Music, delegated by the 
 Musical Fund Society, to arrange their pub- 
 96 
 
MUSICAL FUND SOCIETY 
 
 lie concerts, conceived that they could not 
 make a better selection for a public per- 
 formance of a Society, ostensibly formed 
 to improve the public taste in the higher 
 branches of this art, than by the choice of 
 a work that has stood the test of nearly a 
 century of years. . . . At the same time 
 the chaunting forth of praises to the Great 
 Supreme, in strains as exalted as these, 
 naturally leads the mind to contemplate 
 that providence which has aided an infant 
 society, formed for the laudable purpose of 
 cultivating a delightful art, and of extending 
 benevolence to our fellow -creature, so far 
 as to enable it to struggle through its first 
 difficulties and eventually to raise a noble 
 structure, alike ornamental and honorable to 
 this city. It may then, in a humble sense, 
 be considered as a consecration anthem for 
 the most capacious saloon in the American 
 continent, and the first and only one devoted 
 to musical science." . . . 
 
 Various impressions come from further 
 reading. Handel must have been sung and 
 studied in the city to an extent that would 
 probably be surprising. But the land- 
 marks of musical criticism and estimate 
 are amusing, even startling. For example, 
 in' a voluminous subnote, we are told that 
 " Purcell is as much the boast of England in 
 
 g 97 
 
MUSIC IN PHILADELPHIA 
 
 music as Shakespeare in the drama." . . . 
 Most interesting to thinkers on musical 
 history must be the note on the *' period 
 that the modern school of composition 
 began. It has been generally dated from 
 Handel; by some from Purcell; as they, 
 certainly, more than their predecessors, 
 added the charms of melody to the beauty 
 of harmony; some, for the same reason, 
 go as far back as Ralestria (Palaestrina ?) 
 ... or Carissimi. . . . Others with more 
 propriety date at the period immediately 
 subsequent to Handel; and undoubtedly 
 Bach and Abel, in their overtures, Bocche- 
 rini in his Quartetts and Quintetts (1766), 
 Gallupi in his operas (1746) and Clementi 
 in his ' Piano-Forte Sonatas' (1772) changed 
 the style. . . . Perhaps it might not be 
 >vide of the mark to date from 1500 ... to 
 1700, for the old school ; from then to 1800, 
 the middle school ; from then to the present 
 time (embracing the labors of Beethoven, 
 Reis, Cherubini, Romberg, etc.) as the 
 modern school, leaving the three great 
 names of Handel, Haydn, and Mozart as 
 the splendid luminaries of their respective 
 periods." ^A/'hat a jumble of perspective 
 in an equal linking of Bach and Abel, and 
 of poor Beethoven with Reis and Romberg. 
 It is clear, too, that Beethoven was not 
 98 
 
MUSICAL FUND SOCIETY 
 
 thought of in the same plane ^vith Mozart ; 
 perhaps because he was almost a contem- 
 porary. They are probably misappreciated 
 in the same ratio as were later Mendelssohn 
 and Schumann. There are some news- 
 paper comments on the concert. 
 
 " On Wednesday evening the grand saloon in the 
 elegant building erected by the Musical Fund Society 
 in Locust Street was opened for the Society's first 
 concert this season, which was graced by the appear- 
 ance of a crowded and brilliant audience of about 
 five hundred gentlemen and eight hundred ladies, 
 including a great portion of the fashion, beauty, and 
 taste of our city. 
 
 " The room is exceedingly neat, and its decoration 
 does honor to the taste of Mr. Strickland, an architect 
 of whom Philadelphia may be justly proud. It is truly 
 simplex tnunditiis. It is one hundred and six feet long, 
 sixty wide, and twenty-six high, and is admirably cal- 
 culated for the conveyance of sound. . . . Gentlemen 
 who have visited most parts of Europe declare they 
 have never been in a room superior in this respect, and 
 in few equals. The orchestra (balcony) at the north 
 end is judiciously arranged, so as to afford a satis- 
 factory view of the performers to the auditors at the 
 other extremity. 
 
 "... The second Act was a melange, better suited 
 to the general taste than the first, as it consisted of a 
 rich variety of selections, made with great skill and 
 judgment. 
 
 "... The band (chorus ?) was very powerful, con- 
 sisting of about eighty gentlemen and twenty ladies, 
 amateurs." 
 
 99 
 
MUSIC IN PHILADELPHIA 
 
 From the first report of the Building 
 Committee it appears that the corner-stone 
 was laid on May 25, 1824 ; on the 4th of No- 
 vember of the same year the first practising 
 was held in the lower rooms. The building 
 was completely finished on December 24. 
 Of Strickland, the architect, the committee 
 say that he executed his "important trust 
 with the greatest faithfulness and ability." 
 The actual cost of the building 
 
 was $12,968.56, 
 
 of the lot ...... . 7,500.00, 
 
 of the furniture 2,219.51, 
 
 of incidentals 859.01, 
 
 making the total .... $23,547.08. 
 
 This amount was covered in approximately 
 equal portions by a loan, for which shares 
 were issued, and by a mortgage. From the 
 beginning the rooms were rented success- 
 fully. Before long the income from this 
 source alone was no inconsiderable propor- 
 tion of the original outlay. In this first re- 
 port the committee could say that, as the 
 rent covered the annual interest, the Society 
 had the use of the building free of cost. 
 Before its completion the Masonic Hall and 
 "Washington Hall had been the principal 
 places for concerts and balls ; but the new 
 and beautiful saloon of the Musical Fund 
 100 
 
MUSICAL FUND SOCtfi'fY 
 
 Hall, with its wonderful acoustic quality, 
 soon made it the most popular place for 
 the best kind of all entertainments. Built 
 to satisfy the needs of the Society, it un- 
 doubtedly reacted on the musical life ot 
 the community by attracting all the famous 
 virtuosi of the time. University and col- 
 lege commencements were regularly held 
 there. Now to the reader of its pro- 
 grammes pass in sight, as in a camera 
 obscura, the principal figures in the public 
 view, — besides musicians, many of the lead- 
 ing orators and statesmen. 
 
 xox 
 
iVldSTC IN PklLADELPHIA 
 
 CHAPTER VII. EARLY PLANS AND 
 EXPERIMENTS OF THE SOCIETY. 
 
 mOTHING was stipulated in 
 the constitution or by-laws 
 of the Society in regard to 
 the number of concerts to be 
 given or about their nature. 
 The double aim of financial relief and the 
 improvement of musical taste w^as stated 
 in analogy with the t^vo classes of pro- 
 fessional and amateur members; and the 
 Committee on Music, or the Directors of 
 the Music were " especially charged with 
 the suggestion of such measures" as might 
 promote the latter object. The average 
 number of concerts during the early period 
 was two a year. Sometimes there were 
 more ; sometimes none. 
 
 A very important adjunct from the be- 
 ginning was the orchestra, which was 
 always efficient in the quality, if not in the 
 number of its force. Largely professional, 
 there seems to have been no bar to the 
 co-operation of amateur members. None 
 of its institutions was more essential to 
 the musical independence and influence of 
 
ZSZGKTH CONCERT 
 
 OF THE 
 
 or 
 
 PHILADELPHIA. 
 
 TO TAKE PLACE IN THEIR HALL 
 
 oir 
 
 TUESDAY, MARCH 22, 1825. 
 
 PLAN OF TKE CONCZSEIT. 
 
 PART I. 
 
 Overture, De la fete du village voisin. - - - - - BoielSeu 
 Duett. REST HOLY PILGRIM. E. Phelps 
 
 Rest holy pilgrim ! rest I pray, y^ ^ /J, J^ j^ ^ 
 Dreary, to Mecca's shrine's the way. '^ t? /i 
 
 O! deign a Hermit's hut to share, t^r^ Ctc If • 
 ^ Nor proudly spurn his homely fare. // 
 
. ^ 
 
MUSICAL FUND SOCIETY 
 
 the Society. This was felt by the directors 
 and by the prominent professional mem- 
 bers. Unfortunately the furor for famous 
 singers, chiefly of the Italian school, 
 spoiled the general appreciation for the 
 great instrumental works of the German 
 masters. From the beginning, too, there 
 was a chorus consisting mostly of amateur 
 members. This was an expression, in 
 more than one sense, of that healthy desire 
 for the great oratorios of Handel and 
 Haydn. The first triumphs of the Society 
 ^vere earned and oft repeated in perform- 
 ances of the " Creation." Later the ** Mes- 
 siah" and the "Seasons" were given. 
 From a critical stand-point, perhaps, the 
 soundest taste in the community prevailed 
 in the first quarter of the century, although 
 there -was least pretence or consciousness 
 of being in the fashion. There is a queer 
 old leaf from the "eighth concert," of 
 Tuesday, March 22, 1825, in fine, substan- 
 tial old type, where the names of the 
 singers had to be supplied in ink. Chief of 
 these was Elizabeth Jefferson Fisher, the 
 Miss Jefferson of the famous actor family, 
 an aunt of our own Rip Van Winkle. The 
 concert was one of the last before the 
 Italian period. First comes an overture by 
 Boieldieu ; later another by Mehul ; a third 
 103 
 
MUSIC IN PHILADELPHIA 
 
 by Paer; the last two, examples of the 
 purest of that sober age. Interspersed are 
 such perennial songs as Bishop's " Bid 
 me Discourse." Not since then have 
 singers had the courage to bring the 
 English song-classics back to the concert 
 stage. 
 
 Largely with a view to the improve- 
 ment of the orchestra, partly, perhaps, in a 
 spirit of ambitious venture, a committee 
 reported, in May, 1825, in favor of estab- 
 lishing a school of music, which, " owing 
 to the progressive decay of our orchestra, 
 has become almost necessary to our exist- 
 ence." It w^as intended largely as a feeder 
 of instrumental material. The plan was 
 rapidly set in motion. In December the 
 "Committee on the Academy of Music" 
 made a final report, saying that it had 
 begun on the 12th of September with two 
 departments, — one for violins, 'cellos, and 
 bass, the other for wind instruments. 
 Teachers ^vere engaged at regular salaries. 
 In the mean time, in June, had been given 
 the ninth concert, very much like the one 
 last described. The tenth was " The Crea- 
 tion," and the eleventh a fine blending of 
 Paer, Haydn, Beethoven, and Boccherini, 
 with some good songs. Of this kind of 
 evening there were too many to mention. 
 Z04 
 
MUSICAL FUND SOCIETY 
 
 These were really the good old times for 
 musical taste. One concert in particular 
 was given on July 19, 1825, in aid of some 
 "Hospitable Society." There is a Gluck 
 overture and seven Handel numbers : airs 
 and choruses. 
 
 Miss Jefferson sang again ; it was the 
 time of Lafayette's second visit. The 
 managers of the Society requested a com- 
 mittee to invite him to attend the concert. 
 Lafayette wrote in answer : 
 
 " New York, July 6th, 1825. 
 "I do not think it will be in my power to reach 
 Philadelphia before the end of next week. The con- 
 cert might then take place on some early day of the 
 week following. I anticipate much pleasure the moment ^ 
 
 I can offer you in person the affectionate regard of 
 your sincere friend. 
 
 " LAFAYETTE." 
 
 All of this was printed, with the pro- 
 gramme, as an announcement of the con- 
 cert. The details of Lafayette's visit are 
 known. He attended the concert, and, \ve 
 are told, attracted much attention. 
 
 In the spirit of the "Academy" other 
 plans were considered. In 1826 the trustees 
 of the latter recommended the establish- 
 ment of a vocal class. 
 
 A resolution passed " that a musical jour- 
 nal, to be published in quarterly numbers of 
 105 
 
MUSIC IN PHILADELPHIA 
 
 about 100 pages each, be established under 
 the patronage of this Society, provided that 
 a reasonable assurance can be obtained 
 that its publication will not infringe on the 
 funds of the Society." The next step was 
 a proposition to the Academy of Fine Arts 
 to join in the enterprise. The title was 
 to be 
 
 THE AMERICAN JOURNAL 
 of the 
 
 FINE ARTS 
 
 Conducted by a Joint Committee 
 
 of the 
 
 Pennsylvania Academy of Fine Arts 
 
 and the 
 
 Musical Fund Society of Philadelphia. 
 
 The subjects of which the journal shall consist shall 
 be Music, Poetry, Painting, Sculpture, Engraving, and 
 Architecture. The journal to be conducted by a joint 
 committee of six members, etc. etc. 
 
 The directors of the ** Academy" agreed to 
 the plan. Committees were appointed; all 
 formal steps were taken. For some reason 
 this idea, so beautiful in conception, was 
 never realized. Perhaps it was smothered 
 in the pomp of preparatory detail. 
 
 The orchestra and the chorus were per- 
 manent institutions. On every programme 
 xo6 
 
MUSICAL FUND SOCIETY 
 
 there was an imposing array of conductors^ 
 for example : 
 
 Instrumental. — Messrs. Hommann, Sr., 
 Hupfeld, and Le Roy. 
 
 Vocal. — Messrs. B. Carr, Cross, and T. 
 Loud. 
 
 Leader. — Mr. Hupfeld. 
 
 In the high hopes for the fruits of the 
 "Academy," the Society engaged Adolph 
 Schmitz, a Diisseldorf musician, to come 
 to Philadelphia and take charge of the third 
 class in the "Academy." Mr. Schmitz be- 
 came a distinguished teacher in the city. 
 Here is a single instance ^vhere the Society 
 was the cause of a great musical gain to the 
 city, directly in the elder Schmitz, indirectly 
 in the younger, who soon became foremost 
 among the local musicians. 
 
 Outside of the regular and special concerts 
 given under the management of the direc- 
 tors were, of course, a long line of virtuosi 
 who rented the hall on their own enterprise. 
 One of the first, in more than the sense of 
 time, of the brilliant Italian singers who 
 trod the boards of our hall in their trium- 
 phal processions, was Madame Malibran, 
 who sang on June i6, 1827, under the name 
 of Signorina. In the newspapers the an- 
 nouncement was of 
 
 107 
 
MUSIC IN PHILADELPHIA 
 
 SIGNORINA'S CONCERT. 
 
 The programme was surprisingly good. 
 Of instrumental numbers three were by 
 Haydn, one by Mozart. Signorina sang 
 Gluck's "Che faro;" Mozart's " Batti 
 batti;" and Rossini's ** Di tanti palpiti," 
 and some other songs. Malibran was so 
 much pleased with the acoustic virtues of 
 the saloon that, when the concert -was 
 over, she walked up and down extemporiz- 
 ing, while Da Coninck, who *' presided at 
 the piano," played an accompaniment. 
 
 At the second of the " Signorina" con- 
 certs, however, seven of the ten numbers 
 were from Rossini. 
 
 The Garcia Opera Troupe, under the 
 management of Manuel Garcia, father of 
 Madame Malibran, was the first to intro- 
 duce Italian opera in the United States. 
 The experiment was considered problemati- 
 cal, and, in fact, the opera failed as a finan- 
 cial venture. But the personal triumph of 
 Malibran was unquestioned, and, in striking 
 exception, it preceded her successful debut 
 in Europe. The essence of her power, so 
 far as we may gather at second hand, must 
 have lain in the sensitiveness of a tempera- 
 ment which would prompt her on the stage 
 to the most daring feats of improvisation in 
 cadences. It was in a memorable contest 
 io8 
 
MUSICAL FUND SOCIETY 
 
 with Caradori Allen, in Manchester, Eng- 
 land, that a supreme effort was thought by 
 some to have caused her death, which fol- 
 lowed soon after. At any rate it was her 
 swan song. To complete our picture of this 
 concert in its reality, we must import a 
 prosaic element from the notice in Poulson's 
 "Daily Advertiser:" " Nearly all the seats in 
 the lower tier and a great part of the second 
 tier of boxes were occupied by ladies in 
 full dress, which gave great brilliancy to 
 the house, however badly supported by the 
 gloomy and dreary light. It is much to be 
 desired that our enterprising manager . . . 
 will, in the future, remedy that evil, by 
 substituting gas-light ... or add a large 
 middle chandelier to the present order." 
 Gas was not introduced in the hall, however, 
 until ten years later, in September, 1837. 
 
 The old concerts still went on. The 
 great event of 1828 was the production of 
 the '* Messiah." The glowing reports in the 
 " United States Gazette" and in the " Daily 
 Advertiser" are not reflected in the annual 
 report of that year, where there is some 
 grumbling about the great expense of the 
 concert. In a programme of December of 
 this year some of the newer romantic music 
 has crept in : Beethoven's " Egmont" over- 
 ture, and Weber's "Hunters' Chorus" from 
 109 
 
MUSIC IN PHILADELPHIA 
 
 the *' Freischutz." Below we had almost 
 missed a strange old warning, w^hich yet 
 looks curiously new : " The concert will 
 begin at 7 o'clock, precisely. 
 
 ** To prevent an inconvenience that has 
 formerly been complained of, it is most re- 
 spectfully requested that ladies attending 
 the concert will avoid wearing large bonnets 
 or high head-dresses." 
 
 During the remainder of this decade the 
 periodical concerts and the annual reports 
 continue in much the same w^ay. The latter 
 are at first full of self-congratulation, later 
 they settle down to a less fulsome self- 
 content. Suddenly, in April, 1831, the disil- 
 lusionment is faced. The committee on the 
 "Academy" "are obliged to state that the 
 number paying for and receiving instruction 
 . . . amount to no more than twelve. . . . 
 This great diminution . . . the committee 
 cannot satisfactorily account for. They are, 
 however, satisfied that it is not owing to an 
 inherent defect in it, but to casual and extrin- 
 sic circumstances. It will, however, occa- 
 sion a considerable expense to the Society, 
 which, in the present state of the finances, 
 it would have been very desirable to have 
 avoided." Still the committee think the 
 "Academy" ought to continue. 
 
 But a year later the discontent is more 
 no 
 
MUSICAL FUND SOCIETY 
 
 frank and more fundamental. The whole 
 tone is regretful. It begins with a discus- 
 sion of the two controlling aims of the 
 Society. One of the troubles seems to have 
 been a poor attendance of the " profes- 
 sors" at the "practisings," w^hich had fallen 
 out of repute. Reproachfully the progress 
 is recounted of public taste under the in- 
 fluence of the Society, and, impliedly, the 
 increased benefit to professional musicians. 
 ** The Community of Philadelphia was not 
 at that time (twelve years before) so criti- 
 cally informed of the merits of musical 
 performances as they have since become. 
 Public concerts had for many years been in 
 disrepute. Instrumental pieces of whatever 
 merit were not listened to, and the time 
 which they occupied v^as generally appro- 
 priated to fashionable conversation. The 
 private musical soirees, which are now so 
 numerous, were rarely thought of. The pri- 
 mary object of the Society was to reform 
 the state of neglect into which the beautiful 
 art of music had fallen. That object it has 
 effected entirely and beyond a question. 
 Nothing can be more unlike than the present 
 conduct and opinions of the people of Phila- 
 delphia in all that relates to music and their 
 conduct and opinions twelve years ago." 
 Here it is shown how the second object, the 
 III 
 
 / 
 
MUSIC IN PHILADELPHIA 
 
 provision of a relief fund, has been fulfilled. 
 "Yet," they frankly continue, "the Society 
 is on the decline," speaking from a purely 
 financial stand-point. Finally, they object 
 "to appropriating any longer %']Q0 per ayinum 
 to keep up the school with the expense ex- 
 ceeding the receipts by the amount." In 
 July, action was taken in accordance with 
 this report. Thus ends the " Academy." 
 Its story pathetically shows the high ambi- 
 tion of the founders. Their aim was pre- 
 cisely right for the establishment of the best 
 kind of performances by the perfection of a 
 local orchestra. But this part of the So- 
 ciety's work was least supported by the 
 public. Besides, the idea of an annexed 
 school for the exclusive purpose of devel- 
 oping an orchestra involved means quite out 
 of proportion to the aim. Still the aim must 
 always be higher than the gain. 
 
 Together with this change, others were 
 soon adopted. The most important were 
 the reduction of the musical session from 
 eight to six months ; abolishing of the prac- 
 tisings ; in lieu of the former sixteen prac- 
 tisings, an additional public concert and 
 three private "soirees" were provided. 
 
 The first great loss of the Society hap- 
 pened in May, 1831, in the death of Benja- 
 min Carr. The tributes paid him have been 
 described in an earlier chapter. 
 
MUSICAL FUND SOCIETY 
 
 CHAPTER VIII. FIGURES OF THE 
 TIME. 
 
 m 
 
 E come now to the period 
 1830-40. Musically it is 
 not specially important. 
 I propose, therefore, that 
 ^ve transform ourselves 
 into some insect — a spider, say — harbored 
 in a corner of the hall, with a good view 
 of the stage, and out of danger from the 
 janitor. ^Vithout admission ticket, with a 
 sort of stolen life-membership, we can then 
 watch all the figures as they come and 
 go ; on the platform, in the strain and dig- 
 nity of their tasks ; on the floor, in uncon- 
 scious bustle and irresponsible enjoyment. 
 We can see the whole scene, too, gradually 
 brighten from flickering oil to — w^ell a very 
 wonderful new invention in lighting, how^- 
 ever ill constituted to cast reflections on its 
 predecessor. 
 
 First of all, what a magnificent array of 
 American statesmen throng the hall day 
 after day of a week in the early autumn 
 of 1831 ; some of them of permanent fame, 
 all representative of foremost citizenship. 
 A Z13 
 
MUSIC IN PHILADELPHIA 
 
 There was " a convention of the advo- 
 cates of free trade, without distinction 
 of party, . . . two hundred and twelve 
 delegates. Among them were Theodore 
 Sedgwick, George Peabody, and John L. 
 Gardner, from Massachusetts ; Preserved 
 Fish, John Constable, John A. Stevens, 
 Jonathan Goodhue, . . . and Albert Galla- 
 tin, from New York; C. C. Biddle, George 
 Emlen, Isaac W. Norris, from Pennsyl- 
 vania; Jos. V/. AUston and Wm. C. Pres- 
 ton, from South Carolina, and men of equal 
 distinction, bankers, merchants, statesmen, 
 and political economists from other States. 
 Of this convention, Gallatin was the soul. 
 Mr. Gallatin found himself in direct oppo- 
 sition to Mr. Clay, whose political exist- 
 ence was staked upon the opposite theory. 
 Mr. Clay answered in a great speech in 
 the Senate, in February, 1832, personally 
 denouncing Mr. Gallatin as a foreigner with 
 European interests at heart. For this he 
 expressed his regret to Mr. Gallatin in an 
 interview arranged by mutual friends at a 
 much later period." * Chief Justice Mar- 
 shall was present at the meeting on the 
 fourth day. Here is a momentous council 
 within these our modest walls. And, in 
 
 * Life of Gallatin, by Stevens. 
 114 
 
MUSICAL FUND SOCIETY 
 
 truth, we do hear some ungracious objec- 
 tions to the hall, and much grumbling that 
 the city had no other provision. Other- 
 wise, the talk, I dare say, sounds much 
 like some very familiar arguments that are 
 still beaten back and forth. 
 
 Next is a "meeting of the friends of the 
 Constitution and of Domestic Industry, . . . 
 on Thursday, January 24th, 1832, in relation 
 to the alarming and momentous crisis in 
 the affairs of the country, menacing the 
 integrity of the Union by the assertion of 
 the Nullification Acts on the part of the 
 State of South Carolina." The Mayor 
 presides, but there do not seem to be any 
 eminent figures. It is an early symptom 
 of a national disease, wellnigh fatal, now 
 happily and entirely cured. 
 
 On the last day of this year we have a 
 pageant of the famous old bar of Philadel- 
 phia. The Hon. John Sergeant delivers a 
 eulogy on the life and character of Charles 
 Carroll, of CarroUton, and is listened to by 
 the Judges of the Courts, members of Con- 
 gress and of the Legislature, Provost and 
 Faculty of the University, the Reverend 
 Clergy, the Mayor, Aldermen, High Sheriff, 
 of the city, etc., etc. 
 
 But, speaking of pageants, w^hat must we 
 expect from the promises of this notice : 
 "5 
 
MUSIC IN PHILADELPHIA 
 
 ANNUAL COMMENCEMENT 
 of the 
 
 UNIVERSITY OF PENNSYLVANIA 
 
 July 25, 1833 
 
 A procession will be formed and will move from the 
 College Hall Ninth Street at 10 A. M. in the following 
 order 
 
 Janitor of the College 
 
 Students of the Collegiate Department 
 
 Faculty of Arts 
 
 Provost 
 
 President of the Board of Trustees 
 
 Trustees of the University 
 
 Candidates for the Degree of A. B. 
 
 Candidates for the Degree of A. M. 
 
 Janitor of the Medical Department 
 
 Faculty of Medicine 
 
 Professors of Other Colleges 
 
 Alumni of the University 
 
 Honorary Members of the Philomathean and 
 
 Zelosophic Societies 
 
 Students in the Medical Schools 
 
 Professors in the Medical Schools 
 
 Instructors in the University 
 
 Principals and Teachers in the Academical 
 
 Department 
 
 Teachers in the University Charity Schools 
 
 Teachers of Philadelphia 
 
 Reverend Clergy 
 
 Judges of the Court of the United States 
 
 United States Senators 
 
 Members of the House of Representatives of the 
 
 United States 
 
 116 
 
MUSICAL FUND SOCIETY 
 
 Judges of the Supreme Court of Pennsylvania 
 
 Judges of the District Court 
 
 Judges of the Court of Common Pleas 
 
 Speaker of the Senate of Pennsylvania 
 
 State Senators 
 
 Members of the House of Representatives 
 
 Mayor of the City 
 
 Recorder and Aldermen 
 
 Members of the Select and Common Councils 
 
 Justices of the Peace 
 
 Strangers invited to attend the Commencement 
 
 Citizens 
 
 The procession will move through Ninth to Chest- 
 nut, through Chestnut to Eighth, through Eighth to 
 Locust, through Locust to the Hall of the Musical 
 Fund Society. 
 
 Here we are in a strongly academic at- 
 mosphere, which is, however, still fragrant 
 to-day, though more faintly. But how the 
 janitors have fallen from their high estate ! 
 
 Another political meeting early in the 
 next year on a red-hot national question, 
 which has not entirely cooled down to- 
 day, " of citizens opposed to the removal of 
 the Government deposits from the United 
 States Bank and the many usurpations of 
 Andrew Jackson, and who are desirous of 
 transmitting to their descendants, in all its 
 original purity, the Constitution they have 
 received from their sires." The meeting 
 was held at half-past three o'clock. The 
 117 
 
MUSIC IN PHILADELPHIA 
 
 hall was filled and many had to stay out- 
 side. 
 
 Once more let the lawyers take the floor : 
 A fitting occasion for a parade of a noted 
 bar ; an inspiring theme, though grave ; an 
 orator who will rise to its full dignity. In 
 September, 1835, Horace Binney delivers 
 a eulogy on Chief Justice Marshall, which 
 is again attended by the formidable line of 
 Mayor, Aldermen, Judges, etc., etc. Among 
 the clergy is Bishop W^hite, in his clerical 
 robes. They meet at Independence Hall 
 and march in procession to Musical Fund. 
 Two - thirds of the audience are ladies. 
 There are present Bishops Moore, of Vir- 
 ginia; Doane, of New Jersey ; Onderdonk, 
 of New York ; Smith, of Kentucky ; Onder- 
 donk, of Pennsylvania, and some others. 
 Bishop "White opens the meeting with 
 prayer. The address, we are assured, is 
 "not merely a eulogy," but " an instructive 
 lesson upon the past." It occupies an hour 
 and three-quarters in the delivery. Many 
 have to stand; others are unable to gain 
 admittance. 
 
 It seems to have been a habit of those 
 days to hold public memorial meetings over 
 deceased men of eminence. The tendency 
 since then has been to draw back in our 
 expression of condolence within the privacy 
 118 
 
MUSICAL FUND SOCIETY 
 
 of the profession. It is probable that the 
 press has made these public meetings ob- 
 solete by its prompt obituaries and edito- 
 rials, which leave little to be said a few 
 days later. In the quickness of modern life, 
 every event is follow^ed by immediate com- 
 ment and passes a\vay. The real meeting 
 of condolence consists now of telegraphed 
 messages and of oral expressions reported 
 in the hour of their first utterance. They 
 certainly have the great merit, besides in- 
 formality, of spontaneity. Musical Fund 
 Hall probably saw a solemn succession of 
 these funereal orations, chiefly of the mem- 
 bers of the bar, — who could supply subject 
 and orator of high eminence. On Decem- 
 ber 31st, 1836, a eulogy is held, by David 
 Paul Brown, on the eminent lawyer, W^il- 
 liam Rawle. 
 
 But, in general, it must have been the 
 time when the idea of the popular lecture 
 first occurred to the enthusiastic minds of 
 people who know a little. It must have 
 been a special want, and a special boon to 
 cities in proportion to their distance from 
 the centres of thought, and in a much 
 greater ratio than to-day. So we find in 
 the "United States Gazette" of the 7th of 
 December, 1837, ^ notice that the Athenian 
 Institute had been "lately formed with the 
 119 
 
MUSIC IN PHILADELPHIA 
 
 view of procuring the delivery of public 
 lectures on popular subjects during the 
 winter season." Party politics and secta- 
 rian religion were alone excepted. Officers 
 were prominent physicians and lawyers. 
 So long ago it is noteworthy that physicians 
 took the intellectual lead in Philadelphia, — 
 indeed, in music, much more than to-day. 
 There is a long list of " Counsellors," — 
 twenty-five ; not a few are still famous. The 
 idea w^as undoubtedly to supply voluntary 
 lectures from their own number. There is 
 nothing provincial about a course of lec- 
 tures by men like the Sergeants, Ingersolls, 
 and Rawles of the bar, like Rev. W^. H. 
 Furness or Professor Henry Reed. Strange 
 to say, there was much competition betw^een 
 rival societies. The Mercantile Library 
 Association advertised its first course to 
 begin in November, 1839. The lecturers 
 who had promised were men of similar 
 distinction. There were "Wm. M. Meredith 
 and Geo. M. Dallas. Some of the "Coun- 
 sellors" of the Institute appear on the list. 
 Indeed, the latter organization seems to 
 have been crowded out by the later one. 
 Both used the Musical Fund Hall. Besides 
 local volunteers, as w^e suppose they w^ere, 
 this new fashion of lectures brings before 
 us various public figures, much as they 
 
MUSICAL FUND SOCIETY 
 
 still appear to-day. But then the emphasis 
 was upon the lecture, not upon the mere 
 sight of a "celebrity." The attraction lay 
 in the merits of the address ; lecturing was 
 itself more of a profession. They pass 
 along in motley line : John B. Gough, the 
 reclaimed drunkard; Edward Everett, the 
 New^ England statesman ; Samuel Lover, 
 Irish novelist; Horace Mann, on "Great 
 Britain." Tremendous titles: Joseph R. 
 Chandler, on the "Dignity of Man;" Pro- 
 fessor Silliman, on a scientific subject much 
 too long to repeat ; Caleb Cushing has his 
 day, on "India," and R. H. Dana, Jr., on 
 *' American Loyalty." In 1842 comes George 
 Bancroft, who was even then an authority 
 on " The American Revolution ;" after him, 
 in almost successive weeks, Ralph VJaldo 
 Emerson, "William H. Furness, and Horace 
 Greeley. A brilliant course for the Friday 
 evenings of the Mercantile Library. But 
 the Athenians still held to their regular 
 Tuesdays, v^ith local prophets. 
 
 A complete list of lectures in so repre- 
 sentative a hall must be a fair index of the 
 history of the intellectual life of the com- 
 munity. However, that is not the present 
 purpose. But here are a few suggestive 
 titles. "Yankee" Hill on "The Manners 
 and Customs of the People of New Eng- 
 
MUSIC IN PHILADELPHIA 
 
 land" must have been one of the humorists 
 of the day. So was " Mr. Roberts, come- 
 dian," who "will be at home . . . and 
 deliver a lecture (in three parts) on the 
 character, peculiarities, and manners of 
 John Bull," etc., etc., with an enumeration 
 of detail like the advertisement of a country 
 circus. Here is one ^ve can easily guess 
 the temper of: "Dickens, or the English 
 tourist in America," a lecture delivered in 
 March, 1843. 
 
 Add to this the list of " Commence- 
 ments" of all kinds, exhibitions of musical 
 "seminaries," the great balls of the season, 
 and, above all, the great occasions to which 
 the building was dedicated, and you have 
 perhaps as complete a history of the people 
 as you might gather a few blocks away from 
 official archives. 
 
MUSICAL FUND SOCIETY 
 
 CHAPTER IX. ENGLISH MUSICIANS 
 IN PHILADELPHIA. 
 
 ^^^T" N the splendor of the Italians, 
 ^11 whose names, at least, are al- 
 ii ways high-sounding, we are apt 
 II to forget the plain-titled English 
 II musicians. Their influence, al- 
 w^ays for good, -was' subtle in its work- 
 ing. They lacked the prestige and dash 
 of the Italian. Philadelphia was specially 
 helped by their coming. Indeed, there 
 seemed to be a peculiar mutual attraction 
 between the Quakers and that type of thor- 
 ough, conscientious musician, high-toned in 
 the best sense. From the earliest times 
 we have traced, until the present, he has 
 singled out the city of the Friends, and it 
 has always responded with respect, if not 
 v^ith fervor. The men who first stirred 
 musical desire and urged organized enter- 
 prise were now departing. Almost simul- 
 taneously with the death of Carr came 
 that of Schetky, of whom we have spoken 
 above. A concert for the benefit of his 
 family was given in December, 1831. There 
 was left the youngest of the trio, Benjamin 
 123 
 
MUSIC IN PHILADELPHIA 
 
 Cross, who maintained the early traditions 
 of his teachers, transmitting them to a 
 younger member of his own family, in 
 whom the city may well take pride, as one 
 of its leading musicians. The loss of Carr 
 and Schetky was in some degree mended by 
 the arrival of another Englishman, Charles 
 Jarvis, an excellent pianist and, secondarily, 
 a composer. Again, in his case, the greatest 
 service lay in the permanent devotion of 
 his life to high musical standards. He was 
 thus, in turn, the cause of the acquisition, 
 in his son Charles J. Jarvis, of a pianist 
 than whom America has never produced 
 an equal in the combination of certain high 
 qualities : of broad scholarship, of profound 
 critical power, of a w^onderful degree of 
 technique as performer, of absolutely dis- 
 interested pursuit of the highest standard 
 in the building of his programmes. The 
 quality and power of his calibre were very 
 like those of the late Hans von Bulow ; 
 but fortune cast him on different soil. It is 
 clear that from the beginning the city was 
 fortunate in the residence of men, mostly 
 English, who joined to their intellectual 
 breadth the moral power to resist the 
 temptation of artistic demagogism. 
 
 Aside from the men who came to stay, 
 this particular period of the second quarter 
 
 124 
 
MUSICAL FUND SOCIETY 
 
 of the century is very full of English musi- 
 cal visitors. They are more especially in 
 danger of oblivion because of the trium- 
 phant march, upon their heels, of the fa- 
 mous band of singers and players from 
 Southern Europe. W^ith the latter the 
 stress Tvas all in the quality of perform- 
 ance, in the turn of the note ; they intro- 
 duced to Americans the wonders of the 
 virtuoso par eminence. The English, on the 
 other hand, with less heralding, had more 
 substantial wares. They were often far 
 more than singers. In introducing their 
 own compositions they had an influence 
 which, though less immediate, was more 
 far-reaching. A record of their work is as 
 deserved as it is interesting. 
 
 There is al^vays some queen of song, 
 some diva, who commands the superlatives, 
 however short be her reign. They are 
 as frequent, as tyrannous, and as ephemeral 
 as popular songs. Each in her turn is 
 unsurpassed, — until her successor appears. 
 It means, of course, nothing else than the 
 power of the personal woman. The voice 
 is really of no importance other than as a 
 medium for carrying the personal message. 
 The audience is like the fickle lover who is 
 sincere enough for a time. There can of 
 course be nothing but superlatives. There 
 "5 
 
MUSIC IN PHILADELPHIA 
 
 must be unconditional conquest or there is 
 a failure. We might moralize. Either it is 
 all a mere play, a self-deception, or, more 
 likely, a temporary state of emotional ex- 
 citement which takes no account of other 
 conditions and relations, — where judgment 
 takes a holiday. There is perhaps little to 
 choose between the two solutions. But it 
 is a kind of deduction to say that the more 
 the personality of the performer beclouds 
 the actual music, the further is the result 
 from the fine end and purpose of the art. 
 
 In our survey of English visitors, there 
 are three kinds : one came originally and 
 directly to stay and teach ; others passed 
 through on their planetic orbit ; but there 
 were some who came ^vith this same tri- 
 umphant impulse, but somehow lost mo- 
 mentum. Often they were too old for 
 the genuine ring. Perhaps they honestly 
 changed their minds, preferring to stay. 
 
 But it was a common phrase, that 
 America was the burying-ground of English 
 artists. 
 
 One of these was Charles Edward Horn, 
 an English singer and composer. He had 
 been successful at the Drury Lane and the 
 Lyceum Theatres. On his several visits he 
 became familiar to Philadelphians. Finally 
 he settled in Boston, first as conductor of 
 126 
 
MUSICAL FUND SOCIETY 
 
 the Handel and Haydn Society. Towards 
 the last he kept a music store. 
 
 The queen at this particular time, the 
 third decade of the century, was undoubt- 
 edly the famous Mrs. Austin. We are con- 
 vinced of this, not so much by the size of 
 the type on the programmes, or by the 
 noise of praise, as by an unconscious im- 
 plication in an estimate of a rival. There 
 was a Madame Feron, an Englishwoman 
 better known as Mrs. Glossop. An English 
 critic of the time called her second to no 
 Italian but Pasta. A later annalist, after 
 praising her voice and method, adds that 
 some preferred her to Mrs. Austin.* Both 
 singers appeared at the Musical Fund Hall. 
 Madame Feron sang Italian arias, — one 
 " composed expressly for her by Doni- 
 zetti." Mrs. Austin sang English and Ital- 
 ian songs in November, ^^33. There is a 
 queer old programme which has fluttered 
 down to us, with enormous names on a 
 short leaf. Somehow we are less attracted 
 by the famous lady than by the announce- 
 ment of a Mr. Power, who "has in the 
 kindest manner volunteered Two Irish 
 Melodies." He looks like a noble pioneer 
 of a worthy line of Briton singers, of whom 
 
 * Richard Grant White, in the " Century Magazine." 
 127 
 
MUSIC IN PHILADELPHIA 
 
 the last, also an Irishman, seems strangely 
 like this early kinsman. By one account 
 Tyrone Power was born in 1795, the 
 son of an Irish gentleman of the County 
 of W^aterford. " He afterwards became 
 famous in Irish comedy and as a singer of 
 Irish songs." V/e are told that he wrote 
 well; that he published some impressions 
 of America in 1836, besides two novels.* 
 "We believe this praise. There are some 
 verses ^vhich he wrote on board the " Al- 
 gonquin," which w^e had almost published 
 in full. It is a simple song of farewell, 
 with true feeling. 
 
 " I've pierced from North to South thy eternal woods. 
 Have dream'd in fair St. Lawrence's sweetest isle, 
 Have breasted Mississippi's hundred floods, 
 And wooed on Allegheny's top Aurora's smile." 
 
 Then a verse homeward sung. But once 
 more he turns with generous words : 
 
 " Welcome and home were mine within the land. 
 Whose sons I leave, whose fading shore I see; 
 And cold must be my eyes, and heart and hand. 
 When, fair Columbia! they turn cold to thee." 
 
 Power sailed for the last time for England 
 on the steamship "President," in March, 
 
 * See Allibone's Musical Dictionary. 
 128 
 
MUSICAL FUND SOCIETY 
 
 1841. Some may still remember the wide- 
 spread sensation that the total loss of 
 the vessel and of her passengers caused. 
 Here is part of a lament of W^ashington 
 Irving' s : 
 
 " ^Vhat sighs have been ^vafted after that 
 ship ! What prayers offered up at the de- 
 serted fireside of home ! How often has 
 the mistress, the wife, the mother, pored 
 over the daily papers, to catch some casual 
 intelligence of the victims of the deep ! 
 How has expectation darkened into anxiety, 
 anxiety into dread, and dread into despair ! 
 Alas ! not one memento shall ever return 
 for love to cherish ! All that shall ever be 
 known is that she sailed from her port, and 
 was never heard of more !" 
 
 In 1834 the great favorites in concert and 
 opera w^ere Mr. and Mrs. Wood, as they 
 w^ere very simply announced. The lady had 
 succeeded in London as Miss Paton, had 
 married a Lord Lenox who ill-treated her. 
 Divorced from him, she accepted one Joseph 
 ^A^ood, a pugilist, with an untrained voice. 
 Strangely enough, it was by introducing the 
 delights of Italian opera that the W^oods 
 won their great American fame, chiefly in 
 an English version of " La Sonnambula," 
 which carried everything by storm. Even 
 now^ old people will roll their eyes in 
 
 i 129 
 
MUSIC IN PHILADELPHIA 
 
 memory of those delights. *' ' Still so gently 
 o'er me stealing' or ' Hear me swear now' 
 were heard from the throats of singers, the 
 fingers of piano-forte thrummers, and even 
 the lips of whistlers. . . . Mrs. W^ood was 
 worshipped as if she had been a beauty."* 
 Later, in 1840, the W^oods appeared at the 
 Chestnut Street Theatre in a version of 
 " Norma." The whole performance was 
 memorable, with an orchestra of fifty and a 
 chorus of one hundred, drilled by Wm. H. 
 Fry, a well-known composer and critic, and 
 composed of members of the various singing 
 societies and choirs of the cities. " Ladies 
 and gentlemen," it is recorded, "of distin- 
 guished talents in the musical circles of 
 the city did not hesitate to take part. The 
 theatre was crowded for twenty consecutive 
 nights, and the occasion was long remem- 
 bered as that of a brilliant operatic tri- 
 umph." It was the first production of 
 " Norma" in this country. But here comes 
 a yellow^ page from a regular Society con- 
 cert in 1834, in which Mr. and Mrs. ^A^ood 
 are announced. There is nowhere a sug- 
 gestion of Italian enchantment. The or- 
 chestra played Beethoven's " Egmont" 
 overture, and the "Woods sang each a grand 
 
 * R. G. White in the " Century." 
 130 
 
MUSICAL FUND SOCIETY 
 
 scene from "Der Freischiitz," besides some 
 plain English ballads. 
 
 Midst the intoxication over "Sonnam- 
 bula" and "Norma," there must have been 
 a very serious time for those good people — 
 and there were many in those days — whose 
 long-rooted principles forbade gazing at a 
 regular grand opera. So we have a pathetic 
 notice: In May, 1836, "to meet the wishes 
 of numerous parties who do not visit the 
 theatres," Mr. and Mrs. ^A^ood " w^ill give 
 selections from ' La Sonnambula,' with full 
 band accompaniments and numerous cho- 
 ruses." 
 
 A number of singers appear so often in 
 such very large type that they must have 
 been very remarkable. They have all indu- 
 bitably English names. There w^ere Mrs. 
 and Miss "Watson ; Mrs. Wheatly ; Mr. and 
 Mrs. Morely ; Mrs. Gibbs ; James Howard, 
 a very sweet-toned tenor. They were of 
 the band who introduced the book of Eng- 
 lish songs old and new, which have since 
 become household classics all over the 
 land. 
 
 There is one Englishman who deserves a 
 full share of attention, partly for the songs 
 he wrote and sang, more still for the un- 
 conscious humor of his announcements. 
 Henry Russell was a singer v^ho evidently 
 131 
 
MUSIC IN PHILADELPHIA 
 
 confined himself to his own songs. Here 
 is a typical programme. 
 
 MR. H. RUSSELL 
 
 will give a grand concert at the Musical Fund Hall on 
 Saturday evening, May 15th (1841), on which occasion 
 Mr. Russell will introduce several of his latest com- 
 positions which have met with so much applause in. 
 Boston and New York. 
 
 PART I. 
 Song " I love, I love the free" Russell 
 
 " The wild stream leaps with headlong sweep." 
 
 Song " In the days when we went gipsying a long 
 
 time ago" arranged by Russell 
 
 Song " The old Sexton" [Words by Park Benjamin] 
 
 " Nigh to a grave that was newly made 
 Leaned a sexton old, on his earth-worn spade ; 
 His work was done, and he paused to wait, 
 The funeral train through the open gate ; 
 A relic of bygone days was he. 
 And his locks were white as the foaming sea ; 
 And these words came from his lips so thin, 
 I gather them in! I gather them in!" 
 
 Song " Wind of the winter's night, whence comest 
 thou ?" A descriptive poem by Charles 
 Mackay Russell 
 
 Song " The Ivy Green." Words by Boz Russell 
 
 Song " Arm, brothers, arm ! I've lost my child ! 
 The wolf is out !" 
 [A description of a wolf-hunt] Russell 
 
 132 
 
MUSICAL FUND SOCIETY 
 
 New Song " We were boys together" Russell 
 
 [The words written by G. P. Morris.] 
 Song "The Maniac." [Words partly by Monk 
 
 Lewis.] Russell 
 
 The above description of a scene in a Mad House 
 is founded on fact. Some years since a gentleman of 
 large fortune was taken to a Mad House and there con- 
 fined seven feet under ground. The persons that ac- 
 companied him took oath, to those entrusted with the 
 care of the establishment, to the fact of his being a 
 maniac. The more the poor fellow implored for his 
 release, the more forcibly was the keeper convinced. 
 The treatment he received while thus confined affected 
 his reason, and he became frantic and shortly died from 
 the effect. The strangers that carried him to the Mad 
 House were supposed to have been hired by some 
 brutal relatives, who at his death were to come in 
 possession of his property. 
 
 PART II. 
 Song " Come, brothers, arouse, arouse !" Russell 
 
 Song Descriptive — "The Gambler's Wife" Russell 
 
 Words written expressly for Mr. Russell by 
 Dr. Coates, by particular request. 
 
 " Dark is the night ! How dark ! No light ! No fise ! 
 Cold on the hearth the last faint sparks expire ! 
 Shivering she watches by the cradle side, 
 For him who pledged her love ! Last year a Bride ! 
 
 "Hark! 'Tis his footstep ! No? 'Tis past; 'tis gone! 
 Tic ! Tic ! How wearily the time rolls on ! 
 Why should he leave me thus ? He once was kind ; 
 And I believed 'twould last ? How mad ! How 
 blind ! 
 
 133 
 
MUSIC IN PHILADELPHIA 
 
 " Rest thee, my babe ! Rest on ! 'Tis hunger's cry } 
 Sleep ! For there is no food ! The fount is dry ! 
 Famine and cold their wearying work have done ! 
 My heart must break ! And thou my child — hush I 
 The clock strikes one ! " 
 
 This song is designed to represent the feelings of a 
 young wife and mother, under circumstances sufficiently 
 common to warrant the assertion that it is founded on 
 fact, without exaggeration. It represents the gambler's 
 wife and child, deserted by their natural protector, in 
 the extreme of poverty and starvation, for the pleasures 
 of play. The fire expires ; — the energies of life sink for 
 want of food, and the mother vainly strives to hope in 
 the midst of despair, appealing to the past with the 
 memory of the bride, while vainly endeavoring to soothe 
 the child with the energy of a mother's love, until the 
 infant dies in her arms and her heart is broken. The 
 current of her feelings is interrupted only by the peal of 
 the clock, and at the third hour the scene closes ; while 
 time strides onward, in its monotonous march, regard- 
 less, as the world, of the issue. 
 
 Song " Rockaway" 
 
 *' On Long Island's sea-girt shore 
 Many an hour I've whiled away." 
 
 Words by P. H. Sharpe Russell 
 
 Song •* The Old Farm Gate" Russell 
 
 " Where, where is that gate that used to divide 
 The old shaded lane from the grassy roadside ?" 
 
 Song "The Old Arm Chair" Russell 
 
 •' I love it, I love it, and who shall dare 
 To chide me for loving that old arm chair !" 
 134 
 
MUSICAL FUND SOCIETY 
 
 Song " Let us be gay" — a laughing chorus. Russell 
 
 Performance to commence at 8 o'clock. 
 
 Tickets 50 cents each, to be had at the principal 
 music stores and at the door on the evening of per- 
 formance. 
 
 That Russell v^as not taken seriously by 
 every one is proven by a parody that ap- 
 peared in a newspaper : 
 
 GRAND CONCERT 
 
 Mr. Twaddle has the honour to announce to his 
 friends, that he will give a concert on Saturnalia even- 
 ing, at the bassooneon, at seven o'clock. The music 
 by a most eminent composer. 
 
 PART I. 
 
 Reproduction, piano forte .... Tallbut 
 
 Song — " Away ! away ! over Back Bay, ho !" Twaddle 
 
 Song— The Old Grist Mill Twaddle 
 
 " Can this be the grist-mill that nine years hence 
 
 Will be taken and used for a cow-yard fence ?" 
 
 Song— The Old Church Mouse Twaddle 
 
 '* Near to a pew that was newly lined 
 Sat an old church mouse, who had not dined," etc. 
 
 Descriptive Song — The Rowdy — Words 
 
 written expressly for Mr. Twaddle. Twaddle 
 
 " Light is the room ! how light — no dark — how warm ! 
 Drunk on the floor the last young spark falls down, 
 Trembling, not knowing what he was about, 
 He babbles — ' My mother, do you know I'm out ?' 
 135 
 
MUSIC IN PHILADELPHIA 
 
 " Hark ! 'twas a cat ! No 'tis a dog ! No ! it's Ned ! 
 Clack ! clack ! Oh dear, if I could go ahead ! 
 Why am I blind ? I'm sure I once could see ; 
 But eye and sight have failed. Ah, me ! ah, me ! 
 
 " Sleep on, old Ned ! sleep on ! 'Tis nature'' s cry ! 
 The bottle's all emptied, and I am so dry ! 
 Kating and drinking have made me a brute ! 
 My poor head will split, and my brains come 
 through ! 
 
 The bells ring for fire," etc. 
 
 [This song represents a young man under circum- 
 stances too common to prove an exaggeration. We see 
 the youth deserted by his natural good sense, in the 
 extreme of folly and drunkenness, for the pleasures of 
 frolic; the fire burns bright; the muscles of his body 
 sink from no want of stimulus ; the current of his 
 thoughts is interrupted by the entrance of a watchman ; 
 the door opens, and he struts forth with an irregular 
 zigzag, regardless as the world of the gaze of the 
 waiters.] 
 
 PART II. 
 Song— The Old Tin- Pail Twaddle 
 
 Song — " Foot it ! foot ! I've lost my pig — the cow 
 
 is gone !" Twaddle 
 
 Duett — The Old Nurse-Lamp — and Old Fine- 
 Tooth Comb Twaddle 
 " Oh ! deem me not an useless thing." 
 Song — The Dropsical Idiot — by request. Twaddle 
 Song— (new)— The Old Irish Baby Twaddle 
 
 Song — "On Old Green Frog- Pond's rock-bound 
 
 Coast" Twaddle 
 
 136 
 
MUSICAL FUND SOCIETY 
 
 The editor good-humoredly adds : " If ' he 
 may laugh who wins,' Mr. Russell will relish 
 the above as heartily as any one ; for he 
 certainly maintains his popularity with the 
 music-loving public." 
 
 It is almost incredible that a man of solid 
 ability could descend to such commonplace 
 sensationalism. But there is no doubt that 
 Russell had a vein of melody that met wide 
 and quick acceptance. Even now one still 
 hears songs like " A Life on the Ocean 
 Wave;" "Cheer! Boys! Cheer!" "The 
 Ivy Green," and others. Putting together, 
 critically, these with many of the common 
 college songs, one sees a clear resemblance, 
 an undoubted descent. For instance, com- 
 pare the common student song "A Home 
 by the Sea" with "A Life on the Ocean 
 ^Vave." It is quite probable that to Russell 
 is due the vein of many songs of the college 
 world and of summer holidays of a certain 
 amount of vitality. 
 
 Of course, the great original of this genre 
 of English composer-singers was John Bra- 
 ham. But he had the good sense to throw^ 
 much of his power into a worthy interpreta- 
 tion of Handel's great arias. Born in 1774, 
 he had practically completed his triumphant 
 career abroad when he appeared in America. 
 He sang in a concert at the Musical Fund 
 137 
 
MUSIC IN PHILADELPHIA 
 
 Hall at the age of seventy. Some of his 
 compositions remind us of the Russell 
 kind. One was the "Village Blacksmith." 
 Another was the " Burial of Sir Thomas 
 Moore," ■which ■was invariably sung w^ith a 
 full military accompaniment of brass and 
 drums. The latter ■were particularly loud 
 during the opening line : 
 
 " Not a drum was heard, nor a funeral note." 
 
 This proved, one day, too much for the 
 patience of a good man in the audience, 
 ■who interfered with the usual effect by 
 calling out: "They must have been con- 
 foundedly deaf." 
 
 Probably the greatest singer of this school 
 was one whom we have once mentioned 
 as a rival of Malibran. Her commonest 
 stage-name was Madame Caradori Allen. 
 It takes a search through most of Europe 
 to find her true nationality. It seems she 
 ■was famous as Caradori before she became 
 Mrs. Allen. Authentic information says 
 that she ^vas of a highly respectable Ger- 
 man family, " daughter of Baron de Munck, 
 a Colonel in the French army." The only 
 high quality which, apparently, she did not 
 possess was dramatic power. Her art was 
 of the highest, and her influence as con- 
 cert singer of the very best. She appeared 
 138 
 
e« 
 
MUSICAL FUND SOCIETY 
 
 frequently at our hall on her arrival in 
 America in 1837. Another favorite singer of 
 Italian arias was Elizabeth Poole. One 
 who captivated rather more by beauty 
 of manner than of voice was Miss Jane 
 Shireff. 
 
 Every play-goer of fifty years ago will 
 remember Edward Seguin and his wife. 
 They w^ere of the many able actors and 
 singers who visited America and found the 
 home they had missed in England. Anne 
 Seguin was an equal successor of the line 
 of Mrs. W^ood, Mrs. Austin, and Caradori 
 Allen. She sang prhna dontia in most of the 
 classical Italian operas, from Zerliyia to Doniia 
 Anna. In the forties the Seguins often sang 
 at the ^A^alnut Street Theatre, where Ben- 
 jamin C. Cross w^as then leader of the or- 
 chestra. Edward's voice vs^as a deep bass. 
 Among many insignia of success in America 
 was an election as chief of an Indian tribe. 
 Edward Kean, the tragedian, was the only 
 other Englishman who got this honor. The 
 Indians gave Seguin the name of "the man 
 with the deep mellow voice." 
 
 No better sign of the vigor and direction 
 of the work of this English tribe of singers 
 could possibly come to light than the ac- 
 count of a remarkable performance of Mo- 
 zart's " Magic Flute" at the Musical Fund 
 139 
 
MUSIC IN PHILADELPHIA 
 
 Hall. The mere fact of an entire production 
 of serious opera at the hall \vas, as far as 
 the record shows, unprecedented. It was a 
 *' Grand Musical Festival" for the benefit of 
 some "asylum"; and the public was "re- 
 spectfully informed that the music of the 
 grand opera of the ' Magic Flute,' composed 
 by the inspired Mozart, will be performed, 
 for the first time in America, at the Musical 
 Fund Hall, . . . on . . . February 8th, 
 1841." The performers are named, down 
 to the players of the tympani and of the 
 bells. "Madame Otto," the notice said, 
 "was engaged on account of the indispo- 
 sition of Mrs. Seguin." The rest of the 
 cast were : Miss Poole, Miss Thornton, 
 Mr. Manvers, Mr. Latham, Mr. Thornton, 
 Signor Giubilei, and Mr. Seguin. Thus, 
 originally all but one were to be English 
 singers. The success of the opera, in its 
 selection, performance, and reception, is a 
 fine gauge of public taste and of musical 
 interest. There w^ere sixty-four performers 
 in the orchestra, almost all of whom were 
 so distinguished that it was necessary to 
 give their full names. Mr. B. C. Cross 
 " presided at the piano," probably from force 
 of habit. There could be no other reason 
 in the full orchestra, which included basset- 
 horn and ophicleide. Admission cost two 
 Z40 
 
MUSICAL FUND SOCIETY 
 
 dollars. Then there was a repetition for 
 some other "benefit." It is said that parties 
 were made up in New York and Boston 
 specially to enjoy the performance. News- 
 paper comments gave praise in the regular 
 phrases. That of the " National Gazette" 
 had the greatest variety of adjectives. Sig- 
 nificant is its last paragraph: "The public 
 has now^ had such samples of operatic ex- 
 cellence that mediocrity will no longer 
 answer. ^Vhat is now done in that way 
 must be done fully and well to command 
 success." 
 
 It is worth noticing that the whole enter- 
 prise was the work of a single citizen, an 
 eminent builder of locomotives. 
 
 141 
 
MUSIC IN PHILADELPHIA 
 
 CHAPTER X. SUMMUS PARNASSUS. 
 
 ^I^B^^^HE reason for tracing the career 
 y \ of the Musical Fund Society, 
 
 fl 1 especially as we approach the 
 
 ^^^^V middle of the century, is not 
 ^^^^ so much its own interest and 
 importance, as its peculiar relation to the 
 musical history of Philadelphia. The hall 
 was not merely the only concert-room for 
 Philadelphians. The dignity of the Society 
 was, to a degree, independent of the acci- 
 dent of its location. Its fame and the policy 
 of the directors brought musicians who 
 w^ould otherwise have passed the city by. 
 The lustre of the Society outshone that of 
 the city. The hall was known to the virtuosi 
 of the w^orld, who enjoyed singing or play- 
 ing there for its own sake. A great musician 
 considered a visit to the hall a necessary 
 part of his tour. Thus, not unlike foreign 
 cosmopolitan concert-halls, the simple min- 
 utes of the board meetings and the annual 
 reports give a certain reflection of the musi- 
 cal progress of the w^orld. Besides all this, 
 the support of the Society, in its associate 
 membership, had come to be representative 
 of the city, more, perhaps, than any artistic 
 142 
 
MUSICAL FUND SOCIETY 
 
 society then or since. Thus, for a double 
 reason, an account of the Society in its 
 flourishing period is a terse sketch of the 
 attitude of Philadelphians towards musical 
 events. 
 
 These annual reports are never uninter- 
 esting, often pathetic, generally amusing. 
 They are a very sensitive barometer of the 
 musical atmosphere, with great depression 
 at one end and extreme elation at the other, — 
 with the needle always pointing to one of 
 the opposites, never in an equilibrium of 
 quiet content. Know^ing how^ often and ho^v 
 quickly the clouds break, we cannot possi- 
 bly move up and dow^n in loyal sympathy. 
 Like children, the good directors are either 
 smiling with complacent self-congratulation 
 or they are wofully trying desperate meas- 
 ures to prevent the worst. It was evidently 
 an age for superlatives. 
 
 In the main there were two contrary 
 policies. The managers saw with early 
 foresight that the best foundation was an 
 artistic independence. This was probably 
 the real reason for the experiment of an 
 "Academy" to educate members for the 
 Society's orchestra. It was felt that the 
 true constitution of the Society should be 
 such that it could provide its own concerts, 
 independent of the glamour of foreign names. 
 143 
 
MUSIC IN PHILADELPHIA 
 
 Of course, there were financial considera- 
 tions, which may have been stronger than 
 others. The price of singers or players was 
 even in those days fabulous. Our American 
 cities were the last resort of worn-out " ce- 
 lebrities," who still sought to reap a golden 
 harvest with the magic of their name. It 
 was for the Society at the same time an 
 ideal and a practical policy to rely on their 
 own resources. It meant the production of 
 the great master-works by concerted effort, 
 instead of a dazzling exhibition of clever 
 feats. In the earliest years the great desire 
 was for oratorio. An evening of "The 
 Creation," where the members were singers, 
 players, and performers, was always sure 
 of success. It was a wholesome taste, and 
 the highest economy of means. Towards 
 the middle of the century the oratorio seems 
 to have lost ground. In so far as it was 
 overshadowed by Italian opera, this was 
 deplorable. The true successor of the ora- 
 torio was the symphony, which needed a 
 complete orchestra. As yet, strange as it 
 must seem, there is no record before 1840 
 of performances in Philadelphia of the great 
 symphonies of Haydn, Mozart, or Bee- 
 thoven. The true policy, as was constantly 
 suggested in annual reports, was indepen- 
 dence of virtuosi on the line of orchestral 
 144 
 
k 
 
 vj- 
 
 t 
 
MUSICAL FUND SOCIETY 
 
 concerts. In the moment of greatest 
 achievement in the score of years before 
 the Civil ^Var, this highest of ideas -was 
 actually accomplished. But they were 
 moments, and they have never been 
 repeated. Yet in them lies the seed of 
 promise. Somehow artistic enterprise in 
 Philadelphia has since always suffered with 
 a certain moral palsy, an intellectual diffi- 
 dence. ^Ve have never fitted ourselves 
 with the necessaries for musical house- 
 keeping. W^e have always had to depend 
 on foreign caterers. 
 
 In the early forties there is renewed 
 clamor, in the managing councils, for an 
 adjunct "school," almost as if there had 
 never been a previous trial and failure. The 
 "Academy" was actually re-established, 
 with the same result as before. But, 
 chimerical as may be the undertaking, 
 we must sympathize earnestly with the 
 fundamental purpose. "It is greatly to be 
 desired," says the annual report of May, 
 1840, " that the taste for purely instrumental 
 music were more generally cultivated, and 
 that the classic and more elaborate produc- 
 tions of the masters of the art excited the 
 same pleasure as is now afforded by lighter 
 compositions. The material of which our 
 orchestra is composed is of a sufficient 
 y M5 
 
MUSIC IN PHILADELPHIA 
 
 character to produce with credit the works 
 to which we have reference, were the pub- 
 lic better tutored to appreciate their ex- 
 cellence. 
 
 "It is desirable for our Society, both on 
 the score of economy and the permanent 
 improvement of musical taste, that in this 
 respect more alterations should be made in 
 the programmes of our concerts, and a 
 more prominent part assigned than here- 
 tofore to the orchestral department of the 
 Society." 
 
 The taste for "lighter compositions" had 
 come in \vith the later school of Italian 
 opera, which cast aside all serious dramatic 
 plans in the chance for languishing arias 
 and dazzling fioriture. ^\^ith the new music 
 came its singers, who did not help matters 
 with their exhibitions of highest notes and 
 their artificial dramatic excitement. Indeed, 
 the spirit of virtuosity infected all regions of 
 music, — violinists, too, and pianists, as w^e 
 shall see. It is now almost inconceivable 
 to think of the old enjoyment of an evening 
 with the simple airs of the "Creation" or 
 of the "Seasons." That was a time of 
 normal appreciation. Then came the good, 
 simple programmes of overtures of Mehul, 
 Gluck, Cherubini, or Mozart, and of plain 
 English ballads. After the first quarter of 
 146 
 
MUSICAL FUND SOCIETY 
 
 a century came the first draught of the new 
 Italian brand of sparkling melody. It were 
 vain to blame our grandfathers for this de- 
 parture. It is simply one of the zigzag 
 ways art takes in its development. In 
 Germany the standards of true art were 
 never overwhelmed by these Italian onsets. 
 It is good to see how in Philadelphia the 
 feeling for the best, for serious music soon 
 found expression. 
 
 It was probably in fulfilment of this 
 general purpose, and certainly in conse- 
 quence of the same economic necessity, 
 that the notice was published which we find 
 in the newspapers on November 6, 1841 : 
 
 "MUSICAL FUND SOCIETY. 
 
 " The Society have determined to substitute a series 
 of musical soirees during the present season for the 
 concerts heretofore given. These soir6es will be five 
 in number and will be given on the second Thursday of 
 November, December, January, February, and March, 
 in the Society's practising room, which has been fitted 
 up for the purpose. 
 
 " The instrumental performances will consist of 
 quartettes and other concerted pieces and solos; the 
 vocal performances of songs, glees, etc., etc." 
 
 Ladies are "particularly requested" not to 
 "wear their bonnets in the concert-room." 
 
 But the policy was not popular. It was 
 merely the temporary recoil from the ex- 
 147 
 
MUSIC IN PHILADELPHIA 
 
 travagant expense of the regular concerts. 
 Indeed, during one of these winters all con- 
 certs of the Society were suspended. These 
 troubles proved the spur which soon led to 
 a triumphant success. They tested the 
 sincerity of the directors and public loyalty. 
 Recently there had been no increase of 
 members. In 1843-44, some sixty new 
 names appear.* So the next report is a 
 psean of joy, mingled with dignified self- 
 approval, and w^ith complacent review^ of 
 the exchequer. All was well. The So- 
 ciety now had their cake, and ate it too. 
 Together with an effective development of 
 the orchestra, there is a remarkable pro- 
 cession of foreign genius. First comes the 
 great Norwegian violinist. Ole Bull's first 
 entrance is strictly characteristic of his per- 
 sonal quality. In the memoir, written by 
 his widow, we read that " he received a 
 letter from the managers of the Musical 
 Fund Society in which they asked him to 
 appear at their first concert of the season, 
 and expressed the hope that he would make 
 the terms as moderate as possible, as the 
 object of the Society was to create a fund 
 for the support of poor musicians." 
 
 * [Among them is that of the compiler, who later took 
 a leading part. — Ed.] 
 
 148 
 
DLE BUU^ 
 
 CONCERT 
 
 At the 
 
 MUSICAL FUND HALL, 
 
 Id: SATURDAY ETENI^fO. I8th JTAIVrARY, lS4ft. 
 
 IP Ami" jPEia§iP. 
 
 ; I^_OVEimrRE. Rossini, ... OBcairrRA.^ 
 
 • II.— CONCERTO IN A. in 3 parts, 
 
 1. ALLEGRO MAESTOSO, y„„„^.^.„j/- 
 
 2. ADAGIO SENTIMENTALE, y^'^^ZT^i 
 
 3. RONDO PASTORALE, 
 ' in.— SINFONIA. Bethovan, - - - Orcbxstba.J 
 
 ^ IV.— NIAGARA, (Pastorale Fantasia,) composed 
 
 and performed by .... Ols Binx-j 
 
 'performed by (_ Ole Bcix.3 
 
 ;L— OVERTURE. Anber, - - - Obciiistba.! 
 ^11.— PSALM OF DAVID, newly composed and 
 
 performed by .... Olk Bt 
 
 ; m.— SIKFONIA. Mozart, ... Obghxst 
 IV,— SOLITUDE OF THE PRAIRIE, composed 
 
 and performed by ... Oli Buu. 
 
 Grand Orchestra, under the direction of Si^nor LA MANNA. 
 
 TICKETS-ONE DOLLAR EACH. 
 
 oors Open at 7 — Concert to commence at 8 o'clock. 
 
 A. ScoU, Prioter, No. 115 Ch«9tniit amet, Philadelphia. 
 
/ 
 
 
MUSICAL FUND SOCIETY 
 
 He returned a letter of thanks, and said 
 his only remuneration should be the honor 
 of assisting so highly esteemed a society 
 in its noble efforts. "When they received 
 his answer, they resolved to strike a medal 
 in his honor, and it was presented to him 
 at the close of the concert. It might have 
 a grander air to tell the story in the magnif- 
 icent phrases of the programme and of the 
 report, rather than in Mrs. Bull's simple 
 words. A special committee was appointed 
 to prepare a gold medal with suitable em- 
 blems and inscription. John K. Kane, the 
 vice-president, made the address of presen- 
 tation on the night of the concert. Ole Bull, 
 unlike many musical visitors in America, 
 ■was in the first flush of his power. He 
 was thirty-four years old, and had just com- 
 pleted his first tour of Europe. Fanny 
 Elsler, whom he met in Hamburg, per- 
 suaded him to come to America. At this 
 first concert in Philadelphia he played Paga- 
 nini's "Carnival of Venice," and a " Quar- 
 tetto" of his own, "composed for four 
 violins and performed on one." He gave 
 in all five concerts in Philadelphia in a fort- 
 night. Generosity was a ruling passion 
 with Ole Bull. In 1845 ^^ played in New 
 York to four thousand people, for the 
 widows and orphans of masons. During 
 149 
 
MUSIC IN PHILADELPHIA 
 
 this first visit he gave more than twenty 
 thousand dollars to charitable and benevo- 
 lent institutions. Indeed, most of his 
 thoughts and earnings, it would seem, were 
 spent on philanthropic enterprises, which 
 were, unfortunately, not always successful. 
 
 Of other eminent visitors at the hall were 
 "W. V. "Wallace, composer of ** Maritana" ; 
 Madame Cinti Damoureau, for whom Ros- 
 sini wrote special rdles ; Artot, the violinist; 
 and Signor Sanguirico, the great buffo. Mr. 
 Richard Grant White tells us * that he had 
 rare comic power, which depended both 
 upon his face and upon his voice. " He had 
 a nose like Punchinello's, and the quality of 
 his voice was also exactly like that of Mr. 
 Punch. The sight of his queer visage and 
 the sound of his cackling voice never failed 
 to send laughter through an audience. He 
 was much esteemed for his intelligence and 
 his character." Our old friend, Henry Rus- 
 sell, was still giving ** grand vocal entertain- 
 ments." 
 
 Still in this season of 1843-44 came 
 Madame Castellan ; Signor Casella, a great 
 cellist; and, finally, Vieuxtemps, dominant 
 figure in violin music since Paganini. Of 
 great merit, though less renown, were 
 
 * In the *• Century Magazine." 
 150 
 
MUSICAL FUND SOCIETY 
 
 Rosina Pico, contralto ; and Cerillo Antog- 
 nini, whose magnificent endowment of 
 tenor voice, manly beauty, and dramatic 
 power were marred by a strange lack of 
 vocal control. It is said that his voice 
 would suddenly desert him in the middle 
 of an evening. It was a wonderful time 
 for violinists. In the same year Ole Bull, 
 Vieuxtemps, and Sivori were playing in the 
 United States. Others visited the city 
 who would now make a greater stir. It 
 must have been the genius of the magician 
 Paganini which pulsed in these, the chief 
 of his apostles. W^e can imagine his power 
 when we see his stamp in so reactionary 
 a master of another instrument as Robert 
 Schumann. With Paganini the wonders of 
 virtuosity were legitimately expressive of 
 a wildly passionate imagination. In his fol- 
 lowers these means w^ere made the end. Of 
 them all, Ole Bull was the worst offender, 
 we fear. Neither Vieuxtemps nor Sivori 
 attempted such gymnastic feats as cutting 
 the strings and performing on a single one. 
 It is said that Vieuxtemps came unheralded 
 on the strength of his European name ; 
 that he w^as disappointed and grieved with 
 the public enthusiasm over Ole Bull. The 
 best imitator of Paganini was undoubtedly 
 Sivori, his only pupil, on whom he concen- 
 151 
 
MUSIC IN PHILADELPHIA 
 
 trated all his power of instruction. But by 
 the irony of artistic fate, the very quality 
 which made him shine a perfect reflection of 
 the master, meant the want of personality. 
 The impression we get is of classic per- 
 fection of technique w^ith a certain coldness, 
 even affectation, of feeling.* 
 
 Despite this brilliant array, the Board of 
 Directors were right in reporting to the 
 Society in May, 1845, "that the past year 
 has been chiefly remarkable for the reor- 
 ganization of the orchestra . . , and its 
 establishment, we trust permanently, upon 
 a footing calculated to bring great credit to 
 the Society, and to promote a sound and 
 critical musical taste in the community. 
 
 " The performances of this orchestra 
 during the past season have commanded 
 the highest admiration and approval. At 
 the second concert the orchestra performed 
 the entire symphony of Beethoven, No. i, 
 in C major. The ability with w^hich these 
 complicated, yet expressive, harmonies 
 were produced, and their appreciation and 
 evident approval by one of the largest 
 audiences ever gathered within the walls 
 of the Musical Fund Hall, is gratifying 
 
 * See the sketch in Grove's '• Dictionary of Music 
 and Musicians." 
 
 152 
 
MUSICAL FUND SOCIETY 
 
 evidence of advancing musical skill and 
 taste in the community." 
 
 Turning curiously to the programme, the 
 first to record the playing of a real master's 
 symphony in Philadelphia, we find a mod- 
 est, single-paged leaf. In largest type are 
 Signorina Rosina Pico, Signor Antognini, 
 and Signor Sanguirico, as if to hide the 
 hazardous notice of "The Entire Grand 
 Symphony of Beethoven." Wisely the lat- 
 ter was not allowed the test of its merits. 
 Perhaps the wealth of singers was sugar 
 for the pill. It looks like further precautions 
 against a mutinous audience. The entire 
 symphony is there, to be sure, but care- 
 fully divided through the evening in slices 
 not too indigestible. No. i is first fragment 
 of symphony, adagio and allegro ; not until 
 after four operatic entermets come the 
 second and third fragments, andante and 
 nimuet. Before the fourth, finale allegro^ 
 there is a much-needed intermission. In 
 the absence of written comment, Ave must 
 merely wonder at the reception. Unpre- 
 pared, as the audience was, by the simpler 
 works of Haydn and Mozart, accustomed 
 only to the frivolous overtures of Italian 
 and French opera, the bold and serious 
 thought of the great romanticist must have 
 puzzled all but the musically trained. We 
 153 
 
MUSIC IN PHILADELPHIA 
 
 must wonder, too, at the interpretation. 
 But even if we had comment, there were 
 no critics. The leader of the orchestra, 
 w^ho for years had taken the place of the 
 veteran Hupfeld, was L. Meignen. It is 
 strangely difficult to find accounts of him. 
 At a concert in April, 1845, there is a grand 
 military sinfonia, of his composition, on the 
 concert card, entitled "A Soldier's Dream." 
 On the third page is a long " descriptive 
 analysis," much like a school-boy's essay. 
 All the details of battle were, of course, 
 to be found in the music: a notion of a 
 "sinfonia," hard to reconcile with pro- 
 found perceptions. But we may do him 
 injustice. He certainly had the courage 
 to bring the highest before an uncertain 
 audience. 
 
 At the only concert of the next season, 
 in March, 1846, the second symphony of 
 Beethoven was given in precisely the same 
 fragmental way. People were once for all 
 used to short numbers. The form of lighter 
 music must correspond with its content. It 
 would have been presumptuous to play con- 
 tinuously for forty-five minutes. The rest 
 of the programme -was, for the most part, 
 Donizetti, Meyerbeer, Vieuxtemps, and De 
 Beriot. There was a "celebrated pianist," 
 Leopold de Meyer, who must have been 
 154 
 

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MUSICAL FUND SOCIETY 
 
 wonderful, for his bill was four hundred 
 dollars. 
 
 Now, in the season 1846-47, conies the 
 best of all. By quick evolution, the first 
 concert has a programme of the highest 
 modern standard. Here is the " Eroica 
 Symphony" of Beethoven, now divided 
 merely into t'wo sections, beginning and 
 ending Part I. Then there is the " Oberon" 
 overture of W^eber, and Mendelssohn's 
 "Midsummer Night's Dream." The sym- 
 phony and the Mendelssohn overture were 
 played for the first time. On the same 
 evening there played one of the greatest 
 pianist-composers of the century. At least 
 contemporary opinion would justify this 
 praise. Henri Herz was one of those 
 mortals who achieve at once, in the very 
 doing, a name out of all proportion to their 
 true value. During this time he moved 
 quite an equal in the circle of Liszt and 
 Chopin at Paris. His playing was pro- 
 digiously successful ; his compositions al- 
 ways hit the instant mark of popularity. 
 Yet when he died, a few years ago, all the 
 world was astonished that he had been 
 alive so long. At this concert, in Decem- 
 ber, 1846, Herz played a concerto and some 
 Variations di Bravura of his own. 
 
 We are near the high tide of true artistic 
 155 
 
MUSIC IN PHILADELPHIA 
 
 success. From the report on the season 
 1847-48 the orchestra was "larger in num- 
 bers, more complete in organization, and far 
 more perfect in execution than in any pre- 
 vious period." 
 
 156 
 
MUSICAL FUND SOCIETY 
 
 CHAPTER XI. ENLARGEMENT OF 
 THE HALL: THE BAZAAR: TWO 
 GREAT PIANISTS. 
 
 ^ttt^^^HK proudest boast of the report 
 ^ \ of 1847 was, however, the al- 
 
 ■ I teration and improvement of 
 
 ^^^^ the hall. "The north front 
 ^^^^ of the building was extended 
 sixteen feet, and the position of the stage 
 was changed from the north front of the 
 saloon to the rear or south end. The im- 
 provements were made from plans pre- 
 sented by N. Le Brun, architect. They 
 w^ere commenced June 17, and w^ere finished 
 on October 21, following." The change in 
 no wise injured the acoustics ; it gave a 
 comfortable seating capacity for fifteen hun- 
 dred persons. The stage was also extended. 
 ^Vhat interests us most is the plan for 
 paying the bill ; the instant response of 
 members to the scheme of the directors ; 
 and, above all, the enthusiastic support of 
 the general public. It w^as decided that 
 a fair be held, and that it be called 
 " The Bazaar for the benefit of the Musical 
 Fund Society." The hall was reserved 
 157 
 
MUSIC IN PHILADELPHIA 
 
 from Tuesday, November 23, to Friday, 
 December 3. It was decorated in "beau- 
 tiful design." 
 
 In the newspapers a notice promised " a 
 very extensive and elegant collection of 
 ornamental and useful articles . . . exposed 
 for sale by a large number of Ladies of the 
 city and country." There was a grand 
 promenade concert every evening in the 
 saloon, "and numerous other "wholly novel 
 attractions presented to add brilliancy and 
 enjoyment to the scene." On the lower 
 floor was a museum of " valuable specimens 
 of Art, Historical relics, and National tro- 
 phies," also miscellaneous exhibitions of 
 legerdemain, archery, an automatic trum- 
 peter, " a perfectly acting Automatic Rope 
 Dancer, etc., etc." 
 
 The best of the bazaar v^as " The Bazaar 
 Album," a four-page paper, "devoted to 
 the interests of the Ladies' Bazaar, for the 
 benefit of the Musical Fund Society." Like 
 solid houses, with perfect lines, this clear, 
 careful type is somehow peculiarly asso- 
 ciated with the past. And for some reason 
 the little sheet speaks very directly of the 
 great occasion. It is all so light in inten- 
 tion, so short-lived in expectation. And 
 yet so careful is the detail, so high the 
 standard in expression and appearance, 
 158 
 
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 T*«y giM Ih* bMj ■ qavMlj ■! 
 
 
 
 
 
 
 
 
 
 
 
 nr*> kMdlfi «m4 ikM M* 
 

MUSICAL FUND SOCIETY 
 
 that it someho^v deserves its accidental 
 preservation. Almost half is filled with 
 persuasive verses about the various tables. 
 There is a very slim editorial department. 
 One of the burning topics is the weather. 
 Another, on "The Opera," says: "The 
 musical ^vorld has taken it into its head to 
 be delighted with the singing of Madame 
 Bishop, etc., etc." A third tells us that 
 " Mr. Dempster, the popular ballad singer, 
 is in the city, and is drawing throngs of 
 delighted listeners to his pleasing and in- 
 structive entertainments. He is undoubt- 
 edly the best English ballad singer of the 
 day." Then there is a funny, old-fashioned 
 plaint of a newly-married " Peter Pliant." 
 
 The bazaar was a very great success. 
 After it was over, there was announced in 
 the newspapers a " Bazaar Ball in honor 
 of the Ladies, superintendents of the 
 Tables at the Musical Fund Bazaar. This 
 Grand Ball will take place on Thursday, 
 December 23rd, 1847, at the Musical Fund 
 Hall." 
 
 " An elegant supper, including w^ines," 
 v/sis promised. W^e are prepared for the 
 fine humor of the board in its next report : 
 " Never before have they been able to 
 present the general affairs of the Institution 
 in a more flourishing condition. The alter- 
 159 
 
MUSIC IN PHILADELPHIA 
 
 ations of the Hall and improvements have 
 been completed, and the additional accom- 
 modations have produced the most advan- 
 tageous results." 
 
 "To the ladies . . . grateful acknowledg- 
 ments" are given at ceremonious length. 
 '* The result of this devotion was a clear 
 receipt of $5000." The sum surpassed all 
 earlier attempts, and paid for the greater 
 share of the expenses of the alterations. 
 
 The remaining history of the Society 
 down to the clouding shadows of the 
 coming war is outwardly brilliant with the 
 visits of singers and players, w^ho, more 
 than mere kings of a day, had something of 
 the quality of perfection w^hich leaves a 
 lasting mark on the memory of man. Be- 
 sides the Brignolis, the Grisis, the Marios, 
 besides Lagrange, Alboni, and Hensler, 
 there \vas a Lind ; above all there was 
 Sontag. Finally, this resplendent sunset 
 of the Society was further enriched by the 
 appearance of one of the great pianists 
 of history. The comments of the time on 
 Gottschalk's playing, the recorded impres- 
 sion of his personality, allow us no hesita- 
 tion in giving him this rank. There is no 
 doubt that in many ways he lowered his 
 art to the level of clownish exhibtion. Yet, 
 withal, he had the courage to introduce 
 160 
 
MUSICAL FUND SOCIETY 
 
 the unknown music of Chopin and other 
 romanticists. His influence on the music of 
 this country, measured merely in power, 
 without regard to quality, ^vas far greater 
 than that of any other virtuoso. In his man- 
 ner of playing, in w^hat are called his own 
 compositions, "which are mere arrangements 
 of -well-know^n melodies, he completely 
 dominated all taste. Even to-day, forty 
 years afterw^ards, in quiet villages, like 
 lonely cavities where rain-pools linger, it 
 is Gottschalk's music, with his portrait on 
 the cover, that still reigns supreme among 
 "fashionable pieces." And then, too, he 
 had the disadvantage of being an American. 
 He made a far stronger mark in this country 
 than did Henri Herz. His personality was 
 broader: he approached nearer to original 
 creation. 
 
 But it was largely a mere outward 
 splendor. Behind the scenes, with the 
 directors over their annual reports while 
 these magnificent concerts are progressing, 
 everything is really going wrong. The 
 "professors" will not come to rehearse, 
 and the orchestra rapidly goes down. 
 ^Vith all their popularity, singers ^vere 
 always a losing investment, generally in 
 proportion to their greatness. The success 
 of the new Germania Orchestra seemed 
 
 k i6i 
 
MUSIC IN PHILADELPHIA 
 
 to sho^v that the public w^ere eager for 
 good performance of instrumental music. 
 But, while the purpose of the Society 
 was beneficial to professional musicians, 
 there must have been too slight a present 
 reward to induce faithful attendance. 
 
 All of this did not, of course, affect the 
 financial condition of the Society. The 
 income from rent of hall and rooms had 
 increased continuously, until in May, 1857, 
 the board reported: "All the incumbrances 
 upon the property of the Society have been 
 removed, and it is without debt." This 
 was, too, the year when an unusual com- 
 petition began with the completion of 
 Jayne's Hall and of the Academy of 
 Music. "The trouble lay purely in the 
 ' musical department,' which betrayed its 
 inability for self-support." In reviewing 
 causes, the report continues later: " In the 
 early part of the career of the Society, the 
 giving of concerts and productions of classic 
 compositions, such as the ' Creation,' di- 
 rected as it freely ^vas by the resident mu- 
 sical ability of the day, and aided by the 
 amateur force under its control, was not 
 only a means of cultivating and diffusing 
 taste for music but was also a source of 
 revenue. Subsequently the engagement of 
 such passenger talent as came within the 
 162 
 
MUSICAL FUND SOCIETY 
 
 reach of the officers, enabled them to give 
 attractive and generally lucrative concerts. 
 But for several years past the enormous 
 demands of these persons have rendered it 
 difficult to procure such aid, and often im- 
 possible except at a heavy loss. In short, 
 the attractive and often elevated character 
 of the opera companies which appear among 
 us, have given a style to public perform- 
 ances with which it is impossible for the 
 Society to compete." 
 
 It might have been said, however, that 
 the question of self-support in the musical 
 department was a minor one, when there 
 was a permanent fund destined for its assist- 
 ance. After all, these are old lamentations, 
 ringing out their yearly plaint on an accus- 
 tomed tune. Probably, but for the Civil 
 "War, the former efforts would have been 
 renewed with the former success. 
 
 W^e have hurried ahead of our glorious 
 period, fearful that it is too good to last. 
 Before us are still the greatest of all who 
 have yet sung or played. All so far has 
 been prelude : now comes the natural cli- 
 max. At the worst, plaudite^ amid ; comedia 
 finita est. It is something to have held such 
 an array of guests, if the house does tumble 
 into decay. 
 
 163 
 
MUSIC IN PHILADELPHIA 
 
 CHAPTER XII. THE AGE OF SONG: 
 SONTAG AND LIND : THE FUTURE. 
 
 ® 
 
 F the many virtuosi, product of 
 the crowning development of 
 Italian, French, and German 
 grand opera, it is possible to 
 touch upon but few. These 
 great soloists are, pathetically, like unwill- 
 ing members of a grand chorus, most of 
 whom, at our distance, with all the shower 
 of adjectives, look very like each other. 
 Some few hold our glance with an unusual 
 charm. 
 
 Not more than the accustomed numbers 
 stand out as the final chosen prime and 
 primi. 
 
 In 1850 Jenny Lind gave two concerts at 
 the hall. But there is no trace of her sing- 
 ing at any of the regular concerts of the 
 Society. Her terms were certainly dis- 
 couraging. But in the following May the 
 treasurer reports a generous gift from her, 
 of four hundred dollars, to the funds of 
 the Society. Her name was, of course, 
 promptly enrolled among the honorary 
 164 
 
JHttsicol/DoMflllt^ 
 
 (PraniJ frira CanrFri 
 
 CESABE BASIALI, M. CABI ECKERT. 
 
 8ig. 6. POZZOLim. LUIOI ROCCO, 
 
 PAUL JULIEN, ALFRED JAELt, 
 
 GERHAinA MUSICAL SOCIETT. 
 On SATUHSAT Evening, October 30th. 
 
 • ox. Wf x<A.aiv 
 
 FOB THE FUST TIME 
 
 CONCERTED OPERATIC PIECES! 
 
 WUO^MAmMll&. 
 
 Slaa BADIAU and ROCCOk 
 
 S. CAVATINA.."0 Ucc di QuetU.' Limit diObaaMBb. 
 MADAME ULMKlL'lTii SORTAG- 
 
 4. PIANO r08IE.. .■■Ci™i..lot V.ilcc," 
 
 ALPRBD JABLL. 
 
 ft. DUET -From "LiBd»Ji Chimouiitr." 
 
 MADAME BENRIETTE SOHTAO 
 : PozxoLon 
 
 U. OVKHTDBI 
 
 TBB oBRMAjnA mrsicAi. aociBrr. 
 
 7. BArXiD-..."K»lvUullii«.'^ ^ 
 
 MAT>AMB BEinUETTE SOMTAa. 
 
 >. BOMAKZA . rrom " I Nornmal <• PumI," KmtMun 
 
 BlOtVOR BAAIAU 
 
 I. DUXT •• The t.i.k [..-«>«.■■ , ni«nM 
 
 MADAME BEintiirrTE solrrAa 
 
 And SIONOR BOCCO. 
 
 10. TIOMM. . . ." Soormlr d. B«IUni," anw 
 
 PAU1< XTTUBir. 
 
 II. unABTIst. ..Ftoij<"I.ucl>dlI.«iiii>«i<i«>or," Duna^ 
 
 IIADAMB BENIUSTTE SOITTAa. 
 Aid BIOS BADIAU. POZZOUHI, ud ROCCO. 
 
 11. riVALE OnheUnl - 
 
 THS OBRKAiriA MUSICAL 80C1BTT. 
 
 Admission - - $ 1, $2, and $ 3. 
 
 Tiitots ud tnti to b* Ind (t Im * W>Ilur'i Kuie (tan 
 
MUSICAL FUND SOCIETY 
 
 members. With other pre-eminent singers 
 of the time the Society had closer relations. 
 The story of Madame Sontag's reception 
 suggests at once the prestige of the lady, 
 and the fine attitude, of noblesse oblige, of our 
 Society. They w^ere alive to their duty as 
 representatives of the city. A committee 
 was given po\ver to make arrangements at 
 a cost of three hundred dollars. In the 
 formal correspondence that followed, Son- 
 tag, through her agent, offered to sing gratu- 
 itously for the benefit of Musical Fund 
 Society. Her approach to Philadelphia was 
 conceived in the form of an ovation. On 
 ^A^ednesday, October 13, 1852, a steamboat 
 was chartered for Burlington, Ne\v Jersey, 
 to meet Madame Sontag, arriving by rail 
 from Ne^v York. The lady was escorted 
 by the committee on board, where she was 
 received by the venerable George Campbell, 
 secretary of the Society. He advanced and 
 addressed her in these words: "Honored 
 madame ! The Musical Fund Society, of 
 Philadelphia, desirous to express the high 
 estimation in w^hich they and the kindred 
 associations of this city hold your character 
 as an artist and lady, have made arrange- 
 ments to meet you here for the purpose of 
 w^elcoming and escorting you to Philadel- 
 phia. The fame of your talents and your 
 165 
 
MUSIC IN PHILADELPHIA 
 
 virtues have long ago preceded you, and 
 the opportunity of meeting personally one 
 who has for many years occupied so dis- 
 tinguished a rank in the musical world, 
 and contributed so much to dignify and 
 exalt the divine art you profess, affords us 
 the most sincere pleasure. We therefore 
 gladly welcome your appearance among 
 us, and hope your visit may be in all re- 
 spects agreeable to yourself." 
 
 Perhaps the best proof at this day of the 
 lady's artistic sincerity was the contrasting 
 simplicity of her reply : " Sir, I am totally 
 unprepared for the kindness thus shown 
 to me. It is as delightful as it is touching 
 and flattering to my feelings. Accept, sir, 
 my heartfelt thanks, where it will ever be 
 deeply engraved. Thanks, thanks, dear sir ! 
 to you and your noble Society." One who 
 ■was present tells of a "splendid collation" 
 that was served. A band played, and Ger- 
 man musical societies sang choruses. The 
 boat stopped at Browning's Ferry, Shacka- 
 maxon Street, where Madame Sontag, her 
 husband. Count Rossi, Paul Julien, and 
 Louis C. Madeira landed and drove to 
 Jones's Hotel, on Chestnut Street, in order 
 to avoid the crowd at the Walnut Street 
 wharf. Madame Sontag acknowledged 
 with much fervor the pleasure which the 
 
 i66 
 
MUSICAL FUND SOCIETY 
 
 reception gave her. Those who were 
 present speak of it as memorable. 
 
 Sontag's first concert was given on the 
 next evening at Musical Fund Hall. \Vith 
 her sang Cesare Badiale, and played Paul 
 Julien, violinist, and Alfred Jaell, pianist. 
 There was, too, the orchestra of the new 
 Germania Musical Society, and a Carl 
 Eckert, conductor from the Italian opera 
 at Paris, who led the former. The pro- 
 gramme is not interesting. Best of all is 
 Weber's overture to " Euryanthe." Son- 
 tag sang, of known music, an aria from 
 " Sonnambula," " Di Questa Anima" from 
 "Linda," and "Home, Sweet Home." 
 Descriptions of the scene at each night 
 are dazzling. "When Sontag first ap- 
 peared," we are told, "a solemn still- 
 ness ensued, as if an immortal had de- 
 scended." Sontag was then at least fifty 
 years old. The public called for a ne^v 
 series of concerts, ^vhich ^vere given v^ith 
 sustained success. 
 
 Before us lies the original letter which 
 Sontag wrote to the president of the Society 
 before returning to New York. It gives her 
 "most cordial thanks" for her "kind and 
 sympathetic reception." But it is not as 
 good as her first little speech. ^Vhat was 
 most important was her offer to give a 
 167 
 
MUSIC IN PHILADELPHIA 
 
 concert, with the help of her "professional 
 assistants," in behalf of the Society. On 
 its programme were the same songs for 
 Sontag, except the aria from " Sonnam- 
 bula." Instead, Sontag and a Signor Rocco 
 sang an unimportant duet. 
 
 In the fall of 1853, Sontag sang in con- 
 certs ; she also produced some operas at 
 the National Amphitheatre, on Chestnut 
 Street below Ninth. On a Saturday in 
 October she gave a free performance to 
 the girls of the Normal School, who loaded 
 her with flowers. It took four large clothes- 
 baskets to carry them away ; but she would 
 not leave one behind. The house was 
 crowded, the stage filled with children on 
 both sides. Sontag was as much delighted 
 as were the children. 
 
 Coming, as she did, with a bevy of won- 
 derful singers, Sontag seems to have left 
 with her hearers the sense of ne plus ultra. 
 Closely rivalling the musical admiration 
 w^as the personal regard which she com- 
 manded. Beethoven spoke as true seer, 
 when he said, " I predict for her a glorious 
 career; for she has heart as well as voice." 
 
 There can, however, be no comparison 
 
 between the public interest in Sontag and 
 
 the rage over Lind. Undoubtedly there 
 
 was a striking conjunction of various ele- 
 
 168 
 
; ,* : 
 
MUSICAL FUND SOCIETY 
 
 ments. The picturesque story of her youth, 
 great personal power, and the first campaign 
 of modern advertising, sprung upon an un- 
 witting public. At least tw^o of these traits 
 have nothing to do with the art of singing. 
 But they conspired to stir the world like 
 nothing before or since in the world of 
 art. 
 
 Tw^enty-five thousand people are said to 
 have welcomed Jenny Lind at the wharf in 
 New York. At an auction sale for choice 
 of seats at her first concert, two hundred 
 and twenty-five dollars was bid by a hatter, 
 who won fortune by the venture of a 
 moment. The receipts of the first even- 
 ing were $30,000. In Philadelphia the sum 
 paid for first choice of seats w^as six 
 hundred and twenty-five dollars. Musical 
 Fund Hall, where the first concerts were 
 given, was abandoned for an amphitheatre, 
 once a circus, called Maretzek's Opera 
 House. In "Washington the President 
 called on Jenny Lind ; eminent statesmen 
 paid her distinguished honor. At one con- 
 cert, when Lind w^as singing " Hail Colum- 
 bia," the great Webster, whose patriotism 
 w^as boiling over, involuntarily rose and 
 added his bass to the chorus, to the delight 
 of Lind and the audience. At the close the 
 impromptu concertanti bowed and courtesied 
 i6g 
 
MUSIC IN PHILADELPHIA 
 
 vw'ith increasing insistence, while the audi- 
 ence applauded like enchanted children. 
 
 Such a triumph cannot be laughed away 
 as mere imaginary admiration without the 
 element of personal power. 
 
 In this dazzling light it is hard to see the 
 individual beauty of lesser stars without 
 a special effort of historical magnifying. 
 Lind's visit was in 1850; Sontag came in 
 1852. On the ist of December, 1855, the 
 Musical Fund Society gave its eighty- 
 second concert with Miss Hensler, Signor 
 Brignoli, and Gottschalk ; in the following 
 April Brignoli sang again with Madame La 
 Grange and Signor Amodio. Finally Mario 
 and Grisi appeared in Philadelphia in opera 
 and concert early in 1855. All of these are 
 peers of the realm of one province of a 
 great art. Each in turn may seem brightest 
 and best. The difference is largely in the 
 subjective temperament of the hearer. One 
 writer tries to distinguish the charm of 
 Grisi: " Malibran was more startling in her 
 impulses ; Viardot more intensely dramatic ; 
 Jenny Lind more sensational with her four 
 high notes ; Sontag more brilliant. But for 
 the presentation of a part in its entireness ; 
 for the embodiment of powerful emotion, 
 combined with beauty of person, richness 
 and roundness of voice, with the power of 
 170 
 
MUSICAL FUND SOCIETY 
 
 exercising a potent spell over a vast audi- 
 ence, Grisi has never been surpassed." Her 
 husband was Giuseppe Mario, son of the 
 Marchese di Candia. Caught in a political 
 scrape, he was reluctantly persuaded to 
 make a trade of his song. Some of his 
 power lay in physical beauty, and in a 
 distinction that may have been associated 
 with his gentle birth. 
 
 The poet Willis, hearing Grisi in "Anna 
 Bolena," wrote the lines: 
 
 " When the rose is brightest, 
 
 Its bloom will soonest die ; 
 When burns the meteor brightest, 
 
 'Twill vanish from the sky! 
 If death but wait until delight 
 
 O'errun the heart like wine. 
 And break the cup when brimming quite, 
 I die ; — for thou hast poured to-night 
 
 The last drop into mine." 
 
 Of all the singers Elise Hensler rose 
 highest in the measure of -worldly station. 
 A Boston girl of poor parents, the friend of 
 LfOngfellow, she was married to a prince, at 
 one time King of Portugal, who, it is said, 
 refused the throne of Spain in loyalty to 
 his ^vife. 
 
 Newspaper criticisms, to give them a flat- 
 tering name, somehow improve with age. 
 Undiscriminating as they are in descrip- 
 171 
 
MUSIC IN PHILADELPHIA 
 
 tion or expression, they have the virtue of 
 spontaneous opinion, uttered before reflec- 
 tion has cooled the emotion. They have 
 somewhat the value, in point of evidence, 
 of certain declarations \vhich in law are 
 admitted by reason of a close relation to 
 the incident of which they speak. There 
 is a yellow^, old comment on the singing of 
 La Grange, which details her various per- 
 fections and makes excuses for the seeming 
 coldness of Philadelphia audiences. 
 
 Another bit of print may, unwittingly, 
 console us to-day for what we have thought 
 an unheard-of wrong-doing of impresarios. 
 
 ''ITALIAN OPERA. 
 
 " A brilliant audience was assembled last evening, 
 solely to hear Rossini's lovely opera of the Barber of 
 Seville. One act of it was done better than it was ever 
 done here, Madame Lagrange making a more admirable 
 Rosina than we have ever had, while Morelli's Figaro 
 was most excellent, Brignoli's Ahnaviva much better 
 than we expected, Gasparoni's Don Basilio very good, 
 and as for Signor Rovere, he was irresistibly droll as 
 Dr. Bartolo, and appeared in unusually good voice. 
 Imagine the surprise of the audience, then, when, at 
 the fall of the curtain, the stage manager appeared and 
 announced that, owing to the sudden hoarseness of 
 Signor Rovere, the rest of the opera could not be per- 
 formed, but two acts of the Purilani would be given 
 in its stead. Nobody believed in this sudden hoarse- 
 ness, and there were plenteous hisses among the re- 
 172 
 
MUSICAL FUND SOCIETY 
 
 sponses to the manager's announcement. It was soon 
 discovered that the ' sudden hoarseness' had been 
 provided for beforehand ; the female choristers, dressed 
 for / Puritani, had been seen by those in the side 
 boxes, early in the evening ; Miss Hensler and Signor 
 Amodio were on hand for the Puritani, and scenery, 
 dresses, and music were all so ready for the change of 
 opera, that one could not fail to see in it something 
 more than mere coincidence. But with a remarkable 
 good humor, the audience submitted to the trick, and 
 listened patiently to Miss Hensler's pretty singing 
 of some of Elvira's music and to the noisy duo by 
 Amodio and Morelli. That, however, which reconciled 
 them to the unwarrantable and unnecessary change of 
 performance was the marvellous singing of Madame 
 Lagrange, in a Hungarian air with variations, and in 
 her own St. Petersburg polka aria, which were kindly 
 given between the bits of / Puritani. But for this, 
 half the audience would probably have left in disgust 
 at the trick practised upon them. To-night Semiratnide 
 is promised, and to-morrow night Norma. It is im- 
 possible to say whether ..." 
 
 Here the column cuts us off abruptly ; 
 but it is not hard to guess the rest. 
 
 Almost with equal abruptness our history 
 closes. There was, indeed, an ominous 
 series of mournful losses. A number of 
 the prominent founders drop away in a 
 group. Chief of them is Benjamin Cross, 
 who died in March, 1857. In quick suc- 
 cession the Society loses John K. Kane, 
 the first secretary, untiring in founding and 
 173 
 
MUSIC IN PHILADELPHIA 
 
 guiding the early venture ; his successor, 
 George Campbell ; and the vice-president, 
 Elhanan W^. Keyser. The board, in annual 
 report, utter their sense of the high worth 
 of the departed colleagues in sincerest 
 words. 
 
 Yet there is no reason to doubt that, but 
 for the darkening troubles of the nation, 
 the Society would have continued and ad- 
 vanced in its career. No single obstacle 
 arose (like the competition of other halls) 
 ■which could not have been met with 
 moderate effort. 
 
 Until lately it seemed that a cause of 
 temporary suspension had been allowed, 
 by passive inertia, permanently to end the 
 musical work of the Society. Signs of ne^v 
 enterprise are given the highest surety of 
 success in the history of the past. The 
 same strain of English musicians, which 
 we have called peculiar to Philadelphia, 
 has in later years produced, among others, 
 one who has achieved the highest place in 
 the highest work of the art. W^here there 
 ■was one German master, there are no^w 
 ten, — at least of equal ability, some of cre- 
 ative power. 
 
 Of the elements of high development of 
 musical life, all are now present in greater 
 measure than in the best years of the 
 174 
 

 SE300ZCX> 
 
 iOMyiiT 
 
 or 
 
 SIGNOREVA ADELINA 
 The Musical Fhenomenon! 
 
 R«pectfullj informi hii Fricudi, tod tbe Public b Ecceiml, tliAt he bu »gi(«l 
 
 SIGNOBINA ADELINA FATTI. 
 
 Not yet Eight Years Old, 
 
 The Most Wonderful Vocalist of the Age! 
 
 CALLED 
 
 u nmm mm mp, 
 
 Thii EstfrnordtMrr Phcnom^noD rings with the most utonithinj perfectioa, puritjof 
 ctylp, and iucoiDwebeiutbie ««j?, th« Bravura Piec«a of 
 
 MALiBRAN, MADAME ALBONI, 
 
 PASTA, CATHERINE HAYES, 
 
 JENNr LIND, ANNA BISHOP, 
 
 MADAME SONTAG, TERESA PARODI, 
 
 SIGNORINA ADELINA PATTI 
 
 Will jire her SECOND GRAND COXCfeRT, on 
 
 Thursday Evening, Sept. 23d, 1852, 1 
 
 AT THE 
 
 [Riai!DiO(g/^[L mm) mnHp 
 
 On which occuion ibe will be aMistet] hj 
 
 NIISKA HAUSER, 
 
 The Gre<t Violiniit, and 
 
 MAURICE STRAKOSCH, ^ 
 
 The Eminent Ptanyt >b&U Goau>Qjer. ^ ^ 
 
MUSICAL FUND SOCIETY 
 
 Musical Fund Society, — all save one, which 
 was the underlying quality of the old suc- 
 cess : a hearty union of all the musical 
 forces of the city. ^A^ith it must come con- 
 fidence, instead of the old bane of self- 
 doubt. Plans for the special pleasure of 
 a limited class have no place in such a 
 union. The rich must ' see the musical 
 want of the poor. Providing for these, 
 they will themselves enjoy the highest 
 p gifts of the art. It is still the old question 
 
 of concentration of forces upon serious 
 concerted instrumental music as against 
 the frivolous enchantment of operatic van- 
 ities. The final fruit must be independent 
 equipment for the enjoyment of the great 
 master-works of music. 
 
 175 
 
MUSIC IN PHILADELPHIA 
 
 LIST OF MEMBERS OF THE 
 MUSICAL FUND SOCIETY AND OF 
 OFFICERS, WITH THE DATE OF 
 TENURE, ELECTED BETWEEN 1820 
 AND 1858. 
 
 Abadie, Hilarian. 
 Abbott, Robert, M.D. 
 Abercrombie, Rev. J. 
 Adams, Henry. 
 Adams, Martha. 
 Adams, R. W. 
 Adams, Thomas. 
 Adamson, James. 
 Aiken, Joseph. 
 Alexander, Charles. 
 Alexander, Samuel. 
 Allen, James. 
 Allen, J. B. A. 
 Allen, Solomon. 
 Allen, William. 
 Anderson, J. 
 Anderson, James. 
 Anderson, William V. 
 Andrade, Joseph. 
 Andre, William. 
 Andrews, Henry W. 
 Andrews, John. 
 Andrews, R. 
 Anerim, James H. 
 
 Anners, Robert M. 
 Ardley, Alexander. 
 Ash, Joshua P. 
 Ashmead, J. 
 Ashton, John. 
 Asson, Thomas S. 
 Astley, Thomas, Manager. 
 Atherton, Humphrey. 
 Atwood, John H. 
 Avignone, Antonio. 
 Aykrod, James. 
 Ayres, R. M. R. 
 
 Babcock, H. 
 Bache, Franklin, M.D. 
 Bacon, AUyn. 
 Bacon, George. 
 Bacon, Josiah. 
 Badarague, J. 
 Badarague, Thos., Jr. 
 Baker, Henry S. 
 Baker, Isaac F. 
 Baker, William J. 
 Baldwin, M. W. 
 176 
 
MUSICAL FUND SOCIETY 
 
 Baldwin, S. 
 
 Ballock, Joseph, M.D. 
 
 Bancker, Charles G. 
 
 Barclay, B. S. 
 
 Barclay, C. B. 
 
 Barclay, John. 
 
 Barker, James N., Man- 
 ager. 
 
 Barnes, John, M.D, 
 
 Barnes, John H., Manager. Benson, D. P. 
 
 Barnett, Joseph S., Man- Benson, Gustavus. 
 ager. 
 
 Beck, William C. 
 Beckett, Henry. 
 Bedell, Rev. Gregory T. 
 Beetz, John F. 
 Bell, James. 
 Bell, John, M.D. 
 Benners, Henry B. 
 Benners, James. 
 Benson, Alex'r, Manager. 
 
 Barrabino, E. 
 Barrington, Charles. 
 Barrow, James. 
 Barton, E. P. 
 Barton, Francis. 
 Barton, J. Rhea, M.D. 
 Barry, Edward. 
 Barry, Joseph. 
 Barry, Joseph B. 
 Bastert, George. 
 Bauersachs, Louis C. 
 Bayard, Charles S. 
 Bazley, Charles W. 
 Beale, Matthew L. 
 Beck, Charles. 
 Beck, Charles F., M.D. 
 Beck, Harvey. 
 Beck, Henry. 
 Beck, H. Paul. 
 Beck, John. 
 Beck, Levi. 
 Beck, Jas. Madison. 
 Beck, William. 
 / 
 
 Bernadon, J. B. 
 Bernhart, Louis F. 
 Besson, Louis A. 
 Bethell, Robert. 
 Bethune, Rev. George W. 
 Beyer, G. T., Manager. 
 Beyland, Joseph. 
 Biddle, Clement, Jr. 
 Biddle, Col. Clement C. 
 Biddle, James. 
 Biddle, Nicholas. 
 Biddle, William F. 
 Biddle, William M. 
 Bille, Thomas. 
 Billington, Geo., Manager. 
 Bingham, William. 
 Binny, John. 
 Binney, Horace. 
 Birch, Wm. Y., Manager. 
 Birckhead, Pollard E. 
 Bird, James M., Director. 
 Bird, John D. 
 Bispham, Samuel. 
 Bispham, William. 
 177 
 
MUSIC IN PHILADELPHIA 
 
 Blackiston, Mrs. "W. C. 
 Blagg, John. 
 Blake, George E. 
 Blake, J. R., M.D. 
 Blanchard, William. 
 Blanchorn, Irenaeus. 
 Blaney, Miss. 
 Blight, Charles. 
 Blight, George. 
 Blight, Peter. 
 Blight, William S. 
 Boggs, James. 
 Bohlen, Henry. 
 Bohlen, John. 
 Bohlen, John, Jr. 
 Bolden, George. 
 Boiler, Henry J., Director. 
 Bomeisler, M. 
 Bond, James M., M.D. 
 Bonnaffon, Anthony. 
 Boocock, John. 
 Borie, A. E. 
 Borie, Charles L. 
 Borrekeus, Henry P., Man- 
 ager, Director. 
 Boulton, John. 
 Bowen, John. 
 Boyd, William. 
 Boyer, C. A. 
 
 Boyle, Wm. V., Manager. 
 Bradford, J. H., M.D. 
 Breck, Samuel. 
 Breiter, A. K. 
 Bremer, John L. 
 Brenan, E. H. 
 
 Brenan, M. E., Director. 
 
 Brinton, Miss C. 
 
 Brock, John. 
 
 Brolaskey, Dr. 
 
 Broom, Jas. M., Manager, 
 Counsellor. 
 
 Brown, B. 
 
 Brown, Charles J. 
 
 Brown, David P. 
 
 Brown, G. H. 
 
 Brown, G. W. 
 
 Brown, Henry A. 
 
 Brown, John. 
 
 Brown, N. B., Counsel- 
 lor. 
 
 Browne, Miss Augusta. 
 
 Browne, H. A. 
 
 Bryan, S. Harvey. 
 
 Buck, C. N. 
 
 Bujac, J. Lachass6. 
 
 Bulkley, Charles. 
 
 Bulkley, J. H. 
 
 Bunker, James. 
 
 Bunting, Thomas H. 
 
 Burd, Albert Gallatin. 
 
 Burd, Edward S. 
 
 Burke, Mrs. 
 
 Burnett, E. S. 
 
 Burnett, J. G. 
 
 Burrows, Dr. 
 
 Butcher, Thomas G. 
 
 Butcher, Washington. 
 
 Butler, John. 
 
 Butler, Pierce, Director, 
 1854-55. 
 
 178 
 
MUSICAL FUND SOCIETY 
 
 Cabell, J. C. B. 
 
 Cadwalader, George. 
 
 Caldwell, D. 
 
 Caldwell, Edmund B. 
 
 Caldwell, S. 
 
 Camac, AA^illiam M. 
 
 Campbell, Colin. 
 
 Campbell, George, Man- 
 ager; Sec'y, 1827-56. 
 
 Campbell, Quintin, Jr. 
 
 Cantor, Samuel. 
 
 Caravadossi. 
 
 Carazo, John. 
 
 Cardini, Signor. 
 
 Carey, Henry S. 
 
 Carey, Matthew. 
 
 Carl, W. 
 
 Carlile, Joseph C. 
 
 Carll, Rev. Maskell W. 
 
 Carr, Benjamin, Manager, 
 Director. 
 
 Carr, Thomas, Director. 
 
 Carson, Henry, Manager. 
 
 Carswell, M. S. 
 
 Carter, William S. 
 
 Carusi, G. 
 
 Carusi, L. 
 
 Carusi, S. 
 
 Casey, W. M. 
 
 Cash, Andrew D. 
 
 Cassin, John. 
 
 Castor, Jesse G. 
 
 Catlin, George. 
 
 Chaloner, W. 
 
 Chamberlain, William. 
 
 Chancellor, ^Vha^ton. 
 
 Chapman, Nathaniel, M.D. 
 
 Chardon, Wm. Rawle. 
 
 Charnock, John. 
 
 Chester, Henry, Counsel- 
 lor. 
 
 Christie, Wm, 
 
 Churchman, W. H. 
 
 Churr, Jacob, Jr. 
 
 Clapier, Fortune. 
 
 Clark, B. W. 
 
 Clark, John C. 
 
 Clark, John W^. 
 
 Clark, J. Y. 
 
 Clarkson, Charles. 
 
 Clay, Joseph A., Counsel- 
 lor. 
 
 Clemens, Benjamin S. 
 
 Clemens, George. 
 
 Clemson, Thomas. 
 
 Coates, John R. 
 
 Cochran, John. 
 
 Cochran, J. Harvey. 
 
 Cohen, D. J. 
 
 Cole, Isaac P. 
 
 Comrick, Dr. 
 
 Cookman, Prank. 
 
 Coombs, Gilbert A. 
 
 Cooper, Francis. 
 
 Cooper, George B. 
 
 Cooper, S. P. 
 
 Cooper, Thomas. 
 
 Cope, E. R. 
 
 Cope, F. S. 
 
 Cope, John E. 
 
 179 
 
MUSIC IN PHILADELPHIA 
 
 Copper, T. 
 Corbin, Francis P. 
 Corfield, Edward D. 
 Cornelius, C. 
 Cornelius, Robert. 
 Cortetz, F. A. 
 Cowitzky. 
 
 Cowperthwaite, J. W. 
 Cox, George W. 
 Cox, Isaac N. 
 Cox, John. 
 Cox, Mrs. John. 
 Coxe, Alexander S. 
 Coxe, William S. 
 Craig, G. S. 
 Craig, James, 
 Craig, William. 
 Craige, G. S. 
 Crease, Charles J. 
 Crease, W. S. 
 Creighton, Robert. 
 Cresson, John M. 
 Crissy, James, Manager. 
 Crosby, Thomas. 
 Cross, Benjamin, Director 
 Cross, B. Carr, Director. 
 Crozier, J. G. 
 Cuesta, Leandro de la. 
 Cunnington, W. P. 
 Curdwell, H. B. 
 Cuthrall, Charles E., Man 
 
 ager. 
 Cuthrall, Charles S. 
 Cuyler, Theodore, Man 
 
 ager, Counsellor. 
 
 Dallas, Capt. A. J. 
 
 Dallett, Elijah. 
 
 Dallett, Henry C. 
 
 Dallett, John. 
 
 Dannenberg, Charles. 
 
 Darley, F. T. S. 
 
 Darley, John.'j 
 
 Darley, W. H. W., Direc- 
 tor. 
 
 Darrach, William, M.D. 
 
 Darrainville, Henry. 
 
 Davenport, W. 
 
 David, J. T., Director. 
 
 Davids, Hugh. 
 
 Davidson, Robert B., Man- 
 ager. 
 
 Davis, Armon. 
 
 Davis, Justinian F. 
 
 Davis, J. M. 
 
 Davis, M., M.D. 
 
 Davis, Mrs. M. 
 
 Davis, Miss M. 
 
 Davis, Col. S. B. 
 
 Dawson, E. B. 
 . De Bille, Torben. 
 
 De Bree, John B. 
 
 Deland, Thorndike. 
 
 Delprat, John C. 
 
 De Luce, Nathaniel. 
 
 De Luce, Mrs. N. 
 
 - Demme, Rev. Charles. 
 Denckla, Paul. 
 Denman, Matthew B. 
 
 - Dennison, George. 
 Desilver, Miss E. 
 
 x8o 
 
MUSICAL FUND SOCIETY 
 
 Desilver, Robert. 
 
 De Silver, Thomas. 
 
 Dessaigne, E. 
 
 De Wees, Miss Adaline. 
 
 Dewees, Hardman P, 
 
 Dewees, Theodore. 
 
 De Wees, Wm. S., M.D. 
 
 President, 1820-38. 
 Dick, William. 
 Dickel, William. 
 Dickson, J. N. 
 Dickson, Levi. 
 Dietz, A. R. 
 Dietz, Rudolph. 
 Dillingham, W. S. 
 D'lnvilliers, C. 
 Dittrich, W. 
 Donaldson, Miss M. 
 Donnell, J. C. 
 Dougherty, J. L. 
 Dougherty, Lewis. 
 Doughty, J. 
 Douredoure, B. 
 Drake, A., M.D. 
 Draper, Edmund. 
 Draper, William. 
 Dreyfous, S. 
 Drexel, Francis M. 
 Drexel, Joseph W. 
 Drinker, William W 
 Drown, W. A., Jr. 
 Drysdale, William. 
 Duane, William J. 
 Du Bois, Louis P., Man 
 
 ager. 
 
 Dufour, George. 
 
 Duhring, Henry. 
 
 Dulles, Joseph H., Jr. 
 
 Dumonter, Miss Jane. 
 
 Duncan, Benjamin. 
 
 Duncan, T. O. 
 , Dundas, James. 
 
 Dunham, Manager. 
 
 Dunglison, Robley, M.D., 
 Manager ; Vice - Presi- 
 dent, 1850-53, 1855-56; 
 President, 1853-54, 1856- 
 69. 
 
 Dunglison, William J. 
 
 Duponceau, Peter S. 
 
 Dupuy, Rev. C. M. 
 
 Durand, E. 
 
 Durand, John. 
 
 Durney, Tobias M. 
 
 Duval, Lewis. 
 
 Dyer, Samuel. 
 
 Dyke, Phineas. 
 
 Dyke, Ph. B. 
 
 Earle, George W. 
 
 Earp, Randall. 
 
 Eberle, F. E. 
 
 Eberle, Jacob. 
 
 Eberle, John, M.D. 
 
 Eckert, George. 
 
 Edwards, J. G. 
 
 Edwards, Thomas J. 
 
 Eisenbrey, Philip. 
 - Ellis, Thomas J. 
 
 Ellmaker, Levi. 
 181 
 
MUSIC IN PHILADELPHIA 
 
 Elton, Mrs. A. 
 Ely, John, Jr., 
 Emerick, George. 
 Emerson, Gouverneur, 
 
 M.D., Physician. 
 Emlen, Miss Deborah. 
 Emlen, George. 
 Engles, Joseph P. 
 Engles, Rev. William M, 
 English, Gustavus. 
 Erringer, J. L. 
 Erwin, Robert. 
 Etting, Benjamin. 
 Evans, Charles H. 
 Evens, Whitton. 
 
 Farnum, James A. 
 
 Farr, George W. 
 
 Farrouihl, Andrew, Man- 
 ager. 
 
 Fassitt, Wallace. 
 
 Fell, Reese D. 
 
 Fenton, W. C. 
 
 Ferguson, Peter. 
 
 Fest, Frederick. 
 
 Field, John W. 
 
 Field, Samuel. 
 
 Finley, Anthony. 
 
 Fiot, A., Director, 
 
 Fisher, Joseph, Director, 
 Manager. 
 
 Fisher, Rodney. 
 
 Fisher, Sidney George. 
 
 Fitch, S. S. 
 
 Fitzgerald, Thomas. 
 
 Fletcher, Thomas. 
 Fleur, Charles. 
 Fontages, M. 
 Forsyth, William T. 
 Fort, Louis C. 
 Foster, Joseph H. 
 Fowle, Jonathan, Jr. 
 Fox, George. 
 Frailey, J. W. 
 Frank, J. 
 
 Frazer, Miss Eliza. 
 Frazer, John F. 
 Frazer, Persifor. 
 Frederick, J. L. 
 Freeman, Henry G. 
 Freytag, Daniel C. 
 Fry, Edward P. 
 Fry, John H. 
 Fry, Joseph R., Director. 
 Fry, William. 
 Fuller, Oliver. 
 Fuss, John. 
 
 Gallagher, Daniel. 
 Gandiehand, P. 
 Gardner, Sidney. 
 Garrett, William E. 
 Garrigues, Wm. H. 
 Garrison, Joseph. 
 George, Joseph. 
 Getze, F. A. 
 Gibbs, A. 
 Gibson, D. 
 
 Gibson, Hon. John B. 
 Gillaspie, Mrs. 
 
 182 
 
MUSICAL FUND SOCIETY 
 
 Gilles, Mrs. Ann. 
 
 Gilles, P., Director. 
 
 Gillingham, C. J. 
 
 Gillingham, W. H., M.D, 
 
 Gilpin, Henry D., Counsel- 
 lor. 
 
 Gobrecht, C. 
 
 Goddard, Mrs. John. 
 
 Good, Cyrus J., Manager 
 
 Gording, Miss. 
 
 Goucher, William D. 
 
 Graff, Charles, Manager. 
 
 Graff, Christopher. 
 
 Graff, Frederick. 
 
 Graff, Jacob. 
 
 Graham, John, Director. 
 
 Graham, Peter. 
 
 Graham, W. Hicks. 
 
 Grant, Joseph P. 
 
 Gratz, Joseph. 
 
 Gray, Miss Mary B. 
 
 Gray, Robert E. 
 
 Greaves, Joseph R. 
 
 Gregg, Hancock J. 
 
 Greiner, George. 
 
 Greland, John, Manager. 
 
 Greland, John F. 
 
 Greland, Titon, Director. 
 
 Grice, George W. 
 
 Grier, J. Mason. 
 
 Griffith, J. P. 
 
 Griffith, Robert E., M.D. 
 Manager, Physician. 
 
 Griffiths, Samuel P., Man 
 ager. 
 
 Griffitts, Franklin P. 
 Grimes, John. 
 Groves, Daniel. 
 Gubert, Madame. 
 Gubert, Miss Louisa. 
 Gubert, T. E., Director. 
 Gulager, \A/'illiam. 
 Gummey, Thomas A. 
 Guthrie, Joseph M. 
 Gwinn, John. 
 
 Haedrich, Charles L. 
 
 Haedrich, Henry. 
 
 Hagedorn, Edward. 
 
 Hagedorn, Mrs. Edward. 
 
 Hagner, M. V. 
 
 Halbrach, Arnold. 
 
 Hall, James. 
 
 Hall, W. C. 
 
 Ham, Joseph W. 
 
 Hamer, Jacob. 
 
 Hampton, Alexander. 
 
 Hand, James C. 
 
 Hansen, William S. 
 
 Hansen, E. R. 
 
 Harding, Jesper. 
 
 Hare, J. C. 
 
 Hare, Robert, M.D. 
 
 Harmstead, James. 
 
 Harold, Alfred. 
 
 Harold, William. 
 , Harper, Charles. 
 
 Harrington, Daniel. 
 
 Harris, Joseph B. 
 
 Harris, Lewitt. 
 183 • 
 
MUSIC IN PHILADELPHIA 
 
 Harris, Thomas, M.D. 
 Harrison, Joseph. 
 Harrison, John H. 
 Harrison, William. 
 Harrold, F. 
 
 Hart, Abram L., Manager 
 Hart, Hyman M. 
 Hart, Theodore M. 
 Hartley, John M. 
 Harvey, George N. 
 Haslam, Mrs. C. E. 
 Hassler, Henry. 
 Hassler, Isaac. 
 Hassler, Simon. 
 Hausman, Benjamin. 
 Hausman, C. F. 
 Haven, Charles C. 
 Haven, T. A. 
 Haviland, John. 
 Hawkins, Wm., Manager 
 Hays, Henry. 
 Hays, Isaac, M.D., Man 
 
 ager. Physician. 
 Heberton, G. D. 
 Hel6, James E. 
 Helmuth, George. 
 Hemphill, Robert J. 
 Henderson, James. 
 Henry, Julien. 
 Hepty, F. 
 Hertzog, Peter. 
 Hewitt, Miss Ann Eliza. 
 Heylin, Isaac, M.D. 
 Heysham, Robert. 
 Hickman, Nathaniel. 
 
 Hill, R. C. 
 
 Hill, W. K. 
 
 Hirst, James M. 
 
 Holmes, John. 
 
 HoUerman, John F. 
 
 HoUingsworth, Samuel. 
 
 HoUinsworth, T. G. 
 
 Hommann, J. C, Director, 
 Manager. 
 
 Hommann, J. C, Jr. 
 
 Hood, William. 
 
 Hope, Isaac. 
 
 Hopewell, E. 
 
 Hopkins, Thomas. 
 
 Hopkinson, Francis. 
 
 Hopkinson, John S. 
 
 Hopkinson, Oliver. 
 
 Hopkinson, O. S. 
 
 Horner, Wm. E., M.D. 
 . Houston, Joseph. 
 
 Houston, John M. 
 
 Houston, J. W., Secretary, 
 1822-27. 
 
 Houston, H. H. 
 
 Howell, Miss Beulah. 
 
 Hubbs, John E. 
 
 Hubbs, Paul K, 
 
 Hubner, F. A. 
 
 Hudson, Edward, Man- 
 ager. 
 
 Hudson, Mrs. E. 
 
 Hiittner, Frederick, M.D., 
 Director. 
 
 Hughes, Rev. John. 
 
 Hughes, Thomas. 
 Z84 
 
MUSICAL FUND SOCIETY 
 
 Hugner, Charles V. 
 Humphreys, Sterne. 
 Hunneker, John. 
 Hupfeld, Chas. F,, Director. 
 Hupfeld, John. 
 Hurley, Michael, D.D. 
 Hurst, Edward J. 
 Hutchinson, Randall. 
 
 Innis, F. B. 
 Ivanoff, Theodore. 
 Izard, Alicie. 
 Izard, Gen. George. 
 Izard, Ralph. 
 
 Jackson, Samuel, M.D. 
 James, J. 
 
 James, Thomas C, Man- 
 ager. 
 Jandon, Samuel. 
 Jankie, John W. 
 Jarvis, Charles. 
 Jenke. 
 
 Jenks, Watson. 
 Jennings, John. 
 Jewell, John B., Jr. 
 Jewell, Leonard. 
 Johnson, Miss Jane. 
 Johnson, S. R. 
 Johnson, W. A. 
 Johnson, Walter R. 
 Johnston, Joseph S. 
 Jones, George B. 
 Jones, George F., Manager. 
 Jones, Horatio. 
 
 Jones, John T. 
 Jones, Joseph. 
 Jones, Thomas C. 
 Jones, William J. 
 Jordan, John, Jr. 
 Jordan, Thomas. 
 
 Kane, John K., Manager, 
 Director, Counsellor ; 
 Secretary, 1820-21 ; Vice- 
 President, 1829-34, 1838- 
 50; President, 1854-56. 
 
 Kane, Mrs. John K. 
 
 Kane, Thomas L., Coun- 
 sellor, Manager. 
 
 Karsten, John H., M.D. 
 
 Kay, James, Jr., Manager. 
 
 Kayser, John C. 
 
 Kayser, John G., M.D. 
 
 Keating, John, Jr., Man- 
 ager, Counsellor. 
 
 Keating,WilliamH.,M.D., 
 Vice-President, 1834-36. 
 
 Keating, William H., Jr., 
 Counsellor. 
 
 Keen, Charles. 
 
 Kellner, August. 
 
 Kelly, Miss. 
 
 Kennedy, Isaac P. 
 
 Kester, George. 
 
 Keyser, Elhanan W., Di- 
 rector, Manager ; Vice- 
 President, 1853-54, 1856- 
 60. 
 
 Kid, Robert C. 
 
 185 
 
MUSIC IN PHILADELPHIA 
 
 King, John. 
 
 Kingston, Stephen. 
 
 Kittera, Thomas, Counsel- 
 lor. 
 
 Klemm, F. A. 
 
 Klemm, John George, Di 
 rector. 
 
 Kneass, William. 
 
 Knox, J. A. 
 
 Koecker, Leonard. 
 
 Koppetz, M. C. 
 
 Korkhaus, Andrew. 
 
 Korndofer, A. 
 
 Krollman. 
 
 Krumbhaar, Lewis, Jr. 
 
 Krumbhaar, William. 
 
 Krumbhaar, William, Jr. 
 
 Kugler, Lewis. 
 
 Kuhl, Henry. 
 
 Kuhn, Charles, Manager. 
 
 Kuhn, Chas., Jr., Man 
 ager. 
 
 Kuhn, Hartman. 
 
 Kuhn, Hartman, Jr. 
 
 Labb6, C. F. 
 
 Lafitte, John L., Director. 
 
 La Forgne, Miss Eliza. 
 
 Laguerrenne, P. L. 
 
 Lajus, Paul. 
 
 Lammot, Daniel, Treas 
 
 urer, 1820. 
 Lancaster, J. B. 
 Lancaster, Thomas. 
 Lapsley, J. B. 
 
 La Roche, Ren6, Jr., M.D., 
 
 Physician, Director. 
 La Roche, Mrs. Ren6. 
 Lasalle, Stephen B. 
 Latimer, James. 
 ■ Laval, Mrs. John. 
 Lawrence, William P. 
 Lee, Isaac, Manager. 
 Learning, Thomas F. 
 Le Brun, N., Manager. 
 Leedom, J. J. 
 Le FoUe, J., Director. 
 Lehman, E. M. 
 Lehman, George S. 
 Lehman, Sylvanus. 
 Lehman, William. 
 Leiper, Miss A. G. 
 Lennard, Wm. J. 
 Lennig, Nicholas. 
 Leonard, James. 
 
 - Le Roy, J. B. 
 Leslie, Charles M. F. 
 Levan, W. 
 Levering, Charles H. 
 Levering, Edward. 
 Levering, Joseph S. 
 Levy, E. S. 
 
 Lewis, David, Jr. 
 Lewis, George. 
 Lewis, George T. 
 
 - Lewis, J. L. 
 Lewis, John T. 
 Lewis, Lewis. 
 Lewis, Mordecai D. 
 Lewis, Richard A. 
 
 186 
 
MUSICAL FUND SOCIETY 
 
 Lewis, S. W. 
 Lewis, Wm. D., Manager 
 Lewis, W. J. 
 Lex, Charles E., Direc- 
 tor. 
 Lex, Jacob, Manager. 
 Lex, Jacob H. 
 Linn, John H. 
 Linnard, J. M. 
 Linnard, Thomas M. 
 Lippincott, 'William. 
 Littell, E. 
 Littell, John. 
 Littell, S., M.D. 
 Lohman, J. 
 Long, Major S. H. 
 Longstreth, C. S. 
 Lorich, Major L. 
 Loud, John. 
 Loud, Philologus. 
 Loud, Thomas, Director. 
 Lovering, Joseph S. 
 Lowber, Edward, M.D. 
 Lowber, John C. 
 Lowber, William T. 
 Lloyd, Samuel. 
 Luke, William. 
 Lukens, Isaiah. 
 Lukens, Israel. 
 Lybrand, P. S. 
 Lynch, William, Jr. 
 Lynd, James. 
 
 Mackey, C. C. 
 Mactier, Wm. L. 
 
 Madeira, Louis C, Man- 
 ager; Secretary, 1856-58. 
 
 Maitland, Peter J. 
 - Mallet, F. D. 
 
 Mange, Samuel. 
 
 Manning, Thomas. 
 
 Manuel, E. 
 
 Marchmant, H. 
 
 Markoe, James. 
 
 Markoe, Mrs. John. 
 
 Marks, Hyman. 
 
 Maris, Richard, M.D. 
 
 Maris, Thomas R. 
 
 Marsh, ^A^illiam. 
 
 Marshall, Gilbert. 
 
 Martel, Charles. 
 
 Martien, J. W. 
 
 Martien, W^illiam S. 
 
 Martin, George. 
 
 Martin, John B. 
 
 Marx, J. P. 
 
 Matthews, Mrs. Alecia. 
 
 Mayer, F. W. 
 
 Mayer, Rev. Philip. 
 
 Mayers, M. 
 
 McClellan, George, M.D. 
 
 McCready, J., M.D. 
 
 McCull, Henry, Counsel- 
 lor. 
 
 McEwen, Charles. 
 
 McFarland, James B. 
 
 McGinley, D. B. 
 
 McGowden, John. 
 
 McGowen, J. 
 
 Mcllhenney, J. E. 
 187 
 
MUSIC IN PHILADELPHIA 
 
 Mcllhenney, William J. 
 Director, Manager; Sec- 
 retary, 1821-22. 
 
 Mcllvaine, Bloomfield. 
 
 Mcllvaine, William. 
 
 McKean, Miss Mary. 
 
 McKinley, E. 
 
 McLane, Allan. 
 
 McLeod, Mrs. Isabella. 
 
 McMain, J. W. 
 
 McMurtrie, James. 
 
 McPherson, E. M. 
 
 Meade, Miss Henrietta. 
 
 Meade, Richard W. 
 
 Meade, Mrs. Richard W. 
 
 Meignen, Leopold, Direc 
 tor. 
 
 Meigs, Charles, M.D. 
 
 Melizet, J. M. 
 
 Meredith, William. 
 
 Merrick, John. 
 
 Merrick, Samuel V., Man 
 ager. 
 
 Messchert, H., Jr. 
 
 Messchert, M. H. 
 
 Mifflin, Benjamin. 
 
 Mifflin, Charles, M.D. 
 
 Miles, James. 
 
 Millard, James. 
 
 Miller, A. J. 
 
 Miller, Clement S. 
 
 Miller, D. S. 
 
 Miller, John J. 
 
 Miller, T. George, 
 
 Milnor, J. R. 
 
 , Milnor, Robert. 
 
 - Milnor, Thomas. 
 Mintzer, Charles A. 
 Mitchell, John K., M.D. 
 Mitcheson, D. W. 
 Montelius, William., Man- 
 ager. 
 
 Montgomery, John C, 
 
 Manager. 
 Moore, Marmaduke. 
 Moore, W. 
 Morgan, Thomas W. 
 Morris, Caspar W. 
 Morris, Robert. 
 Morrison, George. 
 
 - Morrison, William M. 
 Morse, Henry. 
 Mortimer, John. 
 Morton, George, M.D. 
 Morton, Samuel G., M.D. 
 Moses, Isaac. 
 
 - Moss, E. L. 
 Moss, John. 
 Muhlenberg, Rev. A. 
 Muhlenberg, Frederick A. 
 Muller, Augfustus. 
 MuUer, M. 
 
 Mumford, C. F. 
 Murray, James W. 
 Musser, Anna S. 
 Miitter, Thomas D., M.D., 
 
 Physician. 
 Myerle, David. 
 Myers, William. 
 
 x88 
 
MUSICAL FUND SOCIETY 
 
 Nathans, Nathan. 
 
 Negus, James. 
 
 Neill, John, M.D., Physi- 
 cian. 
 
 Nevins, James. 
 
 Nevins, J. West, Man- 
 ager. 
 
 Nevins, Richard. 
 
 Nevins, Samuel. 
 
 Newbold, John L. 
 
 Newman, Thomas. 
 
 Nicholas, Charles J., Direc- 
 tor. 
 
 Nichols, A. St. Clair. 
 
 Nicklin, Philip H. 
 
 Nidelet, Stephen F. 
 
 Norris, Isaac. 
 
 Norris, Joseph P., Jr. 
 
 Norris, William., Jr., Di- 
 rector. 
 
 Norwell, John. 
 
 Notman, John. 
 
 Nowell, James. 
 
 Nulty, E. 
 
 Nunes, John F. 
 
 Oldmixon, William H. 
 O'Neill, John. 
 Otis, Bass. 
 Otto, Jacob. 
 Otto, Janet. 
 
 Page, James. 
 Palacio, J. 
 Palmer, Charles C. 
 
 Palmer, Thomas H., Direc- 
 tor. 
 
 Pancoast, Miss M. 
 
 Parke, Miss Hannah. 
 
 Parke, James P. 
 
 Parsons, John G. 
 
 Patton, John C. 
 
 Patrallo, Nicholas. 
 
 Patrallo, Mrs. N. 
 
 Patterson, James V., M.D. 
 
 Patterson, Dr. Robert M., 
 Vice-President, 1820-29, 
 1836-38 ; President, 183a- 
 
 53- 
 
 Patterson, Mrs. Robert M. 
 
 Patterson, Robert, Man- 
 ager. 
 
 Patterson, Robert L. 
 
 Patterson, W. O. 
 
 Paxon, J. R. 
 
 Pchellas, John F. 
 
 Peabody, George F. 
 
 Peace, Joseph, M.D., Phy- 
 sician. 
 
 Peacock, Gibson. 
 
 Peale, Franklin, Director. 
 
 Peale, Titian. 
 
 Pearson, Henry B. 
 
 Pechin, John C. 
 
 Peddle, W. A. 
 
 Peixoto, A. C. 
 
 Peneveyre, Charles. 
 
 Pennington, John. 
 
 Percival, Thomas C, Man- 
 ager. 
 i8g 
 
MUSIC IN PHILADELPHIA 
 
 Perdriaux, H. 
 Perdriaux, Peter, Director, 
 Perics, Adolphus. 
 Perkins, S. H. 
 Perrelli, Natalie. 
 Perrine, F. 
 Perring, L. 
 Perris, E. H. 
 Persico, Jean. 
 Peters, Richard, Jr. 
 Phillips, Mrs. Isaac. 
 Phillips, J. 
 Phillips, John S. 
 Phillips, Miss S. 
 Pierie, J. G. 
 Pierie, W. S. 
 Piers, G. R. 
 Pleasanton, Augustus. 
 Pleasants, Samuel. 
 Plitt, George. 
 Pohl, Paul. 
 Pollard, A., Jr. 
 Pollock, W. N. 
 Poole, A. R. 
 Potter, Sheldon. 
 Potts, Rev. George C. 
 Potts, Percival M. 
 Poulson, Charles A., Man- 
 ager. 
 Poulson, Mrs. Charles A. 
 Poultney, Charles W. 
 Poval, Richard, M.D. 
 Powell, George. 
 Preiser, J. B. 
 Prevost, Henry M. 
 
 Price, John M. 
 Pringle, Miss Mary. 
 Prinzet, S. D. 
 Prud'homme, D. F, 
 Purry, Rowland. 
 
 Rainhard, John. 
 
 Ralston, Ashbel. 
 
 Ralston, Gerard, Manager. 
 
 Randall, Josiah. 
 
 Randolph, E. 
 
 Randolph, William. 
 
 Read, James, Jr., Man- 
 ager. 
 
 Read, John M. 
 
 Read, William B. 
 
 Redwood, William. 
 
 Reed. 
 
 Reese, Jacob. 
 
 Reeve, Mark M., M.D., 
 Physician. 
 
 Reeves, Thomas. 
 
 Rehn, Casper. 
 
 Rehn, G. T. 
 
 Reinhart, Adolph, Director. 
 
 Remington, Clement. 
 
 Rice, Rev. John. 
 • Richards, Benjamin W. 
 
 Richards, Mark, Manager. 
 
 Richards, Thomas S 
 
 Richardson, W. C. 
 
 Riehle, John. 
 
 Rielly, Captain Thomas. 
 
 Rinch, Francis. 
 
 Rinch, Louis. 
 I go 
 
MUSICAL FUND SOCIETY 
 
 Ritter, Abraham, Director, 
 Manager. 
 
 Ritter, A., Jr. 
 
 Ritter, G. W. 
 
 Ritter, Jacob. 
 
 Robb, Samuel. 
 
 Robbins, S. J., Manager. 
 
 Roberts, Charles F. 
 
 Roberts, Edward. 
 
 Roberts, Thomas P., Man- 
 ager. 
 
 Rockhill, A. C. 
 
 Roellig, M. 
 
 Rogers, Judge M. C. 
 
 Roppe, C. A. 
 
 Rosengarten, George D. 
 
 Rubicam, J. 
 
 Ruddach, D. J. 
 
 Rudiman, W. C, Jr. 
 
 Rudolph, C. F. 
 
 Rundle, Miss Frances. 
 
 Rundle, George, Manager. 
 
 Runkle, Theo. 
 
 Rush, James, M.D., Physi- 
 cian. 
 
 Rush, William, M.D. 
 
 Russell, J. S. 
 
 Ryan, L. 
 
 Samuel, David. 
 Sanderson, Joseph M. 
 Sandford, John W. 
 Sanford, John W. 
 Sarrazin, Mrs. Lucretia. 
 Savage, John. 
 
 Say, Benjamin, Manager. 
 
 Schaffer, W. L. 
 
 Scherer, L. 
 
 Scherr, E. N. 
 
 Schetky, Miss Caroline. 
 
 Schetky, George, Manager, 
 Director. 
 
 Schively, Henry. 
 
 Schmidt, V. A. 
 
 Schmitz, Adolph, Direc- 
 tor. 
 
 Seixas, A. 
 
 Sergeant, David. 
 
 Sellers, Charles. 
 
 Sellers, George E. 
 
 Shackeford, Mrs. Maria. 
 
 Shackelford, A. H. 
 
 Shaffer, G. S. 
 
 Sharpe, H. J. 
 
 Shaw, W. H. 
 
 Shaw, William, M.D. 
 
 Sheaff, H. W. 
 
 Sheepshanks, Miss Caro- 
 line. 
 
 Shewell, L. D. 
 
 Shivers, Thomas. 
 
 Short, William. 
 
 Shull, John B. 
 
 Sidebotham, John. 
 
 Simmons, Samuel. 
 
 Simpson, Henry. 
 
 Sinis, Robert. 
 
 Siter, John, Jr. 
 
 Skerrett, David C, M.D., 
 Physician. 
 91 
 
MUSIC IN PHILADELPHIA 
 
 Skerrett, James J., Man- 
 ager. 
 
 Skinner, Rev. Thomas H. 
 
 Slaymaker, Stephen C. 
 
 Small, Robert H. 
 
 Smith, Aaron. 
 
 Smith, B. S., M.D. 
 
 Smith, Charles. 
 
 Smith, Charles S. 
 
 Smith, Francis Gurney, 
 Manager, Treasurer, 
 
 1820-64. 
 
 Smith, Mrs. F. G. 
 
 Smith, Francis Gurney, 
 M.D., Physician, 1820- 
 64. 
 
 Smith, Gurney. 
 
 Smith, G. Washington, 
 Manager. 
 
 Smith, Harrison. 
 
 Smith, James D, 
 
 Smith, Jesse. 
 
 Smith, Richard S., Man- 
 ager. 
 
 Smith, Robert, Manager. 
 
 Smith, Mrs. R. S. 
 
 Smith, S. Decatur, Man- 
 ager, Director. 
 
 Smith, William. 
 
 Smith, W. H. 
 
 Smith, William P. 
 
 Smith, William S., Man- 
 ager, Director. 
 
 Smith, William Sydney. 
 
 Smith, William T. 
 
 Snelling, J. B. 
 Snider, Jacob. 
 Snowden, Dr. Isaac. 
 Snowden, J. Ross. 
 Solomon, Henry. 
 Souder, E. A. 
 South, George W, 
 Sparks, Thomas. 
 Spencer, Asa. 
 Sperry, Miss Maria. 
 Stacey, David B. 
 Stanbury, A. P. 
 Standbridge, A. T. 
 Standbridge, J. C. B,, Direc- 
 
 tor. 
 Stanley, Norris. 
 Starr, Isaac. 
 Steele, Albert W. 
 Steele, John. 
 Steele, John, Jr. 
 Stellwagon, Charles. 
 Stephenson, Rowland. 
 Stevenson, William W. 
 Stewart, Thomas. 
 Stewart, William H. 
 Stiles, Thomas. 
 Stille, Benjamin. 
 Stockman, Jacob. 
 Stockton, S. A. 
 Stoll, William. 
 Stolte, C. F., Director. 
 Stone, Asaph. 
 Stone, C. H. 
 Stone, J. 
 Stratton, W. A. 
 
 192 
 
MUSICAL FUND SOCIETY 
 
 Strickland, William, Man- 
 ager. 
 
 Strickland, Mrs. William. 
 
 Stroup, William T. 
 
 Struthers, John. 
 
 Stutgard, Isaac. 
 
 Sulger, Miss Margaret. 
 
 Sullivan, John T. S., Direc- 
 tor, Counsellor. 
 
 Sully, Thomas, Director. 
 
 Swaberg, J. W. 
 
 Swaim, James. 
 
 Swift, John. 
 
 Sykes, Robert W. 
 
 Sylvester, N. 
 
 Taitt, Samuel. 
 Taitt, W. 
 Tanner, Henry S. 
 Tatem, Miss Emily A. 
 Taws, Miss Henrietta. 
 Taws, John. 
 
 Taws, Joseph C, Director. 
 Taylor, George M., Direc- 
 tor. 
 Taylor, Rajmor, Director. 
 Taylor, Robert. 
 Tesseire, Anthony. 
 Thackara, William. 
 Thackara, William W. 
 Thein, Christopher. 
 Thomas, Joseph M. 
 Thomas, Moses. 
 Thomas, Samuel H. 
 Thompson, A. W. 
 
 m 193 
 
 Thompson, W. E. 
 Thorbecke, Herman. 
 Throckmorton, E. 
 Tiers, T. B. 
 Tilghman, Benjamin. 
 Tilghman, B. 
 Tingley, B. W. 
 Togno, Joseph, M.D. 
 Toland, Henry. 
 Toland, Robert. 
 Tolbert, John. 
 Torrey, S. 
 Towne, John H. 
 Townsend, John K. 
 Traquair, Adam. 
 Trautwine, J. A. C. 
 Treichel, Charles. 
 Trevor, Miss. 
 Trevor, John B. 
 Troutman, L. M. 
 Trucson, George E. 
 Tschirner, L. A. 
 Tucker, George. 
 Tunis, Robert R. 
 
 Uhlman, J. 
 
 Underwood, Thomas, Man- 
 ager. 
 
 Vanderkemp, J. J. 
 Vansyckle, P. S. 
 Vaughn, John. 
 Verou, Thomas. 
 Vezin, Charles. 
 Vezin, Charles. 
 
MUSIC IN PHILADELPHIA 
 
 Viereck, J. C. 
 Vinton, C. A. 
 
 Wagner, John. 
 Wagner, James D. 
 Wainwright, J. 
 Waldron, N. 
 Walker, Joseph. 
 Walker, E. L. 
 Walkins, Charles. 
 Wallace, J. W. 
 Walmsley, William D. 
 Walmsley, Wm. Mason, 
 
 Manager. 
 Wain, Lewis. 
 Walters, A. G. 
 Warder, John R. 
 Ware, Lewis S. 
 Waterman, E. 
 Waterman, Isaac S. 
 Watmough, E. C. 
 Watson, Charles C. 
 Watson, Francis. 
 Watson, Henry R. 
 Weaver, George. 
 Webb, L. W. 
 Webb, W. H. 
 ^A^ebste^, Thomas, Jr. 
 Weiland, F. 
 W^eisse, John D. 
 Welch, Joseph. 
 Welford, Robert. 
 Welsh, John R. 
 W^elsh, Samuel. 
 Wetherill, Christopher. 
 
 W^etherill, John P. 
 Whale, Henry. 
 Wharton, Francis R. 
 Wharton, John. 
 Wharton, Thomas J. 
 Wheeler, John. 
 Whelen, Townsend. 
 White, Britain. 
 White, David. 
 White, Henry R. 
 White, John. 
 Whitesides, William. 
 Wilcocks, Alex., M.D., 
 
 Physician. 
 Wilcox, Edmund. 
 Wilhelm, Frederick. 
 Wilkinson, George. 
 W^ilks, Benjamin G. S. 
 Williamson, Michael. 
 Willig, George. 
 Willing, Mrs. Augusta. 
 Willing, George C. 
 Wilmer, John R. 
 Wilmer, J. Ringold. 
 Wiltberger, Theo. N. 
 Winner, Septimus. 
 Wistar, Richard. 
 Wistar, Mrs. Richard. 
 Woglam, P. 
 Wolfe, Aaron. 
 Wolfe, J. K. 
 Wolle, Rev. Peter. 
 Wolsieffer, P. M. 
 Womrath, George F. 
 Wood, Joseph. 
 94 
 
MUSICAL FUND SOCIETY 
 
 Wood, Richard C. 
 Woodward, J. S. 
 Woodward, W. H, 
 Woolworth, Robert. 
 Worley, F. 
 Worrell, Albert. 
 Worrell, J. 
 Worrell, J. C. 
 Worrell, Joseph. 
 
 Wright, Charles. 
 Wright, John B. 
 Wright, J. M. 
 Wright, Jonathan M., Di- 
 rector. 
 Wright, Thomas A. 
 Wylie, Rev. S. B, 
 
 Zantzinger, George. 
 
 195 
 
INDEX 
 
 Academy of Fine Arts, io6. 
 Academy of Music, 162. 
 Acis and Galatea, Serenata, 
 
 by Handel, 91. 
 Adams, John, 24, 25. 
 Alboni, 160. 
 Amodio, 170, 173. 
 Antognini, Cerillo, 151, 153. 
 Art6t, 150. 
 
 Astley, Thomas, 59, 63. 
 Athenian Institute, 119- 
 
 121. 
 Austin, Mrs., 127, 139. 
 
 Bach, 98. 
 
 Badiale, Cesare, 167. 
 
 Baptists, 24. 
 
 Bazaar, for the benefit of 
 the Musical Fund So- 
 ciety, 157-160. 
 
 Beethoven, 57, 68, 73, 98, 
 104, 109, 130, 144, 152, 
 153, 154, 155, 168. 
 
 Billings, W., 36. 
 
 Binney, Horace, 118. 
 
 Bishop, Madame, 159. 
 
 Bishop, Sir Henry, 73, 80, 
 104. 
 
 Bishop White, 19-21, 118, 
 
 Boccherini, 57, 98, 104. 
 
 Boieldieu, 103. 
 
 Bradford's " Pennsylvania 
 Journal," 29, 31. 
 
 Braham, John, 137, 140. 
 
 Brenan, M. E., 60, 63. 
 
 Brignoli, 160, 170, 172. 
 
 British Officers under Gen- 
 eral Howe in Philadel- 
 phia, 33- 
 
 Brown, David Paul, iig. 
 
 Bull, Ole, 148, X49, 151. 
 
 Burke, Mrs., 79, 80. 
 
 Bush Hill, 38. 
 
 Campbell, George, 165, 174. 
 Caradori Allen, Madame, 
 
 109, 138, 139. 
 Carpenters' Court, 63, 67, 
 
 69, 80, 82. 
 Carpenters' Hall, 63, 91. 
 Carpenters' Society, 75. 
 Carr, Benjamin, 22, 42, 49, 
 
 50, 52, 58, 59, 60, 62, 71, 
 
 72, 76, 83, 87, 107, 112, 
 
 124. 
 Carr, Thomas, 56. 
 
 197 
 
INDEX 
 
 Casella, 150. 
 
 Castellan, Madame, 150. 
 
 Cherubini, gS, 146. 
 
 Chopin, 155, 161. 
 
 Christ Church, 18, 19. 
 
 dementi, 98. 
 
 College of Philadelphia, 
 
 30, 31- 
 Composers, Early, 36. 
 Continental Congress, 32, 
 
 33- 
 Cross, Benjamin, 59, 60, 83, 
 
 106, 124, 173. 
 Cross, Benjamin C, 139. 
 " Creation," by Haydn, 
 
 56, 68, 78, 79, 81, 82, 84, 
 87, 91, 103, 104, 144, 146, 
 162. 
 
 " Daily Advertiser," Poul- 
 
 son's, 109. 
 Damoureau, Madame Cin- 
 
 ti, 150. 
 Darley, J. C, 50, 54. 
 Darley, John, 38, 
 Dempster, 159. 
 Dettingen Te Deum, by 
 
 Handel, 91, 95, 96, 97. 
 De Wees, Dr. Wm. P., 
 
 57, 58, 59. 67, 76. 
 Donizetti, 154. 
 Duponceau, Peter S., 57. 
 
 Eckert, Carl, 167. 
 Elliott's Hotel, 67. 
 
 Elsler, Fanny, 149. 
 Episcopal Church, 18-21 
 
 Feron, Madame, 127. 
 Fisher, Joseph, 58, 
 Franklin, Benjamin, 48, 49. 
 Franklin's " Pennsylvania 
 
 Gazette," 29. 
 French, Mrs., 80, 83, 84, 86. 
 Friends' Yearly Meeting in 
 
 1716, 17. 
 Furness, Rev. Wm. H., 
 
 120, 121. 
 
 Gallatin, 114. 
 
 Gallupi, 98. 
 
 Garcia Opera Troupe, 108. 
 
 German Musical Societies, 
 
 166, 
 Germania Orchestra, 161, 
 
 167. 
 Gilles, P., 57, 58, 60, 63, 71, 
 
 80, 83. 
 Gillingham, George, 39, 43, 
 
 68. 
 Glossop, Mrs., 126. 
 Gluck, 105, 108, 146. 
 Gottschalk, 160, 161, 170. 
 Grisi, 160, 170, 171. 
 
 Handel, 41 (see " Mes- 
 siah"), 52, 80, 87, 91, 95, 
 97. 98, 103, 105, 137- 
 
 Handel and Haydn So- 
 ciety, 68, 79, 127. 
 
 198 
 
INDEX 
 
 Hallam Company of Eng- Jarvis, Charles, 124. 
 
 lish actors, 27-30, 32, 34- Jarvis, Charles H., 124. 
 
 35. Jaynes' Hall, 162. 
 
 Hallam, Lewis, 27-30. Jefferson, Elizabeth, 103, 
 
 Handelian Society, 55. 105. 
 
 Harmonica, or Musical Johnson's Band, 44, 45. 
 
 Glasses, 48. Julien, i66, 167. 
 Harmonic Society, 54, 55. 
 
 Harpsichord, 46. Kane, John K., 57, 58, 59, 
 
 Harrowgate Garden, 38. 64-66, 143, 173. 
 
 Haydn (see " Creation"), Keyser, Elhanan W., 174. 
 
 37. 42, 57. 79. 81, 82, 83, Klemm, J. G., 83. 
 
 89, 98, 103, 104, 108, 144, Koecker, Leonard, 57. 
 
 153- 
 
 Hensler, 160, 170, 171, 173. Lafayette, 43, 45, 46; Sec- 
 
 Herz, Henri, 155, 161. ond Visit, 105. 
 
 Hommann, John C, 58, Lagrange, 160, 170, 172, 
 
 60, 76, 107; John, 58; 173. 
 
 Charles, 58, 76. Lammot, Daniel, 59, 64. 
 
 Horn, C. E., 126. Le Brun, 157. 
 
 Howard, James, 131. Le Roy, 107. 
 
 Hunt, Leigh, 48, 49. Lind, 160, 164, 168, i6g, 
 
 Hupfeld, Charles P., 43, 170. 
 
 49, 50. 51. 57. 58, 59. 60, Liszt, 155. 
 
 63, 71, 80, 83, 85, 106, London Musical Fund 
 
 154. Society, 61. 
 
 Hupfeld, John, 57, 58. Longfellow, 171. 
 
 Loud, Thomas, 47, 48, 51, 
 
 Independent Harmonic 58, 63, 71, 83, 107. 
 
 Society, 55. Lutheran : St. John's Eng- 
 
 Instruments, Musical, 46- lish Lutheran Church, 
 
 49, 84, 85. 55. 
 Irving, Washington, 129. 
 
 Italian School, 103, 146, Madeira, Louis C. (see 
 
 147. Preface), 148, 166. 
 199 
 
INDEX 
 
 Malibran, 107-109, 128, 170. 66 ; Purpose, 62 ; Pro- 
 Maretzek's Opera House, gramme of First Con- 
 
 i6g. cert, 70 ; Orchestra, 102, 
 
 Mario, 160, 170, 171. 104, 144, 146, 148, 152, 
 
 Marshall, Chief - Justice, 153, 154, 155; the "Acad- 
 
 114, 118. emy," 104-107, 110-112, 
 
 Martini, 37. 143, 145. 
 
 Mehul, 76, 103, 146. 
 
 Meignen, L., 154. National Amphitheatre, 
 Mendelssohn, gg, 155. 168. 
 
 Mercantile Library Asso- " National Gazette," 141. 
 
 ciation. Course of Lee- Norma, 130. 
 
 tures, 120, 121. 
 
 ♦' Messiah," by Handel, Oldmixon, Mrs., 41 ; Sir 
 
 36, 40, 42, 56, log. John, 41. 
 
 Methodists, 25. 
 
 Meyer, Leopold De, 154. Paer, 80, 104. 
 
 Meyerbeer, 154. Paganini, 149, 150, 151. 
 
 Moravians, 24, 25, 78, 79, Paine, Thomas, 4g. 
 
 84. Palestrina, g8. 
 
 Morelli, 172, 173. Patterson, Dr. Robert W., 
 Mozart, 57, 80, 8g, 95, g8, 57, 58, 59, 87. 
 
 108, 139, 140, 144, 146, Philadelphia, Musical 
 
 153- Outlook, 174, 175. 
 
 Music Stores, 43, 49, 80, 81. Piano-forte, Manufacture, 
 Musical Fund Hall : Erec- 46-48. 
 
 tion, 93-101; Lectures by Pico, Rosina, 151, 153. 
 
 Famous Men, 120-122; Plays, Early Performances, 
 
 Orations and Political 26-30, 32-40. 
 
 Meetings, 113-119; En- Plumstead's Warehouse, 
 
 largement, 157-160. 26. 
 
 Musical Fund Society : Poole, Elizabeth, i3g, 140. 
 
 Officers elected at First Poulson, Charles C, 57-5g. 
 
 Meeting, sg ; List of " Poulson's Daily Adver- 
 
 Original Members, 60, tiser," 85. 
 200 
 
INDEX 
 
 Power, Tyrone, 127, 128, 
 
 Presbyterian Church, 22, 
 23 ; Second Presbyterian 
 Church, 54 ; Fifth Pres- 
 byterian Church, 55, 93. 
 
 " President," the Ship 
 Lost at Sea, 129. 
 
 Purcell, 97, 98. 
 
 Quakers, 18, 122. 
 
 Rawle, 119. 
 
 Reformed German Church, 
 
 36. 
 Reinagle, Alexander, 52. 
 Reis, 98. 
 Roman Catholic Church, 
 
 21, 22, 25. 
 Romberg, 71, 98. 
 Rovere, 172. 
 Rossi, 160. 
 Rossini, 72, 90, 108, 150, 
 
 172. 
 Russell, Henry, 131-138, 
 
 150. 
 
 Sanguirico, 150, 153. 
 St. Andrew's Church, 91. 
 St. Augustine's Church, 56. 
 St. Cecilia Society, 56. 
 St. Joseph's Roman Catho- 
 lic Church, 21, 22. 
 St. Peter's Church, 50, 51, 
 
 52, 94- 
 St. Stephen's Church, 91. 
 
 Schetky, George, 49, 58, 59, 
 60, 63, 69, 71, 76, 87, 123, 
 124. 
 
 Schmitz, 107. 
 
 Schumann, 99, 151. 
 
 " Seasons," 146. 
 
 Seguin, Edward and Anne, 
 139, 140. 
 
 Sergeant, John, 115. 
 
 Shireff, Jane, 139. 
 
 Sivori, 151. 
 
 Smith, Francis G., 68. 
 
 Societies : Various Early 
 Singing Societies, 54-56. 
 
 Sonnambula, 129, 131, 167, 
 168. 
 
 Sontag, 160, 165 ; her Re- 
 ception, 165-168, 170. 
 
 Strickland, William, 50, 59, 
 94, 99. 
 
 Sully, Thomas, 53, 60, 95. 
 
 Symphony, First Per- 
 formance in Philadel- 
 phia, 144, 145. 
 
 Taylor, Raynor, 43, 49, 51, 
 52, 60. 
 
 Theatre, Chestnut Street, 
 39, 41, 43. 45; New, in 
 Water Street, 29; New, 
 on Society Hill, 30 ; 
 '• Northern Liberties," 
 38 ; " Old South," or 
 " Southwark," 30, , 32, 
 34, 37- 
 
INDEX 
 
 Union Harmonic Society, 
 
 55- 
 
 "United States Gazette," 
 log, iig. 
 
 University of Pennsyl- 
 vania, 41, 52, 54, 91, 116, 
 117. 
 
 Uranian Society, 54. 
 
 Vauxhall Garden, 43. 
 Viardot, 170. 
 Vieuxtemps, 150, 151, 154. 
 
 Wallace, W. V., 150. 
 Washington, George, 22,' 
 
 36, 37. 38. 
 Washington Hall, 69, 70, 
 
 79, 81, 83, 84, 88, 92, 100. 
 Weber, 109, 131, 155, 167. 
 Webster, Daniel, 169. 
 Weisse, J. D., 76, 84, 85. 
 Willis, Nathaniel P., 171. 
 Wood, Mr. and Mrs., 129- 
 
 131. 139. 
 
THE DEATH ROLL 
 
 CHAR1.ES F. HEATOX. 
 ■!a the infirmities of advanced years 
 .?s F. Heaton, superintendent of Mu- 
 Fund Hall, died at his home, 810 
 st St., early yesterday morning. His 
 h had been ebbing rapidly for the 
 vear, but up to -within an hour of his 
 ; he was in full possession of his 
 il factulties. Funeral services will 
 id at the house to-morrow afternoon 
 o'clock, interment will be made at 
 1 Hill Cemetery. 
 
 iueaton was widely known in Ma- 
 and theatrical circles of the last 
 ■ ation. He was a member of Phoenix 
 . .j,;<?, No. 130, F. and A. M.; Harmony 
 K. A. Chapter, No. 52; Mary Commandery. 
 No. 36. K. T.; Lu Lu Temple, A. A. O. 
 "' 1\T. S., and Franklin Lodge, No. 4, 
 OF. He was born seventy-five j'ears 
 a the Old district of -Cohocksink. In 
 t ; ij life he learned the trade of a ma- 
 chinist in the establishment of R. P. Mor- 
 r!=^. Subsequently he became an engineer 
 'iii United States Mint, in this city, a 
 :oii which he resigned on the break- 
 uit of the war to enlist in Colonel 
 s regiment. On being mustered out 
 ' completion of his three months' ser- 
 Mr. Heaton was unable to regain his 
 •on in the Mint. Shortly afterward 
 IS tendered by John Drew, then man- 
 iff the Arch St. Theatre, the position 
 lorkeeper, which \vas in those days 
 •h more responsible place than now. 
 'leaton remained some years at the 
 bt. Theatre, then in the heyday of its 
 i-rity, and during this time formed 
 •qualntance of nearly all the leading 
 s of the day. He was subsequently 
 eeper at the old Continental Theatre, 
 it the Walnut St. Theatre when the 
 r was under the management of 
 las Hemphill. 
 
 withdrew from his position at the 
 iut St. Theatre about the year 1880 
 
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