EXCHANGE 
 
PUBLICATIONS 
 OF THE 
 
 UNIVERSITY OF PENNSYLVANIA 
 
 AMERICANA GERMANICA 
 
 NEW SERIES 
 
 MONOGRAPHS DEVOTED TO THE COMPARATIVE 
 STUDY OP THE 
 
 Literary, Linguistic and Other Cultural Relations 
 
 OF 
 
 Germany and America 
 
 OFFICIAL PUBLICATION 
 
 OF THE 
 
 INSTITUTION OF GERMAN AMERICAN RESEARCH 
 
 MARION DEXTER LEARNED, DIRECTOR 
 University of Pennsylvania 
 
AMERICANA GERMANICA 
 
 NEW SERIES 
 
 1. Translations of German Poetry in American 
 
 Magazines 1741-1810. By Edward Ziegler 
 Davis, Ph. D. 5 p. 1., 229 pp. Price. . . $1 .65 
 
 2. The Harmony Society. A Chapter in Ger 
 
 man American Culture History. By 
 John Archibald Bole, Ph. D. 3 p. p., 
 176 pp. 30 Illustrations. Price $1 .50 
 
 3. Friedrich Schiller in America. A Contribu 
 
 tion to the Literature of the Poet s 
 Centenary, 1905. By Ellwood Comly 
 Parry, Ph. D. 1 p. p., 116 pp. Price. . $1 .25 
 
 4. The Influencs of Salomon Gessner Upon 
 
 English Literature. By Bertha Reed. 
 
 1 p. p., 118 pp. Price $1 .25 
 
 5. The German Settlement Society of Philadel 
 
 phia and its Colony, Hermann, Missouri. 
 
 By William G. Bek P.p. xi, 182pp. Price $1.50 
 
 6. Philipp Waldeck s Diary of the American 
 
 Revolution. With Introduction and Pho 
 tographic Reproductions. By M. D. 
 Learned. 168 pp. Price $1 . 50 
 
 7. Schwenkj elder Hymnology and the Souces 
 
 of the First Schwankfelder Hymn-Book 
 Printed in America. With Photographic 
 Reproductions. By Allen Anders Seipt, 
 Ph.D. 112pp. Price $2.00 
 
 8. The Settlement of the German Coast of 
 
 Louisiana and the Creoles of German 
 Descent. By J. Hanno Deiler. 135 pp. 
 Price - $1.25 
 
 9. Early German Music in Philadelphia. By 
 
 R. R. Drummond. 88pp. Price $1.00 
 
Early German Music in 
 Philadelphia 
 
 Robert Rutherford Drummond, Ph D, 
 
 i* 
 
 Sometime Harrison Fellow in Germanics at the University of Penn 
 sylvania; Instructor in German at the University of Maine 
 
 UNIVERSITY OF PENNSYLVANIA 
 
 D. APPLETON & COMPANY 
 
 PUBLISHING AGENTS 
 
 NEW YORK 
 
 1910 
 
COPYRIGHTED BY ROBERT R. DRUMMOND 
 J9JO 
 
 BANOOR, MAINE 
 
 BANGOR CO-OPERATIVE PRINTING COMPANY 
 1910 
 
TO MY PARENTS 
 
 333631 
 
FOREWORD 
 
 In this book I have sought to give a glimpse of the musical life 
 of Philadelphia during the 18th Century, laying especial stress on the 
 secular music, and considering principally the German music pro 
 duced and performed, and emphasizing the high standard of musical 
 taste at this time. 
 
 While confining myself to secular music, I thought it necessary 
 in the first period to treat somewhat in detail the religious music, 
 especially as the religious music was of more importance in the first 
 half century than the secular music. So, too, I have gone into 
 detail somewhat more in the first two periods than in the last, be 
 cause these periods have not been so thoroughly investigated as the 
 last period has. It may be objected by some, that I have not 
 adequately considered the concert life of the last period. To these 
 I would say that this period has been fully covered by O. G. Sonneck 
 in his "Early Concert Life" in such a manner that I, at least, could 
 not improve upon it. 
 
 It is hoped that this book may help to correct the false im 
 pression, that musical taste in America in the 18th century was an 
 unknown quantity. 
 
 This study was undertaken at the suggestion of Prof. Marion D. 
 Learned and to him I am especially grateful for aid and encourage 
 ment in preparing the work. To O. G. Sonneck of the Library of 
 Congress I am greatly indebted not only for material found in his 
 books on early American music, but also for his extreme kindness 
 in placing at my disposal unpublished material. His suggestions 
 
xiv Foreword 
 
 and encouragement have been of great help to me. I wish to ac 
 knowledge here the courtesy extended to me by the officers and at 
 tendants of the Pennsylvania Historical Society and the Library of 
 University of Pennsylvania and also the aid given to me by various 
 friends. 
 
 This Study was submitted in partial Fulfillment of the Re 
 quirements for the Degree of Doctor of Philosophy, at the Univer 
 sity of Pennsylvania, 1909. 
 
 ROBERT R. DRUMMOND. 
 Bangor, Me. Sept. 1, 1909. 
 
TABLE OF CONTENTS. 
 
 Introduction 1 
 
 Part I. Beginnings before 1750 3 
 
 Chapter 1. Hymn Music of Germans in Philadelphia 5 
 
 Chapter II. Church Music and the Manner of its Performance 11 
 
 Chapter III. Secular Music 24 
 
 Part II. Period of Progress (1750-1783) 35 
 
 Chapter IV. Music Teachers 37 
 
 Chapter V. Music Dealers, etc 40 
 
 Chapter VI. Concert Music 45 
 
 Part III. Period of Greatest Development (1783-1800) 55 
 
 Chapter VII. Alexander Reinagle 57 
 
 Chapter VIII. Philip Roth and Philip Phile 76 
 
 Conclusion 84 
 
 Appendix. List of Reinagle s Compositions 85 
 
INTRODUCTION. 
 
 The early immigration of Germans to Philadelphia increased 
 to such an extent, that before the middle of the eighteenth century 
 the English colonists became alarmed for fear that Pennsylvania 
 might be alienated from the English crown, and be dominated by 
 the German immigrants. Indeed, throughout the eighteenth cen 
 tury the greater part of the German immigrants landed at Phila 
 delphia, and from there were distributed into other States. We 
 should naturally expect, with so great a population of Germans 
 in Philadelphia and the surrounding country, that these people 
 would continually extend their influence, and constantly spread 
 abroad their ideas of art, religion, music and literature. 
 
 Let us consider for a moment the condition of the Germans 
 who landed in this country. In 1683, moved by William Penn s 
 alluring proclamations of the glorious new world, as well as by 
 the fact that freedom of conscience was granted in Pennsyl 
 vania to all, a band of German immigrants arrived in Philadel 
 phia and founded Germantown. With the exception of the 
 scholar, Francis Daniel Pastorious, there were no highly cultured 
 men or women among them. These people were of the middle 
 class, and were more interested in weaving and agriculture and 
 religious salvation, than in the cultivation of the fine arts. The 
 conditions in Germany were not conducive to culture. 
 
 The country was just recovering from the Thirty Years 
 War, and the strength of the people was being expended in 
 building up the homes, and improving the land made desolate 
 during that fierce struggle. At this time, too, the German people 
 had little liberty, but rather were under the thumb of absolutism, 
 which was at that time the great force in European countries. It 
 was not an epoch favorable to the cultivation of the fine arts. 
 There was no great literature, no great art, no great music. There 
 
2 Early German Music in Philadelphia. 
 
 was, however, a strong religious spirit, which is often the result 
 of hardship and suffering. It is in the field of religion, too, that 
 we find the best music during the seventeenth century, although 
 it was not original in style, but simply a continuation of Luther s 
 music. * The hymn writers of that time, both Catholic and Protes 
 tant, are not to be despised, and we need mention but a few, 
 whose songs have lived even to the present day: as Paul Fleming 
 (1609-1640) and Paul Gerhardt (1606-1676), Protestant; Fried- 
 rich Spee (1591-1635) and Johann Scheffer (1624-1677), Catho 
 lics. It can be said, then, with some degree of surety, that the 
 performance of music by the early German settlers in Philadel 
 phia was confined, in the province of music, to hymns. 
 
 In this department the Germans hold an important position; 
 not only was their church music an essential part of their ser 
 vices, but the number of hymn-writers and the many editions of 
 German hymn books published in Philadelphia testify to the love 
 which these new settlers had for church music. 
 
 It is only necessary to mention a few of these hymn-writers 
 to recall to mind the extreme productiveness of this style of litera 
 ture and music. Among the most important hymn-writers were 
 F. D. Pastorius, of Germantown; Johann Kelpius, of the Wissa- 
 hickon; Conrad Beissel, of Ephrata, and Count von Zinzendorf, 
 the Moravian. 2 
 
 1 Louis Elson, National Music in America, p. 18. 
 
 2 Cf. for further information on this subject: J. H. Dubbs, Early German 
 Hymnology of Pennsylvania; Hausmann, German American Hymnology 1683- 
 1800, in Americana Germanica 1898, Vol. II. No. 3, p. n. 
 
PART I 
 Beginnings before 1750 
 
CHAPTER I. 
 HYMN Music OF GERMANS IN PHILADELPHIA. 
 
 To Francis Daniel Pastorious has been assigned the honor of 
 being the first German hymn writer on American soil. Pastorious 1 
 was born Sept. 26, 1651 at Sommerhausen, Germany, of cultured 
 parents of some means and position in society. His father Melchior 
 Pastorious had studied Catholic theology and also jurisprudence, 
 but had finally renounced his faith and had become a Protestant. 
 Needless to say Francis Daniel s education was not neglected. He 
 was sent to school in various places: as Windsheim, Basel, Nuremberg, 
 Erfurt, Strassburg where he studied law and the French language, 
 Jena where besides law he studied Italian, and finally he took his 
 degree of Doctor of Laws at Altdorf, 1676. 
 
 He settled now at Frankfurt am-Main and practiced his pro 
 fession. He probably continued in this work until 1680, when, as 
 the companion of Johann Bonaventura von Rodeck, he made a 
 journey, extending over two years, through Holland, England, 
 France, Switzerland, and Germany. Upon his return to Frankfurt, 
 November, 1682, he became interested in the mysticism of Spener and 
 his companions, and the movement to America which they were 
 promoting filled him with an ardent longing to share in it. So, 
 with the consent of his father who provided him with money, Francis 
 Daniel set sail for America and arrived in Philadelphia Aug. 20, 
 1683, six weeks before the other immigrants landed. 
 
 Pastorious was the only highly educated man in this colony. He 
 was looked up to by the other colonists for this reason, and also 
 
 1 Hausmann, "German American Hymnology 1683-1800," in Americana 
 Germanica (hereafter. Am. Ger.) 1898, Vol. II, No. 3, p. n. 
 
6 Early German Music in Philadelphia. 
 
 because he was the agent of a land company formed in Germany 
 for the purchase and sale of land in Pennsylvania. The new colonists 
 chose as the spot for their new homesteads a tract of land not far 
 from Philadelphia, where they founded Germanopolis or German- 
 town. 
 
 On Nov. 26, 1688, Pastorious married Knnecke Klostermanns 
 and had two sons, whose descendants live at the present day. 
 In 1691, Pastorious was elected to the newly-created office of 
 "Burgermeister," an office to which he was chosen three other times. 
 Besides this office, he was for many years elected to the position of 
 " Stadtschreiber," and was also schoolmaster at different times. 
 He was known as a writer of some talent, and composed poems, 
 hymns, epigrams, etc., in Greek, Latin, German, French, Dutch, 
 English and Italian. I will close this bare outline with Pastorious 
 account of himself as quoted by Seidensticker : 
 
 "Der Verfasser dieses Manuscripts hat ein melancholisch- 
 cholerisches Temperament und ist daher, nach Culpepper, 
 sanftmiithig, zu einem niichternen eingezogenen Leben disponirt, 
 wissbegierig, unentschlossen, bescheiden, schiichtern, bedachtig, 
 standhaft, und zuverlassig in seinen Handlungen, langsamen Witzes, 
 vergesslich. Geschieht ihm Unrecht, so tragt er es nicht nach." 
 
 This remarkable man died Sept. 27, 1719. 2 
 Pastorious hymns are up to the standard of most hymns written 
 at that time. 
 
 In point of time the next hymn writers were the so-called 
 "Hermits of Wissahickon," a band of men and women steeped in 
 German mysticism, and having a belief that the end of the world 
 was soon to come and that their one love should be the Lord Jesus 
 Christ; so on this account renouncing marriage as sinful. It was in 
 this wilderness, beside the Wissahickon Stream about eight miles 
 from Philadelphia, that this band of Pietists in the year 1694 took up 
 
 2 The material for this sketch was obtained in great part from Seidensticker s, 
 Geschieht sblaetter (Bilder aus der Deutsch-Pennsylvanischen Geschichte) pp. 34 ff. 
 Also M. D. Learned. Life of Francis Daniel Pastorious. 
 
Early German Music in Philadelphia. 7 
 
 their abode, and from whence issued the strains of hymns, reminding 
 one, in some instances of love songs rather than praises to God. 3 
 There were in this congregation a number of men of high culture 
 and lofty aims such as Johann Kelpius, Henry Bernhard Koster, 
 Johann Gottfried Seelig, etc. 
 
 The most important man was Johann Kelpius, their leader, 
 who composed the greater number of their hymns. 4 Kelpuis was 
 the son of a pastor in Denndorf in the Siebenbiirgian district of 
 Germany. He studied theology at Altorf , where he was a pupil and 
 favorite of the learned doctor, Johann Fabricius. 
 
 "Fabricius vertrat," says Seidensc ticker, "die sogenannte 
 irensche oder friedliebende Schule der Theologie, die von der 
 bittern Fehde gegen andere Confessionen absah. Kelpuis, anfangs 
 ein sternger Calvinist, griff den Gedanken an ein innerliches Christen- 
 thum begierig auf und bildete ihn unter andern Binflussen weiter." 5 
 
 In 1689, Kelpius obtained his master s degree. In the years 
 following he composed an essay entitled: "Scylla Theologiae, 
 aliquot exemplis Patrum et Doctorum, etc." About this time he 
 must have obtained a knowledge of the religion of the mystics, and 
 must also have come under the influence of Jacob Bohme s phil 
 osophy, and Spener s theosophy. 
 
 Such was the man who led the band of hermits, which arrived 
 in Philadelphia, June 23, 1694. His life on the Wissahickon was 
 
 - 3 Cf. Seidensticker. Geschichtsblaetter, p. 87 ff. 
 
 4 S. Pennypacker. Hymn Book of the Hermits of the Wissahickon (Penn. 
 Mag. of History Vol. XXV, p. 338.) 
 
 5 Seidensticker. Geschichtsblaetter p. 91. 
 
8 Early German Music in Philadelphia. 
 
 one of pious contemplation, and striving to follow out his idea of 
 Christianity. He died 1708. 6 
 
 The Hon. S. W. Pennypacker has in his possession a hymn 
 book composed by these people, in which some of the hymns are 
 dated 1707. He reports that Kelpuis wrote nineteen hymns ; another 
 writer possibly Koster thirteen hymns; and Seelig four hymns. 7 
 
 Not only did these "Hermits" worship God with song, but 
 they undoubtedly accompanied their voices with musical instruments, 
 since we know that they brought the latter with them from London. 8 
 Also we find Kelpuis in one of his letters desiring that two clavichords 
 with additional strings might be sent. 9 This simply goes to show 
 that this little band of religious fanatics was not deficient in musical 
 ability, and also that they carefully nurtured their love for music. 
 Gradually these Pietists died or renounced their faith and were 
 received into other religious societies, 10 and in the latter case one 
 may be sure that their musical instruments went with them and were 
 played and listened to with pleasure in a far wider circle than formerly. 
 
 It is not our purpose to consider in detail the various German 
 hymn-writers in Pennsylvania, as the field is far too large, and besides 
 the composers for the most part, were not inhabitants of Philadelphia. 
 There are a few men, however, of sufficient importance to be con 
 sidered, even though they lie somewhat without our field of operation. 
 Perhaps the most picturesque figure in the history of American music 
 in this century is Conrad Beissel of Kphrata Cloister. He not only 
 evolved a new system of music, but was also the first composer of 
 music in America. He wrote hymns and chorals in four, five, six, 
 and seven parts, while usually in other congregations the hymns 
 were sung in unison. 11 
 
 The first edition of Ephrata hymns was published by Benjamin 
 Franklin, Philadelphia, 1730, while different editions of new hymns 
 
 6 For this sketch cf . Seidensticker. Geschichtsblaetter , pp. 91-100. 
 
 1 Penn. Mag. of History, Vol. XXV p. 338. 
 
 8 Cf. Seidensticker, Geschichtsblaetter, p. 89. 
 
 9 Cf. Seidensticker, Geschichtsblatter ; p. 100. 
 
 "Seidensticker, Geschichtsblaetter, p. 102. 
 
 U T. H. Sachse, Music of the Ephrata Cloister, p. 29 [hereafter, "Sachse."] 
 
Early German Music in Philadelphia. 9 
 
 appeared in 1732, 1736, 1739, 1754, 1755, 1756 (2 eds.), 1762, and 
 1766. 12 Of these hymns, over 1,000 are attributed to Conrad 
 Beissel. Not only did he compose music, but he also wrote the first 
 treatise on harmony in America. 13 Concerning the quality of the 
 music Dr. J. H. Sachse says: "The peculiar sweetness and weird 
 beauty of the songs of the sisterhood, and the impressive cadence of 
 the chorals and hymns of the combined chorus" 14 is strikingly seen. 
 
 Before the end of the century nearly all the sects of the Penn 
 sylvania Germans had their editions of hymn-books, for the most part 
 abridgements of those in use in the mother country. A few sects, 
 however, had men versed in poetry as well as religion, and these 
 helped to swell the hymn-books, already in use, with new songs. 
 The Moravians were especially prolific, and under the direction of 
 Count Nikolaus von Zinzendorf, who himself wrote over 130 hymns 
 in this country, produced a work of some importance. "No 
 authorized hymn-book for the Moravian church was issued in 
 America during the colonial period, but a small collection printed at 
 Germantown by [C.] Sauer [in] 1742, Hirtenlieder von Bethlehem " 
 was popular. 16 Zinzendorf was not the only hymn writer among 
 the Moravians, since there were also his two wives, his son, Bishop 
 Spangenberg and others, who had some ability in this line. In 
 speaking of the "German- American Hymnology," Haussmann 
 remarks that the hymns of all sects were subjective, excepting those 
 of the Moravians. 17 
 
 In the 18th century, Philadelphia and Germantown were the 
 two for a time the only two important printing centres of Penn 
 sylvania, and here it was that the greater number of German hymn 
 books were printed. There can be no doubt, I think, that many of 
 these German hymns were known to most of the inhabitants of 
 
 12 Amer. Ger. Vol. II, No. 3, p. 19. Dubbs, p. 9. 
 13 Sachse, p. 22. 
 
 14 Sachse, p. 29. (For further information on this subject consult the works 
 quoted above.) 
 
 16 Dubbs, p. 18 ff. 
 
 11 Am. Ger. Vol. II, No. 3, p. 39. 
 
10 Early German Music in Philadelphia. 
 
 Philadelphia, but as to whether or not these hymns had any influence 
 upon the people, we are as yet, not prepared to say. At this time, we 
 can do no more than enumerate the different editions of German 
 hymn-books printed in Philadelphia and vicinity during the 18th 
 century, although we hope that we may later investigate them 
 thoroughly. In 1744 the Brotherhood of the Inspired pro 
 duced an abridgement of a larger European collection. This be 
 came a favorite with the different Separatist bodies. It was called 
 "Das Kleine Davidische Psalterspiel der Kinder Zions." 18 This 
 book contains 530 pages, and was printed by C. Sauer, German town. 
 In 1752 Sauer reprinted the "Marburg Reformed Hymn Book; 
 1753 19 "Die Kleine Harfe," 20 1762, Marburg edition of the Lutheran 
 hymn-book, 21 and also in this same year the first edition of Schwenk- 
 f elder hymns, 2ia some of which were composed in this country, others 
 taken from the Lutheran and Reformed hymn-books, but based, 
 in great part upon the hymn-book of the Bohemian Bretheren. It 
 contains 917 hymns. 22 la 1763 was printed the "Marburg Reformed 
 Hymn-Book;" 23 in 1786 the earliest original collection of Lutheran 
 hymns in this country, entitled "Erbauliche Liedersammlung ;" 
 1788 "Liebliche und Erbauliche Lieder," "Unparteysche Lieder 
 Sammlung," and others published by the German Baptist Society; 24 
 1797 "Neues und vesbessertes Gesangbuch" printed by Stei tier & 
 Kammerer, Phila., 1799, a third edition of the Marburg Lutheran 
 Hymn Book". 25 The total number of editions of German hymn- 
 books during this century was twenty- two, but besides that there was 
 a German hymn-book translated into English in 1795. 
 
 18 Dubbs, p. 21. 
 19 Dubbs, p. 25. 
 20 Dubbs, p. 21. 
 21 Dubbs, p. 21. 
 
 21a A. A. Seipt. "Schwenkfelder Hymnology" (Americana Germanica 
 vol. 7.) 
 
 22 Dubbs, p. 16. 
 23 Dubbs, p. 25. 
 24 Dubbs, p. 21. 
 25 Dubbs, p. 25. 
 
Early German Music in Philadelphia. 11 
 
 CHAPTER II. 
 CHURCH Music AND THE MANNER OF ITS PERFORMANCE. 
 
 It has already been mentioned that there were many 
 German hymn-writers in Philadelphia in the early eighteenth 
 century, and it is now in place to consider what was the quality of 
 the music in the German churches at that period, and whether 
 musical instruments of any kind were used in the Philadelphia 
 churches. 
 
 For the first record it is necessary to go a little" beyond Phila 
 delphia to the Hermits of the Wissahickon. To this people un 
 doubtedly belongs the honor of first using instrumental music 
 in religious services. Of their voyage across the Atlantic, Kelpius 
 says: 
 
 "We had also prayer meetings and sang hymns of praise and 
 joy, several of us accompanying on instruments that we had brought 
 from London." 26 
 
 Evidently the instruments which they brought with them 
 were not satisfactory or were regarded as inadequate for the 
 worship of God, as Kelpius in a letter to friends in London asked 
 that two clavichords with additional strings might be sent. 27 
 
 Again the Hermits at the consecration of the new Swedish 
 church Gloria Dei July 2, 1700, act as choristers and furnish 
 instrumental music. 28 
 
 The first German minister ordained in this country was 
 Justus Falckner, who was consecrated by the Swedish Lutherans. 
 In a letter to Rev. Heinrich Muhlen, of Holstein (1701), Falckner 
 shows that, even at that early day, music was considered an important 
 adjunct of the church service. He says: 
 
 "In short there are Germans here, and perhaps the majority, who 
 despise God s Word and all outward good order; who blaspheme the 
 sacraments and frightfully and publicly give scandal 
 
 26 Sachse, German Pietists, p. 22; Seidensticker , Geschichtsblaetter, p. 100. 
 
 27 Seidensticker, Geschichtsblaetter, p. 100. 
 
 28 Sachse, German Pietists, p. 144 (hereafter quoted as G. P.). 
 
12 Early German Music in Philadelphia. 
 
 "I will here take occasion to mention that many others besides 
 myself, who know the ways of the land, maintain that music would 
 contribute much towards a good Christian service. It would not 
 only attract and civilize the wild Indians, but it would do much good 
 in spreading the Gospel truths among the sects and others by attract 
 ing them. Instrumental music is especially serviceable here. Thus 
 a well-sounding organ would perhaps prove of great profit, to say 
 nothing of the fact that the Indians would come running from far 
 and near to listen to such unknown melody, and upon that account 
 might become willing to accept our language and teaching, and re 
 main with people who had such agreeable things; for they are said 
 to come ever so far to listen to one who plays even a reed-pipe (rohr- 
 pfeiffe) : such an extraordinary love have they for any melodious 
 and ringing sound. Now as the melancholy, saturnine stingy 
 Quaker spirit has abolished (relegiert) all such music, it would 
 indeed be a novelty here, and tend to attract many of the young 
 people away from the Quakers and sects to attend services where 
 such music was found, even against the wishes of their parents. This 
 would afford a good opportunity to show them the truth and their 
 error. 
 
 "If such an organ-instrument (Orgel-werck) were placed in the 
 Swedish church .... it would prove of great service to this 
 church. 
 
 "If there were music in the church, the young people would 
 consider church-going a recreation. 
 
 "The Lord of Hosts .... would be praised and honored 
 with cymbal and organ. 
 
 "And it may be assumed that even a small organ-instrument 
 and music in this place would be acceptable to God, and prove far 
 more useful than many hundreds in Europe, where there is already 
 a superfluity of such things. 
 
 "There are in Europe masters enough who would build such 
 instruments, and a fine one can be secured for 300 or 400 thalers. 
 Then if an experienced organist and musician could be found, and 
 a curious one, who would undertake so far a journey, he would be 
 very welcome here. In case this could not be, if we only had an 
 organ, some one or other might be found who had knowledge there 
 of." 29 
 
 29 Cf. The Missive of Justus Falckner of Germantown, Concerning the 
 Religious Condition of Pa. in the Year 1701. Translated by J. F. Sachse. Found 
 also in Pa. Mag. of Hist., 1897. 
 
Early German Music in Philadelphia. 13 
 
 The writer of this missive was somewhat of a poet himself, 
 and composed several fine hymns, some of which are in use at 
 the present day. 30 
 
 Whether the appeal for musical instruments was of avail, 
 we know not, but in the Journal of Rev. Andreas Sandel for July 20, 
 1702, is mentioned one Jonas, organist of Gloria Dei church. Again, 
 on November 24, 1703, when Falckner was ordained in this church, 
 Sachse says: 
 
 "The service was opened with a voluntary on the little organ in 
 the gallery by Jonas the organist, supplemented with instrumental 
 music by the Mystics on the viol, hautboy, trumpets (Posaunen) and 
 kettle drums (Pauken)" 3i 
 
 The first church organ in Philadelphia, then, was placed in 
 a Swedish Lutheran church largely by means of a German. Al 
 though the merit for this achievement must be divided between 
 the Germans and Swedes, in one department of music the sing 
 ing of hymns the Swedes probably were pre-eminent. In 1696 
 Charles, King of Sweden, sent to the church at Wicacoa, one 
 hundred hymn books, 32 while in 1712 another lot, consisting of 
 "360 hymn books of three sorts" were shipped. 33 The Swedes 
 were strict, too, in the regulations of the church services, epecially 
 of singing. In 1702, Rev. Andreas Sandel imposes a fine "for 
 untimely singing, six schillings." 34 Especially interesting is the 
 account concerning the attempt of Pastor Andreas Hesselius, of 
 Christina, Dlaware, to reform church singing in 1713. Acrelius says: 
 
 "He had special regard to propriety in church-singing, in which 
 there was often such discord as though they intended to call their 
 
 30 Sasche, Justus Falckner, pp. 20-21. 
 
 31 Justus Falckner, p. 64; also G. P., pp. 354-5. Sachse believes this organ 
 was one brought over by Kelpius. 
 
 32 Israel Acrelius, A History of New Sweden, trans, by Wm. Reynolds, in 
 Memoirs of Pa. Hist. Soc., Vol. XI, pp. 197, 366 (hereafter quoted as Acrelius). 
 
 33 Acrelius, p. 367; also Andreas Sandel s Diary, in Pa. Mag. Hist. 1906, 
 p. 446. 
 
 34 Acrelius, p. 217. 
 
14 Early German Music in Philadelphia. 
 
 cows to the church. In opposition to which it was represented that 
 as all those who possessed the gift of praising God with a pleasing 
 voice in psalms and hymns should not stand mute, so, on the other 
 hand, those who were unfitted for this should not with their harsh 
 voices, hinder others and make confusion, but, by softly singing after 
 the others, train themselves to correct singing. During the singing, 
 he went around the church and aided where they failed." 35 
 
 It is very probable that in Philadelphia, this same instruc 
 tion in church singing prevailed, since Hesselius was for some 
 time Provost, and had a right to command, and also, because 
 Samuel Hesselius, his brother, occupied the pulpit at Wicacoa 
 and could more easily be coerced if necessary to establish this 
 method of instruction. 
 
 In the other churches of Philadelphia, organs seem to have 
 been introduced at a relatively late date. On September 2, 1728, 
 a committee having been appointed at Christ Church "to treat 
 with Mr. Ivod. C. Sprogel, 36 about an organ lately arrived here, 
 report that they had done the same, and that he insisted on .200 
 for said organ; and that they had procured men of the best skill 
 this place could afford to erect the said organ in a convenient 
 house iii town, to make trial thereof; which, being done, it is said 
 the organ proves good in its kind, and large enough for our 
 church." 37 Upon this recommendation the organ was purchased. 
 In the Moravian church, corner of Race and Broad streets, there 
 were two organs in 1743 38 one of which was sold in 1796, and 
 a new one built by David Tannenberger 39 In this same year 
 (1743) the Moravians in German town had an organ costing 60, 
 but in 1744 both church and organ reverted to the German Re- 
 
 ^Acrelius, p. 276. 
 
 36 Ludovic Christian Sproegel was one of the "Hermits of the Wissahickon." 
 
 3 Quoted from the Minutes of the Vestry of Christ Church, by Benj. Dorr, 
 History of Christ Church, p. 61. 
 
 38 Madeira, Annals of Music in Philadelphia, p. 24. 
 
 39 Madeira, Annals of Music in Philadelphia, p. 24 (hereafter quoted as 
 Madeira). 
 
Early German Music in Philadelphia. 15 
 
 formed Church. 40 The Catholic church had an organ in 1750. 41 
 These are the earliest known organs in use in Philadelphia churches. 
 From this time on, the other churches in the city gradually established 
 them as an aid to their services. 
 
 One writer, who came to this country from Germany, evidently 
 had no knowledge of these organs when he said : 
 
 "I came to this country with the first organ [1750] which now 
 stands in a High German Lutheran church in the city of Philadel 
 phia, and which was built in Heilbronn. 42 
 
 In the face of the evidence already produced, it is needless 
 to say that this statement is a little off color, to say the least. 
 
 There were then in Philadelphia several organs before 1755, 
 and it is reasonable to assume that in the Moravian church, that 
 "wind" and "string" instruments were used, since we find this 
 true at the colony in Bethlehem. 43 The testimony of travellers 
 of that time or of members of other churches is of some interest 
 and importance. The first witness is William Black, secretary 
 of the commission appointed by the Governor of Virginia to 
 unite with commissions from Maryland and Pennsylvania for 
 the purpose of treating with the Indians. In the year 1744, he 
 resided in Philadelphia, during which time he kept a journal 
 of interest and importance. June 8 he writes: 
 
 "We went to the Moravian Meeting, where I had the pleasure 
 to hear an Excellent Comment on that Passage in Scripture Relating 
 to the Prodigal Son, and after some very agreeable Church Music, 
 half an hour after 9 they broke up." 44 
 
 ^Minutes and Letters of the Coetus of the German Reformed Church, p. 29. 
 
 41 Madeira, p. 24. 
 
 ^Gottlieb Mittclberger s Journey to Penn. in the Year 1750; translated by 
 Carl T. Eben, p. 114. 
 
 43 Wm. Reichel, Something about Trombones, p. 4 ff. See also the state 
 ment concerning Justus Falckner s ordination as quoted above, where musical 
 instruments of this character were used. 
 
 **Penn. Mag. of History, Vol. II, p. 43. 
 
16 Early German Music in Philadelphia. 
 
 This testimony is not without its value, as this gentleman 
 was evidently somewhat of a musician himself, since under the 
 same date in his diary we find : 
 
 "I Rose from my Bed and pass d two hours in writing, the 
 rest of the time till Breakfast, I spent with my Fiddle and Flute." 45 
 
 Concerning the music in the Moravian church we have other 
 evidence, at a later date. John Adams remarks in his diary for 
 October 23, 1774: 
 
 "The singing here [Methodist meeting] is very sweet and soft 
 indeed; the first music I have heard in any society except the 
 Moravians, and once at church with the organ." 46 
 
 He also remarks September 4, 1774, upon the organ and 
 a new choir of singers at Christ Church, which were very musical." 47 
 
 Franklin, in 1755, speaks of hearing Moravian music at 
 Bethlehem, and praises it generously. 48 A year earlier Acrelius, 
 who visited the same place, gives a more detailed account in the 
 following words: 
 
 "It was finally agreed that we should sit below [in the audi 
 torium of the church], as the music sounded better there. The 
 organ had the accompaniment of violins and flutes. The musicians 
 were back in the gallery, so that none of them were seen." One of 
 the ministers "read some verses of a German hymn book, after which 
 they were sung with excellent music." 49 
 
 Their style of music and manner of performing it must 
 have been exceptionally good, as compared with the music of 
 other churches, to have impressed so favorably such men, who, 
 we may be sure, were quite different. There is the sturdy pastor 
 Acrelius, understanding church music and the manner of its 
 performance; the cordial, genial Ben Franklin, who knew some- 
 
 ^Penn. Mag. of Hist. Vol. II, p. 40. - 
 
 John Adams Works, Vol. II, pp. 401 and 364. 
 
 47 John Adams Works, Vol. II, pp. 401 and 364. 
 
 48 Franklin, Autobiography, p. 325 [Uppincott, Phila., 1868]. 
 
 49 Acrelius, p. 413. 
 
Early German Music in Philadelphia. 17 
 
 thing about music from living in London; the somewhat cold 
 but highly cultured, John Adams, with his Puritan traditions; 
 then the gentleman from Virginia, William Black, who most 
 probably partook of the nature of the warm, sunny- tempered 
 Southerners, himself somewhat of a musician. Could we ask for 
 witnesses more unlike? 
 
 To the Moravian church undoubtedly belongs the palm for 
 music during the eighteenth century; but there was music, and 
 good music, in some other churches as well. We have already 
 mentioned the music in Christ Church and the Methodist 
 Church. Concerning the music in the German Lutheran Church, 
 we have the testimony of Daniel Fisher, who writes in his Diary 
 for May 25, 1755: 
 
 "Went to the Lutheran Church, a neat Brick Building where 
 there is a good organ 50 to which I heard them sing Psalms, agree 
 ably enough." 51 
 
 Again he says: 
 
 "The Lutheran Church has an organ, and a good one." 52 
 
 There were organs then in the churches, to a great extent, 
 before 1750. The question now arises: Were there men who 
 could repair these instruments if they got out of order? By the 
 end of the fifth decade, there were several men who could 
 not only repair an organ, but also build one. Of these men Gus- 
 tavus Hesselius is the most important, as he was the first spinet 
 builder in America, having produced specimens as early as 1743, 53 
 and probably the first organ builder in Pennsylvania. It is claimed 
 that he was the first organ builder in America, and in support of 
 that claim an organ is mentioned as built by him for the Moravian 
 Church at Bethlehem, Pa., in 1746. 54 The fact is lost sight of 
 
 50 The organ Mittelberger brought from Heilbronn; see above. 
 
 5l Penn. Mag. of Hist., Vol. XVII, p. 267. 
 
 * 2 Penn. Mag. of Hist., Vol. XVII, p. 272. 
 
 53 Penn. Mag. of Hist., XVI, p. 473 (note) 
 
 54 Penn. Mag. of Hist., Vol. XXIX, p. 131 ff ; also Reichel, p. 4. 
 
18 Early German Music in Philadelphia. 
 
 that a Boston man, Edward Bromfield, generally regarded as 
 the first organ builder, constructed an instrument in 1745. 55 
 However Hesselius was undoubtedly the first man who built many 
 church organs. 
 
 Still another claimant appears for this title no less a man 
 than the Englishman, Doctor Christopher Witt (1675-1765), 
 another hermit of the Wissahickon. Doctor Witt possessed a 
 large pipe-organ presumably made by him alone, but possibly 
 aided by other Hermits. It was built at least while he was living 
 with the settlement on the Wissakickon, and as he left that society 
 shortly after the death of Kelpius, 56 which took place about 
 1708, 57 the evidence is in his favor. This organ at his death was 
 valued at ^40. 58 
 
 Hesselius was not only a musician, but a painter as well. He 
 died in 1755. 5<J Connected with Hesselius in 1746 was John G. 
 Klemm, a native of Dresden, Germany. Three years later David 
 Tannenberger arrived in Philadelphia, a man whom many of his 
 contemporaries conceded to be the greatest organ builder in 
 America, but, as is usually the case, there is another claimant for 
 this high honor, as will be seen later. 
 
 David Tannenberger 59a was born March 21, 1728, in Berthelsdorf , 
 Saxony. He was evidently an all-round musician, and could 
 play, sing he possessed a good voice build, or repair an organ 
 as occasion presented itself. It is known that he built at least 
 fourteen organs during his stay in Pennsylvania, while no record 
 of the number of spinets, which he made and sold for ^22.10^, 
 has been discovered. 
 
 As to Tannenberger s reputation as an organ builder, we 
 have the testimony of a man who probably knew Tannenberger: 
 
 "Tannenberg belongs to history as the organ builder of his day 
 and one of renown. He too, was of the German school. Fancy 
 
 55 L. Elson, History of American Music, p. 43. 
 
 ^German Pietists, pp. 403, 412. 
 
 ^German Pietists, p. 192. 
 
 ^German Pietists, p. 418 (note). 
 
 5g Penn. Mag. of Hist., Vol. XII, p. 503 (note). 
 
 59a Spelled also Tannenberg. 
 
Early German Music in Philadelphia. 19 
 
 stops were not generally in vogue, except the trumpet in the great 
 organ, and the vox humana in the swell, of which latter there was 
 but one in the city, and that was in Christ Church, and to my young 
 ear, a good imitation of the human voice. 
 
 "There are several of Tannenberg s organs yet in breathing 
 existence [1857]. Lancaster, Litiz, and Nazareth still hold his 
 memory in audible and respectful tones; and much of his work is 
 worthy of imitation. His diapasons were particularly dignified, 
 whilst his upper work, 12th, 15th, and sesquialtera, gave brilliancy to 
 the whole." 80 
 
 This testimony of Abraham Ritter, an organist of good 
 standing in the Moravian Church, gives some idea of the excel 
 lence of the work and of the reputation which Tannenberger still 
 had in the nineteenth century. 
 
 In a letter written from Lancaster, Dec. 24, 1770, the following 
 testimony is added: 
 
 "Yesterday we had the pleasure of hearing, for the first Time, 
 the new Organ, in the High Dutch Reformed church of this Place, 
 accompanied with a variety of vocal Music, composed on the Occasion 
 which I may venture to say, not only from my own Experience, but 
 the Approbation of all present, was never equalled in any Place of 
 Worship in this Province, or perhaps upon this Continent. The 
 Organ was made by Mr. David Tannenberg, of I/itiz, a Moravian 
 Town not far from this Place; and I dare venture to assert, is much 
 superior in Workmanship and Sweetness of Sound, to any made by 
 the late celebrated Mr. Keyring, who was so justly taken notice of 
 for his Ingenuity; does great Honour to the Maker; is worth the 
 Attention and Notice of the Curious, who may happen to pass this 
 way; and will undoubtedly recommend him to all who are desirious 
 of having Works of that Nature." 61 
 
 In spite of his reputation as an organ-builder, we learn that in 
 1790 he was a bankrupt. 62 He died May 19, 1804, stricken by 
 paralysis while tuning an organ at York, Pa. 63 
 
 60 Abraham Ritter, Hist, of the Moravian Church in Phila. (1857), p. 59 ff. 
 (note) 
 
 61 Pa. Gaz. Jan. 10, 1771. 
 
 ^General Adv. Oct. 28, 1790. 
 
 63 Penn. Mag. of Hist., Vol. XXII, p. 231 ff . 
 
20 Early German Music in Philadelpdia. 
 
 We have already spoken of Gottlieb Mittelberger and his 
 organ, and, although we cannot depend upon his statements, there 
 may be some truth in his somewhat exaggerated account of the 
 dedication of his organ. It is at least interesting, and shows that 
 the people as a whole were certainly not prejudiced against music. 
 He says : 
 
 "After this work had been set up and tuned it was conse 
 crated with great rejoicing and delivered to the Christian St. 
 Michael s Church for the praise and service of God. 
 
 "The crowd of hearers was indescribably large; many people 
 came from a great distance, 10, 20, 30, 40 and even 50 hours journey, 
 to see and hear this organ. The number of hearers, who stood 
 inside and outside the church, both German and English, were 
 estimated at several thousands. I was appointed school-master and 
 organist. As I became more and more known in Pennsylvania, and 
 the people learned that I had brought fine and good instruments 
 with me, many English and German families came 10, 20 and 30 
 hours journey to hear them and the organ, and they were greatly 
 surprised because they had never in all their lives seen or heard an 
 organ or any of those instruments. 64 
 
 "At the present time [1754] there are 6 organs in Pennsylvania 
 the first is in Philadelphia, the 2nd in Germantown, the 3rd in 
 Providence, the 4th in New Hanover, the 5th in Dulpehocken, all 
 of them came to this country during the four years of my sojourn 
 there." 65 
 
 This statement concerning the number of organs in Phila 
 delphia cannot be true, as we have shown above that there were 
 several. In his list of the organs in Pennsylvania, he neglects 
 to mention the one made for the Moravian Church at Bethlehem 
 in 1746. 66 The number of people which he claims was present 
 at the dedication is probably exaggerated, and, as Mittelberger 
 was the chief performer, we can pardon him this slip of the pen. 
 
 64 This statement is utterly false, as it will be shown later that there were 
 musical instruments in Philadelphia long before this time, and even concerts 
 in 1740. 
 
 ^Mittelberger s Journey to Penn., p. 114. 
 
 66 Cf. above, p. 17. 
 
Early German Music in Philadelphia. 21 
 
 It is probable, however, that there was a large number of people 
 present, as there would be at any new event entering into their 
 narrow lives especially as there was no charge for admission. 
 
 In 1762 a new organ was built in Philadelphia by Philip 
 Keyring for St. Paul s Church. He is the other claimant to the 
 honor of being the greatest organ builder of his day. 67 One of 
 the newspapers was evidently partial to him, since it gives this 
 notice. 
 
 "The New Organ, which is putting up in St. Paul s Church in 
 this City, will be in such Forwardness as to be used in Divine Service 
 on Christmas Day. It is of a new Construction, and made by Mr. 
 Philip Keyring, 68 Musical Instrument- Maker, in this City, who may, 
 with Justice, be said to be the best Hand at that ingenious Business 
 on the Continent." 69 
 
 The organ was evidently in use on Christmas day and must have 
 proven satisfactory to call forth the following poem lauding both 
 Keyring and his organ. 
 
 "On hearing the Organ at St. Paul s Church, on Christmas 
 Day, 1762. 
 
 "Hail Heav n-born Science! whose enlivening Touch, 
 
 Thro Nature felt, makes all her Powers rejoice, 
 
 And fills the Soul with Harmony, and Bliss 
 
 Bxtatic When Joy tumultuous revels 
 
 In the swelling Breast, then thou, sweet Music, 
 
 Majestically smooth, and soft as Zephyrs, 
 
 The Voice assuasive to the Heart applyst. 
 
 "If jarring Passions, like disgorging Etna, 
 Wage War intestine, and with Rage destroy 
 Then Mother Nature, instant at thy call 
 They lose their Kury , and subside in Peace : 
 A sov reign Balm thou pour st into the Wounds 
 Of bleeding Love, and sooth st the Heart-felt Pain. 
 
 87 Cf. above, p. 18. 
 68 Spelled also Keyring. 
 89 Pa. Gaz., Dec. 23, 1762. 
 
22 Early German Music in Philadelphia. 
 
 And thou, majestic Organ! taught by thee, 
 
 We raise our Thoughts on Fancy s Wing, 
 
 Soaring beyond the darksome veil of Time 
 
 Up to the empyreal Heav n, where God-head habits, 
 
 High thron d above all Height, encircl d round 
 
 By Seraphims, whose well instructed choirs 
 
 To pleasing Numbers tune their Harps of Gold 
 
 "Surely if ought of Heav n on Earth we taste, 
 Tis when we join in holy Acclamation 
 With deep ton d Organ, to rehearse the Praise 
 Of God Omnipotent, who rules the Heav ns; 
 When ev ry swelling Note bears us enraptur d 
 To the blest Abodes of Saints imparadis d. 
 
 "When God his six Days Work, a world had finishd 
 
 Attended by a Band of heav nly Music, 
 
 The Harp symphonious, and the solemn Pipe 
 
 The Dulcimer, all Organs of sweet Stop, 
 
 Along the starry Pavement up he rode; 
 
 While instant Nature heard the Song harmonious, 
 
 And listening Planets ceas d to fill their Orbs. 
 
 "While Harmony divine knows to controul 
 
 The boistrous Passions of the human Soul, 
 
 Whilst Organ s dulcet Notes the Breast inspire. 
 
 With true Devotion, and a sacred Fire; 
 
 Thy name O Fyring thy deserving Name 
 
 Shall shine conspicuous in the Roll of Fame; 
 
 Ages to come, and Men in future Days 
 
 Shall greateful pay their Tribute to thy Praise. C. W. P. 
 
 "Mr. Fyring is a German by Birth, but has for some years past, 
 practic d the making of Musical Instruments (particularly Spinets 
 and Harpsichords) in this City, with great Repute." 70 
 
 This effusion explains itself. His workmanship must have 
 been of superior quality, as it was seldom that a musician at that 
 time or even at the present day was much noticed, let alone 
 publishing a poem about him. 
 
 70 Pa. Gaz., Dec. 30, 1762. 
 
Early German Music in Philadelphia. 23 
 
 How many instruments were sold by these organmakers it 
 would be difficult to say, although undoubtedly parlor organs were 
 found in many houses. There are advertisements of two organs 
 for sale among a list of household goods before the end of 1750: 
 A "small" organ belonging to Benj. Morgan, 1748, 71 and a "large" 
 one, the property of the late Peter Kook, in 1750. 72 
 
 Religious music in this half century was flourishing, and 
 was considered a valuable adjunct of the church service, not only 
 in German churches, but also in the Swedish and English 
 churches. The composition of hymns up to this time seems to 
 have been confined to the Germans. 
 
 71 Pa. Journal, July 7, 1748. 
 72 Pa. Journal, Jan. 2, 1750. 
 
24 Early German Music in Philadelphia. 
 
 CHAPTER III. 
 SECULAR Music. 
 
 From the preceding chapter it has been clearly seen, that the 
 Germans in Philadelphia, and indeed in the whole State, were 
 strongly religious, and were celebrated for their church music 
 and instrument makers, especially for their organ builders. 
 
 Were all the people in Philadelphia as religious as the Ger 
 mans and Quakers seem to have been, and were there no public 
 amusements? This is an important question, and one not easily 
 answered, especially during the first half of the eighteenth cen 
 tury. It may be thought that this question is not related to Ger 
 man music, but indirectly it is, so that it may be shown whether 
 or not the people of Philadelphia were ready to welcome music, 
 whether they were in a state of mind favorable to the introduc 
 tion of any amusements. It is necessary to establish these facts 
 before we can clearly understand the reasons and cause for the 
 introduction of German concert music into America. 
 
 We know, that in Philadelphia during the eighteenth cen 
 tury, there were men of every creed and religion, of every walk 
 of life, of many different nationalities, and we may be sure that 
 in such a conglomeration of men and ideas there would be some 
 to whom amusements would be necessary even amusements 
 which strait-laced people would condemn. The information there 
 is upon this subject supports the opinion, that there were amuse 
 ments even in the early part of the eighteenth century. Foremost 
 among the pleasures in which the inhabitants of Philadelphia 
 indulged, was dancing, and we have reference to this art at an 
 early period. In a book written in 1710 is the following state 
 ment: 
 
Early German Music in Philadelphia. 25 
 
 "Among the rest of my Friends, I must not forget the facetious 
 Mr. Staples, Dancing-Master, who was the first Stranger of Phila 
 delphia that did me the Honour of a Visit." 73 
 
 As early as 1716 we find this record: 
 
 "At the Yearly Meeting of the Friends, members were ad 
 vised against going to or being in any way concerned in plays, 
 games, lotteries, music and dancing. " 74 
 
 Throughout the first half of the eighteenth century dancing 
 was evidently held in due respect by a certain element of the popu 
 lation. In 1728 it forms a part of the curriculum of a boarding 
 school. 75 In 1730 dancing is taught by Thomas Ball s sister. 76 
 The first really fashionable ball was probably that given by Gov 
 ernor Gordon, in 1726, in honor of the Prince of Wales birth 
 day. 77 To some extent, too, music and dancing were surely a 
 part of the marriage festivities, as the following item shows: 
 
 "We hear that Tuesday night last, a young Dutchman was 
 married to an old Dutchwoman, who was known to have money. 
 They had a fiddle at the Wedding. . . . She danc d till it 
 was late." 78 
 
 We find ministers of different denominations complaining of 
 the irreligion of some of the inhabitants. As one writer remarks: 
 
 "We live in an age, when tis counted almost a scandal to be 
 a Christian. Religion is stil d Preciseness and Hypocrisy, and a 
 strict Conformity to Truth and Virtue is imputed to be the Effect 
 of Melancholy, a Distemper d Imagination. We daily hear the 
 greatest Mysteries of our Faith Ridicul d and Banter d, the Clergy 
 
 73 Hart, American History told by Contemporaries II, p. 77, quoted from 
 "The Voyage, Shiprack and Miraculous Escape of Richard Cattleman, Gent," 
 appended to "The Voyages and Adventures of Capt. Robert Boyle" London, 1726, 
 4th Ed. 1786, p. 331. 
 
 74 Scharf & Wescott, History of Phila., Vol. II, p. 863. 
 
 ^American Weekly Mercury, March 5-14, 172$. 
 
 76 Pa. Gazette, March 5-13, 1729-30. 
 
 77 Scharf & Wescott, Hist, of Phita., Vol. I, p. 203. 
 
 78 Pa. Gaz., March 15 to 22, 1738-9. 
 
26 Early German Music in Philadelphia. 
 
 Despis d, Expos d and Degraded; and that even by Men, who have 
 not yet Publickly Renounc d Christianity; but such as would be 
 thought to have clearer Heads, and more refin d Conceptions of 
 Things than their Brethren, those Men to their Shame stand Pelting 
 Religion at a distance, with little Scoffs and Jests, when there is 
 a more Fair and Honourable way of deciding the Matter, by rational 
 and undeniable Arguments." 79 
 
 In opposition to this we have the testimony of Benjamin 
 Franklin, who writes: 
 
 "Our people, having no publick amusements to divert their 
 attention from study, became better acquainted with books." 80 
 
 So, too, a correspondent in the Weekly Mercury writes: 
 
 "Here are no Masquerades, Plays, Balls, Midnight Revellings, 
 or Assemblies to Debauch the Mind or promote Intrigue." 81 
 
 When, however, we read an advertisement in the same paper 
 about a month later like the following, we may be permitted to 
 doubt somewhat the statements of the last two men. 
 
 "The Art of Dancing Carefully Taught (as it is now Practic d 
 at Court) by Samuel Perpoint, at his School. . . . where for 
 the Recreation of all Gentlemen and Ladies: There will be Country 
 Dances every Thursday Evening , likewise he teaches small Sword." 82 
 
 From this time on, we notice the advertisements of various 
 dancing masters, who, often were school masters at the same time. 
 Not only did these Philadelphians enjoy dancing, but they were 
 partial to late suppers and card playing as well, playing cards 
 was a staple article of importation after 1736. 83 Another favor 
 ite amusement, we may be sure, was playing on the Jew s harp, 
 for after 1733, this instrument frequently is advertised. 84 The 
 
 79 American Weekly Mercury, June 19-26, 1729 [a correspondent]. 
 
 80 Autobiography, p. 207. 
 
 ^American Weekly Mercury, June 19-26, 1729. 
 
 ^American Weekly Mercury, July 31 to August 7, 1729. 
 
 ^American Weekly Mercury, February 8, 1736 [first advertised]. 
 
 ^American Weekly Mercury, March 2, 1733 [first advertised]. 
 
Early German Music in Philadelphia. 27 
 
 Jew s harp must have been considered a harmless instrument by 
 all sects, for as early as 1675 in one State of Puritan New Eng 
 land it is stated that a law was enacted, "that no one should play 
 on any kind of music except the drum, the trumpet and the jew- 
 sharp." 85 
 
 Besides the amusements already mentioned, the Philadel- 
 phians had an opportunity to see a rope-dancer in 1724, 86 "Punch 
 and Joan his Wife," 87 "Magick Lan thorn " exhibition, 88 "Camera 
 Obscura and Microscope/ 89 a musical clock with a man and woman 
 appearing as mountebanks. 90 
 
 Music was evidently popular at society meetings, banquets, 
 etc. Perhaps there was nothing more than singing, but possibly 
 a violin and spinet helped to while away the time. For instance, 
 in 1731 at the celebration of "St. David s Day," by the "Society 
 of Ancient Britons," the evening ended with "Musick, Mirth and 
 Friendship." 81 
 
 In the two items which will be given now, may be detected, 
 perhaps, the incipient germs of musical criticism, or at least the 
 idea, which most people probably had of what a professor of music 
 should know and be able to do: 
 
 "Elocution is not unlike Musick; there is scarce a Soul so rustick 
 as not to admire both in their Excellency, altho the Masters of 
 those Sciences may lose their proper Share of the Praise. He that 
 having laid before him the several Parts of a Musical Instrument, 
 can Unite them in their Places, and tune them to Harmony, merits 
 the appelation of a Master in Musick and should be distinguished as 
 such, as he that disposes Words into grammatical sentences, and 
 eloquent Periods, is a Master of Language." 92 
 
 ^Perkins & D wight, History of Haendel & Haydn Society, p. 17 (note). 
 
 86 Scharf & Wescott, Vol. II, p. 863. 
 
 87 Po. Gaz., Dec. 30, 1742. 
 
 88 Pa. Gaz., Jan. 27, 1743. 
 
 89 Pa. Gaz., July 2, 1744. 
 
 90 Pa. Gaz., May 31, 1744. 
 
 81 Pa. Gaz., Feb. 23 to March 4, 1730-31. 
 
 82 American Weekly Mercury, Aug. 7-14, 1729. 
 
28 Early German Music in Philadelphia. 
 
 This quotation may argue for the popularity and respect in 
 which music was held at that time by at least some of the people. 
 We find in this crude statement, that music was thought worthy 
 of a position by the side of elocution, which has always held a high 
 place in the minds of every people, and so we may be safe in be 
 lieving that music had a place, and an important place, in Philadel 
 phia, in the early history of that city. 
 
 Another correspondent states that: 
 
 "Women, like Instruments of Musick, require to be long used 
 before their Sweetness or Discord are certainly discovered." 93 
 
 Unless the writer of the above knew something about music, 
 and unless music was an object of interest or pleasure, so that 
 this comparison would be appreciated, he would not likely have 
 ventured to use such a simile. 
 
 In 1733 there is a record of a "ball" 94 while, in the next year 
 under the heading "London news," there is a notice concerning 
 the marriage of the Princess Royal to the Prince of Orange, which 
 gives the following information : 
 
 "A fine anthem composed by Mr. Handell was perform d by a 
 great Number of Voices and Instruments." 95 
 
 This latter item proves nothing except that the name of Handel 
 was introduced into the colonies at an early date, and may have 
 remained in the memories of some of the people, since he was con 
 nected with such an important event. This may possibly have 
 helped to increase the popularity which his works, later in the 
 century, attained in America. 
 
 It has been seen that there was music and dancing at this 
 time, and it is now interesting to learn what kind of musical 
 instruments were used. It has been shown already, that there 
 
 ^American Weekly Mercury, Sept. 10-17, 1730. 
 94 American Weekly Mercury, Nov. 11, 1733. 
 95 American Weekly Mercury, May 23, 1734. 
 
Early German Music in Philadelphia. 29 
 
 were Jew s harps, 96 that Kelpius had clavichords, 97 and assuredly 
 there were some virginals, although probably few. In the fifth 
 decade the various instrument makers mentioned above, 98 probably 
 had quite a number of customers. 
 
 In 1729 Andrew Bradford, proprietor of the American Weekly 
 Mercury, advertises : 
 
 "A well-strung Virginal to be sold; being in good Order. En 
 quire of Printer hereof." 99 
 
 Dr. Christopher Witt, referred to before, 100 was a capable 
 player on the virginal, 101 which at his death was appraised at 1, 
 15s. ; 102 while a virginal belonging to the "Hermits" reverted to the 
 widow of Magister Zimmerman. 103 
 
 The people who owned instruments of this kind had an 
 opportunity to learn to play, since in 1730 a woman the first 
 music teacher in Philadelphia makes an announcement in the 
 newspaper as follows: 
 
 [Thomas Ball s] "Wife teaches Writing and French. Like 
 wise Singing, Playing on the Spinet, Dancing and all sorts of 
 Needle- Work are taught by his Sister lately arrived from London." 104 
 
 What class of music she and her pupils played, it would be 
 hard to say, but it did not cause anyone to start a music store, 
 and it is not until 1739 that any great musical works are adver 
 tised at the office of the man of many parts, Benjamin Franklin. 
 The following pieces were to be obtained there : "Corelli s Sonatas, 
 Geminiani s Concertos, Ditto s Solos." 105 
 
 QQ Vide above, p. 26. 
 
 97 Vide above, p. 11. 
 
 98 Vtde above, p. 17 ff. 
 
 "American Weekly Mercury, March 4-13, 1728-9. 
 
 100 See above p. 18. 
 
 lol German Pietists, p. 412. 
 
 102 German Pietists, p. 418 (note). 
 
 103 Justus Falckner, p. 64 (note). 
 
 104 Pa. Gaz., July 2-9, 1730. 
 
 105 Pa. Gaz., June 15-22, 1738-9. 
 
30 Early German Music in Philadelphia. 
 
 Besides spinets and virginals there were probably violins, 
 German flutes, trumpets, drums, a few viols, etc. For instance, 
 in 1749 Anthony Lamb, of New York, advertises among other 
 things: "German Flutes," 106 while other men advertise, in 1750, 
 "Hunting Pipes," 107 and "fiddle strings," 108 From 1744 on num 
 erous advertisements of drums appear. 
 
 Before 1740 there is no record of any kind of musical organi 
 zation, but in this year there was such a society. During this 
 year the evangelist, Whitefield, visited Philadelphia and made 
 a strong impression upon people of all beliefs. One of his 
 disciples caused this to be printed: 
 
 "Since Mr. Whitefield s Preaching here, the Dancing school, 
 Assembly, and Concert Room have been shut up, as inconsistent 
 with the Doctrine of the Gospel: and though the Gentlemen con- 
 cern d caus d the Door to be broke open again, we are inform d that 
 no Company came to the last Assembly night." 109 
 
 One of the members, however, denied the charge that dances 
 were inconsistent with the doctrine of the gospel, and affirmed 
 that the hall was closed up by William Seward, an "Attendant 
 and intimate Companion" of Whitefield. This same writer speaks 
 of "Members of the Concert" and the rooms belonging to them. 
 He also says that the members "met the Night after according to 
 Custom; and the Thursday following the Company met to Dance 
 as they used to do; but the Assembly being only for the Winter 
 Season is now discontinued of Course and the Concert being for the 
 whole Year still goes on as usual." 110 
 
 This is interesting, as it is the first record of concerts, and 
 also, because these concerts, continued the whole year, not merely 
 during the winter months as nowadays. There were "Members 
 of the Concert," too, who rented or owned rooms. There must 
 
 106 Pa. Gaz., Jan. 31, 1749. 
 
 107 Pa. Journal, Jan. 9, 1750. 
 
 108 Pa. Jour, and also Pa. Gaz, May 24, 1750. 
 
 109 P. Gazette, May 1, 1740. 
 
 110 Pa. Gaz., May 8, 1740. 
 
Early German Music in Philadelphia. 31 
 
 then have been some kind of a club or society, which gave these 
 performances. 
 
 These concerts must either have been kept up for years, or 
 new series instituted year by year, since our friend William Black 
 (already quoted) says in his diary of 1744, June 5: 
 
 "At 8 O Clock went to hear a Concert of Musick; the Per 
 formers was some Town s Gentlemen, and did Us the Honour of an 
 Invitation, we staid till past 11, and I left the Company to go home 
 to my lodgings." 111 
 
 It is important to observe, that William Black says he had 
 the "Honour" to be invited to a concert. One might say that this 
 word was simply a common expression. It probably was, and still 
 is; but we believe a man would hardly write such an expression 
 in his diary, unless he really thought he was honored. It seems 
 probable that this concert and those of 1740 must have been very 
 exclusive and were not public entertainments, which anyone might 
 attend . 
 
 There was exhibited this same year (1744) a curiosity, 
 which would attract a large crowd of people. This was no less 
 than : 
 
 "The Unparallelled Musical Clock, made by that great Master 
 of Machinery, David Lockwood. It excels all others in the Beauty 
 of its Structure and plays the choicest Airs from the most cele 
 brated Operas with the greatest Nicety and Exactness. It per 
 forms with beautiful graces, ingeniously and variously intermixed, 
 the French Horn, Pieces, perform d upon the Organ, German and 
 Common Flute, Flageolet, etc., Sonata s, Concerto s, Marches, Minu- 
 etts, Jiggs and Scots Airs, composed by Corelli, Alberoni, Mr. Handel 
 and other great and eminent Masters of Musick." 112 
 
 This is the first public record we have, that works of such 
 famous composers were played, and they must have become 
 familiar, in a short time to a great number of inhabitants. 
 
 ni Penn. Mag. of Hist., Vol. I, p. 416. 
 112 Po. Gaz., July 12, 1744. 
 
32 Early German Music in Philadelphia. 
 
 It will be remembered that Miss Ball s capabilities in the 
 province of music were confined to but two branches, voice and 
 spinet. In 1749, however, appears a truly musical genius, if we 
 may judge by the number of instruments which he played. This 
 man was, as we learn from the following: 
 
 "John Beals, Musick Master from London [who] at his House 
 in Fourth Street, near Chestnut Street, joining to Mr. Linton s, collar 
 maker, teaches the Violin, Hautboy, German Flute, Common Flute 
 and Dulcimer by Note. 
 
 "Said Beals will likewise attend young ladies, or others, that 
 m ay desire it, at their houses. He likewise provides musick for balls 
 or other entertainments." 113 
 
 Here was an opportunity for the inhabitants of the Quaker 
 City to improve their time by learning music, and as the variety 
 of instruments from which they might choose, was large, no doubt 
 some of them became proficient musicians. 
 
 This same year saw the beginnings of drama and opera in 
 Philadelphia, given by the English actors, Murray and Kean. 114 
 These dramatic performances were soon discontinued on account 
 of the opposition of the public. From now until the latter part 
 of the sixth decade of the eighteenth century there were desultory 
 attempts to give dramas, but not until 1759 did the theatre prove 
 successful and become permanent. 
 
 There was then in this decade an incipient appreciation of 
 drama to which some music was oftentimes joined. What other 
 music was there at this time? In 1750-4 Mittelberger says : 
 
 "The cultivation of music is rather rare as yet. . . . Some 
 Englishmen give occasional concerts in private houses with a spinet 
 or harpsichord." 115 
 
 Mittelberger s statement concerning the cultivation of 
 music is not quite true. Music undoubtedly was studied a great 
 
 113 Pa. Gaz., March 21, 1749. 
 114 Madeira, Annals of Music, p. 29. 
 115 Mittelbergers Journey, p. 114 ff. 
 
Early German Music in Philadelphia. 33 
 
 deal more than Mittelberger seems to think. If his statement that 
 occasional private concerts were given by Englishmen is true, this 
 was probably the kind of concert William Black attended in 
 1749, 116 and may have been similar to the concerts of 1740. 117 
 
 During the first half of the eighteenth century Philadelphia 
 was not so utterly devoid of musical culture as some of our historians 
 of music would have us believe. The music was not entirely church 
 music, and although musical culture was not so important a factor 
 in the life of the people as at the present day, still music was beginning 
 to make itself felt among intelligent people, and interest in it and 
 appreciation of it were gradually growing. 
 
 116 Cf. above, p. 31. 
 117 Cf. above, p. 30. 
 
PART II 
 Period of Progress, 1750-1783 
 
Early German Music in Philadelphia. 37 
 
 CHAPTER IV. 
 
 Music TEACHERS 
 
 From the preceding chapters it will be evident that secular 
 music was beginning to be a force in the life of the people although 
 the religious music certainly in the first half of the 18th century was 
 more prominent. From 1750 on, however, secular music gradually 
 but surely replaces religious music to a great extent, and becomes to 
 all intents and purposes the noticeable feature of the musical life of 
 Philadelphia. 
 
 The introduction of German concert music strange to say, 
 evidently was not due to Germans, although the various German 
 teachers of music may later have aided in popularizing the music 
 of their native land. Too much credit cannot be given to the 
 different music teachers from England, who inaugurated public 
 concerts in Philadelphia, where the works of the greatest artists 
 of Germany, England, and Italy were produced. 
 
 As early as 1729 118 a music teacher appeared in Philadelphia, 
 while in 1749 119 another member of the profession advertises for 
 pupils. From now on this class of men increases, but there is notice 
 able lack of teachers with German names. The greater part of these 
 men were English ; a few French, Italians, and Germans being present 
 also. 
 
 In 1755 appears an unique advertisement showing that some of 
 the German music teachers were not dependent upon music alone 
 for a livelihood. 
 
 "The subscriber proposes to open a school on Monday next, in 
 the house where the late Mr. Quin 120 formerly dwelt, for the in- 
 
 118 See above, p. 29. 
 119 See above, p. 32. 
 
 120 Mr. Quin was a dancing-master, and his room is advertised for rent in 
 Pa. Gaz., Sept. 11, 1755. 
 
38 Early German Music in Philadelpdia. 
 
 struction of Gentlemen and Ladies, in the following accomplishments: 
 
 "First, The French, Italian and German languages, in a method 
 concise and easy. 
 
 "Secondly, To play on the violin after the Italian manner, with a 
 peculiar method of bowing and shifting in solo s or concerto s. 
 
 "Thirdly, Drawing and miniature painting with colours, flowers, 
 insects, etc. . . . Likewise to draw patterns for embroidery, or 
 any kind of needle work 
 
 "He has a variety of music, composed by the most eminent 
 masters, for the violino solo, con cembalo et violoncello, to be dis 
 posed of on easy terms. 
 
 John Matthias Kramer." 121 
 
 Five years later another accomplished German music teacher 
 appeared upon the scene, whose modest advertisement is a relief 
 after reading the previous effusion. This man confines himself to 
 the German flute, which seems to have been an instrument of some 
 importance at that period. This notice runs as follows: 
 
 "This is to inform the Public, 
 
 "That an Evening School for teaching young Gentlemen to play 
 upon the German Flute will be opened by the Subscriber .... 
 where young Gentlemen may be taught, by an easy and regular 
 Method, to play with Judgement and Taste, for the moderate Price 
 of Six Shillings per Week, and Thirty Shillings Entrance Money, 
 provided the Subscriber can procure six Scholars. The Hours of 
 Attendance will be every Evening (Sundays excepted.) from 6 to 
 8 o clock. Said Subscriber will also attend Gentlemen at their 
 Houses, one Hour every other Day, for one Guinea per Month and 
 Thirty Shillings Entrance. 
 
 John Stadler. 
 
 N. B. If any Gentleman is desirious to know the character 
 and abilities of said Subscriber as a Teacher of Music, they may be 
 satisfied by enquiring of any Gentleman in this City, who is a Judge 
 of these Matters." 122 
 
 It is to be noted that Stadler opened a school for his instrument, 
 which emphasizes the popularity which this instrument must have 
 enjoyed. 
 
 121 Pa. Gaz., Nov. 6, 1755. 
 122 Pa. Gaz., Aug. 27, 1761. 
 
Early German Music in Philadelphia. 39 
 
 Two years later another German flutist, George Isenberg or 
 D E issenburg 123 increased the force of teachers in Philadelphia. 
 Again we find in 1774 Peter Kalckoffer advertising to teach the be 
 loved German flute as well as the Latin tongue. 124 
 
 Probably the most important of these German musicians was 
 H. B. Victor, who went from Germany to London, in 1759, 125 and 
 whose advertisement appears in 1774 an advertisement worthy to 
 be placed alongside of some of those of the present day. He seems 
 to have been an inventor of musical instruments as well. The num 
 ber of instruments he plays at once, remind us of some of the street 
 musicians of the present day. 
 
 "Mr. Victor, Musician to her late Royal Highness the Princess 
 of Wales, and Organist at St. Georges in London, lately arrived here, 
 takes this method of acquainting the Musical Gentry in general, 
 that he gives instructions on the Harpsichord, or Forte Piano, 
 Violin, German Flute, etc., especially in the thorough Bass both in 
 theory and practice, for that his pupils may soon come to a fundamen 
 tal knowledge of that fine science. 
 
 N. B. Mr. Victor intended to give a concert, and to perform on 
 his new musical instruments, but is obliged to postpone it for want 
 of able hands; the one he calls Tromba doppia con Tympana, on 
 which he plays the first and second trumpet and a pair of annexed 
 kettle-drums with the feet all at once ; the other is called cymbaline 
 de amour, which resembles the musical glasses played by harpischord 
 keys, never subject to come out of tune, both of his own invention. 
 He is to be met with at his house in Callow Hill street near Water 
 street." 126 
 
 According to this advertisement, Victor must have been a 
 whole conservatory of music in himself. However he was a musician 
 of some note in our early history, and as such is worthy a place here. 
 
 As would be expected the remainder of this period brings no new 
 teachers to notice as the colonies were busied with far more im 
 portant matters. 
 
 123 Po. Gaz., May 15, 1763. 
 
 124 Pa. Jour., June 8, 1774. 
 
 125 Sonneck, Early^Secular Amer. Music, p. 193. 
 
 126 Pa. Packet, Oct. 17, 1774. 
 
40 Early German Music in Philadelphia. 
 
 CHAPTER V. 
 Music DEALERS, ETC. 
 
 To supply the needs of his pupils it is necessary for a music 
 teacher either to carry a line of musical wares himself or to satisfy 
 his wants from a merchant dealing in such things. For some time 
 it is quite likely that each teacher imported his own musical merchan 
 dise, although it has already been noted that, at an early date, 
 Benj. Franklin had some music on sale. 127 As in every business 
 there is some one ready to grasp an opportunity, so in the music 
 business a man stepped forward to relieve the teachers of buying and 
 selling. This man was Michael Hillegas, who in 1759 opened, what 
 may be called, the first real music store in Philadelphia. A glance at 
 the following advertisement will not belie this claim. 
 
 "To be sold by Michall Hillegas, at his House in Second street, 
 opposite Samuel Morris, Esq., an extraordinary good and neat 
 Harpsichord with four stops; a good Violin-cello, an Assortment 
 of English and Italian Violins, as well common ones, as double lined, 
 of which some extraordinary; a parcel of good German Flutes, im 
 ported here from Italy. Also imported in the last ships from London, 
 a large Assortment of Musick, of the best Masters, viz.: Solo s, 
 Overtures, Concerto s, Sonata s, and Duets, for Violins, German 
 Flutes, Hautboys, French Horns, Violoncello s, and Guitars, Volun 
 taries, Lessons for Organs and Harpischords, ruled paper of various 
 Sorts for Musick, and Musick Books, Tutors or Books of Instructions 
 to learn to play on the Violin, German Flute, Hautboy, or Common 
 Flute, without a Master, Song Books, Cantatas, Songs on Sheets, and 
 a Choice Parcel of Violin Strings, etc." 128 
 
 127 See above, p. 29. 
 128 Pa. Gaz., Dec. 13, 1759. 
 
Early German Music in Philadelphia. 41 
 
 From this advertisement may be deduced many things. In the 
 first place, such an inventory of stock would not be sneered at by a 
 music dealer of the present day; we may be sure then that the 
 people were musical and that there was a demand for the things 
 advertised. We should suppose that violins and German flutes were 
 the most popular instruments and were in great demand; while 
 there was certainly more than one player perhaps many of the 
 above, common flute, French horn, cello, and guitar; and of course 
 there were organists and harpsichord players. 
 
 Thus we are certain, that, in a few years that the people must 
 have progressed rapidly in music, and probably now it was con 
 sidered a necessary part of every young lady s and young gentleman s 
 education. Music paper, too, is advertised by Hillegas. This may 
 have been used in copying compositions of other writers as we 
 know Hopkinson did, 129 or, perhaps, there were composers at that 
 time of whom there is no record. The song-books, cantatas, and 
 songs imported would be those in favor in London, as musical taste 
 at this period in Philadelphia was a reflection of English taste. 
 
 The name of Michael Hillegas will live as long as the United 
 States hold together, as he was an important figure in the early 
 history of our country. 
 
 Michael Hillegas 130 was born April 22, [O. $.] in Phila 
 delphia of German parents. The tradition runs in the Hillegas 
 family that their ancestors were French. They had a court of arms 
 containing three musical staves. However that may be Michael s 
 parents came from Baden and settled in Philadelphia, where Michael 
 Sr. was naturalized April 11, 1749. He was a merchant, and was 
 interested in real estate and prospered exceedingly. At his death 
 Oct. 11, 1749, his property was valued at .40,000 of which his son 
 Michael had two shares. 
 
 Michael Jr. now carried on the business of his father. He was 
 popular, devoted to music and a skilful player on the flute and 
 
 m $ee below, p. 48. 
 
 180 Oldest reliable spelling is Hilde-gras. 
 
42 Early German Music in Philadelphia. 
 
 violin, and a composer of "An Easy Method for the Flute." 131 As 
 early as 1753, he advertises a church or house organ. 132 
 
 Politically he was important, held various offices in Philadelphia, 
 and upon the adoption of the constitution became treasurer the 
 first treasurer of the United States an office which he held 
 throughout the war. 133 
 
 Such in brief was the man who kept the first store of musical 
 merchandise. His influence in musical matters must have been 
 felt, although it cannot be proven. That he had good musical taste 
 or that the public did is seen from the list of standard works which 
 he advertised in 1764 134 including those of Tartini, Hass, Noseri, 
 Alberti, Vincent, Carter, Miller, Balicourt, Tessorini, Reed, Stanley, 
 Viaci, Cervetto, Davis, Quants, Martini, Weideman, Hellendaal, 
 Pepush, Triemer, Wodizka, Corelli, Depuis, Avison, Humphreys, 
 Alcock, Festnig, Handel, Vivaldi Boyce, Ruge, Price, Burney, 
 Fisher, Ferigo, Flackston, Bates, Retzel, Benegger, Bezozsi, Albinoni, 
 Graun, Stamitz, Fritz, Barbella, Richter, Kleinecht, Lampugnini, 
 Pasquali, M Gibbon, Dottel, Gerard, Stechwey, Battino, Campioni, 
 Claget, Agzell, Figlio, Diragini, Lanzetti, Kunzen, Scarlatti, Smith 
 [Schmidt?], Barbandt, Berg. This is a list of names of composers 
 which, at that time were popular and some of which hold an important 
 place in the musical world of to-day. 
 
 Although Michael Hillegas, probably for some time, had almost 
 a monopoly of the selling of musical merchandize, it was not long 
 before another firm usurped the position which Hillegas had held in 
 the musical world, and apparently crowded him out of business, as 
 his advertisements, after a short time, are few and gradually cease 
 altogether. The music-house par excellence which now came to 
 the front was that of the English book-sellers, Rivington & Brown. 
 
 131 Advertised in Pa. Gaz., June 19, 1776. 
 
 132 Pa. Gaz., Aug. 9, 1753. 
 
 133 Material for this sketch taken from "Michael Hillegas and His Descendants" 
 by Emma St. Clair Whitney; also, "A Memoir of the First Treasurer of the U. S," 
 by M. R. Minnich. 
 
 134 Pa. Gaz., Jan. 5, 1764. 
 
Early German Music in Philadelphia. 43 
 
 who carried a remarkably large stock of musical merchandize. 
 135 However we are only concerned with those storekeepers of German 
 descent so we will have to pass by this large and prosperous establish 
 ment. 
 
 Soon after this Theodore Memminger, a liquor dealer, advertises : 
 
 "A Fine Parcel of Violins, at a very low Price. They are all 
 made by the best Masters in High Germany. He has likewise the 
 best Sort of Fiddle Strings." 136 
 
 In 1768 he seems to have increased his music business, as the 
 following notice shows: 
 
 "A Variety of violins at different prices; the best kind of fresh 
 fiddle strings: guitar and spinnett brass and steel wire: a fine pair 
 of very good ivory German flutes. He spins all sorts of bass strings 
 with silver wire," 137 
 
 Most of this business seems to have been in the hands of the 
 English for with the exception of one more German Conrad Batis, 
 who advertises among other things "a quantity of violins and violin 
 strings," 138 no other German music dealer has been discovered. 
 
 There is, however, one more event of importance to chronicle, 
 before leaving the music dealers. It has been already stated that 
 harpsichords and spinets were made in Philadelphia at an early period. 
 It remained for John Behrent, a German, to add to the renown of 
 Philadelphia in the realm of music. In 1775 he advertised: 
 
 "John Behrent, Joiner and Instrument Maker living in Third 
 street continued in Campington, directly opposite Coate s Burying- 
 ground, Has just finished for sale, an extraordinary fine instrument, 
 by the name of Piano Forte, of Mahogany, in the manner of an harpis- 
 chord, with hammers, and several changes: He intends to dispose 
 of it on very reasonable terms: and being a master of such sort of 
 work, and a new beginner in this country he requests all lovers of 
 music to favour him with their custom, and they shall not only be 
 
 135 Cf. Pa. Gaz., Feb. 4. 1762, also Pa. Jour., Dec. 15, 1763. 
 136 Pa. Gaz., Nov. 10, 1763. 
 137 Pa. Jour., Nov. 17, 1768. 
 138 Pa. Gaz., Feb. 17, 1773. 
 
44 Early jGerman Music in Philadelphia. 
 
 honestly served, but their favours gratefully acknowledged, by their 
 humble servant, John Behrent." 139 
 
 Evidently the War of the Revolution interrupted any further 
 progress in musical development, as nothing more of importance 
 is found during this period. 
 
 139 Pa. Pack., Mar. 13, 1775. 
 
Early German Music in Philadelphia. 45 
 
 CHAPTER VI. 
 CONCERT Music. 
 
 In a previous chapter it was shown that a kind of subscription 
 concert was given as early as 1744, and although there is no record 
 of public or private concerts being given for sometime after that, it 
 is only natural to suppose that at least private chamber concerts 
 were given. 
 
 We may be sure that bands were a feature at an early date, and 
 no doubt added somewhat to the musical life of Philadelphia. It is 
 not until 1755, however, that there is any mention of such an organiza 
 tion. However in that year we learn that a "Band of Musick" 
 headed a procession of Masons on St. John s Day. 140 How im 
 portant this procession was considered by the onlookers is seen from 
 the testimony of Daniel Fisher who writes in his diary : 
 
 "I should observe that on St. John the Baptist Day (June 24) 
 there was the Greatest Procession of Free Masons to the Church and 
 their Lodge, in Second Street that was ever seen in America. No less 
 than 160 being in the Procession in Gloves, Aprons, etc., attended 
 by a band of Music." 141 
 
 This band probably was not like those of the present time, but 
 may have been satisfactory to the inhabitants of old Philadelphia. 
 We may assume it was similar to a drum and fife corps, although this 
 assumption may do injustice to the musical taste of that time. 
 Anyway we have the year following a more detailed description of a 
 procession including music. 
 
 140 Pa. Gaz., Jun. 26, 1755. 
 
 141 Pa. Mag. of Hist., Vol. XVII, p. 273. 
 
46 Early German Music in Philadelphia. 
 
 "The Philadelphia Regiment consisting of upwards of 1,000 
 able-bodied men after being reviewed and performing the Manual 
 Exercises [went] thro the Town in Three Grand Divisions. . . . 
 with Hautboys and Fifes in Ranks.. . . [and] Drums between 
 the third and fourth Ranks." 143 
 
 This is certainly a small beginning but the band had come to 
 stay and apparently was popular, and prabably was used in most 
 processions and public celebrations. After the victory at Louisburg 
 fireworks were displayed in Philadelphia and a performance of a 
 "Band of Music playing Britons strike home." 143 
 
 At a later date bands of the British regiments stationed in 
 Philadelphia, aided at the public commencements of the "College 
 and Charity School" 144 now the University of Pennsylvania. 
 
 The year 1757 is very important in the history of music in 
 Philadelphia. We have now the "first public concerts on record," 
 says O. G. Sonneck. 145 The advertisement runs: 
 
 "By particular Desire. On Tuesday next, the 25th instant, at 
 the Assembly Room, in Lodge Alley will be performed a Concert of 
 Music, under the direction of Mr. John Palma, 146 to begin exactly at 
 Six o clock. Tickets to be had at the London Coffee House, at one 
 Dollar each, and no Person to be admitted without a ticket." 147 
 
 Another concert was given March 25th, of this same year. 148 
 This year, too, a man appears in musical circles, who undoubtedly 
 exercised more influence upon musical affairs in Philadelphia than 
 any one man before or since. This is no other than Frances Hopkin- 
 son, statesman, signer of the Declaration of Independence, Lawyer, 
 Writer, Inventor, Composer of Music, etc., etc. His contributions 
 to the music and musical taste of this country is little known, but 
 
 142 Pa. Journal, Mar. 2-5, 1756. 
 
 143 Po. Gaz., Sept. 7, 1758. 
 
 144 Po. Gaz. 
 
 145 Cf. O. G. Sonneck, Frances Hopkinson and James Lyon. 
 
 146 Palma was formerly a music teacher in London. 
 
 147 Pa. Gaz. t Jan. 20, 1757. 
 
 148 Pa. Journal, Mar. 24, 1757. 
 
Early German Music in Philadelphia. 47 
 
 when we say that the evidence points to him as the first native com 
 poser in America, although Jas. Lyon of this city may have been 
 they both wrote music as early as 1759 149 this fact makes him a 
 man of the greatest importance in musical circles. We wish to 
 correct here a statement made by various writers on American music, 
 that William Billings was the first American composer. This is 
 absolutely false, since Hopkinson and Lyon composed music at least 
 ten years before Billings did, while the latter was yet a child. 
 
 It will not be out of place here to give a short account of Frances 
 Hopkinson, laying particular stress upon his musical labors, especially 
 as regards German music. 
 
 Frances Hopkinson was born in Philadelphia, Sept. 21, 1737, 
 the son of Thomas and Mary Hopkinson. He must have been keen, 
 active, and studious, since, while yet a boy of twenty, he received 
 his degree with the first class ever graduated from the College of 
 Philadelphia. From now on he advanced in knowledge and in 
 favor with the world. In 1760 he received the degree of Master of 
 Arts from his Alma Mater, and in 1763 recieved the same degree 
 from the College of New Jersey. In 1790 his own college conferred 
 upon him the degree of Doctor of Laws. 
 
 His public life was too active to give more than the briefest 
 sketch. His first public office was that of secretary to the governor 
 in a conference between the latter and the Lehigh Indians. From 
 now on, he held many offices, as secretary of the Library Company 
 in 1759; 1772 Collector of the Port of New Castle; 1774 held a seat 
 in Provinicial Council of New Jersey ; 1776 delegate to the Continental 
 Congress; signer of the Declaration of Independence; 1779 Judge 
 of the Admiralty from Pennsylvania; 1778 Trustee of the College 
 of Philadelphia. Besides this, he wrote many political pieces of 
 which "The Battle of the Kegs," 1778, was the most popular. He 
 was also for a time organist in Christ Church, instructor in psalmody, 
 a pillar of the church, and an inventor of improvements for the 
 harpsichord. 150 
 
 149 Cf. Sonneck, "Frances Hopkinson, etc." [An admirable discussion.] 
 150 Cf. E. P. Cheney, History of U. of P., p. 288 ff. 
 Also Cf. Sonneck, "Frances Hopkinson , etc. 
 
48 Early German Music in Philadelphia. 
 
 Our first knowledge that Hopkinson studied music is a notice 
 in the magazine containing his "Ode on Music," which remarks: 
 
 "Written at Philadelphia by a young Gentleman of 17, on his 
 beginning to learn the Harpsichord. 152 
 
 The only professional music master at that time was John 
 Beals, 153 but, later, 1757, came John Palma 154 and in 1763 James 
 Bremner. 155 Hopkinson may have taken lessons from any or all 
 of these men for all we know to the contrary; but it is certain that 
 he was a pupil of Jas. Bremner, a Scotch musician of some note. 158 
 
 Hopkinson made his first public appearance as a musician 
 probably in 1757 when the "Masque of Alfred" words by Thompson- 
 Mallett; music by Dr. Arne was given at the College of Phila 
 delphia as an exercise in oratory. 157 He may have been accompanist 
 for this performance. 
 
 It is interesting to note with what music Hopkinson was 
 acquainted at this time and for this purpose I shall quote from 
 Sonneck s exhaustive work : 
 
 "The torso of a book with the memorandum Frances Hopkinson, 
 1755, attracts our attention. It is in manuscript, possibly of the 
 owner. Most pieces have a figured base, and are Italian, French, 
 English trios, songs, and duets, arranged for the harpsichord, amongst 
 them for instance A Song in the Triumph of Hibernia, an Air in 
 Atalanta by Handel, and a famous Water Piece by the same 
 author." 158 
 
 Another book of manuscript bearing the date, 1759, contains 
 pieces by "Handel with ten pieces (Samson, evidently being Hopkin- 
 son s favorite oratorio by the master), Signor Palma, and Signor 
 
 152 American Magazine, Oct. 1757. 
 
 153 Cf . Above, p. There was however a music mistress Cf . above, p. 
 
 154 Cf. Above 9. 
 
 155 Pa. Gaz., Dec. 1, 1763. 
 
 156 Sonneck, Frances Hop. etc., p. 29. 
 
 157 Sonneck, Frances Hop., etc., p. 22 and 40, Pa. Gaz., Jan. 20, 1757. 
 
 158 Sonneck, "Fr. Hop., etc.," p. 32. 
 
Early German Music in Philadelphia. 49 
 
 Vinci both with four: Arne with two; Pepush (Alex s a Cantata!) 
 Dr. Boyce, Pergolesi, and Purcell with one piece." 159 
 
 A third volume called "Lessons", date not given, contains, 
 among others, compositions by: "Handel who (predominates,) 
 Scarlatti, Abel, Stamitz, Vivaldi, Galuppi, Pugnani, Stanley, Smith, 
 [Schmidt], Pasquali, Giardini, Corelli, Geminiani, Lord Kelly." 160 
 
 From these manuscripts it will be seen that Hopkinson was 
 familiar with many of the best composers of the world. He was 
 evidently especially fond of Italian and English composers, but we 
 may judge that he liked Handel s music best of all. In the list 
 directly above there are mentioned the following Germans: Handel, 
 Abel, Stamitz, Schmidt; also the Englishman, Stanley, was a 
 particular friend of Handel, and his music, as was all music of 
 England at that time, must have been modeled after Handel s; 
 then there is Lord Kelley who studied music in Germany. We 
 believe that the greater part of this music was brought to Hopkinson s 
 attention by the music-masters from London, and if that is so, it 
 naturally follows that others of their pupils became acquainted with 
 standard composers. We may be sure, too, that Handel, who was 
 almost idolized in England during this century, had impressed these 
 English American music-masters with his importance, and they 
 would not keep to themselves their knowledge of him and his works. 
 Handel, says one writer : 
 
 "For nearly a century . . . stood to the English school as a 
 model of everything that was good and great, to such an extent that 
 very little of original value was accomplished in that country, and 
 when, by lapse of time and a deeper self -consciousness on the part of 
 English musicians, this influence had begun to wane, a new German 
 composer came in the person of Felix Mendelssohn Bartholdy, who, 
 in turn, became a popular idol, and for many years a barrier to 
 original effort." 181 
 
 To turn again to Hopkinson we find that he not only had 
 manuscript books of music, but also printed works such as: 
 
 159 Sonneck, Fr. Hop., etc." p. 33. 
 
 160 Sonneck, "Fr. Hop., etc.: p- 34. 
 
 161 W. S. B. Matthews. A Popular History of Music, p. 281 
 
50 Early German Music in Philadelphia. 
 
 "Six Sonatas for the Piano Forte or Harpsichord, Composed by 
 Frederick Theodor Schumann, Opera 5th London. 1 * 2 
 "Handel s Songs selected from the Oratorios." 162 
 
 Then there were books by Italian composers, with which we 
 are not concerned. 162 
 
 From the evidence already presented, it will probably be granted 
 that, the German concert music which was found in Philadelphia 
 in the early 18th century, was brought in rather by the English 
 musicians than by the Germans. We find the taste for music in 
 London reflected by the various music teachers, and by the actors 
 who came to Philadelphia from London during the sixth and seventh 
 decades. This English influence lasted until the War of the Revo 
 lution during which there was a period of quiescence. After peace 
 was restored, the English, Germans, and French the latter exiles 
 and victims of the French Revolution all aided in the continuance 
 of high class music. 
 
 Subscription concerts or in fact concerts of any kind seem to 
 have gone out of fashion in Philadelphia, but in 1764 there was an 
 awakening and a series of concerts was instituted, beginning January 
 the nineteenth ; "to be continued every other Thursday, till the 24th 
 of May following. No more than 70 Subscribers will be admitted, 
 and each, on paying Three Pounds for the Season, to have one 
 Lady s Ticket to be disposed of every Concert Night, as he thinks 
 proper." 163 
 
 This then was a series of subscription concerts and must have 
 been confined to the aristocracy of the town. The next year another 
 series of such concerts was given, 164 so they were evidently quite 
 successful. Of these concerts there has been no program discovered, 
 but in the spring of 1765 there is a program of a concert, which is 
 probably representative of the programs given at that time. The 
 advertisement for this concert is of interest : 
 
 "On Wednesday evening the 10th Instant at the College Hall in 
 this City was performed a solemn Entertainment of Music under the 
 
 162 Sonneck, Fr. Hop., etc., p. 34. 
 163 Pa. Gaz., Jan. 12, 1764. 
 164 Pa. Gaz., Nov. 1,1764. 
 
Early German Music in Philadelphia. 51 
 
 Direction of Mr. Bremner; 165 interspersed with Oratorios, by some of 
 
 the young Students Nearly One Hundred and Thirty 
 
 Pounds was raised for the Benefit of the Charity Schools belonging 
 to the said College." 166 
 
 The program included overtures of Stamitz, Kelly, and Arne, 
 and Martini, and a concerto of Geminiani; also, sacred songs, orations, 
 and a violin solo. 
 
 Besides these exhibitions there were probably concerts of 
 chamber music, as witness: 
 
 "Even in the last century [18th] it was usual for families to have 
 meetings at their houses for their improvement in music. Governor 
 Penn, who played the violin, had musical soirees every Sunday 
 evening at his house in South Third Street, during a portion of the 
 year. Dr. Adam Kuhn, himself an amateur, attended them." 167 
 
 The first definite mention of an orchestra was in 1767 when it 
 was announced that the singing in the Southwark Theatre was 
 accompanied by a Band of Music." 168 "An estimate as to this 
 orchestra is herewith given: violins, flute, harpischord, oboe, cello, 
 trumpet, and, perhaps, French horn and drum. 
 
 There were sparks in the town, who also, indulged in serenading 
 their lady loves, an account of which is given by an Englishman in 
 a letter to his sister: 
 
 "Dear Sister, . . . Pray (as old Polonious says) when you 
 was young and in love, did you approve of serenading? It is 
 extremely in vogue here now. The manner is as follows: We, with 
 four or five young officers of the regiment in barracks, drink as hard 
 as we can, to keep out the cold, and about midnight sally forth, 
 attended by the band, which consists of ten musicians, horns, clarinets, 
 hautboys, and bassoons, march through the streets, and play under 
 the window of any lady you choose to distinguish; which they 
 esteem a high compliment. In about an hour all the blackguards 
 who sleep upon the bulks, with gentlemen of a certain profession 
 who sweeten the streets at night, are collected round, drawn by that 
 
 165 Cf. Above, p. 
 
 166 Po. Gaz., Apr. 18, 1765. 
 
 167 W. G. Armstrong, Record of the Opera in Phila., p. 6. 
 
 168 Pa. Gaz., Sept. 24, 1767. 
 
52 Early German Music in Philadelphia. 
 
 charm which soothes a savage breast, and altogether make it extreme 
 ly agreeable in a fine frosty morning." 169 
 
 In this letter are mentioned clarinets and bassoons, instruments 
 possibly not common in Philadelphia. The band probably belonged 
 to the regiment of which the writer was a member, and was very 
 small compared to the regimental bands of to-day. 
 
 That there could not have been many professional musicians 
 in Philadelphia is shown by a notice concerning the Southwark 
 Theatre in 1769: 
 
 "The Orchestra on Opera Nights, will be assisted by some musical 
 Persons, who as they have no View, but to contribute to the Enter 
 tainment of the Public, certainly claim a Protection from any Manner 
 of Insult." 170 
 
 Evidently at this early period people were beginning to be 
 critical, and, as the orchestra did not come up to their expectations, 
 they did not hesitate to show their resentment. 
 
 It has been said that no concerts are to be traced in Philadelphia 
 in 1766 and 1767. 171 In 1767 however, Mr. Garner, a teacher of 
 psalmody advertises four charity concerts, 172 upon which a little 
 light is thrown by the following notices given by Mr. Garner concern 
 ing one of these concerts : 
 
 "The vocal parts by Mr. Wools, Miss Wainwright, and Miss 
 Hallam. The greatest care shall be taken to render the entertain 
 ment pleasing and satisfactory." 173 
 
 The program not being in existence, we cannot say with a surety 
 what character it assumed. It may have been partly of a sacred 
 character, but it is also likely, since the three singers mentioned 
 belonged to the theatre, that the program had at least a semi-worldy 
 tinge. 
 
 In 1767 arrived in Philadelphia an Italian, John Gualdo, who 
 exercised, for a few years, a great influence upon the musical taste 
 
 169 Po. Mag. of Hist., Vol. XI, p. 281. 
 170 Pa. Gaz., Nov. 30, 1769. 
 171 Cf. Sonneck, Early Concert Life. 
 172 Pa. Journ., Jan. 8, 1767. 
 173 Pa. Chronicle, Feb. 2, 1767. 
 
Early German Music in Philadelphia. 53 
 
 of the people. His choice of music was not limited to compositions 
 of Italian masters, nor to his own compositions, since one of his 
 advertisements states, that the instrumental music is "by Messieurs 
 Geminiani, Barbella, Campioni, Zanetti, Pellegrino, Abel, Bach, 
 Gualdo, the Karl of Kelley, and others." 174 
 
 Sonneck dates Gualdo s first concert Nov. 16, 1769, 175 but 
 according to the following advertisement it would seem to have 
 taken place a month earlier: 
 
 "To THE PUBUC: 
 
 "At the Assembly Room, on next Wednesday (being the 18th 
 of October) will be performed a concert of vocal and instrumental 
 music, for the Benefit of a little Master, not seven years old, who will 
 give a specimen of his early abilities. The concert to be directed by 
 Mr. Gualdo, after the Italian Method. Tickets at a Dollar a piece. 
 . . . After the Concert, the company (if agreeable) shall be 
 furnished with a set of players, without any expences, in order to 
 end the evening with a ball." 176 Handbills were distributed giving 
 the program. 
 
 In his next concert, Nov. 16, two of his performers were Germans, 
 if we may judge from the names. Mr. Curtz played the harpsichord, 
 while Mr. Hoffman Jr., was a clarinet soloist. 177 Another concert 
 not noted by Sonneck was to be given after the races on Sept. 27, 
 1770. 178 In his next advertisement Gualdo gives a list of the 
 instruments to be used in his next concert, as follows: violins, German 
 flutes, French horns, clarinet, harpischord, and mandolin. 170 In 
 1771 Gualdo gave his last concert. This same year is important as 
 it brings to our notice a German, Philip Roth, who was, perhaps, 
 the first German composer of secular music in Philadelphia. This 
 first piece was composed for the following concert : 
 
 "By Permission and particular Desire, 
 
 For the Benefit of Mr. John McLean(Instructor of the German 
 Flute). Will be performed, at the Assembly Room, in Lodge Alley, 
 
 174 Pa. Jour., Nov. 30, 1769. 
 
 175 Sonneck, Early Concert Life, etc., p. 71. 
 
 176 Pa. Chron., Oct. 16, 1769. 
 
 177 Cf. Program in Sonneck s, Early Concert Life, p. 31 
 
 178 Pa. Jour., Sept. 27, 1770. 
 
 179 Pa. Chron., Oct. 8, 1770. 
 
54 Early German Music in Philadelphia. 
 
 A Concert of Music, Vocal and Instrumental: To begin precisely at 
 Six o clock in the Evening. On Thursday the Fifth of December. 
 
 The Concert will consist of two Acts, commencing and ending 
 with favourite Overtures, performed by a full Band of Music, with 
 Trumpets, Kettle Drums, and every Instrument that can be in 
 troduced with Propriety. The Performance will be interspersed 
 with the most pleasing and select Pieces composed by approved 
 Authors; and a Solo will be played on the German Flute, by John 
 M Lean, and the whole will conclude with an Overture, composed 
 (for the Occasion) by Philip Roth, Master of the Band, belonging to 
 his Majesty s Royal Regiment of North British Fusileers, etc." 180 
 
 From this advertisement it will be seen that there must have 
 been an orchestra or band of some importance at this time, and it 
 is quite probable that the British regiments which at various times 
 were stationed in Philadelphia, were important factors in extending 
 the love of music, by means of concerts which the regimental bands 
 must have given. 
 
 In 1772 a concert program of little interest was given at the 
 state-house, 181 and in 1774 one by Sigr. Sodi. 182 In a previous 
 chapter was mentioned H. B. Victor, and the concert he intended 
 to give. 183 
 
 The War of the Revolution soon dawned, and with it matters 
 of a serious nature engaged the minds of the people, although 
 occasionally a ball was given, and perhaps regimental concerts. 
 The play houses, which for over ten years, had been an important 
 feature, and had been well patronized by Philadelphians, were closed 
 in 1778 by Act of Congress, but, nevertheless, there was given 
 occasionally a farce or concert. 184 Still music and drama were 
 almost at a standstill during the war. 
 
 180 Pa. Gaz., Nov. 28, 1771. 
 
 181 Pa. Gaz., Aug. 19, 1772. 
 
 182 Sonneck, Early Concert Life, p. 76. 
 
 183 Cf. Above, p. 39. 
 
 184 Madeira, Annals of Music, p. 33. 
 
PART III 
 Period of Greatest Development (1783-1800) 
 
Early German Music in Philadelphia. 57 
 
 CHAPTER VII. 
 ALEXANDER REINAGLE. 
 
 During the Revolutionary War it has been stated, that concert 
 music was at a premium. However in the fall of 1783 was founded 
 by John Bentley, the City Concert, "which was an important step in 
 the musical life of Philadelphia." These concerts were to be given 
 every two weeks. As no programs have been preserved, we are 
 unable to determine just what music was used. As Sonneck says: 
 "It goes without saying that John Bentley engaged the best musicians 
 to be had in the city and that he performed music in keeping with 
 the refined taste of such men as Francis Hopkinson and Thomas 
 Jefferson." 185 These concerts were evidently kept up until the 
 season of 1785-6. 
 
 In 1786 a musician arrived in Philadelphia, who was of great 
 importance to the musical life of that time. This was Alexander 
 Reinagle one of the ablest musicians in America in that century. 
 
 He was born in 1765 at Portsmouth, England, of Austrian 
 parents. 186 He seems to have inherited, as did his brothers Joseph 
 and Hugh, a love of music from his father, who was a skilful musician. 
 Alexander studied music in Scotland with Raynor Taylor, who later 
 became one of the leading musicians in Philadelphia. The material 
 concerning Reinagle before his arrival in America is scanty, but the 
 few data there are show that he was known to the musical world of 
 that time. In a memorandum book 187 of his, preserved in the 
 
 185 Sonneck, Early Concert Life, p. 79. 
 
 188 Sonneck, Quarterly Magazine of International Music Society, October- 
 December, 1906, p. 112. 
 
 187 O. G. Sonneck first called attention to this book in his article in the 
 Quarterly Magazine of the International Music Society quoted above p. 113. 
 
58 Early German Music in Philadelphia. 
 
 Library of Congress, is an account of a trip which he took to Lisbon 
 1784-5 in company with his brother Hugh, an eminent cellist, 188 
 who was sick with consumption. They arrived in Lisbon the twenty- 
 third of October, and Reinagle tells of their lodgings there, expenses, 
 etc. Of special interest is an item for January, 1785: 
 
 "Had a Concert in the Assembly Room 8th Jany. Per 
 formed to the Queen and R. family Sunday 16th July. Rec d. 
 a present from her Majesty of 50 Moids." 
 
 After burying his brother Hugh, who died the nineteenth of 
 March, 1785, he "embarked from Lisbon Sat. 23d April sail d 24th 
 & arrived in Portsmouth Tuesday 17th May. Made in Lisbon: 
 
 By Concert ,100. . . . 
 
 By Queen 67. . . . 
 
 Two P. Fortes 30 . . . . 
 
 Four Ditto (?) 35. . . . 
 
 Teaching 312. . 
 
 Fund (?) 3110. . 
 
 267 2 . . 
 
 Expences At Murrays 7 ... 
 
 Medicines 23 
 
 Diet from 15 Mar. to 23d April at Mrs. Morleys ... 51 
 
 In all Diet ^58 
 
 Medicines 23 
 
 81 
 
 From these statements it would appear that his trip financially 
 was a decided success. It would seem from the large sums of money 
 obtained from his performances at Lisbon, that he must have been 
 well known as a prominent musician. There is further evidence of 
 his standing in the musical world disclosed by O. G. Sonneck in an 
 article in the Quarterly Magazine of the International Music Society," 
 
 188 Cf. Articles on Hugh Reinagle, in Grove s Dictionary of Music, and in 
 "Dictionary of National Biography." 
 

 Early German Music in Philadelphia. 59 
 
 entitled "Zwei Briefe C. Ph. Km. Bachs an Alex. Reinagle." They 
 were evidently good friends, as Bach writes: 
 
 "Monsieur 
 
 Je Vous suis infmement oblige du Souvenir dont Vous m 
 honorez et je souhaite que Vous veuillez me le conserver toujours; 
 et dans le cours de vos annees les plus riantes. La nouvelle que 
 Vous me donnez de la triste situation de Mr. Votre Frere m a chagrine" 
 beaucoup; tant par rapport & Vous qu & lui mme. Le Ciel Vous 
 comble de prospe rite s, une de plus cheres c est la sant me"me. 
 
 Je Vous envoye la musique, que Vous m avez demand^, le prix 
 est fix au prix ordinaire, la musique que je Vous ai donn pour vous 
 mme, & Hamburg etoit fixee au prix de premuneration, en Votre 
 faveur. Quand Vous m ecrivez une autre fois, ne manquez pas 
 de me marquer Votre sort, auquel je m interesse beaucoup. En 
 mme temps je Vous prie de me faire avoir votre portrait et celui 
 de Mr. votre frere, seulement en dessin, pour les placer dans mon 
 cabinet de portraits des musiciens. Cela me servira d aide dans le 
 souvenir de votre amitie", dans le retour de laquelle ji suis et serai 
 toujours. 
 
 Monsieur 
 
 Votre 
 
 Hamburg tres humble Serviteur. 
 
 ce 25 du mois de Fevrier 1785. Ch. Ph. Em. Bach. 
 
 The other letter is without date, but Sonneck conjectures that 
 it was written the last of 1785 or the beginning of 1786. It runs as 
 follows : 
 "Liebwehrtester Freund, 
 
 Ich bedaure von Herzen den Verlust Ihres lieben und bra- 
 ven Herrn Bruders eben so sehr, als ich mich uber Ihre gute 
 Aufnahme in Lissabon und gluckliche Wiederkunft in London 
 gefreut habe. Ihr Project wegen meiner gedruckten Rondos kann 
 mir in der Folge viel Schaden thun, weil meine mit grossen Kosten 
 von mir in starken Auflagen verlegten Samlungen, worin sie stehen, 
 unverkauft liegen bleiben werden. Die Liebhaherey zu den Rondos 
 ist hier eben so gross, wie in London, und ich habe sie deswegen 
 mit eingemischt, um meinen Verkauf zu befordern. Ich weiss aus 
 der Erfahrung, dass sehr viele mcine Samlungen bios wegen der 
 Rondos kaufen. Folglich sind mir Exemplare von Ihren verlegten 
 Rondos nichts nutze, sondern ich wiinschte lieber, dass sie gar nicht 
 nach Deutschland kamen, ohngeacht Westphal hier und Hummel in 
 Berlin ganze Quantitaten von Ihnen wiirden kommen lassen . Ich 
 will jedoch Ihnen, da Sie etwas damit zu verdienen glauben, einen 
 
60 Early German Music in Philadelphia. 
 
 Weg vorschlagen, wodurch Sie zu Ihrem Bndzwecke kommen 
 konnten, ohne einen Nachdruck befiirchten zu durfen. In der 
 zweiten, dritten, vierten und fiinften Samlung stehen iiberhaupt 
 Rondos. Von diesen Samlungen haben Sie 4, aber die 5, glaube ich 
 haben Sie noch nicht, und kann sie Ihnen, weil 2 Rondos darin stehen, 
 iiberschicken. Zu diesen 11 Rondos will Ihnen noch 4 neue Rondos 
 componieren ; Ich will zufrieden seyn, dass Sie mir Erlaubnis zu 
 dem Drucke dieser schon gedruckten 11 Rondos offenthich kundthun ; 
 und endlich miissen Sie auch bekannt machen, dass ich ausdriicklich 
 fur Sie noch nene Rondos dazu gemacht habe. Diese 15 Rondos 
 konnen Sie in 4 oder wenigern Abtheilungen herausgeben. Es 
 muss aber in jedem Theile etwas neues davon stehen. Dieses 
 Mittel und meine offentliche Erlaubnis sichert Sie gewiss vor einem 
 Nachdruck. 
 
 Fur meine Schadloshaltung und fur meine neu dazu gekommenen 
 Composition verlange ich nicht mehr und nicht weniger als 34 Guinees. 
 Ich verspreche Ihnen zugleich, dass ich die 4 neuen Rondos niemanden 
 geben noch viel weniger drucken lassen will. Ich kann Ihnen 
 versichern dass 1 Theil von meinen Samlungen, worin nur 2 Rondos 
 vorkommen, nach Abzug aller Kosten, mir wenigstens 1000 Mark 
 hiesiges Geld bisher eingebracht haben, ohne einige 100 Exemplare 
 zu rechnen, die ich noch vorrathig habe, und welche nach und nach 
 auch verkauft werden. Die Auslieferung meiner 4 neuen Rondos 
 auf einmahl geschiehet zugleich bey der Bezahlung auf einmahl. 
 Wir sind sterbliche Menschen. Wegen der Fantasien kiinftig oder 
 mundlich ein mehreres. Eine baldige genugthuende Antwort mit 
 Ja! oder Nein! elbitte ich mir. 
 
 Mit vielen Griissen verharre ich Ihr Freund und Diener. 
 
 Bach. 
 
 Hier in Deuschland hat mir noch niemand etwas nachgedcrukt ; 
 ich wiirde auch so gleich in den Zeitungen einen solchen Nachdrucken 
 offentlich als einen Betriiger erklart haben, Dafiir halt man hier 
 durchgehends einen solchen Menschen, und das will Keiner wagen. 
 Meine offentliche Eerlaubnis zu Ihrem Drucke und die neuen eingemis- 
 chten Rondos wurden ganz gewiss einen Nachdruck zu Ihrem 
 Schadenabhalten." 189 
 
 These letters merely show that Reinagle before coming to 
 this country was a capable musician, was known as such by prominent 
 musicians in Europe, and probably through his intimacy with Bach 
 would have studied quite extensively the compositions of German 
 musicians. 
 
 189 The originals are deposited in the Library of Congress. 
 
Early German Music in Philadelphia. 61 
 
 It was in the year 1786 that Reinagle arrived in New York 
 with the intention of settling. He inserted the following advertise 
 ment in the New York Independent Journal: 
 
 "Mr. Reinagle, member of the Society of Musicians in London, 
 gives lessons on the pianoforte, harpsichord and violin." 190 
 
 Evidently he did not prosper according to his expectations 
 in New York, since the same year he established himself in Philadel 
 phia. He at once became identified with the musical life of this 
 city, and in conjunction with H. Capron, W. Brown and A. Juhan, 
 Reinagle continued the "City Concerts" instituted in 1783. 191 The 
 first programme played in that year will give some idea of the taste 
 of the people of that epoch. 
 
 FIRST CONCERT, OCT. 19, 1786. 
 
 ACT I. 
 
 Favorite Symphonic Vanhall 
 
 Song, Mr. Capron Gretrey 
 
 Sonata, Piano Forte Haydn and Reinagle 
 
 ACT II. 
 
 Concerto Flute Windling 
 
 A Favorite Ronde. 
 
 Solo Violoncello Tilliere 
 
 ACT. III. 
 
 Concerto Violin Cramer 
 
 New Symphony Haydon 192 
 
 Miscellaneous Concerto. 
 
 It will be seen by this programme that German music had 
 its share of importance, and in later concerts the compositions 
 of Mozart, Haydn, Handel, Bach, Pleyel, Abel, Stamitz, Schmittbauer 
 Heimberger, etc., were given. Undoubtedly the high grade of these 
 concerts and the predominance of the works of German composers, 
 was due to the musical taste of Reinagle. 
 
 190 Quoted from History of the Pianoforte in America, by Daniel Spillane. 
 191 Sonneck, Early Concert Life, p. 78. 
 192 Quoted from ditto, p. 81. 
 
62 Early German Music in Philadelphia. 
 
 It is not our intention here to give all the programs which were 
 performed in Philadelphia during this period. Our intention is, 
 however, to give new material which has hitherto not been published. 
 The "City Concerts" Sonneck has traced through the year 1788, 
 and then he adds that "apparently the City Concert was then dis 
 continued as no further reference to it is made until the attempted 
 revival in 1792." 193 
 
 Although no records have as yet been found, still it seems very 
 probable that these concerts were continued without interruption 
 through 1789-90. For the year 1791 there is a complete file of the 
 programs given. The opening announcement is as follows: 
 
 "The first Concert will be held on Saturday the 22d instant, 
 at the New-Rooms in Chestnut street, where they will be continued 
 every other Saturday during the Season." 
 
 PLAN OF THE FIRST CONCERT. 
 ACT I. 
 
 1. Grand Overture of Haydon, Opera 51 
 
 2. Song, by a young Lady, composed by Dr. Boyce 
 
 3. Solo on the Clarinet, Mr. Wolff 
 
 4. Quartet of Pleyel 
 
 5. Concerto on the Grand Piano Forte Miss Moller 
 
 ACT II. 
 
 1 . New Overture of Haydon 
 
 2. Song, by a young Lady, composed by A. Reinagle 
 
 3. Concerto Violin Master Duport 
 
 4. Duett, Grand Piano Forte and Violoncello, 
 
 Mr. Moller and Amateur 
 
 5. Finale of Dalisac 194 
 
 SECOND CONCERT, FEB. 5. 
 
 ACT I. 
 1 . Overture Pleyel 
 
 193 Sonneck, Early Concert Life, p. 87. 
 194 Cf. American Daily Adv., Jan. 19, 1791. 
 
Early German Music in Philadelphia. 63 
 
 2. Song Mr. Wolff 
 
 3. Concertante Cambini 
 
 4. Sonato on the Grand Piano Forte Miss Moller 
 
 5. Concerto Clarinet Mr. Wolff 
 
 ACT II. 
 
 1 . Overture Pleyel 
 
 2. Song Mr. Wolff 
 
 3. Duetto Violin and Violoncello Beval 
 
 By Mr. Duport and an Amateur 
 
 4. Trio on the Grand Piano Forte, by Mr. Moller 
 
 5. Quartet Violin Mr. Reinagle 
 
 6. Finale 195 
 
 THIRD CONCERT, FEB. 19. 
 ACT I. 
 
 1. Grand Overture of Hayden 
 
 2. Sonato Piano Forte Miss Moller 
 
 3. Quartett Violin Pleyel 
 
 4. Concerto Clarinet Mr. Wolff 
 
 5. Solo Violin (in which are introduced some favorite Scotch airs) 
 
 Mr. Reinagle 
 
 ACT II. 
 
 1. Overture Stamitz 
 
 2. Concerto Violoncello, by an Amateur. 
 
 3. Sonato Piano Forte Mr. Moller 
 
 4. A favorite Concerto of La Motte by Master Duport 
 
 5. Finale 19<J 
 
 FOURTH CONCERT, MAR. 5. 
 ACT. I. 
 
 1 . Grand Overture of Hayden 
 
 2. Miscellaneous Quartet Mr. Reinagle 
 
 195 Am. Daily Adv., Feb. 1, 1791. 
 . Daily Adv., Feb. 16, 1791. 
 
64 Early German Music in Philadelphia. 
 
 3. Sonato, Grand Piano Forte Mr. Holler 
 
 4. Quartette, Clarinet Mr. Wolff 
 
 5. Concerto, Grand Piano Miss Moller 
 
 6. Quartet, Violin Pleyel 
 
 7. Finale. 
 
 ACT. II. 
 
 1 . Overture of Hayden 
 
 After the Concert Master Duport will perform a Grand 
 Dance." 197 
 
 FIFTH CONCERT, MAR. 26. 
 ACT I. 
 
 1 . Grand Overture of Hayden 
 
 2. Song. 
 
 3. Sonato, Piano Forte Miss Moller 
 
 4. Quartete, Clarinet Wolff 
 
 5. Overture 
 
 ACT II. 
 
 1 . Overture of Gossec 
 
 2. Song. 
 
 3. Miscellaneous Quartett Reniagle 
 
 4. Concerto Piano Forte Moller 
 
 5. Finale. 198 
 
 SIXTH CONCERT, APR. 16. 
 ACT I. 
 
 1. Overture Ditters 
 
 2. Sonata Grand Pianoforte Miss Moller 
 
 3. Song Mrs. Gee 
 
 4. Concerto, Clarinetto Mr. Wolff 
 
 5. Overture.. ..Abel 
 
 19 l4m. Daily Adv., Mar. 4, 1791. 
 198 Am. Daily Adv., Mar. 23, 1791. 
 
Early German Music in Philadelphia. 65 
 
 ACT II. 
 
 1. Overture Ld. Kelly 
 
 2. Song Mrs. Gee 
 
 3. Quartett Violin Mr. Reniagle 
 
 4. Concerto Grand Piano Forte Mr. Moller 
 
 5. Finale of Haydn 198 
 
 LAST CONCERT OF THE SEASON, APR. 30. 
 ACT I. 
 
 1 . Overture Abel 
 
 2. Sonata Piano Forte Miss Moller 
 
 3. Song Mrs. Gee 
 
 4. Concerto Clarinetto. Mr. Wolff 
 
 ACT II. 
 
 1. Overture Stamitz 
 
 2. Song Mrs Gee 
 
 3. Miscellaneous Quartett. Mr. Reinagle 
 
 4. Concerto Piano Forte Miss Moller 
 
 5. Finale of Haydn 200 . 
 
 Besides the City Concerts, so-called Amateur Concerts were given 
 at an early period and were still kept up in 1791, contrary to the 
 belief of O. G. Sonneck. For instance there are advertisements and 
 programs showing that the usual standard of concert-music was 
 performed 
 
 " AMATEURS CONCERT. 
 
 A concert will be performed at Mr. Henry Epple s, at Seven 
 o clock this Evening." 201 
 
 Again we are notified that "this Evening the 3d instant there 
 will be a Ball, only." 202 It seems probable that these concerts were 
 followed by a dance. 
 
 l "Am. Daily Adv., April 13, 1791. 
 200 Am. Daily Adv., Apr. 29, 1791. 
 20l Am. Daily Adv., Feb. 3, 1791. 
 202 Am. Daily Adv., Mar. 3, 1791. 
 
66 Early German Music in Philadelphia. 
 
 Also benefit concerts were still given as the following shows : 
 
 Benefit Concert for Master Duport, Mar. 19. 
 
 ACT I. 
 
 1. Overture of Abel 
 
 2. Concerto, Violin Master Duport 
 
 3. Quartett Clarinet Wolff 
 
 4. Sonato, Piano Forte Reinagle 
 
 5. Overture Hayden 
 
 ACT II. 
 
 1. Overture Vanhal 
 
 2. Trio of Boccherini 
 
 3. Overture, "La Divan de Village" of Rousseau 203 
 
 Benefit Concert for Miss Moller, Apr. 2. 
 
 ACT I. 
 
 1. Overture Ditters 
 
 2. Song Mrs. Gee 
 
 3. Sonato, Grand Piano Forte Miss Moller 
 
 4. Concerto, Clarinetto Mr. Wolff 
 
 5. Duetto, Violoncello and Grand Piano Forte, by an Amateur and 
 Mr. Moller. 
 
 6. Finale Haydn 
 
 ACT II. 
 
 1. Grand Overture Martini 
 
 2. Song Mrs. Gee 
 
 3. Quartette Messrs. Reinagle, etc., etc. 
 
 4. Duetto, Grand Piano Forte Miss Moller 
 
 5. Finale Martini 204 
 
 Concerts were given, too, at Vauxhall with programs equally 
 as good as those of the City and Amateur Concerts, and an orchestra 
 was undoubtedly present. 205 
 
 203 Am. Daily Adv., Mar. 17, 1791. 
 204 Am. Daily Adv., Apr. 2, 1791 J| 
 . Daily Adv., Aug. 30, 1791. 
 
Early German Music in Philadelphia. 67 
 
 "Vocal and Instrumental Concert at Vauxhall, May 18. 
 
 FIRST ACT. 
 
 1 . A Grand Overture of Haydn 
 
 2. Sinfonia Stamitz 
 
 3. Solo Rondo Violin Phile 
 
 4. Quartette Violin Davaux 
 
 5. Sinfonia Vanhall 
 
 SECOND ACT. 
 
 1 . Sinfonia of Abel 
 
 2. Song Bright Phoebus. 
 
 3. Quartetto Violino Kammell 
 
 4. Fisher s Rondo, Clarinett by Mr. Wolff 
 
 5. Sinfonia Abel 
 
 After which Harmony, Music and Songs." 206 
 
 VAUXHALL CONCERT, MAY 27. 
 
 FIRST ACT. 
 
 1 . Overture of Lachmits 
 
 2. Sinfonia Stamitz 
 
 3. Quartetto Violin Davaux 
 
 4. Song, by Mrs. Kenna 
 
 5. Sinfonia Abel 
 
 SECOND ACT 
 
 1. Overture Phile 
 
 2. Quartetto, Clarinetto Wolff 
 
 3. A Duetto, Song by Mr. and Mrs. Kenna 
 
 4. Quartetto Schultz 
 
 5. Sinfonia Kammel 
 
 Harmony Music and Songs by Mr. and Mrs. Kenna. 207 
 
 20 Mw. Daily Adv., May 17, 1791, 
 207 Am. Daily Adv., May 25, 1791 
 
68 Early German Music in Philadelphia. 
 
 VAUXHALL CONCERT, SEPT. 2. 
 
 1 . Grand Overture of Martini 
 
 2. Ditto Hayden 
 
 3. Ditto Selime and Azor 
 
 4. Concerto, Violin by Mr. Phile 
 
 5. Solo Rondo, Clarinet, by Mr. Wolff 
 
 3. Ditto Selime and Azor 
 
 4. Concerto, Violin by Mr. Phile 
 
 5. Solo Rondo, Clarinet, by Mr. Wolff 
 
 6. Song, by Mr. Wolff 208 
 
 By comparing these programs it will be readily seen that the 
 performers in the City Concerts also take part in the Amateur and 
 Vauxhall Concerts, etc., so we may be sure that the concerts were all 
 about on a par. 
 
 The City Concerts were continued the next season. 309 The 
 following announcement was made concerning them : 
 
 "City Concert, 
 Of Vocal and Instrumental Music. 
 
 Under the direction of Messrs. Reinagle and Moller. The vocal 
 parts by Mrs. Sewel and Mrs. Morris. The concert will commence 
 on Saturday the 19th instant, at the Assembly Room, in Chestnut 
 street." 210 
 
 FIRST CONCERT, NOV. 19. 
 
 ACT I. 
 
 1. New Overture of Mr. Moller 
 
 2. Hunting song Mrs. Morris 
 
 3. Concerto, grand piano forte Miss Moller 
 
 4. Quartette, violin Mr. Reinagle, etc. 
 
 5. Overture. 
 
 20 Mm. Daily Adv., Sept. 2, 1791. 
 209 Sonneck, Early Concert Life, p. 87. 
 2W Am. Daily Adi)., Nov. 9, 1791. 
 
Early German Music in Philadelphia. 69 
 
 ACT II. 
 
 1. Overture of Pichl 
 
 2. Duett, violin and viola of Stamitz 
 
 3. Song Mrs. Morris 
 
 4. Sonato, piano forte and violin, Moller and Reinagle 211 
 
 SECOND CONCERT, DEC. 3. 
 
 ACT I. 
 
 1. Overture of Abel 
 
 2. Song Mrs. Morris 
 
 3. Sonata, Pianoforte Miss Moller 
 
 4. Miscellaneous Quartett Mr. Reinagle, etc. 
 
 ACT II. 
 
 1. Overture Reinagle 
 
 2. Duetto, violin and viola. 
 
 3. Song Mrs. Morris 
 
 4. Sonata, piano forte and violin Moller and Reinagle 
 
 5. Finale of Abel 212 
 
 THIRD CONCERT, DEC. 17. 
 
 ACT I. 
 
 1 . Overture of Stamitz, senr. 
 
 2. Duet, Mrs. Morris and Mr. Reinagle 
 
 3. Sonata, Piano forte Miss Moller 
 
 4. Quartett of Pleyel 
 
 5. Overture Abel 
 
 ACT II. 
 
 1. Overture Pichl 
 
 2. New Miscellaneous Quartett Mr. Reinagle 
 
 3. Song Mrs. Morris 
 
 4. Sonata, Piano Forte Mr. Moller, of Pleyel 
 
 5. Finale.. .Abel 218 
 
 21 Mw. Daily Adv., Nov. 19, 1791. 
 212 Am. Daily Adv., Dec. 1, 1791. 
 2l3 Am. Daily Adv., Dec. 15, 1791. 
 
70 Early German Music in Philadelphia. 
 
 FOURTH CONCERT, DEC. 31. 
 
 ACT I. 
 
 1. Overture, 4th Opera, 10 of Abel 
 
 2. Song Mrs. Morris 
 
 3. Sonata, Piano Forte Miss Moller 
 
 4. Quartett of Pleyel 
 
 5. Periodical Overture Bach 
 
 ACT II. 
 
 1 . Overture Reinagle 
 
 2. Miscellaneous Quartett Stamitz 
 
 3. Song Mrs. Morris 
 
 4. Concerto, Piano Forte, Mr. Mollen, of Schroeter 
 
 5. Finale Abel 214 
 
 FIFTH CONCERT, JAN 14, 1792 
 
 ACT I. 
 
 1 . Overture of Moller 
 
 2. Song (from the New opera of the Woodman) Mrs. Morris 
 
 3. Sonata, Piano Forte Miss Moller 
 
 4. Concerto, French horn Mons. Pelissier 
 
 5. Periodical Overture of Abel 
 
 ACT II. 
 
 1 . Overture of Holtzwara 
 
 2. The ist Miscellaneous Quartett of Vachon 
 
 3. Song (Damon s all inconstancy) Mrs. Morris 
 
 4. Concerto, Piano Forte Mr. Moller 
 
 5. Finale 215 
 
 SIXTH CONCERT 
 
 ACT I. 
 
 1. Overture 44th of Vanhall 
 
 2. Hunting Song Mrs. Morris 
 
 2U Am. Daily Adv., Dec. 30, 1791. 
 Am. Daily Adv., Jan. 12, 1792. 
 . Daily Adv., Jan. 28, 1792. 
 
Early German Music in Philadelphia. 71 
 
 3. Sonata Piano Forte Miss Holier 
 
 4. Miscellaneous Quartett Mr. Reinagle 
 
 ACT II. 
 
 1 . Overture to Rosina Shield 
 
 2. Song (from the Woodman) Mrs. Morris 
 
 3. Concerto, Piano Forte Mr. Moller 
 
 4. Quartett, French Horn Mr. Pellisier 
 
 5. Overture of Jomelli 218 
 
 SEVENTH CONCERT, FEB. 11. 
 ACT I. 
 
 1. Overture 1st of M. A. Guenin 
 
 2. Song Mrs. Morris 
 
 3. Sonata, Piano Forte Miss Moller 
 
 4. Quartett of Pleyel Mr. Reinagle, etc. 
 
 5. Overture 2d M. A. Guenin 
 
 ACT II. 
 
 1 . Overture of Stamitz 
 
 2. Duetto, Violin and Viola Moller and Reinagle 
 
 3. Song Mrs. Morris 
 
 4. Concerto, Piano Forte Mr. Moller 
 
 5. Finale Abel 217 
 
 EIGHTH AND LAST CITY CONCERT OF THE SEASON HELD 
 
 MAR. 10. 
 
 ACT I. 
 
 1. Overture 6th, op. 10, of Abel 
 
 2. Song Mrs. Morris 
 
 3. Sonata, Piano Forte Miss Moller 
 
 4. Quartett, Pleyel Mr. Reinagle, etc. 
 
 5. Overture Haydn 
 
 217 Aw. Daily Adv., Feb. 11, 1792. 
 
72 Early German Music in Philadelphia. 
 
 ACT II. 
 
 1. Overture 57 Vanhall 
 
 2. Miscellaneous Quartett 
 
 3. Song . .Mrs. Morris 
 
 4. Concerto Piano Forte Mr. Moller 
 
 5. Finale Crispi 218 
 
 Finally a "City Concert Benefit" was given for Miss Moller. 
 
 ACT I. 
 
 1. Overture, by Pichl 
 
 2. Song, The Traveller benighted, Miss Moller 
 
 3. Quartette, French Horn Mr. Pellisier 
 
 4. Grand Ariette, Sorti, with accompaniment by a Guitar, com 
 
 posed by Mr. Cassaignard, Amateur 
 
 5. Concerto Violin Mr. Phile 
 
 ACT II. 
 
 1 . Overture by Abel 
 
 2. Ariette Du Marquis de Floriant, by. . .Mr. Cassaignard, Amateur 
 
 3. Concerto Piano Forte Miss Moller 
 
 4. Duetto, Violin and Tenor Messrs Reinagle and Moller 
 
 5. Finale Vanhall 219 
 
 Foot-Note; At a concert given at Vauxhall in 1792 the instrumental parts 
 were taken by a number of Germans: Messrs. Phile, Schulz, Tremner, [Scotchman 
 Bremner,] Roth, Christhilf , Spangenberg etc., (Cf. Am, Daily Adv. June 8, 1792). 
 
 Cf. Durang, History of the Stage in Phila., Chapter 12, who gives the name 
 Trimmer. 
 
 A glance at these programs or at the City Concert programs 
 published by Sonneck 220 should convince anyone that the musical 
 taste of Philadelphia was good, also that the German composers 
 were favorites at least with the managers and a predilection was 
 shown for Abel, Stamitz, Pleyel, and Haydn." 
 
 * l *Am. Daily Adv., Mar. 8, 1792. 
 Am. Daily Adv., Mar. 31, 1792. 
 
 220 For a full discussion of concert life Cf. Sonneck, (Early Concert Life}, 
 as well for French, English, and German influence. 
 
Early German Music in Philadelphia. 73 
 
 Reinagle was not only interested in the artistic production of 
 music, but also, according to one writer, in the industrial develop 
 ment. He is said to have had a share in the piano manufactory 
 established by Charles Tawes. 221 
 
 Concerning the residence of Reinagle in Philadelphia, his con 
 temporaries have something to say. At that time Wignell was an 
 important factor in the theatrical world and in the fall of 1791 he 
 "associated himself with Mr. Reinagle, a professor of music in 
 Philadelphia, and a composer of some note at that time. 222 They 
 founded the first Chestnut Street Theatre, "the corner stone of which 
 was laid by Mr. Reinagle, a Master Mason, in Masonic form." 223 
 
 The new theatre was opened to the public for the first time on 
 Saturday evening, April 2d, 1793, "with a grand concert of vocal 
 and instrumental music." 224 
 
 "The orchestra department was under the direction of Man 
 ager Reinagle, and the musicians were deemed equal in ability with 
 the stage artists. In truth the orchestra contained about twenty 
 accomplished musicians, many of them of great notoriety as concerto 
 players on their respective instruments. 
 
 "The concentration of that early date of so much dramatic, 
 operatic and instrumental talent, introduced a new era of theatricals 
 here. 
 
 "Who that once saw old manager Reinagle in his official 
 capacity, could ever forget his dignified personne. He presided 
 at his piano forte, looking the very personification of the patriarch 
 of music investing the science of harmonious sounds, as well as 
 the dramatic school, with a moral influence, reflecting and adorning 
 its salutary uses with high respectability and polished manners. 
 His appearance was of the reverent and impressive kind, which at 
 once inspired the universal respect of the audience. Such was 
 Reinagle s imposing appearance, that it awed the disorderly of the 
 
 221 Cf. D. Spillane, History of the Am. Pianoforte, p. 99. 
 222 Durang, History of the Stage in Philadelphia, chapter 15. 
 223 Durang, History of the Stage in Philadelphia, chapter 19. 
 224 Durang, History of Stage in Philadelphia, chapter 19. 
 
74 Early German Music in Philadelphia. 
 
 galleries, or the fop of annoying propensities, and impertinent criticism 
 of the box lobby into decorum. 
 
 "It was inspiring to behold the polished Reinagle saluting 
 from his seat (before the grand square piano forte in the 
 orchestra) the highest respectability of the city, as it entered 
 the boxes to take seats. It was a scene before the curtain that 
 suggested a picture of the master of private ceremonies receiving 
 his invited guests at the fashionable drawing room. 
 
 "Mr. Reinagle was a gentleman and a musician. His com 
 positions evinced decided cleverness and originality, and some 
 of his accompaniments to the old opera music were much admired 
 by good judges." 225 
 
 An article by William McKoy presents a clearer picture of 
 Mr. Reinagle. He says: 
 
 "Mr. Reinagle, one of the Managers, and a Professor of 
 Music, used to be seen, but only on particular occasions, seated 
 at the Piano Forte, then standing against the stage, in the rear 
 of the band [orchestra] for the mere purpose of touching a few 
 notes solo, by way of accompaniment to the silvery tones of Mrs. 
 Wignell. * * * Mr. Reinagle, while thus enjoying the effect 
 of her inimitable chant, exhibited to the audience a head not un 
 like that of Louis the XIV but divested of the simplicity, bushy, 
 powdered hair, large high forehead, and round full face, illuminated 
 by silver mounted spectacle glasses, a perceptible smirk at all times 
 about the mouth, and an extraordinary depth of dimple in his 
 cheek, while sitting there and surveying the irritability of Mr. Gilling- 
 ham, the Leader of the Band, on his being obliged to leave the music 
 of Handel and Mozart, and strike off into the President s March. " 226 
 
 In Durang s account, the compositions of Reinagle are 
 spoken of highly; there is the testimony of another man, an actor 
 in Reinagle s company, to substantiate the above eulogy, as follows 
 (1804) : 
 
 "By the death of Wignell * * * the management de 
 volved upon his widow and Reinagle. * * * The musical 
 
 225 Durang, chapter 19. 
 
 228 Poulson s Daily Advertiser, January 13, 1829. 
 
Early German Music in Philadelphia. 75 
 
 department fell of course to the charge of Reinagle, whose com 
 positions and adaptations were deserved favorites with the pub 
 lic." 227 
 
 Again, there is the testimony of a man of our own times 
 to show that the above praise was not undeserved. Speaking of 
 some of Reinagle s sonatas, O. G. Sonneck says: 
 
 "These sonatas follow closely in the footsteps of Ph. Km. 
 Bach and the early Haydn without being void of individuality. 
 If the larger works of Reinagle all were as fine and effective as 
 these sonatas he must have been a composer of merit." 228 
 
 Sonneck has published titles of forty-two works ascribed to 
 Reinagle, 229 to which we have added several others some of which 
 are still in existence. These compositions include sonatas, over 
 tures, preludes, songs, opera music, adaptations, accompani 
 ments, etc. 
 
 From all this evidence it will appear that Alexander Reinagle 
 must have been a great force in music in Philadelphia, and did much 
 to shape the taste of the people for good music especially for 
 German music, and may thus be called the greatest German American 
 musician of that century. 
 
 Concerning his home life, it is known that Reinagle was 
 married and had two sons, Hugh, a scenic painter of some note, 
 and Thomas. The later years of his life Reinagle spent in the 
 management of a theatre in Baltimore, where he died September 
 21, 1809. 230 
 
 227 Wood, Personal Recollections of the Stage, p. 104. 
 228 Sonneck, Early Secular American Music, p. 13. 
 229 Cf. Sonneck, Early Secular American Music, p. 139. 
 230 Durang, chapters 19 and 24. 
 Note: For a list of Reinagle s compositions, Cf. Appendix. 
 
76 Early German Music in Philadelphia. 
 
 CHAPTER VIII. 
 PHIUP ROTH AND PHIUP PHIUS 
 
 Although Alexander Reinagle was the greatest musician of this 
 period there were others of importance as Juhan, Moller, Capron, 
 Brown, Schetky, Wolff, etc., etc. It is not our intention to take up 
 these men separately, as material is too scanty to warrant it. 
 Sonneck has given short biographies of most of these men. 231 There 
 are two men, however, Philip Phile and Philip Roth about whom 
 we know considerable. They were both musicians of no mean 
 calibre, appeared frequently in the concerts given in Philadelphia, and 
 were also composers of music. 
 
 Philip Roth s first public appearance, as far as is known, was in 
 1771 at the benefit concert of John M Lean, when an overture com 
 posed by him "for the occasion" was performed. 232 This piece was, 
 perhaps, the first of importance composed by a German in Philadel 
 phia. The advertisement speaks of him as "Master of the Band, 
 belongingto his Majesty s Royal Regiment of North British Fusileers." 
 However, as will be shown later, he was undoubtedly a true German. 
 
 From 1771 to 1785 we lose sight of Roth, but then he appears as 
 a music teacher in Philadelphia. 233 It is quite likely that he was 
 here still earlier. He lived in Philadelphia from 1785 on until his 
 death in 1804. 
 
 The importance of Philip Roth lies in the fact that it has been 
 claimed by some, that he is the composer of "The President s March" 
 to which the song "Hail Columbia" was set. Others claim that 
 Philip Phile was the author. The claims of Philip Roth, which at 
 
 231 Sonneck, Early Secular American Music, Index. 
 
 232 See Above, p. 54. 
 
 233 Cf. City Directory of Philadelphia, 1785. 
 
Early German Music in Philadelphia. 77 
 
 the most are meagre, rest upon an article in a newspaper of 1829, 
 written by Wm. McKoy, twenty-five years after Roth was dead. 
 This article, as will be shown, contains one error, and may contain 
 others. The article in question reads thus : 
 
 "The seat of the Federal Government of the thirteen United 
 States being removed to Philadelphia, and in honor of the new 
 President Washington, then residing at No. 190 High Street, the 
 March, ever since known as the President s March, was composed by 
 a German Teacher of Music, in this city, named Roth, or Roat, 
 designated familiarly by those who knew him, as Old Roat. He 
 taught those of his pupils who preferred the flute, to give to that 
 instrument the additional sound of the drone, while playing in imita 
 tion of the Scotch Bagpipe. His residence was at one time in that 
 row of houses back from Fifth, above Race street, at that time known 
 as "The Fourteen Chimnies some of which [1829] are still visible in 
 the rear ground, north eastward of Mayer s Church. In his person 
 he was of the middle size and height. His face was truly German 
 in expression; dark gray eyes, and bushy eye-brows, round pointed 
 nose, prominent lips, and parted chin. He took snuff immoderately, 
 having his ruffles and vest usually sprinkled with grains of rappee. 
 He was considered an eccentric and a kind of drole. He was well 
 known traditionally at the Sampson and Lion, in Crown Street, where 
 it seems, his company, in the Olden Time was always a welcome 
 addition to the Pewter Pint Customers, gathered there, at their 
 Pipes and Beer, while listening to his facetious tales and anecdotes, 
 without number, of High Life about Town, and of the Players: 
 Nick Hammond, Miss Tuke, Hodgkinson, Mrs. Pownall, and Jack 
 Martin of the Old Theatre in Southwark. This said President s 
 March, by Roat, the popular songs of Markoe, 234 the City Poet, in 
 particular the one called The Taylor done over, and the beautiful 
 
 air of Dans Votre Lit/ were sung and whistled by 
 
 everyone who felt freedom (of mind) to whistle and sing. 
 
 "Public opinion having .... released itself from a passion 
 for French Revolutionary Musick and Song, experienced a vacuum 
 in that particular, which was immediately supplied by the new, 
 National American Song of Hail Columbia happy Land, written in 
 
 234 Peter Markoe (1768-1792) born at Santa Cruz, West Indies, educated in 
 Eng., died at Phila, 
 
78 Early German Music in Philadelphia. 
 
 98, by Joseph Hopkinson, Esq. 235 of this city, and the measure 
 adapted by him very judiciously, to the almost forgotten President s 
 March. Even since 1798, the song of Hail Columbia, by Joseph 
 Hopkinson, and the President s March, by Johannes Roat, being 
 indiscriminately called for, have become, in a manner synonymous 
 to the public ear and understanding, when they are actually and 
 totally distinct in their origin, as above mentioned. 
 
 "Such was the popularity of the song, that very frequently has 
 Mr. Gillingham, Leader of the Band, [Orchestra], been forced to 
 come to a full stop in the foreign music, he had arranged for the evening 
 by the deafening calls for this march, or song to the march." 236 
 
 In the first place, we wish to pick out a few errors, which will 
 show why we must use this testimony with caution. The writer 
 says that Roth was "well known traditionally," eviden tally not 
 personally know r n to him. Again he says that the "President s 
 March" at the time "Hail Columbia" was written was "almost 
 forgotten," but on the contrary the actor, Gilbert Fox, urged Joseph 
 Hopkinson to set words to that tune on account of its popularity. 
 Thirdly, he says that the march was written by Johannes Roat. 
 This is evidently an error in the Christian name due to traditions as 
 we will try to show. We have gone carefully through the city 
 directories from 1785 (when they were first printed,) to 1806; also 
 the newspapers of that time, and wills and letters of administration 
 but find no record of a "Johannes" Roat. We find a Philip Roth, 
 and we shall strive now to give proof that they were one and the 
 same, as so far there has been no adequate statement of this fact. 
 
 To recapitulate: Philip Roth, we have already discovered, was a 
 Band Master in a British regiment in Philadelphia, and wrote an 
 overture in 1771. 237 All trace of him is lost during the war, but 
 he probably continued to fill his position in the British Army, or 
 possibly the same position in the U. S. army. 
 
 235 Son of Francis Hopkinson mentioned above as an important figure in 
 Phila. musical development, Cf. Above, pp. ff. 
 236 Poulson s Daily Advertiser, Jan. 13, 1829. 
 237 Cf. Above, p. 54. 
 238 Pa. Jour., Sept. 10, 1788. 
 
Early German Music in Philadelphia. 79 
 
 In 1785 there is the name Philip Roots in the city directory. 
 In 1788 he has an advertisement in the newspaper, 238 while in 1789 
 we have the following: 
 
 "Mr. Roth, Music Master, In Pennington Alley running from 
 Race to Vine Streets, between Fourth and Fifth Streets. 
 
 "Teaches all kinds of Instrumental Music in the shortest manner, 
 viz. Harpsichord or Piano Forte, Guitar, Flute, Hautboy, Clarinet, 
 Bassoon, French Horn, Harp and Thorough-Bass, which is the 
 Ground of Music, etc." 239 
 
 In this advertisement we have Mr. Roth; not Philip nor 
 Johannes. This would imply that the above-mentioned man was 
 the only person in Philadelphia by the name of Roth who was 
 a music teacher. There was no city directory after 1785 until 1791. 
 In this year there appears this entry: 
 
 "Philip Roth, musician 25 Crown St." 240 
 
 Now turning to the advertisement again we read that Mr. Roth 
 lived : 
 
 "In Pennington Alley running from Race to Vine Streets, be 
 tween Fourth and Fifth streets." But the city directory informs 
 us that Crown St., and Pennington Alley were one and the same. 241 
 To go a step further, let us compare the article on the President s 
 March, above quoted, as to the abode of Johannes Roat, which says: 
 
 "His residence was at one time in that row of houses back from 
 Fifth, above Race street, at that time known as The Fourteen 
 Chimneys .... north-eastward from Mayer s Church." 242 
 
 Now comparing these three dwelling places, we find that they 
 were on the same street at least two of them and the third in the 
 same neighborhood ; but we find that there was only one man, which 
 our evidence gives, so we may be perfectly sure that the other two 
 men may be fused into the one Philip Roth. This man lived, 
 while he was in Philadelphia in one locality as the directories show. 
 
 239 Pa. Jour., Jan. 7, 1789. 
 2M City Directory, 1791, p. 110. 
 241 C% Directory, 1795, p. 81. 
 242 Cf. Above p. 77. 
 
80 Early German Music in Philadelphia. 
 
 1791 Philip Roth, musician, 25 Crown St. 
 1795 Philip Roth, 31 Race St. 
 
 1798 Philip Roth, Crown St. 
 
 1797 Philip Roth musician, Crown St. 
 
 1798 Philip Roth, musician Crown St. 
 
 1799 Philip Roth, teacher of music, 33 Crown St. 
 
 1800 Philip Roth, teacher of music, 33 Crown St. 
 
 1801 Philip Roth, music master, 33 Crown St. 
 
 1802 Philip Roth, music master, 33 Crown St. 
 
 1803 Philip Rote, music master, 33 Crown St. 
 
 1804 Philip Rote, music master, 33 Crown St. 
 
 His name is also given in the directory of 1805, but nevertheless 
 he died in 1804. 
 
 From the above, it is seen that he lived on the same street all 
 the time he was in Philadelphia, with the exception of the year 1795 
 when he dwelt at 31 Race St., which however, was not far away. 
 We see, too, the different appellations given to him, as "musician," 
 "teacher of music," and finally "master of music," Evidently he 
 was skilled as a musician, and was respected as such. 
 
 Little else is known about Philip Roth, but we may presume 
 that he played in the orchestra of the "Old Southwark Theatre" 
 perhaps was even the leader, since we know that he was well 
 acquainted with the actors. 243 We do know that he composed a 
 piece of music, or rather set to music a "Hunting Song," which was 
 printed in the "Universal Asylum," April, 1790. He must indeed, 
 have been a skilful musician to be able to give lessons on all the 
 instruments in his advertisement nine in all although he could 
 not have been proficient on all. Still he must have been talented. 
 
 The date of his death has been misstated by the only author, 
 who has mentioned it at all. O. G. Sonneck, in his book "Early 
 Secular American Music" (1905) page 190, and in an article lt Critical 
 Notes on the Origin of Hail Columbia" printed in the "Sammelbaende 
 der International Musik-Gesellschaft" (1901) states that Philp 
 Roth died in 1805. 
 
 243 Cf. Above, p. 89. 
 
Early German Music in Philadelphia. 81 
 
 It is true that in the City Directory for 1805 his name is found 
 while in the directory for 1806 the following entry appears: 
 
 "Rote, widow of Philip, music master, 94 N. 7th St." 144 
 
 To offset the above evidence there is the documentary proof as 
 follows : 
 
 "On the 24th day of September, 1804, Letters of Administration 
 were granted unto Mary Roth on the Estate of her Husband, Philip 
 Roth deceased. 
 
 $200. Henry Lies of Philadelphia, Victualler. Jacob Grace of 
 Nor. Liberties, Carter. Sureties." 245 
 
 Philip Roth could not have amassed much wealth during 
 his musical career, since his surety was only $200. 
 
 So much for Philip Roth and his claims as author of the "Presi 
 dents March." The other claimant is Philip Phile, about whom we 
 know as little as about Philip Roth. As early as 1784 Phile was in 
 Philadelphia; as there is a concert advertised for his benefit in that 
 year. 246 Somewhat later than this Durang, a contemporary of 
 Phile tells us that : 
 
 "The orchestra at the beginning of the "Old American Company" 
 production was Mr. Philo, leader] Mr. Bentley, harpsichord; Mr. 
 Woolf, principal clarinet, Trimmer, Hecker, and son, violoncello, 
 violins, etc. Some six or seven other names, now not remembered, 
 constituted the musical force. The latter were all Germans." 247 
 
 Mr. Phile was occupying a somewhat important position the 
 leadership of a German orchestra numbering some twelve or thirteen 
 men. From now on until his death in 1793, 248 Phile wandered back 
 and forth between New York and Philadelphia. In 1784 he appears 
 on the concert programs in the latter city. In 1786 with Alexander 
 Reinagle he played a duet for violin and cello in New York, 249 
 
 244 City Directory, 1806. 
 
 245 Cf. Letters of Administration, Book K, No. 156, p. 178 in office of Recorder 
 of Wills, City Hall, Philadelphia. 
 246 Pa. Packet, Mar. 6, 1784. 
 
 247 Durang, History of the Stage in Phila., Chapter 12, [A rare book]. 
 248 Sonneck, Early Secular American Music, p. 189. 
 249 A T . Y. Packet, Jul. 13, 1786. 
 
82 Early German Music in Philadelphia. 
 
 while the next year he is back again in Philadelphia. 250 In 1792 he 
 takes part in a concert together with Philip Roth and other Ger 
 mans. 251 Perhaps Roth was a member of his orchestra. After 
 1789 he apparently settled down in Philadelphia, and lived on 
 Race St., between Front and Second. 252 
 
 Such is the knowledge we have concerning Phile s life. Let us 
 consider what are his claims to the authorship of the "President s 
 March." As in the case of Roth, the march was claimed for Phile 
 by his friends ; but in his case there are two different accounts of its 
 origin as follows: 1. First it was claimed for him by his son, who 
 says he was present when it was played. He says that the march 
 was composed by his father, and played at Trenton Bridge in 1789 
 in honor of Washington, who was on his way to New York to be 
 inaugurated. 253 2. Second, it is said by the nephew of Washington, 
 G. W. Custis (1860), that this march was played in the John St. 
 Theatre, N. Y., Nov. 24, 1789 in honor of Washington, who was 
 present that evening. The composer is said to be a German named 
 Feyles. 254 "Feyles" is a corruption of Phile and we also find it 
 spelled Philo, Phylo, Phyla, Phyle, Phyles, Fyles, etc. 
 
 There are, then, two different statements as to the composition 
 of this piece by Phile, which would lead us to think, that, in the 
 minds of the people it was a doubtful question as to how and when 
 this march was composed. To add to this, the claim that Philip 
 Roth composed this march, only makes the situation more confused. 
 Sonneck has pointed out in his article li Critical Notes on the Origin 
 of Hail Columbia," 255 that there was no account in the daily papers 
 of that time concerning this march, as there probably would have 
 been, had it been composed in honor of so important a man as 
 Washington. He, however, inclines to the belief that Phile did write 
 
 KO Pa. Packet, Jan. 13, 1787. 
 25 ^e Above, Note to 72. 
 
 ^Sonneck, Article in Sammelbande (1901), p. 156. 
 ^Baltimore Clipper, 1841. 
 
 254 G. W. Custis, Recollections and Private Memoirs of Washing, p. 368. 
 Also Diary of Geo. Wash. 1789-1791, (ed. B. J. Lossing, 1860), p. 56. 
 255 Sammelbaender Internationalen Musik Gesellschaft,I9Ql. 
 
Early German Music in Philadelphia. 83 
 
 the march; but until a manuscript with the name of the composer 
 thereon is discovered, we cannot say with surety who did write it. 256 
 We have, then, these two composers before us and can pay our 
 money and take our choice. 
 
 Concerning the compositions of these two men we know little. 
 The overture composed by Roth in 1771 has already been 
 mentioned. Sonneck also gives a "Hunting Song" set to music by 
 Mr. Roth in 1790. Sonneck credits Phile with the following compo 
 sitions. 
 
 1787 
 
 1. Violin Concerto by Mr. Phile. 
 
 1790 
 
 2. Harmony Music, Phile. 257 
 In addition to these we have: 
 
 1791 
 
 3. Overture by P. to be played at Vauxhall Concert, May 27. 258 
 
 4. Concerto Violin by Mr. Phile. At Vauxhall Sept. 2. 259 
 
 256 Many writers have expressed an opinion, but evidently their information 
 consisted of a knowledge of only one claim. 
 
 257 Cf. Sonneck, Early Sec. Am. Music for these compositions. 
 258 Am. Daily Adv., May 25, 1791. 
 K9 Am. Daily Adv., Sept. 2, 1791. 
 
84 Early German Music in Philadelphia. 
 
 CONCLUSION. 
 
 We have tried to show the gradual growth of musical taste in 
 Philadelphia, especially the taste for German music. As before men 
 tioned this taste was undoubtedly stimulated mostly by the English 
 musicians, at least until the last period. In that period the English, 
 and German musicians, seem to have worked in conjunction to keep 
 up the standard set by their predecessors. It must not be thought 
 that German music alone ruled in Philadelphia. During the French 
 Revolution, especially, many refugees arrived in Philadelphia and 
 concerts of French music were given and great enthusiasm was 
 aroused among the American citizens. However, on looking over 
 the whole century, German music seems to predominate over the 
 music of other nations in Philadelphia. Musical taste in Phila 
 delphia after the Revolution will compare favorably with the taste 
 shown in Europe at the same period. 
 
Early German Music in Philadelphia. 85 
 
 APPENDIX. 
 WORKS OF ALEXANDER REINAGLE. 
 
 Unless otherwise noted this list has been taken from O. G. 
 Sonneck s "Early Secular American Music." They are given here 
 according to date of production. 
 
 1787. 
 
 1. Overture. 
 
 2. "A Select Collection of the most favorite Scots tunes. 
 With variations for the pianoforte or harpsichord." 
 
 3. A song (newly composed). 
 
 1788. 
 
 4. "Federal March, as performed in the grand procession in 
 Philadelphia, the 4th of July, 1788. Composed and adapted for the 
 pianoforte, violin, or German flute." 
 
 1789. 
 
 5. Song. 
 
 "Adieu thou dreary pile." 
 
 Arranged for pianoforte or harpsichord by Reinagle. 
 
 6. Chorus, sung before Gen. Washington, as he passed under 
 the triumphal arch on Trenton Bridge, April 21, 1789. "Set to 
 music and dedicated by permission to Mrs. Washington." 
 
 7. Song. "In vain fond youth you would conceal." 
 
 8. Song. "My soul is thine, sweet Nora." 
 
 9. Song. "The Soldier tried, etc." 
 
 10. Song. "Tantive back forward." 
 
 11. Song. "Tis not the bloom on Damon s cheek." 
 
 (These songs were arranged by R. for pianoforte or harpsichord.) 
 
 12. Overture. "La Schiava" (Piccini.) 
 
 13. Overture to opera "Maria" (Shield). 
 (These overtures arranged for pf. by R.) 
 
86 Early German Music in Philadelphia. 
 
 1791. 
 
 14. Song. "Winter." Set to music by R. with pf. ace. 
 
 15. Miscellaneous Quartet. Played at the "City Concert" 
 Mar. 5, 1791 and often the remainder of the season. 260 This compo 
 sition is dated by Sonneck 1793. 
 
 16. New Miscellaneous Quartet. To be played at the "City 
 Concert" Dec. 17, 1791. 261 
 
 1794. 
 
 17. Song. "America, Commerce and Freedom." By. R. 
 
 18. "La Chasse" (Rosetti). Arranged for pianoforte or 
 Harpsichord by R. 
 
 19. "Concerto On the Improved Pianoforte with Additional keys. 
 
 20. "La Foret Noire (serious pantomime. Overture, etc., 
 entirely new, composed by Mr. Reinagle.") 
 
 21. Occasional Overture. 
 
 22. "Preludes in three classes, for the improvement of prac 
 titioners on the pianoforte." 
 
 23. "Robin Hood" (comic opera,) original overture by 
 Baumgarten, additional airs by R. 
 
 24. "Slaves in Algiers" (play interspersed with songs), Music 
 by R. 
 
 24. "Spanish Barber" (opera translated from Beaumarchais, 
 by G. Colemann), additional airs by Reinagle and Carr. 
 
 1795. 
 
 26. "Harlequin shipwreck d" (Pantomime). New music by R. 
 
 27. "Harlequins invasion" (Pantomime.) New medley overture 
 by R. 
 
 28. "Volunteers" (comic opera). Music and overture en 
 tirely new. 
 
 29. "The Purse" (musical drama by J. J. Cross), accom 
 paniments and new airs by R. 
 
 260 Cf. Am. Daily Adv., Mar. 4, 1791. Also programs given in this book for 
 1791. 
 
 261 Cf. Am. Daily Adv., Dec. 15, 1791. 
 
Early German Music in Philadelphia. 87 
 
 30. "Auld Robin Gray" (opera), new music and a Scot 
 tish medley overture by R. 
 
 1796. 
 
 31. "Mountaineers" (comic opera), accompaniments by R. 
 
 32. "Pierre de Province and La Belle Magulone" new music 
 by R. This was also called "The Rival Knights" or La "Belle 
 Magalone" a pantomime. 262 Probably this was the same thing as 
 "Pierre de Province "although the latter was advertised as a "ballet." 
 
 33. "Grand Divertisement in the Temple of Liberty taken from 
 the celebrated Ballet, called, Warriors Welcome Home. The 
 Overture and Music compiled by Mr. Reinagle in which is introduced 
 a number of Irish and Scotch Airs." 263 
 
 34. "The Shamrock" (Irish dance), Irish medley Overture by 
 
 R 264 
 
 35. "Witches of the rocks or Harlequin everywhere" (Pan 
 tomime), "with an entire new overture, songs, choruses, and recita 
 tions composed by Mr. Reinagle." 
 
 1797. 
 
 36. "Columbus" (historical play), incidental music by R. 
 
 37. Savoyard (musical farce), music by R. 
 
 1798. 
 
 38. " The Gentle Shepherd , written by Allan Ramsay. With 
 original airs and the accompaniment by Mr. Reinagle." This was 
 called "the favorite comical Scot s Pastoral" and was to be per 
 formed at the New Theatre. 265 
 
 39. "Italian Monk" (opera), music and accompaniment by R. 
 
 1799. 
 
 40. Monody. "On the Death of the much lamented, the 
 late Lieutenant-General of the Armies of the United States. The 
 
 262 Cf. Am. Daily Adv., Jim. 27, 1796. 
 
 263 Cf. Am. Daily Adv., Mar. 28, 1796. 
 
 264 Perhaps the same as advertised in Am. Daily Adv., May. 7, 1794. 
 
 2Q5 Am. Daily Adv., Apr. 16, 1798. 
 
88 Early German Music in Philadelphia. 
 
 Music composed by R. Taylor, and Mr. Reinagle." To be given at 
 the New Theatre. 266 
 
 41. "Blue Beard" (opera accompaniments by R.) 
 
 42. The Arabs of the desert, or Harlequins flight from Egypt," 
 with a new Overture and Music, composed by Mr. Reinagle." 267 
 
 Probably before 1800 (date not known). 
 
 43. Collection of favorite songs, divided into books. The 
 basses rendered easy and natural for the pianoforte or harpsichord 
 by Alex. Reinagle." 
 
 1800. 
 
 44. Masonic overture. 
 
 45. "Naval pillar" (musical entertainment), accompaniments 
 by R. 
 
 46. "Pizarro," by Kotzebue; adapted by R. B. Sheridan; 
 music by Reinagle and Raynor Taylor. 
 
 2 Am. Daily Adi., Dec. 23, 1799. 
 267 Cf. Am. Daily Adv., Apr., 13, 1799. 
 
AMERICANA GERMANICA 
 
 NEW SERIES 
 MONOGRAPHS DEVOTED TO THE COMPARATIVE STUDY OF THE 
 
 Literary, Linguistic and Otter Cultural Relations of 
 Germany and America 
 
 EDITOR 
 MARION DEXTER LEARNED 
 
 University of Pennsylvania 
 
 CONTRIBUTING EDITORS 
 
 H. C. G. BRANDT Julius GOEBEL 
 
 W. H. CARPENTER J. T. HATFIELD 
 
 W. H. CARRUTH W. T. HEWETT 
 
 HERMANN COLLITZ A. R. HOHLFELD 
 
 STARR W. CUTTING HUGO K. SCHILLING 
 
 DANIEL K. DODGE H. SCHMIDT- WARTENBERG 
 
 A. B. FAUST HERMANN SCHOENFELD 
 
 KUNO FRANCKE CALVIN THOMAS 
 
 ADOLPH GERBER H. S. WHITE 
 HENRY WOOD 
 
 PHILADELPHIA 
 
 AMERICANA GERMANICA PRESS 
 
 Berlin New York Leipzig 
 
 MAYER & MULLER CARL A. STERN F. A. BROCKHAUS 
 
 London Paris 
 
 KEGAN, PAUL, TRENCH, TRUBNER & CO., Ltd. H. Le SOUDIER 
 

 14 DAY USE 
 
 RETURN TO DESK FROM WHICH BORROWED 
 
 MUSIC LIBRARY 
 
 This book is due on the last date stamped below, or 
 
 on the date to which renewed. 
 Renewed books are subject to immediate recall. 
 
 i: 
 
 
 
 
 JAN 3 H964 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 L ?cl^%t l u^WJ^K,-. 
 
ML200.8.P5.D7 
 C037317473 
 
 .^..BERKELEY LIBRARIES 
 
 CD37317M73 
 
 333631 
 
 Ptr 
 
 UNIVERSITY OF CALIFORNIA LIBRARY 
 
 DATE DUE 
 
 Music Library 
 
 University of California at 
 Berkeley